Archive for the ‘Ghazal’ Category
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5415 | Post No. : | 17758 |
“Paataal Pari”(1957) was produced by Bakht Bahadur Singh and directed by S P Bakshi for Sardar Pictures, Bombay. This fantasy movie had Shakila, Jairaj, Tiwari, Kumkum, Ramesh Thakur, Yashodhar Katju, Mohinder, Habeeb, Ramkumar, Zippy, Uma Dutt, H Prakash, Gulnaar, Khairaati, Sheikh etc alongwith guest artists Shree Mohan, Heera Sawant and Indra in it.
The movie had eight songs in it. Four songs have been covered in the past.
Here is the fifth song from the movie to appear in the blog. This song is sung by Asha Bhonsle. Lyricist is Tanveer Naqvi. Music is composed by S Mohinder.
Only audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
Lyrics of the song were sent to me by Prakashchandra.
Audio link:
Song-Haal e dil apna suna loon to chale jaaiyegaa (Paataal Pari)(1957) Singer-Asha Bhonsle, Lyrics-Tanveer Naqvi, MD-S Mohinder
Lyrics(Provided by Prakashchandra)
haal-e-dil
apnaa sunaa loon oon
to chaley jaayiyegaa aa
apni bigdi to banaa loon oon
to chaley jaayiyegaa
haan aaan aan aaan
haal-e-dil apnaa sunaa loon oon
to chaley jaayiyegaa
aapke ae jaaaane se
jaate hee rahey
hosh mere aey ae ae
ho o o o
main zaraa hosh mein aa loon oon
to chaley jaayiyegaa
main zaraa hosh mein aa loon oon
to chaley jaayiyegaa
haan aaan aan
haal-e-dil apnaa sunaa loon oon
to chaley jaayiyegaa aaa
phir ye tanhaayee
khudaa aaa jaaney ae
miley yaa naa miley ae
phir ye tanhaayee ee
khudaa aaa jaaney ae
miley yaa na aaa aaa miley ae ae
apne khwaabon ko sajaa loon oon oon
to chaley jaayiyegaa
ho o o o
haal-e-dil apnaa sunaa loon oon
to chaley jaayiyegaa aaa
ik zaraa thehriye ae ae
ruk jaayiye dum bhar ke liye ae ae ae
oo ooo ooo ooo
main hansee gham ki udaa loon oon
to chaley jaayiyegaa
ho o o o
haal-e-dil apnaa sunaa loon oon oon
to chaley jaayiyegaa aa aaa aaa
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5404 | Post No. : | 17729 |
Today’s song is a famous Ghazal by Mirza Ghalib, from the film Qaidi-1940.
Film Qaidi-1940 was a Landmark movie. It was a Muslim social film. It was not the first film depicting the muslim culture in a hindi film, still it occupies a special place in this Genre for many reasons. Muslims have been a major and the biggest Minority in India for many centuries. Muslim kings who came from outside India ruled this country for many years too. Therefore it was but natural that films depicting Muslim culture were made in India from the early era onwards after Talkie films started.
Indian film history has many unsolved riddles yet. At the same time misconceptions and wrong information inputs have been misleading the Indian Film History students. Questions like
1. Who was the first Female MD ?
2. Which was the First MD Pair in Hindi films ?
3. Which was the First Hindi film shot abroad ?
4. Which is the First songless Hindi film ?
have either been not answered properly or the answers have become outdated with the new evidence becoming available now. Those readers who have the answers to these questions are requested to check with the Mythical answers and the actual true answers here.
1.Many people still believe that Usha khanna is the first female MD, But actually she is the 4rd female MD. The First female MD was Isharat Jehan aka Bibbo, who gave music to films Adl E Jahangir-1934 and Qazzack ki beti-1937. Jaddan bai was the second and Saraswati Devi was the third female MD.
2.The First MD Pair is generally considered as Husnlal-Bhagatram. However, the First MD Pair was Rewashankar Marwadi and Banne Khan, who gave music to 12 Hindi films from 1935 to 1937.
3. Generally it is believed that film Naaz-1954 is the First hindi film to be shot abroad. Even HFGK also mentions this. However, the truth is, the film ” India in Africa”-1939 was the First film to be shot in Africa with the Hero B.Nandrekar ( Ref: Maharashtra- The Birthplace of Indian Cinema, author Isak Mujawar).
4. Hindi film “Naujawan”-1937, made by the Wadia Brothers is considered as the First Songless film. However it is no longer true. Film ” Mamta”-1936 made by Bombay Talkies (and released along with film “Miya Bibi”) was the First songless film.
Like many other myths in the Hindi film industry, one myth is that Mehboob Khan was the pioneer in making Muslim social films in India. This probably originated because the first film of Mehboob’s own company Mehboob Productions was ” Najma”-43, a Muslim social film starring Ashok Kumar, Veena, Sitara, Kumar, Yaqub etc. But the fact is different.
The first Muslim social film was “Rashida”-35, made by Madon Theatres, Calcutta, featuring Kajjan, Effendi and others. It was directed by a Jew-Izra Mir. The name of the film indicated that it was about a Muslim girl. Somehow, I find a lot of Muslim social films made that had titles of girl’s names, Like Zeenat, Ameena, Najma, Shama, Heena, Zubeida, Salma, Ismat etc etc.
The beginning of serious Muslim social films was done by Fazli Brothers- Hasnain and Sibtain Fazli. They first made a Muslim social film Qaidi-1940, featuring Ramola,Mehtab, B.Nandrekar, Wasti etc. This was a period of struggle for Indian Independence. The fundamentalists in Muslims were active and due to the fear of their reaction, film makers were wary of producing such films.Even Fazli brothers were also afraid that there would be obstruction from these people to their film, so they decided to make the film in Calcutta. Their first Muslim Social film Qaidi-40 was very successful. Encouraged, they made 2 more such films (Masoom-41 and Chowringhee-42) in Calcutta. For film Chowringhee-42, the Fazli Brothers roped in famous Bangla poet (who later on became the National Poet of Bangladesh) Kazi Nazrul Islam- the creator of Nazrul geeti, as a Lyricist and MD for the film.
After 1942, Fazli Brothers shifted their activities to Bombay and made many Muslim social films like Fashion-43,Ismat-44, Dil-46 and Mehendi 47. So, in true sense, it is the Fazli Brothers who were the pioneers of Muslim Social films in India.
From the 40s to the 47, there was a line of Muslim social films lined with pride and confidence. Notable amongst them were Paak Daaman-40 by Rustom Modi, Masoom-41 by Fazli brothers, Muslim ka lal-41 by Mohan Pictures, Fashion -43 by Fazli Brothers, Najma-43 by Mehboob, Salma-43 by Nazir Ahmed, Ismat-44 by Fazli Brothers, Bade Nawab saab-44 by actor Kumar and Pramila, Bhaijaan-45 by United Films, Phool-45 by K.Asif, and Director Mazhar Khan’s Muslim social film “Pehli Nazar” in 1945. Amongst these, the film “Elan”-47 was a milestone film, produced by Mehboob. It dwelt upon the needs of improvements for Muslim community.
After 1947, India lost a very big market for its Muslim social films, when Pakistan-East and West- was formed. It does not mean that Muslim social films were not made after 1947 in India. Films like Kaneez-49, Nisbat-49, Parda-49, Hyderabad ki Nazneen-52,Darwaza-54, Chandni Chowk-54, Maalik-58, Maa ke aansoo-59, Pahli Raat-59 etc were all Muslim socials. They, however, were not successful, for whatever reasons. But the fun is films of muslim backgrounds but non social films like Anarkali,Mirza Ghalib,Hatimtai,Alibaba and forty thieves etc were good grossers and ran well. The first Hindi film to win the President’s Gold Medal (the first was Marathi film-Shyam chi aai ), was Mirza Ghalib-54. This indicated that there was no audience for Muslim social films now. Later on the conditions changed and Muslim social films like Chaudhavi ka chaand,Barsaat ki raat,Chhote Nawab,Bahu Begum, Mere huzoor, Pakeeza etc became quite successful. However,some opine that these films succeeded due to other reasons like Music, songs etc. One funny thing was that most Muslim social films-from the beginning- showed Lucknow as the background of the story ! (Film names being mentioned are only indicative and not exhaustive, so many names will be missing here.).
Film Qaidi-1940 star cast included Ramola, Mehtab, Madhuri, Monica Desai, B.Nandrekar, Wasti, Leela Mishra and many others. There were 8 songs in the film written by Arzoo lucknowi and Kidar Sharma, which were composed by Acharya bhishmadev Chaterjee – a highly respected name in the musical field of Bengal. Two Gazals by Mirza Galib were also used in this film. Today’s song is one of these gazals. We do not know the singer’s name. Name of ” Aziz ka gaana” is given on the record. Aziz was the name of the film’s Hero, enacted by Nandrekar. One peculiar point about this film was that the Hero, his mother and sister all die in this film. The name of Monica Desai in the star cast may be unfamiliar to many readers.
Monica Desai was a famous Indian actress during the 1930’s and 40’s. She was the daughter of Dr. Umedram Lalbhai Desai and Satyabhama Devi, a well-known musician of the early 20th Century. Her father was a Gujarati, and her mother hailed from Bihar. Her father who was a reputed Doctor of that period died in the year 1930.
Monica Desai first worked for Bangla movie ‘Nimai Sanyasi’ which was released in the year 1940. She was an actress who represented the era of upcoming character actresses like Leela Mishra, Ram Dulari, who made debut along with her and later ruled the Indian screen.
Monica Desai acted under the direction of Phani Majumdar and Kidar Nath Sharma. She did not concentrate much on acting as she got married to Phani Majumdar, a pioneering Indian film director, who worked in Hindi cinema. Phani Majumdar is known for Meena Kumari’s classic films ‘Aarti’ (1962) and ‘Oonche Log’ (1965). Monica Desai had a sister named Leela Desai, who was a renowned actress in Hindi and Bengali cinema. Leela Desai has even acted in the film ‘Kapal Kundala’ (1939) directed by Phani Majumdar. After completion of the venture, Phani Majumdar married Monica Desai.
Monica acted with Prithviraj Kapoor in her career, in the film Gauri. ‘Gauri’ was an Indian Bollywood film that was the seventh highest grossing Indian film of 1943 and this established Monica Desai as an actress. Later, she featured in a film ‘Devdasi’ as a heroine that was also among the top seven grossing films at the Indian box office in 1945. She appeared in the film ‘Chitralekha’ which was the second-highest grossing Indian film of 1941, in this movie, she portrayed the character of Yashodhara. She had also acted in 2 films with Saigal – Bhakta Surdas-1942 and Bhanwara-1944.
Monica worked in only 9 Hindi films- Qaidi-40, Chitralekha-41, Bhakta Surdas-42, Gauri-43, Bhanwara-44, Lakharani-45, Devdasi-45, Rangeen Zamana-48 and Vikram Shashikala-49.
Let us now listen to Galib’s ghazal. This same ghazal was later used in the film ‘Mirza Ghalib’-1954, in which Suraiya sang this ghazal beautifully.
Song- Rahiye ab aisi jagah chal kar jahaan koi na ho (Qaidi)(1940) Singer- Not known, Lyricist- Mirza Ghalib, MD- Bhishmadev Chatterjee
Lyrics
rahiye ab a a a
aisi jagah
chal kar jahaan koi na ho
rahiye ab a a a
aisi jagah
chal kar jahaan koi na ho
hamasukhan koi na ho o
aur hamazubaan koi na ho
rahiye ab a ab
aisi jagah
be-dar-o-deewaar kaa aa
ik ghar banaaya chaahiye
koi hamasaayaa na ho
aur paasabaan koi na ho
padiye gar beemaar to
koi na ho teemaaradaar
aur agar mar jaaiye
aur agar mar jaaiye
to nauhakhwaan koi na ho
rahiye ab aisi jagah
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5401 | Post No. : | 17719 |
Today’s song is an excellent but less known and less heard Ghalib Ghazal ( as per HFGK), sung by Kalyani Bai aka Miss Kalyani, for the film Ghazi Salauddin-1939.
Many times it is extremely difficult to find information on old time films. I tried all my resources to get some information about this film, but in vain. Nothing was available anywhere. The film is also not available anymore. So practically, we knew only what is given in HFGK, in terms of Director, MD, star cast and if we are lucky, some information on the songs like singer, lyricist, record numbers etc.
For the last almost a month, I was struggling. First I found out what Ghazi means. It means a fighter for Islam against Non-Islamists. Secondly some of the songs praise Allah and are about Muslims dying for Islam religion. So it became clear that the film was on some kind of a fight between Muslims and Non muslims. Just last week, I happened to read a book ” Historicizing myths in contemporary India- Cinematic representations”. It is written by Swapna Gopinath and Rujuta Deshmukh (It is a coincidence that the writer’s name is Deshmukh. No relation of mine !) On its page 102, there is a reference to this film ‘ Ghazi Salauddin’. I quote what it says….
” Despite the dwindling popularity of these war historicals in the pan-Indian markets, films with strong communal overtones to be made in some regional pockets. perhaps the communal award-1932 which charted out a separate electorate, gave a boost to the monolithic identity of the community which ushered in a new phase of communalised politics in the subcontinent.In this political atmosphere, films were made portraying events and personalities who were regarded as heroic by one community but denounced by others. This sentiment was manifested regarding the release of the film ” Ghazi Salauddin (1939), though not based on Indian terrain, but featured the typical medieval war of crusade with intense communal overtones.The film was advertised as ” You saw Crusade ! Now see the other side of the medal in Ghazi Salahuddin. “
From all the above it is now clear that this film was a kind of Islamic Historical film and the background was not in India, but somewhere else where the islamist and the Christians fought a war. It is not known who won it, but it is an easy guess, considering that in 1939, the British were ruling India where the film was made ! The film was made by Supreme Pictures. It was directed by I.A.Hafiz ji (Ismail Asif Hafiz ji) who was an assistant director with New Theatres, Calcutta. Hafiz ji directed only four films independently – Usne kya socha-1937, Ghazi Salauddin-1939, Parda Nasheen-1942 and Mamta-1942.
The film had music by Khemchand Prakash. This was his First film as an independent MD. Dr. Ashok Ranade, in his book ” Music beyond Boundaries” says about Khemchand Prakash….
” Though Khemchand’s debut film was Ghazi salauddin (1939), his main cinematic association was with the well known Ranjit Movietone. He joined them around 1940. In a short career spanning 11 years he left behind music composed for 34 films. He has the credit for giving a break to Kishore Kumar in Ziddi (1948). In addition to Kardar’s well received productions such as Holi and Pagal(19410, he also scored for Kidar Sharma’s Gauri, Vishkanya etc.Jayant Desai’s musical landmarkTansen (1949, with Saigalin the lead) and Mahal(1950) represent big points of Khemchand’s musical achievements. Tamasha (1952) was his last film. “
The cast of the film was Rattanbai ( she was the wife of director Hafiz ji), Ghulam Mohd., Mazhar khan, Yaqub, W.M.Khan, Mirza Musharraf and others. The story writer, dialogue writer , Screenplay writer and Lyricist was Khan Bahadur Hakeem Ahmed Shuja. Khan Bahadur Hakim Ahmad Shuja MBE, sometimes written as ‘Hakeem Ahmed Shujah’ and ‘Hakim Ahmad Shuja Pasha’, (4 November 1893 – 4 January 1969), was a famous Urdu and Persian poet, playwright, writer, film writer and lyricist, scholar and mystic, from former British India, later Pakistan.
Hakim Ahmad Shuja was the only son of his parents, who both died when he was still a minor and he was brought up largely by an elder cousin, Hakim Amin-ed-din, Barrister. After a basic education in Arabic and Quranic studies at home, and initial Sufic training under various notable mystics in both Chishti and Qadiri systems, he was then admitted for ‘English education’ to the old Central Model School, Lahore and later went to the famous Aligarh Muslim University, from where he graduated with honours. For some time, Hakim Ahmad Shuja then worked as a lecturer at the Osmania University in Hyderabad state (Deccan) but was not happy and returned to Lahore to seek employment there. After several journalistic and academic ventures, he eventually settled down to regular service in the secretariat of the Punjab Legislative Assembly, finally retiring as Secretary to the Punjab Assembly in the 1950s.
Hakim Ahmad Shuja was a very prolific and versatile writer indeed, producing several collections of Urdu and Persian poetry, countless essays and belles-lettres published in newspapers and journals throughout India (and later Pakistan), one of the earliest translations of the Quran in Punjabi language, several dramatic works in collaboration with Imtiaz Ali Taj, Agha Hashar Kashmiri and other theatrical producers, and, later on, screenplays and lyrics for the early Indo-Pakistan cinema. However, his fame today rests chiefly on these noted works: “Lahore ka Chelsea” (1967; 1989 reprint), a collection of memoirs of Old Lahore; “Khoon-Baha” (1962), some of his other personal memoirs; “Gard-i-Karvan” (1950s; reprint 1960), a collection of poems and essays in praise of the Islamic prophet Muhammad and the ‘Ahl i Bayt’ (members of the Prophet’s family) as exemplars of the ‘Ideal’ Muslim character; and his lovely, lyrical poems, some of which were later successfully adapted for film songs. These works reflect his idealism and humane and deeply mystical faith and a Romanticism which reflects both the typical Urdu and Persian poetic traditions, as well as the influence of Western writers such as Shelley, Thomas Carlyle, Goethe and Victor Hugo.
He wrote 10 songs for the film Prem Yatra-1937. About his Screenplays and other filmi activities, details are not available. He was involved in the screenplay, dialogues and song writing in films like Yahudi ki Ladki-1933 and Kaarvaan E Hayat-1935, films made by New Theatres, Calcutta. He had also provided storylines for films like Behram Khan-1945 and Sheesh Mahal-1950 etc. Perhaps he did some more of them in Pakistan.
Hakim Ahmad Shuja continued to write even until the time of his death in 1969. Between the 1950s and 1960s, he became especially interested in the potentialities of film-making and cinema. In many ways, thus, he had a direct influence and bearing upon the development of both early Indian and Pakistani literature and cinema.[ In addition, he also made a significant contribution to the early development of Urdu language, linguistics and etymology as permanent secretary and one of the main compilers/editors of Pakistan’s Official Language Committee, 1949, responsible for the standardization of official and court terms, from English to Urdu.
Hakim Ahmad Shuja was a contemporary of and associated with people like Agha Hashar Kashmiri, Imtiaz Ali Taj, Abul Kalam Azad, Allama Iqbal, Sir Sikandar Hayat Khan, Hakim Ajmal Khan, Sohrab Modi, and Muhammad Ali Jauhar.
In the film the role of Salauddin was done by Ghulam Mohammed, his lover was Rehana, played by Rattanbai, and the role of the British Commander Richard was done by Mazhar khan. For comical relief Mirza Musharraf played joker Younus. Today’s song is sung by Miss Kalyani aka Kalyani Bai.
Hailing from Turkman Gate in Delhi, Kalyani Bai was born in 1916. Her real name was Zarina. She was passionate about singing from a very young age and subsequently started her formal training with Ustad Wazire Khan and in no time started singing for All India Radio and HMV. That era saw an influx of records made from the many Ghazals, Khyaal & Thumris that she had sung.
When a contact was made to her at her house situated in ‘Tekriwala bunglow’ on Dargah lane in Mahim (West), a few years back, Kalyani Bai said that with the advent of Talkie films the demand for well enunciated and melodious singers suddenly went up as till then playback hadn’t been the trend and actors would themselves have to sing the songs live in front of the camera. In the midst of this, one day, two brothers from Punjab saw her in a recording and came over to her house. They wanted to make a film with Kalyani. They agreed to all the conditions that Kalyani’s Abba put forth and hence Abba-Ammi along with their 15 children went on to Kolkata. This was during the Mid 30’s. Kalyani Bai was approximately 13 years old at that time. This film ‘Pardesi’, according to Kalyani, was completed halfway when a spat took place between the two brothers and the film had to be shut down.
As soon as B.N.Sircar, the owner of ‘New Theatres’ and R.C.Boral, the music director came to know of this, they called Kalyani and immediately employed her in their company at a salary of Rupees 250 a month. Since her nickname was ‘Kallo’, R.C.Boral gave Zarina a new name and henceforth she came to be known as ‘Kalyani Bai’.
Kalyani was featured in all the four films released by New Theatres in 1937 viz ‘Anath Ashram’, ‘Mukti’, ‘President’ and ‘Vidyapati’, here she not only acted alongside heavyweights like Prithviraj Kapoor, Trilok Kapoor, Uma Shashi, Jagdish Sethi, P.C.Barua, Kanan devi, Pankaj Mullick, K.L.Sehgal, Leela Desai, Pahadi Sanyal, K.C.Dey, and K.N.Singh, she also sang some songs for her characters in those films. Playback was in its initial phase and had just been introduced in 1935 by ‘New Theatres’ in their film ‘Dhoop Chhaon’. And in practice, it wasn’t the singer’s name (who had actually sung the song) that appeared on the music records but the name of the character of the movie on whom the song was filmed and since this practice continued for another one and a half decade, it is virtually impossible to verify the songs sung by almost all the artists of that era including Kalyani.
Mumbai based Sardar Chandulal Shah, owner of ‘Ranjit Movietone’, was so impressed by Kalyani’s singing and acting skills that as soon as her contract with new theaters was over, he called Kalyani to Mumbai and employed her at Rupees 800 per month. The 1937 release ‘Toofani Toli’ was Kalyani’s first movie to be screened under the banner of Ranjit Movietone. The film was directed by Jayant Desai and Gyan Dutt was its Music composer. Kalyani sung three songs for this movie.
In 1938 Ranjit Movietone made a total of 8 films under its banner of which Kalyani sang and acted in 4 viz. ‘Billi’, ‘Gorakh Aya’, ‘Prithvi Putra’ and ‘Secretary’. Gyan Dutt was the composer and Pyarelal Santoshi was the lyricist for all of these films. . In the year 1939 of the 4 films that were screened under this banner, in ‘Nadi Kinare’ Kalyani acted as well as sang a duet
After parting ways from ‘Ranjit Movietone’, Kalyani appeared in movies like ‘Super Pictures’ ‘Kanyadan’ (1940), ‘Mohan Picture’s’ ‘Jadui Kangan’ (1940), ‘Muslim ka laal’ (1941) and ‘Jadui Angoothi’ (1948), ‘Tarun Picture’s’ ‘Prabhat’ (1941), ‘Sunrise Picture’s’ ‘Ghar ki laaj’ (1941), ‘Ghar Sansar’ (1942), ‘Malan’ (1942) and ‘Maa Baap’ (1944) and ‘Radhika Picture’s’ ‘Pyara Watan’ (1942) where she not only played a range of roles from that of a heroine to a vamp, but she also sang many songs for these films. one that predominates all is the first film-qawaali of the history of Indian Cinema ‘aahein na bharin shikve na kiye’ (‘Zeenat’-1945 / Lyrics : Nakhshab / Music : Hafeez Khan) sung with Noorjehan and Johrabai Ambalewali in which Shyama, Shashikala and Shalini were seen on the big screen for the first time ever.
After her marriage in the year 1948, Kalyani left aside the ostentatious world of glamour and completely immersed herself in her domesticated life. After a number of decades she was once again seen in movies like ‘Aaja Sanam’ (1975), ‘Prem Kahani’ (1975), ‘Aakhiri Sajda’ (1977) and ‘Salaam-E-Mohabbat’ (1983) where she played a number of small character roles but her comeback films couldn’t bring back the magic that once was and she bid her final farewell to the big screen and spent the rest of her days quietly with her son, daughter-in-law and grandchildren. Her husband had passed away very early on and her son, working as a spot boy in films, barely managed to keep the household running. Although she had some relief in the form of a pension of Rupees 750 per month through the ‘Gandhi Welfare Trust’ set up by Richard Attenborough, Kalyani could never rise above the financial difficulties of livelihood till the very end.
In spite of all the pains and troubles that she faced, she never uttered a single word of complaint. And it was this decorous and dignified nature of hers that even superstars like Dev Anand and Sunil Dutt always showered her with the utmost respect. And then on 1st October 2009 at the age of 87, this remarkable artist of her era took her final journey.
( Film Historian,writer and journalist Shri Shishir Krishna Sharma ji interviewed her on 21-2-2004. The above edited Biography of Kalyani Bai is based on his writings in http://www.beetehuedin.blogspot.in and my notes. I thank Sharmaji for this.)
Let us now hear Ghalib Ghazal…..
Song- Kabhi neki bhi uske jee mein gar aa jaaye hai mujh se (Ghaazi Salahuddin)(1939) Singer- miss Kalyani, Lyricist- Mirza Ghalib, MD- Khemchand Prakash
Lyrics
Kabhi neki bhi uske jee mein gar aa jaaye hai mujh se
Kabhi neki bhi uske jee mein gar aa jaaye hai mujh se
zafaayen karke apni yaad sharma jaaye hai mujhse
zafaayen karke apni yaad sharma jaaye hai mujhse
khudaaya zazba e dil ki magar taaseer ulti hai
khudaaya zazba e dil ki magar taaseer ulti hai
magar taaseer ulti hai
magar taaseer ulti hai
ke jitna khenchta hoon
aur khinchta jaaye hai mujh se
ke jitna khenchta hoon
aur khinchta jaaye hai mujh se
sambhalne de mujhe ae naaummeedee kya qayamat hai
sambhalne de mujhe ae naaummeedee kya qayamat hai
ke daamaan e khayaal e yaar chhoota jaaye hai mujhse
ke daamaan e khayaal e yaar chhoota jaaye hai mujhse
Kabhi neki bhi uske jee mein gar aa jaaye hai mujh se
Aise kyun kuchh to likhti hoon
Posted on: March 27, 2023
This article is written by Gajendra Khanna, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5365 | Post No. : | 17597 |
Aise Kyun (Ghazal-ish Version)
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Continuing from my previous post, Netflix’s OTT series Mismatched had it’s second season release on 14th October 2022. Season 2 is also directed by Akarsh Khurana and Nipun Dharmadhikari and produced by Ronnie Screwvala, featuring Prajakta Koli, Rohit Saraf, Vihaan Samat, Taaruk Raina, Muskkaan Jaferi, Devyani Shorey, Rannvijay Singh, and Vidya Malvade.
I was not aware of the second season coming out. This second season had a second version of Aise Kyun coming out this time in a Ghazal-ish format with the main singing being done by Rekha Bharadwaj who has taken the song to another level. Another artist would not have been able to do the same justice to it. I came across the song one day in an Instagram reel and thereafter was listening to this song on loop. Rekha ji is a wonderful singer about whom I would definitely like to take opportunity to talk a bit about here.
Rekha is more known as the better half of ace composer Vishal Bharadwaj but beyond that She is a very competent singer with a unique voice quality and texture. She gives her own touch to the songs She gets which are lapped up very lovingly by her listeners. No wonder, She has got so much appreciation as well as awards. For many film goers, they noticed her only due to hit songs, Beedi Jalayi Le and Namak Ishq Ka in Omkara(2006) but for me it had happened many years before it. I still vividly recall going to watch the movie Chachi 420 in 1997 in the Chandragupt Talkies in my hometown Indore with my brother. It was a very big cinema hall to which I used to often go for advance bookings and first-day-first show viewing. Though it may not be around any more but I remember the wonderful times spent there watching lots of hit movies and songs.
Towards the end of the movie, when Tabu is running away from Kamal Haasan, we had Rekha Bharadwaj singing a brilliant song ‘Ek Woh Din Bhi The’. This movie had lovely songs which were the kind that don’t make a very great impact on the first listen but gradually grow onto you. This film deserves a post to itself and is yet to make it’s debut on the blog. I shall take it up in one of my next posts with this song.
Later I heard her album ‘Ishqa Ishqa’ after which I am always on the look out for new released songs sung by her. She is one of the fabulous artists these days who need more songs coming to them. It is a real pity that though our blog has over 17500 songs, only one song featuring Rekha ji is on the blog (Sasural Genda Phool from Delhi 6). I would love to do a few posts of her songs if readers are interested.
This song is about those meaningful silences as mentioned on the Netflix Youtube Channel. Lyricist Raj Shekhar has done a great job making a ‘Ghazal’ version of this song with so many gem of lines in it (can’t get over some lines like ‘Ghar Sa Lagta Hai’, ‘Aise Kyun Uske Honthon Par Achcha Lagta Hai Apna Naam’, ‘Aise Kyun Kuchh Bhi Who Bole Mann Mein Ghulta Hai Zaafraan’ and ‘Beeti Baaton Se Dil Ko Dukhaana Zaroori Hai Kya’).
Raj Shekhar is an artist who has not got as much limelight compared to some of his contemporaries. He started his film career as an assistant director to Anand L Rai. He also assisted Abbas Tyrewala in Jaane Tu… Ya Jaane Na and Sujoy Ghosh in Home Delivery.
It was in Anand L Rai’s film ‘Tanu Weds Manu’ in 2011 in which he made his debut as a lyricist. At the time of it’s release it’s song ‘Jugni’ had been loved by me. After that he next gave lyrics for this movie’s sequel ‘Tanu Weds Manu Returns’ in 2015. Tanu Weds Manu has only one song posted on the blog which too is about reuse of Kajra Mohabbatwala from Kismat in the film while the sequel is yet to make debut (which incidentally had Geeta Dutt’s Ja Ja Bewafa being reused. It’s so great to hear Shamshad ji and Geeta ji’s songs being reused in films!).
I will keep these films as candidates for future posts. Raj Shekhar has done songs for some other movies like Qarib Qarib Single, Veere Di Wedding, Tumbbad, Hichki, Meri Nimmo, Uri: The Surgical Strike, Jabariya Jodi, Saand Ki Aankh, Bamfaad, Khaali Peeli, Raat Akeli Hai, Meenakshi Sundareshwar, Good Luck Jerry and Nazar Andaaz. Hope Raj Shekhar will get more songs and more hits in the days to come.
The composer Anurag Saikia + Team have done a great job to make this a wonderful song along with Rekha ji and Raj Shekhar.
Without taking up more time, I would like to leave the song for your listening pleasure.
Credits as per Netflix Youtube Channel
Directed by Akarsh Khurana.
Singer: Rekha Bhardwaj, Anurag Saikia (probably only in chorus)
Music: Anurag Saikia
Lyricist: Raj Shekhar
Music Produced by Oblong Sioni, Ishan Das
Additional Programming & Live dub Conducted by Gauranga Shekhar, Arabinda Neog
Guitars : Ishan Das
Bass Guitar: Abhinav Bora
Tabla: Sanjiv Sen
Woodwinds: Bhaskar Jyoti Kalita, Kiran Vinkar
Sitar: Bhagirath Bhatt Backing
Vocals: Gauranga Shekhar, Bishal Sharma, Arabinda Neog, Pratikhyaa Sharma, Dipakshi Kalita , Kavya-Kriti.
Vocal recorded @contrail by Nijei Nijok
Rekha Bhardwaj’s vocal Recorded at The Islanders@studio208
Recording Engineer: Alok Punjani Mixed and Mastered by Pankaj Borah(Neo Sound)
Mix Assistant: Pranjal Borah
Song-Aise kyun kuchh to likhti hoon (Mismatched season 2)(2022) Singer-Rekha Bhardwaj, Lyrics-Raj Shekhar, MD-Anurag Saikia
Lyrics
Aise Kyun
Kuchh To Likhti Hoon
Likh Ke Mitaati Hoon Main Raat Bhar
Aise Kyun
Baaten Khud Ki Hi
Khud Se Chhipaati Hoon Main Aaj Kal
Par Yeh Sab Sochna
Dil Ko Yun Kholna
Sab Kuchh Keh Kar Hi
Sab Ko Bataana
Zaroori Hai Kya
Aise Kyun
Aise Kyun Kuchh Bole Na
Aise Kyun Kuchh Bole Na
Aise Kyun
Uske Honthon Pe
Achcha Lagta Hai Mera Naam
Aise Kyun
Kuchh Bhi Bole Wo
Mann Mein Ghulta Hai
Zaafraan
Girta Hai Gulmohar
Khwabon Mein Raat Bhar
Aise Khwabon Se Baahar Nikalna
Zaroori Hai Kya aa aa
Aise Kyun
Haan Kyun
Haan Kyun
Woh Kuchh Bole Na
Aise Kyun
Haan Kyun
Haan Kyun
Woh Kuchh Bole Na
Aksar Tumse Mil kar Mujhko
Ghar Sa Lagta Hai
Phir Kyun Dil Hi Dil Mein Koi
Darr Sa Lagta Hai
Aksar Tumse Milkar Mujhko
Ghar Sa Lagta Hai
Phir Kyun Dil Hi Dil Mein Koi
Darr Sa Lagta Hai
Beeta Jo Vaakya
Sochoon Main Kyun Bhala
Beeti Baaton Se Dil Ko Dukhaana
Zaroori Hai Kya aa aa
Aise Kyun
Haan Kyun
Haan Kyun
Woh Kuchh Bole Na
Aise Kyun
Haan Kyun
Haan Kyun
Woh Kuchh Bole Na aa aa
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Devnagari script Lyrics (by Gajendra Khanna)
——————————
ऐसे क्यूँ
कुछ तो लिखती हूँ
लिख के मिटाती हूँ
मैं रात भर
ऐसे क्यूँ
बातें खुद की ही
खुद से छुपाती हूँ
मैं आज कल
पर ये सब सोचना
दिल को यूँ खोलना
सब कुछ कह कर ही
सब को बताना
ज़रूरी है क्या
ऐसे क्यूँ
ऐसे क्यों कुछ बोले ना
ऐसे क्यों कुछ बोले ना
ऐसे क्यूँ
उसके होठों पे
अच्छा लगता है
मेरा नाम
ऐसे क्यूँ
कुछ भी बोले वो
मन में घुलता है
ज़ाफ़रान
गिरता है गुलमोहर
ख्वाबों में रात भर
ऐसे खवाबों से बाहर निकलना
ज़रूरी है क्या
ऐसे क्यूँ
हाँ क्यूँ,
हाँ क्यूँ
वो कुछ बोले ना
ऐसे क्यूँ
हाँ क्यूँ,
हाँ क्यूँ
वो कुछ बोले ना
अक्सर तुमसे मिलकर मुझको
घर सा लगता है
फिर क्यूँ
दिल ही दिल में कोई
डर सा लगता है
अक्सर तुमसे मिलकर मुझको
घर सा लगता है
फिर क्यों दिल ही दिल में कोई
डर सा लगता है
बीता जो वाक्या
सोचूँ मैं क्यों भला
बीती बातों से दिल को दुखाना
ज़रूरी है क्या
ऐसे क्यूँ
हाँ क्यूँ,
हाँ क्यूँ
वो कुछ बोले ना
ऐसे क्यूँ
हाँ क्यूँ,
हाँ क्यूँ
वो कुछ बोले ना
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5364 | Post No. : | 17593 | Movie Count : |
4730 |
‘Adhikaar’ (1996) was a TV Serial which was telecast in 1996-99 on ZEE TV. The serial was directed by Lekh Tandon. The main actors in the serial were Rajeev Varma, Smita Jaykar, Arundhati Ganorkar, Bharat Kapoor, Vineeta Malik, Shefali Shetty (Shah), Irrfan Khan, Divya Seth, Sachin Khedekar, Sangeeta Ghosh, Zia Hamid, Ashalata, Muneera Surati, Neha Sharad, Arundhati Rao, Mangla Kenkare, S M Zahir, Anang Desai, Sooraj Thapar and many more.
I had seen a few episodes of serial when it was telecast. I have also watched a few episodes of the serial recently on a video sharing platform. In the male dominated society, women are treated as subordinate, and they are not encouraged to air their views openly in a family gathering. The Serial highlights the problems of women faced in two families, a Hindu and a Muslim family with different perspectives.
Amita (Shefali Shetty) is an outspoken girl in the family of lawyer who defies the conventional tradition of agreeing to dictates of her parents (Bharat Kapoor and Veena Malik) if, in her view, the dictates are not rational. While not agreeing with her parents, she gives her reasons for that which makes her parents speechless. Shama (Arundhati Ganorkar), her college friend, also faces the same dictates from her parents. She protests but she is not as bold as Amita to defy. She does agree with most of her parents’ advice even though she is not in agreement with them. One thing in common about both of them is that in order to avoid subordinate existence within the family, they feel that they have to get educated and become economically independent. Amita’s family has the monetary ability to spend on higher education but are not keen for her higher education. On the other hand, Shama is in danger of losing her college education due to financial reasons.
Raja Sahab (Rajeev Varma) and his wife Shahida (Smita Jaykar) have been married for 20 years but she remains childless. He divorces her and gets married to Shama against her wish for her parents for financial reasons. After divorce, his first wife is relocated in servant’s quarters. Shama tries to correct Raja Sahab by telling her that she has no problem if his first wife stays in the same house but in vain. At the same time, Raja Sahab is not averse to Shama continuing the college education. After the death of Raja Sahab, Shama continues the education to become a lawyer with the help of her lawyer friend, Ali (Sachin Khedekar). Then, there is a character of inqilabi shayar Abid (Irrfan Khan) who loves Shama’s sister, Zubeida, but she is afraid to tell her mind to the mother.
The sum and substance of this serial is that a better status for women irrespective of their religion leads to the creation of a well-balanced society. At the outset, the serial looks feminist. But Reoti Saran Sharma, the story writer has nicely brought out women’s empowerment without taking an anti-male stance in the story. Some of the male characters in the story become the facilitators for the equal rights to the women in their family.
In most of the TV serials of that time, it was common to have title songs which, in nutshell, give the main theme of the story. But in ‘Adhikar’ (1996), apart from the short title song, there are some full-fledged songs just like in Hindi films. I am presenting a ghazal ‘meri talaash chhod de tu mujhko paa chuka’ written by Naqsh Layallpuri which is recited by Sonu Nigam. The ghazal is set to music by Talat Aziz.
The original ghazal is of 7 she’rs of which only the first 6 she’rs have been included in the recitation. The ‘maqta’ (last she’r) not included is as under:
paani se ‘Naqsh’ kab hui roshan yeh zindagi
main apne aansuon ke diye bhi jala chuka
The ghazal is picturised on Irrfan Khan in a private mushaira in which Zubeida (Divya Seth) is present. The background to this picturisation is that Abid (Irrfan Khan) who is an inqilabi poet, often gets jail terms for writing the inflammatory poems. This time after he is released from the jail, he visits Zubaida’s house to tell her that he still wants to marry her. Her mother and sister, Shama are present, and they are surprised. Later, Shama comes to know from Zubeida that she met Abid for the first time in a mushaira in which he recited his ghazals. So, this is a flashback scene.
Video Clip
Audio Clip:
Song-Meri talaash chhod de tu mujhko paa chukaa (Adhikaar)(TV Serial)(1996) Singer-Sonu Nigam, Lyrics-Naqsh Llayalpuri, MD-Talat Aziz
Lyrics (Based on Video Clip)
meri talaash chhod de
meri talaash chhod de
tu mujhko paa chuka
meri talaash chhod de
tu mujhko paa chuka
meri talaash chhod de
tu mujhko paa chuka..aa
main soch ki hadon se
main soch ki hadon se
bahut door jaa chuka
main soch ki hadon se
bahut door jaa chuka
meri talaash chhod de
tu mujhko paa chuka
logon daraana chhod do
tum waqt se mujhe
logon daraana chhod do
tum waqt se mujhe..ae
ye waqt baar baar
mujhe aazmaa chuka
ye waqt baar baar
mujhe aazmaa chuka
main soch ki hadon se
bahut door jaa chuka
badlega ankareeb yeh
dhaancha samaaj kaa..aa
badlega ankareeb yeh
dhaancha samaaj kaa
badlega ankareeb yeh
dhaancha samaaj kaa..aa
iss baat par main doston
iss baat par main doston
imaan laa chuka
iss baat par main doston
imaan laa chuka
meri talaash chhod de
tu mujhko paa chuka..aa
main soch ki hadon se
bahut door jaa chuka
ab tum mere khayaal ki
parvaaz dekhna
ab tum mere khayaal ki
parvaaz dekhna..aa
main ik ghazal ko zindagi
main ik ghazal ko zindagi
apni bana chuka
main ik ghazal ko zindagi
apni bana chuka..aa
meri talaash chhod de
meri talaash chhod de
ae sone waalon neend ki
ae sone waalon neend ki
chaadar utaar do
ae sone waalon neend ki
chaadar utaar do..o o
kirnon ke haath subah kaa
kirnon ke haath subah kaa
paighaam aa chuka
kirnon ke haath subah kaa
paighaam aa chuka..aa
main soch ki hadon se
bahut door jaa chuka
meri talaash chhod de
tu mujhko paa chuka
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5340 | Post No. : | 17511 |
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Blog 10-Year Challenge (2013-2023) – Song No. 31
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On this date ten years back viz on 2 March 2013, four songs from four different movies (plus one NFS) were covered in the blog. Here are the details:-
| Blog post number | Song | Movie (Year) | Remarks |
|---|---|---|---|
| 7585 | Aseer e gham ka bhala phir kahaan thhikaana thha | Kamla Jharia NFS(1934) | |
| 7586 | O paagal premi | Saudaamini (1950) | 7 songs covered out of 9 by now |
| 7587 | Main hoon kali matwaali | Panghat(1943) | 6 songs covered out of 12 by now |
| 7588 | Mausam hai bada mastaana | Tarzan aur Hercules(1966) | One song covered out of 5 by now |
| 7588 | Ae chaand ki zebaayi | Chhoti Si Mulaaqaat (1967) | Movie YIPPEED by now |
We can see that one NFS and four film songs (from four different movies) were covered on this date ten years ago (on 2 March 2013). One movie (out of four) whose songs were covered on that day has since been YIPPEED in the blog. So three of those movies are eligible for Blog Ten Year Challenge today (2 March 2023).
Come to think of it, why NFS should be left out from BTYC. Why we cannot post another NFS from the same artist as Blog Ten Year Challenge ? Sure we can.
So, here is a Kamla Jharia NFS as Blog Ten Year Challenge. Kamla Jharia was a legendary NFS singer of her era. One of her most well known NFS is not yet covered in the blog.
Here is that NFS-“Jalwa numa wo shokh jo pesh e nazar na ho”. It is a superb ghazal with wonderful lyrics. I am unable to find out who is the lyricist and music director of this ghazal. I request our knowledgeable readers to help identify them. I am unable to get a few words right in the lyrics. I request our knowledgeable readers to fill in with the correct words as applicable.
Song-Jalwa numa wo shokh jo pesh e nazar na ho (Kamla Jharia NFS)(1934) Singer-Kamla Jharia, MD-Zameeruddin Khan
Lyrics
aa aa aa aa aa
aa aa aa
aa aa aa aa
aa aa
jalwa numa wo shokh jo
pesh e nazar na ho o o
jalwa numa wo shokh jo
pesh e nazar na ho o o
ye chum beqaraar dil na ho
muztar jigar na ho
aa aa
chum (?) beqaraar dil na ho
muztar jigar na ho o o
aaye na chain unko bhi
ae ishq to sahi ee
aaye na chain unko bhi
ae ishq to sahi ee
ye ke kya ke is tarah
ba idhar wo udhar na ho o
ye ke kya ke is tarah
ba idhar wo udhar na ho o
jalwa numa wo shokh jo
har waqt aaina hai wo hai
dekh bhaal hai
ae ae ae ae
har waqt aaina hai wo hai
dekh bhaal hai
ae ae ae ae
aa aa
magroor is kadar bhi koi
husn par na ho o
ae magroor is kadar bhi koi
husn par na ho o
aa aa
jalwa numa wo shokh jo
pesh e nazar na ho o o
khanjar to baandhte ho mere
imtehaan ko o
khanjar to baadhte ho mere
imtehaan ko o
ye itna rahe khayaal
ke duhri kamar na ho
aa aa
ye itna rahe khayaal
ke duhri kamar na ho
aa jalwa numa wo shokh jo
pesh e nazar
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5326 | Post No. : | 17461 | Movie Count : |
4698 |
Khalid Mohamed, the journalist, the film critic, the former editor of Filmfare magazine and The Hindustan Times, started his career in Hindi film industry when he wrote the story and screenplay for Shyam Benegal’s trilogy on Indian Muslim Women – Mehmooda Begum in ‘Mammo’ (1994), ‘Sardari Begum’ (1996) and Zubeida Begum in ‘Zubeida (2001). All these three women were the relatives of Khalid Mohamed, Zubeida Begum being his mother. After working with Shyam Benegal, Khalid Mohamed turned director with his first film, ‘Fiza’ (2000). This was followed by ‘Tehzeeb’ (2003) and ‘Silsilay’ (2005). While ‘Fiza’ (2000) was a box office hit, his next two films were box office disasters. The last film he directed was ‘Katha’ – a remake of ‘Katha’ (1983) which has remained unreleased after the completion of the film in 2016.
‘Tehzeeb’ (2003) is Khalid Mohamad’s second film as a director for which he also wrote story and screenplay. The film is based on Ingmar Bergman’s Swedish drama film, ‘Höstsonaten’ (English title: ‘Autumn Sonata’, 1978). It is a woman-oriented Muslim social film with story mainly hovering around the mother-daughter relationship. The cast includes Shabana Azmi, Urmila Matondkar, Arjun Rampal, Dia Mirza, Namrata Shirodkar, Diana Hayden, Satish Kaushik, Palak Jain, Rekha Rao, and Rishi Kapoor in a special appearance. The gist of the story is as under:
Rukhsana (Shabana Azmi) and Anwar (Rishi Kapoor) have been married for long time with two daughters – Tehzeeb (Urmila Matondkar) and Nazneen (Dia Mirza) who is mentally challenged. Anwar is not doing well in his business and is depressed. Rukhsana on the other hand, is a popular and ambitious singer who has been doing very well in her career. One day, the depressed Anwar after some heated argument with Rukhsana commit suicide. This was seen by Tehzeeb (as a child) from a distance. Rukhsana is suspected to have killed Anwar for which she is arrested and jailed. However, she is released from the jail for the lack of evidence. She rebuilds her career as a singer and looks after her two daughters as a single mother.
As Tehzeeb grows into her adulthood, she develops some sort of grudge against her mother. She feels that during her childhood, she had not given enough time to them by spending more time in furthering her career as a singer. She also feel that her mother was responsible for her father’s suicide. Another friction point between mother and daughter is that Tehzeeb got married to Salim Mirza (Arjun Rampal), a writer, against her wishes. After marriage, Tehzeeb shifts to her husband’s place along with Nazneen.
Five years have passed since the marriage and Tehzeeb is happy in her married life. She also looks after her mentally challenged sister, Nazneen. At this juncture, Rukhsana decides to make a visit to Tehzeeb’s house to meet her and Nazneen. Both are happy to renew their ties after 5 years but at the same time there is some apprehensions as to how the visit will go. For the first few days, their relations are cordial. But eventually, the bent-up tensions between them surfaces on some occasions with arguments and counterarguments. Nevertheless, both have some happy moments too and recall their childhood nostalgia. So, mother and daughters become close to each other.
When things were looking normal, one day, Nazneen shoots herself with a gun which was in fact used by Anwar for his suicide. Luckily, she survives after some anxious moments. But this incidence indirectly facilitates removing Tehzeeb’s misunderstanding about her mother. She feels guilty about her attitudes towards the mother until now. She wants to say sorry to her mother and seek pardon for her misunderstanding. She approaches her mother who is sitting on a swing and apologises for the way she has treated her so far. But it is too late. Rukhsana does not respond as she has died of heart-attack. The film ends with Tehzeeb singing one of her mother’s favourites songs.
When I started watching the film, I was not very optimistic as to how the theme of mother-daughter relationship will be handled. My fear was that there would be a lot of melodrama with high-pitched arguments. The director has handled the grudge of a daughter against her mother very sensitively without appearing too melodramatic. At the same time, he has taken care to show in a subtle way that there is love and respect for each other. I liked the scene in which mother and daughter who are scheduled to personally meet after 5 years, start rehearsing in front of the mirrors in their respective homes as to how they would greet each other. The confrontation scenes between mother and daughter have been gracefully performed by both Shabana Azmi and Urmila Matondkar without sounding too melodramatic.
I felt that scenes involving Namrata Shirodkar as a budding singer and Diana Hayden as a publishing executive who flirts with Arjun Rampal looked superfluous. These two characters were like speed breakers to the smooth progression of the main theme of the story.
‘Tehzeeb’ (2003) has six songs of which Javed Akhtar wrote two and Blaze wrote one English song. The remaining songs are ghazals written one each by by Urdu poets Momin Khan Momin, Daagh Dehlvi and Shaad Azimabadi. All songs were set to music by A R Rahman.
I am presenting the first song from the film to appear on the Blog. It is a ghazal ‘mujhe pe toofaan uthhaaye logon ne’ written by Urdu Poet, Momin Khan Momin (1801-1852). In the soundtrack version, the film ends with two couplets of this ghazal picturised on Urmila Matondkar.
The ghazal is rendered by Sujata Bhattacharya and I have become a fan of her in recent times. Most of the time, I am not able to differentiate her voice with that of Shreya Ghoshal whom I also admire among the current playback singers in Hindi films.
Kolkata born Sujata Bhattacharya (later renamed herself as Madhushree) is a trained Hindustani classical vocalist with specialization in Khayal and Thumri. She was trained by Pandit Amiya Ranjan Bandopadhyay of Bishnupur Gharana. She completed her post graduate degree in music from Rabindra Bharati University. She was deputed to Surinam by Government of India to teach Hindustani classical music where Indian origin people form a bulk of the population. When she found that her students were more interested in light music and Hindi film songs, she had to change her teaching syllabus. At this juncture, she also felt that she should pursue more of playback singing career than the career as a Hindustani classical vocalist.
Javed Akhtar was instrumental in introducing Sujata Bhattacharya in Hindi films as playback singer when he recommended her name to Rajesh Roshan for a song in the film ‘Moksha’ (2001). Thereafter, she has sung under many prominent music directors, majorly with A R Rahman and M M Kreem (Keeravani) in Hindi, Tamil and Telugu films. It is at the instance of A R Rahman that she changed her name from Sujata Bhattacharya to Madhushree since Rahman had many Sujatas in his music team.
Madhushree’s forte is semi-classical and the light musical genres of songs comprising ghazal, thumri, devotional, folk and romantic though she has also sung under A R Rahman, some peppy songs. In ‘Tehzeeb’ (2003), she has sung 3 ghazals including the one under discussion.
Coming back to the ghazal under discussion, I find this ghazal unique in the sense that all the couplets are thematically inter-linked whereas in traditional ghazal, they are supposed to be autonomous. Another uniqueness in this ghazal is that Momin imagines a situation ahead of falling in unrequited love that normally is the subject matter of the ghazal. This will become clear from what Momin has conveyed in this ghazal.
The poet is sad that that people have created storms with accusation and have spread baseless stories about their love. He was only longing to meet his beloved but people have fabricating stories as if we have already met. It is strange that people are forcing us to see as our grand show of love which we ourselves have not personally experienced. All these rumours and fabricated stories have deprived them of the excitement of falling in love and have upset his beloved. It is pity what the people have done to Momin.
Another uniqueness of this ghazal is that A R Rahman has composed this ghazal in ‘nazm’ format. This is evident from the fact that the musical interlude comes after every two couplets. The background music sounds like symphony orchestra when the song is rendered. Overall it is a melancholic ghazal.
Audio Clip:
Video Clip:
Song-Mujhpe toofaan uthhaaye logon ne (Tehzeeb)(2003) Singer-Madhushree, Lyrics-Momin Khan Momin, MD-A R Rahman
Lyrics (Based on Audio Clip)
mujhpe toofaan uthhaaye logon ne
mujhpe toofaan uthhaaye logon ne
muft baithhe bithhaaye logon ne ..ae ae
muft baithhe bithhaaye logon ne..ae ae
kar diya apne aane jaane ke ae
kar diya apne aane jaane ke ae
tazkire jaaye jaaye logon ne
mujhpe toofaan uthhaaye logon ne
muft baithhe bithhaaye logon ne ae
vasl ki baatein kab ban aayin thh…ee ee
dil se daftar banaaye logon ne
baat apni wahaan na jamne dee
apne naqshe jamaaye logon ne ae
mujhpe toofaan uthhaaye logon ne
muft baithhe bithhaaye logon ne ae
muft baithhe bithhaaye logon ne ae
sunke udti si apni chaahat ki
sunke udti si apni chaahat ki ee
donon ke hosh udaaye logon ne ae
bin kahe raaz aaye pinhaani
bin kahe raaz aaye pinhaani ee
usey kyunkar sunaaye logon ne
mujhpe toofaan uthaaye logon ne
kya tamaasha hai jo na dekhe thhe
kya tamaasha hai jo na dekhe thhe ae
woh tamaashe dikhaaye logon ne ae
kar diya ‘Momin’ us sanam ko khafa
kya kiya haaye re haaye logon ne ne
kya kiya haaye re haaye logon ne
mujhpe toofaan uthaaye logon ne
muft baithhe bithhaaye logon ne
mujhpe toofaan uthhaaye logon ne
mujhpe toofaan uthhaaye logon ne ae
mujhpe toofaan uthhaaye logon ne
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5293 | Post No. : | 17330 |
Today’s song is from an ‘unreleased movie’ from the 1940s.
I had come across songs of this movie in 2014 and I had shared a few songs from this movie to our editors then. At that time the year of this movie was mentioned as ‘1950’ on some links and ‘1940’ on others so it was not clear.
However, when I got the copy of HFGK Vol-II (1941-1950) I found the following details about this movie mentioned therein.
HFGK Vol-II (1941-1950) lists this movie as ‘Un-released’ movie of ‘1941-1950’.
On page number 607 – Appendix-1 Movie number 1214 this movie is mentioned as presented by ‘Rahnuma Pictures’.
However, its star cast and director is not mentioned. Music director is mentioned as Shankar Lal.
Lyricist names are mentioned as Shyam Hindi and Kamran Momin.
The list mentions total eight songs in this movie. So far, two songs from this movie have been posted on the blog.
| S. No | Song Title | Lyricist | Singer | Posted On |
|---|---|---|---|---|
| 01 | Ga re manwaa gaa | Shyam Hindi | ||
| 02 | Ghoonghat mein sharmaaye dulhaniya | Kamran Momin | ||
| 03 | Baat kuchh aisi wo hamse kah gaye | Shyam Hindi | ||
| 4 | Cham cham chamken taare | Shyam Hindi | ||
| 05 | In do matwaale nainon mein | — | K.S. Ragi, Razia Begam | 26.06.2022 |
| 06 | Aabaad hai saraa jahaan | Shyam Hindi | Razia Begam | Song under discussion |
| 07 | Khushi chaaron taraf chhaayi | Shyam Hindi | ||
| 08 | Aa jaa papeehe geet sunaa de | Kamran Momin | Geeta Dutt | 23.11.2020 |
I would request knowledgeable readers to throw more light on this movie and its songs.
Today’s song is the third song from this movie to be presented here on the blog. This song is sung by Razia Begam as mentioned on the link of this song. Lyrics are by Shyam Hindi and music is composed by Shankar Lal.
I would also like to thank Shri Shalin Bhatt ji who has uploaded this song on Youtube.
Let us now listen to today’s song …
Audio
Song-Aabaad hai saara jahaan ummeed hai dil mein jawaan (Hamraaz)(UR)(1948) Singer-Razia Begam, Lyrics-Shyam Hindi, MD-Shankar lal
Lyrics
Aabaad hai saara jahaan
Ummeed hai dil mein jawaan
Aabaad hai saara jahaan
Ummeed hai dil mein jawaan
Kho gaya hai har koyi
Is bazm mein aaya huaa
Kho gaya hai har koyi
Is bazm mein aaya huaa
Rang kuchh aisa teri mehfil pe
Hai chhaaya huaa
Rang kuchh aisa teri mehfil pe
Hai chhaaya huaa
Zindagi masroor hai
Ae ae ae
Zindagi masroor hai
Ae
Dilkash hai aur hai
Shaadmaan
Aabaad hai saara jahaan
Ummeed hai dil mein jawaan
Aabaad hai saara jahaan
Ummeed hai dil mein jawaan
Meri paayal ki chhanaachhan mein
Hazaaron raag hain
Meri paayal ki chhanaachhan mein
Hazaaron raaz raag hain
Mere naghme hain bahaarein
Meri saansen aag hain
Mere naghme hain bahaarein
Meri saansen aag hain
Dil bharaa hai hasraton se
Ae ae ae ae ae
Dil bharaa hai hasraton se
Aarzooein hain jawaan aan
Aabaad hai saara jahaan
Ummeed hai dil mein jawaan
Aabaad hai saara jahaan
Ummeed hai dil mein jawaan
Kho gaya hai har koyi
Is basti (bazm?) mein aaya huaa
Kho gaya hain har koyi
Is basti (bazm?) mein aaya huaa
Rang kuchh aisa teri mehfil pe
Hai chhaaya huaa
Rang kuchh aisa teri mehfil pe
Hai chhaaya huaa
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5255 | Post No. : | 17258 |
“Mera Salaam”(1957) was produced and directed by Harbans for Sushil Pictures, Bombay. The movie had Bina Rai, Bharat Bhooshan, Durga Khote, Veena, Al Nasir, K.N.Singh, Nishi, Gope, Randhir, Ameer Banu, Heera Sawant, Leela Gupte, Cuckkoo, Maya Dass etc in it.
“Mera Salaam”(1957) had 12 songs in it. Four songs have been covered so far. Here is the fifth song from the movie to appear in the blog. The song is sung by Asha Bhonsle. Shewan Rizvi is the lyricist. Music is composed by Hafeez Khan.
Only audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
The lyrics and other details were sent to me by Prakashchandra.
Audio link:
Song-Ek lafz e ishq thha ki jo afsaana ban gaya (Mera Salaam)(1957) Singer-Asha Bhonsle, Lyrics-Shewan Rizvi, MD-Hafeez Khan
Lyrics(Provided by Prakashchandra)
aaaa aaaa
aaaa aaan
ek lafz-e-ishq thhaa aaa aaa ke jo..oo
afsaanaa ban…nnn gayaa
haaan aaan aaaan
saaqi..eee
kabhee banaa..aaa kabhee
mastaanaa ban gayaa aaa
hhaan…aaan..aaa
tujhse nazar milaa ke
main kya kyaa na ban gayaa
khud shammaa ban gayaa
kabhi parwaanaa ban gayaa
jab kuchch naa ban sakaa to main aen aen aen
jab kuchch naa
ban sakaa to main
deewaanaa ban gayaa
deewaanaa ban gayaa
haan…aan..aaan..aan
duniyaa se main
chhupaataa phiraa
teri daastaan
hhaan…aan
aa aaa aaaan
dil meraa raazdaar thhaa
main dil kaa raazdaan..aan
chhuptaa hai ye..ae ae
junoon-e-muhabbat magar..rrr kahaan
haaan..aaa…aan
kadmon mein aa gayeen jo
gareebaan ki dhajjiyaan
ghabraa ke main bhi hosh se ae ae ae ae
ghabraake main bhi hosh se
begaanaa ban gayaa aaa
begaanaa ban gayaa
hhaan…aan ..aaaa
aaa…aaan…aaaa
mujhko hai dil ka hosh naa aa
dil ko..o o mereee…eee khabar
deewaanaa mujhko
kehtey hain
jaataa hoon main jidhar
charchaa hai mere
ishq kaa aaa
aaa aaa aaa
ab har..rrr zabaan par
hhan..aaan
shewan ne tujhko dekh liyaa thha
bas ik nazar
itni zaraa si baat kaa
haan aaan..aaa…aaa
aaan aaa aaa
itni zaraa si baat kaa
afsaanaa ban gayaa…aaa
afsaanaa ban gayaa
itnee zaraa si baat ka
afsaanaa ban gayaa
jab kuchch naa
ban sakaa to main
deewaanaa ban gayaa aa aaa
deewaanaa ban gayaa
Thhodee sharaab pee loon
Posted on: November 6, 2022
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5224 | Post No. : | 17217 | Movie Count : |
4632 |
Nowadays it is happening with me regularly that whenever I come across a new song (newer to me) I check for its movie name, and when I became aware of the name of the movie I check it on the blog. I am under the impression that this movie surely is on the blog. But, when I found that the movie is not yet available on the blog, I do not believe it and keep checking many times in various lists . The recent such instances is the movie ‘Taxi Chor-1980’ and another one is the today’s movie.
Today’s song is from the movie ‘Daasi-1981’. I do not know if I was confusing the movie ‘Swaami-1977’ with ‘Daasi’, but I was surprised to note that ‘Daasi-1981’ is yet to make its debut on the blog.
I landed on this movie ‘Daasi-1981’ when I get to listen one of its songs, not the today’s one, on Vividh Bharati. I was planning to present that song which I listened to and liked, but I am leaving that one for another write-up soon.
This is because this movie ‘Daasi-1981’ has Sanjeev Kumar in it and today 6th November 2022 is the thirty-seventh ‘Remembrance Anniversary’ of Sanjeev Kumar.
Sanjeev Kumar (Haribhai Jethalal Jariwala) was born on 9th July 1938 and passed away on 6th November 1985 at the age of forty-seven only. One of the finest actors of Hindi Cinema Sanjeev Kumar was the most loved actor by of all our group of friends who grew up in the seventies.
We enjoyed his movies a lot and whenever there was a new Sanjeev Kumar movie released every one of us (friends) were eager to watch it as early as possible and then we used to discuss it a lot in our friends’ group meetings.
But I do not remember to have watched the today’s movie of Sanjeev Kumar which was released in 1981. I was studying in ninth standard then (in 1981-1982). It seems that the movie was also a lesser known or a non-successful movie of its time.
‘Daasi-1981’ was directed by Raj Khosla for ‘Gavrav International Productions, Bombay’.
It was produced by Subhash Verma.
It had Sanjeev Kumar, Rekha, Moushumi Chatterjee, Rakesh Roshan, Vikram, Paintal, Siddharth Kak, Radhika Bartakke, Anita Advani, Sundar, Leela Mishra, Dhoomal, Bela, Meena, Rajesh, Arjan Sahni, Gauri Verma, Pooja Verma and others.
This movie had seven songs written by Anand Bakshi and composed by Ravindra Jain and Rajesh Roshan.
I will be presenting more details of this movie and its songs in my next write-up with a song of this movie.
Today as a tribute to Sanjeev Kumar we will listen to a song from this movie which is sung by Bhupinder Singh and which on screen is performed by Sanjeev Kumar.
Also seen in the picturisation of this song is Rekha, Moushumi Chatterjee, Vikram and others.
In the today’s song the character in the movie ‘under the circumstances’ is trying to justify his drinking … ‘thhodi sharaab pee loon’. So, I don’t think this song should fall under ‘drunkard’ song. But, incidentally recently I listened to ‘Madhushaala’ after a long time and also some ‘drinking motivational songs’ from Hindi movies. Actually, since many years I am longing to do a ‘compilation’ of all ‘these type of songs from Hindi movies’ 🙂
The today’s song reminded me of the following lines from ‘madhushaala’ …
‘dard nashaa hai is madira ka, vigat smritiyaan saathi hain, peeda mein anand jise ho aaye meri madhushaala’ 🙂 (well sometimes it happens … )
Let us listen to today’s song now and watch Sanjeev Kumar performing as a ‘ghazal singer’ …
Video
Audio
Song-Thhodi sharaab pee loon(Daasi)(1981) Singer-Bhupinder Singh, Lyrics-Anand Bakshi, MD-Ravindra Jain
Lyrics
Log kehte hain main
ek fankaar hoon
apni shohrat se par
main sharamsaar hoon
mujhse poochho agar
to main kuchh bhi nahin
girti tooti huyi
ek deewaar hoon
thhodi sharaab pee loon
thhodi sharaab pee loon
ho jaaye kuchh sahaara aa aa
ae doston tumhen kya
ae doston tumhe kya
ye bhi …
nahin gawaaraa
thhodi sharaab pee loon
sur taal bol bhooley
main meet yaad aaye
do ghoont pee liye to
sau geet yaad aaye
sau geet yaad aaye
geeton mein yaad bhar doon
geeton mein yaad bhar doon
dil ka main dard saaraa aa
ae doston tumhe kya
ae doston tumhe kya
ye bhi …
nahin gawaaraa
thhodi sharaab pee loon
(Dialogues not included)
bhoole huye dinon ki
yaadein jagaa rahi hain
shaayad kahin se koi
aawaaz aa rahi hai
aawaaz aa rahi hai
mud kar to dekh loon main
mud kar to dekh loon main
kisne mujhe pukaaraa aa
ae doston tumhe kya aa
ae doston tumhe kya
ye bhi …
nahin gawaaraa
thhodi sharaab pee loon
raste mein thhak gaya hoon
manzil se door hoon main
saahil hai door mujhse
saahil se door hoon main
saahil se door hoon main
toofaan ko banaa loon
toofaan ko banaa loon
main doob kar kinaaraa aa
ae doston tumhen kya aa
ae doston tumhe kya
ye bhi …
nahin gawaaraa
thhodi sharaab pee loon
ho jaaye kuchh sahaara aa
ae doston tumhen kya
ye bhi …
nahin gawaaraa
thhodi sharaab pee loon
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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