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

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


This article is written by Peevesie’s mom, 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 : 4183 Post No. : 15362

Hullo to all in Atuldom

Round up of 2019

An eventful year comes to a close. I have had great experiences that will bring a smile on my face when I think of them or look at the related pictures.

First- my daughter gave me a promotion and I enjoyed every minute of the event. Only feeling at the end of it was— having waited for it from last July, when she announced her intention, I felt January came too soon and the week, with happenings related to the event, was over with the blessings of the elders of the family and good wishes of friends and relatives. And I must thank the Atulites too who came for it.

The next two months of the year were rather quiet. The major point of March being the R.M.I.M meet. I was lucky to have been able to attend the R.M.I.M in Bangalore this year -30th &31st March to be precise. And am I glad I attended it on both dates, unlike the last time when I went for one day and left almost immediately after lunch.

This time R.M.I.M was celebrating two birth centenaries – that of Chitragupta and Shamshad Begum. There was also a mention about the fact that Manna Dey would also have been 100 this year. Plus, there was a mention that many music luminaries of the past, who would have been 100 this year, need to be remembered.

On the occasion our Gajendraji reminisced about his encounter or meeting with the Shamshad Begum in 2012, when she was 92. He spoke about how sharp her memory was and about her sense of humour. He mentioned that when he asked her about her feelings towards her songs being remixed by the current generation her reply surprised him. She is said to have told him that by remixing, the songs were kept alive and more people were able to relish them.

Later during the post lunch session there was a debate or discussion on how social media impacted music and films. The discussion also touched whether it was right to colourise old black & white classics, remix or morph old videos etc. This was followed by Kushal Gopalka’s session where he spoke about his association with Shamshad Begumji. He mentioned another incident that showed Shamshad Begum’s view about life. He talked of an event for which he had escorted Shamshad Begumji; where the master of ceremonies asked her about her colleagues who were no more and had died rather young; for this -he says- her reply was “humari umr par nazar mat daaliye.”
My personal take-home from this was I got to meet the gracious, simple and humble Sudha Malhotra. She sounds very melodious in person even when she speaks.

For more on the meet I suggest visiting here.

April end saw me in Mumbai for a few days on some personal agenda. Which I clubbed with a met-up of friends from ASAD. That was a good gangout with guruji also landing back in Mumbai that morning and meeting Bakshishji and Nitinji for the first time (didn’t feel it was the first time though) and of course Sudhirji was also there. So, in all a good gangout even if I was present only for a short time I enjoyed.

June end was a trip to Bhopal to meet my gang of girls from college and chilling out in the heat of Madhya Bharat. But that was also fun, we parted with a promise of making it an annual affair.

July saw me in Kerala, the island resort of Ashtamudi, with newly acquired relatives and getting to know them. September end was Navaratri which saw me in my ‘sasural ka village’ as well as in Kolkata for Durga Pooja. A long-cherished dream of visiting the pooja pandals was fulfilled by my personal Santa.

Actually, for all of the above, I must thank my personal Santa as he never questions me or my intentions. He also turned a year older, an age when people normally hang-up their boots and think of taking life easy having worked for 40 years now. But my Santa has not yet thought about his boots or rest. He has a lot of enthusiasm for outings and excursions and is already planning his next joyful weekend. These breaks are what keep him going in stressful work conditions I suppose. God bless him forever.

I must thank our Sadanandji and Sudhirji for the song with this post. I am thanking Sudhirji as he suggested the song, since I have little knowledge of any song featuring the Shamshad Begum – Chitragupta combination. On a busy Saturday morning I pestered Sudhirji to find out if any Shamshad Begum song in Chitragupta’s music direction was left to be posted and he gave me this song before the day was out. Sadanandji has to be thanked as he is the one who has uploaded the song to YouTube. The movie is the 1953 release “Manchala” which had music by Chitragupta, the additional reason for my choosing this is, it is a duet by Shamshad Begum and Chitragupta.

Raja Mehdi Ali Khan was the lyricist for a movie which was produced and directed by Jayant Desai and had Nirupa Roy, Manhar Desai, Agha Jeevan etc in the cast. Going by the lyrics and the sound of the song the male in the song could have been Agha.
Happy Partying & tik tok tik tok to 2020.


Song-Dekho jee tum kuchh bolna na (Manchala)(1953) Singers-Shamshad Begam, Chitragupta, Lyrics-Raja Mehdi Ali Khan, MD-Chitragupta

Lyrics

panghat pe peepal
peepal taley hum
chhailaa sajan koi aaye re
panghat pe peepal
peepal taley hum
chhailaa sajan koi aaye re
maare kankariya phode gagariya
nainon se naina milaaye re
haay
dekho ji tum kuchh bolna na
dekhoji tum kuchh bolna na

oooo ohoho ooo
sadak pe cycle
cycle pe madam
madam ke naina bade bade
doorbin laga ke
focus milaa ke
dekhoonga usko khade khade

hain
dekhoji tum kuchh bolna na
dekhoji tum kuchh bolna na

aankhon mein gussa
haathon mein chappal
madam teri pit jaaye re
main toh na chhodoon
madam ki chutiya
haathon mein agar aa jaaye re
haay
dekho ji tum kuchh bolna na
haan dekhoji tum kuchh bolna na

oooo ohoho ooo
gaadoonga main toh
dil mein tumhaare
apni mohabbat ka jhanda re
chhailla jo mere raste mein aaya
kar doonga usko thhanda re

hain
dekhoji tum kuchh bolna na
dekhoji tum kuchh bolna na

naari sadak pe
uss pe baraati baaje bajaate aayenge
ab toh jee bas do chaar hi din mein
doli meri lee jaayenge
haay
dekho ji tum kuchh bolna na
dekhoji tum kuchh bolna na

oooo ohoho ooo
jab meri lathiya
unpe chalengi
bhaagenge sab baarati re
dekhegi duniya
doli tumhaari
mere hi ghar ko aati re

haan
dekhoji tum kuchh bolna na
dekhoji tum kuchh bolna na

bhaad mein jaaye
woh sab baraati
choolhey main jaaye wo
chhaila re
palloo tumhaara
ab main na chhodhoon
main hoon tumhaari laila re
haan
dekho ji tum kuchh bolna na
haan dekhoji tum kuchh bolna na


This article is written by Peevesie’s Mom, 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 : 4141 Post No. : 15304

Hullo Atuldom

The song with this post is a walk down memory lane for me. I had seen this movie with my dad in the movie hall and subsequently he had purchased the cassette of its songs too. The songs from this album along with those of “Yaraana”, “Qurbaani” and “Sholay” used to be played constantly on holidays and I had learnt all the songs from these ‘by heart’ prompting the elders in the family to comment that if I had shown similar passion in studies I would have been a topper, not that I was a bad student but I used to top only in mathematics and was reasonably good at all other extra or co-curricular activities.

But that is not the subject of this post.

The subject of this post is Zeenat Aman. It is her birthday today and I would like to present this song to emphasise on how stylish she was.
The song is from the 1978 release “Heeralal Pannalal” about which Atulji has written a very interesting post with this song .

“Heeralal Pannalal” made its debut on the blog with the Pancham- Asha Bhonsle duet on the occasion of Amjad Khans’ birthday. The next song posted for Premnath’s birthday was the second version of the first song posted. It was treated as two posts as the lyrics were different and RD had given entirely different look to them. The movie has six songs and the fourth came on the blog for Shashi Kapoor’s birthday and the fifth one is here for Zeenat’s birthday. I think we should rename this movie as Birthday Special. Whatsay?

The songs were the handiwork of Majrooh and R D Burman. Today’s song is a stage song. The song happens as the two innocent and kind hearted heroes are trying to run away from some goons and land up (drop on would be more correct) on the stage as the heroines are awaiting the arrival of two professional dancers to help them in some inter college competition. The professionals walk-in just as song is coming to a close. This is the first time that the couples meet.

Let us pray for the speedy recovery of Lata Mangeshkar who sings today’s song with Asha, Bupinder and Kishore Kumar.
Happy Birthday to you Zeenie a.k.a Zeenat Aman.

Audio

Video

Song-Kahiye kahaan se aana hua (Heeralal Pannalal)(1978) Singers-Kishore Kumar, Lata, Bhupinder Singh, Asha Bhonsle,Lyrics-Majrooh Sultanpuri, MD-R D Burman
Kishore Kumar + Bhupinder Singh
Lata + Asha Bhonsle
All

Lyrics

Hae ae kahiye kahaan se aana hua
chehra toh hai pehchaana hua
hae ae kahiye kahaan se aana hua
chehra toh hai pehchaana hua

ho oo sochiye nayi baat koyi
ab ye mazaak puraana hua

woh suhana milan
pyaar ki woh lagan
bhool gaye kya sanam

tarram parram parram pam
kahiye kahaan se aana hua
chehra toh hai pehchaana hua
ho o o sochiye nayi baat koyi
ab ye mazaak puraana hua

woh suhana milan
pyar ki woh lagan
bhool gaye kya sanam

yaad ab aaya re ha
aagre ki kunj galiyaan

pa ra paa, pa ra paa,
pa ra paa, pa ra paa

yaad ab aaya re haan
aagre ki kunj galiyaan

o o peechhe peechhe ladkon ki fauj
aage aage tum meri jaan

phir lage the gale tajmahal tale
bhool gaye kya sanam
tarram parram parram pam
kahiye kahaan se aana hua
chehra toh hai pehchaana hua

sochiye nayi baat koyi
ab ye mazaak purana hua

aaine me kabhi, dekh lete chhavi
bhool gaye kya sanam

waa waa waa waa waa waa
waa waa waa waa waa waa
waa waa waa waa waa waa

yaad hai saawan ki rumjhum
jab thhe mere pyaar mein gum
pa ra paa, pa ra paa,
pa ra paa, pa ra paa

yaad hai saawan ki rumjhum
jab thhe mere pyaar me gum
maar ke thokar apnon ko
ghar se bhaag liye thhe tum

phir humari chhadi, yaar kaisi padi
bhool gaye kya sanam

tarram parram parram pam
kahiye kahaan se aana hua
tara raa
chehra to hai pehchaana hua
tara raa
sochiye nayi baat koyi
ab ye mazaak puraana hua

laa la lalaa laa la
laa la lalaa laa la
laa la lalaa laa la

tarram parram parram pam
kahiye kahaan se aana hua
chehra to hai pehchaana hua

are are
ye toh asli tapak pade
kahiye kahaan se aana hua
chehra to hai pehchaana hua
aaaaaa

hu kaa hua
hu kaa hua
hu hu hu kaa hua


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 : 4128 Post No. : 15286

hullo Atuldom

B. R. Chopra’s romantic comedy “Pati Patni Aur Woh”, based on the “seven-year itch” of Hollywood starring Marilyn Monroe made its blog debut on 25th February 2009 with the most famous song of the movie thhande thhande paani se nahaana chaahiye. After three years na aaj thha na kal thha was posted on the occasion of Kishore Kumar’s Birthdate. After almost a full year Sudhirji gave us this article on a song which can be called as a “movie inside a movie” song.

All the posts with these songs give us a fair idea of what a fun movie “Pati, Patni Aur Woh” was. Hence, I am not writing any gist of the movie. The idea to revisit this movie came as there are promos of a modern version of this movie being shown on Television these days. I found that there are five songs in the movie and three have been posted on the blog. On going through YouTube, I could find only four songs from the movie. (resolution: shall sit through the movie one of these days to see if it has the missing song). I remember that “o duniya ke rakhwale” was used in the movie, actually only one line of the mukhda, when Sanjeev Kumar wants to reset his alarm clock. That was in the voice of Mahendra Kapoor.

I am trying desperately to refrain from writing what a fine actor Harihar Jethalal Jariwala -popular as Sanjeev Kumar- was, or about his comic timing or about his smart looks and smile. I am also not going to list out the wonderful movies that he has acted in or how much I love seeing him in emotional scenes. We have a brilliant post by Sudhirji mujhko to qaatil ki itni pehchaan hai which will give us a picture of the kind of actor Haribhai (as his friends in the industry addressed him).

Today on the occasion of the 34th remembrance day of Haribhai we can have the last available song from “Pati Patni Aur Woh”. It is sung by Asha Bhonsle and Mahendra Kapoor, written by Anand Bakshi and Ravindra Jain was the composer. This lively song is at the wedding of friends of the lead couple, who later go ahead and get married (in the movie 🙂 ). The song kind of follows the qawwali format. This was one of the movies where Sanjeev Kumar acted his age and was not an aged person meaning senior citizen.


Song-Ladki cycle waali (Pati Patni Aur Woh)(1978) Singers-Mahendra Kapoor, Asha Bhonsle, Lyrics-Anand Bakshi, MD-Ravindra Jain

Lyrics

ladki cyclewaali
o o ladki cyclewaali
de gayi raste mein
hoye ae de gayi raste mein
ek pyaar bhari gaali
hoye ladki cyclewaali ee ee

gaali pe chhod diya aa aa
gaali pe chhod diya
aise deewaane ka
tum jaise deewaane ka
sar kyun nahin tod diya
ho o o gaali pe chhod diya aa aa aa

ek chaand sa mukhda hai
hoye ek chaand sa mukhda hai
jiske dupatte ka
ye ae jiske dupatte ka
ek reshmi tukda hai
tukda hai ji
ek chaand sa mukhda hai ae ae
badnaam toh karte ho
o o badnam toh karte ho
naam nahin lete
kyun naam nahi lete
kya maar se darte ho
hoye badnaam toh karte ho o o

kothe te kaanv bole
o bole kothe te kaanv bole
us din ko dekhu
main us din ko dekhoon
jis din tu haan bole
hoye kothe te kaaan bole
mumkin ye mail nahin ee ee
mumkin ye mail nahin
BA pass hoon main
o o BA pass hoon main
koi daswin fail nahi
ja ja mumkin ye mail nahi ee ee

shaabba shabba kudiye shawa
o mundiye shaabba shabba

kya naam tumhaara hai
ho o kya naam tumhara hai
umr toh khaasi hai
ho oo umr toh khaasi hai
ab tak tu kunwaara hai
hoo kya naam tumhara hai ae ae

tu jaldi
haye ni je
tu jaldi jawaan hoti
haye je tu jaldi jawaan hoti
toh shaayad tu hi
hoye toh shaayad tuhi
mere bachchon ki maan hoti
hoye tu jo jaldi jawaan hoti ee ee


This article is written by Arunkumar Deshmukh, 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 :

4094 Post No. : 15238

Today’s song is from a film Rakhi-1949. This social film was made by Prakash Pictures,Bombay. It was directed by Dr. Shanti kumar ( he is different than the composer Shanti Kumar Desai). The 10 melodious songs were composed by the Melody-Magicians Husnlal-Bhagatram.

Most of us know that Husnlal and Bhagatram were the brothers of Pt. Amarnath- the eldest brother, who too was a well known, pre Independence music director. However, How many of us know that out of this pair, Bhagatram was the elder brother ? Have you anytime wondered why the younger brother’s name comes first in this pair ?

Normally, when a pair of brothers is referred, it is the elder brother’s name that comes first. For example, Ram-Laxman or Balram – Srikrishna or even Kalyanji – Anand ji, Jatin-Lalit or Anand-Milind. For many years, this matter was bothering me, but I could not find any justification for this unusual way of pairing. I was sure that there must be some story behind this.

Two years ago, the Blog “Songs of yore” published the second part of Husnlal-Bhagatram post on 11-8-2017, based on the interview of Dinesh Prabhakar, son of Husnlal and Ms. Nirmala Devi, wife of Husnlal. During her talk, Nirmala Devi explained the reasons for calling the pair as Husnlal-Bhagatram, inspite of Bhagatram being the elder one and more experienced of the two. Bhagatram had already given music, individually to 9 films, in the late 30s and early 40s, before the pair was formed. Her statement answered my long awaited query about the unusual name of the pair. Here is the related portion of her interview….

” The 90-year old Shrimati Nirmala Devi is an amazing lady. She still has a razor-sharp memory and superb knowledge of music and music personalities of that era. She gave me a lot of interesting information, not available elsewhere – for example, the reason why the younger brother Husnlal’s name comes first in the duo’s name. Her talk also revealed that other family commitments, too, in Delhi were contributory factors for their decline in the film music.

Shrimati Nirmala Devi speaks about her husband (late) Pt Husnlal

DD Kashyap, who was directing Chaand (1944) for Prabhat Films, wanted to engage Pt Amarnath based in Lahore, who was a towering figure in music. As he was heavily preoccupied, he strongly recommended his younger brother Pt Husnlal who was staying with him and assisting him in Lahore-based films of Pancholi and others, assuring Kashyap that Pt Husnlal was no less talented than him. Pt Amarnath was like a father-figure to his younger brothers, especially to Pt Husnlal. A music session was organized to demonstrate Pt Husnlal’s talent. Kashyap was highly impressed. When it was time for Pt Husnlal to proceed for Poona/Bombay, Pt Amarnath, out of concern for his kid-brother, suggested to Kashyap to also engage Pt Bhagatram with him. Kashyap expressed difficulty in arranging the payment for two as the contract was already made out. Pt Amarnath assured him that he should not bother about increasing the fee, but the two brothers must work together. (Thus it was that Bhagatram got appended to Husnlal, forming the duo HB. Another reason why the younger brother’s name preceded the elder brother was simply the aesthetics – Husnlal-Bhagatram sounding better than the other way around.) ”

Dr. Shantikumar directed the film Rakhi-49. No information is available about him anywhere. We only know that he directed 18 films. Starting with film Police-44, he ended his career with film Mahasati Behula-64.

The cast of the film was Kamini Kaushal (real name Uma Kashyap), Karan Dewan, Gope, Yashodhara Katju, Pran, Kuldip, Raj Adeeb (younger brother of Prem Adeeb), Ulhas etc. As time flows, Heroes become character artistes and then they fade out. There are hundreds of old time actors about whom absolutely no information is available. Intense search sometimes yields some results and one feels at peace with whatever is available. One such actor is Ulhas. For many years nothing was known about him except names of his films from HFGK. Over a period a little more about him came to light. Now we know that his real name was M.N.Kaul and that he was a Kashmiri Pandit. He worked in 155 films. Recently I found the following note on Ulhas in ‘ Chinar Shade’ Blog..

He was known as ULHAAS and his real name was M N Kaul. He belonged to a Kashmiri Pandit family from Ajmer. As a young boy, he moved to Poona in 1937 and joined Prabhat Pictures as an actor. His first movie as an actor was ” Wahan “. He worked with stalwarts like A R Kardar and Sohrab Modi.

Chandr Mohan Wattal , another Kashmiri actor of 1930s and 1940s helped him a lot to settle in films .In fact he intervened and requested V Shantaram for his role in “Wahan”. Ulhaas remained loyal to Chandr Mohan wattal for this favour till latter’s death in 1949.

When Bombay Talkies decided to start their New film BASANT, Ulhaas and Mumtaz Shanti were signed as lead pair. Again in the movie PARBAT PE APNAA DERA , he was signed as hero.

Thereafter , he started doing character roles. He played memorable character roles in Guide , Amar, Aadmi, ,Shama Parwana, Sehra, Ziddi, Goonj Uthhi Shehnaayi, Rani Roopmati, Dhaka Ki Malmal, Samrat Prithviraj Chauhan, Kundan, Heer, Mirza Ghalib ,Jhansi Ki Raani , Nai Umar Ki Nai Fasal, Sangharsh , Prem Pujaari, Badi Didi, Do Aaankhen Baarah Haath, Johar Mehmood in Goa.

In his 38 years of career, he acted in many hit movies. His last movie was Sawaal (1982).

We all know about Pran very well, so there is no point in giving his Bio-data here. Few days back I found an article on Pran on http://www.rediffmail.com. This article gave interesting points about Pran’s life, which normally are not known to most people. Here is an excerpt from this article, duly edited by me.
Pran’s full name is Pran Krishan Sikand. Pran wanted to be a photographer and even took up a job as an apprentice in A Das & Co, Delhi.

Pran’s first ever acting role was Sita to Madan Puri’s Ram in Shimla, at a local Ramlila.

Since Pran’s father was a civil contractor with the government, Pran studied at various schools in Kapurthala (Punjab), Unnao, Meerat and Rampur (Uttar Pradesh) and Dehradun (Uttarakhand).

Pran’s first film was in Punjabi called Yamla Jat (1940), where he played a villain. It was a huge hit.

Pran did not tell his father that he was shooting for a movie, as he thought his father would not permit him to have an acting career. When his first interview appeared in a newspaper, Pran asked his sisters to hide the papers. When his father finally learnt of his career, he was not upset as Pran had expected.

In one of his early films, Pran played hero to Noor Jehan in Khandaan (1942).

Pran came to Mumbai from Lahore on August 14, 1947, just a day before India’s Independence, with his wife and one-year-old son Arvind.

According to Pran, one of the most precious things he lost in the Partition was his dog. When Pran became popular, he would name his dogs Bullet, Whisky and Soda.

Before Pran came to Mumbai, he had already acted in 22 films as a villain. Due to the Partition, his career had a brief pause.

When Pran came to Mumbai, he stayed at the Taj Mahal hotel. As he had no work, money started running out, and the family had to shift to smaller and smaller hotels. Finally, they had to stay in a guest house.

After eight months of arriving in Mumbai, Pran — with the help of writer Saadat Hasan Manto and actor Shyam — got a role in Shaheed Latif’s Ziddi (1948), starring Dev Anand and Kamini Kaushal.

Ziddi was a hit. Within a week of its release, Pran signed three more films: S M Yusuf’s Grihasti, Prabhat Films’s Apradhi and Wali Mohammad Wali’s Putli.

BR Chopra’s Afsana (1951) was Pran’s first biggest hit after he shifted to Mumbai.

Pran had three children — Arvind, Sunil and Pinky — and five grandchildren.

Ashok Kumar and Pran were the best of friends and have acted in more than 25 films together, including Afsana, Victoria No 203, Chori Mera Kaam, Chor Ke Ghar Chor, Apna Khoon, Aap Ke Deewane, Raja Aur Rana, Inspector, Lakeeren, Mr X, Pooja Ke Phool, Purab Aur Pachhim, Adhikar, Naya Zamana and Aansoo Ban Gaye Phool.

Pran even played Valmiki in a mythological film called Luv-Kush.

When Pran was signed up for Halaku, Meena Kumari was quite upset but when she saw him in costume, and a few rushes from the film, she was very happy.

Pran would work on his make-up well. He would have an artist at home, who would sketch the kind of look he wanted. Then, his make-up man and wig-maker would work on it.

Pran acted in several Bengali films as well, including Joy Mukherjee’s Sonai Dighe, directed by Ashim Banerjee.

It was Pran who recommended Amitabh Bachchan to Prakash Mehra for Zanjeer, which had been offered to Dev Anand, Raaj Kumar and Dharmendra earlier.

Pran acted with Amitabh in 15 films like Zanjeer, Kasauti, Don, Amar Akbar Anthony, Majboor, Dostana, Naseeb, Kaalia and Sharaabi.

Not many know that Pran was paid more than Amitabh Bachchan. In the 1970s, only Rajesh Khannna was paid more than Pran. In the 1950s and 1960s, only Dilip Kumar, Dev Anand, Raj Kapoor and Rajendra Kumar were paid more than Pran.

Pran started rejecting film offers in the 1990s citing age-related problems. But when Amitabh was going through a rough patch in his career, he requested Pran to act in his film Mrityudaata and Tere Mere Sapne. Pran readily agreed.

During the filming of both Mrituyudata and Tere Mere Sapne, Pran’s legs used to tremble. So he shot most of the scenes in a seated position. After 2000, he made very few guest appearances in films.

Pran is a member of various social organisations, and even had his own football team called the Bombay Dynamos Football Club.
Pran’s favourite word ‘Barkhurdaar’ became immensely popular over the years.

In 2001, Pran got a Padma Bhushan, India’s third highest civilian award from the government of India.

Pran’s biography is titled …And Pran because in most of his movies, his name in the credits would appear last and read as …and Pran. Sometimes, it would be …above all Pran.

Film Rakhi was a typical ” Tear Jerker ” story of a spoiled brother and his sympathetic, protective sister. Shanti kumar was the most suitable director for such stories, as he handled emotional scenes perfectly, in his direction. The story of the film was…..

Shankar(Pran) is the brother of Kamini and is a vagabond.Because of him ,the sister suffers quite a lot, but ties a Rakhi always. Shankar is arrested for fraud and is in Police custody,when Karan Diwan -his sister’s husband is accused of Murder,which he has not done.Knowing this,Shankar runs away from lock up to get the real culprit and when he does,he is shot and dies in the arms of sister Kamini-who ties a Rakhi on his wrist as it is the Rakhi Poonam that day.Highly melodramatic indeed !

Today’s duet is the 4th song to be discussed here. It is sung by Shamshad Begum and Ram Kamlani . Ram Kamlani was Gope’s youngest brother. They were 9 siblings and Ram kamlani was the last one. He was born on 20-10-1919. Though Gope started his career in acting in 1933 and concentrated only on acting, Ram Kamlani dabbled in Acting, Direction, Production and Playback singing too. He entered the film line in late 40s.

As an actor he acted in 9 films like Ajeet, Inaam, Kaajal, Do Raaha, Joi Bangla Desh etc. As a Singer he sang 22 songs in 15 films. Starting with Doosri Shaadi-47, he sang in Ghar ki Izzat, Rangeen Zamaana, Kaajal, Refugee, Pyar ki jeet, Maa ka pyar, Naao, Raakhi, Bahurani, Khamosh Sipahi, Meena Bazar, Malkin, Chaalbaaz, Laal Dupatta etc.

Mostly, he sang for his brother Gope. His songs were generally duets. These were mainly comedy songs,very few were serious ones. His rare solos like,” Bane hai hum to Ghar Jamai'(Ghar ki izzat) and ” Koi samze isse muhabbat”(Meena Bazaar) became popular.

When Gope established Gope Productions, he produced some films and directed some of them,like, Muskurahat, Biradari, Bezuban, Khamosh Sipahi, Hangama etc.

Ram Kamlani died in 1983 in Bombay.

The song is very good to listen to. After all, it was composed by the Melody Magicians !


Song-Mohe laa de reshmi lehenga (Raakhi)(1949) Singers-Shamshad Begam, Ram Kamlani, Lyrics- Sarashar Sailani, MD- Husnlal Bhagatram
Both

Lyrics

mohe la de
ho mohe la de reshmi lehanga
mohe la de
ho mohe la de reshmi lehanga
chaahe sasta mile chaahe mahanga
ho chaahe sasta mile chaahe mahanga
waah ri meri nain michakko
bojh lehange ka kaise uthhaayegi
kaise uthhaayegi
tori patli kamar bal khaayegi
kamar bal khaayegi
tori patli kamar bal khaayegi
kamar bal khaayegi
main na laaunga
ho main na laaunga reshmi lehanga
main na laaunga
ho main na laaunga reshmi lehanga
chaahe sasta mile chaahe mahanga
chaahe sasta mile chaahe mahanga

ho phir laa de chunariya silki ee ee
ho phir laa de chunariya silki
toone baat kahi mere dil ki
ho toone baat kahi mere dil ki
par wo hai videshi mill ki
main na laaunga
main na laaunga chunariya silki

acchha suit sila de parachute ka
parachute ka
acchha suit sila de parachute ka
dil loot legi kisi rangroot ka
ho dil loot legi kisi rangroot ka

aji jaane bhi do chhodo ye bahaane
chhodo ye bahaane
gori sach main kahoon raam jaane
raam jaane, raam jaane, raam jaane

aji jaane bhi do chhodo ye bahaane
chhodo ye bahaane
gori sach main kahoon raam jaane
raam jaane, raam jaane, raam jaane raam jaane
achha to phir raam hi jaane
main to chali bareli
rooth chali mori nain michakko
chhod ke jaan akeli
kanghi le le sheesha le le
rooth naa meri jaan
kanghi le le sheesha le le
rooth naa meri jaan

bhaad mein jhonki kanghi shishe
baand mera saamaan
abe bhaad mein jhonki kanghi sheeshe
baand mera saamaan
main to maike chali
gham le ke chali
main to maike chali
gham le ke chali
duniya waalon
duniya waalon
duniya waalon
duniya waalon
dekho mere ghar ki baat niraali
sabka sheesh jhuke mere aage
par na jhuke gharwaali
gori maike na ja
dukh de ke na ja
gori mayke na ja
dukh de ke na ja
tohe la doonga
ho tohe laa dunga reshami lehanga
tohe la doonga
ho tohe laa doonga reshami lehanga

chaahe sasta mile chaahe mahanga
ho chaahe sasta mile chaahe mahanga


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 : 4073 Post No. : 15210

Today’s song is from a devotional,mythological film – Nav Durga-1953. Nav Durga does not mean New Durga here, but ‘Nav’ stands for nine. This film is about the nine forms of Devi Durga and how it saved its Bhakt from annihilation.

The film was produced by Homi Wadia’s Basant Pictures. It was directed by the great Editor and special effect-Trick scene expert Babubhai Mistri. Babubhai Mistri (5-9-1918 to 20-12-2010), in the beginning, was an assistant with Prakash pictures.Prakash was making a film “Khwabon ki Duniya”- 37, based on the famous novel “The Invisible Man” by H.G.Wells,1897.The shooting started but the basic problem was how to show the ‘invisible‘ man. There was no special effect technique available in India till then, like in Hollywood. Vijay Bhatt had an assistant called Babubhai Mistri, who accepted the challenge and using a dim light, a black curtain and a black thread to move articles, he achieved the desired results. This made the film not only a hit and popular one, but also a unique one. Babubhai Mistri, thus, became the father of the trick scenes and special effects in India. In the process, Babubhai also earned a nickname of ‘kaala dhaaga‘ (black thread) for rest of his life, in the film industry.

Babubhai directed 49 Hindi films-mostly B and C grade Mythologicals, Costume, and Historical films. He also directed 1 Telugu and 9 Gujarati films. His first film as a director was Muqabala-42. Surprisingly he started off with a social film, but there was a valid reason. The initial Poster Painter had developed into a skilled Editor and trick scene expert, by his own hard work,encouraged by the Wadia brothers. The film was an unusual film of a story of twin sisters. Wadias wanted Babubhai to do something which will make the film stand out from all other such films.

Directed by Babubhai Mistry, it was the last movie of Fearless Nadia for Wadia Movietone. She had a double role of twin sisters: good Madhuri and bad Rita.

Rita is kidnapped by the villain and made into a Night club singer,while Rai Bahadur brings up good Madhuri.
Nadia was appreciated much for the performance contrast for both roles.
This film was First in India to use Split-screen method for double roles,where both sisters could cross each others,shake hands and talk together.The other attraction was the Night club set,which,in case of police Raid,could be converted into a respected residence in few minutes.It was a great fun to watch these two things.

A happy ending picture, but to see and hear the laboured Hindi dialogues of Madhuri (good Nadia) was another treat.

The cast of the film Nav Durga-53 consisted of Usha Kiran, Mahipal, S N Tripathi, Sulochana Chatterji, Amarnath, Agha Shapur, Raja Sandow and many more. Usually, there are more characters in a Mythological film and hence their credit list is very long. In this list, the name of Raja Sandow appears. I am sure, this is not that Raja Sandow, who was famous as a silent film Hero and who acted in many Talkie films too. He died in 1942 itself. Obviously, this must be some other Raja, trying to cause “Same name confusion” without success,though.

However, one name in the cast – Amarnath- is worth a re-look. Amarnath (Bharadwaj) is one of the “same name confusions” victims. There were two Pt. Amarnath Music Directors, 1 actor Amar, 1 actor Amarnath and 1 actor/Director (K.) Amarnath.

This Amarnath was born in Hafizabad, in Gujaranwala district of Punjab (Now in Pakistan) in 1922. He started acting in 1939 with Kidar Sharma’s “Dil hi to hai”. Graduating from doing small roles he was made the Leading Man in Dalsukh Pancholi’s film “Patjhad”, started in 1947 opposite Meena (Shorey). Pancholi had to flee Lahore due to Partition riots, but he carried the negatives of Patjhad. Though the film was censored in India in 1948, it seems it was never released.
Amarnath (Bharadwaj) starred as Hero in many other films,like Naghma E Sehra-45, Papiha re-48, Barsat ki ek raat-48, Swayam sidha-49, Nai Bhabhi-50, Kamal ke phool-50, Sheesh Mahal-50, Jalte Deep-50, Johri-51, Nai zindagi-51 , Nirmohi-52, Nirmal-52, Bahu Beti-53, Nav Durga-53, Toofan-54 etc. Then he switched over to side roles. In all, he worked in 81 films (CITWF data). His last film was Kaun ho tum-70.

In India, there is no dearth of festivals. In fact, India can be called a Nation of Festivals. With scores of religions in India and every religion having its own Festivals, one can imagine the number of Festivals. Not every festival is celebrated all over the country, but even the major 7 religions have their own festivals. Hinduism being the largest religion (80% as per 2011 Census), almost every month has , if not a major, but minor festival in some or the other region of India.

The period of October to January is called a Festival season, as many major festivals like Dashehara, Diwali, Christmas and Sankranti fall in this period. Vijaya Dashami or Dashehra or Dasara is due in next month, so is Diwali too. Dashehra is celebrated also as a Durga Puja Festival enthusiastically, in the Eastern part of the country mainly, but all over India, Durga Puja is done.

Film Nav Durga-53 was about the powers of Maha Shakti Durga Mata. Durga is believed to have 9 forms. Navdurga, Nine forms of Durga, are nine manifestations of the goddess Durga in Hinduism, especially worshiped during the festival of Navratri where each of the nine manifested forms are venerated respectively for each night. In short, they are…

1. Shail Putri – Daughter of Himalayas

2. Bramhacharini – Daksh Kanya Sati-before marriage

3. Chandraghanta – After marriage to Shiv, adorned his forehead as Half Moon

4. Kushmanda – Living in the Sun

5. Skandmata – Mother of war lord Kartikey

6. Katyayani – Daughter of sage Katyayan, destroyed Mahishasur

7. Kaalratri – Most ferocious and fiercest, destroyer of Asurs Shumbh/ Nishumbh

8. Mahagauri – Goddess of purity and cleanliness and

9. Siddhidatri – Adi Parashakti, appears from Siva’s left side

The story of Nav Durga-53 was- Suryawarcha is punished by Indra dev for his arrogance and is sent to mrityulok(Earth),when he is about to get married to Vishala.On Visahala’s request Vishnu assures that he will come back to swarga again,but she must prey to Maa Durga.
Maurvi d/o asur Mur wants to take revenge on Krishna for killing her father.She marries Ghatotkach s/o Bhima.They get a son Barbarik(Suryavarch),whom Murvi takes to Navdurga at Guptakshetra Sangam and prays.
Barbarik gets a boon of invincibility except for an Avtar of Vishnu.He goes to Pandavas and challenges them,knowing that Krishna will also come there.In the war,Krishna severs his head with Sudarshan Chakra.Mata Durga appears and takes Suryavarcha to heaven where his consort Vishala is still waiting with a Garland.

Today’s song is very sweet, melodious and a lilting song. I feel this tune is inspired by a similar sounding song, ” Hum tum yeh bahar, dekho rang laya pyar, barsaat ke mahine mein” – a duet of Rafi and Lata, composed by Ghulam Mohd,MD, for film Ambar-52.

(Thanks to Harish Raghuwanshi ji for Amarnath information and blog beetehuedin.com for Babubhai information, used herein.)


Song-Ek teer chalaa ke gori bijli giraa ke (Nav Durga)(1953) Singers-Chitragupta, Shamshad Begam, Lyrics-Ramesh Chandra Pandey, MD-S N Tripathi

Lyrics

ek teer chalaa ke
gori bijli giraa ke
mohe chhod ke akeli kahaan jaaye re
o tere sath na rahoongi
koi baat na karoongi
kaahe baat baat mein mohe sataaye re
mohe sataaye re

o ek teer chalaa ke
gori bijli giraa ke
mohe chhodke akeli kahaan jaaye re
o tere saath na rahoongi
koi baat na karoongi
kaahe baat baat mein mohe sataaye re
mohe sataaye re

dekho ji dekho ji dekho dekho ji
kya
mera naram kaleja toot jaayega
bhala hoga mera peechha chhoot jaayega
hoye chhoot jaayega

o mera naram kaleja toot jaayega
o bhala hoga
mera peechha chhoot jaayega
hoye chhoot jayega

ari sun to
aise baalam ko sataana nahin accha ji
o sote sher ko jagaana nahin accha ji
sher
arre ja
teri mendhak ki chaal hai
bakre ki khaal hai
teri kya mazaal hai
tu banega sher

ari meri baat maan gori mujhe pehchaan
kaahe jhoothmooth rang tu jamaaye re
o tere saath na rahoongi
koi baat na karoongi
kaahe baat baat mein mohe sataaye re
mohe sataaye re

suno ji suno ji suno suno ji
tu kaun hai
ye poochhne main aayi hoon

o tere baap ka hone waala jamaai hoon
ho jamaai hoon
tu kaun hai
ye poochhne main aayi hoon

tere baap ka hone waala jamaai hoon
ho jamaai hoon
arre ja
chal hat teri baat mein jamaal hai
badi door abhi teri sasuraal hai

accha dekhta hoon gori aaj teri seenajori
tu kab tak akad nibhaaye re
o tere saath na rahoongi
koi baat na karoongi
kaahe baat baat mein mohe sataaye re
mohe sataaye re

nahin maanengi
un hoon
nahin maanengi
un hoon
nahin maanegi
to main bhi mar jaaunga
accha hoga
din raat bhoot banke sataaunga
o din raat bhoot banke sataaunga
sataaunga sataaunga
mere bina ek din tera jeena hai kathin
tu pal bhar chain na paaye re
o tere saath na rahoongi
koi baat na karoongi
kaahe baat baat mein mohe sataaye re
mohe sataaye re


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


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


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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


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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 more than 15300 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

15388

Number of movies covered in the blog

Movies with all their songs covered =1180
Total Number of movies covered =4242

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Active for more than 4000 days.

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