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Hamen Koi Dekhat Kaahe Nayia Ho

Posted by: skapur01 on: May 28, 2023

In: Dance song | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Kamal Barot songs | Lover's Complaint | Lyrics contributed by readers | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1965 | Suman Kalyanpur Kamal Barot duet | Suman Kalyanpur songs | Synchronised dance | Twin Dance Song | Yearwise breakup of songs
2 Comments

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 :

5427

Post No. :

17801

The tinsel town industry is a troubling mix of good and bad fortunes. All the zest and joy that we witness in front of the arc lights is a small part of this business. The larger part of mixed fortunes, career heartbreaks and un-celebrated talents is in the shadow world behind the arc lights. This world is invisible to the viewers because the glare of the arc lights does not allow a view into the darkness behind. For every success story that we celebrate, there are ten times more stories of despair and dejection.

Films once released, are a cultural heritage forever (of course subject to preservation and survival). But in my opinion it is the music and the song of the films that leaves a stronger and a more lasting impression on the minds of the film going and music listening audiences.

In the 90+ years of talkie film industry in India, close to a hundred thousand songs have been created, recorded, used in films and also released for consumption by the music lovers. Hundreds, maybe thousands of artists – music directors, musicians, lyricists, singers, sound recordists – have been associated with the envisioning and then the creation of the film songs. The sad part is that even the most involved and the most serious lovers of music, we remember just a handful of artists. It is not just a limitation of the human memory retention. It is also the fact that the industry itself, and the associated media, have over the years celebrated just those few handful artists, and neglected to pay attention to the others. And that is why I said above – “The tinsel town industry is a troubling mix of good and bad fortunes”.

Serious connoisseurs of this art form are well aware of the many names that should have, but never did make it to the top tier of the industry. This post touches upon one such unsung talent, whose creations indicate the presence of an enchanting mind at work behind the melodies. The name is C Arjun.

Arjun Parmanand Chandnani – born on 1^st September 1933 in Karachi, had a natural affinity from music, inherited from his father who was a singer and a musician. At the time of partition in 1947, Arjun was just 14 years old. His family migrated from Karachi (now in Pakistan) to Baroda. He came to Bombay in the mid 1950s. Of course, the initial years was the time of struggle to prove himself. He worked with Bulo C Rani as assistant during this period.

In 1958, he got his first break as an independent music director when he composed for the Sindhi film ‘Abana’ (1958). The film and its music were a success with the Sindhi speaking population. The film has a wonderful song of Holi festival – “Holi Aayee Re Aayee Re Holi Holi”, and another fun song “Daal Chhola Double. . .” which became very popular as a sales pitch song of a rice-chhola meal seller. The song is available online and is a real fun listen, with Tuntun (aka Uma Devi) visible on screen with her antics.

Moving on, in 1960, he got another important break in his career, this time composing for the mainstream Hindi cinema. The film is ‘Road No. 303’. A low budget film, with lesser known stars, cannot be expected to be a box office victory. But the musical score – the songs are something to listen to – “Pehli Pehli Baar Miley Hain Do Deewaane, Achcha Ji” sung by Geeta Dutt and Rafi Sb, “Dil Ko Ye Kya Hua” in the voice of Asha ji, “Sun Lo Mehrban Mushkil Jeena Yahan” a wonderful creation in the voice of Geeta Dutt.

More work followed, although not in terms of any well known banner, or in terms of number of films. Averaging one film, or less, per year, nonetheless, he continued to give wonderful music no matter the films were all low budget. In 1961 came ‘Main Aur Mera Bhai’. More memorable songs– especially “Aaye Ho To Jaane Ka Bahaana Na Milega” sung by Asha ji. “Ho Gori Zulm Kare Zulf Ka Bikhar Jaana” in the voice of Rafi Sb, and the wonderful Asha – Mukesh duet “Main Abhi Gair Hoon”.

1964 was the year of the film ‘Punarmilan’. Most people would remember neither the film, not the associated credits. But tell them the song “Paas Baitho Tabiyat Behal Jaayegi” in the voice of Rafi Sb, and there will be an immediate recognition. This ghazal by Indiwar has become a timeless classic that stands along with the major filmi ghazal creations of all times. 1965 and we have the film ‘Ek Saal Pehle’ with the wonderful Asha Talat duet – “Nazar Utha Ke Ye Rangeen Samaa Rahe Na Rahe”; 1966 and we have another classic duet by Rafi Sb and Suman Kalyanpur – “Hamne Teri Jafaa Ka Wafaa Naam Rakh Diya” from the film ‘Chale Hain Sasural’. In 1966, we also heard the timeless popular Rafi-Talat duet “Gham Ki Andheri Raat Mein” from film ‘Sushila’. The pattern continues with the films which one does not care to remember – ‘Lamboo In Hong Kong’ (1967), ‘Mangu Dada’ (1970), ‘Ustad Pedro’ (1971), ‘Guru Aur Chela’ (1973) – all relatively unknown films but all carrying gems of the genius of C Arjun.

And then, in 1975 came another low budget film that should also have been consigned to the list of unknowns, but it became a fluke and unexpected blockbuster hit – ‘Jai Santoshi Maa’. The success of the film may have brought some financial respite to the composer, but did not do any wonders to his career which continued to be in low budget bracket. He continued to create music for films till 1983, his last film as an independent music director being ‘Sati Naag Kanya’.

He passed away on 30^th April, 1992, literally with his boots on. He had a heart attack while working at recording studio. Just about a month ago, we passed by the 31^st remembrance day for him.

The song presented with this post is a delightful all female duet in the voices of Suman Kalyanpur and Kamal Barot. The film is ‘Ek Saal Pehle’ from 1965. The film is produced under the banner of SB Films, Bombay and is directed by Dharam Kumar. The star cast as listed in the Geet Kosh is Sujit Kumar, Sayeeda Khan, KN Singh, Jagirdar, Sherry, Asit Sen, Sundar, Neelam, Rajan Kapoor, Sunanda, Ramlal, Jilani, Mirajkar, Helen, Madhumati, and Maqbool. Looking at the star cast, it is my guess that this song must have been filmed as a twin dance song on Helen and Madhumati.

There are 5 songs for the film listed in Geet Kosh. The songs of this film are penned by Indiwar and Jaan Nisar Akhtar. This particular song is written by Indiwar. Interesting note – four of the songs are released on gramophone records, and the 5th song is not. As per a footnote in the Geet Kosh, the singer for the 5th song is identified as Krishna Kalle by C Arjun himself.

Wonderful music and wonderful rhythm – let us listen and enjoy this song.

Song – Hamen Koi Dekhat Kaahe Nayia Ho (Ek Saal Pehle) (1965) Singer – Suman Kalyanpur, Kamal Barot, Lyrics – Indiwar, MD – C Arjun
Suman Kalyanpur + Kamal Barot

Lyrics

hamen koi dekhat kaahe naiya ho
hum se koi bolat kaahe naiya ho
bolat kaahe naiya
dekhat kaahe naiya
bolat kaahe naiya kaahe naiya ho
hamen koi dekhat kaahe naiya ho
hum se koi bolat kaahe naiya ho

hamre bhi mann mein pyaar bhara hai
hamre bhi mann mein pyaar bhara hai
hamri latt bhi kaali ghata hai
mor koi
arre mor koi naachat kaahe naiya ho
naachat kaahe naiya
dekhat kaahe naiya
bolat kaahe naiya kaahe naiya ho
hamen koi dekhat kaahe naiya ho
hum se koi bolat kaahe naiya ho

chaal hamaari nagin jaisi
chaal hamaari nagin jaisi
tum ho sapere reet ye kaisi
been koi
arre been koi chhedat kaahe naiya ho
chhedat kaahe naiya
dekhat kaahe naiya
bolat kaahe naiya kaahe naiya ho
hamen koi dekhat kaahe naiya ho
hum se koi bolat kaahe naiya ho

tum ho raja piya chatur shikari
tum ho raja piya chatur shikari
hirni jaisi akhiyaan hamaari
teer koi
arre teer koi chhodat kaahe naiya ho
chhodat kaahe naiya
dekhat kaahe naiya
bolat kaahe naiya kaahe naiya ho
hamen koi dekhat kaahe naiya ho
hum se koi bolat kaahe naiya ho

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

हमें कोई देखत काहे नईया हो
हम से कोई बोलत काहे नईया हो
बोलत काहे नईया
देखत काहे नईया
बोलत काहे नईया काहे नईया हो
हमें कोई देखत काहे नईया हो
हम से कोई बोलत काहे नईया हो

हमरे भी मन में प्यार भरा है
हमरे भी मन में प्यार भरा है
हमरी लट भी काली घाटा है
मोर कोई
अरे मोरे कोई नाचत काहे नईया हो
नाचत काहे नईया
देखत काहे नईया
बोलत काहे नईया काहे नईया हो
हमें कोई देखत काहे नईया हो
हम से कोई बोलत काहे नईया हो

चाल हमारी नागिन जैसी
चाल हमारी नागिन जैसी
तुम हो सपेरे रीत ये कैसी
बीन कोई
अरे बीन कोई छेड़त काहे नईया हो
छेड़त काहे नईया
देखत काहे नईया
बोलत काहे नईया काहे नईया हो
हमें कोई देखत काहे नईया हो
हम से कोई बोलत काहे नईया हो

तुम हो राजा पिया चतुर शिकारी
तुम हो राजा पिया चतुर शिकारी
हिरनी जैसी अखियाँ हमारी
तीर कोई
अरे तीर कोई छोड़त काहे नईया हो
छोड़त काहे नईया
देखत काहे नईया
बोलत काहे नईया काहे नईया हो
हमें कोई देखत काहे नईया हो
हम से कोई बोलत काहे नईया हो

Tags: 1965, C Arjun, Ek Saal Pehle, Indiwar, Kamal Barot, Suman Kalyanpur

Bhanwre Ne Khilaaya Phool, Phool Ko Le Gaya Raaj Kunwar

Posted by: skapur01 on: May 20, 2023

Blog Day :

5419

Post No. :

17776

———————————————–—————————————
Blog 10-Year Challenge (2013-2023)– Song No.119
————————————————————————————–
Ah.. Raj Kapoor – the Showman. Sometimes also referred to as the Greatest Showman of Indian Cinema. A lifetime affair with the camera – very prominently handled both ends, sometimes in front of it, and then also behind it. Starting with childhood appearances accompanying his illustrious father to studios. And on to be a performer himself. And very soon, a producer – to quench his thirst, rather his search, for the ultimate story of love.

Raj Kapoor – the eternal seeker, the eternal explorer – in quest for the meaning of love equation between a man and a woman. All his life he produced films. The subjects, the scenarios varied, but against all the scenarios the unwavering theme, the unchanging premise of emotions flowing from one heart to another.

What does it take to define this equation? He has explored this question incessantly through his films and the music of his films. It is said in the industry – he had a Midas touch for music. No matter which film one picks. There may be commentaries and reviews about the films, but always, the music. The music was always the winner. And it is through the songs and music of his films that he expressed this search, this quest – for the meaning of love – endlessly.

His films almost always bring together the lovers in disparate and trying situations. What does it mean to be in love when, by normal discourse, love may not, cannot happen. And yet it does. From his very first venture as a producer – film ‘Aag’ of 1948, he had Saraswati Kumar Deepak write for him

kahin ka deepak kahin ki baati
aaj baney hain jeevan saathi

These verses kind of set the journey in motion that lasted for almost for four decades till the Showman decided in 1988 to hang up his director’s cap. On and on, one film at time, one can trace this quest for the meaning of love throughout his journey. The words and verses never ever failed to chalk up the emotions that were the matter of his quest. ‘Barsaat’ came in 1949 and with it, it brought the timeless melodies of

o o o,
mujhe kisi se pyaar ho gaya

and

meri aankhon mein bas gaya koi re
mujhe neend na aaye main kya karoon

With ‘Awaara’ of 1951, the theme resounded with the melody of

ghar aaya mera pardesi
pyaas bujhi in nainan ki

In 1953, when ‘Aah’ came to the theater screens, audiences were not so enamored by the sad somber story of a love lost. But yet again, the music said it all, and forever.

sunte the naam hum, jinka bahaar se
dekha to bola jiya jhoom jhoom ke

The journey continued in 1955 with ‘Shri 420’, touching towering heights of emotional expressions with the simplest of words.

ramaiya vasta vaiya
maine dil tujh ko diya

To date, no verse writer worth his salt has expressed this emotion in words more simple than these.

The proverbial icing always has been the on screen presentation of these wonderful melodies. The visions of the song presentation are a heart warming journey of visuals stringed with the words played on arias of melodies that proved to be incomparable even to this day. There is no peer, no comparable expression that can, or that will replicate the emotional highs of

pyaar hua iraar hua hai
pyaar se phir kyon darta hai dil

And the voyage carries on with the search for that promised destination that may reveal that ultimate truth of this mystery of love. ‘Jis Desh Mein Ganga Behti Hai’ – 1961. A very brief verse in the middle of a song, seems to encompass the entire story of this quest.

itna sa dil tu de de agar
saara jag tera ho jaaye
saara jag tera ho jaaye

‘Sangam’ came in 1964. It came with a bevy of emotions that crossed through so many layers of the mind’s labyrinths encompassing compassion, sacrifice, friendship, betrayal – and yes, love of course. And the hearts would sing these lines forever

har dil jo pyaar karega
wo gaana gaayega

and

o mere sanam, o mere sanam
do jism magar ik jaan hain hum
ik dil ke do armaan hain hum

Then came the magnum opus in 1970. ‘Mera Naam Joker’ – a commercial disappointment initially which has later ended up becoming a cult film in its own right. A lifetime’s search for love, culminating in show at a circus. One after another, love appears in life of the Joker, but always leaves him alone at the end. And the heart of the Joker has these words to sing

bhoologe tum, bhoolenge wo
par hum tumhaare rahenge sada

Beyond that, now new generations were taking over. Romance and love donned new faces and new dresses in ‘Bobby’ (1973). The words got a different expression, the music changed, but the soul sound of love remained what it has for centuries – unchanged. A new voice was now strumming the drums and saying

. . . par pyaar bhara dil kabhi na todo
is dil mein dilbar rehta

And alongwith came the declaration that

deta hai dil de, badle mein dil ke
. . . . . . pyar mein sauda nahin

Then in 1978 came another significant milestone in this journey – ‘Satyam Shivam Sundaram’. With the thesis that the truth is always akin to God, and thus, it is always beautiful. The mind’s conflict between the truth of the beauty and the beauty of imagination is again a timeless discourse, dealt once again with the verses of tradition

bhor bhaye panghat par

and

sainyaan nikas gaye main naa ladi thi

‘Prem Rog’ appeared in 1982 and the Showman’s last venture – ‘Ram Teri Ganga Maili’ appeared in 1985.

‘Prem Rog’ was was a creation that came forth three and a half decades after his quest had debuted in ‘Aag’. And the wonder of the outcome thus far, thirty five years in the making, and the explorer still ended up with the question that started his quest way back in 1948. For in this film, he yet once again poses the question

ye din kyon nikalta hai
ye raat kyon hoti hai
ye peed kahaan se uthti hai
ye aankh kyon roti hi
….
mohabbat hai kya cheez, hum ko bataao
ye kis ne shuru ki, hamen bhi sunaao

The essence of a lifetime of search. At the end of his energies after years of exploring. And the explorer is yet asking the same question. Again. A lifetime spent in synthesis, after having sung so many beautiful verses in its praise, after equating it to God and saying – that which is true, it also is beautiful. And then negating all these achievements, discarding all the experiences of the landmarks of the journeys, the seeker once again picks up the question that had started his journey decades earlier.

And thus remains the enigma – as it is. The final offering of 1985 – ‘Ram Teri Ganga Maili’ brings a last message

sun saiba sun
pyaar ki dhun

Just listen to this aria of love. Do not search it with a question. Just savor the strumming emotions, and let this dhun immerse oneself, take one into the unknown unseen depths. Just relish and delight in this feeling of love – do not ask any questions of it. The wheel of life having come a full circle, and yet a definitive and culminating statement still could not be made. Such is it – the mystery of LOVE.

Ah yes, now for the song presented with this post. 1982 was the year when the young mind was still innocently concerned with the questions about this emotion. The film came along and I do remember I had seen it on the big screen. The analysis of how the realities of the society and the bitter truths of life, were still years ahead in time. The mind always was simply happy at witnessing a happy ending. Always assuming that all the hiccups and tribulations on the way are a conjuring of the story tellers mind, and that lovers are always destined to meet. Ah, the loveliness of that innocence, believing in the good always.

But that discussion in maybe another post, for another song of love.

‘Prem Rog’ is a story of unexpressed love, and maybe also love about which the lovers themselves are not aware. A young girl from a rich traditional family, a young lad – and orphan without any antecedents. And they are good friends, for the boy frequents the home of the girl to do sundry jobs for the household. The girl gets married, and widowed, in quick succession – in like a blink of the eye. Circumstances bring her back to her parent’s home. The contact is re-ignited. And the emotoions that were not expressed not understood till then, now come floating into the heart. There follows a long and grueling struggle, ultimately violent, with the social norms and traditions. However, a happy ending at the end.

I liked the film on two counts. One was a very stark, almost harsh portrayal of the tribulations of a young widow in a very conservative family. And second, it was a refreshing feeing to see Nanda and Tanuja both on screen after a gap. Of course, Shammi Kapoor was the added attraction.

A minor trivia. Padmini Kolhapure, at 17, became the youngest individual recipient of the Filmfare Best Actress Award for this film.

Songs of ‘Prem Rog’ are quite hummable and became very popular in their time. There are 6 songs in this film, five of which are already showcased on our blog. This is the sixth song to make it here, which brings us to declare ‘Prem Rog’ to be Yippeee’d on the blog.

The shooting of this song sequence is something special to mention. The film was shot in the studio and some scenes in and around a farm house on way to Poona. This particular song, no guesses, is shot in the tulip fields at Kukenhoff, close to Amsterdam in Holland. Yes, the same place where the ‘Silsila’ (1981) song “Dekha Ek Khwab To Ye SilSile Huye” was also shot.

It is interesting to note that the song opens with the lead pair on a bicycle. The bicycle looks very typically Indian. So one must assume that the artifact was carried by the shooting team from India to Holland.

The words of the song are very beautifully crafted. As the song opens, Devdhar (role played by Rishi Kapoor) blesses Manorama (role played by Padmini Kolhapure) with the years of his own life. In the first stanza, Manorama tells of the extremely difficult phase she is passing through, and tells Devdhar that she is a flower that has already been plucked from the branch. In the second stanza, Devdhar tells her about the temporary nature of happiness and sorrow in life, and that the days past are already past. In the third stanza there is an exchange. Manorama tells Devdhar that the sleep from her eyes is gone, and also cautions him that the flower he trying to pursue is not sweet any longer. And Devdhar responds that the flower is beautiful and innocent. As we watch the video clip of the song, one can see some realizations dawn on the face of Manorama.

The words are crafted by Pt Narendra Sharma, and give a very sophisticated and literary feel to the verses. Music is by Lakshmi-Pyaare. The singing voices are of Lata Mangeshkar and Suresh Wadkar. Suresh Wadkar had appeared on the film scene as a singer in 1976. This song likely was recorded in 1981.

The video clip has two stanzas, whereas the audio clip carries all the three stanzas. The lyrics given below are based on the audio clip.

Enough said, I believe, so let us get on to listen to this sonorous melody.

Video

Audio

Song – Bhanwre Ne Khilaaya Phool, Phool Ko Le Gaya Raaj Kunwar (Prem Rog) (1982) Singers – Suresh Wadkar, Lata Mangeshkar, Lyrics – Pt Narendra Sharma, MD – Lakshmikant Pyaarelal

Lyrics (by Prakashchandra)

hmmm hmmm hmmm
hmmm hmmm hmmm
hmmm hmmm hmmm
hmmm hmmm hmmm

bhanwre ne khilaayaa phool
phool ko le gaya raaj kunwar
hmmm hmmm hmmm
hmmm hmmm hmmm
bhanwre ne khilaayaa phool
phool ko le gaya raaj kunwar
bhanwrey tu kehna na bhool
phool tujhe lag jaaye meri umar
bhanwrey ne khilaayaa phool
phool ko le gaya raaj kunwar

(lauging sound)

aaa…aaaa…aaaa…aaaa….
aaaaa…aaa…aaaaa….aaaaa….
aaaaaa…aaaaaaaaaaaaaaaaa

(laughing sound)

hmmm hmmm hmmm
(laughing sound)
hmmm hmmm hmmm
(laughing sound)
hmmm hmmm hmmm
(laughing sound)
hmmm hmmm hmmm
(laughing sound)

bhanwre ne khilaaya phool
phool ko le gaya raaj kunwar
bhanwre ne khilaaya phool
phool ko le gaya raaj kunwar
bhanwre tu kehna na bhool
phool tera ho gaya idhar udhar
bhanwre ne khilaaya phool
phool ko le gaya raaj kunwar

hmmm hmmm hmmm
(aaa…aaaaa)
hmmm hmmm hmmm
(ooooooo..ooo)

wo din..n..n..
ab na..aa..aa rahey
kya kya vipda padi phool par
kaise phool kahey
wo din ab na rahey
honi thi ya wo anhonee
jaane isey vidhaata
chhoote sab singaar
giraa gal-haar toota har naata
shesh phool mil gaya dhool mein
kya kya dukh na sahey ae
wo din ab na..aa rahey
bhanwre tu kehna na bhool
phool daali se gaya utar
bhanwre ne khilaaya phool
phool ko le gaya raaj kunwar

hmmm hmmm hmmm
(aaa…aaaaa)
hmmm hmmm hmmm
(ooooooo..ooo)

sukh dukh aaye jaaye
jaaye ae ae ae
sukh dukh aaye jaaye
sukh ki bhookh na dukh ki chinta
preet jisey apna..aa..aaye
sukh dukh aaye jaaye
meera ne piya vish ka pyaala
vish ko bhi amrit kar daala
prem ka dhaai akshar padhkar
mast kabeeraa gaaye
sukh dukh aaye jaaye
bhanwre tu kehna na bhool phool
guzre din gaye guzar
bhanwre ne khilaaya phool
phool ko le gaya raaj kunwar
hmmm hmmm hmmmmadhur
hmmm hmmm hmmm

aaa..aaa..aaa..aaa..aaaa
aaa…aaaa…aaaa…
aaaa….aaaa
aaa..aaa…aaaa…aaa
o o oo o
oo oooo

na..aa..aa
na re na..aa

phaili phooli phulwaari mein
bhanwraa gunn gunn gunn gunn gunn gunn gunn gunn gaaye
kaahey sowat nindiya jagaaye ae ae
kaahey sowat nindiya jagaaye
laakhon mein kisi ek phool ne
laakhon phool khilaa..aaye
mand mand muskaaye
haaye kaahey sowat nindiya jagaaye
bhanwre tu kehna na bhool
phool tera madhur nahin madhukar
bhanwre ne khilaayaa phool
phool ko le gaya raaj kunwar
bhanwre tu kehna na bhool
phool mera sundar saral sughadh
bhanwre ne khilaayaa phool
phool ko le gaya raaj kunwar
(phool mera sundar saral sughadh)
phool ko le gaya raaj kunwar
(phool mera sundar saral sughadh)
phool ko le gaya raaj kunwar
(phool mera sundar saral sughadh)

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

हम्मम हम्मम हम्मम
हम्मम हम्मम हम्मम
हम्मम हम्मम हम्मम
हम्मम हम्मम हम्मम

भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर
हम्मम हम्मम हम्मम
हम्मम हम्मम हम्मम
भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर
भँवरे तू कहना ना भूल
फूल तुझे लग जाये मेरी उमर
भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर

(हास्य ध्वनि)

आss आsss आsss आsss
आssss आss आssss आssss
आsssss आsssssssssssss

हम्मम हम्मम हम्मम
(हास्य ध्वनि)
हम्मम हम्मम हम्मम
(हास्य ध्वनि)
हम्मम हम्मम हम्मम
(हास्य ध्वनि)
हम्मम हम्मम हम्मम
(हास्य ध्वनि)

भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर
भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर
भँवरे तू कहना ना भूल
फूल तेरा हो गया इधर उधर
भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर

हम्मम हम्मम हम्मम
(हास्य ध्वनि)
हम्मम हम्मम हम्मम
(हास्य ध्वनि)

वो दिन॰॰न॰॰न
अब ना॰॰आ॰॰आ रहे
क्या क्या विपदा पड़ी फूल पर
कैसे फूल कहे
वो दिन अब ना रहे
होनी थी या वो अनहोनी
जाने इसे विधाता
छोटे सब सिंगार
गिरा गल-हार टूटा हर नाता
शेष फूल मिल गया धूल में
क्या क्या दुख ना सहे
वो दिन अब ना रहे
भँवरे तू कहना ना भूल
फूल डाली से गया उतर
भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर
हम्मम हम्मम हम्मम
(आss आssss)
हम्मम हम्मम हम्मम
(ओsssssss ओssss)

सुख दुख आए जाये
जाये॰॰ए॰॰ए
सुख दुख आए जाये
सुख की भूख ना दुख की चिन्ता
प्रीत जिसे अपनाए॰॰ए॰॰ए
सुख दुख आए जाये
मीरा ने पिया विष का प्याला
विष को भी अमृत कर डाला
प्रेम का ढाई अक्षर पढ़ कर
मस्त कबीरा गाये
सुख दुख आए जाये
भँवरे तू कहना ना भूल फूल
गुजरे दिन गए गुज़र
भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर
हम्मम हम्मम हम्मम
हम्मम हम्मम हम्मम

आs आs आs आs आsss
आss आsss आsss
आsss आsss
आss आss आsss आss
ओ ओ ओs ओ
ओss ओsssssss

ना॰॰आ॰॰आ
ना रे ना॰॰आ

फैली फूली फुवारी में
भँवरा गुन गुन गुन गुन गुन गुन गुन गुन गाये
काहे सोवत नींदिया जगाए॰॰ए॰॰ए
काहे सोवत नींदिया जगाए
लाखों में किसी एक फूल ने
लाखों फूल खिलाये
मंद मंद मुसकाए
हाए काहे सोवत नींदिया जगाए
भँवरे तू कहना ना भूल
फूल तेरा मधुर नहीं मधुकर
भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर
भँवरे तू कहना ना भूल
फूल मेरा सुन्दर सरल सुघढ़
भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर
(फूल मेरा सुन्दर सरल सुघढ़)
फूल को ले गया राज कुँवर
(फूल मेरा सुन्दर सरल सुघढ़)
फूल को ले गया राज कुँवर
(फूल मेरा सुन्दर सरल सुघढ़)

Tags: 1982, Lakshmikant Pyaarelal, Lata Mangeshkar, Padmini Kolhapure, Prem Rog, Pt Narendra Sharma, Rishi Kapoor, Suresh Wadkar

Hamaari gali aana humse ankhiyaan milaana

Posted by: Atul on: May 8, 2023

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 :

5407

Post No. :

17740

Today’s song is from the film ‘Maharana Pratap’ (1946).

All those who know a little bit of Indian history, know about Maharana Pratap – a brave king who fought with the mighty Mughals, with meager support from other Indian kings from his region. He is one who never lost any battle. The names of Maharana Pratap and his famous horse Chetak are well known to us.

Pratap Singh I, popularly known as Maharana Pratap (c. 9 May 1540 – 19 January 1597), was a Hindu Rajput king of Mewar from the Sisodia dynasty. He fought several major battles against Akbar including the Battle of Haldighati in 1576 to resist the expansionist policy of the Mughal empire. Pratap became a folk hero for his military resistance through guerrilla warfare which proved inspirational for later rebels against Mughals including Malik Ambar and Shivaji. Chetak is the name given in traditional literature to the horse ridden by Maharana Pratap at the Battle of Haldighati, fought on 18 June 1576 at Haldighati, in the Aravalli Mountains of Rajasthan, in western India. Though wounded in the battle of Haldighati, Chetak ran fast and took Maharana Pratap to safety, before dying.

Film ‘Maharana Pratap’ (1946) was made by Jayant Desai Productions, Bombay. The Producer and the Director was Jayant Desai. Jayant Jhinabhai Desai was born in Surat, Gujarat, on 28-2-1909, in a well-to-do family. He graduated from Bombay University and entered the film line as an exhibitor in Surat. Later on he started writing screenplays for London Films, Rangoon and then for Krishna and Sharada studios. He joined Chandulal Shah’s Ranjit Studios in 1929, as his assistant for the silent film ‘Rajputani’. Director Nandlal Jaswantlal Bhatt (‘Nagin’, ‘Taj’, ‘Champakali’ etc.) was another assistant in Ranjit.

When Nandlal left Ranjit to go to Europe, Jayant completed his film ‘Pahadi Kanya’ (1930)’. At Ranjit, Jayant directed 12 silent films. He was with Ranjit till 1943 and Directed 33 talkie films, while in Ranjit. Some of these films were ‘Chaar Chakram’, ‘Bhool Bhulaiyan’, ‘Nadira’, ‘Toofan Mail’, ‘College Girl’, ‘Matlabi Duniya’, ‘Toofani Toli’, ‘Billi’ ( a copy of a Hollywood film, based on PG Wodehouse’s novel “A Damsel in Distress” ), ‘Sant Tulsidas’, ‘Diwali’, ‘Shaadi’, ‘Chandni’, ‘Bhaktaraj’, ‘Tansen’ (with KL Saigal), ‘Zaban’ etc.

After leaving Ranjit, Jayant Desai established his own studio, Jupiter Films Studio, Jayant Desai Productions and Hemlata Pictures. He also had exhibition interests in Hindmata and Star Theatres in Bombay’s Dadar area. In the 50s, he operated as a distributor with his Jupiter films.

While in Ranjit, he had Directed KL Saigal in the film ‘Tansen’ (1943). Sardar Chandulal Shah had called Saigal on a contract of 60 days. Jayant completed ‘Tansen’ in flat 51 days. Kidar Sharma then used those 9 days to make a quickie – ‘Bhanwara’ (1944), with Saigal.

C Ramchandra was with Jayant Desai for more than 3 years and gave 5 successful films. It was Jayant Desai who gave him the name C Ramchandra for use in films. It was also Jayant Desai who was responsible for the rise of C Ramchandra in a major way. After leaving Ranjit, Jayant started his own company. In his new company, Jayant had hired C Ramchandra as a paid composer on a salary of Rs. 300 pm. C Ramchandra gave music to many of his films like ‘Zaban’, ‘Lalkar’, ‘Manorama’, ‘Chandragupta’ etc. and all films became popular. C Ramchandra was proud of his achievement. Under the banner Jayant Desai productions, one more Saigal film – Tadbeer’ (1945), with Suraiya in the lead was made. Jayant Desai directed 65 films in all. His last film was ‘Zamana Badal Gaya’ (1961). He died in Bombay on 19-4-1976.

The cast of the film ‘Maharana Pratap’ was Khursheed, Ishwarlal, Kantilal, Mubarak, D S Salvi, Noorjehan Sr., Reva Shankar, Bhagwandas, Sati Devi and many others. We do not know the story of this film, but from the type of songs this film had, it seems to be a mix of Pratap’s life story consisting of his fights and family life. The period from 1945 to about the early 50’s was the time when most of the old actors and actresses coming from the early era and those who were a part of the spill over from the silent film era saw their last lap of career and they all disappeared during this period. Today’s film is the best example.

Khursheed – last film in India- ‘Aap Beeti’ (1948).
Ishwarlal – Stopped singing in 1945. Last film ‘Badi Maa’ (1945).
Kantilal – Last film ‘Jai Shiv Shankar’ (1951). Last song ‘Bhaktraj’ (1943).
Sati Devi – Last song ‘Door Chalen’ (1946).
Noorjehan sr. – Last song- ‘Aadab Arz’ (1943). Last film – ‘Anarkali’ (1953).
Reva Shankar – Last film ‘Jai Mahadev’ (1951). Last song – ‘Mahasati Tulsi Vrinda’ (1947). Last film as MD ‘Matrubhumi’ (1949).
Bhagwandas – Last film ‘Jalpari’ (1952).

For two artistes, this film was a landmark film.

1. For Music Director Ram Ganguly – this was his first film as a Music Director. It was his debut film. There are cases in history, where talent alone has not helped. The luck factor plays a vital role in one’s life. But then, what is luck ? Call it opportunity, recognition, fame, money. . . call it what you may like to, but luck is a factor.

Otherwise, so many talented actors, singers, composers, directors or even producers would not rot in the film industry. The case of the film ‘Jai Santoshi Maa’ (1975) can be quoted in this connection. If it was not for luck, how come a low budget film, made by a repeatedly failed producer Satram Rohra, became one of the top blockbusters of all time ? Surprisingly, after this movie, the next ventures of Satram Rohra were again failures. Though he was benefited by ‘Jai Santoshi Maa’, neither the Music Director C Arjun nor the film’s director Vijay Sharma got any benefit from the film. Probably they were not as lucky.

I do not want to dwell upon examples and a lengthy claim in favor of luck, but let us not forget that many talented artistes, who showed great promise with their initial achievements failed inexplicably, later in their career. At least two examples can be quoted, of composer Ram Ganguly and singer Mubarak Begum (RIP).

Unfortunately, Ram Ganguly has no identity beyond his most famous film ‘Aag’ (1948) (his only 3rd film), making many people think that this was the only film that he did. Sometimes he is mistaken even for composer Ramlal (Choudhari).

Born on 6-8-1916, Ram Ganguly soon achieved expertise in playing violin, at the age of just 10 years. He was most appreciated when he played violin at the All India Congress Party Session at Calcutta in 1933. Listening to his violin, composer RC Boral offered him a job in New Theaters immediately. He remained 7 years in New Theaters. First he was assistant to Timir Baran for film ‘Devdas’ (1935), then assisted RC Boral and finally assisted Pankaj Mallick for film ‘Dushman’ (1939). There he met Prithviraj Kapoor and they became friends. Following Kapoor, Ram too proceeded to Bombay. He started a Dance and Music school in Khandala, in 1946. In 1943, he joined Prithvi Theaters as a music director for stage dramas. His music for the famous drama ‘Deewar’ in 1945 became popular. Raj Kapoor had sung a song in that drama, for which HMV took out a record also “Hum Babu Naye Niraale Hain“.

Ram’s first film as a film MD was Jayant Desai’s ‘Maharana Pratap’ (1946). He did one more film for Desai, ‘Maha Tulsi Vrinda’ in 1947. When Raj Kapoor made his first film, ‘Aag’ (1948), selection of Ram Ganguly as its MD was natural, because Raj knew him very well from the Prithvi days. Ram Ganguli took tabla player Shanker and harmonium player Jaikishen as his assistants, having known them earlier. Little did he know at that time that this pair would edge him out from Raj camp and establish themselves there. Ram Ganguli gave excellent songs for the film ‘Aag’ (1948), sung by Shamshad, Mukesh and Sailesh Mukherjee.

Inspite of his good performance, he was thrown out by Raj Kapoor for his next venture ‘Barsaat’, for 2 reasons. One – Ganguly being an old guard did not fit into the future plans of Raj Kapoor, who wanted to innovate and bring in new ideas. And two, he was told that Ganguly was trying to use ‘Barsaat’ tunes for outside producers. While the first reason seems to be plausible, the second reason seems to be an excuse. God only knows the truth, but S-J were capable of anything – if one knows what they did in the coming years to win awards and contracts.

In all, he gave music to just 14 films with 146 songs and 1 unreleased film. His films were ‘Maharana Pratap’ (1946), ‘Maha Tulsi Vrinda’ (1947), ‘Aag’ (1948), ‘Jalsa’ (1948), ‘Banvaasi’ (1948), ‘Anmol Moti’ (1949), ‘Ram Darshan’ (1950), ‘Deepak’ (1951), ‘Sangam’ (1954), ‘Gawaiya’ (1954) (this film also saw the end of Surendra’s singing career), When Prithviraj Kapoor decided to make his famous drama ‘Paisa’ into a film (in 1957), he called only Ram Ganguly. Originally, for the drama too he had been the MD. He gave good songs but they were not popular. Then came ‘Ten O’clock’ (1958) and then the next film was ‘Saaya’ (1961). His last film was ‘Suhaani Raat’ (1974). In between, a film ‘Postmaster'(1955) remained unreleased.

Slowly Ram Ganguly was forgotten . He stopped getting films. No one came to him. Finally, frustrated, he left for Calcutta and died there sometime in 1983.

2. DS aka Dada Salvi – This was his last Hindi film. Dinkar Shivram Salvi (04 December 1904 – 29 October 1980) better known as screen name “Dada Salvi”, was an actor of the silent and talkie era of Indian Cinema. He was a part of the first Indian talkie film ‘Alam Ara’ (1931). He has acted in 20 silent movies. He has worked in Hindi & Marathi movies.

Dinkar Shivram Salvi aka Dada Salvi was born on 04 December 1904 in a village Phansob in Ratnagiri, Bombay Presidency, undivided India, now in Maharashtra. After completing his education, he joined the Police Department. During service period, he was taking part in plays. Shri Tipnis, a well known play master saw Salvi and advised to come to Bombay. Acting in plays became a part of his life, so he decided to leave the job and came to Bombay.

In Bombay, Tipnis introduced Salvi to KB Athawale, working as manager, actor, director in Excelsior Film Company owned by Seth Wazeer Aziz. The company was searching for talented actors and Athwale offered Salvi to join Excelsior Film Company on a monthly salary of ₹ 25. Salvi accepted the job & joined Excelsior Film Company.

Salvi’s first silent film was ‘Khoon-e-Nahaq’ (1928) and became very popular. Looking at his potential in acting, the Imperial Film Company offered Dalvi work with higher monthly pay. After joining Imperial Film Company, Salvi acted in 20 silent films like ‘Madan Manjri’, ‘Indira BA’, ‘Bhola Shikar’, ‘Cinema Girl’, ‘Hamara Hindustan’, ‘Raat Ki Baat’, ‘Khuda Ki Shaan’ and many more. It is said, while working with Imperial Film Company, Salvi fell in love with his co-actress Sakhubai & later they married. Probably it was the first love marriage of the first Maharashtrian acting couple of Hindi films.

Salvi worked with Jayant Desai in the film ‘Poladi Pahelwan – Iron Man’ (1931) for Paramount Films. He also acted in Marathi films like ‘Aut Ghatkecha Raja’, ‘Bhakta Prahlad’, ‘Chatrapati Sambhaji’, ‘Thaksen Rajputra’ under Dadasaheb Torne of Saraswati Cinetone. Salvi’s role in ‘Chatrapati Sambhaji” as Sambhaji’s evil advisor Kalusha Kabji won him great acclaim. Impressed with the acting of Salvi as Kalusha Kabji, Hans Pictures, Kolhapur, invited him to join them on a three figure salary. Salvi left Imperial and joined Hans.

‘Premveer’ (1937) was Salvi’s first film with Hans Pictures. This was a turning point in his career where he came to be associated with Master Vinayak and Marathi Films. Their team led to many wonderful performances. He was then seen mostly in Marathi Films with an occasional Hindi film. In ‘Brahmchari’ (1938), Salvi played the role of the father of the heroine. Salvi acted in Marathi films like ‘Savangadi’, ‘Brandi Chi Batli’, ‘Devta’ and many more.

Later Hans Pictures changed to Navyug Chitrapat and made ‘Amrut’ (1941). Salvi then worked in many Hindi and Marathi films with Master Vinayak, V Shantaram. After 1947, Dada Salvi mainly worked in Marathi films. He acted in 23 Hindi films and even sang a song in the film ‘Awara Shahzada’ (1933).

Dada Salvi died on 29 October 1980 in Poona (Pune), Maharashtra.

Today’s song is sung by Khursheed as a solo. HFGK mentions one duet having the same mukhda, sung by Zohra Bai and Reva Shankar. However, this duet is not available on YouTube. Today’s song is very pleasant. Enjoy. . .

Song-Hamaari gali aana humse akhiyaan milaana (Maharana Pratap)(1946) Singer- Khursheed Bano, Lyricist- Swami Ramanand, MD- Ram Ganguly

Lyrics

hamaari gali aana
hamse akhiyaan milaana
kahin bhool na jaana
tumhen yaad rahe
hamaari gali aana
hamse akhiyaan milaana
kahin bhool na jana
tumhe yaad rahe

yaad rahega pyaar tumhaara
yaad rahega pyaar tumhaara
bhool na jaana haan
bhool na jaana khayaal humaara
bhool na jaana khayaal humaara
kabhi bhoole se phir bhi aana
haan aana
kahin bhool na jaana
tumhen yaad rahe
kabhi bhoole se phir bhi aana
haan aana, kahin bhool na jana
tumhen yaad rahe
hamaari gali aana
hamse akhiyaan milaana
kahin bhool na jaana
tumhe yaad rahe

dil mein leke yaad suhani
raaja yaad suhani
dil mein leke yaad suhani
raja yaad suhaani
dagmag dole, dagmag dole
haaye mori mast jawaani
dagmag dole, dagmag dole ae ae
mori mast jawaani
mast jawaani ki tumko kasam
mast jawaani ki tumko kasam
humko na tarsaana
kahin bhool na jaana
hamko na tarsaana
kahin bhool na jaana
tumhen yaad rahe

hamaari gali aana
hamse akhiyaan milana
kahin bhool na jaana
tumhe yaad rahe
hamaari gali aana
hamse akhiyaan milaana
kahin bhool na jaana
tumhen yaad rahe

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

हमारी गली आना
हमसे अखियाँ मिलाना
कहीं भूल ना जाना
तुम्हें याद रहे
हमारी गली आना
हमसे अखियाँ मिलाना
कहीं भूल ना जाना
तुम्हें याद रहे

याद रहेगा प्यार तुम्हारा
याद रहेगा प्यार तुम्हारा
भूल ना जाना हाँ
भूल ना जाना खयाल हमारा
भूल ना जाना खयाल हमारा
कभी भूले से फिर भी आना
हाँ आना
कहीं भूल न जाना
तुम्हें याद रहे
कभी भूले से फिर भी आना
हाँ आना
कहीं भूल न जाना
तुम्हें याद रहे
हमारी गली आना
हमसे अखियाँ मिलाना
कहीं भूल ना जाना
तुम्हें याद रहे

दिल में ले के याद सुहानी
राजा याद सुहानी
डगमग डोले
डगमग डोले
हाए मोरी मस्त जवानी
डगमग डोले
डगमग डोले॰॰ए
मोरी मस्त जवानी
मस्त जवानी की तुमको कसम
मस्त जवानी की तुमको कसम
हमको ना तरसाना
कहीं भूल ना जाना
तुम्हें याद रहे

Tags: 1946, Khursheed Bano, Maharana Pratap, Ram Ganguly, Swami Ramanand

Saaqi Ne Meri Pyaas To Kuchh Aur Badha Di

Posted by: skapur01 on: May 6, 2023

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

Blog Day :

5405

Post No. :

17736

#The Decade of Sixties – 1961 – 1970 #
———————————————————————

In this post I present a wonderful qawwaali sung by Yusuf Azaad and Party. This qawwali is from the 1966 movie ‘Jaadu’. The film was directed by B Gupta for Fine Art Pictures, Bombay. It was a ‘fantasy’ genre film.

The star cast included Ranjan, Chitra, Helen, Sundar, Randhir, Rajan Haksar, Shivraj, Habib, Pal Sharma, Lakshamichhaya, Jeewankala, BM Vyas and others.

This movie has six songs and as many as four lyricists wrote the songs for this movie. However HFGK Vol-IV (1961-1970) mentions the lyricist name for two individual songs only. Here is the list of songs this movie has.

Sl. No.	Song Title	Lyricist	Singer/s	Posted On
01	Dil Ka Saudaa Ham To Sarey Baazaar Karenge	Not known	Usha Khanna, Usha Mangeshkar
02	Tum Ek Nazar Dekho Jo Idhar	Not known	Krishna Kalle
03	Dhadakte Huye Do Dilon Ki Kahaani	Prem Warbartani	Asha Bhonsle	08.02.2018
04	Mehfil Mein Teri Ham Aaye Kya-Kya Saugaatein Le Ke Sanam	Not known	Krishna Kalle, Kunda Bokil
05	Hawaayein Raqs Karti Hai Taraanaa Jhoom Uthhtaa Hai	Not known	Not known
06	Saaqi Ne Meri Pyaas Ko Kuchh Aur Badhhaa Di	Prem Warbartani	Yusuf Azaad, Party

As can be seen in the above table only one song from this movie has been posted on the blog so far. Today I present the second song – a qawwaali – from this movie, which is sung by Yusuf Azaad and party.

Only the audio of this song is available. Lyrics for the today’s song are by Prem Warbartani and music is composed by Bulo C. Rani.

Let us now enjoy this wonderful song from ‘Jaadoo-1966’.

Song – Saaqi Ne Meri Pyaas To Kuchh Aur Badha Di (Jaadu) (1966) Singers – Yusuf Azaad Qawwaal, Lyrics – Prem Warbartani, MD – Bulo C Rani
Chorus

Lyrics

saaqi ne meri pyaas to o
kuchh …
aur badha di ee ee
ke botal se pilaana thha
nigaahon se pila di
pila di
botal se pilaana thha
haan aan aan aan
nigaahon se pila di
pila di
botal se pilaana thha
nigaahon se pila di
pila di

saaqi ne meri pyaas to
kuchh aur badha di ee ee
botal se pilaana
haan aan aan aan
botal se pilaana thha
haan aan aan aan
botal se pilaana thha
nigaahon se pila di
pila di
botal se pilaana thha
nigaahon se pila di
pila di

saaqi hai meraa aa
saare zamaane se niraala aa
honthhon pe tabassum hai
nigaahon mein
ujaala aa
haan aan aan aan
bas itni kami hain ke ae ae ae
zara dil ka hai kaala aa aa aa
aa aa aa aa
pehchaan ke deta hai
har ek rind ko pyaala aa
main gair thha
to isliye ae ae ae ae
main gair thha to isliye
mujhko ye sazaa di ee
ke botal se pilaana thha
nigaahon se pila di
pila di
botal se pilaana thha
nigaahon se pila di
pila di
botal se pilaana thha
nigaahon se pila di
pila di

saaqi ne meri pyaas tro
kuchh aur badha di ee ee
botal se pilaana
haan aan aan aan
botal se pilaana thha
haan aan aan aan
botal se pilaana thha
nigaahon se pila di
pila di

maikhaane se badhhkar hai
mere pyaar ki jannat
hooron se hansi hai mere
mere mehboob ki surat
haa aa aa aa
shokhi hain ishaaron mein
adaaon mein sharaarat
aur main pehlaa sharaabi hoon
mili jisko ye izzat
ke saaqi ne meri aankh se
ae ae ae ae
saaqi ne meri aankh se
khud aankh milaa di ee

ke botal se pilaanaa thha
nigaahon se pilaa di
pilaa di
botal se pilaanaa thha
nigaahon se pilaa di
pilaa di
botal se pilaanaa thha
nigaahon se pilaa di
pilaa di

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

साक़ी ने मेरी प्यास तो॰॰ओ
कुछ॰ ॰ ॰
और बढ़ा दी॰॰ई
के बोतल से पिलाना था
निगाहों से पिला दी
पिला दी
बोतल से पिलाना था
निगाहों से पिला दी
पिला दी

साक़ी ने मेरी प्यास तो
कुछ और बढ़ा दी॰॰ई
बोतल से पिलाना था
हाँ॰॰आं॰॰आं॰॰आं
बोतल से पिलाना था
हाँ॰॰आं॰॰आं॰॰आं
बोतल से पिलाना था
निगाहों से पिला दी
बोतल से पिलाना था
निगाहों से पिला दी
पिला दी

साक़ी है मेरा
सार ज़माने से निराला
होठों पे तबस्सुम है
निगाहों में उजाला॰॰आ
हाँ॰॰आं॰॰आं॰॰आं
बस इतनी कमी है के॰॰ए॰॰ए
ज़रा दिल का है काला॰॰आ॰॰आ
आ आ आ आ
पहचान के देता है
हर रिन्द को प्याला
मैं गैर था
तो इसलिए॰॰ए॰॰ए
मैं गैर था तो इसलिए
मुझको ये सज़ा दी
के बोतल से पिलाना था
निगाहों से पिला दी
पिला दी
बोतल से पिलाना था
निगाहों से पिला दी
पिला दी
बोतल से पिलाना था
निगाहों से पिला दी
पिला दी

मयखाने से बढ़ कर है
मेरे प्यार की जन्नत
हूरों से हसीं है
मेरे महबूब के सूरत
हाँ॰॰आं॰॰आं॰॰आं
शोख़ी है इशारों में
अदाओं में शरारत
और मैं पहला शराबी हूँ
मिली जिसको ये इज्ज़त
के साक़ी ने मेरी आँख से॰॰ए॰॰ए
साक़ी ने मेरी आँख से
खुद आँख मिला दी

के बोतल से पिलाना था
निगाहों से पिला दी
पिला दी
बोतल से पिलाना था
निगाहों से पिला दी
पिला दी
बोतल से पिलाना था
निगाहों से पिला दी
पिला दी

Tags: 1966, Bulo C Rani, Jaadu, Prem Warbartani, Yusuf Azaad Qawwaal

Rahiye ab aisi jagah chal kar jahaan koi na ho

Posted by: Atul on: May 5, 2023

Blog Day :

5404

Post No. :

17729

Today’s song is a famous Ghazal by Mirza Ghalib, from the film Qaidi-1940.

Film Qaidi-1940 was a Landmark movie. It was a Muslim social film. It was not the first film depicting the muslim culture in a hindi film, still it occupies a special place in this Genre for many reasons. Muslims have been a major and the biggest Minority in India for many centuries. Muslim kings who came from outside India ruled this country for many years too. Therefore it was but natural that films depicting Muslim culture were made in India from the early era onwards after Talkie films started.

Indian film history has many unsolved riddles yet. At the same time misconceptions and wrong information inputs have been misleading the Indian Film History students. Questions like
1. Who was the first Female MD ?
2. Which was the First MD Pair in Hindi films ?
3. Which was the First Hindi film shot abroad ?
4. Which is the First songless Hindi film ?

have either been not answered properly or the answers have become outdated with the new evidence becoming available now. Those readers who have the answers to these questions are requested to check with the Mythical answers and the actual true answers here.

1.Many people still believe that Usha khanna is the first female MD, But actually she is the 4rd female MD. The First female MD was Isharat Jehan aka Bibbo, who gave music to films Adl E Jahangir-1934 and Qazzack ki beti-1937. Jaddan bai was the second and Saraswati Devi was the third female MD.

2.The First MD Pair is generally considered as Husnlal-Bhagatram. However, the First MD Pair was Rewashankar Marwadi and Banne Khan, who gave music to 12 Hindi films from 1935 to 1937.

3. Generally it is believed that film Naaz-1954 is the First hindi film to be shot abroad. Even HFGK also mentions this. However, the truth is, the film ” India in Africa”-1939 was the First film to be shot in Africa with the Hero B.Nandrekar ( Ref: Maharashtra- The Birthplace of Indian Cinema, author Isak Mujawar).

4. Hindi film “Naujawan”-1937, made by the Wadia Brothers is considered as the First Songless film. However it is no longer true. Film ” Mamta”-1936 made by Bombay Talkies (and released along with film “Miya Bibi”) was the First songless film.

Like many other myths in the Hindi film industry, one myth is that Mehboob Khan was the pioneer in making Muslim social films in India. This probably originated because the first film of Mehboob’s own company Mehboob Productions was ” Najma”-43, a Muslim social film starring Ashok Kumar, Veena, Sitara, Kumar, Yaqub etc. But the fact is different.

The first Muslim social film was “Rashida”-35, made by Madon Theatres, Calcutta, featuring Kajjan, Effendi and others. It was directed by a Jew-Izra Mir. The name of the film indicated that it was about a Muslim girl. Somehow, I find a lot of Muslim social films made that had titles of girl’s names, Like Zeenat, Ameena, Najma, Shama, Heena, Zubeida, Salma, Ismat etc etc.

The beginning of serious Muslim social films was done by Fazli Brothers- Hasnain and Sibtain Fazli. They first made a Muslim social film Qaidi-1940, featuring Ramola,Mehtab, B.Nandrekar, Wasti etc. This was a period of struggle for Indian Independence. The fundamentalists in Muslims were active and due to the fear of their reaction, film makers were wary of producing such films.Even Fazli brothers were also afraid that there would be obstruction from these people to their film, so they decided to make the film in Calcutta. Their first Muslim Social film Qaidi-40 was very successful. Encouraged, they made 2 more such films (Masoom-41 and Chowringhee-42) in Calcutta. For film Chowringhee-42, the Fazli Brothers roped in famous Bangla poet (who later on became the National Poet of Bangladesh) Kazi Nazrul Islam- the creator of Nazrul geeti, as a Lyricist and MD for the film.

After 1942, Fazli Brothers shifted their activities to Bombay and made many Muslim social films like Fashion-43,Ismat-44, Dil-46 and Mehendi 47. So, in true sense, it is the Fazli Brothers who were the pioneers of Muslim Social films in India.

From the 40s to the 47, there was a line of Muslim social films lined with pride and confidence. Notable amongst them were Paak Daaman-40 by Rustom Modi, Masoom-41 by Fazli brothers, Muslim ka lal-41 by Mohan Pictures, Fashion -43 by Fazli Brothers, Najma-43 by Mehboob, Salma-43 by Nazir Ahmed, Ismat-44 by Fazli Brothers, Bade Nawab saab-44 by actor Kumar and Pramila, Bhaijaan-45 by United Films, Phool-45 by K.Asif, and Director Mazhar Khan’s Muslim social film “Pehli Nazar” in 1945. Amongst these, the film “Elan”-47 was a milestone film, produced by Mehboob. It dwelt upon the needs of improvements for Muslim community.

After 1947, India lost a very big market for its Muslim social films, when Pakistan-East and West- was formed. It does not mean that Muslim social films were not made after 1947 in India. Films like Kaneez-49, Nisbat-49, Parda-49, Hyderabad ki Nazneen-52,Darwaza-54, Chandni Chowk-54, Maalik-58, Maa ke aansoo-59, Pahli Raat-59 etc were all Muslim socials. They, however, were not successful, for whatever reasons. But the fun is films of muslim backgrounds but non social films like Anarkali,Mirza Ghalib,Hatimtai,Alibaba and forty thieves etc were good grossers and ran well. The first Hindi film to win the President’s Gold Medal (the first was Marathi film-Shyam chi aai ), was Mirza Ghalib-54. This indicated that there was no audience for Muslim social films now. Later on the conditions changed and Muslim social films like Chaudhavi ka chaand,Barsaat ki raat,Chhote Nawab,Bahu Begum, Mere huzoor, Pakeeza etc became quite successful. However,some opine that these films succeeded due to other reasons like Music, songs etc. One funny thing was that most Muslim social films-from the beginning- showed Lucknow as the background of the story ! (Film names being mentioned are only indicative and not exhaustive, so many names will be missing here.).

Film Qaidi-1940 star cast included Ramola, Mehtab, Madhuri, Monica Desai, B.Nandrekar, Wasti, Leela Mishra and many others. There were 8 songs in the film written by Arzoo lucknowi and Kidar Sharma, which were composed by Acharya bhishmadev Chaterjee – a highly respected name in the musical field of Bengal. Two Gazals by Mirza Galib were also used in this film. Today’s song is one of these gazals. We do not know the singer’s name. Name of ” Aziz ka gaana” is given on the record. Aziz was the name of the film’s Hero, enacted by Nandrekar. One peculiar point about this film was that the Hero, his mother and sister all die in this film. The name of Monica Desai in the star cast may be unfamiliar to many readers.

Monica Desai was a famous Indian actress during the 1930’s and 40’s. She was the daughter of Dr. Umedram Lalbhai Desai and Satyabhama Devi, a well-known musician of the early 20^th Century. Her father was a Gujarati, and her mother hailed from Bihar. Her father who was a reputed Doctor of that period died in the year 1930.

Monica Desai first worked for Bangla movie ‘Nimai Sanyasi’ which was released in the year 1940. She was an actress who represented the era of upcoming character actresses like Leela Mishra, Ram Dulari, who made debut along with her and later ruled the Indian screen.

Monica Desai acted under the direction of Phani Majumdar and Kidar Nath Sharma. She did not concentrate much on acting as she got married to Phani Majumdar, a pioneering Indian film director, who worked in Hindi cinema. Phani Majumdar is known for Meena Kumari’s classic films ‘Aarti’ (1962) and ‘Oonche Log’ (1965). Monica Desai had a sister named Leela Desai, who was a renowned actress in Hindi and Bengali cinema. Leela Desai has even acted in the film ‘Kapal Kundala’ (1939) directed by Phani Majumdar. After completion of the venture, Phani Majumdar married Monica Desai.

Monica acted with Prithviraj Kapoor in her career, in the film Gauri. ‘Gauri’ was an Indian Bollywood film that was the seventh highest grossing Indian film of 1943 and this established Monica Desai as an actress. Later, she featured in a film ‘Devdasi’ as a heroine that was also among the top seven grossing films at the Indian box office in 1945. She appeared in the film ‘Chitralekha’ which was the second-highest grossing Indian film of 1941, in this movie, she portrayed the character of Yashodhara. She had also acted in 2 films with Saigal – Bhakta Surdas-1942 and Bhanwara-1944.

Monica worked in only 9 Hindi films- Qaidi-40, Chitralekha-41, Bhakta Surdas-42, Gauri-43, Bhanwara-44, Lakharani-45, Devdasi-45, Rangeen Zamana-48 and Vikram Shashikala-49.

Let us now listen to Galib’s ghazal. This same ghazal was later used in the film ‘Mirza Ghalib’-1954, in which Suraiya sang this ghazal beautifully.

Song- Rahiye ab aisi jagah chal kar jahaan koi na ho (Qaidi)(1940) Singer- Not known, Lyricist- Mirza Ghalib, MD- Bhishmadev Chatterjee

Lyrics

rahiye ab a a a
aisi jagah
chal kar jahaan koi na ho
rahiye ab a a a
aisi jagah
chal kar jahaan koi na ho
hamasukhan koi na ho o
aur hamazubaan koi na ho
rahiye ab a ab
aisi jagah

be-dar-o-deewaar kaa aa
ik ghar banaaya chaahiye
koi hamasaayaa na ho
aur paasabaan koi na ho
padiye gar beemaar to
koi na ho teemaaradaar
aur agar mar jaaiye
aur agar mar jaaiye
to nauhakhwaan koi na ho
rahiye ab aisi jagah

Tags: 1940, Bhismdev Chatterjee, Mirza Ghalib, Qaidi

Sarfaroshi Ki Tamanna Ab Hamaare Dil Mein Hai

Posted by: skapur01 on: May 4, 2023

This article is written by nahm, 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 :

5403

Post No. :

17729

A R Rahman – The Musician of 21^st Century – 6
—————————————————————-

This is post number 06 in the series. As musicians go, ARR is a complete package. He is also much more than a musician, has proved to be media savvy as well as a successful businessperson. He is the first of Indian film music directors to own his music. Previously all film music was owned by films producers/distributors or the music companies, who released records/cassettes/discs etc. The same system prevails in the industry. Only ARR is one who is different. In this regard too ARR is a trend setter. Lata Mangeshkar could think of only royalty and here we have a 90’s kid on the block, who aimed to own the world, at least his portion of it.

hum mehnatkash iss duniya se
jab apna hissa mangenge
ik baag nahin, ek khet nahin
ham saari duniyaa maangenge

There may be others who are following the same path, I don’t know. His growth in all the above, has been exponential and blessed. Some of the singers introduced by ARR have also matured and achieved great heights in their singing career.

The song I am presenting this time is from the film ‘The Legend of Bhagat Singh’ (2002) which surfaced in the memory while doing the earlier post of the same song from the 1963 film ‘Shaheed Bhagat Singh’ – “Sarfaroshi Ki Tamanna Ab Hamaare Dil Mein Hai“.

In fact, I am a big fan of the other song of this film (already posted), sung by Sonu Nigam – “Mera Rang De Basanti Chola”. The song has the same famous shair and a another shair in the mukhda, with new stanza’s written by Samir. “Mera Rang De Basanti Chola” is a folk song now, but “Sarfaroshi Ki Tamanna Ab Hamaare Dil Mein Hai” is well on its way to becoming a folk tradition.

That rendition of the folk song is special, the century old Hindi film industry has used these two songs multiple times.The particular strength of folk song is that it intrinsically belongs to its people. The music unites communities, entertains them, and documents their loves, losses, and struggles. It’s a genre that has long been used to stir passions, swell pride, and resist injustice and oppression. Little wonder, then, that colonialists and dictators the world over have routinely sought to curtail, or even extinguish, the traditional music of the land. Folk music supply’s identity and hope, in the extraordinarily intimate tradition of singing and performing.

The following two songs from this film are already posted in the blog:

Desh mere desh mere meri jaan hai tu (The Legend of Bhagat Singh)
Mera rang de basanti chola (The Legend of Bhagat Singh)

The complete package, ARR is again creative with this composed and sung multiple times revolutionary ghazal, with the nationalistic flavour. And he comes up trump, which has been almost ignored by the jurist while awarding. Poetry and music have great potential for rousing passions of a people. And if it is AR Rehman composing it, it takes the revolution in the inner or outer spheres, whichever way you want to look at it.

Its high time, 6 songs into the series, and I must look for a qawwaali to post next in this series. Oh..… my favourite is “Daraarien Daraarien Hain Maathe Pe Maula” named “Arziyaan Saari Main Maathe Pe Like Ke Laaya Hoon” from Delhi – 6 is posted. So what! there are many more, qawwali-fusion compositions by AR Rehman. Readers may like to suggest this genre songs which they want to see posted in the blog. Another mention-able qawwaali fusion is “Kun Fayaa Kun”, which people tell me is the new “CULT SONG” of the millennium. I have not thought anything to be the “Cult song” beyond “Dum Maaro Dum“. My son assures me that “Kun Fayaa Kun” is the cult song of the new generation, for all time and all occasions. This is a landmark achievement of AR Rehman, to top the traditional qawwaali that has ruled the field for centuries in the sub-continent. Not a mean achievement at all, to surpass the coke studio fusion of “Tajdaar-e-Haram” by Atif Aslam, in the 21^st century. More on ARR fusion and fusion qawwaali in the next post.

Filhaal, let us hear, and appreciate the first non – Rafi , “Sarfaroshi Ki Tamanna” appearing in the blog, by Sonu Nigam and Hariharan.

Part 1

Part 2

Song – Sarfaroshi Ki Tamanna Ab Hamaare Dil Mein Hai (The Legend of Bhagat Singh) (2002) Singer – Sonu Nigam, Hariharan, Lyrics – Ram Prasad Bismil, Sameer, MD – AR Rahman
Chorus

Lyrics

Part 1

sarfaroshi ki tamanna aa
ab hama..are dil mein hai ea ea
dekhnaa hai zor kitna aa aa
baazu-e ea-qaatil mein hai ea

sarfaroshi ki tamanna aa
ab hamaare dil mein hai ea ea
dekhnaa hai zor kitna aa
baazu-e ea-qaatil mein hai ea ea

waqt aane pe bataa denge
tujhe ae aasmaan
kya bataaye ham junoon e ea ea
shauq kis manzil mein hai ea ea

sarfaroshi ki tamanna aa
ab hamaare dil mein hai ea ea
sarfaroshi ki ee tamanna aa

doriyaan ummeed ki na
aaj ham se chhoot jaayen
milke dekha hai jinhen woh
sapne bhi na roothh jaayen
hausle woh hausle kya
jo sitam se toot jaayen
hausle woh hausle kya
jo sitam se toot jaayen

sarfaroshi ki tamanna aa
ab hamaare dil mein hai ea ea
dekhnaa hai zor kitna aa
baazu-e ea-qaatil mein hai ea

tere sone roop ko ham
ik nayi bahaar denge
apne hi lahu se teraa
rang ham nikhaar denge
des mere des tujh pe
zindagi bhi waar denge
des mere des tujh pe
zindagi bhi waar denge

sarfaroshi ki tamanna aa
ab hamaare dil mein hai ea ea
dekhnaa hai zor kitna aa
baazu-e ea-qaatil mein hai ea

aaa aaaaaa
aaaaa aaaaa
aaaaa aaaaa
aaaa aaaa
aaaaaa aaaaa
aaaaaaaaa
aaaaaa aaaaaa
aaaaaa

khushboo ban ke mehka karenge
ham lehlahaati har faslon mein
saans ban ke ham gungunaayenge
aane waali har naslon mein
khushboo ban ke mehka karenge
ham lehlahaati har faslon mein
saans ban ke ham gungunaayenge
aane waali har naslon mein

aane waali aane waali
naslon mein ea ea
sarfaroshi ki tamanna aa
ab hamaare dil mein hai ea
dekhnaa hai zor kitna aa
baazu-e ea-qaatil mein hai ea

waqt aane pe bata denge
tujhe ae aasmaan
kya bataaye ham junoon e ea ea
shauq kis manzil mein hai ea ea

Part 2

sarfaroshi ki tamanna ab hamaare dil mein hai
dekhnaa hai zor kitna aa baazu-e-qaatil mein hai

dekh saktaa to tu bhi dekh le ae aasmaan
hausla yeh dekh ke qaatil badi mushkil mein hai

apne hi lahu se ham likhenge apni daastaan
zaalimon se chheen lenge yeh zameen yeh aasmaan aa aan
apne hi lahu se ham likhenge apni daastaan
zaalimon se chheen lenge yeh zameen yeh aasmaan aa

sar phire jawan ham to maut se bhi na daren
aanch aaye desh pe yeh kyun gawaara ham karen ea en
mulk pe qurbaan hon yeh aarzoo dil dil mein hai ea ea

sarfaroshi ki tamanna ab hamaare dil mein hai
sarfaroshi ki tamanna ab hamaare dil mein hai
dekhnaa hai zor kitna aa baazu-e-qaatil mein hai ea

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

भाग १

सरफरोशी की तमन्ना॰ ॰ ॰
अब हमा॰॰आरे दिल में है ऐ ऐ
देखना है ज़ोर कितना॰॰आ॰॰आ
बाज़ू ए क़ातिल में है ऐ

सरफरोशी की तमन्ना॰ ॰ ॰
अब हमारे दिल में है ऐ ऐ
देखना है ज़ोर कितना॰॰आ॰॰आ
बाज़ू ए क़ातिल में है ऐ

वक़्त आने पे बता देंगे
तुझे ए आसमां
क्या बताएं हम जूनून ए ए
शौक किस मंज़िल में है ए

सरफरोशी की तमन्ना
अब हमारे दिल में है
सरफरोशी की तमन्ना

डोरियाँ उम्मीद की ना
आज हमसे छूट जाएँ
मिलके देखा है जिन्हें वो
सपनें भी ना रूठ जाएँ
हौसले वो हौसले क्या
जो सितम से टूट जाएँ
हौसले वो हौसले क्या
जो सितम से टूट जाएँ

तेरे सोने रूप को हम
इक नई बहार देंगे
अपने ही लहू से तेरा
रंग हम निखार देंगे
देस मेरे देस तुझ पे
ज़िंदगी भी वार देंगे

आ आssss
आsss आsss
आsss आsss
आss आss
आssss आsss
आssssssss
आsssss आsssss
आssss

खुशबू बन के महका करेंगे
हम लहलहाती फसलों में
सांस बन के हम गुनगुनायेंगे
आने वाली हर नस्लों में
खुशबू बन के महका करेंगे
हम लहलहाती फसलों में
सांस बन के हम गुनगुनायेंगे
आने वाली हर नस्लों में

आने वाली आने वाली
नस्लों में ए ए
सरफरोशी की तमन्ना
अब हमारे दिल में है
देखना है ज़ोर कितना
बाज़ू ए क़ातिल में है

वक़्त आने पे बता देंगे
तुझे ए आसमां
क्या बताएं हम जूनून ए
शौक किस मंज़िल में है

भाग २

सरफरोशी की तमन्ना अब हमारे दिल में है
देखना है ज़ोर कितना बाज़ू ए क़ातिल में है

देख सकता है तो तू भी देख ले ए आसमान
हौसला ये देख के क़ातिल बड़ी मुश्किल में है

अपने ही लहू से हम लिखेंगे अपने दास्तां
ज़ालिमों से छीन लेंगे ये ज़मीं ये आसमां
अपने ही लहू से हम लिखेंगे अपने दास्तां
ज़ालिमों से छीन लेंगे ये ज़मीं ये आसमां

सर फिरे जवान हम तो मौत से भी ना डरें
आंच आए देश पे ये क्यों गवारा हम करें
मुल्क पे क़ुरबान हों ये आरज़ू दिल दिल में है ए

सरफरोशी की तमन्ना अब हमारे दिल में है
सरफरोशी की तमन्ना अब हमारे दिल में है
देखना है ज़ोर कितना बाज़ू ए क़ातिल में है

Tags: 2002, Ajay Devgun, AR Rahman, Hariharan, Ram Prasad Bismil, Sameer, Sonu Nigam, The Legend of Bhagat Singh

Tu Dekh Zaraa Dil Ka Darpan

Posted by: skapur01 on: May 4, 2023

Blog Day :

5403

Post No. :

17727

Today’s song is from an old film ‘Ek Hi Raasta’ (1939).

This film was made by Sagar Movietone and was directed by a young Mehboob Khan. This was his last film with Sagar, because after this Sagar was merged with National studios and later on it was closed down forever. This proves that generally, family enterprises where it is a one man show, be it films or politics, does not last long. If the enterprise does not adapt to changes or does not learn from its mistakes, its downfall is sure. Mehboob Khan grew big with Sagar. Mehboob was influenced by Nehru’s ideology and was his staunch supporter. It was a coincidence that Nehru died in the afternoon of 27th May 1964 and within 12 hours, Mehboob Khan too died in the early hours of 28th May 1964.

Mehboob Khan rose from the lowest step to the highest place in the film industry. Starting life as an ‘extra’ in films (he was one of the 40 thieves in Sagar’s silent film on Alibaba). He grew solely due to his own hard work and foresight. Born as Ramzan Khan in 1907 in Bilimora, Gujarat, Mehboob was from a Gujarati Muslim family. He never got a formal education in his young age, but he was keen on two things – 5 times Namaz daily and seeing films. His father being in Police Department, films were free for him. One day he ran away to Bombay to become an actor. However his father found him out and brought him back. He was immediately married off, with a belief that he would improve.

Two years after marriage and one child, he ran off to Bombay again and worked in Imperial Film Co. as an extra for Rs 30 pm. This too after he worked without any pay for 5 months due to the mistake of the clerk ! He worked in crowd scenes and sundry roles – without a dialogue, of course, starting as one of the 40 thieves of ‘Alibaba’. He worked in several films uncredited. His first, big and credited role came in the film ‘Shirin Khushru’ (1929).

In 1927, after the talkie film ‘The Jazz Singer’ was shown in US, the world started making Talkie films. India too jumped into the bandwagon. In 1931, Imperial Movietone, competing with Madon Theaters of Calcutta, wanted to make a talkie and started work fast. Mehboob Khan was almost finalized as the hero. Even his costumes were made ready, but he was destined for something different, and Master Vithal was made the hero of India’s first talkie. Ardeshir Irani’s safety valve of minimizing the risk of the first venture by selecting the existing popular hero, scuttled Mehboob’s dream.

Meanwhile, Imperial started a new company, ’Sagar Movietone’, along with Dr. Patel and Chiman Desai. Some artistes and techies were shifted to Sagar-including Mehboob- from Imperial. Mehboob continued to work in 12 silent films. Here, he met Fardoon Irani, Cinematographer and they became thick friends. Irani was with Mehboob till the end.

During this period, Mehboob wrote a film story and convinced the owners to allow him to direct this film. Owners were hesitant, naturally, to allow this young extra actor to direct a film. Lastly a deal was struck, that Mehboob and Faredoon should be allowed to shoot one reel film. If they like it, continue or else, scrap it and recover money from these two chaps. After one reel shooting the owners realized that they had struck gold in the process and Mehboob completed his first directorial venture ‘Al Hilaal’ (1935). The film was a great success and Mehboob ‘chal pada’. Mehboob went on to direct 7 more films for Sagar. All his films were successful.

From film ‘Jageerdar’ (1937) Mehboob and Anil Biswas pair teamed up for 8 films – till ‘Roti’ (1942).

When Mehboob was making arrangements for his next film, ‘Alibaba’, the sudden news that Sagar is closing down hit them. Mehboob Khan contacted Imperial to allow him to shoot for his film in their studio, which Ardeshir gladly permitted. The film shooting proceeded til Sagar became National Studios. Mehboob made 3 important films of his career in National Studio, namely ‘Aurat’ (1940), ‘Behan’ (1941) and ‘Roti’ (1942).

When National studio also closed down all workers came on road. However, Mehboob decided to start his own company. One Mr. Lalaji of Manoranjan Distributors of Delhi promised capital. National Studio was renamed as Central Studio by the owner, KK Modi – elder brother of Sohrab Modi. He allowed Mehboob to use the studio till his own studio came up. Mehboob took a place nearby to start his office. In this period there was a rift between Mehboob and Anil Biswas and they separated for ever – albeit bitterly.

Mehboob wanted a logo for Mehboob Productions. He selected a sher written by Agha Jani Kashmiri for film ‘Al Hilal” —

“muddai laakh bura chaahe to kya hota hai,”
“wahi hota hai jo manzoor e khuda hota hai”.

It was recorded in the voice of Rafiq Ghaznavi with appropriate prelude music and sound of lightening and clouds. He also took Sickle and Hammer for the logo, and clarified that because he respected workers and certainly he was not a communist.

His first film ‘Najma’ (1943) with Ashok Kumar and Veena was a hit film (his daughter’s name was Najma). It was followed by ‘Taqdeer’ (1943), ‘Humayun’ (1945), ‘Anmol Ghadi’ (1946), ‘Elaan’ (1947), ‘Anokhi Ada’ (1948), ‘Andaaz’ (1949), ‘Aan’ (1952), ‘Amar’ (1954) and his magnum opus ‘Mother India’ (1957). After the high of ‘Mother India’, Mehboob aimed to fly even higher with ‘Son of India’ (1962) but the film was a total misfire and in fact his weakest film.

Mehboob had been neglecting health in spite of suffering heart attacks. In May 1964, he suffered another attack but survived. His financiers were after him for repayment and he was worried. He called Rajendra Kumar and asked for a loan of 4 lakh rupees against his studio to be made in his name. Rajendra Kumar declined to take the studio and promised to give him the amount next day at 11 am, without any mortgage. In the evening, news of Nehru’s heart attack came. Mehboob became restless. Soon the death news came and Mehboob became grief stricken. Akhtar gave him sleeping pills, but he had to be admitted to Nanavati Hospital. He too died at 2 am on 28th May 1964. At the time of his death, Mehboob Khan was harboring ambitions to make a film on the life of Habba Khatoon, the 16th century poetess-queen of Kashmir.

Mehboob Khan directed 8 films for Sagar, 3 films for National and 11 films for Mehboob productions.
[Based on information from Upperstall, the book ‘Mehboob Khan’ by Shashikant Kinikar and my notes].

Film ‘Ek Hi Raasta’ (1939) was the first Hindi film with 3 heroes, namely Sheikh Mukhtar (this was his debut film as a hero), Harish and Arun Ahuja. In those days it was a novelty to have 3 heroes. The other star cast was Anuradha, Jyoti, Kanhaiyalal and many others. Actress Jyoti may be known to many readers. She was the younger sister of Waheedan Bai. Her real name was Sitara Begum. She was a favorite singer of Anil Biswas. After her first marriage broke, she married actor singer GM Durrani. Their married life was happy and long. She acted in 19 films and sang 38 songs in 12 films.

Anuradha was the younger sister of actress Zohra Jaan and Mushtari. Her real name was Khurshid Akhtar (same as actress Shyama). Zohra Jaan was married to actor composer Rafiq Ghaznavi, but they were divorced and Rafiq then married Anuradha. After migrating to Pakistan, Ghaznavi divorced her also.

Mehboob Khan and Anil Biswas were great friends. Both grew up in Sagar Movietone and made a name for themselves. Unfortunately, there was a dispute between them and they split bitterly forever. Many disputes are famous in Hindi cinema world like, for example Lata – Rafi, Lata – SD Burman, Shammi Kapoor – Kalpana etc. Most disputes ended with compromise, but Mehboob Khan never pardoned Anil Biswas as he felt that Anil Biswas betrayed him for money.

Anil Biswas joined Sagar Movietone in 1936 and ‘Jagirdar’ (1937) was his first film as an MD there. He became a very good friend of Mehboob. Together with cinematographer Faredoon Irani, they made a close group of friends. In every film that Mehboob directed from 1937 to 1942 (8 films), Anil Biswas was his Music Director. In 1940 Sagar staff shifted to National and in 1942, National Studios was to be closed. All employees, including Mehboob, Fardoon and Ail Biswas were worried about their future. In that period, Anil Biswas got an offer first from Ranjit Studios, but he rejected it as his friends did not get offers. Then he got an invitation from Bombay Talkies for Rs. 2,500 rupees pm as salary. This was too lucrative to reject. Though his friends were jobless, Anil Biswas joined Bombay Talkies.

Mehboob Khan was upset that being a friend also, in their bad days, Anil Biswas deserted them for personal gain. Mehboob and Fardoon felt let down. Their relations soured and thereafter Mehboob Khan never ever took Anil Biswas as an MD for films of his company. After establishing his own Mehboob Productions, he did not invite Anil Biswas. Mehboob Khan prospered and teamed up with Naushad as his MD from film ‘Anokhi Ada’ (1948) onwards, in place of Anil Biswas.

By 1954, Anil Biswas broke up with his first wife Ashalata . His career as music director was floundering and he was not getting any films. For survival he unsuccessfully tried doing truck business. Seeing his condition, Mehboob offered him the contract for his canteen, on request from Anil Biswas. That too failed miserably. Mehboob Khan was so bitter about him that even in that condition Mehboob did not offer him any film.

When Mehboob Productions planned the film ‘ Paisa Hi Paisa ‘ in 1956, Mehreesh was made the Director. Being a great fan of Anil Biswas, he asked Mehboob’s permission to call Anil Biswas as its music director. As one who believed in work ethics, Mehboob very reluctantly permitted Mehreesh, but went on a foreign trip to avoid meeting Anil Biswas. Film ‘Paisa Hi Paisa’ was a comedy film, with Kishore Kumar, Mala Sinha, Shakeela, Shyam Kumar, Murad, Mukri, Kumud Tripathi etc. Basically Anil Biswas specialised in tragedy or serious films. Comedy film was not in his comfort zone, but his financial condition forced him to bow to the circumstances. Being a talented composer, he did well in this too, though the film bombed at the box office.
[Based on information collated from the book ‘Mehboob Khan” by Shashikant Kinikar, with thanks and my notes].

Anil Biswas was very fond of singing in his own films. Here is today’s song, sung by him. In this film, Anil Biswas sang 3 solos and a duet with Waheedan Bai (Nimmi’s mother).

Song- Tu Dekh Zaraa Dil Ka Darpan (Ek Hi Rasta) (1939) Singer – Anil Biswas, Lyricist – Kidar Sharma, MD – Anil Biswas)

Lyrics (Provided by Sudhir)

jise kehta hai tu
aa gaya
aa gaya
wo gaya hi kahaan tha
ye to bata
dil ka suraj tere
jagmagaata hua..aa..aa
baadalon mein
o rehta kahaan tak chhupa

tu dekh zara dil ka darpan
tu dekh zara dil ka darpan
wahaan basa hua hai vrindavan
tu dekh zara dil ka darpan
tu dekh zara dil ka. . .

tere nainon mein ganga jamuna bahe
tere nainon mein ganga jamuna bahe
tere mann mein Mathura vaas rahe
tere mann mein Mathura vaas rahe
tere kaanon mein bansi ki taan rahe
tere kaanon mein bansi ki taan rahe
tere mukh mein. . .
tere mukh mein shyam ka naam rahe
tere mukh mein shyam ka naam rahe
giridhar ko kar tan mann arpan
giridhar ko kar tan mann arpan
tu dekh zara dil ka darpan
tu dekh zara dil ka. . .

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

जिसे कहता है तू
आ गया
आ गया
वो गया ही कहाँ था
ये तो बता
दिल का सूरज तेरे
जगमगाता हुआ
बादलों में
ओ रहता कहाँ तक छुपा

तू देख ज़रा दिल का दर्पण
तू देख ज़रा दिल का दर्पण
वहाँ बसा हुआ है वृन्दावन
तू देख ज़रा दिल का दर्पण
तू देख ज़रा दिल का ॰ ॰ ॰

तेरे नैनों में गंगा जमना बहे
तेरे नैनों में गंगा जमना बहे
तेरे मन में मथुरा वास रहे
तेरे मन में मथुरा वास रहे
तेरे कानों में बंसी की तान रहे
तेरे कानों में बंसी की तान रहे
तेरे मुख में ॰ ॰ ॰
तेरे मुख में श्याम का नाम रहे
तेरे मुख में श्याम का नाम रहे
गिरिधर को कर तन मन अर्पण
गिरिधर को कर तन मन अर्पण
तू देख ज़रा दिल का दर्पण
तू देख ज़रा दिल का ॰ ॰ ॰

Tags: 1939, Anil Biswas, Ek Hi Raasta, Kidar Sharma

Taram Pum Taram Pum Taram Pumm, Chalo Usko Dhhodhenge Hum

Posted by: Atul on: May 3, 2023

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

Blog Day :

5402

Post No. :

17726

Movie Count :

4748

Hullo Atuldom

Back after a gap of around one & half months.

Have been so active, doing various other activities, that for the first time, since 2009 (when I discovered the blog) and 2012 (when my first post appeared on the blog), I missed a few milestones (the 17,700th post) on the day it was posted. Also missed a post by Sudhir ji, which featured a song which I simply love to see “Wo Ladki Hai Kahaan“.

Also I missed writing posts on a few occasions for which I had drafts ready in my mind, but could not get down to writing or typing them. Occasions like the Hindu New Year (call them by any name- Ugadi, Vishu, Baishakhi, Cheti Chand etc.), birthdates and anniversaries of a few favourite celebs (Sachin Tendulkar, Rishi Kapoor, Irfan Khan, etc). Of course, there were posts on these special dates, just that I have been catching up on them over the last few days.

This last month and half, I have been attending a few weddings and landmark birthdays of my brothers & beloved Aunty (‘Kaaki‘ sounds more personal than Aunty). That meant hurried trips to Kerala & Mumbai (twice), and three days in Chennai. I managed to meet Guru ji on my first trip to Mumbai, but could spend only an hour with him. And saw he was preparing for his book ‘Forgotten Artists of Early Cinema and The Same name Confusion’ release. Feel so proud that I know him.

Getting to the purpose of this post- 3rd May is a special date in the annals of Indian Film Industry. It was on this date, in the year 1913, that Dadasaheb Phalke’s ‘Raja Harishchandra’, the first full length feature film produced in India, was premiered at Coronation Theater in Bombay. (The first ever film, projected moving pictures, was presented by the Lumiere Brothers in December 1895 in Paris, France).

Starting from that screening of the silent film ‘Raja Harishchandra’ till today, it is 110 years. We have had hundreds & thousands films made in almost all the Indian languages possible. There have been instances of films borrowing story ideas from our mythologies, folklore etc. Stories of India’s freedom struggle, biographies of leaders who were at the forefront at that time. The films made in India have converted novels, books into moving images that have left a permanent imprint in the minds of the enthralled fans. The list of ideas on which films are based are as varied as the framework of our country.

I have never felt the need to see films made in any other country, never had time to discover anything else. Of course, there have been a few English films that have crept into my list of films seen in my lifetime, these may add up to 15/20. But, largely, I have relished films made in Hindi, Malayalam, Tamil, Marathi, Telugu etc. In the days when Doordarshan was the sole home-entertainment source, I have even seen films in Gujarati, Bengali & Punjabi.

I know for sure that films were initially made in Lahore, Calcutta, Madras, Bombay, Kolhapur, Poona etc. Post 1947, Bombay, Madras & Calcutta (don’t know about Kolhapur & Poona) were the movie making centres with most South Indian language films being made in Madras. I am not sure about when Kerala, Andhra Pradesh & Karnataka and other states set up their own film cities. (I am expecting answers to all my doubts from the knowledgeable Atulites).

Just as story-ideas were exchanged between the films of all the languages, actors from one region were seen in films of other regions. That trend still continues.

Similarly, there has been a trend of bilinguals & trilinguals (movies made in two or three languages simultaneously) that is accepted by the audiences. And finally there are dubbed versions of popular films too. Even, this system has not been given up, and so we have ‘KGF’ (essentially a Kannada film), ‘RRR’ (Telugu), ‘Bombay’ (Tamil), ‘Roja’ (Tamil) being brought to the notice of the Hindi audiences by dubbing them. I would love to add instances of films from other languages too , but I am ignorant of these. I know for sure that ‘English Vinglish’, ‘Dil Se’, ‘PK’ have been dubbed into south Indian languages.

To celebrate the birthday of the Indian Film Industry I have chosen a song from the film ‘Doli Saja ke Rakhna’ (1998). This is Priyadarshan remaking Fazil’s (who normally made movies in Tamil and Malayalam) ‘Aniyathi Pravu’ (which directly translates as ‘Younger Sister Dove’). ‘Aniyathi Praavu’ was remade as ‘Premisthunnanu’ in Telugu, ‘Kadhalukku Mariyadhai’ in Tamil & ‘Preethigagi’ in Kannada. This is what made me feel ‘DSKR’ was an eligible option to celebrate the Indian Film Industry. It has Anupam Kher, Moushumi Chatterjee, Aruna Irani, Paresh Rawal, Mohnish Behl, Tej Sapru, Ninad Kamat, Suresh Menon, Umesh Shukla playing the family and friends to Akshaye Khanna and Jyothika. Amrish Puri had a special appearance in this film. Malayalam actor Innocent Vareed Thekkethala, known mononymously as Innocent, also made his Hindi debut in this film.

‘DSKR’ is also the debut film of Jyothika who was born in Mumbai in 1978. She starred in many South Indian films and became very popular too.

I would like to put in a few words about Innocent. He was a versatile actor who graced the Malayalam screen from 1972 and was seen playing characters that mostly brought a smile on the viewers face. He made an excellent foil, co-actor to all his co-stars and his pairing with KPAC Lalitha (who passed away in 2022) was well-received. His career of close to 700 films featured Tamil & Kannada films too. There were two Hindi films also, both made by Priyadarshan. He was also a writer, film producer and a politician. Innocent, who was born on 28th February 1948 died recently, on 26th March at the age of 75. He was a cancer survivor who took ill on 3rd March and died three weeks later. We can see him in today’s song in the uniform of an Army Colonel.

Today’s song is sung by Babul Supriyo & Srinivas. (Again meeting of artists from two regions). The song is composed by AR Rehman and written by Mehboob Kotwal (who is always credited as Mehboob).

Song – Taram Pum Taram Pum Taram Pumm, Chalo Usko Dhhodhenge Hum (Doli Saja Ke Rakhna) (1998) Singer – Babul Supriyo, Srinivas, Lyrics – Mehboob, MD – AR
Male Chorus
Female Chorus

Lyrics (Provided by Sudhir)

ye khoya khoya rehta hai
ye din mein soya soya rehta hai
ye raaton mein uth uth ke yahi gaata hai
wo le gai dil
tarram pum tarram pum tarramm pumm
chalo usko dhoondhenge hum
pari hai wo hai hoor koi
jo dhaaya hai itna sitam
nahin wo to kuchh aur hi hai
kahen kya yaaro tumse hum
tarram pum tarram pum tarramm pumm
chalo usko dhoondhenge hum

itni haseenon mein
chhupi ik aisi haseena hai
ke moti seep mein ho jaise
angoothi mein ho
nageena koi wo
dekha hai tumne
kaho kya usko
ho o o o
jaise nageena koi wo
dekha hai tumne
kaho kya usko oo oo oo
tarram pum tarram pum tarramm pumm
chalo usko dhoondhenge hum
pari hai wo hai hoor koi
jo dhaaya hai itna sitam
nahin wo to kuchh aur hi hai
kahen kya yaaro tumse hum
tarram pum tarram pum tarramm pumm
chalo usko dhoondhenge hum

tarram pum tarram pum tarramm pumm
tarram pum pum pum pum pum pumm
tarram pum tarram pum tarramm pumm
tarram pum pum pum pum pum pumm

doodh si rangat hai
dhuli ho chaandni se jaise
kamal ke jaisi nazaakat hai
karishma hai wo
khuda hi ka to jo
dekha hai tumne
kaho kya usko oo oo
jaise karishma hai wo
dekha hai tumne
kaho kya usko oo oo oo
tarram pum tarram pum tarramm pumm
chalo usko dhoondhenge hum
pari hai wo hai hoor koi
jo dhaaya hai itna sitam
nahin wo to kuchh aur hi hai
kahen kya yaaro tumse hum
tarram pum tarram pum tarramm pumm
chalo usko dhoondhenge hum
pari hai wo hai hoor koi
jo dhaaya hai itna sitam

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

ये खोया खोया रहता है
ये दिन में सोया सोया रहता है
ये रातों में उठ उठ के यही गाता है
वो ले गई दिल
तर्रम पम तर्रम पम तर्रम्म पम्म
चलो उसको ढूँढेंगे हम
परी है वो है हूर कोई
जो ढाया है इतना सितम
नहीं वो तो कुछ और ही है
कहें क्या यारो तुमसे हम
तर्रम पम तर्रम पम तर्रम्म पम्म
चलो उसको ढूँढेंगे हम

इतनी हसीनों में
छुपी इक ऐसी हसीना है
के मोती सीप में हो जैसे
अंगूठी में हो
नगीना कोई वो
देखा है तुमने
कहो क्या उसको
हो ओ ओ ओ
जैसे नगीना कोई वो
देखा है तुमने
कहो क्या उसको ओ ओ ओ
तर्रम पम तर्रम पम तर्रम्म पम्म
चलो उसको ढूँढेंगे हम
परी है वो है हूर कोई
जो ढाया है इतना सितम
नहीं वो तो कुछ और ही है
कहें क्या यारो तुमसे हम
तर्रम पम तर्रम पम तर्रम्म पम्म
चलो उसको ढूँढेंगे हम

तर्रम पम तर्रम पम तर्रम्म पम्म
तर्रम पम पम पम पम पम पम्म
तर्रम पम तर्रम पम तर्रम्म पम्म
तर्रम पम पम पम पम पम पम्म

दूध सी रंगत है
धुली हो चाँदनी से जैसे
कमाल के जैसी नज़ाकत है
करिश्मा है वो
खुदा ही का तो जो
देखा है तुमने
कहो क्या उसको ओ ओ
जैसे करिश्मा है वो
देखा है तुमने
कहो क्या उसको ओ ओ ओ
तर्रम पम तर्रम पम तर्रम्म पम्म
चलो उसको ढूँढेंगे हम
परी है वो है हूर कोई
जो ढाया है इतना सितम
नहीं वो तो कुछ और ही है
कहें क्या यारो तुमसे हम
तर्रम पम तर्रम पम तर्रम्म पम्म
चलो उसको ढूँढेंगे हम
परी है वो है हूर कोई
जो ढाया है इतना सितम

Tags: 1998, A R Rahman, Babul Supriyo, Doli Saja Ke Rakhna, Mehboob Kotwal, Srinivas

Dukki Pe Dukki Ho Ya Satte Pe Satta

Posted by: skapur01 on: May 2, 2023

Blog Day :

5401

Post No. :

17723

This is the song, part of which is shot near to the Thajiwas glacier, near Sonamarg, Kashmir. This is the route going to Laddakh, travelling east of Srinagar. Further on this road falls Kargil area, about which many people have told me is much too beautiful to miss. Laddakh is a sight to behold too. I have missed both Laddakh and Kargil, but hope to visit in future, in-sha-Allah.

When we spoke to local people and guides in the valley at Sonamarg, one of them told us that many Hindi film songs are filmed in the area and very near to the Thajiwas glacier. He mentioned a song from the 1982 film ‘Satte Pe Satta’. I forgot all about this and only discovered this song accidentally. It is indeed filmed nearer to the glacier, than we could travel. A few decades ago, the vehicles were allowed to go up to the valley where the glacier is near, and the rivers and waterfalls start, fed by the Thajiwas glacier. Obviously, the location is visible from the highway, but far away for us city people to walk up or even ride a horse. I clicked great many photos, to capture different fingers of the main glacier, whatever I could see from one side i.e. the highway and Sonamarg side. It must be magnificent to look at from the other sides, which are truly remote and not habitable areas. This is only one glacier of the 10,000 which fall in the Indian territory. One needs several lives to fully watch and savour the magnificence of the Himalayan Mountain range, and its various attributes and aspects. The Himalayas were formed due to the friction and constant northward movement of the Indian plate against the Asian plate, over thousands of years.

This is my previous post on Kashmir visit – “Jiya Jiya Re Jiya Re“.

Todays’s song is from the film ‘Satte pe Satta’ (1982), which is mostly shot in Kashmir over 40 years ago, and one part of it is near the famous glacier. Must be in fair weather, the full star cast of the film went up there to shoot in bright sunlight. But they all returned to the base farmhouse/ farmstead where rest of the song is filmed. The singers are RD Burman, Kishore Kumar, Asha Bhosle, Bhupinder Singh, Sapan Chakraborty, Basu Chakraborty and the music is composed by RD Burman. The lyricist is Gulshan Bawra and it is the title song of the film.

Interestingly, Gulshan Bawra has rhymed the words satte pe satta with the word albatta. This gives us a unique word, and as far as I am aware, used only once in a Hindi film song. The word is a common usage affirmative / emphasising in cultured chaste Urdu. In old Hindi films this word is common, in dialogues, where the speaker wants to say or assert a view, despite this or inspite of that, ‘albatta‘, the truth prevails 😊.

اَلبَتَّہکےاردومعانی پوشیدہ فعلمتعلق یقیناً، قطعیطورپر، بےشک، ضرور، یقینہےکہ، لیکن، مگر، اتناضروریہے

albatta. अलबत्ताالبتہ. although, but, on the other hand. Isth

This explains the origin of the word.

Is the English word ‘albeit’ derived from the Urdu word ‘Albatta’?

No, the word ‘albeit’ is not derived from the Urdu word ‘Albatta’. ‘Although’ is a conjunction that means ‘in spite of the fact that’ or ‘even though’. It is derived from the Old English word ‘þeah’ which means ‘even though’ or ‘although’. The Urdu word ‘albatta‘ is a conjunction that means ‘although’ or ‘notwithstanding’. It is derived from the Arabic word ‘al-batta‘ which means ‘however’ or ‘despite’.

I have fond memories of watching this film at Minerva (or was it Apsara?) in 1982. We lived in the BEST officer’s quarters and the many families decided to watch the film collectively. The tickets were booked through the theater management, via the PSU’s good offices, as the supplier of electricity. I remember the theater management had put up a welcome message for the BEST officers and their families on screen, before the start of the film.

I am truly amazed to have had such unique experiences of movie watching, in theaters. Some memories, like being hit with a clothes hanger, and being forced to go to watch ‘Muqaddar ka Sikander’ (1978); and leaving the Liberty cinema in interval after not watching ‘Lekin’ (1990), walking up to Maratha Mandir to watch a re-release matinee show of ‘Mughal-e-Azam’ (1960) in knee deep water-logged streets; the experience of watching coins being thrown at the screen on the song “Tere Chehre Mein Wo Jaadu Hai” in a dilapidated theatre in Belgaum while watching ‘Dharmata’ (1975) sometime in the mid 80’s; the best of which is my friend being told by the usher, “No madam, it is waiting for you” at Regal cinema where we were late for the show of ‘Gone With The Wind’ (1939), in reply to her question “Has the movie started?”. There are more such memories, which will surface in time. I will share them in future posts.

Song – Dukki Pe Dukki Ho Ya Satte Pe Satta (Satte Pe Satta) (1982) Singer – Kishore Kumar, Asha Bhosle, Bhupinder Singh, Sapan Chakraborty, Basu Chakraborty, Lyrics – Gulshan Bawra, MD – RD Burman
Chorus

Lyrics

hey…

dukki pe dukki ho
ya satte pe satta
dukki pe dukki ho
ya satte pe satta
gaur se dekha jaaye
to bas hai patte pe patta
koi faraq nahin albatta
koi faraq nahin albatta
hoy koi faraq nahin albatta
koi faraq nahin albatta

haan
dukki pe dukki ho
ya satte pe satta
dukki pe dukki ho
ya satte pe satta
gaur se dekha jaaye
to bas hai patte pe patta
koi faraq nahin albatta
koi faraq nahin albatta
hoy koi faraq nahin albatta
koi faraq nahin albatta

tu mere dil ka raja hai
ya tere dil ki main raani
tu mere dil ka raja hai
ya teredil ki main raani
o o o
tu meri baahon mein aa
main teri baahon mein hoon
pyar to hoga jaani
banegi wohi kahaani
koi faraq nahin albatta
koi faraq nahin albatta
ho koi faraq nahin albatta
koi faraq nahin albatta
dukki pe dukki ho
ya satte pe satta
dukki pe dukki ho
wow
ya satte pe satta
gaur se dekha jaaye
to bas hai patte pe patta
koi faraq nahin albatta
koi faraq nahin albatta
hoy koi faraq nahin albatta
koi faraq nahin albatta

ho ho ho
ah ha haa
oh ho ho ho ho ho ho
qismat mein jin ki milna hai
wo kisi tarah bhi mil jaayen
qismat mein jin ki milna hai
wo kisi tarah bhi mil jaayen
o o purab se paschim ki ee
uttar se dakshin ki ee
mil jaati hain rekhayen
laakhon pehre lagaayen
atak gaya
kyun
ka ko ka ko ka ka
ka ka kao kao
bolo bolo bolte raho
koi faraq nahin albatta
koi faraq nahin albatta
ho koi faraq nahin albatta
koi faraq nahin albatta
ho dukki pe dukki ho
ya satte pe satta
dukki pe dukki ho
ya satte pe satta
gaur se dekha jaaye
to bas hai patte pe patta
koi faraq nahin albatta
koi faraq nahin albatta
hoy koi faraq nahin albatta
koi faraq nahin albatta

dono ka ek matlab hai
dil de de ya to dil le le
ho dono ka ek matlab hai
dil de de ya to dil le le
ho….
sadiyon se hota hai jo
aakhir ko wohi hoga
lagte hain pyar ke mele
jaayenge sabhi akele
koi faraq nahin albatta
koi faraq nahin albatta
hoy koi faraq nahin albatta
koi faraq nahin albatta
dukki pe dukki ho
ya satte pe satta
dukki pe dukki ho
ya satte pe satta
gaur se dekha jaaye
to bas hai patte pe patta
koi faraq nahin albatta
koi faraq nahin albatta
hoy koi faraq nahin albatta
koi faraq nahin albatta

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

हे ॰ ॰ ॰

दुक्की पे दुक्की हो
या सत्ते पे सत्ता
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
गौर से देखा जाये
तो बस है पत्ते पे पत्ता
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
होय कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता

हाँ
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
गौर से देखा जाये
तो बस है पत्ते पे पत्ता
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
होय कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता

तू मेरे दिल का राजा है
या तेरे दिल की मैं रानी
तू मेरे दिल का राजा है
या तेरे दिल की मैं रानी
ओ ओ ओ
तू मेरी बाहों में आ
मैं तेरी बाहों में हूँ
प्यार तो होगा जानी
बनेगी वही कहानी
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
हो कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
दुक्की पे दुक्की हो
वॉव
या सत्ते पे सत्ता
गौर से देखा जाये
तो बस है पत्ते पे पत्ता
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
होय कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता

हो हो हो
आ हा हा
ओह हो हो हो हो हो हो
क़िस्मत में जिनकी मिलना है
वो किसी तरह भी मिल जाएँ
क़िस्मत में जिनकी मिलना है
वो किसी तरह भी मिल जाएँ
ओ ओ पूरब से पश्चिम की॰ ॰ ॰
उत्तर से दक्षिण की॰ ॰ ॰
मिल जाती हैं रेखाएँ
लाखों पहरे लगाएँ
अटक गया
क्यों
का को का को का का
का का काओ काओ
बोलो बोलो बोलते रहो
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
हो कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
गौर से देखा जाये
तो बस है पत्ते पे पत्ता
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
होय कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता

दोनों का एक मतलब है
दिल दे दे या तो दिल ले ले
दोनों का एक मतलब है
दिल दे दे या तो दिल ले ले
हो॰ ॰ ॰
सदियों से होता है जो
आखिर को वोही होगा
लगते हैं प्यार के मेले
जाएँगे सभी अकेले
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
होय कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
दुक्की पे दुक्की हो
या सत्ते पे सत्ता
गौर से देखा जाये
तो बस है पत्ते पे पत्ता
कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता
होय कोई फरक नहीं अलबत्ता
कोई फरक नहीं अलबत्ता

Pyaar mein joker ban gaye hum

Posted by: Atul on: April 30, 2023

Blog Day :

5399

Post No. :

17712

Today’s song is a duet from the film ‘Duniya Jhukti Hai’ (1960).

It was a social film made by the legendary Wadia Movietone. It was directed by the elder of the two brothers- JBH.Wadia. The MD was Hemant Kumar and the songs were written by Rajendra Krishna. The cast of the film was Sunil Dutt, Shyama, Daisy Irani, Kumkum, Agha, BM Vyas, Damuanna Malavankar, Madhu Apte, Dalpat, Neelambai and many others. There are two actors from Marathi cinema. Let us know more about them as not much is known about them in the Hindi cinema world.

In the early era of the cinema there was a trend to make films in 2 languages – Local and Hindi. Therefore most films made by Marathi filmmakers at Bombay, Poona and Kolhapur were made in Marathi and Hindi. The consideration was only commercial. Local language for local audience and Hindi for All India market. Similarly, in the South too Bilinguals were made. However, here the languages were Tamil and Telugu. The other two Language films Malayalam and Kannada started a bit late. Some films, however, were made even in 3 languages or sometimes dubbed in other languages. Hindi films from the south started quite late, in 1948, with ‘Chandralekha’ made by SS Vasan. After its success, for the next 8 to 10 years southern bilinguals were made in Local and Hindi languages.

Even in Calcutta, films were made in Bangla and Hindi, with the same commercial angle. In Calcutta, some Hindi films too were made by film companies other than New Theatres. This trend of bilinguals from Calcutta was a regular feature since 1935 for about 15 years – longer than south or Marathi films.

One feature of these bilinguals was that Local language actors appeared in the Hindi version. For Marathi actors, speaking dialogues in Hindi was not much of a problem, so many such local actors worked in Hindi versions. Comparatively, southern and Bangla actors found it difficult to speak Hindi, so less number of local artistes appeared in bilinguals. Many times their dialogues had to be dubbed by some other artiste.

From Marathi, one such local popular artiste was Damuanna Malvankar. His full name was Damodar Rajaram Malvankar. He was born in a poor Bramhin family at Nippani (near Kolhapur) on 8-3-1893. He had only the basic education. In those days, there were no films, but stage dramas were very popular. Getting a job as an actor was easy. Damu had a natural squint and he skillfully used it as his best weapon.

At the age of 15 or so, he joined Keshav Rao Datey’s theatrical company ‘Maharashtra Natak mandali’. He used to get only comedy roles. After a few years, he joined Deenanath Mangeshkar’s ‘Balwant Sangeet Mandali’. When talkie films started, he joined cinema along with director Vishram Bedekar. He did films with Master Vinayak and Acharya Atre. His major films were with Vinayak and Atre, playing the caricature of a Marathi gentleman (‘Brandichi Batli/Brandy Ki Botal’, ‘Brahmachari’). His image became identified with the part of Chimanrao, the middle-aged householder of CV Joshi’s political satires, partnered by Vishnupant Jog’s Gundyabhau (‘Lagna Pahave Karun’, ‘Sarkari Pahune’). They remained partners for many years. Other directors filmed Joshi stories with them (e.g. Raja Thakur’s ‘Gharcha Jhala Thoda’) but never with Vinayak’s incisiveness. Malvankar went on to play many stereotyped character parts, usually as the foil to the lead actor, and one major ‘serious’ role, the lead character of ‘Gajabhau’.

Damuanna was a very popular comedy actor in Marathi films. He worked in over 50 Marathi films. At one time he used to get more than double of what the hero of the film used to get for his role. His most famous film role was that of ‘Chimanrao’, a fictional character in Marathi literature. His companion used to be ‘Gundyabhau’ acted by VS Jog. This comedy pair was a household name during their peak time.

Like all others, he too worked in the Hindi versions of successful Marathi films. In all, he acted in 12 Hindi films. They were ‘Krishnarjun Yuddh’ (1934), ‘Andheri Duniya’ (1936), ‘Bramhachari’ (1938), ‘Mera Haque’ (1939), ‘Ghar Ki Rani’ (1940), ‘Amrit’ (1941), ‘Sangam’ (1941), ‘Badi Maa’ (1945), ‘Jeevan Yatra’ (1946), ‘Subhadra’ (1946), ‘Main Tera Hoon’ (1947) and ‘Duniya Jhukti Hai’ (1960).

Damuanna was a good friend of Sunil Dutt and the latter wanted Damuanna, though retired, to work in at least one of his films. It took about a month to convince Damuanna to work in this film – ‘Duniya Jhukti Hai’, but finally he agreed. Along with him another old Marathi artiste Madhu Apte also was invited to be in this film. Thus these two old timers of Marathi/Hindi films appeared in this film.

His only daughter Bharati Malavankar was a heroine in Marathi films. Damuanna had very cordial family relations with the Mangeshkar family, from the days he had worked for Deenanath Mangeshkar’s drama company, when all these children were too young. This culminated in Hridaynath Mangeshkar marrying Bharathi Malvankar. Damuanna Malavankar died on 14-5-1975.
[Based on information from http://www.marathifilmdata.com, with thanks.]

The other Marathi actor was Madhu Apte. Madhu Apte’s full name was Madhukar Shankar Apte. He was born at Poona on 1-3-1919. He was a Marathi stage and film actor predominantly, who successfully used his handicap of stammering to advantage, in delivering dialogues and creating humor by mistiming the dialogues.

He acted in many Hindi films for about 40 years. His first film was ‘Ramshastri’ in 1944. He used his stammering as a means to create comedy. He worked in 33 Hindi films. For this he had to travel from Poona to Bombay frequently. This affected his health and he said goodbye to acting somewhere in 1985. His last Hindi film was ‘Aasha’ (1980).

Madhu Apte died on 25-2-1993 at Pune.

The film ‘Duniya Jhukti Hai’ was quite entertaining. The music was good and the story had a happy ending. The story of the film is. . .

After his lover ditches him by marrying a rich person, Mohan (Sunil Dutt) changes his name as Bankelal and becomes a criminal in a gang run by The Boss (BM Vyas), whom no one has seen. One day Bankelal saves a child, Munna from drowning and these two develop a close bonding. However, initially, Munna’s widowed mother Lakshmi (Shyama) does not like this bonding. But when Munna falls ill, she realizes that Banke has a real love for the child and she starts getting attracted to him. During Munna’s illness, Banke promises him that he will leave the criminal’s profession and go straight hereafter. When Munna is well, Banke surrenders to the police, who request him to help them get The Boss. When The Boss comes to know all this, he kidnaps Munna.

While searching for Munna, there is a gunfight. As Banke is about to shoot The Boss, Lakshmi shouts that he is the father of Munna. In this commotion The Boss escapes, but the police shoot him dead. All is well now. Bankelal marries Lakshmi and they live happily thereafter with Munna.

Today’s song is a typical musical melody you find in the cinemas of the 50’s decade. Later on this disappeared in songs, with more of orchestration and less of melody (Check S-J’s music, for example) became prevalent. For now, enjoy this duet sung By Mohd. Rafi and Asha Bhonsle.

Song- Pyaar mein joker ban gaye hum (Duniya Jhukti Hai)(1960) Singers-Rafi, Asha Bhonsle, Lyrics-Rajinder Krishan, MD-Hemant Kumar
Unidentified Male Voice
Rafi + Asha Bhonsle
Chorus

Lyrics

pyaar mein joker ban gaye hum
tim taara rim taara rum
pyaar mein jokar ban gaye hum
tim taara rim taara rum
ab laakh hanse hum par ye zamaana
ab laakh hanse hum par ye zamaana
pyaar mein joker ban gaye hum
tim taara rim taara rum
ab laakh hanse hum par ye zamaana
ab laakh hanse hum par ye zamaana

taara rim taara rim taara rum
taara rum
taara rim taara rim taara rum
aa haa haa
taara rum
taara rim taara rim taara rum

na bane hum jogi
na bane hum saadhu
banaake dhobhi laaya
dhobaniya ka jaadu
na bane hum jogi
na bane hum saadhu
banaake dhobhi laaya
dhobaniya ka jaadu
dil hai apna naram naram
bhatti garam garam
ab laakh hanse hum par ye zamaana
ab laakh hanse hum par ye zamaana
pyaar mein joker ban gaye hum
tim taara rim taara rum
ab laakh hanse hum par ye zamaana
ab laakh hanse hum par ye zamaana

taara rim taara rim taara
rum pum pum
taara rim taara rim taara
rum pum pum
taara rim taara rim taara rum pum pum
taara rim taara rim taara rum

safaai se to achcha nahin hai koi dhandha
isiliye main bhi bana hoon tera banda
safaai se to achcha nahin hai koi dhandha
arre isiliye main bhi bana hoon tera banda
chhua chhu ki ye sargam
chhed to baithhe hum
ab laakh hanse hum par ye zamaana
ab laakh hanse hum par ye zamaana
pyaar mein joker ban gaye hum
tim taara rim taara rum
ab laakh hanse hum par ye zamaana
ab laakh hanse hum par ye zamaana

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

प्यार में जोकर बन गए हम
टिम तारा रिम तारा रम
प्यार में जोकर बन गए हम
टिम तारा रिम तारा रम
अब लाख हँसे हम पर ये ज़माना
अब लाख हँसे हम पर ये ज़माना
प्यार में जोकर बन गए हम
अब लाख हँसे हम पर ये ज़माना
अब लाख हँसे हम पर ये ज़माना

तारा रिम तारा रिम तारा रम
तारा रम
तारा रिम तारा रिम तारा रम
आ हा हा
तारा रम
तारा रिम तारा रिम तारा रम

ना बने हम जोगी
ना बने हम साधु
बनाके धोबी लाया
धोबनिया का जादू
ना बने हम जोगी
ना बने हम साधु
बनाके धोबी लाया
धोबनिया का जादू
दिल है अपना नरम नरम
भट्टी गरम गरम
अब लाख हँसे हम पर ये ज़माना
अब लाख हँसे हम पर ये ज़माना
प्यार में जोकर बन गए हम
टिम तारा रिम तारा रम
अब लाख हँसे हम पर ये ज़माना
अब लाख हँसे हम पर ये ज़माना

तारा रिम तारा रिम तारा
रम पम पम
तारा रिम तारा रिम तारा
रम पम पम
तारा रिम तारा रिम तारा रम पम पम
तारा रिम तारा रिम तारा रम

सफाई से तो अच्छा नहीं है कोई धंधा
इसीलिए मैं भी बना हूँ तेरा बंदा
सफाई से तो अच्छा नहीं है कोई धंधा
इसीलिए मैं भी बना हूँ तेरा बंदा
छूआ छू की ये सरगम
छेड़ तो बैठे हम
अब लाख हँसे हम पर ये ज़माना
अब लाख हँसे हम पर ये ज़माना
प्यार में जोकर बन गए हम
तिम तारा रिम तारा रम
अब लाख हँसे हम पर ये ज़माना
अब लाख हँसे हम पर ये ज़माना

Tags: 1960, Asha Bhonsle, Duniya Jhukti Hai, Hemant Kumar, Rafi, Rajinder Krishan

Older Entries

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

Archive for the ‘Devnagri script lyrics by Sudhir’ Category

Hamen Koi Dekhat Kaahe Nayia Ho

Bhanwre Ne Khilaaya Phool, Phool Ko Le Gaya Raaj Kunwar

Hamaari gali aana humse ankhiyaan milaana

Saaqi Ne Meri Pyaas To Kuchh Aur Badha Di

Rahiye ab aisi jagah chal kar jahaan koi na ho

Sarfaroshi Ki Tamanna Ab Hamaare Dil Mein Hai

Tu Dekh Zaraa Dil Ka Darpan

Taram Pum Taram Pum Taram Pumm, Chalo Usko Dhhodhenge Hum

Dukki Pe Dukki Ho Ya Satte Pe Satta

Pyaar mein joker ban gaye hum

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Archive for the ‘Devnagri script lyrics by Sudhir’ Category

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What is this blog all about

Important Announcement

Total number of songs posts discussed

Number of movies covered in the blog

Search

Total visits so far

Top Posts

Subscribe to the blog

Bookmark

Recent comments

Meta

Category of songs

Blogroll

Current Visitors

Historical dates

networked blogs

Archives

Stumble

visitors whereabouts

blogadda

blogcatalog

Tag cloud