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

Archive for the ‘joie de vivre’ Category


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

ना जाने क्यों॰ ॰ ॰ होता है ये ज़िंदगी के साथ
अचानक ये मन
किसी के जाने के बाद
करे फिर उसकी याद॰ ॰ ॰

Aah, Shyama. . . the vivacious, bubbly, chirpy, charming Shyama. That is the image that the mind always carries, of this spirited young lady, so full of life on the screen. Some memories and some reflections are so firmly engraved in the mind that it simply does not register or acknowledge the passage of time and the passing of eras. That is the beauty of these memories – that their beauty simply never fades away.

My very first encounter with her was the song “Mujhe Mil Gaya Bahaana Teri Deed Ka” (film ‘Barsaat Ki Raat’, 1960). I saw this song on Delhi TV, most probably in some edition of the Chitrahaar program. Shama (Shyama) is on screen with Shabaab (Ratna), her younger sister in the film. There is an exchange that leads to certain wrong impressions. Being secretly in love with Amaan (Bharat Bhushan), Shama interprets that conversation to be in her favour. And this happy song of an assumed fulfilment of love is the outcome. The expressions and the rendering of this love song trickled right into the mind and heart of a very young heart, and the lady on the screen became a favorite crush of mine.

A few years later, I would get a chance to see this complete film. And my heart was both joyous and asunder. I got to see more of her scintillating performance, especially the qawwaali “Ji Chaahta Hai Choom Loon Apni Nazar Ko Main”, in which she is brimming with excitement and delight. She makes you feel the thrill that she is experiencing, going in for the kill of the opposite party in the qawwaali competition. Her performance simply takes you along that joyous path of the victory of her singing group over that of Chand Khan’s (Khurshid Bawra’s) group. But then, I was also sad that in the final outcome, she is not the choice of the person she adores and worships. The film ends with her being the loser in the game of love. My heart wept for her, for her love was true and silent, and it made the sacrifice in face of knowing that her beau’s heart is smitten elsewhere. This film remains an all time favorite in my heart.

Then came other films, viewed some years later during college days. Films from the previous three decades were mostly showing as reruns in morning shows (9am to 12 am). We used to skip the morning classes in the college to go visit these unknown unseen films, for the love of that golden era. In that time, I would get to see ‘Aar Paar’ (1954), ‘Shart’ (1954), ‘Chhoo Mantar’ (1956), ‘Makkheechoos’ (1956), ‘Bhai Bhai’ (1956), ‘Sharda’ (1957), ‘Bhaabhi’ (1957), ‘Lala Rukh’ (1958), ‘Zabak’ (1961) and many more. The ‘puppy’ crush was long over and done with, but Shyama was a favorite actress – always would be ready to go see an unseen film, especially if Shyama was part of the cast of actors.

She was born as Khursheed Akhtar, in Lahore. Her date of birth is stated differently in different online sources. The anniversaries table on our blog gives the date as 12th June of 1935. Cineplot gives the date as 7th June, 1935. In his book ‘Beete Kal Ke Sitaare’, Shri Sriram Tamrakar quotes her birth date as 12th July 1933. There are other sources which are at variance with these dates too.

When she was two years old, her family moved to Bombay. Her father was a fruit merchant and had set up a shop in Byculla. With seven siblings, Shyama was part of a large family. School and studies never did interest her. Right from childhood, being a star on the silver screen was her dream. As a child, she had seen a film starring Ishwarlal and Khursheed (the famous singer-actress). She was very impressed by Khursheed’s singing and her acting. On seeing this role, a resolve started to form in her to become an actor. [Ed Note: This picture possibly could be ‘Shaadi’ (1941) or ‘Chandni’ (1942).]

As a young girl, she was quite mischievous and full of pranks. Her elder sisters would admonish her for being such a tomboy. In her own words (from an interview on Cineplot) she says that she always wanted a hungama, indulge in a little romance. But she was very disciplined and cultured too. She never smoked, or drank all her life. And she never appeared in a swimsuit throughout her career. She was very true to her Muslim upbringing and family traditions.

In 1944/45 she and her sisters and friends, one day went to see the shooting of a film at a studio in Dadar (Bombay). The shooting of the film ‘Zeenat’ (1945) was in progress. The specific sequence being filmed was the now iconic all female qawwaali “Aahen Na Bharin, Shiqwe Na Kiye”. As luck would have it, Shaukat Hussain Rizvi, the director of the film, wanted to have more girls to join the singing group. He asked this group of onlooker young ladies whether they would like to join the filming of this song. Without hesitation, Khursheed raised her hand. Rizvi Sb picked her to join the group and play the dholak. In the video of this song, one can see her sitting in the second row behind the main singers, wearing a traditional cap, with a dholak in her lap. The young lady got a billing in the star credits as Baby Khursheed. She was just about 10 years old.

Her father was very upset that his daughter had made this impromptu decision, and was set against her joining films. However, her mother and her sisters prevailed upon him and calmed him to get his consent to permit her to work in films. So out went the school and studies, and the little Khurshid started her career doing child roles and extras. By her own estimates, she probably has appeared 80 films in which she was just an extra or a chorus girl.

‘Nai Maa’ is a 1946 film, which Shyama herself indicates as being her first formal role as a child star. The film is from the banner of Prakash Pictures – the production house of the Bhatt brothers – Vijay and Shankar Bhai. With the consideration that there already were two actresses named Khursheed in the industry, Vijay Bhatt suggested for her to change her name to avoid same-name-confusions. He thought of the name ‘Shyama’. The young Khursheed happily took it on, and this name turned to be her career and her destiny.

Getting seriously into small roles as a child and a teenage artist, she did two very important things. One, she refused to be disheartened by the long succession of bit-roles and being a supporting cast member. Two, she took on to get trained in music and dance, and spent a good slice of her developmental years under the tutelage of the famous Badri Prasad, the multi-talented artist active in the industry at that time. Her perseverance paid off. Her roles started to get more prominent, and her co-stars the more famous ones. She appeared as the younger sister to KL Saigal in ‘Parwaana’ (1947). The same year, she also appeared as the younger sister of Motilal in ‘Beete Din’. On to 1949, and she was now the younger sibling of actor Shyam in the film ‘Kaneez’.

In 1950, she got a very prominent role as the wayward younger sister of Shyam and Karan Dewan in the film ‘Chhoti Bhaabhi’. The title role was played by Nargis (paired with Karan Dewan), but the role played by Shyama was pivotal as the rebellious daughter in the family, who is on the verge of eloping with Yakub, a self serving con-man. Then came 1951 – she was paired as the love interest of Balraj Sahni in ‘Hum Log’; and the same year, she got to play a prominent role in ‘Taraana’ as the third part of the love triangle completed by Dilip Kumar and Madhubala.

It was in 1952 that she was able to belie the popular adage in the industry – ‘once an extra, always and extra’. But this graduation was not without its moments of anxiety and a heart stopping near miss. IS Johar was looking for an effervescent and a lively young new face as the lead for his maiden directorial venture – ‘Shrimati Ji’. Familiar with Shyama and her capabilities from their earlier films together viz., ‘Chhoti Bhaabhi’ (1950) and ‘Ek Teri Nishaani’ (1949), Johar chose Shyama from a list of over 100 candidates for the role. Shyama was excited and happy with this groundbreaking development in her career.

But a scare was still in store, and the career that we see, was almost never. A couple of reels had been shot. One day on the studio floor, one of the financiers was present. On seeing Shyama, he made a curt remark that this girl is too thin to impress in a leading role, and walked away. One can imagine the turmoil that followed, with doubts appearing in the minds of the entire team. Shyama herself notes that she went home and cried all night – here was a once in a lifetime break that suddenly became so close to slip out of her fingers. After the crying session was over, she pulled herself together and made a resolve to address even this issue. Next day, she went out to seek medical help. Whoever would think of a thing like a diet to ‘gain’ weight? She went on a crash diet to do exactly this – gain weight. In a short period of time, she gained a reasonable amount of weight, and went right back in to complete the film.

One more significant episode occurred in the year 1951. Shyama was filming for ‘Sazaa’; she was the second lead to Nimmi and again, the third vertex of the love triangle that includes Dev Anand and Nimmi. The director and cinematographer of this film was Fali Mistry. Affections developed between the two, and two got married. Her family would have preferred a Muslim son-in-law. Fali Mistry being a Parsi, her father did not accept her new venture in life. She did get support from her mother, who was present at the small and quiet ceremony for the wedding. Her father  did not communicate with her for years. Shyama mentions in her interview that the ice between them was eventually broken when she gave birth to her first son, and went to him to get his blessings.

One of the understandings between Shyama and Fali was that she would continue to work in films. Apparently there were other suitors also, but as per herself, the proposals did not go further because the gentlemen did not agree to allow her to continue her work.

Through the 1950s, as well as early sixties, Shyama was in the top bracket of leading ladies in Hindi cinema. A golden period in her career, her popularity can be gauged by the fact that 82 of her films were released in the period from 1952 to 1960. In 1954 alone, 14 of her films came on the silver screen, and 13 in the year 1955. In all 27 films in a period of two consecutive years is a record in itself. An interesting aspect of her career has been that while she was in demand as the leading lady, she continued to do all kinds of roles, including second lead and even as a vamp. By her own admission, she was never too much hung up on being the leading lady, but was always more interested in the content of the role. In fact her only Filmfare award is for her performance in ‘Sharda’ in 1957 – as the best female actor in a supporting role. In the later part of 1960s, she transitioned into character roles and continued to work till the end of 1980s. Her last film as a character artist is ‘Hathyaar’ released in 1989.

Fali Mistry passed away unexpectedly in 1979, leaving behind a family of two sons and one daughter.

In the past 3, 4 days I was in travel myself, and was disconnected from the net for part of that time. Settling back after returning, as I processed through the email backlog, I got to see this message from Harish Raghuvanshi ji, informing about the sad demise of Shyama. She was 82, and as per her latest interviews some years back, she was quite satisfied with the full life she had led, and with her accomplishments on the silver screen.

As I sorted through the list of her songs as yet unpublished on our blog, searching for an appropriate song for this tribute, I came across this chirpy and playful song from the film ‘Ghar Basaa Ke Dekho’ from 1963. I had not heard it before. As I played this song, it struck me as so much Shyama herself, and I knew this is the song so suitable to go along with the write up about her. On screen, she leads the singing and dancing within a group of friends. Some of the faces are familiar, but I am unable to place any names. I request our knowledgeable readers and friends to help identify other actresses supporting Shyama in this song.

The words are from the pen of Rajendra Krishan and the lilting music comes from the mind of Chitragupt. The singing voices are of Suman Kalyanpur, Usha Mangeshkar and chorus. Shyama gets to lip sync most of the lines of Suman Kalyanpur, and the lines sung by Usha Mangeshkar are shared between more than one of the supporting ladies on screen.

A wonderful expression of a philosophy of life, that one can surmise from her interviews, was very dear to Shyama herself. The thought behind the bubbly vivacity in this song is just the same thought that first made her raise her hand unhesitatingly to Rizvi Sb’s query on who would like to join the filming of the group song (qawwaali song in ‘Zeenat’). That is Shyama.

Or to put it more correctly now – that was Shyama. Only the memories remain now.

bichhad kar chale jaao hum se kahin
magar ye na kehna mohabbat nahin

magar ye na kehna mohabbat nahin . . .

Dear Shyama, RIP – Rest In Playfulness, Always 🙂

[Acknowledgements: source material for the above article is referred from articles and interviews published on the blogs Cineplot, Beete Huye Din (by Shishir Krishna Sharma), Wikipedia, and a profile article in the book ‘Beete Kal Ke Sitaare’ by Shri Sriram Tamrakar.]

[Ed Note: This song also is a remembrance of Chitragupt; reviving memories of this prolific music director on the anniversary of his birth – 16th November.]

 

Song – Jidhar Jee Mein Aaya Udhar Hum Chale (Ghar Basaa Ke Dekho) (1963) Singer – Suman Kalyanpur, Usha Mangeshkar, Lyrics – Rajendra Krishan, MD – Chitragupt
Suman Kalyanpur + Usha Mangeshkar
Chorus

Lyrics

jidhar jee mein aaya
udhar hum chale
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

jinki kismet mein aish likha hai
aish karte hain aur jeete hain
jinki kismet mein aish likha hai
aish karte hain aur jeete hain
aah bharna hai jinki kismet mein
aah bharte hain ashq peete hain
zindagi kya hai ek hungaama
ek hungaama roz ho jaaye
kehkahon ke bagair kya jeena
zindagi kehkahon mein kho jaaye
jidhar jee mein aaya
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

aadmi ko mili hain kyon aankhen
dekh le jis qadar nazaare hain
aadmi ko mili hain kyon aankhen
dekh le jis qadar nazaare hain
baag tera hai phool tere hain
aur tere hi chaand taare hain
zindagi naam hain bahaaron ka
hum bahaaron ka ras nichodenge
zindagi ek baar milti hai
ek armaan bhi na chhodenge
jidhar jee mein aaya
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

zindagi teri ek hulchul hai
raqs hai saaz hain taraana hai
zindagi teri ek hulchul hai
raqs hai saaz hain taraana hai
ik jagah par qayaam kya karna
har chaman tera aashiaana hai
ek pal bhi na fikr mein beete
muskuraata ja geet gaata ja
aur duniya jo raah mein aaye
ek thokar usey lagaata ja
jidhar jee mein aaya
jidhar jee mein aaya
udhar hum chale
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley
hamen duniya se kya
wo marey ya jaley
wo marey ya jaley

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

जिधर जी में आया
उधर हम चले
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

जिनकी क़िस्मत में ऐश लिखी है
ऐश करते हैं और जीते हैं
जिनकी क़िस्मत में ऐश लिखी है
ऐश करते हैं और जीते हैं
आह भरना है जिनकी क़िस्मत में
आह भरते हैं अशक पीते हैं
ज़िंदगी क्या है एक हंगामा
एक हंगामा रोज़ हो जाये
कहकहों के बगैर क्या जीना
ज़िंदगी कहकहों में खो जाये
जिधर जी में आया
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

आदमी को मिली हैं क्यों आँखें
देख ले जिस कदर नज़ारे हैं
आदमी को मिली हैं क्यों आँखें
देख ले जिस कदर नज़ारे हैं
बाग तेरा हैं फूल तेरे हैं
और तेरे ही चाँद तारे हैं
ज़िंदगी नाम हैं बहारों का
हम बहारों का रस निचोड़ेंगे
ज़िंदगी एक बार मिलती है
एक अरमान भी ना छोड़ेंगे
जिधर जी में आया
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

ज़िंदगी तेरी एक हलचल है
रक़्स है साज है तराना है
ज़िंदगी तेरी एक हलचल है
रक़्स है साज है तराना है
इक जगह पर क़याम क्या करना
हर चमन तेरा आशियाना है
एक पल भी ना फिक्र में बीते
मुसकुराता जा गीत गाता जा
और दुनिया जो राह में आए
एक ठोकर उसे लगाता जा
जिधर जी में आया
जिधर जी में आया
उधर हम चले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले
हमें दुनिया से क्या
वो मरे या जले
वो मरे या जले

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This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Mad Bhare Nain”(1955) was produced by R L Anand and directed by Hem Chundar for Fortune Films, Bombay. The movie had Kishore Kumar, Bina rai, David, Yashodhara Katju, Badri Prasad, Mishra, Durga Khote, Nazir Hussain, Achala Sachdev, Sarita, Bhupendar Kapoor, etc in it with Sundar billed in a guest appearance.

Four songs from this movie have been discussed in the past. Here is the fifth song from the movie. This song is sung by Lata. Shailendra is the lyricist. Music is composed by S D Burman.

Only the audio of this song is available. My guess is that this song was picturised on Bina Rai. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Aaj ka din hai pyaar ka (Mad Bhare Nain)(1955) Singer-Lata, Lyrics-Shailendra, MD-S D Burman
Chorus

Lyrics

aaj ka din hai pyaar ka
man ki been ke taar sajaane ka aa aa

aaj ka din hai pyaar ka
aaj ka din hai pyaar ka
man ki been ke taar sajaane ka aa aa
aaj ka din hai pyaar ka
man ki been ke taar sajaane ka aa
tu kah de dil ki baat
ye mauka phir nahin aane ka

aaj ka din hai pyaar ka aa aa aa

barse hain gagan se phool
daaliyon ne bhar li jholi
daaliyon ne bhar li jholi
kaliyon pe chadhaaya rang
bahaaron ne kheli holi
daaliyon ne bhar li jholi
tu man ko rang le ae ae
tu man ko rang le
aaj se baal raha hai rang zamaane ka aa aa
tu kah de dil ki baat
ye mauka phir nahin aane ka

aaj ka din hai pyaar ka aa aa

honthon pe naya ek geet hai
jab se tumse hui pehchaan
ho o
tumse hui pehchaan
saanson mein nayi halchal hai mere
seene mein kai toofaan
seene me kai toofaan
bahaana mil hi gaya
bahaana mil hi gaya
chori se kisi ko dil mein bulaane ka aa aa
tu kah de dil ki baat
ye mauka phir nahin aane ka

aaj ka din hai pyaar ka
man ki been ke taar sajaane ka aa
tu kah de dil ki baat
ye mauka phir nahin aane ka

aaj ka din hai pyaar ka
man ki been ke taar sajaane ka aa aa
aaj ka din hai pyaar ka
man ki been ke taar sajaane ka aa aa
tu kah de dil ki baat
ye mauka phir nahin aane ka

aaj ka din hai pyaar ka aa aa aa


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

Ah yes, saving the best for the last. What a wonderful lilting song this one is. With this post we bring to completion the list of all songs for the film ‘Maan’ (1954). So, another Yippeee moment for this blog. Congratulations to all readers and all members of this musical bandwagon.

‘Maan’ is a costume drama which is produced by Rajendra Jain for the banner of Filmkaar Ltd., Bombay. The film is directed by Safdar ‘Aah’ Sitapuri, who has also penned five of the nine songs in this film. The remaining four songs are shared between Raja Mehdi Ali Khan (1) and Kaif Bhopali (3). Music is from the mind of Anil Biswas (assisted by Ram Singh). The cast of actors includes Ajit, Chitra, Durga Khote, Jaagirdar, Kumar, Achala Sachdev, Yashodhara Katju, Kamlesh Kumari and Chanda Bai etc.

As per the footnotes in the Geet Kosh, originally eleven songs in all were recorded for this film. Two songs were later cancelled and not included in the film. The mukhdas of the songs are – “Aati Na Yun Bahaaren. . .” in the voice of Lata Mangeshkar, and “Ye Achha Sauda Hum Ne Kiya. . .” in the voice of Shamshad Begum. It appears that these two songs, although recorded, were not released on gramophone records. No other information or trace of these songs is available as yet.

The eight songs posted earlier are listed below, in the order of their appearance on the blog. The Geet Kosh serial no. is added in brackets at the end of each line.

  1. Dam Bhar Ka Thaa Daur Khushi Ka (7)
  2. Mere Pyaar Mein Tujhe Kyaa Milaa (4)
  3. Allah Bhi Hai Mallah Bhi Hai (8)
  4. Keh Do Ke Muhabbat Se Na Takraaye Zamaana (6)
  5. Guzra Hua Ulfat Ka Zamaana (5)
  6. Main Kya Karoon Rukti Nahin Ashqon Ki Rawaani (1)
  7. O O O Phaili Hai Khabar (2)
  8. Kya Bataayen Chheen Kar Mutthi Mein Wo Kya Le Chale (9)

The foot notes in the Geet Kosh carry a very interesting side story. And it has to do with the iconic film ‘Mughal e Azam’ (1960). As per the foot note, which is short and cryptic, the song at serial no. 8 (in GK) – “Allah Bhi Hai Mallah Bhi Hai” was originally recorded for the film ‘Mughal e Azam’ by Anil Biswas, and later this song was included in this film.

A little more detailed background is available from the annual publication of Society of Indian Record Collectors (SIRC). When K Asif planned for this film originally in the mid 1940s, the mantle for being the music director was assigned to Anil Biswas. The original cast of actors included Chandramohan, Nargis, Sapru, and Veena. Apparently, the roles to be played were assigned as Chandramoha – Shahenshah Akbar, Sapru – Salim, Nargis – Anarkali and Veena – Jodha Bai. During the remaining part of the decade, all the original planning was disturbed. Partition was foisted upon this country. The financier for this film migrated to the new nation of Pakistan in 1947. And in 1949, Chandramohan passed away. Sapru, who was a rising star in 1945, turned out to be not so popular a hero over the next 3 to 4 years. A few reels of this film were already shot.

With all these adverse changes forced by the circumstances, K Asif revamped his planning. By the time 1950s came about, he had brought in Prithviraj Kapoor in place of Chandramohan and Dilip Kumar in place of Sapru. Dilip Kumar and Nargis were already working together in Asif Sb’s other venture – ‘Hulchul’ which was released in 1951. Asif faced quite a bit of turbulent time on the sets with this lead pair. The relations between the two were very strained, and ‘Hulchul’ was somehow completed. Beyond 1951, Asif Sb realized the futility of having this lead pair to continue together for ‘Mughal e Azam’. He made a decision to replace Nargis, retaining Dilip Kumar in the role of Salim. Later on, Madhubala was approached for the role of Anarkali.

Now coming to the music director. Asif Sb in his productions seems not to have tied himself to any one music director. His first film, ‘Phool’ released in 1945, has Ghulam Haider Sb as the music director. Then the initial announcement of ‘Mughal e Azam’ had Anil Biswas as the MD. When this film was put on hold, and Asif Sb started to work on ‘Hulchul’, he contracted Sajjad Husain Sb for being the music director. The working relationship between the two was not amiable, and Sajjad Sb opted out before the music work was complete. Asif Sb then brought in Mohammed Shafi to complete the MD’s work for the film. Three of the ten songs of ‘Hulchul’ are composed by Shafi Sb. The next – as the work in ‘Mughal e Azam’ got restarted, we find Naushad Sb in the role of MD. I have not been able to locate any information as to why this change was made.

As per Geet Kosh, the song “Allah Bhi Hai Mallah Bhi Hai”, was originally recorded for ‘Mughal e Azam’. As I scan the list of songs of ‘Mughal e Azam’, my intuition says that in the final version of the film, the song “Bekas Pe Karam Kijiye Sarkaar e Madina” took the place of “Allah Bhi Hai . . .”. However, my intuition actually goes one step further. After I read about original recordings by Anil Biswas, I scanned the song lists of the two films and tried to do a comparison. It is possible that there may have been more songs originally created by Anil Biswas. In my mind, I can locate at least one more coincidence. The song from the final version of ‘Mughal e Azam’ – “Zindabad Zindabad, Ae Mohabbat Zindabad”, is very likely a replacement song for the original – “Keh Do Ke Mohabbat Se Na Takraaye Zamaana”. The fervor and the rebellious tone of the both the songs is quite similar in intensity.

So much for the digression, let me come back to the song for today. And the singer – Meena Kapoor. The mention of this name immediately brings to the mind the iconic song “Rasiya Re Man Basiya Re” from the 1957 film ‘Pardesi’. And then some others – “Kuchh Aur Zamaana Kehta Hai” from ‘Chhoti Chhoti Baaten’ (1965), “Kachchi Hai Umariya, Kori Hai Chunariya” from ‘Chaar Dil Chaar Raahen’ (1959), “Laagi Naahi Chhote Raama, Chaahe Jiya Jaaye” from ‘Sautela Bhai’ (1962), again from ‘Pardesi’ – “Rimi Jhimi Barse Paani Ho Aaj Morey Angnaa”. And the iconic “Mori Atariya Pe Kaaga Boley, Mora Jiya Doley” from ‘Aankhen’ (1950). And yes, she is the accompanying singer to C Ramchandra in another iconic, nay, almost a cult song – “Aana Meri Jaan Meri Jaan Sunday Ke Sunday” from ‘Shehnaai’ (1947). In a career that spanned two decades from 1946 to 1965, Meena ji has sung approximately 160 songs in Hindi films.

Meena ji was born on 27th August, 1930 in Calcutta, literally in the lap of New Theatres. Her father, Birkam Kapoor, was a character artist with the New Theatres at that time. He was a close associate and a good friend of KL Saigal, KC Dey, Prithviraj Kapoor and Pahadi Sanyal. We have seen him in films like ‘Karwaan e Hayaat’ (1935), ‘Dhoop Chhaaon’ (1935), ‘President’ (1937), and ‘Street Singer’ (1938). In 1940-41, when we see an exodus of the premier stars from Calcutta to Bombay, Bikrma Kapoor also moved to Bombay with his family. The young Meena grew up in the company of stalwart uncles, and the lights and cameras of shooting studios.

Not much details are available about her early years and her development as a singer. When she was sixteen, KC Dey gave her the first break as a singer in the film ‘Door Chalen’ (1946). KC Dey was the music director for this film. Meena ji sang three songs in this film, two duets (with KC Dey) and one solo – “Aa Gayi Aa Gayi Zindagi Mein Ik Nayi Kahaani Aa Gayi”. In the same year, SD Burman, who was making his debut in Hindi films with ‘Eight Days’ also gave her an opportunity to sing under his music direction – “Kisi Se Meri Preet Lagi Ab Kyaa Karoon”. Then 1947 happened to be, and the nation wide popularity of “Sunday Ke Sunday” made her a household name. With a sweetness and a scampering youthfulness in her voice, she soon became a singer popular and in demand with the music directors. Till 1954, she was a busy artist with almost 110 songs from about 60 films.

Many of her songs became very popular. A sampling – “Main Birhan Baithi Jaagun” (film ‘Gopinath’, 1948); “Yaad Rakhna Chaand Taaron” (film ‘Anokha Pyaar’, 1948); “Boot Polish Karwa Le Baabu” (film ‘Ghar Ki Izzat’, 1948); “Main Reh Gayi Ankhiyaan Malti Re” (film ‘Anyaay’ (1949); “Lo Jawaani Ka Zamaana Aa Gayaa” (film ‘Aadhi Raat’, 1950); “Kabhi Tum Khwaab Mein Chupke Se Aa Jaate” (film ‘Gul Sanobar’ (1953); “Chaand So Gaya Taare So Gaye” (film ‘Raahi’, 1953); “Ek Kali Aur Do Patiyaan” with Hemant Kumar (also from ‘Raahi’, 1953);“Aag Chhidak Gai Chaandni Morey Gorey Badan Pe” (‘Aagosh’, 1953); “Ek Dharti Hai Ek Hai Gagan” (film ‘Adhikaar’, 1954); “Mere Chanchal Naina Ras Ke Bhare” (‘Angulimaal’, 1960); “Dil Hamko Dhoondhtaa Hai” (film ‘Return of Mr Superman’, 1960); and many more in between.

As per Geet Kosh listings, her voice appears once again in the film ‘Suhaani Raat’ which was released in 1974. The music director is Ram Ganguly. It is noted that this film was produced much earlier, but its release was delayed significantly. I have not yet located more information on this film, and I request our more knowledgeable readers and friends to kindly add more information about this film if available. The Geet Kosh notes that Meena Kapoor’s voice is used in this film, but singer names against individual songs are not specified.

The song being presented today, is my favorite from the list of songs of this film. Other than “Keh Do Ke Mohabbat Se Na Takraaye Zamaana”. In a list of songs (of this film) that has many superb creations, I like this song for its natural perkiness, and a joyous celebration of having discovered the emotion of love. Simple words, simply rendered, but oh so effectively tuned together, bringing out the brimming happiness, even so that the play of words is unmindful of the words themselves. This is the first time I have come across the word ‘dilaar’, spoken in conjunction with ‘dilbar’ and ‘dildaar’, the latter one itself is somewhat accentuated as ‘dil e daar’. The lighthearted pleasure in the construction of the lines and cheerful levity in their rendering make this song so delightful and endearing.

Enjoy this lovely creation – Anil Biswas, Safdar ‘Aah’, and Meena Kapoor – superbly done.

[Ed Note: The song has been uploaded on YouTube by our very own Sadanand Kamath ji.]

Song – Dilbar Dilaar Dil e Daar Ho  (Maan) (1954) Singer – Meena Kapoor, Lyrics – Safdar Aah Sitapuri, MD – Anil Biswas

Lyrics

dilbar dilaar dil e daar ho
dilbar dilaar dil e daar ho
chhup na saka tera pyaar ho oo oo
chhup na saka tera pyaar ho oo oo
dilbar dilaar dil e daar ho
dilbar dilaar dil e daar ho

hothon ne kuchh na kaha
chitwan ne bol diya..aa..aa
chitwan ne bol diya
dil mein chhupaaye huye
raazon ko khol diya
raazon ko khol diya
aankhen jo hum se huin chaar ho oo oo
aankhen jo hum se huin chaar ho oo oo
dilbar dilaar dil e daar ho
dilbar dilaar dil e daar ho

laayegi rang naye do dil ki dhadkan
laayegi rang naye do dil ki dhadkan
daalo na jalte huye deepak pe daaman
daalo na jalte huye deepak pe daaman
bhole mere sarkaar ho oo oo
bhole mere sarkaar ho oo oo
dilbar dilaar dil e daar ho
dilbar dilaar dil e daar ho
chhup na saka tera pyaar ho oo oo
chhup na saka tera pyaar ho oo oo
dilbar dilaar dil e daar ho
dilbar dilaar dil e daar ho
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
दिलबर दिल्लार दिल ए दार हो
दिलबर दिल्लार दिल ए दार हो
छुप ना सका तेरा प्यार हो ओ ओ
छुप ना सका तेरा प्यार हो ओ ओ
दिलबर दिल्लार दिल ए दार हो
दिलबर दिल्लार दिल ए दार हो

होठों ने कुछ ना कहा
चितवन ने बोल दिया॰॰आ॰॰आ
चितवन ने बोल दिया
दिल में छुपाए हुये
राज़ों को खोल दिया
राज़ों को खोल दिया
आँखें जो हमसे हुईं चार हो ओ ओ
आँखें जो हमसे हुईं चार हो ओ ओ
दिलबर दिल्लार दिल ए दार हो
दिलबर दिल्लार दिल ए दार हो

लाएगी रन नए दो दिल की धड़कन
लाएगी रन नए दो दिल की धड़कन
डालो न जलते हुये दीपक पे दामन
डालो न जलते हुये दीपक पे दामन
भोले मेरे सरकार हो ओ ओ
भोले मेरे सरकार हो ओ ओ
दिलबर दिल्लार दिल ए दार हो
दिलबर दिल्लार दिल ए दार हो
छुप ना सका तेरा प्यार हो ओ ओ
छुप ना सका तेरा प्यार हो ओ ओ
दिलबर दिल्लार दिल ए दार हो
दिलबर दिल्लार दिल ए दार हो


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Valmiki”(1946) was directed by Bhal Jee Pendharkar for Prabhakar Pictures, Bombay. This pauranik (mythological) movie about the author of Ramayana had Shanta Apte, Prithviraj Kapoor, Leela, Baburao Pendharkar, Vinay Kale, Jaishankar, Raj Kapoor, Pratima Devi, Bhimrao Kale etc in it.

The movie had ten songs in it. One song from the movie is already covered in the past.

Here is the second song from the movie to appear in the blog. the song is sung by Shanta Apte and it is picturised on her as well. Mahesh Gupta is the lyricist. Music is composed by Shankar Rao Vyas.

The sound is not clear in the video. Fortunately the audio version of the song is also available and this version is quite clearly audible.
Nevetheless, I have not been able to get a word or two right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections in the lyrics as applicable.

Audio

Audio

Song-Aaj meri naiyya kinaare lagi (Valmiki)(1946) Singer-Shanta Apte, Lyrics-Mahesh Gupta, MD-Shankar Rao Vyas

Lyrics

aa aa aa aa
aaj meri naiyya kinaare lagi
aaj meri naiyya kinaare lagi
kinaare lagi
kinaare lagi
kinaare lagi
kinaare lagi
aaj meri naiyya kinaare lagi
aaj meri naiyya kinaare lagi

aasha ki bel meri phooli phali ee ee
phool bani man ki ek ek kali
haan
phool bani man ki ek ek kali
nayi man mein umangen jagin
haan
nayi man mein tarangen jagin
aaj meri naiya kinaare lagi
aaj meri naiya kinaare lagi

poore huye mere jeewan ke sapne
jeewan ke sapne
(?) ho gaye meet apne
meet apne meet
sabke man mein preet jagi
haan
sabke man mein preet jagi
aaj meri naiyya kinaare lagi
aaj meri naiyya kinaare lagi

sukh ka savera hua aa aa
door andhera hua
hua aa
door andhera hua aa
poori hui mere jeewan ki aasha
poori hui mere jeewan ki aasha
aasha
aayi himmat
niraasha bhagi
haan
aayi himmat
nirasha bhagi
aaj meri naiyya kinaare lagi
aaj meri naiyya kinaare lagi


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Dushman”(1957) was directed by Raj Rishi for Kwatra Art Productios, Bombay. The movie had Dev Anand, Usha Kiran, Radhakishan, Kumkum, Prabhu Dayal, Master Romi, Manju, Minu Mumtaz, Chaad Burque, Panditjee, Manjeet, Raja Kapoor, Nagpal, Jerry, Ravikant, Jagdeesh Kamal, Nadir, S Gautam, Prakash Dutt, Sharma, Chadrakant etc in it.

The movie had seven songs in it. Four of the songs have bee covered in the past.

Here is the fifth song from “Dushman”(1957) to appear in the blog. The song is sung by Asha Bhonsle and chorus. Tanveer Naqvi is the lyricist. Music is composed by Husnlal Bhagatram.

The song is picturised on Usha Kiran and others as a joyous “jhoola” song, while Dev Anand is also visible briefly. The song ends abruptly as the rope of the “jhoola” breaks and Usha Kiran falls into water.


Sog-Bahaar aayi ghata chhaayi (Dushman)(1957) Singer-Asha Bhonsle, Lyrics-Taveer Naqvi, MD-Husnlal Bhagatram
Chorus

Lyrics

akeli rut hai saawan ki
hai saawan ki
badhi dhadkan mere man ki
mere man ki
baji hai haaye
baji hai haaye
baji hai door shehnaai
bahaar aayi ghata chhaayi
jiya rah rah ke lehraaye
koi aise mein
koi aise mein aa jaaye
aa aa aa
aa aa aa
aa aa aa
aa aa aa
o o o o
o o o o

chadhe jhoole
jhuke baadal
jhuke baadal
khule joode
ude aanchal
ude aanchal
hawaa khushboo ne
hawa khushboo ne
hawaa khushboo ne mehkaaye
bahaar aayi
ghata chhaayi
jiya rah rah ke lehraaye
koi aise mein
koi aise mein aa jaaye
aaa aa aa aa aa
aaa aa aa aa aa
o o o o
o o o o


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Banjaare” (1948), by now an obscure movie, was directed by Hiren Bose for Hiren Bose Productions, Calcutta. This movie had Baby Deepanjan, Banshree, Malwika, Pramod Chandra, Jeewanlal, Kamal Mishra, A Malik etc in it.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Deepak”(1951) was directed by Chandrashekhar for Ram Ganguly Productions, Bombay. this by now obscure movie had Prithviraj, Vijaylaxmi, Umesh Sharma, Arun Ganguly, Sajjan, Kamal Mehra, Shanti Madhok etc in it.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Gauhar” (1953) was directed by F H Hasan for All Indian Pictures production, Bombay. The movie had Bina Rai, Rehman, Agha, Vijaylaxmi, Chaman Puri, Charlie, Cuckoo etc in it.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Pratima”(1945) was directed by P Jairaj for Bombay Talkies, Bombay. The movie had Swarnlata, Dilip Kumar, Jyoti, Mumtaz Ali, Pithawala, Mukri, Zebunnissa, Shahnawaz etc in it.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Do Dulhe” (1955) was directed by K J Mahadevan for United Film Art, Bombay in collaboration with Gemini Pictures. The movie had Sajjan, Shyama, Lalita Pawar, Vanjana, David Abraham, Agha, Achla Sachdev, Kanhaiyalal, B. M. Vyas, Ishwarlal , Suryakantam, G V Sharma, Venkat, H Krishnamurty, L R Mudaliyar, Vijay Rao, Indravadan Mehta, Deshraj Sukeshini, Kaushal, Jaya etc in it.
Read more on this topic…


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What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 13700 song posts by now.

This blog is active and online for over 3400 days since its beginning on 19 july 2008.

Total number of songs posts discussed

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Movies with all their songs covered =1031
Total Number of movies covered =3761

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Blog Start date: 19 july 2008

Active for more than 3250 days.

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