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

Archive for the ‘Pathos’ Category


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

Blog Day : 3834 Post No. : 14842

Today is the 93rd birth anniversary of O P Nayyar (16 january 1926- 28 january 2007).

According to my calculations, O P Nayyar worked in 73 movies and he composed 569 songs in these movies.

This blog has 472 songs from these movies. So, all 73 Hindi movies where O P Nayyar composed music are represented in the blog. 49 of these movies are already YIPPEED. 24 more of movies with O P Nayyar music are yet to be YIPPEED. In addition, one Non movie song composed by O P Nayyar has also been covered in the blog.

So, just under one hundred of O P Nayyar compositions remain to be covered.

Here is the filmography of O P Nayyar:-

Movie Year No of songs in the blog No of songs in the movie Remarks
Aasmaan 1952 8 8 YIPPEED
Chham Chhama Chham 1952 9 11
Baaz 1953 8 8 YIPPEED
Aar Paar 1954 8 8 YIPPEED
Mangu 1954 4 4 Md Shafi composed 3 other songs
Mehbooba 1954 5 5 Roshan composed 4 other songs
Baap Re Baap 1955 11 11 YIPPEED
Miss Coca Cola 1955 8 8 YIPPEED
Mr and Mrs 55 1955 8 8 YIPPEED
Musaafirkhaana 1955 8 8 YIPPEED
Sabse Bada Rupaiyya 1955 6 6 Naashaad composed 3 other songs
Bhaagam Bhaag 1956 10 10 YIPPEED
Chhoomantar 1956 10 10 YIPPEED
C I D 1956 7 7 YIPPEED
Dhaake ki Malmal 1956 7 7 One song by Robin Chatterji
Ham Sab Chor Hain 1956 9 9 YIPPEED
Mr Lambu 1956 8 8 YIPPEED
Naya Andaaz 1956 11 11 YIPPEED
Shrimati 420 1956 8 9 Tum to hamre man mein bhagwaan ban ke base ho- this balance song in untreceable as of now
Bade Sarkaar 1957 4 4 YIPPEED
Duniya Rang Rangeeli 1957 8 8 YIPPEED
Johny Walker 1957 6 6 YIPPEED
Maai Baap 1957 6 6 YIPPEED
Naya Daur 1957 9 9 YIPPEED
Qaidi 1957 5 8
Tumsa Nahin Dekha 1957 6 6 YIPPEED
Ustaad 1957 7 7 YIPPEED
12 o clock 1958 7 7 YIPPEED
Farishta 1958 6 6 YIPPEED
Howrah Bridge 1958 8 8 YIPPEED
Kabhi andhera Kabhi Ujaala 1958 5 9
Mr Qartoon MA 1958 5 8
Mujrim 1958 8 8 YIPPEED
Phagun 1958 11 11 YIPPEED
Raagini 1958 8 12 YIPPEED
Sone Ki Chidiya 1958 8 8 YIPPEED
Do Ustaad 1959 8 8 YIPPEED
Basant 1960 10 14
Jaali Note 1960 8 8 YIPPEED
Kalpana 1960 5 10
Mitti Mein Sona 1960 7 7 YIPPEED
Ek Musaafir Ek Haseena 1962 12 12 YIPPEED
Hongkong 1962 9 9 YIPPEED
Phir Wohi Dil Laaya Hoon 1963 9 9 YIPPEED
Kashmir Ki Kali 1964 9 9 YIPPEED
Mere Sanam 1965 9 9 YIPPEED
Akalmand 1966 7 9
Bahaaren Phir Bhi Aayengi 1966 6 6 YIPPEED
Do Dilon Ki Daastaan 1966 7 8
Love and Murder 1966 2 6
Mohabbat Zindagi Hai 1966 5 8
Saawan Ki Ghata 1966 8 8 YIPPEED
Ye Raat Phir Na Aayegi 1966 8 8 YIPPEED
CID 909 1967 6 6 YIPPEED
Naseehat 1967 3 6
Dil Aur Mohabbat 1968 6 6 YIPPEED
Hamsaaya 1968 7 7 YIPPEED
Kahin Din Kahin Raat 1968 7 7 YIPPEED
Kismat 1968 5 5 YIPPEED
Shrimaanji 1968 3 6
Sambandh 1969 5 12
The Killers 1969 1 6
Aisa Bhi Hota Hai 1971 1 4
Ek Baar Muskura Do 1972 8 8 YIPPEED
Pran Jaaye Per Vachan Na Jaaye 1973 6 6 YIPPEED
Taxi Driver 1973 6 6 YIPPEED
Khoon Ka Badla Khoon 1978 1 8
Bin Maa Ke Bachche 1979 1 6
Heera Moti 1979 3 6
Muqaddar Ki Baat (UR) 1983 1 8
Mangni 1992 1 8
Nishchai 1992 1 6
Zidd 1994 1 7
Total 473 569 YIPPEEED movies=49

As a tribute to O P Nayyar on the occasion of his birth anniversary, here is a song from “Raagini” (1958). This movie was produced by Ashok Kumar and Ganesh and directed by Rakhan for Ashok Productions, Bombay. This “social”movie had Ashok Kumar, Kishore Kuamr, Padmini, Jabeen, Baalam, Sundar, Nazeer Hussain, Achla Sachdev, Ameer Banu, Protima devi, Rajendra, Master Vinod, Baby Leela, Navmi, Ifthhikar, Jamal, Mirajkar, Kathana, < Bhardwaj, Narbada Shankar, Master Raja etc in it.

The movie had twelve songs in it. Eight of these songs have been covered.

Here is the ninth song from "Raagini"(1958) to appear in the blog. The song is sung by Asha Bhonsle. Jaan Nisaar Akhtar is the lyricist. Music is composed buy O P Nayyar.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Dil todne waale bata ke jaa (Raagini)(1958) Singer-Asha Bhonsle, Lyrics-Jaan Nisaar Akhtar, MD-O P Nayyar

Lyrics

dil todne waale bata ke ja
dil todne waale bata ke ja
dil todne waale bata ke ja
maine tera kya kiya
oye maine tera kya kiya
maine tera kya kiya
oye maine tera kya kiya
dil todne waale bata ke ja
dil todne waale bata ke ja

aa aa
ro ro ke maine pukaara tujhe
toone chhoda magar besahaara mujhe
ro ro ke maine pukaara tujhe
tune chhoda magar besaahaara mujhe
mujhko rulaake kaha chal diya
dil todne waale bata ke ja
dil todne waale bata ke ja
maine tera kya kiya
oye maine tera kya kiya
maine tera kya kiya
oye maine tera kya kiya
dil todne waale bata ke ja
dil todne waale bata ke ja

ye sooni raahen andhera sama
ye sooni raahen andhera sama
ye sooni raahen andhera sama
is dil ko maia leke jaaun kahaan
is dil ko main leke jaaun kahaan
jaaun kahaan haaye jaaun kahaan
dil todne waale bata ke ja
dil todne wale bata ke ja
maine tera kya kiya
oye maine tera kya kiya
maine tera kya kiya
oye maine tera kya kiya
dil todne waale bata ke ja
dil todne waale bata ke ja

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Blog Day : 3824 Post No. : 14827

“Manzoor”(1949) was directed by Subodh Mitra for New Theatres, Bombay. The movie had Asit Baran, Bharati, Chhabi Biswas, Chandrawati, Bhupendra Kapoor, Latika, Aditya Ghosh, Asita Bose, Tulsi Chakravarty, Manorama, Jharna, Master Khurshid, Ram Pyari, RP Kapoor, Prem Kumari, Shaukat Shah etc in it.

The movie had six songs in it. Three of them have been covered in the past.

Here is the fourth song from “Manzoor”(1949) to appear in the blog. This song is sung by Ila Ghosh. Pt Bhushan is the lyricist. Music is composed by Pankaj Mullick.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.

I have not been able to get one (may be more than one ) word right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.


Song-Wo din na rahe raaten na rahin (Manzoor)(1949) Singer-Ila Ghosh, Lyrics-Pt Bhushan, MD-Pankaj Mullick

Lyrics

Wo din na rahe ae ae
raaten na rahin
apne bigde begaane
sab sukh ke saathi chhoot gaye
dukh aaya hamen manaane ae ae
armaanon ki ik bagiya thhi ee
armaanon ki ik bagiya thhi
har daal pe sukh ka jhoola thha
har kali madhur muskaati thhi
har phool khushi se phoola thha
ik halki ee ee ee
ik aisi ulti hawa chali
toote sab sapne suhaane
apne bhi huye begaane

aasha thhi
aasha thhi jeewaan saagar se
munh maange moti paayenge
dil dil ii bhaasha samjhega
nainon ko nain lubhaayenge
ab dil ki ee ee
ab dil ki ye dukh bhari kahaani gaaun
?? jise sunaaun
apne bhi huye begaane


This article is written by Bharat Upadhyay, 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 : 3823 Post No. : 14826

Today, Jaunuary 5th is 37th death anniversary of our dear Chitalkar Ramchandra. How can we miss our Anna Saheb today from our musical Blog, ASAD?

So here is a song from 1949 film “Namoona”, sung by the undisputed Gaan Saraswati, Hema Hardikar.

A social film produced by M & T Films, Bombay, (for those who wonder at this name, a little info that the city Mumbai was called ‘Bombaay’ then.) and directed by Heera Singh, the cast included Kamini Kaushal, Dev Aanand, Kishore Sahu, Leela Chitnis, Cuckoo Moray, Gulab, Pratima Devi, Madan Puri, Heera Sinha, Shyama, Shanti Madhok, Sanyal, Narmada Shankar, S Bose, Niranjan, CP Dixit, CL Shah, Gopal Sharma, Madan Shetty, BN Avasthi, Swartha, Malhotra and others.

There were six Lyricist viz, PL Santoshi, Nakhshab, A Shah Shikarpuri, Gulshan Jalalabadi and Raja Mehdi Ali Khan. Music was set by our Anna Saheb Chitalkar Ramchandra. There were nine songs, 4 Hemaji’s solos one duet of Hema-Rafi and 4 songs by Shamshad Begum. Six songs are already present in our Blog.

On the occasion of 37th remembrance anniversary of C Ramachandra, I have selected a pathos filled song of my liking which is a rare song with GOOD taste. The song is ‘mujh ko sazaayen deke kisi ke gunaah ki’ from Namoona 1949. The song is sung by Hema. The lyrics are penned by Raja Mehdi Ali Khan. The composition is melodious.

Editor note-Those who wonder who Hema Hardikar is, that is the original name of Lata Mangeshkar. 🙂

Video (First stanza incomplete)

Audio (Last stanza missing)

Song-Mujhko sazaayen de ke kisi ke gunaah ki (Namoona)(1949) Singer-Lata, Lyrics-Raja Mehdi Ali Khan, MD-C Ramchandra

Lyrics (Provided by Sadanand Kamath)

Mujhko sazaayen de ke kisi ke gunaah ki ee
bhagwaan toone kyun
bhagwaan toone kyun
meri duniya tabaah ki
Mujhko sazaayen de ke kisi ke gunaah ki ee
bhagwaan toone kyun
bhagwaan toone kyun
meri duniya tabaah ki
mujhko sazaayen de ke

nanhe se ek dil ko diye toone gham pe gham
nanhe se ek dil ko diye toone gham pe gham
is zindagi ki raah mein ab thhak gaye kadam
main dhool bhi na ban saki preetam ke raah ki ee
bhagwaan toone kyun
bhagwaan toone kyun
meri duniya tabaah ki
mujhko sazaayen de ke

ab kya kahoon ke dard se main choor choor hoon
ab kya kahoon ke dard se main choor choor hoon
mujhko in aansuon ki kasam bekusoor hoon
tujhko pukaare bebasi meri nigaah ki
bhagwaan toone kyun
bhagwaan toone kyun
meri duniya tabaah ki ee
mujhko sazaayen de ke

duniya mein ab mere liye koi khushi nahin
duniya mein ab mere liye koi khushi nahin
jeene ko jee rahi hoon magar zindagi nahin
ab maut se karoongi main soorat nibaahti(?)
bhagwaan toone kyun
bhagwaan toone kyun
meri duniya tabaah ki
mujhko sazaayen de ke


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 : 3812 Post No. : 14810

Today, the December 25, 2018 is the Remembrance Day of music Director, Eric Roberts akka Vinod (22/05/1922 – 25/12/1959) who left for the heavenly abode on this day of 1959 at a prime age of 37. Vinod has been one of my favourite music directors who mostly followed the ‘Punjabi Ang’ of music, introduced in Hindi films by Pandit Amarnath. He composed top class melodies in Hindi and Punjabi films. His musical career started with ‘Khamosh Nighaaen’ (1946) and composed music for 28 Hindi films till his death in 1959.

Vinod came into prominence in his filmy musical career with his excellent song compositions in ‘Ek Thhi Ladki’ (1949). One of songs from this film laara lappa laara lappa laai rakhdaa became very popular. Both Mohammed Rafi and Lata Mangeshkar sang for Vinod for the first time in this film. Despite this success, he had to share music direction in a few subsequent films with other music directors. Most of such films failed at the box office despite his good music. With this kind of his filmy career, he joined the list of talented music directors who could not sustain their successes to reach in the top bracket of the music directors.

In 1949, music director Shankar-Jaikishan made a successful debut in ‘Barsaat’ (1949). S D Burman had his first major success as a music director in ‘Shabnam’ (1949). Both these music directors consolidated their positions in the Hindi film industry after their first success. One of the main reasons for their long successful careers, in my view, was that both of them were selective in choosing the films, that too from the top banners. As against these, Vinod, after the success of ‘Ek Thhi Ladki’ (1949), continued to be mostly associated with ‘B’ grade film banners. Though a few of such films were moderately successful, it was not enough to attract attention from the top banners. In Hindi film industry, if one gets branded as a music director of ‘B’ grade films, it is very difficult to get entry into the top banners.

A few select songs among others composed by Viond are listed below as my favourite:

Song Singer(s) Movie (year)
badla nazar aata hai Satish Batra-Premlata ‘Taara’ (1949)
ye shokh sitaare Lata-Rafi ‘Ek Thhi Ladki’ (1949)
taare wohi hain chaand wohi hai Lata ‘Anmol Ratan’ (1950)
kaaga re jaa re jaa re Lata ‘Wafa’ (1950)
nighaahon ko jab aa gayaa musukuraana Sulochana Kadam ‘For Ladies Only’ (1951)
mere barbaadiyon per muskuraane aa gaya koi Lata ‘Sabzbaagh’ (1951)
chupke se na jaa o man ke raaja Asha Bhonsle ‘Aag Ka Dariya’ (1953)
mere dil jhoom zara S Balbir ‘Mumtaz Mahal’ (1957)

Among the male playback singers, who sang for Vinod, Mohammed Rafi topped the list with 33 songs. Among the female playback singers singing for him, Asha Bhonsle took the honour of singing the maximum songs (82).

As a tribute to music director, Vinod, I have selected one of my favourite songs ‘ashqon ka gar hai maut kinaara jawaab do’ rendered by Asha Bhonsle for the film ‘For Ladies Only’ (1951). The film seems to have got delayed as I remember to have seen an advertisement of this film in an old film magazine of 1949 as ‘Titlee’. Probably, at the time of the censor certification, the name of the film was changed to ‘For Ladies Only’. The film was directed by Vedi. The star cast included Kuldeep Kaur, Kamal Mehra, Satish, Sadhana Bose, Rupa Verman etc.

There were 8 songs in the film with 6 lyricists and 8 playback singers. The song under discussion was written in a ghazal format by ‘Sharma’ which I presume to be Buta Ram Sharma. Narendra Sharma never wrote ghazals for the films and Kidar Sharma rarely wrote lyrics for other banners.


Song-Ashqon ka gar hai maut kinaara jawaab do (For Ladies Only)(1951) Singer-Asha Bhonsle, Lyrics-Butaram Sharma, MD-Vinod

Lyrics

ashqon ka gar hai maut kinaara jawaab do
ashqon ka gar hai maut kinaara jawaab do
ulfat ko phir hai kiska sahaara jawaab do
ashqon ka gar hai maut kinaara jawaab do

bulbul chaman ko chhod bayabaan jaa rahe
bayabaan mein jaa rahen
kaise karoge tum ye gawaara jawaab do
ashqon ka gar hai maut kinaara jawaab do

jinse thhi zindagi wo hi jab gair ho chale
jab gair ho chale
phir aur kaun hoga hamaara jawaab do
ashqon ka gar hai maut kinaara jawaab do

dil ro raha hai apni tasalli ke vaaste
tasalli ke vaaste
jaaye kahaan ye dard ka maara jawaab do
ashqon ka gar hai maut kinaara jawaab do


This article is written by Nahm, 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 :

3773 Post No. : 14750 Movie Count :

4034

na tu zameen ke liye hai na aasmaan ke liye
tera wajood hai sirf dastaan ke liye
 

palat ke su-e-chaman dekhne se kya hogaa
wo shaakh hi na rahi jo thhi aashiyaan ke liye

garaz paarast jahaan mein wafaa talaash na kar
ye shai bani hai kisi dusre jahan ke liye

Thus wrote Sahir Ludhianvi for the film ‘Daastaan’ (1972). Here he takes a cue from Allama Iqbal who said ….

na tu zameen ke liye hai na aasmaan ke liye
jahaan hai tere liye tu nahin jahaan ke liye

Ever the cynic….

Whereas Iqbal was always motivational, Sahir had an inverted view of things.  Maybe this solitude and despair was because of ‘Pyasaa” or vice versa.  Take the instance of “Wo Sub’ha Kabhi To Aayegi“ in the film ‘Phir Subah hogi’ (1958). These verses are said to have inspired his contemporary Jaan Nisaar Akhtar to write the song “Gham Ki Andheri Raat Mein” in ‘Susheela’ (1966), with the lines,

gham ki andheri raat mein dil ko na beqaraar kar
sub’ha zaroor aayegi, sub’ha ka intezaar kar

Just last week, I was thinking about the Hindi poem I had written in 2016. It was published in my office magazine. This poem has some heavy references of Sahir’s songs.  And that I should write a post about Sahir Ludhianvi on his anniversary. But for some reason I had the impression that his death anniversary falls in June or July. I thought I will look up on the blog for the birth anniversary and if it is anytime soon I will write a post.

As it happened my office computer was out of order last week and it returned to work only on Friday and there is no lap-top currently in my use at home, I missed the opportunity to write this article on time. It was Raja ji’s article which alerted me to the fact of Sahir Ludhianvi’s death anniversary on 25th October.

Before I get to the song in hand, let’s take a look at my poem.  This is rather long and I am told it lacks something.  But this is the finished product:

कोशिश करने वालों की कभी हार नहीं होती ?

सुना मैंने के कोशिश करने वालों की कभी हार नहीं होती
सोचा के अपनी सी कुछ कोशिश मैं भी कर देखूं
कोशिश एक जद्द-ओ-जहद हालात को बेहतर करने की
कोशिश जो हर एक करे खुद को बेहतर इंसान बनाने की
कोशिश वो जो अपने परिवार की, सम्मान की रक्षा की
कोशिश के ऐसे जीऐं अपना स्तर उँचा हो नजर में खुदा की
कोशिश वो जो हो इज्जत से जीने की और इज्जतदार मरने की
फिर कहें
कि कोशिश करने वालों की कभी हार नहीं होती ।

फिर कहा किसी ने कि मरने की बात क्यू करें
मौत में कैसी इज्जत कैसी आबरू
क्यूं जब मर कर बाबुल से नजरें मिलाना है
तो जीना और मरना ऐसे रहे के अपना सर उँचा हो
ये ना हो कि बहू और बेटी को बाजार में खड़ा करे
और कहें कि
कोशिश करने वालों की कभी हार नहीं होती ।

शायद ये साहिर नें 1957 में लिखा हो के
“संसार की हरेक बेशर्मी
गुरबत की गोद में पलती है”
सोचने लगी के क्या ये आज भी सच है
कोई सोचे या नहीं, बात काबिले गौर है
क्यूं की
कोशिश करने वालों की कभी हार नहीं होती ।

और कहा साहिर ने के
“अवतार पयंबर जनती है,
फिर भी शैतान की बेटी है”
मुझे लगा जैसे आज मैं ही बैठी हूं
किसी टेलीविजन के ‘टॉक शो’ पर
और दुहार लगाई हूं “फ्रीडम ऑफ एक्सप्रेशन” की
वहां तक,
कोशिश करने वालों की कभी हार नहीं होती ।

आज का दौर हम सब ‘अय्याश’!
माडर्न और सैवी होने का हमें फक्र है

‘अय्याश’ इतना ‘ओल्ड फैशन्ड’ शब्द है,
की ‘हम अय्याश’ सुन कर सब चौंके,
अय्याश वो है जो ऐश में डूबा हुआ है
जिंदगी के मजे लेने में, जानों और पहचानों
“औरत ने जन्म दिया मर्दों को, मर्दों ने उसे बाजार दिया”
और तो
कोशिश करने वालों की कभी हार नहीं होती ।

मेरी बहनों और बेटियों, अपनी इज्जत अपने हाथ
जब खुद अपनी इज्जत करना सीख जाओ
के औरों को तुम्हारी इस्मत पर नजर डालते शरम आये
संघर्ष का सब से बड़ा मैदान यहीं है के
कोख में अपनी बेटी का कत्ल ना होने देना हरगिज
और ना खुद को शैतान की बेटी बनने दो,
बात बहुत बड़ी मेरी तुच्छ कलम कह गयी
सच है,
कोशिश करने वालों की कभी हार नहीं होती ।

ओ बाबुल प्यारे, मुझे नाज से लाड से पालने वाले
कल तू मुझे संजोता, संवारता था और ससुराल भेजता
कल मैं तेरी आँखों की चमक और पगड़ी का फक्र थी
आज ये हाल है, कि हम अपनी बेटियों को परदेसी कर देते हैं
ताकि वो अपनी पोजिशन बनाये दुनियाँ में
जाओ,
के कोशिश करने वालों की कभी हार नहीं होती ।

नतीजा ये की आज दुनियाँ की कोई गैर-जरूरी चीज नहीं
जिसे बेचने में मेरा इस्तेमाल नहीं होता
आज मैं हर अखबार में हर फिल्मी पोस्टर में
हर पल हर वक्त बेची और खरीदी जाती हूं
मजे की बात तो ये हुई के मुझे एहसास तक नहीं
की मैं हर लम्हे कितनी “निर्भय” हो गई इस बाजार में
पता है, कोशिश करने वालों की कभी हार नहीं होती
अगर ये मेरी और तुम्हारी हार नहीं है
तो कोई मुझे बताये कि ये क्या है?

ये कैसी कोशिश है
कि हर तरह से मेरी हार होती है ।

Sounds rather like a long story.  But the story is original and sort of a parody of the original ‘Koshish Karnewaalon Ki Kabhi Haar Nahin Hoti” by Harivansh Rai Bachchan.

Now moving to the song in hand, from the film ‘Begum Jaan’ (2017).  This is an adaptation of the original song in “Phir Subah Hogi”(1958) written by Sahir Ludhianvi.   Only a word in the mukhda is changed and the whole song in re-rendered by Arjit Singh and Shreya Ghoshal. Credit for the lyrics and composition is given to Sahir Ludhianvi and Khayyam.
(As per myswar.com  http://myswar.co/song_details/begum-jaan-2017-woh-subah-hami-se-aayegi-7 )

A big fan of Arjit Singh I am not and this particular rendition has not endeared him to me.  I believe singing has to be of words and uttering words in a loose manner somehow dilutes the impact.  I don’t know if the singing here was required this way due to the situation, as I haven’t seen the movie.   The background music is a haunting fall back on “Tadap Tadap Ke Iss Dil Se” (‘Hum Dil De Chuke Sanam’, 1999). While listening to this and the original by Khaiyyam I was reminded of “Dekh Lo Aaj Hum Ko Ji Bhar Ke” (‘Baazaar’, 1982) as well as “Najariyaa Ki Maari” (“Pakeezah”, 1971).

This is a tribute to the poet of such inimitable songs such as:

Tum Mujhe Bhool Bhi Jaao To Ye Haqq Hai Tum Ko

Tum Agar Mujh Ko Na Chaaho To Koi Baat Nahi

Chalo Ek Baar Phir Se Ajnabi Ban Jaayen Ham Donon

Jaane Wo Kaise Log Thhe Jin Ke Pyar Ko Pyar Mila

Mann Re Tu Kaahe Na Dheer Dhare

And many more such songs.

[Editor’s Note: The delay in publication is an oversight of the editors, the author had sent in this contribution just in time.]


Song – Wo Sub’ha Ham Hi Se Aayegi (Begum Jaan) (2017) Singer – Arijit Singh, Shreya Ghoshal, Lyrics – Sahir Ludhianvi, MD – Khayyaam
Arijit Singh + Shreya Ghoshal
Chorus

Lyrics

in kaali sadiyon ke sar se
jab raat ka aanchal dhhalkega aa
aaaa aaaaa aaaaaaaaa
jab dukh ke baadal pighlenge
jab sukh ka saagar chhalkega aa
aaa aaa aaa aaa
jab ambar jhhoom ke naachega
jab dharti naghme gaayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi

jis sub’ha ki khaatir jug jug se
ham sab mar mar ke jeete hain

aaa aaa aaa
jis subah ki amrit ki dhun mein
ham zehar ke pyaale peete hain
in bhooki pyaasi roohon per
ek din to karam farmaayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi

maana ke abhi tere mere
armaanon ki qeemat kuch bhi nahin

hmm hmm hmm
mitti ka bhi hai kuchh mol magar
insaanon ki qeemat kuchh bhi nahin
aa aa aa
insaanon ki izzat jab jhoothhe
sikko mein na toli jaayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi
woh sub’ha hameen se aayegi

———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————

इन काली सदियों के सर से
जब रात का आँचल ढलकेगा
आssss आssss आssssssss 
जब दुख के बादल पिघलेंगे
जब सुख का सागर छलकेगा
आss आss आss आss
जब अम्बर झूम के नाचेगा
जब धरती नग़मे गाएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी

जिस सुबहा की खातिर जुग जुग से
हम सब मर मर के जीते हैं
आss आss आss
जिस सुबहा के अमृत की धुन में
हम ज़हर के प्याले पीते हैं
इन भूखी प्यासी रूहों पर
एक दिन तो करम फरमाएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी

माना के अभी तेरे मेरे
अरमानों की क़ीमत कुछ भी नहीं
हम्ममम हम्ममम हम्ममम
मिट्टी का भी है कुछ मोल मगर
इन्सानों की क़ीमत कुछ भी नहीं
आs आs आs
इन्सानों की इज्ज़त जब झूठे
सिक्कों में ना तोली जाएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी
वो सुबहा हमीं से आएगी


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 : 3767 Post No. : 14741

“Qawwaali Ki Raat”(1964) was Directed by Durgesh Kumar and Santoshi for Durgesh Productions, Bombay. This “social” movie had Kumkum, Kamaljeet, Mumtaz, Deven Verma, Jagdeep, Mohan Choti, Murad, aruna Irani, Johny Whisky, Kamal Mehra, Parshuram, Mirza Musharraf, Tuntun, Balam, Kathana, Jerry, Jankidas, Baroon Van Hizi, Kingkong etc in it.

The movie had eleven songs in it and most were qawwaalis as can be guessed from the title. Ten songs from the movie have been covered in the blog.

The eleventh and final song from the movie was apparently not included in the movie. Only its audio was released and this song is available.

Despite the song being available, I was not taking it up because this song was a duet with Rafi’s voice in it. Seeing that Sudhir jee was covering Rafi duets in his marathon series “Rafi duets अ से ह तक “, I was not taking chances because in the past I have posted songs that Sudhir Jee had reserved for some special occasions and with my memory being what it is, I had forgotten about that.

So, I double checked. Sudhir Jee is now onto the letter य while this duet from “Qawwaali Ki Raat”(1964) begins with an earlier letter viz प which was already covered in the previous post. So this song was “safe” to be covered. 🙂

So, here is the eleventh and final song from “Qawwaali Ki Raat”(1964) to appear in the blog. The song is sung by Rafi and Asha Bhonsle. Shewan Rizvi is the lyricist. Music is composed by Iqbal Qureshi.

Here are the details of the earlier ten songs from the movie:-

Song Title

Post No.

Post Date

Husn waale husn ka anjaam dekh 1830 29-Aug-09
Jaate jaate ik nazar bhar dekh lo dekh lo 3336 13-Dec-10
Aa main bataaun tu hai kyaa 3770 11-Apr-11
Dil gaya dil ka aitbaar gaya 5214 29-Dec-11
Ae jaane jigar chilman se agar 5376 1-Feb-12
Kehne waale tu bhi keh le 5700 26-Mar-12
Wo chaand sa chehra liye chhat par tera aana 13126 7-Apr-17
Dekh kar meri taraf khaamosh ho jaana zara 14487 15-Jul-18
Meri bhi laaj rakh le sarkaar e Madina 14524 24-Jul-18
Mujhe tumse muhabbat hai 14558 8-Aug-18

This song, the eleventh and final song was excluded from the movie as far as I can tell. In case it was picturised, it would have been on the lead pair of Kamaljeet and Kumkum.

With this song,all the songs of “Qawwaali Ki Raat”(1964) are covered in the blog and the movie joins the list of movies that have all their songs covered in the blog.
PS-It has pointed out by Mr Sadanand Kamath that the video of this song is available. And the song is indeed picturised on the lead pair.
Audio

Video

Song-Pyaar ki hasraten khaaq mein mil gayin (Qawwaali Ki Raat)(1964) Singer-Rafi, Asha Bhonsle, Lyrics-Shewan Rizvi, MD-Iqbal Qureshi

Lyrics

pyaar ki hasraten khaaq mein mil gayin
pyar ki hasraten khaaq mein mil gayin
do kadam chalke do humsafar jal gaye
do kadam chalke do humsafar jal gaye
zindagi aag banti hai jis mod par
zindagi aag banti hai jis mod par
donon raahi usi mod par jal gaye

do kadam chalke do humsafar jal gaye

aisi bijli giri shaakh gulzaar par
aashiyaana bachaaya to par jal gaye
aashiyaana bachaaya to par jal gaye

kuchh na baaqi raha zindagi mein meri
kuchh na baaqi raha zindagi mein meri
ek dhuaan reh gaya dil jigar jal gaye
do kadam chal ke do humsafar jal gaye

aah roki to seene se shole uthhe
ban gaye ashq aankhon mein chingaariyaan
ban gaye ashq aankhon mein chingariyaan
do mohabbat bhare dil sulagne lage
yaani do aarzuon ke ghar jal gaye

do kadam chal ke do humsafar jal gaye

ashqe gham chashme nam se ye keh kar dhale
ashqe gham chashme nam se ye keh kar dhale
pyaar ki aag mein yoon na koi jale
pyaar ki aag mein yoon na koi jale
aatishe ishq mein koi shola nahin
aatishe ishq mein koi shola nahin
phir bhi is aag mein ghar ke ghar jal gaye

do kadam chal ke do humsafar jal gaye
donon raahi usi mod par jal gaye


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 : 3747 Post No. : 14709

“Gopinath”(1948) was produced by Brij Kishore Agrawal and directed by Mahesh Kaul for Shanti Lok Chitra Production, Bombay. The movie had Raj Kapoor, Tripti Mitra, Nand Kishore, Latika, Sachin Ghosh, Anwari Bai, Feroz, Niranjan Tiwari, Mahesh Kaul, Randhir, Baby Zubeida etc in it.

This “social” movie had nine songs in it that were penned by three lyricists namely Soordas, Meerabai and Rammurty Chaturvedi. Two of the three “lyricists”, viz Soordas, Meerabai lived hundreds of years ago and their influence on Indian music scene can be seen from the fact that lots and lots of songs used in HFM and elsewhere were their creations.

Two songs from the movie have been covered in the past.

Here is the third song from “Gopinath”(1948) to appear in the blog. This song is sung by Meena Kapoor. Meera bai (1498-1546), who lived more than four hunndred years ago is credited as the lyricist. This is the 37th song in the blog that is “penned” by Meera Bai !

Music is composed by Ninu Majumdar.

Picturisation shows this song being lip synced by Tripti Mitra, who was the wife of Shombu Mitra- well known as director of “Jaagte Raho”(1956). The young girl visible in the picturisation should be baby Zubeida.


Song-Main birhan baithhi jaagoon jagat sab sowe ri aali (Gopinath)(1948) Singer-Meena Kapoor, Lyrics-Meera Bai, MD-Ninu Majumdar

Lyrics

main birhin baithhi jaagoon
jagat sab sowe ri aali
main birhin baithhi jaagoon
jagat sab sowe ri aali

dulhan baithhi rang mahal mein
motiyan ki lad pove
dulhan baithhi rang mahal mein
motiyan ki lad pove ae
ik dulhan hum aisi dekhe
ik dulhan hum aisi dekhe
ansuwan maala pove ri
main birhin baithhi jaagoon
jagat sab sowe ri aali
main birhin baithi jaagoon
jagat sab sowe ri aali

taare gin gin rain bihaani
sukh ki ghadi kab aave
taare gin gin rain bihaani
sukh ki ghadi kab aave ae ae
meera ke prabhu giridhar naagar
meera ke prabhu giridhar naagar
jab unhen darash dikhaave ri
main birhin baithhi jaagoon
jagat sab sowe ri aali
main birhin baithi jaagoon
jagat sab sowe ri aali


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 : 3746 Post No. : 14708

“Majboori”(1954) also known as “Chhoti Bahan”(1954) was directed by Ram Daryani for Murli Movietone, Bombay. The movie had Balraj Sahani, Shyama, Gope, Kumar, Jeevan, Gulab, Pramila etc in it.

The movie had 8 songs in it which were penned by D N Madhok (7) and Pandit Gaafil (1).

Three songs have been covered in the past. Here is the fourth song from “Majboori”(1954) to appear in the blog. This song is sung by Asha Bhonsle. The song is penned by D N Madhok. Music is composed by Robin Chatterji.

Only the audio of song is available. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Aankhen ro ro haar gayin (Majboori)(1954) Singer-Asha Bhonsle, Lyrics-D N Madhok, MD-Robin Chatterji

Lyrics

aankhen ro ro haar gayin
aankhen ro ro haar gayin
armaan tadap kar choor huye
aise mein dil thhaam ke hum
haan kehne par majboor huye
aankhen ro ro haar gayin

rote armaanon aao
lag jaao kaleje se mere
rote armaanon aao
lag jaao kaleje se mere
jo tumne gharonde baandhe thhe
haaye wo gharonde choor huye
aankhen ro ro haar gayin
armaan tadap kar choor huye
aise mein dil thhaam ke hum
haan kehne par majboor huye
aankhen ro ro haar gayin

jis duniya mein humne laakhon
shauk se phool khilaaye thhe
jis duniya mein humne laakhon
shauk se phool khilaaye thhe
ek bujhe dil ko lekar
hum us duniya se door huye
aankhen ro ro haar gayin
armaan tadap kar choor huye
aise mein dil thhaam ke hum
haan kehne par majboor huye
aankhen ro ro haar gayin


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 : 3720 Post No. : 14654

“Teen Tasweeren”(1954) was produced by Shree Gaglani and directed by S S Solanki for Ashok Studios, Bombay. This movie had Anil, Kishore, Devendra, Neena Makker, Sharda, Munshi Khanjar, Kumar etc in it.

The movie had at least seven songs in it, may be more.

The songs are as obscure as the movie. One song has been covered in the past.

Here is the second song from “Teen Tasweeren”(1954) to appear in the blog. The song is sung by Kaumudi Munshi. Prem Dhawan is the lyricist. Music is composed by Ninu Majumdar.

Only the audio of this song is available. Kaumudi Munshi was the only female singer in this movie so it would seem that she sang for the leading lady in the movie who could be Neena Makkar. I request our knowledgeable readers to throw light on the picturisation of this melancholic song.


Song-Kaajal kaali raat re (Teen Tasweeren)(1954) Singer-Kaumudi Munshi, Lyrics-Prem Dhawan, MD-Ninu Majumdar

Lyrics

Kaajal kaali raat re ae
Kaajal kaali raat re
koi samjhaaye
koi bataaye
koi samjhaaye
koi bataaye
kab hogi prabhaat re ae
Kaajal kaali raat hai
Kaajal kaali raat re

murjhaaye phoole pe haaye
koi bhanwra kab aata hai
murjhaaye phoole pe haaye
koi bhanwra kab aata hai
apne tan ka saaya bhi to
din dhalte chhup jaata hai
koi na dewe saath re ae
kaajal kaali raat re

aaj ye ooncha neela ambar
sulag raha hai angaaron mein aen aen aen
aaj ye ooncha neela ambar
sulag raha hai angaaron mein
yaa mere apne hi aansoo
chhalak rahe hain in taaron mein
bin saawan barsaat re
kaajal kaali raat re


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 : 3719 Post No. : 14653

When ‘Bawarchi ‘ was released in 1972, I had seen it on the big screen in the theatre with family. In this film, Hrishikesh Mukherji has woven a remarkable story of a joint family and their interesting interactions. The head of the family (a widower), his three sons, two daughters in law, third son still a bachelor, and three children. The roles of the two daughters in law were played by Durga Khote and Usha Kiran. Being quite un-exposed to cinema otherwise (it was school years for me) I was quite unfamiliar with these two ladies when I saw this film for the first time.

I was later to recall these two senior actresses, when I would get to see their earlier, older films. The first such re-introduction was when I saw ‘Mughal-e-Azam’ (1960) on TV for the first time. Then I came to recognize Durga Khote in her role as Jodha Bai, and connected her with her role in ‘Baawarchi’. The two films had a difference of 12 years, and decidedly, she is looking much younger and sweeter in her role as Badi Maa in ‘Baawarchi’, compared to her royal appearance as the empress of India and wife of Emperor Akbar. One scene (from ‘Baawarchi’) that really amazed me and mesmerized me, is the family song situation from an early morning impromptu get together of the family members – “Bhor Aayee Gaya Andhiyaara”. During the course of this song, the two supposedly middle aged daughters in law perform the rapid pace thaap steps dance to the rapid taal – “dhiga tum naa naa naa naa naa” being rendered by the family help Raghu (role played by Rajesh Khanna). It was a real wonder to see the two ladies perform that sequence. A quick check reminded me that Durga Khote was, goodness, 67 years of age, when she performed in ‘Bawarchi’.

Remembering Durga Khote on the anniversary of her passing away (22nd September).

The first and the top most lady luminary of the Hindi cinema, Durga Khote was born on 14th January, 1905, in a well­ known family of Bombay. The family hailed from Goa and spoke Konkani at home. Her mother’s name was Manjulabai. Her father, Pandurang Shamrao Laud, was a famous lawyer and her brother was also a well known barrister. The young Vita Laud (her maiden before marriage) was educated, like her siblings, at Cathedral High School and St. Xavier’s College from where she did her B.A. While still in college, she was married into the Khote family, graduated and settled down with her husband. By the age of 26, she was a widowed mother of two sons – Bakul and Harin.

Into this scenario, and a life of a very traditional family, plopped in something utterly new – the world of cinema. Durga Khote wanted to work to support her children. In doing so, she became a pioneer of sorts. It was a time when the film industry was regarded as the preserve of the base and the bawdy. Also, most of the female characters were played by men at the time.

It all came about through her sister Shalini, also married and having amongst her circle of friends, a gentleman by the name JBH Wadia. At the time JBH was working with Mohan Bhavnani as the latter’s assistant. The talkies had just made their appearance on the silver screen. Bhavnani who had just made a picture, wanted to give it the box office appeal of a “talkie” ending. The picture starred Mrs. Bhavnani and her husband was  looking out for a girl who would feature with his wife in the climax scenes of the film. Approached by JBH, Shalini refused. But knowing Durga as a person who would try anything once, she recommended her. Durga was ready to have a go at the part, accepted the role and went off to the studios the same day. Mr. Bhavnani’s heterogeneous production was soon completed, printed and made ready for release.

The film flopped. And for the beautiful young housewife and mother there followed a period of embarrassment at being connected with a filmy disaster. The film was ‘Farebi Jaal’ (also titled as ‘Trapped’ in English). “That is just how I felt when I saw it. It was a terrible film,” Durga Khote recalls in an earlier interview. She goes on to say that, “. . . my position was more than awkward. I had suddenly achieved a fair measure of notoriety. I just couldn’t walk around in Girgaum without people pointing at me.”

Looking back on it she laughed at the by-gone crisis. Through all this turmoil and unease there was one solid consolation: both the Laud and the Khote families were far too intelligent and sophisticated to be worried by the affair. On the contrary “My families stood up for me” declared Durga Khote with a proud smile of affection.

Amongst those who saw the film ‘Trapped’, was the then up and coming producer and director V Shantaram. After seeing her performance, he offered her the female lead role of Taramati in the bilingual film ‘Ayodhyache Raaja’ – ‘Ayodhya Ka Raja’ (1932). Durga Khote saw in it an opportunity to vindicate herself. Once again encouraged by the families, she accepted the role and played it beautifully. The film was not only good but a big hit, in both the Hindi and Marathi versions.

V Shantaram simultaneously cast her also in ‘Maya Machhindra’ (again 1932). This was a also a smash hit. These two top successful films established her straight off as a top star. Following came a number of films that won her acclaim from the public and from the film industry. After the two fabulous successes in 1932, what followed is no less dazzling a repertoire of well known films and famous roles.

In 1933, she appeared opposite to Prithviraj Kapoor in the New Theatres Production from Calcutta – ‘Raajrani Meera’. This year also saw her play the lead role opposite to a very young and handsome new entrant into the industry – P Jairaj, in the film ‘Patit Paavan’ (Pratima Phototone, Bombay).

1934, and she is paired opposite to Prithviraj once again in ‘Seeta’, from East India Film Company in Calcutta.

1935, another production from New Theatres – ‘After The Earthquake’, as the female lead opposite to Syed Mohammed Nawab. And once again, paired with Jairaj in ‘Jeevan Natak’ – a Debaki Bose Production in Bombay.

In 1936 came one of her many superlative roles on the screen – ‘Amar Jyoti’ from the production house of Prabhat, with co stars Chandramohan, Vasanti and B Nandrekar.

She played the lead role in ‘Pratibha’ in 1937, opposite to Master Shyam; film by Shalini Cinetone.

1938, and she appeared in two films – ‘Nand Kumar’ (Jaishree Films), working with Govindrao Tembe and ‘Saathi’ from Natraj Films, paired with Mubarak – another popular hero of that era.

1939 saw her appearing with Prithviraj once again in the Ranjeet Studios production – ‘Adhoori Kahaani’.

In 1940 it is Chandramohan and the film is ‘Geeta’ from Circo Productions. Also in 1940 came the famous and popular hit film, ‘Narsi Bhagat’ working with Vishnupant Pagnis.

1941 and it is ‘Charnon Ki Daasi’ from Atre Pictures, paired with Gajanan Jagirdar.

In 1942, she appeared in 2 films, ‘Bharat Milap’ of Prakash Pictures, with co stars Prem Adeeb, Shahu Modak and Shobhana Samarth; and in ‘Vijay’ from National Studios, opposite to Harish.

1943 turned out to be a blockbuster year for her, appearing in the lead role in six films. She was seen in ‘Qurbani’ opposite to Ishwar Lal, ‘Mahasati Anusuya’ with Shahu Modak, E Billimoria and Shobhana Samarth; ‘Mahatama Vidur’ with Vishnupant Pagnis; ‘Tasveer’ – paired with the young newcomer Motilal; and ‘Zameen’, paired with Biswas. The listing for 1943 is complete only when we talk about the mega film from Minerva Movietone – ‘Prithvi Vallabh’ in which she is paired with Sohrab Modi.

In 1944, it is ‘Maharathi Karn’ paired with Prithviraj Kapoor once again, and ‘Dil Ki Baat’ a romantic social, working opposite to Ishwar Lal.

In 1945, it is ‘Lakahrani’ from Prabhat, working opposite to Sapru; ‘Panna Dai’ working with Chandramohan and Mubarak; and ‘Veer Kunal’ with Mubarak, Kishore Sahu and Shobhana Samarth.

In 1945, we also see a major qualitative shift in her career. She stepped away from lead roles and very gracefully migrated towards support roles as a character artist. ‘Village Girl’ was probably the first such film, in which she does not play the lead role. But her films and her roles continue to be significant and powerful.  She had already stated to play non-romantic lead roles in films like ‘Charnon Ki Daasi’ (1941) and ‘Bharat Milap’ (1942). Her filmography beyond 1945 speaks volumes of her prowess as an actress, and her ability to command the scenes, and the films. Moving to character roles, her assignments continue to increase, and she continued to be a busy and an in demand artist for another almost four decades. During her career, she has appeared in more than 200 films.

A special mentions needs to be made of the 1953 film ‘Chacha Chaudhry’ – a comedienne performance which took the industry and the public by storm. The brilliant timing of her expression, gestures, movement and dialogue combined to make that role such a scintillating comedy portrayal that she all but stole the picture from the consummate actor Raja Paranjpe – who doubled as director and lead player – and Dhumal. The three of them made it a slick, hilarious romp.

Durga Khote’s portrayals have been sensitive and consummate. Notable mentions must be made of some of her performances;

as Queen Kaikeyi in the 1942 film ‘Bharat Milap, jealously coveting the throne for her own son – her personification of the grasping queen made one understand if not quite condone the old king’s doting weakness;

as Shachi Devi, mother of Chaitanuya Mahaprabu in the 1953 biopic ‘Shri Chaitanya Mahaprabhu’ – a heart-rending performance of a mother torn between her love for her son and the gratification she feels in his single-minded devotion to God, and her heartbreak for his bewildered, forsaken girl-bride, and her gradual resignation, made for a portrayal which was a gem of histrionic art;

as Jodha Bai, the empress of India, wife of Akbar – once again called upon to make a dreadful choice of loyalties, torn between the warring father and son – at first unable to invoke the blessings for her husband leaving for the battlefield, with the certainty of the fear that her son will be killed, and then when Akbar challenges her by attempting to erase the sindoor from her forehead, very sternly and studiously she performs the pooja giving the due honor to her suhaag even in the face of an eventuality of possibly losing her only child.

These and many other such power packed performances have made Durga Khote the dame thespian of the Indian cinema. She was honored with the Padam Shri award in 1968 and the coveted Dada Saheb Phalke Award in 1983.

In 1950, Durga Khote naturally gravitated towards the stage and she joined the Marathi Sahitya Sangh, starting her long association with the theatre also. She kept busy acting in, producing and directing plays. She also founded Durga Khote Productions which produced short films – advertising, documentary, educational and industrial.

She continued to be active both in films and in theatre till the mid 1980s. After that, she moved into semi-retirement. She passed away this day, in 1991, in Bombay.

The film ‘Amar Jyoti’ has been acclaimed as a film much, much ahead of its time, both in terms of handling of the subject matter as well as in terms of technical finesse and special effects. The film represented India in the Venice film festival in 1937 and won praises and accolades as one of the best three films at the festival.

The film deals with the theme of suppression and negation of the role of the woman in the society, and one lady’s rebellion against it. As a subject, this was a daring endeavor by V Shantaram, given the prevalent sentiments in the society of that era. Nevertheless, this film was much acclaimed and became very popular at the box office too. Since the story revolves around pirates, scenes related to sailing ships and ships in conflict, it was a major accomplishment for the director, to be able to create the necessary environment within the studio, and film all the naval scenes using advanced special effects techniques, within the confines of the studio itself.

The film pertains to an undefined historical period. A queen (role played by Karuna Devi) and her cruel minister Durjay (role played by Chandramohan) are challenged by a woman turning a pirate and terrorizing the coastal provinces of the kingdom. This woman, Saudamini (role played by Durga Khote), has been much wronged by her husband. But when she pleads for justice from the royal court, Durjay decrees that a husband was the complete master of his wife, whom he could ill-treat, use as a chattel or dispose of as a slave. She is denied custody of her son by the queen, after she refuses to return to her matrimonial home. This greatly enrages Saudamini and drives her to revolt and seek revenge. She takes on the mantle of a male role and gets into a commanding position, as the captain of a pirate ship. She is assisted by her associate, Rekha (role played by Vasanti).

Durjay is captured and is kept as a prisoner with one of his legs cut off, to make him realize the eternally enslaved condition of women. Her next big catch is the princess Nandini (role played by Shanta Apte), the queen’s daughter. In her relationship with the princess, Saudamini plays an even bigger game by converting the princess to her creed of female emancipation, which considers love and marriage as a bondage. The princess suppresses her feelings for a shepherd boy, Sudhir (role played by B Nandrekar), whom she had met during her days in the pirate’s den. Unknown to even Saudamini, this shepherd boy is actually her own son, who was separated from her years ago.

In the continued sequence of events, Durjaya escapes with the help of Sudhir and returns to arrest Saudamini. Saudamini is captured, but the others, along with Nandini and Rekha, escape. It is finally revealed that Sudhir is Saudamini’s long-lost son. Nandini and Sudhir are married and Rekha carries forward Saudamini’s legacy.

Shantaram has used the symbol of the lamp and the flame very effectively. He deployed many other techniques that were considered path-breaking at that time. The film’s real success is in bringing out the inner conflicts of women, who may become male-like rebels, at the cost of suppressing their natural urges as wife or mother. In one of the most moving scenes in the film, we see Saudamini secretly fondling the tiny garments of her son, who has been separated from her.

In this song, we see this brief interlude, as Saudamini is remembering her child. The brief song is written by Pt Narottam Vyas, and the music is composed by Master Krishna Rao Phumblikar. The playback singing voice is that of Vasanti.

Remembering and honoring the enduring legacy of this fine actress – Durga Khote.

[Author’s Note: Acknowledgements – This article has adapted material from online sources viz., Cineplot and Wikipedia. Filmography details have been prepared using the Geet Kosh voumes 1 and 2.]

Song – Ankhiyan Ke Tum Taare Pyaare (Amar Jyoti) (1936) Singer – Vasanti, Lyrics – Pt Narottam Vyas, MD – Master Krishna Rao
Durga Khote

Lyrics

akhiyan ke tum taare pyaare
chhod mohey mat jaa re
ab mat jaa re

akhiyan ke tum taare pyaare
chhod mohey mat jaa re
ab mat jaa re

[sudhir. . .]
[main teri maa. . .]

akhiyan ke tum taare pyaare
chhod mohey mat jaa re
ab mat jaa re

aansoo nainan mein se

aansoo nainan mein se
aansoo nainan mein se
kaahu tohey pukaarun
kaahu tohey pukaarun
waaroon sukh dukh saare
waaroon sukh dukh saare
waaroon sukh dukh saare

akhiyan ke tum taare pyaare
chhod mohey mat jaa re
ab mat jaa re

[ab mat jaa re]

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

अखियन के तुम तारे प्यारे
छोड़ मोहे मत जा रे
अब मत जा रे

अखियन के तुम तारे प्यारे
छोड़ मोहे मत जा रे
अब मत जा रे

[सुधीर॰ ॰ ॰]
[मैं तेरी माँ॰ ॰ ॰]

अखियन के तुम तारे प्यारे
छोड़ मोहे मत जा रे
अब मत जा रे

आँसू नैनन में से

आँसू नैनन में से
आँसू नैनन में से
काहू तोहे पुकारूँ
काहू तोहे पुकारूँ
वारूँ सुख दुख सारे
वारूँ सुख दुख सारे
वारूँ सुख दुख सारे

अखियन के तुम तारे प्यारे
छोड़ मोहे मत जा रे
अब मत जा रे

[अब मत जा रे]


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

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