Archive for the ‘Manna Dey songs’ Category
Pyaar Hua Iqraar Hua Hai
Posted on: July 11, 2019
- In: "Dream of Wide Awake Eyes" | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Lata song | Love song | Lover's tête-à-tête | Lyrics contributed by readers | Manna Dey songs | Manna Dey-Lata duet | Post by Sudhir | Song not figuring in HFGK | Song not mentioned in Hindi Film Geet Kosh | Song used in more than one film | Songs of 1970s (1971 to 1980) | Songs of 1979 | Songs reused again in subsequent movies | Yearwise breakup of songs
- 4 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.
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Blog Day : |
4010 | Post No. : | 15117 | Movie Count : |
4152 |
Songs Repeated in Hindi Films – 6
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The heart must have missed a beat – on reading the title of this post. Goodness. . . this wonderful iconic song, 65 years ago – it captured the imagination and the hearts of a generation, nay, many a generation of young hearts in love. This unforgettable song is imprinted on the sands of memory, never to be erased by any winds that may blow, till the end of life.
The golden age of melody was at its peak. The manner in which Shailendra knit together the words and lines of this love song – cannot be and has not been bettered since. The melody and the orchestration conceived by Shanker Jaikishan – the arrangement of the instruments, the preludes, the interludes, the rhythm – everything just perfect in this song. The renditions – Manna Da and Lata – the voices working together seamlessly – rising and falling in unison, and in apposition, complementing, merging – the “aa haa haa” lines going up all the way to the clouds. The lines
pyaar jo toota
saath jo chhoota
receding into the depths of somber apprehensions, and then suddenly a rising declaration of a resolution,
chaand na chamkega kabhi
the rendition volume going up all the way to the moon. The resolve expressed with such a dignified confidence in the nature’s machinations. The moon – no it will never stop shining, and thus, by implication, this love will never be broken, this companionship will never part. And suddenly, instinctively, unknowingly there is a lump in the throat and a warm moisture on the corners of the eyelids. Yes, yes – that is what love is – the poet, the music-waala, the singers – yes, they have got it just right, on the dot. Yes that is what love is, what it ought to be. Such noble souls lived in that golden era – who could feel it right, and conjure up an imagination, combining the words, the music and the sound – and then tell it to us so simply – that no further discourse would be necessary.
I am reminded of another quintessential song from the same film –
ramaiya vasta vaiya
maine dil tujhko diya
And once again, the simplest of words, the simplest verse one can conjure up – and there is no better way, no better words invented, before or since, to say – I love you.
And the scene, the depiction – the conceptualization – a master presenter is at work here. Here is an emotional entanglement coming to fruition in the hearts of two young people, almost at the very bottom of the ladder of social significance. A part time employee at a laundry, who has “borrowed” a suit that has come for cleaning, and his shoes are in tatters. A self employed teacher, who gives basic education to the underprivileged children in the backyard of her own home. But then love does not check on social status, or verify your bank balances, before making a burrow into the hearts. That love is simple. That love is without embellishments. That love is honest and innocent. That simply is love, and it happens, just happens.
The overcast skies, the lashing rains, the amused witness – the chaiwaala (tea seller), the incidental umbrella, the handy tootle that the young man plays, the happenstance of three cheruby toddlers in raincoats – all put together in a scenario that simply cannot now be erased from the memory’s palette.
The emotional expressions of the leading pair are just as consummate and accomplished as the scenario itself. The sharing of the umbrella becomes such a pivotal exchange. The young man offers it to the lady. And she hands it back, seeing him getting drenched. He takes it, but then sees that she is in the same plight, so immediately offers it back to her. She once again takes it, and with a helplessness writ large on her face, sees him getting drenched once again. And then the inevitable happens. With her eyes clenched, and her lips trembling with apprehension, she inches closer to him – dawning of the realization that one must share when there is a need. And the two come close now, holding the same umbrella – realizing that in love, one has to share, one has to hold together, and one has to steady each other against the squall of the winds and outpourings of this ruthless world.
And then the song begins – question by the young man, not specifically directed at her, but at himself too. And the lady answers, for both of them together – “. . . Maaloom Nahin Hai Kahaan Manzil . . .”. One of the supreme examples of cinema at its very best, in telling about emotions that shake a heart when the love is just starting to take baby steps in there. Marvellous . . . simply marvelous – much more than the best of the words can express.
Um. . . kind of got carried away with the original. 🙂
25 years after the release of the original, this song was used once again in the 1979 film ‘Salaam Memsaab’. And the manner of use is so very innovative. A little earlier, back in 1970, when ‘Mera Naam Joke’ was released, at the beginning of part II we see Raj Kapoor at the Bombay Carnival, hosting a bioscope stand, singing “Kehta Ha Joker, Saara Zamaana. . .”. And as he sings, he is operating the bioscope in which we are treated to clips of his earlier films, especially ‘Awaara’ and ‘Shri 420’. It is fun to watch those clips in fast forward mode.
In ‘Salaam Memsaab’, a similar presentation is used. A little background. Radha (role played by Zarina Wahab) and Sunder (role played by Asrani) are two young people, friends and in love. They are the street tamaasha people who sing and dance on the roadside to earn their living. Sunder has high aspirations, and wants to become rich quickly. Radha also has aspirations, but she is averse to making compromises with her principles of honesty and truthfulness. They work together, but this difference in their view of life generates arguments.
Near the beginning of the film, just about half hour into it, Radha chances to see a bioscope man, playing his machine near the Gateway of India. She gets in line and starts watching – she gets in when the song “Pyaar Hua Iqraar Hua Hai. . .” is starting to play. We can see her enjoying the show, and then as the lead pair comes on at the beginning of the song, she gets into a different dreamy dimension of fantasy, and instead of seeing Raj Kapoor and Nargis on the screen, she sees herself and Sunder there, performing the same song, singing and expressing their newly discovered love for each other. She is fascinated, and the entire song is replayed on the screen in front of her, performed now by the two new lovers.
This is a very innovative presentation. In the singing parts of the clip, we can see Radha and Sunder performing, and in the other parts of the clip, the director uses the original footage and scenes. The entire song moves back and forth between the now Radha and Sunder, and the earlier scenes. Very interestingly edited and put together. E.g. when the line “Phir Bhi Rahengi Nishaaniyan” is playing, the scene clips back to the original version and we see the three toddlers with raincoats, toddling through the rain. Readers may recall that in the original version, the three kids are the children of Raj Kapoor – Ritu, Randhir and Rishi. The clip cuts back and forth between the current version, shown in subdued colors and shades, and the original version shown in black and white. Very intelligently designed.
In her dream of wide open eyes, Radha sees herself and Sunder, in an exact image of the hero and heroine on screen. As one watches their movements and expressions, the effort has been made to create an exact replica not just of the scenario, but also of the performance and expressions. You can open up two windows in the video playing software, and play the two songs, this one and the original, side by side. One is amazed by the effort made by Zarina and Asrani to replicate the performance as nearly as possible. Ah, we know it is not Raj Kapoor and it is not Nargis. But still it is a very impressive performance to see.
The film ‘Salaam Memsaab’ is produced under the banner of Roshan Films, Bombay and is directed by Asrani himself. The cast of actors includes Asrani, Zarina Wahab, Ranjeet, Manju Bansal, Rahman, Keshto Mukherjee, Asit Sen, Jugnu, Leela Mishra, Sulochana (Senior), Tom Alter, CS Dubey, Arvind Rathore, Anand Girdhar, Amol Sen, Dilip Tahil, Nilu Arora, Master Jeetu, Yusuf, and Raju, with friendly appearances by Ashok Kumar, Sunil Dutt, Yogita Bali, and Rishi Kapoor. The songs of this film are written by Majrooh Sultanpuri and the music is by RD Burman. Seven songs are listed for this film which have been rendered by Mohamed Rafi, Kishore Kumar, Lata Mangeshkar and Asha Bhosle.
This song, being a reuse, is not listed in Geet Kosh. And as I mentioned in an earlier episode of this series, it is not easy to track down such re-use songs, unless one has actually seen the film(s). I had also written that since I started this series, I have been getting inputs from many friends, from our bandwagon and also from others in our music lovers group, about such reuse songs. Since these songs are generally not listed, such inputs from friends has really added many interesting reuse scenarios that I was not aware of.
Today’s song was sent in as a suggestion from Anekant ji. He is a regular contributor in our comments section, and I am sure all are familiar with him. Not being aware of this reuse song, I am delighted to get this input from him. A real wonderful song, and a real wonderful reuse after twenty five years – from 1954 to 1979 to 2019 – and forty more, when we are now reading about it once again. 🙂
A reuse that takes you into a fantasy land of a dream of wide awake eyes. I am sure all of us have had some similar experience some time or another in our lives. Apologies for the digression, but I just remembered another such on screen ‘dream of wide awake eyes’ which I just cannot resist mentioning. 🙂 For all those who have seen and remember ‘Chhoti Si Baat’ (1972). Yes, I am referring to the song “Jaaneman Jaaneman Tere Do Nayan”. Amol Palekar is watching the film in a theatre. Onscreen the song is being performed by Dharmendra and Hema Malini. And within a few seconds, Amol Palekar goes into this ‘dream of wide awake eyes’, and through his eyes, we see the song being performed on screen by himself and Vidya Sinha. The reverie is quiet painfully broken as the villain appears at the end of the song and hits the hero with a belt. (Just from that split second profile, my feeling has been that it was actor Manmohan, the villain I mean.)
Ah so, we have a new category of songs to mull over – ‘dream of wide awake eyes’. And I am sure the readers will recall many such songs in Hindi films – yes, we do that a lot. 🙂
Enjoy today’s wonderful reuse treat and let’s wait for the next – what more such entertaining surprises are coming up.
Song – Pyaar Hua Iqraar Hua Hai (Salaam Memsaab) (1979) Singer – Manna Dey, Lata Mangeshkar, Lyrics – Shailendra, MD – Shanker Jaikishan
Manna Dey + Lata Mangeshkar
Lyrics
pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
pyaar hua
(aaa aaa aaa)
iqraar hua hai
(aaa aaa aaa)
pyaar se phir kyun darta hai dil
(aaa aaa aaa)
kaho ke apni preet ka
geet na badlega kabhi
tum bhi kaho is raah ka
meet na badlega kabhi
pyaar jo toota
saath jo chhoota
chaand na chamke ga kabhi
aaa haaa haaa
aaa haaa haaa
aaaaa haaa haaa
aaa aaa aaa
aaa aaa aaa
aaa aaa aaa
aaa aaa aaa
aaa aaa aaa
aaa aaa aaa
pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
pyaar hua
(aaa aaa aaa)
iqraar hua hai
(aaa aaa aaa)
pyaar se phir kyun darta hai dil
(aaa aaa aaa)
raaten dason dishaaon se
kahengi apni kahaaniyan
geet hamaare pyaar ke
dohraayengi jawaaniyan
main na rahoongi
tum na rahoge
phir bhi rahengi nishaaniyaan
pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
pyaar hua
(aaa aaa aaa)
iqraar hua hai
(aaa aaa aaa)
pyaar se phir kyun darta hai dil
(aaa aaa aaa)
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Hindi script lyrics (Provided by Sudhir)
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प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
प्यार हुआ
(आ आ आ)
इक़रार हुआ है
(आ आ आ)
प्यार से फिर क्यों डरता है दिल
(आ आ आ)
कहो के अपनी प्रीत का
गीत ना बदलेगा कभी
तुम भी कहो इस राह का
मीत ना बदलेगा कभी
प्यार जो टूटा
साथ जो छूटा
चाँद ना चमकेगा कभी
आ हा हा
आ हा हा
आss हा हा
आ आ आ
आ आ आ
आ आ आ
आ आ आ
आ आ आ
आ आ आ
प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
प्यार हुआ
(आ आ आ)
इक़रार हुआ है
(आ आ आ)
प्यार से फिर क्यों डरता है दिल
(आ आ आ)
रातें दसों दिशाओं से
कहेंगी अपनी कहानियाँ
गीत हमारे प्यार के
दोहराएंगी जवानियाँ
मैं ना रहूँगी
तुम ना रहोगे
फिर भी रहेंगी निशानियाँ
प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
कहता है दिल
रास्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
प्यार हुआ
(आ आ आ)
इक़रार हुआ है
(आ आ आ)
प्यार से फिर क्यों डरता है दिल
(आ आ आ)
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 : | 3958 | Post No. : | 15035 |
“Jai Ambe”(1957) was produced by Shanti Kumar and D N Shukla and directed by Shanti Kumar for Mahesh Chitra Bombay. This “pauraanik” movie had Sulochana, Manhar desai, Sapru, Ramesh Sinha, Sheela Kashmiri, Niranjan Sharma, Kesri, Indira Bansal, Mridula, Shree Bhagwan, Kanchanmala, Dubey, Shalini, Heera Sawant etc in it with Guest appearances by Jeewan and Rajkumar( of pauraanik movies fame, different from Jaani fame Rajkumar)
The movie had nine songs in it. One song from the movie has been covered in the past.
Here is the second song from “Jai Ambe”(1957) to appear in the blog. This song is sung by Lata and Manna Dey, alongwith male and female chorus. Bharat Vyas is the lyricist. Music is composed by Pt Shivtam.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Kaali ghataayen aakaash mein jee ghir ghir aayen (Jai Ambe)(1957) Singers-Lata, Manna Dey, Lyrics-Bharat Vyas, MD-Shivram
Female chorus
Male chorus
Lata + Manna Dey
All chorus
Manna Dey + Male chorus
Lata + Female chorus
Lyrics
dig dig dig dig naiyya chale
purwaiyya chale
chhak chhaiyya chhaiyya ho
haiyya
dig dig dig dig naiyya chale
purwaiyya chale
chhak chhaiyya chhaiyya ho
haiyya
dig dig dig dig naiyya chale
purwaiyya chale
chhak chhaiyya chhaiyya ho
haiyya
ho o o
Kaali ghataayen aakaash mein jee
ghir ghir aayin
ghir ghir aayin
naiyya mori dagmag ho ke dole jee
ho naiyya mori dagmag ho ke dole jee
gori main tere paas hoon to
darr kaahe ka
darr kaahe ka
jhoolo jhoolo
lahron ke
hindole jee
ho
jhoolo jhoolo
lahron ke
hindole jee
dig dig dig dig
naiyya chale re
purwaiyya chale
chhak haiyya haiyya ho
haiyya
gahri nadiya door kinaara
chhod hamen mat jaiyyo re maanjhi
chhod hamen mat jaiyyo re
din bhar lahron sang khel ke
saanjh pade ghar aiyo re maanjhi
saanjh pade ghar aiyo jee
ho o o o
naao puraani gahra paani
peechhe na rah jaiyyo machhariya
peechhe na rah jaiyo jee
aanchal ki patwaar banaa ke
naiyya paar lagaiyyo machhariya
naiyya paar lagaiyyo jee
batiyaan tihaari gori
preet ka ras ghole jee
ras ghole jee
meethhi meethhi baansuriya
si bole jee
ho naiyya mori dagmag ho ke dole jee
dig dig dig dig
naiyya chale re
purwaiyya chale
chhak chhaiya chhaiyya ho
haiyya
ankhiyaan phadke jiyara dhadke
bijli kadke ambar mein
haay
bijli kadke ambar mein
le chal maanjhi haath pakad ke
aag lagi hai samandar mein
hoy aag lagi hai samandar mein
ho o o o o
baahar baahar dekh rahi kya
tanik to jhaanko andar mein
hoy tanik to jhaanko andar mein
devi banke bathhi tu gori
mere man ke mandar mein
hoy mere man ke mandar mein
bachpan ki ye preet hai jee
kabhi toote na
sang chhoote na
nit nit pyaar chadhhe jhakole jee
ho naiyya mori dagmag ho ke dole jee
dig dig dig dig naiyya chale
purwaiyya chale
Hey re raama raam kasam
Posted on: May 1, 2019
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 : | 3939 | Post No. : | 15015 |
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Blog 10-Year Challenge (2009-19) – Song No. 30
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May 1st 2019. International Labour Day. Also happens to be the date when the states of Maharashtra and Gujarat came into being from the erstwhile Bombay state in the year 1960. This happened as a consequence of the States Re-organisation Act of 1956 which defined boundaries for the states within India on the basis of languages. The Bombay State, that was formed by this act, was composed of different areas where Marathi, Gujarati, Kutchi and Konkani were spoken. There was a movement since 1956, which demanded that the state of Bombay be re-organised further on the basis of areas where Gujarati and Kutchi was a major language and other where Marathi and Konkani was majorly spoken. So, The Bombay Reorganization Act was enacted in the Indian Parliament on 25th April 1960 and the states of Gujarat and Maharashtra were born on 1st May 1960. That makes Gujarat and Maharashtra 59 years old today.
On the day these two states were born Prafulla Chandra Dey turned 41. He had already made a debut in the world of film music in the ’40s with the movie “Tamanna” which had music by his paternal uncle Krishna Chandra Dey and had a hit duet with Suraiya “Jago Aayee Usha Ponchi Boley Jago”. From then on he made his way into the hearts of music lovers across the country and sang in many Indian langauges – Bhojpuri,Magadhi, Maithili, Ounjabi, Assamese, Odia, Konkani, Sindhi, Gujarati, Marathi, Konkani, Malayalam and Nepali in addition to Hindi and Bengali.
He was trained in singing initially by his paternal uncle Krishna Chandra Dey and Ustaad Dabir Khan. He was credited with the success of Indian Classical Movies in Indian commercial movies. How can anyone forget the Raga-based songs “Sur na saje kya gaaun maain” or “Kaun aaya mere mann ke dwaare payal ki jhankar liye”. But his “Aao twist karien” and “ae bhai zara dekh ke chalo” were equally popular. He might have sung his first duet “subah ki pehli kiran” with Kishore Kumar in 1952 but their association on “ek chatur naar karke shingaar” is unforgettable. He has shared the recording studio with all the major singers of the time till the ’90s haing sung under the baton of most of India’s music directors beginning with K.C. Dey in “Tamanna” in 1942 to Shamir Tandon in 2006- that last song of Prafulla Chandra Dey a.k.a Manna Dey has been posted on the blog Duniya Waalon Ko Nahin Kuchh Bhi Khabar. Almost 102 music directors.
Now coming to the Blog Ten Year Challenge the songs that were posted on the 1st of May 2009 were:-
(1) Daa dir daaraa.. meri laadli(Andaaz)(1949) it had 2 comments and the movie is YYIIPPEEEED!
(2) Ghadi Ghadi Mora Dil Dhadke (Madhumati)(1958) had 7 comments, movie is YYIIPPEEEED!
(3) Masti mein chhed ke taraana koyi dil ka (Haqeeqat)(1964) had 4 comments, movie is YYIIPPEEEED
(4) Naach meri jaan fataafaat (Main Sundar Hoon)(1971) had 11 comments, movie is YYIIPPEEEED!!
(5) Do kadam tum bhi chalo (Ek Haseena Do Deewaane)(1972) had 6 songs with a multiple version song of which 2 are posted. (the sad Mukesh solo version is not yet posted)
(6) Haan pehli baar ek ladki mera haath pakad kar (Aur Kaun)(1979) had 12 comments and 1 out of 4 songs of this movie has been posted
The song with this post is from the 1972 romantic movie “Ek Haseena Do Diwane” which was produced by RG Films Kantibhai Zaveri and directed by S.M. Abbas. the movie had Jeetendra and Babita in the lead with Vinod Khanna as the villain. Om Prakash, Nirupa Roy, Shammi- played the elders and Johnny Walker headed a large supporting cast. The movie’s story in a nutshell as given by wikipedia-
Amar, the Nainital-based, orthodox and traditional person, obtains a degree in Engineering and re-locates to Bombay for employment. After doing so, he decides to assist his friend, Prakash, woo a wealthy and educated woman, Neeta but ends up falling in love and marrying her himself much to the chagrin of her father. Shortly after the marriage, he takes her to visit his widowed-schoolteacher mother, but she has gone on an outing. They return, and shortly thereafter arguments ensue, which escalate to such an extent that Amar assaults her, compelling her to return to her parents’ home. When she insists on a divorce – Amar refuses until and unless she lives with him for 15 days in order to create a false scenario of a happy marriage for his mother.
The song with today’s post is sung by Johnny Walker in the movie with two unknown ladies pestering him. it was a song I loved the instant I saw it. it has interlude music lifted from “Rattan”, “Pyaasa” and “Badi Behan” to add the comic element. It is written by Qamar Jalalabadi and Kalyanji Anandji were the music composers. The song brings out the full range that Manna Da was capable of.
Here I must confess that had I not attended the R.M.I.M last month i would have forgotten that Manna Dey would have turned 100 today if he had been there. Thinking of Manna Dey ……….
Audio
Video
Song-Hey re raama raam kasam kaisa aaya ye zamaana (Ek Haseena Do Deewaane)(1972) Singer-Manna Dey, Lyrics-Qamar Jalalabadi, MD-Kalyanji Anandji
Chorus
Lyrics
hey re raama
hey re raama raam kasam kaisa aaya ee zamaana
hey re raama ram kasam kaisa aaya e zamaana
mardan ka dekho kaise chhede hai janaana
mardan ka dekho kaise chhede hai janaana
(yahaan wahaan haath mat lagiyo haan)
haath lagaiho to jaiho main thaana bachaana
koi police ko bulaana bulaana
hey re raama
hey re raama raam kasam kaisa aaya ee zamaana
petticoat waalone diya humka maar
petticoat waalone diya humka maar
jabse inka dekha hua hai bantaadhaar
chhoriyan ka pyaar jhootha
pyaar ka vyopar jhootha
roop ka singar jhootha
mukh ka nikahar jhootha
aar jhootha
paar jhootha
yaari jhoothi
yaar jhootha
inse na neha lagaana lagaana
hey re raama
hey re raama raam kasam kaisa aaya ee zamaana
arre aaj tore bhaktan ka patla hai haal
aaj tore bhaktan ka patla hai haal
jai jai jai jai bajrangbali
aayi bala taal
natkhat naar khoti
kajre ki dhaar khoti
lat ki funkar khoti
ankhiyon ki maar khoti
choodi ki jhankaar khoti
chhori hushiyaar khoti
jhaanse mein inke kabahu na aana
hey re raama
hey re raama raam kasam kaisa aaya ee zamaana
mardan ka dekho kaise chhede hai janaana
haath lagaiho to jaiho main thaana
koi police ko bulaana bulaana
hey re raama
hey re raama raam kasam kaisa aaya ee zamaana
jinhen desh par garv hai u kahaan hai kahaan hai kahaan hai
ee galiyo ee koochhe e fashion ke bazaar
ee bechaare mardan pe naari ki lalkaar
chun chun ke bharat ke netan ka laao
(hey nutan
humaare hote huye nutan
hmm hmm hmm
nutan naahin netan
huyi gaya kabaada)
phir se leo
chun chun ke bhaarat ke netan ka laao
netan ka inke ee nakhre dikhaao
yadi ee karihen more dil ka bhojan
to kaise hoyega parivaar niyojan
kahaan hai kahaan hai kahaan hai kahaan hai
(yahaan hai
top
arre baap re)
koi police ko bulaana bulaana
hey re raama
hey re raama raam kasam kaisa aaya ee zamaana
hey re raama
hoye re raama
hey re raama
hoye re raama
hey re raama.
bhaag raam
hey re raama
bhaag raama
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 : | 3857 | Post No. : | 14870 |
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Blog ten year challenge (2009-2019)- Song number 5
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Today is 8 february 2019. When I looked back at the movies whose songs were covered in the blog ten years ago on 8 february 2009, I found that seven songs from seven different movies were covered on that day. Six of these movies have been YIPPEED by now. The only movie, which still has a few songs left to be covered in the blog is “Gomti Ke Kinaatre”(1972).
“Gomti Ke Kinaare”(1972) was directed by Sawan Kumar for Mercury Productions, Bombay. This “social” movie had Meena Kumari, Mumtaz, Sameer, Rehman, Agha, Helen, Paintal, Asit Sen, Shyama, Chandrima Bhaduri, Tuntun, Daisy Irani, Master Alankar, Randheer, Sultan Mazhar, Manorama, Rajan Haksar, Nasreen, Lalita Kumari, Madhu, Aarti, Kamal, I S Johar etc in it, with special appearances by Jalal Agha and Mukri.
The movie had five songs in it. Three of these songs have been covered in the past.
This song is sung by Manna Dey and Asha Bhonsle. Majrooh Sultanpuri is the lyricist. Music is composed by R D Burman.
The so0ng is picturised on Agha and Helen. It appears to be a fantasy song where Agha has a Jin of Alladin Chirag. The Jin, on the wishes of Agha makes Helen appear to perform a dance. That is my understanding of the picturisation of this song. I request our knowledgeable readers to tell us what is happening in this song.
The movie hade its debut in the blog on this day in 2009 when I was based at Jabalpur. Next song was posted in 2011 when I was based at Nagpur, and the third song was posted in 2017 when I was based at Izatnagar, Bareilly. Now I am covering the fourth song from the movie while I am based at another new place.
The movie has another song left in it. Have no fear. Now that I am aware that only one song is left in this movie, I will cover the song without waiting to get transferred to another place. 🙂
Song-Arre lag gaya re lag gaya (Gomti Ke Kinaare)(1972) Singers-Manna Dey, Asha Bhonsle, Lyrics-Majrooh Sultanpuri, MD-R D Burman
Lyrics
arre lag gaya re lag gaya
pot pot pot pot pot pot pot pot
pot pot
pot pot
jackpot
jackpot
tarse jisko dil
mere haath lag gaya
pyaar ki race mein
jackpot lag gaya
saare jahaan se kaho o o
dilbar kahin ka bhi ho o o
mahboob mera hai wo
saare jahaan se kaho o o o o
dilbar kahin ka bhi ho
mahboob mera hai wo
tarse jisko dil
mere haath lag gaya
pyaar ki race mein
jackpot lag gaya
ha
ho o o
o o o o
main hoon tumhaare hi dil mein
u u u u
main hoon tumhaari nazar mein
u u u u
chaahe rahoon main kahi bhi ee
har roop mein hoon tumhari
har rang mein hoon tumhaari ee
ya jaaneman ya habibi
tarse jisko dil
lalalala
mere haath lag gaya
lalalalala
pyaar ki race mein
jackpot lag gaya
chalna mera koi dekhe
lalalala
doloon jo angdaayi leke
lalalala
naache ye saara zamaana aa aa
chhalkaaun main dil ke pyaale
jo ik nazar mujh pe daale ae
kar doon main usko deewaana
tarse jisko dil
taratatata
mere haath lag gaya
taratatata
pyaar ki race mein
jackpot lag gaya
ha aa aa
Ram Rahima Ram Rahim
Posted on: December 9, 2018
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3796 | Post No. : | 14784 |
Today’s song is from the film Mahatma Kabir-54.
India has been attacked and ruled by outsiders for centuries. Religions other than Hinduism ruled this country and at times it was feared if our religion will become extinct. Perhaps, from this feeling Bhakti Movement started in India in one part and over the years it engulfed the entire Bharatvarsha. During this period, many saints, teachers and holy figures came up and helped the country to be strong once again in matters of religion.
The Bhakti movement refers to the theistic devotional trend that emerged in medieval Hinduism and later revolutionised in Sikhism. It originated in eighth-century south India (now Tamil Nadu and Kerala), and spread northwards. It swept over east and north India from the 15th century onwards, reaching its zenith between the 15th and 17th century.
The Bhakti movement regionally developed around different gods and goddesses, and some sub-religions were Vaishnavism (Vishnu), Shaivism (Shiva), Shaktism (Shakti goddesses), and Smartism. The movement was inspired by many poet-saints, who championed a wide range of philosophical positions ranging from theistic dualism of Dvaita to absolute monism of Advaita Vedanta.
The movement has traditionally been considered as an influential social reformation in Hinduism, and provided an individual-focused alternative path to spirituality regardless of one’s caste of birth or gender. Postmodern scholars question this traditional view and whether the Bhakti movement ever was a reform or rebellion of any kind.
India is a Multi racial, multi language and Multi religions country. It is not only one of the largest Democracies in the world, but also the largest Secular state in the world, where people from different faiths have been living together since centuries.
Many saints and religious leaders have played a significant role in keeping the mixed population of India as One Unit, when it was needed the most. A majority of Hindus, ruled by Muslim Mughals was a natural cause for social divisions, but Saints like Kabir, Surdas, Tulsidas, Ramdas, Tukaram, Ramanand, Narsi Mehta, Purandar das,Namdev, Guru Nanak Dev, Eknath, Bhakta Pundarikar, Rohidas, Mrutyunjaya and many such noble souls, did an excellent job of maintaining harmony amongst peoples of different faiths.
Kabirdas ji is one saint who is revered equally by Hindus and Muslims as well as Sikhs. He belonged, in fact, to all Indian masses.
Kabir was born near Kashi (Varanasi) to a Bramhin widow, who deserted him, for fear of social boycott. He was found and brought up by a Muslim weaver couple-Niru and Naima. Vaishnava Saint Ramanand accepted him as his disciple. Unlike some other saints, Kabir did not become a Sadhu or a Fakir, but he married and led a normal life earning from his Loom works. He had 1 son and 1 daughter also.
Kabir campaigned against social discrimination and economic exploitation. He vehemently opposed dogmas in Hinduism and Islam. His language was straight from the heart, using common vernacular words, which appealed to the masses. He was against Moorti-puja and believed in Bhakti and Sufi ideas. He was an illiterate person. His poems and Dohas were heard ,noted and written by his followers. His works are included in the Guru Granth Sahib of the Sikhs also. His dohas were in Awadhi, Brij and Bhojpuri languages. Through his philosophies, he spread the message of unity during his times. For him Ram and Rahim were the same.
While the authentic period of kabir is 1440 to 1518, there are popular legends about him living for 120 years and after death, his body turning into Flowers.
More than anything else, Mahatma Kabir is remembered for the courage of his convictions. He was a religious reformer who slashed down the orthodox bigotism of Hindus and Muslims alike. He denounced with a touch of satire, the whole apparatus of piety of the temple and the mosque, the idol and the holy water scriptures and the priests, labelling them as cults that vainly tried to replace Reality with Ritual. And thus it was that while courting bitterness from the accepted monopolists of Faith, he tried to eliminate the bitterness that then existed between Hindu and Muslims of that day. The life story of Kabir saheb is surrounded by numerous contradictory legends, on many of which reliance cannot be placed. It is therefore not to be expected that any one version of his life could satisfy all such sections of people who claim to know anything about him.
Mahatma Kabir-54 was made by New premier Films, Bombay and it was directed by Gajanan Jahagirdar. The music was by Anil Biswas and the cast included Surendra, Sulochana, Jahagirdar, Randhir, Lalita Pawar and others. The story of the film is…
The story of Mahatma Kabir begins with the unfolding of a lotus as divine light penetrates through its petals. The infant that lay within, stretched out its chubby arms to Nooru and Naima, a weaver couple of Benares, who brought him up as Kabir, their foster son. But Kabir grew into a strange boy, dreamy and listless, curious of matters spiritual, until one day he saw in Swami Ramananda his destine teacher. Eager to meet his Guru alone, he lay upon the steps of the Ganges, where Ramananda was accustomed to bath. The master trod upon his body unexpectedly and exclaimed “Ram Ram”. Accepting this as a token of the mantra of initiation, and with inspiring words of the Guru, Kabir stepped forth in pursuit of his mystic mission.
As a youth, he found his opposition from the orthodox groups increasing in the threatening proportions. His family was ostracised socially and economically, a calamity to which his foster father Nooru succumbed. All legends agree that Kabir a simple unlettered weaver relied in work as a means of living independently of any charity and earned his livelihood from the loom. The work of his hands helped him rather than hindered the impassioned meditation of his heart from the depths of which he sang the rapturous lyrics of divine love.
Kabir Saheb was constantly harassed by the Mahajan for the repayment of his foster father’s debt which on account of his economic boycott he was not able to repay. He was involved in a theft charge and presented before the Ruler of Kashi who ordered him to be whipped. The sentence was executed but Kabir smiled at the foolishness of those trying to punish him for the offence he had not committed, while the real offender on whom the lashes were actually falling cried in pain. The repentant Kashi Naresh honoured and feted Kabir and the entire ensemble shouted Kabirji ki jai. Returning home Kabir found his ancestral home attached by his Mahajan. People offered to pay off the debt but Kabir declined their offer. He thought that Ram was taking him closer to Himself by removing slowly the barriers of worldly possessions.
With the ancestral house gone, Kabir walked away to the ruins in the outskirts of the Kashi with his foster mother Naima and wife Loi. From there, this apostle of Universal Love, travelled through the length and breadth of the land and the countries beyond, spreading his gospel far and wide while his foster-mother and wife Loi suffered the privations of life. After many years he returned to Benares, where his ailing mother held her breath only to see him for the last time. Now Kabir was an old man, but much revered and still more opposed. This opposition culminated in his being presented before Sikander Lodi on a charge that he was not only an enemy of Islam but also a traitor to the throne of Delhi. Sikander referred the matters to the Kazi of Benares, who ordered him to be thrown into the Ganges tied hand and foot. The cruel sentenced was carried out, while a vast multitude, thronging the Benares Ghats looked on with throbbing hearts and streaming eyes.
As expected Kabir survives and the Kazi and Sikander bow their heads in respect. Finally when Kabir dies, his body turns into flowers and Hindus and Muslims share it for their respective last rites.
The music for this film was given by Anil Biswas. C.H.Atma, who unsuccessfully tried to become a singing star in films like Bhai sahab-54 and Bilwamangal-54, had sung a Bhajan ” Ram Ras Barse re manwa ” in this film as a playback-in Saigal style. Anil Biswas and Saigal were good friends. Whenever Saigal wanted to avoid any unwanted visitor to him, he would escape to Anilda’s home and take his afternoon siesta. Unfortunately, Saigal never sang for Anilda, though he had kept one tune ready for him. This was later used for a song by Mukesh in another film.
Not Saigal, but singers who liked Saigal, sang for Anil Biswas…like Mukeh in Pehli Nazar-45 (dil jalata hai to jalne de), Kishore kumar in film Fareb-53 ( husn bhi hai udas) and C.H.Atma in the film Mahatma Kabir-54 (Ram ras barse re Manwa).
The Hero of Mahatma Kabir was Surendra. At one time he was projected as Bombay’s answer to Calcutta’s Saigal, by Sagar Movietone. While working in Sagar and National, Anil Biswas had used Surendra’s voice in films like Jagirdar, Mahageet, Gramophone singer, Comrade, Aurat and Jawani. Sagar Movietone always tried to compete with New Theatres, Calcutta. When they made President-37, Sagar made Jagirdar-37 and when Street singer-38 was made, Sagar made Gramophone singer-38. Though Surendra was popular, he could never match Saigal. It is to the credit of Surendra, that personally he revered Saigal and never thought of competing with him.
It was Naushad, who first stopped Surendra’s singing and gave him playback of Ustad Amir khan in film Baiju Bawra-52. When he was sporadically heard in films Gharbar-53 and Gawaiya-53, Anil Biswas bloked his singing again and all songs for Surendra in film Mahatma kabir were sung by Manna Dey as playback. After this Surendra only sang in film Pati patni-66. It was rumoured that Surendra himself requested the producer to allow him to sing his last song. He did it free too !
Amirbai Karnataki , who sang in this film was also in her last phase of film singing and after Mahatma Kabir-54, she sang only one song each in 57,61,64 and 72. Thus ended her singing career.
HFGK mentions that today’s song is written by Kabir himself. However, I find that except the Mukhda ‘ Ram Rahima ‘(repeated several times till last), the antara words are from a famous song by Wajid Ali Shah- ‘ Babul mora ‘, which was used in films like The trapped-31, Nachwali-34, Street singer-38 and Shatranj ke khiladi-77.
The song by Manna Dey and Chorus is very good. As such Anil Biswas was an expert in composing chorus songs, in his films. You may find at least one or two chorus songs in most of his films.
Song-Ram Rahima Ram Rahim (Mahatma Kabir)(1954) Singer- Manna Dey, Lyrics- Kabir Das , MD- Anil Biswas
Chorus
Lyrics
ram rahimaa
ram rahim
ram rahimaa
ram rahim
ram rahimaa
ram rahim
ram rahimaa
ram rahim
baabul mora
(ram rahimaa ram rahim
ram rahimaa ram rahim)
naihar chhuta hi jaaye
(ram rahimaa ram rahim
ram rahimaa ram rahim)
baabul mora
(ram rahimaa ram rahim
ram rahimaa ram rahim)
naihar chhuto hi jaaye
(ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
chaar kahaar mil ab doliya aa aa sajaawen
(ram rahimaa ram rahim
ram rahimaa ram rahim)
mora apna begaana aa aa chhuto jaaye
(ram rahimaa ram rahim
ram rahimaa ram rahim)
baabul mora aa aa aa aa aa aa aa
(ram rahimaa ram rahim
ram rahimaa ram rahim)
naihar chhuto hi jaaye
(ram rahimaa ram rahim
ram rahimaa ram rahim)
baabul mora aa baabul mora
(ram rahimaa ram rahim
ram rahimaa ram rahim)
baabul mora aa aa baabul mora aa aa
(ram rahimaa ram rahim
ram rahimaa ram rahim)
baabul mora aa aa aa
(ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim
ram rahimaa ram rahim)
Meri zindagi mujh pe roye
Posted on: December 6, 2018
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3793 | Post No. : | 14779 |
“Khan Dost”(1976) was directed by Dulal Guha for Ramayan Chitra Mandir, Bombay. The movie had Raj Kapoor, Shatrughan Sinha, Mithu Mukherji (new discovery), Satyen Kappu, Sulochana, Asit Sen, Jagdish Raj, Maruti, Prakash, Shekhar Purohit, Rajan Haksar, Duggal, Saminder Pande, Chandulal, Rajrani, Amar Sen, Sameer, Baby Lubna etc, with special appearances by Subhash Ghai, Jagdeep, Sundar, Leela Mishra and Yogita Bali.
The movie had three songs in it. One song has been covered in the past.
Here is the second song from “Khan Dost”(1976) to appear in the blog. This song is sung by Manna Dey. Indeewar is the lyricist. Music is composed by Kalyanji Anandji.
The song is picturised as a poignant song on Shatrughan Sinha who plays a prisoner and who is seen looking back at his wasted life with regret in this picturisation. The pictorisation also shows Satyen Kappu playing a jailor and Raj Kapoor playing his subordinate.
Incidentally, Hindi movie jails look like a police station where a prisoner is seen kept behind bars in a small room. That is because Hindi moviemakers cannot differentiate between a police station and a jail. 🙂
Audio
Video
Song-Meri zindagi tujhpe roye (Khan Dost)(1976) Singer-Manna Dey, Lyrics-Indeewar, MD-Kalyanji Anandji
Lyrics
meri zindagi mujhpe roye ae
roye
meri zindagi mujhpe roye ae
roye
meri zindagi mujhpe roye ae
roye
main kaam kisi ke na aa saka
main kaam kisi ke na aa saka
main pyaar kisi ka na pa saka
koi aise umr na khoye
meri zindagi mujhpe roye ae
roye
jo karz liya hai saanson ka
wo karz chuka na paaya
jo karz liya hai saanson ka
wo karz chuka na paaya
baaqi hi raha har karz mera
koi farz nibha na paaya
ab waqt kahaan kuchh kar sakoon
ab waqt kahaan kuchh kar sakoon
koi zakhm kisi ka bhar sakoon
ab pachhtaaye kya hoye
meri zindagi mujhpe roye ae
roye
kuchh bhi na kamaaya jeevan mein
maine sab kuchh hi ganvaaya
kuchh bhi na kamaaya jeevan mein
maine sab kuchh hi ganvaaya
jisne dikhlaai duniya mujhe
us maa ka dil bhi dukhaaya
jis pe hon gunaahon ke saaye
jis pe hon gunaahon ke saaye
wo chain kahaan se paaye
dariya bhi ye daag na dhoye
meri zindagi mujhpe roye ae
roye
main kaam kisi ke na aa saka
main pyaar kisi ka na pa saka
koi aise umr na khoye
meri zindagi mujhpe roye ae
roye
roye
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- 2 Comments
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
3748 | Post No. : | 14711 | Movie Count : |
4019 |
Today’s song is from film Sati Toral-47. This film was made by Laxmi Productions, Bombay and was directed by Nandlal Jaswantlal. The music was provided by a team of Hari Prasanna Das and Manna Dey. The song is sung by Amirbai Karnataki and Manna Dey. The lyrics were by Miss Kamal, B.A. This was a pseudonym of Kavi Pradeep. At that time, he was under contract with Bombay Talkies and could not use his real name . Under this Pen name, he wrote lyrics for four films, namely Kadambari-44, Amrapali-45, Sati Toral-47 and Veerangana-47. Incidentally, all these films were directed by Nandlal Jaswantlal.
Nandlal was born on 15-3-1907 at Bardoli in Surat. His father was Administrative Officer in Kohinoor films. He started his career by joining it in 1924. He assisted Chandulal Shah(1926-29) and also directed silent and Talkie films for Ranjit from 1929 to 1933. Nandlal left the job and went to Europe on tour. On his return he joined Imperial company(34-36) and directed some remakes of silent films of Sulochana into Talkie films. For one year-1937- he went to Madras and ran a Laboratory also.
His first Talkie film as a Director was Pardesi Preetam-33 and last was Akeli mat jaiyo-63. Both were Ranjit films. Due to his death in 1961, Akeli mat Jaiyo was delayed and completed by Chandulal Shah himself. Nandlal directed, in all, 24 films-5 Silent and 19 Talkie films. Some of his well known films were Indira M.A.-34, Bambai ki billi-36, Sati Toral-47, Sanam-51, Anarkali-53 and Nagin-56. (adapted from indiancine.ma)
Music Director Hari Prasanna Das or H.P.Das was born in Chitgaon, East Bengal, in 1905. He was a Bengali. He was assistant to Pankaj Malik in films Dushman and Kapal Kundala-1939. He gave music to Bangla film ‘ Nimai Sanyasi’-40, in which he gave singing opportunity to 20 year old young Hemant Kumar. His first Hindi film as a MD was New India Films’ Blood Feud (or Josh-E-Inteqam)- 1935. His other films were Mohabbat-43, Meena-44, Kadambari-44, Mazdoor-45, Begum-45, Insaaf-46, Veerangana-47, Sati Toral-47 and Hum bhi insaan hai-48. He died on 26-9-1989.
The cast of the film was Shobhana Samarth, Prem Adeeb, Sankata Prasad, Jeevan, Badri prashad, Rehana and others. Sankata Prasad was the elder brother of more famous character actor Kanhaiyalal, who entered film line first as a Lyricist only. Born in Banares in 1903, Sankata came to Bombay and joined Sagar Film company in 1929. From the beginning, he was a fixture in almost every silent and Talkie film of Sagar Film company, Sagar Movietone, National Studios and lastly Amar pictures. After the last connection, he became a free lancer. To be noted is a fact that Sankata Prasad is the only actor who worked in all 3 First Talkie films of Sagar Movietone, namely Veer Abhimanyu, Romantic Prince and Abul Hasan. His last film was Do Mastane-58. He acted in 65 films,in all.
Film Sati Toral -47 was based on a Folk Tale of Gujarat. Folk Tales are stories passed through generations by telling. They are built around Fairy Tales, Tall tales, Trick tales, Myths and Legends. The base of Folk tales is a true historical event , person or a story. Folk tales of loving couples have been very popular and have been subjects on which films in almost every language are made. Stories of Heer Ranjha, Mirza Sahiban,Sassi Punnu, Sohni Mahiwal, Momal Rano, Dhola Maru,Prithviraj Sanyogita, Bajirao mastani, Laila Majnu, Salim Anarkali, Shahjehan Mumtaz Mahal etc. are famous folk tales of lovers and films are made on them.
Similarly, Mythology and religious books provide plenty of scope for Folk tales. Several films are made in several languages on the folk tales of Satis in Hindu religion. Actually, 44 Talkie films are made, whose Titles contain the word ‘Sati’. The more popular Folk tales are on Sati Anusuya, Parvati, Ahilya, Anjani, Madalasa, Narmada, Mahananda, Pingala, Renuka, Savitri, Seeta, Sulochana, Toral, Vaishalini, Vijaya and Vimala to quote a few. Maximum 7 films are made on Sati Anusuya. As if only Sati is not enough, there are films like Mahasati Anusuya, Behula,Madalasa,Maina Sundari, Savitri, Tulsi and Tulsi Vrinda. You really must appreciate the creativity of Hindi film makers.
Like lovers and Religious persons, there are folk tales of Historical persons too, Like Rana Pratap ( and his Horse Chetak), Akbar, Shivaji, Amar singh Rathod, Razia Sultan, Chandbibi, Jhansi ki Rani, Birbal and Tenali Raman. Films have been made on most of these too.
Coming back to Film Sati Toral-47, I have not seen this film in Hindi or Gujarati, So, I was looking for the story of Toral. I found one on Wiki. There is a slightly different ( in details) story written by Amrit Ganger ji, the famous author in English and Gujarati on cinema and history. He has won the Gujarat Sahitya Academy Award too. This story is available on tellmeyourstory.in, for those who are interested.( I am happy to note here that I know Mr. Gangar and he has gifted me his latest book ” Walter Kaufmann in India 1934 – 1946″ ). So, here is the Sati Toral story from Wikipedia…
” Jesal, a young Kutchi Rajput, was a dreaded dacoit.
His brother’s wife once chided him that if he was truly brave, he should prove it by stealing Toral, an extraordinary mare belonging to a Saurashtra king. In the process of stealing Toral, Jesal’s hand got caught in a nail and his agonised cries brought the king running outside.Asked what he wanted, Jesal said “Toral”, not knowing that the queen too had the same name. The king, a devout daani (donor) who had sworn never to disappoint anyone, gave him three Torals – his queen, the mare and a sword by that name. But on the boat journey back home, Jesal realised that Toral was not an ordinary woman.
He was tormented by guilt at having taken away someone who, out of loyalty, did not even question her husband’s decision. It is said that the enlightened company of Queen Toral, remembered in Gujarati literature as a devotional poet who composed and sang songs, transformed Jesal completely and the two began spreading the message of God.
Their inseparable companionship as teacher and disciple is talked about, but in cautious tones. No one, not even the local scholars, wants to discuss the Jesal-Toral alliance as a man-woman relationship. “Even the Gujarati film Jesal-Toral did not suggest any such angle,” recalls photographer Vinay Thacker, who started his career in 1976 by selling photos of the twin samadhis outside the shrine.
However, people do accept their unusual affinity, which even death couldn’t change. It is said that when Jesal undertook samadhi, he called out to Toral from his grave to join him. Toral, who was travelling, heard his voice, came back to Anjar and immediately took samadhi.
Toral, the mare, too was buried outside the temple. A green and magenta chaddar now covers the equestrian grave. The destroyed roof of the shrine has been temporarily replaced with an asbestos sheet. ”
Today’s song is sung by Amirbai Karnataki and Manna Dey, with Chorus. HFGK does not indicate names of singers for this song, but the voices are unmistakable. This song is in Amirbai’s song list. Prof. Yadav, in his book ” फिल्म संगीतकार – सुवर्णयुगवाले” also mentions these two names for this song. This is quite a good song. “Sati Toral”(1947) makes its debut in the blog with this song.
Song-Chaar dinon ka hai ye mela re bhai(Sati Toral)(1947) Singer-Amirbai Karnataki, Manna Dey, Lyrics-Kavi Pradeep, MD-H P Das
Chorus
Lyrics
Chaar dinon ka hai ye mela re bhai
?? raha hai ??
hari ka sumaran kar le re
tera hoga bhala
mera hoga bhala
apne ?? ko bacha le
hai shaam ki bela
aur din dhala
khud ko kar de prabhu ke hawaale
door karega wo teri bala
apne man ka dhundhla darpan
apne man ka dhundhla darpan
tu hari bhajan se kar ujla
hari ka sumaran
prabhu ka sumaran
kar le re
tera hoga bhala
mera hoga bhala
ab to hari ko sumar le re bhai ee
saari umar toone yoonhi ganwaai ee ee
yoonhi ganwaai
tera prabhu tere bheetar chhupa hai
tera prabhu tere bheetar chhupa hai
tu apne man ka deepak jala aa
hari ka sumaran
prabhu ka sumaran
kar le re
tera hoga bhala
mera hoga bhala
ye duniya hai ek musaafirkhaana
yahaan ki dosti ka kya thhikaana
ye duniya hai ek musaafirkhaana
yahaan ki dosti ka kya thhikaana
aaj yahaan par hai rain basera
aaj yahaan par hai rain basera
kaun jaane kal kahaan ho dera
is zindagi ka kya bharosa
ye jal ki dhaara hai silsilaa(?)
hari ka sumaran
prabhu ka sumaran
kar le re
tera hoga bhala
mera hoga bhala
dil ka rakshak wo parmeshwar hai ae ae ae ae
unko is jag mein kiska darr hai
unko is jag mein kiska darr hai ae ae
kaun hai aisa ishwar ka banda
kaun hai aisa ishwar ka banda
ki jis ka sankat nahin tala aa
hari ka sumaran
prabhu ka sumaran
kar le re
tera hoga bhala
mera hoga bhala
Ek do dilon ka kaafilaa
Posted on: October 20, 2018
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3746 | Post No. : | 14707 |
“Do Sitaare” (1951) was directed by D D Kashyap for Famous Pictures. The movie had Dev Anand, Suraiya, Kuldip Kaur, Baij Sharma, Prem Nath, Shakuntala etc in it.
The movie had eight songs in it. Six songs from this movie have been discussed in the past.
Here is the seventh song from the movie. This song is sung by Manna Dey. Rajinder Krishan is the lyricist. Music is composed by Anil Biswas.
Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
I have not been able to get a word (or two) right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable in the lyrics.
Song-Ek do dilon ka kaafila (Do Sitaare)(1951) Singer–Manna Dey, Lyrics-Rajinder Krishan, MD-Anil Biswas
Lyrics
sada ek saath jaise do sitaare
rah nahin sakte ae
yoonhi mil kar kabhi do dil bechaare
rah nahin sakte
ek do dilon ka kaafila
ek do dilon ka kaafila
le ke sahaara pyaar ka
jeevan ke mele mein chala aa aa
jeevan ke mele mein chala
jeevan ke mele mein chala
ek do dilon ka kaafila
ek do dilon ka kaafila
ek doosre se thhi lagan
aapas mein donon thhe magan
baahon mein baahen daal ke
wo kaafila badhta gaya
ek do dilon ka kaafila
ek do dilon ka kaafila
manzil nazar aane lagi ee ee
manzil nazar aane lagi
ummeed muskaane lagi
par dekhte hi dekhte
zaalim andhera chha gaya
ek do dilon ka kaafila
ek do dilon ka kaafila
donon bichhad kar rah gaye
bahne thhe aansu bah gaye
ulfat ke is anjaam par
aankhon mein saavan chha gaya
ek do dilon ka kaafila
ek do dilon ka kaafila
ulfat ka haasil hai yahi
ee ee ee ee
ulfat ka haasil hai yahi
chaahat ki manzil hai yahi
ham tumse pahle ??
ye kafila loota gaya
ek do dilon ka kaafila
ek do dilon ka kaafila
- In: Asha Bhonsle songs | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Love song | Lover's tête-à-tête | Lyrics contributed by readers | Manna Dey songs | Manna Dey-Asha Bhonsle duet | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1964 | Yearwise breakup of songs
- 1 Comment
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
3731 | Post No. : | 14676 | Movie Count : |
4011 |
Missing Films of 1960s – 79
– – – – – – – – – – – – – – –
The 1960s missing films train continues to chug along. 🙂
In this episode, we bring on board a very obscure film from 1964 – ‘Teen Dost’. The film itself is quite forgotten and the songs of this film are quite a rarity. So far only one record of this film has appeared in public domain, meaning only two songs of this film are available, out of the five songs listed in the Geet Kosh.
The film is directed by Joseph Taliath, for a banner which is simply named as Talkies, from Madras. The available list of actors is very limited – Anand, Hemlata, Ashokan, Kamini, and Ramdas. All songs of this film are written by Prem Dhawan, and the music is composed by TR Papa – a name that is completely obscure, and appears for the first time on our blog.
An exchange between lovers. No video clips are available. I request other knowledgeable friends and readers, who may have seen this film, to please add more information if available, about this song and this film.
A lively song, listen and enjoy.
Song – Ho Gayi Baalma, Re Mein Tori Baalma (Teen Dost) (1964) Singer – Asha Bhosle, Manna Dey, Lyrics – Prem Dhawan, MD – TR Papa
Lyrics
ho gayi baalma
re main tori baalma
haaye tu ne kiya mera dil chori baalma
haan ho gayi baalma
re main tori baalma
haaye tu ne kiya mera dil chori baalma
kitni hi baaten kehna chaahoon re..ae..ae
lekin na main tujh se keh paaun re..ae..ae
kitni hi baaten kehna chaahoon re..ae..ae
lekin na main tujh se keh paaun re..ae..ae
dil dena jaanoon main
ye kyonkar maanun main
o gori chhod ke aa ja oonche mehlon ko
ho gayi baalma
re main tori baalma
haaye tu ne kiya mera dil chori baalma
tu zara dekh hamen bol ke
jaan bhi de den tere pyaar mein
dildaar badh ke hum se jaanemann
na mil sakega ji sansaar mein
na hum ko yun tadpa
na mujh ko yun bharma
mann kyon tujh se ghabraaye
main kya boloon zaalma
ho gayi baalma
re main tori baalma
haaye tu ne kiya mera dil chori baalma
ho gayi baalma
re main tori baalma
haaye tu ne kiya mera dil chori baalma
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हो गई बालमा
रे मैं तोरी बालमा
हाए तूने किया मेरा दिल चोरी बालमा
हाँ हो गई बालमा
रे मैं तोरी बालमा
हाए तूने किया मेरा दिल चोरी बालमा
कितनी ही बातें कहना चाहूँ रे॰॰ए॰॰ए
लेकिन ना मैं तुझसे कह पाउन रे॰॰ए॰॰ए
कितनी ही बातें कहना चाहूँ रे॰॰ए॰॰ए
लेकिन ना मैं तुझसे कह पाउन रे॰॰ए॰॰ए
दिल देना जानूँ मैं
ये क्योंकर मानूँ मैं
ओ गोरी छोड़ के आ जा ऊंचे महलों को
हो गई बालमा
रे मैं तोरी बालमा
हाए तूने किया मेरा दिल चोरी बालमा
तू ज़रा देख हमें बोल के
जान भी दे दें तेरे प्यार में
दिलदार बढ़ के हम से जानेमन
ना मिल सकेगा इस संसार में
ना हमको यूं तड़पा
ना मुझको यूं भरमा
मन क्यों तुझसे घबराए’
मैं क्या बोलूँ ज़ालमा
हो गई बालमा
रे मैं तोरी बालमा
हाए तूने किया मेरा दिल चोरी बालमा
हो गई बालमा
रे मैं तोरी बालमा
हाए तूने किया मेरा दिल चोरी बालमा
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