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

Archive for the ‘Mujra song’ Category


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 :

4371 Post No. : 15706

“Man Ka Meet”(1950) was directed by Ratibhai Punaatar for Ajit Pictures, Bombay. This “social” movie had Nirupa Roy, Dulaari, Sarita Devi, Shanti Madhok, Manhar desai, Babu Raje, hhagan Romeo, Bhagwan Das, Ibrahim, Maruti, Kamlakant, Barkat Virani, Haridas, Popat, V D Popat etc in it.

The movie had nine songs in it. One song has been covered in the past.

Today (6 July 2020) is the 16th remembrance day of Sardul Kwatra (1928-6 July 2004). As a tribute to him, here is a song from “Man Ka Meet”(1950). This song is sung by Zohrabai Ambalewaali. Sarshar Sailaani is the lyricist. Music is composed by Sardul Kwatra.

Only the audio of the song is available. For the lyrics, it is clear that it is a mujra song. I request our knowledgeale readers to throw light on the picturisation of the song.

Lyrics of this song were sent to me by Avinash scrapwala.


Song-Nigaahon se kehti hai dil ke fasaane(Man Ka Meet)(1950) Singer-Zohrabai Ambalewaali, Lyrics-Sarshar Sailaani, MD-Sardul Kwatra

Lyrics(Provided by Avinash Scrapwala)

hmm hmm hmm
hmm hmm hmm
Nigaahon se kehti hai ae ae
Dil ke fasaane ae ae
Haan aan aan aan
Aan aan aan aan
Jawaani ki baatein
aa aa aa aa
aa aa aa aa
aa aa
Jawaani ki baatein
Jawaani ki baatein
Jawaani hi jaane
Jawaani ki baatein
Jawaani ki baatein
Jawaani hi jaane

Nigaahon se
Nigaahon se raja
Nigaahon se kehti hai
Dil ke fasaane
Dil ke fasaane ae
Jawaani ki baatein
Jawaani ki baatein
Jawaani hi jaane

Jawaani ki gardan ko
Jhukte na dekha
Jawaani ki gardan ko
Jhukte na dekha
Kisi ne ye toofaan rukte na dekha
Kisi ne ye toofaan rukte na dekha
Jawaani ka har teer
Baithha nishaane
Jawaani ka har teer
Baithha nishaane
Haan aan aan aan
Aan aan aan aan aan
Nigaahon se
Nigaahon se raaja
Nigaahon se kehti hai
Dil ke fasaane
Dil ke fasaane ae
Jawaani ki baatein
Jawaani ki baatein
Jawaani hi jaane

Na aana na jaana
Na milna milaana
Na aana na jaana
Na milna milaana
Kabhi ye bahaana
Kabhi wo bahaana
Kabhi ye bahaana
Kabhi wo bahaana
Hamen maar daalaa
Bahaane
Bahaane
Hamen maar daalaa
Bahaane
Bahaane
Haan aan aan aan
Aan aan aan aan aan
Aan aan
Nigaahon se
Nigaahon se raaja
Nigaahon se kehti hain
Dil ke fasaane
Dil ke fasaane ae ae
Jawaani ki baatein
Jawaani ki baatein
Jawaani hi jaane ae


This article is written by Sadanand Kamath, a fellow enthusaist 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 :

4349 Post No. : 15660 Movie Count :

4313

Hindi Songs in Bangla Film – 29
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I became aware about the stories built around the fictional character of Byomkesh Bakshi, the murder mystery solver when a TV serial based on these stories was telecast on the Doordarhsan’s National channel in early 1990s. The serial was directed by Basu Chatterjee with Rajit Kapoor playing the role of Byomkesh Bakshi and KK Raina as Ajit, his assistant. During those days, the character of Byomkesh Bakshi became known all over India. ‘Byomkesh’ became synonymous with persons having inquisitive nature.

I had watched most of the episodes during those years.  The episodes of this serial were recently re-telecast on the Doordarshan Channel during the Covid-19 lockdown. What I liked about the serial was restrained acting by Rajit Kapur as an investigator in a cool and calm mind, trying to solve the mysteries of murders with ‘much ado about nothing’ manner. In the end, the culprits were mostly the ones who were least suspected by the audience. This made the each and every episode a suspense thriller and the audience were glued to the show till the end.

Sharadindhu Bandopadhyay, the creator of Byomkesh Bakshi had written 32 published stories on his fictional character during 1932-70. He was associated with Bombay Talkies during 1938-40 as a story-writer for the films like ‘Bhabhi’ (1938), ‘Vachan’ (1938), ‘Navjeevan’ (1939), ‘Kangan’ (1939), ‘Durga’ (1939), ‘Punar Milan’ (1940) and ‘Azaad’ (1940). In 1970, he had started writing the 33rd story of Byomkesh Bakshi with ‘Bisupati Badh’ as its title. However, before the completion of the story, he died in 1970.

Some of the stories of Byomkesh Bakshi were made into feature films, mainly in Bengali. I got a list of 20 Bangla films made on Byomkesh Bakshi between 1967-2019. Probably, a few more films may have been made on Byomkesh Bakshi with different titles. One film was made in Hindi titled ‘Detective Byomkesh Bakshy’ (2015) under the banner of Yash Raj Films.

Last week, Partha Chanda, one of the regular visitors to our Blog conveyed to me that the Bangla film, ‘Har Har Byomkesh’ (2015) had 3 Hindi songs. I watched the film on one of the OTT media services with English subtitles. The film is based on one of 32 stories – ‘Banhi Patanga’ (English title: ‘Moth and Flame’). In Urdu, this  story could have got the title of ‘Shama and Parwaana’.  It is directed by Arindam Sil. The story is set in around mid-1940s. The gist of the story of the film is as under:

Byomkesh (Abir Chatterjee), his wife, Satyabati (Sohoni Sarkar) and his friend Ajit (Ritwick Chakraborty) have come from Kolkata on a holiday to Varanasi. They are the guests of DSP Pandey (Harsh Chhaaya). However, in a couple of days, Byomkesh co-incidentally gets involved in solving the murder mystery in Varanasi.

Pandey had received an invitation from Deepnarayan Singh (Adil Hussain), a rich zamindar to attend a party along with his guests in his palace for celebrating his cure from a liver ailment which had made him bed-ridden for about 5 months. In the party, Byomkesh was introduced, among others, to zamindar’s physician, Dr Palit (Dipankar Dey), Debnarayan (Indradip Dasgupta), the ‘good for nothing’ nephew of Deepnarayan, Shakuntala (Nusrat Jahan), the wife of Deepnarayan who is half of his age and whom he had married rather forcefully after the death of his first wife. During the party, Inspector (Shadab Kamal) came to the palace and informed Dr Palit of robbery in his clinic. However, not much monetary loss was reported. What could be the reason for robbery?

On the very next day, Deepnarayan dies soon after Dr. Palit administers injection for his liver problem. DSP Pandey rushes to the palace along with Byomkesh and Ajit. After interrogating those present in the palace including Dr. Palit and other relatives of Deepnarayan, Byomkesh comes to the conclusion that Deepnarayan has been murdered, possibly for one of the two motives – to corner his vast property by the interested relatives and second, to get rid of him due to extra-marital relationship.

As the investigation progresses, the list of suspects grows in the eyes of Byomkesh. The first is Debnarayan, the nephew of the deceased who would be the immediate beneficiary of the vast property as Deepnarayan has no children. Debnarayan’s wife, Chandni could also be a suspect as after the death, Shakuntala, now widow, would lose power in the palace. Chandni would be the de fact owner of the property as her husband, Debnarayan is not a smart person. Third, the Manager of the estate of Deepnarayan who. with his boss Deepnarayan’s death would get more freedom in managing the financial assets with the scope for misappropriation of money for his own benefits.

Even Shankutala, the widow of Deepnarayan is not above suspicion who is now 3-month pregnant. Byomkesh regards this as an illicit pregnancy as she has become pregnant when Deepnarayan had been bedridden for nearly 5 months with 24 hours surveillance from nurses on him because of his serious illness. Of course, Dr Palit is also in suspect’s list as it is only after he administered the injection, Deepnarayan had died. It is possible that he could have been influenced by any one of the suspects with an offer of handsome monetary rewards for administering poison to Deepnarayan.  And lastly, Narmada Shankar (Subrata Dutta) who is from the same native place as Shakuntala has been friendly with her and has an access to meet her in the palace.

Finally, Byomkesh finds the killer and he is not from the above list. He reveals to all those present in the palace as to how he cracked the case. The film ends with Byomkesh, his wife, Satyabati and Ajit taking a stroll over the ghats of Varanasi as their holidays have just now begun.

I was curious about the title of the film, ‘Har Har Byomkesh’. After watching the film, I guess that the director wanted to give an indication that the whole episode took place in Varanasi, the city of Mahadev (Lord Shiva). So salutation, ‘Har Har Mahadev’ became ‘Har Har Byomkesh’. Interestingly, ‘Vyomkesh’ (pronounced in Bangla as ‘Byomkesh) is made up of two words, ‘Vyom’ (Air, space) and ‘Kesh’ (hair or jatta). When Lord Shiva is doing tandav nrutya, his hairs swing into the air. So Vyomkesh is another name for Lord Shiva. This is the interpretation I got on the internet about ‘Vyomkesh’.

‘Har Har Byomkesh’ (2015) has 3 songs – all in the sub-dialects of Hindi. This is not surprising as the story is set in Varanasi (as against Patna in original story). All 3 songs are composed in three different genres of Hindustani semi-classical music – Thumri, Chaiti and Bhajan. I am presenting here a Chaiti song “Roothe Sajan Kaise Manaawe Ho Raama” sung by Sabina Mumtaz Alam, Hindustani classical singer. The song is written by Sutapa Basu and is set to music by Bickram Ghosh, also a Hindustani classical musician and a fusion music director.

It is a mujra song which is being performed by a mujra singer in the midst of her admirers led by Debnarayan (Indradip Dasgupta), Narmada Shankar (Subrta Dutta) and their cronies in a boat sailing in River Ganga near the Varanasi ghats. Ajit (Ritwick Bandopadhyay), Byomkesh’s friend has gone for a stroll on the ghats of Varanasi. He is surprised to find Debnarayan on the boat enjoying the mujra performance just one day after the death of his uncle, Deepnarayan.

Song – Roothe Sajan Kaise Manaawe Ho Raama (Har Har Byomkesh) (2015) Singer – Sabina Mumtaz Alam, Lyrics – Sutapa Basu, MD – Bickram Ghosh

Lyrics

roothe sajan kaise manaawe ho raama. . .

roothe sajan kaise.. manaawe ho raama..aa
un dwaar kaise hum jaibe
un dwaar kaise hum jaibe  
saanjh saverwa..aa..aa
saa..aanjh saverwa
kaate bin sandeswa
saa..njh.. saverwa
kaate bin sandeswaa
ho dikhaike
ho o o dikhaike sapanwa paas na aaibe
dikhaike sapanwa  paas na aaibe
ho raa..aama..

kaise manaawe
roothe sajan kaise manaawe ho raama..
roothe sajan kaise.. manaawe 

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

रूठे सजन कैसे मनावे हो रामा॰॰

रूठे सजन कैसे॰॰ मनावे हो रामा॰॰आ
उन द्वार कैसे हम जईबे
उन द्वार कैसे हम जईबे
साँझ सवेरवा॰॰आ॰॰आ
साँ॰॰आँझ सवेरवा
काटे बिन संदेसवा
साँ॰॰आँझ॰॰ सवेरवा
काटे बिन संदेसवा
हो दिखईके
हो ओ ओ दिखईके सपनवा पास ना अइबे
दिखईके सपनवा पास ना अइबे
हो रा॰॰आमा॰॰

कैसे मनावे
रूठे सजन कैसे मनावे हो रामा॰॰
रूठे सजन कैसे॰॰ मनावे


This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4325 Post No. : 15616 Movie Count :

4302

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Hindi Songs in Malayalam Films – 1
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Hullo Atuldom

Today’s post is thanks to my husband who brought a few things to my notice. We were seeing some movie on a Malayalam channel and we realized that they had lined up a few movies that star Mohanlal – one of the super-actors that every Malayali is a fan of; the other being Mammooty. And I proudly call myself a Malayali when I am seeing any movie that stars one of the two. I am an equal fan of both. The two have been around since the 70s and have been all-round entertainers.

Today we shall be focusing on Mohanlal Viswanathan who is mononymously credited as Mohanlal in the movies and is fondly addressed as Lalettan by his close associates and fans. (Ettan is the way an elder brother is addressed in Malayalam.) He made his debut as a teenager in 1978 but that movie had its theatrical release only 2005. His screen debut was in the 1980 release “Manjil Virinja Pookal” (roughly translating as “Flowers that bloom in the snow”) where he played a negative character. The films that followed saw him play antagonistic characters and gradually rising to supporting roles. He had worked himself to the level of being a bankable actor by the mid-80s and gained stardom after starring in a series of successful movies.

Late 80s, 1988 to be precise was the year that I took to seeing Malayalam movies and possibly the first Mohanlal movie that I saw was “Ente Mamattikkuttiammakku” (translating as “For my Mamattikkuttiamma”) Mamattikkutti being a kind of pet name for small kids. This was a 1983 release, that I saw in the open-air theatre (another first experience for me, seeing movies in an open-air theatre) of the colony we were staying in then. That movie had Mohanlal in a supporting role too. I have seen him in his comic element in many movies since then and must say every time I like him more.

1997 saw Lalettan star in his first non-Malayalam film “Iruvar”-a Tamil film which was directed by Mani Ratnam. 2002 saw him play Sreenivasan – a Mumbai Police officer in the Ram Gopal Verma directed, Ajay Devgan- Vivek Oberoi- Manisha Koirala starrer “Company”. Lalettan’s performance was well-recieved by the Hindi speaking audience. 2007 August saw him in his next Hindi movie, also directed by Ram Gopal Verma, “Aag” (also called “Ram Gopal Verma ki Aag”) touted as the remake of the Bollywood classic “Sholay” where he re-apprised the role played by Sanjeev Kumar in the original. I don’t think he has made an appearance in any Hindi movie since, but his Telugu debut movie “Janatha Garage” is seen often on the various satellite channels in its dubbed Hindi version.

Reader’s Digest India has, in 2004, described him as a “Jack of all Trades and master of many”. His directors describe him as “one of the finest actors of the country who can slip easily into any role.” 2010 saw him play Major Mahadevan in “Kandahar”, the third of the Major Mahadevan Series of films which also happened to be Amitabh Bachchan’s Malayalam debut.

Many of his movies have been remade in Hindi; for example Akshay Kumar starrer “Khatta Meetha” (2010) was a remake of Mohanlal’s 1988 release “Vellanakalude Nadu” (translated as “The land of white elephants”); Akshaye Khanna- Paresh Rawal starrer “Hungama” (2003) was a remake of the 1984 “Poochhakkoru Mookkuthi” (A Nose-ring for the cat). Even “Bhool Bhulaiya” starring Akshay Kumar and Vidya Balan was a remake of Mohanlal’s 1993 ‘Manichitrathazhu” (the ornate lock). Mohanlal’s 1988 “Chitram” (translation: Picture) was remade as “Pyar Hua Chori Chori” starring Mithun Chakravarty and Gautami (of south). I can think of a few more remakes, an interesting point to note here is that Lalettan didn’t star in any of the Hindi remakes of his successful originals.

So we have two films of Mohanlal to choose from, with which he can make his debut on our blog. But I am presenting a Malayalam movie instead. Much before his foray into Bollywood he had lip synced to a song in Hindi written by Madhu and composed by Raveendran which had the legend K J Yesudas as the playback. Now, we on this blog don’t need any introduction to K J Yesudas. But Madhavan Raveendran (or Raveendran master as he was called) is a new name for us. He was a popular music composer in Tamil and Malayalam films. The only bit of information that I could gather about the lyrics writer is that the movie credit shows his name as Mohan (Bihar) which means that he may have been from Bihar.

Today we shall have a song from the 1990 release “His Highness Abdullah”. This was the debut production of Mohanlal’s company ‘Pranavam Arts’ and was directed by Sibi Malayil (another new name for us). Will just say that Sibi Malayil is a director of many well-received movies in Malayalam. This movie had six songs of which one was a qawwali in Hindi as the character played by Lalettan is shown to be a Muslim Qawwali singer in Bombay (Mumbai). It shows Kim (of “Disco Dancer” fame) dancing to Lal’s singing. Mamukkoya the actor know for playing comic characters brings in Sreenivasan (another of the many versatile actors of Malayalam cinema) in the second stanza of the song to introduce him to the singer.

I am sure the regular followers of the blog would have guessed my sudden deviation into the Malayalam film world as also why the focus is on Mohanlal a.k.a Lalettan. Well today is an important date in his life. He turns 60. Let us wish him lots more years of entertaining us.


Song-Khuda se aarzoo meri (His Highness Abdullah)(Malayalam)(1990) Singer-Yesudas, Lyrics-Mohan (Bihar), MD-Raveendran

Lyrics

Khudaa se aarzoo meri
kabhie yeh raat na guzre
mohabbat kaa har ek lamha
haa aa
mohabbat kaa har ek lamha
teri baahon mein ab guzre

Tu badi maashallah kahe Abdullah
tera jalwa, subhanallah
kabhie shabnam kabhie shola
main majnu tu hai meri laila
de de dil ka pyaara nazraana…
tu badi mashallah kahe abdullah
tera jalwa subhaanallah
kabhie shabnam, kabhie shola
main majnu tu hai meri laila
de de dil ka pyara nazraana…

hum hain tere aashiq
kis baat ka sharmaana
kis baat ka sharmaana
tu seene se lagaa le
na chalega bahaana…
na chalega bahaana
husn la jawaab hain
husn la jawaab hain
khuli hui kitaab hain
khuli hui kitaab hain
pardha aaa sarkaana
oo
jalwa aaa dikhlaana….
ham nahi begaane
mane ya na mane
hum tere deewane.
tu badi mashallah kahen abdullah
tera jalwa subhanallah
kabhie shabnam kabhie shola
main majnu tu hai meri laila
dede dilka pyara nazrana

jaam jawaani ka tu hothon se pilaa de
pilaa de
rang bhari mehefil main tu
gul naya khilaadhe aee
ye adaayein kamaal hai aee
aaa
ye hunar bemisaal hai aee
jaam jawaani ka tu hothon se pilaa de
tu hotonse pilaa de
rang bhari mehefil main
tu gul naya khila de
tu gul naya khila de
ye adaayein kamaal hain
ye adaayein kamaal hain
ye hunar bemisal hain
ye hunar bemisal hain
ye sama aa suhaana oo
armaa aaaa mitaana
hum nahi anjaane
maane ya na maane
hum tere mastaane
haan badi mashallah kahe abdullah
tera jalwa subhanallah
kabhie shabnam, kabhie shola
main majnu tu hai meri laila
dede dil ka pyaara nazraana


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 :

4297 Post No. : 15552

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Blog 10-Year Challenge (2010-2020) – Song No. 22
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This day ten year ago (23 april 2010) was long long ago and it was an entirely different kind of world those days. Those were the days when people were supposed to go for work and that too on time. 🙂 You were questioned if you were late for work. 🙂

Now a days, we have to prove that we are going for work and why this work is important. Only people doing “important” work are supposed to go out of work these days. 🙂

I was supposed to be someone whose work was “important” then as well as now. That is a justification why I was postin only two or three posts those days as well as now a days. 🙂

Three songs were covered on the blog on 23.04.2010 :-

Song Movie title-Year Remarks
Bhoole se muhabbat kar baithaa Dil Hi To Hai-1963 All songs covered
Mukhdaa dekh le praani zaraa darpan mein Do Behnen-1959 04 of 07 songs posted
Bhalaa karne waale bhalaayi kiye jaa Ghar Sansaar-1958 All songs covered

As can be see from above, two out of three movies represented that day ten years ago have been YIPPEED. “Do Behnen” (1959) is the only movie that qualifies for “Blog Ten Year Challenge” today.

The movie “Do Behnen”(1959) was produced by Kailash Kapoor, JP Sehgal and Prakash Seth and directed by Kedar Kapoor. The movie had Shyama (double role), Rajendra Kumar, Chand Usmani, Ram Mohan, Tiwari, SK Prem, Mumtaz Begum etc in it.

Following four songs (out of seven) from “Do Behnen”(1959) have been covered in the past :-

Song Posted On
Mukhdaa dekh le praani zaraa darpan mein 23.04.2010
Sainyyaa pyaaraa hai apna milan 21.06.2011
Main natkhat ik kali 02.07.2011
Jhuk jhuk jhola khaaye re badariya 20.06.2017

This song, the fifth song from the movie to appear in the blog, is a mujra song. It is sung by Lata. Kavi Pradeep is the lyricist. Music is composed by Vasant Desai.

I am unable to identify the actress lip syncing the song. I request our knowledgeable readers to help identigy her.

Lyrics of this song were sent to me by Avinash Scrapwala.

Video

Audio

Song-Arre jaa main baaz aayi o sainyya tere pyaar se (Do Behnen)(1959) Singers-Lata, Lyrics-Kavi Pradeep, MD-Vasant Desai

Lyrics(Provided by Avinash Scrapwala)

haan aa aa
kiski ankhiyon se deen maine ankhiyaan aa ladaa
haaye ye to saudaa badaa
mujhko o o o mehengaa padaa aa
aaj kehti hoon main
karke ae ae dil ko kadaa aa
jaa re jaa zaalima
tu hai chiknaa aa aa ghadaa

waah waah Chamelibaai kya baat hai

are jaa
ho o o
jaa main baaz aayi
o sainyyaa tere pyaar se
jaa main baaz aayi
o sainyyaa tere pyaar se
dil naa lagaaun main
be-imaan yaar se ae ae
dil naa lagaaun main
be-imaan yaar se ae ae
jaa main baaz aayi
o sainyyaa tere pyaar se ae

maine tujhe jaan liyaa
are harjaayee ee ee
maine tujhe jaan liyaa
are harjaayee
ab naa chalegi yahaan
teri chaturaayi ee
ab naa chalegi yahaan
teri chaturaayi
muhabbat ke waade toone
kiye hain hazaar se ae
jaa jaa
are jaa jaa
arrey jaa main baaz aayi
o sainyyaa tere pyaar se ae

badaa banaa phirtaa thha re
oh o o o
badaa banaa phirtaa thha re
mera chitchor tu u
badaa banaa phirtaa thha re
mera chitchor tu u
sunaa hai ke jaaya karta
ab kahin aur tu oo
sunaa hai ke jaaya karta
ab kahin aur tu
khoob khel khelaa zaalim
bholi bhaali naar se ae
jaa jaa
arrey jaa jaa
arrey jaa main baaz aayi
o sainyyaa tere pyaar se ae

badaa sabak seekha tujhse
maine bhool bhool mein ae
badaa sabak seekha tujhse
maine bhool bhool mein ae
Khushboo kabhi naa milti
kaagaz ke phool mein ae
Khushboo kabhi naa milti
kaagaz ke phool mein ae
ankhiyaan ladaaye kaun
ho o ankhiyaan ladaaye kaun
jhoothhe dildaar se ae
jaa jaa
arrey jaa jaa
arrey jaa main baaz aayi
o sainyyaa tere pyaar mein ae
dil naa lagaaun main
be-imaan yaar se ae
jaa main baaz aayi
o sainyyaa tere pyaar se ae
jaa re jaa
jaa re jaa
jaa re jaa aa
jaa re jaa

————————————-
Devnagri Script lyrics (provided by Avinash Scrapwala)
—————————————

हाँ आ आ
किस की अंखियों से
दी मैंने अँखियाँ आ लड़ा
हाए ये तो सौदा बड़ा
मुझको ओ ओ ओ महेंगा पडा आ
आज कहती हूँ मैं
करके ए दिल को कडा आ
जा रे जा ज़ालिमा
तू है चिकना आ आ घडा

वाह वाह चमेलीबाई क्या बात है

अरे जा
हो ओ ओ
जा मैं बाज़ आयीं
ओ सैंय्या तेरे प्यारे से
जा मैं बाज़ आयीं
ओ सैंय्या तेरे प्यारे से
दिल ना लगाऊं मैं
बे-ईमान यार से ए ए
दिल ना लगाऊं मैं
बे-ईमान यार से ए ए
जा मैं बाज़ आयीं
ओ सैंय्या तेरे प्यारे से ए

मैंने तुझे जान लिया
अरे हरजाई ई ई
मैंने तुझे जान लिया
अरे हरजाई
अब ना चलेगी यहाँ
तेरी चतुराई
अब ना चलेगी यहाँ
तेरी चतुराई
मुहब्बत के वादे तूने
किये है हज़ार से
जा जा
अरे जा जा
अरे जा मैं बाज़ आयीं
ओ सैंय्या तेरे प्यारे से ए

बड़ा बना फिरता था रे
ओह ओ ओ ओ
बड़ा बना फिरता था रे
मेरा चितचोर तू ऊ
बड़ा बना फिरता था रे
मेरा चितचोर तू ऊ
सुना है के जाया करता
अब कहीं और तू ऊ
सुना है के जाया करता
अब कहीं और तू ऊ
खूब खेल खेला ज़ालिम
भोली भाली नार से ए
जा जा
अरे जा जा
अरे जा मैं बाज़ आयीं
ओ सैंय्या तेरे प्यारे से

बड़ा सबक सीखा तुझसे
मैंने भूल भूल में ए
बड़ा सबक सीखा तुझसे
मैंने भूल भूल में ए
खुशबू कभी ना मिलती
कागज़ के फूल में ए
खुशबू कभी ना मिलती
कागज़ के फूल में ए
अँखियाँ लड़ाए कौन
हो ओ अँखियाँ लड़ाए कौन
झूठे दिलदार से ए
जा जा
अरे जा जा
अरे जा मैं बाज़ आयीं
ओ सैंय्या तेरे प्यार से ए
दिल ना लगाऊं मैं
बे-ईमान यार से ए ए
जा मैं बाज़ आयीं
ओ सैंय्या तेरे प्यार से ए
जा रे जा
जा रे जा
जा रे जा आ
जा रे जा


This article is written by Sadanand Kamath, a fellow enthusaist 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 :

4280 Post No. : 15521

In my last article, I had discussed playback singer and actor Shyam Kumar, who has acted in many Hindi films but remained unidentified for most of the Hindi film audience. In this write-up, I am presenting one more such actor who has made us to notice him in many films but remained unsung because he did very small roles in most of the films in which he got opportunity to act – mostly as a sidekick, a henchman, a doctor, barman, hotel manager etc.  Though his roles in most of the films have been very brief say, not be more than 5 minutes duration but whatever he did as an actor in varied roles, it was noticeable to the filmy audience. The actor is Keshav Rana whose face in the films may be familiar to many cine audience but may not be known by his name to them.

I had seen Keshav Rana in some of the films in the late 60s and early 70s during which I was active in watching films almost every week-end but I was not aware of his name.  His acting as a police inspector in ‘Seeta Aur Geeta’ (1972) in a comical situation has still remained in my memory.  I did not know his name until I started collecting the pictures of personalities connected with Hindi films during the last 5-6 years. It was a co-incidence that his image propped up when I was searching for something else. And the image of Keshav Rana emerged as a scene from a film ‘Dillagi’ (1966). That was the beginning of my work to identify him in many more films.

Not much information about the early life of Keshav Rana is available on-line. The only information I know from IMDb is that his full name is Keshav Singh Rana and he belongs to Faizabad in UP. From his filmography, it appears that he came to Mumbai to join the film industry in the later half of 1950s. His first film as an actor was ‘Anjaan’ (1956). His most active years was 1960s and 1970s when he worked in around 50 and 70 films, respectively. On a rough count, Keshav Rana must have worked in around 130 films during 1956-1986.

During the last fortnight, I have seen some important films with Keshav Rana’s  scenes under prominent banners like that of Shakti Samanta, Arjun Hingorani, Ramesh Sippy, J Omprakash, BR Chopra, Prakash Mehra etc. He did a variety of roles in the films but in most of the films, he was moslty typecast as  Police Inspector/Commissioner, Doctor,  Hotel Manager, Barman, a patron of mujra dances etc.  In others films, he mostly performed roles in negative shades and sidekicks to the main actors. Of the films of Keshav Rana, I watched, the only film in which he got a relatively longish role of Puran Bahadur in negative shade of a blackmailer was in ‘Dillagi’ (1966).

Keshav Rana excels in negative roles with a smiling face. But behind his smiling face lies his evil and manipulative designs to blackmail his victims. In this role, he generally avoids fighting and bloodbath in most of his films. He leaves these parts to other henchmen. For example, in films like ‘Dillagi’(1966) and ‘Muqaddar Ka Sikandar’ (1978), he takes out his Rampuri knife but never uses it. Instead, he entrusts his fellow henchmen to fight it out. His light comical roles as a police inspector in ‘Seeta Aur Geeta’ (1972) with Hema Malini (as Geeta) and as a barman in ‘Shaan’ (1980) with Amitabh Bachchan have been well appreciated.

I have uploaded an audio clip incorporating along with the song, the screen shots of scenes in which Keshav Rana appears in some of his important films. Check out the audio link below.

‘Qatl’ (1986) appears to be Keshav Rana’s last film after which he did not act in any film. I could not get any information as to what he did thereafter.

Keshav Rana had played a small role of a patron of a kotha dancer in ‘Ganga Maiya Tohe Piyari Chadhaibo’ (1962), the first Bhojpuri film.  The film was directed by Kundan Kumar. The star cast included Kumkum, Ashim Kumar, Nazir Hussain, Tiwari, Bhagwan Sinha, Helen, Leela Mishra, Kumari Khanna (Padma Khanna) etc. The story, screen-play and dialogues were written by Nazir Hussain. Songs were written by Shailendra which were set to music by Chitrgupt.

I am presenting the song ‘Luk Chhip Badra Mein Chamke Jaise Chanwa’ from the first Bhojpuri film rendered by Lata Mangeshkar and picturised on Kumkum who is dancing for the patron, Keshav Rana.

Listening to the song in audio clip gives a feel of the dance in a nautanki (folk theatre) in the rural Bhojpuri region. And why not? Both Shailendra and Chitragupt hail from Bhojpur region of Bihar.

Video

Audio

Song – Luk Chhip Badra Mein Chamke Jaise Chanwa (Ganga Maiya Tohe Piyari Chadhaibo) (1962) Singer – Lata Mangeshkar, Lyrics – Shailendra, MD – Chitragupt

 

Lyrics

luk chhip badra mein chamke jaise chanwa
mora mukh damke
mori kusumi re chunariya itar gamke
mori kusumi re chunariya itar gamke
luk chhip badra mein chamke jaise chanwa
mora mukh damke
mori kusumi re chunariya itar gamke
mori kusumi re chunariya itar gamke
 
sonwa aisan piyar mor rangwa
phoolwa aisan komal mor angwa
sonwa aisan piyar mor rangwa
phoolwa aisan komal mor angwa
hirani aisan kajarwa naina chamke
kajrwa naina chamke
mora mukh damke
mori kusumi re chunariya itar gamke
mori kusumi re chunariya itar gamke
 
hamri baari umar ladkoriya
bhanwra neha lagaae barjoriya
hamri baari umar ladkoriya
bhanwra neha lagaawe barjoriya
hum t dolat paayaliya mori chhamke
paayaliya mori chhamke
mora mukh damke
mori kusumi re chunariya itar gamke
mori kusum re chunariya utar gamke
 
champa phoole chameli phoole bagiya
sudhi na lihale ram balam beragiya
champa phoole chameli phoole bagiya
sudhi na lihale ram balam beragiya
kehu na jaane basela kahunwa ramke
basela kahunwa ramke
mora mukh damke
mori kusumi re chunariya itar gamke
mori kusumi re chunariya itar gamke

luk chhip badra mein chamke jaise chanwa
mora mukh damke
mori kusumi re chunariya itar gamke
mori kusumi re chunariya itar gamke

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

लुक छिप बदरा में चमके जैसे चनवा
मोरा मुख दमके
मोरी कुसमी रे चुनरिया इतर गमके
मोरी कुसमी रे चुनरिया इतर गमके
लुक छिप बदरा में चमके जैसे चनवा
मोरा मुख दमके
मोरी कुसमी रे चुनरिया इतर गमके
मोरी कुसमी रे चुनरिया इतर गमके

सोनवा ऐसन पियर मोर रंगवा
फुलवा ऐसन कोमल मोर अंगवा
सोनवा ऐसन पियर मोर रंगवा
फुलवा ऐसन कोमल मोर अंगवा
हिरनी ऐसन कजरवा नैना चमके
कजरवा नैना चमके
मोरा मुख दमके
मोरी कुसमी रे चुनरिया इतर गमके
मोरी कुसमी रे चुनरिया इतर गमके

हमरी बारी उमर लरकोरिया
भंवरा नेहा लगावे बरजोरिया
हमरी बारी उमर लरकोरिया
भंवरा नेहा लगावे बरजोरिया
हम त डोलत पायलिया मोरी छ्मके
पायलिया मोरी छ्मके
मोरा मुख दमके
मोरी कुसुमि रे चुनरिया इतर गमके
मोरी कुसुमि रे चुनरिया इतर गमके

चंपा फूले चमेली फूले बगिया
सुधि न लिहले राम बलम बैरगिया
चंपा फूले चमेली फूले बगिया
सुधि न लिहले राम बलम बैरगिया
केहू न जाने बसेला कहुंवा रमके
बसेला कहुंवा रमके
मोरा मुख दमके
मोरी कुसुमि रे चुनरिया इतर गमके
मोरी कुसुमि रे चुनरिया इतर गमके

लुक छिप बदरा में चमके जैसे चनवा
मोरा मुख दमके
मोरी कुसमी रे चुनरिया इतर गमके
मोरी कुसमी रे चुनरिया इतर गमके


This article is written by Sadanand Kamath, a fellow enthusaist 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 :

4257 Post No. : 15478 Movie Count :

4266

———————————————–
Hindi Songs in Bangla Films – 22
———————————————–

‘Banarasi’ (1962, Bangla film) was produced by Ruma Guha Thakurta and was directed by her husband, Arup Guha Thakurta. The film was based on a story written by novelist Bimal Mitra (he also wrote the story of the film ‘Sahab Bibi Gholam’).  The main actors in the film are Soumitra Chatterjee, Ruma Guha Thakurta, Tulsi Chakraborty, Tarun Kumar, Asha Devi, Maneka Devi, Shyam Laha etc. The film is available on a video sharing platform with English sub-titles.

I had heard of Ruma Guha Thakurta (Ruma Devi for Hindi film audience) as an occasional actor in Hindi films and an ex-wife of Kishore Kumar. Finding her name in the Bangla film under discussion, that too not only as an actor-singer but also as a producer of the film, I thought I need to know more about her than what I had the impression about her in my mind. Fortunately, information about her is available on-line including her interview on Doordarshan.

Ruma Devi (03/11/1934 – 03/06/2019) was born as Ruma Ghosh (later known as Ruma Guha Thakurta after her second marriage) in a family of talented vocalists. She was the niece of Satyajit Ray.

Ruma Devi started as a dancer in Uday Shankar’s troupe in Almora. Later, she shifted to Bombay (now Mumbai) and worked as a child actor in her first film, the Bombay Talkies’ ‘Jwaar Bhata’ (1944). She worked in three more Hindi films – ‘Mashaal’, 1950 (’Samar’ in Bangla), ‘Afsar’ (1950) and ‘Raag Rang’ (1952). She got married to Kishore Kumar in 1951. After the birth of their son, Amit Kumar in 1952, Ruma Devi stopped working in the films.

In 1958, Ruma Devi and Kishore Kumar parted amicably. Ruma Devi shifted to Kolkata and set up Calcutta Youth Choir (CYC) in collaboration with her maternal uncle, Satyajit Ray and Salil Chowdhury. Throughout her life, she was actively involved with CYC. In 1974, she led a troupe of singers and dancers of CYC to participate in Copenhagen Youth Festival where CYC won the first prize.

In 1959, she worked in her first exclusive Bangla language film, ‘Ganga’ (‘The River’, 1960) as a supporting actor. Her role in the film was critically acclaimed. She worked in about 60 Bangla films from 1950 through 1998 during which she was associated with the renowned  directors like Satyajit Ray in ‘Abhijan; (1962) and ‘Ghanashatru’ (1989), with Tapan Sinha in films like ‘Atithi’ (1959) and ‘Nirjon Saikote’ (1963) and with Tarun Majumdar in films like ‘ Palatak; (1963) and ‘Balika Bodhu’ (1967). She also worked in Bangla films as a playback singer and did choreography in a couple of Bangla films. Her last film as an actor was Mira Nair’s English film ‘The Namesake’ (2006).

In 1960, Ruma Devi got married to director Arup Guha Thakurta with whom she has a son, Ayan and a daughter, Sromona Chakroborty who is a singer.

Ruma Devi passed away in her sleep on 03/06/2019 at her Kolkata residence due to old age-related problems.

The story of ‘Banarasi’ (1962) is as under:

Ratan (Soumitra Chatterjee) works as a draftsman in the railways and stays in an old man’s house in Kolkata as a paying guest. The only person with whom he shares his personal matters and who also help him financially in case of need is his close friend, Monty (Tarun Kumar). One day, while returning from watching a play in the theatre, Ratan sees a girl who has stopped her horse driven coach to buy a paan. The girl’s face resembles that of his childhood friend, Sona (Ruma Guha Thakurta) who was kidnapped at the ghats of River Ganga in Banaras. He watches her until she gets down from the coach and enters a building. Ratan wants to meet her but Monty discourages him by saying that the building houses courtesans. But Ratan is anxious to visit her to ascertain whether she is really Sona, his childhood friend to whom he was to marry later.

One day, without the knowledge of Monty, Ratan visits Sona and comes to know that the girl he saw earlier was indeed Sona whose life has now changed after her kidnapping and she has become a courtesan with a new name ‘Banarasi’. Ratan tells her that he wants to marry her and both of them can still start a life afresh by shifting to a place away from Kolkata where no one would know their background. After much persuasion, Sona agrees. Ratan arranges his transfer to a remote village where Railway is lying new tracks. Sona runs away with Ratan in the night.  Both of them get married in a temple at Kalighat and travel by train to their new place of work in a remote village.

The station master of the village railway station accommodates him in his house until he gets the staff quarters. Both Ratan and Sona are happy. However, their happiness is short lived as Ratan comes across a calendar with her picture as a courtesan in a shop. Now Sona’s past haunts him and there is some tension between husband and wife. Their tension is further compounded when one of Sona’s old clients who has halted in the village on a business trip, recognises Sona. She and Ratan are humiliated in the presence of villagers. Sona decides to leave her husband as she feels that it was due to her past that Ratan has to face the humiliation in the society. She leaves the house in the dead of the night. Ratan, on not finding her wife in the house, goes out searching for her. He meets Sona halfway and promises her that no matter what the society says, he would always be with her. With these words, Ratan accompanies Sona to an uncharted place leaving everything behind in the house.

The film was critically acclaimed but did not do well on the box office front. Probably, the theme of the story was familiar. The extent of sympathy which the director of ‘Umrao Jaan’ (1981) created for the character of the courtesan was missing in the character of courtesan in ‘Banarasi’ (1962). However, both Soumitra Chatterjee and Ruma Guha Thakurta have given sensitive performances as per the demand of their respective roles.

By now, I have come to know that Bangla films with courtesan’s theme or scenes have a couple of Hindi songs. In ‘Banarasi’ (1962) also, there are 3 Hindi songs of which two are mujra songs and the third is a partial holi song in Bhojpuri dialect. I am presenting one of the two mujra songs, “Shabnam To Royi Royi” sung by Ruma Guha Thakurta who is singing for herself as a courtesan. The song is written by Nyay Sharma which is set to music by Ustad Ali Akbar Khan.

Song – Shabnam To Royi Royi, Taare Bhi Roye Bairi (Banarasi)(Bangla) (1962) Singer – Ruma Guha Thakurta, Lyrics – Nyay Sharma, MD – Ustad Ali Akbar Khan

Lyrics

shabnam to royi royi
taare bhi roye bairi
ab to tu aaja aaja
jaanewaale aaja..aa
jaanewaale aaja
shabnam to royi royi
taare bhi roye bairi
ab to tu aaja aaja
jaanewaale aaja..aa
jaanewaale aaja
 
taare bhi royen
meri raahen bhi royen
nigaahen bhi royen
meri duaa’en bhi royen
taare bhi royen
meri raahen bhi royen
nigaahen bhi royen
meri duaa’en bhi royen
manzil to khoi khoi
saathi bhi khoye bairi
ab to tu aaja aaja
jaanewaale aaja
jaanewaale aaja
 
royen muraaden apni
aanchal nahin hai
samjhi hum jisko saahil
saahil nahin hai
kashti to soi soi
kinaare bhi soye bairi
ab to tu aaja aaja
jaanewaale aaja..aa
jaanewaale aaja

shabnam to royi royi
taare bhi roye bairi
ab to tu aaja aaja
jaanewaale aaja..aa
jaanewaale aaja
 
palkon ne haar piroye
kis ko pehnaa’en
hichki malhaar gaaye
kis ko sunaa’en
palkon ne haar piroye
kis ko pehnaa’en
hichki malhaar gaaye
kis ko sunaa’en
hasrat to royi royi
nazaare bhi roye bairi
ab to tu aaja aaja
jaanewaale aaja. . .
jaanewaale aaja

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

शबनम तो रोई रोई
तारे भी रोये बैरी
अब तो तू आजा आजा
जानेवाले आ जा॰॰आ
जानेवाले आजा
शबनम तो रोई रोई
तारे भी रोये बैरी
अब तो तू आजा आजा
जानेवाले आ जा॰॰आ
जानेवाले आजा

तारे भी रोएँ
मेरी राहें भी रोएँ
निगाहें भी रोएँ
मेरी दुआएं भी रोएँ
तारे भी रोएँ
मेरी राहें भी रोएँ
निगाहें भी रोएँ
मेरी दुआएं भी रोएँ
मंज़िल तो खोई खोई
साथी भी खोये बैरी
अब तो तू आजा आजा
जानेवाले आजा॰॰आ
जानेवाले आजा

रोएँ मुरादें अपनी
आँचल नहीं है
समझी हम जिनको साहिल
साहिल नहीं है
कश्ती तो सोई सोई’
किनारे भी सोये बैरी
अब तो तू आजा आजा
जानेवाले आजा॰॰आ
जानेवाले आजा

शबनम तो रोई रोई
तारे भी रोये बैरी
अब तो तू आजा आजा
जानेवाले आ जा॰॰आ
जानेवाले आजा

पलकों ने हार पिरोये
किस को पहनाएँ
हिचकी मल्हार गाये
किसको सुनाएँ
पलकों ने हार पिरोये
किस को पहनाएँ
हिचकी मल्हार गाये
किसको सुनाएँ
हसरत तो रोई रोई
नज़ारे भी रोये बैरी
अब तो तू आजा आजा
जानेवाले आ जा॰॰आ
जानेवाले आजा


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 :

4241 Post No. : 15457 Movie Count :

4258

“Jai Jwaala”(1972) also known as “Pooja Aur Paayal”(1972) was a movie produced under the banner of K D Films Bombay. The movie had Sujit Kumar, Sonali, Madhumati, Ram Mohan, Kammo, Chandrashekhar, B M Vyas, Shahid Bijnori, Dinesh Hingoo, Kumud Tripathi, Rukhsana, Ratna, Bhupendra Kumar, Hanifa, Tikkoo, Baby Saeeda, Nirupama, Rehman etc, with special appearances by Sunil Dutt, Sanjeev Kumar, Jaya Bhaduri, Madan Puri, Lata Bose, Gopi Krishan and Johny Walker.

The movie had six songs in it.

Here is the first song from “Jai Jwaala”(1972) to appear in the blog. This song is sung by Rafi. Naqsh Llayalpuri is the lyricist. Music is composed by Kamalkant.

The song is picturised as a drunkard song on Sujit Kumar and a mujra dancing Madhumati.

With this song, “Jai Jwaala”(1972) makes its debut in the blog.


Song-Ye to mumkin hi nahin hai (Jai Jwaala)(1972) aka (Pooja Aur Paayal) (1972) Singer-Rafi, Lyrics-Naqsh Llayalpuri, MD-Kamalkant

Lyrics

ye to mumkin hi nahin hai
ki bahak jaaun main
saakiyaa itni pila de
ki mahak jaaun main
saakiyaa itni pila de
ki mahak jaaun main
ye to mumkin hi nahin hai ki
bahak jaaun main
saakiyaa itni pila de
ki mahak jaaun main
saakiyaa itni pila de
ki mahak jaaun main

ye amaanat hai teri
tu jo kahe dil apna
ye amaanat hai teri
tu jo kahe dil apna
aaj kadmon pe tere
jhoom ke rakh jaaun main
saakiyaa itni pila de
ki mahak jaaun main
ye to mumkin hi nahin hai ki
bahak jaaun main
saakiyaa itni pila de
ki mahak jaaun main

aaj ki raat meri jaan ye
tamanna hai meri
aaj ki raat meri jaan ye
tamanna hai meri
ban ke masti teri
aankhon se chhalak jaaun main
saakiyaa itni pila de
ki mahak jaaun main
saakiyaa itni pila de
ki mahak jaaun main
ye to mumkin hi nahin hai ki
bahak jaaun main
saakiyaa itni pila de
ki mahak jaaun main
saakiyaa itni pila de
ki mahak jaaun main
ki mahak
main
ke
main
ki mahak jaaun main
ki mahak jaaun main


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 : 4232 Post No. : 15441

“Sandhya”(1975) was produced by Sunik Kumar and directed by Mirza Masood Baig and Sunil Kumar for Knight Films Bombay. This “social” movie had Aziz Mirza, Nargis Bano, Sunil Kumar, Rajita Thakur, Sharad Kumar, Nilo Roy, Kamal Kapoor, Hira Lal, Ratnamala, Haider Kumar, Dilip Dutt, Mona, Baby Bindu, Misri Lal, Hariram Raheja, Mauji Ram, Radhey Shyam, Mohammed Ali, Haroon, Romeo, Rehana, Surendra Sharma, Prasad, Ashok, Moolchand, M.L.Kapoor, Sajjan Harilalka, Yudhishtir etc in it.

This obscure movie had three different to find songs in it. Two of these songs have been covered in the past.

Here are the details of these two songs:

S N Song Song number in blog Date of posting
1 Zindagi tujhse bahot pyaar kiya hai maine 11064 14-Apr-2015
2 Ang ang rang chhalkaaye 15085 23-June-2019

Today (18 february 2020) is the birth anniversary of Jaan Nisaar Akhtar (18 February 1914 – 19 August 1976) as well as Khayyam (18 February 1927 – 19 August 2019). Curiously, Their birth anniversary as well as death anniversary fall on the same days (though in different years).

As a tribute to them, here is the third and final song from “Sandhya”(1975). This song is sung by Sulakshana Pandit. Jaan Nisaar Akhtar is the lyricist. music is composed by Khayyam.

Only the audio of the song is available. It sounds like a mujra song to me. I request our knowledgeable readers to throw light on the picturisation of this rare song.

Lyrics of this song were sent to me by Prakashchandra.

Audio link:

Song-Jo palkon par nahin aate wo aansoo kisne dekhe hain (Sandhya)(1975) Singer-Sulakshana Pandit, Lyrics-Jaan Nisaar Akhtar, MD-Khayyam

Lyrics(Provided by Prakashchandra)

ye dilwaale jo dil de kar
silaa chaahein
pataa kab hai ae
ye kyaa maangey
ye kyaa chaahein
kabhi aanchal dhalak jaaye ae
jo baahon se
ye deewaane
(laughing sound)
badan chhoo lein
nigaahon se

pighal jaaye jo honthon ki nami dekhein
machhal jaayen jo aankhon mein hansi dekhen
par aankhon ki
hansi mein
gham ke pehloo
kis ne dekhe hain aen
par aankhon ki
hansi mein
gham ke pehloo
kis ne dekhe hain aen
jo palkon par nahin aate
par nahin aate
woh aansoo kis ne dekhe hain

kabhi chaahein ke ras pee len
nazaaron ka
kabhi chaahein ke tan rach len
bahaaron ka
mehkte phool ye kab
todna chaahein
lapakte ae haath kaliyaan
todnaa aaa chaahein aen aen aen aen
jo shaakhein toot’ti hain
unn ke baazoo kis ne dekhe hain aen
jo shaakhein toot`ti hain
unn ke baazoo kis ne dekhe hain aen

husn-ae-shamma tera
sabki aankhon ka nashaa
pyaar parwaane karein
raqs deewaane karein
par tere dil ki lagi
koi samjha na kabhi
sab ki padti hai nazar
tere jalwon pe magar a a a
dhuaan ban kar
bikhar ke tere gesoo
kis ne dekhe hain
jo palkon par nahin aate
woh aansoo kis ne dekhe hain


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 : 4226 Post No. : 15431

“Aarop”(1974) was directed by Atmaram for GuruDutt Fims Combines, Bombay. this movie had Saira Bano, Vinod Khanna, Vinod Mehra, Rehman, Bindu, Bharat Bhushan, Keshto Mukherjee, Paintal, Gulshan Arora, Kundan, Savita, Manik, Murad, Krishnkant, Jankidas, Rajan Haksar, Maruti, Viju Khote, Pardesi, Bhaagwan, Sabina, Chandu Johny Walker etc, with special appearances by Lily Chakraborty, Rajesh Bahal, Raj Mehra and Mohan Choti.

The movie had seven songs in it. Six songs have been covered in the blog.

Here are the details of these six songs :

S N Song Song number in blog Date of posting
1 Nainon mein darpan hai 552 15-Jan-2009
2 Jhinchak jhinchak…sab kuchh milaa tu na milaa 1976 23-Sep-2009
3 Jabse toone bansi bajaai re 7232 22-Dec-2012
4 O phoolon ke desh waali…Haath mere hai madhu ka pyaala Multi Part song 8019 1-May-2013
5 Hey Jai Yashodanandan 11224 23-Sep-2019
6 Toot gaya mera sapna suhaana 15427 9-Feb-2020

Here is the seventh and final song from “Aarop”(1974) to appear in the blog. This song is sung by Asha Bhonsle. Maya Govind is the lyricist. Music is composed by Bhupen Hazarika.

The song is picturised as a mujra song on Bindu. The audience of this dance performance include usual suspects viz Rehman, Paintal etc. I have not been able to identify a few of them. I request our knowledgeable readers to help identify them.

With this song, all the seven songs of “Aarop”(1974) are now covered in the blog. with this, “Aarop”(1974) joins the list of movies that have been YIPPEED in the blog.


Song-Chale aao na sataao (Aarop)(1974) Singer-Asha Bhonsle, Lyrics-Maya Govind, MD-Bhupen Hazarika

Lyrics

champa ke das phool
chameli ki ek kali
arre haaye moorakh ki saari rain
chatur ki ek ghadi

chale aao
na sataao
chale aao
na sataao
mori hiyara ki agni bujhaaye jaao re ae
hamra jiyarwa de de balma naagin ye samjho
sajna main seedhi sadhi naar hoon na naagin ye samjho
hamra jiyrwa dai de baalma naagin ye samjho

bholi sooratiya neechi najariya aaya ek anaadi
mauka pa mori bainya marodi nikla bada khilaadi
bholi sooratiya neechi najariya aaya ek anaadi
mauka pa mori bainya marodi nikla bada khilaadi
chitwan ne hathkadi laga di
roop ne mara dhakka
haay dekh ke mora jaadu tona ho gaya hakka bakka
chale aao
na sataao
chale aao
na sataao
mori hiyara ki agni bujhaaye jaao re ae
hamra jiyarwa de de balma naagin ye samjho
sajna main seedhi sadhi nar hoon na nagin ye samjho
hamra jiyrwa dai de balma nagin ye samjho

sawa laakh ke honth hamaare
dedh laakh ke naina
choodi bhari kalaai mori teen laakh ki hai na
sawa laakh ke honth hamaare
dedh laakh ke naina
choodi bhari kalaai mori teen laakh ki hai na
chaar laakh ki chunar lahanga
paanch laakh ke bol
saat laakh ki mori kamariya
tan mora anmol
chale aao
na sataao
chale aao na sataao
mori hiyara ki agni bujhaaye jaao re ae
hamra jiyarwa de de balma naagin ye samjho
sajna main seedhi sadhi naar hoon na naagin ye samjho
hamra jiyarwa de de baalma naagin ye samjho


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.

Blog Day :

4211 Post No. : 14410 Movie Count :

4246

Hindi Songs in Bangla Films: 15
—————————————————

Recently, while browsing through the internet, I came across an old article, Gems that never got their due, published in the ‘Times of India’. The article lists 8 critically acclaimed Bangla films which have been forgotten mainly due to their commercial failures. Of the 8 such films, one film to which I got interested because of its unusual title was ‘Antariksha’ (1957) directed by Rajen Tarafdar. Luckily, the film was available for viewing on a video sharing platform with English sub-titles. Probably, after restoration, this film may have been shown in one or more of some international film festivals.

My awareness about the Bangla film personalities have been limited to those who had also been associated with Hindi films. Ranjen Tarafdar, the director of ‘Antariksha’ (1957) was a new name for me. A statement by the writer of the article referred to above that “Rajen Tarafdar was of the same school of thought as Satyajit Ray. He was a painter himself and would sketch each shot division before starting to shoot. ….” prompted me to know more about him. This took me to another article, Tale of a forgotten director which appeared in ‘The Statesman’ on the occasion of his birth centenary in July 2017.

Like Satyajit Ray, Rajan Tarafdar (07/06/1917 – 23/11/1987) got associated with the Bangla films with the background of working in an advertising company in Calcutta (Kolkata). A graduate from Government College of Arts and Crafts, Kolkata, Tarafdar joined an advertising company as a Graphic designer where he worked up to 1958. His debut film which he directed apart from writing dialogues and screen play was ‘Antariksha’ (1957). It is said that his style of working and uncompromising nature did not suit the Bangla film producers. Hence, during his 3 decades of association with Bangla films, he directed only 7 Bangla films – 6 between 1957-75 and the last one in 1987. He also acted in 4 films of which 2 were Hindi films – ‘Arohan’ (1983) by Shyam Benegal and ‘Khandhar’ (1984) by Mrinal Sen.

‘Ganga’ (1960) was Rajen Tarafdar’s second Bangla film which won a Certificate of Merit in National Film Awards, 1960. ‘Palanka’ (1975), his 6th film won the Best Feature Film in Bengali at National Film Awards, 1975. The reason as to why Rajen Tarafdar has been forgotten is that most of his films were not available for viewing. It is mainly during the last couple of years, his films were restored and now available for viewing on the video sharing platforms.

As mentioned earlier, ‘Antariksha’ (Space, 1957) was Rajen Tarafdar’s debut film which he made mostly with new actors except some character actors. The star cast included Chhabi Biswas, Kajal Gupta, Prabir Kumar, Dinen Gupta, Premangshu Bose, Padma Devi, Kalipada Chakraborty, Kamala Adhikari, Sandhya Roy etc.

The film’s story is weaved around Raja Babu (Chhabi Biswas), a landlord in a rural Bengal who is stubborn, dictatorial and egoist as expected in a feudal system that was prevalent in those days. As against this, one of his employees, Jayanta is honest and a sincere worker who has been brought up by the landlord as his own son. Hence, he has the liberty to discuss with the landlord without any hesitation. For instance, he suggests to landlord to give donation to a rural school. But the landlord disagrees. Jayanta tells him that as a landlord, he has also a duty to safeguard the interest of his subjects.

Jayanta likes Bani (Kajal Gupta), the daughter of a priest of a local temple and has the intention to marry her. He conveys his wish to the priest who agrees after some hesitation. The landlord after his wife convinces him, agrees to the proposal. The landlord takes care of all the marriage expenses. He even arranges for a courtesan to sing for his guests during the marriage functions.

However, soon after the marriage, a mystery breaks out when an unknown person visits his house and tells him that he is Gagan Ganguly, the husband of Bani. He also says that as a proof, he is in possession of a letter which mentions that Bani was married to him when she was 7 years of age. The fact is that Bani was indeed married to one Gagan Ganguly in her childhood. But he went missing immediately after the marriage with the dowry amount and jewelries. Since he was never found, he was presumed dead. Now the unknown person impersonating as Gagan Ganguly wants to blackmail Jayanta by making the letter public if he does not pay him Rs.25000/-. He had gotten hold of the crucial letter written by the Priest while pick-pocketing Jayanta’s his purse. The letter was to be handed over to Priest’s spiritual guru while on his visit to Varanasi for purchase of saris for the wedding.

Jayanta loves his wife who is pregnant. She is not aware of the mental agony Jayanta is going through. He cannot afford to pay Rs.25000/- to the blackmailer nor he can let the matter becomes public that he has married a girl who was already married in her childhood. Because of the agony, he starts reaching home very late. Bani starts questioning him as to why he so much immersed in thoughts. But he evades answer.

To come out of the blackmailer’s clutches, Jayanta decides to run away from the village in a bullock cart with his pregnant wife with cash taken from his landlord’s treasury without his knowledge. The blackmailer comes to know when he visits Jayanta’s house to collect the money. He chases and confronts Jayanta on the way to handover the money. In the shuffle, the blackmailer gets killed. Jayanta is arrested and is put behind bar for fraud and murder.

While all of the landlord’s staff and family members think that Jayanta is innocent, the landlord is not convinced. Jayanta’s well-wisher tried to get him bail so that he can look after his pregnant wife whose health has deteriorated. The only person who can arrange bail for Jayanta is the landlord who is not willing to pursue his bail application. It is now the Priest who tell the landlord true facts from the letter written by Bani’s grand mother requesting him to adopt Bani as his own daughter when Gagan Ganguly, Bani’s husband had deserted her. Though, this leads to soften his stand against Jayanta, still he is not convinced as to why Jayanta had fraudulently taken money from his treasury to run away from the village. Since all his family members including his wife, real son and daughter-in-law, all his staff has gone to be with Jayanta’s wife who is seriously ill, he feels isolated and has a change of heart. The film ends with landlord visiting Jayanta’s house to enquire about Bani’s health and then proceeding to the police station on his horse carriage to wriggle Jayanta out of the piquant situation.

The director has presented this film in a very realistic way. Even though at some points, the story moves slowly, the film was not boring. Much of the story has been told by way of expressions and gestures of the artists supplemented by an excellent background music by Sarod maestro Ustad Ali Akbar Khan. He has prominently made use of the combination of Sarod, Sitar and Flute for the background music. Dialogues are minimal and that too mostly short – one or two sentences. The romantic scenes are shown in a subtle manner in keeping with the rural setting. There are some poignant scenes in the latter part of the film without much melodrama.

The film has only one song, that too a mujra song in Hindi which a courtesan sings on the occasion of the marriage of Jayanta with Bani. The song is ‘taras taras gaye nain bichaare’ sung by Pratima Banerjee and Swarooplata. The song is written by Pandit Bhushan which is set to music by Ustad Ali Akbar Khan.

Video Clip:

Audio Clip:

Song-Taras taras gaye nain (Antariksha)(Bangla)(1957) Singers-Pratima Banerjee, Pratima Banerjee+ Swarooplata, Lyrics-Pt Bhushan, MD-Ustad Ali Akbar Khan

Lyrics (Based on video clip)

taras taras gaye…ae nain
o o o o o o
o o o o o nain
haay
taras taras gaye nain bichaare
taras taras gaye nain bichaare
taras taras gaye nain bichaare
piya ke daras ko ye matwaare
piya ke daras ko ye matwaare
taras taras gaye nain

kabhoon tu aahiyen mukh dikhalainhen
kabhoon tu aahiyen mukh dikhalainhen
haan mukh dikhalainhen
dukh se kati hain din rain
haan more raam
dukh se kati hain din rain
o more raama
taras taras gaye nain bichaare
taras taras gaye nain

more piya jab angna milaihain
more piya jab angna milaihain
phulwa ki aankhen chhil chhil jaihain
haan chhil chhil jaihain
ho chhil chhil jaihain
mann mein basi hain sukh chain
haan more raam
mann mein basi hain sukh chain
o more raama
taras taras gaye nain bichaare
taras taras gaye nain

more piya aa aa aaa aa aa jab
more piya…..aaaa aa jab
gharwa mein..aen hain
more piya jab gharwa mein aaihain
more piya jab gharwa mein aaihain
roothhi hoon main piya moko manaihen
moko manaihen
haan moko manaihen
bole hain meethhe meethhe bain
o more ram
bole hain meethhe meethhe bain
o more rama
taras taras o o
piya ke daras ko
taras taras gaye nain bichaare
taras taras gaye nain


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15700 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

15709

Number of movies covered in the blog

Movies with all their songs covered =1211
Total Number of movies covered =4325

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