Archive for the ‘Mujra song’ Category
Dekhi re anaadi tori preet
Posted on: April 17, 2021
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 : |
4656 | Post No. : | 16324 |
“Firdaus”(1953) was produced by M S Ahluwalia and directed by Vasant Joglekar for New Premier Films, Bombay. The movie had Geeta Bali, Anoop Kumar, Rama, Om Prakash, Lalita Pawar, Jamaal Amrohi, Badri Prasad, Randhir, Pesi Patel, and Vasant Thengadi etc in it with Ashok Kumar in guest appearance.
The movie had eight songs in it, all being female solos, sung by four singers- Rajkumari (3), Geeta Dutt(2), Asha Bhonsle (2) and Lata Mangeshkar (1). Two songs have been covered so far.
Here is the third song from “Firdaus”(1953) to appear in the blog. This song is sung by Rajkumar. D N Madhok is the lyricist. Music is composed by Robin Chatterjee.
Only the audio of the song is available. The song sounds like a mujra song to me, going by its lyrics. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Dekhi re anaadi tori preet (Firdaus)(1953) Singer-Rajkumari, Lyrics-D N Madhok, MD-Robin Chatterjee
Lyrics
dekhi re anaadi tori preet
dekhi re anaadi tori preet
dekhi re anaadi tori preet
anaadi tori preet
jhooth mooth ki baat ko
maine jaana saanch
ab door khade muskaat ho o o
dekh begaani aanch(?)
mare hue ko marna yaa kaahe ki reet ho
kaahe ki reet
anaadi tori preet
anaadi tori preet
dekhi re anaadi tori preet
tum bin jeena maut baraabar
tum bin jina maut baraabar
aur julam bedardi na kar
aur julam bedardi na kar
hamne apni haar maan li ee ee ee ee
hamne apni haar maan li
maan li tori jeet
maani tori jeeet
dekhi re anaadi tori preet
anaadi tori preet
dekhi re
dekhi re anaadi
anaadi tori preet
dekhi re anaadi tori preet
Kaali jo ghataa chhaayi hai
Posted on: March 24, 2021
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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Blog Day : |
4632 | Post No. : | 16286 |
With the advent of sound films in India in 1931, many actors faced difficulties in on-screen performances with their voices. Only few actors of silent films who could, fluently or otherwise, speak Urdu and Hindi made a transition from silent to talkies. Master Vitthal, Master Nissar, Mazhar Khan, Prithviraj Kapoor, Baburao Pendharkar, Raja Sandow, Hiralal, Patience Cooper, Zubeida, Sulochana (Ruby Mayers), Gohar Mamajiwala, Madhuri (Beryl Claessen), Sabita Devi (Irin Gasper), Gulab, Jillo Bai, Lalita Pawar, Durga Khote etc were some of the actors who switched over from silent to talkies without much of difficulties. A few of them even learnt speaking Hindi and Urdu during the transition.
The makers of talkies faced another difficulty. They realised that most of the actors did not have a good voice for singing on-screen. While some actors could get away with their less than average singing ability due to their popularity with the film audience, the film-makers felt the need for new actors who could sing better and/or the trained singers who could also act. So, in early 1930s, a new category of actors who could also sing with good voices emerged in Hindi film industry. In this category, K L Saigal, Kanan Devi, Asit Baran, Ratan Bai, Uma Shashi, Pahadi Sanyal, Rajkumari Dubey, Shanta Apte, Surendra, Bibbo, Sitara Devi, Shahu Modak, Sardar Akhtar, Vatsala Kumthekar among many others emerged. Barring few exceptions, most of actor-singer (and singer-actor) lasted in the Hindi film industry as singers until system of playback singing was firmly established by early 1940s. Some of them continued to act in the films, their on-screen songs being lip synced by the playback singers.
In the early 1930s, there was one more category of singers in which film-makers were interested in taking them as singer-actor because of their popularity as Hindustani classical singers on All India Radio and in private concerts. Apart from filling up the void in singers for Hindi films, these trained singers were regarded ‘icing in the cake’ in the films for their box office success.
While most of the ‘hard-core’ Hindustani classical vocalists kept distance from the Hindi films, some of the popular singers of the semi-classical genres such as thumri, dadra and ghazal got attracted to work in Hindi films as singer-actor. Thus, the popular Hindustani semi-classical singers like Mukhtar Begum, Jahanara Kajjan, Akhtari Faizabadi (Begum Akhtar), Jaddan Bai, Indubala, Kamala Jharia among others entered the Hindi film industry during the early 1930s. Some of their large repertoire of semi-classical singing was replicated on the screen albeit in shorter forms. One can judge the importance of these songstresses for attracting the film audience when posters of a few Hindi films of early 1930s had their names in the bold letters of the same size as that of the films’ titles.
It is worthwhile to note that mostly female Hindustani semi-classical singers got associated with Hindi films as singer-actor in the early phase of sound films. Most of them were having their background as tawaifs or private concert singers. They mostly sang thumri, dadra, ghazals and other semi-classical genres. The male Hindustani classical singers felt it below their dignity to sing or record songs in these genres especially up to the beginning of early 20th century. It was only when Hindustani classical singing maestros like Ustad Abdul Karim Khan, Ustad Faiyyaz Khan, Ustad Bade Ghulam Ali Khan etc started singing thumri and dadra in their concerts in early 1930s with their respective gharana style, these sub-genres of Hindustani semi-classical music attained respectability.
In this context, I recall that even in post independent period, Ustad Amir Khan who was an exponent of Khayal singing, never sang thumri, dadra and ghazals in the concerts nor did he record songs in these genres. The only exceptions he made was that he sang a Ghalib ghazal, rahiye ab aisi jagah chalkar jahaan koi na ho, composed by Pandit Amarnath Chawla, his senior-most disciple, for a documentary film ‘Mirza Ghalib’ (1969). And he rendered this ghazal in Khayal style. (Ref: ‘Indore Ke Maseeha’, 2008 by Bindu Chawla). The second exception was for a Bengali film ‘Kshudito Pashan’ (1960) in which he sang a dadra under the music direction of Ustad Ali Akbar Khan.
Among the Hindustani semi-classical singers, Wahidan Bai of Agra was one of the late entrants in Hindi films. Although she was trained as Hindustani classical vocalist and was an occasional singr on All-India Radio, she did not like to pursue the career as a professional singer due to stigma attached to this profession. So, she got married to a businessman and settled as a housewife in Agra. However, the business went in doldrum and they shifted to Calcutta (Kolkata) in early 1930s to start a fresh business. Even the new business incurred losses and the couple were in dire financial condition. At this point of time, she approached A R Kardar who was her neighbour in Kolkata, for a role in the film. She got a song to sing in a small role and everyone was impressed with her voice.
Chandulal Shah, the owner of Ranjit Movietone offered Wahidan Bai to join his company as actor-singer. In Ranjit Movietone, she worked in ‘Toofaani Toli’ (1937), ‘Ban Ki Chidiya’ (1938), ‘Prithvi Putra’ (1938), ‘Professor Waman, M Sc’ (1938), ‘Rickshawala’ (1938), ‘The Secretary’ (1938) and ‘Thokar’ (1939). In all these films, she sang semi-classical genres of songs most of which became popular.
Wahidan Bai switched over to Sagar Movietone and played a lead role opposite Surendra in ‘Alibaba’ (1940), made in Hindi and Punjabi. In this film, she rendered for the first time a waltz music-based song, ham aur tum aur ye khushi with Surendra which became very popular. With the merger of Sagar Movietone with National Studios in 1940, Wahidan Bai worked in ‘Sanskaar’ (1940) as actor-singer which was her last film. Thereafter, she was mostly bed-ridden as she suffered from tuberculosis from which she did not recovered and died sometime in 1942. During her short filmy career, Wahidan Bai was associated with 11 films and rendered 26 songs.
[Note: Information on Wahidan Bai is mainly based on a chapter, ‘Jewels of Sagar’ in the Book ‘Sagar Movietone’ by Biren Kothari (2014), translated in English by Parth Pandya].
‘Thokar/The Kick’ (1939) was Wahidan Bai’s last film with Ranjit Movietone. The film was directed by A R Kardar. The star cast included M Kumar, Madhuri, Yakub, Noor Mohammed Charlie, Ishwarlal, Wahidan Bai, Wasti, Ram Marathe, Suresh, K N Singh, Dixit etc.
A short synopsis of the film’s story as given in http://www.indiancine.ma is reproduced below:
This is story about wealth not bringing happiness. The blind Mohan (Kumar) lives in a village with his ward Radha (Madhuri). He wins a fortune with a sweepstake ticket sold to him by the tramp Ramesh (Charlie), who claims his due and begins to take over Mohan’s life, making him move to the city and getting him married to Chinta (Wahidan Bai), a prostitute. When Mohan’s eyesight is restored, he finds that his wife is having an affair with Ramesh. Mohan takes revenge and eventually lands up in his old village, a poor man, but with Radha still unchanged, waiting for him.
There were 10 songs in the film – all written by P L Santoshi which were set to music by Gyan Dutt. One song from the film has been covered in the Blog. I present the second song from the film ‘kaali jo ghata chhaayi hai’ rendered by Wahidan Bai in the semi-classical singing style.
Audio Clip:
Song-Kaali jo ghata chhaayi hai (Thokar)(1939) Singer-Wahidan Bai, Lyrics-P L Santoshi, MD-Gyan Dutt
Lyrics
aa aa aaa
aankhon aankhon mein
pila di mere saaqi ne mujhe
ab na sheeshe ki zuroorat hai na paimaane ki
kaali..eee
kaali….eeee ee ee
kaali jo ghata chhaayi hai
haan haan jee ghata chhaayi
zulfen saaqi..ee.ee.ee ee
saaqi mujhe yaad aayi hai
haan haan mujhe yaad aayi
gudguda…aa deti hai
ae ae
deti hai dil ko zaalim
deti hai dil ko
shokh a a kitneeeee…ee ee ee
kitni teri angadaayi hai ae ae
haan teri angadaayi hai….ai
haan teri angadaayi
hum hain beemaa…..r e
beemaar-e-mohabbat
jab se…ae ae ae
na maseeha ho aa aaa aaa
maseeha na maseehaaayi hai…..ai
maseeha na maseeha aaye hain
haan na maseeha aaye
kaali ghata chhaaye hai…ai
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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4626 | Post No. : | 16277 | Movie Count : |
4420 |
If you search in google for ‘history of post cards in India’ top of the results yields this result;
In July 1879, the Post Office of India introduced a quarter anna postcard that could be posted from one place to another within British India. This was the cheapest form of post provided to the Indian people to date and proved a huge success. … The postcard facility continues to this date in independent India.
***
Regulars on the blog are aware of how some members of this blog are fond of talking about our social institutions or our public transports and communication, like railways and post departments specifically.
Actually, it would not be wrong to say that some members like me are madly in love with the railways and postal departments in our country. And why not, both the railways and postal departments have their presence all over the country and these services also play major roles in nation building and national integration. I have a BIG nostalgia associated with both of these services.
***
I remember in my childhood days I was, (even now I am), very much fascinated with the postal services, their stationery. The overall atmosphere in a ‘post-office’ have always fascinated me.
A ‘post-card’ costing fifteen paise was very much popular and the most preferred one to send letters among families and friends, and others. Due to my interest in books and magazines I was frequently using it for getting various publications.
I used to order books through VPP and sometimes even if I could not buy books, I would ask for the ‘list of publications’ from various publishers. We needed to send only a ‘post card’ and in return there would be an envelope carrying printed list with printed pictures of some of the books. That would give me immense pleasure.
I was also having my library containing story books and magazines for children to read mainly during summer vacations.
The simple ‘post-card’ costing fifteen paise was used for many things like conveying important messages or urgent messages, as it was said that the post-cards were delivered faster than the ‘inland letter’ and ‘envelopes.
My Grand Father staying at Akola (i.e., 25 kms from Paras) was always using post-card to send us letters. And it was the same with most other people.
Years back I had pursued my correspondence studies through IGNOU wherein all the study materials were delivered by post and all communication was through posts only. So, one can guess how close the post services are to my heart. 😊
I do not remember anyone raising any ‘privacy violation issues’ those days for ‘post-cards’. I vividly remember that a ‘postman’ would never read your letters unless requested by those who could not read. They would make it a point to handover the letters to the ‘addressee’ and to no one else.
***
After coming back from Kenya in Dec’2019, I got to visit the post office here in Vadodara many times particularly for dispatch of my daughter’s online shop products and other communications. I noticed how the department has been now given a modernized look and we can also see attractive guidelines and information painted on the walls giving it a ‘super-market’ type look.
But I also noticed someting that has not changed over the years. It is a one iron-box used for storing ‘stamps’ (a box little big than or similar to a metal school box of those days) and the ‘sorting room’ or ‘chamber’ having wooden partition separating it from general office.
Another change that I noticed is in the price of the post card, inland letter and envelope. Now we have to pay fifty paise for a post card.
I have a vague recollection that I have seen post cards of ten paise or five paise as well ! May be when I was a child, I must have seen them some with my ‘stamp-collecting’ friends.
Slowly and gradually After the advent of mobile phones and many modes of faster communication the ‘postal modes’ has Slowly and gradually taken the back-seat.
Recently for the sake of nostalgia I bought one piece each of ‘post card’, inland letter and envelope’.
***
What we discussed above is all good one side of the ‘coin’ (or post-card I should say) including happy memories and nostalgia.
On the other side there is another side. Now people do not find time to write letters as they are ‘busy’ in life. Sometimes it can even create misunderstandings between two close friends, where lack of response from either side can strain their relations.
People close to you or even not so close to you always have expectations. And there are some people who are not at all punctual like others, to return a call or a reply to a letter and reciprocate with same zeal and enthusiasm. It may be inadvertentand not deliberatel, but not responding for whatever reason may affect our relations with others.
As an example, it is my habit even now to call each and every friend that I am in contact with, even if they do not reciprocate with the same enthusiasm (I expect somebody should also given me a call and give me a pleasant surprise ).
I have noticed that nowadays people will send you friend requests, emails, WhatsApp messages or use all kind of social networks. On the other hand they generally avoid face to face conversation or the joy of meeting a person and giving him (or her) a hug (😊). In older days people would jump at the opportunity of meeting each other (I mean jump with joy 😊).
Communicating with our near and dear ones is so cheap and affordable, still there are some who cannot find time to communicate with others.
In older days, such people would be described as ‘arey yaar wo to pandrah paise ka ek post card bhi nahin bhejta hai’ or ‘kam se kam pandrah paise ka ek card hi post kar dete Bhai’, ‘itne dinon se tumhaari koyi khabar hi nahin aayi, pandrah paise ka card bhi nahin kharid sakte the kya, aisi bhi kya kanjusi’😊 (I have still maintained to keep the conversation in sophisticated language … and not using dialects 😊)
After remonstating thus, the long lost friends would readily forgive you and give you benefit of doubt in view of the various reasons given by you for responding. And after a little good natured quarrel everything would be fine among the aggrived and the aggriever.
What about someone who is in love with you and has ‘nyochhawar’ed’ (slang?) oneself on you, she or he will definitely say what the lady in today’s song is saying …
I will not repeat it here instead let us listen to this in today’s song …
Jayshree T is performing this song from the ‘1979’ movie ‘Ahinsaa’. We can see Ranjeet and others in the picturization of this mujra song.
“Ahinsaa-1979” was directed by Chand for ‘Ashwin Arts, Bombay’. It was produced by Shiv Kumar.
Story of this movie was written by Chand and K.B. Pathak and dialogues were written by Jainendra Jain. Editing of this movie was done by B.S. Glaad. It had Sunil Dutt, Rekha, Prem Nath, Ranjeet, Nirupa Roy, Alka, Kamini Kaushal, Rajendra Nath, Jayshree T., Jairaj, Trilok Kapoor, Tun Tun, Kundan, Mohan Shery, Bhagwan, Romeo, Jankidas, Birbal, Raj Kishore, Master Raju, Shiv Kumar, Keshav Rana, Rajan Haksar, Narendra Pathak, Major Anand, Ranveer Raj, Hiralal and others. Om Shivpuri, Dev Kumar, Shakti Kapoor, Shyamlee make a friendly appearance in this movie. Asrani make a special appearance in this movie.
This movie had four songs. Two were written by Rajkavi Tulsi and one each by Ram Bharadwaj and Anjaan.
Asha Bhonsle, Mohd Rafi, Manna Dey, Anand Kumar C., and Badri Prasad (mentioned in HFGK not in the movie titles) had given their voices to the songs in this movie.
Music of this movie was composed by Kalyanji-Anandji.
This movie was passed by Censor Board on 12.06.1979.
let us enjoy this rocking(😊) mujra song dedicated to the lovely ‘post-cards’ what they were in the seventies – ‘khat, pandrah paise waalaa’. Just out of curiosity I counted and noted that the word ‘pandrah paise waalaa’ appears ‘sixteen’ times in the song…
With today’s song this movie “Ahinsaa-1979” makes its debut on the blog. (It also serves another purpose of bringing ‘movies with same title on the blog’. We already have “Ahinsaa-1947” on the blog.
I have not watched today’s movie so can’t say much about its storyline but we can get idea of the story of this movie from the following dedication in titles;
‘This movie is dedicated to all those criminals and dacoits who surrendered themselves to the law with the inspiration of Loknayak Shri. Jayaprakash Narayan’
I had come across the today’s song a few months ago when I was looking for ‘Kalyanji-Anandji’ composed songs.
On going through other songs of this movie I find only song sounding familiar to me which is ‘Yaar mera rab ho gaya’ only. I was curious to know about the other songs so I listened to them and found today’s song as an interesting 😊 song.
Let us now listen to today’s song. Lyrics for the today’s song are by Ram Bharadwaj and music is composed by Kalyanji-Anandji.
Video
Audio
Song-Maine tan man de daala saiyya solah saal waala (Ahinsa)(1979) Singer-Asha Bhonsle, Lyrics-Ram Bhardwaj, MD-Kalyanji Anandji
Lyrics
aa aa aa aa
aa aa aa aa aa aa
aa aa aa
khoyi khoyi si rehti hoon
le le ke tera naam
hansi udaaye har subah
aur dank maare shaam
maine tan man de daalaa aa
maine tan man de daalaa
sainyya solah saal waalaa aa
maine tan man de daalaa
sainyya solah saal waalaa
par toone to khat bhi na daalaa
haaye
pandrah paise waalaa
bairi pandrah paise waalaa
pandrah paise waalaa
bairi pandrah paise waalaa
tan man de daalaa
sainyya solah saal waalaa
par toone to khat bhi na daalaa
arey pandrah paise waalaa
bairi pandrah paise waalaa
pandrah paise waalaa
bairi pandrah paise waalaa
ye mardon ki jaat
nibhaaye naa saath
muyee mardon ki jaat
nibhaaye naa saath
jo aurat ko samjhe
khilaunaa aa
kabhi bante hain yaar
kabhi karte hain pyaar
jo dikhaate hain sapnaa salonaa
hai tujhko qasam
ye bataa de balam
hai tujhko qasam
ye bataa de balam
kya souten ne tere din phere ae
arey kaalaa jaadu daalaa
bairi kaalaa jaadu daalaa
kaalaa jaadu daalaa
bairi kaalaa jaadu daalaa
tan man de daalaa
sainyya solah saal waala
par toone to khat bhi na daalaa
kyun
pandrah paise waalaa
bairi pandrah paise waalaa
pandrah paise waalaa
bairi pandrah paise waalaa
dekh main phuljhadi
tere dar pe khadi ee
dekh main phuljhadi
tere dar pe khadi
mujhe pehnaa de pyaar ka kangnaa aa
ye hai arzi meri
ye hai marzi meri
tere nainon mein hai mujhe basnaa
mere dil mein hai jo
naa jaane tu wo
mere dil mein hai jo
naa jaane tu wo
kaise bedardi sainyya se ae ae
kaahe padaa paalaa
bairi kaahe padaa paalaa
kaahe padaa paalaa
bairi kaahe padaa paalaa
tan man de daalaa
sainyya solah saal waala
par tune to khat bhi na daalaa
arey pandrah paise waalaa
bairi pandrah paise waalaa
pandrah paise waalaa
bairi pandrah paise waalaa
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4604 | Post No. : | 16234 |
Today 24th February’2021 is the ninety-third birth anniversary (24 February 1928 – 22 January 2017) of Lyricist Jaswant Rai Sharma popularly known to us by his pen name Naqsh Lyallpuri.
On this occasion as a tribute to him we present a song written by him for the ‘1981’ movie ‘Dard’.
Music for this movie was composed by Khayyam Saab with whom Naqsh Lyallpuri has collaborated to create many memorable songs for Hindi Films.
‘Dard-1981’ (conflict of emotions) was directed by Ambrish Sangal for ‘Murghan Enterprises, Bombay’. It was produced by Shyam Sundar Shivdasani. It had Rajesh Khanna, Hema Malini, Poonam Dhillon, Om Shivpuri, Krishan Dhawan, Pinchoo Kapoor, Shashi Kiran, Madhup Sharma, Kamaljeet, Harjeet, Poornima Jairam, Mazhar Khan, and Master Raju Shreshtha.
Actress Ranjeeta made a ‘friendly appearance’ in this movie.
Story of this movie was written by Aruna Sangal. Its screenplay and dialogues were written by V.K. Sharma. Narendra Goel was the Chief Assistant Director of this movie.
Kamlakar was the editor of this movie and he was assisted by Babubhai Shah.
This movie had seven songs and lyrics for all the seven songs (including one multiple version song) in this movie were written by Naqsh Layallpuri and Music was composed by Khayyam Saab.
Lata Mangeshkar, Kishore Kumar, Asha Bhonsle and Bhupinder had given their voices to the songs in this movie.
Lata Mangeshkar had two solo songs, Kishore Kumar, Asha Bhonsle and Bhupinder have one solo song each and there were two duets sung by Asha Bhonsle and Kishore Kumar in this movie.
So far, the following five songs (including one multiple version song) from this movie have been posted on the blog;
| SNo | Song Title | Posted On |
|---|---|---|
| 01 | Aisi haseen chaandni pehle kabhi na thhi | 21.09.2012 |
| 02 | Pyaar ka dard hai meethha meethha pyaara pyaara | 19.07.2018 |
| 03 | Ahl e dil yoon bhi nibha lete hain Multiple version song | 18.02.2019 |
| 04 | Na jaane kya hua jo toone chhoo liya | 28.09.2019 |
| 05 | Qubool kijiye pehle salaam aankhon ka | Being presented today |
Today’s song is the sixth song from this movie to be posted on the blog.
On screen this song is lip synced by actress Ranjeeta for Asha Bhonsle’s voice and we can see in the picturisation Mazhar Khan enjoying this performance while others are seen in the background of this song.
Let us now listen to this song …
Video
Audio
Song-Qubool keejiyee pehle salaam aankhon ka (Dard)(1981) Singer-Asha Bhonsle, Lyrics-Naqsh Llayalpuri, MD-Khayyam
Lyrics
Aa aa aa
aa aa aa aa
Qubool kijiye ae
Qubool kijiye
pehle salaam aankhon ka aa
Qubool kijiye
Pehle salaam aankhon ka aa
Phir aap chaahen to
Phir aap chaahen to
Haazir hai jaam aankhon ka aa
Qubool kijiye
Dilon mein shammaa si
Raushan hui mohabbat ki ee ee ee
Dilon mein shammaa si
Raushan hui mohabbat ki ee ee ee ee
Huaa hain aankhon se
Huaa hain aankhon se
Jab bhi kalaam aankhon ka aa
Huaa hain aankhon se
Jab bhi kalaam aankhon ka aa
Qubool kijiye
Nigaahe naaz se behlaa ke loot leti hai
Ae ae ae ae
Nigaahe naaz se behlaa ke lut leti hai
Ae ae ae ae ae
Khabar hain aapko
Khabar hain aapko
Ye bhi hai kaam aankhon ka aa
Khabar hain aapko
Ye bhi hai kaam aankhon ka aa
Qubool kijiye
Main bekaraar hoon
Main bekaraar hoon oon
Main bekaraar hoon
Le leeje mujhe baahon mein
Khuli kitaab hai
Jaana payaam aankhon ka
Khuli kitaab hai
Jaana payaam aankhon ka aa
Qubool keejiye pehle salaam aankhon ka aa
Phir aap chaahen to
Haazir hai jaam aankhon ka aa
Qubool keejiye
Qubool keejiye
Qubool keejiye ae ae ae ae
Qubool keejiye
————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————
आ आ आ आ आ आ आ
कुबूल कीजिये ए
कुबूल कीजिये पहले सलाम आँखों का आ
कुबूल कीजिये
पहले सलाम आँखों का आ
फिर आप चाहें तो
फिर आप चाहें तो
हाज़िर हैं जाम आँखों का आ
कुबूल कीजिये
दिलों में शम्मा सी
रोशन हुई मोहब्बत कि ई ई ई
दिलों में शम्मा सी
रोशन हुई मोहब्बत कि ई ई ई
हुआ हैं आँखों से
हुआ हैं आँखों से
जब भी कलाम आँखों का आ
हुआ हैं आँखों से
जब भी कलाम आँखों का आ
कुबूल कीजिये
निगाहें नाज़ से बहला के लूट लेती हैं
ए ए ए ए ए
निगाहें नाज़ से बहला के लूट लेती हैं
ए ए ए ए ए
खबर है आपको
खबर है आपको
ये भी है काम आँखों का आ
खबर है आपको
ये भी है काम आँखों का आ
कुबूल कीजिये
मैं बेकरार हूँ
मैं बेकरार हूँ
मैं बेकरार हूँ
ले लीजिये मुझको बाहों में ए ए ए
खुली किताब हैं
जाना पयाम आँखों का
खुली किताब हैं
जाना पयाम आँखों का आ
कुबूल कीजिये पहले सलाम आँखों का आ
फिर आप चाहें तो
हाज़िर हैं जाम आँखों का आ
कुबूल कीजिये
कुबूल कीजिये
कुबूल कीजिये ए ए ए
कुबूल कीजिये
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4589 | Post No. : | 16211 |
Sahir Ludhianvi & His Music Directors-7 – (‘seven-movies collaboration’ only)
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In this post we take a look at ‘seven movies collaboration’ between Sahir Ludhianvi and his Music Directors. Interestingly, after ‘five movies-collaboration’, we have ‘seven-movies-collaboration’, and after that it is the ‘double figure collaboration’ only for three music directors viz. S.D. Burman, Ravi and N. Datta.
Here are the details of the ‘seven-movies-collaboration’ which Sahir had with two music directors viz. Roshan and Laxmikant-Pyarelal:
| S.no | Movie | Year | Music Director | Songs of lyricist in the blog | Song penned by lyricist in movie as per HFGK | Song penned by lyricist in movie as per the book -The People’s Poet |
|---|---|---|---|---|---|---|
| 1 | Baabar | 1960 | Roshan | 5 | 5 | 5 |
| 2 | Barsaat Ki Raat | 1960 | Roshan | 12 | 12 | 9 |
| 3 | Dil Hi To Hai | 1963 | Roshan | 11 | 10 | 11 * |
| 4 | Taj Mahal | 1963 | Roshan | 10 | 10 | 11 |
| 5 | Chitralekha | 1964 | Roshan | 8 | 8 | 7 |
| 6 | Dooj Ka Chaand | 1964 | Roshan | 9 | 8 | 9 |
| 7 | Bahu Begum | 1967 | Roshan | 9 | 9 | 9 |
| 8 | Izzat | 1968 | Laxmikant-Pyarelal | 7 | 7 | 7 |
| 9 | Mann Ki Aankhein | 1970 | Laxmikant-Pyarelal | 6 | 6 | 6 |
| 10 | Daastaan | 1972 | Laxmikant-Pyarelal | 6 | 5 | 6 |
| 11 | Daag | 1973 | Laxmikant-Pyarelal | 7 | 7 | 6 |
| 12 | Jaagriti | 1977 | Laxmikant-Pyarelal | 1 | 4 | 4 |
| 13 | Deedaar-E-Yaar | 1982 | Laxmikant-Pyarelal | 4 | 5 | 4 |
| 14 | Jiyo Aur Jeene Do | 1982 | Laxmikant-Pyarelal | 1 | 2 | 2 |
| Total | 96 | 98 | 96 | |||
(*lyricist tag for one song to be added which will make the total songs on the blog to 11)
We can see from the above table that all the movies where Roshan had composed music with Sahir Ludhianvi as lyricist have already been ‘Yippeeee’ed’ on the blog.
For movies where Laxmikant-Pyarelal had composed music we have three songs left from ‘Jaagriti-1977’ and one song left from ‘Jiyo Aur Jeene Do-1982’.
Today we are going to listen a song from the movie ‘Jaagriti-1977’.
“Jaagriti-1977” was directed by Rajendra Bhatia for ‘Jai Films, Bombay’. It was produced by Vimal Bhatia and Naresh Malhotra. It had Nutan, Vinod Mehra, Reena Roy, Master Satyajeet, Prem Chopra, I.S. Johar, Paintal and Asrani, with Krishnakant, Lily Chakravarty, Padma Chawhan, Ashoo and Junior Mehmood. They were supported by Ram Mohan, Karan Dewan, Sushil Bhatnagar, Birbal, Mounto, Keshav Rana, Madhu Apte, Brook Bond, Jugnu, Aditya Sharma, Manjeet, Salim, Rajesh, Raj Bachhan, Master Ripple, Master Ravi, Manmohan, Aarti, Ram Avtar, Narbada Shankar and Raaj Kishore. Jayshree T., and Helen make special appearance in this movie.
Story of this movie was written by Sharad Pilgaonkar and screenplay was written by Sachin Bhowmick. Dialogues of this movie were written by Sagar Sarhadi. Editing of this movie was done by Nand Kumar.
This movie had four songs written by Sahir Ludhianvi and composed to music by Laxmikant-Pyarelal. Asha Bhonsle, Suman Kalyanpur, Minoo Puroshottam, and Dilraj Kaur were the playback singers for this movie.
Today’s song is sung by Asha Bhonsle and lip-synced on screen by Reena Roy. Incidentally this one also is a ‘mujra song’ (like two previous posts in this series 😊)
In today’s song Reena Roy is lip-syncing for Asha Bhonsle’s voice and performing on the on the song, and we can I.S. Johar, Prem Chopra, Asrani, Paintal, Satyajit, Birbal and many others are seen in the picturization of this song.
The lyrics are hard-hitting and taking a dig at the ‘corrupts’ and ‘anti-socials’ in the society, for which Sahir is well known and remembered for.
I have not been able to get correct words at many places and I would request readers to please help in adding the same.
Let us now listen to the today’s song…
Also, let us have a look at the summary of ‘Sahir & His Music Directors’ collaboration up to this post (excluding today’s number) ;
| S.no | MD | No of movies together | Songs of lyricist in the blog | Song penned by lyricist in movie as per HFGK | Song penned by lyricist in movie as per the book -The People’s Poet |
|---|---|---|---|---|---|
| 1 | G.D. Kapoor | 1 | 1 | 4 | 4 |
| 2 | Shyam Sundar | 1 | 8 | 8 | 8 |
| 3 | Ali Akbar Khan | 1 | 7 | 8 | 8 |
| 4 | Dhani Ram | 1 | 1 | 1 | 1 |
| 5 | Vasant Ramchandra | 1 | 7 | 7 | 7 |
| 6 | Manohar | 1 | 1 | 1 | 1 |
| 7 | Sudha Malhotra | 1 | 1 | 1 | 1 |
| 8 | Nirmal Kumar | 1 | 1 | 1 | 1 |
| 9 | Hemant Kumar | 1 | 7 | 7 | 7 |
| 10 | Robin Banerjee | 1 | 1 | 1 | 1 |
| 11 | C. Ramchandra | 1 | 7 | 7 | 7 |
| 12 | Sonik Omi | 1 | 2 | 5 | 5 |
| 13 | C. Arjun | 1 | 5 | 4 | 5 |
| 14 | Rajesh Roshan | 1 | 6 | 6 | 7 |
| 15 | Hridaynath Mangeshkar | 1 | 5 | 5 | 5 |
| 16 | Anil Biswas | 2 | 8 | 8 | 7 |
| 17 | Usha Khanna | 2 | 3 | 3 | 3 |
| 18 | Chitragupta | 2 | 13 | 13 | 13 |
| 19 | Sapan Chakravarty | 2 | 11 | 11 | 12 |
| 20 | Kalyanji-Anandji | 2 | 7 | 9 | 9 |
| 21 | Ravindra Jain | 2 | 5 | 10 | 10 |
| 22 | Madan Mohan | 3 | 24 | 23 | 23 |
| 23 | Jaidev | 4 | 18 | 17 | 16 |
| 24 | R.D. Burman | 4 | 22 | 25 | 24 |
| 25 | O.P. Nayyar | 5 | 23 | 23 | 23 |
| 26 | Khayyam | 5 | 38 | 41 | 44 |
| 27 | Roshan | 7 | 63 | 62 | 61 |
| 28 | Laxmikant-Pyarelal | 7 | 32 | 36 | 35 |
| Total | 62 | 328 | 347 | 348 | |
Video
Song-Meharbaan kaise kaise kadardaan kaise kaise (Jaagriti)(1977) Singer-Asha Bhonsle, Lyrics-Sahir Ludhianvi, MD-Laxmikant Pyarelal
Lyrics
Aa aa aa aa aa
aa aa
Meharbaan kaise kaise
Kadardaan Kaise kaise
Meharbaan Kaise kaise
Kadardaan kaise kaise
Aaj mehfil mein aaye huye hain aen
Meharbaan kaise kaise
Rind bhi inmein hai ?? bhi
Kashti ye kaum ke nakhudaa bhi
Mautbar kaise kaise
Raahbar kaise kaise
Aaj maslat sajaaye huye hain aen
Meharbaan Kaise kaise
Kadardaan kaise kaise
Aaj mehfil mein aaye huye hain aen
Meharbaan kaise kaise
Kaum ki khidmat kaam hai inka
Kaum ki khidmat kaam hai inka
Is khidmat se naam hai inka
? ? ?
Sone chaandi mein tulte hain aen
Sone chaandi mein tulte hain
Door in ki balaayein
In pe kurbaan jaayen
Ye jo nazrein jhukaaye huye hain aen
Meharbaan Kaise kasie
Kadardaan kaise kaise
Aaj mehfil mein aaye huye hain aen
Meharbaan kaise kaise
Saaj aur saaj ke nagme kya hain
Saaj aur saaj ke nagme kya hain
Husn aur husn ke jalwe kya hain
Sharm hai kya aur gairat kya hai
Izzat kya hai ismat kya hai
Izzat kya hai ismat kya hai
Ye hawas ke parinde
Nek surat darinde
Daam sab ka lagaaye huye hain aen
Meharbaan Kaise kaise
Kadardaan kaise kaise
Aaj mehfil mein aaye huye hain aen
Meharbaan kaise kaise
Ye yateemon ka haq khaane waale
Ye yateemon ka haq khaane waale
Bebason pe sitam dhaane waale
Bas chale to watan bech daalen aen
Mayyaton ke kafan bech daalen
Ye ? aur haram tak na chhode
Mandiron ke sanam tak na chhode
Mandiron ke sanam tak na chhode
Ye jo badkaariyon se
Chor baazaariyon se
Shaano shaukat badhaaye huye hain aen
Meharbaan Kaise kaise
Kadardaan kaise kaise
Aaj mehfil mein aaye huye hain aen
Meharbaan kaise kaise
Marta hai koi to mar jaaye
Posted on: January 30, 2021
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4579 | Post No. : | 16191 |
Sahir Ludhianvi & His Music Directors-5 – (‘Five-movie’ collaboration only)
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Welcome all to today’s post. Today we have a song from the ‘1979’ movie ‘Chambal Ki Kasam’. Music for ‘Chambal Ki Kasam-1979’ was composed by Khayyam Saab.
Sahir Ludhianvi and Khayyam Saab collaborated for five movies as given in the table below.
Other than Khayyam Saab it was O.P. Nayyar with whom Sahir Ludhianvi’s collaboration was for the same number of movies i.e., five movies (though ‘Tumsa Nahin Dekha’ had only one song penned by Sahir and 12’ O Clock had two songs by Sahir)
| S.no | Movie | Year | MD | Songs of lyricist in the blog | Song penned by lyricist in movie as per HFGK | Song penned by lyricist in movie as per the book -The People’s Poet |
|---|---|---|---|---|---|---|
| 1 | Bade Sarkar | 1957 | O.P. Nayyar | 4 | 4 | 4 |
| 2 | Naya Daur | 1957 | O.P. Nayyar | 9 | 9 | 9 |
| 3 | Tumsa Nahin Dekha | 1957 | O.P. Nayyar | 1 | 1 | 1 |
| 4 | 12 O’Clock | 1958 | O.P. Nayyar | 2 | 2 | 2 |
| 5 | Phir Subah Hogi | 1958 | Khayyam | 8 | 8 | 8 |
| 6 | Sone Ki Chidiya | 1958 | O.P. Nayyar | 7 | 7 | 7 |
| 7 | Shagoon | 1964 | Khayyam | 8 | 8 | 8 |
| 8 | Kabhie Kabhie | 1976 | Khayyam | 10 | 10 | 12 |
| 9 | Trishul | 1978 | Khayyam | 8 | 7 | 8 |
| 10 | Chambal Ki Kasam | 1979 | Khayyam | 4 | 8 | 8 |
| Total | 61 | 64 | 67 | |||
‘Chambal Ki Kasam-1979’ was an M.P.D. Productions presentation. It was produced by V L Murlidhar and directed by Ram Maheshwary. It had Raj Kumar, Shatrughan Sinha, Moushmi Chatterjee, Farida Jalal, Ranjeet, Nirupa Roy, Paintal, Gopal Sehgal, R. Tiwari, Usha Kiran, Peace Kanwal, Jagdish Raj, Nazir Hussain, Gufi, Paro Devi, Maruti, Uma Khosla, Raj Rani, Master Bhagwan, Gurucharan, Usha (Gwalior), Pandit Ganga Prasad (Gwalior), Mansaram, Master Rajesh, Master Rahul, Master Sonu, Master Rajiv, Baby Shaloo, and Manu Arora. Pradeep Kumar makes a guest appearance in this movie, whereas Amjad Khan makes a special appearance in this movie.
Story of this movie was written by M.K. Tamanna and Screenplay was written by Benoy Chatterjee. Dialogues of this movie were written by Sagar Sarhadi and Safdar Hussain. Additional Dialouges were by Ela Maheshwary. Editing for this movie was done by D.N. Pai and M.S. Shinde.
This movie was passed by Censor Board on 29.12.1979.
This movie had eight songs, which were sung by Jagjit Kaur, Lata Mangeshkar, Manna Dey, Mahendra Kapoor and Mohd Rafi.
As mentioned above music of this movie was composed by Khayyam Saab and lyrics for all the eight songs were penned by Sahir Ludhianvi.
Four songs of this movie have been posted on the blog so far.
| Song | Posted On |
|---|---|
| Simti huyi ye ghadiyaan | 27.04.2012 |
| Chanda re mere bhaiyya se kehna | 02.08.2012 |
| Parmeshwar rakhwaalaa tera | 25.10.2014 |
| She’r ka husn ho | 09.12.2016 |
If we summarize the ‘Sahir-Music director collaboration’ statistics considering ‘one movie collaboration’ to ‘five-movies’ each we get the following table; (updated till today)
| S.no | MD | No of movies together | Songs of lyricist in the blog | Song penned by lyricist in movie as per HFGK | Song penned by lyricist in movie as per the book -The People’s Poet | |
|---|---|---|---|---|---|---|
| 1 | G.D. Kapoor | 1 | 1 | 4 | 4 | |
| 2 | Shyam Sundar | 1 | 8 | 8 | 8 | |
| 3 | Ali Akbar Khan | 1 | 7 | 8 | 8 | |
| 4 | Dhani Ram | 1 | 1 | 1 | 1 | |
| 5 | Vasant Ramchandra | 1 | 7 | 7 | 7 | |
| 6 | Manohar | 1 | 1 | 1 | 1 | |
| 7 | Sudha Malhotra | 1 | 1 | 1 | 1 | |
| 8 | Nirmal Kumar | 1 | 1 | 1 | 1 | |
| 9 | Hemant Kumar | 1 | 7 | 7 | 7 | |
| 10 | Robin Banerjee | 1 | 1 | 1 | 1 | |
| 11 | C. Ramchandra | 1 | 7 | 7 | 7 | |
| 12 | Sonik Omi | 1 | 2 | 5 | 5 | |
| 13 | C. Arjun | 1 | 5 | 4 | 5 | |
| 14 | Rajesh Roshan | 1 | 7 | 6 | 7 | |
| 15 | Hridaynath Mangeshkar | 1 | 5 | 5 | 5 | |
| 16 | Anil Biswas | 2 | 8 | 8 | 7 | |
| 17 | Usha Khanna | 2 | 3 | 3 | 3 | |
| 18 | Chitragupta | 2 | 13 | 13 | 13 | |
| 19 | Sapan Chakravarty | 2 | 11 | 11 | 12 | |
| 20 | Kalyanji-Anandji | 2 | 7 | 9 | 9 | |
| 21 | Ravindra Jain | 2 | 5 | 10 | 10 | |
| 22 | Madan Mohan | 3 | 24 | 23 | 23 | |
| 23 | Jaidev | 4 | 18 | 17 | 16 | |
| 24 | R.D. Burman | 4 | 22 | 25 | 24 | |
| 25 | O.P. Nayyar | 5 | 23 | 23 | 23 | |
| 26 | Khayyam | 5 | 38 | 41 | 44 | |
| TOTAL | 48 | 233 | 249 | 252 | ||
Today’s song is sung by Lata Mangeshkar and lip-synced on screen by Moushumi Chatterjee. Raj Kumar, Shatrughan Sinha, Paintal and others can also be seen in the picturization of this song.
Let us now enjoy this song.
Audio (Longer)
Video
Song-Marta hai koi to mar jaaye (Chambal Ki Kasam)(1979) Singer-Lata, Lyrics-Sahir Ludhianvi, MD-Khayyam
Lyrics(Provided by Prakashchandra)
martaa hai
koyi to mar jaaye
aa aa aa aa aa
martaa hai koyi to mar jaaye
ham apnaa nishaana kyun chhoden
ham apnaa nishaana kyun chhoden
dil waale bachaayen dil apnaa
dil waale bachaayen dil apnaa
ham teer chalaanaa kyun chhoden
ham teer chalaanaa kyun chhoden
dil waale bachaayen dil apnaa
majboor naa ho ton ishq hi kya
aa aa aa aa aa aa aa aa aa
majboor naa ho to ishq hi kya
magroor naa ho to husn hi kya
aa aa aa aa aa aa
tum ham ko manaanaa kyun chhodo
ham tumko sataanaa kyun chhoden
ham tumko sataanaa kyun chhoden
dil waale bachaayen dil apnaa
ham teer chalaanaa kyun chhoden
dil waale bachaayen dil apnaa
(dialogue by Rajkumar)
jo ham ko naseehat karte hain ae
jo ham ko nasihat karte hain
wo apnaa zamaanaa dekh chuke ae
dekh chuke ae ae ae
ham par bhi jawaani aayi hai
aa aa aa aa aa
ham par bhi jawaani aayi hai
ham apnaa zamaanaa kyun chhoden
ham apnaa zamaanaa kyun chhoden
dil waale bachaayen dil apnaa
ham teer chalaanaa kyun chhoden
martaa hai koyi to mar jaaye ae
duniyaa to hamaare saamne hai
ae ae ae ae
aa aa aa aa aa aa aa
duniyaa to hamaare saamne hai
Jannat ka pataa kya
ho ke naa ho o o o o o o o
jannat mein chhupi daulat ke liye
duniyaa ka khazaanaa kyun chhoden
dil waale bachaayen dil apnaa
ham teer chalaanaa kyun chhoden
martaa hai koyi to mar jaaye ae
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 : |
4574 | Post No. : | 16178 |
Yearwise discussion of Lata Mangeshkar songs in HFM: Part XVIII: Year 1964
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In this episode, we discuss Lata Mangeshkar songs that she sang in Hindi movies released in 1964.
In 1964, 99 Hindi movies containing 671 songs were released. Lata Mangeshkar got to sing in 46 of these movies and she sang 133 songs in these movies. So Lata Mangeshkar’s voice was heard in 46.5 % of the movies released in 1964. Her voice was heard in 19.8 % of the songs appearing in the movies of 1964.
Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 1964 :-
| S N | Movie | Music director | Lata song in the blog | Lata HFM songs recorded in the year | Lata solo songs | Male duet | Female duet | Other songs | Lyricists |
|---|---|---|---|---|---|---|---|---|---|
| 1 | Aao Pyaar Karen | Usha Khanna | 4 | 4 | 3 | 1 | 0 | 0 | Rajinder Krishan |
| 2 | Aapki Parchhaaiaan | Madan Mohan | 1 | 1 | 1 | 0 | 0 | 0 | Raja Mehdi Ali Khan |
| 3 | Aaya Toofaan | Laxmikant Pyarelal | 4 | 4 | 2 | 0 | 1 | 1 | Asad Bhopali |
| 4 | Aayi Milan Ki Bela | Shankar Jaikishan | 3 | 3 | 2 | 1 | 0 | 0 | Hasrat Jaipuri (2) Shailendra (1) |
| 5 | Apne Huye Paraaye | Shankar Jaikishan | 4 | 4 | 3 | 1 | 0 | 0 | Shailendra |
| 6 | April Fool | Shankar Jaikishan | 2 | 2 | 2 | 0 | 0 | 0 | Hasrat Jaipuri |
| 7 | Baaghi | Chitragupta | 1 | 2 | 2 | 0 | 0 | 0 | Hasrat Jaipuri |
| 8 | Benazir | S D Burman | 4 | 4 | 4 | 0 | 0 | 0 | Shakeel Badayuni |
| 9 | Beti Bete | Shankar Jaikishan | 1 | 1 | 1 | 0 | 0 | 0 | Shailendra |
| 10 | Birju Ustaad | Kalyanji Anandji | 0 | 3 | 1 | 2 | 0 | 0 | Qamar Jalalabadi |
| 11 | Challenge | Ajit Merchant | 0 | 1 | 1 | 0 | 0 | 0 | Prem Dhawan |
| 12 | Chitralekha | Roshan | 3 | 3 | 3 | 0 | 0 | 0 | Sahir Ludhianvi |
| 13 | Dooj Ka Chaand | Roshan | 2 | 2 | 1 | 0 | 1 | 0 | Sahir Ludhianvi |
| 14 | Dosti | Laxmikant Pyarelal | 1 | 1 | 1 | 0 | 0 | 0 | Majrooh Sultanpuri |
| 15 | Dulha Dulhan | Kalyanji Anandji | 5 | 5 | 1 | 3 | 1 | 0 | Anand Bakshi (2) Harun (1) Gulshan Bawra (1) Indeewar (1) |
| 16 | Ganga Ki Lehren | Chitragupta | 4 | 4 | 2 | 2 | 0 | 0 | Majrooh Sultanpuri |
| 17 | Ghazal | Madan Mohan | 1 | 1 | 1 | 0 | 0 | 0 | Sahir Ludhianvi |
| 18 | Haqeeqat | Madan Mohan | 3 | 3 | 3 | 0 | 0 | 0 | Kaifi Azmi |
| 19 | Ishaara | Kalyanji Anandji | 5 | 5 | 2 | 3 | 0 | 0 | Majrooh Sultanpuri |
| 20 | Jahaan Ara | Madan Mohan | 4 | 4 | 2 | 1 | 1 | 0 | Rajinder Krishan |
| 21 | Kaise Kahoon | S D Burman | 3 | 3 | 3 | 0 | 0 | 0 | Shakeel Badayuni |
| 22 | Kohraa | Hemant Kumar | 2 | 2 | 2 | 0 | 0 | 0 | Kaifi Azmi |
| 23 | Leader | Naushaad | 3 | 3 | 1 | 2 | 0 | 0 | Shakeel Badayuni |
| 24 | Main Bhi Ladki Hoon | Chitragupta | 2 | 2 | 1 | 1 | 0 | 0 | Rajinder Krishan |
| 25 | Main Suhaagan Hoon | Pt Lachchiram | 1 | 1 | 1 | 0 | 0 | 0 | Butaram Sharma |
| 26 | Majboor | Kalyanji Anandji | 3 | 3 | 2 | 1 | 0 | 0 | Anand Bakshi |
| 27 | Mera Qasoor Kya Hai | Chitragupta | 1 | 3 | 2 | 1 | 0 | 0 | Rajinder Krishan |
| 28 | Mr X in Bombay | Laxmikant Pyarelal | 4 | 4 | 2 | 2 | 0 | 0 | Anand Bakshi |
| 29 | Phoolon Ki Sez | Adi Narayan Rao | 5 | 7 | 4 | 2 | 1 | 0 | Hasrat Jaipuri |
| 30 | Pooja Ke Phool | Madan Mohan | 4 | 4 | 4 | 0 | 0 | 0 | Rajinder Krishan |
| 31 | Punar Milan | C Arjun | 1 | 1 | 0 | 1 | 0 | 0 | Gulshan Bawra |
| 32 | Rajkumar | Shankar Jaikishan | 2 | 2 | 1 | 0 | 1 | 0 | Shailendra |
| 33 | Roop Sundari | Sardar Malik | 1 | 1 | 1 | 0 | 0 | 0 | Bharat Vyas |
| 34 | Saanjh Aur Sawera | Shankar Jaikishan | 2 | 2 | 2 | 2 | 0 | 0 | Shailendra |
| 35 | Samson | Chitragupta | 3 | 3 | 1 | 1 | 1 | 0 | Majrooh Sultanpuri |
| 36 | Sangam | Shankar Jaikishan | 3 | 3 | 1 | 1 | 0 | 1 | Shailendra (2) Hasrat Jaipuri (1) |
| 37 | Sant Gyaneshwar | Laxmikant Pyarelal | 4 | 5 | 5 | 0 | 0 | 0 | Bharat Vyas |
| 38 | Sati Savitri | Laxmikant Pyarelal | 6 | 6 | 4 | 1 | 0 | 0 | Bharat Vyas |
| 39 | Shabnam | Usha Khanna | 2 | 2 | 2 | 0 | 0 | 0 | Prem Dhawan |
| 40 | Subhadra Haran | Prabhakar Jog | 0 | 1 | 0 | 1 | 0 | 0 | Saraswati Kumar Deepak |
| 41 | Suhaagan | Madan Mohan | 3 | 3 | 1 | 2 | 0 | 0 | Hasrat Jaipuri |
| 42 | Veer Bhimsen | C Ramchandra | 1 | 1 | 1 | 0 | 0 | 0 | Kavi Pradeep |
| 43 | Wo Kaun Thhi | Madan Mohan | 4 | 4 | 3 | 1 | 0 | 0 | Raja Mehdi Ali Khan |
| 44 | Yaadein | Vasant Desai | 2 | 2 | 2 | 0 | 0 | 0 | Anand Bakshi |
| 45 | Ziddi | S D Burman | 2 | 2 | 2 | 0 | 0 | 0 | Hasrat Jaipuri |
| 46 | Zindagi | Shankar Jaikishan | 6 | 6 | 5 | 0 | 1 | 0 | Hasrat Jaipuri (4) Shailendra (1) |
| Total | 46 movies | 18 MDs | 122 | 133 | 91 | 31 | 8 | 3 | 19 lyricists |
Lata Mangeshkar worked with 18 music directors and 19 lyricists in these 46 movies released in 1964. Shankar Jaikishan with 335 songs in the voice of Lata Mangeshkar were the leading music directors for Lata Mangeshkar followed by C Ramchandra with 273 songs. Other top music directors for Lata Mangeshkar were Chitragupta (191), Madan Mohan (137), Roshan (128), Anil Biswas (118), Naushad (109), Husnlal Bhagatram (108), Hemant Kumar (108). Together these nine music directors composed 1497 songs out of 2742 songs that Lata Mangeshkar had sung in Hindi movies till end of 1964. The top seven lyricists till end of 1964 for Lata Mangeshkar were Rajinder Krishan (444), Shailendra (326), Hasrat Jaipuri (225), Prem Dhawan (176), Shakeel Badayuni (169), Bharat Vyas (162), Majrooh Sultanpuri (139). These seven lyricists had penned 1641 songs sung by Lata Mangeshkar till that time.
Lata Mangeshkar tied up with music director Ajit Merchant, C Arjun, Prabhakar Jog and Pt Lachchiram for the first time in movies released in 1964. Harun was one lyricist with whom she worked for the first time in a movie of 1964.
Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 1964 :
| Year | Movie count | Lata song in the blog | Lata HFM songs recorded in the year | Lata solo songs | Male duet | Female duet | Other songs | Remarks |
|---|---|---|---|---|---|---|---|---|
| 1946 | 3 movies | 4 | 4 | 4 | 0 | 0 | 0 | |
| 1947 | 3 movies | 5 | 5 | 3 | 1 | 0 | 1 | |
| 1948 | 16 movies | 50 | 50 | 37 | 6 | 4 | 3 | |
| 1949 | 38 movies | 134 | 157 | 103 | 35 | 12 | 7 | |
| 1950 | 36 movies | 114 | 143 | 93 | 32 | 14 | 4 | |
| 1951 | 49 movies | 189 | 223 | 158 | 52 | 10 | 3 | |
| 1952 | 43 movies | 149 | 177 | 138 | 31 | 4 | 4 | |
| 1953 | 45 movies | 170 | 195 | 149 | 35 | 5 | 6 | |
| 1954 | 43 movies | 140 | 172 | 144 | 23 | 4 | 1 | |
| 1955 | 50 movies | 165 | 218 | 177 | 30 | 10 | 1 | |
| 1956 | 49 movies | 168 | 204 | 153 | 35 | 13 | 3 | |
| 1957 | 47 movies | 129 | 160 | 110 | 38 | 7 | 5 | |
| 1958 | 35 movies | 102 | 132 | 95 | 25 | 10 | 1 | |
| 1959 | 58 movies | 188 | 211 | 130 | 68 | 12 | 1 | |
| 1960 | 48 movies | 139 | 166 | 102 | 50 | 12 | 1 | |
| 1961 | 44 movies | 125 | 152 | 88 | 55 | 5 | 4 | |
| 1962 | 40 movies | 118 | 129 | 84 | 40 | 5 | 0 | |
| 1963 | 37 movies | 103 | 111 | 62 | 38 | 8 | 3 | |
| 1964 | 46 movies | 122 | 133 | 91 | 31 | 8 | 3 | |
| Total upto 1963 | 730 movies | 2331 | 2742 | 1921 | 625 | 143 | 51 |
It can be seen from the table of 1964 that Lata Mangeshkar sang 133 songs in movies released in 1964. As many as 122 of these songs have already been covered in the blog. Out of 46 movies of 1964 where Lata Mangeshkar sang, all Lata Mangeshkar songs of 39 movies are alreday covered. So we only have 11 Lata songs belonging to 7 movies of 1964 that are not yet covered in the blog.
Alphabetically the first such movie that offers us Lata Mangeshkar songs to discuss is “Baaghi”(1964). This stunt movie was directed by Ramdayal for Mukul Movies, Bombay. The movie had Pradeep Kumar, Leela Naidu,Jagdeep, Mumtaz, Jeevan, Veena, Ulhas, Helen, Naaz, Vijaya Chaudhary etc in it.
The movie had six songs in it, including two Lata Mangeshkar solos. Two songs from the movie (including one Lata Mangeshkar solo) have been covered in the past.
Here is the second and final Lata Mangeshkar solo from “Baaghi”(1963). Hasrat Jaipuri is the lyricist. Music is composed by Chitragupta.
This lesser known song is a rare song and only its audio seems to be available. From the sounds of it, it appears to be a mujra dance song or so. I request our knowledgeable readers to throw light on the picturisation of this song. The song is quite a hummable song to listen to
Song-Tujhe iski khabar kya (Baaghi)(1964) Singer-Lata, Lyrics-Hasrat Jaipuri, MD-Chitragupta
Lyrics
wo ghar mein aaye hamaare
khuda ki kudrat hai
kabhi hum unko
kabhi apne ghar ko dekhte hain
tujhe iski khabar kya
tujhe iski khabar kya
tere deewaane pe kya guzri
tujhe iski khabar kya
tere deewaane pe kya guzri
tere aane pe kya beeti
tere jaane pe kya guzri
tujhe iski khabar kya
tumhaari ik hansi ne
kar diya zakhm e jigar gehra
tumhaari ik hansi ne
kar diya zakhm e jigar gehra
main apne hosh mein kab hoon
ajab kuchh haal hai mera
chaman kya jaan sakta hai
ki veeraane pe kya guzri
tujhe iski khabar kya
tere deewaane pe kya guzri
tujhe iski khabar kya
na dekho berukhi se
ye haseen armaan kehte hain
na dekho berukhi se
ye haseen armaan kehte hain
navaajish hum pe kab hogi
jawaan toofaan kehte hain
bataaye kya ki is dil pe
sanam khaane pe kya guzri
tujhe iski khabar kya
tere deewaane pe kya guzri
tujhe iski khabar kya
tumhaari to adaa hogi
kisi ki jaan jaayegi
tumhaari to adaa hogi
kisi ki jaan jaayegi
pukaarega koi kitna
magar vaapas naa aayegi
sahegi rooh haal-e-dil
ki mar jaane pe kya guzri
tujhe iski khabar kya
tere deewaane pe kya guzri
tere aane pe kya beeti
tere jaane pe kya guzri
tujhe iski khabar kya
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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Blog Day : |
4543 | Post No. : | 16117 |
‘Baazooband’ (1954) was produced by Ashalata Biswas under the banner of Variety Productions jointly with Ramanand Sagar who also directed it. The star cast included Balraj Sahni and Sulochana Chatterjee in the lead with Roopmala, Anwar Hussain, Om Prakash, Radhakrishan, Shanta Kanwar, Noor Jahan (Sr.), Noreen Linford etc in the subsidiary roles. The story, screenplay and dialogues were written by Ramanand Sagar.
The main theme of the story of the film is that in a well-settled family, a distraction by way to some vices especially when ‘other woman’ comes into the life of the husband, can wreck the family – both financially and emotionally. It is the faith and the trust with which an understanding wife can steer the husband from the wrong path. The gist of the story of the film is as under:
Seth Surajmal (Balraj Sahni), his wife, Radha (Sulcohana Chatterjee) and his two children are a wealthy and happy family. But Surajmal has one weakness. Come evening and he is magnetically attracted to make a visit to Amma’s kotha where he is under the magical spell of the dancer Chanda (Roopmala). He watches her dance and gift costly jewelries to her on his each visit . By mid-night, he returns home fully sozzled in alcohol. This is Surajmal’s daily routine.
The regular patrons of Chanda include Saanwariya (Om Prakash) and Bankelal (Anawar Hussain). Saanwariya, once upon a time a wealthy merchant, has now become almost pauper and spend his entire time in the kotha. Bankelal on the other hand is financially weak and looking for some way to raise money so that he and his foreign fiancé Josephine (Noreen Linford) can settled abroad. For this, Bankelal has found a way out by joining hands with Chanda to financially fleece Surajmal with a false promise to her that when she has collected sufficient money from Surajmal, he will marry her and settle abroad.
Radha’s mother and younger sister try to impression upon her to confront Chanda but she takes a stand that the fault lies with her husband who is mesmerised by Chanda. So, she has to take measure to bring her husband to the correct path. She is sure that her devotion towards her husband and the children would one day bring him back to senses. But would it not be too late for Radha?
In the meanwhile, hearing the news that her mother is unwell, Radha leaves for her mother’s place leaving the children with Surajmal. Bankelal finds a opportunity to place Chanda in Surajmal’s house in the guise of looking after his children. One day, when Surajmal is under the influence of liquor, Chanda gets him to sign a will that after his death, Chanda will be the sole owner of all his assets including the house.
Bankelal’s next move is to get Surajmal killed in such a way so as to appear as accidental fall from a hill top while under the influence of liquor though he would by pushed to death by Chanda. This plan is accidentally heard by Saanwariya. He cautions Radha and at the same time, he decides to tackle Bankelal. While both Bankelal and Saanwariya seems to be enjoying their drinks in the former’s house, Saanwariya mixes poison in the drinks as a result of which Bankelal dies.
Simultaneously, as per plan, Chanda after making Surajmal drinks a lot, takes him to a hilltop in the pretext of a romantic walk. However, Radha has been following them. When Chanda is struggling to push Surajmal from the hilltop, Saanwariya also reaches the spot and kills Chanda by stabbing. He throws her dead body from the hilltop. Radha reaches the spot and rescues Surajmal. Police arrives and arrests Saanwariya when he tells them that he had killed Bankelal by poisoning him and stabbed to death Chanda. Surajmal has now a changed man spending his evenings with his family. All is well that ends well.
The problem with the film is that the story is too familiar for the audience as they would have watched many films with such story in the 40s and early 50s. There is no harm making one more film on such a story provided the director has presented the story in a different cinematic presentation. But it is not. As I watched the film, I did not find the film gripping to an extent that I would complete the film in one sitting.
Balraj Sahni did not have much scope to show his performance as an actor as most of his scenes were with Chanda (Roopmala) in a drunken state. Sulochana Chatterjee as Radha did her best to reflect in her performance the balancing act between her husband and the children while tackling the husband’s problems. Roopmala in the role of Chanda performed very well both as a dancer as well as a vamp. Ramanand Sagar did not make the film melodramatic to draw the sympathy for the role of Radha nor he made Chanda more villainous to make the audience to hate her character. This would have been certainly a negative for the audience of that time.
Ramanand Sagar collaborated with Ashalata Biswas in three films – ‘Badi Bahoo’ (1951) as a story, screenplay and dialogue writer followed by ‘Mehmaan’ (1953) and ‘Bazooband’ (1954) – the last two also as a director and producer in partnership with Ashalata Biswas’s Variety Productions. Unfortunately, despite the good music, none of these films succeeded in the box office front. ‘Bazooband’ (1954) was the worst performer on the box office to such an extent that after this, Ashalata Biswas’s film production company, Variety Productions did not venture into the film production. Ramanand Sagar did not direct any film for the next 6 years until ‘Ghoonghat’ (1960).
On the positive side of the film, ‘Baazooband’ (1954) had 5 beautifully tuned songs from Lata Mangeshkar (out of 7 songs) under the baton of Mohammed Shafi. 3 songs from the film have been covered in the Blog.
I am presenting the 4th song, ‘aarzoo ye hai ki nikle dam tumhaare saamane’ from the film ‘Baazooband’(1954). The song rendered by Lata Mangeshkar is picturised on Roopmala who is dancing to seduce Balraj Sahni in the presence of Anwar Hussain who is the instigator for such an act. Om Prakash is a moot spectator to his dislike. The song is written by Daagh Dehlvi which is set to music by Mohammed Shafi.
It may be a rare occasion in a film in which as many as 4 songs (out of 7) have been picturisedon Roopmala who is not only the mujra dancer but also a vamp in the film. All the 4 mujra dance songs picturised on Roopmala were choreographed by Gopikrishna. Roopmala (real name, Mumtaz) was a popular dancer of Hyderabad. She started her filmy career with ‘Basera’ (1950).
In this song, everything is best – Daagh Dehlvi’s words, Lata Mangeshkar’s voice, Mohammed Shafi’s tune and musical arrangements, Roopmala’s dance performance with seductive expressions and gestures and choreography by Gopikrishna.
Video Clip:
Audio Clip:
Song-Aarzoo ye hai ke nikle dam tumhaare saamne (Baazooband)(1954) Singer-Lata, Lyrics-Daag Dehalvi, MD-Md Shafi
Lyrics (Based on Video Clip)
aa aa aa aa
aaa aaa aaa
aarzoo ye hai ke nikle
dam tumhaare ae saamne
haan aaa aaa aaa
aaa aaa aaa
aaa aan aaa
aa aa aa
tum hamaare saamne ho
hum tumhaare saamne
hum tumhare saamne
tum hamaare saamne ho
hum tumhaare saamne
hum tumhaare saamne
aaaa aaa aaa aaa
aaa lab par
aaye thham thham kar ke
tum ghabra na jaao
o o o o o o o o
dard dil mein ho magar
aeji dard dil mein ho magar
kum tumhaare saamne
kum tumhaare saamne
aarzoo ye hai ke nikle
dam tumhaare saamne
dam tumhaare saamne
aaa aaa aaa aaa aaaa aaa
baad mere royega
saara zamaana dekhna
aa aa aa aa
jhoom ke hoga mera
jhoom ke hoga mera
maatam tumhaare saamne
haan tumhaare saamne
aarzoo ye hai ke nikle
dam tumhaare saamne
dam tumhaare saamne
aaaa aaaaaa aaaaa
katl kar daalo hamen
yaa zulm e ulfat baksh do
haan aaa aaa
aaa aaa aaa
aan aan aan
lo khade hain haath baandhe
aeji lo khade hain haath baandhe
hum tumhaare saamne
hum tumhaare saamne
aarzoo ye hai ke nikle
dam tumhaare saamne
dam tumhare saamne
tum hamaare saamne ho
hum tumhaare saamne
hum tumhaare saamne
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 : |
4540 | Post No. : | 16110 |
“Jhanak Jhanak Paayal Baaje”(1955) was directed by V Shantaram for Rajkamal Productions. This movie which was mainly about dancing, had Sandhya, Gopi Krishan, Keshavrao Date, Madan Puri, Manorama, Chandrakanta, Mumtaz, Chaube Maharaj, Nana Palsikar, Nimbalkar, Chaman Puri, Bhagan, Jayshree Gadkar etc in it.
The movie had twelve songs in it. Six songs have been covered in the blog so far.
Today (22 december 2020) is the 45th remembrance day of Vasant Desai (9 June 1912-22 december 1975) who was the music director of this movie.
As a tribute to Vasant Desai, here is a song from “Jhanak Jhanak Paayal Baaje”(1955). The song is sung by Lata Mangeshkar. Dewan Sharar is the lyricist. Music is composed by Vasant Desai,
The song is picturised as a mujra dance song on Sandhya, with others also seen in the picturisation.
Song-kaisi ye muhobbat ki saza haay dee hai kisi ne(Jhanak Jhanak Paayal Baaje)(1955) Singer-Lata, Lyrics-Dewan Sharar, MD-Vasant Desai
aa aa aa aa
aa aa aa
aa aa aa aa
kaisi yeh muhobbat
kaisi yeh muhoobbat ki saza
kaisi yeh muhobbat ki saza
haay dee hai kisi ne kisi ne
kaisi yeh muhobbat ki saza
duniya hi mere dil ki dil ki
duniya hi mere dil ki dil ki
mita di hai kisi ne kisi ne
kaisi yeh muhobbat ki saza
haay dee hai kisi ne kisi ne
kaisi yeh muhobbat ki saza
reh reh ke machalna aa aa
kabhi ro ro ke tadapna
aa aa aa aa aa
o o
haalat yeh meri ee aaj
bana di hai kisi ne
kisi ne
kaisi yeh muhobbat ki saza
haay dee hai kisi ne kisine
kaisi yeh muhobbat ki saza
duniya hi mere dil ki dil ki
duniya hi mere dil ki dil ki
mita di hai kisi ne kisi ne
kaisi yeh muhobbat ki saza
haay dee hai kisine kisine
kaisi yeh muhobbat ki saza
aa aa aa aa aa
dil ghat’ta hai
ae ae ae ae
dam ghut’ta hai
aahon ke dhuen se
ho o
kuchh aisi khushi(?) ee aag laga di hai kisine
kaisi yeh muhobbat ki saja haay dee hai kisine kisine
kaisi yeh muhobbat ki saja
duniya hi mere dil ki dil ki
duniya hi mere dil ki dil ki
mita di hai kisine kisine
kaisi yeh muhobbat ki saza haay dee hai kisine kisine
kaisi yeh muhobbat ki saza
aa aa aa aa
aa aa aa
parwaana kare chaahe
jalne ka nahin saamaan aan
o o
ek shama thhi to o bhi
bujha di hai kisi ne ne
kaisi yeh mohabbat ki saza
haay dee hai kisine kisine
kaisi yeh muhabbat ki saza
duniya hi mere dil ki dil ki
duniya hi mere dil ki dil ki
mita di hai
mita di hai
mita di hai kisine kisine
kaisi yeh muhobbat ki saza
haay dee hai kisine kisine
kaisi yeh muhobbat ki saza
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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Blog Day : |
4531 | Post No. : | 16093 |
Today, December 13th 2020 is the 34th Remembrance Day of Smita Patil who today would have been 65 years of age, perhaps donning the hat of a director.
What an incredible filmy journey Smita Patil had in a short span of about 12 years! She acted in 70 Hindi films of which 18 films were new wave films. In addition, she acted in about a dozen non-Hindi new wave films. At the age of 23, she got her first National Award for the Best Actress for her role in ‘Bhumika’ (1977). After 3 years, she was bestowed with another National Award for the Best Actress in ‘Chakra’ (1980). At the age of 29, she was one of the juries in the Montreal International Film Festival (1984). At the age of 30, She got Padma Shri Award.
She had achieved fame and glory in a short period and left her legacies for the new generations of film enthusiasts to appreciate. Other eminent actresses had taken much longer periods to achieve more or less the same status in their acting career. It is amazing to note that during her 12 years of filmy career, she worked with many eminent directors of new wave/parallel cinemas such as Shyam Benegal, Satyajit Ray (Bangla), Mrinal Sen (Bangla), G Arvindan (Malayalam), T S Nagabharana (Kannada), Jabbar Patel (Marathi), Khwaja Ahmed Abbas, Ketan Mehta (Gujarati and Hindi), Kumar Sahani, Muzaffar Ali, Saeed Mirza, Govind Nihalani etc. In the sphere of mainstream cinema, she acted under the directors such as Raj Khosla, B R Chopra, Ramesh Sippy, Mahesh Bhatt, Prakash Mehra, Mohan Kumar, J Om Prakash, J P Dutta etc.
Smita Patil (17/09/1955 – 13/12/1986) was born in Pune to a freedom fighter turned politician, Shivajirao Patil, and a social worker, Vidyatai Patil. After completion of her school in Pune, Smita Patil joined her parents in Mumbai by which time, her father had become a cabinet minister in Maharashtra. She joined St. Xavier’s College for graduation. It is during her college days she got selected as a Marathi news reader in Mumbai Doordarshan following the start of its telecast in October 1972. (I have also watched her occasionally reading Hindi news as well).
In one of his interviews, Shyam Benegal has revealed that after the successful release of his first film ‘Ankur’ (1974), he had planned for two films for which he was looking for a new girl having an earthly look (colloquially called ‘desi’ look). When he noticed Smita Patil as a Marathi newsreader on Doordarshan. he felt that she had an attractive presence and has the required photogenic face as a village girl. She fitted very well as a second lead in his next film ‘Nishaant’ (1975). Shyam Benegal met Smita’s parents through a common acquaintance. Her parents readily agreed but Smita point-blankly refused to work in films. Her mother, Vidyatai Patil who had seen ‘Ankur’ (1974), didn’t want her to refuse the offer off-hand. It took some time for her mother to convince Smita to work in the film ‘Nishaant’ (1975).
However, before ‘Nishaant’ (1975) could start, Shyam Benegal took her in ‘Charandas Chor’ (1975), a children’s film which would be a sort of familiarisation process for Smita Patil. According to Shyam Benegal, unlike Shabana Azmi, who was a FTII graduate in acting, Smita Patil had no formal training in acting. But she was a quick learner and an intuitive actor. The only problem with her was that she had multiple interests and as such during shooting, her mind would get diverted to activities other than acting. She was an ace photographer and always carried her camera during the shootings. During the break, she would take candid photographs of her co-stars. For the initial period of shooting for ‘Nishaant’ (1975), and ‘Manthan’ (1976), Shyam Benegal was not only the director but also had to behave like her school teacher for imposing the discipline.
Shyam Benegal says that despite all her sundry interest on the sets, Smita gave an excellent performance in ‘Nishaant’ (1975) as well as in ‘Manthan’ (1976). He narrated an anecdote during the shooting of the film in a village near Rajkot. A few college students had come to watch the shooting and were enquiring about the heroine. Smita Patil was sitting with four-five local women squatting against the wall. Someone from the unit pointed out in the direction of Smita Patil to the college students. They refused to believe him saying how could a heroine sit with local women? Her character in the film got so much assimilated with the local women that she could not be recognised as a heroine.
Shyam Benegal had initially considered Shabana Azmi for ‘Bhumika’ (1977). Later on, he felt that Smita’s body language and dialect seemed culturally apt for Hansa Wadkar’s character which required Smita’s visual presence from the beginning to the end. There were contradictions, complexities and also sexuality in the character of Hansa Wadkar and Smita had excellently handled all these in her role which fetched her the National Award for the Best Actress. According to Shyam Benegal, it was only after this award, Smita Patil took the acting career seriously.
After working under the direction of Shyam Bengal in ‘Kondura’ (1978) a bilingual film in Hindi and Telugu, there was a gap of 5 years during which Shyam Benegal had no occasion to take Smita Patil in his films. The reason could be that Shyam Benegal was associated with a couple of high budget films in which Smita Patil did not fit into the character.
‘Mandi’ (1983) was the last film Smita Patil worked under the direction of Shyam Benegal. In my view, this film is the best among Shyam Benegal’s films as also performance-wise the best of Shabana Azmi and Smita Patil for Shyam Benegal. Both of them have situations in the film in which they have to display different moods even in a single scene which only a few actors can perform to create a lasting impression on the audience .
With so much name and fame Smita Patil earned in acting in off-beat films, what were the reasons for her to seek the foray into mainstream commercial cinema? She did not fit into the idioms of commercial cinema. If I have inferred her personality on the basis of the articles written on her, a strong role rather than the money was her consideration to work in the films. I got some explanations for her entry into mainstream commercial cinema from a book ‘Smita Patil – A Brief Incandescence’ (2019) written by Maithili Rao. It was because of an incidence which hurt Smita Patil to such an extent that she decided to work in commercial cinema forthwith.
Sometime in 1981, one eminent successful director known for making ‘middle of the road’ films promised Smita Patil a role which she loved it. Later on, she came to know through the press that she was replaced by an actress who was also a successful star in commercial cinema. Within a few days from this incidence, Smita Patil signed two stupid films on a single day – ‘Badle Ki Aag’ (1982) and another one (probably,’Tajurba’ 1981). She wanted to prove that she was also a star material. Both these films did not fare well on the box office front.
Fortunately for Smita Patil, her next two mainstream films, Praksah Mehra’s ‘Namak Halaal’ (1982) followed by Ramesh Sippy’s ‘Shakti’ (1982), both with Amitabh Bachchan clicked at the box office which made Smita Patil a star-actor. After these successes, she did a spate of mainstream films, the notable films among them being ‘Aaj Ki Aawaaz’ (1984), ‘Ghulaami’ (1985), ‘Aakhir Kyun?’ (1985), ‘Amrit’ (1986). During this period, Smita Patil continued to work in parallel films such as ‘Ardh Satya’ (1983), ‘Tarang’ (1984), ‘Raavan’ (1984), ‘Giddh’ (1984), ‘Debshishu’ (1985) and ‘Mirch Masaala’ (1987). The end result was that in terms of numbers, her mainstream commercial films far exceeded her parallel films.
Smita Patil worked with Raj Babbar for the first time in ‘Tajurba’ (1981). It was during the shooting of ‘Bheegi Palkein’ (1982) when both of them developed a close relationship. Their closeness resulted in working together in as many as 20 films. Their affairs culminated into the marriage. Raj Babbar was already married to Nadira Babbar with two children.
Smita Patil died on December 13, 1986, 15 days after giving birth to her son Pratiek due to complications arising out of childbirth.
Shyam Benegal was back into new wave films by making a triology on Indian Muslim women with ‘Mammo’ (1994), ‘Sardari Begum’ (1996) and ‘Zubieda’ (2001). in a recent interview, he said that after Smita Patil, he has worked with many actresses but none of them came close to the versatilities of Smita Patil.
On the occasion of Smita Patil’s 34th Remembrance Day, I have selected a song from the film ‘Mandi’ (1983) which is directed by Shyam Benegal with Smita Patil in the role of Zeenat. It is a mujra song, ‘chubhti hai ye to nigodi mujhe bhaari angiya’ sung by Asha Bhosle and picturised on Smita Patil. This raunchy song is written by Insha which is set to music by Vanraj Bhatia.
The film starts with this mujra song as credit titles are rolling. One can see Naseeruddin Shah as a worker in the kotha, Shabana Azmi as Madam of the kotha and Harish Patel as police who is watching the mujra through the window. The mujra starts with the classic ‘sit-down’ pose with alluring expressions of Smita Patil. In the last part of the song, she gets up and steps into a vigorous dancing in kathak style.
According to Vanraj Bhatia, Asha Bhosle who had sung many songs for him, refused to sing this song by saying that it was a dirty song. She cancelled the recording three times. It was Ismat Chugtai who convinced her by saying that she had sung many kotha songs. Why not one more? The reason as to why Vanraj Bhatia persisted on Asha Bhosle even after she cancelled the recording three times could be that only Asha Bhosle could do justice to sing to sound like a raunchy song.
Although the name of the lyricist is mentioned as Insha, I feel that he is Syed Insha Allah Khan ‘Insha’ (1756-1817). He had used his nom de plume ‘Insha’ in some of his poems. He had also used in the song under discussion. Insha was a contemporary of Mir Taqi Mir in Mughal court. Later, he shifted to the court of Nawab of Awadh in Lucknow for getting a higher stipend. He was a multilingual poet who wrote poems in Urdu, Persian, Hindi, Punjabi, Kashmiri, Bengali, Marathi etc. I have gone through some of his ghazals and nazms. He seems to be a witty and unconventional poet. His prose work, ‘Rani Ketki Ki Kahaani’ is regarded as the first short story written in Hindi.
The video version has the full song interspersed with some dialogues, while the audio version is without dialogues and does not have the last stanza.
Video Clip:
Audio Clip:
Song-Chubhhti hai ye to nigodi mujhe bhaari angiyaa (Mandi)(1983) Singer-Asha Bhonsle, Lyrics-Inshaa, MD-Vanraj Bhatia
Lyrics(Based on Video Clip)
chubhti hai
chubhti hai
ye to chubhti hai
ye to nigodi
mujhe chubhti hai
chubhti hai
ye to nigodi mujhe bhaari angiya
bhaari angiya chubhti hai
koi saadi si
haan koi saadi si
mere vaaste laa de angiya
laa de angiya
pokhron leher ban ke
daak sitaare
kise ho jaati hai kambakkht
gawaari angiya
ho gawaari angiya
mujhe chubhti hai
Allah chubhti hai
ye to nigodi mujhe bhaari angiya
bhaari angiya chubhti hai
gend ek maine jo phenki to
haan gend ek maine jo phenki to
jhijak kar un nein kuchh ajab dol se
kal apni sanwaari angiya
biwi mughlaani jo see laayi thhi
aayi na pasand
aayi na..aa pasand
o beghma ji ne wo sar unke
haan beghma ji ne wo sar unke
de maari angiya
de maari angiya
mujhe chubhti hai
Allah chubhti hai
ye to nigodi mujhe bhaari angiya
bhaari angiya chubhti hai
odhani mujhse jo badli to
aji odhani mujhse jo badli to
baazi jaan ki bhi ek deeje jo ho
bhaari se bhaari angiya
ye ajab koi sugad(?) jisne kaadhe ye boote
kaadhe ye boote
wah chire(?) ban gayi
ban gayi ek phoolon ki kyaari
haa aan ban gayi ek phoolon ki kyaari
kyaari angiya
pyaari angiya
mujhe chubhti hai
ye to nigodi mujhe bhaari
bhaari angiya chubhti hai
aa aa aa
noz pehne koi
shabnam ki katori saahab
taare..ae youn doob gaye
wo ko sudhaari angiya
wo ko sudhaari angiya
sudhaari ee angiya
haath ‘Insha’ ka kahin chhoo jo gaya to boli
haath ‘Insha’ ka kahin chhoo jo gaya to boli
tera maqdoor
tera maqdoor ke tu chhede hamaari angiya
hamaari angiya
hamaari angiya
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