Archive for the ‘joie de vivre’ Category
Jawaanee kaa zamaanaa come
Posted on: April 10, 2024
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5745 | Post No. : | 18267 |
“Daada”(1949) was produced by Sheikh Mukhtar and directed by Harish for Omar Khayyam Films Limited, Bombay. The movie had Sheikh Mukhtar, Shyam, Munawwar Sultana, Begam Para, Mukri, Muraad, Ansari, Pratima devi, Maya Bannerjee, Cuckkoo, Shamshad Khan, Neela devi, Suraiyya Sultana etc in it.
“Daada”(1949) had ten songs in it that were penned by four different lyricists and sung by four singers. Nine songs from the movie have been covered so far.
Here are the details of the songs covered so far:-
| SNo in Blog | Song Title | Singer/s | Lyrics | Posted On | Remarks |
|---|---|---|---|---|---|
| 4585 | Chal chal chameli baag mein | Shamshad Begam, G M Durrani | Shewan Rizvi | 8 September 2011 | |
| 8444 | Main boloon piya piya | Surinder Kaur, Mukesh | Shewan Rizvi | 1 August 2013 | |
| 8448 | Tera kisi se pyaar thhaa | Mukesh, Suriinder Kaur | Shewan Rizvi | 2 August 2013 | |
| 8857 | Saari duniya four twenty | Mukesh, Surinder Kaur | Shewan Rizvi | 20 October 2013 | Post by Sudhir jee |
| 8906 | Badi zulmi tamanna hai dil mein | Shamshad Begam,Mukesh | Majrooh Sultanpuri | 30 October 2013 | Post by Sudhir Jee |
| 11593 | Ae chaand tere saath to rehte hain sitaare | Surinder Kaur | Rafi Ajmeri | 25 November 2015 | |
| 13630 | Aa jaao phir zara meri bigdi ko banaane | Shamshad Begam, Surinder Kaur | Majrooh Sultanpuri | 4 October 2017 | |
| 13644 | Le duniya teri chhod chale | Shamshad Begam | Shewan Rizvi | 10 October 2017 | |
| 13815 | Saath mere hain saanwariya | Shamshad Begam | Hussain Hyderabadi | 16 December 2017 |
Here is the tenth and final song from the movie to appear in the blog. HFGK describes it as sung by Shamshad Begam and chorus. But the song has another female voice and a male voice. The female voice sounds like Surinder Kaur (who has sung other songs in the movie). I have not been able to identify the male voice though it sounds like Rafi to me. But then Rafi did not sing any songs in this movie.. This is the only song of the movie whose lyricist is not known.
I request our knowledgeable readers to throw light on the identity of the singers as well as that of the lyricist, and also picturisation.
The song is a fun playful song. I have not been able to get many words in the song to my satisfaction. I request our readers with keener ears to help fill in the blanks/ suggest corrections wherever applicable.
With this song, all the ten songs of “Daada”(1949) have been covered in the blog. The movioe thus joins the list of movies that have been YIPPEED in the blog.
Song-Jawaani ka zamaana come come dear(Daada)(1949) Singers-Surinder Kaur, Shamshad Begam, Unknown male voice, Lyrics-Unknown, MD-Nashaad
Lyrics
jawaani ka zamaana come
jawaani ka zamaana come
come come come
dear come come
chalo khelen kabaddi ham
ham
chalo khelen kabaddi ham
come come come
dear come come
kabaddi ham
kabaddi ham
kabaddi ee
jawaanee se ??
chali jaati hai jo pal pal
chali jaati hai jo pal pal
jab jab hook uthhti hai
phir chham chham se ?? hai
kahin ?? kahin madhyam
kahin ?? kahin madhyam
come come come
dear come come
chalo khelen kabaddi ham
ham
chalo khelen kabaddi ham
come come come
dear come come
chal beta aamchoo
aamchoo aamchoo
kaala badaamcoo
chhua chhui
chhua chhui
chhua chhui
hoy
chhua chhui
chhua chhui
chhua chhui
titititi thai taam titaam taam titaam thhai thai
o o
chhum chhum kartee aaun
main aaun
o o
?? kar dil le jaaun
le jaaun
aur haath kabhi na aaun
sajaniya
??
are bam chiki chiki bam
bam chiki chiki
bam chiki chiki
bam chiki
hoye
hoye
chhua chhui
chhua chhui
chhua chhui
hoy
hhua chhui
chhua chhui
chhua chhui
titititi taam titaam taam titaam thhai thai
rang laal ghodi
lagaam ??
rang laal ghodi
lagaam ??
?? zyaada
to chaal dikhaaye ghodee
o daudee daudee daudee
o duggi duggi dugg
o daudee daudee
?? ghodee
?? daudee
?? ghodee
?? daudee
teree meree jodee
??
aamchoo aamchoo
kaalaa badaam choo
chhua chhui
chhua chhui
chhua chhui
hoy
hhua chhui
chhua chhui
chhua chhui
aa aa aa aaa
chhua chhui
chhua chhui
chhua chhui
hoy
chhua chhui
chhua chhui
chhua chhui
- In: Asha Bhonsle solo | Asha Bhonsle songs | Dance song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Happy song | Introduction song | joie de vivre | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Songs of 1950s (1951 to 1960) | Songs of 1958 | Yearwise breakup of songs
- 2 Comments
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5663 | Post No. : | 18165 |
Today’s song is from a costume film ‘Raj Pratigya’ (1958).
This is yet another film, with a story of King and Queen. I have seen this film and have its story with me. Otherwise also, the film’s title and the cast are a clear giveaway enough to declare this film as a Raja-Rani film. The only difference is, this film’s story is based on the background of 2 warring kingdoms, Magadh and Malawa, which existed in olden times in India. After seeing such films, one gets the answer why and how the Mughals or the Europeans could win in India and managed to rule it despite the population being majority Hindus and the rulers in a disciplined minority. The majority was busy fighting among themselves rather than with the invaders jointly !
This costume dominated film was produced by Gauri Shankar Goyal for Dinesh Films, Bombay. It was directed by Jaswant Zaveri, who had directed 14 films in the span of 18 years – from 1946 (‘Hoor e Jungle’) to 1964 (‘Hameer Hath’). The decade of the 1950’s was an unique one. A total of 1125 films were censored from 1951 to 1960 and these included almost every possible film genre. This was probably the only decade which had offered a variety of entertainment to every type of audience. The decade had films from genres like mythology and religion (124 films), costume dramas (93 films), adventure, patriotic, murder and mystery, detective, horror, comedy, tragedy, musicals, family drama, social, crime, folk story, stunt, action, historicals, imaginary, romantic etc.
Directors like Jaswant Zavery and banners specialized in making costume or stunt films falling under B or C grades, slowly disappeared after the 50’s, once these types of films being made diminished due to changing public taste. The music director of this film was a name which is not very famous or well known – Sanmukh Babu Upadhyaya. The story of Sanmukh Babu Upadhya, is not uncommon in the Hindi film industry.
I am sure not many will know about this composer. He was one of those artistes in the film industry who had immense talent but luck did not favor him.
Sanmukh Babu Upadhyaya was born on 13-9-1920 in Surat, Gujarat. His father Manibhai and brother Dinanath were music experts, thus Sanmukh had music as a traditional asset. Soon he acquired expertise in playing jal tarang and violin. Later in his life he became a well known violin player of Gujarat. In 1940, he met Gujarat’s famous singer Master Vasant (also from Surat) and he had a chance to play his instruments in the courts of Porbandar, Jamnagar, Baroda, Udaipur, Bikaner, Bhopal etc.
In 1942 Sanmukh Babu came to Bombay. He happened to meet Dinkar Rao Amembal, an official in All India Radio, by chance. Sanmukh Babu was taken in AIR services and he served for the next 5 years. He also went to Africa for one year to do stage shows.
After coming back, he joined Avinash Vyas as an assistant in the work of a Gujarati film and later in the famous Hindi film ‘Har Har Mahadev’ (1950). He was an expert in jal tarang and violin. His service at AIR had given him exposure to many famous musicians and this helped him a lot. Next few years he participated in many ballets and dance dramas in Gujarati and Hindi, along with Avinash Vyas.
He got his first break as an independent music director of Hindi film ‘Lalkar’ (1956), with the help of Kavi Pradeep. He gave music to 7 Hindi films – ‘Lalkar’ (1956), ‘Amar Singh Rathod’ (1957), ‘Sati Pariksha’ (1957), ‘Naag Padmini’ (1957), ‘Raaj Pratigya’ (1958), ‘Amar Prem’ (1960) and ‘Hamir Hath’ (1964).
When it became clear that he was getting only C grade films – action or historical and that no big banner ever offered him a film, he left the film industry. Next few years he devoted his time in directing ballets and dance dramas in Hindi and Gujarati. He cut several private records of his music. He also gave solo performances of violin all over the country.
It is unfortunate that his melodious music did not get enough opportunities or recognition, in the changing environment of film music of the 60s and the 70s, but he had no regrets. Sanmukh Babu Upadhyaya died on 24-2-1984, simply adding yet another name to the list of talented but less known composers.
The cast of the film was Nirupa Roy, Jairaj, Arun Ahuja (father of actor Govinda), BM Vyas (younger brother of Bharat Vyas, the lyricist of this film), Arvind Pandya (hero and singer of Gujarati stage and films), Sunder (one time hero and singer), Ramesh Sinha, Sabita Chatterjee, Sadiq Ali (once called ‘The Prince of Minerva’), Praveen Pal, Dar Kashmiri (elder brother of actor Jeevan) and many others. The lead pair of Nirupa Roy and Jairaj were famous for acting in historical and costume films like today’s film. They acted in 20 such films together. I have special feelings for Jairaj as he not only hailed from Nizam state, from where I too come, but also we studied in the same college – Nizam College, not together of course.
Born on 28-9-1909 in Karimnagar (Hyderabad state, now Telangana State) in a cultured family, young Jairaj was schooled in Rishi Valley school. Thereafter he joined the Nizam’s college where he participated in Shakespearean plays. He hailed from a very cultured family with lofty connections – his mama was married to Sarojini Naidu. His father, a government official, passed away and his mother followed suit when he was barely 19 and the youngest among three brothers, Jairaj was totally heartbroken and shifted to Mumbai.
“He wanted to join the Navy but he was delayed for the recruitment. He befriended his filmi neighbors, who urged him to join films because of his strapping physique. He was nearly six feet tall,” relates Deepa, his daughter in her interview.
His film career took off as a body-double stuntman in the Sharda Film company. He would be interested in all aspects of film making – from camera work, edit to lab processing. Not before long, he got his first acting break as the hero’s friend and his body-double during stunt scenes in ‘Jagmagati Jawani’ (1929) and graduated to playing the hero. His distinguished looks and physique landed him the lead role. However, his second venture ‘Raseeli Rani’, was his first release. He acted in as many as 11 silent films between 1929-1931. Jairaj in an earlier interview had elaborated on how silent films were made – “All shooting took place in natural sunlight. Our day began and ended early. We reached the sets by 7.30 in the morning and packed up by 5 in the evening… We all learnt the craft by trial and error. We discussed the story together, developed it and then started shooting… It was a challenge, you had to make people laugh, cry or get angry through facial expressions and gestures only. Charles Chaplin is the best example of this art. But then, cinema, unlike the stage, is a visual medium. That was why silent movies had universal appeal.”
After the first talkie film, ‘Alam Ara’, in 1931, Jairaj also switched over to talkies. Being a Hyderabadi, he was fluent in Urdu and that proved to be a big asset for him. ‘Shikari’ (1932), replete with tigers, lions and snakes, was his first talkie.
With sound came songs and Jairaj was handicapped by the fact that he was no singer. Jairaj too was expected to sing songs. He did not like singing, because he was horrible at singing. The music director of the film ‘Patit Paawan’ (1933) was Prof BR Deodhar, who was a classical singer himself. (Later on he established a musical school). He was determined to make Jairaj sing a song. Finally a song was recorded and filmed – “Prem Magan Sakhi”. Jairaj had sung it so badly, that the song was removed from the film from the second show itself. Jairaj is probably the only hero of those days who never sang in films. Even after playback singing became the norm, Jairaj has ip-synced only 28 songs on screen despite acting in nearly 215 movies! But he managed to stay in the reckoning by starring in action films. With the introduction of playback singing, he forged forth with films like ‘Rifle Girl’, ‘Bhabhi’, ‘Panna’ and ‘Mahasagar No Moti’ – which were all hits.
The 1950s and early ’60s was Jairaj’s golden era as an actor as he essayed a variety of roles of hero, villain and even comedian. He was, however, celebrated for his wide range of historical roles, playing Chandrashekhar Azad, Amar Singh Rathore, Prithviraj Chauhan, Rana Pratap, Shaheed Bhagat Singh and Tipu Sultan. “Papa was a natural rider and that helped,” opines Deepa.
Jairaj featured in over 200 films during which he romanced all the top heroines of his times – Devika Rani, Khursheed, Nigar Sultana, Nadira, Shakila, Durga Khote, Nirupa Roy, Nimmi, Suraiya, Madhubala and Meena Kumari. “He was the first kissing star of his times, he was lip-locked with his heroine Madhuri in ‘Jagmagati Jawani’. “He was also the first superman of the Indian screen,” informs Rajan Shahi about the on-screen shenanigans of his nana ji.
“Although Papa was famous for his parties, he was never involved in any scandal. All his heroines regarded him as their close friend. I remember, Nargis had knitted him a sweater monogrammed with his initials!”, Deepa reminisces fondly.
Jairaj started accepting character roles from the mid 60s. His roles in ‘Insaniyat’, ‘Baharon Ke Sapne’, ‘Neel Kamal’, ‘Raaste Aur Manzil’ are memorable. Also his most cameos in ‘Don’, ‘Masoom’ and ‘Khoon Bhari Maang’ are known to viewers today. Jairaj had also acted in three international films, the Russian co-production with KA Abbas ‘Pardesi’, MGM’s ‘Maya’ and 20th Century Fox’s ‘Nine Hours To Rama’. The last film was based on Mahatma Gandhi’s assassination and was banned in India!.
Jairaj produced and directed ‘Saagar’ starring Nargis, Dilip Kumar and Bharat Bhushan in 1951. “It was based on Lord Tennyson’s poem ‘Enoch Arden’. It was a story about two brothers living in a seaside town and the younger brother sacrifices his love as the elder brother is in love with his sweetheart. But papa lost all his money in his maiden production,” Deepa recalls sadly. Jairaj had confessed in an earlier interview, “I did not have the business acumen to produce and promote a film. Unlike others producers, I had invested my own money,” he had admitted regretfully. Jairaj was forced to sell his office and it was the most frustrating period of his career. He went back to acting and recovered.
He also directed films like ‘Mala’ (1941, jointly with Mahendra Thakur), ‘Pratima’ (1945), ‘Saagar’ (1951) and ‘Mohar’ (1959). He also directed two television serials – ‘Taana-Baana’ and ‘Katha Sagar’. In all Jairaj acted in 215 Hindi films and directed 4 films in his career.
Jairaj was hailed as the industry’s friend. He was a keen sportsman and an artiste. He would organize all the charity cricket matches that stars played. He also designed musical shows and award ceremonies. He also took keen interest in the propagation of classical dance and music. “While he managed the entire show by drawing sketches of the stage to star performances, veteran character artiste David would compere the shows,” Deepa recalls.
He was close friends with the Kapoors. “So much so that both our families would go on vacations together,” Deepa recalls happily how Prithviraj and his sons were like their extended family.
Prithviraj Kapoor and Jairaj were the founder members of the Cine Artistes’ Association in 1939. In 1981 Jairaj was honored with the prestigious Dada Saheb Phalke award for his outstanding contribution to Indian cinema, a most deserving honor. Interestingly, Jairaj starred in Gujarati and Marathi films but never in Telugu, which was his mother tongue.
Prithviraj’s father had arranged his marriage to a Punjabi girl from Delhi and the two were blessed with six children. Of his two sons Dileep Raj even starred in KA Abbas’ ‘Sheher Aur Sapna’ (1963) and ‘Aasmaan Mahal (1965) and was then hailed as the ‘next Raj Kapoor’. “But he couldn’t sustain his success. He now writes films and serials, while Jai Tilak, our second brother, became an engineer and he settled in Chicago. All of us four sisters were married out of Mumbai and out of the film industry,” updates Deepa.
Rajan, his grandson, is the sole torchbearer of Jairaj’s showbiz legacy. “Nana ji advised me to build goodwill in the industry. Name and fame will come and go, only your good will see you through, he said. That’s the most valued mantra for me,” admits his grandson gratefully.
Jairaj passed away on August 11, 2000 at the ripe age of 91, leaving behind a rich legacy. (Based on the interview of Deepa Shahi, with thanks, and my notes).
Today’s song is sung by Asha Bhosle. Enjoy….
Song- Mera naam Saanwri main aayee tere gaanv ree (Raaj Pratigyaa)(1958) Singer- Asha Bhosle, Lyricist-Bharat Vyas, MD- Sanmukh Babu
Lyrics
dil ko chain miley
jab miley preet ki chhaanv
sawaa haathh ka ghoonghat kheenchey ae ae
aayee tere dwaar
mera naam saanwri
main aayi tere gaanv ri
mera naam saanwri
main aayi tere gaanv ri
o saanwariyaa aa aa
saanwariya mere dil ko sambhaal rakhna
jaadu daal rakhna
mera khyaal rakhna
mera naam saanwri
main aayi tere gaanv ri
mera naam saanwri
main aayi tere gaanv ri
ho o o
o o o
kaari kaari koyaliya ki
kuhu chura kar laayi
phool kee khushboo udaa kar laayi
pawan ka pankh lagaa kar aayi
ke naina khol de re
umad ghumad saawan ke jaisi
ghata main ban ke aayi
poonam ki chhata main ban kar aayi
roop atpata main ban kar aayi
ke waah waah bol de re
mera naam saanwri
main aayi tere gaanv ri
mera naam saanwri
main aayi tere gaanv ri
ho o o
o o o
jab main nikloon ban thhan ke to
jab main nikloon ban thhan ke to
log dekh chakraayen
phool bagiya ke khil khil jaayen
chandrma badlee mein chhup jaaye
main chamkoon chaandni re
jab main naachoon gher ghaaghre
ka mera lehraaye
ke jisko dekh mor sharmaaye
hiraniyon ki kataar ruk jaaye
main aisi kaamini re
mera naam saanwri
main aayi tere gaanv ri
mera naam saanwri
main aayi tere gaanv ri
o saanwariyaa aa aa
saanwariya mere dil ko sambhaal rakhna
jaadoo daal rakhna
mera khyaal rakhna
mera naam saanwri
main aayee tere gaanv ri
mera naam saanwri
main aayee tere gaanv ri
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
दिल को चैन मिले
जब मिले प्रीत की छांव
सवा हाथ का घूँघट खींचे॰॰ए
आई तेरे द्वार
मेरा नाम सांवरी
मैं आई तेरे गाँव री
मेरा नाम सांवरी
मैं आई तेरे गाँव री
ओ साँवरिया॰॰आ॰॰आ
साँवरिया मेरे दिल को संभाल रखना
जादू डाल रखना
मेरा ख्याल रखना
मेरा नाम सांवरी
मैं आई तेरे गाँव री
मेरा नाम सांवरी
मैं आई तेरे गाँव री
हो ओ ओ
ओ ओ ओ
कारी कारी कोयलिया की कुहु चुरा कर लाई
फूल की खुशबू उड़ा कर लाई
पावन के पंख लगा कर आई
के नैना खोल दे रे
उमड़ घुमड़ सावन के जैसी घटा मैं बन कर आई
पूनम की छटा मैं बन कर आई
रूप अटपटा मैं बन कर आई
के वाह वाह बोल दे रे
मेरा नाम सांवरी
मैं आई तेरे गाँव री
मेरा नाम सांवरी
मैं आई तेरे गाँव री
हो ओ ओ
ओ ओ ओ
जब मैं निकलूँ बन ठन के तो
जब मैं निकलूँ बन ठन के तो
लोग देख चकराएँ
फूल बगिया के खिल खिल जाएँ
चंद्रमा बदली में छुप जाये
मैं चमकूँ चाँदनी रे
जब मैं नाचूँ घेर घाघरे का मेरा लहराए
के जिसको देख मोर शरमाये
हिरणीयों की कतार रुक जाये
मैं ऐसी कामिनी रे
मेरा नाम सांवरी
मैं आई तेरे गाँव री
मेरा नाम सांवरी
मैं आई तेरे गाँव री
ओ साँवरिया॰॰आ॰॰आ
साँवरिया मेरे दिल को संभाल रखना
जादू डाल रखना
मेरा ख्याल रखना
मेरा नाम सांवरी
मैं आई तेरे गाँव री
मेरा नाम सांवरी
मैं आई तेरे गाँव री
- In: "bicycle" song | "Zindagi" song | Amitabh Bachchan present (without lip syncing) | Amitabh Bachchan songs | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | joie de vivre | Love song | Lover's tête-à-tête | Lyrics contributed by readers | Post by Sadanand Kamath | Songs of 2000s (2001 to 2010) | Songs of 2003 | Sonu Nigam Songs | Sonu Nigam-Sunidhi Chauhan duet | Sunidhi Chauhan Songs | Yearwise breakup of songs
- 2 Comments
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5661 | Post No. : | 18163 | Movie Count : |
4876 |
Happy birthday to actor-writer-director, Honey Irani who completes 74 years today (17 January 2024). She shares her birth date with her ex-husband, Javed Akhtar who turns 79 today.
Honey Irani is the daughter of Noshir Irani who was one of the partners of Mumbai’s famous Irani Bakery and restaurant, B Merwan & Co. located opposite Grant Road railway station. (I used to visit this place almost every Saturdays to buy their famous maawa cake). Her mother, Perin Irani was fond of Hindi films and was firm that her children should work in films. Honey Irani is the youngest among 5 siblings – Maneka Irani, Bunny Irani, Sarosh Irani and Daisy Irani. Maneka Irani was married to producer-director-actor, Kamran Khan. Farah Khan and Sajid Khan are their daughter and son respectively. Daisy Irani was married to KK Shukla who was a story and screenplay writer. Sarosh Irani was a child actor in early 1960s. He assisted his uncle Kamran in his films. Later, he was associated with B Merwan & Co as one of the partners. Perin Irani produced the film, ‘Bachpan’ (1963) in which her daughters, Maneka Irani and Daisy Irani acted.
My cinematic acquaintance with Honey Irani (also of her elder sister, Daisy Irani) was as a child actor who sometimes got boy’s roles. Her debut film as a child actor was ‘Ek Gaon Ki Kahaani’ (1957). Two songs which have remained in my mind for a long time in which she had an important role as a child actor were “Tim Tim Karte Taare” in ‘Chiraag Kahan Roshni Kahaan’ (1959) and “Naani Teri Morni Ko Mor Le Gaye” in ‘Maasoom’ (1960). As a child actor, Honey Irani has worked in about 20 films and in adult roles in 6 films. She gave up acting in the films after her marriage with Javed Akhtar in 1972. They separated in 1978 and got divorced in 1984. However, they have remained friends.
Today’s generation knows Honey Irani as the mother of the successful film makers, Farhan Akhtar and Zoya Akhtar. But she is more than that. She has moved her filmy career from the front of the camera to behind the camera by turning first, as assistant director to Ramesh Talwar for ‘Basera’ (1981), ‘Duniya’ (1984), and ‘Zamaana’ (1985), and later, as a story and screen-play writer. She had a natural flavor for storytelling from her childhood. She has also been writing short stories as a hobby, but was afraid to publish them as it may be construed as indirect contributions from her now ex-husband Javed Akhtar. Her flavor for writing was recognized by Pamela Chopra, wife of Yash Chopra when she read her story, ‘Aaina’ and had planned to make a TV Serial on this story. However, when Yash Chopra read the story, he decided to make a full-length film, ‘Aaina’ (1993) at a later time. Instead, he gave her to write the full story and screenplay for ‘Lamhe’ (1991) by giving her the basic framework of the story.
After ‘Lamhe’ (1991) was critically acclaimed for its bold story, she wrote story/screenplay for ‘Parampara’ (1992), ‘Darr’ (1993), ‘Suhaag’ (1994), ‘Laawaaris’ (1999), ‘Kaho Na Pyaar Hai’ (2000), ‘Kya Kehna’ (2000), ‘Koi Mil Gaya’ (2003), Krissh’ (2006) and ‘Krissh 3’ (2013) etc. So far, she has written story/screenplay for 18 films. Most of her stories are on human relationship with women-oriented themes. With ‘Armaan’ (2003) she made her debut as a director, the only film she has directed so far.
‘Armaan’ (2003) was produced by Dinesh Gandhi and was directed by Honey Irani. The star cast included Amitabh Bachchan, Anil Kapoor, Preity Zinta, Gracy Singh, Aamir Bashir, Randhir Kapoor, Arun Bali, Prithvi Zutshi, Preety Dayal, Suhita Thatte, Vijay Kenkre, Rajiv Kumar etc. Probably, this is the first film in which Amitabh Bachchan and Anil Kapoor worked together. The film was premiered at IIFA Awards Night at Johannesburg on May 16, 2003, and had a simultaneous theatrical release.
According to Honey Irani, it was her childhood dream to become a doctor. However, due to her busy schedule as a child actor, she could not even complete her schooling leave alone becoming a doctor. The story of ‘Armaan’ (2003) written by her, reflected her imaginations of doctor-patient relationship and also the troubled human relationships in which there are bitter-sweet moments. She decided to make a debut as a director for this film because the subject was close to her heart. (Source: Honey Irani’s interview published in ‘The Telegraph online’, January 26, 2023).
The story of the film is as under:
Dr Siddharth Sinha (Amitabh Bachchan) runs a hospital with his adopted son, Dr Aakaash Sinha (Anil Kapoor) who is a Neurosurgeon. Dr. Neha Mathur (Gracy Singh) joins the hospital as an Anesthetist. Initially, Neha and Aakaash do not get along well as there are professional as well as personal differences in their approach.
Dr Siddharth wants to expand as well as upgrade the hospital for which he forms a group of experts to submit the project report. From the doctor’s perspective, both Aakaash and Neha are also required to jointly prepare and submit a project report. During this time, both Neha and Aakaash come closer and reveal their love for each other.
The expansion and upgradation of the hospital require financial backing which Dr Siddharth is desperately looking for. Here comes in the scene the super-rich, Gulshan Kapoor (Randhir Kapoor) with his spoiled daughter, Sonia Kapoor (Preity Zinta) who has fallen in one-sided love with Aakaash after they met at a party. Gulshan Kapoor offers to bear the financial cost of the expansion and the modernization of the hospital, In return, he wants Aakaash’s hands in marriage with his daughter, Sonia. Siddharth rejects the offer as he already knows that Aakaash is in love with Neha.
The circumstances drastically changes when Siddharth dies of heart-attack. Aakaash is now in desperation to fulfill his father’s dream of upgrading his hospital for which he needs financial help. So, Aakaash sacrifices his love for Neha by marrying Sonia. Neha understands Aakaash’s predicament and moves on with her life by continuing to work in the hospital.
Post-marriage with Sonia, Aakaash has to face the unpredictable behavior of his wife who is possessive about Aakaash and jealous with Neha. Her bizarre behavior at home affects Aakaash’s professional works in the hospital. It is a hell of a life for him to deal with a wife who is akin to a mental case. The death of Neha’s mother in the hospital due to Aakaash’s absence at the operation theater creates his intense dislike for his wife who had deliberately not informed him about the surgery. He leaves the house never to return to his wife.
Angered by Aakaash’s behavior, Sonia takes a revolver and drives her car to reach Neha’s house, probably to kill her. However, due to her intense anger in her mind, Sonia losses control of her car and is met with an accident with a serious head injury. She is brought to the hospital where her chances of the success of her brain operation is minimal. As a neurosurgeon, it is a challenge for Dr Aakaash to make her brain surgery successful to give Sonia a second life. On the other hand, if operations is unsuccessful, people would talk about his professional integrity especially in the background of the strained relation with his wife.
Aakaash conducts Sonia’s brain surgery successfully against all odds with the help of Neha. Sonia is discharged from the hospital. After a couple of months when she has fully recovered, Sonia visits Aakaash and tells him that after a successful surgery, her brain has become hyper-active which is telling her that they are not made for each other. She hands over the divorce papers signed by her to Aakaash and leaves his house for London. Aakaash and Neha are united.
I enjoyed the film though some parts of the story did appear familiar to me. All the four main actors have given good performances with Preity Zinta in her grayish role topping the list. The film was pleasing to my eyes because of its hill station backdrop with forest trails.
The film had 7 songs including one version song which were written by ‘birthday boy’, Javed Akhtar and set to music by Shankar-Ehsaan-Loy. I present the first song from the film, “Meri Zindagi Mein Aaye Ho” to appear on the Blog. The song is rendered by Sunidhi Chauhan and Sonu Nigam. One can call it a ‘cycle song’ during which both Anil Kapoor and Gracy Singh express love for each other while cycling on a road passing through forest.
The background to the song is that Dr. Neha Mathur (Gracy Singh) and Dr. Aakaash Sinha (Anil Kapoor) work in a hospital as colleagues. But they are loggerhead with each other – both professionally and personally. It is during their project work for the upgradation of the hospital, they become close. This song follows when both reveal their love for each other.
Javed Akhtar surely wrote this song keeping in mind the situation in the film. But if he had written this song in 1972, he would have dedicated this song to Honey Irani. It was after his marriage with her in 1972 that he tasted tremendous successes as a writer in ‘Seeta Aur Geeta’ (1972), ‘Zanzeer’ (1973), ‘Majboor’ (1974), ‘Sholay’ (1975), ‘Deewaar’ (1975), ‘Don’ (1978), ‘Trishul’ (1978) etc.
Video Clip:
Audio Clip:
Song-Meri zindagi mein aaye ho (Armaan)(2003) Singers-Sunidhi Chauhan, Sonu Nigam, Lyrics-Javed Akhtar, MD-Shankar Ehsan Loy
Both
Lyrics (based on audio clip):
meri zindagi mein aaye ho
aur aise aaye ho tum
jo ghul gaya hai saanson mein
wo geet laaye ho tum
meri zindagi mein aaye ho
aur aise aaye ho tum
jo ghul gayaa hai saanson mein
wo geet laaye ho tum
ho tum hi kaho
tum hi kaho
dil jo aise gaaye
koi kyon na gungunaaye
meri zindagi mein aaye ho
aur aise aaye ho tum
jo ghul gayaa hai saanson mein
wo geet laaye ho tum
o ho o o o
o o
ho o o o
o o
o ho o o o
o o
ho o o o
o o
o ho o o o
o o
o ho o o o
o o
tumko paa ke
hans ke gaa ke..ae
nikhri hai sanvri hai zindagi
ujli subahen rangeen shaamen
aa gayi ek nayi dilkashi..
ho maan bhi lo
maan bhi lo raat jo hai kehti
ye fiza jo samjhaaye
meri zindagi mein
o ho o o o
o o
ho o o o
o o
ho o o o
o o
ho o
o o
meri zindagi mein aaye ho
aur aise aaye ho tum
jo ghul gaya hai saanson mein
wo geet laaye ho tum
tum se pehle
dekhe kab thhe
maine ye khwaabon ke kaarwaan. . .
tum jo aaye
tum ho laaye
ankahee ansunee daastaan
o suno zaraa
suno zaraa
mera dil bhi haaye
wo kahaani dohraaye
meri zindagi mein
meri zindagi mein aaye ho
aur aise aaye ho tum
jo ghul gayaa hai saanson mein
wo geet laaye ho tum
ho tum hi kaho
tum hi kaho dil jo aise gaaye
koyi kyun na gungunaaye
meri zindagi mein aaye ho
aur aise aaye ho tum
jo ghul gayaa hai saanson mein
wo geet laaye ho tum
o ho o o o
o o
o ho o o o
o o
o ho o o o
o o
o ho o o o
o o
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
मेरी ज़िंदगी में आए हो
और ऐसे आए हो तुम
जो घुल गया है साँसों में
वो गीत लाये हो तुम
मेरी ज़िंदगी में आए हो
और ऐसे आए हो तुम
जो घुल गया है साँसों में
वो गीत लाये हो तुम
हो तुम ही कहो
तुम ही कहो
दिल जो ऐसे गाये
कोई क्यों ना गुनगुनाए
मेरी ज़िंदगी में आए हो
और ऐसे आए हो तुम
जो घुल गया है साँसों में
वो गीत लाये हो तुम
ओ हो ओ ओ ओ
ओ ओ
हो ओ ओ ओ
ओ ओ
ओ हो ओ ओ ओ
ओ ओ
हो ओ ओ ओ
ओ ओ
ओ हो ओ ओ ओ
ओ ओ
हो ओ ओ ओ
ओ ओ
तुम को पा के
हंस के गा के
निखरी है संवरी है ज़िंदगी
उजली सुबहें रंगीं शामें
आ गई इक नई दिलकशी
हो मान भी लो
मान भी लो रात जो है कहती
ये फिज़ा जो समझाये
मेरी ज़िंदगी में
ओ हो ओ ओ ओ
ओ ओ
हो ओ ओ ओ
ओ ओ
ओ हो ओ ओ ओ
ओ ओ
हो ओ ओ ओ
ओ ओ
मेरी ज़िंदगी में आए हो
और ऐसे आए हो तुम
जो घुल गया है साँसों में
वो गीत लाये हो तुम
तुम से पहले
देखे कब थे
मैंने ये ख्वाबों के कारवाँ
तुम जो आए
तुम हो लाये
अनकही अनसुनी दास्ताँ
ओ सुनो ज़रा
सुनो ज़रा
मेरा दिल भी हाय
वो कहानी दोहराए
मेरी ज़िंदगी में
मेरी ज़िंदगी में आए हो
और ऐसे आए हो तुम
जो घुल गया है साँसों में
वो गीत लाये हो तुम
हो तुम ही कहो
तुम ही कहो
दिल जो ऐसे गाये
कोई क्यों ना गुनगुनाए
मेरी ज़िंदगी में आए हो
और ऐसे आए हो तुम
जो घुल गया है साँसों में
वो गीत लाये हो तुम
ओ हो ओ ओ ओ
ओ ओ
हो ओ ओ ओ
ओ ओ
ओ हो ओ ओ ओ
ओ ओ
हो ओ ओ ओ
ओ ओ
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5594 | Post No. : | 18068 | Movie Count : |
4847 |
We have read about Emperor Akbar having nine officials of extra-ordinary skills and calibres in various fields in his court who were called ‘navratnas’ (nine gems). Music director, Rahul Dev Burman also had ‘navratnas’ in his ‘musical court’. In fact, some of his fans put the numbers ‘ratnas’ close to hundred. Nonetheless, if I have to confine the numbers to ‘navratnas’ in his musical team having specialisation in various fields of music, they were Marutirao Keer (Tabla, Percussion), Basu Chakravarty (Cello), Manohari Singh (Clarinet, Flute), Bhanu Gupta (Harmonica, Rhythm Guitar), Bhupinder Singh (Guitar), Homi Mullan (Duggi, Secondary Percussions), Devichand Chauhan (Dholak, Tabla), Amritrao Katkar (Tabla, Secondary Percussions), and Ranjit Gazmer (Maadal). They were the core team of musicians who exclusively worked for S D Burman and R D Burman. It was only when they had spare time from Burman’s assignments, some of them did work for other music directors.
Of the ‘Navratnas’ of R D Burman, Ranjit Gazmer was the junior most having joined his team in 1971. Probably, among the ‘navrantas’ of R D Burman, Ranjit Gazmer is the only surviving member. He is a specialist in playing Maadals, a set of ‘mini dholaks’ type musical instrument belonging to percussion family which originated from Nepal. However, Maadal is not played like Dholak but is played like Duggi and Bongo of the percussion family.
In the Hindi film music circle, Ranjit Gazmer is known by his nick name ‘Kancha’, given to him by R D Burman. Despite his contribution to Hindi film music, especially through R D Burman, Ranjit Gazmer has, by and large, remained a lesser-known musician than his counterparts, a few of which I have named in the first paragraph. He deserves to be known to the wider segment of the lover of Hindi film music.
Ranjit Gazmer (B. 3/10/1941) was born in Darjeeling in a family of gold jewellery merchant. Though he did not have any formal training in music, he learnt playing percussion (Tabla) in Art Academy of Music, Darjeeling under Amber Gurung. Later, he joined the band of George Banks (father of Louis Banks) as a drummer and went with him to Kathmandu to play drum in 5-star hotels and later as a musician in Radio Nepal. A chance meeting with Manohari Singh (Music Assistant to R D Burman) in Kathmandu became the turning point in his musical career as on his advice, he shifted to Mumbai in 1971, with his wife and two daughters.
After reaching Mumbai, Gazmer met Manohari Singh who took him to R D Burman’s house. At that time, R D Burman was sitting with Dev Anand and a few of the core musicians of his team for finalising a tune for a song to be recorded for ‘Hare Rama Hare Krishna’ (1971). However, no tune could be finalised. When Ranjit Gazmer walked in and played Maadals with a couple of lines from a Nepali folk song ‘kanchhi re kanchhi re’, Dev Anand suddenly got up and told R D Burman that this was the type of tune he wanted for the song. R D Burman told Gazmer to come to Film Centre, Tardeo next day with his Maadal.
Next day, Gazmer reached the Film Centre and was pleasantly surprised to note that the song which was to be recorded with his Maadals was the one he had sung in front of R D Burman and Dev Anand a day before. After the song recording was over, R D Burman told him that he has recorded his song and from now onwards, he would address him as Kancha (young boy). The song was kaanchi re kaanchi re in which Ranjit Gazmer played his Maadal.
After his debut song, Gazmer became a regular member of R D Burman’s core musicians. He must have played Maadal in hundreds of R D Burman’s songs. In fact, with the rhythm created by Maadals in a song, one can recognise that that song belongs to R D Burman’s baton. Some of the songs where Gazmer prominently played Maadal are as under:
1. kaanta lagaa haay lagaa – Samaadhi (1972).
2. dil mein jo baaten hain aao chalo ham keh den – Joshila (1973)
3. lekar hum deewaana dil – Yaadon Ki Baaraat (1973)
4. hum dono do premi duniya chhod chaley – Ajnabee (1974)
There is a trivia as revealed by Ranjit Gazmer in a TV interview as to how this song was recorded despite Cine Musicians’ strike. Director, Shakti Samanta wanted this song urgently for shooting the song sequence. R D Burman found a way out. In his music room, Gazmer, Bhupendra Singh and one more of his core musicians were available. So, only three musical instruments namely, Maadal played by Gazmer, Guitar played by Bhupendra Singh and the flute by someone were used for the orchestration of the song which was pre-recorded on a cassette. The song was recorded by using the pre-recorded music without the presence of the musicians. One can observe in the song as to how Gazmer has played Maadals almost throughout the song to create a feel of a running train with flute making a sound of the whistle of the rail engine.
5. tere bina jiya jaaye na – Ghar (1978)
6. aanki chali baanki chali – Namkeen (1982)
7. aisa samaa na hota – Zameen-Aasmaan (1984).
Gazmer played some other instruments such as Tabla, Drum, Duggi whenever required. But Maadal remained his speciality. One can say that he was a pioneer in introducing Maadal as a musical instrument in Hindi film music. Gazmer also worked for other music directors such as Ravindra Jain, Rajesh Roshan, Jatin-Lalit etc only when he had free time from his assignments with S D Burman and R D Burman.
Now 82, Ranjit Gazmer has virtually retired from Hindi films industry. He still gets some stage shows mainly from R D Burman Fan Clubs where he exhibits his mastery over Maadal by playing to the tune of songs composed by R D Burman. [Note: The profile of Ranjit Gazmer is based on his T V interviews available on-line specially his interview on Rajya Sabha TV).
During his musical career, Ranjit Gazmer has worked as a music director in about 20 Nepali films. I have heard many of the Nepali songs composed by him and have found pleasant to my ears. Most of his Nepali film songs have the influence of R D Burman. He has also composed some Nepali folk songs. His wife, Kusum Gazmer has written lyrics for a few Nepali films. He was also the music director of two Hindi films, ‘Paanch Khilaadi’ (1983) and ‘Bandhu’ (1992). Unfortunately, both the films got a very limited theatrical release and became obscure.
‘Bandhu’ (1992) was produced by Romesh Sharma after the success of his film ‘Ham’ (1991). The film was directed by Ugyen Chopel (a nephew of Danny Denzongpa, the storywriter of the film). The cast included Abhishek (debut film), Geetanjali, Pinaki, Deb Mukherjee, Danny Denzongpa, Farida Jalal, Tarun Ghosh, Archana Puran Singh, Jaya Mathur etc. The film was a remake of a Nepali hit film, ‘Saino’ (1987) which was also directed by Ugyen Chopel. Based on the same Nepali film, a TV serial ‘Ajnabi’ (1994-96), telecast on DD Metro was also produced by Romesh Sharma and directed by Ugyen Chopel.
‘Bandhu’ (1992) is available for viewing in one of the video sharing platforms. I have watched this film, and it is a typical mainstream Bollywood film with some suspense drama. The film’s story in brief is given below without revealing its suspense part.
Deepak (Abhishek) lives in Mumbai with his wife, Neeta (Geetanjali) and a school going son, Binoo (Pinaki). Fed up with the fast-paced city life, Deepak and family decide to shift to his village in a hill station where he has his ancestral house with a farmland. They quickly adjust to their new surroundings and are happy about their leisurely life. However, Ajit Bihari (Deb Mukherjee), a local landlord is eyeing to takeover Deepak’s farmland because of which there is some frictions between them.
One day, Deepak dies in a car accident leaving Neeta and her son to fend for themselves. Ajit Bihari tries to take advantage of the situation by devising a plan to grab Deepak’s farmland. He tries to seduce Neeta so that she marries him and get the farmland. However, Neeta resists Bihari’s attempts until one day when he tries to rape her. Just in the nick of time, a stranger (Danny Denzongpa) comes to rescue Neeta from the attempted rape by Ajit Bihari. Thereafter, the stranger who is now called Bandhu by Neeta’s son, becomes the protector of the family. Binoo gels well with Bandhu and both spend much of their time with each other.
The questions are whether Deepak’s death was a car accident or a cold-blooded murder? Was Ajit Bihari’s plan to grab the Deepak’s farmland successful? What was the antecedent of Bandhu? The suspense is hidden in the answers to these questions.
‘Bandhu’ has 4 songs all written by Pandit Kiran Mishra and set to music by Ranjit Gazmer in the tunes he used for songs in Nepali film, ‘Saino’ (1987). I am presenting the first song, ‘chalo chalen saathiyaa mere humsafar’ from ‘Bandhu’ (1992) rendered by Kumar Shanu and Asha Bhosle. The song is picturised on Abhishek and Geetanjali when they are on the way to their village after shifting from Mumbai. The Audio clip of the song has an additional stanza. The song also has a couple of Nepali lines in the first interlude, wordings of which I got from the original song in the Nepali film, Saino’ (1987).
The song has the flavour of R D Burman type of compositions. And why not? Ranjit Gazmer has spent a little over 20 years with R D Burman. Moreover, Gazmer must have used the musicians from R D Burman’s team.
Video Clip:
Audio Clip:
Song-Chalo chalen saathhiyaa mere hamsafar (Bandhu)(1992) Singer-Kumar Shanu, Asha Bhosle, Lyrics-Pandit Kiran Mishra, MD-Ranjit Gazmar
Both, Chorus
Lyrics (Based on audio clip)
chalo chalen saathhiyaa mere humsafar
door banaayenge sapnon ka ghar
jahaan ummeedon ke parvat
khushiyon ki bahti nadiyaan
jahaan hum ho tum ho saare
hansti waadiyaan
chalo chalen saathhiyaa
mere humsafar
door banaayenge sapnon ka ghar
jahaan hansta rahe mera sajna
jahaan khanke mera kangna
jahaan masti ke honge nazaare
dil deewaana
chalo chalen saathhiyaa
mere humsafar
door banaayenge sapnon ka ghar
hamro maaya le bolaayo
daaju ra bhauju ghar aayo
hamro maaya le bolaayo
(aaaa aaaa aaaa aaaa)
daaju ra bhauju ghar aayo
(aaaa aaaa aaaa aaaa)
masti bhara ye hai mera dil
leke chala jahaan hai manzil
dilbar mere mere humdam
manzil meri jahaan tere kadam
jahaan ummeedon ke parvat
khushiyon ki bahti nadiyaan
jahaan hum ho tum ho saare
hansti waadiyaan
chalo chalen saathhiyaa
mere humsafar
door banaayenge sapnon ka ghar
aa aa aaa
aa aa aaa
aa aa aaa
aa aa aaa
aa aa aa
aa aa aa
aa aa aaaa
parvaton ke ye pyaare raasten
raahi pyaar ke yehin pe milte
jhoomte baadal barpheele pahaad
phaila chaaronoar pyaar hi pyaar
jahaan ummeedon ke parvat
khushiyon ki bahti nadiyaan
jahaan hum ho tum ho saare
hansti waadiyaan
chalo chalen saathhiyaa
mere humsafar
door banaayenge sapnon ka ghar
sone ka naheen chaandi ka naheen
pyaar ka ghar hai pyaar ki zameen
saare jahaan mein hai sunder
sapnon ka ghar apnon ka ghar
jahaan ummeedon ke parvat
khushiyon ki bahti nadiyaan
jahaan hum ho tum ho saare
hansti waadiyaan
aaja re saathhiyaa mere humsafar
pyaar ka hai ye pyaara pyaara ghar
jahaan ummeedon ke parvat
khushiyon ki bahti nadiyaan
jahaan hum ho tum ho saare
hansti waadiyaan
aaja re saathhiyaa
mere humsafar
pyaar ka hai ye pyaara pyaara ghar
- In: "Zindagi" song | Asha Bhonsle solo | Asha Bhonsle songs | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Happy song | joie de vivre | Lyrics by Prakashchandra | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Songs of 1950s (1951 to 1960) | Songs of 1956 | Yearwise breakup of songs
- 3 Comments
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5509 | Post No. : | 17953 |
Today’s song is from a C grade costume film ‘Aan Baan’ (1956).
I was in two minds while searching for songs of this film on YouTube. Firstly, whenever I tried to find a song of this film, invariably YouTube presented songs from the film ‘Aan Baan’ made in 1972. After getting tired of this behaviour of YT, I got an idea and I asked for songs from ‘Aan Baan’ (1972). Lo and behold ! YT promptly gave me songs from ‘Aan Baan’ (1956) ! I was in a fix whether to pat my back for this idea or to curse YT for its dumbness.
Secondly, I was very happy that my coined word ‘Same Name Confusion’ and my pioneering work on this subject which troubled the HF history students no end, had even influenced YT which got confused with the same name film title !!
Out of 7 songs of this film 5 songs are already on the Blog. Today’s song will be the 6th song. The 7th and the last song of this film is available on You Tube, waiting to make this film Yippeed !
This film was a routine C grade costume film, having a story involving a King, Queen and wicked Vazir – a story which was used by hundreds of such films. Anyway, as long as there was a fixed audience the such films were made and the makers made a lot of money too. These films were made with a stringent budget but had a wide market all over.
The story of this film was. . .
When the Maharani of Shivgarh was on the deathbed, she asked others of the family to take care of her daughter Jai Kumari. But all the others were of different natures. Her father was an old warrior. Elder brother Devi Singh believed in peace and co-existence. Younger brother Amar Singh believed in the might of the sword and wanted the throne for himself.
When Devi Singh fell in love with a dancer Heera, Amar Singh wanted to rebel against him, but Jai Kumari supported elder brother and got him married to Heera. Amar Singh, however, continued troubling the family. Fed up, the king took back all his ranks and honors and boycotted him from the family. Only Jai Kumari helped him to regain all his honors.In the meantime, Jai Kumari fell in love with Karan Singh, Prince of the neighboring enemy state Raigarh. Taking this opportunity, Amar Singh waged a war with the king and his elder brother Devi Singh. Amar Singh won the battle and the king and brother were arrested and sent to jail. Jai Kumari herself went to jail along with father and brother.
When Karan Singh came to know this, he attacked the state with the help of sympathizers in Shivgarh. The king, brother and sister are freed and Amar Singh gets killed in the battle. Devi Singh becomes the king. Jai Kumari and Karan Singh get married. Thus all is well. The audience jumps up like a child and goes back to their homes, greatly relieved !
Despite being a Ccostume film the actors and the MD were good, because the producer and director was DD Kashyap. The film was made under his banner Kashyap Films. He had a good taste. The music directors Husnlal-Bhagatram are one of my favorite composers from the older generation.
Husnlal-Bhagatram was one of the most popular composer pairs of their times. They started in 1944 with ‘Chand’. Their peak was achieved in 1949 and their magic ended with the sixth decade. They gave music to 53 films (of which two are unreleased) and most films’ music became popular. Although Bhagatram was the elder of the two brothers, their name was famous as Husnlal–Bhagatram. During the peak of their career, the handsome, good looking Husnlal’s name was linked to the upcoming singer of those days – Lata Mangeshkar. This episode is described by C Ramchandra in his autobiography in Marathi.
Elder brother Bhagatram had given music to 9 films in 1939 and 1940, independently, under the name Bhagatram Batish, but the brothers prospered only after Husnlal joined his brother and they gave music as Husnlal-Bhagatram.
Pandit Husnlal was born in Kahma Village, district Jalandhar, Punjab, on 8-4-1920. He was initiated into music by his father, the Late Devi Chand and elder brother Pandit Amar Nath, (the famous music composer of the ‘40s). Later he became the disciple of Sangeet Maha Mahopadhyaya Pandit Dilip Chandra Vedi Ji.
Pandit Husnlal’s first passion was playing the violin, and he learned further under Ustad Bashir Khan. Pandit Husnlal was a performer par excellence in khayal, thumri, dadra, ghazal, and bhajan. He had a voice range of three octaves and was an accomplished master of complicated patterns of taans, like his Guru Vedi Ji.
Pandit Husnlal was an accomplished Violinist, a renowned classical singer and an ace music director. He, along with his elder brother Bhagatram (an ace harmonium player, born in 1914), were the first prolific Hindi film music directors to work as a duo and went by the name of Husnlal-Bhagatram. The beauty and command over the violin can be seen in different compositions of the duo’s songs in films. They popularized Punjabi folk music as an art form, with a range of music that has a rare lilt and rhythm, yet soulful and poignant, thus becoming the most sought after composers. Their first hit was a film named ‘Chand’, after which they never looked back. They gave super hit melodies for 53 Hindi films. One point to be noted is that most of his films celebrated their Golden Jubilee with a credit to the music compositions and songs.
Their film ‘Badi Behan’ (1949) is a classic in the history of Indian cine music. Besides the most popular song, “Chup Chup Khade Ho Zaroor Koi Baat Hai” there are other seven numbers which gave the audiences the pleasure of music as an art form – “Wo Pass Rahen, Ya Door Rahen“, “Tum Mujhko Bhool Jaao, Ab Hum Na Mil Sakenge“, “Likhne Waale Ne Likh Dee Meri Tqdeer Mein Barbaadi” and “Bigdi Banaaney Waale, Bigdi Banaa De” (Suraiya) and “Mohabbat Ke Dhoke Mein Koi Naa Aaye” (Mohammed Rafi).
In the songs “Chaley Janaa Nahin Nain Mila Ke” and “Jo Dil Mein Khushi Ban Kar Aaye” Lata Mangeshkar was perhaps at her best and there could not have been a better return gift to the composer Husnlal on Lata’s 20th birthday (Lata Mangeshkar was born in 1929). The utterance coming straight from the singer’s heart, at times makes the listener cry, as a spontaneous outcome of eternal pleasure. The quality of a diamond cutter in master violinist Husnlal can be visualized through these two immortal melodies of Lata Mangeshkar. The Punjabi style dholak played by their musician, Shanker (of Shanker-Jaikishan fame) was again a notable landmark!
The song “Suno Suno Ae Duniya Waalo Bapu Ki Yeh Amar Kahani”, sung by Mohammed Rafi, was a milestone in the history of music. This song was written by Rajendra Krishan and composed by the duo within a record time of just 24 hours; soon after the demise of Mahatma Gandhi, the Father of the Nation. More than a million copies of the set of two 78 rpm discs of this recording were sold, within one month.
Husnlal-Bhagatram worked with famous playback singers like Ameerbai Karnataki, Suraiya, Shamshad Begum, Zohrabai Ambala, Lata Mangeshkar, Geeta Dutt, Suman Kalyanpur, and Kishore Kumar, Mohammed Rafi, Mukesh, among others. They also composed and played alongside Pandit Ravi Shankar and Pandit Jasraj.
Pandit Husnlal performed as a violinist on All India Radio and at other renowned music festivals and concerts and taught music to his music-loving disciples. In the late 60s, this pair parted company with each other. Husnlal’s father in law was an influential person. With his help, Husnlal settled in Delhi and started teaching music to aspirants.
One day morning, while on a morning walk, he fell dead in a garden. Someone recognized him and informed his family. The day was 28-12-1968.
Bhagatram too spent his last days in pathetic condition, working for other composers. He passed away in 1973, in Bombay. His son Ashok,who uses the surname Sharma, is an artiste with Doordarshan.
[Author’s Note: I had the opportunity to speak to Shri Ashok Sharma ji, about his father, a few months back].
Once Lady Luck turns her back on someone, destiny plays strange games. Here is a comment by a leading composer of the 50s, about Husnlal-Bhagatram’s destiny,
Some things happen in life differently – for example, as Shankar was a good dancer, he danced with dholak, in ‘Pyaar Ki Jeet’ (1948), and the music directors were the then first pair of Hindi film music Husnlal Bhagatram who were brothers. Husnlal was a good violinist and Bhagatram was a harmonium master. When they were assigned the film ‘Pyaar Ki Jeet’, Shankar was their assistant and played dholak and tabla and being a dancer himself, danced in the film as stated above.
It is destiny, that Shankar made a pair with Jaikishan and both with a brilliant mind, went on to become the most successful of music directors, and Husnlal Bhagatram, went into oblivion with the passage of time.
Husnlal’s father-in-law was a well established person and supported his son-in-law, after being failure as music director. Husnlal took to play violin. And Bhagatram, sorry to say, being alone, started to play harmonium under the direction of his disciple, none other than Shankar, who once played dholak and tabla under his direction. . . What would you call it. . .? Destiny?
Here is their filmography by year.
[Author’s Note: Thanks to dear Mahesh ji for preparing the following table for HB’s filmography.]
| Composer | Year | Name of the Films | No of Films | |
|
Bhagatram |
1939 | Midnight Mail, Bahadur Ramesh, Bhedi Kumar, Chashmawali | 4 | |
| 1940 | Tatar Ka Chor, Sandesha, Hatimtai Ki Beti, Deepak Mahal | 4 | ||
| 1941 | Hamara Desh | 1 | ||
| Husnlal and Bhagatram |
1944 | Chand | 1 | |
| 1945 | Nil | |||
| 1946 | Hum Ek Hain, Nargis | 2 | ||
| 1947 | Heera, Mirza Sahiban, Mohan, Romeo And Juliet | 4 | ||
| 1948 | Aaj Ki Raat, Lakhpati, Pyaar Ki Jeet | 3 | ||
| 1949 | Amar Kahani, Balam, Badi Bahen, Bansariya, Hamari Manzil, Jal Tarang, Naach, Raakhi, Sawan Bhadon | 9 | ||
| 1950 | Aadhi Raat, Apni Chhaya, Birha Ki Raat, Chhoti Bhabhi, Gauna, Meena Bazaar, Pyar Ki Manzil, Sartaj, Surajmukhi | 10 | ||
| 1940s | Bambi (UR) | 1 | ||
| 1951 | Afsana, Rajput, Sanam, Shagun, Stage | 5 | ||
| 1952 | Kafila, Raja Harishchandra | 2 | ||
| 1953 | Aansoo, Farmaish | 2 | ||
| 1954 | Shama Parwana | 1 | ||
| 1955 | Adl e Jehangir, Kanchan | 2 | ||
| 1956 | Aan Baan, Mr Chakram | 2 | ||
| 1957 | Dushman, Jannat, Krishna Sudama | 3 | ||
| 1958 | Trolley Driver | 1 | ||
| 1959 | Nil | |||
| 1960 | Nil | |||
| 1950s | Kya Baat Hai (UR) | 1 | ||
| 1961 | Apsara | 1 | ||
| 1962 | Nil | |||
| 1963 | Shaheed Bhagat Singh | 1 | ||
| 1964 | Nil | |||
| 1965 | Tarzan And Circus | 1 | ||
| 1966 | Sher Afghan | 1 | ||
Bhagatram was the elder brother, Husnlal was the younger brother. Have you anytime wondered why the younger brother’s name comes first in this pair ?
Normally, when a pair of brothers is referred, it is the elder brother’s name that comes first. For example, Ram-Laxman or Balram – Srikrishna or even Kalyanji – Anand ji, Jatin-Lalit or Anand-Milind. For many years, this matter was bothering me, but I could not find any justification for this unusual way of pairing. I was sure that there must be some story behind this.
The Blog ‘Songs of Yore’ published the second part of Husnlal-Bhagatram post on 11-8-2017, based on the interview of Dinesh Prabhakar, son of Husnlal and Ms. Nirmala Devi. During her talk, Nirmala Devi explained the reasons for calling the pair as Husnlal-Bhagatram, in spite of Bhagatram being the elder one and more experienced of the two. Bhagatram had already given music, individually to 9 films, in the late 30s and early 40s, before the pair was formed. Her statement answered my long awaited query about the unusual name of the pair. Here is the related portion of her interview,
The 90-year old Shrimati Nirmala Devi is an amazing lady. She still has a razor-sharp memory and superb knowledge of music and music personalities of that era. She gave me a lot of interesting information, not available elsewhere – for example, the reason why the younger brother Husnlal’s name comes first in the duo’s name. Her talk also revealed that other family commitments, too, in Delhi were contributory factors for their decline in the film music.
Shrimati Nirmala Devi speaks about her husband (late) Pt Husnlal….“DD Kashyap, who was directing ‘Chaand’ (1944) for Prabhat Films, wanted to engage Pt Amarnath based in Lahore, who was a towering figure in music. As he was heavily preoccupied, he strongly recommended his younger brother Pt Husnlal who was staying with him and assisting him in Lahore-based films of Pancholi and others, assuring Kashyap that Pt Husnlal was no less talented than him. Pt Amarnath was like a father-figure to his younger brothers, especially to Pt Husnlal. A music session was organized to demonstrate Pt Husnlal’s talent. Kashyap was highly impressed. When it was time for Pt Husnlal to proceed for Poona/Bombay, Pt Amarnath, out of concern for his kid-brother, suggested to Kashyap to also engage Pt Bhagatram with him. Kashyap expressed difficulty in arranging the payment for two as the contract was already made out. Pt Amarnath assured him that he should not bother about increasing the fee, but the two brothers must work together. Thus it was that Bhagatram got appended to Husnlal, forming the duo HB. ”
Another reason why the younger brother’s name preceded the elder brother was simply the aesthetics – Husnlal-Bhagatram sounding better than the other way around.
[Author’s Note: Thanks to Blog ‘Songs of Yore’ for this information.]
Almost all the songs in this film are good. Today’s song also is sung by Asha Bhosle very nicely.
Song – Jhoom rahi hai zindagi (Aan Baan)(1956) Singer – Asha Bhosle, Lyricist – Qamar Jalalabadi, MD – Husnlal-Bhagatram
Lyrics (Provided by Prakashchandra)
jhoom rahi hai zindagi
ae mere dil tu gaaye jaa
saans jahaan tak aaye jaaye
pyaar ki dhun sunaaye jaa
jhoom rahi hai zindagi
tera hazaar shukriya
pyaar ka dard de diya
dard mein hai badaa mazaa
aur ise badhaaye jaa
jhoom rahi hai zindagi
ae mere dil tu gaaye jaa
saans jahaan tak aaye jaaye
pyaar ki dhun sunaaye jaa
jhoom rahi hai zindagi
aankhon mein aankhen daal ke
kaisa pila diya nasha
kaisa pila diya nasha
hosh kahe sambhal sambhal
dil kahe ladkhadaaye jaa
jhoom rahi hai zindagi
ae mere dil tu gaaye jaa
saans jahaan tak aaye jaaye
pyaar ki dhun sunaaye jaa
jhoom rahi hai zindagi
pehlu se dil nikaal ke
kadmon pe tere rakh diya
chaahe ise rulaaye jaa
chaahe ise hansaaye jaa
jhoom rahi hai zindagi
ae mere dil tu gaaye jaa
saans jahaan tak aaye jaaye
pyaar ki dhun sunaaye jaa
jhoom rahi hai zindagi
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
झूम रही है ज़िंदगी
ए मेरे दिल तू गाये जा
सांस जहां तक आए जाये
प्यार की धुन सुनाये जा
झूम रही है ज़िंदगी
तेरा हज़ार शुक्रिया
प्यार का दर्द दे दिया
दर्द में है बड़ा मज़ा
और इसे बढ़ाए जा
झूम रही है ज़िंदगी
ए मेरे दिल तू गाये जा
सांस जहां तक आए जाये
प्यार की धुन सुनाये जा
झूम रही है ज़िंदगी
आँखों में आँखें डाल के
कैसा पिला दिया नशा
कैसा पिला दिया नशा
होश कहे संभल संभल
दिल कहे लड़खड़ाए जा
झूम रही है ज़िंदगी
ए मेरे दिल तू गाये जा
सांस जहां तक आए जाये
प्यार की धुन सुनाये जा
झूम रही है ज़िंदगी
पहलू से दिल निकाल के
कदमों पे तेरे रख दिया
चाहे इसे रुलाये जा
चाहे इसे हसाए जा
झूम रही है ज़िंदगी
ए मेरे दिल तू गाये जा
सांस जहां तक आए जाये
प्यार की धुन सुनाये जा
झूम रही है ज़िंदगी
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5505 | Post No. : | 17947 |
Today’s song is from the stunt film Miss Good Night-(1960).
C grade stunt and action films were popular in a section of society, all over India, right from the Silent film era. This type of ” Maar-Dhaad ” films reached the Popularity peak during the 40s and the 50s, but by the beginning of 1961 onwards such films were less popular and within a few years the C grade stunt/action films were a thing of the past.
I was a great fan of such films and tried not missing any such films. The speciality of these films was that not only their audience was fixed, even the banners, directors and actors were fixed. Hindi films must have music, so there were songs and dances in such films. However, such films had unheard of and less known Music Directors. Totally unknown, unheard of composers like, Momin, Ibrahim, Talwar, Peter-Nawab, Nisar,Tan Mohan, Prem Tandon, Vijay Honavar, Harbans, Motibabu, Shri Ram, Bipin Datta, S Madan, Saadat, S.Kishen, N.Chaudhari,J P Kaushik etc would give music to C grade films. Once in a while,Hansraj Behl, C.Ramchandra, Ravi, Chitragupta, Roshan etc were also found in C grade films. Some established MDs, while giving music to stunt films, used a different name…like C.Ramchandra who gave music to Bhagwan’s stunt films under the name Annasaheb or P.Ramakant.
Anyway, the audience was from a section of the society, who was least bothered about the histrionics, quality of music or the frame of stories of the films. For them, what was important was fighting, death defying action scenes and ” Kutai-Pitai” of the villains by the heroes who finally embraced the heroines – no matter how she looked or how fat she was !
From the early era, the action films included animals in the films. Having a Dog, a Horse or a Monkey was common, but as times changed uncommon animals like Snakes, Turtles, Owls,Lizards, Elephants, Lions, Camels, Cats, Parrots, even Donkeys, Hyenas and Pythons played roles in action films. Snakes were common in Mythologicals, Monkeys were common in Jungle films and Horses were common in Cowboy or King and queen type of films.
From 1935 onwards stunt films ,including Nadia’s,had a Horse named “Punjab ka Beta”, a Dog named ‘Tiger’, a motor car named ‘ Rolls Royce ki beti’.
After Wadia brothers split and Homi started his Basant pictures, Nadia joined him and another set of animals like, Rajpoot(Horse), Moti(Dog) and Austin ki bachhi(a motor car) were included. In addition there was a Motorcycle called ‘Runnio’ as well.
I was very keen to know more about animals in films. Who trained them, how are they handled and whether the animals are not scared of the strangers and the Arc lights etc were my questions. I did not know how to get this information.
Then suddenly I remembered having read an article-PDF- by Mala Doshi, on Memsaab’s Blog , sometime ago. I tried but could not locate it. As usual the kind hearted memsaab came to my rescue and she provided me with the link to it. I read it completely. However this did not have answers to my questions, though it is also quite informative(we will discuss this too, some other time).
I contacted one of my friends in Pune and he told me that an article giving all this information was published in RASRANG-a Marathi film magazine, years ago. This was a poor clue, but I started searching for it without any result for a long time. My luck smiled on me one day, when I was reading a book RUPERI SMARANYATRA – रुपेरी स्मरणयात्रा (Memories of the silver screen) by Prof.Subhash Savarkar. That article , which I was searching so desperately for, was reprinted in this book !
The article is written by Mr. Vasant Bhalekar who also holds its copyright. This article must have been published in the late 60s or so. I thank Mr.Bhalekar for this information.
Agha Mehmood was in the Film Industry from 1930 onwards supplying trained animals.
‘Punjab ka beta’ was trained by him. The Horse was born in Ahmedabad, trained in Surat and worked in Bombay. He was very intelligent. His first film was ‘Ishq ki Laila’-a silent film. In 1936 Punjab ka Beta or PKB joined Wadia movietone. His original name was GAZI which was changed by JBH Wadia to PKB, when he first worked in “Hind kesari”.
He was expert in running, trotting, falling, sleeping-like dead, jumping, walking on knees, standing on 2 legs etc. Nadia used him for the first time in ‘Lutaru Lalna’ and PKB was her horse till it died. In Diamond queen PKB and Nadia jumped through wild raging fire. Both were burnt, but the shot came off fantastic.
In Jai Bharat, PKB carried Master Chhotu in his mouth for a distance and gave close ups too. In Flying Prince there was a shot when the Heroine chases a Train and jumps onto it. PKB was ridden by Hashim, son of Agha, in Heroine’s clothes and boarded the train, but both were a little hurt.
Punjab ka beta died soon after working in Hind ka laal. Agha trained another horse Rajpoot just like PKB.
Rajpoot gave a deadly shot in Baabul, where he had to climb and come down stairs of a 30 feet set. Agha first took the horse around the sets and up and down 4-5 times. The horse got the idea of the shot and he gave it superbly, though this shot was very life threatening.
Rajpoot also acted in Darvesh and Cobra Girl in which he had to do some back kicking (like an ass). Actually back kicking is the first thing all trainers make the horse forget before the horse’s training starts. Now Rajpoot had to be taught what he was made to forget. For this Agha used to rap his hind legs and make a sound on the Tin sheet kept behind him. After 2-3 days the horse understood what was to be done and started back kicking.
In the film Zabak, the horse was supposed to smile and wink at the Hero. Agha knew that when a Foal (colt or filly- young horse) is brought before a Horse it starts making a laughing face and sounds. Hence be brought a colt and took the shots of Rajput smiling. Then for winking, they used water used after washing crackers. When the horse’s eyes are washed with this water, the horse winks for one hour ! Thus this shot was also taken.
Agha also trained horse Moti and elephant Ramchandra for the film NAVRANG. They both were trained to do dancing steps for a month. Sandhya danced with these animals and it came out wonderfully.
The information on Animals in films is very interesting and much more, but today I will end it here. The balance information will be given in some future film post of similar type. Film Miss Good Night-(1960) was a crime and action story. The film was made by R.L.Films, Bombay. It was directed by Jugal Kishore, who was an actor and a Director. He acted in 26 films from Nazrana-(1942) to Phool aur Insaan (1979). He directed 19 films from Ghulam, Begum, Badshah-(1956) to the film Dada (1979). Film Miss Good Night was his third film as a Director. The cast of this film was Jairaj, Nishi, Tiwari, Neena, Meena (Parel), Gopal Saigal and many others.
MISS GOOD NIGHT(1960), was a typical C grade movie,made especially for that class of viewers who whistle and shout loudly comments, appropriate to the situations on the screen. They do not require sensible stories or philosophical overtones in the film.
This was one such movie, where a Dog-Hero and a Horse-Goldie have more entertaining scenes than the human Hero.
Zorro is a murderer and smuggler of jewels in the Silver Town. The police have announced a fabulous award of 20000/- for his capture.
Inspector George(Jairaj) takes up the challenge.The town’s hotel Good Night is owned by Marshal Braganza,where his daughter Rosy(Nishi) is working.One day,she brings in wounded George in the hotel and nurses him-while teaching him love lessons-to the utter disapproval of Marshal.Many attempts on George’s life take place,but his Dog Hero takes him to Zorro.George is caught and is about to be killed when Dog Hero and Horse Goldie attack the goons and save him,while undertaking some thrilling rescue acts like biting the rope,pulling the trigger,throwing the goons etc for which the public in the theatre applauds them.
Finally,it is revealed that Marshal Braganza is Zorro and Hero,Heroine, the Dog and the Horse are honoured by the police in the film and public in the theatre.
The Music Director of this film Hansraj Behl, in my opinion, was one of those composers in the film world, who composed lots of melodious songs. Unfortunately, he was also one of those composers who never got Big banners to work for.
He and his brother, Gulshan Behl founded N.C.Films, on their father’s name-Nihal Chand- and produced B and C grade movies to which Hansraj gave his music. Hansraj was known as Master ji, in the industry. Only two people were known as Master ji…one was Ghulam Haider and the other was Hansraj Behl. Hansraj usually worked alone and rarely used any assistant while giving music.
Hansraj is remembered for giving initial playback singing breaks to Asha Bhonsle and Madhubala Jhaveri. He also gave a chance to his own friend Verma Malik-Lyricist. Malik used to live with him initially, in Bombay. He composed music for 62 films from Pujari-46 to Badmashon ka Badmash-79. One film “Insaaf ka Khoon” was released after his death,in 1988.
Hansraj Behl is one of the music directors who became successful in the post independence era. He composed music for not only Hindi films but also for Punjabi films. Hansraj was born on 26th November 1916 in Punjab. He got his basic education in music from Pt. Chunnilal. Then he opened his music school in Lahore and he had some non-film records released under the label of HMV. In 1944 Hansraj came to Bombay to try his luck in the Hindi film industry as a music director.
After one year of struggle he got his first film Pujari, made by Ardeshir Irani, in 1946. He got films like Gwaalan and Phulwari in the same year, but all these films could not do well at the box office. Behl tasted success in 1947 with the release of Lakhon Mein Ek and Chheen Le Azadi. ‘Moti Chugne Gayi Re Hansi..’ sung by Shamshad Begum and Mukesh from the film Chheen Le Azadi became very popular. In 1948 he came up with four films – Chunariya, Mitti Ke Khilone, Pardesi Mehmaan and Satya Narayan, of which Chunariya’s music was a hit especially the song ‘Dil-e-Nashaad Ko Jeene Ki Hasrat Ho Gayi..’ sung by Lata Mangeshkar. The song which placed him among high class music directors was ‘Sab Kuchh Lutaya Hamne Aakar Teri Gali Me..’ sung by Mohammed Rafi and written by Mulk Raj Bhaakri.
In the year 1949, he came out with Chakori, Raat Ki Raani, Zevraat and few more films. Lata sang one of her favourite songs, ‘Haye Chanda Gaye Pardes Chakori Yahan Ro Ro Mare..’ in Chakori, which became very popular and it helped Hansraj to gain popularity among music lovers. ‘Jin Raaton Mein Neend Ud Jaati Hai..’ sung by Mohammed Rafi in Raat Ki Raani was a nationwide hit.
In 1950-51 he gave many hit songs with Lata Mangeshkar, Geeta Dutt and Suraiyya. Songs of Kisi Ki Yaad became very popular soon after the release of the film. ‘Koi Mujhko Na Bulaye..’ and ‘Tadapta Chhod Kar Mujhko Kahaan Tum Reh Gaye..’ both sung by Geeta Dutt and ‘O Jaane Wale Ye Kya Kiya..’ by Mohammed Rafi gained immense popularity. In 1952 he introduced Madhubala Jhaveri as a playback singer in Apni Izzat and Jaggu. Madhubala sang ‘Dil Mere Tera Diwana..’ with Talat Mehmood and ‘Meethi Meethi Loriyaan Main Dheere Dheere Gaoon..’ (both Apni Izzat) featured her solo voice. In 1954, he again came out with musical films like Dost and Khaiber. ‘Aaye Bhi Akela Jaye Bhi Akela..’ from Dost (1954) sung by Talat Mehmood was among one of his memorable compositions.
He continued to give his best in films like Rajdhani, Milan, Miss Bombay, Changez Khan and Saawan. Songs like ‘Bhool Ja Sapne Suhane..’ from Rajdhani (1956), ‘Mohabbat Zinda rehti Hai..’ from Changez Khan (1957), ‘ Jab Raat Nahi Katti..’ from Changez Khan (1957), ‘Zindagi Bhar Gham Judaai Ka..’ from Miss Bombay (1957), ‘Haseen Ho Khuda To Nahi..’ from Mud Mud Ke Na Dekh (1960), ‘Bheega Bheega Pyar Ka Sama..’ from Saawan (1959) and ‘Tujhko Dhundu To Dhoondu Kahan..’ from Milan (1959) crossed all the barriers of success and Hansraj Behl’s name was on the lips of every music lover.
After all these successful films he continued to give music till 1969 but failed to give any hits because his later films were either stunts or fantasy films with little scope for having good music. His last hit song was an all time great creation ‘Jahan Daal Daal Pe Sone Ki Chidiya Karti Hai Basera..’ which was sung by Mohammed Rafi for the film Sikandar-e-Aazam in 1965.
Hansraj Behl died of Cancer in Bombay on 20-5-1984.
Today’s song is a duet sung by Suman Kalyanpur and Mahendra Kapoor along with Chorus. Enjoy…..
Song-Bahaaron ke hain meley hain din albele (Miss Good Night)(1960) Singers- Suman Kalyanpur, Mahendra Kapoor, Lyricist- Prem Dhawan, MD- Hansraj Behl
Female Chorus
Male Chorus
Lyrics
lalalalaa lalaa
la laaa la laaa
aa haa haa haa aa
aa ha ha ha
aa ha
lalalaa la lalla
aa aa aa aa
oho
lalalalaa lalalaa
oho
aaaa aa aa aa
Bahaaron ke hain meley
hain din albele
ya koi dil de de
ya koi dil le le
Bahaaron ke hain meley
hain din albele
ya koi dil de de
ya koi dil le le
lala la lalala laa lallalaa
aaa ha ha
lalalalalaa
ho
na raho tum akele
na rahen hum akele
ya koi dil de de
ya koi dil le le
na raho tum akele
ho ho
na rahen hum akele
ho ho
ya koi dil de de
ho ho
ya koi dil le le
ho ho
lala la lalala laa lallalaa
laa la laa
lalalalalaaa
humne to yoonhi ik baat kahi thhi
tumne banaa di aahe baat ka fasaanaa
aa haha
laa lala
ho ho ho ho
kahi huyi baaten kabhi taalee nahin jaatee
dekho dil pe do
ab karo na bahaana
achcha jee
haan jee haan
ho ho ho
ho ho ho
ho ho ho ho
bahaaron ke hain mele
o ho ho
hain din albele
o ho ho
ya koi dil de de
o ho ho
ya koi dil le le
na raho tum akele
ho
na rahen hum akele
ho ho
ya koi di de de
ho ho
ya koi di de de
jaao jaao bade aaye dil lene waale
sheeshe mein hai dekha kabhee mukhda bhee apna
aa ha ha
laa la laa
laa lalala
mukhda na dekhoon
mera dil hai rangeela
har ghadee dekhe jo haseenon ka hi sapnaa
achchaa jee
haan jee haan
ho ho ho
ho ho ho
ho ho ho ho
bahaaron ke hain mele
o ho ho
hain dil albele
o ho ho
ya koi dil de de
o ho ho
ya koi dil le le
na raho tum akele
ho ho
na rahen hum akele
ho ho
ya koi di de de
ho ho
ya koi di de de
lalalaalalalaa lallalala
laa la laa
la la la la laaa
Saawan Barse Tarse Dil
Posted on: August 4, 2023
- In: "saawan" song | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Happy song | Hariharan Song | Hriharan - Sadhna Sargam Duet | joie de vivre | Love song | Lyrics contributed by readers | Post by Sadanand Kamath | Rain song | Sadhna Sargam Songs | Songs of 1990s (1991 to 2000) | Songs of 1999 | Yearwise breakup of songs
- 3 Comments
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5495 | Post No. : | 17935 | Movie Count : |
4794 |
‘Dahek’ (1999) was produced by Milan Jhaveri and was directed by Lateef Binny. The cast included Akshay Khanna and Sonali Bendre in the lead roles supported by Danny Denzongpa, Dalip Tahil, KK Raina, Anang Desai, Achala Sachdev, Anjana Mumtaz, Heena Qureshi, Achyut Potdar, Anil Nagrath, Rahul Singh etc. For both the producer, Milan Jhaveri and the director, Lateef Binny, this was their maiden film. According to director, Lateef Binny, the film took over 3 years to complete and another 2 years to get released.
Milan Jhaveri is the son of film financier, Chandrasen Jhaveri. After this film, he turned writer and director under a new name – Milap Milan Zaveri. He directed ‘Jaane Kahaan Se Aayi Hai’ (2010), ‘Mastizaade’ (2016), ‘Raakh’ (2016) and ‘Satyamev Jayate (2018). Lateef Binny came from the theatre background as an actor and director. He has assisted Rajkumar Santoshi for 8 years.
The film is about the inter-faith romance and the obstacle the boy and the girl faced from their family. The political and religious elements in both the religious groups create a divide between two communities even though the boy and the girl fall in love without the knowledge of the religion of each other. Their end is tragic. The gist of the film’s story is as under:
Sameer Roshan (Akshay Khanna), a Hindu and Neelima Bakshi (Sonali Bendre), a Muslim fall in love with each other when they first meet at the post office. They have a common interest in becoming the doctors. Their love is blossomed after they frequently meet, unmindful of their religion as their names are deceptive to get any clue to their respective religion. After a few meetings, they get to know each other’s religion and decide to break the relationship as their parent would not accept the marriage. However, they soon realise that they cannot live apart. They decide to get married.
Neelima is afraid to reveal her intention to her uncle Jabbar Bakshi (Danny Denzongpa), the head of the family. For, he is an orthodox Muslim who will not approve the marriage. Also, Jabbar has recently returned from jail after serving 12 years of imprisonment for killing the husband of his sister, Sabina (again the role played by Sonali Bendre) for marrying without his consent, even though her husband was a Muslim. Sameer’s father Bhushan (Dalip Tahil) has reservation about this marriage as he does not want a showdown with Jabbar.
Jabbar comes to know about Neelima’s affairs with Sameer. He is infuriated as Neelima is planning to get married to Sameer who is a Hindu. His attempt to get Neelima married to a Muslim boy proves futile. Having failed in his intimidating tactics with Sameer, Jabbar decides to get rid of both of them in the same way as he had done with his sister’s husband 12 years back for violating the family’s code of conduct. Jabbar’s younger brother Naseem (KK Raina) and Sameer’s father Bhushan mend ways but Jabbar is adamant. Sameer and Neelima elope from the city to an unknown place. The next morning, their elopement becomes the headline in the newspapers.
The elopement triggers the communal violence and riots turning the family issues into a political conspiracy by the interested groups. In the meanwhile, Jabbar is able to get the whereabouts of Sameer and Neelima and proceeds to kill them with a sword. Nassem, his younger brother, follows him to avoid the bloodshed. He tries to prevent Jabbar from killing them by his sword. But he is accidentally killed by Jabbar. Jabbar is arrested and put in the police custody. In the night when Sameer and Neelima come out from their hiding to meet each other, they are shot dead by those who are opposed to their relationship. The love story of Sameer and Neelima results in a tragic end.
The story of the film is contemporary and would have been great if it was handled better. It may be due to delay in the completion of the film as the director has limited options fulfilling his requirements in the delayed project. As a result, the film does not create an aura of sensitivity on the subject as it should have generated. Incidentally, the screenplay was written by the director himself. By the time the film was released, films with more or less similar theme, ‘Bombay’ (1994) and ‘Zakhm’ (1998) got released. The result was that ‘Dahek’ (1999) failed at the box office.
There are six songs in the film of which one song has two versions. The songs were written by Majrooh Sultanpuri (2), Dev Kohli (2), Madan Pal (1) and Shyam Raj (1). The songs written by Majrooh Sultanpuri were set to music by Anand-Milind. Rest of the 4 songs were composed by Aadesh Shrivastava.
I present the first song “Saawan Barse Tarse Dil” from the film to appear on the Blog to time with the Hindu calendar month of Saawan. The song is rendered by Hariharan and Sadhana Sargam which is written by Majrooh Sultanpuri and set to music by Anand-Milind.
The background of the song is that Sameer (Akshay Khanna) sends a letter to Neelima (Sonali Bendre) asking her for a date. Though it is raining, both set out from their respective houses and are determined reach their destination with whatever the mode of transport available. Sameer travels even on road roller and handcart to finally reach their meeting point.
According to an article, ‘The Stories Behind Five of the Best Rain Songs in Hindi Cinema’ which appeared in scroll.in, the film’s director, Lateef Binny has been quoted as saying that the song under discussion was shot over three years and was shot all over Mumbai – in Goregaon, Andheri and South Mumbai. At the time of the shooting of the song, both Akshay Kumar and Sonali Bendre were newcomers. Being unrecognized faces, it was possible to shoot them in live rains in Mumbai. While Sonali Bendre did the shooting in the rains enthusiastically, Akshay Khanna was the reluctant participant. Nearly 70 percent of the song was shot in live rains, while the rest was shot indoor due to the delay by which time, the actors became the known faces.
This song reminds me of, more or less. a similar scene in the iconic rain song in Lata Mangeshkar’s version, “Rimjhim Gire Saawan Sulag Sulag Jaaye Mann” in ‘Manzil’ (1979).
Video
Audio
Song – Saawan Barse Tarse Dil (Dahek) (1999) Singer – Hariharan, Sadhna Sargam, Lyrics – Majrooh Sultanpuri, MD – Anand Milind
Male Echo
Female Echo
Lyrics
saawan barse tarse dil
kyun na nikle ghar se dil
barkha mein bhi dil pyaasa hai
ye pyaar nahi to kya hai
dekho kaisa beqraar
hai bhare baazaar mein
yaar ek yaar ke intezaar mein
saawan barse tarse dil
kyun na nikle ghar se dil
barkha mein bhi dil pyaasa hai
ye pyaar nahi to kya hai
dekho kaise beqraar
hai bhare baazaar mein
yaar ek yaar ki intezaar mein
ek mohabbat ka deewaana
dhoondhata sa phire
koi chaahat ka nazaraana
dilruba ke liye
ho ek mohabbat ka deewaana
dhodhata sa phire
(dhoondhate sa phire)
koyi chaahat kaa nazaraana
dilruba ke liye
(dilruba ke liye)
chham chham chale paagal pawan
aaye maza bheege balam
bheege balam
phisle kadam
barkha bahaar mein
saawan barse tarse dil
kyun na nikle ghar se dil
barkha mein bhi dil pyaasa hai
(barkha mein bhi dil pyaasa hai)
ye pyaar nahi to kya hai
(ye pyaar nahi to kya hai)
dekho kaise beqraar
hai bhare baazaar mein
yaar ek yaar ke intezaar mein
ek haseena idhar dekho
kaisi bechain hai
raaste par lagey kaise
uske do nain hai
ho ek haseena idhar dekho
kaisi bechain hai
(kaisi bechain hai)
raaste par lagey kaise
uske do nain hai
(uske do nain hai)
sach poochhiye to mere yaar
dono ke dil beikhtiyaar
beikhtiyaar
hain pehli baar
pehli bahaar mein
saawan barse tarse dil
kyun na nikle ghar se dil
barkha mein bhi dil pyaasa hai
(barkha mein bhi dil pyaasa hai)
ye pyaar nahin to kya hai
(ye pyaar nahin to kya hai)
dekho kaisa beqraar
hain bhare baazaar mein
yaar ek yaar ki intezaar mein
saawan barse tarse dil
kyun na nikle ghar se dil
barkha mein bhi dil pyaasa hai
(barkha mein bhi dil pyaasa hai)
ye pyaar nahi to kya hai
(ye pyaar nahi to kya hai)
dekho kaise beqraar
hai bhare baazaar mein
yaar ek yaar ke intezaar mein
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
सावन बरसे तरसे दिल
क्यों ना घर से निकले दिल
बरखा में भी दिल प्यासा है
ये प्यार नहीं तो क्या है
देखो कैसा बेक़रार
है भरे बाज़ार में
यार एक यार के इंतज़ार में
सावन बरसे तरसे दिल
क्यों ना घर से निकले दिल
बरखा में भी दिल प्यासा है
ये प्यार नहीं तो क्या है
देखो कैसा बेक़रार
है भरे बाज़ार में
यार एक यार के इंतज़ार में
एक मोहब्बत का दीवाना
ढूँढता सा फिरे
कोई चाहत का नज़राना
दिलरुबा के लिए
हो एक मोहब्बत का दीवाना
ढूँढता सा फिरे
(ढूँढता सा फिरे)
कोई चाहत का नज़राना
दिलरुबा के लिए
(दिलरुबा के लिए)
छम छम चले पागल पवन
आए मज़ा भीगे बलम
भीगे बलम
फिसले कदम
बरखा बहार में
सावन बरसे तरसे दिल
क्यों ना घर से निकले दिल
बरखा में भी दिल प्यासा है
(बरखा में भी दिल प्यासा है)
ये प्यार नहीं तो क्या है
(ये प्यार नहीं तो क्या है)
देखो कैसा बेक़रार
है भरे बाज़ार में
यार एक यार के इंतज़ार में
एक हसीना इधर देखो
कैसी बेचैन है
रास्ते पर लगे कैसे
उसके दो नैन हैं
एक हसीना इधर देखो
कैसी बेचैन है
(कैसी बेचैन है)
रास्ते पर लगे कैसे
उसके दो नैन हैं
(उसके दो नैन हैं)
सच पूछिए तो मेरे यार
दोनों के दिल बेइख्तियार
बेइख्तियार
हैं पहली बार
पहली बहार में
सावन बरसे तरसे दिल
क्यों ना घर से निकले दिल
बरखा में भी दिल प्यासा है
(बरखा में भी दिल प्यासा है)
ये प्यार नहीं तो क्या है
(ये प्यार नहीं तो क्या है)
देखो कैसा बेक़रार
है भरे बाज़ार में
यार एक यार के इंतज़ार में
सावन बरसे तरसे दिल
क्यों ना घर से निकले दिल
बरखा में भी दिल प्यासा है
(बरखा में भी दिल प्यासा है)
ये प्यार नहीं तो क्या है
(ये प्यार नहीं तो क्या है)
देखो कैसा बेक़रार
है भरे बाज़ार में
यार एक यार के इंतज़ार में
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