Archive for the ‘“ornament” song’ Category
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
5492 | Post No. : | 17930 | Movie Count : |
4793 |
‘Laaga Chunari Mein Daag’ (2007) was produced under the banner of Yash Raj Films and was directed by Pradeep Sarkar. The star cast included Rani Mukherjee, Jaya Bahaduri, Konkana Sen Sharma, Anupam Kher, Abhishek Bachchan, Kunal Kapoor, Tinnu Anand, Sushant Singh, Kamini Kaushal, Suchitra Pillai etc. Hema Malini made a special appearance in the film in the role of a courtesan. This was the second film of Pradeep Sarkar as a director after his critically acclaimed film, ‘Parineeta’ (2005). The film is available for viewing only on the OTT platform.
The gist of the story of the film is as under:
The family of Shivshankar Sahay (Anupam Kher) consisting of his wife, Savitri (Jaya Bachchan) and the two daughters – Vibha (Rani Mukherjee) and Shubha (Konkona Sen Sharma) is going through hard days. Due to financial constraints, Vibha’s education has been discontinued after 12th standard. Their haveli located at Banaras ghat is in danger of going on the auction by the creditors including Shivshankar’s elder brother, Rajshankar (Tinnu Anand) who wants his share in it.
To take care of the financial problem of the family, Vibha moves to Mumbai to get a job. But her educational qualification is not enough to get her a job. Willy-nilly, she falls into a trap which forces her to become a call girl and later the job of an escort under a new name, Natasha. With her new job, Vibha is flushed with money not only to regularly remit the money to her family in Banaras, but she has an apartment to stay in and owns a car. Except her mother, none of the other members of the family is aware as to how Vibha earns so much money. But the financial crunch makes Savitri to keep mum.
With Vibha’s financial support, Shubha completes her MBA and moves to Mumbai for her internship in a company. She becomes close to Vivaan Verma (Kunal Kapoor) during her internship in the company. Vibha is sent to Switzerland as a part of her PR job to make necessary arrangements for a meeting. In the flight, she meets Rohan Verma (Abhishek Bachchan) and develops an acquaintance. She again meets him during the meeting, and they become close friends.
In Mumbai, the relationship between Shubha and Vivaan goes to a higher level and their marriage is fixed in Banaras. However, Savitri does not want Vibha to attend the marriage for fear of her antecedent. Shubha convinces Vibha to join her marriage in Banaras where she is surprised to see Rohan Verma joining the pre-marriage ceremony. He turns out to be the elder brother of the bridegroom, Vivaan Verma. During the ceremony, Rohan proposes to Vibha which she is reluctant to agree to. However, things are sorted out as Rohan is already aware of Vibha’s background and he has no reservation about it. The film ends with both brothers getting married to sisters on the same day.
The story discussed above seems to be a familiar one. Yes, ‘Aaina’ (1977) had, more or less, the same story. I will not be surprised, there could be a couple of more films with the near identical theme. That may be the reason as to why the film becomes predictable after Vibha moves to Mumbai for a job. Perhaps, for this reason, Rani Mikherjee’s role in the film, despite her good performance, does not generate sympathy.
After watching the film, I felt a let down from director, Pradeep Sarkar who had directed a sensitive film and critically acclaimed ‘Parineeta’ (2005). The problem starts with the selection of an outdated story which, to my mind, would not be good enough even as the family soap opera on TV channels. The film starts with a song picturised on Rani Mukherjee and Konkona Sen Sharma of more than 5 minutes duration when the credit titles are displayed. Though the picturisation has been aesthetically done, the song gives an impression more of a music video than a part of the film. Even the end of the film is lackluster.
‘Laagi Chunari Mein Daag’ (2007) had six songs accredited to Swanand Kirkire as a lyricist which were set to music by Shantanu Moitra. I am presenting the first song “Ehi Thaiyaan Motiya Hiraaye Gayili Raama” from the film to appear on the Blog. The song is rendered by Rekha Bhardwaj. The lyrics of the song are accredited to Swanand Kirkire probably because in the credit titles of the film, only his name appears as a lyricist. However, the lyrics are traditional if one goes by the renditions of the song by Hindustani classical singers like Rasoolan Bai, Girija Devi, Nirmala Devi and Pandit Channulal Mishra with, more or less, the identical wordings decades back.
The background to this song is that the haveli on the Banaras ghat in which the family of Shivshankar Sahay (Anupam Kher) are staying, has been selected for a film shooting. During the film unit’s reconnaissance visit to the haveli, one lady crew member, Sofia (Tarana Raja) wants to visit the kotha to watch and shoot the mujra dance of the famous Banaras courtesan, Dulari Bai (Hema Malini). Since the ladies are prohibited to watch mujra, Vibha and Shubha take Sofia to an ante room of the kotha from where she can watch and shoot the mujra dance through a lattice window. The song is picturised on Hema Malini who is performing a mujra dance in front of the select audience. The song is interspersed with the dialogues between Anupam Kher and Jaya Bahaduri in their haveli about their financial condition. The audio clip contains the full song.
This is a traditional Chaiti song – a sub-sect of Thumri/Dadra under semi-classical form of Hindustani classical music. Lyrics are mostly in Purbi dialect which is spoken in Eastern Uttar Pradesh and Western part of Bihar. Chaiti is sung in the Hindu month of Chaitra that falls in March-April. Chaiti songs generally have the romantic theme with words like ‘ho raama’, ‘arrey raama’, ‘re raama’.
The first line of the song has an erotic element. The deeper meaning of courtesan losing a nose ring is indicative of messing with her lover. In keeping with the erotic nature of the lyrics, Rekha Bhardwaj has sensually rendered the song.
The tune of the song under discussion sounds like that of “Kaise Din Beete Kaise Beeti Ratiyaan” from film ‘Anuradha’ (1960) which has been composed by Pandit Ravishankar. The song is based on Raag Manj Khammaj which is said to be invented by Ustad Allauddin Khan, the Guru of Pandit Ravi Shankar.
Video (Partial)
Audio (Full)
Song – Ehi Thaiyaan Motiyaan Hiraaye Gayili Raama (Laaga Chunari Mein Daag) (2007) Singer – Rekha Bhardwaj, Lyrics – Sawanand Kirkire, MD – Shantanu Moitra
Lyrics
(Based on Audio)
aa aa aa aa maa
aa aa aaa
aa aa aaa
ehi thaiyaan motiya hiraaye gayili raama..aa
kahaan wa….aa main dhoondoon
ehi thaiyaan motiya hiraaye gayili raama..aa
kahaan wa…aa main dhoondoon
ho o o
ae hi thaiyaan motiya hiraaye gayili raama..aa
kahaan wa…aa main dhoondoon
nathni se moti kahin hir gaya raama
nathni se moti kahin hir gaya raama
kahaan wa…aa main dhoondoo…..oon
haa……ay ehi thaiyaan
[Tabla Beats]
saasu se poochha
nanadiyaa se poochhaaa
aa aa aa aa
hey raam
saa..su se poochha
nanadiyaa se poochha
saiyyaan ji se poochha to lajaaye gayi raama
haan aa aan
saiyyaan ji se poochha to lajaaye gayi raama
kahaan wa main dhoondoo..oon
ehi thaiyaan
ehi thaiyaan
ehi thaiyaan aa aa aa aa
ehi thaiyana motiya hiraaye gayili raama
kahaan wa main dhoondoon
ehi thaiyaan
ehi thaiyaan
ehi thaiyaan
ehi thaiyaan aa aa aa aa
ehi thaiyaan motiyaa hiraaye gayili raama
kahaan wa..aa main dhoondoon
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
आ आ आ आ मा
आ आ आ आ
आ आ आ आ
एही थइयान मोतिया हिराये गईली रामा॰॰आ
कहाँ वा॰॰आ मैं ढूँढूँ
एही थइयान मोतिया हिराये गईली रामा॰॰आ
कहाँ वा॰॰आ मैं ढूँढूँ
हो ओ ओ
एही थइयान मोतिया हिराये गईली रामा॰॰आ
कहाँ वा॰॰आ मैं ढूँढूँ
नथनी से मोती कहीं हिर गया रामा
नथनी से मोती कहीं हिर गया रामा
कहाँ वा॰॰आ मैं ढूँढूँ
हाए
एही थइयान
[तबले की ताल]
सासू से पूछा
ननदिया से पूछा
आ आ आ आ
हे राम
सा॰॰सू से पूछा
ननदिया से पूछा
सइय्याँ जी से पूछा तो लजाये गयी रामा
हाँ॰॰आं
सइय्याँ जी से पूछा तो लजाये गयी रामा
कहाँ वा मैं ढूँढूँ॰॰ऊँ
एही थइयान
एही थइयान
एही थइयान आ आ आ आ
एही थइयान मोतिया हिराये गईली रामा॰॰आ
कहाँ वा मैं ढूँढूँ
एही थइयान
एही थइयान
एही थइयान
एही थइयान आ आ आ आ
एही थइयान मोतिया हिराये गईली रामा॰॰आ
कहाँ वा॰॰आ मैं ढूँढूँ
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 : |
5412 | Post No. : | 17750 |
Today’s song is from a special film – Gunsundari-1948.
I call this film a ‘Special’ film because this is one film in which the simple story was so original, interesting and so much a representative of the changing times in the country that this story inspired films in almost every language in India from the late 1920’s decade till even today (albeit in modern avatar !).
Chandulal Shah (later owner of Ranjit Studios), had first directed this silent movie GUNSUNDARI, in 1927, on his own story, under the banner of Kohinoor film company,Bombay. Even in those days it was a popular film.
After Talkie films started and Chandulal Shah had established his own studio-in partnership with Gauharjan Mamajiwala, a Heroine of several of his films and his consort for the next 40 years, he remade the film GUNSUNDARI once again in 1934. The cast of the 1934 film was the same as the 1927 silent film, namely Gauhar, Raja Sandow, Rampyari, R N Vaidya etc. Somehow Chandulal Shah had been fascinated by the film’s story.
After Ranjit studio and Sardar Chandulal Shah were in financial crisis (having lost 1 cr 25 lakhs in cotton trading, in one single day) and most of their properties were mortgaged, Producer Director Ratibhai Hemchander Punatar-who was Chandulal’s sister’s son and his chela, decided to make film Gunsundari once again. This time the film was made in Gujarati and Hindi simultaneously. The year was 1947. Due to partition etc the film was delayed and was released only in 1948.
Ratibhai had selected Kokila Balsara aka Nirupa Roy as the new heroine. After the shooting started, she was signed by Chandulal Shah for Ranjit’s film ” Lakhon mein Ek”. Since Gunsundari was delayed, “Lakhon mein Ek-1947″ got released first and it became Nirupa Roy’s FIRST Hindi film as a Heroine.
I remember having seen the film GUNSUNDARI-1948 sometime in the early 50s. The story was indeed very interesting for those times. A village simple girl is married to a modern type educated rich boy. He does not like this uneducated ‘gaon ki gori’ and he abandons her. The story is about how the girl gets educated and learns all modern things, yet impresses her in-laws with her traditional ways(unknown to the husband) and how she wins him back successfully. After the interval, the theatre used to vibrate with the clapping of the audience on every success of Gunsundari with her family and the husband.
Later on, as is the practice of Hindi film Industry, this theme was used in umpteen number of Hindi and various regional languages over a time.
This was also the First film of Nirupa Roy and Manhar Desai ( who was originally from a Goan family settled in Ahmedabad and his name was Malcolm Alfredo D’souza-a converted Christian). Later this pair starred in many Hindi and Gujarati films.
The director of this film was Ratibhai Punatar. He directed only 6 Hindi films – Gunsundari-48, Nanad Bhojai-48, Nili-50,Mann ka meet-50, Bahadur-53 and Daughter of Sindbad-58. He also directed 5 Gujarati films-all blockbusters and grossers. The Encyclopedia of Indian Cinema says about him…..Ratilal Hemchand Punatar (b. 1913) Gujarati-Hindi director aka Ratibhai Punatar. Born in Jamnagar, Gujarat. Production manager at Ranjit. Directorial début when, following the spectacular success of Ranakdevi (1946), Ranjit started subsidiary Ajit Pics to exploit the interest in Gujarati films. First major film, Gunsundari, remade Chandulal Shah’s pathbreaking silent film and remains, with Mehndi Rang Lagyo (1960) and Jesal Toral (1971), one of the Gujarati cinema’s biggest hits, the first one to tap a substantial urban audience for a Gujarati cinema until then restricted to semi-urban B film circuits. Third film Mangal Phera was also very successful, and continued the Gunsundari and Nanand Bhojai theme of a crumbling joint-family system faced with the values of a mercantile economy. Also made films based on Prabhulal Dwivedi’s folk theatre (Gadano Bel) and on e.g. D.N. Madhok’s popular novels.
The film was made by Ajit Pictures, Bombay- a subsidiary floated by Ranjit Movietone to exploit Gujarati film business. The cast of the film was Nirupa Roy, Manhar Desai, Dulari, Nazira, Ibrahim and many others. While this was Nirupa Ro’s first Hindi film as a Heroine, for Manhar Desai it was also his just the second film, the first being a C grade stunt film Toofani Sawar-1947, made by his classmate in Wilson College, Bombay N.C.Pandey.
Manhar Desai was a Gujarati Christian-real name Malcolm Alfredo D’souza. He was born on 3-8-1917. He used to stammer when he was a boy. He used to act and sing in dramas and due to his stammering style, he was very popular on stage. After completing High school, he ran away to Bombay to join Films, but could not even enter any studio, Disappointed, he returned to his home and restarted studies. He became normal with treatment. He joined Wilson college in Bombay for graduation. In college he started acting and singing on stage. He had a friend N.C.Pandey, who was also mad after films. He promised Manhar that if he becomes a Director, he will make Manhar a Hero. While in college Manhar married his classmate, who was from U.P.
In 1947, Manhar got a call from his friend N.C.Pandey, who was to direct a Hindi film. He made Manhar the Hero of this film and thus fulfilled his promise. Toofani Sawar-47 was the first film of Manhar Desai, in Hindi. He was invited to work in the film Gunsundari-48 ( Gujarati), opposite Nirupa Roy. The film was Hit and he acted in the next film Mangal Phera-49 with Nirupa Roy. This too became a Hit film in Gujarati and then there was no looking back. His next Hindi film was Madhosh-51 opposite Meena kumari. Following their success in Gujarati, Nirupa Roy and Manhar were paired in several Mythological films in Hindi. Films Naag Panchami-53 and Shivratri-54 made him a popular Hero in Hindi mythological films.
It is a coincidence that the Two film stars well known for Hindi Mythological films, namely Shahu Modak and Manhar Desai, both were Non Hindus and were Jew and Christian respectively.
Manhar Desai was fond of Reading. During breaks in shooting, he would catch up with his reading. He also was a good painter. Manhar worked in 106 Hindi films. His last film was Nal Damyanti-88. In the last phase of his career, he was disillusioned about working in films in this era, so he gave up working and retired. Manhar Desai died on 25-2-1992.
Today’s song is the 7th song from this film to feature here. It is sung by Ameerbai Karnataki and Chorus. Enjoy this melodious song composed by Avinash Vyas..
Song- Jhumak jhum bichhuwa baaje goree ka ghoonghat laaje (Gunsundari)(1948) Singer- Ameerbai Karnataki, Lyricist- Pt. Indra Chandra, MD- Avinash Vyas
chorus
Lyrics
Jhumak jhum
Jhumak jhum
bichhawa baaje
gori ka ghoonghat laaje
jhumak jhum
jhumak jhum
bichhawa baaje
gori ka ghoonghat laaje
dhagi naka takit dhin
dhagi naka takit dhin
taal pe bichhua baaje
dhagi naka takit dhin
dhagi naka takit dhin
taal pe bichhua baaje
baaje
baaje
gori ka ghoonghat laaje
jhumak jhum
jhumak jhum
bichhawa baaje
gori ka ghoonghat laaje
jhumak jhum
jhumak jhum
bichhawa baaje
gori ka ghoonghat laaje
aeri gori gori kori
kin sang kheli hori
aeri gori gori kori
kin sang kheli hori
kin ne tori gagri phori
kin chunree jhakjhoree
kin ne tori gagri phori
kin chunree jhakjhoree
kya mile kahin saanwariyaa
kyun khul khul jaaye paayaliyaa
kya mile kahin saanwariyaa
kyun khul khul jaaye paayaliyaa
kyun ghananan bichhua baaje
baaje
baaje
gori ka ghoonghat laaje
jhumak jhum
jhumak jhum
bichhawa baaje
gori ka ghoonghat laaje
jhumak jhum
jhumak jhum
bichhawa baaje
gori ka ghoonghat laaje
?? kare
panghat per natkhat
lapak jhapak chale bansi bajai
bhari pichkaaree maare
rang daaree saaree
dekhe brij naaree
hanse kunwar kanhaiyya
ang ang rang daare
?? ke baal gaal
ude gulaal laal
raas rachaiyya
haath jod gopee bolee
ara ra ra
chhodo pichkaaree
haaree tose kanhaiyya
jhumak jhum
jhumak jhum
bichhawa baaje
gori ka ghoonghat laaje
jhumak jhum
jhumak jhum
bichhawa baaje
gori ka ghoonghat laaje
Kangna hoy hoy kangna
Posted on: February 23, 2023
- In: "ornament" song | Century song for a calendar year | Century songs for the blog | Duet | expression of love | Feelings of heart | Guest posts | Lata song | Lata-Shabbir Kumar duet | Post by Avinash Scrapwala | Shabbir Kumar Songs | Songs of 1980s (1981 to 1990) | Songs of 1983 | Yearwise breakup of songs
- 2 Comments
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 : |
5333 | Post No. : | 17488 | Movie Count : |
4706 |
#the Decade of Seventies – 1981 – 1990 #
————————————————————————
# 1983 Songs – Century Celebrations # Debutant Movie- “Woh Saat Din”
—————————————-——————————
Regulars on the blog must be aware of my love for the year ‘1983’. It was an important year of my life as I had appeared and successfully passed the Board exams for standard 10th that year. And the other important and unforgettable happening of the year was India winning the ‘World Cup of Cricket’ in that year.
There were many other things also but here we come back to our most favorite topic i.e. Hindi films.
In Hindi movies it was the year of Rajesh Khanna. His movies ‘Avtaar’, ‘Souten’ and ‘Agar Tum Naa Hotey’ were released in this year and they were successful movies of this year.
This year was also an important year for Bappi Lahiri as he composed music for as many as nineteen movies (equal to R.D. Burman who was the other contender for composing music in maximum number of movies that year). Total 130 movies were released during this year.
That year also saw ‘Himmatwaalaa’, a south production featuring Jeetendra with Sridevi.
Movies like ‘Ardh Satya’, ‘Arpan’, ‘Andhaa Qaanoon’, ‘Betaab’, ‘Hero’ (coming at the year-end), ‘Jaane Bhi Do Yaaron’, ‘Hamse Hain Zamaana’, ‘Justice Choudhary’, ‘Kalaakaar’, ‘Mandi’,’Mujhe Insaaf Chaahiye’, ‘Naukar Biwi Kaa’, ‘Painter Babu’, ‘Rang Birangi’, ‘Razia Sultan’ etc etc …
There were Amitabh movies like ‘Mahaan’, ‘Coolie’, and ‘Pukaar’ other than ‘Andhaa Qaanoon’. Dharmendra had ‘Qayaamat’ other than ‘Naukar Biwi Ka’. And Rajesh Khanna had ‘Nishaan’ with (Jeetendra) other than his three movies mentioned above. And not to forget the ‘English’ titled movies of Kumar Gaurav ‘Lovers’ and ‘Romance’.
With all these mainstream movies (yes, I consider ‘Ardh Satya’ in this) there were movies from ‘parallel cinema’ and /or ‘offbeat movies’. Such movies included ‘Mandi’, ‘Jaane Bhi Do Yaaron’, ‘Aagaman’, and ‘Kaalkaa’, ‘Kisi Se Naa Kehnaa’, ‘Sadma’, ‘Pasand Apni Apni’, ‘Sookhaa’, ‘Trikon Ka Chauthaa Kon’, ‘Zaraa Si Zindagi’.
Some movies overlap the distinction between ‘main stream’ and ‘parallel or offbeat movies’ and that is why my listing of them may not be accurate according to the yardsticks of others. Also I personally feel that gradually this difference of ‘commercial’ and ‘parallel or art cinema’ was getting blurred and people had started appreciating good cinema. People of the younger generations too, were watching and appreciating such movies.
I might be missing names of many movies which readers would think should have been mentioned in the above ‘lists’. Like there were some Mithun Chakravarty movies too viz. ‘Wanted’ etc. (though I have mentioned ‘Mujhe Insaaf Chaahiye’).
( I would request reader to forgive me if I have missed anybody’s favorites in above listing.)
Among all these movies there was one more movie which had a very nice musical score and its treatment was also altogether different. This movie has some of the finest performances from the stars included in it.
Today we will be introducing this movie on the blog.
I was surprised when I noticed that this movie is yet to make a debut on the blog. Readers will also be surprised , particularly when one goes through the list of movies from ‘1983’ that have been presented on the blog as of now.
For now I am not representing the list here.
For today’s discussion I would present a list of films from the year ‘1983’, from the Composer/s who composed music for the song under discussion in this post.
Here is the list.
| SNO | Movie Title | Director | Lyricist/s | Passed by Censor Board |
|---|---|---|---|---|
| 1 | Andhaa Qaanoon | T. Ramarao | Anand Bakshi | 04.04.1983 |
| 2 | Arpan | J. Omprakash | Anand Bakshi | 07.02.1983 |
| 3 | Avtaar | Mohan Kumar | Anand Bakshi | 27.01.1983/06.05.1983 |
| 4 | Beqaraar | V. B. Rajendra Prasad | Anand Bakshi | 01.08.1983 |
| 5 | Coolie | Prayag Raj-Manmohan Desai | Anand Bakshi | 14.11.1983 |
| 6 | Hero | Subhash Ghai | Anand Bakshi | 05.12.1983 |
| 7 | Mujhe Insaaf Chaahiye | T. Ramarao | Anand Bakshi | 13.09.1983 |
| 8 | Paakhandee | Sameer Ganguly | Majrooh Sultanpuri | 08.09.1983 |
| 9 | Prem Tapasyaa | Dasari Narayan Rao | Anand Bakshi | 15.01.1983 |
| 10 | Woh Saat Din | Bapu | Anand Bakshi | 23.06.1983 |
| 11 | Yeh Ishq Nahin Aasaan | Tinu Anand | Anand Bakshi | 28.01.1983 |
| 12 | Zaraa-Si Zindagi | K. Balchander | Anand Bakshi | 03.01.1983 |
Yes, the music for all the above movies was composed by the music-duo Laxmikant-Pyarelal.
Did you guess today’s movie?
Yes, the movie for today is ‘Woh Saat Din’.
“Woh Saat Din” or ‘Woh 7 Din” was directed by Bapu for ‘S.K. Films Enterprises’. It had Anil Kapoor, Padmini Kolhapure, Naseeruddin Shah, Master Raju, Ashalata, Neelu Phoole, Dina Pathak, Baby Suchita, Shaukat Azmi and others.
Actor Jagdeep had a guest appearance in this movie.
This movie was passed by Censor Board on 23.06.1983.
The story of this movie was based on K. Bhagyaraja’s movie ‘Aanda Yel Naatkal’ (in Tamil) which is turn is said to be inspired by the real-life story of comedian J.P. Chandrababu.
The original Tamil film ‘Aandha 7 Naatkal’ was remade in Telugu in ‘1981’ as ‘Radha Kalyanam’, in Hindi in ‘1983’ as ‘Woh 7 Din’ and in Kannada in ‘1989’ as ‘Love Maadi Nodu’ (as mentioned on Wikipedia).
“Woh 7 Din” has six songs which all were written by Anand Bakshi and music was composed by Laxmikant-Pyarelal.
Lata Mangeshkar, Asha Bhonsle, Kishore Kumar, Anuradha Paudwal, Suresh Wadkar, Shabbir Kumar, Kavita Krishnamurty, Anil Kapoor and Master Raju had given their voices to the songs in this movie.
I remember to have watched this movie with my uncle (who was serving in military and had come on vacation) at Akola (I was studying there). I remember that I had likened this movie very much. All its songs were good and they were quite popular in those days, though none of them featured in the annual list of ‘Binaca Geetmala’ of ‘1983’.
Today’s song from this movie is sung by Lata Mangeshkar and Shabbir Kumar. Padmini Kolhapure and Anil Kapoor lip-sync this song on screen.
Lyrics are by Anand Bakshi and Laxmikant-Pyarelal are the composers of this song.
With this beautiful song this movie ‘Woh Saat Din-1983’ makes its debut on the blog today. This song also happens to be the 100th song in the blog for movies released in the year 1983.
Audio (Longer)
Video
song-Kangna hoy hoy kangna (Woh Saat din)(1983) singers-Shabbir Kumar, Lata Mangeshkar, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Lyrics
chup reh sakta
to chup rehtaa
par chup rehna aa
mushqil hai ae ae
chup reh sakta
to chup rehtaa
par chup rehna
mushqil hai
aankhon se man ki baat samajh le
munh se kehnaa mushqil hai ae ae
main bholi kya jaanoon
aankhon ki ye boli
ho boli
ho boli
ho o ho ho ho ho o
kangnaa hoye hoye kangnaa
kangnaa hoye hoye kangnaa
meri neend churaa ke le gaye
gori tere kangnaa
kangnaa hoye hoye kangnaa aa
meri neend churaa ke le gaye
gori tere kangnaa
o o o o o o
aa aa aa aa aa
o o o o o o o o o o
sajnaa aa hoye hoye sajnaa
sajnaa aa hoye hoye sajnaa
yahi pahan ke aaoongi main ik din
tere angnaa aa
sajnaa aa
hoye hoye sajnaa
yahi pahan ke aaoongi main ik din
tere angnaa aa
sajnaa aa
ye bechaini chhodo o o
hanskar chain se baatein
chaar karo
ye bechaini chhodo o o
hanskar chain se baatein
chaar karo o
kisne kahaa thha tumse aakhir
mujhse itnaa pyaar karo o
apne haath nahin hota
nahin hota
jee ka lagaanaa aa aa
kangnaa hoye hoye kangnaa
meri neend churaa ke le gaye
gori tere kangnaa
kangnaa aa
mil naa sake ham
duniya mein to
is mitti mein ae mil jaayen ae
mil naa sake ham
duniya mein to
is mitti mein ae mil jaayen ae
is mitti se pyaar bhare do
phool chatak kar khil jaaye ae ae
khatm ho saare din ka tadapnaa
tadapnaa
saari raat ka jagnaa
sajnaa aa
hoye hoye sajnaa aa
yahi pahan ke aaoongi main ik din
tere angnaa aa
kangnaa hoye hoye kangnaa
meri neend churaa ke le gaye
gori tere kangnaa
sajnaa aa
hoye hoye sajnaa aa
yahi pahan ke aaoongi main ik din
tere angnaa aa
sajnaa aa
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
4669 | Post No. : | 16345 |
Hullo Atuldom
At the outset let me admit that I was reminded of today’s song a few days back when I was writing the post for Moushumi Chatterjee’s birthday.
Today’s song is from the 1980 released Raj Khosla directed Moushumi Chatterjee- Rishi Kapoor starrer “Do Premee”. It had a cast of Om Prakash, I S Johar, Deven Verma, Col. Kapoor (also went by the name Raj Bharati), Geeta Bahl, Aruna Irani, Roopesh Kumar etc.
The movie was a standard love story where the young couple are children of fathers who are not friends. Retd. Col. Bhagwant Singh (Om Prakash) goes to the extent of getting Payal (Moushumi) engaged to Roopesh Kumar but of course the couple elope and reach Mumbai. They take up jobs as driver and maid in a rich girl’s household (of course both are not aware that they are employed by the same person). This rich girl (Geeta Bahl) looks after her family business and also visits a guru (played by Raj Bharati). He has a huge ashram and is shown to perform miracles like walking on water etc. The guru also has a secret attached to his ashram and Deven Verma (a cop in plain-clothes) is out to crack the mystery. Meanwhile the fathers reconcile their differences and come looking for their children and save them from the captivity of the guru in the climax for a All-is-well ending.
The movie had six songs of which the blog has two both of which were posted in 2018.
Mausam pe jaaani hai (a very popular song of the movie)
and
Ladki waalon ki taraf se ladke aalon ko mubaarak ho
The songs were written by Anand Bakshi, composed by Laxmikant Pyarelal, sung by Anuradha Paudwal, Lata Mangeshkar, Asha Bhonsle, Kishore Kumar, Manna Dey and Mohd. Rafi.
Today we are having a duet by Mohd Rafi and Anuradha Paudwal. It shows the young couple being playful with each other. The song was decently popular in its time.
Today we are thinking of Chintu on his first anniversary. Unbelievable that it is an year. He was a person who was on his way to recovery from cancer and had gone to Delhi for a shoot when the Pandemic hit the country. He returned to Mumbai when the lock-down was announced. We saw him on news channels when the country did the candle lighting and clapping (thali bajaoing) for the Pandemic warriors. Must say that he looked a pale shadow of his former self but the child-like enthusiasm and his charming smile was there for all to see.
Chintu (Rishi Kapoor) was rather active on social media and didn’t dither from stating his mind. In the last decade or so he was seen in a variety of roles:- an underworld don in “D-Day”, a grand old 90-year man in “Kapoor & Sons”; even a 75-year-old son to a 100 year-old Amitabh Bachchan in “102 not out”. A lot more would have come for us -his fans- but for the exit which came a year ago on this date. It was a sad day for many of his colleagues, fans and most of all his near and dear ones.
I am waiting to see what happened to that last movie that he was shooting in New Delhi before the Pandemic.
Missing this actor who acted from the age of two and half years to 63.
Audio
Video
Song-Paayaliyaa chhanki ke na chhanki chhanki (Do Premi)(1980) Singers-Rafi, Anuradha Paudwal, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Lyrics
paayaliya chhanki ke na
chhanki chhanki
bijuriya chamki ke na
chamki chamki
payaliya chhanki ke na
chhanki chhanki
bijuriya chamki ke na
chamki chamki
kamariya lachki ke na
lachki lachki
magar phir mat kariyo jo kiya kiya
kiya kiya
o piya
o piya
sun liya
payaliya chanki ke na
chhanki chhanki
bijuriya chamki ke na
chamki chamki
kamariya lachki ke na
lachki lachki
magar phir mat kariyo jo kiya kiya
kiya kiya
o piya
o piya
sun liya
payaliya chhanki ke na
kaanch ki choodi si tu toot jaati hai
kaanch ki choodi si tu toot jaati hai
shaam ki raadha banke roothh jaati hai
gagariya chhalki ke na
chhalki chhalki
chunariya dhalki ke na
dhhalki dhhalki
kamariya lachki ke na
lachki lachki
magar phir mat kariyo jo kiya kiya
kiya kiya
o piya
o piya
sun liya
payaliya chhanki ke na
chhanki chhanki
achha
aaj toh maani
aaj toh maani
phir na maanoongi batiyaan ho o
aaj toh maani
phir na maanoongi batiyaan
jaagoge tadpoge saari saari ratiyaan
najariya atki ke na
atki atki
dagariya bhatki ke na
bhatki bhatki
kamariya lachki ke na
lachki lachki
magar phir mat kariyo jo kiya kiya
kiya kiya
o piya
o piya
sun liya
payaliya chanki ke na
udti patang hai tu
maana o gori
udti patang hai tu
maana o gori
par mere haathon mein hai teri dori
baawariya samjhi ke na
samjhi samjhi
badariya barsi ke na
barsi barsi
kamariya lachki ke na
lachki lachki
magar phir mat kariyo jo kiya kiya
kiya kiya
o piya
o piya
sun liya
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 : |
4456 | Post No. : | 15932 |
In this article, I am discussing a classical dancer for whom the dancing was her passion, be it in the films or on stages. Her face was familiar to me as I had watched some of her films long back. But at that time, I did not evince interest in knowing her name. It was only after I joined the Blog in 2011 that I came to know her identity through none other than our own Prakashchandra ji, the veteran of our Blog in identifying the lesser known film artists with a high success rate. The name of the dancer is Rani.
Even after knowing her name, I still did not evince keen interest in knowing Rani’s background and the filmography. Like many lesser known film artists who worked in a few films and then went into the oblivion, I thought that Rani was one among them. But when I watched many Hindi film songs while writing my last four articles on the Hindi film dancers. I was surprised to note that Rani had danced with well known Hindi film dancers like Helen, Kumkum, Ragini, Madhumati, Bela Bose etc apart from her solo dances. This gave me an impression that Rani may have worked in more Hindi films than what her filmography on the various on-line sources indicated. After collating the data of her films from various sources and watching her dances in the films in case of doubts, I have come to a tentative figure of 54 films in which Rani had danced.
I was not sure about getting much of Rani’s background profile. However, recently, Tabassum who had worked with Rani in about half a dozen films in the 1960s, has posted a video ‘Dancer Rani – A Life Full Of Struggles’ on her Channel ‘Tabassum Talkies’. After watching the video, I felt very sad for Rani as in her later years, she has struggled a lot for her basic necessity of life. The Almighty has not been kind to her as now she is handicapped. It is really a pathetic situation for a dancer who used to say that dancing on the stage was like a worship for her and dancing in the films was means of her sustenance;
The following information has been paraphrased based on ‘Tabassum Talkies’ on Rani.
Rani (real name: Munawwar Sultana) was born in July 27, 1942 in Kolkata to Mohammed Gafoor Khan and Noorjahan Begum. She was adopted by her father’s close friend, Mohshin Khan who had no children. Since Rani was interested in dancing, her adopted father put her for training in Kathak under the tutelage of Ram Narayan Mishra and Krishna Maharaj of Lucknow Gharana.
At the age of 13, Rani started her filmy career in Bangla films. In 1960, her adopted father brought her to Mumbai to make her the Hindi film heroine. Rani flatly refused to work in Hindi films as an actor – not even in supporting roles as she was very passionate about dancing. So, she started her Hindi film career as a dancer in ‘Nai Maa’ (1960). Thereafter she got regular dancing numbers in many Hindi films mainly during 1963-69. In the 1970s, Rani’s dancing career went in downward mode and by the end of 1970s, she was almost unemployed.
During her active period of Hindi film journey, whatever she had earned was passed on to her adopted father to look after a large number of relatives who depended on her earnings. But in this milieu, a thought never occurred to her that she needed to save money for later period in her life when her dancing career in the films would come to a close. Due to failure of her love affairs when she was in Kolkata, she had decided to remain unmarried.
With almost nothing left for her subsistence, she met her former dancer colleague and the choreographer, Gopikrishna who took her as his Assistant Choreographer at a salary sufficient to take care of her minimum requirements.
As they say, when chips are down, one gets to face more problems. One day, Rani suddenly felt that her legs have lost stamina and she can no longer dance. She started using a walking stick and with this, her days of dancing were over. But her old age woes were not yet over. While catching a bus, she lost balance and fell, badly injuring her legs. She was no longer able to walk even with a stick. Instead, she now requires a walker.
As Rani was handicapped and there was no one to look after her, she got herself admitted to a charitable old age home at the outskirt of Mumbai. Presently, she is 78 years old and is an inmate of an old age home.
Rani had a younger sister, Rashida Khatoon who was a qawwali singer. She got married to Yasuf Azad Qawwal.
As I mentioned earlier, I have listed around 55 films in which Rani had danced. Some of the major films she worked were ‘Maaya’ (1961), ‘Sautela Bhai’ (1962), ‘Mere Mehboob’ (1963), ‘Dooj Ka Chaand’ (1964), ‘Ganga Ki Lahren’ (1964), ‘Jaanwar’ (1965), ‘Dil Diya Dard Liya’ (1966), ‘Sangarsh’ (1968), ‘Sambandh’ (1969), ‘Heer Ranjha’ (1970), ‘Loafer’ (1972), ‘Pathar Aur Paayal’ (1974), ‘Ham Kisi Se Kam Nahi’ (1977) etc. Most of her other films were of B grade category in the genres of stunt, action and costumes.
Rani also worked as Assistant Choreographer to Gopikrishan in ‘Khubsoorat’ (1980), ‘Aanchal’ (1980) and ‘Kudarat’ (1981).
From our Blog, I could track down 20 songs of which 5 songs are yet to be tagged to Rani. In addition, at least 4 songs, the video clips of which are available are yet to be covered on the Blog. I am hopeful that some more songs would be found on video sharing platforms. However, there are some films of Rani which are not traceable. To that extent, her dance numbers in these films are as good as lost for the present.
I am presenting Rani’s dance song, ‘bairu bichuaa bada dukh de o ram’ from ‘Ganga Ki Lahren’ (1964). This is a classical raag-based song picturised on kathak trained dancers, Kumkum and Rani. Lata Mangeshkar sings for both the dancers. The song is written by Majrooh Sultanpuri which is set to music by Chitragupt. The end of the song is followed by a dance competition between the two dancers of about one-minute duration.
This is the 6th song (out of 8) of ‘Ganga Ki Lahren’ (1964) to appear on the Blog.
Video Clip:
Audio Clip:
Song-Bairi bichhua bada dukh den ho raam (Ganga Ki Lehren)(1964) Singer-Lata, Lyrics-Majrooh Sultanpuri, MD-Chitragupta
Lyrics
aaaa aa aa
aa aa aa
aa aa aa
aa aa aa
bairi bichhuaa
bada dukh de ho raam
shor karen
jhhan jhhan jhhan
jhhan jhhan jhhan
bairi bichhuaa
bada dukh den ho raam
shor karen
jhhan jhhan jhhan
jhhan jhhan jhhan
bairi bichhuaa
main jo chaloon to uljha den ye bol ke
main jo chaloon to uljha den ye bol ke
aadhi dagar tak main to reh jaaun dol ke
paapi na samjhe jiya ki lagan
bairi bichhuaa
bada dukh den ho raam
shor karen
jhhan jhhan jhhan
jhhan jhhan jhhan
bairi bichhu…aa
baandhoon chunar se ghoonghat ka khayaal ho
baandhu chunar se ghoonghat ka khayaal ho
zulfon se baandhoon to uthhna mohaal ho
chhote se mann ko badi uljhan
bairi bichhuaa
bada dukh de ho raam
shor karen
jhhan jhhan jhhan
jhhan jhhan jhhan
bairi bichhuaa
raat chaloon to yoon loote sukh chainwaa
raat chaloon to yoon loote sukh chainwaa
din ko jo nikloon to uthhen sau sau nainwaa
raat na dekhe
dekhe na ye din
bairi bichhuaa
bada dukh de ho raam
shor karen
jhhan jhhan jhhan
jhhan jhhan jhhan
bairi bichhuaa
bada dukh den ho ram
shor karen
jhhan jhhan jhhan
jhhan jhhan jhhan
bairi bichhu..aa
Sajni. . . Nathli Se Toota Moti Re
Posted on: May 1, 2020
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. 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 : |
4305 | Post No. : | 15576 |
Imagine, a tall and lanky young man from India, trained to be a wrestler, and a state level sportsman from Bengal, appearing in the Indian contingent at the Olympics in 1936 / 1940 / 1944. Unfortunately (or maybe fortunately) the Olympics of 1940 and 1944 were cancelled due to the ongoing World War II. Had there been peace in the world during those years, maybe the course of history of the Hindi film music may have been different.
Well OK, the previous paragraph is quite speculative. But yes, the fact is that in his younger years, PC Dey was much more inclined towards body building and wrestling. Trained by one Gorobabu, a pehalwan of repute in Bengal, he represented his institution, Vidyasagar College of Calcutta (now Kolkata) at the state level championships and reached the finals in his category. Never mind that his uncle, the renowned KC Dey, would continue to press him to take his music training more seriously. But that was not to be so. Well, for some time at least.
The young Prabodh Chandra developed weakness in his eyesight, which became a handicap in continuing his proposed career as a wrestler. Getting into the wrestling ring with eyeglasses was never a good option. And so, this vision problem coupled with the second World War eventually decided the career path for this young man. And that, to the greater gain and benefit for the music lovers of this country.
Remembering Manna Dey, the stalwart singer of Indian film industry, on the 101st anniversary of his birth today. Born in 1919, we celebrate it today in 2020.
His uncle, KC Dey would goad him, guide him and train him with a vision to for Manna Da to become one of the top singers in the country. In 1942, KC Dey was preparing music for the film ‘Tamanna’. He called upon his nephew to sing a duet with Suraiya – “Jaago Aayee Usha. . .”. With this song, the film career of Manna Dey was launched.
A little time later, Vijay Bhatt and Shankar Rao Vyas approached KC Dey to request him for playback singing in their upcoming film – ‘Ram Rajya’ (1943). Understandably, KC Dey declined the offer, since he would never give playback to any other actor. Providence would have it that the young Manna was also in the room at that time. Vijay Bhatt then directed his attention to the nephew singer. The consent was given and the agreement was in place. Manna Dey would sing for Shankar Rao Vyas in this upcoming film. The song “Tyagmayi Tu Gayi. . .” is the first solo song recorded by Manna Da.
More recordings followed. And then we come to 1950, and the film ‘Mashaal’. The song is “Upar Gagan Vishal“. Manna Dey, and his voice have arrived on to the Hindi film stage.
But then, yes, there is more to his voice than just the film songs. There is a wonderful set of non-film songs that he has recorded during his career. I bring to attention this endearingly beautiful piece, that is written by Madhukar Rajasthani. The music composition is by Manna Da himself. A wondrous song of the first tryst between the lovers. So less words, so short and sweet. And yet, the entire saga of that encounter is ensconced in this brief song of two antaraas. A small pearl from the nose pin of the damsel, gets loose and is lost. And the poet says,
kajraari akhiyaan
reh gayin roti re. . .
Beautiful, simply delightful – that is the softness of this singing voice. Manna Dey – at 101.
Song – Sajni. . . Nathli Se Toota Moti Re (Manna Dey – NFS) (1982) Singer – Manna Dey, Lyrics – Madhukar Rajasthani, MD – Manna Dey
Lyrics
sajni..ee
sajni..ee
nathli se toota moti re
nathli se toota moti re
kajraari akhiyaan
reh gayin roti re
kajraari akhiyaan
reh gayin roti re
nathli se toota moti re
sajni..ee
nathli se toota moti re
roop ki agiya
ang mein laagi
ang mein laagi
kaise chhupaa..aaye
laaj abhaagi
laaj abhaagi
manwa. . .
kehta. . .
bhor kabhi na hoti re
kajraari akhiyaan
reh gayin roti re
nathli se toota moti re
bholi dulhaniya
palken jhukaaye
palken jhukaaye
ghunghatwa mein
sehme lajaaye
sehme lajaaye
balmaa..aa
padhaaye
preet ki pehli pothi re
kajraari akhiyaan
reh gayin roti re
nathli se toota moti re
——————————————–
Hindi script lyrics (Provided by Sudhir)
———————————————
सजनी॰॰ई
सजनी॰॰ई
नथली से टूटा मोती रे
नथली से टूटा मोती रे
कजरारी अखियाँ
रह गईं रोती रे
कजरारी अखियाँ
रह गईं रोती रे
नथली से टूटा मोती रे
सजनी॰॰ई
नथली से टूटा मोती रे
रूप की अगिया
अंग में लागि
अंग में लागि
कैसे छुपा॰॰आए
लाज अभागी
लाज अभागी
मनवा॰ ॰ ॰
कहता॰ ॰ ॰
भोर कभी ना होती रे
कजरारी अखियाँ
रह गईं रोती रे
नथली से टूटा मोती रे
भोली दुलहनीया
पलकें झुकाये
पलकें झुकाये
घूंघटवा में॰ ॰ ॰
सहमे लजाये
सहमे लजाये
बलमा॰॰आ
पढ़ाये
प्रीत की पहली पोथी रे
कजरारी अखियाँ
रह गईं रोती रे
नथली से टूटा मोती 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 : |
4271 | Post No. : | 15502 | Movie Count : |
4272 |
Today, 28th March, is the remembrance day of another famous creator of musical melodies who has given us some of the most charming songs rooted in the classical music of our country. Shrinath Tripathi or SN Tripathi, passed away, this day in 1988 in Bombay, at the age of 75.
Regulars will remember the film ‘Achhoot Kanya’ (1936), and the iconic song “Main Ban Ki Chidiya Ban Ke Ban Ban Boloon Re”, so wonderfully composed by Saraswati Devi, and rendered by Ashok Kumar and Devika Rani, In an interview once, Ashok Kumar had described how this song was prepared. He was a novice at that time, and not a trained singer. He says that this song was rehearsed for almost a month before Saraswati Devi was satisfied enough to proceed to the recording room. The main stumbling notes for Ashok Kumar and for Devika Rani were the enhanced emphasis on “. . .Boloon Re” and “. . .Doloon Re”. Ashok Kumar narrates that it took him and Devika Rani one full month to render this emphasis to the satisfaction of the music director. A lesser known trivia attached to this anecdote is that SN Tripathi was the assistant music director for this film, and he conducted these rehearsals with the singers for the said one month.
Born in Benaras on 14th March, 1913, young Shrinath got associated quite early with Badriprasad, who was also from Benaras. [Note: Yes, the same Badriprasad whom we are more familiar as a character actor / music director / dance director / story and dialogue writer in Hindi films.] Badriprasad was already associated with the theatre scene in Benaras. Shrinath started to assist him with composing music for the stage plays, according to the scene and action on stage. In the company of Badriprasad, he also got wonderful opportunities to meet and listen to many other artists of classical music, vocal and instrumental, as part of the active cultural environment in the city.
Later, Badriprasad made his way to Calcutta and joined the theatre activities there, and eventually moved to films, and thence migrated to Bomabay (now Mumbai). Shrinath came to Lucknow and joined the Morris College of Music. That is where he met with Himanshu Rai and Devika Rani, who had come scouting for music talent for their production house – Bombay Talkies. They invited Shrinath to Bombay, and he joined them as a violinist and and assistant in the music department. The year would have been 1933 or 34, as his first credits are as the assistant music director for the 1934 film ‘Jeevan Naiya’.
He remained with Bombay Talkies till the release of film ‘Bhabhi’ in 1938. The he struck out, seeking assignments as an independent music director. His first break was with the film ‘Chandan’, which was apparently delayed and got released in 1941. There started a career that continued till the mid 1980s. His last film was ‘Mahasati Tulsi’ (1985). From the mid 1960s to mid 1980s, his assignments dwindled quiet a bit. The musical tastes were changing more towards orchestral and western style tunes. He got confined to religious films and regional films. Coming into the 1980s, he did only 3 films from 1981 to 1985.
As happens usually, the industry stopped paying any attention and his last years were spent in financial difficulties. He left this world after a brief illness, in 1988.
The film ‘Choodiyaan’ was released in 1942. The film was produced under the banner of Prakash Pictures and was directed by KJ Parmar and LJ Bhatt. The cast of actors included Prem Adeeb, Maya Bannerji, Jeevan, Shakir, Gulab, Bholaram, Meher Sultana, Baby Tara, Ranibala, Sitaram, Chiman Seth, Lakshmi, Vasant Kanse, Athawale, OP Sharma amongst others.
The film had eleven songs written by five lyricists – Pt Indra, prem Adib, Ramesh Gupta, Sharma and Tiwari. This song is written by Tiwari. My intuition says that the full name of this song writer is Neelkanth Tiwari. The time period is the same. His career also begins from 1941.
The song is rendered by Rajkumari (Rajkumari Dubey). The song presents a generic ode to the jewllery item ‘choodi’ (bangle). The song presents a brief description about its construction, and its importance. The beauty of the song is that it is presented as a first person i,.e. the bangle itself is presenting this song. Given that the name of the film is ‘Choodiyaan’, this song might well have been the theme song of the film, and quite possibly may have been played at the time of credits. I request more knowledgeable readers to please add more information about this song and it picturization.
With this song, the film ‘Choodiyaan’ makes its debut on our blog. 🙂
[Note: There is one word in the lyrics that I seek help from readers to decipher. It is in the second antaraa. I request other readers and friends with keener ears to please help.]
Song – Choodi Hoon Main, Ek Kahaani Hoon Main (Choodiyaan) (1942) Singer – Rajkumari, Lyrics – Tiwari, MD – SN Tripathi
Lyrics
choodi hoon main
ek kahaani hoon main
choodi hoon main
ek kahaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
choodi hoon main
ek kahaani hoon main
bana kaanch ka hai kada mera tan
bana kaanch ka hai kada mera tan
darpan sa nirmal hai par mera mann
darpan sa nirmal hai par mera mann
zara thhes pahunchi tadakti hoon main
zara thhes pahunchi tadakti hoon main
aisa hai naari ka komal ye mann
aisa hai naari ka komal ye mann
naari ke sapnon ki rani hoon main
naari ke sapnon ki rani hoon main
choodi hoon main
choodi hoon main
ek kahaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
choodi hoon main
ek kahaani hoon main
patli kalaai hai phoolon ki daal
patli kalaai hai phoolon ki daal
chidiya si us par chehakti hoon main
patli kalaai hai phoolon ki daal
chidiya si us par chehakti hoon main
pyaari ke yauwan ka main hoon basant
pyaari ke yauwan ka main hoon basant
preetam ke mann mein thhirakti hoon main
preetam ke mann mein thhirakti hoon main
laakhon baras ki jawaani hoon main
laakhon baras ki jawaani hoon main
choodi hoon main
choodi hoon main
ek kahaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
naari ke
naari ke sukh ki nishaani hoon main
choodi hoon main
ek kahaani hoon main
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
चूड़ी हूँ मैं
एक कहानी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं
बना काँच का है कड़ा मेरा तन
बना काँच का है कड़ा मेरा तन
दर्पण सा निर्मल है पर मेरा मन
दर्पण सा निर्मल है पर मेरा मन
ज़रा ठेस पहुंची तड़कती हूँ मैं
ज़रा ठेस पहुंची तड़कती हूँ मैं
ऐसा नारी का कोमल ये मन
ऐसा नारी का कोमल ये मन
नारी के सपनों की रानी हूँ मैं
नारी के सपनों की रानी हूँ मैं
चूड़ी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं
पतली कलाई है फूलों की डाल
पतली कलाई है फूलों की डाल
चिड़िया सी उस पर चहकती हूँ मैं
पतली कलाई है फूलों की डाल
चिड़िया सी उस पर चहकती हूँ मैं
प्यारी के यौवन का मैं हूँ बसंत
प्यारी के यौवन का मैं हूँ बसंत
प्रीतम के मन में थिरकती हूँ मैं
प्रीतम के मन में थिरकती हूँ मैं
लाखों बरस की जवानी हूँ मैं
लाखों बरस की जवानी हूँ मैं
चूड़ी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
नारी के
नारी के सुख की निशानी हूँ मैं
चूड़ी हूँ मैं
एक कहानी हूँ मैं
This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
3991 | Post No. : | 15084 | Movie Count : |
4138 |
Has anyone seen today’s google doodle?!!!!
It is dedicated to our dear Mogambo a.k.a Durgaprasad Bharadwaj a.k.a Chaudhry Baldev Singh a.k.a Thakur Durjan Singh a.k.a Balwant Rai a.k.a Kishorilal a.k.a Amrish Puri. He would have been 87 today.
Feels like they have appreciated some one close to our family. The doodle shows him in the look he sported for DDLJ – ‘Dilwaale Dulhaniya Le Jayenge’ (1995) as Chaudhry Baldev Singh. That movie is remembered as much for the last scene where the Chaudhry tells his daughter,
“jaa beta jaa. Apni Raj ke paas jaa. Jaa Simran, jee le apni zindagi jaa beta jaa”
The last scene can be seen on YT at https://www.youtube.com/watch?v=eAaL5HZC5YI. The movie is remembered for this last scene, as much for all the romance and romantic songs that it had.
Can anyone forget his character ‘Dong’ in the movie ‘Tehalka’ (1992) where he kept repeating “Dong kabhi wrong nahi hota” much on the lines of “Mogambo khush hua” from ‘Mr. India’ (1987). Here I must admit that I haven’t seen ‘Tehalka’ but if I am not wrong, ‘Dong’ and his song “Shom Shom Shom Shomo sha sha” is the only thing in public memory from that movie.
There have been similar movies where this much-loved character actor, with a very distinct voice, was the only saving grace. He has played an almost equal number of benevolent characters as in the 1999 release ‘Gair’ as he has played his malevolent characters. He has tried his hand at singing (the above-mentioned song of ‘Tehalka’ was in his voice) and shaking a leg too and looked as if he enjoyed dancing.
Today’s song shows him in his dancing element. It is from the 1998 Rajkumar Santoshi produced and directed ‘China Gate’. It has music by Anu Malik with Sameer as the lyricist. The song shows him dancing in the company of the folk dancer played by Urmila Matondkar, KD Chandran, Tinnu Anand, Viju Khote, Jagdeep, Anjaan Shrivastav, Sameer Soni, and Harish Patel.
Remembering Amrish Puri in this very lively avataar
Audio
Video
Song – Chhamma Chhamma Baaje Re Meri Painjaniya (China Gate) (1998) Singer – Alka Yagnik, Vinod Rathor, Shankar Mahadevan, Lyrics – Sameer, MD – Anu Malik
Female Chorus
Male Chorus
Lyrics
dekha dekhi dil mera jud gaya re
leke pardesi dil ud gaya re
dekha dekhi dil mera jud gaya re
leke pardesi dil ud gaya re
chhamma chhamma (alka yagnik)
ae chhamma chhamma
chhamma chhamma baaje re meri painjaniyaan
re chhamma chhamma baaje re meri painjaniyaan
tere paas aaun
teri saanson mein samaoon raja
tere paas aaun
teri saanson mein samaoon
teri neendein chura loon
chhamma chhamma
he chhamma chhamma
chhamma chhamma baaje re teri painjaniyaan
tere paas aaun
teri saanson mein samaoon raja
tere paas aaun
teri saanson mein samaoon
teri neendein chura loon
chhamma chhamma
hey chhamma chhamma
dekha dekhi dil mera jud gaya re
chhak chhaka chhak chhak chhaka
leke pardesi dil ud gaya re
chhak chhaka chhak chhak chhaka
oy oy oy.
ooooo oooo
oohhooo oohhoo
oohhooo oohhoo
oohhooo oohhoo
oohhooo oohhoo
ye mera lehenga
bada hai mehenga
isse na haath laga
dila doon bangla
dila doon gaadi
deewani saath to aa
dila doon bangla
dila doon gaadi
deewani saath toh aa
meri baali hai umar
mujhe lagta hai darr
meri baali hai umar
mujhe lagta hai darr
na kar beimaani
chhamma chhamma baaje re teri painjaniyaan
chhamma chhamma
ae chhamma chhamma
dekha dekhi dil mera jud gaya re
chhak chhaka chhak chhak chhaka
leke pardesi dil ud gaya re
chhak chhaka chhak chhak chhaka
chhak chhaka chhak chhak chhaka
chhak chhaka chhak chhak chhaka
hila doon up
hila doon mp
jo maaroon main thumka
tere thumke pe
haaroon main patna
main haaroon kalkatta
tere thumke pe
haaroon main patna
main haaroon kalkatta
meri patli kamar
meri tirchi nazar
meri patli kamar
meri tirchi nazar
meri chadthi jawaani
chhamma chhamma
ae chhamma chhamma
chhamma chhamma
ae chhamma chhamma
tere paas aaun
teri saanson mein samaoon raja
tere paas aaun
teri saanson mein samaoon raja
teri neendein chura loon
chhamma chhamma baaje re teri paijariya
dekha dekhi dil mera jud gaya re
chhak chhaka chhak chhak chhaka
leke pardesi dil ud gaya re
chhak chhaka chhak chhak chhaka
chhamma chhamma
ae chhamma chhamma
chhamma chhamma
ae chhamma chhamma
teri neendein chura loon
chhamma chhamma
dekha dekhi dil mera jud gaya re
oo oy chhamma chhamma
ae chhamma chhamma aa aaa
Ho gayi gum gayi gum gayi gum gayi
Posted on: March 18, 2018
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 : | 3530 | Post No. : | 14179 |
“Anokhi Ada”(1973) was produced and directed by Kundan Kumar for Kundan Films, Bombay. The movie had Jeetendra, Rekha, Vinod Khanna, Mehmood, Padma Khanna, Nazeer Hussain, Manmohan Krishn, Kanhaiyya Lal, Brahmchaari, Praveen Pal, Keshav Rana, Sanjana, Shetty, Abhimanyu Sharma, Narbada Shankar, Anand Joshi, Deenanath, Ajit Soni, Bihari, Vijendar Bannerji etc with guest appearances by Manmohan and Jeevan.
The movie had five songs in it. Three of these songs were covered in the blog in 2008. After than nearly ten years have passed without another song from the movie being discussed.
Here is the fourth song from “Anokhi Ada”(1973) to appear in the blog. The song is sung by Asha Bhonsle. Majrooh Sultanpuri is the lyricist. Music is composed by Laxmikant Pyarelal.
The song is picturised as a dance song on Padma Khanna and other female dancers with village folks watching the performance. In the past, we had Sadhana losing her jhumka. Here Padma Khanna has lost her Nathhni. In both these occasions, it is Asha Bhonsle, who reports about the missing ornament.
Audio
Video
Song-Ho gayi gum gayi gum gayi gum gayi gum gayi(Anokhi Ada)(1973) Singer-Asha Bhonsle, Lyrics-Majrooh Sultanpuri, MD-Laxmikant Pyarelal
Lyrics
ho
gayi gum gayi gum gayi gum gayi gum gayi
ho
gayi gum gayi gum gayi gum gayi
ho meri nathhni hi gum gayi neem tale
ho gayi gum gayi gum gayi gum gayi
kaahe ko dol gayi shaam dhale neem tale
ho
gayi gum gayi gum gayi gum gayi
thhi main akeli na koi saath
ik chhore ne dhar linho haath
chheen jhapat mein ho gayi raat
ho meri nathni gum gayi neem tale
ho gayi gum gayi gum gayi gum gayi
kahe ko dol gayi sham dhale neem tale
ho gayi gum gayi gum gayi gum gayi
thi mai akeli na koi saath
ik chhore ne dhar li no hath
chheen jhapat mein ho gayi raat
ho meri nathhni gum gayi neem tale
ho gayi gum gayi gum gayi gum gayi
kaahe ko dol gayi shaam dhale neem tale
ho gayi gum gayi gum gayi gum gayi
khoyi sone ki nathhani raam bhayi
upar se haan
upar se haan haan
upar se badnaam sakhi
haaye mohe dar laage
hoga kya aage
khoyi sone ki nathhani raam bhhayi
upar se haan
upar se haan haan
upar se badnaam sakhi
haaye mohe dar laage
hoga kya aage
haaye haaye raama yoon bebasi
ankhiyan aansu mukh pe hansi
yahi ab sochoon baithhi aaj
baat to phaili ban ke aag
laga re baalepan mein daag
hayae re meri nathni hi gum gayi neeme tale
ho
gayi gum gayi gum gayi gum gayi
kaahe ko dol gayi sham dhale neem tale
ho
gayi gum gayi gum gayi gum gayi
gayi thhi taaron ki chaanv mein hallaa
mach gaya re haan
mach gaya re haan haan
mach gaya re
gaanv mein bairi haaye wahi dabka thha
jaane kab se re
gayi thi taro ki chaanv mein
halla mach gaya re haan
mach gaya re haan haan
mach gaya re
gaanv mein bairi haaye wahin dabka thha jaane kab se re
haaye haaye raama yoon bebasi
ankhiyan aansu mukh pe hansi
yahi ab sochoon baithhi aaj
baat to phaili ban ke aag
laaga re baalepan mein daag
ho haye re meri nathni hi gum gayi neeme tale
ho gayi gum gayi gum gayi gum gayi
kaahe ko dol gayi shaam dhale neem tale
ho gayi gum gayi gum gayi gum gayi
kahaan gum gayi gum gayi gum gayi
dhoondhho re gum gayi gum gayi gum gayi
o kahaan gum gayi gum gayi gum gayi
haay haay gum gayi gum gayi gum gayi
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 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.
A few days back, I had mentioned in one of my articles in the Blog that I regard 1940s as the transitional phase for Hindi film music which paved the way for the arrival of the golden period of Hindi film music in 1950s and 1960s. The music director who triggered the ‘renaissance’ period of the 1940s in Hindi film music was Master Ghulam Haider. His song compositions in ‘Khazaanchi’ (1941) revolutionised Hindi film music. One of the popular songs from the film Saawan ke nazaare hain (Khazaanchi) was a trend setter not only for Hindi film music but also for the picturisation of the song.
Read more on this topic…
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
Recent comments