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

Archive for the ‘Inspirational song’ Category


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Blog Day :

4372 Post No. : 15710

The date today is 7 july 2020. From the HFM point of view, birth anniversaries of Anil Biswas (born 1914) and Saraswati Kumar Deepak (born 1918) falls today. We have already honoured the two artists in two articles earlier today.

Some other important non HFM related things also happened on this day. It was on this day in 1928 that sliced bread was forst sold by Chillicothe Baking Company of Chillicothe, Missouri, USA. Their product, “Kleen Maid Sliced Bread was advertised as “the greatest forward step in the baking industry since bread was wrapped. This gave rise to the popular idiom “greatest thing since sliced bread”. 🙂

It was on this day in 1985 that Boris Becker became the youngest male player in history to win a major tennis singles title. He was 17 years, 7 months and 15 days old when he lifted the Wimbledon singles title. This record was later broken by Michael Chang (does anyone remember him today ?) in 1989 French Open. I had watched this match on TV in the hostel with likeminded sports lovers where Boris Becker defeated South Africa’s Kevin Curren (not to be confused with Zimbabwe cricketer Kevin Curran).

Back home, this date is important for Indian cricket lovers. It was on this day in 1981 that Mahendra Singh Dhoni was born !

I need not remind our fellow Indian cricket lover what Dhoni has done for Indian cricket. In my opinion, India had a few cricketers (five in number) who to my mind enabled Indian cricket to shift to higher gears. These higher gears did not exist before the advent of these cricketers. The first of them was MAK Pataudi, who gave Indian cricketers the first dose of self belief in their abilities. Then the next was Sunil Gavaskar, who with his rock solid batting against the best pace attacks of the world gave Indians the belief that they too could hold their own and occasionally win too. Then came Kapildev. Before him, it was believed that Indians could not bowl fast. He could not only bowl fast, he could be said to have changed the fortunes of Indian cricket and also world cricket, with his exploits in 1983 World Cup. This title win was a fluke, but this fluke win could not have been achieved without the additional gear that Kapildev had brought to Indian cricket. This win brought an enormous change in balance of cricketing powers. Indian, from being an also ran, began to become title contenders in future world cups. In addition, BCCI, the Indian cricket board, began to have an increasing say in running world cricket.

The next influential cricketer was Saurabh Ganguly. Under his captaincy, India cricket team grew a spine and killer instinct which was lacking in Indian cricket prior to him.

And that brings us to our fifth and final Indian cricket influencer extraordinaire, viz M S Dhoni.

MSD Made his debut into the Indian team during Indian team’s Bangladesh tour of 2004. And it was quite a forgettable start. He was run out for zero in his first batting innings. In the second ODI, India were 131/5 in 33. 2 overs. needing a further 99 runs at an asking rate of 5.8 runs. Dhoni joined Kaif in the centre. Those who had watched his exploits at India A level had high hopes on him. Dhoni was only able to score 12 off 11 deliveries and he was the sixth wicket to fall at 155 at 37.2 overs. Wickets kept falling at regular intervals and India had the ignominy of losing to Bangladesh by 15 runs.

Badly stung, India approached the third and final ODI in a murderous mood. Everyone scored runs and India piled on 348. Dhoni got to bat for two deliveries where he scored seven in two deliveries, including a six, the first six of his ODI career.

Though Dhoni did not do much of note in his debut series, he was retained in home series against Pakistan. Coming to bat in the slog overs with India well placed, he once again failed to capitalise and made a disappointing 3 for 7 deliveries.

After four disappointing matches, Dhoni’s fate was hanging by a thin thread. The second ODI at Vishakhapatnam was a make or break match for Dhoni. Luckily for Dhoni and for world cricket, Ganguly, the captain, decided to give Dhoni another chance. Not just that, Dhoni was sent at one down ! And the rest, as they say, is history. Dhoni announced his arrival at world cricket stage with 148 runs. This knock cemented his place in ODI and opened the doors to test selection as well.

By 2007, Dhoni was still a unior player in the team. shock exit of Indian team from 2007 World cup saw many heads roll in Indian cricket. A new form of cricket ,namely T20 cricket was thrust on the rest of thecricketing world by England. England had started ODI world cup back in 1975. They had failed to win any of these world cups. Introducing another world cup of a different format where England had the most experience was clearly an attempt by ECB to finally lift a world cup.

BCCI was unwilling and reluctant to participate in this T20 world cup. But ICC arm twisted BCCI into participating in it. BCCI, in protest, excluded all the seniors from the team and chose a team of younger players, who were expected to be no hopers in the tournament. And Dhoni , who had never captained even in school cricket, was made the captain of the team.

When the world cup ended, India emerged the surprise winner of the tournament. The reluctent BCCI, which wanted to have nothing to do with T20 suddenly saw so much potential in this format that they created IPL. It is something that revolutionised world cricket and brought far more money into cricket than what was the case before. So Indian surprise title win in T20 changed the game of cricket like how it had happened back in 1983.

This T20 win meant that Dhoni was identified as a leader of the team in all formats. And what results he produced ! India, under his captaincy won two more ICC titles , namely ODI world cup in 2011 at home and 2013 Champions Trophy in England. Dhoni became the only captain in history to have won all the three ICC tournaments. No other captain of no other country had come anywhere close.

Under Dhoni’s captaincy, Indian also rose up to become the number one test team. His cricket records are known to all. I will not repeat them here.

The influence that Dhoni had on Indain cricket is comparable to the influence of Kapildev. Both of them came from smaller unfashionable places. Prior to them, international cricket in India was considered the privilege of big city players. When India played their first ODI world cup in 1975, all but one players in the team were from metropolitan cities (Bombay, Delhi, Madras, Bangalore, Hyderabad, Baroda, one from Rajasthan). When Dhoni captained Indian in 2007 T20 tournament, there were players from unfashionable places like Ranchi (Jharkhand), Jullundhar (Punjab), Aligarh (UP), Rohtak (Haryana), Rae Bareli (UP), Kothamangalam (Kerala) etc. And these players did not just make up numbers, they were in the playing XI and added their weight to the team performance.

Dhoni gave plenty of self confidence to players comng from small places with no cricketing history. The fact that such excellent world class players, with such strong temperament can come from small places was a revelation to all. Their inclusion brought fresh ideas and fresh energy into the team composition. These palyers were not infected by the virus of complacency, lack of killer instinct and choking- that most players coming from big established places seemed afflicted from.

Dhoni’s appeal is India wide and for that matter global. In India, Chennai has adopted him as their favourite son in IPL, where he has served as the skipper right from the first IPL.

A biopic was made on Dhoni which was released in 2016. I found this movie quite rivetting and interesting. I have covered all the songs that appear in the movie with detailed writeups. It turns out that the movie also has a song that was ot picturised. And this song is the title song of the movie. This song was released only online in Youtube and was not part of the movie.

This song is a goosebump inducing song if you are an Indian cricket fan like me. This movie was released not just in Hindi, but in some other languages viz Marathi, Tamil, Telugu etc as well. I have listened to this song in all the languages and I love all the versions.

On the occasion of Dhoni’s 39th birthday today, here is this wonderful themw song cum title song from “M S Dhoni-the untold story”(2016). The Hindi version of the son is sung by Rochak Kohli who is also the music director of this song. One can also watch the Marathi, Tamil , and Telugu versions.

The video version is just two minutes long and makes you long for more. You can then listen to the audio version which is over 4 minutes long.

With this song, all the songs of “M S Dhoni-the untold story”(2016) are covered in the blog and the movie joins the list of movies that have been YIPPEED in the blog.

Audio (Hindi)

Video

Song-Har Gali mein Dhoni hai (M S Dhoni-the untold story)(2016) Singer-Rochak Kohli, MD-Rochak Kohli
Chorus

Lyrics

o o o o o
o o o o o
o o o o o

chalen chalen to kya chale hum
uden agar to baat hai
hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm
chalen chalen to kya chale hum
o o o o
uden agar to baat hai
jiye jiye to kya jiye hum
o o o o o
laden agar to baat hai

jaage hai chauraahe
kadmo ki ye thapkiyon se jaage hain
maidaanon khul jaao
aa rahe hain hum jo
khalbali to honi hai
har gali mein Dhoni hai
o o o o o
o o o o o

har gali mein Dhoni hai
o o o o
o o o o

har gali mein Dhoni hai ae ae ae ae ae
har gali mein Dhoni hai

ho o
ujaalon ki gar talaash hai
sooraj ka sahar paas hai ae
ujaalon ki gar talaash hai ae ae
sooraj ka sahar paas hai
aa chal ke hum juta len apne hisse ke ujaale
doobe ek sooraj to dusra uga len
kaafi hai apni khaatir yeh mutthi bhar iraade
chalne ke balboote pe hum duniya hila den aen aen aen
awaazo mil jaao
aa rahe hain hum jo
khalbali to honi hai ae
har gali me Dhoni hai
o o o o o
o o o o o
har gali mein dhoni hai
o o o o o
o o o o o
har gali mein dhoni hai ae ae ae ae
har gali me dhoni hai


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Blog Day :

4367 Post No. : 15696

Today (2 july 2020) is the 66th birth anniversary of Sayeed Mohammed Aziz-un-Nabi, better known as singer Mohammed Aziz (2 July 1954 – 27 November 2018).

I was under the impression that he made his debut as a playback singer in 1970s. I was mistaking him with Anwar, who began his career in 1970s. Mohammad Aziz made his debut as a playback singer in HFM in 1984. He shot to fame with “Main mard taange waala”, the title song of “Mard”(1985). He then sung some other memorable songs. One of them being “Mai se meena se na saaqi se”.

On the occasion of his birth anniversary, here is a song from “Aakhir Kyon”(1985). This song is sung by Md Aziz. Indeewar is the lyricist. Music is composed by Rajesh Roshan.

The song gets played on a radio / two in one while Rajesh Khanna and Smita Patil, playing an estranged couple, look on.

The lyrics of the song are quite inspirational. The lyrics makes this song a forgotten gem.

Lyrics of this song were sent to me by Avinash Scrapwala.

Video

Audio

Song-Ek andhera laakh sitaare (Aakhir Kyon)(1985) Singer-Md Aziz, Lyrics-Indeewar, MD-Rajesh Roshan

Lyrics

hmm hmm hmm hmm hmm hmm
hmm hmm
hmm hmm hmm

ek andheraa laakh sitaaare ae
ek niraasha laakh sahaare
sabse badi saugaat hai jeewan
naadaan hain jo jeewan se haare ae
ek andheraa laakh sitaaare ae
ek niraasha laakh sahaare
sabse badi ee saugaat hai jeewan
naadaan hai jo jeewan se haare ae
ek andheraa laakh sitaare ae ae

duniya ki ye bagiyaa aisi
jitney kaanten phool bhi utne
duniya ki ye ae ae bagiyaa aisi
jitney kaanten phool bhi utne
daaman mein khud aa jaayenge
jinki taraf tu haath pasaaare
ek andheraa laakh sitaare ae

beete huye kal ki khaatir tu
aanewaala kal mat khona
beete hue kal ki khaatir tu
aanewaala kal mat khona
jaane kaun kahaan se aakar
raahen teri phir se sanwaaare ae
ek andheraa laakh sitaare ae

dukh se agar pehchaan na ho to
kaisaa sukh aur kaisi khushiyaan
dukh se agar pehchaan na ho to
kaisaa sukh aur kaisi khushiyaan
toofaanon se lad kar hi to
lagte hain saahil kitne pyaaare ae
ek andheraa laakh sitaaare
ek niraasha laakh sahaaare
sabse badi saugaat hai jeewan
naadaan hain jo jeewan se haare ae
ek andheraa laakh sitaare ae ae ae

—————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————-
ह्म ह्म ह्म ह्म ह्म ह्म
ह्म ह्म ह्म ह्म ह्म …

एक अन्धेरा लाख सितारे ए
एक निराशा लाख सहारे
सबसे बड़ी सौगात है जीवन
नादाँ है जो जीवन से हारे ए
एक अन्धेरा लाख सितारे ए
एक निराशा लाख सहारे
सबसे बड़ी सौगात है जीवन
नादाँ है जो जीवन से हारे ए
एक अन्धेरा लाख सितारे ए ए

दुनिया की ये बगिया ऐसी
जितने कांटे फूल भी उतने
दुनिया की ये बगिया ऐसी
जितने कांटे फूल भी उतने
दामन में खुद आ जायेंगे
जिनकी तरफ तू हाथ पसारे
एक अन्धेरा लाख सितारे ए

बीते हुए कल की खातिर तू
आनेवाला कल मत खोना
बीते हुए कल की खातिर तू
आनेवाला कल मत खोना
जाने कौन कहाँ से आकर
राहें तेरी फिर से सँवारे ए
एक अन्धेरा लाख सितारे ए

दुःख से अगर पहचान न हो तो
कैसा सुख और कैसी खुशियाँ
दुःख से अगर पहचान न हो तो
कैसा सुख और कैसी खुशियाँ
तूफानों से लड़कर ही तो
लगते हैं साहिल कितने प्यारे ए
एक अन्धेरा लाख सितारे ए
एक निराशा लाख सहारे
सबसे बड़ी सौगात है जीवन
नादाँ है जो जीवन से हारे ए
एक अन्धेरा लाख सितारे ए ए ए


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Blog Day :

4360 Post No. : 15683 Movie Count :

4321

There are a few dates that every Indian knows by heart. For instance. Independence day (15 august), Republic day (26 january) and Mahatma Gandhi birth anniversary (2 october). India observes official holidays on these days.

There are some more important days in the history of India and most of them have to do with birth / death anniversaries of eminent persons. These dates are mostly associated with Indian freedom struggle followed by birth pangs of Independence.

The newly independent India was a desperately poor, undernourised, illiterate nation, lying in utter disarray and confusion. There were a few famous foreigners who were convnced that India as a nation was going to be shortlived.

The first few decades of independent India were very difficult. Indians had low self esteem and they had little to show for at the world level in any sphere.

Sports was considered a luxury that the poor nation could not afford. It was popularly believed that one who studied moved ahead in life whereas one who devoted time to sports was a slacker who would be a failure in his future life. -“Padhoge likhoge banoge nawaab Kheloge koodoge hoge kharaab”- it was a very popular saying in Hindi. There is even a song in a Hindi movie containing his idiom.

India had very few sporting achievements. Indians celebrated those few and far between sporting achievements quite hard. India was a powerhouse in Hockey and they used to win gold medals in Olympics continuously till 1956 Olympics. After that they began to get challenged, first by newly independent Pakistan (who won the gold in 1960 Olympics defeating India) and then by Europe and the downfall of Indian hockey began. 1964 Olympics gold and 1975 World cup title were exceptions rather than rule. After 1975, India never won any major international Hockey tournament.

India was no good in any other sports.

Cricket was very popular in India though this popularity did not translate into excellence. Cricket was popular among the “middle” class Indians. Majority of Indians considered themselves as “Middle” class those days. The reason why cricket was popular among “middle” class public had to to with its dress. While one needed to wear shorts to play other games which was considered infra dig by “middle” class Indians, cricket was played while wearing full pants, and so one felt like a sahab rather than a lowly individual while playing cricket. It was a “saala main to saahab ban gaya” kind of feeling for Indians who took to cricket.

Till mid 1970s, longer version of cricket, played in white dress, was the only form of cricket. Despite the popularity of cricket in India, Indian cricketers, with some honourable exceptions, were by and large quite mediocre at international level. The top players of England would not even tour India, and that gave India the opportunity to defeat a depleted English team in 1951-52, which was the first test win for India in test cricket. For next two decades, Indian registered some infrequent test wins, mostly against weak and / or new comer teams, viz Pakistan and new Zealand.

1971 to 1973 was a surprising purple patch for India when they managed to win three test series in a row, against West Indies in 1971, against England in 1971, and in home series against England during 1972-73. But this freak run against depleted sides was too good to last and India got soundly thrashed in their next test series against England in England during 1974.

During that disastrous tour, India played two limited overs match against England and lost tamely.

The first Limited overs world cup was played in England in 1975. Indian public as well as cricketers had no clue about the rules of the game. That was demonstrated rather dramatically during the opening match of that world cup. England piled on 334/ 4 in 60 overs. India in reply, crawled to 132/ 3. Gavaskar, opening the innings, scored 36 runs and remained not out ! He was perhaps trying to play out the overs and draw the match ! The fact that playing out overs and not scoring runs did not avoid defeat, unlike in test matches was not known to many.

In that world cup, India lost every match, except one which they played against a rag tag team of expatriates who represented a team called “East Africa”. East Africa was a collection of club level players from various African nations. India was able to record their only victory of the world cup against this team.

India did even worse in the next world cup in 1979. this time they lost all the matches. Their most humiliating defeat was against Sri Lanka, who at that time were an associate team, they were not yet a test team.

When the third world cup was held in England in 1983, then it was being considered yet another cakewalk for West indies, who had won both the world cups and whose team boasted of strong batting line up and a fearsome pace bowling quartet. They were so strong that other teams would write off their chances against West Indies and would concentrate on winning other matches.

Indian public as well as players were sure that it would be yet another forgettable world cup for them. Some cricketers had already planned to go visit USA on a sight seeing tour after the group stage matches.

This world cup had two groups of four teams each. In each group, the teams played each other twice. The top two teams qualified for the semi finals.

The first group match that India played was against West Indies ! Because of rain interruptions, this match was played over two days. India batting first scored a so so total of 262/8. Yashpal Sharma, with 89 runs, held the innings together where the second highest score was only 36 runs by Sandip Patil. West Indies, after a decent start, suddenly had a middle order collapse against the dibbly dobbly military medium bowling attack of Sandhu, Madanlal and Roger Binny who claimed 5 wickets among themselves. At 130/8 , West Indies were in big trouble, but their tail then began to wag valiantly. Just when it appeared like the tail were taking West Indies to a famous fighting win, Ravi Shashtri struck to claim the two vital tailender wickets. West Indies were bowled out for 228 ! It was a major upset. It was the first ever world cup defeat for West Indies, It was the first ever win for India against a test side (only the second win for them in world cup).

The next match for India was against Zimbabwe, an associate team, and India won comfortably.

Then normal world cup service seemed to resume for India. They lost their next two matches tamely, by 162 runs (against Australia) and 66 runs (against West Indies).

After two wins and two losses, India played Zimbabwe again. While batting first, India were in dire straights at 17/5. Overconfidence by the entire batting line up plus good use of swinging and bouncy conditions by Zimbabwean bowlers had brought India on its knees. The entire top order, viz Gavaskar (0) , Srikkanth (0) , Mohinder Amarnath (5), Sandeep Patil (1) and Yashpal Sharma (9) were blown away. Only bowlers and wicktkeeper were left, who were not known for any great batting feats at international level.

Kapildev (the captain) and Roger Binny took the score to 77, when Binny fell for a gritty 22. Next man Shashtri fell for one, and India was 78/ 7 ! Next man in was Madanlal, he scored 17 and fell when the score was 140.

At 140/8, it appeared as if India was going to maintain its past record of losing to an associate team in the world cup. Incidentally, Zimbabwe had already defeated Australia in this world cup in their very first world cup match.

Kirmani, the wicket keeper was definitely the last hope because Sandhu after him was a perfect rabbit with the bat. Kirmani held his end intact and concentrated on protecting his wicket. He faced 56 balls and scored 24 not out.

All this while, Kapildev was going alone sedately. Coming in at 9/4, he saw off the rampaging opening bowers Rawson and Curran, who bowled bulk of their quota of overs in their opening spell.

After initial jitters, Kapildev began to open up. He had already reached into late 70s when the eighth wicket fell for 140. The eight batsmen who fell had contributed just 55 runs among themselves.

After the fall of eighth wicket, Kapildev started to throw his bat around. The boundary was short on one side and longer on the other, but most Kapildev sixes (six of them) were straight sixes over long on boundary where the boundary was long. Kapildev struck six sixes and 16 fours. When Rawson and Curran returned to finish off their balance quota of overs, they were pulverised, being struck at over ten runs per over.

Kapildev did not give any real chances. He chanced his arms and his hits fell on no man’s land. It was Kapildev’s day out on that day of 18 june 1983.

India reached a respectable looking 266/ 8, a total that looked impossible for most parts of the innings.

While chasing, Zimbabwe were off to a decent start. their first wicket fell at 44, but after that, Indian dibbly dobbly trundlers (Sandhu, Madanlal, Binny and Mohinder Amarnath) did all the damage, with Kapildev taking the final wicket. India had won by 31 runs. It was not a case of India getting out of jail, rather it was like India escaping from the gallows !

Suddenly, India, who looked like going home, were in the reckoning for a semi final spot. They were second in the group with 12 points behind West Indies. Final group match of India was with Australia who were third in the group with 8 points and they too had a chance to pip Indians to the post by defeating india by a decent margin and going through on equal points but better run rate.

This India vs Australia match was a virtual quarter final. India batting first scored what looked like a poorish total of 247 all out in 55. 5 overs.

While chasing, Australia lost their first wicket cheaply with the score on 3. It was the prized wicket of Trevor Chappel who was man of the match in their previous encounter in the tournament. But the second wicket began to score runs and started to look threatening. Just when I and my hostel mates began to despair, the second wicket fell at 46, then the third at 48, fourth at 52, fifth at 52, sixth at 67 etc etc. The trundling trio of Sandhu (2 wickets), Madanlal (4 wickets) and Binny (4 wickets) skittled Australia out for 129 and took India to semifinal. It was something that was looking out of question just two days back.

The day when India stormed into the semi final was 20 june 1983. I was in my hostel where it was a tradition that birthday boy of the day would treat entire hostel with Mithai. That day happened to be my birthday, and the mithai celebration turned out to be quite sweet and memorable for all concerned.

The memory of semi final was a blur. Most Indian wins (except one) came when India batted first. But this time India bowled first and restricted England to 213. India concentrated to keeping wickets in hand. India emerged a comfortable winner in the end in a chase that they executed well, though they gave anxious moments to Indian fans, apparently showing no urgency to score quickly in the middle overs.

Three matches in five days, and three wins. India were in the final of the world cup !

Three days later, it was another sunday. The date was 25 june 1983. The day of the final.

Those were the days when only Delhi and perhaps Bombay had TV. Most part of India only had Radio. Listening to cricket match commentary in a hostel with lots of like minded hostelmates was quite an experience. Everyone had radios, but majority of people would throng together to listen to the commentary on one single radio. If I recall correctly, that used to be the radio of a person who was a cricket enthusiast and claimed to be related to Sharmila Tagore based on the resemblance of his teeth with that of Sharmila Tagore. 🙂

We listened to the commentary of Indian batting, but there was not much to cheer about. India kept losing wickets at regular intervals and India was bowled out for a paltry 183. Chasing 183 was no big deal for West Indies. They were set a similar target in the semifinal against Pakistan and they had romped home with ease, winning by eight wickets with 11.2 overs to spare.

The innings break coincided with our dinner break in the hostel. After dinner, people would traditionally go on an after dinner walk towards the golf course located in front of the hostel some half a km away. West Indies innings had started by then. India claimed an early wicket, but that only brought Viv Richards to the crease. He was going hammer and tongs at the Indian bowling. All of us were reconciled to the fact that it was going to be a one sided match, with west indies winning comfortably.

Then, against the run of play, we gathered that a wicket had fallen, and it was the wicket of Richards ! A big sigh of relief. But West Indies was not a one batsman team. they has a long and strong batting line up. Even their wicket keeper and tailenders could score runs. Moreover he target was not much. A few hefty blows from some batsman, and the match would be decided.

While listening to the commentary, more in hope than real expectation, we found the fourth and fifth wickets falling at the same score, and the wickets were that of Larry Gomes and Clive Lloyd. At 76/6 , Bacchus, another thorn in Indian flesh was gone. Both of the had scored big double centuries against india in India.

Dujon and Marshal gave anxious moments to Indian bowlers. Then Dujon fell to Mohinder Amarnath . 119 for 7 ! Then 8 for 124. Marshal gone, he too to Mohinder Amarnath.

Finally, West Indies resistance came to an end at 140. A 43 run victory for India. So the world had a new champion, an out rightly unexpected champion. If West Indies was to be dethroned, one would expect any team other than India to achieve it. But it turns out that it was the Indian David that slayed the West Indian Goliath.

West Indies had won the earlier two world cups. Their title wins did nothing much for world cricket. But this unexpected fluke win of India against all odds changed the game of cricket ! Indian interest in the game suddenly moved on to the next higher gear. So much so that Indians began to invest far more in cricket. The Indian industry, far smaller and modest then than what it is now, began to take much more interest in cricket. So much so that the world cup which was always held in England and always sponsored by Prudential Bank of England,, was held the next time in Indian subcontinent. This time it was sponsored by an up and coming Indian business house called Reliance ! In 1983, India was considered an also ran, but by 1987, India was a strong title contender ! It is another matter than India lost in the semifinal itself.

1983 win was a fluke no doubt. But he future results showed that Indian cricket had arrived at world stage after this fluke world cup win. Two years later, there was a World Championship of cricket in Australia. India, because of its defeat at home to England in 1984-85 was being considered as a no hoper. Kapildev, the world cup winner in 1983, had lost his captaincy and Gavaskar was made the captain for this WCC. Once again, defying all predictions, India won all their matches, remained undefeated and lifted the WCC title. So it was like Fluke title won 1983 was followed by its sequel, fluke title win II ! Later there would be some ODI tournament wins for India. India began to be counted among favourites in all subsequent world cups.

That is not all. Indians began to take interest in running the administration of ICC (international cricket council) which was till then a preserve of British stiff upper lip Lords who were running it in a manner that was hardly helping popularise the game. Indian businessman, such as Jagmohan Dalmia, took over the running of ICC, and improved the financial condition of ICC beyond all recognition. Today ICC is one of the richest sporting body. It is richer than most sporting bodies where Indians do not take interest. For instance, Rugby is a sport in which cricket playing nations like England, Australia and New Zealand take interest, but India does not. Resul ! International body of Rugby earns far less than ICC.

Much of ICC riches (around 70 % of it) today comes from India. That is how much money Indian market contributes to world cricket. It is this Indian market that has made BCCI one of the richest sporting body of a cuntry, richer than ICC in fact. Seeds of all these giant Oak trees were sown on this day 37 years ago, thanks to that miraculous fluke title win on 25 june 1983 !

25 june 1983 gave Indians immense self confidence that they too can do it. And as mentioned above, they used this win to advance their cricket. Cricket academies sprung up all over India, and some of them were by private companies. For instance, a pace academy came up in Madras, called MRF pace academy. Fans of other countries mocked it, but if today Indian pace attack is considered one of the best pace attacks, then remember, it is the result of three decades of investment on training of pace bowlers in different academies spread all over India. And that started only after this great fluke event that took place on 25 june 198.

This win inspired not just India, but its neighbours too, who may not admit it openly but they look up to India and get inspired. Interest in cricket picked up in these nations too. Pakistan won the world cup in 1992 and Sri Lanka announced its arrival in cricket scene by unexpectedly winning the world cup in 1996. Three world cup title wins out of four between 1983 and 1996 ! All this was made possible because of that first title win in 1983 ! Even Bangladesh became a cricket crazy nation and started to play international cricket from 2000.

Other sports too benefited in India. Indian Sportsmen in other sports too began to have more self belief. One great example is that of Indian chess. Just like India was supposedly considered incapable to producing fast bowlers till 1970s, India was also considerd incapable of producing Chess grandmasters. Those days, India had just two international masters, that was all. AICF (All India Chess Federation) began to invest more in organising chess tournaments inviting strong chess players from abroad. India saw its first Grand master in 1987 in the form of Vishwanathan Anand in 1987. Later on, he became World Champon as well. He inspired whole lot of Indians to take up Chess. Today India has some 60 off Chess Grandmasters and based on average ELO raking of the top ten chess players in the world, India is among top four strongest chess playing nation in the world !

Likewise one can add the example of Indian Badminton too.

To mark this major major achievement of Indian sport in general and Indian cricket inparticular, here is a cricket song from “Ferrari Ki Sawaari”(2012). This film was produced by Vidhu Vinod Chopra and directed by Rajesh Mapuskar for ‘Vinod Chopra films’. This movie had Sharman Joshi, Boman Irani, Ritvik Sahore, Seema Pahwa, Aakash Dabhade, Deepak Shirke, Paresh Rawal, Satyadeep Mishra, Achyut Potdar, Bhalchandra Kadam, Vijay Nikam, Nilesh Diwekar and others, with a special appearance by Vidhya Balan.

Lyrics of this song were sent to me by Avinash Scrapwala. He not only discovered this cricket song, he sent its lyrics to me specially tomark the occasion of Indian world cup win on 25 june 1983 ! He certainly keeps an eagle eye on important days in the annals of Indian history !

The song is sung by Sonu Nigam, Aishwarya Nigam, Rana Mujumdar and Ashish. Satyanshu Singh is the lyricist. Music is composed by Preetam. Video is partial. One needs to listen to the audio to savour the full song.

Here it is ! Let us once again savour the great moment in the history of India that took place this day 37 years ago.

Video (Partial)

Audio (Full)

Song-Maara re sixer maara re four (Ferrari Ki Sawaari)(2012) Singers-Sonu Nigam, Aishwarya Nigam, Rana Mujumdar, Ashish, Lyrics – Satyanshu Singh, Music– Pritam

Lyrics(Provided by Avinash Scrapwala)(audio version)

hey maaraa
hey maaraa
hey maaraa
hey maaraa
hey maaraa
hey maaraa
o maaaraa
hey maaraa

hey maaraa
hey maaraa
hey maaraa
hey maaraa aa

aa haa
o ho
ae ae ae ae …
aa haa
o ho

maaraa re sixer
maaraa re four
dekho to dekho to
apnaa ye score
maaraa re sixer
maaraa re four
dekho to dekho to
apnaa ye score
arey public to public hai
run maange more
more
more
more
more
more ……
ye maaraa
hey maaraa
o maaraa
hey maaraa aa
aa haa
o ho
hey ae ae ae
aa haa
o ho
hey ae ae ae
umpire ke haath thhakne lage hain
fielder bhi saare tapakne lage hain
hook maar aisaa tu oo
hook maar aisaa tu
rocket ke jaisaa tu
bouncer pahunchaa de Laahore
o…… r…e

more
more
more
more ….
hey maaraa
hey maaraa
hey maaraa
o maaraa
hey maaraa aa

maaraa re sixer
maaraa re four
dekho to dekho to
apnaa ye score
public to public hai
run maange more
more
more
more
more
more …..

aa haa
o ho
hey ae ae ae
aa haa
o ho
hey ae ae ae

ham sab ki aankhen tujhpe lagi hain
har dil mein phir se ummeeden jagi hai
public hai sang tere ae
oye oye oye oye ae
public hai sang tere ae
barsaa de rang tere
dikhlaa de balle ka zor
more
more
more
more ……

hey maaraa
hey maaraa
hey maaraa
hey maaraa
o maaaraa
hey maaraa

maaraa re sixer
maaraa re four
are dekho dekho
dekho to dekho to
apnaa ye score

maaraa maara re sixer
maaraa maara re four
are dekho to dekho to
apnaa ye score
maaraa maaraa maaraa sixer
maaraa maaraa maaraa four
dekho to dekho to
apnaa ye score
aa haa
o ho
hey ae ae ae
aa haa
o ho
hey ae ae ae

——————————-
Lyrics(Provided by Avinash Scrapwala)(video short version)
——————————-
hey maaraa
hey maaraa
hey maaraa
o maaaraa
hey maaraa

hey maaraa
hey maaraa aa

aa haa
o ho
hey ae ae ae

maaraa re sixer
maaraa re four
dekho to dekho to
apnaa ye score
public to public hai
run maange more
more
more
more
more
more …..
hey maaraa
hey maaraa
hey maaraa
hey maaraa
o maaaraa
hey maaraa aa

aa haa
o ho
hey ae ae ae

ham sab ki aankhen tujhpe lagi hain
har dil mein phir se ummeeden jagi hai
public hai sang tere ae
oye oye oye oye ae
public hai sang tere ae
barsaa de rang tere
dikhlaa de balle ka zor
more
more
more
more ……

hey maaraa
hey maaraa
hey maaraa
hey maaraa
o maaaraa
hey maaraa aa


This article is written by Raja, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day:

4355 Post No. : 15674

Hello everyone,

So after what seems like ages, I’m back here with a post.
You can therefore assume it must be a special occasion.
A special anniversary, of an artiste or celebrity.

And it is.

Today is the birthday of the most important celebrity for this blog.
In fact, without this celebrity, the blog would not even have existed.
Yes, I’m talking about Atul himself.

Wish you a very very happy birthday, Atul.
Many happy returns of the day!

Now Atul might not consider himself a celebrity – but for us, he very much is.
I checked the dictionary definition of “celebrity” and there are two definitions
“a famous person, especially in entertainment or sport”
“the state of being well known”.

Atul satisfies BOTH conditions, in the context of this blog.
Ok, so he might not be a celeb in Bollywood yet, he might not make it to Page 3 or gossip columns (or maybe he does, I don’t know!). But if the dictionary definition is satisfied, I am too. 🙂

I don’t know where to start writing from, but I think a journey down memory lane might not be such a bad place to start. Those of you who have heard this before, kindly bear with me.

It all started in the first half of 2005. Probably around April or so.

In those days I was in Holland, and pretty crazy about cricket.
Not the right sport for that country, or the right country for that sport. 🙂
I got no TV coverage of cricket – and I was desperate to discuss cricket with like-minded cricket fans.

Luckily I had internet – so that was a life-saver in this context.

BBC in those days had a forum called BBC  TMS where one could discuss cricket. It was mostly Indians and Pakistanis, so you can imagine the level of discussion and amount of abuse. 🙂 Much of it was deliberately in Hindi, to avoid catching the eye of the forum moderators.

But after a while, they caught on to what was going on – and eventually the forum was shut down.

I then began hunting for other options.
I came across a Pakistani cricket forum which I joined.

It was there that I came across a person who went by the handle of “squarecut” (I think).

Now most of the discussion on the forum was obviously of modern/current cricket (Tendulkar, Wasim Akram etc) but this handle posted on topics of an earlier era – mostly the 1970s. And mostly talking about Indian cricketers of that era – like Vishwanath.

I could immediately relate to this. This was MY era, and I loved to discuss cricket of that era. So I immediately warmed to this person.

What was most remarkable was that his experiences were very similar to mine.
And his posts were also very interesting.

After a while, I got bored of that forum and continued my search for other options.

I came across a new forum, started by a few Indians in the wake of the BBC TMS shutdown.

I was initially a bit unsure of it, but then I saw a familiar handle.
The same “squarecut”.

So I joined that forum.
And for many years, Atul and I (and many other friends we made on that forum) spent many wonderful moments discussing cricket, and a lot of non-cricketing stuff, on that forum.

Anyway, long story – of How I Met Atul.
(Someone needs to make a Netflix series on this. :-))

Continuing (Season-2 of HIMA), the best thing about the forum was that though it was primarily a cricket forum, we could, and would, discuss anything under the sun.

Politics, movies, music, culture, anything.
And since there were people from around the world, it was quite interesting.

It didn’t take long for me to discover that Atul was keen on Hindi songs too.
Bas, phir kya tha?

We set up a section on the forum to discuss just this.
We called it Geetmala, where each person would pick up a topic (Atul picked up “trains” – anyone surprised?) and post 10 or so songs on it.

One day Atul announced that he had just started a blog.
He has always been someone who likes to experiment with things, so this was a sort of experiment for him too.
For nostalgia sake, I checked just now and found that blog still very much intact – it is on the blogroll of this blog.

One of the posts is http://squarecutsblog.blogspot.com/2008_06_01_archive.html .
Dated 1st June 2008.

Having now got some blogging experience, Atul decided to start a new blog where he would discuss one song a day.

And thus, on the 19th  of July 2008, a first post on this “one song a day” blog appeared.

And the rest, as they say, is history.

I’m sorry for this rather elaborate throwback to another era, but since it is Atul’s birthday today, I couldn’t help reminiscing how we first got to know each other.

And oh, we did manage to meet once too.

When Atul was posted in Nagpur, I made a trip to Nagpur to meet him and a common friend (from the cricket forum). My only trip to Nagpur ever.

It was wonderful meeting Atul, and having dinner with him.
We discussed cricket of the 70s, songs and of course this blog.

There are other memories too.
Atul and his special relationship with Bangladesh cricket, for example. 🙂

No mention of Atul would be complete without talking about Atulisms. 🙂

This is a term I coined to refer to Atul’s unique one-liners.

For example, on his first blog referred to above, in an August 2008 piece, he says “Knowing fully well that Indian authorities are not likely to exert themselves in such strenuous tasks like thinking, planning, etc, I have done all the hard work for them.” 🙂

I can go on and on, but I think readers might already be impatient about the length of this post.

So I’m going to go straight to the song now.

As usual, I owe this song to Avinashji. He was in fact the person who requested me to write a post for this occasion, and gave me a choice of a few songs to pick from.

I picked this one – Avinashji has provided the lyrics.

It is a multiple version song from the film ‘Jeevan Rekha’ (1974).

Some more details about the film, provided to me by Avinashji.

“Jeewan Rekhaa-1974” was directed by Nanabhai Bhatt for ‘Nanak Films, Bombay’. It has Pran, Farida Jalal, Tabrez, Jalal Agha, Keshto Mukherjee, Chandrashekhar, Asit Sen, Aparna Choudhari, Vikrant, Jagdish Raj, Ravish Dhillon, Shetty, K.N.Singh, Ajit, Raj Rani, Rajni Bala, Pravin Pal, Polson, Ramlal, Sudarshan Sharma, Kirti Kumar, Kamaldeep, Dev Sharma, Surendra Kohli, Thakur Chhabra, Vikas Bali, Ashok Seth, Prince Shakil, Sagar, Rashid Khan, Master Vijay and others. Manmohan and Fariyal make special appearance in this movie.

This movie has as many as seven songs (including one multiple version song being presented today).
Three lyricist Dev Kohli (four songs), Anjaan (two songs) and Kafil Azar (one song) wrote the lyrics for this movie.
Music was composed by two music directors Suman Raj – three songs and Jagdish J- four songs.

Asha Bhonsle, Mohd Rafi, Manna Dey, Mukesh and Chandrani Mukherjee had given their voices to the songs in this movie.

This movie was passed by Censor Board on 19.07.1974.

Male version of this song is sung by Manna Dey, the female version by Chandrani Mukherjee.

I vaguely seem to remember a film by this name, but I don’t recall hearing this song before.

When Avinashji sent me the video(s) and I listened to the song, I instantly fell in love with it.

It’s a cheerful and positive song – and I think quite fitting for this occasion – “Geet Hai Ye Zindagi, Gungunaate Aur Gaate Chale Chalo, Chale Chalo”.

Doesn’t this just describe what Atul has been doing with this blog? It seems just perfect for Atul on his birthday. 🙂

So once again, wish you a very happy birthday, Atul. I hope you like this choice of song.

Just want to mention that the composer Jagdish is a totally new name for me. If anyone knows more about him, kindly enlighten me.

And Atul, if I’ve got any facts wrong in this post (my memory isn’t very good) , please let me know. 🙂

Audio – Male Version

Audio – Female Version

Song – Geet Hai Ye Zindagi (Jeevan Rekha) (1974) Singer – Manna Dey, Chandrani Mukherjee, Lyrics – Dev Kohli, MD – Jagdish J

Lyrics (Provided by Avinash Scrapwala)

Male Version

geet hai ye zindagi
geet hai ye zindagi
gungunaate aur gaate
chaley chalo o
chaley chalo
geet hai ye zindagi

ise bhi ham se pyaar hai
hamen bhi is’se pyaar hai
ise bhi ham se pyaar hai
hamen bhi is’se pyaar hai
badi madhur ye preet hai
ye preet ki pukaar hai
geet hai ye zindagi
geet hai ye zindagi
gungunaate aur gaate
chaley chalo o
chaley chalo
geet hai ye zindagi

ye zindagi ee umang hai
haseen is ka rang hai ae
ye zindagi ee umang hai
haseen is ka rang hai
ye maana is mein dukh bhi hai
khushi bhi is ke sang hai
geet hai ye zindagi
geet hai ye zindagi
gungunaate aur gaate
chaley chalo o
chaley chalo
geet hai ye zindagi

hazaar aayen ae mushqilen
jahaan se aagey ae ham chalen ae
hazaar aayen ae mushqilen
jahaan se aagey ae ham chalen ae
ye kah rahe hain raaste
bulaa rahi hain manzilen
geet hai ye zindagi
geet hai ye zindagi
gungunaate aur gaate
chaley chalo
chaley chalo
geet hai ye zindagi

laal laa laa laa la laa
laa laa laa laa laa
laa laa laa laa laa
laa laa laa la laal aa

Female Version

geet hai ye zindagi
geet hai ye zindagi
gungunaate aur gaate
chaley chalo o
chaley chalo
geet hai ye zindagi

ise bhi ham se pyaar hai
hamen bhi is’se pyaar hai
ise bhi ham se pyaar hai
hamen bhi is’se pyaar hai
badi madhur ye preet hai
ye preet ki pukaar hai
geet hai ye zindagi
geet hai ye zindagi
gungunaate aur gaate
chaley chalo o
chaley chalo
geet hai ye zindagi

hazaar aayen ae mushqilen
jahaan se aagey ae ham chalen ae
hazaar aayen ae mushqilen
jahaan se aagey ae ham chalen ae
ye kah rahe hain raaste
bulaa rahi hain manzilen
geet hai ye zindagi
geet hai ye zindagi
gungunaate aur gaate
chaley chalo
chaley chalo
geet hai ye zindagi

laal laa laa laa la laa
laa laa laa laa laa
laa laa laa laa laa
laa laa laa la laal aa

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

पुरुष स्वर

गीत है ये ज़िन्दगी
गीत है ये ज़िन्दगी
गुनगुनाते और गाते
चले चलो ओ
चले चलो
गीत है ये ज़िन्दगी

इसे भी हम से प्यार है
हमें भी इससे प्यार है
इसे भी हम से प्यार है
हमें भी इससे प्यार है
बड़ी मधुर हए प्रीत है
ये प्रीत की पुकार है
गीत है ये ज़िन्दगी
गीत है ये ज़िन्दगी
गुनगुनाते और गाते
चले चलो ओ
चले चलो
गीत है ये ज़िन्दगी

ये ज़िन्दगी उमंग है
हसीं इसका रंग है ए
ये ज़िन्दगी उमंग है
हसीन इसका रंग है ए
ये माना इसमें दुःख भी है
ख़ुशी भी इसके संग है
गीत है ये ज़िन्दगी
गीत है ये ज़िन्दगी
गुनगुनाते और गाते
चले चलो ओ
चले चलो
गीत है ये ज़िन्दगी

हज़ार आयें ए मुश्किलें
जहां से आगे ए हम चलें ए
हज़ार आयें ए मुश्किलें
जहां से आगे ए हम चलें ए
ये कह रहें हैं रास्तें
बुला रही है मंजिलें
गीत है ये ज़िन्दगी
गीत है ये ज़िन्दगी
गुनगुनाते और गाते
चले चलो ओ
चले चलो
गीत है ये ज़िन्दगी

ला ला ला ला ल ला
ला ला ला ला ला
ला ला ला ला ला
ला ला ला ल ला आ

महिला स्वर

गीत है ये ज़िन्दगी
गीत है ये ज़िन्दगी
गुनगुनाते और गाते
चले चलो ओ
चले चलो
गीत है ये ज़िन्दगी

इसे भी हम से प्यार है
हमें भी इससे प्यार है
इसे भी हम से प्यार है
हमें भी इससे प्यार है
बड़ी मधुर हए प्रीत है
ये प्रीत की पुकार है
गीत है ये ज़िन्दगी
गीत है ये ज़िन्दगी
गुनगुनाते और गाते
चले चलो ओ
चले चलो
गीत है ये ज़िन्दगी

हज़ार आयें ए मुश्किलें
जहां से आगे ए हम चलें ए
हज़ार आयें ए मुश्किलें
जहां से आगे ए हम चलें ए
ये कह रहें हैं रास्तें
बुला रही है मंजिलें
गीत है ये ज़िन्दगी
गीत है ये ज़िन्दगी
गुनगुनाते और गाते
चले चलो ओ
चले चलो
गीत है ये ज़िन्दगी

ला ला ला ला ल ला
ला ला ला ला ला
ला ला ला ला ला
ला ला ला ल ला आ


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

Blog Day :

4343 Post No. : 15648 Movie Count :

4310

‘Sparsh’ (1980) was Sai Paranjpye’s first feature film. Besides directing it, she wrote the story, screen-play and dialogues.  At the time of making of the film, she faced enormous problems at every stage – from the selection of actors to the submission of the film’s final print to the Central Board of Film Certification and then to the Feature Film Jury of the National Film Awards on due date. And if I go by what the director of the film has revealed through her interviews in newspapers and periodicals and also in her Marathi book, ‘Sai – Maaza Kalapravaas’, the major obstacles came from the producer of the film – Basu Bhattacharya, who was known in Hindi film industry as a stingy producer.

Sometime in the later half the 1970s (the actual year is not known), Sai Paranjpye produced a 10-minute documentary film on the visually impaired for Delhi Doordarshan to be telecast on the World Handicap Day. For this purpose, Sai Paranjpye had to visit a blind school to get a feel of how the blind students study and do extra-curricular activities. She had gone to the blind school with the apprehension in her mind as to whether she will be able to emotionally cope up with when she would witness them in the school.  However, she was pleasantly surprised to observe that the blind students were playing on the ground with a lot of excitement as if they were normal students. She also met the principal of the school who was also blind and had done PhD from the University of Wisconsin (USA). He looked savvy and dynamic – same as how a normal person at his position would look. Then an idea occurred to her that visually impaired persons need to be treated like normal persons more than showering pity and sympathy. This idea was translated in her TV documentary.

Sai Paranjpye, however, felt that 10-minute TV documentary was too short to cover the important aspects of what she had witnessed in the blind school. So, she expanded the subject into a telefilm titled ‘Raina Beeti Jaaye’ with Kulbhushan Kharbanda and Sushma Seth which was telecast on Delhi Doordarshan (year is not known but it has to be sometime in the later 1970s.). The film was well received and there were demands for its re-run on Doordarshan. This encouraged her to make a full-length feature film with a story revolving around a couple – one handicapped with blindness and the other a normal person who is emotionally handicapped. She also covered in the script some day-to-day incidences of the blind students. Thus, the idea of ‘Sparsh’ (1980) was born.

Sai Paranjpye had written the script of ‘Sparsh’ keeping in mind Sanjeev Kumar and Tanuja in the lead roles. However, after agreeing to work in the film, at the last moment, Sanjeev Kumar got himself out of the project when he came to know that the film was to be produced by Basu Bhattacharya. Probably, Sanjeev Kumar had a bad experience in working with Basu Bhattacharya in ‘Anubhav’ (1971) and ‘Girha Pravesh’ (1979). In his place, Naseeruddin Shah was roped in. Since the director was not sure about the working chemistry between Naseeruddin Shah and Tanuja, the latter was replaced by Shabana Azmi who had earlier worked with Naseeruddin Shah. When no one was ready to produce the film, Basu Bhattacharya offered to produce the film under his banner, Aarohi Films. The music direction was entrusted to Kanu Roy, the ‘darbaari’ musician of Basu Bhattacharya as Sai Paranjpye calls him. For lyrics, she selected her favourite, Indu Jain.

The film was to be majorly shot at Blind School Relief Association (BSRA) at Delhi. For the first time, Sai Paranjpye personally realised that Basu Bhattacharya, the producer was a stingy person. He had asked all the actors in the film to come for the shooting in their own dresses. Sai Paranjpye had to arrange for the uniform of the blind students in the film with a donation of cloth from a reputed cloth mill of Mumbai. The producer had arranged the free accommodation to all the actors and the technical staff in the hostel of BSRA which were barely comfortable. There are many more interesting anecdotes while making the film which have been described in Sai Paranjpye’s Marathi book referred to above in her own witty style.

Because of the subject of the film, a couple of philanthropists had given the donations for making the film which was naturally passed on to the producer of the film. In addition, there were many others who have contributed in the making of the film. In the credit title of the film, the list of such persons is bigger  than the list of the main and supporting actors. In short, my guess is that Basu Bhattacharya did not have to shell out much for the financing of the film as a producer.

It is worth noting that when ‘Sparsh’ (1980) was being made, Basu Bhattacharya was already working on his home production, ‘Griha Pravesh’ (1979). Aspersions were cast on the Aarohi Films that a part of the finance meant of ‘Sparsh’ (1980) was diverted for financing ‘Griha Parvesh’ (1979). So, the finance from the producer was not forthcoming on time for ‘Sparsh’ (1980). By the time the  film’s shooting was completed, Sai Paranjpye realised that she was not only the director but also a de facto production controller.

The film’s shooting was completed and was sent for processing at Bombay lab. But the prints had not come back for a long time. In fact, the Lab had not taken the processing of the film since Basu Bhattacharya had not cleared his dues to the lab on his earlier films. Since Sai Paranjpye wanted to send the film for participating in the National Film Awards, there was an urgency to complete the work on time. The producer of the film was not in a hurry to complete the process. Sai Paranjpye met the owner of Bombay lab and requested to take the processing of the film. She also assured him that  she would  arrange to pay for the processing out of her own resources. Thus, the film was processed, dubbed and a print of the film was sent in time as an entry for National Film Awards, 1980. The film won 3 National Film Awards – the best film, Sai Paranjpye for the best screen-play and Naseeruddin Shah for the best actor. The irony was that Basu Bhattacharya as a producer received the best film award for ‘Sparsh’ (1980) in the hands of the President with a cash prize.

It took another 4 years for ‘Sparsh’ (1980) to get a theatrical release in 1984. The premier of the film was held at Eros theatre in Mumbai. In 1985, the film won 3 Filmfare Awards – The best film and two awards for Sai Paranjpye for best director and the best dialogue. On the one side, the film was critically acclaimed not only in India but also in International film festivals held at London, Cairo, Beijing and Sydney. On the other side, barring Naseeruddin Shah who got all his dues from Basu Bhattacharya after putting much pressure on Basu Bhattacharya, no one including Sai Paranjpye, Shabana Azmi, Kanu Roy, Indu Jain, playback singer Sulakshna Pandit etc. got their dues from the producer for the film. For music director, Kanu Roy, it was his last film who died of cancer few months after the completion of the film.

Incidentally, Sai Paranjpye, in her film ‘Katha’ (1982) named Farooq Shaikh as Basu who was doing a negative character in the film. Is it symbolic or just a co-incidence?

The star cast of ‘Sparsh’ (1980) includes Naseeruddin Shah and Shabana Azmi in lead roles supported by Om Puri, Sudha Chopra, Mohan Gokhale, Arun Joglekar etc with scores of blind students.  Ustad Amjad Ali Khan made a guest appearance in the film as a sarod player.  The film was certified by the Censor Board on January 30, 1980. The film is now available for watching on a video sharing platform with English sub-titles and it is in HD. The gist of the story of the film is as under:

The story centres around the two main characters. Anirudh (Naseeruddin Shah) is the principal of a blind school who is handicapped by his blindness. Kavita (Shabana Azmi), a young widow is emotionally handicapped due to death of her husband. She has become reclusive and shuns the society. Her only hobby is the gardening and singing. Her close friend, Manju (Sudha Chopra) tries to bring Kavita out of her shell and suggests to work for the blind school of which her husband is one of the patrons. But she  does not succeed much.

On a party arranged by Manju on the occasion of her marriage anniversary, she invites Kavita who reluctantly agrees to attend. In the party, Kavita sees Anirudh whom she had briefly met near her house. She meets him and gets formally introduced as a principal of a blind school. After getting to know her background, Anirudh requests her to join his blind school as he finds it difficult to get the required sighted personals for the school. After much persuasion by Manju, Kavita joins the blind school.

After joining the blind school, children are happy with Kavita as they get the motherly treatment which was not there earlier. She makes them participate in extra-curricular activities like handicrafts, sports, plays, music etc. Anirudh is happy that the children have been kept busy in constructive activities. Over a period of time, both Anirudh and Kavita come closer and start liking each other’s company. They get engaged.

However, Anirudh starts developing complex of being visually handicapped. He feels that after marriage Kavita would get projected having made a great sacrifice in marrying a handicapped person. He would always feel low in front of Kavita. He may have to depend upon her after the marriage. So, he decides to call-off the engagement. Kavita is shocked by his decision but she diverts her mind by continuing her work among the blind students of the school. She learns Braille, (the language in which blind students read the books) and translate many books in Braille.

One day, Anirudh comes to Kavita’s house and request her to leave the blind school as according to him, it is creating the resentments among the other visually impaired staff and teachers. Actually, this is an excuse. The real reason is that Anirudh finds himself uncomfortable ever since he called off his engagement with Kavita. This time, Kavita tells him that she would not leave the school as it is her need to be with the 200 students of blind school. And if Anirudh forces her to leave, she would revolt against the order. After the few days of this incidence, Kavita, while in the school comes to know that Anirudh has been transferred to another blind school out of Delhi. Kavita tenders her resignation sighting the reason that the school needs Anirudh more than her.

When Manju comes to know about these developments, she goes to meet Anirudh in his office and tells him point blank that he has been seeing the imaginary issues in his marriage out of his complex and ego without giving any consideration the impact of his decision on Kavita’s life who has once again been emotionally shattered with his decision. After Manju’s friendly banter, the realisation comes to Anirudh’s mind. The film ends with a scene showing Anirudh slowly walking towards Kavita’s house.

The highlight of the film is Sai Paranjpye’s crisp screen-play and dialogues which I feel has made the film more interesting to watch with no melodramatic scenes. Naseeruddin Shah’s restrained performance as a blind principal of the school is one of his bests among his acting in the middle-of-the-road films. Before the shooting, he had spent about a fortnight with the blind principal of BSRA, Delhi to observe his mannerism and conduct. One can observe in the film that Sai Paranjpye has not shown him as blind man in a conventional way which we are used to see in Hindi films. He looks like a normal sighted man. It is only his mannerism in talking, walking, picking up of things etc which gives an impression of a blind man.

The title of the film ‘Sparsh’ is very apt which literally mean ‘touch’. But in a broader sense, it means ‘feeling’ which is the essence of the film. I will highly recommend the readers of this Blog to watch the film, preferably in one seating if not already seen.

‘Sparsh’ (1980) has 3 songs, all written by Indu Jain and sung by Sulakshna Pandit. The songs have been set to music by Kanu Roy. I am presenting the first song ‘Geeton Ki Duniya Mein Sargam Hain Hum’ sung by Sulakshna Pandit and chorus. In audio clip, there is an additional stanza. Overall, it is an inspirational song.

With this song, ‘Sparsh’ (1980) make a debut in the Blog.

Notes and Acknowledgements:

  1. Some of the information about the background for making the film ‘Sparsh’ (1980) is based on an interview conducted by Sridhar Rangayan and Saagar Gupta titled ‘Queen of Humour: A Candid Interview with Award-Winning Director and Writer Sai Paranjpye,’ South Asianist, Vol 2, No.3 (2010).
  2. The anecdotes and trivia included in the article are based on the Marathi book, ‘Sai – Maaza Kalapravaas’ (2016) written by Sai Paranjpye.

Video

Audio

Song – Geeton Ki Duniya Mein Sargam Hain Hum (Sparsh) (1980) Singer – Sulakshana Pandit, Lyrics – Indu Jain, MD – Kanu Roy
Chorus

Lyrics

geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum
gaao bachcho
geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum
phir se gaao
geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum
 
chalte hain kadmon mein manzil bhare
mutthi mein khushiyon ki kunji dhare
chalte hain kadmon mein manzil bhare
muthi mein khushiyon ki kunji dhare
toofaan mein ghir jaayen kashti hain hum
taazi hawaaon ke jhonkhe hain hum
shabaash
geeton ki duniya mein sargam hain hum

phoolon mein khushboo ke parcham hain hum
geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum
 
nannhe dilon mein ummeeden hazaar
beejon mein jaise chhupi ho bahaar
nannhe dilon mein ummeeden hazaar
beejon mein jaise chhupi ho bahaar
kismat ki bagiya ke maali hain hum
kal ke karishme dikhaayenge hum
aa ha
geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum
geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum

chhote umar mein  akal se badhe
himmat ki mitti mein khele badhe
bolo
chhote umar mein akal se bade
himmat ki mitti mein khele badhe
taaron ko choo aayen itna hai dam
sir chadh jo bole ko jadoo hain hum
geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum
phir se gaao
geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum

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

गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम
गाओ बच्चो
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम
फिर से गाओ
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं ह

चलते हैं कदमों में मंज़िल भरे
मुट्ठी में खुशियों की पूंजी धरे
चलते हैं कदमों में मंज़िल भरे
मुट्ठी में खुशियों की पूंजी धरे
तूफाँ में घिर जाएँ कश्ती हैं हम
ताज़ी हवाओं के झोंके हैं हम
शाबाश
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम

नन्हें दिलों में उम्मीदें हज़ार
बीजों में जैसे छुपी हो बहार
नन्हें दिलों में उम्मीदें हज़ार
बीजों में जैसे छुपी हो बहार
किस्मत की बगिया के माली हैं हम
कल के करिश्मे दिखाएंगे हम
आ हा
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम

छोटे उमर में अकल से बड़े
हिम्मत की मिट्टी में खेले बढ़े
बोलो
छोटे उमर में अकल से बड़े
हिम्मत की मिट्टी में खेले बढ़े
तारों को छू आयें इतना है दम
सर चढ़ जो बोले वो जादू हैं हम
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम
फिर से गाओ
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम


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

Blog Day :

4314 Post No. : 15595

‘Sone Ki Chidiya’ (1958) – you must be wondering. . .

All the songs from this movie have been covered on the blog as per details given below,

 

Song  Posted On
 Pyaar par bas to nahin hai  06.06.2009
 Raat ka bhar ka hai mehmaan andheraa  26.09.2010
 Sach bataa tu mujhpe fidaa  16.05.2011
 Sainyya jabse ladin hain tose ankhiyaan  07.12.2011
 Chhuk chhuk chhuk chhuk rail chale  08.12.2011
 Bekas ki tabaahi ke saamaan hazaaron hai  23.04.2012

Since all the songs from this movie have been covered and the movie has achieved ‘Yippeeee’ status on the blog one would genuinely ask the question why this post now? and which song??

As I have mentioned in my earlier post with the ‘couplet song’ “Aap Abhi Ishq Ki Tehzeeb Se Aagaah Nahin” from ‘Dil Hi To Hai’ (1963), that I had prepared an excel sheet for Sahir and his music directors with the number of songs in the movies where Sahir Ludhianvi was lyricist. During the preparation of this list I had to go through the HFGK Vol II to VI and check the movie page for each movie. There I had noted some corrections and other interesting information. Accordingly, we are in the process of correcting some ‘tags’ for lyrics and adding some ‘snippets’, or ‘couplet songs’ wherever they are available and we can bring them here on the blog.

In the movie page for ‘Sone Ki Chidiya’ in HFGK Vol III, there is a footnote which mentions about a ‘nazm’ penned by Kaifi Azmi recited in his own voice in the movie (which on screen is lip synced by none other than Balraj Sahni). When I searched for audio/video of this ‘poem’ it was already available and that is the reason for this post here today.

Today 10th May, is the 18th anniversary of remembrance of Kaif Azmi (14.01.1919 – 10.05.2002). Also, we remember the genius ‘effortless performer’ Balraj Sahni on 1st May (01.05.1913 – 13.04.1973) on his 107th birth anniversary, which was in the previous week.

‘Sone Ki Chidiya’ is produced by Ismat Chugtai under the banner of Film India Corporation, Bombay, and is directed by Shahid Latif. The story and screenplay was also written by Ismat Chugtai herself. Editing of this movie was done by SE Chandiwale.

The star-cast of this movie includes Nutan, Balraj Sahni, Talat Mahmood, Altaf, Amar, Bikram Kapoor, Protima Devi, Chandabai, Sarita Devi, Baij Sharma, Hammad Jafri, Lotan, Bishan Khanna, Jagdish Kamal, Nazeer Kashmiri, Begambai, Zebunissa, Baby Radha, Baby Chagle, Master Patankar, Dhumal and many others.

The movie has eight songs, including two multi version songs. Asha Bhonsle, Talat Mahmood and Mohd Rafi had given their voices to the songs in this movie. Music for this movie was composed by OP Nayyar. I have been familiar with songs like “Pyaar Par Bas To Nahin“, “Raat Bhar Ka Mehmaan Andhera“, “Sach Bataa Tu Mujhpe Fidaa” from this movie since years, and that is the only association with this movie name for me, as I never got to watch this movie. However, since now the movie is available ‘online’, I will watch it sometime in the future.

One more very interesting point about this film. When I checked for title credits for lyricist of this movie it included names of three stalwart poets of Hindi cinema – Sahir, Majrooh and Kaifi. So we can see these three great poets of their time coming together here. I am not aware of any other such instance of coming together of these three great poets. Knowledgeable readers can throw more light on this.

As a tribute to both great film personalities – Kaifi Azmi and Balraj Sahni, whose contributions to the Hindi Cinema will be remembered by the generations to come, let us listen to these poignant yet motivating verses or poetry recitation included in the movie ‘Sone Ki Chidiya’.

 

 

Song – Aaj Ki Raat Bahut Garm Hawa Chalti Hai (Sone Ki Chidiya) (1958) Singer – Kaifi Azmi, Lyrics – Kaifi Azmi, MD – OP Nayyar

Lyrics

aaj ki raat bahut garm hawa chalti hai
aaj ki raat na footpath pe neend aayegi
sab utthho
main bhi utthhoon
tum bhi utthho
tum bhi utthho
koi khidki isi deewaar mein khul jaayegi

ye zameen tab bhi nigal lene pe aamaada thi
paaon jab toot’ti shaakhon se utaare hum ne
in makiinon ko khabar hai
na makaanon ko khabar
un dinon ki jo gufaaon mein guzaare hum ne

sirf khaaqa thha jo sach poochho to khaaqa bhi na thha
jis’se ye qasr ye aiwaan utaare ham ne
haath dhalte gaye saanchon mein to thakte kaise
naqsh ke baad naye naqsh nikhaare hum ne
kee ye deewaar buland aur buland  aur buland
baamon-o-dar aur zaraa aur  sanwaare ham ne
aandhiyaan tod liyaa karti thhi sham’on ki laven
jad diye is liye bijlee ke sitaare hum ne
aandhiyaan tod liyaa karti thhi sham’on ki laven
jad diye is liye bijlee ke sitaare ham ne
ban gayaa qasr to pehre pe koyi baithh gayaa
ban gayaa qasr to pehre pe koyi baithh gayaa
so rahe khaaq pe ham shorish-e-taamiir liye

apni nas nas mein liye mehnat-e-paiham ki thakan
band aankhon mein isi qasr ki tasveer liye
arre, din pighalta hai isi tarah saron par ab tak
raat aankhon mein khatakti hai syaah teer liye
aaj ki raat bahut garm hawaa chalti hai
aaj ki raat na footpath pe neend aayegi
sab utthho
main bhi utthhoon
tum bhi utthho
tum bhi utthho
koi khidki isi deewaar mein khul jaayegi

—————————————————————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————————————————————–

आज की रात बहुत गर्म हवा चलती है
आज की  रात न फुटपाथ पे नींद आएगी
सब उठो
मैं भी उठूँ
तुम भी उठो
तुम भी उठो
कोई खिड़की इसी दीवार में खुल जायेगी

ये ज़मीन तब भी निगल लेने पे आमादा थी
पाँव जब टूटती शाखों से उतारे हम ने
इन मकीनों को ख़बर है न मकानों को ख़बर
उन दिनों की जो गुफाओं में गुज़ारें हम ने

सिर्फ ख़ाका था जो सच पूछो तो ख़ाका भी न था
जिससे ये क़स्र ये ऐवान उतारे हम ने
हाथ ढलते गए सांचों में तो थकते कैसे
नक़्श के बाद नए नक़्श निखारे हम ने
की ये दीवार बुलंद और बुलंद और बुलंद
बाम ओ दर और ज़रा और सँवारे हम ने
आंधियां तोड़ लिया करती थी शमओं की लवें
जड़ दिए इस लिए बिजली के सितारे हम ने
आंधियां तोड़ लिया करती थी शमओं की लवें
जड़ दिए इस लिए बिजली के सितारे हम ने
बन गया क़स्र तो पहरे पे कोई बैठ गया
बन गया क़स्र तो पहरे पे कोई बैठ गया
सो रहे ख़ाक पे हम शोरिश ए तामीर लिये

अपनी नस नस में लिये मेहनत ए पैहम की थकन
बन्द आँखों में इसी क़स्र कि तस्वीर लिये
अरे, दिन पिघलता है उसी तरह सरों पर अब तक
रात आँखों में खटकती है सियह तीर लिए

आज की रात बहुत गर्म हवा चलती है
आज की रात न फुटपाथ पे नींद आएगी
सब उठो
मैं भी उठूँ
तुम भी उठो
तुम भी उठो
कोई खिड़की इसी दीवार में खुल जायेगी


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 : 4206 Post No. : 15398

“Khidki”(1948) was produced by P L Santoshi under the banner of Arvind And Anand Films, Bombay. This movie had Rehana, Jawahar Kaul, Mumtaz Ali, Radha Kishan, Tiwari, Ram Singh, Srinath, Baba Raja, Abbas Rizvi, Harun, Deshraj, Shanta Kunwar, Indira, Neelam, Mona, Kamal Rani, Usha, Chanchal Kumari, Kalpana, V H Desai, Leela Mishra etc in it.

The movie had ten songs in it. Nine songs from this movie have been discussed in the past. Here is the breakup of the songs from the movie that have been covered so far:
 

Song Movie Year Sono Post number Post date
Tere binaa soonaa soonaa man ka meraa aangnaa Khidki 1948 2517 7-June-2010
Qismat hamaare saath hai jalne waale jalaa karen Multiple version song Khidki 1948 5058 24-Nov-2011
Kya hai zamaana chaahta fifty fifty Khidki 1948 7424 29-Jan-2013
Jai bolo Mahatma Gandhi ki Khidki 1948 7426 30-Jan-2013
Badi badi paati likhwainyaan Khidki 1948 10642 5-Jan-15
Ae jee munh kyun chhupaana Khidki 1948 11134 16-May-15
Hamen bhi koi yaad karta Multiple version song Khidki 1948 15389 20-Jan-2020

As can be seen, it has taken almost a decade before all the songs of the movie could be covered. The songs covered this year were rare songs not easily available.

Here is the tenth and final song from “Khidki”(1948) to appear in the blog. HFGK mentions this song as sung by Mohantara Talpade. It would seem that most of the song is sung by chorus, though.

P L Santoshi is the lyricist. Music is composed by C Ramchandra.

The song, created more than seven decades ago is an inspirational song, and talks about women empowerment in an era when this concept was difficult to accept even in western countries, forget India. Kudos to the movie makers for coming up with such a song. Indeed, a nation cannot progress if its women do not come forward and participate actively in this act of nation building.

With this song, all the songs of “Khidki”(1948) are covered in the blog and this song joins the list of movies that have been YIPPEED in the blog.


Song-Ham Hind ki hain naariyaan jalti chingaariyaan(Khidki)(1948) Singer-Mohantara Talpade, Lyrics-P L Santoshi, MD-C Ramchandra

Lyrics

Ham Hind ki hain naariyaan
jalti chingaariyaan
samjhe na koi hamen phoolon ki kyaariyaan
Ham Hind ki hain naariyaan
jalti chingaariyaan
samjhe na koi hamen phoolon ki kyaariyaan
Ham Hind ki hain naariyaan

waqt jab wo aayega
ki apne pran tyaag do
waqt jab wo aayega
ki apne pran tyaag do
apne khoon se jagaao
bujhti hui aag ko
apne khoon se jagaao
bujhti hui aag ko
hum machal uthhengin
hum machal uthhengin
ek saathh banke aandhiyaan
hum machal uthhengin
ek saathh banke aandhiyaan
Ham Hind ki hain naariyaan
jalti chingaariyaan
samjhe na koi hamen phoolon ki kyaariyaan
Ham Hind ki hain naariyaan

purushon ke aage aage hum kadam badhaayenge
purushon ke aage aage hum kadam badhaayenge
hum kisi se kam nahin
hum kisi se kam nahin
ye dniya ko dikhaayenge
apni aan ke liye
apni shaan ke liye
denge kurbaaniyaan
denge kurbaaniyaan
Ham Hind ki hain naariyaan
jalti chingaariyaan
samjhe na koi hamen phoolon ki kyaariyaan
Ham Hind ki hain naariyaan


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 :

4098 Post No. : 15244 Movie Count :

4189

Films are regarded as director’s medium. He is like a captain of the ship. It is the director’s responsibility to make his film successful – critically as well as financially.

A film director may have directed many successful films but he will generally be known by his one classic cult film. For instance, when we talk about PC Barua, ‘Devdas’ (1935) comes to our mind first though he had directed other successful films like ‘Mukti’ (1937) and ‘Jawaab’ (1942).  In case of Mehboob Khan, it is ‘Mother India’ (1957) though he had directed many successful films in the 1940s. K Asif and ‘Mughal-e-Azam’ (1960), Guru Dutt and ‘Pyaasa’, (1957) and Kamal Amrohi and ‘Pakeezah’ (1972) are inseparable. In the international arena, Raj Kapoor is known more for his film, ‘Aawaara’ (1951) than other equally successful films. This is not an exhaustive list.

But there is one film director who is known by his flop film in the genre of satirical comedy. The film is ‘Jaane Bhi Do Yaaron’ (1983) and the director is Kundan Shah. In an interview held sometime in 2012 on the occasion of the re-release of the film in digitised version, he had said he considered this film as his failed project though it has attained a cult status.

Remembering Kundan Shah today, October 7th on his 2nd Remembrance Day who excelled in projecting the serious social issues in soft comedies through films and TV serials. I became aware of him with his very first film which I had watched on TV much before he became well known by his TV serials.

I found it very difficult to get the information on Kundan Shah’s early life before he ventured into films and TV serials. A book, ‘Jaane Bhi Do Yaaron – Seriously Funny Since 1983’ (2010) written by Jai Ajay Singh was supposed to have some information about his early life. But the book has remained out of stock for some time. However, a preview of some pages of the book was available online which gave me some information about the early life of Kundan Shah.

Born in a Gujarati family, Kundan Shah spent his childhood in Aden (now in Yemen) and did his schooling there until the age of 13 when his family shifted to Mumbai. He completed his schooling and thereafter his graduation in commerce. He worked for a publishing house for about 4 years before enrolling himself in the Film and Television Institute of India (FTII) in 1973 for direction. It is at FTII, he found interest in the genre of comedy during the second year of the course.

As a project in FTII, he made a 25-minute diploma film titled ‘Bonga’ (Siren) which the students of direction have to make in the final year. The film was a farcical comedy involving a gang of five people attempting a bank robbery. The cast included FTII students like Satish Shah, Rakesh Bedi, Suresh Oberoi, Om Puri etc. There were no dialogue in the film except each one of the gang of five yelling ‘bonga’. Bhaskar Chandavarkar, an instructor in FTII at that time (who was also a music director) composed the background music. The film was critically acclaimed by his fellow students in FTII. His seniors in FTII like Naseeruddin Shah and Saeed Akhtar Mirza were surprised as to how this serious looking man could have made a graceful comedy film out of the nonsensical ideas.

After completion of his diploma in FTII in 1976, Kundan Shah struggled for a couple of years to find the opening in the film industry. He formed a commune of some of his fellow FTII diploma holders and produce short documentary films. However, in this work, Kundan Shah ran into financial problems. Almost all of his colleagues had already been disillusioned with their career and left for their respective places. Kundan Shah also moved to England with his family and worked there to make enough money to pay off his debt.

Kundan Shah returned to India after about 18 months. He got an attractive offer from the maker of ‘Gandhi’ (1981) to work as Assistant Director for six months at a monthly salary of Rs.10,000/-. The offer was very tempting. He consulted his colleague, Saeed Akhtar Mirza who dissuaded him from accepting the offer as he would mostly be doing the work of crowd controlling during the outdoor shooting. Instead, Saeed Mirza coxed him to write a script and make the film himself. In the meanwhile, Kundan Shah worked as Assistant Director in  Saeed Akhtar Mirza’s ‘Albert Pinto Ko Gussa Kyon Aata Hai’ (1980) and Vidhu Vinod Chopra’s ‘Sazaa-e-Maut (1981). These association also put pressure on him to direct a film as his FTII fellow students, Saeed Mirza and Vidhu Vinod Chopra had already made films. It is at this point of time, Kundan Shah decided to make a feature film which resulted in making his first film ‘Jaane Bhi Do Yaaron’ (1983).

As I came to know from the video clips of interviews of Kundan Shah, Naseeruddin Shah, Ravi Baswani, Sudhir Misra and others, it was a long struggle for completing the film and releasing it. Kundan Shah wrote the story and script based on the experiences of two of his fellow FTII students who after failing to get any assignment from the film industry, decided to open a photo studio and undertake fashion and industrial photography. Their bad experiences in the venture became the main theme of the story coupled with Kundan Shah’s personal experiences in dealing with a rationing office in Mumbai for the release of cement quota for repairs to drainage system in his building where he was the Secretary.

When the script was ready, no producer/financier was willing  to invest in the film based on his script. Some financiers termed the script as idiotic. As a last resort, Kundan Shah approached National Film Development Corporation (NDFC) to take a loan for producing the film himself. The total cost film production was expected to be around Rs. 7 lakhs and NDFC would grant the loan only up to 75% of the cost after their Script Committee approved the script. However, Kundan Shah got a pleasant surprise when NDFC not only approved his script but also offered to produce the film under its banner as they thought that the script was an effective commentary on the situations prevailing in the country. So financial side of the problem got sorted out.

Next was the selection of actors and the crew for the film. With a budget of only Rs.7 lakhs, engaging the established actors even for the main roles was out of question. Kundan Shah relied on his FTII colleagues and the actors/ crews from IPTA/National School of Drama. The actors included Naseeruddin Shah, Ravi Baswani, Satish Shah, Satish Kaushik, Om Puri, Pankaj Kapoor, Bhakti Bharve, Neena Gupta, Vidhu Vinod Chopra, Deepak Qazir, Rajesh Puri, Ashok Banthia and Jaspal Sandhu. Some of the actors also worked behind the camera. For instance, Vidhu Vinod Chopra and Deepak Qazir were the Production Controllers. Satish Kaushik was one of the dialogue writers. Renu Saluja was the editor for the film beside the assistant director.

Naseeruddin Shah had revealed in an interview that during the making of the film, he was feeling uneasy with the script as he felt that all he was doing appeared to him to be nonsensical. He had arguments with Kundan Shah on several occasions but at the end it was Kundan Shah whose writ prevailed. Even after the completion of the film, Naseeruddin Shah was pessimistic about the success of the film.

The film was released in a few theatres in Mumbai in and some other cities in August 1983. The film received a lukewarm response from the audience. The film was withdrawn after a week in Mumbai and ran in a few theatres only for morning shows. In Delhi, the film ran for 37 weeks in a single theatre for morning show only. The film was also shown on then newly set up DD Metro Channel on the week-ends for a month or so. Gul Anand, the producer of some off-beat comedy films like ‘Khatta Meetha’ (1978) and ‘Chashme-e-Buddoor’ (1981) after watching the film had said to Kundan Shah that if he had not seen the film and only read the script , he would have thrown it out of his window. This shows how Kundan Shah made an interesting film out of the nonsensical script. The lukewarm response for the film was a setback for Kundan Shah. He did not venture into directing any film for the next 10 years.

After about 30 years, ‘Jaane Bhi Do Yaaron’ (1983) was digitally restored and was re-released in November 2012 in multiplexes in Mumbai and in some major cities by which time, the film had already attained a cult status.

In the meanwhile, television was becoming a mass media with a pan India reach. In 1984, Doordarshan permitted the sponsored TV serials produced outside Doordarshan on its National Channel. Kundan Shah and many other persons associated with film industry took this as an opportunity and started their association with the producers of TV Serials. Kundan Shah made his debut on Television by directing some episodes of ‘Ye Jo Hai Zindagi’ (1984). It ran on Doordarshan with 67 episodes some of which were directed by Manjul Sinha and Raman Kumar. Actors were drawn from FTII and theatres. The serial had a phenomenal run which rediscovered Kundan Shah as a master of directing situational comedy.

With the runaway success of ‘Ye Jo Hai Zindagi’, Kundan Shah became the partner in Iskra Films, a TV serial producing company started by Saeed Akhtar Mirza and Aziz Mirza. ‘Nukkad’ (1986) was its first production.  The other successful TV Serials in which Kundan Shah was associated with were ‘Wagle Ki Duniya’ (1988) and ‘Circus’ (1989).

After a gap of more than 10 years, Kundan Shah decided to make a film on the script he wrote in the genre of romantic comedy. The film’s original title ‘Albela’ had to be changed to ‘Kabhi Haan Kabhi Na’ (1994) as this title was already registered by someone with Film Producers Associations like IMPPA. As usual for Kundan Shah, the film was delayed for a variety of reasons. The original lead actors, Amir Khan and Juhi Chawla withdrew from the film due to delay in finding a producer/financier. Shahrukh Khan, who was originally taken for the role which eventually went to Deepak Tijori, was promoted as a lead actor with Suchitra Krishnamoorthy.

After completion, the film remained in the cans for nearly 18 months as no distributor was willing to release the film probably due to the hero turning out to be loser in the end. This was the status of this film despite the fact that by this time, Shahrukh Khan was already on his path to become a super star due to box office successes of his films like ‘Raju Ban Gaya Gentleman’ (1992), ‘Deewana’ (1992), ‘Darr’ (1993) and ‘Baazigar’ (1993). Finally, Shahrukh Khan in partnership with one of his friends from the film industry released the film in February 1994. Though the film was regarded as an average success after the release, over a period of time, the film has earned more than 5 times its cost and it has also attained a cult status for Kundan Shah.

It was another six years after ‘Kabhi Haan Kabhi Naa’ (1994) that Kundan Shah took ‘Kya Kehna’(2000) for direction which was Preity Zinta’s debut film. This was Kundan Shah’s first mainstream film which was devoid of any comedy. On the contrary, Kundan Shah tackled a serious issue of pre-marital pregnancy with sensitivity. As usual for Kundan Shah, this film was also delayed in getting released. Once it got released, it was  the pleasant surprise to all concerned with the film that it was a box office hit.

The next in lines of films which Kundan Shah directed were ‘Hum To Mohabbat Karega’ (2000), ‘Dil Hai Tumhara’ (2002) and  ‘Ek Se Badkar Ek’ (2004). All the three films flopped at the box office making him to take a virtual retirement from the mainstream films. He returned to his foray of making films with off-beat themes in ‘Teen Behanen’ (2005), based on a real-life story of three sisters who committed suicide because their father could not afford to pay dowry. The film remained unreleased till date.  His last film was a political satire, ‘P Se PM Tak’ (2015) which was a disaster at the box office.

Kundan Shah died in sleep of heart attack on October 7, 2017 at his residence. One of the emotional tributes on his death was that of Shahrukh Khan whom he compared like his mother. He said ‘I was 25 when I came to Mumbai. I have stayed in Kundan’s house and I have been fed by his family and taken care of by them’. Shahrukh Khan had worked in a few episodes of Kundan Shah’s TV Serials, ‘Wagle Ki Duniya (1988) and as a lead actor in ‘Circus’ (1989). His close friends who had been regular visitors to his office said that Kundan Shah’s office cupboard was full of film scripts in various stages. Sadly, there were no takers for these scripts to turn them into films.

As a tribute to Kundan Shah on the occasion of his 2nd Remembrance Day, I am presenting a song from ‘Kya Kehna’ (2000) which was directed by him. The song is ‘Ae Dil Laaya Hai Bahaar, Apnon Ka Pyaar, Kya Kehna’. The song is rendered by Hariharan and Kavita Krishnamurthy on the words of Majrooh Sultanpuri which was set to music by Rajesh Roshan. The song has two versions – happy and sad, the latter version being also a inspirational song.

Hariharan lip syncs for Anupam Kher, Chandrachud Singh and Mamik Singh while Kavita Krishnamurthy lip syncs for Farida Jalal, Preity Zinta and Nivedita Bhattacharya (in sad version). On the sound track, some lines of the song have been rendered as duet, but in the film, it is for all the actors present in some scenes.

The tune of the song is a straight lift from Oh Carol, I am but a fool, darling I love you, though you treat me cruel, sung by pop singer, song writer and composer, Neil Sedaka in  1957.

Happy Version

Sad Version

Song – Ae Dil Laaya Hai Bahaar, Apno Ka Pyaar, Kya Kehna  (Kya kehna) (2000) Singer – Hariharan, Kavita Krishnamurthy, Lyrics – Majrooh Sultanpuri, MD – Rajesh Roshan
Harirahan + Kavita Krishnamurthy

Lyrics

Happy Version

oh……..o
ho o o o o
o o o o o
o o o o

ae dil
laaya hai bahaar
apnon ka pyaar
kya kehna
milen hum
chhalak utha
khushi ka khumaar
kya kehna
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna…aa
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna
ae dil
laaya hai bahaar
apnon ka pyaar
kya kehna
milen hum
chhalak utha
khushi ka khumaar
kya kehna
 
hum tum yun hi milte rahein
mehfil yoon hi sajti rahe
bas pyaar ki yehi ek dhun
har subah-o-shaam bajti rahe
gale mein mehekte rahein
pyaar bhari
baahon ka haar
kya kehna…aa
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna
 
oh……..o
ho o o o o
o o o o o
o o o o
ae dil
laaya hai bahaar
apnon ka pyaar
kya kehna
milen hum
chhalak utha
khushi ka khumaar
kya kehna
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna…aa
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna
 
Sad Version
 
dil ka koi tukda kabhi
dil se juda hota nahi
apna koi jaisa bhi ho
apna hai wo duja nahi
yahi hai wo milan hai jo
sachmuch hai
dil ka qaraar
kya kehna
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna
ae dil
laaya hai bahaar
apnon ka pyaar
kya kehna
milen hum
chhalak utha
khushi ka khumaar
kya kehna
 
kuchh apne hi tak yoon nahi
ye hai sawaal sab ke liye
jeena hai to jag mein jiyo
ban ke misaal sab ke liye
dekho kaisa mehak raha
pyaar bhari
baahon ka haar
kya kehna…aa
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna
ae dil
laaya hai bahaar
apnon ka pyaar
kya kehna
milein hum
chhalak utha
khushi ka khumaar
kya kehna
 
jo ho gaya so ho gaya
logon se tu darna nahi
saathi tere hain aur bhi
duniya mein tu tanha nahi
saamna karenge mil ke
chaahe dus ho
chaahe hazaar
kya kehna..aa
khile khile chehron se aaj
jag hai mera
gul-e-gulzaar
kya kehna

oh……..o
ho o o o o
o o o o o
o o o o
ae dil
laaya hai bahaar
apnon ka pyaar
kya kehna
milen hum
chhalak utha
khushi ka khumaar
kya kehna
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna


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 :

4065 Post No. : 15200 Movie Count :

4177

Most traditional Hindi movis are formula movies. The formula keeps changing with time and the movies made during that era have same stories based on the same formula with minor variations.

Once in a while we have movies based on real life events. One finds that movie makers try to convert them to a formula movie.

Movies during the early years post independence tended to be tragic movies with sad ends. No matter what the topic, the movie would still have the usual songs. So, when movies based on true life stories were made, they followed the same formula.

“Lahore”(1949) is one example, which was made on the background of partitition. Same was the case with “Nastik”(1954). These movies had lots of songs, and the characters are seen suffering most of the time.

Then in 1960s, we had “Haqeeqat”(1964), made on the background of Indo China war. This movie was based on war, but it was mostly a musical movie with lots of hit songs, and war almost getting relegated to the background.

After many decades, Indians slowly started to have some achievemments under their belts. So, accordingly, Indian movies stories became more positive where the hero was more assertive than before.

During the last few years, several movies have been made on real life events, and most of these movies are success stories.

“Dangal”(2016) was based on a real life story of a man who despite living in a male dominated society manages to turn his daughters into international wresters. It was a real life inspiring story that caught the imagination of not only Indians but also Chinese audience ! The movie did a business of over Rs 700 crores in China !

Personally I loved “Parmanu”(2018), which was based on Pokharan II, an eventthat signalled the rise of a new and assertive India, far from the days of 1962 that “Haqeeqat”(1964) depicted.

“Uri” (2019) was based on surgical strike of 2016. There were people who left no stones unturned to tell us that surgical strike did not take place, and their supporters in India asked for proof. Believers went to the movie and turned it into a box office success. This episode, like the episode described in “Parmanu” (2018) demonstated the rise on a new and assertive India which would not take things lying down if wronged and would retaliate aggressively.

A country gains self confidence when it is doing well in economy and related fields. Indian economy is doing well for the last few years and India economy is fifth largest GDP in the world. Some media houses gleefully reported that India had slipped to seventh position, but that was on december 2018. As on today, India is again 5th biggest economy, a fact that our media is hiding from us.

A country can rise up the economy ladder only if it has high quality highly educated manpower. Low quality manpower can take an economy up to certain level, but after that level, you need top class manpower to take you forward. India at present is a low middle income group nation (per capita earning in the region of $ 1000 to $ 40000 per annum). India will need to more than double its GDP and then we can hope to break into the ranks of upper middle income nations (per capita income in the region of $ 4000 to $ 12000). Final barrier is $ 12000 and a country with per capita earning above that figure becomes a high income country.

Only those countries that invest in high quality education and high quality infrastructure can break in the league of upper middle group nations and finally into higher income nations. India has a long long way to go. But India is in the right track. I can visualise India breakin into the rank of upper middle rank nations when Indian GDP reaches about $ 6 trillions. It woulkd be sometime in the next ten years.

GDP of a nation keeps climbing at a good rate only if a country is doing high quality work which can be sold all over the world. India is a world leader in high quality research products like pharmaceuticals, health services etc. These sectors will help India grow up in future. In manufacturing sector, I hope to see some interesting world class products, like say Train 18 from Indian Railways and Tejas from HAL, which will have good market worldwide, if Indian Government can plan and execute the plans well.

ISRO, Indian space agency is a shining example of what Indian manpower is capable of. ISRO has earned tremendous name and goodwill for its stellar works. It has launched many satellites of foreign advanced nations and they have played an important role in earning respect for Indian manpower. It is not for nothing that many silicon valley big wigs are people of Indian origin.

“Mission Mangal”(2019) is based on ISRO’s mangalyaan expedition. With this mission, ISRO succeeded in sending its spacecraft (mars orbiter) to Mars successfully in thhe very first attempt, and they did it on a shoe string budget.

The movie “‘Mission Mangal” (2019) is jointly produced Cape of Good Films, Hope Productions, Fox Star Studios, Aruna Bhatia, and Anil Naidu and directed by Jagan Shakti. The movie has Akshay Kumar, Vidya Balan, Taapsee Pannu, Nithya Menen, Kirti Kulhari, Sharman Joshi, H. G. Dattatreya, Vikram Gokhale, and Sonakshi Sinha etc in it.

When this mission had actually taken place, social media was abuzz with a photograph that showed a few homely housewife looking ladies who were in reality ISRO scientists and who had played important roles in the success of the mission. The makers of this movie have been greatly influenced by this fact. The movie shows lots of female power in the movie.

The story , based on real life ISRO stories, starts by showing failure of a GSLV launch on December 25, 2010 due to an error of judgement by project director Tara Shinde (Vidya Balan). Rakesh Dhawan (Akshay Kumar) takes the responsibility of the failure on himself. As a punishment posting, he is hunted out to “Mangalyaan” mission, a mission no one has much hopes on.

Maenwhile Tara Shinde too gets herself transferred to Mangalyaan project and she has some idea about how this project can be successfully executed. Rakesh Dhawan and Tar Shinde convince the ISRO head (Vikram Gokhale) to support them by budget and staff. Budget is limited and keeps getting reduced, and the manpower asked in not what was needed. They end up with rookie scientists like Eka Gandhi (Sonakshi Sinha)the propulsion control expert, who is dying to leave ISRO and join NASA as soon as possible, spacecraft autonomy designer Neha Siddiqui (Kirti Kulhari ) whose second name causes raised eyebrows when she is looking for rented accomodation, navigation expert Krittika Agarwal (navigation expert) who has great difficulty learning to drive a car. Her husband is in Army who gets injured in an accident. Satellite designer and payload expert Varsha Pillai (Nithya Menon) has a nagging mother in law at home who taunts her for being childless.

There are two male scientists too. Astrology believing Parmeshwar Joshi (Sharman Joshi) is told by his astrologer that his “Mangal” is bhaari and that is why he is unable to get married. No wonder he is reluctant to join the mission. Then there is Anant Ayengar (H G Dattatreya) who is one year short of retirement and is already counting days.

How Rakesh Dhawan and Tara Shinde get their team to deliver and how successfully deal with major hurdles constitutes the story. While there are some critics who have found lots of weaknesses and holes in the story, I loved the movie. I find the episodes quite entertaing. When Rakesh Dhawan first goes to the mangalyaan area of ISRO, he finds that vacant and without any sings of life. Then he finds a matka with water in it. So there is water in mars- he observes. Then a cat enters the hall. So, there is life in Mars, he concludes.

The movie is based on a real life story, so we all know what hexactly happened. Still the movie keeps you glued to your seat. And it gives you goosebumps when the rocket lifts off from its launch pad.

This is a movie only Indians could have made and only Indians could have identfied with. I am happy that a movie was made on this subject. The makers have done the best they could have. insteda of finding faults (like what some people have done) I take it as glass half full and I enjoyed th movie. I think that most Indians who like to be positive about their lives and about their country will enjoy this movie.

The movie has three songs in it. My personal favourite is the theme song. The lyrics of this song are by Amitabh Bhattacharya and he has indulged in some interesting word play in this song. The song is sung by Benny Dayal , Vibha Saraf and others. Music is composed by Amit Trivedi.

This song happens to be the 15200th song in the blog. It is the first time that this blog has a new song from the current year as the century song. I think this song fully deserves it. It is a song that I loved from the vey fist time I heard it and watched it.

These days we have two actors who are competing for making movies on nationalistic subjects. One is Akshay Kumar and another is John Abraham. I had loved John Abraham’s “Parmanu”(2018) and I loved Akshay Kumar’s “Mission Mangal”(2019). In 1960s and 1970s, we had Manoj Kumar making patriotic movies. Today we have John Abraham and Akshay Kumar. There is one cartoon which shows the two of them grabbing each other by their collars, arguing about who should take up which nationalistic story next. Then there is another cartoon showing Akshay Kumar with P M Modi. Modi tells Akshay Kumar-“Keep making movies, I will keep giving you story ideas.” It must be said that the story idea for Article 370 is something that a Frederick Forsyth or Leon Uris would have been proud to write.

So, here is the 15200 th song for the blog. It must be one of the most unnoticed century post occasion which apparently no one was looking forward to, including even I myself. Nevertheless, the needful needs to be done. So we are now 15200 song post old with this writeup. I take this opportunity to thank all our visitors and well wishers for their continued encouragement and support. May we keep scoring many more centuries in future.

With this song, “Mission Mangal”(2019) makes its debut in the blog.


Song-Dil mein Mars hai (Mission Mangal)(2019) Singers-Benny Dayal, Vibha Saraf, Lyrics-Amitabh Bhattacharya, MD-Amit Trivedi

Lyrics

Om mangalam mission mangalam
Om mangalam mission mangalam
Om mangalam mission mangalam

Manzil door door door hai mushkil paas hai
Phir bhi khwaab khwaab khwaab mein twinkle stars hai
Om mangalam mission mangalam
Manzil door door door hai mushkil paas hai
Phir bhi khwaab khwaab khwaab mein twinkle stars hai

Chaand ko karke rahenge aaj overtake hum
poora chance hai ae
Three two one boom!
Dil mein Mars hai
Kyun ki dil mein Mars hai
Om mangalam mission mangalam
Apne dil mein Mars hai
Om mangalam mission mangalam
Udne ki pyaas hai
Dil mein Mars hai
Om mangalam mission mangalam
Space mangalam shuttle mangalam
Cool mangalam swag mangalam
Hash mangalam tag mangalam
Dream mangalam vision mangalam
Countdown ignition mangalam
Om mangalam mission mangalam telescope dhaari … swaaha

Om mangalam mission mangalam
Om mangalam mission mangalam
Apne brain brain brain ki hai kaarastani
Hum toh dhoondh dhoondh dhoondh len fire mein paani
fire mein paani
Apne desh desh desh mein sab kuch mumkin hai
We don’t need need need need no meherbaani
no meherbaani ee ee
Thode fail fail fail hain
phir bhi pass hain
Fulltu mood mood mood mein hum bindass hain
Chaand ko karke rahenge aaj overtake hum
poora chance hai ae
Three two one boom!
Dil mein Mars hai
O dil mein Mars hai
Om mangalam mission mangalam
Apne dil mein Mars hai
Om mangalam mission mangalam
Udne ki pyaas hai ae
Kyun ki dil mein Mars hai

Om mangalam mission mangalam
Speed mangalam medal mangalam
Josh mangalam jashn mangalam
Style mangalam tashan mangalam
Cosmos condition mangalam
Take-off permission mangalam
Om mangalam mission mangalam
kayinaat saari … swaaha


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

Blog Day : 4055 Post No. : 15187

Today’s song is from film Insaaf-1946. This was a social film, directed by Phani Mujumdar and the music was by Hari Prasanna Das aka H P Das. The lyrics came from the veteran, successful lyricist D N Madhok. This film is a special one, because this was the Debut film for Balraj Sahni, after he decided to join films.

Balraj Sahni has a very high place in my list of Original actors, the others being Ashok Kumar, Motilal, Om Puri, Sanjeev Kumar, Amol Palekar, Anupam Kher, Satish Shah and few more. Indian film industry had very few ‘ Natural’ actors and most of them operated from the 30s to the 70s. As I am not well acquainted with the Newer generation actors, I can not speak about them,but I am sure there must be few such Natural actors. I guess Ranbir Kapoor is one actor , who I feel acts with ease.

Basically, it is wrong to compare old actors with the crop of New actors. Comparisons are always between ” Like with Like”. There is a sea of change in everything in film making. The parameters are changed because the needs are different today. It is grossly unfair to compare anything with the old ones.

Few years back, when I first wrote about Balraj Sahni, I had said that Balraj Sahni was a different type of person than all other film actors. It is surprising how he came into film line, in the first place. Basically he was a very sensitive writer and stage actor, but having once entered the film world, he continued for the sake of earning a livelihood, making lot of compromises on his journey of life. I still stand by what I had said. It is worthwhile to even repeat it.

In the days,when not many educated people came into films, Balraj-a double MA in English and Hindi joined the films. In the conventional way he was not a handsome person,but his superior acting prowess compensated for this. In an industry,which is a ‘show business’, he was never counted amongst the Top grade stars, though critics and learned viewers always found him excellent. You can never imagine a Raj kapoor or a Dev Anand in a film like Seema or Kabuliwala, nor can a Dilip kumar fit into ‘Do Bigha Zameen’. For such roles Balraj was matchless. After the film Do Bigha Zameen, he and Nirupa Roy became India’s most loved, poor and uneducated, good natured and simple couple for many subsequent films.

Due to this, Balraj never got any romantic or Glamorous roles. However, to earn his daily bread satisfactorily, he compromised and worked in several B grade movies, like Black Cat-59, opposite a Non actress Minu Mumtaz !

Yudhishthir Sahni aka Balraj Sahni was born in Rawalpindi, Punjab, British India (now Pakistan) on 1st May, 1913 in a Punjabi family. After completing his graduation in Bachelor of Arts (Hindi), and post graduation in Masters of Arts (English Literature), both from Punjab University; he got married to Dayamanti. It was in late 1930s that both husband and wife moved to Bengal to join Rabindra Nath Tagore’s Vishva Bharati University in Shantiniketan as English and Hindi teacher. It was about the same time that in 1936 Balraj wrote his first compilation of Hindi fiction called “Shahzaadon ka Drink”. It was also in Bengal that Balraj and Damayanti’s son, Parikshit was born. In 1938, Sahni went to work with Mahatma Gandhi for a year and the very next year went to England to join the British Broadcasting Network’s Hindi service as a radio announcer. In 1943, he returned to India.

It was in 1944 that Sahni moved to Bombay and joined the Indian People’s Theatre Association (IPTA), a group with which he also started his acting career, albeit through plays. In the same year, he bagged a role in the film “Insaf”, which marked the beginning of his acting career in Hindi film industry. “Dharti ke Lal” and “Door Chalein” were his next of releases in the same year. (In 1947, after doing Heroine’s role in film Gudiya-47, Damayanti expired. Two years later, Balraj married his first cousin Santosh Chandhok and they had 2 children.) It was, however, the film “Do Bigha Zameen” that established his strengths as an actor. The movie was directed by Bimal Roy and came out in 1953; it also won the international prize at the Cannes Film Festival. The film is now considered a classic.

In the years that followed, he played many leading roles in commercial films opposite actresses like Nargis, Meena Kumari, Vyjayanthimala, and Nutan in films “Lajwanti” (1958), “Ghar Sansar” (1958), “Satta Bazar” (1959), “Kathputli” (1957), and “Sone Ki Chidiya” (1958) respectively. These films further established his position as a versatile actor. In the 1961, film “Kabuliwala”, written by Tagore, went on to become another of his classic. To prepare for the role, Balraj lived with kabuliwalas in a Bombay suburb. His character roles with strong performances in films like “Haqeeqat” (1964), “Waqt” (1965), “Do Raaste” (1969), “Ek Phool Do Mali” (1969), and “Mere Humsafar” (1970) further left an indelible mark in the film fraternity and fans alike. The legendary song “Ae Meri Zohra Jabeen” from the film “Waqt”, picturized on Balraj Sahni and Achala Sachdev is still etched deep in peoples’ memories and is loved by the current generation as well. He acted in 3 films.

Along with successfully proving his acting prowess, he also displayed exceptional directing skills through the film Lal Batti (1957), where passengers are forced to spend a night together at the railway platform at the time of India’s independence. Balraj co-directed this movie along with Krishan Chopra. His performance in the film “Garm Hava” (1973) is considered to be the best, till date. Sadly, this was his last film before his death.

Sahni’s writing career begun with “Shahzaadon Ka Drink” that came out in 1936. This was his first compilation of Hindi fiction. He went on to become an esteemed writer in the Punjabi literature. He wrote “Mera Pakistani Safar” shortly after his visit to Pakistan in 1960. After a tour to Soviet Union in 1969, he wrote “Mera Rusi Safarnama”. This book also earned him the Soviet Land Nehru Award. He also wrote his autobiography called “Meri Filmy Aatmakatha”. Sahni even penned the screenplay for the 1951 released film “Baazi”; starring Dev Anand and directed by Guru Dutt. Apart from this, he wrote a number of poems, short stories, and contributed to the Punjabi magazine Preetlari.

Going through depression for some time after his young daughter Shabnam’s untimely death, Balraj Sahni passed away on 13th April, 1973 at the age of 59 following a cardiac arrest. He is survived by his son Parikshit, who is also an actor in the Hindi film industry.

Balraj Sahni received Padma Shri Award in 1969. Balraj Sahni earned the ‘Soviet Land Nehru Award for his book Mera Rusi Safarnama in 1969. Balraj Sahni starrer movie ‘Do Bigha Zameen’ won the international prize at the Cannes Film Festival in 1953. Balraj Sahni joined the BBC-London’s Hindi service as a radio announcer from 1939-43. ‘Punjabi Kala Kender’, founded in 1973 at Mumbai by Balraj Sahni, gives away the annual Balraj Sahni Award’. ‘All India Artists’ Association’ also gives away the annual ‘Balraj Sahni Award’.

The other day,I was reading the Autobiography of Balraj Sahni. His style of narration is very good. He does not miss even the smallest details.The part of his life when he entered the Hindi films is extremely readable.

When he was with BBC, London,once he was deputed to attend a seminar in Poona,India. He came down with his wife Damayanti and they stayed with a friend-Appasaheb Pant, the scion and Yuvraj of Aundh-a princely state in British India, in Maharashtra.( He later became the High Commissioner to Britain, post Independence). One evening they all went to see a Marathi film “Manoos'(Aadmi-39) of Prabhat, directed by V.Shantaram. After seeing the film,he was terribly impressed with Shantaram’s direction and was all praise for him.
When Balraj left BBC and returned to India,he was again in Poona. This time he went to see Shantaram, with prior appointment. When he reached the Gate, a person was waiting for him. he was taken to the reception room. That man left. In the room there was one more person with a Black cap-which was very common for Maharashtrians, those days. Balraj thought he too was another visitor like him After few minutes, that man asked in excellent English if he was Balraj Sahni. Balraj was astonished and nodded affirmatively. That man got up and said,’I am Shantaram. Nice to see you’. Later Shantaram took him around the studio etc.

Balraj returned to Bombay absolutely mesmerized with Shantaram. While in Bombay they were loitering, when they suddenly met Chetan Anand- his old friend. They were very happy to see each others. Chetan took them to his 4 bedroom spacious flat in Pali Hill,Bandra.They stayed with him for few days. Balraj had decided to work in films and was negotiating for his role in film Insaf, while Chetan was busy in his Neecha Nagar-46. One evening they went to see film ‘Shakuntala’, made by Shantaram. After seeing the film Balraj was very much upset and started criticising Shantaram that his standard has gone down, compared to Aadmi-39.

Chetan Anand smiled and said, “Shantaram has made a film for Box office.” Balraj did not understand. Chetan Anand explained, ” One can not go on making art films alone. To run the studio, you need money. Shantaram being a good businessman, he makes such films which earn him money. With this money he can make more meaningful films. For example after Shakuntala, Shantaram made Parbat pe apna Dera-44 and then his memorable film Dr. Kotnis ki amar kahani-46. This is how the maths of cinema works”. There are many such incidents described in his Autobiography which is highly readable,not only for his story but also for glimpse into the film scenario of the 40s and 50s.

Balraj had done 101 films. His first film was ‘Insaaf’-46 and the last film of Balraj, to be released well after his death was “Amaanat”-77.

The film Insaaf-46 was directed by Phani Mujumdar (28-12-1911 to 16-5-1994),who was already a seasoned Director. He is the only Director who directed films in 9 languages (Hindi, Bangla, English, Malay, Chinese, Magadhi, Maithili, Aasamese and Punjabi). Starting with P C Barua in Calcutta, besides Street singer-38 and Kapalkundala-39, he had directed several hit films like Baadbaan, Doctor, Tamanna, Door Chalen, Faraar, Aarti, Kanyadan, Akashdeep, Oonche Log etc., a total of 29 films. A short Biography and Obituary on him, written by the famous Film Historian and writer of “Encyclopedia of Indian Cinema”-Ashish Rajadhyaksha was published in The Independent,Calcutta, on 22-6-1994. I have reproduced it few months back in one of my earlier posts, so I am not repeating it here.

The Music Director of this film, Hari Prasanna Das or H.P.Das was born in Chitgaon, East Bengal, in 1905. He was a Bengali. He was assistant to Pankaj Malik in films Dushman and Kapal Kundala-1939. He gave music to Bangla film ‘ Nimai Sanyasi’-40, in which he gave singing opportunity to 20 year old young Hemant Kumar. His first Hindi film as a MD was New India Films’ Blood Feud (or Josh-E-Inteqam)- 1935. His other films were Mohabbat-43, Meena-44, Kadambari-44, Mazdoor-45, Begum-45, Insaaf-46, Veerangana-47, Sati Toral-47 and Hum bhi insaan hai-48. He died on 26-9-1989.

The film Insaaf aka Justice aka Nyay (न्याय)- 1946 had 8 songs – all penned by D.N.Madhok (5-9-1902 to 9-7-1982), who was an actor (Radheshyam-32), Music Director (Radheshyam-32), Singer (Radheshyam-32), and a Director (16 films,from 1933 to 1955). As a Lyricist, he wrote 882 songs in 119 films (1932 to 1969).

2 songs from this film are already discussed here. Today’s song will be the 3rd song. It is a chorus song. Looks like a Marching song or similar one. I do not know the story line of this film. From the lyrics of all the songs ( I have all the 8 songs of this film with me), I feel it is a film about the battle between “The Haves and The Have Nots”. No wonder, a man of Socialistic leanings, Balraj Sahni made his beginning from such a film ! There is 1 solo and 1 duet of Manna Dey in this film. These are his earliest songs in Hindi films. Manna Dey was a joint MD with H P Das in 3 films – Veerangana-47, Sati Toral-47 and Hum bhi Insaan hai-48.

Now let us listen to this chorus song.


Song- Chala chal chalaa chal uthaa ke kadam (Insaaf)(1946) Singers- Chorus, Lyricist- D N Madhok, MD-Hariprasanna Das

Lyrics

Chala chal chalaa chal
uthaa ke kadam
bhaaga jaaye jagat
rah na jaayen ham
Chala chal chalaa chal
uthaa ke kadam
bhaaga jaaye jagat
rah na jaayen ham
?? chal diya hai magar
?? hain nahin
aa aa aa
aa aa aa
?? chal diya hai magar
?? hai jahaan walwale nahin
aa aa aa
aa aa aa
?? hai jahaan walwale nahin
pyaara watan
aa aa aa
pyaara watan
pyaara watan
pyaara watan
pyara watan
le na kahin dam
Chala chal chalaa chal
uthaa ke kadam
bhaaga jaaye jagat
rah na jaayen ham

maate tujhse ??
ghutnon ke bal par chalte jo
maate tujhse ??
ghutnon ke bal par chalte jo
uthha kadam
uthha kadam
uthha kadam
aa aa aa
uthha kadam
aa aa aa
?? se nahin kam
Chala chal chalaa chal
uthaa ke kadam
bhaaga jaaye jagat
rah na jaayen ham
Chala chal chalaa chal
uthaa ke kadam
bhaaga jaaye jagat
rah na jaayen ham

maate tujhse ??
ghutnon ke bal par chalte jo
maate tujhse ??
ghutnon ke bal par chalte jo
uthha kadam
uthha kadam
uthha kadam
aa aa aa
uthha kadam
aa aa aa
uthha kadam
?? se nahin kam
Chala chal chalaa chal
uthaa ke kadam
bhaaga jaaye jagat
rah na jaayen ham
Chala chal chalaa chal
uthaa ke kadam
bhaaga jaaye jagat
rah na jaayen ham
aa aa aa
aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa


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 ELEVEN years. This blog has over 15700 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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Total number of songs posts discussed

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