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 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 :

4274 Post No. : 15509 Movie Count :

4275

Songs Repeated in Hindi Films – 18
– – – – – – – – – – – – – – – – – –

So this suggestion and reminder from Anekant ji, dropped into my mail box yesterday. And I take this opportunity to present this repeat song that is so appropriate for the continuing celebrations of Navratri.

The original song – “Tu Ne Mujhe Bulaaya Sheraanwaaliye“, is from the film ‘Aasha’ (1980) and on screen it is performed by Jeetendra and others. Reena Roy is present in the picturization. Fast forward eight years to 1988 and the song has been repeated in the film ‘Do Waqt Ki Roti’ (1988), as is. Meaning, it is not a re-recording. The song has been replayed as original. The only difference is that a full antaraa is deleted. The original song has two antaraas, and this reuse song has only one.

‘Do Waqt Ki Roti’ is produced by MP Aggarwal and is directed by Satpaal. The primary cast of actors is listed as Feroz Khan, Sanjeev Kumar, Reena Roy, Sulakshana Pandit, Nirupa Roy, Amjad Khan, Shakti Kapoor, Satyendra Kappu, Ranjeet, and Jagdeep. The film has five songs, other that this reuse song.

The interesting similarity that the music directors of these two films are the same. So maybe that is why the reuse may not have been a problem. However, as usual, this reuse song is not listed in the list of songs of this film.

Today is the sixth day of Navratri celebrations. The incarnation of the Goddess Mother that is worshipped today is Maa Kaalratri or Maa Mahakaali. I would like to discuss this appearance of the Mother in a little more detail. It is quite possible that the readers may be quite familiar with this description.

The description is as per the Devi Bhagwat. As it their wont – the Devatas have been defeated by two powerful aruras (demons) – Shumbh and Nishumbh, and had lost the occupation of the Kingdom of Heavens. The commander of the asura armies was another demon named Raktbeej. Raktbeej had a boon that he had received from Brahma ji. As is usual the asuras, after long periods of penance and austerities, would always end up asking for the blessing of longevity – that they could never be destroyed. This boon has been asked for by the asuras in many different forms. Raktbeej asked for this boon in the form that in case he is in a battle, and he is wounded, then when his blood touches the ground in form of drops, every drop will immediately form a replica of the Raktbeej himself. So even if he is wounded, just by the result of this blessing, an army of Rakbeej clones will be created. By this way, Raktbeej may never be vanquished, and he would only get stronger with additional forces of clones of himself to support him.

The Devatas were in despair, and they prayed to the Mother Goddess. She appeared and asked them what were they seeking from Her. They explained the predicament in their battle against Shumbh and Nishumbh – that they, the Devatas will never be able to defeat the asuras, as long as their commander Raktbeej is leading them. The Mother Goddess assured them of help, and sent them away to wage another war on the asuras. The battle started. Devatas started to target Raktbeej, but his blessing still obstructed the Devatas to make any headway in the fight. In fact, when Devatas would inflict any blow Raktbeej, the drops of blood from his body, as they touched the ground, would sprout into another Raktbeej, thus strengthening the army of asuras.

The Mother Goddess then took on the form of Maa Kaali and joined the battle. The appearance and demeanor of the Mother in the Kaali form was frightening. Completely black in appearance from head to toe, wearing black, long black hair loose open and waving, a garland made of skulls in the neck, and wearing a skirt made from the limbs of the dead, with a khadag (a sword like weapon, curved in a different way) in one hand, and bowl made from the outer layer of a coconut, in the other hand. The fearful appearance was further enhanced with a long red tongue that perpetually remained outside the mouth, waving like a blood red serpent.

She reached close to Raktbeej and hit him with the khadag. An injured Raktbeej started to bleed from his wounds. Maa Kaali reached out with her waving tongue and started to lap up every drop of his blood that oozed out of his wounds. Working feverishly with her long tongue, she picked up very drop of blood from Raktbeej’s body, and continued to strike him. Losing blood, he started to become weak, as he continued to lose blood and his strength. And the boon was going waste because Maa Kali did not allow the drops of his blood to reach the ground. Finally, Maa Kaali cut off the head of Raktbeej with a blow from her khadag. To catch the falling blood from the dethatched neck, Maa Kali held the coconut bowl under it, once again not allowing even a drop of blood to fall on the ground. As the cup would overflow, Maa Kaali would drink from it, to make room to hold more blood.

The appearance and sight of the Mother was really frightful. She seemed to not be under Her own control. Waving the khadag in anger, she started to destroy anything and anybody that crossed her path. The army of asuras was thus decimated, but the Mother could not be stopped. The Devatas then prayed to Lord Shiv and requested him to rescue them from the wrath of Maa Kaali. Lord Shiv appeared to face Maa Kaali, but he too could not dissuade her and calm her down. She continued in her stride, destroying everything in her path. Then Lord Shiv lay down on the ground, in the path where she was headed. Maa Kaali continued in her stride and finally set a foot on Lord Shiv himself. Realizing suddenly that she had stepped on to her own consort, she came to a halt. Her anger dissipated, she stepped back and became calm.

There is a reason that describe this episode today. Today is the day of the worship of Maa Kaalratri, or Maa Kaali, and so it is appropriate to recount her legend. I remember hearing this narrative recounted to me by elders, or reading it in books, and I always used to wonder at the bizarre description of this event. Years passed and as I came to high school, I would finally get a reasonable explanation of this narrative. In the biology class, as we read about viruses and infections and deadly diseases, it suddenly came together in my mind that this description of Maa Kaali is so analogous to weeding out a deadly disease. Raktbeej is the infection that multiplies incessantly. The more you try to root it out, the more it spreads. Like the drops of blood falling on ground, it is the viruses that attack healthy cells, they multiply, and then attack more healthy cells.  Maa Kaali is likened to the antidote to the infection, that attempts to cut down the avenues for the infection to spread, not allowing it to reach more healthy cells thus depriving it of its resources to multiply.

That is quite much the situation that is faced by the world in present times. An unbridled and unknown new infection is running rampant through the human population, incurring a very high toll of fatalities. The mechanism of isolation and social distancing is analogous to not allowing the drops of blood of Raktbeej to fall on the ground, and not find newer option to breed and grow. The ideas that had formed in my mind during my high school studies of biology, are kind of getting reflected in the events of this worldwide spread of the deadly virus infection. The containment solution is in being isolated and not allowing propagation. Countries that are practicing this measure, are being somewhat successful in minimizing the fatal damage to the population. And the nations that, for whatever reason of culture or politics are failing to exercise this discipline, are on the way to incur heavy losses in terms of human life. A scenario that is described in our ancient texts is playing out in the real world with a very eerie congruence.

So, the day to pray to Maa Kaali today, is the day also to understand this mechanism of disallowing Raktbeej to replicate itself and to curtail the damage that can be done by an uncontrolled spread of this contagion.

May the Mother Goddess Maa Kaali appear once again on this earth, and destroy this Raktbeej like malady, cleanse this earth and rescue her children.

Ameen.

 

Song – Tu Ne Mujhe Bulaaya Sheraanwaaliye  (Do Waqt Ki Roti) (1988) Singer – Narendra Chanchal, Rafi, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Chorus

Lyrics

saanchi jyoto waali maata. . .
maata. . .
teri jai jaikaar
jai jaikaar. . .‎
jai jaikaar. . .‎
jai jaikaar. . .

‎‎tu ne mujhe bulaaya sheraanwaaliye. . .
main aaya main aaya sheraanwaaliye
tu ne mujhe bulaaya sheraanwaaliye. . .
main aaya main aaya sheraanvaaliye
‎o jyotaan vaaliye
pahaadaan vaaliye
o mehraan vaaliye. . .
tu ne mujhe bulaaya sheraanvaaliye. . .
main aaya main aaya sheraanvaaliye
o o o
tu ne mujhe bulaaya sheraanvaaliye. . .
main aaya main aaya sheraanvaaliye

kaun hai raaja
kaun bhikhaari
kaun hai raaja
kaun bhikhaari
ek baraabar tere saare pujaari
tu ne sab ko darshan de ke
tu ne sab ko darshan de ke
apne gale lagaaya sheraanvaaliye
tu ne mujhe bulaaya sheraanvaaliye
o jyotaan vaaliye
pahaadaan vaaliye
o mehraan vaaliye. . .
tu ne mujhe bulaaya sheraanvaaliye. . .
main aaya main aaya sheraanvaaliye

‎o prem se bolo

jai maata di
o saare bolo
jai maata di
o aate bolo
jai maata di
o jaate bolo
jai maata di
o kasht nivaare
jai maata di
o paar utaare
jai maata di
devi maan bholi
jai maata di
bhar de jholi
jai maata di
o jode darpan
jai maata di
maa de ke darshan
jai maata di
o jai maata di
jai maata di
jai. . . maata di..ee..ee
‎jai maata di‎
jai maata di‎
jai maata di‎
sheraanwaali ki jai

jai maata di‎
jai maata di‎
pahaadaan vaali ki jai,

jai maata di‎
jai maata di
‎vaishno raani ki jai

jai maata di‎
jai maata di‎
ambe raani ki jai

jai maata di
‎jai maata di‎
pahadaan waali ki jai‎


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

Blog Day :

4274 Post No. : 15508 Movie Count :

4274

In the golden period of Hindi film industry, there were many popular and famous actors (actors include actresses) who were well known to most of the cine goers of their relevant time. Those actors included heroes, heroines, character actors, villains and vamps, comedians, dancers etc. However, there were actors who were not  well known to most of the cine goers as most of the time, they would have small roles in films. But even with small roles, some of them have left lasting impressions on the connoisseurs of Hindi films. There was eagerness to know as to who were those actors. Among this set of actors is the playback singer and actor, Shyam Kumar.

Born as Gul Hamid Ali in Pune, Shyam Kumar (1913 – 1981) joined Kardar Studio as a playback singer on the recommendation of Naushad. He sang for Naushad in ‘Sharda’ (1942), ‘Namaste’ (1943), ‘Sanjog’ (1943), ‘Kanoon’ (1943), ‘Ratan’ (1944), ‘Pehle Aap’ (1944), ‘Sanyasi’ (1945), and ‘Dillagi’ (1949). He worked in some of these films but never sang for himself. However, his playback singing career never took off as he had tough competitions from GM Durrani and later from Mohammed Rafi, Mukesh, Talat Mehmood etc. After ‘Guzaara’ (1954), Shyam Kumar virtually gave up playback singing. After 1954, he sang for the last time in ‘Tilasmi Duniya’ (1962).

Being on the payroll of Kardar Productions, Shyam Kumar also acted in the films produced/directed by AR Kardar which included ‘Sharda’ (1942), ‘Sanyasi’ (1945), ‘Dard’ (1947), ‘Dulaari’ (1949), ‘Jaadoo’ (1950), ‘Deewana’ (1952) ‘Dil-e-Naadaan’ (1953), ‘Yaasmeen’ (1955) etc. Due to his impressive physique, he was considered for roles with negative shades though in a few films like ‘Vijaygarh’ (1954), ‘Rashtraveer Shivaji’ (1965) etc, he was the lead actor. During his four decades of filmy career, Shyam Kumar acted in over 140 films and sang around 30 songs in 15 films.

The first time I became aware of Shyam Kumar was in my younger days when I had heard his voice in the iconic song “Tu Mera Chaand Main Teri Chaandni” in ‘Dillagi’ (1949) which used to be often played on Radio Ceylon. It was only during my 78 RPM gramophone record collection period in early 1970s I came to know through my friend, also a record collector, of the confusion created by the name ‘Shyam’ on 78 RPM record.  As the song was picturised on the hero of the film, Shyam (actor Shyam Chadha) who was accredited as ‘Shyam’ in the credit titles of the film, many felt that the actor Shyam sang this song for himself. On the other hand, Shyam Kumar, the singer who also acted in this film was accredited as ‘Sham Kumar’ in the credit titles. The fact was that actor Shyam lip synced the voice of Shyam Kumar in the song.

I had no inkling as to how Shyam Kumar looked like though I had seen him in many films as a familiar actor without knowing his name. He generally worked in ‘B’ grade films in negative roles but in most of ‘A’ grade films, he worked as one of the henchmen of the villains. Even in scenes where his presence was  minuscule among other prominent actors, by his sheer expressions and unusual dresses he wore for the films, the audience would notice his presence. I have included a few samples of his expressions and dress sense in the films as montages in the audio clip of a song I am presenting with this article.

Shyam Kumar was the lead actor along with Krishna Kumari in the film ‘Vijaygarh’ (1954). The other star cast included Habib, Abu Bakar, Mohammed Sandow, Maqbool, Ranjana, Rafiq etc. The film was directed by AY Sheikh. The film seems to be an obscure one as not much information is available on it.  From the title, it would appear that the film belongs to the genre of historical drama. But the star cast of the film gives me an impression that it was a costume drama/stunt film.

The film’s 7 songs are as obscure as the film. Songs were  written by two lyricists – Muzaffar Shahjahanpuri and Indivar and were set to music by two music director – Krishna Dayal and AK Prem.  I have uploaded the video of the first song from the film which is “Gungunaai Fiza Jagmagaaya Sama”. It is a duet sung by Manorama (not the actress Manorama) and Shyam Kumar. This song is attributed to Muzaffar Shahjahanpuri and AK Prem as lyricist and music director, respectively. I heard the name of Manorama as a playback singer for the first time. She appears to be a trained singer. Checking through the Geet Kosh listings, we find that the singer Manorama was apparently active only during the period of 1954-55 during which time she sang a total of eleven songs for four films.
[Note: Incidentally, Yashodara Katju had a younger sister, Manorama Katju and was associated with a film magazine ‘Screen’ in 1950s.]

It is often said that Shyam Kumar never sang for himself in the films. He gave playback to other actors.  In ‘Vijaygarh’ (1954), Shyam Kumar was the lead actor and had sung three songs – two duets with Manorama and one solo. All these 3 songs are mix of romance and joy. Going by the list of other male actors in the film, I do not think that these 3 songs would make much sense if picturised on them.  So, it is a point to ponder whether Shyam Kumar performed one or more of his three songs himself.

With this song, ‘Vijaygarh’ (1954) makes a debut in the Blog.

[Ed Note: A honky-tonk coincidence plays in with the addition of this song to our blog. This song belongs to the 4274th film on this blog, and it appears on the 4274th day of the blog. Well, what do you say. 😀 😀 .]

 

Song – Gungunaai Fiza Jagmagaaya Samaa (Vijaygarh) (1954) Singer – Manorama, Shyam Kumar, Lyrics – Muzaffar Shahjahanpuri, MD – AK Prem
Manorama + Shyaam Kumar

 

Lyrics

gungunaai fiza jagmagaaya sama
aa aa aa aa
gungunaai fiza jagmagaaya sama
li bahaaron ne do dil mein angdaaiyaan
ho angdaaiyaan
ho o o o
gungunaai fiza jagmagaaya sama
li bahaaron ne do dil mein angdaaiyaan
ho angdaaiyaan
ho o o o
 
tu ne ghunghat hataaya bahaar aa gayi
tu ne ghunghat hataaya bahaar aa gayi
roop chamka to bijli bhi sharma gayi
roop chamka to bijli bhi sharma gayi
chhaa gayeen muskuraane se rangeeniyaan
ho rangeeniyaan
ho o o o
gungunaai fiza jagmagaaya sama
li bahaaron ne do dil mein angdaaiyaan
ho angdaaiyaan
ho o o o
 
aisi barsi khushi saare gham dhul gaye
aisi barsi khushi saare gham dhul gaye
zindagi ke naye raaste khul gaye
zindagi ke naye raaste khul gaye
ab basaayenge hum ek niraala jahaan
ek niraala jahaan
ho o o o
gungunaai fiza jagmagaaya sama
haa aa aa aa
gungunaai fiza jagmagaaya sama
li bahaaron ne do dil mein angdaaiyaan
ho angdaaiyaan
ho o o o

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

गुनगुनाई फिज़ा जगमगाया समां
हा आ आ आ
गुनगुनाई फिज़ा जगमगाया समां
ली बहारों ने दो दिल में अंगड़ाइयां
हो अंगड़ाइयां
हो ओ ओ ओ
गुनगुनाई फिज़ा जगमगाया समां
ली बहारों ने दो दिल में अंगड़ाइयां
हो अंगड़ाइयां
हो ओ ओ ओ

तू ने घूँघट हटाया बहार आ गई
तू ने घूँघट हटाया बहार आ गई
रूप चमका तो बिजली बहई शर्मा गई
रूप चमका तो बिजली बहई शर्मा गई
छा गईं मुस्कुयाने से
हो रंगीनियाँ
हो ओ ओ ओ
गुनगुनाई फिज़ा जगमगाया समां
ली बहारों ने दो दिल में अंगड़ाइयां
हो अंगड़ाइयां
हो ओ ओ ओ

ऐसी बरसी खुशी सारे ग़म धूल गए
ऐसी बरसी खुशी सारे ग़म धूल गए
ज़िंदगी के नए रास्ते खुल गए
ज़िंदगी के नए रास्ते खुल गए
अब बसाएँगे हम इक निराला जहां
इक निराला जहां
हो ओ ओ ओ
गुनगुनाई फिज़ा जगमगाया समां
हा आ आ आ
गुनगुनाई फिज़ा जगमगाया समां
ली बहारों ने दो दिल में अंगड़ाइयां
हो अंगड़ाइयां
हो ओ ओ ओ


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 :

4273 Post No. : 15506

A rain drop falls on a smoldering matchstick. And extinguishes it. A poet sees this happening. And the poet’s mind creates the lines that go on to become an iconic song that lead the on screen performer by hand to the rising heights of super-stardom. You may have already guessed it. Ah yes, I am talking about ‘Amar Prem’ (1971) and Rajesh Khanna. The song – “Chingaari Koi Bhadke To Saawan Usey Bhujaaye”. And the poet behind this hit song – Anand Bakshi.

Remembering Anand Bakshi on his remembrance day today. He passed away this day in 2002.

A career that had quite a chequered start, lasted for more than 4 decades. And continued to produce hits after hits all the way till he passed away. Chequered in that he joined the army in 1947 as a switchboard operator in the Signals Core; left the army and came to Bombay (now Mumbai) in early 1950s; made no headway and in despair, returned to join the army; but could not get rid of the film-bug. He resigned from the army again in 1956 and came to Bombay once again. This time he stuck it out. Bhagwan Dada gave him a break in his 1958 film ‘Bhala Aadmi’. The young Anand, then 27 years old, penned six songs for that film. One song by him had already appeared in an obscure 1957 film ‘Silver King’. Sadly, maybe expectedly, no songs of ‘Silver King’ are available. His debut song is probably lost forever, barring some miracle discovery.

The stumbling start led to success, slowly but surely. Popular hits came in ones and twos, and Anand continued to push his career graph, always up and up. Seven films carried his songs in 1959. Not popular hits, but surely a few are a good listen. Attention came his way in 1960, with films like ‘Air Mail’ – “Shoon Shadap Nazron Ki Jhadap” and “Tumhin Ne Mera Dil Chheen Kar”; ‘Mehlon Ke Khwab’ – “Lo Ji Bujh Gayi Bijli Pyaar Ki”; ‘Zameen Ke Taare’ – “Tinke Pe Tinka, Chhutti Ke Din Ka”; Then in 1961 came the film ‘Razia Sultana’ with Nirupa Roy and Jairaj in lead roles. The duet written by Anand went on to become an all time favorite – “Dhalti Jaaye Raat, Keh Le Dil Ki Baat”.

Then came 1962, with the perennial favorite qawwaali – “Meri Taveer Le Ke Kya Karoge”. Plus the films ‘Mehndi Lagi Mere Haath’, ‘Baanke Saanwariya’ with a good repertoire of songs by Anand. And the year was topped by the one song he wrote for ‘Vallah Kya Baat Hai’ – “Ghame e Hasti Se Bas Begaana Hota”. He was 32 years of age.

1963 was adorned with another wonderful qawwali from his pen. The film – ‘Jab Se Tumhen Dekha Hai’, and the song – “Tumhen Husn De Ke Khuda Ne Sitamgar Banaaya Banaaya”. That year, we also have from him “Taaron Ki Chhaon Taley, Shamma Parwaane Miley” in the film ‘Zaraak Khan’, and the sterling Mukesh solo – “Chaand Aaahen Bharega” from the film ‘Phool Baney Angaare’, which was otherwise loaded with a set of charming hits.

Next was 1964 (of course 🙂 ) and the film for which Anand teamed up with Laxmi-Pyaare to produce a set of songs that have remained on the lips and in the mind of music lovers since then – ‘Mr X In Bombay’. And this was the year that this young poet made it to the Binaca Geet Mala listing (at no. 6) for the first time with the song – “Mere Mehboob Qayaamat Hogi”. What a song it is, and what a set of lilting songs this film carries. Anand’s foothold in the tinsel town was now firm and very steady.

1965 – and just the sampling of films should be enough – ‘Himalay Ki God Mein’, ‘Jab Jab Phool Khile’, ‘Lutera’, ‘Shriman Funtoosh’ and ‘Teesra Kaun’ – memorable songs that are too numerous to be listed individually. Notable mentions required though, for “Hamen Kya Jo Har Su Ujaale Huye Hain” from ‘Namaste Ji’ and “Ye Dard Bhara Afsaana” from ‘Shriman Funtoosh’. And yes – “Pyaar Ka Fasaana Bana Le Dil Deewaana” from ‘Teesra Kaun’.

Going from strength to strength, Anand rounded off the year 1966 with fabulous songs in films like ‘Aasra’, ‘Aaye Din Bahaar Ke’, ‘Devar’, ‘Pati Patni’, ‘Preet Na Jaane Reet’, ‘Professor X’,  and ‘Sunehre Qadam’.

In 1967, Anand completed 10 years of his career in the Bombay film industry with top hits in films like ‘Milan’, ‘Farz’, ‘Night In London’, ‘Aamne Saamne’, ‘Milan Ki Raat’, ‘Chandan Ka Palna’, and ‘Taqdeer’. What more to say.

The remaining years of the 1960s decade – even listing a sampler would be too much space to cover. Suffice to say that the super hit “Mere Sapnon Ki Raani. . .” that truly launched Rajesh Khanna on the way to super stardom, came from the pen of Anand Bakshi.

And he would go on writing for another three and a half decades – including perennial favorites like “Hum Ko Tumse Ho Gaya Hai Pyaar Kya Karen” (‘Amar Akbar Anthony’, 1977), “Tujhe Dekha To Ye Jaana Sanam” (‘Dilwaale Dulhaniya Le Jaayenge’, 1995), and thousands more – in fact a total of 3,500 songs spread out across more than 635 films. Such a career cannot be done justice in a single blog post. 🙂

Thanks Anand Bakshi ji, for so many wonderful memories to hum and enjoy.

Coming to the song for today. As I was seeking to get one of his earliest songs to present today, I came upon this wonderful Rafi solo that has been tuned by S Mohinder. The film is ‘Sun To Le Haseena’ which belongs to his debut year 1958.

Produced under the banner of Filmistan Limited, the film is directed by SP Bakshi. The star cast is listed as Shashikala, Ravindra Kapoor, Agha, P Kailash, Badri Prasad, Randhir, Gulab, Sabita Chatterjee, Kanu Rai, Manju, Manohar Geer, Majnu, Vitthal Das Panchotia, Madhu Apte, Ramlal, Leela, Bazid Khan, Rajeshwar Singh, Noor, Chandramohan, Pathak, Shantaram, Ravi Tandon, Sundar, and Pal.

The film has a total of seven songs written by four songwriters, with Anand’s contribution tally is three. (Other songwriters are Sarshaar Sailaani, Kaif Irfaani and Raahil Gorakhpuri). This is the second song of this film, written by him to be showcased here, and the third song from the film.

Rafi Sb has rendered this call-to-the-beloved song with gusto. A very interesting listen, I am sure you will agree.

Song – De Deedar, O Dildaar (Sun To Le Haseena) (1958) Singer – Mohammed Rafi, Lyrics – Anand Bakshi, MD – S Mohinder

Lyrics

de deedar. . .
o dildaar. . .
haaye jhaank jharokhe se ik baar
aashiq tere dar pe aa ke ban gaya chowkidaar
ke de deedar. . .
o dildaar. . .

hota hai kahin kuchh khatka
lagta hai mujhe ik jhatka
hota hai kahin kuchh khatka
lagta hai mujhe ik jhatka
pal chhalak chhalak jaata hai
mere armaanon ka matka
mere armaanon ka matka. . .
har aahat pe chaunk ke jaani hota hoon taiyaar
ke de deedar. . .
o dildaar. . .
haaye jhaank jharokhe se ik baar
aashiq tere dar pe aa ke ban gaya chowkidaar
ke de deedar. . .
o dildaar. . .

o nakhre takhre waali
ye raat hai kaali kaali..ee. . .
o nakhre takhre waali
ye raat hai kaali kaali
kar saamne chaand sa mukhda
chaahe chhup ja de kar gaali
chaahe chhup ja de kar gaali. . .
varna faand ke aa jaaunga ye oonchi deewaar
ke de deedar. . .
o dildaar. . .
haaye jhaank jharokhe se ik baar
aashiq tere dar pe aa ke ban gaya chowkidaar
ke de deedar. . .
o dildaar. . .

main tujh pe ho ke lattu
tere naam ka ho gaya rattu..uu. . .
main tujh pe ho ke lattu
tere naam ka ho gaya rattu. . .
tere gham ka utha ke bojha
bana aadmi se main tattu
bana aadmi se main tattu. . .
ab tadpa tadpa ke zaalim yun na mujhko maar
ke de deedar. . .
o dildaar. . .
haaye jhaank jharokhe se ik baar
aashiq tere dar pe aa ke ban gaya chowkidaar
ke de deedar. . .
o dildaar. . .

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

दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰ ॰
हाए झांक झरोखे से इक बार
आशिक तेरे दर पे आके बन गया चौकीदार
के दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰ ॰

होता है कहीं कुछ खटका
लगता है मुझे ईक झटका
होता है कहीं कुछ खटका
लगता है मुझे ईक झटका
पल छलक छलक जाता है
मेरे अरमानों का मटका
मेरे अरमानों का मटका॰ ॰ ॰
हर आहट पे चौंक के जानी होता हूँ तैयार
के दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰ ॰
हाए झांक झरोखे से इक बार
आशिक तेरे दर पे आके बन गया चौकीदार
के दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰ ॰

ओ नखरे टखरे वाली
ये रात है काली काली॰॰ई॰ ॰ ॰
ओ नखरे टखरे वाली
ये रात है काली काली
कर सामने चाँद सा मुखड़ा
चाहे छुप जा देकर गाली
चाहे छुप जा देकर गाली॰ ॰ ॰
वरना फांद के आ जाऊंगा ये ऊंची दीवार
के दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰ ॰
हाए झांक झरोखे से इक बार
आशिक तेरे दर पे आके बन गया चौकीदार
के दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰

मैं तुझपे हो के लट्टू
तेरे नाम का हो गया रट्टू॰॰उ॰ ॰ ॰
मैं तुझपे हो के लट्टू
तेरे नाम का हो गया रट्टू॰ ॰ ॰
तेरे ग़म का उठा के बोझा
बना आदमी से मैं टट्टू
बना आदमी से मैं टट्टू॰ ॰ ॰
अब तड़पा तड़पा कर ज़ालिम यूं ना मुझको मार
के दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰ ॰
हाए झांक झरोखे से इक बार
आशिक तेरे दर पे आके बन गया चौकीदार
के दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰


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 :

4271 Post No. : 15502 Movie Count :

4272

Today, 28th March, is the remembrance day of another famous creator of musical melodies who has given us some of the most charming songs rooted in the classical music of our country. Shrinath Tripathi or SN Tripathi, passed away, this day in 1988 in Bombay, at the age of 75.

Regulars will remember the film ‘Achhoot Kanya’ (1936), and the iconic song “Main Ban Ki Chidiya Ban Ke Ban Ban Boloon Re”, so wonderfully composed by Saraswati Devi, and rendered by Ashok Kumar and Devika Rani, In an interview once, Ashok Kumar had described how this song was prepared. He was a novice at that time, and not a trained singer. He says that this song was rehearsed for almost a month before Saraswati Devi was satisfied enough to proceed to the recording room. The main stumbling notes for Ashok Kumar and for Devika Rani were the enhanced emphasis on “. . .Boloon Re” and “. . .Doloon Re”. Ashok Kumar narrates that it took him and Devika Rani one full month to render this emphasis to the satisfaction of the music director. A lesser known trivia attached to this anecdote is that SN Tripathi was the assistant music director for this film, and he conducted these rehearsals with the singers for the said one month.

Born in Benaras on 14th March, 1913, young Shrinath got associated quite early with Badriprasad, who was also from Benaras. [Note: Yes, the same Badriprasad whom we are more familiar as a character actor / music director / dance director / story and dialogue writer in Hindi films.] Badriprasad was already associated with the theatre scene in Benaras. Shrinath started to assist him with composing music for the stage plays, according to the scene and action on stage. In the company of Badriprasad, he also got wonderful opportunities to meet and listen to many other artists of classical music, vocal and instrumental, as part of the active cultural environment in the city.

Later, Badriprasad made his way to Calcutta and joined the theatre activities there, and eventually moved to films, and thence migrated to Bomabay (now Mumbai). Shrinath came to Lucknow and joined the Morris College of Music. That is where he met with Himanshu Rai and Devika Rani, who had come scouting for music talent for their production house – Bombay Talkies. They invited Shrinath to Bombay, and he joined them as a violinist and and assistant in the music department. The year would have been 1933 or 34, as his first credits are as the assistant music director for the 1934 film ‘Jeevan Naiya’.

He remained with Bombay Talkies till the release of film ‘Bhabhi’ in 1938. The he struck out, seeking assignments as an independent music director. His first break was with the film ‘Chandan’, which was apparently delayed and got released in 1941. There started a career that continued till the mid 1980s. His last film was ‘Mahasati Tulsi’ (1985). From the mid 1960s to mid 1980s, his assignments dwindled quiet a bit. The musical tastes were changing more towards orchestral and western style tunes. He got confined to religious films and regional films. Coming into the 1980s, he did only 3 films from 1981 to 1985.

As happens usually, the industry stopped paying any attention and his last years were spent in financial difficulties. He left this world after a brief illness, in 1988.

The film ‘Choodiyaan’ was released in 1942. The film was produced under the banner of Prakash Pictures and was directed by KJ Parmar and LJ Bhatt. The cast of actors included Prem Adeeb, Maya Bannerji, Jeevan, Shakir, Gulab, Bholaram, Meher Sultana, Baby Tara, Ranibala, Sitaram, Chiman Seth, Lakshmi, Vasant Kanse, Athawale, OP Sharma amongst others.

The film had eleven songs written by five lyricists – Pt Indra, prem Adib, Ramesh Gupta, Sharma and Tiwari. This song is written by Tiwari. My intuition says that the full name of this song writer is Neelkanth Tiwari. The time period is the same. His career also begins from 1941.

The song is rendered by Rajkumari (Rajkumari Dubey). The song presents a generic ode to the jewllery item ‘choodi’ (bangle). The song presents a  brief description about its construction, and its importance. The beauty of the song is that it is presented as a first person i,.e. the bangle itself is presenting this song. Given that the name of the film is ‘Choodiyaan’, this song might well have been the theme song of the film, and quite possibly may have been played at the time of credits. I request more knowledgeable readers to please add more information about this song and it picturization.

With this song, the film ‘Choodiyaan’ makes its debut on our blog. 🙂

[Note: There is one word in the lyrics that I seek help from readers to decipher. It is in the second antaraa. I request other readers and friends with keener ears to please help.]

Song – Choodi Hoon Main, Ek Kahaani Hoon Main (Choodiyaan) (1942) Singer – Rajkumari, Lyrics – Tiwari, MD – SN Tripathi

Lyrics

choodi hoon main
ek kahaani hoon main
choodi hoon main
ek kahaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
choodi hoon main
ek kahaani hoon main

bana kaanch ka hai kada mera tan
bana kaanch ka hai kada mera tan
darpan sa nirmal hai par mera mann
darpan sa nirmal hai par mera mann
zara thhes pahunchi tadakti hoon main
zara thhes pahunchi tadakti hoon main
aisa hai naari ka komal ye mann
aisa hai naari ka komal ye mann
naari ke sapnon ki rani hoon main
naari ke sapnon ki rani hoon main
choodi hoon main
choodi hoon main
ek kahaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
choodi hoon main
ek kahaani hoon main

patli kalaai hai phoolon ki daal
patli kalaai hai phoolon ki daal
chidiya si us par chehakti hoon main
patli kalaai hai phoolon ki daal
chidiya si us par chehakti hoon main
pyaari ke yauwan ka main hoon basant
pyaari ke yauwan ka main hoon basant
preetam ke mann mein thhirakti hoon main
preetam ke mann mein thhirakti hoon main
laakhon baras ki jawaani hoon main
laakhon baras ki jawaani hoon main
choodi hoon main
choodi hoon main
ek kahaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
choodi hoon main
ek kahaani hoon main

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

चूड़ी हूँ मैं
एक कहानी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं

बना काँच का है कड़ा मेरा तन
बना काँच का है कड़ा मेरा तन
दर्पण सा निर्मल है पर मेरा मन
दर्पण सा निर्मल है पर मेरा मन
ज़रा ठेस पहुंची तड़कती हूँ मैं
ज़रा ठेस पहुंची तड़कती हूँ मैं
ऐसा नारी का कोमल ये मन
ऐसा नारी का कोमल ये मन
नारी के सपनों की रानी हूँ मैं
नारी के सपनों की रानी हूँ मैं
चूड़ी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं

पतली कलाई है फूलों की डाल
पतली कलाई है फूलों की डाल
चिड़िया सी उस पर चहकती हूँ मैं
पतली कलाई है फूलों की डाल
चिड़िया सी उस पर चहकती हूँ मैं
प्यारी के यौवन का मैं हूँ बसंत
प्यारी के यौवन का मैं हूँ बसंत
प्रीतम के मन में थिरकती हूँ मैं
प्रीतम के मन में थिरकती हूँ मैं
लाखों बरस की जवानी हूँ मैं
लाखों बरस की जवानी हूँ मैं
चूड़ी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं


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 :

4271 Post No. : 15501

Four films in his debut year. An accomplishment that is not claimed by many other music directors. The year – 1966. And the films – ‘Thakur Jarnail Singh’, ‘Smuggler’, ‘Shera Daku’ and ‘Husn Aur Ishq’. And a sampler of hits from these films – the all time favorite “Hum Tere Bin Jee Na Sakenge Sanam”; the timeless Rafi Sb – Suman Kalyanour duet “Hum Jahaan Hai Wo Maqaam Husn Aur Ishq Hai”; the lilting Mukesh solo “Ae Mere Dil Teri Manzil”; the haunting Lata solo “Intezaar Ka Aalam, Tanhaai Aur Hum”; the racy cabaret number by Lata – “Dil Ka Lagaana Is Duniya Mein”. Songs all made memorable by the lilting tunes mixed with wonderful rhythm and orchestration – the music coming from the mind of Ganesh Prasad Sharma.

Remembering music director Ganesh – he passed away on 28th March, 2000. He was 58.

Ganesh Prasad Sharma, son of the venerable Ram Prasad Sharma, came on to the film scene in early 1960s, working along with the music director duo of Laxmikant Pyaarelal. He was the younger brother of Pyaarelal. His work accompanying his elder brother as and arranger and orchestration expert. As the word got around about his talent, and his ability to create attractive rhythm and orchestration arrangements, and by the middle of the decade he started getting assignments as independent music directors. The rush of assignments was such that he had to turn down some offers, right at the beginning of his career.

Over the years, however, despite creating some very wonderful music for films, his career did not really develop much beyond the initial euphoria. Around mid 1970s, after having composed music for almost 25 films, his career simply faded away. The general opinion is that Ganesh could not get away from the shadow of the more illustrious and successful team of Laxmi-Pyaare. Since he continued to work with L-P also, the quality and characteristics of the music of his own independent films never really stood out as distinct. The similarity between the two threads of music did not allow him to create a truly independent identity for himself.

Today, I present a duet song from the 1973 film ‘Ek Naari Do Roop’. The film is remembered for the iconic favorite in Rafi Sb’s voice – “Dil Ka Soona Saaz Taraana Dhoondega”. The film is produced by the famous BR Ishara under the banner of Co-Operative Pictures, Bombay, and is directed by Madhusudan. The cast of actors is listed as Shatrughan Sinha, Rashmi Dhawan, Mehmood (Junior), Iftekhar, Madan Puri, Nadira, Roopesh Kumar, Malika, Chaman Puri, Honey Chhaya, Sapru, Lalita Kumari, Maruti, Kaajal, Rajni, Moolchand, Qureshi, Ranveer Raj, Subhash, Master Sheru, Master Ratan, and Master Chiku, with a guest appearance by Asha Sachdev.

The film has five songs listed. Four of these songs are already showcased on our blog. Today we bring on board the fifth and final song of this film. The song is penned by Naqsh Lyallpuri. The singing voices are of Asha Bhosle and Kishore Kumar. On screen, the song is performed by Shatrughan Sinha and Rashmi Dhawan. The name Rashmi Dhawan is not very familiar as a heroine. Her name can be seen in just one more film ‘Mann Tera Tan Mera’ from 1971, which is also produced by BR Ishara. She had a side role in that film – the lead pair is listed as Anil Dhawan and Rehana Sultana. So apparently, ‘Ek Naari Do Roop’ is the only film of this actress as the heroine.

The song is picturised as a love song, with the protagonists expressing their feelings of first love for each other, in a beach scenario. Shatrughan has a very trim and fresh look in this film,

The post also rings in the Yippeee status for this film. The earlier four songs of this film have appeared in the blog as follows.

S.No.

Song Title Film Year Post No,

Post Date

1 Dil Ka Soona Saaz Taraana Dhoondhega Ek Naari Do Roop 1973 13 31-Jul-08
2 Mere Mann Pawan Sang Udd Chal Ek Naari Do Roop 1973 7771 28-Mar-13
3 Zindagi Mein Sada Muskuraate Raho Ek Naari Do Roop 1973 14830 8-Jan-19
4 Ham Hi Jaanen Ek Torey Manwa Ki Peer Ek Naari Do Roop 1973 15028 14-May-19

A very interesting thing to note here. The first song of this film, posted as far back as on 31st July, 2008, is the first teen song of our blog. And the film is the first teen film. What I mean is that this film made its debut as the 13th song on the blog, and also that it is the 13th film to appear on the blog. 🙂

And further, those were the days when the blog was still following ‘song-a-day’ convention. So it was also the 13th day for the blog. 🙂

Song – Tum Samjho To Achha Hai, Main Bolun To Kya Bolun (Ek Naari Do Roop) (1973) Singer – Asha Bhosle, Kishore Kumar, Lyrics – Naqsh Lyallpuri, MD – Ganesh
Asha Bhosle + Kishore Kumar

Lyrics

hmmmm hmmmm hmmm
hmmm hmmm
hmmm hmmmmmm
aa ha ha ha ha

arey
chup kyon ho gayi
gaao naa

na
na
na
na
oohn hoon

tum samjho
to achha hai
main bolun
to kya bolun
tum samjho to achha hai
main bolun to kya bolun
bolo bolo bolo bolo bolo
tum se hi jawaani hai
ye duniya suhaani hai
meri jaan
tum ye kya jaano

kya keh rahin hain aap

tum samjho to achha hai
main bolun to kya bolun
arey tum samjho to achha hai
main bolun to kya bolun

ho ke dewwana main kaise luta
dil se mere tum ye poochho zara
ho ke dewwana main kaise luta
dil se mere tum ye poochho zara
kehta hai ye mera dil
meri hai yahi manzil
meri jaan tum ye kya jaano
tum bolo to achha ha
main bolun. . .
na na na
tum samjho to achha hai

dekha jo tumko ae mere sanam
meri jawaani ke behke kadam
oy hoy
dekha jo tumko ae mere sanam
meri jawaani ke behke kadam
pehle bhi mila saawan
bheega bhi nahin daaman
meri jaan tum ye kya jaano
tum samjho to achha hai
na
tum bolo to achha ha
main bolun to kya bolun

baahon mein le lo ye mehka badan
tum ho meri tumko jaane chaman
baahon mein le lo ye mehka badan
tum ho meri tumko jaane chaman
chheena hai
hazaaron se
maanga hai
bahaaron se
meri jaan tum ye kya jaano
tum bolo to achha ha
main bolun to kya bolun
bolo
bolo bolo bolo bolo bolo bolo
tum se hi jawaani hai
ye duniya suhaani hai
meri jaan
tum ye kya jaano

kya keh rahin hain aap
tum bolo to achha ha
main bolun to kya bolun

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

हम्ममम हम्ममम हम्मम
हम्मम हम्मम
हम्मम हम्ममममम
आ हा हा हा हा

अरे चुप क्यों गईं
गाओ ना

ना
ना
ना
ना
ऊँ हूँ

तुम समझो
तो अच्छा है
मैं बोलूँ
तो क्या बोलूँ
तुम समझो तो अच्छा है
मैं बोलूँ तो क्या बोलूँ
बोलो बोलो बोलो बोलो बोलो
तुमसे ही जवानी है
ये दुनिया सुहानी है
मेरी जाँ
तुम ये क्या जानो

क्या कह रहीं हैं आप

तुम समझो तो अच्छा है
मैं बोलूँ तो क्या बोलूँ
अरे तुम समझो तो अच्छा है
मैं बोलूँ तो क्या बोलूँ

हो के दीवाना मैं कैसे लुटा
दिल से मेरे तुम ये पूछो ज़रा
हो के दीवाना मैं कैसे लुटा
दिल से मेरे तुम ये पूछो ज़रा
कहता है ये मेरा दिल
मेरी है यही मंज़िल
मेरी जाँ तुम ये क्या जानो
तुम बोलो तो अच्छा है
मैं बोलूँ॰ ॰ ॰
ना ना ना
तुम समझो तो अच्छा है

देखा जो तुमको ए मेरे सनम
मेरी जवानी के बहके कदम
ओय होय
देखा जो तुमको ए मेरे सनम
मेरी जवानी के बहके कदम
पहले भी मिला सावन
भीगा भी नहीं दामन
मेरी जाँ तुम ये क्या जानो
तुम समझो तो अच्छा है
ना
तुम बोलो तो अच्छा है
मैं बोलूँ तो क्या बोलूँ

बाहों में ले लो ये महका बदन
तुम हो मेरी तुमको जाने चमन
बाहों में ले लो ये महका बदन
तुम हो मेरी तुमको जाने चमन
छीना है
हजारों से
मांगा है
बहारों से
मेरी जाँ तुम ये क्या जानो
तुम बोलो तो अच्छा है
मैं बोलूँ तो क्या बोलूँ
बोलो
बोलो बोलो बोलो बोलो बोलो बोलो
तुमसे ही जवानी है
ये दुनिया सुहानी है
मेरी जाँ
तुम ये क्या जानो

क्या कह रहे हैं आप

तुम बोलो तो अच्छा है
मैं बोलूँ तो क्या बोलूँ


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 :

4260 Post No. : 15484 Movie Count :

4268

Songs Repeated in Hindi Films – 17
– – – – – – – – – – – – – – – – – –

Aah yes, this one too. 😀 😀

This iconic creation from the team of Majrooh Sb and SD Burman, preparing such delicious offerings for the 1958 film ‘Chalti Ka Naam Gaadi’, got reused in a recent film. The memorable film needs no introduction, and neither do its songs and music. Great songs, falling in the category of ‘evergreen’, or ‘सदाबहार’ as Bakshi ji prefers to describe such songs.

This everlasting piece of naughty music, rendered equally playfully by Kishore Kumar, and the icing to top all these superlatives is the on screen performance by Kishore Da himself. Walking down the stairs backwards, talking to his tools, and making music from them, and all the while getting on the nerves of the lady customer who has barged into the car repair workshop run by three brothers whose motto in life is to dislike women. And that too at 2 am. Regulars will remember the beginning of this episode. Kishore is woken up in the middle of the night, a very rainy night, by a damsel drenched in rain. He wishes for her to disappear – quite a disturbance to his sleep while he is on active night duty. When the lady points out to the light glowing on the signboard that says ‘Day & Night Service’, the sleep starved hero shuts off the light bulb and declares – there, we are no longer day and night service – good bye.

All this preamble and then the song and its performance – the memories keep us music lovers awake at night.

Fast forward to 2013. A film came, titled ‘Listen Amaya’. The key thing that made this film attractive was the lead pair – Deepti Naval and Farooque Sheikh – teamed up once again after a gap of many years. Between 1981 and 1985, the two had appeared in six films as the lead pair. And the film names tell the story – ‘Chashme Buddoor’ (1981), ‘Saath Saath’ (1982), ‘Katha’ (1982), ‘Rang Birangi’ (1983), ‘Kisi Se Na Kehna’ (1983) and ‘Ek Baar Chale Aao’ (1983). Then in 1985, they again appeared together in Yash Chopra’s ‘Faasle’, albeit this time they were not the lead pair.

After ‘Faasle’, we do not see them together, goodness, till 2011. That year, the film ‘Tell Me, O Khuda’ was released. This is a film directed by Hema Malini, and was intended as the launch vehicle for her daugther, Esha Deol. Again, in this film, Farooque and Deepti were not the lead pair. They played the roles of foster parents of the leading lady Esha Deol. So effectively, ‘Ek Baar Chale Aao’in 1983 turns out to be their last outing together as the romantic lead pair.

Thirty years later, in 2013, comes ‘Listen Amaya’, and we see this pair once again playing the roles of a mature couple finding romance and love in their later years.

[Ed Note: Regulars will recall a similar film had come in 2005 – ‘Pyaar Mein Twist’. In that film, another fabulous romantic pair – Dimple Kapadia and Rishi Kapoor – of the ‘Bobby’ (1973) fame, had come together yet once again on the silver screen, to play the roles of mature single adults finding soulmates in their later years. Dimple and Rishi had also appeared in the film ‘Saagar’ (1985) as the lead romantic pair.]

Leela (Deepti) is a widow who owns and manages a library café – ‘Book A Coffee’. She has a daughter, Amaya, role played by Swara Bhaskar, who is a budding writer. Into their lives, walks in Jayant (Farooque), a widower, and a photographer by profession. Leela and Jayant are attracted towards each other, much to the discomfort of Amaya, who does not relish the thought of her mother being romantically involved. Although, she also is working with Jayant on a coffee table book about the old bazaars and market places of Delhi, but in her mind she hits a wall, when it comes to accept him as another man in her mother’s life.

The film is beautifully contoured around the concepts of memories and realities of life – passages of real life that slide into memories and portions of memory that become parts of life again. It is a touching tale of coming to terms with one’s own maturity, as on the part of Amaya, and on the other hand, acceptance and realization of emotions, without fanfare, without the flourish of animated expressions, on the part of Leela and Jayant. When Amaya is all too disturbed about the budding relationship in her mother’s life, the protagonists calmly give in, and decide to discontinue meeting, without a word being said, or any regrets being announced. And when Amaya sees this upcoming consequential circumstance, she finds herself flummoxed, to be at the fulcrum of a possible second disaster in her mother’s life. The sternest exchange that we see between the mother and daughter is when Leela admonishes Amaya telling her that she still is her mother and will continue to take care of her. And the softest touch of complaint is when Amaya finally reaches out to Jayant on the day their book is to be published, hugs him with the words asking the question – why does he never gets angry. A much more endearing assay about finding love than ‘Pyaar Mein Twist’. My humble opinion of course.

But what about this song, you will ask. Ah yes, we have to get back to the song, a repeat one at that, giving me the 17th opportunity of this series. 🙂 Amaya herself has a romantic link up in this film, with the young man Raghav (role played by Siddhant Karnick). Although part of the side plot, Raghav has an important part as in showing up the mirror to Amaya about what her feelings and reactions towards her mother’s life are all about.

Okay so this film needed a rocking romantic relief (not exactly, but something a la comic relief, a practice invented by the dramatists of the yore). So Raghav is an intelligent guy – to win over his lady love, he actually starts with the mother of his lady love, making his way to the heart of his beloved through the mind of his beloved’s mother. That is another thing that majority of the song as picturized, is spent in a dream sequence of wide open eyes where he is serenading his lady love actually.

There are three songs in this film, that have been created by the husband wife team of Indraneel Hariharan, the music director, and Poonam Hariharan, the lyricist. This ‘rocking romantic relief’ song is a re-rendition of the ‘सदाबहार’ classic, as mentioned above. The lyrics and the music of the song remain the same. Only that it has been re-recorded in the voice of Kunal Ganjawala for ‘Listen Amaya’. Another variation is that of the three original stanzas, only two have been used in this re-rendition. On screen, the song is performed by Siddhant Karnick. The venue of the song is the library café that is run by Leela. The song starts with Raghav trying to win over Leela. But then right after the mukhda is done, his mind slides into the fantasy plane, and he is now wooing Amaya in the dream world. The starting scene is kind of same as the car repair workshop from the original film. And that is in black and white too. But soon, color is ‘restored’ and we see more contemporary scenarios to motivate the romancing mood.

And the all too lovely effect – the sound of two clicks near the end of song. In the original, we have Kishore Kumar tapping in the final nut to finish the repair job. In the rerun, we have Leela snapping her fingers to get Raghav back from his reverie to the real world. Classic touch. 🙂

So two films from recent years, on romantic relationships between mature adults, have been picked up for this series – both having re-used an iconic popular hit from the golden era.

Time to do it again. . . 🙂

Song – Ek Ladki Bheegi Bhaagi Si  (Listen Amaya) (2013) Singer – Kunal Ganjawala, Lyrics – Majrooh Sultanpuri, MD – SD Burman
Chorus

Lyrics

hmm
ek ladki bheegi-bhaagi si
soti raaton mein jaagi si
mili ek ajnabi se
koi aage na peechhe
tum hi kaho ye koi baat hai
hmm
ek ladki bheegi-bhaagi si
soti raaton mein jaagi si
mili ek ajnabi se
koi aage na peechhe
tum hi kaho ye koi baat hai
hmm

dil hi dil mein jali jaati hai
bigdi bigdi chali aati hai
dil hi dil mein jali jaati hai
bigdi bigdi chali aati hai
dhundhlaati huyi
balkhaati huyi

saawan ki sooni raat mein
mili ek ajnabi se
koi aage na peechhe
tum hi kaho ye koi baat hai
hmm
ek ladki bheegi-bhaagi si
soti raaton mein jaagi si
mili ek ajnabi se
koi aage na peechhe
tum hi kaho ye koi baat hai
hmm

tan bheega hai sar geela hai
uska koi pench bhi dheela hai
tan bheega hai sar geela hai
uska koi pench bhi dheela hai
tanati jhukti
chalti rukti
nikli andheri raat mein
mili ek ajnabi se
koi aage na peechhe
tum hi kaho ye koi baat hai
hmm
ek ladki bheegi-bhaagi si
soti raaton mein jaagi si
mili ek ajnabi se
koi aage na peechhe
he he
tum hi kaho ye koi baat hai

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

हम्म
एक लड़की भीगी भागी सी
सोती रातों में जागी सी
मिली एक अजनबी से
कोई आगे ना पीछे
तुम ही कहो ये कोई बात है
हम्म
एक लड़की भीगी भागी सी
सोती रातों में जागी सी
मिली एक अजनबी से
कोई आगे ना पीछे
तुम ही कहो ये कोई बात है
हम्म

दिल ही दिल में जाली जाती है
बिगड़ी बिगड़ी चली आती है
दिल ही दिल में जाली जाती है
बिगड़ी बिगड़ी चली आती है
धुंधलाती हुई
बलखाती हुई
सावन की सूनी रात में
मिली एक अजनबी से
कोई आगे ना पीछे
तुम ही कहो ये कोई बात है
हम्म
एक लड़की भीगी भागी सी
सोती रातों में जागी सी
मिली एक अजनबी से
कोई आगे ना पीछे
तुम ही कहो ये कोई बात है
हम्म

तन भीगा है सर गीला है
उसका कोई पेंच भी ढीला है
तन भीगा है सर गीला है
उसका कोई पेंच भी ढीला है
तनती झुकती
चलती रुकती
निकली अंधेरी रात में
मिली एक अजनबी से
कोई आगे ना पीछे
तुम ही कहो ये कोई बात है
हम्म
एक लड़की भीगी भागी सी
सोती रातों में जागी सी
मिली एक अजनबी से
कोई आगे ना पीछे
हे हे
तुम ही कहो ये कोई बात है


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: 4260 Post No.: 15483

“Choron Ka Chor”(1970) was produced and directed by Muhammad Hussain for M H Films, Bombay. This “stunt” movie had Dara Singh, Shabnam, Madan Puri, Shetty, Agha, Bhagwan, Roopesh Kumar, Jayshree T, Randheer, Meena, Neelam, Paro devi, Gul Hameed, Kamini Devi, Shefali, Jerry, Anjum, Dada Kurte, Moolchand, Dilip Daagi, Sabir, V Gopal, Vishwas Kunte, Master Ripple, Indira Bansal, Habeeb, Trilok Singh, Tier Abdullah etc in it.

The movie had four songs in it. Three of these songs have been covered in the past.

Details of the three songs covered in the blog are :-

S N Song Song number in blog Date of posting
1 O mere dildaar arre na kar tu inkaar (Choron Ka Chor) 1681 26-July-2009
2 Patli qamar tirchhi nazar (Choron Ka Chor) 3632 9-March-2011
3 Dil dhhadka wohi shola phir bhhadka (Choron Ka Chor) 15400 23-January-2020

As can be seen from the above, the previous song from the movie was covered on 23 january 2020 and that was a blog century song cum Farooque Kaiser’s 100 th song in the blog as a lyricist. That song was a rare song.

Here is the fourth and final song from “Choron Ka Chor”(1970). This song is sung by Asha Bhonsle. Farooque Kaiser is the lyricist. Music is composed by Dattaram.

This song too is a rare song.

Only the audio of this song is available. It sounds like a club dance song. I request our knowledgeable readers to throw light on the picturisation of this song.

With this song, all the songs of “Choron Ka Chor”(1970) are covered in the blog and the movie now joins the list of movies that have been YIPPEED in the blog.


Song-Ho tera mera pyaar dekh sabka dil jala (Choron Ka Chor)(1970) Singer-Asha Bhonsle, Lyrics-Farooque Kaiser, MD-Dattaram

Lyrics

aayi sofiya

ho
ho tera mera pyaar dekh
sabka dil jala
chhup ke pyaar kar le
tera mera haal ek dil hai chulbula
chhup ke pyaar kar le
wai wai wai wai wai wai
tera mera pyaar dekh
sabka dil jala
chhup ke pyaar kar le
tera mera haal ek dil hai chulbula
chhup ke pyaar kar le

chale aa
chale aa
dil ye pukaare aa
mere dil meri jaan
mere sahaare aa
chale aa. . .
lute hum
mite hum
humko bacha le aa
chhod de saara jag
mere deewaane aa
chale aa. . .
chale aa
chale aa
dil ye pukaare aa
mere dil meri jaan
mere sahare aa
chale aa. . .
lute hum
mite hum
humko bacha le aa
chhod de saara jag
mere deewaane aa
chaale aa. . .
dil to hai
ab mujhe
dilruba
chaahiye
ho ho ho
ho ho ho ho
he he he he
aayi sofiya aa aa
ho tera mera pyaar dekh
sabka dil jala
chhup ke pyaar kar le
tera mera haal ek dil hai chulbula
chhup ke pyaar kar le

dheere se
dheere se
dil mein samaaye ja
koi ab dekhe na
jaadu jagaaye ja
dheere se. . .
wahi tum wahi hum
pyaar na hoga kam
jaaneman aa bhi ja
dil mein chhupa len hum
dheere se. . .
dheere se
dheere se
dil mein samaaye ja
koi ab dekhe na
jaadu jagaye ja
dheere se. . .
wahi tum wahi hum
pyaar na hoga kam
jaaneman aa bhi ja
dil mein chupa len hum
dheere se. . .
tu mujhe
mil gaya
aur kya
chaahiye

ho tera mera pyaar dekh
sabka dil jala
chhup ke pyaar kar le
tera mera haal ek dil hai chulbula
chhup ke pyaar kar le
ho ho ho
ho ho ho ho
he he he he

aayi sofiya aa aa
aayi sofiya aa aa
aayi sofiya aa aa aa

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

आ॰॰ई॰॰ सो॰॰फ़िया॰॰

हा॰ ॰ ॰
हो तेरा मेरा प्यार देख
सबका दिल जला
छुप के प्यार कर ले
तेरा मेरा हाल एक दिल है चुलबुला
छुप के प्यार कर ले
वई वई वई वई वई वई
हो तेरा मेरा प्यार देख
सबका दिल जला
छुप के प्यार कर ले
तेरा मेरा हाल एक दिल है चुलबुला
छुप के प्यार कर ले

चले आ
चले आ
दिल ये पुकारे आ
मेरे दिल मेरी जाँ
मेरे सहारे आ
चले आ
लुटे हम मिटे हम
हमको बचा ले आ
छोड़ दे सारा जग
मेरे दीवाने आ
चले आ
चले आ
चले आ
दिल ये पुकारे आ
मेरे दिल मेरी जाँ
मेरे सहारे आ
चले आ
लुटे हम मिटे हम
हमको बचा ले आ
छोड़ दे सारा जग
मेरे दीवाने आ
चले आ
दिल तो है
अब मुझे
दिलरुबा चाहिये
हो हो हो
हो हो हो हो
हे हे हे हे
आ॰॰ई॰॰ सो॰॰फ़िया॰॰
हो तेरा मेरा प्यार देख
सबका दिल जला
छुप के प्यार कर ले
तेरा मेरा हाल एक दिल है चुलबुला
छुप के प्यार कर ले

धीरे से
धीरे से
दिल में समाये जा
कोई अब देखे ना
जादू जगाए जा
धीरे से
वही तुम
वही हम
प्यार ना होगा कम
जानेमन आ भी जा
दिल में छुपा लें हम
धीरे से
धीरे से
धीरे से
दिल में समाये जा
कोई अब देखे ना
जादू जगाए जा
धीरे से
वही तुम
वही हम
प्यार ना होगा कम
जानेमन आ भी जा
दिल में छुपा लें हम
धीरे से
तू मुझे
मिल गया
और क्या
चाहिए
हो तेरा मेरा प्यार देख
सबका दिल जला
छुप के प्यार कर ले
तेरा मेरा हाल एक दिल है चुलबुला
छुप के प्यार कर ले

हो हो हो
हो हो हो हो
हे हे हे हे
आ॰॰ई॰॰ सो॰॰फ़िया॰ ॰ ॰
आ॰॰ई॰॰ सो॰॰फ़िया॰ ॰ ॰
आ॰॰ई॰॰ सो॰॰फ़िया॰॰आ॰ ॰ ॰


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

Blog Day :

4258 Post No. : 15479 Movie Count :

4267

Today’s song is from a relatively unknown or rather less known film ‘Vasanti’ (1938). The film was made by Minerva Movietone. The film was given to a novice for direction – KM Multani. He was with Sohrab Modi since his drama days and worked as a cinematographer for Modi’s first two films made by his Stage Films Company. After this first film, Multani also directed 4 more films, namely ‘Virginia’ (1940), ‘Vaseeyat’ (190,) ‘Ujala’ (1942) and ‘Umang’ (1944).

‘Vasanti’ had a pair of music directors. They were Govindrao Tembe and Meer Sahab. Meer Sahab joined Minerva in 1937 and gave music to its first film ‘Atma Tarang’ (1937). Though this film was a flop, he was continued to give music to few more Minerva films like ‘Vasant’, ‘Jailor’ and ‘Divorce’ in 1938, ‘Pukar’ (1939), ‘Main Haari’ (1940), ‘Sikandar’ (1941), ‘Phir Milenge’ (1942). ‘Patharon Ka Saudagar’ (1944) and ‘Lal Haveli’ (1944). either solely or with other MDs.

When Meer Sahab was giving music to an outside film ‘Bahadur Kisan’ (1938), his assistant was C Ramchandra during this period. He became very friendly with Master Bhagwan who was film’s director, hero and a singer too. Meer Sahab was an expert in classical music, but he used to forget tunes. That is why he was best when working with some other MD. In film ‘Vasanti’, his co-MD was Govindrao Tembe. Govind Sadashiv Tembe, popularly known as Govindrao Tembe (5 June 1881 – 9 October 1955), was a harmonium player, stage actor, and music composer. He grew up in Kolhapur and became attached to music early in life. He was largely self-taught as a harmonium player. He has acknowledged the debt of Deval Club for his initial forays into Hindustani classical music.

Tembe learnt his art from Bhaskarbuwa Bakhale and, although he never received direct guidance from Alladiya Khan of Jaipur Gharana, Tembe considered Khansaheb as his guru. He used to accompany Pt. Bhaskarbuwa Bakhale, and would also often perform solo, but later gave up harmonium for most part of his career. He composed music for the drama ‘Maan Apmaan’ in 1910, and also for the first Marathi talkie ‘Ayodhyecha Raja’ (1932). He also acted in both these productions.

He was a personal friend of Late Yuvaraja of Mysore, HH Sri Kanteerava Narasimha Raja Wadiyar. Prof Tembe was part of a large entourage of Yuvaraja during his trip to Europe in 1939. The troupe performed before the Pope and at other places during this trip. As World War II broke out, they stayed at London for a long time and ultimately returned in Jan 1940. Yuvaraja died soon after, at his Palace Anchorage (next to Hotel Taj) in March 1940 and Prof Tembe lost his patron.

Prof Tembe was part-owner of Gandharva Natak Mandali when it was formed in 1913. Two years later, he started his own company named Shivraj Natak Mandali. He wrote dramas and also the padas (songs) in them.

While in film industry, he dabbled in many departments. He was fond of acting. He acted in 6 films, namely ‘Maya Machhindra’ (1932), ‘Ayodhya Ka Raja’ (1932), ‘Seeta’ (1934), ‘Usha’ (1935), ‘Nand Kumar’ (1938) and ‘Krishna Sudama’ (1945). He sang 15 songs in his first 4 films, where he had acted. He directed one film – ‘Raj Mukut’ (1935) and he was a MD in 12 films, from ‘Ayodhya Ka Raja’ (1932) to ‘Saathi’ (1938).

Govindrao’s death was in a strange circumstance. His friend, VH Deshpande has written about it in an article, I found on http://www.parrikar.org, as follows.

Govindrao’s death was unexpected. Of late, he had taken considerable interest in the work of the Central Audition Board of All India Radio. He had gone to Delhi in connection with the work of this Board and suffered a heart attack on 29th September, 1955. Dr. Sumati Mutatkar conveyed the news to the Minister in charge of Information and Broadcasting Dr. B.V. Keskar and Shri P.M. Lad, I.C.S., who took keen personal interest and had Govindrao removed to Wellington Nursing Home. They also arranged for a thorough medical check-up and treatment by expert doctors.

It was felt that somebody from Govindrao’s family should go over to Delhi and stay with him. Shri P.M. Lad, Secretary to Government in the Department of Information and Broadcasting, wrote to Govindrao’s eldest son, Pilunana and called him to Delhi. For the first few days Govindrao was unable to move his hands and feet. But soon he rallied round and was well enough to send a telegram home saying – “I am feeling better. The A.I.R. officers have made excellent arrangements for my treatment. There is, therefore, no need for anybody from the family to come here. There is absolutely no cause for anxiety.”

In the meantime his youngest son, Bhaurao and his eldest daughter-in-law, Indirabai, had left Kolhapur for Delhi; but having seen (at Pune) the reassuring telegram from Govindrao they returned home. Fearing that the telegram might not have reached Kolhapur and that Bhaurao might have started for Delhi, Govindrao pressed Pilunana to go to the Delhi Railway Station to fetch him. Pilunana left the Nursing Home for the station. At 5.35 p.m. Govindrao suffered a heart attack apparently caused by a coughing fit which brought his life to an end in a matter of seconds. When Pilunana returned from the station at 7 p.m. he found that his father had passed away.

Officers of the All India Radio rushed to the hospital on hearing the news. Dr. Keskar too came to pay his respects to the departed soul. He gave
instructions to his officers in regard to the funeral. During this terminal illness of Govindrao, Dr. Keskar, Shri P.M. Lad and Dr. Sumati Mutatkar had
paid personal attention to Govindrao’s treatment and made every effort to make his stay at the hospital as comfortable as possible. They all felt a sense of guilt for the tragedy since it was in response to their invitation that Govindrao had gone to Delhi. “

Minerva Movietone was one of the major and famous film companies. Its initial films were very purposeful and tackled social evils like divorce, alcoholism and incest etc. Minerva was also famous for its grand historical movies and the solid dialogues delivered by Sohrab Modi. All this success did not come to him easily. He learnt through bitter lessons.

In the 30’s, when the talkie films started, there were about 9 big, famous and trend setting film companies. Most companies had graduated to talkie status after they made silent films. Only Bombay Talkies and Minerva Movietone started after talkie films had established a foothold. Let us see when these companies started their film making.

Company Year started
Madon Theatres 1919
Imperial 1926
Ranjit 1929
Prabhat 1929
Sagar 1929
New Theatres 1931
Wadia Movietone 1931
Bombay Talkies 1933
Minerva Movietone 1936

From this chart, it is clear that Minerva was the youngest of all these companies. Modi brothers had started a company called Stage Films Co. in 1935, which shot 2 films from a running stage drama. They were ‘Hamlet’ (1935) and ‘Saeed e Hawas’ (1936). Both were flops. Minerva Movietone was started by Sohrab and brother Rustom Modi in 1936, when they realised that the stage dramas, filmed as feature films did not get the public approval. Production from Stage Films- their first film production enterprise- was suspended till Minerva became successful. ‘Aatma Tarang’ (1937) was the new company’s first film. C Ramchandra was the harmonium accompanist for MD Habib Khan and Bundu Khan. He also did a small role in ‘Aatma Tarang’ and earlier ‘Saeed e Havas’ (1936). Minerva’s first film proved to be a let down.

Sohrab found that there were hardly 20 to 30 persons in the audience on the very first show. The film was based on the power of ‘Bramhacharya’ (Celibacy). In those days, Sohrab was greatly influenced by the teachings of Ramkrishna Mission. Seeing the poor response, he was upset. Thoughts of quitting the film production line were crowding in his mind. Suddenly, he saw four men coming towards him. They came, confirmed that he was Sohrab modi and told him that his film was very good. They further advised him to keep making such good films and one day he will be on top. Later on he learnt that these gentlemen were the Judges of Bombay High Court.

This gave lot of motivation to Modi. It also boosted his self confidence. As such he was sure of his success in films, but now he knew that he must make films on subjects of interest of the public and not his own philosophy, if he wants to succeed commercially. His second film was ‘Khan Bahadur’ (1937), based on the bravery and generosity of a Muslim king who became famous for his bravery. The English rulers gave him the title of Khan Bahadur. The film did a reasonable business.

This incident infused him with new hopes and enthusiasm. This changed his life. Initially he focused on making films on social evils like drinking (‘Meetha Zehar’ (1938)), husband-wife separation (‘Divorce’ (1938)) and incest (‘Bharosa’ (1940)). Enthused with this experience, he made successful films and took his company to the top. Renowned for big budget historical films, Minerva benefited from Modi family’s distribution interests in Gwalior, expanded by his third brother Keki Modi into western India. At one time he controlled a chain of 27 theatres in 10 cities. In 1952, they established India’s first Technicolour Laboratory.

In those days, every film company had its own committed audience. In addition, the language used in every studio’s films had a special touch e.g. Prabhat film language (i.e. dialogues and song lyrics) had a Poona Marathi influence, Ranjit films were Gujarati oriented and New Theatre’s language was ‘Bhoyankor and Bhishon’ – all words were rounded. Bombay Talkies brought in a day to day simple Hindi language. Minerva used Urdu and Farsi influenced words and pronunciations. It suited the long and forceful dialogues of Modi in his historical movies.

The cast of film ‘Vasanti’ was Naseem Banu, Navin Yagnik, Putli, Kusum, Sadiq Ali, Jamshed ji, Ghulam Hussain and many more. Something about the unusual name in the cast – Jamshed ji. His full name was Jamshed ji Bairam ji Khan Saheb. In some films, he was credited as Khan Saheb also. He was born in Bombay in 1889 as a typical Parsee. He was one of the oldest and most experienced actors having worked with several directors and over 25 years of acting.

He started with Silent films like ‘Pyaari Mamta’, ‘Madhuri’, ‘Sohni Mahiwal’, ‘Pooran Bhagat’, ‘Gulshan e Arab’, ‘Hoor e Baghdad’ and ‘Indira’. His first talkie film was ‘Daulat Ka Nasha’ (1931) and ‘Noorjahan’ (1931). He acted in about 50 films. His last known film was ‘Andaz’ (1949).

Jamshed ji, also gave music to 3 films- ‘Naya Zamana’ (1935), ‘Zaate Shareef’ (1936) and ‘Jagat Kesari’ (1937).

Hero of film ‘Vasanti’ was Navin Yagnik. Navin was a well known stunt film actor who did social films also with the same ease. Navin was born in Calcutta on 3-10- 1912. His father was from UP and mother from Bengal. During school days, he was more interested in sports, dramas and oratory. He did not complete his Matriculation, but ran away to Bombay, to become an actor-against the wishes of his family. He joined Sagar Films in 1930, as an extra, without salary. After few months he got Rs. 35 pm, but no credited roles. After a year or so, he left Sagar and joined Mohan Bhavnani’s Ajanta Film company. He first worked in film ‘The Mill ‘ (1934). Unfortunately, this film was banned for 2 years. The film was based on a story by Munshi Premchand and depicted the poor conditions of mill workers in Bombay. The Mill Owners’ Association brought pressure on Government and got the film banned. After 2 years, the film was released as ‘Ghareeb Parvar’ (1936) aka ‘Daya Ki Devi’. Two more films and Navin became hero in film ‘Pyar Ki Maar’ (1935).

In her autobiography, actress Hansa Wadkar says,”My hero in this film was one Navin Yagnik, a handsome boy from UP. He was very shy and after the shootings, he would quietly sit in one corner reading something. He never joined our drink parties, nor he participated in any other group activity. I was attracted towards him but he gave no response. He sent me invitation card of his marriage, when it was fixed.”

He also worked in Minerva Movietone, Prakash pictures, Filmistan and other good banners. Some of his well known films were, ‘Zambo-The ape Man’ (1937), ‘Meri Bhool’ (1937), ‘Divorce’ (1938), ‘Vasanti’ (1938), ‘Son of Zambo’ (1939), ‘Main Haari’ (1940), ‘Vasantsena’ (1942), ‘Raja Rani’ (1942), ‘School Master’ (1943), ‘Prithvi Vallabh’ (1943), ‘Chal Chal Re Naujawan’ (1944) etc. His last recorded film was ‘Bhagwat Mahima’ (1955). In all, he worked in 30 films.

Navin Yagnik died on 28-10-1977.

Today’s song is probably composed by Govindrao Tembe, but HFGK does not credit any song to individual MD in the duo. With this song, film ‘Vasanti’ makes its debut on this Blog.


Song – Roop Anoop Wahi Hai Sajani (Vasanti) (1938) Singer – Naseem Banu, Lyricist – Abdul Baqi, MD – Govindrao Tembe and Meer Saheb

Lyrics

roop anoop vahi hai sajani
roop anoop vahi hai sajani
jo preetam ko bhaave ri sajani
jo preetam ko bhaave ri sajani
jo saajan ko lubhaave sajani
jo saajan ko lubhaave sajani
roop anoop wahi hai sajani
roop anoop wahi hai sajani
jo preetam ko bhaave ri sajani
jo preetam ko bhaave ri sajani
jo saajan ko lubhaave sajani
jo saajan ko lubhaave

prem mein mann aisa kho jaawe
prem mein mann aisa kho jaawe
apna dhyaan na aawe ree sajni
apna dhyaan na aawe ree sajni
sab sudh budh bisraawe sajni
sab sudh budh bisraawe

yaad mein jeewan unke bita doon
yaad mein jeewan
aa aa aa aa aa
yaad mein jeewan unke bita doon
prem ki aag suhaave sajani
prem ki aag suhaave sajani
prem mein mann sukh paave sajani
prem mein mann sukh paave sajani
roop anoop wahi hai sajani
roop anoop wahi hai sajani
jo preetam ko bhaave ri sajani
jo preetam ko bhaave ri sajani
jo saajan ko lubhaave sajani
jo saajan ko lubhaave

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Hindi script lyrics (Provided by Sudhir)
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रूप अनूप वही है सजनी
रूप अनूप वही है सजनी
जो प्रीतम को भावे री सजनी
जो प्रीतम को भावे री सजनी
जो साजन को लुभावे सजनी
जो साजन को लुभावे सजनी
रूप अनूप वही है सजनी
रूप अनूप वही है सजनी
जो प्रीतम को भावे री सजनी
जो प्रीतम को भावे री सजनी
जो साजन को लुभावे सजनी
जो साजन को लुभावे

प्रेम में मन ऐसा खो जावे
प्रेम में मन ऐसा खो जावे
अपना ध्यान ना आवे सजनी
अपना ध्यान ना आवे सजनी
सब सुध बुध बिसरावे सजनी
सब सुध बुध बिसरावे

याद में जीवन उनके बिता दूँ
याद में जीवन
आ आ आ आ आ
याद में जीवन उनके बिता दूँ
प्रेम की आग सुहावे सजनी
प्रेम की आग सुहावे सजनी
प्रेम में मन सुख पावे सजनी
प्रेम में मन सुख पावे सजनी
रूप अनूप वही है सजनी
रूप अनूप वही है सजनी
जो प्रीतम को भावे री सजनी
जो प्रीतम को भावे री सजनी
जो साजन को लुभावे सजनी
जो साजन को लुभावे


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

Blog Day :

4257 Post No. : 15478 Movie Count :

4266

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Hindi Songs in Bangla Films – 22
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‘Banarasi’ (1962, Bangla film) was produced by Ruma Guha Thakurta and was directed by her husband, Arup Guha Thakurta. The film was based on a story written by novelist Bimal Mitra (he also wrote the story of the film ‘Sahab Bibi Gholam’).  The main actors in the film are Soumitra Chatterjee, Ruma Guha Thakurta, Tulsi Chakraborty, Tarun Kumar, Asha Devi, Maneka Devi, Shyam Laha etc. The film is available on a video sharing platform with English sub-titles.

I had heard of Ruma Guha Thakurta (Ruma Devi for Hindi film audience) as an occasional actor in Hindi films and an ex-wife of Kishore Kumar. Finding her name in the Bangla film under discussion, that too not only as an actor-singer but also as a producer of the film, I thought I need to know more about her than what I had the impression about her in my mind. Fortunately, information about her is available on-line including her interview on Doordarshan.

Ruma Devi (03/11/1934 – 03/06/2019) was born as Ruma Ghosh (later known as Ruma Guha Thakurta after her second marriage) in a family of talented vocalists. She was the niece of Satyajit Ray.

Ruma Devi started as a dancer in Uday Shankar’s troupe in Almora. Later, she shifted to Bombay (now Mumbai) and worked as a child actor in her first film, the Bombay Talkies’ ‘Jwaar Bhata’ (1944). She worked in three more Hindi films – ‘Mashaal’, 1950 (’Samar’ in Bangla), ‘Afsar’ (1950) and ‘Raag Rang’ (1952). She got married to Kishore Kumar in 1951. After the birth of their son, Amit Kumar in 1952, Ruma Devi stopped working in the films.

In 1958, Ruma Devi and Kishore Kumar parted amicably. Ruma Devi shifted to Kolkata and set up Calcutta Youth Choir (CYC) in collaboration with her maternal uncle, Satyajit Ray and Salil Chowdhury. Throughout her life, she was actively involved with CYC. In 1974, she led a troupe of singers and dancers of CYC to participate in Copenhagen Youth Festival where CYC won the first prize.

In 1959, she worked in her first exclusive Bangla language film, ‘Ganga’ (‘The River’, 1960) as a supporting actor. Her role in the film was critically acclaimed. She worked in about 60 Bangla films from 1950 through 1998 during which she was associated with the renowned  directors like Satyajit Ray in ‘Abhijan; (1962) and ‘Ghanashatru’ (1989), with Tapan Sinha in films like ‘Atithi’ (1959) and ‘Nirjon Saikote’ (1963) and with Tarun Majumdar in films like ‘ Palatak; (1963) and ‘Balika Bodhu’ (1967). She also worked in Bangla films as a playback singer and did choreography in a couple of Bangla films. Her last film as an actor was Mira Nair’s English film ‘The Namesake’ (2006).

In 1960, Ruma Devi got married to director Arup Guha Thakurta with whom she has a son, Ayan and a daughter, Sromona Chakroborty who is a singer.

Ruma Devi passed away in her sleep on 03/06/2019 at her Kolkata residence due to old age-related problems.

The story of ‘Banarasi’ (1962) is as under:

Ratan (Soumitra Chatterjee) works as a draftsman in the railways and stays in an old man’s house in Kolkata as a paying guest. The only person with whom he shares his personal matters and who also help him financially in case of need is his close friend, Monty (Tarun Kumar). One day, while returning from watching a play in the theatre, Ratan sees a girl who has stopped her horse driven coach to buy a paan. The girl’s face resembles that of his childhood friend, Sona (Ruma Guha Thakurta) who was kidnapped at the ghats of River Ganga in Banaras. He watches her until she gets down from the coach and enters a building. Ratan wants to meet her but Monty discourages him by saying that the building houses courtesans. But Ratan is anxious to visit her to ascertain whether she is really Sona, his childhood friend to whom he was to marry later.

One day, without the knowledge of Monty, Ratan visits Sona and comes to know that the girl he saw earlier was indeed Sona whose life has now changed after her kidnapping and she has become a courtesan with a new name ‘Banarasi’. Ratan tells her that he wants to marry her and both of them can still start a life afresh by shifting to a place away from Kolkata where no one would know their background. After much persuasion, Sona agrees. Ratan arranges his transfer to a remote village where Railway is lying new tracks. Sona runs away with Ratan in the night.  Both of them get married in a temple at Kalighat and travel by train to their new place of work in a remote village.

The station master of the village railway station accommodates him in his house until he gets the staff quarters. Both Ratan and Sona are happy. However, their happiness is short lived as Ratan comes across a calendar with her picture as a courtesan in a shop. Now Sona’s past haunts him and there is some tension between husband and wife. Their tension is further compounded when one of Sona’s old clients who has halted in the village on a business trip, recognises Sona. She and Ratan are humiliated in the presence of villagers. Sona decides to leave her husband as she feels that it was due to her past that Ratan has to face the humiliation in the society. She leaves the house in the dead of the night. Ratan, on not finding her wife in the house, goes out searching for her. He meets Sona halfway and promises her that no matter what the society says, he would always be with her. With these words, Ratan accompanies Sona to an uncharted place leaving everything behind in the house.

The film was critically acclaimed but did not do well on the box office front. Probably, the theme of the story was familiar. The extent of sympathy which the director of ‘Umrao Jaan’ (1981) created for the character of the courtesan was missing in the character of courtesan in ‘Banarasi’ (1962). However, both Soumitra Chatterjee and Ruma Guha Thakurta have given sensitive performances as per the demand of their respective roles.

By now, I have come to know that Bangla films with courtesan’s theme or scenes have a couple of Hindi songs. In ‘Banarasi’ (1962) also, there are 3 Hindi songs of which two are mujra songs and the third is a partial holi song in Bhojpuri dialect. I am presenting one of the two mujra songs, “Shabnam To Royi Royi” sung by Ruma Guha Thakurta who is singing for herself as a courtesan. The song is written by Nyay Sharma which is set to music by Ustad Ali Akbar Khan.

Song – Shabnam To Royi Royi, Taare Bhi Roye Bairi (Banarasi)(Bangla) (1962) Singer – Ruma Guha Thakurta, Lyrics – Nyay Sharma, MD – Ustad Ali Akbar Khan

Lyrics

shabnam to royi royi
taare bhi roye bairi
ab to tu aaja aaja
jaanewaale aaja..aa
jaanewaale aaja
shabnam to royi royi
taare bhi roye bairi
ab to tu aaja aaja
jaanewaale aaja..aa
jaanewaale aaja
 
taare bhi royen
meri raahen bhi royen
nigaahen bhi royen
meri duaa’en bhi royen
taare bhi royen
meri raahen bhi royen
nigaahen bhi royen
meri duaa’en bhi royen
manzil to khoi khoi
saathi bhi khoye bairi
ab to tu aaja aaja
jaanewaale aaja
jaanewaale aaja
 
royen muraaden apni
aanchal nahin hai
samjhi hum jisko saahil
saahil nahin hai
kashti to soi soi
kinaare bhi soye bairi
ab to tu aaja aaja
jaanewaale aaja..aa
jaanewaale aaja

shabnam to royi royi
taare bhi roye bairi
ab to tu aaja aaja
jaanewaale aaja..aa
jaanewaale aaja
 
palkon ne haar piroye
kis ko pehnaa’en
hichki malhaar gaaye
kis ko sunaa’en
palkon ne haar piroye
kis ko pehnaa’en
hichki malhaar gaaye
kis ko sunaa’en
hasrat to royi royi
nazaare bhi roye bairi
ab to tu aaja aaja
jaanewaale aaja. . .
jaanewaale aaja

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

शबनम तो रोई रोई
तारे भी रोये बैरी
अब तो तू आजा आजा
जानेवाले आ जा॰॰आ
जानेवाले आजा
शबनम तो रोई रोई
तारे भी रोये बैरी
अब तो तू आजा आजा
जानेवाले आ जा॰॰आ
जानेवाले आजा

तारे भी रोएँ
मेरी राहें भी रोएँ
निगाहें भी रोएँ
मेरी दुआएं भी रोएँ
तारे भी रोएँ
मेरी राहें भी रोएँ
निगाहें भी रोएँ
मेरी दुआएं भी रोएँ
मंज़िल तो खोई खोई
साथी भी खोये बैरी
अब तो तू आजा आजा
जानेवाले आजा॰॰आ
जानेवाले आजा

रोएँ मुरादें अपनी
आँचल नहीं है
समझी हम जिनको साहिल
साहिल नहीं है
कश्ती तो सोई सोई’
किनारे भी सोये बैरी
अब तो तू आजा आजा
जानेवाले आजा॰॰आ
जानेवाले आजा

शबनम तो रोई रोई
तारे भी रोये बैरी
अब तो तू आजा आजा
जानेवाले आ जा॰॰आ
जानेवाले आजा

पलकों ने हार पिरोये
किस को पहनाएँ
हिचकी मल्हार गाये
किसको सुनाएँ
पलकों ने हार पिरोये
किस को पहनाएँ
हिचकी मल्हार गाये
किसको सुनाएँ
हसरत तो रोई रोई
नज़ारे भी रोये बैरी
अब तो तू आजा आजा
जानेवाले आ जा॰॰आ
जानेवाले आजा


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 :

4243 Post No. : 15462

Entertaining Sales Pitch Songs – 11
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This post is likely the one which has been the most scrambled for. Leap day it is. So much history and folklore around this date, no doubt. But notwithstanding that, it struck us quite late in the day, as to how such a rare occasion be not celebrated, and not represented on our blog. We are all adept at combining celebrations and conjuring up milestones and reasons to post a celebratory article. So how come this leap day phenomena be left by the side. So we got going to get something in place, but it was quite late that we got started. Here is a brief about the gensis.

Time is 6:48 in the evening. An innocent query laden email from dear Arun ji lands in the mail box. He is enquiring about 29th Feb, 2016. The date seems to be blanked out on the blog, so were not posts added that day or is that an error of logging on the blog.

7:30 pm comes the response from Atul ji – yes, in 2016, the leap day actually was dot day.

Within one minute at 7.31 pm lands another follow up from Atul ji – and I quote –

“Today I wanted to post a blog leap day challenge, but my internet at home as well as office let me down. Atul”

There is radio silence for another about one hour or so. Around 8:20, I am back on my laptop, checking emails, and run into this exchange that has recently happened. It is 8:25 pm by the time I jump into the flow, and write to Atul ji, enquiring what did he have in mind.

Another 25 minutes creep by. It is 8:52 when Atul ji reply lands in the mail box. He wanted to follow up with a ‘challenge’ type post using one of the un-yippeee’d films from the list of posts from 29th Feb, 2012. Despite all the lethargy and laziness, I am stirred up to take on this challenge. Quickly I make a check of the films used on 29th Feb 2012. The list reads like,

Ban Ban Ke Bigadti Hai Taqdeer Gareebon Ki Guzaara 1954
Dil Ko Hai Tumse Pyaar Kyun NFS – Jagmohan `Sursagar` 1945
Tum Saamne Aakar Jis Dam Khazaanchi 1958
Dhal Chuki Shaam E Gham Kohinoor 1960
Bhare Hain Aankh Mein Aansoo Saara Jahaan Hamaara 1961
Manzil Ki Chaah Mein Devdas 1955

Only two films stand out as the candidates for this challenge – ‘Guzaara’ from 1954 and ‘Saara Jahaan Hamaara’ from 1961. Given the familiarity of the film and songs, I am tempted to attempt ‘Saara Jahaan Hamaara’. But then another peculiarity tries to pull my attention. The film ‘Guzaara’ from 1954 made its debut on the blog on this day – the leap – of 2012. And then – nothing else. For the past 8 years, the film has been sitting neglected, on one of the most interesting calendar days in, well, in the calendar. 🙂

And so, I decided to pick ‘Guzaara’. I sent out an email to Atul ji at 9:11 (that sounds almost sinister. . .) with the message – “‘Guzaara’ from 1954 would be an interesting candidate. Only one song, posted on leap day 2012, now second song on leap day 2020. 😀 :D”.

This time, the response is very immediate. Within a minute Atul ji confirms that he was also thinking to pick this film.

Poor ‘Guzaara’ – has been sitting on the bench for – goodness, 8 years. आते जाते हुये, the other films would ask cursorily – “How’s it going? Idling for long??”

And listlessly (pun intended) ‘Guzaara’ would reply – “गुज़ारा चल रहा है”. :D)  :D)

And then suddenly another thought passed into the mind’s channels. Debut on the leap day in 2012, no action till the leap day on 2020, when the second song gets posted. And I hope this does not lead to a typecasting (so common in the industry, no?). because if it does, then poor ‘Guzaara’ would take more than two decades to get yippeee’d for its 8 songs. (LOL)

‘Guzaara’ is a social film from the production house of Aaina Pictures, Bombay produced and directed by SM Yusuf. The star cast is listed as Karan Diwan, Paro, Jabeen, Mirza Musharraf, Chand Burque, Baby Naaz, Romi, SM Yusuf, Manju, Tiwari, Baalam, Faizi, Sangeeta, Chhagan Romeo, Mehru. Hmmm. . . Karan Dewan and Paro, this would have been an important film of its time. The eight songs of this film are written by Fauq Zami – two songs, Muneer Lakhnavi – one song, and Raja Mehdi Ali Khan five songs. The music direction is by Ghulam Mohammed. The film comes from the same year as ‘Mirza Ghalib’, one of the most well known films with music by him.

Today’s song is a “sales pitch” song, rendered by Rafi Sb. The item for sale is ‘bhajia’, and the song goes along with homilies and interesting advises, as it tries to make better of selling ‘pakodas’. 😉 Looking at the star cast, the most likely candidate for performing this song is Karan Dewan himself. I cannot bring myself to imagine that Mirza Musharraf or Baalam would take on performing this song on screen. I would request our more knowledgeable friends and readers to please add more information about this song, and the film.

Ah so, the leap challenge, at last. And the film gets its second song on the blog, on the same leap day, eight years apart. Come to think of it – do we know what is the origin of the term ‘leap’ as it applies to this date and this calendar terminology. Hmmm. . . as we look at the calendars progression from one year to the next, and given 365 days in the year and 7 days in the week, the thumb rule is that the new year starts on the weekday, next to the day on which the previous year starts. Except for this peculiar creature called ‘leap year’ when the sequence of week day ‘leaps’ ahead by one day. Oh yes, this is the simple explanation available from dictionary.com.

I am sure all are familiar with the rules of the Julian calendar, set is place by Julius Ceaser, which instituted this leap day’s concept, and the later correction by Pope Gregory, resulting in the Gregorian calendar that makes an exception for missing a leap year every 100th year, but then also not missing it every 400th year, to account for the correct number of days passing per year, given that the earth uses up 365 days, 5 hours, 48 minutes, and 45 seconds, give or take a few milliseconds here and there, to completely go once around the sun. That is being astronomically correct. Otherwise, what would we know better, just being used for waking up with sunrise every day. Leap day, leap year – what does it matter. At the end of the day, and quoting from another song by Rafi Sb – “Jitni Likhi Thhi Muqaddar Mein. . .” – the number of breaths destined are what it is. History records that in 1582, when Pope Gregory announced this correction to the calendar, the official dates were adjusted by 10 days, There were riots in the city of Vatican and the common man protested, wanting 10 days of their lives to be returned.

Ah well, as the world turns. And not very precisely so. 🙂

So listen to Rafi Sb, and enjoy the ‘bhajias’.

Song – Duniya Ki Haalat Naram Naram (Guzaara) (1954) Singer – Mohammed Rafi, Lyrics – Raja Mehdi Ali Khan, MD – Ghulam Mohammed
Chorus

Lyrics

duniya ki haalat naram naram
o duniya ki haalat naram naram
halwa chhodo
poori chhodo
bhajiye kha lo garam garam
duniya ki haalat naram naram

tu ne bhi muft ki khaai hai
kya tu bhi mera bhai hai
o kya tu bhi mera bhai hai
meri hi tareh honge mister
tere pichhle janam ke karam karam
ho munna pichhle janam ke karam karam
o duniya ki haalat naram naram
halwa chhodo
poori chhodo
bhajiye kha lo garam garam
duniya ki haalat naram naram

hum tumko kahaan se den bhiksha
o bhaiyya ja kar ke khencho riksha
ho munna ja kar ke khencho riksha
mat desh pe apne bojh bahno
hai ye hi hamaara dharam dharam
hai ye hi hamaara dharam dharam
hoye
duniya ki haalat naram naram
halwa chhodo
poori chhodo
bhajiye kha lo garam garam
duniya ki haalat naram naram

chaar aane mein insaan bikey
do aane mein imaan bikey
chaar aane mein insaan bikey
do aane mein imaan bikey
ek aane mein bhagwan bikey
ae duniya waalo shame shame shame
ae duniya waalo sharam sharam

o duniya ki haalat naram naram
o duniya ki haalat naram naram
halwa chhodo
poori chhodo
bhajiye kha lo garam garam
duniya ki haalat naram naram
hoye

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

दुनिया की हालत नरम नरम
ओ दुनिया की हालत नरम नरम
हलवा छोड़ो
पूरी छोड़ो
भाजिया खा लो गरम गरम
दुनिया की हालत नरम नरम

तूने भी मुफ्त की खाई है
क्या तू भी मेरा भाई है
ओ क्या तू भी मेरा भाई है
मेरी ही तरह होंगे मिस्टर
तेरे जनम के पिछले करम करम
हो मुन्ना तेरे जनम के पिछले करम करम
ओ दुनिया की हालत नरम नरम
हलवा छोड़ो
पूरी छोड़ो
भाजिया खा लो गरम गरम
दुनिया की हालत नरम नरम

हुम तुमको कहाँ से दें भिक्षा
ओ भईय्या जा कर के खेंचो रिक्शा
हो मुन्ना जा कर के खेंचो रिक्शा
मत देश पे अपने बोझ बनो
है ये ही हमारा धरम धरम
है ये ही हमारा धरम धरम
होये दुनिया की हालत नरम नरम
हलवा छोड़ो
पूरी छोड़ो
भाजिया खा लो गरम गरम
दुनिया की हालत नरम नरम

चार आने में इंसान बिके
दो आने में इमार बिके
चार आने में इंसान बिके
दो आने में इमार बिके
एक आने में भगवान बिके
ए दुनिया वालो शेम शेम शेम
ए दुनिया वालो शरम शरम

ओ दुनिया की हालत नरम नरम
ओ दुनिया की हालत नरम नरम
हलवा छोड़ो
पूरी छोड़ो
भाजिया खा लो गरम गरम
दुनिया की हालत नरम नरम


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

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