Archive for the ‘“Ghoonghat” song’ 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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Blog Day : |
5699 | Post No. : | 18217 |
“Raunaq”(1944) was directed by Dwarka Khosla for Saubhagya Pictures, Bombay. The movie had Motilal, Charlie, Chandramohan, Swarnlata, Chandraprabha etc in it.
“Raunaq”(1944) had ten songs in it. Three songs have been covered in the past.
Here is the fourth song from the movie to appear in the blog. This obscure song from this obscure movie is sung by a female voice with female chorus. HFGK is not very helpful because HFGK considers it a samooh geet (chorus song).
I request our knowledgeable readers to throw light on the lead female singer of this song. Going by the list of singers listed for other songs, this voice could well be that of Parul Ghosh (listed as Shrimati Ghosh in other songs). I request our knowledgeable readers to help identify the voice.
Only audio of the song is available. It appears to be a wedding ritual song being sung by sahelis of a would be bride. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of the song.
Audio is not very clear. I am not fully satisfied with the lyrics that I have noted down and there may be errors in it. I request our knowledgeable readers to point out the eoors if any and suggest corrections.
Ishwar Chand Kapoor is the lyricist. Music is composed by C Ramchandra.
Song-Ghoonghat mein haule haule bole dulhan (Raunaq)(1944) Singer-Unknown female voice, Lyrics-I C Kapoor, MD-C Ramchandra
Female chorus
Lyrics
ghoonghat mein haule haule boley dulhan
ghoonghat mein haule haule boley dulhan
aaj aa miley to tohe meri kasam
aaj aa miley to tohe meri kasam
meri kasam tohe meri kasam
haan meri kasam tohe meri kasam
baabul se boley meri shaadi rachaao
shaadi rachaao
baabul se boley meri shaadi rachaao
shaadi rachaao
deputy collector mera dulha banaao
dulha banaao
deputy collector mera dulha banaao
dulha banaao
o o o o
chhote se ghar mein mera ghutata hai dam
chhote se ghar mein mera ghutata hai dam
aaj aa miley to tohe meri kasam
aaj aa miley to tohe meri kasam
meri kasam tohe meri kasam
haan meri kasam tohe meri kasam
mehandi waale haathon se karti ishaare
karti ishaare
mehandi waale haathon se karti ishaare
karti ishaare
apne joban ki kasmein wo daare
kasmein wo daare
apne joban ki kasmein wo daare
kasmein vo daare
o o o
bagiya mein genda khila aao balam
bagiya mein genda khila aao balam
aaj aa miley to tohe meri kasam
aaj aa miley to tohe meri kasam
meri kasam tohe meri kasam
haan meri kasam tohe meri kasam
din hon dashahra tere raaten deewaali
din hon dashahra tere raaten deewaali
ghar ki tu raani bane
sainya ki pyaari
ghar ki tu raani bane
sainya ki pyaari
o o o
yahi duaayen dete jaate hain hum
yahi duaayen dete jaate hain hum
aaj aa miley to tohe meri kasam
aaj aa miley to tohe meri kasam
meri kasam tohe meri kasam
haan meri kasam tohe meri kasam
Ghoonghat mein Goree kyun jaley
Posted on: January 3, 2024
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 : |
5647 | Post No. : | 18141 | Movie Count : |
4870 |
‘Mr Yogi’ (1989), directed by Ketan Mehta was one of a few Doordarshan Serials which I had watched its all the 13 episodes when it was telecast. The very first episode set the tone of the serial to be a light comedy and satirical one. It is a story about an NRI from USA, (played by the late Mohan Gokhale) who has come to India to choose a bride for himself. In his quest, he meets 12 girls of 12 different zodiac signs which results in some comical situations. There were a couple of medleys of popular Hindi film songs of 1960s and 70s in this TV serial. In the end, he rejects all the 12 girls but gets hooked to an unknown girl (Subhangi Gokhale, who became Mohan Gokhale’s real wife). The serial was based on a Gujarati novel, ‘Kimball Ravenswood’, written by an American Gujarati, Madhu Rye (real name: Madhusudan Vallabhdas Thaker).
After about 2 decades of the telecasting the ‘Mr Yogi’ (1989), producer-director, Ashutosh Gowariker decided to make a full-length feature film ‘What’s Your Raashee’ (2009) based on the novel, ‘Kimball Ravenswood’. The film was jointly produced by UTV Motion Pictures and Ashutosh Gowariker Productions and was directed by Ashutosh Gowariker The main cast included Priyanka Chopra (in 12 different roles), Harman Baweja, Anjaan Shrivastav, Manju Singh, Dilip Joshi, Ajeeta Kulkarni, Darshan Jariwala, Bhairavi Vaidya, Rajesh Vivek etc. The film has an interesting concept of arranged marriage based on zodiac signs.
Ashutosh Gowariker, in an interview, had said that he preferred one actor doing the 12 different roles of the prospective brides rather than 12 different actors. The idea was to avoid a situation where the actor performing the role of a bride who would be finally selected as such being labelled as the best among the 12 actors doing the roles of brides.
Ashutosh Gowariker is known for his lengthy films of over 3 hours. With Priyanka Chopra playing 12 different roles in ‘What’s Your Raashee’ (2009), the film’s duration was 3 hours 15 minutes on DVD. It is said that the original print of the film for the theaters during the first week of the release was of nearly 4 hours of duration.
The story of the film is as under:
Bharatbhai Patel (Anjan Shrivastav) stays with his family consisting of his wife (Manju Sharma), elder son, Jitubhai (Dilip Joshi) and his wife (Ajita Kulkarni) in Mumbai. Jitubhai is in a huge debt due to his gambling habit which he is required to pay by 20th of that month failing which he will go to jail. Bharatbhai has called an Astrologer to check Jitu’s horoscope whether he will go to jail. He also checks the horoscope of Bharatbhai’s younger son, Yogesh (Harman Baweja) and predicts that Jitu would not go to jail and Yogesh will inherit a large wealth if he gets married by 20th of this month. The Patel family is elated because if the predictions become true, they can pay off Jitu’s debt from the inherited wealth. But the family knows that Yogesh who is studying in Chicago is not interested in marriage at this stage and he would avoid visiting India for marriage purpose.
Jitu sends a message to Yogesh that his father has got a heart attack and has been admitted in a hospital. Yogesh takes the next available flight and reaches Mumbai to know that it was a lie. He gets annoyed especially when this trick was played with him to agree for a quick marriage. He flatly refuses to get married. However, when Jitu apprises him about his debt with an underworld don who have been threatening the family, Yogesh reluctantly agrees to marry. His uncle, Devu Patel (Darshan Jariwala) puts a matrimonial advertisement and gets 176 replies. Yogesh shortlists 12 girls from 12 different zodiac sign and he has only 10 days to finalise one among them by meeting them.
Yogesh individually meets all the 12 girls of different traits and economic background. Some have with their preferences like pre-marriage outings to test compatibility, not interested to shift to USA after marriage, a marriage contract etc. He rejects a minor girl who is presented by her parents as a girl of the marriageable age.
After meeting all the 12 girls, Yogesh’s mother advises him to choose a bride as decided by his heart rather than by his the mind. In the night, Yogesh sees all the girls in his dream. In the morning, he has decided whom to choose. He goes to her office and gets to know that she has already married her boyfriend. He comes back home. Devu tells him that there is no need for him to choose a bride because he has already chosen one among the 12 prospective brides for him who will appear on the day of the marriage.
On the marriage day, Yogesh is eagerly waiting Devu to unwarp his bride. The bride, Sanjana with bridal dress enters the venue. Sanjana was the one among the 12 prospective brides Yogesh had liked because both of them had many common interests. But she has said at that time that she requires sometime to decide on her boyfriend to whom she is reluctant to marry. And Devu was aware of Yogesh’s choice as well as Sanjana’s liking for Yogesh. In the midst of the marriage ceremony, Yogesh’s grandfather announces that he has bequeathed all his properties and wealth to Yogesh. The film ends with the marriage ceremony of Yogesh with Sanjana. Jitu clears all his outstanding debt.
At the outset, I feel that Ketan Mehta’s ‘Mr Yogi’ (1989) was crisp in terms of the screenplay while Ashutosh Gowariker’s film, though technically superior, was bogged down by a slow pace with a couple of sub plots to create some light comical situations. With 12 prospective brides to meet with 12 songs – one for each, the scenes become repetitive for the audience to loose patience in watching. With 13 songs, the film’s duration has increased by at least 40 minutes to nearly 3:30 hours which is the main negative factor for the film. In my view, it was not necessary to have one song each for 12 prospective brides.
The film’s USP is the mind-blowing performance of Priyanka Chopra in the roles of 12 different prospective brides with her different looks and mannerisms. I feel sorry for Harman Baweja in the role of Yogesh because his good performance was overshadowed by Priyanka Chopra towering performances in 12 different characters.
‘What’s Your Raashee’ (2009) has 13 songs written by Javed Akhtar which have been set to music by Sohail Sen, the son of Sameer Sen of Dilip Sen-Sameer Sen music director duo and great grandson of music director, Jamal Sen. I am presenting the first song from the film, “Ghoonghat Mein Gori Kyun Jaley’ to appear on the Blog. The song is rendered by Rajat Ali Bharti and Bela Shende. The video clip of the song is self-explanatory as to the situation of this background song.
I selected this song for this article because I feel that this is the best articulated song among the 13 songs in the film. Through this song, interspersed with dialogues, an impactful message is delivered to the society about fulfilling the aspiration of a girl child for higher education before parent arranges her marriage.
Video Clip:
Audio Clip:
Song-Ghoonghat mein goree kyun jaley (What’s your raashee)(2009) Singers-Rajab Ali Bharti, Bela Shende, Lyrics-Javed Akhtar, MD-Sohail Sen
Chorus
Lyrics (Based on Audio Clip)
ghoonghat mein gori kyun jale…
haay
ghoonghat mein gori kyun jale..
aaa aa aa
koyi na jaane guiyaan
ghoonghat mein gori kyun jale..
do pag bhi kaise wo chale
haay ae
do pag bhi kaise wo chale ae
aa aa aa
bedi padi hai painyaan aan
ghoonghat mein gori kyun jale…
koyi…. jaane naa
koyi…. jaane naa
koyi…..jaane naa
hmm mm hmm
hmm mm mm
ru ru ru ru ru ru
hmm mm hmm
ru ru ru ru ru ru
ru ru
ru ru ru ru ru ru
mann ki batiyaan mann mein liye hai
ghut ghut ke youn gori jiye hai
mann ki batiyaan mann mein liye hai
ghut ghut ke youn gori jiye hai
bolna chaahe
bol naa paaye
bebas neer bahaaye
o bebas neer bahaaye
koyi jaane naa
koyi jaane naa
koyi jaane naa
sa ri gha ri gha ri gha ri dha ma
sa ri gha ri gha ri gha ri dha ma
aa aa aaa aa aa aaa
reeton ke ye bojh puraane
kab tak hai gori ko uthaane
reeton ke ye bojh puraane
kab tak hai gori ko uthaane
badlega kab iskaa jeewan
kab tootenge bandhan
ye kab tootenge bandhan
koyi jaane naa
koyi jaane naa
koyi jaane naa
koyi jaane naa
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
घूँघट में गोरी क्यों जले
हाय
घूँघट में गोरी क्यों जले
आ आ आ
कोई ना जाने गुइयाँ
घूँघट में गोरी क्यों जले
दो पग भी कैसे वो चले
हाय॰॰ए
दो पग भी कैसे वो चले
आ आ आ
बेड़ी पड़ी है पंईयान
घूँघट में गोरी क्यों जले
कोई ॰॰॰ जाने ना
कोई ॰॰॰ जाने ना
कोई ॰॰॰ जाने ना
हम्म मम्म हम्म
हम्म मम्म मम्म
रू रू रू रू रू रू
हम्म मम्म हम्म
रू रू रू रू रू रू
रू रू
रू रू रू रू रू रू
मन की बतियाँ मन में लिए है
घुट घुट के गोरी यूं जिये है
मन की बतियाँ मन में लिए है
घुट घुट के गोरी यूं जिये है
बोलना चाहे
बोल ना पाये
बेबस नीर बहाये
ओ बेबस नीर बहाये
कोई जाने ना
कोई जाने ना
कोई जाने ना
स रे ग रे ग रे ग री ध म
स रे ग रे ग रे ग री ध म
आ आ आs आ आ आs
रीतों के ये बोझ पुराने
कब तक के है गोरी को उठाने
रीतों के ये बोझ पुराने
कब तक के है गोरी को उठाने
बदलेगा कब इसका जीवन
कब टूटेंगे बंधन
ये कब टूटेंगे बंधन
कोई जाने ना
कोई जाने ना
कोई जाने ना
कोई जाने ना
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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Blog Day : |
5565 | Post No. : | 18033 |
Today’s song is from the film Sipahiya-1949.
When India got independence in 1947 and the British Rule ended, the Indian public breathed a sigh of relief. Especially, the film industry felt like coming out of a prison. During British rule, there were so many restrictions, specially during the war period, on the filmmaking – like, you can’t show the British in bad light, you can’t speak about Independence openly, you can’t criticise Government policies etc etc. Even the wordings of songs and dialogues were under a sharp lens. The best example of this oppression was the song in the film ” Kismet”-1943, ‘Aaj Himalay ki choti se ‘ written by Kavi Pradeep. He had to go underground to avoid arrest for this song !
In Spite of the British Government’s bribe of extra quota of Raw Film for making ‘ War Propaganda ‘ films to support their war efforts, not many such films (except Badi Maa, Panna etc) were made. And therefore once the country became Independent, all such constraints were removed and filmmakers started making Patriotic films, war films and films showing India on the Development track, along with openly Patriotic songs. Such films were made almost till 1956-1957. At the same time producers like Mehboob and Bimal Roy , diehard followers of Nehruvian Socialism, made films like Mother India and Naya Daur etc.
In the immediate years after the Independence, i.e. 1947 to 1952, films like Shaheed-1948, Sipahiya-1949, Samadhi-1950, Aandolan-1951 and Anand math-1952 etc. etc. were made with great enthusiasm and a free hand. This fever, however, waned slowly and war or patriotic films were seldom made. Today’s film Sipahiya-1949 also had a war background.
The story of this film was….
SIPAHIYA -1949 was a soldier’s story. A story of muted love and sacrifice. It was a Super Picture’s film, directed by Aspi Irani and the cast was Madhubala, Yakub, Agha, Kanhaiyalal, Kashmiri, Husn Banu etc. the lyricists were R M Chaturvedi, Arzoo Lucknowi, Raj Kunwar, Banwasi and Rajendra Krishna.
Beautiful Rani(Madhubala) considers Bankelal(Yakub) as her Protector right from her childhood. Rani loved Raja(Agha), and the whole village knows this. The village ruffian, Rasiya, whenever he tries to get Rani alone, faces Bankelal and hence is against him.One day, in the village Mela, Baanke and Rani are in one Tonga. The horse goes berserk and runs out of the village. Tonga is thrown off and both get unconscious. Back in the village, Rasia spreads a rumour that Banke has kidnapped Rani. Angry villagers want to beat Bankelal. Next day when Bankelal brings Rani back to her house, Banke’s mother warns him and advises him to leave the village to avoid villagers’ wrath. He runs away and joins the Army.
Banke wins several medals in the Army and comes back to Village on furlough. By now everyone welcomes him. While leaving for duty, Raja wants to join the Army. Rani requests Banke to protect his life.Unfortunately, in the war action Raja is declared missing and presumed dead. Banke returns to get Rani’s anger only.
Luckily. Raja survives and returns to the village and gets married to Rani.Banke returns to the Army and soon news comes that Banke died in action, with bravery.
The film was made and directed by Aspi Irani, under his own banner Super Pictures. MD was C.Ramchandra and 5 Lyricists wrote 10 songs. 7 songs are already discussed and today’s song is the 8th song to feature here. The other 2 songs are not available on any social media. The director Aspi irani and actress Husn banu were husband and wife. Actor Altaf was the husband of Khurshid Jr. (Meena Kumari’s sister). The birth of actress Husn Banu and the death of Aspi Irani was most unusual.
Roshan Ara aka Husn Banu was born in Singapore on 8-2-1919. She was born to actress Shareefa and a Parsee Magician Minu Cooper ( the actor / singer Minu the Mystiq was different ). She was very beautiful. She started her career in Calcutta ( just like her mother), by working in New Theatre’s film “Daku Mansoor-34″. After a few more films, her mother, Shareefa brought her to Bombay and she started getting roles in Wadia films. She was working only in C grade stunt action films. After 1940, she got 2 social films made by Bharat Laxmi films and in 1941 again 1 film each from Bhavnani productions and National studios.However she got only small or side roles.
In 1941, When she was selected for Ranjit’s film Dhandora as a Heroine, this was a new experience for her as she had never worked in a social or a comedy movie as a Heroine. All her experience was for stunt films only. Husn Bano acted in 53 films and sang 44 songs in 16 films. She had married Wadia’s director Aspy Irani. Husn Bano worked in films till her last film Akhari Sajda-1977 and then she retired. She had a big house ‘Shareefa Manzil” in Dadar, Bombay. On 23-11-1986, her husband Aspy Irani left home for work and he simply disappeared. He was never found and was declared as a “Missing Person” by the Police.
Husn Banu was beautiful. She was featured in a Lux Soap advertisement in the early 40s. Leela Chitnis was the first to feature in this Ad during early 1940. After that Azuri, Bharati Devi, Manorama, Ratanbai, Shobhana Samarth, Mumtaz Shanti, Neena, Sadhona Bose and Maya Banerjee had also featured in these ads. (Thanks to book Stages of Life by Kathryn Hansen).
Aspi Irani was basically famous for stunt and C grade films. Aspi Irani was an important director from the early films. His full name was ASPANDIAR HORMUSJI IRANI. He was born in the Parsi colony, Panch Gardens in Dadar, Bombay on 8-10-1911. He started work in the film industry after he completed his secondary schooling and as all parsis are,due to his hard work, he soon attained top rank in the Industry. He started directing films from 1936, the early Talkie stage, when the influence of Parsi Theatre, fantasies and dramas on folklore was the staple of stunt films. All such films had a basic structure and with a little changes here and there new films hit the screens.
There was a fixed audience for such films, but as time went by, slowly the taste of the audience changed. However Aspi Irani continued with his style till the end. He did direct few social films also but the handling of social films had a clear stamp of Aspi’s direction.
He must have directed about 50-55 films till the early 80s. Some of his films were, Naya paisa, Qaidi no.911, Barood, Shabnam, Badal etc. He was married to actress Husn Bano ( daughter of actress Shareefa).
On a fine morning on 23rd November 1986, Aspi left his home in the morning for work and never ever returned. No one knows what happened to him. Since then there was no trace of this man and officially he was declared ‘missing since 23-11-1986′. What an end to a legend !
Today’s song is sung by Lata, Geeta and chorus. These two singing legends have sung very few songs together. The relationship of Lata and C.Ramchandra had just started and Lata was in 6 out 10 songs in this film.
Song- Chalo ghoonghat mein guinyaan chhupaa ke (Sipahiya)(1949) Singers- Lata, Geeta Dutt, Lyrics-Rammurty Chaturvedi, MD-C Ramchandra
chorus
Lyrics
chalo ghoonghat mein guinyaan chhupaa ke
ghazab tore naina
sitam tore naina
chalo ghoonghat mein guinyaan chhupaa ke
ghazab tore naina
sitam tore naina
karen ghaayal ye mil ke milaa ke
ghazab tore naina
sitam tore naina
inhen tujhse hai pyaar
ho o jaaye tujhpe nisaar
inhe tujhse hai pyaar
ho o jaaye tujhpe nisaar
dar laage hamaare bahaane
dar laage hamaare bahaane
kare na kahin auron pe waar
inhen raakho sakhi samjhaa ke
ghazab tore naina
sitam tore naina
chalo ghoonghat mein guinyaan chhupaa ke
ghazab tore naina
sitam tore naina
karen ghaayal ye mil ke milaa ke
ghazab tore naina
sitam tore naina
kahaan seekhe ye chalnaa chalanaa
kaho sacchi na karnaa bahaana
kahaan seekhe
kahaan seekhe ye chalnaa chalanaa
kaho sacchi na karnaa bahaana
mohe chhedo na
mohe chhedo na ro doongi ee ee
acchaa na itnaa sataana
kahin laage kisi se sharamaa ke
ghazab tore naina
sitam tore naina
chalo ghoonghat mein guinyaan chhupaa ke
ghazab tore naina
sitam tore naina
kare ghaayal ye mil ke milaa ke
ghazab tore naina
sitam tore naina
- In: "Ghoonghat" song | C Ramchandra solo songs as a singer | C Ramchandra songs as a singer | Century songs for the blog | expression of love | Feelings of heart | Guest poster century song | Guest posts | Post by Arunkumar Deshmukh | Songs of 1940s (1941 to 1950) | Songs of 1950 | Yearwise breakup of songs
- 28 Comments
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.
This article is his 1200th post in the blog.
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Blog Day : |
5417 | Post No. : | 17762 |
Today’s song is from a stunt film Baboo ji-1950.
Oh my God ! Can’t believe it !! My 1200th Post !!!
Honestly, more than Joy, I am amazed how I have reached this stage. Entering this field was never planned by me. When I detached myself from working with my Pharma background finally in 2008 ( I had retired in 1998, but I ran my Consultancy Company till another 10 years ), I had no plans of what I was going to do in my free time.
After travelling with my wife all over India and most of the world, I decided that it was high time I learnt operating computers at least now. My grandsons were too happy to teach me how to use a Laptop, at my age of 71 years. The first Love, they say, never dies. My first love was old films and old songs. So I started surfing and downloading old known and unknown songs and made several cassettes. Then one day while surfing I stumbled upon” atulsongaday.wordpress.com”. I found a lot of old songs. I was impressed with the write ups and comments of readers.
I had many diaries, loaded with information noted down whenever I had seen a film – from about 1948-49 onwards. There were about 80-90 diaries, which I had carried wherever I was transferred during my career, at the cost of complaints from my family. I started using information from these diaries and making comments on this and other Blogs, Fb groups and sites. After some time I became a known person in the fraternity and my first post appeared on this Blog, after Atul ji encouraged me to write a post on a song from the film ” Savitri-1937″. It was posted on 1-10-2012. I realised that this was my second innings only when I was neck-deep in it ! Thanks to Atul ji and Sudhir ji – my first motivators.
| Century posts | Date posted on | Days taken for the century |
|---|---|---|
| 1st | 11-4-2013 | 192 days |
| 2nd | 14-11-2013 | 217 |
| 3rd | 10-6-2014 | 208 |
| 4th | 21-4-2015 | 315 |
| 5th | 6-4-2016 | 357 |
| 6th | 4-9-2017 | 516 |
| 7th | 2-12-2018 | 454 |
| 8th | 26-9-2019 | 296 |
| 9th | 15-9-2020 | 354 |
| 10th | 18-8-2021 | 335 |
| 11th | 18-6-2022 | 305 |
| 12th | 18-5-2023 | 333 |
So, it looks like that in 3882 days, I have written 1200 posts on this Blog alone.( my many articles are published on Sangeet ke sitare, Anmol Fankaar, Songs of yore, memsaabstory.com, Cineplot, Kalyan Music group, geetadutt.com and few other sites, blogs etc. and 2 books to boot !).
On this occasion I thank Atul ji, Sudhir ji, my friends on the Atulite group on this Blog and WA group as well as several visiting commenters who have encouraged and motivated me from time to time with their comments and appreciations. I would especially mention the name of Shri Harish Raghuwanshi ji for helping me whenever I needed information. He has been a pillar of my strength in this field.
Now, coming to today’s song and film Baboo ji-1950. Just because HFGK mentions it and the starcast clearly indicates so, the film is accepted as a stunt film. Its title otherwise sounds like a Social film ! The cast of the film was Bhagwan, Leela Gupte, Baburao Pehlwan, vasantrao pehlwan, Usha Shukla, Azeem, Mirajkar and many regulars. The lyricist was Ehsan Rizvi and the MD was P. Ramakant. The director was Master Bhagwan.
Master Bhagwan was a very hard working person. In the real sense, he brought in the wave of stunt films again in the late 40s. After the films of Master Vithal and Fearless Nadia waned in their popularity by 1944-45, it was Master Bhagwan, who established his own Production house-Jagriti Films and produced several stunt films. He had a set of actors and actresses, which included Baburao pehelwan, Vasantrao pehelwan, Azeem Bhai, Shanta Patel, Chanchal, Leela Gupte, Usha Shukla and Vitha Lokare.
The storyline for most of his films was also fixed.
Two young vagabonds-Baburao pehelwan and Bhagwan, come to Bombay in search of employment. One Sethji (Azeembhai ) appoints them to protect him from the local criminal (Vasantrao pehelwan). Sethji has a good looking daughter ( one of the stock Heroines), who has a maid (another girl from the stock). Baburao loves Seth ji’s daughter and Bhagwan loves the maid. After a lot of stunts and fighting scenes, the end would be happy.
The same story with changed names and other minor changes was used in almost all his films like Badla, Bahadur, Jalan, Madadgaar, Dosti, Shake hand, Matlabi,Bach ke rehna,Bhole bhale, Jeete Raho or such other films. The audience did not mind . They were happy with the stunts. (Did Nasir Hussain and Manmohan Desai get inspiration from Bhagwan in this matter ?). In almost all his films the songs and dialogues were by Ehsan Rizvi.
Luck is a funny thing. In this world it is difficult to say who will be lucky and when and on whom Lady Luck will smile. Lyricist Ehsan Rizvi’s case falls under this uncertainty. Born on 26-1-1914 in U.P., Rizvi came to Bombay at the age of 24. He was a good poet and writer. He wanted to try his luck in the films. How he got a break in films is an interesting story.
Master Bhagwan entered the film world with the silent film ‘ Bewafa Aashiq’-30. His first talkie film was ‘Himmat-e-Marda’-34. Initially,like all other Heroes, even Bhagwan used to sing his own songs. Once he had gone to Columbia company for rehearsal and recording a song. While entering, he saw a young man sitting under a tree and writing something. After rehearsal, he saw that fellow again and even after recording the man was still writing something. Bhagwan went to him and asked with curiosity what he was writing. The man answered, I am writing songs and stories. He came to know that his name was Ehsaan Rizvi and that he too lives in Dadar like Bhagwan. He took Rizvi’s address and left.
In 1938, Bhagwan got his first film as a Director- Bahadur kisaan-38. He called Ehsan Rizvi and gave him a scene and asked him to write dialogues. He came back with the dialogues. After reading Bhagwan was astonished. The scene started with one villager saying ” Ram Ram Bhaiya ji. Kaise ho ?” He asked Ehsan, ‘ being a Muslim, how have you written this?” He replied,” we start any work with God’s name. As your story is Hindu based, I wrote Ram Ram. If it was Muslim film, I would have written “Allah”. Bhagwan was impressed and he gave him not only this film but Ehsan became a member of his group. He wrote songs, story and dialogues of at least 25 films of Bhagwan.
After the fall of Bhagwan’s fortunes. Bhagwan himself advised him to work in other banners as he was no longer in a position to make films now. Rizvi wrote lyrics for 60 films, but most of them were B or C grade films. He however wrote dialogues and screenplay for some well known films like Do Ustad-59, Mughal-e-Azam-60, Woh kaun thi-64, Aan milo sajna-71, Gopichand jasoos-82 etc etc. He had shared the Film Fare award for dialogues of Mughal e Azam-60, with 3 other writers. He died on 16-1-1983.
Now coming to the MD’s name-P.Ramakant. P. Ramakant. This was a name used by C.Ramchandra, because he was under contract with Filmistan and could not give music in his own name. It started with Raja Nene’s film Shadi se pehle in 1947, in which he first used his assistant’s name Paingankar ( the joint MD was Karnad). His name was Ramakant Paingankar and was assisting Chitalkar for a long time. Later, for Bhagwan’s films like Bhedi Bangla-49, Bhole bhale-49, Babuji-50, and Bakshish-50 also, Chitalkar used the pseudonym P. Ramakant as MD. (information from Marathi Chitrapat Sangeetkar kosh by Madhu Potdar). For film Dussehra-56, N.Datta’s assistant was Ramakant paingankar, who was assistant to C.Ramchandra for a long time. He is the same person who tried his hand at being a composer himself in the late 40s. With Shyamsunder and Ramchandra Pal, he gave music to Urvashi-46 and with Lal Mohammed in Mitti-47. . Ramakant gave music to film Rupiah-50 independently. Then he turned to Marathi films. In his last days, he came back to Hindi films again as assistant to many composers.
It was from the film ‘Albela’ that CR gave music to Bhagwan’s film in his real name. Prior to this, he gave music to his stunt films as ‘Annasaheb’ and Ram Chitalkar.This type of use of pen names was followed by many MDs. GM Durrani gave music as Gunjan, SD Batish gave music as Nirmal Kumar. Snehal Bhatkar used several names like Vasudev, B Vasudev, VG Bhatkar and Snehal, before taking up another pen name Snehal Bhatkar for the rest of his career. Actually his name was Vasudeo and Snehal was his daughter’s name. Similarly, MD Nashaad also used names like Shaukat Hussain Dehalvi, Shaukat Dehalvi, Shaukat Ali, and Shaukat Haider. These are well known, but today I will tell you 2 pen names for the FIRST time on the internet ! Hardly anybody knows that Anil Biswas gave music to film ‘Begunah’ (1949) in the name of Haribhai. His co-MD in this film was Shyamu – none other than C Ramchandra. This information is given in the Encyclopedia of Indian Cinema by Rajadhyaksha on pages 67 and 190.
On this occasion, no wonder I have selected a song sung and composed by my favourite composer C.Ramchandra. The song is very good, a typical C Ramchandra style song. I am sure all of the readers will also like this song. Enjoy….
Song- Gorey gorey mukhde se ghoonghat hataao jo (Baaboojee)(1950) Singer- Anna Saheb (C.Ramchandra), Lyricist- Ehsan Rizvi, MD- P.Ramakant (C.Ramchandra)
Lyrics
gore gore mukhde se ghoonghat hataao jo
tadpadte man ko kaahe sataao jo o o o
kaahe sataao jo
o o o o
aanchal ki odh se bijli giraaye chhe
birha ki aag mein tan-man jalaaye chhe
hamko rula ke man mein muskaaye chhe
bai toone dukh diye ab kya upaaye chhe
ek baar gaaon se bambai bhi aavo jo
tadpadte man ko kaahe sataao jo o o o
kaahe sataao jo
ho o o o
ek baar poochha tumhaara naam shoo chhe
aankhen diikha ke boli tum ko kaam shoo chhe
maanashe ke aadmi raam raam shoo chhe
beech baazaar poochhe chhe ki naam waam shoo chhe
seth zara daya karo
police ko bulaao jo
tadpadte man ko kaahe sataao jo o o o
kaahe sataao jo
gore gore mukhde se ghoonghat hataao jo
tadpadte man ko kaahe sataao jo o o o
kaahe sataao jo
ho o o o
police ka jo naam suna
hamko bukhaar chhayo
pehle hi pyaar mein bhaari bhaari takraar bhayo
bhausaa ab roke roke deewaar chhayo
rehna dushwaar chhayo
jaana dushwaar chhayo
bhai koi meri madad ko bhi aao jo
tadpadte man ko kaahe sataao jo o o o
kaahe sataao jo
gore gore mukhde se ghoonghat hataao jo
tadpadte man ko kaahe sataao jo o o o
kaahe sataao jo
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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Blog Day : |
5412 | Post No. : | 17750 |
Today’s song is from a special film – Gunsundari-1948.
I call this film a ‘Special’ film because this is one film in which the simple story was so original, interesting and so much a representative of the changing times in the country that this story inspired films in almost every language in India from the late 1920’s decade till even today (albeit in modern avatar !).
Chandulal Shah (later owner of Ranjit Studios), had first directed this silent movie GUNSUNDARI, in 1927, on his own story, under the banner of Kohinoor film company,Bombay. Even in those days it was a popular film.
After Talkie films started and Chandulal Shah had established his own studio-in partnership with Gauharjan Mamajiwala, a Heroine of several of his films and his consort for the next 40 years, he remade the film GUNSUNDARI once again in 1934. The cast of the 1934 film was the same as the 1927 silent film, namely Gauhar, Raja Sandow, Rampyari, R N Vaidya etc. Somehow Chandulal Shah had been fascinated by the film’s story.
After Ranjit studio and Sardar Chandulal Shah were in financial crisis (having lost 1 cr 25 lakhs in cotton trading, in one single day) and most of their properties were mortgaged, Producer Director Ratibhai Hemchander Punatar-who was Chandulal’s sister’s son and his chela, decided to make film Gunsundari once again. This time the film was made in Gujarati and Hindi simultaneously. The year was 1947. Due to partition etc the film was delayed and was released only in 1948.
Ratibhai had selected Kokila Balsara aka Nirupa Roy as the new heroine. After the shooting started, she was signed by Chandulal Shah for Ranjit’s film ” Lakhon mein Ek”. Since Gunsundari was delayed, “Lakhon mein Ek-1947″ got released first and it became Nirupa Roy’s FIRST Hindi film as a Heroine.
I remember having seen the film GUNSUNDARI-1948 sometime in the early 50s. The story was indeed very interesting for those times. A village simple girl is married to a modern type educated rich boy. He does not like this uneducated ‘gaon ki gori’ and he abandons her. The story is about how the girl gets educated and learns all modern things, yet impresses her in-laws with her traditional ways(unknown to the husband) and how she wins him back successfully. After the interval, the theatre used to vibrate with the clapping of the audience on every success of Gunsundari with her family and the husband.
Later on, as is the practice of Hindi film Industry, this theme was used in umpteen number of Hindi and various regional languages over a time.
This was also the First film of Nirupa Roy and Manhar Desai ( who was originally from a Goan family settled in Ahmedabad and his name was Malcolm Alfredo D’souza-a converted Christian). Later this pair starred in many Hindi and Gujarati films.
The director of this film was Ratibhai Punatar. He directed only 6 Hindi films – Gunsundari-48, Nanad Bhojai-48, Nili-50,Mann ka meet-50, Bahadur-53 and Daughter of Sindbad-58. He also directed 5 Gujarati films-all blockbusters and grossers. The Encyclopedia of Indian Cinema says about him…..Ratilal Hemchand Punatar (b. 1913) Gujarati-Hindi director aka Ratibhai Punatar. Born in Jamnagar, Gujarat. Production manager at Ranjit. Directorial début when, following the spectacular success of Ranakdevi (1946), Ranjit started subsidiary Ajit Pics to exploit the interest in Gujarati films. First major film, Gunsundari, remade Chandulal Shah’s pathbreaking silent film and remains, with Mehndi Rang Lagyo (1960) and Jesal Toral (1971), one of the Gujarati cinema’s biggest hits, the first one to tap a substantial urban audience for a Gujarati cinema until then restricted to semi-urban B film circuits. Third film Mangal Phera was also very successful, and continued the Gunsundari and Nanand Bhojai theme of a crumbling joint-family system faced with the values of a mercantile economy. Also made films based on Prabhulal Dwivedi’s folk theatre (Gadano Bel) and on e.g. D.N. Madhok’s popular novels.
The film was made by Ajit Pictures, Bombay- a subsidiary floated by Ranjit Movietone to exploit Gujarati film business. The cast of the film was Nirupa Roy, Manhar Desai, Dulari, Nazira, Ibrahim and many others. While this was Nirupa Ro’s first Hindi film as a Heroine, for Manhar Desai it was also his just the second film, the first being a C grade stunt film Toofani Sawar-1947, made by his classmate in Wilson College, Bombay N.C.Pandey.
Manhar Desai was a Gujarati Christian-real name Malcolm Alfredo D’souza. He was born on 3-8-1917. He used to stammer when he was a boy. He used to act and sing in dramas and due to his stammering style, he was very popular on stage. After completing High school, he ran away to Bombay to join Films, but could not even enter any studio, Disappointed, he returned to his home and restarted studies. He became normal with treatment. He joined Wilson college in Bombay for graduation. In college he started acting and singing on stage. He had a friend N.C.Pandey, who was also mad after films. He promised Manhar that if he becomes a Director, he will make Manhar a Hero. While in college Manhar married his classmate, who was from U.P.
In 1947, Manhar got a call from his friend N.C.Pandey, who was to direct a Hindi film. He made Manhar the Hero of this film and thus fulfilled his promise. Toofani Sawar-47 was the first film of Manhar Desai, in Hindi. He was invited to work in the film Gunsundari-48 ( Gujarati), opposite Nirupa Roy. The film was Hit and he acted in the next film Mangal Phera-49 with Nirupa Roy. This too became a Hit film in Gujarati and then there was no looking back. His next Hindi film was Madhosh-51 opposite Meena kumari. Following their success in Gujarati, Nirupa Roy and Manhar were paired in several Mythological films in Hindi. Films Naag Panchami-53 and Shivratri-54 made him a popular Hero in Hindi mythological films.
It is a coincidence that the Two film stars well known for Hindi Mythological films, namely Shahu Modak and Manhar Desai, both were Non Hindus and were Jew and Christian respectively.
Manhar Desai was fond of Reading. During breaks in shooting, he would catch up with his reading. He also was a good painter. Manhar worked in 106 Hindi films. His last film was Nal Damyanti-88. In the last phase of his career, he was disillusioned about working in films in this era, so he gave up working and retired. Manhar Desai died on 25-2-1992.
Today’s song is the 7th song from this film to feature here. It is sung by Ameerbai Karnataki and Chorus. Enjoy this melodious song composed by Avinash Vyas..
Song- Jhumak jhum bichhuwa baaje goree ka ghoonghat laaje (Gunsundari)(1948) Singer- Ameerbai Karnataki, Lyricist- Pt. Indra Chandra, MD- Avinash Vyas
chorus
Lyrics
Jhumak jhum
Jhumak jhum
bichhawa baaje
gori ka ghoonghat laaje
jhumak jhum
jhumak jhum
bichhawa baaje
gori ka ghoonghat laaje
dhagi naka takit dhin
dhagi naka takit dhin
taal pe bichhua baaje
dhagi naka takit dhin
dhagi naka takit dhin
taal pe bichhua baaje
baaje
baaje
gori ka ghoonghat laaje
jhumak jhum
jhumak jhum
bichhawa baaje
gori ka ghoonghat laaje
jhumak jhum
jhumak jhum
bichhawa baaje
gori ka ghoonghat laaje
aeri gori gori kori
kin sang kheli hori
aeri gori gori kori
kin sang kheli hori
kin ne tori gagri phori
kin chunree jhakjhoree
kin ne tori gagri phori
kin chunree jhakjhoree
kya mile kahin saanwariyaa
kyun khul khul jaaye paayaliyaa
kya mile kahin saanwariyaa
kyun khul khul jaaye paayaliyaa
kyun ghananan bichhua baaje
baaje
baaje
gori ka ghoonghat laaje
jhumak jhum
jhumak jhum
bichhawa baaje
gori ka ghoonghat laaje
jhumak jhum
jhumak jhum
bichhawa baaje
gori ka ghoonghat laaje
?? kare
panghat per natkhat
lapak jhapak chale bansi bajai
bhari pichkaaree maare
rang daaree saaree
dekhe brij naaree
hanse kunwar kanhaiyya
ang ang rang daare
?? ke baal gaal
ude gulaal laal
raas rachaiyya
haath jod gopee bolee
ara ra ra
chhodo pichkaaree
haaree tose kanhaiyya
jhumak jhum
jhumak jhum
bichhawa baaje
gori ka ghoonghat laaje
jhumak jhum
jhumak jhum
bichhawa baaje
gori ka ghoonghat laaje
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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Blog Day : |
5327 | Post No. : | 17462 |
Today’s song is from a C grade imaginary film – Jadui Angoothi-1948.
The man has been attracted, with awe, towards the miracles and magic powers from the time immemorial. All of us, in our school days were drawn towards stories of magic, be it from Puranas, or from Arabian Night type stories. This is a worldwide phenomenon and you find books for children have about 30 to 40 % stories about magic, super powers and supermen. Even the film industry all over the world-in all languages, have taken advantage of this fact and made films on men with magic and super powers.
Being a normal school child, I was not an exception and loved to read such books and see such films. Maybe because of this, I was fascinated by the Mythological films from childhood. When I started seeing films, my first priority, in the initial phase, was for films which would quench my thirst for magic. This was easily fulfilled by the Mythological and cheap stunt films in third rate theatres, where the ticket rates were low ! Even Hollywood films like Superman, Captain Marvel, The 3-D Man, The invisible man and the others of this ilk were my staple food on Sundays and Holidays. Actually most adults too are enamoured by magic and miracles but hesitate to admit openly. I do not suppress the child in me and I am always ready for such films even now, knowing full well that it is nothing but trash !
As per the film Index list, about 40 films are made with the titles starting with the word ‘Jadu’ and 16 films with ‘Jadui’. It feels funny when you see films made like jadui Topi, Jadui Shehnai,Jadui Sindoor, Jadui Sandook or Jadui Danda !
Today’s film Jadui Angoothi-1948 was made by Mohan Pictures owned by Ramnik Lal Shah, husband of yesteryear heroine Indurani. She was a popular Heroinein the 1930s and the 1940s, before she quit films. I have interviewed her son Salim Shah , who is settled in the USA, and written about her on the Internet. Later Dr. Surjit Singh ji published a detailed book on her. There were few film companies which were specialised in making stunt, action, costume and imaginary films together with popular Arabian Night stories. Mohan Pictures was one of them. In the year 1948 itself they had made such C grade films like Jadui Angoothji, jadui Bansuri and jadui Shehnai. Film Jadui Sindoor-also made in 1948 was censored in early 1949,
Film Jadui Angoothi was directed by A.M.Khan. Now, this Khan was a person with many qualities. He was an actor, a lyricist and a director. In his 30 years’ career he had acted in 2 films – Dil-46 and Bigde dil-49. He wrote 24 songs in 3 films – Cyclewali-38, Ran Sangream-39 and Bahana-42. A M Khan directed 37 films. His first film was Woh kaun-1935 and his last film was Jadui Anguthi-1965. When I went through his Filmography as a Director, I found that he directed mostly Stunt, Action and Costume films only.
Some of his films had interesting Titles….Cycle Wali-38, Chabuk wali-39, Motor wali-42, Khanjar wali-43 and to top it all, he also directed Police wali-49 ! Titles of his films had words like Lutari, Lutaran, Bala, Sundari, Lady, Tilasmi, Jadui, and Toofani. These are typically indicative of their genre-Stunt. A M Khan was also a Stunt specialist. In those days, some directors specialised in such films. For example, Nari Ghadiyali, Aspy irani, Ramniklal Shah,Master Bhagwan, Harischandra rao and Chandra rao kadam etc. Other than Khan’s Filmography, no information about him is available.
The story of film Jadui Angoothi-1948 was….Sunder Singh, a poor youth, wishes to leave home in search of fame and fortune, but his mother, believing that one’s life is determined by fate, tries to reason with her son, and as a test she suggests he try to marry a princess and see what happens. Sunder takes the challenge and heads out to find and woo his would-be bride. On the journey, Sunder battles two ruffians, Bahadur Singh and Sher Singh, and when the princess learns of Sunder’s valor and heroism, she falls in love.
Sunder requests to marry the princess, and the king agrees, but on one condition — that the young man search for, and bring back, a legendary magic ring which is kept by an evil wizard. Bahadur Singh and Sher Singh, still stinging from their defeat, use black magic to try and stop Sunder from reaching his goal.
Sunder Singh, with great courage and valour fights all evils, kills the evil wizard and gets the Magic Ring. The king is very happy and marries the princess with Sunder singh. However, after the marriage, the Magic Ring is transformed into a Fairy who blesses Sunder singh, the king and the princess and vanishes. (with thanks to cinemajadoo.com)
The cast of the film was Husn Ara, Anil Kumar, Shanta Patel,P.D.Lal,Gulnar, Agha Shapoor, Anwari, Razia Begum etc. Anwari was the second wife of Music Director Rafiq Ghaznavi and was already divorced. Razia Begum was the elder sister of actress Suraiya Zulfi.
Actor Anil Kumar (Sardar Gul) was born in 1915 at Calcutta.His father had a fruit business. They were from Peshawar (just like Dilip Kumar). He was not much educated but could speak Hindi, Urdu and English fluently. Once he went to Bombay to meet a friend. There he met an old acquaintance, who took him to Sohrab Modi.
The good looking Sardar Gul was liked by Modi and he offered him the lead role in his film ‘ Saed E Havas’-36. Sardar Gul was given the screen name of Chandra Kumar. The film was based on a translation of William Shakespeare’s drama- King John, by Agha Hashra Kashmiri in 1907. Sardar Gul was to get Rs. 200 for this work. The film was a flop and Sohrab Modi refused to pay him more than Rs 50. Annoyed, he left Bombay and returned to Calcutta.
However he came back in 1938 and did his first film with a new screen name Anil Kumar. The film was Talwar ka Dhani-38. Soon he was well known and acted in 10 films in the next 3 years. As the decade of the 40s saw many new actors, producers and directors, he was reduced to Character roles and side roles. By 1950, he was almost like an extra. He did work in many films, but only few films credited him, as his roles were negligible. We find his name in just 30 films, where he was credited, the last such film being Tarzan and Deliailah-64.
He had married an actress named Nurjehan, who left films after their marriage.
Today’s song is a duet sung by Hamida Bano and Miss Kalyani aka Kalyani Bai. This seems to be a comedy song.
Song- Sawa gaz ka ghoonghat nikaal meri joru (Jaadui Angoothhi)(1948) Singers- Hamida Bano, Miss Kalyani, Lyricist- Roopbani, MD- Allah Rakha Qureshi
Lyrics
Sawa gaz ka ghoonghat nikaal meri joru
zamaana buraa hai
ho o
ho o
zamaana buraa hai
haaye raam
Sawa gaz ka ghoonghat nikaal meri joru
zamaana buraa hai
ho ho
ho o
zamaana buraa hai
aankhon mein aankhen na daal
mere pyaare
zamaana buraa hai
ho o
ho o
zamaana buraa hai
aankhon mein aankhen na daal
mere pyaare
zamaana buraa hai
ho o
ho o
zamaana buraa hai
joru hamaari badi bholi bhaali ee ee
joru hamaari badi bholi bhaali ee ee
soorat tumhaaree na gori na kaali
soorat tumhaaree na gori na kaali
tum ho badi bemisaal
meri sakhiyon
zamaana buraa hai
ho o
ho o
zamaana buraa hai
Sawa gaz ka ghoonghat nikaal meri joru
zamaana buraa hai
ho o
ho o
zamaana buraa hai
joru hamaari ki kismat niraali ee ee
joru hamaari ki kismat niraali ee ee
ho gayi budhiya magar goad khaali
ho gayi budhiya magar goad khaali
na munni na godi mein laal
meri pyaari
zamaana buraa hai
ho o
ho o
zamaana buraa hai
Sawa gaz ka ghoonghat nikal meri joru
zamaana buraa hai
ho o
ho o
zamaana buraa hai
swaami hamaare
abhi to hain bachche ae ae
swaami hamaare
abhi to hain bachche ae ae
umar ke bhi chhote
akal ke bhi kachche
umar ke bhi chhote
akal ke bhi kachche
umar ho ?? hazaar
sakhi ree
zamaana buraa hai
ho o
ho o
zamaana buraa hai
Sawa gaz ka ghoonghat nikaal meri joru
zamaana buraa hai
ho o
ho o
zamaana buraa hai
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 : |
4909 | Post No. : | 16722 |
“Ghoonghat”(1960) was produced by S S Wasan and directed by Ramanand Sagar for Gemini Studios, Madras. This movie had Bharat Bhushan, Pradeep Kumar, Bina Rai, Asha Parekh, Leela Chitnis, Rajendranath, Rehman, Agha, Minu Mumtaz etc.
The movie had ten songs in it. Nine songs have been covered in the past. Here are their details :-
| Blog post number | Song | Date of post | Singer(s) |
|---|---|---|---|
| 1271 | Laage na mora jiyaa | 13 May 2009 | Lata |
| 1278 | Mori chham chham baaje paayaliyaa | 14 May 2009 | Lata |
| 1871 | Kyaa kyaa nazaare dikhaatin hain ankhiyaan | 6 September 2009 | Asha Bhonsle, Mahendra Kapoor |
| 2929 | Do nain mile do phool khile | 8 September 2010 | Mahendra Kapoor, Asha Bhonsle |
| 2958 | Haay re insaan ki majbooriyaan | 13 September 2010 | Rafi |
| 5688 | Ye zindagi ka mausam aur ye samaa suhaana | 24 March 2012 | Asha Bhonsle, Rafi |
| 15874 | Meri pat raakho Giridhaari | 8 September 2020 | Lata |
| 15885 | Dil na kahin lagaana zaalim hai ye zamaanaa | 13 September 2020 | Asha Bhonsle |
| 16710 | Jaa ree sakhi saj dhaj ke | 21 December 2021 | Asha Bhonsle |
Here is the tenth and final song from “Ghoonghat”(1960) to appear in the blog. This song is sung by Asha Bhonsle. Shakeel Badayuni is the lyricist. Music is composed by Ravi.
The song is picturised on Minoo Mumtaz and Bina Rai, with Minoo Mumtaz giving Bina Rai (playing bride) important advice on how to deal with her would be husband.
Shakeel Badayuni is the lyricist. Music is composed by Ravi.
With this song, the title song of the movie, all the songs of “Ghoonghat”(1960) have been covered. “Ghoonghat”(1960) thus joins the list of movies that have been YIPPEED in the blog.
Song-Gori ghoonghat mein mukhda chhupaao na (Ghoonghat)(1960) Singer-Asha Bhonsle, Lyrics-Shakeel Badayuni, MD-Ravi
Lyrics
gori ghoonghat mein mukhda chhupaao na
ye to naina ladaane ki raat hai
gori ghoonghat mein mukhda chhupaao na
ye to naina ladaane ki raat hai
hamen gusse se
haan hamen gusse se aankhen dikhaao na
ye to hansne hansaane ki raat hai
aaj tu kaahe ko sharmaati hai
ye ghadi roz nahin aati hai
aane waale hain piya milne ko
phool hain dil ke tere khilne ko
tujhko rasiya ki nazar lootegi lootegi
aaj nainon ki sharam tootegi
kaahe tere ye nain
tera dil hai bechain
sakhi hamse yoon daaman chhudaao na
ye to milne milaane ki raat hai
gori ghoonghat mein
ai ai o
gori ghoonghat mein
mukhda chupaao na
ye to naina ladaane ki raat hai
aaj ki raat zara chup rahna
dil ki baaten na balam se kahna
wo agar chheden to bal kha jaana
unki baaton mein na tu aa jaana
mard ki zaat ko tu kya jaane
kya jaane
bade chaalaak hain ye deewaane
kabhi painyya padenge kabhi vinti karenge
un se kahna ke jaao sataao na
arre ye to nakhre dikhaane ki raat hai
gori ghoonghat mein haaye daiyya
gori ghoonghat mein mukhda chupaao na
ye to naina ladaane ki raat hai
hamen gusse se aankhen dikhaao na
ye to hansne hansaane ki raat hai
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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Blog Day : |
4263 | Post No. : | 15488 | Movie Count : |
4269 |
Today’s song is from a very old film, Moti ka Haar-1937. The song is sung by Ashiq Hussain. The song begins with few sentences in English. The music is by Jaddanbai. The film was produced by Jaddanbai,under the banner of her own Sangeet Film Company, Bombay. It was directed also by Jaddanbai. Though she sang few songs in this film, she did not act in it. However, her daughter Baby Rani aka Fatima Rashid aka Nargis in adult life, acted in this film.Her son, Anwar Hussain also acted in this film. The other cast in the film was Mehtab, Ashiq Hussain, P L Santoshi, Mirza,Yusuf and many more.
Jaddanbai came from a Tawaif family. In the initial stage of the Indian films,whether silent or talkie,it was difficult to get girls from good families and background. Slowly this picture changed. When Talkie started many Tawaifs, singing girls and girls from such families joined films as they fulfilled the requirement of singing and looking good, in addition to their ease on Hindi/Urdu language.
At this time, slowly many educated and girls from high society as well as middle class families started joining films. So,to distinguish these women from each others, a system of nomenclature was followed.
All the Girls coming from Singing families and Tawaif background added the suffix “Bai” to their names, like Jaddanbai, Waheedan bai, Zohrabai,Amirbai etc. The Anglo-Indian and middle class girls took the prefix of ‘ Miss” like,Miss Moti,Miss Rose,MissTara,Miss ajmat,Miss Pearl etc.Those girls who were from high society were called Devi,like Sabita Devi,Kamla Devi,Renuka Devi etc. All Marathi actresses used their full names like Shanta Apte,Minaxi Shirodkar etc.
Another point, this nomenclature was only unofficial and traditional. So some Tawaif actresses took advantage of this to hide their roots.Like, Rampyari who was from a singing family of Hyderabad, sometimes called herself as Miss Rampyari.
Do you know the meaning of the word Kaneez ? Not many may be aware of it. To understand this word,we have to go back in History. There were 565 Princely states in India before Partition. Due to patronising of fine arts like music and dance by these Princes, a new class of Nautch Girls emerged in the 19th century. All Nautch Girls were not the same. Author Michael Kinnear, in his book “The Gramophone company’s first Indian Recordings 1899-1908 “, has explained the classification and Nomenclatures of these Nautch Girls. As per that, there were 4 types…
| Lowest Class…..IV | Name – Khanki | Prostitutes/Sex workers |
| Class III | Name – Kaneez | Daasi or servant |
| Class II | Name – Bai ji | Singing/Dancing |
| Class I | Name – Jaan | Top class singers |
They all were called collectively as Tawayafs. The readers will now understand the difference between Amirbai, Waheedanbai, Jaddanbai and Tamancha Jaan, Gauhar Jaan, Malika Jaan, Zohra Jaan etc etc. In the first decade of Talkie films, almost 90% actresses were from Tawayaf families. As the time went by, their percentage went reducing as girls from respectable families started opting for a film career.
Few of these Tawayaf actresses proved to be extraordinary and they set exemplary lifestyles. I would especially mention 4 names of such actresses, who were different from the rest and did an unexpectedly praiseworthy job. They are – Indurani, Mehtab, Gohar Mamajiwala and Jaddanbai. Indurani, was educated in a Convent school in initial years and understood the importance of education. She ensured high quality education to her children and after retirement from films, settled in US with her children. ” Knowledge is the greatest wealth” – her favourite life philosophy is engraved on her Grave stone in America.
Mehtab and Gohar Mamajiwala, both managed their husband’s cine studio companies with great efficiency. Both sacrificed their film careers to be with their husbands in thick and thin and ensured that they remained a great strength to their extended families. Both these women were highly respected in film industry.
The best among the four, however, was Jaddanbai. She was a multifaceted artiste. She was an excellent singer in her early career, where she was in great demand, receiving invitations from various princely states across the Indian subcontinent. In later life, she was a screen writer, Lyricist, Music Director, Actress, Director, producer and owner of a film production company. More than this, she had earned a high reputation in the film industry. She personally knew big guns like Mehboob, Karadar etc. Jaddanbai had undoubtedly earned a special status in the industry.
Her ability to settle complex personal and professional industry disputes, her generous open kitchen for co-workers, her penchant for colourful language and the high premium placed on her advise and recommendation made her a veritable institution in Indian film industry of her times.
Not only she wrote screenplays for all her films, she also helped her estranged son-Akhtar Hussain’s ” Nargis Art Films”, by writing screenplays for his films ” Anjuman-48″ and ” Darogaji-49″. Jaddanbai was proficient in Urdu, Hindi, Bengali, Persian, Arabic and English too. Jaddanbai’s films were made to boost good morals and promote Swadeshi values. Even her first film “Talash E Haq-35” was a story of a wayward actress Feroza, who had many lovers etc, but she finally goes for Search of Truth, denouncing all worldly matters in her life.
JADDANBAI was born in 1892. She was the love child of Motilal Nehru and her mother Daleepabai, who was a beautiful Tawaif. Daleepabai was originally from a Brahmin family,but was abducted and trained as a Tawaif. Jaddanbai was picked up from a mela of kothewalas, when she was only 5 yr. old and was trained as a Tawaif.
A close look at the special feature of Nose in Nargis,Indira Gandhi,Pt.Nehru,Rajiv Gandhi or Rahul Gandhi will confirm the similarity in the Nehru clan feature. Jaddanbai used to tie Rakhi also to Pt. Jawaharlal Nehru. ( from an article by Rajnikumar Pandya ji.)
Jaddanbai started learning music under the Ustad Moinuddin Khan, Barkat ali khan, Chhaddu khan and Laabh khan. For this she shifted to Calcutta in her teens only. Though she was born in Benaras, she grew up in Allahabad, the Nehru’s home town.
She started singing gazals and soon became so famous that she cut several Gramophone records. She was invited by many kings and states like, Rampur, Indore, Gwalior, Bikaner etc. She was very popular. A Lahore based film maker, Hakim Ram Pershad was also charmed by her singing and offered her a film role. At that time she was almost 40 year old, but she was not hired for her beauty but her singing. She did the role of Gopichand’s mother in this film. She was offered a role in film Raja Gopichand-1933, by Play Art Photo tone Co. of Lahore. She did that film and also did Insan ya shaitan, also in 1933, Sewa Sadan, Prem Pariksha and Naachwali, all in 1934 in Lahore and Karachi.
After these films, she decided that she had earned a lot so far and she wanted to enter the film business. She left the well earned fame and riches to relocate to Bombay to do a film career. Those days, Calcutta was for Bangla films, Lahore for Punjabi films and Madras for Tamil/Telugu films, so only Bombay catered to Urdu/ Hindi films. Naturally Jaddanbai’s choice became Bombay.
She started her own company – Sangeet Film Co. and produced ‘Talashe Huq’ in 1935, in which her daughter Baby Rani (later Nargis) made her debut. ( actually Baby Rani had also worked earlier in film Nachwali-34, but it was uncredited ). Jaddanbai was an actor,singer, director and she also gave music to few films. Thus she became the second female music Director(after Bibbo) in India.
As an actress her films were- Raja Gopichand-33, Insan ya shaitan-33, Sewa sadan-34, Prem Pariksha-34, Naachwali-34, Talash e huq-35, Hriday Manthan-36 and Madam Fashion-36.
She also Directed few films-Madame Fashion-36, Hriday Manthan-36, Moti ka Haar-37 and Jeewan Swapna-37.
As a Music Director,her films were-Talash e huq-35, Madame fashion-36, Hriday Manthan-36, Moti ka Haar-37 and Jeewan Swapna-37.
As a singer her famous songs were- pardesiya re jara-Naachwali-34
range mehfil na raha-Prem pariksha-34
Aaina rakh do -Sewa sadan-34
Dil me jabse kisi ka-Talash e huq-35
Khoone dil ka kahin-Hriday manthan-36 and
Ho pyala mad se bhara-Madam Fashion-36.
Her singing was very enchanting and even Saigal was her fan.
She had 3 husbands in three marriages and 1 child each from every one.
First she married Narottamdas Khatri,the financier of her first film.He converted to Islam and became Bachhi Babu to marry her. She got Akhtar Hussain from him.
Her second husband was Ustad Irshaad Meer Khan, from whom she got Anwar Hussain.
Her third husband was Mohan Babu. This Uttamchand Mohanchand Tyagi was an orthodox Mohyal Brahmin from Rawalpindi. He was going to London for studying Medicine. He heard Jaddanbai’s singing and fell for her. Against all resistence from his family, he converted to Islam, became Abdul Rashid and married her. She had at last found true love and till the end, they loved each others. He was known as Mohan Babu. He was handsome,rich and good natured. From him Jaddanbai got a girl child called Fatima Rashid or Baby Rani or NARGIS. It is believed that due to her love for Mohan Babu she adopted a Hindu name of Jaya Devi Tyagi also.
Her elder son Akhtar kept away from the family, became a Director, but later started his own business away from these people. Anwar Hussain and Nargis entered films.
Jaddanbai was very well read, cultured and a social person.
She died on 8-4-1949.
The hero of film Moti ka Haar-37 was Ashiq Hussain. Not much information is available on him, except that he hailed from U.P. and that he was educated up to Matriculation, in those days. He was one of the young and good looking heros of those days. He acted in 25 films, starting with Jaddanbai’s film Talash E Haq-35 and his last film was Utho Jaago-47 – a film produced by actress Shehzadi. After the film was complete, they got married and later migrated to Pakistan. There, Ashiq Hussain turned into a full time producer and made many films. Unfortunately no information about him in Pakistan is also available. Ashiq Hussain sang 32 songs in 13 films in India.
Today’s song is sung by Ashiq Hussain. The song has some English lines in prose, before the actual song starts. Surendra and Bibbo made this style famous, with their popular song “Tumhi ne mujh ko pyar Sikhaya’in film Manmohan-36, in which at the beginning, Bibbo asks ” क्या मैं अंदर आ सकती हूं ? ” This different style of song was liked by public and then some more songs with same style were brought in by other composers. May be this song too was an attempt in this direction. With this song, film Moti ka Haar makes its Debut on the Blog.
( I thank for information used in this article from writings of Jill Nelmes and Jule Seibo from book “Women Screen writers- An International Guide”‘, article by Debashri Mukherji, titled “Screen writing and Feminist Rewriting”, article by Michael Kinnear, site http://www.pak.mag.com, http://www.muVyz.com, Film Directory 1946 and my notes).
Song-Chot maar lyo ghoonghatwa ki oat janiya (Moti Ka Haar)(1937) Singer- Ashiq Ghulam Hussain, Lyricist- Jaddanbai, MD- Jaddan bai
Lyrics
aa aa aa aa
you told me
you told me
to come with your home
tomorrow morning
jab ham wahaan pe gaye to
cheez ka pata nahin mila
I am very much ?
I am very much ??
I love and I do for you
chot maar lyo
chot maar lyo
chot maar lyo
ghoonghatwaa ki oat janiyaa
ghoonghatwaa ki oat janiyaa
chot maar lo
chot maar lo
ghoonghatwaa ki oat janiyaa
o chot maar lo
ghoonghatwaa ki oat jainiyaa
chot maar lo
phooli hai bagiya
ghata lahraayi
sooni sejariya se tu naahin bhaawe
aa jaa sejariya ki oar janiyaa
haan aa jaa jhopadiya ki oar janiyaa
haan raaja jhopadiya ki oar janiyaa
chot maar lo
ghoonghatwaa ki oat janiyaa
chot maar lo
haan
?? joruen pyaari
main shauhar unka laadlaa aa aa
main shauhar unka laadlaa
aur ghar ka numberdaar
in sab joruan ke bech kar
main utaroon ganga paar
chot maar lyo ghoonghatwaa ki oat janiyaa
chot maar lyo
Mere ghoonghat mein do nain
Posted on: November 20, 2018
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3777 | Post No. : | 14755 |
“Anmol Ratan”(1950) was directed by M Sadiq for Jaimini Dewan Productions, Bombay. The movie had Meena (Shorey ?), Karan Dewan, Gope, Gulab, Madan Puri, Nirmala ec in it. The movie had eleven songs in it. As many as ten songs have been covered in the past.
Here are the details of the ten songs from the movie that are already covered:-
|
Song Title |
Post No. |
Post Date |
| Laakhon mein ek hamaare sainyya laakhon mein ek | 3652 | 14-Mar-11 |
| Jab kisi ke rukh pe zulfen | 5519 | 24-Feb-12 |
| Taare wohi hain chaand wohi hai | 6090 | 17-Jun-12 |
| Yaad aane waale phir yaad aa rahe hain | 7573 | 28-Feb-13 |
| Dard mila hai tere pyaar ki nishaani | 7711 | 19-Mar-13 |
| Morey dwaar khule hain | 7750 | 25-Mar-13 |
| Shiqwa tere main gaaun | 8333 | 12-Jul-13 |
| Sajan aaye aadhi raat | 12408 | 28-Sep-16 |
| Kaale kaale baadalon mein paani | 13884 | 7-Jan-18 |
| Koi kah de balamwa se ut nahin jaaye | 14743 | 12-Nov-18 |
Here is the eleventh and final song from “Anmol Ratan”(1950) to appear in the blog. This song is sung by Lata. D N Madhok is the lyricist. Music is composed by Vinod.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
With this song, “Anmol Ratan”(1950) joins the list of movies that have all their songs covered in the blog.
Song-Mere ghoonghat mein do nain pukaaren piya piya din rain (Anmol Ratan)(1950) Singer-Lata, Lyrics-D N Madhok, MD-Vinod
Lyrics
mere ghoonghat mein do nain
pukaaren piya piya din rain
ho mere ghoonghat mein do nain
pukaaren piya piya din rain
ho o o
bedardi aaja re
bedardi aaja re
naina dete duhaai
duhaai re ae
naina dete duhaai
mere ghoonghat mein do nain
pukaaren piya piya din rain
raat pade sab jag soye
birhan ko neend na aaye
raat pade sab jag soye
birhan ko neend na aaye
taaron ki jhurmath mein aen aen chanda hansi udaaye
taaron ki jhurmath mein aen aen chanda hansi udaaye
o o
door desh ke vaasi tohe zara laaj na aayi
laaj na aayi re
naina dete duhaai
mere ghoonghat mein do nain
pukaaren piya piya din rain
ho o o
bedardi aaja re
bedardi aaja re
naina dete duhaai
duhaai re
naina dete duhaai
aa main tere dil mein bhar doon apne dil ki haaye
aa main tere dil mein bhar doon apne dil ki haaye
phir tu jaan sakega aa aa
kya hai peer paraayi
phir tu jaan sakega aa aa
kya hai peer paraayi
o o
bedardi ke pyaar mein
maine yoonhi umar ganwaai
umar ganwaai re ae
naina dete duhaai
mere ghoonghat mein do nain
pukaaren piya piya din rain
ho o o
bedardi aaja re
bedardi aaja re
naina dete duhaai
duhaai re
naina dete duhaai
Ghunghate Mein Chanda Hai
Posted on: August 14, 2018
- In: "chaand" song | "Ghoonghat" song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics contributed by readers | Post by Peevesie's mom | Songs of 1990s (1991 to 2000) | Songs of 1997 | Udit Narayan Solo Songs | Udit Narayan Song | Wedding reception song | Wedding song | Yearwise breakup of songs
- Leave a Comment
This article is written by Peevesie’s Mom, 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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3679 | Post No. : | 14572 |
He was born John Prakash Rao Janumala. He spent his childhood years in Mumbai’s Dharaavi and studied only upto class VII. Then he had to do odd jobs to overcome financial problems in the family. He was a good mimic. He started to perform in stage shows such as Tabassum Hit Parade and Kalyanji-Anandji Nite etc. He was noticed by Sunil Dutt at one of the stage shows and he got a chance in “Dard Ka Rishta” in 1981. His next big movie was Gul Anand’s – Pankaj Parashar directed movie “Jalwa”. Since then he has done around 350-400 movies.
Ok we adore him as Johnny Lever.
He is one from the current crop of comedians who were (I am sure) inspired by the likes of Mehmood and Johnny Walker. Can anyone forget his teaming up with Ashok Saraf in Rakesh Roshan’s ‘Karan Arjun’ or for that matter many Rakesh Roshan directed and produced movies be it ‘Kishen Kanhaiya’, ‘Koyla’, ‘Kaho Na Pyaar Hai’, ‘Koi Mil Gaya’. He was also part of any David Dhawan movies where his character was as important as the hero’s. He is a performer whose eyes all speak. And he is a decent dancer considering he has teamed up with Govinda, Shahrukh Khan, Aamir Khan etc. for many song and dance sequences. I just realized that he is 60 already and today (14th August) he will be 61. God!!!
Today’s song is from the 1997 Rakesh Roshan directed Shahrukh Khan Movie “Koyla”. The song is something like “Mere Saamne Waali Khidki Mein. . .” from ‘Padosan’ (1968) in the sense that on screen SRK is lip synching to Johny Lever’s singing. This is because SRK plays a mute character in the movie.
The song is in the voice of Udit Narayan, music direction is Rajesh Roshan and written by Indeevar. The song happens at the wedding reception of Raja, the tyrant zamindar role played by Amrish Puri, who has conned Madhuri into marrying him after showing the pic of the mute Shahrukh Khan (who is unaware of the con). Towards the end of the song SRK discovers the bride (who is supposed to be at the reception) sitting and crying in the bedroom with Deepshika filling in for her next to Amrish Puri.
Audio
Video
Song – Ghunghate Mein Chanda Hai (Koyla) (1997) Singer – Udit Narayan, Lyrics – Indiwar, MD – Rajesh Roshan
Chorus
Lyrics
ghunghte mein chanda hai
phir bhi hai phaila
chaaron oar ujaala
ghunghte mein chanda hai
phir bhi hai phaila
chaaron oar ujaala
hosh na kho de kahin
josh mein dekhne waala
hosh na kho de kahin
josh mein dekhne waala
ghunghte mein chanda hai
phir bhi hai phaila
chaaron oar ujaala
hosh na kho de kahin
josh mein dekhne waala
arey hosh na kho de kahin
josh mein dekhne wala
hmm hmmhmmhmmhmmhmm
aaj sundarta dulhan bani hai
koyi kismat ka kitna dhani hai
aaj sundarta dulhan bani hai
koyi kismat ka kitna dhani hai
munh diklaayi ki khaatir
dil kya jaan bhi hai haazir
munh diklaayi ki khaatir
dil kya jaan bhi hai haazir
baadalon ko mor dekhe,
chaand ko chakor dekhe
tujhko naseebon waala
hosh na kho de kahin
josh mein dekhne waala
hey hosh na kho de kahin
josh mein dekhne waala
ghunghte mein chanda hai
phir bhi hai phaila
chaaron oar ujaala
hosh na kho de kahin
josh mein dekhne waala
arre hosh na kho de kahin
josh mein dekhne waala
oooo
oooo
paas tu door tak hain nazaare
mil rahe hain dilon ko sahaare
paas tu door tak hain nazaare
mil rahe hain dilon ko sahaare
leke bahaaren tu aayee
door huyi hai tanhaayi
leke bahaaren tu aayee
door huyi hai tanhaayi
ghar ko sanwaar dega,
dil ko karaar dega
roop ye tera niraala
hosh na kho de kahin
josh mein dekhne waala
hey hosh na kho de kahin
josh mein dekhne waala
ghunghte mein chanda hai
phir bhi hai phaila
chaaron oar ujaala
hosh na kho de kahin
josh mein dekhne waala
hosh na kho de kahin
josh mein dekhne waala
aaaaaaaaa
aaaaaaaaa
aaaaaaaaa
aaaaaaaaa
aaaaaaaaa
aaaaaaaaa
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
घुंघटे में चंदा है
फिर भी है फैला
चारों ओर उजाला
घुंघटे में चंदा है
फिर भी है फैला
चारों ओर उजाला
होश ना खो दे कहीं
जोश में देखने वाला
होश ना खो दे कहीं
जोश में देखने वाला
घुंघटे में चंदा है
फिर भी है फैला
चारों ओर उजाला
होश ना खो दे कहीं
जोश में देखने वाला
अरे होश ना खो दे कहीं
जोश में देखने वाला
हम्म हम्म हम्म हम्म हम्म हम्म हम्म
आज सुंदरता दुल्हन बनी है
कोई किस्मत का कितना धनी है
आज सुंदरता दुल्हन बनी है
कोई किस्मत का कितना धनी है
मुंह दिखाई की खातिर
दिल क्या जान भी है हाज़िर
मुंह दिखाई की खातिर
दिल क्या जान भी है हाज़िर
बादलों को मोर देखे
चंदा को चकोर देखे
तुझको नसीबों वाला
होश ना खो दे कहीं
जोश में देखने वाला
हे होश ना खो दे कहीं
जोश में देखने वाला
घुंघटे में चंदा है
फिर भी है फैला
चारों ओर उजाला
होश ना खो दे कहीं
जोश में देखने वाला
होश ना खो दे कहीं
जोश में देखने वाला
ओ ओ ओ ओ
ओ ओ ओ ओ
पास तू दूर तक हैं नज़ारे
मिल रहे हैं दिलों को सहारे
पास तू दूर तक हैं नज़ारे
मिल रहे हैं दिलों को सहारे
लेके बहारें तू आई
दूर हुई है तनहाई
लेके बहारें तू आई
दूर हुई है तनहाई
घर को संवार देगा
दिल को क़रार देगा
रूप ये तेरा निराला
होश ना खो दे कहीं
जोश में देखने वाला
हे होश ना खो दे कहीं
जोश में देखने वाला
घुंघटे में चंदा है
फिर भी है फैला
चारों ओर उजाला
होश ना खो दे कहीं
जोश में देखने वाला
अरे होश ना खो दे कहीं
जोश में देखने वाला
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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