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 Nahm, 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 :

4702 Post No. : 16406 Movie Count :

4458

The other day, Madhuri Dixit’s birthday was celebrated on the blog and it inevitably reminded me of many of her songs. This is one song from the film ‘Ram Lakhan’ (1989), which is never out of mind, though has been out of sight for many years now. This was in 1989, and my mother and elder sister were already fans of Anil Kapoor. I was not a fan and would call him some uncharitable names, not unprintable but will not mention here. The era of seeing every Amitabh Bachchan film was over, and Subhash Ghai, the producer director of this film was a big name. He was so big that he got to name a few of his heroines, rechristen them literally. Meenakshi, Madhuri and Manisha, Mahima etc. He was fixated or superstitious about naming the heroines beginning with the letter ‘M’. I have seen very few Anil Kapoor songs appearing in the blog. Some newer songs are here, but the many films he did in his earlier period, especially of his jodi with Jackie Shroff, are not here at all. Same is the case with Madhuri Dixit.

Film magazines like Stardust and Filmfare, were still the popular medium of reading and gaining knowledge, useful as well as not so useful. I can say for sure that it has been decades, since I have seen a film magazine in any language. Even doctor’s dispensaries don’t have them. I personally don’t know anyone who buys/reads any such magazines, or if they grace the center-table in any living rooms nowadays. Quite a fall for these publications really. Absence of television has helped, so that I am not even aware of the winners of Filmfare awards these days.

The song in question is a well composed, written and sung, sort of a filmy situation ‘bhakti’ song. Madhuri Dixit is the highlight, as only she could be. Laxmikant-Pyarelal have given a dekho, a ‘retro’ of ‘Pakeeza’ soundtrack and their own ‘Sargam’ soundtrack in the interlude music. The team of Anand Bakshi & L-P were a pro at creating such situational songs. And Lata Mangeshkar was still the backbone of any L-P score, be it the films of the South or Bombay.

What is happening here is the engagement party of Madhuri Dixit, sort of, with Amrish Puri’s son. Jackie Shroff is a police officer, playing the title role of Ram and Anil Kapoor is the younger brother Lakhan. Madhuri is forced to accept this alliance by her father Anupam Kher, with no help from Anil Kapoor, who is away on training as Police Inspector. So, when Madhuri is asked to perform in front of the guests, she starts the bhajan, remonstrating with the Almighty, and complaining to Ram present in the party, directly. Another highlight of the song is the way Jackie Shroff is seen to be preening (in his fine feathers) almost, as the addressee and the brother of Lakhan.

Anyway, when it is Lata Mangeshkar, who is crooning “Ho Ram ji ee eee”, and Madhuri Dixit is on screen, performing, who can stay unmoved.

Video

Audio

Song – O Ram Ji. . . Bada Dukh Deena Tere Lakhan Ne (Ram Lakhan) (1989), Singer – Lata Mangeshkar, Lyrics – Anand Bakshi, MD – Lakshmikant Pyarelal
Anupam Kher
Chorus

Lyrics (Based on the Audio Version)

sa ga re
ga sa sa
ga re
sa ga re
ga ga re
re ma pa ni sa
sa ga ma dha pa
ni re ga ma ma ma
re ma pa
sa ga re
ri ni sa
sa sa sa sa sa aa aa

ho raam ji ee eee
badaa dukh deenaa
tere lakhan ne ea
bada dukh deenaa
tere lakhan ne ea ea
bada dukh deenaa
sudh budh bisraayi
meri neend churaayi
mera mushkil kar diya jeenaa aa
badaa dukh deenaa
tere lakhan ne ea ea
bada dukh deenaa
ho raam ji ee eeea
badaa dukh deenaa

wo deepak hai
main jyoti hoon
wo deepak hai
main jyoti hoon
wo hanstaa hai ea ea
main roti hoon
hmmm mmmm
mmmmm mmmmm
mere pyaar ki qadar
usse hogi magar
mujhe zehar padegaa peena aa aa
badaa dukh deenaa aa
bada dukh deenaa
tere lakhan ne ea
bada dukh deenaa

meri ankhiyaan
mere sapne
meri ankhiyaan an
mere sapne
le gayaa sab kuchh
saathh wo apne ea
hmmm mmmm
mmmmm mmmmm
ye jaan nigodi
jaane kaahe ko chhodi
chhaliye ne sab kuchh chheena aa aa
badaa dukh deenaa aa
bada dukh deenaa
tere lakhan ne ea
bada dukh deenaa

ga ga re sa

ra ga ma pa

ga ma pa

pa ma ga

ga saa

aaa aaaaa
aa aaaaa aaaaa
sun kar meri raam duhaayi
ho oo ooo
sun kar meri raam duhaayi
dekho wo
aayaa harjaayi
aaa aaa aaaa
aaaaa aaaaa
nirmohi ye kaisa
jo main jaanti aisa aa
to main karti pyaar kabhi naa
badaa dukh deenaa
tere lakhan ne ea
bada dukh deenaa aa
badaa dukh deenaa

arrey kis lakhan ki baat karti ho tum

lakhan ne lakhan ne
mere lakhan ne
hmmm mmmm
mmmmm mmmmm
sajan ne sajan ne
mere sajan ne
hmmm mmmm
mmmmm mmmmm
sajno ke sajan ne
mere lakhan ne
hmmm mmmm
mmmmm mmmmm
hmmm mmmm
mmmmm mmmmm
aaaa aaaaaa
aaaaaa aaaaaa
lakhan ne lakhan ne
aaaaa aaaaaa
lakhan ne lakhan ne
aaaaa aaaaaa
lakhan ne lakhan ne
aaaaaa aaaaaa
lakhan ne lakhan ne
aaaaaaa aaaaa
aaaaaaaa


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:

4698 Post No. : 16390

———————————–
This Week, That Year – 6
———————————–
23May – 29May, 2011

The seven days in May 2011, from 23rd to 29th. I am sure the world was extremely busy, as it always is, and there would be no dearth of info about what the then current trends and news were. Seems like this week was kind of low key and ordinary in terms of world events. But let us not go there. 🙂

Let us take on the story of that week, on our blog. Let us do the numbers first, and then I will take the readers through some very interesting details about the films that featured during that week.

It was kind of a slow week, by the then current standards. We had two dot days and just 21 posts. A super number comparing to what we are going through at current times. But with the then norm of 40+ posts in a normal week, this week was definitely slow. An average of 3 posts per day, or 4 posts in case we discount the dot days.

20 films got showcased that week, which means that in 21 posts, there is only one case of a film appearing twice. So 20 films and 21 posts, with the 1977 film ‘Aakhiri Sajda’ contributing two songs. Of the 20 films, no less than 9 were debut songs – films making their first appearance on the blog. The films making their debut that week are

Kaarwaan e Hayaat (1935)
Wahaan (1937)
Dr Kotnis Ki Amar Kahaani (1946)
Pagle (1950)
Geet Gaaya Pattharon Ne (1964)
Baawarchi (1972)
Sankalp (1974)
Faaslaa (1974)
Aakhri Sajdaa (197)7

As far has completion report is concerned, we had one film celebrate its entry into the Yippeee club. The 1957 film ‘Do Aankhen Barah Haath’ completed its list of songs contributed to the blog.

Also, in the 21 posts, total of 23 songs were included. This happens with we have a multi version song, and both (or all) versions of the song are accommodated in the same post. In this week, we had two posts that had 2 songs each, making a total of 23.

In terms of the decades covered, the data is as follows,

1930s   4
1940s   6
1950s   4
1960s   1
1970s   6

Yes, me too, am surprised to see just one film appearing for 1960s. But well, it is what it is.

No milestones got breached this week. In the previous week on 17th May, the blog had celebrated its 3900th song. So this week remained quiet uneventful on the milestones front.

Here is the week’s data in table form.

Blog Ten Year Challenge (2011-2021) Series
Sl.No. Movie Name Year HFGK NoS ASAD NoS Possible UT Deb/Yip Milestone Film Status Pending
23-May-11
1 Shama 1946 10 8 1 Pending-c 1 + 1 UT
2 Wahaan 1937 7 1 D Pending 6
3 Baawarchi 1972 6 5 D Pending 1
4 Sankalp 1974 4 4 D Yippeee’d
5 Faaslaa 1974 4 1 D Pending 3
24-May-11
1 Dhoop Chhaaon 1935 10 9 Pending 1
2 Haatim Tai 1956 9 6 Pending 3
3 Paakeezah 1971 10 9 Pending 1
4 Aakhri Sajdaa 1977 5 5 D Yippeee’d
25-May-11
1 Kaarwaan e Hayaat 1935 10 7 D Pending 3
2 Dr Kotnis Ki Amar Kahaani 1946 7 3 D Pending 4
3 Do Aankhen Baarah Haath 1957 6 6 Y Yippeee’d
4 Geet Gaaya Pattharon Ne 1964 9 6 D Pending 3
26-May-11
[No Posts]
27-May-11
1 Bhakt Soordas 1942 15 14 1 Yc 1 UT
2 Pagle 1950 9 7 D Pending 2
3 Afsaanaa 1951 9 9 Yippeee’d
4 Narsinh Avtaar 1949 11 4 1 Pending-c 6+ 1 UT
5 Aakhri Sajdaa 1977 5 5 Yippeee’d
28-May-11
1 Street Singer 1938 13 12 1 Yc 1 UT
2 Uddhaar 1949 9 4 1 Pending-c 4+ 1 UT
3 Laila Majnu 1953 13 13 Yippeee’d
29-May-11
[No Posts]

In one of he earlier episodes of this series, I have introduce the idea of ‘Ut’ songs, or possibly untraceable songs. Let us review the status and implications of this idea, for this week’s posts.

On 23rd May 2011, the first film in order of posting is ‘Shama’ of 1946. As I check the status of the songs of this film, it has total of 10 songs listed. 8 of these 10 are already on our blog. However, 1 song can be termed as untraceable. The film is available in public domain. The song at serial no. 9 – “Wo Chal Diye Phir Aag Kaleje Mein Laga Kar” was not released on gramophone record, and neither it is contained in the film that is available. That leaves one more song available for posting, after which was will be in a position to declare this film conditionally Yippeee’d.

The films ‘Wahaan’ of 1937 and ‘Faasla’ of 1974, both made their debut on 23rd May 2011. And have never been heard of again. Their tally stands at 1 song, even after a passage of one decade. Then we have ‘Sankalp’ from 1974, which has since been Yippeee’d. And the film ‘Baawarchi’ from 1972 – after accounting for the song posted earlier today, the film’s tally is now at 5 out of a total of 6 song, with just one more song remaining for the film to be declared as Yippeee’d.

The first film in the order of posting, on 24th May 2011 is ‘Dhoop Chhaon’ from 1935. This film is just one shy of reaching the Yippeee status. The last remaining song is available in public domain – “Aaj Mero Ghar Mohan Aayo”, sung by KC Dey. The second film, ‘Hatim Tai’ of 1956 has 3 songs more to be posted, and all are available. The fourth film that day – ‘Aakhiri Sajda’, had made its debut that day, and it has since been Yippeee’d.

Now we come to an interesting and difficult film to discuss – ‘Paakeezah’ of 1971. Geet Kosh lists 9 songs for this film. Of these, 6 are full songs in their individual capacity. All these songs are composed by music director Ghulam Mohammed. The remaining three songs, composed by Naushad Sb, are actually thumris that appear in the film as background songs. And they do not appear fully. The problem we face is that actually in the film there are many more of these background thumris. On the blog Nahm ji has already posted one such unlisted thumri – “Dekh To Dil Ke Jaan Se Uthhta Hai“. Checking on the internet, there are articles available that list many thumris, all of which are partially played in the film, in background. A good article is “The Lost Thumris of Paakeezah“.

There is another interesting aspect to this film. It is now known that actually, many more songs were recorded than are present in the film. In fact, the erstwhile HMV company has also released another LP titled ‘Paakeezah Rang Barang’ in 1977, which contains 9 additional songs, all composed by Ghulam Mohammed, all recorded for the film, and later were not included in the film. It has many interesting tracks including the female solo version of the song “Chalo Dildar Chalo” in the voice of Lata Mangeshkar. None of these have as yet made their appearance on the blog.

If we consider all the above, then the total songs that were recorded for ‘Paakezah’ is more than 20. It is going to be a very interesting follow up on how to handle this film, moving forward. Decidedly, this film has not yet been Yippeee’s in the true sense.

Also on 24th May 2011, the film ‘Aakhiri Sajda’ made its debut. This is technically the last film for which music director Sajjad Husain has composed the music. The five songs of this film were posted in quick succession between 24th May and 9th June. In just about two weeks, this film got Yippeee’d. I need to check whether this is a record of some sort.

25th May 2011 is an interesting day in blog history. On this day, four films were featured. Three of these films made their debut and one film got Yippeee’d. The first film listed on this day is ‘Kaarwaan e Hayaat’ (1935), which is followed by three films of actor director V Shantaram viz.’Dr. Kotnis Ki Amar Kahaani’ (1948), ‘Do Aankhen Barah Haath’ (1957), and ‘Geet Gaya Patharon Ne’ (1964). Of these, ‘Do Aankhen Barah Haath’ was Yippeee’d that day, and the other three made their debut.  For the three films pending, all songs are available. And possibly for ‘Kaarwaan e Hayaat’ we may have more than the 10 songs listed in GK, after the film itself has been discovered and made available in public domain.

After a dot day on 26th May 2011, 5 songs are posted on 27th May. Of the five films that are featured that day, ‘Pagle’ (1950) made its debut. Further, we have an interesting situation for two films – ‘Bhakt Surdas’ (1942) and ‘Narsinh Avtar’ (1949). Both have one song each that is not traceable, at least not yet. In fact, the film ‘Bhakt Surdas’ can already be declared conditionally Yippeee’d – all available songs (14 out of the listed 15) are now posted on the blog. There have been rumors abound for some years now that copy of this film has surfaced, and it might be available with a collector in Canada. This info has not been confirmed so far, and the film itself has not yet surfaced in public domain.

An interesting side note for the 1951 film ‘Afsaana’, already Yippeee’d. Three films by this title were released – in 1938, 1951 and 1966. The 1938 film ‘Madhur Milan’ has an alternate title ‘Afsaana’. No songs of this film are listed as available. The interesting thing is that there is one more film by the same title, that is listed in Geet Kosh, in the unreleased films category. It has a whopping 12 songs listed as recorded, and all are available in public domain. This film has not yet made debut on our blog.

Then we come to 28th May 2011. Three songs are posted. The film ‘Laila Majnu’ of 1953 is already Yippeee’d. The other two films are in the same situation – both films have one song that is untraceable in public domain. By the same yardstick, the 1938 film ‘Street Singer’ may be declared conditionally Yippeee’d – 12 of the 13 songs are already posted.

29th May 2011 is a dot day.

That completed the week’s posts.

A day late, maybe. I am using one pending song from the 1949 film ‘Uddhaar’ for today’s post. The film has a total of 9 songs, of which 4 are posted. Here is the fifth song of this film, in the voice of Lata Mangeshkar. The song is penned by Narendra Sharma and the music is by Vasant Desai. I desist from giving more details about the film and the song here, as the article already has become quite long. Maybe in another later post of one of the songs of this film.

All in all, a very interesting week it has been. We have identified two films that can already qualify for conditional Yippeee status. And have raised a few interesting questions about the film ‘Paakeezah’.

Let us now get going with the song from ‘Udhhaar’. The lyrics for this song have been provided by Prakash ji.

Song – Rangeen Gagan Peeche Chhoota  (Uddhaar) (1949) Singer – Lata Mangeshkar, Lyrics – Narendra Sharma, MD – Vasant Desai

Lyrics (Provided by Prakashchandra)

rangeen gagan peechey ae chhoota
rangeen gagan peechhey ae chhoota
anuraag aur armaanon kaa..aaa
rangeen gagan peechhey ae chhoota
o saaqi
raaj hansini kaa..aa
o saaqi
raaj hansini kaa..aa
sukh sapnon se naataa tootaa
rangeen gagan peechhey ae chhoota

beh gaye ashq reh gayee aag
beh gaye ashq reh gayee aag
shabnam se sholay uthey jaag
naahak apne hi haathon se
hamne naseeb apnaa lootaa
anuraag aur armaanon kaa..aaa
rangeen gagan peechhey chhoota

kachchi tehni aur nanhi kali
kachchi tehni aur nanhi kali
gul heen ke haathon gayee..ee chhali
dil naazuk phool ke pyaaley sa
dil naazuk phool ke pyaaley sa
ek thokar lagte hi tootaa
anuraag aur armaanon kaa..aaa
rangeen gagan peechhey ae chhoota
o saaqi
raaj hansini kaa..aa
sukh sapnon se naataa toota
rangeen gagan peechhey chhoota

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

रंगीन गगन पीछे छूटा
रंगीन गगन पीछे छूटा
अनुराग और अरमानों का
रंगीन गगन पीछे छूटा
ओ साक़ी
राज हंसिनी का
ओ साक़ी
राज हंसिनी का
सुख सपनों से नाता टूटा
रंगीन गगन पीछे छूटा

बह गए अश्क़ रह गई आग
बह गए अश्क़ रह गई आग
शबनम से शोले उठे जाग
नाहक अपने ही हाथों से
हमने नसीब अपना लूटा
अनुराग और अरमानों का
रंगीन गगन पीछे छूटा

कच्ची टहनी और नई कली
कच्ची टहनी और नई कली
गुल हीं के हाथों गई छली
दिल नाज़ुक फूल के प्याले सा
दिल नाज़ुक फूल के प्याले सा
एक ठोकर लगते ही टूटा
अनुराग और अरमानों का
रंगीन गगन पीछे छूटा
ओ साक़ी
राज हंसिनी का
सुख सपनों से नाता टूटा
रंगीन गगन पीछे छूटा


This article is written by Nahm, 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 :

4694 Post No. : 16382

Remembrance Day   —    Laxmikant Shantaram Kudalkar (of Laxmikant-Pyarelal)

Today is the 23rd remembrance day of Laxmikant S. Kudalkar one half of the music composer duo fondly known as L-P.  They were the sole torch bearers by 1988, of the melodious music of the golden era of HFM.   Though RD Burman was still around, but doing very few films.  L-P it seems never took a breather, till the demise of  Laxmikant on 25.05.1998.  I personally don’t know of any instance where Pyarelal composed a film score alone.

Laxmikant–Pyarelal received won 7 awards and 15 nominations for best music direction in the Filmfare awards.

Filmfare Award for Best Music Director– Won

1965 Dosti
1968 Milan
1970 Jeene Ki Raah
1978 Amar Akbar Anthony
1979 Satyam Shivam Sundaram
1980 Sargam
1981 Karz

They have composed close to 3000 songs out of which 896 are posted.  So the tally is so close to 900 mark.   Today is actually Remembrance Day of Sunil Dutt also.  I could have easily found a song by L-P featuring Sunil Dutt to post, but I was reminded of this wonderful group song from ‘Tezaab’ in a video forward in the family group.

Belgaum city has been put under strict lock down for the extended weekend from Friday to Monday.  The video is maybe shot last year showing empty streets, markets and by-lanes of the city.  It was moving very fast, so I failed to recognise much of the blurred views. This song from ‘Tezaab’ 1988 was playing in the background, so I decided to do this song post.  I have always liked the song for the humming in the background, and night journey in the battered vehicle with a broken wind shield.  Chunky Pandey and his friends are singing this song.  While sad looking Madhuri Dixit and Anil Kapoor are trying to enjoy their antics.  Second stanza is filmed on these two with background singing by Alka Yagnik and Shabbir Kumar.  Nitin Mukesh is giving playback to Chunky Pandey.

Peevesie’s Mom would have liked to post this as Chunky Pandey’s song, I suspect.  But I have it as a night song from ‘Tezaab’ by Nitin Mukesh.  That’s how I remembered it and had thought of including it in the ‘Chaandni Raatien’ series.  But since there is no moon visible here, nor it is mentioned in the song, so desisted.

The other day after reading Madhuri’s birthday post on 15th May, I remembered many songs.  Even started one post for a Madhuri song, but could not complete it.  That one is also a hit L-P score.  But for now, that song will have to wait.

For a five-minute song, this is having only 2 stanza’s.  So, I looked for audio version, thinking that it may have an extra stanza.  But there is no extra stanza in the audio version, which is slightly longer with repetition of mukhda.

So, let’s enjoy this hummable, slow, melodious, pensive, meaningful song, written by Javed Akhtar.

And remember Laxmikant Kudalkar, the musician.

Video

Audio

Song – So Gaya Ye Jahaan, So Gaya Aasmaan (Tezaab) (1988), Singer – Nitin Mukesh, Alka Yagnik, Shabbir Kumar, Lyrics – Javed Akhtar, MD – Lakshmikant Pyarelal
Chorus

Lyrics

hmmm mmmmmm
hmmm mmmmmm
hmmm mmmmmm
hmmm mmmmmm

so gaya ye jahaan
so gaya aasmaan
so gaya ye jahaan
so gaya aasmaan
so gayeen een
hain saari manzilien
o saari manzilein
so gayaa hai rastaa
so gaya ye jahaan (hmmmm)
so gaya aasmaan (hmmmm)
so gayeen een (hmmmm)
hain saari manzilien (hmmmm)
o saari manzilein (hmmmm)
so gayaa hai rast aa(hmmmm)
so gaya ye jahaan (hmmmm)
so gaya aasmaan (hmmmm)

raat aayi to wo jin ke ghar thhe
wo ghar ko gaye so gaye
raat aayi to ham jaise
awaara phir nikle
raahon mein aur kho gaye
raat aayi to wo jin ke ghar thhe
wo ghar ko gaye so gaye
raat aayi to ham jaise
awaara phir nikle
raahon mein aur kho gaye
iss gali uss gali
iss nagar uss nagar
jaayen bhi to kahaan
jaana chaahein agar
ho oo so gayeen een (hmmmm)
hain saari manzilien (hmmmm)
o saari manzilein
so gayaa hai rastaa
so gaya ye jahaan
so gaya aasmaan
so gaya ye jahaan
so gaya aasmaan

kuchh meri suno
kuchh apni kaho
ho paas to aise ea
chup na raho o
ham paas bhi hain
aur door bhi hain
azaad bhi hain
majboor bhi hain
kyun pyar ka mausam
beet gayaa
kyun ham se zamaana
jeet gayaa aa
har ghadi mera dil
gham ke ghere mein hai ea
zindagi door tak ab
andhere mein hai
andhere mein hai ea ea
andhere mein hai

ho so gayeen een
hain saari manzilien
o saari manzilein en
so gayaa hai rastaa
so gaya ye jahaan (hmmmm)
so gaya aasmaan (hmmmm)
so gaya ye jahaan (hmmmm)
so gaya aasmaan (hmmmm)

hmmm mmmmmm
hmmm mmmmmm
hmmm mmmmmm
hmmm mmmmmm

————————————————————
Hindi Script Lyrics
(Provided by Sudhir)
————————————————————

हम्ममम म्ममममम
हम्ममम म्ममममम
हम्ममम म्ममममम
हम्ममम म्ममममम

सो गया ये जहां
सो गया आसमान
सो गया ये जहां
सो गया आसमान
सो गईं॰॰॰
हैं सारी मंज़िलें
सो गया है रस्ता
सो गया ये जहां (हम्ममम)
सो गया आसमान (हम्ममम)
सो गईं॰॰॰ (हम्ममम)
हैं सारी मंज़िलें (हम्ममम)
ओ सारी मंज़िलें (हम्ममम)
सो गया है रस्ता (हम्ममम)
सो गया ये जहां (हम्ममम)
सो गया आसमान (हम्ममम)

रात आई तो वो जिनके घर थे
वो घर को गए सो गए
रात आई तो हम जैसे
आवारा फिर निकले
राहों में और खो गए
इस गली उस गली
इस नगर उस नगर
जाएँ भी कहाँ
जाना चाहें अगर
हो ओ सो गईं॰॰॰ (हम्ममम)
हैं सारी मंज़िलें (हम्ममम)
ओ सारी मंज़िलें
सो गया है रस्ता
सो गया ये जहां
सो गया आसमान
सो गया ये जहां
सो गया आसमान

कुछ मेरी सुनो
कुछ अपनी कहो
हो पास तो ऐसे॰॰॰
चुप न रहो
हम पास भी हैं
और दूर भी हैं
आज़ाद भी हैं
मजबूर भी हैं
क्यूँ प्यार का मौसम
बीत गया
क्यूँ हमसे ज़माना
जीत गया
हर घड़ी मेरा दिल’
ग़म के घेरे में है
ज़िंदगी दूर तक अब
अंधेरे में है
अंधेरे में है॰॰॰
अंधेरे में है

हो सो गईं॰॰॰
हैं सारी मंज़िलें
ओ सारी मंज़िलें
सो गया है रस्ता
सो गया ये जहां (हम्ममम)
सो गया आसमान (हम्ममम)
सो गया ये जहां (हम्ममम)
सो गया आसमान (हम्ममम)

हम्ममम म्ममममम
हम्ममम म्ममममम
हम्ममम म्ममममम
हम्ममम म्ममममम


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

Blog Day :

4393 Post No. : 15761

Screenplay is the first stage when a film is said to be born on paper. A screenplay writer translates the story/script from its literary form to an audio-visual presentation incorporating the ideas of the directors as to how each character is to be presented, the mood of the scenes, the surrounding environments, the stance of dialogue deliveries, the camera angles, lighting etc. Some screenplay writers also incorporate the dialogues. Directors like Satyajit Ray would write the screenplay in sketch form, visually presenting the scenes in each sheet of paper, something like what we used to see RK Laxman’s ‘You Said It’ in newspapers. In other words, screenplay is a complete document, representing a film in a paper format.

In a professional set-up, a director of the film would like to have with him a bound copy of the screenplay, a copy of which he would also handed over to each one of main actors, cinematographer, art director, sound engineer, choreographer, lyricists, music directors etc. before the film’s shooting commences. Some of the directors like Bimal Roy used to follow the system (as revealed by Dilip Kumar in an interview) while directors like Guru Dutt did not give much importance to this system as quite often, he used to make changes in the screenplay at the spur of the moment  while shooting (as revealed by Abrar Alvi in his book, ‘Ten Years With Guru Dutt’). In our office parlance, we can call screenplay as a manual of instructions for all those who are closely associated with the making of a particular film.

From the above description, it is apparent as to how important the role of screenplay writers have in the making of films. Unfortunately, most of the screenplay writers are ‘faceless’ in the sense that their faces seldom appear on the film magazines. It was Salim-Javed, the duo who, as a story, screenplay and dialogue writer, attained the status of stars during 1970s and early 80s and their faces became familiar to most of the cinema-lovers.

I am discussing in this article, one of the most prominent ‘faceless’ screenplay writers, an introvert who kept a low profile despite writing screenplays for many Hindi films for over 3 decades, which became popular. Some of his works attained the classic status such as ‘Parineeta’ (1953), ‘Devdas’ (1955), ‘Sujata’ (1959), ‘Bandini’ (1963), ‘Teesri Kasam’ (1966), ‘Abhiman’ (1971). He is the Bengali novelist and short-story writer, dancer, theatre actor and the director, Nabendu Ghosh who became a screenplay writer by default.

I came to know about Nabendu Ghosh for the first time about 3 years back when I was going through a book ‘Gulzar in Conversations with Nasreen Muni Kabir’ and Gulzar’s many interviews on the newspapers. In the book and the interviews, Gulzar gave credit to Nabendu Ghosh in shaping his career as a screenplay writer. I became interested in knowing him in details only when I came to know that he had made a statement as early as in 1945 that if at all he joined the film industry, it would be only under Bimal Roy. I found this statement surprising because in Bengali literary circle, he had already attained the status of a star writer due to popularity of his novels and short stories.

During the past few days, I have read books and interviews on Nabendu Ghosh given by his colleagues in the film industry, his own interview on Vividh Bharati and the extracts from his Bengali autobiography, ‘Eka Naukar Yatri’ (‘Traveler of the Lonely Boat’) translated in English by his daughter, Ratnottama Sengupta. On the basis of these sources, I have written his profile incorporating the important events in his life which is given below:

Nabendu Bhushan Ghosh (27/03/1916 – 15/12/2007) was born in Dhaka where he did his early schooling. The family shifted to Patna when his father, an advocate started practicing at the Patna High Court. Nabendu continued his secondary school in Patna and continued his college there completing MA in English literature. During his Patna days, Nabendu joined a local theatre group where he acted, mostly in the female role. He also learnt dancing at Uday Shankar’s Almora Cultural Centre.

Nabendu got a job in DIG’s office in Patna. However, during Quit India Movement, he wrote articles against the British rules. For this, he got warning from his sympathetic superiors from the office not to indulge in writing anti-British articles. Instead of heeding their advice, he preferred to resign from the job and shifted to Kolkata in 1944 where his life as a novelist and short story writers began. By the end of 1940s, Nabendu had became a star writer as his novels and short stories were very popular. During this period, he had written stories depicting almost every aspects of life in Bengal – the famine, the tram, the strike, the rationing, communal violence, partitions victims etc.

On a visit to Rajshahi (now in Bangla Desh) sometime in 1945, he watched a Bangla film ‘Udayer Pathe’ (1945) in a theatre. The film had influenced him so much that he took a vow that if he ever become a writer for the films, it would be for Bimal Roy, the director of the film. Probably, this was more like an emotional reaction to the film rather than his serious intention at that time. After a couple of years, Nabendu had a chance meeting with Bimal Roy in Kolkata who was impressed with writings. But it was not until 1951 when Ashok Kumar invited Bimal Roy to direct the film ‘Maa’ (1952) that Bimal Roy thought of taking Nabendu along with him.

Both for Bimal Roy and Nabendu Ghosh, the migration to Mumbai was not by choice but because of the compelling circumstances. With the creation of East Pakistan (now Bangla Desh), the markets for Bangla films and the Bangla novels and short stories had considerably dwindled thanks to the then East Pakistan Government’s policy of suppressing Bangla language in favour of Urdu. What was thought to be a temporary assignment in Mumbai in 1951 became a long creative association between Bimal Roy and Nabendu Ghosh from 1951 to 1966 as a screenplay writer in 9 films besides doing cameo roles in ‘Do Bhiga Zameen’ (1953) and ‘Sujata’ (1959).

During his 3 decades of association with Hindi films, Nabendu Ghosh wrote screenplay for a little over 30 films which included apart from Bimal Roy’s films mentioned above, films like ‘Aar Paar’ (1954), ‘Baadbaan’ (1954), ‘Milap’ (1955), ‘Detective’ (1958), ‘Teesri Kasam’ (1966), ‘Sharafat’ (1970), ‘Laal Pathar’ (1971), ‘Abhiman’ (1973), “Pratigya’ (1975), ‘Ganga Ki Saugandh’ (1978), ‘Krodhi’ (1981) etc. He also directed ‘Trishagni’ (1988) which gave him the National Film Award for the best debut director. Sometime in the middle of his filmy career, he had directed ‘Doctor Babu‘ (based on Phanishwarnath Renu’s story, ‘Maila Aanchal’) with Dharmendra and Jaya Bahaduri in the lead roles and RD Burman as the music director. When 70% of the film was canned, the producer of the film died leaving the film unfinished.

In 1995, he directed a television serial for Doordarshan, ‘Anmol Moti’ on Ashok Kumar. He directed Children Film Society’s ‘Netraheen Sakshi’ and for Ministry of Health, the film ‘Ladkiyaan’ (1997). He was a visiting faculty at FTII and conducted workshops on screenplay writing during 1967 to 1980. During his life time, Nabendu wrote 26 Bengali novels, 18 collections of Bengali short stories and his only English book – ‘Ashok Kumar – His Life and Times’.

Nabendu Ghosh passed away in Kolkata on December 15, 2007 at a ripe age of 91. Nabendu Ghosh’s last novel, ‘Kadam Kadam’ based on the experiences of character actor, Nazir Hussain in INA, was released during his birth centenary year 2016.

If we go through the list of the films for which Nabendu Ghosh wrote screenplays, it would be observed that most of the films were based on stories from literature. His screenplay writings were so powerful that even in respect of women displayed in the films as fallen from the grace from the eyes of the society, the cine audience loved those characters like Chandramukhi in ‘Devdas’ (1955), Kalyani in ‘Bandini’ (1963), Bijli in ‘Chanda Aur Bijli’ (1965), Hirabai in ‘Teesri Kasam’ (1966) and Chandni in ‘Sharafat’ (1970). Raj Kapoor had said after the release of ‘Teesri Kasam’ (1966) that Nabendu Ghosh’s screenplay brought in him the character of  ‘Hiraman’ more than that of Raj Kapoor.

Ratnottama Sengupta, the daughter of Nabendu Ghosh directed one-hour documentary film, ‘And They Made Classic Films’ on the bonding between Bimal Roy and her father based on his interviews. The film was shown at 23rd Kolkata International Film Festival, 2017. One of the interesting anecdotes which Ratnottama Sengupta narrated from the documentary film is –

“On the first day of shoot of ‘Devdas’ (1955), Dilip Kumar was in a tense mood walking up and down on the studio floor. When Nabendu Ghosh asked the reason, Dilip Kumar said that all three are sitting on his shoulders, referring to Pramathesh Barua who directed ‘Devdas’ (1935), KL Saigal who acted in it and Sarat Chandra Chattopadhyay who wrote the novel. She said that Nabendu Ghosh buried all three ghosts and painted a fresh picture of Devdas in his screen-play in such a way that even today when we talk of Devads, we think of Dilip Kumar.” [Quoted in an article by Anuj Kumar in ‘The Hindu’, January 5, 2018).

There were some pitfalls in Nabendu Ghosh’s filmy career also. He never got credit for writing screenplay for the film ‘Madhumati’ (1958). In fact, there is no mention of screenplay writer in the credit title of the film. When Guru Dutt selected one of his stories and wanted him to write screenplay for ‘Kaagaz Ke Phool’ (1959) on his story, Nabendu Ghosh declined by saying that he was busy with the screenplay of ‘Sujata’. He gave his story to Guru Dutt requesting him to get the screenplay written by someone else. When the film was released, Nabendu Ghosh was surprised to note that he was not credited in the film as a story writer while Abrar Alvi was duly credited as screenplay and dialogue writer.

‘Baadbaan’ (1954) for which Nabendu Ghosh wrote the screen-play, is regarded as a classic film though the film did not fare well at the box office. Vijay Anand who claimed in an interview at Satyajit Ray Film and Television Institute, Kolkata in 2003 that he had seen this film 10 times. He regards it as a piece of literature appearing on the screen. It was more of a screenplay writer’s triumph than the director.

I am presenting a song “Thukra Ke Teri Duniya Ko” from ‘Baadbaan’ (1954) which is rendered by Asha Bhosle. The song is written by Indeevar which is set to music by Timir Baran-S K Pal. In this song, Asha Bhosle seems to be trying to sing like Lata Mangeshkar, that too the way Lata has sung in ‘Anarkali’ (1953). Of course, this is my hunch.

Song – Thukra Ke Teri Duniya Ko (Baadbaan) (1954) Singer – Asha Bhosle, Lyrics – Indeewar, MD – Timir Baran, SK Pal

Lyrics

thukra ke teri duniya ko
chaahoon to kar doon choor
magar tere pyaar se hoon majboor
thukra ke teri duniya ko
chaahoon to kar doon choor
magar tere pyaar se hoon majboor
piya teri preet se hoon majboor
 
beh jaaye na teri duniya
aansoo na bahaaungi main
beh jaaye na teri duniya
aansoo na bahaaungi main
meri haaye na tujhko jalaa de
tere paas na aaungi main
mujhe dekhe na teri nazren
dekhe na teri nazren
ho jaaun itni door
magar tere pyaar se hoon majboor
piya teri preet se hoon majboor
 
baddua na dil de baithe
tujh ko na dosh doongi main
baddua na dil de baithe
tujh ko na dosh doongi main
taqdeer ke bair kiya hai
taqdeer se lad loongi main
main tod chalun
main tod chalun ek pal mein
tod chalun ek pal mein
duniya ka har dastoor
magar tere pyar se hoon majboor
piya teri preet se hoom majboor

thukra ke teri duniya ko
chaahun to kar doon choor
magar tere pyaar se hoon majboor
piya teri preet se hoon majboor

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

ठुकरा के तेरी दुनिया को
चाहूँ तो कर दूँ चूर
मगर तेरे प्यार से हूँ मजबूर
ठुकरा के तेरी दुनिया को
चाहूँ तो कर दूँ चूर
मगर तेरे प्यार से हूँ मजबूर
पिया तेरी प्रीत से हूँ मजबूर

बह जाये ना तेरी दुनिया
आंसूँ ना बहाऊँगी मैं
बह जाये ना तेरी दुनिया
आंसूँ ना बहाऊँगी मैं
मेरी हाए ना तुझको जला दे
तेरे पास ना आऊँगी मैं’
मुझे देखें ना तेरी नज़रें
देखें ना तेरी नज़रें
हो जाऊँ इतनी दूर
मगर तेरे प्यार से हूँ मजबूर
पिया तेरी प्रीत से हूँ मजबूर

बद्दुआ ना दिल दे बैठे
तुझको ना दोष दूँगी मैं
बद्दुआ ना दिल दे बैठे
तुझको ना दोष दूँगी मैं
तक़दीर ने बैर किया है
तक़दीर से लड़ लूँगी मैं’
मैं तोड़ चलूँ
मैं तोड़ चलूँ इक पल में
तोड़ चलूँ इक पल में
दुनिया का हर दस्तूर
मगर तेरे प्यार से हूँ मजबूर
पिया तेरी प्रीत से हूँ मजबूर

ठुकरा के तेरी दुनिया को
चाहूँ तो कर दूँ चूर
मगर तेरे प्यार से हूँ मजबूर
पिया तेरी प्रीत से हूँ मजबूर


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.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 :

4392 Post No. : 15760 Movie Count :

4344

Today’s song is from the film ‘Lal Batti’ aka ‘Red Light’ from 1947. It was a social film, made by Janata Chitra, Bombay. The film was surprisingly directed by Nari Ghadiyali – who was known for only C grade action and stunt films. This may be one of the rare social films which he directed. The music was composed by a lesser known music director – Indravadan Bhatt from Gujarat. The cast of the film was Prakash, Rajkumari, Phool Rani, Ali, Firoza, Habib, Vasant Kumar etc. First I thought that this Vasant Kumar in the cast must be the composer Vasant Kumar Naidu, but he was not known to have acted in any film. So, maybe he was someone else. The lyricist was SP Tripathi.

1947 was an year of turmoil – not only for the film industry but also for the whole country. This was the year of partition. The news of the impending partition of India on religious basis was appearing in newspapers since the beginning of the year. Muslims connected with the film industry-especially producers and the directors were in a hurry to finish films on hand before the month of July-1947. Those who had decided to migrate to the new nation Pakistan were not starting new films. Many people were still in two minds.

The entire atmosphere was one of suspicion and mistrust. No one knew for sure, who will migrate and who will stay here. Then there was also the problem of the Hindu artistes operating from Lahore. They too prepared to return to India. Thus the film industry was in a hurry to complete films at any cost before the Partition. This resulted in a very high number of films produced in 1947. A record number of 181 Hindi films were made in 1947 alone. This record was only broken later in 1988, when 185 films were made in Hindi. That means the 1947 record stood unbroken for 57 years (1931 to 1988).

Unfortunately, the year 1947 began with shocking sad news of the death of KL Saigal on 18-1-1947. Despite all the disturbed atmosphere in the country and the film industry, it is creditable that a number of good and musical films were made in this year and some landmarks were also established. For example, Lata Mangeshkar made her Debut as a playback singer in film ‘Aap Ki Sewa Mein’. Singer Uma Devi also sang her first famous song in film ‘Dard’ – “Afsaana Likh Rahi Hoon Dil e Beqaraar Ka “. Geeta Dutt sang her first 2 famous songs in film ‘Do Bhai’ – “Mera Sunder Sapna Beet Gaya” and “Yaad Karoge Yaad Karoge, Ik Din Hum Ko Yaad Karoge“.

The revolutionary Muslim Social reform film ‘Elan’ was made by Mehboob Khan. Usha Kiron made her debut in film ‘Lalaat’, with her real name of Usha Marathe. The only Hindi film of the Southern wonder singer MS Subbulaxmi –  ‘Meera’ was released. Noorjehan acted and sang in her last film in India – ‘Mirza Sahibaan’. Madhubala and Raj Kapoor debuted as the lead pair in film ‘Neel Kamal’ and C Ramchandra’s epic musical film ‘Shehnai’ was made with the iconic song “Aana Meri Jaan.. Sunday Ke Sunday“.

As such, since a record number of movies were made in 1947, it was obvious and most likely that the quantity came at the cost of quality.  Most films were not even worth taking a note of. Film ‘Laal Batti’ was also one such film. You will find a new name in the cast – Firoza. Once upon a time, she was very famous and popular. She was one of the earliest Jewish actresses to work in silent and early talkie films. Let us know more about her. This is first time her information is available at one place.

Firoza or Firoza Begum (real name Susan Soloman) was born in a village in Konkan, Maharashtra in 1905, into a Bene Isareli Jew family. By the time she finished her education, she was proficient in Hebrew, Marathi, Hindi and English. In spite of opposition from family, she started working in silent films and soon became popular. Some of her films also became famous and hits. She continued working in silent films till 1934, when silent films stopped being made. Due to family’s opposition, she had to leave her house. She stayed in Bombay.

With the advent of talkie films, she naturally entered talkie films, with ‘Noor E Yaman’ (1935), in a small role. She acted in films like ‘Bhikaaran’ (1935), ‘Aasnuon Ki Duniya’ (1936), ‘Bharat Ke Laal’ (1936), ‘Jeevan Jyoti’ (1937), ‘Dukhiyari’ (1937), ‘Veerbaala’ (1938) etc. Due to her success in films, she fell a prey to false promises and dreamt of working in Hollywood films. She wasted 3 years in this and dejected, started working in films again here with ‘Ek Raat’ (1942), ‘Circus Girl’ (1943), ‘Duniya Diwani’ (1943), ‘Bhaagta Bhoot’ (1943), ‘Andhi Duniya’ (1943), ‘Din Raat’ (1945), ‘Lal Batti’ (1947), ‘Daulat Ke Liye’ (1947), ‘Haatimtai’ (1947), ‘Dilwaale’ (1948) etc.

She became an alcoholic and a chain smoker. She made the mistake of refusing offers from Bombay Talkies and other big banners. Meanwhile she fell in love with actor Chandra Mohan and wished to marry him, but he became a drunkard and died in 1949. Her financial condition became worse. She did small roles in Marathi and Hindi films. ‘Yasmin’ (1954) was her last film.

She lost her parents and lived alone in a single room, where she died unnoticed one day in early 70s. She was one of the top 5 Jew actresses, included in the Documentary ‘Shalom Bollywood’ made by Danny Ben-Moshe in 2003. Thus ended a talented artiste !

(Ack: Information culled from ‘Beete Kal Ke Sitare’ by S Tamrakar, ‘The Untold Story of Jews in Indian Cinema’ – Sunday Guardian, ‘Women in Hindi Cinema’ by Bhavna, Jigna and Supriya, theoneminute.com, HFGK, muVyz and my notes.)

The director of this film was Nari Ghadiyali – an expert in stunt and action films. Nari Kaikhushro Ghadiyali was born as a Parsee in Bombay. He joined the film industry in 1932 and his first directorial film was ‘Jungle King’ (1939). Nari wrote his own stories, screenplays and dialogues. He also edited his own films. He established his own production company called NKG Productions, Bombay.

He was a favourite of another Parsee producer Wadia Brothers and he directed many of Wadia films, including some Fearless Nadia films too. Some of his directed films, out of total 25 films were ‘Namumkin’ (1946), ‘Royal Mail’ (1946), ‘Pistolwali’ (1943), ‘Blackout’ (1942), ‘Red Signal’ (1941), ‘Safed Sawar’ (1941), ‘Lehri Cameraman’ (1944), ‘Lehri Badmash’ (1944), ‘Taxi Driver’ (1944), ‘Hamari Kismat’ (1949), ‘Jio Raja’ (1949), ‘Jungle Goddess’ (1948), ‘Jungle Ka Jaadu’ (1955), ‘Jungle Queen’ (1956).

His last film was ‘Murad’ (1961). This film was produced by Naqi Jehan, his step daughter. Nari married actress Pramila after her husband actor Kumar migrated to Pakistan. Pramila and Nari Ghadiyali lived together for 40 years.

Today’s song is a duet, but HFGK or the up loader of this song do not mention the singers’ names. By the way, 1947 is a year, I find in HFGK also, maximum number of films are without adequate information. May be it was because in a hurry to complete the film, the producers skipped making the film booklets, which normally provide all the information about the film. With today’s song, film ‘Lal Batti’  (1947) makes its debut on this blog.

 


Song – Ye Kab Tak Chalegi Chori (Laal Batti) (1947) Singer – Unidentified Female Voice, Unidentified Male Voice, Lyricist – SP Tripathi, MD – Indravadan Bhatt

Lyrics (Provided by Sudhir)

ye.. kab tak chalegi chori
ye.. kab tak chalegi chori
jab tak chale
chalne do gori
jab tak chale
chalne do gori
ye.. kab tak chalegi chori
ye.. kab tak chalegi chori

kaahe ko chhip chhip chori chori
kaahe ko chhip chhip chori chori
aate ho hardam hamri gali
aate ho hardam hamri gali
kewal tumahre darshan ko gori
kewal tumahre darshan ko gori
preet lagi akhiyan barjori
preet lagi akhiyan barjori
ye.. kab tak chalegi chori
ye.. kab tak chalegi chori
jab tak chale
chalne do gori
jab tak chale
chalne do gori
ye.. kab tak chalegi chori
ye.. kab tak chalegi chori

jis din dekhegi duniya saari
us din hogi museebat bhaari
jis din dekhegi duniya saari
us din hogi museebat bhaari
duniya mein koi na aisa hai pyaari
duniya mein koi na aisa hai pyaari
jisko lagi ho na ye bimaari
jisko lagi ho na ye bimaari
isliye tum fikar karo na gori
isliye tum fikar karo na gori
ye.. kab tak chalegi chori
ye.. kab tak chalegi chori
jab tak chale
chalne do gori
jab tak chale
chalne do gori
ye.. kab tak chalegi chori
ye.. kab tak chalegi chori

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

ये॰ ॰ कब तक चलेगी चोरी
ये॰ ॰ कब तक चलेगी चोरी
जब तक चले
चलने दो गोरी
जब तक चले
चलने दो गोरी
ये॰ ॰ कब तक चलेगी चोरी
ये॰ ॰ कब तक चलेगी चोरी

काहे को छिप छिप चोरी चोरी
काहे को छिप छिप चोरी चोरी
आते हो हरदम हमरी गली
आते हो हरदम हमरी गली
केवल तुम्हारे दर्शन को गोरी
केवल तुम्हारे दर्शन को गोरी
प्रीत लगी अखियाँ बरजोरी
प्रीत लगी अखियाँ बरजोरी
ये॰ ॰ कब तक चलेगी चोरी
ये॰ ॰ कब तक चलेगी चोरी
जब तक चले
चलने दो गोरी
जब तक चले
चलने दो गोरी
ये॰ ॰ कब तक चलेगी चोरी
ये॰ ॰ कब तक चलेगी चोरी

जिस दिन दुनिया देखेगी सारी
उस दिन होगी मुसीबत भारी
जिस दिन दुनिया देखेगी सारी
उस दिन होगी मुसीबत भारी
दुनिया में कोई ना ऐसा है प्यारी
दुनिया में कोई ना ऐसा है प्यारी
जिसको लगी हो ना ये बीमारी
जिसको लगी हो ना ये बीमारी
इसलिए तुम फिकर करो ना गोरी
इसलिए तुम फिकर करो ना गोरी
ये॰ ॰ कब तक चलेगी चोरी
ये॰ ॰ कब तक चलेगी चोरी
जब तक चले
चलने दो गोरी
जब तक चले
चलने दो गोरी
ये॰ ॰ कब तक चलेगी चोरी
ये॰ ॰ कब तक चलेगी चोरी


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

Blog Day :

4380 Post No. : 15725

‘Baadbaan’ (1954) was produced by Bombay Talkies Workers’ Industrial Society, the last-ditch efforts by the workers of The Bombay Talkies to keep the banner alive. The Bombay Talkies was on the verge of its closure when it faced the financial crunch following the failures of ‘Tamaasha’ (1952) and ‘Maa’ (1952) at the box office. ‘Baadbaan’ had star cast comprising of actors who were mostly the well-wisher of The Bombay Talkies. They included Ashok Kumar, Dev Anand, Meena Kumari, Usha Kiran, Jairaj, Leela Chitnis, Sheikh Mukhtar, Krishnakant, Bipin Gupta, Gope etc.

The film was majorly shot in Versova, (locals call it as ‘Vesave’), a fishing village at the outskirt of the then Bombay City. Among the names of the other crew members of the film mentioned here , is the name of Raja H Mura (Harishchandra Mura) as one of the Assistant Directors who assisted Phani Majumdar in the film. I came to know from a facebook upload of a print page concerning the film that Raja H Mura was a fisherman of Versova village near Andheri in Mumbai who also worked as a junior artist in films. It was Raja who made all the logistic arrangements for shootings in the Varsova village and also in the sea. Probably, with his experience of sailing in high sea, the shots involving the sailing of boats and their capsizing in the sea may have been supervised by Raja.

The name of Versova fishermen’s village took me back by over 6 decades. I recalled that I had accompanied my family members to Versova village sometime in mid-1950s to pay a social visit to one of our relatives who ran a grocery shop and a small restaurant in the village.  He was staying in one of the Portuguese types of house, almost similar to the ones I have seen later in Goa. The visit was a full of adventure. From Andheri railway station, we took a horse carriage which dropped us near Four Bungalows (or Seven Bungalows?). From this point, we had to walk through a narrow muddy path for about 15-20 minutes which passed through a swamp to reach the village. Now, Versova is an upscale locality in the suburb of Mumbai though a part of it still retains its old world village charm.

The print of ‘Baadbaan’ (1954) was lost in a studio fire along with some more films. So, the chances of watching this film in the future looks very bleak. Based on Encyclopaedia of Indian Cinema, the broad story of the film is as under:

Lalan (Jairaj), the village headman, leaves to warn fishermen about an impending storm but he goes missing during the storm followed by his wife Leela (Leela Chitnis). Their orphaned child who is left in the house is adopted by the District Magistrate, Choudhary (Bipin Gupta). The child grows up to become Naren (Dev Anand). Educated abroad, he is to wed Bina (Meena Kumari), the daughter of a family friend. Shankar (Ashok Kumar), Naren’s friend and Bina’s music teacher, is also in love with her but keeps his feeling to himself. The marriage of Naren with Bina is called off when Choudhary admits that Naren is the son of a fisherman, adopted by him.

With this background, Naren shifts to  his village where he decides to dedicate his life to the welfare of the fishermen. He starts an ice factory and the workers co-operative society. He falls in love with the village girl, Mohnia (Usha Kiran). In the meanwhile, seeing that Bina is very sad as she misses Naren, Choudhury agrees to her marriage with Naren. But she is unhappy about his rural activism. The death of his wife, Bina in a tragic circumstance leads Naren to be with his own people and also with Mohnia who shares his passion for improving the lots of fishermen in his village.

There are 7 songs in the film written by Indiwar (5) and Uddhav Kumar (2) of which two songs have already been covered in the blog. All songs were set to music by Timir Baran and SK Pal. I am presenting the third song of the film, “Har Roz Kaha, Har Roz Suna” sung by Geeta Dutt. The song is written by Indiwar under the music direction of Timir Baran and SK Pal. Going by the wordings of the song, I guess this song is picturised on Meena Kumari and the situation of the song could be after her marriage with Dev Anand is called off, she is in a sad state of mind.

It is a poignant song which surprisingly eluded the blog for so long.

Song – Har Roz Kaha Har Roz Suna (Baadbaan) (1954) Singer – Geeta Dutt, Lyrics – Indeewar, MD – Timir Baran – SK Pal

Lyrics

har roz kaha har roz suna
ek baat na poori ho paayi..ee
ho paayi
har roz kaha har roz suna
ek baat na poori ho paayi..ee
ho paayi
har roz kaha
 
dil de bhi chuke dil le bhi chuke
dil de bhi chuke dil le bhi chuke
saugaat na poori ho paayi..ee
ho paayi
har roz kaha
 
aakash mein jaise chaand badhaa
aakash mein jaise chaand badhaa
badhti hi gayi mann ki aasha
saagar chalka dhaara nikli
phir bhi ye jeevan hai pyaasa
chhaayi bhi ghata paani barsa
barsat na poori ho paayi..ee
ho paayi
har roz kaha
 
uthti hi rahi saagar mein lahar
uthti hi rahi saagar mein lahar
kuchh kam na huyi chaahat dil ki
paa kar bhi tumhen ye dil na bhara
kuchh aur badhi hasrat dil ki
shehnaai baji aur raat saji
baarat na poori ho paayi..ee
ho paayi
har roz kaha

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

हर रोज़ कहा
हर रोज़ सुना
एक बात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा
हर रोज़ सुना
एक बात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा

दिल दे भी चुके
दिल ले भी चुके
सौगात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा

आकाश में जैसे चाँद बढ़ा
आकाश में जैसे चाँद बढ़ा
बढ़ती ही गई मन की आशा
सागर छलका
धारा निकली
फिर भी ये जीवन है प्यासा
छाई भी घटा
पानी बरसा
बरसात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा

उठती ही रही सागर में लहर
उठती ही रही सागर में लहर
कुछ कम ना हुई चाहत दिल की
पा कर भी तुम्हें ये दिल ना भरा
कुछ और बढ़ी हसरत दिल की
शनहाई बजी
और रात सजी
बारात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा


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

Blog Day :

4297 Post No. : 15554

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Blog 10-Year Challenge (2010-2020) – Song No. 23
—————————————————————————
I could not send any write-up from my side on Sahir Ludhianvi’s birth anniversary this year on 08th March. However, I had shared few songs and had compiled an excel sheet on Sahir Ludhianvi’s filmography with the respective music directors, which I intend to use for future posts on the blog as and when possible.

While noting down the movies and number of songs from each movie, I came across the today’s songs or rather this ‘couplet recitation’ song from the movie ‘Dil Hi Toh Hai’ (1963). This song has been mentioned in the list of songs by Sahir Ludhianvi in Akshay Manwani’s book ‘Sahir Ludhianvi – The People’s Poet’. HFGK Vol IV (1961-1970) though does not mention this song in the list of songs under this movie. HFGK mentions ten songs in the movie which have already been posted on the blog.

When I searched for the audio/video of this extra song mentioned in Akshay Manwani’s book it was already available. So, we have an opportunity to bring this ‘couplet recitation’ on the blog today under ‘Blog ten-year challenge’ (since one song from this movie was posted on the blog on 23.04.2010). As this movie has already been ‘Yippeeee’ed’ on the blog the today’s song comes as ‘bonus’ for all of us to listen and enjoy.

I am presenting this beautiful song here which is lip synced on screen by the beautiful Nutan. In the movie this song happens just before the song ‘Tum Agar Mujhko Naa Chaaho To Koi Baat Nahin’ or rather it is after this ‘teasing’ song of today by the heroine Jamila Bano (Nutan), that the hero Chand Sahab of the movie (Raj Kapoor) gets ‘provoked’ (or inspired ? 😉) to sing ‘tum agar mujhko naa chaaho’…

The situation is that Jamila Bano is a great fan of singer Chand Sahab but she had not met him and there is a party on the birth anniversary of her friend Pushpa where Chand Sahab is suppose to attend the party. However, incidentally they both came across in shop where they intend to buy the ‘birthday gift’. Jamila Bano and her ‘sahelis’, unaware of who this fellow is misake Chand Sahab for a ‘loafer’ (badmaash, peechhaa karne waala😊 ) and when they see the same fellow also following them at the party venue, and when her friends ask Jamila Bano to say something, she recites this she’r directed at Chand Sahab. After this when Chand Sahab is invited to sing Jamila Bano is surprised but Chand Sahab also took this opportunity and he sings

tum agar mujhko naa chaaho to koi baat nahin,
tum kisi aur ko chaahogi to mushqil hogi
😊

‘Dil Hi To Hai’ was jointly directed by PL Santoshi and CL Rawal for ‘Rawal Films’, Bombay. It was produced by BL Rawal. It had Raj Kapoor, Nutan, Agha, Nazir Husain, Leela Chitnis, Babloo, Padmini Priyadarshani, Sabita Chatterjee, Shivraj, Manorama, Mumtaz, Hari Shivdasani and Pran. The story, screenplay and dialogues of this movie were written by GL Rawal. Editing was done by Pran Mehra.

Lyrics for this movie were written by Sahir Ludhianvi and music was composed by Roshan. Lata Mangeshkar, Mukesh, Manna Dey, Asha Bhonsle and Suman Kalyanpur had given their voices to the songs in this movie.

As mentioned above the movie has total ten songs as listed below and if we include the today’s ‘couplet-song’ it makes eleven songs in this movie.

Song  Posted On
 Tum agar mujhko na chaaho to koi baat nahin  20.07.2008
 Laaga chunri mein daag chhupaaun kaise  03.11.2008
 Nigaahen milaane ko jee chaahtaa hai  16.11.2008
 Parda uthhe salaam ho jaaye  09.05.2009
 Bhoole se muhabbat kar baithaa  23.04.2010
 Tumhaari mast nazar gar idhar nahin hoti  01.05.2010
 Yoonhi dil ne chaahaa thhaa ronaa rulaanaa  12.12.2010
 Churaa le na tumko ye mausam suhaanaa  13.12.2010
 Gusse mein jo nikhraa hai  16.12.2010
 Dil jo bhi kahegaa maanenge  17.12.2010

Ten years back on 23.04.2010 three songs were represented on the blog including a song from this movie.

Song  Movie title-Year  Remarks
 Bhoole se muhabbat kar baithaa  Dil Hi To Hai-1963  All songs covered
 Mukhdaa dekh le praani zaraa darpan mein  Do Behnen-1959
 Bhalaa karne waale bhalaayi kiye jaa  Ghar Sansaar-1958  All songs covered

Let us now enjoy this lovely song for today …

 

Song – Aap Abhi Ishq Ki Tehzeeb Se Aagaah Nahin (Dil Hi To Hai)(1963) Singer – Nutan, Lyrics – Sahir Ludhianvi, MD – Roshan

Lyrics

aap abhi ishq ki tehzeeb se
aagaah nahin
aap abhi ishq ki tehzeeb se
aagaah nahin
aap se mel badhaane ki
hamen chaah nahin

[Dialogues]

aap se pyaar karey koyi
aap se pyaar karey koyi ee
to kyun pyaar karey ae
aap se pyaar karey koyi ee
to kyun pyaar karey ae

aap ki shaql to kya
baat bhi dil-khwaah nahin

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

आप अभी इश्क कि तहज़ीब से
आगाह नहीं
आप अभी इश्क कि तहज़ीब से
आगाह नहीं
आप से मेल बढ़ाने कि
हमें चाह नहीं

[संवाद]

आप से प्यार करे कोई
आप से प्यार करे कोई ई
तो क्यूँ प्यार करे ए
आप से प्यार करे कोई ई
तो क्यूँ प्यार करे ए
आप कि शक्ल तो क्या
बात भी दिल-ख्वाह नहीं


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 :

4279 Post No. : 15519

Saga Of Sleepless Nights – 6
– – – – – – – – – – – – – – –

un aankhon mein neend kahaan
jin aankhon se preetam door base

The contest between a heart in love and the nights of loneliness is as ancient as the written word itself. Poets of yore, across the ages, and to the present times, have all written about the tribulations of the nights of loneliness. Time does pass at its own pace, but for a lonely heart pining for love, it is as if the time has come to a standstill.

The acute anxiety of the empty moments wherein apparently nothing is happening, is something that cannot be explained in words. It is a sensation that has to be experienced, to get the true flavor of the feelings that are ensconced in the words ‘hijr’ (“हिज्र”) and ‘firaaq’ (“फ़िराक़”) – the feelings of separation, the feelings of being incomplete, the feelings of anticipation, waiting, the feelings of incessant yearning that seems to rend the heart asunder.

Philosophers and poets have ruminated over this experience, and have recommended certain pursuits. There is that famous rhyme that talks about counting green bottles standing on a wall. It is based on the children’s counting nursery rhyme – “Ten Bottles on the Wall”. Folks who cannot sleep are recommended to start from, well, maybe a thousand bottles, keep knocking them down one at a time, and keep a count of the bottles left on the wall. Starting from thousand, this process is bound to get drowsy some way through getting to the target of downing all the thousand bottles from the wall.

The other, of course is counting sheep, jumping over a fence. So just keep a count of the imaginary sheep that are jumping over the make believe fence, and continue counting till the senses give way.

The more esoteric recommendation from the poets, especially for forlorn lovers longing for their mate, is to count the stars. Now this remedy may not work in urban habitats in current times – in best of times with normal pollution levels, about a score stars maybe visible. So this poetic bulwark of heartening proportions does not work in a city like Delhi. Ah yes, but in locales where the skies are clear, this assignment can be undertaken in real earnest. On a clear moonless night, the sky looks so crowded with stars, that the mission of counting stars can be a humbling task. And very well suited for the lonely hearts stricken with the malady of separation and longing.

The beauty of the poet’s mind is simply fantastic and out of this world. It goes even beyond this imagination of being assigned the task of counting the stars. Let me borrow some lines from my own article that I wrote for the song “Aaj Unke Paay e Naaz Pe Sajdaa Karenge Hum”. The lyrics of this song dwells on this task of ‘अख्तर शुमारी’ – the act of counting stars (‘अख्तर’) in the sky. The relevant portion of the lyrics goes like this,

maana shab e firaaq bhi
hoti hai is liye
har nabz e gham isi ke
sahaare guzar sakey
naqaam e ishq hijr mein
taare gina karey
hum intehaa e shauq ki
hadd se guzar gaye
lo aaj hum ne saare
sitaare bhi gin liye
ab ae shab e firaaq bataa
kya karenge hum

And I quote from my write up,

The poet has surpassed many superlatives to weave the fabric of words that makes up this song. Let me give you an example. It is quite a traditional concept in poetry, that a lonely lover in the long nights of wait and anticipation, is advised to count the stars in the sky – a metaphor that implies that neither the stars in the sky will ever be counted, and nor the wait for the beloved ever end. This refrain is encountered often in romantic poetry. But the poet of this song does one better, and goes a step beyond. He says that all the stars are now counted, and so tell me o night of long wait what should I do.

lo aaj hum ne saare sitaare bhi gin liye
ab ae shab-e-firaaq bataa kya karenge hum

A superlative expression that rises to defeat even the task of counting the stars. And poses the question, that in my crazed passion, I have even gone ahead and actually counted all the stars, so tell me what should I do now.

The poet’s imagination is endless, and so this discussion can, and will be continued elsewhere. For now, I present this oh so wonderful song rendered so lovingly by Shamshad Begum, that tells about the nights of loneliness and longing. The film is ‘Sona Chaandi’ from 1946. The lyrics are written by Wali Sahab and the music is composed by Tufail Farooqui.

The film is produced under the banner of New Bombay Theatre, Bombay and is directed by RD Pareenja. The star cast is listed as Chandni, Suresh, Kishori, Saroj Borkar, Kamla, Ghulam Rasool, Amrit Lal, Radha Kishan amongst others. There is a total of 12 songs in this film penned by three songwriters – Wali Sahab, Shamim and Khawar Zamaan. This song is written by Wali Sahab.

So let’s listen to this heartwarming winner in the ‘खनकती हुई’ voice of Shamshad Begum. The protagonist is blaming her beau for her sleeplessness – “तेरे बिना नींद ना आई रे”.

Song – Baalam Harjaai Re, Tere Bina Neend Na Aayi Re  (Sona Chaandi) (1946) Singers – Shamshad Begum, Lyrics – Wali Sahab, MD – Tufail Farooqui

Lyrics

baalam harjaai re

baalam harjaai re
tere bina neend na aayi re
neend na aayi re
o neend na aayi re
baalam harjaai re
tere bina neend na aayi re
neend na aayi re
o neend na aayi re
baalam harjaai re

bhool gaye baalam nibhaane ki rasmen
bhool gaye baalam nibhaane ki rasmen
nindiya ne kha leen na aane ki kasmen
nindiya ne kha leen na aane ki kasmen
nainon mein ratiyaan
nainon mein ratiyaan ganvaai re
tere bina neend na aayi re
neend na aayi re
ho neend na aayi re
baalam harjaai re
baalam harjaai re

mukh se na bolun
pyaare mukh se na bolun
pyaare
roye roye jaaun main
dil ki kahaani
dil ki kahaani najar se sunaaun main
dil ki kahaani najar se sunaaun main
nainon mein
nainon mein ghat ghir ke aai re. . .
nainon mein ghat ghir ke aai re
tere bina neend na aayi re
neend na aayi re
ho neend na aayi re. . .
baalam harjaai re

baalam harjaai re. . .

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

बालम हरजाई रे

बालम हरजाई रे
तेरे बिना नींद ना आई रे
नींद ना आई रे
ओ नींद ना आई रे
बालम हरजाई रे
तेरे बिना नींद ना आई रे
नींद ना आई रे
ओ नींद ना आई रे
बालम हरजाई रे

भूल गए बालम निभाने की रस्में
भूल गए बालम निभाने की रस्में
नींदिया ने खा लीं ना आने की कसमें
नींदिया ने खा लीं ना आने की कसमें
नैनों में रतियाँ
नैनों में रतियाँ गँवाई रे
तेरे बिना नींद ना आई रे
नींद ना आई रे
हो नींद ना आई रे
बालम हरजाई रे
बालम हरजाई रे

मुख से ना बोलूँ
प्यारे मुख से ना बोलूँ
प्यारे
रोये रोये जाऊँ मैं
दिल की कहानी
दिल की कहानी नजर से सुनाऊँ मैं
दिल की कहानी नजर से सुनाऊँ मैं
नैनों में
नैनों में घट घिर के आई रे
नैनों में घट घिर के आई रे
तेरे बिना नींद ना आई रे
नींद ना आई रे
हो नींद ना आई रे॰ ॰ ॰
बालम हरजाई रे

बालम हरजाई रे॰ ॰ ॰


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

Blog Day : 4258 Post No. : 15480

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Blog 10-Year Challenge (2010-2020) – Song No. 11
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‘Satyam Shivam Sundaram’ (1978) was directed by Raj Kapoor for his home production RK Films, Bombay. He dedicated this movie to his beloved friend singer Mukeshchandra whom we fondly know as Mukesh.

The cast of the film includes Kanhaiyalal, AK Hangal, David, Hari Shivdasani, Leela Chitnis, Sheetal, Baby Padmini, Baby Komal, Tun Tun, Vishwa Mehra, Mansaram, Pardesi, Shriram Shastry, Nandini, Mona, Seema, Mani, Yasmin, Bina, Subroto Mahapatra and Javed Khan.

The story of this movie was written by Jainendra Jain. Radhu Karmakar was the Director of Photography. Raj Kapoor who produced and directed this movie was also the editor of this movie.

HFGK lists nine songs and one dialogue track released on records of this movie. The total nine songs are including of their parts and the title song is mentioned to be in four parts. There are two more songs (the ‘aarti’ and ‘shlokas’ with the titles, and ‘’Yashomati maiyya se boley…’) in the movie having two parts. Narendra Sharma, Anand Bakshi and Vithhal Bhai Patel wrote the songs for this movie. Music for this movie was composed by Laxmikant-Pyarelal. Lata Mangeshkar, Manna Dey, Bhupinder, Mukesh, and Nitin Mukesh who debuted as a singer in this movie had given their voices to the songs in this movie.

This movie was passed by Censor Board on 22.03.1978 with restricted viewing certificate.

Three songs from ‘Satyam Shivam Sundaram-1978’ posted on the blog earlier are as follows;

Song  Posted On
 Yashomati maiyya se boley Nandlala  07.09. 2008
 Satyam Shivam Sundaram  15.03.2010
 Suni jo unke aane ki aahat …  11.02.2020

I watched this movie much later in nineties (I think so). However, I remember, in my childhood, the two songs from this movie were very much popular viz. the title song “Satyam Shivam Sundaram“and “Yashomati maiyya se boley Nandlala” as they were frequently played on loud speakers and radio. The title song was also the most favorite number of almost all ‘orchestras’ which used to play it during ‘Ganesh Festival’ or other festival programs. However, I didn’t like both these songs then.

Rather I very much like the song “Chanchal Sheetal Nirmal Komal” and the song being presented today, maybe I heard them on radio during those years. Later on, when I bought the album of this movie (an audio cassette in late eighties) the song “Suni Jo Unke Aane Ki Aahat” also become my favorite song from this movie with all other songs.

When I checked the ‘annual Binaca Geetmala’ for the year ‘1978’ I found ‘Yashomati maiyya se…’ (as expected), at number seven and the song was, surprisingly for me, not the title song of the movie but it was “Chanchal Sheetal Nirmal Komal” ranking at number twenty-four of the list.

Well coming back to the ‘Blog ten-year challenge’ today we have two songs posted on this day ten years back as follows;

 Song  Movie title-Year  Remarks
 Satyam Shivam Sundaram  Satyam Shivam Sundaram (1978)  03 of 09 songs posted
 Hai isi mein pyaar ki aabroo  Anpadh (1962)  All Songs posted on the

Blog

As one of the movies i.e. ‘Anpadh’ (1962) is already ‘Yippeeee éd’ on the blog we have ‘Satyam Shivam Sundaram’ to be represented with a song on the blog today. The song I have selected today was noted long time back and was pending for posting. It is sung by Lata Mangeshkar and Bhupendra. I like this song very much and particularly for those few lines sung by Bhupendra Singh which makes this song very very special of course with great singing by Lata Mangeshkar and so greatly composed by Laxmikant-Pyarelal to the beautiful lyrics by Vithhal Bhai Patel.

Let us enjoy this wonderful song now …

(Note: – In the movie, this song appears in two parts. The video of the second part is not available now however full audio of this song is available).

Video (Partial)

Audio (Complete)

Song – Sainyaan Nikas Gaye Main Naa Ladi Thi (Satyam Shivam Sundaram)(1978) Singers – Lata Mangeshkar, Bhupendra, Lyrics – Vithalbhai Patel, MD – Laxmikant Pyarelal

Lyrics (Based on audio link)

rangmahal ke dus darwaaze
rangmahal ke..ae dus darwaaze
naa jaane kaun si khidki khuli thhi
sainyya nikas gaye
main naa ladi thhi
sainyya nikas gaye
main naa ladi thhi
sar ko jhukaaye..ae main to
chupke khadi thhi
sainyya nikas gaye
main naa ladi thhi
sainyya nikas gaye..ae
main naa ladi thhi

piyaa..aa..aa
kaun gali gaye shyaam
piyaa..aa..aa
kaun gali gaye shyaam
mori sudh naa leenhi haaye raam
piyaa..aa..aa
kaun gali gaye shyaam

ang mere gehne
pyaasi umariyaa
ang mere gehne
pyaasi umariyaa
jogan ho gayee
main bin sanwariyaa
haathon mein mere ae
mehndi rachi thhi
mehndi mein mere
ansuwan ki ladi thhi
sainyya nikas gaye
main naa ladi thhi
sainyya nikas gaye
main naa ladi thhi

aa aa aa
aa aa aa

chhod piyaa ghar
nehar jaaoon
chhod piyaa ghar
nehar jaaoon
kaun dehri
ab sees jhukaaoon
kar singaar main
dulhan bani thhi
aisi dulhan se
kunwaari bhali thi
sainyya nikas gaye
main naa ladi thhi
sainyya nikas gaye
main naa ladi thhi

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

रंगमहल के दस दरवाज़े
रंगमहल के ए दस दरवाज़े
ना जाने कौन सी खिड़की खुली थी ई
सैंय्या निकस गए
मैं ना लड़ी थी
सैंय्या निकस गए
मैं ना लड़ी थी
सर को झुकाए॰॰ए मैं तो
चुपके खड़ी थी
सैंय्या निकस गए
मैं ना लड़ी थी
सैंय्या निकस गए॰॰ए
मैं ना लड़ी थी

पिया॰॰आ॰॰आ
कौन गली गए श्याम
पिया॰॰आ॰॰आ
कौन गली गए श्याम
मोरी सुध ना लीन्ही हाए राम
पिया॰॰आ॰॰आ
कौन गली गए श्याम

अंग मेरे गहने
प्यासी उमरिया
अंग मेरे गहने
प्यासी उमरिया
जोगन हो गयी
मैं बिन सांवरिया
हाथों में मेरे॰॰ए
मेहंदी रची थी
मेहंदी में मेरे
अंसुवन कि लड़ी थी
सैंय्या निकस गए
मैं ना लड़ी थी
सैंय्या निकस गए
मैं ना लड़ी थी

आ आ आ
आ आ आ

छोड़ पिया घर
नैहर जाऊं
छोड़ पिया घर
नैहर जाऊं
कौन देहरी
अब सीस झुकाऊँ
कर सिंगार मैं
दुल्हन बनी ई थी
ऐसी दुल्हन से
कुंवारी भली थी
सैंय्या निकस गए
मैं ना लड़ी थी
सैंय्या निकस गए
मैं ना लड़ी थी


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 : 4204 Post No. : 15392

———————————————–——————————-
Blog 10-Year Challenge (2010-2020) – Song No. 4
——————————————————————————

Ten years back on this day the following movies were represented on the blog;
(in ascending order of the posts on that day)

Song Movie title-Year Remarks
Kyun jhuki jhuki hain palkein Chhaila Babu-1967 All songs covered on the blog (4/4)
Pilaa de magar shart ye hogi saaqi Sab Ka Ustaad-1967 04 of 07 songs posted
Pardes jaake pardesiya bhool naa jaana piyaa Arpan-1983 02 of 05 songs posted

Today I am presenting a beautiful song from the movie ‘Arpan-1983’. The song is sung by Anwar and as I have mentioned in my post on Anwar I like this song very much.

‘Arpan-1983’ was one of the best musical scores of Laxmikant-Pyarelal. I like all songs of this movie and I remember it were very popular then. Though the top three songs in that year’s (1983) annual list of ‘Binaca Geetmala’ were from ‘Souten-1983’ – 01 song and ‘Nikaah-1983’-02 songs respectively at no.1,2 & 3.

However, some of the best music for that year came from Laxmikant-Pyarelal, while Bappi Lahiri and R.D. Burman also gave some of their best musical scores in the same year.

They composed music for as many as twelve movies released in 1983 and the songs from ‘Hero-1983’ released at the end of 1983 ruled the charts in next year i.e. in 1984 and its song ‘tu mera jaanu hai’ ranked at no.1 of the annual ‘Binaca Geetmala’ list of 1984.

SNo Movie Passed by Censor Board on
01 Andhaa Qaanoon 04.04.1983
02 Arpan 07.02.1983
03 Avtaar 27.01.1983
04 Beqaraar 01.08.1983
05 Coolie 14.11.1983
06 Hero 05.12.1983
07 Mujhe Insaaf Chaahiye 13.09.1983
08 Paakhandi 08.09.1983
09 Prem Tapasya 15.01.1983
10 Who Saat Din 23.06.1983
11 Yeh Ishq Nahin Aasaan 28.01.1983
12 Zaraa Si Zindagi 03.01.1983

‘Arpan -1983’ was directed by J. Om Prakash for his home production ‘Filmyug Pvt. Ltd.’ He was also the producer of this movie.

Jagdish Kumar and Vijay Kumar Soorma were Executive Producers of this movie.
Harish Khatri was the Chief Assistant Director, and Surinder Shorey and Jawahar Bhandari were its Associate Directors.

It had Jeetendra, Reena Roy, Parveen Babi, Raj Babbar. Also featuring in it were Preeti Sapru, Shashi Puri, Sujit Kumar, Sulochana Latkar, Dina Pathak supported by Sudhir Dalvi, Ranveer Raj, Tom Alter, Vikas Anand, Sunder Taneja, Harjeet, Feroz, Vishwanath Shetty, Shafiq Pathan, R.R. Somaiya.

Story of this movie was written by J. Om Prakash.

The screenplay and dialogues of this movie were written by Ramesh Pant. Editing was done by Nand Kumar and Prakash Dave was his associate.

Lyrics of this movie were written by Anand Bakshi and music was composed by Laxmikant-Pyarelal.

The movie had total five songs in it for which the voices used were of Lata Mangeshkar, Kishore Kumar and Suresh Wadkar.

This movie was passed by Censor Board on 07.02.1983.

Today’s song is sung by Anwar and lyrics are by Anand Bakshi. Music is composed by Laxmikant-Pyarelal as mentioned above.

Two songs from this movie have been posted on the blog earlier (and even if we consider the second song posted from this movie which was on 28.01.2010, this movie is completing ‘ten years’ run on the blog and still to be ‘Yippeeee’ed 😊

Song Posted on
pardes-jaake-pardesiya-bhool-naa-jaanaa-piyaa 21.01.2010
likhne-waale-ne-likh-daale 28.01.2010

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

While Jeetendra is lip-syncing in Anwar’s voice, Parveen Babi, Reena Roy, Raj Babbar and others are also present in the picturization of this song.

1982-83 was my ‘10th standard – educational year’ so I was not supposed to watch many movies in that year. But I remember after appearing the Board exams and exams of my younger brothers we get to watch many movies thereafter. In between, cricket was going on as usual and there was ‘World Cup 1983 win’ too 😊

But this movie ‘Arpan-1983’ still remains to be watched for me and as such I cannot say much about it, though I loved its songs very much. I would request knowledgeable readers to throw more light on the movie and its songs …

Let us now enjoy today’s song …

Video

Audio

Song-Mohabbat ab tijaarat ban gayi hai (Arpan)(1983) Singer-Anwar, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

mohabbat ab tijaarat ban gayi hai
tijaarat ab mohabbat ban gayi hai

mohabbat ab tijaarat ban gayi hai
tijaarat ab mohabbat ban gayi hai ay ay
mohabbat ab tijaarat ban gayi hai ae
tijaarat ab mohabbat ban gayi hai

kisi se khelna phir chhod dena aa
kisi se khelna phir chhod dena aa aa
khilaunon ki tarah dil tod dena
haseenon o o o o
haseenon ki ye aadat
ban gayi hai ay ay
mohabbat ab tijaarat ban gayi hai
tijaarat ab mohabbat ban gayi hai

kabhi thha naam iska
bewafaayee ee ee
kabhi thha naam iska
bewafaayee
magar ab aajkal ye behayaayee
shareefon ki sharaafat ban gayi hai
tijaarat ab mohabbat ban gayi hai
mohabbat ab tijaarat ban gayi hai
tijaarat ab mohabbat ban gayi hai

kisi mandir ki moorat thhi kabhi ye
kisi mandir ki moorat thhi kabhi ye ae ae
badi hi khubsoorat thhi kabhi ye
magar kya aa aa aa
magar kya iski soorat ban gayi hai ae ae
mohabbat ab tijaarat ban gayi hai
tijaarat ab mohabbat ban gayi hai ay ay
mohabbat ab tijaarat ban gayi hai
tijaarat ab mohabbat ban gayi …

 

(Tijaarat – trade, commerce)
(Behayaayi- shamelessness, immodesty)
——————————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
———————————————————-
मोहब्बत अब तिजारत बन गयी है
तिजारत अब मोहब्बत बन गयी है

मोहब्बत अब तिजारत बन गयी है
तिजारत अब मोहब्बत बन गयी है ए ए

मोहब्बत अब तिजारत बन गयी है ए
तिजारत अब मोहब्बत बन गयी है

किसी से खेलना फिर छोड़ देना आ
किसी से खेलना फिर छोड़ देना आ आ
खिलौनों की तरह दिल तोड़ देना
हसीनों ओ ओ ओ ओ
हसीनों की ये आदत
बन गयी है ए ए
मोहब्बत अब तिजारत बन गयी है
तिजारत अब मोहब्बत बन गयी है

कभी था नाम इसका
बेवफाई ई ई
कभी था नाम इसका
बेवफाई
मगर अब आजकल ये बेहयाई
शरीफों की शराफत बन गयी है
तिजारत अब मोहब्बत बन गयी है
मोहब्बत अब तिजारत बन गयी है
तिजारत अब मोहब्बत बन गयी है

किसी मंदिर की मूरत थी कभी ये
किसी मंदिर की मूरत थी कभी ये ए ए
बड़ी ही ख़ूबसूरत थी कभी ये
मगर क्या आ आ आ
मगर क्या इसकी सूरत बन गयी है ए ए
मोहब्बत अब तिजारत बन गयी है
तिजारत अब मोहब्बत बन गयी है ए ए
मोहब्बत अब तिजारत बन गयी है
तिजारत अब मोहब्बत बन गयी …


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 THIRTEEN years. This blog has over 16500 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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Total number of songs posts discussed

16510

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Movies with all their songs covered =1280
Total Number of movies covered =4487

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