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

Archive for the ‘Mahendra Kapoor songs’ Category


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

Wishing our Dear Atul ji, a very Happy Birthday. May this day be celebrated on this blog many, many, many more times.

Today’s song is from film ‘Do Behnen’ (1959). After KA Abbas’s film ‘Anhonee’ (1952), the attention of film makers was drawn to the theme of 2 sisters of same looks but different natures. Such themes provided a scope for double role. ‘Do Behnen’ (1959) was also inspired by this theme.

This reminds me of an early film based on this theme. The film was ‘ Muqaabla ‘ (1942). Fearless Nadia was the heroine and did the double role of both the good and bad sisters. It was very funny to see Nadia in a saree and doing pooja etc. It was funnier to listen to her broken, anglicised pure Hindi dialogues. Normally, in Nadia’s films, her dialogues used to be minimum – actions spoke for her. But ‘Muqaabla’ was such a story that dialogues were a must.

‘Do Behnen’ was a film in which Shyama had a double role. The other cast of the film was Rajendra Kumar, Chand Usmani, Ram Mohan, Tiwari, SK Prem, Mumtaz Begum etc. It was produced by Kailash Kapoor, JP Sehgal and Prakash Seth. The film was directed by Kedar Kapoor (2-9-1927 to 5-6-1987), who directed 35 films from 1954 to 1983. He was called Dara Singh expert, as he had directed 10 Dara Singh movies in the 1960s. Actress Madhu Kapoor is his daughter.

Chand Usmani was one of those actresses, who were good in acting but poor in good luck ! Actresses like Farida Jalal, Tabassum, Shubha Khote, Nazima, Zahira, Zahida, Yashodhara Katju and many more fall in this category. These actresses never made it to the regular heroine roles in A grade films, more than few films. They had some beginner’s luck but that was the end. They continued in side roles only.

Chand Usmani  was born in Agra, UP, and came to limelight by participating in ‘Kardar-Kolynos-Teresa Contest’ in 1949. She felt surprised when she was selected  for the contest and was overjoyed when she won the second spot in the finals. She acted as the female lead of ‘Jeevan Jyoti’ directed by Mahesh Kaul in 1953 opposite Shammi Kapoor. It was the debut film of Shammi Kapoor also.

Chand Usmani became an established actress later on, but she got only secondary roles which she performed always nicely. Gradually she accepted supporting roles, character roles, mother roles etc. She got Filmfare Best Supporting actress award for her portrayal of the character as ‘Champa’ in the 1970 film ‘Pehchan’. She acted in films of all prominent actors of that period.

In 1957, in the film ‘Naya Daur’ directed by BR Chopra, and in which Dilip Kumar-Vyjayantimal were the main pair, Chand Usmani acted as sister of the hero Dilip Kumar’s character ‘Shankar’. In the historical film ‘Samrat Pritviraj Chauvan’ (1959) she acted in the role of Rajkumari. ‘Prem Patra’ (1962) was a well noted film directed by Bimal Roy in 1962. A medical College student Arun Kumar Mathur (Shashi Kapoor) has a misunderstanding over a love letter and the consequences were the theme of the film. Sadhna was the heroine and Chand Usmani acted in the supporting role as ‘Sumitra’.

Biswajeet, Saira Banu, Jayant, Sajjan, Nazima, Chand Usmani etc. were the star cast of ‘April Fool’ (1964) directed by Subodh Mukherjee. This film pointed to the fact that sometimes even practical jokes done for just fun can also lead to unexpected serious problems.

In the super hit film ‘Khilona’ in which Sanjeev Kumar acted in leading role in 1970, Chand Usmani  acted as the character Laxmi Singh.  In the film ‘Ujala Hi Ujala’ (1974),  she portrayed mother’s role and acted as mother of Yogita Bali’s character Anuradha. She presented excellent acting skill  along with Shabana Azmi in the 1976 classic movie ‘Kadambari’. In the 1977 super hit movie of Manmohan Desai ‘Parvarish’ in which Amitabh Bachchan, Shammi Kapoor, Neetu Singh, Shabana Azmi, Vinod Khanna, Amjad Khan, Kader Khan etc acted, Chand Usmani acted skilfully as the mother of Neetu and Shabu (Neetu Singh and Shabana Azmi). She had well noted character role in another super hit film of Amitabh Bachchan-Neetu Singh pair ‘Yaarana’ in 1981 and yet another film ‘Pukar’ (1983) in which Amitabh Bachchan and Zeenat Aman were the main pair. She acted as mother of Suraj (Raj Babbar) in the film ‘Zakhmi Aurat’ (1988).

Chand Usmani passed away in 1989 at Mumbai.

There was one more name in the cast of this film – Ram Mohan. Actors like him are seen in many films, but their names are not known to many. He is the male version of actresses like Farida Jalal, in getting the lead roles. Good in acting but low in good luck !

Ram Mohan Sharma – a young, handsome lad from Ambala. Born in Ambala 0n 2-11-1929, Ram Mohan Sharma was a graduate (BA) and had come to Bombay in 1945 in search of a career in cinema. The youngster, who was in his early twenties, with fair colour, curly hair and sharp features, had approached Jagdish Sethi to get work in movies as an actor. The latter found him sincere and gave him a supporting role in ‘Jaggu’ (1952), which he was to make. The movie had very good music, scored by Hansraj Behl and it had moderate success, when released. Later, Ram Mohan got small roles in few movies in 1954, Sethi Sahab cast him in the romantic role opposite Shyama in ‘Pensioner’ (1954). The movie did not do well and it was the end of Ram Mohan’s career as hero.

Life goes on and he decided to accept any role offered to him and soon he was a known name in the film circle. In ‘Do Behnen’,which had Shyama in double role, Ram Mohan enacted the role of a villain, which gave his career a big boost as bad man . Later he came in touch with Sunil Dutt and Nargis, and forged a permanent friendship with them. Although Ram Mohan mostly got roles of tough characters, but inside he was soft hearted. He was a member of Film Artists Association. He requested Sunil Dutt Ji who was feeling depressed after Nargis Ji passed away, to help the ‘Have Nots’ of film industry.

Virtually an encyclopaedia of film industry, Ram Mohan knew every technician, junior artists as well as old and forgotten artists, who needed help. Whenever they both were free, they used to visit the ailing artists in hospital or their residences, to give them moral as well as financial support. Rajan Haksar was in a charity hospital, after failure of his kidneys. Both benevolent persons visited the hapless artist to boost his spirit. Ram Mohan was confidant of Asha Parekh, the kind hearted lady who was president of the Artists Association and they together helped many artists, who were in dire need of assistance.

Ram Mohan was vice president of CINTAA ( Cine and TV Artists Association) for 4 years and secretary for 6 years. Ram Mohan had a very good reputation every where and when he came to know about the miserable condition of AK Hangal, he met a political leader and arranged the financial help through Maharashtra Govt, on a regular basis. At the time of bereavement, he made it a point to help the family till all religious formalities were over. Every one in the film industry use to address him as Ram Mohan Ji ,to show their genuine respect for him.

In his career of more than five decades, Ram Mohan appeared in more than 250 movies (the number varies from 240 to 277), mostly in negative roles. He did not believe in self publicity and did his philanthropic work quietly. Ram Mohan was keeping indifferent health when his pillar of strength, his life partner passed away. Ram Mohan also followed suit and breathed his last six months later on 6th December 2015 .

Ram Mohan had 3 sons and 1 daughter, all very well settled in life. He will always be gratefully remembered by thousands of anonymous film artists who were helped by him. His memories will be cherished by his admirers, who loved his work on and off the screen. Truly, to find people like him, in this era is a rarity. Let us hope his selfless work will inspire other persons connected with the film industry to help their less fortunate colleagues and the tradition of “वसुधैव कुटुम्बकम” (“vasudhaiv kutumbakam“) set by him will continue. He found an admirer in Gulzar Sahab, who always referred him as Ram Mohan Ji. Please see the credit titles of film ‘Ijaazat’, where his name is listed as Ram Mohan ji. (Thanks to ‘Beete Huye Din’, and Shri MN Sardana ji, for some of the information included in the bio sketch above).

The film ‘Do Behnen’ was not on fire at the box office. Such films do average business. Double roles, in my opinion, help the film recover the costs and ensure that there are no losses. The story of this film was repeated in so many films, that after interval, almost every scene must be predictable. There is a famous saying in the film industry all over the world that there are only 36 stories in the world. All film stories are different versions and adaptations of one of these only.

The story of the film was written by eminent writer Pt. Mukhram Sharma (29-5-1909 to 25-4-2000), the most famous writer of stories with social themes in the 1950s. Pt Mukhram Sharma had a long association with BR Chopra. He had written stories for many of his hit films. Some of his notable films are ‘Ek Hi Raasta’, ‘Aulaad’, ‘Sadhna’ and ‘Dhool Ka Phool’. His other hit films include ‘Santaan’, ‘Do Kaliyan’, ‘Jeene Ki Raa’h, ‘Raja Aur Rank’, ‘Dadi Maa’, ‘Gharana’ and ‘Talaaq’. Pt. Sharma had won Filmfare awards for ‘Sadhna’, ‘Vachan’ and ‘Aulaad’. He was also honoured with the Sangeet Natak Academy Award in 1961.

Before coming to Bombay, he was a teacher in Meerut. In 1939, he came to Bombay, but could not get any job. He moved to Poona and joined Prabhat films as a tutor for Marathi and Hindi. In Poona, he married a Marathi actress Shanta Mujumdar. He was with Marathi films till 1952, then he came to Bombay and got the first Filmfare award for best story for his film ‘Aulaad’ (1954). After that, there was no looking back. After winning Filmfare awards 3 times, Academy Award and Lifetime achievement Zee award, Pt. Sharma retired in 1980 and went back to Meerut.

The story of ‘Do Behnen’ is summarized below.

Bombay-based look-alike twin sisters, Vasanti and Malti (roles played by Shyama), live a wealthy lifestyle with their parents. Their father, Raghunath (SK Prem), arranges devout Vasanti’s marriage with Ramesh (Rajendra Kumar), who lives with his widower father, a doctor (Tiwari), and a sister, Rekha (Chand Usmani). After the wedding, Raghunath is shocked to find Malti singing and dancing with a male named Anokhe (Ram Mohan) in a nightclub. He brings her home, admonishes her severely and forbids her to leave the home. In response, she elopes with Anokhe, travels to Poona and books a room in Paramount Hotel. Shortly thereafter Anokhe shows his true colors, squanders her money, starts drinking, and frequenting prostitutes. He then takes her jewellery and walks out of her life. In order to recover the rent, the hotel manager contacts the Mathurs. Vasanti and her mother (Mumtaz Begum) attend to take Malti back home. While traveling home, the train meets with an accident and Vasanti passes away. Her mother tells everyone that it is Malti who has passed away, and compels Malti to take over as Vasanti, which she does reluctantly.

After going to her house, she finds it very difficult to adjust to the sati savitri type behaviour. However, slowly  she starts loving the new house and also her husband. Ramesh many times gets puzzled with her behaviour, but ignores.

Finally the truth is out one day, but by that time Ramesh starts liking her and so a new Malti takes over her dead sister’s place officially. (636)

The film has 7 songs, all written by Kavi Pradeep. This is the fourth song to be discussed on our blog from this film. The music director is Vasant Desai. Pradeep had never teemed up with Desai. In 1959, their first film was ‘School Master’ (1959), made in Madras by BR Panthulu and then the second and the last film was ‘Do Behnen’. Vasant Desai never preferred Pradeep, because 1) he wanted at least one song for him to sing  and 2) he would insist for the tunes that he composed himself for his lyrics. This was precisely the reason why many  composers like Naushad always kept away from Pradeep, unless compelled. In ‘School Master’ as well as ‘Do Behnen’, Pradeep had one song each to sing.

Today’s song is sung by Lata, Mahendra Kapoor and chorus. Mahendra Kapoor has no lines to sing, only two short aalaps (lip synched on screen by Ram Mohan). The song is a lovely melody. It is picturized on Chand Usmani, Ram Mohan and their friends, having a frolic in boats in a lake. Enjoy…..


Song – Jhuk Jhuk Jhola Khaaye Re Badariya (Do Behnen) (1959) Singer – Lata Mangeshkar, Mahendra Kapoor, Lyrics – Pradeep, MD – Vasant Desai
Chorus

Lyrics

aaa aaa aaaaaaaaa
aaa aaaa aaaaaaa aaaaaa
aaa aaaa aaaaa aaaaa

jhuk jhuk jhola khaaye
jhuk jhuk jhola
jhuk jhuk jhola khaaye
jhuk jhuk jhola

ho oo oo oo
jhuk jhuk jhola khaaye re badariya
jhuk jhuk jhola khaaye
saawan ki rut aayi re
mero dheeraj chhooto jaaye
haaye haaye dheeraj chhooto jaaye
jhuk jhuk jhola khaaye
jhuk jhuk jhola
jhuk jhuk jhola khaaye
jhuk jhuk jhola

ho lo re lo chalne lagey hain
pawan ke chanchal jhonke
oo chanchal jhonke
oo haaye mere mann wich
mere mann wich
o mere mann wich dhuk dhuk hoye
ke jiyara chaunke
oo jiyara chaunke
ho oo oo
kitna achha ho sakey jo
aise mein koi aa jaaye
saawan ki rut aayi re
mero dheeraj chhooto jaaye
haaye haaye dheeraj chhooto jaaye
jhuk jhuk jhola khaaye
jhuk jhuk jhola
jhuk jhuk jhola khaaye
jhuk jhuk jhola

jhuk jhuk jhola khaaye
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola khaaye
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola
(aaa aaa aaaa aaa aaa)
aaa aaa aaaa aaa aaa
aaa aaa aaaa aaa aaa
aaa aaa aaaa aaa aaa
aaa aaa aaaa aaa aaa

dekho re dekho kaun door se gaaye re. . .
aa ha aa ha haa
dekho re dekho kaun aaj lalchaaye re
aa ha aa ha haa
kaahe nazar meri chakraaye
mera manwa ud ud jaaye
kuchh bhi nahin samajh mein aaye re
ha ha
haa haa ha ha haa
oo oo aa ja re aa ja o pardesi
aa ja
aa ja re aa ja o pardesi
kyon mujhko tarsaaye
saawan ki rut aayi re
mero dheeraj chhooto jaaye
haaye haaye dheeraj chhooto jaaye
jhuk jhuk jhola khaaye
jhuk jhuk jhola
jhuk jhuk jhola khaaye
jhuk jhuk jhola

ho oo oo oo
jhuk jhuk jhola khaaye re badariya
jhuk jhuk jhola khaaye
saawan ki rut aayi re
mero dheeraj chhooto jaaye
haaye haaye dheeraj chhooto jaaye
jhuk jhuk jhola khaaye
jhuk jhuk jhola
jhuk jhuk jhola khaaye
jhuk jhuk jhola

jhuk jhuk jhola khaaye
(aaa aaa aaaa aaa aaa )
jhuk jhuk jhola
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola khaaye
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola khaaye
(aaa aaa aaaa aaa aaa )
jhuk jhuk jhola
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola khaaye
(aaa aaa aaaa aaa aaa)
jhuk jhuk jhola
(aaa aaa aaaa aaa aaa)

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

आ आ आ
आ आ आ आ
आ आ आ आ

झुक झुक झोला खाये
झुक झुक झोला
झुक झुक झोला खाये
झुक झुक झोला

हो ओ ओ ओ
झुक झुक झोला खाये रे बदरीया
झुक झुक झोला खाये
सावन की रुत आई रे
मेरो धीरज छूटो जाये
हाय हाय मेरो धीरज छूटो जाये
झुक झुक झोला खाये
झुक झुक झोला
झुक झुक झोला खाये
झुक झुक झोला

हो लो रे लो चलने लगे हैं
पावन की चंचल झोंके
ओ चंचल झोंके
ओ हाए मेरे मन विच
मेरे मन विच
ओ मेरे मन विच धुक धुक होय
के जियरा चौंके
ओ जियरा चौंके
हो ओ ओ
कितना अच्छा हो सके जो
ऐसे में कोई आ जाये
सावन की रुत आई रे
मेरो धीरज छूटो जाये
हाय हाय मेरो धीरज छूटो जाये
झुक झुक झोला खाये
झुक झुक झोला
झुक झुक झोला खाये
झुक झुक झोला

झुक झुक झोला खाये
(आ आ आ आ आ)
झुक झुक झोला
(आ आ आ आ आ)
झुक झुक झोला खाये
(आ आ आ आ आ)
झुक झुक झोला
(आ आ आ आ आ)
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ

देखो रे देखो कौन दूर से गाये रे॰ ॰ ॰
आ हा आ हा हाss
देखो रे देखो कौन आज ललचाये रे
आ हा आ हा हाss
काहे नज़र मेरी चकराये
मेरा मनवा उड़ उड़ जाये
कुछ भी नहीं समझ में आए
हा हा
हाss हाss हा हा हाss
ओ ओ आ जा रे परदेसी
क्यों मुझको तरसाये
सावन की रुत आई रे
मेरो धीरज छूटो जाये
हाय हाय मेरो धीरज छूटो जाये
झुक झुक झोला खाये
झुक झुक झोला
झुक झुक झोला खाये
झुक झुक झोला

हो ओ ओ ओ
झुक झुक झोला खाये रे बदरीया
झुक झुक झोला खाये
सावन की रुत आई रे
मेरो धीरज छूटो जाये
हाय हाय मेरो धीरज छूटो जाये
झुक झुक झोला खाये
झुक झुक झोला
झुक झुक झोला खाये
झुक झुक झोला

झुक झुक झोला खाये
(आ आ आ आ आ)
झुक झुक झोला
(आ आ आ आ आ)
झुक झुक झोला खाये
(आ आ आ आ आ)
झुक झुक झोला
(आ आ आ आ आ)
झुक झुक झोला खाये
(आ आ आ आ आ)
झुक झुक झोला
(आ आ आ आ आ)
झुक झुक झोला खाये
(आ आ आ आ आ)
झुक झुक झोला
(आ आ आ आ आ)

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This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Aaye Din Bahaar Ke”(1966) was produced by J Omprakash and directed by Raghunath Jhalani for Filmyug Private Limited. The movie had Dharmendra, Asha Parekh, Naazima, Sulochana Latkar, Raj Mehra, Rajendranath, Balraj Sahni, Sunder, Mubarak, Sabita Chatterjee, Leela Mishra, Dulari, Madhu Apte, Khairati, Sarita Devi, Brahm Bhardwaj, C.S.Dubey, Nazir Kashmiri, Lata Bose etc in it.

The movie had seven songs in it and all of them were quite popular songs. Five of these songs have been covered in the blog. Here is the sixth song from “Aaye Din Bahaar Ke”(1966) to appear in the blog. This song is sung by Lata and Mahendra Kapoor. Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal.

The song is picturised as a song that was popularly described as the lead pair (Asha Parekh and Dharmendra) running around trees, though it is more like rolling on the grass and trampling them in the process, as far as I can tell. 🙂

Lyrics of this song were sent to me by Prakashchandra quite some time back.


Song-Ye kali jab talak phool ban ke khiley (Aaye Din Bahaar Ke)(1966) Singers-Lata, Mahendra Kapoor, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics(Provided by Prakashchandra)

ye kali
jab talak
phool ban ke khiley
intzaar intazaar
intzaar karo
intzaar karo
intazaar woh bhala kya kare
tum jise
beqaraar beqaraar
beqaraar karo

intzaar karo

pyaar mein pyaar ki bhi ijaazat nahin
pyaar mein pyaar ki bhi ijaazat nahin
berukhi hai aji ye mohabbat nahin

aa raha hai maza
tum shikaayat yahi
baar baar
baar baar
baar baar karo
intzaar karo
intzaar woh bhala
kya kare
tum jise
beqaraar beqaraar
beqaraar karo
beqaraar karo

husn pe to asar hone waala nahin
aa aa aa
husn pe to asar hone waala nahin
ishq tum ko na kar de deewaana kahin
hai ye deewaangi bhi qubool
tum agar
hamse pyaar
hamse pyaar
hamse pyaar karo
hamse pyaar karo

ye kali jab talak
phool ban ke khile
intzaar intzaar
intzaar karo
intzaar karo

roz hamne bayaan ye fasaana kiya
roz hamne bayaan ye fasaana kiya
roz tumne naya ik bahaana kiya

ye bahaana magar
aakhri hai sanam
aitbaar aitbaar
aitbaar karo
intzaar karo
intzaar woh bhala
kya kare tum jise
beqaraar beqaraar
beqaraar karo
beqaraar karo

intzaar intzaar
intzaar karo
intzaar karo
hamse pyaar
hamse pyaar
hamse pyaar karo

intzaar karo


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

Missing Films of 1960s – 30
– – – – – – – – – – – – – – –

Before I started working on this post, I was under the misconception that this film has already opened its account on our blog. Why I have carried this impression, I myself am not sure. This has happened with me a few times. On a couple of occasions, I even have sent an SOS message to Atul ji, just to confirm. Sometimes, this feeling that a particular song or a particular film is already present on our blog, is so strong, that either I will not look it up. Or if I do, then I don’t believe that it is not present. It makes me feel that there is some error in the data files. And that is when the SOS message to Atul ji happens. Maybe, it is because that at some point in time in the past, I have thought about writing up a particular song. That desire is so intense, that an impression stays in the mind that it has happened, even though I did not really get around to doing it, for some reason.

The film ‘Aasmaan Mahal’ belongs in that category. When I got the list of missing films from 1960s from Khyati Ben, I was surprised to see this film listed there. I checked and double checked – yes this film has not yet made its entry on our blog. Khyati Ben’s communication is also quite a while ago now, so this debut has taken its own sweet time.

Released in 1965, this film is from one of those different line directors who will not walk a beaten path – Khwaja Ahmed Abbaas. Whenever, I have an encounter with his films, it always has been that the director himself stands out much taller than his creations. Abbaas Sb belongs to that set of directors whose approach to realism is starkly different. Over the decades, the film producers and directors have been raising the bar on creating a progressively more realistic experience for the audiences. Their violence is very real, their romancing and love making is very real, their action and the settings are getting more real, the scenic projections are getting more and more real with the help of better technology and methods. They will make one lose the sense of the medium, that you are watching a film. Their endeavor is to draw the audience so powerfully into the scene, that it seems like being there, seeing that. But there is something missing. And the missing element is the reality of life – the realism of the human situation. What remains is entertainment, no doubt a significant cause for the industry, but the message of life is lost beneath the noise of the effort to present a situation more and more realistically.

Abbaas Sb and other directors of his ilk will present you with drama that does not let you forget that it is after all a drama. They don’t spend any energies to transform reel life into real life. The situations, the expressions, the motions – will not make the audience forget that they are watching a make believe reel life. Au contraire, their triumph is that they are successful in projecting the human situation as it is, and confront the audience with the realism of human beings. They will present a slice of life that is most of the time, a part of our personal experience. Only that they bring it into a sharper focus. Entertainment is not the primary quest. The primary quest is to deliver a message without any soothing embellishments.

The era is late 1930s and early 1940s. The philosophy of communism, which in prior decades had made an impact in Europe, and created a new behemoth nation, the USSR, was maturing. The initial euphoria and the romanticism which captures the imagination of every generation coming of age, brought this philosophy to the centre of the world stage. The Russian influence would work in neighbuoring China also, which would become a communist nation, about a decade later. The influence carried to South America, to Africa and to South and South East Asia, In that backdrop, the communist movement started to take roots in India also.

Being a movement of the masses, their primary method was to reach out to the people in the rural areas and the in the lower strata of the society. The thinkers and dreamers in the cultural spaces were quite influenced by this ideology, and the IPTA (Indian Peoples Theatre Association) was born. In its heydays in the 1940s and 1950s, it boasted of membership that read like the who’s who of the Indian film industry, as well as the Indian writers / authors / poets of any and all significance. Abbaas Sb has been a prominent and leading luminary of this movement of cultural expression in India. I borrow from one of my earlier articles (the post on the song “Aandhi Aaye Ke Toofaan” – film ‘Saat Hindustani’ (1969)), and reproduce a set of paragraphs about him.

 The Wikipeadia page on Abbas Saab contains very interesting information about this personality, e.g. fact like his family tree is traced back to Ayub Ansari, a close associate of Prophet Mohammed, and that his grandfather was one of the prominent soldiers in the 1857 uprising against the Britishers and a martyr, sentenced to be blown on a cannon, and that Abbas Saab is the great great great grandfather of Shahid Kapoor. Besides these familial facts, Abbas Saab has been a prolific writer and journalist, and a noted story writer and film maker in Hindi Cinema. His column ‘Last Page’ in ‘Blitz’, the Bombay based newspaper, ran from 1935 to 1987, the longest running column in the history of Indian journalism. He wrote 73 books in Hindi, Urdu and English, and is considered as one of the premier Urdu short story writers of the 20th century.

Abbas Saab started his career in the film industry in 1936, as a publicist for Bomaby Talkies. He wrote the story and screenplay for ‘Naya Sansar’ (1941) that launched his career as a writer. He also had strong Marxist leanings, and was part of the IPTA (Indian People’s Theatre Association) movement in the 40s and 50s. His debut as a director was with the movie ‘Dharti Ke Lal’ (1945), a movie based on the catastrophic Bengal famine of 1943, produced by IPTA. His other notable screenplay contributions have been Chetan Anand’s ‘Neecha Nagar’, V Shantaram’s ‘Dr. Kotnis Ki Amar Kahaani’, and many movies from the RK studios including ‘Aawaara’, ‘Shri 420’, ‘Jaagte Raho’, ‘Mera Naam Joker’, ‘Bobby’, ‘Henna’ etc. Incidentally, the movie ‘Neecha Nagar’ (1946) has the unique distinction of being the first Indian film to win the Golden Palm at the Cannes Film Festival.

Abbas Saab was a pioneer of the neo-realistic parallel cinema, and through his own production house Naya Sansar, made many notable films like ‘Anhonee’, ‘Raahi’, ‘Munna’, ‘Shehar Aur Sapna’, ‘Aasmaan Mahal’, ‘Char Dil Char Raahen’, ‘Saat Hindustani’, ‘Do Boond Pani’ etc. He won the National Award for ‘Shehar Aur Sapna’, and the awards for best film on national integration for ‘Saat Hindustani’ and ‘Do Boond Pani’.

With ‘Aasmaan Mahal’, Abbaas Sb got the opportunity to present literally the decay and transition of the old feudal systems, being replaced by the power of the worker class – which is the central theme of the Marxist philosophy. The story revolves around the haveli named ‘Aasmaan Mahal’ – a once grand palace which has been the residence of a generation of Nawabs, in the city of Hyderabad. With all avenues of revenue and income dried out, the family and the palace has fallen into decay. There are no finances to maintain the place. The current Nawab, role played by Prithviraj Kapoor, lives on in the hope of one day being able to uncover a hidden treasure on the premises. The archaic tales of the palace tell of a previous generation Nawab having hidden away a large stash of gold and jewels some place in the palace. Its whereabouts are not known.

Meanwhile the errant and spoilt son of the Nawab, role played by Dileep Raj, would not know better, spending his time and days as young men of Nawab families are supposed to. The reality of penury comes home to roost one day. The young heir apparent chooses to start working in a car repair workshop. And he falls in love with the daughter of a commoner. Expectedly, the standoff happens between the generations, with both sides taking tough stands – the elder Nawab arguing about the opulence of the past and where they come from, and the young man talking about the ground realities of what they are now. A compromise consensus is arrive at, the young man gets to marry his beloved in a last big celebration that happens in the palace, after which the palace is auctioned off. The elder Nawab passes away on the day of the auction, and young man takes up work as a truck driver.

The film travels on an even keel, never forgetting the primary thread. The realism of the decay, so potently expressed in black and white, is not just of the palace and its facades, but also of the ageing generations and their belief systems. The uptake of the younger generation, conceding to work as a car mechanic, quite in contrast to his antecedents, is both romanticism as well as an acceptance of life’s realities. It is an out and out KA Abbaas film – the reality of life, and the message of change is very convincing, although viewing the film, the director ensures that you know that you are after all viewing a film.

This is the first song from this film to find its place on our blog. And this song is very special for couple of very important reasons. The first reason is the poet behind this song – Majaaz Lakhnawi. Most readers and friends will be familiar with this name. His iconic ghazal “Ae Gham e Dil Kya Karoon, Ae Vehshat e Dil Kya Karoo” has been made into the now memorable song in the voice of Talat Sb, for the film ‘Thokar’ (1953). It seems that Majaaz had a set of good friends in the industry. Recently, a friend pointed out to me that Majaaz has even made a cameo appearance in one film. In the film ‘Pyaasa’ (1957), just before Hemant Da’s song “Jaane Wo Kaise Log The Jin Ke Pyaar Ko Pyaar Mila”, there is a small session of the literati in progress. Majaaz is present in person in this scene, and also presents two she’er (couplets) in his own voice.
[Ed Note: As pointed out by Sadanand ji, and also after some more checking, the above sentences are deleted. Reason being that the reference to the film ‘Pyaasa’ in this context is incorrect and misplaced. In the above mentioned scene of a small party of the literati at the home of Rehman, two actors play the roles of Majaaz and Jigar Muradabaadi, for the cameos. The actual persona are not present in the scene, as I was led to believe based on a conversation with a friend. Sadanand ji has correctly pointed out that Majaaz passed away in 1955, and the shooting for ‘Pyaas’ commenced only in 1956.]

Given the quality of the song from ‘Thokar’ and the familiarity with the industry folks, it is amazing that Majaaz has not written anything else for the films. With one excpetion – this song from ‘Aasmaan Mahal’. As I searched the Geet Kosh and other sources, I am not able to locate any other writings of his being used in films – just these two solitary ghazals.
[Ed Note: Sadanand ji points out that Majaaz never wrote for films. That there are two instances of his poetry being used in Hindi films, is more about the film people choosing to use his pre-published poetry rather than him writing for films specifically.]

And the second thing special about this ghazal is the manner in which it has been framed and presented. It is a single ghazal, which tells of the pains of helplessness and inefficacies of a heart in love. The music director, JP Kaushik has presented this ghazal as a duet, with the two people in love taking turns to express their emotions using the couplets of the same ghazal. I cannot immediately recall another instance where this method is used. The lines are presented, not as a song, but as a ghazal in its pure form. The lady and the gentleman are shown situated long distances from each other, and are shown communicating through the rendition of this ghazal. The voices are of Mahendra Kapoor singing for Dileep Raj, and Vijaya Chaudhry singing for Surekha.

Another side note. I am presenting two versions of this ghazal, wherein clearly the version on the 78 rpm record is very different from the version that is present in the film. Obviously the two versions have been recorded separately. The body of the ghazal does not change. There is change in the order of the couplets and also which voice picks up which line. A very interesting thing to note is that the film version has NO accompanying music. However, the record version has accompaniment by tabla and sitar. It is quite possible that after the 78 rpm version was recorded, the director may have felt the need for an even more bare bones version to suit the situation in which he wanted to film it. And hence a different version may have been recorded.

More about the film and the people associated with it, in subsequent presentations of the songs of this film. Welcome to ‘Aasmaan Mahal’.

[Video]

[Audio]

Song – Main Aahen Bhar Nahin Sakta (Aasmaan Mahal) (1965) Singer – Mahendra Kapoor, Vijaya Majumdar, Lyrics – Majaaz Lakhnawi, MD – Jag Phool Kaushik
Mahendra Kapoor + Vijaya Majumdar

Lyrics

(Video Version)
main aahen bhar nahin sakta

ke naghme gaa nahin sakta
sukoon lekin mere dil ko
mayassar aa nahin sakta
sukoon lekin mere dil ko

main usko poojti hoon aur
us ko paa nahin sakti
main us ko chaahta hoon aur
us tak jaa nahin sakta

haden wo kheench rakhi hain
haram ke paasbaanon ne
haden wo kheench rakhi hain
haram ke paasbaanon ne
ke bin mujrim baney
paighaam bhi pahuncha nahin sakta

ye majboori si majboori
ye lachaari si lachaari
ke us ke geet bhi  
jee khol kar main gaa nahin sakta
sukoon mere dil ko

na aandhi rok sakti hai
na toofaan rok sakte hain
na toofaan rok sakte hain
magar phir bhi main
us kasr e haseen tak jaa nahin sakta

zubaan par bekhudi mein naam
us ka aa hi jaata hai
zubaan par bekhudi mein naam
us ka aa hi jaata hai
agar poochhe koi wo kaun hai
batla nahin sakta

(Audio Version)
main aahen bhar nahin sakta
ke naghme gaa nahin sakta
sukoon lekin mere dil ko
mayassar aa nahin sakta
sukoon lekin mere dil ko

main usko poojti hoon aur
us ko paa nahin sakti
main us ko chaahta hoon aur
us tak jaa nahin sakta
sukoon lekin mere dil ko

na aandhi rok sakti hai
na toofaan rok sakte hain
magar phir bhi 
main us kasr e haseen tak jaa nahin sakta
sukoon mere dil ko

zubaan par bekhudi mein naam
us ka aa hi jaata hai
zubaan par bekhudi mein naam
us ka aa hi jaata hai
agar poochhe koi wo kaun hai
batla nahin sakta
sukoon mere dil ko

ye majboori si majboori
ye lachaari si lachaari
ye lachaari si lachaari
ke us ke geet bhi  
jee khol kar main gaa nahin sakta

sukoon lekin mere dil ko
mayassar aa nahin sakta
sukoon mere dil ko

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

(व्हिडिओ से)
मैं आहें भर नहीं सकता
के नग़में गा नहीं सकता
सुकून लेकिन मेरे दिल को
मयस्सर आ नहीं सकता
सुकून लेकिन मेरे दिल को

मैं उसको पूजती हूँ और
उसको पा नहीं सकती
मैं उसको चाहता हूँ और
उस तक जा नहीं सकता

हदें वो खींच रखीं हैं
हरम के पासबानों ने
हदें वो खींच रखीं हैं
हरम के पासबानों ने
के बिन मुजरिम बने
पैग़ाम भी पहुंचा नहीं सकता

ये मजबूरी सी मजबूरी
ये लाचारी सी लाचारी
के उसके गीत भी
जी खोल कर मैं गा नहीं सकता

ना आँधी रोक सकती है
ना तूफान रोक सकते हैं
ना तूफान रोक सकते हैं
मगर फिर भी
मैं उस कसर ए हसीं तक जा नहीं सकता

ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
अगर पूछे कोई के कौन है
बतला नहीं सकता

(आडियो से)
मैं आहें भर नहीं सकता
के नग़में गा नहीं सकता
सुकून लेकिन मेरे दिल को
मयस्सर आ नहीं सकता
सुकून लेकिन मेरे दिल को

मैं उसको पूजती हूँ और
उसको पा नहीं सकती
मैं उसको चाहता हूँ और
उस तक जा नहीं सकता
सुकून लेकिन मेरे दिल को

ना आँधी रोक सकती है
ना तूफान रोक सकते हैं
मगर फिर भी
मैं उस कसर ए हसीं तक जा नहीं सकता
सुकून लेकिन मेरे दिल को

ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
अगर पूछे कोई वो कौन है
बतला नहीं सकता
सुकून लेकिन मेरे दिल को

ये मजबूरी सी मजबूरी
ये लाचारी सी लाचारी
ये लाचारी सी लाचारी
के उसके गीत भी
जी खोल कर मैं गा नहीं सकता

सुकून लेकिन मेरे दिल को

मयस्सर आ नहीं सकता
सुकून लेकिन मेरे दिल को


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

Here is a song from Muqaddar Ka Sikandar. It is written by Anjaan and Kalyanji Anandji are the music directors. It is sung by Asha Bhonsle, Mahendra Kapoor and Lata Mangeshkar.

This movie had great songs. All Eight of them. But a lousy story line (I can see a whole lot of Atulites chuckling right Rajaji?)

We have covered five songs from the movie so this should be the sixth. This song occurs immediately after Amitabh has sent a love note to Rakhee. He being illiterate has got it written by Vinod Khanna. Now because it is in Vinod Khanna’s writing, Rakhee thinks it is a love note from Vinod Khanna. To make matters worse Amitabh Bachchan has not delivered it himself. He has asked a roadside boy to deliver it to the MEMSAAB staying in the opposite house. So, you see he has neither written it nor personally delivered it, then how will poor Rakhee know who has sent it. She goes through some documents that Vinod Khanna has been writing for her dad compares the writing and concludes that Vinod Khanna is in love with her; which is also true. To further confuse matters Vinod Khanna doesn’t know that Amitabh Bachchan is in love with Rakhee. He only knows that Amitabh Bachchan is in love and he addresses his love as MEMSAAB. So how will know he is treading on someone else’s territory?

Now let us twist the story further (hey Raam!!! Prakash Mehra what were you thinking when you wrote this story!!!) As soon as she got the letter Rakhee very happily sings “Dil toh Hai Dil” and both the heroes think it is for them. So promptly they decide to take her out on a date. Only thing is Amitabh Bachchan reaches the venue after the other two and realizes that there is an encroacher on his territory. Hmm, feel like pulling my hair out. But as a youngster in school I first fell in love with the songs. And subsequently saw the movie many times (but only on TV never in the theatre)

As if all this was not enough we have an Amjad Khan-Rekha angle in this story. She loves Amitabh Bachchan and Amjad loves her, and when they are dyingAmjad realizes Amitabh never loved Rekha (in the movie)and it was a waste of a life– Rekha’s dying.

So here we have a song which has Rakhee desperately trying to look young and boisterous and to top it she is also trying to dance a western dance I amstill trying to make out if its waltz or disco or khisco!!!! Through the movie, she is sari clad trying to look mature and here this getup make a buffoon out of her. Why oh why did she agree to subject herself and us to this torture???

I am unable to recognize the dancer who starts the song I think PCji will be of help here.

It is about eight years since the death of the maker of this Amitabh classic passed away-yes, it is nowadays considered to be a classic as the songs are still on the publics favourite-song list. And anything remotely old is termed a classic.

17 may 2017 is the eighth death anniversary of Shri Prakash Mehra (13 july 1939- 17 may 2009) who gave a new lease of life to Amitabh’s career in 1973 with “Zanjeer”. He began his career in bollywood as production controller and switched to being a director from Shashi Kapoor starrer “Haseena Maan Jayegi” in 1968. He was one of the specialists in “Masala Genre” His collaboration with the actor Amitabh Bachchan resulted in several box office blockbusters and classics, due to which Mehra was considered among the ‘Golden Directors’ of his time.

Remembering Prakash Mehra and thanking him for all the entertainment that he gave us.

Ed:-And this turns out to be the eighth and final song from “Muqaddar Ka Sikandar”(1978). so finally MKS (as we people newly familiar with the MKS system of units used to describe this movie) joins the list of movies that have all their songs covered in the blog.


Song-Pyaar zindagi hai (Muqaddar Ka Sikandar)(1978) Singers-Asha Bhonsle, Mahendra Kapoor, Lata, Lyrics-Anjaan, MD-Kalyanji Anandji
Mahendra Kapoor + Lata
All

Lyrics

Love
Haan
{Hey man, this is ??
You Like it
then why don’t you come and join
lover’s paradise}

hahahaha
hahaahaha
aaah

pyaar zindagi hai
pyaar bandagi hai
bandagi hai
yahalla yahalla
oo yaallah
oo yahalla yahalla
oo yaallah

pyaar se pyaar karo
ye umr pyaar ki hai
pyaar se pyaar karo
ye umr pyaar ki hai
pyaar bina kya jeena
ye bhi koi zindagi hai
pyaaar zindagi hai
o pyaaar bandagi hai
bandagi hai

yahalla yahalla
o yaallah
oo yahalla yahalla
o yaallah

pyaar karam pyaar dua
pyaar sitam pyaar wafa
pyaar se juda to yahaan koi nahin koi nahin
pyaar khushi pyaar nasha
kya wo nazar kya wo ada
ho kisi ka pyaar mein jo
koi nahin koi nahin
dil ko laga ke dekho
pyaar mein kya khushi hai
dil ko laga ke dekho
pyaar mein kya khushi hai
pyaar bina kya jeena
ye bhi koi zindagi hai
pyaar zindagi hai
o pyaar bandagi hai
bandagi hai
yahalla yahalla
o yaallah
oo yahalla yahalla
oyaallah

door rahe paas rahe
dil mein teri pyaas rahe
tere liye main hoon
tu hai mere liye
mere liye
pyaar sanam
pyaar khuda
yaar kabhi ho na juda
yaar bina koi yahaan
kaise jiye kaise jiye
baahon mein yaarke hi
duniya bahaar ki hai
o baahon mein yaar ke hi
duniya bahaar ki hai
pyaar bina kya jina
ye bhi koi zindagi hai

pyaaar zindagi hai
pyaar bandagi hai
bandagi hai

yallayalla
o yaallah
yallayalla
o yaallah

dekh hamen koi jaley
koi jaley
haath maley
tu jo mere saath chale
logon se kyadarna yahaan
pyaar yahaan jo na kare
khaak jiye khaak mare
yaar mere tere liye
jeena yahaan marna yahaan
mar ke bhi na mite jo
ye woh deewaangi hai
mar ke bhi na mite jo
ye woh deewaanagi hai
pyaar bina kya jeena
ye bhi koi zindagi hai

pyaar zindagi hai
o pyaar bandagi hai
bandagi hai

yahalla yahalla
o yaallah
yahalla yahalla
o yaallah

pyaar se pyaar karo
ye umr pyaar ki hai
ye umr pyaar ki hai
pyaar bina kya jeena
ye bhi koi zindagi hai
ye bhi koi zindagi hai

yalla yalla
ooyaallah,
yallayalla
ooyaallah
yallayalla
ooyaallah
yallayalla
ooyaallah
yallayalla
yallayalla
yallayalla
pyaar pyaar pyaar pyaar pyaar


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

One more film to add to the list. Today’s Yippeee film is ‘Hamaare Gham Se Mat Khelo’ from 1967. Being a film of relatively recent vintage, I am surprised that I am not able to find this song online. This song was heard fairly frequently on the radio in those days, but it seems to have dropped out of the collective memory.

The film is a stunt genre directed by Kunwar Shankar Singh Tomar (assisted by Pal Premi) for the banner of Himachal Pictures, Bombay. The star cast of the film reads as – Kunwar Shankar Singh Tomar, Bharati, Nazir Husain, Sajjan, Murad, Mukri, Maruti, Bela Bose, Niranjan Sharma, Tarun Bose, Amarnath etc. A note in the Geet Kosh indicates that the director cum hero of this film was a resident of Kanpur in his later years, and the compiler, Shri Harmandir Singh ji had met him personally and confirmed / updated the details about this film. I was a little surprised to note that this film is listed as a stunt film. In my mind, the title of this film suggested itself to be more a social drama rather than anything else.

Coming to the songs, this film has six songs, written by three song writers. Three songs are written by Nyay Sharma, two songs (including the song in this post) are written by Shireesh, and one song is a ghazal from the pen of Asraar. As I checked the Geet Kosh for the work of these song writers, I find some interesting notes. The songwriter Asraar seems to have one solitary song of this film, to his credit; his name appears nowhere else in the documented information in Geet Kosh. The name Nyay Sharma appears just in three films, viz. ‘Anjali’ (1957), ‘Kinaare Kinaare’ (1963) and this film – all having the music of Jaidev. In all 24 songs from 3 films. The name Shireesh appears for four films and a total of eight songs. The films are ‘Anokha Jungle’ from 1956, then ‘Hero No. 1’ from 1959, one unreleased film ‘Gypsy’ from 1960s and this film. Outside of this film, Shireesh seems to have worked only with music director Iqbal. Very limited careers, and very limited contributions. I request our more knowledgeable readers and friends to please add more information about these songwriters.
[Ed Note: Mahesh ji Mamadapur has sent me a message identifying one more film for Nyay Sharma – ‘Peele Parbat Kaale Chor’. This film remained incomplete. The music director was Madan Mohan.
One more clarification – the data presented above is based on information available in the Geet Kosh. Which implies that this data is complete till 1980, and does not contain additional data from 1981 and beyond.]

Another interesting thing I noted about this film is that the three songs in this film that are sung by Mahendra Kapoor are probably the only songs that he has recorded for Hindi films with Jaidev. I believe there are one (or more) non film songs that are probably recorded by Jaidev in Mahendra Kapoor’s voice. But in films, this seems to be the only film where Jaidev has used this voice.

List of the songs of this film posted earlier, is given below, with names of the songwriters indicated.

 

1.       Aansoo Chhupaaye Aankh Mein Shireesh
2.       Gar Ye Zameen Nahin Asraar
3.       Ye Khaamoshi Kyun Ye Madhoshi Kyun Nyay Sharma
4.       Kahiye Kya Hukm Hai Nyay Sharma
5.       Ye Bahaar Ka Samaa Nyay Sharma

As our dear Arun ji has noted in another post earlier in the day today (“Hum Punjabi, Hum Bangaali”, from the film ‘Hum Ek Hain’, 1969), the era of 1960s still had the fervour of national pride and nation building. As an independent self governing country, India was still in its teens. The fifties and early sixties were the heady days of growth and modernization of the country, under the prime minister-ship of Jawaharlal Nehru. Then in 1962, 1965 and 1971, we had three wars with our neighbouring countries. The feelings of nationalism were at their peak, and the same was reflected proportionately in our films and film songs.

This song is a wonderful such example of exhorting the nouveau young generation to take on the reins of managing the nation building process. The children of the 1950s who were taught “Hum Laaye Hain Toofaan Se Kishti Nikaal Ke, Is Desh Ko Rakhna Mere Bachcho Sambhaal Ke” (film ‘Jaagriti’, 1954), were now maturing into young men and women. This song seems to take off where the ‘Jaagriti’ song had left off, a decade earlier.

The song carries the fervour of that era, and there is a specific mention of the Five Year Planning process that had been put in place by the first government of independent India. The words of this song encourage the younger generation folks who are now turning into active adults, to take charge and carry forward the progress and the pride of this country.

As I listen to this song again today after so many years, and as I write these words, a thought comes to my mind. The message of this song is not limited to that era. The message is timeless and it applies to every generation, as it transitions into mature and responsible adults. Will this message, this song mean the same to the young people of today? An interesting question to be debated. The message is true, and is equally necessary in this age, as it was five decades ago. But in my opinion, there is a disillusionment of the general masses with the governing system and the political party-ism that has corrupted this nation beyond belief. Would the young adults of this age be impressed by the timelessness of this message, and the words of this song? I invite the readers and friends to comment on this.

Meanwhile, enjoy this song that captures the spirit of an era in recent history. The song has been rendered so appropriately, as only Mahendra Kapoor can deliver – the rising octaves taking the emotions to the heights of the sky – the rendition expresses so truly, the spirit of the words in the song.

And yes, we have this film, ‘Hamaare Gham Se Mat Khelo’, join the ranks of Yippeee’d films on our blog. 🙂

Song – Naye Yug Waalo Nai Umr Waalo (Hamaare Gham Se Mat Khelo) (1967) Singer – Mahendra KapoorLyrics – Sheerish, MD – Jaidev

Lyrics

naye yug waalo..oo
nai umr waalo
sambhaalo sambaahlo watan ko sambhaalo
sambhaalo sambaahlo watan ko sambhaalo
sambhaalo
nai umr waalo
sambhaalo sambaahlo watan ko sambhaalo
sambhaalo sambaahlo watan ko sambhaalo

tumhen aaj apne watan ne pukaara
zameen ne pukaara gagan ne pukaara
utho apni taaqat ka..aa
utho apni taaqat ka le kar sahaara
watan hai hamaara
watan hai tumhaara
sajaa lo
naye yug waalo
bahaaron se apne chaman ko sajaa lo
bahaaron se apne chaman ko sajaa lo
sambhaalo
nai umr waalo
sambhaalo sambaahlo watan ko sambhaalo

kadam hum ko mil ke badhaana padega
ab har haal mein muskuraana padega
tiranga gaga mein lehraana padega..aa
tiranga gaga mein lehraana padega
ye khwaab e jawahar sajaana padega
sajaa lo
naye yug waalo
nai yojana  se watan ko sajaa lo
nai yojana  se watan ko sajaa lo
sambhaalo
nai umr waalo
sambhaalo sambaahlo watan ko sambhaalo

utho desh ki uljhanon ko mita do
utho ab watan ko gulistaan banaa do
utho saathiyo apna parcham sambhaalo..oo
utho saathiyo apna parcham sambhaalo
utho apne haathon mein hindostaan lo
utha lo
naye yug waalo
watan ko himalay se ooncha utha lo
watan ko himalay se ooncha utha lo
sambhaalo
nai umr waalo
sambhaalo sambaahlo watan ko sambhaalo
naye yug waalo
naye yug waalo
naye yug waalo..oo..

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

नए युग वालो॰॰ओ॰॰
नई उम्र वालो
संभालो संभालो वतन को संभालो
संभालो संभालो वतन को संभालो
संभालो
नई उम्र वालो
संभालो संभालो वतन को संभालो
संभालो संभालो वतन को संभालो

तुम्हें आज अपने वतन ने पुकारा
ज़मीन ने पुकारा गगन ने पुकारा
उठो अपनी ताक़त का॰॰आ॰॰
उठो अपनी ताक़त का लेकर सहारा
वतन है हमारा
वतन है तुम्हारा
सजा लो
नए युग वालो
बहारों से अपने चमन को सजा लो
बहारों से अपने चमन को सजा लो
संभालो
नई उम्र वालो
संभालो संभालो वतन को संभालो

कदम हमको मिलके बढ़ाना पड़ेगा
अब हर हाल में मुसकुराना पड़ेगा
तिरंगा गगन में लहराना पड़ेगा॰॰आ॰॰
तिरंगा गगन में लहराना पड़ेगा
ये ख्वाब ए जवाहर सजाना पड़ेगा
सजा लो
नए युग वालो
नई योजना से वतन को सजा लो
नई योजना से वतन को सजा लो
संभालो
नई उम्र वालो
संभालो संभालो वतन को संभालो

उठो देश की उलझनों को मिटा दो
उठो अब वतन को गुलिस्ताँ बना दो
उठो साथियो अपना परचम संभालो॰॰ओ॰॰
उठो साथियो अपना परचम संभालो
उठो अपने हाथो में हिन्दोस्तां लो
उठा लो
नए युग वालो
वतन को हिमालय से ऊंचा उठा लो
वतन को हिमालय से ऊंचा उठा लो
संभालो
नई उम्र वालो
संभालो संभालो वतन को संभालो
नए युग वालो
नए युग वालो
नए युग वालो॰॰ओ॰॰


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

OK so, ‘Ek Ladki Saat Ladke’ from 1961, is the film that today joins the ranks of films with all their songs posted. It is Yippeee-land time for this film. And that’s all folks, that I can say for this film. Another one of the ‘Lost Children’, about whom nothing more is known, nothing more exists in memory. Yes, there is information that is contained in the Geet Kosh. Based on the Geet Kosh inputs, the basic demographics for this film are as follows.

The film is produced and directed by Roop K Shorey. The cast of actors is very brief – Ravinder Kapoor, Ameeta, Majnu, Badri Prasad, and Durga Khote. After having tasted success with ‘Ek Thi Ladki’ (1949) and ‘Ek Do Teen’ (1953), Roop K Shorey tried to repeat a similar sounding formula in this film.  The earlier two films had Motilal and Meena K Shorey as the lead pair, and Vinod as the music director.  But in this film, the only common link is Vinod, who also was replaced by S Mohinder, in unfortunate circumstances.
Read more on this topic…


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

Missing Films of 1960s – 27
– – – – – – – – – – – – – – –

Gosh, returning to this series after almost eight months.

Atul ji tells us about his resolution to post at least one song per day that brings on board a new film, onto our blog. When I revisited this series to revive it, I suddenly realized that this series, just by the fact of what it is, is actually a series of songs that would serve the purpose of bringing new films on to the blog – which is one of the resolutions of Atul ji.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Lady Robinhood”(1959) was produced by Pannalal and directed by B J Patel for Rekha Chitr, Bombay. The movie had Mehru, Nilofer, Rajan Kapoor, Samar Rai, Miraajkar, Tuntun, Shakila Bano Bhopali, Nazir Kashmiri, Moolchand, Abdul Sattar, Balbir, Ram Raseela, Shri Bhagwan, Nandini, Shiela etc in it.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Lady Robinhood”(1959), not to be confused with “Lady Robinhood”(1946), was produced by Pannalal and directed by B J Patel for Rekha Chitr, Bombay. The movie had Mehru, Nilofer, Rajan Kapoor, Samar Rai, Miraajkar, Tuntun, Shakila Bano Bhopali, Nazir Kashmiri, Moolchand, Abdul Sattar, Balbir, Ram Raseela, Shri Bhagwan, Nandini, Shiela etc in it.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Diler Haseena”(1960) was produced by Mohan Lal and directed by Pradeep Nayyar for Bhagwati Productions, Bombay. The movie had Manju, Amarnath, Bhagwan, Shashimala, Narula, Fazal, Nazir Kashmiri, Kathana, Meena, Vrinda, Harun, Daleep, Qadir, Badshah, Maulana, Gulab etc in it.
Read more on this topic…


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What is this blog all about

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

This is a labour of love, where "new" songs are added every day, and that has been the case for more than eight years. This blog has over 13300 song posts by now.

This blog is active and online for over 3200 days since its beginning on 19 july 2008.

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Blog Start date: 19 july 2008

Active for more than 3250 days.

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