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

Archive for the ‘One song used in more than one movie’ Category


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

Blog Day :

4368 Post No. : 15699

Main ik panchhi matwaalaa re …

In this case we have a ‘reverse’ ‘repetition of song’ of a Hindi movie, i.e. reverse repetition on our blog 😊 where the new song was posted first and older will be covered here. 😊

– The song has been posted on the blog under the movie ‘Mamta Ki Chhaaon Mein-1989’ and it has also been mentioned there that it was recorded for ‘Door Ka Raahi-1971’ …

1) When it was recorded for ‘Door Ka Raahi-1971’, Amit Kumar (born on 3rd July’1952) must be around 17-18 yrs old.

2) The songs/soundtracks listing of ‘Door Ka Raahi-1971’ included this song, which is also mentioned in HFGK, so technically we need to include this song, the recording which was done when the singer was ‘Amit Ganguly’, on the blog.

3) Then, this song has a second stanza (which TILL NOW has not been mentioned or posted on the blog) and the full song is given below.

4) When the same song was recorded for ‘Mamta Ki Chhaaon Mein-1989’, it was recorded again and it was not the same recording from ‘Door Ka Raahi-1971’. The age of Amit Kumar (now he was Amit Kumar) at the time of second recording must be around 32-34 yrs, so here the voice is more matured now and I think the ‘length of the ‘sur’s’ too.

5) The song in ‘Mamta Ki Chhaaon Mein-1989’ has an additional second stanza as given in this audio link. The link of this song and the earlier song has also been posted by our ‘passionate favorite’ team members, but so far, they do not mention about the second stanza: –

There is onlyone difference in the lyrics at one place highlighted in red.

‘ghor ghataa chhaaye, chaahye bijlee
daraayein’
‘ghor ghataa chhaaye, chaahye bijuri daraayein’


Song-Main ik panchhi matwaala re (Door Ka Raahi)(1971) Singer-Amit Kumar, Lyrics-Kishore Kumar, MD-Kishore Kumar

Lyrics

main ik panchhi matwaala re ae ae ae
matwaala aur niraala re ae
mera is duniyaa ke baagh mein
aanaa jaana re

main ik panchhi matwaala re ae ae ae
matwaala aur niraala re ae
mera is duniyaa ke baagh mein
aanaa jaana re

door gagan ka panchhi hoon main
door thhikaana mera aa
door gagan ka panchhi hoon main
door thhikaana mera aa
is bagiyaa ki daal pe mera
ik pal rain basera aa
hichkoley khaaun
chah-chahaaun
gungunaaun
baadlon ke sang sang
ud ud jaaun
main apne aap mein bhoolaa re
matwaala aur niraala re ae
mera is duniyaa ke baagh mein
aanaa jaana re

toofaanon ka paalaa hoon main
aandhiyon mein khelaa aa
toofaanon ka paalaa hoon main
aandhiyon mein khelaa aa
taan ke seenaa udoon gagan mein
har mushqil ko jhelaa aa
ghor ghataa chhaaye
chaahye bijlee daraayein
badhhtaa chaloon main
lehraaye bal khaaye ae
main dhoop chhaaon mein
khelaa re ae ae
matwaala aur niraala re ae
mera is duniyaa ke baagh mein
aanaa jaana re

mera is duniyaa ke baagh mein
aanaa jaana re
mera is duniyaa ke baagh mein
aanaa jaana re

____________________________________________________________

Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————————-
मैं इक पंछी मतवाला रे ए ए ए
मतवाला और निराला रे
मेरा इस दुनिया के बाग़ मे
आना जाना रे

मैं इक पंछी मतवाला रे ए ए ए
मतवाला और निराला रे ए
मेरा इस दुनिया के बाग़ मे
आना जाना रे

दूर गगन का पंछी हूँ मैं
दूर ठिकाना मेरा आ
दूर गगन का पंछी हूँ मैं
दूर ठिकाना मेरा आ
इस बगिया की डाल पे मेरा
इक पल रेन बसेरा आ
हिचकोले खाऊं
चह चहाऊँ
गुनगुनाऊं
बादलों के संग संग
उड़ उड़ जाऊं
मैं अपने आप में भूला रे
मतवाला और निराला रे ए
मेरा इस दुनिया के बाग़ मे
आना जाना रे

तूफानों का पाला हूँ मैं
आँधियों में खेला आ
तूफानों का पाला हूँ मैं
आँधियों में खेला आ
तान के सीना उडूं गगन में
हर मुश्किल को झेला आ
घोर घटा छाये
चाहे बिजली डरायें
बढ़ता चलूँ मैं
लहराए बल खाए ए
मैं धुप छाँव में खेला रे ए
मतवाला और निराला रे ए
मेरा इस दुनिया के बाग़ मे
आना जाना रे
मेरा इस दुनिया के बाग़ मे
आना जाना रे
मेरा इस दुनिया के बाग़ मे
आना जाना रे


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:

4348 Post No. : 15660

Songs Repeated in Hindi Films – 19
– – – – – – – – – – – – – – – – – –

Even this one – you might say. Aah yes, even this one. 🙂

This song from ‘Mahal’ in 1949, probably has the most recognized prelude across the entire history of Hindi Film Song. It has become the signature song of the earlier decades of Hindi cinema. No representative selection of Lata ji’s songs would ever be considered complete without it.

The all too familiar picturization – the girl on the swing then the empty swing, the lonely boat in the river, the stunningly beautiful features of Kamini (Madhubala) – the song and its images are now an unforgettable montage. There is a whole traditional lore that now accompanies this song, which has achieved a cult status over the decades.

‘Kadambari’ from 1975, is delicate love story of young hearts which has some unconventional twists to it. The film is based on the novel ‘Dharti Sagar te Sippiyan’ written by Amrita Pritam. The film is produced under the banner of Madhu Creation Picture Pvt Ltd, Bombay and is directed by HK Verma. The star cast lis listed as Shabana Azmi, Vijay Arora, Arpana Choudhary, Jeet Surendra, Ajeet Singh, Mona, Jugnu, Chand Usmani, and V Gopal etc.

The film has two songs. One is written by Amrita Pritam herself –“Ambar Ki Ek Paak Suraahi, Baadal Ka Ek Jaam Uthaakar”, composed by Ustad Vilayat Khan and sung by Asha Bhosle, and the second one is “Kyon Hum Tum Rahen Akele”, written by Geetanjali Singh and is composed and sung by Ajeet Singh.

As per the official listings, that is all the songs in this film. In fact both the songs are already present on our blog and in that sense the film is already yippeee’d.

But wait, here is the surprise that was mentioned in a message early morning today. The film carries this iconic song – a repeat version, which in of itself, has a significant importance. The song is not reused in its original form. It has been re-recorded in the voice of Kavita Krishnamurty, and reused in this film. The important point here is that this is the debut recording of a film song by Kavita Krishnamurty in Hindi films – her first song. And she gets to re-render this classic masterpiece.

The song appears in the film in two parts. One stanza is performed close to the beginning of the film. The occasion is the birthday party of Chetna (Shabana Azmi). A very close and dear friend, Amit (Vijay Arora) is still awaited to join. In this mood, Chetna sings one stanza of this song – “Deepak Bagair Kaise Parwaane Jal Rahe Hain“.

The second stanza – “Bhatki Huyi Jawaani. . .” appears sometime before the end of the film. This stanza appears in the background. The situation is that a chance meeting happens between Chetna and Sheetal (Aparna Chaudhry) after many years. Both are in passing through difficult time in life, both are single and both are awaiting the men they love to return to them. Sheetal is in love with Sudhir (Jeet Surendra), who is the brother of Chetna.

As Chetna departs from Sheetal’s home, the song starts to play, with the visual cutting back and forth between Sheetal at home, with paintbrush and canvas, and Chetna in a three wheeler heading back to her home. “Maanjhi Bagair Naiya Saahil Ko Dhoondhti Hai” – the two friends are like directionless boats at sea, searching for the shores.

A brief summary of the storyline,

Chetna and Amit are childhood friends, and are in love. Amit has a past that he once reveals to Chetna – that he is an illegitimate child. His mother was a victim of a violent assault, and the man responsible neither did own up, nor accepted the lady. Amit’s mother (Chand Usmani) single handedly brings up Amit and educates him to be a doctor. Amit reveals that he has such a reverence for his mother that he has taken a vow never to marry, not sure how the prospective addition to the family would treat his mother and whether she would understand the painful past in the family.

To Chetna it becomes clear that Amit will not marry. She is heartbroken, but then she promises herself she will never pursue him for matrimony. An interlude happens in between, and Chetna is now carrying Amit’s child. She hides this fact from everyone, including Amit, moves to Bombay from Delhi on the pretext of a job, stays there for a couple of years, has the child and then returns home with a story about an unfortunate family where the parents passed away leaving behind this newborn child. So she has adopted the child.

The parallel love saga of Sheetal and Sudhir is also not working out well, and the two are not seeing each other. Both are in pain, but both are restraining. Chetna meets with Sheetal and talks with her to coax her back and rebuild the relationship with Sudhir.

In the meantime, Chetna and Amit are also back to their normal exchanges. Amit’s mother, who has always liked Chetna, starts to help with taking care of the child. Some observations, some exchanges, something about the child and Amit’s mother comes to realize that the child’s father is Amit, her son. Situations progress to an amiable juncture where this fact gets revealed and is accepted by everybody. Both couples are back together once again.

It is a sensitively handled drama of love. There are no emotional overplays in the film. Every situation is underplayed and intelligently handled. Love stories are not always dependent on villains and stern parents to play out their saga. In some cases, it is the protagonists themselves who provide the interesting and unexpected turns to the story. ‘Kadambari’ is one such story.

The reuse of the two stanzas of this song are also very imaginative and very appropriately linked into the specific situations and story flow.

And yes, by the way, as per the ten year challenge chart published early morning today, ‘Kadambari’ made its debut 10 years ago today. Quite appropriately, we bring on this post, and add the repeat song to the list of songs of this film on our blog. The song has been suggested to me by Dear Avinash ji, who has also sent us both the set of lyrics – in Hindi and English.

A mysterious and dreary night of a palace from 1949 got transformed into a birthday party at a middle class home in Delhi in 1975. Watch, listen and enjoy.

 

Song – Aayega Aayega. . . Aayega Aanewaala  (Kadambari) (1975) Singer – Kavita Krishnamurty, Lyrics – Nakshab Jarchavi, MD – Khemchand Prakash

Lyrics (Provided by Avinash Scrapwala)

Part I

aayegaaaa
aayegaa aa
aayegaa aa
aayegaa aanewaalaa
aayegaa aa
aayegaa aa
aayegaa aa

aayegaa aa
aayegaa aa
aayegaa aa
aayegaa aanewaalaa
aayegaa aa
aayegaa aa
aayegaa aa

deepak bagair kaise
parwaane jal rahe hain
deepak bagair kaise
parwaane jal rahe hain
koi nahin chalaata
aur teer chal rahe hain
koyi nahin chalaata aa
aur teer chal rahe hain
tadpega koi kab tak
be-aas be-sahaare ae
tadpega koi kab tak
be-aas be-sahaare
ye kah rahe hain mujhse
dil ke mere ishaare
aayegaa aa
aayegaa aa
aayegaa aa
aayegaa aanewaalaa
aayegaa aa
aayegaa aa
aayegaa aa

Part II

bhatki hui jawaani
manzil ko dhoondhti hai
bhatki hui jawaani
manzil ko dhoondhti hai
maanjhi bagair naiya
saahil ko dhoondhti hai
maanjhi bagair naiya
saahil ko dhoondhti hai
kya jaane dil ki kashti
kab tak lagey kinaare
kya jaane dil ki kashti
kab tak lagey kinaare
lekin ye keh rahe hain
dil ke mere ishaare
aayegaa aa
aayegaa aa
aayegaa aa
aayegaa aanewaalaa
aayegaa aa
aayegaa aa
aayegaa aa

—————————————————–
Hindi script lyrics (Provided by Avinash Scrapwala)
—————————————————–

भाग I

आएगा आ
आएगा आ
आएगा आ
आएगा आनेवाला
आएगा आ
आएगा आ
आएगा आ

आएगा आ
आएगा आ
आएगा आ
आएगा आनेवाला
आएगा आ
आएगा आ
आएगा आ

दीपक बगैर कैसे
परवाने जल रहे हैं
दीपक बगैर कैसे
परवाने जल रहे हैं
कोई नहीं चलाता
और तीर चल रहे हैं
कोई नहीं चलाता
और तीर चल रहे हैं
तडपेगा कोई कब तक
बे-आस बे-सहारे
तडपेगा कोई कब तक
बे-आस बे-सहारे
ये कह रहे हैं मुझसे
दिल के मेरे इशारे
आएगा आ
आएगा आ
आएगा आ
आएगा आनेवाला
आएगा आ
आएगा आ
आएगा आ

भाग II
भटकी हुई जवानी
मंज़िल को ढूंढती है
भटकी हुई जवानी
मंज़िल को ढूंढती है
मांझी बगैर नैया
साहिल को ढूंढती है
मांझी बगैर नैया
साहिल को ढूंढती है
क्या जाने दिल की कश्ती
कब तक लगे किनारे
क्या जाने दिल की कश्ती
कब तक लगे किनारे
लेकिन ये कह रहे हैं
दिल के मेरे इशारे
आएगा आ
आएगा आ
आएगा आ
आएगा आनेवाला
आएगा आ
आएगा आ
आएगा आ


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 :

4260 Post No. : 15484 Movie Count :

4268

Songs Repeated in Hindi Films – 17
– – – – – – – – – – – – – – – – – –

Aah yes, this one too. 😀 😀

This iconic creation from the team of Majrooh Sb and SD Burman, preparing such delicious offerings for the 1958 film ‘Chalti Ka Naam Gaadi’, got reused in a recent film. The memorable film needs no introduction, and neither do its songs and music. Great songs, falling in the category of ‘evergreen’, or ‘सदाबहार’ as Bakshi ji prefers to describe such songs.

This everlasting piece of naughty music, rendered equally playfully by Kishore Kumar, and the icing to top all these superlatives is the on screen performance by Kishore Da himself. Walking down the stairs backwards, talking to his tools, and making music from them, and all the while getting on the nerves of the lady customer who has barged into the car repair workshop run by three brothers whose motto in life is to dislike women. And that too at 2 am. Regulars will remember the beginning of this episode. Kishore is woken up in the middle of the night, a very rainy night, by a damsel drenched in rain. He wishes for her to disappear – quite a disturbance to his sleep while he is on active night duty. When the lady points out to the light glowing on the signboard that says ‘Day & Night Service’, the sleep starved hero shuts off the light bulb and declares – there, we are no longer day and night service – good bye.

All this preamble and then the song and its performance – the memories keep us music lovers awake at night.

Fast forward to 2013. A film came, titled ‘Listen Amaya’. The key thing that made this film attractive was the lead pair – Deepti Naval and Farooque Sheikh – teamed up once again after a gap of many years. Between 1981 and 1985, the two had appeared in six films as the lead pair. And the film names tell the story – ‘Chashme Buddoor’ (1981), ‘Saath Saath’ (1982), ‘Katha’ (1982), ‘Rang Birangi’ (1983), ‘Kisi Se Na Kehna’ (1983) and ‘Ek Baar Chale Aao’ (1983). Then in 1985, they again appeared together in Yash Chopra’s ‘Faasle’, albeit this time they were not the lead pair.

After ‘Faasle’, we do not see them together, goodness, till 2011. That year, the film ‘Tell Me, O Khuda’ was released. This is a film directed by Hema Malini, and was intended as the launch vehicle for her daugther, Esha Deol. Again, in this film, Farooque and Deepti were not the lead pair. They played the roles of foster parents of the leading lady Esha Deol. So effectively, ‘Ek Baar Chale Aao’in 1983 turns out to be their last outing together as the romantic lead pair.

Thirty years later, in 2013, comes ‘Listen Amaya’, and we see this pair once again playing the roles of a mature couple finding romance and love in their later years.

[Ed Note: Regulars will recall a similar film had come in 2005 – ‘Pyaar Mein Twist’. In that film, another fabulous romantic pair – Dimple Kapadia and Rishi Kapoor – of the ‘Bobby’ (1973) fame, had come together yet once again on the silver screen, to play the roles of mature single adults finding soulmates in their later years. Dimple and Rishi had also appeared in the film ‘Saagar’ (1985) as the lead romantic pair.]

Leela (Deepti) is a widow who owns and manages a library café – ‘Book A Coffee’. She has a daughter, Amaya, role played by Swara Bhaskar, who is a budding writer. Into their lives, walks in Jayant (Farooque), a widower, and a photographer by profession. Leela and Jayant are attracted towards each other, much to the discomfort of Amaya, who does not relish the thought of her mother being romantically involved. Although, she also is working with Jayant on a coffee table book about the old bazaars and market places of Delhi, but in her mind she hits a wall, when it comes to accept him as another man in her mother’s life.

The film is beautifully contoured around the concepts of memories and realities of life – passages of real life that slide into memories and portions of memory that become parts of life again. It is a touching tale of coming to terms with one’s own maturity, as on the part of Amaya, and on the other hand, acceptance and realization of emotions, without fanfare, without the flourish of animated expressions, on the part of Leela and Jayant. When Amaya is all too disturbed about the budding relationship in her mother’s life, the protagonists calmly give in, and decide to discontinue meeting, without a word being said, or any regrets being announced. And when Amaya sees this upcoming consequential circumstance, she finds herself flummoxed, to be at the fulcrum of a possible second disaster in her mother’s life. The sternest exchange that we see between the mother and daughter is when Leela admonishes Amaya telling her that she still is her mother and will continue to take care of her. And the softest touch of complaint is when Amaya finally reaches out to Jayant on the day their book is to be published, hugs him with the words asking the question – why does he never gets angry. A much more endearing assay about finding love than ‘Pyaar Mein Twist’. My humble opinion of course.

But what about this song, you will ask. Ah yes, we have to get back to the song, a repeat one at that, giving me the 17th opportunity of this series. 🙂 Amaya herself has a romantic link up in this film, with the young man Raghav (role played by Siddhant Karnick). Although part of the side plot, Raghav has an important part as in showing up the mirror to Amaya about what her feelings and reactions towards her mother’s life are all about.

Okay so this film needed a rocking romantic relief (not exactly, but something a la comic relief, a practice invented by the dramatists of the yore). So Raghav is an intelligent guy – to win over his lady love, he actually starts with the mother of his lady love, making his way to the heart of his beloved through the mind of his beloved’s mother. That is another thing that majority of the song as picturized, is spent in a dream sequence of wide open eyes where he is serenading his lady love actually.

There are three songs in this film, that have been created by the husband wife team of Indraneel Hariharan, the music director, and Poonam Hariharan, the lyricist. This ‘rocking romantic relief’ song is a re-rendition of the ‘सदाबहार’ classic, as mentioned above. The lyrics and the music of the song remain the same. Only that it has been re-recorded in the voice of Kunal Ganjawala for ‘Listen Amaya’. Another variation is that of the three original stanzas, only two have been used in this re-rendition. On screen, the song is performed by Siddhant Karnick. The venue of the song is the library café that is run by Leela. The song starts with Raghav trying to win over Leela. But then right after the mukhda is done, his mind slides into the fantasy plane, and he is now wooing Amaya in the dream world. The starting scene is kind of same as the car repair workshop from the original film. And that is in black and white too. But soon, color is ‘restored’ and we see more contemporary scenarios to motivate the romancing mood.

And the all too lovely effect – the sound of two clicks near the end of song. In the original, we have Kishore Kumar tapping in the final nut to finish the repair job. In the rerun, we have Leela snapping her fingers to get Raghav back from his reverie to the real world. Classic touch. 🙂

So two films from recent years, on romantic relationships between mature adults, have been picked up for this series – both having re-used an iconic popular hit from the golden era.

Time to do it again. . . 🙂

Song – Ek Ladki Bheegi Bhaagi Si  (Listen Amaya) (2013) Singer – Kunal Ganjawala, Lyrics – Majrooh Sultanpuri, MD – SD Burman
Chorus

Lyrics

hmm
ek ladki bheegi-bhaagi si
soti raaton mein jaagi si
mili ek ajnabi se
koi aage na peechhe
tum hi kaho ye koi baat hai
hmm
ek ladki bheegi-bhaagi si
soti raaton mein jaagi si
mili ek ajnabi se
koi aage na peechhe
tum hi kaho ye koi baat hai
hmm

dil hi dil mein jali jaati hai
bigdi bigdi chali aati hai
dil hi dil mein jali jaati hai
bigdi bigdi chali aati hai
dhundhlaati huyi
balkhaati huyi

saawan ki sooni raat mein
mili ek ajnabi se
koi aage na peechhe
tum hi kaho ye koi baat hai
hmm
ek ladki bheegi-bhaagi si
soti raaton mein jaagi si
mili ek ajnabi se
koi aage na peechhe
tum hi kaho ye koi baat hai
hmm

tan bheega hai sar geela hai
uska koi pench bhi dheela hai
tan bheega hai sar geela hai
uska koi pench bhi dheela hai
tanati jhukti
chalti rukti
nikli andheri raat mein
mili ek ajnabi se
koi aage na peechhe
tum hi kaho ye koi baat hai
hmm
ek ladki bheegi-bhaagi si
soti raaton mein jaagi si
mili ek ajnabi se
koi aage na peechhe
he he
tum hi kaho ye koi baat hai

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

हम्म
एक लड़की भीगी भागी सी
सोती रातों में जागी सी
मिली एक अजनबी से
कोई आगे ना पीछे
तुम ही कहो ये कोई बात है
हम्म
एक लड़की भीगी भागी सी
सोती रातों में जागी सी
मिली एक अजनबी से
कोई आगे ना पीछे
तुम ही कहो ये कोई बात है
हम्म

दिल ही दिल में जाली जाती है
बिगड़ी बिगड़ी चली आती है
दिल ही दिल में जाली जाती है
बिगड़ी बिगड़ी चली आती है
धुंधलाती हुई
बलखाती हुई
सावन की सूनी रात में
मिली एक अजनबी से
कोई आगे ना पीछे
तुम ही कहो ये कोई बात है
हम्म
एक लड़की भीगी भागी सी
सोती रातों में जागी सी
मिली एक अजनबी से
कोई आगे ना पीछे
तुम ही कहो ये कोई बात है
हम्म

तन भीगा है सर गीला है
उसका कोई पेंच भी ढीला है
तन भीगा है सर गीला है
उसका कोई पेंच भी ढीला है
तनती झुकती
चलती रुकती
निकली अंधेरी रात में
मिली एक अजनबी से
कोई आगे ना पीछे
तुम ही कहो ये कोई बात है
हम्म
एक लड़की भीगी भागी सी
सोती रातों में जागी सी
मिली एक अजनबी से
कोई आगे ना पीछे
हे हे
तुम ही कहो ये कोई बात 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 :

4206 Post No. : 15399 Movie Count :

4244

Songs Repeated in Hindi Films – 16

– – – – – – – – – – – – – – – – – –

Aah yes, this one too. This iconic and popular song from the 1969 film ‘Jeene Ki Raah’, reappeared in a shorter version in the 1972 film ‘Baazigar’. Albeit the use of this song is somewhat casual, and does not seem to fulfill any purpose, symbolic or otherwise. Seems like a time filler, as one goes through the initial part of the film.

The original from the film ‘Jeene Ki Raah’ is a quite a well picturized song, with the reality of the situation moving into a surreal dream where the real village people performing the song are replaced by the hero and heroine, in heroine’s mind. All the songs of this film became very popular, and did contribute significantly to the rising graph of Jeetendra as a hero.

Fast forward three years later. The film ‘Baazigar’ in 1972, was a potential launch vehicle for Roopesh Kumar (cousin brother of actress Mumtaz), as a hero. He had made his debut in 1965, in supporting roles, both as a comic villain and in character riles. This was the first, and likely the only film in which he appears in the role of a hero.

Roopesh’s real name was Abbas Farashahi. He was born in Bombay on 16th Jan, 1946 (okay, just a week back was his birth anniversary, would have been 74). His father, Ali Asgar Farashahi had a very good restaurant and bakery business.  However, being involved in dramatics in school and college, he was more interested to make a career in films. With some support from his cousin sister Mumtaz, he started working in small supporting roles. His first appearance is in the film ‘Tarzan and King Kong’ in 1965.

He appeared in over 120 films from 1965 through 1995. The list of his films do make an impressive reading. Here is a partial list of his films from the period till 1980 – ‘Sapno Ka Saudagar’ (1968), ‘Aadmi aur Insaan’ (1969), ‘Jeene Ki Raah’ (1969), ‘Sharafat’ (1970), ‘Jeevan Mrityu’ (1970), ‘Kal Aaj Aur Kal’ (1971), ‘Andaaz’ (1971), ‘Raampur Ka Lakshman’ (1972), ‘Seeta Aur Geeta’ (1972), ‘Prabhat’ (1973), ‘Loafer’ (1973), ‘Insaaniyat’ (1974), ‘Zinda Dil’ (1975), ‘Nagin’ (1976), ‘Karm’ (1977), ‘Dildaar’ (1977), ‘Chacha Bhatija’ (1977), ‘Amar Deep’ (1979), ‘Jaani Dushman’ (1979), ‘The Great Gambler’ (1979), ‘Lok Parlok’ (1979), ‘Hum Paanch’ (1980) etc.

Hmm. . . interesting to note that he also appeared in ‘Jeene Ki Raah’, the original film for the song being presented today.

He also produced and directed two films – ‘Hai Meri Jaan’ (1991) and ‘Meri Aan’ (1993).

Roopesh Kumar passed away quite unexpectedly, at a young age of 49. He was attending the Filmfare awards program of 1995. He suffered a severe heart attack while at the program, and passed away on way to the hospital.

The song presented today is picturized as a game being played at a picnic. This is a picnic with a difference. The only participants are the leading lady, Vijaylalitha and her pet animals – a horse named Chetak and a dog named Tommy. These are the screen names of these pets. Their real names, as per the credits are Joker and Johny respectively. The song is being played on a gramophone, and the game – well you can view it in the accompanying video. The song seems to have been edited, as it appears to end abruptly after playing one full stanza and getting into the start of the second stanza.

Ah yes, this 1972 film makes its debut on our blog today.

Overall, a very casual re-use in my opinion.

Song – Aa Mere Humjoli Aa, Khelen Aankh Micholi Aa  (Baazigar) (1972) Singers – Lata Mangeshkar, Mohammed Rafi, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Chorus

Lyrics

ho o o ho o
ho o o ho o

[dialogue]

ho o o ho o
ho o o ho o

aa mere hamjoli aa
khele aankh micholi aa
galiyon me chaubaaron me
baaghon me bahaaron me
ho
main dhoondhoo tu chup ja

main aaun
na na
main aaun
na na na
aaun
na
main aaun
aa ja

peepal ke oopar jaa baitha
chup se mera saathi
dhak se lekin dhadak gaya dil
gir gayi haath se laathi
o pakdaa gaya

main aaun
na na
main aaun
na na na
aaun
na
main aaun
aa jaa

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

हो ओ ओ हो ओ
हो ओ ओ हो ओ

[संवाद]

हो ओ ओ हो ओ
हो ओ ओ हो ओ

आ मेरे हमजोली आ
खेलें आँख मिचोली आ
गलियों में चौबारों में
बागों में बहारों में
हो
ओ मैं ढूंढू तू छुप जा
आ मेरे हमजोली आ
खेलें आँख मिचोली आ
गलियों में चौबारों में
बागों में बहारों में
हो
ओ मैं ढूंढू तू छुप जा

मैं आऊँ
ना ना
मैं आऊँ
ना ना ना
आऊँ
ना
मैं आऊँ
आ जा

पीपल के ऊपर जा बैठा
चुप से मेरा साथी
धक से लेकिन धड़क गया दिल
गिर गई हाथ से लाठी
ओ पकड़ा गया

मैं आऊँ
ना ना
मैं आऊँ
ना ना ना
आऊँ
ना
मैं आऊँ
आ जा

 


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

Blog Day : 4201 Post No. : 15387

Songs Repeated in Hindi Films – 15
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And so, we do get to a song in Saigal Sb’s voice song in this series. Memory serving right, I would have preferred to start the series with this song. But oh well. Actually, we do have a Saigal Sb song earlier in this series. But that song – “Babul Mora, Naihar Chhooto Hi Jaaye”, is rerecorded in Jagjit Singh Chitra Singh voices.

Remembering the memorable singer KL Saigal Sb – it is 73 years today, since this Divine Voice departed from this mortal world. The singer has gone away, his voice, the sound captured in the songs recorded by him, are still alive.

The re-use film is ‘Do Raaste’ (1969) and this song is used as a backdrop in two places in the film. In both scenes, the song is being played from a 78 rpm record on an old styled gramophone. Almost the entire cast of the film gets presented in the two short clips. We see Balraj Sahni, Veena, Kamini Kaushal, Rajesh Khanna, Junior Mehmood and Jayant in the first clip. There is a lady actor sitting with Kamini Kaushal in the first part – is she Kumud Bole? Also, the baby girl with Junior Mehmood – I have seen her in other films also, but I am unable to put a name to her face. Then in the second clip, in addition to the above listed cast, we also have Prem Chopra, Bindu and Mumtaz. And yes, it is Krishnakant who gazes back at us from his perch in the portrait on the wall.

In its time, ‘Do Raaste’ was a popular hit film. Rajesh Khanna was the rising star at that time, plus the music of the film became very popular. Times were when a middle class joint family homes, were presented on screen quite realistically so. The story of the film is a typical loving family scenario, and then we have unhappiness and strife intervene – a new lady joining the household and sows the seeds of step-brotherly misunderstandings. The divide goes to extremes, before things get reformed and patched up. And then it is a joint happy family all over again.

This song appears twice in the film, once at the beginning, when everything is in a relaxed mood, and the household is the blessed ‘nyaara bangla’. And then, this song is presented again close to the end of the film, when all misunderstandings have been removed, and whole family reunites and returns once again to the ‘nyaara bangla‘.

In both the scenes, the song is being played on an old gramophone, which is manually operated. It has a big sound horn attached, as we remember from the old HMV logo. Ah, the pleasures of pure sounds from the 78 rpm records – no electronics, just a very authentic reproduction of the original sound as stored in electric impulses on the shellac. The wonders that were, without the later technologies and advancements. No creation of sound reproduction technology can even come close to the sound of a 78 rpm record playing on an HMV 102 machine – hand cranked, not even electricity to power the turntable. It continues to be a marvel of that age, which is also exemplified by another unique accomplishment – single mike recording with orchestra and multiple singers. The marvels of modern acoustic technology pale in comparison.

The song also brings back the memories of the heady days in the year 2011, going across the months of May through September. The blog was a ‘song-a-day’ platform for Saigal Sb songs. By the time we ended, we had brought on board all the Hindi/Urdu songs of Saigal Sb, which are available in public domain. The mind just cannot believe it is already more than 8 years ago that we went on that exhilarating journey. The joy of getting that done was surely a wondrous taste. But then I also think with some melancholy – that no more Saigal Sb songs are to be posted on our blog. Today’s post in this series is a device that makes us remember and revisit this miracle of nature that was – the voice of Saigal Sb. I take back my words – I would prefer to use ‘is’ instead of ‘was’. I am sure you will agree – for the voice continues to be with us. That peerless, unmatched, incomparable voice, that can only be replayed now.

Our dear Arun ji has mentioned in his previous post – “Door. . . Bahut Door” from yesterday – it was Raj Khosla’s (producer director of ‘Do Raaste’) own childhood memories that probably brought this song into the film. His father loved KL Saigal songs that would often play the records at home on an old gramophone. Those memories were relived by Raj Khosla himself, as he directed ‘Do Raaste’. Wonderful revival, wonderful renewal, wonderful memory stimulant. Thanks Raj Khosla ji, and thanks to Arun ji for bringing in this connect.

The original credits of this song are – lyrics by Kedar Sharma and music by RC Boral. Singing voice of course, is the inimitable Saigal Sb. Listen yet once again to this wondrous original voice – a benefaction of God Himself.

 

Song – Ik Bangala Baney Nyaara  (Do Raaste) (1969) Singers – KL Saigal, Lyrics – Kedar Sharma, MD – RC Boral

Lyrics

ek bangla baney nyaara
ek bangla baney nyaara
rahe kunba jis mein saara
ek bangla baney nyaara
ek bangla baney nyaara

sone ka bangla, chandan ka jangla
sone ka bangla, chandan ka jangla
vishvakarma ke dvaara
vishvakarma ke dvaara
sone ka bangla, chandan ka jangla
vishvakarma ke dvaara
ati sundar pyaara pyaara
ek bangla baney nyaara
ek bangla baney nyaara

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

इक बंगला बने न्यारा
इक बंगला बने न्यारा
रहे कुनबा जिस में सारा
इक बंगला बने न्यारा
इक बंगला बने न्यारा

सोने का बंगला चंदन का जंगला
सोने का बंगला चंदन का जंगला
विश्वकर्मा के द्वारा
विश्वकर्मा के द्वारा
सोने का बंगला चंदन का जंगला
विश्वकर्मा के द्वारा
अति सुंदर प्यारा प्यारा
इक बंगला बने न्यारा
इक बंगला बने न्यारा


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 :

4178 Post No. : 15355 Movie Count :

4233

Songs Repeated in Hindi Films – 14
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An iconic song from 1965 – absoute gem, absolutely unforgettable. “Kaanton Se Kheench Ke Ye Aanchal. . . Aaj Phir Jeene Ki Tamanna Hai” from the 1965 film ‘Guide’. Created by the greats of that era – Shailendra, SD Burman and Lata Mangeshkar. And coming from a film directed by Vijay Anand, one is assured that the picturization would be superlative, which it surely is. The song continues to sustain its beauty even after more than five decades. It is such a genuine treat both visually and aurally.

Eighteen years after this song came into being, it was used again in the 1983 film ‘Qayaamat’. This film is one of the plethora of crime-and-punishment films that crowded the screens during the 1980s and 90s. The main roles are played by Dharmendra, Shatrughan Sinha, Smita Patil, Jayaprada and Poonam Dhillon. Dharmendra and Shatrughan Sinha are close friends. But there is a falling out in their friendship, when Dharmendra is sent to jail, and he holds his police officer friend responsible for it. On returning from jail, he seeks to avenge himself for something that he considers as injustice meted out to him.

I have not seen the film and so will not be able to comment on the sequencing of this song within the storyline. Apparently, Jayaparada is the love interest of Dharmendra, and she appears in flashback in the movie. So there is some tragedy also related here. The occasion for the song is the birthday party of Shatrughan Sinha. Dharmendra is calling on a phone line to greet his friend. He finds out that Smita is about to sing a song at the party. He requests his friend to keep the phone line open so that he can listen. Then the song starts. It starts in the party, and almost immediately Dharmendra rewinds to the past where he sees Jayaprada singing in a very picturesque hillside setting. Rest of the song plays out in this flashback, returning to the party just moments before it ends.

Personally speaking, the song and its theme does not seem to fit into the birthday setting or even the hillside flashback interlude. It seems like force fitted, and completely out of place. But then that is just me.

The song has been reused in its original form. It is not re-recorded. So we get to enjoy the original audio, picturized on a different set of actors, in a different setting.

This song was identified and suggested by our dear Satyajit Rajurkar ji, for inclusion in this series. Thanks Satyajit ji.

 

Song – Aaj Phir Jeene Ki Tamanna Hai  (Qayaamat) (1983) Singers – Lata Mangeshkar, Lyrics – Shailendra, MD – SD Burman

Lyrics

ho o o
kaanton se kheench ke ye aanchal

tod ke bandhan baandhi paayal
ho o
koi na roko dil ki udaan ko
dil wo chalaa
aa aa aa aa aa aa
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai

apne hi bas mein nahin main
dil hai kahin to hoon kahin main
ho o o
apne hi bas mein nahin main
dil hai kahin to hoon kahin main
ho o o
jaane kya paake meri zindagi ne
hans kar kaha
haa haa haa aa ha aa
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai

main hoon gubaar yaa toofaan hoon
koi bataaye main kahaan hoon
ho o o
main hoon gubaar yaa toofaan hoon
ko
i bataaye main kahaan hoon
ho o o
dar hai safar mein kahin kho na jaaun main
rastaa nayaa
a a aa aa aa aa
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai

kal ke andheron se nikal ke
dekha hai aankhen malte malte
ho o o
kal ke andheron se nikal ke
dekha hai aankhen malte malte
ho o o
phool hi phool zindagi bahaar hai
tay kar liyaa
a a aa aa aa aa
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai

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

हो ओ ओ
काँटों से खींच के ये आँचल
तोड़ के बंधन बांधी पायल
हो ओ
कोई न रोको दिल की उड़ान को
दिल वो चला
आ आ आ आ आ आ

आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है

अपने ही बस में नहीं मैं
दिल है कहीं तो हूँ कहीं मैं
हो ओ ओ
अपने ही बस में नहीं मैं
दिल है कहीं तो हूँ कहीं मैं
हो ओ ओ
जाने क्या पा के मेरी ज़िंदगी ने
हंस कर कहा
हा हा हा आ हा आ
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है

मैं हूँ गुबार या तूफाँ हूँ
कोई बताए मैं कहाँ हूँ
हो ओ ओ
मैं हूँ गुबार या तूफाँ हूँ
कोई बताए मैं कहाँ हूँ
हो ओ ओ
डर है सफर में कहीं खो ना जाऊँ मैं
रस्ता नया
आ आ आ आ आ आ
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है

कल के अँधेरों से निकल के
देखा है आँखें मलते मलते
हो ओ ओ
कल के अँधेरों से निकल के
देखा है आँखें मलते मलते
हो ओ ओ
फूल ही फूल ज़िंदगी बहार है
तय कर लिया
आ आ आ आ आ आ
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा 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 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 :

4176 Post No. : 15353 Movie Count :

4232

Songs Repeated in Hindi Films – 13
– – – – – – – – – – – – – – – – – –

A great day today. The remembrance day of one of most recognized icons of the Golden Era of Hindi film music. Rafi Sb. The name says it all. It is our own compulsions that drive us to write again and again about him, but yes, the name says it all. The mere mention brings to mind spontaneously, the journey spanning four decades, and thousands of rich gems that he rendered and bequeathed to us. The one voice that makes loving this music oh so easy.

We already have two posts today, enriching his memory, and talking about his work and his personality. The adjectives and epithets have all been used, time and again, so one is at a loss to say new things about him. There is a celebration gathering that happens at this residence today. Many devoted fans from across the country are in Bombay for this occasion. Our dear Bakshi ji is there today – have to hear from him his account of the visit to Rafi Mansion today.

Besides Bakshi ji, there are two more very good friends who are there today. Both of them are in the category of devotion beyond definition. It is a devotion that takes on the form of worship, which in of itself is a quality to be appreciated. Their life is all about Rafi Sb, their work is all about trying to perpetuate his memory. My meeting with them individually was through other friends, who introduced us. And it did not take any time to acknowledge and understand – this is going to be a lifelong association. I will briefly talk about them today.

Ahsan Qasim is a resident of Hapur, a small town that is about one a half hour’s drive from Delhi. He runs a small restaurant in his neighborhood, and has also setup a small coaching school for basic teaching of English and computers. He is an avid searcher and collector of anything that relates to Rafi Sb. As of now, we are quite much at the limits of Rafi Sb’s recorded songs. Yes, some numbers are still not accounted for, and I dare say, some numbers are still to be identified, given the gap in information available for some untraceable films of the era. But that does not limit his search. He is continuously searching for recordings of live programs, sitting through complete films looking to find out snippets of Rafi Sb’s voice used for items that do not qualify as complete songs, and hence have not been part of 78 rpm or LP releases. The verses sung in the film ‘Pyaasa’ (1957) are quite well known. But there are dozens of more such snippets that Ahsan Bhai has searched out.

He also collects videos of Rafi Sb’s songs, and hence he also continuously digging to locate films that are not yet in public domain. He has a channel on YouTube by his own name. He continuously adds to it – rare audios and videos of Rafi Sb songs. Recently he has uploaded a small video segment of a Rafi Sb song from the film ‘Kahin Aur Chal’ (1968), a film that decidedly has been categorized as lost, for now.

He has made a detailed listing of all the stars, and many who do not qualify as stars, to whom Rafi Sb has given playback. Rafi Sb never shied away from singing for completely new and unknown actors, as well as on screen characters. Ahsan Bhai’s drive is to identify such actors – he has a list and video clips of many totally unknown faces who are lip syncing Rafi Sb’s voice. And to say the least, his endeavor to dig out old films has been so beneficial for armchair collectors like me. 🙂 He is the person who was finally able to acquire ‘Karvaan e Hayaat’ and shared with me. Like so, he has dug out many other rare films, which we know that are not available in public domain.

The second person I wish to talk about today is another dear friend – Arun Gautam. The name plate outside his door reads as ‘Rafi Arun Gautam’. He is a resident of Delhi. When I visited his home for the first time, I was amazed to see – he has one room completely devoted to Rafi Sb. The room is almost like a museum, and also a room where he hosts his friends for listening sessions. The walls of the room are adorned with portraits and photographs of Rafi Sb, some are absolutely rare. All the shelves are full of books, cassette tapes, 78 rpm records and LPs. In between spaces are full of small and large memorabilia that relates to Rafi Sb. There is a harmonium, although not the original, but an exact replica of the one owned by Rafi Sb. There is telephone instrument, with Rafi Sb’s home phone number written on it – once again an exact replica of the original. There are two small cars (toy cars actually) – one a white Ambassador, and the second one a red Fiat, complete with the actual numbers on the number plates. The cars models and numbers are exactly the ones owned by Rafi Sb. There is a small statue of Rafi Sb. There are road signs – place of birth of Rafi Sb, his residence area in Bombay etc. I mean, it is a real treat for the fans of Rafi Sb. And Arun ji has such a childlike pleasure as he shows us visitors around the room.

There is an old gramophone player – the original HMV 102. If any of the readers have heard this sound they will understand. And for those who haven’t, I recommend them to listen to one if possible. Arun ji has a Philips player also – which is electronic. He played the same records on both the machines. The sound from the 102 – it shook my inside. Never ever have I heard such a complete and such a rich sound being reproduced from a 78 rpm record. Yes, we all know that the 78 rpm recording and reproduction is the ultimate. But that day, listening on the 102 was an unsurpassed, never before experience. A machine that is just cranked by hand, no electric or electronics involved. Just a very good sound box and a very good needle. The sound filled the room as I have never heard before. And with the same childlike eagerness, Arun ji played so many rare records. Not that we have not heard the audio before. But the records themselves are so rare, only one or maybe a few acknowledged copies to be existing in public domain. It was a memorable session we had that day, on my first visit. And of course, followed up later with more such sessions.

Arun ji also played some very rare and unheard snippets. Do you know that Rafi Sb has sung two lines of the immortal ghazal of Saigal Sb from ‘Shahjehan’ – “Gham Diye Mustaqil. . .”. This snippet is hidden away in the film ‘Reporter Raju’ (1962); it is not on any record, and only someone painstakingly searching for such things will be fortunate enough to locate it. And then, at the end of the session, as we were preparing to say goodbye, he asked us to wait for a minute. He went inside, and returned with a small plastic package. Opening it, he showed us a necktie – an original worn by Rafi Sb at recordings. Around the room he pointed out to a couple of photographs wherein Rafi is sporting that very necktie. We find out that it is presented to Arun ji by Rafi Sb’s daughter herself, when she visited Delhi and also came to Arun ji’s home. That was the most exhilarating close encounter for me.

And one more thing about Arun ji. He is the convener of the group that is petitioning for the Bharat Ratna award for Rafi Sb.

The most endearing thing about these two gentlemen – very soft spoken, very friendly, extremely humble, and a heart that will share anything you ask of them. True and devoted lovers of music, I must say. And I am fortunate to be in their circle of friends.

Memories of Rafi Sb, shaken and enlivened by these reminiscences.

The song today – although it is a Rafi song, but today’s presentation is not in his own voice. This song, “Badan Pe Sitaare. . .”, originally from the film ‘Prince’ (1969) – Rafi Sb giving playback for Shammi Kapoor, has got repeated in the film ‘Fanney Khan’ from 2018. Yes, so recent. The magic of the golden era lives on and on. This version is sung by Sonu Nigam, and performed on screen by Anil Kapoor.

This song comes to us courtesy of Peevesie’s Mom – the lady is always on the lookout to combine events and anniversaries. Today, 24th is the birth anniversary of Rafi Sb. And it is also the birth anniversary of actor Anil Kapoor. She located this song, and then graciously called me to take it on and present it as part of the ‘repeat songs’ series. Of course, with a short notice (like less than 24 hrs 🙂 ), and a opportunity to combine celebrations that is very difficult to pass. The song had to, has to come today, and today only. Of course, the pleasure of rewards is quite commensurate with the bait proffered. 😀

As I mentioned, the singing voice is Sonu Nigam – a sound that is quite close to Rafi Sb’s singing, as per many opinions. I am retaining the original credits of lyrics and music composition. On screen, we see Anil Kapoor, a part time vocalist in a local orchestral group in the film, attempting a ‘Shammisque’ perfromance. How far successful, I leave it to the readers to judge. For one, Shammi Kapoor would never have a set of dancers around him, in the manner in which the latter day dances are choreographed.

Some other links that come to mind. The dance starts with the rapid shaking of a hand by Anil Kapoor – memories of the dance in the song “Aa Ja Aa Ja, Main Hoon Pyaar Tera” (‘Teesri Manzil’, 1966). Then, we have the initial ‘alaap’ sounds, so to say. The first “lallalllallaaa, la llarrall lallaa lallallaaa” reminds one of the famous Rajesh Khanna performance of “Gulaabi Aankhen Jo Teri Dekhin. . .” (‘The Train’, 1970). Then there is a second piece that goes like “la ra la la la ra la la la ra la la la ra laa” – I am not able to decipher its ‘hear-alike’ source. Then there is the 3rd piece “pappaa pa pappaa pa” – if I am not mistaken, it reminds one of the opening sounds of “Duniya Mein, Logon Ko. . .” (‘Apna Desh’ 1972). Request readers to please add to or comment on these observations.

So a song with many entanglements. Original Rafi Sb song, rendered by a Rafi Sb ‘hear alike’. Original song performed by a Kapoor, now performed by another Kapoor. And the two anniversaries to add to the mix. Quite an interesting addition to the repeat song series. Thanks Peevesie’s Mom ji.

Happy and healthy wishes to Anil Kapoor – goodness, he turns 63 today. Last year he was 62. My, my. 🙂

And long live the memories of Rafi Sb. The best thing that God gave to Hindi films. Unforgettable.

Song – Badan Pe Sitaare Lapete Huye  (Fanney Khan) (2018) Singers – Sonu Nigam, Lyrics – Hasrat Jaipuri, MD – Shankar Jaikishan

Lyrics

lallalllallaaa
la llarrall lallaa lallallaaa
la llarrall lallaa lallallaaa
la llarrall lallaa lallallaaa
 
la ra la la la ra la la la ra la la la ra laa
la ra la la la ra la la la ra la la la la laa
la ra la la la ra la la la ra la la la ra laa
 
paraa pappaa
paraa pappaa
paraa pappaa
paraa pappaa
 
pappaa pa pappaa pa
pappaa pa pappaa pa
pabbaa ba babbaa ba
babbaa ba babbaa ba
 
riul rham jham
jhamriul rham jham
jhamriul rham jhalurum

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

लल्ल लल्ल लल्ल ला
ला लारल्ल लल्ला लल्ललल्ला
ला लारल्ल लल्ला लल्ललल्ला
ला लारल्ल लल्ला लल्ललल्ला

ला रा ला ला ला रा ला ला ला रा ला ला ला रा ला
ला रा ला ला ला रा ला ला ला रा ला ला ला ला ला
ला रा ला ला ला रा ला ला ला रा ला ला ला रा ला

परपप्पा
परपप्पा
परपप्पा
परपप्पा

पप्पा पा पप्पा पा
पप्पा पा पप्पा पा
पब्बा बा बब्बा बा
बब्बा बा बब्बा बा

रीउल रह्म झम
झमरीउल रह्म झम
झमरीउल रह्म झालूरम

बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो॰॰ओ॰॰ओ
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये

बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये

है बनने सँवरने का जब ही मज़ा
कोई देखने वाला फन्ने तो हो
नहीं तो ये जल्वे हैं बुझते दिये
कोई मिटने वाला इक फन्ने तो हो
बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये

बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये

[तुरही वादन]

बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये

 


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

Blog Day :

4119 Post No. : 15272 Movie Count :

4199

Songs Repeated in Hindi Films – 12
– – – – – – – – – – – – – – – – – –

What we have today is a repeat song of a very familiar and a very wonderful hit of its time, and yes, an all time favorite that seems to carry a timeless appeal for people in love. And as is shown on screen, people in love – of all ages. This reuse has some very interesting circumstances, mostly well evident in the picturization itself.

The original song is from the hit film ‘Khel Khel Mein’ from 1975. The lead pair in that film is Rishi Kapoor and Neetu Singh, who were famously in love off the celluloid also. They were referred to as the ‘Love Birds’ of the Hindi cinema. Their affair culminated in their tying the proverbial matrimonial knot in 1980. ‘Khel Khel Mein’ was possibly their second film together, having worked together earlier for the first time together, in ‘Zehreela Insaan’ in 1974. The original song is performed on screen by this pair, playing roles of college students in love, and in search of fun and adventure through petty pranks. On screen, the scenario is that both are drunk, and have got it into their minds to announce their love for each other to the world through this song. The original song is written by Gulshan Baawra and the music is by RD Burman.

The repeat song is from the 2005 film – ‘Pyaar Mein Twist’. The lead roles in this film are played by Rishi Kapoor and Dimple Kapadia. Seeing this pair on screen brought back memories of many a story, all the way back from three decades ago.

Rewind back to 1973. Rishi and Dimple make their individual debuts as lead players in ‘Bobby’, a teen romance that straddles two diverse strata of the society as well as religious affiliations. The film was the big hit of 1973, that revived the fortunes of RK banner after the box office debacle of ‘Mera Naam Joker’ (1970). The release of this film was preceded, and accompanied by a ton of controversies that had the pulp press working overtime for months on end. An uncanny facial resemblance (at that point in time) between Dimple and Nargis of ‘Barsaat’ (1949), created a havoc laden rumor tornado – that Dimple is actually Raj Kapoor’s daughter from his alleged affair with Nargis when the two were a popular and fantastic pair on screen, and off it, in late 1940s to mid 1950s. Of course the rumor was really preposterous; given the dates and timelines of years. But the smut press was really having a great time. Then another storm of rumor was thrown into this mix – that of an off screen affair between Rishi and Dimple. This was even more flabbergasting – as evidenced by the fact that Rishi – fondly called Chintu Baba, would soon be entangled with Neetu Singh, in a relationship that has lasted a life time. The rumor simply refused to die for weeks on end, despite strong denial statements by all parties concerned.

And then, even before the film ‘Bobby’ was formally released, there came another thunderous event that really complicated the already horrendous mess. Totally out of the blue, the marriage of Rajesh Khanna and Dimple Kapadia was announced. Rajesh Khanna was riding a great popularity wave as the superstar of the decade. The decision raised many an eyebrow, all the way to the sky, given that Rajesh Khanna was already in an almost live-in relationship with the small time actress Anju Mahendru. Couple that with the immediate announcement of Dimple’s retirement from the film industry. Goodness, the amount of dirty gossip raised by all these eventualities, was really getting out of hand. To a right thinking person, all the gossip was incredulous and unbelievable, at that time. It would serve no purpose to regurgitate it. And then, in some months’ time, as the controversies appeared to have lived out their usefulness, the box office success of ‘Bobby’ created another gossip storm – that all the controversies and their public discourse associated with Dimple – all the rumor rot was just a marketing ploy to create a box office success for ‘Bobby’. It took almost a year for the storm to die down.

Fast forward now to 1982. The long brewing trouble in the Rajesh-Dimple marriage came to a head, with Dimple leaving the matrimonial home with her two daughters, never to return again. After a cooling period of a year or so, the news emerged about the much awaited return of Dimple to the films. One of the first films that she signed up for was ‘Saagar’ (1985), opposite to Rishi Kapoor once again. The film was delayed by almost a year – in normal course it would have hit the theatres in 1984. Other films starring Dimple got released earlier.

Over the years, this pair has appeared on screen together with an infrequent regularity – ‘Allah Rakha’ in 1986, then on to ‘Ajooba’ and ‘Ranbhoomi’ in 1991. Then in 2005, after another gap of 14 years, came ‘Pyaar Mein Twist’, the film under discussion today. The two actors have appeared together in two more films since then – ‘Luck By Chance’ in 2009 and then ‘Patiala House’ in 2011.

‘Pyaar Mein Twist’ is a romantic comedy underlining a serious subject of mature age romance between two single parents, Yash (role played by Rishi Kapoor) and Sheetal (role played by Dimple Kapadia), both having a flourishing household each of them is responsible for. And yet, Cupid does not spare them from romantic entanglement, leading to a major social upset in the two families. However, with the support of a benevolent aunt (Toshi Auntie – role played by Farida Jalaal) and a supporting future son-in-law (Sanju – role played by Sameer Dattani), all ends well for all parties concerned. The ending sequence shows Yash performing the kanyadaan ceremony at the wedding of Sheetal’s daughter, topped off with a happy smiling family group photo shoot.

The reused song is actually not the real original. It has been re-recorded in different voices for the purpose of this film. It is a duet – but now it is a male-male duet. The original is sung by Kishore Kumar and Asha Bhosle. The repeat version is sung by Babul Supriyo and Vinod Rathod. On screen, it is performed by Yash and his childhood friend Khanna (role played by Satish Shah). The scene is a marriage anniversary party of Khanna. Yash, after a few pegs down his belt, decides to make a public proclamation of his love for Sheetal – much to her visible surprise and suppressed delight.

One query for the more knowledgeable readers – please help to identify the lady in the red saaree standing next to Dimple in this song. She plays the role of Satish Shah’s wife in this film. I have seen her in a couple of other contemporaneous films, but cannot recall her name.

The song starts off with the opening lines of another iconic hit of Rishi Kapoor – the song “Meri Umar Ke Naujawaanon. . . – To Gaao Om Shanti Om”, in his own voice, and then it leads into the lines “Khullam Khulla. . .”. Of the original three stanza song, only two stanzas have been used in repeat version.

So check out this modern day avataar of an iconic song from the 1970s, which is performed on screen by the same actor – thirty years apart. This must be a record of sorts, after considering WM Khan’s performance of the primeval “De De Khuda Ke Naam Pe. . .” in the three versions of the film ‘Alam Ara’ – 1931, 1956 and 1973.

Listen and enjoy.

 

Song – Khullam Khulla Pyaar Karenge Hum Dono  (Pyaar Mein Twist) (2005) Singers – Babul Supriyo, Vinod Rathod, Lyrics – Gulshan Bawra, MD – RD Burman
Rishi Kapoor
Unidentified Male Voice
Babul Supriyo + Vinod Rathod
Chorus

Lyrics

hey..ey..ey
tum ne
kabhi kisi se
pyaar kiya

kiya. . .

kabhi kisi ko dil diya

diya. . .

maine bhi diya. . .
hey..ey..ey

jamaa de

hey y’all party people
listen now
. . .  y’all listen now
. . .  . . .  y’all listen now
. . .  . . .  . . .  y’all listen now
the same old love story
back again

yea
come on
now

say it

come on now
you party people

khullam khulla pyaar karenge hum dono
is duniya se nahin darenge hum dono
arrey khullam khulla pyaar karenge hum dono
is duniya se nahin darenge hum dono
pyaar hum karte hai chori nahi
mil gaye dil jora jori nahi
hum wo karenge jo dil kahe
hum ko zamaane se kya

that’s right

arrey khullam khulla pyaar karenge hum dono
is duniya se nahin darenge hum dono

hey..ey..ey
same old love story
like ya sing it
come on now
feel it

hey
dekh wo
ishq chhup chhup ke farma rahe hain
arrey hai
kya mazaa
dil hi dil me to ghabra rahe hain
hey ey
dekh wo 
ishq chhup chhup ke farma rahe hai
arrey hai
kya mazaa
dil hi dil me to ghabra rahe hain
lagta hai dono padosi hain wo
rishta hi aisa hai jaane bhi do
hum wo karenge dil jo kahe
hum ko zamaane se kya

jamaa de

khullam khulla pyaar karenge hum dono
is duniya se nahin darenge hum dono

oye kitta

one one one one
one more time

hey
bolo na
pyaar ka hai ye dushman zamaana
arrey sun
haan bataa
sab ko milta nahin ye khazaana
hey
bolo na
pyaar ka hai ye dushman zamaana
ae hey hey sun
haan bataa
sabko milta nahi ye khazaana
arrey jinko aji ye khazaana miley
dekh dekh unko ye duniya jaley
hum wo karenge dil jo kahe
hum ko zamaane se kya

khullam khulla pyaar karenge hum dono
is duniya se nahin darenge hum dono

watch it watch it now

pyaar hum karte hai chori nahin
mil gaye dil jora jori nahin
hum wo karenge jo dil kahe
hum ko zamaane se kya

jamaa de

khullam khulla pyaar karenge hum dono

watch it watch it now

is duniya se nahin darenge hum dono

oye kitta

khullam khulla pyaar karenge hum dono

that’s right

is duniya se nahin darenge hum dono

jamaa de

khullam khulla pyaar karenge hum dono. . .


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

Blog Day :

4092 Post No. : 15235 Movie Count :

4187

Songs Repeated in Hindi Films – 11
– – – – – – – – – – – – – – – – – –

I could not have expected a better surprise than this one today. Aha, here is this wonderful memorable song that has got repeated in a film after 34 years. And now, that repeat itself is 28 years past. Wow, 62 years later we are going to talk about a song from 1957, which appeared once again in another film in 1991.

Yes, the iconic song of road travel that has been immortalized in the annals of Indian cinema. The tone and the context of the song – a vagabond traveler, a second hand truck, the endless roads, and a journey without a destination – it set the template for others to emulate. Footloose has no mark over this. Don’t we all, at some time in life, aspire for a meandering aimless trip, just for the sake of the journey. And just for the heck of it. The destination – may it exist or not, companions – may they be there or not. Desultory, adrift, without any aim, feckless – when the apparent random futility is the purpose of the endeavor. What a state to be in – being, and yet not being, nary a care in the world. Aah yes, the mind sometimes wants an escape of sorts – “Le Chala Jidhar Ye Dil Nikal Padey”.

The original from the film ‘Nau Do Gyarah’ (1957) needs no introductions. The words, the melody and the imagery is etched in the mind, in all its details – Delhi roads of mid 1950s, sans traffic; the time when the traffic used to pass under the India Gate, and the Kashmere Gate (now these are monuments, cordoned off from the traffic); a miniscule encounter with a coy lady sitting in a car coming from the opposite direction; driving past the Taj Mahal; the long row of village belles carrying earthen pots of water, offering no grass (घास नहीं डालती 🙂 ) to the most handsome beseeching young man claiming to be laid out like a carpet at their feet – yes, all etched in the mind like it happened yesterday.

Time was when Sachin Da was quite, nay very selective, as always, in his choice of the singing voice for individual songs. And Kishore Da was never his ‘always’ choice for playback for Dev Anand. But Sachin Da has been proven right and right and right again, in his choice of singing voices. Imagine a “Khoya Khoya Chaand. . .”, or “Dil Ka Bhanwar. . .” or “Tu Kahaan Ye Bataa. . .” or “Hum Bekhudi Mein. . .” in a voice other than Rafi Sb, and a “Jaayen To Jaayen Kahaan. . .” in a voice other than Talat Sb, or the jazzy “Hum Dum Se Gaye. . .” in a voice other than Manna Dey, or the magnificent “Ye Raat Ye Chandni. . .”, or “Na Tum Hamen Jaano. . .” or “Chup Hai Dharti. . .” or “Yaad Aa Gayin Wo. . .” in a voice other than Hemant Da. It just will not stick in the imagination. Sachin Da got the best, the most suitable voice for the song, and after listening to them, the only verdict is – it cannot be bettered. In all the outings that Sachin Da shared with Dev Anand, apparently ‘Funtoosh’ (1956) and ‘Prem Pujari’ (1970) are the only two collaborations wherein we hear Kishore Da as the only voice playing back for Dev Anand. In all other films they have done together, Sachin Da has used a combination of different voices for Dev Sb. ‘Baazi’ (1951) also has only Kishore Da’s voice backing up Dev Anand for “Dil Ye Kya Cheez Hai. . .”, but then it is the only male voice song in the film, and that too, a song that only Kishore Da can do justice to.

And not just for Dev Sb. Sachin Da also has Rafi Sb and Kishore Da playing back for Rajesh Khanna in ‘Aradhana’ (1969), and Rafi Sb, Kishore Da and Manhar as the singing voices for Amitabh Bachchan in ‘Abhimaan’ (1973). Here was a music director who had his finger not on the pulse of public appeal, but on the pulse of divining which voice is the most suitable for a particular melody, a particular mood, and a particular situation.

And so, coming to the surprise that I mentioned in the first line of this write up. As I picked up this song for creating the next post in the series of repeat songs, a realization hit home. Today is the birth anniversaries of the two stalwarts who created the original song in 1957 – Sachin Da and Majrooh Sb. For Majrooh Sb, it is the centenary celebration, and for Sachin Da it is the 113th. Actually, Majrooh Sb’s info was already in mind since last night, as I was preparing Sadanand ji’s excellent write up for this great poet. And the rest of the coincidental links fell in place as I picked up this song for today’s post.

The film ‘Dil Hai Ke Maanta Nahin’ from 1991, is a popular hit romantic comedy from its time. It is remake of the storyline of the iconic ‘Chori Chori’ from 1956, which had the lead pair billing of Nargis and Raj Kapoor. And in turn, ‘Chori Chori’ is following the same storyline as the 1934 Hollywood hit film ‘It Happened One Night’, starring Clark Gable and Claudette Colbert, and directed by the legendary Frank Capra. This theme has also been used in other films in Kannada and Tamil. In later years, we also see ‘Jab We Met’ in 2007, based somewhat loosely on the same storyline.

The film is produced by Gulshan Kumar and is directed by Mahesh Bhatt. The lead pair is Aamir Khan and Pooja Bhatt. By 1991, Aamir was already an acknowledged star in the industry, and Pooja was just beginning her career. For both of them, this film proved to be a strong fillip for their individual careers.

The caper is well known – a spoilt heiress of a rich businessman flees from home, to be with the person she believes, wrongly of course, she is in love with. On the way, she meets another boy, the hero of the story, who helps her to get to her target, and eventually lands her back at her father’s home. As an outcome of the road adventures that are shared by the boy and the girl, they inadvertently and without realizing it till quite late in the storyline, fall in love with each other. And the movie ends with the girl fleeing once again (with the help of a very co-operative father) on the way to the altar, to be with the person she is truly in love with.

When I came to this connection, I was/am quite astounded. What a selection of a song for a memory reprisal. The original song with Dev Sb in the driver’s seat, is about an aimless road adventure. And in this film, the lead protagonists are going thru a road adventure of their own making, trying to save themselves from police, the detectives in pursuit and the general public who have been made aware of the runaway girl through newspaper ads and posters.

On their runaway adventure, there is car breakdown. It is taken into a garage for repairs. The mechanic departs briefly to get some welding work done from outside. The boy-girl pair are alone in the garage. The radio on the mechanic’s desk is playing. And as the mechanic departs, on comes this song on the radio waves. It catches the attention of the boy, who requests the girl to increase the volume on the radio. He is quite taken in with this ‘मस्त’ (catchy, engrossing) song. Coming close to the girl he takes her in his arms and they begin to dance to the tune. Their eyes meet. There is that oh so lovely pause in everything. Something tingles and connects. There is surprise and uncertainty on the faces of both of them. In the eyes, there is also an expectation of a liking that is so demure and endearing. It is one of those moments that feels like eternity. And yes, magic.

Till that ‘पाजी’ (scoundrel) mechanic barges in with a newspaper in hand announcing that the girl’s father is publicly searching for her. The moment of magic is so brutally broken.

The repeat song is the original. In this scene, somewhat less than two stanzas are played. Of course this is not listed in the songs of the film and does not appear on its cassette or CD. And so, in this post, I am retaining the original credits for this everlasting song.

And yes, once again, celebrating the anniversaries of the two of the greatest song-music creators in the Indian film industry. “Hum Hain Raahi Pyaar Ke. . .” – goodness, what a fantastic tagline.

Song – Hum Hain Raahi Pyaar Ke, Hum Se Kuchh Na Boliye  (Dil Hai Ke Maanta Nahin) (1991) Singers – Kishore Kumar, Lyrics – Majrooh Sultanpuri, MD – SD Burman

Lyrics

hum hain raahi pyaar ke
hamse kuchh na boliye
hum hain raahi pyaar ke
hamse kuchh na boliye
hum hain raahi pyaar ke
hamse kuchh na boliye
jo bhi pyaar se milaa
hum usi ke ho liye
hum usi ke ho liye
jo bhi pyaar se milaa
hum usi ke ho liye

dard bhi hamen qubool
chain bhi hamen qubool
dard bhi hamen qubool
chain bhi hamen qubool
hamne har tarah ke phool
haar mein piro liye
hamne har tarah ke phool
haar mein piro liye
jo bhi pyaar se milaa
hum usi ke ho liye
hum usi ke ho liye
jo bhi pyaar se milaa
hum usi ke ho liye

dhoop thi naseeb mein
to dhoop mein liyaa hai dam
dhoop thi naseeb mein
to dhoop mein liyaa hai dam
chaandni mili to hum
chaandni mein so liye
chaandni mili to hum
chaandni mein . . .

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

हम हैं राही प्यार के
हमसे कुछ न बोलिए
हम हैं राही प्यार के
हमसे कुछ न बोलिए
हम हैं राही प्यार के
हमसे कुछ न बोलिए
जो भी प्यार से मिला
हम उसी के हो लिए
हम उसी के हो लिए
जो भी प्यार से मिला
हम उसी के हो लिए

दर्द भी हमें कुबूल
चैन भी हमें कुबूल
दर्द भी हमें कुबूल
चैन भी हमें कुबूल
हमने हर तरह के फूल
हार में पिरो लिए
हमने हर तरह के फूल
हार में पिरो लिए
जो भी प्यार से मिला
हम उसी के हो लिए
हम उसी के हो लिए
जो भी प्यार से मिला
हम उसी के हो लिए

धूप थी नसीब में
तो धूप में लिया है दम
धूप थी नसीब में
तो धूप में लिया है दम
चाँदनी मिली तो हम
चाँदनी में सो लिए
चाँदनी मिली तो हम
चाँदनी में ॰ ॰ ॰


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

Blog Day : 4057 Post No. : 15190

Songs Repeated in Hindi Films – 10
– – – – – – – – – – – – – – – – – –

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Blog 10-Year Challenge (2009-19) – Song No. 43
——————————————————————————————

As Gajendra ji had commented, couple of episodes ago – I am quite sure the readers are now beyond getting surprised by the songs posted in this series. Yes, some very interesting repeats, but oh well. . .

The interesting thing about today’s post is, well, two things. It is the singer’s Remembrance Day today, as well as, we also are showcasing the song as part of the 10 year challenge series.

10 years ago, this day, six songs were posted. Those were the days, when Atul ji was at his prolific best, and six new songs on the blog was quite the norm. And he followed an interesting convention. The songs he posted on one day, used to be in the incremental chronological order, as you can notice in the short table below.

Chup Hojaa Ameeron Ke Ye Sone Ki Ghadi Hai Bandi 1957 1814
O Pawan Veg Se Udne Waale Ghode Jai Chittod 1961 1815
More Ang Lag Jaa Baalmaa Mera Naam Joker 1970 1816
Gore Gore Gaalon Waale…Kahte Hain Mujhko Haseenon Ka Devtaa Haseenon Ka Devta 1971 1817
Mile Mile Do Badan Khile Khile Do Chaman Blackmail 1973 1818
Pahraa Hai Yahaan Pahraa Badnaam 1975 1819

There were two debut films that day – ‘Jai Chittod’ and ‘Haseenon Ka Devta’. And quite interestingly, both the films are at present miles away from being yippeee’d. Since that day, only one song has been added for ‘Jai Chittod’ (12 songs listed in Geet Kosh), and none for ‘Haseenon Ka Devta’ (6 songs listed in Geet Kosh). The remaining 4 films, ‘Bandi’ (1957), ‘Blackmail’ (1973), ‘Badnaam’ (1975) and ‘Mera Naam Joker’, the magnum opus by Raj Kapoor, have completed their account on the blog.

And yet, today, “Mera Naam Joker’ makes another appearance here, on account of an unlisted song. In that, it is a repeat song from RK’s own film from 1951 – ‘Awaara’. Being his own film, of course it would have been a simple thing to reuse the earlier song.

In the iconic song “Ae Bhai Zara Dekh Ke Chalo”, the poet Neeraj declares,

haan babu ye circus hai
aur ye circus hai show teen ghante ka

pehla ghanta bachpan hai
doosra jawaani hai
teesra buddhaapa hai

The entire film was presented as three chapters, with two intermissions. And quite literally, RK has presented three phases of life in these three segments – childhood, youth, and old age. And in each of these phases, there is a different lady with whom the Joker’s heart gets entangled. And every time, his emotions and timid overtures are eventually disregarded – in face of certain compulsions of life that each one of those lady characters struggle with, in their own lives. In the first phase, there is a mismatch of age. In the second, there is a mismatch of location / language / societal background. And in the third, there is a mismatch of aspirations in life versus the values of life.

The reprisal of this song occurs close to the end of the second segment. The Joker has lost his heart to a circus artist visiting from Russia. And as their visit and stay comes to a close, the lady has to leave, and go back to her own country with her group. The circus manager (role played by Dharmendra), in an earlier conversation, has already cautioned him against getting too friendly with the visitors. That caution has now become a prophesy realized. Marina (role played by Russian actress Kseniya Ryabinkina) has to leave. The Joker is at the airport, with Sher Singh (role played by Dara Singh), his partner in crime, or let’s say, his ustaad in the art of romance. The Joker has come to bid farewell to the departing Russian troupe, and his lady love, who cannot stay. There is a brief exchange between the two lovers, and the lady leaves, planting a kiss on the Joker’s lips, and waving a good bye. Sher Singh asks the Joker as to what the lady has said in her native language. The Joker replies forlornly, that her words reminded him of an old song.

And then this song from two decades earlier is played once again, as a background piece. Marina walks to the plane, and the plane departs. And the verses penned by Shailendra are re-told yet once again in the life of the Joker –

duniya mein tere teer ka
ya taqdeer ka maara hoon. . .

This verse segment is the one that I never seem to have been able to get over all my life.  “That, in this life of mine, I have been vanquished either by my own destiny, or the glance arrows coming from your eyes – I do not know which one.” Such a powerful assertion in just ten words, ensconcing within itself a myriad philosophies of life, in a moment narrating and laying bare everything that can and could have gone wrong in an overwhelmed life. The emotions these ten words evoke inside, lie crumpled, tightly wound like a giant ball of thread, with no end visible – not enough words to unravel it and express it.

This song is probably one of the most recognizable songs ever in the ocean of Hindi film music – not only here in India, but also in many parts of this world, where RK’s films are loved as part of their own cultures. The first few bars of the prelude music start to play, and practically every one can recognize which song is coming up. And so, I remember, the first time I saw ‘Mera Naam Joker’, and this scene played out on the screen, and the Joker tells about being reminded of an old favorite song, and the prelude music begins to play – it was quite a shock of recognition that overpowered the heart. Yes, RK presenting this song at this juncture, makes all the sense, rounds up everything that he has been wanting to say through this film – ‘Mera Naam Joker’ – a wayward truant clown I am in this life.

An interesting throwback on this song – it was also repeated within the original film itself. Regular folks would remember, the closing scene – Nargis and Prithviraj Kapoor are visiting RK in the prison, after he has been incarcerated post his trial. It is a brief meeting – about two minutes or so. And as Nargis is asked to take leave, there is this standard dialogue that RK utters – “. . . meri soorat hi aisi hai”. Overcome by the understated innocence and simplicity, plus the unpretentious hangdog look on his face, Nargis once again rushes back into his arms, and exactly the same stanza starts to play in the background.

A few interesting observations about these two reprisals. Take the music and rendition. The song that plays in ‘Mera Naam Joker’ is very nearly the original, but as one listens carefully, one can make out small pieces of extra orchestral music that S-J have weaved in, merging it with the overall background score of the scene. And in the original film ‘Awaara’, the rendition has a small variation at the end. The words of the last line that Mukesh has sung include a very delicate and lovable “हाय” ~ “haaye” –

haaye. . .
awaara hoon..oon..oon. . .

This addition has made this line oh so much more endearing and adorable. Listening to this last one snippet made my day – more than all the pleasure and emotions that are flowing with the original complete version of the song. So surely, this segment, or at least this last line has been re-recorded, even then back in 1951, and presented separately as the end piece.

Next, in both these reprisals, there is a close, very close proximity of the lady love. In ‘Awaara’, the kiss almost happens – just short of the waving scissors of the censor board. And in ‘Mera Naam Joker’, the kiss does happen, with Marina forcefully planting it on the lips of the Joker. Oh well, I don’t know – should we expect a kiss, whenever this part of the song is played ??  Ha, ha, I am sure you will tell me – it happens only in the reel world. 🙂 🙂

Another cute co-incidence I discovered in the last scene of ‘Awaara’. RK and Nargis are in each others arms, and a loud voice calls out in the background, probably the prison warden or constable – “ओ क़ैदी नंबर 308, चलो” (“O prisoner no. 308, come on move.”). I made a little connect in my mind – I don’t know whether that was the intention of the director and dialogue writer. The number 308 – it rang a bell. 308 –> 30-8 –> 30th August –> Shailendra’s birthday. 🙂 🙂

Back to ‘Mera Naam Joker’, I might as well document it here, for possibly no more posts of this film could be forthcoming in the future. The three ladies who appear in each of the three chapters of this film, just examine the screen names – Mary, Marina, Meena. Sound quite connected, flowing right into each other. You combine Mary and Meena – becomes Marina. Just some musings of the wandering mind. Just like the three magazines that RK, Rajendra Kumar and Padmini are seen browsing through on the flight – Time (Padmini), Fortune (Rajendra Kumar) and Life (RK). 🙂 🙂

And then, back to Mukesh, after all so much wandering of the silly mind over the terrain of anecdotes and co-incidences. Even till late afternoon today, I hadn’t the faintest idea whether I would be writing post for the remembrance day today. Mahesh ji’s post, so wholesome and so satisfying, after posting that in early morning, I was not picking up new ideas to write another post on Mukesh. Later, in the afternoon, I was just browsing through the list of songs etc., and don’t know why, but I decided to check out the 10-year-challenge thing for today. Pulled out the list of songs for 27-08-2009. The title ‘Mera Naam Joker’ jumped out at me immediately, and before I could say bambi, my mind had made a few jumps around, connected other material, and brought out this well baked idea of doing a combined 10-year-challenge and repeat-songs post. Yes, I had this repeat song on my list, and had not yet planned when to post it. The mind made that decision for me today, and quite swiftly so, without taking me along on the steps of decision making.

I am glad I checked this out, and got to make this connection and getting this post out today. In the earlier post today, Mahesh ji has mentioned a figure of ~80% songs of Mukesh being hit songs. I cannot think of any other singer, at this level of prolific output, who can be associated with this high a percentage of successful and popular songs from his or her body of work. And then the second connect came when Arun ji deposited on the Whatsapp group, a reminder of the Mukesh anniversary program on Doordarshan seven years ago. I recalled that this was also the very first question that the person interviewing me and Shikha ji, put to me in this program. That question was – “Mukesh ji has about 800 songs to his credit? Why does it always seem that has sung much more?”

And my answer was exactly on these lines – in any singer’s body of work, there is a certain percentage of songs which are memorable, which became popular, and which are quite well retained in the memory. However, with all other singers, this ratio of popular and memorable songs to their total repertoire, is comparatively lower. By extrapolating this expectation, the mind always thinks that in case of Mukesh, his body of work ought to be much larger, if the number of his popular and memorable songs is so much. This is a very interesting point. After that TV program, I had this very discussion with a number of friends, and mostly we agreed to this conclusion.

No doubt the music director and the poet – they have a very significant contribution towards the creation of a song. But it is the voice of Mukesh, that makes something different out of any song. That is what has made so large a percentage of his songs popular and memorable. A soulful voice – that was my assertion on that TV program also, that – “मुकेश जी की आवाज़ में एक अनोखी आत्मीयता है, जो किसी और गायक में नहीं मिलती”.  There is this so unique a characteristic of his rendition – an effortless exposition of the emotions, expressed in a most relaxing mode.

I feel I could go on and on. But then, not now. Another song, another post – there seems to be so much more one wants to say about this soulful, mellifluous voice – almost divine.

Song Repeat – Mera Naam Joker (1970)

Song Reprised at End – Awaara (1951)

Song – Aawaara Hoon. . .  (Mera Naam Joker) (1970) Singers – Mukesh, Lyrics – Shailendra, MD – Shanker Jaikishan

Lyrics

aabaad nahin barbaad sahi
gaataa hoon khushi ke geet magar
gaataa hoon khushi ke geet magar
zakhmon se bharaa seena hai mera
hansti hai magar ye mast nazar
duniyaa aaa..aaa aaa..aaa
duniyaa mein tere teer kaa
ya taqdeer kaa maara hoon
aawaara hoon
aawaara hoon
ya gardish mein hoon aasmaan ka taara hoon
aawaara hoon
aawaara hoon
aawaara hoon

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

आबाद नहीं बर्बाद सही
गाता हूँ खुशी के गीत मगर
गाता हूँ खुशी के गीत मगर
ज़ख़्मों से भरा सीना है मेरा
हंसती है मगर ये मस्त नज़र
दुनिया आ॰॰आ॰॰आ॰॰ आ॰॰आ॰॰आ॰॰
दुनिया में तेरे तीर का
या तक़दीर का मारा हूँ
आवारा हूँ
आवारा हूँ
या गर्दिश में हूँ आसमान का तारा हूँ
आवारा हूँ
आवारा हूँ
आवारा हूँ


What is this blog all about

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

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

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

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Movies with all their songs covered =1212
Total Number of movies covered =4329

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