Archive for the ‘Devnagri script lyrics by Sudhir’ Category
Mann Mandir Mein Aa Ja Sajanva Aa Ja
Posted on: May 26, 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.
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Blog Day : |
3964 | Post No. : | 15046 | Movie Count : |
4126 |
Today’s song is from an obscure film ‘Ye hai Zindagi’ from 1947.
Very few people must have heard about this film. That is probably because, it was made in 1947- the year of India’s Partition. As the year 1947 began, news was circulating about the partition. Like many other industries, film industry was also worried. There was an air of uncertainty. Who will stay and who will migrate was hotly debated in the privacy of homes, studios and clubs. People looked at each others with suspicion. Muslims were worried about their safety in India, in spite of the assurances by Gandhi and Nehru.
Crores of rupees were invested in films. After the second world war started in 1939, lot of black money was generated and much of it came into film industry. Investors, financiers and producers were worried about half made films. Everybody seemed to be in a hurry to finish his assignment on hand. Due to this, the quantity of films increased, sadly at the cost of quality. 1947 saw a record number of films made in 1947- 181 Hindi films, the highest ever since films were made. It took another 40 years to break this record in 1988, when 185 films were made.
Almost 75 to 80 % films of 1947 were obscure and forgotten within a short time.Films like ‘Aisa Kyun’, ‘Atom Bomb’, ‘Barrister’, ‘Beete Di’n, ‘Chalte Chalte’, ‘Chandrahaas’, ‘Dehati’, ‘Daulat Ke Liye’, ‘Extra Girl’, ‘Farz’, ‘Gaurav’, ‘Gudiya’, ‘Heera’, ‘Janata’, ‘Jhalak’, ‘Khandaani’, ‘Lalat’, ‘Manmaani’, ‘Mere Bhagwan’, ‘Mohan’, ‘Nai Baat’, ‘Pehla Pyar’, ‘Paro’, ‘Riwaaz’, ‘Shabari’, ‘Shahkaar’, ‘Tohfa’, ‘Toote Dil’, ‘Veerangana are some of the films made in 1947. How many of us even know about them? Actually, some of these were films in which well known and major stars of the times had acted. For example, ‘Mohan’ had Dev Anand as hero, ‘Lalat’ was the debut film of Usha Kiran (as Usha Marathe), Prem Adib and Vanmala had acted in ‘Chandrahaas’ etc.
Not that ALL films were bad. Certainly some famous and excellent films providing some milestones of Hindi cinema were also made in 1947, like ‘Aapki Sewa Mein’ (first Hindi playback song of Lata Mangeshkar), ‘Bela’ (all 10 songs by Zohrabai Ambalawali), ‘Dard’ (Debut song of Uma Devi), ‘Elaan’ (a bold Muslim social film by Mehboob Khan), ‘Jugnu’ (the only film of Dilip kumar and Noorjehan), ‘Meera’ ( all 18 songs by MS Subbulaxmi), ‘Mirza Sahibaan’ (last film of Noorjehan in India), ‘Neel Kamal’ (debut of Raj kapoor and Madhubala as lead pair), ‘Parwana’ (last film of KL Saigal), ‘Shaadi Se Pehle’ (first duet of Rafi and Lata) and ‘Shehnai’ (epoch making music by C Ramchandra).
Nevertheless partition did have an impact on the film industry, due to the migration of artistes from both countries. LAHORE, an important city in the undivided Punjab in the pre-independence days was one of the major film making centres in India. Talented actors and musicians from all Punjab and Sindh area tried their luck in the Cine Industry at Lahore. Nevertheless, the biggest centre of film production was Bombay and it was every aspiring artiste’s dream to go to Bombay and shine there.
Film ‘Ye Hai Zindagi’ (1947) was made in Lahore by Narang Productions – owned by SD Narang, actor, producer, director, studio owner, writer and lyricist too. The life story of Narang is simply fascinating. To know that such a highly qualified and educated person worked in films is in itself unbelievable. Here is his life story.
Here is a story which is stunning and unbelievable ! A young man was born on 18-6-1918, at Lyallpur, Punjab. He studied hard and got high education. First he did B.Sc., then completed M.B.B.S. and became a medical doctor. Later he submitted a thesis and got his Ph.D. All this from Lahore Medical College. He also wrote some research papers and 2 books. With this sparkling education, he could have had a luxurious living, but he chose to join the uncertain film world. True to his wont, he succeeded here too and became a hero, producer, director, studio owner, a lyricist and a writer.
Yes, in the early era of the late 30s,when educated people were a rarity, this highly qualified young man came into films. His name was SATYA DEV NARANG or simply, SD Narang (18-6-1918 to 25-1-1986 ). Here are some highlights of his life, adapted from site sdnarangsfan.com,
- During his life, from 1918 to 1986, he had served the Indian Film Industry, at three capitals of this industry, Lahore (1936 to 1946), Kolkatta (1947 to 1951) and Bombay (1952 to 1980), as hero, producer, director, writer and studio owner.
- He had the distinction of being the highest educated man in the film industry. He was B.Sc., M.B.B.S and Ph. D from Lahore Medical College.
- He had the credit of being the debut making leading man of ‘Khazaanchi’ which was the first Indian film to celebrate the Platinum Jubilee.
- He was the youngest leading man in Lahore, who played the lead in ‘Khazaanchi’, ‘Raavi Paar’, ‘Zamindar’, ‘Patwaari’, ‘Gawaandi’, ‘Thekedar’, ‘Sahara’, ‘Ye Hai Zindagi’ (his first venture as producer-director) and ‘Kamini’.
- In Kolkotta he produced ‘Chittagong Armoury Raid’, which was India’s ‘First Revolutionary Film’. He also produced ‘Nai Bhabhi’, ‘Ek Raat’, ‘Aprajitha’, and ‘Chiner Putuland’, and also played the leading roles in these films. Apart from his own movies, he played the lead in ‘Iran Ki Ek Raat’ and ‘Kajari’, which were produced by outside producers.
- After partition, he had to leave Lahore, like a refugee, leaving all his assets and immovable property behind him. With his hard work and experience once again he was able to establish himself as the hero, producer, director, writer and studio owner at Delhi. But the studio proved disaster in disguise for him. Being a soft hearted person, he was giving credit to the producers, who used to shoot their films in his studio. They duped him and he had to suffer heavy losses. With this bitter experience he left the city and entered the City of Dreams and the capital of entertainment, Bombay, in 1952.
- Being a passionate movie maker, SD Narang was able to get himself settled in Bombay, within a very short span of time. He had already dedicated himself for the service of silver screen. Once again he arose alive from his own ashes, like a phoenix.
- He made his presence felt in a big way in the big City of Bombay.
He produced and directed many films with big stars. In ‘Tanhaai’ and ‘Darbaan’ he played the leading role himself. Some of the important films produced by him in Mumbai include, ‘Arab Ka Saudagar’, ‘Yahudi Ki Ladki’, ‘Dilli Ka Thug’, ‘Sagaai’, ‘Babul Ki Kaliyan’, ‘Do Thug’, ‘Ram Kasam’, ‘College Girl’, ‘Do Ustad’, ‘Kismatwala’ and ‘Nishaanebaaz’. He had also produced ‘Shehnai’, which was India’s first Air-Force film. - He was also the producer of ‘Bombay Ka Chor’, which was India’s first ‘Holiday-on-Ice’ movie.
- He has also the credit of producing India’s first under-water movie, ‘Anmol Moti’ – a Jeetendra and Rekha starrer.
- The movie maker with Midas touch, Dr. SD Narang, had spent his 50 golden years of his cinematic profession, in the service of Silver Screen (1936-86).
- Before venturing into film industry as the leading man, SD Narang, had an aptitude for research and while studying in Lahore Medical College, he did research on ‘Binocular Theory Of Vision’, which was published in his college Magazine. He bagged the Ph. D and became the Doctor of Philosophy, though he was already a Doctor of Medicine.
- Apart from being the author of a novel ‘Hippy Aur Yogi’ and ‘Human Psychology’, he had written a most praiseworthy book, ‘An Introduction To The Theory Of Bio-Economics’. It was actually a new approach to diagnosis and cure of inflation and poverty. If applied this theory on present global financial crisis, it can change face of fiscal fate of the world.
- In 1960 he got married to actress of his time Smriti Biswas, with whom he had played the lead in many films. After her marriage she stopped to sign new films, and decided to play the roles of faithful wife and caring mother. She preferred to prepare food for his beloved sons Rajiv Narang and Satyajeet Narang.
The cast of this film consisted of M Ismail, Kalavati, Begum Parveen, Roofi, Abu Shah, MA Mirza, Bina, Ibrahim, Narang and others. Most of these migrated to Pakistan. The hero of the film was M Ismail.
M.Ismail was born in 1902 in a jeweller family of Lahore. He was a very good designer and calligrapher.
M. Ismail was a resident of the Inner Bhati Gate in Lahore. Well built and fair complexioned, Ismail had blue eyes, and was quite attractive. Mian Abdul Rasheed Kardar (the famous AR Kardar), also belonged to the same area in Lahore. M Ismail used to work as a golden calligrapher, while Kardar was involved in sketching and illustration.
They went to Bombay in 1927, and according to Ismail, he and Kardar played the role of Kaedoo and side hero respectively, in Imperial Company’s ‘Heer Ranjha’. But conditions weren’t helpful, and the two young men had to return to Lahore. Fortunately, for them, during 1928, Premier Film Company started a film called ‘Daughters Of Today’. Both Kardar and Ismail were inducted into the cast, but the film remained incomplete.
Later, Kardar learned production and became well known as a brilliant technician. Kardar established his own film making firm in 1930, called United Players Corporation, and cast Ismail in his early silent movies like ‘Mysterious Eagle’ aka ‘Husn Ka Daku’, which also had Kardar in a central role. Others in the cast were Gulzar Begum, Ghulam Qadir, Ahmed Deen and an American actress, Aeris Crawford. Ismail also acted in Kardar’s film, ‘Safdar Jang’, and both these early silent films were very successful. This led Kardar to cast him in ‘Shepherd King’ (‘Gadarya’) and ‘Golden Dagger’ (‘Sunehri Khanjar’). In those days, every film used to have an English title and an Urdu one.
After ‘Alam Ara’ (1931) opened the way for talkies, Ismail became even more popular. In Kardar’s ‘Hoor e Punjab’, an adaptation of Heer Ranjha, Ismail again played the role of Kaedoo, the intriguing ice uncle of Heer, which he repeated yet again later, in film ‘Heer Siyal’, with his characteristic style. His other films in India include ‘Alif Laila’, ‘Dekha Jaega’, ‘Mast Faqeer’, ‘Raja Gopi Chand’, ‘Prem Pujari’, ‘Watan Parast’, ‘Sohni Mahiwal’, ‘Laila Majnoon’, ‘Zamindar’ and others.
In 1948, M Ismail came to Pakistan, and immediately got offers from seniors like Nazir, whose films, ‘Pherey’, ‘Laarey’, ‘Anokhi Dastaan’ and ‘Shehri Babu’ included him in their cast. His first film here was ‘Hichkole’ (1949). Observing his work, another promising and experienced director, Anwar Kamal Pasha offered him some good roles. His films – ‘Ghulam’, ‘Gumnaam’, ‘Qatil’, ‘Inteqam’ and others were the earliest hits of Pakistan. Luqman also cast him in ‘Patan’, and ‘Mehbooba’ was another one that was appreciated.
Similarly Nazeer Ajmeri’s ‘Qismat’ and ‘Paigham’, Munshi Dil’s ‘Hasrat’ and ‘Ishq e Laila’ and SM Dar’s ‘Saltanat’ and ‘Dulla Bhatti’ were also amongst his famous movies. His other films were ‘Darwaaza’, ‘Subah Kaheen Sham Kaheen’, ‘Patey Khan’, ‘Piya Milan Kee Aas’, ‘Jameela’, ‘Bada Aadmi’, ‘Zehr e Ishq’ and many others. M Ismail was a charming person, with a rural simplicity and a very forgiving disposition. Endearingly called Bhaiyya jee in the industry, M Ismail’s roles of good hearted, forgetful, careless and sometimes cynical man were the best that he did. But, in many films, he performed a perfect villainish role, including the earlier mentioned, ‘Hoor e Punjab’, which had a historic role of Kaedoo. This one was only bettered later, by that most sterling artiste, Ajmal, who made Kaedoo legendary with his gestures in Khwaja Khurshid Anwar’s ‘Heer Ranjha’.
In ‘Yamla Jat’ and ‘Khazaanchi’, in India, he did very fine title roles, while K Asif’s ‘Phool’ portrayed him as an old hakeem from Turkey, which he did to perfection. As a villain in Indian film, ‘Wamiq Azra’, he presented an individual style, with his full facial expressions. By full facial expressions means that most artistes use the eyes and the forehead, but M Ismail, with a tremendous mobility of his motor mouth, his sagging cheeks and his prominent and protruding jowls, used a tremendous expanse of his face, which aided him in doing old men’s roles very early in his career.
In those days, there was much importance of finding a characteristic face for films and not handsome or beautiful faces, which is the trend today. That was the reason that more such fine artistes were available to the screen. In Nazeer Ajmeri’s ‘Qismat’, he played a unique role of a man, who is too forgetful to even remember his own name. It was a most hilarious performance from a truly talented actor of his times. M Ismail got a Presidential Award for this role in ‘Qismat’.
His last film in Pakistan was ‘Maan Jawaani Da’ (1976) – released after his death. He died on 22-11-1975 at Lahore.
The music was composed by Baba GA Chishti, who too migrated to Pakistan. Unlike many others, he became a successful composer in Pakistan. He spent his last years as a Faqir.
Today’s song is sung by an unknown female voice and chorus. The lyricist is also not known. Actually there were 3 Lyricists in this film, namely Arsh Lakhnavi, GA Chishti and Pandit Madhur. However, HFGK does not provide any information on singer or the Lyricist.
(I am thankful to Narang’s site, Cineplot, Film Directory-1946, and my notes for information used herein.)
Song – Mann Mandir Mein Aa Ja Sajanva Aa Ja (Ye Hai Zindagi) (1947) Singer – Unattributed, Lyrics – Unattributed, MD – GA Chishti
Chorus
Lyrics
mann mandir mein aa ja sajanva aa ja
aa ja
nainan beech samaa ja
sajanva aa ja
aa ja
mann mandir mein aa ja sajanva aa ja
aa ja
nainan beech samaa ja
sajanva aa ja
aa ja
tere bina mann doley
haan doley
tere bina mann doley
bhed na kholey
kachhu na boley
aaa aaa aaa
tere bina mann doley
bhed na kholey
kachhu na boley
mann ki dheer bandha ja
sajanva aa ja
haaaaaan aaaaaaaa
mann ki dheer bandha ja
sajanva aa ja
nainan beech samaa ja
sajanva aa ja
aa ja
mann mandir mein aa ja sajanva aa ja
aa ja
nainan beech samaa ja
sajanva aa ja
aa ja
kyon tu ne mukh moda
haan moda
kyon tu ne mukh moda
mera dil toda
saath kyon chhoda
haaaaaan aaaaaaaa
kyon tu ne mukh moda
mera dil toda
saath kyon chhoda
itni baat bataa jaa
sajanva aa ja
haaaaaan aaaaaaaa
itni baat bataa jaa
sajanva aa ja
nainan beech samaa ja
sajanva aa ja
aa ja
mann mandir mein aa ja sajanva aa ja
aa ja
nainan beech samaa ja
sajanva aa ja
aa ja
joban par din aaye
haan aaye
joban par din aaye
jiya ghabraaye
aap na aaye
haaaaaan aaaaaaaa
joban par din aaye
jiya ghabraaye
aap na aaye
aa ja mere raja
sajanva aa ja
haaaaaan aaaaaaaa
aa ja mere raja
sajanva aa ja
nainan beech samaa ja
sajanva aa ja
aa ja
mann mandir mein aa ja sajanva aa ja
aa ja
nainan beech samaa ja
sajanva aa ja
aa ja
mann mandir mein aa ja sajanva aa ja
aa ja
nainan beech samaa ja
sajanva aa ja
aa ja
———-————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
———————————————————-
मन मंदिर में आजा सजनवा आ जा
आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा
मन मंदिर में आजा सजनवा आ जा
आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा
तेरे बिना मन डोले
हाँ डोले
तेरे बिना मन डोले
भेद ना खोले
कछु ना बोले
आ आ आ
तेरे बिना मन डोले
भेद ना खोले
कछु ना बोले
मन की धीर बंधा जा
सजनवा आ जा
हाँ आ
मन की धीर बंधा जा
सजनवा आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा
मन मंदिर में आजा सजनवा आ जा
आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा
क्यों तूने मुख मोड़ा
हाँ मोड़ा
क्यों तूने मुख मोड़ा
मेरा दिल तोड़ा
साथ क्यों छोड़ा
हाँ आ
क्यों तूने मुख मोड़ा
मेरा दिल तोड़ा
साथ क्यों छोड़ा
इतनी बात बता जा
सजनवा आ जा
हाँ आ
इतनी बात बता जा
सजनवा आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा
मन मंदिर में आजा सजनवा आ जा
आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा
जोबन पर दिन आए
हाँ आए
जोबन पर दिन आए
जिया घबराए
आप ना आए
हाँ आ
जोबन पर दिन आए
जिया घबराए
आप ना आए
आ जा मेरे राजा
सजनवा आ जा
हाँ आ
आ जा मेरे राजा
सजनवा आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा
मन मंदिर में आजा सजनवा आ जा
आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा
मन मंदिर में आजा सजनवा आ जा
आ जा
नैनन बीच समा जा
सजनवा आ जा
आ जा
- In: "pardesi" song | Calling the beloved | Devnagri script lyrics by Sudhir | Expecting the beloved | expression of love | Feelings of heart | Guest posts | Lata solo | Lata song | Lyrics contributed by readers | Party song | Post by Sudhir | Separation song | Songs of 1970s (1971 to 1980) | Songs of 1971 | 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 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 : | 3963 | Post No. : | 15044 |
Songs Repeated in Hindi Films – 1
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Reading the title of the post, you must be wondering – “ये क्या हो रहा है?” (“What is this going on?”). This song – who says this song is not yet posted. Goodness, this film is yippeee’d long back. So why are we re-posting this song? Sudhir seems to have taken up certain vice (or vices) with unlikeable after effects. 😀 😀
Well, no and yes. No – I have not taken up any such vices 🙂 that may impair my abilities to make decisions about posting songs. And yes – this song, from film ‘Madhumati’ of 1958, is already posted here on our blog. The film ‘Madhumati’ made its debut here on 1st May, 2009. The eleven songs of this film made their appearances over the subsequent four plus years, and film was yippeee’d on 4th Jul, 2013. This song originally appeared on 3rd May, 2009. ‘Madhumati’ is a done deal.
Of course your question still remains – “ये क्या हो रहा है?”. The answer to that follows.
I will try to make the long story short. Beginning of this month, Bakshi ji and I were in Bombay, to attend the annual two day seminar titled ‘Cine Music Beyond Entertainment’, which is arranged by our friend Shri Kushal Gopalka, every year. In one of the post session discussions, I came to know about a very interesting anecdote. The session was on the life and work of music director Vasant Desai.
The anecdote is about the 1971 film ‘Guddi’. The Geet Kosh lists three songs for this film,
The first two songs are penned by Gulzar. The third is a traditional bhajan, written by Meerabai, one of the greatest saints of the Bhakti Movement in India, which originated in India in the eighth century AD. Meerabai, who belonged to the royal family of Mewar (in Rajasthan) spent her time here on this sub continent, in the fifteenth century AD. Music for these three songs is composed by Vasant Desai. All three songs are in the voice of Vani Jairam. When the film released in theaters, it had only these three songs in it.
Now, one of the supervisory activities that the producer and distributor staff undertake, especially in the first one or two weeks of the film exhibition, is that they go to select cinema halls where the film is being shown. They will be present in the hall as the film is being shown, and they will also mingle with the crowd during intermission and at the end of the film. The objective is to pick up and gather live feedback about the film from the audience. It helps them to make some choices and educated decisions about the future exhibition plans.
One thing that happened during this exercise was that the team gathered feedback that sounded negative. One part was the use of only one playback voice, and that too a very fresh debut. Plus the overall summary of live audience feedback sounded disheartening and negative. Immediate discussions happened involving Hrishikesh Mukherji, the producers (Rupam Chitra) and the distributors. One recommendation that came out of these discussions was to somehow modify the mix of songs in the film. It was felt that the bhajan song (of Meerabai) should go. What should replace it? How to create a new song for the film at a short notice? Please note that this description of events is for the very first one or two days after the release of the film.
One of the recommendations from the distributors was to include another song, preferably by Lata Mangeshkar. After quick discussions, it was decided to re-use the song of ‘Madhumati’. I really wonder how fast the decision and action taken process worked. Approvals were sought and taken – Bimal Roy’s estate, Salil Chowdhury et al. The team was reassembled, and the song was picturised. Apparently, the Meera bhajan was in the same setting in the film. At the party, Jaya Bhaduri is performing the Bhajan by Meerabai – “Hari Bin Kaise Jiyun Ri” – an expression of her waiting for Samit to come to the party. This song from ‘Madhumati’ fitted the emotional-expression criteria to the T.
The song was picturzed, it was edited into the film, replacing the bhajan, the censor certificate for revision to the film was applied for and taken. Multiple copies of the revised reel of the film was quickly processed and produced on emergency basis, and distributed to the theatres for immediate change to the film being shown. How fast this whole process worked – one may gauge the speed and success of this whole exercise from the fact that the revision appeared in the theatres before the first week of exhibition was complete, i.e. within the first 5 or 6 days only.
Now, interestingly, Vasant Desai was away from Bombay at that time. Important point to note is that this whole decision making and replacement process happened without the involvement of Vasant Desai, the music director.
Possibly many of our learned friends in this musical bandwagon may already be aware of this. I was not, so this was a startling discovery for me. I must add hurriedly that yes, I have seen this films, possibly more than once, but somehow I do not carry any memory of this song being present in this film.
The booklets of the film do not contain this song. And hence, the Geet Kosh also does not list this song. This song does not appear on the EPs/LPs of this film. This song has no other status in relation to this film, except that yes, it is included in the film. The credits at the beginning of the film remain unchanged. Vani Jairam is the only playback voice, and Vasant Desai is the sole music director. And so, the video of this song is the only evidence that this song is present in the film.
A very, very interesting episode. For me, it brought into very sharp focus, an idea that songs from earlier films are at times, re-used in later films. Before this discussion happened in Bombay, I was aware of one or two such instances. They were just interesting trivia in the mind. After this discussion highlighted this activity so sharply, an idea started to form in my mind. I started to search for more such instances. I searched through my own memory, I researched the remarks and footnotes in the Geet Kosh, and I discussed this with friends and collectors in our group and in my circle, trying to gather more information about such re-use of songs. And when I am able to gather a sizeable list, the thought came to the mind – this is a new series to discuss this very interesting facet of the Hindi film music.
As I am gathering information about such instances, I also became aware af the various modes of re-use. Yes, the re-use happens not only just ‘as is’, but there even are further variations on how this re-use may occur. As we proceed with the series, I will be highlighting and discussing these different re-use ‘styles’. It does make for a very interesting discussion.
And so, here is the first offering of this series. The song from ‘Madhumati’ of 1958 is re-used – as is, ditto, no change – 13 years later in ‘Guddi’ of 1971. Ah, I must correct myself. One change does happen. The original song in ‘Madhumati’ has three stanzas. The re-use version in ‘Guddi’ has only two stanzas. The first stanza of the ‘Madhumati’ version is left out.
This is the very first re-use ‘style’ – the song has been directly used and copied as is. No alterations, no additions, no other changes. Just get approvals, and simply insert the earlier song, as it fits into the storyline. This is the simplest form of re-use. I will be presenting more such instances moving forward.
So view this associated video clip, and listen to the original recording of this song, now being lip synced by Jaya Bhaduri. The scenario is so utterly different. The original setting in ‘Madhumati’ is mountains, forests, river and waterfall. The entire natural surroundings seem to be participating in the earlier picturization of the song. In this later ‘Guddi’ incarnation, this is just a song being sung at a party. The performer, very naturally, is just standing still, as the audience simply watches and waits for the song as it progresses. Absolutely minimal activity and movement in this scene.
Besides Jaya, we can also see Sumita Sanyal, Utpal Dutt and Vijay Sharma in the clip, as family members watching the impromptu performance. Samit Bhanj, for whose benefit and in whose wait, this song is being performed, is seen arriving at the party, just as the song gets started, and he thoughtfully waits just outside the entrance to the room, listening to the song being performed. Amongst the guests at the party, there are many familiar faces – of junior artists that are part of such scenes in films. But their names remain obscure.
Before I close this write-up, another very interesting aside. The film ‘Guddi’ has already been yippeee’d on our blog, as of 20th March, 2013. That is, as per the Geet Kosh list of songs. But now, we have one more additional song from this film. A repeat, but nonetheless another song that is part of this film, performed by the actor(s) in this film. Another cateogry called for – ‘yippeee+‘ – finding more songs in a film that are officially listed for the film. 😀 😀 I am sure there are more than one such instances earlier also, when songs for certain films have been posted that do not appear in the official list of songs.
So. . . starting this interesting journey of repeat songs in Hindi films. I hope this thread will interest you.
Song – Aaja Re Pardesi Main To Kab Se Khadi Is Paar (Guddi) (1971) Singers – Lata Mangeshkar, Lyrics – Shailendra, MD – Salil Chaudhry
Lyrics
aa jaa re. . . ae ae ae
pardesi
main to kab se khadi is paar
ye ankhiyaan thak gayin panth nihaar
aa jaa re. . . ae ae ae
pardesi
main to kab se khadi is paar
ye ankhiyaan thak gayin panth nihaar
aa jaa re. . . pardesi
tum sang janam janam ke phere
bhool gaye kyun saajan mere
tum sang janam janam ke phere
bhool gaye kyun saajan mere
tadpat hoon main saanjh sawere oo oo
aa jaa re main to kab se khadi is paar
ye ankhiyaan thak gayin panth nihaar
aa jaa re. . . ae ae ae
pardesi
main nadiya phir bhi main pyaasi
bhed ye gehra baat zara si
main nadiya phir bhi main pyaasi
bhed ye gehra baat zara si
bin tere har saans udaasi oo oo
aa jaa re main to kab se khadi is paar
ye ankhiyaan thak gayin panth nihaar
aa jaa re. . . ae ae ae
pardesi
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
आ जा रे॰ ॰ ॰ ए ए ए
परदेसी
मैं तो कब से खड़ी इस पार
ये अखियाँ थक गईं पंथ निहार
आ जा रे॰ ॰ ॰ ए ए ए
परदेसी
मैं तो कब से खड़ी इस पार
ये अखियाँ थक गईं पंथ निहार
आ जा रे॰ ॰ ॰ ए ए ए
परदेसी
तुम संग जनम जनम के फेरे
भूल गए क्यों साजन मेरे
तुम संग जनम जनम के फेरे
भूल गए क्यों साजन मेरे
तड़पत हूँ मैं साँझ सवेरे ओ ओ
आ जा रे मैं तो कब से खड़ी इस पार
ये अखियाँ थक गईं पंथ निहार
आ जा रे॰ ॰ ॰ ए ए ए
परदेसी
मैं नदिया फिर भी मैं प्यासी
भेद ये गहरा बात ज़रा सी
मैं नदिया फिर भी मैं प्यासी
भेद ये गहरा बात ज़रा सी
बिन तेरे हर सांस उदासी
आ जा रे मैं तो कब से खड़ी इस पार
ये अखियाँ थक गईं पंथ निहार
आ जा रे॰ ॰ ॰ ए ए ए
परदेसी
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 : | 3963 | Post No. : | 15043 |
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Blog 10-Year Challenge (2009-19) – Song No. 32
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Another date, and another look at our blog’s history. Ten years ago – well just a thought came to mind. If, say, we were more than two decades active with this blog, and then this idea occurred that we should start looking at our history, then guess, what would be the title of this series. 🙂 🙂 Nothing so straightforward as ‘Blog 10-Year Challenge’. The title then would be ‘Bees Saal Baad’. Sadly enough, there is no film in Hindi cinema history that talks something about a 10 year gap. 😀 😀
Coming to 25th May of 2009. Quite as regularly, six songs were posted that day. The films covered were
- Patita 1953
- Shabnam 1964
- Main Suhaagan Hoon 1964
- Ganwaar 1970
- Naina 1973
- Asha 1980
Of these six films, all but one have already been yippeee’d. The one remaining film is ‘Naina’ from 1973.
This film is one of those which suffered delays because of the unexpected departure of Rajshri from India. Rajshri, daughter of V Shantaram from his second wife Jaishree, made her debut as a child artist at the age of 4, in V Shantaram’s film – ‘Dr Kotnis Ki Amar Kahani’ (1948). She continued to appear in child roles for the next decade or so, all appearances in her father’s films – ‘Bhool’ in 1949 and ‘Subah Ka Taara’ in 1954. In 1961, she appears in a side role in the film ‘Stree’.
Her break in commercial cinema other than her father’s productions came in 1963, when she was cast opposite to Manoj Kumar in two films ‘Ghar Basa Ke Dekho’ and ‘Grahasthi’. Then in 1964, V Shantaram produced another musical spectacle – ‘Geet Gaaya Patthron Ne’, in which he cast Rajshri opposite to Jeetendra in his debut role as a hero. The same year we also see her in ‘Ji Chaahta Hai’ with Joy Mukherji and ‘Shehnai’ with Biswajit. Her career seems to be taking off well, as she is being actively cast opposite to the top line leading men in the industry.
1965 she gets into top casting with Shammi Kapoor in ‘Jaanwar’. The same year, we have another Biswajit starrer – ‘Do Dil’. The next year, she makes her presence felt with ‘Mohabbat Zindagi Hai’, working opposite to Dharmendra. In the same year, another film with Biswajit – ‘Sagaai’. About this time, the preparations are on for a supposed blockbuster, a film that went to multiple foreign locations, stringing in a loose story and a large cast of actors, led by Raj Kapoor and Rajshri. She was really in the top bracket now. Being the leading lady with Raj Kapoor as the hero, was still a big thing at that time.
But then, destiny intervened. Working on locations in the US, she met with an American young man – Greg Chapman, and promptly fell in love. They got married in 1969, and off she went and settled in the US – in Los Angeles, where she still lives with her husband, together managing their clothing business. A number of producers in Bombay got badly hit by this move, with the films and projects that had been launched and even partly made, with Rajshri in the lead. There was a lot of mixed press that happened at that time, when she announced to just up and leave India, and leave her work and career too.
In 1967, two films were released – ‘Dil Ne Pukaara’ with Shashi Kapoor, and ‘Gunahon Ka Devta’ with Jeetendra. In 1968 came ‘Brahmchari’ again with Shammi Kapoor, probably the last film that she completed before her departure from India. In 1968, also came ‘Suhaagraat’ working with Jeetendra again. I remember clearly, in one of the film magazines, maybe Madhuri or some other – a photograph of Rajshri appeared. And the caption of that photo was – “सुहागरात पूरी हो या न हो, मैं तो चली।” (“Whether Suhaagraat (literally the nuptial night) is accomplished or not, I am going”). That caption drew a lot of attention at that time. Essentially, the shooting work of ‘Suhaagraat’ was not complete when she left. The producer and director somehow assembled the material that was already shot, and then improvised to complete the rest of the scenes without the physical presence of Rajshri. E.g. the song “Ho Ganga Maiya Main Jab Tak Ki Paani Rahe” – just view the video of this song. Except for a couple or three close ups which seem to be stock shots from some other scene, in the scenes where Rajshri’s presence is required, the director has been clever enough to not close up the camera to the lady’s face. In the entire song one does not get to see clearly, the face of the lady in white. In one of the scenes a lady’s hands are shown carrying flowers and running towards the River Ganga – the face of the lady is not shown. This entire song was improvised, as were few other shots in the film.
Now coming to ‘Naina’. The release date of this film as 1973 anyway sounds dubious since Rajshri had already left India in 1969-70 time frame. I remember having read, once again in film magazine of that era, that the producer, sitting on a partially completed film, and having failed to convince Rajshri to cooperate to get it to completion, made a decision to modify the storyline, include an accidental death of the character played by Rajshri, bring in another female lead – Moushumi Chatterji, bring in one more dancer – Padma Khanna, and completed the film. The film in its final production was very different from the original conception. A couple of songs and some scenes with Rajshri are retained. And the rest of the storyline was changed and re-shot. And yes, Moshumi Chatterji gets the top billing, ahead of Rajshri.
The film is produced by Shakti International and is directed by Kanak Mishra. Geet Kosh lists seven songs for this film, written by three songwriters – Hasrat Jaipuri, Indiwar and Kaifi Azmi. Music is by Shanker Jiakishan. The star cast is listed as Shashi Kapoor, Moushumi Chatterjee, Rajshri, Rehman, Akashdeep, Devid, Padma Khanna, Sanjana, Shaukat Kaifi, Praveen Pal, Madhumati, Jagirdar, Nagar, Samson, Firoza, Tirath, Paulson, Dhanraj, Sitaram, Krishan Kumar, Radheshyam, Jugnu, Darpan, Sidharth, Farida Jalal, and AK Hangal.
Coming to this song today. As I remembered, and then again scanned this film today, this song is not present in the film. Possibly this is another casualty of the change in storyline. The song is recorded and is part of the records that were released for this film. But it is not carried in the film.
The lyrics are written by Hasrat Jaipuri. Music is by Shanker Jaikishan – in all likelihood, this music would have been scored prior to the passing away of Jaikishan in 1971. The singing voice is of Sharda. The song is a sad, ‘chal ud ja re panchhi’ type of song. Maybe, after the change in storyline, the director found it difficult to fit it into the revised scheme.
A very well written, very well composed and very well sung song this one is. I am sure you will also like it very much.
Song – Mann Ke Panchhi Kahin Door Chal Door Chal (Naina) (1973) Singer – Sharda, Lyrics – Hasrat Jaipuri, MD – Shanker Jaikishan
Lyrics
hmmmm hmm hmmmmm hmmmmm
hmmmm hmm hmmmmm hmmmmm
mann ke panchhi kahin door chal door chal
is chaman mein to apna guzaara nahin
gair ki hai dagar
gair ka hai nagar
saans lene ka bhi ek sahaara nahin
mann ke panchhi kahin. . .
koi humdum nahin
na wafaadaar hai
zindagi ab to jeene se bezaar hai
koi humdum nahin
na wafaadaar hai
zindagi ab to jeene se bezaar hai
gham ke toofaan hain
jis taraf dekhiye
aur toofaan mein koi kinaara nahin
mann ke panchhi kahin door chal door chal
is chaman mein to apna guzaara nahin
mann ke panchhi kahin. . .
hum ne dekhe yahaan
pathhron ke sanam
pooj kar bhi jinhen
hum to pachhtaayen hain
hum ye dekhe yahaan
pathhron ke sanam
pooj kar bhi jinhen
hum to pachhtaayen hain
zindagi ke liye haath phailaayen hum
aisa jeena to hum ko gawaara nahin
mann ke panchhi kahin door chal door chal
is chaman mein to apna guzaara nahin
mann ke panchhi kahin. . .
ye zameen beraham
aasmaan pur-sitam
in hadon se bhi aage
nikal jaayen hum
ye zameen beraham
aasmaan pur-sitam
in hadon se bhi aage
nikal jaayen hum
aasmaanon pe bhagwan bhi khaamosh hai
aisi kismet hai koi hamaara nahin
mann ke panchhi kahin door chal door chal
is chaman mein to apna guzaara nahin
mann ke panchhi kahin door chal door chal
is chaman mein to apna guzaara nahin
gair ki hai dagar
gair ka hai nagar
saans lene ka bhi ek sahaara nahin
mann ke panchhi kahin. . .
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
हम्मममम हम्म हम्ममम हम्ममम
हम्मममम हम्म हम्ममम हम्ममम
मन के पंछी कहीं दूर चल दूर चल
इस चमन में तो अपना गुज़ारा नहीं
गैर की है डगर
गैर का है नगर
सांस लेने का भी एक सहारा नहीं
मन के पंछी कहीं॰ ॰ ॰
कोई हमदम नहीं
ना वफादार है
ज़िंदगी अब तो जीने से बेज़ार है
कोई हमदम नहीं
ना वफादार है
ज़िंदगी अब तो जीने से बेज़ार है
ग़म के तूफान हैं
जिस तरफ देखिये
और तूफां में कोई किनारा नहीं
मन के पंछी कहीं दूर चल दूर चल
इस चमन में तो अपना गुज़ारा नहीं
मन के पंछी कहीं॰ ॰ ॰
हम ने देखे यहाँ
पत्थरों के सनम
पूज कर भी जिन्हें
हम तो पछताए हैं
हम ने देखे यहाँ
पत्थरों के सनम
पूज कर भी जिन्हें
हम तो पछताए हैं
ज़िंदगी के लिए हाथ फैलाएँ हम
ऐसा जीना तो हमको गवारा नहीं
मन के पंछी कहीं दूर चल दूर चल
इस चमन में तो अपना गुज़ारा नहीं
मन के पंछी कहीं॰ ॰ ॰
ये ज़मीन बेरहम
आसमान पुर-सितम
इन हदों से भी आगे
निकल जाएँ हम
ये ज़मीन बेरहम
आसमान पुर-सितम
इन हदों से भी आगे
निकल जाएँ हम
आसमानों पे भगवन भी खामोश है
ऐसी किस्मत है कोई हमारा नहीं
मन के पंछी कहीं दूर चल दूर चल
इस चमन में तो अपना गुज़ारा नहीं
मन के पंछी कहीं दूर चल दूर चल
इस चमन में तो अपना गुज़ारा नहीं
गैर की है डगर
गैर का है नगर
सांस लेने का भी एक सहारा नहीं
मन के पंछी कहीं॰ ॰ ॰
- In: "Nok-Jhonk" song | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Gagariya Song | Guest posts | Kishore Kumar songs | Kishore Kumar-Asha Bhonsle duet | Lover's tête-à-tête | Lyrics contributed by readers | Post by Peevesie's mom | Songs of 1970s (1971 to 1980) | Songs of 1978 | Yearwise breakup of songs
- Leave a Comment
This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
3963 | Post No. : | 15042 | Movie Count : |
4125 |
Hullo to all Atulwaale
‘Daaku Aur Jawaan’ was a 1978 release. It was directed by Sunil Dutt and starred Reena Roy, Leena Chandavarkar, Bindu, Sunil Dutt, Vinod Khanna, Ranjeet, Om Prakash, Anwar Hussain, Kanhaiyalal, Asrani, Padma Khanna, Tun Tun, Sundar etc. Its music composers were Laxmikant Pyarelal and Anand Bakshi was the lyricist.
This is the story of the movie as given on Wikipedia-
Birju (Sunil Dutt) and Ramu (Vinod Khanna) are brothers and have a friendly bond with each other, They do a lot of pranks with the villagers, but the pressure of the landlord {Anwar Hussain) and the urban bad guy Bhairon Singh (Ranjeet) leads villagers to pay a fee for their lands to work on them. This leads Ramu to join the army as a Jawaan (Soldier). Bhairon Singh, with the help of Thakurain (Bindu) plans to frame Birju as a criminal on the night of Janamashtmi. Bhairon Singh brutally rapes Ganga (Reena Roy) and steals the entire wealth from the safe of her father. After getting raped by Bhairon Singh, Ganga commits suicide by jumping into the well. Bhairon Singh frames Birju for the rape and murder of Ganga and stealing the money. Birju is arrested by the police, but escapes and takes a pledge on Ganga’s funeral pyre that he will take revenge of her death and he turns into a Daaku (Dacoit). Ramu, in the war, is fighting against enemies, but gets back to his village after losing one leg. After a lot of turns and twists, Seeta (Leena Chandavarkar) finally reveals the truth that Bhairon Singh had raped Ganga and he has stolen all the wealth from her house with the help of Thakurain. When Birju comes to know about it, he beats Bhairon Singh in front of all the villagers and finally kills him by throwing him into the well where Ganga committed suicide. Now, Thakurain tries to kill Ramu, but Birju takes the bullet in his chest saving Ramu in the process. Thakurain is arrested by the police. Birju, finally breathing his last, requests Ramu to read the letter which was written by him. After listening to the letter from Ramu, Birju dies reuniting with Ganga in Heaven. In the end, Ramu marries Seeta and they lived happily ever after.
So that then seems to be a very normal Hindi film story where any reason is good enough for the hero to turn a ‘daaku‘. And I must say Sunil Dutt would have made an imposing daaku remembering him from all the daaku roles he had played starting from ‘Mother India’ (1957), – his first role as a daaku. Incidentally, in that films also, his role name is Birju. And to have Vinod Khanna play his brother would have been “a sight to soothe sore eyes”. Another of his earlier films in which he plays the role of daaku is ‘Mujhe Jeene Do’ in 1963.
Today on the death anniversaries of Laxmikant Shantaram Kudalkar (its 21 years today since his passing away) and Sunil Dutt (14 years today) let us have a song from this 1978 movie which will give us an idea of their talents at the height of their careers.
Also, with this post, the film ‘Daaku Aur Jawaan’ makes its debut on our blog.
Video
Audio
Song – Rakh Di Hai Beech Sadak Maine Gagariya (Daaku Aur Jawaan) (1978) Singer – Asha Bhosle, Kishore Kumar, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Lyrics
ho rakh di hai. . .
ho rakh di hai beech sadak maine gagariya
tod sakey to tod saanwariya
rakh di hai
haan haan rakh di hai
beech sadak maine gagariya
tod sakey to tod saanwariya
rok li hai
haan haan rok li hai
dekh maine teri dagariya
daud sakey to daud gujariya
rok li hai dekh maine teri dagariya
daud sakey to daud gujariya
rakh di hai
han haan rok li hai
naina jhuka ke jara baat kar
nakhra na aurat jaat kar
naina jhuka ke jara baat kar
nakhra na aurat jaat kar
naajuk kalaai toot jaayegi
toot jaayegi
na jor mardon ke saath kar
na jor mardon ke saath kar
chheen li hai
haan haan
chheen li hai maine teri dhaani chunariya
odh sakey to odh gujariya
rakh di hai beech sadak maine gagariya
tod sakey to tod saanwariya
rakh di hai
do bol kya boley pyqar mein
oye oye oye oye oye
akad gaya tu to bazaar mein
o muaa
do bol kya boley pyqar mein
hey..y..y
akad gaya tu to bazaar mein
o koi teri bandhi main nahin hoon
rahiyo na is aitbaar mein
rahiyo na is aitbaar mein
tod di hai
haan haan
tod di hai maine teri prem rasariya
jod sakey to jod saanwariya
rok li hai dekh maine teri dagariya
daud sakey to daud gujariya
rok li hai
haan
pakdoon kamar se uchhaal doon
dum kham tere sab nikaal doon
pakdoon kamar se uchhaal doon
dum kham tere sab nikaal doon
ho jiya chaahe le jaaun uthaaye ke
ho tujhe nadiya ke paani mein daal doon
nadiya ke paani mein daal doon
thaam liya
haaye re thaam liya maine tujhe
ban ke baawariya
chhod sakey to chhod
saanwariya
rakh di hai
beech sadak maine gagariya
tod sakey to tod
saanwariya
rok li hai
dekh maine teri dagariya
daud sakey to daud
gujariya
rakh di hai
haan haan rok li hai
———————————————————-
Hindi script lyrics (Provided by Sudhir Kapur)
———————————————————-
हो रख दी है॰ ॰ ॰
हो रख दी है बीच सड़क मैंने गगरिया
तोड़ सके तो तोड़ साँवरिया
रख दी है
हाँ हाँ रख दी है
बीच सड़क मैंने गगरिया
तोड़ सके तो तोड़ साँवरिया
रोक ली है
हाँ हाँ रोक ली है
देख मैंने तेरी डगरीया
दौड़ सके तो दौड़ गुजरिया
रोक ली है देख मैंने तेरी डगरीया
दौड़ सके तो दौड़ गुजरिया
रख दी है
हाँ हाँ रोक ली है
नैना झुका के जरा बात कर
नखरा ना औरत जात कर
नैना झुका के जरा बात कर
नखरा ना औरत जात कर
नाजुक कलाई टूट जाएगी
टूट जाएगी
ना ज़ोर मर्दों के साथ कर
ना ज़ोर मर्दों के साथ कर
छीन ली है
हाँ हाँ
छीन ली है मैंने तेरी धानी चुनरिया
ओढ़ सके तो ओढ़ गुजरिया
रख दी है बीच सड़क मैंने गगरिया
तोड़ सके तो तोड़ साँवरिया
रख दी है
दो बोल क्या बोले प्यार में
ओय ओय ओय ओय ओय ओय
अकड़ गया तू तो बाज़ार में
ओ मुआ
दो बोल क्या बोले प्यार में
हे॰॰ए॰॰ए
अकड़ गया तू तो बाज़ार में
ओ कोई तेरी बंधी मैं नहीं हूँ
रहियों ना इस एतबार में
रहियों ना इस एतबार में
तोड़ दी है
हाँ हाँ
तोड़ दी है मैंने तेरी प्रेम रसरिया
जोड़ सके तो जोड़ साँवरिया
रोक ली है देख मैंने तेरी डगरीया
दौड़ सके तो दौड़ गुजरिया
रोक ली है
हाँ
पकड़ूँ कमर से उछाल दूँ
दम खम मैं तेरे निकाल दूँ
पकड़ूँ कमर से उछाल दूँ
दम खम मैं तेरे निकाल दूँ
हो जिया चाहे ले जाऊँ उठाए के
हो तुझे नदिया के पानी में डाल दूँ
नदिया के पानी में डाल दूँ
थाम लिया
थाम लिया मैंने तुझे बन के बावरिया
छोड़ सके तो छोड़
साँवरिया
रोक ली है देख मैंने तेरी डगरीया
दौड़ सके तो दौड़
गुजरिया
रख दी है
हाँ हाँ रोक ली है’
Jaao Mere Devta, Jaao Mere Praan
Posted on: May 15, 2019
- In: "Ganga" song | Devnagri script lyrics by Sudhir | Guest posts | Inspirational song | Krishna Kalle solo song | Krishna Kalle songs | Lyrics contributed by readers | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1968 | Songs of Encouragement | Yearwise breakup of songs
- Leave a Comment
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.
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Blog Day : |
3953 | Post No. : | 15029 | Movie Count : |
4120 |
Missing Films of 1960s – 108
– – – – – – – – – – – – – – –
At 108, generally a maala is considered to be complete. So we are at the 108th episode of this series, searching for and bringing on missing films of 1960s on to our blog. Ah but, the homework is not still fully done. So there still are some films pending, to be taken care.
The story of the descent of the holy river Ganga, from the Baikunth Lok down to the earth, is very detailed and interesting. It spans four generations of kings belonging to the Suryavansh, the Sun Dynasty, in which later Lord Ram also appeared.
In the lineage of Suryavansh – Vivaswaan (also known as Vaivaswat Manu) is the son of Sun God. He had 10 sons. His second eldest son is Ikshvaku, from whom starts the primary lineage of the Sun Dynasty as we know it. His next in line is a son named Nimi. The lineage progresses and through more generations reaches Raja Harishchandra. The descendants of Raja Harishchandra in sequence, are Rohit, Vrishabh, Baahuk and then Sagar (‘सगर’).
Raja Sagar has two wives – Sumati and Keshini, but no children. Once Rishi Aurv (‘और्व’), passing through the kingdom, stayed at the palace and accepted the hospitality of Raja Sagar. When he was leaving, pleased by the selfless service done by the king, he asked the king to express his wish. The king of course expressed his desire to have sons so that his dynasty may continue. The Rishi blessed him, and said that one of his queens will give birth to one son. The second queen will be blessed with 60,000 sons. All of them will be brave and exceptional, but that they will be playful and short in temper.
With the passage of time, the blessing of the Rishi bore fruits, and the sons were born. Sumati gave birth to one sone Asmanja, and Keshini gave birth to 60,000 sons. Asmanja turns out to be a person with negative qualities.
Then after another passage of time, the King decided to conduct the Ashvamedha Yajna, to proclaim his sovereignty over all the land. The sixty thousand sons were given charge of protecting the horse of the Yajna. Now, Lord Indra, the king of the demigods, was envious of Raja Sagar. He decided to play a mischief. One night, as all the sons and soldiers were asleep, Indra stole the horse, took it, and tied it in the ashram of Kapil Muni, who was meditating at that time.
The army of 60,000 sons of Sagar reached Kapil Muni’s ashram in search of the horse. Finding the horse there, they jumped to the conclusion that Kapil Muni had stolen it. Muni was deep in meditation. Sagar’s sons started to rebuke him and call him names. They prodded him with their bows and disturbed him no end. Kapil Muni’s mediation was broken. He opened his eyes and looked at the army of 60,000 sons of Sagar. Such was the power in him, that by his mere glance, the 60,000 boys were burnt to death and turned into ashes.
When Sagar heard of this news, he was grief stricken. All his sons, save one, had perished without any proper samskaar etc. He consulted his Raj Purohit, Vashishth Muni. Vashishth said that the only way the perished sons could attain salvation was if the waters of the holy river Ganga was sprinkled on the ashes of the army of sons. For Raja Sagar, it was an unthinkable task. The grief took his life. His remaining son Asmanja was not a good person, and had been banished from the kingdom. But the son of Asmanja – Anshuman, turned out to be a very noble person. Sagar made him the King. Anshuman made a vow to bring water of Ganga to the earth. He forsook his kingdom and did mediation and penance all his life. But was not successful. He had one son, Dilip. The onus of accomplishing this task fell on to his shoulder. He too followed the path of meditation and penance, but quickly lost his health and passed away. The mantle for this task was now taken up by Dilip’s son, Bhagirath.
He prayed to Brahma for long years. Finally, Brahma was pleased, and he blessed Bhagirath with the promise that Ganga would descend from Baikunth and will come to earth. The narrative further tells us of the problem of the strength and volume of the flowing waters of Ganga. The earth or any person on earth could not withstand the force of the flow of Ganga. Then Bhagirath prayed to Lord Shiva, who agreed to let the holy river Ganga descend on to him, he would bear the main brunt of the force, and then the rest of earth and its people would then be blessed by it. There is a lot more detail in this narrative, appearing in multiple scriptures.
The film ‘Har Har Gange’ of 1968 is produced under the banner of Nitin Chitra and is directed by Babubhai Mistry. (Another film by the same name was produced in 1979, and that too is also directed by the same person.) The star cast of the 1968 film is listed as Jaishri Gadkar, Abhi Bhattacharya, Mahesh Kumar, Sulochana, Jeevan, Bharti, BM Vyas, Arvind Pandya, Uma Dutt, Vishwas, SN Tripathi, Sudarshan, Babu Raje, Tuntun, Paulson, Dalda Hindustani, Mahesh Bhatt, Rajkumar, Shri Bhagwan, Saraswati Devi, Bhairavi, Uma Khosla, Meena Pankaj, Malti Shashi, Master Gopi, Prakash, Munna Bagla, Madhumati, Bela Bose, and Helen.
The film has 6 songs, all penned by Kavi Pradeep. The music is composed by SN Tripathi. The song has been rendered by Krishna Kalle. The occasion seems to be that King Bhagirath is leaving the kingdom to go to the forest to do penance and to free his dynasty from the curse that 60,000 of his ancestors had brought upon themselves. From the words in the verses, it seems as if the song is being performed on screen by the wife of King Bhagirath. I have not been able to locate her name in the related information available. I would request other knowledgeable readers to please add this information if available.
With this song, the 1968 film ‘Har Har Gange’ makes its debut on our blog. With the publication of this post we are coming to the home stretch with this series. Now just 4 more films from the 1960s remain in this project. More details about that later.
Song – Jaao Mere Devta, Jaao Mere Praan (Har Har Gange) (1968) Singer – Krishna Kalle, Lyrics – Kavi Pradeep, MD – SN Tripathi
Chorus
Lyrics
jaao mere devta
jaao mere praan
karey ganga maiya tumhaara kalyan
sidhaaro hey praan dhan
rakho kul ki aan
karey ganga maiya tumhaara kalyan
har har gange. . .
har har gange
barson se hai ye duniya dukhi
mit jaana par karna is ko sukhi
rakhna hamaare aansoo ka maan
jaao mere devta
jaao mere praan
karey ganga maiya tumhaara kalyan
har har gange. . .
har har gange
parvat jo rokey to rukna nahin
bijli girey phir bhi jhukna nahin
rakhna hamesha hatheli pe jaan
jaao mere devta
jaao mere praan
karey ganga maiya tumhaara kalyan
sidhaaro hey praan dhan
rakho kul ki aan
karey ganga maiya tumhaara kalyan
har har gange. . .
har har gange
har har gange. . .
har har gange
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Hindi script lyrics (Provided by Sudhir)
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जाओ मेरे देवता
जाओ मेरे प्राण
करे गंगा मैया तुम्हारा कल्याण
सिधारो हे प्राण धन
रखो कुल की आन
करे गंगा मैया तुम्हारा कल्याण
हर हर गंगे॰ ॰ ॰
हर हर गंगे
बरसों से है ये दुनिया दुखी
मिट जाना पर करना इसको सुखी
रखना हमारे आँसू का मान
जाओ मेरे देवता
जाओ मेरे प्राण
करे गंगा मैया तुम्हारा कल्याण
हर हर गंगे॰ ॰ ॰
हर हर गंगे
पर्वत जो रोके तो रुकना नहीं
बिजली गिरे तो झुकना नहीं
रखना हमेशा हथेली पे जान
जाओ मेरे देवता
जाओ मेरे प्राण
करे गंगा मैया तुम्हारा कल्याण
सिधारो हे प्राण धन
रखो कुल की आन
करे गंगा मैया तुम्हारा कल्याण
हर हर गंगे॰ ॰ ॰
हर हर गंगे
हर हर गंगे॰ ॰ ॰
हर हर गंगे
- In: "Gramophone" song | Aansoo song | Devnagri script lyrics by Sudhir | Feelings of heart | Ghazal | Ghulam Ali Songs | Guest posts | How come this song was not posted earlier | Lyrics contributed by readers | MD-Singer Song | Missing the loved ones | Poignant Song | Post by Sudhir | sad song | Song of Memories | Songs of 1980s (1981 to 1990) | Songs of 1982 | 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 : | 3949 | Post No. : | 15025 |
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Blog 10-Year Challenge (2009-19) – Song No. 31
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Aah, the heady days of a decade before. Posting six songs was quite the norm. On 11th May, the following films got represented on the blog.
|
Mashaal |
1950 |
| Hamraaz | 1967 |
| Aankhen | 1968 |
| Parichay | 1972 |
| Ghar | 1978 |
| Nikaah |
1982 |
Believe it or not, except for ‘Ghar’, all the remaining films made their debut on the blog that day. As I check the record of the films over the intervening years, five of the films have completed their tenure, and all their songs are now showcased here. Just one of these films has not yet been yippeee’d. And that is ‘Nikaah’ from 1982.
When ‘Nikaah’ hit the theatres in 1982, it did create a popular flutter. The doe eyed Salma Agha caught the fancy of the audiences early on. For a brief time, she was quite a rage. Then, the second quality of this film, that drew crowds and appreciation, was the music and the songs. Practically all the songs were hits, and have enjoyed lasting popularity and appeal.
The film has six songs, and four of them have already occupied their places on the blog. Browsing the list, one is once again struck with wonderment and praise, for the songs are –
| Beete Huye Lamhon Ki Kasak Saath To Hogi |
| Dil Ke Armaan Aansuon Mein Beh Gaye |
| Fazaa Bhi Hai Jawaan Jawaan |
| Dil Ki Ye Aarzoo Thhi Koi Dilruba Miley |
Fabulous songs, each one of them. Now about the remaining songs of this film. There is one qawwaali song, which is more or less incidental in the film. It is the other remaining song that is notable, unique and having its own claim to fame.
Ghulam Ali does not need any introduction to the readers. This phenomenal singer, was quite a rage in India during the 1980s and 90s. Even today, his performances are enthralling and much awaited. It is quite sad that his performance trips to India have become a victim of politics.
When this film was released, it was acknowledged that BR Chopra had accomplished almost a coup, in being successful to have a song, a ghazal actually, sung by this popular and legendary singer, included in the film. I am not sure, but perhaps this is the only instance of Ghulam Ali’s voice being a part of a Hindi film.
[Ed Note: Based on the inputs received from Anekant ji and Sadanand ji, in the comments section below – certainly this song is not the only instance of Ghulam Ali singing for Hindi films. Thanks to both for this important update. 🙂 ]
And so, as I was checking the details, I was quite taken by surprise that this song is not yet posted here on our blog. Well, today, it comes on board.
For its times, this film was a bold statement addressing social issues relating to marriage and divorce in the Muslim community. The predicament of the lady getting a raw deal in life at the hands of a whimsical male partner, whose bizarre behavior and fanciful decisions are quite supported by the norms of the society, completely unmindful of the traumatizing consequences on the mind and the psyche of the lady – and all that, for no fault of hers.
This famous ghazal, which has been one of the all time favorites outside of the film domain, is penned by Maulaana Hasrat Mohaani.
[Ed Note: Sadanand ji further informs us that this ghazal as a non-filmi creation, is also sung by Jagjit Singh for the the TV Serial ‘Kahkashaan’ (1992) produced by Ali Sardar Jaffrey. That version is already posted on our blog at “Chupke Chupke Raat Din. . .“, by Sadanand ji himself. That post also includes a detailed bio-sketch of the poet, Maulaana Hasrat Mohaani – a very interesting read. Thanks Sadanand ji.]
The music composition is by Ghulam Ali himself. The complete ghazal is of course much longer, and there are various variations in different live performances and other recordings. In the film, only two she’rs are included. There are versions of this ghazal as being in the film, which are apparently longer with more couplets, but those are the handiwork of technology only. Some folks have uploaded longer versions, which are copy-paste extensions of the visual clips, overlaid with additional audio, giving an impression of a longer song in the film. But watching with little attention, one can make out that it is a fake.
On screen, this rendition is performed by the gramophone player. Deepak Prashar, having dismissed and divorced his wife, Salma Agha, is having bouts of depressive regrets, and he misses her. If I recall rightly, it is his birthday celebration, and he invites Salma. In this clip it is cake that we encounter first. Then we see a weepy Deepak listening to this ghazal, as it plays on a gramophone in the room. Salma makes an entry, unnoticed by Deepak, and she witnesses the pain of loss and regret that Deepak is exhibiting. Rest, as part of the story, to be discussed another time.
A salute to this legendary singer from across the border, who has a very solid grounding and training in the Hindustani classical music. And this post brings this popular film to being one short of having all its songs posted here. So the yippee-dom announcement should not be too far off now. 🙂
Song – Chupke Chupke Raat Din Aansoo Bahaana Yaad Hai (Nikaan) (1982) Singer – Ghulam Ali, Lyrics – Maulaana Hasrat Mohaani, MD – Ghulam Ali
Chorus
Lyrics
hmmm mmmm mmmm mmmmmm
aaa aaaa aaaaaa
hmmm mmmm mmmm mmmmmm
chupke chupke raat din
aansoo bahaana yaad hai
chupke chupke raat din
aansoo bahaana yaad hai
hum ko ab tak aashiqui ka wo
zamaana yaad hai
chupke chupke raat din
aansoo bahaana yaad hai
khench lena wo mera
parde ka kona daf-attan
khench lena wo mera
parde ka kona daf-attan
aur dupatte se wo tera
munh chhupaana yaad hai
hum ko ab tak aashiqui ka wo
zamaana yaad hai
chupke chupke raat din
aansoo bahaana yaad hai
dopehar ki dhoop mein
mere bulaane ke liye
dopehar kid hoop mein
mere bulaane ke liye
wo tera kothe pe
nange paanv aana yaad hai
hum ko ab tak aashiqui ka wo
zamaana yaad hai
chupke chupke raat din
aansoo bahaana yaad hai
hmmmmm hmmmmmm hmmm hmmm hmmm
aaaa aaaa aaaa
hmmmmm hmmmmmm
hmmm hmmmm hmmmm
hmmm hmmmm hmmmm
hmmmm hmmmm hmmm
hmmmm hmmmm hmmm
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
हम्मम म्ममम म्ममम म्मममममम
आs आsss आsssss
हम्मम म्ममम म्ममम म्मममममम
चुपके चुपके रात दिन
आँसू बहाना याद है
चुपके चुपके रात दिन
आँसू बहाना याद है
हमको अब तक आशिकी का
वो ज़माना याद है
चुपके चुपके रात दिन
आँसू बहाना याद है
खेंच लेना वो मेरा
पर्दे का कोना दफ़-अतन
खेंच लेना वो मेरा
पर्दे का कोना दफ़-अतन
और दुपट्टे से वो तेरा
मुंह छुपाना याद है
हमको अब तक आशिकी का
वो ज़माना याद है
चुपके चुपके रात दिन
आँसू बहाना याद है
दोपहर की धूप में
मेरे बुलाने के लिए
दोपहर की धूप में
मेरे बुलाने के लिए
वो तेरा कोठे पे
नंगे पाँव आना याद है
हमको अब तक आशिकी का
वो ज़माना याद है
चुपके चुपके रात दिन
आँसू बहाना याद है
हम्मममम हम्ममममम हम्मम हम्मम हम्मम
आss आss आsss
हम्मममम हम्ममममम
हम्मम हम्ममम हम्ममम
हम्मम हम्ममम हम्ममम
हम्मममम हम्ममम हम्मम
हम्मममम हम्ममम हम्मम
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