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

Archive for the ‘Kishore Kumar solo’ 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 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 : 4205 Post No. : 15395

Memories that are pure gold – the mention of his name brings to mind a limited set of memories. Ah but these memories are pure gold.

Remembering Vijay Anand today, on his birth anniversary. He would have been 86 today.

Without any doubts, the best and the most remarkable sense of visualization of music. Not just thinking of films with Navketan – ‘Nau Do Gyaarah’ (1957), ‘Kaala Bazaar’ (1960), ‘Tere Ghar Ke Saamne’ (1963), ‘Guide’ (1965), ‘Jewel Thief’ (1967), ‘Johnny Mera Naam’ (1970) and more, his films outside of Navketan are also as memorable for their songs. ‘Teesri Manzil’ (1966) being the most popular and loved film for its songs, and their presentation. Of course, no one counters the wholesome effect of “O Haseena Zulfon Waali”. But then, see “O Mere Sona Re Sona Re Sona Re”. The superb performances in this song by both Shammi Kapoor and Asha Parekh are the handiwork of a most capable director, who knows how to bring out the maximum impact of everything that goes into presenting a song – the ambience, the words, the music, the facial expressions, the body language, crafting the merger of actions with music, the give and take between the two protagonists – everything brought together to convey this latent feeling in the heart, bringing it to the lips, and then expressing it with an un-tethered exuberance on the part of the lady, and a coy displeasure (to start with) on part of the gentleman. The end result – as Atul ji has often pointed out – after three stanzas, all is well and the lovers are seen walking hand in hand.

Take ‘Black Mail’ (1973) and the wonderfully soft rendition of a surreal presence of the loved one – felt through the written word, the voice of lover echoing through the letters, and the presence is so real that the lady wakes up with a start having felt the reality of a kiss on her forehead. Yes, the song is “Pal Pal Dil Ke Paas, Tum Rehti Ho”. I am never tired of replaying this song, the video I mean. Just the song itself is great, but its presentation on screen has enhanced its beauty and impact many folds.

Vijay Anand has also appeared in a handful of films. In some of the films that he directed himself, and he is not in the list of actors, one can catch a glimpse of him in very brief cameo appearances. However, he has appeared in bigger roles, and also as a hero. The first film in which he made his debut in a meaty role is ‘Joru Ka Bhai’ from 1955, a comedy film in which the lead pair was Balraj Sahni and Sheela Ramani.

His next major appearance is as the hero of the 1957 film ‘Agra Road’, a cops and robbers type of story. Next we see him on screen along with his two elder brothers, Chetan and Dev, in the 1960 film ‘Kala Bazaar’ which he also directed. In this film he plays the role of the ex-boyfriend of Waheeda Rehman, who has gone for higher studies to France, and returns with his amorous loyalties shifted elsewhere.

After a gap of four years, he is seen once again in a supporting role in ‘Haqeeqat’ (1964), a film that had a large ensemble of main line stars. The next gap is much longer – 7 years. And he makes his screen appearance once again in the 1971 film ‘Tere Mere Sapne’, a film that he has directed himself. His role in this film as Dr. Jagannath Kothari, a famous gynecologist (in film), is very impressive and effective.

The next film is ‘Chhupa Rustom’ in 1973. Dev and himself, are police agents who go undercover to capture a gang of smugglers. Once again, this film is directed by him. His role, masquerading as a shady, brash, small time, two-timing con man brings out the comedian in him – in my opinion one of his best screen appearances. This film is an Indianized version of the famous novel by Alistair MacLean – ‘Fear Is The Key’.

Parallel to ‘Chhupa Rustam’ in 1973, he also appeared in the film ‘Double Cross’. In this, he appears in a double role as the hero and his twin brother who is on the wrong side of the law. He was not yet 40, but he looked quite overage for this twin brothers roles. He appears to be trying very hard to be the role, but was not convincing. The con-man role in ‘Chhupa Rustam’ was a great act, but in ‘Double Cross’ he did not quiet click. It is interesting to note that in the role of the brother on the right side of the law, Vijay is a professional photographer. That rang a bell in my mind and I checked. Very much so, the film ‘Heera Panna’ in which Dev Anand plays the role of a professional photographer also, was released in 1973 itself. As one compares the two performances, they are quite similar in mannerism, attire and body language. Now who was copying from whom? 🙂

In 1973 came another good film, produced and directed by his elder brother Chetan – ‘Hindustan Ki Kasam’. He played the role of a fighter pilot, coming from a family of soldiers and pilots. There is a brief but a great monologue by him in this film – “Saathiyo, Dosto, Hum Hi To Aaj Ke Arjun Hain. . .”. (It can be viewed at 39:40 on the timeline at the link for the film ‘Hindustan Ki Kasam‘.) He presents this monologue, takes to the skies and then does not return. A short role, albeit an impressive one.

A year later he produced the film ‘Chor Chor’ (1974), but did not direct it himself. It is a suspense thriller that did not make it good on the box office, however, it was praised by the critics and reviewers. The film had no songs, and its star cast was very interesting. Vijay had assembled many actors of yesteryears for this film – Trilok Kapoor, Jairaj, and Ranjan. The female lead opposite to Vijay himself is Leena Chandawarkar. I have not seen this film, but it seems interesting enough to merit a view.

In 1974, he appeared in another film, in a very impressive performance once again. The film ‘Kora Kaagaz’, and he is cast with Jaya Bhaduri as the leading pair. The film is about an idealistic romance that transforms into matrimony. And the matrimony cannot withstand the reality of social relations and issues of personal choices – it breaks apart. Alas, there is a happy ending as the estranged spouses meet and make up in railway waiting room. Another very impressive performance.

Then, after a gap of another 4 years, Vijay appeared in another very good role – that of a rich landlord, very well performed. The film is ‘Main Tulsi Tere Aangan Ki’. A gem of a film by Raj Khosla, Vijay is pitted against two seasoned performers – Nutan as his first and legally wedded wife and Asha Parekh as his second companion in life, whom he brings home much to the dislike of the first lady of the house.

In 1981, came the film ‘Ghungroo Ki Awaaz’ – a tale of haunting and intrigues. Once again, Vijay finds himself out of his depth. Is that a reflection of being a very good director and then come to act under the direction of another director who may not be as well capable. Don’t know whether we should draw this comparison. But then this film is not in my list of impressive performances by Vijay.

In 1984, Chetan Anand produced and directed ‘Hum Rahe Na Hum’ in which Vijay and Shabana Azmi played the lead pair. Then in 2001, he produced and directed ‘Jaana Na Dil Se Door’ in which he and brother Dev played senior roles in a film with an impressive star cast that includes Kamini Kaushal, Mohnish Behl, Moushumi Chatterji, Indrani Bannerjee, Dinesh Hingoo and Vikram Gokhale.

Vijay also appeared in a mini series on TV in 1994, titled ‘Tehkikaat’, in the role of Sam D’Silva, an investigator.

Readers would remember that Alfred Hitchcock always made it point to appear in his own films in a fleeting cameo appearance. That was his signature mark in his films, and the audiences would eagerly await to catch his appearance as they viewed his films for the first time. Vijay Anand has also a similar reputation, albeit we are not sure we have tracked down his cameos in all the films that he directed. A brief list of what I have been able to compile.

He appears in ‘Funtoosh’ (1956) as a young out-of-work writer, who meets Funtoosh (Dev Anand) after he is released from the mental hospital. Funtoosh gifts him a pen to write.

Then in ‘Tere Ghar Ke Saamne’ (1963) he appears in the stairwell of Qutab Minar, wearing spectacles, walking down the stairs with two other persons, as Dev and Nutan are busy with their amorous inclinations singing “Dil Ka Bhanwar Karey Pukaar”.

In ‘Guide’ (1965), we hear his voice, as an unknown stranger is asking about Raju guide on the railway platform. Just a very brief dialogue.

In ‘Jewel Thief’ (1967), we hear his voice on the phone, in a brief conversation with Helen.

In ‘Prem Pujari’ (1970) he appears very briefly in the role of a spy, a fleeting cameo.

Again in 1970 ‘Johnny Mera Naam’, we hear his voice very briefly as an officer of Nepal Police greets Iftekhar at the Kathmandu airport, welcoming him to Nepal.

Here is a very interesting on screen appearance trivia. Hollywood producer and director, Mike Judge of the ‘Beavis And Butthead’ fame, was a great fan of Vijay Anand. In fact, in his animated film ‘Beavis And Butthead Do America’, there is a song being played in a casino in Las Vegas. On stage, among the musicians, there is a guitar player accompanying the singer. Mike Judge had based this character on Vijay Anand. The song in that film is ‘Love Roller Coaster’, available on YouTube; just click on the link.

A brief list of shelved films of Vijay Anand.

After ‘Rajput’ (1982) and before ‘Main Tere Liye’ (1988), Vijay Anand launched ‘Dekha Jaayega’ with Anil Kapoor and Jackie Shroff. Anil backed out at last moment. After a brief gap, the film was planned again with Saif Ali in place of Anil, but was later shelved.

In 1988, he planned the film ‘Dosti Ka Taqaaza’ starring Mithun and Govinda. It was later shelved.

He appeared in the film ‘Insha Allaah’ as the hero opposite to Zarina Wahab. The film was later shelved.

He directed ‘Chura Lenge Ankhon Se Kajal’ (1992) with Akshay Kumar and Kareena Karishma Kapoor. This film was also shelved.

In 1997 he starred in and directed the NFDC (National Film Development Corporation) film ‘Nyaymurty Krishnamurty’. This film also did not see the light of the day.

In the 1990s, he also started working on another film ‘Pal Pal Dil Ke Paas’, which could not be completed, probably did not go beyond the planning stage.

OK, so today’s song. It is contributed by Avinash ji. The film is ‘Ghungroo Ki Awaaz’. The story is of a family conspiracy with shades of reminders from the film ‘Mera Saaya’. The protagonist falls in love, the lady dies in confusing circumstances, then she returns as a ghost to haunt the man. The plot finally nails down another family member, who is attempting to get rid of the protagonist, for the sake of inheritance. There are maybe some more films that are based on this scenario.

The music is by RD Burman, the words are from the pen of Vijay Anand himself and Kishore Kumar is the playback voice.

A heartfelt salute to this celluloid artist who donned many a hat in his career, and had left behind a memorable legacy.

 

Video

Audio

Song – Tere Ghungroo Ki Awaaz  (Ghungroo Ki Awaaz) (1981) Singer – Kishore Kumar, Lyrics – Vijay Anand, MD – RD Burman

Lyrics (Provided by Avinash Scrapwala)

ho o o mere hamraaz
kaisa hai ye raaz
bulaati hai aur kho jaati hain
tere ghunghroo ki aawaaz
tere ghunghroo ki aawaaz

ho o o mere hamraaz
kaisa hai ye raaz
bulaati hai aur kho jaati hain
tere ghunghroo ki aawaaz
tere ghunghroo ki aawaaz

sitaaron ne sajaayee thhi dagar
hawaaon ne jhulaaya bhi magar
hmm hmm hmm
sitaaron ne sajaayee thhi dagar
hawaaon ne jhulaaya bhi magar
jalaa daaley
jalaa daaley
pankh naseebon ne
reh gayee hasrat e parwaaz
tere ghunghroo ki aawaaz
ho o o mere hamraaz
kaisa hai ye raaz
bulaati hai aur kho jaati hain
tere ghunghroo ki aawaaz
tere ghunghroo ki aawaaz

andheron mein chhupi hai kiran
milan hai par ye kaisa milan
hmm hmm hmm
hmm hmm hmm
andheron mein chhupi hai kiran
milan hai par ye kaisa milan
adhura hai
adhura hain
geet jeewan ka
aur toota toota saaz
tere ghunghroo ki aawaaz

ho o o mere hamraaz
kaisa hai ye raaz
bulaati hai aur kho jaati hain
tere ghunghroo ki aawaaz
tere ghoonghroo ki aawaaz
tere ghoonghroo
ki aawaaz

————————————————————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————————————————-

हो ओ ओ मेरे हमराज़
कैसा है ये राज़
बुलाती है और खो जाती हैं
तेरे घुँघरू कि आवाज़

हो ओ ओ मेरे हमराज़
कैसा है ये राज़
बुलाती है और खो जाती हैं
तेरे घुँघरू कि आवाज़

सितारों ने सजाई थी डगर
हवाओं ने झुलाया भी मगर
हं हं हं
सितारों ने सजाई थी डगर
हवाओं ने झुलाया भी मगर
जला डाले
जला डाले
पंख नसीबों ने
रह गयी हसरत ए परवाज़
तेरे घुँघरू कि आवाज़
हो ओ ओ मेरे हमराज़
कैसा है ये राज़
बुलाती है और खो जाती हैं
तेरे घुँघरू कि आवाज़

अंधेरों में छुपी है किरण
मिलन है पर ये कैसा मिलन
हं हं हं
हं हं हं
अंधेरों में छुपी है किरण
मिलन है पर ये कैसा मिलन
अधूरा हैं
अधुरा हैं
गीत जीवन का
और टूटा टूटा साज़
तेरे घुँघरू कि आवाज़

हो ओ ओ मेरे हमराज़
कैसा है ये राज़
बुलाती है और खो जाती हैं
तेरे घुँघरू कि आवाज़
तेरे घुँघरू कि आवाज़
तेरे घुँघरू ..
कि आवाज़


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 :

4194 Post No. : 15377 Movie Count :

4239

“Raees”(1976) was directed by Vishu Raje. It had Yogita Bali, Kiran Kumar, A K Hangal, Utpal Dutt, Sulochana (Ruby Meyers), Gulshan Arora, Ramesh Deo, Helen, Aruna Irani etc in it.

This obscure movie had four songs in it.

Here is the first song from “Raees”(1976) to appear in the blog. This song is sung by Kishore Kumar. Naqsh Llayalpuri is the lyricist. Music is composed by Sapan Jagmohan.

Only the audio of the song seems to be available as of now. I request our knowledgeable readers to throw light on the picturisation of the song.

With this song, “Raees”(1976) makes its debut in the blog.


Song-Duniya mein kya kya hota hai pyaare(Raees)(1976) Singer-Kishore Kumar, Lyrics-Naqsh Llayalpuri, MD-Sapan Jagmohan

Lyrics

Duniya mein kya kya hota hai pyaare
Duniya mein kya kya chalta hai pyaare
tu kya samjhe
tu kya jaane
tu kya samjhe
tu kya jaane
duniya abhi toone nahin dekhi
Duniya mein kya kya hota hai pyaare
arre Duniya mein kya kya chalta hai pyaare
chal aage badh andhernagri mein

karta hai koi kaala dhandhaa
kaala dhandhaa
khot ka koi hai vyopaari
kyaa
haan baaba
Bhagwaan bechta hai
mandir ka har pujaari
Hariom
ginti ke lakhpati yahaan
laakhon yahaan bhikhaari
arre tu kya chhamjhe
tu kya jaane
tu kya samjhe
tu kya jaane
duniya abhi toone nahin dekhi
Duniya mein kya kya hota hai pyaare
aur aage badh
kuchh aur dikhaata hoon

duniya mein aane ki izaajat
haan jee permission
hamne kisi se kahaan li thhi
yoon hi tapak pade
jab aa gaye hain ham tum
raahon mein zindagi ki
aansoo bahaa ke kaise
manzil miley khushi ki
tu kya samjhe
tu kya jaane re
tu kya samjhe
tu kya jaane
duniya abhi toone nahin dekhi
Duniya mein kya kya hota hai pyaare


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.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 : 4190 Post No. : 15371

———————————————–——————————-
Blog 10-Year Challenge (2010-20) – Song No. 1
——————————————————————————

Welcome all to this first post under the ‘Blog 10-Year Challenge’ in this year “2020”, where we will be going back to the movies represented on the blog in the year “2010”.

Today we begin our journey in this year with a not-so-popular but yet a nice hummable song from the movie ‘Aashiq Hoon Bahaaron Ka-1977’. I had planned the post in the month of December’2019 itself when I had browsed for the movies represented in the month of January’2010.

However, I had not selected the song for the post then. The song that readily came to my mind was the ‘title song’ of this movie and since it had not been posted I thought I would present this one. But when I listened to the other song remaining from this movie, I like it and presenting the same today, since it also talks of a ‘journey’ and a ‘continuing journey’ without reaching the ‘destination’.😊

We, on the blog, have already entered in the thirteenth ‘calendar year’ for the blog since its inception in 2008, and we have still a long way to go and many new ‘topics’ to be explored and this song perfectly sets the tune for another entertaining musical year ahead …

So far, the following three songs from this movie have been posted on the blog earlier;

Song Posted on
mashrique-se-jo-nikle-maghrib-mein-kho-gaye 07.01.2010
I-am-in-love-you-are-in-love 18.07.2013
mere-gorey-gaalon-ka 20.03.2014

This movie had total five songs in it and the two remaining songs to be posted are;
‘nahin dekha kabhi pehle … main aashiq hoon bahaaron ka’
‘tera dil kya kehta hai mera dil to ye kehta hai’

(and if the listing of songs given in HFGK Vol V is in correct order of appearance of the songs in this movie, the above two songs remaining are the first and the last song appearing in this movie).

Looking back ten years back i.e. on 07.10.2010 the following two movies were represented on the blog ten years back (in ascending order of presentation).

Song Movie title-Year Remarks
Gudiya hamse roothi rahogi Dosti-1964 All songs covered on the blog
Mashrique se jo aaye … Aashiq Hoon Bahaaron Ka-1977 03 of 05 songs posted so far

“Aashiq Hoon Bahaaron Ka-1977” was directed by J. Omprakash for ‘Shiv Kala Mandir’, Bombay. S.K. Chand was its Chief Assistant Director.

“Aashiq Hoon Bahaaron Ka-1977” was produced by K.K. Talwar and Raj Bathija. It had Rajesh Khanna, Zeenat Aman, Danny Dengongpa with Asrani and Om Prakash. Sulochana makes a special appearance in this movie. Its supporting cast includes Rehman, Preeti Ganguly, Pinchoo Kapoor, Madhup Sharma, Julie and Nadira.

Story and screenplay of this movie was written by Ram Kelkar. Its dialogues were written by Ramesh Pant. Editing of this movie was done by Pratap Dave and Prakash Dave.

This movie was passed by Censor Board on 18.11.1977.

This movie had total five songs in it and only Lata Mangeshkar and Kishore Kumar gave their voices to the songs in this movie where Lata Mangeshkar had one solo song, Kishore Kumar had three solo songs and there was only one duet sung by them.

Lyrics for all the five songs were penned by Anand Bakshi and music was composed by Laxmikant-Pyarelal.

Today’s song is the fourth song from this movie to appear on the blog.

I think that, other than the title song of this movie and the song ‘I am in love’, the other songs were not very much popular, though I find the today’s song a nice hummable and an enjoying one. (also, I do not remember to have listened to the today’s song earlier before taking it for the presentation in this post).

I have not watched this movie so I cannot say much about it. I would request knowledgeable readers to throw more light on the movie and its songs …

Let us now enjoy this song …

(The songs is picturized on Rajesh Khanna and Zeenat Aman and many others are seen in the picturization of this song which is picturized on foreign locations).

Video

Audio

Song-Tera dil kya kehta hai (Aashiq Hoon Bahaaron Ka)(1977) Singer-Kishore Kumar, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

(dialogues from the video link are not included)

Hmm hmm hmm
hmm hmm hmm
Hmm hmm hmm
Haa
Aa ha haa
Aa ha haa

Tera dil kya kehta hai
Mera dil to ye kehta hai
Yoon hi raston pe
chalte jaayen ham
Aur manzil kabhi bhi naa aaye
Hey la la laa
La la laa
La la laa
La la laa
Laa aa
Tera dil kya kehta hai
Mera dil to ye kehta hai
Yoon hi raston pe
chalte jaayen ham
Aur manzil kabhi bhi naa aaye
Hey la la laa
La la laa
La la laa
La la laa
Laa aa

Manzil jo nazdeek aayegi
Manzil jo nazdeek aayegi
Tu mujhse door chali jaayegi
Tere jaane ke baad
Teri yaad aayegi
Tere jaane ke baad
Teri yaad aayegi
Main tujh ko kahaan dhoondhoongaa
Tera pataa kis’se poochhoonga
Yoon hi raston pe
chalte jaayen ham
Aur manzil kabhi bhi naa aaye
Hey la la laa
La la laa
La la laa
La la laa
Laa aa

Mujhko to neend nahin aayegi
Mujhko to neend nahin aayegi
Tu kya mujhe bhool jaayegi
Mere jaane ke baad
Meri yaad aayegi
Mere jaane ke baad
Meri yaad aayegi
Achchhaa hai is doori se
Phir milne ki majboori se
Yoon hi raston pe
chalte jaayen ham
Aur manzil kabhi bhi naa aaye
Hey la la laa
La la laa
La la laa
La la laa
Laa aa

Tera dil kya kehta hai
Mera dil to ye kehta hai
Yoon hi raston pe
chalte jaayen ham
Aur manzil kabhi bhi naa aaye
Hey la la laa
La la laa
La la laa
La la laa
Laa aa

la la laa
La la laa
La la laa
La la laa
Hmm mm

———————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
———————————————–
हम्म हम्म हम्म
हम्म हम्म हम्म
हा
आ हा हा
आ हा हा
तेरा दिल क्या कहता है
मेरा दिल तो ये कहता है
यूं ही रस्तों पे
चलते जाएँ हम
और मंजिल कभी भी ना आये
हे ल ल ला
ल ल ला
ल ल ला
ल ल ला
ला आ
तेरा दिल क्या कहता है
मेरा दिल तो ये कहता है
यूं ही रस्तों पे
चलते जाएँ हम
और मंजिल कभी भी ना आये
हे ल ल ला
ल ल ला
ल ल ला
ल ल ला
ला आ
मंज़िल जो नज़दीक आएगी
मंज़िल जो नज़दीक आएगी
तू मुझसे दूर चली जायेगी
तेरे जाने के बाद
तेरी याद आएगी
तेरे जाने के बाद
तेरी याद आएगी
मैं तुझ को कहाँ ढूंढूंगा
तेरा पता किस से पूछूंगा
यूं ही रस्तों पे
चलते जाएँ हम
और मंजिल कभी भी ना आये
हे ल ल ला
ल ल ला
ल ल ला
ल ल ला
ला आ
मुझको तो नींद नहीं आएगी
मुझको तो नींद नहीं आएगी
तू क्या मुझे भूल जायेगी
मेरे जाने के बाद
मेरी बाद याद आएगी
मेरे जाने के बाद
मेरी बाद याद आएगी
अच्छा है इस दूरी से
फिर मिलने कि मजबूरी से
यूं ही रस्तों पे
चलते जाएँ हम
और मंजिल कभी भी ना आये
हे ल ल ला
ल ल ला
ल ल ला
ल ल ला
ला आ
तेरा दिल क्या कहता है
मेरा दिल तो ये कहता है
यूं ही रस्तों पे
चलते जाएँ हम
और मंजिल कभी भी ना आये
हे ल ल ला
ल ल ला
ल ल ला
ल ल ला
ला आ
ल ल ला
ल ल ला
ल ल ला
ल ल ला
हम्म म्म


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

Blog Day : 4181 Post No. : 15360

Hullo Atuldom

Wishing everyone a Happy (last) Sunday of 2019. Last chance to be a TEEN for this century.

December saw a few posts from me and like last year I missed sending posts for a few birthdates for which I would have liked to write posts. But here is the song which I was saving up for today.

Today, 29th December we are thinking of THE FIRST SUPERSTAR of Bollywood. Born Jatin Khanna in 1942 in Amritsar and brought up by his adopted parents in Delhi and Bombay. He was a schoolmate of a person called Ravi Kapoor (Jeetendra). They grew up in the old Bombay region of Girgaon and attended school in Thakurdwar area. They were active on the stage in their school and college and even won prizes in Inter-college drama competitions.

Jatin Khanna played a wounded mute soldier in a play called ‘Andha Yug’ in 1962 and impressed the chief guest so much that he suggested that Khanna should try films. Khanna entered the 1965 All India Talent Contest as Rajesh Khanna, a name given by his uncle. He was one of eight finalists from among 10000 contestants. United Producers was created by the likes of BR Chopra, G P Sippy, Bimal Roy, H S Rawail, Nasir Hussain, J. Om Prakash, Mohan Saigal, Shakthi Samanta and Subodh Mukherjee; and they were the judges of the talent hunt. Khanna’s first film was Chetan Anand’s “Aakhri Khat” in 1966 followed by “Raaz” both of which were his pre-determined prize for winning the contest.

His real taste of success came with “Aradhana” which came after he had a few releases from 1967 to 1969 (when Aradhana released). He was appreciated in “Itteeaq” “Doli” etc. which are part of the contract with United Producers and he was noticed for his performances in them. But “Aradhana” saw him rise to instant national fame and then the floodgates to successful movies were thrown open. And that kind of fame has never been experienced by any actor since. His fans still rave about his movies like “Safar”, “Amar Prem”, “Aap Ki Kasam”, “The Train”, “Do Raaste”, “Aan Milo Sajna”, “Sachcha Jhootha” etc. (I am not going to name all the 15/17 superhits of that period here). And I am not a biographer, I am only a fan of his and loved him in all his movies from “Haathi Mere Saathi” to all his later releases; whether “Janta Hawaldar” or “Aaj Ka MLA Ramavatar” or “Avatar” or “Thodi Si Bewafaii” and the movies which released in the 80s too; when he was trying to rebuild his career by pairing with Sridevi, Jaya Prada, Tina Munim, Poonam Dhillon etc.

For today’s post I was on the lookout for a song where he is on-screen with a child, preferably girl child, and ran through a whole lot of song-videos beginning from “Babu”, “Apna Desh” etc and zeroed in on this song from “Hamshakal”. It had him in a dual role as husband to Tanuja and Moushumi Chatterjee. He had a child from each of them. One of them loses her baby in the course of the movie the other loses her mental balance when she witnesses an accident and in that state of mental imbalance gives birth to a baby girl. Now that is the story of the two heroines, as far as the two Rajesh Khannas are concerned, one stands-in for the other so that the first one can solve the accident issue, due to which his wife had become mentally unstable. This movie I have seen at the time of its release in the movie hall, and a few years ago on satellite television. I think what I have written about the movie is right.

Today’s song is sung onscreen by Moushumi’s husband at the birthday party of Tanuja’s daughter. If I recollect correctly Tanuja is partially recovered at this stage and Moushumi has begun to feel that her husband is two-timing her. The song shows how much expressive Rajesh Khanna’s eyes were and we could feel his sadness without his breaking into tears when he remembers his dead child during the song. It is sung by the Kishore Kumar under music by R D Burman and song is written by Anand Bakshi. The unavoidable combination of RDB-Kishore- Rajesh appears again. And a song written by Anand Bakshi is a joy to listen to.

Let us assume that the baby girl’s role is played by Twinkle Khanna and wish her too a very Happy Birthday. We know there cannot be any song where the father and daughter appeared together so I am using this song. Twinkle was an actress who starred in about 16 films from 1995 to 2001 beginning with “Barsaat” which was also Bobby Deol’s debut into filmdom. Her last film as heroine was “Love Ke Liye Kuch Bhi Karega” in 2001 with Fardeen Khan. So, the tradition that the father started of acting with the Khans – Rajesh Khanna and Feroz Khan were seen together in “Safar” and “Aurat”; Twinkle’s “Love ke liye Kuch Bhi Karega” had Feroz Khan’s son Fardeen Khan as the lead. Another parallel between the careers of father and daughter was that both of them had movies with the title “Joru Ka Ghulam” and the movies were comedies. These days the actress in Twinkle has retired and become an interior designer and also a writer whose fortnightly column in the papers are widely read. Her writings have a fun streak in them and one of her books is titled “Mrs. Funnybones”.

Video

Audio

Song-Ek taara thha bada pyaaraa thha (Hamshakal)(1974) Singer-Kishore Kumar, Lyrics-Anand Bakshi, MD-R D Burman

Lyrics (Based on video)

Aao bachchon
mein tumhe ek bahut hi achchi kahaani sunata hoon, kya?
jhoomo tum naacho
main gaata hoon
jhoomo tum naacho
main gaata hoon
sabko ek kahaani main sunaata hoon
ek taara thha
bada pyaara thha
hmm hmm hmm hmm hmm hmm
bada nyaara thha

papa papa papa

kaali kaali raaton mein jab woh chamakta thha
aasmaan ki pariyon ka bhi dil dhadakta thha
kaali kaali raaton mein jab woh chamakta thha
aasmaan ki pariyon ka bhi dil dhadakta thha
sitaare
nazaare
sab us’se jalte thhe
main bataata hoon
kya
ek taara thha
bada pyaara thha
hmm hmm hmm hmm hmm hmm
bada nyaara thha

maine us’se poochha
tum kya kaam karte ho
maine us’se poochha
tum kya kaam karte ho
jagmag jagmag tim tim
subah shaam karte ho
maine us’se poochha
tum kya kaam karte ho
jagmag jagmag tim tim
subah shaam karte ho
toh dola
woh bola
tumko meethhe sapne
main dikhaata hoon
kya
ek taara thha
bada pyaara thha
la la laa la lalla lal
bada nyaara thha

phir kya hua
bolo na
aage kya hua

bolo na
rota sabko chhod gaya
woh sabse roothh ke
jaane kahaan gir gaya
ambar se toot ke
rota sabko chhod gaya
woh sabse roothh ke
jaane kahaan gir gaya
ambar se toot ke
na jaana
deewaana
uski yaad mein aansoo
main bahaata hoon
ek taara thha
bada pyaara thha
ek taara thha
bada pyaara thha
ek taara thha
bada pyaara thha
ek taara thha
bada pyaara thha
ek taara thha
bada pyaara thha


This article is written by Raja, 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 :

4104 Post No. : 15254 Movie Count :

4191

First of all, my apologies for my infrequent appearances here. Even calling it a cameo is unfair to a cameo, because, to be honest, it is not even that. It is more like, a “blink and you miss” situation.

Anyway, here I am today, back with a post. The occasion is the Remembrance Day of someone very special to the Hindi film industry, and also to me. He has millions of fans around the world and is easily one of the legends of the industry.

I am talking about Kishore Kumar, of course.

I’ve written about Kishore Kumar many times in the past. And yet, when Avinash ji requested me to write a post for this occasion, I immediately agreed. Such is my love for Kishore Kumar that even if I repeat myself and bore my readers in the process 🙂 , I could not bring myself to say no.  🙂

The problem then was to get the required writing mood back. What they say about writing is very true. If you don’t write for an extended period of time, you gradually lose the ability to do so. That is why many writers practise their writing everyday, by writing at least a minimum number of words.

When I wrote to Avinash ji saying “Mere thoughts gather nahin ho rahe. I have lost the ability to write”, he replied “Aap Kishore Kumar ke gaane suniye aur din bhar sunte rahiye. Thoughts will come, I am sure.” 🙂

So I did listen to a few songs – predictably songs of ‘my’ era. “Khizaan Ke Phool”, “Jeevan Se Bhari Teri Aankhen”, “Teri Duniya Se”, “Hum Bewafa Hargiz Na The”, “O Mere Dil Ke Chain”, “Ye Shaam Mastaani” and a few others.

I think that might have helped a bit, because here I am.

Anyway, coming to Kishore Kumar.

The years just roll by – it is already 32 years since he left us.

He was just 58 at the time – far too young to go.

But like they say, it is not the years in your life that count, it is the life in your years.

And Kishore Kumar had plenty of life in his years.

No one will dispute that Kishore Kumar was the No.1 all-rounder in the industry. There have been a few others who have had multiple skills. Manoj Kumar was actor, writer, director, producer. Mehmood was also quite an all-rounder.

But Kishore was in a league of his own, because in each of his roles, he left a mark. Of course he is best-known as a singer, but even today many remember his acting, especially in comedy roles like in ‘Dilli Ka Thug’, ‘Chalti Ka Naam Gaadi’, ‘Half Ticket’ and many other films.

But there was so much more to Kishore Kumar than just comedy. And probably to prove this point, he produced and directed films like ‘Door Gagan Ki Chhaon Mein’ (1964) and ‘Door Ka Raahi’ (1971). I was stunned when I saw both these films – they have tremendous depth and philosophy, uncommon for the times.

His versatility was not limited to singing, acting, producing and directing though. Kishore Kumar also composed music, for some of his films.  Like the two films mentioned above, whose songs are quite popular to this day. As are the songs of  ‘Jhumroo’ (1961).

This is why I call Kishore Kumar the Gary Sobers of the Hindi film industry. 🙂 He could take on any role, and make a success of it.

But beyond even his multifarious talents, there was Kishore the person. And even as a person, he is quite an inspiration for me. His attitude towards life is something I can only admire.

Those who worked with Kishore Kumar, especially Lata Mangeshkar and Asha Bhosle, vouch  for his ability to enliven a recording session with his sense of humour, his cracking a joke or pulling someone’s leg. Some people are like this – never a dull moment with them around.

It is not as if Kishore didn’t have low moments, or tough times. Everyone has these – Kishore was no exception. But he never let this affect his professionalism. He was very clear about himself, his philosophy towards life – and he never allowed others to define it for him.

Like he said “Duniya samajhti hai main paagal hoon….main samajhta hoon duniya paagal hai”.

I think, whatever his conflicts with the world might have been, especially later in his life, he was at peace with himself. And that is most important for a human being. Like he told Lata Mangeshkar in an interview in the fag end of his career “I am quite happy”. He expressed a desire to run away from it all, and go to a place which was calling out to him.

Today, on his Remembrance Day, I feel Kishore Kumar found that place and left us in order to go there.

And left us with SUCH a treasure of songs and memories that we are indebted to him for life.

So thank you, thank you, thank you, Kishore Kumar for what you have given us. Speaking purely for myself, as someone who has been part of my life from my very early years, when I listened repeatedly to songs like “Mere Sapnon Ki Raani” and “Ye Shaam Mastaani” on the radio, your impact on my life cannot be described.

Now onto the song for today.

It is a totally new song for me. In fact I have never even heard of the film. Details, including lyrics of the song, have been sent to me by Avinash ji.

This is what he says :

“Zindagi Jeene Ke Liye-1984’ was directed by K.S. Sethumadhavan for ‘Tirupati Chitra Mandir, Bombay’. It was produced by Hastimal.

It had Rakhi Gulzar, Suresh Oberoi, Vijay Arora, Manmohan Krishan, CS Dubey, Krishan Dhawan, Shobhha Khote, Birbal Raj, Raj Kishore, Rakesh Roshan, Tina Munim, Master Rinku, Shah Chaturvedi, Raghvaiyya, Santosh Kumar, Lata Kashmiri, Dolphin and others. Deepa and Ramu make a guest appearance in this movie.

This movie was passed by Censor Board on 06.06.1984. However, the movie was re-certified by Censor on 15.12.1987 with a UA certificate (as mentioned in HFGK).

The movie has total seven songs, including the three-part song being presented today (as per HFGK Vol-VI 1981-1985) composed by Rajesh Roshan. HFGK mentions Rajesh Roshan as the lyricist for this movie and the same is mentioned on the vinyl cover of this movie available on online sources, which I guess is correct. (myswar.co also mentions the same). Asha Bhonsle, Kishore Kumar, Pankaj Udhas and Yesudas had given their voices to the songs in this movie.”

This film, ‘Zindagi Jeene Ke Liye’ (1984), makes its debut entry on this blog today.

The song itself is amazing. I’d never heard it before, but when I heard it for the first time a few days ago, it touched my heart. It also suits this occasion, as it talks of a person who feels he is ready to move on.

Please do listen to this wonderful song. Quite a gem, it is, especially in Kishore Kumar’s voice. Thanks for the song, Avinash ji.

Audio, All Parts

Video, Partial

Song – Udte Udte Pyaase Panchhi (Zindagi Jeene Ke Liye) (1984) Singer – Kishore Kumar, Lyrics – Indeevar, MD – Rajesh Roshan

Lyrics (Provided by Avinash Scrapwala)

Part 1

hmmm mmmm mmmm mmmm mmmm
hmmm mmmm mmmm mmmm mmmm

udte udte pyaase panchhi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye
armaan pyaase chhaayi udaasi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye

ek nadi thhi pyaar ki
saari duniya byopaar ki
ek nadi thhi pyaar ki
saari duniya byopaar ki ee
raah roke apni khadi thhi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye

zindagi ke ae baaki thhe kuchh lamhe
shaayad ke ho milna phir hamen
zindagi ke ae baaki thhe kuchh lamhe
shaayad ke ho milna phir hamen
maar daalegi ye bebasi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye
armaan pyaase chhaayi udaasi
pyaase panchhi thhak gaye

Part 2

door jaa rahe hain
ke nainaa ro rahe hain
door jaa rahe hain
ke nainaa ro rahe hain
saanson ki na toote ladi ee
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye

Part 3

haathon ne hamesha waar kiya
kabhi naa kisiko pyaar kiya
haathon ne hamesha waar kiya
kabhi naa kisiko pyaar kiya
nas nas basi buzdili thhi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye ae

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

भाग १

हम्मम मम्मम मम्मम मम्मम मम्मम
हम्मम मम्मम मम्मम मम्मम मम्मम

उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए
अरमां प्यासे छायी उदासी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए

एक नदी थी प्यार कि
सारी दुनिया ब्योपार कि
एक नदी थी प्यार कि
सारी दुनिया ब्योपार कि ई
राह रोके अपनी खड़ी थी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए

ज़िन्दगी के ए बाकी थे कुछ लम्हे
शायद के हो मिलना फिर हमें
ज़िन्दगी के ए बाकी थे कुछ लम्हे
शायद के हो मिलना फिर हमें
मार डालेगी ये बेबसी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए
अरमां प्यासे छायी उदासी
प्यासे पंछी थक गए

भाग २

दूर जा रहे हैं
के नैना रो रहे हैं
दूर जा रहे हैं
के नैना रो रहे हैं
साँसों की ना टूटे लड़ी ई
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए

भाग ३

हाथों ने हमेशा वार किया
कभी ना किसीको प्यार किया
हाथों ने हमेशा वार किया
कभी ना किसीको प्यार किया
नस नस में बसी बुज़दिली थी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए ए


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 :

4097 Post No. : 15243

“Bade Dil Waala”(1983) was produced and directed by Bhappi Sonie for Bhappie Sonie Productions, Bombay.This “social” movie had Rishi Kapoor, Tina Munim, Sarika, Aruna irani, Jagdeep, Madan Puri, Kalpana Aiyyar, Roopesh Kumar, Bharat Bhushan etc in it.

The movie had seven songs in it. Four songs from the movie have been covered in the past. Here is the fifth song from the movie to appear in the blog.

This song is sung by Kishore Kumar and chorus. Majrooh Sultanpuri is the lyricist. Music is composed by R D Burman.

This song is lip synced by Rishi Kapoor as a party song in the movie.

Audio

Video

Song-Aaya sanam aaya deewaana tera (Bade Dil Waala)(1983) Singer-Kishore Kumar, Lyrics-Majrooh Sultanpuri, MD-R D Burman
Chorus

Lyrics

hey
aaya sanam
aaya deewaana tera
o sanam o sanam o sanam
hey aaya sanam aaya deewana tera
o sanam o sanam o sanam
anokha ishq mera
niraali aan baan
nishaane par ye dil hai
hatheli par hai jaan
o jaani o jaani o jaani o jaani
arre aaya sanam aaya deewaana tera
o sanam o sanam o sanam
o aaya sanam aaya deewaana tera

ru ru ru ru
ru ru ru ru
ru ru ru ru
ru ru ru ru
ru ru ru ru
ru ru ru ru
ru

wo hi nahin ya main hi nahin
ab yaar ki mehfil mein
main bhi to dekhoon
zor hai kitna
baazu-e-kaatil mein
tere peechhe jo main hoon
mere peechhe jahaan
ru ru ru ru
nishaane par ye dil hai
hatheli par hai jaan
o jaani o jaani o jaani o jaani
hey aaya sanam aaya deewaana tera
o sanam o sanam o sanam
o aaya sanam aaya deewaana tera

ru ru ru ru
ru ru ru ru
ru ru ru ru
ru ru
ru ru ru ru
ru ru ru

dekh raha main sar pe mere maut khadi muskaaye
phir bhi tujhko pyaar karoonga
jaan rahe ya jaaye
anokha ishq mera
niraali aan baan
ru ru ru ru
nishaane par ye dil hai
hatheli par hai jaan
o jaani o jaani o jaani o jaani
arre aaya sanam aaya deewaana tera
o sanam o sanam o sanam
hey aaya sanam aaya deewaana tera
o sanam o sanam o sanam
anokha ishq mera
niraali aan baan
nishaane par ye dil hai
hatheli par hai jaan
o jaani o jaani o jaani o jaani
hey aaya sanam aaya deewaana tera


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.

Blog Day :

4093 Post No. : 15237 Movie Count :

4188

Just like so many more human endeavors, wherein the concepts and philosophical models of ‘-isms’ are all so correct and convincing, and their practical implications and implementations are so faulty and distorted that the discussions about the defects and flaws, also sounds very convincing in the hindsight.

Take Communism for example. The writings of Karl Marx, Friedrich Engels and Vladimir Illych Lenin – as they write about the class struggle between the ‘haves’ and the ‘have nots’, and lucidly present their ideas on how to address this social divide, for the betterment of humanity – are so very a convincing, palpable and substantial, that it is easy to be convinced about the failings and deficiencies of the capitalist / imperialistic model of the world order, which should be replaced everywhere with the model of Communist social order. When Marx passed away in 1883, the debate on this subject was quite vigorous both amongst the elite and the working class in the countries of Europe.

Not long thereafter, the revolution of the working class came about in 1917, in Russia, under the leadership of Lenin. A new model of state and governance, and a new social order was established. The history is replete with the narrative of violence and misery that accompanied this change, but the Communist movement had come on to stay. Over the next three decades, this model of a new social order spread to other neighboring states – towards the west of the erstwhile USSR, which formed the countries in eastern European bloc and towards the South East, i.e. China.

For all the populism and the PR that was a big budget activity in the USSR, the model did not quite stick for very long. Within our own lifetimes, we have witnessed the downfall of Communism in 1980s – the so called perestroika or restructuring of the social order and government in the USSR, now Russia. The theories of the great philosophers of the late 19th century, did not quite hold on together when implemented and the rubber met the road. Although China still holds out with their powerful Communist Party supported by their strong army, the Communistic form of social order did last, albeit just for about seven decades.

A similar pageant has played out and is playing out, in India. The ‘-ism’ that is associated with Mahatma Gandhi, that Munna Bhai so endearingly likes to call ‘Gandhi-giri’ (‘Lagey Raho Munna Bhai’, 2006), has seen its prime during the early decades of the twentieth century, and its subsequent devaluation in the closing decades of the same twentieth century. I remember – in the 1980s and 90s, around the time of his birth anniversary (2nd October) every year, one was treated to editorials and articles in newspapers, and panel discussions on Doordarshan, with titles that were variations on “The Relevance of Gandhi Today”. Even then, my mind used to react that as a society, we have apparently lost Gandhi and his ideals, if now that the intelligentsia is beginning to discuss the relevance. Just so strongly underscores the fact that the question of relevance comes to fore, when the storm of doubts and disbelief is surging strong in the society. That discussion still continues.

Where and what are the fault lines? I had read his autobiography – ‘The Story of My Experiments with Truth’ way back when I was in college. I was, and honestly I still am, deeply impressed, influenced, overwhelmed by honesty and simplicity with which he has laid bare his persona and his internal turmoils, his candid admissions of his faults, expressions of his ideals and idealistic resolutions, and the strength of character to personally follow and implement those ideals in practical life. It is a frightening tale of development of a human mind from the basic animalistic existence to literally a sainthood. It goes to establish that Gandhi was no ordinary soul, and such souls appear on this planet quite rarely. Albert Einstein has so beautifully summed it up in his tribute – “Generations to come will scarce believe that such a one as this ever in flesh and blood walked upon this earth”

A time was, at the turn of the century, when the nation was seeking a simple philosophy in leadership. Here was a teacher, who did not just teach. In fact he refused to teach or direct others, for things that he himself had not practiced and not lived through himself. A hallmark of a true saint, whose existence within his own mind, and as seen by those around him, is starkly the same. My readings about the Tolstoy Farm that he established in South Africa in 1910, are such an impactful influence. And also a conviction that this soul is an honest and truthful spiritual leader, who will not lead his flock astray for personal or ideological gains.

For all his goodness and his saintly leadership of the people, his words and his teachings stand at crossroads today. The retinue of his followers diminishing over time, and bevy of protesters calling out their criticisms and insults – their tribe is incessantly increasing. Where is the fallacy? Is there an aberration that we see on the radar of history?

A lot has been written and continues to be written about him. But I really wonder how many of us are actually, really reading him. He has written extensively, and not just one book. His complete works including his articles and speeches, will form a complete section of a good size library. Many years ago, maybe more than three decades ago, I read the following in one of his articles printed in 1927 in the journal ‘Young India’. Countering all that I had read till then, and had been hearing about his philosophy of ahimsa (non-violence), here was a paragraph that stunned me with its clarity of thought and perfection of logic.

“My creed of non-violence is an extremely active force. It has no room for cowardice or even weakness. There is hope for a violent man to be someday non-violent, but there is none for a coward. I have therefore said more than once in these pages that if we do not know how to defend ourselves, our women and our places of worship by the force of suffering, i.e., nonviolence, we must, if we are men, be at least able to defend all these by fighting.”

All his life, he incessantly tried to differentiate for his followers, the distinction he made between non-violence and cowardice. In the same journal, in another article, even earlier in 1920, he writes,

“I do believe that, where there is only a choice between cowardice and violence, I would advise violence…. But I believe that non-violence is infinitely superior to violence, forgiveness is more manly than punishment. Forgiveness adorns a soldier. But abstinence is forgiveness only when there is the power to punish; it is meaningless when it pretend to proceed from a helpless creature.”

At another place, his words on this same theme are

“Where choice is set between cowardice and violence, I would advise violence. . . I prefer to use arms in defense of honor rather than remain the vile witness of dishonor. . .”

Are we, in this age and these circumstances, aware of this strong advocacy of the above distinction he makes between the oh so terribly misunderstood themes of non-violence vs cowardice? And are we teaching, nay even projecting the correct understanding of all that this great soul stood for all his life?

The generation that had spent time with him, that had experienced his influence and his aura first hand, is already relegated to history. Well, almost. The survivors of that generation are very few. In another few years, maybe a decade or so, we shall not be hearing of a Gandhian anymore. For the newer crop of followers that we see, Gandhi is more of a political crutch, and face to be put on the currency notes, nothing much more than that.

Where lies the answer to the ‘WHY’ connected with this scenario? I do not know. There are many an ill of the human tendencies and human traits that we can expound to explain. But probably the answer lies deeper – deeper inside the very constitution of this existence itself. A simple axiom that makes up the destiny of everything that we can observe. Simply put – everything decays. Ensconced in these two simple words is the terrible and profound truth that applies to everything in this universe, and to the universe itself. I will posit it from two different directions that I am aware of.

One – our scriptures. It is written in our scriptures, in the sections where the creation of this universe is described, that when He created this universe, it was perfect, in every possible way that can be thought of. But this perfection lasted for just that first instant of creation. This perfect universe started to decay in the very next instant. It is stated so, in our books. And this decay encompasses everything that is material and even non-material in existence. That is the progression of the ‘yugas’ (eras) that we are so familiar with in our scheme of the universe and its passage through time. The good shall diminish and the things will always be progressively worse.

Two – from the perspective the study of the physical nature of this universe as a subject – Physics. There is a branch of this study called Thermodynamics, which deals with the energy within a system, and all aspects related to it. This branch of physics was formalized as a subject through the research work, both physical and philosophical, of scientists in the 18th and 19th centuries – names like Count Rumford, Sadi Carnot, William Thomson, Gibbs, James Maxwell etc. Based on their works, this branch now has a set of laws called the Laws of Thermodynamics, which are time tested and form the foundations of a huge segment of physical sciences. The second of these laws has a very simple, very interesting statement, and a very profound implication for the entire universe itself. The law states that –

“The total entropy of an isolated system can never decrease over time.”

The key element to understand in this statement is ‘entropy’. Simply defined, entropy is the measure of the state of disorderliness in a physical system. Going by this law, a deduction that can be inferred immediately is that in any physical system, the disorderliness will always increase with time. To put it even more simply, and bluntly, every system will always and only, decay with time. That brings us back to a concurrence with the assertions contained in our scriptures.

And so, as with everything, the social systems will also decay with time. I am sure I do not need to explain this statement further. People with awareness of history, and also, the awareness of the experiences of a lifetime, will concur.

Truth, however, remains unchanged. In all the rigmarole of the eras and human evolution, and the transitions of history that we are aware of, the only thing that remains unchanged is the Truth. In Hindi, the word is ‘सत्य’ which comes from the root ‘सत्’. If I may draw an analogous word from the English language, it would be ‘stat’ or ‘static’, which also means – un-moving, at rest, unchanging. Truth, in this creation, and as a conceptual idea, remains static unchanged, in this tumultuous ocean of creation that is eternally in a chaos of constant change and decay.

The concept of this unchanging Truth is discussed and described quite at length in our scriptures. A basic characteristic of this Truth is that not just that it is unchanging, but it is also inert and passive. It does not DO anything. It just IS.

That thread now brings us back to the Mahatma again. Here is one person who realized quite early in life, the nature of this Truth, as is evident from the title of his autobiography – ‘The Story of My Experiments with Truth’. Understanding the passive and inactive nature of Truth, he set out on a journey to experiment with it, to understand it better. That realization, and his unflinching endeavor to pursue and investigate it, is what makes him stand out as a giant amongst men. He belongs to that list of a handful people in the history of the human civilization who have raised this query within themselves, and have encountered the answer. For that, he is a Mahatma – the extraordinary soul, and a notch above the Atma – the ordinary souls, who can be counted in millions.

The song being presented today, belongs to the 1978 film ‘Nasbandi. The period of history covered in this film is that of June 1975 to January 1977, during which Emergency was proclaimed in our country. I am not going into the politics behind this episode. Enough to say that in 1977, when the elections were held, the powers that proclaimed and benefitted from this state of emergency, lost, and a new political equation was written into history of India. The film deals with the topic of forced sterilization of menfolk, one of the key ingredients of the political battle in 1977.

The film is produced by Johar Films, and is directed by IS Johar. The name is sufficient to give an idea of what kind of a comical spoof this film is. Especially when we have IS Johar and Rajendranath playing the lead roles.

Geet Kosh lists seven songs for this film, written by Indeewar, Rajendra Krishan and Hullad Muradabaadi. This particular song is written by Indeevar and the music is composed by Kalyanji Anandji. This is a background song in the film, rendered by Kishore Kumar.

The song is a regretful complaint about the state of the nation, and a supplication to the Mahatma – as to the social and political conditions prevailing. That the dream of a disciplined and amiable social edifice that the Mahatama had envisioned, was in shambles. The instances of regrets are many, and the passing years and decades, have only added to them. None of them have been is taken away.

And that brings us back to the thread of the continuous decay, everywhere.

The philosophies and the visions of great men are like beacons of light in the thick fog of chaos and uncertainty that this universe, this existence is. And that existence is steadily moving towards more chaos, more uncertainty. That is the nature of existence itself. These great men – Nanak, Buddha, Abraham, Moses Prophet Mohammed, Christ, Socrates, Gandhi, Zoroaster, Kabeer, and many more – have been the extraordinary souls that have realized the Truth of this existence. Their messages to the humankind are an effort to make more of us ordinary souls understand this path, and its goal. But this world is what it is. Despite that so many extraordinary souls have visited and tried to spread this message. Or maybe, we can say that this world is what it is today, because of these enlightened souls – it would have been even a worse present, had these men not visited this earth.

O Gandhi, the vision of society that you shared with us, lies unread in books no one reads anymore, in libraries that no one visits any more.

And thieves have stolen the ‘बकरी’ (goat) whose milk had nourished your soul.

Song – Gandhi Tere Desh Mein Ye Kaisa Atyachaar  (Nasbandi) (1978) Singers – Kishore Kumar, Lyrics – Indeewar, MD – Kalyanji Anand ji
Chorus
Kishore Kumar + Chorus

Lyrics

janta ki awaaz hai ye
sun le o bapu gandhi
ye kaisa hahaakaar desh mein
ye kaisi aag ki aandhi

kahaan gayi wo teri ahinsa. . .
kahaan gayi wo teri ahinsa
kahaan gaya wo pyaar
gandhi tere desh mein
ye kaisa atyaachaar
bapu tere desh mein
ye kaisa atyaachaar
ek bharat mein ban gaye
jalianwaale baagh hazaar
gandhi tere desh mein
ye kaisa atyaachaar
bapu tere desh mein
ye kaisa atyaachaar

tu ne jab awaaz lagaai..ee..ee
saara hindustan utha
saara hindustan utha
angrezon ke dil bhi dehle..ea..ea
aisa ik toofaan utha
aisa ik toofaan utha
khushi khushi tere kehne par
bharatwaasi jail gaye
seene par goli jhel gaye
apne praanon par khel gaye
apne praanon par khel gaye
naam pe tere par laakhon jawaan
duniya ke sab sukh bhool gaye
dulhan ka ghunghat bin khole hi
phaansi par jhool gaye
phaansi pe wo jhool gaye
tu swaraaj le aaya. . .
tu swaraaj le aaya
hum to phir bhi rahe lachaar
gandhi tere desh mein
ye kaisa atyaachaar
bapu tere desh mein
ye kaisa atyaachaar

azaadi ki jung ladaa tha
isi liye kya hindostan
isi liye kya hindostan
arey nyaye maangne nyayaalay mein
ja na sakey koi insaan
ja na sakey koi insaan
kitne hi nirdosh yahaan
misa ke andar band huye
andhe kuen mein kitne hi
azaad samandar band huye
azaad samandar band huye
ismat loota karte hain jo
ban kar raaj ke pehredaar
apni satta rakhne ko jo
chheene janta ke adhikar
chheene janta ke adhikar
gandhi tere desh mein
ye kaisa atyaachaar
bapu tere desh mein
ye kaisa atyaachaar

dekhi kahin kalam-bandi
dekhi kahin zubaan-bandi
dekhi kahin zubaan-bandi
darr ki hukumat har dil par bhi
saara hindostan bandi
saara hindostan bandi
nasbandi ke naam pe zulm huye
wo dukhion deenon par
lagta tha latka ho jaise
prajatantr sangeenon par
prajatantr sangeenon par
prajatantr sangeenon par
turkmaan wo gate aasmaan
toota jahaan zameenon par
chala diye bulldozer jab
bebas logon ke seenon par
bebas logon ke seenon par
bebas logon ke seenon par
apnon ke haathon hi..ee..ee..ee
apnon ke haathon apnon pe
goli ki bauchhaar
gandhi tere desh mein
ye kaisa atyaachaar
bapu tere desh mein
ye kaisa atyaachaar

saare desh par zulmon sitam ke
ghor andhere jab chhaaye
ghor andhere jab chhaaye
tab prakash ki kirnen le kar
jai prakash aage aaye
jai prakash aage aaye
gandhi tere naam ki
ab hogi jai jaikaar
gandhi tere name ki
ab hogi jai jaikaar
arey jo bhi hukumat zulm karegi
uski hogi haar
jo bhi hukumat zulm karegi
uski hogi haar

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

जनता की आवाज़ है ये
सुन ले ओ बापू गांधी
ये कैसा हाहाकार देश में
ये कैसी आग की आँधी
कहाँ गई वो तेरी अहिंसा॰ ॰ ॰
कहाँ गई वो तेरी अहिंसा
कहाँ गया वो प्यार
गांधी तेरे देश में
ये कैसा अत्याचार
बापू तेरे देश में
ये कैसा अत्याचार
एक भारत में बन गए
जालियाँवाले बाग हज़ार
गांधी तेरे देश में
ये कैसा अत्याचार
बापू तेरे देश में
ये कैसा अत्याचार

तूने जब आवाज़ लगाई
सारा हिन्दोस्तान उठा
सारा हिन्दोस्तान उठा
अंग्रेजों के दिल भी दहले
ऐसा एक तूफान उठा
ऐसा एक तूफान उठा
खुशी खुशी तेरे कहने पर
भारतवासी जेल गए
सीने पे गोली झेल गए
अपने प्राणों पर खेल गए
अपने प्राणों पर खेल गए
नाम पे तेरे लाखों जवाँ
दुनिया के सब दुख भूल गए
दुल्हन का घूँघट बिन खोले ही
फांसी पर झूल गए
फांसी पे वो झूल गए
तू स्वराज ले आया॰ ॰ ॰
तू स्वराज ले आया
हम तो फिर भी रहे लाचार
गांधी तेरे देश में
ये कैसा अत्याचार
बापू तेरे देश में
ये कैसा अत्याचार

आज़ादी की जंग लड़ा था
इसीलिए क्या हिन्दोस्तान
इसीलिए क्या हिन्दोस्तान
अरे न्याय मांगने न्यायालय में
जा ना सके कोई इंसान
जा ना सके कोई इंसान
कितने ही निर्दोष यहाँ
मीसा के अंदर बंद हुये
अंधे कूंए में कितने ही
आज़ाद समंदर बंद हुये
आज़ाद समंदर बंद हुये
इस्मत लूटा करते हैं जो
बन कर राज के पहरेदार
अपनी सत्ता रखने को जो
छीनें जनता के अधिकार
छीनें जनता के अधिकार
गांधी तेरे देश में
ये कैसा अत्याचार
बापू तेरे देश में
ये कैसा अत्याचार

देखी कहीं कलम-बंदी
देखी कहीं ज़ुबान बंदी
देखी कहीं ज़ुबान बंदी
डर की हुकूमत हर दी पर भी
सारा हिन्दोस्तान बंदी
सारा हिन्दोस्तान बंदी
नसबंदी के नाम पे ज़ुल्म हुए
वो दुखिओं-दीनों पर
लगता था लटका हो जैसे
प्रजातंत्र संगीनों पर
प्रजातंत्र संगीनों पर
तुर्कमान वो गेट आसमान
टूटा जहां ज़मीनों पर
चला दिये बुलडोज़र जब
बेबस लोगों के सीनों पर
बेबस लोगों के सीनों पर
बेबस लोगों के सीनों पर
अपनों के हाथों ही॰॰ई॰॰ई॰॰ई
अपनों के हाथों अपनों पे
गोली की बौछार
गांधी तेरे देश में
ये कैसा अत्याचार
बापू तेरे देश में
ये कैसा अत्याचार

सारे देश पे ज़ुल्म ओ सितम के
घोर अंधेरे जब छाए
घोर अंधेरे जब छाए
तब प्रकाश की किरणें ले कर
जयप्रकाश आगे आए
जयप्रकाश आगे आए
गांधी तेरे नाम की
अब होगी जय जयकार
गांधी तेरे नाम की
अब होगी जय जयकार
अरे जो भी हुकूमत ज़ुल्म करेगी
उसकी होगी हार
जो भी हुकूमत ज़ुल्म करेगी
उसकी होगी हार


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.

Blog Day :

4092 Post No. : 15235 Movie Count :

4187

Songs Repeated in Hindi Films – 11
– – – – – – – – – – – – – – – – – –

I could not have expected a better surprise than this one today. Aha, here is this wonderful memorable song that has got repeated in a film after 34 years. And now, that repeat itself is 28 years past. Wow, 62 years later we are going to talk about a song from 1957, which appeared once again in another film in 1991.

Yes, the iconic song of road travel that has been immortalized in the annals of Indian cinema. The tone and the context of the song – a vagabond traveler, a second hand truck, the endless roads, and a journey without a destination – it set the template for others to emulate. Footloose has no mark over this. Don’t we all, at some time in life, aspire for a meandering aimless trip, just for the sake of the journey. And just for the heck of it. The destination – may it exist or not, companions – may they be there or not. Desultory, adrift, without any aim, feckless – when the apparent random futility is the purpose of the endeavor. What a state to be in – being, and yet not being, nary a care in the world. Aah yes, the mind sometimes wants an escape of sorts – “Le Chala Jidhar Ye Dil Nikal Padey”.

The original from the film ‘Nau Do Gyarah’ (1957) needs no introductions. The words, the melody and the imagery is etched in the mind, in all its details – Delhi roads of mid 1950s, sans traffic; the time when the traffic used to pass under the India Gate, and the Kashmere Gate (now these are monuments, cordoned off from the traffic); a miniscule encounter with a coy lady sitting in a car coming from the opposite direction; driving past the Taj Mahal; the long row of village belles carrying earthen pots of water, offering no grass (घास नहीं डालती 🙂 ) to the most handsome beseeching young man claiming to be laid out like a carpet at their feet – yes, all etched in the mind like it happened yesterday.

Time was when Sachin Da was quite, nay very selective, as always, in his choice of the singing voice for individual songs. And Kishore Da was never his ‘always’ choice for playback for Dev Anand. But Sachin Da has been proven right and right and right again, in his choice of singing voices. Imagine a “Khoya Khoya Chaand. . .”, or “Dil Ka Bhanwar. . .” or “Tu Kahaan Ye Bataa. . .” or “Hum Bekhudi Mein. . .” in a voice other than Rafi Sb, and a “Jaayen To Jaayen Kahaan. . .” in a voice other than Talat Sb, or the jazzy “Hum Dum Se Gaye. . .” in a voice other than Manna Dey, or the magnificent “Ye Raat Ye Chandni. . .”, or “Na Tum Hamen Jaano. . .” or “Chup Hai Dharti. . .” or “Yaad Aa Gayin Wo. . .” in a voice other than Hemant Da. It just will not stick in the imagination. Sachin Da got the best, the most suitable voice for the song, and after listening to them, the only verdict is – it cannot be bettered. In all the outings that Sachin Da shared with Dev Anand, apparently ‘Funtoosh’ (1956) and ‘Prem Pujari’ (1970) are the only two collaborations wherein we hear Kishore Da as the only voice playing back for Dev Anand. In all other films they have done together, Sachin Da has used a combination of different voices for Dev Sb. ‘Baazi’ (1951) also has only Kishore Da’s voice backing up Dev Anand for “Dil Ye Kya Cheez Hai. . .”, but then it is the only male voice song in the film, and that too, a song that only Kishore Da can do justice to.

And not just for Dev Sb. Sachin Da also has Rafi Sb and Kishore Da playing back for Rajesh Khanna in ‘Aradhana’ (1969), and Rafi Sb, Kishore Da and Manhar as the singing voices for Amitabh Bachchan in ‘Abhimaan’ (1973). Here was a music director who had his finger not on the pulse of public appeal, but on the pulse of divining which voice is the most suitable for a particular melody, a particular mood, and a particular situation.

And so, coming to the surprise that I mentioned in the first line of this write up. As I picked up this song for creating the next post in the series of repeat songs, a realization hit home. Today is the birth anniversaries of the two stalwarts who created the original song in 1957 – Sachin Da and Majrooh Sb. For Majrooh Sb, it is the centenary celebration, and for Sachin Da it is the 113th. Actually, Majrooh Sb’s info was already in mind since last night, as I was preparing Sadanand ji’s excellent write up for this great poet. And the rest of the coincidental links fell in place as I picked up this song for today’s post.

The film ‘Dil Hai Ke Maanta Nahin’ from 1991, is a popular hit romantic comedy from its time. It is remake of the storyline of the iconic ‘Chori Chori’ from 1956, which had the lead pair billing of Nargis and Raj Kapoor. And in turn, ‘Chori Chori’ is following the same storyline as the 1934 Hollywood hit film ‘It Happened One Night’, starring Clark Gable and Claudette Colbert, and directed by the legendary Frank Capra. This theme has also been used in other films in Kannada and Tamil. In later years, we also see ‘Jab We Met’ in 2007, based somewhat loosely on the same storyline.

The film is produced by Gulshan Kumar and is directed by Mahesh Bhatt. The lead pair is Aamir Khan and Pooja Bhatt. By 1991, Aamir was already an acknowledged star in the industry, and Pooja was just beginning her career. For both of them, this film proved to be a strong fillip for their individual careers.

The caper is well known – a spoilt heiress of a rich businessman flees from home, to be with the person she believes, wrongly of course, she is in love with. On the way, she meets another boy, the hero of the story, who helps her to get to her target, and eventually lands her back at her father’s home. As an outcome of the road adventures that are shared by the boy and the girl, they inadvertently and without realizing it till quite late in the storyline, fall in love with each other. And the movie ends with the girl fleeing once again (with the help of a very co-operative father) on the way to the altar, to be with the person she is truly in love with.

When I came to this connection, I was/am quite astounded. What a selection of a song for a memory reprisal. The original song with Dev Sb in the driver’s seat, is about an aimless road adventure. And in this film, the lead protagonists are going thru a road adventure of their own making, trying to save themselves from police, the detectives in pursuit and the general public who have been made aware of the runaway girl through newspaper ads and posters.

On their runaway adventure, there is car breakdown. It is taken into a garage for repairs. The mechanic departs briefly to get some welding work done from outside. The boy-girl pair are alone in the garage. The radio on the mechanic’s desk is playing. And as the mechanic departs, on comes this song on the radio waves. It catches the attention of the boy, who requests the girl to increase the volume on the radio. He is quite taken in with this ‘मस्त’ (catchy, engrossing) song. Coming close to the girl he takes her in his arms and they begin to dance to the tune. Their eyes meet. There is that oh so lovely pause in everything. Something tingles and connects. There is surprise and uncertainty on the faces of both of them. In the eyes, there is also an expectation of a liking that is so demure and endearing. It is one of those moments that feels like eternity. And yes, magic.

Till that ‘पाजी’ (scoundrel) mechanic barges in with a newspaper in hand announcing that the girl’s father is publicly searching for her. The moment of magic is so brutally broken.

The repeat song is the original. In this scene, somewhat less than two stanzas are played. Of course this is not listed in the songs of the film and does not appear on its cassette or CD. And so, in this post, I am retaining the original credits for this everlasting song.

And yes, once again, celebrating the anniversaries of the two of the greatest song-music creators in the Indian film industry. “Hum Hain Raahi Pyaar Ke. . .” – goodness, what a fantastic tagline.

Song – Hum Hain Raahi Pyaar Ke, Hum Se Kuchh Na Boliye  (Dil Hai Ke Maanta Nahin) (1991) Singers – Kishore Kumar, Lyrics – Majrooh Sultanpuri, MD – SD Burman

Lyrics

hum hain raahi pyaar ke
hamse kuchh na boliye
hum hain raahi pyaar ke
hamse kuchh na boliye
hum hain raahi pyaar ke
hamse kuchh na boliye
jo bhi pyaar se milaa
hum usi ke ho liye
hum usi ke ho liye
jo bhi pyaar se milaa
hum usi ke ho liye

dard bhi hamen qubool
chain bhi hamen qubool
dard bhi hamen qubool
chain bhi hamen qubool
hamne har tarah ke phool
haar mein piro liye
hamne har tarah ke phool
haar mein piro liye
jo bhi pyaar se milaa
hum usi ke ho liye
hum usi ke ho liye
jo bhi pyaar se milaa
hum usi ke ho liye

dhoop thi naseeb mein
to dhoop mein liyaa hai dam
dhoop thi naseeb mein
to dhoop mein liyaa hai dam
chaandni mili to hum
chaandni mein so liye
chaandni mili to hum
chaandni mein . . .

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

हम हैं राही प्यार के
हमसे कुछ न बोलिए
हम हैं राही प्यार के
हमसे कुछ न बोलिए
हम हैं राही प्यार के
हमसे कुछ न बोलिए
जो भी प्यार से मिला
हम उसी के हो लिए
हम उसी के हो लिए
जो भी प्यार से मिला
हम उसी के हो लिए

दर्द भी हमें कुबूल
चैन भी हमें कुबूल
दर्द भी हमें कुबूल
चैन भी हमें कुबूल
हमने हर तरह के फूल
हार में पिरो लिए
हमने हर तरह के फूल
हार में पिरो लिए
जो भी प्यार से मिला
हम उसी के हो लिए
हम उसी के हो लिए
जो भी प्यार से मिला
हम उसी के हो लिए

धूप थी नसीब में
तो धूप में लिया है दम
धूप थी नसीब में
तो धूप में लिया है दम
चाँदनी मिली तो हम
चाँदनी में सो लिए
चाँदनी मिली तो हम
चाँदनी में ॰ ॰ ॰


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 : 4067 Post No. : 15203

Hullo to Atuldom

Today we wish the smart handsome light-eyed actor, producer, director, screen writer and editor Rakesh Roshan on his 70th birthday with lots of health and happiness- discovered as I sat to write this that he is also a cancer conqueror. Very heart-warming to learn that.

We all know that he started at a rather young age in the film industry as an assistant to Mohan Kumar during the making of “Anjaana” due to the untimely death of his father – Roshanlal Nagrath; the music director of “Baawre Nain” fame “Roshan”. (I don’t intend to list Roshan’s albums here).

Rakesh Roshan had “Ghar Ghar Ki Kahaani” as his first release in 1970. It was a supporting role where the most popular song of the movie “sama hai suhaana suhaana” was lip synced by Jalal Agha and Rakesh Roshan and Bharathi were only part of the group that shakes a leg to the song. This movie was followed by movies like “Seema”; “Ankhon Ankhon Mein”; “Paraya Dhan”; “Man Mandir” and a host of others where mostly he was either a supporting actor. There were movies where he was the lead but the stories were mostly heroine-centric as in “Khoobsurat”; “Kaamchor”; “Bahu Ki Awaz”; “Bahurani” etc. He has had successful movies with Rishi Kapoor beginning with “Khel Khel Mein” “Jhootha Kahin Ka”; “Aap Ke Deewane” and their friendship is such that Rishi did a guest appearance in Rakesh’s directorial debut “Khudgarz”. Similarly, his friendship with Sujit Kumar, Jeetendra, Prem Chopra and the pranks that they play on each other are some of the anecdotes that each of these actors don’t tire relating. Of course, he had his share of solo hero movies where the heroines were equally important – for example “Ek Kunwari Ek Kunwara” with Leena Chandavarkar, “Nafrat” with Yogita Bali; “Humari Bahu Alka” with Bindiya Goswami; “Shubh Kaamna” with Rati Agnihotri etc.

His pairing with Rekha gave us movies like “Khoobsurat” which was followed by “Neeyat”; “Daasi”; “Jeevan Dhara”; and when he turned director Rekha got the best movie of her life (my personal feeling) “Khoon Bhari Maang” which kind of resurrected Rekha’s career. She went on to even accept the role of Hrithik’s mother in Rakesh’s directorial “Koi Mil Gaya” and also played Hrithik’s grandmother in its sequel “Krrish”. It is quite well known that Rakesh Roshan likes to name all his films with titles that begin with K. He has tasted success with all the movies he has produced beginning with “Khudgarz” in 1987.

Today we have a song from one of his initial movie “Seema” (1971) which was produced by Sohanlal Kanwar and directed by Surendra Mohan and Bharathi (of South Indian movies) was his co-star. The movie also had Kabir Bedi and Simi Garewal in the cast. The most famous song of this movie “Jab bhi yeh dil udaas hota hai” is already on the blog along with two other songs.

Here is the fourth song of the movie with Rakesh Roshan trying to woo Bharathi in a manner, which in the current times and even earlier (I suppose) would amount to eve teasing. In most of the songs of this type we see the lady smiling and falling in love with ‘the tormentor’ but not in this song. The song also shows that Rakesh or Duggu, as he is addressed by his friends, was a decent dancer and didn’t indulge in stomping of the feet, or exhibiting two left feet etc. As I was seeing the video to note the lyrics there is a point in the song where he mimics a lady and I recollected that portion of “Aap Ke Deewane” where he comes dressed as a lady teacher for Tina Munim.

“Seema” had music by Shankar Jaikishan and the movie opens with a tribute to Jaikishanji. Today’s song is written by Verma Malik and it is sung by Kishore Kumar.

Once again Happy Birthday to Rakesh Roshan.


Song-Ladki chale jab sadkon pe aaye qayaamat ladkon pe (Seema)(1971) Singer-Kishore Kumar, Lyrics-Verma Malik, MD-Shankar Jaikishan

Lyrics

ladki chale jab sadkon pe
aaye qayaamat ladkon pe ae
ladki chale jab sadkon pe
aaye qayaamat ladkon pe ae
ladki chale jab sadkon pe
aaye qayaamat ladkon pe ae
ladki ee oye

udhar gaal pe aanchal fisla
idhar kaleja haath se nikla
udhar gaal pe aanchal fisla
idhar kaleja haath se nikla
ik zaalim ki mast jawaani
dooja maar gaya hai nakhra
ho gayi ee
arre ho gayi baghaawat sadkon pe
aaye qayaamat ladkon pe ae
ladki chale jab sadkon pe
aaye qayaamat ladkon pe
kakdi ee

jisne dekha woh hi bola
dekho solah saal ka shola
jisne dekha woh hi bola
dekho solah saal ka shola
lagti hai saawan ka hindola
chalti jab kha ke hichkola
lut gayi
arre lut gayi sharaafat sadkon pe
aaye qayaamat ladko pe
ladki chalein jab sadkon pe
aaye qayaamat ladkon pe
ladki oye

li angdaayi uthth gayin baahein
thham gaye raste ruk gayih rahein
li angdaayi uthth gayih baahein
thham gaye raste ruk gayih rahein
jidhar jidhar bhi mili nigaahen
lagi kataarein daayen baayen
mach gayi
arre mach gayi hai aafat sadkon pe
aaye qayaamat ladkon pe ae
ladki chalein jab sadkon pe
aaye qayaamat ladko pe ae
ladki chalein jab sadkon pe
aaye qayaamat ladkon pe
ladki oye


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 :

4034 Post No. : 15158 Movie Count :

4163

#the Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # 85 #Remembering Kishore Kumar on his birth anniversary#
——————————————

Today 4th August (2019) (4 August 1929 – 13 October 1987) is the 90th birth anniversary of the ‘Versatile Genius’ Kishore Kumar or Abhas Kumar Ganguly or as he always liked to introduce himself as – Kishore Kumar Khandwewaala.

I have mentioned in my earlier posts that I cannot forget Khandwa when I am writing about Kishore Kumar. The place has been associated with his name forever and I have fond memories of visiting Khandwa, his ‘Gouri-Kunj’ and his memorial there on Indore road, when I was at Nagpur from 2015-2017.

For today’s post I am not going to discuss more about ‘Khandwa’ or ‘Gouri-Kunj’, but the song I am going to present today has a ‘Khandwa connection’ because I came across this song during my visit to Khandwa in ‘2015’ when I was preparing a post with a Kishore Kumar song 🙂

This being a song from the seventies I thought I would share it on the blog someday.
When I listen to this song first time (a lesser heard one), I had feeling of hearing it years back, may be on radio. This is a song from the 1971 movie – ‘Jai Baangala Desh’. Both the song and the movie name were new for me except the information about this movie and its song mentioned in HFGK Vol V which I was possessing.

I would request knowledgeable readers to throw more light on this movie and about its songs.

‘Jai Bangalaa Desh-1971’ was directed by I.S. Johar.

He also wrote the story of this movie and was also the producer of this movie.

The cast of this movie includes I.S. Johar, Ambika Johar, Rajeev Johar, Kaveri Choudhary (Bangladesh), S.N.Bannerjee, Ram Kamlani, Nazeer Kashmiri, Madhumati, Lakshmi Chhaya, Shefali, Pal Sharma, Bhagwan, Dilip Dutt, Polson, Jery, Tuntun, Ramesh Johar, Anand Vij, Satyadeep, Ratan Kashmiri, Master Alankar, Baby Tabassum, Ranger(Dog) and Radha in guest appearance and others.

This movie had total eight sound tracks including title music, theme music and one Dog chase music released on the records of this movie.

The remaining five songs were composed by Kalyanji-Anandji, while three lyricists namely Indeewar wrote three songs, Qamar Jalalabadi and Farooq Qaiser penned one song each.

Asha Bhonsle, Kishore Kumar, Lata Mangeshkar, Mahendra Kapoor and Sushma Shreshtha had given their voices to the songs in this movie.

Today’s song is sung by Kishore Kumar (the only song he had in this movie) and composed by Kalyanji-Anandji.
Lyrics are by Indeewar.

(This song plays in the background, and I am unable to identify the actor and other supporting actors shown in the picturization of this song. I would request knowledgeable readers to help in identifying of the actors please.)

On ‘friendship day’ today and paying our tributes to Kishore Kumar, I selected this song sung by Kishore Kumar, which is giving a message of ‘humanity’ and ‘brotherhood’ among the many other songs which I had thought I can share on this occasion today.
Moreover, I personally think that ‘music’ is the best friend making friends all over and bringing people together cutting across the barriers of caste, creed, race and religion all over the world.

So far, on the blog we have 1149 songs of Kishore Kumar posted out of the total 2709 songs (our statistics). And that means we still have a long way to go getting may of the Kishore Kumar songs on the blog. And day to day while listening the radio I am coming across many of his beautiful songs of ‘many moods’ from the eighties which we have to bring here on the blog.

Let us now listen and enjoy today’s song…

With this today’s song the movie ‘Jai Baangla Desh-1971’ is makes a debut on the blog!!!

(Note: – HFGK Vol V mentions that this movie was revised and passed with a new title of ‘Aage Badho’ in 1971 (13.09.1972). The first version of this movie ‘Jai Baangla Desh-1971’ was passed by Censor Board on 26.10.1971).

Video

Audio

Song-Main hoon ek roop anek (Jai Baangladesh)(1971) Singer-Kishore Kumar, Lyrics-indeewar, MD-Kalyanji Anandji
Chorus

Lyrics(Based on audio link)
—————
dialogues
————–
(first male voice, second male voice, third male voice)

(Kahaan hai Allaah
Allaah hota to mujhe is tarah andhaa
Kar diyaa jaata?
Main desh ke liye lad rahaa hoon,
Anaathon, vidhwaaon ke lad rahaa hoon

Allaah apne bandon ka imtihaan leta hai
Allaah ka naam lo,
Thheek ho jaaoge!

Main Allaah ka naam kabhi nahin loonga!!

Naa lete huye bhi tumne Allaah ka naam le liya hai
ab uski rehmat ka karishmaa dekho!!

Masjid mein main hi Khuda hoon,
Girijon mein main hi Isaa,
Mahaveer, Budhh hoon main hi,
Mandir mein main hi moorat,
Jab jaisi jahaan zaroorat,
Waisi hi meri soorat…
)

Ho badhte hai jab jab paap dharti par
Paap mitaane aata hoon
Badhte hai jab jab paap dharti par
Paap mitaane aata hoon
Ek hoon main par
Naye naye roopon mein aata jaata hoon
Main hoon ek
Roop anek
Main hoon ek
Roop anek

Ban ke Kanhaiyya bansi bajaiyya
Prem ka raaz dikhaaya hai
Ban ke Budhh kabhi shuddh kiya man
Jag ko tyaag sikhaaya hai
Kabhi Mohammad ban ke basaaya
Makka aur madeene ko o
Isaa ban ke chhalni kiya
Maine kabhi apne seene ko
Naanak ban ke
Kabhi gyaan ke deep jalaane aata hoon
Ek hoon main par
Naye naye roopon mein aata jaata hoon
Main hoon ek
Roop anek
Main hoon ek
Roop anek

Kabhi Quraan
To Kabhi Bible
Kabhi Ved kabhi Geeta hoon
Kabhi hoon Mariam
Kabhi Yashoda
Kabhi Fateema
Seeta hoon
Mere naam ki de ke duhaayi
Jo logon ko ladaate hain
Wo hain bande dharm ke andhe
Wo na kabhi mujhe paate hain
Aata nahin ladaane ko main
Mel karaane aata hoon
Ek hoon main par
Naye naye roopon mein aata jaata hoon
Main hoon ek
Roop anek
Main hoon ek
Roop anek

Ho badhte hai jab jab paap dharti par
Paap mitaane aata hoon
Ek hoon main par
Naye naye roopon mein aata jaata hoon
Main hoon ek
Roop anek
Main hoon ek
Roop anek
Main hoon ek
Roop anek
Main hoon ek
Roop anek

———————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
———————————-
हो बढतें है जब जब पाप धरती पर
पाप मिटाने आता हूँ
बढतें है जब जब पाप धरती पर
पाप मिटाने आता हूँ
एक हूँ मैं पर
नए नए रूपों में आता जाता हूँ
मैं हूँ एक
रूप अनेक
मैं हूँ एक
रूप अनेक

बन के कन्हैय्या बंसी बजैय्या
प्रेम का राज़ दिखाया है
बन के बुद्ध कभी शुद्ध किया मन
जग को त्याग सिखाया है
कभी मोहम्मद बन के बसाया
मक्का और मदीने को ओ
इसा बन के छलनी किया
मैंने कभी अपने सीने को
नानक बन के
कभी ज्ञान के दीप जलाने आता हूँ
एक हूँ मैं पर
नए नए रूपों में आता जाता हूँ
मैं हूँ एक
रूप अनेक
मैं हूँ एक
रूप अनेक

कभी कुरान
तो कभी बाइबल
कभी वेद कभी गीता हूँ
कभी हूँ मरियम
कभी यशोदा
कभी फातीमा
सीता हूँ
मेरे नाम की दे के दुहाई
जो लोगों को लड़ाते हैं
वो है बन्दे धर्म के अंधे
वो ना कभी मुझे पाते हैं
आता नहीं लड़ाने को मैं
मेल कराने आता हूँ
एक हूँ मैं पर
नए नए रूपों में आता जाता हूँ
मैं हूँ एक
रूप अनेक
मैं हूँ एक
रूप अनेक

हो बढतें है जब जब पाप धरती पर
पाप मिटाने आता हूँ
एक हूँ मैं पर
नए नए रूपों में आता जाता हूँ
मैं हूँ एक
रूप अनेक
मैं हूँ एक
रूप अनेक
मैं हूँ एक
रूप अनेक
मैं हूँ एक
रूप अनेक


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has more than 15500 song posts by now.

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

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

Total number of songs posts discussed

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Movies with all their songs covered =1195
Total Number of movies covered =4273

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