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

Archive for the ‘Devnagri script lyrics by Sudhir’ Category


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

Blog Day : 3508 Post No. : 14097

The film ‘Pyaase Dil’, from 1974 is an unfamiliar and obscure entity. However, not for the readers of this blog. This film has been discussed briefly, and not so briefly, in the three posts of the songs of this film that have appeared so far on this blog. The film has a total of four songs. This post brings forth the fourth and the final song of this film on to the blog today. I am sure the word is already in the mind and lips of the regulars, and I do not have to spell out Yippeee, to mark this event.

The earlier songs that have been posted on the blog are

Ye Dilnasheen Nazaare Karte Hain Kyaa Ishaare Pyaase Dil 6060 6-Jun-12
Jhukti Ghata Hamse Kahe Pyaase Dil 8558 19-Aug-13
Tum Mehekti Jawaan Chandni Ho Pyaase Dil 8605 29-Aug-13

As far as the film is concerned, there is nothing remarkable to be discussed, and maybe nothing remains in the collective public memory about it. But for the music. The songs that this film has, are all memorable, despite the fact that one is still surprised to hear the name of the film connecting to the songs. But well, it has to be. Music compositions are by Khaiyyaam, and the lyrics are written by Jaan Nissar Akhtar. Mukesh has rendered two of the four songs in this film. The third is a duet with Mahendra Kapoor and Jagjit Kaur, and the fourth is a chorus song led by Jagjit Kaur. With this combination, the songs indeed have to be remarkable, although they do nothing much for the film.

The storyline of the film in brief.

Poonam (role played by Alka) lives in a village with her mother (role played by Leela Misra). Together they run a small tea shop in the village. Poonam’s mother is in debt of the local Seth (role played by Maruti). Raja (role played by Aziz Mirza) is a truck driver who fancies Poonam. Romance happens, and they fall in love. Raja promises Poonam’s mother that he will help to payback the Seth’s debt, before he sits in the wedding pandal with her daughter. He gets a dangerous assignment to deliver explosives at a construction site in the hills. It is the day of his wedding. He is returning from his last delivery trip, when his truck meets with an accident, and he is hospitalized.

When Raja does not turn up for the wedding, Poonam’s mother has a heart attack and she passes away. The Seth now wants Poonam married to his son. But the son is aware that Poonam is already carrying Raja’s child before marriage, and he helps her to run escape from the village. After three months, when Raja returns, he finds no tea shop, and no trace of Poonam.

After giving birth to a son, Poonam takes the child to a distant town. In the night, she places the child at the feet of a portrait of Jesus in a missionary hospital, and hides herself. The nursing staff discovers the child, and informs Dr. Joseph (role played by Pichoo Kapoor), who is the head of the hospital. Dr. Joseph decides that the hospital will adopt the child. The next day, Poonam, claiming her name to be Asha, also appears at his office, and begs for any work at the hospital. Dr Joseph, sensing a connection, allows her to stay as a cleaning woman.

Years pass. The child is now five years old. Poonam/Asha has worked hard to become a nurse at the hospital. At this juncture, Dr. Anand (role played by Yash Tandon) joins the hospital, leaving a lucrative job in a large city. He takes a fancy to both the child, and the nurse Asha. The child thus far knows Asha only as Didi, as he is not yet aware that she is actually his mother. Romance develops between the doctor and the nurse, and the things start moving towards matrimony, as Anand takes Asha home to meet his mother.

A train accident happens close to the hospital, and many injured patients are brought in. Destiny brings Raja also to this hospital, as one of the injured passengers, who has lost his eyesight in the accident. He recuperates, and Anand decides to attempt a difficult operation to restore Raja’s eyesight. In the intervening time, Raja senses something familiar in the voice and touch of the nurse Asha, and Asha realizes that he is her Raja, once the bandages come off his face. The dilemma becomes more complicated, as Raja figures out that Asha is his Poonam, and that he is the father of the child. He also realizes that Anand and Asha/Poonam are getting married.

The eye operation happens. On the day that the bandages are removed, he pretends that the operation has failed and he has not recovered his eyesight. And after some days, feigning blindness, but otherwise fit, he leaves the hospital with a blind man’s walking stick. During his stay, he has had conversations with Anand, about his past. As the story progresses, Anand also figures out the truth, and he confronts Asha. In the conversation he reveals that he is aware of the relationship between Raja, Asha/Poonam and the child. Unknown to them, the child is also listening to the conversation, and he comes to know that the blind patient Raja is his father. He runs away from the hospital, chasing the departed Raja who is pretending to be blind. Anand runs after the child.

The child reaches close to Raja, on a road that has vehicular traffic also. The child comes close to being hit by a vehicle, when Raja, throwing away his stick, rescues the child. Anand also reaches at that moment; all secrets on all sides are now in the open. The happy ending is that the family of Raja, Poonam and child are finally united. But Anand is left alone.

The one important sticky point in this story that makes it un-convincing is that when Asha/Poonam realizes the identity of the patient to be her lost bridegroom-to-be, she should happily reclaim both him and the child. Her silence at this juncture is not explicable. Except that the film would have been shorter by another 30 minutes. 🙂

Today’s song is a wedding song, in which the sahelis of the bride are teasing her. The words tell of the beauty and the comeliness of the bride, about the anxiety of the wait for the groom’s arrival, and also tease her about how her beau will embrace and kiss her. The singing voice is of Jagjit Kaur, accompanied by chorus.

On screen, the song is performed by, well I need help here to identify the lead singer. Is she Prema Narayan? I request other knowledgeable readers and friends to please help to identify her. We also see Alka, dressed up as the bride and waiting for the groom’s arrival. The groom, actor Aziz Mirza,  appears for brief moments intermittently, as he is heading back to his village riding the truck that he drives. For a brief moment we also see Benjamin Gilani, seated amongst the guests. He is the best friend of the groom, and he too is anxiously awaiting the arrival of the groom.

The film is produced under the banner of New Ashok International, and is directed by Charandas Shokh. The star case consist of Yash Tandan, Aziz Mirza, Alka, Benjamin Gilani, Kumud Tripathi, Leela Mishra, Pinchoo Kapoor, Maruti, Shyama, Master Teeto. The songs of the film are penned by Jaan Nisaar Akhtar and the music composition is by Khaiyyaam Sb.

With this post, the film ‘Pyaase Dil’ now joins the select group of films with all songs posted here.

Song – Sakhi Ri Sharmaaye Dulhan Saj Ban Ke  (Pyaase Dil) (1974) Singer – Jagjit Kaur, Lyrics – Jaan Nisaar Akhtar, MD – Khaiyyaam
Chorus

Lyrics

sakhi ri sharmaaye
dulhan saj ban ke
sakhi ri sharmaaye
dulhan saj ban ke
main waari hothon ki laali par
phoolon bhari baali par
nainon ki pyaali par
angiya ki jaali par
ghazab kare haaye badan tan tan ke
sakhi ri sharmaaye
dulhan saj ban ke

khushboo ye haaron ki
solah singaaron ki
laage najriya gori
tujhko sitaaron ki
ho tujhko sitaaron ki
khushboo ye haaron ki
solah singaaron ki
laage najriya gori
tujhko sitaaron ki
ho tujhko sitaaron ki
ke pad gaye shor
tere joban ke
sakhi ri sharmaaye
dulhan saj ban ke

bolun main gori se
socha hai chori se
jaldi se aaye miley
chanda chakori se
ho chanda chakori se
bolun main gori se
socha hai chori se
jaldi se aaye miley
chanda chakori se
ho chanda chakori se
ke baithe hareyaan sapne sajan ke
sakhi ri sharmaaye
dulhan saj ban ke

dheere se aaye ke
ghunghata uthaaye ke
choomenge sajna tujhe
garwa lagaaye ke
ho garwa lagaaye ke
dheere se aaye ke
ghunghata uthaaye ke
choomenge sajna tujhe
garwa lagaaye ke
ho garwa lagaaye ke
ke gave mann geet
madhur milan ke
ke gave mann geet
madhur milan ke

main waari hothon ki laali par
phoolon bhari baali par
nainon ki pyaali par
angiya ki jaali par
ghazab kare haaye badan tan tan ke
sakhi ri sharmaaye
dulhan saj ban ke

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

सखी री शरमाये
दुल्हन साज बन के
सखी री शरमाये
दुल्हन साज बन के
मैं वारी होठों की लाली पर
फूलों भरी बाली पर
नैनों की प्याली पर
अंगिया की जाली पर
ग़ज़ब करे हाए बदन तन तन के
सखी री शरमाये
दुल्हन साज बन के

खुशबू ये हारों की
सोलह सिंगारों की
लागे नजरिया गोरी
तुझको सितारों की
हो तुझको सितारों की
खुशबू ये हारों की
सोलह सिंगारों की
लागे नजरिया गोरी
तुझको सितारों की
हो तुझको सितारों की
के पड़ गए शोर
तेरे जोबन के
सखी री शरमाये
दुल्हन साज बन के

बोलूँ मैं गोरी से
सोचा है चोरी से
जल्दी से आए मिले
चंदा चकोरी से
हो चंदा चकोरी से
बोलूँ मैं गोरी से
सोचा है चोरी से
जल्दी से आए मिले
चंदा चकोरी से
हो चंदा चकोरी से
के बैठे हरेआन सपने सजन के
सखी री शरमाये
दुल्हन साज बन के

धीरे से आए के
घुंघटा उठाए के
चूमेंगे सजना तुझे
गरवा लगाए के
हो गरवा लगाए के
धीरे से आए के
घुंघटा उठाए के
चूमेंगे सजना तुझे
गरवा लगाए के
हो गरवा लगाए के
के गावे मन गीत
मधुर मिलन के
के गावे मन गीत
मधुर मिलन के

मैं वारी होठों की लाली पर
फूलों भरी बाली पर
नैनों की प्याली पर
अंगिया की जाली पर
ग़ज़ब करे हाए बदन तन तन के
सखी री शरमाये
दुल्हन साज बन के

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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 : 3507 Post No. : 14093

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 6
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘ओ’ – ओ तेरा छुप छुप के चले आना

मेरी आवाज़ ही पहचान है
गर याद रहे

जी, अब तो सिर्फ आवाज़ ही सहारा है। और यादें। ज़िंदगी काश कुछ अरसा पहले मिली होती॰ ॰ ॰

Rafi Sb never shied away from giving playback to any actor, no matter the age, the role, or even stature in the industry. He would gladly lend his voice to new comers, as well as to lesser known artists, be they the onscreen debutants, or be they new or less popular music directors and lyricists. At times, he would even accept a very nominal amount, or even zero amount, as his fee, when a producer apologetically mentioned about his financial circumstances. Such stories are legion in the industry.

Today’s song is a ‘romantic’ duet from the 1965 film ‘Sangraam’. It is a love song, in a manner of speaking – however it is picturized on the pair that forms the ‘comic side plot’ or CSP in the film. The actors performing this song online are Maruti and Aruna Irani.

The film is produced under the banner of Film India, Bombay and is directed by Babubhai Mistry. This film is another Dara Singh starrer, and its cast of actor is listed as Dara Singh, Geetanjali, Randhawa, Swarn Kumari, Maruti, Aruna Irani, Uma Dutt, Ratnamala, Mridula, Vishwas Kunte, Amrit Rana, Yunus Parvez, Baijnath, Helen, and King Kong. The music is from the trio of music directors – Lala, Asar and Sattaar. The songs of this film are written by Aish Kanwal and Madhukar Rajasthani, and this song today is from the pen of the latter.

Comic side plot in Hindi films is akin to the concept of ‘comic relief’ of the stage and theatre dramatics. In many films, not just Hindi, but in other regional cinema also, we find that the hero has a friend or a sidekick, who in turn has a secondary storyline running in parallel with the storyline of the hero. The highlight of this storyline is the romantic angle which involves one of the supporting actresses in the film, generally a friend of the heroine. This side plot progresses alongside the main storyline. Mostly, the male protagonist in this side plot is a comedian. And the relative importance of the comedian actor, of the role played, and of the side plot itself is measured by whether this side plot pair gets to perform a song on screen. In most films, we find that yes, this side plot romantic pair gets to sing at least one, and occasionally, even more than one songs.

In this film, the side plot players are Maruti and Aruna Irani. And they have a song to play. Romance is being expressed, albeit in the typical comic style of Maruti, with a discussion on possibilities of a marital alliance thrown in for good measure. Rafi Sb’s voice is accompanied by Kamal Barot. And we get to hear a treat of an entertaining duet – romance in the side plot alleys. Enjoy.

 

 

Song – O Tera Chhup Chhup Ke Chale Aana (Sangraam) (1965) Singer – Mohammed Rafi, Kamal Barot, Lyrics – Madhukar Rajasthani, MD – Lala-Asar-Sattaar
Mohammed Rafi + Kamal Barot

Lyrics

o tera chhup chhup ke chale aana
mera jhatpat se machal jaana
o tera is dil pe ghazab dhaana
meri aankhon mein utar jaana
haaye
ram kasam is milne mein
bada mazaa aayega
o tera chhup chhup ke chale aana
o tera is dil pe ghazab dhaana

mere pyaar ka bole kabootar
ghum o ghum o ghum o ghum
mere pyaar ka bole kabootar
ghum o ghum o ghum
aur kisi ko dena chakkar
yoon yoon yoon yoon
aur kisi ko dena chakkar
yoon yoon yoon
achha nahin dil ko jalaana
hoye haaye
haaye haaye
mushqil hai baat banaana
oo oo oo oo oo
maan ja meri baanki chameli
chhod de ab tadpaana
o tera is dil pe ghazab dhaana
meri aankhon mein utar jaana
ho tera chhup chhup ke chale aana
mera jhatpat se machal jaana
ho ram kasam is milne mein
bada mazaa aayega
o tera chhup chhup ke chale aana
o tera is dil pe ghazab dhaana

shaadi kar len ab hum pakki
chal chal chal chal
shaadi kar len ab hum pakki
o chal o chal o chal
babul se tu kar le nakki
kal kal kal kal
babul se tu kar le nakki
kal kal kal
gar usne kaha na maana
haaye haaye haaye
hoye hoye
main chhodoon saara zamaana
aa aa aa aaa
dekh rangeeli badal gai to

zehar padega khaana
haan
o tera is dil pe ghazab dhaana
meri aankhon mein utar jaana
ho tera chhup chhup ke chale aana
mera jhatpat se machal jaana
hoye oo ooye
ram kasam is milne mein
bada mazaa aayega
o tera chhup chhup ke chale aana
o tera is dil pe ghazab dhaana

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

ओ तेरा छुप छुप के चले आना
मेरा झटपट से मचल जाना
ओ तेरा इस दिल पे ग़ज़ब ढाना
मेरी आँखों में उतर जाना
हाए
राम कसम  इस मिलने में
बड़ा मज़ा आएगा
ओ तेरा छुप छुप के चले आना
ओ तेरा इस दिल पे ग़ज़ब ढाना

मेरे प्यार का बोले कबूतर
घूं ओ घूं ओ घूं ओ घूं
मेरे प्यार का बोले कबूतर
घूं ओ घूं ओ घूं
और किसी को देना चक्कर
यूं यूं यूं यूं
और किसी को देना चक्कर
यूं यूं यूं
अच्छा नहीं दिल को जलाना
होय हाए
हाए हाये
मुश्किल है बात बनाना
ओ ओ ओ ओ ओ
मान जा मेरी बाँकी चमेली
छोड़ दे अब तड़पाना
ओ तेरा इस दिल पे ग़ज़ब ढाना
मेरी आँखों में उतर जाना
ओ तेरा छुप छुप के चले आना
मेरा झटपट से मचल जाना
हो राम कसम इस मिलने में
बड़ा मज़ा आएगा
ओ तेरा छुप छुप के चले आना
ओ तेरा इस दिल पे ग़ज़ब ढाना

शादी कर लें अब हम पक्की
चल चल चल चल
शादी कर लें अब हम पक्की
ओ चल ओ चल ओ चल
बाबुल से तू कर ले नक्की
कल कल कल कल
बाबुल से तू कर ले नक्की
कल कल कल
गर उसने कहा ना माना
हाए हाए हाये
होय होय
मैं छोड़ूँ सारा ज़माना
आ आ आ आ
देख रंगीली बादल गई तो
जहर पड़ेगा खाना
हाँ
ओ तेरा इस दिल पे ग़ज़ब ढाना
मेरी आँखों में उतर जाना
ओ तेरा छुप छुप के चले आना
मेरा झटपट से मचल जाना
होय ओ ओए
राम कसम इस मिलने में
बड़ा मज़ा आएगा
ओ तेरा छुप छुप के चले आना
ओ तेरा इस दिल पे ग़ज़ब ढाना


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

Blog Day : 3507 Post No. : 14092

Today’s song is from film ‘Pehla Aadmi’ from 1950.

India became an independent nation on 15th August, 1947. It saw the end of about 100 years of protest, riots, mutinies and revolutionary attacks on the British Raj, who had ruled us for so many years – 190 years, to be exact. That is after Robert Clive won the battle of Plassey in 1757. Besides political upheaval, independence had different impact on different people in India.

Firstly, those millions of freedom fighters who were busy 24 x 7, shouting, protesting and marching against the British, suddenly had no work no do. They faced a big void in their life. Those students who had left their education half way to join the freedom struggle found that they were nowhere now. No education, no jobs and no activity. This led to finding ways of making quick money – like black marketing, political exploitation of the society to make quick bucks, illegal activities etc.

Secondly, the writers and authors who were suppressed and prohibited from writing anti-British articles or even patriotic songs and dramas, found that they now could do so, but there were no takers. The relevance of such writings was lost because India was independent now.

Thirdly, the film makers, who could not express their patriotic urges through films were now free to make such films. There was no need to be symbolic now. Direct expressions were now allowed without restraint.

Even in the patriotism or the independence struggle, there were two divisions. One, which followed the footsteps and teaching of Ahimsa by Mahatma Gandhi and two, was the revolutionary explosive type who believed in bloodshed, punishment and overthrowing the rulers by weapons. For making a film the Gandhi ji’s way was too mild, without any drama, suspense or heroism. So it was the revolutionary way to independence struggle which was opted by film makers. There were many films about freedom struggle – Bhagat Singh and Netaji Subhash Chandra Bose, but very few on Gandhi ji’s teachings like ‘The Last Message’, ‘Ahimsa Path’ (both 1949) and some docu-films.

On the other hand, some films were made about the freedom struggle of revolutionaries like, ‘Azaadi Ki Raah Par’, ‘Desh Seva’, ‘Hua Savera’, ‘Refugee’, ‘Shaheed’, ‘Soldier’s Dream’ (all in 1948); ‘Apna Desh’, ‘Matrubhoomi’ (both in 1949); ‘Hindustan Hamara’, ‘Kashmir Hamara Hai’, ‘Pehla Aadmi’, ‘Samadhi’, (all in 1950); ‘Andolan’ (1951), ‘Anand Matth’ (1952) etc. As the euphoria diminished, such patriotic films too were made infrequently.

The life and times of Netaji Subhash Chandra Bose has always fascinated every Indian. Despite the step motherly treatment and a total neglect many times by the Congress Party, Netaji occupies the number one position as a revolutionary, who had a clear goal, organisational skill, leadership qualities and a well cut out plan to achieve independence. But for the support of Congress leaders of the times, he sure would have achieved his target. Most Indians believe this even today. So, no wonder film makers made films on Netaji in every Indian language.

Calcutta’s New Theatres too did not lag behind and they made a film on the life and times of Netaji. The title of this film ‘Pehla Aadmi’ is very intriguing. To know the background of how this title was selected, let us go back a little and peep into history which few Indians know.

Subhash Chandra Bose as the Supreme Commander of Azad Hind Fauj (aka Indian National Army – INA) adopted in 1943, a variant of Purna Swaraj flag that included the words ‘AZAD’ on the saffron band on top, ‘HIND’ on the bottom green band and in the centre white band a ‘Springing Tiger’ in lieu of Gandhi ji’s ‘Charkha’, symbolising INA’s strength and their indomitable will to fight.

The Indian National Army was born during World War II. Originally, it was founded by Captain Mohan Singh in Singapore in September 1942 with Indian prisoners-of-war (POWs) held by the Japanese army in the Far East. This was with the support of the Indian Independence League, headed by expatriate nationalist leader Rash Behari Bose. However, the first INA was disbanded almost immediately in December 1942 after disagreements between Hikari Kikan and Mohan Singh, who came to believe that the Japanese High Command was using the INA as a mere pawn and propaganda tool. [Ed Note: The Hikari Kikan was the Japanese liaison office responsible for Japanese relations with the INA and the Azad Hind Government in exile.]

However, the idea of a liberation army was revived with the arrival of Subhas Chandra Bose in the Far East in 1943. In July, at a meeting in Singapore, Rash Behari Bose handed over control of the organization to Subhas Chandra Bose. Bose was able to reorganize the fledgling army and gained massive support among the expatriate Indian population in South East Asia, who supported the INA both financially, as well as by enlisting with the INA. At the peak of its activities, INA consisted of about 85,000 troops, including a separate women’s unit, the Rani of Jhansi Regiment, headed by Capt. Lakshmi Swaminathan (aka Capt. Lakshmi Sehgal). Under the leadership of Subhash Bose, this rejuvenated INA fought along with the Imperial Japanese Army against the British and Commonwealth forces in the campaigns in Burma, Assam, Imphal and Kohima, and later, against the successful Burma Campaign of the Allies. The INA stormed and captured the Andaman Islands, and had reached within shouting distance of Chittagong, when the Japanese army surrendered after the atomic bomb attacks on Hiroshima and Nagasaki.

Moirang in Manipur was the headquarters of INA. Colonel Shaukat Malik  hoisted the Tricolour for the first time on Indian soil on 19 March 1944, in Moirang with the help of Manipuris like Shri Mairembam Koireng Singh and others who were members of the INA. It is on this historical episode that Bimal Roy made the film ‘Pehla Aadmi’ in 1950.

The star cast of the film is Balraj Vij, Smriti Biswas, Pahadi Sanyal, Ashita Bose, Paul Mahendra, Zahar Roy, Heeralal, Asit Sen, Bela Bose etc.

Smriti Biswas, a protestant Bangla Christian was born in Calcutta on 17-2-1932. She studied in a Missionary girls’ school. Her father and mother both were Headmaster and Headmistress in other schools. Smriti had a liking for acting. When she was just 12 year old, she acted in film ‘Hamraahi’ (1945) and ‘Dwand’ (Bangla). When this was became at her home, she was put in another school. Later, the family shifted to Lahore. There Smriti acted in film ‘Ragni’ (1945), opposite Pran and also some other films.

After Partition, the family came to Delhi. Smriti met actor / producer / director Dr. SD Narang. He cast her in the film ‘Ek Aurat’ (1948) and Bangla film ‘Chinni Putul’, which became a hit. In 1951, Smriti shifted base to Bombay. According to her interviews, before coming to Bombay she had acted in 26 films. However no details are available for this. In 1953 she acted in ‘Shamsheer’ and also as a heroine opposite to Dev Anand in ‘Hum Safar’.

Though she was a star in Calcutta and Lahore, in Bombay she mostly got roles as a vamp or other supporting roles. She claims to have worked in 90 films. Some of her well known films are, ‘Dilli Ka Thug’, ‘Baap Re Baap’, ‘Bhaagam Bhag’, ‘Sailaab’, ‘Jaagte Raho’, ‘Aab e Hayaat’, ‘Hamdard’, ‘Teen Batti Chaar Raasta, ‘Abhimaan’, ‘Daaka’ etc .

Smriti was proficient in English, riding, swimming and cooking. She could play sitar, harmonium and guitar. She was very jolly like a tomboy. Smriti got married to Dr. SD Narang in 1960 and left films for ever. She gave birth to 2 sons. After the death of Dr. Narang in 1986, she gave her bungalow for development to a builder, who cheated her and she became homeless. She changed 28 houses in Bombay. She also lost her houses in Delhi and Mahabaleshwar due to crooked relatives. Finally, poor Smriti shifted to Nashik and has lived in a 500 sq.feet flat. Till last year she was in Nashik.

The story of ‘Pehla Aadmi’ was written by actor Nazir Hussain (ex INA), the lyrics were by Prakash (ex INA), and the music was by RC Boral. The film was directed by Bimal Roy, assisted by Hrishikesh Mukherjee. This was Bimal Roy’s last film with New Theatres. When he came to Bombay for the premier of the film, he met Hiten Chaudhari, who had worked in NT earlier. He was the first to leave NT and join Bombay Talkies in Bombay. Hiten took Bimal Roy to Bombay Talkies where he was offered the director’s position for the upcoming film ‘Maa’ (1952). Bimal Roy accepted it and settled in Bombay thereafter.

The story of ‘Pehla Aadmi’ is summarized below.

Vijay Kumar and Chaudhari are thick friends, living in Rangoon, Burma. They have a son Kumar and daughter Lata. The children fall in love when young, and decide to get married, with elders’ consent. The year is 1943. Netaji Subhash Chandra Bose arrives in Singapore and tours Far Eastern areas. He invites the youngsters to join his INA to serve the motherland.

Kumar decides to join INA and promises Lata that they will get married after the war is over.  Before going, Kumar’s father gives him a sword to use in the war. Kumar, after his training is over, is sent to the war front. During a battle, his leader is shot. Before dying he gives Indian flag to Kumar and asks him to hoist it after victory.

The battle is won by Kumar’s unit and Kumar proudly unfurls the Indian Flag first time on a liberated Indian town. He becomes the ‘Pehla Aadmi’ to do so. Unfortunately, after hoisting the flag Kumar is shot dead. His body is brought to Rangoon for last rites. Lata is weeping. Kumar’s collegue in the war tells Lata to fulfil Kumar’s job in liberating the country. Lata too joins INA. (No.650)

The film has 11 songs, as listed in the Geet Kosh. Today’s song is the second song on the blog. It is sung by Aparesh Lahiri and Sandhya Mukherjee. Aparesh Lahiri is the father of the jewellery laden music director Bhappi Lahiri. The video shows Balraj Vij and Smriti Biswas.

[Author’s Note: Acknowledgements and thanks to lallantop.com, mukundsathe.com, Harish Raghuvanshi ji, Wikipedia, HFGK and my notes.]

 


Song – Hum Chale Nai Duniya Rachne (Pehla Aadmi) (1950) Singer – Aparesh Lahiri, Sandhya Mukherjee, Lyrics – Prakash BA, Music – RC Boral

Lyrics (Provided by Sudhir)

hum chale
hum chale
hum chale nai duniya rachne
hum chale naya itihas liye
hum chale nai duniya rachne
hum chale naya itihas liye

wo raat andheri barkha ki
olay barse chamke bijli
wo raat andheri barkha ki
olay barse chamke bijli
par thaan liya jab mann me to
hum jaan pe apni khel chale

tum badho
tum badho
tum badho goliyaan phool banen
kante bhi tujhko dhool banen
tum badho goliyaan phool banen
kante bhi tujhko dhool banen
o janewale ja tu ja
bhagwan tumhara bhala kare
o janewale ja tu ja
bhagwan tumhara bhala kare
hum chale nai duniya rachne
hum chale naya itihas liye
hum chale nai duniya rachne
hum chale naya itihas liye

suraj pashchim mein ug aaye
ya chaand sitaare mit jaayen
suraj pashchim mein ug aaye
ya chaand sitaare mit jaayen
main asha deep
main asha deep jalaaye teri raah takun
tu aan miley
main asha deep jalaaye teri raah takun
tu aan miley

jaayenge
jaayenge
jaayenge ab hum tum mil kar
lo prem milan ke din aaye
hum chale
ha ha ha
hum chale

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

हम चले
हम चले
हम चले नई दुनिया रचने
हम चले नया इतिहास लिए
हम चले नई दुनिया रचने
हम चले नया इतिहास लिए

वो रात अंधेरी बरखा की
ओले बरसें चमके बिजली
वो रात अंधेरी बरखा की
ओले बरसें चमके बिजली

तुम बढ़ो
तुम बढ़ो
तुम बढ़ो गोलियां फूल बनें
कांटे भी तुझको धूल बनें
तुम बढ़ो गोलियां फूल बनें
कांटे भी तुझको धूल बनें
ओ जाने वाले जा तू जा
भगवान तुम्हारा भला करे
ओ जाने वाले जा तू जा
भगवान तुम्हारा भला करे

हम चले नई दुनिया रचने
हम चले नया इतिहास लिए
हम चले नई दुनिया रचने
हम चले नया इतिहास लिए

सूरज पश्चिम में उग आए
या चाँद सितारे मिट जाएँ
सूरज पश्चिम में उग आए
या चाँद सितारे मिट जाएँ
मैं आशा दीप
मैं आशा दीप जलाए तेरी राह तकूँ
तू आन मिले
मैं आशा दीप जलाए तेरी राह तकूँ
तू आन मिले

जाएंगे
जाएंगे
जाएंगे अब हम तुम मिल कर
लो प्रेम मिलन के दिन आए
हम चले
हा हा हा
हम चले


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 : 3506 Post No. : 14086

Missing Films of 1960s – 61
– – – – – – – – – – – – – – –

With this post, this series enters the sixties. 😀 😀
No no, I do not mean to say that we are entering the 1960s, we did that long back. In fact this blog itself started with the 1960s – the song “Miley Na Phool To. . .” from the film ‘Anokhi Raat’ is from the 1960s. With this post, we now come upon the 61st episode of this series. The home work assignment given by Katie Ben, has now come a long way in adding more new, I mean, as yet unrepresented films to the blog. This series was initiated on 20th September, 2015, and we are now into the 29th month that this series has been pursued. In the process, we have added 61 more films from the 1960s, to this blog. Some more interesting details about this journey, coming up in the next episode.

Today’s debut film is ‘Arabian Nights’ from 1967. This film also has an alternate title – ‘Panic In Baghdad’. The film is directed by Nanabhai Bhatt for the banner of Ramkishan Films, Bombay. The star cast is listed as Ajit, Mumtaz, Bhagwan, Rajan Haksar, Shyam Kumar, Ram Mohan, Madhumati, Hercules, Prince Arjun, Julian, Heeralal, Mohan Choti, Poornima, Bela Bose, Azad.

The film has six songs listed. Music direction is by the duo of Lala Sattaar. Regulars will remember, this duo also belongs to the trio of music directors Lala Asar Sattaar. Three song writers have contributed their talent to this film – Akhtar Romani, Aish Kanwal and Madhukr Rajasthani. This song is written by Madhukar Rajasthani. The singing voice is that of Asha Bhosle.

From the sound of it, this is a dance song. Looking at the star cast, it can only be guessed that the song may have been picturized on either Bela Bose or Madhumati. I would like to say Bela Bose, but then that is just a guess. I would request our more knowledgeable readers to add more information, if available, about this film, and the picturization of this song.

With this post, the film ‘Arabian Nights’ of 1967 opens its account on our blog.

Song – Husn Ke Jalwe Hain Jawaan  (Arabian Nights) (1967) Singer – Asha Bhosle, Lyrics – Madhukar Rajasthani, MD – Lala Sattaar

Lyrics

husn ke jalwe hain jawaan
mehfil mein hain raazdaan
dil ko sambhaloon
ya khud ko sambhaaloon
ishaara to kar meharba..aan
husn ke jalwe hain jawaan

raat bhar ye shama saath degi
raat bhar ye shama saath degi
jaan tujh pe luta ke kahegi
ye mohabbat hamaari
hamaari rahegi
hum rahen na rahen
hum rahen na rahen
baaki rahega nishaa..aan
husn ke jalwe hain jawaan
mehfil mein hain raazdaan
dil ko sambhaloon
ya khud ko sambhaaloon
ishaara to kar meharba..aan
husn ke jalwe hain jawaan

mayqade mein nazar se pilaane
mayqade mein nazar se pilaane
eid ka chaand niklaa deewaane
ye muqaddar tumhin ko diya hai khuda ne
koi piye na piye
koi piye na piye
tum to piyo jaan e jaa..aan
husn ke jalwe hain jawaan
mehfil mein hain raazdaan
dil ko sambhaloon
ya khud ko sambhaaloon
ishaara to kar meharba..aan
husn ke jalwe hain jawaan

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हुस्न के जल्वे हैं जवां
महफिल में हैं राज़दाँ
दिल को संभालूँ
या खुद को संभालूँ
इशारा तो कर महरबा॰॰आँ
हुस्न के जल्वे हैं जवां

रात भर ये शमा साथ देगी
रात भर ये शमा साथ देगी
जान तुझ पे लुटा के कहेगी
ये मोहब्बत हमारी
हमारी रहेगी
हम रहें ना रहें
हम रहें ना रहें
बाकी रहेगा निशा॰॰आँ
हुस्न के जल्वे हैं जवां
महफिल में हैं राज़दाँ
दिल को संभालूँ
या खुद को संभालूँ
इशारा तो कर महरबा॰॰आँ
हुस्न के जल्वे हैं जवां

मयक़दे में नज़र से पिलाने
मयक़दे में नज़र से पिलाने
ईद का चाँद निकला दीवाने
ये मुकद्दर तुम्हीं को दिया खुदा ने
कोई पिये ना पिये
कोई पिये ना पिये
तुम तो पियो जान ए जाँ॰॰आँ
हुस्न के जल्वे हैं जवां
महफिल में हैं राज़दाँ
दिल को संभालूँ
या खुद को संभालूँ
इशारा तो कर महरबा॰॰आँ
हुस्न के जल्वे हैं जवां


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 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 : 3505 Post No. : 14085

‘Saas Bhi Kabhi Bahu Thi’ (1971) is different from the serial ‘Kyun Ki Saas Bhi Kabhi Bahu Thi’ which came a long time after the movie. The movie was an all-round entertainer. We would not get anything less in a movie where Om Prakash heads the cast and the hero (Sanjay Khan in this case) plays a second fiddle to Om Prakash and Jagdeep. Plus, when the mirch-masalas Lalita Pawar and Shashikala spice up the whole setup, it is but natural that the lead cast (Sanjay Khan and Leena Chandavarkar) become secondary – their presence being needed for the romantic interludes.

I must confess I was unaware of this movie till a few years back – till 2014 to be exact. I chanced upon it on one of the umpteen satellite channels. The title made me sit through what turned out to be an enjoyable family- entertainer (as they used to be called back then) which didn’t make you start crying halfway through. A family-entertainer essentially was one which one could see with the entire family and the viewer will be preached about how to maintain family relationships and a few ladies in the audience will be seen crying into their hankies. This movie was not like that.

So, coming to today’s song we have Om Prakash playing a Sadhu Baba and Sanjay and Jagdeep are his chelaas (I think it means students) with Sunder playing an assistant. In the movie Sanjay is Om Prakash’s son, Sunder – his servant and Jagdeep is Sanjay’s saala (brother-in-law). The song has Shashikala and Lalitha Pawar as ladies who have come with queries to the “antaryaami baba”. Through the song we get a gist of the movie. The song is in the voice of Manna Dey written by Rajendra Krishan, with music composed by RD Burman.

One song from this movie was discussed in 2016 by our Avinashji. On the occasion of Om Prakash’s passing away anniversary today; we shall see him the way he was largely-loved by the public. It is 20 years since he passed away.

In those days we used to live in Chembur, Bombay (not yet Mumbai then) and both Om Prakash and Ashok Kumar lived not very far from where we were. Those were the days when it was still cable TV and not satellite TV. And what did the cable operator providing service to our apartment do, he just stopped service for the day and put up a notice on black card— to enable the public in the area to attend the funeral of our beloved “jija ji” (as Om Prakash’s character was in “’Chupke Chupke”) we are suspending our service for a day. That was how much he was loved.

We can remember so many of his memorable characters – starting from ‘Guddi’ (1971) (that is where I noticed him first) to all his characters in Hrishikesh Mukherjee movies, to ‘Ghar Ho To Aisa’ (1990) (that is the last time I saw him in a movie). Of course, his career spanned 42 years and starting from movies made in Lahore in 1942 to “Ghar Ki Izzat” in 1994 he was a co star to every actor – big or small- and gave his best no matter the size of the role as in ‘Purab Aur Paschim’ (1970).

Thinking of Jija ji today on his anniversary

Song – Suno Re Saadho Ye Sansaaram Ultam Paltam Ho Gaya (Saas Bhi Kabhi Bahu Thi) (1970) Singer – Manna Dey, Lyrics – Rajendra Krishan, MD – RD Burman
Chorus

Lyrics

baaba-leeka

hey..ey
suno re saadho ye sansaaram
ultam paltam ho gaya
kahaan ki bhakti
pooja paatham
thokam thaakam ho gaya
bam bam leharey bam bam
bam bam leharey bam bam
suno re saadho ye sansaaram
ultam paltam ho gaya
kahaan ki bhakti
pooja paatham
thokam thaakam ho gaya
bam bam leharey bam bam
bam bam leharey bam bam

dekho re dekho
dekho re saadho
kalyug ki naari ka namoona
apni hi santaan ko is ne
kas ke lagaaya kaisa choona
apni bahu ko bete se apne
sau gaj door sulaya
prabhu kripa se
phir bhi is ne
chaand sa pota paaya
bolo
bam bam leharey bam bam
phir se
bam bam leharey bam bam

dhanya hai saadho
ye devi bhi
chidiya jaisi bholi bhali
rang birange pankh hai iske
chonch magar hai kaali kaali
apni boodhi saas ko is ne
ghar se maar bhagaaya
jab ye saas bani to is ko
bahu ne mazaa chakhaya
ho bolo
bam bam leharey bam bam
phir se
bam bam leharey bam bam

hey..ey
suno re saadho ye sansaaram
ultam paltam ho gaya
kahaan ki bhakti
pooja paatham
thokam thaakam ho gaya
ho bolo
bam bam leharey bam bam
bolo
bam bam leharey bam bam

bam bam bam
babam bam babam
bam bam bam
babam bam babam
bam bam bam
babam bam babam
bam bam bam
babam bam babam
bam bam bam
babam bam babam

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

बाबा-लीका

हे॰॰ए
सुनो रे साधो ये संसारम्
उल्टम पल्टम हो गया
कहाँ की भक्ति
पूजा पाठम
ठोकम ठाकम हो गया
बम बम लहरे बम बम
बम बम लहरे बम बम
सुनो रे साधो ये संसारम्
उल्टम पल्टम हो गया
कहाँ की भक्ति
पूजा पाठम
ठोकम ठाकम हो गया
बम बम लहरे बम बम
बम बम लहरे बम बम

देखो रे देखो
देखो रे साधो
कलयुग की नारी का नमूना
अपनी ही संतान को इसने
कस के लगाया कैसा चूना
अपनी बहू को बेटे से अपने
सौ गज दूर सुलाया
प्रभु कृपा से
फिर भी इसने
चाँद सा पोता पाया
बोलो
बम बम लहरे बम बम
फिर से
बम बम लहरे बम बम

धन्य है साधो
ये देवी भी
चिड़िया जैसी भोली भाली
रंग बिरंगे पंख हैं इसके
चोंच मगर है काली काली
अपनी बूढ़ी सास को इसने
घर से मार भगाया
जब ये सास बनी तो इसको
बहू ने मज़ा चखाया
हो बोलो
बम बम लहरे बम बम
फिर से
बम बम लहरे बम बम

हे॰॰ए
सुनो रे साधो ये संसारम्
उल्टम पल्टम हो गया
कहाँ की भक्ति
पूजा पाठम
ठोकम ठाकम हो गया
हो बोलो
बम बम लहरे बम बम
बोलो
बम बम लहरे बम बम

बम बम बम
बबम बम बबम
बम बम बम
बबम बम बबम
बम बम बम
बबम बम बबम
बम बम बम
बबम बम बबम
बम बम बम
बबम बम बबम


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 : 3505 Post No. : 14084

“Asen mi nasen mi. . . whether I’m there or not, I’ll be there forever.”
[Title of her biography, a quote by her own self, in a conversation with her biographer, Lalita Tamhane.]

She was just into 55th year when she passed away in 1991. Continuing to be active, even after having managed to get past an initial scare of cancer, the remission succeeded to claim her, much to the loss of the entire industry, and its heritage.

Remembering Nutan, on the anniversary of her passing away, today (21st February).

Starting her career at the age of 14 (‘Hamaari Beti’, 1950), she worked through the next four decades – as string of memorable roles that span the entire spectrum of emotions across from tragedy all the way to comedy. The understated emotions are conveyed through the eyes and expressions, much more powerfully than words. The Kalyani of ‘Bandini’ (1963), expressing her anger and turmoil, through actually saying and expressing very little, heightened the portrayal of a mute victim, who is driven by circumstances to murder. And then she lives out her internment, with the same silence and withdrawal; in the end, returning to her past, forsaking a promise of happiness and acceptance in a new world. Nutan remains in memory as the quintessential Kalyani, all the way from Gauri in ‘Seema’ (1956) and Sujata in ‘Sujata’ (1959), up to Anu Rai in ‘Anuraag’ (1972), living through the tragic last few months of the life of her only child; as Mahjubi in ‘Suadaagar’ (1973), betrayed with promises of false love and usurpation; and as Sanyukta in ‘Main Tulsi Tere Aangan Ki’ (1978), facing the ignominy of having a competitor for the affections of her own husband, come to live under the same roof.

But when given the opportunity to get into light comic roles – Shanti in ‘Paying Guest’ (1957), Jameela in ‘Dil Hi To Hai’, and Sulekha in ‘Tere Ghar Ke Saamne’ (1963) – another facet of her character comes through that seems unbelievable in the face of her image of the victimized woman having all the troubles and miseries foisted upon her. Oh how I wish the film ‘Chhabili’ (1960) was available; would have loved to see her role as a chhabili.

An unforgettable performer, who garnered a record six Filmfare awards (five as the leading lady, and one in supporting role); a record that stood for well over three decades. Into her forties, she still commanded leading roles contrary to the traditions of the industry. And into her fifties, she was still chiselled and stunning, continuing to command author backed roles in the films she appeared in.

The song for today is from the 1970 film ‘Maa Aur Mamta’. The film is produced under the banner of Suchitra Kala Mandir, and is directed by Asit Sen. The star cast is listed as Ashok Kumar, Nutan, Jitendra, Mumtaz, Rehman, Jayant, Nirupa Roy, Sujeet Kumar, Roopesh Kumar, Shabnam, Shivraj, Beerbal, Leela Mishra, Brahm Bhardwaj, Keshto Mukherjee, Karan Diwan, Paro, Bilkis, Dilip Dutt, Machchar, Madhu Apte. A social drama that has six songs written by Sarshaar Sailaani and Anand Bakshi, and are tuned to music by Laxmikant Pyaarelal. This song is written by Anand Bakshi. On screen, the song is performed by Nutan, as she is accompanied by Sujeet Kumar.

Three songs of this film are already showcased on our blog. This is the fourth song to find its place here. The lyrics for this song have been sent in by Prakashchandra ji.

It is terrible that she went away so young – depriving us of what could have been possible. But then maybe it is good for whatever transpired – the memories are as elegant and as preserved, as was she herself, into her fifties. Her biography records an episode from when she was an infant. As a baby, she would go into bouts of crying that lasted for many hours. All the medical consultation and advise could not locate any problems. Then, one astrologer read her horoscope and said that she is a delivered soul who has come back into this world quite unwillingly. The prophecy played itself out, when she decided to leave so early.

o re maanjhi
o mere maanjhi
. . . abki baar
le chal paar
le chal paar

Song – Baat Ye Anokhi Mere Meet Ho Gayi  (Maa Aur Mamta) (1970) Singer – Lata Mangeshkar, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal

 

Lyrics (Provided by Prakash Chandra)

baat ye anokhi mere meet ho gayee
raat din dhadknaa dil ki reet ho gayee
ho raamaa kaahe rey mohey preet ho gayee
ho raamaa kaahe rey mohey preet ho gayee
baat ye anokhi mere meet ho gayee
raat din dhadknaa dil ki reet ho gayee
ho raamaa kaahe rey mohey preet ho gayee
ho raamaa kaahe rey mohey preet ho gayee

laaj ka pehraa
maine
ho o o mann ke dwaar bithaayaa
laaj ka pehraa
maine
ho o o mann ke dwaar bithaaya
is ghoonghat mein
aise
ho o mukhda laakh chhupaayaa
haayye rey barjori
nindiyaa ho gayee chori
ho o haar gayee main
saiyyaan teri jeet ho gayee
ho raamaa kaahe rey mohey preet ho gayee
baat ye anokhi mere meet ho gayee
raat din dhadknaa dil ki reet ho gayee
ho raamaa kaahe rey mohey preet ho gayee
ho raamaa kaahe rey mohey preet ho gayee

teri  najariyaa
sajnaa
ho o o mere sapnon ki doli
teri najariyaa
sajnaa
ho o o mere sapnon ki doli
baith main iss mein
chal dee
ho o tere sang  humjoli
rokey jag naa maanoon
kaaran main na jaanoon
ho o log kehte hain mohey preet ho gayee
ho raamaa kaahe rey mohey preet ho gayee
baat ye anokhi mere meet ho gayee
raat din dhadknaa dil ki reet ho gayee
ho raamaa kaahe rey mohey preet ho gayee
ho raamaa kaahe rey mohey
kaahe rey mohey
preet ho gayee

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

बात ये अनोखी मेरे मीत हो गई
रात दिन धड़कना दिल की रीत हो गई
हो रामा काहे रे मोहे प्रीत हो गई
हो रामा काहे रे मोहे प्रीत हो गई
बात ये अनोखी मेरे मीत हो गई
रात दिन धड़कना दिल की रीत हो गई
हो रामा काहे रे मोहे प्रीत हो गई
हो रामा काहे रे मोहे प्रीत हो गई

लाज का पहरा
मैंने
हो ओ ओ मन के द्वार बिठाया
लाज का पहरा
मैंने
हो ओ ओ मन के द्वार बिठाया
इस घूँघट में
ऐसे
हो ओ मुखड़ा लाख छुपाया
हाये रे बरजोरी
निंदिया हो गई चोरी
हो ओ हार गई मैं
सैंयां तेरी जीत हो गई
हो रामा काहे रे मोहे प्रीत हो गई
बात ये अनोखी मेरे मीत हो गई
रात दिन धड़कना दिल की रीत हो गई
हो रामा काहे रे मोहे प्रीत हो गई
हो रामा काहे रे मोहे प्रीत हो गई

तेरी नजरिया
साजना
हो ओ ओ मेरे सपनों की डोली
बैठ मैं इस में
चल दी
हो ओ ओ तेरे संग हमजोली
रोके जग ना मानूँ
कारण मैं ना जानूँ
हो ओ लोग कहते हैं मोहे प्रीत हो गई
हो रामा काहे रे मोहे प्रीत हो गई
बात ये अनोखी मेरे मीत हो गई
रात दिन धड़कना दिल की रीत हो गई
हो रामा काहे रे मोहे प्रीत हो गई
हो रामा काहे रे मोहे

काहे रे मोहे

प्रीत हो गई


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 : 3504 Post No. : 14080

Missing Films of 1960s – 60
– – – – – – – – – – – – – – –

The debut film for today is ‘Bhakt Prahlad’, the quintessential historical / mythological saga that has been repeated so often across the decades. I would say that, along with the tale of Raja Harishchandra, the story of Bhakt Prahlad probably forms the most times filmed pair of historical / mythological tales. As per Geet Kosh, the story of Bhakt Prahlad has been presented on the silver screen no less than six times – the years in chronological order being 1932, 1934, 1946, 1959, 1965 and 1967. Besides this set of films in Hindi, this tale has also been a subject of many other films released in regional cinema.

The 1965 version of this film was produced under the banner of Madan Movies, Bombay, and is directed by Kamal Sharma. The star cast consists of the following, Anjali, Bablu, BM Vyas, Malika, Sheikh, Rajkumar, Helen, Jeevankala, Ravi Kumar, Ramesh, Mohan Modi, Raja Saleem, Nazeer Kashmiri, Dalda, Maqbool, Pal Sharma, and Jagdish Vyas etc.

The film has eight songs listed in the Geet Kosh. All the songs have been penned by Bharat Vyas. The music direction is by BN Bali (aka Baldev Nath Bali). The song is sung by Asha Bhosle.

I have heard this song, long long back, and then I have not heard it for many years. Today, as I started search for an appropriate song, I came across this one. To start with the words did not ring a bell, and I simply clicked on to play. And as it started to play, the song came alive in the mind along with the memories of radio listening days.

The song is a seduction song, of course presented in a very sober and decent manner. The words and the year remind me of another similar seduction song which is from the 1965 film ‘Jewel Thief’ – “Raat Akeli Hai Bujh Gaye Diye. . .”. As I continued to listen, the second antaraa reminded me of another song from the same year. The film – ‘Mere Sanam’ and the song “Ye Hai Reshmi Zulfon Ka Andhera. . .”. Interestingly, all the three songs have been rendered by Asha Bhosle. And I am wondering – same year, three different songs from different films, all in the same genre. The subject matter i.e. seduction, is the same; but the treatment is literally ages apart. Hmmm. . . gives me an idea for a series on seduction songs; let me see if I can muster up enough songs to do a complete series.

But regardless, listen to and enjoy this gem of a song from an obscure film, reviving memories of a wonderfully melodic era.

 

Song – Raat Basanti Main Raswanti  (Bhakt Prahlad) (1965) Singer – Asha Bhosle, Lyrics – Bharat Vyas, MD – BN Bali

Lyrics

jogi..ee..ee..ee

jogi..ee..ee..ee

raat basanti
main raswanti
laai hoon roop anmol re
jogi ab to aankhen khol re
ho oo oo oo
raat basanti
main raswanti
laai hoon roop anmol re
jogi ab to aankhen khol re
ho oo oo oo
raat basanti

dekh wo chanda ras barsaaye
dekh wo chanda ras barsaaye
dekh pawan lehraaye
ye chaandi ki jhilmil kirnen
ye chaandi ki jhilmil kirnen
tan mein chubh chubh jaayen
[. . .]
raat basanti
main raswanti
laai hoon roop anmol re
jogi ab to aankhen khol re
hoye hoye hoye hoye hoye
raat basanti

dekh lachakti gori baahen
dekh lachakti gori baahen
dekh thirakte naina
ghunghat palat jo lat bikhra doon
ghunghat palat jo lat bikhra doon
din ban jaaye raina
ho oo oo oo
raat basanti
main raswanti
laai hoon roop anmol re
jogi ab to aankhen khol re
ho oo oo oo
raat basanti

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

जोगी॰॰ई॰॰ई॰॰ई॰॰ई

जोगी॰॰ई॰॰ई॰॰ई॰॰ई

रात बसंती
मैं रसवन्ती
लाई हूँ रूप अनमोल रे
जोगी अब तो आँखें खोल रे
हो ओ ओ ओ
रात बसंती
मैं रसवन्ती
लाई हूँ रूप अनमोल रे
जोगी अब तो आँखें खोल रे
हो ओ ओ ओ
रात बसंती

देख वो चंदा रस बरसाए
देख वो चंदा रस बरसाए
देख पावन लहराए
ये चाँदी की झिलमिल किरणें
ये चाँदी की झिलमिल किरणें
तन में चुभ चुभ जाएँ
[॰ ॰ ॰]
रात बसंती
मैं रसवन्ती
लाई हूँ रूप अनमोल रे
जोगी अब तो आँखें खोल रे
होए होए होए होए होए
रात बसंती

देख लचकती गोरी बाहें
देख लचकती गोरी बाहें
देख थिरकते नैना
घूँघट पलट जो लट बिखरा दूँ
घूँघट पलट जो लट बिखरा दूँ
दिल बन जाये रैना
हो ओ ओ ओ
रात बसंती
मैं रसवन्ती
लाई हूँ रूप अनमोल रे
जोगी अब तो आँखें खोल रे
हो ओ ओ ओ
रात बसंती


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

Blog Day : 3501 Post No. : 14066

Todays song is from an old film of the 30s – ‘Sunehara Sansar- from 1936.

Songs from films made in the 30s are difficult to find.If you find a song of a film of your choice, you are a lucky person. Sometimes, as a fluke, such songs are encountered and your day is made. Luckily, there are collectors from India and Pakistan, who collect songs from various sources and upload them on You Tube for the benefit of music lovers and history students. Since no collector ever discloses his sources, it is difficult to know from where the song has been taken. Actually it hardly matters as long as it is not used for commercial purpose. Such 70-80 year old songs are no one’s personal property in any case, once they are on public domain. The uploaders are also aware of it.

We are thankful to many uploaders like Shri Girdharilal Vishwakarma ji of Jodhpur, Shalin Bhat ji in the US, Javed Rsjs ji and many more such kind and helpful souls who serve the interest of Film music history, by making old rare songs available to music lovers and writers. Our own Sudhir ji, Atul ji and Sadanand ji too upload such rare songs. God Bless Them all. Today’s song is uploaded by Shalin Bhat ji.

The song is from a film made by East India Film Co. of Calcutta. In those days, the name Calcutta was synonymous with New Theatres, in the film world. New Theatres is a Golden Chapter in the Indian Film History. Established by BN Sircar in 1930, NT was not just a commercial entity, but an institution which strengthened the foundation of film making in India. Sircar established systems and discipline in film shootings. He was an engineer from London. Son of a very famous and rich Advocate General of Bengal, Sircar was a soft spoken but a firm personality. Being rich himself, he had no problem in building a well equipped company, without making a compromise on quality – both in in terms of machinery and people.

Most other studio owners like V Shantaram, Mehboob, Chandulal Shah, Sohrab Modi, SS Wassan, Guru Dutt, Raj Kapoor etc. took over as company’s film director, but not Sircar. He had a strong line up of capable directors like PC Barua, Hem Chander, Debaki Bose, Nitin Bose, Premankur Attorthy, Phani Mujumdar etc. He never ever interfered with directors choices of actors or work. Remaining in the background, he ensured shootings as per schedule.

NT was like a family. It ran on systems. It became a way of life for people working in it. Since its establishment in 1930, competition increased consistently, in the number of film producing companies in Calcutta. By 1938, there were 18 Production houses in Calcutta alone. They were – Arora Film Co., Shri Bharat Laxmi Pictures, Chitramandir RBS Prodn, Dev-Dutt films, East India Film Co., Indua Movietone, Kali Films, Kamala Talkies, Maadan Theatres, New Popular Pictures, Moti Mahal Theatres, Murli Pictures, Quality Pictures, Radha Film Co., Sonoray Picture Syndicate, Sunrise Film Co., and Tollywood Studio. Interesting point is, Bombay film industry came to be known as Bollywood many decades after this Calcutta studio – Tollywood – which continues till today for Bangla Film industry.

After 1939, the second world war created problems for NT. On one hand raw film shortage and  severe competition and on the other hand ego clashes of the stalwarts and exodus from the company plagued NT. PC Barua was the first to leave,in 1940, to restart his own studio. One by one people started leaving. From 1942 to 1947, many important actors, directors and technicians left NT and went to Bombay. During its existence, NT created an all time record as a company. It had produced  177 films as against the nearest competitor – Ranjit Studios of Bombay, with 175 films (as per Cine Advance issue dated 5th Dec 1980).

During the Golden period of NT, Debaki Bose made a Bangla film ‘Sonar Sansaar’ in 1936. The same was also made in Hindi as ‘Sunehra Sansaar’. During the period 1934 to 1936, Debaki Bose worked for East India Film Co. His film, ‘Seeta’ (1934) won the Honorary Diploma in Venice Film Festival and his last film there was ‘Sunehra Sansaar’ (1936). After this Debaki Bose (who gave the name ‘Kumar’ to actor Syed Ali Hasan Zaidi of film ‘Puran Bhagat’ (1933) returned to NT for the period from 1937 to 1941. He then left NT to start his own production company.

The East India Film Company was based in Calcutta, Bengal Presidency, Bitish India. It was the first Indian film company to screen a movie at an international Film Festival. Started in 1932 in Calcutta, by RL Khemka, it went on to be a pioneer in producing films across several regional film industries, including Bengali, Hindi, Urdu, Telugu, and Tamil in the decade after its founding; till then, production companies were restricted regionally.

The company was formed in 1932 by RL Khemka, a local Marwari businessman in Bengal after acquiring the RCA Photophone studio, its location recording equipment, and its Mitchell cameras. In 1933, East India Film Company’s first Bengali film production, ‘Jamuna Puline’ was released. The director was Priyanath Ganguli, who had joined here after leaving Maadan Theatres. Riding on its success, the company became the first Bengali studio to venture into not just Hindi films, but also various films in South Indian languages. East India Film Company was soon producing a dozen movie releases per year, including several hits like ‘Savitri’ (Telugu) and ‘Ramayan’ (Tamil).

The East India Film Company’s ‘Seeta’, made by Debaki Bose, was the first talkie shown in an international film festival. It was shown in 1934 at the Venice Film Festival where it won an Honorary Diploma. Subsequently, Bose also made his noted film, ‘Sonar Sansaar’ (Hindi: ‘Sunhera Sansaar’) in 1936 under the East India Film Company banner.

Shot in Calcutta on a lavish budget of Rs.75,000, East India Film Company’s ‘Savitri’ in Telugu was a huge hit. Based on a popular stage play by Mylavaram Bala Bharathi Samajam, the film was directed by debutant C Pulliah and starred stage stalwarts Vemuri Gaggiah and Dasari Ramthilakam as Yama and Savitri, respectively. Like ‘Seeta’, this film was also shown in Venice Film Festival, where it too won an Honorary Diploma.

Film ‘Sunehra Sansaar’ had 21 songs, all written by its hero – Vijay Kumar, BA. [Author Notr: I have written about him in my post “Tan Prem Ki Raakh Lagaa Kar Ke“on 31-1-2018). The cast of the film was Vijay Kumar, Rampyari, Menaka Devi (her first film in Calcutta), Kamla Jharia, Azuri, Mazhar Khan, Gul Hamid, KN Singh (his debut film) and others.

Like several common feminine names in those days – Zebunnisa, Zubeida, Khursheed, Zohra, Amirbai, Gauhar, Radharani, Menaka, Noorjehan, Yasmin, Vimala etc, there were common male names too. One of them was Hamid. It was prefixed and suffixed by Gul, Ali, Syed etc. For example, actor Ajit’s real name was Hamid Ali and actor singer Shyam Kumar was Syed Gul Hamid Ali. I remember, once when I wrote about Shyam Kumar and his real name, our Sudhir ji had queried if he and the actor Gul Hamid were same. I had informed him that they were different.

Today we will know more about this actor Gul Hamid, who acted in many films in the 30s and died very young at 31 years only. He was a handsome young man from Peshawar. After starting his film career from Lahore, he moved to Calcutta where he worked in more than a dozen of silent films and talkies. Some of his films were made in Bombay too. He had many honors to his credit. He acted in Heer Ranjha, the first film produced in Punjabi and in Seeta, a talkie that won an Honorary Diploma in the 1934 Venice Film Festival. That was also the first Indian film shown at an International film festival. Hamid also wrote the script, acted in, and directed the film Khyber Pass (1936). 

Gul Hamid was born in 1905 in Pirpiai, a village near the Kabul River in the North West Frontier Province of British India (now in Pakistan). His father was Saif Ullah Khan. Gul Hamid Khan had three brothers named Abdul Hameed Khan, Gul Jamal Khan and Sayed Jamal Khan. Gul Hamid Khan was married to Patience Cooper (later Sabra Begum) from 1930–1936, one of the first early silent movie actresses.

He became an all-India celebrity when AR Kardar cast him in his hit movie. It is said that the movie industry never again saw an actor with Gul Hamid’s looks. He made his film debut with Sarfarosh alias Brave Hearts in 1930, which was a silent movie made in Lahore and directed by AR Kardar. In 1931, his films Aatishe Ishq and Wandering Dancer were released. Gul Hamid also had the honour of working in the first ever Punjabi feature film Heer Ranjha released in 1932. This film was made in Lahore and directed by AR Kardar. In 1933, his film Yahudi Ki Ladki was released based on Agha Hashar Kashmiri‘s stage play by the same name. His other films released in 1934 were ChandraguptMumtaz BegumSultana and Night Bird.

1935 was the richest year of Gul Hamid’s career as many of his films were released in it. In Bharat Ki Beti (1935), his heroine was Rattan Bai.  His other notable talkie films in 1935 were Sauteli BadruhiSaleema  and  MurdererYasmin was also released the same year in which his name was Behram. As per records, only three films were released in 1936 i.e. ‘Sunehra Sansaar’, Baghi Sipahi and Khyber Pass.  Khyber Pass was the film in which he not only acted but also wrote its script and directed it. He worked with his wife, Patience Cooper, in three films i.e., Baghi Sipahi, ‘Murderer’ (1935) and Khyber Pass. He died  in 1936 due to a throat ailment.(Hodgekin’s Disease).

The story of film Sunehara Sansar-36, as outlined in Encyclopedia of Indian Cinema, is as follows,

This is a parable about human suffering and capitalist enterprise. The village headman has the bandits attack house of Ramesh to settle an old dispute. His wife Roma is kidnapped and infant son is abandoned in a forest. Years later, Roma works as a nurse to a kind millionaire and her son Raghunath lives with other unemployed youths, in a nearby house. They all dream about starting a Soap Factory. The father has become a beggar in that town only. No one is aware about others. Changed circumstances bring the family together and the kind millionaire helps to set up the Soap Factory.

Today’s song is composed by KC Dey, but the singer is not known. I presume it is Vijay kumar only. So, here is a song from an 80+ year old film. Surprisingly, the song is clear.

[Auhtor’s Note: Acknowledgements and thanks to Indian Cinematograph Year Book – 1938, Encyclopedia of Indian Cinema, Muvyz, HFGK, Wikipedia, IPFS.com, Pakfilms.com, book by Ambarish Mishra and my notes.]


Song – Sukh Anand Aur Prem Ki Khaatir (Sunehra Sansaar) (1936) Singer – [Unattributed], Lyrics – Vijay Kumar BA, Music – KC Dey

Lyrics (Provided by Sudhir)

sukh anand aur prem ki khaatir
sukh anand aur prem ki khaatir
bana ye soney ka sansaar
bana ye soney ka sansaar
is mein dhan dualat joban hai
hai. . .
is mein dhan dualat joban hai
jeevan saathi hai pyaari naar
sukh anand aur prem ki khaatir
sukh anand aur prem ki khaatir
bana ye soney ka sansaar
bana ye soney ka sansaar

putra hai aankhon ka taara
jis se chamke jagmag parivar
aish ke jhoole jhoolo nis din
prem se looto mauj bahaar
putra hai aankhon ka taara
jis se chamke jagmag parivar
aish ke jhoole jhoolo nis din
prem se looto mauj bahaar
saathi ishwar gun gaawo
saathi ishwar gun gaawo
saathi ishwar gun gaawo
jis ne racha sunder sansaar

sukh anand aur prem ki khaatir
sukh anand aur prem ki khaatir
bana ye soney ka sansaar
bana ye soney ka sansaar
is mein dhan dualat joban hai
hai. . .
is mein dhan dualat joban hai
jeevan saathi hai pyaari naar
sukh anand aur prem ki khaatir
sukh anand aur prem ki khaatir
bana ye soney ka sansaar
bana ye soney ka sansaar

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
सुख आनंद और प्रेम की खातिर
सुख आनंद और प्रेम की खातिर
बना ये सोने का संसार
बना ये सोने का संसार
इस में धन दौलत जोबन है
है॰ ॰ ॰
इस में धन दौलत जोबन है
जीवन साथी है प्यारी नार
सुख आनंद और प्रेम की खातिर
सुख आनंद और प्रेम की खातिर
बना ये सोने का संसार
बना ये सोने का संसार

पुत्र है आँखों का तारा
जिससे चमके जगमग परिवार
ऐश के झूले झूलो निस दिन
प्रेम से लूटो मौज बहार
पुत्र है आँखों का तारा
जिससे चमके जगमग परिवार
ऐश के झूले झूलो निस दिन
प्रेम से लूटो मौज बहार
साथी इशवर गुण गावो
साथी इशवर गुण गावो
साथी इशवर गुण गावो
जिसने रचा सुंदर संसार

सुख आनंद और प्रेम की खातिर
सुख आनंद और प्रेम की खातिर
बना ये सोने का संसार
बना ये सोने का संसार
इस में धन दौलत जोबन है
है॰ ॰ ॰
इस में धन दौलत जोबन है
जीवन साथी है प्यारी नार
सुख आनंद और प्रेम की खातिर
सुख आनंद और प्रेम की खातिर
बना ये सोने का संसार
बना ये सोने का संसार


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 : 3501 Post No. : 14065

Missing Films of 1960s – 59
– – – – – – – – – – – – – – –

So, on the 3501st day on this blog, I introduce to you the debut film for today.

The film is ‘Sardaar’ from 1967. This year continues to be very fertile, and still another four, and maybe five more films from this year are next in line.

The production banner is M.U.N. films Bombay, and the film is directed by Babubhai Mistry. The film is categorized as a costume drama, with the cast of actors listed as Dara Singh, Sheikh Mukhtar, Ajit, Nishi, Helen, Jayant, Chandrashekhar, Tiwari, Maruti, Arvind Pandya, and Jeevankala. Now this is a very impressive ensemble – we have Sheikh Mukhtar, and Dara Singh, and Ajit, and Chandrashekhar, and Nishi, and Helen, and Jayant, and Tiwari – wow.

The film has seven songs listed. All the songs are written by Asad Bhopali, and the music is composed by Usha Khanna. As I scan the list of songs, some are very familiar and popular songs, and I wonder this film has managed to stay away from being represented on our blog so far.

Today’s song is about the memories of childhood love. It is sung by Lata Mangeshkar. Once you start listening to the song, I am sure the memory cells will respond – ok, well this one, yes, it is a familiar favorite from the radio listening days. Enjoy.

Song – Mera Tumhara Afsaana Hai Kitna Puraana  (Sardaar) (1967) Singer – Lata Mangeshkar, Lyrics – Asad Bhopali, MD – Usha Khanna

Lyrics

mera tumhara afsaana
hai kitna purana
zara yaad karo
bachpan ka zamaana
piya yaad karo
zara yaad karo
mera tumhara afsaana
hai kitna purana
zara yaad karo
bachpan ka zamaana
piya yaad karo
zara yaad karo

kyon ji tumko yaad to hongi
pehli pehli pyaar ki baaten
pehli pehli pyaar ki baaten
chhoti si ik bhool pe laakhon
hoti then taqraar ki baaten
hoti then taqraar ki baaten
mera wo rooth ke jaana
tumhaara manaana
zara yaad karo
bachpan ka zamaana
piya yaad karo
zara yaad karo

din mein sau sau baar tumhaare
paas aane ko ji kehta hai
paas aane ko ji kehta hai
in aankhon mein daal ke aankhen
kho jaane ko ji kehta hai
kho jaane ko ji kehta hai
chhod ke dil tadpaana
mohabbat nibhaana
zara yaad karo
bachpan ka zamaana
piya yaad karo
zara yaad karo

mera tumhara afsaana
hai kitna purana
zara yaad karo
bachpan ka zamaana
piya yaad karo
zara yaad karo

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
मेरा तुम्हारा अफसाना
है कितना पुराना
ज़रा याद करो
बचपन का ज़माना
पिया याद करो
ज़रा याद करो
मेरा तुम्हारा अफसाना
है कितना पुराना
ज़रा याद करो
बचपन का ज़माना
पिया याद करो
ज़रा याद करो

क्यों जी तुमको याद तो होंगी
पहली पहली प्यार की बातें
पहली पहली प्यार की बातें
छोटी सी इक भूल पे लाखों
होती थीं तक़रार की बातें
होती थीं तक़रार की बातें
मेरा वो रूठ के जाना
तुम्हारा मनाना
ज़रा याद करो
बचपन का ज़माना
पिया याद करो
ज़रा याद करो

दिन में सौ सौ बार तुम्हारे
पास आने को जी कहता है
पास आने को जी कहता है
इन आँखों में दाल के आँखें
खो जाने को जी कहता है
खो जाने को जी कहता है
छोड़ के दिल तड़पाना
मोहब्बत निभाना
ज़रा याद करो
बचपन का ज़माना
पिया याद करो
ज़रा याद करो

मेरा तुम्हारा अफसाना
है कितना पुराना
ज़रा याद करो
बचपन का ज़माना
पिया याद करो
ज़रा याद करो

 


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 : 3500 Post No. : 14064

3500 – a good number to be. It is divisible by 7. Gives us 500.

Lets take a stock of the major numbers.

We complete 3500 days – unbroken sequence (almost 😉 ).
500 weeks.
14,000+ songs.

And, for the ticker watchers, we are just going to touch 10,100,000 visits to this blog.

In terms of artist stats, some very interesting total numbers,

486 – Music Directors + 109 posts with [*Unattributed] MD status
659 – Lyricists + 402 posts with [*Unattributed] Lyricist status
870 – Singers + 93 posts with unidentified singer names

Keeping out the unattributed and the unidentified, we are managing a whopping total of 2015 unique artists

I have written this phrase before. Our blog is history in the making – history of Hindi film music – one song at a time.

In terms if format, in terms of depth of content, in terms of dealing earnestly and critically with the subject matter, this blog is unique and without any peers. We are close to completing 10 years. Even now, we periodically get to see reader’s comments that tell about recently having discovered this hallowed destination on the internet, and what a fantastic treasure they have encountered. In fact, we have one such comment that came in today, just about four and a half hours ago. Paraphrasing from the text of this comment, a new reader Jayant Raleraskar writes that “. . . that’s a Great contribution indeed. In fact I am a new visitor to Atulsong. Of course I am enjoying and getting nice information as well.” Today, 3500 days after its inception, we still continue to get new readers who are impressed enough to leave such a heartening and an encouraging comment.

And the march continues. Ah yes, it is the next coming month also; but I refer to the dogged insistent forward journey that has been in progress for 3500 days today. The pun is on the word March. By the way, are you familiar with the best pun on ‘March’. It is a tiny two liner

“Can February March?
No, but April May.”

😀  😀  😀

Great journey so far. A grand motley crew of loving friends assembled on the bandwagon. And on towards the horizon – many a thousand more stations still to be covered on this beat. Maybe someone may ask us some day – why we do it? Brings to mind a similar incident from the mountaineering past. George Mallory, the famed young British climber who was part of the first three (unsuccessful) expeditions to conquer Mt Everest, in the 1920s. Mallory is famously quoted as having replied to the question “Why did you want to climb Mount Everest?” with the retort “Because it’s there”, which has been called “the most famous three words ever in mountaineering”.

Well, I think our answer may not be limited to these three words. The answer by us would be – “Because it is there, and we love it”.  🙂 🙂

And on this journey, we continue to discover, almost on a daily basis, something new and surprising about the Hindi film music.

Take today’s song for example. Yesterday when Atul ji and I exchanged emails about today being the 3500th daily anniversary of this endeavor, I thought about it, and then started searching for a song with the word ‘hazaar’ in it. After checking out a few examples, I settled on this song for this post today.

ek shama hai mehfil mein
parwaane hazaaron hain

or if I may take some poetic latitude here, I would like to surmise as

ek asad hai internet mein
padhne waale hazaaron hain

And the other reason I picked this song – aah well, I am sure some of you may have already guessed. Going thru the lyrics of this Geeta Dutt beauty from 1952, folks will find a suspicious shadow falling on to another iconic song from three decades later. Yes, I refer to the famous song from ‘Umrao Jaan’ (1981) –

in aankhon ki masti ke
mastaane hazaaron hain

In fact, not just mastaane, but also deewaane and maikhaane. Just take away the music and map the lyrics. I think we may have hit upon the original song that ‘inspired’ the famous hit song of ‘Umrao Jaan’.

The 1952 film ‘Baghdad’ is produced by JB Lulla, under the banner of Falcon Films, Bombay and is directed by Nanabhai Bhatt. The star cast is listed as Ranjan, Bharti, Yashodhara Katju, Anwar, Veera, Kamal, Samson, S Nazeer, Kanta, Nagpal, Anant Prabhu, Bhupen Kapoor, Habib, Sabu (Tattoo), and Bhagwan. The eight songs of this film are penned by Raja Mehdi Ali Khan, and the music is by Bulo C Rani.

Congratulations once again to all – milestones galore. Happy 3500th to all.

Song – Ek Shama Hai Mehfil Mein Parwaane Hazaaron Hain  (Baghdad) (1952) Singer – Geeta Roy, Lyrics – Raja Mehdi Ali Khan, MD – Bulo C Rani

Lyrics

ek shama hai mehfil mein
parwaane hazaaron hain
parwaane hazaaron hain
wo naina hoon main jiske
wo naina hoon main jiske
deewaane hazaaron hain
ek shama
ek shama

har aankh mein ghar mera
har aankh mein ghar mera
har dil ko talab meri
har dil ko talab meri
har dil ko talab meri
but ek hoon main lekin
but ek hoon main lekin
butkhaane hazaaron hain
butkhaane hazaaron hain
ek shama
ek shama

paimaane mohabbat ke
uth jhoom
uth jhoom jhoom ke pee le
pee le
pee le
in masti bhari aankhon mein
in masti bhari aankhon mein
maikhaane hazaaron hain
maikhaane hazaaron hain
ek shama
ek shama

ek shama hai mehfil mein
parwaane hazaaron hain
parwaane hazaaron hain
ek shama
ek shama
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

एक शमा है महफिल में
परवाने हजारों हैं
परवाने हजारों हैं
वो नैना हूँ मैं जिसके
वो नैना हूँ मैं जिसके
दीवाने हजारों हैं
एक शमा
एक शमा

हर आँख में घर मेरा
हर आँख में घर मेरा
हर दिल को तलब मेरी
हर दिल को तलब मेरी
हर दिल को तलब मेरी
बुत एक हूँ मैं लेकिन
बुत एक हूँ मैं लेकिन
बुतखाने हजारों हैं
बुतखाने हजारों हैं
एक शमा
एक शमा

पैमाने मोहब्बत के
उठ झूम
उठ झूम झूम के पी ले
पी ले
पी ले
इन मस्ती भरी आँखों में
इन मस्ती भरी आँखों में
मैखाने हजारों हैं
मैखाने हजारों हैं
एक शमा
एक शमा

एक शमा है महफिल में
परवाने हजारों हैं
परवाने हजारों हैं
एक शमा
एक शमा


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(© 2008 - 2018) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for more than nine years. This blog has over 14000 song posts by now.

This blog is active and online for over 3500 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14089

Number of movies covered in the blog

Movies with all their songs covered =1087
Total Number of movies covered =3846

Total visits so far

  • 10,119,285 hits

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Blog Start date: 19 july 2008

Active for more than 3500 days.

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