Advertisements

Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Archive for the ‘Group Dance’ Category


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 : 3589 Post No. : 14342

Hullo Atuldom

Back to writing after a gap of 3 weeks. Lovely three weeks. Spent among the hills of North- East India and South India. Must thank my nephew for insisting that I accompany them. If the Himalayas and its snow-clad peaks are a heavenly sight so are the mountain ranges of the Nilgiris in the south – the common feature being acres of tea gardens. For the second weekend outing to the Nilgiris, I hold my son and niece responsible.

Trust humans to spoil a good thing. Where there was a lot of discipline among the locals at both places; tourists have ruined Ooty as much as say Lonavla, Khandala or Mahabaleshwar in Maharashtra. Thankfully Sikkim has not faced much tourist onslaught and so is much cleaner. The air in these hill stations are so pollution free one doesn’t feel like returning to pavilion and the reality of daily routine. I am sure our Sadanand ji will be nodding in agreement being an avid traveller and having visited many such pristine locations. Hope I am right?

More about my travels some other time, I will get straight to the topic of this post.

This post is to wish the lady with the dazzling smile a very happy birthday. Unbelievable that she turned 51 yesterday. The dancer who out-dances her co-star without meaning to and effortlessly at that. But she is not all song and dance only; she is great in exhibiting all emotions with her eyes, face and voice. Just like the heroines of yesteryear, specially Madhubala, with whom she used to be constantly compared. Yes yes. I am speaking of Madhuri Dixit (now Nene). Having made her debut in movies through the 1984 Rajshri Productions ‘Abodh’ and tasting success with ‘Tezaab’, ‘Ram Lakhan’, ‘Tridev’, etc. she made a place for herself among the top-ranked heroines of Bollywood. Her teaming with Anil Kapoor, Sunny Deol, Sanjay Dutt, Govinda, Jackie Shroff (all the reigning stars of that period) was well received by the audiences. In the later half of the 90s she also teamed successfully with the 3Khans. She was lucky to have roles written specially for her as in Prakash Jha’s ‘Mrityudand’ and MF Hussain’s ‘Gaja Gamini’.

As much as I love Madhuri and her movies with their songs and dances, there are some songs of her’s which I don’t approve of. For example, her song in the movie ‘Anjaam’ – “Athraa Baras Ki Kunwaari Kali Thi. . . Choodi Tooti Chane Ke Khet Mein” or the song from ‘Khalnayak’ – “Choli Ke Peeche Kya Hai”; and then there is ‘Mera Piya Ghar Aaya O Ram ji” in ‘Yaarana’ or even “Dhak Dhak Karne Laga” from ‘Beta’. All these songs and some more of that type, which made Madhuri Dixit a dancing-star, are full of double meanings and were lapped up by the public. But there also is a greater number of Madhuri songs which are just as popular and have more ‘decent’ lyrics. For example, “Didi Tera Devar Deewana”, and her songs from ‘Devadas’, ‘Saajan’, ‘Sangeet’ etc. (no, I am not going to list her filmography here 🙂 ). The song with this post is one such song.

It is from Rajkumar Santoshi’s 2000 release ‘Pukaar’ (making a debut on the blog).  The main cast of this film is Madhuri with Anil Kapoor and Namrata Shirodkar and a supporting cast of Om Puri, Kulbhushan Kharbanda, Rohini Hattangadi, KD Chandran, Neeraj Vora, Danny and Prabhu Deva (just for a song). It is a well-made film based on espionage in the army and had a love triangle added for spice which gives the central characters a lot of scope to showcase their ‘sacrificing attitudes’. The songs are penned by Javed Akhtar and AR Rehman is the composer. This song is sung by Shankar Mahadevan and Kavita Krishnamurty. It is a stage show to celebrate some event in the army cantonment. The song shows Madhuri decently matching steps to Prabhu Deva’s vigorous dance. Anil Kapoor, Namrata and the other members of the cast are in the audience which join in towards the song’s climax.

Wish you a very Happy Birthday Madhuri!

Song – Que Sera Sera Sera, Jo Bhi Ho So Ho (Pukaar) (2000) Singer – Shanker Mahadevan, Kavita Krishnamurthy, Lyrics – Javed Akhtar, Kaly, MD – AR Rehman
Female Chorus
Male Chorus
All Chorus

Lyrics

naujawaano
baat maano
kabhi kisi se
na pyaar karna
naujawaano
baat maano
kabhi kisi se
na pyaar karna
hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho
hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho

pyaar zindagi
pyaar har khushi
pyaar jisne paaya hai,
wahi dil phool jaisa khila
pyaar galti hai
pyaar dhokha hai
pyaar dhalti chhaaya hai,
dekho phir na karna gila
oo oo
pyaar zindagi
pyaar har khushi
pyaar jisne paaya hai,
wahi dil phool jaisa khila
pyaar galti hai
pyaar dhokha hai
pyaar dhalti chhaaya hai,
dekho phir na karna gila
pyaar hi dhadakano ki kahaani hai,
pyaar hai haseen daastaan
pyaar ashqon ki deta nishaani hai,
pyaar mein hai chain kahaan
pyar ki baat jisne na maani hai
uski na to zameen hai na hai aasmaan
naujawaano
baat maano
kabhi kisi se
na pyaar karna
hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho
hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho

pyaar jaise hai purab-pashchim
pyaar hai uttar-dakkhin,
yahaan hai pyaar hi har disha
pyaar rog hai
pyaar dard hai
pyaar tode dil ek din
ye hi hai pyaar ka silsila
oo oo
pyaar jaise hai purab-pashchim
pyaar hai uttar-dakkhin,
yahaan hai pyaar hi har disha
pyaar rog hai
pyaar dard hai
pyaar tode dil ek din
ye hi hai pyaar ka silsila
pyaar se hi to rangeen jeevan hai
pyaar se hi dil hai jawaan
pyaar kaanto ka jaise koi ban hai
pyaar se hi gam ka samaan
pyaar se jaane kyon tum ko uljhan hai
pyaar to saari duniya pe hai meharbaan
naujawaano
baat maano
naujawaano

hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho
hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho

na na na na naujawaano
na na na na
na na na na
na na na na
na na na na
naujawaano
na na na na
na na na na
na na na na
na na na na
na na na na
na na na na
na na na na

hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho

hamein pyaar ka ho aasra
phir chaahe jo ho
hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho
hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho

pyaar pyaar pyaar pyaar pyaar pyaar

ok ok ok ok. . .

pyaar pyaar pyaar pyaar pyaar pyaar

hamein pyaar ka ho aasra
phir chaahe jo ho
hamein pyaar ka ho aasra
phir chaahe jo ho

hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho
phir chaahe jo ho
phir chaahe jo ho
phir chaahe jo ho

Advertisements

This article is written by Sudhir, 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 : 3554 Post No. : 14261

So, minus 1 and plus 1, we still got to the 100th Yippeee film yesterday.

Minus 1 because on 3rd April, Atul ji had announced the Yippeee-ing of the film ‘Razia Sultan’ (1983), after posting its ‘sixth + seventh’ songs together – an announcement that turned out to be incorrect. Avinash ji pointed out that there is still one more song to be posted from this film. With some more leg work and info-search we now have more detailed info about the song list of this film. Below is the details of the songs of ‘Razia Sultan’ that I had shared with Atul ji the same day, in email.

I just checked the 1981-90  volume compiled by Jagdish Purohit and Ghulam Qureshi, with the involvement of Suman Chaurasia of Indore. This volume was published as the HFM lovers were/are waiting for Hamraaz ji to bring out his next volume.

In this volume, the compilers have listed 12 songs for this film. Since ‘Razia Sultan’ is a well known film, and a landmark in itself, I am sure lots of information sources are available and there is less chance that the compilers would be in error. In a musical film like this, number of songs certainly would not be limited to 6/7.

The list of all songs, as per this volume, is

  1. Ae Dil e Nadaan
  2. Aayi Zanjeer Ki Jhankar
  3. Naghma e Mohabbat
  4. Jalta Hai Badan
  5. Hariyala Banna
  6. Ae Khuda Shukr Tera
  7. Khwaab Ban Kar Koi Aayega
  8. Tera Hijr Mera Naseeb Hai
  9. Taraana e Jashn e Taajpsohi
  10. Shubh Ghadi Aayi Re
  11. Ae Dil e Nadaan (this may be part 2, or a reprisal)
  12. Falak Se Awaaz Hai

As per our blog listing, we have as yet covered 1, 2, 4, 5, 6, 7, 8 and possibly 11. As per the singer list, the songs 9 and 10 seem to important loaded songs; 9 has 4 singers and 10 has 6 singers. Both these songs have Ustad Faiyaaz Ahmed Khan, and Ustad Niaz Ahmed Khan in the list of singers.

Just like maybe Pakeezaah, the remaining songs are probably less heard, less popular ones, which may drop from the collective memory.  You may recall that the non-Ghalib items in Mirza Ghalib (3 in number) remained obscure for quite a long time, since the radio and the radio listening public focused on the Ghalib creations in this film.

So that was minus 1 for 3rd April.

However, Atul ji is quick to also point out that back on 16th Jan, we had actually Yippeee’d two films together on the same day. That had happened, because both Atul ji and I were separately working on two different Yippeee posts, and our communications to each other regarding the posts seemed to have crossed but not read by each other. So in quick succession, both he and I posted two Yippeee songs that day – “Gaadi Dilli Waali Chali” (‘Delhi Junction’, 1960) and “Soyi Soyi Chaandni Hai. . .” (‘Khazaana’, 1951). In his write up, Atul ji has noted that,

Coming to my observations that we need to reiterate our new year resolutions (Gregorian calender version) on new year (Hindu calender version) as well. On the first day of this year (viz Yesterday 15 january 2018), only the first half of the half the resolution (viz posting a debutant song for the day) was fulfilled till late in the night. Sudhir Ji had posted a “debutant” post for the day. I had noticed that he had planned for a “YIPPEE” post as well. But seeing that the “debutant” post had appeared so late, I was afraid that it might become a race against time to fully fulfil the new year resolution. So I decided to lend a helping hand to Sudhir Ji. I prepared this “YIPPEE” writeup and I decided to post it in case Sudhir Ji was strapped for time (which he certainly is these days).

Fortunately, I found that Sudhir Ji succeeded in posting the YIPPEE writeup just in the nick of time yesterday night, and it was that rollicking title song of “China Town”(1962), viz. Rangeen bahaaron se hai gulzaar China Town.

So the song that I had kept as the backup YIPPEE song was not required.

Today (16 january 2018), we find ourself in the same situation as yesterday. The “debutant” movie of the day was done and dusted with first thing in the morning by Sudhir Ji. Sudhir Ji then asked me for the list of YIPPiable movies, aiming to post the YIPPEE movie of today as well, while I concentrated on the O P Nayyar tribute post.

After the O P Nayyar tribute post was published late, I found that Sudhir Ji has prepared for the YIPPEE song of the day, and it was a song that was not available online as far as I can tell. But like last night, we are against racing against time and I do not find Sudhir Ji at the keyboard right now. So I feel that I need to step in and publish the backup YIPPEE song that I had prepared yesterday. That way, Sudhir Ji can publish his YIPPEE article on the next day.

In fact, as Atul ji was hastening to complete the above Yippeee post for that day, I was equally busy on my keyboard, and almost simultaneously – a difference of about 45 minutes, I too posted the Yippeee post for the day, only to realize immediately that the work is now duplicated. So I immediately went back into my post and added this footnote,

[Ed Note: It was only after this song got posted that I took a breather, only to notice that Atul ji has also already welcomed another film (the previous post) to Yippeee-land today. It most certainly seems like the ‘yippeee-ing hour’, what with two films racing to Yippeee-land, just within minutes of each other. 😀 😀 ]

So, the two miscues cancelled each other out, and we are firmly able to announce that 100 Yippeee films have happened in the first 100 days of this calendar year (Gregorian). 🙂

Now, moving beyond the century yesterday, we come to ‘IOI’ of the Yippeee train today. Atul ji had posted the penultimate song of this film yesterday. Yes, I refer to the 1965 film ‘Sangraam’ – a film that has a full list of very memorable songs. This film made its debut on our blog way back on 12th Nov, 2010. Just see the list below of the songs posted so far. Each one of these songs is a veritable gem – in a mood that is so representative of the music of the 1960s.

Main To Tere Haseen Khayaalon Mein Kho Gayaa Sangraam 1965 3195 12-Nov-10
Masti Mein Doley Jiyaa Ho Sangraam 1965 4270 25-Jul-11
Dam Dam Dam Dam Damroo Baaje Sangraam 1965 10405 25-Oct-14
O Tera Chhup Chhup Ke Chale Aana Sangraam 1965 14093 23-Feb-18
Nikla sainyya chaalbaaz re Sangraam 1965 14255 10-Apr-18

These songs represent a music that was full of verve, full of energy, full of a joyous expression of love, taking in a lot of influence of the western rock and pop genres. Rhythm was more or less the dominant temper of this music, which was made for a popular taste that was already initiated by an increasing influence of western rhythms on the young minds of this nation. The decade of the 1960s was the time when the joys of freedom and the pain of partition were both tending to fade into paler shades, getting better of the passing generations.

The film is produced under the banner of Film India, Bombay, and is directed by Babubhai Mistry. The cast of actors includes Dara Singh, Geetanjali, Randhawa, Swarn Kumari, Maruti, Aruna Irani, Uma Dutt, Ratnamala, Mridula, Vishwas Kunte, Amrit Rana, Yunus Parvez, Baijnath, Helen, and King Kong.

After his earlier cameo appearances in films of 1950s, the first lead role that Dara Singh landed was in the film ‘King Kong’ of 1962. This was followed by ‘Aawaara Abdullah’ in 1963, then ‘Ek Tha Alibaba’, ‘King of Carnival’, ‘Rustom e Baghdad’, also 1963. In 1964, we see him in ‘Aandhi Aur Toofaan’, ‘Aaya Toofaan’, ‘Hercules’, ‘Dara Singh’ (yes, a film titled after his own name), ‘Rustom e Rome’, ‘Baadshah’, ‘Veer Bhimsen’. So when we come to 1965, Dara Singh has already appeared in a lead role in 12 films in just three years. The reason I am making this observation is that when I viewed this film in preparation for this post, I found a very interesting aspect. In this film, he is accompanied in the star cast by his younger brother Randhawa. The two brothers have already appeared together in ‘Aawaara Abdullah’, ‘Hercules’ and ‘Veer Bhimsen’. This is their fourth film together. As I viewed this film, I realized that the dialogues of both are dubbed in voices other than their own. I have not had time to sample once again his earlier films (some of which I know I have seen earlier) to ascertain whether this dubbing aspect is present in any of his earlier films. I do remember reading, well a long time back, that in the initial years of his career, his diction of Hindi/Urdu dialogues was less than desirable, as his voice had a very strong Punjabi accent to it. But I did not realize that he would be going through more than a dozen films and still be required to have his dialogues dubbed. The voice of the dubbing artist is very familiar, but I am not able to place a name to it right now.

The film is a costume drama with a strong element of palace intrigues and lost and found siblings stories. The corrupt Wazir (prime minister) has the king assassinated, and usurps the throne for himself. The king has two sons. The nanny for the two children is able to escape the bloodshed in the palace, along with one of the princes. The Wazir kind of adopts the second son, and raises him on a diet of lies and misinformation, hiding the truth about the death of the king, his father. The Wazir has a daughter, whom he wants to get married to the prince-in-custody. The prince-in-custody also fancies the lady. But the lady had lost her heart to a commoner in one of the villages in the kingdom, during some interludes that are very conveniently created by the story writers. The person she fancies, is actually the other prince, who had been taken away by the nanny and was raised by her in anonymity. So the tale of this film is about how the two brothers at first are enemies on account of fancying the same lady; then some way through the film, the truth about siblings is revealed and they become a team to vanquish the scheming Wazir and reclaim their father’s kingdom. And yes, the younger sibling gracefully steps aside for his elder brother to take over. 🙂

The one more interesting thing that I note about this film is the long drawn fighting sequences. Regular fans of Dara Singh films will recall the name King Kong. Yes, we had a wrestler by this name in that era when freestyle wrestling was a hugely popular spectator sport with the likes of Dara Singh, Randhawa, Goldstein, Imam Bux, Sheikh Ali, Hamida Pehalwan and of course the Great Gama Pehalwan etc. being the big names billed for such events. Believe it or not, but that was an era when for a freestyle wrestling match between some great names, one could expect anywhere from 1 Lakh to 2 Lakh spectators to be present (a Lakh is 100,000).

King Kong was a hugely bulky wrestler. His real name was Emile Czaja, and he was of mixed Indian – Australian descent, born in Hungary. He became a professional wrestler in the sub-continent and also appeared for bouts in all of south east Asia and Japan etc. Like Dara Singh he also migrated into Hindi films during the late 1950s and 60s, and appeared in many films generally as part of the villain’s team that would give a thrashing the heores to start with, and then at the end, get a beating of their lives at the hands of the lead wrestler. On YouTube, there are a few video footage clips of actual wrestling matches between Dara Singh and King Kong. Both of them appeared in many Hindi films together.

King Kong makes an appearance in this film also, as one of the henchmen of the devious Wazir. He has an additional significant presence in this film, as he also plays the father to the the young lady (Aruna Irani) who is the love interest of Maruti, the sidekick of Dara Singh in the film, making up a very detailed CSP (comic side plot). He fights on the side of the baddies, but eventually gives in to the goodies, since his daughter is in love with one of the goodies team member.

Ah yes, so I was talking about the long drawn out fight sequences in the film. They begin to appear almost from the start of the film, continue regularly throughout. Given these segments, the CSP and the songs, the actual story and dialogues have very little room to maneuver themselves. Everything other than the fight sequences seem to be in a hurry to get themselves done with. 🙂

Today’s song is the sixth song in the film. And what a rollicking dance song this one is. The trio of music directors – Lala Asar and Sattaar seem to be outdoing themselves in getting through the songs of this film. The song is filmed as a group dance song. The occasion is that the Wazir’s daughter has fled her father’s palace, choosing to come to the village where Dara Singh resides with his mother (actually his nanny from the royal babyhood days). The Wazir’s soldiers are chasing her, and they have been given a good beating by Dara Singh, Maruti and their team. This song is a celebration of their victory. We see Dara Singh and Geetanjali (Wazir’s daughter) and Dara Singh’s ‘mother’ seated prominently amongst the audience watching this performance. Maruti is part of this group dance. The video clip that is available is somewhat out of focus, on account of colors being splayed a little, as the photochemicals on the celluloid have aged. The face of the lead dancer is not very clear, and before I hazard a guess as to her identity, I request other friends and readers to please help identify this actress.

Enjoy this final song from this film to make it on to the billboard of our blog. And with that, we announce the Yippeee-dom status to this film. All aboard.

 

Song – Dhali Re Dhali Re Saanjh Dhali  (Sangraam) (1965) Singer – Asha Bhosle, Lyrics – Madhukar Rajasthani, MD – Lala Asr Sattaar
Unidentified Male Voice
Chorus

Lyrics

teek teek jhungha ka jhoonga
teek teek jhungi ki jhungi

teek teek jhunga ki jhungi
teek teek jhunga ki jhingi

dhali re dhali re saanjh dhali
chali re chali re main to chali
paayaliya boley re. . .
haule haule jiyara doley
hoye haule haule jiyara doley
hoye haule haule

bol sakhi
mere daaman mein kya hai
machla hua
aa ke mausam chhupa hai
meetha meetha
chhaaya mujh pe nasha hai
meetha meetha
chhaaya mujh pe nasha hai
ye to abhi
pehli pehli ada hai
chain luta
jaane kya ho gaya hai
mann ki lagan
ho ke magan
dol rahi jaise pawan
paayaliya boley re. . .
haule haule jiyara doley
hoye haule haule jiyara doley
hoye haule haule
teek teek jhunga ki jhungi
teek teek jhunga ki jhingi

naam mera
dil pe likhte deewaane
bhanwre sadaa
aayen ras to churaane
aai badi
rang mujh pe jamaane
aai badi
rang mujh pe jamaane
uljhe agar
bolo saawan suhaane
uljhe bina
suljhe naa dil ke taraane
jawaan jawaan chhaaya samaa
husn bhara gora badan
paayaliya boley re. . .
haule haule jiyara doley
hoye haule haule jiyara doley
hoye haule haule
teek teek jhunga ki jhungi
teek teek jhunga ki jhingi

raat nai
aai hai un se milaane
husn chala
ishq pe tan mann lutaane
chaand aaya
aaj mujhko bulaane
chaand aaya
aaj mujhko bulaane
kaun hai wo
hum se lagi tu chhupaane
preet bhare
nain batiyaan na maane
behki nazar
jaaun jidhar
aata mujhe
wo hi nazar
paayaliya boley re. . .
haule haule jiyara doley
hoye haule haule jiyara doley
hoye haule haule

dhali re dhali re saanjh dhali
chali re chali re main to chali
paayaliya boley re. . .
haule haule jiyara doley
hoye haule haule jiyara doley
hoye haule haule

aaaa aaaa aaaa aaa aaaa
(haule haule jiyara doley
hoye haule haule jiyara doley)

aaaa aaaa aaaa aaa aaaa
(haule haule jiyara doley
hoye haule haule jiyara doley)

aaaa aaaa aaaa aaa aaaa
(haule haule jiyara doley
hoye haule haule jiyara doley)

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

टीक टीक झुंघा का झूंघा
टीक टीक झुंघी का झुंघी

टीक टीक झुंघा की झुंघी
टीक टीक झुंघा की झिंघी

ढली रे ढली रे साँझ ढली
चली रे चली रे मैं तो चली
पायलिया बोले रे॰ ॰ ॰
हौले हौले जियरा डोले
होए हौले हौले जियरा डोले
होए हौले हौले

बोल सखी
मेरे दामन में क्या है
मचला हुआ
आ के मौसम छुपा है
मीठा मीठा
मुझपे छाया नशा है
मीठा मीठा
मुझपे छाया नशा है
ये तो अभी
पहली पहली अदा है
चैन लुटा
जाने क्या हो गया है
मन की लगन
हो के मगन
डोल रही जैसे पवन
पायलिया बोले रे॰ ॰ ॰
हौले हौले जियरा डोले
होए हौले हौले जियरा डोले
होए हौले हौले
टीक टीक झुंघा की झुंघी
टीक टीक झुंघा की झिंघी

नाम मेरा
दिल पे लिखते दीवाने
भँवरे सदा
आयें रस को चुराने
आई बड़ी
रंग मुझपे जमाने
आई बड़ी
रंग मुझपे जमाने
उलझे अगर
बोलो सावन सुहाने
उलझे बिना
सुलझे ना दिल के तराने
जवां जवां छाया समां
हुस्न भरा गोरा बदन
पायलिया बोले रे॰ ॰ ॰
हौले हौले जियरा डोले
होए हौले हौले जियरा डोले
होए हौले हौले
टीक टीक झुंघा की झुंघी
टीक टीक झुंघा की झिंघी

रात नई
आई है उनसे मिलाने
हुस्न चला
इश्क़ पे तन मन लुटाने
चाँद आया
आज मुझको बुलाने
चाँद आया
आज मुझको बुलाने
कौन है वो
हमसे लगी तू छुपाने
प्रीत भरे
नैन बतियाँ ना माने
बहकी नज़र
जाऊन जिधर
आता मुझे
वो ही नज़र
पायलिया बोले रे॰ ॰ ॰
हौले हौले जियरा डोले
होए हौले हौले जियरा डोले
होए हौले हौले

ढली रे ढली रे साँझ ढली
चली रे चली रे मैं तो चली
पायलिया बोले रे॰ ॰ ॰
हौले हौले जियरा डोले
होए हौले हौले जियरा डोले
होए हौले हौले

आsss आsss आsss आsss आsss
(हौले हौले जियरा डोले
होए हौले हौले जियरा डोले)

आsss आsss आsss आsss आsss
(हौले हौले जियरा डोले
होए हौले हौले जियरा डोले)

आsss आsss आsss आsss आsss
(हौले हौले जियरा डोले
होए हौले हौले जियरा डोले)


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 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.

Today’s song is from a comparatively new film ‘Lagaan’ (2001). The song,written by Javed Akhtar and composed by AR Rahman, is sung by 5 singers, viz. Alka Yagnik, Shaan, Shankar Mahadevan, Sukhwinder Singh and Udit Narayan. Why do I feel some readers are smiling after reading my above sentence calling ‘Lagaan’ as a new film ? As compared to what my forte has been so far (old films from 1930s to 1970), ‘Lagaan’ IS a comparatively new film. . . at least for me !

I have always believed that there are no boundaries for good films and good music. Fortunately, even today, we still get occasional good films. Of course everybody’s views may be different on this issue. I found that today, the films have better technical values, a bigger canvas and they try to cater to the Indian as well as non Indian audience, since nowadays most big budget films are shown outside India, where they are in big demand.

I am a great fan of Aamir Khan – the Actor. As a person, I don’t like his views, quotes and antics, but I respect his dedication to the roles he does in his films. Despite so many years, he has retained his quality of acting, involvement and his urge to excel and be a different actor. That is why, probably, he chooses to do fewer films than his other contemporaries. May be he believes that “Quantity is always at the cost of quality” !

When Ashutosh Govarikar, the director of ‘Lagaan’, first wrote the film script of ‘Lagaan’, he had decided that only Aamir khan is fit to do the role of Bhuvan. However, after hearing the script, Aamir Khan flatly refused to do the film. He told Ashutosh, “You have broken every rule of Hindi film making in this script (there are 5 such rules). There is a great risk in the film. Dont count me in this “.

Undeterred, Ashutosh made another draft, along with some dialogues. It took him one year. Then he contacted Aamir again, “I have a fresh script”. Aamir was ready to listen, but he asked “I hope it is not the same one having cricket and lagaan ?”  Ashutosh confirmed it was the same. Aamir said, “Then I don’t want to waste 3 hours of mine and yours. Forget it.” When Ashutosh insisted as a friend, Aamir gave him time. . . after one month.

After hearing the revised script, Aamir seemed excited and said, “Yes, I will do this film.”  Then the question came about producer. They went to many producers, but none was ready to do this film. One producer suggested, “In the end show that Bhuvan stabs Captain Russel with a stump, after the match.”  Ashutosh left his place without even responding. Finally they decided that the film has to be produced by Aamir himself. Aamir floated a company – Aamir Khan Productions Pvt Ltd. He and Mansoor Khan produced the film. This was probably the first time when a production company was formed for a script. Normally first the company is formed and the script comes later.

Some critics tried to claim that the ‘Lagaan’ theme is a copy or inspired from ‘Naya Daur’ (1957). Like Shankar in ‘Naya Daur’, Bhuvan also accepts the challenge inspite of villagers’ opposition. Like Rajni,  Gauri supports Bhuvan. Ajit, the one sided lover of Rajni, becomes hero’s enemy in ‘Naya Daur’. In ‘Lagaan’, Yashpal Sharma (Lakha) loves Gauri and becomes Bhuvan’s enemy etc. They showed the film to BR Chopra. He was terribly impressed and immediately wrote a letter to them. He said “In ‘Naya Daur’ the theme was ‘Man v/s Machine’. In your film the theme is ‘Man v/s the Oppressor”. It is totally different, no similarity at all. It is an independent excellent story.”

Ashutosh was very clear in his approach. The film was NOT on cricket. It was on an unjustified taxation and the villagers’ fight against it. ‘Fight for survival’ was the principle here. Villagers were unhappy as there were no rains and then this double Lagaan (taxation) came. The film showed how people get ready to fight the injustice. Even in the advertisements of the film, cricket was never mentioned initially.

The film created records in India as well as abroad. Whenever the film was shown in any International Film Festival and to the Oscar dignitaries, distributors used to throng for rights. The film was dubbed in French and Italian. It became the first Hindi film to be shown in Sweden, Finland and Brazil. The population in those countries did not even know what was the game of cricket. What appealed to them was the villager’s fight against injustice. In few countries just before the film. the general rules of cricket were shown to the audience.

The cast of the film is Aamir Khan, Gracy Singh, Suhasini Mulay, Kulbhushan Kharbanda, Raghuveer Yadav, Rachel Shelley, Paul Blackthorne etc. Before the film was released anywhere, it was first shown to people of Bhuj, where it was shot, as per Aamir’s promise. It was released in United Kingdom, China, Italy, France, USA, Germany, Japan, Malaysia, Hong kong, the middle east and many other countries. In India, it was released on 15-6-2001, along with its premiere in UK. With a budget of Rs 250 million, it grossed 700  million rupees in its first week itself.

I liked this movie very much, like many other Aamir Khan films. I am not giving its story which is too well known. it was given by our own Nahm ji when she discussed its first song on this blog some time back. By coincidence, Peevesie’s Dad ji posted the second song of this film, coinciding with our young member and his daughter Peevesie’s birthday on Saturday, the 23rd December. Today’s song is the 3rd song from the film. The film has 7 songs and one dance instrumental piece. All songs are written by Javed Akhtar and composed by AR Rahman.

The situation of this song, which is a song from film’s opening scenes, is that villagers are worried as there are no rains for a long time. Suddenly, dark black clouds gather over the skies, making them feel that rains will come anytime now. They start celebrations and sing this song. But Alas ! the black clouds disappear as suddenly as they had come and gloom spreads over the village again. Just watch the feelings on the faces of the villagers before and after the cloud entry and exit. Enjoyable song. . . and the film !

(Note: Thanks to an adapted article by late Abhijit Desai about ‘Lagaan’. )

 


Song – Ghanan Ghanan Ghir Ghir Aaye Badra (Lagaan) (2001) Singers – Alka Yagnik, Shaan, Shankar Mahadevan, Sukhvinder Singh, Udit Narayan, Lyrics – Javed Akhtar, MD – AR Rahman
Male Chorus
Female Chorus
All Chorus

Lyrics 

ghan ghanan ghanan
ghan ghanan ghanan

ghan ghanan ghanan
ghan ghanan ghanan

ghan ghanan ghanan
ghan ghanan ghanan

ghan ghanan ghanan
ghan ghanan ghanan

ghan ghanan ghanan
ghan ghanan ghanan

ghan ghanan ghanan

ghan ghanan ghanan ghir ghir aaye badraa
ghan ghanghor kaare chhaaye badraa
dhamak dhamak goonje badraa ke danke
chamak chamak dekho bijuriya chamke
mann dhadkaaye badarwaa
mann dhadkaaye badarwaa
mann
mann dhadkaaye badarwaa. . .

kaale megha kaale megha
paani to barsaao
kaale megha kaale megha
paani to barsaao
bijuri ki talwaar nahin
boondon ke baan chalaao

megha chhaaye
barkhaa laaye
ghir ghir aaye
ghir ke aaye..ey..ey..ey..ey. . .
kahin mann machal machal
na yun chal sambhal sambhal
gaye din badal
tu ghar se nikal
barasne waala hai amrit jal..ll..ll. . .
duvidha ke din beet gaye
bhaiyyaa malhaar sunaao

ghanan ghanan ghir ghir aaye badraa
ghan ghanghor kaare chhaaye badraa
dhamak dhamak goonje badraa ke danke
chamak chamak dekho bijuriya chamke
mann dhadkaaye badarwaa
mann dhadkaaye badarwaa
mann
mann dhadkaaye badarwaa. . .

ras agar barsega
kaun phir tarsega
koyaliya gaayegi baithi munderon par
jo panchhi gaayenge
naye din aayenge
ujaale muskura denge andheron par
prem ki barkha mein
bheege bheege tan mann
dharti pe dekhenge paani ka darpan
jaiyo tum jahaan jahaan
dekhiyo wahaan wahaan
yehi ik samaa
ke dharti yahaan
ho pehne saat rangon ki chunariyaa..aa..aa. . .

ghanan ghanan ghir ghir aaye badraa
ghan ghanghor kaare chhaaye badraa
dhamak dhamak goonje badraa ke danke
chamak chamak dekho bijuriya chamke
mann dhadkaaye badarwaa
mann dhadkaaye badarwaa
mann
mann dhadkaaye badarwaa. . .

pedon par jhoole daalo
aur oonchi paing badhaao
kaale megha kaale megha
paani to barsaao
kaale megha kaale megha
paani to barsaao
bijuri ki talwaar nahin
boondon ke baan chalaao

hey..ey.ey hey ey
hmm hmm hmm hmm
hmm hmm hmm hmm
ho oo oo oo ooooo

aai hai rut matwaali
bichhaane hariyaali
ye apne sang mein laayi hai saawan ko
ye bijuri ki paayal
ye baadal ka aanchal
sajaane laayi hai dharti ki dulhan ko
daali daali pehnegi phoolon ke kangan
sukh ab barsega aangan aangan..nn..nn
khilegi ab kali kali
hansegi ab gali gali
hawa jo chali
to rut lagi bhali
jalaa de jo tan mann wo dhoop dhali

ghanan ghanan ghan
ghanan ghanan ghan

kaale megha kaale megha
paani to barsaao
paani to barsaao
bijuri ki talwaar nahin
boondon ke baan chalaao
boondon ke baan chalaao
ghanan ghanan ghir ghir aaye badraa
ghan ghanghor kaare chhaaye badraa
dhamak dhamak goonje badraa ke danke
chamak chamak dekho. . .

ghanan ghanan ghan
ghanan ghanan ghan

ghanan ghanan ghan
ghanan ghanan ghan

ghanan ghanan ghan
ghanan ghanan ghan

ghanan ghanan ghan
ghanan ghanan ghan

ghanan ghanan ghan
ghanan ghanan ghan

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

घन घनन घनन
घन घनन घनन

घन घनन घनन
घन घनन घनन

घन घनन घनन
घन घनन घनन

घन घनन घनन
घन घनन घनन

घन घनन घनन
घन घनन घनन

घन घनन घनन

घन घनन घनन घिर घिर आए बदरा
घन घनघोर कारे छाए बदरा
धमक धमक गूँजे बदरा के डंके
चमक चमक देखो बिजुरिया चमके
मन धड़काये बदरवा
मन धड़काये बदरवा
मन
मन धड़काये बदरवा॰॰॰

काले मेघा काले मेघा
पानी तो बरसाओ
काले मेघा काले मेघा
पानी तो बरसाओ
बिजुरी की तलवार नहीं
बूंदों के बाण चलाओ

मेघा छाए
बरखा लाये
घिर घिर आए
घिर के आये॰॰ए॰॰ए॰॰ए॰॰ए॰॰॰
कहीं मन मचल मचल
ना यूं चल संभल संभल
गए दिन बदल
तू घर से निकल
बरसने वाला है अमृत जल॰॰ल्ल॰॰ल्ल॰॰॰
दुविधा के दिन बीत गए
भईय्या मल्हार सुनाओ

घनन घनन घिर घिर आए बदरा
घन घनघोर कारे छाए बदरा
धमक धमक गूँजे बदरा के डंके
चमक चमक देखो बिजुरिया चमके
मन धड़काये बदरवा
मन धड़काये बदरवा
मन
मन धड़काये बदरवा॰॰॰

रस अगर बरसेगा
कौन फिर तरसेगा
कोयलिया गाएगी बैठी मुँडेरों पर
जो पंछी गाएँगे
नए दिन आएंगे
उजाले मुस्कुरा देंगे अँधेरों पर
प्रेम की बरखा में
भीगे भीगे तन मन
धरती पे देखेंगे पानी का दर्पण
जइयो तुम जहां जहां
देखियों वहाँ वहाँ
यही इक समा
के धरती यहाँ
हो पहने सात रंगों की चुनरिया॰॰आ॰॰आ॰॰॰

घनन घनन घिर घिर आए बदरा
घन घनघोर कारे छाए बदरा
धमक धमक गूँजे बदरा के डंके
चमक चमक देखो बिजुरिया चमके
मन धड़काये बदरवा
मन धड़काये बदरवा
मन
मन धड़काये बदरवा॰॰॰

पेड़ों पर झूले डालो
और ऊंची पेंग बढ़ाओ
काले मेघा काले मेघा
पानी तो बरसाओ
काले मेघा काले मेघा
पानी तो बरसाओ
बिजुरी की तलवार नहीं
बूंदों के बाण चलाओ

हे॰॰ए॰॰ए हे ए
हम्मम हम्मम हम्मम हम्मम
हम्मम हम्मम हम्मम हम्मम
हो ओ ओ ओ ओsss

आई है रूत मतवाली
बिछाने हरियाली
ये अपने संग में लाई है सावन को
ये बिजुरी की पायल
ये बादल का आँचल
सजाने लाई है धरती की दुल्हन को
डाली डाली पहनेगी फूलों के कंगन
सुख अब बरसेगा आँगन आँगन॰॰न्न॰॰न्न
खिलगे अब कली कली
हँसेगी अब गली गली
हवा जो चली
तो रुत लगी भली
जला दे जो तन मन वो धूप ढली

घन घनन घनन
घन घनन घनन

काले मेघा काले मेघा
पानी तो बरसाओ
पानी तो बरसाओ
बिजुरी की तलवार नहीं
बूंदों के बाण चलाओ
बूंदों के बाण चलाओ
घनन घनन घिर घिर आए बदरा
घन घनघोर कारे छाए बदरा
धमक धमक गूँजे बदरा के डंके
चमक चमक देखो॰ ॰ ॰

घन घनन घनन
घन घनन घनन

घन घनन घनन
घन घनन घनन

घन घनन घनन
घन घनन घनन

घन घनन घनन
घन घनन घनन

घन घनन घनन
घन घनन घनन


This article is written by Sudhir, 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.

ना जाने क्यों॰ ॰ ॰ होता है ये ज़िंदगी के साथ
अचानक ये मन
किसी के जाने के बाद
करे फिर उसकी याद॰ ॰ ॰

Aah, Shyama. . . the vivacious, bubbly, chirpy, charming Shyama. That is the image that the mind always carries, of this spirited young lady, so full of life on the screen. Some memories and some reflections are so firmly engraved in the mind that it simply does not register or acknowledge the passage of time and the passing of eras. That is the beauty of these memories – that their beauty simply never fades away.

My very first encounter with her was the song “Mujhe Mil Gaya Bahaana Teri Deed Ka” (film ‘Barsaat Ki Raat’, 1960). I saw this song on Delhi TV, most probably in some edition of the Chitrahaar program. Shama (Shyama) is on screen with Shabaab (Ratna), her younger sister in the film. There is an exchange that leads to certain wrong impressions. Being secretly in love with Amaan (Bharat Bhushan), Shama interprets that conversation to be in her favour. And this happy song of an assumed fulfilment of love is the outcome. The expressions and the rendering of this love song trickled right into the mind and heart of a very young heart, and the lady on the screen became a favorite crush of mine.

A few years later, I would get a chance to see this complete film. And my heart was both joyous and asunder. I got to see more of her scintillating performance, especially the qawwaali “Ji Chaahta Hai Choom Loon Apni Nazar Ko Main”, in which she is brimming with excitement and delight. She makes you feel the thrill that she is experiencing, going in for the kill of the opposite party in the qawwaali competition. Her performance simply takes you along that joyous path of the victory of her singing group over that of Chand Khan’s (Khurshid Bawra’s) group. But then, I was also sad that in the final outcome, she is not the choice of the person she adores and worships. The film ends with her being the loser in the game of love. My heart wept for her, for her love was true and silent, and it made the sacrifice in face of knowing that her beau’s heart is smitten elsewhere. This film remains an all time favorite in my heart.

Then came other films, viewed some years later during college days. Films from the previous three decades were mostly showing as reruns in morning shows (9am to 12 am). We used to skip the morning classes in the college to go visit these unknown unseen films, for the love of that golden era. In that time, I would get to see ‘Aar Paar’ (1954), ‘Shart’ (1954), ‘Chhoo Mantar’ (1956), ‘Makkheechoos’ (1956), ‘Bhai Bhai’ (1956), ‘Sharda’ (1957), ‘Bhaabhi’ (1957), ‘Lala Rukh’ (1958), ‘Zabak’ (1961) and many more. The ‘puppy’ crush was long over and done with, but Shyama was a favorite actress – always would be ready to go see an unseen film, especially if Shyama was part of the cast of actors.

She was born as Khursheed Akhtar, in Lahore. Her date of birth is stated differently in different online sources. The anniversaries table on our blog gives the date as 12th June of 1935. Cineplot gives the date as 7th June, 1935. In his book ‘Beete Kal Ke Sitaare’, Shri Sriram Tamrakar quotes her birth date as 12th July 1933. There are other sources which are at variance with these dates too.

When she was two years old, her family moved to Bombay. Her father was a fruit merchant and had set up a shop in Byculla. With seven siblings, Shyama was part of a large family. School and studies never did interest her. Right from childhood, being a star on the silver screen was her dream. As a child, she had seen a film starring Ishwarlal and Khursheed (the famous singer-actress). She was very impressed by Khursheed’s singing and her acting. On seeing this role, a resolve started to form in her to become an actor. [Ed Note: This picture possibly could be ‘Shaadi’ (1941) or ‘Chandni’ (1942).]

As a young girl, she was quite mischievous and full of pranks. Her elder sisters would admonish her for being such a tomboy. In her own words (from an interview on Cineplot) she says that she always wanted a hungama, indulge in a little romance. But she was very disciplined and cultured too. She never smoked, or drank all her life. And she never appeared in a swimsuit throughout her career. She was very true to her Muslim upbringing and family traditions.

In 1944/45 she and her sisters and friends, one day went to see the shooting of a film at a studio in Dadar (Bombay). The shooting of the film ‘Zeenat’ (1945) was in progress. The specific sequence being filmed was the now iconic all female qawwaali “Aahen Na Bharin, Shiqwe Na Kiye”. As luck would have it, Shaukat Hussain Rizvi, the director of the film, wanted to have more girls to join the singing group. He asked this group of onlooker young ladies whether they would like to join the filming of this song. Without hesitation, Khursheed raised her hand. Rizvi Sb picked her to join the group and play the dholak. In the video of this song, one can see her sitting in the second row behind the main singers, wearing a traditional cap, with a dholak in her lap. The young lady got a billing in the star credits as Baby Khursheed. She was just about 10 years old.

Her father was very upset that his daughter had made this impromptu decision, and was set against her joining films. However, her mother and her sisters prevailed upon him and calmed him to get his consent to permit her to work in films. So out went the school and studies, and the little Khurshid started her career doing child roles and extras. By her own estimates, she probably has appeared 80 films in which she was just an extra or a chorus girl.

‘Nai Maa’ is a 1946 film, which Shyama herself indicates as being her first formal role as a child star. The film is from the banner of Prakash Pictures – the production house of the Bhatt brothers – Vijay and Shankar Bhai. With the consideration that there already were two actresses named Khursheed in the industry, Vijay Bhatt suggested for her to change her name to avoid same-name-confusions. He thought of the name ‘Shyama’. The young Khursheed happily took it on, and this name turned to be her career and her destiny.

Getting seriously into small roles as a child and a teenage artist, she did two very important things. One, she refused to be disheartened by the long succession of bit-roles and being a supporting cast member. Two, she took on to get trained in music and dance, and spent a good slice of her developmental years under the tutelage of the famous Badri Prasad, the multi-talented artist active in the industry at that time. Her perseverance paid off. Her roles started to get more prominent, and her co-stars the more famous ones. She appeared as the younger sister to KL Saigal in ‘Parwaana’ (1947). The same year, she also appeared as the younger sister of Motilal in ‘Beete Din’. On to 1949, and she was now the younger sibling of actor Shyam in the film ‘Kaneez’.

In 1950, she got a very prominent role as the wayward younger sister of Shyam and Karan Dewan in the film ‘Chhoti Bhaabhi’. The title role was played by Nargis (paired with Karan Dewan), but the role played by Shyama was pivotal as the rebellious daughter in the family, who is on the verge of eloping with Yakub, a self serving con-man. Then came 1951 – she was paired as the love interest of Balraj Sahni in ‘Hum Log’; and the same year, she got to play a prominent role in ‘Taraana’ as the third part of the love triangle completed by Dilip Kumar and Madhubala.

It was in 1952 that she was able to belie the popular adage in the industry – ‘once an extra, always and extra’. But this graduation was not without its moments of anxiety and a heart stopping near miss. IS Johar was looking for an effervescent and a lively young new face as the lead for his maiden directorial venture – ‘Shrimati Ji’. Familiar with Shyama and her capabilities from their earlier films together viz., ‘Chhoti Bhaabhi’ (1950) and ‘Ek Teri Nishaani’ (1949), Johar chose Shyama from a list of over 100 candidates for the role. Shyama was excited and happy with this groundbreaking development in her career.

But a scare was still in store, and the career that we see, was almost never. A couple of reels had been shot. One day on the studio floor, one of the financiers was present. On seeing Shyama, he made a curt remark that this girl is too thin to impress in a leading role, and walked away. One can imagine the turmoil that followed, with doubts appearing in the minds of the entire team. Shyama herself notes that she went home and cried all night – here was a once in a lifetime break that suddenly became so close to slip out of her fingers. After the crying session was over, she pulled herself together and made a resolve to address even this issue. Next day, she went out to seek medical help. Whoever would think of a thing like a diet to ‘gain’ weight? She went on a crash diet to do exactly this – gain weight. In a short period of time, she gained a reasonable amount of weight, and went right back in to complete the film.

One more significant episode occurred in the year 1951. Shyama was filming for ‘Sazaa’; she was the second lead to Nimmi and again, the third vertex of the love triangle that includes Dev Anand and Nimmi. The director and cinematographer of this film was Fali Mistry. Affections developed between the two, and two got married. Her family would have preferred a Muslim son-in-law. Fali Mistry being a Parsi, her father did not accept her new venture in life. She did get support from her mother, who was present at the small and quiet ceremony for the wedding. Her father  did not communicate with her for years. Shyama mentions in her interview that the ice between them was eventually broken when she gave birth to her first son, and went to him to get his blessings.

One of the understandings between Shyama and Fali was that she would continue to work in films. Apparently there were other suitors also, but as per herself, the proposals did not go further because the gentlemen did not agree to allow her to continue her work.

Through the 1950s, as well as early sixties, Shyama was in the top bracket of leading ladies in Hindi cinema. A golden period in her career, her popularity can be gauged by the fact that 82 of her films were released in the period from 1952 to 1960. In 1954 alone, 14 of her films came on the silver screen, and 13 in the year 1955. In all 27 films in a period of two consecutive years is a record in itself. An interesting aspect of her career has been that while she was in demand as the leading lady, she continued to do all kinds of roles, including second lead and even as a vamp. By her own admission, she was never too much hung up on being the leading lady, but was always more interested in the content of the role. In fact her only Filmfare award is for her performance in ‘Sharda’ in 1957 – as the best female actor in a supporting role. In the later part of 1960s, she transitioned into character roles and continued to work till the end of 1980s. Her last film as a character artist is ‘Hathyaar’ released in 1989.

Fali Mistry passed away unexpectedly in 1979, leaving behind a family of two sons and one daughter.

In the past 3, 4 days I was in travel myself, and was disconnected from the net for part of that time. Settling back after returning, as I processed through the email backlog, I got to see this message from Harish Raghuvanshi ji, informing about the sad demise of Shyama. She was 82, and as per her latest interviews some years back, she was quite satisfied with the full life she had led, and with her accomplishments on the silver screen.

As I sorted through the list of her songs as yet unpublished on our blog, searching for an appropriate song for this tribute, I came across this chirpy and playful song from the film ‘Ghar Basaa Ke Dekho’ from 1963. I had not heard it before. As I played this song, it struck me as so much Shyama herself, and I knew this is the song so suitable to go along with the write up about her. On screen, she leads the singing and dancing within a group of friends. Some of the faces are familiar, but I am unable to place any names. I request our knowledgeable readers and friends to help identify other actresses supporting Shyama in this song.

The words are from the pen of Rajendra Krishan and the lilting music comes from the mind of Chitragupt. The singing voices are of Suman Kalyanpur, Usha Mangeshkar and chorus. Shyama gets to lip sync most of the lines of Suman Kalyanpur, and the lines sung by Usha Mangeshkar are shared between more than one of the supporting ladies on screen.

A wonderful expression of a philosophy of life, that one can surmise from her interviews, was very dear to Shyama herself. The thought behind the bubbly vivacity in this song is just the same thought that first made her raise her hand unhesitatingly to Rizvi Sb’s query on who would like to join the filming of the group song (qawwaali song in ‘Zeenat’). That is Shyama.

Or to put it more correctly now – that was Shyama. Only the memories remain now.

bichhad kar chale jaao hum se kahin
magar ye na kehna mohabbat nahin

magar ye na kehna mohabbat nahin . . .

Dear Shyama, RIP – Rest In Playfulness, Always 🙂

[Acknowledgements: source material for the above article is referred from articles and interviews published on the blogs Cineplot, Beete Huye Din (by Shishir Krishna Sharma), Wikipedia, and a profile article in the book ‘Beete Kal Ke Sitaare’ by Shri Sriram Tamrakar.]

[Ed Note: This song also is a remembrance of Chitragupt; reviving memories of this prolific music director on the anniversary of his birth – 16th November.]

 

Song – Jidhar Jee Mein Aaya Udhar Hum Chale (Ghar Basaa Ke Dekho) (1963) Singer – Suman Kalyanpur, Usha Mangeshkar, Lyrics – Rajendra Krishan, MD – Chitragupt
Suman Kalyanpur + Usha Mangeshkar
Chorus

Lyrics

jidhar jee mein aaya
udhar hum chale
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

jinki kismet mein aish likha hai
aish karte hain aur jeete hain
jinki kismet mein aish likha hai
aish karte hain aur jeete hain
aah bharna hai jinki kismet mein
aah bharte hain ashq peete hain
zindagi kya hai ek hungaama
ek hungaama roz ho jaaye
kehkahon ke bagair kya jeena
zindagi kehkahon mein kho jaaye
jidhar jee mein aaya
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

aadmi ko mili hain kyon aankhen
dekh le jis qadar nazaare hain
aadmi ko mili hain kyon aankhen
dekh le jis qadar nazaare hain
baag tera hai phool tere hain
aur tere hi chaand taare hain
zindagi naam hain bahaaron ka
hum bahaaron ka ras nichodenge
zindagi ek baar milti hai
ek armaan bhi na chhodenge
jidhar jee mein aaya
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

zindagi teri ek hulchul hai
raqs hai saaz hain taraana hai
zindagi teri ek hulchul hai
raqs hai saaz hain taraana hai
ik jagah par qayaam kya karna
har chaman tera aashiaana hai
ek pal bhi na fikr mein beete
muskuraata ja geet gaata ja
aur duniya jo raah mein aaye
ek thokar usey lagaata ja
jidhar jee mein aaya
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-

जिधर जी में आया
उधर हम चले
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

जिनकी क़िस्मत में ऐश लिखी है
ऐश करते हैं और जीते हैं
जिनकी क़िस्मत में ऐश लिखी है
ऐश करते हैं और जीते हैं
आह भरना है जिनकी क़िस्मत में
आह भरते हैं अशक पीते हैं
ज़िंदगी क्या है एक हंगामा
एक हंगामा रोज़ हो जाये
कहकहों के बगैर क्या जीना
ज़िंदगी कहकहों में खो जाये
जिधर जी में आया
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

आदमी को मिली हैं क्यों आँखें
देख ले जिस कदर नज़ारे हैं
आदमी को मिली हैं क्यों आँखें
देख ले जिस कदर नज़ारे हैं
बाग तेरा हैं फूल तेरे हैं
और तेरे ही चाँद तारे हैं
ज़िंदगी नाम हैं बहारों का
हम बहारों का रस निचोड़ेंगे
ज़िंदगी एक बार मिलती है
एक अरमान भी ना छोड़ेंगे
जिधर जी में आया
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

ज़िंदगी तेरी एक हलचल है
रक़्स है साज है तराना है
ज़िंदगी तेरी एक हलचल है
रक़्स है साज है तराना है
इक जगह पर क़याम क्या करना
हर चमन तेरा आशियाना है
एक पल भी ना फिक्र में बीते
मुसकुराता जा गीत गाता जा
और दुनिया जो राह में आए
एक ठोकर उसे लगाता जा
जिधर जी में आया
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले


This article is written by Sudhir, 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.

Fabulous Foot Tappers – 8
– – – – – – – – – – – – – –

“What a find. Such a rollicking song.”

This the comment by our own Ava Suri ji, that I find on the YouTube upload page of this song. Yes, ‘rollicking’ is just the right word to describe the tenor of this song. By the way, the YouTube channel on which this is posted is titled ‘The Edwina Channel’. And for those who are familiar, this channel is managed by Dan Thomas (aka Thomas Daniel). Dan has been actively collaborating with dear Greta Memsaab, for cleaning and sprucing up digital videos of old Hindi films, subtitling them and putting them up on the YT. Our dear Raja ji is also part of this effort.
Read more on this topic…


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 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.

The song under discussion today is from film ‘Sharada’, one of the hit films of 1957. What a year 1957 was ! In the Golden Era of the Hindi Film Music, the year 1957 would go down as the best year, which provided everlasting songs from musical films. The deluge of excellent songs was such that music lovers not only enjoyed the heavy downpour, but loved every piece of Music.
Read more on this topic…


This article is written by Sudhir, 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.

This post is the 13600th post, 600th song of Sahir Ludhianvi and 1100th post of Sudhir Jee in the blog.

One more song that I can’t believe has not yet been included in the annals of our blog. Such a melodious, lilting and fast paced lovable song. It used to be aired on the radio quite regularly, and was one of the listening favorites. The vintage is 1964, and so quite well still retained in the memory. As I started to search for a Sahir song for this post today, I was not quite satisfied with some of the ones that showed up as possible candidates. You see, as we progress and post more songs, and the artist counts starts to close in to their total no. of songs, then in all likelihood, the better ones, the favorite ones are mostly accounted for on the blog. So if one is looking for a favorite song as a representative work of an artist, it becomes quite an effort to locate one.
Read more on this topic…


Advertisements

Important Announcement

(© 2008 - 2018) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 14300 song posts by now.

This blog is active and online for over 3600 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14368

Number of movies covered in the blog

Movies with all their songs covered =1146
Total Number of movies covered =3917

Total visits so far

  • 10,380,099 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,597 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Archives

Stumble

visitors whereabouts

blogcatalog

Music Blogs - BlogCatalog Blog Directory

blogadda

Historical dates

Blog Start date: 19 july 2008

Active for more than 3500 days.

Advertisements
%d bloggers like this: