Archive for the ‘Guest posts’ Category
Chal saajan chal saajan
Posted on: May 11, 2021
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4680 | Post No. : | 16359 | Movie Count : |
4442 |
Writing on old films, its people and its music is an unusual hobby. Such people are very few and what they write is read by a limited but a large circle. This group of people are exclusive and generally they are not recognised by the society. Funnily, ” writing on old films” is mainly ( and wrongly) equated with old songs only. people are not aware that there is a world beyond old songs and music as far as old films are concerned.
Whenever I tell people that ‘ I write on old films’, their immediate reaction is to start praising old songs which they know. Depending on the age of the person, the period of ‘ old films’ differs. For an young man of, say 20-25 years old films may mean films which came in the 80’s and 90’s. For people of 30-40 years, films of the 6o’s and 70’s are old films. For people of 45-60 years of age, old films are from the 50’s. Only people in the age bracket of 65 to say 80/85, it is films of the 30’s and 40’s which are old films !
Irrespective of the age group and their definition of old films, people unanimously equate films with songs only. That is why I say films have 2 parts…..
1. Poetry – It consists of the songs, the lyricists, the Music Director, the arrangers, instruments used and its players, how songs are presented, who is the singer etc etc.
2. Prose – It consists of information of the producing studios,producers, directors, actors, film stories, locations, cinematography and all those who help make a film-other than songs and music.
Most Social Media sites and groups centre around film music, songs, singers and related topics. I would guess that about 95 % groups and sites belong to this category. However, the remaining 5% groups and sites, Blogs loyally give importance to people connected with film making. They collect and provide information on the old films, production houses, biographies of artistes, producers, directors, cinema stories,filmographies, interviews with people etc etc. These sites and groups are exclusive and known only to people who are interested in this aspect of films, for whatever reasons.
However, I strongly believe that the 2 parts, i.e. Prose and Poetry of films are incomplete without each other. One may specialise in knowledge of one part, but he can not do without having a sufficient knowledge of the other part too. For example, if I specialise in the Prose part of old films, I also have a sufficient knowledge of the Poetry part of the films. Therefore,instead of specialisation, i would call it a Preference of the particular part. I have also noted that most people who write or do any kind of blogging or ‘siting’ of old Hindi films, do this as a Hobby. In a way, it is ” Love’s Labour” for them.
Another point.As is generally believed,all people connected with this hobby are not the ‘Retired ‘ people. There are enthusiastic bloggers in this field, who are professionals having either a job or a business. Some high profile bureaucrats, some doctors, educationists, professors, senior managers in Government or private enterprises or even directors of companies. They are of course in the age group of 45 and above. Not that there are no young people involved in old films. Just take a round of related pages on Fb, you will find quite young people enjoying old songs and also putting their ‘ knowledgeable’ remarks/comments.
I developed this love of old films quite early, in my early or pre teens, perhaps.As the youngest member of a big joint family, I was assigned the duty of accompanying the elders, whenever they went to see a film – which was quite often. I started liking films (mostly mythological or social films) and their songs. I branched off into seeing action and stunt films with my friends. Language was not a bar. Hyderabad being a multilingual state, I used to see films in Hindi, Marathi, Telugu, Tamil, Kannada, English (especially Republic Serials like Captain Marvel etc.)
I developed a habit of jotting down the details of the film seen, in a notebook. This habit lasted with me till about a few years till I reached my final college year in the late 50’s. Once I joined my job and then got married, my notebook writing stopped. I had carefully preserved these notebooks till I started writing articles. But by that time many notebooks had faded, some were torn, some had white ants. I salvaged many and transcribed from the spoiled ones, but some information was lost forever. Still, what remained was enough for me to write hundreds of posts and film synopsis. Good habits always help !
Believing in discipline and organised work, all my more than 1000 articles are neatly stacked in 45 Long books. More than 1100 Bio sketches of cine artistes are in my Laptop. I have 100s of books, purchased and got as gifts from the authors,in Hindi, Marathi and English. I have already written in a diary what is to be done of all these after I leave and also informed the person. The idea is not to waste all this knowledge and that the next generation should have it readymade.
Today’s post has become a different one. Once in a while, some diversion !.
Today’s song from the film Torpedo-41 is a lovely, sweet song by Rajkumari Banareswali. This was a Costume film as per HFGK, but looking at the actors it seems to be a mixture of action and stunt. The cast is Yashwant Dave, Shehzadi, Samson, Meher Sultana and others. The director was N A Mansuri, B.A. He later directed 2 more films, Soorat-47 and Sanwariya-49. I wonder what must he be doing in between ? Music was by Shyam Babu Pathak and Shanti kumar. With this song, film Torpedo makes its Debut on the Blog. Thanks to Shri Abhay Jain(US) for the rare song and Sadanand Kamath ji for uploading it for me.
Song- Chal Saajan chal saajan Ek chhoti si duniya apni basaayen (Torpedo)(1941) Singer- Rajkumari-Banareswali, Lyricist- Kabil, MD- Shanti Kumar Desai
Lyrics
Chal Saajan
Chal Saajan
Chal Saajan
Ek chhoti si duniya apni basaayen
Chal Saajan
Chal Saajan
Ek chhoti si duniya apni basaayen
Chal Saajan
Chal Saajan
is duniya se ae door kahin jaa kar
is duniya se ae door kahin jaa kar
door kahin
door
door kahin
door
Chal Saajan
Chal Saajan
Ek chhoti si duniya apni basaayen
Chal Saajan
Chal Saajan
prem ka deepak man mein jalaa kar
prem ka deepak man mein jalaa kar
kaali ghata ka parda hataa kar
kaali ghata ka parda hataa kar
duniya ki nazron o o o se
duniya ki nazron o o o se
ojhal ho jaayen
ojhal ho jaayen aen aen
Chal Saajan
Chal Saajan
Ek chhotisi duniya apni basaayen
Chal Saajan
Chal Saajan
ham tum hon wahaan
aur na ho koi
ham tum hon wahaan
aur na ho koi
bhor bhaye aji saajan ho
bhor bhaye aji saajan ho
viyog ke baadal kabhi na chhaayen
viyog ke baadal kabhi na chhaayen
Chal Saajan
Chal Saajan
Ek chhoti si duniya apni basaayen
Chal Saajan
Chal Saajan
- In: "expectant mother" song | "expectant parents" song | Asha Bhonsle songs | Duet | Guest posts | Kishore Kumar songs | Kishore Kumar-Asha Bhonsle duet | Post by Avinash Scrapwala | Rajesh Khanna songs | Rajesh Khanna songs by Kishore Kumar | Songs of 1970s (1971 to 1980) | Songs of 1974 | Yearwise breakup of songs
- 2 Comments
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4679 | Post No. : | 16358 |
#The Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 139 # HAMSHAKAL- 1974 #
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Today’s song is from the ‘1974’ movie ‘Hamshakal’.
This movie made its debut on the blog on 23.05.2009 with its most known song i.e.,Kaahe ko bulaaya mujhe balmaa, pyaar mein naam se. So this movie will complete twelve years on the blog 😊 hile still managing to stay unyippeeee’ed.
Another song from this movie, a male lullaby – Rastaa dekhe tera vyakul man mera was posted on the blog exactly a week after the first song. (i.e., on 30.05.2009).
The third song, another nice song Ham tum gum sum raat milan ki, aaja gori sun le baat… of this movie was posted on the blog next year in May’2010 on 10th May.
After this the movie was forgotten for almost ten years. Next song from the movie was posted on 29.12.2019, viz on the birth anniversary of Rajesh Khanna. This song was Aao bachchon main tumhe ek bahut achchhi kahaani sunaata hoon.
By this time the ‘blog ten-year challenge’ was already launched on the blog. The fifth song from the movie was covered under this challenge on 10.05.2020. The song was Phans gayi… udti chidiya, udte udte phans gayi.
By the way, the movie is eligible for both ‘11 year’ and ‘12 year’ challenge today. Taking this opportunity we will listen to the sixth and penultimate song of this movie.
This movie, inspite of being released when Kaka was at the peak of his career, having some beautiful music scored by Pancham Da, and lyrics written by Kaka’s favorite lyricist Anand Bakshi, failed at the box office. (And in this case the ‘Wikipedia’ also correctly mentioned this and not like other movies which were not much successful are now mentioned as ‘super-hit’ movies.
‘Hamshakal-1974’ was directed by Jambu for ‘Olympic Pictures, Madras’. It was produced by T. Govindarajan. It had Rajesh Khanna, Tanuja, Moushumi Chatterjee, Rajesh Behl, Asrani, Meena T., Uma Dhawan, Baby Sonu, Jankidas, Prem Kumar, Madhukar, Pahalwan, Kumud Chhugani, Jagdeep and others.
David, Aruna Irani, Manmohan and Asit Sen make special appearance in this movie.
Story of this movie was written by Poovai Krishnan. Dialogues were written by Inder Raj Anand. Editing of this movie was done by C.P. Jamboolingam.
This movie was passed by Censor Board on 10.04.1974.
(‘Hamshakal-1974’ was a remake of the 1970 Kannada film ‘Baalu Belagithu’, which was also remade in Telugu as’ Manchivadu’ (1973) and in Tamil as ‘Oorukku Uzhaippavan’(1976).)
‘Hamshakal-1974’ had seven songs in it and all were written by Anand Bakshi. Music for this movie was composed by R.D. Burman.
Asha Bhonsle, Kishore Kumar, Lata Mangeshkar, Mohammed Rafi and Sushma Shreshtha had given their voices to the songs in this movie.
Here is the list of songs of this movie ‘Hamshakal-1974’.
| S.No. | Song Title | Posted On |
|---|---|---|
| 01 | Phans gayi… udti chidiya, udte udte phans gayi | 10.05.2020 |
| 02 | Ham tum gum sum raat milan ki, aaja gori sun le baat… | 10.05.2010 |
| 03 | Mujhe sab paagal kehte hain, dekho main kaisi deewaani hoon | |
| 04 | Main tumko doongi sainyya pyaar ki nishaani, raaja, nahin raani | Being discussed today |
| 05 | Rastaa dekhe tera vyakul man mera | 30.05.2009 |
| 06 | Kaahe ko bulaaya mujhe balmaa, pyaar mein naam se | 23.05.2009 |
| 07 | Aao bachchon main tumhe ek bahut achchhi kahaani sunaata hoon | 29.12.2019 |
I had not watched this movie until now, but I was aware of a few of its songs since my ‘Kaka fan days’. I liked ‘kaahe ko bulaaya mujhe balmaa’, ‘rastaa dekhe tera vyaakul man mera’, ‘ham tum gum sum raat milan ki’.
Other songs of this movie were rarely heard. But I became aware of them after I get associated with this blog and started sending lyrics contributions. I sent one such song last year for the ‘blog ten-year challenge’. Our dear Prakash ji had also sent a song that time and luckily both of us had sent different songs and not the same one 😊.
Today I am presenting that song which was noted last year.
Also, from the above table we can see that majority of the songs of this movie got posted in the month of May (four songs earlier plus today’s one), so ‘May’ had turned out to be a ‘favorable’ month for this movie. And I wish the movie gets Yippeeee’ed in this ‘May’ itself.
This song is sung by Asha Bhonsle and Kishore Kumar, and on the screen, it is lip-synced by Rajesh Khanna and Moushumi Chatterjee.
Let us now listen to this beautiful song …
Video
Audio
Song-Main tumko doongi sainyya pyaar ki nishaani (Hamshakal)(1974) Singer –Asha Bhonsle, Kishore Kumar, Lyrics-Anand Bakshi, MD-R D Burman
Lyrics
main tumko doongi sainyya
pyaar ki nishaani
main tumko doongi sainyya
pyaar ki nishaani ee
raaja
nahin
raani ee ee ee
main tumko doongi sainyya
pyaar ki nishaani
main tumko doongi sainyya
pyaar ki nishaani ee
tum jhoothhe ho
kyon
main hoon sachchi
achchhaa
gudde se hai
haan haan
guddi achchhi ee
tum jhoothhe ho o
main hoon sachchi
gudde se hai
guddi achchhi ee
chupke chupke
hmm hmm hmm hmm
chori chori
aan aan aan aan
chupke chupke
chori chori
tum le aao jhoola dori
thhode dinon mein sunaaungi
main jaani
afsaanaa aa
nahin
kahaani ee ee
main tumko doongi sainyya
pyaar ki nishaani
main tumko doongi sainyya
pyaar ki nishaani ee
tere dil ko
haan
jo bhaayegaa
kya
ghar mein mehmaan
wo aayegaa
sach
tere dil ko o
jo bhaayegaa aa
ghar mein mehmaan
wo aayegaa
ham donon ke
hmm hmm hmm hmm
dil dolenge
hmm hmm hmm hmm
ham donon ke
dil dolenge
kaise us’se ham bolenge
achchha saa naam koi dhoondho hindustaani
haan
tansen
na na na
taani
aa aa aa aa
main tumko
main tumko
main tumko
main tumko doongi sainyya
pyaar ki nishaani
raja
naa naa naa
raani ee
raani ee
hmm hmm
hmm hmm
Maine maa ko dekha hai
Posted on: May 9, 2021
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4678 | Post No. : | 16356 |
Hullo Atuldom
The last time I had written a post for Mother’s Day was in 2016 – Mere chehre mein chhupa hai meri maa ka chehra . In that post I had mentioned how the idea of mother’s day came about. This day has been celebrated in the USA since 1914 as per a proclamation by Woodrow Wilson declaring the second Sunday of May as Mother’s Day.
As far as Indians are concerned everyday is Mother’s Day. Only thing is in the last few decades, with the increase in number of youngsters staying away from their families for studies or work or whatever reason, Mother’s Day is another day that we have started aping the west. We find youngsters definitely calling their mothers to wish, and some even send her some gifts.
There are numerous messages that will flood the social media on Mother’s Day. But a Mother will normally wait only for her children’s messages i.e. if it is not possible for the children to be physically present with her. Then there will be some somber message that will say “learn to appreciate your mother, for some are not as blessed as you”. And still others will say “what does she ask for, only a smile or a message that you are fine”. In all these years of being active on social media, I have not come across any message whose wordings have remained in my memory. But what I have stated above is the general gist of messages that will be in our INBOX on this Sunday, it being the second Sunday of May 2021.
And we must salute the mothers of the modern era. The amount of juggling that they need to do so that the schedule of the family is not upset. And most mothers also are earning members of the family. Till atleast a generation before us, these women who were working to earn, so as to supplement the family income, were seen preparing all meals for the family before they themselves left for their work. And on returning home head straight to the kitchen to make dinner and also engage the children with their studies and attend to whatever other responsibilities that she was meant to do. Being a mother had become a though job, and any lady who was not an expert at that kind of juggling was looked down upon.
In my student days, I used to commute by the Mumbai local trains and I have seen ladies shelling PEAS, cleaning coriander etc in the train. There were (don’t know if this is still happening in the trains) enterprising hawkers who used to sell vegetables and fruits, procured from the markets on the local trains of Mumbai. And to be honest, it must have been helpful to the lady travelers as it may have saved them shopping time.
I also know of mothers who have given up on well paying jobs so that they can devote all their attention to the family and children. These ladies doubled up as private tutors so that they didn’t waste their free time and could still contribute monetarily to the family.
And let me not miss talking about a generation of mothers, who are currently in their 80s and beyond. These ladies may not have been as fortunate, as say even the current 50/60 – year old mothers, in terms of getting beyond class 10 in education. But these ladies too, have reared a generation of individuals and instilled values of humanity, taught their children the importance of education and being good citizens – gender no bar. My mother would not have felt proud of her children’s achievements if my grandmother had not encouraged her to study and complete her graduation in spite of being married and a mother to 4 growing up children.
If my mother had been there she would have wished my grandmother just as me and my siblings would have fussed over our mother and my children pamper me on mother’s day. This is the day I also thank the mother in my mother-in-law for being my go-to person whenever I am in trouble, upset or celebrating. I simply love to be around her and learn how she has lived 74 years of her life as a mother.
Mothers have a special place in Indian stories and as an extension of these stories in Indian cinema too. We have movies titled “Maa” (three in our blog itself), “Maa Beta”, “Maai Baap”, “Maa aur Mamta”, “Maa Baap” (two movies with this title in our blog) etc.
In addition we have the classic “Mother India” where the lady had a powerful place in the life of her family members. Saw this movie, recently, with a conscious mind. I was amazed at the strength of the character that Nargis played. This lady could plough her field along side her husband and sons. She wielded a lathi when her son went out-of-line and her teachings; as also on the mean-money minded- lala (moneylender) when he misbehaved with her. This mother-character was a lady made of steel and didn’t tolerate when her son went on to abduct a bride of the village and didn’t hesitate to shoot him in spite of him being her son.
I have seen and read interviews of actresses of the next generation and they all used to say that they want at least one role in there life like the one Nargis played in “Mother India” and realized only now the full meaning of the wish of all these later year actresses.
But that is another story, let us get to today’s song. It is from the 1970 release “Mastaana”. This movie was directed by A. Subba Rao, produced by Premji, had seven songs penned by Anand Bakshi and composed by Laxmi-Pyare. It had a cast headed by Mehmood- Padmini- Bharati- Vinod Khanna and had Shyama, Rehman, Mukri, Leela Mishra, Manorama, Jayshree T., Ramesh Deo, wonder- child (that is how it was in the movie’s titles) Bobby etc. It was an emotional movie showing the bond between a poor-honest man Satya (Mehmood) and Naintara (Baby Bobby) a child of rich parents who misses having her parents when she needs them the most. The movie is a must-see for all Mehmood fans as he was too good in the emotional scenes. This is one of the movies (the other being ‘Lakhon Mein Ek’) where he makes his audience shed a tear or two in addition to making us laugh.
This song is sung by the child Naintara as a stage song at her school’s Parents Day. The parents don’t have time to attend the programme and depute the child’s nanny (Manorama). The child, on her part, takes Satya along for the program and Satya on his part sits in the aisle. The playback for this song is by Lata Mangeshkar.
Salutation and Best wishes to all mothers. Awaiting Father’s Day (in about a month).
Editor’s note-With this song, Anand Bakshi silently completes 1100 songs in the blog as a lyricist. Only the third lyricist (after Rajinder Krishan and Majrooh Sultanpuri) to touch this mark in the blog.
Song-Maine maa ko dekha hai (Mastaana)(1970) Singer-Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Lyrics
maine maa ko dekha hai,
dekha hai maa ko dekha hai
maa ka pyaar nahin dekha
maine maa ko dekha hai,
maa ka pyaar nahin dekha
maine phool toh dekhe hain,
dekhe hain phool toh dekhe hain
phoolon ka haar nahin dekha
maine maa ko dekha hai,
maa ka pyaar nahin dekha
maine maa ko dekha hai
waise toh ghar mein maa ki tasveer hai ae ae
waise toh ghar mein maa ki tasveer hai
lekin meri kab aisi taqdeer hai
kabhi jo ghabraaoon,
gale se lag jaaoon
agar naa neend aaye
toh lori woh gaaye
mera mann jiska pyaasa hai
pyaasa hai jiska pyaasa hai
woh laad dulaar nahin dekha
maine maa ko dekha hai,
maa ka pyaar nahin dekha
maine maa ko dekha hai
waise meri maa ka dil toh sakht nahin ee ee
waise meri maa ka dil toh sakht nahin
par uske paas zara bhi waqt nahin
hai uska naam bada
hai usko kaam bada
woh devi mamta ki,
hai leader janta ki
maa ke photo ke bina,
bina ji photo ke bina
koi akhbaar nahin dekha
maine maa ko dekha hai,
maa ka pyaar nahin dekha
maine maa ko dekha hai
pyaari pyaari hai woh bholi aisi hai ae ae
pyaari pyaari hai woh bholi aisi hai
kal aaya se poochha baby kaisi hai
meri maa sachchi hai,
badi hi achchi hai
yeh uska dosh nahin
use kuchh hosh nahin
maa ne duniya dekhi hai,
dekhi hai duniya dekhi hai
ghar sansaar nahin dekha
maine maa ko dekha hai,
maa ka pyaar nahin dekha
maine phool toh dekhe hain
dekhe hain phool toh dekhe hain
phoolon ka haar nahin dekha,
maine maa ko dekha hai
- In: "cross dressing" song | "disguise" song | "Diversion" song | Devnagri script lyrics by Avinash Scrapwala | Guest posts | Lata solo | Lata song | Lyrics contributed by readers | One singer singing for two actors | Post by Avinash Scrapwala | Songs of 1960s (1961 to 1970) | Songs of 1970 | Yearwise breakup of songs
- 2 Comments
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4678 | Post No. : | 16355 |
# Superstar Child Artist – Junior Mehmood # 8
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Welcome all to this eighth post in this series where we are discussing songs performed by Junior Mehmood as a ‘superstar child artist’.
So far, the following seven songs in this series have been discussed on the blog earlier.
1) lagey koi lottery koi jackpot lagey
2) Na koi paisa na ilm banaao bambai mein film
4) Birha ki rain sooni sooni sejariya
5) Aisa banoonga actor main yaaron
6) Ham hi jaanen ek torey manwa ki peer
7) Janamdin tujhko mubaraak ho
Today’s song is from the 1970 movie ‘Bachpan’.
As mentioned in the earlier posts under this series, ‘Naunihaal-1967’ was the first released movie of child artist Junior Mehmood.
He went on to act in many movies as a child artist then. He was the most loved child artist in those years of end-sixties to mid-seventies.
As a child artist Junior Mehmood achieved a ‘Superstar’ like status. He got to perform on many songs or rather many songs were picturised on him during those days.
We are going to enjoy one such song of Junior Mehmood as a child artist from the movie ‘Bachpan-1970’. The today’s wonderful entertaining song is performed by Junior Mehmood and other child artist including Sachin and Naeem (?) and many others.
This song is a different from his’ other songs as a child artist, because here he is not doing any mimicry of other actors or his guru, but in today’s song he is performing as a ‘girl’ or in a ‘female’ get-up.
In today’s song we see all the child artists (mentioned above) are singing and dancing in a police station where Sanjeev Kumar is in a lock-up. From the lyrics of this song we can guess that all these children have a plan to divert the attention of the on-duty police staff in their singing-dancing activities so that Sanjeev Kumar is able to escape from their custody.
The lyrics, music and singing of this song is very lively and entertaining to watch as Junior Mehmood, Sachin performs by lip syncing in Lata Mangeshkar’s voice and lead other children in the performance.
In an interview with Zarina Wahab (available here) Junior Mehmood had mentioned this song as his most favourite song among all the songs picturised on him.
‘Bachpan’ was directed by K.P. Atma for ‘Atma Arts Universal, Bombay’. K.P. Atma co-produced this movie with K.H. Rao. It had Sanjeev Kumar, Master Sachin, Junior Mehmood, Shahid, Anwar Hussain, Mukri, Sunder, Joginder, Baldev Mehta, Keshto Mukherji, Aruna Irani, Sulochana Chatterjee, Tabassum, Pratima Devi, Baby Gayatri, Baby Guddi, Master Alankar, Naeem and Tanuja.
Story of this movie was written by K.P. Atma. Screenplay and dialogues were written by Raj Baldev Raj. Editing of this movie was done by Shivaji Awdhut.
This movie was passed by Censor Board on 24.09.1970.
This movie had total six songs which were written by Anand Bakshi and composed to music by Laxmikant-Pyarelal.
Kishore Kumar, Lata Mangeshkar, Mohd Rafi, and P. Susheela were the playback singers for the songs in this movie.
Three songs from the movie ‘Bachpan-1970’ have been posted earlier on the blog. Today’s song is the fourth song from this movie to be posted on the blog.
| Song | Posted on |
|---|---|
| Aaya re khilaune waala | 30.08.2010 |
| Mother Mary maa ham tere dulaare hain | 25.12.2016 |
| Prem ka rog lagaa loon kaise jee ko main saanwariya | 30.08.2020 |
I had not watched this movie ‘Bachpan-1970’. I would request knowledgeable readers to throw more light on the movie and its songs.
Let us now enjoy today’s rocking entertaining song in the voice of Lata Mangeshkar.
Video
Audio
Song-Parda uthhne waala hai (Bachpan)(1970) Singer-Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Lyrics
Pardaa uthhne waala hai
Tamaasha hone waala hai
Koyi hansne waala hai
Koyi rone waala hai
Pardaa uthhne waala hai
Tamaasha hone waala hai
Koyi hansne waala hai
Koyi rone waala hai
Ho mantar chalne waala hai
Jaadu hone waala hai
Koyi hansne waala hai
Koyi rone waala hai
Pardaa uthhne waala hai
Tamaasha hone waala hai
Koyi hansne waala hai
Koyi rone waala hai
Kaale baadal jaise udte hain
Barsaat mein
Kaale baadal jaise udte hain
Barsaat mein
Tu bhi ud jaa panchhi pinjraa
Le ke saath mein
Tu bhi ud jaa panchhi pinjraa
Le ke saath mein
Qismat jaagne waali hai
Qismat jaagne waali hai
Qismat jaagne waali hai
Shikaari sone waala hai
Koyi hansne waala hai
Koyi rone waala hai
Pardaa uthhne waala hai
Tamaasha hone waala hai
Koyi hansne waala hai
Koyi rone waala hai
Ham laaye hain sandesaa tere naam ye ae
Ham laaye hain sandeshaa tere naam ye
Tere sar pe to hai jhoothha ilzaam ye
Tere sar pe to hai jhoothha ilzaam ye
Tere daaman ke dhabbe
Tere daaman ke dhabbe
Tere daaman ke dhabbe
Naseeba dhoney waala hai
Koyi hansne waala hai
Koyi rone waala hai ae
Pardaa uthhne waala hai
Tamaasha hone waala hai
Koyi hansne waala hai
Koyi rone waala hai
Sun o bhole bhaale raahi
Tujhko kya pataa aa
Sun o bhole bhaale raahi
Tujhko kya pataa
Jisne tujhko hai bhulaaya
Tera raasta aa
Jisne tujhko hai bhulaaya
Tera raasta
Apni bhool bhulaiyya mein
Apni bhool bhulaiyya mein
Apni bhool bhulaiyya mein
Wo khud hi khonewaala hai
Koyi hansne waala hai
Koyi rone waala hai ae
Pardaa uthhne waala hai
Tamaasha hone waala hai
Koyi hansne waala hai
Koyi rone waala hai
Ho mantar chalne waala hai
O Jaadu honewaala hai
Koyi hansne waala hai
Koyi rone waala hai
——————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
——————————————
पर्दा उठने वाला है
तमाशा होने वाला है
कोई हंसने वाला है
कोई रोने वाला है
पर्दा उठने वाला है
तमाशा होने वाला है
कोई हंसने वाला है
कोई रोने वाला है
हो मंतर चलने वाला है
जादू होने वाला है
कोई हंसने वाला है
कोई रोने वाला है
पर्दा उठने वाला है
तमाशा होने वाला है
कोई हंसने वाला है
कोई रोने वाला है
काले बादल जैसे उड़ते है
बरसात में
काले बादल जैसे उड़ते है
बरसात में
तू भी उड़ जा पंछी पिंजरा
ले के साथ में
तू भी उड़ जा पंछी पिंजरा
ले के साथ में
किस्मत जागने वाली है
किस्मत जागने वाली है
किस्मत जागने वाली है
शिकारी सोने वाला है
कोई हंसने वाला है
कोई रोने वाला है
पर्दा उठने वाला है
तमाशा होने वाला है
कोई हंसने वाला है
कोई रोने वाला है
हम लाये हैं संदेशा तेरे नाम ये ए
हम लाये हैं संदेशा तेरे नाम ये ए
तेरे सर पे तो है झूठा इलज़ाम ए
तेरे सर पे तो है झूठा इलज़ाम ए
तेरे दामन के धब्बे
तेरे दामन के धब्बे
तेरे दामन के धब्बे
नसीबा धोने वाले है
कोई हंसने वाला है
कोई रोने वाला है
पर्दा उठने वाला है
तमाशा होने वाला है
कोई हंसने वाला है
कोई रोने वाला है
सुन ओ भोले भाले राही
तुझको क्या पता आ
सुन ओ भोले भाले राही
तुझको क्या पता
जिसने तुझको है भुलाया
तेरा रास्ता
जिसने तुझको है भुलाया
तेरा रास्ता
अपनी भूल भुलैय्या में
अपनी भूल भुलैय्या में
अपनी भूल भुलैय्या में
वो खुद ही खोने वाला है
कोई हंसने वाला है
कोई रोने वाला है
पर्दा उठने वाला है
तमाशा होने वाला है
कोई हंसने वाला है
कोई रोने वाला है
हो मंतर चलने वाला है
ओ जादू होने वाला है
कोई हंसने वाला है
कोई रोने वाला है
Tum shyaam badariya main hoon mor
Posted on: May 8, 2021
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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During 1966-72, I used to watch one Hindi film almost every week-end. I had only two main criteria for selecting a film. First, I should be able to procure a ticket without a long queue either in advance or current booking. Second, the film should be from a good banner which meant that ‘B’ and ‘C’ grade films were out of my reckoning.
‘Aradhana’ (1969) was one such films which fitted my criteria. I watchedit in a theatre during the first week of its release. There was no problem in booking the ticket as Rajesh Khanna had not become a ‘phenomenon’ at that time, a term which one of the film magazines had used for him after the success of this film. While I was acquainted with the names of most of the main actors, the actor who had done the role of Sharmila Tagore’s father was a new face for me. His performance as a distressed father whose daughter has become a widow, carrying her fiancé’s child before formally getting married, had remained embedded in my mind with the song, safal hogi teri araadhana playing in the background. It was after a few months that I came to know that the actor in that role was Pahadi Sanyal, a name that I heard for the first time. Now this sounds surprising for me.
It was a sort of paradox that while I was not aware of Pahadi Sanyal as an actor in 1969, I was acquainted with his daughter, Luku Sanyal who was a lecturer in English literature in my college (K C College, Churchgate) during my college days in 1966-69. It was only when she started reading news in English on Doordarshan, Mumbai in 1972 that I came to know that she was the daughter of Pahadi Sanyal.
It took me another four decades to know that Pahadi Sanyal was also a good singer. That was after I joined the Blog sometime in 2011.
Pahadi Sanyal (22/02/1906 – 10/02/1974) and K L Saigal were contemporaries in New Theatres, both of them starting their filmy career almost the same year (1932). Apart from Bengali, Pahadi Sanyal was fluent in Hindi, Urdu and English. This qualified him to work as a singer-actor in most of the bilingual films (Bangla and Hindi) produced by New Theatres during 1933-40. The bilingual films included ‘Rajrani Meera’ (1933), ‘Chandidas’ (1934), Dhoop Chhaaon’ (1935), ‘Devdas’ (1935), ‘Karorepati’ (1936), ‘Vidyapati’ (1937), ‘Adhikar’ (1938), ‘Sapera’ (1939), ‘Haar-Jeet’ (1940). He also acted and rendered songs in ‘Yahudi Ki Ladki’ (1933) and ‘Kaarwaan-E-Hayat’ (1935). In some of these films, Pahari Sanyal worked with K L Saigal and also rendered songs with him.
Despite being a trained musician and singer in Hindustani classical music from the prestigious Marris College of Music, Lucknow, Pahadi Sanyal had to work under the shadow of K L Saigal whose songs were very popular and thus sure shots for the box office success of the films. I have seen many films of Pahadi Sanyal and K L Saigal working together and there is no doubt that K L Saigal was a better singer than Pahadi Sanyal. But when it comes to acting I felt that latter’s acting calibre was higher than that of K L Saigal.
After completing ‘Saugandh’ (1942), Pahadi Sanyal shifted his base to Mumbai in 1942. During his Mumbai stint, he acted in ‘Saheli’ (1942), ‘Sharaafat’ (1943), ‘Inkaar’ (1943), Mohabbat’ (1943), ‘Anban’ (1944), ‘Paristan’ (1944), ‘Kadambari’ (1944), ‘Preet’ (1945), ‘Malan’ (1946), ‘Milan’ (1946) among others. He was a lead actor in many of the films in the 1940s in Mumbai and he sang for himself in all these films.
Some time in the late 1940s, Pahadi Sanyal went back to Kolkata and worked in Bangla films but often visited Mumbai to work in Hindi films in the 1950s and 60s. By early 1950s, Pahadi Sanyal had started doing character roles.
While writing articles under the series ‘Hindi Songs in Bangla Films’ for the Blog, I had occasion to watch many Bangla films and Pahadi Sanyal had acted in some of these films. His role as a Psychiatrist in ‘Deep Jeley Jai’ (1959) was noteworthy for his long monologues with few dialogues delivered in chaste English. I have also seen its Hindi remake, ‘Khamoshi’ (1969) in which Nazir Hussain played the role of Psychiatrist but in my view, he was a shade lower in performance than the one by Pahari Sanyal.
In ‘Uttar Falguni’ (1963) and its Hindi remake, ‘Mamta’ (1966), Pahari Sanyal had a small role of a prosecution lawyer. Here he was pitted against the defence lawyer, Bikash Roy/Ashok Kumar. It was an interesting dual of natural actors in the court room to watch. In ‘Alor Pipasa’ (1959), Pahari Sanyal played the role of a senior doctor who tells the story of a mujra singer to his junior doctor (Asit Baran) who turns out be the mujra singer’s son. The narration of the story in a flash back mode by the senior doctor in tight to medium close-up shots shows the confidence the director of the film on the ability of Pahadi Sanyal to give effective facial expressions along with smooth dialogue delivery. In Bangla cinema, some of the character actors like Pahadi Sanyal and Chhabi Biswas, thanks to their acting prowess, commanded status almost equal to that of the lead actors. There are some more such Bangla films where Pahadi Sanyal has given memorable performance even in small roles.
During the 4 decades of his filmy career, Pahadi Sanyal worked in 56 Hindi films and almost an equal number of Bangla films. In addition, he also worked in an English film, ‘The Householder’ (1963).
As a singer in Hindi films, Pahadi Sanyal was active from 1933 to 1946 during which time, he rendered about 50 songs as an actor-singer. His last Hindi film song appears to be wo kahen aap ki do chaah ka inaam mujhe from ‘Milan’ (1946).
About a week back, I uploaded a rare song from the film ‘Mohabbat’ (1943) ‘tum shyaam badariya main hoon mor’ rendered by Pahadi Sanyal which I am presenting here. The film was directed by Phani Majumdar. Shanta Apte and Pahadi Sanyal were in the lead roles in the film with the supporting cast of Jagdish Sethi, Sunalini Devi, K C Dey, Yashodhara Katjoo, S Nazir etc.
There were 10 songs in the film which were set to music by Hari Prasanna Das. Except for Meera Bai bhajan, the lyricist/s for remaining 9 songs are unattributed.
With this song, ‘Mohabbat’ (1943) makes its debut on the Blog.
Audio Clip:
Song-Tum shyam badariya main hoon mor (Mohabbat)(1943) Singer-Pahadi Sanyal, Lyrics-Unknown, MD-Hari Prasanna Das
Lyrics
tum shyaam badariyaa
badariyaa
main hoon mo…r
tum shyaam badariyaa
badariyaa
main hoon mo…r
tum shyaam badariyaa
tum chaand kiran ho
tum chaand kiran ho
main hoon chakor
tum shyaam badariyaa
badariyaa
main hoon mor
tum shyaam badariyaa
ek praan hai do hain kaaya
ek praan hai do hain kaaya
bandhi preet ki dor
bandhi preet ki do…..r
tum shyaam badariyaa
badariyaa
main hoon mo….r
tum shyaam badariyaa
aa haa
tum jal ki chanchal dhaara
main uska ek kinaara
tum jal ki chanchal dhaara
main uska ek kinaara
jeewan pathh mein sang sang dolen
jeewan pathh mein sang sang dolen
chale ek hi ore
chale ek hi ore
tum shyaam badariyaa
badariyaa
main hoon mo….r
tum shyaam badariyaa
hum tum donon do panchhi hain aen
hum tum donon do panchhi hain
uden aen gagan ki ore
dekhen kitni door hai
apni iss duniya ka chhor
dekhen kitni door hai
apni iss duniya ka chho..r
tum shyaam badariyaa
badariyaa
main hoon mo…r
tum shyaam badariyaa
badariyaaaaa
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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4676 | Post No. : | 16352 | Movie Count : |
4440 |
Today’s song is from the film Taqdeer wale-aka- Lucky Friends – 1948. It was a Stunt film, a ‘C’ grade film made by Rajan pictures. The director was S H Tharani and music was composed by Shyam Babu Pathak and Ram Prasad Sharma. The cast of the film was Neelam, Rajan, Habib, Chandrika, Shanta Desai, Fazlu, Putli, Mannan and Maqbool – all typically stunt film regulars !
The 8 songs of this film were written by Indiwar and Muzaffar. Out of these 8 songs, 3 songs were originally recorded for an unreleased film-Parda aka Laparwah, for which Shyam Babu was the MD. Now these 3 songs were included in this film. Today’s song is also one of these “imported” songs from the film Parda. However, the singer’s name for any song is not known.
This is the problem with such small time ‘C’ grade films. Hardly any information is available about them, unless they are made by some prestigious banners like Wadia Movietone. In those times, stunt films were the best possible item to invest money and get sureshot profits. This was because there was a captive audience for stunt films, who were very loyal. Such films also were exhibited in dilapidated, old time theatres in some corner of the town.
According to Master Bhagwan, he used to make a stunt film for 50 to 75 thousand rupees in the 40’s decade. In the early times, i.e. the 30’s decade, a film was made in 15 to 30 thousand rupees. Of course in those days, living was much cheaper and the value of Rupee was also high. The same 30000 rupees would be equivalent to 6+ Lakhs today at current inflation rates, as per Mr. Google ji. Imagine even in 1963, a state Govt. Clerk’s starting salary was Basic 80 + DA 30 = 110 rupees total. Today a clerk starts at Rs. 33000, but he has the same difficulty in living a life as his counterpart had in 1963 – thanks to inflation !
Director S H Tharani had 5 films to his name as a Director- Stage Girl-47, Black Market-47, Taqdeerwale-48, Achhaji-50 and Azmaish-52. In 1954, I found one H S Tharani (his son ?) who had directed only the film Fujiyama-54.
Out of the cast, I found an interview of the heroine actress Neelam, which gives some information about her.
” Neelam, whose real name is Leticia Ferns, is a devout Roman Catholic and, to her, religion is the sheet-anchor which has given her strength and confidence to face many difficulties during her struggle for success. Dusky, limpid-eyed Neelam is the only film star of Bombay whose earliest ambition was to become a nun!
Born in Mangalore, Neelam was brought to Bombay when only one year old, and was educated at the Gloria High School where she did her matric. Right from her school days, Neelam was a serious and thoughtful girl and never indulged in fancy dreams of becoming a film star. She was happiest when attending her religion classes and she thought she would like to dedicate her life to the service of God. Her grandmother, however, wouldn’t hear of it. She did not want her pretty, talented grandchild to submit herself to the strict, austere life of a nun and promptly vetoed the idea.
There upon Neelam, who loves children and likes nothing better than to be with a roomful of kids, took up a position as a teacher in St. Teresa’s School. A year later, however, she found a better job with the Telephone Company, and quit teaching. It was here that Neelam, like a few of other filmland colleagues, made contacts which completely changed the placid routine of her everyday life.
She met several film personalities while working with the Telephone Company: Meena Shorey, Mumtaz Shanti, Sheila (who used to appear in Sohrab Modi’s films). Husn banoo and her mother, Sharifa. At the time, Neelam was always dressed in a frock, or a skirt, and blouse, but every one noticed her fresh, youthful looks, her trim figure and her charm and vivacity.
One day, Director S.M. Yusuf spotted her and insisted that she play the lead in “Chini Jadugar,” a “semi-stunt” picture. At first, Neelam was bewildered by the offer. She had never dreamt of a film career and when the chance to gain fame and make big money was thrust upon her, she didn’t know how to deal with it. She knew that her family would never approve of her taking up this “most dubious” of professions.
But a pretty, young girl cannot always resist a glamorous and luxurious life and the opportunity to be seen and admired by thousands of people. Neelam decided to take the plunge, come what may. She had accumulated a lot of leave at the office and, taking advantage of it, she started to work in “Chini Jadugar” without telling her family anything about it.
Neelam completed her role in the picture and then quietly went back to the routine of everyday life. Then the secret was out. A photograph of hers appeared in “The Times of India” and there was commotion in the Ferns family.
By this time, Neelam had finally decided she wanted to remain in films and when her people raised objections she said that she would utilize part of the money she earned to maintain an orphanage. In the selection of her screen name she was guided by her friend, Meena, who had played the title role in a file called Neelam (1945).
After her role in “Chini Jadugar”-47, she worked in Wali’s “Padmini”-48, Taqdeerwalw-48, and was later asked to dance in Nargis Art Concerns’ “Romeo and Juliet.” But although she did not work in this picture she formed a fruitful association. She met Nargis and her mother, the late Jaddanbai. The latter took a tremendous liking to Neelam and groomed her with loving care. Sadly, Neelam says, “I miss her love and kindness. She was like a mother to me. I can say that I ‘woke up’ in her lap, because it was with her help that I saw life and learnt how to face it.”
For four years, Neelam spent most of her time with Jaddanbai who helped her find roles in “Anjuman,”-48, “Darogaji,”-049, “Pyar ki Baatien” -51, Bewafaa-52, Chori chori-55,and Bewaqoof-60. She worked in about 20 films or so.
True to her promise to her family, Neelam spent most of her money in looking after children whom she took from destitute mothers. Her innate love of children made this task a pleasant one for her. Neelam adopts children of all communities and personally attends to their education and general upbringing. At one time, when she could afford it, she adopted nine children, eight girls and one boy, and looked after them until they grew up and were able to look after themselves or were helped to pursue higher education.
As each lot of children passed on from her home, Neelam, even with her slender resources, continued to take in more each time. At present she has five children under her care. She and her brood of happy kids kneel down to pray every night, a practice which Neelam never misses.
Yet, the religious streak in her does not prevent Neelam from enjoying life to the hilt as most girls of her age do. She enjoys going to, and giving, parties and loves ballroom dancing. Her main recreation is reading – “novels, mostly” – and her favorite sport is swimming. Like most members of her sex, she loves to “just sit around and gossip,” although she likes people too much to be malicious about them.
Apart from looking after her own home, and her five little ones, she still takes the responsibility of supporting part of her family – a duty which she feels she owes to them. Her film career has not been a grand success in terms of fame and wealth, but this has not impaired her gay and carefree outlook on life.”
( Courtesy Cineplot: This interview was conducted in October 1954, contributed by Sudarshan Talwar).
Another name from the cast is Putli….very little information is available about her too. Mothers and daughters acted as leading ladies in the same era….Miss Putli or Putlibai and Miss Gohar Mamajiwala (the term Miss was used not merely to state the marital status of the leading ladies of those days)….
Like Miss Sharifa and Husna Banu , Putli and Gohar were mother and daughter. Putli was an accomplished actress of the silent screen who entered effortlessly in the Talkies because of her extraordinary singing talents. Gohar was born in 1910 and entered the screen in 1926, whereas her mother Miss Putli too entered more or less the same time. Information about Miss Putli is very limited. However, Gohar became India’s popular iconic star and is still remembered today.
Miss Putli acted in 33 Talkie films. Her first Talkie was Ratan Manjiri-35 and her last film was Dhoke baaz-46. She sang one song each in the film Lehri Badmash-44 and Dhokebaaz-46.
The Music Director Shyam Babu Pathak was born in 1908 at Gwalior. His music tuition started when he was just 7 years old. He studied in Madhav Sangeet Vidyalaya, under Raja Bhaiya Poonchhwale, Narayan Gupte and Bhatkhande etc. He became an excellent singer and was invited by several Royal houses all over India, for singing. Even V D Paluskar had blessed him. Strangely, though a good singer, he never sang a song in any film.
While touring all over India for Music Mehfils, he learnt many folk songs and tunes. This actually prompted him to join films as a composer. His first film was Royal Commander-1938 – a B grade Costume drama film made by Vishnu Cinetone. In his first film, for just 9 songs, he used as many as 6 different singers. Minimum songs had been his specialty. This was a novelty in the 30s, when the norm was on an average of 12 to 15 songs each film.
V M Vyas of Vishnu Cinetone, was impressed with him and he gave him many films. He got Rani saheba-40, Torpedo-40, Samsheerbaz-40, Malan-42 and Ghar sansar-42. He gave good songs sung by Kalyani, Sardar Akhtar and Kajjan. In Lajwanti-42, his songs were light and comedy type. By now, he had become a confirmed Stunt/action and B/C grade composer. Pyara watan-42,Double face-46 were such films. Double face was Indivar’s first film.
Black Market-47, Namak-47, krishna Sudama-47 and Kismatwali-47 were not much help. Takdirwale-48 with Ramprasad, Imtihan-49 and Ret Mahal-49 led him to film Jeet-49 with Anil Biswas. Actually,it seems Anil Biswas took over when Pathak left the film halfway.
After Janmashtami-50 and Achha ji-50, came Preet ka geet-50.Famous poet Harikrishna Premi wrote the songs, which were sung by Mukesh, Geeta and Johra. Next film Hamari Duniya-52 had good Lata songs. Meanwhile his film Parda remained unreleased. In the last phase of his career, came Sapna-52, Vanraj-52, Bombay Central-60 and finally, film Mehbooba-65 closed his career. In all he composed 224 songs in 29 films. He even sang a song in the film Krishna Sudama-47.
So, here is a song from the film Taqdeerwale-48, which makes a Debut on the Blog. Singer’s name is not known but I liked the song. Thanks to Ajay Jain ji (US) for the song and Sadanand Kamath ji for uploading it for me.
Song – Mujhe wakt-e-Namaaz yaad jo aayee teri (Taqdeerwaale)(1948) Singer-Unknown female voice, Lyricist- Indivar, MD- Shyam Babu Pathak
Lyrics
Mujhe wakt-e-Namaaz yaad jo aayee teri
Mujhe wakt-e-Namaaz yaad jo aayee teri
khuda ko bhool ke ratt maine lagaayi teri ee
khuda ko bhool ke ratt maine lagaayi teri ee
Mujhe wakt-e-Namaz yaad jo aayee teri ee ee
misaale sirq e chashm(?) toone nikaala mujhko
misaale sirq e chashm(?) toone nikaala mujhko
meri aankhon mein phir bhi shakl samaayi teri
meri aankhon mein phir bhi shakl samaayi teri
Mujhe wakt-e-Namaz yaad jo ayee teri ee ee
deen o duniya se gaya
aa aa aa aa aa aa aa aa
koi nayi baat nahin
khuda se bhi juda
karti hai judaayi teri ee
khuda se bhi juda
karti hai judaayi teri ee
Mujhe wakt-e-Namaaz yaad jo aayee teri ee
aa aa aa aa
aa aa aa aa
qasoor teri kashish ka hai gunaah mera nahin een
qasoor teri kashish ka hai gunaah mera nahin een
aa aa aa aa
aa aa aa
gar main ?? kahoon gaa aa aa
dil ki duhaayi teri ee
gar main ?? kahoon gaa aa aa
dil ki duhaayi teri ee
Mujhe wakt-e-Namaaz yaad jo aayee teri ee ee
Ho maare bichhua jaisa dank
Posted on: May 5, 2021
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4674 | Post No. : | 16350 |
Hullo Atuldom
Here is a song from “Chambal Ki Raani” (1979) which was directed by Radhakant produced by Raghunandan (censor certificate on 2.11.1979).
It had a cast of Mahendra Sandhu, Bindu, Dara Singh, Jagdeep, Narendranath, Chand Usmani, Amjad Khan, Kamal Kapoor & Urmila Bhatt (in special appearances), etc. It had music by Naushad. Jan Nissar Akhtar & Majrooh Sultanpuri were the lyricists. The movie had only Lata Mangeshkar and Mohd. Rafi for playback.
The movie was dedicated to Jan Nissar Akhtar and Krishan Chandar. To find out who Krishan Chandar was I looked up the copy of the movie available on YouTube. He was the writer of this movie.
The title is a giveaway of the story of the movie viz. Dacoit story. What I saw on Youtube only confirms this. The movie has a pre-titles scene of Chambal -the river- lamenting the state of affairs in her region. There is a raid by the dacoit party led by Dara Singh in a village, set in pre-independence era, where a informer is shown to be shot dead by Daaku Lakhan Sardar. Whereas Daaku Ajmer Singh played by Amjad Khan is shown to loot people by hoodwinking people into thinking that he is a cop. So that then establishes the story which will eventually turn out like all the other Daaku movies of that time:- lots of horses, chases, kothas, rakhi sister, a few songs to divert the attention of the opposition etc.
Bindu played Chameli a dancer (what else) and has atleast two dance numbers which are in the mujra genre (again -what else!!Emoji). The song in this post was rather popular in its time and even now played on Prasar Bharati’s Vividh Bharati radio channel very often. It is one of the songs which I have heard for a lifetime without knowing what movie or any other details till today. It is sung by Lata, written by Majrooh Sultanpuri and Naushad Ali was the composer.
We are paying tribute to the legendary composer with this post on his 15th remembrance anniversary. I am not competent enough to comment on his works but over the years I have discovered that I loved many of his songs during my growing-up years without being aware about their creators. Songs like “suhaani raat dhal chuki”, “mere mehboob tujhe mere mohabbat ki kasam”, “awaz de kahaan hai”, :jawaan hai mohabbat” etc and hundred others from the late 40s and of the following decades. It was much later I learnt who the music director for these gems were. Possibly, by that time, Naushad Saab had stopped being on centre stage of Bollywood music but he still came up with scores in movies like “Ganwaar”, “Pakeezah”, “Taangewala” etc at the rate of one movie every other year or so. He even produced a few movies and “Taj Mahal- an eternal love story” in 2005 directed by Akbar Khan was the last released work that is a long journey of 65 years as his first independent work, according to various sites on the internet, was in 1940. He began by assisting Ustaad Jhande Khan, Mushtaq Hussain and such big names of that time before “Prem Nagar” happened in 1940.
Thanking the legend for the legacy that he has left behind.
Song-Ho maare bichhuaa jaisa dank (Chambal Ki Raani)(1979) Singer-Lata, Lyrics-Majrooh Sultanpuri, MD-Naushad
Lyrics
haaye re haaye
haaye re haaye
ho maare bichhuwa jaisa dank
ho maare bichhuwa jaisa dank
jawaani mein akelapan
jawaani mein akelapan
ho jaise jaise beete raat
ho jaise jaise beete raat
zehar chadhe san san san
zehar chadhe san san san
ho maare bichhuwa jaisa dank
jawaani mein akelapan
jawaani mein akelapan
ho maare bichhuwa jaisa dank
din toh beeta jalte bujhte
kaise kategi raat
ke haaye re kaise kategi raat
main na maanoon aaj sajanwa,
rakh de dil par haath
sajanwa rakh de dil par haath
piya milan se aaj
o piya milan se aaj
mitegi mere dil ki jalan
mitegi mere dil ki jalan
ho maare bichhuwa jaisa dank
jawaani mein akelapan
jawaani mein akelapan
ho maare bichhuwa jaisa dank
roz anokha dard hai mera
roz niraali peer
jiya mein roz niraali peer
kal thha dil mein teer adaa ka
aaj nazar ka teer
ke laaga aaj nazar ka teer
aisa tadape hai jiya
ho aisa tadape hai jiya
dabaaye na dabe dhadkan
dabaaye na dabe dhadkan
ho maare bichhuwa jaisa dank
jawaani mein akelapan
jawaani mein akelapan
ho maare bichhuwa jaisa dank
aaa aa aa
aa aa aaa
aa ja re aa ja tujh ko pukaare
paayaliya ka shor
ke meri paayaliya ka shor
girta aanchal uthti umariya
ek chale na jor
kisi ka ek chale na jor
ek tere bina yaar
ho ek tere bina yaar
jawaani ho gayi dushman
jawaani ho gayi dushman
ho maare bichhuwa jaisa dank
jawaani mein akelapan
jawaani mein akelapan
ho maare bichhuwa jaisa dank
Gori ho gori chori ho chori
Posted on: May 2, 2021
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4671 | Post No. : | 16347 |
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#The Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 137 # ‘Pyaar Ki Kahaani-1971’ #
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Today’s song is from the movie ‘Pyaar Ki Kahaani-1971’.
‘Pyaar Ki Kahaani-1971’ was directed by Ravi Nagaich for ‘Vijaylakshami Pictures, Madras’.
It had Tanuja, Amitabh Bachchan, Farida Jalal, Anil Dhawan, Bipin Gupta, Prem Chopra, Madhuchhanda, Agha, Mukri, Mohan Choti, Praveen Pal, Yunus Parvez, Krishnakant, Birbal, Hanumanthachari, Ranga Reddi, Nadir, Mamaji, Akhtar, Bihari, Pandey, Puranik, Gulshan Bawra and others.
K.N. Singh and Raja Babu (of south) make a special appearance in this movie.
This movie was passed by Censor Board on 20.04.71 (which means that this movie is already a ‘fifty-year-old’ movie now 😊).
This movie had five songs. four songs have already been posted on the blog, and thus the today’s song is the ‘final song’ from this movie to be posted on the blog. All these five songs were written by Anand Bakshi and music for this movie was composed by R.D. Burman.
Kishore Kumar, Lata Mangeshkar, Usha Mangeshkar and Mohd Rafi had given their voices to the songs in this movie.
Following four songs have already been posted on the blog earlier.
| Song | Posted On |
|---|---|
| Koi aur duniyaa mein tumsaa nahin | 31.08.2010 |
| Ek patey ki baat bataaun | 11.10.2013 |
| Ek khabar aayi suno ek khabar aayi | 04.04.2015 |
| Baby tu chhoti hai | 31.08.2020 |
Earlier I had the opportunity to present a song from this movie. That song, a Mohammad Rafi solo, was presented by me on 11.10.2013.
From the above table we can see that this movie had debuted on the blog on 31.08.2010 and it completed its ‘ten-year run’ on the blog on 31.08.2020.
Today’s song, the final song of this movie, is sung by Kishore Kumar. It is lip-synced by Mohan Choti. Also seen in the picturisation of this song are Gulshan Bawra, Prem Chopra, Mukri, Birbal and others. (I am sure all will identify who the ‘gori’ 😊 in this song is )
Let us now enjoy today’s song, sung ith great energy and enthusiasm by Kishore Kumar.
With today’s song all songs of ‘Pyaar Ki Kahaani-1971’ have been posted on the blog and this movie joints the club of ‘Movies-all songs covered’.
YIPPEEEE 😊
Video
Audio (Longer)
Song-Gori ho gori chori ho chori (Pyaar Ki Kahaani)(1971) Singer-Kishore Kumar, Lyrics-Anand Bakshi, MD-R D Burman
Lyrics
oye
oye
oye gori
ho gori ee ee ee
arey
chori ho chori
hi hi hi ee ee ee
gori ho gori
chori ho chori
mera jiyaa le gayi ee
chakori
haay haay ghazab ho gaya
sadak par
baanke kaa man kho gaya aa
gori ho gori ee
chori ho chori
mera jiyaa le gayi ee
chakori
haay haay ghazab ho gaya
sadak par
baanke kaa man kho gaya
ha haa haa
hamne kaati jeb kisi ki
ham pakde gaye ae ae
lag gayin hathhkadiyaan re
ham to jakde gaye ae
(kankar mantar
mast kalandar
ho gaye andar)
hey
usey naa poochhe koyi
hamaari neendiya khoyi
churaayaa usne chainaa
milaakar hamse nainaa
gori ne phenki ee
manwaa pe dori
gori ho gori ee
chori ho chori
mera jiyaa le gayi ee
chakori
haay haay ghazab ho gaya
sadak par
baanke kaa man kho gaya aa a
ham jo karte hain wo bhi karti hai
kaam yahi ee
chor hai apnaa naam to
uska bhi naam yahi ee
(
badhke puttan keervi chakar
keervi chakar bdhke puttan)
arey ham dhan ko looten
haan
arey wo man ko loote
ho
agar maane wo gori
haan
karen ham milke chori
khoob rahe ham donon ki jodi
gori ho gori ee
chori ho chori
mera jiyaa le gayi ee
chakori
haay haay ghazab ho gaya
sadak par
baanke kaa man kho gaya aa a
gori ho gori ee
chori ho chori
mera jiyaa le gayi ee
chakori
haay haay ghazab ho gaya
sadak par
baanke kaa man kho gaya aa a
kho gaya
kho gayaa
o gori ee
haay chori chori chori
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4669 | Post No. : | 16345 |
Hullo Atuldom
At the outset let me admit that I was reminded of today’s song a few days back when I was writing the post for Moushumi Chatterjee’s birthday.
Today’s song is from the 1980 released Raj Khosla directed Moushumi Chatterjee- Rishi Kapoor starrer “Do Premee”. It had a cast of Om Prakash, I S Johar, Deven Verma, Col. Kapoor (also went by the name Raj Bharati), Geeta Bahl, Aruna Irani, Roopesh Kumar etc.
The movie was a standard love story where the young couple are children of fathers who are not friends. Retd. Col. Bhagwant Singh (Om Prakash) goes to the extent of getting Payal (Moushumi) engaged to Roopesh Kumar but of course the couple elope and reach Mumbai. They take up jobs as driver and maid in a rich girl’s household (of course both are not aware that they are employed by the same person). This rich girl (Geeta Bahl) looks after her family business and also visits a guru (played by Raj Bharati). He has a huge ashram and is shown to perform miracles like walking on water etc. The guru also has a secret attached to his ashram and Deven Verma (a cop in plain-clothes) is out to crack the mystery. Meanwhile the fathers reconcile their differences and come looking for their children and save them from the captivity of the guru in the climax for a All-is-well ending.
The movie had six songs of which the blog has two both of which were posted in 2018.
Mausam pe jaaani hai (a very popular song of the movie)
and
Ladki waalon ki taraf se ladke aalon ko mubaarak ho
The songs were written by Anand Bakshi, composed by Laxmikant Pyarelal, sung by Anuradha Paudwal, Lata Mangeshkar, Asha Bhonsle, Kishore Kumar, Manna Dey and Mohd. Rafi.
Today we are having a duet by Mohd Rafi and Anuradha Paudwal. It shows the young couple being playful with each other. The song was decently popular in its time.
Today we are thinking of Chintu on his first anniversary. Unbelievable that it is an year. He was a person who was on his way to recovery from cancer and had gone to Delhi for a shoot when the Pandemic hit the country. He returned to Mumbai when the lock-down was announced. We saw him on news channels when the country did the candle lighting and clapping (thali bajaoing) for the Pandemic warriors. Must say that he looked a pale shadow of his former self but the child-like enthusiasm and his charming smile was there for all to see.
Chintu (Rishi Kapoor) was rather active on social media and didn’t dither from stating his mind. In the last decade or so he was seen in a variety of roles:- an underworld don in “D-Day”, a grand old 90-year man in “Kapoor & Sons”; even a 75-year-old son to a 100 year-old Amitabh Bachchan in “102 not out”. A lot more would have come for us -his fans- but for the exit which came a year ago on this date. It was a sad day for many of his colleagues, fans and most of all his near and dear ones.
I am waiting to see what happened to that last movie that he was shooting in New Delhi before the Pandemic.
Missing this actor who acted from the age of two and half years to 63.
Song-Paayaliyaa chhanki ke na chhanki chhanki (Do Premi)(1980) Singers-Rafi, Anuradha Paudwal, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Lyrics
paayaliya chhanki ke na
chhanki chhanki
bijuriya chamki ke na
chamki chamki
payaliya chhanki ke na
chhanki chhanki
bijuriya chamki ke na
chamki chamki
kamariya lachki ke na
lachki lachki
magar phir mat kariyo jo kiya kiya
kiya kiya
o piya
o piya
sun liya
payaliya chanki ke na
chhanki chhanki
bijuriya chamki ke na
chamki chamki
kamariya lachki ke na
lachki lachki
magar phir mat kariyo jo kiya kiya
kiya kiya
o piya
o piya
sun liya
payaliya chhanki ke na
kaanch ki choodi si tu toot jaati hai
kaanch ki choodi si tu toot jaati hai
shaam ki raadha banke roothh jaati hai
gagariya chhalki ke na
chhalki chhalki
chunariya dhalki ke na
dhhalki dhhalki
kamariya lachki ke na
lachki lachki
magar phir mat kariyo jo kiya kiya
kiya kiya
o piya
o piya
sun liya
payaliya chhanki ke na
chhanki chhanki
achha
aaj toh maani
aaj toh maani
phir na maanoongi batiyaan ho o
aaj toh maani
phir na maanoongi batiyaan
jaagoge tadpoge saari saari ratiyaan
najariya atki ke na
atki atki
dagariya bhatki ke na
bhatki bhatki
kamariya lachki ke na
lachki lachki
magar phir mat kariyo jo kiya kiya
kiya kiya
o piya
o piya
sun liya
payaliya chanki ke na
udti patang hai tu
maana o gori
udti patang hai tu
maana o gori
par mere haathon mein hai teri dori
baawariya samjhi ke na
samjhi samjhi
badariya barsi ke na
barsi barsi
kamariya lachki ke na
lachki lachki
magar phir mat kariyo jo kiya kiya
kiya kiya
o piya
o piya
sun liya
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