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

Archive for the ‘Post by Sadanand Kamath’ 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.

Blog Day :

5309 Post No. : 17405

A R Rahman started his filmy career as an independent music director with ‘Roja’ (1992) in Tamil which became a super hit film with its music playing an important role for the film’s popularity. About a year later, Hindi dubbed version of ‘Roja’ was released which also became a hit. I observe from the filmography of A R Rahman that 3 Tamil/Malayalam films out of his first 4 films were dubbed in Hindi and released. This may be a sort of record for A R Rahman at the beginning of his career as a music director among the music directors of South Indian films in the similar situation. Subsequently, some more Tamil films for which A R Rahman was the music director were dubbed in Hindi. One of the very successful films was ‘Kadhalan’ (1994) [English meaning: Loverboy] which was dubbed in Hindi with the title ‘Hamse Hai Muqabala’ (1995). The Hindi dubbed version of the film got Censor Certificate on May 31, 1995. The film was produced by K T Kunjumon and directed by S Shankar. Prabhu Deva and Nagma were in the lead role supported by S P Balasubrahmanyam, Girish Karnad, Vadivelu, Raghuvaran etc.

In an interview published in E-Times of India dated September 17, 2019, on the occasion of the completion of 25 years of the release of the film, K T Kunjumon, the producer of the film revealed that he and S Shankar, the director decided to work on the box office tested love story of a middle-class boy with a girl of an affluent and influential family. To develop the story further, Kunjumon gave an idea of fictionalization of the cold war then going on between the Chief Minister Jayalalitha and the Governor Dr Channa Reddy. Since Kunjumon was himself a functionary of AIADMK in Kerala, the Governor was made the villain in the film’s story.

In this film, all the ingredients for the box office success such as romance, dances, songs, villain, fights etc were included. The only worry for the producer and the director was the audience’s reactions to Prabhu Deva as a lead actor. In all his earlier films, Prabhu Deva had worked as a dancer and at most in a cameo role in the song sequence. To overcome the likely adverse reactions to Prabhu Deva as the lead actor, the producer and the director decided to make the film appealing to the audience, by making use of visual effects and animations in the songs.

‘Kadhalan’ (1994) became a super hit film which was beyond the expectations of the film makers as well as of the trade circles. The film’s songs became very popular. The film got five National Awards – four in the technical categories and one to debut playback singer, P Unnikrishnan, who sang Ennavale adi ennavale in Tamil. With more than expected success of the film on the box office front, the producer decided to dub the film in Hindi with the title. ‘Hamse Hai Muqabala’ (1995) for wider audience. Even Hindi version of the film became a box office hit.

The story of ‘Hamse Hai Muqabala’ (1995) which I have come to know only recently, did not motivate me to watch the film. To me, it was a wild imagination to show a constitutional head of a State as the initiator of the terrorist activities in his State to prove the breakdown of law and order situation thus facilitating the dismissal of the state government. The 9 songs of the film are musical treats, and I am happy restricting myself to watching the video clips of the songs. I will not miss the visual effects shown in the film as they are mainly used in the song picturization. All the songs have been written by P K Mishra. One song from the film has been represented on the Blog.

The two most popular songs of the film, if I go by the number of times, they were shown on the TV music channels in the year 1995 were ‘muqabala muqabala’ and ‘urvasi urvasi’. The immense popularity of these two songs seems to have sidelined in the popularity chart, my favourite song from the film, ‘sun ri sakhi meri pyaari sakhi’ which I am discussing here. The song is rendered by Hariharan. I have also enjoyed listening to the song’s Tamil equivalent, Ennavale adi ennavale rendered by debutant playback singer, P Unnikrishnan.

This song has everything. The beautiful lyrics by P K Mishra, the pleasing to the ear melody, the novelty in the orchestration, the soulful rendition by Hariharan and nicely picturised on Prabhu Deva and Nagma with visual effects in a picturesque location gives a feel of sublime love song. For P K Mishra, it is not an easy work of transliteration of Tamil song into Hindi as he has to find the appropriate Hindi words to match the lip syncing of Tamil words on actors in the song picturisation. So, in some lines, P K Mishra has used words in Hindi which is not the exact translation but broadly in line with the mood of the song.

I often get a feel of spirituality in A R Rahman’s musical compositions in which the semi-classical melody is blended with soulful orchestrations. For example, the violin played between 1:58 – 2:18 and the flute (probably played by Naveen Kumar) between 3:30 – 3:48 of the song provide the synergy of soul and exuberant. Another feature of the song is that Hariharan sings in a higher octave (pitch) some lines in the song to emphasise the genuineness of love. The wordings of the song also give me a feel of the Radha-Krishna song. This is more pronounced when I listen to the audio clip.

The song has a classical Carnatic touch. A couple of comments on ‘ennavale adi ennavale’ suggest that the song is based on Carnatic raag Neelambari. A further search on Youtube reveals that this raag is mainly used for singing lullaby. Truely, listening to this song makes me to close eyes with mind relaxed. I have listened to this song as well as its Tamil version many times during the last few days and my interest in the song has not diminished.

Video Clip:

Audio Clip (Full)

Song-Sun ri sakhi meri pyaari sakhi (Ham Se Hai Muqaabla)(1995) Singer-Hariharan, Lyrics-P K Mishra, MD-A R Rahman
Unidentified female singer

Lyrics (based on Audio Clip):

hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm hmm…..m
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm
hmm hmm hmm…..m
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm hmm…..m

sun ri sakhi meri pyaari sakhi
yeh dil kahin khoya hai mera
jaane kahaan ise bhool gaya
nahin kuchh bhi hai mujhko pata
teri paayal mein maine dhoondh liya
tere kadmon tale sajni
pyaar kiya to jaan gaya
yeh mushkil hai kitni ee
meri saanson mein tera pyaar basa
aankhon mein tumhin sajni ee
sun ri sakhi meri pyaari sakhi
yeh dil kahin khoya hai mera

hmm hmm hmm
hmm hmm hmm

kaise tujhe izhaar karoon main
haalat iss dil ki
tan mein man mein iss dhadkan mein
ho rahi halchal si
dekhe bina tujhe lagti hai
ik yug si ek ghadi
sab nazren jo dekh rahin
mere dil mein dahshat si
yeh swarg hai
yaa nark hai
mujhko hosh nahin
meri zindagi aur maut hai
ab haath mein tere hi…ee ee ee
sun ri sakhi meri pyaari sakhi
yeh dil kahin khoya hai mera

hmm hmm hmm hmm hmm
hmm
hmm hmm hmm hmm hmm
hmm
hmm hmm hmm hmm hmm
hmm

koyaliya tu kah de
to tujhe geet sunaaun main
naagmani teri naagin si
zulfon ko sanwaaroon main
chandramukhi tujhe neend nahin
to lori sunaaun main
thhandi hawa nahin lag jaaye
tujhe chunari odaaun main
mere pyaar ki jo baat hai
kaanon mein bataaun main
tere kadamon ke jo nishaan hain
yaadon mein basaaun main…aen aen aen
sun ri sakhi meri pyaari sakhi
yeh dil kahin khoya hai mera
jaane kahaan ise bhool gaya
nahin kuchh bhi hai mujhko pata
teri paayal mein maine dhoondh liya
tere kadamon tale sajni
pyaar kiya to jaan gaya
yeh mushkil hai kitni
meri saanson mein tera pyaar basa
aankhon mein tumhin sajni
sun ri sakhi meri pyaari sakhi
yeh dil kahin khoya hai mera


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.

Blog Day :

5306 Post No. : 17390 Movie Count :

4684

Govind Nihalani joined Hindi film industry as a Cinematographer in 1974. In the initial period, he mainly worked with Shyam Benegal as a Cinematographer, both for his documentary and feature films. In 1980, he turned director and directed some socially relevant films such as ‘Aakrosh’ (1980), Vijeta (1982), ‘Ardha Satya’ (1983), ‘Aghaat’ (1985), ‘Drishti’ (1990), ‘Drohkaal’ (1994), ‘Hazaar Chauraasi Ki Maa’ (1998). Almost all his films, both as a Cinematographer and the Director were critically acclaimed.

With ‘Thakshak’ (1999), Govind Nihalani made his first attempt (and probably the last) in producing and directing a commercial genre of Hindi film, also called ‘the mainstream Bollywood’ film. In his interview held sometime in December 1999 which was published on the ‘Rediff On The Net’, Govind Nihalani revealed that Ajay Devgan was keen to work with him and he had a script ready to fit the role for him. Manmohan Shetty, who had produced some of Govind Nihalani offbeat films, was requesting him to make a film for the wider audience also. The eagerness of Ajay Devgan to work with him, getting Manmohan Shetty to finance the film and an opportunity to experiment with a different genre of film, prompted him to make ‘Thakshak’ (1999). Ajay Devgan and Tabu were the lead pair with Amrish Puri, Rahul Bose, Govind Namdev, Nethra Raghuraman, A K Hangal, Ravi Patwardhan, Uttara Baokar etc. in supporting roles.

As revealed by Govind Nihalani in a separate interview, producing and directing a commercial film was a new experience for him. His earlier films were made with a small budget, and he did not have the pressure of box office success. Hence, he made his earlier films without interference from any quarters. While making ‘Thakshak’, though he did not have any problem with his main actors, there were pressures from the distributors to make some changes in the script of the film with their own suggestions when they were shown the rushes of the film. That the film took 2 years to complete (as against his earlier films which he completed in less than one year) would indicate that he had to compromise on his script which Govind Nihalani had originally written.

I had not watched the film when it was released. In fact, I did not have any idea about the story of the film. The only thing I knew about the film at that time was a dance song picturised on Tabu which I liked and therefore had watched the song on TV music channels a few times. Sometime back, that dance song came back to my mind and I refreshed my memory by watching the video clip of the song. I liked the song so much that I marked in my mind to write an article on this song for the Blog. Subsequently, I also watched the film on You Tube.

‘Thakshak’ (1999) is a romantic crime thriller. The story of the film was in keeping with the socio-political situations in the country, particularly in Mumbai of Builders-Underworlds-politicians nexus. Ishaan (Ajay Devgan), is the son of Nahar Singh (Amrish Puri), the partner in the real estate business of Jodha Bhai (Ravi Patwardhan) who in reality is a gangster. Sunny (Rahul Bose), the grandson of Jodha Bhai and Ishaan are great friends. But their temperament is quite different. Sunny believes that the power flows from the barrel of a gun. Ishaan reminds him that that the one who thrives on the power of gun can also get killed by the same gun. The subtle temperament of Ishaan is further soften when he meets his lady love Suman (Tabu). The influence of Suman on Ishaan turns him to shed the violent life of the underworld to the decent life of a common man. But Ishaan is in dilemma as his oath of allegiance to Sunny to remain with him as his partner in crime and his conscious telling him to follow the life like a common man like his idealistic romantic partner, Suman. A further complications in these relationship – Ishaan and Sunny and Ishaan and Suman develops when Suman is the witness to the crime committed by Sunny in killing the owner of an old house to grab the plot where Ishaan is the partner in the crime. How the emerging situations themselves force Ishaan to come out of his moral obligations toward Sunny and follow the path of humanity is the finale of the film.

Now my 2 cents on the film. The story of a criminal trying to live a decent life like a common man has been tried in Hindi films many time. But in ‘Thakshak’, Govind Nihalani has given somewhat different treatment in that he has projected Ishaan caught in a moral dilemma of protecting his gangster friend, Sunny against whom his lady love, Suman has testified. The emotional upheaval Ishaan goes through has been well presented. All the three main actors – Ajay Devgan, Tabu and Rahul Bose have performed very well. However, the momentum of the story slows down due to 8 songs in the film most of which do not fit into the story of the film. Also, in my view, there was no need for the role of Nethra Raghuraman as a night club dancer on whom 2 songs have been picturised. I guess these are the additions which may have been suggested by the distributors. I feel that the story, screenplay, and dialogues with the exclusions of some songs and some unwarranted scenes would have turned the film into an absorbing thriller. Nonetheless, the film is interesting to watch at least once.

‘Thakshak’ (1999) has 8 songs, written by Mehboob (6) Sukhwinder Singh (1) and Sukhwinder Singh-Tejpal Kaur (1) which were set to music by A R Rahman. None of the songs has been represented on the Blog. I present the first song to appear on the Blog which is my most favourite song from the film. The song is ‘mujhe rang de range de mujhe rang de’ which is a semi-classical dance song. At the same time, the music composition sounds like that of a qawwali song.

The song is written by Sukhwinder Singh jointly with Tejpal Kaur and rendered by Asha Bhosle. There are some Punjabi words in the lyrics.

There is an interesting trivia as to how Sukhwinder Singh got to write this song as well as one more song for the film. He had come to ‘Chennai to meet A R Rahman for the first time. He was composing tunes for ‘Thakshak’ (1999). A R Rahman asked him whether he can write songs. Sukhwinder Singh promptly nodded and wrote the song under discussion. When Rahman asked him to pen one more song, Sukhwinder Singh told him that he has come to get some singing assignments from him. Rahman kept his promise and gave him to sing chal chhainyya chhainyya chhainyya chhainyya from ‘Dil Se’ (1998).[Source: The Asian Age, May 16, 2016].

While listening to this song, I felt that there is some spiritual feel in the opening lines of the songs as it is repeated several times. I remembered that Hazrat Amir Khusrow had written a Sufi Kalam, ‘mohe apne hi rang mein rang de’. This has become inspiration for some lyricists of Hindi films to include this spiritual element. One example is the song, o rangrez, tere rang dariya mein from ‘Bhaag Milka Bhaag’ (2013).

According to Sukaina Nagpal, the song was choreographed by her mother, Saroj Khan. [Source: Rediff interview appeared on July 3, 2020]. It is a 7+ minutes dance song picturised on Tabu who is not a trained dancer. Yet, she has performed the dance gracefully. The confidence of the Choreographer in the dancing ability of Tabu can be judged from the fact that she was covered in mid-shot frame to capture her hand gestures, expressions, and steps most of the time. Some of her shots were of longer durations, which is possible only when it is picturised on a trained dancer. Note Tabu’s expression and hand gestures at 5:36-5:42 in line with the lyrics. Probably, she must have toiled a lot during the rehearsals. All the supportive dancers did very well in synchronization of dancing steps as well as expressions and gestures. For example, watch 3:52 – 4:22 of the video clip. This is, in my view, one of the best dances choreographed by Saroj Khan in Hindi films.

I think after S D Burman, A R Rahman is one among the current music directors who is expert in picking the right playback singer suitable to his style of songs. In this film, he has used Hema Sardesai, Sujata Trivedi, and Alisha Chinoy among female playback singers for other songs. It is said that A R Rahman selects a playback singer only after he has composed the tune and the music for a song. His musical compositions decide the playback singer. For the song under discussion, he has used Asha Bhosle’s voice. And it turned out to be the right choice. Note how Asha Bhosle takes the octave leap from lower to higher pitch effortlessly. Towards the end of the song, her aalaaps are mesmerising. The song ends with Tabu going into a trance true of a Sufi singing.

Lastly, I must make a special mention of the flute interlude in the song from 2:58 to 3:34. I guess, it was played by Flautist, Naveen Kumar who has been continuously associated with A R Rahman since ‘Roja’ (1992) until he moved to Mumbai in 2003. Thereafter, Naveen Kumar played flute for A R Rahman, albeit occasionally.

I can watch the video clip of this song umpteen time because all those who are associated with song have done exceedingly well to make it a classic dance song.

Video Clip:

Audio Clip:

Song-Mujhe rang de rang de mujhe rang de (Takshak)(1999) Singer-Asha Bhonsle, Sukhwinder Singh-Tejpal Kaur, MD-A R Rahman
Male chorus
Female chorus

Lyrics

Mujhe rang de…….ae
rang de
mujhe rang de rang de
mujhe rang de ae
mujhe rang de
rang de
mujhe rang de rang de mujhe rang de

ho o o o ho o
ho o o o ho o
ho o o o ho o
ho o o o ho o

mujhe rang de rang de
rang de rang de mujhe rang de
rang de rang de
rang de rang de mujhe rang de

haan mujhe rang de mujhe rang de
mujhe rang de rang de mujhe rang de
haan rang de haan rang de
haan apni preet vich rang de
ho o o o ho o
ho o o o ho o

mujhe rang de mujhe rang de
mujhe rang de rang de mujhe rang de
haan rang de haan rang de
haan apni preet vich rang de
mujhe rang de mujhe rang de
mujhe rang de rang de mujhe rang de
haan rang de haan rang de
haan apni preet vich rang de

main ban ke savera jaag uthhi
main jaag uthhi…ee ee
main banke savera jaag uthhi
main jaag uthhi
jee jaag uthhi
main banke morni naach uthhi
main naach uthhi
channa naach uthhi
tere naina mere naina
mere nainon mein rang de
haan rang de haan rang de
haan apni preet vich rang de
ho o o o ho o

tere naina mere naina
mere nainon mein rang de
haan rang de haan rang de
mujhe apni preet vich rang de

rang de rang de
rang de rang de mujhe rang de
rang de rang de
rang de rang de mujhe rang de
rang de rang de
rang de rang de mujhe rang de
rang de rang de
rang de rang de mujhe rang de
rang de rang de mujhe rang de
rang de rang de mujhe rang de
rang de rang de mujhe rang de
rang de rang de mujhe rang de
rang de rang de mujhe rang de
rang de rang de

rang de rang de
rang de rang de mujhe rang de
rang de rang de
rang de
rang de rang de mujhe rang de
rang de
rang de rang de mujhe
rang de rang de mujhe
rang de rang de mujhe
rang de
rang de

tere sapnon ke aangan mein chham chham chaloon
main chaloon main chaloon tere sang sang chaloon
aaja aaja ve aaja tu ban ke hawa
tere sadke jaawaan
tere vaare jaawaan
aaja aaja ve aaja tu banke hawa
tere sadke jaawan tere vaare jaawan
mujhe rang de mujhe rang de
mujhe rang de rang de mujhe rang de
haan rang de haan rang de
haan apni preet vich rang de
mujhe rang de mujhe rang de
mujhe rang de rang de mujhe rang de
haan rang de haan rang de
aa apni preet vich rang de

rang de……ae
rang de

[Sargam]

main bhi tanha hoon
tu bhi hai tanha kahin
main adhoori yahaan
tu adhoora kahin
ik aahat si hoti hai mujhko yahaan
tu kahaan hai kahaan hai kahaan hai kahaan
mujhe le chal tu
le chal tu
le chal wahaan…aan aan
jahaan tak aasmaan aasmaan aasmaan…aan aan
ho mohobbat ki duniya nasheman jahaan
mujhe le chal tu le chal tu le chal wahaan
ho mohobbat ki duniya nasheman jahaan
mujhe le chal tu le chal tu le chal wahaan
tu le chal wahaan
tu le chal wahaan
tu le chal wahaan

rang de rang de
rang de rang de mujhe rang de
rang de rang de
rang de rang de mujhe rang de
rang de rang de
rang de rang de mujhe rang de
rang de rang de
rang de rang de mujhe rang de

aa aa aa aaa aaaa
(rang de rang de)
aa aa aa aa aaaa
(rang de rang de mujhe rang de)
ae ae ae ae ae ae ae
(rang de rang de)
ae ae ae
(rang de rang de mujhe rang de)
ae ae ae ae ae ae
(rang de rang de)
rang de……….
(rang de rang de mujhe rang de)
de……….ae
(rang de rang de)
rang de rang de mujhe rang de
rang de rang de
rang de rang de mujhe rang de
rang de rang de

(ho o o o ho o)
rang de rang de mujhe rang de
rang de rang de

(ho o o o ho o)
rang de rang de mujhe rang de
rang de rang de
rang de rang de mujhe rang de


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.

Blog Day :

5302 Post No. : 17374 Movie Count :

4679

‘Dedh Ishqiyaan’ (2014) was a sequel to ‘Ishqiya’ (2010). Both the films were produced under the banner of V B Films of Vishal Bhardwaj along with Raman Maroo and were directed by Abhishek Choube. While the main actors, Naseeruddin Shah, Arshad Warsi and Salman Shahid were retained for the sequel, the lead actress, Vidya Balan was replaced with Madhuri Dixit. Other supporting actors were Huma Qureshi, Vijay Raaz, Manoj Pahwa, Mehmood Hashmi, Ravi Gosain etc.

The story of the film was written by Darab Farooqui. It is said that the film’s story has been partly influenced by Ismat Chughtai’s short story ‘Lihaaf’ which was published in a Lahore-based Urdu journal in 1942. ‘Lihaaf’ sets out the events following the sexual awakening in Begum Jan after her unhappy marriage with a Nawab. She gets into a romantic relationship with her female attendant. This became a big issue in 1942. A legal case was filed against Ismat Chughtai on charges of obscenity in the Lahore High Court. She was subsequently exonerated from the charges (Source: ‘The Feminist Voice of Ismat Chughtai’ – The DAWN, 27/11/2016). Probably, the director of ‘Dedh Ishqiyaan’ (2014) did not want to take that risk. So, in the film, the relationship between Begum Para (Madhuri Dixit) and Munniya (Huma Qureshi) were discreetly shown in the film.

I have seen this film 5-6 years back and again a few days back on YouTube. There are plenty of this film’s reviews available online. So, I will not go into the details. The film is a romantic comedy thriller. Everything about this film turned out to be right – the performances of the actors, a sleek screenplay, catchy dialogues in chaste Urdu, good cinematography, excellent lyrics, dance, and music compositions. The pair of Naseeruddin Shah and Arshad Warsi stole the show. Madhuri Dixit excelled in the role of Begum Para, depicting varied emotions apart from her excellent dances. Huma Qureshi acted well in pairing with Madhuri Dixit in the role of Munniya, her attendant. Vijay Raaz in the role of a politician and Nawab-in-waiting and Salman Shahid in the role of a gangster boss have been outstanding.

The film received very good reviews from the critics. But, as per box office report, upon the film’s release in early January 2014, it achieved the average collection at the box office. Based on the worldwide box office collections, the film barely recovered the cost of production. I am not surprised as this is not a mainstream Bollywood film. In my view, this film will attain the status of a classic film over time and all those associated with this film will feel proud.

I was curious to know as to why the film’s sequel title was chosen as ‘Dedh Ishqiyaan’. Why was the usual sequel title ‘Ishqiya-2’ (like Drishyam-2, the latest sequel film) not chosen? I tried to find out from some videos about the film, available online, but could not come across any formal explanation from the producer or director. There were a couple of videos available online on the making of the film in which actors and unit members tried to guess as to what the reason for this title could be. A unit member guessed that it could be a marketing gimmick. Madhuri Dixit pointed out that extra smart persons in Marathi are called ‘Deed Shahane’. She guessed that the film’s title may have reflected the main characters in the film, who are all conmen, who individually think that they are smarter to outwit the other conmen. The most interesting explanation of the title came from a reviewer of the film who felt that ‘Dedh Ishqiyaan’ means ‘one and a half passionate.’ Naseeruddin Shah, posing as a Nawab and Arshad Warsi, posing as his orderly are passionately in love with Madhuri Dixit and Huma Qureshi, respectively. This is ‘one’ type of love. On the other hand, Madhuri Dixit posing as a wealthy Begum of a deceased Nawab and Huma Qureshi as her attendant, have romantic relationship which the reviewer counts as half love.

‘Dedh Ishqiyaan’ (2014) had six songs, excluding remix versions, all written by Gulzar and set to music by Vishal Bhardwaj. None of the songs from the film has been covered in the Blog. My favourite 3 songs from the film are – (1) ‘hamaari atariya pe aaja re saanwariya’, (2) ‘jagaave saari raina’ and (3) ‘na bolun main to kaleja phoonkey’. The first two are semi-classical songs while Gulzar’s lyrics in third song has a Sufiana touch which influenced me to select this as the first song from the film to appear on the Blog. Let me attempt the translation of the song:

na boloon main to kaleja phoonkey
jo bol doon to zabaan jale hai
sulag na jaave agar sune wo
jo baat meri zabaan tale hain

If I don’t say, my heart puffs. If I say, my tongue burns. I hope she does not get angry if she hears what I have concealed below my tongue. [The lover is in catch-22 situation in disclosing his love to the beloved].

lage na phir youn ke rog laage
na saans aave na saans jaave
ye ishq hai namuraad aisa
ke jaan leve tabhi tale hain

Getting infected with love is like a disease. Neither one can inhale or exhale breath. This love is such a loser that it leaves only when it takes one’s life. [In Arabic literature, love has 7 stages. Death is the 7th and the last stage. The film also talks about the 7 stages of love. Hence Gulzar may have in mind the 7th stage of love while writing ‘ke jaan leve tabhi tale hain’] .

hamaari haalat pe kitta rove hai
aasmaan bhi tu dekh leejo
ke surkh ho jaave uski aankhen
jaise jaise din dhale hai

Looking at my condition, you see how much the sky has shed tears so much that even his eyes have become red as the day turns to dusk. [Gulzar has beautifully used the metaphor of the sky’s colour at the dusk as teary eyes turning red as the day ends].

I was under the impression that this song sung by Rahat Fateh Ali Khan was in the film’s soundtrack. While watching the film, I was surprised to know that in the film, it was sung by Raju Singh for Naseeruddin Shah who recites the poem in a mushaira in tarannum (tune) without the accomplishment of music. The song sung by Rahat Fateh Ali Khan with orchestration has been released on audio. I do not think that the song sung by Rahat Fateh Ali Khan is a version song because all the songs of the film, including that of Rahat Fateh Ali Khan were released a week before the release of the film in the theatres. This suggests that initially, the director had thought of Rahat Fateh Ali Khan singing for Naseeruddin Shah as a full-fledged song. Probably, on second thought the director may have felt that it would look authentic to render this song as a recitation of poetry without orchestration in a mushaira scene. Since Rahat Fateh Ali Khan was based in Pakistan, Raju Singh who is also the music director and singer in his own right, was roped in to sing this song sans the last antara.

Enjoy the song in Sufiana lyrics and melody with pop music orchestration, mainly with the string instruments.

Video Clip:

Audio Clip:

Song-Na boloon main to kaleja phoonkey (Dedh Ishqiyaan)(2014) Singer-Rahat Fateh Ali Khan/Raju Singh, Lyrics-Gulzar, MD-Vishal Bhardwaj

Lyrics(Based on Audio)

na boloon main to kaleja phoonkey
na boloon main to kaleja phoonkey
jo bol doon to zabaan jale hai
sulag na jaave agar sune wo….o o o o o o
sulag na jaave agar sune wo
jo baat meri zabaan tale hai ae ae ae
na boloon main to kaleja phoonkey
jo bol doon to zabaan jale hai ae ae ae ae

lage to phir youn ke rog laage ae ae
na saans aave na saans jaave ae ae ae ae
lage to phir youn ke rog laage
na saans aave na saans jaave
yeh ishq hai namuraad aisa….aa aa aa aa aa
yeh ishq hai namuraad aisa
ke jaan leve tabhi taley hai ae

hamaari haalat pe kitta rove hai
aasmaan bhi tu dekh leejo o o
hamaari haalat pe kitta rove hai
aasmaan bhi tu dekh leejo o o
ke surkh ho jaave uski aankhen aen aen aen
ke surkh ho jaave uski aankhen bhi
jaise jaise yeh din dhale hai ae ae
na boloon main to kaleja phoonkey
jo bol doon to zabaan jale hai ae ae


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.

Blog Day :

5298 Post No. : 17352 Movie Count :

4672

I was a regular visitor to theatres for watching Hindi films during 1969-72. Almost every weekend (preferably Saturday afternoon shows), I would watch Hindi films in theaters irrespective of what critical reviews say about the films. Gradually, I developed some aversion to Hindi films and my visits to theatres became fewer. I guess, by mid-1975, my visits to theatres for watching Hindi films was considerably reduced to a couple of films in a year, that too after reading positive reviews or on the recommendation of my relatives/friends. The last Hindi film which I watched in the theatre was ‘83’ (2021) in the last week of December 2021. Of course, now OTT platforms have given an alternative option to watch the films of our choices and our convenient time at home with family.

‘Jab We Met’ (2007) was one such films which I saw with my family in the theatre after reading the positive reviews of the film. The lead pair in the film was Shahid Kapoor and Kareena Kapoor. I had not seen their earlier films. Also, I did not come across any mention about the box office successes of their earlier films. Similarly, at that time, I heard of Imtiaz Ali, the film’s director for the first time. With these background in my mind, I was skeptical about the performances of the lead pair as well as the box office success of their latest film. In the event, my pre-viewing assessment of the film went completely wrong . The film was a romantic comedy which kept me engrossed till the end. Contrary to my apprehension, the performances of the lead pair were more than my expectations.

It is almost 15 years since I saw the film. Now, I do not remember as to how the story unfolded towards the end, Except two songs, I do not even remember as to how the rest of the songs were picturised. The two songs which is in my memory was ‘nagaada nagaada nagaada baja….’ and ‘ aaoge jab tum….’, the second one was of my liking. I always felt that songs in the films are the ‘speed breakers’ to the smooth flow of a film’s story and if they are out of context in the film, I tend to forget them. So, to refresh my memory, I watched the film on Youtube just before writing this article. I enjoyed the film watching after a long gap. I feel that this film has a good repeat value.

‘Jab We Met’ (2007) was produced under the banner of Shree Ashthvinayak Cinevision Ltd and was directed by Imtiaz Ali who also wrote story and dialogues. Shahid Kapoor and Kareena Kapoor were the lead pair supported by Dara Singh, Tarun Arora, Pawan Malhotra, Somya Tandon, Kiron Juneja, Ananya Khare, Divya Seth etc.

According to director Imitiaz Ali, he had in mind Bobby Deol and Preity Zinta for the lead roles which did not work out. Shahid Kapoor’s name was suggested to him by one of his friends. Imtiaz Ali felt that Shahid Kapoor looked young to the role of a businessman but he had no choice as he had already lost many months in picking up the lead pair. He had tried to contact Kareena Kapoor for heroine’s role but there was no response from her. It was only when he finalised Shahid Kapoor as the lead actor that Kareena Kapoor agreed to work in the film. At that time, Shahid Kapoor and Kareena were in relationship. It was during the half-way shooting of the film that their relationship was broken. However, according to Imtiaz Ali, he did not face any problem while shooting their remaining scenes in the film.

‘Jab We Met’ (2007) had six songs, excluding remix versions, of which 5 songs were written by Irshad Kamil which were set to music by Pritam. The remaining one song was written by Faaiz Anwar which was set to music by Sandesh Shandilya. As far as I remember, all the songs became popular after the film’s release in October 2007.

I am presenting the first song from the film, ‘aaoge jab tum o saajana’ to appear on the Blog. It is of a semi-classical genre rendered by Ustad Rashid Khan under the music direction of Sandesh Shandilya. It is a background song written by Faaiz Anwar. I came to know from the comments that the song is based on raag Tilak Kamod. I get the shades of both Thumri (human love relationship) and Kajri (pathos of separated lovers in rainy season) in this song. The pathos and the use of words ‘barsega saawan’ in the song indicate that it is more of a Kajri than a Thumri. Flautist Naveen Kumar has beautifully played flute in the prelude and interludes section of the song. Naveen Kumar is a favourite flautist of music directors, A R Rahman and Ilayaraja.

When I heard this song of semi-classical genre for the first time in the film in 2007, it sounded out of place in the film in terms of the genre, especially when rest of the songs belonged to pop and bhangra genres, the favourites mainly among the young generation. Imtiaz Ali, in his interview held about 10 years after the film’s release, revealed that when this song was recorded, almost all the unit members did not like this slow-paced song. Someone from the unit pointed out to him that this song belonged to old generation and the film is about the romance of the new generation. With great difficulties, he convinced to those who mattered in the film that this background song truly conveys the inner feelings of a jilted lover.

Ustad Rashid Khan, current doyen of Rampur-Sahaswan Gharana, is known for his mastery over Khayal, Drupad, Tarana and other semi-classical genres. After the demise of Pandit Bhimsen Joshi, in my view, Ustad Rashid Khan stands tall among the current Hindustani classical vocalists. For him, this song is very simple to render. He starts the song with aalaap and ends with sargam. In-between, he has molded his rendition to make it attuned to the requirements of what I may call as ‘Bollywood genre’ of songs. For music director Sandesh Shandilya, he has nicely blended the traditional rendering with modern orchestration. The resulted fusion music sounds pleasing to the ears. Both have succeeded in their attempts if I go by nearly 55 million hit on the video of this song on Youtube in the period of last two years.

The proof of a pudding is in the eating. So, listen to this well-crafted song.

Video Clip:

Song-Aaoge jab tum o saajna (Jab We Met)(2007) Singer-Ustaad Rashid Khan, Lyrics-Faiz Anwar, MD-Sandesh Shandilya

Lyrics

aa aa aa aa aaaaa
aa aa aa aa aaaa
aa aa aa aa aaa
ha aa aa aaa

aaoge jab tum o saajana
aaoge jab tum o saajana
angana phool khilenge
barsega saawan
barsega saawan jhoom jhoom ke..ae
do dil aise milenge
aaoge jab tum o saajana
angana phool khilenge

naina tere kajraare hain
nainon pe hum dil haare hain
anjaane hi tere nainon ne
waade kiye kayi saare hain
saanson ki lai
madham chale
tose kahe
barsega saawan
barsega saawan jhoom jhoom ke..ae
do dil aise milenge
aaoge jab tum o saajana
angana phool khilenge

ga pa pa sa sa re ga sa

chanda ko taakoon raaton mein
hai zindagi tere haathon mein
palkon pe jhilmil taare hain
aana bhari barsaaton mein
sapanon kaa jahaan
hoga khila khila
barsega saawan
barsega saawan jhoom jhoom ke..ae
do dil aise milenge

pa ni sa re ma ma ga ga ga sa ni
ni re ga ni dha ni re ni ma dha ni dha
dha ni re pa pa ma ma dha dha ma re ma ga
ga ma dha ni sa
sa ni pa ma
ma ga ga sa re ga sa
angna phool khilenge
pa ni dha re sa re
angna phool khilenge
pa pa ma ma ga ga sa sa ni
ma ma pa ni sa ni
ma pa ni ni sa sa
re pa pa ma ma ga ga


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.

Blog Day :

5141 Post No. : 17101

Greetings to all the readers of the Blog on the occasion of आजादी का अमृत महोत्सव on the 75th Year of Independence of India today, August 15, 2022. Independence Day is the reminder to all of us about the sacrifices a large number of Indians made during the freedom struggle to achieve independence on August 15, 1947. Thanks to the history books, the present generation is aware of the sacrifices for the independence struggle, made by Mahatma Gandhi, Jawaharlal Nehru, Netaji Subhas Chandra Bose, Sardar Vallabhbhai Patel, Lala Lajpat Rai, Lokmanya Bal Gangadhar Tilak, Bipin Chandra Pal, Shaheed Bhagat Singh, Chandra Shekhar Azad and many more. But lets us not forget to remember hundreds of other freedom fighters whose sacrifices, by and large, remained in anonymity. One such name which I came to know recently was that of Vidyadhari Bai, a tawaif (courtesan) who, apart from composing and singing patriotic songs in her musical performances, she also provided financial and logistic support to freedom fighters.

A few months back, I had purchased Amritlal Nagar’s Hindi book ‘Ye Kothewalian’ (1958) which gives an account of the life of some courtesans of the early 20th Century. In this book, there is a chapter on Vidyadhari Bai of Jesuri in Chandauli block of the then Banaras district. There is also an addenda chapter which gives an account of Mahatma Gandhi’s meeting with some courtesans of Banaras sometime in 1921 during which he advised Vidyadhari Bai to sing nationalist songs while giving her musical performances in big cities and in princely states. Accordingly, she wrote and rendered some patriotic songs in all her concerts. The courtesans of Banaras formed a Tawaif Sabha to support the independence struggle. Husna Bai, one of the prominent courtesans of Banaras chaired the meeting of the Sabha during which she acknowledged that it was at the initiative of Vidyadhari Bai that Tawaif Sabha was formed.

Saba Dewan’s recent book ‘Tawaifnama’ (2019), more or less, confirms that Vidyadhari Bai organised a series of smaller meetings at her home to enthuse other courtesans to the cause of the non-cooperation movement. She was joined in these efforts by another courtesan, Sultana who too had been closely tracking the unfolding political scenario. Both of them prevailed upon Husna Bai to call a meeting of the entire community to work out the details of the agenda. Tawaifs, who actively participated in the mutiny of 1857, would once again have to come forward and contribute their bit to the nationalist cause. This was not just their duty as daughters of India but also the need of the hour if they did not wish to be consigned to the dustbin of history. They also felt that times were changing and tawaifs too would have to keep pace with fast-changing social and political scenarios in India.

Vidyadhari Bai was a contemporary of Gauhar Jaan. She was born in Jesuri village in present Chandauli district. Her grandfather, Purushottam Rai was a musician. There is confusion as to which year she was born – 1874 or 1881? She got musical training from Pandit Ram Sumeru Mishra, a Sarangi player and later from Ustad Naseer Khan of Darbhanga. She started singing in her early teens with Jayadev’s poems. With this, she became so famous that she started getting invitations from royal courts all over India for her concerts. She became the court singer in the court of Raja of Banaras. She excelled in khayaal, taraana, thumri, dadra, tappa, ghazal and bhajans. It is said that her singing voice was so mesmerizing that even the passer-by would be tempted to attend her concerts. She was so popular that in her concerts, to witness her performances, a large number of people were perforce standing in the back due to shortage of space for sitting. Besides Hindi and Urdu, she was a proficient singer in Marathi, Gujarati, Bangla and Punjabi languages.

Vidyadhari Bai was a fashion icon for the ladies of the royal and landlords’ families. However, after Mahatma Gandhi’s call to shun foreign goods, she stopped wearing jewelries and imported cloth. In all her concerts, she would render at least one patriotic song. Probably, she was the first courtesan to perform mujra by singing patriotic songs.

In her native village, Jesuri, Vidyadhari Bai had constructed a one-story bungalow with some out-houses which became the perfect hideout for freedom fighters to avoid arrest from the British police. During this period, she used to provide financial assistance to them besides regularly donating some part of her income for the cause of India’s freedom movements.

In the early 1940s, probably when the old age had caught up with Vidyadhari Bai and with the decline of the tawaif system, she returned to Jesuri and stayed in her house with her brother’s family. Since she used to donate a large part of her earnings for the cause of freedom movements and also help financially the freedom fighters’ families, she did not have much savings during the latter part of her life. During this period, she started teaching musical lessons to students free of charge.

Vidyadhari Bai had a premonition that her end was near. So, she shifted to Mukti Bhavan in Banaras on May 9, 1971. On the very next day, May 10, 1971, she breathed her last in her 90s, unsung and in anonymity. As per her own submission, she did not get any recognition or honor from the Government.

As mentioned earlier, Amritlal Nagar’s ‘Ye Kothewalian’ (1958) included a letter from Vidyadhari Bai about her meeting with Mahatma Gandhi in Banaras. She wrote in the letter that on his suggestion, some courtesans had decided to start their musical performances with renditions of nationalist songs. Lyrics of one such song written and sung by her, “Chun Chun Ke Phool Le Lo” was included in the letter. She said in the letter that she rendered this song in all her performances despite the presence of policemen from the police stations of the areas of her performances for keeping a close watch on the visitors. The song lives on today – it was included in Hindustani classical singer Shubha Mudgal’s album, ‘Swadheenta Samar Geet’ (2008), a collection of songs from the freedom movement.

On the occasion of the 75th Independence Day, I am presenting the same song rendered by Shubha Mudgal. The music was composed by her husband, Aneesh Pradhan. While composing the song, he has used mainly harmonium and tabla probably to give a feel of the period during which Vidyadhari Bai had rendered this song. In 2011, the couple collaborated with theater director Sunil Shanbhag on a musical drama ‘Stories in a Song’, one episode of which recreated Mahatma Gandhi’s meeting with the courtesans of Tawaif Sabha.

This song takes us back to more than a century to recreate a part of the history of India’s freedom movements.

————————————————————————————————————————————————-

Acknowledgements: In addition to the books I mentioned in my article, I am also thankful to ‘Sureele Dinon Ki Daastan’ and Dr. Manish Kumar Mishra for their videos on Vidyadhari Bai which gave some useful additional information on her.

Audio Clip:

Song-Chun chun ke phool le lo (Shubha Mudgal NFS)(2008) Singer-Shubha Mudgal, Lyrics-Vidyadhari Bai, MD-Aneesh Pradhan

Lyrics

aaa aaa aaa aaa aaaa aa
aaa aaa aaa aaa aaaa aa
aaa aaa aaa aaa aaaa aa
aa aa aa aa aaaa

chun chun ke phool le lo o o….o
chun chun ke phool le lo
armaan rah na jaaye
chun chun ke phool le lo
armaan rah na jaaye
ye Hind kaa bageecha
gulzaar rah na jaaye ae
ye Hind kaa bageecha
gulzaar rah na jaaye
chun chun ke phool le lo
armaan rah na jaaye
chun chun ke phool le lo
armaan rah na jaaye
ye Hind kaa bageecha
gulzaar rah na jaaye ae
ye Hind kaa bageecha
gulzaar rah na jaaye

aa aa aa aaaaa aa aaaa
ye wo chaman nahi hai….ai ae ae
ye wo chaman nahin hai
lene se ho ujaad
ye wo chaman nahin hai
lene se ho ujaad
ulfat kaa jismen kuchh bhi
ehsaan rah na jaaye
ulfat kaa jismen kuchh bhi
ehsaan rah na jaaye
bhar do jawaan bandon
jailon mein chaahe bhar do
bhar do jawaan bandon
jailon mein chaahe bhar do
maata pe koi hota qurbaan rah na jaaye…..ae
aa aa aa aaaaaaa aaa
aa aa aa aaaaaaa aa
maata pe koi hota qurbaan rah na jaaye
chhal-o-fareb se tum Bharat kaa maal looto
chhal-o-fareb se tum Bharat kaa maal looto
iske liye yaa koi saamaan rah na jaaye
iske liye yaa koi saamaan rah na jaaye
ye Hind kaa bageecha
gulzaar rah na jaaye
ye Hind kaa bageecha
gulzaar rah na jaaye
chun chun ke phool le lo
armaan rah na jaaye
chun chun ke phool le lo….o

Bharat na rah sakega hargij ghulaamkhaana….aaaaaaa aa
Bharat na rah sakega hargij ghulaamkhaana
aazaad hoga hoga
aaya hai wo zamaana
aazaad hoga hoga
aaya hai wo zamaana..aa
khoon khaulne laga hai….ai ae
khoon khaulne laga hai ab Hindustaniyon kaa
khoon khaulne laga hai ab Hindustaniyon kaa
kar denge zaalimon ke band bas jurm dhaana
kar denge zaalimon ke band bas jurm dhaana..aa
qaumi tirange jhande pe jaan nisaar unki
qaumi tirange jhande pe jaan nisaar unki
Hindu Masih Muslim gaate hain ye taraana
Hindu Masih Muslim gaate hain ye taraana
aa aa aaaaa
parwaah ab kise hai…ai ae
parwaah ab kise hai
iss jail-o-daman ki
parwaah ab kise hai
iss jail-o-daman ki
ik khel ho raha hai
phaansi pe jhool jaana
ek khel ho raha hai
phaansi pe jhool jaana
Bharat watan hamaara
Bharat ke ham hain bachche
Bharat watan hamaara
Bharat ke ham hain bachche
maata ke waaste hai manzoor sar kataana
maata ke waaste hai manzoor sar kataana
ye Hind kaa bageecha
gulzaar rah na jaaye ae
ye Hind kaa bageecha
gulzaar rah na jaaye
chun chun ke phool le lo….ooo
chun chun ke phool le lo
armaan rah na jaaye
chun chun ke phool le lo
armaan rah na jaaye
chun chun ke phool le lo
armaan rah na jaaye
ye Hind kaa bageecha
gulzaar rah na jaaye ae
ye Hind kaa bageecha
gulzaar rah na jaaye
chun chun ke phool le lo………o

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

आ आ आ आ आ आ
आ आ आ आ आ आ
आ आ आ आ आ आ
आ आ आ आ आ

चुन चुन के फूल ले लो॰॰ओ
चुन चुन के फूल ले लो
अरमान रह ना जाये
चुन चुन के फूल ले लो
अरमान रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
चुन चुन के फूल ले लो
अरमान रह ना जाये
चुन चुन के फूल ले लो
अरमान रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये

आ आ आ आsss आ आsss
ये वो चमन नहीं है॰॰ऐ
ये वो चमन नहीं है
लेने से हो उजाड़
ये वो चमन नहीं है
लेने से हो उजाड़
उल्फ़त का जिस में कुछ भी
एहसान रह ना जाये
उल्फ़त का जिस में कुछ भी
एहसान रह ना जाये
भर दो जवान बंदों
जेलों में चाहे भर दो
भर दो जवान बंदों
जेलों में चाहे भर दो
माता पे कोई होता क़ुरबान रह ना जाये॰॰ए
आ आ आ आsssss आ
आ आ आ आsssss आ
माता पे कोई होता क़ुरबान रह ना जाये
छल औ फरेब से तुम भारत का माल लूटो
छल औ फरेब से तुम भारत का माल लूटो
इसके लिए या कोई सामान रह ना जाये
इसके लिए या कोई सामान रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
चुन चुन के फूल ले लो
अरमान रह ना जाये
चुन चुन के फूल ले लो॰॰ओ

भारत ना रह सकेगा हरगिज़ ग़ुलामखाना आ आ
भारत ना रह सकेगा हरगिज़ ग़ुलामखाना
आज़ाद होगा होगा
आया है वो ज़माना
आज़ाद होगा होगा
आया है वो ज़माना॰॰आ
खूँ खौलने लगा है॰॰ऐ
खूँ खौलने लगा है अब हिंदुस्तानीओं का
खूँ खौलने लगा है अब हिंदुस्तानीओं का
कर देंगे ज़ालिमों के बंद बस जुर्म ढाणा
कर देंगे ज़ालिमों के बंद बस जुर्म ढाणा॰॰आ
कौमी तिरंगे झंडे पे जां निसार उनकी
कौमी तिरंगे झंडे पे जां निसार उनकी
हिन्दू मसीह मुस्लिम गाते हैं ये तराना
हिन्दू मसीह मुस्लिम गाते हैं ये तराना

आ आ आssss
परवाह अब किसे है॰॰ऐ
परवाह अब किसे है
इस जेल ओ दमन की
परवाह अब किसे है
इस जेल ओ दमन की
इक खेल हो रहा है
फांसी पे झूल जाना
इक खेल हो रहा है
फांसी पे झूल जाना
भारत वतन हमारा
भारत के हम हैं बच्चे
भारत वतन हमारा
भारत के हम हैं बच्चे
माता के वास्ते है मंजूर सर कटाना
माता के वास्ते है मंजूर सर कटाना

ये हिन्द का बगीचा
गुलज़ार रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
चुन चुन के फूल ले लो॰॰ओ
चुन चुन के फूल ले लो
अरमान रह ना जाये
चुन चुन के फूल ले लो
अरमान रह ना जाये
चुन चुन के फूल ले लो
अरमान रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
ये हिन्द का बगीचा
गुलज़ार रह ना जाये
चुन चुन के फूल ले लो॰॰ओ


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.

Blog Day : 5010 Post No. : 16911 Movie Count : 4591

I am presenting a rare song of a 1946 released film, sung by Mohammed Rafi. I came across this song for the first time about 5-6 years back on one of the video-sharing platforms and I immensely liked it. However, to my dismay, I found that the uploaded song was incomplete. I could not find the full song on any of the video sharing-platforms at that time. I tried to locate it from other on-line sources but failed to get it. Gradually, this song went out of my mind. It was only yesterday, I accidentally found the full song – accidentally because the uploader of the song (probably a ‘front’ for SAREGAMA) while uploading the song about 3 years back, wrongly captioned it.

The song is ‘dil samajhta hai yaa khuda jaane’ from an obscure film, ‘Hoor-E-Baghdad’ (1946). The name of the singer is not indicated by SAREGAMA which means that the 78 RPM gramophone record of the song may not have mentioned the name of the singer. However, without any doubt, the voice in the song is that of Mohammed Rafi. The song is written in a ghazal format by F M Pindvi, a name I heard for the first time. Damodar Sharma is the music director. The film had 9 obscure songs of which as of now, only two songs are available.

I get a feeling that F M Pindvi who wrote this song in a ghazal format may have been influenced by Daagh’s ghazal written in the same metre. I reproduce four shers from Daagh’s ghazal:

dil ko kya ho gaya ḳhuda jaane
kyun hai aisa udaas kya jaane

is tajaahul kaa kya thikaana hai
jaan kar jo na mudda jaane

kah diya maine raaz-e-dil apna
us ko tum jaano yaa ḳhuda jaane

kya ġharaz kyun idhar tawajjoh ho
haal-e-dil aap ki bala jaane

‘Hoor-E-Baghdad’ (1946) was produced under the banner of Mohan Pictures and was directed by A M Khan. The star cast included Shiraz, Ayyaz Begum, Devraj, Fazlu, Anwari Bai, Khan Chand, Garib Shah, Aziz Siddiqui, Fateh Singh, Miss Mumtaz etc. From the star cast, it can be guessed that it was a stunt/fantasy film. The story of the film as appeared in this link (probably taken from the song booklet of the film) is reproduced below:

The Shah, feeling that it will soon be the time to pass the crown to one who is duly able, wishes to test his four sons to see who is the most deserving of the honour. Prince Anwar, the Shah’s eldest, was the most able of all and is chosen heir to the throne.

The Shah’s young second wife (Anwaribai) objected, however, as she felt her own son (Devraj) should be the successor. To make her happy, the Shah decides to test them all again, this time in a special court. Again, Anwar was victorious. Still unhappy, the young queen arranges yet another test, with the additional prize being the hand of the vizier’s (A. Siddique) daughter, Almas (Ayaz Begum), who is known as the most beautiful in all of Baghdad. In this new test, each of the sons must risk life and limb to bring back four valuable objects.

With this song, The film. ‘Hoor-E-Baghdad’ (1946) and the lyricist, F M Pindvi make debut on the Blog.

Audio Clip:

Song-Dil samajhta hai ya khuda jaane (Hoor e Baghdad)(1946) Singer-Rafi, Lyrics-F M Pindvi, MD-Damodar Sharma

Lyrics

dil samajhta hai yaa khuda jaane ae ae
meri muskil ko koi kya jaane
dil samajhta hai yaa khuda

aa aa aa aa aaa
kaisi ulfat
mujhe to wahashat hai…..ae ae
kaash mera wo mudda jaane ae ae
dil samajhta hai yaa khuda jaane ae ae /em>

mere hosh-o-khirad pe…ae ae ae ae ae ae ae ae ae
kya guzri..ee ee ee
nigaahen aaj chhupaaye kya jaane
dil samajhta hai yaa khuda
wo tasawwur mein aen aen
aake kehte hain..aen aen aen
tum ho kaise meri bala jaane ae
tum ho kaise meri bala jaane ae
dil samajhta hai yaa khuda jaane ae


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.

Blog Day :

4912 Post No. : 16730

Today, December 29, 2021 is the 6th Remembrance Day of Subir Sen, singer, actor and the music director in Hindi and Bangla films. The resemblance of his voice with that of Hemant Kumar seems to have influenced the music director, Shankar-Jaikishan to try him as a playback singer in Hindi films. Subir Sen sang just 28 songs in Hindi films in the span of around 12 years. Most of the songs he rendered became popular.

Subir Sen (24/07/1934 – 29/12/2015) was born in Assam and grew up in Guwahati where his father had a pharmacy business. He completed his matriculation from Guwahati. From the childhood, he was drawn towards music and this was the reason that made his father to shift to Kolkata after selling his pharmacy business. During his growing up days, he was highly influenced by the singing of Dhananjay Bhattacharya, Hemant Kumar and Talat Mehmood. When he started singing their songs in some programmes, the audience started appreciating his renditions. He felt that he can also sing like his favourite singers which made him to pursue the singing as a career.

Subir Sen enrolled himself in Marris College of Music (later renamed as Bhatkhande Music Institute), Lucknow. During the third year of his college, he received the first prize for singing a vilambit Khayal in raag Purvi. Later, he learnt Hindustani classical music from Acharya Chinmoy Lahiri, a vocalist in Hindustani classical music. On the advice of Acharya Chinmoy, Subir Sen learnt the Thumri singing from Usha Ranjan Mukherjee for over 2 years.

On an invitation from Guru Dutt, Subir Sen along with the music director, Sudhin Dasgupta shifted to Mumbai and became the part of the Guru Dutt’s Films for his film under production (probably for ‘Pyaasa’1957). However, though they were on the payroll of Guru Dutt Films, they never got opportunity to sing in his film. It is said that Guru Dutt sent Subir Sen to S D Burman for audition. He introduced himself as a singer who sang in the style of Hemant Kumar. S D Burman rejected him without taking his audition by asking him as to why he should use him when he can have the original voice of Hemant Kumar. (Source: Interview of Pandit Shiv Kumar Sharma on S D Burman).

While Sudhin Dasgupta returned to Kolkata, Subir Sen got an opportunity to sing for the first time in Hindi films under the baton of Shankar-Jaikishan who were impressed with the resemblance of his voice with that of Hemant Kumar. The first song he sang in Hindi film was manzil wohi hai pyaar ki raahi badal gaye in ‘Kathputli’ (1957) picturised on Balraj Sahni. The song became very popular and was one of the three songs from ‘Kathputli’ (1957) to figure in the top 32 songs of Binaca Geetmala for the year 1958. In 1959-60, Subir Sen sang six songs in six films with six music directors (including one under the baton of Hemant Kumar), all of which became popular.

Subir Sen again came into the attention when his song, dil mera ek aas ka panchhi picturised on Rajendra Kumar (who was nick named as ‘Jubilee Kumar’), became even more popular than his first song, ranking 5th among the top 32 Hindi film songs of Binaca Geetmala for the year 1961.

With the kind of the early successes, Subir Sen must have dreamt of a bright future for him as a playback singer in Hindi films. But his discography in the table given below reveals that his playback singing career in Hindi films did not reach to a level to make a living out of it. In most of the films, he got the opportunity to sing only one song.

No. Songs Name of the Film Co-singer Music Director
1 manzil wohi hai pyaar ki Kathputli (1957) Solo Shankar-Jaikishan
2 pyaar mein milna sanam Ardhaangini (1959) Lata Vasant Desai
3 main rangeela pyaar ka raahi Chhoti Bahen (1959) Lata Shankar-Jaikishan
4 gori tere natkhat nainaa Ham Bhi Insaan Hain (1959) Geeta Dutt Hemant Kumar
5 dil leke jaate ho kahaan O Tera Kya Kehna (1959) Kamal Barot Kalyanji Virji Shah
6 hamen in raahon pe chalna hai Maasoom (1960) Aarti Mukherjee Robin Banerjee
7 gar tum bura na maano Mehlon Ke Khwaab (1960) Asha Bhosle S Mohinder
8 dheere chalaao zaraa Aas Ka Panchhi (1961) Asha Bhosle Shankar-Jaikishan
9 dil mera ek aas ka panchhi Aas Ka Panchhi (1961) Solo Shankar-Jaikishan
10 bahaare luta ke nazaare dikha ke Anarbala (1961) Suman Kalyanpur Bulo C Rani
11 dekho na jaao ae jaaneman Boy Friend (1961) Solo Shankar-Jaikishan
12 sun le daastaan yoon na sata Passport (1961) Solo Kalyanji-Anandji
13 aa jaa re nain dwaare Roop Ki Rani Choron ka Raja (1961) Chorus Shankar-Jaikishan
14 chanda salone itna bata de Sati Renuka (1961) Suman Kalyanpur S L Merchant
15 kya kaha zara phir kaho Gangu (1962) Geeta Dutt Kalyanji-Anandji
16 kasam na lijiye kasam na dijiye Jaadoo Mahal (1962) Purnima Seth Bulo C Rani
17 Jeewan ki lambi raahon par Pick Pocket (1962) Mahendra Kapoor Sardar Malik
18 thaam mujhe gir na jaaun Raaz Ki Baat (1962 UR) Solo Robin Banerjee
19 chaand tale jhoom jhoom Jab Se Tumhen Dekha Hai (1963) Suman Kalyanpur Dattaram
20 gagan ke chanda na poochh hamse Apne Huye Paraaye (1964) Lata Shankar-Jaikishan
21 haath chod de mera bedardi Hukum Ka Ekka (1964) Aarti Mukherjee Robin Banerjee
22 bujh gaya dil ka diya Jaadui Anghooti (1964) Solo Suresh Kumar
23 ab to aisa lagta hai Roop Sundari (1964) Solo Sardar Malik
24 jaago anjaani raajdulaari Ek Soorat Do Dil (1968) Aarti Mukherjee Bijan Pal
25 aah dil mein hai Rani Chandravati (1968, UR) Solo S N Tripathi
26 Ye pukaar kiske liye Rani Chandravati (1968, UR) Suman Kalyanpur S N Tripathi
27 sedin dujone dulechhinu bone (Bangla) Anubhav (1971) Solo Rabindranath Tagore
28 koi mera ho gaya Midnight (1972) Solo Subir Sen

The initial euphoria Subir Sen created in Hindi film music due to the resemblance of his voice with that of Hemant Kumar may have becoming a stumbling block in his playback singing career. It would be a natural response from the music directors that they would rather work with Hemant Kumar who had already established himself as a playback singer than Subir Sen. Also, producers, directors, actors and the film financiers/distributors have their own preferences for playback singers among the established ones.

Ashutosh Banerjee, music director who had composed many Bangla films and non-film songs for Subir Sen was of the view that while in Mumbai, Subir Sen started listening to a lot of western music during which Jim Reeves and Nat King Cole became his favourite singers. From Jim Reeves, he picked up the tonal quality and from Nat King Cole the drama in singing. In his subsequent renditions, Subir Sen was influenced by the styles of these two American singers.

Some changes in Subir Sen’s rendition style are evident in his later songs. For instance, in ‘dheere chalo zara’ from ‘Aas Ka Panchhi’ (1961), one can feel some shades of Mukesh in the song. In ‘dekho na jaaneman’ which he sang for Shammi Kapoor in ‘Boy Friend’ (1961), his voice sounds somewhat different giving a feel of Manna Dey. I have listened to some of his Bangla non-film songs and I feel that he had adapted to a style of rendition to sound somewhat different from Hemant Kumar’s voice. For examples, ‘oy ujjwal din’ and ‘pagol hawa’ (a rehash of non-film Bangla song originally sung by Jatileshwar Mukherjee and ‘na jaane tum’ from ‘Chhoti Si Baat’, 1976).

With his playback singing career in Hindi films getting stangnated, Subir Sen returned to Kolkata sometime in early 1970s. He recorded hundreds of Bengali modern and Rabindra Sangeet numbers over three decades. He also acted along with Uttam Kumar in Bangla film, ‘Momer Alo’ (1964) and in Hindi film “Anubhav’ (1971).

Subir Sen and also Dwijen Mukherjee could not create a place for themselves in Hindi films mainly because they were born with their voice boxes almost similar to Hemant Kumar. And both of them were the contemporary of Hemant Kumar and in competition with him. Also, they came at a time when the troika of the main male playback singers – Mohammed Rafi, Mukesh, Talat Mehmood and later Kishore Kumar had already well-established in Hindi film industry.

On the occasion of the 6th Remembrance Day of Subir Sen, I am presenting ‘chaand tale jhoom jhoom tirak rahi hai’ rendered by him with Suman Kalyanpur for the film ‘Jab Se Tumhen Dekha Hai’ (1963). The song is written by Shailendra which is set to music by Dattaram.

With this song, all the six songs of ‘Jab Se Tumhen Dekha Hai’ have been covered in the Blog.

Acknowledgements:

1. Videos of interview of Subir Sen by Kolkata Gaan available on YouTube. Since the interview was conducted in Bengali, I requested Partha Chanda ji for the English translation which he promptly sent me with the links of a couple of Subir Sen’s Bangla songs. Thanks Partha Chanda ji.

2. Interview of Ashutosh Banerjee which appeared on The Times of India E-Paper, updated on 29/12/2015.

Audio Clip:

Song-Chaand taley jhoom jhoom (Jab Se Tumhen Dekha Hai)(1963) Singers-Suman Kalyanpur, Subir Sen, Lyrics-Shailendra, MD-Dattaram
Suman Kalyanpur + Subir Sen
Male chorus
Female chorus
All chorus

Lyrics

ha aa aa aa
ha aa aa aa
ha aa aa aa
ha

ho o o o
ho o o
o o o o

ha aa aa aa
ha aa aa aa
ha aa aa aa
ha

ho o o o
ho o o
o o o o

chaand tale jhoom jhoom
thirak rahi hai ghoongharwaaliyaan
mastiyon ki aaj dhoom
khushi baja rahi hai taaliyaan
haand tale jhoom jhoom
thirak rahi hai ghungharwaaliyaan
mastiyon ki aaj dhoom
khushi baja rahi hai taaliyaan

ho o o o
aa aa aa
o o o o
ho o o o
aa aa aa

ho o o o
aa aa aa aa
ho o o o
ho o o o
aa aa aa
o o o o

chori chori dil ko mere kaun gaya chhoo
aaj meri har nazar pe kis ki justujoo
aa aa aa
o o o o
aa aa aa
o o o o
bekaraar mera pyaar meri aarzoo
mere dil ko bhaa gayi hai aaj tu hi tu

haay main bhi aaj main nahi tu bhi nahin tu
hoy
chaand tale jhoom jhoom
thirak rahi hai ghungharwaaliyaan

mastiyon ki aaj dhoom
khushi baja rahi hai taaliyaan

ha aa aa aa
ha aa aa aa
ha aa aa aa
ha

ho o o o
o o o
o o o o

ha aa aa aa
ha aa aa aa
ha aa aa aa
ha

ho o o o
o o o
o o o

aaj itne paas hain jo kal thhe paraaye
saamne hai jo kabhi thhe khwaab mein aaye

la ra ra ra
la ra la ra li ra
la la la la
la ra la ra li ra
dekhti hai par nigaah sochti nahin
kya bharam kya hai sach ye jaanati nahi
o mere dil ki manzile hain bas yahin kahin
hoy
chaand tale jhoom jhoom
thirak rahi hai ghungharwaaliyaan

mastiyon ki aaj dhoom
khushi baja rahi hai taaliyaan
ho o o o
ha aa aa
o o o
ho o o o
ha aa aa
o o o

be-dhadak ye dil mein mere aa raha hai kaun
apni raah mujhko bhi bhula raha hai kaun
ha aa aa aa
ho o o o
ha aa aa aa
ho o o o
dheere dheere dil se dil mein la raha hai kaun
dekhiye to pyaar se bula raha hai kaun

o kya khabar ye mujhko aajma raha hai kaun
chaand tale jhoom jhoom
thirak rahi hain ghungharwaaliyaan
mastiyon ki aaj dhoom
khushi baja rahi hain taaliyaan

chaand tale jhoom jhoom
thirak rahi hai ghungharwaaliyaan
mastiyon ki aaj dhoom
khushi baja rahi hai taaliyaan


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.

Blog Day :

4879 Post No. : 16674

Do not dwell in the past, do not dream of the future, concentrate the mind on the present moment – Lord Buddha

Thinking about the past events in the life and planning for the future is one of the common activities of human beings most of the time. This, at times, can become a stressful activity during which negative thoughts can creep in the mind. In this process, we tend to lose focus on the current activities. We try to neatly plan for the future based on the past experiences. But not all the parameters of the future plan run on the basis of what was determined at the time of planning. The reason is that there are many uncertainties on the way to attaining the goal. I will give the example of planning my Himalayan treks to elucidate the tyranny of uncertainties.

I have always made a well-charted plan for each of my Himalayan treks. But the uncertainty starts when the train or the flight which we have booked gets delayed by a few hours jeopardizing the connecting travels to the base town/village from where the trek is to start. The second uncertainty is through natural calamities. A landslide or a flooded water stream cutting across the road can block the vehicle movements for a considerable time. The third element of the uncertainty is the weather. A rain/snow storm during the trek can force one to stay inside the tent or in a shelter on the way for a considerably long time. Lastly, the last-minute health issues of a trekker can force him the abandon the trek mid-way. Ultimately, one is not sure whether the trekker’s goal to reach his destination would be achievable or not.

Because of these perceived uncertainties, for the next trek, we plan more meticulously than what is necessary. Things work out smoothly and at the end of the trek, though we are happy to complete the trek in time without hic-cups, we feel cheated by the nature. We are left with extra days which means additional expenses. In short, there is no fixed solution in the planning for the future.

Because of the futility of the past memories and the uncertainty of the future, a philosophical thought has emerged which is known as ‘live in the moment’. This philosophy reminds us that our presence is in the present only. We cannot live in the past as that timeframe is over. We cannot plan for the future as there are many uncertainties. When we think of our past, the thought process influences our future goals. There is no guarantee that our past experiences would lead to achieving the future goals successfully.

Perhaps, it was in this context, Lord Buddha advised his followers to forget about the past, not to dream about the future and devote full time for present moment. In other words, there is no need for Mungerilal ke haseen sapne as there is no guarantee – kal ho na ho. So, enjoy the present moment on which the human beings have some control. Just go with the flow of life as beautifully visualised by Sahir Ludhianv in the song, main zindagi ka saath nibhaata chala gaya.

There may be many among us who are following ‘living for the moment’ philosophy, albeit unknowingly. After reading about this philosophy, I have realised that I have unwittingly followed this philosophy covering the important social and financial events in my life. I had flown with then current situation as needed without bothering about the future – especially in regard to my education, employment, buying a residential house, financial planning for the future etc. I had not made any financial planning for my future as at that time, I felt that my provident fund balance and the gratuity amount would take care of my future financial requirements. As I see it today, I was not completely right about this thinking as interest earned on this amount would not have taken care of a good standard of living in my post-retired life. Fortunately, when my job became pensionable in 1997, it helped me to maintain a good standard of living after retirement.

Let me add a caveat to the ‘live in the moment’ philosophy. Each one of us follow a different life style. Some will thrive with their life to flow with the needs as and when arise without planning for the future. Some may like to have a perspective plan for their future life, may be with some flexibilities. There is also the third possibility – a sort of mix of both where one partially plans and also partially swims with the flow.

I found a rare song from the film ‘Dukh Sukh’ (1942) which depicts, more or less, the ‘live in the moment’ philosophy, probably for a drunkard in a tavern. The song is ‘hai aaj kal ki fiqar hi kyaa, majhe se pee aur majhe se khaa’ which is rendered by Rajkumari Dubey. The words are of Wali Sahab which are set to music by Khemchand Prakash.

Audio Clip:

Song-Hai aaj kal ki fikar hi kya (Dukh Sukh)(1942) Singer-Rajkumari, Lyrics-Wahi Sahab, MD-Khemchand Prakash

Lyrics

hai aaj kal ki fiqar hi kyaa
maze se pee aur maze se khaa
hai aaj kal ki fiqar hi kyaa
maze se pee aur maze se khaa

ye aaj tere haath hai
ye aaj tere haath hai
kal ki kal ke saath hai
kal ki kal ke saath hai
kal kaa din jo aayega
kal kaa din jo aayega
to kal ko dekha jaayega
to kal ko dekha jaayega
hai kal ki tujhko fiqar hi kyaa
maze se pee aur maze se khaa
hai kal ki tujhko fiqar hi kyaa
maze se pee aur maze se khaa

shabaab phir na aayega
ye abr phir na chhaayega
shabaab phir na aayega
ye abr phir na chhaayega
ye chaar din hain pyaar ke ae
ye chaar din hain pyaar ke ae
maz utha tu bahaar ke
maze utha tu bahaar ke
bahaar ke tu maze uthha
maze se pee aur maze se khaa
bahaar ke tu maze uthha
maze se pee aur maze se khaa
hai aaj kal ki fiqar hi kyaa
maze se pee aur maze se khaa


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.

Blog Day :

4867 Post No. : 16659

Today, November 14, 2021 is the 4th Remembrance Day of Shyama (real name – Khurshid Akhtar) who enthralled the Hindi film buffs with her blinks and smiles in her Hindi films of 1950s. There was a spontaneity and energy in her performances reflecting, what I guess, her joie de vivre nature.

My earliest memory of watching Shyama was in ‘Aar Paar’ (1954) on its repeat release sometime in 1974 as a part of Guru Dutt’s Film Perspectives. I became familiar with her face when some of the songs picturised on her from the films like my all-time favourite, ‘Aar Paar’ (1954), ‘Bhai Bhai’ (1956), ‘Bhaabhi’ (1957), ‘Sharda’ (1957), ‘Mr Qartoon MA’ (1959), ‘Barsaat Ki Raat’ (1960) and many more, used to be telecast on Mumbai Doordarshan’s  ‘Chhaaya Geet’ programme. Some of her songs have remained in the limelight even today. I can never get tired of watching those songs pictuirsed on Shyama.

Shyama (07 Jun, 1935 – 14 Nov, 2017) was born in Lahore but her family had shifted to Mumbai in early 1940s. She did her schooling in Anjuman-E-Islam High School in South Mumbai. Shyama’s foray into her first Hindi film, ‘Zeenat’ (1945) was an accidental one. When she was on a visit to watch the film’s shooting along with her school friends, the film’s director, Shaukat Hussain Rizvi invited her to be the part of the chorus singers for the picturization of the qawwali song, “Aahen Na Bhari Shiqwe Na Kiye”. At that time, she was 9. Thereafter, she did small roles as a child actor and side roles as a teenager in around 35 films. At a young age, she had become the bread-earner for her large family. Her screen name, Shyama was given by Prakash Pictures’ Vijay Bhatt when working in his film, ‘Nai Maa’ (1946) as a child artist.

Everything was not roses on the way to reach the stardom for Shyama. She had to struggle very hard to get roles during the early stage of her life when she was growing from her childhood to a teenager. Her struggling days got over when she bagged her first lead role in Filmistan’s ‘Shrimati ji’ (1952) with Nasir Khan. Thereafter, there was no dearth of work for her in the films.

During her filmy career of over 4 decades, Shyama worked in around 175 films. Some of her notable films are ‘Hum Log’ (1951), ‘Sazaa’ (1951), ‘Dil-E-Naadan’ (1953), ‘Shart’ (1954), ‘Aar Paar’ (1954), ‘Musaafirkhaana’ (1955), ‘Chhoo Mantar’ (1956), ‘Bhai Bhai’ (1956), ‘Shaarda’ (1957), ‘Bhaabhi’ (1957), ‘Johnny Walker’ (1957), ‘Mr. Qartoon MA’ (1958), ‘Laala Rukh’ (1958), ‘Chhoti Bahen’ (1959), ‘Barsaat Ki Raat’ (1960), ‘Zabak’ (1961), ‘Bahurani’ (1963). From 1960’s onwards, Shayma switched over to character roles. She was active till the end of 1970s. However, after the death of her husband in 1979, she virtually took retirement from the films. Shyama faced the camera for the last time in ‘Hathyaar’ (1989).

I was going through her filmography from 1952 when she started getting lead actor’s roles to 1960 when her career was in the waning stage as a lead actor. It is amazing to note that during 1952-60, she worked in as many as 84 films making an average of nearly 10 films per year. I do not recall any other actress of her time achieved this distinction. The main reason for her large number films was that she accepted both the lead as well as supporting actor’s roles. Her films covered a variety of genres with a large assortments of lead actors like Motilal, Ashok Kumar, Premnath, Shammi Kapoor, Bharat Bhushan, Karan Diwan, Guru Dutt, Balraj Sahni, Sunil Dutt, Kishore Kumar, Johnny Walker, Ranjan, Mahipal, Talat Mehmood etc.

Shyama faced her worst financial and emotional turmoil in 1953 when she decided to marry director and cinematographer Fali Mistry. They fell in love  on the sets of ‘Sazaa’ (1951). The marriage was opposed by her father and her brothers. She had revealed her agony in her article in the Urdu film magazine ‘Shama’, published in November 1954, the English translation of which is available in Yasir Abbasi’s book ‘Yeh Un Dinon Ki Baat Hai’ (2018).

According to Shyama, apparently the problem for her large family was that having got used to living lavishly on her earnings, they feared that her marriage with Fali Mistry would strip them off comforts and luxuries. When she decided to go ahead with the marriage, she was forced to leave her own house without her money and jewelry as her father and brothers confiscated all her assets including the bank balances. She and her supporting mother had to stay with the family of producer-director M Sadiq for a month before she could buy her own house by arranging money. It took another six months for Shyama and Fali Mistry to get married. But the marriage was not revealed in public for a long time for fear of film producers avoiding her to sign the new films.

Shyama spent her financially secured retired life, socializing with her close friends like Nanda, Shakeela, Waheeda Rehman, Jabeen Jaleel etc. Just about 5 years before her death, she got a paralysis attack making her movements restricted. However, she majorly recovered from the paralysis. She breathed her last on November 14, 2017 due to lung infections, leaving behind her two sons and a daughter. Her elder son, Faroukh Mistry is a Cinematographer in Hindi feature films and has directed many documentary and advertising films. The second son, Rohinton Mistry is settled in London as a businessman. Both her elder son and her daughter, Shirin were with her while she breathed her last.

As a tribute to Shyama on the occasion of her 4th Remembrance Day, I have chosen a song pictuirsed on her in the film ‘Khota Paisa’ (1958). This film was among four films in which Shyama acted opposite Johnny Walker in lead role. The other three films in this combination were ‘Chhoo Mantar’ (1956), ‘Johnny Walker’ (1957) and ‘Mr Qartoon MA (1958). Incidentally, all these three films had OP Nayyar as the music director.

‘Khota Paisa’ (1958) had 7 songs of which 5 songs have been covered on the Blog. All the songs were written by Rajinder Krishan which were set to music by Madan Mohan. I am presenting the 6th song, “Ye Zaalim Nighaaon Ki Ghaat” which is sung by Asha Bhosle. It is a club song during which NA Ansari, the menacing pipe smoking villain, is present along with his henchmen.

It is interesting to note that in the record version there is some changes in wordings of the song as under:

Film Sound Track Version Record Version
Mukhda
ye zaalim NIGHAAON ki GHAAT
badi tikhi badi NATKHATI
Mukhda
ye zaalim MOHABBAT ki CHAAT
badi tikhi badi CHATPATI
Antara-2
GAA le ZARA jahaan mein
NAGMA to aashiqi kaajo NAYE pyaar ki RAT RATI
Antara-2
LE le MAZA jahaan mein
DAM BHAR LO aashiqi kaajo NA THHI pyaar ki PHATPATI
Antara-3
KATNE bhi de khushi se
ye BAHAAR ke zamaane
Antara-3
LOOTNE bhi de khushi se
ye PYAAR ke zamaane

Other features of this song is that Asha Bhosle seems to imitate the style of Geeta Dutt  and Madan Mohan’s musical composition of the song closely resembles that of OP Nayyar.

Video

Audio

Song – Ye Zaalim Nigaahon Ki Ghaat (Khota Paisa) (1958) Singer – Asha Bhosle, Lyrics – Rajinder Krishan, MD – Madan Mohan

Lyrics

ye zaalim nighaaon ki ghaat
badi teekhi badi natkhati
apne apne muqaddar ki baat
kiske hisse mein kitni bati
ye zaalim nighaaon ki ghaat
badi teekhi badi natkhati
 
jo nazar na milaayi
na jigar pe chot khaayi
us dil kaa faayda kya
jo kisi pe aa na jaaye
hai wo zindagi bhi koi zindagi
jo mohobbat kiye bin kati
ye zaalim nighaaon ki ghaat
badi teekhi badi natkhati
 
jo huwa na kisi ka
dushman hai zindagi ka
gaa le zara jahaan mein
nagma to aashiqi ka
tu jiya bhi to kya
do ghadi ke liye
jo na ye pyaar ki rat rati
ye zaalim nigaahon ki ghaat
badi teekhi badi natkhati
 
ye dil kaun jaane
lut jaaye kis bahaane
katne bhi de khushi se
hain bahaar ke zamaane
lut gaye dil kai
mit gaye dil kai
par mohobbat kabhi na ghati
ye zaalim nigaahon ki ghaat
badi teekhi badi natkhati
apne apne muqaddar ki baat
kiske hisse mein kitni bati

————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
ये ज़ालिम निगाहों की घात
बड़ी तीखी बड़ी नटखटी
अपने अपने मुकद्दर की बात
किसके हिस्से में कितनी बटी
ये ज़ालिम निगाहों की घात
बड़ी तीखी बड़ी नटखटी

जो नज़र ना मिलाई
ना जिगर पे चोट खाई
उस दिल का फायदा क्या
जो किसी पे आ ना जाए
है वो ज़िंदगी भी कोई ज़िंदगी
जो मोहब्बत किए बिन कटी
ये ज़ालिम निगाहों की घात
बड़ी तीखी बड़ी नटखटी

जो हुआ ना किसी का
दुश्मन है ज़िंदगी का
गा ले ज़रा जहां में
नग़मा तो आशिक़ी का
तू जिआ भी तो क्या दो घड़ी के लिए
जो ना ये प्यार की रट रटी
ये ज़ालिम निगाहों की घात
बड़ी तीखी बड़ी नटखटी

ये दिल कौन जाने
लुट जाये किस बहाने
कटने भी दे खुशी से
हैं बहार के जमाने
लुट गए दिल कई
मिट गए दिल कई
पर मोहब्बत कभी ना घटी
ये ज़ालिम निगाहों की घात
बड़ी तीखी बड़ी नटखटी
अपने अपने मुकद्दर की बात
किसके हिस्से में कितनी बटी


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.

Blog Day :

4863 Post No. : 16654

‘Jab Se Tumhen Dekha Hai’ (1963) was produced by Surinder Kapoor under the banner of Amar Chhaaya Films and was directed by Kedar Kapoor. The star cast included Geeta Bali and Pradeep Kumar in the lead role with the supporting cast of Agha, Vijaylaxmi, Siddhu, Sunder, Tun Tun, Mohan Choti, Ravikant etc. Shammi Kapoor, Shashi Kapoor, Om Prakash, Bhagwan, Kumkum, and Shyama made their guest appearances in the film. This was Surinder Kapoor’s maiden film as a producer.

I was wondering as to how Surinder Kapoor could manage to rope in Shammi Kapoor and Shashi Kapoor for the qawwali song in the film. It became clear when I came to know that Surinder Kapoor was the cousin of Prithviraj Kapoor. When he shifted to Mumbai from Peshawar in 1950, Prithviraj Kapoor helped him in getting his first job as an assistant to K Asif in ‘Mughal-e-Azam’ (1960). Since the film took a lot of time to be completed, Surinder Kapoor left K Asif and became the Secretary to Geeta Bali. Kedar Kapoor, the film’s director was from Peshawar. Probably, he may also be related to Prithviraj Kapoor.

It was Geeta Bali who encouraged Surinder Kapoor to become a film producer. She arranged the finance, the crew and the cast. So, getting the guest actors for the qawwali song became an easy task for Surinder Kapoor. The film was launched in 1958 and got completed in 1963. The film did not fare well on the box office. This was the last released film of Geeta Bali.

‘Jab Se Tumhen Dekha Hai’ (1963) had six songs in the film written by Shailendra (5) and Anand Bakshi (1) which were set to music by Dattaram. Four songs have been covered on the Blog.

Here is the 5th song ‘Muhammad Shah Rangeele gaawat aaj prem raag’ from the film to appear on the Blog. The song is rendered by Manna Dey on the words of Shailendra. The video clip of the song is not available on any video sharing platform. So, it is difficult to know as to in which context, this song was picturised in the film. My wild guess is that the song may have been picturised on Agha in a comical situation using the bandish-based classical song.

Muhammad Shah ‘Rangeela’ was the Mughal emperor during 1719 to 1748. He was a patron of performing arts and music. His court had many musicians, the prominent among them being Niyamat Khan who used to compose bandishes under his pen name. ‘Sadarang’ and his nephew, Feroz Khan under the pen name of ‘Adarang’. Sadarang has been credited with the introduction of Khayal as a form of Hindustani classical music. He composed many Khayal bandishes for his desciples which included a few women from the harem of Muhammed Shah ‘Rangeela’.

There are some persons who are known by their work and not by their names. Niyamat Khan was one of them whose name is unknown for the present generation. Some of us may have listened to his khayal bandishes rendered by stalwarts like Pandit Bhimsen Joshi, Ustad Amir Khan, Ustad Rashid Khan, etc without knowing that these were composed by Niyamat Khan ‘Sadarang’.

One of the Khayal bandish composed by Niyamat Khan was ‘Muhammad Shah rangeele re, tum bin main kya karoon badariya, nit na suhaawe’ in raag Miyan Ki Malhar in praise of Muhammad Shah. The song under discussion is based on this bandish with different ‘bole’ written by Shailendra and composed by Dattaram in raag ‘Miyan Ki Malhar’. It is rendered as ‘chhota khayal’.

By the way, Muhammad shah rangeele re from ‘Nadirshah’ (1968) was also based on the abovementioned bandish. Both ‘Nadirshah’ (1968) and ‘Jab Se Tumhen Dekha Hai’ (1963) took a long time to be completed and released. So, it is difficult to guess as to which one of two films got inspired from this bandish first.

Audio Clip:

Song-Muhammad Shah rangeeley (Jab Se Tumhen Dekha Hai)(1963) Singer-Manna Dey, Lyrics-Shailendra, MD-Dattaram

Lyrics

hriday na…………….th
hey ae ae na…….th
aa aa aa aa aaa
aa aa aaaa
aa aaa
dhoom ta na ta na na
pranaam

muhammad shah rangeele
muhammad shah rangeele ae
muhammad shah rangeele
gaawat aaj prem raag
gaawat aaj prem raag
sur bade nasheele ae
muhammad shah rangeele
rangeele
rangee…..le

pa……aa
ma ma ma ni pa….aa
ma ma..aa
pa ni…ee pa…aa
pa pa pa ni
pa pa pa ni
pa pa pa sa
pa ni pa ni
pa pa ni
pa ni dha
ma dha pa
ma pa ga ma
dha ni dha ni dha ni dha ni
pa ni..ee
pa ni
pa ni

tere bin jee na sakoon
tere bin jee na sak……………oon
jee na sak…oon
na sakoon
tere bin jee na sakoon
tere bin jee na sakoon
jee na sakoon
tere bin
jee na sakoon
tere bin
tere bin jee na sakoon
lekin ab kya main karoon
lekin ab kya kya main karoon
lekin ab kya kya main karoon
saans saans kehti aas
saans saans kehti aas
jee..ee le
jee..ee le
jee..ee le
muhammad shah rangeele
muhammad shah rangeele
gaawat aaj prem raag
gaawat aaj prem raag
sur bade nasheele ae
muhammad shah rangeele
rangeele
rangee…..le


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

This is a labour of love, where “new” songs are added every day, and that has been the case for over FOURTEEN years. This blog has over 17400 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

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