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

Archive for the ‘“Helpless” song’ Category


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5351 Post No. : 17548

#the Decade of Forties – 1941 – 1950 #
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Music is very much essential for me (or may be people like me). It is like food for life. Or maybe it is more than that (‘vital’). So, even if I am not sharing lyrics or write-ups for the blog, I am still listening to songs daily or reading about songs and movies whenever I get time during the day. There cannot be a single day when I had not listened to songs or hummed them or recalled them …

Listening to songs provides the much needed relaxation to mind and had a therapeutic effect on me. Sometimes it provides the much needed motivation and inspiration too. And it also provides the entertainment if one is looking to freak out.

I would like to mention an incidence when I had to be operated for some diagnosis and anesthesia was given to me. That was in February-2020. Our respected Guruji will be remembering this. I had to cancel my Mumbai ticket then which was booked for a ‘mini-gang out’ planned there.

When I was in the hospital and brought outside the operation theatre I was still gaining consciousness after the anesthesia.

My younger daughter told me that the first thing I asked her in my semi-conscious state was to play some songs. 🙂

So, I am like that when it comes to movies and their music- Hindi movies and music I must say.

There have been many great lyricists in our country who have given us timeless classics.

They have penned songs for almost every human emotion and human struggle in life. And at times one may find many such songs turning out to be ‘prophetic’ in case of one’s life or ‘situations’ in life.

Today’s song is one such song which when I listened to, for the first time I think, and like it very much given my current ‘thought process’.

Today I present you this song penned by none other than Pt Narendra Sharma ji.

Couple of months back and later also when I was noting down the filmography of Pt Narendra Sharma ji I had noted the title of this song but had not listened to it then. Nevertheless I think it was the right time today I listened to it and it provided the much needed solace to me.

This song is from the movie ‘Mera Suhaag-1947’.

“Mera Suhaag-1947” was directed by Amey Chakravarti for ‘Famous Pictures’. It had Kamla Kotnis, Sulochana Chatterjee, Arun, Baby Tabassum, Narmada Shankar, Ghulam Mohammad, Ganjoo, Sajjan, Karadkar, Arjun, Rane and others.

This movie has seven songs written by Pt Narendra Sharma – five songs and Qamar Jalalabadi – two songs.

Music for this film was composed by Khemchand Prakash.

HFGK Vol-II (1941-1950) doesn’t mentions any Singer’s name for either the individual songs or singer’s names in general for this movie.

Here is the list of songs this movie has.

SNo Song Title Lyricist Posted On
01 Khidki to kholo maharaja ji Narendra Sharma
02 Baaj uthhi mere man ki muraliya Narendra Sharma
03 Meri banni chhabili gori-gori re Narendra Sharma
04 Tumne nazar uthhaayi, mujhe pyaar ho gaya Qamar Jalalabadi 11.08.2014
05 Surdas ki suno kahaani (four parts) Narendra Sharma
06 Ab raat andheri hai aur door kinaara hai Narendra Sharma
07 Apne haathhon se hi apne dil ke tukde kar diye Qamar Jalalabadi

As mentioned above only one song from this movie has been posted earlier. This song was also shared by ‘yours sincerely’ only, long time back in 2014.

That song was written by Qamar Jalalabadi. Today’s song, as mentioned above, is written by Pt. Narendra Sharma.

Singer’s name for the today’s song is not mentioned in HFGK. However, the audio- link of the song mentioned the singer as Zohrabai Ambalewali.

Music is composed by Khemchand Prakash.

Let us now listen to this song …

“ab raat andheri hai ae
aur door kinaara hai…”


Song-Ab raat andheri hai aur door kinaara hai (Mera Suhaag)(1947) Singer-Unknown female voice, Lyrics-Pt Narendra Sharma, MD-Khemchand Prakash

Lyrics

raat andheri hai ae …
ab raat andheri hai ae
aur door kinaara hai ae ae
raat andheri hai
naiyya ko mere maalik a a a
naiyya ko mere maalik a a
bas teraa sahaaraa hai
raat andheri hai ae
aur door kinaara hai ae ae
raat andheri hai ae

patwaaar gir gaye hain ae
manjhdhaar beech naiyya aa
patwaaar gir gaye hain ae
manjhdhaar beech naiyya
rakh laaj aaj meri ee
ho naao ke khewaiyya
ab kaali ghataaon mein ae ae
ab kaali ghataaon mein ae ae
kismat ka sitaaraa hai ae ae ae
hai ae ae ae
raat andheri hai
aur door kinaara hai ae ae
raat andheri hai

chhoti si zindagi hai ae
dukh dard ka samandar r
chhoti si zindagi hai
dukh dard ka samandar
hans hans ke mit rahi hoon oon
main tere aasre par
apne na rahe apne ae ae
apne na rahe apne
ab kaun hamaaraa hai ae ae
raat andheri hai ae
aur door kinaara hai ae ae
raat andheri hai ae


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 :

5204 Post No. : 17189

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Blog 10-Year Challenge (2012-2022) – Song No. 115
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Ten years back on this date viz on 17th October 2012, six songs from six different movies were covered on the blog. Here are the details:-

Blog post number Song Movie (Year) Remarks
6866 Khuda Rakkhe Aabaad Jeewan Tumhaara Toofaani Tarzan (1937) Movie YIPPEEE’D by now
6867 Ham Thhe Tumhaare Tum Thhe Hamaare Dard (1947) Movie YIPPEEE’D by now
6868 Jai Jai Hey Jagdambe Maata Ganga Ki Lehren (1964) 6 songs covered out of 8 by now
6869 Uff Kitni Thandi Hai Ye Rut Teen Deviyaan(1965) Movie YIPPEEE’D by now
6870 Tumhaare Bina Jee Na Lagey Ghar Mein Bhumika (1977) 2 songs covered out of 9 by now
6871 Teri Hai Zameen Tera Aasmaan The Burning Train(1980) Movie YIPPEEE’D by now

One can observe that four movies (out of six) have since been YIPPEEE’D in the blog. In fact, two movies got YIPPEEE’D on that date ten years ago.

That leaves us with two movies that are not yet YIPPEEE’D and therefore eligible for Blog Ten Year Challenge today (17 october 2022).

‘Ganga Ki Lahren’ (1964) is one movie eligible for Blog Ten Year Challenge today.

‘Ganga Ki Lahren’ was produced and directed by Devi Sharma for Janta Chitra, Bombay. The movie had Dharmendra, Kishore Kumar, Kumkum, SK Prem, Brahm Bhardwaj, Raani, Rehman, Nazir Hussain, Master Shahid, Asit Sen, Azra, Aruna Irani, Jankidass, Mridula Rani, Hari Shivdasani, Tuntun, Savithri Ganeshan (Wife of Southern Hero Gemini Ganeshan) etc. in it.

‘Ganga Ki Lahren’ has eight songs in it. Six songs have been covered so far.

Here is the seventh song from the movie to appear in the blog. The song is sung by Usha Mangeshkar and chorus. The song is picturised as a beggar song on Master Shahid and several child artists. Savitri Ganeshan (South)is also visible in the picturisation. Majrooh Sultanpuri is the lyricist. Music is composed by Chitragupta.

Lyrics of the song and other details were sent to me by Prakashchandra.

Audio link:

Video link:

Song-Ik paise ka hai sawaal jiyen tere bachche maayee (Ganga Ki Lahren)(1964) Singer-Usha Mangeshkar, Lyrics-Majrooh Sultanpuri, MD-Chitragupta
Chorus
Usha Mangeshkar + chorus

Lyrics (Provided by Prakashchndra)

ik paisey ka hai sawaal
jiyen tere bachche maayee
jiyen tere bachche baabaa
ik paisey ka hai sawaal
jiyen tere bachche maayee
jiyen tere bachche baabaa

thhe hum bhee kisee ke laal
jiyen tere bachche maayee ee
jiyen tere bachche baabaa

tere laal ko moongaa moti chaahiye
apne bachpan ko ik roti chaahiye
tere laal ko moongaa moti chaahiye
apne bachpan ko ik roti chaahiye

na chaandi na sonaa
naa maangen daulat maal
jiyen tere bachche maayee ee
jiyen tere bachche baabaa

ik paisey ka hai sawaal
jiyen tere bachche maayee ee
jiyen tere bachche baabaa

hum bhee khele hain sapnon ke gaaon mein aen
hum bhee soye hain mamta ki chhaaon mein aen
hum bhee khele hain sapnon ke gaaon mein aen
hum bhee soye hain mamta ki chhaaon mein aen

ab qismat ke maarey
hum kisko sunaayein haal
jiyen tere bachche maayee ee
jeeye tere bachche baabaa

ik paisey ka hai sawaal
jiyen tere bachche maayee
jiyen tere bachche baabaa

dar dar thhokar khaayein rasta bhool ke ae
chhote chhote paaon bharey hain dhool se
dar dar thhokar khaayein rasta bhool ke
chhote chhote paaon bharey hain dhool se ae

koyee naheen jo dhoye
ye mailey mailey gaal
jiyen tere bachche maayee ee
jiyen tere bachche baabaa

ik paisey kaa hai sawaal
jiyen tere bachche maayee
jeeye tere bachche baabaa
thhe hum bhee kisee ke laal
jiyen tere bachche maayee
jiyen tere bachche baabaa

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

इक पैसे का है सवाल
जीएं तेरे बच्चे माई
जीएं तेरे बच्चे बाबा
इक पैसे का है सवाल
जीएं तेरे बच्चे माई
जीएं तेरे बच्चे बाबा
थे हम भी किसी के लाल
जीएं तेरे बच्चे माई
जीएं तेरे बच्चे बाबा

तेरे लाल को मूंगा मोती चाहिए
अपने बचपन को इक रोटी चाहिए
तेरे लाल को मूंगा मोती चाहिए
अपने बचपन को इक रोटी चाहिए
ना चाँदी ना सोना
ना मांगे दौलत माल
जीएं तेरे बच्चे माई
जीएं तेरे बच्चे बाबा
इक पैसे का है सवाल
जीएं तेरे बच्चे माई
जीएं तेरे बच्चे बाबा

हम भी खेले हैं सपनों के गाँव में
हम भी सोये हैं ममता की छाँव में
हम भी खेले हैं सपनों के गाँव में
हम भी सोये हैं ममता की छाँव में
अब किस्मत के मारे
हम किसको सुनाएँ हाल
जीएं तेरे बच्चे माई
जीएं तेरे बच्चे बाबा
इक पैसे का है सवाल
जीएं तेरे बच्चे माई
जीएं तेरे बच्चे बाबा

दर दर ठोकर खाएं रस्ता भूल के
छोटे छोटे पाँव भरे हैं धूल से
दर दर ठोकर खाएं रस्ता भूल के
छोटे छोटे पाँव भरे हैं धूल से
कोई नहीं जो धोये
ये मैले मैले गाल
जीएं तेरे बच्चे माई
जीएं तेरे बच्चे बाबा
इक पैसे का है सवाल
जीएं तेरे बच्चे माई
जीएं तेरे बच्चे बाबा
थे हम भी किसी के लाल
जीएं तेरे बच्चे माई
जीएं तेरे बच्चे बाबा


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4944 Post No. : 16802 Movie Count :

4573

#The Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 166 # Missing Films of 1972 – 11#
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Today’s song is from the movie ‘Parivartan’ which was released in the year 1972. Like the earlier missing movies of this year 1972 this must also be one of the obscure movies of its time.

‘Parivartan’ was directed by DS Sultania for DS Pictures, Calcutta. It had Ranjit Mallick, Heena Kausar, Manisha, Sudha Shivpuri, Bhaskar Choudhury, Anoop Kumar, Ravi Ghosh, Subrat Chatterjee, Lalita Chatterjee, Mam Mukherjee, Smt. Sushila, Shekhar Chatterjee, Dyanesh Mukherjee, Rasraj Chakravarty, Shambhu Bhattacharya, Guddu, Rajiv, Hanumant Sethia, Baba Majgaonkar, Jayshree T, and others. Utpal Dutt and Jalal Agha make guest appearances in this movie.

This movie was passed by Censor Board on 27.12.1972 with restricted viewing certificate that is ‘A’ Certificate (for adults only).

This movie has three songs. Songwriters Neeraj and Nawal have penned one song each. For remaining one song the lyricists name is not mentioned in HFGK page of this movie. Two music directors viz. Chand Pardesi and MK Pujari composed one song each and for one song again the composer’s name is not mentioned in HFGK. The list of songs in this movie is as given below (as provided in HFGK).

Sl. No. Song Title Singer/s Composer
01 Tan Bhi Jaley, Man Bhi Jaley, Raat Bhi Jaley Manna Dey, Hemlata Chand Pardesi
02 Roothho Naa Sarkaar Hamse Pyaar Karo Naa Kishore Kumar MK Pujari
03 Dil Se Mere Jo Tera Dil Miley Not mentioned.          –

Today’s song is written by Neeraj and sung by Manna Dey and Hemlata. I guess it must be picturised on Ranjit Mallick and Heena Kausar. Music for today’s song is composed by Chand Pardesi. With this song the movie ‘Parivartan’ makes its debut on the blog.

Let us have a look on the list of movies of 1972 alphabetically after adding the today’s movie. For brevity the list given below includes the list of movies missing on the blog and list of all movies from the last post from movie ‘Naag Panchami’ – “Main Nadiya Ki Dhaara Baahen Teri Kinaara” to today’s movie song-post.

Sl. NO. Movie Title Director Music Director Passed by Censor Board No of Songs on the Blog No of Songs as per HFGK
1 Aakraant Girish Vaidya Jagat Singh 07.12.1972 0 No Information
17 Bachche Mere Saathi TN Babu M.S. Vishwanathan 17.11.1972 Songs Not Available 6
24 Bharat Darshan Khwaja Ahmed Abbas Jaidev 04.11.1972 0 No Information
45 Fighter Sheela Vijay Not Mentioned 07.10.1972 0 No Information
50 Gunfighter Johny K.S.R. Das Aadi Narayan Rao 25.03.1972 Songs Not Available 5
53 Hunterwaali K.S. Reddi Satyam 02.09.1972 Songs Not Available 5
54 Jaadoo Nagari Vednatham Roghaviya Aadi Narayan Rao 05.06.1972 0 No Information
65 Kavi Sammelan Kedar Sharma 18.02.1972 0 17
68 Lady James Bond KSR Das Satyam 11.07.1972 Songs Not Available 5
73 Maayaa Darpan Kumar T Shahni Bhaskar Chandavarkar 12.12.1972 0 No Information
81 Miss Chaalbaaz (Tingoo Agent 000) Ravi Rajan-Nagendra 27.11.1972 Songs Not Available 4
84 Naag Panchami Babubhai Mistry Ravi 04.02.1972 1 4
85 Naarad Leelaa Dhirubhai Desai Narayan Dutt 01.03.1972 1 10
86 Parchhaaiyaan Sharan Kumar Chaand RD Burman 15.11.1972 1 5
87 Parichay Gulzar RD Burman 18.10.1972 5 4
88 Parivartan DS Sultania Chaand Pardesi, MK Pujari 27.12.1972 Making its debut today 3

*Notes:

  1. Songs for ‘Bachche Mere Saathi’, ‘Gunfighter Johnny’, ‘Hunterwaali’, ‘Lady James Bond’ and ‘Miss Chaalbaaz’ (Tingoo Agent 000) seem to be unavailable as of now.
  2. There is no information about the songs in HFGK Vol-V (1971-1980) for the movies – ‘Aakraant’, ‘Bharat Darshan’, ‘Fighter Sheela’, ‘Jaadoo Nagari’ and ‘Maaya Darpan’ as mentioned above.

Today’s song is sung by Manna Dey and Hemlata. I came across this song only during the preparation of this post and had never heard it earlier. A good song to listen and only its audio is available. So far one more song from this movie sung by Kishore Kumar is also available on internet sources. However, no video or any additional information about this movie seems to be available now.

Let us now listen to the today’s song and welcome ‘Parivartan-1972’ on the blog 😊

Song – Tan Bhi Jaley, Man Bhi Jaley (Parivartan) (1972) Singer – Manna Dey, Hemlata, Lyrics – Neeraj, MD – Chand Paardesi
Manna Dey + Hemlata

Lyrics

tan bhi jaley
mann bhi jaley
raat bhi jaley
mausam bhi jaley
sar pe khadi hai ye balaa
pyaar ham kaise karen aen
sar pe khadi hai ye balaa
pyaar ham kaise karen aen aen aen

tan bhi jaley
mann bhi jaley
raat bhi jaley
mausam bhi jaley
sar pe khadi hai ye balaa
pyaar ham kaise karen aen
sar pe khadi hai ye balaa
pyaar ham kaise karen aen aen aen

he ae ae
ab to yahaan
koi nahin
khatra hai kis baat ka aa
kaash wo phir
laute nahin
sukh hon na kam saath ka
he ae
ab to yahaan
koi nahin
khatraa hai kis baat ka aa
kaash wo phir laute nahin
sukh hon naa kam saath ka
behra ho jaaye wo
andha ho jaaye wo
wahin gir jaaye wo
kaash mar jaaye wo
wo to bada hai behaya
pyaar ham kaise karen
wo to bada hai behaya
pyaar ham kaise karen aen aen aen

he ae ae
tere bina
priyatame
chain na dil ko miley
so jaane de
pal bhar mujhe
in gesuon ke taley
he ae ae
tere bina
priyatame
chain na dil ko miley
so jaane de
pal bhar mujhe
in gesuon ke taley
arey arey ae
dekho wo baithha hai
haan
pehra bhi deta hai
haan
ham ko wo takta hai
sota na jagta hai
mitti mein mil gaya maza
pyaar ham kaise karen
mitti mein mil gaya maza
pyaar ham kaise karen aen aen aen

he ae ae
tera bhi dil
mera bhi dil
milne se majboor hum
hai pyaar ki

pehli ye raat
phir bhi hain kyon door hum
he ae ae
tera bhi dil
mera bhi dil
milne se majboor hum
hai pyaar ki
pehli ye raat
phir bhi hain kyon door hum
haaye ae
kya ho laachaari hai
haan
uski mat maari hai
uff
aafat ye bhaari hai
arey
poori beemaari hai
ooparwaale ne di kya saza
pyaar ham kaise karen
ooparwaale ne di kya saza
pyaar ham kaise karen aen aen aen

tan bhi jaley
mann bhi jaley
raat bhi jaley
mausam bhi jaley
sar pe khadi hai ye balaa
pyaar hum kaise karen
sar pe khadi hai ye balaa
pyaar ham kaise karen aen aen aen

————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
तन भी जले
मन भी जले
रात भी जले
मौसम भी जले
सर पे खड़ी है ये बला
प्यार हम कैसे करें
सर पे खड़ी है ये बला
प्यार हम कैसे करें॰॰एं॰॰एं

तन भी जले
मन भी जले
रात भी जले
मौसम भी जले
सर पे खड़ी है ये बला
प्यार हम कैसे करें
सर पे खड़ी है ये बला
प्यार हम कैसे करें॰॰एं॰॰एं

हे॰॰ए॰॰ए
अब तो यहाँ
कोई नहीं
खतरा है किस बात का
काश वो फिर
लौटे नहीं
सुख हो ना कम साथ का
हे॰॰ए॰॰ए
अब तो यहाँ
कोई नहीं
खतरा है किस बात का
काश वो फिर
लौटे नहीं
सुख हो ना कम साथ का
बहरा हो जाये वो
अंधा हो जाये वो
वहीं गिर जाये वो
काश मर जाये वो
वो तो बड़ा है बेहया
प्यार हम कैसे करें
वो तो बड़ा है बेहया
प्यार हम कैसे करें॰॰एं॰॰एं

हे॰॰ए॰॰ए
तेरे बिना
प्रियतमे
चैन ना दिल को मिले
सो जाने दे
पल भर मुझे
इन गेसूओं के तले
हे॰॰ए॰॰ए
तेरे बिना
प्रियतमे
चैन ना दिल को मिले
सो जाने दे
पल भर मुझे
इन गेसूओं के तले
अरे अरे ए
देखो वो बैठा है
हाँ
पहरा भी देता है
हाँ
हमको वो तकता है
सोता ना जगता है
मिट्टी में मिल गया मज़ा
प्यार हम कैसे करें
मिट्टी में मिल गया मज़ा
प्यार हम कैसे करें॰॰एं॰॰एं

हे॰॰ए॰॰ए
तेरा भी दिल है
मेरा भी दिल है
मिलने से मजबूर हम
है प्यार की
पहली ये रात
फिर भी हैं क्यों दूर हम
हे॰॰ए॰॰ए
तेरा भी दिल है
मेरा भी दिल है
मिलने से मजबूर हम
है प्यार की
पहली ये रात
फिर भी हैं क्यों दूर हम
हाए ए
क्या हो लाचारी है
हाँ
उसकी मत मारी है
उफ़्फ़
आफत ये भारी है
अरे
पूरी बीमारी है
ऊपरवाले ने दी क्या सज़ा
प्यार हम कैसे करें
ऊपरवाले ने दी क्या सज़ा
प्यार हम कैसे करें॰॰एं॰॰एं

तन भी जले
मन भी जले
रात भी जले
मौसम भी जले
सर पे खड़ी है ये बला
प्यार हम कैसे करें
सर पे खड़ी है ये बला
प्यार हम कैसे करें॰॰एं॰॰एं


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Today’s song is from a totally obscure and unknown film – Draupadi-1944. It was a Mythological story set in Mahabharat times, underlining the ills of Gambling. This film was made by Baburao Pendharkar, under his own banner- New Huns Pictures Ltd. Bombay (Huns Pictures was owned by Master Vinayak. After it closed down, this was floated.) The first film of this banner was Nagad Narayan-1943 and after this second film, the company was closed.The director was Baburao Patel and the film’s story, dialogues and screenplay was written by its Heroine Susheela Rani herself. 9 songs- all sung by Susheela Rani, were composed by Pt. Hanuman Prasad. Pt. Indra wrote the lyrics. The cast of the film was Susheela Rani, Badri Prasad, Mazhar Khan, Chandra Mohan, Anant marathe, Surekha, Kanhaiyalal,Leela Mishra and a host of small artistes.Cut to 11-2-2014 Evening, Bandra-MumbaiOn this day, there was a function in a Hall, to release the book ” Sagar Movietone”, written by shri Biren kothari ji. The chief guest was Amir khan. I was invited to this function. Since I knew Biren ji earlier, I went to this function. Many stars like Amir khan, Anil kapoor, Vidhu Vinod Chopra and others from the film world had come. Among the honourable guests was a 95 year old singer/dancer/actress of yesteryears- Susheela rani was also present.I had an opportunity to meet her and spend about 15 minutes talking to her about our Blog and the ” History Recording Work” that we do here. She looked appropriately impressed. During that function, I also met Urvish kothari, Chandrashekhar Vaidya, Shishir krishna Sharma and also Nalin Shah for the first time.(He was of course with his trade mark white Fur Cap – a la V.Shantaram style). It was a memorable function, in which I added one more celebrity of films in my list having met so far. Sadly, within 6 months of this function, Susheela Rani left this world.Susheela Rani was one of the very few highly educated film personalities in that era. More than a singer actress, she was first into film journalism and later into teaching music and dance for the rest of her life.Sushila Rani Patel (1918–2014) was a classical singer, actress, vocalist, Lawyer, and journalist. She established Shiv Sangeetanjali, a school for classical music. She was born on 20-10-1918 at Madras. Her father- Madhav Rao Tombat, a Chitrapur Saraswat Brahmin from Karwar – was an advocate in Madras High Court. She did her M.A. and came to Bombay to become a journalist. Here she met Baburao Patel through a friend. He offered her a Sub Editor’s post in his Film India magazine.In those days, Baburao Patel was involved with actress Padma Devi. When Susheela Rani became close to Baburao, she slowly ensured that Padma Devi made an exit from Baburao’s life.Sushila Rani Patel began her singing career in 1942 when she signed a recording contract with HMV music company. In the early years of her career, she was helped by Baburao Patel. In 1944 she acted in film Draupadi and in 1946 in film Gwalan, playing the lead actor and singer. Both films fared poorly at the box-office. They were directed by Baburao Patel whom she later married.Continuing with her singing career, Rani trained with renowned classical singers like Mogubai Kurdikar and later with Sundarabai Jadhav. In 1961 Rani and her husband Baburao Patel set up Shiv Sangeetanjali, a school for classical music. It was established to encourage classical music and also discover new talent. Some of her students were Pradeep Barot, Ronu Majumdar, Sadanand Nayampilli, Dhanashree Pandit Rai and Nityanand Haldipur. Shiv Sangeetanjali was later amalgamated into the Sushilarani Baburao Patel Trust.Rani and her husband also ran a film business-related magazine called Filmindia, later to evolve into the more political Mother India. Rani and Baburao Patel wrote under the pseudonyms “Judas” and “Hyacinth”. Their column was called Bombay Calling. Almost the entire content of the magazine was produced by them. Rani would personally conduct interviews with film personalities. She was close to actress Madhubala, who had started acting at a young age, and taught her to speak, read, and write English. At the age of 45 years, Susheela Rani did her LL.B. and LL.M. from Bombay University and registered her name as a Lawyer in the High Court.After Baburao’s death in 1982, she managed the magazine till 1985 and then it was closed.In her later years, Rani was involved in a property dispute with the children and grandchildren of her late husband’s second wife over the ownership of their House. Rani continued to run her classical music school until her death on 24-7- 2014 at the age of 96.Rani received the Maharashtra Rajya Sanskrutik Puraskar, and in 2002 the Sangeet Natak Akademi award. (Partly based on information from wiki, with thanks and my own notes.)When you talk of Susheela Rani, you can’t ignore Baburao Patel. She was his third wife. Contrary to his wife, Baburao had not even passed his matriculation, but he was a highly learned man in various subjects on his own efforts. The name of Baburao Patel is known to every old film lover, but as a political commentator and a Member of Parliament, he is known to others. From the mid 30s to the 80s he was a name synonymous with daredevil journalism, superb quality English writing and an active Lifestyle. Add to it several marriages and countless children by legitimate and otherwise relationships.Baburao Pandurang Patil ( he mas a ‘ Marathi Manoos’ and not a Gujarati) was born on 4-4-1904 ( a strange confluence of numbers, the total of all these digits also add up to prime number 4 only), in Masvan village, about 100 kms from Bombay, in Palghar district, in a Vanzara ( Banjara) community. When he was 4 year old, mother died, father remarried and family shifted to Bombay. He was put in an English school. However he did not complete his Matriculation. Lack of formal education always pinched him in life and he always respected highly educated people. He compensated by avidly reading books on Philosophy, Religion, Politics and Medicine. This gave him excellent command over spoken and written English language.After doing many petty jobs. He joined ” Cinema Samachar ‘ a film magazine in Hindi, English and Urdu languages, in 1926. He never knew when he entered the Film world becoming a script writer and a director. He established his own banner ‘ Gandharva Cinetone ‘ and made 5 films as a Director- Kismat-31 (silent film), Sati Mahananda-33, Maharani-34, Baala Joban-34 and Pardesi Sainya-35. Later in life, he directed 2 more films- with (future wife) Susheela Rani Patel as Heroine- Draupadi-44 and Gwalan-46.He joined D.N.Parkar, who owned New Jack printing press and who was publishing a house magazine ” Prabhat” for Prabhat films. He started his magazine ‘ FILM INDIA’ in April 1935, at a price of 4 annas(annual 3 rupees). From the first issue, it was printed on high quality art paper. The first issue featured a hand painting of actress and Novelist Nalini Tarkhud, from film Chandrasena, on the cover. There were many ads in the magazine, which promised “honest journalism and constructive criticism”, though in later issues his criticism was incisive, insulting and quite daring. The cine industry feared his reviews, but readers adored him.In all this, Baburao’s surname became Patel instead of Patil. He continued with it. He hurt many of his fellow filmmakers and actors. In one case, Shanta Apte is on record having gone to his office and beaten him with a whip, for his defamatory and derogatory remarks in the magazine. Khwaja Ahmed Abbas joined him and looked after the magazine when Baburao went abroad.Baburao married 3 times.First marriage was when he was studying. The second was with Shirin and the third was with his ex-secretary Sushila Rani Tombat- a konkani good looking singer and dancer.Sidharth Bhatia has written a book on ” The Patels of Filmindia”. Noted author Manto also wrote extensively on Baburao. Bhatia says, ‘ Baburao had an eloquence and power of writing. He had a sharp humour,often barbed. There was a tough guy assertiveness with his venomous pen.” Baburao called Kalpana Kartik ” Pigeon busted”, Suraiya- ” Ugly’, and Dev Anand ” effeminate”. Meena kumari was ” like an inverted shuttlecock”.His magazine celebrated 50 years in 1985. Baburao became an MP from M.P. in 1967 for Jansangh. One good quality of Baburao was that he was very kind to the poor and helpless people. Baburao Patel died on 4-9-1982.Film Draupadi was a failure, but undeterred, Baburao Patel tried one more time to make Susheela Rani a successful actress, by featuring her in a social film Gvalan-1946. This time he chose well known artistes. She sang 8 out of 10 songs in the film. Alas ! This film also flopped. Good sense prevailed and no more attempts were made again towards this goal !Susheela Rani was a good singer and I find her songs of Draupadi and Gwalan very good. However that alone was not enough for her films. Let us enjoy this song today.
Song-Bhaiya bhaiyya bhaiyya aao aao Mohan Bhaiyya (Draupadi)(1944) Singer- Susheela Rani, Lyricist-Pt.Indra, MD- Hanuman PrasadLyricsBhaiyya aa
bhaiyya aa
bhaiyya
aao aao mohan bhaiyya aa aa
aao krishn kanhaiyya aa aa
aao aao mohan bhaiyya
bhari sabha girdhaari
jaaye laaj hamaari
kit gaye ho krishhn kanhaiyya aa aa
bhaiyya
bhaiyya
tum ne kahaan thha aaungaa
poojan ??unga
tum ne kahaan thha aaungaa
poojan ??unga
prabhu kahaan chhupe ho khevaiyyaa aa
bhaiyya aa
bhaiyya
aao aao mohan bhaiyya
bas hai itni vinti karni
aa dekh meri bikhri veni
aa dekh meri bikhri veni
sharmaa re
sharmaa re bansi bajaiyya aa
bhaiyya aa
bhaiyya
ab ant ghadi hai aayi re
ab ant ghadi hai aayi re
ansuvan ki ?? laayi re
ansuvan ki ?? laayi re
tohe bahan pukaare hai bhaiyya aa
bhaiyya aa
bhaiyya aa
tohe bahan pukaare hai bhaiyya aa
bhaiyya
bhaiyya

Blog Day :

4600 Post No. : 16227

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 : 3902 Post No. : 14954

 

‘Bobby’ – a once in a life time sojourn. Smitten by this film, youngsters in any age will not be awed by any other drama of romance.

‘Bobby’ – the heart beat of a generation. Murmurs of that heartbeat continue to be alive decades after. Memories of that first love still makes the blood race through the veins, just as if that primal experience is still happening – for the first time.

‘Bobby’ – never before, and never after – was a story of adolescent love, ever presented with such an alluring composure, and such a charismatic style.

‘Bobby’ – open that page even today, and the freshness of fragrance of that first touch, that first embrace, that first kiss – under a row of Gulmohar trees in full bloom, still has the thump to pummel you off your feet. The ‘flame of the forest’ is ablaze with a riot of red. And so are the raging emotions within – not just the star crossed lovers on screen – it is me too, still floundering and floating in those seminal sensations of love – the moment frozen in time and age, forever. Check out the lover’s tryst at the swimming pool. Every other experience of passionate emotions pales into insignificance in the face of this compelling, electric attraction.

‘Bobby’ – the enduring Perfect Storm – nothing else comes close to capturing that first pubescent surge of hormones – the heart’s first introduction to the fascinating enthrallment of passion and love.

‘Bobby’ – the first steps into the adventures of delight, when the self desires to make space for another for the first time, savoring the first unfamiliar ecstasies of love.

‘Bobby’ – a film, a name, and a girl in a white frock with grey dots and a red piping – standing next to the entrance, near the golden statue of a maiden carrying a pot of water, quenching the thirst of many kinds; and the strains of music that play on that first sighting – “Jeena Yahaan Marna Yahaan, Is Ke Siwa Jaana Kahaan”. As always, the master of melodramatic presentation, RK chose this oh so appropriate music to play when this simple young girl made her first presence on the screen, and into the hearts of million young men – yes – Is Ke Siwa Jaana Kahaan. . .

I have written before about my many crushes on many a beauty of the silver screen. But this was / is the first time I really fell in love. Never heard of this girl before. Dimple Kapadia – no background in films, no links in the industry – and one day, she is just there, standing near the entrance, next to that golden statue. It was just a moment – and she took my heart away. That was just yesterday, but it seems as if an age has passed, and an entire life story of love has been played out. And yet, frozen in time, it still is 1973, and Bobby and me – forever.

As far as I can remember, no other film, no other director had, till that time, tried to tackle the subject of adolescent romance. Yes, there have been many films about childhood friendships that blossom out into love and romance when the protagonists are adults. College going students – yes, many films that have dealt with college romance. The one drawback of these tales was – the lead pair never did look like college students. Senior actors in their thirties, forties and even fifties, attempting to play romantic leads on a college campus. All is well till the movie plays, but once done, the memories remain of the oversize actors trying to fit into very young shoes.

Bobby was different. Bobby was homegrown fresh, young, as young can be. Dimple – all of sixteen years when she stepped into this role. Rishi, albeit not so young, was 21. But with his cupcake Johnson baby looks, he charmed his way into the hearts of a million girls. Take away all the aesthetics, and the story is as old as the ruins of Ranjeet Studios – boy from rich family meets girl from family not of the same social status, they fall in love, and the entire world around them crumbles down upon them. Coming all the way from days of Parsi theatre and silent cinema, this tale has been played over and over again, umpteen times.

And then, after seven decades or so, this tale once again exploded on to the screens, and ignited a whole generation of teenagers – a fire that has not been doused since then. It was not the melodrama that worked; it was, somewhat maybe, the music that worked; it was not the apparently artificial ambience of the Nath affluence – the rich side of the tussle; it was not the exaggerated and affected brash and boisterous Braganza who wears the same undersized suit to every formal scene in the film, (gosh, even the not so affluent have a proper dress sense), and the supporting roles – mother, nanny, friends, society girls, mild brained proposal for making a business alliance – in short, there was nothing in the film that was not done before, even by RK himself, nothing that was new for the cinema screen and for the audiences. What turned out to the winner was the lead pair – two unknown faces whose on screen chemistry tugged at the strings of the heart of the audience, and turned the rest of the oft repeated paraphernalia around them into a very convincing, charming, fascinating tale.

And between the two of them, Bobby comes up trumps to the histrionics of Raja. The film is Bobby, and Bobby all the way. Making innocence and glamour look oh so easy, the images in the mind are forever now – the coy and shy little girl in a frock, who is afraid to step into the lavish party, keeps standing at the entrance; the naïve and innocent little girl, telling about the ‘dhuk-dhuki’ in her heart when she see him; the troubled and broken lady, her heart asunder albeit from a misunderstood conversation, as she too looking on with pleading eyes, but unable to take a step towards him; the screaming pleading young woman, beseeching her grandmother not to lock her up, as Josef physically pulls her away and carries her upstairs at the behest of an agonized but very firm Mrs. Braganza. . . and many more. The images keep playing in the mind. And the film is all about this teen aged girl who is so intensely convinced about her love – you can see it in her face as she pleads with her grandmother – that she will die if separated from Raja; and sitting in the audience seats, one is so starkly convinced that she will, that there are tears streaming and the body muscles want to jump on to the screen and beat the hell out of Josef.

Oh Bobby, Bobby, Bobby – she pulled up a storm, and then – she just walked away. In a manner of speaking, it is good that she did. The legend and the aura of Bobby remained constant, unremitting . . . verily to become perpetual. The Dimple that we see from a decade later is a very different avatar. The memories, the marvel, the legend of Bobby, has remained intact. Nobody could quite portray the coy innocence and purity of heart, as we see Bobby on the screen and in the dreams. And that is very well for me – it is 1973, and Bobby, forever.

I am both sad and glad to get the opportunity for announcing the Yippeee-dom status for this film. After a 10 years travel, finally all the songs of this film are now present on the blog. 🙂  And sad, because we won’t be discussing this Bobby again in any future post. 😦

Eight songs, eight wonderful songs keeping alive the RK tradition for the best in music. The songs created quite a ripple when released, and over the decades, have remained popular with every new generation of teenagers, who simply love the ideas of simple thoughts as in “Mujhe Kuchh Kehna Hai” and “Hum Tum Ek Kamre Mein Band Hon”. 🙂 The seven songs posted earlier happened in the following sequence.

 

1 Main Shaayar To Nahin 869 10-Mar-09
2 Ankhiyon Ko Rahne De 998 30-Mar-09
3 Mujhe Kuchh Kehna Hai 5708 30-Mar-12
4 Jhoothh Bole Kauwwaa Kaate Kaale Kawwe Se Dariyo 13319 8-Jun-17
5 Ham Tum Ek Kamre Mein Band Hon Aur Chaabhi Kho Jaaye 14732 3-Nov-18
6 Beshaq Mandir Masjid Todo, Bulle Shaa Ye Kehta 14918 10-Mar-19
7 Na Chaahoon Sona Chaandi 14940 20-Mar-19

 

A journey that started 10 years ago, culminates today, with the posting of this fabulous and scintillating party song that carries many layers of silent conversations within itself. We are more than two third of the way into the movie. Nath and Braganza have fallen out big time, with the belligerent Braganza promising all sorts of consequences if Nath’s son is seen anywhere close to his daughter. Bobby is sent off to Goa – a la “Akhiyon Ko Rahne De Akhiyon Ke Aas Paas“. Raja is confined and under watch. New Year eve is nigh. The business driven Nath makes a business driven decision to announce the engagement of his son with the daughter of Mr. Sharma, one of his business associates. No matter that the lady chosen is somewhat retarded, and much below her actual age in mental capacity. Not being able to rebel and speak his mind, unable to confront his father, Raja is in a deadly dilemma about his life.

The party happens. The song happens. And Raja gets the answer for his life. As I said, the song has multiple layers of silent conversations happening. The party and the celebration is one. The parents are agog with delight of having struck two birds with one stone – made a major business gain, and tied down a wayward son into household chains. The joy of Nikki (Farida Jalal) is on a different high – she is getting married into another rich family. Then the song and the performance itself – that speaks of the travesty of love and lovers. Woe becomes he who is wretched enough to be entangled in a snare of love.

And there is the mind of Raja – bewildered, afraid, not believing what is going on around him. His insides are in a shamble, his heart is in agony, and all his parents can think of is an alliance for him, and a grand new year party. A look at him, his lost expressions in the midst of so much dance and revelry. And one is reminded of another RK song –

dhakke pe dhakka, reley pe relaa
hai bheed itni, par dil akela
par dil akela

And the scenario takes you back across two decades of musical and cinematic articulation – the troubled expressions of the face of Raja feeling hopelessly lost amidst the ongoing celebration, threading back to the joker singing at the Bombay carnival (‘Mera Naam Joker’, 1970), leading you back one more layer, to the bumbling hobo, new to the big town, and completely lost in its hustle bustle (‘Shri 420’, 1955). When I see that image, that look on Rishi Kapoor’s face during this party song, my mind goes back these two steps to more of RK’s wonder illustrations.

And then, we have this covert conversation happening between the dancer and the teenager with a troubled mind. The dancer is singing for him, without him realizing it so, at the beginning. In the first stanza, the dancer explains to Raja, the vagaries of love one has to endure. Falling in love does not mean just losing your heart to someone – actually one loses everything in life, one’s entire world and even one’s happiness. Then the dancer goes on to explain the time of adolescence – and this one line in this song is so intensely killing –

ye ek saal
bachpan aur jawaani ke beech ka
bada bura hota hai

And in this one liner, the lyricist has said everything that one needs to be said for the agonies of coming of age. This time of transition and hormonal changes bring in awarenesses that didn’t exist in the mind before. And these awarenesses are confusing, troubling and at times frightening. The call of the dancer’s voice now catches Raja’s attention – who realizes that this song is being sung for him. And in the second stanza, the dancer now reveals an answer. The seed is planted, the way is shown, and the contemplation of an elopement is initiated –

bacha ke aa..aankh
panchhi pinjra le ke ud jaaye to. . .

Lovely choreography here. For a moment, Raja is encircled by other dancers with frightening masks, as if he is caged inside a prison of fear, and the next instant, the dancer is floating away like a bird flying. And the words for the second stanza commence. Just pause and watch again this small magical interlude segment.

The third stanza of this song appears separately and a little later in the film (and is inserted as Part II in the lyrics below). Raja has run away from home, reached the place in Goa where Bobby is confined with her grandmother. He pleads to be allowed to meet, and to be permitted to be married. Grandma locks him up also, and sends message to Bombay. In the night, Raja manages to escape, gets in to Bobby’s room, and now they both flee on the mobike. The third stanza plays now. The burden of this stanza says that this incurable malady of love is under no one’s control, no matter how formidable a learned person (jogi – one who can control the senses and the mind) or how skilled a snake charmer might one be. A snake charmer is supposed to have power to control any snake. The lyrics say that the serpents of love are not even in their control.

The words in the song, the choreography, the covert exchanges happening between the dancer and the teenager – oh so well designed and executed. There is another layer of conversation that gets revealed. Just watch the expressions and try to visualize the mind of the young man as the song progresses. He is troubled, he is lost, he is incensed by the apparent sarcasm that the dancer is singing. And then he catches on. The message of being trapped “Ae. . .  Phansaa” transforms from his original thoughts that he played the game of hearts and lost and got trapped in this pining pain of love. But when Nikki joins the party, and the dancer points out yet once again “Ae. . .  Phansaa” he realizes – not earlier as he was thinking, but the entrapment is happening now, with the new proposed alliance for him. One begins to see a glimmer of understanding dawn in his eyes and his expressions. He is now listening more carefully. And when the second stanza is in progress, one can clearly make out that now he is fully in sync with the dancer, and her words, and the covert messages that she is communicating. And when the words for flying away with the pinjra are aired, the young man is all attention, slowly one feels the mind moving towards a new resolve, a new plan. At the end of this stanza, there is a very brief, but very meaningful pause, a wink, and a twist smile – almost as if saying – ‘Go’. In the film, the next thing we see is the mother, with letter in her hand, announcing with a scream that her son has run away – and the party has not yet ended. And the next thing we see is the young man and the vroooom of the Rajdoot GTS bike.

And I would like to talk about the dancer now, saving that for the last. In my mind, probably the best dance performance by Aruna Irani, across her career. The music is very fast paced, the movements are very energetic, and true to the RK traditions, the woman in her is so vividly and so sensitively, and sensuously presented. It is such a treat to watch this performance. I have lost the count of times that I have replayed this video in the past couple of days as I work to complete this write up. A superlative performance indeed, by her. Her expressions exhibit how much she is enjoying this herself. And very clearly, she is giving everything to this song. The sequences of steps, the movements – wonderfully choreographed and so expressively delivered by her.

The film credits do not include the name of the dance director, but after some digging, I am able to locate the name. The dance director in this film is Sohanlal, of Madras (now Chennai). It is tons of years ago, but I remember having met him in Madras. There was a brief period of time when I was in Madras on a job assignment. And one of my aunts, who stayed in Madras – her family was a tenant in the bungalow of Sohanlal, somewhere in Adyar area. I used to visit my aunt’s family almost on a weekly basis. And on a couple of occasions I even sat in the studio where Sohanlal ji was instructing students for practice.

Back to Aruna Irani. She has a brief but a significant role in the film. The misunderstanding that is caused between the young lovers, inadvertently, she is in the middle of it. In all her scenes, she looks so extremely charming and ravishing. And always on the dot with her presence and dialogue delivery.  A short and a very sweet performance. Of course with this dance as her best one that I can remember.

And so, the last of Bobby songs is now posted. We announce the addition of this film to the list of Yippeee’d films on our blog. Maybe, I won’t be writing any more about this film. But that is not to say that I do not have more to say about the film, and about Bobby – my first love. That is going to remain with me forever. Yes, it is 1973. . . forever.

The film is a benchmark for stories of young romance, that have been told, and as well for the stories that still have to be told. But the legend of ‘Bobby’ will endure.

The songs that have given idioms that have crept into the language of this subcontinent, be it “. . . pyaar mein sauda nahin”, or “. . . par pyaar bhara dil kabhi na todo, is dil mein dilbar rehta”, or even the simple expression that says “. . . mujhe kuchh kehna hai”. And yes, the ice breaker as one attempts to attract the attention of a lady – “main shaayar to nahin. . .”.

And thus I close this post with the reiteration – an expression for all who are always young in the heart. . .

“If you ever have been in love, this film is for you. . .”

Audio

Video – (Part I – Party Scene)

Video – (Part II – On The Road)

Song – Us Ka Chhoota Ghar Baar Sansaar (Bobby) (1973) Singer – Lata Mangeshkar, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal

Lyrics

(Part I)

ae..ae..ae..ae..ae. . . phasaa. . .

mmmmmmm mmmmmmm
arey arey arey

uska chhoota ghar baar sansaar
jo kar ke pyaar yaar kisi ke dil mein basaa
basaa
basaa. . .
ae..ae..ae..ae..ae. . . phasaa. . .

uska chhoota ghar baar sansaar
jo kar ke pyaar yaar kisi ke dil mein basaa
basaa
basaa. . .
ae..
ae..
ae..
phasaa. . .

laa laalaaa laa raa laa
laalala laalala laalala laalala

ye ek saal
bachpan aur jawaani ke beech ka
bada bura hota hai
ye ek saal
naujawaanon ka
nadaanon ka
deewaanon ka
ye ek saal
bachpan aur jawaani ke beech ka
bada bura hota hai
aashiq ka ho gaya naam badnaam
hua anjaam
subah sham zamaana hansa
hansa
hansa
ha ha ha ha ha ha
ae..ae..ae..ae..ae. . . phasaa. . .
uska chhoota ghar baar sansaar
jo kar ke pyaar yaar kisi ke dil mein basaa
basaa
basaa. . .
ae..
ae..
ae..
ae. . . phasaa. . .

bacha ke aa..aankh
panchhi pinjra le ke ud jaaye to
shaayad jaan bach jaaye
bacha ke aa..aankh
kisi jharokhe se
kisi mauke se
kabhi dhokhe se
bacha ke aa..aankh
panchhi pinjra le ke ud jaaye to
shaayad jaan bach jaaye
jeena hua dushwaar dildaar
ke laga aar paar teer kisi ne kasaa
kasaa
kasaa. . .
ae..
ae..
ae..
ae. . . phasaa. . .

uska chhoota ghar baar sansaar
jo kar ke pyaar yaar kisi ke dil mein basaa
basaa
basaa. . .
ae. . . phasaa. . .

(Part II)
ye prem rog
bade bade jogi saperon se bas mein nahin
hota hai
ye prem rog. . .
pyaar karte hain
log marte hain
kahaan darte hain
ye prem rog
bade bade jogi saperon se bas mein nahin
hota hai
us ne liya bairaag
jag se bhaag
ke lagi aag

naaginon ne jise dasaa
dasaa
dasaa
ha ha ha ha ha

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

(भाग १)

ए॰॰ए॰॰ए॰॰ए॰॰ए॰ ॰ ॰
फंसा॰ ॰ ॰

म्ममममम म्ममममम
अरे अरे अरे

उसका छूटा घर बार संसार
जो करके प्यार यार किसी के दिल में बसा
बसा
बसा॰ ॰ ॰
ए॰॰ए॰॰ए॰॰ए॰॰ए॰ ॰ ॰ फंसा॰ ॰ ॰

उसका छूटा घर बार संसार
जो करके प्यार यार किसी के दिल में बसा
बसा
बसा॰ ॰ ॰
ए॰॰
ए॰॰
ए॰॰
फसा॰ ॰ ॰

ला लाला ला रा ला
लालाला लालाला लालाला लालाला

ये एक साल
बचपन और जवानी के बीच का
बड़ा बुरा होता है
ये एक साल
नौजवानों का
नादानों का
दीवानों का
ये एक साल
बचपन और जवानी के बीच का
बड़ा बुरा होता है
आशिक का हो गया नाम बदनाम
हुआ अंजाम
सुबह शाम ज़माना हंसा
हंसा
हंसा
हा हा हा हा हा हा
ए॰॰ए॰॰ए॰॰ए॰॰ए॰ ॰ ॰ फंसा॰ ॰ ॰
उसका छूटा घर बार संसार
जो करके प्यार यार किसी के दिल में बसा
बसा
बसा॰ ॰ ॰
ए॰॰
ए॰॰
ए॰॰
ए॰॰
ए॰ ॰ ॰ फंसा॰ ॰ ॰

बचा के आ॰॰आँख
पंछी पिंजरा ले के उड़ जाये तो
शायद जान बच जाये
बचा के आ॰॰आँख
किसी झरोखे से
किसी मौके से
कभी धोखे से
बचा के आ॰॰आँख
पंछी पिंजरा ले के उड़ जाये तो
शायद जान बच जाये
जीना हुआ दुश्वार दिलदार
के लगा आर पार तीर किसी ने कसा
कसा
कसा॰ ॰ ॰
ए॰॰
ए॰॰
ए॰॰
ए॰॰
ए॰ ॰ ॰ फंसा॰ ॰ ॰
उसका छूटा घर बार संसार
जो करके प्यार यार किसी के दिल में बसा
बसा
बसा॰ ॰ ॰
ए॰ ॰ ॰ फंसा॰ ॰ ॰

(भाग २)

ये प्रेम रोग
बड़े बड़े जोगी सपेरों से बस में नहीं
होता है
ये प्रेम रोग॰ ॰ ॰
प्रेम करते हैं
लोग मरते हैं
कहाँ डरते हैं
ये प्रेम रोग
बड़े बड़े जोगी सपेरों से बस में नहीं
होता है
उसने लिया बैराग
जग से भाग
के लगी आग
नागिनों ने जिसे डसा
डसा
डसा
हा हा हा हा हा हा


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 : 3466 Post No. : 13910

“Laaj”(1946) was directed by Shahzada Ayyaz, Saiyyad Munawwar H Qasim for Ayyaz Productions, Bombay. This social movie had Shamim, Radharani, Ramesh, H Prakash, Rajan, Rehana, Gadagkar, Master Nisar, Madhurika, Mumtaz, Moti etc in it.

The movie had ten extremely rare songs in it.

Here is the first song from “Laaj”(1946) to appear in the blog. HFGK mentions this song as sung by Radharani, but the voice is clearly that of Shamshad Begam. So the HFGK entry for this song needs correction.

Saghar Nizami is the lyricist. Music is composed by Ramchandra Pal.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song. Perhaps Radharani was the actress who lip synced the song, but we cannot be sure.

With this song, “Laaj” (1946) makes its debut in the blog.

Audio

Song-Kya saath hamaara aur unka (Laaj)(1946) Singer-Shamshad Begam, Lyrics-Saghar Nizaami, MD-Ramchandra Pal

Lyrics

kya saath hamaara aur unka
kya saath hamaara aur unka
masroor hain wo
ranjoor hain hum
go raas nahin aata jeena
jeene ke liye majboor hain hum

khud apni kahaani keh na sake
ae ae
aur unka fasaana sun na sake
dekho to hamaari majboori
dil se kitne majboor hain hum

dil par jo qayaamat beet gayi
dil par jo qayaamat beet gayi
bedard zamaana kya jaane
jo bojh uthhaaya thha hamne
us bojh se ab tak choor hain hum

wo bhed jo duniya paa na saki
wo bhed jo duniya paa na saki
wo raaz jise ham keh na sake
duniya se nahin lekin tumse
keh dene par majboor hain hum

in khaana-badoshon par jaane aen
aankhon se dhalak kar kya beete
gurbat mein museebat ke aansoo
peene ke liye majboor hain hum
kya saath hamaara aur unka
masroor hain wo
ranjoor hain hum


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 : 3465 Post No. : 13908

“Saanch Ko Aanch Nahin”(1979) was directed by Satyen Bose for Ruchi Films, Bombay. The movie had Arun Govil, Madhu Kapoor, Urmila Bhatt, Arvind Deshpande, Baby Komal, Om shivpuri, Gajanan Jaageerdaar, Amar Shan, Ram Mohan, Mushtaq Merchant, Javed Khan, Birbal, Surendra Kumar, Master Sandeep, C S Dube, Datta Bhatt, Rajan Kapoor, Arjun Bakshi, Vrajendra Mohan, Narbada Shankar, Pardesi, Mansaram, Mukund Bannerji, Radheshyam Diit, Taneja, Uma Khosla, Madhumita, Hansni Dutt, Veena Kapoor etc in it.

This “social” movie had five songs in it.

Today is the 60th birthday of Arun Govil, the hero of the movie who was barely 21 years old at that time. How time flies.

On this occasion, here is a song from “Saanch Ko Aanch Nahin”(1979). This song is sung by Shailendra Sinh and it is picturised on Arun Govil, with a lady, which I presume isv Madhu Kapoor also visible. Kulwant Jaani is the lyricist. Music is composed by Ram Laman.

The song is one that I had heard during its days, though I was not aware about its details. when I paid attention to the lyrics I found this song quite a “negative” song where the hero is expressing his “bebasi” throughout the song. Quite a sissy kind of song, if you ask me. Heroes should be tough and determined, not “what can I do” kind of characters. 🙂 He should rather sing -“nahin main nahin dekh sakta tujhe rote huye”. 🙂

Anyway, here is wishing Arun Govil a very happy birthday and many happy returns of the day.

With this song, “Saanch Ko Aanch Nahin”(1979) makes its debut in the blog.

Audio

Video

Song-Mere bas mein agar kuchh hota (Saanch Ko Aanch Nahin)(1979) Shailendra Singh, Kulwant Jaani, Ram Laxman

Lyrics (Provided by Avinash Scrapwala)

mere bas mein agar kuchh hota
to aansu teri aakhon mein aane na deta
mere bas mein agar kuchh hota
to aansu teri aakhon mein aane na deta
saara dard akele sah leta
tujhe main gham koi uthhaane na deta

tu haal mera na jaane
main haal tera na jaanoon
kaisi hai ye majboori
main tum tak aaun kaise
lagta hai ab to aise
yug yug ki hai doori
main hoon bebas warna kisi ko
judaai ke ye kaante bichhaane na deta
mere bas mein agar kuchh hota to
aansu teri aakhon mein aane na deta

hone do jo hai hona
hai pyaar hamaara sona
toota kaanch nahin hai
ye yaad rahe ae humdum
ek roz milenge hum tum
saanch ko aanch nahin hai
mujhe ye vishwaas na hota
to door tujhe nazron se jaane na deta
mere bas mein agar kuchh hota
to aansu teri aakhon mein aane na deta
saara dard akele sah leta
tujhe main gham koi uthhaane na deta

———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————

मेरे बस में अगर कुछ होता
तो आंसू तेरी आँखों में आने न देता
मेरे बस में अगर कुछ होता
तो आंसू तेरी आँखों में आने न देता
सारा दर्द अकेले सह लेता
तुझे मैं ग़म कोई उठाने न देता

तू हाल मेरा न जाने
मैं हाल तेरा ना जानूं
कैसी है ये मजबूरी
मैं तुम तक आऊँ कैसे
लगता है अब तो ऐसे
युग युग कि है दूरी
मैं हूँ बेबस वरना किसी को
जुदाई के ये कांटे बिछाने न देता
मेरे बस में अगर कुछ होता
तो आंसू तेरी आँखों में आने न देता

होने दो जो है होना
है प्यार हमारा सोना
टूटा कांच नहीं है
ये याद रहे अये हमदम
एक रोज़ मिलेंगे हम तुम
सांच को आंच नहीं है
मुझे ये विश्वास न होता
तो दूर तुझे नज़रों से जाने न देता
मेरे बस में अगर कुछ होता
तो आंसू तेरी आँखों में आने न देता
सारा दर्द अकेले सह लेता
तुझे मैं ग़म कोई उठाने न देता


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over FOURTEEN years. This blog has over 17800 song posts by now.

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

Important Announcement

(© 2008 - 2023) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

17808

Number of movies covered in the blog

Movies with all their songs covered =1365
Total Number of movies covered=4740

Total visits so far

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Active for more than 5000 days.

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