Archive for the ‘Hariharan Song’ Category
Kuchh mere dil ne kahaa
Posted on: February 13, 2024
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 : |
5688 | Post No. : | 18205 | Movie Count : |
4887 |
In this article, I have taken up for discussion, ‘Tere Mere Sapne’ (1996) which was the first Hindi film produced by Amitabh Bachchan Corporation Limited (ABCL) after it commenced operations sometime in 1994. Before I discuss the film, it is necessary to dwell upon as to why Amitabh Bachchan felt setting up a film production and distribution company, how the Company fared and how the Company went into near bankruptcy. I think, ABCL is one of the appropriate case studies for the students of business management to understand what went wrong with ABCL and how Amitabh Bachchan turned the corner from near bankruptcy to the star of the millennium.
ABCL was set up by Amitabh Bachchan as a private limited company with a view to bringing a corporate culture in film production and distribution which hitherto was mostly confined to the individuals or sole proprietorship firms. The Company commenced business in 1994 and was professionally managed under a CEO and other senior professionals recruited from the market. It produced TV Serial, ‘Dekh Bhai Dekh’ (1993-94). ‘Tere Mere Sapne’ (1996) was ABCL’s first Hindi film produced with a small budget which was a semi hit. It also earned profit in the distribution of the film, ‘Bombay’ (1995). During the course of its business operations, the Company diversified into event management, talent management and TV marketing.
During the first year of its operations, the Company made a net profit of Rs.15 crore on a paid-up capital of around Rs. 60 crore which was a good beginning. Buoyed by the first year of the encouraging result, ABCL ventured into high budget films in line with the Company’s aspirations to become a big player in the film making and the distribution. To achieve this, it required huge cash-flows to finance the new film projects. During this period, ABCL also got rights to host Miss World Pageant, 1996 for the first time in India. Banks were ready to lend money to the ABCL against the personal guarantee of its major owner, Amitabh Bachchan whose brand value was high.
With loans from a consortium of banks, ABCL produced films in quick succession such as ‘Mrityudaata’ (1997), ‘Saat Rang Ke Sapne’ (1998), ‘Major Saab’ (1998) and ‘Aks’ (2001). In addition, it produced regional films, ‘Yuvathurki’ (1996, Malayalam) and ‘Ullaasam’ (1998, Tamil). Some of Hindi films were the ‘come back’ projects for Amitabh Bachchan. Barring ‘Major Saab’ (1998) which was a ‘semi hit’, all other films flopped at the box office, putting a strain on the cash-flows of the Company. While the Miss World Pageant was successfully completed, at the end, ABCL was reported to have incurred financial losses in hosting the event.
Within less than 5 years of its operations, ABCL was in a financial mess. By the end of 1999, its net worth was wiped out with a debt of Rs.90 crores. In an interview given by Amitabh Bachchan sometime in 2013, which appeared in many newspapers and magazines including India Today, he had said that at one time, ABCL’s debt was around 90 crores. Almost all the debt were raised against his personal guarantee. He had no wherewithal to repay. Creditors were lining up in his house, some threatening, some abusive and some even with court order for auctioning of his then residence, ‘Prateesksha’. It was at that time, ABCL approached BIFR to be listed as a sick company in order to get immunity from creditors for some time.
It was a temporary relief. Amitabh Bachchan needed to find a solution to the repayment of debt. At the spur of the moment, he walked down from his house to the residence of Yash Chopra and requested him to take him in his film. ‘Mohabbatein’ (2000) which was at the time in the planning stage. Yash Chopra obliged, and the film became a superhit upon its release. For Amitabh Bachchan, it was more of a moral strength which facilitated gaining his brand value. This success of the film also paved the way for offer from Star TV to host quiz-based reality show, ‘Kaun Banega Crorepati’ (2000) for 85 episodes for which he got Rs.15 crore. The stardom which he had almost lost on the big screen got it back through small screen. Amitabh Bachchan repaid ABCL’s debt with interest to all his creditors with the success of ‘Kaun Banega Crorepati’, the advertising and endorsement fees and with the success of his subsequent films.
ABCL was restructured and renamed as Amitabh Bachchan Corporation. ABC has been in the business of producing films such as ‘Virruddh’ (2005), ‘Paa’ (2009), ’Shamitabh’ (2015), ‘Sarkaar 3’ (2017), ‘Goomar’ (2023) etc. It has also produced a few regional language films. ABC had learnt a lesson that the film production and distribution is a high-risk business. So, it is better to produce and distribute the films by joining hands with one or two more film producing and distribution companies with financial strength. Hence, almost all the films produced by ABC after 2005 were jointly with other film producing companies.
In the hindsight, one can say that Amitabh Bachchan was quite ahead of time in bringing the corporate culture in the film production and distributions business. Today, he must be a satisfied person to note that what he did for bringing corporate culture to film productions and distribution business in 1996 has now been operationalised to a large extent. Most of the major film producers and distributors, such as Dharma Productions Pvt Ltd (Karan Johar), Red Chillies Entertainment Pvt Ltd (Shah Rukh Khan), Yash Raj Films (Aditya Chopra), Viacom 18 Studios, RSVP Movies, (formerly UTV Motion Pictures, Ronnie Screwvala), Amir Khan Productions Pvt Ltd, Cape of Good Films (Akshay Kumar), Ajay Devgan Films, Salman Khan Films, Ashutosh Gowariker Productions Private Ltd, Reliance Entertainment etc are corporate entities.
Coming back to the film, ‘Tere Mere Sapne’ (1996), the debutant, Joy Augustine directed the film. The cast included the newcomers, Arshad Warsi, Chandrachur Singh, Priya Gill and Simran with Pran, Sulabha Arya, Bal Dhuri, Suresh Mathur, Manoj Pahwa. K D Chandran, A K Hangal etc. The story of the film seems to have been inspired from the novel ‘The Prince and the Pauper’ by Mark Twain (1882).
The story of the film is as under:
The film starts with Amitabh Bachchan narrating the background of the plot. Two boys are born on the same day – Rahul Mehta (Chandrachur Singh) born in a wealthy family settled in England and Balu (Arshad Warsi) born in a middle class South Indian brahmin family in Mumbai. Rahul’s parents had died when he was young. He has been brought up by his industrialist grandfather, Sambhunath Mehta (Pran). Balu on the other hand has been brought up in a brahmin family culture but he does not seem to have adopted that culture. Because of this, his father (K D Chandran) has been in logger head with him though his mother (Sulabha Arya) always defends him against his father.
The story is fast forwarded to 21 years later. Rahul wants to make a visit to India to see his parents’ grave (his mother was a Hindu, and his father was a Christian). But his grandfather is against it as he is afraid that he may also fall in love and get lost like his parents. After much cajoling by his manager, Ram Singh (Bal Dhuri) who will accompany Rahul during his visit to India, Rahul is allowed to travel to India. At the Mumbai airport, Rahul ditches Ram Singh and take a taxi driven by Balu.
During their taxi drive, Balu speaks bad thing about the rich boy who has come to India who has been born on the same day as he was but poor. Rahul reveals himself as the same rich boy and Balu is ashamed of what he said earlier. But both Balu and Rahul become friends. In his plans, Rahul has already decided not to go back to England as he is fed up with his rich but lonely life. To carry out his plan, Rahul offers Balu to exchange their places in the society. So, Rahul becomes a taxi driver and Balu becomes a rich Rahul. Rahul sends Balu to his Manager who has a tough time to groom Balu to behave like a rich Rahul.
With the exchange taking places, Rahul goes to Balu’s place and stays near their house. Here he falls in love with Parvati (Priya Gill) who is the sister of Balu. On the other hand, Balu in the role of Rahul attends a meeting of Mehta Industries, called by Mathur (S P Malhotra) who is in-charge of the company which is facing some labour troubles due to mismanagement. Balu falls in love with Mathur’s daughter, Pooja (Simran).
During a meeting with the management of the Mehta Group of Industries, the union leader (A K Hangal) discusses with Balu, acting as Rahul, the problems faced by the labourers because of the lock-out of the factory. Balu agrees to reopen the factory and decides to distribute a part of the profit among the labourers.
When Parvati’s father learns of the love affairs of Rahul with his daughter, he fumes as Rahul is not a Brahmin. Somehow, Balu manages the situation by telling Rahul to become a brahmin. On the other side, Sambhunath feels that all is not well in Mumbai with Rahul. He visits India to take the stock of the situation in his factory. With company’s control likely to go out of Mathur’s hand, he engages a gangster to kidnap Sambhunath to sign the papers handing over the factory to them. In time, Balu in the role of Rahul comes and tells Mathur that he is Rahul, and he would sign whatever papers, knowing well that he is not Rahul. Someone informs the real Rahul that his grandfather has been kidnapped by Mathur. Rahul and Balu join hands to successfully repulse Mathur’s plan and get Rahul’s grandfather freed. The film ends with Rahul and Balu marrying Parvati and Pooja, respectively.
‘Tere Mere Sapne’ (1996) had six songs written by Anand Bakshi and set to music by Viju Shah. I am presenting the first song from the film, ‘kuchh mere dil ne kahaa’ to appear on the Blog. The song is rendered by Hariharan and Sadhana Sargam. It is a love song when Rahul (Chandrachud Singh), a neighbour of Parvati (Priya Gill) falls in love with each other. The song is picturised on them as their imaginations.
The highlight of this song is that it has a mix of Carnatic music probably, in keeping with the fact that Parvati is a South Indian girl. The use of violin in orchestrations as well as in the visuals gives an interesting fusion of Hindi and South Indian films songs. The song picturisation is also interesting with some scenes having shot against the sunlight.
Video Clip:
Audio Clip:
Song-Kuchh mere dil ne kahaa (Tere Mere Sapne)(1996) Singers-Hariharan, Sadhana Sargam, Lyrics-Anand Bakshi, MD-Viju Shah
Both
Lyrics
hmm hmm hmm hmm
hmm hmm hmm
he ae ae ae ae ae
kuchh mere dil ne kahaa
kuchh tere dil ne kahaa..aa
kuchh mere dil ne kahaa
kuchh tere dil ne kahaa
ab hum kyaa kahen kyaa sunen
jab dil baaten karne lagen
ab hum kyaa kahen kyaa sunen
jab dil baaten karne lagen
aa aa aa aa aaaa
aa aa aa aa aaa
aa aa aa aa aaa
aa aa aa aa aaaaa
aa aa aa aa aaa
o ye dil bezubaan thhaa
aaj isko zubaan mil gayi
o o o meri zindagi ko
ek haseen daastaan mil gayi
jeene kaa marne kaa
jeene kaa marne kaa
aayegaa ab mazaa…aa
kuchh mere dil ne kahaa
kuchh tere dil ne kahaa..aa
kuchh mere dil ne kahaa
kuchh tere dil ne kahaa
ab hum kyaa kahen kyaa sunen
jab dil baaten karne lagen
ab hum kyaa kahen kyaa sunen
jab dil baaten karne lagen
ae ae ae ae ae
aa aa aa aa aa
ha aa aa aa aa
ha aa aa aa aa
ho tujhse mil ke jaanaa
kitni tanha thhi main tere bin
ho o o pal pal kaisi halchal
zindagi mein hai ab raat din
main kahoon aur kyaa
main kahoon aur kyaa
bas tera shukriyaa.. aa
kuchh mere dil ne kahaa
kuchh tere dil ne kahaa aa
kuchh mere dil ne kahaa
kuchh tere dil ne kahaa
ab hum kyaa kahen kyaa sunen
jab dil baaten karne lagen
o o o ab hum kyaa kahen kyaa sunen
jab dil baaten karne lagen
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 : |
5554 | Post No. : | 18019 | Movie Count : |
4829 |
There are a good number of feature films made on Mahatma Gandhi and his philosophy. I have watched a couple of Gandhi films – Richard Attenborough’s ‘Gandhi’ (1982) and ‘Lage Raho Munnabhai’ (2006). There is film titled ‘Road to Sangam’ (2010) which I had not heard of until recently. The title of the film gave me an impression of a film on a road journey to the confluences of the holy rivers in India (for example, Panch Prayags in Uttarakhand). But it turned out to be a Hindi film connected with Mahatma Gandhi.
According to Amit Rai, the writer and director of the film, he got the idea to develop the story for ‘Road to Sangam’ (2010) when he saw a TV news report that an urn containing the ashes of Mahatma Gandhi was found in a bank vault in Odisha. I checked the veracity of the news and found a report on The Times of India, October 1, 2009, which stated that an urn containing the ashes of Mahatma Gandhi was deposited in then Imperial Bank of India (now SBI) in its Cuttack branch in 1950. In 1994, the banks’ manager found the urn and reported the matter to the Government of Odisha. The Government did not show much interest, and the matter was forgotten. Tushar Gandhi, the great grandson of Mahatma Gandhi filed a petition in the Odisha High Court for getting possession of the urn. In 1997, the Court directed the urn to be handed over to Tushar Gandhi. He took the urn to Prayag and immersed the ashes at the Triveni Sangam on January 30, 1997 on Mahatma Gandhi’s 49th death anniversary.
Amit Rai had also come to know that the Ford vehicle that carried Mahatma Gandhi’s ashes in urns in 1948 was lying in a depleted condition in a museum in Allahabad. A mechanic, Hashmat Ullah of Allahabad restored the vehicle in a running condition (Source: Hindustan Times, August 11, 2009). With the serial bomb blasts that had taken place in November 2007 in around court premises of Varanasi, Lucknow and Faizabad, Amit Rai had good material to weave a semi-fictional story for the film. Before commencing the shooting of the film in Allahabad, Amit Rai met the real mechanic, Hashmat Ullah and decided to rename the character of the mechanic in the script as Hashmat Ullah.
Director, Amit Rai has been associated with Hindi theatres in Mumbai. He has also worked as Assistant Directors to Anurag Basu and Anurag Kashyap. ‘Road To Sangam’ (2010) is his debut film as a director. His latest released Hindi film is ‘OMG-2’ (2023).
The main cast of ‘Road To Sangam’ (2010) consisted of Paresh Rawal, Om Puri and Pawan Malhotra with the supporting cast of Swati Chitnis, Javed Shaikh, Masood Akhtar, Vijay Mishra, Rajan Bhise, Poonam Sharma etc. Tushar Gandhi, the great grandson of Mahatma Gandhi made a cameo appearance as himself. The film was premiered on October 2, 2009, at the Asian Film Festival held in Mumbai. The film had theatrical release in January 2010.
I have recently watched the film which I found to be aesthetically made. The story of the film is as under:
Hashmat Ullah (Paresh Rawal), an expert in repairing vehicle engines in Allahabad, is entrusted with a job to repair the engine of an old Ford vehicle, lying at Allahabad Museum. He has to repair the engine with a stipulated period of time which he accepts without being aware of the importance of this old Ford vehicle.
As soon as he takes up the repairs, bomb blasts take place in the city because of which some people are arrested. The court rejects their bail applications of those arrested and they are remanded to police custody for 14 days. All of them are Muslims and the mosque committee feels that innocent people have been arrested. The Maulana (Pawan Malhotra) of the main mosque of Allahabad, after discussing with the members of the Mosque Committee, issues fatwa to all Muslims in the city to close their shops for 14 days to protest against the prosecution of innocent Muslims. Hashmat, being the General Secretary of the Mosque Committee, is affected as he has to keep his shop closed as per the decree and he is in quandary as to how to fulfil his promise to repair the engine on time.
During his TV interview with a journalist of a local TV Channel, Hashmat comes to know the importance of the work which he has undertaken to complete it on time. The engine which he has to repair belongs to the same Ford vehicle which took Mahatma Gandhi’s ashes in 20 urns to scatter all over India. The same Ford vehicle would take the remaining one urn to the confluence of Rivers Ganga, Yamuna, and the hidden Saraswati at Prayag and will be immersed by Tushar Gandhi, the great grandson of Mahatma Gandhi. Hashmat’s request to Mosque Committee chaired by the influential Kasuri (Om Puri) for exempting his shop from the decree to complete the repair work on time is rejected by the Maulana.
After carefully considering the pros and cons of opening his shop for repairs, Hashmat decides to tell the museum authorities that he would not be able to complete the repairs as per the stipulated time. He visits the museum to tell the authorities accordingly. As they had gone out, Hashmat spends time in the museum depicting the important events in the life of Mahatma Gandhi. This makes him emotional, and he returns home without meeting the museum authorities. He is in two minds – whether to open his shop to repair the engine defying the Maulana’s decree or tell the museum authorities his inability to complete the repair work in stipulated time. After discussion with his wife (Swati Chitnis), Hashmat decides to resume repair works. However, the members of the committee confiscate keys of Hashmat’s shop. In protest, Hashmat sits on fast in front of his shop until the keys are returned to him.
After a couple of days, the keys are returned to Hashmat without the knowledge of Mosque Committee, and he begins the repairs work. After overcoming many hurdles like an important worker refusing to work, scuffles with some members of the Muslim community in which he gets injured, facing some health issues because of pressure from the Muslim community etc, Hashmat manages to complete the repair work and the Ford Vehicle is ready to carry the urn of Mahatma Gandhi’s ashes to the Sangam for immersion. He convinces Kasuri, members of the Mosque committee and Muslim community to join the procession. The film ends with crowds from all communities joining the procession and watching the immersion of Mahatma Gandhi’s ashes at Prayag.
‘Road To Sangam’ (2010) is a good attempt from the debutant director, Amit Rai to take up a sensitive story. Paresh Rawal has given one of his best performances in the film in which he makes his presence felt almost in all scenes. Another surprise performance was from Pawan Malhotra (of ‘Nukkad’ fame) in the role of Maulana. He has suitably modulated his voice to sound like a maulana. Om Puri in the role of an influential community member gave his usual performance. The film miserably failed at the box office as per the Box Office India Report. Probably, being a low budget film, it was not properly marketed. It was released in limited numbers of theatres. The net result is that the film is almost forgotten today.
The film has 7 songs written by Sudhir Nema (3). Allama Iqbal (1), Narsinh Mehta (1), John Henry Newman (1) and the remaining one, the traditional song. Songs have been set to music by Vijay Mishra (3), Nitin Kumar Gupta-Prem Haria (3) and Sandesh Shandilya (1). All the songs are in the nature of prayers. One of the 7 songs of the film is an English Choral song.
I am presenting the first song, ‘lab pe aati hai dua ban ke tamanna meri’ from the film to appear on the Blog. It is a well-known nazm by Allama Iqbal. The poem has been rendered by Hariharan which is set to music by Vijay Mishra who has also acted in the film in the role of Paresh Rawal’s son.
The background to the song in the film is that Hashmat is disappointed by the rejection of his request by Mosque Committee chaired by Kasuri (Om Puri) and Maulana (Pawan Malhotra) to open his shop for repairs to the engine. Simultaneously, the urn containing the ashes of Mahatma Gandhi has been kept for display in the premises of Allahabad Museum with prayers from all religions and this is one of the prayers in progress.
In rekhta.org, this nazm has a title ‘Bachche Ki Dua’ (children’s prayer to the God). It is a universal prayer seeking from the God to light-up the darkness in the world through the light in one’s own life, to make one’s own country adorable, help the needy and old persons and, seeking blessing to protect from evils and put on the path of good deeds.
It may be noted that Allama Iqbal wrote this poem in 1902 in undivided India. Hence, the word ‘watan’ used in the poem was intended to be referring to undivided India (Hindustan). The intent of the prayer being universal, the ‘watan’ in the nazm becomes a generic one and can refer to any country in which this prayer is rendered.
Video Clip:
Audio Clip:
Song-Lab pe aati hai dua ban ke tamanna meri (Road To Sangam)(2010) Singer-Hariharan, Lyrics-Allama Iqbal, MD-Vijay Mishra
Lyrics
lab pe aati hai
dua ban ke tamanna meri
lab pe aati hai dua ban ke tamanna meri
lab pe aati hai dua ban ke tamanna meri
zindagi shamma ki soorat ho
khudaaya meri
lab pe aati hai dua ban ke tamanna meri
door duniya ka mere dum se andhera ho jaaye ae
door duniya ka mere dum se andhera ho jaaye
har jagah mere chamakne se ujaala ho jaaye
ho mere dum se youn hi mere watan ki zeenat
jis tarah phool se hoti hai chaman ki zeenat
zindagi meri ho parwaane ki soorat yaa rab
ilm ki shamma se ho mujhko muhabbat yaa rab
ho mera kaam ghareebon ki himaayat karna
dardmandon se za’eefon se muhabbat karna
mere Allah buraayi se bachaana mujhko
nek jo raah ho uss rah par chalaanaa mujhko
ra ra ra
ra ra raa ra
ra ra raa ra ra
Piyaa toraa kaisa abhimaan
Posted on: September 24, 2023
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 : |
5546 | Post No. : | 18008 |
‘Raincoat’ (2004) was produced by Shri Venkatesh Films and was directed by Rituparno Ghosh. Ajay Devgan and Aishwarya Rai Bachchan were in the lead roles supported by Anu Kapoor, Mauli Ganguly, Pradip Adhikari, Kailash Koppikar, Surekha Sikri, Sameer Dharmadhikari, Kameshwar Mishra etc. The film was adapted from the story, ‘Gift of Magi’ (1906) by O Henry which has been acknowledged in the film’s credit titles. The shooting of this film was completed in 16 days in Kolkata.
The film is a poignant love story of two childhood friends, Ajay and Aishwarya Rai who get separated by the destiny. Now both married with different spouses facing financial difficulties. They meet in Kolkata and their story starts. The gist of the story of the film has already been covered in the article by K Satish Shenoy. When I had watched the film for the first time, I had no idea as to how the film would end. But it turned out to be an unexpected one. Ajay Devgan pretends to be a successful TV Serial producer to Aishwarya Rai, while she in turn, pretends to be the wife of a wealthy husband with servants, drivers, etc. In reality, both have unhappy marriage and are in financial difficulties. Their reason for pretension is not because they want to show off to each other. Both have feelings for each other this pretension is out of concern to avoid the stress for each other. Hence, it is challenging for both the lead actors and the director to maintain a delicate balance between the light humour and the poignancy. This is one of the best films I have watched in the recent period. Both Aishwarya Rai and Ajay Devgan have given excellent performances which are contrary to their images in the mainstream Hindi films.
The film had 8 songs including two songs with additional versions. All the songs were written by Rituparno Ghosh. One song has already appeared on the Blog. I am presenting the second song from the film ‘piya tora kaisa abhimaan’ to appear on the Blog. The song has two versions – one rendered by Shubha Mudgal and the second version is rendered by Hariharan. Both the songs written by Rituparno Ghosh have the shades of Brajabuli dialect. Shubha Mudgal version appears in two parts against the background of the Ajay – Aishwarya’s flashbacks as well as their meetings in Kolkata. Hariharan’s version appears on the screen partially.
In Shubha Mudgal version, Gulzar recites his poem in between two stanzas. Film’s music director, Debjyoti Mishra, in his interview which appeared in The Times of India, August 20, 2020, has revealed that Rituparno Ghosh gave Gulzar a Bangla poem written by Shakti Chattopadhyay and requested him to write a poem in Hindi incorporating the same feelings and emotions as is in the Bangla poem. Instead of translating the Bangla poem, Gulzar wrote a fresh Hindi poem, keeping the feelings and emotions in the Bangla poem. He recited the poem interspersed with the song with his specialty in using metaphors and imagery in this poem.
In this song, Rituparno Ghosh has equated the love between Aishwarya Rai and Ajay Devgan with that of Radha-Krishna whose love for each other is eternal because their love did not result in their union. So, when Krishna married Rukmini, Radha’s love for Krishna remained the same. There are beautiful verses in the both the versions of the songs written by Rituparno Ghosh which I am discussing below:
saghan saawan laayi kadam bahaar
Mathura se doli laaye chaaron kahaar
nahin aaye kesariya balma hamaar
angana bada sunsaan
The heavy rains of saawan has made kadamba trees blossom.
Four kahaars (palanquin carriers) have brought palanquin from Mathura.
Alas, my kesariya balam (Krishna) did not come.
The ceremonial place is deserted.
Note: ‘Kahaar’ is a caste in North India who are water carriers, boatman, even fishermen. They are generally used for carrying palanquin.
apne nayan se neer bahaaye
apni Jamuna khud aap hi banaawe
lakh baar usmein hi nahaaye
poora na huyi asnaan
sookhe kesh rukhe besh manwa bejaan
I cried and shed tears from my own eyes.
I cried so much as if I bathed in the water of Jamuna River.
I bathed umpteen times, but I have not felt like completing my bath.
My hair and face have dried up. My heart has become lifeless.
bol sakhi kaahe kari saajo singaar
na pahinab aabhushana kaanchan haar
khali chandan laga ang maa hamaar
chandan garal samaan
Ae sakhi, why should I dress up to look nice?
I will not wear jewellery nor the gold pedant.
I will apply sandalwood paste all over my body.
Because sandalwood is like poison.
garal=poison
Note: Applying sandalwood paste is like becoming a saintly woman, who has renounced all worldly things. There is a saying ‘chandan garal samaan’ which means sandalwood is like a poison. According to a mythological belief, sandalwood trees are the abode of venomous snakes who encircle the sandalwood trees for shades but cannot poison the sandalwood trees. In this context, Rahim had said in one of his Dohas, ‘chandan vish vyaapat naahi, lipat rahat bhujang’.
And this article will not be complete if I do not discuss the unusual metaphors Gulzar Saab have used in his poems to bring out the pains of separation and longing.
aur seelan iss tarah bahati hai jaise
khushk rukhsaaron pe gile aansoo bahaten hain
The water from dampness (on the wall) is flowing like wet tears flowing on the dried cheeks. [Only Gulzar Saab can imagine ‘gile aansoo’ (wet tears). Probably, Gulzaar Saab is differentiating with those tears which do not come out in the open and flow].
ye baarish gungunati thhee isi chat ke munderon par
ye ghar ki khidkiyon ke kaanch par ungli se likh jaati thhee sandese
bilakhti rahti hai baithi huyi ab band roshandaanon ke peechhe
Rain used to give a humming sound on the terrace.
They would write messages over the glass frames of the windows.
Now, they sit behind the closed roshandaans, weeping.
Roshandaan: There seems to be no equivalent meaning in English for Roshandaan. The closest meaning would be a Ventilator with a glass frame which the old houses would generally have on the roof, high on the main walls of the house or above the windows for sunlight and breeze. During rains, roshandaan is kept closed.
dupharen aisi lagti hai bina moharon ke khaali khaane rakhen hain
na koi khelne waala hai baazi aur na koi chal chalta hai
The afternoons feel like an empty chess board with no chess pieces.
No one plays the game and no one makes a move.
Female version
Video Clip:
Male Version:
Video Clip (Partial):
Audio Clip:
Song-Piya toraa kaisa abhimaan (Raincoat)(2004) Singer-Shubha Mudgal/ Hariharan, Lyrics-Rituparno Ghosh, MD-Debjyoti Mishra
Lyrics
I. Female Version (Shubha Mudgal)
Lyrics (Based on Video Clip):Shubha Mudgal, Gulzar (poetry recitation)
piya tora kaisa abhimaan
piya tora…aa aa
kaisa
abhimaan
kisi mausam ka jhonka thhaa
(aa aa aa aa aa aaa)
jo iss deewaar par latki huyi tasweer tirchhi kar gaya hai
(aa aa aa aa aa aa aaa)
gaye saawan mein ye deewaaren youn seeli nahi thhee
(aa aa aa aa aa aa aaa)
na jaane iss dafa kyun inmein seelan aa gayi hai
(aa aa aa aa aa aa aaa)
daraaren pad gayin hain
(aa aa aa aa aa aa aaa)
aur seelan iss tarah bahati hai jaise
(aa aa aa aa aa aa aaa)
khushk rukhsaaron pe geele aansoo behte hain
(aa aa aa aa aa aa aaa)
saghan saawan laayi
kadam bahaar
Mathura se doli laaye
chaaron kahaar
nahin aaye…………ae
nahin aaye….ae ae
kesariya balmaa aa hamaar
angna bada sunsaan
ye baarish gungunaati thhee
isi chhat ke munderon par
ye baarish gungunaati thhee
isi chhat ke munderon par
ye ghar ki khidkiyon ke kaanch par
ungli se likh jaati thi sandese
bilakhti rahti hai baithhi huyi
ab band roshandaanon ke peechhe
apne nayan se neer bahaaye
apni Jamuna khud aap hi banaawe
apne nayan se neer bahaaye
apni Jamuna khud aap hi banaawe
aa aaaa aaaa aaaa
dupaharen aisi lagti hain
bina moharon ke khaali khaane rakhe hai
na koi khelane waala hai baazi
aur na koi chaal chalta hai
laakh baar usmein hi nahaaye……….
poora na huyi asnaa…….n
phir poora na huyi asnaa…..n
sookhe kes
rukhe bhes
manwa..aa bejaan
na din hota hai ab na raat hoti hai
sabhi kuchh ruk gaya hai
kisi mausam ka jhoka thhaa
jo iss deewaar par latki huyi tasweer tirchhi kar gaya
piya tora kaisa abhimaan
tora..aa aa aa
piya tora….
tora
tora…..aa
kaisa abhimaan
piya……aa
piya…….aa
piya……..aa
——————————–
II. Male Version (Hariharan)
——————————–
Lyrics:(based on Audio Clip)
piya tora kaisa abhimaan
piya tora…..aa aa aa
kaisa abhimaan
saghan saawan layi
kadam bahaar
Mathura se doli laaye
chaaron kahaar
saghan saawan laayi
kadam bahaar
Mathura se doli laaye
chaaron kahaar
nahin aaye……..ae ae ae
nahin aaye….ae
kesariya baalam hamaar
angna bada sunsaa…n
piya tora……..aaaaa
piya tora kaisa abhimaan
apne nayan se neer bahaaye
apni Jamuna khud aap hi banaawe
apne nayan se neer bahaaye
apni Jamuna khud aap hi banaawe
laakh baar usmein hi nahaaye ae
poora na hoyi asnaa…..n
poora na hoyi asnaa…..n
sookhe kes
rookhe bhes
manwa aa bejaan
piya tora aa…aa
piya tora
piya tora kaisa abhimaan
piya tora..aa kaisa abhimaan
bol sakhi kaahe kari saajo singaar
na pahin ab aabhusana kaanchan haar
bol sakhi kaahe kari saajo singaar
na pahin ab aabhusana kaanchan haar
khaali chandan laga ang maa hamaar
chandan garal samaan
piya tora…aa aa
piya tora kaisa abhimaan
piya tora…..aa aa kaisa abhimaan
abhimaan
kaisa abhimaan
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 : |
5542 | Post No. : | 18003 | Movie Count : |
4818 |
‘Swaami’ (2007) was produced and directed by the well-known choreographer, Ganesh Acharya. Juhi Chawla and Manoj Bajpayee were in the lead roles supported by the debutant Maninder Singh, Neha Pendse, Vijay Kashyap, Vivek Shauq, Manmeet Singh, Ashok Beniwal, Aryan Thakkar etc. Amitabh Bachchan was the narrator. The film is a subtle love story of a middle-class married couple who live in harmony in a house in rural setting. The film has some scenes of melodrama, not of tear-jerker type, during the second half.
The unique thing about this film and probably the first time in the history of Indian cinema was that entire soundtrack including the background score was recorded before the commencement of the film’s shooting. The film was shot on the background music like a song. (Source: Interviews of the film’s music director duo, Nitin Arora-Sony Chandy in ‘Bollyspice’, March 15, 2015).
The gist of the story of the film is as under:
Swami (Manoj Bajpayee), a Maharashtrian brahmin is an accountant in a jewellery shop who happily lives in a village in Maharashtra with his Tamil speaking brahmin wife, Radha (Juhi Chawla). They live in a perfect harmony. After 10 years of their marriage, a baby boy is born. Like any other middle-class family, Radha is keen to give her son a better educational facility. They sell their house in the village and shift to Mumbai after Swami finds a job at a jewellery shop. They get the son enrolled in a good school. From his childhood, Swami has a liking for having a rocking chair in his house but because of its prohibitive cost, it has remained as his unfulfilled desire.
Radha often falls ill and the doctor has diagnosed her illness as kidney ailments. He has recommended surgery which requires money. Swami works overtime and manages to save the money for the surgery. However, one day, he sees a rocking chair in his house which Radha has bought from the money he had saved for her surgery. First, he gets annoyed with Radha but realises that she had purchased the rocking chair out of love for him. So, he had to do some more hard work to save the money for the surgery. However, before Swami could manage money, Radha seriously falls ill and passes away.
Before her death, Radha has taken a promise from Swami that he would give their son a good education so that he can aspire to go to the USA and eventually settle down there. Swami fulfils the last wish of Radha. The son, Anand (Maninder Singh) completes his higher education and joins a multinational bank. Anand has liked a girl, Pooja (Neha Pendse) and he intends to marry her. Anand takes this matter to Swami who gives his assent to the marriage as he himself had a love marriage with Radha. In due course of time, Anand and Pooja are blessed with a baby boy.
While running around in the house, the boy accidentally falls on Swami’s rocking chair injuring his head. In a spur of the moment, Pooja gets annoyed at Swami for his rocking chair and after few days, she disposes of the chair to a second-hand shop. When Swami does not find his chair, he gets upset but does not apparently show it on Anand and Pooja. When things have cooled down, Pooja feels bad about disposing off the chair and goes to retrieve the same but returns empty-handed. Since Swami was emotionally attached to the rocking chair, he feels restless.
Anand gets opportunity to visit the USA. However, he is reluctant to go leaving his father alone. Swami convinces his son that it was his mother’s last wish to see him settled in the USA and he has already made arrangement for his stay at an Old Age Home. The film ends with Swami bidding a goodbye to his son, daughter-in-law and grandson. He enters his room at an Old Age Home and is surprised to see his rocking chair. He hugs the chair for, he has lot of emotional attachment with Radha through this chair which is the only memento left in his lonely life.
The film flopped badly at the box office. Probably, for the audience, the story of the film was out of tune with the 21st century audience. For the front row audience, the usual ingredients for them in the film was absent.
For me, it was a pleasant surprise that the ace choreographer, Ganesh Acharya selected a sensitive subject for his directorial debut. His handling of direction can be comparable to any middle-of-the-road-cinemas. Both Manoj Bajpayee and Juhi Chawla have given the excellent performances. The director has admirably handled some delicate moments in the film like the death scene of Radha and also at the end of the film when Swami sees his rocking chair in his room in Old Age Home. No one would imagine that an ace choreographer, Ganesh Acharya would refrain from having any dance sequence in the film. He had opportunity to add an item number of song with the well choreograph dances in the film on the occasion of Ganapati immersion. Instead, he has left to the crowd to dance in their natural way as often happens during Ganapati immersion.
The only drawback if one would like to call it as such with this film is that all the characters in the films are too good to each other which seldom happens in the real world.
As I mentioned earlier, the film has more than a dozen snippets of songs, all written by Sameer and set to music by the debutant, Nitin Arora-Sony Chandy pair of music director. All the snippets are sung by K S Chitra and Hariharan, mostly as duets.
I am presenting the first song, ‘rishton ki khushboo sadiyon ka chandan’ from the film to appear on the Blog. The song is rendered by K S Chitra and Hariharan. This is the opening song of the film which starts with the two verses of Shri Venkatesh Suprabhatam, followed by some dialogues between Swami and Radha and thereafter the mukhada and an antara. This is the only part of the song which is lip synced on Manoj Bajpayee and Juhi Chawla. Other snippets of this song are played in the background at least a dozen times, in the film, alternating between mukhda and different/repeat antaras.
The official audio clip of the song has two antaras. I have made the video of the songs joining at least two snippets with different antaras to make it the song of three antaras. There are two more short antaras in the film played at different times.
I have noted from various online sources that there is no uniformity as to how to present the Sanskrit verses of Shri Venkatesh Suprabhatam in English. So, for the opening verses, I have relied on the book on Shri Venkatesh Suprabhatam published by Tirumala Tirupati Devasthanam. The English translation of the opening verses given in the book is as under:
The precious child of the noble Kausalya, it is twilight in the east. Wake up, Rama, the best among men. You should perform your morning rituals. Get up Govinda, get up, the lord of the eagle banner. Get up, the spouse of Lakshmi. Bestow the auspicious on all the three worlds.
I heard this song and watched the video clip for the first time only recently and was surprised that such a melodious song has remained on the backburner.
Video Clip:
Audio Clip:
Song-Rishton ki khushboo sadiyon ka chandan (Swaami)(2007) Singers-K S Chitra, Hariharan, Lyrics-Sameer, Nitin Arora-Sony Chandy
Both
Lyrics (Based on video clip)
kausalya supraja rama poorwa sandhya pravartate
uthishta nara sardoola karthavyam daivam anhikam
utishthottistha govinda uthisht garuddhwaja
uttistha kamalakaanta trailokyam mangalam kuru
rishton ki khushboo sadiyon ka chandan
jeewan to hai saanson ka bandhan
tode se toote nahin een
chhode se chhoote nahin
rishton ki khushboo sadiyon ka chandan
jeewan to hai saanson ka bandhan
tode se toote nahin Raadhe
chhode se chhoote nahin Raadhe
Chandan
Chandan
Chandan
swaami….
mere swaami
mere swaami
mere swaami
jaise diya sang jalti hai baati
jaise hawa laaye saawan ki paati ee ee
tera mera aisa milna….
lenge hazaaron hazaaron janam
par na juda na juda honge hum
khushiyaan miley yaa miley laakh gham
ab preet ki pyaas hogi na kam
humne yahi mil ke li hai kasam
humne yahi mil ke li hai kasam
li hai kasam
ek doosre se alag hoke bhi
ek doosre mein samaaye rahen
aankhon ki jhapki khuli putliyaan
palkon mein soorat bithhaaye rahen
donon jaahan ko bhulaaye rahen
donon jahaan ko bhulaaye rahen
bhulaaye rahen
Saawan Barse Tarse Dil
Posted on: August 4, 2023
- In: "saawan" song | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Happy song | Hariharan Song | Hriharan - Sadhna Sargam Duet | joie de vivre | Love song | Lyrics contributed by readers | Post by Sadanand Kamath | Rain song | Sadhna Sargam Songs | Songs of 1990s (1991 to 2000) | Songs of 1999 | Yearwise breakup of songs
- 3 Comments
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 : |
5495 | Post No. : | 17935 | Movie Count : |
4794 |
‘Dahek’ (1999) was produced by Milan Jhaveri and was directed by Lateef Binny. The cast included Akshay Khanna and Sonali Bendre in the lead roles supported by Danny Denzongpa, Dalip Tahil, KK Raina, Anang Desai, Achala Sachdev, Anjana Mumtaz, Heena Qureshi, Achyut Potdar, Anil Nagrath, Rahul Singh etc. For both the producer, Milan Jhaveri and the director, Lateef Binny, this was their maiden film. According to director, Lateef Binny, the film took over 3 years to complete and another 2 years to get released.
Milan Jhaveri is the son of film financier, Chandrasen Jhaveri. After this film, he turned writer and director under a new name – Milap Milan Zaveri. He directed ‘Jaane Kahaan Se Aayi Hai’ (2010), ‘Mastizaade’ (2016), ‘Raakh’ (2016) and ‘Satyamev Jayate (2018). Lateef Binny came from the theatre background as an actor and director. He has assisted Rajkumar Santoshi for 8 years.
The film is about the inter-faith romance and the obstacle the boy and the girl faced from their family. The political and religious elements in both the religious groups create a divide between two communities even though the boy and the girl fall in love without the knowledge of the religion of each other. Their end is tragic. The gist of the film’s story is as under:
Sameer Roshan (Akshay Khanna), a Hindu and Neelima Bakshi (Sonali Bendre), a Muslim fall in love with each other when they first meet at the post office. They have a common interest in becoming the doctors. Their love is blossomed after they frequently meet, unmindful of their religion as their names are deceptive to get any clue to their respective religion. After a few meetings, they get to know each other’s religion and decide to break the relationship as their parent would not accept the marriage. However, they soon realise that they cannot live apart. They decide to get married.
Neelima is afraid to reveal her intention to her uncle Jabbar Bakshi (Danny Denzongpa), the head of the family. For, he is an orthodox Muslim who will not approve the marriage. Also, Jabbar has recently returned from jail after serving 12 years of imprisonment for killing the husband of his sister, Sabina (again the role played by Sonali Bendre) for marrying without his consent, even though her husband was a Muslim. Sameer’s father Bhushan (Dalip Tahil) has reservation about this marriage as he does not want a showdown with Jabbar.
Jabbar comes to know about Neelima’s affairs with Sameer. He is infuriated as Neelima is planning to get married to Sameer who is a Hindu. His attempt to get Neelima married to a Muslim boy proves futile. Having failed in his intimidating tactics with Sameer, Jabbar decides to get rid of both of them in the same way as he had done with his sister’s husband 12 years back for violating the family’s code of conduct. Jabbar’s younger brother Naseem (KK Raina) and Sameer’s father Bhushan mend ways but Jabbar is adamant. Sameer and Neelima elope from the city to an unknown place. The next morning, their elopement becomes the headline in the newspapers.
The elopement triggers the communal violence and riots turning the family issues into a political conspiracy by the interested groups. In the meanwhile, Jabbar is able to get the whereabouts of Sameer and Neelima and proceeds to kill them with a sword. Nassem, his younger brother, follows him to avoid the bloodshed. He tries to prevent Jabbar from killing them by his sword. But he is accidentally killed by Jabbar. Jabbar is arrested and put in the police custody. In the night when Sameer and Neelima come out from their hiding to meet each other, they are shot dead by those who are opposed to their relationship. The love story of Sameer and Neelima results in a tragic end.
The story of the film is contemporary and would have been great if it was handled better. It may be due to delay in the completion of the film as the director has limited options fulfilling his requirements in the delayed project. As a result, the film does not create an aura of sensitivity on the subject as it should have generated. Incidentally, the screenplay was written by the director himself. By the time the film was released, films with more or less similar theme, ‘Bombay’ (1994) and ‘Zakhm’ (1998) got released. The result was that ‘Dahek’ (1999) failed at the box office.
There are six songs in the film of which one song has two versions. The songs were written by Majrooh Sultanpuri (2), Dev Kohli (2), Madan Pal (1) and Shyam Raj (1). The songs written by Majrooh Sultanpuri were set to music by Anand-Milind. Rest of the 4 songs were composed by Aadesh Shrivastava.
I present the first song “Saawan Barse Tarse Dil” from the film to appear on the Blog to time with the Hindu calendar month of Saawan. The song is rendered by Hariharan and Sadhana Sargam which is written by Majrooh Sultanpuri and set to music by Anand-Milind.
The background of the song is that Sameer (Akshay Khanna) sends a letter to Neelima (Sonali Bendre) asking her for a date. Though it is raining, both set out from their respective houses and are determined reach their destination with whatever the mode of transport available. Sameer travels even on road roller and handcart to finally reach their meeting point.
According to an article, ‘The Stories Behind Five of the Best Rain Songs in Hindi Cinema’ which appeared in scroll.in, the film’s director, Lateef Binny has been quoted as saying that the song under discussion was shot over three years and was shot all over Mumbai – in Goregaon, Andheri and South Mumbai. At the time of the shooting of the song, both Akshay Kumar and Sonali Bendre were newcomers. Being unrecognized faces, it was possible to shoot them in live rains in Mumbai. While Sonali Bendre did the shooting in the rains enthusiastically, Akshay Khanna was the reluctant participant. Nearly 70 percent of the song was shot in live rains, while the rest was shot indoor due to the delay by which time, the actors became the known faces.
This song reminds me of, more or less. a similar scene in the iconic rain song in Lata Mangeshkar’s version, “Rimjhim Gire Saawan Sulag Sulag Jaaye Mann” in ‘Manzil’ (1979).
Video
Audio
Song – Saawan Barse Tarse Dil (Dahek) (1999) Singer – Hariharan, Sadhna Sargam, Lyrics – Majrooh Sultanpuri, MD – Anand Milind
Male Echo
Female Echo
Lyrics
saawan barse tarse dil
kyun na nikle ghar se dil
barkha mein bhi dil pyaasa hai
ye pyaar nahi to kya hai
dekho kaisa beqraar
hai bhare baazaar mein
yaar ek yaar ke intezaar mein
saawan barse tarse dil
kyun na nikle ghar se dil
barkha mein bhi dil pyaasa hai
ye pyaar nahi to kya hai
dekho kaise beqraar
hai bhare baazaar mein
yaar ek yaar ki intezaar mein
ek mohabbat ka deewaana
dhoondhata sa phire
koi chaahat ka nazaraana
dilruba ke liye
ho ek mohabbat ka deewaana
dhodhata sa phire
(dhoondhate sa phire)
koyi chaahat kaa nazaraana
dilruba ke liye
(dilruba ke liye)
chham chham chale paagal pawan
aaye maza bheege balam
bheege balam
phisle kadam
barkha bahaar mein
saawan barse tarse dil
kyun na nikle ghar se dil
barkha mein bhi dil pyaasa hai
(barkha mein bhi dil pyaasa hai)
ye pyaar nahi to kya hai
(ye pyaar nahi to kya hai)
dekho kaise beqraar
hai bhare baazaar mein
yaar ek yaar ke intezaar mein
ek haseena idhar dekho
kaisi bechain hai
raaste par lagey kaise
uske do nain hai
ho ek haseena idhar dekho
kaisi bechain hai
(kaisi bechain hai)
raaste par lagey kaise
uske do nain hai
(uske do nain hai)
sach poochhiye to mere yaar
dono ke dil beikhtiyaar
beikhtiyaar
hain pehli baar
pehli bahaar mein
saawan barse tarse dil
kyun na nikle ghar se dil
barkha mein bhi dil pyaasa hai
(barkha mein bhi dil pyaasa hai)
ye pyaar nahin to kya hai
(ye pyaar nahin to kya hai)
dekho kaisa beqraar
hain bhare baazaar mein
yaar ek yaar ki intezaar mein
saawan barse tarse dil
kyun na nikle ghar se dil
barkha mein bhi dil pyaasa hai
(barkha mein bhi dil pyaasa hai)
ye pyaar nahi to kya hai
(ye pyaar nahi to kya hai)
dekho kaise beqraar
hai bhare baazaar mein
yaar ek yaar ke intezaar mein
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
सावन बरसे तरसे दिल
क्यों ना घर से निकले दिल
बरखा में भी दिल प्यासा है
ये प्यार नहीं तो क्या है
देखो कैसा बेक़रार
है भरे बाज़ार में
यार एक यार के इंतज़ार में
सावन बरसे तरसे दिल
क्यों ना घर से निकले दिल
बरखा में भी दिल प्यासा है
ये प्यार नहीं तो क्या है
देखो कैसा बेक़रार
है भरे बाज़ार में
यार एक यार के इंतज़ार में
एक मोहब्बत का दीवाना
ढूँढता सा फिरे
कोई चाहत का नज़राना
दिलरुबा के लिए
हो एक मोहब्बत का दीवाना
ढूँढता सा फिरे
(ढूँढता सा फिरे)
कोई चाहत का नज़राना
दिलरुबा के लिए
(दिलरुबा के लिए)
छम छम चले पागल पवन
आए मज़ा भीगे बलम
भीगे बलम
फिसले कदम
बरखा बहार में
सावन बरसे तरसे दिल
क्यों ना घर से निकले दिल
बरखा में भी दिल प्यासा है
(बरखा में भी दिल प्यासा है)
ये प्यार नहीं तो क्या है
(ये प्यार नहीं तो क्या है)
देखो कैसा बेक़रार
है भरे बाज़ार में
यार एक यार के इंतज़ार में
एक हसीना इधर देखो
कैसी बेचैन है
रास्ते पर लगे कैसे
उसके दो नैन हैं
एक हसीना इधर देखो
कैसी बेचैन है
(कैसी बेचैन है)
रास्ते पर लगे कैसे
उसके दो नैन हैं
(उसके दो नैन हैं)
सच पूछिए तो मेरे यार
दोनों के दिल बेइख्तियार
बेइख्तियार
हैं पहली बार
पहली बहार में
सावन बरसे तरसे दिल
क्यों ना घर से निकले दिल
बरखा में भी दिल प्यासा है
(बरखा में भी दिल प्यासा है)
ये प्यार नहीं तो क्या है
(ये प्यार नहीं तो क्या है)
देखो कैसा बेक़रार
है भरे बाज़ार में
यार एक यार के इंतज़ार में
सावन बरसे तरसे दिल
क्यों ना घर से निकले दिल
बरखा में भी दिल प्यासा है
(बरखा में भी दिल प्यासा है)
ये प्यार नहीं तो क्या है
(ये प्यार नहीं तो क्या है)
देखो कैसा बेक़रार
है भरे बाज़ार में
यार एक यार के इंतज़ार में
- In: "Court Room" song | Court Room song | Devnagri script lyrics by Sudhir | Guest posts | Hariharan Song | Lyrics contributed by readers | Multiple version song | Patriotic song | Post by nahm | Prison / Prisoner's Song | Songs of 2000s (2001 to 2010) | Songs of 2002 | Sonu Nigam Songs | Yearwise breakup of songs
- Leave a Comment
This article is written by nahm, 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 : |
5403 | Post No. : | 17729 |
A R Rahman – The Musician of 21st Century – 6
—————————————————————-
This is post number 06 in the series. As musicians go, ARR is a complete package. He is also much more than a musician, has proved to be media savvy as well as a successful businessperson. He is the first of Indian film music directors to own his music. Previously all film music was owned by films producers/distributors or the music companies, who released records/cassettes/discs etc. The same system prevails in the industry. Only ARR is one who is different. In this regard too ARR is a trend setter. Lata Mangeshkar could think of only royalty and here we have a 90’s kid on the block, who aimed to own the world, at least his portion of it.
hum mehnatkash iss duniya se
jab apna hissa mangenge
ik baag nahin, ek khet nahin
ham saari duniyaa maangenge
There may be others who are following the same path, I don’t know. His growth in all the above, has been exponential and blessed. Some of the singers introduced by ARR have also matured and achieved great heights in their singing career.
The song I am presenting this time is from the film ‘The Legend of Bhagat Singh’ (2002) which surfaced in the memory while doing the earlier post of the same song from the 1963 film ‘Shaheed Bhagat Singh’ – “Sarfaroshi Ki Tamanna Ab Hamaare Dil Mein Hai“.
In fact, I am a big fan of the other song of this film (already posted), sung by Sonu Nigam – “Mera Rang De Basanti Chola”. The song has the same famous shair and a another shair in the mukhda, with new stanza’s written by Samir. “Mera Rang De Basanti Chola” is a folk song now, but “Sarfaroshi Ki Tamanna Ab Hamaare Dil Mein Hai” is well on its way to becoming a folk tradition.
That rendition of the folk song is special, the century old Hindi film industry has used these two songs multiple times.The particular strength of folk song is that it intrinsically belongs to its people. The music unites communities, entertains them, and documents their loves, losses, and struggles. It’s a genre that has long been used to stir passions, swell pride, and resist injustice and oppression. Little wonder, then, that colonialists and dictators the world over have routinely sought to curtail, or even extinguish, the traditional music of the land. Folk music supply’s identity and hope, in the extraordinarily intimate tradition of singing and performing.
The following two songs from this film are already posted in the blog:
Desh mere desh mere meri jaan hai tu (The Legend of Bhagat Singh)
Mera rang de basanti chola (The Legend of Bhagat Singh)
The complete package, ARR is again creative with this composed and sung multiple times revolutionary ghazal, with the nationalistic flavour. And he comes up trump, which has been almost ignored by the jurist while awarding. Poetry and music have great potential for rousing passions of a people. And if it is AR Rehman composing it, it takes the revolution in the inner or outer spheres, whichever way you want to look at it.
Its high time, 6 songs into the series, and I must look for a qawwaali to post next in this series. Oh..… my favourite is “Daraarien Daraarien Hain Maathe Pe Maula” named “Arziyaan Saari Main Maathe Pe Like Ke Laaya Hoon” from Delhi – 6 is posted. So what! there are many more, qawwali-fusion compositions by AR Rehman. Readers may like to suggest this genre songs which they want to see posted in the blog. Another mention-able qawwaali fusion is “Kun Fayaa Kun”, which people tell me is the new “CULT SONG” of the millennium. I have not thought anything to be the “Cult song” beyond “Dum Maaro Dum“. My son assures me that “Kun Fayaa Kun” is the cult song of the new generation, for all time and all occasions. This is a landmark achievement of AR Rehman, to top the traditional qawwaali that has ruled the field for centuries in the sub-continent. Not a mean achievement at all, to surpass the coke studio fusion of “Tajdaar-e-Haram” by Atif Aslam, in the 21st century. More on ARR fusion and fusion qawwaali in the next post.
Filhaal, let us hear, and appreciate the first non – Rafi , “Sarfaroshi Ki Tamanna” appearing in the blog, by Sonu Nigam and Hariharan.
Part 1
Part 2
Song – Sarfaroshi Ki Tamanna Ab Hamaare Dil Mein Hai (The Legend of Bhagat Singh) (2002) Singer – Sonu Nigam, Hariharan, Lyrics – Ram Prasad Bismil, Sameer, MD – AR Rahman
Chorus
Lyrics
Part 1
sarfaroshi ki tamanna aa
ab hama..are dil mein hai ea ea
dekhnaa hai zor kitna aa aa
baazu-e ea-qaatil mein hai ea
sarfaroshi ki tamanna aa
ab hamaare dil mein hai ea ea
dekhnaa hai zor kitna aa
baazu-e ea-qaatil mein hai ea ea
waqt aane pe bataa denge
tujhe ae aasmaan
kya bataaye ham junoon e ea ea
shauq kis manzil mein hai ea ea
sarfaroshi ki tamanna aa
ab hamaare dil mein hai ea ea
sarfaroshi ki ee tamanna aa
doriyaan ummeed ki na
aaj ham se chhoot jaayen
milke dekha hai jinhen woh
sapne bhi na roothh jaayen
hausle woh hausle kya
jo sitam se toot jaayen
hausle woh hausle kya
jo sitam se toot jaayen
sarfaroshi ki tamanna aa
ab hamaare dil mein hai ea ea
dekhnaa hai zor kitna aa
baazu-e ea-qaatil mein hai ea
tere sone roop ko ham
ik nayi bahaar denge
apne hi lahu se teraa
rang ham nikhaar denge
des mere des tujh pe
zindagi bhi waar denge
des mere des tujh pe
zindagi bhi waar denge
sarfaroshi ki tamanna aa
ab hamaare dil mein hai ea ea
dekhnaa hai zor kitna aa
baazu-e ea-qaatil mein hai ea
aaa aaaaaa
aaaaa aaaaa
aaaaa aaaaa
aaaa aaaa
aaaaaa aaaaa
aaaaaaaaa
aaaaaa aaaaaa
aaaaaa
khushboo ban ke mehka karenge
ham lehlahaati har faslon mein
saans ban ke ham gungunaayenge
aane waali har naslon mein
khushboo ban ke mehka karenge
ham lehlahaati har faslon mein
saans ban ke ham gungunaayenge
aane waali har naslon mein
aane waali aane waali
naslon mein ea ea
sarfaroshi ki tamanna aa
ab hamaare dil mein hai ea
dekhnaa hai zor kitna aa
baazu-e ea-qaatil mein hai ea
waqt aane pe bata denge
tujhe ae aasmaan
kya bataaye ham junoon e ea ea
shauq kis manzil mein hai ea ea
Part 2
sarfaroshi ki tamanna ab hamaare dil mein hai
dekhnaa hai zor kitna aa baazu-e-qaatil mein hai
sarfaroshi ki tamanna ab hamaare dil mein hai
dekhnaa hai zor kitna aa baazu-e-qaatil mein hai
dekh saktaa to tu bhi dekh le ae aasmaan
hausla yeh dekh ke qaatil badi mushkil mein hai
apne hi lahu se ham likhenge apni daastaan
zaalimon se chheen lenge yeh zameen yeh aasmaan aa aan
apne hi lahu se ham likhenge apni daastaan
zaalimon se chheen lenge yeh zameen yeh aasmaan aa
sar phire jawan ham to maut se bhi na daren
aanch aaye desh pe yeh kyun gawaara ham karen ea en
mulk pe qurbaan hon yeh aarzoo dil dil mein hai ea ea
sarfaroshi ki tamanna ab hamaare dil mein hai
sarfaroshi ki tamanna ab hamaare dil mein hai
dekhnaa hai zor kitna aa baazu-e-qaatil mein hai ea
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
भाग १
सरफरोशी की तमन्ना॰ ॰ ॰
अब हमा॰॰आरे दिल में है ऐ ऐ
देखना है ज़ोर कितना॰॰आ॰॰आ
बाज़ू ए क़ातिल में है ऐ
सरफरोशी की तमन्ना॰ ॰ ॰
अब हमारे दिल में है ऐ ऐ
देखना है ज़ोर कितना॰॰आ॰॰आ
बाज़ू ए क़ातिल में है ऐ
वक़्त आने पे बता देंगे
तुझे ए आसमां
क्या बताएं हम जूनून ए ए
शौक किस मंज़िल में है ए
सरफरोशी की तमन्ना
अब हमारे दिल में है
सरफरोशी की तमन्ना
डोरियाँ उम्मीद की ना
आज हमसे छूट जाएँ
मिलके देखा है जिन्हें वो
सपनें भी ना रूठ जाएँ
हौसले वो हौसले क्या
जो सितम से टूट जाएँ
हौसले वो हौसले क्या
जो सितम से टूट जाएँ
वक़्त आने पे बता देंगे
तुझे ए आसमां
क्या बताएं हम जूनून ए ए
शौक किस मंज़िल में है ए
तेरे सोने रूप को हम
इक नई बहार देंगे
अपने ही लहू से तेरा
रंग हम निखार देंगे
देस मेरे देस तुझ पे
ज़िंदगी भी वार देंगे
सरफरोशी की तमन्ना॰ ॰ ॰
अब हमारे दिल में है ऐ ऐ
देखना है ज़ोर कितना॰॰आ॰॰आ
बाज़ू ए क़ातिल में है ऐ
आ आssss
आsss आsss
आsss आsss
आss आss
आssss आsss
आssssssss
आsssss आsssss
आssss
खुशबू बन के महका करेंगे
हम लहलहाती फसलों में
सांस बन के हम गुनगुनायेंगे
आने वाली हर नस्लों में
खुशबू बन के महका करेंगे
हम लहलहाती फसलों में
सांस बन के हम गुनगुनायेंगे
आने वाली हर नस्लों में
आने वाली आने वाली
नस्लों में ए ए
सरफरोशी की तमन्ना
अब हमारे दिल में है
देखना है ज़ोर कितना
बाज़ू ए क़ातिल में है
वक़्त आने पे बता देंगे
तुझे ए आसमां
क्या बताएं हम जूनून ए
शौक किस मंज़िल में है
भाग २
सरफरोशी की तमन्ना अब हमारे दिल में है
देखना है ज़ोर कितना बाज़ू ए क़ातिल में है
सरफरोशी की तमन्ना अब हमारे दिल में है
देखना है ज़ोर कितना बाज़ू ए क़ातिल में है
देख सकता है तो तू भी देख ले ए आसमान
हौसला ये देख के क़ातिल बड़ी मुश्किल में है
अपने ही लहू से हम लिखेंगे अपने दास्तां
ज़ालिमों से छीन लेंगे ये ज़मीं ये आसमां
अपने ही लहू से हम लिखेंगे अपने दास्तां
ज़ालिमों से छीन लेंगे ये ज़मीं ये आसमां
सर फिरे जवान हम तो मौत से भी ना डरें
आंच आए देश पे ये क्यों गवारा हम करें
मुल्क पे क़ुरबान हों ये आरज़ू दिल दिल में है ए
सरफरोशी की तमन्ना अब हमारे दिल में है
सरफरोशी की तमन्ना अब हमारे दिल में है
देखना है ज़ोर कितना बाज़ू ए क़ातिल में है
Sun ri sakhi meri pyaari sakhi
Posted on: January 30, 2023
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
Tum Bin, Jaaun Kahaan. . .
Posted on: March 4, 2022
- In: Calling the beloved | Competition song | Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Hariharan solo song | Hariharan Song | Love song | Lyrics contributed by readers | Missing the loved ones | One song used in more than one movie | One song used in two movies | Post by Sudhir | Songs of 2000s (2001 to 2010) | Songs of 2002 | Songs reused again in subsequent movies | Yearwise breakup of songs
- 1 Comment
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
4977 | Post No. : | 16855 | Movie Count : |
4586 |
Songs Repeated in Hindi Films – 25
– – – – – – – – – – – – – – – – – –
This discovery of a repeat song will have to be termed as Mother of All Repeat Songs. And just in case, before you start wondering whether poor dear me has decided to take a step off the deep end, let me explain.
Ostensibly searching for something else totally disconnected with repeat songs in Hindi films, I chanced to read this caption on a YouTube link. The face in the thumbnail image is neither Bharat Bhushan or Shashi Kapoor. And so, intrigued as I was, I clicked on the thumbnail with the face of R Madhavan, to play this song whose caption was sounding so very familiar. It turns out, yes, it is a repeat song – a repeat of the very endearing and a must-have favorite from the 1969 film ‘Pyaar Ka Mausam’. This signature track has been the theme of many an amorous message of love for the connoisseurs of the Hindi film music.
Ah, but the story of my discovery had just started. I checked out the name of the film. Turns out it is ‘Dil Vil Pyaaar Vyaar’ from 2002. I track down the Wikipedia page of this film. I had not heard of this film earlier. The story line weaves around the romance lives of young friends. Seemed like a run-of-the-mill rom-com tales that abound the landscape of the Hindi film world. An immediate analogy that came to mind, from the era familiar to me, was ‘Dekh Kabira Roya’ of 1957. Similar theme, romance tales of three young friends.
Ah but what wonderful and divine music that film has. I will not dwell on the delightful music created by the legendary Madan Mohan – I am sure all readers and friends are already very much taken in by the songs of that film from 1957.
Getting back to ‘DVPV’ (‘Dil Vil Pyaar Vyaar’), I was thinking – seems like the producer of this film did not have much imagination to engage song writers and MDs to create some fresh songs. So he chose to easy route to re-use this song.
But as I continued down the Wikipedia page, and reached the Soundtrack section, my eyes remained agape in wonder. The film has 13 songs listed. And (OK now, hold your breath) – ALL, I repeat ALL songs are repeats of earlier hit songs of the 60s to 80s time period. Looking closey at the list, the second realization, and a big one, hit home. ALL the thirteen tracks are creations of RD Burman. Now this discovery surely something great and different.
A little more research and I am able to locate more information online. The producer of this film is a diehard fan of RD Burman and the music created by him. And this film ‘DVPV’ has been created as a tribute for his favorite MD. So, a story and a screenplay was conjured and 13 of RDB’s famous hits have been woven into it.
The producer of this film is Vivek Vaswani. As it turns out, he himself is the author of the story line of this film. The screenplay has been adapted from the story by Sujit Sen.
Of course the credits for the song will remain with the original creators. But for this film, the music for the songs has been re-arranged and re-recorded by Babloo Chakravorty. So all songs in this film are recorded in different voices.
Ah yes, in case you are wondering – yes, I plan to bring on board all the thirteen songs of this film, in good time. Quite a bonanza here for this series.
This wonderful song from ‘Pyaar Ka Mausam’ has been re-recorded in the voice of Hariharan. On screen, it is performed by R Madhvan. I am sure all are familiar with this new name. My introduction to Madhavan has been through the 2009 hit film ‘3 Idiots’. I will try to say more about this film and its performers, in subsequent episodes, as I venture to cover all the songs of this film.
Other actors we see in this clip are Asrani and Namrata Shirodkar. The wonders that a song can do has not changed across the decades that Hindi films have been created, exhibited and watched. It has only become better, more imaginative and more incredulous. In the very early days of this blog itself, Atul ji had come to a conclusion, and he has so documented it in many a write up. That a situation in Hindi films takes about 3 minutes or so to be transformed. All it takes is a song. The song starts in a particular mood, with a particular expectation, and by the time the song ends, the desired mood and desired outcome is achieved and the expectations realized. In many earlier such discussions, we have seen quite wondrous and amazing things happen during the duration of a song.
With this song, things are no different. Rather, the stretch on the gullibility of comprehension is a bit too much. Madhavan is on a stage, participating in a music competition. Things to be noted about the setting. The stage where the performance happens is designed like a music CD. And the effect is complete with the singer handling a very old fashioned standing microphone. The antics Madhavan attempts with this mike takes us even further back to Elvis Presley performing live on stage, back in the 1950s.
His lady love, Namrata, is at the airport, already checked in for a flight that will take her thousands of miles away to another country, away from her beau. And voila. A ‘strategically’ placed TV screen within her view starts to telecast the music competition just as Madhavan is to present his song. The song starts. It is the replay of the famous aria – this one, from ‘Pyaar Ka Mausam’.
All it takes in one stanza for the lady love to make up her mind to abandon her plans to leave the country, and she decides to go back into the beckoning arms of her lover. The second stanza is even more wondrous. The lady exits from the airport, starts to drive to where the competition is in progress. And, another VOILA – this time in capital letters – she drives through the Bombay traffic, with all her memories about times spent with her lover replaying on the mind’s screen, reaches the location and is on stage with her lover, by the time the second stanza comes to a close. And yes, even has time for a change of attire. The applause by the audience is still in progress as she makes an entrance through a hazy and foggy doorway, with the director making utmost efforts to make it appear like a fairy descending through the clouds.
I remember having seen a cartoon long long back advising filmgoers to please leave their logic and reasoning outside the door, when entering a cinema hall to watch a Hindi film (or maybe any film for that matter).
So mission accomplished. In less than three minutes, from the verge of just starting to board her flight, the lady love makes it from the airport to the competition stage and into the arms of her lover.
Long be loved – the wondrous Hindi film song. Yes, all it takes is a song.
Song – Tum Bin, Jaaun Kahaan. . . (Dil Vil Pyaar Vyaar) (2002) Singer – Hariharan, Lyrics – Majrooh Sultanpuri, MD – RD Burman
[Music rearranged by Babloo Chakravarty]
Lyricsa
tum bin jaaun kahan
tum bin jaaun kahaan
ke duniyaa mein aake
kuchh na phir chaahaa sanam
tumko chaah ke
tum bin jaaun kahaan
ke duniyaa mein aake
kuchh na phir chaahaa sanam
tumko chaah ke
tum bin
dekho mujhe sar se kadam tak
sirf pyaar hoon main
gale se lagaa lo ke tumhaara
bekaraar hoon main
tum kya jaano ke bhatakta fira
kis kis gali
tum ko chaah ke
tum bin jaaun kahaan
ke duniyaa mein aake
kuchh na phir chaahaa sanam
tumko chaah ke
tum bin
rah bhi sakoge tum kaise
ho ke mujhse judaa
hat jaayengi deewaaren
sun ke meri sadaa
aanaa hogaa tumhen mere liye
saathi meri
sooni raah ke
tum bin jaaun kahaan
ke duniyaa mein aake
kuchh na phir chaahaa kabhi
tumko chaah ke…
tum bin
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
तुम बिन
जाऊँ कहाँ
तुम बिन
जाऊँ कहाँ
के दुनिया में आ के
कुछ ना फिर
चाहा सनम
तुमको चाह के
तुम बिन
जाऊँ कहाँ
के दुनिया में आ के
कुछ ना फिर
चाहा सनम
तुमको चाह के
तुम बिन
देखो मुझे सर से कदम तक
सिर्फ प्यार हूँ मैं
गले से लगा लो के तुम्हारा
बेक़रार हूँ मैं
तुम क्या जानो के भटकता फिरा
किस किस गली
तुमको चाह के
तुम बिन
जाऊँ कहाँ
के दुनिया में आ के
कुछ ना फिर
चाहा सनम
तुमको चाह के
तुम बिन
रह भी सकोगे तुम कैसे
हो के मुझ से जुदा
हट जाएंगी दीवारें
सुन के मेरी सदा
आना होगा तुम्हें मेरे लिए
साथी मेरी
सूनी राह के
तुम बिन
जाऊँ कहाँ
के दुनिया में आ के
कुछ ना फिर
चाहा सनम
तुमको चाह के
तुम बिन
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
4848 | Post No. : | 16638 | Movie Count : |
4532 |
Hullo Atuldom
26th Ocotober is a day when we wish the first Follower of the blog Rajaji on turning a year younger. He is the ‘yaaron-ka-yaar’ who is currently off the radar. Hope he marks his presence on the blog and reads this post. He is not a kanjoos (and I have a whole set of the followers of the blog who will endorse my statement) and will not shy away from giving us a treat by saying a “Hello”. Actually, I sincerely hope he is fine, the last post by him, as a guest contributor, was on 8th March 2021- for the birth centenary of his favourite lyricist/ poet Sahir Ludhianvi.
Our Rajaji was one of the first to see posts on Atulsongaday. One of the first to post his Farmaish to Atulji. And if I am not wrong, one of the first guest contributors as lyrics contributor in April 2009 with this post of a song from ‘Bin Baadal Barsaat’ . His first full-length post was Teri umar naadaan hai on 26 june 2010 from “Aankhon Aankhon Mein”(1972) and since then he has been a regular contributor and loves to write about Rajesh Khanna, Mohd. Rafi, Kishore Kumar and of course Sahir Ludhianvi. In the interim he has also written posts on some artistes whose work he appreciates. Here is wishing this friendly Atulite all health and happiness and waiting for his next post- essay, novel or short story anything but in your unique style Rajaji.
26th October also happens to be the birth date of an actress (don’t like to use the adjective yesteryear for this one, too young for that) who was known to be cast in the roles of typical heroine i.e. one emotional scene, two haughty scenes, three or four duets or solos and that is about it. There is a period in every actress’s career when she reaches the top-spot doing this kind of inane roles. Then she tires of it and tries to break the shackles and get cast in some roles that gives her chance to show her emoting and acting capabilities.
Today’s birthday girl made her Bollywood debut as Salman Khan’s heroine in ‘Patthar Ke Phool’ went on to co-star with all the biggies of that era and reaching heights of popularity as the ‘mast mast’ girl in ‘Mohra’ She was ready to give it all up sometime in 1995 for the sake of family and marriage. But when things didn’t work out the way she expected them to, she made a successful comeback with movies opposite Govinda which were from the David Dhawan stable. She played meaningful or non-glamourous characters in movies like “Shool” (1999) “Daman” (2002) “Satta” (2005) and “Jaago” in 2004 where she played the mother of a ten-year-old gang-rape-victim who dies in front of her.
Do I need mention the name of the actress- Raveena Tandon? She finally took a hiatus from acting after marriage and kids (as per her original plan for life) and has four children two of whom she adopted when the girls were 11 and 8 and she herself was only 21.
I may not call myself her fan but I like this actress for her sprightly acting, Today’s song is from the 1997 crime -drama “Ghulam-e-Mustafa” which was directed by Partho Ghosh and had a cast headed by Nana Patekar and Raveena Tandon played a night club dancer who falls in love with Mustafa (Nana Patekar) on hearing his life story. They even get married and have a happy life, which is short lived as Kavitha (Raveena) gets killed in a car bomb explosion which was meant for Abba (Paresh Rawal). The cast also included Ravi Behl, Aruna Irani, Keerthi Chawla, Shivaji Satam, Sulabha Deshpande, Mohan Joshi, Mohnish Bahl etc. Rajesh Roshan and Amar Haldipur were the music directors, and the song with this post has been credited to Anand Bakshi. Myswar.com says that Amar Haldipur was responsible for the background score.
This songs sees our birthday girl Raveena Tandon as a new bride out for a joy trip when their Gypsy breaks down, of course I need not explain the visuals of the song and will just say that she dies after this.
I would also like to wish the daughter of an Atulite on her birthday today. Hope this message is conveyed to your little girl and wish her all the best for her future.
Once more wishing all the best and happy birthday to our Rajaji, the little one of our Atulite and Raveena Tandon.
Happy
Sad
Song-Tera gham mera gham ek jaisa sanam(Ghulam e Mustafa)(1997) Singers-Kavita Krisnamurthy, Hariharan, Lyrics-Anand Bakshi, MD-Rajesh Roshan
Lyrics
Happy version
———————–
hmmmm hmmm
tera gham mera gham ek jaisa sanam
tera gham mera gham ek jaisa sanam
ham donon ki ek kahaani
aaja lag ja gale dil ja..aaa..ani
tera gham mera gham ek jaisa sanam
ham dono ki ek kahaani
aaja lag ja gale dil jaa..aa..ni
tera gham mera gham ek jaisa sanam
main achchi buri jaisi bhi hoon
tu achha bura jaisa bhi hain
main teri hoon kaisi bhi hoon
tu mera hai kaisa bhi hai
tu mera hai kaisa bhi hai
tera gham mera gham ek jaisa sanam
tera gham mera gham ek jaisa sanam
ham donon ki ek kahaani
aaja lag ja gale dil jaa..aa..ni
tera gham mera gham ek jaisa sanam
toote huye dil ki kashti ko
toofan mein kinaara mil jaaye
aaa aaaaaa
tu tham le mera haath agar
donon ko sahaara mil jaaye
donon ko sahaara mil jaaye
tera gham mera gham ek jaisa sanam
tera gham mera gham ek jaisa sanam
ham donon ki ek kahaani
aaja lag ja gale dil jaa..aa..ni
tera gham mera gham ek jaisa sanam
———————————-
Sad version
——————————-
tera gham mera gham ek jaisa sanam
ham donon ki ek kahaani
aaja lag ja gale dil jaa..aa..ni
tera gham mera gham ek jaisa sanam
ham donon ki ek kahaani
aaja lag ja gale dil jaa..aa..ni
Chhai chhapa chhai chhapaak chhai
Posted on: August 18, 2020
This article is written by nahm, 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 : |
4414 | Post No. : | 15818 |
This is Gulzar !
— KITAABEN —
Kitaaben jhaankti hain band almaari ke sheeshon se
badi hasrat se takti hain
mahinon ab mulaqaaten nahin hotin
jo shaamen unn ki sohbat mein kata karti thhin, ab aksar
guzar jaati hain computer ke pardon par
badi bechain rehti hain kitaaben
unhen ab neend mein chalne ki ‘aadat ho gayi hai
badi hasrat se takti hain
jo qadren wo sunaati thhin
ke jin ke cell kabhi marte nahin thhe
wo qadren ab nazar aati nahin ghar mein
jo rishte wo sunaati thhin
wo saare udhde udhde hain
koyi safha palat-ta hoon to ik siski nikalti hai
kayi lafzon ke ma’ani gir pade hain
bina patton ke sukhe tund lagte hain vo alfaaz
jin par ab koyi ma’ani nahin ugte
bahut se istelaahen hain
jo mitti ki sakoron ki tarah bikhri padi hain
gilaason ne unhen matruk kar daala
zaban par zaiqa aata thha jo safhe palatne ka
ab ungli click karne se bas ek
jhapki guzarti hai
bahut kuchh tah-ba-tah khultaa chalaa jaata hai parde par
kitaabon se jo zaati raabta thha kat gayaa hai
kabhi seene pe rakh ke let jaate thhe
kabhi godi mein lete thhe
kabhi ghutnon ko apne rehal ki soorat bana kar
neem sajde mein padha karte thhe, chhute thhe jabeen se
wo saara ilm to milta rahegaa ‘aayinda bhi
magar wo jo kitaabon mein milaa karte thhe sookhe phool aur
mehke huey ruq’ae
kitaaben maangne, girne utthaane ke bahane rishte bante thhe
unn ka kya hogaa
wo shayad ab nahin honge !
—– GULZAR
I think the above poem is enough as introduction and ta’aruf of Gulzar Sahab.
Faced with such ‘qalaam’, what does it matter when and where he was born. Yes, Gulzar sahab has turned 86 today. May he live to be 186 or more, as long as he creates such ‘naayab nageene’ as nazmen and naghme.
— Urdu zabaan —-
Ye kaisa ishq hai urdu zaban kaa,
mazaa ghultaa hai lafzon ka zuban par
ki jaise paan mein mehenga qimaam ghultaa hai
ye kaisa ishq hai urdu zaban kaa….
nasha aataa hai urdu bolne mein
gilauri ki tarah hain munh lagi sab isltelaahen
lutf deti hai, halaq chhooti hai urdu to,
halaq se jaise mai ka ghunt utarta hai
badi aristocracy hai zaban mein
faqeeri mein nawaabi ka mazaa deti hai urdu
agarche ma’ani kam hote hain urdu mein
alfaaz ki ifraat hoti hai
magar phir bhi buland awaaz padhiye
to bohat hi mu’atabar lagti hain baaten
kahin kuchh dur se kaanon mein padhti hai agar urdu
to lagtaa hai ke din jaadon ke hain khidki khuli hai,
dhoop andar aa rahi hai
ajab hai ye zaban urdu
kabhi kahin safar karte agar koyi musaafir
sher padh de ‘mir’, ‘ghalib’ ka
wo chaahe ajnabi ho,
yahi lagtaa hai wo mere watan ka hai
badi sha’ista lehje mein kisi se urdu sun kar
kya nahin lagtaa ki ek tehzeeb ki awaaz hai urdu.
—– GULZAR ——-
How true the above thoughts are, so inherently accurate for urdu, the spoken language.
Thanks dear ‘Peevesie’s Mom’, for reminding me of Gulzar Sahab birthday and this movie ‘Hu Tu Tu’ and its deeply meaningful songs, written by Gulzar sahab.
Also a well composed and picturised song. Composer is Vishal Bharadwaj and singers are mainly Lata Mangeshkar and Hariharan. There are more voices singing some goan rhythm at the start and koli folk song in the middle.
But the star of the show is Gulzar sahab’s unmatched poetry.
Audio :
Video :
Song-Chhai chhappa chhai chhapaak chhai (Hu tu tu ) (1999) Singers- Hariharan, Lata, Lyrics-Gulzar, MD-Vishal Bhardwaj
Lyrics (As per audio)
Rum chirapiraira
Rumm chirapiraira
Rummp
Rai rai rummp…
Chirapiraira rai rai
Rum chirapiraira
Rumm chirapiraira
Rummp
Rai rai rummp…
Chirapiraira rai rai
Chhai chhappa chhai
chhapaak chhai
Paaniyon pe chheeten udaati hui ladki
Chhai chhappa chhai
chhapaak chhai
Paaniyon pe chheeten udaati hui ladki
Dekhi hai ham ne
Aati hui lehron pe jaati hui ladki
Chhai chhappa chhai
chhapaak chhai
kabhi kabhi baaten teri achhi lagti hain
Chhai chhappa chhai
chhapaak chhai
kabhi kabhi baaten teri achhi lagti hain
phir se kehna aa
aati yui lehron pe
jaati hui ladki he
dhoondhaa karenge tumhen saahilon pe ham mmm
ret pe ye pairon ki mohren na chhodnaa aa aa
nahin ee
dhoondhaa karenge tumhen saahilon pe ham mmm
ret pe ye pairon ki mohren na chhodnaa aa aa
saara din lete lete sochegaa samandar
aate jaate logon se puchhegaa samandar
sahib rukiye zara aa
arrey dekhi kisi ne
aati hui lehron pe jaati hui ladki hey
Chhai chhappa chhai
chhapaak chhai
kabhi kabhi baaten teri achhi lagti hain
Chhai chhappa chhai
chhapaak chhai
la la la la
la la la la
la la la
la la la
oo dol doltai wareyavar
baai maajhi
dol dotai warryavar
………
Dol doltai paanyawar
bai maajhi dol doltai paanyawar
———-
likhte rahen hain tumhen roz hi magar
khwaahishon ke khat kabhi bheje hi nahin
nahin..
ha ha ha aaa
likhte rahen hain tumhen roz he magar
khwaahishon ke khat kabhi bheje hi nahin
ainak lagaa ke kabhi padhna wo chitthiyaan
aankhon ke paani mein rakhnaa wo chitthiyaan
tayrti nazar aayegi janaab
gote khaati
aati hui lehron pe jaati hui ladki
Chhai chhappa chhai
chhapaak chhai
Paaniyon pe chheete udaati hui ladki
Chhai chhappa chhai
chhapaak chhai
Paaniyon pe chheeten udaati hui ladki
Dekhi hai ham ne
Aati hui lehron pe jaati hui ladki hey
Chhai chhappa chhai
chhapaak chhai
kabhi kabhi baaten teri achhi lagti hain
hey Chhai chhappa chhai
Chhai chhappa chhai
chhapaak chhai
Aati hui lehron pe jaati hui ladki hey
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
Recent comments