Archive for the ‘One singer singing for several actors’ Category
Pyaar hamen kis mod pe le aaya
Posted on: September 3, 2021
- In: Amitabh Bachchan songs | Amitabh Bachchan songs by Kishore Kumar | Bhupinder Singh songs | expression of love | Feelings of heart | Guest posts | Kishore Kumar songs | One singer singing for several actors | Post by Peevesie's mom | RD Burman song as a singer | Song sung by three or more singers | Songs of 1980s (1981 to 1990) | Songs of 1982 | Yearwise breakup of songs
- 1 Comment
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.
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Blog Day : |
4795 | Post No. : | 16556 |
Hullo Atuldom
2015 was the first time I wrote a post for this celebrity’s birthday. I will not say that I am a huge fan of his but I definitely like is work. He is one of the many actors who are in the film industry due to the legendary Pransaab i.e. this celebrity is inspired by or may even be a fan of Pransaab and has enacted a variety of characters on-screen much like the legend Pransaab.
Today’s celebrity began by doing inconsequential roles from 1975 after arriving in MAYANAGARI Bombay from New Delhi where Kirorimal College was his Alma-mater and is also trained from Pune’s FTII. He may have been in blink-and-miss roles in some Dara Singh and Arjun Hingorani films before Sunil Dutt cast him in the role of an antagonist in his son’s (Sanjay Dutt) launch movie ‘Rocky’ and also the named him Shakti Kapoor, his birthname was Sunil Sikanderlal Kapoor. His next two big movies were Feroz Khan’s ‘Qurbani’ (1980) which released before ‘Rocky’ (1981) and Subhash Ghai’s ‘Hero’ (1983). 1983 also had him appear in Sridevi’s Bollywood debut ‘Himmatwala’. 1981 saw him in big and small roles in ‘Naseeb’, ‘Poonam’, ‘Kaatilon Ke kaatil’, ‘Wardaat’, ‘Dhanwaan”, ‘Aapas Ki Baat’ etc. But the standout or big films of his initial days are definitely ‘Rocky’, ‘Qurbani’, ‘Hero’ and ‘Himmatwala’. But even in that period we do recall him as Kadar Khan’s younger son in ‘Naseeb’, the free-loading Portuguese Captain Gomes in ‘Armaan’ (1981), the totla (lisping) Mangal in ‘Satte Pe Satta’ (1982), and then there were more.
Post ‘Himmatwala’ he was a permanent fixture in many South Indian productions which had him team up with Kadar Khan, Asrani and Aruna Irani in movies like ‘Mawaali'(1983), ‘Tohfa’ (1984), ‘Maqsad’ (1984) etc. He was seen in comic characters in ‘Chaalbaaz’ (1989), ‘Andaz Apna Apna’ (1994) etc. He is one of the few actors whose looks could pass him off as a ‘good guy’ before the main characters of the movie realise that he was up to ‘no-good’, he is and was extremely good-looking. He was a decent enough dancer too as we have witnessed in ‘Rocky’, ‘Hero’, ‘Dance Dance’ (alongside Mithun Chakraborty), ‘Inquilaab’ (alongside Amitabh Bachchan in a guest appearance), and all the ‘n’ number of Govinda movies of the early ’90s starting with ‘Raja Babu’ (1994).
The trigger for today’s song is a social media app. There is a group dedicated to (what else) Bollywood music where the host sets some theme and group members post song-links of the songs they remember, the only condition being that particular song should not have been already posted by another member. Bollywood music treasure-pot being what it is, many songs will be common on multiple themes, but that is allowed. The theme over the last two days was songs whose lyrics include words and phrases related to STARS ( तारा, तारे, सितारा, सितारे etc.) One member posted the song which I am presenting here, today. I was looking for the word related to ‘stars’ in the the song, through the song, considering it is one of my all-time loved song. So I asked the person who posted it: “where are the stars in the song?” And he replied “at the absolute beginning”. Silly me!!! forgot the start of the song itself!!Emoji
This song is an all-male chorus by Bhupinder, R D Burman, Sapan Chakravarthy, Gulshan Bawra and The Kishore Kumar. Except for Amitabh Bachchan lip syncing mostly to Kishore Kumar all other singers are used randomly for the various actors with RDB doing all the extra vocals and Gulshan Bawra doing the “Haaye”. It is written by Gulshan Bawra and tuned by R D Burman It is filmed on a set of characters who are called Ravi, Som, Mangal, Budh, Guru, Shukra and Shani (usually addressed in a modern way as Sunny). The characters are all brothers who are living by themselves on a large farm; if the story was set in any part of the US of A then it may have been called a Ranch. An elegant lady enters the life of these bachelors as their Bhabhi (eldest wife’s brother of course) and is shocked to see the condition that the brothers live in. She first transforms their Huliya (appearance), teaches them etiquette ands also how to be good and cordial to ladies. Promptly, all the younger brothers also find beautiful girls and cupid strikes. The result of cupid striking is today’s song. After writing all this do I need to name the movie ?
I shall simply add why I love Shakti Kapoor in this song:- he gives a different expression to each “Haay”. I have heard or read an anecdote by Sachin (Pilgaonkar who played Shani a.k.a Sunny in the movie) that the large jeep used in this song had its bonnet open and Paintal (played Budh sometimes addressed as Buddhu) nearly fell onto the bonnet as shown in the song. I will also identify the other brothers- Ravi was Amitabh Bachchan, Som was Sudhir, Guru was Kanwaljit Singh, and Shukra was Vikram Sahu (also credited as Vimal Sahu in some places, was son of yesteryear actor/producer/director Kishore Sahu).
Let us listen to this lively song and wish Shakti Kapoor on his birthday.
Video
Audio
Song-Pyaar hamen kis mod pe le aaya(Satte Pe Satta)(1982) Singers-Kishore Kumar, Bhupinder Singh, R D Burman, Sapan Chakravarthy, Gulshan Bawra, Lyrics-Gulshan Bawra, MD-R D Burman
Lyrics
hmm
tumne woh kya dekha
jo kaha deewaana aaa aa
hmm
hamko nahin kuchh
samajh zara samjhaana
pyaar mein jab bhi aankh kahin lad jaaye
tab dhadkan aur bechaini badh jaaye
ru ru ooo
jab koi ginta hai raaton ko taare ae ae
ru ru oooo
tab samjho usey pyaar ho gaya pyaare
pyaar tumhen kis mod pe le aaya aaaa aa
ke dil kare haaye
haaye
koi yeh bataaye kya hoga
ru ru ru ru ru
pyaar humein kis mod pe le aaya aa
ke dil kare haaye
haaye
koi yeh bataaye kya hoga
ru ru ru ru ru
battiyaan bujha do
arre batti toh bujha de yaar
battiyaan bujha do ke neend nahin aati hai ae
ru ru oo
battiyaan bujhaane se bhi neend nahin aayegi
ru ru ru ru ru ru oo
battiyaan bujhaane waali jaane kab aayegi
ssh ssh ssh
shor na machaao warna bhaabhi jaag jaayegi
pyaar tumhen kis mod pe le aaya aaa a
ke dil kare haaye
haaye
koi to bataye, kya hoga
ru ru ru ru
pyaar hamen kis mod pe le aaya
ke dil kare haaye
haaye
koi toh bataye, kya hogaaa
hai hai hai
pyaar tumhe kis mod pe le aaya aa aaa
ke dil kare haaye
haaye
koi yeh bataaye kya hoga
di da da da doo
pyar hume kis mod pe le aaya aa aaa
ke dil kare haaye
haaye
koi yeh bataaye kya hoga
haa
aakhir kya hai aisi bhi majboori
arre mil gaye dil phir bhi kyon hai ye doori
arre dam hai toh unse chheen ke le aayenge ae ae
arre di na gharwaalon ne agar manjoori
di ra di ra di
dam hai toh unse cheen ke le aayenge ae ae
arre di na gharwaalon ne agar manjoori
di ra di ra di
pyaar hamen kis mod pe le aaya aa
ke dil kare haaye
haaye
koi yeh bataaye kya hoga
da ra pa da ra pa da ra pa da ra pa
pyaar hame kis mod pe le aaya aa
ke dil kare haaye
haaye,
koi yeh bataaye kya hoga
aaaa aaaa ha
Bambai Bambai Bambai Bambai Bam
Posted on: June 11, 2020
- In: Arun Joglekar Songs | Free Spirit Song | Fun lyrics song | fun timepass song | Guest posts | joie de vivre | Lyrics contributed by readers | One singer singing for several actors | playful song | Post by Sadanand Kamath | Ravindra Sathe Songs | Simply joy | Song of Introspection | Song sung by three or more singers | Songs about a place | Songs of 1980s (1981 to 1990) | Songs of 1990 | Songs picturised in cities | Tyagraj Khadilkar Songs | Vinay Mandke Songs | Yearwise breakup of songs
- 5 Comments
This article is written by Sadanand Kamath, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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4346 | Post No. : | 15656 | Movie Count : |
4311 |
So far I have discussed three of the six feature films which Sai Paranjpye has directed in her filmy career – ‘Sparsh’ (1980) in “Geeton Ki Duniya Mein Sargam Hain Hum“, ‘Chashm-e-Baddoor’ (1981) in “Is Nadi Ko Mera Aaina Maan Lo” and ‘Saaz’ (1997) in “Baa. . .dal Ghumadh Badh Aaye“. In this article, I take up one more film by her – ‘Disha’ (1990) which, is not well known to the public at large. Sai Paranjpye accords this film as her best feature film in terms of excellence in all the main departments of the film making – story, screen-play, dialogues, direction, and the acting contributions from all the actors associated with this film.
According to Sai Paranjpye, the story of the film was in the making process for about 17 years before it got fructified in 1990. The unique feature of the film is that the story is based on three different experiences she got over these 17 years which have no connection with each other. Yet, she weaved a story around three events linking them with a common theme of the problems of migrants and casual workers. She believed that the life around us offers so much material for the films that there is no need to get inspired from Hollywood movies. In other words, Sai Paranjpye’s sources of ‘plagiarisation’ are life around her.
Sometime in early 1970s, Sai Paranjpye made a visit to a village in Pune district along with her two friends who had adopted that village for water harvesting. During that time, she met a villager, an agricultural labourer who owned a small parcel of barren land. He was convinced that under his barren land was the source of water. So, for about 12 years, he had been digging the well, all alone in his free time, sometime even the whole night. But there was no trace of water. The villagers had branded him as a mad man. Fed up with his obsession for digging well, his wife has left him many times but would eventually return. And then one day, he struck water in the well. Villagers who were earlier calling him as mad man made him the hero of the village. The well was named after him. The story of that villager was cinematic but it was not enough to make a full-length film.
After few years, Sai Paranjpye met her friend, Sabhashini Ali (ex-wife of producer-director, Muzaffar Ali) in Mumbai. She was doing some social work among the mill workers who were mostly migrants and staying in what is known in Mumbai Chawls as Gala (a type of dormitory). This was at a time when old mills in Mumbai were in the verge of closure as they could not compete with mills with technologically advanced power looms. She accompanied Sabhashini Ali to one of the Galas in mill area and was shocked to observe their staying conditions. In a single Gala, there were nearly 40 persons staying together in the shifts of 8 hours. They seem to enjoy their life. All were doing different activities – playing musical instruments, playing cards, shaving, some going out for practising lezim (folk dance). Sai Paranjpye talked to most of the mill workers after which she felt that it was a good theme for a cinema.
After some days, Sai Paranjpye once again met her two friends who had returned from Niphani after leading a protest against the tobacco growers and bidi makers for exploitation of tobacco workers. Those days, the middleman will recruit women from the nearby villages for making bidis at the end of which they would get daily wages based on the number of bidis they rolled in a day. But the middleman will exploit them by rejecting some rolled bidis on some false pretext. Also, some of the middlemen would make attempts for sexual favours as rewards for not rejecting some of the bidis rolled by them. Her two friends had taken up the issues with bidi factories and on behalf of the bidi workers.
With these three real stories, Sai Paranjpye wrote the script linking them with a common theme of the problems of migratory mill workers of Mumbai. This time, she decided to produce the film herself besides directing, writing the script, dialogues and songs. She roped in her favourite actors and also took Nana Patekar for the first time under her direction. The first part of the film was shot in a village near Pune. The second part of the film was shot in Mumbai in Sitaram and Indu Mills and the scenes of the migrant workers were shot in a real Gala of a Chawl. Some mill workers also acted in the films.
The main cast of ‘Disha’ (1990) consisted of Shabana Azmi, Om Puri, Nana Patekar, Raghuvir Yadav, Rajshri Sawant, Neelu Phule, Shayaji Shinde, Achyut Potdar etc. The gist of the story of the film is as under:
Bakuri is a non-descript village about one hour from Pune by road. In this village, the family of Parshuram (Om Puri) consisting of his wife, Hansa (Shabana Azmi), his five children and his younger brother, Soma (Raghuvir Yadav) stays in a hut. Parshuram is an agricultural labourer and has a small barren land in which nothing grows on it except the wild-flowers. However, he is convinced that under his barren land is the source of water. Hence for the last 12 years, he has been digging well, all alone whenever he is free. Hansa resents Parshuram’s obsession with digging well and often threatens to leave him. Soma plans to go to Mumbai for getting a job as most of the time, he is unemployed.
Soma is very friendly with Basanta (Nana Patekar) who stays with his old and sickly father (Neelu Phoole) in a hut close to Parshuram’s hut. Basanta is also an agricultural labourer whose marriage has been fixed with Phoolwanti (Rajshri Sawant) from an adjoining village. Basanta’s father wants his marriage to be performed with fun fare for which he takes a loan of Rs.10000/- against the hypothecation of a cow and a buffalo. The marriage of Basant and Phoolwanti is solemnised.
Soma comes to Mumbai for job and stays in a Gala where 40 other mill workers are staying, a few from his village. He gets a job in the mill. He sends money to his brother, Parshuram every month and sometime also sends readymade garments for his nephews and niece. Basanta, after his marriage feels uncomfortable as he is unemployed and the loan instalments are to be repaid which his father has taken for his marriage. So, he also departs for Mumbai in search of employment and lands in mill workers’ gala where his friend, Soma is also staying. Basanta also gets the job in the same mill where Soma is working.
After getting to know the realities in working condition in Mumbai, Basanta is determined to return to his village after working in the mill for 2-3 years and also advises Soma to return to the village with him so that with the money they earned, they can start a cooperative farming in the village. But Soma is determined to work in Mumbai for a long time as he is now addicted to the life of Mumbai.
After few months of stay in Mumbai, Basanta calls his wife, Phoolwanti to Mumbai to show her the city. One of his roommates in the gala arranges a independent room in a chawl for 7 days. After seeing the staying conditions of Basanta in Mumbai, his wife tells him to return to the village as early as possible when she leaves Mumbai for her village.
In the meanwhile, to run the household, both Hansa and Phoolwanti works in a bidi making unit to roll bidis for which they get daily wages in terms of the number of bidis rolled. But the munshi (Achyut Potdar) of the bidi making unit tries to exploit them by finding their faults while rolling the bidis for which no amount is paid. His intention is to force them to give him some sexual favours.
At one time, Basanta’s father writes a letter to him to come to the village for some urgent work. He returns and finds that his father has got a transistor radio and supplies of bidis from Munshi. He also comes to know that his wife is working for a bidi making unit. He is unhappy that his wife has to work for running the household.
The next day, Parshuram strikes water in the well which he has been digging for 12 years. The whole village rejoices and the mad Parshuram becomes a hero in the village. There is a felicitation by the entire village during which he declares that the water in the well is for the entire village.
Basanta returns to Mumbai earlier than schedule and his friend, Soma is surprised. Basanta tells him that he got bored in the village within two days. Then there is a twist in the story. Basanta who has been pressurising Soma to return to the village along with him after 2-3 years, decides that he is going to work in Mumbai on a long-term basis to earn good amount of money as Soma has been advising him. However, this time, Soma surprises him by revealing that his brother has struck water in the well and he is going back to the village to do farming. The film ends with Soma boarding a state transport bus which is driving to his village away from Mumbai with Basanta struck in Mumbai.
From the above narration, the story of the film looks simple. I found the film interesting to watch because Sai Paranjpye in her usual way has relied on visuals to speak for the story along with some punch-line dialogues. For example, Shabana Azmi regards the well as her ‘soutan’ as Om Puri spends more time in the well than in the house. Sometime, he takes his afternoon siesta in the well itself. To this, Om Puri’s repartee to Shabana Azmi is that she should be thankful that her ‘soutan’ is ‘baanjh’ (infertile); otherwise one more platoon of children would have joined the family. Here ‘baanjh’ has another meaning in that despite digging for many years, water has not struck in the well.
The film was released in Mumbai in November 1991 and thereafter in Pune by Sai Paranjpye as no one was willing to distribute the film. It generated interest in the initial few days with house-full board. After watching the film, Manmohan Desai offered to release the film in the Delhi circuit. With the releases in limited theatres. the box office collection could barely cover the budget of the film.
The film did not get any award in India. However, when the film was shown in Chennai International Film Festival in 1991 as a private entry (it could not be shown in Indian Panorama as it had not won any award), it was highly appreciated because of which over a period of time, the film got invitations in as many as 23 international film festivals all over the world where it has won 5 awards with cash prizes including one at Cannes international film festival.
Sai Paranjpye has mentioned in her book that the film had three songs. However, I found only two songs in the film – one is a lavani song and the other a fun song. Songs were not released on audio format. I am presenting the fun song, “Bambai Bambai Bambai Bambai Bam’ sung by Vinay Mandke, Ravindra Sathe, Tyagraj Khadilkar, Arun Joglekar and Chorus. The song is written by Sai Paranjpye which is set to music by Anand Modak. I am not able to segregate the lyrics according to playback singers as I am not familiar with their voices except that of Ravindra Sathe. I have also observed that playback singers seem to lip sync for multiple actors According to Sai Paranjpye, the ‘anokhe bol’ in the song have been rendered by Vinay Mandke in addition to his part of the song.
The song is picturised in a gala where about 40 mill workers stay. Except for about 10 actors, rest of the participants in the song are real mill workers staying in the gala. If one goes through the lyrics of the song, it would be observed that the sad realities of mill workers (or for that matter, migrant workers in general) have been presented in the mask of a fun song. In the last two stanzas, there are ‘locals verses migrants’ theme presented in ‘lavani’ style. The prelude music of the songs with “Dhak Dhak Dhak. . .” is akin to the sound generated by the power looms of a mill when they are operational.
This song is the essence of the film’s main theme. With this song, ‘Disha’ (1990) make a debut in the Blog.
Acknowledgements:
Some of the information about the background for making the film ‘Disha’ (1990) is based on
- An interview conducted by Sridhar Rangayan and Saagar Gupta titled ‘Queen of Humour: A Candid Interview with Award-Winning Director and Writer Sai Paranjpye,’ South Asianist, Vol 2, No.3 (2010).
- The Marathi book, ‘Sai – Maaza Kalapravaas’ (2016) written by Sai Paranjpye.
Song – Bambai Bambai Bambai Bambai Bam (Disha) (1990) Singer -Vinay Mandke, Ravindra Sathe, Tyagraj Khadilkar, Arun Joglekar, Lyrics – Sai Paranjpye, MD – Anand Modak
Chorus
Lyrics
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak
dhak dhak
dhak daa dham
dhak dhak
dhak dhak
dhak daa dham
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
gaon mein behti doodh ki ganga aa
haay
gaon mein behti doodh ki ganga aa
kaanha murli bajaawat hai bhai
kaanha murli bajaawat hai
aisa gokul chhoda… haay
aisa gokul chhoda bhai
kya narakpuri ye bhaawat hai
makdi ke jaal mein keeden ham
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam
dhuaan gootan aur bimaari
dhuaan gootan aur bimaari
yahaan jawaan mard ke baal pakey
har kuchh bikta hai is nagri mein
bol tumhaara chaar takey
arre chaar take bhi naahin kam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
wahaan aankh bichaaye baithi radha
aansoo uske sookh gaye
wahaan aankh bichaaye baithi radha
aansoo uske sookh gaye
bachche jo peechhe chhode wo
shaql baap ki dbhool gaye
bachche jo peechhe chhode wo
shaql baap ki bhool gaye
arre bhool gaye to kya hai gham
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bam bam bam bam
arre bambai bambai bambai bambai bam
bam bam bam bam
haaaaaaaaaaa
arre kameenon
beimaanon
badh badh taane dete ho
phir bharti kyunkar hote ho
tum phir bharti kyunkar hote ho
dham chik chik dham chik dham
arre bina bhulaaye tum mehmaan
upar se ho namak haram
waapas jaao
hari gun gaao,,o
waapas jaao
hari gun gaao
yahaan tumhaara kya hai kaam
yahaan timhaara kya hai kaam
kissa abhi karo ye khatam
khatam khatam bhai karo khatam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam bam bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam bam bam
aiyya
paapi pet yahaan le aaya…aa….aa
arre paapi pet yahaan le aaya
nagar nahi ye bhul bhulaiyya
khoon paseena yahaan bahaaya
arre khoon paseena yahaan bahaaya
iss nagri ka namak chukaaya..aa aa aa aaa
yahin basera ho ab hardam
yahin basera ho ab hardam
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
b-bam bam bambai
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
Chalna sambhal sambhal ke jee
Posted on: June 3, 2020
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: | 4338 | Post No.: | 15636 |
Today’s song is from film Raaj Tilak-1958.
This was a S.S.Vasan film from his Gemini Pictures, Madras. Film Raaj Tilak was a remake of the original popular film in Tamil-“Vanji Kottai Valiban”( The youth from Vanji Fort). It was loosely based on the famous adventure novel, “The Count of Monte Cristo”, written by Alexander Dumas and first published in 1844. Its Telugu version was titled “Vijay Kota Veerudu”and the Hindi version was Raaj Tilak.
AVM and Gemini, the two giants from Madras were keen on making Bi-Lingual (Tamil-Hindi/Tamil-Telugu,Telugu-Hindi) or Tri-lingual (Tamil-Telugu-Hindi) films to capture all the three big markets. Southern bosses took pleasure in engaging artistes from Bombay and in return Bombay artistes were happy to work in southern films, because they were disciplined, punctual and worked methodically. Their payments, staying arrangements and the treatment to Hindi artistes was very satisfying.
From the time Vasan’s multilingual Blockbuster, Chandralekha’s success in 1948, it dawned on south producers that a huge market in Hindi belt was available for their successful south films. One after another hit films started from South, like Nishan-49, Mangala-50,Bahar-51, Mr. Sampat-52, Miss Mary-57, Asha-57 and such other films, which were either remakes of Tamil/Telugu hit films or films made in Madras.
During this period, C Ramchandra and his songs were very popular in south. At the same time, his favourite Lyricist Rajendra krishna also had a great demand in south. Rajendra Krishna worked for both AVM and Gemini films. Vasan wanted that Rajendra krishna should work only for Gemini and not AVM. However, Rajendra Krishna continued working for AVM, so Vasan decided not to take Rajendra krishna for Gemini films anymore.
In 1957, AVM’s film Bhabhi became a Hit film. Rajendra krishna had written all the songs for Bhabhi. In 1958, when Vasan Planned to make Raaj Tilak in Hindi and its Tamil and Telugu versions, at the same time, he selected C Ramchandra as its Music Director. That time C Ramchandra was working for film Amardeep-58 in Bombay and Rajendra krishna was the Lyricist. C Ramchandra knew that Vasan will not take Rajendra krishna as a Lyricist for Gemini films anymore. At that time only, P L Santoshi met C Ramchandra. He had fallen on bad days and requested C Ramchandra for his help.
With consideration for past successful association with Santoshi, C Ramchandra recommended Santoshi’s name to Vasan. He also agreed. When Rajendra Krishna came to know this, he did not like it and he severed ties with C Ramchandra. The two never worked together again. The year 1958 was not a good year for C Ramchandra anyway. Lata had given indications that after Raaj Tilak, she would not sing for C Ramchandra. She did only one solo and one duet in this film. After Rajendra krishna split with C Ramchandra, he started recommending Chitragupta, Madan Mohan and others to South producers. C Ramchnadra stopped getting their offers. In addition film Raaj Tilak also did not do so well.
The cast of film Raaj Tilak-58 was Vaijayanti Mala, Padmini, Gemini Ganeshan, Pran, Jagirdar, Bipin Gupta, Lalita Pawar, Durga Khote etc etc. Gemini Ganeshan (17-11-1920 to 22-3-2005), better known in Hindi belt as actress Rekha’s father, started his Hindi films with Devta-56. Then came Miss Mary-57 and his third film was Raaj Tilak-58. He acted in 24 Hindi films. His last film was Allauddin and wonderful Lamp-82. After his death in 2005, two films were released in 2009, namely Shivdoot and Devi Saraswati, both dubbed films.
When I saw actor Pran’s name in the cast of this film, I remembered that Pran had also acted in another same titled film Raaj Tilak-84, featuring Dharmendra, Hema etc. Pran’s first Hindi film – as a Hero – was Khandan-42 in Lahore. he again acted in another same name film Khandan-in 1965. In the 42 film he was the Hero, but in the 1965 film he was a Villain. He did exactly opposite in another same name film. In film Aan Baan-56 ( Ajit-N.Jaywant), he was a Villain, but in the 1972 film Aan Baan (Rajendra kumar-Rakhi) he did a benevolent person’s sober role in this film ! Pran acted as a Villain in film Chingari-55(Shekhar-N.Jayawant) and also in film Chingari-89 (Sanjay Khan-Leena Cghandavarkar).
Pran did role in many remakes of his films. When he came to Bombay from Lahore in 1948, he got roles in films Grihasthi, Ziddi and Chunaria. In 1948, two of his Lahore made films – Birhan and Barsat ki ek raat – released in India. In both these films, he was the Hero, but in India, he started as a villain in his first 3 films. Kishore Sahu remade film Grihasthi-48 as Film “Ghar Basaa ke Dekho”-1963. In this film Pran did the same role as in the 48 film. Comedian Gope had made a film “Malkin” in 1951 (Gope and Yakub). His brother Ram Kamlani remade this film as “Biradari’ in 1966 (Mehmood and Kanhaiyalal). Pran was villain in both the films.
In his 66 years of career, Pran did variety of roles. Besides acting in remakes and same title films, he also worked in 2-3 generations of actor families. In film Rajkumar-1964, he worked with Prithviraj Kapoor. With Raj Kapoor, he did films like Aah, Chori chori, Jis desh mein Ganga behti hai etc etc. He worked with Shammi Kapoor and Shashi Kapoor also. In 1973, he worked in film Rikshawala, with Randhir Kapoor and in film Bobby, with Rishi Kapoor. Thus he worked in 3 generations of Kapoor family.
Pran worked with Naseem Bano in film Sindbad the sailor-52 and worked in many films with Saira Bano-her daughter. He worked with Mumtaz Ali and Mehmood. Pran acted with Sunil Dutt and Sanjay Dutt. He also worked with Dharmendra and Sunny Deol.
There was no other actor like him in Hindi film industry ever again.
Coming back to film Raaj Tilak-58, the story of the film was….
The loyal Diwan of the kingdom accuses the Senapathi to have planned the killing of the young prince. The king ,as a punishment banishes him to another country, but Senapati hides in the kingdom itself. One day he kills the king and becomes the ruler. Before dying, the king asks his loyal Diwan to save the prince and the princess. Diwan takes them and runs away, leaving his own wife and children.
Senapati captures Diwan’s wife, keeps her in prison on an island and leaves his son and daughter in the flowing river. Some kind person saves the children and they grow up as Chander ( G.Ganesan) and sister Gowri ( Vijaya kumari). Senapati comes to know about them and abducts Gowri and arrests Chander and keeps him in a prison on the same island as his mother. Gowri dies while attempting to run away.
Chander meets his mother and learns everything. He vows to kill the Senapathi. He tries to escape from the island with his mother, but mother dies on way and Chander is thrown into the raging sea. He survives and reaches Ratna island. The Rajkumari Mandakini of Ratna island loves him. He narrates every thing to her and she allows him to go his kingdom to kill Senapathi. He comes to the kingdom where he meets his father and also princes Padma who loves him. Meanwhile Mandakini also reaches the kingdom. Padma and Mandakini meet and Padma allows them their love, sacrificing her love.
However during the final battle, in an attempt to save Chander, Mandakini dies. Senapathi is killed and peace returns to kingdom. Padma and Chandar marry and he gets the Raj Tilak !
Today’s song from film Raaj Tilak-58 is sung by Asha, Rafi, Vinod and chorus. In the video, one can see Agha, Jagirdar, Shammi and Padmini. This will be the 4th song from this film to feature here.
Audio
Video
Song-Chalna sambha sambhal ke jee (Raaj Tilak)(1958) Singers-Rafi, Asha Bhonsle, Vinod, Lyrics-P L Santoshi, MD-C Ramchandra
All
Lyrics
ha ha
sambhal ke bhai
chalna sambhal ke ji sambhal sambhal ke chalna
chalna sambhal ke ji sambhal sambhal ke chalna
ho o raahi ho
ho o raahi ho
chalna sambhal sambhal ke ji chalna sambhal ke
hoy chalna sambhal sambhal ke ji chalna sambhal ke
ho gaadi waale
dekh gali ke khadke gaali re chalaaye
naazuk naazuk dil hai mera
gachke na khaaye
piya gachke na khaaye
atak datak kyun tu bole
ye to meethhe methhe hichkole laage halke halke
hoy chalna sambhal sambhal ke ji chalna sambhal ke
manzil hai kitni door oor
manzil hai kitni door
jaanoon na haaye re ae
soch ke yahi mera aa aa
jiya ghabraaye re
jiya ghabraaye re
hone aayi shaam
hone aayi shaam
ek na taara jhhalke
hoy chalna sambhal sambhal ke ji chalna sambhal ke
meelon ki koson ki tu dekh na doori
tu dekh na doori
man mein jo aasha teri hogi wo poori
hogi wo poori
sooraj niklega phir
ek baar dhhal ke
hoy chalna sambhal sambhal ke ji chalna sambhal ke
hoy chalna sambhal sambhal ke ji chalna sambhal ke
hoshiyaar
khabardaar
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.
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Blog Day : |
4162 | Post No. : | 15333 | Movie Count : |
4224 |
Hullo Atuldom
Sometimes a sudden tune or memory or word sends the mind looking for a song or visual connection. So, a few days back it was a tune in my head that sent me looking for today’s song. I remembered, rather vaguely, that the song had Ashok Kumar dancing away merrily. I remember having seen it eons ago on Doordarshan – the one source of most of my nostalgia.
I hunted down the song. I found the name of the movie it was from. Searched for it on YouTube. Enjoyed my first encounter with that movie thoroughly. It has been listed on IMDB.com under “action, crime, drama” genre. It should also have been categorised as “comedy”.
The movie had a huge cast- a set of dancing actresses headed by Shashikala, Aruna Irani, Prema Narayan, Helen, Jayshree T., Meena T. and Shubha Khote & Manorama. The male line up was headed by Ashok Kumar, Ranjeet, Sujit Kumar, Keshto Mukherjee, Asrani, Jagdeep, Viju Khote, Krishan Dhawan, Chandrashekhar, Coca Cola, Pinchoo Kapoor, Birbal, Yusuf Khan (Zabisco from Amar Akbar Anthony), Babban, Pakoda Kader etc. There were a few more known faces which were billed as guest appearance- Amjad Khan, special appearance- Danny and friendly appearance -Mehmood.
There were many movies back then where we had known faces putting in appearances in these categories as a gesture to the maker of the movie. And I think I know why Mehmood did this movie as the maker S. Ramanathan had been a co-director on “Bombay to Goa”.
This movie begins on a night where Ranjeet (one of the serious persons throughout the movie) is hatching a plot to steal diamonds from the vault of Pinchoo Kapoor’s residence in the company of Sujit Kumar (he plays a dead body for half the movie)- that is where the crime angle is. As the plan is being executed Pinchoo Kapoor is shot dead (crime angle again). But he Dials 100 with the help of his pet Pomeranian -that is one intelligent pet which has a good part to play in helping recognize the lost daughters of the family. That is when the ‘drama angle’ comes into play when the pet recognizes one daughter because of her locket, takes her to the bungalow where the loyal servant of the house enquires about the girl whose photo is in the locket. Further family-drama comes into play when it turns out that the girl in possession of the above mentioned locket is also the younger daughter of the family and in the absolute climax of the movie the sisters unite and with the aide of the hero and practically the entire cast catches Ranjeet and hands him over to the cops headed by Krishan Dhawan and Chandrashekhar.
Of course, we have to sit through the movie, from the murder to reach the climax (only place where there is dishoom- dishoom in the movie), through a not-so-boring movie. Danny was a revelation as far as his comic timing was concerned. I will not spell here what transpires through the movie and spoil the fun for anyone who may wish to see this movie.
Today’s song features the tenants of Manorama’s apartment as they gather to wish the newly-engaged hero -heroine (every Bollywood movie worth its name needs a jodi) Vinod Mehra and Bindiya Goswami. Everyone is singing and having the time of their life except Bindiya Goswami. The song is sung by Manna Dey (for all the males present), Asha Bhonsle (for the females) and Bappi Lahiri for Vinod Mehra. Anjaan wrote the song and Bappida was the music director for this S. Ramanathan directed “Dial 100” which released on 2nd April 1982.
Here is the song where Ashok Kumar leads along with Aruna Irani and the rest of those present join. I have always loved songs where Ashok Kumar visibly enjoys himself. Let us also enjoy this song.
Thinking of Dada Moni today on his anniversary.
Audio
Video
Song-Maara gaya maara gaya koi bechaara maara gaya (Dial 1000(1982) Singers-Asha Bhonsle, Manna Dey, Bappi Lahiri, Unknown voice, Lyrics-Anjaan, MD-Bappi Lahiri
Male chorus
Female chorus
All chorus
Manna Dey + Asha Bhonsle
Lyrics
Haaan
Haaaa
Haaan
Haaaa
maaraa gaya
maaraa gaya
koi bechaara maaraa gaya
maaraa gaya
maaraa gaya
koi bechaara maaraa gaya
(arey kaun maaraa gaya)
oye hoye hoye hoye hoye
koi kunwaara maaraa gaya
ye maazra kaise kab ho gaya haan
koi kunwaara maaraa gaya
ye maazra kaise kab ho gaya
ladka jawaan ladki jawaan
dono mile toh ghazab ho gaya
koi kunwaara maaraa gaya
ye maazra kaise kab ho gaya
koi kunwaara maaraa gaya
ye maazra kaise kab ho gaya
laa lala laa lalala laa
laa lalalaa laa
laa lala laa lalala laa
laa lalalaa laa
laa lala laa lalala laa
laa lalalaa laa
laa lala laa lalala laa
laa lalalaa laa
kahaan dono mile kaise mile
haa haa haa
ho kahaan aankh ladi kaise ladi
haa haa haa
kahaan teer chale kaise chale
haa haa haa
ho kahaan baat badhi kaise badhi
haa haa haa
chhupi chhupi
tauba re tauba
chori chori
haye re haye
kahaan bandhi
gaya re gaya
prem dori
aankhon aankhon mein jud gaya taanka
pada kaise kahaan dil pe daaka
aankhon aankhon mein jud gaya taanka
pada kaise kahaan dil pe daaka
bolo ji bolo ye bhed kholo
kaise ye sab ho gaya aaa aaa
ooi
koi kunwaara maaraa gaya
ye maazra kaise kab ho gaya
arrey ladka jawaan ladki jawaan
donon mile to gazab ho gaya
ho koi kunwara maaraa gaya
ye maazra kaise kab ho gaya
aaaa aaaaaaa
aaaaa aaaaaa
kahaan pyaar ki yeh baat chhupe
haa haa haa
kahin jaake kahin raaz khule
haa haa haa
ho jahaan pyar mein do yaar milen
haa haa haa
wahin dekh ke yeh log jalen
haa haa haa
yahaan wahaan
oooi maa
baat chali
baba re baba
shor macha
gayi re gayi
gali gali
chhora chhori pe hoke lattoo
hua sabki nazar mein nikhattu
ho chhora chhori pe hoke lattoo
hua sabki nazar mein nikhattu
do dil mile toh hangama aisa yun besabab ho gaya aa
ooi
koi kunwaara maaraa gaya
ye maazra kaise kab ho gaya
arey ladka jawaan ladki jaawan
dono mile to gazab ho gaya
hey koi kunwaara maaraa gaya
ye mazara kaise kab ho gaya
laa lalalaa laalalalaa
laa lalalaa laalalalaa
hooo ohhoo
hohoho hohoho
kahin koi jale jalta rahe
haa haa haa
koi kuch bhi kahe kahta rahe
haa haa haa
yahaan tera mera saath rahe
haa haa haa
yahi pyar yahi baat rahe
haa haa haa
toone mujhe
kya
maana sajan
haay re haay
maine tujhe
oye hoye
maana dulhan
gayi re gayi
kahin saabit na ho preet jhoothi
aayi dene gawaahi angoothi
kahi saabit na ho preet jhoothi
aayi dene gawaahi angoothi
ungali pakad ke
bahe pakad li
kissa gazab ho gaya aaa
hurr
koi kunwaara maaraa gaya
ye maazra kaise kab ho gaya
arey ladka jawaan ladki jawaan
dono mile to gazab ho gaya
hurr
koi kunwara maaraa gaya
ye mazara kaise kab ho gaya
maaraa gaya maaraa gaya (oooooooooooo)
koi kunwara maaraa gaya (oooooooooooo)
maaraa gaya maaraa gaya (oooooooooooo)
koi kunwara maaraa gaya (oooooooooooo)
maaraa gaya maaraa gaya (oooooooooooo)
koi kunwara maaraa gaya (oooooooooooo)
maaraa gaya maaraa gaya (oooooooooooo)
koi kunwara maaraa gaya (oooooooooooo)
- In: "Piano" song | Duet | Feelings of heart | Guest posts | Lata song | Motivational song | Nitin Mukesh songs | One singer singing for several actors | Post by nahm | Shabbir Kumar Songs | Song sung by three or more singers | Songs of 1980s (1981 to 1990) | Songs of 1985 | Theme song | Yearwise breakup of songs
- 9 Comments
This article is written by Nahm, 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.
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Blog Day : |
4095 | Post No. : | 15240 |
wo chaand hai to aks bhi paani mein aayegaa
kirdaar khud ubhar ke kahaani mein aayegaa
(Iqbal Sajid)
Aks – reflection
Kirdaar – character
“jis ke paas koyi saboot nahin hota, kya wo kabhi beqasoor nahi ho sakta.”
This is the dialogue spoken by Meenakshi Sheshadri to Anil Kapoor, a lawyer, when he has refused to take her sister’s Beena’s case. Meenakshi’s sister is a doctor and a patient dies in her private clinic, after she has administered a medicine to the patient. The medicine contains poison, and the bottle is already in the custody of the courts/police. There is no way anyone can prove that the patient did not die because of the medicine in that bottle. So all the lawyers are refusing the case and Meenakshi and the brother in law Parikshit Sahani, also a doctor, are running from pillar to post to find a lawyer who can defend Beena in the court.
The moment she says this dialogue, Anil Kapoor is transported to his childhood, when his mother Nutan had said the same words to the lawyer/ public prosecutor Amrish Puri, in defense of her husband Girish Karnad. This whole story is in flash back – the story of Anil Kapoor, his sister and parents.
In the present, Anil Kapoor decides to defend Beena in the courts, and in true heroic style, drinks the medicine from the very bottle to prove that the patient did not die because of the medicine. Within minutes, the case is over, judgment delivered, Beena is ‘ba-izzat bari’. Parikshit Sahani takes Anil Kapoor to the hospital immediately and treats him to save his life. What happens to the actual culprit who put poison into the medicine bottle, I don’t know.
The court language in this type of films had glossary like ‘mulzim’ which is the one accused of a crime, ‘mujrim’ is the one whose crime is proved. Crime is ‘jurm’ and ‘mere faazil dost’ means ‘my esteemed friend’ – this is how lawyers would refer to each other in front of a judge.
So with the case over, the doctors are grateful to Anil Kapoor and Meenakshi is in love with him. The doctors host a party to celebrate and Anil Kapoor on piano, again revives his child hood memory of the theme song at the party. This is Part-II of the song. After this party this dream sequence song, “Ae Mere Khwaabon Ke Shehzaade” comes up. This is a beach song, posted Peevicies’s mom and I have seen that song too just now. That song is one extravaganza on Madh island or Aksa beach and what is Meenakshi wearing in the last sequence? Looks as if she was trying to be a South Indian Cleopatra.
Now back to flashback: Girish Karnad is convicted of a crime he did not commit. Nutan has tried in vain to get someone to fight her husband’s case against the formidable Amrish Puri. Their happy family is ruined, even as she manages to obtain a stay on the conviction of ‘sazaa-e-maut’, but reached late on the location. Girish Karnad has been hanged. After this I think, she loses her mind and is taken to mental Asylum.
Meanwhile the young children Anil Kapoor and the sister are left to fend for themselves in the big bad world. That is when Anil Kapoor is remembers the song that his mother and father used to sing, with his father on the piano, “Jeet Jaayenge Hum. . .”. The song is highly motivational, though situational. It is songs like these which make Laxmikant-Pyarelal such kings of the proverbial situational songs. Theme song or not, the lyrics and composition is all more than apt for the mood and need of the script. And to think that the script by Javed Akhtar originally had no scope for songs.
The events of childhood have a profound effect on the young Anil Kapoor and the song motivates him to keep fighting and to always hope and strive to win against all odds. And win he does, grows up to become a lawyer himself, struggles with the system and grows to achieve his goals step by step. All this while he is always conscious of how his mother’s struggles with the system to save his father from being punished from the crime which he has not committed. He has raised his younger sister Khushoo and who is now studying in a college. Anil Kapoor manages to trace his mother also and brings her home. But she is still not well and does not remember her children. Which is a cause for more pain, prompting Anil Kapoor to recall the childhood song again. This is when the Part-III of the song is played when Anil Kapoor and Meenakshi sing this song at home, hoping to revive Nutan’s memory and restore her mental health.
I thought, this was a movie made by GP Sippy, but turns out it was eventually made by Subhash Ghai. Actually I found this song on YouTube a few days ago and saved the link to see it sometime. Today I got the time to see it and all the memory of the story, dialogue and songs etc. came rushing in the mind.
Jab itna kuchh likhne ke liye yaad aa gayaa to ek post to ban hi jaati hai. 🙂
The song is played multiple times throughout the film. This can’t be anyone other than Anand Bakshi’s doing, the lyrics I mean. Singers are Shabbir Kumar (in full Rafi mode) for Anil Kapoor, Nitin Mukesh for Girish Karnad and Lata Mangeshkar for Nutan, Meenakshi Sheshadri and Khushboo.
It shows that successful people have motivation for success, early in life and have to be ready for struggle. Come what may, we will not give up. Because life is always a struggle, even if one cannot foresee the difficulties to come. ‘Jung’ is not war here, but an avowal not to give up against adversities. In every way, it is struggle to succeed and defeat the bad. And this struggle starts with self to improve the self and its abilities and make them pure, truthful, honest and trustworthy. Because to do ‘jung’ with your lot is to do ‘jidd-o-jahad’ i.e. to struggle and strive.
I found a poem in the photos which I had taken in the hotel at Jaipur, during our vacation visit earlier this year. I am searching the net for the name of the poet but even Rekhta.com is not having the works of this poet. The title of the poem is ‘Kuchh Kehna Chaahta Hoon”.
tum kuchh lafz
musta’aar de do
main bolna chaahta hoonmere lafzon ke haathh
ab sar par aa chuke hain
jaise haarey huye sipaahiwo itna jhooth pee chuke hain
sach keh nahin sakteapaahij, beemar aur za’eefon ki tarah
un ko sirf taknaa aata haitum kuchh lafz
musta’aar de do
main kuchh kehnaa chaahta hoon.Musta’aar – lend, loan for a while.
Apaahij – handicap
Za’eef – aged, frail with age
Audio (Part I)
Video (Part I)
Video (Part II)
Video (Part III)
Audio (Part III)
Song – Zindagi Har Qadam Ik Nayi Jung Hai (Meri Jung) (1985) Singer – Lata Mangeshkar, Nitin Mukesh, Shabbir Kumar, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Lata Mangeshkar + Nitin Mukesh
Lata Mangeshkar + Shabbir Kumar
Lyrics
(Part I)
hmmm mmmmm
hmmm mmmmmm
hmmm mmmmm
hmmm mmmmmm
hmmm mmmmm
hmmm mmmmmm
aa aa aaaaa
aa aa aaaaa
aa aa aaaaa
aa aa aaaaa
oo oo ooooo
oo oo ooooo
aaa aaaaa aaaaa
hmmmmmm mmmmm
hmmmmmm mmmmm
jeet jaayenge hum
oo ooo ooooo
jeet jaayenge hum
tu agar
sang hai ea ea ea
zindagi
har qadam
ik nayi
jung hai
zindagi
har qadam
ik nayi
jung hai
jeet jaayenge hum
jeet jaayenge hum
tu agar
sang hai ea ea ea
zindagi
har qadam
ik nayi
jung hai
zindagi
har qadam
ik nayi
jung hai
tu ne hi
sajaaye hain
mere honthon pe ye geet
tu ne hi
sajaaye hain
mere honthon pe ye geet
teri preet se mere
jeewan mein bikhra sangeet
mera sab kuchh teri dain hai
mere mann ke meet
main hoon ek tasveer
tu mera roop rang hai ea ea
zindagi
har qadam
ik nayi
jung hai
zindagi
zindagi ee
har qadam
ik nayi
jung hai
hausla na chhod
kar saamna jahaan ka
hausla na chhod
kar saamna jahaan ka
wo badal rahaa hai
dekh rang aasmaan ka
rang aasmaan ka
ye shikast ka nahin
ye fateh ka rang hai ea ea
zindagi
har qadam
ik nayi
jung hai
zindagi
har qadam
ik nayi
jung hai
roz kahaan dhoondenge
sooraj chaand sitaaron ko
aag lagaa kar hum roshan
kar lenge andhiyaaron ko
gham nahin jab talak
dil mein ye umang hai ea ea
zindagi
har qadam
ik nayi
jung hai
zindagi
har qadam
ik nayi
jung hai
jeet jaayenge hum
jeet jaayenge hum
tu agar
sang hai ea ea ea
zindagi
hmmmmm
har qadam
hmmmmm
ik nayi
hmmmmm
jung hai
hmmmmm
zindagi
hmmmmm
har qadam
hmmmmm
ik nayi
hmmmmm
jung hai
(Part II)
ooo ooooo
hmmmm mmmm mmmmm
hmmm mmmm mmm
oooo ooooo
jeet jaayenge hum
jeet jaayenge hum
tu agar
sang hai ea ea ea
zindagi
har qadam
ik nayi
jung hai
zindagi
har qadam
ik nayi
jung hai
jeet jaayenge hum
jeet jaayenge hum
tu agar
sang hai ea ea ea
zindagi
har qadam
ik nayi
jung hai
jeet jaayenge hum
jeet jaayenge hum
tu agar
sang hai ea ea ea
zindagi
har qadam
ik nayi
jung hai
zindagi
har qadam
ek nayi
jung hai
(Part III)
jeet jaayenge hum
jeet jaayenge hum
tu agar
sang hai ea ea ea
zindagi
har qadam
ik nayi
jung hai
zindagi
har qadam
ik nayi
jung hai
ik dooje se
ham donon ke
naam judey hain aise
ik dooje se
ham donon ke
naam judey hain aise
mast hawaaon mein ea
saaz judey hain aise
jaise main dor hoon
aur tu patang hai ea ea
zindagi
har qadam
ik nayi
jung hai
zindagi
zindagi
har qadam
har qadam
ik nayi
jung hai
aaaaa aaaaaaaa
oooo oooooo
aaaa aaaaaaa
ooooooo oooooooo
ooooooo
[Nutan speaks]
tu ne hi sajaaye hain
mere honthon pe ye geet
tu ne hi
tu ne hi sajaaye hain
mere honthon pe ye geet
tu ne hi sajaaye hain
mere honthon pe ye geet
teri preet se mere
jeewan mein bikhra sangeet
teri preet se mere
jeewan mein bikhra sangeet
mera sab kuchh teri dain hai
mere mann ke meet
mera sab kuchh teri dain hai
mere mann ke meet
main hoon ek tasveer
tu mera aa
mera aa
mera aa
mera aa
[Anil Kapoor : gaao na maa]
main hoon ik tasveer
tu mera roop rang hai ea ea
zindagi
har qadam
ik nayi
jung hai
zindagi
zindagi
har qadam
har qadam
ik nayi
ik nayi
jung hai
zindagi
har qadam
ik nayi
jung hai
jeet jaayenge hum
jeet jaayenge hum
jeet jaayenge hum
jeet jaayenge hum
tu agar
tu agar
sang hai ea ea ea
zindagi
hmmmmm
har qadam
hmmmmm
ik nayi
hmmmmm
jung hai
hmmmmm
zindagi
hmmmmm
har qadam
hmmmmm
ik nayi
hmmmmm
jung hai
hmmmmm
zindagi
hmmmmm
har qadam
hmmmmm
ik nayi
hmmmmm
jung hai
hmmmmm
zindagi
hmmmmm
har qadam
hmmmmm
ik nayi
hmmmmm
jung hai
- In: "reconciliation" song | Devaki Pandit Songs | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Happy-Sad song | Kumar Sanu - Devaki Pandit Duet | Kumar Sanu Song | One singer singing for several actors | Party song | Post by Sadanand Kamath | Songs of 1990s (1991 to 2000) | Songs of 1994 | Yearwise breakup of songs
- 3 Comments
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 4092 | Post No. : | 15234 |
hamaare baad ab mehefil mein afsaane bayaan honge
bahaaren humko dhoondengi na jaane hum kahaan honge
rahen naa rahen ham mehakaa karenge
ban ke kali, ban ke sabaa, baag e wafaa mein
ek din bik jaayega maati ke mol
jag mein reh jaayenge pyaare tere bol
duje ke hothon ko dekar apne geet
koyee nishaanee chhod, phir duniya se dol
These three songs of Majrooh saab and some more are of the eminence that would have been categorised as poems of repute if they were not film songs.
Remembering Majrooh Sultanpuri (01/10/1919 – 24/05/2000) today on his birth centenary. In fact, Majrooh Saab’s birth centenary celebrations commenced on September 30, 2018 with a 2-day National Seminar on his contributions to Hindi films and the Urdu literature which was held at the Kalina campus of Mumbai University. Thereafter, a few more such celebrations were also held elsewhere. For instance, Hindustan Academy celebrated his centenary at Prayagraj on August 19, 2019. Paasbaan-e-Adab also arranged Majrooh Saab’s birth centenary celebrations on December 22, 2018 at Yeshwantrao Chavan Auditorium in Mumbai in which his non-filmy ghazals were show-cased in the form of songs by upcoming singers. In Delhi, Jashn-e-Rekhta scheduled a special session on Majrooh Saab in its annual conference in December 14, 2018. I am sure many more such celebrations would have taken place all over India.
Like Shailendra, Majrooh Saab had a reluctant entry into the film world as a lyricist. But once he got associated with his first film ‘Shahjahan’ (1946), he ruled the Hindi film industry as a lyricist for nearly 6 decades with over 2000 songs in about 350 films. He wrote lyrics for the first generation hero, KL Saigal under the baton of the first generation music director, Naushad for Shahjahan’ (1946) to the third generation hero, Shah Rukh Khan and the third generation music director, AR Rahman for ‘1 To Ka 4’ (2001). This is the testimony of his smooth adaptation of the changing environments in Hindi film music. He achieved this stature on his own terms throughout his filmy career.
Naturally, with his long association with Hindi films, the range of the songs Majrooh Saab wrote varied. Some samples of his different genres of songs : Gham Kiye Musthakil , C A T Cat, Cat Maane Billi, Bade Bhole Ho Hanste Ho Sun Ke Duhaai, Dhalki Jaaye Hamaari Chundariyaa Ho Raam, Raahi Manwa Dukh Ki Chinta Kyun Sataati Hai, Aa Ja Aa Ja Main Hoon Pyaar Tera, Papa Kehte Hain Bada Naam Karega etc. He also wrote a few pop songs like Raat Shabnami Bheegi Chaandni. The list is endless.
Much has been said about Majrooh Saab in both the print and electronic medias. I had also written two articles on him for the blog. So, I will skip his biographical part and would confine my discussion mainly with his contributions as a lyricist and a poet.
Some of Majrooh Saab’s contemporary lyricists like Sahir Ludhianvi, Shailendra, Kaifi Azmi, Prem Dhawan were already associated with Progressive Writers Association (PWA), a group of writers with leftist ideology, when they got associated with Hindi film industry. For Majrooh Saab, it was in the reverse order. He joined PWA only after he got associated with Hindi films in 1946. But he was the most fearless among PWA lyricists. In 1949, he was arrested in Mumbai for reciting an inflammatory poem written by him in the gathering of the mill workers in Mumbai (earlier Bombay). He was given an option to apologise or spend two years in prison. He opted for the latter despite the fact that with the box office success of his film ‘Andaz’ (1949) and his songs becoming popular among the public, his filmy career had brightened up. Probably, Majrooh Saab was the only one among PWA lyricists who had gone to jail in India in the post-independent period.
Two years of absence from the Hindi film industry is a long enough for anyone to be forgotten. Majrooh Saab is perhaps the only lyricist who made a successful comeback in the Hindi film industry after two years of his hibernation in jail. But it was not a smooth sailing for his comeback. Naushad for whom he wrote successful songs in ‘Shahjahan’ (1946) and ‘Andaz’ (1949) refuse to work with Majrooh Saab saying that he would not work with non-believers. (Generally, followers of leftist’s ideology were regarded as atheist). Of course, later they made up, and worked together in ‘Saathi’ (1968), and still later became ‘sambandhi’ (relatives by marriage of their kins).
While Majrooh Saab got opportunities to write one or two songs for some films of 1951-52, it was in 1953, he got for the first time after ‘Andaz’ (1949) to exclusively write songs for ‘Baaghi’ (1953) working with Madan Mohan, ‘Fareb’ (1953) with Anul Biswas and ‘Baaz’ (1953) with OP Nayyar. Unfortunately, despite having good songs, these films failed miserably at the box office. However, the versatility of Majrooh Saab as a lyricist became evident from these films which had different genres of songs. In a way, one can say that Majrooh Saab’s writing of light-hearted songs began with ‘Baaz’ (1953).
It was ‘Aar Paar’ (1954) which once more brought together the Guru Dutt-OP Nayyar-Majrooh Saab combination. And this time, they became a winning combination. The fortunes of this combo changed for the better and they repeated their feat with ‘Mr and Mrs 1955’ (1955) and ‘CID’ (1956). Generally, we talk about the catchy tune. But in these films, for the first time, Hindi film industry got the taste of ‘catchy lyrics’ of Majrooh Saab who until then, had been identified with melancholic songs of ‘Shahjahan’ (1946), and ‘Andaz’ (1949).
Majrooh saab is known as a master craftsman in writing lyrics for a pre-set tune. His choice of appropriate words which not only fit best in the metre of the line but also suited to the ‘meend’ (ascending or descending notes in the metre) and ‘murki’ (short taan in the metre) for pre-set tunes. As a result, listeners would believe that he wrote the lyrics first and the music director set the tune later. There are hundreds of such examples of his songs written on pre-set tunes. I will just discuss a couple of his songs which have been written on a pre-set tunes:
chhupaa lo yoon dil mein pyaar meraa
ke jaise mandir mein lau diye ki
hide away (protect) my love in your heart
like the flame of a lamp in a temple
This is a song from ‘Mamta’ (1966) set to tune based on raag Yaman by Roshan. This song has been written in pure Hindi. The second line of the mukhda has an unusual imagery which gets repeated in each of the antaraas. But at each place, the meaning of the imagery changes based on the previous lines. It is a wonder as to how Majrooh Saab could imagine and conceive the right emotion with right words. I feel that literary quality of this song makes it fit enough to be included in the curriculum of Hindi poems in the high school.
Now see the contrast in the second example of the song of a different genre written in Hindi-Urdu mix:
He: hum ne to dil ko aap ke qadmon pe rakh diyaa
iss dil ka kya karenge yeh ab aap sochiye
She: hum aap ki wafaa ki qasam khaa rahen hain aaj
kaise wafaa karenge yeh ab aap sochiye
He: i have kept my heart at your feet
now it is up to you to think what to do with it
She: i swear by your faithfulness today
now you decide how to sustain this faith
This is a deleted song from the film ‘Mere Sanam’ (1965) set to music by OP Nayyar. Again, these lines show the mastery of Majrooh Saab in using appropriate words on a pre-set tune without disturbing the metre of the song. On top of it, as a bonus to the listeners, he has written the song in a ‘shaayaraana andaz’ – ghazal style (but it is not a ghazal). The song belongs to the genre of romance but it is also a soft ‘nok jhonk’ (quick repartee) song.
How one can forget the contributions of Majrooh Saab in reviving the interest in duet songs which had seen a declining trend in the early 1950s. Majrooh Saab held the view that it was not the fault of producers-directors but of lyricists and music directors who did not pay much attention to the duet songs. As a result, directors reduced the duet song situations in their films.
Hindi films had the best duet songs during 1955-70 mainly from Majrooh Saab in combination with Burman Da and OP Nayyar which were mostly in the genre of romantic comedy. The films which had a few popular duets were ‘Aar Paar’ (1954), ‘Mr and Mrs 1955’ (1955), ‘Nau Do Gyaarah’ (1957), Paying Guest (1957), ‘Tumsa Nahin Dekha’ (1957), ‘Chalti Ka Naam Gaadi’ (1958), ‘Dil Deke Dekho’ (1959), ‘Phir Wohi Dil Laaya Hoon’ (1963), ‘Teen Deviyan’ (1965), ‘Mere Sanam’ (1965), ‘Mohabbat Isko Kehte Hain’(1965), ‘Teesri Manzil’(1966) and many more.
From the mid-1960s onward, Majrooh Saab started working with the second generation of music directors also. Laxmikant-Pyarelal (LP) and RD Burman were two promising music directors amongst them. But both were struggling to get themselves firmly established in Hindi film industry since early 1960s. One may call it a sheer co-incidence that when Majrooh Saab worked with them for the first time in ‘Dosti’ (1964) and ‘Teesri Manzil’ (1966) respectively, the films and their songs became super hit. Although LP’s ‘Parasmani’ (1963) was a box office success with its songs becoming very popular, it was only after the extra-ordinary success of ‘Dosti’ (1964) that LP started getting big banner films. Same was true for R D Burman after the success of ‘Teesri Manzil’ (1966). From these two films onward, both LP and RD Burman got a tremendous boost to their filmy career. Majrooh Saab worked with RD Burman in as many as 75 films churning out around 350 songs. With LP, he worked in 42 films with around 200 songs.
Next in the line of the second generation of the music directors with whom Majrooh Saab worked are, Rajesh Roshan, Anand-Milind and Jatin-Lalit, among others. Again, whether it was a co-incidence or the magical lyrics of Majrooh Saab, his first association with them also turned out to be their first successful film at the box office. The films were ‘Kunwaara Baap’ (1974), ‘Qayaamat Se Qayaamat Tak’ (1988) and ‘Jo Jeeta Wohi Siknadar’ (1992) respectively.
There is another side of Majrooh Saab’s personality and that is as an Urdu poet of repute. And he kept this side of his personality distinct from that of a lyricist of Hindi film songs making it sure that his ideological views do not seep into his film lyrics. Though Majrooh Saab had written many meaningful lyrics, he never considered them to be part of his poems. So, if one wishes to know the real personality of Majrooh Saab, one has to read his ‘taraqqi-pasand’ (progressive) ghazals. I have gone through the ghazals that are available online. His hardcore revolutionary call was evident in most of his ghazals which he wrote in the 1940s. An example:
jalaa ke mashaal-e-jaan hum junoon-sifaat chale
jo ghar ko aag lagaaye wo hamaare saath chale
Majrooh Saab is regarded as a pioneer in writing modern progressive ghazals, breaking away from the conventional style of ghazals of the classical poets. He gave a different interpretation of some of the common metaphors used in the conventional ghazals, in his progressive ghazals. For instance, the word ‘manzil’ is often used in the conventional ghazal to reach out to the beloved. But Majrooh Saab has used ‘manzil’ in plural form in the ‘matla’ she’r of one of his popular progressive ghazals to mean that the attainment of objectives (manzilen) becomes easy when someone joins hands with him (comradeship):
mujhe sahal ho gayi manzilen, wo hawaa ke rukh bhi badal gaye
teraa haath haath mein aa gayaa, ke charaag raah mein jal gaye
Most of Majrooh Saab’s ghazals written in 1940s are filled with heavy doses of Arabic and Persian words. But it is not surprising, as he had studied Arabic and Persian in school. Once he got associated with Hindi films, probably, Majrooh Saab could not devote much time to Urdu literature. Hence his output in terms of published works is limited. ‘Kulliyat-e-Majrooh Sultanpuri’ seems to be the only published works of his ghazals.
Majrooh Saab’s journey of six decades of prolific song writer of Hindi films ended on the planet of earth on May 24, 2000 but not before he was conferred with the prestigious Dadasaheb Phalke Award in 1993 – the first Hindi film lyricist to get this award. He left around 2000 of his Hindi film songs for us to cherish his memory for eternity.
On the occasion of birth centenary of Majrooh Saab, I have chosen an apt song written by him from the film ‘Kabhi Haan Kabhi Naa’ (1994) which was directed by one of my favourite directors, Kundan Shah. The song is ‘Wo To Hai Albela Hazaaron Mein Akela’ a duet sung by Devaki Pandit and Kumar Sanu. The song is set to music by Jatin-Lalit.
One of the interesting features of the picturization of the song is that both Devaki Pandit and Kumar Sanu lip sync for multiple actors. Devaki Pandit lip syncs for Shashi Sahay, Sadia Siddiqui, Reeta Bhaduri and Kumar Sanu lip syncs for Nasiruddin Shah, Tiku Talsania, Satish Shah and Anjaan Srivastav. On the sound track, both the singers sing a few lines together but, in the film, their voices are for the entire group of actors and actresses.
A reading of Majrooh Saab’s lyrics of this song reminds me to say that his style of song writing remained, more or less, the same throughout his filmy career. I do not think that other Hindi song lyricists would have used the words like ‘aib’ (vice) and ‘hunar’ (virtue) in their songs in the 1990s.
Audio
Video
Song – Wo To Hai Albela, Hazaaron Mein Akela (Kabhi Haan Kabhi Naa) (1994) Singer – Devaki Pandit, Kumar Sanu, Lyrics – Majrooh Sultanpuri, MD – Jatin-Lalit
Devaki Pandit + Kumar Sanu
Lyrics
wo to hai albela
hazaaron mein akela
wo to hai albela aa
hazaaron mein akela
sadaa tum ne aib dekha
hunar ko na dekha
wo to hai albela
hazaaron mein akela
sadaa tum ne aib dekha
hunar ko na dekha
wo to hai albela aa
fursat mili na tumhen apne jahaan se
us ke bhi dil ki kabhi samjhte kahaan se
fursat mili na tumhen apne jahaan se
us ke bhi dil ki kabhi samjhte kahaan se
jaana hai jise patthar
heera hai wo to heera
sadaa tum ne aib dekha
hunar ko na dekha
wo to hai albela aa
hazaaron mein akela
wo to hai albela aa
bansi ko lakdi sadaa samjha kiye tum
par us ke naghmon ki dhun kahaan sun sakey tum
bansi ko lakdi sadaa samjha kiye tum
par us ke naghmon ki dhun kahaan sun sakey tum
diye ki maati dekhi
dekhi na us ki jyoti
sadaa tum ne aib dekha
hunar ko na dekha
wo to hai albela
hazaaron mein akela
wo to hai albela aa
hazaaron mein akela
sadaa tum ne aib dekha
hunar ko na dekha
wo to hai albela
hazaaron mein akela
wo to hai… albela aa
———————————-
Devnagari script lyrics (Provided by Sudhir)
———————————–
वो तो है अलबेला
हजारों में अकेला
वो तो है अलबेला
हजारों में अकेला
सदा तुमने एब देखा
हुनर को ना देखा
वो तो है अलबेला
हजारों में अकेला
वो तो है अलबेला
हजारों में अकेला
सदा तुमने एब देखा
हुनर को ना देखा
फुर्सत मिली ना तुम्हें अपने जहां से
उसके भी दिल की समझते कहाँ से
फुर्सत मिली ना तुम्हें अपने जहां से
उसके भी दिल की समझते कहाँ से
जाना है जिसे पत्थर
हीरा है वो तो हीरा
सदा तुमने एब देखा
हुनर को ना देखा
वो तो है अलबेला॰॰आ
हजारों में अकेला
वो तो है अलबेला॰॰आ
बंसी को लड़की सदा समझा किए तुम
पर उसके नग़मों की धुन कहाँ सुन सके तुम
बंसी को लड़की सदा समझा किए तुम
पर उसके नग़मों की धुन कहाँ सुन सके तुम
दिये की माटी देखी
देखी ना उसकी ज्योती
सदा तुमने एब देखा
हुनर को ना देखा
वो तो है अलबेला
हजारों में अकेला
वो तो है अलबेला
हजारों में अकेला
सदा तुमने एब देखा
हुनर को ना देखा
वो तो है अलबेला
हजारों में अकेला
वो तो है॰ ॰ ॰ अलबेला॰॰आ
Kaun Tere Sapnon Mein Aata
Posted on: April 5, 2019
- In: "teasing" song | Baag/Bagiya song | Century songs for the blog | Dance song | Devnagri script lyrics by Sudhir | Feelings of heart | Group Dance | Guest poster century song | Guest posts | Lyrics contributed by readers | One singer singing for several actors | Post by Sudhir | Sahelis teasing a lady | Songs of 1960s (1961 to 1970) | Songs of 1969 | Yearwise breakup of songs
- 9 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
This is the 1300th Post by Sudhir ji.
|
Blog Day : |
3913 | Post No. : | 14972 | Movie Count : |
4092 |
Missing Films of 1960s – 103
– – – – – – – – – – – – – – –
The film that we bring on board today is ‘Sati Sulochana’ from 1969. One more film that is rarely heard about, although the video of this film is available. And once again, lovely songs that have not been explored. The sound of this song seems like it was heard on the radio, but that was a long time back.
The music is by SN Tripathi, who incidentally has also directed this film. The film is produced under the banner of SA Films, Bombay. The star cast includes Prithviraj, Anita Dutt, Prem Nath, Raj Kumar, Bipin Gupta, Kanan Kaushal, Sundar, Ram Singh, and Ram Mohan etc.
The story of Sati Sulochana is part of the history of Ramayan. Sulochana is the daughter of Sheshnaag, the king of serpents. She is married to Meghnaad, the son of Raavan. Meghnaad is also known as Indrajit, for he had once vanquished Lord Indra and captured many sophisticated weapons from him. In the narrative of Ramayan, Sulochana is described as a brave lady who is very supportive of her husband. Eventually, when her husband is killed in the battle with Lakshman, she makes a decision to immolate herself on his pyre.
This story has been made into films on many occasions. The first one on record is the silent film ‘Sati Sulochana’ in 1921. Then this film was produced in Kannada, in 1934, as the first talkie film in Kannada language. In 1935, a Hindi film was also released by this name, under the production banner of Godavari Cinetone. In 1961, this tale was also told in a Telegu film starring NT Ramarao. And then in 1969, we have this Hindi production again.
Geet Kosh lists 9 songs of this film. Music is from the mind of SN Tripathi. The songs have been written by Bharat Vyas and BD Mishra. This song is from the pen of Bharat Vyas. The singing voice is that of Suman Kalyanpur. On screen, it appears as if the leading lady and one of two of her friends are lip syncing the same playback singing.
The song is picturized as a group dance song, in which the leading lady is being teased by her friends, asking her who is the one who comes into your dreams. The song is a lively exchange between the lady and her sahelis. On screen, I am not able to identify with certainty, the lady who leads the song. Is she Kanan Kaushal? I request our more knowledgeable readers and friends to please help identify her.
Enjoy this lovely lilting melody, one of those songs that should have been more popular.
Song – Kaun Tere Sapnon Mein Aata (Sati Sulochana) (1969) Singer – Suman Kalyanpur, Lyrics – Bharat Vyas, MD – SN Tripathi
Chorus
Lyrics
aaa aaaaaaa
aaaa aaaa aaaaa
aaa aaaaaaa
aaaa aaaa aaaaa
kaun tere sapnon mein aata
kaun tere sapnon mein aata
aa ke nainon mein muskaata
bataao na bataao
hum ko ye bataao
jud gaya kis se ye naata
kaun tere sapnon mein aata
hato ri sapne ki na boloon
bhed yeh mann ka na kholoon
jaao ri sakhi jaao
mujhe na yun sataao
khel ye mann ko na bhaata
kaun tere sapnon mein aata
main to soi thi
neend mein khoi thi
chup ke se koi aa gaya
main to soi thi
neend mein khoi thi
chup ke se koi aa gaya
megh varan tha
kanak rang tha
mere jeevan mein samaa gaya
chhup ke kaanon mein kuchh bola
haule se ghunghat pat khola
akhiaan ghabraai
main to sharmaai
aage ab kuchh na kaha jaata
koi tere sapnon mein aata
veer purush tha
kandhe dhanush tha
mukh pe tej samaaya
veer purush tha
kandhe dhanush tha
mukh pe tej samaaya
jaan nahin
pehchaan nahin koi
phir bhi wo mann ko bhaaya
preet meri muskaai hai
pooja meri rang laai hai
chhudaaye se na chhoote
tode to nahin toote
janm janmaantar ka naata
kaun tere sapnon mein aata
kaun tere sapnon mein aata
aa ke nainon mein muskaata
bataao na bataao
hum ko ye bataao
jud gaya kis se ye naata
kaun tere sapnon mein aata
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
आss आssssss
आsss आsss आssss
आss आssssss
आsss आsss आssss
कौन तेरे सपनों में आता
कौन तेरे सपनों में आता
आ के नैनों में मुस्काता
बताओ ना बताओ
हम को ये बताओ
जुड़ गया किस से ये नाता
कौन तेरे सपनों में आता
हटो री सपने की ना बोलूँ
भेद ये मन का ना खोलूँ
जाओ री सखी जाओ
मुझे ना यूं सताओ
खेल ये मन को ना भाता’
कौन तेरे सपनों में आता
मैं तो सोई थी
नींद में खोई थी
चुपके से कोई आ गया
मैं तो सोई थी
नींद में खोई थी
चुपके से कोई आ गया
मेघ वरण था
कनक रंग था
मेरे जीवन में समा गया
छुप के कानों में कुछ बोला
हौले से घूँघट पट खोला
अखियाँ घबराईं
मैं तो शरमाई
आगे अब कुछ ना कहा जाता
कोई तेरे सपनों में आता
वीर पुरुष था
कांधे धनुष था
मुख पे तेज समाया
वीर पुरुष था
कांधे धनुष था
मुख पे तेज समाया
जान नहीं
पहचान नहीं कोई
फिर भी वो मन को भाया
प्रीत मेरी मुसकाई है
पूजा मेरी रंग लाई है
छुड़ाए से ना छूटे
तोड़े तो नहीं टूटे
जन्म जन्मांतर का नाता
कौन तेरे सपनों में आता
कौन तेरे सपनों में आता
आ के नैनों में मुस्काता
बताओ ना बताओ
हम को ये बताओ
जुड़ गया किस से ये नाता
कौन तेरे सपनों में आता
Zindagi Ek Naatak Hai
Posted on: March 28, 2018
- In: "Zindagi" song | Asha Bhonsle solo | Asha Bhonsle songs | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics by Prakashchandra | Lyrics contributed by readers | One singer singing for several actors | Party song | philosophical song | Post by Peevesie's mom | Songs of 1970s (1971 to 1980) | Songs of 1975 | Theme song | Title song | Yearwise breakup of songs
- 10 Comments
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 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 : | 3540 | Post No. : | 14212 |
Hullo Atuldom
Yesterday (27 march 2018) was World Theatre Day. I learnt about this in the morning yesterday, as I was listening to the Vividh Bharati. Apparently, this was initiated in the year 1961, by The International Theatre Institute. It is celebrated annually on 27thMarch.
We have a number of actors in Bollywood, both past and present, who started their acting career on stage. Many of them never miss an opportunity to go back to act in a play or theatre reading etc. “We cannot forget the immediate response that we get from the audiences” is the most heard sentiment from these actors who keep going back to do theatre. And then, we have had actors who have performed ‘in front of the camera’ as they would perform ‘in front of a live audience’ – remember Sohrab Modi and Prithviraj Kapoor (in some of his initial movies). But the later generation of actors adopted different styles for theatre and movies. Also improved sound systems in theatres must have helped in later years; when one didn’t have to speak in ‘loud booming voices’ so as to be heard in the last rows.
Today with this post I am thinking of Farooque Shaikh who also did a lot of theatre and who would have been 70 on 25th March, just two days back (he passed away in 2013). I also remember Om Puri who was a product of National School of Drama along with Naseeruddin Shah. And yes, how can one forget our dear Shashi Kapoor and his work in bringing theatre to the layman through his Prithvi Theatre also helping many theatre groups in the process by giving a platform to exhibit their art.
Yesterday’s Indian Express (online edition) has an article on how the Twitterati are celebrating the day- http://indianexpress.com/article/trending/trending-globally/what-is-world-theatre-day-twitter-reactions-5112818/. The article begins with Shakespeare’s famous quote from “As You Like It” –
“All the world’s a stage,
And all the men and women merely players;
They have their exits and their entrances,
And one man in his time plays many parts.”
Strangely or coincidentally the song that I zeroed in for also says exactly the same thing. I had thought of it the moment I heard about the ‘World Theatre Day’. Then I sat through looking up articles on the internet and I referred Wikipedia for additional information and in the process landed on what Indian Express site had.
The song is written by a lyricist – Anand Bakshi – whose work I admire because he is one of the poets who puts the common man’s thoughts in poetry format (there are few more lyricists who do that but more on that later). The music is composed by Laxmi-Pyaare and playback is by Asha Bhonsle for Moushumi Chatterjee, whose presence is making Sulochana and Raj Mehra uncomfortable, while Vijay Arora and Nazeema are visibly squirming (would like to know why 😉). Then there is Jayshree T. dancing and Hari Shivdasani enjoying himself. There is also Snehlata (in white saree) who seems to be the happiest among the girls at the party. There are some more familiar faces in the party, which I am unable to name immediately. I request other readers to please help add more names to this video clip.
The film is directed by Sohanlal Kanwar and is one of the movies that has Subhash Ghai in its cast.
Audio – [Short Version – Party Song]
Video – [Short Version – Party Song]
Audio – [Long Version – Stage Song]
Video – [Long Version – Stage Song]
Song – Zindagi Ek Naatak Hai (Naatak) (1975) Singer – Asha Bhosle, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Lyrics
(Short Version – Party Song)
mmmm mmmm
aaaaa aaa aaa
aa aaaaaaaaaa
aaa aaa aa
aaa aaa aa
aaa aaa aaaaaaaaa
zindagi ek naatak hai
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain
parda uthte hi
parda girte hi
sabko salaam karte hain
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain
parda uthte hi
parda girte hi
sabko salaam karte hain
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain
khel mein kabhi
bajti hain taaliyaan
aur dete hain
log kabhi gaaliyaan
khel mein kabhi
bajti hain taaliyaan
aur dete hain
log kabhi gaaliyaan..aa..aaaan
bhale bante hain
burey bante hain
apna naam badnaam karte hain
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain
parda uthte hi
parda girte hi
sabko salaam karte hain
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain
sach kya hai
ye humse na poochhiye
kyon ki hum log
hain bahrupiye
sach kya hai
ye humse na poochhiye
kyon ki hum log
hain bahrupiye..ey..eyy
koi jaane na
pehchaane na
aisa hum intezaam karte hain
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain
parda uthte hi
parda girte hi
sabko salaam karte hain
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain
(Long Version – Stage Song) (Lyrics Provided by Prakashchandra)
zindagi ek naatak hai
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain
parda uthte hi
parda girte hi
sabko salaam karte hain
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain
parda uthte hi
parda girte hi
sabko salaam karte hain
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain
khel mein kabhi
bajti hain taaliyaan
aur dete hain
log kabhi gaaliyaan
khel mein kabhi
bajti hain taaliyaan
aur dete hain
log kabhi gaaliyaan..aa..aaaan
bhale bante hain
burey bante hain
apna naam badnaam karte hain
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain
parda uthte hi
parda girte hi
sabko salaam karte hain
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain
ek rangmanch
ye sansaar hai
chhota bada
har ek kalakaar hai
ek rangmanch
ye sansaar hai
chhota bada
har ek kalakaar hai..ae..ae..ae
zindgaani ka
is kahaani ka
tamasha subh o shaam karte hain
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain
parda uthte hi
parda girte hi
sabko salaam karte hain
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain
chehre pe ek
chehra laga liya
laila majnu
khud ko bana liya
chehre pe ek
chehra laga liya
laila majnu
khud ko bana liya..aa..aa..aa
jhootha sachcha kya
bura achhaa kya
jaisa naam waisa kaam karte hain
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain
parda uthte hi
parda girte hi
sabko salaam karte hain
hum naatak mein kaam karte hain
zindagi ek naatak hai
hum naatak mein kaam karte hain
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
(छोटा रूपांतर – पार्टी में)
म्ममम म्ममम
आssss आss आss
आss आssssssss
आs आs आ
आs आs आ
आss आss आssssssss
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं
पर्दा उठते ही
पर्दा गिरते ही
सबको सलाम करते हैं
हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं
पर्दा उठते ही
पर्दा गिरते ही
सबको सलाम करते हैं
हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं
खेल में कभी
बजती हैं तालियाँ
और देते हैं
लोग कभी गालियां
खेल में कभी
बजती हैं तालियाँ
और देते हैं
लोग कभी गालियां॰॰आं॰॰आं
भले बनते हैं
बुरे बनते हैं
अपना नाम बदनाम करते हैं
हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं
पर्दा उठते ही
पर्दा गिरते ही
सबको सलाम करते हैं
हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं
सच क्या है
ये हमसे ना पूछिए
क्योंकि हम लोग
हैं बहरूपिये
सच क्या है
ये हमसे ना पूछिए
क्योंकि हम लोग
हैं बहरूपिये॰॰ए॰॰ए॰॰ए
कोई जाने ना
पहचाने ना
ऐसा हम इंतज़ाम करते हैं
हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं
पर्दा उठते ही
पर्दा गिरते ही
सबको सलाम करते हैं
हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं
(लंबा रूपांतर – स्टेज पर)
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं
पर्दा उठते ही
पर्दा गिरते ही
सबको सलाम करते हैं
हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं
पर्दा उठते ही
पर्दा गिरते ही
सबको सलाम करते हैं
हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं
खेल में कभी
बजती हैं तालियाँ
और देते हैं
लोग कभी गालियां
खेल में कभी
बजती हैं तालियाँ
और देते हैं
लोग कभी गालियां॰॰आं॰॰आं
भले बनते हैं
बुरे बनते हैं
अपना नाम बदनाम करते हैं
हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं
पर्दा उठते ही
पर्दा गिरते ही
सबको सलाम करते हैं
हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं
एक रंगमंच
ये संसार है
छोटा बड़ा
हर एक कलाकार है
एक रंगमंच
ये संसार है
छोटा बड़ा
हर एक कलाकार है॰॰ऐ॰॰ऐ॰॰ऐ
ज़िंदगानी का
इस कहानी का
तमाशा सुबह ओ शाम करते हैं
हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं
पर्दा उठते ही
पर्दा गिरते ही
सबको सलाम करते हैं
हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं
चेहरे पे एक
चेहरा लगा लिया
लैला मजनूँ
खुद को बना लिया
चेहरे पे एक
चेहरा लगा लिया
लैला मजनूँ
खुद को बना लिया॰॰आ॰॰आ॰॰आ
झूठा सच्चा क्या
बुरा अच्छा क्या
जैसा नाम वैसा काम करते हैं
हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं
पर्दा उठते ही
पर्दा गिरते ही
सबको सलाम करते हैं
हम नाटक में काम करते हैं
ज़िंदगी एक नाटक है
हम नाटक में काम करते हैं
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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