Archive for the ‘Devnagri script lyrics by Sudhir’ Category
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.
“Banjaare” (1948), by now an obscure movie, was directed by Hiren Bose for Hiren Bose Productions, Calcutta. This movie had Baby Deepanjan, Banshree, Malwika, Pramod Chandra, Jeewanlal, Kamal Mishra, A Malik etc in it.
The movie had nine obscure songs in it according to HFGK. HFGK is silent about the singers of these songs.
Here is the first song from “Banjaare” (1948) to appear in the blog. The singer is not known as far as HFGK is concerned. The uploader has mentioned the singer as Savitri Ghosh, spelled as Sabitri Ghosh in Bangla style.
Zakir Hussain is the lyricist. Music is composed by Anupam Ghatak.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.
I have not been able to get a few words right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.
With this song, the movie “Banjaare” (1948) as well as the singer Savitri Ghosh make their respective debuts in the blog.
Song-Jhoom rahi masti mein ye phoolon ki daali (Banjaare)(1948) Singer-Savitri Ghosh, Lyrics-Zakir Hussain, MD-Anupam Ghatak
Lyrics
jhoom rahi..ee..ee
masti mein ye phoolon ki daali
jhoom rahi..ee..ee
masti mein ye phoolon ki daali
aayi hai..ae..ae
bahaar aaj zamaane mein niraali
aayi hai..ae..ae
bahaar aaj zamaane mein niraali
aabaad tha gulshan mere armaanon ka jis’se
aabaad tha gulshan mere armaanon ka jis’se
rutha huaa hai ae ae
wo hi baag ka maali
rutha huaa hai ae ae
wo hi baag ka maali
jis dil mein sabki shamaayen
jis dil mein sabki shamaayen
is id thhi raushan
ha..an
is id thhi raushan
ab isme..ae..ae
museebat ki
ghata chhai hai bhaari
ab isme..ae..ae
museebat ki
ghata chhai hai bhaari
ae dil e betaab usey yaad kiye jaa
jiske liye..ae..ae haalat ye
prabhu toone banaayi
jiske liye..ae..ae haalat ye
prabhu toone banaayi
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
झूम रही॰॰ई॰॰ई
मस्ती में ये फूलों की डाली
झूम रही॰॰ई॰॰ई
मस्ती में ये फूलों की डाली
आई है॰॰ऐ॰॰ऐ
बहार आज जमाने में निराली
आई है॰॰ऐ॰॰ऐ
बहार आज जमाने में निराली
आबाद था गुलशन मेरे अरमानों का जिससे
आबाद था गुलशन मेरे अरमानों का जिससे
रुठा हुआ है॰॰ऐ॰॰ऐ
वो ही बाग का माली
रुठा हुआ है॰॰ऐ॰॰ऐ
वो ही बाग का माली
जिस दिल में सबकी शमाएं
जिस दिल में सबकी शमाएं
इस ईद थी रोशन
हाँ
इस ईद थी रोशन
अब इसमें॰॰ऐं॰॰ऐं
मुसीबत की
घटा छाई है भारी
अब इसमें॰॰ऐं॰॰ऐं
मुसीबत की
घटा छाई है भारी
से दिल ए बेताब उसे याद किए जा
जिसके लिए॰॰ऐ॰॰ऐ हालत ये
प्रभु तूने बनाई
जिसके लिए॰॰ऐ॰॰ऐ हालत ये
प्रभु तूने बनाई
Sapnon Mein Koi Aata Hai
Posted on: September 16, 2017
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.
Saga Of Sleepless Nights – 2
– – – – – – – – – – – – – – –
koi chupke se aa ke
sapne sulaa ke
mujhko jagaa ke boley
ke main aa raha hoon. . .
Our dear departed President had once made a statement that has now become a quotable quote, appearing in many PR campaigns and posters. He had said, “Dream is not that which you see while sleeping, it is something that does not let you sleep”.
President Abdul Kalam was a very influential statesman. His work, his accomplishments, and his vision are a shining example of a motivated personality with a very positive world view. In recent times, this is a quote that has become one of the top inspirational guiding light, for students and young generations.
No, I do not wish to take away the import and the magnitude of significance that this statement entails. I just want to point out that this theme, this concept has been written about by the poets, especially the romantic types, since time immemorial. That the dreams keep you awake. It is the thoughts of the beloved that will occupy the mind’s inner spaces. The dreams will go on an on – about the one you love, being with the one you love, missing the one you love, pining for the one you love, and. . . just simply dreaming to be with the one you love.
Shakespeare has something to say about this,
All days are nights to see till I see thee,
And nights bright days when dreams do show thee me.
That even the days are dark and lonely, like nights when I do not see you; but when I see you even in my dreams, the nights turn into bright days.
It is well known that we dream when we sleep. But tell me, when we are dreaming, does it not seem so very real? Does it not seem that we are living a real experience in real time? Till of course you wake up. And when you wake up from some dreams, it is hard to believe for a few moments that you were asleep – the experience was so very real.
And so the poets write about being awake in the dreams. The poetry that they write about dreams, especially when dream is about love and is about the loved one, tells us about how the beloved comes and wakes you up while you are dreaming – and the trance continues.
So many songs from Hindi films to pick about this experience. The one that is dearest to me is the song from ‘Anubhav’ (1971) – mentioned at the start of this article. Today, I present another lovely song, back from before the golden era of HFM. The song comes from a team that has created so many delightful musical offerings for us to savor. Words from the pen of Kedar Sharma, music from the mind of RC Boral and the lilting voice of Kaanan Devi. As I was searching for a song about dreams – ‘सपना’, I chanced upon this wonderful melody from the 1939 film ‘Sapera’.
The film is produced under the banner of New Theatres, and is directed by Debaki Bose. The cast is impressive – Kaanan Devi, Nawab, Pahadi Sanyal, Prithviraj Kapoor, KC Dey, Bikram Kapoor, Sham Laha, Satya Mukherji and Vinay Goswami etc. As is characteristic of RC Boral’s creations, the song has a significant prelude, before the singing comes on.
The song tells about the sleepless nights when the beloved comes visiting in the dreams. There is a touch of sensuousness – the words tell about meeting of lovers’ lips in the dream. There is a touch of melancholy – the words tell of tears flowing when the lovers’ eyes meet. And there is a strong presence of the emotions of longing throughout the song. Listen. . . and dream of your beloved.
Song – Sapnon Mein Koi Aata Hai (Sapera) (1939) Singer – Kaanan Devi, Lyrics – Kedar Sharma, MD – RC Boral
Lyrics
sapnon mein koi aata hai
sapnon mein koi aata hai
kuchh chupke se keh jaata hai
kuchh chupke se keh jaata hai
hothon se honth milaata hai
hothon se honth milaata hai
hriday ka kanwal khilaata hai
hriday ka kanwal khilaata hai
sapnon mein koi aata hai
sapnon mein koi aata hai
main thandi aahen bharti hoon
main thandi aahen bharti hoon
wo aisi aag lagaata hai
koi poochhe mere saajan se
koi poochhe mere saajan se
koi poochhe mere saajan se
jo us se aankh ladaata hai
kyon uska dil moti ban kar
yun aankhon se beh jaata hai
kyon uska dil moti ban kar
yun aankhon se beh jaata hai
sapnon mein koi aata hai
sapnon mein koi aata hai
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
सपनों में कोई आता है
सपनों में कोई आता है
कुछ चुपके से कह जाता है
कुछ चुपके से कह जाता है
होंठों से होंठ मिलाता है
होंठों से होंठ मिलाता है
हिरदे का कंवल खिलाता है
हिरदे का कंवल खिलाता है
सपनों में कोई आता है
सपनों में कोई आता है
मैं ठंडी आहें भरती हूँ
मैं ठंडी आहें भरती हूँ
वो ऐसी आग लगाता है
कोई पूछे मेरे साजन से
कोई पूछे मेरे साजन से
कोई पूछे मेरे साजन से
जो उस से आँख लड़ाता है
क्यों उसका दिल मोती बन कर
यूं आँखों से बह जाता है
क्यों उसका दिल मोती बन कर
यूं आँखों से बह जाता है
सपनों में कोई आता है
सपनों में कोई आता है
Nimai Chaand, Gore Chaand
Posted on: September 16, 2017
- In: Binota Chakravarty Solo Songs | Binota Chakravarty Songs | Devnagri script lyrics by Sudhir | Guest posts | Lyrics by Sudhir | Lyrics contributed by readers | Missing the loved ones | Post by Arunkumar Deshmukh | Separation song | Songs of 1950s (1951 to 1960) | Songs of 1953 | Yearwise breakup of songs
- 1 Comment
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.
Today’s song is from film, which not many people will rememeber – ‘Shri Chaitanya Mahaprabhu’ (1953).
During the Bhakti movement period, almost all regions had their own Saints and Great Bhakts. One such great soul enlightened the people of Eastern India. He was known as Shri Chaitanya Mahaprabhu.
In a short life span of just 48 years (1486-1534), he did extraordinarily religious and reformative work in the 16th century in the regions of Bengal (both the current East Bengal (now in Bangladesh) and West Bengal), Bihar, Jharkhand, Manipur, Assam and Orissa. Not much information is available about him in other regions, so here is a short biography of Shri Chaitanya Mahaprabhu, adapted and edited from Stephen-Knapp.com – with thanks.
Sri Chaitanya Mahaprabhu (pronounced ‘चैतन्य’) (February 27, 1486 to 1534 AD) was born in Navadvipa, Bengal, on a full moon night during a lunar eclipse. It is typical for people to bathe in the Ganges during an eclipse and chant the Lord’s holy names for spiritual purification. So, everyone in the area was chanting the holy names when He was born. His parents, Shri Jagannatha Misra and Mata Shachi Devi, gave Him the name of Vishvambhara, meaning the support of the universe, because astrologers had predicted His super human qualities and that He would deliver the people of the world. He was also nicknamed Nimai because He had been born under a nima tree.
During His childhood He exhibited extraordinary qualities, even having philosophical discussions with His mother. While growing up, His brilliant intelligence began to become apparent. While still a child, He mastered Sanskrit and logic to the point of defeating local pandits, and established the truth of the spiritual and Vedic philosophy. He became so well known that many logicians of various religious and philosophical persuasions began to fear His presence and refused to debate with Him. Thus, Sri Chaitanya established the authority of the Vaishnava tradition through the process of debate and logic.
When Sri Chaitanya went to Gaya on the pretext to perform ceremonies for the anniversary of His father’s death, He received Vaishnava initiation from Shri Ishvara Puri. Thereafter, He lost all interest in debate and simply absorbed Himself in chanting and singing the names of Lord Krishna in devotional ecstasy. Upon returning to Navadvipa, He gathered a following with whom He would engage in congregational singing of the Lord’s holy names. Thus, He started the first ‘sankirtana‘ movement (congregational devotional singing), and established the importance of chanting the names of God in this age as the most elevated of spiritual processes, and the prime means for liberation from material attachments. At first, His chanting with people was for the few participants who were a part of His group, but then Sri Chaitanya ordered that the ecstasy of love of God be distributed to all people of the area. He gave no recognition for the privileges of caste, or for position, or type of philosophy a person had, or yogic asceticism. He only emphasized the devotional chanting of the Lord’s holy names, using the Hare Krishna mantra – “Hare Krishna, Hare Krishna, Krishna Krishna, Hare Hare / Hare Rama, Hare Rama, Rama Rama, Hare Hare”, which has the power to bring out the natural loving sentiments for God.
It was at the age of 24 when He shaved His head and took the order of sanyaasa, the renounced stage of life, when He accepted the name of Krishna Chaitanya from Shri Keshav Bharati during the initiation. He then spent four years travelling through South India, and also visited Vrindavana and Varanasi. During this time he also gave special instructions to his main followers, Shri Roop Goswami and Shri Sanatana Gosvami, who then also spread the glories of the Divine Love for Radha and Krishna. They settled in Vrindavana where they spent their years in writing many books elaborating the instructions of Lord Chaitanya and the glories of bhakti for Radha and Krishna. They also revealed the places where Radha and Krishna performed many varied pastimes in that land of Vrindavana, which have remained special spots where devotees can become absorbed in the bliss of love of Radha and Krishna.
Lord Chaitanya spent His remaining years in Jagannatha Puri. During this time He was absorbed in ecstatic devotion to Krishna in the loving mood of Radharani, in which He would lose all external consciousness. He freely distributed the divine nectar of this love for Krishna to everyone and anyone, day and night. Even His presence or mere touch could transform everyone that came near Him into the same devotional mood. He remained like this until He finally left our vision at the age of 48.
Lord Chaitanya is considered and was established by Vedic scripture as the most recent incarnation of God. The Lord always descends to establish the codes of religion. This is confirmed in Bhagavad-gita (4.6-8) where Lord Krishna explains that although He is unborn and the Lord of all living beings, He still descends in His spiritual form in order to re-establish the proper religious principles and annihilate the miscreants whenever there is a decline of religion and a rise in irreligious activity.
The birthplace of Shri Chaitanya Mahaprabhu, popularly known as Mayapur, is located on the banks of the Ganges river, at the point of its confluence with the Jalangi, near Navadveep, West Bengal (India), 130 km north of Kolkata (Calcutta). The headquarter of ISKCON (International Society for Krishna Consciousness) is situated in Mayapur. It is considered a holy place of pilgrimage by a number of other traditions within Hinduism. It is of special significance to followers of Gaudiya Vaishnav tradition, as the birthplace of Shri Chaitanya Mahaprabhu, regarded as a special incarnation of Krishna in the mood of Radha. It is visited by over a million pilgrims annually.
Mayapur can be reached by boat, and more commonly by train or bus. ISKCON Kolkata operates regular bus service from Kolkata to Mayapur. Frequent train service is available to Krishnanagar, Nadia from Kolkata’s Sealdah Station, then 18 km by auto or cycle rickshaw to Mayapur. During the visit one can see the huge headquarters of ISKCON and a long stream of saffron-robed devotees chanting the Hare Krishna mantra. I visited the place about two decade ago. For all those who visit Kolkata, it is like a rite of passage to visit Mayapur.
The music director of this film is the legendary RC Boral aka Raichand Boral, famous for his New Theatre, Calcutta films and songs. Once upon a time New Theatres was a great institution. It gave many entertaining and meaningful films, in Bangla and Hindi. A highly capable band of authors, writers, actors, actresses, directors, music directors, lyricists, singers and a whole lot of technical staff started their careers here, and spent their best and most productive years with this institution. New Theatres was known for clean entertainment. This was true in the 20s, 30s and till late 40s. The atmosphere in the studio was like a family.
However, it is the law of nature that whatever goes up must come down also, with time. This process started from the mid 1930s itself when Nitin Bose and Debaki Bose had a big tiff – an ego clash. Later on PC Barua also left, followed by Kaanan Devi, who joined the new company founded by Barua. Uma Shashi eloped with some outsider. In the early 1940s a group of artistes, consisting of actors and directors left NT, to go to Bombay. KL Saigal, Prithviraj Kapoor, KN Singh, Kidar Sharma etc. left for Bombay. Around 1943, Nitin Bose came to Bombay. The Second World War had already broken the back of Film Industry in Calcutta. Additionally, this exodus caused greater harm. People like Pankaj Mullick, though unhappy in NT, did not leave. By about 1950, New Theatres was almost a non-entity !
A giant like Raichand Boral, music director, was invited by Nitin Bose to Bombay. Wanting to try his hand, RC Boral did 3 films in Bombay, namely, ‘Dard e Dil’ (1953) – a film made by Nitin Bose himself, ‘Shri Chaitanya Mahaprabhu’ (1953), a film made by the giant Prakash Pictures of the Bhatt brothers and ‘Swami Vivekanand’ (1955), a film made by Amar Mullick. RC Boral’s music was still in the traditional Bangla style. In Bombay, during the 1950s, the trend was for fast melodies. New generation MDs Shankar-Jaikishan were in full swing. C Ramchandra and SD Burman etc. were churning out fast melodies. The newer generation of the music lovers was wary of the slow, sentimental, bhajan-like songs now. Boral’s traditional music was unacceptable to them. Therefore the music from none of the three films become popular. Moreover 2 of the 3 films of Boral, had subjects meant only for a limited captive audience of middle age to old age category. Thus Boral proved to be a failure and after these 3 films went back to Calcutta to be amongst his comfort zone of Bangla films.
RC Boral (19-10-1904 to 25-11-1981) was undoubtedly one of the greatest composers of Indian films – be it Bangla or Hindi. From his first Hindi Talkie film ‘Zinda Laash’ (1932) till his last Hindi film ‘Amar Saigal’ (1955), Boral gave music to 33 Hindi films, most of which were made bilingual in Bangla and Hindi at Calcutta. According to the famous film music historian Dr. Ashok D Ranande, Boral made a significant contribution to the Indian film music. First, he gave lot of importance to background music to enhance the effectiveness of screen images. Secondly, he developed the concept of prelude and interlude music segments in film songs. Thirdly, he is credited with the introduction of playback singing in films . The songs of ‘Pooran Bhagat’ (1933), ‘Chandidas’ (1934), ‘President’ (1937), ‘Mukti’ (1937), ‘Street Singer’ (1938), ‘Lagan’ (1941), ‘Saugandh’ (1942), ‘Wapas’ (1943) and ‘Hamraahi’ (1944) are enough to make him immortal in the annals of film music in India. KL Saigal, Kaanan Devi, Pahadi Sanyal, Harimati and Binota Bose owe their fame and name to Boral. He composed the present tune of our national anthem “Jana Gana Man“, for his film ‘Hamrahi’. Boral got the President’s award in 1959, Sangeet Natak Academy award in 1978 and the prestigious Dada Saheb Phalke award in 1979. He passed away on 25-11-1981 but RC Boral-the legend will always live in the minds of music lovers.
Not only RC Boral, but many other artists from Bengal, who came to Bombay for their career felt uncomfortable and uneasy with the Bombay film culture and they always tried to gather Bangla artists in their work environment to feel safe. This was not so with Bombay film people when they went to Bengal or South. Even the musicians and directors from the South, operated in Bombay atmosphere quite comfortably. Probably, for the Bangla artists, the impact of regional pride and language of Bengal was a hindrance in Bombay.
The film ‘Shri Chaitanya Mahaprabhu’ had a total of 16 songs. In the 1950s, the Hindi films had an average of 8 to 10 songs only. Along with Asha, Lata, Rafi and Talat, Boral also used Dhananjay Bhattacharya and Binota Chakraborty from Calcutta, as playback singers. The name of Binota Chakraborty sounds completely Bengali, but she was a Marathi mulgi from Bombay and her real name was Vinita Amladi. Today’s song is sung by her.
Vinita Raghvendra Amladi was born on 9-8-1928 in Bombay. She had 3 sisters and 3 brothers. Her father, Raghavendra, used to play tabla. Her elder sister Hemlata, sang classical music. Vinita learnt singing from her sister Hemlata. Once, when Vinita was about 15-16 year old, she sang in a private birthday party, in which composer Sardar Malik was present. He was impressed with her singing and she was given an offer to sing songs in film ‘Rain Basera’ (1947), at a princely sum of Rs.250/-. After this film she also sang in the film ‘Renuka’ (1947).
When she went to record songs with Sardar Malik, she met her future husband Krishna Chakraborty, who worked as a pianist in the orchestra. She then met composer Vinod. She says-
“I was introduced to the sound recordist of Shorie films, at a song and dance group meeting. He in turn took me to Vinod. He heard my singing and included me in the chorus of a song of Lata in ‘Ek thi Ladki’ (1949). Then he said, “You have met me very late. Now I have only one song left. You sing it”. The song was “Dilli Se Aaya Bhai Tingu” from ‘Ek Tthhi Ladki’. The song became a super hit in those days.”
After this she did some Marathi films. In 1950 she got married to Krishna Chakraborty, against opposition from her family and they moved to Calcutta and settled there. In 1952 Pankaj Mullick called her to sing a Meera Bhajan in film ‘Yatrik’. When she went to New Theatres for recording this song, she was thrilled. Her father was so happy with this song that they forgot the past and reunited. Pankaj Mullick sent her to Kamal Dasgupta and under his baton she sang some songs in Bengali films. By now her name had automatically tranformed from Vinita to Binota in the Bengali style. As Binota Chakrawarty she sang songs in yet another Hindi film from Calcutta ’25th July’ (1951).
In 1953 she came back to Bombay after her husband’s untimely death, to look after her ailing father. In Bombay she sang songs in ‘Kasturi’ and ‘Shri Chaitanya Mahaprabhu’, both in 1954. Now she stopped getting songs and she retired. She used to live in Goregaon, Mumbai.
The cast of the film was Bharat Bhushan, Ameeta, Krishnakumari, Durga Khote, BM Vyas, Umakant, Madan Puri, Raj Kumar, Pinakin Shah etc. Bharat Bhushan had received the Filmfare best actor Award for this film, in 1955. (Though the film was censored in 1953 December, it got released only in 1954).
Enjoy the song.
Song – Nimai Chaand, Gore Chaand (Shri Chaitanya Mahaprabhu) (1953) Singer – Binota Chakravarty, Lyrics – Bharat Vyas, MD – RC Boral
Lyrics
nimai chaand
gore chaand o mere
chhod mohe kahaan. . .
kahaan re chalaa
ghar soona soona
kar ke chala re. . . hey. . .
o bap ik baar
mukhda dikha re
o bap nimai mere tu
ek baar mukh to dikha re. . .
ey. . .
nimai chaand
mann pinjre mein
panchhi hriday ka..aa..
jatnon se jisko main ne samaaya
haaye
udd gaya chhalia..aa
tod ke taala
bole vishnu ke ab hoon
roye
roye re
re. . . hey. . .
kaise dheer hey bandhaaun main
o bap nimai mere
kaise dheer hey bandhaaun main
??
nimai chaand
baal umar mein
bairaagi na hoyio
sanyaasi na hoyio
ghar reh ke let naam re nimai
maai ko tu layio re nimai
baal umar mein
sanyaasi na hoyio
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
नीमाई चाँद
गोरे चाँद ओ मोरे
छोड़ मोहे कहाँ॰॰॰
कहाँ रे चला
घर सूना सूना
कर के चला रे॰॰॰
हे॰॰॰
ओ बप इक बार
मुखड़ा दिखा रे
ओ बप निमाई मेरे तू
इक बार मुख तो दिखा रे॰॰॰
ए॰॰॰
नीमाई चाँद
मन पिंजरे में
पंछी हृदय का॰॰आ॰॰
जतनों से जिसको मैंने समाया
हाय
उड़ गया छलिया॰॰आ॰॰
तोड़ के ताला
बोल विष्णु के अब हूँ
रोये
रोये रे
रे॰॰॰
हे॰॰॰
कैसे धीर हे बंधाऊँ में
ओ बप निमाई मेरे
कैसे धीर हे बंधाऊँ में
??
निमाई चाँद
बाल उमर में
बैरागी ना होइयो
सन्यासी ना होईओ
घर रह के लेत नाम रे निमाई
माई को तू लईओ रे निमाई
बाल उमर में
सन्यासी ना होईओ
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.
The most common milestone in this blog is century of songs in the blog. Then we also have some associated milestones viz centuries by artists, contributors etc.
After this blog touched the five figure mark of songs on 20 july 2014, some of the regulars began to point out some “special” numbers that the blog was approaching. Though not round figures like centuries, these numbers held arithmetic significance and we in the blog decided to associate these numbers with special writeups.
The first of such “artificial” milestones was post number 11111. We marked the occasion by discussing a special song where as many as five artists completed their individual centuries in the blog with the same song.
The next such “artificial” milestone was post number 12345. Some regulars kept reminding Sudhir Jee and me about this milestone. We kept up a brave face telling everyone that we were aware of the special occasion. In reality we were all at sea to decide what song to discuss on that special occasion. Just at the nick of time, Sudhir Jee hit upon an ingenious idea and discussed a special song that had one lyricist, two music directors, three singers, which was piturised on four actors and this song appeared in the movie five times !
That done, we heaved a sigh of relief thinking that the next “artificial” special number was far off. We were mistaken. Mr Avadh Lal, a musically cum mathematically inclined regular suggested that the next “special” number was just round the corner. This number was 12357- all prime numbers.
If chosing a suitable song for post number 12345 was a challenge then chosing a song for post number 12357 turned out to be an even tougher challenge. How Sudhir Jee managed to pull off the feat of posting a song for post number 12357 is something that I have not understood even to this date.
Now, more than 1200 songs later, we arrive at another magic number, or a honky tonk number, as Sudhir Jee puts it. 13579 is the mumber, consisting of all odd numbers in ascending order.
Unlike the earlier honky tonk numbers, I am surprised (and somewhat relieved) to realise that the regulars of the blog have not noticed that we are approaching this number and as a result we have not received any reminders for this special number.
Unlike the songs that we found for the earlier three honky tonk numbers, finding a “suitable” song number 13579 is a tall order and I was quite unable to come up with a suitable and justifiable idea that our wise readers would find plausible and believable.
After giving the matter some thought, I realised that the ideas used for earlier occasions were not applicable in this case and we needed to come up with some original ideas.
After toying with some unpractical ideas, I thought up this idea that this post needed to be somehow associated with DMY format, viz 13-5-79.
So, I scanned google to find out if I could get some film personalities that were either born on 13-5-79 or they died on this date. I drew a blank. I came to know that the crown prince of an European nation was born on this date but no personality who could be even remotely associated with HFM was born on this date, nor did someone die on this date on that year.
There was one actress who was born on this date in a later year, but this blog is a U rated blog and so I would be very hesitant to have to do anything with her on this blog. 🙂
I also came to know that ‘Mr Natwarlal’ was released on 14 may 1979 (if it is correct), so it narrowly missed being a movie with 13-5-79 connection, not that it would have helped though, seeing that all songs from this movie have already been covered.
So, I decided that I needed to get some HFM related personality who has something to do with 13 may and hope that he/ she had something to do with the figure 79 as well.
A little search on our anniversary page revealed that two singers namely Utpala Sen and A R Oza had died on 13 may, though on years other than 1979. Did any of them die at the age of 79. If yes, then that would clinch the issue. Very little information is available on A R Oza, and whatever is avilable is contained in this very blog, thanks to the article by our beloved inhouse encyclopaedia, Mr Arunkumar Deshmukh. Going through his articles revealed that the date and year of birth of A R Oza is not available. So he is ruled out.
When I checked up the dates for Utpala Sen, I found that she was born on 12 March 1924 and she died on 13 May 2005 at the age of 81.
So I began to think of a combination. Let Utpala Sen supply 13-5 component of the jigsaw. Let the other portion of the jigsaw, viz 79 be supplied by someone who is associated with Utpala Sen in a Hindi movie song.
On checking up, I realised that Utpala Sen has sung very few Hindi movie songs (may be 15 or 16) and most of them are already covered in the blog. She sang most of these songs with Pankaj Mullick and all available songs of this combination are already covered.
I found that Utpala Sen had sung in ‘Wasiyatnama’ (1945) under the baton of RC Boral. Could RC Boral supply the other half of jigsaw ? I checked his biodata. He was born on 19 October 1903 and he died on November 1981. So he was just over 78 years of age. What a narrow miss ! Or was it ? If one counts the number of calendar years that RC Boral saw in his lifetime, he saw a total of 79 calender years ! So there is the other half of the jigsaw puzzle, nicely getting dovetailed with the other half with a satisfying sound !
‘Wasiyatnaama’ (1945), by now a forgotten movie, was directed by Soumen Mukherji for New Theatres, Calcutta. The movie had Asit Baran, Sumitra Devi, Bharati, Latika Bannerji, Ahindra Chaudhary, Hiralal, Devi Mukherji, Shor, Tandon, Natwar, Tulsi etc in it.
The movie had six songs in it and two of these songs are covered in the blog.
This third song from the movie, which is the 13579th song post for the blog, is sung by Utpala Sen and it is composed by RC Boral. The song is penned by Zakir Hussain and no details are available for him, so he was in any case of little use to us in our search for our magic numbers.
Here is this special song post for the blog. This song, like most such songs, is quite a rare song.
So, my dear readers of this song, here is song post number 13579 in the blog. Enjoy !
And hopefully this takes care of our honky tonk numbers for the near forseeable future. Phew, this was close ! 🙂
[Ed Note: In the second antaraa, the word ‘mrigya’ (मृग्या) is a modified form of the word ‘mrig-trishna’ (मृग तृष्णा), which translates to ‘mirage’ in English. It is the optical illusion created in the deserts, which makes the travellers and also animals in the desert, see things, especially water, at a distance, even though it is not actually there.]
Song – Gaaye Jaa Tu Geet Suhaane, Kaun Kisi Ke Mann Ki Jaane (Wasiyatnama) (1945) Singer – Utpala Sen, Lyrics – Zakir Hussain, MD – RC Boral
Lyrics
gaaye jaa tu geet suhaane
gaaye jaa tu geet suhaane
kaun kisi ke man ki jaane
haan jaane jaane
kaun kisi ke man ki jaane
gaaye jaa tu geet suhaane
suhaane
deepak ka hai kaam jalaana
deepak ka hai kaam jalaana
aur patange ka jal jaana
jal jaana
aur patange ka jal jaana
is mein kya hai dosh kisi ka
is mein kya hai dosh kisi ka
marne ke hain laakh bahaane
marne ke hain laakh bahaane
kaun kisi ke man ki jaane
haan jaane jaane
kaun kisi ke man ki jaane
jagmag jagmag ret jo chamke
mrigya jal ki lahren damken
jagmag jagmag ret jo chamke
mrigya jal ki lahren damken
kaisa hai ye sundar dhokha
aa aa aa
kaisa hai ye sundar dhokha
aa aa aa
aag se jaaye pyaas bujhaane
aag se jaaye pyaas bujhaane
kaun kisi ke man ki jaane
haan jaane jaane
kaun kisi ke man ki
————————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————————
गाये जा तू गीत सुहाने
गाये जा तू गीत सुहाने
कौन किसी के मन की जाने
हाँ जाने जाने
कौन किसी के मन की जाने
गाये जा तू गीत सुहाने
सुहाने
दीपक का है काम जलाना
दीपक का है काम जलाना
और पतंगे का जल जाना
जल जाना
और पतंगे का जल जाना
इस में क्या है दोष किसी का
इस में क्या है दोष किसी का
मरने के हैं लाख बहाने
मरने के हैं लाख बहाने
कौन किसी के मन की जाने
हाँ जाने जाने
कौन किसी के मन की जाने
जगमग जगमग रेत जो चमके
मृग्या जल की लहरें दमकें
जगमग जगमग रेत जो चमके
मृग्या जल की लहरें दमकें
कैसा है ये सुंदर धोखा
आ आ आ
कैसा है ये सुंदर धोखा
आ आ आ
आग से जाये प्यास बुझाने
आग से जाये प्यास बुझाने
कौन किसी के मन की जाने
हाँ जाने जाने
कौन किसी के मन की
Raat Shabnami Bheegi Chaandni
Posted on: September 8, 2017
- In: "chaand" song | Asha Bhonsle NFS | Asha Bhonsle NFS | Asha Bhonsle solo | Asha Bhonsle songs | Devnagri script lyrics by Sudhir | Guest posts | Indie Pop | Love song | Lyrics contributed by readers | NFS | Post by Peevesie's mom | Romantic song | Songs of 1990s (1991 to 2000) | Songs of 1997 | Yearwise breakup of songs
- 4 Comments
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.
Hullo to all in Atuldom
If it is a post by me then it has to be someone’s’ birthday.
It is 8thSeptember. Our beloved Asha Bhonsle’s 84thbirthday. So let me wish her a very Happy Birthday with this very lively number from her Non- Film album ‘Janam Samjha Karo’ (1997). I just thought that it will be a lovely departure from routine to showcase the versatility of the forever young-at-heart Asha.
I am not going to get into her life history in this post, I will just say I am super excited that I am going to be seeing her in person, live in the show which goes by the name Rendezvous with Asha Bhonsle, which I assume will be as exhilarating an experience as the Rendezvous with Hema Malini has been last year. The minute I got the invite for this I had posted it on our WhatsApp group to find out if any Atulite will be interested and we could have gone as a gang. Our dear Rajaji said that much as he would like to be therehe cannot make it. But I am glad that I will have Gajendraji and his wife as company. By the time we had decided on the number of tickets to be purchased the stock of tickets with the organisers were exhausted but Gajendraji was an angel to book the tickets.
So, coming back to the song which I had in mind for the occasion is from a music album ‘Janam Samjha Karo’ (the only non-film cassette in my collection) which came out when the non-film music industry was booming with albums of people like Hariharan with Leslie Lewis as ‘Colonial Cousins’, Alisha Chinai, Suneeta Rao etc. This was the period when MTV and Channel V exploded on television in the name of satellite television. Songs of this genre were called Indie pop. The album had eight songs all written by Majrooh Sultanpuri and Leslie Lewis was the music director. Asha Bhonsle was in her sixties and Majrooh in late seventies but the songs were everything that a young at heart could ask for. It had love songs in all the moods that accompany the emotion- roothna-manana; ikraar- inkaar aur takraar; etc.
For people who are not introduced to Leslie Lewis he is the son of prolific film choreographer Devaraj Peter Lewis – going by the name PL Raj in Bollywood. Leslie used to play guitar at the Café Royal, Oberoi Towers Mumbai and recorded with Kalyanji Anandji, Laximkant Pyarelal, RD Burman and Louis Banks. Starting with 1987, he composed advertising jingles and was nominated for awards from the Indian Academy of Advertising Film Art (IAAFA). In 1989 received an award for his work. He went on to make some famous jingles such as “Doodh-Doodh-Doodh (Piyo full glass)”, “Mango Fruity fresh and juicy”, “Thums Up taste the thunder”, “Santoor Santoor”, etc.
Video (2 Stanzas)
Audio (3 stanzas)
Song – Raat Shabnami Bheegi Chaandni (Asha Bhosle – NFS) (1997) Singer – Asha Bhosle, Lyrics – Majrooh Sultanpuri, MD – Leslie Lewis
Lyrics
raat shabnami
bheegi chandani
teesra koi
door tak nahin
is ke aage hum
aur kya kahen
jaanam samjha karo
raat shabnami
bheegi chandani
teesra koi
door tak nahin
is ke aage hum
aur kya kahen
jaanam samjha karo
ho is ke aage hum
aur kya kahen
jaanam samjha karo
sanam tumko jis din se dekha hum ne
deewaana dil kaboo mein nahin
bada pyaara ye bhi itefaaq dekho
tum hi mil jaate ho har kahin
tum hi mil jaate ho har kahin pyaare
aage khud hi jaan lo
aur kya kahen
jaanam samjha karo
raat shabnami
bheegi chandani
teesra koi
door tak nahi
is ke aage hum
aur kya kahen
jaanam samjha karo
ho is ke aage hum
aur kya kahen
jaanam samjha karo
agar tum bhi wo chaaho jo main chaahun
to gul khil jaaye iqraar ka
dilon ko milne de kuchh na bolen hum
mazaa aaye phir to pyaar ka
mazaa aaye phir to pyaar ka jaani
aage khud hi jaan lo
aur kya kahen
jaanam samjha karo
raat shabnami
bheegi chandani
teesra koi
door tak nahi
is ke aage hum
aur kya kahen
jaanam samjha karo
ho is ke aage hum
aur kya kahen
jaanam samjha karo
thehro padi hai raat yeh saari
kaahe ki jaldi jaane mann
daale hue yeh reshmi bahen
yun hi lipte raho tum gulbadan
taqdeer se yeh mil gaya mauqa
aage khud hi jaan lo
aur kya kahen
janam samjha karo
raat shabnami
bheegi chandani
teesra koi
door tak nahi
is ke aage hum
aur kya kahen
janam samjha karo
raat shabnami
bheegi chandani
teesra koi
door tak nahi
is ke aage hum
aur kya kahen
janam samjha karo
ho is ke aage hum
aur kya kahen
janam samjha karo
ho is ke aage hum
aur kya kahen
janam samjha karo
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
रात शबनमी
भीगी चाँदनी
तीसरा कोई
दूर तक नहीं
इस के आगे हम
और क्या कहें
जानम समझा करो
रात शबनमी
भीगी चाँदनी
तीसरा कोई
दूर तक नहीं
इस के आगे हम
और क्या कहें
जानम समझा करो
हो इस के आगे हम
और क्या कहें
जानम समझा करो
सनम तुमको जिस दिन से देखा हमने
दीवाना दिल काबू में नहीं
बड़ा प्यारा ये भी इत्तेफाक़ देखो
तुम ही मिल जाते हो हर कहीं
तुम ही मिल जाते हो हर कहीं प्यारे
आगे खुद ही जान लो
और क्या कहें
जानम समझा करो
रात शबनमी
भीगी चाँदनी
तीसरा कोई
दूर तक नहीं
इस के आगे हम
और क्या कहें
जानम समझा करो
हो इस के आगे हम
और क्या कहें
जानम समझा करो
अगर तुम भी वो चाहो जो मैं चाहूँ
तो गुल खिल जाये इक़रार का
दिलों को मिलने दें कुछ ना बोलें हम
मज़ा आए फिर तो प्यार का
मज़ा आए फिर तो प्यार का जानी
आगे खुद ही जान लो
और क्या कहें
जानम समझा करो
रात शबनमी
भीगी चाँदनी
तीसरा कोई
दूर तक नहीं
इस के आगे हम
और क्या कहें
जानम समझा करो
हो इस के आगे हम
और क्या कहें
जानम समझा करो
ठहरो पड़ी है ये रात सारी
काहे की जल्दी जाने मन
डाले हुये ये रेशमी बाहें
यूं ही लिपटे रहो तुम गुलबदन
तक़दीर से ये मिल गया मौका
आगे खुद ही जान लो
और क्या कहें
जानम समझा करो
रात शबनमी
भीगी चाँदनी
तीसरा कोई
दूर तक नहीं
इस के आगे हम
और क्या कहें
जानम समझा करो
रात शबनमी
भीगी चाँदनी
तीसरा कोई
दूर तक नहीं
इस के आगे हम
और क्या कहें
जानम समझा करो
हो इस के आगे हम
और क्या कहें
जानम समझा करो
हो इस के आगे हम
और क्या कहें
जानम समझा करो
- In: Actor singing his song | Actor-Singer song | Biography of actors | Biography of artists | Boat song | Devnagri script lyrics by Sudhir | Duet | Durga Khote - Vasanti Duet | Durga Khote Song | Free Spirit Song | Guest posts | Inspirational song | Lyrics by Sudhir | Lyrics contributed by readers | movie opening song | philosophical song | Pirate Ship Song | Post by Arunkumar Deshmukh | Song of 1936 | Song sung by three or more singers | Songs of 1930s (1931 to 1940) | Translation by Sudhir | Translations by readers | Uplifting song | Vasanti Song | Yearwise breakup of songs
- 3 Comments
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.
Today’s song is from the landmark film ‘Amar Jyoti’ (1936), made by the Prabhat Film company, Poona. It was directed by V Shantaram. It was photographed by his elder brother V Avadhoot and the music was by Master Krishnarao Phulambrikar. All the songs were written by Pandit Narottam Vyas. Today’s song is sung by Vasanti and chorus. The song is also used as a background song few times in the movie since it conveys the essence of the film’s theme- fight against injustice.
This is a significant and a noteworthy film by Shantaram. Durga Khote performed one of her most memorable roles. K Narayan Kaale wrote the story and screenplay, with dialogues by Pt. Narottam Vyas. The cast included Durga Khote, Chandra Mohan, Shanta Apte, Vasanti, Nandrekar, Keshav Narayan Kaale etc. etc. Songs by Shanta Apte, especially “Suno Suno Ban Ke Praani“, whose records sold by thousands and a duet by Apte and Nandrekar, “Aaj Hamen Ban Behad Bhaata” were very popular.
The film was about a rebellious woman turning into a pirate, because of the injustice meted out to her. She was a queen who suffered due to severe male oriented laws and was denied custody of her only son, when she separated from her husband. This outstanding adventure film – the first pirate film in Hindi – was the first Indian film to be screened at the Venice Film Festival. The film became a box office hit because of three reasons. One – Durga Khote’s excellent acting, and two – the special effects and the novel, unusual pirate story and three – it’s popular songs and music.
Durga Khote, in her Autobiography, ‘I, Durga Khote’ has stated the following about this film,
A film like Amarjyoti, an imaginary story and beautiful in every respect, happens only once in a rare while. The cinematography, sets, costumes, jewellery, songs, and backgrounds were so perfectly attuned, that the audience went crazy with every scene. Every element, whether it was shots of ships, surging waves and enormous rocks, or the casting and performances with minute shades of expression, heroism, self-sacrifice, and extreme tyranny—was striking in itself, and in complete harmony with every other element of the complicated plot. Shanta Apte’s songs became very popular. Vasanti’s lovable charm, the harsh anger that I, as Saudamini, expressed against injustice, Chandramohan’s impressive performance, light eyes flashing—were all wonderfully effective. The costumes of the smugglers, their lifestyle, the weapons they carried, were all imaginary, and yet they came through so convincingly on screen. Every costume was so precisely selected that it fitted in its place perfectly, as if carved for that space.
Though Durga Khote was the main and central character of the film, the romantic respite was provided by Shanta Apte and B Nandrekar. Now Shanta Apte is a well known name but who was this Nandrekar ?
In the days of silent movies, the only requirement for males to get into films was that they should be reasonably good looking and must have good height and physique. For the females the requirement was beauty and consent to do romantic scenes, including kisses, if required. If these points were in order, their entry to the films was assured. Due to these conditions, mostly uneducated good looking girls from tawaiaf and kothewali families used to join films. Anglo-Indians, Germans and other foreigner girls too joined film world. For them kissing or romantic scenes were no great issues. In males too, uneducated young men from poor families, having a good muscular body and good looks joined the films.
However, when the talkie films started, the requirements included good Hindi/Urdu/Hindustani speaking skills and ability to sing a song, if needed. Almost all Anglo-Indian, Jew, German and other girls left films as they did not know Hindi language or singing. There were, of course, few dedicated girls who learnt better Hindi and singing to remain in films. Some examples are Savita Devi, Sulochana, Madhuri etc.
In males most actor had no problem, but those who came from regions other than Bombay could not speak Hindi well and had no scope. The most well known example was that of Master Vithal, who excelled in silent films but was a failure in talkie films for his inability to speak Hindi fluently. No doubt he was selected to be the hero in India’s first talkie film, ‘Aalam Ara’ (1931), but when he failed to mouth Hindi dialogues, his role was curtailed and he was portrayed as unconscious for a major part of the film.
Actors like Master Bhagwan had no problem. He had been working in silent films since ‘Bewafa Aashiq’ (1930), and he smoothly walked into talkie films as Hindi speaking skills were good. There was yet another actor who easily transitioned from silent films to talkie films. This was B Nandrekar or Baba Saheb Nandrekar.
Nandrekar was one of the very few really handsome actors Hindi films ever had. He was born in 1910, in Sangli district of Maharashtra, near Kolhapur. Being a Muslim, he could speak Urdu/Hindi fluently. He completed his schooling from Kolhapur and joined films. Vishnupant Damle (one of the founder partners of Prabhat Films) was making silent film ‘Maharathi Karna’ (1928) for Maharashtra Film Co. He offered Nandrekar a role. Then he worked in other films like ‘Baji Prabhu Deshpande’ (1929), ‘Lanka’ (1930), ‘Kismet’ (1931) and ‘Dushman Ki Raat’ (1931).
His first talkie film was ‘Kurukshetra’ (1933). Prabhat gave him a role in ‘Sant Tukaram’ (1936) (its Hindi version came in 1948). He worked in ‘Amar Jyoti’ (1936) and became quite popular as a hero, opposite Shanta Apte. He was hero in ‘Baghbaan’ (1938) opposite Sitara Devi.
In 1939, he became the first actor to go abroad to shoot scenes in film ‘Africa In Hind’ – ‘हिन्द में अफ्रीका’ (1939). The shooting was done in Africa. Thus this became the first ever Hindi film to shoot in foreign country, and NOT film ‘Naaz’ (1954), as is popularly believed and also as mentioned in HFGK. Nandrekar had become very popular. The chappals he used in film ‘Baghbaan’ became fashionable by the name ‘Nandrekar Chappals‘. This alone is enough to prove his popularity.
His law suit against Prabhat Film Company was a topic of discussion in the industry. There were differences between him and Prabhat over his contract with them. His lawyers were Mr. Jinnah and Mr. Setalwad, who won the case for him. He was also the first actor to work as a freelancer.
Nandrekar appeared in 23 films. His films were ‘Kurukshetra’ (1933), ‘Amar Jyoti’ (1936), ‘Jaadugarin’ (1937) (UR), ‘Baghbaan’ (1938), ‘Africa In Hind’ (1939), ‘Qaidi’ (1940), ‘Hindustan Hamara’ (1940), ‘Alakh Niranjan’ (1940), ‘Chitralekha’ (1941), ‘Mamaji’ (1942), ‘Duniya Tumhari Hai’ (1942), ‘Nai Kahaani’ (1943), ‘Andhi Duniya’ (1943), ‘Swarn Bhoomi’ (1944), ‘Lady Doctor’ (1944), ‘Ismat’ (1944), ‘Bachpan’ (1945), ‘Kamla’ (1946), ‘Jeevan Sikho’ (1946), ‘Parshuram’ (1947), ‘Meri Amaanat’ (1947), ‘Khandani’ (1947), ‘Sant Tukaram’ (1948) and last film ‘Bihari’ (1948).
He passed away in 1949. No definite information is available about his demise.
Another lesser known actress is Vasanti. Vasanti Vinayakrao Ghorpade, was born on 26-3-1924 in Kolhapur. Her father’s sister Tanibai was a famous classical singer. Married to Bapusaheb Kagalkar, she was active in films till 1931 in Kolhapur. Vasanti was trained by Pt. Vamanrao Sadolikar and Ustad Bamman Khan. She first acted in ‘Dharmatma’ (1935) as a child artist. Then came ‘Amar Jyoti’ and ‘Duniya Na Maane’ (1937). Her songs in these films were popular. She left Prabhat in 1939 and joined Ranjit. She appeared in ‘Sant Tulsidas’ (1939), ‘Musafir’ (1940), ‘Diwali’ (1940), ‘Achhoot’ (1940), ‘Beti’ (1941), ‘Sukh Dukh’ etc. She also sang in ‘Aapki Marzi’ (1939), ‘Bhaktaraj’ (1943) and ‘Qurbani’ (1943). Vasanti acted in 15 films. She sang 60 songs in 14 films – all for herself only.
In 1944,she married Indubhai Patel and went to Bangalore. Her last film was ‘Bachchon Ka Khel’ (1946). [Note: In this film Meena Kumari appeared in an adult role for the first time].
The music director of this film, Krishnarao Ganesh Phulambrikar was a Marathi actor, composer, and musicologist. He was an architect of the golden period of Sangeetnatak in Marathi Theatre. He was born in Alandi near Pune in 1898. He was the son of a professional pandit who died when Krishnarao was only 6, reducing the family to abject poverty. He was weak in health. He did not have much formal education, but his sweet, elastic voice facilitated entrance into the Natyakala Pravartak Mandali, where he did small roles. After 1910, he left to learn classical music under Bhaskarbuwa Bakhle in Pune.
In 1918, Bal Gandharva employed him in the Gandharva Natak Mandali as male lead actor and music director, though he did some women’s roles as well. He developed as a most versatile composer who, with Govindrao Tembe, helped Bal Gandharva in spreading Hindustani classical music. He left the Mandali in 1933 to become music director for V Shantaram’s Prabhat Film Company, scoring highly original songs for ‘Dharmatma’ i.e. ‘Soul of Dharma’ in 1935, ‘Maanus’ i.e. ‘Life Is for the Living’ in 1939, and other movies. He gave music to 10 films and composed 104 songs for them. Being a singer, he sang 11 songs in 3 films. Later, he joined MG Rangnekars Natyaniketan. His classical-based light music for Rangnekar’s plays like ‘Kulavadhu’ i.e. ‘Family Bride’ in 1942 and ‘Ek Hota Mhatara’ i.e. ‘There Was an Old Man’ in 1948 is considered a Sangeetnatak landmark. Among his many books on music, he wrote a seven-volume series for vocal and instrumental training, titled Raagsangraha i.e. Raaga Anthology, in 1940-71. He also contributed to popularize the Jaipur gharana. He passed away in the year 1974.
The film had a total of 11 songs. Four songs are already on the Blog. This will be the fifth song. The song is having a lilting tune. After you hear it completely, I am sure it will not leave your memory because of the old Natya Sangeet style of singing.
A brief summary of the film is,
Saudamini (Durga Khote) is denied custody of her son by the Queen (Karuna Devi) and Durjaya, the tyrannical Minister of Justice (Chandra Mohan) after she separates from her husband. Durjaya tells her that a woman is the slave of her husband and essentially has no rights. This enrages Saudamini and she vows vengeance and becomes a pirate. She and her pirates capture a ship which is supposed to be carrying the princess Nandini (Shanta Apte). However, she finds her old enemy Durjaya and takes him prisoner cutting off one of his legs. Nandini has been hiding in chest, and when she comes out of it, the imprisoned Durjaya sees her. He falls in love with her and offers her his food. Nandini however falls in love with a young shepherd boy Sudhir (Nandrekar). When she meets Saudamini and her helper Rekha (Vasanti) she joins them as a pirate and tells Sudhir off. Durjaya escapes with the help of Sudhir and arrives to arrest Saudamini. Saudamini is captured, but the others, along with Nandini and Rekha, escape. It is finally revealed that Sudhir is Saudamini’s long-lost son. Nandini and Sudhir marry and Rekha carries forward Saudamini’s legacy.
———————————————————
Translation (Provided by Sudhir)
———————————————————
karte rahna mismaar, duniya zulm o jafaa ki
This world is of cruelty and injustice
Demolish it, raze it to ashes
[Notes: mismaar = to demolish, raze]
phir se basaao sansaar
himmat waala, izzat wala, jannat waala
amrit dhaara sukh sansaadi bahe wafaa ki
Let us build a new world again
A world of courage
A world of dignity and esteem
A world that is like heaven
Where flows the elixir of love and justice
Having all happiness and resources
[Note: sansaadi = resources; also means complete, undivided, unified]
lehron mein lehron si shamsheer chamke
paave na mohlat
ladna le lena duniya ki daulat
jawaan mein ho tum veer
rann mein dharo tum dheer
Let the swords shimmer like the waves of the ocean
Let there be no respite (for the tyrannical and the wicked)
Fight, and seize the wealth of this world
You are the brave amongst the young
In the battlefield, be unperturbed and composed
karna duniya mein manmaani
ban jaawo ho jaawo laasaani
tan de dena, dhan de dena
vachan naa apna nishfal karna
Have your own way with this world
Become matchless, unconquerable
Stake your assets, and yourself
But never let your word, your promise be fruitless
[Note: laasaani = matchless, incomparable]
bal dikhlaayenge, mar khap jaayenge
kadam badhaayenge, safal kahaayenge
We shall display our valour, our strength
We may die, may be destroyed
But we shall always move forward
We shall always be known as the victors
[Editor’s Note: As noted by Arun ji, this song appears in the film more than once. As one starts to view this film, this song is the very first thing that plays after the initial credits. In this initial playing, the main singers are Saudamini (Durga Khote) and Rekha (Vasanti), with crew of their pirate ship joining in chorus. Nandini (Shanta Apte) is not yet on the scene. Later in the sequence of events, when Saudamini has been captured by Durjaya (Chander Mohan), this song is initiated once again by Rekha, to bring life and strength to the ship’s crew, who are completely demoralized after the capture of their leader. At this stage, Nandini has also joined the ship. In this reprise of the song, the singing voices are now of Vasanti, Durga Khote and Shanta Apte. The video clip that is accompanying this post, is the clip of this second playing of the song. The song starts as a chorus background. Then the young Rekha starts to sing the initial lines, then there is a flashback as Saudamini is shown being taken away as a prisoner. This part of the song is in Durga Khote’s voice, part of the same lines that she sings in the initial playing of this song. Then Nandini joins the singing, and the voice here is of Shanta Apte. The ship’s crew then steps in once again with chorus. In the initial playing, the lines being sung by Nandini (in this video clip) are also sung by Saudamini.]
Song – Karte Rehna Mismaar Duniya Zulm o Jafaa Ki (Amar Jyoti) (1936) Singer – Vasanti, Durga Khote, Shanta Apte, Lyrics – Pt Narottam Vyas, MD – Master Krishna Rao
Chorus
Lyrics
karte rahna mismaar
duniya zulm o jafaa ki
karte rahna mismaar
duniya zulm o jafaa ki
phir se basaao sansaar
himmat waala
izzat wala
jannat waala
amrit dhaara
sukh sansaadi
bahe wafaa ki
karte rahna mismaar
duniya zulm o jafaa ki
karte rahna mismaar
duniya zulm o jafaa ki
lehron mein lehron si shamsheer chamke
lehron mein lehron si shamsheer chamke
paave na mohlat
ladna le lena duniya ki daulat
jawaan mein ho tum veer
rann mein dharo tum dheer
baala ji
ladna le lena duniya ki daulat
jawaan mein ho tum veer
rann mein dharo tum dheer
baala ji
karna duniya mein manmaani
karna duniya mein manma..aani
ban jaawo ho jaawo laasaani
ban jaawo ho jaawo laasaani
tan de dena
dhan de dena
tan de dena
dhan de dena
vachan naa apna nishfal karna
bal dikhlaayenge
mar khap jaayenge
kadam badhaayenge
safal kahaayenge
karte rahna mismaar
duniya zulm o jafaa ki
karte rahna mismaar
duniya. . .
———————————————————
Hindi script lyrics (Provided by Sudhir)
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करते रहना मिस्मार
दुनिया ज़ुल्म ओ जफा की
करते रहना मिस्मार
दुनिया ज़ुल्म ओ जफा की
फिर से बसाओ संसार
हिम्मत वाला
इज्ज़त वाला
जन्नत वाला
अमृत धारा
सुख संसादी बहे वफा की
करते रहना मिस्मार
दुनिया ज़ुल्म ओ जफा की
करते रहना मिस्मार
दुनिया ज़ुल्म ओ जफा की
लहरों में लहरों सी शमशीर चमके
लहरों में लहरों सी शमशीर चमके
पावे ना मुहलत
लड़ना ले लेना दुनिया की दौलत
जवां में हो तुम वीर
रण में धरो तुम धीर
बाला जी
लड़ना ले लेना दुनिया की दौलत
जवां में हो तुम वीर
रण में धरो तुम धीर
बाला जी
करना दुनिया में मनमानी
करना दुनिया में मनमा॰॰आनी
बन जावो हो जावो लासानी
बन जावो हो जावो लासानी
तन दे देना
धन दे देना
तन दे देना
धन दे देना
वचन ना अपना निष्फल करना
बल दिखलाएंगे
मर खप जाएँगे
कदम बढ़ाएँगे
सफल कहायेंगे
करते रहना मिस्मार
दुनिया ज़ुल्म ओ जफा की
करते रहना मिस्मार
दुनिया॰॰॰
- In: "Dance under duress" song | "Helen" song | "Villain's" den song | "Zindagi" song | Club song | Dance song | Devnagri script lyrics by Sudhir | Guest posts | Lyrics contributed by readers | One singer singing for two actors | Post by Peevesie's mom | Songs of 1970s (1971 to 1980) | Songs of 1974 | Yearwise breakup of songs
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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.
Hullo to all in Atuldom
September 2, 2017. The lady who made the fringe-cut hair style popular would have been 76. Yes, I am talking of Sadhana and that hair style called “sadhana cut”. I am sure every girl of the 1960s and 70s would have sported the style at least once in her lifetime. Apparently this look was inspired from the British actress Audrey Hepburn (some more on this later).
Sadhana was born in a Sindhi family in Karachi (now in Pakistan). Her father was the elder brother of Hari Shivadasani; that makes Babita her first cousin and Karisma and Kareena her nieces. Post partition they settled in Mumbai where she had her schooling. She was in Bombay’s Jai Hind college when she was approached by some producer who had seen her on a college stage-play. This led to her debut in movies through the Sindhi film ‘Abaana’.
Sashadhar Mukherjee took her on to co-star his debutant son Joy Mukherjee after seeing her in an ad of the Sindhi movie. RK Nayyar, till then an assistant director, was the director of the film. It was RK Nayyar (later her husband) who worked on her look and gave her the Audrey Hepburn fringe and thus ‘Love in Simla’ became the launch vehicle for Joy Mukherjee, Sadhana and Sadhana-cut. In this film she had a tomboyish character that blooms into a beautiful lady; something akin to the ugly-duckling changing into a swan. Post the debut there were a spate of movies showcasing her talent as the simple village girl “Parakh”; or simple middle-class girl “Asli Naqli”; or the simple rich girl “Hum Dono”. That doesn’t mean she always played the simple girl, alongside these movies she also starred in Raj Khosla’s trilogy of suspense films. I don’t tire of seeing “Mera Saaya” specially the courtroom scenes and her naughty expression as the street dancer in “Jhumka Gira Re”; but then she was unforgettable in all the songs of that movie and throughout the entire movie.
If I sit to draw up a list of my favourite Sadhana songs “Lag Ja Galey Ke Phir Ye Haseen Raat Ho Na Ho”and “Naina Barse” – both from ‘Woh Kaun Thi’ (1964), will top the list which will include “Jhumka Gira Re”, “Tu Jahaan Jahaan Chalega Mera Saaya Saath Hoga” – both from ‘Mera Saaya (1966), “Tera Mera Pyar Amar” (‘Asli Naqli’, 1962) “Main To Tum Sang Nain Mila Ke” (‘Manmauji’, 1962), “Chehere Pe Khushi Chha Jaati Hai” (‘Waqt’, 1965), “Geet Tere Saaz Ka Teri Hi Awaaz Hoon” (‘Inteqaam’, 1969), and more. And the song from ‘Hum Dono’ (1962) “Abhi Na Jaao Chhod Kar” will try to push “Lag Ja Galey Ke Phir Ye. . .” from the top of the list (depending on my mood 😊). Of course, she was a big actress much before I began to see movies with a conscious mind. Whatever I have seen is all thanks to the weekend movies shown on Doordarshan in the late 70s and 80s. But the songs, which have been playing over and over again on the radio waves made me her fan. I remember seeing her as an avenging angel in ‘Inteqaam’ (1969), scaring Manoj Kumar in ‘Woh Kaun Thi’ (1964), as also the typical eye candy act in movies like ‘Waqt’ (1965), ‘Aap Aaye Bahaar Aayi’ (1971), ‘Raajkumar’ (1964), ‘Aarzoo’ (1965) etc. (all thanks to DD).
She made a comeback to movies, briefly, after her illness starred in ‘Ek Phool Do Maali’ (1969), ‘Dil Daulat Duniya’ (1972), etc.and also produced a few movies like ‘Geeta Mera Naam’ (1974) and ‘Pati Parmeshwar’ (1989) starring Dimple Kapadia.
‘Geeta Mera Naam’ was a 1974 movie produced by RK Nayyar. Sadhana was the star and the director of the film. The film also starred Sunil Dutt, Feroz Khan, Helen and Rajendranath. The film’s music is by Laxmikant Pyarelal.
This is the synopsis that Wikipedia gives
The film tells the story of four children who are separated at a fair and unknowingly reunite years later when Geeta (Sadhana) meets Nita (also Sadhana) in prison. Nita has been wrongly accused of murder. Geeta is then caught up in a scheme to find the true killer which leads her to her brother Johnny’s (Sunil Dutt) gang.
Today’s song is sung by Asha Bhonsle with both Helen and Sadhana lip syncing to her. It looks like a pre-climax song where Feroz Khan is desperately trying to save Sadhana (I am guessing this).
[Ed Note: Prakash ji has identified the male dancer accompanying Helen in this video clip as Oscar Unger.]
Let us enjoy and think what it would have been like if Sadhana had not taken sanyaas from movies – would she have gone the way her contemporaries Asha Parekh, Mala Sinha etc. did- meaning doing mother and bhabhi roles or would she have turned full time producer etc. Oh we can let our imagination run wild and speculate.
Song – Mujhe Maar Daalo Main Mar Jaaungi (Geeta Mera Naam) (1974) Singer – Asha Bhosle, Lyrics – Rajendra Krishan, MD – Laxmikant Pyaarelal
Lyrics
haan mujhe mar daalo
main mar jaoongi
marte marte ye saabit kar jaoongi
ke zindagi bhi maut hai
maut bhi hai zindagi
zindagi bhi maut hai
maut bhi hai zindagi
mujhe mar daalo
main mar jaoongi
marte marte ye saabit kar jaoongi
ke zindagi bhi maut hai
maut bhi hai zindagi
zindagi bhi maut hai
maut bhi hai zindagi
haan
toofano se mujhe aata hai khelna
mere liye khel hai zulmon ka jhelna
haan haan haan haan haan
haan haan haan haan haan
toofano se mujhe aata hai khelna
mere liye khel hai zulmon ka jhelna
zulmo pe zulm karo
zulm sahoongi
phir bhi kahoongi
ke zindagi bhi maut hai
maut bhi hai zindagi
aaa aaa aa aaa aa
aaa aaa aa aaa aa
aaa aaa aa aaa aa
aaaa
nikhra hua hai kaisa
aaj rang sham ka
aise me kyon na aye
mazaa inteqaam ka
haan haan haan haan haan
haan haan haan haan haan
nikhra hua hai kaisa
aaj rang sham ka
aise me kyon na aye
mazaa inteqaam ka
gore badan se jo khoon bahega
beh ke kahega
ke zindagi bhi maut hai
maut bhi hai zindagi
zindagi bhi maut hai
maut bhi hai zindagi
jitna sitam karo
utna hi kam hai
jeene ki khushi hai
na marne ka gum hai
haan haan haan haan haan
haan haan haan haan haan
jitna sitam karo
utna hi kam hai
jeene ki khushi hai
na marne ka gum hai
qaatil zubaan se jo chup rahega
lahu to kahega
ke zindagi bhi maut hai
maut bhi hai zindagi
zindagi bhi maut hai
maut bhi hai zindagi
mujhe mar daalo
main mar jaoongi
marte marte ye saabit kar jaoongi
ke zindagi bhi maut hai
maut bhi hai zindagi
zindagi bhi maut hai
maut bhi hai zindagi
haan
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हाँ मुझे मार डालो
मैं मर जाऊँगी
मरते मरते ये साबित कर जाऊँगी
के ज़िंदगी भी मौत है
मौत भी है ज़िंदगी
ज़िंदगी भी मौत है
मौत भी है ज़िंदगी
मुझे मार डालो
मैं मर जाऊँगी
मरते मरते ये साबित कर जाऊँगी
के ज़िंदगी भी मौत है
मौत भी है ज़िंदगी
ज़िंदगी भी मौत है
मौत भी है ज़िंदगी
हाँ
तूफानों से मुझे आता है खेलना
मेरे लियूए खेल है ज़ुल्मों को झेलना
हाँ हाँ हाँ हाँ हाँ
हाँ हाँ हाँ हाँ हाँ
तूफानों से मुझे आता है खेलना
मेरे लिए खेल है ज़ुल्मों को झेलना
ज़ुल्मो पे ज़ुल्म करो
ज़ुल्म सहूँगी
फिर भी कहूँगी
के ज़िंदगी भी मौत है
मौत भी है ज़िंदगी
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आss
निखरा हुआ है कैसा
आज रंग शाम का
ऐसे में क्यों ना आए
मज़ा इंतकाम का
हाँ हाँ हाँ हाँ हाँ
हाँ हाँ हाँ हाँ हाँ
निखरा हुआ है कैसा
आज रंग शाम का
ऐसे में क्यों ना आए
मज़ा इंतकाम का
गोरे बदन से जो खून बहेगा
बह के कहेगा
के ज़िंदगी भी मौत है
मौत भी है ज़िंदगी
ज़िंदगी भी मौत है
मौत भी है ज़िंदगी
जितना सितम करो
उतना ही कम है
जीने कि खुशी है
ना मरने के ग़म है
हाँ हाँ हाँ हाँ हाँ
हाँ हाँ हाँ हाँ हाँ
जितना सितम करो
उतना ही कम है
जीने कि खुशी है
ना मरने के ग़म है
क़ातिल जुबां से जो चुप रहेगा
लहू तो कहेगा
के ज़िंदगी भी मौत है
मौत भी है ज़िंदगी
ज़िंदगी भी मौत है
मौत भी है ज़िंदगी
मुझे मार डालो
मैं मर जाऊँगी
मरते मरते ये साबित कर जाऊँगी
के ज़िंदगी भी मौत है
मौत भी है ज़िंदगी
ज़िंदगी भी मौत है
मौत भी है ज़िंदगी
हाँ
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.
Today’s song is from a lesser known film ‘Pehla Pehla Pyar’ (1958). Made by National Cine Corporation, it was produced by Daljit and directed by the veteran Nanubhai Vakil.
As we all know, in the early era of films – both silent and talkie, many actresses came from the traditional singing families (read tawaiafs). Average to good looks and ability to sing tolerably were their main qualifications. Many of these girls joined film line for two reasons. One – it gave them name, fame and money and the more importantly second – they tried to catch a big fish to marry. Many of them succeeded in this and we can see many examples of such marriages and live-in relationships of these girls in the film line. Gujarati producers and directors were in the forefront in this matter.
Thus we saw the first heroine of the talkie film, Zubeida marrying Raja Dhanrajgir of Hyderabad, who would camp in Bombay and attend all her shootings. Even her mother Fatima had married the Nawab of Sachin (Gujarat), who was very fond of films. Then, the other actress named Zubeida (of the late 40s – on whose life the film ‘Zubeida’ (2000) was made) married Raja Dhanvant Singh of Jodhpur – who used to follow her like a shadow. Then we have Sohrab Mody and Mehtab, Sardar Chandulal Shah and Gauhar Mamajiwala, Nanabhai Bhatt and Shireen (parents of Mahesh and Mukesh Bhatt), Ramnik Lal and Indurani (real name Ishrat Jehan), Anil Biswas and Mehrunnisa Bhagat aka Ashalata, Shamshad Begum and Ganpatrao Batto, Nanubhai Vakil and Sarojini aka Roshan aka Ranee, Gauhar Karnataki and Bal Gandharva, Amirbai Karnataki and Badrinath Kanchwala etc. This is only an indicative list to support the assertion.
Gujarat has enriched the Hindi film industry more than any other state, by providing producers and directors. Though the industry was based in Maharashtra, it generally provided actors, actresses and composers in the early era, but not the producers. Obviously money and tremendous hard work was the hallmark of Gujarati community. The Shahs, Desais and the Bhatts, along with other people have enriched various aspects of the industry like film direction, film production, cinematography and studio management. They provided employment to thousands and gave opportunities to the capable. One such person was Nanubhai Vakil.
There was a time when so many people from Valsad region of Gujarat came to films. Nanubhai was also born in Bulsar (Valsad) on 24-12-1904 (as per IMDB). Originally a Desai from Bulsar, Nanubhai’s father was a lawyer. Nanubhai studied in Wilson College, Bombay and earned the degrees of BA and LLB. He became a lawyer, but never practised. Instead he joined films in 1926. In his 45 years career he directed 20 silent films and 70 talkie films.
His speciality was mainly action stunt films, costume dramas and fantasy films. His star cast used to be Bilimoria, Ishwarlal, Shanta Kumari, Putli, Madhvi etc. for silent films and artistes like Sarojini, Indurani, Navinchandra, Rafiq, Prakash, Gulnar, Daljit, Chitra worked in his Talkie films. It is not that he did not use other artists. Zubeida, Yakub, Jal Merchant, Jaddanbai, Shanta Hublikar, Nimmi, Veena, Jairaj, Shakeela, Nirupa Roy, Nadira, Mehmood etc. also worked in his films.
He was a daring person and gave gave opportunities to many people. He made Sarojini a Heroine in many of his films. Zubeida too got many roles with him. He helped AR Qureshi (tabla expert Allah Rakha, the father of tabla maestro Zakir Hussain). Amirbai Karnataki was given many roles by Nanubhai. SD Burman sang his first Hindi film song in Nanubhai’s film ‘Taj Mahal’ (1941). Juthika Roy sang in his film ‘Lalkar’ (1956). Kaifi Azmi wrote stories for his films.
He was a director, writer and producer too. He produced 6 films. ‘Hatimtai Ki Beti’ (1940) and ‘Hatimtai Ki Beti’ (1955), both were directed by him (the ’55 film was also produced by him). He made ‘Alam Ara’ twice – in 1956 and 1973. He took Wazir Mohammed Khan in both versions and even made him sing the original Alam Ara’s song,”De De Khuda Ke Naam” again, in both the films.
He directed the first Gujarati talkie film ‘Narsi Mehta’ in 1932, made by Sagar Movietone. He remade most of his silent films as talkie films. He made 17 films with Mohan Studios. Nanubhai had married Sarojini (real name Roshan aka Ranee). Sarojini and Nanubhai’s daughter Azra also became an actress. Her role in debut film ‘Love in Shimla’ (1960) was much acclaimed.
Nanubhai Vakil had remained ‘vakil‘ (lawyer) only in name. He died on 29-12-1980.
The music for this film iwas given by composer BN Bali. He was one of those small time composers, who got only the B and C grade films. First of all, let us find out who this BN Bali is. In the early era of Hindi films, there was another composer Bali. HC Bali or Harish Chandra Bali (20-3-1906 to 24-6-1976), the expert classical singer who became a successful composer, is credited with discovering KL Saigal in the early 1930s. HC Bali gave music to his last film ‘Janata’ (1947) (in this film Vijaya Das had acted. Later, she married Satyajit Ray). He died on 24-6-1976, after a long retirement from films, for almost 30 years.
BN Bali or Baldev Nath Bali, too was a good singer. He was a composer restricted mostly to religious and low budget films. His career starts with the film ‘Bedard’ (1949) and he is active up to ‘Do Dilwale’ (1973), a total of 24 films, including one unreleased film ‘Bahut Door’ (1940s). He also gave music to a Haryanvi film in 1973. Though he composed music with a lot of variety, somehow he lacked what it takes to make it to the big league. And, he is known for copying the popular tunes of other composers blatantly. Some examples –
“Jab Un Ka Khayal Aata Hai”- sung by Rafi in ‘Pehla Pehla Pyaar’ was a copy of Rafi’s “Jin Raaton Mein Neend Ud Jaati Hai” (‘Raat Ki Rani’, 1949) by Hansraj Behl.
“‘Sapne Mein Saiyaan Tum Aaya Na Karo” – an Asha-Manna Dey song from ‘Flying Rani’ (1959) is a close copy of OP Nayyar’s “Ek Pardesi Mera Dil Le Gaya” from ‘Phagun’ (1958).
“Tu Uska Kar De Bhala” sung by Rafi in ‘Raja Vikram’, carries the same “Bhagwaan” tune as in “O Duniya Ke Rakhwaale” etc.
BN Bali’s following two songs are absolute Gems – “Mujhko Sanam Tere Pyaar Ne Jeena Sikha Diya“, an Asha – Manna Dey duet in ‘Flying Rani’ (1959); and the Mukesh song “Ae Duniya Ke Maalik Tu Bataa” from ‘Baghdad Ka Chor’ (1955).
Today’s song is sung by Geeta Dutt and chorus. It is a Rock N Roll dance song. 1955 to 1960 was a period when Rock N Roll music played havoc in Hindi films. Most MDs composed songs based on this this music. Some famous Rock N Roll songs like “Laal Laal Gaal” from ‘Mr X’ (1957), “Mister John Ya Baba Khan” from ‘Baarish’ (1957), “Mera Naam Chin Chin Chu” from “Howrah Bridge’ (1958) and many such songs brought the craze and then almost every alternate film had a song like this. Music is such a thing that it catches on very fast from continent to continent, country to country and people to people. Actually Rock N Roll music began long back, somewhere in 1951 or so. Elvis Presley in vocal and Bill Halley in instrumental made it into a people’s craze. But it took quite some time to to influence the traditional Indian people.
For such songs, the voice and style of Asha and Geeta were most suitable. In fact, most such songs are to their credit. Lata Mangeshkar – the self proclaimed purist, kept herself away from such songs. However, there is one incident worth telling here. most people will find it new.
Film ‘Chacha Zindabad’ (1959) was produced and directed by Om Prakash, the comedian. MD was Madan Mohan. On the insistence of both Lata sang a Rock N Roll song for this film and it was recorded also. But Lata was very much disturbed and uneasy after this. She felt it was a blot on her singing career image. She had very close and homely relations with both Om ji and Madan ji. She treated them as her brothers. Before the film was completed, the Rakhi Festival came. Like every year, Lata went to Om ji’s house to tie the Rakhi. After the ritual was over, she asked him, “As a sister, if I ask you some gift, will you give me ?” Om ji quietly said, “I will stake my life to give you what you ask for. Just tell me.”
Lata coolly asked Om Prakash to remove that song from his film. Without any hesitation, Om Prakash not only removed the Rock N Roll song from the film, but also the recording was destroyed, despite the expenses incurred !. That is why that song is not available unlike many other ‘ removed’ or ‘ excluded’ songs available from other films. (From the book ‘चित्रपट संगीताचा सुवर्ण काळ’, लेखक – इसाक़ मुजावर).
Ok, now enjoy this rocking tune song by Geeta Dutt. Don’t forget, it is composed by BN Bali- you may have heard this tune somewhere !
Song – Akka Bakka Tin Tila, Dekho Mausam Hai Khila (Pehla Pehla Pyaar) (1958) Singer – Geeta Dutt, Lyrics – Madan Mohan, MD – BN Bali
Chorus
Lyrics (Provided by Sudhir)
akka bakka tin tila
dekho mausam hai khila
jaley ko jalaa ke chal
nazren milaa ke chal
duniya se darta hai kya
akka bakka tin tila
dekho mausam hai khila
jaley ko jalaa ke chal
nazren milaa ke chal
ghaayal banaa ke chal
duniya se darta hai kya. . .
akka bakka tin tila
dekho mausam hai khila
shehri babu akela hai
pyaar ka khel bhi khela hai
dost na kahin piyela hai
arre ye dil tujh pe marela hai
ye dil tujh pe marela hai
hans ke hansaa ke chal
masti mein gaa ke chal
apna banaa ke chal
jeene ka le le mazaa. . .
akka bakka tin tila
dekho mausam hai khila
jaley ko jalaa ke chal
nazren milaa ke chal
ghaayal banaa ke chal
duniya se darta hai kya
akka bakka tin tila
dekho mausam hai khila
duniya ek jhamela hai
dil to nahin jalela hai
tujh ko pyaar milela hai
ya bekaar padela hai
ya bekaar padela hai
sun ke sunaa ke chal
gham ko bhulaa ke chal
ye to bataa ke chal
jeene ka kya hai silaa. . .
akka bakka tin tila
dekho mausam hai khila
jaley ko jalaa ke chal
nazren milaa ke chal
ghaayal banaa ke chal
duniya se darr kaahe ka
akka bakka tin tila
dekho mausam hai khila
ab tu nahin akela hai
ye dil tera bikela hai
kismet teri khulela hai
ab kya wahaan khadela hai
ab kya wahaan khadela hai
bigdi banaa ke chal
dil mein basaa ke chal
mann ko lubhaa ke chal
karo na jawaani se gilaa. . .
akka bakka tin tila
dekho mausam hai khila
jaley ko jalaa ke chal
nazren milaa ke chal
ghaayal banaa ke chal
duniya se darta hai kya
akka bakka tin tila
dekho mausam hai khila
akka bakka tin tila
dekho mausam hai khila
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
अक्का बक्का तिन तिला
देखो मौसम है खिला
जले को जला के चल
नज़रें मिला के चल
दुनिया से डरता है क्या
अक्का बक्का तिन तिला
देखो मौसम है खिला
जले को जला के चल
नज़रें मिला के चल
दुनिया से डरता है क्या॰ ॰ ॰
अक्का बक्का तिन तिला
देखो मौसम है खिला
शहरी बाबू अकेला है
प्यार का खेल भी खेला है
दोस्त ना कहीं पीएला है
अरे ये दिल तुझ पे मरेला है
ये दिल तुझ पे मरेला है
हँस के हँसात के चल
मस्ती में गा के चल
अपना बना के चल
जीना का ले ले मज़ा॰ ॰ ॰
अक्का बक्का तिन तिला
देखो मौसम है खिला
जले को जला के चल
नज़रें मिला के चल
दुनिया से डरता है क्या
अक्का बक्का तिन तिला
देखो मौसम है खिला
दुनिया एक झमेला है
दिल तो नहीं जलेला है
तुझको प्यार मिलेला है
या बेकार पड़ेला है
या बेकार पड़ेला है
सुन के सुना के चल
ग़म को भुला के चल
ये तो बता के चल
जीने का क्या है सिला॰ ॰ ॰
अक्का बक्का तिन तिला
देखो मौसम है खिला
जले को जला के चल
नज़रें मिला के चल
दुनिया से डरता है क्या
अक्का बक्का तिन तिला
देखो मौसम है खिला
अब तू नहीं अकेला है
ये दिल तेरा बिकेला है
किस्मत तेरी खुलेला है
अब क्या वहाँ खड़ेला है
अब क्या वहाँ खड़ेला है
बिगड़ी बना के चल
दिल में बसा के चल
मन को लुभा के चल
करो ना जवानी से गिला॰ ॰ ॰
अक्का बक्का तिन तिला
देखो मौसम है खिला
जले को जला के चल
नज़रें मिला के चल
दुनिया से डरता है क्या
अक्का बक्का तिन तिला
देखो मौसम है खिला
अक्का बक्का तिन तिला
देखो मौसम है खिला
Hum Duniya Mein Azaad Rahenge
Posted on: August 28, 2017
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.
Today’s song is from film ‘Baghdad Ka Jaadu’ (1956). The HFGK is silent on the singer names, but MD is indicated as Shafi M Naagari.
The name of the city of Baghdad became famous all over the world after the Arabian Night stories became popular in almost all languages of the world. There was an air of mystery around the city where many or most stories are told by Princess Scheherzade to the Sultan Shahryar. These are said to be 1001 stories, each told in parts every night by her to delay her death. These stories were first published in English in 1706 and in quick time became extremely popular throughout the world.
Our Indian film producers and their ‘Story Departments’ proved one up on the original book and made up their own variety of stories mixing different stories or even creating newer ones and using Arabic names to make them sound as authentic Arabian Night stories. Film ‘Baghdad Ka Jaadu’ is one such film which was a convoluted attempt to ‘make up’ a novel story using permutation and combination of the popular plots. Lo and Behold ! Out came an outlandish, beaten track mixed up story for the film !
But, as always, the devoted audience of such Action/Stunt films really never bothered about the authenticity or the logic of the film stories, nor were they worried about the histrionic talents of the actors. They wanted fights, daredevil stunts, magic, lavish costumes, animal antics and seductive dances for 2 hours. All the rest was unimportant for them.
Producers of such films knew this and hardly gave any credence to the feasibility or logical base to the stories. Instead they employed trained fighters, known actresses, lavish sets, shining costumes, lilting dances and music together with trained horses, dogs, elephants, monkeys etc. In almost all the films starring Nadia, there is h Horse called ‘Punjab Ka Beta’, a dog named gunboat and an old car called ‘Rolls Royce Ki Beti’. (After Nadia joined her friend Homi Wadia’s Basant films, these were changed to Rajput the Horse, Moti the dog, and an old car called Austin Ki Bachhi).
Film ‘Baghdad Ka Jaadu’ has music by Shafi M Nagari. Now, who is this composer ? A search on HFGK gives 6 more names of films for him, namely ‘Shamsheerbaz’ (1953), ‘Sher Dil’ (1954), ‘Carnival Queen’ (1955), ‘Diler Daku’ (1957), ‘Circus Queen’ (1959) and ‘Chini Jaadugar’ (1959). Well known music expert and collector Shri Girdharilal Vishwakarma ji has confirmed that this person is none other than composer Mohammed Shafi.
During the studio system and later on, few known MDs too availed of this trick to find a way out of the rules. For example, Snehal Bhatkar used different names to give music as long as he worked in HMV. C Ramchandra used the name Annasaheb or P Ramakant when giving music to action/stunt films. Even Anil Biswas is said to have used the name Bhola to give music (validation required), Lata mangeshkar gave music in the name of Anandghan, GM Durrani used the alias Gunjan and SD Batish used Nirmal Kumar. So, it is no wonder that while assisting Naushad for so many years, Mohammed Shafi used an alias for giving music to outside films.
Composer Mohammed Shafi (25-12-1925 to 30-4-1980) was one of those talented artistes of Hindi film music who was only used by others and never got enough credit for his work. He is honoured as the ‘Original Arranger’ in the industry. He was an excellent sitar player. He started with Imperial Film company where he played Bulbul Tarang. In 1937 he went to Calcutta and joined New Theatres. He played sitar in films like ‘Kapal Kundala’ (1939) and ‘Aandhi’ (1940), as an assistant to Pankaj Mullick and KC Dey. He played sitar in film ‘Ujaala’ (1942). In this film, the hero -Prithviraj Kapoor was shown as a sitar player, hence the expertise of Shafi was fully utilised in this film.
Starting with film ‘Haqdaar’ (1946), he gave music to 19 Hindi films and 2 Marathi films. Under his direction, Mohammed Rafi sang his first Marathi song. He worked with Naushad for 14 years as his assistant and arranger. He was considered a ‘Dada’ in background music. He gave background music to about 70 films (for Naushad and others). For ‘Mughal e Azam’ (1960), K Asif used to send his personal car to fetch him to studio. It was Shafi who gave the first break to Suman Hemmadi (Kalyanpur) in ‘Mangu’ (1954) and Hemlata in the unreleased film ‘Iraada’. His last film as music director was ‘Dayaar e Medina’ (1975).
Shafi had bought his first car when he was just 15 year old. He had a posh flat in Shivaji Park area of Dadar in Bombay. In the end, everything was gone. He had helped the families of Shakeel Badayuni and Ghulam Mohammed after their deaths. However in his last difficult days, except Rafi Sb, no one came for his help. In the final few months, he suffered from memory loss. His Begum ruefully said – “Good that he does not remember anything. All took his advantage and gave him nothing. There were more things to forget than to remember ! ”
It is said that the entire music of ‘Sohni Mahiwal’ (1958) was done by him. Naushad was sick during this period and did not attend even one recording. The songs “Do Hanson Ka Joda” and “Dhundho Dhundho Re Saajna” from the 1961 film ‘Gunga Jamuna’, were his creations. He used to give tunes to many otherr composers too-whoever asked for help.
The cast of the film ‘Baghdad Ka Jaadu’ includes Nadia, John Cawas, Krishn Kumari, Sheela Kashmiri, Vijaya Choudhari, Dalpat etc. Most people know evrything about Fearless Nadia (Mary Evans, daughter of Australian soldier Herbert Evans and Greek mother Margaret), but not many people know much about John Cawas.
That way, not much info is available about him either. He was born in 1910 at Jabalpore (in Madhya Pradesh, India), which means he was 2 years younger than Nadia. He was a body builder and joined Wadia Movietone. ‘Hunterwali’ (1935) was his first film, while it was the third film for Nadia. Their on-screen pairing soon became very popular and they acted together in almost 15 films or so. Their last film together was ‘Circus Queen’ (1958). John Cawas also directed some films like ‘Mala The Mighty’ (1942) and ‘Baghdad Ka Jaadu’.
After quitting films John became the Manager of Wadia Movietone and was given the third floor flat in the office building of WM itself, where he breathed his last on 4-10-1993. He was unmarried
Sheela Kashmiri was another small time actress about whom not much is known. She started her career as a child artist in films like ‘Damaad’ (1951), ‘Poonam’ and ‘Rangeeli’ (1952), ‘Parineeta’ (1953), ‘Hamlet’ (1954), ‘Daaku’, ‘Munimji’ and ‘Baraati’ (1955). As an adult, she was heroine in only 3 films – ‘Arab Ka Sitaara’ (1961) (with Kamran), ‘Deccan Queen’ (1962) (with Samar Roy) and ‘Tarzan And Gorilla’ (1963) (with Azaad). In all she did 38 films. Her last film was ‘Baankelal’ (1972). She married the producer AA Nadiadwala, and settled as a housewife in Mumbai.
There are only 5 songs listed for this film, in Geet Kosh. Three of them are already discussed here. Today’s song is the 4th song. This song has no details of singer or record number given in HFGK. Anyway, let us now see the video and enjoy it.
[Ed Note: On screen, we can see John Cawas leading a group of armed men and women, and also leading the singing. There is one more primary singer on screen who is lip syncing the male voice. The lines in female voice are performed on screen by Sheila Kashmiri and Krishna Kumari. I request other readers to please confirm and/or correct these identifications.]
Song – Hum Duniya Mein Azaad Rahenge (Baghdad Ka Jaadu) (1956) Singer – Male Voice, Female Voice, Lyrics – Preetam Dehlavi, MD – Mohammed Shafi
Male Voice + Female Voice
Chorus
Lyrics
hum duniya mein azaad rahenge..e..e
hum duniya mein azaad rahenge
ya lad kar mar jaayenge
dushman ki taaqat se darr kar
dushman ki taaqat se darr kar
dushman ki taaqat se darr kar
sar na kabhi jhukaayenge
hum duniya mein azaad rahenge. . .
azaadi ka naara hai ye
saamne gaddaaron ke
azaadi ka naara hai ye
saamne gaddaaron ke
rokey se hum ruk nahin sakte
dushmsn ki talwaaron se
rokey se hum ruk nahin sakte
dushmsn ki talwaaron se
toofaanon se taqqar lenge..e..e
toofaanon se taqqar lenge
hum aage badhte jaayenge
hum duniya mein azaad rahenge. . .
zaalim ko apni himmat se
neecha aaj dikhaana hai
zaalim ko apni himmat se
neecha aaj dikhaana hai
zulm o sitam ki deewaaron se
apna sar takraana hai
zulm o sitam ki deewaaron se
apna sar takraana hai
apne haathon se hum apni
apne haathon se hum apni
bigdi aaj banaayenge
hum duniya mein azaad rahenge. . .
azaadi ki keemat ho gar
jaan khushi se de dena
azaadi ki keemat ho gar
jaan khushi se de dena
soney ke ambaar agar hon
saath ghulami na lena
soney ke ambaar agar hon
saath ghulami na lena
aane wali duniya ko
aane wali duniya ko
aise jeena sikhlaayenge
hum duniya mein azaad rahenge. . .
chaahe zamaana saath na de
apni manzil par jaayenge
chaahe zamaana saath na de
apni manzil par jaayenge
raste ki har mushkil ko
ab khaatir mein na laayenge
raste ki har mushkil ko
ab khaatir mein na laayenge
zinda rehne ki khaatir
zinda rehne ki khaatir
ab maut se hum takraayenge
hum duniya mein azaad rahenge. . .
e. . . e. . . e. . . e. . .
hum duniya mein azaad rahenge
ya lad kar mar jaayenge
dushman ki taaqat se darr kar
sar na kabhi jhukaayenge
hum duniya mein azaad rahenge. . .
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हम दुनिया में आज़ाद रहेंगे॰॰ए॰॰ए
हम दुनिया में आज़ाद रहेंगे
या लड़ कर मर जाएँगे
दुश्मन की ताक़त से डर कर
दुश्मन की ताक़त से डर कर
दुश्मन की ताक़त से डर कर
सर ना कभी झुकाएँगे
हम दुनिया में आज़ाद रहेंगे॰॰॰
आज़ादी का नारा है ये
सामने गद्दारों के
आज़ादी का नारा है ये
सामने गद्दारों के
रोके से हम रुक नहीं सकते
दुश्मन की तलवारों से
रोके से हम रुक नहीं सकते
दुश्मन की तलवारों से
तूफानों से टक्कर लेंगे॰॰ए॰॰ए
तूफानों से टक्कर लेंगे
हम आगे बढ़ते जाएँगे
हम दुनिया में आज़ाद रहेंगे॰॰॰
ज़ालिम को अपनी हिम्मत से
नीचा आज दिखाना है
ज़ालिम को अपनी हिम्मत से
नीचा आज दिखाना है
ज़ुल्म ओ सितम की दीवारों से
सर अपना टकराना है
ज़ुल्म ओ सितम की दीवारों से
सर अपना टकराना है
अपने हाथों से हम अपनी
अपने हाथों से हम अपनी
बिगड़ी आज बनायंगे
हम दुनिया में आज़ाद रहेंगे॰॰॰
आज़ादी की कीमत हो गर
जान खुशी से दे देना
आज़ादी की कीमत हो गर
जान खुशी से दे देना
सोने के अम्बार अगर हों
साथ ग़ुलामी ना लेना
सोने के अम्बार अगर हों
साथ ग़ुलामी ना लेना
आने वाली दुनिया को
आने वाली दुनिया को
ऐसे जीना सिखलाएंगे
हम दुनिया में आज़ाद रहेंगे॰॰॰
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रस्ते की हर मुश्किल को
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ज़िंदा रहने की खातिर
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हम दुनिया में आज़ाद रहेंगे॰॰॰
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हम दुनिया में आज़ाद रहेंगे
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हम दुनिया में आज़ाद रहेंगे॰॰॰
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