Archive for the ‘Guest posts’ Category
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4377 | Post No. : | 15720 |
“I worshipped Bimal Roy. For me, his worth as a man was more than his films… It is impossible for me to describe what a man he was.”
The above quote was by Ritwik Ghatak, one of Bimal Roy’s desciples who later became an internationally known director of parallel cinema in Bangla films.
In Hindi film industry, there are many film artists, directors and those connected with the film music who are admired for their excellent professional performances. But there would be very few among them who would also be admired as the good human beings. Among few such personalities, the name of Bimal Roy comes to my mind because for the last few months, I have extensively read on the life and works of Bimal Roy. I have found that those who have closely worked with him like Dilip Kumar, Balraj Sahani, Vyjaynatimala, Kamini Kaushal, Nutan, Dharmendra, Shashi Kapoor, Hrishikesh Mukherjee, Gulzar and many more have highly talked about Bimal Roy as a fine human being besides an being an outstanding director. What touched me most about Bimal Roy was what Manobina Roy, his wife had said in an interview. Just a few minutes before his death on January 8, 1966, Bimal Roy had called her and said that he was deeply worried about his workers in Mohan Studio as to what will happen to them after his death. Only when she assured him and repeated her assurance that she would take care of them, Bimal Roy closed his eyes never to open them again.
Today, July 12th 2020 is 111th birth anniversary of Bimal Roy (12/07/2009 – 08/01/1966), one of the greatest Hindi film directors who rose from a still photographer to a cinematographer and then as a producer-director of some of the classic and socially relevant films. Although, there were many film directors from Bengal – especially in the Bombay Talkies who had directed Hindi films in Mumbai in the 1940s, it is said that it was Bimal Roy who brought ‘Bengaliness’ in his Hindi films in Mumbai. He was a trend setter in introducing the ‘middle of the road’ films.
Arunkumar Deshmukh ji has already discussed Bimal Roy’s biographical and celluloid journey in his article covering the song, chale re chale raam vanwaas. I would, therefore, skip his profile and his sequential journey in the film industry. I propose to concentrate mainly on three important phases in his filmy career which led to his meteoric rise in the film industry – as a Cinematographer, as a Director for films produced by New Theatres and as a Producer-director of Hindi films in Mumbai. In my view, the three phases were also the important turning points in the career of Bimal Roy.
Bimal Roy joined New Theatres (NT) as an Assistant Cameraman to Nitin Bose in 1932 during which he assisted him for ‘Chandidas’ (1932, Bangla version and also Hindi version in 1934), ‘Meerabai’ (1933) etc. He was promoted as a cinematographer in NT and shot films like ‘Devdas’ (1935), ‘Manzil’ (1936), ‘Mukti’ (1937), ‘Abhagin’ (1938), ‘Abhinetri’ (1940) ‘Meenakshi’ (1942) etc.
The high point in his career as a cinematographer was ‘Mukti’ (1937) – the first film from NT which was extensively shot outdoors, mostly in the forest of Gauripur (Assam). It was a challenge for Bimal Roy as a Cinematographer to shoot outdoors, the scenes with proper lightings. Even his indoor shots were exceptional. His camera works in the opening scene of the film itself is marvelous. The camera focuses on P C Barua who walks through three rooms, one after another before knocking the door of the fourth room. Here, only the camera ‘speaks’ in the scene in complete silence without any background music to create suspense as to what is going to happen next. The light and shadow effects have been effectively used to convey the mood of the situations in the film.
Kanan Devi, in one of her interviews had said that in ‘Mukti’ (1937), Bimalda through his camera work, made her more beautiful than what she looked in reality. P C Barua, the director, was so happy with his camera work in the film that in the publicity poster of ‘Mukti’ (1937), he made the name of Bimal Roy to appear next to his name with names of the actors appearing in the side. Probably, this may be the first occasion in NT that the publicity poster had prominently carried the name of the cinematographer.
Bimal Roy entered his second phase of his career when he turned as a director for the first time for the Bangla film ‘Udayer Pathe’ [(1944), ‘Towards the Twilight’]. A year later, a Hindi version of the film was made as ‘Hamraahi’ (1945), also directed by Bimal Roy. Manobina Roy, the wife of Bimal Roy was surprised as to why he chose the subject of exploitation by upper class of the lower strata of the society when he himself had the background of a landlord’s son. Probably, he may have seen such scenarios in his teenage days in his family and he wished to bring them to the notice of masses.
The challenge for Bimal Roy in this fiim was that NT boss, B N Sarkar has personally told to direct the film with the left-over cut pieces of the raw stock of negative film as those days, raw stock of films was rationed. There was no scope for wastage of the raw stock of films by way of reshoots. On the top of it, he had taken newcomers, Binita Bose (Roy) and Radhamohan Bhattacharya as the lead actors. With these backgrounds, it was imperative that he should also take the responsibility as a cinematographer. When the shooting of the film was completed, B N Sarkar was surprised that the film was completed by Bimal Roy without taking any extra stock of raw films.
The film though made with a small budget was one of the top box office grossers for NT. The film ran for more than one year in Kolkata’s Chitra theatre. With its Hindi version of the film, the name of Bimal Roy became well-known all-over India. In the Bengali speaking regions, ‘Udayer Pathe’ (1944) became one of the highly discussed films. The film became a trend setter for some subsequent Hindi films having ‘rich girl poor boy’ love story with the background of a class conflict. Chetan Anand’s ‘Neecha Nagar’ (1946) followed, more or less, the similar pattern in the story.
The extra-ordinary success of ‘Udayer Pathe’ (1944) did not help much in Bimal Roy’s career as a director as fortune of NT had taken a down turn due to the adverse impact on the film industry of the World War II and thereafter partition of Bengal by creating the then East Pakistan. Bimal Roy did direct two films for NT – ‘Anjangarh’ (1948) and ‘Pehla Aadmi’ (1950). The highlight of ‘Pehla Aadmi’ (1950) was that it was made on Netaji Subhash Chandra Bose. It was a challenge for Bimal Roy to shoot the battle scenes of the film in the studio itself which should look real in the film. I have watched the clip of the battle scene and it looks real. Though these two films were critically acclaimed, they did not fare well at the box office.
The downfall of NT in post-partition period and the emergence of Bombay (Mumbai) as the main film production centre prompted many artists and technicians in Kolkata to migrate to Mumbai. On the other hand, the Bombay Talkies was also going through the bad times. An opportunity came to Bimal Roy when he was invited by Ashok Kumar to direct ‘Maa’ (1952) for Bombay Talkies which he had to reluctantly accept due to the adverse conditions of the film industry in Kolkata. Bimal Roy came to Mumbai with his team consisting of Hrishikesh Mukherjee (Editor), Asit Sen (Assistant Director), Nabendu Ghosh (Dialogue writer) and Paul Mahendra (Hindi dialogue writer and actor). Later, some more artists and technicians from Kolkata like Kamal Bose (Cinematographer), Arvind Sen, Asit Sen, Debu Sen, Basu Bhattacharya and Salil Chaudhury joined Bimal Roy.
In terms of box office, ‘Maa’ (1952) did not add to the coffers of Bombay Talkies. Bimal Roy was all set to return to Kolkata along with his team when Ashok Kumar gave him another film, ‘Parineeta’ (1953) which was produced under the banner of Ashok Kumar Productions. Simultaneously, something was cooking within Bimal Roy’s team. Hrishikesh Mukherjee had revealed in an article that after watching an English film in Eros Theatre at Churchgate, Bimal Roy and his team were returning home on a BEST double decker bus and were discussing as to why they cannot make film like the one they watched. Bimal Roy asked as to who will write the story for the film to which everyone in his team offered to share the responsibilities. That was how Bimal Roy Productions was born on a double decker bus of BEST. And this was the third turning point in Bimal Roy’s career.
Bimal Roy embarked upon his maiden film ‘Do Bigha Zameen’ (1953) as a producer-director. Bimal Roy had read the story ‘Rickshwala’ written by Salil Chaudhury, based on the Rabindranath Tagore’s poem, ‘Doi Bigha Zomi’. This was perhaps the first film in Bollywood depicting what is called ‘neo-realism’, a term normally used for post-war effects on the poor class of the population who tended to migrate to urban area for sustenance. Many in his team had reservations about the selection of Balraj Sahani in the role of Shambhu, the farmer because of his urban look. But Bimal Roy struck to his choice. He had seen him acting live on the sets of ‘Dharti Ke Laal’ (1946) when he had visited Mumbai at the time of the release of his film ‘Hamraahi’ (1945) and thereafter in ‘Hum Log’ (1951).
‘Do Bigha Zameen’ (1953) put Bimal Roy on an international pedestal. The film won for him the Prix International Prize at 7th Cannes Film Festival (1954). The film also won him National Award for the Best Film and also the inaugural Filmfare Award, 1954 for the ‘Best Film’ and ‘The Best Director’. With the success of this film, the seeds of the ‘middle of the road’ cinema was sown in Bollywood.
One of Bimal Roy’s film which did not fit into his psyche of film making was ‘Madhumati’ (1958). The reincarnation story of the film was written by Ritwik Ghatak who was an assistant to Bimal Roy during his Kolkata days. He was without work in Kolkata and had come to Mumbai for work. Bimal Roy assigned him to write a story and screen play for his forthcoming film and also direct the film. This was how the film ‘Madhumati’ (1958) was born. But, at the last minute, he had to go back to Kolkata as he could arrange finance for his Bangla film, ‘Ajantrik’ (1958). ‘Madhumati’ (1958) was thought of mainly for the financial survival of Bimal Roy Productions. Hence, the commercial elements in the film was evident with Dilip Kumar and Vyjayantimala in lead roles, Pran as villain and Johny Walker as comedian and 11 songs. With Bimal Roy handling the direction, the mix of classic touch and commercial elements led the film to attain the status of the most commercially successful film for Bimal Roy Productions and the highest grosser among Hindi films released in 1958. The film won 9 Filmfare Awards.
Bimal Roy has shown through his films like ‘Udayer Pathe’ (1944), ‘Do Bigha Zameen’ (1953), ‘Sujata’ (1959) and ‘Bandini’ (1963) that the victims of oppressions have superior morality than the oppressors. Bimal Roy had not been known to have leanings towards any political ideology. It is, therefore, a surprise to observe that in most of his films, the exploitation of downtrodden by the superior class of the society is evident though he belonged to a wealthy family of the landlords in a village near Dhaka in East Bengal (now Bangla Desh). The reasons for his ‘dislike’ for landlords or upper class probably stem from having been a victim himself when after the death of his father in 1930, his family was denied share in the estate and was expelled. He along with his mother and brothers had migrated to Kolkata where they may have initially faced the same problem as Balraj Sahani in ‘Do Bigha Zameen’ when he migrated to Kolkata.
Rinki Roy Bhattacharya believes that some characters in his films may have been modelled on the traits of a few of his family members. For instances, the arrogant and authoritarian fathers in ‘Udayer Pathe’ (1944), ‘Parineeta’ (1953) and ‘Devdas’ (1955) may have been based on Bimal Roy’s authoritarian father. The character of a whip cracking school master in ‘Devdas’ may be a whip cracking Head Master of Bimal Roy’s school in Dhaka. Pran’s character in ‘Madhumati’ (1958) may have been inspired from his uncle Jogeshchandra Roy who loved wines, women and dances.
During his filmy career, Bimal Roy directed 15 Hindi films which included his classics and popular films like ‘Parineeta’ (1953), ‘Do Bigha Zameen’ (1953), ‘Biraj Bahu’ (1954), ‘Devdas’ (1955) ‘Madhumati’ (1958), ‘Yahudi’ (1958) ‘Sujata’ (1959), ‘Parakh’ (1960), ‘Prem Patra’ (1962) and ‘Bandini’ (1963) which was his last film as a director.
Bimal Roy also produced 7 Hindi films which he did not direct but gave the opportunity to direct most of them to his assistants. These films were ‘Amaanat’ (1955) directed by Aravind Sen, ‘Parivar’ (1956) and ‘Apraadhi Kaun’ (1957) both directed by Asit Sen (comedian), ‘Usne Kaha Thha’ (1960) directed by Moni Bhattacharya and ‘Kabuliwaala’ (1961) directed by Hemen Gupta who was unemployed at that time. ‘Benazir’ (1964) and ‘Do Dooni Chaar’ (1968) were directed by S Khalil and Debu Sen respectively due to Bimal Roy’s illness.
Those who had worked closely with Bimal Roy had said that he was a man of few words. It was very difficult to initiate a conversation with him. Dilip Kumar had said in an interview that he found the most peaceful atmosphere among the studios when he worked with Bimal Roy because no one was allowed to talk loudly. Nabendu Ghosh, his screen-play and dialogue writer, has said that Bimal Roy spoke little but smoked cigarettes a lot. Probably, his cigarette smoking may have resulted in lung cancer at a later stage which took his life on January 8, 1966.
At the time of his death, Bimal Roy had started work on ‘Do Dooni Chaar’ (1968) and ‘Sahaara’. While the first film was completed by one of his assistants, Debu Sen and got released in 1968, ‘Sahaara’ which was based on Bengali novel ‘Chaitali’ by Ashapoorna Devi got sheleved. In fact, Bimal Roy had done some shooting of the film with Dharmendra and Sharmila Tagore when he got ill on the set after which he never recovered. When Dharmendra became a top star from early 1970s, he convinced Bimal Roy’s wife, Manobina Roy to revive the film for which he arranged the finances and pursuaded Saira Bano to act in the film. Hrishikesh Mukherjee directed the film under its new title ‘Chaitali’ (1975).
One of Bimal Roy’s dream project which was very close to his heart was a bilingual film ‘Amrit Kumbh Ki Khoj Mein’ (Hindi and Bangla). He had started the work as early as 1960 when he had shot about one hour of footage of Ardha Kumbha Mela held at Allahabad in 1960. Gulzar was entrusted with writing the script for the film. It was his intention to complete the shooting of the film during the next Poorna Kumbh Mela. During the last stages of Bimal Roy’s illness when he was bed-ridden, Gulzar used to visit him every day and read out what he had written for the script of his favorite film. With the death of Bimal Roy, the film remained a dream. However, scenes shot for the film were converted into a 12 minutes of documentary film ‘Images of Kumbh Mela (1960) by his son, Joy Bimal Roy.
On the occasion of Bimal Roy’s 111th birth anniversary, I have selected a song, ‘main na boloon na boloon na boloongi’ from ‘Maa’ (1952), his first film in Mumbai as a director. The song is sung by Geeta Dutt which is picturised on Shyama. The song is written by Bharat Vyas which is set to music by S K Pal.
With this song, all the songs of ‘Maa’ (1952) have been covered in the Blog.
Acknowledgements: In writing this article, I have been greatly benefitted by the following sources:
1. ‘Bimal Roy – The Man Who Spoke in Picture’ (2009), a book containing a collection of articles, edited by Rinki Roy Bhattacharya, the daughter of Bimal Roy.
2. ‘The Cinema of Bimal Roy – An ‘Outsider’ Within’ (2017) by Shoma A, Chatterji. (Book).
3. ‘Ravi Paar Aur Anya Kahaaniyaan’ (1999) by Gulzar – Chapter on ‘Bimal da’.
4. Remembering Bimal Roy (2007) – A documentary film by Joy Bimal Roy.
Editor’s note: This song is the 5000th song from the decade of 1950s(1951 to 1960) to appear in the blog.
Video Clip:
Audio Clip:
Song-Main na boloon na boloon na boloongi (Maa)(1952) Singer-Geeta Dutt, Bharat Bhushan, Lyrics-Bharat Vyas, MD-S K Pal
Lyrics
main na boloongi
o main na boloon na boloon na boloongi
aaj mere chhote se dil mein
chhupa hai kya raaz main na kholoongi
aaj main na boloon na boloongi aaj
kya raaz hai
hai to bataao
saawan ki ithlaate baadal se poochh lo ji
baadal se poochh lo
kajraare nainon ke kaajal se poochh lo ji
kaajal se poochh lo
bhole baalam
mohe laage sharam
haaye laage sharam
bhole baalam
mohe laage sharam
haaye laage sharam
ye bharam apne man ka na kholoongi
aaj main na boloongi
aaj main na boloon na boloongi aaj
main na boloongi
ho main na boloon na boloon na boloongi
aaj mere chhote se dil mein
chhupa hai kya raaz main na kholoongi
aaj main na boloon na boloongi aaj
achcha
hum bhi nahin sunte
o o o o o
suna maine jo
wo kaise sunaaun
wo baaten tumhe main kaise bataaun
kaho ji kaise bataaun
kuchh khud samjho
kuchh khud samjho
kuchh meri palkan se samajh lo ji
palkan se samajh lo
kuchh dil mein chhupi dil ki dhadkan se samajh lo ji
dhadkan se samajh lo
bhole baalam mohe laage sharam
haaye laage sharam
bhole baalam mohe laage sharam
haaye laage sharam
ye bharam apne man ka na kholoongi
aaj main na boloongi
aaj main na boloon na boloongi aaj
Tu mauj main hoon kinaara
Posted on: July 11, 2020
- In: Amit Kumar solo | Amit Kumar songs | Devnagri script lyrics by Avinash Scrapwala | expression of love | Feelings of heart | Guest posts | Lyrics by Prakashchandra | Lyrics contributed by readers | Post by Avinash Scrapwala | Songs of 1980s (1981 to 1990) | Songs of 1981 | Yearwise breakup of songs
- 1 Comment
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 : |
4376 | Post No. : | 15719 | Movie Count : |
4332 |
‘Lovers-1983’ was directed by Bharathi Rajaa for ‘Aryan Films’. It was produced by Rajendra Kumar.
‘Lovers-1983’ had Kumar Gaurav, Padmini Kolhapure, Rajendra Kumar, Tanuja, Bina and Danny Denzongpa, supported by Junior Mehmood, Rakesh Bedi, Romi, Satyen Kappu, Neilu Arora, Dinesh Hingoo, Kamal Deep, Sudha Chopra, Pachhi, Laxman Thombre.
This movie also introduced Rafeeq, Kishore, Praveena, Roopali, Sunita.
Dialogues for this movie were written by Inder Raj Anand. Editing of this movie was done by David Dhawan. Bharathi Rajaa who directed this movie also wrote the screenplay of this movie.
This movie had six songs penned by Anand Bakshi whereas the music was composed by R. D. Burman. Lata Mangeshkar, Amit Kumar and Kavita Krishnamoorthy had given their voices to the songs in this movie.
(In the list of singers for this movie the movie titles mention the names of Lata Mangeshkar, Amit Kumar and Kavita Krishnamoorthy only. However, HFGK Vol-VI (1981-1985) also mentions the name of Anuradha Paudwal as singer. But no song is credited to her name, instead in one song the name of Kalyani Mitra is mentioned as co-singer with Amit Kumar).
Today 11th July’2020 is the sixteeth birthday (born on 11th July’1960) of actor Kumar Gaurav. On this occasion here is a song from ‘Lovers-1983’. It is sung by Amit Kumar and it is lip synced on screen by Kumar Gaurav. Padmini Kolhapure and others can also be seen in the picturization of this song.
Kumar Gaurav the son of yesteryears actor Rajendra Kumar shot to fame with the movie ‘Love Story-1981’ went on to act in many movies but could not repeat the success of ‘Love Story’ in other movies except ‘Naam-1986’ where his performance, alongwith that of Sanjay Dutt was appreciated.
Music Director R.D. Burman created some good music for his movies like ‘Teri Kasam-1981’, ‘Lovers-1983’, ‘Romance-1093’, ‘Ham Hain Laajawaab-1984’ and ‘Ek Se Bhale Do1985’.
Lyrics for the song were sent by Prakashchandra.
With this song the movie ‘Lovers-1983’ makes its debut on the blog.
Audio
Video
Song-Tu mauj main hoon kinaara milan kab hoga hamaara (Lovers)(1983) Singer-Amit Kumar, Lyrics-Anand Bakshi, MD-R D Burman
Lyrics (Provided by Prakashchandra)
tu mauj main hoon kinaaraa
milan kab hogaa hamaaraa
tu mauj main hoon kinaaraa
milan kab hogaa hamaaraa
tu mauj main hoon kinaaraa
milan kab hogaa hamaaraa
ho pyaasi hai jeewan ki dhaaraa
milan kab hogaa hamaaraa
ho o o milan kab hogaa hamaaraa
nadiyaa bahey ae
chaahey kahin
saagar se sangam zaroori hai
nadiyaa bahey ae
chaahe kahin
saagar se sangam zaroori hai ae
main tere bin
adhooraa hoon
tu mere bin
adhoori hai
ho jaise kiran aur taaraa
milan kab hogaa hamaaraa
tu mauj
main hoon kinaaraa
milan kab hogaa hamaaraa
ho ho o milan kab hoga hamaaraa aa
toone sunaa aa
yaa naa sunaa
main tera naam letaa rahaa
toone sunaa aa
yaa naa sunaa
main tera naam letaa rahaa aa
toone suni yaa naa suni
aawaaz main ae ae
detaa rahaa
ho jo saans lee dil pukaaraa
milan kab hoga hamaaraa
tu mauj main hoon kinaaraa
milan kab hogaa hamaaraa
ho o o milan kab hoga hamaaraa
jaise kisi ee mandir mein log
rakh dein kisi ki moorat ko
jaise kisi mandir mein log
rakh dein kisi ki moorat ko o o
dil mein basaa aa rakkhaa hai yoon
maine sajan ki soorat ko
teri poojaa mein pal pal guzaaraa
milan kab hogaa hamaara
tu mauj main hoon kinaaraa
milan kab hogaa hamaaraa aa
ho pyaasi hai jeewan ki dhaaraa
milan kab hogaa hamaaraa
ho ho o milan kab hogaa hamaaraa
——————————————–
Devnagri script lyrics (Provided by Avinash Scrapwala)
——————————————–
तू मौज मैं हूँ किनारा
मिलन कब होगा हमारा
तू मौज मैं हूँ किनारा
मिलन कब होगा हमारा
तू मौज मैं हूँ किनारा
मिलन कब होगा हमारा
हो प्यासी है जीवन की धारा
मिलन कब होगा हमारा
हो ओ ओ मिलन कब होगा हमारा
नदिया बहे ए
चाहे कहीं
सागर से संगम ज़रूरी है
नदिया बहे ए
चाहे कहीं
सागर से संगम ज़रूरी है ए
मैं तेरे बिन
अधूरा हूँ
तू मेरे बिन
अधूरी है
हो जैसे किरण और तारा
मिलन कब होगा हमारा
तू मौज मैं हूँ किनारा
मिलन कब होगा हमारा
हो ओ ओ मिलन कब होगा हमारा आ
तूने सूना आ
या ना सूना
मैं तेरा नाम लेता रहा
तूने सूना आ
या ना सूना
मैं तेरा नाम लेता रहा आ
तूने सुनी या ना सुनी
आवाज़ मैं ए ए
देता रहा
हो जो सांस ली दिल पुकारा
मिलन कब होगा हमारा
तू मौज मैं हूँ किनारा
मिलन कब होगा हमारा
हो ओ ओ मिलन कब होगा हमारा आ
जैसे किसी ई मंदिर में लोग
रख दें किसी की मूरत को
जैसे किसी मंदिर में लोग
रख दें किसी की मूरत को ओ ओ
दिल में बसा आ रक्खा है यूं
मैंने सजन की सूरत को
तेरी पूजा में पल पल गुज़ारा
मिलन कब होगा हमारा
तू मौज मैं हूँ किनारा
मिलन कब होगा हमारा आ
हो प्यासी है जीवन की धारा
मिलन कब होगा हमारा
हो ओ ओ मिलन कब होगा हमारा
Aaj apne ghar mein lagi aag re
Posted on: July 11, 2020
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 : |
4376 | Post No. : | 15718 |
Today’s song is from the film Amrapali-1945. The film was made by Murlitone. This historical film was directed by Nandlal Jaswantlal. The music was composed by Saraswati devi, who had left Bombay Talkies, after the exit of Devika Rani. The 11 songs of the film were written by Miss Kamal, B.A.. Most readers who are knowledgeable about the vintage films of the 40’s know that Miss Kamal, B.A. was a pseudonym of Kavi Pradeep. At that time, he was under contract with Bombay Talkies and could not use his real name . Under this Pen name, he wrote lyrics for four films, namely Kadambari-44, Amrapali-45, Sati Toral-47 and Veerangana-47. Incidentally, all these films were directed by Nandlal Jaswantlal.
Nandlal was born on 15-3-1907 at Bardoli in Surat. His father was Admin. Officer in Kohinoor films. He started his career by joining it in 1924. He assisted Chandulal Shah(1926-29) and also directed silent and Talkie films for Ranjit from 1929 to 1933. Nandlal left the job and went to Europe on tour. On his return he joined the Imperial company(34-36) and directed some remakes of silent films of Sulochana into Talkie films. For one year-1937- he went to Madras and ran a Laboratory also.
His first Talkie film as a Director was Pardesi preetam-33 and last was Akeli mat jaiyo-63. Both were Ranjit films. Due to his death in 1961, Akeli mat Jaiyo was delayed and completed by Chandulal Shah himself. Best known for his later Filmistan musicals: Anarkali (with Bina Rai and music by C. Ramchandra) and Nagin (with Vyjayanthimala), one of the biggest post-Independence musical hits. Admired for his sophisticated lighting (with cameraman Pandurang Naik). Used extreme close-ups and unusual angles creating disjointed but dramatic and sensual spaces (e.g. the beginning of Anarkali). Last film Akeli Mat Jaiyo was completed by Chandulal Shah. Apparently filmed many of the famous song sequences of M. Sadiq’s musical Taj Mahal (1963).
FILMOGRAPHY: 1929: Jawani Diwani; Pardesi Saiyan; 1930: Pahadi Kanya; 1931: Premi Jogan; Ghunghatwali (all St); 1933: Pardesi Preetam; 1934: Indira MA; Kashmeera; 1935: Pujarini; 1936: Bambai Ki Billi; Jungle Queen; 1939: Jeevan Saathi; 1941: Kamadhenu; 1943: Pratigya; 1944: Kadambari; 1945: Amrapali; 1945: Sati Toral; Veerangana; 1951: Sanam; 1953: Anarkali; 1954: Nagin; 1956: Taj; 1957: Champakali; 1963: Akeli Mat Jaiyo (1963). (Thanks to Encyclopedia of Indian Cinema.)
In film Amrapali-45, the film story was by Ramchandra Thakur. Actually, this was based on Thakur’s own famous novel Amrapali. The dialogues were by Munshi Dil. The film, made under the banner of Murli Cinetone, was shot entirely in the Andheri studios of Lakshmi productions. The story of Amrapali is a real story, which took place in the times of Gautam Buddha. Although the original novel of Tamchandra Thakur depicted the reality in his book very nicely, the film story was twisted and under the guise of taking ‘ Cinematic liberty’, the main events of the story were drastically changed, twisting the history. Comparatively, the film ‘Amrapali’ made later in 1966 was much better. At least it did not change the original story. Amrapali or Ambapalika’s story is mentioned in old Pali language Texts and Buddhist literature.
The cast of the film was Prem Adib, Sabita Devi,Jeevan, Arun Ahuja, Jagdish Sethi, Badri Prasad, Sankatha Prasad, Gulab etc.etc. This film was special for its Heroine, because it was her last film as an actress. In the silent era, many Anglo Indian, Jew and European girls acted in films. They were preferred too, for their free uninhibited acting. Kissing and hugging was no problem for them. However, when the Talkie films arrived, most of these girls had to leave films, because they could not speak Hindi or sing a song. Only some few dedicated actresses from the lot like Sulochana (Ruby Meyers), Sabita Devi (Irina Gasper) etc, continued in films, because they learnt Hindi and singing, with great efforts.
The real name of Sabita Devi was IRINA GASPER. She was an Anglo-Indian,born in an affluent family of Calcutta, in 1914.
After completing education she wanted to join films, but her family objected. Without the family’s knowledge, she sent her resume and Photo to British Dominion Film Co., owned by Dhiren Ganguly in Calcutta. When they informed their consent the family resisted and kept her locked in the house. She fell ill and finally, the family conceded to her wish.
Her first Silent film was Flames of Flesh-1930. Then came Kanthahaar, A touch of Love, After the death, Aparadhi, Money makes what not and Bhagyalaxmi as silent films.
When the talkie came, she determinedly learnt Hindustani and Urdu and also Music.
Her first Talkie film was Radhakrishna-33, in which she sang 16 out of 23 songs in the film, but no records were made. Next was Ek din ka Badshah-33. She shifted to Bombay for better opportunities. In 1934,came Shahar ka Jaadu,with Motilal as a debut actor and this film was a Hit. Later she and Motilal became a popular pair.
She did many films. Her some films were-
300 days and after, Apki marzi, kokila, Kulvadhu, Amrapali, Ladies only, Chandragupta, Chingari, Dr.madhurika, grihalaxmi, holiday in bombay, Jeevan Lata, King for a day, Lagna bandhan, Manmaani, , Phantom Of the hills, Silver king, vengeance is mine, Village Girl etc etc. In all, she acted in 23 Talkie films and sang 15 recorded songs in 7 films.
She was a good Piano and Harmonium player. In later days in 1943 onwards, she stopped singing herself. Her last picture was Amrapali-45.
In 1946, she got married and left for England. She came back again only to die in Calcutta in 1965.
The story of Amrapali or Ambalika as per history and the Pali literature is.. Amrapali was a Nagarvadhu (Public Courtesan) in the kingdom of Vaishali (present day Bihar), and the king of the neighbouring Magadha kingdom fell in her love. To get her, he attacks Vaishali and wins. However, before he approaches Amrapali, she has transformed into an Arihant (a female Monk), after her encounter with Gautam Buddha.
This simple story was twisted and many side plots were added to it, thereby making the filma drab one, without evoking any excitement. Sabita devi in her 30’s and Prem Adib’s growing in size, after his own marriage and huge success of film Ram Rajya in 1943, were not suitable anymore for Romantic roles. All in all, the film was not a successful one. According to Baburao Patel’s review of the film,the technical aspects of the film were excellent. These are, in any way, not of any cognisance by the audience. The film was released on 2-11-1945 at Roxy theatre, Bombay.
Today’s song is a very good Marching song. This must be at the time of motivating Vaishali’s people when Magadh sena attacked them. It reminded me of the Marching song ‘ Zindagi hai pyar se’ from the film Sikandar-1941. This is the third song Aamrapali (1945) to appear on this Blog.
Song-Aaj apne ghar mein lagi aag re (Aamrpaali)(1945) Singer-Ameerbai Karnataki, Lyrics-Kavi Pradeep, MD-Saraswati Devi
Chorus
Lyrics
Aaj apne ghar mein lagi aag re
aag re
naujawaan jaag re
jaag re
jaag re
Aaj apne ghar mein lagi aag re
apne desh ka wo jal raha hai baag re
apne desh ka wo jal raha hai baag re
apni maata ka
apni dharti ka lut raha suhaag re
naujawaan jaag re
Aaj apne ghar mein lagi aag re
aag re
naujawan jaag re
jaag re
jaag re
jaag re
jaag re
?? jo aag chaaron oar
??
takraane do
takraane do
maidaan mein talwaar se talwaar
hey karmveer jaago
hey shoorveer jaago
ranbheri baj rahi hai
praanon ka moh tyaago
aazaadi ke matwaalon
shamsheer ab uthhaalo
aazaadi ke matwaalon
shamsheer ab uthhaalo
apni izzat pe lag na jaaye daag re
naujawaan jaag re
Aaj apne ghar mein lagi aag re
aag re
naujawan jaag re
naujawaanjaag re
naujawaan jaag re
(jaag re
jaag re
jaag re)
hey ae ae
kisi ke aage jhukna mat
jhukna mat
jhukna mat
kadam badhaa ke rukna mat
rukna mat
rukna mat
o naujawaan
naujawaan
desh maangta hai aaj tera balidaan
o naujawaan
desh maangta hai aaj tera balidaan
tera balidaan
tu khud ko mita de
sarwasw lutaa de
aaj dushman se khul ke khel phaag re
naujawaan jaag re
aaj apne ghar mein lagi aag re
aaj apne ghar mein lagi aag re
aag re
naujawaan jaag re
aag re
naujawaan jaag re
aaj apne ghar mein lagai aag re
aaj apne ghar mein lagai aag re
aag re
naujawaan jaag re
aag re
naujawaan jaag re
- In: "Aankh" song | "Naughty" song | "neend na aaye" song | Asha Bhonsle solo | Asha Bhonsle songs | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics by Prakashchandra | Lyrics contributed by readers | playful song | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1970 | Yearwise breakup of songs
- 5 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : |
4374 | Post No. : | 15716 |
Saga Of Sleepless Nights – 9
– – – – – – – – – – – – – – –
aaj ki raat, ye kaisi raat
ke hum ko neend nahin aati. . .
If the previous song in the series was a lament about lonely nights and the longing that accompanies them, this song today is expressing the opposite emotion. The lovers are together, and the lady is now complaining that her lover does not have an iota of sleep in his eyes, and that she is worried for that.
The gamut of human emotions is spread out wide and far. And whatever be the emotional flavor one may select, one is sure to locate a song from Hindi films that expresses that emotion fairly accurately. Continuing with the saga of sleepless nights, here today we have a flavor of sleeplessness that is expressing a complaint against the lack of sleep on the part of the gentleman. The lady is cajoling and chiding him, trying to induce sleep in his eyes. She is asking him what toy he would like to have, and that she may bring to him that which he desires. But the imploring thread intertwined is that the lack of sleep in his eyes worries her.
Word are crafty. They are a double edge sword that say one thing and mean another. The scenario being played out on screen appears to be one of deception. Apparently Ranjeet is pursuing Navin Nischol, who in turn seems to have taken refuge at Rekha’s home. Now both Rekha and Navin Nischol are inside a room, with Ranjeet sitting outside. And the scenario being played out is as if Rekha is putting a baby to sleep inside the bolted room. The song is telling in words that a mother is trying to put a baby to sleep. That is what a person outside the room would surmise, as one listens to the words of the song emanating from the room. However, the scene, as is being played out inside, there is no baby being put to sleep. Rather, the lovers have been thrown together by themselves in the room. The lady is trying to fend off the advances of the gentleman, and is singing a complaint that there is no sleep in his eyes, and that she would rather that he would take shelter in sleep.
The word and the scenario present an interesting juxtaposition. The film is ‘Saawan Bhaadon’ from 1970. Memory serving right, I remember this film being promoted as the debut film for the lead pair of Navin Nischol and Rekha. As later inputs would clarify, technically this is not the debut film for Rekha, and that her first film ‘Do Shikari’ (1978) was eventually released after a delay of many years. I remember seeing the posters and hoardings for this film as a school going kid. And I also remember that a few songs of this film became very popular and were often played on the radio waves.
The film is produced under the banner of Deluxe Films, Bombay and is directed by Mohan Sehgal, a director of certain repute from that era. The list of actors is presented as Navin Nischal, Rekha, Shyama, Jaishri Talpade, Agha, Narendra Nath, Iftikhar, Krishan Dhawan, Ranjeet, Chandrima Bhaduri, Sushma, Madhukar, Devi Chand, Pardesi, OP Kohli, Dhruv Kumar, Ajeet Bengali, Mamaji, and Darpan Nille etc.
The films has seven songs, all from the pen of Verma Malik. The music is composed by the duo of Sonik Omi. Two songs of this film are already showcased on our blog. This is the third song to find its place here.
Today also is the remembrance day for Manohar Lal Sonik, the senior partner in this duo team of music directors. He had passed away this day (9th July) in the year 1993. This is the reminder nudge from our dear Prakashchandra ji, who has sent in the lyrics for this song.
So this was one of the lesser heard songs in its time, being overshadowed by its more popular siblings like “Sun Sun O Gulabi Kali”, “Kaan Mein Jhumka Chaal Mein Thumka” and “Aankhen Meri Maikhaana, Maikhaana, Maikhaana”. On screen the song is performed by a pre-makeover Rekha, chiding a naughty Navin Nischol, while Ranjeet is seated outside the door of the room.
Listen, view and enjoy.
Video
Audio
Song – Mera Mann Ghabraaye Teri Aankhon Mein Neend Na Aaye (Saawan Bhaadon) (1970) Singer – Asha Bhosle, Lyrics – Verma Malik, MD – Sonik Omi
Lyrics (Provided by Prakashchandra)
(crying sound of a child)
o ho ho o ho o
hmm….hmmm pchh pchh
basssh bass bass bass
hmm…hmmmm
hmm… hmmmmm
hmm…hmmm
hmmm…hmmm
hmmm….hmmm…hmm
lallalaa lallalaaa lala
hmmm…hmmm lallalaaa la
(laughing sound)
mera mann ghabraaye
teri aankhon mein neend na aaye
haaye chup ho ja
vey so jaa saanwariyaarey
chup ho ja
vey so jaa saanwariya rey ae
mera mann ghabraaye
teri aankhon mein neend na aaye
haaye chup ho ja
vey so jaa saanwariyaarey
chup ho ja
vey so jaa saanwariya rey ae
mera mann ghabraaye
maangta hai tu kya
chaahta hai tu kya
bol kaisa khilona main laaun
pyaar ki paalki mein
bithaa ke tujhe
apni duniya ka raja banaaun
mere sapnon ka..aa..aa
tu hai savera
mera jeevan bhi..ee..ee (infant crying sound)
ab to hai tera
tera
tera
ho o ho o oo o
mera mann ghabraaye
teri aankhon mein neend na aaye
haaye chup ho ja
vey so jaa saanwariya rey
chup ho ja
vey so jaa saanwariya rey ae
mera mann ghabraaye
apni aankhon ki main
neend de doon tujhe
aur aanchal se tujh ko hawa doon
apne kaajal ki main
doriyaan daal ke
dil ki dhadkan ka jhoola bana doon
tujh pe sadqe hai..ae ae
meri jawaani
meri jaissi ho o ho o o (infant crying sound)
teri bhi raani
raani
raani
ho o o ho o o
mera mann ghabraaye
teri aankhon mein neend na aaye
haaye chup ho ja
vey so jaa saanwariya rey
chup ho ja
vey so jaa saanwariya rey ae
mera mann ghabraaye
mera mann ghabraaye ae
hmm…hmmm
lallalaaa la
——————————————–
Hindi script lyrics (Provided by Sudhir)
———————————————
हम्म॰॰॰हम्ममम
हम्म॰॰॰हम्ममममम
हम्म॰॰॰हम्मम
हम्म॰॰॰हम्ममम
हम्म॰॰॰हम्ममम॰॰॰हम्म
लल्लाला लल्लाला लाला
हम्म॰॰॰हम्मम लल्लाला ला
मेरा मन घबराए
तेरी आँखों में नींद नहीं आए
हाय चुप हो जा
वे सो जा साँवरिया रे
चुप हो जा
वे सो जा साँवरिया रे
मेरा मन घबराए
तेरी आँखों में नींद नहीं आए
हाय चुप हो जा
वे सो जा साँवरिया रे
चुप हो जा
वे सो जा साँवरिया रे
मेरा मन घबराए
मांगता है तू क्या
चाहता है तू क्या
बोल कैसा खिलौना मैं लाऊं
प्यार की पालकी
में बिठा के तुझे
अपनी दुनिया का राजा बनाऊँ
मेरे सपनों का॰॰आ॰॰आ
तू है सवेरा
मेरा जीवन भी
अब तो है तेरा
तेरा
तेरा
हो ओ हो ओ ओ ओ
मेरा मन घबराए
तेरी आँखों में नींद नहीं आए
हाय चुप हो जा
वे सो जा साँवरिया रे
चुप हो जा
वे सो जा साँवरिया रे
मेरा मन घबराए
अपनी आँखों की मैं
नींद दे दूँ तुझे
और आँचल से तुझको हवा दूँ
अपने काजल की मैं
डोरियाँ डाल के
दिल की धड़कन का झूला बना दूँ
तुझपे सदक़े है॰॰ए॰॰ए
मेरी जवानी
मेरी जैसी हो॰॰ओ॰॰ओ
तेरी भी रानी
रानी
रानी
हो ओ हो ओ ओ ओ
मेरा मन घबराए
तेरी आँखों में नींद नहीं आए
हाय चुप हो जा
वे सो जा साँवरिया रे
चुप हो जा
वे सो जा साँवरिया रे
मेरा मन घबराए
मेरा मन घबराए
हम्म॰॰॰हम्मम
लल्लाला ला
This article is written by Peevesie’s mom, a fellow enthusaist 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 : |
4374 | Post No. : | 15714 |
Hullo Atuldom
“Waqt Ki Deewaar” is a 1981 release. It had Neetu Singh, Sulakshana Pandit, Jeetendra, Pran, Kadar Khan, Amjad Khan, Satyen Kappu, Paintal, Preeti Ganguly etc.
There was one other important actor in the cast. An actor who didn’t have a ‘set image’ in Bollywood. He could fit into any role he signed up for. He has played father, father-in-law, boyfriend, etc to Jaya (Bachchan) Bhadhuri. We are talking of Sanjeev Kumar here. Born Harihar Jethalal Jhariwala in 1938, he made his debut in 1960 with a small role in “Hum Hindustani”. His first film as a protagonist was “Nishaan” which came in 1965. On the road to becoming an actor-star who could be banked upon to play any character that he was given, we have seen him play Dilip Kumar’s brother in the 1968 released “Sanghursh” and friend to Shammi Kapoor in “Sachchaai” (1969).
He was the preferred actor for all producers and directors of South Indian film industry when they had remake plans of films that were successful in Tamil, Telugu, Kannada etc. So we saw him in “Khilona” which was made from Tamil and he played the role that Sivaji Ganesan played in the original. He has apprised roles played by NT Rama Rao (Telugu) in “Takkar” “Shrimaan Shrimati”, Dr. Rajkumar (Kannada) in “Shaandaar” etc. Who can forget “Naya Din Nayi Raat” which had him play 9 different characters. He was given lead roles by South Indian film makers even as we saw him play father to Amitabh and Shashi Kapoor or supporting roles in “Zabardast”, “Silsila”, “Hero”, “Sawaal” etc.
We were regaled to wonderful comedy by this versatile actor in “Angoor”, “Pati Patni Aur Woh”, “Hero”, “Biwi O Biwi”, “Seeta Aur Geeta” etc. At the same time he was there in Satyajit Ray’s “Shatranj Ke Khiladi” playing a chess-obsessed citizen of Lucknow.
He has been romantically paired with most of the heroines in the movies of those times- be it Moushumi, Sharmila, Hema Malini, Rakhee, Rekha, Nutan, Mala Sinha, Tanuja and even Waheeda Rehman. We have seen him in two-hero movies too like with Shashi Kapoor in Mukti, Jeetendera in Khilona, Waqt Ki Deewar, Dharti Kahe Pukar ke, Faraar with Amitabh Bachchan, Bereham with Shatrughan Sinha.
Let us enjoy this two-hero song and think of this super actor and see him smile and charm the audience. The song is sung by Kishore Kumar and Mohd. Rafi. It is written by Anjaan and Laxmi -Pyare are the music composers. We have Jayshree T and Sulakshna Pandit adding to the glamour quotient and Amjad Khan plotting his next move.
Audio (Full)
Song-Ae yaar teri yaari hamen jaan se hai pyaari (Waqt Ki Deewaar)(1981) Singers-Kishore Kumar, Rafi, Lyrics-Anjaan, MD-Laxmikant Pyarelal
Both
Lyrics(Based on audio link)
ae yaar teri yaari
humein jaan se hai pyaari
ae yaar teri yaari
humein jaan se hai pyaari
teri yaari pe
teri yaari pe jaan luta denge
luta denge
luta denge
tere saath hai marna jeena
jahaan tera girega paseena aa
tere saath hai marna jeena
jahaan tera girega paseena
hum paseene pe
hum paseene pe khoon bahaa denge
bahaa denge
bahaa denge
ae yaar teri yaari
humein jaan se hai pyaari ee
ae yaar teri yaari
yoon raah mein chalte chalte
koi yaar nahin ban jaataa
yoon raah mein chalte chalte ae
koi yaar nahin ban jaataa
lagta hai ke tera mera
lagta hai ke tera mera
koi pichhle janam ka hai naata
woh yaar hai jo dukh baante
teri raahon se chunke kaante
woh yaar hai jo dukh baante
teri raahon se chunke kaante
tere kadmon pe
tere kadmon pe phool bichhaa denge,
bichhaa denge
bichhaa denge
ae yaar teri yaari
humein jaan se hai pyaari
ae yaar teri yaari
hum saath hon jis mehfil mein
hum par dil haare duniya
hum saath hon jis mehfil mein,
hum par dil haare duniya
teri meri yaari ko
teri meri yaari ko,
hai rasste nihaare duniya
duniya toh kisi din chhoote,
yaari marke na toote
duniya toh kisi din chhoote,
yaari marke na toote
ye zamaane ko
ye zamaane ko ek din bataa denge,
batadenge, batadenge
ae yaar teri yaari
humein jaan se hai pyaari
ae yaar teri yaari
moorat hai sachhaai ki tu,
baaki saara jag hai dhokha
moorat hai sachhaai ki tu
baaki saara jag hai dhokha
tujhpe hai bharosa jitna
tujhpe hai bharosa jitna
utna na khuda pe hoga
teri oar jo aankh uthhaaye
tujhse jo kahin takraaye
teri oar jo aankh uthaaye
tujhse jo kahin takraaye
saari duniya mein
saari duniya mein aag laga denge
laga denge
laga denge
ae yaar teri yaari
humein jaan se hai pyaari
ae yaar teri yaari
hamen jaan se hai pyaari
teri yaari pe
teri yaari pe jaan luta denge,
luta denge
luta denge
ae yaar teri yaari
- In: "picnic" song | "teasing" song | Asha Bhonsle solo | Asha Bhonsle songs | Devnagri script lyrics by Avinash Scrapwala | Feelings of heart | Guest posts | Light hearted song | Lyrics by Prakashchandra | Lyrics contributed by readers | Songs of 1970s (1971 to 1980) | Songs of 1973 | Teased song | Yearwise breakup of songs
- Leave a Comment
This article is written by Avinash Scrapwala, a fellow enthusaist 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 : |
4373 | Post No. : | 15713 |
#the Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 95 #
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Today’s song is from the 1974 movie ‘Hawas’. This movie is mostly known by its song “Teri Galiyon Mein Na Rakkhenge Kadam“. I remember that this song was frequently played on radio and loud speakers in those years. And I too associate this movie only with this song and had never tried to listen to the other songs of this movie. And yes, I never get to watch this movie until now.
So, when our dear Prakash ji had sent a song from this movie, I was eager to know about the other songs from this movie. So far, two songs (including the song mentioned above) from this movie have been posted on the blog.
‘Hawas’ is directed by Sawan Kumar for ‘Mercury Productions’. He was also the producer, storywriter and the lyricist of this movie. The star cast includes Anil Dhawan, Neetu Singh, Bindu, Vidya Sinha, Shiv Kumar, Fariyal, Pradeep Kumar, Randhawa and Mehmood. Supported by Pichoo Kapoor, Ashok Khanna, Randhir, Asit Sen, Shera, Basant, Neelam, Nelu, Sharmilee, Jugnu, and Coca-cola. Rekha and Vinod Mehra made friendly appearance in this movie.
Story of this movie is written by Sawan Kumar while the screenplay was written by Bimal Dutt. Dialogues were written by Ameen Sayani and editing of this movie was done by YG Chouhan. This movie was passed by Censor Board on 11.06.1974 with ‘restricted viewing’ certificate.
This movie has five songs sung by Asha Bhonsle (four songs) and Mohd Rafi (one solo song). Lyrics for all the five songs are written by Sawan Kumar and music is composed by Usha Khanna.
Today, 8th July is the sixty-second birth anniversary of actress Neetu Singh (born on 08th July, 1958). On this occasion here is a song from this movie picturized on her. She is lip-syncing Asha Bhonsle’s voice on the screen and many other female artists and Anil Dhawan can be seen in the picturization of this song.
I had never listened to this song earlier. It’s lovely song and grows upon if we listen to it more and more.
Let us now enjoy the today’s song …
Video
Audio
Song – Kal Raat Us Ne Sapne Mein Mujhko Chheda (Hawas) (1974) Singer – Asha Bhosle, Lyrics – Saawan Kumar, MD – Usha Khanna
Lyrics (Provided by Prakashchandra)
kal raat us ne ae
kal raat us ne
sapne mein
mujhko chhedaa aa
kal raat us ne
kabhi is karwat a a a a a a
kabhi us karwat a a a
deewaana raha
kabhi tan se lipat
kabhi mann se lipat’ta
haan kal raat us ne
sapne mein
mujhko chheda
kal raat us ne
bada deewaana hai
wo to prem ke raag sunaaye
bada deewaana hai
wo to prem ke raag sunaaye
mori kori chunar
mohey lagta hai dar
kahin maili na ho jaaye
mohey paas bulaaye
main na jaaun khud aaye
use laaj na aaye
mohey ang lagaaye
phir saare deep bujhaaye
dar ke boli ee
o humjoli
kal ka waada
bilkul pakka
wo muskuraata raha aa aa
kabhi aise palat a a a a a a a a
kabhi waise palat a a a
deewaana raha
kabhi tan se lipat
kabhi mann se lipat’ta
haan kal raat us ne
sapne mein mujhko chheda
kal raat us ne
kya kiya
badaa natkhat hai wo
ban gaya re krishn kanhaai
badaa natkhat hai wo
ban gaya re krishn kanhaai
main jamuna mein
nahaane gayi
aur us ne chaal chalaayi
meri saari churaayi
meri angiyaa churaayi
main paiyyaan padi
maine binati kari
nahin maana re raam duhaayi
bola raadha
sangam hoga
main kya kehti
waada jo tha
main sharmaati rahi ee ee ee
kabhi aise simat a a a a a a a a
kabhi waise simat a a a
deewana rahaa
kabhi tan se lipat
kabhi mann se lipat’ta
haan kal raat us ne
sapne mein mujhko chheda aa aa
kal raat us ne
—————————————————————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————————————————————–
कल रात उस ने ए
कल रात उस ने
सपने में
मुझको छेड़ा आ
कल रात उस ने
कभी इस करवट अ अ अ अ अ अ
कभी उस करवट अ अ अ
दीवाना रहा
कभी तन से लिपट
कभी मन से लिपटता
हाँ कल रात उस ने
सपने में
मुझको छेड़ा आ आ
कल रात उस ने
बड़ा दीवाना है
वो तो प्रेम के राग सुनाये
बड़ा दीवाना है
वो तो प्रेम के राग सुनाये
मोरी कोरी चुनर
मोहे लगता है डर
कहीं मैली ना हो जाए
मोहे पास बुलाये
मैं ना जाऊं खुद आये
उसे लाज ना आये
मोहे अंग लगाए
फिर सारे दीप बुझाए
डरके बोली
ओ हमजोली
कल का वादा
बिलकुल पक्का
वो मुस्कुराता रहा
कभी ऐसे पलट अ अ अ अ अ अ
कभी वैसे पलट अ अ अ
दीवाना रहा
कभी तन से लिपट
कभी मन से लिपटता
हाँ कल रात उस ने
सपने में
मुझको छेड़ा आ आ
कल रात उस ने
क्या किया
बड़ा नटखट है वो
बन गया रे कृष्ण कन्हाई
बड़ा नटखट है वो
बन गया रे कृष्ण कन्हाई
मैं जमुना में
नहाने गयी
और उस ने चाल चलाई
मेरी साड़ी चुराई
मेरी अंगियां चुराई
मैं पैय्यां पड़ी
मैंने बिनती करी
नहीं माना रे राम दुहाई
बोला राधा
संगम होगा
मैं क्या कहती
वादा जो था
मैं शर्माती रही
कभी ऐसे सिमट अ अ अ अ अ अ
कभी वैसे सिमट अ अ अ
दीवाना रहा
कभी तन से लिपट
कभी मन से लिपटता
हाँ कल रात उस ने
सपने में
मुझको छेड़ा आ आ
कल रात उस ने
Chal Hand Utha Ke Nachchen
Posted on: July 8, 2020
- In: Body part song | Daler Mehndi Songs | Dance song | Devnagri script lyrics by Sudhir | Group Dance | Guest posts | Haath song | Lyrics contributed by readers | Mika Singh Songs | Post by Peevesie's mom | Song sung by three or more singers | Songs of 2010s (2011 to 2020) | Songs of 2013 | Sunidhi Chauhan Songs | Yearwise breakup of songs
- Leave a Comment
This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : |
4373 | Post No. : | 15712 | Movie Count : |
4331 |
Hullo Atuldom
I don’t remember when was the last birthday post that I wrote for the sweet, chulbuli, very bright, charming and ever smiling Neetu Singh who made her debut in Bollywood as Baby Sonia in the double role of twin sisters, in ‘Do Kaliyan’ (1968).
But my thoughts and appreciation about her are there in the post for the song “Phoolon Ki Duniya Se Taaron Ki Duniya Mein“.
In there I had mentioned that she had appeared in 2013 in a movie called ‘Besharam’ which was directed by Abhinav Kashyap. She played a constable of the Delhi Police going by the name ‘Bulbul Chautala’ who is shown assisting Inspector ‘Chulbul Chautala’ (Rishi Kapoor) in tracking down a car thief Babli (Ranbir Kapoor). I saw this movie recently and realized that I still adore this pyari jodi who had been a craze till Neetu Singh got married and settled to look after her family.
Today’s song plays with the end credits of the movie and is sung by Mika Singh, Daler Mehndi and Sunidhi Chauhan where we have the young couple Rishi and Neetu dancing along with Ranbir and Pallavi Sharda. The song is written by Kumaar which is the mononym for Rakesh Kumar- a lyricist who has been active in Bollywood for a few years now. The music director is Lalit Pandit who used to form a team with his brother Jatin Pandit and gave us some chart-buster songs in movies like ‘Yes Boss’ (1997), ‘DDLJ’ (1995) etc.
The song has the evergreen pair shaking a leg to the beats of a very modern song which is neither a bhangra nor a disco. I must admit that it must have taken lots of guts to take to the dance floor after a gap of thirty years. The last movie where she had danced had come in 1983 ‘Ganga Meri Maa’ which if my guess is right would have been one that released long after it was completed.
Wishing this sweet charming and smiling on her 62nd birthday though I feel she may not celebrate this year. But I think we can still wish her health and happiness.
Song – Chal Hand Utha Ke Nachchen (Besharam) (2013) Singer – Mika Singh, Daler Mehndi, Sunidhi Chauhan, Lyrics – Kumaar, MD – Lalit Pandit
Lyrics
nau baj gaye
hum saj gaye
do peg lagey angrei
ho nau baj gaye
hum saj gaye
do peg lagey angreji
jo chadh gayi
to addh gayi
yeh cheez badi hai creji
aaja thumkon ki.. limit badha le
hain jeb mein jitne.. note udaa de
hum dheet hain jitne
sweet hain utne
to bachche
chal hand uthaa ke nachchen
chal band bajaa ke nachchen
chal hand uthaa ke nachchen
chal hand uthaa ke nachchen
tu hoga
bada hero
par hum bhi nahi kachche
chal hand uthaa ke nachchen
chal band bajaa ke nachchen
chal hand uthaa ke nachchen
chal hand uthaa ke nachchen
ab rukne ka time nahin hai
khul ke nachna crime nahin hai
mike pakad ke aaj macha de halla halla
ho o ab rukne ka time nahin hai
khul ke nachna crime nahi hai
mike pakad ke aaj machha de halla halla
dil vil apne phenk huye hain
rahu-ketu theek huye hain
pakad ke finger tu pehna de chhalla chhalla
nainon se zara tu
neat pila de
phir badan soniye
beat hila de
hum desi jitne dude bhi utne hain sachche
chal hand uthaa ke nachchen
chal band bajaa ke nachchen
chal hand uthaa ke nachchen
chal hand uthaa ke nachchen
tu hoga
bada hero
par hum bhi nahi kachche
chal hand uthaa ke nachchen
chal band bajaa ke nachchen
chal hand uthaa ke nachchen
chal hand uthaa ke nachchen
chal back hila ke
nachchen
chal taang utha ke
nachchen
chal aag laga ke
nachchen
chal feet badha ke
nachchen
chal pila pila ke
nachchen
chal hila hila ke
nachchen
oye fikr chhod ke sharam faad ke nachchen
chal hand uthaa ke nachchen
chal band bajaa ke nachchen
chal hand uthaa ke nachchen
chal hand uthaa ke nachchen
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
नौ बज गये
हम साज गये
दो पैग लगे अँग्रेजी
हो नौ बज गये
हम साज गये
दो पैग लगे अँग्रेजी
जो चढ़ गई
तो अढ़ गई
ये चीज़ बड़ी है क्रेजी
आजा ठुमकों की॰॰ लिमिट बढ़ा दे
हैं जेब मैं जीतने॰॰ नोट उड़ा दे
हम ढीठ हैं जीतने
स्वीट हैं उतने
तो बच्चे
चल हैंड उठा के नच्चें
चल बैंड बजा के नच्चें
चल हैंड उठा के नच्चें
चल हैंड उठा के नच्चें
तू होगा
बड़ा हीरो
पर हम भी नहीं कच्चे
चल हैंड उठा के नच्चें
चल बैंड बजा के नच्चें
चल हैंड उठा के नच्चें
चल हैंड उठा के नच्चें
अब रुकने का टाइम नहीं है
खुल के नचना क्राइम नहीं है
माइक पकड़ के आज मचा दे हल्ला हल्ला
हो ओ अब रुकने का टाइम नहीं है
खुल के नचना क्राइम नहीं है
माइक पकड़ के आज मचा दे हल्ला हल्ला
दिल विल अपने फेंक हुये हैं
राहू केतू ठीक हुये हैं
पकड़ के फिंगर तू पहना दे छल्ला छल्ला
नैनों से ज़रा तू
नीट पिला दे
फिर बदन सोनिए
बीट हिला दे
हम देसी जीतने ड्यूड भी उतने हैं सच्चे
चल हैंड उठा के नच्चें
चल बैंड बजा के नच्चें
चल हैंड उठा के नच्चें
चल हैंड उठा के नच्चें
तू होगा
बड़ा हीरो
पर हम भी नहीं कच्चे
चल हैंड उठा के नच्चें
चल बैंड बजा के नच्चें
चल हैंड उठा के नच्चें
चल हैंड उठा के नच्चें
चल बैक हिला के
नच्चें
चल टांग उठा के
नच्चें
चल आग लगा के
नच्चें
चल फीट बढ़ा के
नच्चें
चल पिला पिला के
नच्चें
चल हिला हिला के
नच्चें
ओय फिकर छोड़ के शरम फाड़ के नच्चें
चल हैंड उठा के नच्चें
चल बैंड बजा के नच्चें
चल हैंड उठा के नच्चें
चल हैंड उठा के नच्चें
Naach rahi hai Maaya Maaya
Posted on: July 8, 2020
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
4373 | Post No. : | 15711 | Movie Count : |
4330 |
Today’s song is from a film of early cinema-Bharosa-1940. There was a film of the same name- Bharosa in 1963, but the stories were entirely different. That film was more popular for Mehmood-Shubha Khote’s side story. Today’s film Bharosa-40 was made by Minerva Movietone. It was quite a serious film with an unusual, daring story for its time. The history of making this film is very interesting.
Sohrab Modi, in his earlier career used to work as an actor in his elder Brother’s – Rustom’s- ” Arya Subodh Natak Mandali “. After the Talkie films started, they felt it to be a threat to their stage dramas and decided to make Talkie films. ” Stage film company” was established in 1935 and to play safe, they decided to film their most popular drama ‘ Hamlet aka Khoon ka Khoon’ and market it, followed by their next best hit drama ‘Saeed E Havas aka King John’. Accordingly both were filmed and released as Talkie films. Unfortunately, their hopes were belied. Most people, having seen these dramas, did not see the films. The Modi brothers realised that making a Talkie film was a different ball game altogether !
They floated Minerva Movietone and produced the film ‘ Atma Tarang-37’. Those days Modi was influenced by Ramkrishna Mission teachings. Bachelor Modi used a story of ‘Celibacy’ (ब्रह्मचर्य ). In the period of 1935 to 1940, many Romantic films by Bombay Talkies and others were attracting the audience. People expressed their displeasure by not coming to this film. Consequently, this first film of Minerva Movietone also flopped. Luckily another film “Khan Bahadur’ was also made at the same time and this clicked.
Sohrab Modi understood and decided to make films on social issues, like Prabhat and New Theatres. Accordingly, he first made ‘Meetha Zaher’-38 on the evil of drinking alcohol, ‘ Jailor-38’ on illicit passion and ‘Divorce-38’ on separation after marriage. After a breather – Pukar-39 – he ended his quartet of reform Films with ‘Bharosa-40’. This film handled a very unusual subject like ” unintended Incest ” .(In 1941, film Bahen also touched on this topic subtly). According to the comments in magazine Film India,of those times,this film was not as successful as expected. Possibly due to the background of a more successful film ‘Pukar’, only the earlier year. Chandra Mohan was a common actor in both films, naturally his roles were compared by all.
The film was directed by Modi and the music was composed by G P Kapoor, who was a director (Nazrana-42), Singer and MD for 5 films, including Bharosa-40. Film’s story, screenplay, dialogues and songs were written by L C Bismil. The cast of the film was Chandra Mohan, Sardar Akhtar, Mazhar khan, Maya Devi, Sheela, Naval, Eruch Tarapore, Gulab, Menaka, Ram Apte and others. The film was released on 15th August 1940 at Minerva Theatre, Bombay. The story of the film Bharosa-40 was…..Gyan(Mazhar khan) and Rasik(Chandra Mohan) are good friends. When Gyan has to go to Africa, he leaves his wife-Shobha(Sardar Akhtar) with Rasik and his wife Rambha(Maya Devi). Rasik has always liked Shobha secretly and he develops intimacy with her. When Rambha goes to Maika, these two come together and Shobha gets pregnant. She delivers a daughter-Indira(Sheela).
As Indira and Madan(Naval)-Rasik’s son, grow together, they fall in love. Meanwhile Shobha dies and Gyan decides to marry Indira and Madan, though, knowing the secret, Rasik resists this marriage. But Gyan has his way and the marriage takes place. Rasik feels remorseful and reveals the truth to the newly married couple, who are actually Brother and Sister. Both commit suicide.
In the issue of Film India of September 1940, Baburao patel appreciated the direction of Sohrab Modi and called this film a better film than Pukar-39. The name of Maya Devi is not known much. Maya Devi was from Bombay and started her career from silent films in 1928 with Anarkali by imperial. Her first Talkie film was Kunwari ya widhva-35. Her real name was Leela. She became a favourite of Bombay Talkies and she did 6 films with them in 37 and 38. In all she did 5 silent films and 31 Talkie films till 1949. Her last film in India was Raaz-49. She got married with a Muslim and then migrated to Pakistan, where she did 19 films and then retired in 1964. Her first film in Pakistan was Phere-1949. She died in Lahore on 1-2-67. She did films in Gujarati and Punjabi also.
Another new name is Eruch Tarapore. He was a distant relative of Sohrab Modi and he worked only in Modi’s films. He worked in 16 films, right from Modi’s first film Hamlet-35 up to 1948. Eruch sang one song each in 3 films, Meetha zehar-38, Jailor-38 and Phir milenge-43. He died in 1948.
Sohrab Modi was a very strict person and when he entered the studio, there used to be total silence.C Ramchandra had spent the first 3 years of his career in Minerva and learnt the basics of composing music, under different MDs employed by Minerva. In due course, he became a big name and very successful. He described one memory associated with Minerva and Modi to film historian Isak Mujawar thus…
When Sohrab Modi sent a call to him to come for composing songs for one of his films, C Ramchandra remembered all this. While in Minerva, he knew Modi as a strict disciplinarian and a kind soul. In the subsequent period, C Ramchandra was impressed with the extraordinary success of Minerva movies like Pukar-39, Sikander-41 and Prithwi Vallabh-43. Afterall, his and Minerva’s careers had started together only ! Though he had become a famous and successful Music Director now with films like Shehnai, Saajan, Nadiya ke paar and Khidki etc amongst his 30 odd films, he went to meet Modi.
There was a tremendous change in circumstances when he left Minerva in 1938. When Minerva requested him to work for them in 1948, he had become so big that he could have easily refused to work for them, but he was not ungrateful. C Ramchandra has described this meeting to one of his friends, Isak Mujawar thus…
” When I entered the office of Minerva, after 10 years, I realised that while I had grown in my stature, Minerva had lost some of its sheen and its place among the top studios. Whatever I had learned while working here had made my foundation so strong that I could never repay Minerva’s debt fully. As I entered, I saw the same tall, well built Sohrab Modi and by his side Mehtab was sitting next to him. As soon as I crossed the door, both of them stood up. I was embarrassed. I went ahead and touched his feet. He murmured something and hugged me. I did Namaste to Mehtab ji. Modi talked briefly about his film and their expectations about the music. Then with a little hesitation, he asked me for my fees. I smiled and said, “Give me just One Rupee, sir. That’s my fees for Minerva”. However, they did not agree and a nominal token fee was fixed. I signed the contract “.
Those were the days when artistes gratefully acknowledged the help they received in their early careers !
Today’s song is sung by Menakabai. This is a Same name Confusion case. There were two Menakas. One singing this song was from Bombay.
Menaka/Menakabai / Menakabai Shirodkar ( Bombay )
—————————————————-
Menaka was born in Lahore in or around 1910. She was from a professional singer family and got training in classical singing. The family was originally from Belgaon and her maiden name was Menaka Belgaonkar. Later she was married and became Menaka Shirodkar.
At the age of 23-24 she landed in Bombay to try her luck in films. In those days such girls from singing families used to get into films easily, due to their singing capability. She joined Minerva and sang in their films, starting with Pukar-39,in which she got only one song.
She was more interested in classical singing and hence concentrated on singing more than acting. However, she did act in 5 films, in which she also sang.
After her film Gul Bakavli-47 she devoted her full time in singing and holding jalsas. Soon she became a known figure in singing circles. After marriage she got two daughters. One of them Shobha became a famous singer and was known as Shobha Gurtu.
After her singing was over Menakabai Shirodkar-as she came to be known later- retired and settled in Ponda,Goa.
She died on 23-12-2003 at the age of around 93 years.
Filmography-
——————–
| Title | Comments |
|---|---|
| Pukar-39 | 1 solo song |
| Paak Daman-40 | Acting and 3 solos+ 1 Duet |
| Main Haari-40 | 1 solo, 2 Duets |
| Bharosa-40 | Acting and 2 solos, 1 Duet |
| Sikandar-41 | 1 solo |
| Ulti Ganga-42 | 1 solo, 1 Trio |
| Phir milenge-42 | Acting and 3 solos |
| Prithwi Vallabh-43 | 2 solos, 2 Duets and 1 Trio |
| Bhakta Raidas-43 | Acting and 1 Duet as Menakabai |
| Dr. Kumar-44 | 1 solo |
| Gul Bakavali-47 | Acting and 4 solos, a Duet..all as Menakabai |
With today’s song film Bharosa-1940 makes its Debut on this Blog.
Song-Naach rahi hai Maaya Maaya (Bharosa)(1940) Singer- Menaka Bai (Bombaywali), Lyricist-Lalchand Bismil Peshawari, MD- G P Kapoor
Lyrics
Naach rahi hai Maaya Maaya
Naach rahi hai Maaya Maaya
Naach rahi hai Maaya
Naach rahi hai Maaya Maaya
Naach rahi hai Maaya
ma ga re sa re sa ma ga pa ma ga
ma ga dha ni
dha pa dha ni dha pa sa
sa re sa
da ni dha
??la sabke saath milaaya
??la sabke saath milaaya
n n n n n n n n
naach rahi hai Maaya Maaya
naach rahi hai Maaya
Baaj rahi hai anvat(?) veena
naach rahi hai ?? Maaya
Baaj rahi hai anvat(?) veena
naach rahi hai ?? Maaya
saat suran mein ?? bandhe(?) hain
saat suran mein ?? bandhe(?) hain
?? apna rang jamaaya
apna apna rang jamaaya
n n n n n n n n
naach rahi hai Maaya Maaya
naach rahi hai Maaya
Maaya
naache
Maaya
dekhe
Maaya ne hai swaang banaaya
Maaya ne hai swaang banaaya
ajab khilaadi hai ye maaya
ajab khilaadi hai ye maaya
jisne ye adbhut khel rachaaya
jisne ye adbhut khel rachaaya
n n n n n n n n
naach rahi hai Maaya Maaya
naach rahi hai Maaya
Naa jaa re naa jaa re
Posted on: July 6, 2020
- In: Amit Kumar solo | Amit Kumar songs | Amitabh Bachchan present (without lip syncing) | Amitabh Bachchan songs | Amitabh Bachchan songs by Amit Kumar | Blog ten year challenge (2010-2020) | Devnagri script lyrics by Avinash Scrapwala | Guest posts | Lata solo | Lata song | Lyrics by Prakashchandra | Lyrics contributed by readers | Multiple version song | Post by Avinash Scrapwala | Sentimental song | Songs of 1980s (1981 to 1990) | Songs of 1990 | 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 : |
4371 | Post No. : | 15707 |
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Blog 10-Year Challenge (2010-2020) – Song No. 40
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Ten years back on 06.07.2010 three songs from three movies were represented on the blog:-
| Song | Movie title-Year | Remarks |
|---|---|---|
| Gori hain kalaayiyaan tu lade mujhe hari hari choodiyaan | Aaj Ka Arjun-1990 | 02 songs posted |
| Sajna mera dil tera dil gayaa mil | Jhoola-1962 | All songs covered |
| Piyaa piyaa naa laage moraa jiyaa | Phagun-1958 | All songs covered |
Two movies ‘Jhoola-1962’ and ‘Phagun-1958’ have already been YIPPEED, so we have only one movie viz. ‘Aaj Ka Arjun-1990’ which is eligible for ‘blog ten-year challenge’ today (6 july 2020).
I remember that I was staying at Kota (Rajasthan) when this movie ‘Aaj Ka Arjun’ was released. Two of its songs had become very much popular. The song ‘chali aana tu paan ki dukaan pe’ was played on cassette-recorder in every ‘paan-shop’ in the ‘gali’ and ‘nukkad’ 😊 while the other song ‘gori hain kalaayiyaan’ was also played and could be heard everywhere (specially in Rajasthan).
Befittingly these two songs have already been covered on the blog. It proves that the same two songs were considered the most popular by the editor of the blog as well. 🙂
| Song | Posted On |
|---|---|
| Chali aana tu paan ki dukaan pe saadhe teen baje | 26.05.2009 |
| Gori hain kalaayiyaan tu lade mujhe hari hari choodiyaan | 06.07.2010 |
I had never watched this movie (for me it was a ‘No Amitabh movie’ years those days), so when our Prakash ji sent the lyrics of the today’s song, I had no recollections of having listening to this song. Other than the above mentioned two songs of this movie I was not aware of remember any other songs of this movie. However, when I listened to today’s song, I liked it. I may have heard this song in the past but the song may have failed to register with me in the past.
This song is in two versions- one is sung by Amit Kumar and the other by Lata Mangeshkar.
“Aaj Ka Arjun-1990” was directed by K.C. Bokadia for BMB Productions. K.C. Bokadia was also the producer of this movie. It had Amitabh Bachchan, Jaya Prada, Radhika, Suresh Oberoi, Kiran Kumar and Amrish Puri. The movie introduced Rishabh Shukla on the big screen.
Asrani and Anupam Kher make special appearance in this movie. The above cast was supported by Preeti Sapru, Baby Guddu, Bramhachari, Praveen Kumar, Anirudh Agarwal, Junior Mehmood, Ram Kumar and Vikas Anand.
Story of this movie was written by P. Vasu and screenplay was written by Santosh Saroj. Dialogues of this movie were written by Anirudh Tiwari. Saroj Khan and Chinni Prakash were the choreographers for this movie. Editing of this movie was done by M.S. Shinde.
Lata Mangeshkar, Kavita Krishnamurthy, Alka Yagnik, Shabbir Kumar, Mohd Aziz and Amit Kumar had given their voices to the songs in this movie. Anjaan was the lyricist for the songs in this movie and music was composed by Bappi Lahiri.
This movie was passed by Censor Board on 03.08.1990.
Let us now listen to today’s multiple version song. It is sung by Amit Kumar and Lata Mangeshkar. Lyrics are by Anjaan and music is composed by Bappi Lahiri.
Lyrics of this song were sent by Prakashchandra.
Audio (Male version)
Audio full (Female version)
Video (Female version)
Song-Naa jaa re naa jaa re (Aaj Ka Arjun)(1990) Singers-Amit Kumar/ Lata, Lyrics-Anjaan, MD-Bappi Lahiri
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Lyrics (Provided by Prakashchandra)
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Male version
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naa jaa re ae ae ae ae
naa jaa re ae ae ae ae
naa jaa re ae
naa jaa re ae
yoon mujhe ae chhod ke
dil meraa aa tod ke ae ae ae ae
naa jaa re
na jaa re
yoon mujhe ae chhod ke
dil meraa aa tod ke ae ae ae
naa jaa re
na jaa re ae
munne mere dekh ke tujhko
ab tak zindaa hoon
bhool huyi to
maaf bhi kar de
main sharmindaa hoon
tu jo mujhse rooth gayaa to
main mar jaaungaa aa
mar kar bhi main
behna ko kya munh dikhlaaungaa aa
toot jaaungaa main
naa jaa yoon rooth ke ae ae
naa jaa re ae
naa jaa re
yoon mujhe ae chhod ke
dil meraa aa tod ke ae ae
naa jaa re
naa jaa re
naa jaa re
naa jaa re
naa jaa re
naa aa jaa re
———————————————–
Female version:
———————————————–
naa aa jaa re ae
naa a a a a aa aa aaa
naa jaa re ae
naa aa jaa..aaa
naa jaa re ae
naa jaa re
yoon mujhe ae chhod ke ae ae
naa jaa re ae
na jaa re ae
yoon mujhe ae chhod ke
dil meraa aa tod ke ae ae
naa jaa re ae
naa jaa re ae
yoon mujhe ae chhod ke ae ae
naa jaa re ae
naa jaa re ae
tujhse bichhad ke
tere bina to
jee na sakoongi main ae
aayegaa tu
laut ke phir to
phir na miloongi main
tujhse bichhad ke
tere bina to
jee naa sakoongi main aen
aayegaa tu
laut ke phir to
phir naa miloongi main
o o o o o o
o o o o o o
o o o
o o o o
ho o o o
yoon nazar mod ke
gham se dil jod ke ae ae ae
naa jaa re ae
naa jaa re ae
yoon mujhe ae chhod ke
dil meraa aa tod ke ae ae
naa jaa re ae
naa jaa re ae
saari bahaarein
saare nazaare
saath hi letaa jaa aa
jaate jaate mujhko thhoda
zehar hi detaa jaa aa
saari bahaarein
saare nazaare
saath hi letaa jaa aa
jaate jaate mujhko thhoda
zehar hi detaa jaa
o o
o o o o o o o o o
o o o o
o o o o
tujhko meri qasam
ye qadam rok le ae ae ae
naa jaa re ae
naa jaa re ae
yoon mujhe ae chhod ke
dil meraa aa tod ke ae ae ae
naa jaa re ae
naa jaa re ae
yoon mujhe ae ae chhod ke ae
naa jaa re ae
naa jaa re
naa jaa re ae
naa jaa re ae
————————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————-
(पुरुष स्वर)
————————————————
ना जा रे ए ए ए ए
ना जा रे ए ए ए ए
ना जा रे ए ना जा रे ए
यूं मुझे ए छोड़ के
दिल मेरा तोड़ के ए ए ए ए
ना जा रे ना जा रे
यूं मुझे ए छोड़ के
दिल मेरा आ तोड़ के ए ए
ना जा रे ना जा रे ए
मुन्ने मेरे देख के तुझको
अब तक ज़िंदा हूँ
भूल हुयी तो
माफ़ भी कर दे
मैं शर्मिन्दा हूँ
तू जो मुझसे रूठ गया तो
मैं मर जाऊँगा आ
मर कर भी मैं
बहना को क्या मुंह दिखलाऊंगा आ
टूट जाऊँगा मैं
ना जा यूं रूठ के ए ए
ना जा रे ना जा रे
यूं मुझे ए छोड़ के
दिल मेरा आ तोड़ के ए ए
ना जा रे
ना जा रे
ना जा रे
ना जा रे
ना जा रे
ना जा रे
———————–
(महिला स्वर)
———————–
ना जा रे ए
ना आ आ आ आ आ आ °°°°°
ना जा रे ए
ना जा°°°°°आ°°°°°
ना जा रे
ना जा रे
यूं मुझे ए छोड़ के ए ए
ना जा रे ना जा रे
यूं मुझे ए छोड़ के
दिल मेरा तोड़ के ए ए
ना जा रे ना जा रे
यूं मुझे ए छोड़ के ए ए
ना जा रे ना जा रे
तुझसे बिछड़ के
तेरे बिना तो
जी ना सकूंगी मैं ए
आएगा तू
लौट के फिर तो
फिर ना मिलूंगी मैं
तुझसे बिछड़ के
तेरे बिना तो
जी ना सकूंगी मैं एं
आएगा तू
लौट के फिर तो
फिर ना मिलूंगी मैं
ओ ओ ओ ओ ओ ओ ओ °°°°°
ओ ओ ओ ओ ओ ओ ओ °°°°°
हो ओ ओ ओ ओ ह ओ ओ ओ
हो ओ ओ ओ °°°°°
यूं नज़र मोड़ के
ग़म से दिल जोड़ के ए ए ए
ना जा रे ना जा रे
यूं मुझे ए छोड़ के
दिल मेरा आ तोड़ के ए ए
ना जा रे ना जा रे
सारी बहारें
सारे नज़ारे
साथ ही लेता जा
जाते जाते मुझको थोडा
ज़हर ही देता जा आ
सारी बहारें
सारे नज़ारे
साथ ही लेता जा
जाते जाते मुझको थोडा
ज़हर ही देता जा
ओ ओ ओ ओ ओ ओ ओ °°°°°
ओ ओ ओ ओ ओ ओ ओ °°°°°
हो ओ ओ ओ ओ ह ओ ओ ओ
हो ओ ओ ओ °°°°°
तुझको मेरी क़सम
ये क़दम रोक ले ए ए ए
ना जा रे ना जा रे
यूं मुझे ए छोड़ के
दिल मेरा आ तोड़ के ए ए ए
ना जा रे ना जा रे
यूं मुझे ए ए छोड़ के ए
ना जा रे ना जा रे
ना जा रे ना जा रे ए …
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