Archive for the ‘Guest posts’ Category
Pyaar tum mujhse karti ho
Posted on: October 19, 2021
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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Blog Day : |
4841 | Post No. : | 16629 | Movie Count : |
4530 |
Hullo Atuldom
The song with this post is heavily inspired by this song. This 1973 song which was sung by Kishore Kumar had Dharmendra trying to pacify his upset love Rekha. He resorted to all kinds of buffoonery to get a smile on her face and also get her to admit her love for him
In today’s song Kishore Kumar’s son Amit Kumar is the voice for Dharmendra’s son Sunny Deol. Sunny is running behind a ‘roothhi’ Meenakshi Seshadri and trying to get her to re-admit her love. So, the situation is like this. Just before this song, Sunny -who is a boxer for his college- has been reprimanded by his coach (Viju Khote) for day-dreaming about Meenakshi. Consequently, he refuses to acknowledge when she comes to meet him at his coaching camp. Later, when Sunny goes to meet her at a cafe, she pays him back in the same coin and also gathers public support citing that he is eve-teasing her. Now, it is the duty of our naayak to ‘manao’ a ‘roothhi’ naayikaa.
Hence this song which is written by Anjaan and composed by Bappi Lahiri. As I have said in the previous paragraph the male voice is Amit Kumar’s and S. Janaki sings for Meenakshi Seshadri. This marks the debut of “Ghayal” (as written in the titles of the movie). This 1990 movie starred Raj Babbar and Moushumi Chatterjee as Sunny’s bhaiyya and bhabhi. Amrish Puri played Balwant Rai (the villain) with Kulbhushan Kharbanda, Om Puri, Ashalata, Shafi Inamdar, Annu Kapoor etc in supporting roles. There were a few actors like Shabbir Khan, Sudesh Berry and Mitwa who played Sunny’s support in his mission to expose the wrong-doings of the big-time businessman Balwant Rai. Disco Shanti had a dance number too.
I am writing this post to wish the ‘dhai kilo ke haath’ wala, hand-pump ookhadnewala (uprooting a hand-pump), strong dialogue delivery wala, son of Dharmendra and Prakash Kaur- Ajay Singh Deol a.k.a Sunny Deol- on his birthday today. . It is apparent from his recent movies that he is a huge fan of his father. He has acted in three editions of a movie whose title was inspired by a famous song of his father from the ’70s- the Yamla Pagla Deewana series. He also chose another of his father’s song from the ’70s to use as a title for a movie that he directed to launch his son Karan in Bollywood- Pal Pal Dil Ke Paas. Additionally he has acted with his father in ‘Sultanat’, ‘Apne’ and a few more.
Happy birthday Sunny Deol.
Video
Audio
Song-Pyaar tum mujhse karti ho (Ghayal)(1990) Singers-Amit Kumar, S Janaki, Lyrics-Anjaan, MD-Bappi Lahiri
Lyrics
pyaar tum mujhse karti ho
don’t say no
pyaar tum mujhse karti ho
don’t say no
marti ho mujh par marti ho
don’t say no
inkaar mein ikraar hai
yeh pyaar hai
bolo haan haan
chhodo na na
pyaar tum mujhse karti ho
don’t say no
marti ho mujh par marti ho
don’t say no
inkaar mein ikraar hai
yeh pyaar hai
bolo haan haan
chhodo na na
nahin nahin nahin
main tumse pyar nahin karti
haah haah
pyaar tum mujhse karti ho
don’t say no
bol bol bol bol bol sachh bol
teri hansi se saari khul gayi pol
jahaan jahaan jaayegi main aaoonga vahaan
bhaagi kahaan yeh saari duniya hai gol
peechha tera chhodoon na
bol bhi de ab haan haan haan haan
arrey baba bola na
main tum se pyar nahi karti
hmmm
chhodo gussa jaane do
na
don’t say no
dil se dil mil jaane do
na
don’t say no
inkaar mein ikraar hai
yeh pyaar hai
bolo haa haa
chhodo na na
pyar tum mujhse karti ho
don’t say no
dekho dekho dekho
kaisa pyaara hai samaa
dil ke deewaane miley khul ke yahaan
tod ke dil yoon na rooth ke jaa
varna kasam teri de doonga jaan
thham jaaye na dil ye jawaan
bol bhi de ab haan haan haan
arey jiyo chahe maro
mera peechha mat karo
ai
arey jiyo chahe maro
mera peechha mat karo
oye
mar gaya to pachhtaogi
don’t say no
ro ro kar mar jaaogi
don’t say no
inkaar mein ikraar hai
ye pyaar hai
bolo haan haan
chhodo na na
pyaar tum mujhse karti ho
don’t say no
main bolta hoon haan
maan bhi jaao varna
shor machaoonga
cheekhoonga chillaaoonga
logon ko bulaaoonga
logon suno suno zara meri daastaan
pyaar mein guzrikya mujh pe yahaan
ogo suno suno zara meri daastaan
pyaar mein guzari kya mujh pe yahaan
jaan meri leke bhagemeri jaan
lut gaya
mit gaya
mar gaya haan haan haan haan
hadd ho chuki
kar na dukhi
bol bhi de ab ha ha ha ha
haan baba haan baba
I love you, I love you
pyaar main tumse karti hoon
I love you
marti hoon tum pe marti hoon
I love you
tum jeete aur main haari
I love you
jaan gayi duniya saari
I love you
I love you
I love you
hoo hoo ooo
pat gayi pat gayi pat gayi re
soni kudi dekho pat gayi re
mere galey se lipat gayi re,
kismat meri palat gayi re
hey pat gayi pat gayi pat gayi re
soni kudi dekho pat gayi re
bruu bruu ya ya
arre pat gayi re
pat pat pat pat pataa
pat pat pat pat pataa
pataa
haha
hoy hoy hoy
hey hey hey hey
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.
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Blog Day : |
4841 | Post No. : | 16628 |
Today’s song is from a Mythological film-Devyani-1952.
This was the story of Kach and Devyani from Mahabharat. I like the various stories from our Epics Ramayan and Mahabharat. There are hundreds of subplots and stories in both these Holy books, in addition to the main stories. However, I like stories from the Mahabharat more than Ramayan. The reason is stories from Ramayana are simpler and involve good virtues like Love, Cooperation, Loyalty, truthfulness etc etc. These are desirable but have no links to today’s social structure. The stories from Mahabharat are built around the practical difficulties in day to day life, defeat of the evil at any cost and use of tact, diplomacy, revenge, punishment etc etc which are more interesting to read.
As such, Mahabharat in itself or its stories seem to be closer to today’s values like ‘Tit for Tat’ and winning over the Evil with equally Evil remedies. The basic difference between Ram and krishna is, Ram was a character who was upright, just and straightforward, while Krishna is a character down to earth, who does not mind using unconventional methods to defeat the Evil. I always feel that in today’s world Krishna tactics are more relevant than Ram Rajya rules !
The story of Kach and Devyani, on which the film Devyani -52 was based was…..
There were regular wars between the Gods and the Demons (Sur and Asur). However the Gods could never win any battle. The reason ? Rishi Shukracharya, who was the Rajguru of the Demons knew the Sanjivani mantra, with which the dead demons would be brought back to life.
Realising that without getting the mantra, they would never win any battle with Demons, the Gods sent Kach- son of God Brihaspati (Jupitor) to Shukracharya as his disciple. Kach impressed Shukracharya’s daughter Devyani and they became friends. Devyani started loving kach.
The Demons came to know who Kach was . They killed him, burnt his body and mixed the ashes with wine, which was given to Shukracharya to drink. He knew that it contained Kach ashes. Meanwhile Devyani came to know that Kach was killed. She insisted that Shukracharya use his Mantra and bring him back to life. Due to daughter’s love, Shukracharya recited the Sanjivani mantra and Kach came out alive from his stomach. Shukracharya died. But Kach now knew the Mantra and he brought back Shukracharya to life again.Devyani now expresses her love and proposes marriage to Kach, but he refuses stating that since he came from Shukracharya’s stomach, she was her sister now. Devyani is disappointed with his weak logic and curses Kach that what he learned here, he will never be able to use anywhere. Angrily, Kach too curses her that no Bramhin will ever marry her in her life. He goes away and the film ends as a tragedy.
The film ends here alright, but it raised a question in my mind as to how, then, the Gods ever won the battles with Demons ? The answer is, during the ” Samudra – Manthan ” a pot containing ” Divine Potion ” came up. It contained Amrit, which made the Gods immortal (Amar). In due course Shukracharya also died, without parting with the Sanjivani mantra and thus the Demons were defeated in the ensuing wars by Gods.
The film Devyani-52 was produced by Madhukar Harihar under the banner of Madhav Pictures, Bombay. It was directed by Vasant painter and the Music Director was S.Purushottam, assisted by Shamrao Kamble. These names are rather not commonly seen or heard and the readers may not be knowing about them, as they did only few films compared to others and without any famous film either. Let us first know about Vasant Painter.
Vasant Anandrao Painter was born in a village near Kolhapur on 13-8- 1913. His father Anandrao, along with cousin Baburao Painter wanted to make films. Anandrao had bought a second hand Projector, which he turned into a Camera and shot a short film also. Unfortunately, Anandrao Mistry or Anandrao Painter died suddenly on 22-10-1915.Vasant Painter was only a 2 year old baby at that time. Baburao Painter went on to become the famous founder of Marathi films in the Silent Era.
By the time Vasant became 16 year old,the Silent film era was in full swing and many films were made in Kolhapur, Poona and Bombay. He had a liking for painting,so he picked up poster painting work,first in Maharashtra Film company and later in Prabhat film company when it was started in Kolhapur. Actually Damle and Fatelal were keen on helping him as he was the son of Anandrao, from whom they had learnt so many things. They called him to work in Prabhat. He did all jobs,including assisting in cinematography and direction.
His first break came when he was 33 year old. He got an opportunity to direct Prabhat’s film ” Gokul”-46 and later on ” Seedha Raasta”-47. After V.Shantaram had left Prabhat to start his own Rajkamal,Vasnt painter remained in Prabhat loyally, so he got the reward. Prabhat decided to make the film “Namdev” and Vasant was selected as a director. The cast was fixed and other arrangements done, but due to financial reasons the film was cancelled. Anyway, he got another opportunity. Actress Kamala Kotnis had floated a production company,Kamala Chitra Ltd..She invited Painter to direct her film,’Sati Ahilya’-49. Snehal Bhatkar was the MD.
Painter directed ‘ Bhishma Pratignya ‘-1950. This was,probably,the only Mythological film Nargis had acted in, with Shahu Modak.. His other films were,Murliwala-51, Devyani-52, Sajni-56, Patit paawan-55, Gokul ka chor-59, Pyar ki jeet-62 . Meanwhile he was producing and directing several Marathi films too. He won 9 awards,including the prestigious ” V.Shantaram Award”.
Vasant Painter died on 31-5-2006,leaving behind him 6 daughters and 1 son.
And now something about Shamrao Kamble….
Music Directors’ names are famous. At times their assistants too get a mention in the credits, but what about the soul of every song-the Arranger ? Many people do not even know that there is someone called an Arranger. An Arranger not only exists, but without him the song orchestration is not possible.
What does an Arranger do ?
A tune and music is decided by the Composer, but the harmonization of the orchestra is done by the Arranger. He decides which instrument should be used more, like one decides about a flower in a bouquet of flowers. Arranger is like an ‘ interior decorator ‘ of music. Composer decides what effect he needs and what should be the interlude music. Arranger decides which instrument should be played.
Melody is the main ingredient in a song. Orchestra has to supplement and complement the Melody. In this case orchestration is like Jewellery. A beautiful woman must use jewellery to enhance her beauty, but no overuse or underuse will do. Similarly Arranger does optimization of instruments.
Arranger must know the Notations, so that it can be written and given to the players.
How many Arrangers are known to the public in India ? A composer is Zero without an Arranger. So they try to employ the best of them in their service. Some of the Arrangers become successful Composers themselves, like Sonik-Omi or Laxmikant Pyarelal. Most arrangers fail as composers because they don’t know the commercial aspects, like getting films, knowing and mixing with film personalities in Parties, having friends and God fathers in the right place etc etc.
The other day I was reading a book “Voh Bhooli Dastaan” by Subhash Chandra Jadhav,on Indian Film Music. In this book he has described information about one such successful but totally unknown Arranger SHYAMRAO KAMBLE.
Kamble was born in Karad, near Kolhapur in Maharashtra, on 23-10-1925. His elder brother taught him Tabla and Pakhawaj. Kamble joined a musical drama company where he learnt writing notations. When he came to Bombay he accompanied great singers like Saraswati Rane, Suresh Haldankar, Manik Verma etc. He used to make rounds of film studios and learnt to play Piano, Saxophone, trumpet, mandolin etc.
His career started as an assistant to music director H N Sharma.
Then he worked for Roshan in Bawre nain, wherein he played harmonium in all songs and Roshan was pleased. In Bheegi Raat-65 he played Guitar in the song ‘Dil jo na kah saka’
While doing Anokhi Raat he made use of Flute artistically in ‘oh re taal mile’. During this film Roshan died and he helped his wife to complete the recording of ‘Sapnon ka raja’ by Lata.
Chitralekha’s background music was liked by Hemant kumar very much.
After Roshan, Kamble worked for his son Rajesh Roshan also.
Kamble says,“Though my work was appreciated, my name never appeared in film credits till Jaidev and Sudhir Phadke insisted for it.”
From ‘Mujhe jeene do’-63 Kamble became Jaidev’s assistant. He says,’ Jaidev ji was a composer totally sold to indian classical music.’ For Reshma and Shera Kamble used Sarod effectively.
The producer director of Gharonda,Bheem Sen insisted its music to be like R D Burman. Kamble used the interludes in every song just like RDB and songs of Gharonda became very famous. Jaidev was so happy that he gave a 5 speaker gramophone to him as a Gift.
In the film ‘Tumhaare Liye’ Kamble wanted Hariprasad Chaurasiya to play Flute. He discussed it with Hari ji, but Hari ji did not come for any rehearsals, so Kamble called Sumant Raj and did the rehearsals. As luck would have it,on the day of recording Hariprasad came to play Flute. Kamble did not hesitate in making his decision. He used both the flutists for different pieces in the song.
Kamble also worked with Sudhir Phadke. when a producer wanted to make a remake of marathi film ‘Vahininchya Bangdya”, he took Sudhir Phadke for Bhabhi ki choodiyan as a composer, but put a condition that his Arranger will work with him. That person was a Goanese and Phadke did not like his arrangement with western instruments for this emotional film. He called Kamble and asked him to write notations for all the songs on the tunes decided already. Kamble did all this and left. Phadke gave the notations to the Goanese arranger and asked him to arrange orchestration accordingly. That is why all the songs of this film including ‘Jyoti kalash chamke” became popular.
Shyamrao Kamble did not attempt to become a film composer himself, as he knew his limitations. However,for “Bibal-My Brother”-1975, he shared the music with Prabhakar Jog.
Shamrao himself was a brilliant composer as well. He used to compose Bhajans and once on listening to the Bhajans he composed, music director Pyarelal asked him “Shamraoji if you can compose the tunes so nicely, why don’t you think to be a full-fledged music director for films ?” He just said “I am more interested in the Music Arrangements..” Pyarelal asked him jokingly, “so shall I use your compositions ?” smiling, within a second he said, “Pyareji, my all work is for you… you may use it whenever you wish..!” I am very much sure that if Shamraoji had taken music-direction as a career, he would have definitely achieved the position in the list of most talented and successful composers in the Indian music field,” said Pyarelal Ramprasad Sharma, the ace music director.
“His knowledge and devotion towards music was so deep, that he even used to guide or suggest the top artists like Rais Khan (sitar), Hariprasad Chaurasia (flute), Shivkumar Sharma (santoor) about the playing during the recordings. He also used to express that a particular music piece would be more effective if improvised in a different manner etc. And the greatness of those artists also, who used to sportingly accept Shamraoji’s suggestions and appreciate the same.. This was only because they were fully aware of Shamraoji’s knowledge and capacity. And also this was the reason that we had given total freedom to him in our work also,” said Pyarelal.
In his early career, Shamrao had worked as a notation-writer. He was the one who wrote down the notation for Dinanath Mangeshkar’s natya sangeet (Chandrika hi janu, Vilopale Madhu Meelanat ya, Yuwati Mana etc).
Though he retired and settled in Poona, Laxmikant Pyarelal always called him for work. He has toured several countries with Laxmikant Pyarelal’s orchestra as an Arranger. Shamrao kamble died on 17-10-2008, at Dombivali, due to Brain Haemorrhage, at the age of 83 years.
The tribe of Arrangers always worked behind the curtain, without any limelight on them and without appearing in film credits.
Truly, they are the brains behind good music in films !
(Thanks to Subhashchandra Jadhav and mrs. Suhasini Jadhav,copyright holders of ‘Voh bhooli Dastaan’ and Imprints and images, with thanks.)
Song- Prem ki maala meri kahin toot na jaaye(Devyani)(1952) Singer- Asha Bhonsle, Lyricist- Manohar Khanna, MD- S Purushottam
Lyrics
aa aa aa aa aaa
prem ki maala meri
kahin toot na jaaye
balam tum aa jaao
tum aa jao
pyaar ka madhuban mera
kahin toot na jaaye
balam tum aa jaao
tum aa jaao
tum huye aankhon se ojhal
deep saare bujh gaye ae
deep saare bujh gaye
meri jholi mein thhe jitne
phool angaare baney
phool angaare baney
bhagya ka tha ?? mera kahin doob na jaaye
balam tum aa jaao
tum aa jaao
prem ki maala meri ee
kahin toot na jaaye
balam tum aa jaao
tum aa jaao
kaisi yogan baawri tujhko pukaare har ghadi
tujhko pukaare har ghadi
man mein aasha ki ??
aankhon mein saawan ki jhadi
aankhon mein sawan ki jhadi
dolti naiyya meri kahin doob na jaaye
balam tum aa jaao
tum aa jaao
prem ki maala meri
kahin toot na jaaye
balam tum aa jaao
tum aa jaao
This article is written by Sadanand Kamath, 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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Blog Day : |
4840 | Post No. : | 16627 |
‘Ye Gulistaan Hamaara’ (1972) was produced and directed by Atma Ram under the banner of Guru Dutt Films Combined. The star cast included Dev Anand and Sharmila Tagore in the lead roles supported by Pran, Iftikhar, Sujit Kumar, Johny Walker, Jaishree T, Lalita Pawar, Kanan Kaushal, Ramesh Deo, Raj Mehra, Keshav Rana, Janakidas etc.
The story is woven around a bridge which is being constructed over Dihing River in North-East India for a good connectivity. But the local tribals are oppose to it. They think that this is one way of imposing the slavery on the local tribes in the name of infrastructural development. This sentiment is exploited by some foreign agents who instigate the tribal chieftain to destroy the under-construction bridge. It is at this point, Dev Anand as an Intelligence Bureau Officer is sent to supervise the construction of the bridge without any hindrances.
How Dev Anand achieves the objective by overcoming the tribal opposition to construction of the bridge is the rest of the story that moves forward. If the film was to be made in English, it would have been apt to name the film as ‘The Bridge on the River Dihing’ on the lines of a well- known Hollywood film ‘The Bridge on the River Kwai’.
The film’s outdoor shooting was done in Assam (near Digboi where a bridge was under construction), Meghalaya, and Arunachal Pradesh. During the shooting of the film, the crew faced the hostile crowd led by the Naga Students Federation in Shillong. Some stone throwing incidences were also reported. The Naga students felt that it was a politically motivated film to insult the Naga tribal culture. Sharmila Tagore played the role of a Naga girl named ‘Sekrenyi’ which is the name of the holy festival of Angami Naga tribe. It is said that with the intervention of Bhupen Hazarika, the shooting of the film went on smoothly thereafter. The name of Sharmila Tagore’s character in the film was changed to ‘Soo Reni’.
In my younger days, I had read in the newspapers about the opposition of local tribals in laying the railway tracks in Meghalaya (Guwahati to Byrnihat). I understand that this line is yet to be operational. The same problem is faced for the railway track between Silchar and Imphal in Manipur. The main worry the local tribals is that good connectivity would lead to the influx of outsiders in their tribal belts threatening their own existence and culture. I feel that ‘Ye Gulistaan Hamaara’ (1972) was a ‘half-baked’ attempt to remove tribal population’s worries about the likely cultural dominance by the rest of India over the North-East’s tribal culture.
At the time of the release of the film, Naga Students Federation took out the protest march for banning the film on the ground of undermining the Naga tribal culture. They also felt that a couple of songs in the film sounded racial. In any case, they opposed the released of the film in Nagaland and Meghalaya. There were violent protests on the streets of Shillong. Finally, the film was released in 1973 after incorporating a notice in the film itself that ‘customs depicted in film, folk dances, dresses etc have no parallel with any of the tribes in Nagaland’. Some songs’ wordings were also changed to appease the protestors.
Initially, Danny Denzongpa was to perform the role of Dev Anand’s local associate in the film. S D Burman had already recorded a song in Danny voice along with Lata Mangeshkar. However, Johny Walker insisted with Atma Ram that he should also get a role in the film. Atma Ram agreed to take Johny Walker in place of Danny. However, Danny’s first song as a playback singer was retained which was picturised on Johny Walker. I personally feel that the role of a local person would have fitted well on Danny because of his facial feature. But at that time, Danny was a newcomer to protest. His consolation must have been the debut song he sang under the baton of S D Burman which was well appreciated.
‘Ye Gulistaan Hamaara’ (1972) had 7 songs of which six songs were written by Anand Bakshi. Six songs have been covered on the Blog, details of which areas under:
| Songs | Date of Posting | Singers |
|---|---|---|
| Gori gori gaaon ki gori re | 30/10/2008 | Kishore Kumar – Lata |
| Mera naam yaao mere paas aao | 17/01/2009 | Dany Denzongpa-Lata |
| Naina soyi soyi raina jaage jaage | 09/06/2013 | Lata Mangeshkar |
| Ho Tushima ri Tushima…aa gara toofaan | 31/10/2018 | Lata Mangeshkar |
| Hey suno meri baat chalo mere saath | 03/12/2020 | Kishore Kumar |
| Saare jahaan se achcha Hindostaan hamaara | 26/01/2021 | Sushma Shreshta and Kids -1, Chorus Version-2 |
I am presenting the 7th and the final song, ‘kya ye zindagi hai kaisi bebasi hai’ from the film which is rendered by Lata Mangeshkar, S D Burman and chorus. The song is written by Anand Bakshi. The song has its uniqueness in that when Lata Mengeshkar sings, the chorus voices parallelly sing some words which I am unable to decipher.
With this song, all the songs from the film ‘Ye Gulistaan Hamaara’ (1972) have been covered on the Blog.
Audio Clip:
Video Clip:
Song-Kya ye zindagi hai (Ye Gulsitaan Hamaara)(1972) Singers-Lata, S D Burman, Lyrics-Anand Bakshi, MD-S D Burman
Lyrics (Based on the Audio Clip):
kya ye zindagi hai
kaisi bebasi hai
bolo kyun khade ho gumsum
kya ye zindagi hai
kaisi bebasi hai
bolo kyun khade ho gumsum
ek baar mila de na
ek baar mila de na
sadiyon se yoon hi
sar pe dukhon kaa
bojha uthaaye
in parbaton pe
ham chal rahen hain
bhookhe nange pyaase
laao haath
laao haath
apne saath
laao haath apne saath
chalke dekho do kadam tum
kya ye zindagi hai
kaisi bebasi hai
bolo kyun khade ho gumsum
kitni hai doori ee
ham bade peechhe
tum bade aage
tumhen chhoo naa paaye
tumhen chhoo bhi len to
thukraaye jaayen
apna mel
nahin khel
apna mel
nahin khel
o baabu kahaan hum kahaan tum
kya ye zindagi hai
kaisi bebasi hai
bolo kyun khade ho gumsum
ek baar mila de na
ek baar mila de na
hamne ye maana
ham to bure hain
hamne ki buraayi
tum to bhale ho.o o
tumne hamaari
ki hai kya bhalaayi
samjhaao
sikhlaao
samjhaao
sikhlaao
gale se lagaa ke hamen tum
kya ye zindagi hai
kaisi bebasi hai
bolo kyun khade ho gumsum
Jaanam yahaan koi nahin
Posted on: October 17, 2021
This article is written by Sadanand Kamath, 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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Blog Day : |
4839 | Post No. : | 16625 | Movie Count : |
4528 |
In Hindi film industry, there have been many ‘rags to riches’ stories since its inceptions. There were instances where ‘rags to riches’ went back to their ‘rags’ status because they could not prudently handle their wealth and the fame. On the other hand, there are instances who could retain their rich status thanks to their dedication to work as well as prudent financial planning. One of them was Chandrashekar Narvekar, who is known in Hindi film industry as N. Chandra (born 04/04/1952).
N Chandra was born and brought up in a lower middle class family in the midst of mill workers in Worli Naka. The working class had their chawls and hutments at the foot of Worli Hills while the affluent class of the society lived on the top of the hills. So, he had closely seen the economic disparity between the rich and the poor.
After completion of his high-school, N Chandra joined the Film Centre at Tardeo in the film editing division where his father was employed. He learnt the nuances of film editing. In 1971, he started as clapper boy for Gulzar’s ‘Mere Apne’ (1971) and became one of Gulzar’s assistant directors in ‘Parichay’ (1972), ‘Koshish’ (1972), ‘Achanak’ (1973), Aandhi’ (1975), ‘Khushboo’ (1975) and ‘Mausam’ (1975). Chandrashekhar Narvekar changed his name to N Chandra when he became the associate director to Bapu in ‘Bezubaan’ (1982) and ‘Woh 7 Din’ (1983) for which he was also a full-pledged Editor of these two films.
While working for ‘Woh 7 Din’ (1983), N Chandra got the inspiration to independently direct a Hindi film. He co-produced and directed his debut film ‘Ankush’ (1986) with non-star actors, most of whom were from Marathi and Gujarati stages. The story of the film was based on what N Chandra had witnessed during his younger days in Worli Naka after a prolonged mill workers strike. At that time, Worli-Lower Parel areas of Mumbai had the highest concentrations of cotton mills. The prolonged strike led to the closure of mills permanently, creating unemployment among the youth and the social unrest.
‘Ankush’ (1986) grossed over 3 crores on the box office on a budget of Rs,12 lakhs, a part of which was raised by N Chandra by selling his personal belongings. The tremendous success of the film helped Nana Patekar in improving his career graph as an actor. For N Chandra, the film boosted his confidence that a good story based on the contemporary subject with a realistic approach in direction could make a film successful even with non-star actors. His next two films – ‘Pratighaat’ (1987) and ‘Tezaab’ (1988) completed a sort of a trilogy of films on social justice.
‘Pratighaat’ (1987) was the second film which N Chandra directed apart from writing the screen-play and editing the film. The film was produced by A Ramoji Rao and was a remake of a Telugu film ‘Pratighatana’ (1985) which was also remade in Malayalam as ‘Pakarathinu Pakaram’ (1986). Sujata Mehta, a prominent Gujarati stage actor who had become popular with her Hindi TV serials ‘Khandaan’ (1985) and ‘Shrikant’ (1986), made her debut in this film as a lead actor along with Arvind Kumar and Charan Raj. The other actors included Rohini Hattangadi, Ashok Saraf, Mohan Bhandari, Nana Patekar, Subbiraj, Usha Nadkarni, Savita Bajaj, Ravi Patwardhan, Anuradha Sawant etc. The film was released on March 17, 1987.
Even though, in the film, Sujata Mehta was paired with Arvind Kumar, it was Charan Raj who had a larger presence in the film in the role of a criminal, Kali Prasad. Charan Raj is a Kannada actor who mostly did the role of a villain in Kannada, Tamil, Telugu, Malayalam and Hindi films. He has also produced, directed and composed music for some films.
The DVD of the film is available for on-line for viewing. However, the quality of the picture as well as sound is not of good quality. Hence, I have watched the film sporadically. The gist of the story of the film is as under:
Laxmi (Sujata Mehta) is married to Satya Prakash (Arvind Kumar) who is a practicing lawyer. Laxmi works as a scool teacher. In the town, there is a hardened criminal, Kali Prasad (Charan Raj) whose writ rules over the entire town as he has blessing from a local politician. He has bee arrested in the past but gets release on bail with the blessing of a local politician which is followed by Kali taking the revenge on the complainers or the policeman who arrested him, resulting in their deaths. One of the victims is an ex-constable (Nana Patekar) who has become insane after his wife is brutually killed by Kali.
Laxmi finds it odd that even her school is under the influence of Kali for his notorious activities. She seeks help from her college-mate, sub-inspector, Ajay Shrivastav (Mohan Bhandari). He tells Laxmi that there is no point in arresting him as no one would stand witness against him and he gets the bail.
Nonetheless, Ajay arrests him after which he gets the bail. In the broad daylight, Ajay is murdered by Kali and Laxmi has witnessed his murder. She is ready to stand witness against Kali in the police station. Kali takes revenge on Laxmi by striping her in the public and in front of her husband who is scared to rescue her.Laxmi takes a vow that she would continue to fight against Kali for justice and she is helped by Durga (Rohni Hattangadi) whose husband was killed by Kali for lodging complaint against him in the police station. Local election is due and Kali has been selected as a candidate. Laxmi stands in the elections against Kali. Kali’s hooligans create a lot of problem for Laxmi in her election campaign. Kali wins the election by booth capturing.
During the election victory celebration, Laxmi reaches on the stage and congratulate him on his election victory. She has brought a real axe which was the election symbol of Kali and hacks him to death in front of a large crowd. The film ends with police arriving on the scene and arresting Laxmi who sarcastically tells the Inspector that she is happy that he is doing his duties which he failed to do so while Kali was on a killing spree in the town.
‘Pratighaat’ (1987) made with non-star cast was a runway success at the box office front. The film reviews highly praised the performance of Sujata Mehta and Charan Raj.
The film had four songs all written and composed by Ravindra Jain. I am presenting the first song, ‘tere sar pe mere pyaar kaa farz hai’ from the film to appear on the Blog. The song is rendered by S P Balasubrahmanyam and S Janaki.
With this song, the film, ‘Pratighaat’ (1987) makes its debut on the Blog.
Audio Clip:
Video Clip:
Song-Jaanam yahaan koi nahin (Pratighaat)(1987) Singers-S Janaki, S P Balasubrahmanyam, Lyrics-Ravindra Jain, MD-Ravindra Jain
Both
Lyrics
hmm hmm hmm
hmm hmm hmm hmm
aa haa haa haa
aa aa aa
hmm hmm hmm
hmm hmm hmm hmm
aa haa haa
hmm hmm hmm
hmm hmm
tere sar pe mere
pyaar kaa karz hai
karz kar de adaa
ye tera farz hai
o o
yoon door rahke na kar aur bhi bekaraar
jaanam yahaan
koi nahin ee
jaanam yahaan
koi nahin ee
ek hi raat mein
kaise doon main chuka
re dheere dhreere tera
karz hoga adaa
hey ae
do ek din aur rahne de mujhpe udhaar
sone de naa
soyi nahin ee
sone de naa
soyi nahin ee
betaabi badhne lagi hai
dil pe rakh do haath
aise machal rahe ho
jaise pehli ho raat
ye tera badan phoolon saa mahka huwa aa
lagta hai tu thhoda thhoda behka huwa
ae ae
tera hi nasha hai
kyun peechhe pada hai
ho o
tera hi nasha hai
hey
kyun peechhe pada hai
deewaana karke na daaman chhuda baar baar
jaanam yahaan
koi nahin ee
sone de na
soyi nahin ee
tere sar pe mere pyaar ka karz hai
hey ae
karz kar de adaa
ye tera farz hai
hey
aankhon mein meri abhi neend ka hai khumaar
sone de naa
soyi nahin
ho o
jaanam yahaan
koi nahin
yoon mujhko jaga ke tum to roothh ke chaley
kya karna jab koi jaage raat dhaley ae ae
tum sowo aaram se koi jaley to jaley
meri tarah zara tu bhi to haath maley
o o
ab maan bhi jaao na
jaao bahlaao na
o o
ab maan bhi jaao na
jaao bahlaao na
tumko manaate manaate gayi main to haar
jaanam yahaan
koi nahin
jaanam yahaan
koi nahin
aah
aa ha ha ha
aahahah
aahahah
aaaah
ahahahaaha
oho
aahahaha
umhoon hmm
aahhahaha
unhmm
hahahaha
hahahaha
aaah
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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Blog Day : |
4838 | Post No. : | 16624 |
Hullo Atuldom
My family and some members of this world of Atulsongaday, which I like to refer to as Atuldom, know my love for a few actors from the Hindi Film World. Specially the actors who graced the silver screen in the 70s, 80s and early 90s. Many of the actors of that period are in the 60 to 75/80+ age group. Actors Amitabh Bachchan, Jeetendra, Rekha, Hema Malini, Zeenat Aman, Jaya Bhaduri, Dharmendra, some actors played character roles in that period etc. when they make an appearance on reality television I make it a point to see those episodes and on repeat if possible.
Kaun Banega Crorepati had one such episode on 15th October 2021. It was advertised as ‘Sholay Reunion Special’ (if I got the title right). It was like a reunion of school friends. Hema Malini and Ramesh Sippy were the guests who played the game for some charity. It was cute to see Hemaji and AB Sr. mouthing lines of all the characters – Gabbar Singh, Angrezon ke zamaane ka jailor, Veeru, Jai – whose pictures were flashed on the big screen. Hema Malini did the Jailor’s typical laugh and also “basanti inn kutton ke saamne matt nachna” and I was all eyes and ears. Imagine how soothing it must have been to see a sooper pretty lady, with her typical manner of speech, giving answers to the questions. Here I would like to mention that the questions were ‘made to order’ to enable Ramesh Sippy and Hemaji earn 25l to fund their charities. There were two highlights in the show; one was when Veeru joined the show over video call.
The other and more appropriate (IMO) part of the show was when they brought Reshma Pathan on the show. This is the lady who has played a body double for all the stunts that heroines were shown to be carrying out in the movies of the 70s and 80s. Hemaji and Rameshji showered their praises on this lady for helping out with the stunts in Sholay. They specially mentioned the action scene, after the Holi song, where a child is shown crying near the ‘merry-go-round’ and a lady comes running to rescue the child.
Towards the final section of the program they wished (in advance) The Beautiful Hema Malini for her birthday. I had also thought up a few possible songs to go with this post. Then I happened to see a comment on the blog, by Manohar Lal Dave, who had reminded that 15th October was the birth anniversary of Shankar of the Shankar-Jaikishan duo.
We will enjoy this song from “Sanyasi” (1975) of which the blog has five songs. This is the sixth written by Varma Malik and tuned S-J and it is sung by Mukesh and Lata Mangeshkar.
Wishing the Ever-so- gorgeous, beautiful, elegant DreamGirl on her birthday with this song.
Audio
Video
Song-Sun baal brahmchaari main hoon kanya kunwaari (Sanyaasi)(1975) Singers-Lata, Mukesh, Lyrics-Verma Malik, MD-Shankar Jaikishan
Lyrics
om nama shivay
haay
om nama shivay
hmm
om nama shivay
hahahah
om nama shivay
hahahah
om nama shivay
sun baal brahmchaari
main hoon kanya kunwaari
sun baal brahmchaari
main hoon kanya kunwaari
tere man mein preet ka rang bhar doon
aaj tapasya bhang kar doon
sun baal brahmchaari
main hoon kanya kunwaari
sun baal brahmchaari
main hoon kanya kunwaari
tere man mein preet ka rang bhar doon
aaj tapasya bhang kar doon
sun baal brahmchaari
main hoon kanya kunwari
aake khadi hoon dwaare tere
kyun baithha hai aankhen phere
aake khadi hoon dwaare tere
kyun baitha hai aankhen phere
in aankhon ki madira pee le
in aankhon ki madira pee le
chhodne waala hans kar jee le
ari sun roopwati
main hoon sant jati sati (?)
kisi aur pe dore daalo
meri maa mujhe bacha lo
sun baal brahmchaari
main hoon kanya kunwaari
tere man mein preet ka rang bhar doon
aaj tapasya bhang kar doon
sun baal brahmchaari
main hoon kanya kunwaari
bol Siyapati Ramchandra ki jai
ban thhan ke main aise nikli
jaise saawan mein chamke bijli
ban thhan ke main aise nikli
jaise saawan mein chamke bijli
aisi meri bharpoor jawaani
aisi meri bharpoor jawaani
aag se jaise lipta paani
hey Raamji duhaai
ye Saroopnakha aayi
apne Lakshman ko sambhaalo
meri maa mujhe bacha lo
sun baal brahmchaari
main hoon kanya kunwaari
tere man mein preet ka rang bhar doon
aaj tapasya bhang kar doon
sun baal brahmchaari
main hoon kanya kunwaari
bana jawaani mein tu jogi
teri saadhana poori na hogi
bana jawaani mein tu jogi
teri saadhna poori na hogi
poori na hogi
roop mein mere itni shakti
karne lagega meri bhakti
aaye nikat nikat
hai samaysya vikat
koi iska ticket kata lo
meri maa mujhe bacha lo
sun baal brahmchaari
main hoon kanya kunwaari
sun baal brahmchaari
main hoon kanya kunwaari
tere man me preet ka rang bhar du
aaj tapasya bhang kar doon
sun baal brahmchaari
main hoon kanya kunwaari
sun baal brahmchaari
main hoon kanya kunwaari
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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Blog Day : |
4837 | Post No. : | 16622 |
Hullo Atuldom
Navratri. Nine nights of festivities. Celebrated through the country in honour of Devi Maa, Maa Durga, or the Holy Trinity of Durga Lakshmi Saraswati. Also Rama’s victory over Ravana and rescuing Devi Seeta from Lanka. No wonder the 10th day of the festival is called Vijaya Dashami.
I have got a Whatsapp forward which gives a perspective of the day as ” Dussehra is a Sanskrit word which means removal of Ten Bad Qualities within oneself, namely
Ahankara (Ego),
Amanavta (Cruelty),
Anyaaya (Injustice),
Kama vasana (Lust),
Krodha (Anger),
Lobha (Greed),
Mada (Pride),
Matsara (Jealousy can also mean competition which is a result of jealousy),
Moha (attachment),
Swartha (Selfishness)”;
which means that ‘Vijaya over these Ten Bad Qualities. (I thought that this was a great thought and hence shared it here)
Dussehra marks the culmination of the Ram Leela, at various venues across the country, with the burning of the effigies of Meghnad (son of Ravana), Kumbhakarna (brother of Ravana) and Ravana himself. Dussehra is also the last day of the Durga Puja for the people from Eastern India (wherever in the world they be). The Durga Puja begins on the sixth day of Navartri, when the idols of the goddess is installed along with those of her children Ganesh and Kartik and Devi Laxmi and Devi Saraswati. Dussehra is the day when the idols are immersed in the holy waters of the rivers after morning puja, kumkum khela etc. Festivities in western India too come to a close with all the rituals associated. So we are at the end of one festival waiting for the next -Deepavali.
Let us bring this festival to a close with this all important aarthi which is from “Purab Aur Paschim” (yes, there are some songs from this film yet to be posted). In the film this traditional aarthi plays at the start to set the story of the movie in motion. It shows Ashok Kumar (whose birth anniversary it was two days ago) leading a group of devotees which includes Kamini Kaushal and Nirupa Roy (13th October was her death anniversary). As the song plays, we see the Union Jack being lowered and replaced by the Indian Tricolour. The movie too becomes ‘color’ from ‘black-n-white’. The aarthi is also used to introduce almost all the characters of the movie, we see ‘Bharat’ growing up from Master Alankar to Manoj Kumar and Bharathi (south Indian actress) growing into ‘Gopi’. The movie closes with the aarthi as Saira Banu accepts that she has liked the Indian way of life and her mother Shammi and brother Rajendranath also join the aarthi.
The aarthi is in the voices of Mahendra Kapoor, Brij Bhushan and Shyama Chittar. The music director for the movie were Kalyanji Anandji, who have stuck to the traditional format in here.
Happy Bijoya/ Vijaya Dashami to one and all.
Video
Audio (Longer)
Song-Om jai jagdeesh hare (Purab Aur Paschim)(1970) Singers-Brij Bhushan, Mahendra Kapoor, Shyama Chittar, Lyrics-Traditional, MD-Kalyanji Anandji
Chorus
Lyrics
om jai jagdeesh hare
swaami jai jagdeesh hare
bhakt janon ke sankat
daas janon ke sankat
kshan mein door kare
om jai jagdeesh hare
jo dhyaave phal paave
dukh bin se man ka
swaami dukh bin se man ka
sukh sampatti ghar aave
sukh sampatti ghar aave
kasht mite tan ka
om jai jagdeesh hare
maat pitaah tum mere
sharan padoon main kiski
swaami sharan padoon main kiski
tum bin aur na dooja
prabhu bin aur na dooja
aas karoon main kiski
om jai jagdeesh hare
tum pooran parmaatama
tum antaryaami
swaami tum antaryaami
paar brahm parmeshvar
paar brahm parmeshvar
tum sabke swaami
om jai jagdeesh hare
tum karuna ke saagar
tum paalan karta
swaami tum paalan karta
main moorakh khalkaami
main sevak tum swaami
kripa karo bharta
om jai jagdeesh hare
om jai jagdeesh hare
swaami jai jagdeesh hare
bhakt janon ke sankat
daas janon ke sankat
kshan mein door kare
om jai jagdeesh hare
vishay vikaar mitaao
paap haro deva
swaami paap haro deva
shraddha bhakti badhaao
shraddha bhakti badhaao
santan ki seva
om jai jagdeesh hare
tan man dhan sab hai tera
swaami sab kuchh hai tera
swaami sab kuchh hai tera
tera tujhko arpan
tera tujhko arpan
kya laage mera
om jai jagdeesh hare
om jai jagdeesh hare
swaami jai jagdeesh hare
bhakt janon ke sankat
daas janon ke sankat
kshan mein door kare
om jai jagdeesh hare
om jai jagdeesh hare
swaami jai jagdeesh hare
bhakt janon ke sankat
daas janon ke sankat
kshan mein door kare
om jai jagdeesh hare
Deewaangi ye pyaar ki
Posted on: October 15, 2021
This article is written by Sadanand Kamath, 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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Blog Day : |
4837 | Post No. : | 16621 | Movie Count : |
4527 |
‘Sonal’ (1973) was an obscure film which was produced under the banner of A K Productions. The film was directed by Prabhat Mukherjee. The star cast included Mallika Sarabhai and Jatin Khanna in the lead roles supported by Iftikhar, Gajanan Jagirdar, Sulochana, Sona, Gurnam Singh, Tarun Ghosh etc. It was debut film for Mallika Sarabhai and Jatin Khanna. The film’s censor certificate was issued on December 26, 1973. I am not sure if the film was released.
The name of the film’s director, Prabhat Mukherjee (1917-1997) sounded familiar to me as I had come across his name in the context of Arundhati Devi while doing a series ‘Hindi Songs in Bangla Films’ for the Blog. Arundhati Devi was the actor-singer and director of many Bangla films. She has acted with Prabhat Mukherjee in Bangla films during 1950-56.
According to Indrani Maitra, the sister of Prabhat Mukherjee, he had started his career with All India Radio, Calcutta (Kolkata) in the early 1940s. Thereafter, he switched over to Bangla films as an actor from 1950. He turned writer-director with his Bangla film ‘Maa” (1956) in which Arundhati Devi was the lead actress with Asit Baran. Prabhat Mukherjee and Arundhati Devi got married in 1955 but their marriage was short-lived resulting in a divorce in 1957 after which Aundhati Devi got married to Tapan Sinha. Prabhat Mukherjee got married for the second time, but this marriage too resulted in a divorce.
Prabhat Mukherjee also directed films in Oriya, Assamese and Hindi. ‘Shayar-e-Kashmir Mahjoor’ (1972) was his first Hindi film as a director in which Balraj Sahni acted with his son, Parikshat Sahni. Apart from ‘Sonal’ (1973), he also directed ‘Chimni Ka Dhuan’ (1973) with Motilal and Balraj Sahni. It appears that both these films may have got delayed in their censor certification and releases.
Prabhat Mukherjee continued to be associated with Bangla films into 1980s. While on his filmy career front, he won as many as 5 National Awards for his films that included Bangla, Oriya and Assamese during 1959-64, on a personal front, he was emotionally affected by his two divorces. To get the peace of mind, he visited Dwarkamai in Shirdi which was the place where Shri Sai Baba spent a major part of his life until his death. Here, Prabhat Mukherjee found peace, courage and strength to face the life. He devoted most of of his time studying and teachings of Shirdi Sai Baba. He also wrote a book ‘Redemption at Shirdi’ in Bengali which was later translated into English by his sister, Indrani Maitra and got published after his death in 1997.
The film ‘Sonal’ (1973) is not available for viewing on any on-line platforms. So, I had to rely on film’s booklet giving the synopsis of the story which was reproduced on ‘Cinemaazi’ in Hindi. The gist of the story of the film is as under:
College going Sonal (Mallika Sarabhai) has grown up under the loving care of her sister-in-law (Sulochana Latkar). During a family picnic, Sonal meets Dr. Rajeev (Jatin Khanna) who has been working in a leprosy hospital as a part of his desire to serve such patients. He has only two aims in his life – to conduct research to eradicate leprosy and to look after his deaf and mute sister.
Both Sonal and Dr. Rajeev meets regularly which culminates into liking for each other. They wish to get married. However, Sonal’s elder brother (Iftikhar) who is well educated and a lawyer, opposes the marriage taking an conservative view. It is his wife (Sonal’s sister-in-law) who is not so much educated but has a liberal attitude, arranges for the marriage.
Rajeev remains busy with his hospital as well as his research works for which he is assisted by Laxmi (Sona). Over a period of time, Sonal becomes jealous of Laxmi who is with Dr Rajeev most of the time. Laxmi on the other hand is jealous of Sonal who is very much loved by Rajeev. Neither Sonal could understand the importance of Laxmi in Dr. Rajeev’s research work not Laxmi understands Dr Rajeev’s love for his wife.
The situation reaches a flash point when Dr Rajeev’s close associate in research work becomes a catalyst for creating a rift between Sonal and Dr Rajeev which leads to their separation. Neither her lawyer-brother’s conservative attitudes nor a sympathetic attitude of her sister-in-law can bring the reproachment between Sonal and Dr Rajeev. Finally, the realisation on the part of Soanl that both she and Dr Rajeec are the soulmate and the external factors should not affect their relationship, gets them united.
‘Sonal’ (1973) has 4 songs written by Yogesh Gaud which are set to music by Manna Dey. In fact, after a gap of over 15 years, Manna Dey took the baton as a music director of this film which was his last film as a music director.
I present the first song ‘deewaangi deewaangi ye pyaar ki’ from the film to appear on the Blog. The song is rendered by Manna Dey and Usha Rege. On the basis of the lyrics, it appears that the song has benn picturised on Jatin Khanna and Mallika Sarabhai during their courtship.
With this song, ‘Sonal’ (1973) makes its debut on the Blog.
Audio Clip:
Song-Deewaangi ye pyaar ki (Sonal)(1973) Manna Dey, Usha Rege, Lyrics-Yogesh, MD-Manna Dey
Both
Lyrics
deewaangi ee
deewaangi
ye pyaar ki
kyun ban gayi hai meri zindagi
har ghadi dil mein
dil ki mehfil mein
chhaayi rahe koi bekhudi ee
deewaangi ee
deewaangi
haay teri
deewaangi ban gayi hai meri
har ghadi dil mein
dil ki mehfil mein
chhaayi rahe koi bekhudi ee
deewaangi
ye kya nainon mein hai
toone kaajal se likhaa
honthon se
dheere se
bikhre hansi kyun bataa aa
ho o o o
ho o o o
maine naam tera
nainon mein hai likh liya
honthon se
chhalke re
nagma tere pyaar kaa aa aa
ye khumaari ye bekaraari
dekho kam ho na kabhi ee
deewaangi
haay teri
deewaangi ban gayi hai meri
har ghadi dil mein
dil ki mehfil mein
chhaayi rahe koi bekhudi ee
deewaangi
toone har janam mein
maang bhar di saajna
janmon kaa
ye naata
dekho kabhi toote naa aa
ho o o o
ho o o o
bolo kab akele
ham jiyen tere bina
saathi re
dekho ye
bandhan kabhi chhoote naa aa
toot jaaye koi na haay
teri meri ye khushi
deewaangi
ye pyaar ki
kyun ban gayi hai meri zindagi
har ghadi dil mein
dil ki mehfil mein
chhaayi rahe koi bekhudi ee
deewaangi
haay teri
deewaangi ban gayi hai meri
har ghadi dil mein
dil ki mehfil mein
chhayi rahe koi bekhudi
deewaangi
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.
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Blog Day : |
4836 | Post No. : | 16620 |
When I saw this song on You Tube, a few days ago, I was very happy. This was one of the most popular Lories in those days – and naturally so, because it was composed by the melody King Chitragupt and was sung by the melody Queen Lata Mangeshkar. In one of her interviews to Film fare, she had said ” I like to sing songs of Chitragupt ji and I particularly liked the lori ‘ Chanda loriyan sunaaye’ from film Naya Sansar-1959.”
I was pleasantly surprised to know that this famous Lori was yet to be posted on our Blog. Surely, it fits into the song category of “How I forgot to post this song earlier”. I believe, this song was waiting for me only !
Lories have been a part of many films, where a family life is the main plank of the film story. The earliest famous Lori was the one sung by K L Saigal – “So ja Raajkumari so jaa”, from film Zindagi-1940. Earlier to that also there were many- as many as 15- Lories in the films right from film Radhe Shyam aka Zulm E Kans-1932, in which Devki (Phool kumari) sings a Lori for her child (Shri krishna), asking him not to cry loudly, lest Kans will come and kill him. -” so ja tu mere lal chu ke se, voh Paapi aa jaye”. Then there was ” Dheere dheere aa re Badal” sung by Amirbai and Arunkumar in film Kismet-1943. Many more Lories subsequently became popular, but today’s Lori was more popular and famous.
Film Naya Sansar was produced by Darshan Malhotra for his own banner Shri krishna Films. It was directed by Nanabhai Bhatt. This was a rare occasion when Nanabhai Bhatt directed a Social film. Normally he was equated with B and C grade action and Mythological films only.
Director Nanabhai Bhatt ( 12-6-1915 to 24-4-1999). He was a director in many films.He directed mostly Mythological and stunt films only. Nanabhai was born as Yashwant ( pet name – Batuk) at Porbandar. Since he was the younger one he was called Nanabhai ( opposite to Motabhai-elder brother). This name continued till the end. His father was a doctor. After matriculation, he went to Mumbai in 1934, where his elder brother Balwant Bhatt was working. Balwant started with Imperial,shifted to Sagar and now was with Prakash pictures of Vijay and Shankar Bhatt. He got Nanabhai a job as Sound Recordist.Soon he graduated as Production Executive.He also wrote several screenplays.
In 1942 he directed “Muqabala”, for Homi Wadia, as Batuk Bhatt. Homi Wadia became his good friend. When Homi established his own Basant Pictures, Nanabhai joined him and directed his “Hunterwali ki Beti”-43, with Nadia again. He also did mauj, Jee Haan, Chaalis Karod etc. He directed about 50 films of various genres like Stunts, Mythologicals,crime, social, costume etc.
Nanabhai’s first wife was Hemlata. He also married Shirin banu, his Heroine of few films. To circumvent the Bigamy law, he married her in a Temple and that too in the presence of Hemlata ! He had 3 children from Hemlata and 6 from Shirin. Mukesh and Mahesh Bhatt are from Shirin. His children and grandchildren married in different religions.Thus his big family was an example of Secularism ! In addition to 9 children Nanabhai also produced 20 films under his own Deepak Pics and Gautam Chitra !
FILMOGRAPHY OF NANABHAI BHATT: 1942: Muqabala; 1943:Hunterwali Ki Beti; Mauj; 1945: Chalis Karod; 1946: Maa Baap Ki Laaj; 1947: Meerabai; 1949: Shaukeen; Veer Ghatotkach; Sudhaar; 1950: Hamara Ghar; Janmashthami; Veer Babruwahan; 1951: Lakshmi Narayan; Daman; Lav Kush; Ram Janma; 1952: Apni Izzat; Baghdad; Sinbad the Sailor; 1954: Toote Khilone; Watan; 1956: Kismet; 1957: Mr X; Ustad; 1958: Chaalbaaz; Son of Sinbad; 1959: Bazigar; Daaka; Kangan; Madam XYZ; Naya Sansar; 1960: Lal Qila; Police Detective; Zimbo Comes to Town; 1961: Teen Ustad; 1962: Baghdad Ki Raatein; Rocket Girl; 1963: Alapiranthavan; Bhootnath; Cobra Girl; 1964: Samson; 1965: Adhi Raat Ke Baad; Bekhabar; 1966: Shankar Khan; 1967: Arabian Nights; 1968: Jung Aur Aman; 1974: Jeevan Rekha; 1975: Balak Aur Jaanwar; 1976: Dharti Mata; 1981: Gajara Maru; 1982: Jaya Parvati Vrat.( Thanks to Harish Raghuwanshi ji and Encyclopedia of Indian Cinema for some information.).
The music was by Chitragupt and the film cast was Jayashree Gadkar, pradeep kumar, nanda dhumal, Tuntun, Sundar, Shammi, majnu and dancers Sheila Vaz, Sai Subbulakshmi and Kamla Laxman. The heroine Jayashree Gadkar was a very popular and busy actress in marathi cinema. I was surprised to learn that she had acted in 73 hindi films. Despite this number, she was not famous in Hindi films because she got only B and C grade action and Mythological films in Hindi.
Jayshree Gadkar (21 February 1942 – 29 August 2008) was a noted Marathi and Hindi movie actress and a star of Marathi cinema from the 1950s up to the 1980s.
Jayshree was born into a Konkani-speaking family at Kanasgiri (Sadashivgad) near Karwar in the Uttara Kannada district of Karnataka, India. She married Bal Dhuri, a theatre actor best known for his portrayal of Dashratha in Ramanand Sagar’s TV serial, Ramayana (where Jayashree herself played his wife, Kaushalya). She also published an autobiography, Ashi Mi Jayshri.
She began her career as a child dance artist. She entered films as a tamasha dancer in movies. Her first role was that of a group dancer in V. Shantaram’s Jhanak Jhanak Payal Baaje in 1955, which featured Sandhya as the leading lady. Later, well known Marathi film Director Dinkar D Patil cast her in a small role with dance in his Marathi film Disat Tasa Nasat, opposite Raja Gosavi. This was followed by Sangtye Aika, a tamasha-based movie which was the first in which she played a leading role. This helped her gain fame and recognition and she started doing heroine roles. She eventually became one of the most successful and prolific heriones in the history of the Marathi film industry.
Many remember her for the famous song Bugdi mazi saandli ga jata sataryala. But Jayshree Gadkar was much more than that. She was not only a versatile and accomplished actress but the face of Marathi cinema in its golden era. This paved her way into mainstream Marathi cinema.
Later, both Raja Gosavi and Jayshree gave many hits as a pair, like Aaliya Bhogasi [her first film], Utavla Navara, Yala Jeevan Aise Nav, Awaghachi Sansar and Paishacha Paus. Gath Padli Thakathaka was her first major role. Jayashree got a lot of success as a heroine in movies based on tamasha and lavni, the trend at the time.
Her film Saangtye (1959) ran for 132 weeks in a theater. Her terrific dance performance in Bugdi mazi saandli ga became a craze among Marathi viewers. She was paired with the most popular heroes of the time like Suryakant (Pancharati, Rangpanchmi, Vaijayanta) and Arun Sarnike (Sawal Maza Aika, Ek Gav baara Bhangadi, Gangaulan).
Manini was a turning point in her career. She was paired with Chandrakant Gokhle. She went on to act with his son Vikram Gokhle too, in films like Utavla Navra and Subhdra Haran.
Gadkar also acted in historical movies like Mohityaanchi Manjula and Shahir Parshuram. She won many accolades and awards at the national and state level. She was also felicitated with the state government’s V Shantaram Purskar, Gadima Purskar, P Savlaram Purskar and many more. She married co-star Bal Dhuri in 1975, and directed two films, Sasar Maher and Ashi Asavi Saasu.
Jayshree acted in about 250 films over a period of four decades. Her filmography was varied and included a rich repertoire of tamasha stories as also mythologicals in addition to socials and love stories.
In later years, Jayshree turned film director. Her directorial efforts include Saasar Maher and Ashi Asavi Saasu. She also acted in Ramanand Sagar’s TV Series Ramayana, as Kaushalya (mother of Rama) along with her husband Bal Dhuri, who was Dasharath (father of Rama). Her home is adorned with the photo of both in Ramayana costume. Her Autobiography Ashi Me Jayshree was published in 1986. Gadkar had received awards for her part in the films Manini, Vaijantha, Sawaal Majha Aika! and Saadhi Mansa.
Surprisingly, Jayashree Gadkar had acted in as many as 73 Hindi films. Her first film was Jhanak Jhanak Payal Baje-55 and the last film was Lav kush-97. However another film which was delayed came in 2009 was Jai jai Santoshi Maa. (Thanks to wiki, rediff.com, muVyz, HFGK and my notes).
Let us now enjoy the sweet lori from this film.
Song- Chanda Loriyan sunaaye hawa jhoolna jhulaaye(Naya Sansaar)(1959) Singer- Lata Mangeshkar, Lyricist- Rajindra Krishan, MD- Chitragupta
Lyrics
chanda loriyaan sunaaye hawa jhoolna jhulaye
raani nindiya sulaaye mere laal ko
raani nindiya sulaaye mere laal ko
chanda loriyaan sunaaye hawa jhoolna jhulaaye
raani nindiya sulaye mere laal ko
raani nindiya sulaye mere laal ko
barson shaam savere maa ne roya dil ka dukhda
barson shaam savere maa ne roya dil ka dukhda
tab ja ke bhagwaan ne baksha ik chaand ka tukda
chanda loriyaan sunaaye hawa jhoolna jhulaaye
raani nindiya sulaaye mere laal ko
raani nindiya sulaaye mere laal ko
khelega jab mere angna khel ye pyaare pyaare
khelega jab mere angna khel ye pyaare pyaare
khelan ko tab laayegi maa neel gagan ke taare
chanda loriyaan sunaaye hawa jhoolna jhulaaye
raani nindiya sulaaye mere laal ko
raani nindiya sulaaye mere laal ko
baandh ka sehra banega jis din dulha mera raaja
baandh ka sehra banega jis din dulha mera raaja
khushiyon ki baaraat sajegi armaanon ka baaja
chanda loriyaan sunaaye hawa jhoolna jhulaaye
raani nindiya sulaaye mere laal ko
raani nindiya sulaaye mere laal ko
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