Archive for the ‘Happy-Sad song’ Category
- In: Duet | Feelings of heart | Guest posts | Happy-Sad song | Hariharan - Kavita Krishnamurthy Duet | Hariharan Song | Inspirational song | joie de vivre | Kavitha Krishnamurthy Songs | Poignant Song | Post by Sadanand Kamath | Songs of 1990s (1991 to 2000) | Songs of 2000 | Theme song | Title song | Yearwise breakup of songs
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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 : |
4098 | Post No. : | 15244 | Movie Count : |
4189 |
Films are regarded as director’s medium. He is like a captain of the ship. It is the director’s responsibility to make his film successful – critically as well as financially.
A film director may have directed many successful films but he will generally be known by his one classic cult film. For instance, when we talk about PC Barua, ‘Devdas’ (1935) comes to our mind first though he had directed other successful films like ‘Mukti’ (1937) and ‘Jawaab’ (1942). In case of Mehboob Khan, it is ‘Mother India’ (1957) though he had directed many successful films in the 1940s. K Asif and ‘Mughal-e-Azam’ (1960), Guru Dutt and ‘Pyaasa’, (1957) and Kamal Amrohi and ‘Pakeezah’ (1972) are inseparable. In the international arena, Raj Kapoor is known more for his film, ‘Aawaara’ (1951) than other equally successful films. This is not an exhaustive list.
But there is one film director who is known by his flop film in the genre of satirical comedy. The film is ‘Jaane Bhi Do Yaaron’ (1983) and the director is Kundan Shah. In an interview held sometime in 2012 on the occasion of the re-release of the film in digitised version, he had said he considered this film as his failed project though it has attained a cult status.
Remembering Kundan Shah today, October 7th on his 2nd Remembrance Day who excelled in projecting the serious social issues in soft comedies through films and TV serials. I became aware of him with his very first film which I had watched on TV much before he became well known by his TV serials.
I found it very difficult to get the information on Kundan Shah’s early life before he ventured into films and TV serials. A book, ‘Jaane Bhi Do Yaaron – Seriously Funny Since 1983’ (2010) written by Jai Ajay Singh was supposed to have some information about his early life. But the book has remained out of stock for some time. However, a preview of some pages of the book was available online which gave me some information about the early life of Kundan Shah.
Born in a Gujarati family, Kundan Shah spent his childhood in Aden (now in Yemen) and did his schooling there until the age of 13 when his family shifted to Mumbai. He completed his schooling and thereafter his graduation in commerce. He worked for a publishing house for about 4 years before enrolling himself in the Film and Television Institute of India (FTII) in 1973 for direction. It is at FTII, he found interest in the genre of comedy during the second year of the course.
As a project in FTII, he made a 25-minute diploma film titled ‘Bonga’ (Siren) which the students of direction have to make in the final year. The film was a farcical comedy involving a gang of five people attempting a bank robbery. The cast included FTII students like Satish Shah, Rakesh Bedi, Suresh Oberoi, Om Puri etc. There were no dialogue in the film except each one of the gang of five yelling ‘bonga’. Bhaskar Chandavarkar, an instructor in FTII at that time (who was also a music director) composed the background music. The film was critically acclaimed by his fellow students in FTII. His seniors in FTII like Naseeruddin Shah and Saeed Akhtar Mirza were surprised as to how this serious looking man could have made a graceful comedy film out of the nonsensical ideas.
After completion of his diploma in FTII in 1976, Kundan Shah struggled for a couple of years to find the opening in the film industry. He formed a commune of some of his fellow FTII diploma holders and produce short documentary films. However, in this work, Kundan Shah ran into financial problems. Almost all of his colleagues had already been disillusioned with their career and left for their respective places. Kundan Shah also moved to England with his family and worked there to make enough money to pay off his debt.
Kundan Shah returned to India after about 18 months. He got an attractive offer from the maker of ‘Gandhi’ (1981) to work as Assistant Director for six months at a monthly salary of Rs.10,000/-. The offer was very tempting. He consulted his colleague, Saeed Akhtar Mirza who dissuaded him from accepting the offer as he would mostly be doing the work of crowd controlling during the outdoor shooting. Instead, Saeed Mirza coxed him to write a script and make the film himself. In the meanwhile, Kundan Shah worked as Assistant Director in Saeed Akhtar Mirza’s ‘Albert Pinto Ko Gussa Kyon Aata Hai’ (1980) and Vidhu Vinod Chopra’s ‘Sazaa-e-Maut (1981). These association also put pressure on him to direct a film as his FTII fellow students, Saeed Mirza and Vidhu Vinod Chopra had already made films. It is at this point of time, Kundan Shah decided to make a feature film which resulted in making his first film ‘Jaane Bhi Do Yaaron’ (1983).
As I came to know from the video clips of interviews of Kundan Shah, Naseeruddin Shah, Ravi Baswani, Sudhir Misra and others, it was a long struggle for completing the film and releasing it. Kundan Shah wrote the story and script based on the experiences of two of his fellow FTII students who after failing to get any assignment from the film industry, decided to open a photo studio and undertake fashion and industrial photography. Their bad experiences in the venture became the main theme of the story coupled with Kundan Shah’s personal experiences in dealing with a rationing office in Mumbai for the release of cement quota for repairs to drainage system in his building where he was the Secretary.
When the script was ready, no producer/financier was willing to invest in the film based on his script. Some financiers termed the script as idiotic. As a last resort, Kundan Shah approached National Film Development Corporation (NDFC) to take a loan for producing the film himself. The total cost film production was expected to be around Rs. 7 lakhs and NDFC would grant the loan only up to 75% of the cost after their Script Committee approved the script. However, Kundan Shah got a pleasant surprise when NDFC not only approved his script but also offered to produce the film under its banner as they thought that the script was an effective commentary on the situations prevailing in the country. So financial side of the problem got sorted out.
Next was the selection of actors and the crew for the film. With a budget of only Rs.7 lakhs, engaging the established actors even for the main roles was out of question. Kundan Shah relied on his FTII colleagues and the actors/ crews from IPTA/National School of Drama. The actors included Naseeruddin Shah, Ravi Baswani, Satish Shah, Satish Kaushik, Om Puri, Pankaj Kapoor, Bhakti Bharve, Neena Gupta, Vidhu Vinod Chopra, Deepak Qazir, Rajesh Puri, Ashok Banthia and Jaspal Sandhu. Some of the actors also worked behind the camera. For instance, Vidhu Vinod Chopra and Deepak Qazir were the Production Controllers. Satish Kaushik was one of the dialogue writers. Renu Saluja was the editor for the film beside the assistant director.
Naseeruddin Shah had revealed in an interview that during the making of the film, he was feeling uneasy with the script as he felt that all he was doing appeared to him to be nonsensical. He had arguments with Kundan Shah on several occasions but at the end it was Kundan Shah whose writ prevailed. Even after the completion of the film, Naseeruddin Shah was pessimistic about the success of the film.
The film was released in a few theatres in Mumbai in and some other cities in August 1983. The film received a lukewarm response from the audience. The film was withdrawn after a week in Mumbai and ran in a few theatres only for morning shows. In Delhi, the film ran for 37 weeks in a single theatre for morning show only. The film was also shown on then newly set up DD Metro Channel on the week-ends for a month or so. Gul Anand, the producer of some off-beat comedy films like ‘Khatta Meetha’ (1978) and ‘Chashme-e-Buddoor’ (1981) after watching the film had said to Kundan Shah that if he had not seen the film and only read the script , he would have thrown it out of his window. This shows how Kundan Shah made an interesting film out of the nonsensical script. The lukewarm response for the film was a setback for Kundan Shah. He did not venture into directing any film for the next 10 years.
After about 30 years, ‘Jaane Bhi Do Yaaron’ (1983) was digitally restored and was re-released in November 2012 in multiplexes in Mumbai and in some major cities by which time, the film had already attained a cult status.
In the meanwhile, television was becoming a mass media with a pan India reach. In 1984, Doordarshan permitted the sponsored TV serials produced outside Doordarshan on its National Channel. Kundan Shah and many other persons associated with film industry took this as an opportunity and started their association with the producers of TV Serials. Kundan Shah made his debut on Television by directing some episodes of ‘Ye Jo Hai Zindagi’ (1984). It ran on Doordarshan with 67 episodes some of which were directed by Manjul Sinha and Raman Kumar. Actors were drawn from FTII and theatres. The serial had a phenomenal run which rediscovered Kundan Shah as a master of directing situational comedy.
With the runaway success of ‘Ye Jo Hai Zindagi’, Kundan Shah became the partner in Iskra Films, a TV serial producing company started by Saeed Akhtar Mirza and Aziz Mirza. ‘Nukkad’ (1986) was its first production. The other successful TV Serials in which Kundan Shah was associated with were ‘Wagle Ki Duniya’ (1988) and ‘Circus’ (1989).
After a gap of more than 10 years, Kundan Shah decided to make a film on the script he wrote in the genre of romantic comedy. The film’s original title ‘Albela’ had to be changed to ‘Kabhi Haan Kabhi Na’ (1994) as this title was already registered by someone with Film Producers Associations like IMPPA. As usual for Kundan Shah, the film was delayed for a variety of reasons. The original lead actors, Amir Khan and Juhi Chawla withdrew from the film due to delay in finding a producer/financier. Shahrukh Khan, who was originally taken for the role which eventually went to Deepak Tijori, was promoted as a lead actor with Suchitra Krishnamoorthy.
After completion, the film remained in the cans for nearly 18 months as no distributor was willing to release the film probably due to the hero turning out to be loser in the end. This was the status of this film despite the fact that by this time, Shahrukh Khan was already on his path to become a super star due to box office successes of his films like ‘Raju Ban Gaya Gentleman’ (1992), ‘Deewana’ (1992), ‘Darr’ (1993) and ‘Baazigar’ (1993). Finally, Shahrukh Khan in partnership with one of his friends from the film industry released the film in February 1994. Though the film was regarded as an average success after the release, over a period of time, the film has earned more than 5 times its cost and it has also attained a cult status for Kundan Shah.
It was another six years after ‘Kabhi Haan Kabhi Naa’ (1994) that Kundan Shah took ‘Kya Kehna’(2000) for direction which was Preity Zinta’s debut film. This was Kundan Shah’s first mainstream film which was devoid of any comedy. On the contrary, Kundan Shah tackled a serious issue of pre-marital pregnancy with sensitivity. As usual for Kundan Shah, this film was also delayed in getting released. Once it got released, it was the pleasant surprise to all concerned with the film that it was a box office hit.
The next in lines of films which Kundan Shah directed were ‘Hum To Mohabbat Karega’ (2000), ‘Dil Hai Tumhara’ (2002) and ‘Ek Se Badkar Ek’ (2004). All the three films flopped at the box office making him to take a virtual retirement from the mainstream films. He returned to his foray of making films with off-beat themes in ‘Teen Behanen’ (2005), based on a real-life story of three sisters who committed suicide because their father could not afford to pay dowry. The film remained unreleased till date. His last film was a political satire, ‘P Se PM Tak’ (2015) which was a disaster at the box office.
Kundan Shah died in sleep of heart attack on October 7, 2017 at his residence. One of the emotional tributes on his death was that of Shahrukh Khan whom he compared like his mother. He said ‘I was 25 when I came to Mumbai. I have stayed in Kundan’s house and I have been fed by his family and taken care of by them’. Shahrukh Khan had worked in a few episodes of Kundan Shah’s TV Serials, ‘Wagle Ki Duniya (1988) and as a lead actor in ‘Circus’ (1989). His close friends who had been regular visitors to his office said that Kundan Shah’s office cupboard was full of film scripts in various stages. Sadly, there were no takers for these scripts to turn them into films.
As a tribute to Kundan Shah on the occasion of his 2nd Remembrance Day, I am presenting a song from ‘Kya Kehna’ (2000) which was directed by him. The song is ‘Ae Dil Laaya Hai Bahaar, Apnon Ka Pyaar, Kya Kehna’. The song is rendered by Hariharan and Kavita Krishnamurthy on the words of Majrooh Sultanpuri which was set to music by Rajesh Roshan. The song has two versions – happy and sad, the latter version being also a inspirational song.
Hariharan lip syncs for Anupam Kher, Chandrachud Singh and Mamik Singh while Kavita Krishnamurthy lip syncs for Farida Jalal, Preity Zinta and Nivedita Bhattacharya (in sad version). On the sound track, some lines of the song have been rendered as duet, but in the film, it is for all the actors present in some scenes.
The tune of the song is a straight lift from Oh Carol, I am but a fool, darling I love you, though you treat me cruel, sung by pop singer, song writer and composer, Neil Sedaka in 1957.
Happy Version
Sad Version
Song – Ae Dil Laaya Hai Bahaar, Apno Ka Pyaar, Kya Kehna (Kya kehna) (2000) Singer – Hariharan, Kavita Krishnamurthy, Lyrics – Majrooh Sultanpuri, MD – Rajesh Roshan
Harirahan + Kavita Krishnamurthy
Lyrics
Happy Version
oh……..o
ho o o o o
o o o o o
o o o o
ae dil
laaya hai bahaar
apnon ka pyaar
kya kehna
milen hum
chhalak utha
khushi ka khumaar
kya kehna
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna…aa
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna
ae dil
laaya hai bahaar
apnon ka pyaar
kya kehna
milen hum
chhalak utha
khushi ka khumaar
kya kehna
hum tum yun hi milte rahein
mehfil yoon hi sajti rahe
bas pyaar ki yehi ek dhun
har subah-o-shaam bajti rahe
gale mein mehekte rahein
pyaar bhari
baahon ka haar
kya kehna…aa
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna
oh……..o
ho o o o o
o o o o o
o o o o
ae dil
laaya hai bahaar
apnon ka pyaar
kya kehna
milen hum
chhalak utha
khushi ka khumaar
kya kehna
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna…aa
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna
Sad Version
dil ka koi tukda kabhi
dil se juda hota nahi
apna koi jaisa bhi ho
apna hai wo duja nahi
yahi hai wo milan hai jo
sachmuch hai
dil ka qaraar
kya kehna
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna
ae dil
laaya hai bahaar
apnon ka pyaar
kya kehna
milen hum
chhalak utha
khushi ka khumaar
kya kehna
kuchh apne hi tak yoon nahi
ye hai sawaal sab ke liye
jeena hai to jag mein jiyo
ban ke misaal sab ke liye
dekho kaisa mehak raha
pyaar bhari
baahon ka haar
kya kehna…aa
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna
ae dil
laaya hai bahaar
apnon ka pyaar
kya kehna
milein hum
chhalak utha
khushi ka khumaar
kya kehna
jo ho gaya so ho gaya
logon se tu darna nahi
saathi tere hain aur bhi
duniya mein tu tanha nahi
saamna karenge mil ke
chaahe dus ho
chaahe hazaar
kya kehna..aa
khile khile chehron se aaj
jag hai mera
gul-e-gulzaar
kya kehna
oh……..o
ho o o o o
o o o o o
o o o o
ae dil
laaya hai bahaar
apnon ka pyaar
kya kehna
milen hum
chhalak utha
khushi ka khumaar
kya kehna
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna
- In: "reconciliation" song | Devaki Pandit Songs | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Happy-Sad song | Kumar Sanu - Devaki Pandit Duet | Kumar Sanu Song | One singer singing for several actors | Party song | Post by Sadanand Kamath | Songs of 1990s (1991 to 2000) | Songs of 1994 | Yearwise breakup of songs
- 3 Comments
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 : | 4092 | Post No. : | 15234 |
hamaare baad ab mehefil mein afsaane bayaan honge
bahaaren humko dhoondengi na jaane hum kahaan honge
rahen naa rahen ham mehakaa karenge
ban ke kali, ban ke sabaa, baag e wafaa mein
ek din bik jaayega maati ke mol
jag mein reh jaayenge pyaare tere bol
duje ke hothon ko dekar apne geet
koyee nishaanee chhod, phir duniya se dol
These three songs of Majrooh saab and some more are of the eminence that would have been categorised as poems of repute if they were not film songs.
Remembering Majrooh Sultanpuri (01/10/1919 – 24/05/2000) today on his birth centenary. In fact, Majrooh Saab’s birth centenary celebrations commenced on September 30, 2018 with a 2-day National Seminar on his contributions to Hindi films and the Urdu literature which was held at the Kalina campus of Mumbai University. Thereafter, a few more such celebrations were also held elsewhere. For instance, Hindustan Academy celebrated his centenary at Prayagraj on August 19, 2019. Paasbaan-e-Adab also arranged Majrooh Saab’s birth centenary celebrations on December 22, 2018 at Yeshwantrao Chavan Auditorium in Mumbai in which his non-filmy ghazals were show-cased in the form of songs by upcoming singers. In Delhi, Jashn-e-Rekhta scheduled a special session on Majrooh Saab in its annual conference in December 14, 2018. I am sure many more such celebrations would have taken place all over India.
Like Shailendra, Majrooh Saab had a reluctant entry into the film world as a lyricist. But once he got associated with his first film ‘Shahjahan’ (1946), he ruled the Hindi film industry as a lyricist for nearly 6 decades with over 2000 songs in about 350 films. He wrote lyrics for the first generation hero, KL Saigal under the baton of the first generation music director, Naushad for Shahjahan’ (1946) to the third generation hero, Shah Rukh Khan and the third generation music director, AR Rahman for ‘1 To Ka 4’ (2001). This is the testimony of his smooth adaptation of the changing environments in Hindi film music. He achieved this stature on his own terms throughout his filmy career.
Naturally, with his long association with Hindi films, the range of the songs Majrooh Saab wrote varied. Some samples of his different genres of songs : Gham Kiye Musthakil , C A T Cat, Cat Maane Billi, Bade Bhole Ho Hanste Ho Sun Ke Duhaai, Dhalki Jaaye Hamaari Chundariyaa Ho Raam, Raahi Manwa Dukh Ki Chinta Kyun Sataati Hai, Aa Ja Aa Ja Main Hoon Pyaar Tera, Papa Kehte Hain Bada Naam Karega etc. He also wrote a few pop songs like Raat Shabnami Bheegi Chaandni. The list is endless.
Much has been said about Majrooh Saab in both the print and electronic medias. I had also written two articles on him for the blog. So, I will skip his biographical part and would confine my discussion mainly with his contributions as a lyricist and a poet.
Some of Majrooh Saab’s contemporary lyricists like Sahir Ludhianvi, Shailendra, Kaifi Azmi, Prem Dhawan were already associated with Progressive Writers Association (PWA), a group of writers with leftist ideology, when they got associated with Hindi film industry. For Majrooh Saab, it was in the reverse order. He joined PWA only after he got associated with Hindi films in 1946. But he was the most fearless among PWA lyricists. In 1949, he was arrested in Mumbai for reciting an inflammatory poem written by him in the gathering of the mill workers in Mumbai (earlier Bombay). He was given an option to apologise or spend two years in prison. He opted for the latter despite the fact that with the box office success of his film ‘Andaz’ (1949) and his songs becoming popular among the public, his filmy career had brightened up. Probably, Majrooh Saab was the only one among PWA lyricists who had gone to jail in India in the post-independent period.
Two years of absence from the Hindi film industry is a long enough for anyone to be forgotten. Majrooh Saab is perhaps the only lyricist who made a successful comeback in the Hindi film industry after two years of his hibernation in jail. But it was not a smooth sailing for his comeback. Naushad for whom he wrote successful songs in ‘Shahjahan’ (1946) and ‘Andaz’ (1949) refuse to work with Majrooh Saab saying that he would not work with non-believers. (Generally, followers of leftist’s ideology were regarded as atheist). Of course, later they made up, and worked together in ‘Saathi’ (1968), and still later became ‘sambandhi’ (relatives by marriage of their kins).
While Majrooh Saab got opportunities to write one or two songs for some films of 1951-52, it was in 1953, he got for the first time after ‘Andaz’ (1949) to exclusively write songs for ‘Baaghi’ (1953) working with Madan Mohan, ‘Fareb’ (1953) with Anul Biswas and ‘Baaz’ (1953) with OP Nayyar. Unfortunately, despite having good songs, these films failed miserably at the box office. However, the versatility of Majrooh Saab as a lyricist became evident from these films which had different genres of songs. In a way, one can say that Majrooh Saab’s writing of light-hearted songs began with ‘Baaz’ (1953).
It was ‘Aar Paar’ (1954) which once more brought together the Guru Dutt-OP Nayyar-Majrooh Saab combination. And this time, they became a winning combination. The fortunes of this combo changed for the better and they repeated their feat with ‘Mr and Mrs 1955’ (1955) and ‘CID’ (1956). Generally, we talk about the catchy tune. But in these films, for the first time, Hindi film industry got the taste of ‘catchy lyrics’ of Majrooh Saab who until then, had been identified with melancholic songs of ‘Shahjahan’ (1946), and ‘Andaz’ (1949).
Majrooh saab is known as a master craftsman in writing lyrics for a pre-set tune. His choice of appropriate words which not only fit best in the metre of the line but also suited to the ‘meend’ (ascending or descending notes in the metre) and ‘murki’ (short taan in the metre) for pre-set tunes. As a result, listeners would believe that he wrote the lyrics first and the music director set the tune later. There are hundreds of such examples of his songs written on pre-set tunes. I will just discuss a couple of his songs which have been written on a pre-set tunes:
chhupaa lo yoon dil mein pyaar meraa
ke jaise mandir mein lau diye ki
hide away (protect) my love in your heart
like the flame of a lamp in a temple
This is a song from ‘Mamta’ (1966) set to tune based on raag Yaman by Roshan. This song has been written in pure Hindi. The second line of the mukhda has an unusual imagery which gets repeated in each of the antaraas. But at each place, the meaning of the imagery changes based on the previous lines. It is a wonder as to how Majrooh Saab could imagine and conceive the right emotion with right words. I feel that literary quality of this song makes it fit enough to be included in the curriculum of Hindi poems in the high school.
Now see the contrast in the second example of the song of a different genre written in Hindi-Urdu mix:
He: hum ne to dil ko aap ke qadmon pe rakh diyaa
iss dil ka kya karenge yeh ab aap sochiye
She: hum aap ki wafaa ki qasam khaa rahen hain aaj
kaise wafaa karenge yeh ab aap sochiye
He: i have kept my heart at your feet
now it is up to you to think what to do with it
She: i swear by your faithfulness today
now you decide how to sustain this faith
This is a deleted song from the film ‘Mere Sanam’ (1965) set to music by OP Nayyar. Again, these lines show the mastery of Majrooh Saab in using appropriate words on a pre-set tune without disturbing the metre of the song. On top of it, as a bonus to the listeners, he has written the song in a ‘shaayaraana andaz’ – ghazal style (but it is not a ghazal). The song belongs to the genre of romance but it is also a soft ‘nok jhonk’ (quick repartee) song.
How one can forget the contributions of Majrooh Saab in reviving the interest in duet songs which had seen a declining trend in the early 1950s. Majrooh Saab held the view that it was not the fault of producers-directors but of lyricists and music directors who did not pay much attention to the duet songs. As a result, directors reduced the duet song situations in their films.
Hindi films had the best duet songs during 1955-70 mainly from Majrooh Saab in combination with Burman Da and OP Nayyar which were mostly in the genre of romantic comedy. The films which had a few popular duets were ‘Aar Paar’ (1954), ‘Mr and Mrs 1955’ (1955), ‘Nau Do Gyaarah’ (1957), Paying Guest (1957), ‘Tumsa Nahin Dekha’ (1957), ‘Chalti Ka Naam Gaadi’ (1958), ‘Dil Deke Dekho’ (1959), ‘Phir Wohi Dil Laaya Hoon’ (1963), ‘Teen Deviyan’ (1965), ‘Mere Sanam’ (1965), ‘Mohabbat Isko Kehte Hain’(1965), ‘Teesri Manzil’(1966) and many more.
From the mid-1960s onward, Majrooh Saab started working with the second generation of music directors also. Laxmikant-Pyarelal (LP) and RD Burman were two promising music directors amongst them. But both were struggling to get themselves firmly established in Hindi film industry since early 1960s. One may call it a sheer co-incidence that when Majrooh Saab worked with them for the first time in ‘Dosti’ (1964) and ‘Teesri Manzil’ (1966) respectively, the films and their songs became super hit. Although LP’s ‘Parasmani’ (1963) was a box office success with its songs becoming very popular, it was only after the extra-ordinary success of ‘Dosti’ (1964) that LP started getting big banner films. Same was true for R D Burman after the success of ‘Teesri Manzil’ (1966). From these two films onward, both LP and RD Burman got a tremendous boost to their filmy career. Majrooh Saab worked with RD Burman in as many as 75 films churning out around 350 songs. With LP, he worked in 42 films with around 200 songs.
Next in the line of the second generation of the music directors with whom Majrooh Saab worked are, Rajesh Roshan, Anand-Milind and Jatin-Lalit, among others. Again, whether it was a co-incidence or the magical lyrics of Majrooh Saab, his first association with them also turned out to be their first successful film at the box office. The films were ‘Kunwaara Baap’ (1974), ‘Qayaamat Se Qayaamat Tak’ (1988) and ‘Jo Jeeta Wohi Siknadar’ (1992) respectively.
There is another side of Majrooh Saab’s personality and that is as an Urdu poet of repute. And he kept this side of his personality distinct from that of a lyricist of Hindi film songs making it sure that his ideological views do not seep into his film lyrics. Though Majrooh Saab had written many meaningful lyrics, he never considered them to be part of his poems. So, if one wishes to know the real personality of Majrooh Saab, one has to read his ‘taraqqi-pasand’ (progressive) ghazals. I have gone through the ghazals that are available online. His hardcore revolutionary call was evident in most of his ghazals which he wrote in the 1940s. An example:
jalaa ke mashaal-e-jaan hum junoon-sifaat chale
jo ghar ko aag lagaaye wo hamaare saath chale
Majrooh Saab is regarded as a pioneer in writing modern progressive ghazals, breaking away from the conventional style of ghazals of the classical poets. He gave a different interpretation of some of the common metaphors used in the conventional ghazals, in his progressive ghazals. For instance, the word ‘manzil’ is often used in the conventional ghazal to reach out to the beloved. But Majrooh Saab has used ‘manzil’ in plural form in the ‘matla’ she’r of one of his popular progressive ghazals to mean that the attainment of objectives (manzilen) becomes easy when someone joins hands with him (comradeship):
mujhe sahal ho gayi manzilen, wo hawaa ke rukh bhi badal gaye
teraa haath haath mein aa gayaa, ke charaag raah mein jal gaye
Most of Majrooh Saab’s ghazals written in 1940s are filled with heavy doses of Arabic and Persian words. But it is not surprising, as he had studied Arabic and Persian in school. Once he got associated with Hindi films, probably, Majrooh Saab could not devote much time to Urdu literature. Hence his output in terms of published works is limited. ‘Kulliyat-e-Majrooh Sultanpuri’ seems to be the only published works of his ghazals.
Majrooh Saab’s journey of six decades of prolific song writer of Hindi films ended on the planet of earth on May 24, 2000 but not before he was conferred with the prestigious Dadasaheb Phalke Award in 1993 – the first Hindi film lyricist to get this award. He left around 2000 of his Hindi film songs for us to cherish his memory for eternity.
On the occasion of birth centenary of Majrooh Saab, I have chosen an apt song written by him from the film ‘Kabhi Haan Kabhi Naa’ (1994) which was directed by one of my favourite directors, Kundan Shah. The song is ‘Wo To Hai Albela Hazaaron Mein Akela’ a duet sung by Devaki Pandit and Kumar Sanu. The song is set to music by Jatin-Lalit.
One of the interesting features of the picturization of the song is that both Devaki Pandit and Kumar Sanu lip sync for multiple actors. Devaki Pandit lip syncs for Shashi Sahay, Sadia Siddiqui, Reeta Bhaduri and Kumar Sanu lip syncs for Nasiruddin Shah, Tiku Talsania, Satish Shah and Anjaan Srivastav. On the sound track, both the singers sing a few lines together but, in the film, their voices are for the entire group of actors and actresses.
A reading of Majrooh Saab’s lyrics of this song reminds me to say that his style of song writing remained, more or less, the same throughout his filmy career. I do not think that other Hindi song lyricists would have used the words like ‘aib’ (vice) and ‘hunar’ (virtue) in their songs in the 1990s.
Audio
Video
Song – Wo To Hai Albela, Hazaaron Mein Akela (Kabhi Haan Kabhi Naa) (1994) Singer – Devaki Pandit, Kumar Sanu, Lyrics – Majrooh Sultanpuri, MD – Jatin-Lalit
Devaki Pandit + Kumar Sanu
Lyrics
wo to hai albela
hazaaron mein akela
wo to hai albela aa
hazaaron mein akela
sadaa tum ne aib dekha
hunar ko na dekha
wo to hai albela
hazaaron mein akela
sadaa tum ne aib dekha
hunar ko na dekha
wo to hai albela aa
fursat mili na tumhen apne jahaan se
us ke bhi dil ki kabhi samjhte kahaan se
fursat mili na tumhen apne jahaan se
us ke bhi dil ki kabhi samjhte kahaan se
jaana hai jise patthar
heera hai wo to heera
sadaa tum ne aib dekha
hunar ko na dekha
wo to hai albela aa
hazaaron mein akela
wo to hai albela aa
bansi ko lakdi sadaa samjha kiye tum
par us ke naghmon ki dhun kahaan sun sakey tum
bansi ko lakdi sadaa samjha kiye tum
par us ke naghmon ki dhun kahaan sun sakey tum
diye ki maati dekhi
dekhi na us ki jyoti
sadaa tum ne aib dekha
hunar ko na dekha
wo to hai albela
hazaaron mein akela
wo to hai albela aa
hazaaron mein akela
sadaa tum ne aib dekha
hunar ko na dekha
wo to hai albela
hazaaron mein akela
wo to hai… albela aa
———————————-
Devnagari script lyrics (Provided by Sudhir)
———————————–
वो तो है अलबेला
हजारों में अकेला
वो तो है अलबेला
हजारों में अकेला
सदा तुमने एब देखा
हुनर को ना देखा
वो तो है अलबेला
हजारों में अकेला
वो तो है अलबेला
हजारों में अकेला
सदा तुमने एब देखा
हुनर को ना देखा
फुर्सत मिली ना तुम्हें अपने जहां से
उसके भी दिल की समझते कहाँ से
फुर्सत मिली ना तुम्हें अपने जहां से
उसके भी दिल की समझते कहाँ से
जाना है जिसे पत्थर
हीरा है वो तो हीरा
सदा तुमने एब देखा
हुनर को ना देखा
वो तो है अलबेला॰॰आ
हजारों में अकेला
वो तो है अलबेला॰॰आ
बंसी को लड़की सदा समझा किए तुम
पर उसके नग़मों की धुन कहाँ सुन सके तुम
बंसी को लड़की सदा समझा किए तुम
पर उसके नग़मों की धुन कहाँ सुन सके तुम
दिये की माटी देखी
देखी ना उसकी ज्योती
सदा तुमने एब देखा
हुनर को ना देखा
वो तो है अलबेला
हजारों में अकेला
वो तो है अलबेला
हजारों में अकेला
सदा तुमने एब देखा
हुनर को ना देखा
वो तो है अलबेला
हजारों में अकेला
वो तो है॰ ॰ ॰ अलबेला॰॰आ
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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws
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Blog Day : |
4027 | Post No. : | 15141 | Movie Count : |
4159 |
Songs Repeated in Hindi Films – 7
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A birthday greeting that is now a week ago (plus one more day 😉 ). Many many happy and healthy returns Naseer ji – may we all be blessed with a few more decades of accomplished performances by yourself.
Memories do always seem to connect as if yesterday. Maybe it is the ‘me’ inside me that is never changing in this ever changing world, and so every memory, every remembrance of every person, place, happening, event, vision, hearing a song on the radio, and yes, seeing films in black and white on the TV screens in neighbor’s homes – everything seems to have happened just yesterday.
The film was ‘Manthan’ (1976). And the days were when we would just sit and watch a film on TV for no reason – just that it was a Saturday / Sunday and Doordarshan would be airing a feature. Much later in life I would surprised to find out that some of the films I had watched on TV were actually color films. But then, those black and white images in the memory are more prized and dear now, than the actual color visuals captured later in the day (yesterday, I mean – as I said, everything seems to have happened yesterday).
So, ‘Manthan’ it was. A film that was part of the earliest batch of New-Wave cinema in India. From the first viewing, the memory that I have is, that I do not remember anything about the film or its storyline, its characters, their names, performances etc. Everything that I know about this film is from later viewings. But there are two items that are stuck in the storage from that viewing – one is a visual of a man driving a jeep, a woman trying to follow him on foot, and the song playing – “Mero Gaam Kaathha Paarey”. And the second is a funny mention – a belligerent villager pronouncing the word ‘society’ as ‘sisoti’ (सीसोटी). That is the earliest data byte stored in memory about this exemplary and infinitely versatile performer – Naseeruddin Shah.
Beyond that of course, getting in later teens and going to college, it was trendy and fashionable to go see new wave films – and so a much crowded occupancy of memories related to his films. The list seems to go on and on – ‘Nishant’ (1975), ‘Bhumika’ (1977), ‘Godhuli’ (also 1977), ‘Junoon’ (1978), ‘Sparsh’ (1979), ‘Aakrosh’, ‘Albert Pinto Ko Gussa Kyon Aata Hai’, ‘Bhavni Bhavai’ (all three in 1980), then ‘Chakra’ and ‘Sazaay e Maut’ (what a solid psychological thriller this one is), both from 1981, ‘Bazaar’ (1982), then a ton of them in 1983 – ‘Katha’, ‘Mandi’, ‘Ardh Satya’ and the peerless cult classic ‘Jaane Bhi Do Yaaro’, then ‘Paar’, ‘Mohan Joshi Haazir Ho’ and ‘Khandhar’ in 1984, ‘Mirch Masala’ in 1985, and in 1986, ‘Musafir’, and ‘Genesis’ – the unforgettable film of primeval emotions and human relations, by Mrinal Sen.
On the way, his career merged into the commercial circuit, and, with some of the then current group of parallel cinema performers, he established himself as a performer at home both with ‘sisoti’ and “Oye Oye Aaaa. . . O Tirchhe Nainon Waali” (‘Tirchhi Topi Waale’, 1998). The ease with which he has straddled both the streams is really heartwarming. It simply goes to underline his openness and his versatility. Starting with ‘Hum Paanch’ in 1980, he entered into the mainstream commercial Hindi cinema and has made an enviable position for himself in the industry with creditable performances in films like ‘Umrao Jaan’ (1981), ‘Dil Aakhir Dil Hai’ (1982), ‘Masoom’ and ‘Woh Saat Din’, (1983), ‘Ghulami’ and ‘Trikaal’ (1985), ‘Karma’ (1986, in the esteemed company of Dilip Kumar), ‘Ijaazat’ (1987), the fabled ‘Pestonjee’ in 1988, along with ‘Hero Hiralal’ and ‘Maalamaal’. In the 1988 Merchant-Ivory production of the crime thriller ‘The Perfect Murder’, he plays the pivotal role of Inspector Ghote. Then on to ‘Tridev’ in 1989, ‘Police Public’ in 1990. . . and then there are many, too many to be listed here. A sampler of important ones –‘Vishwatma’ (1992), ‘Sir’ (1993), ‘Mohra’ (1994), ‘Himmat’ (1996), ‘Chinagate’ (1998), ‘Sarfarosh’ (1999), ‘Hey Ram’ – the role of Mahatma Gandhi (2000), ‘Monsoon Wedding’ (2001), ‘3 Deewaarein’ and ‘Main Hoon Na’ (2004), ‘Iqbal’ (2005), ‘Omkara’ and ‘Banaras’ along with ‘Yun Hota To Kya Hota’, his debut as a director in (2006), ‘Parzania’ (2007), ‘Jaane Tu Ya Jaane Na’ in which he plays the role of a portrait on the wall, and ‘Mere Baap Pehle Aap’ in 2008. . . As I said, his notable performances are simply too numerous to be sampled.
Naseer was born in Barabanki (UP) on 20th July, 1949. His parents, Aley Mohammed Shah and Farrukh Sultan, are originally from Meerut. His school education happened at St. Anselm’s in Ajmer and St. Joseph’s College in Nainital. After doing his BA from Aligarh Muslim University, he joined the National School of Drama in Delhi. From there on, the rest is all fairly recent history. His work, on stage and on screen is the story of his life.
On the way, he has earned two National awards for the best actor – ‘Sparsh’ in 1979 and ‘Paar’ in 1984, and one National award for the best supporting actor in ’Iqbal’ (2006). He also has to his credit three Filmfare awards for Best Actor – ‘Aakrosh’ (1981), ‘Chakra’ (1982) and ‘Masoom’ (1984). He also won the Volpi award for the best actor at the Venice Film Festival in the year 1984 for his performance in ‘Paar’. He has also been honored with the national awards of Padam Shri (1987) and Padam Bhushan (2003).
The song being presented today is a repeat category item with a slight difference. It is a medley of 6 songs, that have been strung together into a wonderful imitation performance by Naseer. There is a specific similarity in this set of songs. All are rendered by Rafi Sb, and all are Shammi Kapoor songs on screen. The audio segments edited together are all original renditions, with no effort to re-record or improvise.
The choice of Shammi Kapoor songs all – you may ask. Yes, the interesting background to this song does indeed involve Shammi Kapoor as an important figure in the story line, albeit in absentia.
The film is ‘Sitam’ from 1984. The film is produced by Vikram, and is directed by the husband wife team of Aruna Raje and Vikas Desai. The main cast of actors is Naseeruddin Shah, Smita Patil, Vikram. Asrani, Sulabha Deshpande, Seema Deo, Vikas Desai, Arun Sarnaik, Keith Stevenson amongst others.
Subhash Munkur (role played by Naseeruddin Shah) is a lively, jolly fellow who loves to live the life to its fullest. He is a middle income family person, working in a certain office. He is an avid football player and is the captain of the homegrown team in his company. He is also a very fervent fan of Shammi Kapoor, and imitates his acting and sings his songs. His wife, Meenakshi (role played by Smita Patil) is a home maker, and they have a small son to complete their small dream world.
One day, suddenly, this dream world is mortally shattered. Subhash passes away in a freak inadvertent accident on the football field. Meenakshi is devastated and crushed – she had a very loving relationship with her husband.
This song medley appears in the film a little while after the accident. Meenakshi is alone at home and the memories of Subhash are all around her, and she is traumatized by them. She envisions him still in the home, and singing Shammi Kapoor songs as he used to, to woo her and also to irritate her. Whichever part of the home she goes to, there is a song and a vision attached with it, and she continues to see him singing, in the balcony, in the kitchen, in the bedroom, on the dining table – everyplace in the home. She is not able to hold her grief, and is sobbing and in tears all the time, while this ‘dream of wide open eyes’ is being enacted around her.
So here is a treat of Shammi Kapoor songs, performed quite well by Naseeruddin Shah. Of course the original personality is the big difference, but still, it is a creditable imitation. Once again, this medley is not listed in the EP of the film or in the Geet Kosh and is available only on the film track.
The rest of the story is an interesting premise. Inder (role played by Vikram), the person who inadvertently caused the accident on the football field, is till then unknown to Meenakshi. He locates her and tries to become friendly with her and her son. He is guilt ridden and some how wants to make some amends, he knows not how. But then Meenakshi discovers the truth behind his visits. She further accuses him, berates him and in anger asks him to leave her home. Inder goes back and attempts to commit suicide by slashing his wrists. He is taken to the hospital and saved, but now the guilt factor in his mind has multiplied manifold. He becomes suicidal and a mental patient, and is shifted to the mental ward. The doctors understand his situation that the only remedy for him is to get forgiveness from Meenakshi. And of course, Meenakshi, in her own shattered state of mind, is in no condition or frame of mind to forgive Inder.
This is actually where the film starts. The earlier events are presented as a flashback, and the rest of the film is about how Meenakshi comes to terms with her grief, and ends up forgiving Inder. The film is a very interesting psychological narrative.
Enjoy this replay of six of the famous songs of Shammi Kapoor. I have listened to and viewed this clip so many times now, and every time, it seems to end just too soon. One does not realize that more than three minutes have passed. And the mind actually waits for yet one more song segment.
And the added bonus is the improvised performance by Naseeruddin Shah. Great performer, great actor – I am sure you will agree.
Song – Kisi Na Kisi Se Kabhi Na Kabhi (medley) (Sitam) (1984) Singers – Mohammed Rafi, Lyrics – [multiple], MD – [multiple]
Lyrics
kisi na kisi se
kabhi na kabhi
kahin na kahin dil lagaana padega. . .
tum ne mujhe
dekha
ho kar
meharbaan
ruk gayi ye zameen
tham gaya aasmaan
jaan e mann
jaan e jaan
tum ne mujhe
dekha. . .
badan pe sitaare lapete huye
o jaan e tamanaa kidhar ja rahi ho
zara paas aao
to chain aa jaaye
zara paas aao
to chain aa jaaye
badan pe sitaare lapete huye
o jaan e tamanaa kidhar ja rahi ho
zara paas aao
to chain aa jaaye
zara paas aao
to chain aa jaaye. . .
kya haseen mod par aa gayi zindgani
ke haqeeqat na ban jaaye meri kahaani
jab aahen bhare ye thandi pawan
seene mein sulag uth’ti hai agan
tujhe dekh ke kehta hai mera mann
kahin aaj kisi se mohabbat na ho jaaye. . .
dil ke jharokhe mein tujh ko bitha kar
yaadon ko teri main dulhan bana kar
rakhunga main dil ke paas
mat ho meri jaan udaas
dil ke jharokhe mein tujh ko bitha kar
yaadon ko teri main dulhan bana kar
rakhunga main dil ke paas
mat ho meri jaan udaas. . .
tum ne kisi ki jaan ko
jaate huye dekha hai
wo dekho mujh se rooth kar
meri jaan ja rahi hai
wo dekho mujh se rooth kar
meri jaan ja rahi hai
tum ne kisi ki jaan ko
jaate huye dekha hai
wo dekho mujh se rooth kar. . .
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
किसी ना किसी से
कभी ना कभी
कहीं ना कहीं दिल लगाना पड़ेगा॰ ॰ ॰
तुम ने मुझे
देखा
हो कर
मेहरबान
रुक गई ये ज़मीन
थम गया आसमान
जान ए मन
जान ए जान
तुम ने मुझे
देखा॰ ॰ ॰
बदन पे सितारे लपेटे हुये
ओ जान ए तमन्ना किधर जा रही हो
ज़रा पास आओ
तो चैन आ जाये
ज़रा पास आओ
तो चैन आ जाये
बदन पे सितारे लपेटे हुये
ओ जान ए तमन्ना किधर जा रही हो
ज़रा पास आओ
तो चैन आ जाये
ज़रा पास आओ
तो चैन आ जाये॰ ॰ ॰
क्या हसीन मोड़ पर आ गई ज़िंदगानी
के हक़ीक़त ना बन जाये मेरी कहानी
जब आहें भरे ये ठंडी पवन
सीने में सुलग उठती है अगन
तुझे देख के कहता है मेरा मन
कहीं आज किसी से मोहब्बत ना हो जाये॰ ॰ ॰
दिल के झरोखे में तुझको बिठा कर
यादों को तेरी मैं दुल्हन बना कर
रखूँगा मैं दिल के पास
मत हो मेरी जां उदास
दिल के झरोखे में तुझको बिठा कर
यादों को तेरी मैं दुल्हन बना कर
रखूँगा मैं दिल के पास
मत हो मेरी जां उदास॰ ॰ ॰
तुमने किसी की जां को
जाते हुये देखा है
वो देखो मुझसे रूठ कर
मेरी जान जा रही है
वो देखो मुझसे रूठ कर
मेरी जान जा रही है
तुमने किसी की जां को
जाते हुये देखा है
वो देखो मुझसे रूठ कर॰ ॰ ॰
Intaha ho gayi intzaar ki
Posted on: February 2, 2019
- In: Amitabh Bachchan songs | Amitabh Bachchan songs by Kishore Kumar | Asha Bhonsle songs | Blog ten year challenge (2009-2019) | Duet | Happy-Sad song | Kishore Kumar songs | Kishore Kumar-Asha Bhonsle duet | Melancholic song | Songs of 1980s (1981 to 1990) | Songs of 1984 | Yearwise breakup of songs
- 5 Comments
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 : | 3851 | Post No. : | 14863 |
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Blog ten year challenge (2009-2019)- Song number 1
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We all have heard of 10 year challenge. In this people post their photos from 2009 as well as 2019 side by side to show how they have aged or how they have not aged.
This ten year challenge can have many variations. One is for Indian cricketers. It is interesting to see how Virat Kohli , Dhoni, and Jadeja looked ten years ago. They were all grown ups at least even if baby faced, but what about Prithvi Shaw. He is just nineteen years old in 2019, and he was just nine years old in 2009 !
There is even twenty year challenge, where one can find photos and videos of celebrities from 1999. I saw a picture of Mitali Raj from 1999 and also one of today.
I also saw a video on youtube where today’s famous cricketers like Tendulkar, Ganguly,, Dravid etc were shown when they were very young.
That video had an interview of Dravid as well. He looked so young those days, but just as unassuming as he is today. The interviewer asked him what he would like to be after his playing days. Dravid said that he would like to be a coach, adding that he had no idea whether he had the credentials for that. Today, twenty years later, as coach of Indian U-19 and A team, one can say that he has been a superb and well respected coach for the new generation of Indian cricketers.
This blog was started in 2008, so we are already a more than ten year old blog. So it is possible for us to have our own ten year blog challenge, where we can post songs from movies whose songs were posted in the blog ten years ago, on the same day.
So, I am starting this ten year blog challenge today on 2 February 2019. When I look back on 2 february 2009, I find that six songs were discussed that day. Songs from “Ek Phool Do Maali” (1969), “Do Dishaayen”(1982), “Barsaat”(1949), “Asli Naqli”(1962), “Ghar Ghar Ki Kahaani”(1970) and “Sharaabi”(1984) were covered on that day. Out of these six movies, “Asli Naqli”(1962), “Barsaat”(1949) and “Ek Phool Do Maali” (1969) havev already been YIPPEED. That leaves us three movies whose songs are still remaining to be covered.
I knew even without checking that “Sharaabi”(1984) was not YIPPEED and that it had some superb songs in it. So this movie was an ideal movie to kickstart the ten year blog challenge.
“Sharaabi”(1984), which came exactly twenty years after “Sharaabi”(1964) had songs that have become classics, just as the songs of “Sharaabi”(1964) were already classics by 1984.
“Sharaabi”(1984) was produced by Satyendra Pal and directed by Prakash Mehra. The movie had Amitabh Bachchan, Jaya Prada, Om Prakash, Ranjeet, Pran, Satyen Kappu, Deepak Parashar, Smita Patil, Bharat Bhushan, C S Dube, A K Hangal, Dinesh Hingoo, Viju Khote, Mukri, Suresh Oberoi, Sudhir, Mayur, Gurbachan, Asha Lata, Chandrashekhar, Jankidas, Pinchoo Kapoor, Ram Sethi, Rajan Haksar, Sunder etc in it.
The movie had six songs in it. Three songs from the movie have been covered in the blog. The first song was covered on this date ten years ago. Other two songs were covered in october 2012.
Here is the fourth song from “Sharaabi”(1984) to appear in the blog. The song is sung by Kishore Kumar and Asha Bhonsle. Anjaan is the lyricist. Music is composed by Bappi Lahiri.
Bappi Lahiri is considered one of the major reasons for the demise of the golden era of HFM. But he showed that he also had the ability to produced classy compositions. He created lots of masterpieces with Kishore Kumar that are remembered to this day. In a way, “Sharaabi”(1984) was sort of like a continuation of “Namakhalaal” (1982) because both these movies had more or less same personnel. The music team of the two movies was entirely same.
Anjaan, who is considered a willing comrade in arms of Bappi Lahiri in degrading the quality of HFM, shows here that he could come up with great lyrics if opportunity presented itself. While noting down the lyrics of the song, I came to realise that the lyrics of this song should be considered the foundation of the song on which the magnificent edifice of this song was built by the music director and the singers. In fact, the lyrics of this song DID win the Filmfare best lyrics award.
The song is picturised superbly as can be expected in a movie directed by Prakash Mehra. The movie is a very long song, over eight minutes long. For the first four minutes, it is a missing the beloved song, and after that the song undergoes a change of mood and the beloved appears on the scene and the melancholic mood gives way the a mood of joy and festivity. serene playing of violin gives way to joyous playing of guitar.
The song is picturised on Amitabh Bachchan and Jayaprada, with almost the entire starcast in attendance. Going by the picturisation, this song appears to be the last scene of the movie as well, wuith the leading duo procceeding to walk into the proverbial sunset as the song ends and Om Prakash wipes off tears of joys from his eyes.
Our regulars are requested to contribute to this “Ten Year Blog Challenge.” That should make it a great series.
Audio
Video
Song-Intaha ho gayi intezaar ki (Sharaabi)(1984) Singers-Kishore Kumar, Asha Bhonsle, Lyrics-Anjaan, MD-Bappi Lahiri
Both
Chorus
Lyrics
lalalaau
lalalaau
lalalalalalaa
lalalalalalaa
lalalalalalaa
hmm hmm hmm
intaha ho gayi intazaar ki
ha
aayi na kuchh khabar mere yaar ki
ye hamen hai yaqeen
bewafa vo nahin
phir vajah kya hui intazaar ki
intaha ho gayi intazaar ki
aayi na kuchh khabar mere yaar ki
ye hamen hai yaqeen
bewafa vo nahinphir
phir vajah kya hui intazaar ki
hmmm
baat jo hai usmein
baat vo yahaan kahin nahin kisi mein
haay
vo hai meri
bas hai meri
shor hai yahi gali gali mein
saath saath vo hai mere gham mein
mere dil ki har khushi mein
aah
zindagi me vo nahi to kuchh nahi hai meri zindagi mein
bujh na jaaye ye shama aitabaar ki
intaha ho gayi intazaar ki
haay
aayi na kuchh khabar mere yaar ki
ye hamen hai yaqeen
bewafa vo nahin
phir vajah kya hui intazaar ki
o o mere sajna
lo o main aa gayi
o o o mere sajna
lo o main aa gayi
o logo ne jo diye honge bade bade nazarane
layi hoon main tere liye dil mera
dil yahi maange dua
ham kabhi hon na juda
dil mera hai mera rahe dil tera
ye meri zindagi
hai teri
ye meri zindagi
hai teri
tu mera sapna
main tujhe pa gayi
o mere sajna
lo main aa gayi
gham ke andhere dhale
bujhte sitaare jale
dekha tujhe to dilon mein jaan aayi
honthon pe taraane jage
aramaan divaane jage
baahon mein aake tu aise sharmaayi
chha gai phir wahi bekhudi
chha gai phir wahi bekhudi
laa
laalalaa
laa
lalalalala
laalalala (hmm)
laa
laalalaa
laa
lalalalala
laa
lalalalala
lalalalala
laa
lalalalala
lalalalala
lalaala
lalala
lalala
lalaala
lalala
lalala
Chanchal man teri chaturaayi
Posted on: March 2, 2018
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3514 | Post No. : | 14116 |
The novel “Parineeta” penned by Sharatchandra Chattopadhyay has been used in several movies in Hindi as well as in other languages. Some movies had the same title, viz Hindi movies “Parineeta”(1953) and “Parineeta”(2005). Then there have been other movies where the film title was different.
“Sankoch”(1976) was a Hindi movie which was based on the novel “Parineeta”. This movie was directed by Anil Ganguly for Suyog Films, Bombay.
The movie had Jeetendra, Sulakshana Pandit, Vikram, A K Hangal, Om Shivpuri, Aruna Irani, I S Johar, Dulaari, Urmila Bhatt, Baby Chintu, Ramesh Deo, Seema, Roohi, Jankidas, Lalita Kumari, Prreti Ganguly, Dinesh Hingoo, Keshto Mukherji, Birbal, Arvind Rathod, H L Pardesi, Shaukat Bharti, Shail Chaturvedi etc in it.
The movie had four songs in it. With time these songs have ended up becoming quite rare.
One song, arguably the most well known song from the movie has been covered in the blog.
Today (2 match 2018) is the 85th birthday of Anandji (2 march 1933) of Kalyanji Anandji music director duo. On this occasion, here is a song from “Sankoch”(1976). This song is sung by Kishore Kumar. M G Hashmat is the lyricist. Music is composed by Kalyanji Anandji.
HFGK counts this song as one song. This song figures in the movie twice and the lyrics are different in the two occasions. The song gets played while the husband-wife duo of Jeetendra and Sulakshana Pandit are shown having one of their countless disagreements.
This song is one that I do not recall having heard before. It is a nice song to listen to and it quickly grows upon the listener.
We take this opportunity to wish Anandji Veerji Shah a very happy 85th birthday and we wish him many more happy returns of the day.
Part I (audio)
Part I (Video)
Part II (Video)
Song-Chanchal man teri chaturaai(Sankoch)(1976) Singer-Kishore Kumar, Lyrics-M G Hashmat, MD-Kalyanji Anandji
Lyrics
———————–
Part I
———————–
man mere
kaahe kare chaturaai
kaahe kare chaturaai
chanchal man teri chaturaai ee ee
kaam na aayi chanchal man
chanchal man teri chaturaai ee ee ee
kaam na aayi chanchal man
mohmaaya ke jaal mein phans ke ae
mohmaaya ke jaal mein phans ke
toone thokar khaai re khaai
chanchal man
arre chancahal man teri chaturaai ee ee ee
kaam na aayi chanchal man
bheegi palken poochh rahi hain
bheegi palken pooch rahi hain
koi inhen batlaaye
aansu ban ke pyaar bhala kyun
aankhon se beh jaaye
dard usi se ae
paaya toone
dard usi se paaya toone
jis se lagan lagaai lagaai
chanchal man
chanchal man teri chaturaai ee ee ee
kaam na aayi chanchal man
jisko toone apna samjha aa
jisko re toone apna samjha
wo to hua na tera
raat ko uski yaad mein roya
bhoola jo hua sawera
jhoothi aasha aa
phir se tujhko
jhoothi aasha phir se tujhko
usi ke dar pe laayi re laayi
chanchal man
arre chanchal man teri chaturaai ee ee ee
kaam na aayi chanchal man
mohmaaya ke jaal mein phans ke ae
mohmaya ke jaal mein phans ke
toone thokar khai re khai chanchal man
chanchal man teri chaturaayi ee ee ee
kaam na aayi chanchal man
————————-
Part II
————————-
kaun raha hai kaun rahega
kaun raha hai kaun rahega
kiska yahaan hai thhikaana
har koi jaane chhod ke sab kuchh
hoga ik din jaana
phir kyon moorakh
naa jaane kyon
phir kyon moorakh
naa jaane kyon
tujhko samajh na aayi re aayi
chanchal man
arre chancahal man teri chaturaayi ee ee ee
kaam na aayi chanchal man
——————————————————————
Devnagri script lyrics (Provided by Avinash Scrapwala)
——————————————————————
———————–
भाग – १
———————–
मन मेरे ए
काहे करे चतुराई
काहे करे चतुराई
चंचल मन तेरी चतुराई ई ई
काम न आयी चंचल मन
चंचल मन तेरी चतुराई ई ई
काम न आयी चंचल मन
मोह माया के जाल में फंस के ए
मोह माया के जाल में फंस के
तूने ठोकर खाई रे खाई
चंचल मन
अरे चंचल मन तेरी चतुराई ई ई ई
काम न आयी चंचल मन
भीगी पलकें पूछ रही हैं
भीगी पलकें पूछ रही हैं
कोई इन्हें बतलाये
आंसू बन के प्यार भला क्यूँ
आँखों से बह जाए
दर्द उसी से ए
पाया तूने
दर्द उसी से ए
पाया तूने
जिससे लगन लगाई लगाई
चंचल मन
चंचल मन तेरी चतुराई ई ई ई
काम न आयी चंचल मन
जिसको तूने अपना समझा आ
जिसको रे तूने अपना समझा
वो तो हुआ न तेरा
रात को उसकी याद में रोया
भूला जो हुआ सवेरा
झूठी आशा आ
फिर से तुझको
झूठी आशा फिर से तुझको
उसी के दर पे लायी रे लायी
चंचल मन
अरे चंचल मन तेरी चतुराई ई ई ई
काम न आयी चंचल मन
मोह माया के जाल में फंस के ए
मोह माया के जाल में फंस के
तूने ठोकर खाई रे खाई
चंचल मन
अरे चंचल मन तेरी चतुराई ई ई ई
काम न आयी चंचल मन
————————-
भाग -२
————————-
कौन रहा है कौन रहेगा
कौन रहा है कौन रहेगा
किसका यहाँ है ठिकाना
हर कोई जाने छोड़ के सब कुछ
होगा इक दिन जाना
फिर क्यों मूरख
ना जाने क्यों
फिर क्यों मूरख
ना जाने क्यों
तुझको समझ न आयी रे आयी
चंचल मन
अरे चंचल मन तेरी चतुराई ई ई ई
काम न आयी चंचल मन
Zindagi sau baras ki sahi
Posted on: January 4, 2018
- In: "Get together" song | "Zindagi" song | Asha Bhonsle songs | Duet | Feelings of heart | Guest posts | Happy-Sad song | Kishore Kumar songs | Kishore Kumar-Asha Bhonsle duet | Multiple version song | Party song | Post by Peevesie's mom | Rajesh Khanna songs | Rajesh Khanna songs by Kishore Kumar | Songs of 1980s (1981 to 1990) | Songs of 1984 | Yearwise breakup of songs
- 4 Comments
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3457 | Post No. : | 13869 |
Anand Bakshi- R. D. Burman- Kishore Kumar- Rajesh Khanna. This is one combination that spelt wonders for all Hindi film music lovers across the globe. This is a combo which gave us melodies, in the 70s, in films like Kati Patang, The Train, Apna Desh, Amar Prem, Raja Rani, Namak Haraam, Aap Ki Kasam, Ajnabee etc. The trend followed in the 80s too with movies like Ashanti, Hum Dono (yes there are three films by this name in Bollywood), Awaaz, Alag Alag, etc.
Read more on this topic…
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3455 | Post No. : | 13857 |
The new year 2018 began yesterday. We started celebrating the birthdays of artists from the first day of the year itself, by discussing a Nana Patekar song. Nana Patekar is one of many artists who chose the new year day to be born. 🙂
As far as our regulars are concerned, they are not too far behind. They are just one day behind Nana Patekar. As many as three of our regulars, namely Pradeep Raghunathan, Peevesie’s mom and Sheela ji(wife of Avinash Scrapwala) are celebrating their birthdays today on 2 january 2018. We in this blog wish them all very happy birthdays.
Read more on this topic…
- In: Devnagri script lyrics by Sudhir | Duet | Duet lullaby | Feelings of heart | Guest posts | Happy-Sad song | Lata song | lullaby | Lyrics contributed by readers | Multi part song | Multiple version song | Post by Raja | Rafi songs | Rafi-Lata duet | Songs of 1960s (1961 to 1970) | Songs of 1970 | Yearwise breakup of songs
- 2 Comments
This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
The 25th of October is an important date for Hindi film music lovers. In fact, not just for them but for lovers of Urdu poetry too. For it is the anniversary of passing away of one of the industry’s foremost lyricists, Sahir Ludhianvi, who was highly regarded not just for lyrics but also for his poetry. In fact it was his poetry that brought him recognition early on – he just extended it to the film industry.
Read more on this topic…
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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