Archive for the ‘Guest posts’ Category
- In: "chaand" song | "chaayageet" song | Duet | expression of love | Feelings of heart | Guest posts | Hemant Kumar Lata duet | Hemant Kumar songs | Lata song | MD singing for another MD | Post by Arunkumar Deshmukh | Songs of 1950s (1951 to 1960) | Songs of 1959 | Yearwise breakup of songs
- 5 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.
| Blog Day : | 4108 | Post No. : | 15259 |
Today’s song is a lovely duet by Lata and Hemant Kumar, from film Daaka-59. The film was made by Starland productions, Bombay for Hasmukh Kheda. The film was directed by Nanubhai Bhatt and the 6 songs of the film were written by Majrooh Sultanpuri (2 songs) and by Prem Dhawan (4 songs). Their music was composed by the King of Melody – Chitragupta. Dilip Dholakia was his assistant for this movie.
The cast of the film was Ashok Kumar, Nirupa Roy, Pran, Maruti, Smriti Biswas, Badri Pershad, Balam, Kesari, Kathana etc.etc. Songs of this film were recorded in 1956, but for reasons not known to us, the film was censored only in 1959 (25-11-1959). The length of the film was 12,698 feet and was in 14 reels.
Why I gave the details of the length and number of reels is that during the period of 50s, I remember how the films used to begin in the theatres. In Hyderabad city, once the show time was up, the theatre would be plunged in darkness and advertisements would start with slides or shorts. After this, usually there would be Indian News Reel or a Documentary of the Films Division. The Indian News reel was interesting and when some Cricket match was being played, here or abroad, some shots of the match would be shown. By this time, all the audience used to be in their seats. The first scene of the start of the main film was showing its Censor Certificate. It was at this time, when 99% audience used to read loudly in chorus, “14 Reels”, as if they had discovered some top secret ! Perhaps, it gave them an idea whether the film was a long one , normal or a short one.
Ashok Kumar (13-10-1911 to 10-12-2001) the Hero of this film, always surprised me. I wonder how much energy this man must have had. If you see his Career graph,it is most unusual. I am saying this because, normally an actor is at his best Performance level when he is young. As the age increases, his level diminishes and after a certain period, he is away from the Silver screen. In case of Ashok Kumar this is very different story. See the following chart and you will realise what I mean.
| Period in years | Aproximate Age | No. of films done in the decade |
|---|---|---|
| Decade 1 (1936-1940 ) | 25-30 years | 12 (First film- Jeevan Naiya-1936) |
| Decade 2 (1941-1950 ) | 30-40 years | 23 |
| Decade 3 (1951-1960) | 40-50 years | 55 |
| Decade 4(1961-1970) | 50-60 years | 62 |
| Decade 5(1971-1980) | 60-70 years | 85 |
| Decade 6 (1981-1990) | 70-80 years | 60 |
| Decade 7 (1991-1997 ) | 81-86 years | 13 (Last film- Aankhon mein tum ho-1997) |
From 1936 to 1997 he acted in 310 films. That is a very long journey in films, of 61 years ! His first Heroine-Devikarani- was born in 1908 and the Heroine of his last film- Suman Ranganathan was born in 1974 ! He worked with Heroines from 4 generations (a film generation is counted as 15 years). Ashok Kumar ,in his career, paired with Devika Rani-she was 3 years elder to him in age- in 8 films, with Nalini Jayawant in 11 films and with Nirupa Roy in 21 films in 33 years’ period-from Bhai Bhai-56 to Dana Pani-89.
He had to sing his own songs. By that time the system of Playback had started, but actor singing his/her own songs also continued for some time. He sang 77 songs in 25 films. Effectively, his singing was halted by Mohd. Rafi, when he sang for Ashok Kumar in the film Saajan-47- a duet with Lalita Deulkar ( Humko tumhara hi aasra). After this Ashok Kumar sang one song each in film Chalti ka naam Gaadi-58, Aashirvad-68, Kangan-72, Khoobsurat-80 and finally in Shaukeen-82.
Look at his energy level in the above chart. As he grew up in age, his demand increased, he worked in more and more films till he was 86 year old. He was simply unique in this respect. May be Amitabh Bachhan is a match to him or even better than him because nowadays more films are made than before. I hope some contributor does this comparison in the same way.
When Ashok kumar started acting, he had a great problem. He did not know what to do with his hands. in all his early films, you will find him acting very awkwardly, because of this problem. When he acted in film Anjaan-41, this problem was solved. In this film he did a Doctor’s role, who is accused of a murder- which he did not commit. He had to be a detective to collect proof of his innocence and argue in the court also. During this period, he started smoking cigarettes and his ‘Hand’ problem was solved once for all. After this film, Ashok Kumar and his smoking became inseparable in every film ! (and also in private life) .
Ashok Kumar was one of those actors who did Natural acting in their films. Initially, that was not so, but after solving his ‘Hand’ problem in film Anjaan-41, he was one of the best such actor. Motilal, Sanjeev Kumar, Amol Palekar, Farooq Shaikh and Paresh Raval are some other names that came to my mind in this category.
For actress Smriti Biswas, film Daaka-59 was her last film. She quit films and married actor, director, producer and studio owner S D Narang.
Actress Smriti Biswas was born on 17-2-1932, in Calcutta in a middle class family. She was educated at home and she worked as child star in Bangla films, Sandhya and Dwandwa in the 1930s.
Hoping to make a better career, she shifted to Lahore. Here Pancholi studio gave her a break with the film Dhamkee-45. The film shooting started in 1943, but it was released in 1945. She got Raagini-45 in the same year. Its Director was Shanker Mehta. Two more of her films, viz Nek Dil-48 and Roop rekha-48 were also released there.
After Partition she returned to Calcutta. S.D.Narang, actor, producer and director also shifted to Calcutta along with her. He established his own Bengal National Studio and made Bangla and Hindi films with Smriti. Their ‘Ek Aurat’-48 was quite popular.
New Theatres cast Smriti in their film “Pehla Aadmi”-50 based on the story of Subhash Chandra Bose. It was directed by Bimal Roy. Both Smriti and Narang came down to Bombay. In the decade of 1950’s, she did about 21 films there. Daaka-59 was her last film. In 1960, she married S.D.Narang and retied from films, though she was still in demand. She has 2 sons. S.D.Narang died on 25-1-1986. She is in her 80s but enjoys life with family and friends.
Smriti Biswas did only about 27 films in her career, but her vivacious looks, sweet face and speaking style still reminds us of her roles.
Some of her more well known films are, Arab ka Saudagar-56, Bhai saheb-54, Lakhon mein ek-55, Samsheer-53, Aab e Hayat-55, Hum Safar-53 (opposite Dev Anand), Dilli ka Thug-58, Teen batti chaar Rasta-53, Baap re Baap-55 and Bhagam Bhag-56.
Recently I saw an article in Maharashtra Times of 14-4-2017. It was mentioned that She was living in a barely 500 square feet flat in Nashik, along with her two grown up, unmarried sons. All the property, Gold and money left by S D Narang was looted by other relatives and Smriti finds it difficult to pull on.
The Heroine of this film Nirupa Roy was a very unconventional actress of Hindi films. Her repertoire of roles was so varied that she could not be stamped with any one type of roles.
Nirupa Roy (4-1-1931 to 13-10-2004) was an enigma of Hindi Cinema. She has been a Heroine in 110 films,a mother in over 50 films,has been a Goddess in 50 Mythological films, a suffering wife in over 30 films and a Stunt girl in about 10 films.( I remember our Raja ji once said that it was difficult to imagine Nirupa Roy in any other dress than a Saree.) She sang Bhajans,romantic songs,Comedy songs,qawalis,sad songs and peasant folk songs on the screen.
She changed her Heroes like “Badalate huwe saathi”. She did 18 films with Trilok Kapoor ( 50-65), 12 films with Balraj Sahni ( 53-72), 16 films with P.Jairaj ( 53-78), and 21 films with Ashok Kumar ( 56-89). She was Amitabh’s mother in 12 films and a stunt Girl in 8 films. She even wrote a popular film song for film Samrat Chandragupta-58 ( Mujhe dekh chaand sharmaye – Lata).
Today’s song is a sweet duet of Lata and Hemant Kumar. Listening to some of their duets is a divine experience. Some of their duets like “yaad kiya dilne kahan ho tum”, “ye raat ye chandni phir kahan”, “gupchup gupchup pyar karen”, and ” Sanware salone aaye din bahar ke ” are some of the songs they made immortal in HFM. Lata’s voice never sounded sweeter with any other singer.
Today’s song is not as well known as the songs mentioned above, nevertheless this song has the hallmark of a Lata-Hemant Kumar duet song. It is a song that is best heard at night time- a “chhaayaageet” category song.
Song- Chaand ne kuchh kaha taaron ne kuchh suna (Daakaa)(1959) Singers- Hemant Kumar, Lata Mangeshkar, Lyrics- Prem Dhawan, MD- Chitragupta
Both
Lyrics
chaand ne kuchh kaha
taaron ne kuchh suna
baat hi baat mein jaane kya ho gaya
aankhen jhuk jhuk gayin
dhadkanen ruk gayin
kya bataaun mera dil kahaan kho gaya
chaand ne kuchh kaha taaron ne kuch suna
baat hi baat mein jaane kya ho gaya
hum to khud se hi nazren churaane lage
jaane kya soch kar muskuraane lage
hum to khud se hi nazren churaane lage
jaane kya soch kar muskuraane lage
ab to dil na kisi bhi bahaane lage
baat hi baat mein jaane kya ho gaya
aankhen jhuk jhuk gayin dhadkanen ruk gayin
kya bataaun mera dil kahaan kho gaya
raat aayi hai zulfen sanwaare huye
aankhon aankhon mein kya kya ishaare huye
raat aayi hai zulfen sanwaare huye
aankhon aankhon mein kya kya ishaare huye
bas hai itni khabar
hum tumhaare huye
baat hi baat mein jaane kya ho gaya
chaand ne kuchh kaha
taaron ne kuchh suna
baat hi baat mein jaane kya ho gaya
Udte Udte Pyaase Panchhi
Posted on: October 13, 2019
- In: Bird songs | Devnagri script lyrics by Avinash Scrapwala | Feelings of heart | Guest posts | Kishore Kumar solo | Kishore Kumar songs | Lyrics by Avinash Scrapwala | Lyrics contributed by readers | Multi part song | Panchhi songs | Poignant Song | Post by Raja | sad song | Songs of 1980s (1981 to 1990) | Songs of 1984 | Yearwise breakup of songs
- 6 Comments
This article is written by Raja, 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 : |
4104 | Post No. : | 15254 | Movie Count : |
4191 |
First of all, my apologies for my infrequent appearances here. Even calling it a cameo is unfair to a cameo, because, to be honest, it is not even that. It is more like, a “blink and you miss” situation.
Anyway, here I am today, back with a post. The occasion is the Remembrance Day of someone very special to the Hindi film industry, and also to me. He has millions of fans around the world and is easily one of the legends of the industry.
I am talking about Kishore Kumar, of course.
I’ve written about Kishore Kumar many times in the past. And yet, when Avinash ji requested me to write a post for this occasion, I immediately agreed. Such is my love for Kishore Kumar that even if I repeat myself and bore my readers in the process 🙂 , I could not bring myself to say no. 🙂
The problem then was to get the required writing mood back. What they say about writing is very true. If you don’t write for an extended period of time, you gradually lose the ability to do so. That is why many writers practise their writing everyday, by writing at least a minimum number of words.
When I wrote to Avinash ji saying “Mere thoughts gather nahin ho rahe. I have lost the ability to write”, he replied “Aap Kishore Kumar ke gaane suniye aur din bhar sunte rahiye. Thoughts will come, I am sure.” 🙂
So I did listen to a few songs – predictably songs of ‘my’ era. “Khizaan Ke Phool”, “Jeevan Se Bhari Teri Aankhen”, “Teri Duniya Se”, “Hum Bewafa Hargiz Na The”, “O Mere Dil Ke Chain”, “Ye Shaam Mastaani” and a few others.
I think that might have helped a bit, because here I am.
Anyway, coming to Kishore Kumar.
The years just roll by – it is already 32 years since he left us.
He was just 58 at the time – far too young to go.
But like they say, it is not the years in your life that count, it is the life in your years.
And Kishore Kumar had plenty of life in his years.
No one will dispute that Kishore Kumar was the No.1 all-rounder in the industry. There have been a few others who have had multiple skills. Manoj Kumar was actor, writer, director, producer. Mehmood was also quite an all-rounder.
But Kishore was in a league of his own, because in each of his roles, he left a mark. Of course he is best-known as a singer, but even today many remember his acting, especially in comedy roles like in ‘Dilli Ka Thug’, ‘Chalti Ka Naam Gaadi’, ‘Half Ticket’ and many other films.
But there was so much more to Kishore Kumar than just comedy. And probably to prove this point, he produced and directed films like ‘Door Gagan Ki Chhaon Mein’ (1964) and ‘Door Ka Raahi’ (1971). I was stunned when I saw both these films – they have tremendous depth and philosophy, uncommon for the times.
His versatility was not limited to singing, acting, producing and directing though. Kishore Kumar also composed music, for some of his films. Like the two films mentioned above, whose songs are quite popular to this day. As are the songs of ‘Jhumroo’ (1961).
This is why I call Kishore Kumar the Gary Sobers of the Hindi film industry. 🙂 He could take on any role, and make a success of it.
But beyond even his multifarious talents, there was Kishore the person. And even as a person, he is quite an inspiration for me. His attitude towards life is something I can only admire.
Those who worked with Kishore Kumar, especially Lata Mangeshkar and Asha Bhosle, vouch for his ability to enliven a recording session with his sense of humour, his cracking a joke or pulling someone’s leg. Some people are like this – never a dull moment with them around.
It is not as if Kishore didn’t have low moments, or tough times. Everyone has these – Kishore was no exception. But he never let this affect his professionalism. He was very clear about himself, his philosophy towards life – and he never allowed others to define it for him.
Like he said “Duniya samajhti hai main paagal hoon….main samajhta hoon duniya paagal hai”.
I think, whatever his conflicts with the world might have been, especially later in his life, he was at peace with himself. And that is most important for a human being. Like he told Lata Mangeshkar in an interview in the fag end of his career “I am quite happy”. He expressed a desire to run away from it all, and go to a place which was calling out to him.
Today, on his Remembrance Day, I feel Kishore Kumar found that place and left us in order to go there.
And left us with SUCH a treasure of songs and memories that we are indebted to him for life.
So thank you, thank you, thank you, Kishore Kumar for what you have given us. Speaking purely for myself, as someone who has been part of my life from my very early years, when I listened repeatedly to songs like “Mere Sapnon Ki Raani” and “Ye Shaam Mastaani” on the radio, your impact on my life cannot be described.
Now onto the song for today.
It is a totally new song for me. In fact I have never even heard of the film. Details, including lyrics of the song, have been sent to me by Avinash ji.
This is what he says :
“Zindagi Jeene Ke Liye-1984’ was directed by K.S. Sethumadhavan for ‘Tirupati Chitra Mandir, Bombay’. It was produced by Hastimal.
It had Rakhi Gulzar, Suresh Oberoi, Vijay Arora, Manmohan Krishan, CS Dubey, Krishan Dhawan, Shobhha Khote, Birbal Raj, Raj Kishore, Rakesh Roshan, Tina Munim, Master Rinku, Shah Chaturvedi, Raghvaiyya, Santosh Kumar, Lata Kashmiri, Dolphin and others. Deepa and Ramu make a guest appearance in this movie.
This movie was passed by Censor Board on 06.06.1984. However, the movie was re-certified by Censor on 15.12.1987 with a UA certificate (as mentioned in HFGK).
The movie has total seven songs, including the three-part song being presented today (as per HFGK Vol-VI 1981-1985) composed by Rajesh Roshan. HFGK mentions Rajesh Roshan as the lyricist for this movie and the same is mentioned on the vinyl cover of this movie available on online sources, which I guess is correct. (myswar.co also mentions the same). Asha Bhonsle, Kishore Kumar, Pankaj Udhas and Yesudas had given their voices to the songs in this movie.”
This film, ‘Zindagi Jeene Ke Liye’ (1984), makes its debut entry on this blog today.
The song itself is amazing. I’d never heard it before, but when I heard it for the first time a few days ago, it touched my heart. It also suits this occasion, as it talks of a person who feels he is ready to move on.
Please do listen to this wonderful song. Quite a gem, it is, especially in Kishore Kumar’s voice. Thanks for the song, Avinash ji.
Audio, All Parts
Video, Partial
Song – Udte Udte Pyaase Panchhi (Zindagi Jeene Ke Liye) (1984) Singer – Kishore Kumar, Lyrics – Indeevar, MD – Rajesh Roshan
Lyrics (Provided by Avinash Scrapwala)
Part 1
hmmm mmmm mmmm mmmm mmmm
hmmm mmmm mmmm mmmm mmmm
udte udte pyaase panchhi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye
armaan pyaase chhaayi udaasi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye
ek nadi thhi pyaar ki
saari duniya byopaar ki
ek nadi thhi pyaar ki
saari duniya byopaar ki ee
raah roke apni khadi thhi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye
zindagi ke ae baaki thhe kuchh lamhe
shaayad ke ho milna phir hamen
zindagi ke ae baaki thhe kuchh lamhe
shaayad ke ho milna phir hamen
maar daalegi ye bebasi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye
armaan pyaase chhaayi udaasi
pyaase panchhi thhak gaye
Part 2
door jaa rahe hain
ke nainaa ro rahe hain
door jaa rahe hain
ke nainaa ro rahe hain
saanson ki na toote ladi ee
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye
Part 3
haathon ne hamesha waar kiya
kabhi naa kisiko pyaar kiya
haathon ne hamesha waar kiya
kabhi naa kisiko pyaar kiya
nas nas basi buzdili thhi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye ae
————————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
————————————————————
भाग १
हम्मम मम्मम मम्मम मम्मम मम्मम
हम्मम मम्मम मम्मम मम्मम मम्मम
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए
अरमां प्यासे छायी उदासी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए
एक नदी थी प्यार कि
सारी दुनिया ब्योपार कि
एक नदी थी प्यार कि
सारी दुनिया ब्योपार कि ई
राह रोके अपनी खड़ी थी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए
ज़िन्दगी के ए बाकी थे कुछ लम्हे
शायद के हो मिलना फिर हमें
ज़िन्दगी के ए बाकी थे कुछ लम्हे
शायद के हो मिलना फिर हमें
मार डालेगी ये बेबसी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए
अरमां प्यासे छायी उदासी
प्यासे पंछी थक गए
भाग २
दूर जा रहे हैं
के नैना रो रहे हैं
दूर जा रहे हैं
के नैना रो रहे हैं
साँसों की ना टूटे लड़ी ई
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए
भाग ३
हाथों ने हमेशा वार किया
कभी ना किसीको प्यार किया
हाथों ने हमेशा वार किया
कभी ना किसीको प्यार किया
नस नस में बसी बुज़दिली थी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए ए
Aaya aaya mehmaan man bhaaya
Posted on: October 12, 2019
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a regular 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.
| Blog Day : | 4103 | Post No. : | 15253 |
Today’s song is from film Ajamil-1948. This was the maiden venture of Sanskar Chitra, Bombay, of owner Moolraj Kapadiya, who was also the producer of this movie. The film was directed by his close relative-Jamnadas Kapadiya, for whom this was his only film as a director. The film was made in Gujarati and Hindi simultaneously. The story, screenplay and songs for the Gujarati version were by Kavi Prabhulal Dwivedi and for Hindi version it was S P Tripathi, who wrote all the 12 songs of the film. While HFGK mentions name of Dwivedi as the Lyricist, according to Girdharilal Vishwakarma ji, the famous Music Historian and Record collector, the records of the songs of Hindi version carry the name of Tripathi. The Music Director of this film was Master Mohan Junior.
In the history of Hindi Cinema, besides the biggest problem of Same name artistes causing confusion, there were many other smaller, but irritating unsolved mysteries like…
1. Who sang the song ” Dilli se aaya bhai Tingu” in film Ek thi ladki-49 ?
2. Who was the artiste who sang on screen,” Hawa mein udta jaaye” from film Barsat-49 ?
3. Who were the composers ” Vasant Ramchandra” ?
4. Are they one person or two – Shyam ji Ghanashyam ji and Hemant Kedar ?
5. Who said ” Yahoo” in film Junglee-64 song ?
6. Who sang ” Leke pehla pehla pyar’ on screen ?
7. Why composers Jaidev and C Ramchandra gave music in different names ?
8. Whose voice is in the ” Mehboob production” ‘s logo ?
9. Who was the artiste in Prabhat’s logo ?
10. What happened to actresses Latika and Mrudula ? etc.etc.
I have listed only a few here, but there are many more such riddles,puzzles and unsolved (as yet) mysteries in Hindi cinema world.
Since the time I started writing on old films, I tried relentlessly to get the right answers, with proofs,for some of these riddles. I was successful in solving some mysteries too. As far as the Same name artiste’s confusions are concerned, I had dug out information on 50 such artistes and published this in my book. From time to time even my articles here also contained them. Presently, I have information on another 20 such same name artistes with me, which will be published in my next book,after adding few more pairs.
One mystery connected with today’s film is about its Music Director – Master Mohan Junior. As per a note in HFGK,under the film “Daana paani”-53, it was composer Madan Mohan, who gave music in this name. There was no reason to doubt this claim as it came from HFGK, but one day…..
One day in 2012, I received a query from Shri Girdharilal Vishwakarma ji, asking about Mohan Junior, who, according to him was a different person. He wanted to know if I had some information.
I had no such information. I was actually floored with this query. After receiving this query, I immediately got in touch with Madan Mohan’s son Sanjeev Kohli ji and daughter Sangeeta Gupta ji and asked them this question. Sanjeev ji promptly responded saying that in all probabilities, Mohan Junior was a different person and that is why they have not included film Dana Pani-53 in Madan ji’s filmography.
Then I contacted Harish Raghuwanshi ji of Surat. We did a hard work and then found out that Mohan Junior indeed was different. He was a Gujarati Music Director. Further Harish ji found that one Dr. Vipin Kikani had done his Ph.D. on ” Gujarati stage and its artistes” and that he had written about Mohan Junior in his book. Harish ji got the book, translated the relevant portion in Hindi, made its PDF and sent it to me with his Gujarati Filmography.
By now, the mystery was almost solved, but still, to get a first person confirmation, I requested Girdharilal ji to talk to Madhubala Jhaveri,because she had sung some songs for Mohan Junior. He did it immediately and Madhubala ji confirmed that Mohan Junior was a Gujarati person and he was NOT Madan Mohan.
At last, it was conclusively proved that Master Mohan Junior was not a pseudo name for Madan Mohan but he was a different person. Here is his full information…….
Master Mohan Junior was born in 1908 in a Bhurji Rajpoot family at Masuda, near Ajmer. When he was 5 year old, the great Plague epidemic killed all members of his family and he became an orphan. His cousin sister took him to Idar and he grew up there. He had inherited the singing ability of his father.When he was 13 year old, Raghunath-his brother in law- sent him to ” Morvi Subodh Arya Natak Mandali “, in 1921. Later he also worked with Imperial,Laxmikant Natak Mandali and Arya Naitik drama company from 1926 to 1930. His brother in law was quite attached to him.
He started with Gujarat Kala Mandir as a Music Composer from 1930 onwards. His attempts to become an actor failed in 1932. He was now owner of the company Arya Natak Mandali, in which Ramlal was a Music composer. His music became famous with many famous dramas.Raskavi Raghunath Brahmabhat has praised his music capabilities.
He gave music to 6 Gujarati films, namely- Ajamil-48, Vadilon naa vaanke-48, Bhakta Pooran-49, Vevishat-49, Choodi Chaandlo-50 and Bhakta Narsaiyo-52. He also gave music to 2 Hindi films- Ajamil-48 and Daana Paani-53.
Even after all clarification about Mohan Junior, still 2 questions remained –
1.Why did Begum Akhtar say that Madan Mohan gave music. The answer to that is-she was right, that Gazal (in film Dana Pani-53) was composed by Madan mohan and it was used in the film. It was concluded therefore that the entire film music was given by Madan Mohan. I think HFGK went overboard in this.
2.Why that composer called himself Junior, because in 48, and 49 Madan Mohan was not a composer as yet. He debuted with Aankhe-50. I found out that during that period there was yet another Mohan-a Mohan Sharma, a Music director for Jai Hind-1949(unreleased) and Chocolate-1950.
May be to distinguish himself,he called himself as Mohan Junior.
Sanjeev Kohli ji has also now agreed that he must be a different person. However Sanjeev ji has requested me NOT to quote his name elsewhere in this connection.,as he does not want any controversy now. so let us keep him out of this.
Although all this search for truth took place back in 2012- 7 years ago, I have recounted all this now, only to stress the difficulties one faces in breaking an old myth or decoding a mystery. Further, all this was never brought before readers any time. Additionally Mohan Junior’s bio data is published first time here.
Film Ajamil was also made in silent era in 1922 by Kohinoor film company, Bombay. Kanjibhai Rathod had directed it. Next, it was made in 1934 as a Talkie, by Saroj Movietone. It’s director was Abdul Rehman Kabuli, about whom I just wrote in my previous post. The role of Ajamil was done by Ashraf khan – who himself became a Sufi Saint in his later life.
The story of Ajamil has been taken from the 6th chapter of Bhagwat Puran. It stresses the value of Naam smaran or Jaap and how it can make a Saint out of a bad man. The story of Ajamil is…
Ajamila was once a very noble Brahmin, performing his duties and prescribed rituals most sincerely and was also a good husband, good son and good father. Once when he was in the forest to gather the fuel-wood for his rituals, he fell for a woman, heart and soul. Actually the woman was one of very low morals. From that time onwards he lived with her, abandoned his family and his own parents. He got ten children by her, made a living and supported this large family by blackmailing rich people, by cheating, fraud and gambling. He was particularly fond of the youngest child, Narayana, by name. The attachment to the child was so pronounced that whether he was eating, drinking, relaxing or working, he would always want Narayana to be by his side and partake of his food or participate in his enjoyment. When finally the call from Yama, the God of Death, came, it came suddenly and in his agony he called his child to his side and cried: O Narayana. He called aloud with great fear.
The messengers of Yama who almost got him in their noose suddenly found from within his heart four well-clad beautiful angel-like figures, each with four hands, preventing the messengers of Yama from discharging their duty. An intense conversation ensued between the messengers of Yama on the one side and the messengers of Narayana – because that is what they were – on the other side. They asked: You are the emissaries of Dharma-raja; then you should know what dharma is and what rules apply for punishment. The messengers of Yama replied: (VI – 1 -40 to 68):
What is declared by the Vedas is dharma. What is prohibited by Vedas is adharma. The one God who has created this entire world and who has allotted the different duties to varnas and ashramas is Lord Narayana. He has ordained that our Lord Yama take the lives of people when their time is over and punish them according to sins committed by them. There are several witnesses to whatever a man does in his life.
They are the Sun, Agni the Fire-God, Space, the Wind-God, Animals, the Moon, the God of SandhyA the twilight, Day, Night, the eight quarters, Water, Earth, Time and the God of Dharma, who is Yama himself. Nothing can be hidden from any of these. . We are doing our duty ordained by our boss.
Back came a pretty long rejoinder from the messengers of Vishnu: Your Master who must show to the world what right action is, has sent messengers like you who do not seem to know the rules! This Ajamila, though he has forgotten his real divine nature, has pronounced the four-syllabled name of God Narayana at the time of death and by that very action has done the Prayaschitta – प्रायश्चित्त (repentance act) for all his sins.
A thief of gold, a drinker of wine, a betrayer of a friend, a killer of a brahmin, one who commits adultery with the wife of his Guru, a killer of a woman or of a king, or of a cow or of his father — all these worst sinners have been declared to be absolved by the recitation of God’s name because by that very act he becomes God’s protege and deserves to be under His care.
After all this explanation by the messengers of Vishnu the messengers of Yama felt overpowered and they went back to their overlord. In the meantime Ajamila came back to his senses and remembered all the conversation that went on in the presence of his subtle body between the messengers. He was about to say something, when the messengers of Vishnu also disappeared. It was quite a while before he could take stock of the situation.
Here he was. alive and kicking, by the mercy of God Narayana, whose name he had just taken on the point of death, not in remembrance of the Lord but in passionate affection of his child. If this single act of the utterance of a four-syllable word Narayana can make such a difference to life after death, what larger worlds of fullness and majesty he may not conquer by really leading a noble life of Dharma in the memory of the Lord? — so thought Ajamila. And that very moment he renounced everything to which he was attached, went to Benares and engaged himself in austerities and meditation and in due time reached the abode of the Lord. (adapted and abridged from krishnamurthy’s.com, with thanks)
Today’s song is by Amirbai Karnataki and chorus. it is a melodious song. This is the second song from this film to be discussed on this Blog.
(I thank, Harish Raghuwanshi ji, Girdharilal Vishwakarma ji, family of Madan Mohan ji and Dr. Vipin Kikani ji for information used in this post. I also thank Sadanand kamath ji for uploading the song video on my request, promptly – as always.).
Song-Aaya aaya mehmaan man bhaaya (Ajaamil)(1948) Singer-Amirbai Karnataki, Lyrics- S P Tripathi, MD- Master Mohan Junior
chorus
Lyrics
Aaya aaya
mehmaan man bhaaya
Aaya aaya
mehmaan man bhaaya
kaun nainon se dil mein samaaya
kaun nainon se dil mein samaaya aa aa
Aaya aaya
mehmaan man bhaaya
Aaya aaya
mehmaan man bhaaya
kalpana ne dil mein jinki
khenchi thhi rekha
nainon ne aaj wahi
nainon ne aaj wahi
?? roop dekha
sudh budh ko bhool gayi
harsh mein magan bhai
dekho dekho ye nachti hai chhaaya
dekho dekho ye nachti hai chhaaya
Aaya aaya
mehmaan man bhaaya
Aaya aaya mehmaan man bhaaya
yug yug ki aas meri
haan aan aan
man ki madhur saadh mori
ho o ho
naach uthhi haan
naach uthhi
naach uthhi haan
naach uthhi
dekh to main aaya
aur dil mein samaaya
dekh to main aaya
aur dil mein samaaya
Aaya aaya
mehmaan man bhaaya
na na na
aaya aaya
sajan man bhaaya
Aaya aaya
mehmaan man bhaaya
na na na
aaya aaya
sajan man bhaaya
kaase(??) sajoon
jhoom uthhi
jhoom uthhi
jug jug se jhoom uthhi
jhoom uthhi
jhoom uthhi
jug jug se jhoom uthhi
kya
kaaya meri
P? phir chhaaya
kaaya meri
P? phir chhaaya
Aaya aaya
sajan man bhaaya
Aaya aaya
sajan man bhaaya
Aaya aaya
Kehta hai baabul o meri bitiya
Posted on: October 11, 2019
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular 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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The Dadasaheb Phalke Award is India’s highest award in cinema. It is presented annually at the National Film Awards ceremony by the Directorate of Film Festivals, an organisation set up by the Ministry of Information and Broadcasting. The recipient is honoured for their “outstanding contribution to the growth and development of Indian cinema” and is selected by a committee consisting of eminent personalities from the Indian film industry. The award comprises a Swarna Kamal (Golden Lotus) medallion, a shawl, and a cash prize of ?1,000,000 (US$14,000). Presented first in 1969, the award was introduced by the Government of India to commemorate Dadasaheb Phalke’s contribution to Indian cinema. Phalke (1870–1944), who is popularly known as and often regarded as “the father of Indian cinema”, was an Indian filmmaker who directed India’s first full-length feature film, Raja Harishchandra.
The first recipient of the award was actress Devika Rani, who was honoured at the 17th National Film Awards held in 1969. As of 2017, there have been 49 awardees. Among those, actor Prithviraj Kapoor (1971) and actor Vinod Khanna (2017) are the only posthumous recipients. Raj Kapoor accepted the award on behalf of his father Prithviraj Kapoor at the 19th National Film Awards in 1971 and was himself a recipient in 1987 at the 35th National Film Awards ceremony. Bommireddy Narasimha Reddy (1974) and Bommireddy Nagi Reddy (1986); Raj Kapoor (1987) and Shashi Kapoor (2014); Lata Mangeshkar (1989) and Asha Bhosle (2000) along with B. R. Chopra (1998) and Yash Chopra (2001) are the siblings who have won the award.
Note:- all of the above information I have extracted from Wikipedia and apologize for any wrong information therein.
October 11th 1942 was the date when Teji Bachchan- wife of Shri. Harivansh Rai Bachchan gave India the Shahenshah of Bollywood. He goes by the name Shri. Amitabh Bachchan. Anyone who has even the faintest knowledge about Indian movies -anywhere in the world- would have heard about this actor. He may have not been India’s first mega-superstar, that title will always be associated with Rajesh Khanna. The reason I have used the term Mega-Superstar for Rajesh Khanna is because Dilip Kumar- Dev Anand-Raj Kapoor were equally big stars of their generation and the trio were inspiration for the next set of actors like Manoj Kumar, Dharmendra, Rajendra Kumar, Rajesh Khanna, Jeetendra, Amitabh Bachchan etc. The popularity and fan-following that Rajesh Khanna achieved was much more than what the trio of the 50s and 60s may have experienced collectively. Amitabh Bachchan had a long journey to reach the level of popularity that was Rajesh Khanna’s; but even at the height of his superstardom one has never heard of girls writing letters to Amitabh with blood, or throwing themselves at his car or trying to commit suicide at the news of his marriage to Jaya Bhaduri etc.
What Amitabh experienced was a different kind of affection from his fans. There were people who prayed for his life in 1982 when he had an accident during the shoot of “Coolie”. There are accounts of people walking barefoot from far-flung places to the hospital where AB was admitted and battling for life after the accident; people offering prayers at various places of worship cutting across religious differences. AB has always thanked his fans for all the love they showered on him during that period. In fact, he always greets them on Sunday evenings (whenever he is in Mumbai i.e.) for which there is a huge crowd of fans waiting outside his Mumbai residence.
He may have been dubbed the angry-young-man in the early phase of his career but he was equally adept at emotional, romantic or comic roles. “Mahaan” (1983) had him in three roles where we had him as an emotional father/ husband, serious-faced inspector and comic stage artist. The turn of the century saw him change his style and take on a variety of roles and characters- strict father who will not accept his son marrying against his wishes (Kabhi Khushi Kabhi Gham), strict principal who wanted all his students to adhere to the ‘parampara’ ‘pratishtha’ etc laid down by the college (Mohabbatein), friendly-indulgent father to Akshay Kumar (“Ek Rishtaa: the bond of love” and “Waqt: the race against time”) etc. etc. etc. We saw him as a rustic near-bumbling cop in “Bunty Aur Babli”; aging teacher of a deaf-blind girl in “Black”; these successful experiments have seen him through 50 years in an industry which has many talented actors but no one has been given epithets like “Shahenshah of Bollywood”, “Big B” or “Star Of The Millennium”. He continues his reign over the hearts of his fans in spite of the next generation and the one after it giving movies that gross over 100 crores per film. He still gets author backed roles that befit his age and many-a-times is the central character of the story as in “Baghban” and “Baabul”. His detractors may feel that he is the most off-key (besura) singer (and I believe he agrees that he is mostly off-key) but the songs that he has sung (from the first full song “mere pass aao mere doston”) have been well received by his die-hard fans-yours truly included. 🙂
Coming back to the opening para of this post- here is the connection- Amitabh Bachchan is the recipient of this prestigious award for this year. He joins an august list of personalities who have had a major influence on the Indian film industry beginning from Devika Rani who is acknowledged as the first lady of Indian cinema.
This is the latest feather in AB’s cap in addition to the Padma awards – Padma Shri, Padma Bhushan and Padma Vibhushan; 4 National Awards for best actor and 15 Filmfare awards and numerous other awards from various national and international organisations.
Today he turns 77 and I am confused as to which is an appropriate song that should go with this post- I have a big collection to choose from- the blog has about 20 songs which have had Amitabh Bachchan in the recording room as a singer or uttering a few words with the main singer.
Today’s song is from the BR films produced 2006 release “Baabul”. It had AB play an indulgent and friendly father to Salman Khan and a loving father-in-law to Rani Mukherjee. The movie had a simple story of the loving father-in-law, fighting the opposition from his own wife and other family members, against his decision of getting his son’s widow remarried. The song comes at the fag end of the movie. It was on my list of songs under consideration for this post. What clinched the matter in its favour is that the song has two versions to it. The version in the movie is in the voice of Amitabh Bachchan and the album version is in Jagjit Singh’s voice. And only this morning I saw a message on our WhatsApp group that yesterday was Jagjit Singh’s anniversary.
So, we wish our Big B a long and healthy life and lots more years of entertaining us along with remembering Jagjit Singh and his smooth voice.
Video (Amitabh Bachchan voice)
Audio
Song-Kehta hai baabul o meri bitiya (Baabul)(2006) Singer-Amitabh Bachchan/ Jagjit Singh, Lyrics-Sameer, MD-Aadesh Srivastava
Lyrics
kehta hai baabul o meri bitiya
tu toh hai mere jigar ki chitthiya
kehta hai baabul o meri bitiya
tu toh hai mere jigar ki chitthiya
daakiya koyi jab aayega
tujhko churaa ke le jaayega
katega kaise lamha tere bina bata
jiyunga kaise tanha tere bina bata
katega kaise lamha tere bina bata aa aa
jiyuga kaise tanha tere bina bata
tu suhaagan rahe sang saajan rahe raat din
iss khushi ke liye har sitam main uthha loonga aa
tere jaane kaa gham mujhko hoga magar laadli
leke iss dard ko main sada muskuraaoonga
baabul toh dil se de raha duaa yahi
khushi ke saaye mein ho zindagi teri
baabul toh dil se de raha duaa yahi ee
khushi ke saaye mein ho zindagi teri
waqt ke saath zakhm yeh bhar jayega
pal guzar jayega tu meri baat maan le ae
yaadon ke aasre umr kat’ti nahin
hai haqeeqat yahi abb too jaan le ae ae
samundaron ka paani koyi naa pi saka
akela khaara jeevan koyi naa jee saka aa
samundaron ka paani koyi naa pi saka
akela khaara jeevan koyi naa jee saka
kehta hai baabul o meri bitiya
tu toh hai mere jigar ki chitthiya
daakiya koyi jab aayega
tujh ko churaa ke le jaayega
katega kaise lamha tere bina bata
jiyunga kaise tanha tere bina bata
katega kaise lamha tere bina bata
jiyunga kaise tanha tere bina bata
- In: Amitabh Bachchan songs | Amitabh Bachchan songs by Kishore Kumar | Asha Bhonsle songs | Devnagri script lyrics by nahm | expression of love | Feelings of heart | Guest posts | Kishore Kumar songs | Lyrics contributed by readers | Post by nahm | Rafi songs | Song sung by three or more singers | Songs of 1970s (1971 to 1980) | Songs of 1980 | Usha Mangeshkar songs | Yearwise breakup of songs
- 9 Comments
This article is written by nahm, a fellow enthusiast of Hindi movie music and a regular 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.
| Blog Day : | 4102 | Post No. : | 15251 |
Amitabh Bachhchan, the star of the Millennium, was born in the than Allahabad (which is the English name of city named Ilahbad in Urdu) on 11.10.1942. His given name is Inquilab Srivastava, as per Wikipedia. This is a surprise for me and surely for many people, as a never heard fact. Also has the distinction of acting as the hero in the film ‘Inquilab’ not named after him :-). His father did name him after the slogan of freedom movement “Inquilab Zindabad”. I have never heard of anyone named ‘inquilab’, but have a friend named ‘Kranti’ which is the same thing with change in language only.
So, on 11.10.2019, he is celebrating 77th birthday as the most celebrated star actor and film personality. The Government of India honoured him with the Padma Shree in 1984, the Padma Bhushan in 2001 and the Padma Vibhushan in 2015 The Government of France honoured him with its highest civilian honour, “Knight of the Legion of Honour”, in 2007 for his exceptional career in the world of cinema and beyond. As per Wikipedia page again, he has won 15 filmfare awards, the most nominated actor with 41 nominations so far and still counting.
His achievements include 4 national awards and Dada Saheb Phalke award for “Lifetime Achievement”.
Luckily, I had the lyrics of this song from the film “Shaan” (1980) ready to present as the birthday celebration post. I said in my reply to Peevecie’s Mom’s comments on this post that BEST buses is a topic of another post. I had this song in mind, most of which is picturized on a BEST double decker bus. “BEST” was formerly Bombay Electricity Supply and Transport, now it is renamed as ‘Brihan Mumbai Electricity Supply and Transport”. My father has been saying this to us right from the beginning that though BEST’s face are the buses which have been the more reliable lifeline of Bombay since almost a century now, its main business and source of income is the electricity supply to the city areas.
If I have to write about the BEST than the story has to start with my father. It is in family folklore that my father had after completing engineering had the option of coming to Mumbai (than Bombay) or to go to Lucknow to join the Railways. This was in the early 60’s, and Bombay was a known place of people in the family, who used to visit it for business purposes also. Also my mother’s ‘Maternal uncle’ had studied in Grant Medical College in the 40’s and everyone was familiar with the city. There was a job in hand in Lucknow, which is an unknown place, nobody in the family had ever been and far away from Belgaum. The family was in favour of Bombay as my father’s sister was already staying here at Kalyan. The decision was left to my father’s youngest sister, who voted in favour of Bambai. So he came to Bombay and joined BEST as a “foreman” trainee. There is a lot more I want to write about my father’s journey (most of it is related to BEST), but will save it for another post. Sometimes I do wonder, if he had gone to Lucknow instead of coming to Mumbai, how different the things would have turned out. I envy the people who have spent their formative years in Lucknow(met a few in my working life), their diction of Urdu language. Some of them, though convent educated did speak a fluent form of spoken khari boli which is closer in diction and grammar to the Urdu that our teachers taught us, compared to my own, the so called Urdu medium product, with our typical bambaiyya dialect. More of the royal ‘aap’ and ‘hum’ in the conversations of people of my generations who spent years in Lucknow, or thereabouts, even as far as some northern cities of Madhya Pradesh.
Will go back to Amitabh Bachchan for now. The first movie I am aware of watching in the theatre is “Do aur do Paanch”, with a similar star cast of Amitabh, Shashi Kapoor and Parween Babi, similar to ‘Shaan’ I mean. Incidently both these films were released in the same year. But we all saw “Do aur do paanch” at Belgaum during summer vacations, whereas “Shaan” was seen in Mumbai. Thereafter, Amitabh Bachchan movies were seen regularly, with the whole family. The movies of before 1980 are all seen on TV, but the movies after 1980, including “Silsila”, “Kaalia”, “Namak Halaal”, ‘Naseeb”,”KhudgarzKhuddaar”, “bemisaal”, ‘Laawaris” etc. I remember watching in theatre.
My personal favorite Amitabh films are not the comic or multistarrers, but his solo films like ‘Zanjeer’, ‘Bemisaal”, ‘Kaalia”, “Abhimaan” ‘Anand’ etc. Among the films of the new millennia, I have seen a few, but missed most of them. He is without doubt the longest running superstar of the hindi film industry.
So here in this song there are four singers, Kishore Kumar for Amitabh Bachchan, Mohammed Rafi for Shashi Kapoor, Asha Bhosle for Parveen Babi and Usha Mangeshkar for Bindiya Goswami. Anand Bakshi is the lyricist and is composed by R. D. Burman.
The film is ‘Shaan’(1980), also mentioned in para 4 above.
Song-Jaanu meri jaan main tere qurbaan (Shaan)(1980) Singers-Kishore Kumar, Mohammed Rafi, Asha Bhosle, Usha Mangeshkar, Lyrics-Anand Bakshi, MD-R D Burman
Asha Bhoonsle + Usha Mangeshkar
All
Lyrics
Jaanu meri jaan
main tere qurbaan
Jaanu meri jaan
main tere qurbaan
arrey main tera tu meri
jaanu saara hindustaan
main tera tu meri
jaane saaraa hindustaan
Jaanu meri jaan
main tere qurbaan
Jaanu meri jaan
main tere qurbaan
arrey main tera tu meri
jaane saara hindustaan
main tera tu meri
jaane saaraa hindustaan
nazron se na tol mujhe
dil se kaam le
tu jis ki wo tere bin
kyon kisi ka naam le
arre nazron se na tol mujhe
dil se kaam le
tu jis ki wo tere bin
kyun kisi ka naam le
Jaanu meri jaan
main tere qurbaan
O Jaanu meri jaan
main tere qurbaan
arrey main tera tu meri
jaane saara hindustaan
main tera tu meri
jaane saaraa hindustaan
ha aha ha haan haan ha
hey ae ae
ae ae aaaaa
ae ae ae
oo ooo oooooo
chhoti si ik baat bani
baat se daastaan
bhool ke sab baaten hans de
hai yahi pyaar ki shaan
chhoti si ik baat bani
baat se daastaan
bhool ke sab baaten hans de
hai yahi pyaar ki shaan
jaanu meri jaan
main tere qurbaan
o jaanu meri jaan
main tere qurbaan
tu mera main teri
jaane saaraa hindustaan
tu mera
main teri
jaane saaraa hindustaan
arrey Jaanu meri jaan
main tere qurbaan
Jaanu meri jaan
main tere qurbaan
Hoy main tera tu meri
jaane saara hindustaan
tu meraa main teri
jaane saaraa hindustaan
————————————-
Devnagri script lyrics (Provided by nahm)
————————————-
जानु मेरी जान
मैं तेरे क़ुरबान
जानु मेरी जान
मैं तेरे क़ुरबान
अरे मैं तेरा तू मेरी
जाने सारा हिंदुस्तान
मैं तेरा तू मेरी
जाने सारा हिंदुस्तान
जानु मेरी जान
मैं तेरे क़ुरबान
जानु मेरी जान
मैं तेरे क़ुरबान
अरे मैं तेरा तू मेरी
जाने सारा हिंदुस्तान
मैं तेरा तू मेरी
जाने सारा हिंदुस्तान
नज़रों से न तोल मुझे
दिल से काम ले
तू जिस की वो तेरे बिन
क्यूँ किसी का नाम ले
नज़रों से न तोल मुझे
दिल से काम ले
तू जिस की वो तेरे बिन
क्यूँ किसी का नाम ले
जानु मेरी जान
मैं तेरे क़ुरबान
जानु मेरी जान
मैं तेरे क़ुरबान
अरे मैं तेरा तू मेरी
जाने सारा हिंदुस्तान
मैं तेरा तू मेरी
जाने सारा हिंदुस्तान
हा हा हा ह आहा हा
हे ए ए
हो हो हो हो
ओ ओ ओ ओ
छोटी सी इक बात बनी
बात से दास्तां
भूल के सब बाते हंस दे
है यही प्यार की शान
छोटी सी इक बात बनी
बात से दास्तां
भूल के सब बातें हंस दे
है यही प्यार की शान
जानु मेरी जान
मैं तेरे क़ुरबान
जानु मेरी जान
मैं तेरे क़ुरबान
तू मेरा मैं तेरी
जाने सारा हिंदुस्तान
तू मेरा
मैं तेरी
जाने सारा हिंदुस्तान
जानु मेरी जान
मैं तेरे क़ुरबान
जानु मेरी जान
मैं तेरे क़ुरबान
हो मैं तेरा तू मेरी
जाने सारा हिंदुस्तान
मैं तेरा तू मेरी
जाने सारा हिंदुस्तान
- In: "Dance under duress" song | "Villain's" den song | Blog ten year challenge (2009-2019) | Devnagri script lyrics by Avinash Scrapwala | Guest posts | Lata solo | Lata song | Lyrics contributed by readers | Post by Avinash Scrapwala | Songs of 1970s (1971 to 1980) | Songs of 1973 | Yearwise breakup of songs
- 1 Comment
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a regular 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.
| Blog Day : | 4101 | Post No. : | 15250 |
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Blog 10-Year Challenge (2009-19) – Song No. 48
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Today’s song is from the 1973 movie ‘Heeraa’ which made its debut on the blog on 10th Oct’2009.
Other movies represented on the blog on that day were as follows;
(Movies represented on the blog on 10.10.2009 (in descending order);
| Song | Movie title-Year | Remarks |
|---|---|---|
| Tujh sang preet lagaayi sajnaa ho raamaa | Kaamchor-1982 | All Songs covered in the blog |
| Apne pyaar ke sapne sach huye | Barsaat Ki Ek Raat-1981 | 03 of 05 songs covered |
| Main tujhse milne aayi mandir jaane ke bahaane | Heera-1973 | 03 of 05 songs covered |
| Arre yaar meri tum bhi ho ghazab | Teen Deviyaan-1965 | All Songs covered in the blog |
Kashtiyaan sab ki kinaare pe pahunch jaati hain,
Naakuda jinka nahin,
Unka khuda hota hain”
Those lines played in the background with the ‘logo’ of Sultan Productions the home production of Producer and director Sultan Ahmed.
That also reminds us of the other production houses’ logos and some of them which played some famous lines and that was also one of the thrilling experiences of watching movies in the seventies.
‘Heera’ or ‘Heeraa-1973’ was directed by Sultan Ahmed and it was his home production.
It had Sunil Dutt, Asha Parekh, Farida Jalal, Shatrughan Sinha, Helen, Kanhaiyyalal, Anwar Hussain, Nazir Hussain, Sulochana, Mukri, Randhir, Tabassum, Tuntun, Mumtaz Begam, B.B. Bhalla, Polsan, Renuka, Keshav Rana, Abhimanyu Sharma, Jankidas, Master Raju, Pahalwan, Habib, Mac Mohan, Maqbool, Bam Lahiri, Abhimanyu Sharma, Master Rajoo and many others.
Faryal, Asha Potdar, Shyam Kumar, Satyendra Kappu make a friendly appearance in this movie.
The movie also introduced a sheep ‘Kaptaan’.
Story of this movie was written by K.B. Pathak. Dialogues were written by Wajahat Mirza. Wajahat Mirza also shared the screenplay writing K.B. Pathak and Sultan Ahmed. Editing of this movie was done by M.S. Shinde.
Lata Mangeshkar, Mohd Rafi, Kishore Kumar, Asha Bhonsle, Usha Khanna and Mukri gave their voices to the songs in this movie.
This movie was passed by Censor Board on 23.10.1973.
HFGK Vol-V (1971-1980) listed six songs on the movie page for this movie, it was however corrected in the addenda that the first song in the list, is actually only few lines of the first song in the movie ‘ek chhokariya beech bajariya’ , and thus reducing the total number of songs of this movie to five.
This song ‘ek chhokariya beech bajariya’ was presented on the blog by our Respected Arun ji and he also had mentioned in brief about this movie and its story. (Wherein only one correction is required that the villain Balwant (Shatrughan Sinha) is not arrested b the police in the end of this movie, but he gets killed during the encounter with Heera (Sunil Dutt) and the Police).
I have vague memories of watching this movie either with my Father or my Uncle. And I must be around five or six years old then. After that I have never watched this movie again.
But I always have the nostalgia with me for the song ‘main tujhse milne aayi mandir jaane ke bahaane’ from this movie. I remember this song was very popular then and was frequently played on loud speakers. (however, none of the songs from this movie made it to the annual list of ‘Binaca Geetmala’ of that year). Other than this song the nostalgia related with this movie that I always carried was ‘the daaku, the horses and the guns and the ‘khandahars’ 🙂
Other than the two songs mentioned above the other song which one can remember after listening to it is ‘Jai Ambe Jagdambe Maa Jai Ambe Jagdambe’ which was also heard, may be during ‘Durga Pooja’ festivals only.
And these three songs mentioned above are the three songs from this movie which have been posted in the blog so far.
One can find the today’s song also heard on radio in those days, but I think it was not much popular and forgotten easily thereafter. However this can remind us of the many this type of songs in other movies 😊
Music for this movie was composed by Kalyanji-Anandji, while two lyricists wrote the songs for this movie, Indeewar three songs and Anjaan two songs.
Today’s song is written by Anjaan and sung by Lata Mangeshkar. On screen it is performed by Asha Parekh.
Asha Parekh recently celebrated her 77th birth anniversary on this 2nd October. (She was born on 2nd October 1942). We belatedly wish her a very healthy and peaceful life ahead.
This song happens to be a song in the ‘villain’s den’ where Asha Parekh and her Father Kanhaiyyalal are hostages after Balwant (Shatrughan Sinha) has abducted them. And he forces Asha Devi (Asha Parekh) to dance in his den …
‘le baandh le ye ghunghroo… aur aisaa naach ke aaj saari sabhaa mein aag lag jaaye’
Naach …
And that is why this song …
Let us now enjoy this song sung by Lata Mangeshkar and composed by Kalyanji-Anandji.
Song-Aaj naachoon aise ke aag lag jaaye (Heera)(1973) Singer-Lata, Lyrics-Anjaan, MD-Kalyanji Anandji
Lyrics
aaj naachoon aise ke aag lag jaaye
aaj naachoon aise ke aag lag jaaye
aag lage aisi ke bujhne naa paaye ae
bujhne naa paaye
aaj naachoon aise ke aag lag jaaye
aaj naachoon aise ke aag lag jaaye
aag lage aisi ke bujhne naa paaye ae
bujhne naa paaye
O deewaane tu sun
meri paayal ki dhun
iski jhankaar mein maut ka raag hai
ho koi sangedil
khaaq mein jaaye mil
aaj ghunghroo ke bolon mein wo aag hai
jaa re jaa aa
jaa re jaa
jaa re jaa aa
mujhe aise tu dekhen kyun
aankh jo milaaun to aag lag jaaye
aankh jo milaaun to aag lag jaaye ae
aag lage aisi ke bujhne naa paaye ae
bujhne naa paaye
kar naa ghaayal mujhe
rang degaa tujhe
har lahu ka jo katraa giregaa yahaan
zulm itnaa na kar
yoon naa hadd se guzar
tu agar hai zameen to koi aasmaan
jaa re jaa aa
jaa re jaa
jaa re jaa aa
dekho mujhko na chhoona yoon
haath naa lagaa tu
ke aag lag jaaye
haath naa lagaa tu
ke aag lag jaaye ae
aag lage aisi ke bujhne na paaye ae
bujhne na paaye …
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Devnagri Script lyrics (Provided by Avinash Scrapwala)
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आज नाचूँ ऐसे के आग लग जाए
आज नाचूँ ऐसे के आग लग जाए
आग लगे ऐसी के बुझने ना पाए ए
बुझने ना पाए
आज नाचूँ ऐसे के आग लग जाए
आज नाचूँ ऐसे के आग लग जाए
आग लगे ऐसी के बुझने ना पाए ए
बुझने ना पाए
ओ दिवाने तू सुन
मेरी पायल की धुन
इसकी झंकार में मौत का राग है
हो कोई संगदिल
खाक में जाए मिल
आज घुंघरू के बोलों में वो आग है
जा रे जा आ
जा रे जा
जा रे जा आ
मुझे ऐसे तू देखें क्यूँ
आँख जो मिलाऊं तो आग लग जाए
आँख जो मिलाऊं तो आग लग जाए ए
आग लगे ऐसी के बुझने ना पाए ए
बुझने ना पाए
कर ना घायल मुझे
रंग देगा तुझे
हर लहू का जो कतरा गिरेगा यहाँ
ज़ुल्म इतना ना कर
यूं ना हद से गुज़र
तू अगर है ज़मीन तो कोई आसमान
जा रे जा आ
जा रे जा
जा रे जा आ
देखो मुझको ना छूना यूं
हाथ ना लगा तू के आग लग जाए
हाथ ना लगा तू के आग लग जाए ए
आग लगे ऐसी के बुझने ना पाए ए
बुझने ना पाए … … …
Aayi pehli milan ki wo raat
Posted on: October 10, 2019
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular 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.
| Blog Day : | 4101 | Post No. : | 15249 |
Hullo Atuldom
The 80s was a period when there were a whole set of “Made in South” movies. Movies essentially remakes of popular and successful Telugu, Tamil and Kannada movies. Movies with nearly same formula- one hero and two heroines, both ladies loving the hero equally with the hero behaving courteously with one and loving the other passionately. To add further twist, the heroines will be sisters (as in Tohfa), childhood best friends (as in Raaste Pyar Ke), or meet accidentally and become good friends (as in Maang Bharo Sajna and Asha Jyoti).
All the movies would have good songs which used to be popular in the 80s and 90s but may have been forgotten since. The most important aspect of these movies used to be that one of the heroines would sacrifice her love or never reveal her love so that the other can lead a happy life with her partner/ husband etc. The hero in most of these South-made movies was Jeetendra and the heroines were mostly Rekha, Reena Roy, Shabana Azmi, Moushumi Chatterjee, Jaya Prada or Sridevi. Taking note of the success of Jeetendra in these movies Rajesh Khanna also acted in a few South-made movies.
Asha Jyoti was one of them. The movie had five songs with Anuradha Paudwal, Asha Bhonsle and Kishore Kumar as playback singers. Anjaan was the lyricist and Laxmi Pyare were the music directors. One song has been posted from the movie. In that post Atulji has speculated about the status of the relations between the main cast. I have seen this movie a long time back and here is the story of the movie, hope that it clears all speculations. 🙂
Asha Jyoti (1984) had Rajesh Khanna, Reena Roy and Rekha as the main cast. The film was directed by Dasari Narayana Rao, who had also directed Aaj Ka M.L.A. Ram Avtar with Khanna in the lead role and music was given by Laxmikant Pyarelal. The film is remake of Telugu Movie Srivari Muchatlu (1981).
Ramesh Chander (Om Shivpuri), a businessman, asks his son Deepak (Rajesh Khanna), a musician, if he would marry his childhood friend Asha (Rekha), but Deepak keeps declining this idea. Deepak falls in love with one of his fans named Jyoti (Reena Roy), a dancer, and he informs his parents by telegram that he has chosen a girl. Deepak promises to pay off the debts owed by Jyoti’s father. But when Deepak reaches his home in Bombay (now Mumbai), he finds that Ramesh has committed suicide due to bankruptcy. Ramesh expresses his last wish that his second wife and her daughter be taken care of. Deepak is delayed in Bombay and is unable to return to Kashmir.
In Kashmir, Jyoti’s creditor asks her father for money, but Jyoti expresses her inability to pay, so the creditor warns Jyoti’s father she will be in grave trouble. When Deepak does arrive at Jyoti’s house, her father lies, saying that he has married her off to the creditor. Deepak is heartbroken and returns home.
Seth Badri Prasad (Madan Puri), a rich man and childhood friend of Ramesh, bails Deepak out from bankruptcy and gets Ramesh’s creditors to not to file suit against Deepak and to auction the bungalow that he would buy. Deepak feels indebted to Prasad. Badri Prasad had been forcing his friend Ramesh Chander to ask Deepak to marry Asha, daughter of Badri Prasad. After Deepak returns to Bombay, his mother suggests to him that he should now get settled in his life and bring some happiness in his life and so he marries Asha. During the wedding, Deepak observes a woman similar to Jyoti. Deepak searches for the Jyoti lookalike and finds the woman was actually Jyoti.
Now Deepak knows that Jyoti was not married to Hukumchand (Roopesh Kumar) and that her father had lied to him. Jyoti had come to Bombay in search of Deepak and tells him that she is the mother of Deepak’s child. Deepak decides to end his marriage with Asha and to tell Asha the truth, but Jyoti insists that Asha would not be able to remarry as society might discard her. Jyoti asks Deepak to act as if they had never met and be a loyal husband of Asha, so that Jyoti can take care of Deepak’s child.
Later, Jyoti becomes a popular dance teacher in her city. Asha decides to learn dancing form Jyoti and they become close friends. Asha discloses that her husband is not loving her and he does not even come close to her. Jyoti visits Asha’s home and learns that Asha is none other than Deepak’s wife. Jyoti tells Deepak to be a true husband to Asha and give Asha the pleasures of married life.
Asha learns that Jyoti and Deepak were lovers before her marriage to Deepak and suspects they are having an affair. Asha found that Deepak and Jyoti are well-wishers of Asha, are innocent and victims of the unpredictable nature of fate. After coming to know the truth, Asha and Jyoti decide to sacrifice their respective lives to let the other live a nice happy married life with Deepak.
Sitting through the movie was not a pain. I loved the way the ladies (over) dressed in silk sarees and had extra long hair plaited in the traditional South Indian Style complete with a garden full of flowers on their hair and heavy jewellery. There was a time in my life when I yearned to have hair like my idol -Rekha- sported in these movies. These movies also showed that Rekha was an artist who followed all instructions of the choreographer and enacted the semi-classical dances that were there in the movie, as can be seen in the song of this movie that is already posted. She also had large eyes that conveyed a variety of emotions.
Today’s song comes towards the end of the movie where we have Asha dressing up Jyoti as a bride and trying to rectify the wrong that fate has delivered on Deepak and his Jyoti (the movies in this genre excelled in naming their characters). We also see that Deepak and Jyoti are not comfortable with this turn of events but Asha prevails on them and we have this Asha Bhonsle play backed song.
I am sure the readers have guessed why I chose a song that has the “oh! so beautiful!” Rekha for today’s post. Yes, she turns a year older today and it has become a compulsion for me that write atleast a small post to wish her.
Wish you a very happy birthday Rekhaji.
Song-Aayi pehli milan ki wo raat (Asha Jyoti)(1984) Singer-Asha Bhonsle, Lyrics-Anjaan, MD-Laxmikant Pyarelal
Lyrics
aayi pehli milan ki woh raat
sajan se na sharmaana
aayi pehli milan ki woh raat
sajan se na sharmaana
kya kya huyi re piya ke sang baat
kya kya huyi re piya ke sang baat
sawere humen batlaana
aayi pehli milan ki woh raat
sajan se na sharmaana
ho o o
kitne saawan pyaase tarse
tabhi suhaagan raat aati hai
aati hai toh
pyaar se mann ka kora aanchal bhar jaati hai
kora aanchal bhar jaati hai ae
pyaase mann pe huyi kya barsaat
sawere humen batlaana
aayi pehli milan ki woh raat
sajan se na sharmaana
tan se tan ka milan nahin yeh
tan se tan ka milan nahin yeh
yeh hai do saanson ka sangam
apne jiya ko bas mein rakhna
dil ki dhadkan jaaye na thham
kaisi hoti hai
kaisi hoti hai pehli mulaakaat
sawere humen batlaana
aayi pehli milan ki woh raat
sajan se na sharmaana
madhur milan ki iss bela mein
tan mann jeewan kar de arpan
madhur milan ki iss bela mein
tan mann jeewan kar de arpan
pyaar se saajan ka mann jeete
wahi dulhan hai yahaan suhaagan
o o o o
kiski jeet huyi re kiski maat
sawere hume batlaana
aayi pehli milan ki woh raat
sajan se na sharmaana
kya kya huyi re piya ke sang baat
kya kya huyi re piya ke sang baat
sawere humen batlaana
aayi pehli milan ki woh raat
sajan se na sharmaana
Hey ae mulak Kathiawad
Posted on: October 8, 2019
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.
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Blog Day : |
4099 | Post No. : | 15246 |
Today’s song is from a historical film ” Woh Zamana “-47.
In India, importance is rarely given to history and to historical personalities born and bred in the local soil. The so called ‘ Historical Films’ made here are mostly on Mughal Kings or other invaders like Sikander or Changez Khan etc, who can not be called the sons of soil. Many of them came from out of India, stayed here till they benefited and left when they finished looting India. True sons of India or locals like Marathas, Rajputs, Gujars or Sikhs have been rare cases of subject matters for Hindi films.
Films on Vikramaditya, Chandragupta, Shivaji, Rana Pratap and brave kings from other states like Gujarat, Rajasthan, Bengal, Orissa, the UP and the southern states like Andhra, Karnataka, Tamilnadu or Kerala have been rare and can be counted on fingers. Very sad state of affairs indeed. This was the result of wanton and systematic planning by the Britishers in their, about 200 years of rule, to teach a distorted history to last about 5 to 6 generations. This was to suppress any patriotic feelings to rise against them. Our generations learnt only about the valour and generosity of the British and the Mughal kings, thereby totally blacking out the true history of original sons of soil leaders and kings, which was the true Indian History.
For example, can you name one king from any of these Indian kingdoms ? Mauryas, Saatwahans, Guptas, Pandyas, Cholas, Pallavas, Chalukyas, or Ahoms ? Ask any average educated Indian to name the kings of Mughal period (only 250 years) 99 out of 100 will name them in the sequence – Babar, Humayun, Akbar, Jehangir, Shahjehan and Aurangzeb. That is how ill-informed almost everyone is about Indian kings and dynasties. The so called Historical films have not helped either.
I have not seen film “Woh Zamana”, but I know that this film was based on the stories of bravery of a king of Kathiawad and how he saved his kingdom from the invaders from the Middle East. Kathiawad was the main part of Saurashtra, which comprised the districts of Junagadh, Amreli, Bhavnagar, Botad, Jamnagar, Rajkot, Morbi, Surendra nagar, Somnath and Dwaraka. After India’s Independence, the Nawab of Junagadh wanted to merge with Pakistan, but his subjects revolted and Sardar Patel merged Junagadh into India. The Nawab migrated to Pakistan with his entourage.
Film “Woh Zamana” was made by Ranjit Movietone. The owner of Ranjit – Sardar Chandulal Shah was from Kathiawad and so had a special interest in this film. Chandulal was keen that the then well known actor singer of Kathiawad, Rati kumar Vyas should act and sing in this film. Rati kumar declined acting in Hindi, but sang 1 duet (with Mohantara) and 1 solo song in this film. This was his only Hindi film. His duet song is already discussed on the Blog.
The lyricist was Pt. Indra and MD was Bulo C Rani, who had joined Ranjit after his Guru Khemchand left it. The cast of the film was Khurshid junior, Altaf, lalita Pawar, S N Tripathi, Pt. Iqbal, Padma Banerjee, Joshi, Kabuli etc.etc.
Khurshid Jr. – the film’s Heroine – was the eldest daughter of Master Ali Baksh, Music Director and Iqbal Begum, film artiste and one time a famous and popular stage artist of Madon, Alfred and other Drama companies in the Eastern India. The family actually belonged to Sargodha in Punjab, but Khurshid was born in Bombay on 10-4-1930. Being born in a filmi family, the atmosphere was very conducive for Khurshid to join films.
After getting school education upto 12 years of age, she entered films. Her first film was Zameen-43 as a side Heroine. Then came Minerva’s Dr. Kumar-44 and Naghma E Sehra-45 – in which she was the Heroine of Master Vithal. Due to her good acting skill, there was no shortage of film offers. She had to add Jr. to her name , as there was a more famous actress singer Khurshid Bano, already in film line, in the same period.
Khurshid’s younger sisters Baby Meena (later Meena kumari) and Baby Madhuri Later actress Madhu- Mehmood’s wife) were also working in films. Khurshid Jr. married her handsome co-star Altaf. who did few films as a Hero but then shifted to side roles soon. After Partition, the couple considered shifting to Pakistan, but decided to stay here as her both sisters were here and doing better.
As long as Meena kumari was alive, they were comfortable, but after her demise, they became helpless and went down financially. They had to live in smaller tenement and roles also dwindled. Khurshid Jr. acted in 65 films. Her last film was Oh Bewafa-80. Altaf acted in just 21 films from Sipahi-41 to Pakiza-71. Even Khurshid had also acted in it.
One more name seems odd in the cast – Kabuli. Abdul Rehman Kabuli was from Afganistan. An expert stage artiste, he had his own Drama Company-Elphinston Theatre Company in Bombay. He sold the company, went to Calcutta and joined Madon Theatres/studios as an actor and director. He first acted in Shirin Farhad-31, Indrasabha-32,Guluru Zarina-32, Zahri saanp-33 etc etc, in all 39 films, both at Calcutta and Bombay, in the early era. Further he directed 12 films, starting with Shravan Kumar-32 up to Veer Bala-38. He wrote 55 songs in 6 films and sang 15 songs in 7 films. After Partition, he returned to his native country.
Today’s song is sung by Kathiawad’s well known actor singer Rati Kumar Vyas. He used to live in Ahmedabad, but was born in Gondal (Rajkot district) on 10-8-1921. Gondal was his maternal grandfather’s town. Due to his inclination towards singing, he was admitted in Vanita Ashram National School, by his father. He was also trained by Pt. Narayan rao Vyas and learnt Classical singing.
He worked as a Music Teacher in Bombay. He recorded his first song at A.I.R. Bombay on 7-2-1941 and got a fabulous amount of Rs. 5 as fees ! His record was brought out by Young India Record company. he acted and sang in several stage dramas. He got into Gujarati films too. His songs in film Allabeli (Good-Bye) were quite famous.
His role and songs in film Jogidas Khuman-48 and 62, both versions became popular and famous. He acted in films directed by Manhar Raskapoor. He was honoured by Delhi Gujarati Samaj and the Kaag Dhaam award also. Rati kumar Vyas died on 12-5-1991. ( Thanks for information, to shri Rajni kumar Pandya ji and Harish Raghuwanshi ji).
Today’s song is a typical Kathiawadi Folk Tune.
Song –Hey ae mulak Kathiyawad (Woh Zamaana)(1947) Singer – Rati Kumar Vyas, Lyricist – Pt. Indra, MD – Bulo C Rani
Lyrics
hey ae ae ae
ae ae ae ae
ae ae ae ae
ae ae ae
hey ae ae ae
ae ae ae ae
ae ae ae
ae ae ae de
ae de de
ae de de
ae mulak kathiawad
ae mulak kathiawad
dharti par doojo nahin
ae ae ae ae
jaise atal pahaaad
ae toote par na jhuke kabhi ee
ae jaise atal pahaad
ae toote par na jhuke kabhi ee
ae jagat raha gun gaaye
ae jagat raha gun gaaye
baghero ka raat din
hey ae ae ae
sheesh jaaye to jaaye
ae moonch rahe oonchi sada
dushman khele daanv
ae dushman khele daanv
peethh na dekhe mard ki
ae dushman khele daanv
peethh na dekhe mard ki
ae ae ae ae ??
haathhi ghaav
ae hans hans jhele soorma
ae jag mein miley na jod
ae jag mein miley na jod
maan ek kul teri kahi ee
hey ae ae ae ae
ae byaah adhoora chhod
ae mard jaaye rann mein lade
mulak kathiawaad
mulak kathiawaad
dharti par doojo nahin ee
hey ae ae jaise atal pahaad
ae toote par na jhuke kabhi
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