Archive for the ‘playful song’ Category
Tori Nathni Kaahe Haale Doley Ri
Posted on: January 18, 2022
- In: "Naughty" song | "Nok-Jhonk" song | Chitra Singh Songs | Dance song | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Lyrics contributed by readers | MD-Singer Song | playful song | Post by Avinash Scrapwala | Question-Answer song | Songs of 1970s (1971 to 1980) | Songs of 1972 | Synchronised dance | Twin Dance Song | Usha Khanna - Chitra Singh Duet | Usha Khanna songs | Yearwise breakup of songs
- 6 Comments
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4932 | Post No. : | 16775 | Movie Count : |
4566 |
#The Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 159 # Missing Films of 1972 – 06#
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Today’s song is from the movie ‘Kaamnaa’ (1972). I had never heard of this movie earlier. I became aware of this movie only through HFGK Vol-V (1971-1980).
The film is directed by K Chatterjee for I.M.K. Films, Bombay. The star cast as listed in Geet Kosh includes Suma, Dinesh Rai, Sajan, Sonal, Darpan, Shambhu Mukherjee, Kailash Sharma, Gopal Bhatnagar, Ranjana, Usha, Sarita Devi, Preetam, Prem Roop, Samajeet, Prakash, Sudhanshu, Anil, Shyam, Manik, Sadanand, Udayveer, Prem, Mirchandani, BK Mukherjee, Sudhir, Satish, Namdev, Awasthi, Krishna, Satyadeep, and others. Anupama had a guest appearance in this movie. This movie was passed by Censor Board on 17.07.1972
This movie has three songs written by Naqsh Lyallpuri and composed to music by Usha Khanna. The list of songs in this movie is as given below (as provided in HFGK).
| SNo | Song Title | Singer/s |
| 01 | Tum Kabhi Saamne Aa Jaao To Poochhoon Tumse | Pankaj Udhas |
| 02 | Tori Nathani Kaahe Haale Doley Ri | Usha Khanna, Chitra Singh |
| 03 | Main Aankhen Moond Ke So Jaaun | Chandrani Mukherjee |
I have not watched this movie so can’t say much about it. Today’s song is sung by Usha Khanna and Chitra Singh and picturised on two actresses whom I am unable to identify, and many other artistes are seen in the picturisation of this song.
[Ed Note: The two dancers are Anupama (in orange dress) and Habiba Rehman (in blue dress). Thanks to Prakash ji for the identification.]
Here is the alphabetical list of movies of 1972 up to today’s movie, which is the 61st film in this list.
[Ed Note: In the interest of brevity, the list is collapsed to show the films onward from the previous episode in the series , namely ‘Gaaon Hamaara Shehar Tumhaara’ plus the ones that are without any available information or songs. Readers may refer to previous episodes of this series for earlier details – “Nai Hawa Mein Udne Dekho Ban Ka Mor Chala“.]
|
Sl. No. |
Movie Title | Director | Music Director | Passed by Censor Board | No of Songs on the Blog |
No of Songs as per HFGK |
| 1 | Aakraant | Girish Vaidya | Jagat Singh | 07.12.1972 | 0 | No Information |
| 17 | Bachche Mere Saathi | TN Babu | MS Vishwanathan | 17.11.1972 | 0 | 6 |
| 24 | Bharat Darshan | Khwaja Ahmed Abbas | Jaidev | 04.11.1972 | 0 | No Information |
| 45 | Fighter Sheela | Vijay | Not Mentioned | 07.10.1972 | 0 | No Information |
| 46 | Gaaon Hamaaraa Shehar Tumhaaraa | Naresh Kumar | Laxmikant-Pyarelal | 16.10.1972 | 1 | 4 |
| 47 | Garam Masaalaa | Aspi | R.D. Burman | 06.06.1972 | 2 | 5 |
| 48 | Gomti Ke Kinaare | Sawan Kumar | R.D. Burman | 22.11.1972 | 5 | 5 |
| 49 | Goraa Aur Kaalaa | Naresh Kumar | Laxmikant-Pyarelal | 12.12.1972 | 4 | 6 |
| 50 | Gunfighter Johnny | KSR Das | Aadi Narayan Rao | 25.03.1972 | 0 | 5 |
| 51 | Haar Jeet | CP Dixit | Laxmikant Pyaarelal | 10.04.1972 | 0 | 5 |
| 52 | Hari Darshan | Chandrakant | Kalyanji Anandji | 24.08.1972 | 1 | 4 |
| 53 | Hunterwaali | KS Reddi | Satyam | 02.09.1972 | 1 | 10 |
| 54 | Jaadoo Nagari | Vednatham Roghaviya | Aadi Narayan Rao | 05.06.1972 | 0 | No Information |
| 55 | Jaanwar Aur Insaan | Chanakya | Kalyanji-Anandji | 30.05.1972 | 2 | 5 |
| 56 | Jai Jwaalaa | Manoha44r Deepak | Kamalkant | 28.08.1972 | 1 | 6 |
| 57 | Jawaani Deewaani | Narendra Bedi | R.D. Burman | 24.06.1972 | 6 | 6 |
| 58 | Jeet | A. Subbarao | Laxmikant-Pyarelal | 19.05.1972 | 6 | 6 |
| 59 | Joroo Ka Ghulaam | A. Bhim Singh | Kalyanji-Anandji | 07.09.1972 | 5 | 5 |
| 60 | Jungle Mein Mangal | Rajendra Bhatia | Shankar-Jaikishan | 27.12.1972 |
|
7 |
| 61 | Kaamnaa | K. Chatterjee | Usha Khanna | 17.07.1972 | Making its debut on the blog today | 3 |
Note: – Songs for ‘Bachche Mere Saathi’, ‘Gunfighter Johny’ and ‘Hunterwaali’ seems to be unavailable as of now. And there is no information about the songs in HFGK Vol-V (1971-1980) for the movies – ‘Aakraant’, ‘Bharat Darshan’, ‘Fighter Sheela’ and ‘Jaadoo Nagari’ as mentioned above.
Today’s song from the movie ‘Kaamnaa’ is sung by Usha Khanna and Chitra Singh. Music is composed by Usha Khanna. The video and audio versions have common ‘first stanza’ of the song but the second stanza in both the version is different.
As mentioned above I am unable to identify the artistes. I would request knowledgeable readers to throw more light on this movie and its songs.
Let us now enjoy the today’s lovely song…
Video
Audio
Song – Tori Nathni Kaahe Haale Doley Ri (Kaamna) (1972) Singers – Usha Khanna, Chitra Singh, Lyrics – Naqsh Layallpuri, MD – Usha Khanna
Usha Khanna + Chitra Singh
Lyrics
(Based on Video Clip)
tori nathani kaahe haale doley ri
tori nathani kaahe haale doley ri
baat jiyaa ki gori
poochh ke chori chori
baat jiyaa ki gori
poochh ke chori chori
laaj ka ghoonghtaa kyun kholey ri
tori nathani kaahe haale doley ri
tori nathani kaahe haale doley ri
boley ye khili khili
gaalon ki kaliyaan
piya ke sang tu manaaye
rang raliyaan
mohe sataa ke tohe
milta hai kyaa ri ee
chhed karogi to main
de doongi gaari
maano maano guiyaa..aa..an
tori nathani kaahe haale doley ri
tori nathani kaahe haale doley ri
daala hai daaka tu ne
mere hi ghar mein ae
phir bhi buri hoon main ri
tori nazar mein
mohe sakhi ri
kaahe deti ho taana
more liye hai tora
bhaiyya deewaana
maano maano guiyaa..aa..an
tori nathani kaahe haale doley ri
tori nathani kaahe haale doley ri
(Different 2nd Stanza in Audio Clip)
kisko bulaaya thha ri
tu ne anganwa
kaisa hai dikhne mein
tora sajanwa
pehle sakhi ri tohe
nanadi banaaungi
paachhe mein sagre
ye batiyaan bataaungi
maano maano guiyaa..aa..an
tori nathani kaahe haale doley ri
tori nathani kaahe haale doley ri
baat jiyaa ki gori
poochh ke chori chori
baat jiyaa ki gori
poochh ke chori chori
laaj ka ghoonghta kyun kholey ri..ee..ee..ee
tori nathani kaahe haale doley ri
tori nathani kaahe haale doley ri
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Hindi script lyrics (Provided by Sudhir)
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(विडियो पर आधारित)
तोरी नथनी काहे हाले डोले री
तोरी नथनी काहे हाले डोले री
बात जिया की गोरी
पूछ के चोरी चोरी
बात जिया की गोरी
पूछ के चोरी चोरी
लाज का घुंघटा क्यों खोले री
तोरी नथनी काहे हाले डोले री
तोरी नथनी काहे हाले डोले री
बोले ये खिली खिली गालों की कलियाँ
पिया के संग तू मनाए रंगरलियाँ
मोहे सता के तोहे मिलता है क्या री
छेड़ करोगी तो मैं दे दूँगी गारी
मानो मानो गुइंया॰॰आं॰॰आं
तोरी नथनी काहे हाले डोले री
तोरी नथनी काहे हाले डोले री
डाला है डाका तू ने मेरे ही घर में
फिर भी बुरी हूँ मैं री तोरी नज़र में
मोहे सखी री काहे देती हो ताना
मोरे लिए है तोरा भैया दीवाना
मानो मानो गुइंया॰॰आं॰॰आं
तोरी नथनी काहे हाले डोले री
तोरी नथनी काहे हाले डोले री
(आडियो में भिन्न दूसरा अंतरा)
किसको बुलाया था री तूने अंगनवा
कैसा है दिखने में तोरा सजनवा
पहले सखी री तोहे ननदी बनाऊँगी
पाछे में सगरे ये बतियाँ बताऊँगी
मानो मानो गुइंया॰॰आं॰॰आं
तोरी नथनी काहे हाले डोले री
तोरी नथनी काहे हाले डोले री
बात जिया की गोरी
पूछ के चोरी चोरी
बात जिया की गोरी
पूछ के चोरी चोरी
लाज का घुंघटा क्यों खोले री
तोरी नथनी काहे हाले डोले री
तोरी नथनी काहे हाले डोले री
- In: "Aankh" song | "Naughty" song | "neend na aaye" song | Asha Bhonsle solo | Asha Bhonsle songs | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics by Prakashchandra | Lyrics contributed by readers | playful song | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1970 | Yearwise breakup of songs
- 5 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4374 | Post No. : | 15716 |
Saga Of Sleepless Nights – 9
– – – – – – – – – – – – – – –
aaj ki raat, ye kaisi raat
ke hum ko neend nahin aati. . .
If the previous song in the series was a lament about lonely nights and the longing that accompanies them, this song today is expressing the opposite emotion. The lovers are together, and the lady is now complaining that her lover does not have an iota of sleep in his eyes, and that she is worried for that.
The gamut of human emotions is spread out wide and far. And whatever be the emotional flavor one may select, one is sure to locate a song from Hindi films that expresses that emotion fairly accurately. Continuing with the saga of sleepless nights, here today we have a flavor of sleeplessness that is expressing a complaint against the lack of sleep on the part of the gentleman. The lady is cajoling and chiding him, trying to induce sleep in his eyes. She is asking him what toy he would like to have, and that she may bring to him that which he desires. But the imploring thread intertwined is that the lack of sleep in his eyes worries her.
Word are crafty. They are a double edge sword that say one thing and mean another. The scenario being played out on screen appears to be one of deception. Apparently Ranjeet is pursuing Navin Nischol, who in turn seems to have taken refuge at Rekha’s home. Now both Rekha and Navin Nischol are inside a room, with Ranjeet sitting outside. And the scenario being played out is as if Rekha is putting a baby to sleep inside the bolted room. The song is telling in words that a mother is trying to put a baby to sleep. That is what a person outside the room would surmise, as one listens to the words of the song emanating from the room. However, the scene, as is being played out inside, there is no baby being put to sleep. Rather, the lovers have been thrown together by themselves in the room. The lady is trying to fend off the advances of the gentleman, and is singing a complaint that there is no sleep in his eyes, and that she would rather that he would take shelter in sleep.
The word and the scenario present an interesting juxtaposition. The film is ‘Saawan Bhaadon’ from 1970. Memory serving right, I remember this film being promoted as the debut film for the lead pair of Navin Nischol and Rekha. As later inputs would clarify, technically this is not the debut film for Rekha, and that her first film ‘Do Shikari’ (1978) was eventually released after a delay of many years. I remember seeing the posters and hoardings for this film as a school going kid. And I also remember that a few songs of this film became very popular and were often played on the radio waves.
The film is produced under the banner of Deluxe Films, Bombay and is directed by Mohan Sehgal, a director of certain repute from that era. The list of actors is presented as Navin Nischal, Rekha, Shyama, Jaishri Talpade, Agha, Narendra Nath, Iftikhar, Krishan Dhawan, Ranjeet, Chandrima Bhaduri, Sushma, Madhukar, Devi Chand, Pardesi, OP Kohli, Dhruv Kumar, Ajeet Bengali, Mamaji, and Darpan Nille etc.
The films has seven songs, all from the pen of Verma Malik. The music is composed by the duo of Sonik Omi. Two songs of this film are already showcased on our blog. This is the third song to find its place here.
Today also is the remembrance day for Manohar Lal Sonik, the senior partner in this duo team of music directors. He had passed away this day (9th July) in the year 1993. This is the reminder nudge from our dear Prakashchandra ji, who has sent in the lyrics for this song.
So this was one of the lesser heard songs in its time, being overshadowed by its more popular siblings like “Sun Sun O Gulabi Kali”, “Kaan Mein Jhumka Chaal Mein Thumka” and “Aankhen Meri Maikhaana, Maikhaana, Maikhaana”. On screen the song is performed by a pre-makeover Rekha, chiding a naughty Navin Nischol, while Ranjeet is seated outside the door of the room.
Listen, view and enjoy.
Video
Audio
Song – Mera Mann Ghabraaye Teri Aankhon Mein Neend Na Aaye (Saawan Bhaadon) (1970) Singer – Asha Bhosle, Lyrics – Verma Malik, MD – Sonik Omi
Lyrics (Provided by Prakashchandra)
(crying sound of a child)
o ho ho o ho o
hmm….hmmm pchh pchh
basssh bass bass bass
hmm…hmmmm
hmm… hmmmmm
hmm…hmmm
hmmm…hmmm
hmmm….hmmm…hmm
lallalaa lallalaaa lala
hmmm…hmmm lallalaaa la
(laughing sound)
mera mann ghabraaye
teri aankhon mein neend na aaye
haaye chup ho ja
vey so jaa saanwariyaarey
chup ho ja
vey so jaa saanwariya rey ae
mera mann ghabraaye
teri aankhon mein neend na aaye
haaye chup ho ja
vey so jaa saanwariyaarey
chup ho ja
vey so jaa saanwariya rey ae
mera mann ghabraaye
maangta hai tu kya
chaahta hai tu kya
bol kaisa khilona main laaun
pyaar ki paalki mein
bithaa ke tujhe
apni duniya ka raja banaaun
mere sapnon ka..aa..aa
tu hai savera
mera jeevan bhi..ee..ee (infant crying sound)
ab to hai tera
tera
tera
ho o ho o oo o
mera mann ghabraaye
teri aankhon mein neend na aaye
haaye chup ho ja
vey so jaa saanwariya rey
chup ho ja
vey so jaa saanwariya rey ae
mera mann ghabraaye
apni aankhon ki main
neend de doon tujhe
aur aanchal se tujh ko hawa doon
apne kaajal ki main
doriyaan daal ke
dil ki dhadkan ka jhoola bana doon
tujh pe sadqe hai..ae ae
meri jawaani
meri jaissi ho o ho o o (infant crying sound)
teri bhi raani
raani
raani
ho o o ho o o
mera mann ghabraaye
teri aankhon mein neend na aaye
haaye chup ho ja
vey so jaa saanwariya rey
chup ho ja
vey so jaa saanwariya rey ae
mera mann ghabraaye
mera mann ghabraaye ae
hmm…hmmm
lallalaaa la
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Hindi script lyrics (Provided by Sudhir)
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हम्म॰॰॰हम्ममम
हम्म॰॰॰हम्ममममम
हम्म॰॰॰हम्मम
हम्म॰॰॰हम्ममम
हम्म॰॰॰हम्ममम॰॰॰हम्म
लल्लाला लल्लाला लाला
हम्म॰॰॰हम्मम लल्लाला ला
मेरा मन घबराए
तेरी आँखों में नींद नहीं आए
हाय चुप हो जा
वे सो जा साँवरिया रे
चुप हो जा
वे सो जा साँवरिया रे
मेरा मन घबराए
तेरी आँखों में नींद नहीं आए
हाय चुप हो जा
वे सो जा साँवरिया रे
चुप हो जा
वे सो जा साँवरिया रे
मेरा मन घबराए
मांगता है तू क्या
चाहता है तू क्या
बोल कैसा खिलौना मैं लाऊं
प्यार की पालकी
में बिठा के तुझे
अपनी दुनिया का राजा बनाऊँ
मेरे सपनों का॰॰आ॰॰आ
तू है सवेरा
मेरा जीवन भी
अब तो है तेरा
तेरा
तेरा
हो ओ हो ओ ओ ओ
मेरा मन घबराए
तेरी आँखों में नींद नहीं आए
हाय चुप हो जा
वे सो जा साँवरिया रे
चुप हो जा
वे सो जा साँवरिया रे
मेरा मन घबराए
अपनी आँखों की मैं
नींद दे दूँ तुझे
और आँचल से तुझको हवा दूँ
अपने काजल की मैं
डोरियाँ डाल के
दिल की धड़कन का झूला बना दूँ
तुझपे सदक़े है॰॰ए॰॰ए
मेरी जवानी
मेरी जैसी हो॰॰ओ॰॰ओ
तेरी भी रानी
रानी
रानी
हो ओ हो ओ ओ ओ
मेरा मन घबराए
तेरी आँखों में नींद नहीं आए
हाय चुप हो जा
वे सो जा साँवरिया रे
चुप हो जा
वे सो जा साँवरिया रे
मेरा मन घबराए
मेरा मन घबराए
हम्म॰॰॰हम्मम
लल्लाला ला
Bambai Bambai Bambai Bambai Bam
Posted on: June 11, 2020
- In: Arun Joglekar Songs | Free Spirit Song | Fun lyrics song | fun timepass song | Guest posts | joie de vivre | Lyrics contributed by readers | One singer singing for several actors | playful song | Post by Sadanand Kamath | Ravindra Sathe Songs | Simply joy | Song of Introspection | Song sung by three or more singers | Songs about a place | Songs of 1980s (1981 to 1990) | Songs of 1990 | Songs picturised in cities | Tyagraj Khadilkar Songs | Vinay Mandke Songs | Yearwise breakup of songs
- 5 Comments
This article is written by Sadanand Kamath, a fellow enthusaist 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 : |
4346 | Post No. : | 15656 | Movie Count : |
4311 |
So far I have discussed three of the six feature films which Sai Paranjpye has directed in her filmy career – ‘Sparsh’ (1980) in “Geeton Ki Duniya Mein Sargam Hain Hum“, ‘Chashm-e-Baddoor’ (1981) in “Is Nadi Ko Mera Aaina Maan Lo” and ‘Saaz’ (1997) in “Baa. . .dal Ghumadh Badh Aaye“. In this article, I take up one more film by her – ‘Disha’ (1990) which, is not well known to the public at large. Sai Paranjpye accords this film as her best feature film in terms of excellence in all the main departments of the film making – story, screen-play, dialogues, direction, and the acting contributions from all the actors associated with this film.
According to Sai Paranjpye, the story of the film was in the making process for about 17 years before it got fructified in 1990. The unique feature of the film is that the story is based on three different experiences she got over these 17 years which have no connection with each other. Yet, she weaved a story around three events linking them with a common theme of the problems of migrants and casual workers. She believed that the life around us offers so much material for the films that there is no need to get inspired from Hollywood movies. In other words, Sai Paranjpye’s sources of ‘plagiarisation’ are life around her.
Sometime in early 1970s, Sai Paranjpye made a visit to a village in Pune district along with her two friends who had adopted that village for water harvesting. During that time, she met a villager, an agricultural labourer who owned a small parcel of barren land. He was convinced that under his barren land was the source of water. So, for about 12 years, he had been digging the well, all alone in his free time, sometime even the whole night. But there was no trace of water. The villagers had branded him as a mad man. Fed up with his obsession for digging well, his wife has left him many times but would eventually return. And then one day, he struck water in the well. Villagers who were earlier calling him as mad man made him the hero of the village. The well was named after him. The story of that villager was cinematic but it was not enough to make a full-length film.
After few years, Sai Paranjpye met her friend, Sabhashini Ali (ex-wife of producer-director, Muzaffar Ali) in Mumbai. She was doing some social work among the mill workers who were mostly migrants and staying in what is known in Mumbai Chawls as Gala (a type of dormitory). This was at a time when old mills in Mumbai were in the verge of closure as they could not compete with mills with technologically advanced power looms. She accompanied Sabhashini Ali to one of the Galas in mill area and was shocked to observe their staying conditions. In a single Gala, there were nearly 40 persons staying together in the shifts of 8 hours. They seem to enjoy their life. All were doing different activities – playing musical instruments, playing cards, shaving, some going out for practising lezim (folk dance). Sai Paranjpye talked to most of the mill workers after which she felt that it was a good theme for a cinema.
After some days, Sai Paranjpye once again met her two friends who had returned from Niphani after leading a protest against the tobacco growers and bidi makers for exploitation of tobacco workers. Those days, the middleman will recruit women from the nearby villages for making bidis at the end of which they would get daily wages based on the number of bidis they rolled in a day. But the middleman will exploit them by rejecting some rolled bidis on some false pretext. Also, some of the middlemen would make attempts for sexual favours as rewards for not rejecting some of the bidis rolled by them. Her two friends had taken up the issues with bidi factories and on behalf of the bidi workers.
With these three real stories, Sai Paranjpye wrote the script linking them with a common theme of the problems of migratory mill workers of Mumbai. This time, she decided to produce the film herself besides directing, writing the script, dialogues and songs. She roped in her favourite actors and also took Nana Patekar for the first time under her direction. The first part of the film was shot in a village near Pune. The second part of the film was shot in Mumbai in Sitaram and Indu Mills and the scenes of the migrant workers were shot in a real Gala of a Chawl. Some mill workers also acted in the films.
The main cast of ‘Disha’ (1990) consisted of Shabana Azmi, Om Puri, Nana Patekar, Raghuvir Yadav, Rajshri Sawant, Neelu Phule, Shayaji Shinde, Achyut Potdar etc. The gist of the story of the film is as under:
Bakuri is a non-descript village about one hour from Pune by road. In this village, the family of Parshuram (Om Puri) consisting of his wife, Hansa (Shabana Azmi), his five children and his younger brother, Soma (Raghuvir Yadav) stays in a hut. Parshuram is an agricultural labourer and has a small barren land in which nothing grows on it except the wild-flowers. However, he is convinced that under his barren land is the source of water. Hence for the last 12 years, he has been digging well, all alone whenever he is free. Hansa resents Parshuram’s obsession with digging well and often threatens to leave him. Soma plans to go to Mumbai for getting a job as most of the time, he is unemployed.
Soma is very friendly with Basanta (Nana Patekar) who stays with his old and sickly father (Neelu Phoole) in a hut close to Parshuram’s hut. Basanta is also an agricultural labourer whose marriage has been fixed with Phoolwanti (Rajshri Sawant) from an adjoining village. Basanta’s father wants his marriage to be performed with fun fare for which he takes a loan of Rs.10000/- against the hypothecation of a cow and a buffalo. The marriage of Basant and Phoolwanti is solemnised.
Soma comes to Mumbai for job and stays in a Gala where 40 other mill workers are staying, a few from his village. He gets a job in the mill. He sends money to his brother, Parshuram every month and sometime also sends readymade garments for his nephews and niece. Basanta, after his marriage feels uncomfortable as he is unemployed and the loan instalments are to be repaid which his father has taken for his marriage. So, he also departs for Mumbai in search of employment and lands in mill workers’ gala where his friend, Soma is also staying. Basanta also gets the job in the same mill where Soma is working.
After getting to know the realities in working condition in Mumbai, Basanta is determined to return to his village after working in the mill for 2-3 years and also advises Soma to return to the village with him so that with the money they earned, they can start a cooperative farming in the village. But Soma is determined to work in Mumbai for a long time as he is now addicted to the life of Mumbai.
After few months of stay in Mumbai, Basanta calls his wife, Phoolwanti to Mumbai to show her the city. One of his roommates in the gala arranges a independent room in a chawl for 7 days. After seeing the staying conditions of Basanta in Mumbai, his wife tells him to return to the village as early as possible when she leaves Mumbai for her village.
In the meanwhile, to run the household, both Hansa and Phoolwanti works in a bidi making unit to roll bidis for which they get daily wages in terms of the number of bidis rolled. But the munshi (Achyut Potdar) of the bidi making unit tries to exploit them by finding their faults while rolling the bidis for which no amount is paid. His intention is to force them to give him some sexual favours.
At one time, Basanta’s father writes a letter to him to come to the village for some urgent work. He returns and finds that his father has got a transistor radio and supplies of bidis from Munshi. He also comes to know that his wife is working for a bidi making unit. He is unhappy that his wife has to work for running the household.
The next day, Parshuram strikes water in the well which he has been digging for 12 years. The whole village rejoices and the mad Parshuram becomes a hero in the village. There is a felicitation by the entire village during which he declares that the water in the well is for the entire village.
Basanta returns to Mumbai earlier than schedule and his friend, Soma is surprised. Basanta tells him that he got bored in the village within two days. Then there is a twist in the story. Basanta who has been pressurising Soma to return to the village along with him after 2-3 years, decides that he is going to work in Mumbai on a long-term basis to earn good amount of money as Soma has been advising him. However, this time, Soma surprises him by revealing that his brother has struck water in the well and he is going back to the village to do farming. The film ends with Soma boarding a state transport bus which is driving to his village away from Mumbai with Basanta struck in Mumbai.
From the above narration, the story of the film looks simple. I found the film interesting to watch because Sai Paranjpye in her usual way has relied on visuals to speak for the story along with some punch-line dialogues. For example, Shabana Azmi regards the well as her ‘soutan’ as Om Puri spends more time in the well than in the house. Sometime, he takes his afternoon siesta in the well itself. To this, Om Puri’s repartee to Shabana Azmi is that she should be thankful that her ‘soutan’ is ‘baanjh’ (infertile); otherwise one more platoon of children would have joined the family. Here ‘baanjh’ has another meaning in that despite digging for many years, water has not struck in the well.
The film was released in Mumbai in November 1991 and thereafter in Pune by Sai Paranjpye as no one was willing to distribute the film. It generated interest in the initial few days with house-full board. After watching the film, Manmohan Desai offered to release the film in the Delhi circuit. With the releases in limited theatres. the box office collection could barely cover the budget of the film.
The film did not get any award in India. However, when the film was shown in Chennai International Film Festival in 1991 as a private entry (it could not be shown in Indian Panorama as it had not won any award), it was highly appreciated because of which over a period of time, the film got invitations in as many as 23 international film festivals all over the world where it has won 5 awards with cash prizes including one at Cannes international film festival.
Sai Paranjpye has mentioned in her book that the film had three songs. However, I found only two songs in the film – one is a lavani song and the other a fun song. Songs were not released on audio format. I am presenting the fun song, “Bambai Bambai Bambai Bambai Bam’ sung by Vinay Mandke, Ravindra Sathe, Tyagraj Khadilkar, Arun Joglekar and Chorus. The song is written by Sai Paranjpye which is set to music by Anand Modak. I am not able to segregate the lyrics according to playback singers as I am not familiar with their voices except that of Ravindra Sathe. I have also observed that playback singers seem to lip sync for multiple actors According to Sai Paranjpye, the ‘anokhe bol’ in the song have been rendered by Vinay Mandke in addition to his part of the song.
The song is picturised in a gala where about 40 mill workers stay. Except for about 10 actors, rest of the participants in the song are real mill workers staying in the gala. If one goes through the lyrics of the song, it would be observed that the sad realities of mill workers (or for that matter, migrant workers in general) have been presented in the mask of a fun song. In the last two stanzas, there are ‘locals verses migrants’ theme presented in ‘lavani’ style. The prelude music of the songs with “Dhak Dhak Dhak. . .” is akin to the sound generated by the power looms of a mill when they are operational.
This song is the essence of the film’s main theme. With this song, ‘Disha’ (1990) make a debut in the Blog.
Acknowledgements:
Some of the information about the background for making the film ‘Disha’ (1990) is based on
- An interview conducted by Sridhar Rangayan and Saagar Gupta titled ‘Queen of Humour: A Candid Interview with Award-Winning Director and Writer Sai Paranjpye,’ South Asianist, Vol 2, No.3 (2010).
- The Marathi book, ‘Sai – Maaza Kalapravaas’ (2016) written by Sai Paranjpye.
Song – Bambai Bambai Bambai Bambai Bam (Disha) (1990) Singer -Vinay Mandke, Ravindra Sathe, Tyagraj Khadilkar, Arun Joglekar, Lyrics – Sai Paranjpye, MD – Anand Modak
Chorus
Lyrics
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak
dhak dhak
dhak daa dham
dhak dhak
dhak dhak
dhak daa dham
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
gaon mein behti doodh ki ganga aa
haay
gaon mein behti doodh ki ganga aa
kaanha murli bajaawat hai bhai
kaanha murli bajaawat hai
aisa gokul chhoda… haay
aisa gokul chhoda bhai
kya narakpuri ye bhaawat hai
makdi ke jaal mein keeden ham
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam
dhuaan gootan aur bimaari
dhuaan gootan aur bimaari
yahaan jawaan mard ke baal pakey
har kuchh bikta hai is nagri mein
bol tumhaara chaar takey
arre chaar take bhi naahin kam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
wahaan aankh bichaaye baithi radha
aansoo uske sookh gaye
wahaan aankh bichaaye baithi radha
aansoo uske sookh gaye
bachche jo peechhe chhode wo
shaql baap ki dbhool gaye
bachche jo peechhe chhode wo
shaql baap ki bhool gaye
arre bhool gaye to kya hai gham
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bam bam bam bam
arre bambai bambai bambai bambai bam
bam bam bam bam
haaaaaaaaaaa
arre kameenon
beimaanon
badh badh taane dete ho
phir bharti kyunkar hote ho
tum phir bharti kyunkar hote ho
dham chik chik dham chik dham
arre bina bhulaaye tum mehmaan
upar se ho namak haram
waapas jaao
hari gun gaao,,o
waapas jaao
hari gun gaao
yahaan tumhaara kya hai kaam
yahaan timhaara kya hai kaam
kissa abhi karo ye khatam
khatam khatam bhai karo khatam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam bam bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam bam bam
aiyya
paapi pet yahaan le aaya…aa….aa
arre paapi pet yahaan le aaya
nagar nahi ye bhul bhulaiyya
khoon paseena yahaan bahaaya
arre khoon paseena yahaan bahaaya
iss nagri ka namak chukaaya..aa aa aa aaa
yahin basera ho ab hardam
yahin basera ho ab hardam
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
b-bam bam bambai
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
Yaaro. . . Kisi Se Na Kehna
Posted on: June 4, 2020
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4339 | Post No. : | 15639 |
4th June today.
And the day today, amongst other celebrations, is the birth anniversary of Nutan, the eminent and the most charming leading lady of the Hindi cinema.
Just the name clicks off a series of memories – memories of remarkable and brilliant assays portrayed on screen. The quintessential woman in the Indian milieu – more traditional and motherly, and yes, frisky and romantic too. Forever, the image remains in the mind of the timid, near helpless Kalyani of ‘Bandini’ (1962) – resigned to her fate, but then also driven to an extreme emotion that ends up quenching a human life.
She is the Gauri of ‘Seema’ (1955) – once again a timid girl from a poor family, so conscious of her social standing that she bears all insults, till she will breakdown into a madcap fit of anger and destroy a room while humming “Manmohana Bade Jhhothe. . .”. In the same breath, she is the frisky Jameela of ‘Dil Hi To Hai’ (1963) and the animated presentation of “Parda Uthe Salaam Ho Jaaye”. She would be Radha in ‘Khandaan’ (1965) crooning “Tumhin Mere Mandir. . .” to a handicapped husband, or the Bhavna of ‘Yaadgaar’ (1970) telling her beloved “. . .Saathi Na Samajh, Koi Baat Nahin, Mujhe Saath To Aane De. . .”, or even as Kumud, doing a very traditional garba dance, singing “Main To Bhool Chali Babul Ka Des. . .” in ‘Saraswatichandra’ (1966), and even as the simpleton widowed Mahjabeen, singing “Tera Mera Saath Rahe. . .” to her new and younger husband, unaware of the game of deceit she is caught in (‘Saudaagar’, 1973).
And in the midst of all she is also playing Sulekha with the song “Ye Tanhaai Hai Re Hai, Jaane Phir Aaye Na Aaye. . .” (‘Tere Ghar Ke Saamne’, 1963), and also the innocent sounding Shanti telling her beloved “Chhod Do Aanchal Zamaana Kya Kahega. . .” (‘Paying Guest’, 1957), or the pure and simple Pushpa singing “Chupke Se Miley Pyaase Pyaase. . .” (‘Manzil’, 1960), and even the very naughty “C A T Cat, Cat Maane Billi. . .” as Asha in ‘Dilli Ka Thug’ (1958), or even asking her beau “Sach Bata Tu Mujh Pe Fida. . .” in ‘Sone Ki Chidiya’ (1958), and then telling her saheli “Haaye Unki Wo Nigaahen. . .” in ‘Aakhri Daao’ (1958). She is the Laila in ‘Laila Majnu’(1954) and is the Heer in ‘Heer’ (1956), the unfortunate Princess of ‘Shabaab’ (1954) with no happiness writ in her life. She is the Radha of ‘Milan’ (1967) and the Aarti of ‘Anari’ (1959), the unfortunate and the dispossessed Shanti of ‘Chhalia’, the proud first wife Sanjukta in ‘Main Tulsi Tere Aangan Ki’ (1978), Nirmala of ‘Dulhan Ek Raat Ki’ (1967), as also the misled Ashoo in ‘Dil Ne Phir Yaad Kiya’ (1966). She is Anu, the broken sorrowful mother of a fatally ill child in ‘Anuraag’ (1971), the lovelorn and misunderstood Shanno in ‘Kanhaiya’ (1959), and the shunned and outcast untouchable in ‘Sujata’ (1959).
And in the midst of all this, she also is ‘Chhabili’ singing for herself – “Ae Mere Humsafar. . .”. Oh how I wish this film was available – would have loved to see the presentation of this song assayed by her. Nutan sang as many as six songs in this film – 2 solos and 4 duets. Presumably so, all the songs would be pictuized on herself. Surely a film truly worth pining for. 🙂
Four decades, over 70 films and a record 5+1 Filmfare awards for her portrayals – a record that stands in her name till now.
The song being presented today is a duet with Geeta Dutt. From the sounds of it, it is quite a playful and lively song. The words for this song are from the pen of S Ratan, and the music is by Snehal Bhatkar.
Enjoy this lovely rendition, Nutan – singing for herself.
Song – Yaaro. . . Kisi Se Na Kehna (Chhabili) (1960) Singer – Nutan, Geeta Dutt, Lyrics – S Ratan, MD – Snehal Bhatkar
Nutan + Geeta Dutt
Lyrics
yaaro. . . oo..oo
kisi se na kehna
hai chhup chhup ke rehna
ho yaaro..oo
kisi se na kehna
hai chhup chhup ke rehna
main chori chori
chori chori aaya hoon
musibat na ban’na
yaaro. . . oo..oo
kisi se na kehna
hai chhup chhup ke rehna
main chori chori
chori chori aaya hoon
musibat na ban’na
yaaro. . . oo..oo
milun jo main kisi se
nazar ka hoon dhokha
raahen meri hain band
raahen meri hain band
par kisi ne nahin roka
main chori chori
milun jo main kisi se
nazar ka hoon dhokha
raahen meri hain band
par kisi ne nahin roka
main chori chori
chori chori aaya hoon
musibat na ban’na
yaaro. . . oo..oo
mujh ko hai zara shubha
mujh ko hai zara yakeen
jhoomta hai aasmaan
jhoomta hai aasmaan..aa..aan
ya jhoomti hai ye zameen
kaun hosh mein wahaan
hum bhi nashe mein yahaan
talaash kar rahi nazar
pila gaya wo hai kahaan
talaash kar rahi nazar
pila gaya wo hai kahaan
koi
na jaane
main kahaan
chhup chhup
jo main rahoon
yahaan
poochhe
jo koi main kahaan
naa naa
kisi se kehna
yaaro. . . oo..oo
kisi se na kehna
hai chhup chhup ke rehna
ho yaaro..oo
kisi se na kehna
hai chhup chhup ke rehna
main chori chori
chori chori aaya hoon
musibat na ban’na
yaaro. . . oo..oo
——————————————–
Hindi script lyrics (Provided by Sudhir)
———————————————
यारो॰ ॰ ॰ ओ॰॰ओ
किसी से ना कहना
है छुप छुप के रहना
हो यारो॰॰ओ
किसी से ना कहना
है छुप छुप के रहना
मैं चोरी चोरी
चोरी चोरी आया हूँ
मुसीबत ना बनना
यारो॰ ॰ ॰ ओ॰॰ओ
किसी से ना कहना
है छुप छुप के रहना
मैं चोरी चोरी
चोरी चोरी आया हूँ
मुसीबत ना बनना
यारो॰ ॰ ॰ ओ॰॰ओ
मिलूँ जो मैं किसी से
नज़र का हूँ धोखा
राहें मेरी हैं बन्द
राहें मेरी हैं बन्द
पर किसी ने नहीं रोका
मैं चोरी चोरी
मिलूँ जो मैं किसी से
नज़र का हूँ धोखा
राहें मेरी हैं बन्द
पर किसी ने नहीं रोका
चोरी चोरी आया हूँ
मुसीबत ना बनना
यारो॰ ॰ ॰ ओ॰॰ओ
मुझको है ज़रा शुभा
मुझको है ज़रा यकीन
झूमता है आसमान
झूमता है आसमान॰॰आं
या झूमती है ये ज़मीं
कौन होश में वहाँ
हम भी नशे में यहाँ
तलाश कर रही नज़र
पिला गया है वो कहाँ
पिला गया है वो कहाँ
कोई
ना जाने
मैं कहाँ
छुप छुप
जो मैं रहूँ
यहाँ
पूछे जो कोई मैं कहाँ
ना ना
किसी से ना कहना
यारो॰ ॰ ॰ ओ॰॰ओ
किसी से ना कहना
है छुप छुप के रहना
हो यारो॰॰ओ
किसी से ना कहना
है छुप छुप के रहना
मैं चोरी चोरी
चोरी चोरी आया हूँ
मुसीबत ना बनना
यारो॰ ॰ ॰ ओ॰॰ओ
- In: "Aankh" song | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Kishore Kumar songs | Kishore Kumar-Lata duet | Lata song | Lover's tête-à-tête | Lyrics contributed by readers | playful song | Post by Peevesie's mom | Snowy mountain song | Songs of 1970s (1971 to 1980) | Songs of 1976 | Yearwise breakup of songs
- 1 Comment
This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4278 | Post No. : | 15516 |
Hullo Atuldom
The song with this post was very popular in the 70s. We can hear it occasionally even now on the AIR’s Vividh Bharati. It is sung by Lata Mangeshkar and Kishore Kumar. Anand Bakshi is the lyricist with RD Burman as the music director.
‘Bhanwar’ (1976) was directed by Bhappie Sonie and had a cast headed by Ashok Kumar, Randhir Kapoor, Parveen Babi, Aruna Irani, Asrani, Ranjeet, Kamini Kaushal, Nadira, Madan Puri etc. Two songs from this movie are already posted on this blog.
We are having the third song today to remember Parveen Babi – today on her 71st birthday. This beautiful lady was born in Junagadh and had her schooling in Ahmedabad. She made her debut opposite Salim Durrani (‘Charitra’, 1973) but her first success was opposite Amitabh Bachchan in ‘Majboor’ (1974). She had a good run at the box office and co-starred with all the heroes of her time. Her career spanned around 15/16 years from 1973 to 1988 with one movie releasing rather late in 1991. She led a lonely life after she stopped acting and withdrew from public eye. She passed away on 20th Jan, 2005.
Thinking of the beautiful Parveen Babi today with this song
Audio
Video
Song – Aankhen Milaayenge Baaten Sunaayenge (Bhanwar) (1976) Singer – Lata Mangeshkar, Kishore Kumar, Lyrics – Anand Bakshi, MD – RD Burman
Lata + Kishore
Lyrics
aankhen milaayenge
baaten sunaayenge
aankhen milaayenge
baaten sunaayenge
palken bichhaayenge
zulfen bikhraayenge
phir kisi din
aaj kya karenge
ho aaj sirf gaana gaayenge
aankhen milaayenge
baaten sunaayenge
palken bichhaayenge
zulfen bikhraayenge
phir kisi din
bhai aaj kya karenge
ho aas sirf gaana gaayenge
gaane ke liye yahaan aana kya zaroori tha
jaane ke liye ye bahana kya zaroori tha
gaane ke liye yahaan aana kya zaroori tha
jaane ke liye ye bahana kya zaroori tha
achha maan jaate hain
nahi tadpaate hain
ye baat huyi na
la la laa laa laa laa laa laa
mil ke leheraayenge
kabhi paas aayenge
kabhi door jaayenge
roothenge manaayenge
phir kisi din
oho aaj kya karenge,
ho aaj sirf gaana gayenge
pyar mein gile shiqwe ka mauka deti ho
ghar se bula ke raste me dhokha deti ho
pyar mein gile shiqwe ka mauka deti ho
ghar se bula ke raste mein dhokha deti ho
achha chalo theek hai
kuchh bhi ho preet hai
wada raha naa
haan wada
la la laa laa laa laa laa laa
preet ye nibhaayenge
aankhon mein basaayenge
tumko naa rulaayenge
hasenge hasaayenge,
phir kisi din
bhai aaj kya karenge,
ho aaj sirf gaana gaayenge
aankhen milaayenge
baatein sunaayenge
palke bichhaayenge
zulfen bikharaayenge
phir kisi din
to aaj kya karenge
aaj sirf gaana gaayenge
aaj sirf gaana gaayenge
lal laa la la la laa
lal laa la la la la laa
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
आँखें मिलाएंगे
बातें सुनाएँगे
आँखें मिलाएंगे
बातें सुनाएँगे
पलकें बिछाएंगे
ज़ुल्फें बिखराएंगे
फिर किसी दिन
आज क्या करेंगे
हो आज सिर्फ गाना गाएँगे
आँखें मिलाएंगे
बातें सुनाएँगे
पलकें बिछाएंगे
ज़ुल्फें बिखराएंगे
फिर किसी दिन
भई आज क्या करेंगे
हो आज सिर्फ गाना गाएँगे
गाने के लिए यहाँ आना क्या ज़रूरी था
जाने के लिए ये बहाना क्या ज़रूरी था
गाने के लिए यहाँ आना क्या ज़रूरी था
जाने के लिए ये बहाना क्या ज़रूरी था
अच्छा मान जाते हैं
नहीं तड़पाते हैं
ये बात हुई ना
ल ल ला ला ला ला ला ला
मिल के लहराएंगे
कभी पास आएंगे
कभी दूर जाएँगे
रूठेंगे मनाएंगे
फिर किसी दिन
ओ हो आज क्या करेंगे
हो आज सिर्फ गाना गाएँगे
प्यार में गिले शिकवे के मौका देती हो
घर से बुला के रस्ते में धोखा देती हो
प्यार में गिले शिकवे के मौका देती हो
घर से बुला के रस्ते में धोखा देती हो
अच्छा चलो ठीक है
कुछ भी हो प्रीत है
वादा रहा ना
हाँ वादा
ल ल ला ला ला ला ला ला
प्रीत ये निभाएंगे
आँखों में बसाएँगे
तुमको ना रुलाएंगे
हंसेंगे हंसाएंगे
फिर किसी दिन
भई आज क्या करेंगे
हो आज सिर्फ गाना गाएँगे
आँखें मिलाएंगे
बातें सुनाएँगे
पलकें बिछाएंगे
ज़ुल्फें बिखराएंगे
फिर किसी दिन
तो आज क्या करेंगे
आज सिर्फ गाना गाएँगे
आज सिर्फ गाना गाएँगे
ला ला ल ल ल ल ला
ला ला ल ल ल ल ला
- In: "Naughty" song | "teasing" song | Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Love song | Lyrics contributed by readers | playful song | Post by Sudhir | praising a person | Rafi solo | Rafi songs | Songs of 1960s (1961 to 1970) | Songs of 1964 | Yearwise breakup of songs
- 5 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4277 | Post No. : | 15514 | Movie Count : |
4276 |
Although not listed in the anniversaries list on our blog, a message yesterday from Mahesh ji reminded that it was the remembrance day of the music director Robin Chatterji. Some more discussion followed in which it was mentioned that Rafi Sb had never sung under the baton of this music director. Something tickled in the memory and I searched through the Geet Kosh listings and my collection, coming up with this wonderful solo of Rafi Sb, that he has sung for Robin Chatterjee, in a Bhojpuri film.
Remembering Robin Chatterjee on the anniversary of his passing away (2nd April, 1976).
As is the fate of many such lesser known and lesser appreciated artists, there is very little information available about him. His date of birth is recorded as 8th January, 1914. No details about his family or early years is available. One name is available – his first teacher of classical music was Keshab Ganesh Dhekan. Robin started his career with the venerable New Theatres, in their music department. He sang in the chorus line for NT films like ‘Adhikar’ (1938).
Some records indicate that worked as an assistant to music director Anupam Ghatak. He and Anupam had learnt music from the same teacher (KH Dhekan). Apparently he assisted Anupam Ghatak with some of his films during 1939-40.
Information about his earliest films as an independent music director is not very specific. Based on Geet Kosh listings, the first Hindi film where we see his name appear as a music director is ‘Raaj Lakshmi’ (1945). Listings show that he shared the music direction responsibility for this film with Dhiren Mitra. This film was produced under the banner of MP Productions, Calcutta (now Kolkata). This film has the distinction of being the debut film for Talat Mehmood, as a singer in Hindi films. Prior to this, he had sung under the pseudonym of Tapan Kumar, all recordings being for Bangla films or for non-film Hindi and Bangla songs. The debut solo songs for him in this film are “Jaago Musaafir Jaago, Kholo Mann Ka Dwaar” and “Tu Sun Le Matwaale”.
Browsing through the Geet Kosh, we find the following films listed with his name as the music director –
‘Raj Laxmi’ (1945) (w Dhiren Mitra)
‘Tum Aur Main’ (1947)
‘Wo Dono’ (1947)
‘Sabyasachi’ (1948)
‘Ratnadeep’ (1952)
‘Firdaus’ (1953) (w Roshan)
‘Pehli Shaadi’ (1953)
‘Afreeka’ (1954)
‘Majboori’ (1954)
‘Shobhaa’ (1954)
‘Dhaake Ki Malmal’ (1956) (w OP Nayyar)
‘Saiyan Se Bhaile Milanva’ (1964)
‘Chimni Ka Dhuaan’ (1973)
and possiblye ‘Miss Toofaan Mail’ (1958), for which the name of the music director is given simply as Robin.
Of these, the credits for ‘Raj Lakshmi’ are shared with Dhiren Mitra, for ‘Firdaus’ are shared with Roshan and for ‘Dhaake Ki Malmal’ are shared with OP Nayyar. The film ‘Saiyan Se Bhaile Milanva’ is a Bhojpuri film. And the film ‘Chimni Ka Dhuaan’ was probably completed sometimes in the first half of 1960s, but its release was delayed by many years, finally releasing in 1973.
The above list of films shows a career with sizeable gaps. However, there is other information that says he was also active, rather very active in the Bangla film industry, as well as in the non-film and folk song genres. There are more details available about his films in Bangla. He has scored music for many films starring Suchitra Sen, for whom he has preferentially used the voice of Sandhya Mukherjee.
One additional bit of information from my own memory. I do remember seeing the name Robin Chatterjee as the sound recordist in the credits of some films. I am not sure that such credits are referring to the same person – possibly so.
My personal experience, and also preference, is that to appreciate the music and songs of lesser known and lesser discussed artists is to pull together as many songs of such an artist, as possible, and then listen to them at a stretch, within one, two, three sittings. In my humble opinion, this way one gets a much better feel for both the quality and the quantity of the body of work for the artist. This in turn provides a much better and a wider appreciation of his or her work. In my effort to pull together information and body of work about such artists, I find that I have not yet come across a single instance where I may have failed to appreciate the quality of work created by the artist. For that reason, I humbly state that I never will dismiss an artist only because he or she is lesser known and his/her body of work is obscure and not easily accessible. The same has been my experience with the songs tuned and composed by Robin Chatterjee. We already have 24 songs on our blog, for which he is the music director – please check out in case interested.
About this film, there are no details available, other than the name of the production banner – Messers Technicians Enterprise. No listings of actors is available either. Only the name of the music director, the singers and a list of 4 songs is available.
About this film – it is produced under the banner of Messers Technicians Enterprise, and is directed by PL Santoshi. The name should be very familiar – PL Santoshi has been active in Hindi films as a lyricist, story/screenplay writer, dialogue writer and director, since the mid 1930s, all the way to his passing away in 1978. The star cast is listed as Sujit Kumar, Saeeda Khan, Sabita Chatterjee, Tarun Kumar, Jahar Rai etc. It is a story about the sacrifices the wife (Saeeda Khan) makes to care for and nurse her husband (Sujit Kumar), who is suffering from the memory loss.
The Geet Kosh lists 4 songs for this film. There are two solos by Suman Kalyanpur, one solo by Rafi Sb (today’s presentation), and one duet of Rafi Sb and Sandhya Mukherjee. Although the name of the lyricist is not specifically mentioned in any source, it is very likely that PL Santoshi has most likely written some or all songs of this film. However, it needs to be confirmed.
[Ed Note: PL Santoshi has directed 20+ films during his career, and he has written some or all songs for 15 of them.]
Regardless, it is a naughty, wonderfully playful song of appreciation – appreciation of the beauty of a young belle. Listen and enjoy.
[Acknowledgements: The above article uses information and details from the Geet Kosh, the book ‘Dhunon Ki Yatra’ by Sh Pankaj Raag, the book ‘Cinema Bhojpuri, 2010’ by Avijit Ghosh, and the web page on Anupam Ghatak at Indiancine.ma/wiki. Thanks to Sadanand ji for providing the information about the film, from the book by Avijit Ghosh.]
[Ed Note: I believe that the lyrics in the Bhojpuri dialect are not difficult to follow. As the lines are perused, there may be a little transliteration required for one line. In case there is a comment/request, the transliteration of the full lyrics can be provided. The difficult line maybe, “peear peear galba pa chhitke lallaiya” or “पीयर पीयर गलबा पे छिटके लल्लइया”. In simpler Hindi, the line says “pyaare pyaare peele peele gaalon pe laali chhitki hai” or “प्यारे प्यारे पीले पीले गालों पे लाली छिटकी है”. 🙂 ]
[Ed Note: Thanks to dear AK ji for making the correction in the above transliterated line of lyrics.]
Song – Jabse Dekh Li Suratiya Tohaar Goriya (Sainyan Se Bhaile Milanva) (1964) Singer – Mohammed Rafi, Lyrics – [Unattributed], MD – Robin Chatterjee
Lyrics
jab se dekh li
jab se dekh li suratiya tohaar goriya
jab se dekh li suratiya tohaar goriya
bas mein na jiyara hamaar goriya
bas mein na jiyara hamaar goriya
jab se dekh li suratiya tohaar goriya
ho goriyaa. . .
umariya hai baari patli kamariya
umariya haee. . .
umariya hai baari patli kamariya
najariya hai teekhi kataar goriya
mar gai lee
najariya hai teekhi kataar goriya
bas mein na jiyara hamaar goriya
bas mein na jiyara hamaar goriya
jab se dekh li suratiya tohaar goriya..ha
peear peear galba pa chhitke lallaiya
peear peear
peear peear galba pa chhitke lallaiya
bole to chooe ras dhaar goriya
aa haa
bole to chooe ras dhaar goriya
bas mein na jiyara hamaar goriya
bas mein na jiyara hamaar goriya
jab se dekh li suratiya tohaar goriya
hamka lut gaili lut jaee hai nagariya
hamka. . .
hamka lut gaili lut jaee hai nagariya
jaiha na ban tthan bajaar goriya
kaise chalbu
jaiha na ban tthan bajaar goriya
bas mein na jiyara hamaar goriya
o bas mein na jiyara hamaar goriya
jab se dekh li suratiya tohaar goriya
o goriyaa. . .
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
जबसे देख ली
जबसे देख ली सुरतिया तोहार गोरीया
जबसे देख ली सुरतिया तोहार गोरीया
बस में ना जियरा हमार गोरीया
बस में ना जियरा हमार गोरीया
जबसे देख ली सुरतिया तोहार गोरीया
हो गोरीया॰ ॰ ॰
उमरिया हई बारी पतली कमरिया
उमरिया हई॰ ॰ ॰
उमरिया हई बारी पतली कमरिया
नजरिया है तीखी कटार गोरीया
मर गई ली
नजरिया है तीखी कटार गोरीया
बस में ना जियरा हमार गोरीया
बस में ना जियरा हमार गोरीया
जबसे देख ली सुरतिया तोहार गोरीया॰॰हा
पीयर पीयर गलबा पे छिटके लल्लइया
पीयर पीयर
पीयर पीयर गलबा पे छिटके लल्लइया
बोले तो चूए रस धार गोरीया
आ हा
बोले तो चूए रस धार गोरीया
बस में ना जियरा हमार गोरीया
बस में ना जियरा हमार गोरीया
जबसे देख ली सुरतिया तोहार गोरीया
हमका लुट गईली लुट जई है नगरिया
हमका॰ ॰ ॰
हमका लुट गईली लुट जई है नगरिया
जईहा ना बन ठन बजार गोरीया
कैसे चल्बू
जईहा ना बन ठन बजार गोरीया
बस में ना जियरा हमार गोरीया
ओ बस में ना जियरा हमार गोरीया
जबसे देख ली सुरतिया तोहार गोरीया
हो गोरीया॰ ॰ ॰
- In: "picnic" song | "Gramophone" song | Baag/Bagiya song | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Lata song | Lyrics contributed by readers | One song used in more than one movie | One song used in two movies | playful song | Post by Sudhir | Rafi songs | Rafi-Lata duet | Song used in more than one film | Songs of 1970s (1971 to 1980) | Songs of 1972 | Yearwise breakup of songs
- 4 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4206 | Post No. : | 15399 | Movie Count : |
4244 |
Songs Repeated in Hindi Films – 16
– – – – – – – – – – – – – – – – – –
Aah yes, this one too. This iconic and popular song from the 1969 film ‘Jeene Ki Raah’, reappeared in a shorter version in the 1972 film ‘Baazigar’. Albeit the use of this song is somewhat casual, and does not seem to fulfill any purpose, symbolic or otherwise. Seems like a time filler, as one goes through the initial part of the film.
The original from the film ‘Jeene Ki Raah’ is a quite a well picturized song, with the reality of the situation moving into a surreal dream where the real village people performing the song are replaced by the hero and heroine, in heroine’s mind. All the songs of this film became very popular, and did contribute significantly to the rising graph of Jeetendra as a hero.
Fast forward three years later. The film ‘Baazigar’ in 1972, was a potential launch vehicle for Roopesh Kumar (cousin brother of actress Mumtaz), as a hero. He had made his debut in 1965, in supporting roles, both as a comic villain and in character riles. This was the first, and likely the only film in which he appears in the role of a hero.
Roopesh’s real name was Abbas Farashahi. He was born in Bombay on 16th Jan, 1946 (okay, just a week back was his birth anniversary, would have been 74). His father, Ali Asgar Farashahi had a very good restaurant and bakery business. However, being involved in dramatics in school and college, he was more interested to make a career in films. With some support from his cousin sister Mumtaz, he started working in small supporting roles. His first appearance is in the film ‘Tarzan and King Kong’ in 1965.
He appeared in over 120 films from 1965 through 1995. The list of his films do make an impressive reading. Here is a partial list of his films from the period till 1980 – ‘Sapno Ka Saudagar’ (1968), ‘Aadmi aur Insaan’ (1969), ‘Jeene Ki Raah’ (1969), ‘Sharafat’ (1970), ‘Jeevan Mrityu’ (1970), ‘Kal Aaj Aur Kal’ (1971), ‘Andaaz’ (1971), ‘Raampur Ka Lakshman’ (1972), ‘Seeta Aur Geeta’ (1972), ‘Prabhat’ (1973), ‘Loafer’ (1973), ‘Insaaniyat’ (1974), ‘Zinda Dil’ (1975), ‘Nagin’ (1976), ‘Karm’ (1977), ‘Dildaar’ (1977), ‘Chacha Bhatija’ (1977), ‘Amar Deep’ (1979), ‘Jaani Dushman’ (1979), ‘The Great Gambler’ (1979), ‘Lok Parlok’ (1979), ‘Hum Paanch’ (1980) etc.
Hmm. . . interesting to note that he also appeared in ‘Jeene Ki Raah’, the original film for the song being presented today.
He also produced and directed two films – ‘Hai Meri Jaan’ (1991) and ‘Meri Aan’ (1993).
Roopesh Kumar passed away quite unexpectedly, at a young age of 49. He was attending the Filmfare awards program of 1995. He suffered a severe heart attack while at the program, and passed away on way to the hospital.
The song presented today is picturized as a game being played at a picnic. This is a picnic with a difference. The only participants are the leading lady, Vijaylalitha and her pet animals – a horse named Chetak and a dog named Tommy. These are the screen names of these pets. Their real names, as per the credits are Joker and Johny respectively. The song is being played on a gramophone, and the game – well you can view it in the accompanying video. The song seems to have been edited, as it appears to end abruptly after playing one full stanza and getting into the start of the second stanza.
Ah yes, this 1972 film makes its debut on our blog today.
Overall, a very casual re-use in my opinion.
Song – Aa Mere Humjoli Aa, Khelen Aankh Micholi Aa (Baazigar) (1972) Singers – Lata Mangeshkar, Mohammed Rafi, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Chorus
Lyrics
ho o o ho o
ho o o ho o
[dialogue]
ho o o ho o
ho o o ho o
aa mere hamjoli aa
khele aankh micholi aa
galiyon me chaubaaron me
baaghon me bahaaron me
ho
main dhoondhoo tu chup ja
main aaun
na na
main aaun
na na na
aaun
na
main aaun
aa ja
peepal ke oopar jaa baitha
chup se mera saathi
dhak se lekin dhadak gaya dil
gir gayi haath se laathi
o pakdaa gaya
main aaun
na na
main aaun
na na na
aaun
na
main aaun
aa jaa
————————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————————
हो ओ ओ हो ओ
हो ओ ओ हो ओ
[संवाद]
हो ओ ओ हो ओ
हो ओ ओ हो ओ
आ मेरे हमजोली आ
खेलें आँख मिचोली आ
गलियों में चौबारों में
बागों में बहारों में
हो
ओ मैं ढूंढू तू छुप जा
आ मेरे हमजोली आ
खेलें आँख मिचोली आ
गलियों में चौबारों में
बागों में बहारों में
हो
ओ मैं ढूंढू तू छुप जा
मैं आऊँ
ना ना
मैं आऊँ
ना ना ना
आऊँ
ना
मैं आऊँ
आ जा
पीपल के ऊपर जा बैठा
चुप से मेरा साथी
धक से लेकिन धड़क गया दिल
गिर गई हाथ से लाठी
ओ पकड़ा गया
मैं आऊँ
ना ना
मैं आऊँ
ना ना ना
आऊँ
ना
मैं आऊँ
आ जा
Where’s The Party Tonight
Posted on: June 20, 2019
- In: "Disco" song | Club song | Dance song | DJ song | Free Spirit Song | Group Dance | Guest posts | Loy Mendosa Songs | Party song | playful song | Post by Peevesie's mom | Shaan Songs | Shanker Mahadevan Songs | Song sung by three or more singers | Songs of 2000s (2001 to 2010) | Songs of 2006 | Vasundhara Das Song | Yearwise breakup of songs
- 3 Comments
This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
3989 | Post No. : | 15078 | Movie Count : |
4136 |
I hope to bring in a party mood with today’s post. We are celebrating something very important. We are wishing our leader good health, good times, good infrastructure in the form of uninterrupted power supply and good broadband facilities. We are also wishing that he never loses interest in adding new posts and finds for us hitherto unheard songs from rare movies and gives us rare combinations in terms of music directors, singers, actors etc. And I promise on behalf of fellow followers of the blog that we will not stop following the blog, keep sending new farmaishes (requests), and the regulars will also help you keep track of upcoming milestones, birthdays anniversaries etc.
I am sure I have the support of all Atulites in what I have promised our dear Atulji. So, let us all wish him a very Happy Birthday. May you relentlessly keep the blog moving. 🙂
The party song with this post is from Dharma Prorductions’ 2006 release ‘Kabhi Alvida Naa Kehna’ which was directed by Karan Johar and starred his friend and favourite Shahrukh Khan with Rani Mukherjee, Preity Zinta, Kiron Kher, Amitabh Bachchan, Abhishek Bachchan with guest appearances by Arjun Rampal, Kajol and a few others. The movie had Shankar-Ehsaan- Loy for music directors and Javed Akhtar as the lyricist. Today’s song is in the voices of Shankar Mahadevan, Loy Mendonsa, Vasundhara Das and Shaan.
Happy Birthday Atulji!!! Lets party tonight.
Audio
Video
Song – Where’s The Party Tonight (Kabhi Alvida Na Kehna) (2006) Singer – Shankar Mahadevan, Loy Mendonsa, Vasundhara Das, Shaan, Lyrics – Javed Akhtar, MD – Shankar-Ehsaan-Loy
Shankar Mahadevan + Vasundhara Das
Female Chorus
Male Chorus
All Together
Lyrics
nacho nite
gotta nach all nite
do you feel alright
wanna nach all nite
nacho nite
gotta nach all nite
do you feel alright
wanna nach all nite
dance with me baby
won’t you dance with me all night
won’t you party party party
won’t you burn the floor all night
nacho nite
gotta nach all nite
do you feel alright
wanna nach all nite
dance with me baby
won’t you dance with me all night
won’t you party party party
won’t you burn the floor all night
pyare pyare lamhe
lamhe lamhe
pyari pyari baatein
baatein baatein
sapno ke din hain
din hain din hain
sapno ki raatein
raatein raatein
ho gunje hai dil ke tarane
bajne hai geet suhane
behke hai sare deewane
toh nach le nach le whole night
where’s the party tonight
somewhere down the road
where’s the party tonight,
on the dance floor
oh sapno ke din hai,
sapno ki raatein
where’s the party tonight
dance with me baby
won’t you dance with me all night
won’t you party party party
won’t you burn the floor all night
nacho nite
gotta nach all nite
do you feel alright
wanna nach all nite
oooo sajna aa
oooo sajna aa
tere bina main nahi
ooooooo
i wanna go dancing
where’s the
take you out
party tonight
i wanna go dancing
where’s the
let’s scream and shout
i wanna go dancing
where’s the
take you out
party tonight
i wanna go dancing
where’s the
let’s scream and shout
party tonight
jo meri manzil tha,
paagal jispe dil tha
ha wo mujhe mil gaya
phool jo mehka tha,
jispe dil behka tha
baahon mein woh khil gaya
meheki hai pyar ki raahein,
beheki hai saari nigahein
phaili hai khwabon ki baahein
toh nachle nachle whole night
where’s the party tonight,
somewhere down the road
where’s the party tonight,
on the dance floor
oh sapno ke din hai,
sapno ki raatein
where’s the party tonight
nach
nach all nite
get it right
nach
nach all nite
get it right
meri ye kahani
jiski hoon deewani
woh hai deewana mera
jo hai dil ki rani
usko bhi zabani
yaad hai fasana mera
ho puri hui koi kahani
mil gayi dil ki nishani
jhoom uthi ye zindagaani
toh nachle nachle all night
where’s the party tonight,
somewhere down the road
where’s the party tonight,
on the dance floor
ho sapno ke din hai,
sapno ki raatein
where’s the party tonight
where’s the party tonight,
somewhere down the road
where’s the party tonight,
on the dance floor
ho sapno ke din hai,
sapno ki raatein
where’s the party tonight
aaaa aaaaa
aaa aaaaaa
i wanna go dancing
where’s the
take you out
party tonight
i wanna go dancing
where’s the
let’s scream and shout
i wanna go dancing
where’s the
take you out
party tonight
i wanna go dancing
where’s the
let’s scream and shout
party tonight
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3951 | Post No. : | 15027 |
Today’s song is from film Captain Kishore-1957. It is sung by Geeta Dutt under the baton of the magician of melody-Chitragupt.
Today I am deviating from my usual style of writing, because I am writing on my favourite singer- Geeta Dutt. So, no biography of any artiste and no other details. Only Geeta Dutt !
Long back, in our management class, our Professor conducted a survey in the class. He asked us to write the name of the Toothpaste we were using. Those days too, Colgate was the Brand leader. We were 30 students in the class. I was using Macleans’ (a brand that was available in India in those days), so I wrote Macleans’. Then he collected all 30 chits,added his own and started reading. The result was Macleans’-8, Kolynos-7, Colgate-7, Forhans-6 and 3 were using tooth powder. He explained to us that even the Brand leader, not necessary always, will lead in all consumer groups. It is a collective total which gives the leader its position.
The same is the case in any other field. Take the case of female playback Singers. From 1950s to 1970s, Lata was the Brand Leader, but personally I always liked Geeta Dutt. I simply loved Geeta’s voice which had so much flexibility and was also so soulful.
When you hear her sing Meera Bhajan, you get lost in Bhakti Ras, listen to her sad songs and gloom descends on you and hear her club/cabaret song,you feel like tapping or dancing. It seems like as if Geeta never bothered to be the No.1,she only wanted to be honest to her singing. She was a pure soul bearing no envy towards anyone. There is always a discussion whether she gave her best to S.D.Burman or O.P.Nayyar songs. Not many know that Geeta worked with more than 150 composers. I personally dont believe she ever compromised in her performance. Whether she sang for a well known composer,or an unknown one like M.A.Rouf, S.L.Pardeshi, Manohar, D.V.Gadekar, Kumar, M.Masurekar, T.K.Das, Ali Husain,Pt.Harbanslal or Rajhuns,she put all her soul and skill in rendering the song.
There is, however, always a personal liking. I always liked Geeta’s songs with O P Nayyar. Their association started with the film Aasman (1952). Though her songs like “dekho jaadu bhare more nain’ were very melodious and became quite popular,the film had flopped. The subsequent film Baaz (1953) was also the same story. Good songs-film flopped. But then Aarpar (1954), Mr. and Mrs.55, Musafirkhana (1955) and Miss Cocacola and C.I.D.-in 1956 brought commercial success. After C.I.D. in the year 1957, Geeta suffered on 2 counts. One,O.P.Nayyar started grooming Asha Bhosale and secondly Geeta was facing a lot of personal problems. The singing assignments coming her way were getting lesser and even she was cutting down on the same. In fact, she had expressed desire to completely stop singing in the year 1957.
In the year 1958 she got only 10 songs from O.P.Nayyar. But then she sang the iconic song in Howrah Bridge which made her name Amar in the history of Golden Age of HFM for ever. This incident has been narrated by the famous film/music writer Issac Mujaawar in the Marathi magazine Rasrang. When Howrah Bridge was being made,it was evident that all the songs will go to Asha. By that time ASHA had mastered the art of singing club/cabaret songs. It is said that rehersals were done for”Mera naam chin chin chu”. Shakti Samanta was the Director of the film. O.P.Nayyar never tolerated any interference fro the Producers or the Directors. Shakti da wanted that song to go to Geeta,as he genuinely felt that she is better suited to sing it. He called Nayyar one day and coolly explained to him the situation. Miraculously,Nayyar accepted the suggestion without a word of protest. May be his conscience was biting him,or may be he too thought on those lines. Whatever be the reason,Geeta was summoned next day and the song was given to her. The rest is History…….as they say !
The Dance Director was A Satyanarayana,who participated in almost every club dance he choreographed. He did an excellent job for this song and the song became the highlight of the film,along with Asha’s ‘Aayiye meherban’. This is my most favourite song for 3 reasons.One-the tune is very catchy, two-Geeta ji’s voice is very seductive here and three-the choreography of the song is just superb !
Now, cut to….
City- Bombay
Date- 20th July 1972
Place- Harkissondas Hospital,Bombay
Few people were standing in the corridor . Anxiety,sorrow,helplessness and a little hope was clearly writ on their faces.They were all quiet.No one was talking to anyone.Their body language gave away their agony and restlessness.
Suddenly,a Doctor came out of a patient’s room.All ran to him and then stopped.The Doctor’s face and the tears in his eyes told them what they were afraid of !
No one said anything.No one asked anything. The Doctor said, ” I am sorry.She is no more.” He left, dragging his heavy feet.
The end of an Angel had come !
Geeta Dutt was gone for ever !!
Only her memories and the inimitable voice was left behind !!!
Born on 23-11-1930 at Idlapur in Fareedkot District of East Bengal,to a big Zamindar,Devendranath Roy Chaudhury and Amiya Roy Chaudhury,Geeta inherited her mother’s love for music.She learnt Classical Music from Pt.Hirendranath Chaudhury,while studying in an Anglo-Bangla school.
When she was just 12 year old,the family had to run away from East Bengal,to save their lives-leaving all property behind- to Bombay. In Bombay,we all know how Pt. Hanuman Prasad,MD(ex husband of Lalita Pawar) discovered her for playback in Hindi films. Later when S D Burman heard her singing,he knew instinctively that this was the voice which will make him successful and establish in Bombay.Till then Burman had not succeeded much to his satisfaction. To give her songs in ‘ Do Bhai ‘-47, he had to convince Chunilal of Filmistan,with great difficulty.
Geeta did not disappoint.’ Mera sunder sapna beet gaya” and ” Yaad karoge” made history and put both Geeta and Burman in Top league overnight.
Do Bhai made other famous composers to sit up and take notice of this new voice. They lined up to give Geeta ‘ Gaaon’-47(Khemchand Prakash), Leela, Shehnai and Saajan-47 ( C.Ramchandra), Geet Govind-47 (Gyan Dutt), Actress-48 (Shyamsunder), Chunariya-48 (Hansraj Behl), Padmini-48 (Ghulam Hyder) and Ek thi Larki-49(Vinod).
1950 was Geeta’s year.Many hits came – Banwre nain, Har Har Mahadev and Jogan solidified her position on Top.Composers felt she was inevitable,for their success.
Before recording, Geeta used to sit with Lyricist,understand the words and the implied meanings, then hear the tune from the composer and then sing in her own style. Basically, Geeta was very Gifted and hence with just one rehearsal, she could record the song to the entire satisfaction of all concerned. This made her the darling of the Composers.
Now,the newer MDs like,Hemant kumar, Vasant Desai, Madan Mohan and O P Nayyar also vied with each others to take Geeta. While doing Baazi -51, she met Guru Dutt and they got married on 26-5-1953. She was earning thousands of rupees in singing,but that time Guru Dutt was not that successful.Some magazines and Papers,said that he married Geeta for her money. Guru Dutt was furious and asked Geeta NOT to sing for others,restricting her to only his films.This suffocated her and she rebelled against it,which spoiled their relationship further.
Geeta had a liking and flair for acting. In Calcutta,she had acted as a Heroine in Bangla film-‘ Badhu Baran”. She got many offers but once she decided to settle in Bombay she refused all offers. Few people know that in Bombay a Hindi film- ‘ Tera saath hai Pyaara ‘,with Geeta as a Heroine had started,but unfortunately,after few reels,the film got shelved. To give a chance to her and to mend their relationship, Guru Dutt started filming ‘ Gauri” with Geeta as a heroine. However due to reasons well known to all, Geeta gave up this Bangla film, half way. This made the couple more distanced from each others. We all know the story’s end…..
Somewhere in 1971,there was a programme ” Yaaden Shakeel ki” in Bhaidas Hall, Parle. I had gone to that programme and I saw Geeta Dutt there.Many singers had come there-Rafi, Mukesh, Mahendra kapoor, Chandru Atma and Lata. When Lata was to come for singing there was a flurry of activity on the stage with everybody trying to please Lata. Lata came,sang and left like a Queen. When Geeta came on the stage, hardly anyone did anything for her. This is how this world is ! Geeta came, drew Harmonium near her and sang a Gazal of Shakeel Badayuni. When she finished,there was a clapping louder than what Lata had received,from the Audience-people knew her value !!
Geeta was optimistic even in 1971. She used to say, ‘ If 2 hit songs in Aradhana can take Kishore Kumar to the Top, even 2 Hit songs for me will do the same.” But it was not to be. Even the regular composers like O P Nayyar turned their backs on her. The Destiny decided to call her back !!!
One of my regrets was that if only Naushad had supported Geeta, she would have gained eminence for his songs for ever, like Saigal, Surendra, Parul Ghosh, Zohrabai, Amirbai, Naseem Akhtar, Shamshad, Noorjehan, Suraiya, UmaDevi, Talat, Mukesh, Rafi and Lata….but Geeta’s name was not in this list. I am not a statistician,so I can not say how many songs she sang for Naushad, but I am sure it was almost nothing !
Geeta’s voice was typical Bengali.She sang sad songs most wonderfully. Burman da who gave her emotional songs in Do Bhai, also gave her peppy club songs in Baazi, to make use of the sexy tinge in her voice. Further O P Nayyar fully exploited this special feature in Geeta’s voice. Her voice was sometimes sweet sometimes Namkeen. It had a depth. In this case, Geeta was one step ahead of Lata. Geeta’s voice was different for every situation. When she sang,’ Baat chalat nayee chunari’, you felt she would have been a better singer- classical singer than Laxmishankar. When she sang,’ Main to Giridhar ke ghar jaoon ‘, you felt Oneness with God,hearing her Bhaktiras dripping voice.
Juthika Roy was famous for Meera Bhajans, but I always felt that her voice was same in any Bhajan, while Geeta’s Bhajans exuded different emotions in every Bhajan.
While singing Club songs, Geeta was a different person. Just recall that ‘Hey hey hey hey before Tadbeer se bigdi hui taqdeer bana le song or listen to O Babu O Lala or Mera naam chin chin chu, then you will realise what I am saying !
One very important point in Geeta’s singing is not highlighted by many. In Hindi films there are many Male and female versions of songs and many singers have sung them.While singing such female version songs, Geeta never lost to the male singers ! All Geeta versions were more popular than the Male versions.
Both Asha and Lata lost on this count.
You will remember Kishore’s ” Jeevan ke safar me raahi” but not Lata’s version. You will remember Talat’s ” Aye gham-e-dil kya karoon’ but not Asha’s version. Kishore was better than Asha in ” Zindagi ek safar hai Suhana” versions and also Kishore was better than Lata’s version of ” Khilte hai gul yahan’.
When it comes to Geeta, she never lost to male versions. C H Atma’s ” Preetam aan milo” is remembered by less people than Geeta’s ” Preetam aan milo” from Mr. and Mrs.55 (same song. Written by Saroj Mohini Nayyar, O.P.’s wife). Geeta’s “Kaise koi jiye (Baadbaan)” is much better than Hemant Kumar’s version. Similarly,” Hai ye duniya kaun si'(Sailaab) and ‘ Na ye chand hoga”(Shart). In both songs, Geeta is superior and more popular than Hemant kumar. (There is a story behind the song-Na ye chaand Hoga. Once a jilted young lover committed suicide under train at Patna. In his pocket these lines were written on a paper-Tumhare liye hain, tumhare rahenge, Na ye chand hoga, na tare rahenge, magar hum hamesha tumhare rahenge. Lyricist S.H.Bihari used these lines in his song).
On 22nd July 1972,just 2 days after Geeta’s death, there was a preplanned programme of Juthika Roy in Birla Matoshri Sabhagriha,Bombay. I had booked my tickets well in advance, so I went there. In the beginning everyone paid respects to Geeta Dutt, by standing for 2 Minutes. Talat, Jagmohan and Surendra were also there. Then Juthika Roy came on stage, drew Harmonium near her and started singing ‘ Pag ghungaroo bandh…” .
I was lost in Geeta’s memory and saw Geeta with a Harmonium singing ” Main to Giridhar ke ghar jaoon”………………….
( My thanks to Geet yatri by Madhav Moholkar, Smaranyatra-by Subhash chandra Jadhav, and Hamari yaad aayegi by Arun Puranik, and geetadutt.com ,from which I have used some information for this article.)
Song- Dekho ji dil na todo nahin to main ro doongi (Captain Kishore)(1957) Singer- Geeta Dutt, Lyrics- Raja Mehdi Ali Khan, MD-Chitragupta
Lyrics
Dekho ji dil na todo
nahin to main
ro doongi
chhodo jee zidd ye chhodo
nahin to main
ro doongi
dekho jee dekho
naye fashion ka zamaana hai
main to nayi hoon
mera sab zewar puraana hai
dekho jee dekho
naye fashion ka zamaana hai
main to nayi hoon
mera sab zewar puraana hai
necklace mangaa do jee
locket dilwa do jee
tik tik kare jo ghadi
chhoti si wo laa do jee
gahnon se mujhko saja do
nahin to main
ro doongi
dekho ji dil na todo
nahin to main
ro doongi
duniya dikha do
saare hawaai jahaaz se
haathhon mein chhatri le ke
utroongi main naaz se
duniya dikha do
saare hawaai jahaaz se
haathhon mein chhatri le ke
utroongi main naaz se
London mein ghoomoongi
Paris mein jhoomoongi
Roos ke laal laal phoolon ko main choomoongi
jaldi se ticket mangwa do
nahin to main
ro doongi
dekho ji dil na todo
nahin to main
ro doongi
baag ho bangla ho
American motor car ho
oonchi society mein
mera intzaar ho
baag ho bangla ho
American motor car ho
oonchi society mein
mera intzaar ho
naghme sunaaoongi
jaadoo jagaaoongi
apne ishaaron pe
main sab ko nachaaungi
yes keh ke mujh ko hansa do
nahin to main
ro doongi
Dekho ji dil na todo
nahin to main
ro doongi
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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