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

Archive for the ‘“Nok-Jhonk” song’ Category


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4042 Post No. : 15167

“Guru Ghantaal”(1956) was produced by R N Sharma and N K Kaushik and directed by S M Yusuf for V K pictures Bombay. The movie had Sheila Ramani, Motilal, Usha Kiran, Agha, Sundar, Mirza Musharraf, Paro, Sheikh, Kesri, Vijaybala, Ravikant, Jagdev etc in it.

The movie had nine songs in it. Five songs have been covered in the past.

Here is the sixth song from “Guru Ghantaal”(1956) to appear in the blog. The song is sung by Rafi and Asha Bhonsle. Khawar Zamaan is the lyricist. Music is composed by Pt Lachchiram.

Only the audio of this rare song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
This is a superb “nok jhonk” duet which deserves to be better known among music lovers.


Song-Ham aapke hain hamse toh parda na keejiye (Guru Ghantaal)(1958) Singers- Rafi, Asha Bhonsle , Lyrics-Khawar Zamaan, MD-Pt Lachchiram
Both

Lyrics

ham aapke hain
humse toh parda naa keejiye
o o o o
aji parda naa keejiye
aji parda naa keejiye
ho
ho o o
ham rooth jaayenge
hamen chheda naa keejiye

arre waah
ho o o o
hamen chheda naa keejiye
aji chheda naa keejiye ae
ho o

ik baat meri gaur se sun leejiye huzoor
ik baat meri gaur se sun leejiye huzoor
farmaayiye farmaayiye
ho o o
farmaayiye farmaayiye
sun lenge ham zaroor
sun lenge ham zaroor

tirchhi nigaah se hamen dekha naa keejiye
dekha naa keejiye
ham aapke hain
haan
ham aapke hain
humse toh parda naa keejiye
ho o o o
aji chheda naa keejiye
humen chheda naa keejiye ae

ho o o

kya jhoothh-moothh baaten banaane se faayda
kya jhoothh-moothh baaten banane se faayda
baithhe bithhaaye hamko
ho o o
baithhe bithhaaye hamko sataane se faayda
sataane se faayda

yoon baat baat par aji roothha naa keejiye
roothha naa keejiye
ham aapke hain
haan
ham aapke hain
humse toh parda naa keejiye
ho o o o
humen chheda naa keejiye
aji chheda naa keejiye ae

ho o o

dar hai ke zamaana kahin majboor naa kar de
dar hai ke zamaana kahin majboor naa kar de
iss pyaar ki duniya se
o o o
iss pyaar ki duniya se kahin door naa kar de
kahin doon na kar de

inn chhoti-chhoti baaton ko socha naa keejiye
socha naa keejiye
ham aapke hain
ham aapke hain
humse toh parda naa keejiye
ho o o o
aji chheda naa keejiye
humen chheda naa keejiye ae

ho o o

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

Blog Day : 4017 Post No. : 15124

The years roll by – time stops for no one.

And, just like that, it is now 7 years since that day in 2012.

I still remember that day very well – I first got the news on Facebook.

One of my friends had posted “vaada tera vaada”, saying “RIP Rajesh Khanna”.

It shook me – I immediately checked Twitter for validation. (Now Twitter is known to post fake death news from time to time. Not so long ago, they had posted news of Mumtaz’s death – thankfully, fake.) But I wanted a second source.

Sadly, and I realized this very soon with a sinking feeling, the news on 18th July 2012 was not fake. Rajesh Khanna (or Kaka, as he was more affectionately known) HAD passed away. For the past year, he had been suffering from cancer – and the cancer had finally won.

I felt miserable that day. Not that I didn’t know he was suffering from cancer, but I never expected him to go when he did.

That day my Facebook status was
Kya samjhega ye aalam koi
Badaa bhaari hai dil ye mera
Ki le gaye ho saath safar pe tumhaare
Tukda jo kabhi tha dil ye mera

Rubbish poetry, I know – but hey, it did reflect my mood.

Those were the times when I’d seek refuge in my blog. I’d just dump my thoughts onto my blog, for my own sake. It was my way of releasing my feelings, not suppressing them within.

That day too I went to my blog, and wrote a piece for Rajesh Khanna. A personal piece – well, about as personal a piece that one can write about someone he has never met, someone whose many character flaws one acknowledges, and yet someone who was a big part of one’s childhood.

I’ve written about Kaka several times here, and I don’t want to bore readers by repeating stuff.

I’ll just say a few things, and then move on to the song.

Firstly, most times when I discuss Kaka with others (I don’t do much of this anymore), I get the following reactions.
Firstly, a criticism of his acting – mostly his set mannerisms, and his hamming.
Secondly, criticism about him as a person.

I’ve noticed that people who dislike Kaka, tend to dislike him rather intensely. 🙂 On one, or both, of the above counts.

And, I must admit, they would not be wrong.

The first point first.

Without doubt, Kaka’s acting lost its freshness after a few years – and was a big reason for his decline. His superstar success lasted only a few years. During this period, he acted in a whole lot of films. Both he, and his producers, wanted to cash in on his name. Just his name used to be enough to sell a film. Sure, the films were all successful – Kaka holds the record for maximum number of consecutive hits.

But over-exposure comes with its risks. Especially when you’re boxed into a method of acting, expected to conform to set mannerisms, and a set dialogue delivery style. Yes, they made you successful, but style wears out after a while. Kaka’s mannerisms did become an issue. That the storylines also were beginning to get thin, did not help.

Much later in his career, we got to see a different Rajesh Khanna. Not THE superstar anymore, he could afford to act differently, in different roles. Let’s not forget he got his break in films by winning an acting contest, so he couldn’t have been that bad an actor. 🙂

Now, to the second point.

Again, I have to agree. It’s no secret that Kaka allowed success to get to his head. His unprofessional, and possibly even mean, behaviour with colleagues and others, left a lot of people bitter. No doubt many would have been happy to see him go down. A point made even more stark when compared with the upcoming star, Amitabh Bachchan, who was the model professional actor, punctual and polite.

I will not defend Kaka on this front at all. Much later in life, he did realize this himself.

All I will say is, every one of us has failings. Maybe if Kaka’s success had been more gradual, he’d have been a different person. Failure teaches us much more than success – Amitabh had a string of failures before becoming a superstar.

One person’s life is often a lesson for another. Just as people can tell aspiring youngsters “Look at Amitabh – how he struggled early in his career, but his perseverance and professionalism made him a superstar”, they can also say “Look at Rajesh Khanna – how he let success get to his head at a young age, and destroyed his career and relationships”.

One can learn from both.

To me, while I accept these criticisms, I will always remember, and thank, Rajesh Khanna for giving me many wonderful memories in my childhood.

That tilt of the head, that smile, that kurta, that dialogue delivery – today people might mock all of this, but in those days, these are what millions swooned over. That “Pushpa, I hate tears” line is still one of the best-known lines in Hindi cinema.

His films of that era made me feel good when I saw them in the early 70s. Later, when I saw them again, I’d still smile at “rona kabhi nahin rona”, “yahaan wahaan saare”, “nainon mein nindiya hai”, “ye shaam mastaani” and a whole lot of other songs. They’d bring back memories of my childhood.

Like one of my best friends (in class I) would always sing “pyaar deewana hota hai” from Kati Patang. It was his favourite song. I liked it a lot too, but I’d counter him with “ye shaam mastaani”. I know it sounds silly, but these are not just songs for me – they have memories attached to them. Like the incident attached to “o mere dil ke chain” – I’ve discussed the incident here earlier.

And that’s the thing. Each person’s memories are different, and therefore connect with someone is different. And while I acknowledge all Kaka’s failings, I also want to give him back a little bit of that love that I got from watching his films during my childhood.

That’s also the reason for this post. I haven’t written for a while now, but Avinashji requested me to write a post for this occasion. I was hesitant, since I sincerely believe I’ve lost my writing ability. I even told Avinashji “I can’t write anything longer than a tweet now” :-). But he was kind enough to share with me a whole lot of Kaka songs not posted yet, so I could easily pick one.

Now to the song.

Initially I thought of posting a sad song, considering it is on Kaka’s death anniversary. But then I thought again.

What I’d like to remember most of Kaka is the joy I got from watching his films, from before his decline. I think, from up there, he’d also probably like most people to remember him for those films.

So today’s song is from one of his early films – Bandhan (1969). I remember seeing this film long ago, though I don’t remember the story now.

By the way, it is exactly 50 years since this film was released. 1969 was a milestone year for Kaka – this was the year he became a superstar with Aradhana. And Do Raaste was a huge hit too.

The song “jaana hai to jao” shows early glimpses of the superstar-to-be. One can see some of those mannerisms that would become his hallmark in the coming years. And it is always fun to see Kaka and Mumtaz together, even if this was a less-known film than their more famous films to come.

The song is in the voices of Mahendra Kapoor and Asha Bhosle. Not surprising that Mahendra Kapoor was used, considering music is by Kalyanji-Anandji. The MK-KA combo had a huge hit with Upkar (1967), so KA were happy to use MK again. And at that time, Rajesh Khanna was “just another hero”. Kishore Kumar had not yet become his voice. In fact, in this film, even Mukesh sings a happy song for Rajesh Khanna. 🙂

I hope you like the song.

Thanks for the memories, Kaka.

Whatever the world might say about you, remember, when it comes to romance in film,

“tere hi to sar pe mohabbat ka taaj hai”.


Song-Arrey jaana hai to jaao manaayenge nahin (Bandhan)(1969) Singers-Mahendra Kapoor, Asha Bhonsle, Lyrics-Indeewar, MD-Kalyanji Anandji

Lyrics(Provided by Avinash Scrapwala)

Arrey jaana hai to jaao
arrey jaana hai to jaao manaayenge nahin
jaana hai to jaao
manaayenge nahin
nakhre kisi ke uthhaayenge nahin
nakhre kisi ke uthhaayenge nahin

eh
aana hai to aao
bulaayenge nahin
aana hai to aao
bulaayenge nahin
kadmon pe sar ko jhhukaayenge nahin
kadmon pe sar ko jhhukaayenge nahin
hmph
aana hai to aao

dekhi hai dekhi hai dekhi
arrey dekhi hai dekhi hai
tere jaisi kitni chhoriyaan
marti hain marti hain mujhper
saare gaaon ki goriyaan

arrey budhhu hai budhhu hai bilkul
tu kya dulhan laayega
Lagta hai tu kunwaara mar jaayega
Lagta hai tu kunwaara mar jaayega
hum kahen aur kya
tera bhaiyya khada
tujhe
nazron mein uski giraayenge nahin
ha ha ha
nazron me uski giraayenge nahin

arre samjhe
jaana hai to jaao manaayenge nahin
jaana hai to jaao manaayenge nahin
nakhre kisi ke uthhaayenge nahin
nakhre kisi ke uthhaayenge nahin
jaana hai to jaao

jab raaja mahaaraaja
koi mujhe byaahne aayega
jab raaja mahaaraaja
koi mujhe byaahne aayega
seene pe seene pe tere
saanp sa lahra jaayega

arrey tu hai bandariya
hmphh
chal chal
arrey tu hai bandariya
koi madaari hi tujhko le jaayega
kas ke maarega dande
nachaayega
kas ke maarega dande
nachaayega
haa haa
akl moti teri
O naak chhoti teri
mendhki ko to munh hum lagaayenge nahin
chhi chhi
mendhki ko munh hum lagaayenge nahin
eh
jaana hai to jaao
jaana hai to jaao bulaayenge nahin
jaana hai to jaao bulaayenge nahin
kadmon pe sar ko jhhukaayenge nahin
jaa
jaana hai to jaao

———————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
———————————————
अरे जाना है तो जाओ
अरे जाना है तो जाओ
मनाएंगे नहीं
जाना है तो जाओ
मनाएंगे नहीं
नखरे किसी के उठायेंगे नहीं
नखरे किसी के उठायेंगे नहीं
ये
आना है तो आओ
बुलायेंगे नहीं
आना है तो आओ
बुलायेंगे नहीं
क़दमों पे सर को झुकायेंगे नहीं
क़दमों पे सर को झुकायेंगे नहीं
हं
आना है तो आओ

देखी है देखी है देखी
अरे
देखी है देखी है
तेरे जैसी कितनी छोरियां
मरती है मरती है मुझपे
सारे गाँव की गोरियाँ
अरे बुद्धू है बुद्धू है बिलकुल
तू क्या दुल्हन लाएगा
लगता है तू कुंवारा मर जाएगा
लगता है तू कुंवारा मर जाएगा
हम कहे और क्या
तेरा भैय्या खडा
तुझे
नज़रों में उसकी गिराएंगे नहीं
हं हं हं
नज़रों में उसकी गिराएंगे नहीं

अरे समझे
जाना है तो जाओ मनाएंगे नहीं
जाना है तो जाओ
मनाएंगे नहीं
नखरे किसी के उठायेंगे नहीं
नखरे किसी के उठायेंगे नहीं
जाना है तो जाओ

जब राजा महाराजा कोई
मुझे ब्याहने आएगा
जब राजा महाराजा कोई
मुझे ब्याहने आएगा
सीने पे सीने पे तेरे
सांप सा लहरा जाएगा

अरे तू है बंदरिया
चल चल
अरे तू है बंदरिया
कोई मदारी ही तुझको ले जाएगा
कसके मारेगा डंडे
नचाएगा
कसके मारेगा डंडे
नचाएगा
हां हां
अक्ल मोटी तेरी
ओ नाक छोटी तेरी
मेढकी को तो मुंह हम लगायेंगे नहीं
छी छी
मेढकी को मुंह हम लगायेंगे नहीं
ये
जाना है तो आओ
जाना है तो आओ
बुलायेंगे नहीं
जाना है तो आओ
बुलायेंगे नहीं
क़दमों पे सर को झुकायेंगे नहीं
जा
जाना है तो जाओ


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

Blog Day :

3963 Post No. : 15042 Movie Count :

4125

Hullo to all Atulwaale

‘Daaku Aur Jawaan’ was a 1978 release. It was directed by Sunil Dutt and starred Reena Roy, Leena Chandavarkar, Bindu, Sunil Dutt, Vinod Khanna, Ranjeet, Om Prakash, Anwar Hussain, Kanhaiyalal, Asrani, Padma Khanna, Tun Tun, Sundar etc. Its music composers were Laxmikant  Pyarelal and Anand Bakshi was the lyricist.

This is the story of the movie as given on Wikipedia-

Birju (Sunil Dutt) and Ramu (Vinod Khanna) are brothers and have a friendly bond with each other, They do a lot of pranks with the villagers, but the pressure of the landlord {Anwar Hussain) and the urban bad guy Bhairon Singh (Ranjeet) leads villagers to pay a fee for their lands to work on them. This leads Ramu to join the army as a Jawaan (Soldier). Bhairon Singh, with the help of Thakurain (Bindu) plans to frame Birju as a criminal on the night of Janamashtmi. Bhairon Singh brutally rapes Ganga (Reena Roy) and steals the entire wealth from the safe of her father. After getting raped by Bhairon Singh, Ganga commits suicide by jumping into the well. Bhairon Singh frames Birju for the rape and murder of Ganga and stealing the money. Birju is arrested by the police, but escapes and takes a pledge on Ganga’s funeral pyre that he will take revenge of her death and he turns into a Daaku (Dacoit). Ramu, in the war, is fighting against enemies, but gets back to his village after losing one leg. After a lot of turns and twists, Seeta (Leena Chandavarkar) finally reveals the truth that Bhairon Singh had raped Ganga and he has stolen all the wealth from her house with the help of Thakurain. When Birju comes to know about it, he beats Bhairon Singh in front of all the villagers and finally kills him by throwing him into the well where Ganga committed suicide. Now, Thakurain tries to kill Ramu, but Birju takes the bullet in his chest saving Ramu in the process. Thakurain is arrested by the police. Birju, finally breathing his last, requests Ramu to read the letter which was written by him. After listening to the letter from Ramu, Birju dies reuniting with Ganga in Heaven. In the end, Ramu marries Seeta and they lived happily ever after.

So that then seems to be a very normal Hindi film story where any reason is good enough for the hero to turn a ‘daaku‘. And I must say Sunil Dutt would have made an imposing daaku remembering him from all the daaku roles he had played starting from ‘Mother India’ (1957), – his first role as a daaku. Incidentally, in that films also, his role name is Birju. And to have Vinod Khanna play his brother would have been “a sight to soothe sore eyes”. Another of his earlier films in which he plays the role of daaku is ‘Mujhe Jeene Do’ in 1963.

Today on the death anniversaries of Laxmikant Shantaram Kudalkar (its 21 years today since his passing away) and Sunil Dutt (14 years today) let us have a song from this 1978 movie which will give us an idea of their talents at the height of their careers.

Also, with this post, the film ‘Daaku Aur Jawaan’ makes its debut on our blog.

 

Video

Audio

Song – Rakh Di Hai Beech Sadak Maine Gagariya  (Daaku Aur Jawaan) (1978) Singer – Asha Bhosle, Kishore Kumar, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal

Lyrics

ho rakh di hai. . .

ho rakh di hai beech sadak maine gagariya
tod sakey to tod saanwariya
rakh di hai
haan haan rakh di hai
beech sadak maine gagariya
tod sakey to tod saanwariya
rok li hai
haan haan rok li hai
dekh maine teri dagariya
daud sakey to daud gujariya
rok li hai dekh maine teri dagariya
daud sakey to daud gujariya
rakh di hai
han haan rok li hai

naina jhuka ke jara baat kar
nakhra na aurat jaat kar
naina jhuka ke jara baat kar
nakhra na aurat jaat kar
naajuk kalaai toot jaayegi
toot jaayegi
na jor mardon ke saath kar
na jor mardon ke saath kar
chheen li hai
haan haan
chheen li hai maine teri dhaani chunariya
odh sakey to odh gujariya
rakh di hai beech sadak maine gagariya
tod sakey to tod saanwariya
rakh di hai

do bol kya boley pyqar mein
oye oye oye oye oye
akad gaya tu to bazaar mein
o muaa
do bol kya boley pyqar mein
hey..y..y
akad gaya tu to bazaar mein
o koi teri bandhi main nahin hoon
rahiyo na is aitbaar mein
rahiyo na is aitbaar mein
tod di hai
haan haan
tod di hai maine teri prem rasariya
jod sakey to jod saanwariya
rok li hai dekh maine teri dagariya
daud sakey to daud gujariya
rok li hai
haan

pakdoon kamar se uchhaal doon
dum kham tere sab nikaal doon
pakdoon kamar se uchhaal doon
dum kham tere sab nikaal doon
ho jiya chaahe le jaaun uthaaye ke
ho tujhe nadiya ke paani mein daal doon
nadiya ke paani mein daal doon
thaam liya
haaye re thaam liya maine tujhe
ban ke baawariya
chhod sakey to chhod
saanwariya
rakh di hai
beech sadak maine gagariya
tod sakey to tod
saanwariya
rok li hai
dekh maine teri dagariya
daud sakey to daud
gujariya
rakh di hai
haan haan rok li hai

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

हो रख दी है॰ ॰ ॰

हो रख दी है बीच सड़क मैंने गगरिया
तोड़ सके तो तोड़ साँवरिया
रख दी है
हाँ हाँ रख दी है
बीच सड़क मैंने गगरिया
तोड़ सके तो तोड़ साँवरिया
रोक ली है
हाँ हाँ रोक ली है
देख मैंने तेरी डगरीया
दौड़ सके तो दौड़ गुजरिया
रोक ली है देख मैंने तेरी डगरीया
दौड़ सके तो दौड़ गुजरिया
रख दी है
हाँ हाँ रोक ली है

नैना झुका के जरा बात कर
नखरा ना औरत जात कर
नैना झुका के जरा बात कर
नखरा ना औरत जात कर
नाजुक कलाई टूट जाएगी
टूट जाएगी
ना ज़ोर मर्दों के साथ कर
ना ज़ोर मर्दों के साथ कर
छीन ली है
हाँ हाँ
छीन ली है मैंने तेरी धानी चुनरिया
ओढ़ सके तो ओढ़ गुजरिया
रख दी है बीच सड़क मैंने गगरिया
तोड़ सके तो तोड़ साँवरिया
रख दी है

दो बोल क्या बोले प्यार में
ओय ओय ओय ओय ओय ओय
अकड़ गया तू तो बाज़ार में
ओ मुआ
दो बोल क्या बोले प्यार में
हे॰॰ए॰॰ए
अकड़ गया तू तो बाज़ार में
ओ कोई तेरी बंधी मैं नहीं हूँ
रहियों ना इस एतबार में
रहियों ना इस एतबार में
तोड़ दी है
हाँ हाँ
तोड़ दी है मैंने तेरी प्रेम रसरिया
जोड़ सके तो जोड़ साँवरिया
रोक ली है देख मैंने तेरी डगरीया
दौड़ सके तो दौड़ गुजरिया
रोक ली है
हाँ

पकड़ूँ कमर से उछाल दूँ
दम खम मैं तेरे निकाल दूँ
पकड़ूँ कमर से उछाल दूँ
दम खम मैं तेरे निकाल दूँ
हो जिया चाहे ले जाऊँ उठाए के
हो तुझे नदिया के पानी में डाल दूँ
नदिया के पानी में डाल दूँ
थाम लिया
थाम लिया मैंने तुझे बन के बावरिया
छोड़ सके तो छोड़
साँवरिया
रोक ली है देख मैंने तेरी डगरीया
दौड़ सके तो दौड़
गुजरिया
रख दी है
हाँ हाँ रोक ली है’

 

 

 


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.

Blog Day :

3959 Post No. : 15037 Movie Count :

4123

Missing Films of 1960s – 110
– – – – – – – – – – – – – – –

Coming into the home stretch now. 110 films from 1960s added during this series. Some of them have been so rare that no information even is available about them. Like today’s film – ‘Black Arrow’ from 1965.

Geet Kosh, the major source of all information on Hindi films of those decades, provides us with the following details. The film is produced under the banner of Ameer Productions, Bombay, and is directed by Mehmood. It is not clear whether this is the same person as the comedian Mehmood that we are all so familiar with. The film is listed as a costume drama. The film poster that is available online indicates this film to be of the ‘zorro’ genre – a masked rider wearing a black cape and a black hat and riding a black horse – gives an impression of a zorro clone type film.

The star cast is listed as Hercules, Chandrakala, SK Shyam, Anjum, Funny Walker, Jilani, Hameeda Bano, Sadhana Khote, Khurshid Khan, Nazeer Kashmiri, Shakeela Bano Bhopali, and Jaani Babu qawwaal.

Geet Kosh lists four songs for this film. All the songs are written by Aziz Ghaazi. Now this name, although not new on the blog, does not have any information associated with it. We have four songs by this songwriter on the blog. In the Geet Kosh listings, I could locate 29 songs written him, for 9 films, from 1958 to 1969. Then, in our blog, his name appears again for a film in 1987 – ‘Tarzan And Cobra’. That makes 10 films that are known to have his name connected with. Almost all films that he has written for are stunt and costume drama films, as their names would suggest – ‘Jungle Princess’ (1958), ‘Choron Ki Baraat’ (1960), ‘Diler Haseena’ (1960), ‘Night Bird’ (1961), ‘Black Arrow’ (1965), ‘Noor Mahal’ (1965), ‘Tarzan And Hercules’ (1966), ‘Tarzarn Aur Jaadui Chiraagh’ (1966), ‘Sakhi Lutera’ (1969), and ‘Tarzan And Cobra’ (1987). So far this is all the information that I have been able to locate about this obscure songwriter.

The previous song written by Aziz Ghazi and posted on our blog, is a qawwaali in the voices of Mubarak Begum and Jaani Babu Qawwaal – “Adaayen Teer Hain Andaaz Barchhi Bhaale Hain” from the film ‘Jungle Princess’ (1958). And again today, we have another qawwaali sung by the same singers. As I have been surveying the landscape of 1960s films and songs, I realize that the qawwaali has been a very popular song type used in the films, all the way from mid 1950s to around end 1970s. So much that every third or fourth film, especially if it is a stunt type B/C grade film, contains a qawaali. Many of them are quite obscure, unavailable. And those which are available, are not much heard. Maybe because they belong to obscure films. But the qawwaalis, in themselves, are superb creations that have gone unnoticed and are lost to the listeners. It may be an idea to do another series of such unfamiliar qawwaalis from that era. (Aah. . . plans. . .) 😉

Let’s listen to this ‘nok jhonk’ qawaali, a very obscure and a rare song. This is the only song that is available for this film, in public domain. It appears that other songs were probably not released on gramophone records. Small mercies – that this one long qawwaali is now available.

Given the list of actors, my intuition says that this qawwaali is performed on screen by Shakeela Bano Bhopali, lip syncing for the back ground voice of Mubarak Begum, and Jaani Babu Qawwaal, singing for himself.

Another interesting point that comes to mind, as I listened to an prepare the lyrics. Per our earlier discussions, and Atul ji’s observations, a nok-jhonk type of song always ends in an agreement between the parties. In other words, it takes about three minutes for the jhagda to end and friendship to begin. This being a qawaali, the protagonists are taking longer to make their points. However the agreement is reached, albeit it arrives after six minutes. Oh well, it is a qawwaali after all. 🙂

Song – Jhoothe Ho Jhoothe Tum Ishq Waale  (Black Arrow) (1965) Singer – Mubarak Begum, Jaani Babu Qawwaal, Lyrics – Aziz Ghazi, MD – Iqbal
Mubarak Begum + Jaani Babu Qawwaal
Female Chorus
Male Chorus

Lyrics

nazar aate ho tum
bezaa..aar hum se. . .

na hoga ye kabhi
sarkaa..aar hum se. . .

jhoothe ho jhhoothe tum ishq waale
dil tod daala hamaara
maar daala arey maar daala
jhoothe ho jhhoothe tum ishq waale
dil tod daala hamaara
maar daala arey maar daala

ho dil ke kale tum husn waale
dil tum ne chheena hamaara
maar daala arey maar daala
ho dil ke kale tum husn waale
dil tum ne chheena hamaara
maar daala arey maar daala

tum ne achhi ye mohabbat ki adaa ha paayi
aaj is ke ho to kal us ke baney shaidaai
jaante hi nahin tum waada nibhaana kya hai
jaaiye jaaiye in baaton mein rakha kya hai
haa aaa aaa aaa aaaa
tum se harjaai ki. . .
ulfat ka bharosa kya hai. . .
jhoothe ho jhhoothe tum ishq waale
dil tod daala hamaara
maar daala arey maar daala

tum ne har baat ko afsaana bana kar chhoda
jis ko chaaha us ko deewaana banaa kar chhoda
bijliyaan hosh pe hans hans ke giraane waale
dil ki duniya mein ho tum aag lagaane waale
aaaa aaaa aaaaa aaaaaaa
ek hum hi nahin. . .
kehte hain zamaane waale. . .
ho dil ke kale tum husn waale
dil tum ne chheena hamaara
maar daala arey maar daala
ho dil ke kale tum husn waale
dil tum ne chheena hamaara
maar daala arey maar daala

hum na hotey to zamaane mein andhera hota
dard ka ranj ka nafrat ka basera hota
husn se apne nazaaron ki sajaaya hum ne
pyaar kya hota hai ye tum ko bataaya hum ne
haa aaa aaa aaa aaaa
ishq mein mit gaye par lab na hilaaya hum ne. . .
jhoothe ho jhhoothe tum ishq waale
dil tod daala hamaara
maar daala arey maar daala
jhoothe ho jhhoothe tum ishq waale
dil tod daala hamaara
maar daala arey maar daala

hum na hotey to ye shokhi na masti hoti
husn ki duniya pe hasrat hi barasti hoti
pyaar kar ke tumhen magroor banaaya hum ne
dilbari ka har ek andaz sikhaaya hum ne
haaaa aaaa aaaaa aaaaaaa
ishq ki raah mein
dil apna jalaaya hum ne. . .
ho dil ke kale tum husn waale
dil tum ne chheena hamaara
maar daala arey maar daala
ho dil ke kale tum husn waale
dil tum ne chheena hamaara
maar daala arey maar daala

pyaar ke naam pe tum mil ke daghaa detey ho
tum wafaadaari ki inaam sazaa detey ho
tum ne chhoda hai mohabbat mein sahaara de kar
tukde dil kar diya hai tum ne hamaara le kar
aaj to gusse mein sarkaar nazar aate ho
khich ke tum aur bhi talwaar nazar aate ho
maan letey hain chalo pyaar tumhaara sachchaa
aao mil jaao ye jhagda nahin hota achhaa
baat taqraar ki dekho na zabaan par laao
saaz e dil chhed ke ulfat ke taraane gaao

hum hain tumhaare
tum ho hamaare
dil ko mila hai sahaara
pyaar ka har taraf hai ujaala

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

नज़र आते हो तुम
बेज़ा॰॰आर हम से॰ ॰ ॰

ना होगा ये कभी
सरका॰॰आर हम से॰ ॰ ॰

झूठे हो झूठे तुम इश्क़ वाले
दिल तोड़ डाला हमारा
मार डाला अरे मार डाला
झूठे हो झूठे तुम इश्क़ वाले
दिल तोड़ डाला हमारा
मार डाला अरे मार डाला

हो दिल के काले तुम हुस्न वाले
दिल तुमने छीना हमारा
मार डाला अरे मार डाला
हो दिल के काले तुम हुस्न वाले
दिल तुमने छीना हमारा
मार डाला अरे मार डाला

तुमने अच्छी ये मोहब्बत की अदा है पाई
आज इसके हो तो कल उसके बने शैदाई
जानते ही नहीं तुम वादा निभाना क्या है
जाइए जाइए इन बातों में रखा क्या है
हा॰॰ आss आss आss आsss
तुमसे हरजाई की॰ ॰ ॰
उलफत का भरोसा क्या है॰ ॰ ॰
झूठे हो झूठे तुम इश्क़ वाले
दिल तोड़ डाला हमारा
मार डाला अरे मार डाला

तुमने हर बात को अफसाना बना कर छोड़ा
जिसको चाहा उसको दीवाना बना कर छोड़ा
बीजलियाँ होश पे हंस हँस के गिराने वाले
दिल की दुनिया में हो तुम आग लगाने वाले
आsss आsss आssss आssssss
एक हम ही नहीं॰ ॰ ॰
कहते हैं जमाने वाले॰ ॰ ॰
हो दिल के काले तुम हुस्न वाले
दिल तुमने छीना हमारा
मार डाला अरे मार डाला
हो दिल के काले तुम हुस्न वाले
दिल तुमने छीना हमारा
मार डाला अरे मार डाला

हम ना होते तो जमाने में अंधेरा होता
दर्द का रंज का नफरत का बसेरा होता
हुस्न से अपने नज़ारों को सजाया हमने
प्यार क्या होता है ये तुमको बताया हमने
हा॰॰ आss आss आss आsss
इश्क़ में मिट गए॰ ॰ ॰
पर लब ना हिलाया हमने॰ ॰ ॰
झूठे हो झूठे तुम इश्क़ वाले
दिल तोड़ डाला हमारा
मार डाला अरे मार डाला
झूठे हो झूठे तुम इश्क़ वाले
दिल तोड़ डाला हमारा
मार डाला अरे मार डाला

हम ना होते तो ये शोख़ी ना मस्ती होती
हुस्न की दुनिया पे हसरत ही बरसती होती
प्यार कर के तुम्हें मगरूर बनाया हमने
दिलबरी का हर एक अंदाज़ सिखाया हमने
हा॰॰ आsss आssss आssssss
इश्क़ की राह में॰ ॰ ॰
दिल अपना जलाया हमने॰ ॰ ॰
हो दिल के काले तुम हुस्न वाले
दिल तुमने छीना हमारा
मार डाला अरे मार डाला
हो दिल के काले तुम हुस्न वाले
दिल तुमने छीना हमारा
मार डाला अरे मार डाला

प्यार के नामे पे तुम मिलके दग़ा देते हो
तुम वफादारी की इनाम सज़ा देते हो
तुमने छोड़ा है मोहब्बत में सहारा दे कर
टुकड़े दिल कर दिया है तुमने हमारा लेकर
आज तो गुस्से में सरकार नज़र आते हो
खिच के तुम और भी तलवार नज़र आते हो
मान लेते हैं चलो प्यार तुम्हारा सच्चा
आओ मिल जाओ ये झगड़ा नहीं होता अच्छा
बात तक़रार की देखो न ज़बां पर लाओ
साज ए दिल छेड़ के उलफत के तराने गाओ

हम हैं तुम्हारे
तुम हो हमारे
दिल को मिला है सहारा
प्यार का हर तरफ है उजाला


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3941 Post No. : 15017

“Insaaf Ka Taraazu”(1980) was produced and directed by B R Chopra for B R Films, Bombay. This movie was inspired from an American movie called “Lipstick” (1976). The movie was a rape and revenge movie. Many people who thronged to watch “Insaaf Ka Taraazu”(1980) were attracted to the movie hall because of this fact.

The movie had Zeenat Aman, Raj Babbar (new discovery), Deepak Parashar (new discovery), Padmini Kolhapure, Shreeram Lagoo, Simi Garewal, Iftekhar, Jagdish Raj, Vijay Sharma, Prem Sagar, Sunil Dhawan, Om Shivpuri, Sujit Kumar, Yunus Parvez, Sudha Shivpuri etc in it, with Hiralal in a guest appearance and Dharmendra in a special appearance.

“Insaaf Ka Taraazu”(1980) had four songs in it. Three of these songs have been covered in the past.

The details of the songs from the movie that have been covered earlier :-

1 Insaaf ka taraazu 8774 27-Sep-13
2 Log aurat ko faqat jism samajh lete hain 13021 8-Mar-17
3 Hazaar khwaab haqeeqat ka roop le lenge 14913 8-Mar-19

The three songs that have been covered so far were serious songs all penned by Sahir Ludhianvi. The fourth and final song under discussion is a light hearted happy teasing song picturised on Padmini Kolhapure, Zeenat Aman (playing her sister)and Deepak Parashar (playing her would be jeeja ji). Sahir Ludhianvi demonstrates that he was capable of penning superb light hearted non jhonk songs as well.

The song is sung by Asha Bhonsle, Hemlata and Mahendra Kapoor.

With this song, all the four songs are covered and “Insaaf Ka Taraazu”(1980) joins the list of movies that have been YIPPEED in the blog.


Song-Hai jo yehi pyaar ka trailer to picture na jaane kya hogi(Insaaf ka Taraazu)(1980) Singers-Asha Bhonsle, Mahendra Kapoor, Hemlata, Lyrics-Sahir Ludhainvi, MD-Ravindra Jain
Asha Bhonsle + Hemlata
All
Deepak Parashar

Lyrics

jeeja ji
didi ko dekhe
hmm
didi jeeja ji ko
main bhookhi pyaasi baithi hoon
ye nahin hosh kisi ko
chup saali
saali nahin
sister-in-law
sister-in-law

hai jo yahi
hai jo yahi pyaar ka trailer
to picture na jaane kya hogi
hai jo yahi pyaar ka trailer
to picture na jaane kya hogi
o hero ji
heroine ji
ab aur rehearsal jaane do o
hai jo yahi pyaar ka trailer
to picture na jaane kya hogi

na maangoon ghoda
na maangoon haathi
maangoon hoon keval
only
only
maangoon hoon keval l l
sabji chapaati
kyun yunhi tar tar bheja hai khaati
bheja hi tum donon ka nahin hai
warna kabhi ki main kha bhi jaati
tu baaz nahin aati
kya baaz aaun
tum khud hi socho
faake se meri
hai jaan jaati
mujhko bacha lo
shaadi ke din tak
ghat jaayega warna aa aa
aaj ik baaraati
chaawal bhi dhare hain
kaddu bhi hai kaata

o ho
kyun sar pe chadhe hai
jaa goondh le aata

achcha ji
hai jo yahi
o ho ho
hai jo yahi pyaar ka trailer
to picture na jaane kya hogi
hai jo yahi pyaar ka trailer
to picture na jaane kya hogi

is bhootni ko
ghar se bhaga do
jaldi se iski o o o o
shaadi racha do

haan ji
kya kasht pahuncha hai
ye to bata do
what is the trouble sir
main kisko dekhoon
tum jija ji ho
apne sa husband isko bhi la do

arre husband jaanti hai
pati pati

pata hai
are pata nahin
pati pati

is jaisa budhu main to na loongi
chahe gaddhe mein ae ae ae ae
mujhko gira do
hmm
gaali deti hai saali

saali de sakti hai gaali
ladka to hai dekha
achcha
langdaata hai thoda
oooon
aur baat kare to
hak hak haklaata hai thoda

aa maaroongi
o sister ji
o mister ji
ye maara maari jaane do

jaane do
hai jo yahi
o o o
hai jo yahi pyaar ka trailer
to picture na jaane kya hogi
hai jo yahi pyaar ka trailer
to picture na jaane kya hogi


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

Blog Day : 3901 Post No. : 14952

This song is from Master Bhagwan’s film ‘Damaad’ (1951).

This is the film which inspired Bhagwan to write a comedy social musical film story for his evergreen film Albela. In the decade of 1940’s, Bhagwan had specialised in low budget C grade action and stunt films. Usually his films would be completed in Rs. 60 to 70 thousand rupees only. He used to churn out films after films with the same set of actors with almost the same story in all his films. The audience of Master Bhagwan’s films came to the theatre to see his antics and comedy, coupled with action scenes of fighting and incredible stunts.

Usually Bhagwan never played the hero’s role in his own films. The hero in his films would necessarily be Baburao Pehelwan and Bhagwan used to be his side kick. Both had their love interests – usually the heroine for Baburao and her friend or maid for Bhagwan. Like Baburao and Bhagwan, even the lady actors were fixed. He had a set of such actresses like Shanta Patel, Chanchal, Leela Gupte, Vitha Lokare, Usha Shukla etc. They used to be in his films by turns. Actor Azim Bhai (who later became the famous Fight Master in Hindi films) was usually the good natured but timid employer of these two. Their job was to protect the Seth ji from goons, fight with them and finally win the girls in the end. Film after film the same story was used with slight changes here and there. The audience was least bothered about the story or the histrionics etc. They came for the dialogues, the fights and stunts.

Very few people know that both Raj Kapoor and Dilip Kumar were his great fans. When Bhagwan fell on bad times and shifted to a 2-room tenement in a chawl in Dadar, Dilip Kumar, while going for his daily shootings, used to stop at the chawl, honk till Bhagwan appeared in the gallery and waved to him, and then he proceeded to his work.

It was Raj Kapoor, who used to see his shootings in Jagriti studio, very near to RK studio. He once suggested to him to try making a social film. Incidentally, his good friend C Ramchandra (Anna for Bhagwan) also pressed him to dare making a social film. CR even promised him to give music to his social film in his popular name C Ramchandra (he gave music to Bhagwan’s films in the name of ‘Annasaheb ‘ till then). Bhagwan started thinking seriously on this issue. At that very time he got an offer to work in a social comedy film, to be produced by Beema Films of MT Mudnani and directed by Brij Rani. Since this was a social film Bhagwan wanted to give it a try. He wanted to assess the feasibility of making his own social film.

The film was ‘Damaad’ (1951). The story was simple. A simpleton is made a ‘ghar jamai’ (resident son-in-law) and has a miserable life. Incidentally, he becomes a successful singer. The film was absolutely an ordinary one. Being a director himself, Bhagwan understood the potential of the story to become a hit film. In addition the offer of C Ramchandra’s music was also inviting him. The film ‘Damaad’ came and went without making any ripples. Neither the producer made any more films, nor the director got any other film. The cast and the 3 MDs employed were also C grade anyway.

Taking inspiration from film ‘Damaad’, Bhagwan started writing the story of ‘Albela’ . For this film, he needed a cast other than his usual C grade film cast. Other actors were booked but no reputed heroine was ready to work in his film. Those days, Bhagwan’s name was only associated with C grade action stunt films. Then one day he approached Geeta Bali. She agreed – a bit reluctantly – to listen to his story. After listening to the story, Geeta Bali realized the potential of a hit film and said yes.

The shooting of ‘Albela’ started but Bhagwan kept it a secret. After few weeks of shooting, he invited Anna (CR) to come to see the shooting, without telling him anything. Anna went to Jagriti studios to see the shooting. After some shots were taken, he asked, ‘Bhagwan, this is your film, but where are the fights?”. Bhagwan smiled and said,”Anna, there are no fights. This is a social film I am making which you wanted me to do. Now it is your turn to stand by what you had promised to give your best music”. Sure enough C Ramachandra gave immortal music to film ‘Albela’ and the rest is history as they say.

Bhagwan’s planning for ‘Albela’ was so perfect that he got the Censor Certificate on 13-12-1951 and the film was released on next day i.e. on 14-12-1951 at Imperial Talkies in Bombay. Within 3-4 days, the film became houseful in every show. It was so successful that it overshot the combined collection of first week opening of BR Chopra’s ‘Afsaana’, Raj Kapoor’s ‘Awaara’, Dev Anand’s ‘Baazi’, AVM’s ‘Bahaar’ and Nitin Bose’s ‘Deedaar’, all released in 1951 only!

The tremendous success of ‘Albela’ made the financiers, producers and directors to line up Bhagwan’s doorstep with project proposals. The success of ‘Albela’ had also gone to the head of Bhagwan dada. He did not realize or acknowledge the contribution of Geeta Bali and C Ramchandra’s music to its success. He thought that it was due to him and he went on signing film after films in that period. As his new films started failing, the incomplete films were abandoned and ‘Albela’ became his swan song. The downward slide of his career and popularity started right after this film, although some more films like ‘Bhagam Bhag’ (1956) etc were hits-again due to music and Kishore Kumar.

Anyway the producer NT Madnaney never ever tried to produce any more films after ‘Daamad’, which was not at all successful at the box office.
The screenplay and direction was by Brij Rani. There were 3 composers, Shamoo who had given music to ‘ Yeh hai zindagi-48’ and ‘Begunah’ (1949) with Haribhai. Indravadan Bhatt had given music to 10 films in the late 40s. Ram Panjwani had been an actor in Berozgaar-36 and Chhotisi duniya-39, a singer in Damad-51 and Maa ka pyar-49, an MD for Magroor-50 and Damad-51 and also a Lyricist for one song in film Teen Batti chaar Rasta-53

The story was more or less same as ‘Albela’ – a good for nothing fellow sings well and makes a fortune – that is the one line story of this film.

Chamak (Bhagwan) is too simple a person, who is a teacher in a school, where even his students make fun of him. He gets married to a rich man’s daughter-Geeta (Krishna Kumari). Chamak loses his job and his father-in-law takes him to his house in a bigger town. Chamak is impressed with all the wealthy living and eats like a hog and sleeps like a dog every day. Honored initially as the son-in-law of the house, slowly he is despised, insulted and treated shabbily by in laws for doing nothing.

One day when Chamak is singing alone, the manager of the local theatre hears him, gets impressed and offers him job of a singer. Chamak accepts it and in no time becomes a famous singer and tours all over India. Seeing that he is famous, his in laws start pampering him. Now Chamak has become clever. He teaches a lesson to his in laws and finally they realize their folly and all is well that ends well.

The cast of the film was Bhagwan, Krishna Kumari, Yashodhara Katju, Protima Devi, Cuckoo, Habib, Kathana, Ishu Jahagirdar etc. etc. The story and screenplay was by director Brijrani.

Brij Rani was born in 1921 at Shikarpur, Sindh province, in a well to do business family. She studied up to Matriculation and also qualified as a Middle School Teacher. However, she opted to join films as an actress. Her first film was Jeewan Jyoti-37, doing an un credited small role to get the feel, followed by Calcutta after Midnight-37, Aurat-40, Wayda-40, Ulti Ganga-42, Daughters of the Jungle-43, Bhagta Bhoot-43, Circus Girl-43 and Lal Haveli-44.

She was getting roles only in stunt films and C grade films. Being from a business community, she started her own company- Bharat productions and herself made stunt films.

Meanwhile she continued acting in films like Lal Haveli-44 and acted and directed film Circus King-46 and film Sajni-47. Then there was a gap. probably she looked after her family. In 1951, she directed film Daamaad-51.

As far as Yashodhara Katju is concerned, there is a bizarre story behind her entry into films. Earlier there was a Kashmiri girl working in Hindi films,in the late 30s. Her name was Shyama Zutshi. Actor Chandramohan too was a Kashmiri Bramhin and held the view that Kashmiri Bramhin girls should not work in films as it is below their dignity. He strongly opposed Shyama’s work in the films and put lot of pressure on her to quit films. Fed up of his pestering and also afraid of his anger, Shyama left films. Her last film was Khooni Jadugar-1939.

However, soon after this, yet another girl who too was a Kashmiri Bramhin came into films from 1941. Chandramohan tried all his pressure tactics and tried to force her out of the films, but this girl was different. She was tough and did not fear him or yield to his intimidations. She continued to work in films unabated. Chandramohan died in 1949, but this girl worked in films from 1941 to 1974. She worked in 86 films and earned quite a name.

Her name was Yashodhara Katju ( 15-4-1928 to 1974 ). She was the niece of Pt. Nehru, but never ever used her highly placed relations to get work. Her father K L Katju was U.P.’s well known politician and also a senior bureaucrat. They were from Lahore, where Yashodhara had studied upto Senior Cambridge and also dancing. She was a leading comedienne in the early 50s and had formed a pair with Gope for some films. She married a Navy officer and spent her retired life as a housewife, away from filmdom.

Today’s song is actually in 2 parts, but it is combined in one video. The singers are Sulochana kadam(for Yashodhara katju), Ram Panjwani (for Bhagwan), Ishu Jahagirdar (for Dhobi), and Shrimati Vishnilal ( for elderly lady). VISHNI LAL was born in Hyderabad( Sindh) in 1926. She came to Bombay in 1943 to sing in films. Ram Daryani recommended her to Khemchand Prakash and he gave a break to her in film Chiragh-43. She sang in very few films like Qurbani-43,Anjuman-48 Mitti ke khilaune-48,Maghroor-50,Daamaad-51,Chhoti Duniya-53 etc.

Her family shifted to Bombay in 1947, after Partition. She was married to a businessman Mansukhani. She then settled in Dubai, with her family.

Let us now enjoy the song video.


Song – Dhobiya Re Dhobiya Re Tera Chhora (Daamaad) (1951) Singers – Sulochana Kadam, Ram Panjwani, Shrimati Vishnilal, Ishu Jahagirdar, Lyrics – Bahaar Ajmeri, MD – Indravadan Bhatt
Sulochana Kadam + Ram Panjwani
Chorus

Lyrics

oo oo oo
dhobia

dhohia re dhobia re tera chhora
ho tera chhora
beech bajaria chhed kare mosey
beech bajaria chhede
dhohia re dhobia re tera chhora
ho tera chhora

main na chhedoon
main na chhedoon is ko dada
jhooth kahe ye tosey
ram kasam. . .
ram kasam iljaam dhare hai
bair karey ye mosey
ram kasam iljaam dhare hai
bair karey ye mosey

hmmm mmmmm

tu chhori re chhori re chhori chhori re
bada sareef hai mera chhora
bada sareef hai mera chhora
oo oo chhori
chhori jhooth kyon boley
o chhori jhooth kyon boley
sundar dekh ke morey lallan ko
kyon tera manwa doley
ho chhori
kyon tera manwa doley

oo oo
oo oo oo oo oo
o dhobia
sunder hai tera chhora to
main bhi naar albeli
sunder hai tera chhora to
main bhi naar albeli
roop dekh sharmaaye jaaye re
dhobia
roop dekh sharmaaye jaaye re
bagia mein haaye chameli
bagia mein haaye chameli
bada theed hai
bada theed hai. . .
o tera chhora
bada theed hai
bada theed hai. . .
o tera chhora
beech bajariya ghere
beech bajariya ghere
dhobia re dhobia re tera chhora
ho tera chhora

kyon ri dhobaniya
lagaai bujhaai to kar ke chali
par main to ko samjhunga
lagaai bujhaai to kar ke chali
par main to ko samjhunga
bhari bajariya mein o chhori
bhari bajariya mein o chhori
teri khabar main loonga
ab teri khabar main loonga
oo oo oo dhobia
chal hatt
parey hatt

oo oo dhobia
samjhaaye lei e ka
nahin to main rapat likhaaye deungi
samjhaaye lei e ka
nahin to main rapat likhaaye deungi
oo oo thaanedar se
thaanedar se keh kar main to
lambardaar se keh kar main to
band karaye deungi
milat mein
milat mein
qaid karaaye deungi
main ghabraaye gai
tere chhore se
phirey hai peeche morey
phirey hai peeche morey
dhobia re dhobia re tera chhora
oo tera chhora

shiv ram
shiv ram
shiv ram
shiv ram
shiv ram

mukhiya ke chhore se chhori
mukhiya ke chhore se chhori
kaahe karey tu ladaai
maafi maang le 
o chhori
maafi maang le 
maine lallan se kar di teri sagaai

oo oo oo oo
teri meri bhool hui o baalam
kar le mosey mel
haan haan
kar le mosey mel
tu mera chaand hai
main teri chandni

oo oo oo oo
chhaila re chhaila re chhaila chhaila re
khelen chaand ka khel
aao khelen chaand ka khel
khel
aa ri dhobaniya
ho gaya tera mera mel
ho gaya tera mera mel
ho gaya tera mera mel
ho gaya tera mera mel. . .

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

ओ ओ ओ
धोबिया

बीच बज़रिआ छेड़ करे मोसे
बीच बज़रिआ छेड़े
धोबिया रे धोबिया रे तेरा छोरा
हो तेरा छोरा

मैं ना छेड़ूँ
मैं ना छेड़ूँ इसको दादा
झूठ कहे ये तोसे
राम कसम॰ ॰ ॰
राम कसम इल्जाम धरे है
बैर करे ये मोसे
राम कसम इल्जाम धरे है
बैर करे ये मोसे

हम्मम म्ममम

तू छोरी रे छोरी रे छोरी छोरी रे
बड़ा सरीफ है मेरा छोरा
बड़ा सरीफ है मेरा छोरा
ओ ओ छोरी
छोरी झूठ क्यों बोले
सुंदर देख के मोरे ललन को
क्यों तेरा मनवा डोले
हो छोरी
क्यों तेरा मनवा डोले

ओ ओ
ओ ओ ओ ओ ओ
ओ धोबिया
सुंदर है तेरा छोरा तो
मैं भी नार अलबेली
सुंदर है तेरा छोरा तो
मैं भी नार अलबेली
रूप देख शरमाये जाये रे
धोबिया
रूप देख शरमाये जाये रे
बगिया में हाए चमेली
बगिया में हाए चमेली
बड़ा ठीठ है
बड़ा ठीठ है॰ ॰ ॰
ओ तेरा छोरा
बड़ा ठीठ है
बड़ा ठीठ है॰ ॰ ॰
ओ तेरा छोरा
बीच बज़रिआ घेरे
बीच बज़रिआ घेरे
धोबिया रे धोबिया रे तेरा छोरा
हो तेरा छोरा

क्यों री धोबनिया
लगाई बुझाई तो कर के चली
पर मैं तो को समझूँगा
लगाई बुझाई तो कर के चली
पर मैं तो को समझूँगा
भरी बज़रिआ में ओ छोरी
भरी बज़रिआ में ओ छोरी
तेरी खबर मैं लूँगा
अब तेरी खबर मैं लूँगा
ओ ओ ओ धोबिया
चल हट
परे हट

ओ ओ धोबिया
समझाये लेई ए का
नहीं तो मैं रपट लिखाये देऊंगी
समझाये लेई ए का
नहीं तो मैं रपट लिखाये देऊंगी
ओ ओ थानेदार से
थानेदार से कह कर मैं तो
लंबरदार से कह कर मैं तो
बंद कराये देऊंगी
मिलत में
मिलत में
क़ैद कराये देऊंगी
मैं घबराए गई तेरे छोरे से
फिरे है पीछे मोरे
फिरे है पीछे मोरे
धोबिया रे धोबिया रे तेरा छोरा
हो तेरा छोरा

शिव राम
शिव राम
शिव राम
शिव राम
शिव राम

मुखिया के छोरे से छोरी
मुखिया के छोरे से छोरी
काहे करे तू लड़ाई
माफी मांग ले ओर छोरी
माफी मांग ले
मैंने ललन से कर दी तेरी सगाई

ओ ओ ओ ओ
तेरी मेरी भूल हुई ओ बालम
कर ले मोसे मेल
हाँ हाँ
कर ले मोसे मेल
तू मेरा चाँद है
मैं तेरी चाँदनी

ओ ओ ओ ओ
छैला रे छैला रे छैला छैला रे
खेलें चाँद का खेल
आओ खेलें चाँद का खेल
खेल
आ री धोबनिया
हो गया तेरा मेरा मेल
हो गया तेरा मेरा मेल
हो गया तेरा मेरा मेल
हो गया तेरा मेरा मेल॰ ॰ ॰


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.

Blog Day :

3898 Post No. : 14943 Movie Count :

4082

Colorful greetings to all readers and friends. May this festival of colors, bring happiness and good health, to yourself, and to everyone you know. 🙂  May these colors multiply and spread good cheer across every day in the calendar.

Happy Holi to all.

On this blog, we are celebrating the eleventh iteration of this festival. Statistics is one thing – apart from that, the wonderful fact is that the songs of Holi in Hindi films, seem like a supply with no end. Of course yes, when the films and their directors continue to add more songs celebrating this festival every year.

I bring to your attention, this wonderfully fabulous song of the spirit of Holi, from a really very recent film – ‘Ye Jawaani Hai Deewaani’ from 2013. This film was one of the most successful films of that year, and I am sure you must be aware of it, even though it is possible that your tastes and preferences are rooted in the 1940s and 50s which is the gold standard for melody and music in Hindi films. However, that does not mean that music of the decades after the golden . . . – well it does deserve credit. It does catch your attention, and the music and songs still grow into your mind to become darling memories.

Although I have myself not been paying much attention and time to the music of the current years. But quite decidedly, along comes a film with a blast of music that forcefully captures your attention, and insists on becoming part of your list of favorites. Something quite of this sort happened with this 2013 film, for me. And it started very much with this song.

After a long time, I must say, that I have encountered a song of this festival, that simply takes your breath away. The spirit of celebration, and all the emotions that uniquely make this festival what it is – is not so totally and carefully represented every time. But surely, this song does it.

There is color, lots and lots of it.
There is water – it starts off with that.
There is cheer – for every person who is part of this song, and everyone else who may be listening and enjoying it.
There is music – yes of course.
There is dancing – goodness you must be kidding.
There is ‘bhaang’, and there is noise.
There is a large dipping pool – nay, a large dunking pool.
Oh yes, there is “छेड़ छाड़” – chhed chhaad, there is “ज़ोर ज़बरदस्ती” – zor zabardasti.
There are fair maidens running away to save themselves from being smothered with color and water.
And there are insistent and forceful young charmers who will not take ‘no’ for an answer. Or rather they do not even care what the answer is – they will force the color into your face and hair. They will chase you, and run you down, and cuddle you – and they will be more insistent, the more resistance one puts up.
There are drums.
There is singing – very loud, yes.
There is nonsense lyrics – like “लट्टू पड़ोसन की भाभी हो गई” – lattu padosan ki bhabhi ho gayi.
There are meaningful verses – “ज़ुल्मी ये हाजिर जवाबी हो गई. . .” – zulmi ye haazir jawaabi ho gai.
There is “नोक झोंक” – nok-jhonk – that is very verbal and very physical too.
There is humor, and there is suggestive propositioning – like “अरमानों में बेहिसाबी हो गई” – armaanon mein behisaabi ho gai.
And there is flights of fancy.
And there is uncharacteristic expressions of festivity from unexpected quarters
And there is a glimmer of surprised realizations.
The matters of heart, unexpressed, are just beneath the surface sheen.
And of course there is a shock of unexpected and amazing realizations – yes, this could surely be it.
There is joy of shared happinesses.
There is a loud cheer of good spirit.
And everything, each and every one of these ingredients put together into the mix to convince you – yayyy, it is Holi – get colored, and get wet, very wet.

Amazing, simply and truly amazing – after a long time, comes along a new sound that astonishes the mind with the honesty with which the true spirit of the festival is so sweetly captured. Needless to say it – but yes, I am quite truly floored.

I have not yet seen the complete film. I got introduced to the songs of this film over the past many months. Especially this Holi song was forcefully dumped into my notice just about a year ago, yes around the last iteration of this celebration. Enthused as I was, I could not make and present a post in time for the festival; now coming around to it after a wait of a full year. Even with this passage of time, the charm of this song has not diminished even one bit. I simply do not seem to be getting enough of this song. 🙂

The lyrics are written by Amitabh Bhattacharya and the music is by Preetam. Singing voices are of Vishal Dadlani and Shalmali Kholgade. On screen, the song is performed by Deepika Padukone, Ranbir Kapoor, Kalki Koechlin, Aditya Roy Kapoor and a ton of dancers. Deepika and Ranbir are so truly convincing in the complete free form enjoyment in this song. The movie makes its debut on our blog with this song.

Wishing a grand celebration of this festival today, to all friends and readers. Go out, get doused in colors, make up some fun lyrics – like “लट्टू पड़ोसन की भाभी हो गई” types, and sing it out at the top of the voice. It does not matter – it is Holi. Just down one glass of bhang and then blame it for everything. 😀 😀 😀

Happy Holi – – – celebrate.

 

Song – Balam Pichkaari Jo Tu Ne Mujhe Maari  (Ye Jawaani Hai Deewaani) (2013) Singer – Shalmali Kholgade, Vishal Dadlaani, Lyrics – Amitabh Bhattacharya, MD – Preetam
Chorus

Lyrics

abbey chashmish

kaun chashmish

holi hai. . .

itna mazzaa
kyon aa raha hai
tu ne hawa mein bhaang milaaya

itna mazzaa
kyon aa raha hai
tu ne hawa mein bhaang milaaya
duguna nasha
kyon ho raha hai
aankhon se meetha tu ne khilaaya
ho teri malmal ki kurti gulaabi ho gai
tu chali chaal jaise nawaabi ho gai
to
balam pichkaari
jo tu ne mujhe maari
to seedhi saadi chhori sharaabi ho gai
o jean pehan ke
jo tu ne maara thumka
to lattu padosan ki bhabhi ho gai
balam pichkaari
jo tu ne mujhe maari
to seedhi saadi chhori sharaabi ho gai
o jean pehan ke
jo tu ne maara thumka
to lattu padosan ki bhabhi ho gai

teri kalaai hai
haathon mein aai hai
maine maroda to
lagti malaai hai
mehnga padega ye
chaska malaai ka
upvaas karne mein
teri bhalaai hai
ho bindiya teri marhagaabi ho gai
ke armaanon mein behisaabi ho gai
teri to
balam pichkaari
jo tu ne mujhe maari
to seedhi saadi chhori sharaabi ho gai
o jean pehan ke
jo tu ne maara thumka
to lattu padosan ki bhabhi ho gai

kyon no vacancy ki
hothon pe gaali hai
jab ke tere dil ka
kamra to khaali hai
mujhko pata hai re
kya chaahta hai tu
boli bhajan teri
neeyat qawwaali hai
zulmi ye haazir jawaabi ho gai
tu to har taale ki aaj chaabi ho gai
o o
balam pichkaari
jo tu ne mujhe maari
to seedhi saadi chhori sharaabi ho gai
o jean pehan ke
jo tu ne maara thumka
to lattu padosan ki bhabhi ho gai

balam pichkaari
jo tu ne mujhe maari
to seedhi saadi chhori sharaabi ho gai
o jean pehan ke
jo tu ne maara thumka
to lattu padosan ki bhabhi ho gai

haan bole re zamaana kharaabi ho gai

haan bole re zamaana kharaabi ho gai

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

अबे चशमिश

कौन चशमिश

होली है॰ ॰ ॰

इतना मज़ा
क्यों आ रहा है
तूने हवा में भांग मिलाया

इतना मज़ा
क्यों आ रहा है
तूने हवा में भांग मिलाया
दुगुना नशा
क्यों हो रहा है
आँखों से मीठा तू ने खिलाया
हो तेरी मलमल की कुर्ती गुलाबी हो गई
तू चली चाल जैसे नवाबी हो गई
तो
बलम पिचकारी
जो तूने मुझे मारी
तो सीधी साड़ी छोरी शराबी हो गई
ओ जीन पहन के
जो तूने मारा ठुमका
तो लट्टू पड़ोसन की भाभी हो गई
बलम पिचकारी
जो तूने मुझे मारी
तो सीधी साड़ी छोरी शराबी हो गई
ओ जीन पहन के
जो तूने मारा ठुमका
तो लट्टू पड़ोसन की भाभी हो गई

तेरी कलाई है
हाथों में आई है
मैंने मरोड़ा तो
लगती मलाई है
महंगा पड़ेगा ये
चसका मलाई का
उपवास करने में
तेरी भलाई है
हो बिंदिया तेरी महारगाबी हो गई
के अरमानों में बेहिसाबी हो गई
तेरी तो
बलम पिचकारी
जो तूने मुझे मारी
तो सीधी साड़ी छोरी शराबी हो गई
ओ जीन पहन के
जो तूने मारा ठुमका
तो लट्टू पड़ोसन की भाभी हो गई

क्यों नो वेकेंसी की
होठों पे गाली है
जब के तेरे दिल का
कमरा तो खाली है
मुझको पता है रे
क्या चाहता है तू
बोली भजन तेरी
नीयत क़व्वाली है
ज़ुल्मी ये हाजिर जवाबी हो गई
तू तो हर ताले की आज चाबी हो गई
ओ ओ
बलम पिचकारी
जो तूने मुझे मारी
तो सीधी साड़ी छोरी शराबी हो गई
ओ जीन पहन के
जो तूने मारा ठुमका
तो लट्टू पड़ोसन की भाभी हो गई

बलम पिचकारी
जो तूने मुझे मारी
तो सीधी साड़ी छोरी शराबी हो गई
ओ जीन पहन के
जो तूने मारा ठुमका
तो लट्टू पड़ोसन की भाभी हो गई

हाँ बोले रे ज़माना खराबी हो गई

हाँ बोले रे ज़माना खराबी हो गई


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

Blog Day : 3896 Post No. : 14938

We had this post last year on the same date by Avinashji where he has written about the background of the movie “Woh Main Nahi”(1974). He has listed all the famous songs and movies of Navin Nischol. Most of the songs which I like are in that list.

So here’s a duet by Rafi and Asha Bhonsle which was written by Verma Malik. Music direction was by Sonik Omi. Visiting the movie after a full year on the occasion of Navin Nischol’s anniversary.


Song-Ise patli kamar mein na daal ke lahanga khisak jaayega (Woh Main Nahin)(1974) Singers-Asha Bhonsle, Rafi, Lyrics-Verma Malik, MD-Sonik Omi
Male chorus
Female chorus

Lyrics

jhigi jhigi jhigi jhigi jhigi jhina
jhina na re

jhina re jhina ha aa
jhigi jhigi jhigi jhigi jhina re jhina
na re

jhina re jhina haa

hey jhoole jhoole jhoole re jhoole
jhoole re ae
jhool jhool jhool jhool jhool jhoole
hey hey ha haa

hey ae’
mera roop mera rang
mere chalne ke dhang
mera ik ik ang
jaise udti patang hai
aaaa
kayi tujhse malang karen ankhiyon ki jung
meri bholi si jawaani
in aashikon se tang hai
koi rakhta nazar
koi deta hai jigar
koi aahen bhar bhar kar mujhko pukaarta
haan
par tujhsa na dekha maine koi harjaayi
jo andar se marta hai
upar se maarta
arre kaisa tu mard jo hai dil ka sarad
uthh himmat dikha
zaraa saamne toh aa
aa aa
are aa na

hahahahaha
hahahaha

arri dhaai inch ki kamar hai teri
aur pandrah gaz ka lehenga aa aa
haay
chhil gayi kamar bos(?) ki jaisi
toh ye sauda padega mehanga
haan
ri isse patli kamar mein na daal
ke lehanga khisak jaayega
isse patli kamar mein na daal
ke lehanga khisak jaayega
teri umar ka naazuk saal
teri umar ka naazuk saal
uspe tu chale mor ki chaal
ke lahanga
ummm
ke lehenga khisak jaayega

haai haai
isse patli kamar mein na daal
ke lehanga khisak jaayega

arri samjhi

jaa re jaa re
tu dil ko zara sambhaal
nahin to dil michak jaayega
tu dil ko zara sambhaal
nahi to dil michak jaayega
main samajh gayi teri chaal
main samajh gayi teri chaal
ja buri nazar na daal
nahin to dil
hmmm
nahin to dil michak jaayega
ja buri nazar na daal
nahin to dil michak jaayega

nazar hai duniya ki buri
o zara sambhal ke rehna saanwri
nazar hai duniya ki buri
o zara sambhal ke rehna saanwri

o ho o o o
sambhal ke rehna aata hai
arre tu kyun jal jal jaata hai
yoon dil na todo
aji tum peechha chhodo
meri jaan idhar to aa ja
arre hatt ja ja
ja ja
isse kar de kisi ke naam
roop tera dhalak jaayega

haaye
isse kar de kisi ke naam
roop tera dhalak jaayega

ja buri nazar na daal
nahin to dil michak jaayega

bol de kya chaahta hai tu
arre milne kise aata hai tu
bol de kya chaahta hai tu
arre milne kise aata hai tu
oh ho o o
arri chaahta hoon deedaar ko
aur milne aaya yaar ko

kisne bulwaaya
o tujhko lene aaya
agar main shor machaaoon
uthha le jaaoon
jaaoon

phenkoon jo zulf ka jaal
jaal mein atak jaayega
phenkoon jo zulf ka jaal
jaal mein atak jaayega

haay haay
isse patli kamar mein na daal
ke lehenga khisak jaayega

arre hatt
rok na raahen
daal baahon mein baahen
main ungli pe nacha doon
tere chhakke chhuda doon
teri yahaan daal gale na
tera bhi zor chale na
mera gussa bura hai
mera ghoonsa bura hai
laga kar haath to dekho
chhuda kar haath to dekho
bahut dekhe hain aise
na dekhe mere jaise
tere jaise hain kaise
mere jaise hain aise
aise
aise
haan

hahahaaha


This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3765 Post No. : 14738 Movie Count :

4028

Today’s song is from the first decade of the Talkie films, viz 1930s. This song is from “Hum,Tum aur Woh”(1938). This was a film made under the banner of Sagar Movietone, a highly prestigious and famous film company of the times. This company was riding on waves of popularity and fame during those days of 1938.

Shri Biren kothari ji has written a wonderful book on Sagar Movietone. It is based on interactions with the surviving members of the Desai clan as well as several contemporary documents and is regarded as an authentic volume on Sagar Movietone. However, oday’s article is based on another book, “Mehboob Khan” written by Shashikant Kinikar, published in 2015, 2 years after Kothari ji’s book. This 300+ page book, in Marathi, has plenty of original photos and articles on Mehboob Khan written by Anil Biswas, Sitara Devi, Shamshad Begum, P.K.Nair, Wazahat Mirza, Naushad and Shakeel Badayuni and therefore it is full of several anecdotes which are unknown to many. The book also contains 4 articles by Mehboob Khan himself. The book is an excellent treatise on Mehboob Khan-the Director and the Human Being, with 230 pages dedicated on him and his films.

However, Mehboob’s story is incomplete without Sagar’s story.

Hindi film industry has produced some great directors who, besides having a commercial outlook, also served the society by making films on burning social issues. On their parts, they contributed their “Two Cents” to serve the Nation. Such directors included Raj Kapoor, V.Shantaram, Guru Dutt, Satyajit Ray and Mehboob Khan-to name a few.

Born as Ramzan Khan in 1907 in Bilimora, Gujarat, Mehboob was from a Gujarati Muslim family. He never got a formal education in his young age, but he was keen on two things-5 times Namaz and seeing films. His father being in Police Department, films were free for him. One day he ran away to Bombay to become an actor. However his father found him out and brought him back. He was immediately married off, with a belief that he would improve.

Two years after marriage and one child, he ran to Bombay again and worked in Imperial film co. as an extra for Rs.30 pm. This too after he worked without any pay for 5 months due to the mistake of the clerk ! He worked in crowd scenes and sundry roles-without a dialogue, of course, starting as one of the 40 thieves of Alibaba. He worked in several films uncredited. His first, big and credited role came in the film “Shirin Khushru”-1929.

In 1927, after the Talkie film “The Jazz Singer” was shown in US, the world started making Talkie films. India too jumped into the bandwagon. In 1931, Imperial-competing with Madon Theatres of Calcutta- wanted to make a Talkie and started work fast. Mehboob Khan was almost finalised as the Hero. Even his costumes were made ready, but he was destined for something different, and Master Vithal was made the Hero of India’s first Talkie. Ardeshir Irani’s safety valve of minimizing the risk of the first venture by selecting the existing popular Hero, scuttled Mehboob’s dream.

Meanwhile, Imperial started a new company,’Sagar Movietone’, along with Dr. Patel and Chiman Desai. Some artistes and techies were shifted to Sagar-including Mehboob- from Imperial. Mehboob continued to work in 12 silent films. Here, he met Faredoon Irani, Cinematographer and they became thick friends. Irani was with Mehboob till the end.

During this period, Mehboob wrote a film story and convinced the owners to allow him to direct this film. Owners were hesitant, naturally, to allow this young extra actor to direct a film. Lastly a deal was struck, that Mehboob and Faredoon should be allowed to shoot one reel film. If they like it, continue or else, scrap it and recover money from these two chaps. After one reel shooting the owners realised that they had struck Gold in the process and Mehboob completed his first Directorial venture ” Al Hilaal “-35. The film was a great success and Mehboob ‘chal pada’. Mehboob went on to direct 7 more films for Sagar. All his films were successful.

From film Jageerdar-37 Mehboob and Anil Biswas pair teamed up for 8 films-till Roti-42.

When Mehboob was making arrangements for his next film, Alibaba, the sudden news that Sagar is closing down hit them. Mehboob Khan contacted Imperial to allow him to shoot for his film in their studio, which Ardeshir gladly permitted. The film shooting proceeded til Sagar became National studios. Mehboob made 3 important films of his career in National studio, namely Aurat-40, Behan-41 and Roti-42.

When National studio also closed down all workers came on road. However, Mehboob decided to start his own company. One Mr. Lalaji of Manoranjan Distributors of Delhi promised capital. National studio was renamed as Central studio by the owner, K.K.Modi-elder brother of Sohrab Modi. He allowed Mehboob to use the studio till his own studio came up. Mehboob took a place nearby to start his office. In this period there was a rift between Mehboob and Anil Biswas and they separated for ever-albeit bitterly.

Mehboob wanted a Logo for Mehboob Productions. He selected a sher written by Agha Jani kashmiri for film “Al Hilal”….” Muddai lakh bura chahe to kya hota hai, vahi hota hai jo manjur e Khuda hota hai”. It was recorded in the voice of Rafiq Ghaznavi with appropriate prelude music and sound of lightening and clouds. He also took Sickle and Hammer for the Logo, and clarified that because he respected workers and certainly he was not a communist.

His first film Najma-43 ( his daughter’s name was Najma), with Ashok Kumar and Veena was a Hit film. It was followed by Taqdeer-43, Humayun-45,Anmol Ghadi-46, Elaan-47, Anokhi Ada-48, Andaaz-49, Aan-52, Amar-54 and his Magnum Opus Mother India-57. After the high of Mother India, Mehboob aimed to fly even higher with Son of India (1962) but the film was a total misfire and, in fact, his weakest film. Mehboob had been neglecting health inspite of suffering Heart attacks. In May 1964, he suffered another attack but survived. His financiers were after him for repayment and he was worried. He called Rajendra Kumar and asked for a loan of 4 lakh rupees against his studio to be made in his name. Rajendrakumar refused to take the studio and promised to give him the amount next day at 11 am, without any mortgage. In the evening, news of Nehru’s heart attack came. Mehboob became restless. Soon the death news came and Mehboob became grief stricken. Akhtar gave him sleeping pills, but he had to be admitted to Nanavati Hospital. He too died at 2 am on 28th May 1964. At the time of his death, Mehboob Khan was harboring ambitions to make a film on the life of Habba Khatoon, the 16th century poetess-queen of Kashmir.

Mehboob Khan directed 8 films for Sagar, 3 films for National and 11 films for Mehboob productions.( based on information from Upperstall, Mehboob Khan by Shashikant Kinikar and my notes).

One advantage of reading a Biography is that you get to know the person’s version on controversies. As far as Mehboob and Anil Biswas’s split is concerned, Mehboob’s version is 180 degrees opposite to what Anil Biswas gave. Difficult to side anyone. But this split did help first Rafiq Ghaznavi and then Naushad.

In the cast of the film, one finds a name Sunalini Devi. Now let us know something about Sunalini Devi, the actress. She was born on 1-1-1896 in Hyderabad Deccan. Her father, Aghornath Chattopadhyay-a Bengali settled in Hyderabad – was a Sanskrit scholar, was proficient in 27 languages and was the first Indian to get the D.Sc. honour. Sunalini was the elder sister of Sarojini, who became Sarojini Naidu after her marriage, and Harindranath Chattopadhyaya-renowned poet.

Sunalini learnt Music and Dance from her third year of age itself. Due to her sweet voice, she was called ‘ Kokila ‘. It is to be noted that her younger sister Saojini naidu was called ‘ Nightingale of India’ ! It is unfortunate that the film industry did not use Sunalini’s music skill in her films and she sang just one song in her career in film ‘ Raja Rani-42’.

Sunalini started acting in stage dramas from 1918. her first movie was ” Light of Asia”-released initially in Germany and Poland in 1925 ( its restored version was released on 5th July 2001, in India. This film was made by Himanshu Rai. The film was shot in Lahore. It was a silent film on Gautama the Buddha. Her first Talkie film was ‘ veer Kunal-32’. She acted in 56 films. Mostly she was known for motherly roles only. She had, like her more eminent sister, married a south Indian- mr.A.S.Rajan, a writer from Madras.

Some of her more known films are, Aurat, Lalaji, Inkaar, Nai roshni, Talaash, Bairam khan, Tamasha, Dilruba, Malhar etc etc. She retired from films in 1956.

Let us now listen to the song of today. It is sung by Maya Banerjee and Harish. The music was by Anil Biswas. I find the tune of this song a little unusual. It looks like the lady is stressing her point with fists hammered on a desk.

With this song, this film “Hum Tum aur Woh” (1938) makes its Debut in the Blog.


Song-Hamen preet kisi se nahin karni (Ham Tum Aur Wo)(1938) Singers-Maya Banerjee, Harish, MD-Anil Biswas

Lyrics

hamen preet kisi se nahin karni
hamen preet kisi se nahin karni
hamen preet ki reet bataao nahin
hamen preet ki reet bataao nahin
hamen preet kisi se nahin karni
hamen preet kisi se nahin karni
hamen likh likh chithhiyaan mat bhejo
hamen likh likh chithhiyaan mat bhejo
hamen jamuna kinaare bulaao nahin
hamen jamuna kinaare bulaao nahin
hamen preet kisi se nahin karni
hamen preet kisi se nahin karni

ham likhh likhh chithhiyaan bhejenge
tumhen apne paas bulaayenge
ham likhh likhh chithhiyaan bhejenge
tumhen apne paas bulaayenge

ham roothhenge
ham jhagdenge
ham roothhenge
ham jhagdenge
ham dor se kheench ke laayenge
ham dor se kheench ke laayenge
in baaton se hamko daraao nahin
in baaton se hamko daraao nahin

hamen preet kisi se nahin karni
hamen preet kisi se nahin karni
hamen preet ki reet bataao nahin
hamen preet ki reet bataao nahin
hamen preet kisi se nahin karni
hamen preet kisi se nahin karni


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3730 Post No. : 14674

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 25
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘ब’ – बाँके तीरंदाज़ जान ले ले ना हो नाराज़ ॰ ॰ ॰

– – – –

अभी ना जाओ छोड़ कर
के दिल अभी भरा नहीं॰ ॰ ॰ 

कब तक हम यही कहते रहें, आप तो छोड़ कर वहाँ चले गए, जहां हमारी आवाज़ भी नहीं पहुँचती।

[Pray till when do we keep saying this, you have left and gone to a place where our voice does not reach you]

– – – –

Skipping the letter ‘फ’ – no more songs available as applicable this series, starting with this letter. We come to ‘ब’.

This song from the obscure 1958 film ‘Sun To Le Haseena’, is an unfamiliar but a very lovely melody from the mind of S Mohinder. The film is a social drama coming from the famous Filmistan Studios, Bombay, and is directed by SP Bakshi. The Geet Kosh lists seven songs for this film. These seven songs are written by four songwriters – Saarshaar Sailiaani, Rahil Gorakhpuri, Anand Bakshi and Kaif Irfani. Today’s song is penned by Anand Bakshi. The music director is S Mohinder. Singing voices are of Rafi Sb and Asha Bhosle.

The cast of actors for this film is listed as Shashikala, Ravindra Kapoor, Agha, P Kailash, Badri Prasad, Randhir, Gulab, Sabita Chatterjee, Kanu Rai, Manju, Manohar Geer, Vitthal Das Panchotia, Madhu Apte, Ramlal, Leela, Bazid Khan, Rajeshwar Singh, Noor, Chandramohan, Pathak, Shantaram, Ravi Tandon, Sundar, Pal.

The leading man Ravindra Kapoor, younger brother of actor Kamal Kapoor, belongs to the Kapoor family, and is a first cousin of the Raj Kapoor generation. Folks will remember Nasir Hussain’s 1971 film ‘Caravan’. In this film, Jeetendra has two assistants / cleaners in his truck business. One is Junior Mehmood, and the other is Ravindra Kapoor. Ravindra Kapoor did not make a successful and popular career in Hindi films as a leading hero. However, he was quite a hit in Punjabi films in 1960s, and was a very popular leading man in that time. Some of his Punjabi films include ‘Sherni’  (1973), ‘Kankan De Ohle’  (1970), ‘Dupatta’  (1969), ‘Mukhra Chan Warga’  (1969), ‘Paun Baran’  (1969), ‘Punjabi Munda’  (1968), ‘Pind De Kuri’ (1967), ‘Khed Preetan Di’  (1967), ‘Neem Hakeem’  (1967), ‘Kunwari’  (1966), ‘Gabroo Desh Punjab De’  (1966), ‘Laiye Tod Nibhaiye’  (1966), ‘Shokan Mele Di’  (1965), ‘Saat Saaliyan’  (1964), ‘Mere Haaniyan’  (1963), ‘Pardesi Dhola’  (1959), ‘Chambe Di Kali’ etc.

From 1970 onwards, he is known better by the name Goga Kapoor. In Hindi films, as per the Geet Kosh listings (till 1980), he has appeared in 20 films (there are more films listed post 1980 when we check online), of which about 7 or 8 are as leading man, opposite to heroines like Shashikala, Ameeta and Indrani Mukherjee. In the remaining appearances, he is in character artist roles. In his later years, he was doing more villain and gangster type roles. He passed away in 2011.

[Note: With tongue in cheek, I reveal my personal connection to this clan. My mother’s second cousin on her maternal side of the family (from Simla) is/was married to Ravindra Kapoor. 🙂 ]

The song is sung by Rafi Sb and Asha Bhosle. It is a lively nok-jhonk exchange between lovers. Only the audio of this song is available, so it is not possible say who has sung it on screen. It could be Ravindra Kapoor and Shashikala, or it could be Agha, and one of the supporting ladies. I request other knowledgeable readers and friends to please add more information about this song and this film, if available.

Listen to this racy song. Peevesie’s Mom commented earlier today that “. . . josh which only Mohd. Rafi could bring to a song no matter who is lip syncing.” So true, the one and only Rafi Sb.
Enjoy this song.

Song – Baanke Teerandaaz Jaan Le Le Na Ho Naraaz  (Sun To Le Haseena) (1958) Singer – Mohammed Rafi, Asha Bhosle, Lyrics – Anand Bakshi, MD – S Mohinder

Lyrics 

hoy baanke teerandaaz
jaan le le na ho naraaz
o baanke teerandaaz
jaan le le na ho naraaz
nazron waala teer
maar dil chiir
chhod ye naaz
arre jaa re dhokhebaaz
maut ko de na tu awaaz
arre jaa re dhokhebaaz
maut ko de na tu awaaz
kar doongi main shor
chhed na aur
baaz aa baaz
arre waah re waah
baanke teerandaaz
jaan le le na ho naraaz

maan bhi ja ik baar mila ke aankh zara tu has de
chaahe phir apni zehreeli zulfon se tu das de
haaye das de das de das de
oy
yun na mujhko tok
raasta tu na mera rok
yun na mujhko tok
raasta tu na mera rok
kar doongi main shor
chhed na aur
baaz aa baaz
achha
baanke teerandaaz
jaan le le na ho naraaz

door door se baat mohabbat waali kar le kar le
mujhse kuchh na poochh tujhe marna hai to le mar le
arre mar le mar le mar le
arre waah re waah
waah meri sarkaar
rooth ke hoga kaise pyaar
waah meri sarkaar
rooth ke hoga kaise pyaar
nazron waala teer
maar dil chiir
chhod ye naaz
hoy jaa re dhokhebaaz
maut ko de na tu awaaz

haaye ghazab ki cheez hai tu kyon tadpaaye tarsaaye
yun na mujhko ghoor mujhe kuchh ho na jaaye haaye
aji haaye haaye haaye haaye
haaye haaye
o sadqe main qurbaan
chhod sharmaana meri jaan
o sadqe main qurbaan
chhod sharmaana meri jaan
nazron waala teer
maar dil chiir
chhod ye naaz
jaa re dhokhebaaz
maut ko de na tu awaaz
jaa re dhokhebaaz
maut ko de na tu awaaz

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

होय बाँके तीरंदाज़
जान ले ले ना हो नाराज़
ओ बाँके तीरंदाज़
जान ले ले ना हो नाराज़
नज़रों वाला तीर
मार दिल चीर
छोड़ ये नाज़
अरे जा रे धोखेबाज़
मौत को दे ना तू आवाज़
अरे जा रे धोखेबाज़
मौत को दे ना तू आवाज़
कर दूँगी मैं शोर
छेड़ ना और
बाज़ आ बाज़
अरे वाह रे वह
बाँके तीरंदाज़
जान ले ले ना हो नाराज़

मान भी जा इक बार मिला के आँख ज़रा तू हस दे
चाहे फिर अपनी जहरीली ज़ुल्फों से तू डस दे
हाए डस दे डस दे डस दे
ओय
यूं ना मुझको टोक
रस्ता तू ना मेरा रोक
यूं ना मुझको टोक
रस्ता तू ना मेरा रोक
कर दूँगी मैं शोर
छेड़ ना और
बाज़ आ बाज़
अच्छा
बाँके तीरंदाज़
जान ले ले ना हो नाराज़

दूर दूर से बात मोहब्बत वाली कर ले कर ले
मुझसे कुछ ना पूछ तुझे मारना है तो ले मर ले
अरे मर ले मर ले मर ले
अरे वाह रे वाह
वाह मेरी सरकार
रूठ के होगा कैसे प्यार
वाह मेरी सरकार
रूठ के होगा कैसे प्यार
नज़रों वाला तीर
मार दिल चीर
छोड़ ये नाज़
होय जा रे धोखेबाज़
मौत को दे ना तू आवाज़

हाए ग़ज़ब की चीज़ है तू क्यों तड़पाये तरसाये
यूं ना मुझको घूर मुझे कुछ हो ना जाये हाए
अजी हाए हाए हाए हाए
हाए हाए
ओ सद्क़े मैं क़ुरबान
छोड़ शरमाना मेरी जान
ओ सद्क़े मैं क़ुरबान
छोड़ शरमाना मेरी जान
नज़रों वाला तीर
मार दिल चीर
छोड़ ये नाज़
जा रे धोखेबाज़
मौत को दे ना तू आवाज़
जा रे धोखेबाज़
मौत को दे ना तू आवाज़


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(© 2008 - 2019) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15100 song posts by now.

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

Total number of songs posts discussed

15175

Number of movies covered in the blog

Movies with all their songs covered =1176
Total Number of movies covered =4169

Total visits so far

  • 12,067,903 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

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