Advertisements

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

Archive for the ‘Lover’s Complaint’ Category


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

Blog Day : 3713 Post No. : 14642

Ek kissa hai, Radha ka. There is a tale, of a girl named Radha. She was in her teens, ‘kamsin’ as they say in parlance – young and innocent in years; sporting dark tresses that reached her knees; her supremely fair and flawless skin as if made from milk; her eyes – bright, with a depth enough for a smitten heart to drown itself. She would come to the terrace to hang out the laundry for drying. Iqbal, smitten as he was with the beauty of this young lady, would wait everyday to fill his heart with her moving images. The fascination, the infatuation remained as it is, unexpressed – for he could never muster up enough courage to say or do anything to express his feelings. Fears and apprehensions of many kinds held him back. Radha, remained a puppy love dream – forever. But is sure did make a poet out of that obsessed heart that could not express itself to its beloved.

He penned the following lines, as his initiation into the world of verse writing,

खेंचते हैं अपनी जानिब यार ये गेसू मुझे
आ रही है हर तरफ से प्यार की खुशबू मुझे
एक राधा से हुई है जब से मेरी दोस्ती
सारी दुनिया कह रही है आजकल हिन्दू मुझे

These tresses of my beloved, beckon me
The fragrance of love is diffused all around me
Since my heart has made a friend named radha
All the world is calling me a hindu these days

By his own admission, he would never have taken to pen and paper, if by some God sent blessing, this infatuation would have ripened into a reciprocated affair, and if the two would have been betrothed. The world of letters, and the world of cinema would have been robbed of one of the best romantic poets of the Golden Era of the Hindi film music.

Iqbal Hussain, born on 15th April, 1927 in Jaipur, grew up to be known by his pen name more than anything else – Hasrat. And the city of his origin came in to complete his identity recognition – Jaipuri.

He passed away this day (17th September) in 1999 after a scintillating career of almost five decades as a songwriter. The unsuccessful saga of his first love was in any case immortalized. The famous aria venerating the identity of the romantic messaging device called the ‘प्रेम पत्र’ (love letter), was originally written for his Radha, of the terrace visits. The song it became is – “Ye Mera Prem Patra Padh Kar” (film ‘Sangam, 1964).

It is a temptation to revisit all the great poetry he has written, that has become popular and enduring. But then even this one night, sleepless per force, would be inadequate to do justice. But in any case, that sampling may just be a reprise for all the dear melodies that I am sure all readers and lovers of this music, have stored away in their memories.

And so I just introduce this one song today. This wonderful melody, for the longest of the time, I was under the impression that this one is already posted here. But today I discovered that it is still in waiting. The film is ‘Badnaam’ from 1952. The music director is Basant Prakash (brother of Khemchand Prakash). The baritone rich singing voice is that of Shankar Dasgupta. The verses, of course, are from the pen of Hasrat Jaipuri.

The first sub line of this poem imitates the well known starting words of the famous she’er – “Ye Ishq Nahin Asaan, Bas Itna Samajh Lijey. . .” from a ghazal by the maestro Jigar Moradabadi. But after that it goes on to take a powerful identity of its own with lines like “. . .zakhmon mein chhupa lena, tasveer e mohabbat ko. . .” and “. . .khud lut ke sikha dena, duniya ko wafa karna. . .”.

An immense ghazal – words, composition, rendition – all are superlative. With memories of Hasrat Sb, enjoy this wonderful creation.

[Author’s Note: The episode of the poet’s first love is adapted from the definitive article on Hasrat Jaipuri, from the book ‘Hindi Filmon Ke Geetkar’ by Anil Bhargav.]

Song – Ye Ishq Nahin Aasaan, Kaanton Pe Jiya Karna (Badnaam) (1952) Singer – Shankar Dasgupta, Lyrics – Hasrat Jaipuri, MD – Basant Prakash

Lyrics

ye ishq nahin aasaan
kaanton pe
kaanton pe jiya karna
kaanton pe jiya karna

ye ishq nahin aasaan
kaanton pe jiya karna
kaanton pe jiya karna
ashqon ka zehar hardam
khush ho ke piya karna
kaanton pe jiya karna

kehte hain jise ulfat
ye khel hai sholon ka
kehte hain jise ulfat
ye khel hai sholon ka
chupchaap hi jal jaana
hargiz na gila karna
kaanton pe jiya karna

zakhmon mein chhupa lena
tasveer e mohabbat ko
tasveer e mohabbat ko
zakhmon mein chhupa lena
tasveer e mohabbat ko
tasveer e mohabbat ko
khud lut ke sikha dena
duniya ko wafa karna
kaanton pe jiya karna

aise to kai toofaan
raahon mein sataayenge
aise to kai toofaan
raahon mein sataayenge
ghabra ken a darr jaana
manzil pe badha karna
kaanton pe jiya karna
ye ishq nahin aasaan
kaanton pe jiya karna
kaanton pe jiya karna

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

ये इश्क़ नहीं आसान
काँटों पे
काँटों पे जिया करना
काँटों पे जिया करना

ये इश्क़ नहीं आसान
काँटों पे जिया करना
काँटों पे जिया करना
अशकों का ज़हर हरदम
खुश हो के पिया करना
काँटों पे जिया करना

कहते हैं जिसे उलफत
ये खेल है शोलों का
कहते हैं जिसे उलफत
ये खेल है शोलों का
चुपचाप ही जल जाना
हरगिज़ ना गिला करना
काँटों पे जिया करना

ज़ख़्मों में छुपा लेना
तस्वीर ए मोहब्बत को
तस्वीर ए मोहब्बत को
ज़ख़्मों में छुपा लेना
तस्वीर ए मोहब्बत को
तस्वीर ए मोहब्बत को
खुद लुट के सीखा देना
दुनिया को वफा करना
काँटों पे जिया करना

ऐसे तो कई तूफान
राहों में सताएंगे
ऐसे तो कई तूफान
राहों में सताएंगे
घबरा के न डर जाना
मंज़िल पे बढ़ा करना
काँटों पे जिया करना
ये इश्क़ नहीं आसान
काँटों पे जिया करना
काँटों पे जिया करना

Advertisements

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 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 : 3688 Post No. : 14595

In the sphere of Parsi Theatres, there were many artists who had contributed in the growth of Indian theatres. But there were few personalities and artists associated with Parsi Theatres whose contributions led to its strong foundation. Some theatre scholars whose specialisation is in South Asian theatres, regard Agha Hashr Kashmiri (Writer-Director), Pandit Narayan Prasad ‘Betab’ (Writer-Director), Radheshyam Katha Vachak (Writer-Director), Master Fida Hussain (Actor-Singer) and Jaishankar Bhojak, popularly known as Jaishankar Sundari (Actor-Singer) as the pioneers in developing the Parsi Theatres.

I have already covered in our blog, the life sketches of Pandit Narayan Prasad ‘Betaab’ in the post, “Abroo Ki Kamaanon Mein”, of Agha Hashr Kashmiri in “Yaad Mein Teri Jahaan Ko Bhoolta Jaata Hoon Main”  and Pandit Radhe Shyam Katha Vachak in “Ye Suna Hai Maine Jaadu Hai”.  In this article, I am presenting a brief biography of the fourth artist, Master Fida Hussain, the actor-singer.

Before I embark upon covering Fida Hussain’s biography, I wish to share with the readers that his biography was an oral history of his association of 50 years with Parsi Theatres as told to Pratibha Agrawal, a theatre scholar and connected with the Natya Shodh Sansthan, Calcutta (Kolkata). The oral history she collected from Fida Hussain during their sitting of 15 days was published verbatim in Hindi in 1986 with comments from her. There is no sequencing of the events spread over 50 years of his theatre days.

The English translation of his biography ‘Parsi Theatre Main 50 Varsh’ (1986) was published as one of the chapters in a book ‘Stages of Life’ (2011) by Kathryn Hansen, a leading scholar of South Asian theatre history. What I have done is more like an abstract writing of the biography sourced from this book with my comments wherever necessary. There are many interesting trivia and anecdotes revealed by Fida Hussain during his oral submission which I have avoided in my write-up to make the presentation of the biography as short as possible.

Fida Hussain (11/03/1899 -1999) was born in Muradabad (UP) in an conservative family.  Right from childhood, Fida Hussain was fond of singing. It is quite likely that he got interested in singing because of the travelling theatres and nautanki groups that visited his town. Fida Hussain’s father and uncle did not like his interest in singing.  Almost every day, the young Fida Hussain used to get beatings from his uncle for singing, though his father despite the dislike for the singing and music, spared him from beating.

But the more beatings he got, his fondness for singing increased. He also started watching the free shows of nautanki (folk theatre) which culminated into his love for the acting as well. This enraged his married elder brother who instigated his wife to do something to affect his voice. One day, she served him paan with vermilion powder which resulted in loss of his voice for nearly six months. After getting his voice back thanks to a visiting Sadhu who gave him some prescriptions, Fida Hussain started attending nautanki shows with a greater vigour than before.

In 1917, Fida Hussain joined a local drama club and got training for six months before being given a female role in the drama ‘Shahi Faqeer’. In this way, the path toward theatre opened for him. Soon, with the recommendation of his local drama club’s President, he went on to join the New Alfred Theatrical Company which was touring around Delhi for staging ‘Veer Abhimanyu’. In January 1918, Fida Hussain ran away from his home in Muradabad for Delhi leaving his newly married wife at home.

The New Alfred company never employed female actors. Hence the female roles were performed by the male actors like Master Nissar. Fida Hussain also got mostly the female roles in New Alfred.

Once when New Alfred was staging a show in Meerut, one of the boys from his neighbourhood recognised Fida Hussain and promptly reported the matter to his father. His father-in-law promptly lodged a complaint with police and an arrest warrant was issued. This entire episode is too big to cover here. The conclusion of this episode was Fida Hussain got a reprieve from his father, who allowed him reluctantly to continue with his passion after getting assurances from him that he would never indulge in intoxication (of any form), gambling, always keep high morality and keep in touch with his family by visiting his home town.

With his domestic issues getting resolved amicably, Fida Hussain could now concentrate fully on theatres. His association with New Alfred continued until it closed down in 1930. His most popular dramas under New Alfred were ‘Parivartan’ (1922), ‘Veer Abhimanyu (c 1923), ‘Parambhakt Prahlad’ (c 1923), ‘Shri Krishna Avatar’ (1924-25), ‘Ishwar Bhakti’ (1928), ‘Laila Majnu’ (1930). Except for ‘Laila Majnu’, Fida Hussain played the female roles in all these plays.

In the 1930s and 1940s, Fida Hussain got associated with many theatre companies all over north, east and west India, the prominent being Alfred, Madan (pronounced as Maadon), Sahajahan, Narsi, Mohan  and finally taking up the reins of Moonlight Theatre owned by Marwadi brothers in Calcutta (now Kolkata). During this period, Fida Hussain worked in ‘Nal Damyanti’, ‘Yahudi Ki Ladki’, Khoobsoorat Balaa’, ‘Seeta Banvas’, ‘Chalta Purza’, ‘Bhakta Narsi Mehta’, ‘Bharat Milap’, ‘ Krishna Leela’ and many more.

In 1939, he donned the title role of Narsi Mehta in the play ‘Bhakt Narsi Mehta’. The play became a hugely popular hit and it played for over 1000 nights. Because of this, Fida Hussain was honoured with the title ‘Narsi’ which he proudly used as suffix to his name as  Fida Hussain ‘Narsi’.

With the advent of talkies, Fida Hussain, like many other artists from theatres, was associated with a few Hindi films during 1934-46 as an actor-singer. The first film he worked was ‘Ramayan’ (1934) followed by ‘Insaf Ki Tope’ (1934), ‘Kunwaari Ya Vidhwa’ (1935), ‘Diljaani’ (1935), ‘Dil Ki Pyaas’ (1935), ‘Daku Ka Ladka’ (1935), ‘Balidaan’ (1935), ‘Khudaai Kitmadgaar’ (1937), ‘Matwali Meera’ (1940), ‘Bambaiwaali’ (1941), ‘Arabian Nights’ (1946) and ‘Toote Sapne’ (1946, Unreleased).

Except for ‘Bambaiwaali’ (1941) which was produced in Bombay (Mumbai), rest of films in which Fida Hussain worked were produced in Calcutta (Kolkata) where he was associated with Moonlight Theatres. I find that barring one or two films, he had small roles in rest of his films. It is quite possible that due to his immense popularity on stage as an actor-singer, the producers of the films may have taken him in their films to attract his large fans to watch the films. My guess is that Fida Hussain did not have much interest for working in films as his heart was with the theatre.

Fida Hussain continued his association with Moonlight Theatres, Calcutta (Kolkata) where he was the boss. The owners (4 Marwadi brothers) did not interfere in any aspects of the Moonlight Theatre so long as they earned profit from this venture. I am surprised as to how Fida Hussain could successfully compete with Hindi films and ran the Moonlight Theatres profitably in the 1950s and 60s. In 1968 when Fida Hussain completed 50 years in Parsi Theatre, he decided to retire from the theatre activities and spend rest of his life with his extended family in Muradabad. With his retirement, the Moonlight Theatre was closed and with this the glorious years of Parsi Theatre came to an end.

However, Fida Hussain remained busy during most of his post-retirement years. Being the only living legend of Parsi theatres, his knowledge about the old theatrical styles were utilised for those interested in theatre. He became a regular visiting faculty for the National School of Drama, New Delhi until 90s. He also conducted workshops for students who were pursuing their interest in the theatre. He was often one of the invitees on symposium and seminars on Indian theatres. In 1985, Fida Hussain received the Central Sangeet Natak Akademi Award in recognition of his contributions to Indian theatres. In 1978,  he had received the Uttar Pradesh Sangeet Natak Akademi Award for acting.  Fida Hussain passed away in the year 1999.

Fida Hussain may be one of the few theatre personalities who commanded not only the respect but also kept his reputation high even during his poet-retirement years. He was also one of a few artists who judiciously used his earnings to create a bright future for his two sons and two daughters. At the time of his death, Fida Hussain was the owner of two brassware business firms in Muradabad which were run by his two sons.

During his theatre days, Fida Hussain recorded more than 200 songs with HMV. However, his filmy songs are few (may be less than 20) and it seems some of them were not issued on gramophone records. Very recently, I could get hold of his two songs from the film ‘Bambaiwaali’ (1941) which I have uploaded on the video sharing platform.

I am presenting here one of the songs. “Janaab e Naaseh Samajhte Hain Hum’ from ‘Bambaiwaali’ (1941) sung by Master Fida Hussain. There were 7 songs in the film, all written by Wahid Qureshi which were set to music by Madhulal Damodar Master.

‘Bambaiwaali’ (1941) was produced under the banner of Wadia Moveitone and was directed by Homi Wadia. The star cast included Nadia, John Cawas, Radha Rani, Sardar Mansoor, Boman Shroff, Dalpat, Fatima, Minoo Cooper, Nazira, Mithu Miyan, Gunboat (Dog) etc. The story of the film in short is as under:

A village is being exploited by a capitalist racketeer. The villagers are being convinced to sell their land to the capitalist. Everything seems to be going smooth for the capitalist until Nadia (Bambaiwaali) who returns to her village after completing her education in Bombay (Mumbai). She opposes selling land to the capitalist for which the women folks of the village support Nadia. Now the conflict turns between the greedy men of the village and their women folks who love their land more than the money.

Nadia with her two henchmen, a dog and even a rickety motor car became the part of thrilling and sometime hilarious situations to catch the racketeers. Women are trained to use laathis for self-defence. With this, Nadia establishes that village women have equal say in decision making. Capitalist’s game plan is defeated. (Source: Filmindia, September 1941).

Anyway, there is a subtle message in the film story about women’s emancipation in the guise of a wholesale entertainment.

Master Fida Hussain had a very deep voice probably due to his loud singing on the stage in the absence of microphone those days.  This is reflected in his singing the filmy songs including the one under discussion. In this song, his singing style is a fusion of ghazal, qawwali and classic style of singing of 1930s.

With this song, ‘Bambaiwaali’ (1941) makes a debut in the Blog.

=================
Translation by Sudhir

janaab e naaseh samahjte hain hum
wo sangdil hain jafaa karenge

o learned advisors (please know)
that am aware they have hearts of stone
and will betray the trust in love
[naaseh = learned person, advisor;
sangdil = one with a heart of stone;
jafaa = betrayal of trust]

mithaa hi denge jahaan se hamko
aur iss se badkar wo kya karenge

they may destroy us
and banish us from this world of living
but alas, that is the utmost
that they can achieve

apni ye zulfen balaa karenge
apni ye zeben ada karenge
magar haseenon se ye to poochho
jo hum na honge to kya karenge

they may arrange their tresses
to afflict disaster on our hearts
they may present their graces and beauty
but hey, ask of these enchanting ladies
what use is this beauty and charm
if we are not there (to appreciate)
[balaa (बला) = calamity, adversity;
zeb (ज़ेब) = grace, beauty]

nazar alahda hai har bashar ki
khuda kasam hai apni
jo humko dete hain bad’duaaen
hum unke haq mein duaa karenge

every person has a different perspective
in the name of Allah, the Almighty
those who may curse us
we still will seek blessings for them
[alahda = different, separate;
bashar = person, individual;
duaa = blessing;
bad’duaa = curse]

Song – Janaabe Naaseh Samajhte Hain Hum (Bambaiwaali) (1941) Singer – Master Fida Hussain, Lyrics – Wahid Qureshi, MD – Madhulal Damodar Master

Lyrics

aaaa aa aa
aa aaaaa aaaaaaa
aaaa aaa aa aa

janaab e naaseh..ae
samahjte hain hum
janaa..aab e naaseh..ae
samahjte hain hum
wo sangdil hain jafaa karenge
wo sangdil hain jafaa karenge
mitaa hi denge..ae
jahaan se hamko
mitaa hi denge..ae
jahaan se hamko
aur iss se badkar wo kya karenge
aur iss se badkar wo kya karenge..ae
wo kya karenge
wo kya karenge
aur iss se badkar wo kya karenge..ae

apni ye zulfen balaa..aa..aa karenge
apni ye zeben ada karenge
magar haseenon se ye to poochho
aaaa aa
magar haseenon se ye to poochho
jo hum na honge to kya karenge
jo hum na honge to kya karenge
 
aa aa aa aaa
nazar alahda
hai har bashar ki..ee..ee
nazar alahda
haan nazar alahda..aa
haan nazar alahda
haan nazar alahda
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa
nazar alahda hai har bashar ki..ee
khuda
khuda aa aa aa
kasam hai apni
jo humko dete hain 
bad’duaaen
jo humko dete hain bad’duaaen
hum unke haq mein duaa karenge
hum unke haq mein duaa karenge..ae
janaab e naaseh samahjte hain hum
wo sangdil hain jafaa karenge
wo sangdil hain jafaa karenge

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

आsss आ आ
आ आssss आssssss
आsss आss आ आ

जनाब ए नासेह॰॰
समझते हैं हम
जना॰॰आब ए नासेह॰॰ए
समझते हैं हम
वो संगदिल हैं जफा करेंगे
वो संगदिल हैं जफा करेंगे
मिटा ही देंगे॰॰ए
जहां से हमको
मिटा ही देंगे॰॰ए
जहां से हमको
और इस से बढ़ कर वो क्या करेंगे
और इस से बढ़ कर वो क्या करेंगे॰॰ए
वो क्या करेंगे
वो क्या करेंगे
और इस से बढ़ कर वो क्या करेंगे॰॰ए

अपनी ये ज़ुल्फें बला॰॰आ॰॰आ करेंगे
अपनी ये ज़ेबें अदा करेंगे
मगर हसीनों से ये तो पूछो
आss आ
मगर हसीनों से ये तो पूछो
जो हम ना होंगें तो क्या करेंगे
जो हम ना होंगें तो क्या करेंगे

आ आ आ आss
नज़र अल्हैदा
है हर बशर की॰॰ई॰॰ई
नज़र अल्हैदा
हाँ नज़र अल्हैदा॰॰आ
हाँ नज़र अल्हैदा
हाँ नज़र अल्हैदा
आ आ आ आ
आ आ आ आ
आ आ आ आ
आ आ आ
नज़र अल्हैदा है हर बशर की॰॰ई
खुदा
खुदा॰॰आ॰॰आ
कसम है अपनी
जो हमको देते हैं
बद्दुआयें
जो हमको देते हैं बद्दुआयें
हम उनके हक़ में दुआ करेंगे
हम उनके हक़ में दुआ करेंगे॰॰ए

जनाब ए नासेह समझते हैं हम
वो संगदिल हैं जफा करेंगे
वो संगदिल हैं जफा करेंगे


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3642 Post No. : 14470

Today’s song is from an almost unknown film ‘Haqdaar’ (1946).

There were two more films with the same title, made in 1964 and 1981. The love of Hindi films for identical titles is well known. In silent films, the situation was different. There used to be one name for Censor Certificate and then in every linguistic state the film would have one local name for the film, to attract local audience. In talkie films, this facility was absent, as everywhere, the film name is the same.

Thus, we find that there was/is ‘Same Name Confusion’ even in film titles. But of course, the system of mentioning the year, made them different, like ‘Haqdaar’ (1946), ‘Haqdaar’ (1964) or ‘Haqdaar’ (1981) etc. Here again confusion was whether the year of Censor Certificate should be mentioned or the year of film’s release. Standard documents, like HFGK, give only the year of Censor Certificate, irrespective of the film’s release year. Regular users of HFGK know this very well. Usually most films are released quickly and very few take time to get released.

Shri Harmandir Singh Hamraaz ji has published a Film Index for films made between 1931 to 2012. I went through this list to find out about the same name titles. Films made 2 times and 3 times are many and beyond count. However, on counting detailed way, I found 80 film titles repeated 4 times, 23 films repeated 5 times and 5 films repeated 6 times. Above all, there is ONE film whose title is repeated 7 times. The name is ‘Insaaf’. It was made at regular intervals – almost every decade. It was made in 1937, 1946, 1956, 1866, 1973, 1987 and 1997! The person who had registered the name first, must have earned a lot!

‘Haqdaar’ of 1946 was directed by Rafiq Rizvi, who had worked as assistant to AR Kardar. He was brother of lyricist Ehsan Rizvi. His first film as an independent director was ‘Waida’ (1940). Then came ‘Awaaz’ (1942), ‘Koshish’ (1943), ‘Haqdaar'(1946), ‘Alladin Ka Beta’ (1955) and lastly ‘Kaarvan’ (1956). Thereafter he migrated to Pakistan.

The Music Director was Mohd Shafi (25-12-1925 to 30-4-1980).  He was one of those talented artists of Hindi Film Music who was only used by others and never got enough credit for his work. He is honoured as the ‘The Original Arranger’ in the industry. He was an excellent sitar player. He started with Imperial Film company, where he played Bulbul Tarang. In 1937 he went to Calcutta, joined New Theatres and played Sitar in films ‘Kapaal Kundala’ (1939) and ‘Aandhi’ (1940), as an assistant to Pankaj Mullick and KC Dey. He played sitar in the film ‘Ujaala’ (1942). In this film, the hero – Prithviraj Kapoor played the role of a sitar player, hence the expertise of Shafi was fully utilised in this film.

Starting with film ‘Haqdaar’, he gave music to 19 Hindi films and 2 Marathi films. He worked with Naushad, as his assistant and arranger, for 14 years. He was considered a ‘Daada’ in background music. He gave background music to about 70 films (for Naushad and others). For ‘Mughal e Azam’ (1960), K Asif used to send his personal car to fetch him to studio. It was Shafi who gave the first break to Suman Hemmadi (Kalyanpur) in ‘Mangu’ (1954).

Shafi had bought his first car when he was just 15 year old. He had a posh flat in Shivaji Park area of Dadar in Bombay. In the end , everything was gone.He had helped the families of Shakeel Badayuni and Ghulam Mohammed after their deaths. However in his last difficult days, except Rafi, no one came for his help. In the final few months, his memory had gone. His begum ruefully said,” Good that he does not remember anything. All took his advantage and gave him nothing. There were more things to forget than to remember!”

It is said that the entire music of ‘Sohni Mahiwal’ (1958) was done by him. Naushad was sick during this period and did not attend even one recording. “Do Hanson Ka Joda” and “Dhundho Dhundho Re Saajna” from ‘Gunga Jamuna’ (1961) were his creations. He used to give tunes to many composers too – whoever asked for help.

The cast of film ‘Haqdaar’ was Harish, Najma, H Prakash, Amirbai Karnataki, Kalyani, Azad etc.

Harish was also known as Tara Harish. Tara Harish – this name is quite misleading. At first glance, it looks lie a woman’s name. On second thoughts, one feels it must be a pair of persons like Krishnan Panju or Aruna Vikas. But this is name of a single person, who was an actor, producer, director and a singer too!

Born on 23-10-1916 at Delhi, his real name was Tarachand Harish Mathur. He was distantly related to Motilal and Mukesh. His father died when he was just 3 year old. He was brought up by his brothers and uncle. He graduated in 1937. After trying and failing in a second hand car business, he decided to enter film world and joined Sagar Movietone, where Motilal was getting established. His first foray into films was in film ‘300 Days And After’. In this film he was uncredited. However he got roles in other films like ‘Postman’, ‘Ladies Only’, ‘Service Limited’, ‘Hum,Tum Aur Woh’, ‘Ek Hi Raasta’, ‘Civil Marriage’, ‘Aurat’, ‘Nai Roshni’, ‘Vijay’, ‘Haqdaar etc. He used to sing also in the films. As a hero his last film was ‘Amaanat’ (1943).

Harish took up direction with film ‘Beda Paar’ (1944), a C grade stunt film, but soon he directed many social films also. In his career he directed 21 films. Some of his films are ‘Toote Taare’ (1948), ‘Ustad Pedro’ (1951), ‘Malhaar’ (1951) (originally Harish was to be the hero, but he gave chance to Arjun), ‘Daku Ki Ladki’ (1954), ‘Laalten’ (1956), Kaali Topi Laal Roomaal’ (1959), ‘Do Ustad’ (1959), ‘Burma Road’ (1962). His last film was ‘Awaara Abdulla’ (1963).  Harish acted in 21 films. He sang 39 songs in 16 films (stats by MuVyz). He established his own production company – Omar Khayyam Films. When he was directing film ‘Ustad Pedro’ (1951), he changed the name of actress Nargis Rabadi to Shammi, since another more famous actress of same name was already working in films.

Tara Harish died sometime in 1970.

The heroine Najma was born at Lahore in 1928. Her father was a businessman. Her real name was Naseem. Since there was already one famous actress Naseem, she changed her name. She first worked in ‘Kunwaara baap’ (1942) and ‘Uljhan’ (1942) Then came ‘Nai Zindagi’ (1943), ‘Dr Kumar’ (1944), ‘Piya Milan’ (1945) and last film ‘Naseeb’ (1945). Then she got married and left films.

There was an actor Azaad in this film. His real name was Mohd Hanif. He was born in November 1916 at Delhi in a wealthy family. His father was an electrical engineer and a political leader. His elder brother was in the British Army. Hanif started motor vehicles business in Delhi. He got married also. Due to his desire to act in films, he came to Bombay. His acting career started with ‘Himalaya Ki Beti’ (1938). During this film he got to know Kalyani Bai, the singer actress. Soon they got married. While she did well in films, he was struggling in his career, without credit. In film ‘Haqdaar’ (1946), he was credited with his filmi name Azaad. Frustrated, he left films and went back to Delhi to restart his motor vehicles business. Kalyani brought him back and together they started their own production company – Azad Pictures. However, soon after partition, he and his family migrated to Pakistan. Kalyani stayed back.

There were two Kalyanis and there is always a confusion.

Kalyani Bai (1920-2009) (real name – Zarina) was an actor-singer who was trained in classical singing. She sang khayal, thumri and ghazals for All India Radio and recorded such genre of songs for HMV. This led her to a filmy career in Calcutta in 1934 as an actor-singer. After some struggle, she was employed with New Theatres and she acted in films like ‘Anaath Ashram’ (1937), ‘Mukti’ (1937), and ‘President’ (1937) in which she also sang some songs for herself.

In 1937, Kalyani Bai left New Theatres and joined Ranjit Movietone in Bombay (Mumbai). Her first film with Ranjit Movietone was ‘Toofaani Toli’ (1937). In the 40s, she appeared to have become a free-lancer, although I find that she worked in more films directed by VM Vyas of Sunrise Films than other banners. Her last film as an actor-singer was ‘Ghar’ (1945). However, she lent her voice for other actresses in films released during 1947-54. She also acted in small roles in a few films of 1970s and probably early 80s. She later married Seth Chirauddin Bakar. She had 2 sons and a daughter from him. She retired and settled in Bombay.

Kalyani Das was a playback singer who started her career in Hindi films from Calcutta with PC Barua’s ‘Jawaab’ (1942) and ended her playback singing career in Hindi films with ‘Iran Ki Ek Raat’ (1949). She also sang for a few films made in Bombay. To the best of my knowledge, she did not act in any films.

It is not so difficult to segregate ‘Kalyanis’ as both of them worked in Calcutta at different time. Kalyani Bai worked in films produced in Calcutta up to 1937 whereas Kalyani Das commenced her playback singing career from Calcutta from 1942 onward. She mostly worked for music director Kamal Dasgupta (8 out of 11 Hindi films in which she was playback singer).

‘Haqdaar’ had 9 songs. I have heard some more songs also, but as today’s song is somewhat comical, I have selected this. Name of the singer is not mentioned.

[Auth Notes: Credits – ‘Hindi Film Singers’ by Prof Yadav, Harish Raghuwanshi ji, Film Directory, MuVyz, HFGK, Film Index, Swaron Ki Yatra, Beete Kal Ke Sitaare, RMIM and my notes.]

 

Song – Haaye Khujlaane Laga Phir Mera Sar, Baap Re Baap (Haqdaar) (1946) Singer – [Unattributed], Lyrics – CM Hunar, Music – Mohammed Shafi

Lyrics (Provided by Sudhir)

haaye khujlaane laga phir mera sar baap re baap
haaye khujlaane laga phir mera sar baap re baap

haaye khujlaane laga
phir mera sar baap re baap
khair ab aati nahin
apni nazar baap re baap
hai chhuri haath mein
zaalim ke udhar baap re baap
dil dhadakta hai mera
darr se idhar baap re baap
jaan ab jaa ke bachaaun main kidhar baap re baap

haan
kya meri tarah se
hota hai yun sab ka haal
kya mohabbat mein utarti hai yun hi sab ki khaal
jootian dene ki hai jis tarah rasm e susraal
haa..aaan
kya nasibon mein hai..ai..ai..ai
us shauk ke ye hi janjaal
haan..aan
kya yun hi khijte hain sab shaam o sehar baap re baap
kya yun hi khijte hain sab shaam o sehar baap re baap
kya yun hi khijte hain sab shaam o sehar baap re baap
kya yun hi khijte hain sab shaam o sehar baap re baap

haan
ishq ka bhoot mere
sar pe subh o shaam rahe
mar ke bhi mujhko na ik roz se araam rahe
ae..ae
tarq e majnoon ka mere saamne nakaam rahe
ae..ae
pehla number hi..ee..ee
mahobbat mera naam rahe
paida naalon mein ho kuchh aisa asar baap re baap
paida naalon mein ho kuchh aisa asar baap re baap
paida naalon mein ho kuchh
paida naalon mein ho kuchh aisa asar baap re baap
aisa asar baap re baap
paida naalon mein ho kuchh aisa asar baap re baap

haaye khujlaane laga phir mera sar baap re baa..aap

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

हाय खुजलाने लगा फिर मेरा सर बाप रे बाप
हाय खुजलाने लगा फिर मेरा सर बाप रे बाप

हाय खुजलाने लगा
फिर मेरा सर बाप रे बाप
खैर अब आती नहीं
अपनी नज़र बाप रे बाप
है छुरी हाथ में
ज़ालिम के उधर बाप रे बाप
दिल धड़कता है मेरा
डर से इधर बाप रे बाप
जान अब जा के बचाऊँ मैं किधर बाप रे बाप

हाँ
क्या मेरी तरह से
होता है यूंहीं सब का हाल
क्या मोहब्बत में उतरती है यूंही सब की खाल
जूतियाँ देने की है जिस तरह रस्म ए सुसराल
हाँ॰॰आं
क्या नसीबों में है॰॰ऐ॰॰ऐ॰॰ऐ
उस शौक के ये ही जंजा;
हाँ॰॰आं
क्या यूंही खिजते हैं सब शाम ओ सहर बाप रे बाप
क्या यूंही खिजते हैं सब शाम ओ सहर बाप रे बाप
क्या यूंही खिजते हैं सब शाम ओ सहर बाप रे बाप
क्या यूंही खिजते हैं सब शाम ओ सहर बाप रे बाप

हाँ
इश्क़ का भूत मेरे
सर पे सुबहो शाम रहे
मर के भी मुझको ना इक रोज़ से आराम रहे
ए॰॰ए
तर्क ए मजनूँ का मेरे सामने नाकाम रहे
ए॰॰ए
पहला नम्बर ही॰॰ई॰॰ई
महोब्बत में मेरा नाम रहे
पैदा नालों में हो कुछ ऐसा असर बाप रे बाप
पैदा नालों में हो कुछ ऐसा असर बाप रे बाप
पैदा नालों में हो कुछ
पैदा नालों में हो कुछ ऐसा असर बाप रे बाप
ऐसा असर बाप रे बाप
पैदा नालों में हो कुछ ऐसा असर बाप रे बाप

हाय खुजलाने लगा फिर मेरा सर बाप रे बा॰॰आप


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3623 Post No. : 14440

Today’s song is from the film ‘Maata’ aka ‘The Mother’ (1942). Not many people know about this film. Made by Kirti films, it was a social film, directed by Dada Gunjal. Music was composed by Vasant Kumar Naidu, for the lyrics by DN Madhok. The cast of the film was Shobhana Samarth, Chandrakant, Mubarak, A. Himalaywala, Urmila Devi, Bhudo Advani, Moti, Bibi Bai, Munshi Khanjar, Suraiya Begum etc.

Chandrakant is a name which appears for a very few films as an actor. In fact, he acted in only 2 films. The other film was ‘Maharathi Karna’ (1944) (he had a small role). Chandrakant Gaur was born in UP in 1929. He was an educated person and knew many languages like Marathi, Gujarati and Punjabi, in addition to Hindi and English. He was a quick learner and a good writer. He came to Bombay to become a director. Instead of that he started as an actor in ‘Maata’.

During the shooting of ‘Maharathi Karna’, Bhalji Pendharkar spotted this young man’s talents and took him to Kolhapur as his assistant. Chandrakant, being a fast learner, became adept at direction. He came back to Bombay and hurriedly directed his first film – ‘Riding Hero’ (1951), a stunt film made by Laxmi Productions of Chimanlal Trivedi. After this, he directed 29 Hindi films, mostly B grade, stunt/action films only.

He also directed a Hit Punjabi film ‘Bhagat Dhanna Jaat’ (1974). According to indiancine.ma, this film is said to have revived Punjabi film industry. He did some Gujarati mythologicals and Marathi films too. Together his tally goes to 45 films. In between he became famous for writing stories of films like ‘Patita’ (1953), ‘Seema’ (1955), ‘Dekh Kabira Roya’ (1957), ‘Kathputali’ (1957), ‘Anita’ (1967) and ‘Mahasati Savitri’ (1973).

From the cast listing, another interesting name is that of A Himalaywala. His name was Mohd Afzaluddin. He was born in March 1916, at Dehradun. After school education he joined his brother, Mohd Misaluddin’s firm – The Himalaya Drug Company, a leading Pharma company of repute (even today). He worked there for 10 years and after a dispute with his brother, left the company. He came to Bombay to join films.

First he had thought of starting a company, but looking at the situation, he decided to do acting only. His first film was ‘Kiski Biwi’ (1942), directed by MA Mirza. His name was changed from Afzal to A Himalaywala (since he came from the Himalayan town of Dehradun, like Kashmiri from Kashmir), by Shaukat Hussain, husband of Noorjehan. However in many films he was credited as Afzal only. He worked in few films like, ‘Vishwaas’ (1943), ‘Ankh Ki Sharm’ (1943), ‘Dost’ (1944), ‘Kismatwaala’ (1944), ‘Zeenat’ (1945), ‘Humayun’ (1945), ‘Nal Damayanti’ (1945), ‘Jagbeeti’ (1946), ‘Samrat Ashok’ (1947) and ‘Elaan’ (1947).

He was an outspoken and straightforward person, fond of hunting, football and travelling by car. He toured all of India twice in his car. In 1943, he married actress singer Amirbai Karnataki. After marriage he banned her from acting in films. Within 2-3 years, on this and other issues, they could not get along. He used to hit her and take all her money. At last, it was rumoured that he gave her talaaq after taking 2 lakh rupees and her car. Even after this he was stalking her. She stayed with her elder sister Ahilya Bai. Then one day, she was kidnapped by Himalaywala, from the recording room. She was kept locked in a room and beaten daily. She somehow managed to inform this to her sister.

Ahilyabai then got in touch with her acquaintance Mr Rasiklal Vyas and his brother Chhailabhai Vyas – one of the best criminal lawyers of Bombay. With their political and social connections, they forced the police to register an FIR, which was refused due to Himalaywala’s bribe. Meanwhile Himalaywala was alerted by his cronies. Within few hours Amirbai was escorted back to her sister’s place, by Himalaywala. All this episode is described in full details in the book ‘Aap Ki Parchhaiyaan’, by Rajnikumar Pandya ji. Amirbai later married Gujarati Journalist Badri Kaanchwala.

After partition, Himalaywala migrated to Pakistan. There the lady luck smiled on him and he did very well. He became successful as an actor and was famous also. His role of Akbar in film ‘Anarkali’ (1957) was particularly appreciated very much. Mohd Afzuluddin Himalaywala died in 1984 in Lahore.

The director of this film was V.M. aka Dada Gunjal, who started his career by directing his first film, ‘Bhakt Ke Bhagwan’ (1934). He went on to direct 38 films in Hindi and Marathi. His last film was ‘Ek Armaan Mera’ (1959). Dada Gunjal was born in Bombay on 25-1-1904 and died also at Bombay on 6-11-1968.

The music director for this film was a less known composer, Vasant Kumar Naidu. He was  born in 1915. His family had settled in Burma like thousands of other South Indian families.  When Burma was struggling for independence, in the 1930s, most Indians left Burma and came to India. Many went to Calcutta and many went to South India. Many families walked for around 6 months from Burma to India.  Vasant Kumar’s family was one among them.  They walked from Rangoon to Madras.  The family settled in Madras for some years.

Vasant Kumar Naidu had come alone to Bombay earlier in search of a career in music. He was an instrumentalist and could play any string instruments and also harmonium. He was also very much interested in reading different languages. There were many books that he read. He was also very keen in dressing up and had several suits in those days. He joined the film industry and started getting established as a music director.  He then called his mother and other siblings to live with him in Bombay along with his eldest brother’s widow and her son. He had 4 brothers. His eldest brother expired in Madras itself. Vasant Kumar was the second eldest. He had two younger brothers as well.  They all lived on Peddar Road. He left his Peddar Road flat and moved to Parel. He lived in Parel until his death on 16-10-1951.

Vasant Kumar got married in Madras. This marriage was a proposed marriage arranged by his mother. Eventually his other brothers also got married. All three brothers and their wives stayed under the same roof in Parel in a joint family which was headed and supported monetarily by Vasant Kumar.  His younger brother Pandurang Naidu was also picking up in music career. He became a musician (he played banjo and mandolin). Vasant Kumar taught several string instruments to him. His youngest brother, Sreenivasan Naidu, in the later part of his life became music composer for Indian Railway Music Academy (Central Railway Cultural Academy).

Vasant Kumar is survived by his only daughter, Pramila Naidu, who is a widow now. She lives in Pune with her grown up children. Pramila Naidu was around 5 years old when her father expired.  She has a vague memory of her father. It’s sad to see her struggling now financially. She still gives tuition at the age of 70 to make her living. She lawfully owns all these 3 flats in Parel, Mumbai but the 3rd generation of the family has occupied these flats and are not willing to vacate the property. This property is now worth in crores. The cousins of Pramila Naidu got together and filed a law suit against these 3rd generation greedy family members. The law suit is going on now for the past 3 years.

Vasant Kumar started his career in 1939 by giving music to film ‘Thunder’ (1939) and ‘Pakke Badmash’ (1939). Till 1947, he gave music to 22 films, as per the HFGK entries. He composed 160 songs in these 22 films. He is variously mentioned as Vasant, Vasant Kumar and VK Naidu, in addition to his name Vasant Kumar Naidu. He sang 1 song, a duet with Khan Mastana for film ‘Mere Sajan’ (1941).

His filmography is,

  • Thunder (1939)
  • Pukke Badmash (1939)
  • Rangeela Jawan (1940)
  • Jung-e-Azadi (1940)
  • Desh Bhakta (1940)
  • Suhana Geet (1941)
  • Meri Khwaish (1941)
  • Mere Saajan (1941)
  • Lehri Jawan (1941)
  • Lalaji (1942),
  • Call of youth (1942)
  • Mata (1942)
  • Watan ki Pukar (1943)
  • Nai zindgi (1943)
  • Mohabbat ki jeet (1943)
  • Daawat (1943)
  • Circus Girl (1943)
  • Bhagta Bhoot (1943)
  • Beda Paar (1944)
  • Shahi Khazana (1946)
  • Chamkati Bijli (1946)
  • Toote Di (1947)

Unfortunately, Vasant Kumar got mostly B and C stunt and action films for composing the music. Big banners like National Studios gave him an opportunity with film ‘Lalaji’ (1942), in which Naidu got many songs sung by Anil Biswas, Kusum Mantri, and Vatsala Kumthekar. However such films came to him only as an exception, therefore his exposure to audience was limited and his name did not gain any fame. Actually, many big, well known and popular singers sang for Naidu.

However, without a mentor, Godfather or the support of a big banner, it became impossible for Vasant Kumar to grow further. During the transition period of 1947-48, when many composers migrated to Pakistan, the existing big composers made their positions solid. Thus smaller composers never got any opportunity to benefit from the void created by the exit of composers. This was the case of many small time composers like Vasant Kumar.

The film ‘Maata’ has 7 songs. I have heard 6 of them and feel, he could have done better than this. The selected song is a better one from the lot. The singer’s name is not available.The film makes its debut on the blog.

[Author’s Note: Credits- indiancine.ma, A.I. Film Directory (1946), Aap Ki Parchhaiyaan, Muvyz, HFGK, Shishir Krishna Sharma’s and my notes.]


Song – Mann Ka Mor Mera Kisey Bakhaane (Maata) (1942) Singer – [Unknown], Lyrics – DN Madhok, Music – Vasant Kumar Naidu

Lyrics (Provided by Sudhir)

mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane
mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane

chhod kari
ghar ko aa ja re
saawan ki ritu aayi
jhir jhir baadal
barsan laage
birhan de duhaai
aa tu kisi bahaane
aa tu kisi bahaane
tum bin aur kaun jaane
mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane
mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane

sab ke saajan
ab ghar aaye
baaki ek nigodi
un ka bhala kabhi na hove
preet laga jin todi
jiya laag la
jiya laag la
kisi thikaane
jiya laag la
kisi thikaane
tum bin aur kaun jaane
mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane
mann ka mor mera
mann ka mor mera
kisey bakhaane
tum bin aur kaun jaane

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

मन का मोर मेरा
मन का मोर मेरा
किसे बखाने
तुम बिन और कौन जाने
मन का मोर मेरा
मन का मोर मेरा
किसे बखाने
तुम बिन और कौन जाने

छोड़ करि
घर को आजा रे
सावन की ऋतु आई
झिर झिर बादल
बरसन लागे
बिरहन दे दुहाई
आ तू किसी बहाने
आ तू किसी बहाने
तुम बिन और कौन जाने
मन का मोर मेरा
मन का मोर मेरा
किसे बखाने
तुम बिन और कौन जाने
मन का मोर मेरा
मन का मोर मेरा
किसे बखाने
तुम बिन और कौन जाने

सब के साजन
अब घर आए
बाकी एक निगोड़ी
उन का भला कभी ना होवे
प्रीत लगा जिन तोड़ी
जिया लाग ला
जिया लाग ला
किसी ठिकाने
जिया लाग ला
किसी ठिकाने
तुम बिन और कौन जाने
मन का मोर मेरा
मन का मोर मेरा
किसे बखाने
तुम बिन और कौन जाने
मन का मोर मेरा
मन का मोर मेरा
किसे बखाने
तुम बिन और कौन जाने


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 : 3584 Post No. : 14336

Missing Films of 1960s – 68
– – – – – – – – – – – – – – –

Fifteen days and thirty one posts later – that is the amount of days and posts that I missed keeping up with on the blog, with dear Atul ji keeping up with the pace all alone. I have a lot of excuses to give, but no reasons that may be convincing. Just flowing along with certain compulsions and different priorities. But I had to get back in action today. After getting a word from Atul ji about his traveling plans, just to hold on and not allow any more dot days to go by might just be a good accomplishment. So, I am back again, and hopefully should be holding fort for now.

Back to visiting the 1960s decade once again. Today’s debut film is ‘Daanveer Karn’ from 1965. A very obscure and rare film, that I came to hear about only when the list of missing films from 1960s was prepared by Khyati Ben. I could not locate practically any information other than what is given in the Geet Kosh. However, on browsing through the YouTube, I come across an interesting thing. One can see some links for a film by this name, and a couple of songs also. But this film, although carrying the same name, is a dubbed film from Tamil, starring Shivaji Ganeshan and Savitri. However, when I played the songs, they are not what is listed in the Geet Kosh for this film. So apparently this could be a coincidence that two films by the same name appeared in 1965, one of them being a dubbed version of a Tamil original by the same name.

But then there is more surprise in store – as I checked the details of the film in Geet Kosh, I find some details matching. In that, the production company is from Madras (Padmini Pictures) and the lead artists are Shivaji Ganeshan and Savitri. Could then this be the same film, which gets listed in Geet Kosh? Possibly. Just that the two songs available on YouTube from this film, are not listed in the Geet Kosh. So a mystery that needs to be researched. I request other knowledgeable readers and friends to please add more information about this film and its music.

The film is directed by K Panthalu. The songs are credited to Prem Dhawan and the music is by K Balkrishan. As for the music director, I do not find any other film that has been done by him, in Hindi cinema at least. His work is confined to the South Indian cinema. The cast of actors as per Geet Kosh is given as Shivaji Ganeshan, NT Ramarao, Savitri, Devika, MV Rajamma, Sandhya, Rukmani, G Shakuntala, SA Ashokan, Mutthuraman, Jawar Sitaraman, Mutthaiya, K Natrajan, and BS Raghvan etc.

Today’s debut song from this film is sung by Suman Kalyanpur. This is a song of love, in which the lady is complaining about the indifferent attitude of her beau, who does not seem to pay any attention to her. A somewhat breezy composition, this is an unheard gem of Suman Kalyanpur, that I am liking very much now. I am sure you will too. Listen and enjoy.

Song – Kaise Kahoon Ri, Keh To Sakhi Ri  (Daanveer Karn) (1965) Singer – Suman Kalyanpur, Lyrics – Prem Dhawan, MD – K Balkrishan

Lyrics

kaise kahoon ri
keh to sakhi ri
jaane nirmohi na peeda mann ki. . .

kaise kahoon ri
keh to sakhi ri
jaane nirmohi na peeda mann ki
kaise kahoon ri
keh to sakhi ri
tan kyon doley
mann kyon kaanpe
jaane na aaj kahaan koi
kaise kahoon ri
keh to sakhi ri
jaane nirmohi na peeda mann ki
kaise kahoon ri
keh to sakhi ri
jaane nirmohi na peeda mann ki. . .

dil mein hai armaan
kitne hi toofaan. . .
aaa aaa aaa aaaa
aaaa aaaaa aaaaa aaaaa
aaa aaa aaa aaa aaa
aaaaaa aaaaaa aaaaa
aaaaaa aaaaaa aaaaa
dil mein hai armaan
kitne hi toofaan
nahin mo pe daale nazar
haaye piya nadaan
pal chhin birha ke laage mohey baan
bada julmi hai baalam anjaan
kaise kahoon ri
keh to sakhi ri
jaane nirmohi na peeda mann ki
jaane nirmohi na peeda mann ki

kaise ab samjhaaun mann ko
bhool gaye wo mujh birhan ko
jaa ke koi ye keh do un ko
ik ghadi un bin chain na aaye
kaise kahoon ri
keh to sakhi ri
jaane nirmohi na peeda mann ki
kaise kahoon ri
keh to sakhi ri
jaane nirmohi na peeda mann ki. . .

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

कैसे कहूँ री
कह तो सखी री
जाने निर्मोही ना पीड़ा मन की॰ ॰ ॰

कैसे कहूँ री
कह तो सखी री
जाने निर्मोही ना पीड़ा मन की
कैसे कहूँ री
कह तो सखी री
तन क्यों डोले
मन क्यों काँपे
जाने ना आज कहाँ कोई
कैसे कहूँ री
कह तो सखी री
जाने निर्मोही ना पीड़ा मन की
कैसे कहूँ री
कह तो सखी री
जाने निर्मोही ना पीड़ा मन की॰ ॰ ॰

दिल में है अरमान
कितने ही तूफान॰ ॰ ॰
आss आss आss आssss
आsss आssss आsssss आsssss
आss आss आss आss
आsssss आssssss आssss
आsssss आssssss आsssss
दिल में है अरमान
कितने ही तूफान
नहीं मो पे डाले नज़र
हाए पिया नादान
पल छिन बिरह के लागे मोहे बाण
बड़ा जुल्मी है बलमा अंजान
कैसे कहूँ री
कह तो सखी री
जाने निर्मोही ना पीड़ा मन की
जाने निर्मोही ना पीड़ा मन की

कैसे अब समझाऊँ मन को
भूल गए वो मुझ बिरहन को
जा के कोई ये कह दे उनको
इक घड़ी उन बिन चैन ना आए
कैसे कहूँ री
कह तो सखी री
जाने निर्मोही ना पीड़ा मन की
कैसे कहूँ री
कह तो सखी री
जाने निर्मोही ना पीड़ा मन की॰ ॰ ॰


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 : 3520 Post No. : 14136

There are many artists for whom I’ve written posts here, remembering them on their birth or death anniversaries. But there are two artists who have featured more than others in this regard. I remember them every day anyway – so on their anniversary it is only a matter of a different intensity. I am grateful to them every single day for their legacy, the treasure trove they have left us behind with. They are long gone now from this world – coincidentally they went within a few months of each other – but they remain, and will always remain, in my heart. And not just my heart, but millions of hearts. Such is the love we have for them, such is the hold they have over us.

I am of course talking about two giants of the industry – Rafi Saab and Sahir Ludhianvi.

Today happens to be the 97th birth anniversary of Sahir – and here I am, writing yet another post in his memory. I have already written many posts on him, so I expect this will be a short one. At least, by my standards. 🙂

From all accounts, Rafi Saab and Sahir were like chalk and cheese. Rafi Saab is reported always having a smile on his lips, a total lack of ego, easy to work with, a generally non-controversial nature – and was one of the most-loved artistes in the industry.

In contrast, Sahir was seen as egoist, not the easiest person to work with. He was seen as often being bitter and rebellious. He had his fair share of controversies – and differences with other artistes. It’s also fair to say that while everyone acknowledged his genius as a poet and lyricist, he didn’t exactly endear himself to one and all.

And yet both of them have a special place in my heart. They were masters of their craft, and when they executed it, whether through the written word (Sahir) or through his voice (Rafi Saab), the words went straight to my heart.

Since this is a post for Sahir’s anniversary, I will keep it to Sahir from here on.

Sahir needs no introduction to anyone here. And if he does, there are far better sources to discuss him than this post, so I would recommend checking out any of them. Here I will only talk briefly about why I love Sahir so much. It goes without saying that Sahir’s poetry (which often found its way in his lyrics) was in a class of its own. In fact, he often dumbed down (simplified) his poetry to make it more understandable for film-going audiences.

Much of Sahir’s poetry is understandably in Urdu – and his lyrics for film songs too have a strong Urdu slant to them. As a big fan of Urdu, I thoroughly enjoy listening to Sahir’s poetry and lyrics, even if I don’t always understand them. 🙂 But if it were only Urdu that attracted me to him, that would be at one level only. After all, I have a great regard for Shakeel Badayuni too – his lyrics were also often Urdu-based, and second to none.

No, it is more than just Urdu that attracts me. It is the poet himself – Sahir, the person.

To the world, his bitterness (‘talkhi‘), his moodiness, his ego, his sharp tongue might have made him intolerable. To me, I think it is these very qualities that helped him write the poetry he did. You cannot be dispassionate, you cannot be without fire in your belly – and write rousing poetry. It just doesn’t work. An actor might be able to completely keep his persona behind and immerse himself in a role the moment the director screams “Action”. After all, he is an actor – his job is to be somebody he isn’t in real life.

On the contrary, for a poet, his writing is nothing but an expression of himself and his creativity. And that creativity is a function of his mind, heart and soul. So it is only natural that how he thinks or feels will get reflected in his writing. It is possible to of course separate the two – and seasoned poets do – but when the poetry is in sync with the mood, it probably flows much more naturally. I’m guessing this – I’m no poet. 🙂

So Sahir throwing his feelings into his poetry is something I totally approve of. Now, to the content itself.

In his inimitable style, he wrote on a variety of topics. But he is most identified with having a strong opinion on social issues of the day – and never hesitating to express his opinion. He often used his poetry as a medium to convey a strong message. Sometimes showing a mirror to society, sometimes questioning the government of the day. Sometimes exposing hypocrisy, sometimes calling for revolution. Whatever it was, he was not just another poet content to write some lyrics and get paid for them. He was socially sensitive – and clearly the ills in society bothered him deeply. And this is one of the main reasons I SO love Sahir. How I wish we had more poets like him today, with so much awareness and concern for the plight of the common man!

He has written about injustice in society (“Samaaj Ko Badal Daalo”), about the need for unity in a fractured society (“Tu Hindu Banega Na Musalmaan Banega“), about women’s plight in India (“Aurat Ne Janam Diya Mardon Ko”), about hope (“Na Munh Chhupa Ke Jiyo”, “Ponchh Kar Ashq Apni Aankhon Se“, “Wo Subah Kabhi To Aayegi”) and despair (“Ye Duniya Agar Mil Bhi Jaaye To Kya Hai“, “Jinhen Naaz Hai Hind Par Wo Kahaan Hain“, “. . .Rehne Ko Ghar Nahin Hai, Sara Jahaan Hamaara“).

For someone who had a grounding in Urdu, he could write beautiful bhajans like “Tora Mann Darpan Kehlaaye“, “Prabhu Tero Naam“, “Allah Tero Naam“, “Meri Sun Le Araj Banwaari“,  and the immortal “Aan Milo Aan Milo Shyam Saanwre“.

Then there is the philosophical Sahir too, exemplified in songs like “Aage Bhi Jaane Na Tu“.

A recurring theme in his writing is the mother-child relationship, maybe based on his own experiences in life. It is well-known that he was particularly close to his mother – and chose her above his much more affluent father when he had to make a choice. So we see beautiful lyrics on mother-child in ‘Dhool Ka Phool’ (“Tu Mere Pyaar Ka Phool Hai“), ‘Mujhe Jeene Do’ (“Tere Bachpan Ko“), ‘Trishul’ (“Tu Mere Saath Rahega Munne“)  – and I am sure some other films too.

Then there is the qawwaali Sahir. He excelled in them, with the qawwaalis of ‘Barsaat Ki Raat’, ‘Dharamputra’ and ‘Taj Mahal’ showcasing just some of his work.

And then there is the romantic Sahir. Yes, while he wrote about all other aspects of life, he did not come up short on what was bread-and-butter for most poets – romantic poetry. He could write the most romantic lines – the romantic songs of ‘Gumraah’ and ‘Hamraaz’, for example, just take your breath away. And not just these films – think of songs like “Parbaton Ke Pedon Par” from ‘Shagoon’, and on the same ‘parbat’ theme, “Ye Parbaton Ke Daayare” from ‘Vaasna’.

I can go on and on, discussing his songs, but I think I need to now come to the song for today. It is also a romantic song, but this time from very late in his career. It is no secret that in the 1970s, Sahir was disillusioned with the quality of lyrics on offer in Hindi cinema. Urdu, which offered so much richness to lyrics, was being phased out and replaced with more ‘chaalu‘ lyrics. In general, films (and music too, I might add) had become more loud and less, for want of a better word, classy.

He himself withdrew for a bit – and while he continued to work for the BR Chopra/Yash Chopra banners, he wasn’t as prolific as in the 60s. His disillusionment is probably best expressed in one of his most memorable songs of the decade – “Main Pal Do Pal Ka Shaayar Hoon“.

It is in this context one needs to see the song for today. It is from the 1980 film ‘Chehre Pe Chehra’, a film that makes its debut on the blog today. I remember this film being released – and being a flop. I haven’t seen the film – my understanding is, it’s based on the famous ‘Dr. Jekyll and Mr. Hyde’ story. Sanjeev Kumar plays the dual role. The song is a romantic song – and pleasant enough, even if it doesn’t quite scale to the level of his heady songs of the 1960s. Even so, in comparison to the fare around at the time, I’d say its lyrics are better than most other songs of the time. Of course this is just my personal opinion.

Let’s now listen to the song, sung by Sulakshana Pandit and Rafi Saab. Music is by N Datta, one of his most famous pairings. I leave it to you to judge for yourself what you make of this song. I quite like it.

Lyrics were provided to me by the ever-helpful and reliable Avinash ji. A big thanks to him. He makes it so much easier for me to just focus on the write-up itself.

Video (Partial)

Audio (Complete)

Song – Aaj Socha Hai Khayaalon Mein Bula Kar Tum Ko (Chehre Pe Chehra) (1980) Singer – Sulakshana Pandit, Mohammed Rafi, Lyrics – Sahir Ludhianvi, MD – N Datta
Sulakshana Pandit + Mohammed Rafi

Lyrics (Provided by Avinash Scrapwala)

aaj socha hai. . .
aaj socha hai
khayaalon mein bulaa kar tum ko
pyaar ke naam pe thodi si shikaayat kar len
aaj socha hai

aaj socha hai
khayaalon mein bulaa kar tum ko
pyaar ke naam pe thodi si shikaayat kar len
aaj socha hai

aise bichhade ho ke jaise kabhi milna hi nahin
aise bhoole ho ki jaise  kabhi jaana hi na thha
ajnabhi ban ke agar yoon hi sitam dhaana thha
paas aana hi na thha  paas bulaana hi na thha
aao toote huye
aao toote huye
khwaabon ki jiyaarat kar len
aaj socha hai ae

ranjishen bhi wahin palti hain
jahaan pyaar paley
pyaar hi jis se nahin
us se gilaa kya hoga
meri ummeed hai tu
teri tammanna main hoon
aur chaahat ki duaaon ka sila kya hoga
ranjishen bhool ke
ranjishen bhool ke
khwaabon ko haqeeqat kar len
aaj socha hai

kya kahoon main tumhen
kya samjha hai kya maana hai
meri chaahat ne tumhen
apna khudaa maana hai
apna hissa hi tumhe maine sadaa maana hai
jaan ko kis ne bhalaa tan se judaa maana hai
jaan aur tan se
jaan aur tan se naya ahd-e-mohabbat kar len
aaj socha hai
aaj socha hai
khayaalon mein bulaakar tumko
pyaar ke naam pe thodisi shikaa …

hmm hmm hmm hmmmm
hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm

aaj socha hai. . .
———————————————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————————————
आज सोचा है॰॰॰
आज सोचा है
खयालों में बुला कर तुमको
प्यार के नाम पे थोडी सी शिकायत कर लें
आज सोचा है

आज सोचा है
खयालों में बुला कर तुमको
प्यार के नाम पे थोडी सी शिकायत कर ले ए ए
आज सोचा है

ऐसे बिछड़े हो के जैसे कभी मिलना ही नहीं
ऐसे भूले हो कि जैसे कभी जाना ही नहीं था
अजनबी बन के अगर यूंही सितम ढाना था
पास आना ही न था पास बुलाना ही न था
आओ टूटे हुए
आओ टूटे हुए
ख़्वाबों कि ज़ियारत कर लें
आज सोचा है ए

रंजिशें भी वहीँ पलती हैं
जहाँ प्यार पले
प्यार ही जिससे नहीं
उस से गिला क्या होगा
मेरी उम्मीद है तू
तेरी तमन्ना मैं हूँ
और चाहत की दुआओं का सिला क्या होगा
रंजिशें भूल के
रंजिशें भूल के
ख़्वाबों कों हकीकत कर लें
आज सोचा है

क्या कहूँ मैं तुम्हे
क्या समझा है क्या माना है
मेरी चाहत ने तुम्हें
अपना खुदा माना है
अपना हिस्सा हि तुम्हे मैंने सदा माना है
जान को किसने भला तन से जुदा माना है
जान और तन से
जान और तन से नया अहद-ए-मोहब्बत कर लें
आज सोचा है

आज सोचा है
खयालों में बुला कर तुमको
प्यार के नाम पे थोडी सी शिका…

हम्म हम्म हम्म हम्मम्म
हम्म हम्म हम्म हम्म हम्म
हम्म हम्म हम्म हम्म हम्म
हम्म हम्म हम्म हम्म हम्म

आज सोचा है॰॰॰


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 : 3493 Post No. : 14036

Noted film director and story / screenplay writer OP Dutta, passed away this day five years ago. He was 90 years when he passed away in 2012.

OP Dutta was born in the town of Gujranwaala in Punjab (now in Pakistan), in 1922. No information is available online about his early years and his education. In 1948, when he was just 26 years old, he directed the film ‘Pyar Ki Jeet’. This film was a major success, and it established Suraiya, the singer-actress as a super star.

He continued to direct films till the end of 1950s. The Hindi films directed by him are – ‘Hamaari Manzil’ (1949), ‘Surajmukhi’ (1950), ‘Ek Nazar’ (1951), ‘Parbat’ (1952), ‘Maalkin’ (1953), ‘Lagan’ (1955), and ‘Aangan’ (1959).

In the early 1950s he travelled to Pakistan and helped to set up a studio in Karachi. Till then, Lahore was the only center of film production in Pakistan. As a part of this effort, he also produced and directed the film ‘Anokhi’ from the studios in Karachi. Regulars may be familiar with this film, that has recently been discovered and is available in public domain. The heroine of this film is Sheela Ramani, and the music director is Timir Baran. This film was probably the earliest and maybe the only significant effort of collaboration between he film industries of India and Pakistan.

From 1960s onward, OP Dutta gave up direction and started writing for films – stories, screenplays, dialogues etc. Notable films from this phase of his career are ‘Chiraagh’ (1969), ‘Do Raaste’ (1969), ‘Mastaana’ (1970), ‘Jeet’ (1972), etc. Later on, he wrote stories and screenplays for some of the big hits  – ‘Kshatriya’ (1993), ‘Border’ (1997), ‘Refugee’ (2000), ‘LOC Kargil’ (2003), and ‘Umrao Jaan’ (2006).

Today’s song is from the 1955 film ‘Lagan’. From the first phase of his career, this film is the only one that OP Dutta had produced and directed (as opposed to the other films which he only directed for other production banners). The film was produced under the banner of OP Films, Bombay. The star cast of this film includes Nalini Jaywant, Sajjan, Shammi, Randhir, Om Prakash, David, Raj Mehra, Ram Avtar, Baij Sharma, Pandit Iqbal, Baby Naaz, Pappu, Shaam Lal, Uma Dutt, Shivraj, Parshuram, and Kanwar Kesho amongst others. The songs of this film are penned by Rajendra Krishan and the music is by Hemant Kumar. Interesting to note that Ravi is the assistant music director with Hemant Da.

One song of this film has already been showcased on our blog. Today’s song is a song of sadness and separation sung so wonderfully by Lata Mangeshkar. Listen and enjoy.

 

Song – Mujhe Nazar Se Utaar Kar Bhi (Lagan) (1955) Singer – Lata Mangeshkar, Lyrics – Rajendra Krishan, MD – Hemant Kumar

 

Lyrics

mujhe nazar se utaar kar bhi
na chain paaya to kya karoge
mujhe nazar se utaar kar bhi
na chain paaya to kya karoge
jisey bhula ke chaley ho dil se
jisey bhula ke chaley ho dil se
wo yaad aaya to kya karoge
to kya karoge
mujhe nazar se utaar kar bhi
na chain paaya to kya karoge

chalo ye maana bagair mere
tumhaari raaten jawaan rahengi
chalo ye maana bagair mere
tumhaari raaten jawaan rahengi
magar jo bhoole se mere khwaabon ne
aa jagaya to kya karoge
to kya karoge
mujhe nazar se utaar kar bhi
na chain paaya to kya karoge

tumhaari mehfil mein roz hogi
nai kahaani naya fasaana
tumhaari mehfil mein roz hogi
nai kahaani naya fasaana
jo baaton baaton mein naam mera
zubaan pe aaya to kya karoge
to kya karoge
mujhe nazar se utaar kar bhi
na chain paaya to kya karoge
jisey bhula ke chaley ho dil se
jisey bhula ke chaley ho dil se
wo yaad aaya to kya karoge
to kya karoge
mujhe nazar se utaar kar bhi
na chain paaya to kya karoge

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
मुझे नज़र से उतार कर भी
ना चैन पाया तो क्या करोगे
मुझे नज़र से उतार कर भी
ना चैन पाया तो क्या करोगे
जिसे भुलाने चले हो दिल से
जिसे भुलाने चले हो दिल से
वो याद आया तो क्या करोगे
तो क्या करोगे
मुझे नज़र से उतार कर भी
ना चैन पाया तो क्या करोगे

चलो ये माना बगैर मेरे
तुम्हारी रातें जवां रहेंगी
चलो ये माना बगैर मेरे
तुम्हारी रातें जवां रहेंगी
मगर जो भूले से मेरे ख्वाबों ने
आ जगाया तो क्या करोगे
तो क्या करोगे
मुझे नज़र से उतार कर भी
ना चैन पाया तो क्या करोगे

तुम्हारी महफिल में रोज़ होगी
नई कहानी नया फसाना
तुम्हारी महफिल में रोज़ होगी
नई कहानी नया फसाना
जो बातों बातों में नाम मेरा
ज़ुबां पे आया तो क्या करोगे
तो क्या करोगे
मुझे नज़र से उतार कर भी
ना चैन पाया तो क्या करोगे
जिसे भुलाने चले हो दिल से
जिसे भुलाने चले हो दिल से
वो याद आया तो क्या करोगे
तो क्या करोगे
मुझे नज़र से उतार कर भी
ना चैन पाया तो क्या करोगे


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 : 3465 Post No. : 13906

Missing Films of 1960s – 41
– – – – – – – – – – – – – – –

1960s is turning out to be a very interesting era. Notwithstanding the known popular songs, it is the unfamiliar and the forgotten songs that are turning out to be absolutely fantastic entertainment.

Take today’s debut film – ‘Dilruba’ from 1967. Ah yes, I know there might be some eyebrows raised in surprise – but well, ‘Dilruba’ is an earlier film, and aren’t we familiar with it. And that its songs are very much present on our blog. And goodness yes, the film has been yippeee’d already. Well I guess you are right on all counts, except that the film ‘Dilruba’ that has been yippeee’d already is a film from 1950. The film that I am bringing on board today is a same name film, but it is from 1967. Yes, this same name confusion sometimes makes miss some new items.

And to share a very interesting aside here. The songs of this 1967 film have been uploaded by Sa Re Ga Ma on their YouTube channel. And I can’t believe it myself, that a seasoned organization like Sa Re Ga Ma is making such blunders. Maybe the old timers in the company are gone, and the new crop are just following an employment opportunity by rote. You know, they have uploaded the audios of the songs of 1967 film, with an image of the poster of the 1950 film. Quite a blunder this one is.

So the 1967 ’Dulruba’ comes from the banner of Festival Films, Bombay. It is directed by Mohammed Husain. The cast of actors includes Kumkum, Madan Puri, Madhumati, Helen, Shyam Kumar, Ajeet, Maruti etc. The film has 5 songs, for which the music has been composed by Usha Khanna. The five songs are written by three songwriters – Asad Bhopali, Javed Anwar and SH Bihari. This particular song comes from the mind of Asad Bhopali. Again, an aside which may just be a reminder for the regulars. The name Javed Anwar is actually a set of two poets working together. Javed is Manoharlal Khanna, father to Usha Khanna the MD, and Anwar is Raheel Gorakhpuri.

The singing voices are those of Asha Bhosle and Usha Mangeshkar. What a charming twin dance song this one is. I myself am also hearing it for the first time. With let us say, names of three dancers in the list of actors – Helen, Kum Kum and Madhumati – I don’t even want to start guessing which two of them would be performing this song on screen. I request our more knowledgeable readers to please add more information about this film, this song and its picturization.

So with this hit, the film ‘Dilruba’ from 1967 opens its account here on the blog today.  A wow song that I am sure you will enjoy.

Song – Haaye Allah Kyon Hum Ne Pyaar Kiya Tum Se  (Dilruba) (1967) Singer – Asha Bhosle, Usha Mangeshkar, Lyrics – Asad Bhopali, MD – Usha Khanna
Asha Bhosle + Usha Mangeshkar

Lyrics

haaye allah kyon hum ne pyaar kiya tum se
haaye allah kyon hum ne pyaar kiya tum se
pehle ye dard na tha
rang yun zard na tha
pehle ye dard na tha kya mila tum se
haaye allah kyon hum ne pyaar kiya tum se
haaye allah kyon hum ne pyaar kiya tum se

shokh nazren sharaabi ishaara
chheen kar le gaya dil hamara
shokh nazren sharaabi ishaara
chheen kar le gaya dil hamara
zindagi ki kasam
har jafaa har sitam
zindagi ki kasam
har jafaa har sitam
hans ke karna pada hai gawaara
haaye allah kyon hum ne pyaar kiya tum se
haaye allah kyon hum ne pyaar kiya tum se

kabhi khud aa gey bin bulaaye
kabhi laakhon bahaane banaaye
kabhi khud aa gey bin bulaaye
kabhi laakhon bahaane banaaye
dil hi dil mein sanam
sochte hain ye hum
dil hi dil mein sanam
sochte hain ye hum
jaane apne ho ya tum paraaye
haaye allah kyon hum ne pyaar kiya tum se
haaye allah kyon hum ne pyaar kiya tum se
pehle ye dard na tha
rang yun zard na tha
pehle ye dard na tha kya mila tum se
haaye allah kyon hum ne pyaar kiya tum se
haaye allah kyon hum ne pyaar kiya tum se

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

हाए अल्लाह क्यों हमने प्यार किया तुमसे
हाए अल्लाह क्यों हमने प्यार किया तुमसे
पहले ये दर्द ना था
रंग यूं ज़र्द ना था
पहले ये दर्द ना था क्या मिला तुमसे
हाए अल्लाह क्यों हमने प्यार किया तुमसे
हाए अल्लाह क्यों हमने प्यार किया तुमसे

शोख नज़रें शराबी इशारा
छीन कर के गया दिल हमारा
शोख नज़रें शराबी इशारा
छीन कर के गया दिल हमारा
ज़िंदगी की कसम
हर जफा हर सितम
ज़िंदगी की कसम
हर जफा हर सितम
हंस के करना पड़ा है गवारा
हाए अल्लाह क्यों हमने प्यार किया तुमसे
हाए अल्लाह क्यों हमने प्यार किया तुमसे

कभी खुद आ गए बिन बुलाये
कभी लाखों बहाने बनाए
कभी खुद आ गए बिन बुलाये
कभी लाखों बहाने बनाए
दिल ही दिल में सनम
सोचते हैं ये हम
दिल ही दिल में सनम
सोचते हैं ये हम
जाने अपने हो या तुम पराये
हाए अल्लाह क्यों हमने प्यार किया तुमसे
हाए अल्लाह क्यों हमने प्यार किया तुमसे
पहले ये दर्द ना था
रंग यूं ज़र्द ना था
पहले ये दर्द ना था क्या मिला तुमसे
हाए अल्लाह क्यों हमने प्यार किया तुमसे
हाए अल्लाह क्यों हमने प्यार किया तुमसे


This article is written by Avinash Scrapwala, 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 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 : 3462 Post No. : 13894

Today is the eighty fourth birth anniversary (9 Jan 1934 – 27 Sep 2008) of singer Mahendra Kapoor. On this occasion today, I present this lovely and haunting song from the 1966 film ‘Naag Mandir’ here on our blog. This song has two versions one sung by Mahendra Kapoor and another sung by Lata Mangeshkar.

‘Naag Mandir’ was directed by Shantilal Soni for Mayurkala Pictures, Bombay. The star cast was led by Mahipal, Vijaya Choudhry and included Indira and BM Vyas.

This movie has six songs, including one multiple version song. Songs for this movie are written by three songwriters – Shiv Kumar ‘Saroj’, Bharat Vyas and Asad Bhopali. This song is written by Bharat Vyas. Music for this movie is composed by Laxmikant-Pyarelal. Lata Mangeshkar, Mahendra Kapoor and Mohd Rafi have given their voices to the songs in this movie. So far three songs from this movie have been posted on the blog.

Not much other information about this movie is either mentioned in HFGK Vol IV or available on other sources.

I became aware of this song around end-eighties, when I started collecting cassettes and also getting compilations of various singers recorded on blank (TDK/Sony) cassettes. In this endeavor I got recorded the Mahendra Kapoor songs on 14.10.1991 and since then this song is there in my collection. I like this song very much and sometimes it automatically come to my lips and I broke into humming it.

When I checked on the blog, I was surprised to note that this was still to be posted. Also, it was only few weeks back that I discovered that this song also has a female version and that too sung by Lata Mangeshkar. There is some difference in the lyrics. Both versions have one common stanza and one different stanza.

Coming back to the songs of Mahendra Kapoor I would like to mention that I like many of his songs very very much. And as and when I have got the opportunity to share his songs I have tried to get them posted on this blog. I am not going into the biographical details of Mahendra Kapoor and the list of his songs in this post today. I will just stop here and leave you with this song to enjoy today remembering him, and his contribution to Hindi Film Music.

Audio (Male Version – Mahendra Kapoor)

Audio (Female Version – Lata Mangeshkar)

Song – Mere Sanam, Sun Mera Gham (Naag Mandir) (1966) Singer – Mahendra Kapoor/ Lata Mangeshkar, Lyrics – Bharat Vyas, MD – Laxmikant Pyaarelal

Lyrics

Male Version
– – – – – – – – – – –
mere sanam
sun mera gham
uljhanen
zindagi ban gayi ee
tu kahin, main kahin
mere sanam

zindagi ke dukh bharey
ye din kahaan bitaaun
jo na koi gham kare
wo dil kahaan se laaun
sab kuchh hai phir bhi jaise
kuchh nahin
uljhanen
zindagi ban gayi ee
tu kahin, main kahin
mere sanam

jal rahaa hai dil mera
main chup rahoon to kaise
ghut rahaa hai dam mera
main kuchh kahoon to kaise
gham se haden khushi ki jaa mili
uljhanen
zindagi ban gayi ee
tu kahin, main kahin
mere sanam

mere sanam
sun mera gham
uljhanen
zindagi ban gayi ee
tu kahin, main kahin
mere sanam

Female Version
– – – – – – – – – – – – –
mere sanam
sun mera gham
uljhanen
zindagi ban gayi ee
tu kahin, main kahin
mere sanam

jal rahaa hai dil mera
main chup rahoon to kaise
ghut rahaa hai dam mera
main kuchh kahoon to kaise
gham se haden khushi ki jaa mili
uljhanen
zindagi ban gayi ee
tu kahin, main kahin
mere sanam
sun mera gham
uljhanen
zindagi ban gayi ee
tu kahin, main kahin
mere sanam

kitne din guzar gaye
kismet ko sote sote
kitni umr kat gayi
din raat rote rote
phir bhi to badnaseebi kam nahin
uljhanen
zindagi ban gayi ee
tu kahin, main kahin

mere sanam
sun mera gham
uljhanen
zindagi ban gayi ee
tu kahin, main kahin
mere sanam
mere sanam
mere sanam

———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————
पुरुष स्वर
– – – – – – – –
मेरे सनम
सुन मेरा ग़म
उलझनें
ज़िन्दगी बन गयीं ई
तू कहीं, मैं कहीं
मेरे सनम

ज़िन्दगी के दुःख भरे
ये दिन कहाँ बिताऊं
जो न कोई ग़म करे
वो दिल कहाँ से लाऊं
सब कुछ है फिर भी जैसे
कुछ नहीं
उलझनें
ज़िन्दगी बन गयीं ई
तू कहीं, मैं कहीं
मेरे सनम

जल रहा है दिल मेरा
मैं चुप रहूँ तो कैसे
घुट रहा है दम मेरा
मैं कुछ कहूं तो कैसे
ग़म से हदें ख़ुशी कि जा मिलीं
उलझनें
ज़िन्दगी बन गयीं ई
तू कहीं, मैं कहीं
मेरे सनम

मेरे सनम
सुन मेरा ग़म
उलझनें
ज़िन्दगी बन गयीं ई
तू कहीं, मैं कहीं
मेरे सनम

महिला स्वर
– – – – – – – –
मेरे सनम
सुन मेरा ग़म
उलझनें
ज़िन्दगी बन गयीं ई
तू कहीं, मैं कहीं
मेरे सनम

जल रहा है दिल मेरा
मैं चुप रहूँ तो कैसे
घुट रहा है दम मेरा
मैं कुछ कहूं तो कैसे
ग़म से हदें ख़ुशी कि जा मिलीं
उलझनें
ज़िन्दगी बन गयीं ई
तू कहीं, मैं कहीं
मेरे सनम

कितने दिन गुज़र गए
किस्मत को सोते सोते
कितनी उम्र कट गयी
दिन रात रोते रोते
फिर भी तो बदनसीबी कम नहीं
उलझनें
ज़िन्दगी बन गयीं ई
तू कहीं, मैं कहीं

मेरे सनम
सुन मेरा ग़म
उलझनें
ज़िन्दगी बन गयीं ई
तू कहीं, मैं कहीं
मेरे सनम
मेरे सनम
मेरे सनम


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.

Just five days ago, I’d written a post here paying tribute to one of the most loved legends of the Hindi film industry, Mohammad Rafi, on his birth anniversary. Referred to by many (including me) as Rafisaab, he was a giant in his field. Yet  he remained humble to his last day, never letting success get to his head. He treated everyone with great respect and, in turn, earned the respect of everyone he interacted with.

Today we pay tribute to another legend of the industry on his birth anniversary. Also a superstar in his own right, albeit for a relatively short period of time, he was possibly the best antithesis of Rafisaab in terms of letting success get to his head, treating everyone with great respect, and in turn, earning respect of everyone he interacted with. Thus his career, and his life, turned out to be very different from Rafisaab’s. Everyone goes through ups and downs in his career – and both this person and Rafisaab are not exceptions to this phenomenon.

Yet, even in his “downs”, there were those who stood by Rafisaab. The goodwill he had earned earlier stood him in good stead. On the other hand though, this other legendary person was not so lucky. His airs and rather dismissive (to use the most charitable term I can think of) treatment of others during his heyday, came back to haunt him when he was on his way down.  He hadn’t built enough goodwill, his relationships were damaged – this only hastened his downfall. Although he made a somewhat modest recovery later, and even admitted to his earlier mistakes, his image as an arrogant, even mean and vindictive, person stayed till his last day.

This world can be so unforgiving.

By now, I’m sure everyone knows who I am talking about. The one-time superstar of Hindi cinema, the one who at one time could deliver a superhit even if the main character in his film was an elephant, the one whose mere smile and slight shake of the head had audiences in a swoon, the one who set off a rage of buttoned-up silk kurtas as a fashion trend – yes, I am talking about Rajesh Khanna.

He would have been 75 today if he’d been alive. But he didn’t live to even see 70 – he died in 2012, when still just 69. Although he’d been ailing for a while, news of his death still shocked me – I wrote a blogpost on the occasion on my blog, in tribute to him.

See, here’s the thing. I don’t, for one moment, defend Rajesh Khanna for all his wrongdoings, his arrogance, any charges that anyone might level against him. If true, he must rightly be called out for them.  So  if anyone is trying to troll me by pointing out his failings (this happens sometimes) and expecting me to defend Rajesh Khanna, it won’t work – I will probably wholeheartedly agree with them. I am not living in denial about his misdeeds.

Yet, I can also not deny that Rajesh Khanna’s films provided me with a lot of entertainment and fun in my childhood days, of which I still have very fond memories. It just so happened that his superstar days coincided almost exactly with the time that I was watching Hindi films as a young boy. I have a sort of attachment towards him that is hard to explain –  considering everything else. It of course need not have been so. Atul too is of my era – and he has no such attachment.  Fair enough. I happen to have it – and even now, I sometimes watch videos of Rajesh Khanna songs of that 1969-1973 period, and get transported to that period.

I distinctly remember watching him then in songs like “Gussa Itna Haseen Hai  To Pyar Kaisa Hoga” (‘Maryada’), “Yahaan Wahaan Saare Jahaan Mein Tera Raaj Hai” (‘Aan Milo Sajna’), “Ye Jo Mohabbat Hai”, “Ye Shaam Mastaani”, and “Pyaar Deewaana Hota Hai” (all three from ‘Kati Patang’ – one of my favourite films at the time),  “Rona Kabhi Nahin Rona” (‘Apna Desh’), “Vaada Tera Vaada” (‘Dushman’), “O Mere Dil Ke Chain” (‘Mere Jeevan Saathi’)  and many more songs – and enjoying these songs and his mannerisms a lot.

I was very young then – and initially thought he was singing these songs himself. 🙂 When I was told he was only the actor in front of the camera and that someone else (in this case, Kishore Kumar) was the singer, I remember being a bit disappointed. But that did not take away from the enjoyment of the songs, or his mannerisms, or the films. Later on, when his mannerisms became forced and began to jar, the long hair (which was a fashion at the time)  made him look less appealing to me, and the quality of films too began dropping, the charm wore off, not only for India’s masses, but also for me. (After all, I also belonged to those masses).

But for the memories of those few early years, I have always had a soft corner for Rajesh Khanna. That sideways tilt of the head, that dialogue delivery (check out the dialogue just before the song “Daanton Taley Dabaa Kar Honth” from ‘Doli’ – the video is available on YouTube – and you will know what I mean). These are the memories of him I always keep with me. I have not watched many of his later films – maybe because I want to keep his 1969-73 image in my mind and not  a 1985 one. Having said that, I’ve heard that some of his 1980s films are worth a watch – so I think I will give them a try.

So, to summarise, yes, Rajesh Khanna had a lot of faults – more than probably any other actor. But he also had a meteoric rise that no other actor had – and , while he need not have let success get to his head – he was also only human. Sometimes maybe you do need extremes to make a point.

Maybe it is examples like Rafisaab (or probably for a more modern generation, Rahul Dravid) and Rajesh Khanna that can be held up for youngsters. When you achieve success, make sure you don’t lose your head. Make sure you follow the Rafisaab (or Dravid) example, not the Rajesh Khanna one. I don’t think Rajesh Khanna himself would mind this. Much later in life, he did realize his mistakes – and warned other youngsters not to fall prey to their own success. A lesson learnt the hard way.

Coming to the song for today. As always with Rajesh Khanna songs, I prefer to roll back the years and  go back to the Rajesh Khanna of 1969-73. The film si ‘Joru Ka Ghulaam’ (1972) – one of the films I distinctly remember from my childhood days. It is not one of Rajesh’s biggest hits, but I remember quite liking the film when I saw it. One of its songs,  “Nainon Mein, Nindiya Hai”, was very popular in its time. But the other songs were also fairly well-known, as was not uncommon for songs from Rajesh Khanna films at the time.

The song is “Baras Gayi Re Taras Gayi Re”. I had marked this song for a write-up the last time I wrote about Rajesh Khanna, but at the last minute, I decided to go with “O Monalisa” from ‘Dil Daulat Duniya’. I was a bit surprised to find that this song was still available for posting – so here goes.

The lyrics have been provided by Avinashji, who, as everyone knows is a big Rajesh Khanna fan. Even bigger than I am. So when I decided to write this up, he immediately offered to provide the lyrics. I gladly accepted. Thank you, Avinashji.

Hope you enjoy this song. It is written by Anand Bakshi and composed by Kalyanji-Anandji.

 


Song – Baras Gayi Re Taras Gayi Re (Joru Ka Ghulam) (1972) Singer – Kishore Kumar, Lyrics – Anand Bakshi, MD – Kalyanji Anandji

Lyrics (Provided by Avinash Scrapwala)

hmm mm
arey oo oo oo
ho o o o 

baras gayi re taras gayi re

baras gayi re taras gayi re
tere daras ko najariya ho
tere daras ko najariya
baras gayi re taras gayi
o uparwaale
sun uparwaale ae
o uparwaale
ham niche waalon ki
kab tu lega
khabariyaa
khabariyaa
baras gayi re taras gayi re
tere daras ko najariya
ho o tere daras ko najariyaa
haan

hamne bahot ki hai teri sewa..aa
hamne bahot ki hai teri sewa
jaane milega ab kab hamko mewa
aasha niraasha mein tere bhagat ki..ee
aasha niraasha mein tere bhagat ki
beet na jaaye umariyaa
umariyaa
baras gayi re taras gayi re
tere daras ko najariyaa
ho o tere daras ko najariyaa
ho

tan bhi hai pyaasa
mann bhi hai bhookhaa
tan bhi hai pyaasa
mann bhi hai bhookhaa
neelkanth ka kanth bhi sookha
barsegaa saawan takraayegi kab 
barsegaa saawan takraayegi kab
parvat se ayike badariyaa
badariyaa
baras gayi re, taras gayi re
tere daras ko najariya
ho o tere daras ko najariyaa
haan

niche main jaagoon
upar tu soye
niche main jaagoon
upar tu soye
kaise milan tera mera hoye
bairi jagat raste mein padaa hai ae he
bairi jagat raste mein padaa hai
rok ke hamri dagariyaa
dagariyaa
baras gayi re taras gayi re
tere daras ko najariya
ho o tere daras ko najariyaa
o uparwaale
ham niche waalon ki
kab tu lega
khabariyaa
khabariyaa
baras gayi re taras gayi re
tere daras ko najariya
ho o tere daras ko najariyaa
haan
———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————

हम्म म्म
अरे ओ  ओ ओ
हो ओ ओ ओ

बरस गयी रे तरस गयी रे ए
बरस गयी रे तरस गयी रे
तेरे दरस को नज़रिया
तेरे दरस को नज़रिया आ
ओ उपरवाले
सुन उपरवाले ए
ओ उपरवाले
हम निचे वालों कि
कब तू लेगा
खबरिया
खबरिया
बरस गयी रे तरस गयी रे
तेरे दरस को नज़रिया
हो ओ तेरे दरस को नज़रिया
हाँ आ

हमने बहोत की है तेरी सेवा आ
हमने बहोत की है तेरी सेवा आ
जाने मिलेगा अब कब हमको मेवा
आशा निराशा में तेरे भगत कि ई
आशा निराशा में तेरे भगत कि
बीत न जाए उमरिया
उमरिया
बरस गयी रे तरस गयी रे
तेरे दरस को नज़रिया
हो ओ तेरे दरस को नज़रिया
हो

तन भी है प्यासा
मन भी हैं भूखा
तन भी है प्यासा
मन भी हैं भूखा
नीलकंठ का कंठ भी सूखा
बरसेगा सावन टकराएगी कब अ ह
बरसेगा सावन टकराएगी कब
पर्वत से अईके बदरिया
बदरिया
बरस गयी रे तरस गयी रे
तेरे दरस को नज़रिया
हो ओ तेरे दरस को नज़रिया
हाँ

निचे मैं जागूँ
ऊपर तू सोये ए
निचे मैं जागूँ
ऊपर तू सोये ए
कैसे मिलन तेरा मेरा होए
बैरी जगत रस्ते में पडा है ए हे
बैरी जगत रस्ते में पडा है
रोक के हमरी डगरिया
डगरिया
बरस गयी रे तरस गयी रे
तेरे दरस को नज़रिया
हो ओ तेरे दरस को नज़रिया
ओ उपरवाले
हम निचे वालों कि
कब तू लेगा
खबरिया
खबरिया
बरस गयी रे तरस गयी रे
तेरे दरस को नज़रिया
हो ओ तेरे दरस को नज़रिया
हाँ


Advertisements

Important Announcement

(© 2008 - 2018) 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.

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 TEN years. This blog has over 14600 song posts by now.

This blog is active and online for over 3700 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14648

Number of movies covered in the blog

Movies with all their songs covered =1147
Total Number of movies covered =4002

Total visits so far

  • 10,793,276 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,626 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Archives

Stumble

visitors whereabouts

blogcatalog

Music Blogs - BlogCatalog Blog Directory

blogadda

Historical dates

Blog Start date: 19 july 2008

Active for more than 3500 days.

Advertisements
%d bloggers like this: