Archive for the ‘Jagjit Singh solo’ Category
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5651 | Post No. : | 18146 | Movie Count : |
4871 |
In the aftermath of Kargil War of 1999, some Hindi films have been made on this subject, mostly as war films like ‘LOC Kargil’ (2001) and ‘Lakshya’ (2004). In the recent period, ‘Gunjan Saxena’ – The Kargil Girl’ (2020) and ‘Shershaah’ (2021) were also made on the subject. I was not aware that ‘Dhoop’ (2003) was also related to Kargil War of 1999. When I watched the film, I became aware that this film was based on a true story of Captain Anuj Nayyar, MVC who laid down his life while capturing Point 4875 in the Tiger Hill sector in Kargil War. He was posthumously awarded Maha Veer Chakra and his family was granted franchise for operating a petrol pump.
While other films on Kargil War are mostly events from the war front, ‘Dhoop’ (2003) begins the story after the Kargil War ends. The film is about how martyr’s parents faced massive bureaucratic red tapes and corruption at various levels, apart from humiliation to get the petrol pump operational which was allotted to them by the Government of India. However, after a gap of more than 2 years, with the intervention of the Prime Minister, the petrol pump became operational.
I had heard that our bureaucratic systems and the level of corruption do not leave even the dead bodies. After watching the heart-touching film, ‘Dhoop’ (2003), I was ashamed they did not leave even the Kargil war martyrs. I googled on this subject and read some related articles one among which was an article appearing on Outlook India. The article revealed that bureaucratic apathy and corruption faced by war martyrs was wide spread. I quote below the part of the article relevant in the case of Captain Anuj Nayyar:
Prime Minister Vajpayee started his Independence Day speech from Red Fort by paying his respects to those who had laid down their lives for the nation. This year, however, the celebrations were slightly different. Prof S.K. Nayyar, Captain Anuj Nayyar’s father, went up to the PM and said: “I gave my son to the country in its war against Pakistan but now I am fighting a war against your bureaucracy.” This is how families of most of Kargil’s martyrs feel now – betrayed and let down.
Two years ago, the Vajpayee government, still flush with victory, had offered petrol pumps and gas agencies to all such families. Now, Prof Nayyar, proud to be a Mahavir Chakra awardee’s father, risks becoming a mere statistic tucked away in government files. So have all the others. Of the 446 families that applied for retail outlets for either petrol pumps or LPG agencies, only 308 letters of intent have been issued, and of these only 113 are operational.
The bureaucracy – be it in the office of the DCP Licensing, the water department or the electricity department—has spared no family, it seems. Prof Nayyar’s application for an NOC gathered dust in the DCP Licencing’s office and all pleas came to nought till he wrote to home minister L.K. Advani. He had to, for petrol being an ‘explosive’ item, a NOC is the first step in the many to follow before the pump becomes a reality. Nayyar got his NOC within two hours of Advani reading his letter, but as he says: “How are wives of jawans living in remote villages ever going to access the home minister and why do we need to approach the highest authority for something that the government itself promised us?”
When the Government allotted the petrol pump franchise to Captain Anuj Nayyar’s father, as a part of the compensation, his wife was not interested in accepting it as she felt that loss of her son cannot be compensated. His father also said that they do not need petrol pump for a living as both of them earns enough to sustain. It was only after the persuasion by Captain Anuj Nayyar’s boss, a Major in his regiment to accept it as part of perpetuating the memory of their martyr-son, they accepted the allotment. With this acceptance, the parents’ nightmare started as pointed out in the article referred to above. After the petrol pump became operational, Professor S K Nayyar, Captain Anuj Nayyar’s father aptly named the petrol pump as ‘Kargil Height Filling Station’. After his retirement from Delhi School of Economics, he started looking after the ‘Kargil Height’ which is located in Vasundhara Enclave in Delhi. After his death in October 2014, his wife, Meena Nayyar is looking after ‘Kargil Height’. The income from the petrol pump goes to a trust which grants financial assitance to the childrens of poor family for education and other needs.
‘Dhoop’ (2003) was directed by Ashwini Chaudhary. The cast included Om Puri, Revathi, Sanjay Suri (special appearance), Gul Panag (debutant), Gopi Desai, Yashpal Sharma, Virendra Saxena, Murli Sharma, Preeti Dayal, Ehsaan Khan, Rohitashva Gaur, Ashutosh Jha etc. This low budget film got a limited theatrical release on November 7, 2003, without marketing and fanfare.
The idea of making this film came to Ashwini Chaudhary when he watched a TV interview of Professor S K Nayyar, the father of Captain Anuj Nayyar in which he described his long-drawn struggle to make the petrol pump allotted to him to become operational. Ashwini Chaudhary was moved by his tale. He met Professor S K Nayyar in Delhi and told him that he wanted to make a film on his long journey of struggle to get the petrol pump operational. Initially, he discouraged him by saying that not many would watch a film with a story of an old couple. But realising that Ashwini Chaudhary was emotionally affected by what he saw during his TV interview, Professor S K Nayyar agreed. Ashwini Chaudhary says that the three persons who greatly contributed with their inputs were Professor S K Nayyar, Om Puri and Jagjit Singh. (Source: Times Entertainment, July 26, 2020).
In the film, ‘Dhoop’ (2003), the names of Captain Anuj Nayyar, his parents and his fiancée have been changed. The events in their lives are depicted in the film more or less the same with a few additions for dramatisation. The gist of the story of the film is as under:
Suresh Kapoor (Om Puri) is the professor of economics in Delhi School of Economics. His wife, Sarita Kapoor (Revathi) works as a Librarian in University of Delhi. They have a son, Captain Rohit Kapoor (Sanjay Suri) who is posted in the war zone of Kargil sector. One day, Professor Suresh Kapoor receives a telephone from the Army Head Quarters that his son has laid down his life while capturing an important peak in Kargil Sector. His parents are devasted. So is his fiancée, Peehu Verma (Gul Panag) who were to get married in a couple of months.
Captain Rohit Kapoor is awarded Maha Veer Chakra. Professor Suresh Kapoor gets a letter from Army Head Quarters that they have been offered a petrol pump in the memory of their son which can also be a source of living for them. But Sarita Kapoor does not want to accept the offer. Professor Suresh Kapoor also feels that both of them are earning enough to sustain their lives. Major Kaul, who was the head of the Jaat Battalion to which Captain Rohit Kapoor was attached, persuades Kapoors to accept the offer to perpetuate the memory of their son. Peehu Verma seconds the suggestion. Professor Kapoor accepts the offer.
Little did Professor Kapoor and his wife know of the nightmare they would go through for nearly two years from the date of the allotment of petrol pump. When they approach various Government departments and local authorities for land allotment, water supply, electric supply, obtaining NOCs from police, fire brigade and under Explosive Act, he finds that no paper would move unless the concerned officials are bribed. And when he refuses to pay bribes, they are humiliated. For these officials, the war time is their peak season for earning money as more the martyrs more the money for them. It is only when Sarita Kapoor gets threatened by some hooligans because of the upright stand taken by her husband, Professor Kapoor decides to give up the offer of petrol pump. At that moment, Peehu Verma, comes with a good news that Prime Minister has given them an appointment for 5 minutes and it is right now.
Professor Suresh Kapoor, his wife and Peehu Verma meets the Prime Minister in his chambers and submit a file containing his two years of his journey of struggles with the various Government departments and other bodies. The next day, the newspapers carry reports of the suspension of those officials who were creating obstacles for Professor Kapoor. He gets land allotted, water and electricity connections and NOCs from the required authorities. The petrol pump becomes operational with the name ‘Kargil Heights’. Professor Kapoor sets up a trust to channel income from petrol pump for children’s education of poor families.
This is one of those rare melodramatic films which is heart-touching. Despite slow pace of story, especially in the first half, I did not get bored mainly because of the intense high-quality performances of Om Puri and Revathi in the role of parents of the martyr. The debutant Gul Panag also the supporting performance. The story in the second half of the film becomes more interesting as it is in this part that melodrama ends, and Om Puri’s journey starts to get his petrol pump operationalised during which he faces obstacles at every stage. Some of the dialogues are hard-hitting. The best part of the film is that it emotionally connects to the audience. The only drawback of the film, if I may say so, is that there are 8 songs in the film most of which, I felt, did not add to the progress of the story. In my view, only 2-3 songs would have been right numbers with one each song at the beginning and the end of the films which are the tone setting songs of the film.
The film failed at the box office mainly because it was meant for audience who like to watch sensible films. I feel that the makers of this film were aware that the film may not be a success in terms of box office collections. Hence, they did not spend money for marketing of the film.
‘Dhoop’ (2003) had 8 songs written by Nida Fazli which were set to music by Lalit Sen. I am presenting the first song, a ghazal from the film, ‘har ek ghar mein diyaa bhi jale anaaj bhi ho’ to appear on the Blog. The song is rendered by Jagjit Singh using Nida Fazli’s one of the published ghazals. The original ghazal has two more couplets.
The soft and melancholic singing of Jagjit Singh with flute rendition by Ronu Majumdar camouflage Nida Fazli’s hard-hitting ghazal. The sum and substance of the ghazal is that every household must have light and food to eat (‘diya jale’ and ‘anaaj’ are symbolic of prosperity in the household). If these are not there, people should be ready to protest (ehtijaaj). The poet further says that changing the ruler is not impossible (muhaal). It is the need to have a society that can change the ruler. How long one can keep the better days in the imprisonment of assurances for tomorrow? Why not today? The last couplet is symbolic of what Om Puri in the film had gone through. Instead of spending about 2 years, running from pillar to post, that time could have been productively utilised for other works if the authorities had done their work promptly.
This ghazal is very relatable to the story of the film.
Video Clip:
Audio Clip:
Song-Har ek ghar mein diya bhi jaley anaaj bhi ho (Dhoop)(2003) Singer-Jagjit Singh, Lyrics-Nida Fazli, MD-Lalit Sen
Lyrics (based on audio clip):
ae ae ???????
har ek ghar mein diyaa bhi jaley anaaj bhi ho
har ek ghar mein diyaa bhi jaley anaaj bhi ho
agar na ho kahin aisaa to ehtjaaj bhi ho
agar na ho kahin aisaa to ehtjaaj bhi ho
har ek ghar mein diyaa bhi jaley anaaj bhi ho
hukoomaton ko badalnaa to kuchh muhaal nahin
hukoomaton ko badalnaa to kuchh muhaal nahin
hukoomaten jo badaltaa hai wo samaaj bhi ho
hukoomaten jo badaltaa hai wo samaaj bhi ho
agar na ho kahin aisaa to ehtjaaj bhi ho
agar na ho kahin aisaa to ehtjaaj bhi ho
har ek ghar mein diyaa bhi jaley anaaj bhi ho
rahegi kab talak waadon mein qaid khushhaali
rahegi kab talak waadon mein qaid khushhaali
har ek baar hi kal kyun kabhi to aaj bhi ho
agar na ho kahin aisaa to ehtjaaj bhi ho
har ek ghar mein diyaa bhi jaley anaaj bhi ho
na karte shor sharaabaa to aur kyaa karte
na karte shor sharaabaa to aur kyaa karte
tumhaare shahar mein kuchh aur kaam-kaaj bhi ho
tumhaare shahar mein kuchh aur kaam-kaaj bhi ho
har ek ghar mein diyaa bhi jaley anaaj bhi ho
agar na ho kahin aisaa to ehtjaaj bhi ho
Khumaari chadh ke utar gayi
Posted on: March 9, 2023
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5347 | Post No. : | 17535 |
Today (9 march 2023) early morning, the first WhatsApp message I read in my family group was about producer-director-writer-actor Satish Kaushik who breath his last on the way to a hospital in Delhi early morning following a heart attack. His funeral is likely to take place in Mumbai later in the day. Next month, he would have completed 67 years, an age when many actors have rediscovered themselves in film industries. I felt very sorry that one of the few genial faces of the Hindi film industry and an actor who regaled us through his unique style of acting and dialogue delivery was no more with us. For now, only his films will keep his memory live.
Satish Kaushik (13/04/1956 – 09/03/2023) belonged to Haryana and was trained at the National School of Drama (NSD), Delhi. He followed it with the Film and Television Institute of India (FTII). I have observed through photographs that Satish Kaushik was very close to his alumni from NSD like Anupam Kher, Pankaj Kapoor, Sudhir Mishra, Neena Gupta etc.
Off hand, I think I had watched him for the first time on the screen in ‘Jaane Bhi Do Yaaron’ (1983). Later, I watched him in ‘Maasoom’ (1983), ‘Mr India’ (1987) and some more films. I have also seen some films of him with Govinda which I have enjoyed in their joint performances due to his great timing of dialogues. Probably, I watched him for the last time on OTT platform in ‘Tehzeeb’ (2003). Besides the films, I have watched him in some episodes of TV serials like ‘Ye Jo Hai Zindagi’, and ‘Katha Sagar’. He must have acted in more than 100 films in his lifetime. Whether films or TV serials, he made his presence felt to the audience.
Satish Kaushik also directed about 15 Hindi film beginning with ‘Roop Ki Rani Choron Ka Raja’ (1993) and produced about 6 films. He was also active in Hindi theatre.
As a tribute to the departed soul, I am presenting a song from his film, Umar’ (2006) which is picturised on him as a background song. The song is ‘Khumari chadh ke utar gayi’ which is rendered by Jagjit Singh. The song is written by Shaily Shailendra and is set to music by Shamir Tandon.
Audio Clip:
Video Clip:
Song-Khumaari chadh ke utar gayi (Umar)(2006) Singer-Jagjit Singh, Lyrics-Shaily Shailendra, MD-Shamir Tandon
Lyrics (based on Audio Clip)
khumaari chadh ke utar gayi
zindagi yoon hi guzar gayi
khumaari chadh ke utar gayi
zindagi yoon hi guzar gayi
kabhi sote sote kabhi jaagte
khwaabon ke peechhe youn hi bhaagte
apni to saari umar gayi
apni to saari umar gayi
khumari chadh ke utar gayi
zindagi yoon hi guzar gayi
rangeen bahaaron ki khwaahish rahi
haath magar kuchh aaya nahin
rangeen bahaaron ki khwaahish rahi
haath magar kuchh aaya nahin
kehne ko apne thhe saathhi kayi
saathh kisi ne nibhaaya nahin
koi bhi hamsafar nahin
koi bhi hamsafar nahin
kho gayi har dagar kahin
kabhi sote sote kabhi jaagte
khwaabon ke peechhe yoon hi bhaagte
apni to saari umar gayi
apni to saari umar gayi
khumaari chadh ke utar gayi
zindagi yoon hi guzar gayi
logon ko aksar dekha hai
ghar ke liye rote huye
logon ko aksar dekha hai
ghar ke liye rote huye
ham to magar beghar hi rahe
gharwaalon ke hote huye
gharwaalon ke hote huye
aaya apna nazar nahin
aaya apna nazar nahin
apni jahaan tak nazar gayi
kabhi sote sote kabhi jaagte
khwaabon ke peechhe yoon hi bhaagte
apni to saari umar gayi
apni to saari umar gayi
khumaari chadh ke utar gayi
zindagi youn hi guzar gayi
pehle to ham sun lete thhe
shor mein bhi shehnaaiyaan
pehle to ham sun lete thhe
shor mein bhi shehnaaiyaan
ab to hamko lagti hai
bheed mein bhi tanhaaiyaan
jeene ki hasrat kidhar gayi
jeene ki hasrat kidhar gayi
dil ki kali bikhar gayi
kabhi sote sote kabhi jaagte
khwaabon ke peechhe yoon hi bhaagte
apni to saari umar gayi
apni toh saari umar gayi
khumaari chadh ke utar gayi
zindagi yoon hi guzar gayi
hmm hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm hmm
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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4510 | Post No. : | 16055 | Movie Count : |
4388 |
‘Vadh’ (2002) seems to have become an obscure film by now. Even though the film belongs to 21st century when the marketing through mass media has been the order of the day to promote the film, I do not recall having seen any such marketing blitzes for this film.
On-line searches revealed that it was a low budget film belonging to the genre of ‘suspense murder mystery’. A box office report suggests that the film was a ‘disaster’ as it earned about 50 per cent of the cost of production of the film. I guess, the absence of a well-conceived marketing of the film may have resulted in the prospective film audience not well-informed about the film. Otherwise, why should a film with Nana Patekar should get such a lukewarm reception at the box office? Probably, the low budget did not allow the makers of the film to indulge in high marketing blitzes.
‘Vadh’ (2002) was a maiden venture of Dilip Dhanwani who was in the film distribution business based in Mumbai. The star cast consisted of Nana Patekar, Anupama Verma, Puru Rajkumar, Meghna Kothari, Nakul Vaid, Sambhawana Seth, Arun Bakshi, Raju Mewani, Sweta Menon etc. The film was directed by N.S.R – the abbreviation for Nana Patekar, Rajesh Singh and Raj Bharath, respectively. Raj Bharath was entrusted with directing the film. However, due to alleged interferences by Nana Patekar, he left the film after which the Rajesh Singh was entrusted with the film’s direction. He also left the film on the same ground. Probably, producer thought it better to entrust the direction to Nana Patekar if he wants his film to be completed without any further delay.
The credit title of the film mentions that ‘it is a film by Nana Patekar for Dilip Dhanwani’. This shows as to how much Nana Patekar was involved in making of this film. This alone made me interested in watching the film, the DVD of which was available on one of the video sharing platforms. I watched this film in a single sitting as I found the film engrossing. The build-up of suspense till the last was superb. I could not guess as to who could be the murderer of three victims in the film which was attributed to a serial psychopath killer.
The gist of the story of the film is as under:
Dr, Arjun Singh (Nana Patekar) is a Psychiatrist who is attached to a mental hospital. He has a late marriage with Jyoti Singh (Anupama Verma) who is much younger than him. Dr. Arjun is very protective about his pregnant wife and loves her. His younger brother Vijay (Nakul Vaid) is a police inspector attached to Crime Branch who is in love with Meghna Kothari, the daughter of the Police Commissioner (Arun Bakshi).
In the mental hospital, there is a serial psychopath killer who has been kept in solitary confinement due to his violent behaviour. One day, the serial killer runs away from the hospital by breaking open the grilled door of his room. In this process, he kills three guards of the mental hospital by slicing the throats with ‘X’ slicing marks on the faces of the victims. This is his trade-mark killings. The police forces are looking out for the serial killer as this has created a panic among the residence.
Aryan (Puru Rajkumar) is a childhood friend of Dr. Arjun who is rich and a charming playboy. He spends much of his time in revelry and visits bars and clubs. He prefers casual relations with his girl-friends including the married ones and has no intention of marrying any of them. Dr. Arjun’s wife, Jyoti is also involved with extra marital relation with Aryan.
Soon after the running away of serial killer, one of the girl friends of Aryan is found murdered in her house. While the Crime Branch and Dr. Arjun think that the murder is a handywork of the serial killer with his trade-mark style of killing, Inspector Vijay has a doubt on Aryan as his visiting card is found in his murdered girl-friend’s house. After few days, another girl-friend of Aryan is found murdered in the same style which come to the light when Aryan visits her house. The presence of Aryan in the house makes Vijay confident that it is Aryan who has killed his girl friends in the same style as that of the serial killer so as to wood-wink the police in thinking that it is the work of the serial killer. Inspector Vijay arrests Aryan but due to lack of evidence against him, Aryan gets bail.
In the meanwhile, both Dr Arjun and his wife Jyoti are under threat from the serial killer. as they find ‘X’ mark in blood has been put on faces in their photo-frame. As a precautionary measure, Police Commissioner shifts them to a more secured place with a Commando attached to their new residence. Inspector Vijay ensures that he is present in the house when his brother, Dr. Arjun is on hospital duties.
Despite the security, one day, Jyoti finds that their personal Commando has been murdered in the same fashion as those killed by the serial killer. She gets the panic attack thinking that she and her husband would be the next target of the serial killers. A police team headed by the Police Commissioner visit to scene of the crime. To his horror, Inspector Vijay finds that his brother, Dr Arjun’s dead body is floating in a swimming pool with Jyoti murdered in her room with the same trade mark killing style as that of the serial killer.
The film ends with Police Commissioner taking a vow that he would not leave that mad serial killer and he would find him.
At the outset, the end of the film appears tame. This is because, I have not revealed the suspense part of the film just in case those who had not watched the film and are interested in doing so. The murder mystery has been solved as far as the film’s audience is concerned but for the police in the film, the case of the serial murders is yet to be solved.
The USP of the film is that the director has been successful in keeping the suspense in the film till the last. In fact, he has build-up the suspense as the film story progresses. However, this USP was not sufficient to make the film successful at the box office.
This film belongs to Nana Patekar from start to finish. There is no long and high-pitched dialogues for him as we are used to see him doing so in most of his films. He has a normal dialogue delivery and a restrained performance. Anupama Verma has done a conventional role of a house-wife which she has performed better than what she has been performing in her pop song videos. The suspense effects of the film have been well supported by the background music of Sanjay Chaudhary.
The weakness of the film is that it is too long for a suspense thriller. The film could have been easily condensed within the duration of say, 1 hour 45 minutes instead of 2 hours and 10 minutes to make it sleek for viewers. For example, there was not need to have two club songs of about 5 minutes durations just to support the playboy image of Puru Rajkumar. Such type of songs become distraction in a film which is trying to build-up the suspense. Probably, these two songs were included as a part of box office attractions. But the way these songs were conceived and presented, it would not have been a surprise if even front-benchers had taken a break by walking out of the theatre hall when these two songs were shown on the screen.
I also felt that there was no need for a romantic sub-plot of Inspector Vijay (Nakul Vaid) and his fiancée, Meghana Kothari. In fact, the role of Meghna Kothari is redundant in the film. On top of it, the pair have one song of about 5 minutes duration which appears to be forced upon the film.
And lastly, I missed the presence of N A Ansari type of a character in the film which would have added some aura around him, enhancing the suspense to the murder mystery.
‘Vadh’ (2002) has 6 songs, a high number for a suspense thriller. Except one, none of the song has pleased my ears. I am presenting the only song out of six which I liked and the song is ‘bahut khubsoorat hai aankhen tumhaari’ rendered by Jagjit Singh. The song is written by Nida Fazli which is set to music by Vishal-Shekhar. The song is picturised on Nana Patekar and Anupama Verma.
With this song, ‘Vadh’ (2002) makes its debut in the Blog.
Video Clip:
Audio Clip:
Song-Bahut khoobsoorat hain aankhen tumhaari (Vadh)(2002) Singer-Jagjit Singh, Lyrics-Nida Faazli, MD-Vishal Shekhar
Nana Patekar
Lyrics
hmm hmm hmm hmm
hmm hmm hmm hmm
bahut khubsoorat hain
aankhen tumhaari
bahut khubsoorat hain
aankhen tumhaari
agar ho inaayat
ae jaan-e-mohabbat
bana deejiye inko
kismat hamaari
bahut khubsoorat hain
aankhen tumhaari
tum in aankhon se duniya ko dekhti ho
aur main zindagi ko
jo sab se juda hai
wo andaaz ho tum
chhupa thha jo dil mein ae
wohi raaz ho tum
jo sab se juda hai ae
wo andaaz ho tum
chhupa thha jo dil mein ae
wohi raaz ho tum
tumhaari nazaakat a a
bani jab se chaahat
sukoon ban gayi hai
har ek bekaraari
bahut khubsoorat hain
aankhen tumhaari
na thhe jab talak tum
hamaari nazar mein
na thha chaand shab mein ae
na sooraj sahar mein
na the jab talak tum
hamaari nazar mein
na thha chaand shab mein ae
na sooraj sahar mein
tumhaari ijaajat
tumhaari hukoomat
ye saara gagan hai ae
ye dharti hai saari
bahut khubsoorat hain
aankhen tumhaari
bahut khubsoorat hain
aankhen tumhaari
agar ho inaayat
ae jaan-e-mohabbat
bana deejiye ae inko
kismat hamaari
bahut khubsoorat hain
aankhen tumhaari
bahut khubsoorat hain
aankhen tumhaari
bahut khubsoorat hain
aankhen tumhaari
Kehta hai baabul o meri bitiya
Posted on: October 11, 2019
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4102 | Post No. : | 15252 | Movie Count : |
4190 |
The Dadasaheb Phalke Award is India’s highest award in cinema. It is presented annually at the National Film Awards ceremony by the Directorate of Film Festivals, an organisation set up by the Ministry of Information and Broadcasting. The recipient is honoured for their “outstanding contribution to the growth and development of Indian cinema” and is selected by a committee consisting of eminent personalities from the Indian film industry. The award comprises a Swarna Kamal (Golden Lotus) medallion, a shawl, and a cash prize of ?1,000,000 (US$14,000). Presented first in 1969, the award was introduced by the Government of India to commemorate Dadasaheb Phalke’s contribution to Indian cinema. Phalke (1870–1944), who is popularly known as and often regarded as “the father of Indian cinema”, was an Indian filmmaker who directed India’s first full-length feature film, Raja Harishchandra.
The first recipient of the award was actress Devika Rani, who was honoured at the 17th National Film Awards held in 1969. As of 2017, there have been 49 awardees. Among those, actor Prithviraj Kapoor (1971) and actor Vinod Khanna (2017) are the only posthumous recipients. Raj Kapoor accepted the award on behalf of his father Prithviraj Kapoor at the 19th National Film Awards in 1971 and was himself a recipient in 1987 at the 35th National Film Awards ceremony. Bommireddy Narasimha Reddy (1974) and Bommireddy Nagi Reddy (1986); Raj Kapoor (1987) and Shashi Kapoor (2014); Lata Mangeshkar (1989) and Asha Bhosle (2000) along with B. R. Chopra (1998) and Yash Chopra (2001) are the siblings who have won the award.
Note:- all of the above information I have extracted from Wikipedia and apologize for any wrong information therein.
October 11th 1942 was the date when Teji Bachchan- wife of Shri. Harivansh Rai Bachchan gave India the Shahenshah of Bollywood. He goes by the name Shri. Amitabh Bachchan. Anyone who has even the faintest knowledge about Indian movies -anywhere in the world- would have heard about this actor. He may have not been India’s first mega-superstar, that title will always be associated with Rajesh Khanna. The reason I have used the term Mega-Superstar for Rajesh Khanna is because Dilip Kumar- Dev Anand-Raj Kapoor were equally big stars of their generation and the trio were inspiration for the next set of actors like Manoj Kumar, Dharmendra, Rajendra Kumar, Rajesh Khanna, Jeetendra, Amitabh Bachchan etc. The popularity and fan-following that Rajesh Khanna achieved was much more than what the trio of the 50s and 60s may have experienced collectively. Amitabh Bachchan had a long journey to reach the level of popularity that was Rajesh Khanna’s; but even at the height of his superstardom one has never heard of girls writing letters to Amitabh with blood, or throwing themselves at his car or trying to commit suicide at the news of his marriage to Jaya Bhaduri etc.
What Amitabh experienced was a different kind of affection from his fans. There were people who prayed for his life in 1982 when he had an accident during the shoot of “Coolie”. There are accounts of people walking barefoot from far-flung places to the hospital where AB was admitted and battling for life after the accident; people offering prayers at various places of worship cutting across religious differences. AB has always thanked his fans for all the love they showered on him during that period. In fact, he always greets them on Sunday evenings (whenever he is in Mumbai i.e.) for which there is a huge crowd of fans waiting outside his Mumbai residence.
He may have been dubbed the angry-young-man in the early phase of his career but he was equally adept at emotional, romantic or comic roles. “Mahaan” (1983) had him in three roles where we had him as an emotional father/ husband, serious-faced inspector and comic stage artist. The turn of the century saw him change his style and take on a variety of roles and characters- strict father who will not accept his son marrying against his wishes (Kabhi Khushi Kabhi Gham), strict principal who wanted all his students to adhere to the ‘parampara’ ‘pratishtha’ etc laid down by the college (Mohabbatein), friendly-indulgent father to Akshay Kumar (“Ek Rishtaa: the bond of love” and “Waqt: the race against time”) etc. etc. etc. We saw him as a rustic near-bumbling cop in “Bunty Aur Babli”; aging teacher of a deaf-blind girl in “Black”; these successful experiments have seen him through 50 years in an industry which has many talented actors but no one has been given epithets like “Shahenshah of Bollywood”, “Big B” or “Star Of The Millennium”. He continues his reign over the hearts of his fans in spite of the next generation and the one after it giving movies that gross over 100 crores per film. He still gets author backed roles that befit his age and many-a-times is the central character of the story as in “Baghban” and “Baabul”. His detractors may feel that he is the most off-key (besura) singer (and I believe he agrees that he is mostly off-key) but the songs that he has sung (from the first full song “mere pass aao mere doston”) have been well received by his die-hard fans-yours truly included. 🙂
Coming back to the opening para of this post- here is the connection- Amitabh Bachchan is the recipient of this prestigious award for this year. He joins an august list of personalities who have had a major influence on the Indian film industry beginning from Devika Rani who is acknowledged as the first lady of Indian cinema.
This is the latest feather in AB’s cap in addition to the Padma awards – Padma Shri, Padma Bhushan and Padma Vibhushan; 4 National Awards for best actor and 15 Filmfare awards and numerous other awards from various national and international organisations.
Today he turns 77 and I am confused as to which is an appropriate song that should go with this post- I have a big collection to choose from- the blog has about 20 songs which have had Amitabh Bachchan in the recording room as a singer or uttering a few words with the main singer.
Today’s song is from the BR films produced 2006 release “Baabul”. It had AB play an indulgent and friendly father to Salman Khan and a loving father-in-law to Rani Mukherjee. The movie had a simple story of the loving father-in-law, fighting the opposition from his own wife and other family members, against his decision of getting his son’s widow remarried. The song comes at the fag end of the movie. It was on my list of songs under consideration for this post. What clinched the matter in its favour is that the song has two versions to it. The version in the movie is in the voice of Amitabh Bachchan and the album version is in Jagjit Singh’s voice. And only this morning I saw a message on our WhatsApp group that yesterday was Jagjit Singh’s anniversary.
So, we wish our Big B a long and healthy life and lots more years of entertaining us along with remembering Jagjit Singh and his smooth voice.
Video (Amitabh Bachchan voice)
Audio
Song-Kehta hai baabul o meri bitiya (Baabul)(2006) Singer-Amitabh Bachchan/ Jagjit Singh, Lyrics-Sameer, MD-Aadesh Srivastava
Lyrics
kehta hai baabul o meri bitiya
tu toh hai mere jigar ki chitthiya
kehta hai baabul o meri bitiya
tu toh hai mere jigar ki chitthiya
daakiya koyi jab aayega
tujhko churaa ke le jaayega
katega kaise lamha tere bina bata
jiyunga kaise tanha tere bina bata
katega kaise lamha tere bina bata aa aa
jiyuga kaise tanha tere bina bata
tu suhaagan rahe sang saajan rahe raat din
iss khushi ke liye har sitam main uthha loonga aa
tere jaane kaa gham mujhko hoga magar laadli
leke iss dard ko main sada muskuraaoonga
baabul toh dil se de raha duaa yahi
khushi ke saaye mein ho zindagi teri
baabul toh dil se de raha duaa yahi ee
khushi ke saaye mein ho zindagi teri
waqt ke saath zakhm yeh bhar jayega
pal guzar jayega tu meri baat maan le ae
yaadon ke aasre umr kat’ti nahin
hai haqeeqat yahi abb too jaan le ae ae
samundaron ka paani koyi naa pi saka
akela khaara jeevan koyi naa jee saka aa
samundaron ka paani koyi naa pi saka
akela khaara jeevan koyi naa jee saka
kehta hai baabul o meri bitiya
tu toh hai mere jigar ki chitthiya
daakiya koyi jab aayega
tujh ko churaa ke le jaayega
katega kaise lamha tere bina bata
jiyunga kaise tanha tere bina bata
katega kaise lamha tere bina bata
jiyunga kaise tanha tere bina bata
- In: Century post by Guest poster | Century songs for the blog | Ghazal | Guest poster century song | Guest posts | Jagjit Singh NFS | Jagjit Singh solo | Jagjit Singh songs | NFS | Post by Sadanand Kamath | Songs of 1990s (1991 to 2000) | Songs of 1995 | Translation by Sudhir | Translations by readers | Yearwise breakup of songs
- 23 Comments
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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. This is his 400th writeup in the blog
apni marzi se kahaan apne safar ke hum hain
rukh hawaaon kaa jidhar kaa hai udhar ke hum hain
-Nida Fazli
[There is no choice for us as to where we embark on the journey.
Where the direction of the wind is the place to which we belong].
Read more on this topic…
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 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.
He was a freedom fighter, a revolutionary, a journalist, a parliamentarian and a poet. He was associated with Indian National Congress, Communist Party of India and later Indian Muslim League. Bal Gangadhar Tilak was his mentor. He was the man behind coining the slogan ‘Inquilab Zindabad’. He was a member of Constituent Assembly for drafting the constitution of independent India. He was a devoutly muslim who made his annual pilgrimage to Mecca. But he also made it a point to visit Mathura on Krishna Janmashtmi day. He described himself as:
darwesh o inquilab maslak hai mera
Sufi Momin hoon and ishtiraaki muslim
(I have chosen a path of asceticism and revolution. I am a Sufi Momin and a socialist Muslim).
He was Maulana Hasrat Mohani.
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This article is written by Ava Suri, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
The Unforgettable was the first album of ghazals and nazms launched by Jagjit-Chitra. It was released in 1977.
These days television and FM radio stations bombard the viewers/listeners with new film songs. A song becomes popular at once, or not at all. In a month or two, another song takes its place at the top of the Pop charts and it’s gone forever.
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Garaj baras pyaasi dharti par
Posted on: October 14, 2014
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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
The 3rd death anniversary of Ghazal King Jagjit Singh was on October 1Oth and the 76th birth day of Urdu poet and lyricist Nida Fazli was on October 12th. For the occasions, I had planned to write a combined post and had selected a song months back to be posted on the Blog in October 1Oth or 12th. But some other activities relating to travels and pre Deewali atmosphere in my house resulted in diversion of my mind and in the process, I completely forgot about writing the article for the occasion. It was only when I saw a post on the occasion of the birthday of Nida Fazli that I got reminded of my pending article. Even though anniversary dates have passed, it is never late for paying tributes.
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Taskeen e dil e mahzoo na huyi
Posted on: December 5, 2013
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.
shahar ki raat aur main naashaad o naakaara phiroon
jagmagaati jaagti sadakon pe aawaara phiroon
ae gham e dil kya karoon
ae vahshat e dil kya karoon
This is the mukhda of a very popular song from the film ‘Thokar’ (1953). Most of the lovers of old Hindi film songs would know that the song was rendered by Talat Mehmood and there is a version song sung by Asha Bhonsle. Many among them may also be aware that the song was composed by music director Sardar Malik. But I am not sure as to how many would to know the name of the poet who created this beautiful nazm of despair and loneliness. I was one among them. Many years later, I came to know that it was the creation of Majaz. Then the next question – who was Majaz?. I had no inclination then in seeking an answer to this question.
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On the occasion of Kaifi Azmi’s birthday (19th january), we are discussing a few songs written by Kaifi Azmi.
Here is a song from “Arth” (1982). This song, which is picturised as a get together song, is sung by Jagjeet Singh. It is picturised on Raj Kiran, Shabana Azmi, Smita Patil, Kulbhushan Kharbanda etc. Kaifi Azmi is the lyricist. Music is composed by Kuldeep Singh Chitra Singh and Jagjit Singh.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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