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Us Ka Chhoota Ghar Baar Sansaar

Posted by: skapur01 on: March 25, 2019

In: "Helpless" song | Aruna Irani Dance Song | Dance song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lata solo | Lata song | Lyrics contributed by readers | Motorbike song | Multi part song | Party song | Post by Sudhir | Song with a Hidden Message | Songs of 1970s (1971 to 1980) | Songs of 1973 | Vagaries Of Love | Yearwise breakup of songs
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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 :

3902

Post No. :

14954

‘Bobby’ – a once in a life time sojourn. Smitten by this film, youngsters in any age will not be awed by any other drama of romance.

‘Bobby’ – the heart beat of a generation. Murmurs of that heartbeat continue to be alive decades after. Memories of that first love still makes the blood race through the veins, just as if that primal experience is still happening – for the first time.

‘Bobby’ – never before, and never after – was a story of adolescent love, ever presented with such an alluring composure, and such a charismatic style.

‘Bobby’ – open that page even today, and the freshness of fragrance of that first touch, that first embrace, that first kiss – under a row of Gulmohar trees in full bloom, still has the thump to pummel you off your feet. The ‘flame of the forest’ is ablaze with a riot of red. And so are the raging emotions within – not just the star crossed lovers on screen – it is me too, still floundering and floating in those seminal sensations of love – the moment frozen in time and age, forever. Check out the lover’s tryst at the swimming pool. Every other experience of passionate emotions pales into insignificance in the face of this compelling, electric attraction.

‘Bobby’ – the enduring Perfect Storm – nothing else comes close to capturing that first pubescent surge of hormones – the heart’s first introduction to the fascinating enthrallment of passion and love.

‘Bobby’ – the first steps into the adventures of delight, when the self desires to make space for another for the first time, savoring the first unfamiliar ecstasies of love.

‘Bobby’ – a film, a name, and a girl in a white frock with grey dots and a red piping – standing next to the entrance, near the golden statue of a maiden carrying a pot of water, quenching the thirst of many kinds; and the strains of music that play on that first sighting – “Jeena Yahaan Marna Yahaan, Is Ke Siwa Jaana Kahaan”. As always, the master of melodramatic presentation, RK chose this oh so appropriate music to play when this simple young girl made her first presence on the screen, and into the hearts of million young men – yes – Is Ke Siwa Jaana Kahaan. . .

I have written before about my many crushes on many a beauty of the silver screen. But this was / is the first time I really fell in love. Never heard of this girl before. Dimple Kapadia – no background in films, no links in the industry – and one day, she is just there, standing near the entrance, next to that golden statue. It was just a moment – and she took my heart away. That was just yesterday, but it seems as if an age has passed, and an entire life story of love has been played out. And yet, frozen in time, it still is 1973, and Bobby and me – forever.

As far as I can remember, no other film, no other director had, till that time, tried to tackle the subject of adolescent romance. Yes, there have been many films about childhood friendships that blossom out into love and romance when the protagonists are adults. College going students – yes, many films that have dealt with college romance. The one drawback of these tales was – the lead pair never did look like college students. Senior actors in their thirties, forties and even fifties, attempting to play romantic leads on a college campus. All is well till the movie plays, but once done, the memories remain of the oversize actors trying to fit into very young shoes.

Bobby was different. Bobby was homegrown fresh, young, as young can be. Dimple – all of sixteen years when she stepped into this role. Rishi, albeit not so young, was 21. But with his cupcake Johnson baby looks, he charmed his way into the hearts of a million girls. Take away all the aesthetics, and the story is as old as the ruins of Ranjeet Studios – boy from rich family meets girl from family not of the same social status, they fall in love, and the entire world around them crumbles down upon them. Coming all the way from days of Parsi theatre and silent cinema, this tale has been played over and over again, umpteen times.

And then, after seven decades or so, this tale once again exploded on to the screens, and ignited a whole generation of teenagers – a fire that has not been doused since then. It was not the melodrama that worked; it was, somewhat maybe, the music that worked; it was not the apparently artificial ambience of the Nath affluence – the rich side of the tussle; it was not the exaggerated and affected brash and boisterous Braganza who wears the same undersized suit to every formal scene in the film, (gosh, even the not so affluent have a proper dress sense), and the supporting roles – mother, nanny, friends, society girls, mild brained proposal for making a business alliance – in short, there was nothing in the film that was not done before, even by RK himself, nothing that was new for the cinema screen and for the audiences. What turned out to the winner was the lead pair – two unknown faces whose on screen chemistry tugged at the strings of the heart of the audience, and turned the rest of the oft repeated paraphernalia around them into a very convincing, charming, fascinating tale.

And between the two of them, Bobby comes up trumps to the histrionics of Raja. The film is Bobby, and Bobby all the way. Making innocence and glamour look oh so easy, the images in the mind are forever now – the coy and shy little girl in a frock, who is afraid to step into the lavish party, keeps standing at the entrance; the naïve and innocent little girl, telling about the ‘dhuk-dhuki’ in her heart when she see him; the troubled and broken lady, her heart asunder albeit from a misunderstood conversation, as she too looking on with pleading eyes, but unable to take a step towards him; the screaming pleading young woman, beseeching her grandmother not to lock her up, as Josef physically pulls her away and carries her upstairs at the behest of an agonized but very firm Mrs. Braganza. . . and many more. The images keep playing in the mind. And the film is all about this teen aged girl who is so intensely convinced about her love – you can see it in her face as she pleads with her grandmother – that she will die if separated from Raja; and sitting in the audience seats, one is so starkly convinced that she will, that there are tears streaming and the body muscles want to jump on to the screen and beat the hell out of Josef.

Oh Bobby, Bobby, Bobby – she pulled up a storm, and then – she just walked away. In a manner of speaking, it is good that she did. The legend and the aura of Bobby remained constant, unremitting . . . verily to become perpetual. The Dimple that we see from a decade later is a very different avatar. The memories, the marvel, the legend of Bobby, has remained intact. Nobody could quite portray the coy innocence and purity of heart, as we see Bobby on the screen and in the dreams. And that is very well for me – it is 1973, and Bobby, forever.

I am both sad and glad to get the opportunity for announcing the Yippeee-dom status for this film. After a 10 years travel, finally all the songs of this film are now present on the blog. 🙂 And sad, because we won’t be discussing this Bobby again in any future post. 😦

Eight songs, eight wonderful songs keeping alive the RK tradition for the best in music. The songs created quite a ripple when released, and over the decades, have remained popular with every new generation of teenagers, who simply love the ideas of simple thoughts as in “Mujhe Kuchh Kehna Hai” and “Hum Tum Ek Kamre Mein Band Hon”. 🙂 The seven songs posted earlier happened in the following sequence.

1	Main Shaayar To Nahin	869	10-Mar-09
2	Ankhiyon Ko Rahne De	998	30-Mar-09
3	Mujhe Kuchh Kehna Hai	5708	30-Mar-12
4	Jhoothh Bole Kauwwaa Kaate Kaale Kawwe Se Dariyo	13319	8-Jun-17
5	Ham Tum Ek Kamre Mein Band Hon Aur Chaabhi Kho Jaaye	14732	3-Nov-18
6	Beshaq Mandir Masjid Todo, Bulle Shaa Ye Kehta	14918	10-Mar-19
7	Na Chaahoon Sona Chaandi	14940	20-Mar-19

A journey that started 10 years ago, culminates today, with the posting of this fabulous and scintillating party song that carries many layers of silent conversations within itself. We are more than two third of the way into the movie. Nath and Braganza have fallen out big time, with the belligerent Braganza promising all sorts of consequences if Nath’s son is seen anywhere close to his daughter. Bobby is sent off to Goa. Raja is confined and under watch. New Year eve is nigh. The business driven Nath makes a business driven decision to announce the engagement of his son with the daughter of Mr. Sharma, one of his business associates. No matter that the lady chosen is somewhat retarded, and much below her actual age in mental capacity. Not being able to rebel and speak his mind, unable to confront his father, Raja is in a deadly dilemma about his life.

The party happens. The song happens. And Raja has the answer for his life. As I said, the song has multiple layers of silent conversations happening. The party and the celebration is one. The parents are agog with delight of having struck two birds with one stone – made a major business gain, and tied down a wayward son into household chains. The joy of Nikki (Farida Jalal) is on a different high – she is getting married into another rich family. Then the song and the performance itself – that speaks of the travesty of love and lovers. Woe becomes he who is wretched enough to be entangled in a snare of love.

And there is the mind of Raja – bewildered, afraid, not believing what is going on around him. His insides are in a shamble, his heart is in agony, and all his parents can think of is an alliance for him, and a grand new year party. A look at him, his lost expressions in the midst of so much dance and revelry. And one is reminded of another RK song –

dhakke pe dhakka, reley pe relaa
hai bheed itni, par dil akela
par dil akela

And the scenario takes you back across two decades of musical and cinematic articulation – the troubled expressions of the face of Raja feeling hopelessly lost amidst the ongoing celebration, threading back to the joker singing at the Bombay carnival (‘Mera Naam Joker’, 1970), leading you back one more layer, to the bumbling hobo, new to the big town, and completely lost in its hustle bustle (‘Shri 420’, 1955). When I see that image, that look on Rishi Kapoor’s face during this party song, my mind goes back these two steps to more of RK’s wonder illustrations.

And then, we have this covert conversation happening between the dancer and the teenager with a troubled mind. The dancer is singing for him, without him realizing it so, at the beginning. In the first stanza, the dancer explains to Raja, the vagaries of love one has to endure. Falling in love does not mean just losing your heart to someone – actually one loses everything in life, one’s entire world and even one’s happiness. Then the dancer goes on to explain the time of adolescence – and this one line in this song is so intensely killing –

ye ek saal
bachpan aur jawaani ke beech ka
bada bura hota hai

And in this one liner, the lyricist has said everything that one needs to be said for the agonies of coming of age. This time of transition and hormonal changes bring in awarenesses that didn’t exist in the mind before. And these awarenesses are confusing, troubling and at times frightening. The call of the dancer’s voice now catches Raja’s attention – who realizes that this song is being sung for him. And in the second stanza, the dancer now reveals an answer. The seed is planted, the way is shown, and the contemplation of an elopement is initiated –

bacha ke aa..aankh
panchhi pinjra le ke ud jaaye to. . .

Lovely choreography here. For a moment, Raja is encircled by other dancers with frightening masks, as if he is caged inside a prison of fear, and the next instant, the dancer is floating away like a bird flying. And the words for the second stanza commence. Just pause and watch again this small interlude segment.

The third stanza of this song appears separately and a little later in the film (and is inserted as Part II in the lyrics below). Raja has run away from home, reached the place in Goa where Bobby is confined with her grandmother. He pleads to be allowed to meet, and to be permitted to be married. Grandma locks him up also, and sends message to Bombay. In the night, Raja manages to escape, gets in to Bobby’s room, and now they both flee on the mobike. The third stanza plays now. The burden of this stanza says that this incurable malady of love is under no one’s control, no matter how formidable a learned person (jogi – one who can control the senses and the mind) or how skilled a snake charmer might one be. A snake charmer is supposed to have power to control any snake. The lyrics say that the serpents of love are not even in their control.

The words in the song, the choreography, the covert exchanges happening between the dancer and the teenager – oh so well designed and executed. There is another layer of conversation that gets revealed. Just watch the expressions and try to visualize the mind of the young man as the song progresses. He is troubled, he is lost, he is incensed by the apparent sarcasm that the dancer is singing. And then he catches on. The message of being trapped “Ae. . . Phansaa” transforms from his original thoughts that he played the game of hearts and lost and got trapped in this pining pain of love. But when Nikki joins the party, and the dancer points out yet once again “Ae. . . Phansaa” he realizes – not earlier as he was thinking, but the entrapment is happening now, with the new proposed alliance for him. One begins to see a glimmer of understanding dawn in his eyes and his expressions. He is now listening more carefully. And when the second stanza is in progress, one can clearly make out that now he is fully in sync with the dancer, and her words, and the covert messages that she is communicating. And when the words for flying away with the pinjra are aired, the young man is all attention, slowly one feels the mind moving towards a new resolve, a new plan. At the end of this stanza, there is a very brief, but very meaningful pause, a wink, and a twist smile – almost as if saying – ‘Go’. In the film, the next thing we see is the mother, with letter in her hand, announcing with a scream that her son has run away – and the party has not yet ended. And the next thing we see is the young man and the vroooom of the Rajdoot GTS bike.

And I would like to talk about the dancer now, saving that for the last. In my mind, probably the best dance performance by Aruna Irani, across her career. The music is very fast paced, the movements are very energetic, and true to the RK traditions, the woman in her is so vividly and so sensitively, and sensually presented. It is such a treat to watch this performance. I have lost the count of times that I have replayed this video in the past couple of days as I work to complete this write up. A superlative performance indeed, by her. Her expressions exhibit how much she is enjoying this herself. And very clearly, she is giving everything to this song. The sequences of steps, the movements – wonderfully choreographed and so expressively delivered by her.

The film credits do not include the name of the dance director, but after some digging, I am able to locate the name. The dance director in this film is Sohanlal, of Madras (now Chennai). It is tons of years ago, but I remember having met him in Madras. There was a brief period of time when I was in Madras on a job assignment. And one of my aunts, who stayed in Madras – her family was a tenant in the bungalow of Sohanlal, somewhere in Adyar area. I used to visit my aunt’s family almost on a weekly basis. And on a couple of occasions I even sat in the studio where Sohanlal ji was instructing students for practice.

Back to Aruna Irani. She has a brief but a significant role in the film. The misunderstanding that is caused between the young lovers, inadvertently, she is in the middle of it. In all her scenes, she looks so extremely charming and ravishing. And always on the dot with her presence and dialogue delivery. A short and a very sweet performance. Of course with this dance as her best one that I can remember.

And so, the last of Bobby songs is now posted. We announce the addition of this film to the list of Yippeee’d films on our blog. Maybe, I won’t be writing any more about this film. But that is not to say that I do not have more to say about the film, and about Bobby – my first love. That is going to remain with me forever. Yes, it is 1973. . . forever.

The film is a benchmark for stories of young romance, that have been told, and as well for the stories that still have to be told. But the legend of ‘Bobby’ will endure.

The songs that have given idioms that have crept into the language of this subcontinent, be it “. . . pyaar mein sauda nahin”, or “. . . par pyaar bhara dil kabhi na todo, is dil mein dilbar rehta”, or even the simple expression that says “. . . mujhe kuchh kehna hai”. And yes, the ice breaker as one attempts to attract the attention of a lady – “main shaayar to nahin. . .”.

And thus I close this post with the reiteration – an expression for all who are always young in the heart. . .

“If you ever have been in love, this film is for you. . .”

(Part I – Party Scene)

(Part II – On The Road)

Song – Us Ka Chhoota Ghar Baar Sansaar (Bobby) (1973) Singer – Lata Mangeshkar, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal

Lyrics

(Part I)

ae..ae..ae..ae..ae. . . phasaa. . .

mmmmmmm mmmmmmm
arey arey arey

uska chhoota ghar baar sansaar
jo kar ke pyaar yaar kisi ke dil mein basaa
basaa
basaa. . .
ae..ae..ae..ae..ae. . . phasaa. . .

uska chhoota ghar baar sansaar
jo kar ke pyaar yaar kisi ke dil mein basaa
basaa
basaa. . .
ae..
ae..
ae..
phasaa. . .

laa laalaaa laa raa laa
laalala laalala laalala laalala

ye ek saal
bachpan aur jawaani ke beech ka
bada bura hota hai
ye ek saal
naujawaanon ka
nadaanon ka
deewaanon ka
ye ek saal
bachpan aur jawaani ke beech ka
bada bura hota hai
aashiq ka ho gaya naam badnaam
hua anjaam
subah sham zamaana hansa
hansa
hansa
ha ha ha ha ha ha
ae..ae..ae..ae..ae. . . phasaa. . .
uska chhoota ghar baar sansaar
jo kar ke pyaar yaar kisi ke dil mein basaa
basaa
basaa. . .
ae..
ae..
ae..
ae. . . phasaa. . .

bacha ke aa..aankh
panchhi pinjra le ke ud jaaye to
shaayad jaan bach jaaye
bacha ke aa..aankh
kisi jharokhe se
kisi mauke se
kabhi dhokhe se
bacha ke aa..aankh
panchhi pinjra le ke ud jaaye to
shaayad jaan bach jaaye
jeena hua dushwaar dildaar
ke laga aar paar teer kisi ne kasaa
kasaa
kasaa. . .
ae..
ae..
ae..
ae. . . phasaa. . .

uska chhoota ghar baar sansaar
jo kar ke pyaar yaar kisi ke dil mein basaa
basaa
basaa. . .
ae. . . phasaa. . .

(Part II)
ye prem rog
bade bade jogi saperon ke bas mein nahin
hota hai
ye prem rog. . .
pyaar karte hain
log marte hain
kahaan darte hain
ye prem rog
bade bade jogi saperon ke bas mein nahin
hota hai
us ne liya bairaag
jag se bhaag
ke lagi aag
naaginon ne jise dasaa
dasaa
dasaa
ha ha ha ha ha

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

(भाग १)

ए॰॰ए॰॰ए॰॰ए॰॰ए॰ ॰ ॰
फंसा॰ ॰ ॰

म्ममममम म्ममममम
अरे अरे अरे

उसका छूटा घर बार संसार
जो करके प्यार यार किसी के दिल में बसा
बसा
बसा॰ ॰ ॰
ए॰॰ए॰॰ए॰॰ए॰॰ए॰ ॰ ॰ फंसा॰ ॰ ॰

उसका छूटा घर बार संसार
जो करके प्यार यार किसी के दिल में बसा
बसा
बसा॰ ॰ ॰
ए॰॰
ए॰॰
ए॰॰
फसा॰ ॰ ॰

ला लाला ला रा ला
लालाला लालाला लालाला लालाला

ये एक साल
बचपन और जवानी के बीच का
बड़ा बुरा होता है
ये एक साल
नौजवानों का
नादानों का
दीवानों का
ये एक साल
बचपन और जवानी के बीच का
बड़ा बुरा होता है
आशिक का हो गया नाम बदनाम
हुआ अंजाम
सुबह शाम ज़माना हंसा
हंसा
हंसा
हा हा हा हा हा हा
ए॰॰ए॰॰ए॰॰ए॰॰ए॰ ॰ ॰ फंसा॰ ॰ ॰
उसका छूटा घर बार संसार
जो करके प्यार यार किसी के दिल में बसा
बसा
बसा॰ ॰ ॰
ए॰॰
ए॰॰
ए॰॰
ए॰॰
ए॰ ॰ ॰ फंसा॰ ॰ ॰

बचा के आ॰॰आँख
पंछी पिंजरा ले के उड़ जाये तो
शायद जान बच जाये
बचा के आ॰॰आँख
किसी झरोखे से
किसी मौके से
कभी धोखे से
बचा के आ॰॰आँख
पंछी पिंजरा ले के उड़ जाये तो
शायद जान बच जाये
जीना हुआ दुश्वार दिलदार
के लगा आर पार तीर किसी ने कसा
कसा
कसा॰ ॰ ॰
ए॰॰
ए॰॰
ए॰॰
ए॰॰
ए॰ ॰ ॰ फंसा॰ ॰ ॰
उसका छूटा घर बार संसार
जो करके प्यार यार किसी के दिल में बसा
बसा
बसा॰ ॰ ॰
ए॰ ॰ ॰ फंसा॰ ॰ ॰

(भाग २)

ये प्रेम रोग
बड़े बड़े जोगी सपेरों के बस में नहीं
होता है
ये प्रेम रोग॰ ॰ ॰
प्रेम करते हैं
लोग मरते हैं
कहाँ डरते हैं
ये प्रेम रोग
बड़े बड़े जोगी सपेरों के बस में नहीं
होता है
उसने लिया बैराग
जग से भाग
के लगी आग
नागिनों ने जिसे डसा
डसा
डसा
हा हा हा हा हा हा

Dhobiya Re Dhobiya Re Tera Chhora

Posted by: Atul on: March 24, 2019

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 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 :

3901

Post No. :

14952

This song is from Master Bhagwan’s film ‘Damaad’ (1951).

This is the film which inspired Bhagwan to write a comedy social musical film story for his evergreen film Albela. In the decade of 1940’s, Bhagwan had specialised in low budget C grade action and stunt films. Usually his films would be completed in Rs. 60 to 70 thousand rupees only. He used to churn out films after films with the same set of actors with almost the same story in all his films. The audience of Master Bhagwan’s films came to the theatre to see his antics and comedy, coupled with action scenes of fighting and incredible stunts.

Usually Bhagwan never played the hero’s role in his own films. The hero in his films would necessarily be Baburao Pehelwan and Bhagwan used to be his side kick. Both had their love interests – usually the heroine for Baburao and her friend or maid for Bhagwan. Like Baburao and Bhagwan, even the lady actors were fixed. He had a set of such actresses like Shanta Patel, Chanchal, Leela Gupte, Vitha Lokare, Usha Shukla etc. They used to be in his films by turns. Actor Azim Bhai (who later became the famous Fight Master in Hindi films) was usually the good natured but timid employer of these two. Their job was to protect the Seth ji from goons, fight with them and finally win the girls in the end. Film after film the same story was used with slight changes here and there. The audience was least bothered about the story or the histrionics etc. They came for the dialogues, the fights and stunts.

Very few people know that both Raj Kapoor and Dilip Kumar were his great fans. When Bhagwan fell on bad times and shifted to a 2-room tenement in a chawl in Dadar, Dilip Kumar, while going for his daily shootings, used to stop at the chawl, honk till Bhagwan appeared in the gallery and waved to him, and then he proceeded to his work.

It was Raj Kapoor, who used to see his shootings in Jagriti studio, very near to RK studio. He once suggested to him to try making a social film. Incidentally, his good friend C Ramchandra (Anna for Bhagwan) also pressed him to dare making a social film. CR even promised him to give music to his social film in his popular name C Ramchandra (he gave music to Bhagwan’s films in the name of ‘Annasaheb ‘ till then). Bhagwan started thinking seriously on this issue. At that very time he got an offer to work in a social comedy film, to be produced by Beema Films of MT Mudnani and directed by Brij Rani. Since this was a social film Bhagwan wanted to give it a try. He wanted to assess the feasibility of making his own social film.

The film was ‘Damaad’ (1951). The story was simple. A simpleton is made a ‘ghar jamai’ (resident son-in-law) and has a miserable life. Incidentally, he becomes a successful singer. The film was absolutely an ordinary one. Being a director himself, Bhagwan understood the potential of the story to become a hit film. In addition the offer of C Ramchandra’s music was also inviting him. The film ‘Damaad’ came and went without making any ripples. Neither the producer made any more films, nor the director got any other film. The cast and the 3 MDs employed were also C grade anyway.

Taking inspiration from film ‘Damaad’, Bhagwan started writing the story of ‘Albela’ . For this film, he needed a cast other than his usual C grade film cast. Other actors were booked but no reputed heroine was ready to work in his film. Those days, Bhagwan’s name was only associated with C grade action stunt films. Then one day he approached Geeta Bali. She agreed – a bit reluctantly – to listen to his story. After listening to the story, Geeta Bali realized the potential of a hit film and said yes.

The shooting of ‘Albela’ started but Bhagwan kept it a secret. After few weeks of shooting, he invited Anna (CR) to come to see the shooting, without telling him anything. Anna went to Jagriti studios to see the shooting. After some shots were taken, he asked, ‘Bhagwan, this is your film, but where are the fights?”. Bhagwan smiled and said,”Anna, there are no fights. This is a social film I am making which you wanted me to do. Now it is your turn to stand by what you had promised to give your best music”. Sure enough C Ramachandra gave immortal music to film ‘Albela’ and the rest is history as they say.

Bhagwan’s planning for ‘Albela’ was so perfect that he got the Censor Certificate on 13-12-1951 and the film was released on next day i.e. on 14-12-1951 at Imperial Talkies in Bombay. Within 3-4 days, the film became houseful in every show. It was so successful that it overshot the combined collection of first week opening of BR Chopra’s ‘Afsaana’, Raj Kapoor’s ‘Awaara’, Dev Anand’s ‘Baazi’, AVM’s ‘Bahaar’ and Nitin Bose’s ‘Deedaar’, all released in 1951 only!

The tremendous success of ‘Albela’ made the financiers, producers and directors to line up Bhagwan’s doorstep with project proposals. The success of ‘Albela’ had also gone to the head of Bhagwan dada. He did not realize or acknowledge the contribution of Geeta Bali and C Ramchandra’s music to its success. He thought that it was due to him and he went on signing film after films in that period. As his new films started failing, the incomplete films were abandoned and ‘Albela’ became his swan song. The downward slide of his career and popularity started right after this film, although some more films like ‘Bhagam Bhag’ (1956) etc were hits-again due to music and Kishore Kumar.

Anyway the producer NT Madnaney never ever tried to produce any more films after ‘Daamad’, which was not at all successful at the box office.
The screenplay and direction was by Brij Rani. There were 3 composers, Shamoo who had given music to ‘ Yeh hai zindagi-48’ and ‘Begunah’ (1949) with Haribhai. Indravadan Bhatt had given music to 10 films in the late 40s. Ram Panjwani had been an actor in Berozgaar-36 and Chhotisi duniya-39, a singer in Damad-51 and Maa ka pyar-49, an MD for Magroor-50 and Damad-51 and also a Lyricist for one song in film Teen Batti chaar Rasta-53

The story was more or less same as ‘Albela’ – a good for nothing fellow sings well and makes a fortune – that is the one line story of this film.

Chamak (Bhagwan) is too simple a person, who is a teacher in a school, where even his students make fun of him. He gets married to a rich man’s daughter-Geeta (Krishna Kumari). Chamak loses his job and his father-in-law takes him to his house in a bigger town. Chamak is impressed with all the wealthy living and eats like a hog and sleeps like a dog every day. Honored initially as the son-in-law of the house, slowly he is despised, insulted and treated shabbily by in laws for doing nothing.

One day when Chamak is singing alone, the manager of the local theatre hears him, gets impressed and offers him job of a singer. Chamak accepts it and in no time becomes a famous singer and tours all over India. Seeing that he is famous, his in laws start pampering him. Now Chamak has become clever. He teaches a lesson to his in laws and finally they realize their folly and all is well that ends well.

The cast of the film was Bhagwan, Krishna Kumari, Yashodhara Katju, Protima Devi, Cuckoo, Habib, Kathana, Ishu Jahagirdar etc. etc. The story and screenplay was by director Brijrani.

Brij Rani was born in 1921 at Shikarpur, Sindh province, in a well to do business family. She studied up to Matriculation and also qualified as a Middle School Teacher. However, she opted to join films as an actress. Her first film was Jeewan Jyoti-37, doing an un credited small role to get the feel, followed by Calcutta after Midnight-37, Aurat-40, Wayda-40, Ulti Ganga-42, Daughters of the Jungle-43, Bhagta Bhoot-43, Circus Girl-43 and Lal Haveli-44.

She was getting roles only in stunt films and C grade films. Being from a business community, she started her own company- Bharat productions and herself made stunt films.

Meanwhile she continued acting in films like Lal Haveli-44 and acted and directed film Circus King-46 and film Sajni-47. Then there was a gap. probably she looked after her family. In 1951, she directed film Daamaad-51.

As far as Yashodhara Katju is concerned, there is a bizarre story behind her entry into films. Earlier there was a Kashmiri girl working in Hindi films,in the late 30s. Her name was Shyama Zutshi. Actor Chandramohan too was a Kashmiri Bramhin and held the view that Kashmiri Bramhin girls should not work in films as it is below their dignity. He strongly opposed Shyama’s work in the films and put lot of pressure on her to quit films. Fed up of his pestering and also afraid of his anger, Shyama left films. Her last film was Khooni Jadugar-1939.

However, soon after this, yet another girl who too was a Kashmiri Bramhin came into films from 1941. Chandramohan tried all his pressure tactics and tried to force her out of the films, but this girl was different. She was tough and did not fear him or yield to his intimidations. She continued to work in films unabated. Chandramohan died in 1949, but this girl worked in films from 1941 to 1974. She worked in 86 films and earned quite a name.

Her name was Yashodhara Katju ( 15-4-1928 to 1974 ). She was the niece of Pt. Nehru, but never ever used her highly placed relations to get work. Her father K L Katju was U.P.’s well known politician and also a senior bureaucrat. They were from Lahore, where Yashodhara had studied upto Senior Cambridge and also dancing. She was a leading comedienne in the early 50s and had formed a pair with Gope for some films. She married a Navy officer and spent her retired life as a housewife, away from filmdom.

Today’s song is actually in 2 parts, but it is combined in one video. The singers are Sulochana kadam(for Yashodhara katju), Ram Panjwani (for Bhagwan), Ishu Jahagirdar (for Dhobi), and Shrimati Vishnilal ( for elderly lady). VISHNI LAL was born in Hyderabad( Sindh) in 1926. She came to Bombay in 1943 to sing in films. Ram Daryani recommended her to Khemchand Prakash and he gave a break to her in film Chiragh-43. She sang in very few films like Qurbani-43,Anjuman-48 Mitti ke khilaune-48,Maghroor-50,Daamaad-51,Chhoti Duniya-53 etc.

Her family shifted to Bombay in 1947, after Partition. She was married to a businessman Mansukhani. She then settled in Dubai, with her family.

Let us now enjoy the song video.

Song – Dhobiya Re Dhobiya Re Tera Chhora (Daamaad) (1951) Singers – Sulochana Kadam, Ram Panjwani, Shrimati Vishnilal, Ishu Jahagirdar, Lyrics – Bahaar Ajmeri, MD – Indravadan Bhatt
Sulochana Kadam + Ram Panjwani
Chorus

Lyrics

oo oo oo
dhobia

dhohia re dhobia re tera chhora
ho tera chhora
beech bajaria chhed kare mosey
beech bajaria chhede
dhohia re dhobia re tera chhora
ho tera chhora

main na chhedoon
main na chhedoon is ko dada
jhooth kahe ye tosey
ram kasam. . .
ram kasam iljaam dhare hai
bair karey ye mosey
ram kasam iljaam dhare hai
bair karey ye mosey

hmmm mmmmm

tu chhori re chhori re chhori chhori re
bada sareef hai mera chhora
bada sareef hai mera chhora
oo oo chhori
chhori jhooth kyon boley
o chhori jhooth kyon boley
sundar dekh ke morey lallan ko
kyon tera manwa doley
ho chhori
kyon tera manwa doley

oo oo
oo oo oo oo oo
o dhobia
sunder hai tera chhora to
main bhi naar albeli
sunder hai tera chhora to
main bhi naar albeli
roop dekh sharmaaye jaaye re
dhobia
roop dekh sharmaaye jaaye re
bagia mein haaye chameli
bagia mein haaye chameli
bada theed hai
bada theed hai. . .
o tera chhora
bada theed hai
bada theed hai. . .
o tera chhora
beech bajariya ghere
beech bajariya ghere
dhobia re dhobia re tera chhora
ho tera chhora

kyon ri dhobaniya
lagaai bujhaai to kar ke chali
par main to ko samjhunga
lagaai bujhaai to kar ke chali
par main to ko samjhunga
bhari bajariya mein o chhori
bhari bajariya mein o chhori
teri khabar main loonga
ab teri khabar main loonga
oo oo oo dhobia
chal hatt
parey hatt

oo oo dhobia
samjhaaye lei e ka
nahin to main rapat likhaaye deungi
samjhaaye lei e ka
nahin to main rapat likhaaye deungi
oo oo thaanedar se
thaanedar se keh kar main to
lambardaar se keh kar main to
band karaye deungi
milat mein
milat mein
qaid karaaye deungi
main ghabraaye gai
tere chhore se
phirey hai peeche morey
phirey hai peeche morey
dhobia re dhobia re tera chhora
oo tera chhora

shiv ram
shiv ram
shiv ram
shiv ram
shiv ram

mukhiya ke chhore se chhori
mukhiya ke chhore se chhori
kaahe karey tu ladaai
maafi maang le
o chhori
maafi maang le
maine lallan se kar di teri sagaai

oo oo oo oo
teri meri bhool hui o baalam
kar le mosey mel
haan haan
kar le mosey mel
tu mera chaand hai
main teri chandni

oo oo oo oo
chhaila re chhaila re chhaila chhaila re
khelen chaand ka khel
aao khelen chaand ka khel
khel
aa ri dhobaniya
ho gaya tera mera mel
ho gaya tera mera mel
ho gaya tera mera mel
ho gaya tera mera mel. . .

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

ओ ओ ओ
धोबिया

बीच बज़रिआ छेड़ करे मोसे
बीच बज़रिआ छेड़े
धोबिया रे धोबिया रे तेरा छोरा
हो तेरा छोरा

मैं ना छेड़ूँ
मैं ना छेड़ूँ इसको दादा
झूठ कहे ये तोसे
राम कसम॰ ॰ ॰
राम कसम इल्जाम धरे है
बैर करे ये मोसे
राम कसम इल्जाम धरे है
बैर करे ये मोसे

हम्मम म्ममम

तू छोरी रे छोरी रे छोरी छोरी रे
बड़ा सरीफ है मेरा छोरा
बड़ा सरीफ है मेरा छोरा
ओ ओ छोरी
छोरी झूठ क्यों बोले
सुंदर देख के मोरे ललन को
क्यों तेरा मनवा डोले
हो छोरी
क्यों तेरा मनवा डोले

ओ ओ
ओ ओ ओ ओ ओ
ओ धोबिया
सुंदर है तेरा छोरा तो
मैं भी नार अलबेली
सुंदर है तेरा छोरा तो
मैं भी नार अलबेली
रूप देख शरमाये जाये रे
धोबिया
रूप देख शरमाये जाये रे
बगिया में हाए चमेली
बगिया में हाए चमेली
बड़ा ठीठ है
बड़ा ठीठ है॰ ॰ ॰
ओ तेरा छोरा
बड़ा ठीठ है
बड़ा ठीठ है॰ ॰ ॰
ओ तेरा छोरा
बीच बज़रिआ घेरे
बीच बज़रिआ घेरे
धोबिया रे धोबिया रे तेरा छोरा
हो तेरा छोरा

क्यों री धोबनिया
लगाई बुझाई तो कर के चली
पर मैं तो को समझूँगा
लगाई बुझाई तो कर के चली
पर मैं तो को समझूँगा
भरी बज़रिआ में ओ छोरी
भरी बज़रिआ में ओ छोरी
तेरी खबर मैं लूँगा
अब तेरी खबर मैं लूँगा
ओ ओ ओ धोबिया
चल हट
परे हट

ओ ओ धोबिया
समझाये लेई ए का
नहीं तो मैं रपट लिखाये देऊंगी
समझाये लेई ए का
नहीं तो मैं रपट लिखाये देऊंगी
ओ ओ थानेदार से
थानेदार से कह कर मैं तो
लंबरदार से कह कर मैं तो
बंद कराये देऊंगी
मिलत में
मिलत में
क़ैद कराये देऊंगी
मैं घबराए गई तेरे छोरे से
फिरे है पीछे मोरे
फिरे है पीछे मोरे
धोबिया रे धोबिया रे तेरा छोरा
हो तेरा छोरा

शिव राम
शिव राम
शिव राम
शिव राम
शिव राम

मुखिया के छोरे से छोरी
मुखिया के छोरे से छोरी
काहे करे तू लड़ाई
माफी मांग ले ओर छोरी
माफी मांग ले
मैंने ललन से कर दी तेरी सगाई

ओ ओ ओ ओ
तेरी मेरी भूल हुई ओ बालम
कर ले मोसे मेल
हाँ हाँ
कर ले मोसे मेल
तू मेरा चाँद है
मैं तेरी चाँदनी

ओ ओ ओ ओ
छैला रे छैला रे छैला छैला रे
खेलें चाँद का खेल
आओ खेलें चाँद का खेल
खेल
आ री धोबनिया
हो गया तेरा मेरा मेल
हो गया तेरा मेरा मेल
हो गया तेरा मेरा मेल
हो गया तेरा मेरा मेल॰ ॰ ॰

Tags: 1951, Bahaar Ajmeri, Bhagwan, Daamaad, Indravadan Bhatt, Ishu Jahagirdar, Ram Panjwani, Shrimati Vishnilal, Sulochana Kadam, Yashodhara Katju

Mera rang de basanti chola

Posted by: Atul on: March 23, 2019

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 :

3900

Post No. :

14950

When I was in school, we had some “boring” subjects like, History, Geography, Social Science etc. These were “arts” subjects and were considered low scoring as well.

When I think about it now, I realise that History text book basically used to be like a collections of a few chapters and each chapter was like a story of a particular era. For instance, first chapter was Ramayana. second Chapter was Mahabharata. Third chapter was Mauryavansh (Chandragupta Maurya , Samrat Ashok etc. A few chapters later, we were into Mughal era (Akbar, Shahjahaan etc, and then British Era.

In British era, we had discussion on freedom struggle. In freedom struggle, we basically read that non violent movement by Mahatma Gandhi earned India their freedom. There was passing mention of Bhagat Singh, Chandrashekhar Azad, Subhash Chandra Bose etc as well.

Then we were told that British were defeated by the non violent movement of Gandhi and they gave India independence, but at the last moment, they played a dirty trick and divided the country into two.

Many decades on, when we can gain information from sources other than test books published by the government or gooverment approved publishers, we can have a more holistic picture of things as they unfolded. We now have access to other sources as well as so we can form our own opinion on what was happening those days.

It could be seen that the country, like now, had people with different ideologies and people followed their own ideologies. There were followers of Mahatma Gandhi, but then there were followers of other leaders as well. We have seen that Subhash Chandra Bose had a tremendous following. And his philosophy of gaining independence for India was different from that of Mahatma Gandhi. Since history is written by “victors” and somehow Mahatma Gandhi’s non violent movie has been credited as the reason for India gaining independence so Indian freedom struggle has been penned accordingly.

When one thinks about it dispassionately, one realises that British were no saints who would somehow be shamed by “non violent” movements and would grant independence to India out of shame. There were many factors that made it increasingly difficult for them to continue to rule India. It was a combination of all these factors that finally broke the back of camel and Britain finally granted independence to India and left at the earliest opportunity.

The major cause why Britain left was that two world wars had taken place and it had taken a heavy toll on Britain financially. Britain was the sole superpower of the world before the first world war. After the end of the second wold war Britain was economically on the verge of collapse. They had to take loan from USA the new superpower of the world to keep their economy afloat.

India had contributed a good number of armymen to fight the world wars for Britain. It was the understanding that Britain would grant Indian independence after the world war.

Moreover, with Media (radio, newspapers etc) becoming influential, world opinion was turning in favour of freedom of India and it was becoming difficult for Britain to hang on to its colonies.

When we look at history, we find India was becoming ungovernable from early 1900s, because there were many cases of armed resistance from all over the country.

Not all freedom fighters were moderates. There were radicals as well. In fact , there was a trio of radicals popularly called Lal, Bal, Pal- viz Lala Lajpat Rai, Bal Gangadhar Tilak, and Bipin Chandra Pal. They incidentally, belonged to three major regions of the country and helped spread their message of armed struggle in their regions. Taken together, that was almost entire India. They advocated civil agitation and direct revolution to overthrow the British Empire.

British Government divided Bangal province and that caused widespread resentment among people. The protest against it was violent and quite a few protests died, some in police custody (viz Brahmabhandav Upadhyay) while some were hanged (Khudiram Bose, Bagha Jatin).

Then Draconian Rowlatt act was passed in 1919. Protest against this act led to the Jallianwala Massacre on 13 april 1919. The main perpetrator Dyer was forced to retire but he was hailed as a hero in Britain. Whatever goodwill Indians had for British government evaporated totally.

During 1920s, several armed resistances happened all over the country. One of the more prominent of them was Kakori Case (1925) in UP. Government treasury was looted while it was being carried in a train. In this case, three revolutionaries, namely Ramprasad Bismil, Rajendra Lahiri, Raushan Singh and Ashfaqullh.

It is noticeable that such activities were happening all over India, and in all these cases some people were prompmtly being found guilty and were being sentenced to death, no less. So many people were sentenced to death those days that the claim of Indian freedom fight being mostly non violent does not sound too convincing.

On March 23, 1931, Bhagat Singh along with his associates Sukhdev Thapar and Shivaram Rajguru were hanged to death for the killing 21-year-old British police officer John Saunders. They mistook Saunders for Superintendent James Scott, who was responsible for leading a lathi charge against Lala Lajpat Rai, who along with his followers was protesting against the Simon Commission.

Lala Lajpatrai was mortally injured in a Lathi charge on him by police led by Superintendent James Scott, when Lala Lajpatrai was leading a protest march against Simon Commision. Death of Lala Lajpat Rai stung Indians. Bhagat Singh, Bhagat Singh along with his associates Sukhdev Thapar and Shivaram Rajguru decided to avenge it by killing James Scott, but instead they killed 21-year-old British police officer John Saunders.

The case was heard on the court of Lahore Case Tribunal from 5th may 1930 and death penalty was pronounced on 27 october 1930.

Bhagat Singh along with Sukhdev Thapar and Shivaram Rajguru were hanged to death this day 88 years ago (23 march 1931).

Several movies have been made on Bhagat Singh. In all these movies, the song “Mera rang de basanti chola” gets played prominently. In these movies the three revolutionaries are seen marching to the gallows while singing this song (or while this song plays in the backgound).

Here is this song from “The Legend of Bhagat Singh”(2002). This song is sung by Sonu Nigam and Manmohan Waris. Sameer is credited as the lyricist, though this lyrics could well be a traditional song. Music is composed by A R Rahman.

Lyrics of this song were sent to me by Avinash Scrapwala.

Video

Song-Mera rang de basanti chola (the Legend of Bhagat Singh)(2002) Singers-Sonu Nigam, Manmohan Waris, Lyrics-Sameer,MD-A R Rahman
Both
Chorus

Lyrics(Provided by Avinash Scrapwala)

Mera rang de ae ae ae ae ae ae ae ae
Mera rang de ae basanti chola
maaye rang de ae
Mera rang de
basanti chola
maaye rang de
Mera rang de
basanti chola rang de
rang de ae ae
rang de
basanti chola
maaye rang de

ho o o o o o°°°°°
o o o o o
o o o o o o o o o o

nikley hai veer jiyaale
yoon apnaa seena taane
hans hans ke jaan lutaane
aazaad saweraa laane ae
mar ke kaise jeete hain
is duniyaa ko batlaane
tere laal chaley hain maaye
ab teri laaj bachaane
mar ke kaise jeete hain
is duniyaa ko batlaane
tere laal chaley hain maaye
ab teri laaj bachaane
aazaadi ka shola banke
khoon ragon mein dolaa aa
Mera rang de ae ae ae ae ae ae ae ae°°°°°
Mera rang de ae basanti chola
maaye rang de ae
Mera rang de
basanti chola
maaye rang de ae
Mera rang de
basanti chola rang de
rang de ae ae
rang de
basanti chola aa maaye rang de

din aaj ka badaa suhaana
Mausam bhi badaa sunehra
Ham sar pe baaandh ke aaye ae
Balidaanon ka ye sehra
Betaab hamaare dil mein
ik masti si chhayai hai
Ae desh alvidaa tujhko
Kehne ki ghadi aayi hai
Mehkenge teri fizaan mein
Ham banke hawaa ka jhonkaa
Kismat waalon ko miltaa aa
Aise marne ka mauka
Nikli ee hai baaraat
sajaa hai
Inquilaab ka dolaa aa

Mera rang de ae ae ae ae ae ae ae ae °°°°°
Mera rang de ae ae ae ae ae ae ae ae °°°°°
Mera rang de basanti chola rang de
rang de ae ae
rang de
basanti chola
maaye rang de ae
Mera rang de
basanti chola rang de
rang de ae ae
rang de
basanti chola maaye rang de ae ae ae

___________________________________________________________
Devnagri Script lyrics (Provided by Avinash Scrapwala)
__________________________________________________________

मेरा रंग दे ए ए ए ए ए ए ए°°°°°
मेरा रंग दे ए बसंती चोला माये रंग दे ए
मेरा रंग दे
बसंती चोला माये रंग दे ए
मेरा रंग दे
बसंती चोला रंग दे
रंग दे ए
रंग दे
बसंती चोला माये रंग दे

हो ओ ओ ओ ओ ओ°°°°°
ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ ओ ओ ओ ओ ओ

निकले है वीर जियाले
यूं अपना सीना ताने
हंस हंस के जान लूटाने
आज़ाद सवेरा लाने ए
मर के कैसे जीते है
इस दुनिया को बतलाने
तेरे लाल चले है माये
अब तेरी लाज बचाने
मर के कैसे जीते है
इस दुनिया को बतलाने
तेरे लाल चले है माये
अब तेरी लाज बचाने
आज़ादी का शोला आ बनके खून
रगों में डोला आ
मेरा रंग दे ए ए ए ए ए ए ए°°°°°
मेरा रंग दे ए बसंती चोला माये रंग दे ए
मेरा रंग दे
बसंती चोला माये रंग दे ए
मेरा रंग दे
बसंती चोला माये रंग दे
रंग दे ए
रंग दे
बसंती चोला आ माये रंग दे

दिन आज का बड़ा सुहाना
मौसम भी बड़ा सुनेहरा
हम सर पे बाँध के आये ए
बलिदानों का ये सेहरा
बेताब हमारे दिल में
इक मस्ती सी छायी है
अय देश अलविदा तुझको
कहने की घडी आयी है
महकेंगे तेरी फिजा में
हम बनके हवा का झोंका
किस्मत वालों को मिलता आ
ऐसे मरने का मौका
निकली ई है बरात सजा है
इन्किलाब का डोला आ

मेरा रंग दे ए ए ए ए ए ए ए°°°°°
मेरा रंग दे ए ए ए ए ए ए ए°°°°°
मेरा रंग दे ए बसंती चोला रंग दे
रंग दे ए
रंग दे
बसंती चोला माये रंग दे ए
मेरा रंग दे
बसंती चोला रंग दे
रंग दे
रंग दे ए
रंग दे
बसंती चोला माये रंग दे ए ए ए

Pardesi Piya Se Kiya Pyaar

Posted by: skapur01 on: March 21, 2019

Blog Day :

3898

Post No. :

14948

Movie Count :

4084

Missing Films of 1960s – 98
– – – – – – – – – – – – – – –

It is such a delight to ferret out unheard songs from obscure and unfamiliar films. So many times, I come across the film names and then move on because it is unfamiliar. So many times I pause at a film folder in my collection, thinking whether I have opened it before. But then usually, other pressing matters take precedence and I say ‘oh well’, and move on.

But there are other times, when I have to get inside the folder and check out the contents. Like today’s song. A film like ‘Kaurav Pandav’ from a year like 1970 – never read anything about the film, never heard its music before, not sure what I will find in there, given the names of artists. But you know what, over the years, experience has taught me that the contents of such folders almost always never fail to surprise – with one or more forgotten gems that are almost lost under the sand dunes of time.

What does one say for the song like this post? Remarkable, unheard gem, lovely melodious, rare of the rare, never heard of the film – are some comments I get from friends after they hear my upload on YouTube. What a superlative find this song is. Suman Kalyanpur at her subdued best, meaningful and wonderful lyrics from Anjaan, and a melody that is such a lovely reminiscent throwback on the golden era of melody – from another obscure artist of that era – Suresh Kumar. All the attributes come together to bring out such a lovely song – the type that you won’t even get to hear on Radio Ceylon (now SLBC).

This film also has an alternate title – ‘Sampoorn Mahabharat’. The film is produced under the banner of Firdaus Films, Bombay and is directed by S Dosani. The star cast includes Arvind Pandya, Sadhana Khote, Meenakshi, Shyam Irani, Shetty, Shri Bhagwan, Anjum, Fazal Khan, Jilani, Radheshyam, Dinesh Kumar, Pintu, Jagdish Kanwal, Prem Sagar, Amrit Rana, Prakash, RP Kapoor, Champaklala, V Prem, Narbada Shankar, Bihari Singh, Shri And Shrimati Kapoor, Savita, Krishna Duggal, and Vasundhara.

Geet Kosh lists 6 songs for this film, four written by Anjaan and two by Yogesh. This song is from the pen of Anjaan. Music is by Suresh Kumar, a lesser known music director from 1950s and 60s; he also created music as one partner in the duo of Suresh-Talwar.

What else to say – just listen to the song. And the wonder is that this, and many more like this, are still unheard, still hidden, and many may even be lost already. But of course, small mercies to be grateful for, that we find what we can. And we listen and enjoy.

Brief note about the homework assignment from Khyati Ben. We are now shortly coming to the end of this series – a handful of traceable films remain. We should get the century milestone with this series in a few days. Then we will be able to claim that all possible films of 1960s which can be traced wherever, are now represented here. I will give the specific numbers when I close this series.

So how about someone doing a similar exercise for the 1950s. If someone takes up the task to list out all the pending films of 1950s, I promise that I will go after to locate and trace and bring them up here on our blog. Request is to all members of bandwagon – one enthusiastic volunteer needed. 🙂

Song – Pardesi Piya Se Kiya Pyaar (Kaurav Pandav) (1970) Singer – Suman Kalyanpur, Lyrics – Anjaan, MD – Suresh Kumar

Lyrics

moti chugne gayi re hansini
maansarovar teer
pankh pankh par raajhans ne
likh di preet ki peer

aaaaaaaaa aaaaaaaa
aaaaaaaaaaaaa aaaa

pardesi piya..aa..aa

pardesi piya se kiya pyaar
akele mora jiya na lagey
akele mora jiya na lagey
jaane chhalia darad na hamaar
jaane chhalia darad na hamaar
akele mora jiya na lagey
akele mora jiya na lagey
pardesi piya se kiya pyaar. . .

akhion se bichhda
akhion ka kajra
rootha kalaion se albela gajra
akhion se bichhda
akhion ka kajra
rootha kalaion se albela gajra
ud gai nindiya
bujh gai bindiya
tujh bin o rasia
mora murjhaaye solaa singaar
mora murjhaaye solaa singaar
akele mora jiya na lagey
akele mora jiya na lagey
pardesi piya se kiya pyaar. . .

kuchh to bata ja
bairi sanwariya
kaise kategi akeli umariya
kuchh to bata ja
bairi sanwariya
kaise kategi akeli umariya
chaand jalaaye raat rulaaye
chain naa aaye piya
soona laage re sansaar
soona laage re sansaar
akele mora jiya na lagey
akele mora jiya na lagey
pardesi piya se kiya pyaar. . .

———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
मोती चुगने गई रे हंसिनी
मानसरोवर तीर
पंख पंख पर राजहंस ने
लिख दी प्रीत की पीर

आssssssss आssssss
आssssssssssss आsss

परदेसी पिया॰॰आ॰॰आ

परदेसी पिया से किया प्यार
अकेले मोरा जिया ना लागे
अकेले मोरा जिया ना लागे
जाने छलिया दरद ना हमार
जाने छलिया दरद ना हमार
अकेले मोरा जिया ना लागे
अकेले मोरा जिया ना लागे
परदेसी पिया से किया प्यार॰ ॰ ॰

अखिओं से बिछड़ा
अखिओं का कजरा
रूठा कलईओं से अलबेला गजरा
अखिओं से बिछड़ा
अखिओं का कजरा
रूठा कलईओं से अलबेला गजरा
उड़ गई नींदिया
बुझ गई बिंदिया
तुझ बिन ओ रसिया
मोरा मुरझाए सोला सिंगार
मोरा मुरझाए सोला सिंगार
अकेले मोरा जिया ना लागे
अकेले मोरा जिया ना लागे
परदेसी पिया से किया प्यार॰ ॰ ॰

कुछ तो बता जा
बैरी साँवरिया
कैसे कटेगी अकेली उमरिया
कुछ तो बता जा
बैरी साँवरिया
कैसे कटेगी अकेली उमरिया
चाँद जलाए रात रुलाये
चैन ना आए पिया
सूना लागे रे संसार
सूना लागे रे संसार
अकेले मोरा जिया ना लागे
अकेले मोरा जिया ना लागे
परदेसी पिया से किया प्यार॰ ॰ ॰

Tags: 1970, Anjaan, Kaurav Paandav, Suman Kalyanpur, Suresh Kumar

Nand Laala. . . Holi Khelen Biraj Mein Dhoom Machi Hai

Posted by: skapur01 on: March 21, 2019

Blog Day :

3898

Post No. :

14946

Little earlier in the day, Atul ji mentioned about the timing of posting of Holi songs, and I quote,

Different festivals remain topical for different duration of time. If we do not post a write up within this time then the post loses its relevance. In case of Holi, it is the first half of the day mostly when people are mostly in festive mood, though it spills over to the afternoon as well.

As I am rushing to complete this post, it is already around 6 pm. Yes, the festivities for the day have been over for some time. Mostly the people have cleaned up and many would have had their afternoon siestas too. Maybe the only remaining sign of the festivities from earlier part of the day are the splashes of colored water on walls and floors, which most people would address tomorrow morning. Ah yes, another lingering evidence of the celebration could be some people still in the hangover of the bhaang, maybe still sleeping it off, or if awake, not yet back from the cuckoo land. 🙂

This post is coming somewhat late in the day, but the attempt is cover an important aspect of the celebrations of today. The festival of Holi, for ages now, has been intimately associated with the story of Lord Krishna. And so, the celebration somehow does not seem to be complete without having one song about Holi in Biraj, or Brij, the native place where the child Krishna grew up. There abound many a legends and folk songs that tell of the Holi celebrations when Krishna was in Brij. And the same has also been carried over into the Hindi films. Many a songs of Holi in Hindi films revolve around the stories and pastimes of Krishna.

I present this lovely Holi song from the 1970 film ‘Mastaana’. The lyrics for this song have been sent in by dear Prakash ji.

Produced under the banner of Suchitra and directed by A Subbarao, the cast of actors in this film is Mehmood, Padmini, Vinod Khanna, Bharti, Rehman, Bobby, Shyama, Ramesh Dev, Manorama, Mukri, Leela Mishra, Kamal Kapoor, Shivraj, Paro, Narbada Shankar, Mumtaz Begum, Raj Kishore, Jankidas, Ravikant, Prabhat Kumar, Habeeb, and Guddi.

The song is written by Anand Bakshi and the music composition is by Laxmikant Pyaarelal. We have three singing voices in this song – Mohammed Rafi, Asha Bhosle and Mukesh. Interestingly, Asha ji’s voice is used as playback for three artists on screen – Padmini, the child actor Bobby who plays the role of child Krishna in this song, and Bharati. Rafi Sb’s voice is used for playback for Mehmood and Mukesh’s voice for Vinod Khanna. Another dear song that I was not aware that it has not yet been posted here.

Interesting part of the song – it uses four different folk dance forms. Initially it is the typical filmi style choreography that is used. Then later in the song, we see the four flavors, and the language of the chorus also gets modified accordingly. First we have the typical Brij rendition and folk dance. Then we have the Punjabi bhangra and Punjabi words in the chorus. This is followed by Gujarati dandia raas, with Gujarati words in the chorus. And then we have the Maharashtra folk dance steps, and Marathi words in the chorus. Very interestingly done. 🙂

Greetings for the festival yet once more before the day is out. Well, it is still daytime in other parts of the world. Khyati Ben is probably just in the process of waking up, and for her, the planning and cooking and the celebration is still to happen. 🙂 Krishna makes his appearance for the festivities and we all wish everyone, a very happy and colorful ambiance of this festival to last and continue through to the next year. And then, we shall have more songs to post. 🙂

Happy Holi.

Song – Nand Laala. . . Holi Khelen Biraj Mein Dhoom Machi Hai (Mastaana) (1970) Singer – Mohammed Rafi, Asha Bhosle, Mukesh, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Male Chorus
Female Chorus
All Chorus

Lyrics (Provided by Prakashchandra)

hoyye
nandlaala
holi khele
biraj mein dhoom machhi hai
nandlaala
holi khele
biraj mein dhoom machhi hai

heyye
sa ra rara rara rara rara rara
sar se paaon tak bheej gayi brij baala
ara rara rara rara
beech dagar mein
raadhaa ko rang daala
daala
nandlaala
holi khele
biraj mein dhoom machhi hai
nandlaala
holi khele
biraj mein dhoom machhi hai

ho sa ra rara rara rara rara rara
goraa mukh
neelaa peelaa kar daalaa
ara rara rara rara
bhaago daudo
aayaa murli waala
laala
nandlaala
holi khele
biraj mein dhoom machhi hai
nandlaala

gagari phodoonga
main na chhodoonga
gagari phodoonga
o main na chhodoonga
tu aagey daudegi
main peechhe daudoongaa..aa
gagari phodoonga
main na chhodoonga
tu gokul ki ek gujariyaa
main mathura ka gwaalaa
tera mukhda kyon goraa
jab mera mukdaa kaalaa
kaalaa
nandlaala
holi khele
biraj mein dhoom machhi hai
nandlaala

holi khelenge
jhaanjhar waali se
holi khelenge
jhaanjhar waali se
o hum kya darte hain
kisi ki gaali se..ae
holi khelenge
jhaanjhar waali se
haayye rey barjori
peechhe pad gaya ye matwaalaa
tooti meri kaanch ki choodi
gir gaya kaan ka baala
baala
nandlaala
holi khele
biraj mein dhoom machhi hai
nandlaala
holi khele
biraj mein dhoom machhi hai
nandlaala

sa ra rara rara rara raa. . .

holi
nandlaala
holi khele
biraj mein dhoom machhi
holi nandlaala

aa ho
nandlaala
holi khele
biraj wich dhoom machhi
aa ho
nandlaala

bhaa lo
nandlaala
holi ramey
biraj maa dhoom machhi
ke bhaalo
nandlaala

aa laa
nandlaala
holi kheru
brij nu raas ho la
aa laa
nandlaala

hoo ooo
ooo ooo ooo oooooo oo

rangey ik rang mein
o apne begaane
ho rangey ik rang mein
o apne begaane
to kaise phir koi
kisi ko pehchaane..e..e
rangey ik rang mein
ho apne begaane
saamne jo bhi aaya
hum ne kuchh na dekha bhaala
dusman ke bhi galey mein hum ne
daal di prem ki maala
maala

nandlaala
holi khele
biraj mein dhoom machhi hai

ik maati ke hum putle
(nandlaala. . . holi khele)
ye kehta hai mastaana
(biraj mein dhoom machhi hai)
bhed bhaav jo mann mein rakhe
(nandlaala. . . holi khele)
wo paagal deewaana
(biraj mein dhoom machhi hai)

nandlaala
holi khele
biraj mein dhoom machhi hai

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

होये॰ ॰ ॰
नंदलाला
होली खेले
बिरज में धूम मची है
नंदलाला
होली खेले
बिरज में धूम मची है

हेय॰ ॰ ॰
स र रर रर रर रर रर
सर से पाँव तक भीज गई ब्रिजबाला
आरा रारा रारा रारा
बीच डगर में
राधा को रंग डाला
डाला
नंदलाला
होली खेले
बिरज में धूम मची है
नंदलाला
होली खेले
बिरज में धूम मची है

हो स र रर रर रर रर रर
गोरा मुख
नीला पीला कर डाला
आरा रारा रारा रारा
भागो दौड़ो
आया मुरली वाला
लाला
नंदलाला
होली खेले
बिरज में धूम मची है

गगरी फोड़ूंगा
मैं ना छोड़ूंगा
गगरी फोड़ूंगा
ओ मैं ना छोड़ूंगा
तू आगे दौड़ेगी
मैं पीछे दौड़ूंगा
गगरी फोड़ूंगा
मैं ना छोड़ूंगा
तू गोकुल की एक गुजरिया
मैं मथुरा का ग्वाला
तेरा मुखड़ा क्यों गोरा
जब मेरा मुखड़ा काला
काला
नंदलाला
होली खेले
बिरज में धूम मची है

होली खेलेंगे
झांझरवाली से
होली खेलेंगे
झांझरवाली से
ओ हम क्या डरते हैं
किसी की गाली से
होली खेलेंगे
झांझरवाली से
हाये रे बरजोरी
पीछे पड़ गया ये मतवाला
टूटी मेरी काँच की चूड़ी
गिर गया कान का बाला
बाला
नंदलाला
होली खेले
बिरज में धूम मची है
नंदलाला
होली खेले
बिरज में धूम मची है
नंदलाला

स र रर रर रर रर रर

होली
नंदलाला
होली खेले
बिरज में धूम मची है
होली नंदलाला

आ हो
नंदलाला
होली खेले
बिरज विच धूम मची
आ हो
नंदलाला

भालो नंदलाला
होली रमे
बिरज मा धूम मची
के भालो नंदलाला

आला नंदलाला
होली खेरू
बिरज नू रास हो ला
आला नंदलाला

होss ओss
ओss ओss ओss ओsssss ओs

रंगे इक रंग में
ओ अपने बेगाने
हो रंगे इक रंग में
ओ अपने बेगाने
तो कैसे फिर कोई
किसी को पहचाने॰॰ए॰॰ए
हो रंगे इक रंग में
अपने बेगाने
सामने जो भी आया
हमने कुछ ना देखा भाला
दुसमन के भी गले में हमने
दाल दी प्रेम की माला
माला

नंदलाला
होली खेले
बिरज में धूम मची है

इक माटी के हम पुतले
(नंदलाला॰ ॰ ॰ होली खेले)
ये कहता है मस्ताना
(बिरज में धूम मची है)
भेद भाव जो मन में रखे
(नंदलाला॰ ॰ ॰ होली खेले)
वो पागल दीवाना
(बिरज में धूम मची है)

नंदलाला
होली खेले
बिरज में धूम मची है

Tags: 1970, Anand Bakshi, Asha Bhosle, Bharati, Bobby, Laxmikant Pyaarelal, Mastaana, Mehmood, Mohammed Rafi, Mukesh, Padmini, Vinod Khanna

Rang ude rangon mein dil dooba

Posted by: Atul on: March 21, 2019

Blog Day :

3898

Post No. :

14944

Movie Count :

4083

India is a country of festivals. India is also a country of colours. So, it follows naturally that there should be a festival of colours as well in India. Indeed that is the case and that festival is called Holi.

Today (21 march 2019) is Holi, the festival of colour. Holi is the most favourite festival as far as Hindi aand other Indian language movies are concerned. This festival offers all the opportunities that Hindi movie makers so look forward to, viz to slip in a song and dance situation.

Hindi movie makers want a situation where both genders should be seen dancing together, teasing each other, taking liberties with each other, and yet the other party not objecting- this festival offers all these opportunities, possibilities and more. No wonder Hindi (and Indian) movie makers have utilised Holi festival opportunities to the full and continue to do so. Even new Hindi movies, who are otherwise known for forgettable songs in them continue to come up with Holi songs that manage to be longer lasting that other songs of the movie. Take the example of the Holi song that Sudhir Jee posted first thing in the morning. It is a song from 2013. I was not aware of this song and even Sudhir Jee became aware of the song only a while back, but what a song it is! Here is a song from this century where lyrics is the star just like how it used to be in the Golden era of HFM.

This is the eleventh Holi for this blog. Since this festival is the MFF (most favourite festival) of Hindi movies so one can be certain to have a steady supply of Holi festival songs to cover in the blog, even though we have already covered most well known Holi songs including timeless Holi songs.

As many as 57 Holi songs have been covered in the blog so far on 10 previous occasions, which works out to a whopping average of nearly six holi festival songs each year (5.7 per holi day, to be precise)! It is a higher average than the daily post average of the blog (3.8 songs per day) at the moment.

Different festivals remain topical for different duration of time. If we do not post a writeup within this time then the post loses its relevance. In case of Holi, it is the first half of the day mostly when people are mostly in festive mood, though it spills over to the afternoon as well. Same is the case for Republic day and Independence day as well, where Indians feel at their most patriotic during the first half of the day !

It is already afternoon, and I should have been prompt like Sudhir Jee, who scheduled his Holi festival song for posting early in the morning , after dong all the writeup earlier. I, on the other hand find myself behaving like a student who is trying hard to study his text books after the time is all but over. 🙂

I have Prakashchandra for my rescue though. He has sent so many Holi festival songs that they will easily last me a few more Holi festivals.

If Sudhir Jee chose a Holi song from 21st century, I have chosen a Holi festival song from 1981, when the Golden Era of HFM had just ended and baton was being exchanged between Golden era artists and non golden era artists so to say.

“Aapas Ki Baat”(1981) was produced by Salim Akhtar and directed by Harmesh Malhotra for Citizen pictures, Bombay. The movie had Raj Babbar, Poonam Dhillon,Shakti Kapoor, Bharat Kapoor, Huma Khan, Narendranath, Asrani,Dina Pathak, Purnima,Abhi Bhattacharya, Kalpana Iyer, Madhu Malhotra, Bhushan Tiwari,Janaki Dass,Ajay, Sunder, Azad Irani, Rammurti Chatrurvedi, Sunder Taneja, Dolly, Khushboo,Moolchand, Kirti,Goga Kapoor etc in it.

The movie had five songs in it.

This Holi song from “Aapas Ki Baat”(1981) is the first song from the movie to get covered in the blog. This song is sung by the Golden Era singers viz Kishore Kumar and Asha Bhonsle with chorus. Lyrics are by Anjaan. Music is composed by Anu Malik.

The song is picturised on Raj Babbar and Kalpana Iyer with lots of other dancers. Asrani, Moolchand, Bhooshan Tiwari etc are prominently visible alongwith others.

Lyrics of this song were sent to me by Prakashchandra, who as is his wont, specially mentioned that the audio is a bit longer than the video version. Incidentally the video of this song has ended up becoming rare to find.

With this song, “Aapas Ki Baat”(1981) makes its debut in the blog.

I take this opportunity to wish everyone a happy and safe Holi.

Audio

Video

Song-Rang ude rangon mein dil dooba (Aapas Ki Baat)(1981) Singers-Kishore Kumar, Asha Bhonsle, Lyrics-Anjaan, MD-Anu Malik
Male Chorus
Female chorus
All chorus
Kishore Kumar + Chorus

Lyrics(Provided by Prakashchandra)

ho ho
ho ho
ho ho
ho ho
ho ho
ho ho
(aa aa aa aa)
ho ho
ho ho
ho ho
aa aa aa aa
ho ho
ho ho
ho ho
aa aa aa aa
ho ho
ho ho
ho ho
aa aa aa aa

hoyye ae ae ae

rang ude rangon mein dil doobaa
rangilaa dil dhoondhe mehboobaa
hey
rang ude rangon mein dil doobaa
rangeelaa dil dhoondhe mehboobaa

hey hey he he
ae hey hey ae ae ae hmm…hmmm..hmmmm
laaa laalala
lala laa aa aa
lalalala
hoyye

udaake gori gulaabi ghunghtaa tu
milaake nazar lagaa de thumkaa tu
udaa ke gori gulaabi ghunghtaa tu
milaake nazar lagaa de thumkaa tu
chehre pe zulfein bikhraa ke
patli kamar yoon lachkaa ke
zaraa hans ke ae
zaraa hans ke bijli chamkaa tu
udaa ke gori gulaabi ghunghtaa tu
milaa ke nazar lagaa de thumkaa tu oo
rang ude rangon mein dil doobaa
arrey rangeelaa dil dhoonde mehboobaa hoyye
rang ude rangon mein dil doobaa
hey rangeelaa dil dhoondhe mehboobaa

ho ho ho
ho ho ho
ho ho ho
ho ho ho

ho o o
na naa na na na na na na na na naaaaaaa
ghunghtaa uthhaa toh machal jaaogey
haayye
lachke kamar toh phisal jaaoge
haayye
o
ghunghtaa uthhaa toh machal jaaogey
hoyye
lachke kamar toh phisal jaaogey
nashe mein aaj ho tum (hic)
bade naadaan ho tum(hic)
nashe mein aaj ho tum
bade naadaan ho tum
takraanaa hamse sambhal ke
mere roop ke nashe mein
nashe mein
nashe mein bhatkaa tu
meri zulf mein deewaane attkaa tu
chehre pe zulfein bikhraa ke
patli kamar yoon lachkaa ke
zaraa hans ke bijli chamkaa tu…oo
rang ude rangon mein dil doobaa
arrey rangeelaa dil dhoondhe mehboobaa ( hoyye)
ha ha ha
rang ude rangon mein dil doobaa
hey rangilaa dil dhoondhe mehboobaa..aa

hey ae hum aaj hadd se guzar jaayenge
jee naa sakenge toh mar jaayenge
hum aaj hadd se guzar jaayenge (hoyye)
jee naa sakenge toh mar jaayenge ae
kissi pe jo na mare
arrey woh khaakh jiye
kissi pe jo na mare
arrey woh khaakh jiye
jeenaa hai sholon mein jal ke ae
tujhe kya pataa kaisse
kaisse
kaisse behkaa tu
haseen aag mein kaisse dehkaa tu
aanchal gulaabi lehraa ke
patli kamar yoon lachkaa ke
zaraa hans ke bijliyaan chamkaa tu
udaa ke gori gulaabi ghunghtaa tu
milaa ke nazar lagaa de thumkaa tu..oooo
rang ude rangon mein dil doobaa
arrey rangilaa dil dhoonde mehboobaa ha ha ha(hoyye)
rang ude rangon mein dil doobaa
hoyye rangilaa dil dhoonde mehboobaa

oyye dil doobaa
arrey meri mehboobaa
hoyye hoyye hoyye hoyye
arrey dil doobaa
ae meri mehboobaa
brrrrrr…rrrrrrrr
hoo hoo
hoo hoo
hoo hoo

Tags: 1981, Aapas Ki Baat, Anjaan, Anu Malik, Asha Bhonsle, Asrani, Bhushan Tiwari, Kalpana Iyer, Kishore Kumar, Moolchand, Raj Babbar

Balam Pichkaari Jo Tu Ne Mujhe Maari

Posted by: skapur01 on: March 21, 2019

Blog Day :

3898

Post No. :

14943

Movie Count :

4082

Colorful greetings to all readers and friends. May this festival of colors, bring happiness and good health, to yourself, and to everyone you know. 🙂 May these colors multiply and spread good cheer across every day in the calendar.

Happy Holi to all.

On this blog, we are celebrating the eleventh iteration of this festival. Statistics is one thing – apart from that, the wonderful fact is that the songs of Holi in Hindi films, seem like a supply with no end. Of course yes, when the films and their directors continue to add more songs celebrating this festival every year.

I bring to your attention, this wonderfully fabulous song of the spirit of Holi, from a really very recent film – ‘Ye Jawaani Hai Deewaani’ from 2013. This film was one of the most successful films of that year, and I am sure you must be aware of it, even though it is possible that your tastes and preferences are rooted in the 1940s and 50s which is the gold standard for melody and music in Hindi films. However, that does not mean that music of the decades after the golden . . . – well it does deserve credit. It does catch your attention, and the music and songs still grow into your mind to become darling memories.

Although I have myself not been paying much attention and time to the music of the current years. But quite decidedly, along comes a film with a blast of music that forcefully captures your attention, and insists on becoming part of your list of favorites. Something quite of this sort happened with this 2013 film, for me. And it started very much with this song.

After a long time, I must say, that I have encountered a song of this festival, that simply takes your breath away. The spirit of celebration, and all the emotions that uniquely make this festival what it is – is not so totally and carefully represented every time. But surely, this song does it.

There is color, lots and lots of it.
There is water – it starts off with that.
There is cheer – for every person who is part of this song, and everyone else who may be listening and enjoying it.
There is music – yes of course.
There is dancing – goodness you must be kidding.
There is ‘bhaang’, and there is noise.
There is a large dipping pool – nay, a large dunking pool.
Oh yes, there is “छेड़ छाड़” – chhed chhaad, there is “ज़ोर ज़बरदस्ती” – zor zabardasti.
There are fair maidens running away to save themselves from being smothered with color and water.
And there are insistent and forceful young charmers who will not take ‘no’ for an answer. Or rather they do not even care what the answer is – they will force the color into your face and hair. They will chase you, and run you down, and cuddle you – and they will be more insistent, the more resistance one puts up.
There are drums.
There is singing – very loud, yes.
There is nonsense lyrics – like “लट्टू पड़ोसन की भाभी हो गई” – lattu padosan ki bhabhi ho gayi.
There are meaningful verses – “ज़ुल्मी ये हाजिर जवाबी हो गई. . .” – zulmi ye haazir jawaabi ho gai.
There is “नोक झोंक” – nok-jhonk – that is very verbal and very physical too.
There is humor, and there is suggestive propositioning – like “अरमानों में बेहिसाबी हो गई” – armaanon mein behisaabi ho gai.
And there is flights of fancy.
And there is uncharacteristic expressions of festivity from unexpected quarters
And there is a glimmer of surprised realizations.
The matters of heart, unexpressed, are just beneath the surface sheen.
And of course there is a shock of unexpected and amazing realizations – yes, this could surely be it.
There is joy of shared happinesses.
There is a loud cheer of good spirit.
And everything, each and every one of these ingredients put together into the mix to convince you – yayyy, it is Holi – get colored, and get wet, very wet.

Amazing, simply and truly amazing – after a long time, comes along a new sound that astonishes the mind with the honesty with which the true spirit of the festival is so sweetly captured. Needless to say it – but yes, I am quite truly floored.

I have not yet seen the complete film. I got introduced to the songs of this film over the past many months. Especially this Holi song was forcefully dumped into my notice just about a year ago, yes around the last iteration of this celebration. Enthused as I was, I could not make and present a post in time for the festival; now coming around to it after a wait of a full year. Even with this passage of time, the charm of this song has not diminished even one bit. I simply do not seem to be getting enough of this song. 🙂

The lyrics are written by Amitabh Bhattacharya and the music is by Preetam. Singing voices are of Vishal Dadlani and Shalmali Kholgade. On screen, the song is performed by Deepika Padukone, Ranbir Kapoor, Kalki Koechlin, Aditya Roy Kapoor and a ton of dancers. Deepika and Ranbir are so truly convincing in the complete free form enjoyment in this song. The movie makes its debut on our blog with this song.

Wishing a grand celebration of this festival today, to all friends and readers. Go out, get doused in colors, make up some fun lyrics – like “लट्टू पड़ोसन की भाभी हो गई” types, and sing it out at the top of the voice. It does not matter – it is Holi. Just down one glass of bhang and then blame it for everything. 😀 😀 😀

Happy Holi – – – celebrate.

Song – Balam Pichkaari Jo Tu Ne Mujhe Maari (Ye Jawaani Hai Deewaani) (2013) Singer – Shalmali Kholgade, Vishal Dadlaani, Lyrics – Amitabh Bhattacharya, MD – Preetam
Chorus

Lyrics

abbey chashmish

kaun chashmish

holi hai. . .

itna mazzaa
kyon aa raha hai
tu ne hawa mein bhaang milaaya

itna mazzaa
kyon aa raha hai
tu ne hawa mein bhaang milaaya
duguna nasha
kyon ho raha hai
aankhon se meetha tu ne khilaaya
ho teri malmal ki kurti gulaabi ho gai
tu chali chaal jaise nawaabi ho gai
to
balam pichkaari
jo tu ne mujhe maari
to seedhi saadi chhori sharaabi ho gai
o jean pehan ke
jo tu ne maara thumka
to lattu padosan ki bhabhi ho gai
balam pichkaari
jo tu ne mujhe maari
to seedhi saadi chhori sharaabi ho gai
o jean pehan ke
jo tu ne maara thumka
to lattu padosan ki bhabhi ho gai

teri kalaai hai
haathon mein aai hai
maine maroda to
lagti malaai hai
mehnga padega ye
chaska malaai ka
upvaas karne mein
teri bhalaai hai
ho bindiya teri marhagaabi ho gai
ke armaanon mein behisaabi ho gai
teri to
balam pichkaari
jo tu ne mujhe maari
to seedhi saadi chhori sharaabi ho gai
o jean pehan ke
jo tu ne maara thumka
to lattu padosan ki bhabhi ho gai

kyon no vacancy ki
hothon pe gaali hai
jab ke tere dil ka
kamra to khaali hai
mujhko pata hai re
kya chaahta hai tu
boli bhajan teri
neeyat qawwaali hai
zulmi ye haazir jawaabi ho gai
tu to har taale ki aaj chaabi ho gai
o o
balam pichkaari
jo tu ne mujhe maari
to seedhi saadi chhori sharaabi ho gai
o jean pehan ke
jo tu ne maara thumka
to lattu padosan ki bhabhi ho gai

balam pichkaari
jo tu ne mujhe maari
to seedhi saadi chhori sharaabi ho gai
o jean pehan ke
jo tu ne maara thumka
to lattu padosan ki bhabhi ho gai

haan bole re zamaana kharaabi ho gai

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

अबे चशमिश

कौन चशमिश

होली है॰ ॰ ॰

इतना मज़ा
क्यों आ रहा है
तूने हवा में भांग मिलाया

इतना मज़ा
क्यों आ रहा है
तूने हवा में भांग मिलाया
दुगुना नशा
क्यों हो रहा है
आँखों से मीठा तू ने खिलाया
हो तेरी मलमल की कुर्ती गुलाबी हो गई
तू चली चाल जैसे नवाबी हो गई
तो
बलम पिचकारी
जो तूने मुझे मारी
तो सीधी साड़ी छोरी शराबी हो गई
ओ जीन पहन के
जो तूने मारा ठुमका
तो लट्टू पड़ोसन की भाभी हो गई
बलम पिचकारी
जो तूने मुझे मारी
तो सीधी साड़ी छोरी शराबी हो गई
ओ जीन पहन के
जो तूने मारा ठुमका
तो लट्टू पड़ोसन की भाभी हो गई

तेरी कलाई है
हाथों में आई है
मैंने मरोड़ा तो
लगती मलाई है
महंगा पड़ेगा ये
चसका मलाई का
उपवास करने में
तेरी भलाई है
हो बिंदिया तेरी महारगाबी हो गई
के अरमानों में बेहिसाबी हो गई
तेरी तो
बलम पिचकारी
जो तूने मुझे मारी
तो सीधी साड़ी छोरी शराबी हो गई
ओ जीन पहन के
जो तूने मारा ठुमका
तो लट्टू पड़ोसन की भाभी हो गई

क्यों नो वेकेंसी की
होठों पे गाली है
जब के तेरे दिल का
कमरा तो खाली है
मुझको पता है रे
क्या चाहता है तू
बोली भजन तेरी
नीयत क़व्वाली है
ज़ुल्मी ये हाजिर जवाबी हो गई
तू तो हर ताले की आज चाबी हो गई
ओ ओ
बलम पिचकारी
जो तूने मुझे मारी
तो सीधी साड़ी छोरी शराबी हो गई
ओ जीन पहन के
जो तूने मारा ठुमका
तो लट्टू पड़ोसन की भाभी हो गई

बलम पिचकारी
जो तूने मुझे मारी
तो सीधी साड़ी छोरी शराबी हो गई
ओ जीन पहन के
जो तूने मारा ठुमका
तो लट्टू पड़ोसन की भाभी हो गई

हाँ बोले रे ज़माना खराबी हो गई

Tags: 2013, Aditya Roy Kapur, Amitabh Bhattacharya, Deepika Padukone, Kalki Koechlin, Preetam, Ranbir Kapoor, Shalmali Kholgade, Vishal Dadlani, Ye Jawaani Hai Deewani

Mhaare Rajasthan maa

Posted by: Atul on: March 20, 2019

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

Blog Day :

3897

Post No. :

14942

———————————————–
Blog 10-Year Challenge (2009-19) – Song No. 19
————————————————

Today’s song that I am presenting here is a very special song for me as it is about Rajasthan, a place that I am quite fondly attached to thanks to my stay at Kota, Rajasthan.

I had considered this song under my series ‘Desh Ki Mitti Ki Khushboo’ earlier but that could not materialise.

When I took up this series, I though of discussing songs dealing with folklore, talk about folktales, folksongs, culture, traditions, customs of our Country, patriotic songs, songs be based on historical events and yes geographical settings of our country too.

Even songs based on art and crafts of our country, if any are suitable candidates for inclusion in this ‘Desh Ki Mitti Ki Khushboo’ series. So far three songs have been covered under that series and hopefully I will try to bring more in future.

Coming back to the song of this, it falls under another series namely ‘blog ten-year challenge(2009-2019)’.

Songs from following movies were posted ten years ago on 20.03.2009 on the blog;

‘Kaaliya-1981’
‘Manpasand-1980’
‘Sahib Bahadur-1977’
‘The Great Gambler-1979’
‘Lamhe-1991’
‘Shahjahan-1946’

Out of the abovementioned six movie half of them i.e. three have already been covered with all of their songs posted on the blog viz. ‘Kaaliya-1981’, ‘The Great Gambler-1979’ and ‘Shahjahan-1946’.

The other three movies thus ‘qualify’ for the ‘blog ten-year challenge’. Today I am presenting a song from ‘Lamhe-1991’.
I also like songs from ‘Manpasand’ and ‘Sahib Bahadur’ and wish I could have presented a song from each of them as well 🙂

***

My working life started at the age of 17, with a small company (Nagpur based), at Parli-Vaijnath (Marathwada-Maharashtra) at a Thermal Power Station. When the contract of this company was completed, my boss had ensured that I get a job in a Delhi based company, so that I could continue working and get settled in my professional life.

I have mentioned i in one of my earlier post that the first thing that came to mind on the mention of Delhi was that I will get to see Delhi and other places of our great country. It actually happened and I got the chance to visit New Delhi many times thereafter and travelled a lot to different places due to my postings and official work.

I was enjoying all the travel, even though they were sometime troublesome and uncomfortable, as I was interested in seeing important places of historical and other significance. I was also getting the opportunity to observe the rich historical and cultural heritage our country hase, observe people of diverse areas who spoke different dialects and followed different customs and traditions. That interest and enthusiasm continues even now and I think that I have yet to cover a lot of ground as far as visiting different places in India are concerned.

My first ‘out of Maharashtra’ posting was at the company work site at Kota, Rajasthan.

Here I would also like to mention that fortunately I got site postings at places which were nearer to a city e.g. Phulpur near Allahabad, Aonla near Bareilly etc.

On Nov 30th 1988 late evening, I landed at Kota and stayed there till 14th Aug 1996, when I left for Phulpur-Allahabad.

I have many fond memories of my stay at Kota (and would like to share them in future posts as possible, as they cannot be concluded in just one post here).

While I enjoyed my working life, I did my studies as wello and completed my graduation through IGNOU there.

During my stay there I was always on the lookout for opportunities to visit historical places and tourist destinations, and in the process would buy books on tourism, atlas, maps etc etc.

Though I visited some of them; still many places continue to remain on my wish list till today.

When I rummaged through my travel books in my collection, I came across a book titled ‘Paryatakon ka Swarg- Rajasthan’, which I think I must have bought around 1989-90. Though the date of purchase is not marked there, I find some interesting notes on the index page of this book.
The index page mentions fifteen important places, which have separate chapters in the book, containing pictures and information of these places.

Out of these, Chittorgarh was my favorite and I visited the fort as many as three times in April & August’1992 and Nov’1993. I also travelled to the interior village Nimbaheda near Chittorgarh and stayed there with my friend, while visiting Nimach (MP) once.

I visited Jaipur in July 1990 and Udaipur and the fort at Bundi in August 1992.
(I remember that I visited Jaipur once again in 1994, but that was for an interview and not for sightseeing. So, this does not get into the list 🙂 )

Modern-day Rajasthan was formed on 1st November, 1956. Earlier it was known as ‘Rajputana’ the name given by the Britishers and it was formed on 30th March 1949 (ref – wiki)
It is also known as the ‘Princely State of India’ (Rajputana comprises as many as nineteen princely states (as per wiki).
Rajasthan is divided into thirty-three districts with seven Divisions viz. Jaipur, Udaipur, Ajmer, Jodhpur, Bikaner, Kota and Bharatpur.
By area it is the largest state of India followed by Madhya Pradesh and Maharashtra.

Rajasthan has its glorious history, culture and traditions and so we have many festivals that are celebrated with huge grandeur and enthusiasm.

Hindi films have from time to time included stories and songs based on Rajasthani culture and traditions.
(And since more songs – based on Rajasthan- can be included in this series in future posts I have numbered this post as #Rajasthan-1#)

I watched ‘Lamhe-1991’ at Kota and again twice at Indore when I was travelling for Parli-Vaijnath via Indore-Purna junction. It was after three years that I was going to home since I landed at Kota in 1988. (my parents visited me once in between).

The ‘metre-gauge’ train travel also is one other subject that I wish to cover in another post, so many memories coming back to mind now …
I liked the movie ‘Lamhe’ very much then and also its songs which brings back many memories for me. The film has been shot at many fascinating and beautiful locations of Rajasthan.

So, here is a song from this film ‘Lamhe-1991’ composed by Shiv-Hari and sung by Mohiuddin. Lyrics are by Anand Bakshi and this ‘folk based song’ is composed by Shiv-Hari. If we listen this ‘magical’ composition again and again it fills us with pride and make nostalgic about the ‘glorious’ past of the ‘princely’ state Rajasthan.

I am unable to recollect now when this song appears in the movie. However I think it is a background song. As of now only the audio of this song is available.

Earlier I could not get right words at few places so I contacted one of our senior guest members whom I met during the Mumbai Gang out in 2016 – Shri. Mahendra Bafna ji and he immediately responded to my request and guided me about the correct words in the lyrics.

Enjoy the song while remembering the glorious and colorful part of India- Rajasthan.

So far three songs from this movie have been posted on the blog.

Audio

Song-Mhaare Raajasthan maa (Lamhe)(1991) Song-Mohiuddin, Lyrics-Anand Bakshi, MD-Shiv Hari

Lyrics

Aa aa aa aa aa
aa aa aa
Mhaare Rajasthan maa aa aa aa
Sarson ka nahin khet
Sone si chamke pan
Registaan ki ret

Itni prem kahaaniyaan aa
Kitney ae yuddh sangraam
Rajasthan ke naam se ae ae
ho o
Judey hain binke naam

Laal jyaada hain bahot
Ho o o
Apne khoon ka rang
Ho o o
Pyaar kiyaa to pyaar kiyaa aa aa
Jang kari to jang

Jaise pyaar mein dil diyaa aa aa aa
Yuddh mein di yoon jaan
Ho o o o
Kyun na ham par garv kare ae ae
Saaraa Hindustaan

(Note: jude hai binke naam – unke naam – binke is a word in Rajasthani folk for ‘unke)

———————————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
———————————————————–
आ आ आ आ
आ आ आ आ
म्हारे राजस्थान मा आ आ आ
सरसों का नहीं खेत
सोने सी चमके पण
रेगिस्तान की रेत

इतनी प्रेम कहानियां
कितने युद्ध संग्राम
राजस्थान के नाम से ए ए
हो ओ ओ
जुडे है बिनके नाम
लाल ज्यादा है बहोत
हो ओ ओ
अपने खून का रंग
हो ओ ओ
प्यार किया तो प्यार किया आ आ
जंग करी तो जंग

जैसे प्यार में दिल दिया आ आ
युद्ध में दी यूं जान
हो ओ ओ
क्यूँ न हम पर गर्व करे ए ए
सारा हिन्दुस्तान

Tags: 1991, Anand Bakshi, Lamhe, Mohiuddin, Shiv Hari

Hum Hain Tumhaare Tum Hamaare

Posted by: skapur01 on: March 20, 2019

Blog Day :

3897

Post No. :

14941

Movie Count :

4081

Missing Films of 1960s – 97
– – – – – – – – – – – – – – –

Goodness, what a lovely duet this one is. The film is ‘Sampooran Teerath Yatra’ from 1970. I have heard of this film earlier, but never did get an opportunity to listen to its songs. As I planned to bring this film on board in this series, I was checking out the songs of this film. And when I played this duet, I am verily bowled over by the sweetness of this composition.

The film is produced by Roopesh Pictures, Bombay. Now this is a very interesting co-incidence that I notice. The previous song in this series, “Ae Aasmaan Waale Is Waqt Tu Kahaan Hai”, is from the film ‘Ziarat Gahe Hind’. As discussed in that write up, that film is a story of pilgrimage to the Muslim places of worship. Today’s film is a story of pilgrimage to the Hindu places of worship. And guess what, both are produced by the same company – Roopesh Pictures, Bombay. And both released in the same year – 1970. Very, very interesting. 🙂

The film ‘Sampooran Teerath Yatra’ is directed by Dhirubhai Desai. The cast of actors includes Sushma, Ashish Kumar, Jeevan, Niranjan Sharma, Anand Tiwari, SK Shukla, Sahu Modak, Lata Arora, Zeba, Radha, Rajshri, Pal Sharma, Vishnu Pandey, Hari Ram, Dalpat, Master Kukku, Vidya, Ramlal, Deenanath, and Dalda.

Geet Kosh lists 5 songs for this film. All the songs are written by Madan. The music is composed by Pt Shivram. The singing voices are of Mahendra Kapoor and Hemlata. On screen, the song is performed by Ashish Kumar and Sushma.

It appears to be a wedding night song. The couple is meeting for the first time in their private chambers. And they sing this duet of promises of love that go across the cycles of birth and death, and even transcends the aeons. It is such a beautifully constructed song, and has been equally charmingly rendered by Mahendra Kapoor and Hemlata. Mahendra ji is at his softest best – yes, actually in some places, the voice of Hemlata overshadows his voice.

A lovely song, a must listen.

Song – Hum Hain Tumhaare Tum Hamaare (Sampooran Teerath Yatra) (1970) Singer – Mahendra Kapoor, Hemlata, Lyrics – Madan, MD – Shivram
Mahendra Kapoor + Hemlata

Lyrics

aaa aaa aaaaaa aaa
aaa aaa aaaaaa aaa

hum hain tumhaare tum hamaare
hum jab jab lenge janam sansaar mein
jiyenge tere hi ho ke
marenge tere hi pyaar mein
hum hain tumhaare tum hamaare
hum jab jab lenge janam sansaar mein
jiyenge tere hi ho ke
marenge tere hi pyaar mein

aaa aaa aaaaaa aaa
aaa aaa aaaaaa aaa

akaash pe chalta chaand
dhara pe chalti meri
prem kahaani re sainyyaan
ho oo oo morey sainyyaan
is yug se kya yug yug se hamaari
preet puraani
ho sajni
preet puraani
ho oo oo mori sajni
milan ki madhur ghadi phir se aai hai
aao ye waada kar len hum
jiyenge tere hi ho ke
marenge tere hi pyaar mein
hum hain tumhaare tum hamaare
hum jab jab lenge janam sansaar mein
jiyenge tere hi ho ke
marenge tere hi pyaar mein

aaa aaa aaaaaa aaa
aaa aaa aaaaaa aaa

chaahe laakh uthe toofaan magar
mera saath naa chhoote
ho sainyyaan
saath naa chhoote
ho oo oo morey sainyyaan
ye jag roothe to roothe magar
mera pyaar na roothe
dekho ji
pyaar na roothe
ho oo oo mori sajni
sajan is dukh sukh ki duniya mein reh kar
jeeyenge jab tak tum aur hum
jiyenge tere hi ho ke
marenge tere hi pyaar mein
hum hain tumhaare tum hamaare
hum jab jab lenge janam sansaar mein
jiyenge tere hi ho ke
marenge tere hi pyaar mein

aaa aaa aaaaaa aaa
aaa aaa aaaaaa aaa

oo oo oo oooo oo
oo oo oo oooo oo

mmm mmmm mmmmm mm
mmm mmmm mmmmm mm

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

आs आs आsssss आss
आs आs आsssss आss

हम हैं तुम्हारे तुम हमारे
हम जब जब लेंगे जनम संसार में
जिएंगे तेरे ही हो के
मरेंगे तेरे ही प्यार में
हम हैं तुम्हारे तुम हमारे
हम जब जब लेंगे जनम संसार में
जिएंगे तेरे ही हो के
मरेंगे तेरे ही प्यार में

आs आs आsssss आss
आs आs आsssss आss

आकाश पे चलता चाँद
धरा पे चलती मेरी
प्रेम कहानी रे सैंया
हो ओ ओ मोरे सैंया
इस युग से क्या युग युग से हमारी
प्रीत पुरानी
हो सजनी
प्रीत पुरानी
हो ओ ओ मोरी सजनी
मिलन की मधुर घड़ी फिर से आई है
आओ ये वादा कर लें हम
जिएंगे तेरे ही हो के
मरेंगे तेरे ही प्यार में
हम हैं तुम्हारे तुम हमारे
हम जब जब लेंगे जनम संसार में
जिएंगे तेरे ही हो के
मरेंगे तेरे ही प्यार में

आs आs आsssss आss
आs आs आsssss आss

चाहे लाख उठे तूफान मगर
मेरा साथ ना छूटे
हो सैंया
साथ ना छूटे
हो ओ ओ मोरे सैंया
ये जग रूठे तो रूठे मगर
मेरा प्यार ना रूठे
देखो जी
प्यार ना रूठे
हो ओ ओ मोरी सजनी
सजन इस दुख सुख की दुनिया में रह कर
जिएंगे जब तक हम और तुम
जिएंगे तेरे ही हो के
मरेंगे तेरे ही प्यार में
हम हैं तुम्हारे तुम हमारे
हम जब जब लेंगे जनम संसार में
जिएंगे तेरे ही हो के
मरेंगे तेरे ही प्यार में

आs आs आsssss आss
आs आs आsssss आss

ओs ओs ओsssss ओss
ओs ओs ओsssss ओss

म्मम म्ममम म्मममम म्म
म्मम म्ममम म्मममम म्म

Tags: 1970, Ashish Kumar, Hemlata, Madan, Mahendra Kapoor, Pt Shivram, Sampooran Teerath Yatra, Sushma

Na Chaahoon Sona Chaandi

Posted by: skapur01 on: March 20, 2019

Blog Day :

3897

Post No. :

14940

The Many Colors of Love #29 – The Covenants of Love
– – – – – – – – – – – – – – – – – – – – – – – – – – – – –

And so wrote the scribe

kar le dil ka sauda dil se
dil milta hai mushkil se
(‘Yahudi Ki Ladki’, 1957)

The transactions of heart are bound, but by just one covenant – it is the treasures of heart in exchange only for treasures of heart. No other exchange is possible, no other exchange is expected, nothing else in this whole wide world can be traded for the treasures of heart. For those who may want to, or expect to transact this exchange for something else, then they do not understand the true meaning of love.

And this thought brings up this song today. The burden of this song reiterates this maxim –

deta hai dil de
badle mein dil ke
ghe ghe ghe ghe
ghe re saaiba
pyaar mein sauda nahin

For the longest of time, I was under the impression that this song is already posted. And the reason for that is, that the song “Jhooth Bole Kauwwa Kaate” has been around on the blog for almost two years now. Being familiar with the film, one clearly remembers that these two songs are tandem songs, presented on screen one after the other – rather one flows into the next. Yes, true that Geet Kosh lists these two songs separately, but somehow in my mind, I have carried this impression that these two are a single song.

So when I posted the song by Narendra Chancalon 10^th March (“Beshaq Mandir Masjid Todo“), and I reviewed the status of this film on our blog, I realized that this song is not yet posted – we are following the Geet Kosh convention. Since the day I have posted “Beshaq Mandir Masjid. . .”, it has been kind of an eagerness within, to see this movie yippeee’d here. Part of that is being surprised that songs of this film are not yet all on here.

This particular song is performed on screen by Premnath and Rishi Kapoor. We are into about a third of the film. The two young hearts are now committed to each other, beyond any repair. Although not of legal age yet, but they want to get married and be partners for life. Premnath is non-committal, in the sense that he would do whatever makes his daughter happy. Pran, on the other hand, is a calculating and a manipulative person, eyeing this relationship with suspicion. As he sees the intensity of his son’s emotions, he decides to make a manipulative move, in an attempt to drive a wedge between the young lovers.

He asks his son to invite his beloved and her family for dinner. The young man is extremely excited. Not worldly wise as his businessman father, he thinks his father is a great man and is agreeing with his son’s wishes and choice for a life partner. Little does he know what his father has planned.

With this joyful and amiable news, he rushes to his beloved’s home, to present the invite himself. At her place, a fishermen’s neighborhood, another wedding is in progress. The ambiance is celebratory. There is singing and dancing, congratulations and the auspicious throwing of rice – in short, the mood is just right to share the supposedly wonderful news.

Without much preamble, Rishi delivers the invite to Premnath. The latter accepts forthwith with the comment that for his daughter’s happiness, he will gladly bow his head at the door of anyone, but he will never bend his knees. And to explain his comment, he breaks out in this song – that in the matters of love it is only the treasure of the heart which is to be exchanged for another treasure of heart. There is no other bargaining chip in the matters of love. Rishi readily joins in this song – the theme is so easily understood and reflected in his own mind. For him too, love is simply a give and take of the treasures of the heart.

Manna Dey starts this song, giving playback for Premnath. Shailendra Singh joins in for Rishi Kapoor. As always, it is a delight to watch a song in an RK film. The complete scenario and the ambiance are so totally focused on the song, its emotions and its renditions. Midway through the song, Dimple makes an appearance, as she is preparing for the next part of the song – yes, “Jhooth Boley. . .”. She is just there for now, not participating – but her face, her eyes are going along with the song that her beau is singing. The emotions expressed by her are so endearing, so freshly young, as she coyly and silently expresses herself in response to the lines that Rishi is performing. This small interlude is so charming, so. . . so winning. Dimple simply stole a million hearts right here in this song. Yes – you guessed it right, I too was smitten, and was in love. 🙂

One word in the lyrics had intrigued me right from the start. It is the word ‘ghe’, ‘घे’. Over the decades, this word has been presented variously and almost always erroneously. Some lyrics wrote this down as ‘khe’, ‘खे’; other places would write it down as ‘le’, ‘ले’; even today, the hindi-geet-mala web page for this song has actually written it down as ‘khel’, ‘खेल’. Wonder how they got to it, it does not even fit into the rendered metre of this line.

Once the internet was available, I had done the search for this word in Konkani language. Given that the entire scenario was a Goan neighborhood, it was only logical to seek this word in the local lingua. In Konkani, the word ‘ghe’, ‘घे’ means ‘to take’. The expression follows the lines which say

deta hai dil de
badle mein dil ke

And the young man, and the chorus responds with

ghe ghe ghe ghe
ghe re saaiba

saying – hey young man, just take this bargain, take.. take.. take.. take.. Once this meaning is known, the lyrics fall in place so beautifully.

‘Bobby’ is so close to the heart, and I mean the film, and Bobby. It appeals to an age, a mind set, and emotions – that I am never going to grow out of. It is 1973 forever.

And the talisman for life is forever – “प्यार में सौदा नहीं”.

[Editor’s Note: The initial lines of this song, which are in Konkani, have been provided by Dr Pradeep Shetty ji, in his comment below. The line is now added to the lyrics below. Thanks Dr Pradeep ji.]

[Video – Song Reprised at the end of the film.]

Song – Na Chaahoon Sona Chaandi (Bobby) (1973) Singer – Manna Dey, Shailendra Singh, Lyrics – Vithalbhai Patel, MD – Laxmikant Pyaarelal
Chorus

Lyrics

aagey naari
tujya matyancha phoolan paaya saoree
aagey naari
tujya matyancha phoolan paaya saoree

laallallall laa la llallall laa llallall laa
laallallall laa la llallall laa llallall laa

[Dialogue between Premnath and Rishi Kapoor]

na chaahoon sona chandi
na chaahoon heera moti
ye mere kis kaam ke

aaaa aaaaa aaaaaaaa aaaa aaa

na maangu bangla baadi
na maangu ghoda gaadi
ye to hain bas naam ke

aaaaa aaaaaa

deta hai dil de
badle mein dil ke
deta hai dil de
badle mein dil ke
ghe ghe ghe ghe
ghe re saaiba
pyaar mein sauda nahin
ghe ghe ghe ghe
ghe re saaiba
pyaar mein sauda nahin

o lall o lall laa laa
lallal laa laa laa
lallaa laa laa laa laa laa
lallal lallal laa laa

na jaanu mulla qaazi
na jaanu kaaba kaashi
main to hoon prem piyaasa re
mere sapnon ki rani
hogi tum ko hairaani
main to tera deewaana re
deti hai dil de
badle mein dil ke
deti hai dil de
badle mein dil ke
ghe ghe ghe ghe
ghe re saaiba
pyaar mein sauda nahin
ghe ghe ghe ghe
ghe re saaiba
pyaar mein sauda nahin

pyaar mein sauda nahin

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

आगे नारी
तुज्या मात्यांचा फूलाँ पाया साओरी
आगे नारी
तुज्या मात्यांचा फूलाँ पाया साओरी

लाल्लल्लल्ल ला ल ल्लाल्लल्ल ला ल्लाल्लल्ल ला
लाल्लल्लल्ल ला ल ल्लाल्लल्ल ला ल्लाल्लल्ल ला

[प्रेमनाथ और ऋषि कपूर की बात चीत।]

ना चाहूँ सोना चाँदी
न चाहूँ हीरा मोती
ये मेरे किस काम के

आsss आssss आsssssss आsss आss

ना माँगूँ बंगला बाड़ी
ना माँगूँ घोड़ा गाड़ी
ये तो हैं बस नाम के

आssss आsssss

देता है दिल दे
बदले में दिल के
देता है दिल दे
बदले में दिल के
घे घे घे घे घे
घे रे सायबा
प्यार में सौदा नहीं
घे घे घे घे घे
घे रे सायबा
प्यार में सौदा नहीं

ओ लल्ल ओ लल्ल ला ला
लल्लल ला ला ला
लल्ला ला ला ला ला
लल्लल लल्लल ला ला

ना जानूँ मुल्ला क़ाज़ी
ना जानूँ काबा काशी
मैं तो हूँ प्रेम पियासा रे
मेरे सपनों की रानी
होगी तुमको हैरानी
मैं तो तेरा दीवाना रे
देती है दिल दे
बदले में दिल के
देती है दिल दे
बदले में दिल के
घे घे घे घे घे
घे रे सायबा
प्यार में सौदा नहीं
घे घे घे घे घे
घे रे सायबा
प्यार में सौदा नहीं

प्यार में सौदा नहीं

Tags: 1973, Bobby, Dimple Kapadia, Laxmikant Pyaarelal, Manna Dey, Premnath, Rishi Kapoor, Shailendra Singh, Vithalbhai Patel

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Balam Pichkaari Jo Tu Ne Mujhe Maari

Mhaare Rajasthan maa

Hum Hain Tumhaare Tum Hamaare

Na Chaahoon Sona Chaandi

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