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

Archive for the ‘joie de vivre’ Category


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 :

4490 Post No. : 16014

Yearwise discussion of Lata Mangeshkar songs in HFM: Part VI: Year 1952
———————————————————————————————————

I had mentioned that Lata Mangeshkar reached the peak of her HFM singing career in 1951 (statistically that is) in the sense that she sang as many as 223 songs in movies released in 1951. She would never be able to exceed this tally in future, though she came close to this figure in future years on a few occasions.

1952 saw Lata Mageshkar further consolidating her position at the top. This year she sang 177 songs. Here are the details :-

S N Movie Music director Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Lyricists
1 Aan Naushad 4 4 2 0 1 1 Shakeel Badayuni
2 Aandhiyaan Ali Akbar Khan 3 3 3 0 0 0 Pt Narendra Sharma
3 Aashiaana Madan Mohan 6 6 5 1 0 0 Rajinder Krishan
4 Ajeeb Ladki Ghulam Mohammad 2 2 0 2 0 0 Shakeel Badayuni
5 Alladin And the wonderful lamp S N Tripathi 1 1 1 0 0 0 Shyam Hindi
6 Ambar Ghulam Mohammad 1 1 1 0 0 0 Shakeel Badayuni
7 Anand Math Hemant Kumar 1 1 1 0 0 0 Bankim Chandra Chattopadhyay
8 Anhonee Roshan 5 5 2 2 1 0 Satyendra Athaiyya (2) Shailendra (1) Nakshab (1) Ali Sardar Jafri (1)
9 Annadaata Md Shafi 2 6 6 0 0 0 Anjum Jaipuri (3) Hasrat Jaipuri (3)
10 Badnaam Basant Prakash 2 4 4 0 0 0 Hasrat Jaipuri (3) Shailendra (1)
11 Baiju Baawra Naushad 5 5 2 2 0 1 Shakeel Badayuni
12 Betaab S D Batish 1 1 1 0 0 0 Roopbani
13 Bewafa A R Qureshy 3 3 3 0 0 0 Sarshar Sailaani
14 Chamkee Manna Dey 3 4 4 0 0 0 Kavi Pradeep
15 Chhatrapati Shivaji C Ramchandra 1 6 5 1 0 0 Shailendra
16 Daag Shankar Jaikishan 5 5 5 0 0 0 Shailendra (4) Hasrat Jaipuri (1)
17 Deewaana Naushad 2 2 2 0 0 0 Shakeel Badayuni
18 Doraaha Anil Biswas 0 2 2 0 0 0 Prem Dhawan
19 Ghunghroo C Ramchandra 2 5 4 0 1 0 Rajinder Krishan
20 Hamaari Duniya Shyam Babu Pathak 2 2 2 0 0 0 Indeewar (1) Hasrat Jaipuri (1)
21 Hangaama C Ramchandra 5 6 4 1 0 1 Rajinder Krishan
22 Hyderabad ki Naazneen Vasant Desai 2 2 2 0 0 0 Noor Lucknowi
23 Jaal S D Burman 4 4 3 1 0 0 Sahir Ludhianvi
24 Jaggu Hansraj Bahl 1 1 1 0 0 0 A Shah Shikarpuri
25 Jalpari Pt Govindram 2 3 3 0 0 0 Ramesh Gupta (1) Unknown (2)
26 Kaafila Husnlal Bhagatram 3 3 2 1 0 0 Vrajendra Gaud
27 Najariya Bhola Shreshtha 1 3 3 0 0 0 P L Santoshi
28 Naubahaar Roshan 6 6 6 0 0 0 Shailendra (3) Nakshab (2) Satyendra Atthaiyya (1)
29 Nirmohi Madan Mohan 6 6 6 0 0 0 Rangeen (3) Uddav Kumar (2) Indeewar (1)
30 Parbat Shankar Jaikishan 7 7 4 1 1 1 Hasrat Jaipuri (4) Shailendra (3)
31 Parchhaain C Ramchandra 8 8 5 3 0 0 Noor Lucknowi
32 Poonam Shankar Jaikishan 9 9 9 0 0 0 Hasrat Jaipuri (5) Shailendra (4)
33 Raag Rang Roshan 8 8 5 3 0 0 Kaif Irfani (5) Sarshar Sailaani (2) Prakash Bakshi (1)
34 Raaja Harishchandra Husnlal Bhagatram 4 4 1 3 0 0 Unknown (4)
35 Rangeeli Chic Chocolate 2 3 3 0 0 0 Raja Mehdi Ali Khan
36 Saaqi C Ramchandra 6 6 4 2 0 0 Rajinder Krishan
37 Saloni Basant Prakash 2 4 4 0 0 0 Arjun Dev Ashq (2) Raja Mehdi Ali Khan (1) Hasrat Jaipuri (1)
38 Sangdil Sajjad Hussain 2 2 1 1 0 0 Rajinder Krishan
39 Sanskaar Roshan 2 4 4 0 0 0 Shailendra
40 Sheesha Ghulam Mohammad 2 2 2 0 0 0 Shakeel Badayuni (1) Umar Ansari (1)
41 Sheesham Roshan 2 4 3 1 0 0 Indeewar
42 Shin Shinaaki Boobla Boo C Ramchandra 6 7 4 3 0 0 Indeewar
43 Tamaasha Manna Dey 2 2 2 0 0 0 Bharat Vyas
Total 42 movies 24 MDs 148 177 138 31 4 4 29 Lyricists

We can see from the above table that Lata Mangeshkar had sung songs in 43 movies out of 105 movies that were released in 1952.

She worked with 24 music directors in this year. Interestingly enough, as many as 9 of these music directors were working with her for the first time. These music directors were A R Qureshi, Ali Akbar Khan, Basant Prakash, Bhola Shreshtha, Hemant Kumar, Manna Dey, S D Batish, S N Tripathi and Shyam Babu Pathak.

Likewise, she worked with 29 lyricists in these movies. Arjun Dev Ashq, Prakash Bakshi, Ramesh Gupta, Roopbani, Satyendra Athhaiyya, Shyam Hindi, Uddhav Kumar (solo credit), and Umar Ansari were the eight lyricists who were penning lyrics for Lata Mangeshkar for the first time.

By the end of 1952, Lata Mangeshkar had sung 759 songs in HFM. As many as 327 of these songs (43%) were under the batons of four music directors , namely C Ramchandra (118 songs), Husnlal Bhagatram (89 songs), Anil Biswas (65 songs) and Shankar Jaikishan (54 songs). As for lyricists 280 out of 759 songs (37%) were penned by just five lyricists, namely Rajinder Krishan (89 songs), Shakeel Badayuni (57), P L Santoshi (52 songs), Shailendra (42 songs)and Hasrat Jaipuri (40 songs).

Out of 43 movies of 1952 where Lata Mangeshkar lent her voice, all Lata songs of 29 of these movies have already been covered. That leaves us with 14 movies of 1952 which are available for us for discussing Lata Mangeshkar songs.

Alphabetically, “Annadaata”(1952) is the first such movie. This movie was produced by Sheikh Mukhtar and directed by Ismail Memon for Umar Khayyam Films, Bombay. This “social” movie had Veena, Ajit, Kanhaiyalal, N A Ansari, Sankatha Prasad, Sharifa, Nazeer Kashmiri, Kamal Mohan, Sheikh, Akhtar, Itar Singh, Neena Maker, Mukri, Sheikh Mukhtar etc, with guest appearance by Murad.

The movie had eleven songs in it. Two songs, both Lata solos, have been covered in the past. This movie had six Lata solos in it.

Here is the third song, another Lata solo, from “Annadaata”(1952). This song is penned by Hasrat Jaipuri. Music is composed by Md Shafi.

Only the audio of this joie de vivre genre of song is available. My guess is that this song was picturised on Veena. Nevertheless, I request our knowledgeable readers to throw light on the picurisation of this song.


Song-Aayi khushi ban ke bahaar baalmaa(Annadaata)(1952) Singer-Lata, Lyrics-Hasrat Jaipuri, MD-Md Shafi

Lyrics

o ho ho ho
o o o o
o o
hmm mm hmm
mm mm mm
mm mm mm

aayi khushi ban ke bahaar baalma
aayi khushi ban ke bahaar
aa ha ha
aa ha ha
geet bane dil ki pukaar baalma
geet bane dil ki pukaar

saanson mein khushbu piya ki basi hai ji
piya ki basi hai
ulfat ke honthon pe ae ae ae ae
ulfat ke honthon pe
phaili hansi hai ji
phaili hansi hai
lo aao chalen taaron ke paar
aa ha ha
aa ha ha
geet bane dil ki pukaar
baalma
geet bane dil ki pukaar

pee ko basaaungi main nainon ke gaanv mein
aa aa aa
jee nainon ke gaanv mein
pee ko bithaaungi main ae ae ae
pee ko bithaaungi main palkon ki chaanv mein jee
palkon ki chaanv mein
lo aa hi gaya mujhpe nehaa
aa ha ha
aa ha ha
geet bane dil ki pukaar baalma
geet bane dil ki pukaar

lachke kamar jaise phoolon ki daaliyaan ji
phoolon ki daaliyaan
patte bajaate hain ae ae ae ae ae
patte bajaate hain mil mil ke taaliyaan jee
mil mil ke taaliyaan
lo baaj rahi jeevan sitaar
aa ha ha
aa ha ha
geet bane dil ki pukaar baalma
geet bane dil ki pukaar
aayi khushi ban ke bahaar baalma
aayi khushi ban ke bahaar
ahaha
aaha ha
geet bane dil ki pukaar baalma
geet bane dil ki pukaar


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

Blog Day :

4489 Post No. : 16013

I have mentioned in one of my earlier post here that these days I am looking for movies where only one song has been posted so far. In my daily browsing of the blog while I have already noted some movies, new surprises keep coming e.g. the time-lag between posting of the first song of the movie and thereafter posting of the second song. While we can understand a couple of year time-lag is considerable some have to wait for their second song almost more than five to six years or even ten years as we have seen during posting of ‘blog ten-year challenge song’. Well, if that was not enough, I have found a movie with a song posted in 2008 and still waiting for its second song to be posted on the blog. 😊

In today’s case the movie is ‘Mordhwaj-1952’ and one of its song, namely dagmag dagmag doley naiyya… has been posted on 02.06.2014.

Today we will listen to a lovely melodious song from this movie. This song took almost seven years to get posted after it was noted down. 😊

‘Mordhwaj-1952’ alias ‘Raja Mordhwaj’ (as mentioned in HFGK Vol.III-1951-1960) was directed by Balwant Bhatt for ‘Nav Anand Chitra, Bombay’. It was produced by Mangalanand Gautam and it was passed by Censor Board on 27.10.1952.

This movie had Durga Khote, Prem Adeeb, Ram Singh, Tiwari, Shashi Kapoor, Manju, Nand Kishore, Babu Raje, Urvashi, Raj Adeeb, Leela Mishra, Y.N. Joshi, Sushila, Bindu, Neeru and others.

Music for this movie was composed by Narayan Dutta and all the eight songs this movie has were penned by Bharat Vyas.

Our respected Arun Kumar ji has mentioned in detail about the music director, director and stars of this movie while presenting the first song from this movie viz. dagmag dagmag doley naiyya.

I am presenting herewith details of the songs of this movie as given below;

Song Singer/s Posted On
Dagmag dagmag doley naiyya Mohd Rafi 02.06.2014
Palkon ki dori bani … gupchup un sang ho gayi ankhiyaan chaar re Asha Bhonsle, Mubarak Begam, Dilip Kumar Roy
Aayi rang bhari phoolon ki rut pyaari re … Geeta Dutt Being posted today
Mera man hai magan, muskaaye gagan, poonam ki chamacham raat hai Asha Bhonsle, Khan Mastana
Kit jaaoge ghanshyam muraari, tumhe jaane na doonga Mohd Rafi
Gin gin taare ratiyaa bitaaun… aaoji raajkumar Geeta Dutt
Jhoothha jag jhoothhi re maayaa Dilip Kumar Roy
Lekh vidhaataa ka likha … maat pita ke haathon dekho baalak ka balidaan re Mubarak Begam, Khan Mastana

Let us now enjoy today’s song. It is sung by Geeta Dutt and composed by Narayan Dutta. Lyrics are by Bharat Vyas.


Song-Aayi rang bhari phoolon ki rut pyaari re (Mordhwaj)(1952) Singer-Geeta Dutt, Lyrics-Bharat Vyas, MD-Narayan Dutt
Chorus
Unknown male voice

Lyrics

Aayi rang bhari phoolon ki rut pyaari re
Ghar aaja muraari re ae ae
Ghar aaja muraari re
Aayi rang bhari phoolon ki rut pyaari re
Ghar aaja muraari re ae ae
Ghar aaja muraari re

Gun gun bhanware jhoom rahen
Gun gun bhanware jhoom rahen
Kaliyon ka munh choom rahe
Munh choom rahe
Munh choom rahe
Dhaani hain dharti
Neela gagan hai ji
Aaja piya
Dole jiya
Jiya magan hai ji
Boley koyalia kaari
Boley kayalia kaari
Kaari
Kaari re
Aayi rang bhari phoolon ki rut pyaari re
Ghar aaja muraari re ae ae
Ghar aaja muraari re

Chori chori piya pyaare
Palkon mein tumko
Chhupaa loongi re
Chhupaa loongi
Jaane na paaoge tumhen
Nainon ka kaajal banaa loongi re
Banaa loongi
Matwaari soorat par waari ee
Matwaari soorat par waari
Waari
Waari re
Aayi rang bhari phoolon ki rut pyaari re
Ghar aaja muraari re ae ae
Ghar aaja muraari re

Painyya padoon sainyya tore
Chhup chhup ke
Mohe sataao naa ji
Sataao naa
Thhandi thhandi chaandni raaton mein
Yoon
Jiyaraa jalaao na ji
Jalaao na
He he he he

Tum jeete sajan main haari
Tum jeete sajan main haari
Haari
Haari re
Aayi rang bhari phoolon ki rut pyaari re
Ghar aaja muraari re ae ae
Ghar aaja muraari re

——————————————-
Devnagri script lyrics (Provided by Avinash Scrapwala)
——————————————-
आई रंग भरी फूलों की रुत प्यारी रे
घर आजा मुरारी रे ए ए
घर आजा मुरारी रे
आई रंग भरी फूलों की रुत प्यारी रे
घर आजा मुरारी रे ए ए
घर आजा मुरारी रे

गुन गुन भंवरे झूम रहें
गुन गुन भंवरे झूम रहें
कलियों का मुंह चूम रहे
मुंह चूम रहे
मुंह चूम रहे
धानी है धरती
नीला गगन है जी
आजा पिया
डोले जिया
जिया मगन है जी
बोले कोयलिया कारी
बोले कोयलिया कारी
कारी
कारी रे
आई रंग भरी फूलों की रुत प्यारी रे
घर आजा मुरारी रे ए ए
घर आजा मुरारी रे

चोरी चोरी पिया प्यारे
पलकों में तुमको
छुपा लूंगी रे
छुपा लूंगी
जाने न पाओगे तुम्हे
नैनों का काजल बना लूंगी रे
बना लूंगी
मतवारी सूरत पर वारी
मतवारी सूरत पर वारी
वारी
वारी रे
आई रंग भरी फूलों की रुत प्यारी रे
घर आजा मुरारी रे ए ए
घर आजा मुरारी रे

पैंय्या पडूँ सैंय्या तोरे
छुप छुप के
मोहे सताओ ना जी
सताओ ना
ठंडी ठंडी चांदनी रातों में
यूं
जियरा जलाओ ना जी
जलाओ ना
हे हे हे हे

तुम जीते सजन मैं हारी
तुम जीते सजन मैं हारी
हारी
हारी रे
आई रंग भरी फूलों की रुत प्यारी रे
घर आजा मुरारी रे ए ए
घर आजा मुरारी रे


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

Blog Day :

4435 Post No. : 15873

Today 8th September is eighty-seventh birth anniversary (born on 8th September’1933) of Asha Bhonsle. On this occasion as we wish her a very ‘happy birthday’ today and a healthy and peaceful life ahead, we are also going to enjoy a song sung by her.

This melodious song is from a lesser known movie ‘Jaadui Angoothhi-1964’.

‘Jaadui Angoothhi-1964’ alias ‘Magic Ring’ was directed by A.M. Khan for ‘A.M. Khan Productions, Bombay’. It had Chitra, Manhar Desai, Sheri, Krishnakumari, S.K. Shyam, Anil Kashmiri, Jilani, Uma Khosla, Violet, Ameerbai Karnataki, Sujata, Saroj, Sabina, Balwant Sharma, Kallan, Bagla, Chaman, Deva Kumari, Kanta Kumari and Polsan and others.

This movie had five songs composed by Suresh Kumar. Lyrics were written by Anjaan and Zafar Rahi. (HFGK mentions Anjaan and Zafar Rahi for one song each on the movie details’ page of this movie and adds in ‘addenda’ it further mentions Zafar Rahi as lyricist for song number three. I guess that all other songs are written by Anjaan so it mmeans three songs were penned by Anjaan and two by Zafar Rahi).

Story and screenplay of this movie was written by Munshi Nayaab and dialogues were written by A.K. Khan. Editing of this movie was done by G.G. Patil and he was assisted by Rohi Das

Asha Bhonsle, Mahendra Kapoor, Minoo Purshottam, Sulochana Chawhan, Subir Sen and Kamal Barot have given their voices to the songs in this movie. One song sung by Mahendra Kapoor had been posted on the blog earlier which was written by Zafar Rahi.

One song , Kahaan nazar takraayi has been discussed in the blog on 9 january 2014.

When the first song of this movie was posted more details about the movie were not available. Now the movie itself is available on internet, however I have not watched this movie and would request knowledgeable reader who had watched it to throw more light on this movie and its songs. Also, I am unable to identify the actress performing on this song. I would request readers who can identify her to kindly let us know who this actress is.

Today’s song is sung by Asha Bhonsle and composed by Suresh Kumar as mentioned above. I guess that the lyricist for today’s song is Anjaan.

Let us now enjoy today’s song …


Song-Sanan na na na nan hawa lehraaye (Jaadui Angoothhi)(1964) Singer-Asha Bhonsle, Lyrics-Anjaan, MD-Suresh Kumar

Lyrics

Ho o
Sanan na na na na na na na nan
Hawaa lehraaye
Sana na na na na na na na
Hawaa lehraaye
Haaye re aanchal
Ud ud ud jaaye
Chhanan na na na na na nan
Jiyaa bal khaaye
Haaye re paayal
Gun gun gun gaaye
Sanan na na na na na na na
Hawaa lehraaye

Dar hai mujhko
In raahon mein
Main na kho jaaun oon oon
Aaj to main apni chhaaya
Se bhi sharmaaun
Ye kya hone lagaa
Dil machalne lagaa
Kaise uljhan padi
Sochti hoon khadi
Ho o
Sanan na na na na na na nan
Hawaa lehraaye
Haaye re aanchal
Ud ud ud jaaye
Sanan na na na na na na na
Hawaa lehraaye

Aaj mere
Honthon par kyun
Geet machle jaayen
Main chaloon to
Raaste mein
Phool bikhre jaayen ae
Koi mujhse kahe
Kya huaa hai mujhe
Aankh jhukti hai kyun
Saans rukti hai kyun
Raaz aisa hai kya
Dil ye samjhe naa
Samjhe naa
Samjhe naa
Ho o
Sanan na na na na na na nan
Hawaa lehraaye
Haaye re aanchal
Ud ud ud jaaye
Chhanan na na na na nan
Jiya bal khaaye
Haaye re paayal
Gun gun gaaye
Sanan na na na na na na na
Hawaa lehraaye

—————————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
——————————————————
हो ओ
सन न न न न न न न न न`न
हवा लहराए
सन न न न न न न
हवा लहराए
हाए रे आँचल
उड़ उड़ उड़ जाए
छनन न न न न न न`न
जिया बल खाए
हाए रे पायल
गुन गुन गुन गाए
सन न न न न न न न न
हवा लहराए

डर है मुझको
इन राहों में
मैं ना खो जाऊं
आज तो मैं अपनी छाया
से भी शरमाऊं
ये क्या होने लगा
दिल मचलने लगा
कैसे उलझन पड़ी
सोचती हूँ खड़ी
हो ओ
सन न न न न न न न न न`न
हवा लहराए
हाए रे आँचल
उड़ उड़ उड़ जाए
सन न न न न न न
हवा लहराए

आज मेरे
होंठों पर क्यूँ
गीत मचले जाएँ
मैं चलूँ तो रास्ते में
फूल बिखरे जाएँ ऐ
कोई मुझसे कहे
क्या हुआ है मुझे
आँख झुकती है क्यूँ
साँस रूकती है क्यूँ
राज़ ऐसा है क्या
दिल ये समझे ना
समझे ना
समझे ना

हो ओ
सन न न न न न न न न न`न
हवा लहराए
हाए रे आँचल
उड़ उड़ उड़ जाए
छनन न न न न न न`न
जिया बल खाए
हाए रे पायल
गुन गुन गुन गाए
सन न न न न न न न न न`न
हवा लहराए


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 :

4396 Post No. : 15768

Hullo Atuldom

“Lafange” (1975) was a movie produced and directed by Harmesh Malhotra. It had five songs from which the blog has one song covered. It was under Sudhirji’s series of “Rafi SB -in the seventies”.

But the more popular song of the movie was its title song “log kehte hain, ke hum lafange hain”. That is not the song we shall have today. We will be celebrating the birthday of the leading lady of this movie with a song sung by Lata Mangeshkar. It is written by Anand Bakshi and Laxmi-Pyare were the music composers.

“Lafange” was another run-of-the-mill masala movie. It was the story of “beautiful Sapna (Mumtaz) who lives with her wealthy father, Dhanraj (Sapru), and a younger brother in a palatial house. Her father comes across some valuable diamonds and conceals them in a secret place. While driving one day, Dhanraj is killed, but her brother escapes without any injuries, but loses control of his vocal chords unable to tell anyone how the accident occurred, and goes missing. After Sapna wins a beauty contest, she travels to Bombay and meets with a young wheel-chair bound soldier named Gopal, and both fall in love with each other. What Sapna does not know is that Gopal is a fraud, a con-man who is only after her money. Then her life is even more complicated after she finds out that her father was killed by a man named Diwan. Before she could think of taking any further action, Diwan and his men track her down – their goal to find the secret location of the diamonds hidden by Dhanraj – and kill anyone who dares to get in their way.” (Got this story from imdb.com, I have not seen the movie).

31st July is the 73rd birthday of Mumtaz, who was at the peak of her career when she gave it all up after marriage to businessman Mayur Madhwani in 1974. She did make an appearance in the David Dhawan directed “Aandhiyan” in 1990 opposite Shatrughan Sinha as mother to Prasenjit (son of her one time co-star Biswajit.

She was born Mumtaz Aksari to Abdul Sameed Aksari and Sardar Begum Habib Agha both of whom were of Afghani origin who were settled in Bombay. It is said that Sardar Begum Habiba Agha was also an actress (needs confirmation from the stalwarts of the blog). She had a sister Malika and two step-siblings. Roopesh Kumar was her cousin. She has two daughters one of whom is married to Fardeen Khan making her Feroz Khan’s daughter-in-law. Her journey in the film industry is well known: beginning as a child actor, growing up into a dancer, vamp, character actress and reaching the pinnacle as leading lady. We have a few of her songs yet to make an appearance on the blog, this is one of them.
Wishing you a very Happy Birthday dear Mumu.


Song-Ud chala panchhi ban ke man mera (Lafange)(1975) Singer-Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics (Provided by Prakashchandra)

ud chala
ud chala panchhi ban ke
mann mera saagar ke paar
ud chala panchhi ban ke
mann mera saagar ke paar
tu bhi aa sang mere
dekh nazaara
yeh ek baar
ud chala panchhi ban ke
mann mera saagar ke paar
ud chala

yeh zindagi bas ek baar
milti hai ae ae
milti hai
ye zindagi bas ek baar
milti hai ae ae
milti hai
murjha ke phir ye kali kab
khilti hai ae ae ae
bhar le apna daaman
in phoolon ka aa
kya aitbaar
ud chala panchhi ban ke
mann mera saagar ke paar
ud chala

aa aa aa
aa aa aa aa aa
leke tera naam maine
pukaara hai ae ae ae
pukaara hai
leke tera naam maine
pukaara hai ae ae ae
pukaara hai
samjhe toh kaafi yahi ek
ishaara hai ae ae ae
tera mera kya naata hai
tu saawan hai ae
main hoon bahaar
ud chala panchhi ban ke
mann mera saagar ke paar
ud chala panchhi ban ke
mann mera saagar ke paar
tu bhi aa sang mere
dekh nazaara
yeh ek baar
ud chala panchhi ban ke
mann mera saagar ke paar
ud chala


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 :

4381 Post No. : 15728

“Baaraati”(1954) was directed by J K Nanda for Kardar Productions, Bombay. The movie had Chaand Usmani, Peace Kanwal, Agha, Om Prakash, Leela Mishra, Sham Kumar, bBy Sheela, Darpan, Johny Walker, Abbas, Rajan Haksar, Heera Sawant, Agha Miraz, Kathana, Ameer Ali, etc in it.

The movie had eight songs in it. Four of these songs have been covered in the past.

Here is the fifth song from “Baaraati”(1954) to appear in the blog. The song is sung by Lata. D N Madhok is the lyricist. Music is composed by Roshan.

The song is picturised on Chaand Usmaani. Agha and Om Prakash look on from a distance.


Song-Haaye koi keh de papeeha se jaa ke (Baaraati)(1954) Singer-Lata, Lyrics-D N Madhok, MD-Roshan

Lyrics

haaye koi kah de papeeha se jaa ke
bairi kaahe chhede pihu pihu gaa ke
haaye koi kah de papeeha se jaa ke
bairi kaahe chhede pihu pihu gaa ke

rut saawan ki mukh par haaye kyun
jhoomti ghata mein koi aag lagaaye kyun
rut saawan ki mukh par haaye kyun
jhoomti ghata mein koi aag lagaaye kyun
mere paas aaye wo to
mere paas aaye wo to
kahoon samjhaake
bairi kaahe chhede pihu pihu gaa ke
haaye koi kah de papeeha se ja ke
bairi kaahe chhede pihu pihu gaa ke

abhi khile kali aur abhi murjhaaye hai
ja rey paapi kaliyon pe pade teri haaye hai
abhi khile kali aur abhi murjhaaye hai
ja rey paapi kaliyon pe pade teri haaye hai
jiya chaahe noch loon main
jiya chaahe noch loon main pankh tere aake
bairi kaahe chhede pihu pihu gaa ke
haaye koi kah de papeeha se jaa ke
bairi kaahe chhede pihu pihu gaa ke
haaye koi kah de papeeha se ja ke
bairi kaahe chhede pihu pihu gaa ke


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

Blog Day :

4377 Post No. : 15720

“I worshipped Bimal Roy. For me, his worth as a man was more than his films… It is impossible for me to describe what a man he was.”

The above quote was by Ritwik Ghatak, one of Bimal Roy’s desciples who later became an internationally known director of parallel cinema in Bangla films.

In Hindi film industry, there are many film artists, directors and those connected with the film music who are admired for their excellent professional performances. But there would be very few among them who would also be admired as the good human beings. Among few such personalities, the name of Bimal Roy comes to my mind because for the last few months, I have extensively read on the life and works of Bimal Roy. I have found that those who have closely worked with him like Dilip Kumar, Balraj Sahani, Vyjaynatimala, Kamini Kaushal, Nutan, Dharmendra, Shashi Kapoor, Hrishikesh Mukherjee, Gulzar and many more have highly talked about Bimal Roy as a fine human being besides an being an outstanding director. What touched me most about Bimal Roy was what Manobina Roy, his wife had said in an interview. Just a few minutes before his death on January 8, 1966, Bimal Roy had called her and said that he was deeply worried about his workers in Mohan Studio as to what will happen to them after his death. Only when she assured him and repeated her assurance that she would take care of them, Bimal Roy closed his eyes never to open them again.

Today, July 12th 2020 is 111th birth anniversary of Bimal Roy (12/07/1909 – 08/01/1966), one of the greatest Hindi film directors who rose from a still photographer to a cinematographer and then as a producer-director of some of the classic and socially relevant films. Although, there were many film directors from Bengal – especially in the Bombay Talkies who had directed Hindi films in Mumbai in the 1940s, it is said that it was Bimal Roy who brought ‘Bengaliness’ in his Hindi films in Mumbai. He was a trend setter in introducing the ‘middle of the road’ films.

Arunkumar Deshmukh ji has already discussed Bimal Roy’s biographical and celluloid journey in his article covering the song, chale re chale raam vanwaas. I would, therefore, skip his profile and his sequential journey in the film industry. I propose to concentrate mainly on three important phases in his filmy career which led to his meteoric rise in the film industry – as a Cinematographer, as a Director for films produced by New Theatres and as a Producer-director of Hindi films in Mumbai. In my view, the three phases were also the important turning points in the career of Bimal Roy.

Bimal Roy joined New Theatres (NT) as an Assistant Cameraman to Nitin Bose in 1932 during which he assisted him for ‘Chandidas’ (1932, Bangla version and also Hindi version in 1934), ‘Meerabai’ (1933) etc. He was promoted as a cinematographer in NT and shot films like ‘Devdas’ (1935), ‘Manzil’ (1936), ‘Mukti’ (1937), ‘Abhagin’ (1938), ‘Abhinetri’ (1940) ‘Meenakshi’ (1942) etc.

The high point in his career as a cinematographer was ‘Mukti’ (1937) – the first film from NT which was extensively shot outdoors, mostly in the forest of Gauripur (Assam). It was a challenge for Bimal Roy as a Cinematographer to shoot outdoors, the scenes with proper lightings. Even his indoor shots were exceptional. His camera works in the opening scene of the film itself is marvelous. The camera focuses on P C Barua who walks through three rooms, one after another before knocking the door of the fourth room. Here, only the camera ‘speaks’ in the scene in complete silence without any background music to create suspense as to what is going to happen next. The light and shadow effects have been effectively used to convey the mood of the situations in the film.

Kanan Devi, in one of her interviews had said that in ‘Mukti’ (1937), Bimalda through his camera work, made her more beautiful than what she looked in reality. P C Barua, the director, was so happy with his camera work in the film that in the publicity poster of ‘Mukti’ (1937), he made the name of Bimal Roy to appear next to his name with names of the actors appearing in the side. Probably, this may be the first occasion in NT that the publicity poster had prominently carried the name of the cinematographer.

Bimal Roy entered his second phase of his career when he turned as a director for the first time for the Bangla film ‘Udayer Pathe’ [(1944), ‘Towards the Twilight’]. A year later, a Hindi version of the film was made as ‘Hamraahi’ (1945), also directed by Bimal Roy. Manobina Roy, the wife of Bimal Roy was surprised as to why he chose the subject of exploitation by upper class of the lower strata of the society when he himself had the background of a landlord’s son. Probably, he may have seen such scenarios in his teenage days in his family and he wished to bring them to the notice of masses.

The challenge for Bimal Roy in this fiim was that NT boss, B N Sarkar has personally told to direct the film with the left-over cut pieces of the raw stock of negative film as those days, raw stock of films was rationed. There was no scope for wastage of the raw stock of films by way of reshoots. On the top of it, he had taken newcomers, Binita Bose (Roy) and Radhamohan Bhattacharya as the lead actors. With these backgrounds, it was imperative that he should also take the responsibility as a cinematographer. When the shooting of the film was completed, B N Sarkar was surprised that the film was completed by Bimal Roy without taking any extra stock of raw films.

The film though made with a small budget was one of the top box office grossers for NT. The film ran for more than one year in Kolkata’s Chitra theatre. With its Hindi version of the film, the name of Bimal Roy became well-known all-over India. In the Bengali speaking regions, ‘Udayer Pathe’ (1944) became one of the highly discussed films. The film became a trend setter for some subsequent Hindi films having ‘rich girl poor boy’ love story with the background of a class conflict. Chetan Anand’s ‘Neecha Nagar’ (1946) followed, more or less, the similar pattern in the story.

The extra-ordinary success of ‘Udayer Pathe’ (1944) did not help much in Bimal Roy’s career as a director as fortune of NT had taken a down turn due to the adverse impact on the film industry of the World War II and thereafter partition of Bengal by creating the then East Pakistan. Bimal Roy did direct two films for NT – ‘Anjangarh’ (1948) and ‘Pehla Aadmi’ (1950). The highlight of ‘Pehla Aadmi’ (1950) was that it was made on Netaji Subhash Chandra Bose. It was a challenge for Bimal Roy to shoot the battle scenes of the film in the studio itself which should look real in the film. I have watched the clip of the battle scene and it looks real. Though these two films were critically acclaimed, they did not fare well at the box office.

The downfall of NT in post-partition period and the emergence of Bombay (Mumbai) as the main film production centre prompted many artists and technicians in Kolkata to migrate to Mumbai. On the other hand, the Bombay Talkies was also going through the bad times. An opportunity came to Bimal Roy when he was invited by Ashok Kumar to direct ‘Maa’ (1952) for Bombay Talkies which he had to reluctantly accept due to the adverse conditions of the film industry in Kolkata. Bimal Roy came to Mumbai with his team consisting of Hrishikesh Mukherjee (Editor), Asit Sen (Assistant Director), Nabendu Ghosh (Dialogue writer) and Paul Mahendra (Hindi dialogue writer and actor). Later, some more artists and technicians from Kolkata like Kamal Bose (Cinematographer), Arvind Sen, Asit Sen, Debu Sen, Basu Bhattacharya and Salil Chaudhury joined Bimal Roy.

In terms of box office, ‘Maa’ (1952) did not add to the coffers of Bombay Talkies. Bimal Roy was all set to return to Kolkata along with his team when Ashok Kumar gave him another film, ‘Parineeta’ (1953) which was produced under the banner of Ashok Kumar Productions. Simultaneously, something was cooking within Bimal Roy’s team. Hrishikesh Mukherjee had revealed in an article that after watching an English film in Eros Theatre at Churchgate, Bimal Roy and his team were returning home on a BEST double decker bus and were discussing as to why they cannot make film like the one they watched. Bimal Roy asked as to who will write the story for the film to which everyone in his team offered to share the responsibilities. That was how Bimal Roy Productions was born on a double decker bus of BEST. And this was the third turning point in Bimal Roy’s career.

Bimal Roy embarked upon his maiden film ‘Do Bigha Zameen’ (1953) as a producer-director. Bimal Roy had read the story ‘Rickshwala’ written by Salil Chaudhury, based on the Rabindranath Tagore’s poem, ‘Doi Bigha Zomi’. This was perhaps the first film in Bollywood depicting what is called ‘neo-realism’, a term normally used for post-war effects on the poor class of the population who tended to migrate to urban area for sustenance. Many in his team had reservations about the selection of Balraj Sahani in the role of Shambhu, the farmer because of his urban look. But Bimal Roy struck to his choice. He had seen him acting live on the sets of ‘Dharti Ke Laal’ (1946) when he had visited Mumbai at the time of the release of his film ‘Hamraahi’ (1945) and thereafter in ‘Hum Log’ (1951).

‘Do Bigha Zameen’ (1953) put Bimal Roy on an international pedestal. The film won for him the Prix International Prize at 7th Cannes Film Festival (1954). The film also won him National Award for the Best Film and also the inaugural Filmfare Award, 1954 for the ‘Best Film’ and ‘The Best Director’. With the success of this film, the seeds of the ‘middle of the road’ cinema was sown in Bollywood.

One of Bimal Roy’s film which did not fit into his psyche of film making was ‘Madhumati’ (1958). The reincarnation story of the film was written by Ritwik Ghatak who was an assistant to Bimal Roy during his Kolkata days. He was without work in Kolkata and had come to Mumbai for work. Bimal Roy assigned him to write a story and screen play for his forthcoming film and also direct the film. This was how the film ‘Madhumati’ (1958) was born. But, at the last minute, he had to go back to Kolkata as he could arrange finance for his Bangla film, ‘Ajantrik’ (1958). ‘Madhumati’ (1958) was thought of mainly for the financial survival of Bimal Roy Productions. Hence, the commercial elements in the film was evident with Dilip Kumar and Vyjayantimala in lead roles, Pran as villain and Johny Walker as comedian and 11 songs. With Bimal Roy handling the direction, the mix of classic touch and commercial elements led the film to attain the status of the most commercially successful film for Bimal Roy Productions and the highest grosser among Hindi films released in 1958. The film won 9 Filmfare Awards.

Bimal Roy has shown through his films like ‘Udayer Pathe’ (1944), ‘Do Bigha Zameen’ (1953), ‘Sujata’ (1959) and ‘Bandini’ (1963) that the victims of oppressions have superior morality than the oppressors. Bimal Roy had not been known to have leanings towards any political ideology. It is, therefore, a surprise to observe that in most of his films, the exploitation of downtrodden by the superior class of the society is evident though he belonged to a wealthy family of the landlords in a village near Dhaka in East Bengal (now Bangla Desh). The reasons for his ‘dislike’ for landlords or upper class probably stem from having been a victim himself when after the death of his father in 1930, his family was denied share in the estate and was expelled. He along with his mother and brothers had migrated to Kolkata where they may have initially faced the same problem as Balraj Sahani in ‘Do Bigha Zameen’ when he migrated to Kolkata.

Rinki Roy Bhattacharya believes that some characters in his films may have been modelled on the traits of a few of his family members. For instances, the arrogant and authoritarian fathers in ‘Udayer Pathe’ (1944), ‘Parineeta’ (1953) and ‘Devdas’ (1955) may have been based on Bimal Roy’s authoritarian father. The character of a whip cracking school master in ‘Devdas’ may be a whip cracking Head Master of Bimal Roy’s school in Dhaka. Pran’s character in ‘Madhumati’ (1958) may have been inspired from his uncle Jogeshchandra Roy who loved wines, women and dances.

During his filmy career, Bimal Roy directed 15 Hindi films which included his classics and popular films like ‘Parineeta’ (1953), ‘Do Bigha Zameen’ (1953), ‘Biraj Bahu’ (1954), ‘Devdas’ (1955) ‘Madhumati’ (1958), ‘Yahudi’ (1958) ‘Sujata’ (1959), ‘Parakh’ (1960), ‘Prem Patra’ (1962) and ‘Bandini’ (1963) which was his last film as a director.

Bimal Roy also produced 7 Hindi films which he did not direct but gave the opportunity to direct most of them to his assistants. These films were ‘Amaanat’ (1955) directed by Aravind Sen, ‘Parivar’ (1956) and ‘Apraadhi Kaun’ (1957) both directed by Asit Sen (comedian), ‘Usne Kaha Thha’ (1960) directed by Moni Bhattacharya and ‘Kabuliwaala’ (1961) directed by Hemen Gupta who was unemployed at that time. ‘Benazir’ (1964) and ‘Do Dooni Chaar’ (1968) were directed by S Khalil and Debu Sen respectively due to Bimal Roy’s illness.

Those who had worked closely with Bimal Roy had said that he was a man of few words. It was very difficult to initiate a conversation with him. Dilip Kumar had said in an interview that he found the most peaceful atmosphere among the studios when he worked with Bimal Roy because no one was allowed to talk loudly. Nabendu Ghosh, his screen-play and dialogue writer, has said that Bimal Roy spoke little but smoked cigarettes a lot. Probably, his cigarette smoking may have resulted in lung cancer at a later stage which took his life on January 8, 1966.

At the time of his death, Bimal Roy had started work on ‘Do Dooni Chaar’ (1968) and ‘Sahaara’. While the first film was completed by one of his assistants, Debu Sen and got released in 1968, ‘Sahaara’ which was based on Bengali novel ‘Chaitali’ by Ashapoorna Devi got sheleved. In fact, Bimal Roy had done some shooting of the film with Dharmendra and Sharmila Tagore when he got ill on the set after which he never recovered. When Dharmendra became a top star from early 1970s, he convinced Bimal Roy’s wife, Manobina Roy to revive the film for which he arranged the finances and pursuaded Saira Bano to act in the film. Hrishikesh Mukherjee directed the film under its new title ‘Chaitali’ (1975).

One of Bimal Roy’s dream project which was very close to his heart was a bilingual film ‘Amrit Kumbh Ki Khoj Mein’ (Hindi and Bangla). He had started the work as early as 1960 when he had shot about one hour of footage of Ardha Kumbha Mela held at Allahabad in 1960. Gulzar was entrusted with writing the script for the film. It was his intention to complete the shooting of the film during the next Poorna Kumbh Mela. During the last stages of Bimal Roy’s illness when he was bed-ridden, Gulzar used to visit him every day and read out what he had written for the script of his favorite film. With the death of Bimal Roy, the film remained a dream. However, scenes shot for the film were converted into a 12 minutes of documentary film ‘Images of Kumbh Mela (1960) by his son, Joy Bimal Roy.

On the occasion of Bimal Roy’s 111th birth anniversary, I have selected a song, ‘main na boloon na boloon na boloongi’ from ‘Maa’ (1952), his first film in Mumbai as a director. The song is sung by Geeta Dutt which is picturised on Shyama. The song is written by Bharat Vyas which is set to music by S K Pal.

With this song, all the songs of ‘Maa’ (1952) have been covered in the Blog.

Acknowledgements: In writing this article, I have been greatly benefitted by the following sources:

1. ‘Bimal Roy – The Man Who Spoke in Picture’ (2009), a book containing a collection of articles, edited by Rinki Roy Bhattacharya, the daughter of Bimal Roy.

2. ‘The Cinema of Bimal Roy – An ‘Outsider’ Within’ (2017) by Shoma A, Chatterji. (Book).

3. ‘Ravi Paar Aur Anya Kahaaniyaan’ (1999) by Gulzar – Chapter on ‘Bimal da’.

4. Remembering Bimal Roy (2007) – A documentary film by Joy Bimal Roy.

Editor’s note: This song is the 5000th song from the decade of 1950s(1951 to 1960) to appear in the blog.

Video Clip:

Audio Clip:

Song-Main na boloon na boloon na boloongi (Maa)(1952) Singer-Geeta Dutt, Bharat Bhushan, Lyrics-Bharat Vyas, MD-S K Pal

Lyrics

main na boloongi
o main na boloon na boloon na boloongi
aaj mere chhote se dil mein
chhupa hai kya raaz main na kholoongi
aaj main na boloon na boloongi aaj

kya raaz hai
hai to bataao

saawan ki ithlaate baadal se poochh lo ji
baadal se poochh lo
kajraare nainon ke kaajal se poochh lo ji
kaajal se poochh lo
bhole baalam
mohe laage sharam
haaye laage sharam
bhole baalam
mohe laage sharam
haaye laage sharam
ye bharam apne man ka na kholoongi
aaj main na boloongi
aaj main na boloon na boloongi aaj
main na boloongi
ho main na boloon na boloon na boloongi
aaj mere chhote se dil mein
chhupa hai kya raaz main na kholoongi
aaj main na boloon na boloongi aaj

achcha
hum bhi nahin sunte

o o o o o
suna maine jo
wo kaise sunaaun
wo baaten tumhe main kaise bataaun
kaho ji kaise bataaun
kuchh khud samjho
kuchh khud samjho
kuchh meri palkan se samajh lo ji
palkan se samajh lo
kuchh dil mein chhupi dil ki dhadkan se samajh lo ji
dhadkan se samajh lo
bhole baalam mohe laage sharam
haaye laage sharam
bhole baalam mohe laage sharam
haaye laage sharam
ye bharam apne man ka na kholoongi
aaj main na boloongi
aaj main na boloon na boloongi aaj


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 :

4360 Post No. : 15683 Movie Count :

4321

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

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

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

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

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

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

India was no good in any other sports.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Likewise one can add the example of Indian Badminton too.

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

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

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

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

Video (Partial)

Audio (Full)

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

Lyrics(Provided by Avinash Scrapwala)(audio version)

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

hey maaraa
hey maaraa
hey maaraa
hey maaraa aa

aa haa
o ho
ae ae ae ae …
aa haa
o ho

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

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

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

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

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

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

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

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

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

hey maaraa
hey maaraa aa

aa haa
o ho
hey ae ae ae

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

aa haa
o ho
hey ae ae ae

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

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


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

Blog Day :

4346 Post No. : 15656 Movie Count :

4311

So far I have discussed three of the six feature films which Sai Paranjpye has directed in her filmy career – ‘Sparsh’ (1980) in “Geeton Ki Duniya Mein Sargam Hain Hum“,  ‘Chashm-e-Baddoor’ (1981) in “Is Nadi Ko Mera Aaina Maan Lo” and ‘Saaz’ (1997) in “Baa. . .dal Ghumadh Badh Aaye“. In this article, I take up one more film by her – ‘Disha’ (1990) which, is not well known to the public at large. Sai Paranjpye accords this film as her best feature film in terms of excellence in all the main departments of the film making – story, screen-play, dialogues, direction, and the acting contributions from all the actors associated with this film.

According to Sai Paranjpye, the story of the film was in the making process for about 17 years before it got fructified in 1990. The unique feature of the film is that the story is based on three different experiences she got over these 17 years which have no connection with each other. Yet, she weaved a story around three events linking them with a common theme of the problems of migrants and casual workers. She believed that the life around us offers so much material for the films that there is no need to get inspired from Hollywood movies. In other words, Sai Paranjpye’s sources of ‘plagiarisation’ are life around her.

Sometime in early 1970s, Sai Paranjpye made a visit to a village in Pune district along with her two friends who had adopted that village for water harvesting. During that time, she met a villager, an agricultural labourer who owned a small parcel of barren land. He was convinced that under his barren land was the source of water. So, for about 12 years, he had been digging the well, all alone in his free time, sometime even the whole night. But there was no trace of water. The villagers had branded him as a mad man. Fed up with his obsession for digging well, his wife has left him many times but would eventually return. And then one day, he struck water in the well. Villagers who were earlier calling him as mad man made him the hero of the village. The well was named after him. The story of that villager was cinematic but it was not enough to make a full-length film.

After few years, Sai Paranjpye met her friend, Sabhashini Ali (ex-wife of producer-director, Muzaffar Ali) in Mumbai. She was doing some social work among the mill workers who were mostly migrants and staying in what is known in Mumbai Chawls as Gala (a type of dormitory). This was at a time when old mills in Mumbai were in the verge of closure as they could not compete with mills with technologically advanced power looms.  She accompanied Sabhashini Ali to one of the Galas in mill area and was shocked to observe their staying conditions. In a single Gala, there were nearly 40 persons staying together in the shifts of 8 hours. They seem to enjoy their life. All were doing different activities – playing musical instruments, playing cards, shaving, some going out for practising lezim (folk dance). Sai Paranjpye talked to most of the mill workers after which she felt that it was a good theme for a cinema.

After some days, Sai Paranjpye once again met her two friends who had returned from Niphani after leading a protest against the tobacco growers and bidi makers for exploitation of tobacco workers. Those days, the middleman will recruit women from the nearby villages for making bidis at the end of which they would get daily wages based on the number of bidis they rolled in a day. But the middleman will exploit them by rejecting some rolled bidis on some false pretext. Also, some of the middlemen would make attempts for sexual favours as rewards for not rejecting some of the bidis rolled by them. Her two friends had taken up the issues with bidi factories and on behalf of the bidi workers.

With these three real stories, Sai Paranjpye wrote the script linking them with a common theme of the problems of migratory mill workers of Mumbai. This time, she decided to produce the film herself besides directing, writing the script, dialogues and songs. She roped in her favourite actors and also took Nana Patekar for the first time under her direction. The first part of the film was shot in a village near Pune. The second part of the film was shot in Mumbai in Sitaram and Indu Mills and the scenes of the migrant workers were shot in a real Gala of a Chawl. Some mill workers also acted in the films.

The main cast of ‘Disha’ (1990) consisted of Shabana Azmi, Om Puri, Nana Patekar, Raghuvir Yadav, Rajshri Sawant, Neelu Phule, Shayaji Shinde, Achyut Potdar etc. The gist of the story of the film is as under:

Bakuri is a non-descript village about one hour from Pune by road. In this village, the family of Parshuram (Om Puri) consisting of his wife, Hansa (Shabana Azmi), his five children and his younger brother, Soma (Raghuvir Yadav) stays in a hut. Parshuram is an agricultural labourer and has a small barren land in which nothing grows on it except the wild-flowers. However, he is convinced that under his barren land is the source of water. Hence for the last 12 years, he has been digging well, all alone whenever he is free. Hansa resents Parshuram’s obsession with digging well and often threatens to leave him. Soma plans to go to Mumbai for getting a job as most of the time, he is unemployed.

Soma is very friendly with Basanta (Nana Patekar) who stays with his old and sickly father (Neelu Phoole) in a hut close to Parshuram’s hut. Basanta is also an agricultural labourer whose marriage has been fixed with Phoolwanti (Rajshri Sawant) from an adjoining village. Basanta’s father wants his marriage to be performed with fun fare for which he takes a loan of Rs.10000/- against the hypothecation of a cow and a buffalo. The marriage of Basant and Phoolwanti is solemnised.

Soma comes to Mumbai for job and stays in a Gala where 40 other mill workers are staying, a few from his village. He gets a job in the mill. He sends money to his brother, Parshuram every month and sometime also sends readymade garments for his nephews and niece. Basanta, after his marriage feels uncomfortable as he is unemployed and the loan instalments are to be repaid which his father has taken for his marriage. So, he also departs for Mumbai in search of employment and lands in mill workers’ gala where his friend, Soma is also staying. Basanta also gets the job in the same mill where Soma is working.

After getting to know the realities in working condition in Mumbai, Basanta is determined to return to his village after working in the mill for 2-3 years and also advises Soma to return to the village  with him so that with the money they earned, they can start a cooperative farming in the village. But Soma is determined to work in Mumbai for a long time as he is now addicted to the life of Mumbai.

After few months of stay in Mumbai, Basanta calls his wife, Phoolwanti to Mumbai to show her the city. One of his roommates in the gala arranges a independent room in a chawl for 7 days. After seeing the staying conditions of Basanta in Mumbai, his wife tells him to return to the village as early as possible when she leaves Mumbai for her village.

In the meanwhile, to run the household, both Hansa and Phoolwanti works in a bidi making unit to roll bidis for which they get daily wages in terms of the number of bidis rolled. But the munshi (Achyut Potdar) of the bidi making unit tries to exploit them by finding their faults while rolling the bidis for which no amount is paid. His intention is to force them to give him some sexual favours.

At one time, Basanta’s father writes a letter to him to come to the village for some urgent work. He returns and finds that his father has got a transistor radio and supplies of bidis from Munshi. He also comes to know that his wife is working for a bidi making unit. He is unhappy that his wife has to work for running the household.

The next day, Parshuram strikes water in the well which he has been digging for 12 years. The whole village rejoices and the mad Parshuram becomes a hero in the village. There is a felicitation by the entire village during which he declares that the water in the well is for the entire village.

Basanta returns to Mumbai earlier than schedule and his friend, Soma is surprised. Basanta tells him that he got bored in the village within two days. Then there is a twist in the story. Basanta who has been pressurising Soma to return to the village along with him after 2-3 years, decides that he is going to work in Mumbai on a long-term basis to earn good amount of money as Soma has been advising him. However, this time, Soma surprises him by revealing that his brother has struck water in the well and he is going back to the village to do farming. The film ends with Soma boarding a state transport bus which is driving to his village away from Mumbai with Basanta struck in Mumbai.

From the above narration, the story of the film looks simple. I found the film interesting to watch because Sai Paranjpye in her usual way has relied on visuals to speak for the story along with some punch-line dialogues. For example, Shabana Azmi regards the well as her ‘soutan’ as Om Puri spends more time in the well than in the house. Sometime, he takes his afternoon siesta in the well itself. To this, Om Puri’s repartee to Shabana Azmi is that she should be thankful that her ‘soutan’ is ‘baanjh’ (infertile); otherwise one more platoon of children would have joined the family. Here ‘baanjh’ has another meaning in that despite digging for many years, water has not struck in the well.

The film was released in Mumbai in November 1991 and thereafter in Pune by Sai Paranjpye as no one was willing to distribute the film. It generated interest in the initial few days with house-full board. After watching the film, Manmohan Desai offered to release the film in the Delhi circuit. With the releases in limited theatres. the box office collection could barely cover the budget of the film.

The film did not get any award in India. However, when the film was shown in Chennai International Film Festival in 1991 as a private entry (it could not be shown in Indian Panorama as it had not won any award), it was highly appreciated because of which over a period of time, the film got invitations  in as many as 23 international film festivals all over the world where it has won 5 awards with cash prizes including one at Cannes international film festival.

Sai Paranjpye has mentioned in her book that the film had three songs. However, I found only two songs in the film – one is a lavani song and the other a fun song. Songs were not released on audio format. I am presenting the fun song, “Bambai Bambai Bambai Bambai Bam’ sung by Vinay Mandke, Ravindra Sathe, Tyagraj Khadilkar, Arun Joglekar and Chorus. The song is written by Sai Paranjpye which is set to music by Anand Modak. I am not able to segregate the lyrics according to playback singers as I am not familiar with their voices except that of Ravindra Sathe. I have also observed that playback singers seem to lip sync for multiple actors  According to Sai Paranjpye, the ‘anokhe bol’ in the song have been rendered by Vinay Mandke in addition to his part of the song.

The song is picturised in a gala where about 40 mill workers stay. Except for about  10 actors, rest of the participants in the song are real mill workers staying in the gala. If one goes through the lyrics of the song, it would be observed that the sad realities of mill workers (or for that matter, migrant workers in general) have been presented in the mask of a fun song. In the last two stanzas, there are ‘locals verses migrants’ theme presented in ‘lavani’ style. The prelude music of the songs with “Dhak Dhak Dhak. . .” is akin to the sound generated by the power looms of a mill when they are operational.

This song is the essence of the film’s main theme. With this song, ‘Disha’ (1990) make a debut in the Blog.

Acknowledgements:

Some of the information about the background for making the film ‘Disha’ (1990) is based on

  1. An interview conducted by Sridhar Rangayan and Saagar Gupta titled ‘Queen of Humour: A Candid Interview with Award-Winning Director and Writer Sai Paranjpye,’ South Asianist, Vol 2, No.3 (2010).
  2. The Marathi book, ‘Sai – Maaza Kalapravaas’ (2016) written by Sai Paranjpye.

Song – Bambai Bambai Bambai Bambai Bam (Disha) (1990) Singer -Vinay Mandke, Ravindra Sathe, Tyagraj Khadilkar, Arun Joglekar, Lyrics – Sai Paranjpye, MD – Anand Modak
Chorus

Lyrics

dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak
dhak dhak
dhak daa dham
dhak dhak
dhak dhak
dhak daa dham

arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
 
gaon mein behti doodh ki ganga aa
haay
gaon mein behti doodh ki ganga aa
kaanha murli bajaawat hai bhai 
kaanha murli bajaawat hai
aisa gokul chhoda… haay
aisa gokul chhoda bhai
kya narakpuri ye bhaawat hai
makdi ke jaal mein keeden ham
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam
 
dhuaan gootan aur bimaari
dhuaan gootan aur bimaari
yahaan jawaan mard ke baal pakey
har kuchh bikta hai is nagri mein
bol tumhaara chaar takey
arre chaar take bhi naahin kam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
 
wahaan aankh bichaaye baithi radha
aansoo uske sookh gaye
wahaan aankh bichaaye baithi radha
aansoo uske sookh gaye
bachche jo peechhe chhode wo
shaql baap ki dbhool gaye
bachche jo peechhe chhode wo
shaql baap ki bhool gaye
arre bhool gaye to kya hai gham
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bam bam bam bam
arre bambai bambai bambai bambai bam
bam bam bam bam
 
haaaaaaaaaaa
arre kameenon
beimaanon
badh badh taane dete ho
phir bharti kyunkar hote ho
tum phir bharti kyunkar hote ho
dham chik chik dham chik dham
arre bina bhulaaye tum mehmaan
upar se ho namak haram
waapas jaao
hari gun gaao,,o
waapas jaao
hari gun gaao
yahaan tumhaara kya hai kaam
yahaan timhaara kya hai kaam
kissa abhi karo ye khatam
khatam khatam bhai karo khatam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam bam bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam bam bam
 
aiyya
paapi pet yahaan le aaya…aa….aa
arre paapi pet yahaan le aaya
nagar nahi ye bhul bhulaiyya
khoon paseena yahaan bahaaya
arre khoon paseena yahaan bahaaya
iss nagri ka namak chukaaya..aa aa aa aaa
yahin basera ho ab hardam
yahin basera ho ab hardam
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
b-bam bam bambai
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam


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:

4311 Post No. : 15588

Today (7 may 2020) is the 159th birth anniversary of Rabindranath Tagore (7 May 1861- 7 August 1941).

Everyone knows a lot about Gurudev Rabindranath Tagore. He was not just a Nobel Prize winning poet, his acccomplishments, achievements and influence go much more farther than that. Curiously, his influence on our life is often subtle and goes unnoticed. But it is very much there.

He has influenced Indian movies, including Hindi movies as well. He was in fact the person writing the national anthem of India (and subsequently Bangladesh as well). The national anthem of India was already included in a Hindi movie called “Hamraahi”(1945) beore it could become national anthem. So, Gurudev Rabindranath Tagore got credited as a lyricist and music director in this Hindi movie posthumously, but before India could achieve her independence.

Rabindranath Tagore created a modern genre of Bangla music that took elements of Western music (western instruments, western notations etc) and combined it with the traditional folk music of Bangla. This fusion is today known as Rabindrasangeet. He himself created about 2000 songs based on Rabindrasangeet.

While most of these songs were non film songs, quite a few such songs were created for Bangla films. Even some Hindi movies had such songs, where tune remained same but lyrics were translated in Hindi.

The above mentioned “Hamraahi”(1945), which was the Hindi remake of ‘Udayare Pathe’ (1944), has a Bangla Rabindrasangeet song, something which the original Bangla movie did not have ! This song was recently covered by Mr Sadanand Kamath in the blog.

“Maa Beta”(1962) was directed by Lekhraj Bhakri for Tasweeristan, Bombay. This “social” movie had Nirupa Roy, Ameeta, Manoj Kumar, Vijay Dutt, Sheila Ramani, I S Johar, Lalita Pawar, Manmohan Krishna, Tarun Bose, Kumar, Manorama, Leela Mishra, Indra Bansal, Neelam, Shukla, Brahmdutt, Raj Prakash, Madhumati, Shaam Lala etc in it.

The movie had seven songs in it. Three songs have been covered in the past.

Here is the fourth song from “Maa Beta” (1962) to appear in the blog. This song is sung by Lata. Prem Dhawan is the lyricist. Music is composed by Hemant Kumar.

The picturisation shows Nirupa Roy seated on a stage and lip syncing this song while holding a sitar. A lady dressed in Bharatnatyam dancing costume performs a dance on this song. I am unable to identify the dancing lady. I request our knowledgeable to help identify her.

The music is south Indian style, as is the dance. Our regulars may wonder what this song has to do with Rabindra sangeet. It is the lyrics ! The lyrics are a very good translation of the original Bangla Rabindrasangeet song, Momomor megher sangi. Listening to the original Bangla Rabindrasangeet song shows that the tune is entirely different, even though music director is the same, viz Hemant Kumar. Hemant Kumar very wisely decided to use the essence of the lyrics, and created an entirely new tune for the movie, as required by the story line.

I noticed (as I was reminded of it by a few regulars) that today is the remembrance day of Prem Dhawan (13 June 1923- 7 may 2001) as well. So it is quite fortuitous that today we discuss a song that turns put to be a two-in- one tribute for two artists.

So, as a tribute to gurudev Rabindranath Tagore on the occasion of this birth anniversary, and Prem Dhawan on the occasion of his remembrance day, here is a Rabindrasangeet inspired song from the golden era of HFM.


Song-Man mera udta jaaye (Maa Beta)(1962) Singer-Lata, Lyrics-Prem Dhawan, MD-Hemant Kumar

Lyrics

man mera udta jaaye
baadal ke sang door gagan mein
aaj nashe mein gaata geet milan ke re ae
rimjhim rimjhim rimjhim
man mera udta jaaye
baadal ke sang door gagan mein
aaj nashe mein gaata geet milan ke re ae
rimjhim rimjhim rimjhim

aas ke pankh lagaa kar panchhi mastaana
pi ki nagariya aaj chala dil deewaana
aas ke pankh lagaa kar panchhi mastaana
pi ki nagariya aaj chala dil deewaana
ghan ghan baadal garje to kya
cham cham bijli chamke to kya
chanchal man to rukna kahin na jaane re
man mera udta jaaye
baadal ke sang door gagan mein
aaj nashe mein gaata geet milan ke re ae
rimjhim rimjhim rimjhim

uthti hain jaise saagar mein
kal kal chhal chhal karti tarangen
uthhti hain jaise saagar mein
kal kal chhal chhal karti tarangen
man mein waise hi jaag rahin
pal pal vyaakul mast umangen
aaj na roko pyaar ke is deewaane ko
haathon se dil jaata hai to jaane do
aaj na roko pyaar ke is deevaane ko
haathon se dil jaata hai to jaane do
tod chala ye bandhan saare
jahaan sajan ka pyaar pukaare
paagal hai man kab ye kisi ki maane re
man mera udta jaaye
baadal ke sang door gagan mein
aaj nashe mein gaata geet milan ke re ae
rimjhim rimjhim rimjhim


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. 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 :

4304 Post No. : 15571

chupke se kho gaya. . .

Searching through his list of songs, I chanced upon this gem of a melodious creation – one of those ‘love at first hear’ type songs that I have really come across after so many days. It has been sitting in my collection forever, and I pulled it today, looking for an unheard or less heard song to include in this post. The composition is quite atypical with a different sound structure attempted. A beautiful melody that I am sure you will also fall in love with.

Remembering C Arjun today, on the anniversary of his passing away (30 April, 1992).

Preparation for this post started a couple of days ago. And in the interim, the industry and the lovers of Hindi films have been shaken by the news of two luminaries passing away yesterday and today. Yesterday morning we got the news about Irfan Khan, who lost his battle with cancer at Kokilaben Hospital in Mumbai. The emotions are still to settle, and the second shocking news came in today morning. Rishi Kapoor, the darling Chintu Baba of the 1970s and 80s, lost his battle with leukemia at another Mumbai hospital today. Irfan Khan, 53 – too yuong, too early. Rishi Kapoor, 67 – lively, and a lot of life still to go. But alas no, this is the ‘as much’ that was ordained.

As I check out the dates on C Arjun today, when he passed away, he was 59. Just about midway between Irfan and Rishi, in terms of years. The writ of life is no one’s command – it is what it is. We see, we compare, we critique, we like, sometimes we ignore. But then, when the finality of the process dawns upon us, one is left with a vacuum somewhere inside that says – wish there was more. . .

Very little details are available about C Arjun’s life and times. The article in Pankaj Raag’s book dedicated to this music director is almost completely based on his work, the films that he did, and the wonderful songs that he has composed. Other than that, very little about the person himself.

He was born on 1st Sep, 1933 in Sindh. His full name – Arjun Chandnani, which was later modified to be C Arjun, for the sake of brevity in film circles, and to avoid any confusion with the name of his mentor music director Bulo C Rani (full name Bulo Chandirani). After partition, his family moved to and settled in Baroda.

C Arjun’s father was musically inclined and was a singer. There is no information available about his training. In one place, there is anecdotal mention that C Arjun fondly remembers being present at the recording of a song by Noorjehaan in Lahore. This anecdotal nugget does not carry any other details. We read about his career initiation in early 1950s – appearing as assistant music director working with Bulo C Rani, in films like ‘Shikaar’ (1955), ‘Aabroo’ (1956), ‘Baadshah Salaamat’ (1956) and ‘Jeevan Saathi’ (1957).

In 1958 came the hit Sindhi film ‘Abana’. In this film, C Arjun shared the credits for music direction with Bulo C Rani, and not just as an assistant. Then in 1960, he got his first break as an independent music director in Hindi cinema with the film ‘Road No. 303’. His career remained very patchy throughout, despite some of the most wonderful songs and ghazals created by him. The songs gained popularity with the listening public, but that never really translated into more work for him from the producers in the industry. Following is the list of films he has composed for,

  • 1961 Main Aur Mera Bhai
  • 1964 Punarmilan
  • 1965 Ek Saal Pehle
  • 1966 Chale Hain Sasural
  • 1966 Sushila
  • 1967 Lambu In Hong Kong
  • 1970 Mangu Dada
  • 1971 Ustad Pedro
  • 1973 Guru Aur Chela
  • 1975 Jai Santoshi Mata
  • 1976 Raksha Bandhan
  • 1977 Aankh Ka Tara
  • 1977 Subah Zaroor Aayegi (possibly a re-release of Sushila from 1966)
  • 1978 Nawab Saheb
  • 1980 Karva Chauth
  • 1981 Kaanoon Aur Mujrim

Unreleased Films
Sant Valmiki
O Mere Jaan e Jigar
Gunaahon Ka Mandir

Besides these, he also has given music to films in Sindhi, Gujarati and Haryanvi. He also has composed music for non-film albums in Sindhi. He was actually in a recording studio, rehearsing with artists for the recording of a Sindhi non-film album release, when he suffered a cardiac arrest and passed away.

Today’s song is from his debut Hindi film ‘Road No 303’. The film is produced under the banner of Mahesh Pictures, Bombay, by Bheeku Bhai and Ratan Kumar. The film is directed by Dharam Kumar. The star cast is listed as Shobha Khote, Mehmood, Bhagwan, KN Singh, Tiwari, Sheelu, Helen, Altaf, Maqbool, Raju, Mirajkar, Ramlal, Fazlu, Majnu, Joshi, Kashi, S Kerawala, Master Nisar, Bakshi and others.

The film has six songs, equally shared between the songwriters Jaan Nisar Akhtar and Naqsh Lyallpuri. This particular song is sung by Asha Bhosle. Only the audio of this song is available, and I request our more knowledgeable readers to please add more information about this song, and the movie itself.

A wonderful creation in my opinion. Listen and enjoy.


Song – Dil Ko Ye Kya Hua (Road No 303) (1960) Singer – Asha Bhosle, Lyrics – Naqsh Lyallpuri, MD – C Arjun

Lyrics

aaa aaaaaa
aaa aaaaaa

aaa aaaaaa
aaa aaaaaa

aa aaa aa aaa aa aaa aa aaa aa aaa aa aaa aa aaa aa aaa

dil ko ye kya hua
taaron ki chhaon mein
mehki hawaaon mein
chupke se kho gaya
dil
dil chupke se kho gaya
dil ko ye kya..aa hua. . .

maine khushi ka
dekha savera
jaaga ujala dooba andhera
mausam bhi hai jawaan
jhoome hai aasmaan
rangeen fizaaon mein
chupke se kho gaya
dil
dil chupke se kho gaya
dil ko ye kya..aa hua. . .

meri nazar mein
hain wo nazaare
deewana kar den jinke ishaare
saagar pe jhoom ke
lehron ko choom ke
sapnon ke gaon mein
chupke se kho gaya
dil
dil chupke se kho gaya
dil ko ye kya..aa hua. . .

mujh ko bulaayen
phoolo ki baahen
hansti hai mere jeewan ki raahen
sun ke bahaar ki
mastaana raagini
meethi sadaaon mein
chupke se kho gaya
dil
dil chupke se kho gaya
dil ko ye kya..aa hua. . .

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

आs आssss
आs आssss

आs आssss
आs आssss

आs आss आs आss आs आss आs आss आs आss आs आss आs आss आs आss

दिल को ये क्या हुआ
तारों की छाँव में
महकी हवाओं में
चुपके से खो गया
दिल
दिल चुपके से खो गया
दिल को ये क्या॰॰आ हुआ॰ ॰ ॰

मैंने खुशी का
देखा सवेरा
जागा उजाला डूबा अंधेरा
मौसम भी है जवां
झूमे है आसमां
रंगीं फिज़ाओं में
चुपके से खो गया
दिल
दिल चुपके से खो गया
दिल को ये क्या॰॰आ हुआ॰ ॰ ॰

मेरी नज़र में
हैं वो नज़ारे
दीवाना कर दें जिसके इशारे
सागर पे झूम के
लहरों को चूम के
सपनों के गाँव में
चुपके से खो गया
दिल
दिल चुपके से खो गया
दिल को ये क्या॰॰आ हुआ॰ ॰ ॰

मुझको बुलाएँ
फूलों की बाहें
हँसती हैं मेरे जीवन की राहें
सुनके बहार की
मस्ताना रागिनी
मीठी सदाओं में
चुपके से खो गया
दिल
दिल चुपके से खो गया
दिल को ये क्या॰॰आ हुआ॰ ॰ ॰


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 TWELVE years. This blog has over 16000 song posts by now.

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

Important Announcement

(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

16060

Number of movies covered in the blog

Movies with all their songs covered =1232
Total Number of movies covered =4388

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Active for more than 4000 days.

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