Archive for the ‘Monali Thakur Songs’ Category
This article is written by Sadanand Kamath, 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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5602 | Post No. : | 18077 | Movie Count : |
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Buddhadeb Dasgupta (11/02/1944 – 10/06/2021) has been a well-known director of many off-beat and ‘middle of the road’ Bangla films, some of which have earned him the National Film Awards and other awards. I was not aware that he had also directed 3 Hindi films, ‘Andhi Gali’ (1984), ‘Bagh Bahadur’ (1990) and ‘Anwar Ka Ajab Kissa’ (2014) until recently when I heard a song from his third Hindi film. The reason for this film’s obscurity was that it never got theatrical release though the film was certified by the Censor Board on September 8, 2014, for its India release. However, before that it was premiered on October 17, 2013, at BFI, London Film Festival. In October 2020, EROS NOW released the film on OTT platform. The cast consisted of Navazuddin Siddiqui in the main role with Makrand Brahme, Niharika Singh, Ananya Chatterjee, Pankaj Tripathi, Ekavali Khanna, Amrita Chattopadhyay, Masood Akhtar etc.
Buddhadeb Dasgupta, the director, in a TV18 interview in August 2013, had said that the story of the film was ready in 2011 but was waiting for the right actor to play the title role of Anwar. After watching Nawazuddin Siddiqui in ‘Kahaani’ (2012) and ‘Gangs of Wasseypur’ (2012), he signed him for the film. A major part of the film’s shooting was done on locations in Shimultala, a hill station in Bihar which is also known as a stronghold of Maoists. During the shooting of the film, there was a bandh called by the Maoists which made unit to hastily leave the place and shift the shooting to Kolkata (Source: Hindustan Times, April 12, 2013).
Since a Labrador dog was used in the film as a companion to Nawazuddin Siddiqui, film was required to be shown to the Animal Welfare Board for their clearance before it was submitted to the Censor Board for Certification.
The film does not have a typical narrative story which can be told in a sequential fashion because there are some random scenes in the film. The audience have to interpret as to why there are random shots, and why the protagonist of the film has become a complex character. I did not understand the purpose of some random shots like three crying oldies telling their problems to Anwar who is on walk in a late night with his dog. So, rather than setting out the story of the film, I have attempted to discuss the film in its randomness.
The film is about Anwar (Nawazuddin Siddiqui), a migrant of rural Bihar who works as a private detective at a small detective firm in Kolkata for about 10 years. He is not the usual detectives which have seen in Hindi films or the Byomkesh Bakshi type. His weakness is that quite often, he gets involved in the personal lives of the cases he’s investigating. In the words of Buddhadeb Dasgupta, ‘he is a detective who, strangely enough, wants to get caught’. In other words, he is a detective who rather than keeping himself discreet, wants to be get noticed. In this process, he is unknowingly investigating about himself. Each of the detective cases he handles, is the revelation of his own complex character.
Anwar is lonely man with an aging dog, Lalu as his only companion in his dingy home whose company he indulges in drinking sessions every night. He shares his personal feelings with his dog in his solo conversations which includes his failed love affair in his hometown in Bihar, the investigations he handled during the day etc. Basically, Anwar is a self-centred person devoid much of emotional feelings even in his weakest moments while handling the detective cases. The only time he becomes a bit emotional when he sells his aged dog, Lalu to a rich old person for Rs,5000/-. When the new owner was about to take his dog in a car, Anwar gives him back his Rs.5000/- requesting him to give a treat to Lalu. After few days, Anwar takes back his dog.
In one of his detective cases, Anwar is required to make a visit to his hometown to investigate the case of a missing Amol (Pankaj Tripathi) who has abandoned his wife (Ananya Chatterjee) and a son. The visit becomes nostalgic where he has spent his childhood, the adolescent and had a love affair with a girl (Niharika Singh). He does meet Amol, converses with him but Anwar loses him when Amol, in the pretext of relieving himself, vanishes. The film ends with Anwar visiting his ancestral house which is lying in ruins. A walk in the various rooms of the house takes him to his childhood memories.
The film is an off-beat one, devoid of the elements of entertainment for the general film audience. Probably, this may be the reason that the film did not get a theatrical release. This is a film solely for Nawazuddin Siddiqui in which he proves his ability to portray his complex character admirably. He is present in almost every scene. In fact, after the end of the film, I felt sympathetical towards Nawaz Siddiqui in the role of Anwar. Rest of the actors appears in the film as if they are doing cameo roles. Even Pankaj Tripathi’s role in the film is barely 5 minutes long.
Another feature of the film to be noted is that of director, Buddhadeb Dasgupta’s fondness for ‘one take’ scenes. Most of the film’s scenes are shot in ‘one take’, with a camera fixed at one place, adding some variations in terms of camera angles and zooming in and out. One of the ‘one take’ scenes is of nearly 5 minutes of duration in which Nawazuddin Siddiqui takes a long walk on the road in the night with his dog, meeting a trio of old persons and listening to their woos without any conversations. Even an entire song picturised on Nawazuddin Siddiqui, who dances in his room with his dog looking bewildered at him, is shot in one take. The ‘one take’ shots means that the editor of the film has less work!
The film has only two songs written by Rajeshwari Dasgupta-Ghosh which are set to music by Alokananda Dasgupta. Rajeshwari and Alokananda are daughters of Buddhadeb Dasgupta. I am presenting the first song, ‘meri nigaahon ne tere nigaahon se kuchh kaha’ from the film to appear on the Blog. The song is rendered by Monali Thakur. A couple of video clips are available online but they are all made from mixing video scenes from the film. I have, therefore, culled out the song as it appears in the film and uploaded on one of the video sharing platforms.
The background to the song is that Anwar on a visit to his hometown for investigating a case of a missing executive, relives his experiences of his childhood and adolescence years. He visits his ruined ancestral house. After taking a round of the house, Anwar takes a nap when a boy picks up a 78 RPM gramophone record lying on the ground and handover to Anwar which brings back his childhood memory of the days of the feudal life. He goes into his past and see a woman playing a gramophone record and dancing on the song. This song is picturised in ‘one take’ on Jaya Seal-Ghosh, a Bharatnatyam dancer-actress, in a cameo role.
The song has all the important ingredients to become popular – a good melodic composition, a sonorous voice of Monali Thakur, meaningful lyrics and good orchestration with use of only two prominent musical instruments of Mandolin and Guitar. Unfortunately, the song has remained in the backburner due to the fact that the film has become obscure.
Video Clip:
Audio Clip:
Song-Meree nigaahon ne teree nigaahon se kuchh kahaa (Anwar Ka Ajab Kissa)(2014) Singer-Monali Thakur, Female voice, Lyrics-Rajeshwari Dasgupta-Ghosh, MD-Alokananda Dasgupta
Lyrics:
meree nigaahon ne teree nigaahon se kuchh kaha
hmm hmm hmm hmm
tere iraadon ne mere iraadon se kuchh kaha
hmm hmm hmm hmm
muskura muskura
ae dil-e tu muskura
muskura muskura
ae dil-e tu muskura
haan
ye kya hua mil gaya hai hamen donon jahaan
aa aa aa aaaa
haan
meree nigaahon ne teree nigaahon se kuchh kaha aa
ha aa aa aaaa
chun liye hain
chun liye hain manzilen ye pyaar ki
bun liye hain
bun liye sapne ye bahaar ke ae
aa aa aa aa aaaa
aa aa aa aa aa
aa aa aaaa
bahaar ke
muskura muskura ae dil-e tu muskura
muskura muskura ae dil-e tu muskura aa
behti fizaaon ne jhukti ghataaon se kuchh kaha..aa aa
hmm hmm hmm hmm
meree nigaahon ne teree nigaahon se kuchh kaha
aa aa aa aaa
tere iraadon ne mere iraadon se kuchh kaha…..aa aa aaaa
ha aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
ha aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa aaaaa
Ye Moh Moh Ke Dhaage
Posted on: September 16, 2023
- In: Angraag Mahanta (Papon) Solo Songs | Angraag Mahanta (Papon) Song | Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Love song | Lyrics contributed by readers | Monali Thakur Solo Songs | Monali Thakur Songs | Multi Version Song | Multiple version song | Post by Sadanand Kamath | Songs of 2010s (2011 to 2020) | Songs of 2015 | Yearwise breakup of songs
- 2 Comments
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular 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 : |
5538 | Post No. : | 17998 | Movie Count : |
4816 |
According to some surveys, about 90 percent of the Indian marriages are still the outcome of arranged alliances. While the parents/elders are involved in the process of the selection of alliances, the ultimate decision are supposed to be left to boys/girls. But in reality, in most cases, under the pressure from the parents/elders, the boys/girls will not go against the selection of alliance by their parents/elders. In such cases, some newly married couples may soon realize that they are not in love with their spouses after the marriage for variety of reasons. But they continue to live together as the divorce is not a pleasant option. In some cases, over a period of time, a feeling of mutual care and trust set in the married couples. This is broadly the main theme of the film ‘Dam Laga Ke Haisha’ (2015).
I had a broad idea as to what is the meaning of dum laga ke haisha. During my childhood, I have often watched a group of laborers shouting “dum laga ke haisha” while pulling the heavy electric cables with their both hands for placing the cables underground. This was probably done to give more strength to them while pulling the cables. Now I know that this slang is also used to prop-up someone to do work beyond his capacity.
The film was produced under the banner of Yash Raj Films and was directed by Sharat Katariya who also wrote the screenplay and dialogues. The cast includes Ayushman Khurana and Bhumi Pednekar in the lead roles, supported by Sanjay Mishra, Alka Amin, Seema Pahwa, Mahesh Sharma, Shrikant Verma, Sheeba Chaddha, Chandrachoor Rai etc. Kumar Shanu appears in a cameo role in the film as himself. This was the debut film of Bhumi Pednekar for which she had to gain 30 kgs of weight to look like a fat girl as her role demanded. The film was entirely shot in Haridwar-Rishikesh. The time span of the story is around mid-1990s.
Bhumi Pednekar who, as the Assistance Casting Director in Yash Raj Film for six years, had been auditioning hundred of girls for the lead role in this film. But while doing so, unknowingly, she herself was under observation by the director of the film for the lead role. She ultimately bagged the role. [Source: the Times of India dated 14th September 2021].
The details of the story are as under:
A marriage proposal for Prem Tiwari (Anshuman Khurana), the son of Chandrabhan Tiwari (Sanjay Mishra) and Shashi Tiwari (Alka Amin) is brought by a priest. While Prem’s family is keen to get him married, he is strongly opposed to it as he had not yet settled in his life. Moreover, the prospective bride, Sandhya (Bhumi Pednekar) is overweight and is more educated (B.Ed.) than him (10th failed). But the elders in his family pressurise him to agree for the alliance as she is on the way to getting a teacher’s job in a high school. This would supplement the family’s declining income. Very reluctantly, Prem gives his nod for the marriage.
Prem is unable to reconcile with his marriage because it comes at the cost of his own self-esteem. Sandhya is educated and quick-witted while has always been a loser in his life. There are no common ground to start a life of love and affection. Sandhya on the other hand, is trying to make their marriage work despite her husband’s inferiority complex and occasionally his misbehavior with her. At the pre-wedding get-together of Prem’s friend, Prem becomes jealous of his friend getting a beautiful and lean bride. A few drinks and Prem comes out openly about his disliking for Sandhya. He loudly tells one of his friends in the gathering that he is spending his nights with a bull like wife. Sandhya overhears and feels insulted. The next day, she leaves with her baggage to her maternal house. The family members of Prem try to convince him to bring back his wife by apologizing to her. But he ignores their advice.
Inwardly, after few days, Prem has already started feeling his wife’s absence, but his self-esteem does not allow him to mend his way. He joins English classes to clear his paper for 10th standard. But in the examination hall, his preoccupation with his marital problems blanks him completely. On the other side, Sandhya files for divorce in a family court. The judge, after listening to both the parties, suggests them to stay together for six months and try for reconciliation. Sandhya agrees and returns to her in-law’s place. It is during this six months’ time that there is some improvements in Prem’s behavior towards his wife who also feels that her husband needs to be given some leeway for adjustments.
But Prem’s mental state is so weak that one day, he tried to commit suicide. Timely intervention by the family members saves him. Sandhya and family members think that they should do something to prop up his self-esteem. The annual competition called ‘Dum Laga Ke Haisha’ is being organized in Rishikesh in which married couples take part. The husband has to run, carrying his wife on the back, after overcoming few hurdles, has to crossed the winning line. After lot of cajoling by Prem’s family members and Sandhya, Prem reluctantly agrees to participate in the competition thinking that he would any way be out of the race early as he would not be able to carry his overweight wife.
The competition is inaugurated by none other than Kumar Shanu. The presence of his idol makes Prem to participate in the competition more vigorously than he had thought of the race. He runs taking his wife on the back. After overcoming hurdles in the race, Prem not only reach first on the winning line, but he also goes beyond it, carrying his wife on the back to his home. They hug each other for the first time with moist eyes until their family members come to take them back to the venue to accept the cup and prize money.
Along with the main theme, the film has some sub-plots which merge with the main theme without appearing extraneous. I have not included the sub-plots in the above details as it would make the article lengthy. Hats off to director, Sharat Katariya for making such a beautiful film without much of a melodrama. I think, by adding the race, the director has intended to show that just as Prem has won the race in which carrying his overweight wife is not a problem for him, it should not be a problem for making their married life smooth as well.
There are some heartwarming scenes which show that though Prem does not love his wife and avoids her company, he takes care of her whenever required. For example, he walks back and picks up the chappal of his wife which falls from the two wheelers while they are traveling. He brings back his wife’s file containing documents for her teacher’s interview which she has forgotten without which her interview would have been a non-starter. The performances of Ayushman Khurana and Bhumi Pednekar is superb. Despite her debut film, Bhumi Pednekar’s chemistry with Ayushman Khurana is great for a role where they have to depict their contra-chemistry.
Contrary to the Yash Raj Films’ standards, this film was made with a modest budget of around 14 crores as per the Box Office India report. Probably, there was some apprehension as to the success of the film at the box office. How the audience would react to a fat heroine in the film could have been an issue. However, the film gross collections surpassed Rs. 40 crores with in a month of its release and it continued to increase. The film won the National Film Award for the Best Feature Film in Hindi for 2015. Bhumi Pednekar won the Filmfare Award for the best debut actress for the film.
The film has six songs including a two version song, which are written by Varun Grover and set to music by Anu Malik. I am presenting the first song from the film, “Ye Moh Moh Ke Dhaage” to appear on the Blog. The song has two solo versions rendered by Monali Thakur and Papon (Angaraag Mahanta). Monali Thakur version of the song are played in the background depicting the turning points in the minds of both Prem and Sandhya. Somewhere in the back of their minds, the threads of ‘moh’ (desire) are slowly taking them to the path of love. A part of the song was filmed on Ram Jhoola in Rishikesh showing Ayushman Khurana and Bhumi Pednekar driving on their two-wheeler. I did not find the Papon version of the song in the film.
The song is identified as based on Raag Yaman and sounds very melodious to the ears. Along with the beautiful lyrics and the melody, the song is also enjoyable with major shehnai interlude before the first antara and the major flute interlude before the second antara. The song ends with another beautiful flute postlude. It is an unlikely Anu Malik song.
The song won the National Film Awards for the Best Lyrics for Varun Grover and the Best Playback Singer for Monali Thakur.
Female Version – Video
Female Version – Audio
Male Version – Audio
Song – Ye Moh Moh Ke Dhaage (Dum Laga Ke Haisha) (2015) Singer – Monali Thakur, Angraag Mahanta (Papon), Lyrics – Varun Grover, MD – Anu Malik
Lyrics
Monali Thakur Version
moh moh ke dhaage. . .
moh moh ke dhaage
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
ye moh moh ke dhaage
teri ungliyon se jaa uljhe
ye moh moh ke dhaage
teri ungliyon se jaa uljhe
koi toh toh na laage
kis tarah girha ye suljhe
hai rom rom ek taara..aa..aa
hai rom rom ek taara
jo baadalon mein se guzre..ae..ae
ye moh moh ke dhaage
teri ungliyon se jaa uljhe
koyi toh toh na laage
kis tarah girha ye suljhe
tu hoga zara paagal
tu ne mujhko hai chuna
tu hoga zara paagal
tu ne mujhko hai chuna
kaise tu ne ankahaa
tu ne ankahaa sab suna
tu hoga zara paagal
tune mujhko hai chuna..aa
tu din sa hai
main raat
aa na dono
mil jaaye shaamon ki tarah..aa..aa
ye moh moh ke dhaage
teri ungliyon se jaa uljhe
koi toh toh na laage
kis tarah girha ye suljhe
ye teri jhoothi baaten
main saari maan loon
ke teri jhoothi baaten
main saari maan loon
aankhon se tere sach sabhi
sab kuchh abhi jaan loon
ke teri jhoothi baaten
main saari maan loon
tez hai dhaara
behate se hummm awaara
aa tham ke saansen len yahaa..aan..aan
ye moh moh ke dhaage
teri ungliyon se jaa uljhe
koi toh toh na laage
kis tarah girha ye suljhe
Angraag Mahanta (Papon) Version
moh moh ke
moh moh ke..ae dhaage
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
ye moh moh ke dhaage
teri ungliyon se ja uljhe
ye moh moh ke dhaage
teri ungliyon se ja uljhe
koi toh toh na laage
kis tarah girha ye suljhe
hai rom rom ik taara..aa..aa
hai rom rom ik taara
jo baadalon mein se guzre..ae..ae
ye moh moh ke dhaage
teri ungliyon se ja uljhe
koi toh toh na laage
kis tarah girha ye suljhe
tu hoga zara paagal tu ne mujhko hai chuna
tu hoga zara paagal tu ne mujhko hai chuna
kaise tu ne ankaha
tu ne ankaha sab suna
tu hoga zara paagal tu ne mujhko hai chuna
tu din saa hai
main raat
aa na dono
mil jaaye shaamon ki tarah..aa..aa
ye moh moh ke dhaage
teri ungliyon se ja uljhe
koi toh toh na laage
kis tarah girha ye suljhe
ke aisa beparwah mann pehle to na thha
ke aisa beparwah mann pehle to na thha
chithiyon ko jaise mil gaya
jaise ik naya sa pata
ki aisa beparwah mann pehle to na thhaa
khaali raahen
hum aankh moonden jaayen
pahunche kahin to bewajah..aa..aa
ye moh moh ke dhaage
teri ungliyon se ja uljhe
koi toh toh na laage
kis tarah girha ye suljhe
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
मोनाली ठाकुर वर्शन
मोह मोह के धागे॰ ॰ ॰
मोह मोह के धागे
हम्म हम्म हम्म हम्म
हम्म हम्म हम्म हम्म
हम्म हम्म हम्म हम्म
हम्म हम्म हम्म हम्म
ये मोह मोह के धागे
तेरी उँगलियों से जा उलझे
ये मोह मोह के धागे
तेरी उँगलियों से जा उलझे
कोई टोह टोह ना लागे
किस तरह गिरह ये सुलझे
है रोम रोम इक तारा॰॰आ॰॰आ
है रोम रोम इक तारा
जो बादलों में से गुजरे॰॰ए॰॰ए
ये मोह मोह के धागे
तेरी उँगलियों से जा उलझे
कोई टोह टोह ना लागे
किस तरह गिरह ये सुलझे
तू होगा ज़रा पागल
तूने मुझको है चुना
तू होगा ज़रा पागल
तूने मुझको है चुना
कैसे तूने अनकहा
तूने अनकहा सब सुना
तू होगा ज़रा पागल
तूने मुझको है चुना॰॰आ
तू दिन है
मैं रात
आ ना
मिल जाएँ शामों की तरह॰॰अ॰॰अ
ये मोह मोह के धागे
तेरी उँगलियों से जा उलझे
कोई टोह टोह ना लागे
किस तरह गिरह ये सुलझे
ये तेरी झूठी बातें
मैं सारी मान लूँ
के तेरी झूठी बातें
मैं सारी मान लूँ
आँखों से तेरे सच सभी
सब कुछ अभी जान लूँ
के तेरी झूठी बातें
मैं सारी मान लूँ
तेज़ है धारा
बहते से हम्मम आवारा
आ थम के सांसें लें यहाँ॰॰आं॰॰आं
ये मोह मोह के धागे
तेरी उँगलियों से जा उलझे
कोई टोह टोह ना लागे
किस तरह गिरह ये सुलझे
अंगराग महनता (पापोन) वर्शन
मोह मोह के
मोह मोह के॰॰ए’ धागे
हम्म हम्म हम्म हम्म
हम्म हम्म हम्म हम्म
हम्म हम्म हम्म हम्म
हम्म हम्म हम्म हम्म
हम्म हम्म हम्म हम्म
हम्म हम्म हम्म हम्म
ये मोह मोह के धागे
तेरी उँगलियों से जा उलझे
ये मोह मोह के धागे
तेरी उँगलियों से जा उलझे
कोई टोह टोह ना लागे
किस तरह गिरह ये सुलझे
है रोम रोम इक तारा॰॰आ॰॰आ
है रोम रोम इक तारा
जो बादलों में से गुजरे॰॰ए॰॰ए
ये मोह मोह के धागे
तेरी उँगलियों से जा उलझे
कोई टोह टोह ना लागे
किस तरह गिरह ये सुलझे
तू होगा ज़रा पागल
तूने मुझको है चुना
तू होगा ज़रा पागल
तूने मुझको है चुना
कैसे तूने अनकहा
तूने अनकहा सब सुना
तू होगा ज़रा पागल
तूने मुझको है चुना॰॰आ
तू दिन है
मैं रात
आ ना
मिल जाएँ शामों की तरह॰॰अ॰॰अ
ये मोह मोह के धागे
तेरी उँगलियों से जा उलझे
कोई टोह टोह ना लागे
किस तरह गिरह ये सुलझे
के ऐसा बेपरवाह मन पहले तो न था
के ऐसा बेपरवाह मन पहले तो न था
चिट्ठियों को जैसे मिल गया
जैसे इक नया सा पता
के ऐसा बेपरवाह मन पहले तो न था
खाली राहें
हम आँख मूँदें जाएँ
पहुँचें कहीं तो बेवजह॰॰आ॰॰आ
ये मोह मोह के धागे
तेरी उँगलियों से जा उलझे
कोई टोह टोह ना लागे
किस तरह गिरह ये सुलझे
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