Archive for the ‘philosophical song’ Category
Kiski dharti kiskaa gaam
Posted on: May 31, 2023
This article is written by Mahesh Mamadapur, 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.
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Blog Day : |
5430 | Post No. : | 17813 |
Mukesh and his Composers – 24
LTNS is an unofficial Internet expression in vogue so much so that there is a wiki page too on it.
Well, its “Long Time No See” as far as my posts on the blog are concerned.
My honest excuses are detailed below.
Apart from the work routine, it was some sort of dejection that kept me away from writing. Dejection of meeting almost dead ends as far as search for rare Mukesh songs are concerned. It was my want of concentrating my efforts to try and trace rare songs that kept me away from adding new posts.
In the last couple of months, I pursued my efforts with renewed vigor by directly contacting some uploaders and collectors with my queries. A few responded, but there has been no communication or any hints regarding the sample rare list of elusive Mukesh songs. In fact, I have nearly half a dozen lists of untraceable songs.
Following is a brief gist of what I am frantically searching,
• The very first two private songs that Mukesh sang in Delhi before he came to Bombay are pressed on a disc with number N 14504. This particular disc and the two NFS therein does not seem to be available. Here is a post on the details of these total 6 NFS.
• The famous Rafi number from Do Badan (1966) “Raha gardishon mein hardam” was in fact sung by Mukesh for Ravi himself in the film Ghunghat (1960) but was not used in the said film. I sent an email to Gemini Studios also with no response from the other end. According to some sources, spool recording of Mukesh version was available with composer Ravi, who unfortunately lost it in 2005 Mumbai floods.
• Sangam (1964) has an unused song with the title “Kabhie na kabhi, koi na koi”. This could be available somewhere but is elusive as of now.
• Bebus (1950) with S K Pal as one of the composers has two fantastic solos and a great duet with Geeta Roy. However, one more solo “Do dil ho do dilon ka” does not seem to have been released on records. Needless to say, the film is lost in all probabilities and hence the question of film soundtrack version does not arise.
• Raat ki Rani (1949) had a Mukesh duet recorded by Hansraj Behl with Geeta Dutt. However, the same was re-recorded in the voices of Rafi and Lata and retained in the film. The Mukesh Geeta Dutt version has not surfaced anywhere.
Unfortunately, my efforts over the last couple of months to have some leads on the above have come to a naught. Well, the endeavor will continue for sure. And, as I said earlier there are many more untraceable songs in my lists.
Coming to today’s post, I tried to pull Avinash ji’s leg by reminding him that the month is ending soon, and the three-figure tally is yet to be achieved. In return, he pulled both my legs and reminded me of my LTNS on the blog. 😊
Further, in our direct messages on whatsapp, I sent him proof that I was indeed on the job. During this conversation, he reminded me for the second or third time that the lyrics of a Mukesh’s song from a 1971 film Sri Krishna Anjun Yudhh are pending with him for a long time. I was thus sort of compelled to take up this post.
One song from this film is already represented on the blog.
I have included today’s song in this series to have some sort of continuity. The composers are rather unknown, and it seems to be their only film. There are 5 songs in the film and the one sung by Mukesh is sung at the beginning of the film as the titles roll.
The title of the film is rather unusual as we all know the friendship of Krishna and Arjun in Mahabharata. However, there are several accounts stating the battle amongst the two to have indeed occurred. Whilst I was trying to find some lead regarding the story and circumstances of this battle, I came across another film of the same title released earlier in 1945. Naturally, the next step was to see if any songs from this 1945 film have been covered on the blog.
Lo and behold, there was indeed a debut representation of this film authored by our Sadanand Kamath ji. What is even more satisfying is the detailed story of this battle which Kamath ji has explained in full detail in his post.
I reiterate that the wealth of information available on this blog is simply matchless.
Again, coming back to today’s post, I have not included any table in this post as this is the only song sung by Mukesh in what was probably the only film of the composers Nandu-Pyaare.
Now, lets listen to this highly philosophical song sung by Mukesh.
Video
Song-Kiski dharti kiska gaam (Shree Krishn Arjun Yudhh)(1971) Singer-Mukesh, Lyrics-Pt Madhur, MD-Nandu Pyaare
Lyrics(Provided by Avinash Scrapwala)
kiski dharti kiskaa gaam
subah ko dekha bante shaam
aanewaalon ko raam raam
jaanewaalon ko raam raam
kiski dharti kiskaa gaam
subah ko dekha bante shaam
aanewaalon ko raam raam
jaanewaalon ko raam raam
kiski dharti kiskaa gaam
har hriday paashaan hai
ghar ghar mein shamshaan hai
kuchh badlaa insaan hai
kuchh badlaa bhagwaan hai
kaun banaaye bigde kaam
kaun banaaye bigde kaam
aanewaalon ko raam raam
jaanewaalon ko raam raam
kiski dharti kiskaa gaam
bhaai bhaai mein phoot yahaan
mitr mitr mein loot yahaan
maar kaat ki chhoot yahaan
baat baat mein jhoothh yahaan
door huaa jag se aaraam
door huaa jag se aaraam
aanewaalon ko raam raam
jaanewaalon ko raam raam
kiski dharti kiskaa gaam
raam raajya ka raag kahaan
lachhman sa anuraag kahaan
bharat saa wo vairaag kahaan
seeta jaisaa tyaag(?) kahaan
seeta jaisaa tyaag(?) kahaan
kahaan ayodhya saa wo dhaam
kahaan ayodhya saa wo dhaam
aanewaalon ko raam raam
jaanewaalon ko raam raam
kiski dharti kiskaa gaam
subah ko dekha bante shaam
aanewaalon ko raam raam
jaanewaalon ko raam raam
kiski dharti kiskaa gaam
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5430 | Post No. : | 17812 |
#the Decade of Fifties –1951 – 1960 #
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Regulars on the blog are aware that, besides being music-lovers and Hindi movie buff, many of the blog members also love ‘cricket’ and ‘rail/train’, or if I am not wrong especially the ‘Indian Railways’.
Travelling by train is something which is always interesting. Most of us enjoy and love it. It brings back many memories from our childhood days too.
From 2017 to 2019 when I was in Kenya for a project, I badly missed train travel. The place where I stayed for almost nine months in Nairobi had a rail track passing behind my residential place that reminded me of our Indian trains every time a train passed by.
When I returned back to India after finishing the project I was supposed to visit close relatives residing in Maharashtra. I needed to visit other places too. I reached back in India in Dec’2019 end and before I could make plans for any visits, ‘pandemic’ arrived. The best plans of everyone came to a halt.
I had an an pportuniy to visit Mumbai in Feb’2020 when I had also booked a ticket, but due to some minor operation I had to ‘cancel’ it.
ye duniya ki rail musaafir
ye duniya ki rail musaafir
chhak chhak chalti jaaye re
pal pal aage badhhti jaaye ae
aage badhhti jaaye ae
Life moves on. The wheels of time keep ‘moving ahead’ as well.
As the effects of pandemic waned and the restrictions were lifted we had our elder daughter’s marriage in March’2022 at Vadodara. Most of our close relatives visited us and thus the long awaited get-together with relatives finally took place.
However, I keep longing to travel. Travelling became possible in April’2022 when I and my wife travelled to Nagpur to attend a marriage. I was working then and had got only two days leave so we had to return back immediately.
But this train travel after a long gap was still enjoyable though the railways had not started providing the ‘linens’ in the AC coaches till then.
saanson ki patri par bhaage
raah chale naa aadi
ismen lagey kismat ke pahiye
chal jaaye to gaadi baba
Finally I got this long vacation this year since 01st January’2023. My last contract with the employer ended on 31st Dec’2022, so I was a ‘free bird’ again.
We were already planning to travel to Nagpur and Parli Vaijnath in Maharashtra to meet in-laws, my mother at Parli, and other relatives. But in an unfortunate development my father in law had to be admitted to a Hospital in Nagpur and we had to rush there. That is how we travelled to Nagpur in Feb’2023 end. After alighting at Ajani Station (one station before Nagpur junction), we directly visited the Hospital where my father in law was admitted. After visiting him we went to their place which was our base station for the next 8/10 days.
My father in law got discharged from the hospital the next day so he was back at home and everybody was happy. My wife was happy and she took care of her father for his medicines, diet etc. till we were there.
Meanwhile I travelled to Amravati by road-with a friend from Nagpur- to meet our common friend who was with us in Kenya. This long awaited meeting was also happening after a long gap of more than three years.
Thereafter, I and my wife travelled to Chandrapur by bus to meet my maternal relatives and then back to Nagpur. This meeting also happened after a long gap of almost seven years (last we visited them when we were staying at Nagpur).
We visited some more relatives (including my cousins) staying in Nagpur and around (Koradi), and left for Parli-Vaijnath by a private travel bus. At Parli-Vaijnath we meet my mother, my younger brother and his family and stayed there for two days. From there we left by train for Shegaon via Akola.
We had to wait around half an hour at Akola station to board the next train for Shegaon. We stayed at Shegaon after visiting the holy place there and next morning started for Vadodara by train again.
So, after a fifteen days tour we arrived back at Vadodara. Meanwhile our younger daughter also travelled to Pune with her friends and she also reached arrived back at Vadodara the same day. We received her at the railway station as her train from Pune was supposed to arrive forty-five minutes after the arrival of our train.
All of us arrived back home after enjoyable journeys.
After a gap of two weeks we again travelled to Rajkot for my younger daughter’s project there and also to visit our elder daughter. After staying a Rajkot for a day we come back to Vadodara by train. Earlier we used to travel by our car to and fro, but this time we took a Volvo bus by state transport to go to Rajkot and we travelled by train in the return direction.
A trip to Kachchh was already overdue for me since 2019-20 for transfer of house to other owner there. (During this period my younger brother staying had visited us thrice including his visit for my daughter’s marriage).
This time I travelled alone by train to Gandhidham and took the ST bus for Mundra. That revived my memories of up/down travels when I was working near Adipur. This visit too was just for one day. I returned back the same day by means of a private transport service.
A pre-planned trip towards the North was already due as per schedule on April 11th.
Meanwhile, 24th March marked the third anniversary of ‘lock down in India’. Even a movie narrating the ‘lock down experiences/stories’ was released on that day, but it disappeared soon like it was never released. May be people were not interested to revisit those ‘horrifying sad stories and the struggle during the pandemic or lock down period’. This movie was also released on 24th March’2023.
While we were preparing for our next tour the news of ‘corona cases surfacing again’ had started doing the rounds.
We started our journey on 11th April for Pathankot by SVDK Exp. This was the first time that we had ‘planned’ a ‘vacation trip’ other than the visits we often took during summer vacations to visit our relatives in Maharashtra.
In this visit we were accompanied by the family of one of my friends. Examinations of their children had finished and so they wanted to travel. So they had requested us to accompany them.
This friend of mine had passed away due to cancer in 2012. He was one of my best friends whom I befriended in Kachchh. I named these three friends as my ‘3 idiots’. So this one ‘idiot’ left us too early at an young age. We were missing him a lot.
We were supposed to reach our destination i.e. Pathankot on 12th afternoon. But on the morning of 12th as we were still travelling there was a call from my brother-in-law from Nagpur that my father in law had left for his heavenly abode early morning. My wife was inconsolable and somehow we managed to calm her saying that we shall take a decision after reaching Pathankot or Dalhousie, where we had to stay. We were in a fix as we could not leave the other members i.e. my friend’s family alone.
After reaching Banikhet near Dalhousie from Pathankot we were informed that the funeral of my father in law had to be done the same day and it was not possible for us in any case to reach Nagpur to attend it. So finally we decided to go to Nagpur later for other rituals. The only consolation for us was that the we had met him in Feb-end and early March and our stay with him for a week at Nagpur, so the regret of not meeting him in recent past was not there..
We finished our trip to Dalhousie-Dharamshala-Amritsar and returned to Ahmedabad via Chandigarh on 17th.
As our tour was on many things were still happening around.
seth mahajan chor uchakke
is gaadi mein saath chaley
raat ko soye dhan loot jaaye
aur sawere haath maley
koyi bajaaye chain ki bansi
koyi neer bahaaye re
pal pal aage badhhti jaaye ae
aage badhhti jaaye ae
But the journey was on …
Ye duniyaa ki rail musaafir …
And, it always reminded us
is gaadi mein dekh naa pyaare
jaat paat ke phande ae
ek jagah par mil kar baithhe
sab bhagwaan ke bande baba
do din ka ye safar hai baba
mil jul kar kat jaaye re
***
My elder daughter arrived from Rajkot the next day and we all left for Nagpur on 19th April afternoon (by air this time). After attending all rituals there I and my wife stayed back at Nagpur while our daughters returned to Vadodara early on 22nd of April.
I with my wife travelled back by train again on 27th from Nagpur to Vadodara.
Meanwhile my younger daughter was detected with Covid-19 and she had to be self-quarantined. Now the elder daughter had to stay with her till we arrived back. The day we reach Vadodara, our elder daughter left for Rajkot.
Now there was a family function due at Rajkot on 2nd May. Only I could attend it, as my wife had to stay back with my younger daughter at home.
I travelled on 2nd morning by Volvo bus, attended the function in the afternoon, and arrived back on the same evening by train …
My younger daughter recovered fully from Covid after ten days and got fully fit.
5th May’2023 (News headline)…
“The head of the UN World Health Organization (WHO) has declared “with great hope” an end to COVID-19 as a public health emergency, stressing that it does not mean the disease is no longer a global threat.”
A cycle completed …
The song being covered in this post is from the movie “Sitaaraa-1955”. (this song was pending since ‘2018’).
It was directed by S.K. Ojha for ‘All India Pictures, Bombay’. P. N. Arora was the producer of this movie. It had Vaijayantimala, Pradeep Kumar, Shashikala, Om Prakash, Gope, Jayant, Beghampara, Pam Avtaar, Shyam Kumar, Amar, Helen, Mirza Musharraf, Protima Devi, Badri Prasad, Parasram, Munshi Munakka, Indira Bansal, T.N. Charlie and others.
This movie was passed by Censor Board on 25.05.1955.
“Sitaaraa-1955” has eight songs. They were written by Shakeel Badayuni and music was composed by Ghulam Mohammad.
Five songs have already been posted earlier on the blog. Today I present the sixth song from this movie which is sung by Mohd Rafi.
Lyrics are by Shakeel Badayuni and music is composed by Ghulam Mohammad.
Only audio of this song is available.
Audio
Song-Ye duniya ki rail musaafir aage badhhti jaaye (Sitaara)(1955) Singer-Rafi, Lyrics-Shakeel Badayuni, MD-Ghulam Mohammad
Chorus
Lyrics
Ye duniya ki rail musaafir
Ye duniya ki rail musaafir
Chhak chhak chalti jaaye re
Pal pal aage badhhti jaaye ae
Aage badhhti jaaye ae
Saanson ki patri par bhaage
Raah chale naa aadi
Ismen lagey kismat ke pahiye
Chal jaaye to gaadi baba
Chal jaaye to gaadi ee
Nagar nagar mein thheharti rukti
Nagar nagar mein thheharti rukti
Manzil tak pahunchaaye re
Pal pal aage badhti jaaye ae
Aage badhhti jaaye ae
Aage badhhti jaaye
Is gaadi mein dekh naa pyaare
Jaat paat ke phande ae
Jaat paat ke phande ae
Ek jagah par mil kar baithe
Sab bhagwan ke bande baba
Sab bhagwan ke bande ae
Do din ka ye safar hai baba
Do din ka ye safar hai baba
Mil jul kar kat jaaye re
Pal pal aage badhti jaaye ae
Aage badhhti jaaye ae
Aage badhhti jaaye
Seth mahajan chor uchakke
Is gaadi mein saath chalen
Raat ko soye dhan loot jaaye
Aur sawere haath malen
Aur sawere haath malen
Koyi bajaaye chain ki bansi
Koyi bajaaye chain ki bansi
Koyi neer bahaaye re
Pal pal aage badhti jaaye ae
Aage badhhti jaaye ae
Aage badhhti jaaye
Ye duniya ki rail musaafir
Ye duniya ki rail musaafir
Chhak chhak chalti jaaye re
Pal pal aage badhti jaaye ae
Aage badhhti jaaye ae
Aage badhhti jaaye
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Devnagri Script lyrics (Provided by Avinash Scrapwala)
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ये दुनिया की रेल मुसाफिर
ये दुनिया की रेल मुसाफिर
छक छक चलती जाए रे
पल पल आगे बढती जाए ए
आगे बढती जाए ए
साँसों की पटरी पर भागे
राह चले ना आडी
इसमें लगे किस्मत के पहिये
चल जाए तो गाडी बाबा
चल जाए तो गाडी ई
नगर नगर में ठहरती रूकती
नगर नगर में ठहरती रूकती
मंजिल तक पहुंचाए रे
पल पल आगे बढती जाए ए
आगे बढती जाए ए
आगे बढती जाए
इस गाडी में देख ना प्यारे
जात पात के फंदे ए
जात पात के फंदे ए
एक जगह पर मिल कर बैठे
सब भगवान के बन्दे बाबा
सब भगवान के बन्दे ए
दो दिन का ये सफ़र है बाबा
दो दिन का ये सफ़र है बाबा
मिल जुल कर कट जाए रे
पल पल आगे बढती जाए ए
आगे बढती जाए ए
आगे बढती जाए
सेठ महाजन चोर उचक्के
इस गाडी में साथ चले
रात को सोये धन लूट जाए
और सवेरे हाथ मले
और सवेरे हाथ मले
कोई बजाये चैन की बंसी
कोई बजाये चैन की बंसी
कोई नीर बहाए रे
पल पल आगे बढती जाए ए
आगे बढती जाए ए
आगे बढती जाए
ये दुनिया की रेल मुसाफिर
ये दुनिया की रेल मुसाफिर
छक छक चलती जाए रे
पल पल आगे बढती जाए ए
आगे बढती जाए ए
आगे बढती जाए
Sabse badaa vidhhaataa
Posted on: May 23, 2023
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5422 | Post No. : | 17783 |
“Bhimsen”(1950) was directed by Jayant Desai for Mohan Pictures, Bombay. The movie had Trilok Kapoor, Nirupa Roy, Ram Singh, Rewa Shankar, Narbada Shanker, B. M. Vyas, Murad, Durga Khote etc in it.
There were nine songs in the movie according to HFGK. Three songs from the movie has been discussed in the past.
Here is the fourth song from “Bhimsen”(1950) to appear in the blog. This song is sung by Geeta Dutt , Badrinath Vyas and chorus. Saraswati Kumar Deepak is the lyricist. Music is composed by Avinash Vyas.
Only the audio of this joie de vivre song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
From the lyrics, it seems clear that the song is lip synced by the character playing Draupadi and the occasion is agyaatwaas phase of Pandavas. Pandavas are carrying out their phase of agyaatwaas.
I have not been able to get a lyrics sung by the chorus. I request our readers with keener ears to help fill in the blanks/ suggest corrections in the lyrics.
Song-Sabse bada vidhaata (Bhimsen)(1950) Singers-Geeta Dutt, Badrinath Vyas, Lyrics-Saraswati Kumar Deepak, MD-Avinash Vyas
Lyrics(Provided by Prakashchandra)
chhanak chhanak pe chhanak chhadak pe chhanak chhanak pe ??aata
sabse bada vidhaata aa aa
sabse bada vidhaata
chhanak chhanak pe chhanak chhadak pe chhanak chhanak pe ??aata
sabse bada vidhaata aa aa
sabse bada vidhaata
teer taante hi dori par
pawan charan ruk jaata
teer taante hi dori par
pawan charan ruk jaata
noopur pahne
noopur pahne nartan karta
wahi ang lachkaata aa aa
sabse bada vidhaata aa aa
sabse bada vidhaata
chhanak chhanak pe chhanak chhadak pe chhanak chhanak pe ??aata
chhanak chhank pe ??aata
ghodon ki rakhwaali karta
teen ved ka gyaata
ghodon ki rakhwaali karta
teen ved ka gyaata
chaand se sunder mukhde waala
baithha gaay charaata aa aa
sabse bada vidhaata aa aa
sabse bada vidhaata
chhanak chhanak pe chhanak chhadak pe chhanak chhanak pe ??aata
chhanak chhank pe ??aata
jin haathon mein gada ghoomti
jaisa shankh bajaata
jin haathon mein gada ghoomti
jaisa shankh bajaata
aaj wahi chamcha kalchhi lekar ke daal chalaata
aaj wahi chamcha kalchhi lekar ke daal chalaata
sabse bada vidhaata aa aa
sabse bada vidhaata
Har tan mein kavi har man mein kavi
Posted on: May 22, 2023
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5421 | Post No. : | 17781 |
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Blog 10-Year Challenge (2013-2023) – Song No.121
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On this date ten years ago (22 May 2013),seven songs from seven digfferent movies was covered in the blog. Here are the details:-
| Post No | Song Title | Name of the movie | Remarks |
|---|---|---|---|
| 8110 | Main teri huyi re baalma | Gehra Daagh(1963) | Movie YIPPEED in the blog by now |
| 8111 | Saanwariya teri yaad mein ro ro marenge ham | Ramu To Deewaana Hai(1980) | 2 songs covered out of 10 by now |
| 8112 | Suraj ki garmi se jalte huye tan ko | 2/3 Parinay (1974) | 2 songs covered out of 3 by now |
| 8113 | Aaye aaye re nanhe munne raaja ko nindiya sulaaye | Doosri Sita (1974) | Movie YIPPEED in the blog with this song |
| 8114 | Jhoomta muskuraata chal | Mauqa (UR)(1970) | |
| 8115 | Toone har raat muhabbat ki qasam khaayee hai | Ganga Ki Saugandh(1978) | Movie YIPPEED by now |
| 8116 | Tu meri adhoori pyaas pyaas | Ghajini (2008) | 1 song covered out of 5 by now |
We observe that two movies (out of seven) have since been YIPPEED in the blog. One movie was YIPPEED on this date ten years ago itself.
That leaves us with five unYIPPEED movies that are eligible for Blog Ten Year Challenge today.
“Parinay”(1974) is one of the BTYC eligible movies. This movie was directed by Kantilal Rathod for Samantar Chitra, Bombay. This was an art movie that had Romesh Sharma, Shabana Azmi,Krishnakant,Shivraj,Abhijit Sen, Achala Sachdev, Champshibhai Nagda, Radhikarani,Lakshmi Patel,Bhairavi Mehta, Ashvin Chopra,
Master Nirav Mehta etc in it. Amitabh Bachchan and Mac Mohan were narrators in this movie.
“Parinay”(1974) had three songs in it. The song covered ten years ago was the second and penultimate song of the movie. Here are the details of the two songs covered in the blog so far:-
| Blog post number | Song | Singer/s | Posted On |
|---|---|---|---|
| 5819 | Mitwa mitwa morey man mitwa | Manna Dey, Vani Jairam | 18 April 2012 |
| 8112 | Suraj ki garmi se jalte huye tan ko | Deenbandhu Sharma, Ramanand Sharma (known as Sharma brothers) | 22 May 2013 |
We notice that “Parinay”(1974) had become a contender for YIPPYdom ten years ago itself, but the third and final song was not available those days. Now, this third song, an elusive song has become available. It came as a pleasant surprise to me when Prakashchandra sent me the lyrics of this song to be used for Blog Ten Year Challenge occasion.
So, here is this third and final song of “Parinay”(1974). This song is sung by Rajendra Mehta. Jaan Nisaar Akhtar is the lyricist. Music is composed by Jaidev.
Only audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
With this song, all the songs of “Parinay”(1974) get covered in ther blog. The movie thus joins the list of movies that have got YIPPEED in the blog.
audio link:
Song-Har tan mein kavi har man mein kavi (Parinay)(1974) Singer-Rajendra Mehta, Lyrics-Jaan Nisaar Akhtar, MD-Jaidev
Lyrics(Provided by Prakashchandra)
har tan mein kavi…eee
har mann…nn mein kavi…eee
jab gham ke deep
jaley ae ae lagtey ae ae
aisey mein bataa
tujhe
haayye rey haayye kyun
preet ke geet bhaley ae lagtey
aisey mein bataa
tujhe
haayye rey haayye kyun
preet ke geet bhaley ae lagtey
kavi rey ae ae aey ae
ae ae ae
kavi rey ae aey ae ae
o o o kavi rey ae ae ae ae
jab pag pag apnee dharti par
andhkaar ne daaley ho derey ae ae
ek mutthhee bhar daanon ke liye
jab martey ae baalak bahuterey
jab raat dinaa aa har dhan waalaa
jeevan se gareebon ke kheley
jab jeenaa aa ik apraadh lagey ae
jab jeenaa ik apraadh lagey
jab maanav dukh par dukh jheley
aisey mein bataa aaa
tujhe
haayye rey haayye kyun
preet ke geet bhaley ae lagtey
kavi rey ae ae
ae ae ae
o kavi rey ae ae ae ae
kavi rey ae ae ae ae
ae ae ae ae ae
o kavi rey ae ae ae ae
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5413 | Post No. : | 17749 | Movie Count : |
4755 |
#the Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # (Debutant Movie- Namaskaar-1978)
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Today we get introduced to a movie tilted‘Namaskaar’ from the year ‘1978’. It is only through Geet Kosh Vol-V (1971-1980) that I become aware of this movie.
This seems to be a very obscure movie of its time and a forgotten one.
On searching for its songs I find that the songs of this movie are available on internet. So, today I present the first song from this movie. All the songs in this movie are new for me and they all seem to be ‘never heard’ songs.
“Namaskaar-1978” was directed by P.A. Prabhu for ‘Prestige Pictures of India, Bombay’. It had Satyendra, Kiran Sheth, Sangeeta, Ramesh Mehta, Baldev Trehan and others.
This movie was passed by Censor Board on 18.10.1978.
“Namaskaar-1978” has three songs as mentioned in HFGK Vol-V. The three songs in this movie were written by Rajesh Johri and music was composed by Madhav Kumar.
Here arethe details of the songs of this movie.
| SNo. | Song Title | Singer/s |
|---|---|---|
| 01 | Bol aur sur | Arun Date |
| 02 | I wake up in the middle of the night | Sharon Prabhakar |
| 03 | Yah vishw saaraa | Nitin Mukesh, Arun Date, chorus |
Today we will be listening to the first song from this movie ‘Namaskaar-1978’ which is sung by Arun Date.
Lyrics are written by Rajesh Johri and music is composed by Madhav Kumar.
This team of ‘lyricist-composer-singer’ makes its debut on the blog today.
I am not aware of the lyricist and music composer. However, I am aware of Arun Date who was a prominent bhaavgeet singer in Marathi.
Arun Date was born on 04.05.1934 and he passed away on 06.05.2018. He was an Engineer by profession. He had done engineering from VJTI, Bombay. He served as a ‘textile engineer’ in a reputed firm for twenty-eight years and then left his high-profile job for his love – singing.
There are many memorable Marathi ‘sugam sangeet’ or ‘bhaavgeete’songs which Arun Date has sung in Marathi. (Many songs sung by him are my personal favorites including ‘bhatuklichya khelaamadhli’, ‘sur maagu tulaa mi kasaa ‘etc).
I guess that this ‘Namaskaar-1978’ is the only ‘Hindi’ movie where Arun Date has given his voice.
I would request knowledgeable readers to throw more light on this movie and its songs.
Today’s song is a nice ‘philosophical’ song to listen to. With this song the movie ‘Namaskaar-1978’ makes its debut on the blog.
Song-Bol aur sur milte hain tab hai geet pooraa (Namaskaar)(1978) Singer-Arun Date, Lyrics-Rajesh Johri, MD-Madhav Kumar
Lyrics
bol aur sur milte hain
tab hai geet pooraa aa
bol aur sur milte hain
tab hai geet pooraa aa
inmen se ek naa ho to
geet hai adhooraa
inmen se ek naa ho to
geet hai adhooraa aa
ek saath saanson ke jo
chale wohi dhadkan hai
ek saath saanson ke jo
chale wohi dhadkan hai
inke milan kaa hi to
naam ek jeewan hai
naam ek jeewan hai
gyaan aur jeewan milkey
insaan pooraa aa
gyaan aur jeewan milkey
insaan pooraa aa
gyaan binaa rehtaa hai
jeewan adhooraa aa
gyaan binaa rehtaa hai
jeewan adhooraa
bol aur sur milte hain
tab hai geet pooraa aa
inmen se ek naa ho to
geet hai adhooraa aa
jal ke binaa ye baadal
dhuaan hi dhuaan hai
jal ke binaa ye baadal
dhuaan hi dhuaan hai
agar ye zameen naa hoti ee
gagan phir kahaan hai
gagan phir kahaan hai
phool ke binaa bhanwre kaa
jeewan adhooraa aa
phool ke binaa bhanwre kaa
jeewan adhooraa aa
phool se milkey bhanwraa
hotaa hai pooraa
phool se milkey bhanwraa
hotaa hai pooraa aa
bol aur sur milte hain
tab hai geet pooraa aa
inmen se ek naa ho to
geet hai adhooraa aa
geet hai adhooraa
geet hai adhooraa
Ye zindagi chaman hai
Posted on: May 12, 2023
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5411 | Post No. : | 17749 | Movie Count : |
4751 |
#the Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # (Debutant Movie- Kismat/Qismat-1980)
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With this post we introduce the movie ‘Qismat-1980’ on the blog.
Movies with this title-Kismat or Qismat were made and released in the years ‘1943’, ‘1956’(Qismat), ‘1968’, ‘1980’(Qismat), ‘1995’(Qismat) and in the year ‘2004’.
(I hope all them brought good ‘fortunes’ to the ‘producers’ of the movies 🙂 ).
Out of these the movies released in ‘1943’, ‘1956’ and ‘1968’ have already been represented on the blog.
I was longing to present this movie on the blog as it serves the purpose of bringing ‘movies with the same title on the blog’ (at least till the decade of 1971-1980).
‘Qismat-1980’ was directed by Bhishm Kohli for ‘Pashupati Pictures, Bombay’.
It had Ranjeeta, Mithun Chakravarty, Shakti Kapoor, Shivangi Kolhapure (debutant movie), T.P. Jain, Urmila Bhatt, Dulari, Gautam Sarin, Tarun Ghosh, Vimal Chopra, Rajeev, Bholu Vadhawan, Gurbachan, Om Shivpuri, Baby Pinki, Master Bobby, Neelofar, Birbal, Rajat, Lateef and others.
Jalal Agha had a guest appearance in this movie.
This movie was a ‘social movie’, passed by Censor Board on 18.08.1980.
‘Qismat-1980’ has six songs written by Amit Khanna and composed by Bappi Lahiri. Asha Bhonsle, Manna Dey, Yesudas, Kishore Kumar and T. Meena had given their voices to the songs in this movie.
Here is the list of the songs in this movie with their respective singers.
| SNo. | Song Title | Singer/s |
|---|---|---|
| 01 | O… kuchh chhup chhup ke aate hai | Asha Bhonsle |
| 02 | Aa… arey masti… masti kahaan hai mastaana aa gaya hai | Manna Dey |
| 03 | Ye zindagi chaman hai | Yesudas, chorus |
| 04 | Gir ke sambhalte hain ham | Kishore Kumar |
| 05 | Ik to main jawaan us pe tu yahaan | Asha Bhonsle |
| 06 | Mehboob ki mehbooba ko lalkaaro nahin | T. Meena |
Today we present a song sung by Yesudas from this movie. I became aware of this song more than one decade later when I got to listen to it on radio.
I have not watched this movie ‘Qismat’ and also not aware of how it did fare at the box office then.
A partial video of the tsong is available where we can see Mithun Chakravarty lip-syncing this song and trying to console and motivate Ranjeeta on the screen.
Lyrics for the song are by Amit Khanna. Music is composed by Bappi Lahiri. This must be one of the best songs that Bappi Da has composed in the decade of 1971-1980.
Let us now listen to the song…
Audio
Video partial
Song-Ye zindagi chaman hai (Qismat)(1980) Singer-Yesudas, Lyrics-Amit Khanna, MD-Bappi Lahiri
Chorus
Lyrics
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
ye zindagi chaman hai
sukh dukh
phool aur kaante ae
ham tum baaghbaan hain
kyun naa mil kar inko baanten
ye zindagi chaman hai
sukh dukh
phool aur kaante ae
ham tum baaghbaan hain
kyun naa milkar inko baanten aen
aa aa aa
ha aa aa
o o o o o
hmm hmm hmm
ho mushqil dagar
yaa lambaa safar
ho chaahe anjaanaa nagar
din ho yaa raat
chalenge saath
ban ke sadaa ham hamsafar
kabhi naa kabhi
kahin naa kahin
bol uthhenge ye sannaate
ye zindagi chaman hai
sukh dukh
phool aur kaante ae
ham tum baaghbaan hain
kyun naa milkar inko baanten aen
aa aa
aa haa aa
aa aa aa
hmm hmm hmm
aa aa aa aa
aa aa aa aa
aa aa aa aa
hamesha khushi
tumko miley
saayaa bhi gham ka door rahe
aankhon mein ho
sapney naye
masti mein ae tu choor rahe
jeenaa usi ko
ye raas aaye
hans kar jo jeewan kaate
ye zindagi chaman hai
sukh dukh
phool aur kaante ae
ham tum baaghbaan hain
kyun naa milkar inko baanten
aa aa
aa haa aa
aa aa aa
hmm hmm hmm
ye zindagi chaman hai
sukh dukh
phool aur kaante ae
ham tum baaghbaan hain
kyun naa milkar inko baanten aen
aa aa aa
aa haa aa
hmm hmm hmm
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5409 | Post No. : | 17745 |
Today’s song is from the film Kanchan-1941.
1941 was the first year in the second decade of the Talkie Era and it was the beginning of the emergence of a New film industry. When Talkie started in 1931, for many years after that, the films were made by the people who had done work in the Silent films. These films had a spill over for the silent era artistes. Once the films started talking,most silent artistes who could not speak Hindi or Urdu automatically disappeared. Thus started the influx of new actors who could speak Hindi and sing songs, in whatever way they could. Intelligent directors like V Shantaram,Bhavnani, Sohrab Modi, Chandulal Shah, Himanshu Rai, B N Sircar, L V Prasad and a host of Gujarati directors understood that the Talkie needs a different treatment than silent films. Music directors from stage dramas tried their hand in composing film music.
In the next 8-9 years, there was a perceptible change in the film making, acting, singing, and composing music in the films that were made. Quality artistes from the silent era continued for some more years – finally giving way to the new artistes. The 30s and the 40s mostly differed in film music and story contents. The new blood composers like Anil Biswas, C Ramchandra, Naushad, Ghulam Haider, K Datta, Hansraj Behl, Bulo C Rani, Gyan Dutt and many more replaced the Parsi, Marathi and Gujarati drama music to more acceptable lilting songs. Many musical films were made and some everlasting songs were composed by these people. At the end of the 1940s, one more major change in the film industry took place due to Partition. Let us see some important films.
JBH Wadfia became Chairman of the Film Advisory Board. He produced the First Sindhi film “Ekta”-1940. His film Court Dancer was also in English.
Asra– Debut of actor director N A Ansari.
Behan– Mehboob directed this film having an incest suggestive story.
Chandan– Debut of S N Tripathi as an MD
Chitralekha– First big success of Kidar Sharma. Mehtab’s bath scene caused a ripple.
Dhandhora– Actor comedian Charlie directed the only film.
Doctor– Pankaj Mullick gave excellent songs. First popular song with woof beats-‘ Chale pawan ki chaal ‘.
Jhoola– One of the most successful films like kangan and bandhan, starring Ashok kunmar and Leela Chitnis.
Kanchan– First composed song of naushad-” Bata do koi”
Khazanchi– A milestone in musical revolution with Punjabi Theka, by Ghulam haider. Debut of Shamshad Begum in Hindi films.
Lagan– Saigal, as usual, gives good songs.
Mala– was remade as ‘ Amar-54’ with music again by Naushad only. Jayant played the same role in both films.
Naya Sansar– Story of Newspaper world. A novelty. Ashok Kumar’s famous cigarette smoking in films started from this film, solving his problem of ‘ what to do with the hands during acting’ !
Nirdosh– Mukesh sings his first song.
Padosi– Last film of V Shantaram before leaving Prabhat. A Landmark film. ” Kaisa chhaya hai ujala” is a popular chorus song.
Pardesi– Debut of actress Anjali Devi (not the southwali) with real name ‘Durgesh’
Radhika– Debut of Nalini Jaywant.
Raj Nartaki– Ambitious Wadia film in English , Bangla and Hindi. Released in the USA by Columbia Pictures of Hollywood.
Sangam– Amritlal Nagar’s first film as a writer. He did 18 films as writer and Lyricist.
Sikandar– A Magnum-Opus from Minerva. Chorus song- ” Zindagi hai pyar se” is very popular.
Taj mahal– Debut of Baby Suraiya as an actress.
Sasural and Ummeed were 2 films in which Noorjehan senior acted and sang. However these films are usually wrongly included in the filmography of Malika E Tarannum Noor jehan. She entered Hindi films only with the film Khandan-1942 at Lahore.
Under this scene the film Kanchan-1941 was made by Chitra productions, Bombay. It was produced by Leela Chitnis and C.R.Gwalani. The entire film was shot in the studios of Ranjit Movietone, using their technical staff like cinematographer, editor etc. This film is important because of one song from this film – ” Bata do koi ” sung by Leela Chitnis. This song was the first composed and recorded song of Music Director Naushad, although his first film ‘ Premnagar-1940′ was released much before film Kanchan-41.
There is a short but interesting history to this song.
D.N.Madhok,who was a good friend of Naushad in his struggling days had full faith in his capabilities as a composer and took Naushad to Chandulal Shah.He offered to employ him for his forthcoming film.Naushad prepared a tune for Madhok’s bhajan,”Bata do koi kaun gali gaye shyam”.However the film was shelved.
When Naushad assisted Gyan Dutt for the Punjabi film ‘Mirza sahiba’ in 1938,Gyan dutt heard it and used it later in Kanchan in 1941.
Although Premnagar was released in 1940 as Naushad’s first independent film,the above song is the first recorded song of Naushad,independently prepared.
Gyan Dutt was a noble soul.He did give the credit to Naushad for this song. The credits of the film mentioned both names,Naushad as well as Gyan Dutt as Music Directors,though Naushad’s filmography does not mention this film at many places. (from an extract of D.N.Madhok’s interview.).
The cast of the film Kanchan-1941 was Leela Chitnis, Arun Ahuja, Mubarak, Pramila, Nagendra Muzumdar, Kesari, Tarabai (sister of actresses Sitara Devi and Alaknanda and mother of dancxer Gopi krishna) and others. The film released in august and its story appeared in the October issue of the film magazine Film India. Our Sadanand ji had given its edited copy as follows…….
A tailor (Nagendra Mazumdar) has two daughters – Kanchan (Leela Chitnis) and Kumud (Pramila). Both the daughters are in love with Kishore (Arun Ahuja), an educated young man. Kishore likes Kanchan and he reciprocates her feelings towards him whereas he avoids Kumud. Subsequently, Kumud works out a plot which forces Kishore to leave for a city job.
Now a landlord (Mubarak) enters the scene. He has a vicked manager who, for a very minor reason, burns down the huts of the farmers. Kishore comes to know about it and he rescues the farmers from the clutches of the fire. In this process, the father of Kanchan and Kumud also comes under the monetary trap of the landlord as he lends money to reset the house.
Since the father is not able to repay the loan, the landlord gives him options of either attaching his whatever the assets or to give one of his daughters in marriage. Kumud refuses to act as a pawn to the landlord. Kanchan agrees to marry the landlord thus sacrificing her love for Kishore.
When the arrangements for the marriage are going in full swing, Kanchan’s mother who had known the landlord from her younger days when she was in love with him, gives the landlord a long lecture of self-consciousness on the issue. The landlord has a change of heart and he withdraws himself as the bridegroom. Kanchan gets married to Kishore.
One of the cast members- Nagendra Muzumdar was the father of Music Director Ninu Muzumdar. Nagendra was born in a happy family in the year 1894 in Bombay. After his father died, “Pearl Dairy’ established by his father ran very well doing good business. Suddenly, Nagendra’s wife fell seriously ill and despite taking her full care, she expired. Due to neglect of the Dairy in this period, Dairy also closed down.
He shifted to Baroda and worked as a State Police Inspector.Later he worked as Watch and Ward Inspector in Baroda Railways. He left the job and started working as a hero in dramas of famous dramatist R.V.Desai. Heeralal, the owner of Laxmi Film Company, Bombay was impressed with his personality and took him to Bombay in 1926 to act in his silent films. Thus started his film career. In those days Silent films used to be completed within a month. He worked as a Hero in films of Laxmi, Jagdish and Imperial film companies.
In the same year, he directed a film ‘Paani mein aag’-1926, made by Royal Arts. Then came two more films made by Kaiser E Hind films. He also directed films for other companies. In all, he directed 15 Silent films by 1932. By then the Talkie had arrived. In the next 14 years he directed 12 Talkie films like – Ras Vilas-32, Sassi Punnu-32, Patit Pawan-33, mirza Sahibaan-33, Mera Imaan-34, Kala Wagh-34, Rangila nawab-35, Kimiyagar-36, Aaj ka Aladdin aka Aladdin II-36, Lehri lutera-37, Talwarwala-46 and Swadesh Sewa-46.
When offers for direction became few, he started acting in films. He acted in 12 films. When K L Saigal came to Bombay, Nagendra wanted to work with him. In the film Tansen-43, he did the role of Tansen’s (Saigal’s) father and he was very happy. The films that he acted in were Kanchan-41,Beti-41, Khilauna-42, Bhakt Surdas-42, Armaan-42, Tansen-43, Gauri-43, Adab Arz-43, Bharthari-44, Prabhu ka Ghar-45, Ghazal-45 and Dhanna Bhagat-45.
His last 2 films came in 1946, but his health was not cooperating for quite a few years. He gave up work and took a rest. However, he suffered from paralysis and died on 22-8-1951. His son Ninu Majumdar worked in Bombay A.I.R. as head of Gujarati programmes, since 1937. By the time Nagendra died, Ninu had already started working as a Music Director. As a Director, Nagendra had worked with the best of his times like, Master Vithal, Zubeida, Jillo, Billimorea brothers, Madhuri, Navinchandra, Durga Khote, Jairaj, Sultana, Noorjehan sr and such luminaries of those days. He worked for Ranjit, Imperial, Sharda, Lakshmi, Jayant Desai films, Yagnik films etc etc.
( Information for this article is collated from various sources like Listener’s Bulletins No. 40 of Feb-80 and No.145 of July 2010, HFGK, muVyz, Sapnon ke Saudagar by Vithal Pandya, Silent films by Dr.Verma, Lost Treasures by kamlakar P. and my notes.)
The heroine of this film Leela Chitnis had led a life full of ups and downs. She earned money, name and fame but her family life was not a happy one. When I read her autobiography in Marathi – चंदेरी दुनियेत ( Life in the world of Silver Screen ) I felt sympathy for her. Her son was a failure as a Hero and she died a lonely death in an Old age home in America where her son and relatives lived in luxury.
Today’s song is sung by the Music Director Gyan Dutt and the comedian Kesari, with a chorus. Enjoy…..
Song- Paani ka tu bulbula tera kaun thhikaana (Kanchan)(1941) Singers- Gyan Dutt, Kesari, Lyricist- D.N.Madhok, MD- Gyan Dutt
Chorus
Gyan Dutt + Chorus
Lyrics
Paani ka tu bulbula
tera kaun thhikaana
Paani ka tu bulbula
tera kaun thhikaana
paani se uthha hai pagle
paani mein mil jaana
tera kaun thhikaana
paani se uthha hai pagle
paani mein mil jaana
tera kaun thhikaana
Paani ka tu bulbula
tera kaun thhikaana
hawa ke ghode pe chadhke tu kaaahe ko itraaye
hawa ke ghode pe chadhke tu kaaahe ko itraaye
is jeewan ka maan kare tu
maut ka ek bahaana
tera kaun thhikaana
is jeewan ka maan kare tu
maut ka ek bahaana
tera kaun thhikaana
Paani ka tu bulbula
tera kaun thhikaana
khel khel le jeewan ka tu u u u
khel khel le jeewan ka tu
jab lagta ras le hai
khel khel le jeewan ka tu
jab lagta ras le hai
ye sapna ka jhonkaa aaya
aakhir ko mar jaana
tera kaun thhikaana
ye sapna ka jhonka aaya
aakhir ko mar jaana
tera kaun thhikaana
tera kaun thhikaana
haan tera kaun thhikaana
haan tera kaun thhikaana
Paani ka tu bulbula
tera kaun thhikaana
maayaa ke laade laade hai ae ae
maayaa ke laade laade hai
kaun kaam aayenge
maayaa ke laade laade hai
kaun kaam aayenge
hari naam ki ?? dagariya
badi door hai jaana
tera kaun thhikaana
hari naam ki ?? dagariya
badi door hai jaana
tera kaun thhikaana
Paani ka tu bulbula
tera kaun thhikaana
Paani ka tu bulbula
tera kaun thhikaana
tera kaun thhikaana
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5405 | Post No. : | 17733 |
Today’s song is from a very old film Gol Nishan aka Mark of Zero – 1936. It is sung by Gauhar Karnataki.
The title of this film resembles the Hollywood silent film of the 1920 namely, “The Mark of Zorro” and a Talkie film bearing the same title made in 1940 again. Douglas Fairbanks was the hero in the silent film and Tyrone Power in the talkie film. The Hindi film Gol Nishan aka Mark of Zero was obviously inspired by the 1920 film of Zorro – the swashbuckling swordsman. The character of Zorro was the creation of the author Johnston McCulley in his 1919 story ” The curse of Capistrano”. I have seen films of Zorro during my younger age and I remember that Zorro used to leave a mark of Z with his sword, wherever he went.
The full story of our Hindi film Gol Nishan is not known to us as it is not available anywhere. But I had found a 4-5 lines synopsis of its story a long time ago. I do not remember the source, but I found a note in my old diary.
According to it, this was a story of an adventurous Rajkumari of a kingdom, where her father was dethroned by his evil Vizier and was jailed. She was carried by her mother who went underground for safety. The grown up Rajkumari turns up into a swashbuckling swordswoman and punishes the Vavir’s armymen who torture the common citizen to get money. She leaves her mark of a Circle or Zero everytime she clashes with the army men. She falls in love with a brave handsome young man and together they win back the kingdom etc. etc. Whatever 2-3 photos I have seen of this film on the internet show a sword wielding young and hooded Rajkumari (Gauhar Karnataki), which corroborates with the story of the film I had written down.
Actually, this was a pattern of most Costume dramas of Stunt/Action films in the 1930’s and 1940’s decade. The entry of Fearless Nadia as a saviour of the common citizen, through her first film ” Hunterwali”-1935 set a pattern of such stunt films. Film Gol Nishan seems to be the first ‘True Copy’ of that film from Wadia movietone.
The film was made by navbharat Movietone and was directed by stunt film expert M.Udwadia. He was initially working with Wadia Movietone but later became an independent director. he directed only 8 films-all stunts- like, Shahu Chor-1936, Mard ka Bachha-1936, Gol Nishan-1936, Chabuk Swar-1937, Royal Commander01938, Watan ke liye-1939, Pyara Watan-1943 and Double Face-1946.
For the role of the Hero, Handsome veteran of silent stunt films- Navinchandra was brought in. Navinchandraa’s full name was Navinchandra N. Joshi. He was born in 1907 at Jambusar and belonged to a Gujarati Bramhin family. When he was studying Intermediate, his dream was to do M.Sc. and become a Professor. He was very much interested in body building and was a weight lifter.He was expert in Long jump, High jump and Malkhamb too, along with yoga asanas. This made his body solid. Fair and handsome physique was noticed by one of the seniors in his Gym and he was taken to Bombay to meet produced director Indulal Yagnik. He offered him a Hero’s role in a stunt film. Thus Navin entered the film line with first silent stunt movie ” The fall of Pawagarh”-1928. It was produced by Indulal Yagnik and directed by Nagendra Mujumdar. His first Heroine was Iris Crawford. He worked in more than 20 silent films and was famous as the Hero of Stunt and action films.
His first Talkie film was Kala Pahad-1933 in which his Heroine was Gauhar Karnataki ( sister of Amirbai karnataki and wife of Marathi stage artiste Bal Gandharv). The film was made by Sharda Movietone and directed by Baburao Apte (brother of actress Shanta Apte). Navinchandra acted in 33 talkie films, mostly stunt and action films. When the attraction of stunt films waned, he stopped getting roles, because stunt films were not being made now on roll. His last film was Jadui Putli-1946.
His age also caught up with him and he stopped getting films. He started doing small uncredited roles like an extra. The last information about him was when he was working as a Production manager in Imperial Film company, where now the studio was rented to other producers for shooting their films, by Irani’s heirs. One peculiar thing about Navinchandra was that except for the film’s required costume, he was always seen in Dhoti and Kurta only.
The heroine of the film Gol Nishan was Gauhar karnataki- sister of the famous actress singer Amirbai karnataki. Though they were sisters, their professional jealousy was well known which kept them always divided. Tabla player Hussain khan,living in a small town Belagi,near Hubli,had 6 daughters. The first was Allamma(Ahilya),then Amirbai,next was Gauhar(Born in 1908),then a series of badi Munni,Chhoti Munni and Nanhi Munni. Son was Dastgir. Being from a singing family,Amirbai and gauhar(Gauramma) worked in a drama company called Vanivilas Natak mandali. Since Hubli,Dharwad,Belgaum came under Bombay Presidency and also near Sangli/Miraj and Kolhapur,the sisters were experts in Marathi too.
Brother Dastgir went on to study B.Sc and did a job in AIR,Belgaum. From the beginning only,Amirbai and Gauhar did not get on well with each other.May be professional jealousy.Gauhar got classical music training from a blind teacher NIlkanth panchakshari Buwa. Great classical singer Mallikarjuna Mansur’s brother Basavanna wrote songs for Gauhar and also accompanied her on Harmonium.
Marathi singer actor Chaphekar took the sisters to Bombay for working in films.Gauhar and Chaphekar stayed as companions in Bombay for a few years. Meanwhile Gauhar got a daughter Ashamma. Her father’s name is not known.Ashamma remained with Gauhar till her death.
Gauhar started acting in Marathi and Hindi films. She acted,sang and also composed her own songs,but no records were brought out. Gauhar was mesmerised by the famous Marathi singer actor BAL GANDHARVA. She first met him in 1937,in actor Himalayawala’s flat(Amirbai karnataki’s cruel Husband). It is widely believed that Gauhar used Black magic to attract Bal Gandharva to her. As expected he fell in her love and Gauhar joined his Balgandharva Natak Mandali in 1938. After her arrival into the Mandali,all senior artistes left the company as they were afraid of Gauhar’s black magic. From 1938,Gauhar remained with Balgandharva till she died in 1964. Balgandharva’s wife died in grief in 1940 and Gauhar married Balgandharva in 1951.
She acted in films like Raas vilas-32,Kala pahad and Sohni Mahiwal-33,Kala vagh and Shak karta Shivaji(M)-34,Pyar ki Maar-35,Bansuriwala,Gol Nishan and Graduate-36,kala Bhoot and Chabuk swar-37,Vijay Danka-38,Hawaii khatola and swadesh sewa-46. chabuk swar-37 was a stunt film a-la Fearless Nadiya style wherein she did some stunts and fencing too. (Thanks to lifekidhun,warren sanders,wiki and HFGK for some information used above.)
Gauhar is mentioned as Gauhar karnataki or Gauhar from Bijapur in the HFGK. She must have sung atleast 100 songs but since there were no records,there is no information.As her many films were C grade,no records were issued even for them. However she has sung many Marathi natyageet and Bhajans.
There can not be any comparison with her sister Amirbai since Amirbai was in a higher league and her records were also made. She had many composers and singers to sing along with.
The story and the 12 songs of the film were by Dr. Dhaniram Prem. Gol Nishan was his last film, before he returned to England to continue his practice there. Dr. Dhaniram Prem – a Medical Doctor, who came into films like a Meteor for a few years in the 30’s period. Dr. DHANIRAM “Prem” (Born 26 September 1904 – Died 10 November 1979) Lyricist, Story and Dialogue Writer in Hindi Films, an extraordinary person, was born on 26-9-1904 at Dariyapur, Aligarh, UP. He completed his MBBS from Bombay and then he went to the UK for further studies under assistance from a charitable institution.
He came back, started his practice and repaid all loans first. From childhood he was fond of writing. He wrote several books and articles in National papers. From 1932 to 1936 he wrote Stories, dialogues and Lyrics for 16 films. In the first 2 years he wrote for only Ranjit studio films. Later he was a freelancer and wrote for others too. Gol Nishan aka Mark of Zoro-36 was the last film for which he wrote the Story and some songs..
He wrote songs for films…1932-Bhutiya mahal, Kala Pahad, Do Badmash. 1933- Pardesi pritam, Bhola Shikar, Bhool Bhulaiya. 1934- Veerangana panna, Mera Imaan, Kala Wagh, Indira M.A. 1935- Rangbhoomi, Preet ki reet, madan Manjiri, Aparadhi and Aladdin II. 1936- Gol Nishan
Then he went to the UK and practiced there, engaging himself in social causes. He was highly respected by the British. In 1964 he declared that he would contest the U.K. Prime Minister elections. A special pediatric ward was named after him in his honour while he was alive. He got several awards in U.K. for his excellent work. The Indian government gave him Padmashree.
On 29-10-1979 he came to India and stayed in Delhi, but in two day’s time he met with a scooter accident and he died on 10-11-1979. His specialty was that in every film lyric, he used the word ‘Prem’ as a signature word. This trait was picked up later by some more Lyricists in Hindi films. ( Thanks to information from Listeners’ Bulletin No. 145 of July 2010).
The HFGK does not mention any name as MD of this film. Today’s song is a typical drama type song, so common in films of early era films. I find many Marathi Natyageets of this type in old stage dramas.
Song-Do din ka baasa jag mein hai chain se guzar le(Gol Nishaan)(1936) Singer- Gauhar Karnataki, Lyricist- Dhaniram Prem, MD- Unknown
Lyrics
Do din ka baasa jag mein hai
chain se guzar le
haa aa aa
chain se guzar le
jab tak umar hai baaqi
jee bhar ke aish kar le ae ae ae
jee bhar ke aish kar le
jab tak hai waqt tera
hans bol khel khaa le
duniya ki nematon ka
kucchh faaydaa uthhaa le
tu jod jod maaya
oonche qile banaaa le
unmein sabhi padenge
bas doosron ke taale
wo din kab aata jag mein hai
chain se guzar le
kya saath apne laaaaya
duniya mein aane waala
kya saath apne laaaaya
duniya mein aane waala
jaayega tu yahaan se
kafani badan pe daale
kafani badan pe daale
jee khol ke jahaan ke
gaafil maje udaa le
do din ke chain ki
bansi zara bajaa le
do din ka baasa jag mein hai
chain se guzar le
jab tak umar hai baaqi
jee bhar ke aish kar le
jee bhar ke aish kar le
jee bhar ke aish
do din ka baasa jag mein hai
chain se guzar le
ae ae
chain se guzar le ae ae
chain se guzar le
Tu Dekh Zaraa Dil Ka Darpan
Posted on: May 4, 2023
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5403 | Post No. : | 17727 |
Today’s song is from an old film ‘Ek Hi Raasta’ (1939).
This film was made by Sagar Movietone and was directed by a young Mehboob Khan. This was his last film with Sagar, because after this Sagar was merged with National studios and later on it was closed down forever. This proves that generally, family enterprises where it is a one man show, be it films or politics, does not last long. If the enterprise does not adapt to changes or does not learn from its mistakes, its downfall is sure. Mehboob Khan grew big with Sagar. Mehboob was influenced by Nehru’s ideology and was his staunch supporter. It was a coincidence that Nehru died in the afternoon of 27th May 1964 and within 12 hours, Mehboob Khan too died in the early hours of 28th May 1964.
Mehboob Khan rose from the lowest step to the highest place in the film industry. Starting life as an ‘extra’ in films (he was one of the 40 thieves in Sagar’s silent film on Alibaba). He grew solely due to his own hard work and foresight. Born as Ramzan Khan in 1907 in Bilimora, Gujarat, Mehboob was from a Gujarati Muslim family. He never got a formal education in his young age, but he was keen on two things – 5 times Namaz daily and seeing films. His father being in Police Department, films were free for him. One day he ran away to Bombay to become an actor. However his father found him out and brought him back. He was immediately married off, with a belief that he would improve.
Two years after marriage and one child, he ran off to Bombay again and worked in Imperial Film Co. as an extra for Rs 30 pm. This too after he worked without any pay for 5 months due to the mistake of the clerk ! He worked in crowd scenes and sundry roles – without a dialogue, of course, starting as one of the 40 thieves of ‘Alibaba’. He worked in several films uncredited. His first, big and credited role came in the film ‘Shirin Khushru’ (1929).
In 1927, after the talkie film ‘The Jazz Singer’ was shown in US, the world started making Talkie films. India too jumped into the bandwagon. In 1931, Imperial Movietone, competing with Madon Theaters of Calcutta, wanted to make a talkie and started work fast. Mehboob Khan was almost finalized as the hero. Even his costumes were made ready, but he was destined for something different, and Master Vithal was made the hero of India’s first talkie. Ardeshir Irani’s safety valve of minimizing the risk of the first venture by selecting the existing popular hero, scuttled Mehboob’s dream.
Meanwhile, Imperial started a new company, ’Sagar Movietone’, along with Dr. Patel and Chiman Desai. Some artistes and techies were shifted to Sagar-including Mehboob- from Imperial. Mehboob continued to work in 12 silent films. Here, he met Fardoon Irani, Cinematographer and they became thick friends. Irani was with Mehboob till the end.
During this period, Mehboob wrote a film story and convinced the owners to allow him to direct this film. Owners were hesitant, naturally, to allow this young extra actor to direct a film. Lastly a deal was struck, that Mehboob and Faredoon should be allowed to shoot one reel film. If they like it, continue or else, scrap it and recover money from these two chaps. After one reel shooting the owners realized that they had struck gold in the process and Mehboob completed his first directorial venture ‘Al Hilaal’ (1935). The film was a great success and Mehboob ‘chal pada’. Mehboob went on to direct 7 more films for Sagar. All his films were successful.
From film ‘Jageerdar’ (1937) Mehboob and Anil Biswas pair teamed up for 8 films – till ‘Roti’ (1942).
When Mehboob was making arrangements for his next film, ‘Alibaba’, the sudden news that Sagar is closing down hit them. Mehboob Khan contacted Imperial to allow him to shoot for his film in their studio, which Ardeshir gladly permitted. The film shooting proceeded til Sagar became National Studios. Mehboob made 3 important films of his career in National Studio, namely ‘Aurat’ (1940), ‘Behan’ (1941) and ‘Roti’ (1942).
When National studio also closed down all workers came on road. However, Mehboob decided to start his own company. One Mr. Lalaji of Manoranjan Distributors of Delhi promised capital. National Studio was renamed as Central Studio by the owner, KK Modi – elder brother of Sohrab Modi. He allowed Mehboob to use the studio till his own studio came up. Mehboob took a place nearby to start his office. In this period there was a rift between Mehboob and Anil Biswas and they separated for ever – albeit bitterly.
Mehboob wanted a logo for Mehboob Productions. He selected a sher written by Agha Jani Kashmiri for film ‘Al Hilal” —
“muddai laakh bura chaahe to kya hota hai,”
“wahi hota hai jo manzoor e khuda hota hai”.
It was recorded in the voice of Rafiq Ghaznavi with appropriate prelude music and sound of lightening and clouds. He also took Sickle and Hammer for the logo, and clarified that because he respected workers and certainly he was not a communist.
His first film ‘Najma’ (1943) with Ashok Kumar and Veena was a hit film (his daughter’s name was Najma). It was followed by ‘Taqdeer’ (1943), ‘Humayun’ (1945), ‘Anmol Ghadi’ (1946), ‘Elaan’ (1947), ‘Anokhi Ada’ (1948), ‘Andaaz’ (1949), ‘Aan’ (1952), ‘Amar’ (1954) and his magnum opus ‘Mother India’ (1957). After the high of ‘Mother India’, Mehboob aimed to fly even higher with ‘Son of India’ (1962) but the film was a total misfire and in fact his weakest film.
Mehboob had been neglecting health in spite of suffering heart attacks. In May 1964, he suffered another attack but survived. His financiers were after him for repayment and he was worried. He called Rajendra Kumar and asked for a loan of 4 lakh rupees against his studio to be made in his name. Rajendra Kumar declined to take the studio and promised to give him the amount next day at 11 am, without any mortgage. In the evening, news of Nehru’s heart attack came. Mehboob became restless. Soon the death news came and Mehboob became grief stricken. Akhtar gave him sleeping pills, but he had to be admitted to Nanavati Hospital. He too died at 2 am on 28th May 1964. At the time of his death, Mehboob Khan was harboring ambitions to make a film on the life of Habba Khatoon, the 16th century poetess-queen of Kashmir.
Mehboob Khan directed 8 films for Sagar, 3 films for National and 11 films for Mehboob productions.
[Based on information from Upperstall, the book ‘Mehboob Khan’ by Shashikant Kinikar and my notes].
Film ‘Ek Hi Raasta’ (1939) was the first Hindi film with 3 heroes, namely Sheikh Mukhtar (this was his debut film as a hero), Harish and Arun Ahuja. In those days it was a novelty to have 3 heroes. The other star cast was Anuradha, Jyoti, Kanhaiyalal and many others. Actress Jyoti may be known to many readers. She was the younger sister of Waheedan Bai. Her real name was Sitara Begum. She was a favorite singer of Anil Biswas. After her first marriage broke, she married actor singer GM Durrani. Their married life was happy and long. She acted in 19 films and sang 38 songs in 12 films.
Anuradha was the younger sister of actress Zohra Jaan and Mushtari. Her real name was Khurshid Akhtar (same as actress Shyama). Zohra Jaan was married to actor composer Rafiq Ghaznavi, but they were divorced and Rafiq then married Anuradha. After migrating to Pakistan, Ghaznavi divorced her also.
Mehboob Khan and Anil Biswas were great friends. Both grew up in Sagar Movietone and made a name for themselves. Unfortunately, there was a dispute between them and they split bitterly forever. Many disputes are famous in Hindi cinema world like, for example Lata – Rafi, Lata – SD Burman, Shammi Kapoor – Kalpana etc. Most disputes ended with compromise, but Mehboob Khan never pardoned Anil Biswas as he felt that Anil Biswas betrayed him for money.
Anil Biswas joined Sagar Movietone in 1936 and ‘Jagirdar’ (1937) was his first film as an MD there. He became a very good friend of Mehboob. Together with cinematographer Faredoon Irani, they made a close group of friends. In every film that Mehboob directed from 1937 to 1942 (8 films), Anil Biswas was his Music Director. In 1940 Sagar staff shifted to National and in 1942, National Studios was to be closed. All employees, including Mehboob, Fardoon and Ail Biswas were worried about their future. In that period, Anil Biswas got an offer first from Ranjit Studios, but he rejected it as his friends did not get offers. Then he got an invitation from Bombay Talkies for Rs. 2,500 rupees pm as salary. This was too lucrative to reject. Though his friends were jobless, Anil Biswas joined Bombay Talkies.
Mehboob Khan was upset that being a friend also, in their bad days, Anil Biswas deserted them for personal gain. Mehboob and Fardoon felt let down. Their relations soured and thereafter Mehboob Khan never ever took Anil Biswas as an MD for films of his company. After establishing his own Mehboob Productions, he did not invite Anil Biswas. Mehboob Khan prospered and teamed up with Naushad as his MD from film ‘Anokhi Ada’ (1948) onwards, in place of Anil Biswas.
By 1954, Anil Biswas broke up with his first wife Ashalata . His career as music director was floundering and he was not getting any films. For survival he unsuccessfully tried doing truck business. Seeing his condition, Mehboob offered him the contract for his canteen, on request from Anil Biswas. That too failed miserably. Mehboob Khan was so bitter about him that even in that condition Mehboob did not offer him any film.
When Mehboob Productions planned the film ‘ Paisa Hi Paisa ‘ in 1956, Mehreesh was made the Director. Being a great fan of Anil Biswas, he asked Mehboob’s permission to call Anil Biswas as its music director. As one who believed in work ethics, Mehboob very reluctantly permitted Mehreesh, but went on a foreign trip to avoid meeting Anil Biswas. Film ‘Paisa Hi Paisa’ was a comedy film, with Kishore Kumar, Mala Sinha, Shakeela, Shyam Kumar, Murad, Mukri, Kumud Tripathi etc. Basically Anil Biswas specialised in tragedy or serious films. Comedy film was not in his comfort zone, but his financial condition forced him to bow to the circumstances. Being a talented composer, he did well in this too, though the film bombed at the box office.
[Based on information collated from the book ‘Mehboob Khan” by Shashikant Kinikar, with thanks and my notes].
Anil Biswas was very fond of singing in his own films. Here is today’s song, sung by him. In this film, Anil Biswas sang 3 solos and a duet with Waheedan Bai (Nimmi’s mother).
Song- Tu Dekh Zaraa Dil Ka Darpan (Ek Hi Rasta) (1939) Singer – Anil Biswas, Lyricist – Kidar Sharma, MD – Anil Biswas)
Lyrics (Provided by Sudhir)
jise kehta hai tu
aa gaya
aa gaya
wo gaya hi kahaan tha
ye to bata
dil ka suraj tere
jagmagaata hua..aa..aa
baadalon mein
o rehta kahaan tak chhupa
tu dekh zara dil ka darpan
tu dekh zara dil ka darpan
wahaan basa hua hai vrindavan
tu dekh zara dil ka darpan
tu dekh zara dil ka. . .
tere nainon mein ganga jamuna bahe
tere nainon mein ganga jamuna bahe
tere mann mein Mathura vaas rahe
tere mann mein Mathura vaas rahe
tere kaanon mein bansi ki taan rahe
tere kaanon mein bansi ki taan rahe
tere mukh mein. . .
tere mukh mein shyam ka naam rahe
tere mukh mein shyam ka naam rahe
giridhar ko kar tan mann arpan
giridhar ko kar tan mann arpan
tu dekh zara dil ka darpan
tu dekh zara dil ka. . .
tere nainon mein ganga jamuna bahe
tere nainon mein ganga jamuna bahe
tere mann mein Mathura vaas rahe
tere mann mein Mathura vaas rahe
tere kaanon mein bansi ki taan rahe
tere kaanon mein bansi ki taan rahe
tere mukh mein. . .
tere mukh mein shyam ka naam rahe
tere mukh mein shyam ka naam rahe
giridhar ko kar tan mann arpan
giridhar ko kar tan mann arpan
tu dekh zara dil ka darpan
tu dekh zara dil ka. . .
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
जिसे कहता है तू
आ गया
आ गया
वो गया ही कहाँ था
ये तो बता
दिल का सूरज तेरे
जगमगाता हुआ
बादलों में
ओ रहता कहाँ तक छुपा
तू देख ज़रा दिल का दर्पण
तू देख ज़रा दिल का दर्पण
वहाँ बसा हुआ है वृन्दावन
तू देख ज़रा दिल का दर्पण
तू देख ज़रा दिल का ॰ ॰ ॰
तेरे नैनों में गंगा जमना बहे
तेरे नैनों में गंगा जमना बहे
तेरे मन में मथुरा वास रहे
तेरे मन में मथुरा वास रहे
तेरे कानों में बंसी की तान रहे
तेरे कानों में बंसी की तान रहे
तेरे मुख में ॰ ॰ ॰
तेरे मुख में श्याम का नाम रहे
तेरे मुख में श्याम का नाम रहे
गिरिधर को कर तन मन अर्पण
गिरिधर को कर तन मन अर्पण
तू देख ज़रा दिल का दर्पण
तू देख ज़रा दिल का ॰ ॰ ॰
तेरे नैनों में गंगा जमना बहे
तेरे नैनों में गंगा जमना बहे
तेरे मन में मथुरा वास रहे
तेरे मन में मथुरा वास रहे
तेरे कानों में बंसी की तान रहे
तेरे कानों में बंसी की तान रहे
तेरे मुख में ॰ ॰ ॰
तेरे मुख में श्याम का नाम रहे
तेरे मुख में श्याम का नाम रहे
गिरिधर को कर तन मन अर्पण
गिरिधर को कर तन मन अर्पण
तू देख ज़रा दिल का दर्पण
तू देख ज़रा दिल का ॰ ॰ ॰
Wo Jo Tha Khwaab Sa
Posted on: April 29, 2023
- In: Atif Aslam Solo Songs | Atif Aslam Songs | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics contributed by readers | philosophical song | Post by Sadanand Kamath | Song of Introspection | Song picturised in at well known locations | Songs of 2010s (2011 to 2020) | Songs of 2017 | Yearwise breakup of songs
- 4 Comments
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5398 | Post No. : | 17708 | Movie Count : |
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Today, April 29, 2023, is the 3rd Remembrance Day of Irrfan Khan, the actor par excellence. After Guru Dutt, I think, he was the only actor whose eyes spoke more than his dialogues.
It was during the shooting of ‘Qarib Qarib Singlle’ (2017) that Irrfan Khan fell sick giving him a feeling that all was not well with his health. After the release of the film in November 2017, Irrfan Khan revealed through his twitter handle in March 2018 that he was diagnosed with neuroendocrine tumors. He was under treatment in the UK for a year. After recovering from his illness, he returned to India in early 2019 and commenced the shooting for ‘Angrezi Medium’ (2020). The bout of illness resurfaced which prevented him in participating in the promotion of ‘Angrezi Medium’ (2020). He was admitted in a hospital in Mumbai on April 28, 2020, and left for the heavenly abode on April 29, 2020, at the age of 53. By the way, on the eve of Irrfan Khan’s 3rd Remembrance Day, Swiss-French Production’s Hindi (with Rajasthani dialect) film, ‘The Song of Scorpions’ (2023) in which he acted in the lead role, is scheduled to get a theatrical release in India on April 28, 2023.
Irrfan Khan (07/01/1967 – 20/04/2023) was born in Jaipur in a middle-class family, which once belonged to one of the noble families of Tonk in Rajasthan. His father had a business of tyres. From the childhood, he was an introvert person. Surprisingly, he was also an vegetarian from his childhood. His father used to make fun of him that mistakenly a brahmin has been born in his family. He completed his schooling and graduation in Arts from Jaipur. His mother wanted him to become a professor but his interest was to become an actor. During his teenage years, Irrfan Khan used to participate in amateur dramas in Jaipur. He was a fan of Hindi films and used to watch Hindi films regularly. From that time onwards, he had made up his mind to become an actor in Hindi films. He had decided to enroll for post-graduation in Theatre in the National School of Drama (NSD), Delhi. However, with his father’s death, it was not possible to leave Jaipur for Delhi. Being the eldest son, it became his responsibility to look after his mother and, a younger brother. That meant that he had to run his father’s tyre shop. Later, it was his younger brother who took the responsibility of looking after his father’s tyre shop that made him possible to join NSD in 1986. His elder sister helped him in paying fees for the enrollment in NSD.
After completing his post-graduation in theatre from NSD, Irrfan Khan went through a very hard struggle to get the entry into Hindi films. On the advice of Tigmanshu Dhulia, one of his batch-mate in NSD and also his close friend (now a producer-director-actor-writer), Irrfan Khan shifted to Mumbai in 1988. But it was very hard to get even a respectable role in Hindi films. Because of his introvert nature, he was not good at marketing himself as an actor. For the livelihood, he started working in TV Serials. Two of his prominent roles in TV serial which I saw was that of playing historian Badayuni in ‘Bharat Ek Khoj’ (1988) and the Urdu Poet, Makhdoom Mohiuddin in ‘Kahkashan’ (1991). His first acting assignment in Meera Nair’s ‘Salaam Bombay’ (1989) was reduced to a cameo role in the final cut which made his moral low. [Note: The personal information about Irrfan Khan is based on a couple of his TV interviews].
Irrfan Khan got some small roles in Hindi films like ‘Kamala Ki Maut’ (1989), ‘Drishti’ (1990), ‘Ek Doctor Ki Maut’ (1991) and many more but these films did not made the audience to carry a lasting impression about his acting, probably due to small roles and sometime inconsequential roles. After a disappointing decade of 1990s for Irrfan Khan, a silver lining came in his filmy career when London-based director Asif Kapadia offered him the lead role in the movie, ‘The Warrior’ (2001). The film ran successfully and was a hit in international film festivals, making Irrfan Khan an internationally known actor.
Irrfan Khan acted as a villain in ‘Haasil’ (2003), his close friend, Tigmanshu Dhulia’s first film as a director. The film was critically acclaimed though it failed at the box office. However, Irrfan Khan’s villainous role was very much appreciated with his Allahabadi Hindi accent. His other critically acclaimed films included Vishal Bhardwaj’s ‘Maqbool’ (2004), Mira Nair’s ‘Namesake’ (2006), Anurag Basu’s ‘Life in Metro’ (2007), Danny Boyle’s ‘Slumdog Millionaire’ (2008). Tigmanshu Dhulia’s ‘Paan Singh Tomar’ (2012) brought a second boost in the acting career of Irrfan Khan making him as an accomplished actor. He won the National Award for the best actor in this film. He justified his position as an actor par excellence in his subsequent Hindi films like ‘Lunch Box’ (2013), ‘Piku’ (2015), ‘Qarib Qarib Singlle’ (2017), ‘Hindi Medium’ (2017) and his last released film, ‘Angrezi Medium’ (2020). For the last two films, Irrfan Khan won Filmfare’s best actor awards.
During His active filmy career, Irrfan Khan acted in around 85 films. 18 films remained unreleased as of the date. I have watched most of his critically acclaimed films. Irrfan Khan does not have any particular mannerism in his acting like Raj Kapoor, Dilip Kumar, Dev Anand, Shammi Kapoor, Rajesh Khanna, Shahrukh Khan etc. These star-actors had huge fan following who would expect their favorite star-actors to repeat their mannerism in all films. Irrfan Khan, on the other hand, has fan followers who seem to like his varied roles with an unconventional acting style.
On the occasion of the 3rd Remembrance Day of Irrfan Khan, I have selected one of the songs from his film, ‘Qarib Qarib Singlle’ (2017) in which he teamed up with Malayalam actress, Parvathy in lead roles. It is a romantic comedy, a genre in which Irrfan Khan has never done the role as a lead actor in his previous films. The film is produced by Ajay Rai and Sutapa Sikdar (wife of Irrfan Khan) and is directed by Tanuja Chandra. Other supporting cast of the film included Neha Dhupia, Isha Sharvani, Pushti Shakti, Luke Kenny, Brijendra Kala, Navneet Nishan, Siddharth Menon, Bajrang Bali Singh, Avneet Kaur etc.
I have watched the film on OTT sometime last month. The film turned out to be beyond my expectation. I liked the unusual romantic story of single couple, Irrfan Khan and Parvathy during their journey from Rishikesh to Jaipur and finally to Gangtok. They are not usual hero and heroine of the mainstream Hindi films. They travel to these places simply because Irrfan Khan’s three ex-girlfriends are well settled at these places and he would like Parvathy to know that despite his break-up with them, they still remember him and he is welcome at their respective houses. During the journey, both Irrfan Khan and Parvathy appear pole apart in their temperaments. But towards the end of their journey, they realize that they love each other and their differences in temperaments complement each other as a couple.
The film was critically acclaimed. Performances of both Irrfan Khan and Parvathy were highly appreciated. But that did not reflect positively on film’s box office collections. I found the film interesting to watch. The protagonist in the film is Parvathy and the very nature of her role, she has to be less talkative and to act like lacking in confidence which she does very well. But it is Irrfan Khan who generates interest for the audience through his extroversion and witty presence.
‘Qarib Qarib Singlle’ has 4 songs written by Raj Shekhar (2) and Hussain Haidry (2). These songs were set to music by Vishal Mishra (2) and Rochak Kohli (2). All songs are apt to the situations. In addition, there was a Sufi Qawwali which was edited out at the final cut.
I am presenting the film’s first song “Wo Jo Tha Khwaab Sa” to appear on the Blog. The song is sung by Atif Aslam. Raj Shekhar has written the song which is set to music by Vishal Mishra. The song does not have the second antara in the film’s soundtrack while audio clip contains full song. I like the song for its philosophical lyrics and the way Atif Aslam has brought the emotion in his rendering.
In the film, the song is played in the background as Jaya, while in Gangtok, decides to meet her ex-boyfriend (Luke Kenny). On the other hand, Yogi (Irrfan Khan) after meeting his all three ex-girlfriends, gets looped into his past relationships. Note how Irrfan Khan’s eyes speak when he secretly watches the dance trainer, Isha Sharwani who was one of his ex-girlfriends. The lyrics by Raj Shekhar is philosophical. The substance of the song is why should one spoil the present enjoyable moments by recalling and conducting ‘post-mortem’ of the past break-ups? Whether one should be loath about the past break-ups and look for the reasons therefor as to what went wrong or to move on to enjoy whatever one has for the present. The frequent refrain ‘jaane de’ in the song is emphasizing on these two options.
Video
Audio
Song – Wo Jo Tha Khwaab Sa (Qareeb Qareeb Singlle) (2017) Singer – Atif Aslam, Lyrics – Raj Shekhan, MD – Vishal Mishra
Lyrics
(Based on Audio Clip)
aaa aaa aaaa
aaa aaa aaaa aaaaa
aaa aaa aaaa
aaa aaa aaaa aaaaa
wo jo thha khwaab saa
kya kahen jaane de
ye jo hai kam se kam
ye rahe ke jaane dein
wo jo thha khwaab saa
kya kahen jaane de
ye jo hai kam se kam
ye rahe ke jaane dein
kyun na rok kar khud ko
ek mashwara kar len
magar jaane de
aadatan to sochenge
hota yun to kya hota
magar jaane de
wo jo thha khwaab saa
kya kahen jaane de
ye jo hai kam se kam
ye rahe ke jaane dein
beeta jo beete na haaye kyun
aaye yun aankhon mein
hum ne to bemann bhi socha na…aa
kyun aaye tum baaton mein
poochhte jo hamse tum
jaane kya kya hum kehte
magar jaane de
aadatan to sochenge
hota yun to kya hota
magar jaane de
wo jo thha khwaab saa
kya kahen jaane dein
ye jo hai kam se kam
ye rahe ke jaane dein
aasaan nahi hai magar
jaana nahi ab udhar
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
aasaan nahi hai magar
jaana nahi ab udhar
maaloom hai jahaan dard hai
wahin phir bhi kyun jaayen
wahi kashmakash wahi uljhane
wahi tees kyun laayen
behtar to ye hota
hum mile hi na hote
magar jaane de
aadatan to sochenge
hota yun to kya hota
magar jaane de
wo jo thha khwaab saa..aa
kya kahen jaane de
ye jo hai kam se kam
ye rahe ke jaane dein
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
आ आ आ
आ आ आ आ
आ आ आ
आ आ आ आ
वो जो था ख्वाब सा
क्या कहें जाने दे
ये जो है कम से कम
ये रहे के जाने दें
वो जो था ख्वाब सा
क्या कहें जाने दे
ये जो है कम से कम
ये रहे के जाने दें
क्यों ना रोक कर खुद को
एक मशवरा कर लें
मगर जाने दे
आदतन तो सोचेंगे
होता यूं तो क्या होता
मगर जाने दे
वो जो था ख्वाब सा
क्या कहें जाने दे
ये जो है कम से कम
ये रहे के जाने दें
बीता जो बीते ना हाए क्यों
आए यूं आँखों में
हमने तो बेमन भी सोचा ना॰॰आ
क्यों आए तुम बातों में
पूछते जो हमसे तुम
जाने क्या क्या हम कहते
मगर जाने दे
आदतन तो सोचेंगे
होता यूं तो क्या होता
मगर जाने दे
वो जो था ख्वाब सा
क्या कहें जाने दे
ये जो है कम से कम
ये रहे के जाने दें
आसां नहीं है मगर
जाना नहीं अब उधर
ह्म्म ह्म्म ह्म्म ह्म्म
ह्म्म ह्म्म ह्म्म ह्म्म
ह्म्म ह्म्म ह्म्म ह्म्म
ह्म्म ह्म्म ह्म्म ह्म्म
आसां नहीं है मगर
जाना नहीं अब उधर
मालूम है जहां दर्द है
वहीं फिर भी क्यों जाएँ
वही कशमकश वही उलझनें
वही टीस क्यों लाएँ
बेहतर तो ये होता
हम तुम मिले ही ना होते
मगर जाने दे
आदतन तो सोचेंगे
होता यूं तो क्या होता
मगर जाने दे
वो जो था ख्वाब सा
क्या कहें जाने दे
ये जो है कम से कम
ये रहे के जाने दें
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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