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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 : |
5726 | Post No. : | 18246 | Movie Count : |
4945 |
‘Naukri’ (1978) was produced under the banner of R S J Productions and was directed by Hrishikesh Mukherjee. The cast included Rajesh Khanna, Zaheera and Raj Kapoor in main roles supported by Om Shivpuri, Pratima Devi, Tom Alter, V Gopal, Meena Roy, Vijay Sharma, Aarti, Lalita Kumari, Master Akbar etc. Nadira, A K Hangal, Jayshree T and Younus Parvez made the friendly appearances and Keshto Mukherjee, Padma Khanna and Deven Varma made guest appearances in the film. The film was released in the theatres on June 09, 1978. The film’s story was written by Salil Chowdhury who also provided the background music.
After the box office success of Hrishikesh Mukherjee-Rajesh Khanna combination in ‘Anand’ (1970), ‘Baawarchi’ (1972) and Namak Haraam’ (1973), Hrishikesh Mukherjee commenced shooting of ‘Naukri’ (1978) sometime in 1974 in which he also took his close friend, Raj Kapoor. However, the film took relatively longer time to complete in Hrishikesh Mukherjee’s standard. While I could not get authentic information as to why the film got delayed, it appears that there was some disagreement between Rajesh Khanna and the film’s producers which made the shooting schedules going awry. My guess is that when two super stars are working in the film, getting the fresh common dates from them becomes difficult. I also came to know from Hrishikesh Mukherjee’s biography that he lost interest in the film due to delay as well as the prevailing political situation in the country (Emergency during 1975-77).
The film had an unusual story of a World War-II soldier who has become physically challenged after the war. After the end of the war and till few days before India’s independence in 1947, he has remained unemployed. Hence, he cannot take care of his mother, sister and a brother. In desperation, he commits suicide. The interesting part of the story of the film begins at this point when he meets a Captain who reveals that both of them belong to a different world (ghosts’ world) now. The rest of the film is about sharing their past lives and mingling with other ghosts who in turns also share their past lives. The detailed story of the film is as under:
Physically challenged Ranjit (Rajesh Khanna) stays with his widowed mother (Pratima Devi), a teenage sister, Rekha (Aarti) and an adopted younger brother in a small house. Due to his physical condition, Ranjit is not able to get employment and to take care of his family. His landlord has asked him to vacate the house within 24 hours because he has not paid the rent for months. Depressed with the family’s condition, Ranjit commit suicide by jumping from the bridge over a passing train. He is dead.
A crowd gather watching the dead body of Ranjit. Suddenly, a bewildered Ranjit finds himself with the crowd. At that moment, Swaraj Singh (Raj Kapoor) appears and introduces himself as Captain to Ranjit. He points out that both of them now belong to the community of ghosts and people around them would not feel their presence nor would they hear their voices. First, Ranjit refuses to believe what Captain says. But when he realises that both his legs have become normal and his dead body still lies on the railway track, he tends to believe what Captain has told him.
Captain introduces other ghosts, one of them being a couple (Deven Varma and Jayshri T) who had committed suicide when their parents opposed their marriage. They get united in the ghost community. However, as they are ghosts, they cannot be physically close. Then, there is Rasiklal (Yunus Parvez) who is after Deven Varma for running away with his wife of previous birth (Jayshri T) but cannot catch them physically. Ranjit also meets a former British police officer, Anderson (Tom Alter) who was killed by two revolutionaries. Ranjit is surprised because being a British national, he should have been in their community of ghosts. Captain explains that he is here because apart from his bonhomie with two revolutionaries who are also here after they were hanged till death, his lover, Ferozabai (Padma Khanna) is also here.
Captain tells Ranjit that, now it is the time for him to tell as to why he has committed suicide. Ranjit starts his story from the college days when he spent good days with his family. He was a mixed doubles champion in Badminton in the college with his partner, Ramola (Zaheera) who was in love with Ranjit. However, Ranjit was not sure that their love for each other would convert into a marriage as Ramola was from a wealthy family and her father (Om Shivpuri) would not agree for the marriage. Ranjit’s father who was not keeping good health had to mortgage his house to run the family. After his death, he sold the house and shifted to a small house with his family.
Ramola continued her relationship with Ranjit. Even Ramola’s father was agreeable for the marriage provided he joined his company and proved his worthy of being his son-in-law. Ranjit was not agreeable, and the marriage proposal was terminated. At this stage, Captain interrupts Ranjit and tells him that his life story sounds like a Hindi film story – like Devdas, and he knows as to what next stage of his story would be. He presumes that after separation from Ramola, either Ranjit would get soaked in alcohol or he would start singing ghazals of separation. Ranjit tells Captain that he has not done anything of those sorts. Instead, he joined the army and in a war front, he got badly injured on both the legs. He was hospitalised and after recovery, he was on the crutches making his life miserable and for the same reason, he was unemployed. He could not get compensation from the army despite persuing for months because he could not prove that he lost his legs in the army operations. So, he committed suicide.
Curiosity makes Ranjit to ask Captain as to how he has landed in the community of ghosts. Captains says that his story is simple. As his name. Swaraj Singh suggests, he was from a freedom fighter’s family. However, he lost his father in the freedom struggle, and he had to look for some job to earn money for the family. So, he came to Mumbai and joined the film industry as a body double. During a scene picturisation when he was sitting astride on the horse as a body double for the hero, the horse suddenly slipped and fell in the deep valley killing him.
Ranjit is worried as to how his mother, sister and brother are managing to sustain. Captain points out that now it is none of his business to worry about them. If he was really concerned about them, he would not have committed suicide. Nonetheless, Captain takes him to show that his mother has become a beggar. His sister has become a prostitute, and his younger brother is selling candy in the train. Ranjit is devasted seeing his family’s flights. But he cannot help them as he is a ghost. Captain reminds him that he should have thought of this before committing suicide which is akin to running away from one’s responsibilities.
A gloomy Ranjit suddenly sees Ramola and a smile comes to his face. Ramola is also happy to see Ranjit and tells him that she committed suicide when she came to know that he had committed suicide. With this happy coincidence, Captain arranges a party for community of ghosts to cheer up Ranjit who has now got the company of Ramola. In the party, Captain is surprised to find his acquittance, Lily (Nadira), a call girl who had met Ranjit when he was alive and was in depressed mood. She gives a good and bad news to Captain. The good news is that India has got independence, and the bad news is that India is partitioned on the basis of Hindi and Muslim. Captain is devasted by the second news who was a firm believer of an united India. Captain vanishes into thin air.
Ranjit and Ramola exchange the events which led to their respective suicides. She laments that if he had apprised her of his problems, she would have managed to get him some work and in that case lives of both of them would have been saved. Now since both of them are ghosts, she wants to hear from him that he still loves her. When Ranjit tells her the same, she says she has remained ghost to hear these words. Having heard so, she is now free to renounce her present form. After this, Ramola also vanishes into thin air as if she has got salvation after Ranjit’s affirmation that he still loves her. Having left alone, Ranjit sees a procession in which his mother, sister and brother are participants. A police van comes and a police officer fires on the procession in which most of the persons are killed including Ranjit’s family. The film has a very unusual, surprising end.
The film is stated to be loosely inspired from Hollywood film, ‘It is a Wonderful Life’ (1946) by Frank Capra. While the basic idea may have been derived from this film, ‘Naukri’ (1978) is different in terms of story background and supernatural events peculiar to India. The first half of the film has been beautifully crafted which has Hrishikesh Mukherjee touch. However, in the second half of the film, Hrishikesh Mukherjee touch is majorly missing. Towards the end of the film, there are some preachings on the lines of what IPTA members would usually raise in their films. As mentioned earlier, it was said that Hrishikesh Mukherjee had lost interest in this film due to delay in completing the film.
Nonetheless, I found the film to be interesting one to watch. More than two-thirds of the film have Raj Kapoor and Rajesh Khanna in the frames. I always liked Rajesh Khanna in unconventional roles and this film was no exception. The role of Raj Kapoor in this film was dominant one whereas Rajesh Khanna was in a subdued role. The super stars in their contrasting roles gave their excellent performances worthy of watching them together for the first time in this film. Despite the presence of two super stars, the film failed at the box office. I feel that the film was not well publicised as I do not even recall this film. R D Burman’s average compositions failed to make the songs popular. As often happens, most of the delayed films do not perform well on the box office. By the way, it was the last film, both for Raj Kapoor and Rajesh Khanna with Hrishikesh Mukherjee.
The film had 4 songs written by Anand Bakshi and set to music by R D Burman. I am presenting the first song from the film, ‘upar jaake yaad aayi neeche ki baaten’ to appear on the Blog. The song is rendered by Mukesh for Raj Kapoor. Rajesh Khanna and Zaheera are also present in the audience.
The background to the song is that on the eve of India’s independence and also for the first time, Captain (Raj Kapoor) has seen Ranjit (Rajesh Khanna) in a happy face, (Raj Kapoor ) arranges a party for the ghost community. Ranjit is happy that his beloved Ramola (Zaheera) has also joined the ghost community after her suicide. Incidentally, much before this song sequence, Captain (Raj Kapoor) has actually delivered the dialogue which corresponds to the first two lines of the song when Ranjit starts worrying about the well beings of his mother, sister and brother.
Video Clip:
Audio Clip:
Song-Oopar jaa ke yaad aayin neeche ki baaten (Naukri)(1978) Singer-Mukesh, Lyrics-Anand Bakshi, MD-R D Burman
Female voice
Lyrics:
ae……….hee…………ee aa haa
hee hee hee hee o o
oopar jaa ke yaad aayi neeche kee baaten
honthhon pe aayi dil ke peechhe kee baaten
arre oopar jaa ke yaad aayi neeche kee baaten
honthhon pe aayi dil ke peechhe kee baaten
ae haseenon…. aao
ae haseenon aao meraa dil behlaao
reshmi zulfon ke jaal bichhaao
zindagi se bhi lambi hai ye kaali raaten
honthhon pe aayi dil ke peechhe kee baaten
arre oopar jaa ke yaad aayi neeche kee baaten
honthhon pe aayi dil ke peechhe kee baaten
hee…………. hee hee hee
hee tu tu tu
yaa tu tu tu tu tu…
yaa tu tu tu tu tu…
doston…… dushmanon
doston dushmanon galey mil ke zaraa
chhed do koi kisse dil ke zaraa
kaun jaane kab hongi phir ye mulaaqaaten
honthhon pe aayi dil ke peechhe kee baaten
arre oopar jaa ke yaad aayi neeche kee baaten
hothhon pe aayi dil ke peechhe kee baaten
chaahe aahen bharo chaahe chhedo taraane
log mil baithne ke dhoondhen bahaane
chaahe aahen bharo chaahe chhedo taraane
arre log mil baithne ke dhoondhen bahaane
ek jaise lagte hain janaaze aur baaraaten
honthhon pe aayi dil ke peechhe kee baaten
arre oopar jaa ke yaad aayi neeche kee baaten
honthhon pe aayi dil ke peechhe kee baaten
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 : |
5720 | Post No. : | 18239 |
‘Ramu To Deewaana Hai’ (1980, UR) was produced and directed by Chandru who also acted in the lead role, wrote screenplay. dialogues, lyrics and composed songs for the film. Other actors in the film were the debutant Deepa Rani, Yakub, Chand Usmani, Manvendra Chitnis, Leela Chitnis, Janakidas, Baby Ritu etc. Rehman, I S Johar, David, Gulshan Bawra and Padmini Kapila made the guest appearances and Raj Kapoor made a special appearance in the film.
According to Syed Siraj, a film journalist and film critic since 1970, the ‘all-in-one’ Chandru was the brother of Arjun Hingorani, the producer-director. Incidentally, I have noted that Kishore Rege, Cinematographer of ‘Ramu To Deewaana Hai’, was also the cinematographer for at least 3 films produced and directed by Arjun Hingorani. Chandru had assisted Raj Kapoor in a few of R K Films and had also done small roles.
The film appears to be in the making for a very long time. According to IMDb, the film was started in 1962 in black and white. After a few reels of shooting, it was decided to make it in colour. Thereafter, the film faced financial problems thus resulting in delay in completion. It appears that the film was completed, and the LP of the film’s songs was released in December 1980. However, the film remained unreleased. It was sometime in 2001 that Arjun Hingorani bought the distribution rights of the film. But he does not appear to have released the film. Both Arjun Hingorani and Chandru have now passed away.
There is also a reference in music director, Biddu’s autobiography ‘Made In India – Biddu – Adventures of a Lifetime’ (2015) about Chandru Asrani (yes, he refers to him by surname ‘Asrani’) as pointed out by Syed Siraj. The producer-director-writer-actor-lyricist-music director of ‘Ramu To Deewaana Hai’ met Biddu in London in 1980 following the success of his song, in Feroz Khan’s ‘Qurbaani’ (1979). He showed him about 90% of the completed film which had been under production for about 14 years. Chandru wanted him to compose two songs to be added to complete the film so as to entice the film distributors.
Sometime in 1988-89, Chandru had an informal get-together of some film journalists to his house in Khar in which film journalist, Syed Siraj was also present. Siraj said that during the gathering, Chandru had played some songs from the film which included in the voices of Mukesh, Mubarak Begum and Kishore Kumar. But none of the songs sounded like that composed by Biddu. The LP issued by HMV/SAREGAMA contains 8 songs which have been rendered by Mukesh, Suman Kalyanpur, Mubarak Begum and Kishore Kumar. However, the Mp3 clips of the songs (probably through CD) from the film contains 10 songs, two of which are in English – (1) ‘Go go’, and (2) ‘Life is a business’ rendered by a band called High Society – which sound the typical Biddu’s compositions.
As of now, ‘Ramu To Deewaana Hai’ (1980 UR) remains unreleased and the film is not available on any of the video-sharing and OTT platforms. However, a couple of short video clips of some of the scenes from the film are available on video sharing platform. It appears that Chandru has played the title role of Ramu.
The film’s song album had 10 songs, 2 of which were in English. The 8 Hindi songs were written and composed by Chandru. Two songs from the film have been covered in the Blog. I am presenting the 3rd song, ‘kwaabon ki duniyaa sitaaron ki duniyaa’ rendered by Mukesh. The song is picturised on Chandru as a stage song. Raj Kapoor is the main guest in the audience. The person sitting on his left wearing specs is N N Sippy. David is the compere on the stage who introduces Chandru as the new music director of Raj Kapoor. After the end of the singing, Raj Kapoor walks towards Chandru and congratulates him. He also tells Chandru to meet him in his studio. One can also see a happy Leela Chitnis in the background.
This song may have been picturised in the year 1979 or earlier because David migrated to Canada in 1979.
Video Clip:
Audio Clip:
Song-Khwaabon ki duniya sitaaron ki duniya (Ramu To Deewaana Hai)(UR)(1980) Singer-Mukesh, Lyrics-Chandru, MD-Chandru
Lyrics:
khwaabon ki duniyaa
sitaaron ki duniyaa
door bhi hai
par door naheen..een
khwaabon ki duniya sitaaron ki duniyaa
door bhi hai par door naheen een
ujde fizaa ke chaman se ye kah do
ki rangeen bahaar ab door naheen…een
khwaabon ki duniyaa
har taraf hon veeraaniyaa
gher chuki hon aandhiyaan
har taraf hon viraaniyaan
gher chuki hon aandhiyaan
tadapte armaan ke iss jahaan ko
kabhi to sakoon bhi aayegaa aa
khwaabon ki duniyaa sitaaron ki duniyaa
door bhi hai par door naheen..een
khwaabon ki duniyaa
kaali ghataayen jab jaayengi
sunahree kiranen aayengi
kaali ghataayen jab jaayengi
sunahree kiranen aayengi
phir in baaton ko yaad kar
aayegi khud ko bhi hansee ee
khwaabon ki duniyaa sitaaron ki duniyaa
door bhi hai par door naheen een
ujde fizaa ke chaman se ye kah do
ki rangeen bahaar ab door naheen..een
khwaabon ki duniyaa
Jo sirf khushee ka mol karey
Posted on: March 12, 2024
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 : |
5716 | Post No. : | 18235 |
‘Madhu Maalti’ (1978) was produced by Nirmal Mishra and J S Bansal under the banner of Chitra Kathha and was directed by Basu Bhattacharya. The cast included Sachin and Sarika in the lead roles supported by Nadira, Dinesh Thakur, Manik Dutt, Bharat Bhushan, Abha Dhulia, Sulabha Deshpande, Arvind Deshpande, Parveen Paul, T P Jain, Madhup Sharma, Jaydev Hattangadi, Gopal Dutt, Gulshan Grover etc. Benjamin Gilani and Prema Narayan made guest appearances in the film. This was Gulshan Grover’s debut film.
The theme of the film is the teenage romance in a small town whose parents and their neighbourhood have been brought up in a conservative culture. Parents strongly resent their romance as they see it in the prism of morality. Under such a situation, the boy and girl of two families run away from the town. How they face the situations, first in a big city like Mumbai from where they had to leave in haste for Goa. Finally, a spinster lady, who lives alone in a house in Goa, gives shelter to them. She looks after them like her own grown-up children in a free environment. There is a great emotional upheaval for the spinster lady when the parents, now mellow down from their conservative mindsets, are seeking the return of their son and daughter.
The detailed story of the film is as under:
Madhu (Sachin) and Malti (Sarika) are the college going teenagers from two families residing in a small town with a conservative mindset. Anil Sharma (Dinesh Thakur) joins the college as the professor of English. He organises a college play ‘Romeo and Juliet’ in which he selects Madhu and Malti for the title roles. In the rehearsals, both of them fail to enact their performances to the satisfaction of Anil Sharma as both of them brought up in conservative families are shy of enacting love scenes. The pressures from the families of students forces the college authorities to stop the rehearsal of the play.
During the course of rehearsals of the play, Madhu and Malti fall in love. They secretly meet and sometime remain absent from the college. A neighbour reports their secret meeting to the respective families. Both the families oppose their relationship. Prof. Anil Sharma is in sympathy with them but at the same time he advises them that if they are really in love, they should be open about it. But the families have already put a strict vigilance on both of them. As a result, they have not talked to each other for a long time. Forced by the circumstances, Madhu and Malti run away to Mumbai with some money to continue their courtship unhindered.
While in Mumbai, Madhu and Malti lose their belongings and now they are moving in the city like pauper. They meet a couple, Tom (Benjamin Gilani) and Rossie (Prema Narayan) who take them to Goa to get them some job in a beach shack. During a dance programme, Tom misbehaves with Malti which infuriates Madhu to such an extent that he squeezes Tom’s neck making him unconscious. Thinking him to be dead, Madhu and Malti run away from the shack and contemplate suicide. It is at this time, Maria (Nadira) sees Madhu attempting suicide. She brings him to her house. On the other hand, Malti having taken shelter in a cemetery, meets John (Manik Dutt) who brings her to Maria’s house. Both Madhu and Malti are given shelter by Maria.
Maria has been living alone in her spacious house. John has been proposing to her for marriage for the last 20 years, but she has been rejecting his proposal for personal reason. None the less, they remain friends. With Madhu and Malti staying with Maria as her own children, this time when John proposes Maria, she accepts and gets married. He moves to Maria house. Maria is happy that she has got the company of Madhu and Malti as if her own children, John is also happy that finally he got married to his beloved. Madhu and Malti are happy that they are together in a free environment. Periodically, Madhu keeps Professor Anil Sharma informed about their well-being.
One day, Professor Anil Sharma and his wife (Abha Dhulia) visits Goa and meet Madhu and Malti in Maria’s house with a message that they have come here to take them back to their parents who have now mellowed down, and they would accept them. He had also booked their tickets on a passenger ship to Mumbai for onward journey to their town. Maria is upset that she would lose Madhu and Malti. Both of them assure Maria that they are not going to leave her. John tries to convince Maria not to be adamant and allow Professor Anil Sharma to take Madhu and Malti back to their parents. But Maria is firm so also Madhu and Malti not to leave Goa.
A disappointed professor Anil Sharma and his wife decides to leave Goa by Ship. John accompanies them to the boarding point of the ship when he sees Maria with Madhu and Malti also at the boarding point. In the previous night, Maria has retrospection reminding her that she cannot be selfish for her own happiness. She hands over Madhu and Malti to Professor Anil Sharma with moist eyes by saying that if their parents create problem for Madhu and Malti, she would teach them a lesson.
What a lovely film to watch! It is typical Basu Bhattacharya style of story narration in which human relationship plays important theme in his films. In this film, he has brought out the conflict between conservative parents and their teenage children which he compares with their guardian handling of the same children. As happens with his earlier films which were critically acclaimed but commercial failure, ‘Madhu Malti’ (1978) was no exception.
An interesting feature of the film’s background music is the uses of the snippets of a few popular Hindi film songs which are apt for the situations. For example, when Madhu and Malti secretly meet for the first time, both are very shy to talk to each other and the song ‘chup chup kade ho zaroor koi baat hai’ gets played in the background in a low sound. When Madhu and Malti arrive at Mumbai and looking for guest house for the stay, the song ‘do deewaane shahar mein raat mien yaa dopahar mein aab-o-daanaa dhoondhten hain ek aashiyaana dhoondhten hain’ gets played. When their belongings are stolen from the room, both of them argue for negligence during which the song ’babu ji dheere chalana pyaar mein zara sambhalna’ gets played in the background.
The film had 4 songs written and set to music by Ravindra Jain. One song has been covered on the Blog. I am presenting the second song, ‘jo sirf khushi kaa mol karey’, rendered by Mukesh. This song gets played in the background as Professor Anil Sharma (Dinesh Thakur) and his wife (Abha Dhulia) have been unsuccessful in convincing Maria to send back Madhu and Malti to their parents. Maria (Nadira) on the other hand is in emotional turmoil as she is losing them to their real parents at a faraway town. But in retrospection she feels that she cannot be selfish for her own happiness. The song is not only a philosophical one but also a retrospection for Maria. The life is a cycle of happiness and sorrow, and the companionship is not permanent.
The song broadly sums up the theme of the film.
Video Clip:
Audio Clip:
Song-Jo sirf khushee ka mol karey (Madhu Maalti)(1978) Singer-Mukesh, Lyrics-Ravindra Jain, MD-Ravindra Jain
Lyrics (Based in audio clip):
jo sirf khushi kaa mol karey
jo sirf khushi kaa mol karey
wo dost nahin saudaagar hai
jo apne hi jeene pe marey
jo apne hi jeene pe marey
wo dost nahin saudaagar hai
jo sirf khushi kaa mol karey
sukh aataa hai to apne sang
apne saathhi le aataa hai
sukh aataa hai to apne sang
apne saathhi le aataa hai
hai kaun kahaan tak kaa humdum
dukh hi to hamen batlaata hai
ho sukh mein sang aur dukh se darey
ho sukh mein sang aur dukh se darey
wo dost nahin saudaagar hai
jo sirf khushi kaa mol karey
hum aisaa saathhi dhoondhhte hain
jo hamko gham kaa meet kahe
hum aisaa saathhi dhoondhhte hain
jo hamko gham ka meet kahe
gham ho usko aur dard hamein
neer uska in aankhon se bahe
jo haathh faqat kaandhe pe dhare
jo haathh faqat kaandhe pe dhare
wo dost nahin saudaagar hai
jo sirf khushi kaa mol karey
Le pee zaraa aur pee
Posted on: February 28, 2024
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 : |
5703 | Post No. : | 18221 |
‘Toofaan Mein Pyaar Kahaan’ (1966) was produced by S H Munshi and was directed by Phani Majumdar. Ashok Kumar and Nalini Jaywant were in the lead roles, supported by Jayshree Gadkar, Sailej Prakash, Lata Sinha, Madhumati, Achala Sachdev, Tarun Bose, Tiwari, Sundar, Bhagwan Sinha etc. This was the last film of Nalini Jaywant as a lead actor after which she had a long hiatus of about 15 years to reappear as a character actor in ‘Bandish’ (1980) and ‘Naastik’ (1983).
The film is available to watch in VCD format on one of the video sharing platforms. I have watched the film. The duration of the film is around 90 minutes. Those days, Hindi masala films would normally be around 2:30 hours of duration. It appears that VCD of the film is heavily edited out. There are some ‘disconnects’ in the story line. Also, as against 8 songs listed for the film, the VCD contains only 5 songs. Lastly, the sound quality of many dialogues in the film are so poor that it is difficult to understand them fully.
The film has an unusual story by the standard of mainstream Hindi films. Ashok Kumar, the hero works as driver for Tiwari who is a trader and also indulges in smuggling goods across the border from Tibet. Jayshree Gadkar, the side heroine, loves Ashok Kumar but he does not reciprocate because of his drinking habit and also his job which he dislikes. He does not want to spoil her life with him. Ashok Kumar rescues Nalini Jaywant from a gang of girl trafficker, falls in love with her and she reciprocates. Both wants to get married. However, Tarun Bose, who is the brain behind girl trafficking, plans to sell her across the border in the pretext of marrying her. Unaware of Tarun Bose’s antecedents, Ashok Kumar actually brings Nalini Jaywant and Tarun Bose together so that they can marry. In the end, Tarun Bose, in connivance with Tiwari kidnaps Nalini Jaywant to sell her across the border. However, the jeep taking them meets with an accident killing all the three. Jayshree Gadkar meets Ashok Kumar and reiterates her love for him. Both are united. Is it not an unusual story of love triangle in which the hero, Ashok Kumar loves the heroine, Nalini Jaywant but at the end, he gets united with side heroine, Jayshree Gadkar?
The detailed story of the film is as under:
Shamu (Ashok Kumar) is a truck driver of trader, Mahajan (Tiwari) who indulges in business of smuggled good across the border with Sikkim. Due to his good relationship with the Police Inspector, Shamu has saved Tiwari from check-post. He lives in a den with Mahajan and others when they are not on duty. However, Shamu feels bad about saving Mahajan for his smuggling activities. He would have stopped working for Mahajan, but he has to take care of Rami (Achala Sachdev), a Tibetan and her daughter because he had promised Rami’s husband just before his death that he would take care of them. He treats Rami as his sister and had helped her to start a tea shop where Tibetan traders take a break. Because of his kindness, Tibetans traders have high respect for Shamu. Mahajan takes the advantage of Shamu’s status in his trading activities as every truck that stops at Rami’s tea shop sells their goods to him.
In a different place, Shanta (Nalini Jaywant) is being readied to depart for her marriage with Raimohan (Tarun Bose) against her wish. She runs away from the house. However, she is picked by a person who happens to be Raimohan’s man, who was to take her for her marriage with Raimohan. Instead, he brings her to his house. When she realises that his intention is to molest her, she runs away from his house. Two men are after her to bring her back. In the shuffle, Shamu hears the scream from Shanta. He roughs up two men and gets Shanta released from them. In guise of her marriage, she was a part of girl trafficking across the border.
Since Shanta has nowhere to go, Shamu brings her with him and gives shelter in his den in an adjoining room. The next day, he tells her to find a place for her stay as his den is full of bad people. However, she finds Shamu a kind person. So, when Mahajan visits the den, for her safety, Shanta gives him the impression that she is the wife of Shamu. Tiwari believes her but Pulma (Jayshree Gadkar), who runs a tea shop and is in love with Shamu, does not believe that Shanta is Shamu’s wife.
Meanwhile, Shanta receives a letter from Raimohan that he would return very soon to take her across the border where they would get married. But she now knows as to what purpose she would be taken across the border. By now, Shamu has fallen in love with Shanta. He goes to Shanta to talk about the marriage and to propose her. While Shanta is not present in her room, he gets hold of the letter of Raimohan who had written to Shanta about their marriage. He assumes that Shanta is in love with Raimohan, and he has no right to ask for hand in marriage. He decides to help Shanta by finding Raimohan and to get them united.
When Shanta comes to know from Pulma that Shamu wants to marry her, she is eagerly waiting for Shamu to propose her. Instead, Shamu returns with Raimohan and tells them to reconcile. Shamu leaves her room. Shanta knowing very well as to what Raimohan is up to, she drives him out of her house. Next morning, before she could explain to Shamu about Raimohan, she finds that Shamu has left the place with Pulma.
Raimohan meets Mahajan who is his old friend. They conspire to kidnap Shanta and send across the border to sell her at a high price. However, Rami gives shelter to Shanta and sends Bahadur (Sundar) and Kancha (Sailej Prakash) in search of Shamu. However, Mahajan and Raimohan get the information about Shanta’s hiding in Rami’s house. Both visit Rami’s house and take Shanta with them. A complain is lodged in the police station by Bahadur about kidnapping of Shanta by Raimohan and Mahajan who are driving towards border crossing.
When Shamu comes to know about Shanta’s kidnapping, he takes out his truck with Pulma and follow the jeep in which Shanta is being taken. While driving on a jig jag hill road, the jeep roles down from road to valley killing Shanta, Raimohan and Mahajan. Pulma reiterates her love for Shamu and gets united.
From the story above, one would wonder as to what roles Sailej Prakash as Kancha and Lata Sinha as Gulu had in the film. I guess, they are another love pair who are working for Mahajan (Tiwari). There are two songs which are picturised on both of them. Some songs in the film appear without any link to the story. Probably, the scenes before the songs got edited out in the VCD of the film.
The film had 8 songs written by Prem Dhawan which were set to music by Chitragupt. Two songs have been covered on the Blog. As mentioned earlier, the film’s VCD contains only five songs. I am presenting one of the ‘missing’ songs, ‘le pee zaraa aur pee’ which is rendered by Mukesh. Surprisingly, the video clip of the song is available which means that the song was picturised and was retained in the film’s soundtrack. The song is picturised on Sailej Prakash. Lata Sinha is present during a major part of the song picturisation. The song gets an abrupt ending, but it appears from audio clip of the song that it was deliberate as after the abrupt end of the song, a dialogue follows.
Video Clip:
Audio Clip:
Song-Le pee zara aur pee (Toofaan Mein Pyaar Kahaan)(1966) Singer-Mukesh, Lyrics-Prem Dhawan, MD-Chitragupta
Lyrics
le pee
zaraa aur pee
le pee
zaraa aur pee
naa khushi rahe naa gham rahe
ae dil
ab hosh mein
naa tu rahe naa hum rahen
le pee
zaraa aur pee
pass hai may ki pari
main jahaan se door hoon
pass hai may ki pari
pass hai may ki pari
main jahaan se door hoon
kuchh na poochho mujhse koi
main nashe mein choor hoon
le pee
zaraa aur pee
naa khushi rahe naa gham rahe
le pee
zaraa aur pee
wo zamaana pyaar kaa
ek fasaanaa ho gayaa
wo zamaana pyaar kaa
wo zamaana pyaar kaa
ek fasaanaa ho gayaa
jaise chamkaa koi taaraa
aur kahin pe kho gayaa
le pee zaraa aur pee
naa khushi rahe naa gham rahe
le pee zaraa aur pee
hosh se achchi lagey
mujhko ye behoshiyaan
hosh se achchi lagey
hosh se achchi lagey
mujhko ye behoshiyaan
ab to yaaron ek main hoon
aur meri madhoshiyaan
Sun pyaare sajnaa re
Posted on: January 1, 2024
- In: Asha Bhonsle songs | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Love song | Lyrics contributed by readers | Mukesh songs | Mukesh-Asha Bhonsle duet | Post by Sadanand Kamath | Songs of 1960s (1961 to 1970) | Songs of 1969 | Yearwise breakup of songs
- Leave a Comment
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 : |
5645 | Post No. : | 18137 |
‘Insaaf Kaa Mandir’ (1969) was produced by Sherbahadur Singh and Jagdish Singh and was written and directed by BR Ishara. The cast includes Sanjeev Kumar, Snehlata, Nadira, Asit Sen, Prithvi Raj Kapoor, Tarun Bose, Manmohan Krishna, Sapru, Laxmi Chhaya, Aruna Irani, Bela Bose, Mohan Sherry, Kanu Roy etc. This was BR Ishara’s debut film as a full-fledged director. After coming to Mumbai, it took him almost 2 decades to direct his first film. But it was not that he had run away from his village to Mumbai to make a career in films. It was, what he called the ‘torturous nature’ of his uncle which drove him to Mumbai where he was prepared to grab any work including domestic servant and waiter for sustenance.
Babu Ram Ishara, whose real name was Roshan Lal Sharma (07/09/1934 – 12/07/2012), was born in Bharwain village of Una district in Himachal Pradesh in a Brahmin family. He lost his mother at the age of 3 and after 2 years, he lost his father. The parent-less child was brought up by his grandmother. He completed his primary schooling in Bharwain village. His uncle who was based on Amritsar, had taken his admission in High school in Amritsar where his thread ceremony was also planned.
Being afraid of his uncle, Roshan Lal ran away from home by stealing his uncle’s money and came to Delhi where he met another boy. Both decided to visit Bombay (now Mumbai). While watching a film in a theater in Mumbai, the boy accompanying him quietly slipped away from the theater taking his money with him, never to be seen again. With no means for livelihood, Roshan Lal worked as a ‘baaharwala’ (waiter serving tea and food outside) in a hotel opposite Ranjit Studio. His main work was to serve tea to the workers and junior artists of Ranjit Studio and the nearby Shri Sound Studio. The studio workers used to call him ‘Babu’.
After few months, Roshan Lal joined Central Studios as office boy on a monthly salary of Rs. 60. One day, while serving tea to Qamar Jalalabadi in the studio, he gave Roshan Lal a new name, ‘Babu Ram’ as he did not want to call him by his real name Roshan Lal because his spiritual guru’s name was Roshan Nath. After the studio duties, Roshan Lal was also working as a cook to serve breakfast to Kaif Irfani in his house. Noting that Roshan Lal had flavour for writing, he told him to add a pen name ‘Ishara’ to his name Babu Ram. Thus, Roshan Lal Sharma became Babu Ram Ishara, better known as BR Ishara.
In between, BR Ishara was working as a household worker in Qamar Jalalabadi’s house who was producing ‘Aansoo’ (1953) at that time. He had assured BR Ishara that he would take him in his production office once the function of muhurat shot of the film got over. But the function got postponed a number of times. Fed up with cleaning utensils, BR Ishara left for Delhi to seek employment opportunity. However, his uncle got a wind of his arrival in Delhi. He took him to Amritsar and admitted in the 10th class. But the torture of his uncle was too much for him. After about 3 months, he again ran away and returned to Bombay.
Mukesh was planning ‘Anuraag’ (1956) and a preparatory work was going on to start the film. One of the acquaintances from the production team took BR Ishara to Mukesh who gave him a job of apprentice with no salary. After some time, pleased with his work as an apprentice, Mukesh made him Third Assistant at a monthly salary of Rs. 60. This was a turning point in the life of BR Ishara as for the first time, he got opportunity to get exposure to film making. With this work, he developed his aptitude for the film direction. After the completion of the ‘Anuraag’ (1956). he joined director, Tara Harish as his assistant in ‘Laalten’ (1956) and ‘Jalti Nishaani’ (1957).
‘Jaal Saaz’ (1959) is the first film in which he is officially accredited as dialogue director. It was during the making of this film that he learnt to speak Bengali since almost all the crew members were Bengali. In ‘Aawara Baadal’ (1964) also he was accredited as ‘dialogues written and directed by BR Ishara’. The film’s director Kedar Kapoor had differences with his original dialogue writer. So, he entrusted dialogue writing to BR Ishara under his guidance. Dulal Guha, who was to direct ‘Chaand Aur Suraj’ (1965), selected BR Ishara to write dialogue for the film which was his first formal work as a dialogue writer. With the words of mouth from some Bengali crew members, Basu Bhattacharya made him his second assistant for the film ‘Teesri Kasam’ (1966).
By this time, BR Ishara was virtually addicted to film making and he had developed a keen interest in film direction. Johny Whiskey, a close friend, was producing ‘Gunaah Aur Kanoon’ (1970). He entrusted to BR Ishara to write screenplay and dialogues and also to direct the film. At the same time, BR Ishara had also written story, screenplay and dialogues for the film ‘Insaaf Ka Mandir’ which he wanted to direct. He got producer for this film as well. Both the black and white films started more or less on the same time. Sanjeev Kumar, Prithviraj Kapoor, Tarun Bose, Asit Sen were the common actors for both the films. Both the films did not fare well on the box office. (Note: The life sketch of BR Ishara is mainly based on his interview at Vividh Bharati. The video clip of the interview is available here.)
It was his third film, ‘Chetna’ (1970) that BR Ishara got the recognition as a director. Made with a shoe-string budget and completed in 25 days, the film became a box office hit. It was the debut film of Anil Dhawan and Rehana Sultan who was a gold medallist from FTTI, Pune. BR Ishara’s other notable films were ‘Ek Nazar (1972) with Amitabh Bachchan and Jaya Bahaduri, ‘Milaap’ (1972) with Shatrughan Sinha and Reena Roy, ‘Dil Ki Raahen’ (1973) with Rahana Sultan and Rakesh Pandey, ‘Prem Shastra’ (1974) with Dev Anand and Zeenat Aman, ‘Ghar Ki Laaj’ (1979) with Sanjeev Kumar and Mausami Chatterjee and ‘Wo Phir Aayegi (1988) with Rajesh Khanna and Farah. ‘Main Bikaaoo’ (2004) was his last directed film which remained unreleased.
During his filmy career, BR Ishara directed 42 films of which 3 films remained unreleased. Most of his films raised socially relevant issues with his hard-hitting dialogues. But a majority of such films were box office failures. In 1984, he married Rehana Sultan.
BR Ishaara passed away on July 12, 2012. A few months before his death, he was not keeping good health. Later, he was diagnosed with tuberculosis.
The story of the film under discussion is as under:
Sunil (Sanjeev Kumar) has completed his law graduation and looking for the job opportunity. But before that, he receives a telegram that his father is seriously ill, and he should visit home to see him as soon as possible. By the time Sunil reaches home, his father has already passed away. The servant, Sunder (Asit Sen) hands over a letter to Sunil, written by his father which reveals that he is not his real father but has adopted him. His mother is somewhere in Mumbai which he is not aware of but one Durgadevi Jain (Nadira) can help him to locate his mother. The very next day, Sunil accompanied by Sunder, depart for Mumbai in search of his mother.
Sunil and Sunder reach Mumbai and meets Durgadevi. She puts a condition that she would reveal the whereabouts of his mother provided he agrees to become her adopted son so that she could bequeath him all her property and wealth. Sunil rejects her proposal and walks out of her house. He decides that he would himself search for her mother. But before that, he needs to have a steady job and a house in Mumbai. Sunder has one of his close friends, Shambhu (Manmohan Krishna) who works for Mumbai’s famous lawyer, Badri Prasad (Tarun Bose). He takes Sunil to Badri Prasad’s house. Sunil is pleasantly surprised to see Sunita (Snehlata) in the house who is the daughter of Badri Prasad and is in love with Sunil since college days. Badri Prasad not only appoints him in his office but also provide one of his vacant flats to Sunil.
During their discussions, Sunil comes to know that Durgadevi’s stepdaughter, Sadhana (Aruna Irani) had committed suicide about a couple of years back. Shambhu and Sunita, however, suspect that Sadhana was murdered by Durgadevi. Shambhu was earlier employed by Durgadevi while Sunita was Sadhana’s friend. In order to clear the doubts in the minds of Shambhu and Sunita, Badri Prasad entrusts the job of investigating Sadhana’s suicide case to Sunil who starts investigation with the assistance from Sunita and collect important evidence over a period of time to prove that Sadhana has not committed suicide, but she was murdered.
Sunil meets public prosecutor and joins him as his assistant with the recommendation of Badri Prasad. With his evidence, the court agrees to reopen the Sadhana’s suicide case in which Sunil represents as public prosecutor and Badri Prasad representing Durga Devi’s lawyer as he had done earlier. The last one hour of the film is mainly the court room drama with Prithvi Raj Kapoor as a Judge. With arguments and counterarguments between the prosecutor and the defendant’s lawyer, Durgadevi’s past life is exposed. The photographs of her abandoned child born out of wedlock are placed before the Judge and her motivation for killing her stepdaughter is revealed as relating to the property dispute. She concedes her involvement. The Judge announces that the judgement in the case would be delivered the next day. After the court proceedings ends, Judge asks Sunil to meet him in his chamber where he is shown the photographs of Durgadevi’s child from childhood to his adulthood. Sunil is shocked to see his own photograph. Judge requests him to meet Durgadevi who is sitting in an adjoining room. Sunil meets his biological mother and hugs her. Durgadevi is so much elated with meeting her son that she collapses on the floor and dies of heart attack.
I found the film’s plot quite interesting and gripping as a suspense thriller. But most of the audience would get the clue from a couple of dialogues between Sunil and Durgadevi as to who is his mother, and the suspense is revealed. I think, rather then keeping the suspense, BR Ishara may have thought that it would be more interesting for the audience to know as to how the prosecutor will prove the identity of Sunil’s biological mother and her involvement in Sadhana’s killing. And he has successfully done so through the intense court’s proceedings which takes about one hour of the film’s duration.
Of the main actors in the film, I feel that Nadira in the role of Durgadevi has given the top performance in the film. She has a challenging role to balance her performance of a grayish character with an emotional personality which she has successfully executed. Sanjeev Kumar in the role of a lawyer and later the prosecutor has given an excellent performance as expected, so also Tarun Bose as a defendant lawyer. Prithviraj Kapoor in the role of a judge has few dialogues. But his presence itself is sufficient to create an aura of dignity to his role. There is not much of the boredom in watching this film except a couple of songs which, to my mind, are not the situational songs. Nonetheless, all the songs are melodious.
The film has six songs written by Naqsh Lyallpuri (5) and Anwar Sasarami (1) which are set to music by Sapan-Jagmohan. One song has been covered on the Blog. I am presenting the second song from the film, “Sun Pyaare Sajna Re”, which is written by Naqsh Lyallpuri and rendered by Asha Bhosle and Mukesh. It is interesting to note that in all the films with the exception of a couple of films which BR Ishara directed during 1969-1977, there was at least one song rendered by Mukesh.
The background to the song under discussion is that Sunil (Sanjeev Kumar) shifts himself to Mumbai in search of his biological mother. He gets a job in the office of lawyer, Badri Prasad (Tarun Bose). Earlier, he has met the lawyer’s daughter, Sunita (Snehlata) who was his classmate in the law college and is in secretly in love with him. She works as his assistant in investigating the alleged suicide of Sadhana (Aruna Irani) and they are on their way to collecting evidences. At the same time, Durgadevi (Nadira) has placed one of her men to keep an eye on Sunil’s movements and his activities. The person, taking a diary note during the song is the one who works as such for Durgadevi.
Video Clip:
Audio Clip:
Song-Sun pyaare sajnaa re (Insaaf Ka Mandir)(1969) Singers-Asha Bhonsle, Mukesh, Lyrics-Naqsh Llayalpuri, MD-Sapan Jagmohan
Lyrics (based on video clip)
o o o
o o o
aa aa aa
aa aa aa
aa aa aa
sun pyaare
sajna re
mann gaaye
geet suhaane
geeton mein
pyaar hai tera
tu maane yaa naa maane
daali daali
matwaali
rut aayi
phool sajaane
phoolon mein roop hai tera
tu maane yaa naa maane
sun pyaare
sajna re..
tu kehde to jheel si gehri
aankhon mein kho jaaun
aaj mera jee chaahe
teri baanhon mein lehraaun
o o o tu kehde to jheel si gehri
aankhon mein kho jaaun
aaj mera jee chaahe
teri baanhon mein lehraaun
geet milan ke gaaun
daali daali
(aa aa aa aa)
matwaali
(aa aa aa aa)
rut aayi phool sajaane
(o o o o o)
phoolon mein roop hai tera
tu maane yaa naa maane
sun pyaare sajna re
tujhko paaya maine apna
tanmann arpan kar ke
aaj bane hain hum tum dono
saathi jeewan bhar ke
o o
tujhko paaya maine apna
tanmann arpan kar ke
aaj bane hain hum tum dono
saathi jeewan bhar ke
mehke phool dagar ke
sun pyaare
sajna re
mann gaaye
geet suhaane
geeton mein
pyaar hai teraa
tu maane yaa naa maane
daali daali
(aa aa aa aa)
matwaali
(aa aa aa aa)
rut aayi phool sajaane
(ho o o o o)
phoolon mein roop hai teraa
geeton mein pyaar hai teraa
tu maane yaa naa maane
sun pyaare sajna re
o o o
o o o
aa aa aa
aa aa aa
aaa aaa aaa
aa aaa aaa
aa aa aa aa aaa
aa aa aa aaa
o o o o o
aa aa aa aa
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
ओ ओ ओ
ओ ओ ओ
आ आ आ
आ आ आ
आ आ आ
सुन प्यारे
सजना रे
मन गाये
गीत सुहाने
गीतों में
प्यार है तेरा
तू माने या ना माने
डाली डाली
मतवाली
रुत आई
फूल सजाने
फूलों में रूप है तेरा
तू माने या ना माने
सुन प्यारे
सजना रे
तू कह दे झील सी गहरी
आँखों में खो जाऊँ
आज मेरा जी चाहे
तेरी बाहों में लहराऊँ
गीत मिलन के गाउँ
डाली डाली
(आ आ आ आ)
मतवाली
(आ आ आ आ)
रुत आई
फूल सजाने
(ओ ओ ओ ओ)
फूलों में रूप है तेरा
तू माने या ना माने
सुन प्यारे
सजना रे
तुझको पाया मैंने अपना
तन मन अर्पण कर के
आज बने हैं हम तुम दोनों
साथी जीवन भर के
ओ ओ
तुझको पाया मैंने अपना
तन मन अर्पण कर के
आज बने हैं हम तुम दोनों
साथी जीवन भर के
महके फूल डगर के
सुन प्यारे
सजना रे
मन गाये
गीत सुहाने
गीतों में
प्यार है तेरा
तू माने या ना माने
डाली डाली
(आ आ आ आ)
मतवाली
(आ आ आ आ)
रुत आई
फूल सजाने
(हो ओ ओ ओ)
फूलों में रूप है तेरा
तू माने या ना माने
सुन प्यारे सजना रे
ओ ओ ओ
ओ ओ ओ
आ आ आ
आ आ आ
आs आs आs
आ आs आs
आ आ आ आ आss
आ आ आ आ आss
ओ ओ ओ
आ आ आ आ
This article is written by Mahesh Mamadapur, 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 : |
5644 | Post No. : | 18136 |
Mukesh and his Actors – 01
——————————————-
Well, the Halley’s comet is back on the blog.
So much so that it did not feature in nearly two centuries of latest posts. Reasons? Aren’t they cliches already on the blog?
Incidentally, speaking of the real macro universe comet itself, it last appeared in 1986 and is expected to pass by the pale blue dot next in July 2061. Second week of December this year, it reached the farthest point from the sun known as aphelion, thus beginning its journey towards the inner solar system.
So, the date for sighting arguably the most famous comet is set for July 2061 for earthlings alive then.
Coming back to the blog, we start with a new series Mukesh and his Actors. This has been a task which I had been contemplating for years and remained a non-starter mainly because I could not decide as to which actor, I should take up for the debut post.
Before we start with the post itself and regarding my infrequent appearances on the blog, I thought it would be politic to have a recap of the statistics of my 3 ongoing series on Mukesh. So here is a summary of the articles posted so far.
| Series | No. of Posts |
|---|---|
| Mukesh and his Composers | 30 |
| Mukesh and his Co-Singers | 9 |
| NFS of Mukesh | 3 |
| Mukesh and his Actors | 1 |
A kind of a geometric sequence it is. With dwindling number of Mukesh’s songs to be posted, I don’t think the numbers will change drastically, but let’s see how frequent my appearances occur in the near future. 😊
To take up an actor for this debut post, Raj Kapoor, of course is the most obvious choice. But the sheer numbers and the preparation of a long table would consume a lot of time and thus it was also a reason that I kept procrastinating the series.
Also, I would have personally loved to start the series with Motilal, the man responsible for bringing Mukesh to the fore of cinema world. But all the songs rendered by Mukesh for his discoverer remain covered on the blog.
Mukesh lent his voice to Dilip Kumar, Dev Anand, Ashok Kumar, Ajit, Dharmendra, Rajesh Khanna, Shashi Kapoor, Sunil Dutt, Manoj Kumar, Pradeep Kumar, Rajendra Kumar, Sanjeev Kumar, Shammi Kapoor, Raj Kumar, Feroz Khan, Mehmood, Vinod Khanna and a host of other actors. However, it is extremely difficult to identify the next profound actor for whom Mukesh gave playback. I know many fans would place Manoj Kumar, next on the list.
A strong reason for not having a profound list could be because Mukesh’s numbers for other actors are quite few. Another basis is the fact of immense popularity of the songs that Mukesh sang. So, whether it was well-known or unknown actors, the voice of Mukesh has stood the test of time. Some actors such as Sudesh Kumar in Saranga 1961 remain in active memory only because of the playback that Mukesh rendered.
As I have said earlier, almost all songs of Motilal have been covered on the blog. I say almost as there is always a hope that some or the other untraced/forgotten song may crop up anytime. Quite a few songs of Mukesh remain untraced/unavailable even though there is information available on them.
Since this is a debut post on the series, I thought it would be appropriate to include a table of songs sung by Mukesh for Motilal, notwithstanding the fact that all are already covered on the blog.
So here is a table with a disclaimer in the form of a (#) sign besides the title and its description at the bottom of the table.
| MUKESH’s playback for MOTILAL (#) | |||||
|---|---|---|---|---|---|
| S. No | Name of song | Movie (Year of release) | Co-singer if any | Composer | Lyricist |
| 1 | Badariyaa baras gayi us paar | Moorti (1945) | Khursheed, Hameeda Bano | Bulo C Rani | Pt. Indra Chandra |
| 2 | Haseenon se haseenon ko | Moorti (1945) | Bulo C Rani | Pt. Indra Chandra | |
| 3 | Maana ke tum haseen ho | Moorti (1945) | Bulo C Rani | Pt. Indra Chandra | |
| 4 | Dil jaltaa hai | Pehli Nazar (1945) | Anil Biswas | Aah Sitapuri | |
| 5 | Jawaani ye bharpoor | Pehli Nazar (1945) | Naseem Akhtar | Anil Biswas | Aah Sitapuri |
| 6 | Pehli nazar ka teer | Pehli Nazar (1945) | Naseem Akhtar | Anil Biswas | Aah Sitapuri |
| 7 | Tae kar ke badi door ki | Pehli Nazar (1945) | Anil Biswas | Aah Sitapuri | |
| 8 | Hamaare sainyyaan daaru pee ke | Do Dil (1947) | Rajkumari | Pt Govindram | D N Madhok |
| 9 | Jiyaa beimaan | Do Dil (1947) | Pt. Govindram | D N Madhok | |
| 10 | Kaaghaz ki meri naav | Do Dil (1947) | Suraiyya | Pt. Govindram | D N Madhok |
| 11 | Le matki aa jaa raadha ri | Do Dil (1947) | Pt. Govindram | D N Madhok | |
| 12 | Maati kaa but bhaa gayaa | Do Dil (1947) | Suraiyya | Pt. Govindram | D N Madhok |
| 13 | Pyaar jataa ke | Do Dil (1947) | Pt. Govindram | D N Madhok | |
| 14 | Badaraa ki chhaaon tare | Lekh (1949) | Suraiyya | Krishan Dayal | Qamar Jalalabadi |
| 15 | Lut gayaa din raat ka aaraam | Lekh (1949) | Krishan Dayal | Qamar Jalalabadi | |
| 16 | Ye kaafila hai pyaar ka | Lekh (1949) | Asha Bhonsle | Krishan Dayal | Qamar Jalalabadi |
| 17 | Berukhi bas ho chuki | Hamaari Beti (1950) | Geeta Roy | Snehal Bhatkar | Randheer |
| 18 | Dil ka milna mushqil hai * | Hamaari Beti (1950) | Snehal Bhatkar | Pt. Phani | |
| 19 | Kisne ye kisne | Hamaari Beti (1950) | Geeta Roy | Snehal Bhatkar | Randheer |
| 20 | Mohabbat bhi jhoothi | Hamaari Beti (1950) | Snehal Bhatkar | Pt. Phani | |
| 21 | Aise mein koi chham se jo | Hanste Aansoo (1950) | G M Durrani | Ghulam Mohammad | Shewan Rizvi |
| 22 | Maine sapna jo dekha hai | Hanste Aansoo (1950) | Rajkumari | Ghulam Mohammad | Majrooh Sultanpuri |
| 23 | Mohabbat kisko kehte | Hanste Aansoo (1950) | Shamshad Begam | Ghulam Mohammad | Shewan Rizvi |
| 24 | Qismat mein yahin likha tha | Hanste Aansoo (1950) | Ghulam Mohammad | Majrooh Sultanpuri | |
| 25 | Rakhaa hua nishaane pe | Hanste Aansoo (1950) | Lata | Ghulam Mohammad | Shewan Rizvi |
| 26 | Zindagi khwaab hai | Jaagte Raho (1956) | Salil Chaudhary | Shailendra | |
| 27 | Zindagi khwaab hai, tha hamen bhi pata ** | Chhoti Chhoti Baaten (1965) | Anil Biswas | Shailendra | |
# Due to unavailability of adequate information and video proofs, it is not known for sure if Mukesh provided playback for Motilal for all the songs in the above table. Motilal’s presence in the aforesaid films as an actor is however well established.
* Multiple version song
** Not included in the film
There are heroes, heroines, stars, superstars etc. and then there are Actors.
Actors, in their true sense are very few. Motilal was one such popular and natural Actor.
His very presence on the screen was acting in itself. Such was the aura he carried on the screen.
The story of how he brought Mukesh into the world of cinema is well documented on the blog and elsewhere. For two decades, Mukesh gave playback to about 26 odd songs for Motilal.
More than 95% of all the songs are from the first decade of Mukesh’s life as actor and playback singer. We all know the struggles of Mukesh as an actor, composer, producer and ultimately the popularity he gained as a playback singer.
In the above table, even though Moorthi was released before Pehli Nazar, it was the fame that the solo from Pehli Nazar that installed Mukesh on the pedestal of playback popularity. The legendary Kudan Lal Saigal stating that he does not remember singing the song is not a piece of recorded history. But, given the style and utmost facsimile of rendering it should not be surprising if Saigal saab had indeed quoted such a thing. I have often stated that this will remain the biggest compliment that Mukesh ever received in his career.
Moving on, I have already discussed the immense popularity of the triad from Moorthi at S. No 1 It is said that in those days people used to foregather outside hotels etc. to listen to this song.
Mukesh’s duet with Naseem Akhtar at S. No 6 is a personal favourite of mine. The confidence in the voice of Nassem Akhtar while she conveys her feelings and the sort of timid responses from a newcomer to singing makes up for interesting listening.
Do Dil (1947) starring Suraiya had 3 each solos and duets by Mukesh.
Number 10 is a beautiful sad duet, which Mukesh mastered in his later years.
Lekh (1949) had 2 beautiful duets and 1 sad solo. When I first got smitten to the voice of Mukesh in late eighties, I remember running from one cassette shop to another in search of the solo. Ultimately, I had to get it recorded and copied on a blank cassette paying a hefty amount. Those were the days when the joy of eventually possessing a favourite song and playing multiple times knew no bounds.
I always visualize Dev Anand on the screen for the duet at S. No 14. This could be because of the popular duet of Mukesh with the same Suraiya in Vidya 1948. 😊
However, there was no Dev Anand in Lekh (1949) and it must have been pictured on Motilal himself.
The other duet from Lekh with Asha Bhosale is historically important as it was the first time that the two singers came together.
The next two films Hamaari Beti and Hanste Aansoo released in 1950 had a total of 9 songs with various co-singers. Many of these songs are also immensely popular to this day. For multiple version song at 18, I request readers to see the comment of our Nitin ji on the blog. So very apt.
Thereafter, it was only after 6 years that Mukesh sang his well-known drunkard song in Jaagte Raho (1956) for Motilal. This was the last playback of Mukesh for the actor.
At 27, I have retained the soulful rendition Zindagi khwaab hai, tha hamen bhi pata, even though it was not part of the released film and obviously not picturized on Motilal. The other song of this movie was Mukesh’s duet with Lata and was picturized and sung for Moti Sagar in the film.
The solo, it is said was specially created and dedicated as a homage by Mukesh to Motilal who passed away before the film was released. It is also said that Mukesh himself scored the music for the particular song and never took credit for it. It was Mukesh sincerely thanking Motilal from the bottom of his heart for everything that Motilal meant to him both in his personal life as well as professional career.
The lines,
chandd din thhaa basera hamaara yahaan
ham bhi mehmaan thhey
ghar toh uss paar thhaa
gives me goosebumps every time, I listen to them for the genuine and honest intensity of the rendering.
Moving ahead, I have a two-page detailed filmography of Motilal collected from a Hindi or Marathi magazine decades back. Incidentally, the author of the article is our own Harish ji, the compiler of Mukesh Geet Kosh. However, I am unable to find any details on the singers who have given playback for Motilal or the songs that he may have himself sung as he mainly worked in the era where playback was slowly evolving. Even for most of the songs in the above table, videos are not available. Readers can also associate that most of these numbers have been unearthed by our Sudhir ji for our listening pleasure. However, even his posts are sans videos of the songs as they are simply not available/difficult to trace or lost forever.
I request readers to provide any information that they may have regarding the songs of Motilal not only for Mukesh but for other playback singers as well.
I have already shared the two-page article/filmography of Motilal on various whatsapp groups. If anyone else is interested I will be more than happy to share.
With this, I end my chapter on Mukesh songs for Motilal, however the post is incomplete as a song has to be featured. So, lets move on.
Mukesh in his early years gave playback for famous singers like Dev Anand, Dilip Kumar etc. But these numbers are few and all are already covered on the blog.
To make a debut on the series, I was long contemplating Amitabh Bachchan for whom Mukesh sang a few songs including immensely popular ones from Kabhi Kabhi.
However, during the contemplating period, all songs on Big B were slowly covered on the blog and I was left with none.
So, what am I up to in this post? Well read on.
Before we come to the song for the post, it would be prudent to again have a glance at all the songs that Mukesh rendered for Big B and so here is the detailed table.
| MUKESH’s playback for AMITABH BACHCHAN | |||||
|---|---|---|---|---|---|
| S. No | Name of song | Movie (Year of release) | Co-singer if any | Composer | Lyricist |
| 1 | Ib tum paas na aanaa | Raaste ka Patthar (1972) | Asha Bhonsle | Laxmikant Pyarelal | Anand Bakshi |
| 2 | Main har dum kisi ko dhoondhta hoon | Raaste ka Patthar (1972) | Asha Bhonsle | Laxmikant Pyarelal | Anand Bakshi |
| 3 | Raaste kaa patthar kismat ne mujhe | Raaste ka Patthar (1972) | Laxmikant Pyarelal | Anand Bakshi | |
| 4 | Behna o behna teri doli | Adalat (1976) | Kalyanji Anandji | Gulshan Bawra | |
| 5 | Hamka aisa waisa naa samjho | Adalat (1976) | Amitabh Bachchan | Kalyanji Anandji | Gulshan Bawra |
| 6 | Kabhi kabhi mere dil mein * | Kabhi Kabhie (1976) | Khayyam | Sahir Ludhianvi | |
| 7 | Main pal do pal kaa shaayar * | Kabhi Kabhie (1976) | Khayyam | Sahir Ludhianvi | |
*Multiple version song
So, in all, there are only 3 films with 7 songs. 6 and 7 are multiple version songs which feature Mukesh. So, the count can be considered as 9 also.
The first of the 3 films, Raaste ka Patthar (1972) had two duets with Asha Bhosale and one popular solo which incidentally was a title song.
Adalat 1976 had a solo and another song with Big B himself rendering a few words thus making it a virtual duet.
Mukesh’s duet with Amitabh Bachchan! Now, that’s some kind of a song.
Coming to the last film of the duo, (Kabhi Kabhi, 1976), seriously, what’s the first thing that comes to mind when one comes across this film.
Of course, apart from the moment doe-eyed Rakhee raises her head with her lustrous hair strewn across her left shoulder whilst Big B is rendering Main Pal Do Pal Ka Shaayar on the stage
Or her satiny hair descending on the face of Big B whilst Mukesh is singing
yeh gesuon ki ghani chhaaon hain meri khaatir
indeed, it’s the songs that Mukesh rendered for Big B for the film that spontaneously come to the mind.
Mukesh’s playback perfectly matched the baritone voice of Amitabh dialogue delivery to the T.
Such was the impact of the Mighty Mukesh’s voice right from Motilal to Amitabh Bachchan. From 1940, when he sang for himself on screen to 1976, the year he passed away, the golden voice mattered.
Mukesh also won his fourth and last Filmfare award for the title song of this film.
Finally, coming to the song for the post itself, it is not lip-synced by Amitabh Bachchan but he very well features in the song along with Sharmila Tagore. This aspect is known as some video links on YouTube are available albeit containing snippets of the song. It appears to me that the song features as some sort of refrain throughout the movie. I request knowledge readers to throw more light of this song in the film.
The film is ‘Faraar’ (1975) produced by Alankar Chitra and directed by Shanker Mukherjee. The film stars Amitabh Bachchan, Sharmila Tagore, Sanjeev Kumar et.al. the actor on the screen singing Mukesh’s solo has been identified by our Prakash ji as probably Kishore Namit Kapoor.
The complete audio of the song is available, but strangely the video is difficult to trace on the net. Prakash ji remembers theatre version of the film containing the full video of the song. I have requested our Sudhir ji also to help. I thank our Sadanand ji who brought to my notice that this song was yet to feature on the blog and thus “reserving” it for my new series.
12 posts of mine have appeared on the blog this year, averaging a post a month. Though the number is less, its better off compared to the paltry 3 and 2 in 2021 and 22 respectively.
I intend to increase the number in the coming year by having shorter writeups. 😊.
I take this opportunity to wish the editors, contributors and all readers A very happy and prosperous New Year 2024
May we all continue to enjoy and multiply our mirth of songs and films on the blog.
[Author’s Note: The table containing Mukesh’s songs for Motilal is already with the disclaimer. When this list was shared on a whatsapp group, Mr. Param Arunachalam ji was kind enough to respond that there are a few more Motilal films containing Mukesh’s songs but he too is not sure if they were indeed playback for Motilal. Some examples cited by him are “Arshon Pe Sitara Hai” (‘Beete Din’, 1947), “Na Na Tum Hampe Hanso Na Piya” (‘Mera Munna’, 1948), a couple of songs from ‘Sartaj’ 1950 etc.
I have based my list on the latest edition of Mukesh Geet Kosh (Vol 2) by Shri Harish Raghuwanshi ji. I did not get the list re-confirmed by him due to his health.Thus, this post will probably remain a page under construction for a long time as we seek more and definite info from knowledgeable readers. As and when more info is available, details will be updated. An honest, serious and sincere effort has been made to kickstart this important series with an apt debut of Mukesh’s song for his mentor Motilal. I request readers to acknowledge the difficulties in having a correct and complete list and help us in making it more accurate. — Mahesh]
Audio (Full)
Video (Partial)
Song-Zindagi kya hai yaadon ki baaraat (Faraar)(1975) Singer-Mukesh, Lyrics-Rajinder Krishan, Md-Kalyanji Anandji
Lyrics
zindagi kya hai ae
hmm hmm hmm hm
lalalalala
zindagi kya hai
yaadon ki baaraat
zakhmon ki baaraat
zindagi kya hai
yaadon ki baaraat
zakhmon ki baaraat
kuchh dehke aur kuchh andekhe sapnon ki baaraat
zindagi kya hai
yaadon ki baaraat
zakhmon ki baaraat
kaun kahaan par mil jaaye aur kaun kahaan kho jaaye
kaun kahaan kho jaaye
karwat badle waqt ye aise
kya se kya ho jaaye
kya se kya ho jaaye
gham ke mod pe aakar thahre
khushiyon ki baaraat
zindagi kya hai
yaadon ki baaraat
zakhmon ki baaraat
aisi bhi hotin hai dil mein dard bhari kuchh yaaden
dard bhari kuchh yaaden
dil machale to ban jaati hai honthon par fariyaaden
honthon par fariyaaden
aur duniya ye samjhe
ye hain naghmon ki baaraat
zindagi kya hai
yaadon ki baaraat
zakhmon ki baaraat
zakhmon ki baaraat
zakhmon ki baaraat
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 : |
5618 | Post No. : | 18099 | Movie Count : |
4859 |
I had discussed in my earlier articles, a couple of lesser-known actors like Shaam Kumar and Keshav Rana, who have worked in a large number of films but mostly remained unidentified for the general film audience. But their faces were known to them even though they may appear in the films in small roles or sidekicks. One of such actors was Kamal Mehra.
The information about Kamal Mehra as to which place he belonged, how did he land in Hindi films and what happened after the end of his filmy career is not available online. From the filmography, I guess he commenced his acting career with Kidar Sharma’s ‘Thes’ (1949) when he was known as Kanwal Mehra. He was mostly seen in producer, F C Mehra’s films in the 1950s. His most active years in the films was during 1950-70. His last film was ‘Jeena Hai Pyaar Mein’ (1983).
I have watched Kamal Mehra in some films without knowing his name. In fact, I used to get confused whether the actor I had watched in the films was Kamal Mehra or Rajan Haksar, another character actor of his time. In the age of internet, now it has become easy to identify the actors online. Kamal Mehra has done varied roles – as a dance master to Shashikala in ‘Chacha Chowdhury (1953), an eccentric film director in ‘Aji Bas Shukriya’ (1958), a circus clown in ‘Shikaari’ (1963), a side kick to Biswajeet in ‘Kismat’ (1968) and in ‘Naami Chor’ (1977), an advocate in ‘Paras’ (1971) etc. All these roles had some comical elements. Most of his 50 odd films he did during his filmy career were ‘B’ grade, mainly comprising genres of action, fantasy and costume dramas.
Kamal Mehra turned producer with ‘Saat Samundar Paar’ (1965) under his own banner, Pride of Asia Films. Next, he produced ‘Kismat’ (1968) which became a box office hit. With ‘Naami Chor’ (1977) he debuted as a director which was his last film as producer and director. The star cast included Biswajit and Leena Chandavarkar in the lead roles supported by Shatrugan Sinha, Dev Kumar, Durga Khote, Raj Mehra, David, Keshto Mukherjee, Lata Sinha, Hiralal, Mirza Musharaff, Manmohan, Brahmachari, Bipin Gupta, Gajanan Jagirdar and Kamal Mehra. It is a ‘masala’ film comprising the main genres of films such as romance, music, dances, comedy, villain, fights etc.
The gist of the film’s story is as under:
The film starts with a flash back mode when in a police station, Raja makes a confessional statement of his crime giving reasons as to why he turned a petty thief and a safe cracker.
Many years back, Raja’s father, Kundanlal (Gajanan Jagirdar) after returning from a long tour, confronts his boss, Dhanpat Rai (Hiralal) for the rape of his sister which led to her suicide. During their scuffle, Dhanpat Rai gets killed. Kundanlal is arrested. The court awards him a life imprisonment, leaving his wife, (Durga Khote) and two children, a boy and a girl to fend for themselves.
In order to avoid stigma from the society, Kundanlal’s wife and two children shift to some other city. Raja becomes a petty thief during his childhood to sustain the family. By the time he is adult, he has been in and out of the jails multiple times. Over a period of time, he becomes an expert in breaking locks and safe. During one of his such releases from the jail, he accidentally meets Leena (Leena Chandavarkar) in a train who is a doctor in a hospital and is a daughter of a judge. They have bickerings from time to time whenever they meet.
After completing life imprisonment, Kundanlal is released. Outside the jail, Vinod (Shatrugan Sinha), posing himself as Raja receives him and take to his flat and his posh office. The reason is that it is a ploy by a crime syndicate Boss (Manmohan) to punish Kundanlal for killing his father, Dhanpat Rai. Vinod tries various tricks to take Raja in his gang so that he also becomes in their control for punishment. But all his attempts fail.
Raja who is already in love with Leena and whose influence on him had led to his giving up crime is about to be engaged to Leena when Police Inspector, Anand (Dev Kumar) who has one sided love with Leena, decides to frame him in safe-cracking crime by creating a situation in the engagement party during which a boy is ‘accidentally’ get locked in a big safe. Raja helps in opening the safe but get arrested by Inspector Anand on the ground that he is the same safe cracker police is looking for. When Raja is being taken to police station, the Boss orders his henchmen to blow up the police jeep. The attempt fails. After a long fight with the Boss and his henchmen and after police intervention, Raja triumphs and get united with his mother, sister and also with Leena.
I found the film to be trash. No wonder, it badly flopped at the box office. After this film, Kamal Mehra did not attempt to produce or direct any film. Biswajeet’s acting career, which was already on a waning phase, did not help him to regain his status of a star-actor.
The film had 5 songs written by Shaadab (3), Sardar Hairat (1) and S H Bihari (1) which were set to music by Kalyanji-Anandji. I am presenting the first song from the film which is played in the background as the film’s titles roll. The song is ‘sukh aur dukh iss duniya mein taqdeer ne baaten hain’ which is rendered by Mukesh. The song is written by Shaadab which sets the theme of the story. The third antara of the song gets played in the background when Gajanan Jagirdar, after his release from the prison, meets his grown-up daughter without both of them being aware of it as such. However, the record version of the song has only two antaras.
It is unfortunate that such a beautiful song was a part of a trash film.
Video Clip:
Audio Clip:
Song-Sukh aur dukh is duniya mein taqdeer ne baante hain (Naami Chor)(1977) Singer-Mukesh, Lyrics-Shadaab, MD-Kalyanji Anandji
Lyrics (based on video clip):
sukh aur dukh iss duniya mein
taqdeer ne baate hain….
ek daaman mein phool bhare hain
ek mein kaaten hain
ho o o o
ek mein kaaten hain…..
jo paapi ka naash kare wo
apraadhi kehlaaye ae
lekin ye taqdeer ka likkha
koi badal na paaye ae
jab ke khud insaaf ka maalik
dekh ke chup rah jaaye
ho o o
sukh aur dukh iss duniya mein
taqdeer ne baate hain aen aen
ek daaman mein phool bhare hain
ek mein kaate hain
rona iska dekh raha hai
tu insaaf ke waali ee
apne lahu se ki thhee jisne
bagiya ki rakhwaalee ee
aag laga di iss duniya ne
jal gayi sab hariyaali
ho o o
sukh aur dukh iss duniya mein
taqdeer ne baate hain aen
ek daaman mein phool bhare hain
ek mein kaaten hain
dharti ka seena phat jaaye
aa jaaye toofaa aan…
toone apne ghar mein ye
insaaf kiya bhagwaan….
inke dil pathar ke nahin hain
ye hain tere insaan
ho o o o
sukh aur dukh iss duniya mein
taqdeer ne baate hain aen
ek daaman mein phool bhare hain
ek mein kaanten hain
Hey Re Dayamay, Apni Daya Se
Posted on: September 18, 2023
- In: Appealing to the Almighty | Artist's debut song/ movie | Asha Bhonsle songs | Bhajan | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics contributed by readers | Mukesh songs | Nitin Mukesh songs | Post by Sudhir | Prayer | Song excluded from movie | Song sung by three or more singers | Songs of 1960s (1961 to 1970) | Songs of 1970 | Sushma Shreshtha Songs | Thanking the Almighty | Yearwise breakup of songs
- 4 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
This is the 18,000th post on this blog.
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Blog Day : |
5540 | Post No. : | 18000 |
The Voice of Mukesh #77
– – – – – – – – – – – – –
We are now in the 16th year of the existence of this blog. The centenary anniversary of Mukeh has just passed. Today is the five thousand five hundred and fortieth day of publication of this blog. A little while back, earlier today, we had the 16 million, 48 thousand and seven hundredth visitor, to come visit this part of the virtual universe, maybe looking for a specific song, or information or lyrics. We are now a standard benchmark in the online world.
And we bring to you today, the 18 thousandth post being added this incredible library.
Is time real? Is there this invisible milieu that stretches forever in all directions? Or this is just an awareness that progressively witnesses a changing world around us? Is there a changing, decaying entity with in us, which actually experiences this awareness and generates a perception of a flow? And we name this time.
I do not recall where was I on the 19th July of 2008. Must have been a normal day, and a normal flow of experiences. Wonder what others may recall for that day. I am sure Atul ji and Raja ji will surely recall. For they were the doers of setting in motion, this phenomenon. Nothing grandiose was on the horizon. Just that an engineer with Railways, with a penchant for music of Hindi films, wanted to start writing about that music. All in a very humble way.
The expectations may not even have materialized in Atul ji’s mind. Maybe a thousand posts, for a thousand songs, and then to move on to a new endeavor. Maybe something more about cricket. Or may be, another thousand songs, kind of the total Hindi film universe that was inside Atul ji’s mind.
Maybe what Atul ji also did not realize at that time. His humble initiation of this effort, would soon take on a life of its own. Ah yes, it did. And it slowly, imperceptibly transformed into this amazing wonderment on the internet – the ASAD phenomenon.
People recognize it now, they talk about it. The mention of ASAD in certain type of gatherings sounds normal. Everyday nearly three thousand people will visit here. That makes it an average of 120 visits per hour, and so on and so forth – the math can be extrapolated in so many diverse ways.
The phenomenon is in the making. It is generating a history of its own. The richness of information that is being compiled everyday provides many views into the ASAD universe. Maybe, maybe, in some future, this blog will be a subject of research and analysis.
The table below provides a very simple view into the progression of the thousandth milestones over the past years.
| Milestone | Song Title | Film and Year | Date and Day | Blog Day | ||
| 1000 | Piya Ham Saat Mulk Ka Paani | Lootmaar | 1980 | 30-Mar-09 | Mon | 255 |
| 2000 | Dhakdhak Karti Chali Jeewan Ki Rail Re | Dilruba | 1950 | 27-Sep-09 | Sun | 436 |
| 3000 | Maa Mujhe Apne Aanchal Mein Chhupaa Le | Chhota Bhai | 1966 | 20-Sep-10 | Mon | 794 |
| 4000 | Kyaa Se Kyaa Ho Gayaa Bewafaa Tere Pyaar Mein | Guide | 1965 | 13-Jun-11 | Mon | 1,060 |
| 5000 | Hamen To Loot Liyaa Mil Ke Husn Waalon Ne | Al Hi Laal | 1958 | 13-Nov-11 | Sun | 1,213 |
| 6000 | Geet Kitne Gaa Chuki Hoon | NFS – Asha Bhosle | 1960 | 23-May-12 | Wed | 1,405 |
| 7000 | Falak Se Utre Zameen Pe Taare | NFS – Mohammed Rafi | 1960s | 13-Nov-12 | Tue | 1,579 |
| 8000 | Beautiful Baby Of Bombay | Ek Phool Chaar Kaante | 1960 | 28-Apr-13 | Sun | 1,745 |
| 9000 | Ankhiyan Sang Ankhiyaan Laagi Aaj | Badaa Aadmi | 1961 | 13-Nov-13 | Wed | 1,944 |
| 10000 | Phul Rahin Belariyaan Dolen | Trapped | 1931 | 20-Jul-14 | Sun | 2,193 |
| 11000 | Kaam Ki Dhun Mein Hain Rawaan | Gyaarah Hazaar Ladkiyaan | 1962 | 31-Mar-15 | Tue | 2,447 |
| 12000 | Door Desh Se Aane Waale. . . Piya Milenge | Gaja Bhaau (Marathi) | 1943 | 20-Apr-16 | Wed | 2,833 |
| 13000 | Dil Tumse Lagaaya Kyun Hamne | Captain Azaad | 1964 | 4-Mar-17 | Sat | 3,151 |
| 14000 | Khayaam Hai Allah Waala | Omar Khayyaam | 1946 | 1-Feb-18 | Thu | 3,485 |
| 15000 | Deepak Jo Gaaye So Paaye Gyaan Dhyaan | Shahenshah Akbar | 1943 | 21-Apr-19 | Sun | 3,929 |
| 16000 | Ham Wafaadaar Nahin Tu Bhi To Dildaar Nahin | Toofaani Teerandaaz | 1959 | 27-Oct-20 | Tue | 4,484 |
| 17000 | Kadamb Taley Aa Jaiyo Ho Kateele Kaajalwaale | Zaalim Jawaani | 1932 | 12-Jun-22 | Sun | 5,077 |
| 18000 | Hey Re Dayamay, Apni Daya Se | Ghar Ghar Ki Kahani | 1970 | 18-Sep-23 | Mon | 5,540 |
Prior to the five thousandth post, the passing of the first four thousandth milestones were kind of non-events. Not ignored, but also not celebrated as we do now. For example, the thousandth song, while acknowledging the milestone, was in fact a short write up, and just two comments – from Lalitha ji and Raja ji.
A similar handling of the two thousandth post. Acknowledge the milestone, the write up maybe a little longer than the one for the first thousandth, and three people commented.
Things started to become more interesting with the third thousandth milestone. It was a long post, written by Raja ji. Eight people commented on the post, out of which 4 were simply requests for an English translation of the lyrics. But the write up is really great.
With the fourth thousandth post, we step into the space of real serious writing, accompanied by serious discussions and comments. The write up is classic. [Raja ji – where are you, missing your presence on the blog for a long time now]. Ten people commented – and real serious discussions in comments too, with multiple back and forth conversations.
By the time we arrive at the fifth thousandth post, the pattern is now set in seriousness. The search and choice of the song, and the write up itself, discussion in comments – everything has now become a considerable enterprise.
Beyond that, the search for songs has become a major effort. The attempt is to bring on board songs with a dramatic uniqueness, and a quality of rarity associated with it. Let us come to the song for today’s eighteenth thousandth post.
The centenary celebration for Mukesh has just happened some weeks back. A back and forth conversation has been happening between Mahesh ji and myself, apropos this song – when to uncover this and when to post.
The song being presented today is in a category of rarity all of its own. In a manner of speaking this song is simply one of its kind. As far as I have been able to ascertain, there is no other song of this type. Yes, it is a Mukesh song. And the remarkable feature of this song – it also has the voice of Nitin Mukesh. As far as I could search and confirm, this is the only song that contains the voices of this father son singer duo. This makes it special, as well as rare.
The aspect of rarity is really a uniqueness of this song, and also the reason that it has remained away from limelight since its creation more than 53 years ago. It was created and recorded but it did not appear in the movie. The producer/director of the movie made a decision not to include it in the film. And the next misfortune that befell this song is that it never got published on a gramophone or a vinyl record. In essence, this song was lost to the outside world, for good.
Well almost. It most probably survived on a spool tape after it was recorded. It never got forwarded to the gramophone company to be published. It would have been part of some original planning sheets for the songs of the film. When the decision was made to exclude it, then it got excluded even from the booklet and other publicity material prepared for the film. And so, except for some very secluded existence, this song was obliterated from view of the known world.
We get the first inkling of its existence when the Surat based film historian and die hard Mukesh fan Shri Harish Raghuvanshi ji listed it in the updated and enlarged 2nd edition of the Mukesh Geet Kosh, which he pubished recently in 2020. There were murmurs heard earlier about the possibility of a song containing the voice of this father son duo, but nothing proven ever came to light.
And even so, in the 2nd edition of the Mukesh Geet Kosh, Harish ji identifies and lists this song at number 978, he still does not identify two major features of this song. First, he has included this song in the non-film songs section of the book. Secondly, the name of Nitin Mukesh is not listed as one of the singers. For that matter, the name of Sushma Shreshtha is also not listed. However, a foot note is added for good measure, which says that based on available information, this song was created by Kalyanji Anandji for the 1970 film ‘Ghar Ghar Ki Kahani’, and that it was excluded from the film.
The actual song itself makes it first appearance online a little over five years ago. There is YouTube channel by the name ‘Pavan Tanay’. The owner of this channel uploaded this song on 28 November, 2017. All good so far. A kind hearted gentleman who brings forth one of the rarest treasures of HFM, and puts it on his channel without much fanfare.
But in doing this favor to the world, he also created an exacerbating problem for all. He provides completely erroneous information about the antecedents of this song. He links this song to the 1982 film ‘Hum Sab Ek hain’, with MD’s name given as Khayyam, and the lyricist’s name given as Jaan Nisar Akhtar.
[Author’s Note: This post was planned to be done yesterday. But then this spin on the correct credits of this song took away practically my entire day in trying to resolve this confusion. Mahesh ji has been part of that multi pronged effort of mine yesterday.]
I have this song in my collection for a while now. It was given to me by another dear friend and collector of Hindi films and songs, Ahsaan Qasim, who is based in Hapur, near Delhi. So when Mahesh ji sent me the link from the ‘Pavan Tanay’ channel some days back, and I viewed it now just as part of the preparation for this post – it felt like a googly bowled at me.
So more research started. The first discovery was that yes there is a film by a similar name in 1982, listed in the Geet Kosh volume 6. I say similar, because the correct name of the film is ‘Hum Ek Hain’, and not ‘Hum Sab Ek Hain’. That actually pointed us towards the fact that this ‘Pavan Tanay’ channel could well be full of erroneous information. Mahesh ji then confirmed this thought with his message that yes, the channel contains a lot of erroneous info.
But still, the confirmations had to be done. So I was in back and forth conversation with many friends, including Zafar Bhai (who in turn tried to get confirmation from RMIM group of which he is a member), Ahsaan Bhai, Mahesh ji, Vishkarma ji, Bakhshish ji, Javed Bhai and others.
As I checked the Geet Kosh volume 6, the entry listed for this film is completely blank except for the name of the production company and censor details. It is obvious that Hamraaz ji could not also find any additional info, other than what he may have extracted from the censor data. But ‘Pavan Tanay’ upload did point us in the direction of Khayyam. I recalled that Vishwas Nerurkar ji of Bombay has published the filmography and sonography of Khayyam in book form. I then also initiated conversation with him, to confirm. His response was quite clear. Yes the film of 1982 does have music by Khayyam, lyrics by Jaan Nisar Akhtar. But this song is definitely not from that film. He pointed me towards the entry of this film in his book, where two songs are listed. One is a solo in the voice of Mukesh and the second is duet in the voice of Mukesh and Jagjeet Kaur. This four singer song is definitely not from that film.
That settled one part of the controversy. Mahesh ji also pointed out that there is another film from 1969 with the same title ‘Hum Ek Hain’, which is listed in the Geet Kosh volume 4. But that film has music by Usha Khanna, and so it does not stand in contention with the credits for this song. Mahesh ji then also dug out two Wikipedia pages. One page is for Nitin Mukesh. It has this song listed in the list of songs that Nitin Mukesh has sung with other singers. The second Wikipedia page is for the 1970 film ‘Ghar Ghar Ki Kahani’. This page also, thankfully lists this song.
So after much ado (really about nothing – Shakespeare would have been delighted), we agreed to decide in favor of ‘Ghar Ghar Ki Kahani’. It was well past midnight by the time I firmed up this conclusion and decided to go ahead with the post. And as they say – man proposes, fatigue disposes, my writing energy lasted till about 2 am and then I crashed. I wrote to Atul ji that this post will have to wait for the next day, i.e. today, 17th September, 2023, the 5540th day on the blog calendar.
Ah yes, I should have noted this earlier. Although Harish ji’s Mukesh Geet Kosh is silent about the two additional singers, other than Mukesh and Asha Bhosle, the identity has been established and confirmed by listening to the song, and conferring with other knowledgeable friends who have confirmed that the song does have the voices of Nitin Mukesh and Sushma Shreshtha.
Those who have seen the 1970 film ‘Ghar Ghar Ki Kahani’, will recall. The film is a very traditional family drama. The main family has five members, Balraj Sahni and Nirupa Roy as the upright and honest parents, and three children Ravi, Roopa and Raja (roles played respectively by Mahesh Kumar, Baby Sonia (aka Neetu Singh) and Master Ripple). This song sounds like a prayer that the family sings together at Pooja time in their home. Given the cast of actors, and without having a video to support my statements, I would say that Mukesh gives playback to Balraj Sahni, Asha Bhosle gives playback to Nirupa Roy, and Nitin Mukesh and Sushma Shreshtha are giving payback to the child characters Ravi and Roopa.
Nitin Mukesh is born on 27 June, 1950. At the time of recording of this song, he would have completed his 19th year, and would have been in his 20th year. Sushma Shreshtha is born in the year 1960, and would have been just 9 or 10 years old at the time of recording. These ages sound quite right as we listen to these two voices in the second antaraa of this song. That can be considered another piece of evidence in favor of this song being from a 1970 film and not a 1982 film.
Quite an adventure it was – a lot of time spent just because some folks are not careful about the information that they attach to their uploads. At first I was thinking of using the ‘Pavan Tanay’ link for the post, but then decided against it. I then uploaded the song from my own collection, with the correct and complete information.
So we bring this 18,000th offering to this blog. Celebrations delayed by a day, but then what is a day, and what is an era – the feeling of the self inside me is still the same as it was way back in 2010, when I first joined this bandwagon. Nothing has changed. There is music everyday. And that is all that matters. It will be 19 soon, and then 20. And the bandwagon trundles along, along behind the banjaara with a musical instrument on his back, crossing basti basti parvat parvat, without a pause, without a change of pace.
And the music plays on. . .
Let the winds blow
Let the rivers flow
Let the sun and stars
Traverse the skies as they may
Let the music play on
Let the music play on
Time is a figment of imagination
And age is just a number
Let the music play on
Let the music play on
ye hansta hua karvaan zindagi ka na poochho chala hai kidhar
tamanna hai ye saath chalte rahen hum na beete kabhi ye safar
Song – Hey Re Dayamay, Apni Daya Se (Ghar Ghar Ki Kahani) (1970) Singer – Mukesh, Asha Bhosle, Nitin Mukesh, Sushma Shreshtha, Lyrics – [Unattributed], MD – Kalyanji Anandji
Nitin Mukesh + Sushma Shreshtha
All in Chorus
Lyrics
hey re dayamay
apni daya se
hey re dayamay
apni daya se
sachchaai ki shakti do
sab kuchh tum ne hum ko diya hai
bas ek apni bhakti do
hey re dayamay
naam tera is ghar mein goonje
hey giridhar giridhaari
hey giridhar giridhaari
sada phale phoole is jag mein
ye nanhi phulwaari
bhav saagar se
paar kare jo
prem ki aisi kashti do
sab kuchh tum ne ham ko diya hai
bas ek apni bhakti do
hey re dayamay
tum bhi maakhan chor ho mohan
tum bhi maakhan chor ho mohan
hum hain bal gopal re
hum hain bal gopal re
hum se koi bhool jo ho to
karna kshama nandlal re
apne kul ki shaan baney hum
aisi hum ko shakti do
sab kuchh tum ne ham ko diya hai
bas ek apni bhakti do
hey re dayamay
dukh mein hum ko dheeraj dena
sukh mein na abhimaan ho
sukh mein na abhimaan ho
aisi daya karo hum pe dayaalu
sukh dukh ek samaan ho
teri khushi mein khush rahen hum
aisi hum ko shakti do
sab kuchh tum ne ham ko diya hai
bas ek apni bhakti do
hey re dayamay
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Hindi script lyrics (Provided by Sudhir)
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हे रे दयामय
अपनी दया से
हे रे दयामय
अपनी दया से
सच्चाई की शक्ति दो
सब कुछ तुम ने हम को दिया है
बस एक अपनी भक्ति दो
हे रे दयामय
नाम तेरा इस घर में गूँजे
हे गिरधर गिरधारी
हे गिरधर गिरधारी
सदा फले फूले इस जग में
ये नन्ही फुलवारी
भाव सागर से पार करे जो
प्रेम की ऐसी कश्ती दो
सब कुछ तुम ने हम को दिया है
बस एक अपनी भक्ति दो
हे रे दयामय
तुम भी माखन चोर हो
तुम भी माखन चोर हो
हम हैं बाल गोपाल रे
हम हैं बाल गोपाल रे
हम से कोई भूल जो हो तो
करना क्षमा नन्दलाल रे
अपने कुल की शान बने हम
ऐसी हमको शक्ति दो
सब कुछ तुम ने हम को दिया है
बस एक अपनी भक्ति दो
हे रे दयामय
दुख में हमको धीरज देना
सुख में ना अभिमान हो
सुख में ना अभिमान हो
ऐसी दया करो हम पे दयालु
सुख दुख एक समान हो
तेरी खुशी में खुश रहे हम
ऐसी हमको शक्ति दो
सब कुछ तुम ने हम को दिया है
बस एक अपनी भक्ति दो
हे रे दयामय
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 : |
5518 | Post No. : | 17966 |
#the Decade of Seventies – 1971 – 1980 #
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(Down Memory Lane with songs of Mukesh)
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(A tribute to Singer Mukesh on his Remembrance Day 27th Aug’2023)
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Readers of this blog are aware that this year is the ‘birth centenary year’ of the legendary singer Mukesh (22.07.1923 – 27.08.1976). Earlier we had a few posts on the blog for the birth centenary celebrations. When our respected Sudhir ji and Mahesh ji started presenting posts with Mukesh songs I was under the impression that there will be post on every day starting from 22nd July to 27th August (which is Mukesh’s Remembrance Day) since many Mukesh songs are yet to be posted here. That did not happen. But there were some Mukesh related posts till his birth anniversary …
In the case of remaining Mukesh songs to be posted, I am under confusion whether that song is going to be taken by Mahesh ji or not? 🙂 Sometimes (or most of the times) I seek confirmation from him.
In one recent post of Mahesh ji, I had commented and mentioned that I woul;d also be sharing a write-up with a Mukesh song from a film of seventies.
Here is that article which I would like to share. The songs of Mukesh are very much the part of my life. I used to listen to his songs frequently during my cassette listening days. These songs have been there in the moments of struggle, happiness, joy, despair, disappointment, inspirational and motivating depending on the ‘phase of emotions’ I was going through in my life.
I was born in the year 1968. The two oldest songs of Mukesh that I became aware of are ‘chal akelaa, chal akelaa, chal akelaa aa’ and ‘duniyaa se jaanewaale jaane chale jaate hain kahaan’. Even today When I listen to these songs, they transport me back to the era when I was a child and these songs would be playing on radio.
Other Mukesh songs too got embedded on my impressionable mind either through listening on the radio and/or by watching the movies containing those songs with the elders in the family. One such song was ‘wo pari kahaan se laaun …ye gangaaram ki samajh’. My uncles used this song to tease me during family get together. ( I used to get irritated when they called me as ‘Gangaaram 🙂 ). The other songs were from movies like ‘Hariyaali Aur Raastaa-1962’ which was a family favorite. I remember to have watched it multiple times with my uncles, grandmother, aunts, parents etc.
I remember that one of my Uncles had bought a record player. He had one LP record of the movie ‘Be-imaan’. it’s’ title song – ‘jai bolo beimaan ki’ is among the memorable songs of those days for me.
As I grew up, I became aware of two patriotic songs sung by Mukesh. These songs were my favorites during school days. These were also frequently played on loud speakers and radio during celebrations of Independence Day and Republic Day of our country.
These are the songs ‘chhodo kal ki baatein kal ki baat puraani’ and ‘honthhon pe sachchaayi rehti hai’. I learnt these songs by heart and I used to sing them (in my own voice 🙂 ).
My school going years beginning from standard 7th up to passing out of matriculation exams in 1983 was the phase of movie watching for me. During those years, I got to watch many of the old ‘black & white’ movies (in our colony club e.g. ‘Nazraana-1961’, ‘Kanhaiyya-1959’, ‘Aashiq-1962’ etc. and movies like ‘Deewaana-1967’ etc ). They often had songs sung by Mukesh. Moreover current movies of that time too had songs sung by Mukesh that left permanent impression on my impressionable mind. In addition to watching movies, I was heavily into listening to songs played on radio programmes such as ‘Vividh Bharati’ & ‘Urdu Service of AIR’.
I am listing a few such songs heard during those days that I used to like a lot.
Aaya hai mujhe phir yaad wo zaalim (also the other song ‘bahaaron ne mera chaman loot kar’ from the same movie), Main pal do pal ka shaayar hoon (this was obviously much before the I got into the ‘Sahir –era’), ‘Ik din bik jaayegaa maati ke mol’, ‘Tu shaitaanon ka sardaar hai’, ‘Chandan sa badan’, ‘Aansoo bhari hain ye jeewan ki raahen (this is also the one which I learned by heart and …)’, ‘Phool tumhe bheja hai khat mein’, ‘Chanda re mori patiyaan le jaa’, ‘Aa laut ke aaja mere meet’, ‘Dil lootne waale jaadugar’, ‘Saarangaa teri yaad mein’, Dil Hi To Hai’ (all songs sung by Mukesh), ‘Bade armaanon se rakhaa hai balam teri kasam’, ‘main aashiq hoon bahaaron kaa’…
Then there were songs like ‘do jaasoos karen mehsoos’, ‘ye duniya ek numberi to main dus numberi’, ‘pari re tu kahaan ki pari’, ‘tere hamsafar geet hain tere’, ‘kuchh aise bandhan hote hain’, ‘saat ajoobe is duniya mein’, ‘ham donon milke kaagaz pe dil ke’, ‘Tan man dhan sab hain tera’, ‘Sansaar hai ik nadiyaa’ etc etc …
I am only mentioning here those songs that were special to me or songs which I like most at that stage of my life. There were obviously many songs of Mukesh which were frequently heard and those which were very popular and they became part of my collection – ‘cassette collection’ – later.
The two years from 1983 to 1985 was another phase of movie watching for me and also this was the period that was a ‘peak period’ as a Rajesh Khanna fan for me when I watched most of the new and old movies of Rajesh Khanna in theatres, TV, Video Parlors etc. So, when I get to watch the movie ‘Raaz-1967’, ‘Maryaadaa-1971’ etc then I liked these songs much more ‘dil sambhaale sambhaltaa nahin aaj to’, ‘zubaan pe dard bhari daastaan chali aayi’ , Anand-1970 (all songs by Mukesh), ‘jis gali mein tera ghar na ho baalmaa’, ‘haan to main kya keh rahaa thhaa’, ‘phool aahistaa phenko’ …
This routine got further extended from 1985 to 1988 during my stay at Parli Vaijnath. By then cassette players have become a ‘norm’ and I too bought a ‘mono cassette player’ on installment in 1986. I had started working since April’1985. During this period while I was getting compilation of songs prepared by me and getting them recorded for my ‘Boss’ and for my personal collection too. So I got recorded a ‘Mukesh sings for Raj Kapoor’ in TDK90. Then I also got film combinations recorded like ‘Shree 420-Aawaaraa’, ‘Jis Desh Mein Gangaa Behti Hain-Mera Naam Joker’, ‘Kabhi Kabhi- Silsilaa’ etc.
Pre-recorded albums like ‘Andaaz-Baabul’ were getting added to my collections ‘swiftly’ 🙂
The pre-recorded compilations from HMV which my Boss was buying frequently and I too bought many during my tour to our Head Office – Delhi also introduced me to many Mukesh songs which I liked most. These included songs like … ‘koi bulaaye aur koi aaye (Moods & Memories – Mukesh), ‘hari bhari vasundhara hai neelaa neelaa ye gagan’, ‘khushi ki wo raat aa gayi koi geet bajne do’, ‘cheen o arab hamaara’ (much before the Sahir phase for me was yet to come:) ), ‘sajanwaa bairi ho gaye hamaar (for that matter all songs sung by Mukesh of ‘Teesri Kasam’), ‘Sada khush rahe tu jafaa karne waale’ (Jubilee Hits of Rajendra Kumar) etc etc.
During this period one of my colleagues was a pure Mukesh fan and he used to listen to songs sung by Mukesh only. I was wondering how one can like only Mukesh songs so much? But that also motivated me to explore Mukesh songs further.
In HMV’s compilations for ‘duet songs’ of the various decades there were many duet songs sung by Mukesh. I may have mentioned some above and would like to add these ones further … ‘chori chori jo tumse mili to log kya kahenge’, ‘tumse kuchh kehna hai gar tum kuchh kehne do’, ‘tum roothhi raho main manaataa rahoon’, ‘dekho mausam kya bahaar hai’, ‘maine dekhi jag ki reet meet sab’, ‘bikhraa ke zulfein chaman mein na jaanaa’, ‘humsafar mere humsafar’..
When HMV had started the ‘music mail’ scheme I had also taken its’ membership and I remember I had then ordered among other cassettes one of Raj Kapoor or Mukesh Hits because it had this song ‘tum aaj mere sang hans lo tum aaj mere sang gaa lo’ though the album contained some songs which I already had.
Then I got posted at Kota (Rajasthan) and during my stay there another phase of getting recorded albums/compilations happened where I remember I got ‘Pehchaan-Beimaan’, ‘Anaari-Chhaliya’ like combinations recorded. Then I got to know about the rendition of ‘Sunderkaand’ by Mukesh, either somebody suggested me or I read about it, so I added this ‘divine’ album to my collection and used to listen it then.
From the above period I would like to mention two songs separately which I must have heard on radio and like them very much but they keep me eluding till the internet age. I was getting to listen them sometime on radio but was not aware the name of their movie and other details. And these were not featuring in any of the compilations then.
‘gardish mein hon taare naa ghabraanaa pyaare’, ‘ek hasrat thhi ke aanchal ka mujhe pyaar mile’ …
From Kota I was transferred to Phulpur near Allahabad (1996-98) where I spent two years. Phulpur is a small town and whenever we get to visit there in the market I was always looking for cassettes. One day I bought a cassette containing ‘saawan ke geet’ and I was very happy that day because the album was having this song ‘aye baadal jhoom ke chal’ which I think was not available in the popular albums. (This was a ‘T-series’ cassette).
After the ‘All Time Great’ series HMV brought the ‘The Golden Collection’ series and as usual many more albums keep adding to my collection including Mukesh songs.
Later on the CDs/DVDs took over and listening to cassettes was getting reduced and nowadays even the cassettes are lying in the drawers since many years now. Even the CD/DVDs are out of routine now…
From ‘2008’ onwards I landed into Sahir era so the songs from ‘Phir Subah Hogi’, ‘Kabhi Kabhi’, ‘Dil Hi To Hai’ etc had become a routine, and songs from movies like ‘Dilli Ka Daada’ which I was not aware became known to me where Mukesh songs were also there.
After getting associated with this blog I got to know and listen to the many lesser heard and rare songs of Mukesh which I had not heard so far.
I also got the opportunity to share Mukesh songs though there were not many of his songs remaining to be posted. Still I was very happy to share the songs like ‘kahaani kismat ki’, ‘tu miley to poochhoon tujh se’, ‘dil se dil ki dor bandhi jo’, ‘anuraagi man sab kuchh seh le’ which I am very happy to have shared on the blog. Also I was very happy to share the song from ‘Romeo In Sikkim-1975’ – ‘tum hi to ho’, and ‘Shri Krishna Arjun Yuddh-1971’ – ‘kiskee dharti kiskaa gaam’ recently on the blog. Still there are songs from movies like ‘Ek Bechaara’-‘naach haseena naach’ etc. which I like and would like to see them coming here as early as possible.
The journey continues and the songs of Mukesh will be forever with us till HFM exists on this planet …“maanjhi naiyya dhhoondhhe kinaaraa … kabhi na kabhi to milan hogaa tumse hamaaraa aa”… Singer Mukesh left this planet when I was just eight years old in 1976, but his voice had been always with me in my journey of life and it will be there always with my soul further…
For today’s presentation and as a tribute to Mukesh I have taken a song from my younger days from the decade of ‘seventies’. This is from the movie ‘Dus Numberi-1976’. It is sung by Lata Mangeshkar and Mukesh. On screen Hema Malini and Manoj Kumar lip sync the song and perform with other artistes also visible.
Lyrics for this song are by Majrooh Sultanpuri and music is composed by Laxmikant-Pyarelal.
This song featured at number 24 in the ‘annual Binaca Geetmala List of 1976’. The other song from the same movie i.e. ‘duniya ek numberi to main dus numberi’ also featured in this list at number 10 ( 🙂 a coincidence?)
Let us enjoy the song now …
Video
Song-Mujhe dard rehta hai dil mein dard rehta hai (Dus Numberi)(1976) Singers-Lata Mangeshkar, Mukesh , Lyrics-Majrooh Sultanpuri, MD-Laxmikant Pyarelal
Lyrics
mujhe dard rehtaa hai
hmm
dil mein dard rehtaa hai
achchhaa
mujhe bhookh nahin lagtee
mujhe pyaas nahin lagtee
baap re
saaraa din tadaptee hoon
saari raat jagtee hoon
jaane kya huaa mujhko o
koyi de dawaa mujhko
mujhe dard rehtaa hai
dil mein dard rehtaa hai
mujhe bhookh nahin lagtee
mujhe pyaas nahin lagtee
saaraa din tadaptee hoon
saari raat jagtee hoon
jaane kya huaa mujhko o
koyi de dawaa mujhko
mujhe dard rehtaa hai ae
dil mein dard rehtaa hai
to hari naam ko jaap ke
gangaa jal pi lenaa aa
arey hari naam ko jaap ke
gangaa jal pi lenaa aa
pi kar phir aaraam se praani
jug jug ji lenaa
yadi phir bhi naa miley
tujhe aaraam
to rakshaa kare teri siyaa raam
siyaa raam siyaa raam
siyaa raam siyaa raam
teri dillagi
haaye haaye haaye
ik aankh naa bhaaye bhaaye
bhaaye
teri dillagi
haaye haaye haaye
ik aankh naa
bhaaye bhaaye bhaaye
mujhe rog bhaari
hai hai hai
badi bekaraari hai hai hai
jab dil dhadktaa hai
jaise dank lagtaa hai
jiyaa talmalaataa hai
rab yaad aataa hai
teri dillagi haaye ae
ik aankh naa bhaaye ae
hai buraa aankh ka rog
sundari ee
sudh iski lenaa aa
hai buraa aankh ka rog
sundari ee
sudh iski lenaa aa
soormaa ????
aankhon mein jee lenaa
yadi phir bhi ho wahi
subah o shaam
to rakshaa karen teri siyaa raam
siyaa raam siyaa raam
siyaa raam siyaa raam
hey raam kya hogaa
anjaam kya hogaa
aawaaz doon kisko o
koyi thhaam le mujhko
bechain phirtee hoon oon oon
uthhtee hoon
girtee hoon oon oon
ik saans aati hai
ik saans jaati hai
hey raam kya hogaa
anjaam kya hogaa aa
arey jataa dhaari ke naam
baalike
ik rassi lenaa aa
jataa dhaari ke naam
baalike
ik rassi lenaa
aur galey mein phandaa daal ke
har dukh se chhuttee lenaa
yadi phir bhi naa bane
teraa kaam aam
to rakshaa kare teri siyaa raam
siyaa raam siyaa raam
siyaa raam siyaa raam
nahin maut bhi aati
tujh se hain ghabraatee
nahin maut bhi aati
tujh se hain ghabraatee
main hoon kya boori aisi ee
jaanu kya main pardesi
haay haay
phir ye dil dhadkaa aa
phir naam le ishwar kaa aa
arjun
arjun
arjun mere arjun arjun
arjun
arjun
arjun mere arjun arjun
rahi jo o yahi uljhan n n
to ban jaaungee ee jogan
abhi jaa ke baazaar se
bhagwaa chunree le aanaa
arey abhi jaa ke baazaar se
bhagwaa chunree le aanaa
tyaag ke phir sansaar ko praani
ban mein bas jaanaa aa
yadi phir bhi tu phirey
dil ko thhaam aam
to rakshaa kare teri siyaa raam
siyaa raam siyaa raam
siyaa raam siyaa raam
mujhe dard rehtaa hai
dil mein dard rehtaa hai
siyaa raam
siyaa raam
siyaa raam
siyaa raam
mujhe bhookh nahin lagtee
mujhe pyaas nahin lagtee
siyaa raam
siyaa raam
siyaa raam
siyaa raam
siyaa raam
siyaa raam
siyaa raam
siyaa raam
Beraham ye zameen beraham aasmaan
Posted on: August 27, 2023
This article is written by Mahesh Mamadapur, 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 : |
5518 | Post No. : | 17965 |
Mukesh and his Composers – 30
Mukesh,
• A name that will remain etched in active memory of HFM lovers.
• A voice that will continue to enthrall the inner souls.
• A legend whose immortality will last for several generations to come.
Remembering a noble soul who passed away on this day 27 August 1976, in Detroit city of America. And, even though he departed nearly half a century ago, this year has been unique as his birth centenary was celebrated on 22 July.
Hon. Prime Minister Shri Narendra Modi also tweeted.
Concerts, packed auditoriums, reality shows, orchestras, individuals rendering on their social media accounts, radio stations playing his songs non-stop, dedicated blogs etc. continue to perform, play, portray and personate the magic and the legacy left behind by the golden voice of Mukesh.
So, what makes Mukesh so popular although he sang hardly a thousand odd songs compared to more than 4-5 times that his contemporaries sang? Well, the answer is obviously the “hit ratio”. To dissect the reason further, the following can be inferred as few of the rationale.
• His crystal-clear diction in rendering the songs.
• The sense of honesty reflecting in the voice which directly touched the hearts of common man.
• Raj Kapoor’s movie themes and the uncanny perfect blend that the “soul” had on the “body”.
• Popularity of songs from Awara and Shree 420 crossing national borders early in his career.
• Mukesh’s penchant for sad songs which earned him the sobriquet of Tragedy King.
For his birth centenary, I wrote a-post-a-day for a week and elaborated in some of the posts, the difficulties in tracing quite a few of his yet-to-be-posted songs, the uncertainty of hitting the four-digit number on this blog and the multiple series and compilations that I am working upon. Of late, I have reinvigorated my efforts by opening newer modes and connections to see if I can get any missing or rarely available songs of Mukesh. I will surely place on the blog anything that comes up. And then, the much easier option is to set the ball rolling by briefing Sudhir ji. 😊 In fact, the latter option has fetched some pleasant discoveries which will have to wait for more appropriate occasions.
Mukesh’s journey of melody over three and half decades is well captured on this blog by various contributors. My own 3 series running parallelly will continue with the available but unposted songs. I suppose it will take another 2-3 years before we really start struggling for songs to be posted on the blog.
His treasure trove of NFS is yet to be explored substantially on the blog. Let us see how best we can move forward with this body of work too.
In my multiple series and the many posts on Mukesh, I have seldom expressed or declared my favorite songs for it is the voice itself that I am in love with. For that matter, it is very difficult for any adherent Mukesh fan to come up with 50 or even 100 best songs.
It is not without reason that the hit-ratio is a parameter used for measuring the popularity of Mukesh.
Beginning with Ashok Ghosh’s Dil hi bujhaa huaa ho to fasl-e-bahaar kyaa from Nirdosh (1941) and culminating with his last recorded song for Raj Kapoor’s Satyam Shivam Sundaram, Mukesh sang almost all facets of music such as classical, raag based, devotional, patriotic, romantic, cabaret, foot tapping, philosophical, religious, background, festive, title songs, song during rolling of titles, ghazal, geet, nazm, non-film etc.
The numbers in individual categories may be less, but yes, he did sing all aspects one can think of. He, in fact recorded 6 private songs in Delhi when he was barely 16-17 years of age before he landed in Bombay in 1940 to start his film career.
There are also several national and international concerts, private singing in parties and functions of friends and as we have recently discovered some songs for A.I.R also which are not much in public domain and have remained anonymous for decades.
Also, the complete rendition of Tulsi Ramayan in his pious voice is considered amongst his most important works. Thus, there is a whole spectrum of songs that is available. Coming to the statistics of his songs, I have already covered the aspects in detail in my last post on his birth centenary date last month.
August 23, 2023, 06:04 PM, was a significant and historical moment for the nation for we became only the fourth nation in the world to land on moon. It was even more significant since our nation was the first in the whole world to land successfully on the southern polar region of the moon.
Along with congratulatory messages by proud citizens and nations around the world, there were obviously quite a few songs on “chand” circulating on social media.
On one of the songs whatsapp groups, Sudhir ji had posted a few “chand” songs. I jokingly asked him if he could post the elusive O chand mujkho zara yeh bata from the film 26 January (1956) under the composition of C. Ramchandra. For the unversed, this is an elusive song from the said film wherein other songs are available, but this particular solo by Lata is yet to surface.
Sudhir ji replied “ Yes, I wish, I could.”
Our discussions soon tuned one to one wherein we discussed the possibilities of songs to be posted on Mukesh’s Remembrance Day. My mind was so pre-occupied with the successful moon landing that multiple, but half-cooked thoughts were running in the mind for the song that I should select and the framework of this post. I got an idea of continuing my series Mukesh and his Composers by writing a post on the compositions of Mukesh himself.
Mukesh has composed for 5 NFS which he has himself sung.
Further, readers are aware that he scored for the film Anuraag (1956) consisting of 9 songs. Mukesh was the actor, composer, producer and singer of 2 solos in this film. Lata Mangeshkar (4 solos), Shamshad Begum, Manna Dey and Madhubala Zaveri were the other singers.
So, I duly listed all the 5 NFS and began my customary search on the blog to see which songs were yet to be posted and if any of them would have the word “Chand”.
Lo and behold, I came across a post Diya apni khudi ko jo hamne mita written by yours truly only in which I have already covered the subject of Mukesh’s compositions, albeit, it does not cover other singers from Anuraag (1956).
I and Sudhir ji had a hearty laugh over this faux pas on my part. I was anyway suggested to go ahead with some unposted song from Anuraag itself as the composition was by Mukesh.
However, sans the voice of Mukesh, I felt the post would not be an apt tribute on such an important occasion and hence this song from Baankelal (1972).
Even though, I could not settle for a song with the word “Chand”, incidentally, the composer’s name itself is Chand Pardesi. Readers may not be able to connect with this name instantly as he was known by the name Pardesi also. So much so that our blog also has his compositions under two different names. I would request the editors to club them into one.
Chand Pardesi’s body of work consists of 9 films, mostly unknown and following is the list of films in which he scored the music.
Banjaarin (1960)
Khufiya Mahal (1964)
Baankelaal (1972)
Parivartan (1973)
Kitne Pass Kitne Door (1976)
Ban Maanush (1979)
Yeh Kaisa Nasha Hai (1981)
Bhai Akhir Bhai Hota Hai (1983)
Ek Baar Chale aao (1983)
Of all the above films, only his debut film Banjaarin and Baankelaal seem to strike a chord amongst music lovers.
I would request readers to refer to a post on Chand Pardesi on Songsofyore blog for more information on his works. As the post highlights, only the duet of Mukesh and Lata from Banjaarin (1960) was the highlight of his career.
Coming to Mukesh’s association with the composer, following are the 4 songs that I could collate.
| S.No | Name of the song | Movie (Year of release) | Co-singer if any | Lyricist |
|---|---|---|---|---|
| 1 | Chanda re mori patiyaan | Banjaarin (1960)) | Lata Mangeshkar | Pt Madhur |
| 2 | Dil toone diya | Banjaarin (1960) | Geeta Dutt | Pt Madhur |
| 3 | Ek baar dharti par aakar | Banjaarin (1960) | Chorus | Pt Madhur |
| 4 | Bereham yeh zameen, bereham aasmaan | Baankelal (1972) | Pt Madhur |
Personally, apart from the popular duet with Lata, I have always liked the other solo as S. no 3 in the table above and today’s song from Baankelal (1972). (Also titled as Rasiya)
On our blog, it can be easily verified that for most of the films in which Mukesh sang, his songs are the ones that make a debut. Again, the popularity angle is what we can conclude. However, for today’s post, surprisingly, a debut has already been made and this is the second song to be featured from the film. I suppose, the song was just waiting for self to grab and represent for this occasion.
A song that is quite familiar to self from the cassette era, I remember playing it on loop.
It is atypical song in the sense that Mukesh has sung it in high pitch, not exactly his forte. However, he pulls it quite comfortably and makes us to wonder if anybody else could have had the same effect and empathy expressed in the rendition.
I conclude the post by paying rich tributes to Mukesh on his Remembrance Day with his immortal philosophical message…
ghar baste hain roz jahan mein
bas ke ujadne ke liye
milta hai har ek yahaan par
mil ke bichhadne ke liye
chalti dagar hai duniya
ek aaya ek chala aa…
and so
ke marke bhi kisi ko yaad aayenge
kisi ke aansuon pe muskuraayenge
kahega phool har kali se baar baar
jeena isi ka naam hai
Audio
Video
Song-Beraham ye zameen beraham aasmaan (Baankelal)(1972) Singer-Mukesh, Lyrics-Pt Madhur, MD-Chaand Pardesi
Lyrics
beraham ye zameen
beraham aasmaan
rah gaye hum yahaan aan
chal diya karwaan
beraham ye zameen
beraham aasmaan
rah gaye hum yahaan
chal diya karwaaan
rah gaye hum yahaan
chal diya karwaan
paa ke kuchh kho diya
kho ke kuchh pa liya
ashk hamne piye
gham ne bedam kiya
paa ke kuchh kho diya
kho ke kuchh pa liya
ashk hamne piye
gham ne bedam kiya
gham ne bedam kiya
mit raha naatwaan
hans rahe kahkashaan
rah gaye hum yahaan
chal diya kaarwaan
rah gaye hum yahaan
chal diya kaarwaan
peed se pyaar hai
zakham kaise bhare
ab jiyen ya maren
kya karen kya karen
peed se pyaar hai
zakham kaise bharen
ab jiyen ya maren
kya karen kya karen
kya karen kya karen
har tamanna adhoori
har armaan jawaan
rah gaye hum yahaan
chal diya kaarwaan
rah gaye hum yahaan
chal diya kaarwaan
beraham ye zameen
beraham aasmaan
rah gaye hum yahaan
chal diya kaarwaan
rah gaye hum yahaan
hal diya kaarwaan
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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