Archive for the ‘mother-child song’ Category
Tu man ki ati bhori o maiyya mori
Posted on: June 1, 2020
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 : |
4336 | Post No. : | 15633 | Movie Count : |
4306 |
Today (1 june 2020) is pehli taareekh. And it turns out that today is World Milk Day. In India, National Milk Day falls on a different day, namely 26 November, which is the birthday of Verghese Kurien, who brought White revolution( Milk revolution) in India.
When I was growing up, India was a desperately poor country. It was deficient in foodgrains and also milk. Our history books wistfully recalled those days in distant past when India was a prosperous country where “दूध की नदियाँ बहा करती थीं” ( “doodh ki nadiyan baha karti thi). Indians wistfully sighed and felt envious of countries like Netherlands that they were the nation that had doodh ki nadi flowing in their country.
A few days ago, I was watching videos that showed progress of various countries over the years in graphical forms in various fields. In most areas, the graph started showing USA and USSR at top and ended showing China, USA and India at the top. It was heartwarming as a Indian to witness the progress of India in all these fields.
One field that really made me proud and came as a pleasant surprise to me was the fact that India had become the number one milk producing country in the world ! And it has been number one since 1998 !
The Milk revolution in India started in Kaira District of Gujrat. The Kaira District Co-operative Milk Producers’ Union was organized in 1946 with the blessings of late Sardar Vallabhai Patel. It started with two village milk producers’ societies and began pasteurizing milk for the Bombay Milk Scheme in June 1948. At that time, only 250 liters of milk per day was being handled. by 1960s, 378 village milk producers’ co-operative societies became affiliated to the main union. These societies in turn had about 65,000 farmers as their members. In these villages, there were about 1, 25,000 adult buffaloes of the Surti Breed. During the year 63-64 about 60,000 tonnes of milk was collected by the union. The cost of the milk and milk products sold in that year was over Rs.6 crores. The Union marketed milk in Gujarat and Maharashtra States and milk products on all-India basis. Its trade name “Amul” had become a household word all over India. The union had established an excellent reputation in the dairy industry and had evoked the admiration of experts from many parts of the world.
Verghese Kurien was the the General Manager of Kaira District Co-operative Milk Producers’ Union Ltd (Amul) at that time. Mr Lal Bahadur Shashtri, the second PM of India, who had taken over charge just a few months back, visited Anand on 31 october 1964. He was very impressed with amul model and he decided to replicate this model all over India. Accordingly, he wrote a letter to all the states. NDDB (National Dairy Development Board) was set up with its HQ at Anand. It began plans called Opweration Flood. It had three phases -phase I , II and III. OF I (from 1 july 1970 to 31 march 1981) sought to establish 18 “Anands” linked to the four urban markets – Mumbai, Delhi, Kolkata and Chennai. OF-II (2 october 1979 to 31 march 1985) aimed to establish a modern and self sustaining dairy industry, building on the foundation of OF-I to meet the nations’s needs in milk and milk products. Of III (1 april 1985 to 30 apr 1996) focused on consolidating the milk procurement, processing and marketing infrastructure created under OF-I & OF-II.
By the time OF III ended, India was already number one milk producing nation in the world, a position it holds to this date. Today India produces 22 % of all milk produced in the world. Indian per capita milk production (394 ml) is higher than the world average. The per capita availability of milk is the highest in Punjab (1181 ml),followed by Haryana (1087 ml), Rajasthan (870 ml), Gujarat (626), MP (538 ml), Andhra (623 ml), Himachal (565) etc. There are states that have surprisingly low milk availability viz Delhi (35 ml), Goa (71 ml), Assam (71 ml),Chandigarh (90 ml) etc. I am sure these milk deficient states get their milk supply from milk surplus states. India produces 22% of world production, followed by USA, China, Pakistan and Brazil.
When India became independent, per capita availability of milk was 130 ml, which reduced to an all time low of 110 ml by 1970 before it picked up. In other words, milk availability in Indian picked up only after operation flood project began.
I grew up in Bihar (now it is Jharkhand) in 1960s. Even today Jharkhand per capita milk availability is only 177 ml. Those days it was far lower. I can honestly say that my pets have had more milk in their earlier lives that I ever had ! 🙂 Today my sole pet Bhhole consumes bulk of the milk that I get every morning, and that is more than what an average human gets to drink in a day. 🙂 It has been made possible because to the pioneers and foot soldiers of operation flood. This, alongwith self sufficiency in the fields of other foodstuff has ensured that India does not have to rely on imports and it is secure as far as food security is concerned. That has made India a confident nation. None of Indian neighbours, including China, has this kind of food security.
I wondered if there was any Hindi movie songs on milk. One song from “Manthan” (1977) has already been covered, and there were no other songs. Then it struck me that milk products too qualify, and that we have so many maakhan (butter) songs in Hindi movies, mostly associated with Lord Krishna. One can say that Lord Krishna, serving as a cowherd in Gokul, was a brand ambassador for milk products in general and maakhan (butter ) in particular. 🙂
A few songs of this genre have already been covered in the blog. While searching for other songs, I came across this song from “Gopal Krishna”(1979) which fits the bill perfectly. This movie was produced by Tarachand Barjatya and directed by Vijay Sharma for Rajshree Productions. The movie had Sachin, Zarina Wahab, Reeta Bhaduri, Manhar Desai, Master Sandip, Jeevan etc in it.
The movie had six songs in it.
Here is the first song from “Gopal Krishna”(1979) to appear in the blog. This song is sung by Chandrani Mukherjee which is lip synced by an actor playing young Lord Krishna . I guess that he is master Sandip, with Reeta Bhaaduri playing Maa Yashoda. Lyrics and music is by Ravindra Jain.
The situation is quite familiar to most of us. Some lady complains that Kanhaiyya has stolen maakhan from har matki. An irate Maaa Yashoda is out to punish Kanhaiyya. Kanhaiyya sings this song where he denies the charge. My own home has abundant quantity of Makhan, why would I go elsewhere for it, he explains. As for the maakhan smeared on his lips, he accused Ahir ki chhori of deliberately framing him by smearing maakhan on his lips. He then plays the emotional card- I do your chaakri for the whole day by tending to the cows in the meadows, but instead of believing me, you believe the words of others. 🙂
Very cute and sweet song, picturised nicely. This song is a hidden gem that I became aware of only today.
On the occasion of World Milk day, here is this lovely song from “Gopal Krishna”(1979).
Song-Tu man ki ati bhori o maiyya mori(Gopal Krishna)(1979) Singer-Chandrani Mukherjee, Lyrics-Ravindra Jain, MD-Ravindra Jain
Lyrics
tu man ki ati bhori o maiyya mori
tu man ki ati bhori
tu man ki aati bhori o maiyya mori
tu man ki ati bhori
jaako ghar bharyo dadhhi maakhan syon
jaako ghar bharyo dadhhi maakhan syon
vo kyon karan lago chori o maiyya mori
tu man ki ati bhori
tu man ki ati bhori o maiyya mori
tu man ki ati bhori
na kaaho ko maakhan khaayo
na koi matki phodi
na kaaho ko ka maakhan khaayo
na koi matki phodi
more mukh maakhan male tore sanmukh
more mukh maakhan male tore sanmukh
laayi aheer ki chhori o maiyya mori
tu man ki ati bhori
tu man ki ati bhori o maiyya mori
tu man ki ati bhori
jaako ghar bharyo dadhhi maakhan syo
jaako ghar bharyo dadhhi maakhan syo
vo kyun karan lagyo chori o maiyya mori
tu man ki ati bhori
din din bhar main to dhenu chaaravat karat chaakri tori
din din bhar main to dhenu chaaravat karat chaakri tori
yaahu par tu unki sunat hai
yaahu par tu unki sunat hai
jhoothi kahaani jori o maiyya mori
tu man ki ati bhori
tu man ki ati bhori o maiyya mori
tu man ki ati bhori
ja ko ghar bharyo dadhhi maakhan syo
ja ko ghar bharyo dadhhi makhan syo
vo kyun karan lagyo chori o maiyya mori
tu man ki ati bhori
- In: Background song | Blog ten year challenge (2010-2020) | Devnagri script lyrics by Avinash Scrapwala | Lyrics by Avinash Scrapwala | Lyrics contributed by readers | Manna Dey solo | Manna Dey songs | mother-child song | Rajesh Khanna present (without lip syncing) | Rajesh Khanna songs | Songs of 1970s (1971 to 1980) | Songs of 1973 | Yearwise breakup of songs
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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: | 4263 | Post No.: | 15489 |
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Blog 10-Year Challenge (2010-2020) – Song No. 13
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In olden days (even today for that matter) Indians were expected to behave in a particular manner. For instance, when it came to their day to day live, most of them were “gareeb” and they were told that they had the sole right on the resources of the nation in the form of doles aka subsidies. All political parties claimed to be pro poor parties and promised to “hataao” gareebi if voted to power. After repeatedly getting voted to power on the plank of hataaoing gareebi, the same politicians now claim to be for the “gareeb”. These “gareeb” are supposed to be gullible possessing of short memory so the politicians can get away despite failing to fulfill their past promises.
Movie makers were no different. They too made movies for the same segment of society that were treated as “gareeb” by the political classes. This section of society was supposed to like movies with escapist stories that bore little resemblance to real life. Depicting real life was considered no no. Movies depicting real life were considered boring. Why would a “gareeb” audience come to the movie hall to watch movies depicting his real dull life ? This was what the movie makers believed in.
Sometimes, some movie makers would make movies with realistic movies. Ordinary movie goers and even press would describe these movies as boring. Most movies like this flopped.
Top stars acted in such movies for creative satisfaction, but the ordinary fans felt betrayed when they would go to the movie hall and find their star sans his usual mannerisms.
Rajesh Khanna is “Aavishkaar” (1973), and Amitabh Bachchan in “Man Aazaad Hoon” (1990) are two such movies that readily comes to my mind.
“Aavishkaar” (1973) was directed by Basu Bhattacharya Aarohi Film Makers Bombay. This movie had Rajesh Khanna, Sharmila Tagore, Dina Gandhi, Denis Clement, Satyen Kappu, Monika Jasnan (child artist), Devendra Khandelwal, Margaret, new discoveries Mahesh Sharma and Minna Johar etc in it.
The movie dealt with a real life “boring” tale, viz the marital life of a couple, played by Rajesh Khanna and Sharmila Tagore. Fans of superstar Rajesh Khanna, who went to the movie hass expecting a movie like “Aaraadhana”(1969) were disappointed. There was no way juvenile fans (including yours truly) of Rajesh Khanna, who were brought up on stuff like “Haathi Mere Saathi”(1971) and “Apna Desh” (1972) were going to like this movie.
This movie was only for “mature” movie goers. Just like “rich” people were looked down upon by “gareeb” people, “mature” people, with their occasional boring movies were looked down upon by people loving “mainstream” movies.
Please do not believe the review of “Aavishkaar”(1973) that is carried by wikipedia etc. These reviews are written with the benefit of hindsight by people who were not even born when this movie was released. I remember the reviews carried out in mainstream Hindi media during 1973 which bore no resemblance whatsoever with its review that we now find online.
Coming to the songs of the movie, “Aavishkaar” (1973) had five songs in it. Four of these songs are covered in the past as described hereunder:-
| Song | Posted On |
|---|---|
| Hansne ki chaah ne kitna mujhe | 19.09.2008 |
| Naina hain pyaase mere | 20.03.2010 |
| Mahaa shoonya ke mahaan vistaar mein | 18.07.2016 |
| Baabul mora, naihar chhuto hi jaaye | 27.05.2019 |
From the table above, we can see that one song from the movie was covered on this day, ten years ago. So, this movie provides us an opportunity to have a blog ten year challenge. At the same time, all the songs of the movie get covered as well.
Ten years ago on this day, two songs were covered in the blog
| Song | Movie title-Year | Remarks |
|---|---|---|
| Naina hain pyaase mere | Aavishkaar-1973 | 04 of 05 songs posted |
| Kaali badariya maare najariya | Do Roti-1957 | All Songs posted on the blog |
Here is the fifth and final song from “Aavishkaar”(1973) to appear in the blog. The song is sung by Manna Dey. Gyandev Agnihotri is the lyricist. Music is composed by Kanu Roy.
Lyrics of this song were sent to me by Avinash Scrapwala.
With this song, “Aavishkaar”(1973) joins the list of movies that have all their songs covered in the blog.
Video
Audio
Song-Maa ko pukaar kar poochha bachche ne (Aavishkaar)(1973) Singer-Manna Dey, Lyrics-Gyandev Agnihotri, MD-Kanu Roy
Lyrics(Provided by Avinash Scrapwala)
maa ko pukaar kar poochha bachche ne
aaya kahaan se hoon maa
bolo to
padaa kahaan paaya
bolo to
sun kar sawaal ye
maa ke stanon se ufan padaa doodh
aur bah aaya aankhon se
uttar
mere laal
tum to hamesha thhe
mere man ki abhilaasha mein
tan ki paribhaasha mein
bachpan ke gudiyaaghar mein ae
kitni baar tujhe
khelte khelte
toda aa
todte todte ae
jodaa aa
paakar khoya aur
kho kar payaa aa hai
kahaan se bataaun tu aaya hai
padaa tujhe maine kahaan paaya hai
mere ae laal
tu
haan tu hi to hai
meri amar aasha
subah ka sapna
maa aur daadi ki
sunehri khwaahish
prem ki paramparaa aa
aag ki khwaahish
aur prem ki aasha se
bani teri kaaya hai
kahaan se bataaun tu aaya hai
padaa tujhe maine kahaan paaya hai
mere laal
————————————
Devnagri Script lyrics(Provided by Avinash Scrapwala)
—————————————
माँ को पुकार कर पूछा बच्चे ने
आया कहाँ से हूँ माँ
बोलो तो
पडा कहाँ पाया
बोलो तो
सुन कर सवाल ये
माँ के स्तनों से उफन पडा दूध
और बह आया आँखों से
उत्तर
मेरे लाल
तुम तो हमेशा थे
मेरे मन की अभिलाषा में
तन की परिभाषा में
बचपन के गुड़ियाघर में ए
कितनी बार तुझे
खेलते खेलते तोड़ा आ
तोड़ते तोड़ते ए
जोड़ा आ
पाकर खोया और
खो कर पाया आ है
कहाँ से बताऊँ तू आया है
पडा तुझे मैंने कहाँ पाया है
मेरे ए लाल
तू
हां तू ही तो है
मेरी अमर आशा
सुबह का सपना
माँ और दादी कि
सुनहरी ख्वाईश
प्रेम की परंपरा आ
आग की ख्वाईश
और प्रेम की आशा से
बनी तेरी काया है
कहाँ से बताऊँ तू आया है
पडा तुझे मैंने कहाँ पाया है
मेरे लाल
- In: "Swimming Pool" song | Asha Bhonsle songs | Club song | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Geeta Dutt songs | Geeta Dutt-Asha Bhonsle duet | Guest posts | Lyrics by Sudhir | Lyrics contributed by readers | Mixed Genre Songs | mother-child song | Post by Arunkumar Deshmukh | Songs of 1950s (1951 to 1960) | Songs of 1958 | Yearwise breakup of songs
- 4 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 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 : | 3819 | Post No. : | 14817 |
Today’s song is from film ‘Ek Shola’ (1958). It is sung by Asha Bhosle and Geeta Dutt. The lyricist was Majrooh Sultanpuri and the music director was Madan Mohan. The film was produced by Deep and Pradeep Productions – a joint venture of Deep Khosla and Pradeep Kumar. The film was directed by Chander Sehgal. Not much is known about Chander Sehgal, except that he directed only 2 films – ‘Ek Shola’ and ‘Mitti Mein Sona’ (1960). He died on 29-5-1960. The cast of the film is Pradeep Kumar, Mala Sinha, Jawahar Kaul, Leela Mishra, Nazir Hussain, Shubha Khote etc.
In Hindi films, there have been three actors who were very handsome and very lucky but zero in acting – Karan Dewan, Pradeep Kumar and Bharat Bhushan. They all appeared in leading roles opposite all leading actresses of their times. They had the best films, best songs and best roles. Karan Dewan had about 25 Silver Jubilees to his credit and was considered a lucky star. Bharat Bhushan had the most musical films to his credit like ‘Baiju Bawra’ (1952), ‘Shabaab’ (1954) and ‘Mirza Ghalib’ (1954) etc. Pradeep Kumar had ‘Anarkali’ (1953) and ‘Taj Mahal’ (1963).
All three had their brothers producing films for them. Gemini Dewan made films for Karan Dewan, R. Chandra made films for Bharat Bhushan and Kalidas for Pradeep Kumar. Unfortunately, in later years, all three lost everything and died in poverty and neglectful anonymity. Karan Dewan was a manager with BR Chopra’s production company. When he died no one came for his funeral except for Chandrashekhar and Manmohan Krishan from the Cine Artist’s Association. Bharat Bhushan even worked as a watchman in a film studio, in his last days. He too died unsung and only the men from the Association were present at the cremation.
Pradeep Kumar’s case is the saddest. He lay seriously ill in the ICU of a Calcutta nursing home, abandoned by his relatives. The hospital was not discharging him, unless the bills were paid. Luckily one Mr. Pradeep Kondaliya, an estate agent, recognised him, despite his grown beard. He paid the huge outstanding bill of the hospital and took Pradeep Kumar to his home, where he passed away after a few days. He was cremated by his fan. Such is the film industry – cruel and ruthless, where the recognition lasts only till one is successful, and even close relatives desert you in bad times.
Pradeep Kumar aka Sital Batabyal was born on 4 January 1925. When he was 17 years old, he started as assistant cameraman. Later he decided to take up acting. He started his film career in Bengali films. His notable roles in Bengali films were in ‘Alaknanda‘ (1947), directed by renowned filmmaker Debaki Bose, and in ’42‘ (1951). It was Debki Bose, who gave him the filmy name Pradeep Kumar.
Pradeep Kumar then shifted to Bombay and Filmistan studios, and had an important role in the film ‘Anand Math‘ (1952). He played the lead role with Bina Rai in ‘Anarkali’ (1953) and with Vyjayanthimala in ‘Nagin’ (1954). Both films were very popular and had songs that added to the movies’ success. He had a spate of releases in the second half of the 1950s. He did not enjoy as much success in the 1960s, though ‘Ghoonghat’ (1960), ‘Aarti’ (1962) & ‘Taj Mahal’ (1963) were successful. He worked with Meena Kumari in seven films; ‘Adil-E-Jahangir’, ‘Bandhan’ (1956), ‘Chitralekha’, ‘Bahu Begum’, ‘Bheegi Raat’, ‘Aarti’ and ‘Noorjehan’; and with Mala Sinha in eight films; ‘Naya Zamana’, ‘Hamlet’, ‘Baadshah’, ‘Detective’ (1958 movie), ‘Fashion’ (1959 film), ‘Ek Shola’, ‘Duniya Na Maane’, and ‘Mitti Mein Sona’.
He did not get to act in lead roles with the newer heroines of the 1960s such as Sadhana, Saira Banu, Babita or Sharmila Tagore, though he did work with Asha Parekh in ‘Ghoonghat’ and ‘Meri Surat Teri Aankhen‘ and with Waheeda Rehman in ‘Raakhi‘ (1963). In 1969, he moved to character roles with ‘Sambandh’ and ‘Mehboob Ki Mehndi’, but did not have many visible roles till ‘Jaanwar’ and ‘Razia Sultan’ in 1983.
He won the Kalakar Award-Lifetime Achievement Award (1999).
Pradeep Kumar died in Calcutta on 27 October 2001, at the age of 76. He is survived by his daughters Reena, Meena and Beena Banerjee who plays character roles in movies and TV serials including ‘Uttaran’, son Debiprasad and granddaughters Tanisha, Suparna, Riya and Hrishita. Beena Banerjee’s son Siddharth Banerjee worked as assistant director in Sajid Khan’s ‘Housefull 2’ (2012) and ‘Himmatwala’ (2013).
Mala Sinha was an educated, hard working actress. Though she worked with leading banners and was heroine to well known heroes, she was never counted among the class I heroines of her times. She worked with many newcomers, like Dharmendra etc. Her career spanned a long time but she never got a single Filmfare Award, though nominated 4 times.
Mala Sinha was born in a Bengali Nepalese Christian family in Calcutta, on 11-11-1936. Mala Sinha claimed herself a Bengali descent Nepali many years ago in a TV interview Her parents named her Alda. Her friends at school used to tease her by calling her Dalda (a brand of vegetable oil), so she changed her name to Mala. In her childhood she learnt dancing and singing. Although she was an approved singer of All India Radio, she has never done playback singing in films. But as a singer she has done stage shows in many languages from 1947 to 1975.
Mala started her career as child artist in Bengali films ‘Jai Vaishno Devi’ followed by ‘Shri Krishan Leela’, ‘Jog Biyog’ and ‘Dhooli’. Noted Bengali director Ardhendu Bose saw her acting in a school play and took permission from her father to cast her as a heroine in his film ‘Roshanara’ (1952) – Bangla film, her cinematic debut.
After acting in a couple of films in Calcutta, Mala had to go to Bombay for a Bengali film. There she met Geeta Bali, a noted Bollywood actress, who was charmed by her and introduced her to film director Kidar Sharma. It was Sharma who cast her as a heroine in his ‘Rangeen Ratein‘ (1956). Her first Hindi film was ‘Baadshah’ (1954) opposite Pradeep Kumar. Then came ‘Ekadashi’ (1955), a mythological film. Both failed, but her lead role in Kishore Sahu’s ‘Hamlet’ (1954), paired opposite Pradeep Kumar, fetched her rave reviews in spite of it failing at the box office. Films like ‘Lai Batti’ (actor Balraj Sahni’s only directorial venture), ‘Nausherwan-E-Adil’ where she starred as the fair maiden Marcia in Sohrab Modi’s romance about forbidden love and ‘Phir Subah Hogi’, which was director Ramesh Saigal’s adaptation of Dosteovsky’s novel Crime and Punishment, established Mala Sinha’s reputation as a versatile actress who took the maximum career risks by accepting unconventional roles.
Mala was a singer of some repute and used to sing for All India Radio; she was not allowed to sing playback (even for herself) in the movies with the lone exception being 1972’s ‘Lalkar’. In the 1950s, she had string of hits opposite Pradeep Kumar like ‘Fashion’ (1957), ‘Detective’ (1958), ‘Duniya Na Maane’ (1959) though their first two ventures had failed. The films she did with Pradeep Kumar were men-oriented. In 1957, noted Bollywood actor and film director Guru Dutt (the husband of Geeta Dutt) cast Mala in his film ‘Pyaasa‘ (1957) in a role originally intended for Madhubala. Mala gave a memorable performance as the relatively unsympathetic part of an ambitious woman who chooses to marry a rich man (played by actor Rehman) and have a loveless marriage rather than a poor, unsuccessful poet and her impoverished lover (played by Guru Dutt) whom she ditches. ‘Pyaasa‘ remains to this day a classic in the history of Indian cinema and a turning point for Mala Sinha.
After ‘Pyaasa’ her major success were ‘Phir Subah Hogi’ (1958) and Yash Chopra’s directorial debut ‘Dhool Ka Phool’ (1959) that elevated her into a major dramatic star. There was no looking back for Sinha then as she was part of many successful movies from 1958 to the early ’60s like ‘Parvarish’ (1958), ‘Ujaala’,’ Main Nashe Main Hoon’, ‘Duniya Na Maane’, ‘Love Marriage’ (1959), ‘Bewaqoof’ (1960), ‘Maya’ (1961), ‘Hariyali Aur Rasta’ and ‘Dil Tera Deewana’ (1962), ‘Anpadh’, ‘Bombay Ka Chor’ (1962). Critics believe her career best performance was in ‘Bahurani’ (1963), ‘Gumrah’, ‘Gehra Daag’, ‘Apne Huye Paraaye’ and ‘Jahan Ara’. Apart from pairing with Pradeep Kumar, her pairing opposite Raaj Kumar, Rajendra Kumar, Biswajit and Manoj Kumar in woman-oriented films were appreciated by audiences, with her films opposite Biswajit being the most popular. She did 10 films with Biswajit. In 2007, they won the Star Screen Lifetime Achievement Award, calling them on stage together giving due respect to their popularity as a pair who have tasted box office success.
The most remarkable feature of career of Mala Sinha was that most of her 1960s and 1970s hits were fueled by her own star power as much as the heroes and most of the times her role was more powerful than the hero. Though she was pitted opposite her seniors like Raj Kapoor, Dev Anand, Kishore Kumar, Pradeep Kumar and when she acted opposite the emerging stars from late 1950s like Shammi Kapoor, Rajendra Kumar and Raaj Kumar, she made sure her role was as good as theirs.
In 1966, Sinha went to Nepal to act in a Nepali film called ‘Maitighar‘ when the Nepali film industry was still in its infancy. This was the only Nepali film she did in her career. Her hero in the film was an estate owner called Chidambar Prasad Lohani. Soon after, Mala Sinha married CP Lohani with the blessings of her parents. From the beginning theirs was a long-distance marriage with Lohani based in Kathmandu to look after his business and Sinha living in Bombay with their daughter Pratibha. She continued acting after her marriage.
From 1974, she cut down on her assignments as the lead actresses. She accepted strong character roles in films like ’36 Ghante‘ (1974), ‘Zindagi‘ (1976), ‘Karmayogi‘ (1978), ‘Be-Reham’ (1980), ‘Harjaee’ (1981), ‘Yeh Rishta Na Tootay’, ‘Babu’ (film) and ‘Khel’, which were popular.
In the early ’90s Madhuri Dixit was promoted as new Mala Sinha in magazines. But, after 1994, she completely withdrew from industry and has given very few public appearances. In ‘Dhool Ka Phool’ and BR Chopra’s ‘Gumrah’, she played the first unwed mother and adulterous wife respectively in Hindi cinema. As she grew older, she gracefully moved on to doing character roles that befitted her age. She was last seen in ‘Zid’ (1994). Though Mala Sinha evinced as much interest in her daughter Pratibha’s career as her father did in her career, she was unable to achieve the same success for her daughter. (Adapted from wiki).
Mala Sinha came from Calcutta to make a career in Bombay films. In Calcutta she worked in a Bilingual film ‘Chitrangada’ (1954) in Bangla and Hindi. In 1954 again, she did her first film in Bombay, ‘Baadshah’ (1954), then came ‘Hamlet’ (1954), ‘Riyaasat’ (1955) and ‘Ekadashi’ (1955).
In all her interviews, Mala Sinha always quoted ‘Rangeen Raten’ (1956) with Shammi Kapoor as her first film in Bombay. She was ashamed of revealing that in film ‘Riyaasat’ (1955), her Hero was Mahipal and in film ‘Ekadashi’ it was Trilok Kapoor. She always hid this fact. There are many heroines who want to hide their struggling days. For example, in film ‘Professor’ (1962) Shammi Kapoor’s heroine was Kalpana. Though touted as her first film, her first film was ‘Pyar Ki Jeet-62’, opposite Mahipal – a fact which Kalpana always hid from everyone.
Similarly, A grade heroine Meena Kumari also had done several mythological and costume films before ‘Baiju Bawra’ took her high up and above other heroines. Films like ‘Veer Ghatotkach’ (1949), ‘Shri Ganesh Mahima’ (1950), ‘Laxmi Narayan’ (1951), ‘Hanuman Paataal Vijay’ (1951) and ‘Alladin aur Jadui Chirag’ (1953) had Mahipal as her Hero. In her later years, she always hid her earlier film Heroes.
Even comedian Johnny walker, who is supposed to have made a beginning with ‘Baazi’ (1951), had earlier worked in ‘The Last Message’ or ‘Aakhri Paigham’ (1949). However this fact is not told by anyone.
Not only actors, but even singers do this. They hesitate to tell that the first sang for C grade films. Take the case of Sudha Malhotra, who used to declare ‘Arzoo’ (1950) as her first film, under Anil Biswas. But she never told that earlier she had sung 3 songs in film ‘Aakhri Paigham’ (1949), under the baton of Abid Hussein Khan, composer.
It is very unfortunate that once the artiste becomes famous, he tends to forget his humble beginning with less known film or a composer. This is because they are ashamed of it. I feel the blame also goes to people who take their interview, because the interview takers do not do proper homework. Many times they do not know anything and simply note down whatever is told by the artiste.
There were 8 songs in the film ‘Ek Shola’. 3 songs are already discussed. This is the 4th song. It is a long song, recorded on one side each of 78 rpm record nos. N-52832 and 52833). We present here the full song covering both sides.
Song – Chanda Se Bhi Pyaara Hai, Akhion Ka Taara Hai (Ek Shola) (1958) Singer – Asha Bhosle, Geeta Dutt, Lyrics – Majrooh Sultanpuri, Music – Madan Mohan
Lyrics (Provided by Sudhir)
mmmm mmmmm mmmm
mmm mmm mmm mmm mmm mmmmmmm
chanda se bhi pyaara hai
akhion ka taara hai
dil ka sahaara mera laadla
chanda se bhi pyaara hai
akhion ka taara hai
dil ka sahaara mera laadla
ghata ka saaya hai zindagi
idhar se aai udhar chali
rukey na jeevan ki baansuri
haaye.. apni dhun mein gaa
khushi se saagar jal chhalke
pakad chaley dil sambhal ke
kahen tarangen machal ke
zaraa mauj mein lehra haaye..
khushi se saagar jal chhalke
pakad chaley dil sambhal ke
kahen tarangen machal ke
zaraa mauj mein lehra haaye..
ghata ka saaya hai zindagi
idhar se aai udhar chali
rukey na jeevan ki baansuri
haaye.. apni dhun mein gaa
chanda se bhi pyaara hai
akhion ka taara hai
dil ka sahaara mera laadla..aa..aa
jab mera nannha chhaiyan chhaiyan
thummak thummak doley
tuk tuk taakey
jhuk jhuk jhaanke
gudiya ghunghat kholey
jab mera nannha chhaiyan chhaiyan
thummak thummak doley
tuk tuk taakey
jhuk jhuk jhaanke
gudiya ghunghat kholey
ho gudde sa dulaara
akhion ka taara hai
dil ka sahaara mera laadla..aa..aa
ghata ka saaya hai zindagi
idhar se aai udhar chali
rukey na jeevan ki baansuri..ee
apni dhun mein gaa
jo mastion mein jee’e hain
usey na ?? ?? ??
ye raaz tere liye hai magar
tu nahi samjha haaye..
jo mastion mein jee’e hain
usey na ?? ?? ??
ye raaz tere liye hai magar
tu nahi samjha haaye..
ghata ka saaya hai zindagi
idhar se aai udhar chali
rukey na jeevan ki baansuri..ee
apni dhun mein gaa
chanda se bhi pyaara hai
akhion ka taara hai
dil ka sahaara mera laadla..aa..aa
A B C D
aleef bay pay
ka kha ga gha..aa..aa
A B C D
aleef bay pay
aur bhai ka kha ga gha
ab padhne askool chala hai
ye mera shehzaada
ab padhne askool chala hai
ye mera shehzaada
ho parion ne sanwaara hai
akhion ka taara hai
dil ka sahaara mera laadla
aa..aa..aa
chanda se bhi pyaara hai
akhion ka taara hai
dil ka sahaara mera laadla
mmm mmm mmmmmm mmmm
mmm mmm mmmmmm mmmm
aaa aaa aaaa aaa aaa aaa
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
मम्मम मम्ममम मम्मम
मम्म मम्म मम्म मम्म मम्म मम्म मम्ममममम
चंदा से भी प्यारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला
चंदा से भी प्यारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला
घटा का साया है ज़िंदगी
इधर से आई उधर चली
रुके ना जीवन की बांसुरी
हाए॰॰ अपनी धुन में गा
खुशी से सागर जल छलके
पकड़ चले दिल संभाल के
कहें तरंगें मचल के
ज़रा मौज में लहरा हाए॰॰
खुशी से सागर जल छलके
पकड़ चले दिल संभाल के
कहें तरंगें मचल के
ज़रा मौज में लहरा हाए॰॰
घटा का साया है ज़िंदगी
इधर से आई उधर चली
रुके ना जीवन की बांसुरी
हाए॰॰ अपनी धुन में गा
चंदा से भी प्यारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला॰॰आ॰॰आ
जब मेरा नन्हा छइयाँ छइयाँ
ठुमक ठुमक डोले
टूक टूक ताके
झुक झुक झाँके
गुड़िया घूँघट खोले
जब मेरा नन्हा छइयाँ छइयाँ
ठुमक ठुमक डोले
टूक टूक ताके
झुक झुक झाँके
गुड़िया घूँघट खोले
हो गुड्डे सा दुलारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला॰॰आ॰॰आ
घटा का साया है ज़िंदगी
इधर से आई उधर चली
रुके ना जीवन की बांसुरी
हाए॰॰ अपनी धुन में गा
जो मस्तीओं में जीए हैं
उसे ना ?? ?? ??
ये राज़ तेरे लिए है मगर
तू नहीं समझा हाए॰॰
जो मस्तीओं में जीए हैं
उसे ना ?? ?? ??
ये राज़ तेरे लिए है मगर
तू नहीं समझा हाए॰॰
घटा का साया है ज़िंदगी
इधर से आई उधर चली
रुके ना जीवन की बांसुरी॰॰ई
हाए॰॰ अपनी धुन में गा
चंदा से भी प्यारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला॰॰आ॰॰आ
ए बी सी डी
अलीफ बे पे
क ख ग घ॰॰अ॰॰अ
ए बी सी डी
अलीफ बे पे
और भई क ख ग घ
अब पढ़ने अस्कूल चला है
ये मेरा शहज़ादा
अब पढ़ने अस्कूल चला है
ये मेरा शहज़ादा
ओ परियों ने संवारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला
आ॰॰आ॰॰आ
चंदा से भी प्यारा है
अखिओं का तारा है
दिल का सहारा मेरा लाड़ला
मम्म मम्म मम्मममम मम्मम
मम्म मम्म मम्मममम मम्मम
आ आ आ आ आ आ॰॰आ
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 : | 3792 | Post No. : | 14776 |
I was very fond of seeing movies and listening to the songs since childhood.Those days,children were not allowed to see films,unlike today. If at all a film is to be seen,the children had to go with their mother,aunt, grandmother or some such female relative and the film would invariably be something like Ram Ravan Yudh or Bakasur ki Maut.
Hyderabad state,where I spent my early years was ruled by a Muslim king-The Nizam(Ala Hazarat).There were some social customs,like Burkha,which reflected in the social lives of the citizen.
For example, in almost every theatre,there used to be a special class-“Zanana Class”.It was made out of the half of the Balcony class with a wall partition between them.The frontal portion facing the screen had a thick curtain,which was removed after the film started and covered again after the film ended,thus protecting the women spectators from the prying eyes of the public.
Same procedure was for Interval period also.Only women and small children were allowed in this subsidised class.A special ‘Curtain Mover’ used to be the in charge of this and the Zanana Class.
Usually a She -Male or a He -Female (don’t know which) was appointed for women’s safety.This type of arrangement was also available in other Muslim states like,Junagarh,Bhawalpur,Lucknow,Bhopal etc.Women used to make lot of noise and at times there were big quarrels,when the films were stopped,curtain moved, peace restored and the films were restarted.
I was lucky to start seeing films independently from the end of 40s. Usually,it was from the school directly. Every Friday to Sunday,there used to be a Morning show from 11 am. In this,the tickets were almost half rates, like 4 annas, 6 annas, 12 annas etc. Thus I was able to see many films of 30s and 40s, till about 1955-56 or so.
Once I went to college, then took up the job and other priorities of life,I saw less films,but never missing an opportunity to see older films and making notes. From 1980 onwards, I stopped seeing films, and when I retired in 1998, I dug out my old collections. I have not visited a theatre after 1980 and yet to see how a Multiplex looks like. I saw few films on TV and players.
In the initial era of Talkie films, Calcutta’s New Theatres and Poona’s Prabhat were the most well known film makers. They used to make films on social issues. Particularly, Prabhat was famous for keeping their films centred on the Reform themes like,Dowry, Child Marriage, Second Marriage, Cast difference etc.From the mid 30s one more company came into limelight and that was Bombay Talkies- founded by Himanshu Rai and Devika Rani. They also followed the trend and films on social issues like Untouchability, illiteracy etc were made. Today’s song is from a film made by Bombay Talkies- Jeewan Prabhat-37.
This was also a film dealing with Caste differences and second marriage. In this film,however, it was shown that the Caste difference stayed and the proposed second marriage got cancelled. I would say, it was quite a realistic depiction of the Indian mindset, because even after hundreds of years, the caste differences exist today, while the other social ills like child marriage, dowry, illiteracy etc are controlled to a greater extent. It would not be wrong to say that as long as the Reservation Policies exist, caste differences will continue to exist-with official support !
Film Jeewan Prabhat-37 was directed by the German Director Franz Osten. The Music Director was Saraswati Devi and lyrics and dialogues were by J.S.Casshyap. The screen play was by Niranjan Pal- Himanshu Rai’s friend since their London days. Kishor Sahu and Renuka Devi made their Debut in this film. Others in the cast were Mumtaz Ali,Prithwiraj kapoor, Maya Devi and M.Nazeer etc etc. The film was released on 2-11-1937 at Minerva Talkies in Bombay. Baburao Patel of Film India, in its December 1937 issue had not much good about this film. He, in fact, criticised both the Debutantes, for their acting calling them as ‘ disappointments ‘. However, the film did good business and ran for 17 weeks in Bombay.
Unlike Prabhat or New Theatres, Bombay Talkies produced their films in quick time. This film-Jeewan prabhat- was made in just 2 months. Their most popular film Achhut kanya-36 was made in 6 months. This was possible due to self sufficient facilities, good planning, modern equipment and total involvement of the staff. Franz Osten’s speed and his planning was such that in the span of just 4 years, Franz directed 16 films for Bombay Talkies !
The Debut making actress Renuka Devi was one of a kind. I am not only surprised,but awed and terribly impressed,when I went through her Autobiography ” A woman of substance-Begum Khursheed Mirza “.
Begum Khursheed Mirza is none other than the famous Heroine of the 30s and 40s-Renuka Devi ( 4-3-1918 to 8-2-1989 ). She was perhaps one of the most educated, upper class, sophisticated and highly cultured Muslim lady, who ever joined the film industry then. One more striking feature of Renuka Devi was that she was one of the very few actresses,who joined the films after their marriage. The other such examples I remember offhand is that of Meenakshi Shirodkar (Bramhachari-38 fame), Shobhana Samarth and actress Neena ( real name Shahida-wife of Mohsin Abdulla, brother of Renuka Devi and later wife of W.Z.Ahmed) in those times.
Renuka Devi had studied upto Masters degree in English Literature,from Aligarh Muslim University. The only other nearest example I remember offhand is that of actress Vanmala (real name Susheela Devi Pawar), who had done B.A and B.T. and was a Teacher in the college before joining films,at the behest of writer,journalist and Director P.K.Atre.
The story of Renuka Devi is quite interesting. Khursheed Jehan was born in Aligarh on 4-3-1918, to Shaikh Abdulla and his wife Waheed Jehan Beg. She was the 6th of the 7 siblings. Her father Shaikh Abdulla (1874-1965) was originally a Hindu. He was the son of a rich Jahagirdar and Landlord from Poonch,Kashmir. They were Kashmiri Brahmins. His name was Thakur Das. He embraced Islam in 1890, while studying in Aligarh. When his family learnt about it, he was disowned by them. He took the name Shaikh Abdulla.
He became a leading Advocate of Aligarh. After he married Waheed Jehan Beg,they both- being of progressive thinking- decided to work for the Muslim women’s education. They faced lot of resistance from the fundamentalists,but they established a Muslim women’s college in Aligarh. To provide students for this college,a school was also started for Muslim girls. soon the girls started joining the school and college. Shaikh Abdulla ensured that all his children were educated. One daughter became a Doctor,another Advocate and two daughters did master’s degrees and later on became Principals of the women’s college. Khursheed also studied upto masters but due to her marriage could not complete it. ( she completed her Masters in English Litterateur in 1963,at the age of 45 years,later).
Khursheed Jehan was married to Akbar Mirza,a Police Officer in Aligarh. Soon she gave birth to 2 sons also.
Her brother Mohsin Abdulla was working in Bombay Talkies,at Bombay. He used to describe how professional these studios were. Khursheed was 21 year old and beautiful. She desired to work in films. She wrote a letter to Devika Rani expressing her desire. This she did, without informing her husband. She received a letter from Devika Rani, inviting her to Bombay for an interview. Now she confided in her husband and he wholeheartedly supported her.
Thus started her acting career. She was 21 years,married and had 2 children too. Her first film was ‘ Jeewan Prabhat”-37. She was given the name RENUKA DEVI. This was a Debut film for Kishore Sahu. Bombay Talkies bosses were very happy with her performance and she was offered a Heroine’s role opposite Jairaj in film ” Bhabhi”-1939. Jairaj was also from a rich background,cultured and highly educated. Their tuning was excellent and the film was a grand success. Renuka also sang few songs in Bhabhi-39. ( when the news of her acting in films reached Aligarh,there was a hue and cry. Her mother wrote to Renuka,’not to visit Aligarh for now’. Renuka did not go to Aligarh for next 2 years).
She was invited to Calcutta By New Theatres to act in film, Badi Didi-39. Her other films were Naya Sansar-41 (Ashok kumar), Sahara-43 (S D Narang), Ghulami-45 ( Masood Parvez) and Samrat Chandragupta-45 ( Ishwarlal ). her film career was very short. She announced her retirement from films in February 1944,while shooting for her last films. She did only 7 films and sang only 3 songs in 3 films.
After partition,her family migrated to Pakistan. In Pakistan,though in demand,she refused to do any films. Instead,she decided to devote her time for women’s uplift,education,welfare and social work. She also did some work on Pakistan Radio.
When TV came to Pakistan,she became very active and for next 15-20 years she was a popular figure on Pak TV. In 1963,she completed her Master’s degree,at the age of 45 years. From August 1982 to April 1983,she published 9 instalments of her autobiography in the popular magazine ” Herald ” as ” The uprooted sapling”. This was,later on,edited and published as a Book, ” A woman of substance- the memoirs of Begum Khursheed Mirza “, by her daughter Lubna,in 2004. Renuka Devi died on 8-2-1989 at Lahore after a prolonged illness.
In her book she included a chapter of 24 pages ” Renuka Devi-my celluloid identity”,in which she has described many interesting anecdotes. her detailed description of the times of the 30s and 40s is a lovely chronicle of history of Bombay film industry. here are some excerpts from her book, for you…
1) Back in the Thirties, acting in films was not considered an honourable profession for anybody. And for a married woman from a well-educated and respectable upper-middle class Muslim family, it was forbidden to even think about it. But Khurshid Mirza, the daughter of the founders of the Aligarh Women’s College, the wife of a police officer and already a mother of two, was too free-spirited to be tied down by any social norm. I took the plunge and soon a star named Renuka Devi was born.
2) In 1939, Shanta Apte wrote that she received four or five letters each day from young girls wanting to join the movies “due perhaps to this monetary attraction”. Actresses themselves acknowledged in interviews that the money was substantial and more than one actress claimed that her salary rivalled that of the Governor of Bombay! But aside from several myth-building exercises, it is now apparent that film acting was a uniquely high-paying profession for women. According to Filmindia, Shobhana Samarth’s approximate total income in 1942 was Rs 36,000 while Sardar Akhtar, Naseem Banu, and Madhuri earned about Rs 30,000 each. These figures indicate that leading heroines of the day averaged an income of Rs 3,000-4,000 per month (some actresses were freelancers and did not work through the year), at a time when a French chiffon sari cost Rs 9, and a brand new imported Studebaker cost Rs 6,000. It is hardly surprising then, that I would want to make “a little dough”.
3) Akbar stood by me in the face of stiff opposition from both our families. Nevertheless, he maintained a strange attitude towards my work. He enjoyed the benefits the money brought us, such as a new car, expensive game-hunts, and pleasure trips to fashionable Mussoorie in summer and excellent schooling for our children. And, yet, he treated my work as a hobby, instead of giving it its due importance.
( My thanks to the book,”A woman of substance “, some information from ” Free Library”,Cineplot and my own notes).
One more name Maya Devi may be new to readers. Maya Devi was from Bombay and started her career from silent films in 1928 with Anarkali by imperial. Her first Talkie film was Kunwari ya widhva-35. Her real name was Leela. She became a favourite of Bombay Talkies and she did 6 films with them in 37 and 38. In all she did 5 silent films and 31 Talkie films till 1949. She got married with a Muslim and then migrated to Pakistan, where she did 19 films and then retired in 1964. She died in Lahore on 1-2-67. She did films in Gujarati and Punjabi also.( info from pakfilms.com).
The story of film Jeewan Prabhat-37 was……..
In this film Uma (Devika Rani) is born in a high caste Brahmin family,but falls in love with a boy of Kumhar caste(Potters).Her love with Ramu (Kishore Sahu) leads them nowhere as there is a great opposition to this from all sides. They realise that their love will lead them nowhere. Finally Uma is married off to Nandlal (Prithviraj kapoor), a Brahmin boy and Ramu accepts the reality.
The marriage makes the potters very happy too. Later it is rumoured that Nandlal is about to marry Padma (Chandraprabha),because Uma is a ‘ baanjh’ (infertile). Ramu meets Uma and their meeting is seen by Nandlal. He sends Uma back to her parents. Few days later, Uma discovers that she is pregnant,but Nandlal doubts her fidelity. At the end Padma, herself understands how much Uma loves Nandlal. She withdraws from the proposed marriage. Not only this,she also convinces Nandlal about Uma’s purity.
Finally, Nandlal and Uma begin a new life a new Jeevan Prabhat.
Song-Paalna mero munwa jhoole (Jeewan Prabhat)(1937) Singer-Saraswati Devi, Unidentified Male Voice, Lyrics-J S Kashyap, MD-Saraswati Devi
Chorus
Lyrics (Provided by Sudhir)
mero lalna jhoole paalna
mero lalna jhoole paalna
mero munna jhoole paalna
mero lalna jhoole paalna
mero munna jhoole paalna
hari gulabi resham ki dor lagi
soney chaandi ki bati ye khoob bani
hari gulabi resham ki dor lagi
soney chaandi ki bati ye khoob bani
faro faro maa ek lagaai
mann mohey bholi chhavi pyaari
faro faro maa ek lagaai
mann mohey bholi chhavi pyaari
maa ke mann mein uthat hilore
maa ke mann mein uthat hilore
jhoola jhoole laalna
jhoola jhoole laalna
mora bituwa jhoole paalna
jhoola jhoole laalna
mora bituwa jhoole paalna
badho bhalo to chhodo jhoola
doley it ut chalo khadula
badho bhalo to chhodo jhoola
doley it ut chalo khadula
baat banaawe bholi bholi
baat banaawe bholi bholi
bhookh lagey par daudo aawe
kahey totli boli
bhookh lagey par daudo aawe
kahey totli boli
maa maa
oti de
maa maa
dudhu de
maa daud uthaave
doodh pilaave
maa daud uthaave
doodh pilaave
laalna
mero munwa jhoole paalna
mero lalna jhoole paalna
mero munna jhoole paalna
?? to ghar mein aawe
maatha peete daud lagaave
?? to ghar mein aawe
maata ji se to daud lagaave
arey kin ne maara
baa..boo
babua kaun laaya
baa..boo
dudhu kaun pilaaya
ammaa
kaala teeka deta
ammaa
mera pyaara raaj dulaara
amma amma karta pyaara
mera pyaara raaj dulaara
amma amma karta pyaara
laalna
mero munwa jhoole paalna
mero lalna jhoole paalna
mero munna jhoole paalna
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
मेरो ललना झूले पालना
मेरो ललना झूले पालना
मेरो मुन्ना झूले पालना
मेरो ललना झूले पालना
मेरो मुन्ना झूले पालना
हरी गुलाबी रेशम की दो लगी
सोने चांदी की बटी ये खूब बनी
हरी गुलाबी रेशम की दो लगी
सोने चांदी की बटी ये खूब बनी
फड़ो फड़ो माँ एक लगाई
मन मोहे भोली छवि प्यारी
फड़ो फड़ो माँ एक लगाई
मन मोहे भोली छवि प्यारी
माँ के मन में उठत हिलोरे
माँ के मन में उठत हिलोरे
झूला झूले लालना
झूला झूले लालना
मोरा बिटुवा झूले पालना
झूला झूले लालना
मोरा बिटुवा झूले पालना
बढ़ो भलो तो छोड़ो झूला
डोले इत उत चलो खडोला
बढ़ो भलो तो छोड़ो झूला
डोले इत उत चलो खडोला
बात बनावे भोली भोली
बात बनावे भोली भोली
भूख लगे पर दौड़ो आवे
कहे तोतली बोली
भूख लगे पर दौड़ो आवे
कहे तोतली बोली
माँ माँ
ओटी दे
माँ माँ
दुधु दे
माँ दौड़ उठावे
दूध पिलावे
माँ दौड़ उठावे
दूध पिलावे
लालना
मेरो मुनवा झूले पालना
मेरो ललना झूले पालना
मेरो मुन्ना झूले पालना
?? ?? तो घर में आवे
माथा पीटे दौड़ लगावे
?? ?? तो घर में आवे
माथा पीटे दौड़ लगावे
अरे किन ने मारा
बा॰॰बू
बबुआ कौन लाया
बा॰॰बू
दुधु कौन पिलाया
अम्मा
काला टीका देता
अम्मा
मेरा प्यारा राज दुलारा
अम्मा अम्मा करता प्यारा
मेरा प्यारा राज दुलारा
अम्मा अम्मा करता प्यारा
लालना
मेरो मुनवा झूले पालना
मेरो ललना झूले पालना
मेरो मुन्ना झूले पालना
Ankhiyan Ke Tum Taare Pyaare
Posted on: September 23, 2018
- In: "Aankh" song | Actor-Singer song | Biography of actors | Biography of artists | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics contributed by readers | mother-child song | Parent Child song | Pathos | Poignant Song | Post by Sudhir | Song of 1936 | Songs of 1930s (1931 to 1940) | Vasanti Solo Song | Vasanti Song | Yearwise breakup of songs
- Leave a 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 : | 3719 | Post No. : | 14653 |
When ‘Bawarchi ‘ was released in 1972, I had seen it on the big screen in the theatre with family. In this film, Hrishikesh Mukherji has woven a remarkable story of a joint family and their interesting interactions. The head of the family (a widower), his three sons, two daughters in law, third son still a bachelor, and three children. The roles of the two daughters in law were played by Durga Khote and Usha Kiran. Being quite un-exposed to cinema otherwise (it was school years for me) I was quite unfamiliar with these two ladies when I saw this film for the first time.
I was later to recall these two senior actresses, when I would get to see their earlier, older films. The first such re-introduction was when I saw ‘Mughal-e-Azam’ (1960) on TV for the first time. Then I came to recognize Durga Khote in her role as Jodha Bai, and connected her with her role in ‘Baawarchi’. The two films had a difference of 12 years, and decidedly, she is looking much younger and sweeter in her role as Badi Maa in ‘Baawarchi’, compared to her royal appearance as the empress of India and wife of Emperor Akbar. One scene (from ‘Baawarchi’) that really amazed me and mesmerized me, is the family song situation from an early morning impromptu get together of the family members – “Bhor Aayee Gaya Andhiyaara”. During the course of this song, the two supposedly middle aged daughters in law perform the rapid pace thaap steps dance to the rapid taal – “dhiga tum naa naa naa naa naa” being rendered by the family help Raghu (role played by Rajesh Khanna). It was a real wonder to see the two ladies perform that sequence. A quick check reminded me that Durga Khote was, goodness, 67 years of age, when she performed in ‘Bawarchi’.
Remembering Durga Khote on the anniversary of her passing away (22nd September).
The first and the top most lady luminary of the Hindi cinema, Durga Khote was born on 14th January, 1905, in a well known family of Bombay. The family hailed from Goa and spoke Konkani at home. Her mother’s name was Manjulabai. Her father, Pandurang Shamrao Laud, was a famous lawyer and her brother was also a well known barrister. The young Vita Laud (her maiden before marriage) was educated, like her siblings, at Cathedral High School and St. Xavier’s College from where she did her B.A. While still in college, she was married into the Khote family, graduated and settled down with her husband. By the age of 26, she was a widowed mother of two sons – Bakul and Harin.
Into this scenario, and a life of a very traditional family, plopped in something utterly new – the world of cinema. Durga Khote wanted to work to support her children. In doing so, she became a pioneer of sorts. It was a time when the film industry was regarded as the preserve of the base and the bawdy. Also, most of the female characters were played by men at the time.
It all came about through her sister Shalini, also married and having amongst her circle of friends, a gentleman by the name JBH Wadia. At the time JBH was working with Mohan Bhavnani as the latter’s assistant. The talkies had just made their appearance on the silver screen. Bhavnani who had just made a picture, wanted to give it the box office appeal of a “talkie” ending. The picture starred Mrs. Bhavnani and her husband was looking out for a girl who would feature with his wife in the climax scenes of the film. Approached by JBH, Shalini refused. But knowing Durga as a person who would try anything once, she recommended her. Durga was ready to have a go at the part, accepted the role and went off to the studios the same day. Mr. Bhavnani’s heterogeneous production was soon completed, printed and made ready for release.
The film flopped. And for the beautiful young housewife and mother there followed a period of embarrassment at being connected with a filmy disaster. The film was ‘Farebi Jaal’ (also titled as ‘Trapped’ in English). “That is just how I felt when I saw it. It was a terrible film,” Durga Khote recalls in an earlier interview. She goes on to say that, “. . . my position was more than awkward. I had suddenly achieved a fair measure of notoriety. I just couldn’t walk around in Girgaum without people pointing at me.”
Looking back on it she laughed at the by-gone crisis. Through all this turmoil and unease there was one solid consolation: both the Laud and the Khote families were far too intelligent and sophisticated to be worried by the affair. On the contrary “My families stood up for me” declared Durga Khote with a proud smile of affection.
Amongst those who saw the film ‘Trapped’, was the then up and coming producer and director V Shantaram. After seeing her performance, he offered her the female lead role of Taramati in the bilingual film ‘Ayodhyache Raaja’ – ‘Ayodhya Ka Raja’ (1932). Durga Khote saw in it an opportunity to vindicate herself. Once again encouraged by the families, she accepted the role and played it beautifully. The film was not only good but a big hit, in both the Hindi and Marathi versions.
V Shantaram simultaneously cast her also in ‘Maya Machhindra’ (again 1932). This was a also a smash hit. These two top successful films established her straight off as a top star. Following came a number of films that won her acclaim from the public and from the film industry. After the two fabulous successes in 1932, what followed is no less dazzling a repertoire of well known films and famous roles.
In 1933, she appeared opposite to Prithviraj Kapoor in the New Theatres Production from Calcutta – ‘Raajrani Meera’. This year also saw her play the lead role opposite to a very young and handsome new entrant into the industry – P Jairaj, in the film ‘Patit Paavan’ (Pratima Phototone, Bombay).
1934, and she is paired opposite to Prithviraj once again in ‘Seeta’, from East India Film Company in Calcutta.
1935, another production from New Theatres – ‘After The Earthquake’, as the female lead opposite to Syed Mohammed Nawab. And once again, paired with Jairaj in ‘Jeevan Natak’ – a Debaki Bose Production in Bombay.
In 1936 came one of her many superlative roles on the screen – ‘Amar Jyoti’ from the production house of Prabhat, with co stars Chandramohan, Vasanti and B Nandrekar.
She played the lead role in ‘Pratibha’ in 1937, opposite to Master Shyam; film by Shalini Cinetone.
1938, and she appeared in two films – ‘Nand Kumar’ (Jaishree Films), working with Govindrao Tembe and ‘Saathi’ from Natraj Films, paired with Mubarak – another popular hero of that era.
1939 saw her appearing with Prithviraj once again in the Ranjeet Studios production – ‘Adhoori Kahaani’.
In 1940 it is Chandramohan and the film is ‘Geeta’ from Circo Productions. Also in 1940 came the famous and popular hit film, ‘Narsi Bhagat’ working with Vishnupant Pagnis.
1941 and it is ‘Charnon Ki Daasi’ from Atre Pictures, paired with Gajanan Jagirdar.
In 1942, she appeared in 2 films, ‘Bharat Milap’ of Prakash Pictures, with co stars Prem Adeeb, Shahu Modak and Shobhana Samarth; and in ‘Vijay’ from National Studios, opposite to Harish.
1943 turned out to be a blockbuster year for her, appearing in the lead role in six films. She was seen in ‘Qurbani’ opposite to Ishwar Lal, ‘Mahasati Anusuya’ with Shahu Modak, E Billimoria and Shobhana Samarth; ‘Mahatama Vidur’ with Vishnupant Pagnis; ‘Tasveer’ – paired with the young newcomer Motilal; and ‘Zameen’, paired with Biswas. The listing for 1943 is complete only when we talk about the mega film from Minerva Movietone – ‘Prithvi Vallabh’ in which she is paired with Sohrab Modi.
In 1944, it is ‘Maharathi Karn’ paired with Prithviraj Kapoor once again, and ‘Dil Ki Baat’ a romantic social, working opposite to Ishwar Lal.
In 1945, it is ‘Lakahrani’ from Prabhat, working opposite to Sapru; ‘Panna Dai’ working with Chandramohan and Mubarak; and ‘Veer Kunal’ with Mubarak, Kishore Sahu and Shobhana Samarth.
In 1945, we also see a major qualitative shift in her career. She stepped away from lead roles and very gracefully migrated towards support roles as a character artist. ‘Village Girl’ was probably the first such film, in which she does not play the lead role. But her films and her roles continue to be significant and powerful. She had already stated to play non-romantic lead roles in films like ‘Charnon Ki Daasi’ (1941) and ‘Bharat Milap’ (1942). Her filmography beyond 1945 speaks volumes of her prowess as an actress, and her ability to command the scenes, and the films. Moving to character roles, her assignments continue to increase, and she continued to be a busy and an in demand artist for another almost four decades. During her career, she has appeared in more than 200 films.
A special mentions needs to be made of the 1953 film ‘Chacha Chaudhry’ – a comedienne performance which took the industry and the public by storm. The brilliant timing of her expression, gestures, movement and dialogue combined to make that role such a scintillating comedy portrayal that she all but stole the picture from the consummate actor Raja Paranjpe – who doubled as director and lead player – and Dhumal. The three of them made it a slick, hilarious romp.
Durga Khote’s portrayals have been sensitive and consummate. Notable mentions must be made of some of her performances;
as Queen Kaikeyi in the 1942 film ‘Bharat Milap, jealously coveting the throne for her own son – her personification of the grasping queen made one understand if not quite condone the old king’s doting weakness;
as Shachi Devi, mother of Chaitanuya Mahaprabu in the 1953 biopic ‘Shri Chaitanya Mahaprabhu’ – a heart-rending performance of a mother torn between her love for her son and the gratification she feels in his single-minded devotion to God, and her heartbreak for his bewildered, forsaken girl-bride, and her gradual resignation, made for a portrayal which was a gem of histrionic art;
as Jodha Bai, the empress of India, wife of Akbar – once again called upon to make a dreadful choice of loyalties, torn between the warring father and son – at first unable to invoke the blessings for her husband leaving for the battlefield, with the certainty of the fear that her son will be killed, and then when Akbar challenges her by attempting to erase the sindoor from her forehead, very sternly and studiously she performs the pooja giving the due honor to her suhaag even in the face of an eventuality of possibly losing her only child.
These and many other such power packed performances have made Durga Khote the dame thespian of the Indian cinema. She was honored with the Padam Shri award in 1968 and the coveted Dada Saheb Phalke Award in 1983.
In 1950, Durga Khote naturally gravitated towards the stage and she joined the Marathi Sahitya Sangh, starting her long association with the theatre also. She kept busy acting in, producing and directing plays. She also founded Durga Khote Productions which produced short films – advertising, documentary, educational and industrial.
She continued to be active both in films and in theatre till the mid 1980s. After that, she moved into semi-retirement. She passed away this day, in 1991, in Bombay.
The film ‘Amar Jyoti’ has been acclaimed as a film much, much ahead of its time, both in terms of handling of the subject matter as well as in terms of technical finesse and special effects. The film represented India in the Venice film festival in 1937 and won praises and accolades as one of the best three films at the festival.
The film deals with the theme of suppression and negation of the role of the woman in the society, and one lady’s rebellion against it. As a subject, this was a daring endeavor by V Shantaram, given the prevalent sentiments in the society of that era. Nevertheless, this film was much acclaimed and became very popular at the box office too. Since the story revolves around pirates, scenes related to sailing ships and ships in conflict, it was a major accomplishment for the director, to be able to create the necessary environment within the studio, and film all the naval scenes using advanced special effects techniques, within the confines of the studio itself.
The film pertains to an undefined historical period. A queen (role played by Karuna Devi) and her cruel minister Durjay (role played by Chandramohan) are challenged by a woman turning a pirate and terrorizing the coastal provinces of the kingdom. This woman, Saudamini (role played by Durga Khote), has been much wronged by her husband. But when she pleads for justice from the royal court, Durjay decrees that a husband was the complete master of his wife, whom he could ill-treat, use as a chattel or dispose of as a slave. She is denied custody of her son by the queen, after she refuses to return to her matrimonial home. This greatly enrages Saudamini and drives her to revolt and seek revenge. She takes on the mantle of a male role and gets into a commanding position, as the captain of a pirate ship. She is assisted by her associate, Rekha (role played by Vasanti).
Durjay is captured and is kept as a prisoner with one of his legs cut off, to make him realize the eternally enslaved condition of women. Her next big catch is the princess Nandini (role played by Shanta Apte), the queen’s daughter. In her relationship with the princess, Saudamini plays an even bigger game by converting the princess to her creed of female emancipation, which considers love and marriage as a bondage. The princess suppresses her feelings for a shepherd boy, Sudhir (role played by B Nandrekar), whom she had met during her days in the pirate’s den. Unknown to even Saudamini, this shepherd boy is actually her own son, who was separated from her years ago.
In the continued sequence of events, Durjaya escapes with the help of Sudhir and returns to arrest Saudamini. Saudamini is captured, but the others, along with Nandini and Rekha, escape. It is finally revealed that Sudhir is Saudamini’s long-lost son. Nandini and Sudhir are married and Rekha carries forward Saudamini’s legacy.
Shantaram has used the symbol of the lamp and the flame very effectively. He deployed many other techniques that were considered path-breaking at that time. The film’s real success is in bringing out the inner conflicts of women, who may become male-like rebels, at the cost of suppressing their natural urges as wife or mother. In one of the most moving scenes in the film, we see Saudamini secretly fondling the tiny garments of her son, who has been separated from her.
In this song, we see this brief interlude, as Saudamini is remembering her child. The brief song is written by Pt Narottam Vyas, and the music is composed by Master Krishna Rao Phumblikar. The playback singing voice is that of Vasanti.
Remembering and honoring the enduring legacy of this fine actress – Durga Khote.
[Author’s Note: Acknowledgements – This article has adapted material from online sources viz., Cineplot and Wikipedia. Filmography details have been prepared using the Geet Kosh voumes 1 and 2.]
Song – Ankhiyan Ke Tum Taare Pyaare (Amar Jyoti) (1936) Singer – Vasanti, Lyrics – Pt Narottam Vyas, MD – Master Krishna Rao
Durga Khote
Lyrics
akhiyan ke tum taare pyaare
chhod mohey mat jaa re
ab mat jaa re
akhiyan ke tum taare pyaare
chhod mohey mat jaa re
ab mat jaa re
[sudhir. . .]
[main teri maa. . .]
akhiyan ke tum taare pyaare
chhod mohey mat jaa re
ab mat jaa re
aansoo nainan mein se
aansoo nainan mein se
aansoo nainan mein se
kaahu tohey pukaarun
kaahu tohey pukaarun
waaroon sukh dukh saare
waaroon sukh dukh saare
waaroon sukh dukh saare
akhiyan ke tum taare pyaare
chhod mohey mat jaa re
ab mat jaa re
[ab mat jaa re]
———————————-
Hindi script lyrics (Provided by Sudhir)
———————————–
अखियन के तुम तारे प्यारे
छोड़ मोहे मत जा रे
अब मत जा रे
अखियन के तुम तारे प्यारे
छोड़ मोहे मत जा रे
अब मत जा रे
[सुधीर॰ ॰ ॰]
[मैं तेरी माँ॰ ॰ ॰]
अखियन के तुम तारे प्यारे
छोड़ मोहे मत जा रे
अब मत जा रे
आँसू नैनन में से
आँसू नैनन में से
आँसू नैनन में से
काहू तोहे पुकारूँ
काहू तोहे पुकारूँ
वारूँ सुख दुख सारे
वारूँ सुख दुख सारे
वारूँ सुख दुख सारे
अखियन के तुम तारे प्यारे
छोड़ मोहे मत जा रे
अब मत जा रे
[अब मत जा रे]
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 : | 3658 | Post No. : | 14523 |
“Nirdosh”(1950) was directed by Najam Naqvi for Filmistan. The movie had Shyam, Rehana, Misra, Om Prakash, K. N. Singh, S. M. Abbas, Kuldip Kaur, S. L. Puri, Mukri etc in it.
The movie had ten songs in it. One song has been covered in the past.
Here is the second song from “Nirdosh”(1950) to appear in the blog. The song is sung by Meena Kapoor. Raja Mehdi Ali Khan is the lyricist. Music is composed by Shyam Sundar.
Only the audio of this sentimental Mother-child song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Dil ke tukde tujhe seene se lagaa loon aaja (Nirdosh)(1950) Singer-Meena Kapoor, Lyrics-Raja Mehdi Ali Khan, MD-Shyam Sundar
Lyrics
dil ke tukde tujhe seene se laga loon
aaja
apni soyi hui taqdeer jaga loon
aaja
dil ke tukde
meri barbaad mohabbat ki nishaani tu hai
meri barbaad mohabbat ki nishaani tu hai
meri beeti hui khushiyon ki kahaani tu hai
dil mein rakh loon
dil mein rakh loon tujhe aankhon mein bitha loon
aaja
dil ke tukde tujhe seene se laga loon
aaja
dil ke tukde
ae meri pyaar ki tasveer meri god mein aa
ae meri pyaar ki tasveer meri god mein aa
meri hansti hui taqdeer meri god mein aa
ae mere chaand
ae mere chaand
diye dil ke jala loon
aaja
dil ke tukde tujhe seene se laga loon
aaja
dil ke tukde
maa bulaati hai
meri jaan tu aata nahin kyun
maaan bulaati hai
meri jaan tu aata nahin kyun
apni bahon ke mujhe haar pahnata nahi kyun
aag jo dil mein lagi hai wo bujha loon
aaja
dil ke tukde tujhe seene se laga loon
aaja
dil ke tukde
Chhaila Mera Chhaila
Posted on: June 20, 2018
- In: Devnagri script lyrics by Avinash Scrapwala | Duet | Feelings of heart | Guest posts | Kishore Kumar songs | Kishore Kumar-Lata duet | Lata song | Lyrics contributed by readers | Missing the loved ones | mother-child song | Multiple version song | Post by Avinash Scrapwala | Rajesh Khanna songs | Rajesh Khanna songs by Kishore Kumar | Songs of 1970s (1971 to 1980) | Songs of 1977 | Theme song | Yearwise breakup of songs
- 2 Comments
This article is written by Avinash Scrapwala, 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 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 : | 3624 | Post No. : | 14445 |
Greetings to dear Atul ji, and best wishes for many many happy returns of today.
The 1977 film ‘Chhaila Baabu’ is joining the ‘Yippeee Club’ of movies or ‘movies having all their songs covered’ on the blog. Indeed, a long wait for me and particularly for this song which was the first that I shared when I was still only a ‘year-old’ contributor on the blog. Other songs of this movie which I shared later were lucky and got posted before the today’s song. This song is the one which I cannot forget since my childhood, may be because this being a ‘mother-son’ song. I must be 9-10 years old when I had watched this movie with my parents in my childhood.
The part-I of this song and even the part-II is on screen performed by Achala Sachdev whom we mainly remember for playing a mother or thereafter grandmother in Yash Raj films. When I glance through the list of the films she acted in I realized that I have watched many of them but cannot recollect now.
Also I found that not much information is available about her on the domain (except there is page on wiki about her) and mainly other articles which were posted after she passed away on 30.12.2012 , and about how she was ignored by the film personalities in her last days. May be our seniors can do a detailed post on her with one of the songs performed by her on screen. Or maybe it is there and I am not aware, if so, please forgive me.
As I am not aware of her initial films and whether she got a lead role or second lead and if at all there are any songs which she performed on screen, except the another one, that I know, is from the 1970 film ‘Heer Ranjha’, where all the Bhabhi’s dance on their devar’s (Rajkumar’s) marriage preparations – ‘Naache Ang Ve . . .’ a beautiful composition by Madan Mohan ji.
Achala Sachdev was born in Peshawar (now in Pakistan) on 3rd May 1920. She acted in over 130 films (as per info on wiki). She began her filmi career with ‘Fashionable Wife’ in 1938 and ‘Na Tum Jaano na Ham’ (2002) was her last film. She died on April 30, 2012 at Pune. She was 91 then.
The move ‘Chhaila Babu’ was Produced by Shomu Mukherjee and Directed by Joy Mukherjee. It was a ‘suspense thriller’. It had Rajesh Khanna in title role of ‘Chhaila Babu’, accompanied by Zeenat Aman, Asrani, Ranjeet, Padma Khanna, Achala Sachdev, Macmohan, P Jairaj, Ravindra Kapoor and Om Shivpuri. Since in my earlier write ups about the songs of this movie I have already mentioned about the details of this movie and my nostalgia associated with its’ songs, and so I will not repeat it here.
But something that I would like to mention here is about Joy Mukherjee as a ‘director’ of this movie. Earlier I had read about his directing the movie ‘Humsaaya’ (1968), but I had forgotten about it. Though I must mention here that I had watched many of Joy Mukherjee’s movie in my teen years when I was studying in 11th -12th. And I liked all his movies very much and have watched them repeatedly; especially ‘Shagird’ (1967), ‘Phir Wohi Dil Laaya Hoon’ (1963), ‘Door Ki Aawaaz’ (1964), and ‘Love In Tokyo’ (1966). In those days i.e. 1983-85, old movie were still being screened in theatres sometime in four shows or noon shows only and they used to run packed houses. Specially in the city of Akola (Maharashtra) (CP & Berar circuit for movies) many old movies used to run packed houses and I watched many old movies during those years there. ‘Ziddi’ (1964) I think I watched on Doordarshan.
I got the VCD of ‘Ek Baar Muskuraa Do’ (1972) just four-five years back from an ‘online’ store. Then I had also watched ‘Love in Shimla’ (1960) during my school days during the weekly screening of movie in our ‘colony recreation club’. And its song ‘Alif Zabar Aa Alif Zer Ae Alif Pesh O ’ has been in my memory since then. I do not remember correctly now if I had watched his ‘Ek Musaafir Ek Haseena’ (1962), but since I have the cassette of this movie, as I like the songs of this movie very much, and maybe I had watched some of its songs on TV, it also remains one of my favorites.
Coming to the songs of his movies – which was another main factor for me to watch his movies repeatedly. Our in house Encyclopedia Shri Arun ji had already done a detailed post on Joy Mukherjee here , while presenting a song from his movie ‘Love In Bombay’ (2013(1971)). This was Joy’s third directorial venture after ‘Humsaaya’ & ‘Chhaila Babu’.
HFGK Vol V mentions that today’s song in three parts and it noted down the first part as a ‘happy version’, whereas from the song one can guess and take it as a ‘sad song’ or ‘missing the beloved song. The first part in its picturization shows the mother (Achala Sachdev) remembering the ‘happy memories’ while singing this song searching for her lost son (Rajesh Khanna). And the in the second part while only the ‘mukhda’ of the first version is repeated only, the third part is in the voice of Kishore Kumar and starts with different lines. However, since HFGK mention this song in three version it was required to watch this movie again and clear the confusion.
[Ed Note: In this presentation, the parts 2 and 3, as mentioned in HFGK, are together presented as part II, as per the video clips.]
When Atul ji was in a ‘Yippeeee’ mode again during the first four months of this year I had sent him reminder for this song and also with a request to throw light on this song if possible. Finally, a week before I watched this movie online (most uncomfortable way to watch a movie for me, but then … we have to 😊).
The 1st part of the song is where the mother, Achala Sachdev is searching for her son, who ‘bachpan mein bichhad gaya’. It includes flashback of the mother-child playing – ‘happy memories’ included 😊. Now when this child grows up as Rajesh Khanna, he remembers this song and use to sing it on the ‘mouth organ’ gifted to him by his mother on his birthday. The second part of Lata for this song is only a repeat of first few lines of the earlier part 1 of this song. And the third part is the Kishore Kumar version of this song, in which the mother-son get re-united.
The earlier songs from the movie are posted on our blog, as per the details given below;
| Song Title | Post Date |
| Yaar dildaar tujhe kaisa chaahiye | 08.12.2008 |
| Kal raat sadak par ik ladki | 29.12.2014 |
| Hamko nikaaloge ghar se sajan pachhtaaoge | 04.02.2015 |
| Main Baaboo Chhailaa | 29.12.2017 |
Let us now listen and enjoy the today’s song. . . “Chhaila Mera Chhaila”.
Part I (Lata Solo)
Part II (Lata – Kishore Duet)
Song – Chhaila Mera Chhaila (Chhaila Babu) (1977) Singer – Lata Mangeshkar, Kishore Kumar, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Lyrics
Part I
chhaila mera chhaila
chhaila mera chhaila
maa ko badaa sataaye
aangan mein chhup jaaye
kho jaaye to kya ho mere raam
chhaila mera chhaila
maa ko badaa sataaye
aangan mein chhup jaaye
kho jaaye to kya ho mere raam
chhaila mera chhaila
shaam savere mere naina
dhoondhte rahe
kahaan hai kahaan hai
kahaan hai kahaan hai
sabse poochhte rahe
kahaan hai kahaan hai
sabse poochhte rahe
aa ke peechhe
aankhen meeche
aanchal kheenche mera ghanshyam
chhaila mera chhaila
chhaila mera chhaila
deewaani huyi main aisa laage
laage re mohe
jisko dekhoon chhaila jaisa laage re mohe
jisko dekhoon chhaila jaisa laage re mohe
bichhda hai jo
mil jaaye to
vyaakul mann ko aa jaaye aaraam
chhaila mera chhaila
chhaila mera chhaila
maa ko badaa sataaye
aangan mein chhup jaaye
kho jaaye to kya ho mere raam
chhaila mera chhaila
chhaila mera chhaila
chhaila mera chhaila
Part II
chhaila mera chhaila
chhaila mera chhaila
chhaila mera chhaila
chhaila mera chhaila
mera chhaila
mera chhaila
chhaila
chhaila
chhaila
naa ro maa naa ro
sun li hain maine
teri pukaar
teri pukaar
aaj mila hai
waapas maa bete ko
khoya pyaar
khoya pyaar
duniya saari
tujhse haari
maa tu jeeti ye jeewan sangraam
chhaila tera chhaila
chhaila tera chhaila
chhaila tera chhaila
chhaila tera chhaila
jee chaahe main
tere charnon mein
sar rakh ke roun
sar rakh ke roun
aa jaaye waapas
bachpan main teri
god mein soun
god mein soun
phir na kabhi main tujhko sataaun
tujhe manaaun
maa tujhko parnaam
chhaila tera chhaila
chhaila tera chhaila
chhaila tera chhaila
chhaila tera chhaila
chhaila tera chhaila
chhaila tera chhaila
———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————
भाग १
छैला मेरा छैला
छैला मेरा छैला
माँ को बड़ा सताए
आँगन में छुप जाए
खो जाए तो क्या हो मेरे राम
छैला मेरा छैला
छैला मेरा छैला
माँ को बड़ा सताए
आँगन में छुप जाए
खो जाए तो क्या हो मेरे राम
शाम सवेरे मेरे नैना
ढूढ़ते रहे
कहाँ है कहाँ है
कहाँ है कहाँ है
सबसे पूछते रहे
कहाँ है कहाँ है
सबसे पूछते रहे
आ के पीछे
आँखें मिचे
आँचल खींचे
मेरा घनश्याम
छैला मेरा छैला
छैला मेरा छैला
दीवानी हुई मैं ऐसा लागे
लागे रे मोहे
जिसको देखूं छैला जैसा लागे रे मोहे
जिसको देखूं छैला जैसा लागे रे मोहे
बिछड़ा है जो
मिल जाए तो
व्याकुल मन को आ जाए आराम
छैला मेरा छैला
छैला मेरा छैला
माँ को बड़ा सताए
आँगन में छुप जाए
खो जाए तो क्या हो मेरे राम
छैला मेरा छैला
छैला मेरा छैला
छैला मेरा छैला
भाग २
छैला मेरा छैला
छैला मेरा छैला
छैला मेरा छैला
छैला मेरा छैला
मेरा छैला
मेरा छैला
छैला
छैला
छैला
ना रो माँ ना रो
सुन ली हैं मैंने तेरी पुकार
तेरी पुकार
आज मिला है
वापस माँ बेटे को
खोया प्यार
खोया प्यार
दुनिया सारी
तुझसे हारी
माँ तू जीती ये जीवन संग्राम
छैला तेरा छैला
छैला तेरा छैला
छैला तेरा छैला
छैला तेरा छैला
जी चाहे मैं
तेरे चरणों में
सर रख के रोऊँ
सर रख के रोऊँ
आ जाए वापस
बचपन मैं तेरी
गोद में सोऊं
गोद में सोऊं
फिर न कभी मैं तुझको सताऊं
तुझे मनाऊं
माँ तुझको प्रणाम
छैला तेरा छैला
छैला तेरा छैला
छैला तेरा छैला
छैला तेरा छैला
छैला तेरा छैला
छैला तेरा छैला
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