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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 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

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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]


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 : 3713 Post No. : 14642

Ek kissa hai, Radha ka. There is a tale, of a girl named Radha. She was in her teens, ‘kamsin’ as they say in parlance – young and innocent in years; sporting dark tresses that reached her knees; her supremely fair and flawless skin as if made from milk; her eyes – bright, with a depth enough for a smitten heart to drown itself. She would come to the terrace to hang out the laundry for drying. Iqbal, smitten as he was with the beauty of this young lady, would wait everyday to fill his heart with her moving images. The fascination, the infatuation remained as it is, unexpressed – for he could never muster up enough courage to say or do anything to express his feelings. Fears and apprehensions of many kinds held him back. Radha, remained a puppy love dream – forever. But is sure did make a poet out of that obsessed heart that could not express itself to its beloved.

He penned the following lines, as his initiation into the world of verse writing,

खेंचते हैं अपनी जानिब यार ये गेसू मुझे
आ रही है हर तरफ से प्यार की खुशबू मुझे
एक राधा से हुई है जब से मेरी दोस्ती
सारी दुनिया कह रही है आजकल हिन्दू मुझे

These tresses of my beloved, beckon me
The fragrance of love is diffused all around me
Since my heart has made a friend named radha
All the world is calling me a hindu these days

By his own admission, he would never have taken to pen and paper, if by some God sent blessing, this infatuation would have ripened into a reciprocated affair, and if the two would have been betrothed. The world of letters, and the world of cinema would have been robbed of one of the best romantic poets of the Golden Era of the Hindi film music.

Iqbal Hussain, born on 15th April, 1927 in Jaipur, grew up to be known by his pen name more than anything else – Hasrat. And the city of his origin came in to complete his identity recognition – Jaipuri.

He passed away this day (17th September) in 1999 after a scintillating career of almost five decades as a songwriter. The unsuccessful saga of his first love was in any case immortalized. The famous aria venerating the identity of the romantic messaging device called the ‘प्रेम पत्र’ (love letter), was originally written for his Radha, of the terrace visits. The song it became is – “Ye Mera Prem Patra Padh Kar” (film ‘Sangam, 1964).

It is a temptation to revisit all the great poetry he has written, that has become popular and enduring. But then even this one night, sleepless per force, would be inadequate to do justice. But in any case, that sampling may just be a reprise for all the dear melodies that I am sure all readers and lovers of this music, have stored away in their memories.

And so I just introduce this one song today. This wonderful melody, for the longest of the time, I was under the impression that this one is already posted here. But today I discovered that it is still in waiting. The film is ‘Badnaam’ from 1952. The music director is Basant Prakash (brother of Khemchand Prakash). The baritone rich singing voice is that of Shankar Dasgupta. The verses, of course, are from the pen of Hasrat Jaipuri.

The first sub line of this poem imitates the well known starting words of the famous she’er – “Ye Ishq Nahin Asaan, Bas Itna Samajh Lijey. . .” from a ghazal by the maestro Jigar Moradabadi. But after that it goes on to take a powerful identity of its own with lines like “. . .zakhmon mein chhupa lena, tasveer e mohabbat ko. . .” and “. . .khud lut ke sikha dena, duniya ko wafa karna. . .”.

An immense ghazal – words, composition, rendition – all are superlative. With memories of Hasrat Sb, enjoy this wonderful creation.

[Author’s Note: The episode of the poet’s first love is adapted from the definitive article on Hasrat Jaipuri, from the book ‘Hindi Filmon Ke Geetkar’ by Anil Bhargav.]

Song – Ye Ishq Nahin Aasaan, Kaanton Pe Jiya Karna (Badnaam) (1952) Singer – Shankar Dasgupta, Lyrics – Hasrat Jaipuri, MD – Basant Prakash

Lyrics

ye ishq nahin aasaan
kaanton pe
kaanton pe jiya karna
kaanton pe jiya karna

ye ishq nahin aasaan
kaanton pe jiya karna
kaanton pe jiya karna
ashqon ka zehar hardam
khush ho ke piya karna
kaanton pe jiya karna

kehte hain jise ulfat
ye khel hai sholon ka
kehte hain jise ulfat
ye khel hai sholon ka
chupchaap hi jal jaana
hargiz na gila karna
kaanton pe jiya karna

zakhmon mein chhupa lena
tasveer e mohabbat ko
tasveer e mohabbat ko
zakhmon mein chhupa lena
tasveer e mohabbat ko
tasveer e mohabbat ko
khud lut ke sikha dena
duniya ko wafa karna
kaanton pe jiya karna

aise to kai toofaan
raahon mein sataayenge
aise to kai toofaan
raahon mein sataayenge
ghabra ken a darr jaana
manzil pe badha karna
kaanton pe jiya karna
ye ishq nahin aasaan
kaanton pe jiya karna
kaanton pe jiya karna

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

ये इश्क़ नहीं आसान
काँटों पे
काँटों पे जिया करना
काँटों पे जिया करना

ये इश्क़ नहीं आसान
काँटों पे जिया करना
काँटों पे जिया करना
अशकों का ज़हर हरदम
खुश हो के पिया करना
काँटों पे जिया करना

कहते हैं जिसे उलफत
ये खेल है शोलों का
कहते हैं जिसे उलफत
ये खेल है शोलों का
चुपचाप ही जल जाना
हरगिज़ ना गिला करना
काँटों पे जिया करना

ज़ख़्मों में छुपा लेना
तस्वीर ए मोहब्बत को
तस्वीर ए मोहब्बत को
ज़ख़्मों में छुपा लेना
तस्वीर ए मोहब्बत को
तस्वीर ए मोहब्बत को
खुद लुट के सीखा देना
दुनिया को वफा करना
काँटों पे जिया करना

ऐसे तो कई तूफान
राहों में सताएंगे
ऐसे तो कई तूफान
राहों में सताएंगे
घबरा के न डर जाना
मंज़िल पे बढ़ा करना
काँटों पे जिया करना
ये इश्क़ नहीं आसान
काँटों पे जिया करना
काँटों पे जिया करना


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 : 3701 Post No. : 14622

“Bahaadur” (1953) was a Ranjit Film Company Production. It was directed by Ratibhai Punatkar. The movie had Suresh, Shyama, Roopmala, Amarnath, Anwar Hussein, Shammi etc in it.

This movie had eight songs in it that were written by six lyricists and the songs had five voices in them.
seventh song from “Bahaadur”(1953) to appear in the blog.

This song is sung by Ashima Bannerji. Surjeet Sethi is the lyricist. Music is composed by S Mohinder.

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


Song-Tasalli dene waale (Bahaadur)(1953) Singer-Ashima Bannerji, Lyrics-Surjeet Sethi, MD-S Mohinder

Lyrics

Tasalli dene waale
ae ae ae ae ae
ashq pee jaane ko kehte hain
aen aen aen
magar bahte huye paani
ee ee ee ee
kabhi khwaabon mein rahte hain

ae naakhuda
darti hoon main
ae naakhuda
darti hoon main
kashti na kar saahil se door
saahil se door
ae naakhuda
ae naakhuda

maana ke tu hai hamsafar
maana ke tu hai hamsafar
phir bhi to hai
ae ae ae ae
maujon ka darr
phir saamne mushqil na ho
aaye hain jis mushqil se door
mushqil se door
ae naakhuda
ae naakhuda

ye shaam hai kitni haseen
ye shaam hai kitni haseen
ik main hoon
aa aa aur koi nahin
pehlu mein hai rehna mere
hona kabhi na dil se door
is dil se door
ae naakhudaa
darti hoon main
kashti na kar saahil se door
saahil se door
ae naakhudaa
ae naakhudaa


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 : 3690 Post No. : 14599

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 21
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘ट’ – टूटे तो टूटे कोई दिल का सहारा ॰ ॰ ॰

– – – –

हम आस किए जाते, तुम पास नहीं आते
जाना था चले जाते, मिलने को चले आते

Everyone has to depart, someday. But this beseeching yoke of memories is now becoming an encumbering burden, that would probably be lightened only when I myself will depart.

– – – –

Presenting the next episode in this series. With close to half of Rafi Sb’s songs already posted on the blog, it is getting to be not an easy job to find songs to fit the requirements of the series. The alphabet letter for today is ‘ट’. When we scan the list of songs, we find a long list of songs starting with ‘t’, but then on closer review, one finds that majority of these ‘t’ songs are actually for the syllable ‘त’ –  as in ‘तुम’, ‘तुम्हारे’, ‘तेरा’ etc. There are very few songs that will start with the sound of ‘ट’.

But then, the going is still good. In fact I found two very good songs that satisfy this criteria; the second one I found fit quite well into another series, so I kept that aside for now.

This song is from the film ‘Lagan’ from 1971. Prior to this, two other films by this same title have been made – on in 1941 and the second in 1955. This is the third one. The film is produced under the banner of RRK Combine of Madras (now Chennai), and is directed by Ramanna. The star cast of this film includes Nutan, Ajay Sahni, Prem Chopra, Farida Jalal, Jagdeep, Bindu, Sulochana, Shabnam, Jaishri T, Nazir Hussain, Beerbal, Dubey and Kailash Chopra amongst others.

The film is a family drama – a story about a mother (role played by Sulochana) and her two sons (roles played by Prem Chopra and Ajay Sahni aka Parikshit Sahni). They relocate from Burma to Bombay, and a good Samaritan soul (role played by Nazir Hussain) in the form of a friend of the lady’s late-husband, hands them over substantial assets that are the share of the late-husband. Life is comfortable, only that the elder son (Prem Chopra) is wayward, and seeks extra-marital happiness. His wife is on way for a child, and he mistreats her. When this become known to the mother, she resolves to take action against her elder son, and to set him right.

The film has six songs, all written by Anand Bakshi, and tuned to music by Laxmikant Pyaarelal. Some of the songs are well heard memories from radio listening days. I picked this song for being a duet of Rafi Sb, but could not locate its video. I even scanned the film quickly, but it seems this song has been excluded from the film.

A duet in the voice of Rafi Sb and Asha Bhosle, it seems like a sad song of separation. As I scanned the film, I really could not make out where and how this song might fit into the storyline. If it were a solo sad song, then it could have fit in well. But a sad song presented as a duet seems to have no place in the film.

And so, presenting the next in this series, a song that is presents  a complaint, possibly from to a separated companion, or may be to the Almighty.

Song – Toote To Toote Koi Dil Ka Sahaara  (Lagan) (1971) Singer – Mohammed Rafi, Asha Bhosle, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Rafi + Asha Bhosle

Lyrics

toote to toote koi dil ka sahaara
toote to toote koi dil ka sahaara
sahaara
ho hi raha hai phir bhi apna guzaara
ho hi raha hai phir bhi apna guzaara
roothe to roothe koi saathi hamaara
roothe to roothe koi saathi hamaara
hamaara
ho hi raha hai phir bhi apna guzaara

chaahe wafa kar chaahe kar bewafaai
chaahe wafa kar chaahe kar bewafaai
hum wo nahin jo denge teri duhaai
samjhe na samjhe zaalim tu ye ishaara
ishaara
ho hi raha hai phir bhi apna guzaara
toote to toote koi dil ka sahaara

ro ro ke phir na tera hum naam lenge
ro ro ke phir na tera hum naam lenge
baahen kisi ki bhi hum to thaam lenge
chhoote to chhoote hamse daaman tumhaara
tumhaara
ho hi raha hai phir bhi apna guzaara
toote to toote koi dil ka sahaara
roothe to roothe koi saathi hamaara
hamaara
ho hi raha hai phir bhi apna guzaara

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

टूटे तो टूटे कोई दिल का सहारा
टूटे तो टूटे कोई दिल का सहारा
सहारा
हो ही रहा है फिर भी अपना गुज़ारा
हो ही रहा है फिर भी अपना गुज़ारा
रूठे तो रूठे कोई साथी हमारा
रूठे तो रूठे कोई साथी हमारा
हमारा
हो ही रहा है फिर भी अपना गुज़ारा

चाहे वफा कर चाहे कर बेवफाई
चाहे वफा कर चाहे कर बेवफाई
हम वो नहीं जो देंगे तेरी दुहाई
समझे ना समझे ज़ालिम तू ये ईशारा
ईशारा
हो ही रहा है फिर भी अपना गुज़ारा
टूटे तो टूटे कोई दिल का सहारा

रो रो के फिर ना तेरा हम नाम लेंगे
रो रो के फिर ना तेरा हम नाम लेंगे
बाहें किसी की भी हम तो थाम लेंगे
छूटे तो छूटे हमसे दामन तुम्हारा
तुम्हारा
हो ही रहा है फिर भी अपना गुज़ारा
टूटे तो टूटे कोई दिल का सहारा
रूठे तो रूठे कोई साथी हमारा
हमारा
हो ही रहा है फिर भी अपना गुज़ारा


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 : 3687 Post No. : 14594

“Raaj Raani”(1950) was directed by Satish Nigam for Jagat Pictures, Bombay. The movie had Meena Shorey, Rehman, Sohan, Usha Kiran, Cuckkoo, Vyas, Mehta, Shashikala etc in it.

This by now forgotten “social” movie had seven rare songs in it that included six female solos-two each by Shamshad Begam, Surinder Kaur and Lata, whereas there was one duet sung by Shamshad Begam and Rafi.

One song from “Raaj Raani”(1950) has been covered in the blog. Here is another song from the movie. This song (like the earlier one) is sung by Surinder Kaur. D N Madhok is the lyricist. Music is composed by Hansraj Bahl.

Only the audio of this “broken heart” song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song so that we can know who played this dukhiyaari naari in the movie. 🙂


Dharti hamaari pe tu nit nit jhaanke chanda(Raaj Raani)(1950) Singer-Surinder Kaur, Lyrics-D N Madhok, MD-Hansraj Bahl

Lyrics

dharti hamaari pe tu nit nit jhaanke chanda
paapi ki nagri basa(?)
jo sukh leke hamen dukh deke gaya aa aa

jisko dil de kar hamne jaan ko hai rog lagaaya
pyaar ke badle mein jisne hamko hai bada sataaya
parmeshwar mere
usey bhi rula
jo sukh le ke hamen dukh deke gaya aa aa
dharti hamaari pe tu nit nit jhaanke chanda
paapi ki nagri basa(?)
jo sukh leke hamen dukh deke gaya aa aa

dil ke armaan mere
ro ro ke so gaye
palkon mein tadap tadap kar aansu chup ho gaye
aaye na aaye ab saanwariya
jo sukh le ke hamen dukh deke gaya aa aa
dharti hamaari pe tu nit nit jhaanke chanda
paapi ki nagri bata
jo sukh le ke hamen dukh deke gaya aa aa aa


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 14700 song posts by now.

This blog is active and online for over 3700 days since its beginning on 19 july 2008.

Total number of songs posts discussed

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Movies with all their songs covered =1150
Total Number of movies covered =4034

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