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

Archive for the ‘Kavitha Krishnamurthy Solo Songs’ Category


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

Blog Day :

5328 Post No. : 17469 Movie Count :

4700

#the Decade of Nineties – 1991 – 2000 #
————————————————————————
(A tribute to Composer Khayyam Saab on his birth anniversary)
————————————————————————

Today 18th February 2023 is the Ninety-sixth birth anniversary of Mohammed Zahur “Khayyam” Hashmi Saab, whom we fondly know as Khayyam Saab. Had he been alive, he would have turned ninety-six years old today.

He was born on 18.02.1927 and he passed away on 19.08.2019.

As a tribute to him today I am presenting his song composition from the movie “Mohabbaton Kaa Safar-1995”.

‘Mohabbaton Kaa Safar-1995’ was directed by Mohammad Salahuddin Parvez for ‘Al Salam International Productions’. Mohammad Salahuddin Parvez was also the producer of this movie and he also wrote all the songs in this movie.

The star cast of this movie included Imran Khan, Shanti Priya, Aruna Irani, Raza Murad, Arjun, Amrish Puri, Mehmood and others.

Upasna Singh had a guest appearance in this movie.

This movie has as many as twelve songs. Out of these twelve songs Khayyam had composed eleven songs. (The composer for the remaining one song is not known).

Pankaj Udhas, Suresh Wadkar, Kavita Krishnamurty, Udit Narayan, Jagjit Kaur, Jayaprada and Amrish Puri had given their voices to the songs in this movie.

As mentioned in Hindi Filmography Vol-I (1986-2000) this movie was passed by Censor Board on 18.10.1995.

This movie, even though a recent release by the standards of the blog, seems to be an obscure movie of its time. I could not find videos of the songs of this movie or even the audio’s individual songs of this movie except a duet song and a complete ‘jukebox’ of the audio songs is available. (A partial video of this movie is available on internet but it seems to be copied one and it is not much clear).

Today we listen to a song from this movie which is a multiple version song having a duet, a male version and a female version.

It is sung by Pankaj Udhas and Kavita Krishnamurty. Lyrics are by Mohammad Salahuddin Parvez and music is composed by Khayyam Saab.

From the partial video of the movie available on internet it can be easily guessed that on the screen this song is performed by the actor Imran Khan and actress Shantipriya.

This song is a beautiful composition to listen to and it grows upon us if we listen to it a few times. It takes us to an altogether different world of its own.

With this song the movie ‘Mohabbaton Kaa Safar-1995’ makes its debut on the blog today.

Our tributes to Khayyam Saab on his birth anniversary today!!!

Let us now listen to the song …

Duet version

Female solo version


Male solo version

Song-Muhabbaton ka safar hai hamaare saath chalo (Mohabbaton Ka Safar)(1995) Singers-Pankaj Udhas, Kavita Krishnamurthy, Lyrics-Salahuddin Parvez, MD-Khayyam
Both

Lyrics

muhabbaton ka safar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo

muhabbaton ka safar hai
hamaare saath chalo o o

haseen raahguzar hai
hamaare saath chalo
haseen raahguzar hai
hamaare saath chalo

fazaa mein aaj khumaari si
mujhko lagti hai ae
fazaa mein aaj khumaari ee si
mujhko lagti hai ae
ke meri saans bahot tez tez
chalti hai ae
ajab nashe ka asar hai
hamaare saath chalo

ye kaisaa dard e jigar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo

qaraar deke naa
waapas qaraar le lenaa aa
qaraar deke naa
waapas qaraar le lenaa aa
naa umr bhar ka mujhe
intezaar de denaa aa
ke dil mein halkaa saa dar hai
hamaare saath chalo
ye dil tumhaara hi ghar hai
hamaare saath chalo

muhabbaton ka safar hai
hamaare saath chalo o

jo lenaa chaaho to
sabr o qaraar le lenaa aa
jo lenaa chaaho to
sabr o qaraar le lenaa aa
magar jawaab mein
thhodaa sa pyaar de denaa aa aa
tumhaare dar pe ye sar hai
hamaare saath chalo o

tumhaari paak nazar hai
hamaare saath chalo o
muhabbaton ka safar hai
hamaare saath chalo o

tumhaare husn ke jalwaon se
jo chamaktaa hai ae
tumhaare husn ke jalwaon se
jo chamaktaa hai ae
hamaara ghar jo ghataaon mein bhi
damaktaa hai ae ae
wo aasmaan se udhar hai
hamaare saath chalo
wo aasmaan se udhar hai
hamaare saath chalo o
hamaaraa chaand nagar hai
hamaare saath chalo o
haseen raahguzar hai
hamaare saath chalo
haseen raahguzar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo o
muhabbaton ka safar hai
hamaare saath chalo o

————————————-
(Female version)
————————————-
muhabbaton ka safar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo o
haseen raahguzar hai
hamaare saath chalo
haseen raahguzar hai
hamaare saath chalo

fazaa mein aaj khumaari si
mujhko lagti hai ae
fazaa mein aaj khumaari ee si
mujhko lagti hai ae
ke meri saans bahot tez tez
chalti hai ae ae ae
ajab nashe ka asar hai
hamaare saath chalo
ajab nashe ka asar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo

qaraar deke naa
waapas qaraar le lenaa aa
qaraar deke naa
waapas qaraar le lenaa aa
naa umr bhar ka mujhe
intezaar de denaa aa aa
ke dil mein halkaa saa dar hai
hamaare saath chalo
ke dil mein halkaa saa dar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo o

jo shaam aayi to
kuchh dard bhi pighalne lagey ae
jo shaam aayi to
kuchh dard bhi pighalne lagey ae
ke mausam e dil o jaan mein
charaagh jalne lagey ae ae ae
ab aanewaali sahar hai
hamaare saath chalo
ab aanewaali sahar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo o

khayaalon khwaab ke
phoolon se jo basaaya hai
khayaalon khwaab ke
phoolon se jo basaaya hai
ufaq ke paar
sitaaron se jo sayaaya hai
hamaara chaand nagar hai
hamaare saath chalo
hamaara chaand nagar hai
hamaare saath chalo
hamaara chaand nagar hai
hamaare saath chalo o o
haseen raahguzar hai
hamaare saath chalo
haseen raahguzar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo o

——————————-
(Male version)
——————————-
muhabbaton ka safar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo o o
haseen raahguzar hai
hamaare saath chalo
haseen raahguzar hai
hamaare saath chalo

kitaab ban ke main seene se
liptaa rehtaa hoon
kitaab ban ke main seene se
liptaa rehtaa hoon
main mehndiyon mein tumhaari
mehaktaa rehtaa hoon
ajab suhaana asar hai
hamaare saath chalo o
ajab suhaana asar hai
hamaare saath chalo o
muhabbaton ka safar hai
hamaare saath chalo o

gulaab chehre ko
apne jo tum jhukaati ho o
gulaab chehre ko
apne jo tum jhukaati ho o
sitaare honthhon pe
kitne mere sajaati ho o
ye bekhudi ke lehar hai
hamaare saath chalo
ye bekhudi ke lehar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo o

jo lenaa chaaho to
sabr o qaraar le lenaa aa
jo lenaa chaaho to
sabr o qaraar le lenaa aa
magar jawaab mein
thhodaa sa pyaar de denaa aa aa
tumhaare dar pe ye sar hai
hamaare saath chalo o
tumhaare dar pe ye sar hai
hamaare saath chalo o
muhabbaton ka safar hai
hamaare saath chalo o

tumhaare husn ke jalwon se
jo chamaktaa hai ae
tumhaare husn ke jalwon se
jo chamaktaa hai ae
hamaara ghar jo ghataaon mein bhi
damaktaa hai ae ae
wo aasmaan se udhar hai
hamaare saath chalo
wo aasmaan se udhar hai
hamaare saath chalo o
wo aasmaan se udhar hai
hamaare saath chalo o o
haseen raahguzar hai
hamaare saath chalo
haseen raahguzar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo o


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

Blog Day :

5304 Post No. : 17380

Hullo Atuldom

Kaahe ko byaahi bides posted on 30 march 2014 is a post where I had thanked all the lyrics writers of film songs for highlighting emotions of human beings and particularly women. I had said “WOW” to writers who cared for feelings of the Female of the human species. Specially the feelings at the time of “Bidaai” after the wedding rituals.

In that post I had also mentioned that songs with the heading/ title “Kaahe ko byaahi bides” has appeared twice on the blog until that date -30/03/2014. It is nearly 9 years since and fresh reviewing shows that we have the following songs posted with the said title

Song Movie (Year) Date of post Remarks
Lakhi baabul mere kaaahe ko deenhi bides Suhaagraat (1948) 7 December 2011 Credited to Amir Khusro
Kaaahe ko byaahi bides Heer Ranjha (1948) 8 December 2011
Kaahe ko byaahi bides Nadirshah (1968) 25 February 2013
kaahe ko byaahi bides Aadha Din Aadhi Raat (1977) 30 March 2014
Kaahe ko byaahi bades Jailor (1938) 7 August 2018 (post by Arunji)
Kaahe ko byaahi bides re lakhi baabul morey Jhankaar(1942) 24 February 2020 (post by Arunji & credited to Amir Khusro.)
Kaahe ko byaahi bides Umraao Jaan (1981) 4 March 2022 (credited to Amir Khusro)

As can be seen from the above we have seven versions of “Kaahe ko byaahi bides” of which ‘suhaagraat”(1948) “Umrao Jaan” (1981) & ” Jhankaar” (1942) give credit to Amir Khusro for the song. One version each have been credited to Wali Sahab, Kamal Amrohi, Majrooh Sultanpuri & Anand Bakshi. Another interesting result of this review- two of the posts are exhaustive, highly informative writeups by our in-house encyclopaedia Shri Arunkumar Deshmukhji.

This is what he has said in his post dated 07/08/2018 about the use of this song in films :-

Today’s song is “Kaahe Ko Byaahi Bides”. This is a famous song by Amir Khusro. This has been used in several films like, Jhankaar-42, Heer Ranjha-48, Nadir Shah-68, Suhag Raat-48, Maang Bharo Sajna-80 and Umrao Jaan-2009, in addition to today’s song from film Jailor-38. It is also sung as a NFS by many famous singers. Mostly in films, the original song is mixed with some new lyrics and the credit is given to film’s lyricist. In film Jailor-38 too, the lyricist’s name is given as Kamal Amrohi.

All of what I have written above will make readers wonder where I am getting.

Of course I am presenting another version with this post. It is in the voice of Kavita Krishnamurthy, written by Anand Bakshi and tuned by Laxmi-Pyare. It is from the 1980 release “Maang Bharo Sajna” which was directed by T. Rama Rao and produced by A. Poornachandra Rao.

It had Rekha- Moushumi Chatterjee – Jeetendra heading a cast which also had Kajal Kiran, Asrani, Om Shivpuri, Parveen Paul, Yunus Parvez, Mohan Choti etc. The plot was essentially, an oft-repeated, melodrama where the hero falls in love & marries one heroine but has to, later, marry the other heroine who may have been selected by his family. At the time of the second marriage, the hero may believe that the first wife is dead or lost to him (as the case maybe) thus making the second marriage valid. Then the first wife will make a reappearance and then the complications will begin, leading to everyone being ready to sacrifice their love. Matters will get more interesting (for the audience) if the heroines are friends and infants are also present, then the climax will have one lady dying so that the other one live the rest of her life peacefully. This was the outline of most triangular love-stories, but was a hit-formula adopted by filmmakers to fill their coffers.

Today’s song comes at the close of the movie where we have a dying Rekha being accepted by Moushumi Chatterjee as her husband’s first wife. She instructs her husband to fill Rekha’s ‘Maang’ with Sindoor.

With this post we wish Kavita Krishnamurthy on turning a year older. This was one of her first recording for Hindi films. Of course, she had recorded ‘aayega aayega… aayega aanewaala” under Vilayat Khan’s music direction for “Kaadambari” (1975) and here is the post to that song as written by Sudhirji in his series “Songs Repeated In Hindi Films”.

That makes the song from “Kaadambari” her debut in Hindi films, which was followed by a song in Kannada under Bhaskar Chandavarkar’s music direction. Today’s song from “Maang Bharo Sajna” happened to be her first in the 1980s; however songs from “Pyar Jhukta Nahin” (1985) got her recognition; though there were other films between 1980 & 1985 were Kavita Krishnamurthy had sung songs most of which under Laxmi-Pyare’s music direction.

I had a very sweet experience last weekend. I got an opportunity to wish today’s birthday girl on the occasion of Sankranti. I interacted with her for a few minutes, wished her etc. She was gracious enough to let me click pictures with her. She told me that Bangalore is, now her favourite city, when I told her that I had met her once before too, on a flight from Bangalore to Mumbai.

Here is the song.


Song-Kaahe ko byaahi bides (Maang Bharo Sajna)(1980) Singer-Kavita Krishnamurthy, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

kaahe ko byaahi bides
lakhi baabul more
kaahe ko byaahi bides

paak bhara maine gudiyon ka chhoda
paak bhara maine gudiyon ka chhoda
chhoda saheliyon ka saath
lakhi baabul more
kaahe ko byaahi

kaahe ko byaahi bides
kaahe ko byaahi bides re
lakhi baabul more
kaahe ko byaahi bides

hum tore baabul chaube ki chidiya
hum tore baabul chaube ki chidiya
rain base ud jaaye re
lakhi baabul more
kaahe ko byaahi bides

bhaiyon ko dene mahle do-mahle
bhaiyon ko dene mahle do-mahle
humko diya pardes re
lakhi baabul more
kaahe ko byaahi bides

kaahe ko byaahi bides re
lakhi baabul more
kaahe ko byaahi bides
kaahe ko byaahi bides
kaahe ko byaahi bides


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

Blog Day :

5035 Post No. : 16946

Today 1st May’2022 is the one hundred and third birth anniversary of legendary Singer Manna Dey (01.05.1919-24.10.2013). As a tribute to him, I am presenting a motivational song sung by him from the movie ‘Prahaar-1991’.

‘PRAHAAR: The Final Attack’ was a film Produced by Sudhakar Bokade and Directed by Nana Patekar. The star cast includes Nana Patekar, Dimple Kapadia, Madhuri Dixit, and Gautam Joglekar who played the second lead with Madhuri Dixit. Prominent Stage artist Shri.Habib Tanvir played the role of Gautam’s father.
The film was produced under the banner of ‘Divya Films combine’. Its cinematography was done by Debu Deodhar.

‘Prahaar’ had as many as three songs, and the one under discussion today has three versions sung two by Manna Dey (happy and sad) and one by Kavita Krishnamurthy. The lyrics are written by Mangesh Kulkarni, and music is scored by Laxmikant–Pyarelal.

I had watched this movie during my stay at Kota (Rajasthan) and I liked it very much. I watched this movie at least three-four times.

The movie highlights many issues within our society and for me this is one of the bests movies of Hindi Cinema. I will not go into the details of the story of the movie as it is better to watch and feel than to read about this movie. I wish that this film should be watched by everyone in India and introspect ourselves and our surroundings and the happenings around us… for a better India.

All the actors and actresses acting in the movie have delivered a power packed performance.

A detailed article about this movie has been written by our Respected Shri Sadanand ji while presenting the song Dhadkan zara ruk gayee hai.

Today’s song has three versions and all of them are being presented here. This song is sung by Manna Dey and Kavita Krishnamurthy. The highly motivational lyrics are by Mangesh Kulkarni, and the divine music is given by Laxmikant-Pyarelal.

Let us listen to this wonderful song …

Male version (normal)-Audio

Male version (Slow)-Audio

Female version (normal)-Audio

Male versio video (Partial)

Song-Hamaari hi mutthi mein aakaash saara (Prahaar)(1991) Singer-Manna Dey/ Kavita Krishnamoorthy, Lyrics-Mangesh Kulkarni, MD-Laxmikant Pyarelal
chorus

Lyrics

———————-
Male version (Normal)/ Female version (similar except last humming stanza)
———————-

Hmm hmm hmm
Hmm hmm
Hmm hmm hmm
Hmm hmm hmm hmm

Hamaari hi mutthhi mein
Aakaash saaraa
Jab bhi khulegi
Chamakegaa taaraa
Hamaari hi mutthhi mein
Aakaash saaraa
Jab bhi khulegi
Chamakegaa taraa

Kabhi naa dhale jo
Wo hi sitaaraa
Dishaa jis se pehchaane
Sansaar saara aa
Hamaari hi mutthhi mein
Aakaash saaraa
Jab bhi khulegi
Chamakegaa taaraa

Hamaari hi mutthhi mein
Aakaash saaraa
Jab bhi khulegi
Chamakegaa taaraa

Hatheli pe rekhaayen
Hain sab adhoori
Kis ne likhi hai
Nahin jaananaa hai
Hatheli pe rekhaayen
Hain sab adhoori
Kis ne likhi hai
Nahin jaananaa hai

Suljhaane unko naa
Aayegaa koyi
Samajhnaa hai unko
Ye apanaa karam hai
Hmm hmm hmm hmm
Aa aa aa aa

Apne karam se
Dikhaanaa hai sab ko
Khud kaa panapanaa,
Ubharnaa hai khud ko
Hmm hmm hmm hmm
Andheraa mitaaye jo nanhaa sharaaraa
Hmm hmm hmm hmm
Dishaa jis se pehchaane
Hmm hmm hmm hmm
Sansaar saaraa
Hamaari hi mutthhi mein
Hmm hmm
Aakaash saaraa
Hmm hmm
Jab bhi khulegi
Hmm hmm
Chamakegaa taaraa
Hamaari hi mutthhi mein
Aakaash saaraa
Jab bhi khulegi
Chamakegaa taaraa

Hamaare peechhe koyi
Aaye naa aaye
Hamein hi to pehle
Pahunchnaa wahaan hai
Hamaare peechhe koyi
Aaye naa aaye
Hamein hi to pehle
Pahunchnaa wahaan hai

Jin par hai chalnaa
Nayee peedhiyon ko
Unhi raaston ko
Banaanaa hamein hai

Hmm hmm hmm hmm
Aa aa aa aa

Jo bhi saath aaye
Unhein saath le len
Agar naa koyi saath de to akele
Hmm hmm hmm hmm
Sulgaa ke khud ko
Hmm hmm
Mitaa de andheraa
Hmm hmm
Dishaa jis se pehchaane
Hmm hmm
Sansaar saara

Hamaari hi mutthhi mein
Hmm hmm
Aakaash saaraa
Hmm hmm
Jab bhi khulegi
Hmm hmm
Chamakegaa taraa

Kabhi naa dhale jo
Wo hi sitaaraa
Dishaa jis se pehchaane
Sansaar saara
Hamaari hi mutthhi mein
Aakaash saaraa
Jab bhi khulegi
Chamakegaa taraa

Aa aa aa aa
Hmm hmm hmm
Hmm hmm hmm
Hmm hmm hmm
Hmm hmm hmm
Hmm hmm hmm

Aa aa aa aa
Hmm hmm hmm
Aa aa aa aa
Hmm hmm hmm
Hmm hmm hmm
Hmm hmm hmm
Hmm hmm hmm
Hmm hmm hmm
Aa aa aa aa

Aa aa aa aa

—————————-
Male version(Slow version)
—————————-

Hamaare peechhe koyi
Aaye naa aaye
Hamein hi to pehle
Pahunchnaa wahaan hai
Hamaare peechhe koyi
Aaye naa aaye
Hamein hi to pehle
Pahunchnaa wahaan hai

Jin par hai chalnaa
Nayee peedhiyon ko
Unhi raaston ko
Banaanaa hamein hai
Hmm hmm hmm hmm
Aa aa aa aa

Jo bhi saath aaye
Unhein saath le le
Agar naa koyi saath de to akele
Hmm hmm hmm hmm
Sulgaa ke khud ko
Hmm hmm
Mitaa de andheraa
Hmm hmm
Dishaa jis se pehchaane
Hmm hmm
Sansaar saara
Hamaari hi mutthhi mein
Hmm hmm
Aakaash saaraa
Hmm hmm
Jab bhi khulegi
Hmm hmm
Chamakegaa taraa

Kabhi naa dhale jo
Wo hi sitaraa
Dishaa jis se pehchaane
Sansaar saara aa
Hamaari hi mutthhi mein
Aakaash saaraa
Jab bhi khulegi
Chamakegaa taraa

Aa aa aa aa aa
aa aa aa
Hmm hmm hmm
ho o o o o o o o o
Hmm hmm hmm
Aa aa aa aa aa
aa aa aa
Hmm hmm hmm
ho o o o o o o o o
Hmm hmm hmm
Aa aa aa aa aa aa
Hmm hmm hmm
ho o o o o o o o o
Hmm hmm hmm
Aa aa aa aa aa aa
Hmm hmm hmm
ho o o o o o o o o
Aa aa aa aa


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

Blog Day :

4912 Post No. : 16731 Movie Count :

4554

Hullo Atuldom

‘Adhikaar’ meaning ‘Rights’ is a title that has been used four times by Bollywood. This information I gathered from the blog’s ‘List of songs- Moviewise’ tab. Of the four films titled ‘Adhikaar’ the ones released in 1938, 1954, and 1971 have already made their debut on the blog; in fact the ones released in 1954 and 1971 have been Yippeee’d too. The 1938 ‘Adhikaar’ has four out of seven songs on the blog. Today’s post sees ‘Adhikar’ (1986) make is debut on the blog. The song with this post is the one that plays as the movie’s titles play on-screen and we can see this ‘Adhikar’ is an ‘a’ short.

“Adhikar” (1986) was a movie that I recall having seen in a cinema theater. It had the standard, run-of-the-mill story, popular in that period.

A rich girl loves and marries a not so rich man. Her parents initially agree to the wedding but cracks begin to appear in the marriage when the girls’ parents start interfering in the couple’s daily life.

This is the two-line synopsis of movies like ‘Pyar Jhukta Nahi’ (1985), ‘Pyar Ke Kaabil’ (1987) etc.

The common element between ‘Pyar Jhukta Nahin’ (PJN), ‘Pyar Ke Kaabil’ (PKK) and ‘Adhikar’ is Bindu- she played the heroine’s interfering mother in all the three films. PJN had Padmini Kolhapure play a simple girl born to rich parents, and PKK had her (Padmini) play a lady working in her mother’s business venture. ‘Adhikar’ was slightly hat ke in the sense that Tina Munim played a simple girl born to an ambitious mother who wants her to be a singer and become rich & famous. So that should give a brief idea about what the movie was about.

‘Adhikar’ had Tina Munim and Rajesh Khanna play the parents to a sweet boy credited as Master Lucky on some sites (even in the titles of the film) and Baby Bulbul on others. Zarina Wahab, Bindu, Danny, Raza Murad, Murad, Sulochana, Yunus Parvez etc. form the supporting cast. Tanuja is there in a special appearance. Bappi Lahiri is the music director and Indeevar is the lyricist. Lata Mangeshkar, Chandrani Mukherjee, Anupama Deshpande, Uttara Kelkar, Kavita Krishnamoorthy and Kishore Kumar are the playback singers used in the movie. The movie is directed by Vijay Sadanah and produced by Jawaharlal Bafna and Vasant Doshi. It is the last movie that Rajesh Khanna and Tina Munim came together for and then the hit pairing came to an end.

The song with this post plays at the start, establishing Rajesh Khanna’s (Vishal’s) single parent status. The song shows Lucky developing interests in horses etc. Oh, I forgot to add that Rajesh Khanna plays a retired jockey. The sad version, in Kavitha Krishnamurthy’s voice, occurs at the end, when the child sings it to try and revive an unconscious Vishal. Vishal has had an hemorrhage after winning his last race as a jockey, and the doctor has given little hope of his survival. But Vishal survives and the film has a happy ending with the misunderstandings between the couple clearing up.

This song showcases Rajesh Khanna at his emotional best. His charming smile, that reaches his eyes and the mustachioed look, at the start of the song is what I liked about Rajesh Khanna – remember the look he sported at the start of ‘Dushman’ (1971). He was the heart throb of a whole generation of movie goers in the early 70s and he had ardent followers who were loyal to him forever – whatsay Avinash ji, Raja ji, and others!!!! We were upset when Amitabh Bachchan dislodged him but there were people, like yours truly, who loved to see ‘Anand’, ‘Namak Haraam’ as much for Kaka as for Amitabh Bachchan. I loved AB Sr. in ‘Inquilaab’ as much as Kaka in ‘Aaj Ka MLA Ram Avatar”. I am sure there were fans who didn’t know who to choose as favorite. The careers ran parallel for some time. But then all these have been written a number of times and will be written forever till the 70s generation decides who they loved more —- that means forever I suppose.

Thinking of Kaka a.k.a Rajesh Khanna on his birth anniversary. He would have gone a year closer to 80.

Male Voice

Female Voice

Song – Main Dil Tu Dhadkan, Tujh Se Mera Jeevan (Adhikar) (1986) Singer – Kishore Kumar, Kavita Krishnamurthy, Lyrics – Indeevar, MD – Bappi Lahiri
Chorus

Lyrics (Provided by Sudhir)

Male Version
oo oo oo oo
oo oo oo oo

aa aa aa aa
aa aa aa aa

suraj se kirnon ka rishta
seep se moti ka
tera mera wo rishta
jo aankh se jyoti ka

main dil tu dhadkan
tujhse mera jeevan
kaanch se jaisa toot jaunga
toota jo ye bandhan
main dil tu dhadkan
tujhse mera jeevan
kaanch se jaisa toot jaunga
toota jo ye bandhan

aa aa aa aa
aa
aa aa aa
aa aa aa

tu hi khilauna
tu hi saathi
tu hi yaar mera
ek ye chera
ye do baahen
ye sansaar mera
tu hi khilauna
tu hi saathi
tu hi yaar mera
ek ye chera
ye do baahen
ye sansaar mera
khud ko bhi dekha hai tujh mein
tu mera darpan
main dil tu dhadkan
tujhse mera jeevan
kaanch se jaisa toot jaunga
toota jo ye bandhan
main dil tu dhadkan

tere dum se judi hui hai
saanson ki ye kadi
tujhse bidhhad ke jee na sakoonga
main to ek ghadi
tere dum se judi hui hai
saanson ki ye kadi
tujhse bidhhad ke jee na sakoonga
main to ek ghadi
mere jeevan ka ye deepak
tujhse hi roshan
main dil tu dhadkan
tujhse mera jeevan
kaanch se jaisa toot jaunga
toota jo ye bandhan
main dil tu dhadkan

Female Version
main dil tu dhadkan
tujhse mera jeevan
kaanch se jaisa toot jaunga
toota jo ye bandhan
main dil tu dhadkan
tujhse mera jeevan
kaanch se jaisa toot jaunga
toota jo ye bandhan

aaa aaa aaa
aaa aaa aaa

tu hi khilauna
tu hi saathi
tu hi yaar mera
ek ye chera
ye do baahen
ye sansaar mera
tu hi khilauna
tu hi saathi
tu hi yaar mera
ek ye chera
ye do baahen
ye sansaar mera
khud ko bhi dekha hai tujh mein
tu mera darpan
main dil tu dhadkan
tujhse mera jeevan
kaanch se jaisa toot jaunga
toota jo ye bandhan
main dil tu dhadkan

aaaa aaaa
aaaa aaaa

tere dum se judi hui hai
saanson ki ye kadi
saanson ki ye kadi
tujhse bidhhad ke jee na sakoonga
main to ek ghadi
tujhse bidhhad ke jee na sakoonga
main to ek ghadi. . .
main to. . .  ek ghadi. . .

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


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

Blog Day :

4483 Post No. : 15996 Movie Count :

4381

Hullo Atuldom

Wishing all a happy Dassera. I know parts of India celebrated the festival on Sunday and parts are celebrating it today. I think that has something to do with the movement of the Moon from one constellation to another or mostly the phases of the moon which doesn’t necessarily follow the Gregorian calendar. I was confused as to the exact date for Vijaya Dashami or Dassehra and put the query to a group of knowledgeable friends and this is the reply I got:

October 23 Friday 7:00 onwards Ashtami
October 24 Saturday 7:00 onwards Navami
October 25 Sunday 7:45 onwards Dashami
October 26 Monday 9:00 onwards Ekadashi.

Now going by that reply we have Dashami till 9 a.m. today but for convenience sake (read working day/ holiday) there are many (in Kerala atleast) who would have celebrated the festival. But for the pandemic even Ram Leela would have come to a close yesterday (Sunday) with RavanDahan, as Dashami was present in the evening hours. Don’t know if it was held this year!!!!

But today’s post is not a lesson on the Panchang that Indians follow and neither am I the competent authority to comment on the Sun, Moon and the planetary movements. As always my post is to wish a celebrity on turning an year older.

This celebrity is the daughter of Producer/ director of ‘Anhonee’, ‘Khel Khel Mein’ ‘Khuddar’ etc.Ravi Tandon’s daughter- Raveena Tandon turns an year older today. She made her debut in 1991, at the age of 17,in a movie produced by G.P.Sippy and directed by Anant Balani “PattharKePhool” which had Salman Khan as the hero. She then went on to act with Sunny Deol, Govinda, Akshay Kumar, Shahrukh Khan, Anil Kapoor. 1994 saw her star in “Zamaane Se Kya Darna” with Sanjay Dutt, “Dilwale” with Suneil Shetty and Ajay Devgan, “Insaniyat” with Sunny Deol, “Imtihaan” with Saif Ali Khan and Sunny Deol, “Laadla” with Anil Kapoor, “Andaz Apna Apna” with Aamir Khan, “Aatish” again Sanjay Dutt and Mohra with Akshay Kumar. She also played herself in a song-cameo in Saif Ali Khan- Akshay Kumar starrer “Main Khiladi Tu Anari” and a role in a Tamil movie in 1994. She took a hiatus post marriage but was seen in a cameo in PuriJagannadh directed “Bbuddah… Hoga Tera Baap” (2011) as she got a chance to do a romantic scene with Amitaabh Bachchan whose sister she had played in “Bade MiyanChhoteMiyan” in the ‘90s. Since 2011 we see her in a movie or two per year plus she has conducted a few shows on television. On her personal front, she had adopted two young girls when they were 10 and 8 when she herself was only in her 20s. After marriage she has two children of her own.

Her most popular song of the 1994 earned her the nickname the ‘mast mast’ girl. Though she has never claimed to be ‘Mast’ meaning wonderful. So also the other birthday personality.
He is our own Rajaji. He is (to use a Hindi expression) a ‘yaaron ka yaar’. He is a devoted family man. He is deeply sensitive and touched by many current occurrences in this world of ours. But the one thing that introduced us to him or shall I say the two things that got us connected to him-Cricket and Hindi Film Music are also dear to his heart.

He can write pages and pages about his love for the works of Sahir Ludhianvi and ponder about what would have been Sahir’s take on the life in this age and time. And he can do the same when he writes posts on his favourite Rajesh Khanna, Dev Anand, Mohd Rafi. He has told me that he can keep listening to Rafi songs all day and night and not tire of it. But that doesn’t mean he doesn’t appreciate Kishore Kumar, Amitabh Bachchan etc. He claims that he is just discovering movies of the 80s which he had banished for their deteriorating quality and quantity, he gives them a “Pass” certificate only no high marks to them. But even there he may relish and enjoy individual scene of the typical masala kind. I am sure he will enjoy the visual that the accompanying song has to offer.

It has the comic cop Paresh Rawal running around trying to dance in step with Akshay Kumar and Raveena Tandon. We have Tej Sapru exchanging a briefcase with an associate (would like to know who it is). Suniel Shetty is stalking them and please keep in mind that Akshay Kumar is a cop in disguise out to catch Tej Sapru and his associate.

This is a new age song which should appeal to the other birthday girl of this group. She is not an active participant and her father is. I hope she is a “Mast” child, meaning wonderful child.
There is another person, my first playmate, who has her birthday today. I cannot imagine how I was as a toddler before she entered my family in the arms of my Mom.
With this post I wish Raveena Tandon, Rajaji and the two unnamed girls “A Very Happy Birthday” May God bless them with lots of Health and Happiness.

(duet version) (video)

(Female solo version) (video)

Song-Tu cheez badi hai mast mast (Mohra)(1994) Singers-Udit Narayan, Kavita Krishnamurthy, Lyrics-Anand Bakshi, MD-Viju Shah

Lyrics (Provided by Avinash Scrapwala)

———————–
Duet version
———————–

paa ni sa aa
ni sa paa ni ma pa
ma pa sa ni
sa ni
paa ni sa aa
ni sa paa ni ma pa
ma pa sa ni
sa ni
pa pa
ni ni
sa sa
ma ma
pa ni dh ni
dha pa sa ni
sa ni dh pa
sa ni dh pa
paa ni sa aa
paa ni sa aa

tu cheez badi hai mast mast
tu cheez badi hai mast
tu cheez badi hai mast mast
tu cheez badi hai mast
nahin tujhko koi hosh hosh
nahin tujhko koi hosh hosh
us par joban ka josh josh
nahin tera aa
nahin tera koi dosh dosh
madhosh hai tu har waqt waqt
tu cheez badi hai mast mast
tu cheez badi hai mast
tu cheez badi hai mast mast
tu cheez badi hai mast

aashiq hai tera naam naam
aashiq hai tera naam naam
dil lenaa tera kaam kaam
meri baahen ae
meri baahen mat thaam thaam
badnaam hai tu bad mast mast

tu cheez badi hai mast mast
tu cheez badi hai mast
tu cheez badi hai mast mast
tu cheez badi hai mast

ni sa ga ma ni sa ga
sa re
sa re ga ma pa dha ni
sa ni dh pa
sa ni dh pa
sa ni dh pa

bol zaraa tu jaan e mehboobi ee
mujhme aisi kyaa hai khoobi
bol zaraa tu oo
aa aa aa
jaan e mehboobi ee ee
aa aa aa
mujhme aisi kyaa hai khoobi
aa aa aa
tu ik resham ki dor dor
tu ik resham ki dor dor
teri chaal pe aashiq mor mor
teri zulf ghani ee
teri zulf ghani chitchor chor
ghanghor ghataa badmast mast
tu cheez badi hai mast mast
tu cheez badi hai mast
tu cheez badi hai mast mast
tu cheez badi hai mast

paa ni sa aa
ni sa paa ni ma pa
ma pa sa ni
sa ni

paa ni sa aa
ni sa paa ni ma pa
ma pa sa ni
sa ni

pa pa
ni ni
dh dh dh
ma ma
sa sa
ma ma
pa ni dh ma pa sa ni
sa ni dh pa
sa ni dh pa
?
paa ni sa aa
paa ni sa aa

ye dil teri aankhon mein doobaa aa
ban jaa meri tu mehbooba
ye dil teri aankhon mein doobaa aa
aa aa aa
ban jaa meri tu mehbooba aa
aa aa aa
mat teer nazar ke maar maar
mat teer nazar ke maar maar
ye chot lagegi aar-paar
aasaan
aasaan samajh mat yaar yaar
ye pyaar badaa hai sakht sakht
tu cheez badi hai mast mast
tu cheez badi hai mast
tu cheez badi hai mast mast
tu cheez badi hai mast

nahin tujhko koi hosh hosh
nahin tujhko koi hosh hosh
us par joban ka josh josh
nahin tera aa
nahin tera koi dosh dosh
madhosh hai tu har waqt waqt
tu cheez badi hai mast mast
tu cheez badi hai mast
tu cheez badi hai mast mast
tu cheez badi hai mast

aashiq hai tera naam naam
aashiq hai tera naam naam
dil lenaa tera kaam kaam
meri baahen ae
meri baahen mat thaam thaam
badnaam hai tu bad mast mast

tu cheez badi hai mast mast
tu cheez badi hai mast
tu cheez badi hai mast mast
tu cheez badi hai mast

aa aa

tu cheez badi hai mast mast
tu cheez badi hai mast
tu cheez badi hai mast mast
tu cheez badi hai mast

aa aa

tu cheez badi hai mast mast
tu cheez badi hai mast
tu cheez badi hai mast mast
tu cheez badi hai mast

aa aa
————————-
Female solo version
————————-

(sigh & laughing sound)

main cheez badi hoon
mast mast mast mast mast

main cheez badi hoon
mast mast
main cheez badi hoon mast
main cheez badi hoon
mast mast
main cheez badi hoon mast
nahin mujhko koi hosh hosh
nahin mujhko koi hosh hosh
us par joban ka josh josh
nahin mera aa
nahin mera koi dosh dosh
madhosh hoon main har
waqt waqt
main cheez badi hoon
mast mast
main cheez badi hoon mast
main cheez badi hoon
mast mast
main cheez badi hoon mast

o o aankhon pe chhaaya aa
ye kaisa kohraa aa aa aa
kaun baadshah
kaun hai mohraa aa
aankhon pe chhaaya aa
ye kaisa kohraa aa aa aa
kaun baadshah
kaun hai mohraa aa
jaane mera kya naam naam
ho jaane mera kya naam naam
jaane tera kya naam naam
par naam se hai kya
par naam se hai kya kaam kaam
kar jaam ka bandobast mast
main cheez badi hoon
mast mast mast mast mast
main cheez badi hoon mast
mast mast
main cheez badi hoon mast
main cheez badi hoon
mast mast
main cheez badi hoon mast

(laughing sound)

o o
rakh yaad magar tu oo
mere deewaane ae
tera kya hogaa anjaam
na jaane ae
rakh yaad magar tu oo
mere deewaane ae ae
tera kya hogaa aa anjaam
na jaane ae
dil kitne toote baar baar
ho kitne toote baar baar
sab aashiq doobe aar paar
shaahon ke ae
shaahon ke chhoote yaar yaar
is pyaar mein taaj o takht takht
main cheez badi hoon
mast mast mast mast mast
main cheez badi hoon
mast mast
main cheez badi hoon mast
main cheez badi hoon
mast mast
main cheez badi hoon mast
nahin mujhko koi hosh hosh
us par joban ka josh josh
nahin mera
nahin mera koi dosh dosh
madhosh hoon main har
waqt waqt
main cheez badi hoon
mast mast
main cheez badi hoon mast
main cheez badi hoon
mast mast
main cheez badi hoon mast

(laughing sound)


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

Blog Day:

4348 Post No. : 15660

Songs Repeated in Hindi Films – 19
– – – – – – – – – – – – – – – – – –

Even this one – you might say. Aah yes, even this one. 🙂

This song from ‘Mahal’ in 1949, probably has the most recognized prelude across the entire history of Hindi Film Song. It has become the signature song of the earlier decades of Hindi cinema. No representative selection of Lata ji’s songs would ever be considered complete without it.

The all too familiar picturization – the girl on the swing then the empty swing, the lonely boat in the river, the stunningly beautiful features of Kamini (Madhubala) – the song and its images are now an unforgettable montage. There is a whole traditional lore that now accompanies this song, which has achieved a cult status over the decades.

‘Kadambari’ from 1975, is delicate love story of young hearts which has some unconventional twists to it. The film is based on the novel ‘Dharti Sagar te Sippiyan’ written by Amrita Pritam. The film is produced under the banner of Madhu Creation Picture Pvt Ltd, Bombay and is directed by HK Verma. The star cast lis listed as Shabana Azmi, Vijay Arora, Arpana Choudhary, Jeet Surendra, Ajeet Singh, Mona, Jugnu, Chand Usmani, and V Gopal etc.

The film has two songs. One is written by Amrita Pritam herself –“Ambar Ki Ek Paak Suraahi, Baadal Ka Ek Jaam Uthaakar”, composed by Ustad Vilayat Khan and sung by Asha Bhosle, and the second one is “Kyon Hum Tum Rahen Akele”, written by Geetanjali Singh and is composed and sung by Ajeet Singh.

As per the official listings, that is all the songs in this film. In fact both the songs are already present on our blog and in that sense the film is already yippeee’d.

But wait, here is the surprise that was mentioned in a message early morning today. The film carries this iconic song – a repeat version, which in of itself, has a significant importance. The song is not reused in its original form. It has been re-recorded in the voice of Kavita Krishnamurty, and reused in this film. The important point here is that this is the debut recording of a film song by Kavita Krishnamurty in Hindi films – her first song. And she gets to re-render this classic masterpiece.

The song appears in the film in two parts. One stanza is performed close to the beginning of the film. The occasion is the birthday party of Chetna (Shabana Azmi). A very close and dear friend, Amit (Vijay Arora) is still awaited to join. In this mood, Chetna sings one stanza of this song – “Deepak Bagair Kaise Parwaane Jal Rahe Hain“.

The second stanza – “Bhatki Huyi Jawaani. . .” appears sometime before the end of the film. This stanza appears in the background. The situation is that a chance meeting happens between Chetna and Sheetal (Aparna Chaudhry) after many years. Both are in passing through difficult time in life, both are single and both are awaiting the men they love to return to them. Sheetal is in love with Sudhir (Jeet Surendra), who is the brother of Chetna.

As Chetna departs from Sheetal’s home, the song starts to play, with the visual cutting back and forth between Sheetal at home, with paintbrush and canvas, and Chetna in a three wheeler heading back to her home. “Maanjhi Bagair Naiya Saahil Ko Dhoondhti Hai” – the two friends are like directionless boats at sea, searching for the shores.

A brief summary of the storyline,

Chetna and Amit are childhood friends, and are in love. Amit has a past that he once reveals to Chetna – that he is an illegitimate child. His mother was a victim of a violent assault, and the man responsible neither did own up, nor accepted the lady. Amit’s mother (Chand Usmani) single handedly brings up Amit and educates him to be a doctor. Amit reveals that he has such a reverence for his mother that he has taken a vow never to marry, not sure how the prospective addition to the family would treat his mother and whether she would understand the painful past in the family.

To Chetna it becomes clear that Amit will not marry. She is heartbroken, but then she promises herself she will never pursue him for matrimony. An interlude happens in between, and Chetna is now carrying Amit’s child. She hides this fact from everyone, including Amit, moves to Bombay from Delhi on the pretext of a job, stays there for a couple of years, has the child and then returns home with a story about an unfortunate family where the parents passed away leaving behind this newborn child. So she has adopted the child.

The parallel love saga of Sheetal and Sudhir is also not working out well, and the two are not seeing each other. Both are in pain, but both are restraining. Chetna meets with Sheetal and talks with her to coax her back and rebuild the relationship with Sudhir.

In the meantime, Chetna and Amit are also back to their normal exchanges. Amit’s mother, who has always liked Chetna, starts to help with taking care of the child. Some observations, some exchanges, something about the child and Amit’s mother comes to realize that the child’s father is Amit, her son. Situations progress to an amiable juncture where this fact gets revealed and is accepted by everybody. Both couples are back together once again.

It is a sensitively handled drama of love. There are no emotional overplays in the film. Every situation is underplayed and intelligently handled. Love stories are not always dependent on villains and stern parents to play out their saga. In some cases, it is the protagonists themselves who provide the interesting and unexpected turns to the story. ‘Kadambari’ is one such story.

The reuse of the two stanzas of this song are also very imaginative and very appropriately linked into the specific situations and story flow.

And yes, by the way, as per the ten year challenge chart published early morning today, ‘Kadambari’ made its debut 10 years ago today. Quite appropriately, we bring on this post, and add the repeat song to the list of songs of this film on our blog. The song has been suggested to me by Dear Avinash ji, who has also sent us both the set of lyrics – in Hindi and English.

A mysterious and dreary night of a palace from 1949 got transformed into a birthday party at a middle class home in Delhi in 1975. Watch, listen and enjoy.

 

Song – Aayega Aayega. . . Aayega Aanewaala  (Kadambari) (1975) Singer – Kavita Krishnamurty, Lyrics – Nakshab Jarchavi, MD – Khemchand Prakash

Lyrics (Provided by Avinash Scrapwala)

Part I

aayegaaaa
aayegaa aa
aayegaa aa
aayegaa aanewaalaa
aayegaa aa
aayegaa aa
aayegaa aa

aayegaa aa
aayegaa aa
aayegaa aa
aayegaa aanewaalaa
aayegaa aa
aayegaa aa
aayegaa aa

deepak bagair kaise
parwaane jal rahe hain
deepak bagair kaise
parwaane jal rahe hain
koi nahin chalaata
aur teer chal rahe hain
koyi nahin chalaata aa
aur teer chal rahe hain
tadpega koi kab tak
be-aas be-sahaare ae
tadpega koi kab tak
be-aas be-sahaare
ye kah rahe hain mujhse
dil ke mere ishaare
aayegaa aa
aayegaa aa
aayegaa aa
aayegaa aanewaalaa
aayegaa aa
aayegaa aa
aayegaa aa

Part II

bhatki hui jawaani
manzil ko dhoondhti hai
bhatki hui jawaani
manzil ko dhoondhti hai
maanjhi bagair naiya
saahil ko dhoondhti hai
maanjhi bagair naiya
saahil ko dhoondhti hai
kya jaane dil ki kashti
kab tak lagey kinaare
kya jaane dil ki kashti
kab tak lagey kinaare
lekin ye keh rahe hain
dil ke mere ishaare
aayegaa aa
aayegaa aa
aayegaa aa
aayegaa aanewaalaa
aayegaa aa
aayegaa aa
aayegaa aa

—————————————————–
Hindi script lyrics (Provided by Avinash Scrapwala)
—————————————————–

भाग I

आएगा आ
आएगा आ
आएगा आ
आएगा आनेवाला
आएगा आ
आएगा आ
आएगा आ

आएगा आ
आएगा आ
आएगा आ
आएगा आनेवाला
आएगा आ
आएगा आ
आएगा आ

दीपक बगैर कैसे
परवाने जल रहे हैं
दीपक बगैर कैसे
परवाने जल रहे हैं
कोई नहीं चलाता
और तीर चल रहे हैं
कोई नहीं चलाता
और तीर चल रहे हैं
तडपेगा कोई कब तक
बे-आस बे-सहारे
तडपेगा कोई कब तक
बे-आस बे-सहारे
ये कह रहे हैं मुझसे
दिल के मेरे इशारे
आएगा आ
आएगा आ
आएगा आ
आएगा आनेवाला
आएगा आ
आएगा आ
आएगा आ

भाग II
भटकी हुई जवानी
मंज़िल को ढूंढती है
भटकी हुई जवानी
मंज़िल को ढूंढती है
मांझी बगैर नैया
साहिल को ढूंढती है
मांझी बगैर नैया
साहिल को ढूंढती है
क्या जाने दिल की कश्ती
कब तक लगे किनारे
क्या जाने दिल की कश्ती
कब तक लगे किनारे
लेकिन ये कह रहे हैं
दिल के मेरे इशारे
आएगा आ
आएगा आ
आएगा आ
आएगा आनेवाला
आएगा आ
आएगा आ
आएगा आ


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

Blog Day :

4340 Post No. : 15641

Sai Paranjpye has so far directed 8 feature films in Hindi. She has written story and script for all these films. Each of these films has some interesting background as to what prompted her to make those films. In this article, I am covering her film ‘Saaz’ (1997) which was produced by Amit Khanna under the banner ‘Pulse Films’ of the Plus Channel of which he was the managing director during 1989-2000.

Sometime in 1995-96, Plus Channel decided to produce some ‘middle-of-the-road’ films. Directors like Shyam Bengal, Basu Chatterjee, Sudhir Mishra, Aruna Raje, Gautam Ghosh and Sai Paranjpye were enlisted to direct  such genre of films which resulted in the release of films, ‘Sardari Begum’ (1996), ‘Gudgudee’ (1997), ‘Is Raat Ki Subah Nahi’ (1996), ‘Bhairavi’ (1996), ‘Gudia’ (1997) and ‘Saaz’ (1997), respectively.

Shabana Azmi had worked with Sai Paranjpye in ‘Sparsh’ (1980) and ‘Disha’ (1990). As per Sai Paranjpye’s Marathi book, ‘Sai – Maaza Kalapravaas’ (2016), one day Shabana came to her with a proposal on behalf of Plus Channel to direct a film with a woman-oriented story in which she would like to work. Sai Paranjpye accepted the proposal. The subject of sibling rivalry in the professional fields had attracted Sai Paranjpye but she had not thought of making a film on the subject. With this proposal, she thought as to why not make a film on sibling rivalry.

We are aware that there have been many instances of sibling rivalries – be in epics, history, business, media, industrial houses etc in India where there was thin line of difference between the professional and personal rivalries. According to Sai Paranjapye, sibling rivalry of Lata Mangeshkar and Asha Bhosle is unique in the sense that their personal relationship by and large has remained intact over the years in the midst of their professional rivalry. And Sai Paranjpye wanted to bring this uniqueness in the film.

When Sai Paranjpye worked on the script of the film, she realised that the film was leaning towards making of a biopic on Asha Bhosle. She felt uncomfortable to make a film on such a script involving the personal lives of the siblings. Furthermore, she has no acquaintance with both the sisters.  The idea of making a film depicting Asha Bhosle was, therefore, dropped. However, in the revised script, the main theme of two playback singing sisters were kept in mind with some twists in the stories just to segregate her story from the real life story of Lata and Asha Bhosle. However, a couple of events which actually happened during the lives of  Asha Bhosle and Lata Mangeshkar were incorporated as they were in the public domain, written by those who had witness those events.

The star cast of ‘Saaz’ (1997) included Shabana Azmi, Aruna Irani, Parikshit Sahani, Raghuveer Yadav, Ayesha Dharker, Zakir Hussain, Amar Talwar, Brijbhushan Sahani, Bhupen Hazarika etc. The story, script and dialogues were written by Sai Paranjpye who also directed the film. The film was mostly shot around Mumbai. Some last part of the film were shot in Seychelles.

The film was certified by the Censor Board on 31-12-1996. But film failed to get release in theaters. The reason is stated to be the ban put by the Theater Owners Association on the exhibition of films produced by Plus Films due to the non-payment of arrears of rent from Plus Channel to some theater owners. I am not aware whether the film was released in the theater after this ban. Probably, the film got released later on TV.  It was only after reading some parts of the script of the film published verbatim in Sai Paranjpye’s Marathi book referred to above that made me to watch the film. I am pleasantly surprised to note that she has handled the theme of sibling rivalry of playback singing sisters very delicately and objectively. There are some poignant moments between the two sisters which are very heart-touching.

The film’s story has been told in a flash-back mode during Bansi’s (Shabana Azmi)’s sessions with a psychiatrist played by Parikshit Sahani. She needed this treatment as she has lost the will to sing after the death of Hemang Desai (Zakir Hussain) with whom she was in love and would have married him. In all her sessions, Bansi reveals events from her childhood to playback singing career as to how she was always played second fiddle to her elder sister. How she broke the relationship with her didi for 10 years due to snatching of her chance to sing on India’s Independence Day at Delhi. But after the sudden death of her elder sister, Bansi feels guilty of depriving  her elder sister of spending time with her daughter.  Towards the end of the film, Bansi gets a good news that her daughter has won the award as a promising playback singer. This pleasant news makes Bansi to sing live in front of the audience in Seychelles. The tape of her singing is sent to psychiatrist who comes at the airport to receive her and announces that she does not need any more treatment. So his relationship with Bansi as a doctor and a patient is over. Instead, he wants now to be her friend. The films end with both them walking together out of the airport.

In my view, this film is not one of the best among the films Sai Paranjpye has directed. Probably, in trying to make the film different from that of the sibling rivalry of Lata and Asha Bhosle, too many characters were introduced. As a result, about last one hour of film does appear some disconnect from the first part of the film which has some brilliant stamp of Sai Paranjpye. However, I feel that she has succeeded in creating sympathy of the audience for the younger sister without their malice towards the elder one.

In keeping with the subject of the story, ‘Saaz’ (1997) has as many as 11 songs (including a multiple version song). Songs are written by Javed Akhtar which have been set to music by 4 music directors – Ustad Zakir Hussain, Bhupen Hazarika, Raj Kamal and Yashwant Deo. The reason given by Sai Paranjpye for multiple music directors is that since sisters are playback singers working with different music directors, the songs in the film should reflect the different style of music direction. Two of the music directors, Ustad Zakir Hussain and Bhupen Hazarika also acted as music directors in the film.

Out of the 11 songs of the film, 3 songs have been covered in the Blog, all by Peevesie’s Mom. I am presenting the 4th song from the film which is a multiple version song. The song is “Baadal Ghumad Badh Aaye”. The male version of the song is sung by Suresh Wadkar and Kavita Krishnamurthy sings the female version. Both the versions of the song are set to music by Yashwant Deo in Raag Megh-Malhar. In the credit titles of the film, only Javed Akhtar’s name appears as a lyricist. But in reality, both the versions of the song have been written by Sai Paranjpye. There is an anecdote as to why Sai Paranjpye had to write the lyrics of the song as revealed by her in her Marathi book referred to above.

Javed Akhtar has written all the songs except the one under discussion which was last to be written. Despite repeated reminder, Javed Akhtar could not write the song. Yashwant Deo who was to set the song to music had booked the recording room and taken the dates of Suresh Wadkar and Kavita Krishnamurthy. All the musicians were also booked for the date of recording. Now only two days had left for the recording of the song but both the version of song’s lyrics was not yet ready. Just one day before the song recording date, it came to light that Javed Akhtar has gone to Khandala with a film producer. The cancellation of recording of the song would have entailed a huge loss and also the shooting schedules would have been affected entailing further loss.

Yashwant Deo mentioned to Sai Paranjpye that even if he gets the song in the morning of the song recording date, he can manage somehow to complete the rehearsals and record the song at the appointed time at noon. Sai Paranjpye came home at night and completed the lyrics of two versions of the song, foregoing her sleep. In the morning, she handed over the lyrics to Yashwant Deo and recording of the songs took place as schedule.

On return from Khandala on the next day, Javed Akhtar was shocked to learn that the songs have already been recorded. He got annoyed on Sai Paranjpye.  After 3-4 days, an executive from Plus Films came to her asking for her lyrics which Javed Akhtar wanted to read. He took lyrics to Javed Akhtar. There was no further development which meant that Javed Akhtar had no issue with the lyrics. On this issue, Shabana Azmi remained neutral.

Javed Akhtar won the National Film Award for the best lyrics in ‘Saaz’ (1997).

It is not an easy task for a novice to write lyrics based on Hindustani classical raags. The choice of words shows that Sai Paranjpye has hold over Sanskritised Hindi. For the first time, I have heard the word kanakalankrit bhor (dawn of golden colour). While the male version of the song is reflective of the onset of the rains, the female version of the song signals the end of the rains and the sun is shining giving a dawn of hope. This is symbolic for the resurgence of playback singing career of Bansi (Shabana Azmi) after she lost her will to sing.

Suresh Wadkar version of the song is pictuirsed on Raghuveer Yadhav who has played the role of a father of singing sisters, Mansi and Bansi. The picturization of the song is based on a true story in the life of Dinanath Mangeshkar who had gone to the house of Vishram Bedekar (Marathi and Hindi film director) in the midnight, drenched under heavy rains to borrow money to quench his thirst for alcohol. Bedekar taunted him by saying that it did not behove well for such a great artist to beg for money. Dinanath Mangeshkar retorted by impromptu singing a bandish in Raag Megh-Malhar and after completing the bandish, he took money from Bedekar as a present for his rendering.

Enjoy both the version of the songs in the backdrop of the approaching monsoon season.

Video (Suresh Wadkar Version)

Audio (Suresh Wadkar Version)

Video (Kavita Krishnamurthy Version)

Audio (Kavita Krishnamurthy Version)

Song – Baa..dal Ghumadh Badh Aaye (Saaz) (1997) Singer – Suresh Wadkar, Kavita Krishnamurthy, Lyrics – Sai Paranjpye, MD – Yashwant Deo

Lyrics

Suresh Wadkar Version

baa…dal ghumad baddh aaye

baa…dal ghumad baddh aaye..e
kaali ghata ghanghor gagan mein
kaali ghata ghanghor
baa…dal ghumad baddh aaye
baa…dal ghumad baddh aaye
kaali ghata ghanghor gagan mein
kaali ghata ghanghor gagan mein
andhiyaara chahun o..or
andhiyaara chahun o..or
ghan barsat utpaat pralay kaa
pyaasa kyon manmo..or
pyaasa kyon manmo..o..or
baa…dal ghumad baddh aaye
baa…dal ghumad baddh aaye..e
 
kaali ghata ghanghor gagan mein
kaali ghata ghanghor
ghanghor
ghanghor
ghanghor
kaali ghata ghanghor gagan mein
andhiyaara chahun o..or
ghan barsat utpaat pralay kaa
ghan barsat utpaa..aa..aa..t
aa aaa aa aaa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa 
ghan barsat utpaat pralay kaa
pyaasa kyon manmo..or
pyaasa kyon manmo..or
baa…dal ghumad baddh aaye
baa…dal ghumad baddh
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
baa..dal ghumad
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
baa..dal ghumad
baa..dal ghumad
baa…dal ghumad baddh aa..aa..aa..ye

Kavita Krishnamurthy Version

baa..dal ghumad baddh aaye
baa..dal ghumad baddh aaye
kaali ghata ghanghor gagan mein
kaali ghata ghanghor gagan mein
andhiyaara chahun o..or
ghan barsat utpaat pralay ka
pyaasa kyon manmo..or
pyaasa kyon manmo..or
baadal baras ab maun bhaye
baadal baras ab maun bhaye
 
ravi ujjwal prajawalit gagan mein
prajawalit gagan mein
gagan mein
gagan mein
gagan mein
ravi ujjwal prajawalit gagan mein
kanakaalankrut bho..or
jai mangal jai ghosh gagan kaa
jai ghosh gagan kaa..aa..aa
aaaaaaaaaaaaaa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
jai mangal jai ghosh gagan kaa
shubh utsav chahun o..or
shubh utsav chahun o..or
baa..dal baras ab maun bhaye
baa..dal baras
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
baadal baras ab maun bhaye..ae
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
baadal baras
baadal baras
baadal baras ab maun bha..ye..ye


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

Blog Day :

4066 Post No. : 15201 Movie Count :

4178

Today, September 5th is 24th Remembrance Day of Salil Chowdhury (19/11/1925 – 05/09/1995), the legendary music director who was the pioneer in fusion music – blending Indian melodies with the orchestration of western classical music. As he himself admitted during an interview on All India Radio, Salil Da was greatly influenced by the music of Beethoven and Mozart because his father used to play gramophone records of their music which he had listened during his childhood.

Salil Da’s musical legacy has been carried forward by the likes of RD Burman, Ilaiyaraaja and AR Rahman. I will come back later the organic connection of Ilaiyaraaja and A R Rahman with the music of Salil Da.  It is the irony of fate that while the followers of his musical legacy have attained the top slots in the film industry, Salil Da could not get such recognition in Hindi film industry. Perhaps, he was quite ahead of time and those who mattered in the Hindi film industry (producers and distributors) failed to realise his potentials.

Salil Da has to be a genius person in the making if I go by his various activities during his childhood and younger days. At the age of 6, he learns piano. As a student, he writes and compose songs for the school’s plays. As a teenager, he gets actively associated in the Peasants Movements in his village. In the midst of such activities, he completes his high school and later graduation from Kolkata University. He becomes a member of Communist Party of India and gets actively involved with Indian People’s Theatre Association (IPTA) while he is simultaneously doing his post-graduation studies. He is a playwright, song writer, composer and sometime actor in IPTA plays. Salil Da participates in the peasants’ uprising and goes underground for a couple of years. During this period, he writes and composes ‘chetonaar gaan’ (songs of awakening). He learns almost all the important musical instruments like piano, flute, esraj, sarod, sitar, guitar, percussion which is in most cases self-thought. He is the first to set up Bombay Youth Choir and later Calcutta Choir Group which he personally conducts in the 1950s. He is a poet, story writer, lyricist and music director.

With so much of his multifarious activities in around Kolkata, how did Salil Da get involved with Hindi film music in Mumbai? I quote below, in his own words during an  interviews on All India Radio:

I came to Bombay by stroke of luck. I was writing script (of my story ‘Rickshawaala’) for a Bengali film.  When Hrishikesh Mukherjee heard the story, he liked it. He said that he would narrate the story to Bimalda (Bimal Roy) who was expected to come to Kolkata from Mumbai. So, I took the appointment of Bimlada and read out the entire script to him. Bimlda did not show any reaction to the story but advised me to meet him the next morning.

When I went to meet him the next morning, I was told that he had left for Mumbai by the morning flight on some urgent work. Within a week, I got the telegram from Bimalda that he had decided to make a Hindi film based on my story and I should come to Mumbai with the script. That’s how I landed in Mumbai for ‘Do Beegha Zameen’ (1953).

After the success of ‘Do Beegha Zameen’ (1953), Salil Da was employed in Bimal Roy Productions as a music director. He did many films for the banner like ‘Biraj Bahu’ (1954), ‘Naukari’ (1954), ‘Amaanat’ (1955), ‘Parivaar’ (1956), ‘Aparadhi Kaun’ (1957), ‘Madhumati’ (1958), ‘Usne Kaha Thaa’ (1960), ‘ Parakh’ (1960).‘Kabuliwaala’ (1961), and  ‘Prem Patra’ (1962). During this period, he also did many other films outside the banner of Bimal Roy Productions. Song compositions in almost all these films are outstanding. Some of the songs from Bimal Roy’s  films are evergreen and they are still remembered. For instance “Aaha Rimjhim Ke Ye Pyaare Pyaare Geet Liye” (from ‘Usne Kaha Tha’) and “O Sajnaa Barkha Bahaar Aayi” (from ‘Parakh’).

In ‘non-Bimal Roy’ films, Salil Da composed excellent songs in films like ‘Jaagte Raho’ (1956), ‘Aawaaz’ (1956), ‘Ek Gaon Ki Kahaani’ (1957), ‘Honeymoon’ (1960), ‘Chhaaya’ (1961),  ‘Maaya’ (1961) etc. The songs like “Zindagi Khwaab Hai” (‘Jagte Raho’, Mukesh’s first song under Salida), “Dhitang Dhitang Bole” (‘Awaaz’), “Raat Ne Kya Kya Khwaab Dikhaaye” (‘Ek Gaon Ki Kahaani’), “Mere Khwaabon Mein Khayaalon Mein” (‘Honeymoon’),  “Koi Sone Ke Dilwaala” (‘Maaya’), and “Itna Na Mujhse Tu Pyaar Badha” (‘Chhaaya’)  are some of my favourites of Salil Da.

Despite scoring beautiful songs in the films of early 50s, Salil Da was still regarded as a flop music director in the eyes of film distributors.  The box office success of‘ ‘Madhumati’ (1958) and the high popularity of its songs enabled Salil Da to shed the tag of ‘flop music director’. I remember that not a single day will pass without one or two songs from ‘Madhumati’ (1958) being played on the radio after the release of the film. Salil Da got his first Filmfare Award for the best music director for this film.

It is difficult to pin point the best song from ‘Madhumati’ as all the songs were outstanding. Because I am a trekker, I may be biased in my liking for “Suhaana Safar Aur Ye Mausam Haseen“. The sound of chirping of the birds in the prelude creates a natural atmosphere in the scene for the song. Incidentally, adding in the prelude the chirping sounds of the birds was suggested by SD Burman. Salil Da used folk-based melody from Bengal, Assam, Nepal and also from Poland for almost all the songs in the film. He requisitioned the services of Dattaram for playing dholak in all the songs (as revealed by Dattaram in his TV interview). One can hear Dattaram ‘thekas’ prominently in the song “Ghadi Ghadi Mora Dil Dhadke“.

With the tremendous success of ‘Madhumati’ (1958), Salil Da got more film assignments such as ‘Chhaaya’ (1961), ‘Poonam Ki Raat’ (1965), ‘Chaand Aur Sooraj’ (1965), ‘Pinjre Ke Panchhi’ (1966) (which he also directed), among many others.

During his second phase of the musical career, he did some notable films like ‘Mere Apne’ (1971), ‘Anand’ (1971), ‘Annadaata (1972), ‘Rajanigandha’ (1974), ‘Chhoti Si Baat’ (1976), ‘Anand Mahal’ (1977) etc. Some of the popular as well notable songs of Salil Da of this period are “Zindagi Kaisi Hai Paheli Haaye” (‘Anand’), (note the choir singing in the interludes), “Raaton Ke Saaye Ghane” (‘Annadaata’) (song may not have become popular but it is an intricate composition which only Lata could do justice), “Kai Baar Yoon Bhi Dekha Hai” (‘Rajnigandha’) (my favourite and whenever I wish to listen to this song, I prefer to watch on the video clip) and “Na Jaane Kyun Hota Hai Ye Zindagi Ke Saath” (‘Chhoti Si Baat’) (again, I prefer to listen to the song by watching the video clip of the song).

I know, I have missed some more of popular songs composed by Salil Da . I will end with  one more song from the stable of Salil Da which did not become as popular as it should have been. The song is  “Koi Hota Jisko Apna” from ‘Mere Apne’ (1971).  It is a complex composition which Kishore Kumar has ably rendered. The mukhda tune was inspired from the background score of ‘Anand’(1970).

After about 1975, his Hindi film assignments came down that too was limited to small banners. On the other hand, his assignments in Bengali and South Indian films were on the rise. Also, he had shifted his base to Kolkata in mid 1970s as he had planned for setting up of a modern recording studio in Kolkata. During about 25 years of his active association with Mumbai, he composed about 300 songs in about 65 Hindi films.

Discussion on Salil Chowdhury’s musical career in films will not be complete unless we take into account his sojourn to South Indian films especially the Malayalam films. He was introduced to Malayalam films  by Ramu Khairat, the Malayalam film director who was a part of IPTA delegation along with Salil Da to an East European country in 1960. Their IPTA background and the common interest in films made them friends. When Ramu Khairat finalised the making of Malayalam film, ‘Chemmeen’ (1965), he selected Salil Da as the music director. The film received tremendous response from the cinegoers. This film is regarded as the first successful ‘arty’ film in South India.

The highlight of the film was the popularity of its four songs. The extra-ordinary success of the songs changed the complexion of the South Indian film music. Salil Da set his firm footing in the South Indian film industries. He did 25 Malayalam films and 10 films in Tamil, Telugu and Kannada. In addition, he was also associated with about 40 Bengali films as a lyricist and music director.

One of the innovative ideas Salil Da experimented with his music was that he composed new songs based on his earlier songs as well as from the background score by giving a different structure to the new songs. For instance, in an interview, Salil Da gave an interesting example of his song “Aaja Re Pardesi Main To Kab Se Khadi Iss Paar”  from ‘Madhumati’ (1958). The mukhda tune was based on the melodic background music of ‘Jaagte Raho’(1956). This background music is played whenever Raj Kapoor is about to drink water to quench his thirst but the circumstances makes him to run away from the scene without drinking water. In the same song, Salil Da has used the mukhda tune of “Ghadi Ghadi Mora Dil Dhadke” as the interlude music.

Another example I had noted many years back and worth mentioning is the comparison of the song “Baag Mein Kali Khili Bagiya Mehki” from ‘Chaand Aur Sooraj’ (1965) with “Saathi Re Tujh Bin Jiya Udaas” from ‘Poonam Ki Raat’ (1965). Salil Da has used more or less the same tune for the antaras of both the songs. Salil Da’s different melodic and orchestration structures makes these two songs sounding different. Hence, first song sounds like that for a growing up girl waiting for her fiance and the other one as a haunting song. Also note in the latter song how the mukhda tune of the former song converted into the interlude music and gets merges with the antara tune.

I had mentioned earlier that there is some organic connection between Salil Da, Ilaiyaraaja and AR Rahman. During his assignments in the South Indian films, especially in Malayalam films as a music director, Salil Da had in his orchestra, Ilaiyaraaja as a lead guitarist and RK Sekhar (father of AR Rahman) as his Assistant and Arranger. AR Rahman joined Ilaiyaraaja’s troup as Keyboard player. Incidentally, Salil Da had predicted that one day Ilaiyaraaja would become the top most music director of India. His prophecy has come true.

A music analyst in his article in The Hindu has opined that in his early years of music direction, Ilaiyaraaja seemed to have been influenced by Salil Da in using fusion music which he improvised a lot in his later years. The same music analyst also felt that Salil Da was influenced by the music of Ilaiyaraaja in composing Bengali songs in his later years.

On the occasion of 24th Remembrance Day of the legendary music director, Salil Da, I have chosen a rarely heard Sanskrit song  ‘tava virahe vanamaali’ from the film ‘Swami Vivekanand’ (1994). The music for the song has been composed by Salil Da in a classical raaga, Yaman. The song is written by the famous Sanskrit poet of the 12th century AD – Jaidev. It is rendered by Kavita Krishnamurthy. It is a classical dance song which is picturised on Shobna (Pillai), a well-known Malayalam and Tamil film  actress and a Bharatnatyam dancer. She is the niece of Padmini and Ragini.

I took the song’s lyrics from Geet Govind. English translation of the lyrics is embedded on the audio clip of the song. This is the song I liked best out of 8 songs in the film.

There is long history about the film ‘Swami Vivekanand’ (1994). The film was directed by GV Iyer  a khadi-clad barefoot Gandhian who has been known for  making films based on spiritual themes. He was the first to make a feature film in Sanskrit, ‘Adi Shankaracharya’ (1983) which won 4 National Film Awards including the award for the Best Film. This was followed by ‘Madhvacharya’ (1986) in Kannada, ‘Ramanujacharya’ (1989) in Tamil, ‘Bhagvad Geeta – The Song of the Lord’ (1993) in Sanskrit.  In addition, he has acted in and directed many Kannada films since 1954.

‘Swami Vivekanand’ (1994) was GV Iyer’s first foray into Hindi film which also falls under the spiritual theme.  The film was produced by T Subbarami Reddy, a parliamentarian and a well-known Telugu and Bollywood film producer. The main characters in the film, Swami Vivekanand was played by Sarvadaman Banerjee and that of Ramkrishan Paramhans by Mithun Chakraborty. Tanuja, Pradeep Kumar, Debashree Roy were some of the other actors in the film. Shammi Kapoor, Shashi Kapoor, Hema Malini, Rakhee, Jaya Prada, Manmooty, Meenakshi Seshadari and Anupam Kher did some minor roles as guest actors.

The film took about 5 years to complete and further about 3 years to get released for public viewing. Naseeruddin Shah who was selected to play the role of Ramkrishna Paramhans had to be dropped due to pressure from right-wing activists. The role went to Mithun Chakraborty despite having an image of disco dancer at that time. There were many objections from various quarters including Ramkrishna Mission. When issues were being addressed by the director, someone filed a suit in the high court which after sometime, cleared the film with about 20 cuts. The film was premiered on National Channel of Doordarshan on August 15, 1998 and thereafter it was released in the theatres. The film was a disaster at the box office.

‘Swami Vivekanand’ (1994) was  Salil Da’s last Hindi film. Salil Da was regarded as an expert in background music but this was the only his Hindi film for which he could not give background music due to his sudden death on September 5, 1995.

Audio

Video

 

Song – Tava Virahe Vanamaali Sakhi Seedati  (Swami Vivekanand) (1994) Singer – Kavita Krishnamurthy, Lyrics – Jaidev (Traditional), MD – Salil Chaudhry

Lyrics

tava virahe vanamaali
sakhi seedati
tava virahe vanamaali
sakhi seedati
tava virahe vanamaali
 
dahati shishir-mayookhe
maranam-anukaroti
patati madan-vishikhe
vilapati vikalataroti
aa aa aa aaa
aa aa aa aaa
aa aa aaa
aa aa aaa
aa aa aa aa aaa
dahati shishir-mayookhe
maranam-anukaroti
patati madan-vishikhe
vilapati vikalataroti
vikalataroti
tava virahe vanamaali
sakhi seedati
tava virahe vanamaali
 
aa aa aaa aa
aa aa aaa aa
dhvanati madhupa-samoohe
shravanam-api dadhaati
manasi valit-virahe
nishi nishi rujam-upyaati
dhvanati madhupa-samoohe
shravanam-api dadhaati
manasi valit-virahe
nishi nishi rujam-upyaati

vasati vipin-vitaane

tyajati lalitdhaam
luth’ti dharani-shayane
bahu vilapati tava naam
vasati vipin-vitaane
tyajati lalitdhaam
luth’ti dharani-shayane
bahu vilapati tava naam aa
tava naam
tava virahe vanamaali
sakhi seedati
tava virahe vanamaali
sakhi seedati
tava virah..ae
vanamaali..ee

———————————-
Devnagari script lyrics (Provided by Sudhir)
———————————–

[Ed Note: The complete text of the original song (song no. 10 in the book) consists of 8 verses, which appear in the 5th chapter of this epic poem, placed between the 34th and the 35th shloks in the book. For the purpose of the film, only the first four have been adapted. There is a lead in verse which is a part of this song. It reads as,
वहति मलयसमीरे मदनमुपनिधाय ।
स्फुटति कुसुमनिकरे विरहिहृदयदलनाय ॥  ]

तव विरहे वनमाली सखि सीदति ॥ १॥
तव विरहे वनमाली सखि सीदति
तव विरहे वनमाली

दहति शिशिरमयूखे मरणमनुकरोति ।
पतति मदनविशिखे विलपति विकलतरोऽति ॥ २॥
आ आ आ आ
आ आ आ आ
आ आ आ
आ आ आ
आ आ आ आ आ
दहति शिशिरमयूखे मरणमनुकरोति
पतति मदनविशिखे विलपति विकलतरोऽति
तव विरहे वनमाली सखि सीदति
तव विरहे वनमाली

आ आ आ आ
आ आ आ आ
ध्वनति मधुपसमूहे श्रवणमपि दधाति ।
मनसि वलितविरहे निशि निशि रुजमुपयाति ॥ ३॥
ध्वनति मधुपसमूहे श्रवणमपि दधाति
मनसि वलितविरहे निशि निशि रुजमुपयाति

वसति विपिनविताने त्यजति ललितधाम ।
लुठति धरणिशयने बहु विलपति तव नाम ॥ ४॥
वसति विपिनविताने त्यजति ललितधाम
लुठति धरणिशयने बहु विलपति तव नाम
तव नाम
तव विरहे वनमाली सखि सीदति
तव विरहे वनमाली सखि सीदति
तव विरहे॰॰ए
वनमाली॰॰ई

 


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

Blog Day : 3967 Post No. : 15049

dheeme dheeme gaaun
hmmm
dheere dheere gaaun
haule haule gaaun
tere liye piyaa………..

How sweet is Kavita Krishnamurthy sounding, never has she been sweeter than she is here. This has to be the best of Kavita and the best of A. R. Rehman too. I have been listening to this song since last few days and been enamoured by it. So much so that I have looked up the 2006 survey conducted by Outlook magazine to see if this song finds a place in it.

Usually I compliment a song by calling it a gem of a song. But for this one, I will be specific and call it a ‘diamond’ of a song. There is a street called ‘Khade Bazaar’ in Belgaum and we as children would loosely translate it to ‘Standing street’. Come to think of it, it must mean ‘Diamond market’ because ‘khada’ means stone in Marathi. ‘Khade’ is a word used for diamonds too.

When A. R. Rehman first arrived in the hindi film industry with ‘Roja” (1992), his type of music was a total revelation to the industry. The listeners jaded from the trash dished out in the name of music by MD’s in the 80’s were pleasantly surprised in the early part of 90’s. Melody was making a comeback and songs began to add to the appeal of films. The duo’s like Nadeem-Shravan, Anand-Milind and Jatin-Lalit were all contributed to this revival and had a lion’s share in the popular chartbusters of the 90’s. Some of these new generation MD’s were capable of rehashing two/three older songs and creating a new melody. But they created melodious songs, just not very original. A. R. Rehman was the only one creating original compositions and experimenting with instruments. All of them, between them managed to take the hindi film songs appeal to international audiences in to the next millenia too, the malady of plagiarism, notwithstanding. Some more plagiarism from the likes of Anu Malik, Pritam, etc add a bit more creativity from the southern music director like Ilyaraja and M M Kreem(atleast they sounded original to me), indian film music was a huge business internationally.

To add to the appeal of this music and to add to the commercial success among the subcontinent diaspora in UK and North America, the inclusion of fresh voices from across the border became an acceptable norm.

Coming back to Roja and A. R. Rehman. A. R. Rehman has started composing jingles of advertisements as a youngster. The songs of Roja were all masterpieces and it looked like he won’t be able to surpass it. But surpass he did with scores for films like Lagaan, Bombay, Guru, Taal, Delhi 6 to name a few. He is one of the achiever of modern day india in the creative field with an Oscar too and unsurpassed international recognition for his music.

The song presented is from the film ‘Zubeida’ written by Khalid Mehmood and directed by Shyam Benegal. One of the trio of films he made based on stories connected with his own real life. The central protagonist Zubieda played superbly by Karishma Kapoor is the daughter of a big filmmaker, but she is denied a film career. This is a period film situated in post partition period. She ends up with a broken marriage with a Pakistani and a son. She meets a price from ‘Rajasthan’ who plays polo matches in Mumbai, and the rest is history. There are a few goods reviews of the film on imdb site.

There was a surprise in store for me as I tried to find the song links of this film. I found one song audio link, with the cover of CD , which said Farrokh Rattonsey’s “Zubieda’. Again I go into flashback to 1990-91 when I had worked in the offices of the Rattonsey’s cleaving company at Santacruz (W) for a few months. They had film production company named Yelahanka Productions, and made two films that I remember, i.e. Khuddar and Kaash. They are old money of Mumbai, had businesses varying from Diamond cleaving to horse breeding. Their horses have made a name nationally and internationally from what I had gathered while working in their office, and have seen the news in later years too. They also used to publish india’s only/first magazine about race horses and breeding, named “Indian Thorough bred”. It used to be an annual or bi-annual issue. The office of ITB was situated in the same building as the cleaving company office.

Yes … and this diamond of a song. Music score for this film is among A. R Rehman’s best, but this particular number with the trademark longish mukhda and antara’s and amazing rendition by Kavita Krishnamurthy makes in the best song of the decade. Karishma Kapoor is singing this song as ‘Zubieda’ soon after marrying her price charming Manoj Bajpai. Really Karishma is more charming of the couple, with her 50’s style understated sophistication and looking far too innocent. The camera angles are not trying to make her look beautiful and just succeeding in making her look a young, bruised and innocent deer. The deer who is impoverish for love, happy and dances elegantly like a peacock.

Zubeida’s fear and insecurities are all expressed in the song. The subtlety in expressions is the hallmark, which makes this song stand apart from other songs of this genre. Kavita Krishnamurthy’s slight variations while repeating the mukhda each time and the gradual changes in rhythm are appealing to the finer senses. It is almost five and half minute long with only two stanzas. Something special which makes us wish that it will continue forever and not end.

The lyricist is Javed Akhtar and this song is sheer poetry visually also.

Audio

Video

Song-Dheeme dheeme gaaun (Zubeida)(2001) Singer-Kavita Krishnamoorthy, Lyrics-Jawed Akhtar, MD-A R Rahman

Lyrics

dheeme dheeme gaaun
hmmm
dheere dheere gaaun
haule haule gaaun
tere liye piyaa

dheeme dheeme gaaun
hmmm
dheeme dheeme gaaun
dheere dheere gaaun
haule haule gaaun
tere liye piyaa
gun gun main gaati jaaun
chhun chhun paayal chhankaaun
sun sun kab se dohraaun
piyaa piyaa piyaa aa

gulshan mehke mehke
ye man behke behke
aur tan dehke dehke
kyun hai bataa piyaa
man ki jo haalat hai ye
tan ki jo rangat hai ye
teri muhobbat hai ye
piyaa
piyaa piyaa
gun gun main gaati jaaun
chhun chhun paayal chhankaaun
sun sun kab se dohraaun
piyaa
piyaa piyaa aa

piyaa piyaa
o o o o
zindagi mein tu aaya to
dhoop mein milaa saaya to
jaage naseeb mere
o o o o
anhonee ko thha honaa
dhool ban gayi hai sonaa
aa ke qareeb tere
o o o o
pyaar se mujh ko
tu ne chhuaa hai
roop sunehraa tab se huaa hai
rang aur kya
mujh mein piyaa
o o o o o o o o
teri nigaahon mein hoon
teri hi baahon mein hoon
khwaabon ki raahon mein hoon
piyaa
piyaa piyaa
gun gun main gaati jaaun
chhun chhun paayal chhankaaun
sun sun kab se dohraaun
piyaa piyaa piyaa aa

piyaa piyaa
o o o o
o o o o
main ne jo khushi paayee hai
jhoom ke jo rut aayi hai
badle na rut wo kabhi ee
o o o o
dil ko devtaa jo laage
sar jhukaa hai jis ke aage
toote na but wo kabhi
o o o o
kitni hai meetthhee
kitni suhaanee
tu ne sunaayee
hai jo kahaani
main jo kho gayee
nayee ho gayee
ho o o o
o o o o
aankhon mein taare chamke
raaton mein jugnu damke
mit gaye nishaan gham ke
piyaa
piyaa piyaa
gun gun main gaati jaaun
chhun chhun paayal chhankaaun
sun sun kab se dohraaun
piyaa piyaa piyaa aa

——————————–
Devnagri script lyrics (Provided by nahm)
——————————–
धीमे धीमे गाऊँ
हम्म म म
धीरे धीरे गाऊँ
हौले हौले गाऊँ
तेरे लिए पिया आ

धीमे धीमे गाऊँ
हम्म म म
धीमे धीमे गाऊँ
धीरे धीरे गाऊँ
हौले हौले गाऊँ
तेरे लिए पिया आ
गुन गुन मैं गाती जाऊं
छुन छुन पायल छंकाऊँ
सुन सुन कब से दोहराऊँ
पिया पिया पिया आ

गुलशन महके महके
ये मन बहके बहके ए
और तन दहके दहके
क्यूँ हैं बता पिया आ
मन की जो हालत है ये
तन की जो रंगत है ये
तेरी मोहब्बत है ये
पिया
पिया पिया आ
गुन गुन मैं गाती जाऊं
छुन छुन पायल छंकाऊँ
सुन सुन कब से दोहराऊँ
पिया पिया पिया आ

पिया पिया
ओ ओ ओ ओ
ओ ओ ओ ओ ओ ओ ओ ओ
ज़िंदगी में तू आया तो
धूप में मिला साया तो
जागे नसीब मेरे ए
ओ ओ ओ ओ ओ ओ
प्यार से मुझ को ओ ओ
तू ने छुआ है
रूप सुनहरा तब से हुआ है
रंग और क्या
मुझ में पिया
ओ ओ ओ
ओ ओ ओ ओ ओ
तेरी निगाहों में हूँ
तेरी ही बाहों में हूँ
ख्वाबों की राहों में हूँ
पिया
पिया पिया आ
गुन गुन मैं गाती जाऊं
छुन छुन पायल छंकाऊँ
सुन सुन कब से दोहराऊँ
पिया पिया पिया आ

पिया पिया
ओ ओ ओ ओ
ओ ओ ओ ओ ओ ओ ओ ओ
मैं ने जो खुशी पायी है
झूम के जो रूत आई है
बदले न रूत ये कभी ई
ओ ओ ओ ओ
दिल को देवता जो लागे
सार झुका है जिस के आगे
टूटे न बूत वो कभी
ओ ओ ओ ओ
कितनी है मीठी
कितनी सुहानी
तू ने सुनाई
है जो कहानी
मैं जो खो गाई
नई हो गई
ओ ओ ओ ओ ओ ओ ओ ओ
आँखों में तारे चमके
रातों में जुगनू दमके
मिट गए निशान ग़म के
पिया
पिया पिया आ
गुन गुन मैं गाती जाऊं
छुन छुन पायल छंकाऊँ
सुन सुन कब से दोहराऊँ
पिया पिया पिया आ


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

This is a labour of love, where “new” songs are added every day, and that has been the case for over FOURTEEN years. This blog has over 17800 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

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Total Number of movies covered=4740

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