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

Archive for the ‘Introduction song’ Category


This article is written by Peevesie’s mom, 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 :

4124 Post No. : 15279 Movie Count :

4204

Hullo Atuldom

Let us all wish the Baadshah of Bollywood on his 54th birthday.

Wish this was an audio post, then I would have started my post with what we used to hear on the radio Ads in the 70s and 80s. I would have first played a line “aashiq hoon main qaatil bhi hoon” then after the voice over by a Vijay Behl or Ameen Sayani or a Vinod Sharma or it could be Harish Bhimani (I don’t remember the names of all the announcers, sorry) the Radio Ad would have closed with the repeat of the last line of the mukhda of the song – “Baadshah o baadshah, baadshah hey baadshah, baadshah”.

But then this is neither an audio post nor a radio ad. But our today’s birthday boy is a huge fan of those days, when we used to hear songs on the radio. Up the volume when our favourite song was played and sat glued to hear all the details of the song viz: singer, lyricist, composer, movie name etc. And if due to some disturbance on the frequency waves or any other reason we missed the details then we would have to wait for god-knows-how-long to hear it again. Because back then, Radio Ceylon and Vividh Bharati were our sole source for HFM- Doordarshan happened much later and IMDB and other sites were not even on the horizon. Right Birthday Boy? I am talking of our Sudhirji here. We have seen him mention about his love for HFM being fed by what he heard on the Radio in many of his posts.

He is an ‘Aashiq’ of film music and is so knowledgeable about its many aspects. And he keeps discovering new angles of HFM and his posts are rich because of this constant search of his. And occasionally he also doubles up as Atulji’s most trusted aide in keeping the blog running. Thank you Atulji for introducing us to Sudhirji- the dilldaar Dilliwala. Wish you a very Happy Birthday Sudhirji, may you never run out of ideas for new posts and series.

November 2nd also happens to be the birthdate of music director/ singer Anu Malik- son of yesteryear-music director Sardar Malik. He has been around in the industry since 1980 – debuting with an obscure movie “Hunterwaali 77” (never heard of this movie before 🙂 ). He has worked his way to the A-list music directors with successful albums like “Mard”, “Sohni Mahiwal”, “Ganga Jamuna Saraswati” etc. His albums of the 90s had many melodies which got their movies a slightly long run at the box-office; movies like “Sir”, “The Gentleman”, “Vijaypath”. “Naaraz’’, “Naajayaz’’ etc. Music by Anu Malik in “Chamatkaar” was the first collaboration of SRK (the other birthday boy for today). Subsequently Anu Malik has given music to a few of SRK’s movies- “Baazigar”, ‘Ram Jaane”, “Duplicate”, “Baadshah”, “Josh”, “Asoka”, “Main Hoon Na” etc etc. Wish you a very Happy Birthday Anu Malik.

As can be seen in the list in the previous paragraph we have a huge library from which to choose a song for today. I have had suggestions from my Peevesie and Nahmji too about which could be a good choice for today’s triple birthday and I am settling for the song with which I opened the post as I have inside information about the possibility of Peevesie’s suggestion being fulfilled today.

From his debut in movies in 1992 to 1998 SRK had about 3 or 4 releases every year. 1999 had only one SRK movie- Baadshah (it was after the success of this movie that Shahrukh was given the epithet “Baadshah of Bollywood”), which was directed by Abbas – Mustan. It had him playing a bumbling detective with Sudhir, Johnny Lever, Sharad Sankhla, Harpal as his team mates and Twinkle Khanna was the female lead. It had Rakhee and Amrish Puri with Sharat Saxena, Deepshika, Sachin Khedekar etc in supporting roles and Shashikala and Prem Chopra in guest appearances. Our song today is from “Baadshah” which was written by Sameer and filmed as a disco song performed in a night club with Twinkle, Amrish Puri, Viju Khote etc as audience and Pankaj Dheer makes an entry towards the end of the song. It is sung by Abhijeet (who turned 61 on 30th October).

A very Happy Birthday to all the Birthday Boyz. Lets enjoy the party.


Song-Aashiq hoon main qaatil bhi hoon (Baadshah)(1999) Singer-Abhijeet, Lyrics-Sameer, MD-Anu Malik

Lyrics

Aashiq hoon main 
qaatil bhi hoon
sabke dilon mein shaamil bhi hoon

o ho o oh o ho o ho
o ho o oh o ho o ho

Aashiq hoon main 
qaatil bhi hoon
sabke dilon mein shaamil bhi hoon
Aashiq hoon main 
qaatil bhi hoon
sabke dilon mein shaamil bhi hoon
dil ko churaana,
neendein udaana
bas yahi mera kusoor
waadon se apne mukarta nahin 
marne se main kabhi darta nahin
baadshah o baadshah,  
baadshah hey baadshah
baadshah o baadshah,
baadshah 

hae ae ae ae yo
hae yo

chaaron taraf hain mere hi charche
honthon pe hai bas mera naam
rangon bhari subah meri
masti mein doobi hai meri sham
jhoothi kahaani sacchi lage
aawargi mujhe achchi lage
nagmein sunaana
sabko nachaana 
bas yahi mera kusoor
waadon se apne mukarta nahi
marne se mai kabhi darta nahi
baadshah o baadshah,
baadshah hey baadshah
baadshah o baadshah,
baadshah

ho o ho o ho o

hai yeh mohabbat kamzori meri
chaahat ki duniya pe mera raaz
bas rab ke aage jhukta mera sar
jhukte mere saamne takhto taaj
andaaz mera sabse juda
mein baadshahon kaa baadshah
sapne sajaana
hansna hasaana
bas yahi mera kusoor
waadon se apne mukarta nahin
marne se mai kabhi darta nahin
baadshah o baadshah 
baadshah hey baadshah
baadshah o baadshah,
baadshah
baadshah o baadshah,
baadshah hey baadshah
baadshah o baadshah,
baadshah

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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 :

4064 Post No. : 15198 Movie Count :

4176

Today’s song is from an obscure, unknown, ‘Ç’ grade stunt film – Toofani Tirandaz-47. This film was made by Homi Wadia’s Basant Pictures, but, for a change, it was directed by Boman Shroff – who was a regular actor in Wadia’s stable, present in almost every film of Fearless Nadia, including today’s film. The cast of the film was Nadia, Prakash, Sayani Aatish, Boman Shroff, Sona Chatterjee, Mithu miyan, Krishnakant, Rajpoot(horse) and Austin ki Bachhi(a jalopy). The film had 8 songs, all written by Begum Aziz Minai ( her other film was Aabida-47 in which she wrote 3 songs). Music was composed by A.Karim.

Toofani Tirandaz-47 was a routine stunt film from Wadia, having more or less the same story and same actors. Despite this, the films of Fearless Nadia were extremely popular in a certain class of audience in India and in many Arab and Middle east Gulf countries, where there was a great demand for these films. After Partition, even in Pakistan, Wadia stunt films were popular and in demand. In 1948, when Wadia made the film “Shri Ram Bhakta Hanuman”-48, he exported even this film to Muslim countries after changing the Title as “Udta Bandar” ( उडता बंदर ) or The Flying Monkey, converting a Mythological film into an action film ! The film was equally popular there.For Nadia films, additionally, a lady bashing up goons and restoring justice, while at the same time having a love story with the Hero was so thrilling for the audience. They were so enamoured with Nadia, that they did not care, she did not look Indian or her Hindi diction was defective !

There was a difference between Wadia – Nadia stunt films and stunt films made by other film makers. The specialty was, in addition to the regular human star cast, these films were full of thrilling acts by Animals. In most Wadia films,the animals had a distinct role to play- of course without dialogues ! Ha Ha !!

As long as Wadia Movietone was united, there was a roll-call of trained animals like Horse, Dog, Cat, Tiger, Lion, Elephants etc etc. In some films there were Hyenas and pythons too. In addition,Machines also played specific roles, like a Car and a Motor Cycle. In one film, Nadia’s whistle used to make the Motorcycle come to her ! What was most noteworthy was that that all these Non-Human stars had their own names !

The set of actors and actresses working in stunt/Action films in C grade movies were a fixed lot. In a way they ‘specialised‘ in this sort of films. In almost all the stunt films of Nadia( she did few social films too), the fixed crew and cast included the Bilimoria brothers, John Cavas, Jal Khambata, Minoo the mystique(Minu Cooper), Sardar Mansoor, Boman Shroff, Sayani Atish etc. Not everyone was in every film, but they took turns in appearances.

From 1935 onwards stunt films ,including Nadia’s, had a Horse named “Punjab ka Beta”, a Dog named ‘Tiger’, and a motor car name ‘ Rolls Royce ki beti’.

After Wadia brothers split and Homi started his Basant pictures, Nadia joined him and another set of animals like, Rajpoot(Horse), Moti(Dog) and Austin ki bachhi(a motor car) were included. In addition there was a Motor Cycle called ‘Runnio’ as well.

Few years back, in one of my posts, I had written about the animals and Machines in Nadia films, but it was not a detailed information. I was very keen to know more about animals in films. Who trained them, how are they handled and whether the animals are not scared of the strangers and the Arc lights etc were my questions. I did not know how to get this information.

Then suddenly I remembered having read an article-PDF- by some Mala Doshi, on Memsaab’s Blog , some years ago. I tried but could not locate it. As usual the kind hearted Memsaab came to my rescue and she provided me the link to it. I read it completely. However this did not have answers to my questions, though it is also quite informative.

I contacted one of my friends in Pune and he told me that an article giving all this information was published in RASRANG-a Marathi film magazine, years ago. This was a poor clue, but I started searching for it without any result for a long time. My luck smiled on me one day, when I was reading a book RUPERI SMARANYATRA (memories of the silver screen) by Prof. Subhash Savarkar. That article , which I was searching so desperately was reprinted in this book !

The article is written by Mr. Vasant Bhalekar who also holds its copyright. This article must have been published in the late 60s or so. I thank Mr.Bhalekar for this information.

‘Punjab ka beta’ was trained by Agha Mehmood who was in the Film Industry since 1930 onwards supplying trained animals. The Horse was born in Ahmedabad, trained in Surat and worked in Bombay. He was very intelligent. His first film was ‘Ishq ki Laila’-a silent film. In 1935 Punjab ka Beta or PKB joined Wadia movietone. His original name was GAZI which was changed by JBH Wadia to PKB, when he first worked in “Hind kesari”-35

He was expert in running, trotting, falling, sleeping-like dead, jumping, walking on knees, standing on 2 legs etc. Nadia used him first time in ‘Lutaru Lalna’-38 and PKB was her horse till it died. In Diamond queen-40 PKB and Nadia jumped through wild raging fire. Both were burnt, but the shot came off fantastic.

In Jai Bharat-36, PKB carried Master Chhotu in his mouth for a distance and gave close ups too. In Flying Prince there was a shot when the Heroine chases a Train and jumps onto it. PKB was ridden by Hashim, son of Agha, in Heroine’s clothes and boarded the train, but both were a little hurt.

Punjab ka beta died soon after working in Hind ka laal-40. Agha trained another horse Rajpoot just like PKB.

Rajpoot gave a deadly shot in Baabuji-50, where he had to climb and come down stairs of a 30 feet set. Agha first took the horse around the sets and up and down 4-5 times. The horse got the idea of the shot and he gave it superbly, though this shot was very life threatening.

Rajpoot also acted in Darvesh-49 and Cobra Girl-63 in which he had to do some back kicking (like an ass). Actually back kicking is the first thing all trainers make the horse to forget before horse’s training starts. Now Rajpoot had to be taught what he was made to forget. For this Agha used to rap his hind legs and make a sound on the Tin sheet kept behind him. After 2-3 days the horse understood what is to be done and started back kicking.

In film Zabak – 61, the horse was supposed to smile and wink at the Hero. Agha knew that when a Foal (colt or filly- young horse) is brought before a Horse it starts making a laughing face and sounds. Hence be brought a colt and took the shots of Rajput smiling. Then for winking, they used water used after washing crackers. When horse’s eyes are washed with this water, horse winks for one hour ! Thus this shot was also taken.

Agha also trained horse Moti and elephant Ramchandra for film NAVRANG-59. They both were trained to do dancing steps for a month. Sandhya danced with these animals and it has come out wonderfully.

We see many animals ‘acting’ in the films, but we hardly know how much effort of the Trainers has gone behind that. Besides taking care of the animals, the trainers have to tolerate the ‘moods’ of the animals also.

With the the stunt films in “C” grade dwindling, animals which are used nowadays in films are only the pet animals, like Dogs, cats, Birds etc. The use of wild animals like Tigers, Lion, Elephants etc is no more required in the films. Horses are used sometimes.

Jimmy Bharucha, one of the best Horse Trainers in India, had himself been trained in foreign countries. He had opened a Horse Training School in Poona. Yesteryear actor SHYAM was one of his earliest students. For all his films, Shyam used the same horse from Bharucha. Actor Shyam had died while doing a stunt for film Shabistan-51.

Whenever he talked about Shyam, Bharucha got emotional. The truth about Shyam’s death….

That fateful day, Shyam was in a very cheerful mood. He joked with other artists as usual. The film was SHABISTAN. He had to do a stunt scene on a horse. His double was kept ready. However Shyam insisted on doing that dangerous shot himself that day. The scene started and was also completed successfully. There was a round of applauding claps.

Shyam was getting down from the horse and suddenly,the horse started running. Shyam’s foot got stuck in the stirr-up and he was dragged some distance before people ran and stopped the horse. Shyam was unconscious. He was immediately taken to the hospital, but he died-with his make up and costume still on him !( another actor who died on the sets was comedian actor Gope. He finished his shot. His last dialogue was ” Main upar jaa raha hoon”, and he collapsed with a massive heart attack which took his life instantly.)

Bharucha had supplied horses to films like Aan, Anarkali and Mughal e Azam etc. He had supplied Dogs for films like Love in Simla, Hum Hindustani etc. Once when the Producer was not paying in time he stopped the animal’s work. They were paid immediately because the animal’s shots were half done till that time.

Bharucha had trained one beautiful white Horse to dance to the tune of Waltz and Cha Cha. The horse was in great demand by Taj Mahal Hotel to entertain Foreign guests !

So much about the Animals in films. There is much more information , may be some other time. I was also keen to know more about the actors of Wadia films, but it was like searching a needle in a hay stack. One thing – they were seen only in C grade stunt films and hence the so called “Gentleman” magazines and papers etc. paid no heed to them and secondly – they ended their careers in the late 40s or early 50s, as the C grade stunt film Genre died its natural death. When no source works on my own, I turn to one sure point, i.e. Harish Raghuwanshi ji. Though he is not keeping too well these days, he is always prompt in responding and providing help, whenever available.With his help, I got some – only some – information on 2 of the major actors of Wadia – Nadia movies.

Sayani Aatish – his real name was Sayani Abdul Hamid Ahmed. He was born in Bombay. He had a ancestral Timber business, but his intense desire to work in films brought him to this profession in 1925. He started working in Silent stunt films as a villain.By the time Talkie films came, he had perfected his style. He joined Wadia Movietone. His first Talkie film was “Laal-E-Yaman”-33. After this he did 18 films.His last film was Mere Sajan-41. He was considered an outstanding villain of films.He was a writer and composer too.

Boman Shroff was born in Kalyan-Bombay. He joined films in 1922. After doing many silent films, he joined Wadia Movietone. His first Talkie film was “Laal E Yaman-33”. He was known as a Dare Devil stuntman and master of make up. His role was usually of a comedian. His best performance was in Toofani tarzan-37. He worked in 17 films. His last film as an actor was Stunt King-44. Boman Shroff also directed two films. One, today’s film Toofani tirandaz-47 and Sher Dil-54.

Whenever I write on any Fearless Nadia film, I always remember my meeting with her in the early 80s in Bombay. I only regret that I did not take a Photograph with her. If only Mobile Phones were in vogue in those times…….

(Thanks to Harish Raghuwanshi ji, Vasant Bhalekar, Subhash Savarkar, Greta Memsaab, Film Directory-1938 and my notes for information used herein.)


Song – Hum Bharat ki santaan (Toofaani Teerandaaz)(1947) Singers-Unknown Female voice, Unknown male voice, Lyrics – Begum Aziz Minai, MD- A Kareem
Female Chorus
Male chorus

Lyrics

Hum Bharat ki santaan
Hum Bharat ki santaan
aise chamke teer hamaare
jyon Arjun ke baan
aise chamke teer hamaare
jyon Arjun ke baan
jyon Arjun ke baan
Hum Bharat ki santaan
Hum Bharat ki santaan

jaagi hai Bharat ki naari
dekhegi ab duniya saari
jaagi hai Bharat ki naari
dekhegi ab duniya saari
karegi ab ye desh ki sewa
de kar jeewan daan
karegi ab ye desh ki sewa
de kar jeewan daan
de kar jeewan daan

Hum Bharat ki santaan
Hum Bharat ki santaan

ran mein nikle taan ke seena
paap hai kaayar ban ke jeena
ran mein nikle taan ke seena
paap hai kaayar ban ke jeena
himmat ho to ho jaati hai
har mushqil aasaan
himmat ho to ho jaati hai
har mushqil aasaan

har mushqil aasaan
Hum Bharat ki santaan
Hum Bharat ki santaan
aise chamke teer hamare
jyon Arjun ke baan
jyon Arjun ke baan

hum Bharat ki aankh ke taare
le kar ghoda saath hamaare
hum Bharat ki aankh ke taare
le kar ghoda saath hamaare
hum toofaani teer chalaayen
hum bhi hain balwaan
hum toofaani teer chalaayen
hum bhi hain balwaan
hum bhi hain balwaan

toofaanon se kyun ghabraayen
apni naiyya aap chalaayen
toofaanon se kyun ghabraayen
apni naiyya aap chalaayen
jiske seene mein shakti hai
uska hai Bhagwaan
jiske seene mein shakti hai
uska hai Bhagwaan

uska hai Bhagwaan
hum Bharat ki santaan
hum Bharat ki santaan
aise chamke teer hamaare
jyon Arjun ke baan
aise chamke teer hamaare
jyon Arjun ke baan
jyon Arjun ke baan


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

Blog Day :

3914 Post No. : 14975 Movie Count :

4093

Missing Films of 1960s – 104
– – – – – – – – – – – – – – –

Yesterday, unbeknownst to myself, I crossed a personal milestone on the blog. I posted my 1300th article, and song. 🙂 The past few weeks, well, months – have been very slow as far as my activity on the blog is concerned. My last century milestone was – believe you me – full eleven months ago. I had crossed the the 1200th mark in May last year. And now it is April. The activity being so low, it did not even come to mind to check and see what my score was. And so, unmindful of it, I reached the 1300th post, and just posted the song.

Imagine my surprise when I saw a prompt message from Avinash ji, congratulating me for the milestone. I scrambled to check on the blog and my excel database. Yes, Avinash ji was right on the dot, and I had missed it. . . wo. . . So this discovery was followed by a brief exchange with Atul ji. We inserted the customary sentence in the banner of the post, announcing the milestone. I told Atul ji how I had missed it myself. His response came back – that yes, he was aware, and was waiting for a special post for the occasion. 😀 😀 And I am like – ye lo, aur phans gaye!!! Here I am, saving the grey cells and the idea energy for the 15K celebration post, and now I have to do one more special just before. Goodness. So I am going to give it a try, do not know what is going to be the outcome.  🙂

Generally, when I run out of ideas, then the easiest starting point I have found is to start dabbling in numbers. (I think Atul ji also does the same. . . 🙂 ). So here goes. Counting this post, our total tally on this blog is 14975. Of these, only 3948 are posts that are guest posts. This computes to ~ 26.4% of the total. The implication here is significant and evident. The remaining 73.6% is the handiwork of our fearless leader – a whopping eleven thousand twenty seven posts have been done by Atul ji. If I extend this analysis to the next logical step – we are at 3914th day of blog’s continued activity. Simple calculation shows that Atul ji has been posting on an average of 3.8 (well, nearly 4) posts on a daily basis, for the past 10 years, 8 months and 19 days – WITHOUT A BREAK. Compare that to the guest posting activity. Normalizing that over the entire stretch of 3914 days, the average guest post over this entire period is 1 (ONE) per day.

I will extrapolate that now, even one step further. Till date, 31 guest posters have been accounted for on our blog, with no. of individual posts ranging from 1 to 1300. Ah yes, I could get into a lot of statistics here trying to compute the normal deviation, the standard deviation, the medians and the percentiles. But I will not bore you with that grand analysis. I present another perspective to this division of effort across the team, which is abundantly spectacular, to say the least. Atul ji has been producing 4 times more posts single handedly in comparison to this platoon of 31 guest posters, ON A DAILY BASIS. Now what do you have to say to that? 🙂 And if you ask me what I have to say to that – this is what I have to say to that – if ever I get into a kabaddi tournament, I will simply desert the game, if Atul ji is in the opposing team. 😀 😀

We all put together are Lilliputians to Atul ji’s Lemuel Gulliver. I have exhausted my entire stock of headgear to doff at this fantastic accomplishment – a prolificacy unparalleled anywhere in the digital domains.

And so, after this analysis, अब मैं क्या कहूँ अपने तेरह सौ के बारे में। 😀 😀 Just this – अगर कबड्डी खेलेंगे तो अतुल जी, मैं आपकी टीम में ही रहूँगा। 😀 😀

But of course, the joy of the journey is massive, and continues undiminished. क्या क्या तो गाने मिल रहे हैं!! और क्या क्या पता चल रहा है कितने ही गुमनाम कलाकारों के बारे में!!

This journey is laden with discoveries so abundant – one is running out of nerve cell memories to keep all this information bounded within. The known and the famous aside, and the well heard and popular aside – the joy of discovering discovering jewels of the diamond quality; and if gold it is 24 carats pure, and if silver – well it is सौ फीसदी टंच (100% pure). Whatever measure you want to throw at it, this travelogue of the discovery of musical gems is the means and the end in itself, a blessed reward unto itself.

Take this song today. The film is ‘Beqasoor’ from 1969. And the mind wants to say – “अब क्या मिसाल दूँ मैं तुम्हारे शबाब की”. I heard this song for the first time today. As I was browsing through the list of remaining films of 1960s, I picked on this film. In the process to locate the songs of this film, I was able to track down two of them online – both Rafi Sb duets, one with Lata Mangeshkar and one with Suman Kalyanpur. Checking the Geet Kosh, I find four songs listed for this film. The remaining two are Asha Bhosle solos, and as far as I could try and track, I am not able to locate these Asha solo numbers anywhere online. So, delving back into my collection, I am immediately able to locate these songs. I play the first one, and immediate reaction is – this song comes online today.

A lilting racy rhythm, a very catchy arrangement of the instruments, and a very appealing construction – quite the handiwork of Dattaram. Words are from the pen of Farooq Qaiser. And the rendering by Asha ji, simply superb. Even in the absence of the video clip, it is easy to surmise that this would be a song of Helen type. As I check out the cast list for this film, I do not find Helen in it, but another name would possibly do justice to this type of a song. The list of actors is given as Dara Singh, Sanjana, Maruti, Ulhas, Shaam Kumar, Ratnamala, Dhanraj, V Gopal, Habeeb, Sadhana Khote, Dilip Dutt, Meenakshi, and Madhumati. Possibilities are more than one. But I would not hazard a guess. I would request the circle of readers and friends – if anyone has seen this film, please add more information about this song and the film itself.

Wonderfully superb discovery. Listen and enjoy.

Song – Naam Gulaabi Hai Mera  (Beqasoor) (1969) Singer – Asha Bhosle, Lyrics – Farooq Qaiser, MD – Dattaram
Chorus

Lyrics

naam gulaabi hai mera
pyaar sharaabi hai mera
naam gulaabi hai mera
o ho pyaar sharaabi hai mera
mere humdum
sambhal ke rehna. . .
(pu pudit eh he)
(eh he pu pudit)
mere humdum
sambhal ke rehna
(pu pudit)
ho
(eh he pu pudit)
ho
ho
ho naam gulaabi hai mera

la ra la la la laaa
(aaaaaaaa aaaaaaaaa)
ra la la la laaa
(aaaaaaaa aaaaaaaaa)
la la la la laaa
la la lalalalal laaa

aai hoon
aa haaaaaa
hhaa door se
aa haaaaaa
haa meri jaan saj ke
dekh le
aa haaaaaa
hhaa jaayega
aa haaaaaa
aaj kaun bach ke
tera dil kho jaaye
hey
mera tu ho jaaye
hey
tera dil kho jaaye
hey
mera tu ho jaaye
oo ho ho ho
ho..oo ho ho..oo..oo
naam gulaabi hai mera
pyaar sharaabi hai mera
o naam gulaabi hai mera
hoy pyaar sharaabi hai mera
mere humdum
sambhal ke rehna. . .
(pu pudit)
(eh he pu pudit)
mere humdum
sambhal ke rehna
(pu pudit)
ho
(eh he pu pudit)
ho
ho
ho naam gulaabi hai mera

ye nazar
aa haaaaaa
aa ha ye samaa
aa haaaaaa
aa ha keh raha jee le
pyaar ki
aa haaaaaa
aa ha pyaas hai
aa haaaaaa
mere saath pee le
na peena pyaalon se
hey
pilaaun aankhon se
hey
na peena pyaalon se
hey
pilaaun aankhon se
oo ho ho ho
ho..oo ho ho..oo..oo
naam gulaabi hai mera
pyaar sharaabi hai mera
naam gulaabi hai mera
o ho pyaar sharaabi hai mera
mere humdum
sambhal ke rehna. . .
(pu pudit)
ho
(eh he pu pudit)
ho
ho naam gulaabi hai mera

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

नाम गुलाबी है मेरा
प्यार शराबी है मेरा
नाम गुलाबी है मेरा
ओ प्यार शराबी है मेरा
मेरे हमदम
संभल के रहना॰ ॰ ॰
(पू पुडीट एह हे)
(एह हे पू पुडीट)
मेरे हमदम
संभल के रहना
(पू पुडीट)
हो
(एह हे पू पुडीट)
हो
हो
हो नाम गुलाबी है मेरा

ला रा ला ला ला ला॰॰आ
(आsssssss आsssssssss)
रा ला ला ला ला॰॰आ
(आsssssss आsssssssss)
ला ला ला ला ला॰॰आ
ला ला लालालालाल॰॰ला

आई हूँ
आ हा॰॰आ
हहा दूर से
आ हा॰॰आ
हाँ मेरी जान साज के
देख ले
आ हा॰॰आ
हहा जाएगा
आ हा॰॰आ
आज कौन बच के
तेरा दिल खो जाये
हे
मेरा तू हो जाये
हे
तेरा दिल खो जाये
हे
मेरा तू हो जाये
ओ हो हो हो
हो॰॰ओ हो हो॰॰ओ॰॰ओ
नाम गुलाबी है मेरा
प्यार शराबी है मेरा
ओ नाम गुलाबी है मेरा
होय प्यार शराबी है मेरा
मेरे हमदम
संभल के रहना॰ ॰ ॰
(पू पुडीट)
(एह हे पू पुडीट)
मेरे हमदम
संभल के रहना
(पू पुडीट)
हो
(एह हे पू पुडीट)
हो
हो
हो नाम गुलाबी है मेरा

ये नज़र
आ हा॰॰आ
आ हा ये समां
आ हा॰॰आ
आ हा कह रहा है जी ले
प्यार की
आ हा॰॰आ
आ हा प्यास है
आ हा॰॰आ
मेरे साथ पी ले
ना पीना प्यालों से
हे
पिलाऊँ आँखों से
हे
ना पीना प्यालों से
हे
पिलाऊँ आँखों से
ओ हो हो हो
हो॰॰ओ हो हो॰॰ओ॰॰ओ
नाम गुलाबी है मेरा
प्यार शराबी है मेरा
नाम गुलाबी है मेरा
ओ हो प्यार शराबी है मेरा
मेरे हमदम
संभल के रहना॰ ॰ ॰
(पू पुडीट)
हो
(एह हे पू पुडीट)
हो
हो नाम गुलाबी है मेरा


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 : 3893 Post No. : 14929

This article touches upon “blog ten year challenge (2009-2019)” but this article is not part of that series. It is not possible to post an article in this series Today (16 march 2019), because movies of all the songs (all six of them) that were covered ten years ago (on 16 march 2009) have already been YIPPEED by now. 🙂

This blog ten year challenge (2009-2019) was started to serve some purpose, though we were not fully clear about them.

Let me try and enumerate them one by one.

Revisit movies that have not been revisited for years
————————————————————————-
Songs and movies that we covered ten years ago and then forgot about those movies once again get our attention. Take “Sharaabi”(1984) for instance. It was as a result of this series that we realised that this movie, despite being introduced in the blog as far back as in 2009 had only three songs in the blog and that no songs from this movie were covered in the blog since 2012 !

The case of “Do Dishaayen”(1982) was specially remarkable. The movie had three songs in it. Two of these songs were covered on consecutive days on 2 and 3 february 2009 and then we forgot all about this movie. Thanks to this series, the third and final song from the movie got covered ten years after its debut in the blog and the movie got YIPPEED on 3 february 2019.

Likewise, movies like “Gomti Ke Kinaare”(1972) etc got fresh lease of life in the blog as a result of this series.

A fillip to YIPPEE project
——————————————
As a result of this series, we found that a few movies whose songs got covered became YIPPEED as well. For instance, when we covered this song from “Sitaaron Se Aage”(1958), this had the added advantage of this movie getting YIPPEED as well.In other case, after we covered a song from a movie, we realised that the movie had one or two songs left and so that movie came under our radar for YIPPYdom.

Bringing back memories
———————————————-
For some regulars (especially those born in 1960s), this series brought back memories of the past.

A better appreciation of the past
————————————————–
The blog has evolved over a period of more than ten years. It has changed a lot. The way songs and movies were chosen in the past has undergone a change with time, though all these changes are mostly inadvertent and largely unplanned. Only some other observers can notice any patterns in the song posts of the blog one decade ago.

Mr Sadanand Kamath, our inhouse HFM researcher, who posted an article in the series carried out some indepth research on the way songs were covered ten years ago. He observed that

during July 19, 2008 to December 31, 2008, an overwhelming number of songs covered were of the films released in the 1960s and 70s with few songs from the 1950s and 1980s. However, the representation of songs from the films released in the 1930s and 40s were negligible. For instance, out of 475 songs covered during the period under reference, only 5 songs pertained to the films released in the 1940s – that too the late 1940s. Not a single songs of films released in the 1930s were covered during the period under reference.

These trends were, however, on the expected lines for two reasons. First, Atul ji, considering his age profile at the time of starting of the Blog, has virtually grown up in the midst of popular songs of the films of 1960s and 70s. Obviously, as a ‘start-up venture’ of his Blog, he would have been influenced by such songs. Secondly, and most importantly, even if he intended to cover the songs of the 1930s and 40s, I doubt whether these songs were available in good numbers on the video sharing platforms in 2008. Youtube was set up in 2005 as a video sharing platform. A random browsing of videos on YT gives me an impression that videos of Hindi film songs were uploaded in good numbers only from 2007 onward and the videos of old film songs (1930s and 40s) were getting uploaded mainly from 2009 onward.

The song under discussion is not a “ten year challenge” song, but this song appears here today as a result of this exercise. Another song from this movie “Raja Jani”(1972) was part of the “ten year challenge” post on 5 march 2019. That post triggered all kinds of nostalgic feelings among regulars. This movie “Raja Jani”(1972) had made its debut on the 22nd day of the blog on 9 august 2008 and it was the 22nd post in the blog. By the time the second post from this movie appeared on 5 april 2009, the blog was more than one thousand songs old. The third song from the movie came after a gap of 5800 songs in 4 november 2012. After that there was a big gap of over six years during which this movie was all but forgotten.

It was on 5 march 2019 that the fourth song from “Raja Jani”(1972) was covered as a part of “blog ten year challenge”. It was then that we realised that the movie was another two songs short of being YIPPEED.

One of these two missing songs has subsequently been covered in the blog.

Here are the details of the songs from the movie that have been covered so far:-

Song Title

Post No.

Post Date

Kitna mazaa aa raha hai 22 9-Aug-2008
ABCD chhodo naino se naina jodo 1038 5-Mar-2009
Jaani O Jaani 6948 4-Nov-2012
Aa aa jaa aa jaa kuchh keh jaa kuchh sun jaa 14908 5-Mar-2019
Mubaarak ho tujhe ae dil 14925 14-Mar-2019

Mr Pratap, senior to most of us had watched this movie when it was released. Here is what he has to say about this movie:

I saw the movie when it was released and remember that I enjoyed it mainly due to the songs.

As far as I recall, the story was a standard formula one, Hema Malini is a lost princess, raised by Nadira and earns her living through dances and acrobatics. Dharmendra is the lovable rogue who notices the similarity of Hema with the description of the lost princess in the posters/newspaper ads and thinks up a scheme of passing her off as the princess and get the promised reward. Durga Khote is the grandmother Rajmata who is literally dying for the lost girl. She gladly accepts Hema and soon announces her engagement to the evil Prime Minister Premnath’s still more evil son Prem Chopra. Hema is heartbroken when she learns that Darmendra was using her as a pawn to get the reward and she accepts. Not very original, so you know the rest of the story.

Here is the sixth and final song from “Raja Jani”(1972) to appear in the blog. The song is chronologically the first song of the movie. It is sung by Lata. Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal.

One can watch the picturisation and guess what is going on, in the light of the movie synopsis provided earlier.

In this blog, we first cover a song and then regulars post comment about that song. The song is “special” because this song has received comments about it even before it has been posted. These comments were posted in the penultimate song post of course. For instance, Peevesie’s mom commented that

A song that I love, specially “shanno naam uska” line.
I used to substitute shanno with my name. 😉

With this song, all the songs of “Raja Jani” (1972) have been covered and the movie joins the list of movies that have been YIPPIED in the blog.


Song-Duniya ka mela mele mein ladki (Raja Jaani)(1972) Singer-Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

duniya ka mela
mele mein ladki
ladki akeli shanno naam uska
duniya ka mela
mele mein ladki
ladki akeli shanno naam uska
gaal uske gulaabi
chaal uski sharaabi
o baabu o laala sabko salaam uska
duniya ka mela
mele mein ladki
ladki akeli shanno naam uska

tauba o meri tauba
karte hain sab ishaare
tauba o meri tauba
kiski taraf vo dekhe
aashiq hai uske saare
kiski taraf vo dekhe
o o o
sabki aankho me baske
sabko dekhe vo has ke
sabka dil bahlaana jo thahra kaam uska
duniya ka mela
mele mein ladki
ladki akeli shanno naam uska

kahte hain log uski
jaadu bhari hai baaten
kahte hain log uski
aankhon mein har kisi ki
katne lagi hai raaten
aankhon mein har kisi ki
o o o
neend uski udaaye
chain uska churaye
aaj kal shahar mein hai charcha aam uska
duniya ka mela
mele mein ladki
ladki akeli shanno naam uska

dekho to ek tamaasha
ye khoob ban gaya hai
dekho to ek tamaasha
har ek us haseen ka
mahboob ban gaya hai
har ek us haseen ka
o o o
koi aankhen bichaaye
naaz koi uthaaye
jaise har ik deewaana hai
ghulaam uska
duniya ka mela
mele mein ladki
ladki akeli shanno naam uska
gaal uske gulaabi
chaal uski sharaabi
o baabu o laala sabko salaam uska
duniya ka mela
mele mein ladki
ladki akeli shanno naam uska


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 :

3823 Post No. : 14825 Movie Count :

4054

Today’s song is from film Manthan-76. This was one of the films, which was very close to my heart. I must have seen it at least 3 times-an honour which I bestowed on only few films. Everything about this film was good-Story, Director, Actors and above all the only song in the film, sung so beautifully by Preeti Sagar.

This film was based on the work of Dr. Verghese Kurien, the person who helped the White Revolution to bloom in India. This film is close to my heart, because I have met Dr Kurien twice in my professional career. While working as the Head of the Veterinary Division of Glaxo, for the Western India, I had two occasions when I personally met Dr. Kurien in his office at Anand. That was somewhere in 1981.

I reduced seeing films in the 70’s beginning, for two reasons. One I was busy in Career building and family raising. The second reason was, the complexion of the films made from the 70s onwards were mostly ‘ Boy Meets Girl ‘ type escapist films.The films had sweet looking Heroines and Chocolate Heroes. There was no difference in film stories- only change of names and locations. Directors like Nasir Hussain publically admitted to having made films on same stories with minor changes. Such escapist films ended my interest in them In addition, the type of music in films was not of my choice or liking.

just imagine. a Chocolate Hero- Rajesh Khanna-emerged on the success horizon with film Aaradhana-69 and created an all time record( still unbroken) of 15 consecutive solo Hit films from just 1969 to 1971 ! The public too wanted to only the goody-goody films. Of course, there were exceptions but only exceptions, mind you, in Hindi films.
During this period, films called ” Parallel Cinema” or ” New Wave Cinema” or just the ” Art Films” flourished and provided relief to people like me. Some of these were blatant Art films, but most were entertaining and tackled day to day issues of the common people.

Parallel cinema was a film movement in Indian cinema that originated in the state of West Bengal in the 1950s as an alternative to the mainstream commercial Indian cinema, represented especially by popular Hindi cinema, known today as Bollywood.

Inspired by Italian Neo realism, Parallel Cinema began just before the French New Wave and Japanese New Wave, and was a precursor to the Indian New Wave of the 1960s. The movement was initially led by Bengali cinema and produced internationally acclaimed filmmakers such as Satyajit Ray, Mrinal Sen, Ritwik Ghatak, Tapan Sinha and others. It later gained prominence in other film industries of India and Bangladesh.

It is known for its serious content, realism and naturalism, symbolic elements with a keen eye on the sociopolitical climate of the times, and for the rejection of inserted dance-and-song routines that are typical of mainstream Indian films.

Realism in Indian cinema dates back to the 1920s and 1930s. One of the earliest examples was Baburao Painter’s 1925 silent film classic Savkari Pash (Indian Shylock), about a poor peasant (portrayed by V. Shantaram) who “loses his land to a greedy moneylender and is forced to migrate to the city to become a mill worker. Acclaimed as a realistic breakthrough, its shot of a howling dog near a hut, has become a milestone in the march of Indian cinema.” The 1937 Shantaram film Duniya Na Mane (The Unaccepted) also critiqued the treatment of women in Indian society.

The Parallel Cinema movement began to take shape from the late 1940s to the 1965, by pioneers. This period is considered part of the ‘Golden Age’ of Indian cinema. This cinema borrowed heavily from the Indian literature of the times.

Early examples of Indian cinema’s social realist movement include Dharti Ke Lal (1946), a film about the Bengal famine of 1943 directed and written by Khwaja Ahmad Abbas, and Neecha Nagar (1946), a film directed by Chetan Anand and written by Khwaja Ahmad Abbas that won the Grand Prize at the first Cannes Film Festival. Since then, Indian independent films were frequently in competition for the Palme d’Or at the Cannes Film Festival throughout the 1950s and early 1960s, with some of them winning major prizes at the festival.

During the 1950s and the 1960s, intellectual filmmakers and story writers became frustrated with musical films. To counter this, they created a genre of films which depicted reality from an artful perspective. Most films made during this period were funded by state governments to promote an authentic art genre from the Indian film fraternity. The most famous Indian “neo-realist” was the Bengali film director Satyajit Ray. Ray’s most famous films were Pather Panchali (1955), Aparajito (1956) and The World of Apu (1959), which formed The Apu Trilogy. Produced on a shoestring budget of Rs. 150,000 , the three films won major prizes at the Cannes, Berlin and Venice Film Festivals, and are today frequently listed among the greatest films of all time.

Certain art films have also garnered commercial success, in an industry known for its surrealism or ‘fantastical’ movies, and successfully combined features of both art and commercial cinema. An early example of this was Bimal Roy’s Do Bigha Zamin (1953), which was both a commercial and critical success. The film won the International Prize at the 1954 Cannes Film Festival and paved the way for the Indian New Wave. Hrishikesh Mukherjee, one of Hindi cinema’s most successful filmmakers, was named the pioneer of ‘middle cinema’, and was renowned for making films that reflected the changing middle-class ethos. Renowned Filmmaker Basu Chatterjee also built his plots on middle-class lives and directed films like Piya Ka Ghar, Rajnigandha and Ek Ruka Hua Faisla. Another filmmaker to integrate art and commercial cinema was Guru Dutt, whose film Pyaasa (1957) featured in Time magazine’s “All-TIME” 100 best movies list.

In the 1960s, the Indian government began financing independent art films based on Indian themes. Many of the directors were graduates of the Film and Television Institute of India(FTII), in Pune. The Bengali film director Ritwik Ghatak was a professor at the institute and a well-known director. Unlike Ray, however, Ghatak did not gain international fame during his lifetime. For example, Ghatak’s Nagarik (1952) was perhaps the earliest example of a Bengali art film, preceding Ray’s Pather Panchali by three years, but was not released until after his death in 1977. His first commercial release Ajantrik (1958) was also one of the earliest films to portray an inanimate object, in this case an automobile, as a character in the story, many years before the Herbie films.

During the 1970s and the 1980s, parallel cinema entered into the limelight of Hindi cinema to a much wider extent. This was led by such directors as Gulzar, Shyam Benegal, Mani Kaul, Rajinder Singh Bedi, Kantilal Rathod and Saeed Akhtar Mirza, and later on directors like Govind Nihalani, becoming the main directors of this period’s Indian art cinema. Mani Kaul’s first several films Uski Roti (1971), Ashadh Ka Ek Din (1972), Duvidha (1974), were critically appreciated. Parallel cinema of this time gave careers to a whole new breed of young actors, including Shabana Azmi, Smita Patil, Amol Palekar, Om Puri, Naseeruddin Shah, Kulbhushan Kharbanda, Pankaj Kapoor, Deepti Naval, Farooq Shaikh, and even actors from commercial cinema like Hema Malini, Raakhee, Rekha ventured into art cinema.

These actors did not have an easy entry even in Parallel cinema. Basu Chatterji once narrated how Amol palekar’s entry met with opposition.” I was to make ” Piya ka ghar”-72 for Rajeshree prodn. I took Rajkumar Barjatya to watch Amol in drama ” Aadhey Adhurey”, but Raj was not willing to gamble with an actor, who was the very antithesis of a ‘ Star ‘. He took Anil Dhavan for that film. After ‘ Rajnigandha ‘ became a hit, the same Rajkumar Barjatya wanted only Amol for his next film ” Chitchor”-76. ”

By the early 1990s, the rising costs involved in film production and the commercialisation of the films had a negative impact on the art films. The fact that investment returns cannot be guaranteed made art films less popular amongst filmmakers. Underworld financing, political and economic turmoil, television, and piracy proved to be fatal threat to parallel cinema, as it declined.

One of the major reasons for the decline of the parallel cinema in India is that the F.F.C. or the National Film Development Corporation of India did not seriously look into the distribution or exhibition of these films. The mainstream exhibition system did not pick up these films because these films did not have the so-called ‘entertainment value’ that they were looking for. Thus, it left to a few Film Societies to screen these film; that too on a single screening basis. The advent of television and its popularity saw the film society movement decline. Gradually, the government reduced the patronage of such films, for they had only unseen films to be shown on their balance sheets.
Manthan ( Churning) is a 1976 Hindi film directed by Shyam Benegal, inspired by the pioneering milk cooperative movement of Verghese Kurien, and was written jointly by him and Vijay Tendulkar. It is set amidst the backdrop of the White Revolution of India. Aside from the great measurable success that this project was, it also demonstrated the power of “collective might” as it was jointly crowd funded by 500,000 farmers who donated Rs. 2 each, when it was found that the budget provided by NFDC for it, was insufficient.
The film won the 1977 National Film Award for Best Feature Film in Hindi and National Film Award for Best Screenplay for Vijay Tendulkar, and was also India’s submission for the Academy Award for Best Foreign Language Film for 1976.

The title song (“Mero Gaam Katha parey”) was sung by Preeti Sagar. She won the Filmfare Award for Best Female Playback Singer for that year. The song was later used as the soundtrack for the television commercial for Amul.

The word Manthan literally means “churning”, and other meanings may be deep contemplation, churning of facts, analysis aimed at a solution or conclusion. The film traces a small set of poor farmers of Kheda district in Gujarat who had the vision and foresight to act in a way that was good for the society and not for the self alone. Under leaders like local social worker Tribhovandas Patel, who took up the cause of the farmers, lead to the formation of Kaira District Co-operative Milk Producers’ Union. Soon the pattern was repeated in each district of Gujarat, which in turn led to the formation of Amul, a dairy cooperative in Anand, Gujarat in 1946, which is today, jointly owned by some 2.6 million milk producers in Gujarat, India.

Eventually, this led to the initiation of White Revolution of India in 1970, by creating a “Nationwide Milk Grid”, and the setting up of Gujarat Co-operative Milk Marketing Federation Ltd. (GCMMF) in 1973, whose 500,000 members jointly financed the film, by donating Rs. 2 each, when NFDC budget for this film as sanctioned was found to be insufficient. Upon its release, truckloads of farmers came to see “their” film, thus making it a box office success.

Trivia- From 1946 to 2012, till his death, Kurien was in Gujarat, but he could never speak Gujarati. Though a Christian, he was cremated in Nadiad, where he breathed his last, as per his last wish.

The Music Director for this film was Vanraj Bhatia, a very highly educated Music expert. Born in 1927 in Bombay, Vanraj Bhatia trained in Western classical music while studying at the Elphinstone College in Mumbai for M.A. (English Honours); after graduating in 1949 he left for the Royal Academy of Music, London, to study music composition, which he passed with a Royal Academy Gold Medal in 1954.

Thereafter he entered the Paris Conservatory between 1954 and 1959. During his studies abroad he received various scholarships.

In 1960, he started his career as Reader in Musicology in charge of Western Music, at the Faculty of Music Delhi University, where he stayed until 1965.

Meanwhile, in 1959, he created his first advertising jingle for Shakti Silk Sarees. From that point on he became one of the pioneering ad jingle makers in India, and also one of the most successful, later moving to Mumbai and working for the advertising industry. In all he has created over 7000 scores for advertising jingles, corporate and business films.

His first film as a music composer was Ankur (1974), and he soon became a regular composer for Shyam Benegal and other art film makers of the time. He gave music to 23 films,composing 78 songs. His most noted works in this period are Manthan (1976), Bhumika (1977), Junoon (1978), 36 Chowringhee Lane (1981), Trikal (1985) and Mandi (1983) and Jaane Bhi Do Yaaro (1983).

He has also created music for Indian theatre productions such as “Tughlak” and “Andha Yug”.

In the following decade, his work was heard constantly on Indian television with the title scores for TV series like Khandaan, Yatra, Lifeline, Discovery of India, Wagle Ki Duniya, and the made-for-TV film Tamas (1987), for which he received the National Film Award for Best Music Direction in 1988.

In the 1990s, he worked in many commercial Hindi films as well as providing background scores for many other films, working on over 40 films during his career. His most noted works were for Shyam Benegal’s film Sardari Begum in 1996 and for Vijay Singh’s international film Jaya Ganga.

He is the composer of the famous Liril soap jingle “La… Lalala.la..”

The story of film Manthan-76, adapted from Wikipedia is …

The film traces the origins of the movement through its fictionalised narrative, based around rural empowerment, when a young veterinary surgeon, played by Girish Karnad, a character based on the then National Dairy Development Board (NDDB) chief, the 33-year-old Verghese Kurien, who joined hands with local social worker, Tribhovandas Patel, which led to the setting up of a local milk cooperative, in Anand, Gujarat.

Dr. Rao (Girish Karnad), a young veterinary doctor with his team of Deshmukh (Mohan Agashe), Chandravarkar (Anant Nag) and others comes to a village in Kheda district, Gujarat. The village is inhabited by poor people whose chief occupation seems to be cattle-rearing and producing milk, which they sell to a local dairy owner Mishra Ji (Amrish Puri). Mishra Ji pays them ridiculously low amounts for their milk. Dr. Rao and his team have arrived with the purpose of setting up a co-operative society dairy which will be owned collectively and managed by the villagers themselves. As Dr. Rao and his team grapple with village politics, rigid casteism and general distrust of the village folk, they face planned hostility from the local Harijan community’s leader Bhola (Naseeruddin Shah) who harbours deep anger and resentment against the higher caste Panchayat Head (Kulbhushan Kharbanda). Local village women are led by a feisty young woman Bindu (Smita Patil), mother of a young child whose husband has supposedly left her.

Dr. Rao wins the trust of Bindu and other villagers by testing their milk and paying them fair amounts for their high fat-content milk and this irks Mishra Ji. Deshmukh is worried by the caste politics and divide between the higher castes and Harijans in the village and repeatedly warns Rao against getting involved in it. Chandravarkar gets attracted to a local Harijan girl and has a few rendezvous with her in secret. The Harijans don’t want to join the co-operative as they feel that the higher caste Panch and his cronies will usurp the society as well. Rao and his associates talk sense into them and organise for an election for the post of the head of the co-operative. Bhola begins to trust and believe in Rao’s ideals when Rao fires Chandravarkar for having fun with the Harijan girl on pretext of marrying her and bails Bhola out of jail when Panch gets him arrested for rowdy behaviour.

Meanwhile, a mutual admiration and liking develops between Rao and Bindu, which is cut short when Bindu’s husband returns home suddenly and Rao’s wife comes to visit him in the village. In the election, the Harijan representative Moti defeats the Panch in a tiebreaker and the Harijans erupt in joy. The Panch takes the loss terribly on his ego and joins Mishra Ji, also aided by Bindu’s husband. Together, they force Bindu to put her thumb impression on legal papers that claim Dr. Rao has raped her. Dr. Rao is extremely agitated when the allegations are brought against him and starts to wonder whether or not he has bitten off more than he can chew. His wife also falls sick with Typhoid. Dr. Rao finishes the setting up of the board and leaves with his wife. This greatly troubles Bhola as he considers this cowardice on Dr. Rao’s part. Bhola, however, continues to carry on the work of the co-operative with support from a few villagers and notably, Bindu. Both of them have been inspired and churned as new, brave individuals by the work of Dr. Rao.

With this song, the film makes a Debut on the Blog and since there was only one song in the film, all songs in the film also completed.The song is the Title song of the film, used many times in the film as background song. It is based on a Folk song of Gujarat. The song is enchanting and once heard it keeps on coming back again and again. See for yourself…..

(Ack- information from Gaata rahe mera dil by Aniruddha and Balaji, wiki and The Hindu is used in adapted form here.)


Song- Mero gaam kaatha paarey (Manthan)(1976) Singer- Preeti Saagar, Lyricist- Neeti Saagar, MD- Vanraj Bhatia

Lyrics

mero gaam kaatha paare
jyaan doodh ki nadiya waahe
jyaan koyal tahuko gaaye
mhaare ghar aangna na bhoolo na
hey mhaare ghar aangna na bhoolo na
mero gaam kaatha paare
jyaan doodh ki nadiya waahe
jyaan koyal tahuko gaaye
mhaare ghar aangna na bhoolo na
hey mhaare ghar aangna na bhoolo na

mhaare gaamde leelalaher
jyaan naache mor ne dhel
jyaan doodh ki relamchhel
jyaan vad pipal ni chhainyaa
suh ti charti gaiya
aao aao re ae ae
aao aao re mhaare gaam
sabko pyaaro mhaaro dhaam
yaad rakhiyo mero shyaam
mare ghar aangna na bhulo na
hey mhaare ghar angana na bhoolo na
kabhi rukna mhaare gaam
o pardesiya
o pardesiya
o pardesiya
o pardesiya


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 :

3803 Post No. : 14796 Movie Count :

4046

Sometimes, suddenly and unexpectedly, Lady Luck smiles on you and you are so bewildered, you don’t know how to enjoy that moment of Luck. This happened in my case. I have been writing about songs in old time movies and discussing about the people who made that film, that song and the circumstances in which the movie was made etc.

Sometimes,I come across a film, about which nothing-absolutely nothing- is available. No information, no songs, nothing. This is the dead end. But like a true crusader, I continue my efforts about that film, even when, leaving it aside, I have continued with my work. At times, I strike Gold, when it is not expected and I feel like dancing in the rain !

It is not only about a song or a movie, even an actor can get me stumped and then suddenly, there is light at the end of the tunnel ! I can quote several such examples, but I will limit my discussion only about today’s film, song and the MD.

I bought HFGK in mid 2012, that is six years ago and since then film Chowrangee-42 was on my radar. I was very curious about this film, because this was the only Hindi film in which the Great Poet of Bangladesh- Kazi Nazrul Islam, had composed some songs ( 2 songs, confirmed) as a Music Director and also had written those two songs as a Lyricist.

Kazi Nazrul Islam is to Bangladesh, what Rabindranath Tagore is to West Bengal. While, to my knowledge, Tagore never wrote any Naat or a Muslim religious verse, kazi wrote hundreds of Bhajans and Geets on Lord Rama and Krishna. Though many films- Bangla and Hindi- are based on the stories or novels of Tagore, he has not contributed anything directly to any Hindi film ( I do not know about Bangla films). On the other hand Kazi has written story of film Sapera-39 and provided Lyrics and Music to film Chowrangee-42 directly. Like Tagore’s Rabindra Sangeet, it was Nazrul Geeti in Bengal. I am not comparing them. Both were great souls.

The life story of Kazi is full of ups and downs. His last few years were spent in Glory but in very bad health.There were several deaths in his family. His wife became paralytic and he spent time in a Mental Hospital in Ranchi. After the formation of Bangladesh in 1971, the new country, invited him, bestowed honours on him, declaring him ” The National Poet”. The Bangladesh government also took good care of him in his last 4 years, but he was medically unfit to enjoy his glory.

Kazi Nazrul Islam (24 May 1899 – 29 August 1976) Composer and songwriter was born in Burdwan Dist., Bengal. With Tagore he was the major influence on popular Bengali music in the 20th C. Known as the Bidrohi Kavi or Rebel Poet and directly associated with radical nationalist movements (e.g. through the journal Dhoomketu which he edited in 1922, leading to his imprisonment on a charge of sedition), his poetry constitutes the first radical intervention into Hindu and Muslim devotional music, e.g. his famous addresses to the goddess Kali, his ghazal compilations (Chokher Chatak, 1929) and Islamic devotionals (Zulfikar, 1932). Much of his music, continued by the IPTA’s Bengali song repertoire, was polemically seen as a radical-romantic use of the ‘ tradition’ (e.g. Salil Choudhury, 1955). One of the first composer-writers to sign contracts with major record companies in Bengal (for Megaphone and Senola and later HMV) and with the Indian Broadcasting Corp., opening up new employment opportunities to a generation of younger composers such as Anil Biswas, S.D. Burman, Kamal Dasgupta and even Kishore Kumar (whose song Ai ek dui tran char gili gili/bam chick boob chick badhke bol in Kehte Hain Mujhko Raja, 1975, adapts Islam’s famous Cham chiki ude gelo). Created an urban variation of tribal jhumur music for Sailajananda Mukherjee’s Pataal Puri and wrote the songs for Nandini (1941) and Dikshul (1943). Some sources credit him as director for Dhruva, in which he played the Hindu sage Narad. Started Bengal Tiger Pics with Abbasuddin Ahmed. Their film of Islam’s novel Madina remained unfinished.

A significant impact of Nazrul’s work in Bengal was that it made Bengali Muslims more comfortable with the Bengali arts, which used to be dominated by
Bengali Hindus. His Islamic songs are popular during Ramadan in Bangladesh. He also wrote devotional songs on the Hindu Goddess Kali. Nazrul also composed a number of notable Shyamasangeet, Bhajan and Kirtan, combining Hindu devotional music.

Bengali polymath, poet, writer, musician, revolutionary and philosopher. Popularly known as Nazrul, his poetry and music espoused Indo-Islamic renaissance and intense spiritual rebellion against fascism and oppression. Nazrul’s impassioned activism for political and social justice earned him the title Bidrohi Kobi (The Rebel Poet). His musical compositions form the avant-garde genre of Nazrul geeti (Music of Nazrul). Accomplishing a large body of acclaimed works through his life, Nazrul is officially recognised as the National Poet of Bangladesh and highly commemorated in India and the Muslim world.
Born into a Bengali Muslim Quazi (Kazi) family, Nazrul received religious education and worked as a muezzin at a local mosque. He learned of poetry, drama, and literature while working with theatrical groups. After serving in the British Indian Army, Nazrul established himself as a journalist in Calcutta. He assailed the British Raj in India and preached revolution through his poetic works, such as Bidrohi (The Rebel) and Bhangar Gaan (The Song of Destruction), as well as his publication Dhumketu (The Comet). His nationalist activism in the Indian independence movement often led to his imprisonment by British authorities. While in prison, Nazrul wrote the Rajbandir Jabanbandi (Deposition of a Political Prisoner). Exploring the life and conditions of the downtrodden masses of the Indian subcontinent, Nazrul worked for their emancipation. His poetry and music fiercely inspired Bengalis during the Bangladesh Liberation War.
During his visit to Comilla in 1921, Nazrul met a young Bengali Hindu woman, Pramila Devi, with whom he fell in love, and they married on 25 April 1924. Brahmo Samaj criticised Pramila, a member of the Brahmo Samaj, for marrying a Muslim. Muslim religious leaders criticized Nazrul for his marriage to a Hindu woman.

Nazrul’s writings explore themes such as love, freedom, and revolution; he opposed all bigotry, including religious and gender. Throughout his career, Nazrul wrote short stories, novels, and essays but is best known for his poems, in which he pioneered new forms such as Bengali ghazals. Nazrul wrote and composed music for his nearly 4,000 songs (including gramophone records), collectively known as Nazrul geeti (Songs of Nazrul), which are widely popular today. In 1942 at the age of 43 Nazrul himself fell ill and gradually began losing his power of speech. His behaviour became erratic, he started spending recklessly and fell into financial difficulties. In spite of her own illness, his wife constantly cared for her husband. However, Nazrul’s health had seriously deteriorated and he grew increasingly depressed. He underwent medical treatment under homeopathy as well as Ayurveda, but little progress was achieved before mental dysfunction intensified and he was admitted to a mental asylum in 1942. Spending four months there without making progress, Nazrul and his family began living a quiet life in India. In 1952, he was transferred to a psychiatric hospital in Ranchi. Through the efforts of a large group of admirers who called themselves the “Nazrul Treatment Society”, Nazrul and Promila were sent to London, then to Vienna for treatment. The examining doctors said he had received poor care, and Dr. Hans Hoff, a leading neurosurgeon in Vienna, diagnosed that Nazrul was suffering from Pick’s disease.It was rumoured that this was because of slow poisoning by the British Government. His condition was judged to be incurable, Nazrul returned to Calcutta on 15 December 1953. On 30 June 1962 his wife Pramila died, and Nazrul remained in intensive medical care. He stopped working due to his deteriorating health.

On 24 May 1972, the newly independent nation of Bangladesh brought Nazrul to live in Dhaka with the consent of the Government of India. In January 1976, he was accorded the citizenship of Bangladesh.Despite receiving treatment and attention, Nazrul’s physical and mental health did not improve. In 1974. his youngest son, Kazi Aniruddha, a guitarist, died, and Nazrul soon succumbed to his long-standing ailments on 29 August 1976.

His Filmography – 1937: Bidyapati (Writer), 1938: Gora, 1939: Sapurey (Writer), Sapurey/Sapera (Writer), 1942: Chauranghee, Chauranghee, 1949-Chattagram Astraghar Lunthan, 1972: Padi Pishir Barmi Baksha (Lyricist) ( information adapted from Encyclopedia of Indian Cinema and wiki).

I was ecstatic when recently, I could lay my hands on one song of this film, composed and written by Kazi. These songs are so rare that for the last 76 years none of these songs have ever appeared on public domain, like YT etc.
Film Chowrangee-42 was a Muslim social film on a professional singer’s life, who had a Kotha on Chowrangee area of Calcutta. The film was produced by Fazli brothers, known to make films on Muslim background only. The film was directed by the younger brother- Sibtain Fazli.

The producers Fazli brothers, were the sons of Khan Bahadur S M Fazal Rabb of Beharaich- about 125 kms from Lucknow in U.P. The elder brother was Hasnain and the younger brother was Sibtain ( born on 9-7-1916). Hasnain Fazli was born on 12-1-1912 in United Province (today’s U.P.). Their family belonged to the noble Sayyads of Allahabad. Hasnain was a graduate of Allahabad University. Though his father was a Khan Bahadur, a Government Jahagirdar and lifetime Magistrate, Hasnain refused to do any service and did not complete his I.C.S. studies, as expected by the family.

He had a creative mind. He joined film line. He was very keen on making a film on Muslim Society. In those days it was considered outrageous to produce a film on Muslim society for fear of the ire of the fundamentalists. However Hasnain broke the barrier and the first Muslim Social film Qaidi-40 was produced and directed by him under the banner of Film Corporation of India, Calcutta. Very cleverly, the film was made at Calcutta, ( though the film depicted life in Lucknow ), and not at Bombay to avoid any disruption in the making of the film. The film was made so well that it was received very well by all strata of population, including the Muslims and became a hit film. After this Hasnain made more Muslim social films like Masoom-41, Chowranghee-42, Fashion-43 and Ismat-44. These films discussed Muslim family life and problems etc.

His first directorial film was at his 23rd year- Triya Charitra-35. Then came Sajiv Murti-35, in which the Handsome Vijay Kumar from Himachal Pradesh was the Hero. Fazli brothers also made Dil-46, Mehendi-47, Duniya-49 and Khoobsurat-52. Hasnain was so talented that he himself wrote the film stories, screenplays and dialogues usually. Sibtain Fazli directed 3 films-Chowranghee-42, Ismat-44 and Mehendi-47.

After the Partition, Fazli brothers migrated to Pakistan. Sibtain remained in Pakistan and Hasnain returned to India to make 2 more films. Later Hasnain too relocated to Lahore and died there on 16-7-1957. His brother Sibtain ( 9-7-1916 to 25-7-1985) who had directed 3 films in India, made 4 films in Pakistan, including the most popular Urdu film of Madam Nurjehan – Dupatta-52.

Film Chowrangee had 13 songs. It included 3 wonderful Ghazals- 2 by Jigar Moradabadi and 1 by Mirza Ghalib ( I have heard these songs). It will be the first time that a song from this film-in its full form- will be available on You Tube, because our Sadanand ji Kamath has uploaded it on my request. Thanks Sadanand ji.

Hanuman Prasad Sharma ( aka Hanuman Prasad Triloki. Both are same. Triloki and Sharma are surnames in Brahmins. This is like the other case. The son of Bhagatram Batish, of Husnlal-Bhagatram duo, Ashok, calls himself as Ashok Sharma.) was also a Music Director for this film. With this film he made his debut in Hindi films. Unfortunately, except for 4 songs-2 for each MD- HFGK is silent on the singer or MD’s names of remaining 9 songs, making it difficult to know the reality. However, according to Encyclopedia of Indian Cinema, the Lori, ” aa jaa ri nindiya ” is also composed by Kazi. May be, in future, some proof or information will emerge to confirm or clarify matters !

There were as many as 5 Lyricists for these 13 songs- Kazi Nazrul Islam, Arzoo lucknowi, Mirza Ghalib, Jigar Moradabadi and Partav Lucknowi. With this song , not only the movie, but also Kazi Nazrul Islam makes his Debut on the Blog as an MD and a Lyricist. Enjoy this historical song….


Song-Chowranghee hai ye chowranghee (Chowrangee)(1942) Singer-Unknown female, Lyrics- Kazi Nazrul Islam, MD- Kazi Nazrul Islam

Lyrics

Chowranghee hai ye chowranghee
Chowranghee hai ye chowranghee
iski duniya rang birangee
iski duniya rang birangee
Chowranghee hai ye chowranghee

gore kaale aawen jaawen
gore kaale aawen jaawen
apni apni chhab dikhlaawen
apni apni chhab dikhlaawen
ye dagar mein sab sansaar aar aar
ye dagar mein sab sansaar aar aar
iski duniya rang birangee
iski duniya rang birangee
Chowranghee hai ye chowranghee

kitne aawe raaja baabu
kitne aawe raaja baabu
kitne hamse bechaare
kitne apne dil ke bande
kitne prem pujaari ee ee
kitne prem pujaari
koi kisi ko raah lagaaye
koi aakar khud kho jaaye
koi kisi ko raah lagaaye
koi aakar khud kho jaaye
seedha rasta peer hazaar
seedha rasta peer hazaar
iski duniya rang birangee
iski duniya rang birangee
Chowranghee hai ye chowranghee
Chowranghee hai ye chowranghee
Chowranghee hai ye chowranghee


This article is written by Peevesie’s mom, 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 : 3795 Post No. : 14783

Hullo, hi, pranaam. Good day to all of Atuldom.

Today (8 december 2018) we have a handsome man turning a year older. He has crossed 80 a few years ago but that has not reduced his charisma or charm or fan-following. He is still active on the silver-screen, even if only in home productions, and has his sons as his co-stars.

He has had a rather loooonnnngggg journey having started in 1960. He was the son of a village school headmaster in Ludhiana of Punjab. His mother was the one who supported him in fulfilling his dream of being an actor (he has mentioned this in various interviews of his). He was bitten by the acting bug after seeing Dilip Kumar on-screen. To pursue his dream, he entered the Filmfare New Talent Contest and won it. He was launched by Arjun Hingorani in “Dil Bhi Tera Hum Bhi Tere” in 1960. From then on, he has been entertaining us.

Dharmendra – the he-man with a soft heart. I have read in numerous of his interviews and heard him on television too that his home is always open to anyone who needs his help. The first time I registered this actor or fell in love with him was probably in “Guddi” along with Jaya Bhadhuri (she was also shown to be a Dharmendra fan) or was it in “Seeta aur Geeta”. Or it could be that I saw “Sholay” fell in love with Veeru and then subsequently saw “Guddi” and “Seeta aur Geeta” on Doordarshan and realized who Raka or Dharmendra (he played himself in Guddi) the actor was.

After “Sholay” I have seen many of his movies, even those where he stood next to a bookshelf and sang – “ya dil ki suno duniyawalon ya mujhko abhi chup rehne do” or stood looking out of a window with the “Meghdhoot” in had singing – “tum pukarlo, tumhara intezaar hai”. Loved him even with his heavy lip-sticked- makeup singing “aap ki haseen rukh pe aaj naya noor hai”.

How can anyone forget his pairing with Meena Kumari, Asha Parekh, Waheeda Rehman, Nutan, Vyjayanthimala, Sadhana, Saira Bano, Mumtaz, Babita and all the other ladies of the 60s. He is a lucky guy as he got to romance all the leading ladies of the 70s & 80s. He was sensible enough in not trying to play a romantic lead in the 90s and the few movies where he had heroines it was either Jaya Prada or Sridevi. In the other movies he played a mentor or guardian to the hero or heroine as in “Dadagiri” {1987} he mentors Padmini Kolhapure and helps her in her mission to take revenge against Amrish Puri.

Similarly, in the 1988 “Paap ko jalakar raakh kar doonga” he is shown his to keep his emotions under control in front of his niece played by Farha after her husband is killed by ‘goondas’ and quietly trying to take revenge against the people responsible of the havoc caused in his ‘hasta khelta’ niece’s life. He is an actor who held his ground during the Rajesh Khanna and Amitabh Bachchan wave.

There are many movies starring Dharmendra and we have covered all his popular ones. Atleast that is what I expected. But I am proved wrong there are many more out there which makes it a difficult job to decide what song to present here. I am taking the easy way out and posting the song which is topmost on my head. It is by the Kishore Kumar- Anand Bakshi- R D Burman trio, from the 1978 Pramod Chakravarty produced and directed “Azaad” which was decently successful at the box office.

It was a typical masala movie where Hema Malini played a rich-spoilt- haughty princess and Dharam an eccentric do-gooder (Ashok) who first has his run-ins with the Rajkumari, teaches her to respect food, the poor etc and finally lands up in a factory owned by her. The movie goes through the routine of the princess trying to humiliate Ashok, then falling in love with him and the evil villains trying every trick to bring the movie to the climax.

Today’s song happens when Hema is in the haughty phase and Dharam wants to protect all of the jungle creatures if possible. The song shows our darling Dharam in his trade mark style of being rough and tough (junglee to an extent) and Prem Chopra to be a little stupid. But this is the perfect song to show who or what we experienced when we saw Dharmendra on screen in the late 70s and early 80s.

Wishing you a very Happy Birthday dear Veeru or Garam Dharam alias Dharmendra.


Song-Main Laila ka Majnu Shirin ka Farhaad (Aazaad)(1978) Singer-Kishore Kumar, Lyrics-Anand Bakshi, MD-R D Burman

Lyrics

O hoooo
o hoooooo

main laila ka majnu
shireen ka farhaad
main hoon sabse pehle
arre sab hain mere baad
main aazaad
main aazaad
main laila ka majnu
shireen ka farhaad
main hoon sabse pahle
arre sab hain mere baad
main aazaad
main aazaad

Ooooo
Ooooo

pehle bano nishaana
phir tum teer chalaana
thhaam ke apne dil ko phir tum saamne aana
arre pehle bano nishaana
phir tum teer chalaana
thhaam ke apne dil ko phir tum saamne aana
tum jaise dekhe hain
maine bade saiyyaad
main laila ka majnu
shireen ka farhaad
main aazaad
main aazaad

mujhse bachke rehna
baat bigad jaayegi
saari raat kasam se tumko
neend nahin aayegi
arre mujhse bachke rehna
baat bigad jaayegi
saari raat kasam se tumko
neend nahin aayegi
bhool na paaogi tum
main aaunga yaad
main laila ka majnu
shireen ka farhaad
main aazaad
main aazaad

inn aankhon ke raste
dil mein bas jaaoonga
tum naagin toh main sapera
tumko das jaaoonga
arre inn aankhon ke raste
dil mein bas jaaoonga
tum naagin to main sapera
tumko das jaaoonga
ab karti ho gussa
phir karna fariyaad
main laila ka majnu
shireen ka farhaad
main aazaad


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 : 3742 Post No. : 14697

“Raja Rani” (1942) was directed by Najmul Hasan Naqvi for Atre Pictures, Bombay. The movie had Vanmala, Sunalini Devi, Maya Devi, Trilok Kapoor, Baby Vimal, Mazhar Khan, Navin Yagnik, David, Bal Govind etc in it.

The movie had fourteen songs in it. One song has been covered in the past.

Here is the second song from “Raja Rani” (1942) to appear in the blog. This song is sung by Baby Vimal. Seeing that Baby Vimal figures in the cast of the movie, we can guess that the song was picturised on her as well.

Pandit Anand Kumar is the lyricist. Music is composed by Khan Mastana.


Song-Main ek niraali gudiya (Raja Rani)(1942) Singer-Baby Vimal, Lyrics-Pt Anand Kumar, MD-Khan Mastana

Lyrics

main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya
mere nanhe nanhe paanv
mere nanhe nanhe paanv
pair mein jhaanjar jhanjhana baaje
pair mein jhaanjar jhanjhana baaje
mere chhote chhote kaan
mere chhote chhote kaan
kaanon mein baali cham cham chamke
kaanon mein baali cham cham chamke
jaise gagan ke taare
haan haan jaise gagan ke taare
main ek niraali
ek niraali
ek niraali
haan haan haan
main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya

chhamchham chhamchham paayal baaje
chaacha ke ghar jaaun
chhamchham chhamchham paayal baaje
chaaha ke ghar jaaun
meethhe meethhe geet sunaakar
chaachi ko bahlaaun
meethhe meethhe geet sunaakar
chaachi ko bahlaaun
main ek niraali
ek niraali
ek niraali
haan haan haan
mai ek niraali
ek niraali
ek niraali
haan haan haan
main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya

kunj kunj mein chhup chhup jaaun
kheloon aankh michauli
boondaniyon ke taal pe naachoon
boloon prem ki boli

main ek niraali
ek niraali
ek niraali
haan haan haan
main ek niraali
ek niraali
ek niraali
haan haan haan
main ek niraali gudiya
main ek niraali gudiya
main ek niraali gudiya


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 : 3713 Post No. : 14641

Today (17 september 2018) is the 19th rememberance day of Hasrat Jaipuri (15 April 1922 – 17 September 1999). Hasrat Jaipuri (and also Shailendra and Shankar Jaikishan) made his debut with “Barsaat”(1949). What a sensational debut it was for this musical team. This team of lyricists and music director lasted for nearly two decades and the team was broken, first by the death of Shailendra and then by the death of Jaikishan. Also, Raj Kapoor, after the box office failure of “Mera Naam Joker”(1970) dropped his entire music team and signed up an entirely new team, beginning with “Bobby”(1973).

Hasrat Jaipuri’s best work was indeed with Shankar Jaikishan. Two of his songs, both composed by Shankar Jaikishan, won him filmfare best lyricist award for “Bahaaron phool barsaao”(Suraj)(1966) and “Zindagi ek safar hai suhaana”(Andaaz)(1971).

Most of Hasrat Jaipuri’s major songs have already been covered in the blog. He penned a little over 1000 songs in HFM. This blog has 645 of his songs so far.

As a tribute to Hasrat Jaipuri, here is a song from “Sher Dil”(1965). This movie was directed by Chaand for Pinky Films, Bombay. This “Costume” movie had Dara Singh, Parveen Chaudhary, Jayant, Padma Chauhan, Uma Dutt, Shakeela Bano Bhopali, Bhagwan, Hari Malik, Sunanda, Majnu, Ridku, Nazeer Kashmiri, Amir Ali etc in it.

This song, the title song of the movie, is the second song from the movie to appear in the blog. The song is sung by Manna Dey and chorus. Hasrat Jaipuri is the lyricist. Music is composed by C Ramchandra.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.


Song-Main hoon sherdil (Sher Dil)(1965) Singer-Manna Dey, Lyrics-Hasrat Jaipuri, MD-C Ramchandra
Chorus

Lyrics

main hoon sher dil
main hoon sher dil
main hoon sher dil
main hoon sher dil
chaand se bhi door
mere pyaar ki manzil
main hoon sher dil
main hoon sher dil
aa hahahaahahaha
aa ha ha
lalalalala
lalalala
main hoon sher dil
main hoon sher dil

main watan ka pyaar hoon
pyaar ki bahaar hoon
dushmanon ke waaste
teer hoon talwaar hoon
gham ki nadiyon mein hoon
aas ka saahil
main hoon sher dil
main hoon sher dil
aa hahahaahaha
aa ha ha
lalalalalala
lalalala
main hoon sher dil
main hoon sher dil

aasra gareeb ka
hoon dhani naseeb ka
aasra gareeb ka
hoon dhani naseeb ka

khaaq mein milaaun main
hausla raqeeb ka
aaye mere saamne
koi bhi qaatil
main hoon sher dil
main hoon sher dil
aa hahahaahaha
aa ha ha
lalalalala
lalalala
main hoon sher dil
main hoon sher dil

aman ka sipaahi hoon
pyaar ka main raahi hoon
zaalimon ke waaste
zulm hoon tabaahi hoon
dharam hai insaaniyat
pyaar ka bismil
main hoon sher dil
main hoon sher dil
aa hahahaha
aahahaha
lalalalalaala
main hoon sher dil
main hoon sher dil
main hoon sher dil
main hoon sher dil


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 : 3622 Post No. : 14434

“Malika Salomi”(1953) was directed by Mohammad Hussain for Comedy Pictures, Bombay. This movie was a costume drama. It had Roopa Varman, Krish Kumari, Kamran, Amrit, Dara, Sheikh, Rani, Arvind Kumar, Bilali, Nazeer Kashmiri, Rafiq, Shafi, Nanda, Sattar, Shetty, Ranjana Shukla, Kamal Mohan, Helen etc in it.

The movie had six songs in it. Krishn Dayal and Iqbal were the two music directors and the six songs were equally divided between the two.

One song has been covered in the past.

Here is the second song from “Malika Salomi”(1953) to appear in the blog. The song is sung by Meena Kapoor. Farooque Kaiser is the lyricist. Music is composed by Iqbal.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Main matwaali naagan hoon (Malika Salomi)(1953) Singer-Meena Kapoor, Lyrics-Farooque Kaiser, MD-Iqbal

Lyrics

aa
aa aa aa
aa aa aa
aa aa aa
aa aa
aa

main matwaali naagan hoon
main matwaali naagan
main matwaali
main matwaali naagan hoon
main matwaali naagan

zehar ke badle amrit tapke ae ae ae ae
zehar ke badle amrit tapke
mere raseele honthon se ae ae ae
mere raseele honthon se
chhal chhal chhal chhal jeevan chhalke ae
chhal chhal chhal chhal jeevan chhalke
mere mad bhare nainon se
mere mad bhare nainon se
kaali zulfen aen
kaali zulfen jab lehraayen
naache jahaan ka tan man
naache jahaan ka tan man
main matwaali
main matwali naagan hoon
main matwaali naagan

sun ke kisi ke man ki veena aa aa aa aa
sun ke kisi ke man ki veena
preet meri lehraaye ae ae ae
preet meri lehraaye
darti hoon ke aashaaon ki ee ee
darti hoon ke aashaaon ki
laaj chali na jaaye
haaye laaj chali na jaaye
koi bataaye ae ae
koi bataaye
kaise chhupaaun
apne jiya ki dhadkan
apne jiya ki dhadkan
main matwaali
main matwaali naagan hoon
main matwaali naagan

aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa


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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 15200 song posts by now.

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

Total number of songs posts discussed

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Movies with all their songs covered =1180
Total Number of movies covered =4209

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