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

Archive for the ‘“Please don’t go” song’ Category


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4701 Post No. : 16402

Remembering Nargis today on the 91st anniversary of her birth.

Born in the year 1929, she made her debut in films as a child artist as early as 1935. And then starting with 1942, she moved on from child roles to adult roles. As I was searching for a song from her early years in films, I chanced to see this song, which is really very playful and chirpy. And listening to the song made me wonder why has this song so far been away from this blog.

Nargis is all of 21 years of age, as she is singing and trying to hold back Karan Dewan (her husband in the film) from going to office. The words of the song are simple and endearing and the whole ambiance of the scene is very charming. There is a childlike entreaty in the pleadings of the newlywed, as she recounts her hours of boredom when the husband is sway to office. And the husband too is in part a willing accomplice, only that near the end of the song, his elder brother (role played by Shyam Chadha) calls him to leave for office, and he has to perforce make a quick departure from the song and the beseeching wife.

The film is ‘Chhoti Bhabhi’ from 1950. It is produced under the banner of Filmkar Limited, Bombay and is directed by Shanti Kumar. The cast of actors in the film is listed as Nargis, Karan Diwan, Shyam, Kuldip Kaur, Gulab, Shyama, Suraiya Chaudhary, Yakub, Johar, Baby Tabassum, Gyani Jugnu, G Sarang, and Khushdil. Yes, the Johar we see in this list is IS Johar, doing a small role here.

The film has nine songs, all of them are from the pen of Qamar Jalaalabaadi. The music is from the duo of Husnlal Bhagatram. It is 1950 – and the voice of an equally young singer, Lata Mangeshkar, sounds so wonderful. The rendition by the singer and the performance on the screen, both are really superb. The outcome is a naughty playful song that is really endearing.

The film has a total of nine songs, of which seven songs are already showcased here. This is the eighth song to find its place on our blog today. With one more to go, this film is ready for the Yippeee category.

Video

Audio

Song – Na Jaana Na Jaana Mere Babu O Daftar Na Jaana  (Chhoti Bhabhi) (1950) Singer – Lata Mangeshkar, Lyrics – Qamar Jalaalabaadi, MD – Husnlal Bhagatram

Lyrics

na jaana

na jaana na jaana mere babu
o daftar naa jaana
na jaana na jaana mere babu
o daftar naa jaana
mere dil ne tujhe pukaara
o babu zara ruk jaana..aa ho
babu zara ruk jaana
na jaana
na jaana na jaana mere babu
o daftar naa jaana
na jaana

tu daftar jaaye babu to mera dil na lagey
ho
ho mera dil na lagey
tu daftar jaaye babu to mera dil na lagey
ho
ho mera dil na lagey
ho dil na lagey
ho dil na lagey
hum ghar mein rahen akele
hum ghar mein rahen akele
na ji na na na
o na ji na na na
na jaana
na jaana na jaana mere babu
o daftar naa jaana
na jaana

tu file le ke chala to pyaar mera rone laga
ho
to pyaar mera rone laga
tu file le ke chala to pyaar mera rone laga
ho
to pyaar mera rone laga
ho rone laga
ho rone laga
meri aankh mein aansoo aaye
meri aankh mein aansoo aaye
chhalak gaya paimaana
na jaana
na jaana na jaana mere babu
o daftar naa jaana
na jaana

kyun kaisi mili hai biwi sunaaye ga ga ke
ho
rijhaaye ga ga ke
kyun kaisi mili hai biwi sunaaye ga ga ke
ho
rijhaaye ga ga ke
ho ga ga ke
ho ga ga ke
kyun kaisa laga hai gaana
kyun kaisa laga hai gaana
zara ye farmaana
na jaana
na jaana na jaana mere babu
o daftar naa jaana
na jaana

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

ना जाना

ना जाना ना जाना मेरे बाबू
ओ दफ्तर ना जाना
ना जाना ना जाना मेरे बाबू
ओ दफ्तर ना जाना
मेरे दिल ने तुझे पुकारा
ओ बाबू ज़रा रुक जाना॰॰आ हो
बाबू ज़रा रुक जाना
ना जाना
ना जाना ना जाना मेरे बाबू
ओ दफ्तर ना जाना
ना जाना

तू दफ्तर जाये बाबू तो मेरा दिल ना लगे
हो
हो मेरा दिल ना लगे
तू दफ्तर जाये बाबू तो मेरा दिल ना लगे
हो
हो मेरा दिल ना लगे
हो दिल ना लगे
हो दिल ना लगे
हम घर में रहें अकेले
हम घर में रहें अकेले
ना जी ना ना ना
ओ ना जी ना ना ना
ना जाना
ना जाना ना जाना मेरे बाबू
ओ दफ्तर ना जाना
ना जाना

तू फाइल ले के चला तो प्यार मेरा रोने लगा
हो
तो प्यार मेरा रोने लगा
हो रोने लगा
हो रोने लगा
मेरी आँख में आँसू आए
मेरी आँख में आँसू आए
छलक गया पैमाना
ना जाना
ना जाना ना जाना मेरे बाबू
ओ दफ्तर ना जाना
ना जाना

क्यूँ कैसी मिली है बीवी सुनाये गा गा के
हो
हो रिझाये गा गा के
क्यूँ कैसी मिली है बीवी सुनाये गा गा के
हो
हो रिझाये गा गा के
हो गा गा के
हो गा गा के
क्यूँ कैसा लगा है गाना
क्यूँ कैसा लगा है गाना
ज़रा ये फरमाना
ना जाना
ना जाना ना जाना मेरे बाबू
ओ दफ्तर ना जाना
ना जाना


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day:

4681 Post No. : 16362

———————————————–————————————
Blog 10-Year Challenge (2011-2021) – Song No. 22
———————————————————————————–
———————————–
This Week, That Year – 5
———————————–
09May – 15May, 2011

It has been a long gap. The previous post in this series had come on 23rd Sep, 2020. And the post number was 15911. About seven and a half month’s worth of waterflow has passed under all the bridges. That was 231 days ago. And 450 posts ago. The blog has clocked four more century milestones, and is close to a fifth now.

An understatement it is – that life has changed in these past months. A lot of ideas and motivation for writing has been numbed. Even with the time and inclination both pointing in the right directions, the flow of writing is simply not coming together. Every week for the past 5 or 6 weeks, I scrutinize the 10 year challenge lists. Ideas form in the mind, but somehow do not get on to paper. For this week’s analysis and this post, I have been checking on the week status from a decade ago, for past couple of days. And then today, just decided to start off with this inability to articulate. Let’s see where it will lead to.

Maybe start with numbers. The week that was – 9th to 15th May of 2011. We saw two dot days that week – 11th and 13th May. Something was in the air during those days. Between April and May of that year, we see 10 dot days, that do not seem customary. We had 28 songs posted in that week, and given two dot days, the average productivity would be approximately 5.6 posts per day.

The 28 songs belonged to 27 different films, and only one film made a repeat appearance that week – the film ‘Pugree’ of 1948.

Considering the decades – the thirties and seventies had just one song present. In between we had 8 songs for the 1940s, 11 songs for the 1950s and 7 songs for the 1960s.

The week saw 5 debut films come on board. And the film ‘Parasmani’ of 1963 completed its run and made the Yippeee status. Of the 27 films that got featured that week, a whopping 19 films have since been Yippeee’d over the past decade. And 8 films are still awaiting more songs to complete their run on our blog. All the films have between 2 to 5 songs pending, which means none of them is one song away from being Yippeee’d.

Coming to milestones, the week saw the century milestone for music director Anil Biswas. On 10th May, with the song “Paise Ka Mantar Paise Ka Jantar“, from the 1956 film ‘Paisa Hi Paisa’, Anil Biswas clocked his first 100 songs posted on our blog.

The day by day break up and details of posts on daily basis is given in the table below.

Blog Ten Year Challenge (2010-2020) Series
Sl.No. Movie Name Year HFGK NoS ASAD NoS Possible UT Deb/Yip Milestone Film Status Pending
9-May-11
1 Pardesi 1957 8 5 Pending 3
2 Jalti Nishaani 1957 8 6 Pending 2
3 Chaar Dil Chaar Raahen 1959 7 7 Yippeee’d
10-May-11
1 Kismat 1943 9 9 Yippeee’d
2 Milan 1946 8 5 Pending 3
3 Pugree 1948 9 9 Yippeee’d
4 Meena Baazaar 1950 12 12 Yippeee’d
5 Paarasmani 1963 6 6 Y Yippeee’d
6 Paisa Hi Paisa 1956 10 6 AC – 100
(Anil Biswas)
Pending 4
11-May-11
[No Posts]
12-May-11
1 Pugree 1948 9 9 Yippeee’d
2 Chaalis Din 1959 8 5 Pending 3
3 Faraar 1965 6 6 Yippeee’d
4 Namaste Jee 1965 8 4 D Pending 4
5 Uski Kahaani 1966 2 2 D Yippeee’d
6 Hindustan Ki Kasam 1973 4 4 D Yippeee’d
13-May-11
[No Posts]
14-May-11
1 Buzdil 1951 6 6 Yippeee’d
2 Lala Rukh 1958 7 7 Yippeee’d
3 Apna Haath Jagannaath 1960 8 8 Yippeee’d
4 Zindagi 1956 8 3 D Pending 5
5 Faisla 1965 7 4 D Pending 3
15-May-11
1 Chandidas 1934 9 9 Yippeee’d
2 Dil e Naadaan 1953 9 9 Yippeee’d
3 Mirza Saahiban 1947 10 10 Yippeee’d
4 Kaneez 1949 12 12 Yippeee’d
5 Zameendaar 1942 10 10 Yippeee’d
6 Kaaghaz Ke Phool 1959 7 7 Yippeee’d
7 Shama 1961 11 12 Yippeee’d
8 Bahaaren Phir Bhi Aayengi 1966 6 6 Yippeee’d

Ten years ago, this day six songs were posted from six films. Of the six films, the following four have since been Yippeee’d – ‘Pugree’ (1948), ‘Faraar’ (1965), ‘Uski Kahaani’ (1966) and ‘Hindustan Ki Kasam’ (1973). The two pending films are ‘Chaalis Din’ (1959) and ‘Namaste Ji’ (1965). For today’s post, I have picked this fun wooing song in the voice of Rafi Sb from the film ‘Namaste Ji’.

This film has an interesting background, from a collector’s perspective. For almost two decades, this film has been on the fringe of becoming available in public domain. There are collectors who have been declaring the availability of this film with tantalizing promises of making it available ‘shortly’. But that shortly has never really materialized. To the extent that there are folks who have uploaded doctored videos, i.e. songs of this film overlaid on a video sequence of another film with the same lead actors. Ah yes, we do see many an example of such shady presentations. And to tell you – the world is so full of believers, that the comment sections of such uploads contains profuse thanks for being able to see the video clip of the song. There are rare comments that point out this insidious jugglery, but such statements of accusatory truth are lost in the bevy of praises.

One of my very close and dear friends, has shown me photographs of the library shelves of another collector in Bombay, where the Betamax tape of this film, ‘Namaste Ji’ is very much visible. But no, we have had no success in being able to view or acquire this film. And so we are also not 100% certain that the titles that are sitting in the library of this other collector, whether these just blanks, to impress others. Do not know. This, and actually many other titles, have been doing rounds of collector circles and communications – that they are imminent to be released to public domain shortly.

Another very interesting variation to this scenario is the case where the original film has been dubbed into another language. Case in point is the film ‘Qaidi’ from 1957, very well known for its musical score by OP Nayyar. Now this film, as many others, was later dubbed into Tamil and other south Indian languages. The current scenario with this film is that the Hindi original of this film is not available (yet) in public domain. However the Tamil version is very much available in public domain. Some technically astute and enterprising collector has picked the video sequence from the Tamil version and has overlaid the audio of the song in Hindi. He has posted a couple of such ‘manufactured’ videos with the claim that they are the original and that he has the full film in original Hindi. After much explorations and discussions, it has been determined that the claim is spurious.

A very enticing and also tormenting situation is when actually we have real and true clips of songs and short video sequences posted online, but the entire film is simply not surfacing anywhere. Years have passed in waiting but simply no word of real existence has surfaced. Maybe I shall take this up in another post – it is getting very lengthy.

So back to ‘Namaste Ji’. The film has been produced under the banner of DM Films, Bombay (now Mumbai) and is directed by Daljeet Krishan. Is Daljeet the ‘D’ in the banner name? Not sure. The star cast as per the Geet Kosh is Ameeta, Mehmood, IS Johar, Nalini Chonkar, Ulhas, Manorama, Mridula, Rajan Haksar, Kundan, Baij Sharma, Brahmdutt, Helen, Sumita, Arti, Manjula, Vinod, Ramesh, Ajeet, Meena, Baijnath, and Nazeer.

The film has 8 songs listed. The music boasts of such all time favorites as “Mere Do Naina Matwaale Kis Ke Liye“, “Bahaaron Thaam Lo Ab Dil Mera Mehboob Aata Hai“, and “Hamen Kya Jo Har Su Ujaale Huyen Hain”. Interesting to note that so far 4 songs of this film have made their appearance on the blog. Three of them appeared in 2011, the fourth came on board in 2014. And then, a long radio silence. Yes, the fifth song makes its appearance today, after a gap of seven years.

The music composition is by GS Kohli and the song writing is shared between Anjaan and Anand Bakshi. However sadly, the song being presented today has no lyricist identified for it. Could this be a traditional or a folk song that has been reused? Yes, quite possible, from the sound of it. The language of the song sounds like Awadhi or Bhojpuri, and so it could be folk song that has been brought into this film. I request other knowledgeable friends and readers to please comment on this observation.

From the rendering of this song, it may be not wrong to surmise that this song is picturized on Mehmood. It sounds similar in rural tones, to some other songs that Mehmood had performed on screen, e.g. the song “Pipra Ke Patwa Sareekhe Doley Manwa” from the 1963 film ‘Godaan’.

So, wrapping up today’s write up, with a forlorn hope that this film shall make its appearance in the public domain, sooner than later.

Let us see.

Song – Kahaan Jayi Ho Najariya Churaaye Hum Se  (Namaste Ji) (1965) Singer – Mohammed Rafi, Lyrics – [Unattributed], MD – GS Kohli

Lyrics (Provided by Prakashchandra)

kahaan jayi ho  o o o
kahaan jayi ho
najariya churaaye
hum mmmm mm mm mm
hum mmm mm mm se..e

o kahaan jayi ho oo oo
 
kahan jayi ho o o
o kahan jayi ho najariya churaaye hamse
kahan jayi ho o o

gori gussey mein ho
gori gussey mein haayye
gori gussey mein
daaman chhudaaye hamse ae
oye
oye oye oye
kahan jayi ho o
kahan jayi ho
najariya churaaye hamse
kahan jayi ho

naagan si goriyaa chalai chaal aisey ae ae
lotey karejwaa pe haaye saanp jaise
lotey karejwaa pe haaye saanp jaisse
qaabu karee hum jeeyara pe kaise
kauno jatan to batai ho batai ho batai ho re
kahaan jayi ho
o kahan jayi ho
najariya churaaye hamse
kahan jayi ho o
oo ooo ooo
aaaa aaa aaa aaa
ooo ooo oooo ooo ooo
haaye haaye
haaye haaye
haaye

tohre basai deen o duniya bhulai bey ae
tohri duwaaree pe dhooni ramayi bey
tohri duwaaree pe dhooni ramayi bey ae
jab ban ke jogi
o jab ban ke jogi
alakh hum jagayi bey
phir kaisey bas mein
na ayi ho
na ayi ho
na ayi ho rey
kahaan jayi ho o
o kahaan jayi ho
najariya churaaye hamse
kahaan jayi ho o o

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

कहाँ जई हो ओ ओ ओ
कहाँ जई हो
नजरिया चुराये
हम्म म्ममम म्म म्म म्म
हम्म म्ममम म्म म्म से॰॰ए

ओ कहाँ जई हो ओ ओ

कहाँ जई हो ओ ओ
ओ कहाँ जई हो नजरिया चुराये हमसे
कहाँ जई हो ओ ओ

गोरी गुस्से में हो
गोरी गुस्से में हा॰॰य
गोरी गुस्से में
दामन छुड़ाए हमसे॰॰ए
ओय
ओय ओय ओय
कहाँ जई हो ओ
कहाँ जई हो
नजरिया चुराये हमसे
कहाँ जई हो

नागन सी गोरिया चलै अइसे॰॰ए॰॰ए
लोटे करेजवा पे हाय साँप जइसे
लोटे करेजवा पे हाय साँप जईस्से
क़ाबू करी हम जियरा पे कइसे
कौनौ जतन तो बतई हो
बतई हो
बतई हो रे
कहाँ जई हो
ओ कहाँ जई हो
नजरिया चुराये हमसे
कहाँ जई हो ओ
ओ ओss ओss
आsss आss आss आss
ओs ओss ओsss ओss
हाय हाय
हाय हाय
हाय

तोहरे बसइ दीन ओ दुनिया भुलई बे॰॰ए
तोहरी दुवारी पे धूनी रमइ बे
तोहरी दुवारी पे धूनी रमइ बे॰॰ए
जब बन के जोगी
ओ जब बन के जोगी
अलख हम जगइ बे
फिर कइसे बस में
न अइ हो
न अइ हो
न अइ हो रे
कहाँ जई हो॰॰ओ
ओ कहाँ जई हो
नजरिया चुराये हमसे
कहाँ जई हो ओ ओ ओ


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 :

4559 Post No. : 16170

———————————————–————————————
Blog 10-Year Challenge (2011-2021) – Song No. 3
———————————————————————————–

This day ten years ago (viz 19 January 2010) saw to songs getting discussed in the blog. Here are their details:-

Blog post number Song Movie (Year) Remarks
3439 Baadal ki paalki pe hoke sawaar Chakradhaari(1954) Movie YIPPEED by now
3440 Ye mehfil sitaaron ki Arab Ka Saudaagar(1956) To songs out of 8 covered so far

So, only one movie, viz “Arab Ka Saudaagar”(1956) is eigible for Blog Ten Year challenge today (19 January 2021).

This movie “Arab Ka Saudaagar”(1956) was produced and directed by S D Narang for New Orinetal Pictures, Bombay. This movie had Pradeep Kumar, Shashikala, Naarang, Hiralal, Sunder, Neeroo, Srinath, Smriti Biswas, C.L.Kavish, Dhanraj, Tuntun, Kathana, H.Prakash, Jeboo, Saudagar etc in it alongith Maruti is guest appearance.

As Blog ten year challenge, here is the third song “Arab Ka Saudaagar”(1956) to appear in the blog. The song is sung by Asha Bhonsle. S H Bihari is the lyricist. Music is composed by Hemant Kumar.

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

Lyrics of this song were sent to me by Prakashchandra.


Song-Ruk jaao sanam tujhe meri qasam (Arab Ka Saudaagar)(1956) Singer-Asha Bhonsle, Lyrics-S H Bihari, MD-Hemant Kumar

Lyrics(Provided by Prakashchandra)

ruk jaao sanam
tujhe meri qasam
mere pyaar ko yoon thhukraake na jaa
ruk jaao sanam
tujhe meri qasam
mere pyaar ko yoon thhukraake na jaa
hai raat jawaan
rangeen samaa
aisey mein mujhe tarsaake na jaa
ruk jaao sanam

dil ye pukaarey
dekh nazaarey
aisi ghadi kab aati hai
dil ye pukaarey
dekh nazaarey
aisi ghadi kab aati hai
raat suhaani
bann ke deewaani
pyaar ke nagme gaati hai
har ek adaa
deti hain sadaa
armaanon ko yoon tadpaake na jaa
ruk jaao sanam
tujhe meri qasam
mere pyaar ko yoon thhukraake na jaa
hai raat jawaan
rangeen samaa
aisey mein mujhe tarsaake na jaa
ruk jaao sanam..mm

saamne manzil
phir bhi hai gaafil
jaana hai tujhko door nahin
saamne manzil
phir bhi hai gaafil
jaana hai tujhko door nahin
karke deewaanaa
chhod ke jaanaa
ulfat ka ye dastoor nahin
main shammaa teri
parwaanaa hai tu
mujhe aisey akele jalaake na jaa
ruk jaao sanam
tujhe meri qasam
mere pyaar ko yoon thhukraake na jaa
hai raat jawaan
rangeen samaa
aisey mein mujhe tarsaake na jaa
ruk jaao sanam


This article is written by Nahm, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4481 Post No. : 15991

Mohammed Rafi: The incomparable (II) – Song No. 20
—————————————————————

25/10/2020 – Remembrance Day of Sahir Ludhianvi 

Koyi shaayar ta’aaruf ka mohtaaj ho saktaa hai lekin uss ki shaayari kisi ta’aaruf ki mohtaaj nahi honi chaahiye, chaahe wo shaayari doosri zubaan mein tarjuma shudaa hi kyun na ho”.

So began the article published in the Urdu magazine ‘Fann Aur Shakhsiyat’ (Sahir number), dated 22nd July 1958, written by Khwaaja Ahmed Abbas.

Sahir. . . ba-zubaan e khud
(Answering a question asked by Nida Fazli)

I am the youngest among my contemporaries except Kaifi considering my age. Faiz, Sardar, Niyaaz all are senior.  When Majaz’s ‘Aahang’ was published I was a student in Matric (Xth std) and at the time of publication of Faiz’s collection I was studying in BA. There are really effects of Faiz in some of my poems. Majaaz is more classical, which I like. Maybe it is more impressive in ‘Chaklay’. Every poet is impressed by his senior poets. But there is a difference in vinegar and its affects. Many of my poems tackle different topics like, Taj Mahal, chakla, avoidance (garez), and beautiful turn (khoobsurat mod) etc. No one’s 100% and perfect. In Faiz’s work there are more of comparisons (Anthropomorphization). The adjectives in my poems create an atmosphere. The personality of the poet also has an impact on his art and expression. There is an inner circle, the subject and vivid representation takes shape accordingly. By nature I belong to the middle class. Maybe I have still not managed to de-class myself. Years ago my poems were heard silently among the labourers.  But Kaifi would generate more claps. Some people have an opinion that Sahir is more liked the college going boys and girl, this is poetry of an immature brain. But I do doubt the maturity of brains of the people who think like this. I am product of this very circumstances and it is natural to be affected by it. But the poetry’s subjects and their treatment is also bound to change with the age of the poet, as in our times Hafeez and A’dam were very popular among elderly poets. We used to take part is these Mushaa’ire, recited our poems which were well liked by all. Firaaq says this even today that “Mushaa’iron ke ticket to Sahir ke naam par hi bikte hain”.

I know there are very few people who understand Urdu and fewer are interested in it in India. But the revived interest in Urdu poetry, contemporary as well as some poets belonging to the earlier generations, and other literary works, which is raising its head frequently, is heartening. Urdu poetry in itself is a strong statement. It is very important and significant in the 21st century and new millennia also, as it was in 19th and 20th centuries.

And Sahir is a big part of this strong statement. For his content and creative flexibility. There may be a way of looking at his poetry apart from his roots in leftist ideology.  I don’t think he died with, as strong sense of his ideology as he began his active poetic life.

I am fascinated by the impact of Allama Iqbal on his poetry.  He wrote this in early 40’s :

ye kooche ye neelaam ghar dilkashi ke
ye lut’te huye caaravan zindagi ke
kahaan hain, kahan hain, muhafiz khudi ke
sana-khwaan-e-taqdees-e-mashriq kahan hain

Very few poets have used the word ‘khudi’ after Iqbal so immediately after him.  In fact the philosophy of ‘khudi’ is the inherent identity of Iqbal’s literary and poetic work.  Here if Sahir is speaking of ‘khudi’ it must be a reference to glorification and paeans of the civilizational progress of the ‘mashriq’ sung by Iqbal.   The question by Sahir is still valid, as it was 80 years ago.  The question is much bigger than ever, exactly when and how much more, the personal integrity, conscience of each one of us singing praises of cultural, civilizational and religious values are going to go and face this shameful reality.

Allama Iqbal left this world in 1939.  For the impressionable youth, a rebellious one like Sahir, the impressive content and complete logical values in Iqbal’s considerable poetic output, could have felt like the shackles.  So he hits out, at the reality of society, more in self-defence to stop his own slide into the spirituality.  He wants to stay in the realm of the material and spirituality seems like a cave to him, with no way out.

But it is a fact that he ventured into the cave, with a parody too :

cheen-o-arab hamaara, hindostaan hamaara
muslim hain ham watan hai saara jahan hamaara

Bringing it down to the basic issues of survival with:

Cheen-o-arab hamaara, hindostan hamaara
Rehne ko ghar nahin hai, saara jahan hamaara

He takes this She’r of Iqbal ;

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

And makes it;

Na tu zameen ke liye hai na aasmaan ke liye
Tera wajood hai ab sirf daastaan ke liye

He does satire, demoralise and ridicule the concept of humans being the supreme creation, and degenerates it.  Not that he has any answers or solutions to the angst expressed in “jinhen naaz hai hind par. . .”.   How the ideology he wore on his sleeve, must have been time and again, weighed against the religiosity and convictions of Iqbal.  He challenges Iqbal’s concepts and thrives on it.

tere ishq ki intehaa chaahta hoon
meri saadgi dekh kya chaahta hoon

He takes the above ghazal of Iqbal and writes this as college bait-baazi song “Tere Pyaar Ka Aasra Chaahta Hoon“.

In relation to the saga called ‘chaklay’, I am reproducing a portion of the article ‘Sahir aur Us ki Sha’iri’, by Kaifi Azmi, originally published in 1948, in ‘Naye Adab Ke Ma’emaar’ (‘Ma’emaar’ – builders or constructors, derived from ta’ameer or ‘imaarat’):

The hapless and hungry nation in reverence towards which glorious paeans are sung with closed eyes, houses brothels at every step. Hence brothels are entrenched in Indian literature too.

The rank intensity, hatred and sincerity with which saahir has shaken up the ‘sanakhwan-e-tasdeeq-e-mashriq’ are simply incomparable.

In ‘chaklay’ (brothels), Sahir’s dignity, his soul and the restlessness of his conscience can be seen at the acme of eminence; I get goose bumps when I read this poem.  The feelings that might have stimulated him to write it are so intense that here his characteristic melancholy transforms into an overwhelming deluge.

[Source – ‘Yeh Un Dinon Ki Baat Hai’, selected and translated by Yasir Abbasi].

One wonders if Sahir ever gave a thought to Rafi sahab’s rendition of the songs of ‘Pyasa’, as he got into a controversy over credit and remuneration. It is 40 years since both of them left the temporary abode called life. We are into 100th year of Sahir and no closer to finding the reply to his call. . .

sana-khwaan-e-taqdees-e-mashriq ko laao
sana-khwaan-e-taqdees-e-mashriq kahan hain

I wonder if any literary work of this world, or any research paper is there, that offers solutions, shows the way out, of this socio-economic problem.  But it is a sad state of affairs that this civilization has ceased to view this as a degenerating parasite of a problem in society.  It exists only in Sahir’s poetry as an issue.

I am presenting a Rafi song on this occasion. This is a solo song written by Sahir Ludhianvi for the film ‘Naach Ghar’ (1959).  N Datta is the composer for this film. The song is a prayer, banjaara song, and overlay of a mujra.  As if the mujra is going on and the viewer is singing the song.  I can only guess at it as the video is not available.  The rendition by Rafi Sahab is again out of this world, especially the starting one minute, before the mujra part begins.  I am at a loss, ke sahir ki baat karun ya Rafi ki.

The movie ‘Naach Ghar’ has 10 songs with Rafi being the only male singer, singing four duets with Lata Mangeshkar, one with Asha Bhosle and one with Geeta Dutt.  The only solo song by Rafi in this film the present post.  I had never heard this song before March 2020, when I decided to post this as the birthday post for Sahir’s birth anniversary.  But since it could not be posted, I have revised the post for the death anniversary.

This is the 20th song in the series of ‘Mohammed Rafi – The Incomparable (II)’.   The first two differing portions of the song are too brief; one wants them to go on and on.  But the song moves on to beyond the dance music to chhed-chhaad mode, romantic and pardesi.  3:15 duration is too short to pack so much, and it ends too soon.  Only the audio is available of the song which is picturized on Gopi Krishna.  This could be a stage song or road-side tamasha song.

Song – Teri Ada Pe Qurbaan, O Jaane Waale (Naach Ghar) (1959) Singer – Mohammed Rafi, Lyrics – Sahir Ludhianvi, MD – N Datta

Lyrics (Provided by Avinash Scrapwala)

main banjaara
door ka aa
ghoomun dagar dagar
base rahen is nagar ke baasi
basaa rahe ye nagar
ho ho oo ooooooo

allah ke naam pe
maula ke naam pe 
allah ke naam pe
maula ke naam pe 
de de o jaanewaale
allah ke naam pe
allah ke naam pe
maula ke naam pe 

teri adaa pe qurbaan
o jaanewaale
na ja na ja na ja na jaa
teri adaa pe qurbaan
o jaanewaale
na ja re
na ja na ja na jaa
na ja na ja na jaa
teri adaa pe qurbaan

ho jaayenge
hum deewaane
ho jaayenge
hum deewaane
lut jaayenge
khwaab suhaane
lut jaayenge
khwaab suhaane
o zaalim tarsaane waale
teri adaa pe qurbaan
o jaanewaale
na ja na ja na ja na jaa
teri adaa pe qurbaan
o jaanewaale
na ja re
na ja na ja na jaa
na ja na ja na jaa
teri adaa pe qurbaan

pardesi ke dil ki duaa le
pardesi ke dil ki duaa le
khud ruk jaa yaa
hum ko bula le
khud ruk jaa yaa
hum ko bulaa le
ghaayal chhod ke jaane waale
teri adaa pe qurbaan
o jaanewaale
na ja na ja na ja na jaa
yeri adaa pe qurbaan
o jaanewaale
na ja re
na ja na ja na jaa
na ja na ja na jaa
teri adaa pe qurbaan

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

मैं बंजारा
दूर का
घूमूँ डगर डगर
बसे रहें इस नगर के बासी
बसा रहे ये नगर
हो हो ओ ओssssss

अल्लाह के नाम पे
मौला के नाम पे
अल्लाह के नाम पे
मौला के नाम पे
दे दे ओ जाने वाले
अल्लाह के नाम पे
अल्लाह के नाम पे
मौला के नाम पे

तेरी अदा पे क़ुर्बान
ओ जानेवाले
ना जा ना जा ना जा ना जा
तेरी अदा पे क़ुर्बान
ओ जानेवाले
ना जा रे
ना जा ना जा ना जा
ना जा ना जा ना जा
तेरी अदा पे क़ुर्बान

हो जाएँगे
हम दीवाने
हो जाएँगे
हम दीवाने
लुट जाएँगे
ख्वाब सुहाने
लुट जाएँगे
ख्वाब सुहाने
ओ ज़ालिम तरसाने वाले
तेरी अदा पे क़ुर्बान
ओ जानेवाले
ना जा ना जा ना जा ना जा
तेरी अदा पे क़ुर्बान
ओ जानेवाले
ना जा रे
ना जा ना जा ना जा
ना जा ना जा ना जा
तेरी अदा पे क़ुर्बान

परदेसी के दिल की दुआ ले
परदेसी के दिल की दुआ ले
खुद रुक जा या
हमको बुला ले
खुद रुक जा या
हमको बुला ले
घायल छोड़ के जाने वाले
तेरी अदा पे क़ुर्बान
ओ जानेवाले
ना जा ना जा ना जा ना जा
तेरी अदा पे क़ुर्बान
ओ जानेवाले
ना जा रे
ना जा ना जा ना जा
ना जा ना जा ना जा
तेरी अदा पे क़ुर्बान


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 : 3919 Post No. : 14982

 

Today’s song is from film ‘Shahenshah Babar’ (1944).

Hindi film makers seem to have an attraction for Mughal Empire. Films were made on life events of right from Babar to Bahadurshah Zafar- the first to the last Mughal kings. I do not know what the film makers found so magnetic in their lives. Not only Mughal kings, but also the Mongol king Changez khan, Nadir Shah and generals like Behram Khan also became the subject matters of films. May be the producers found lot of scope to show big palaces, big armies, wars, dances and songs, beautiful women etc. in such films which attracted the audience.

More than any other Mughal king, it is Babar, who has been in public discussion in India , since about 20-30 years, for well known reasons for which we are not concerned here. Babar was born as Zaheeruddin Mohammed, on 14-2-1483 in Fergana valley in what is known today as Uzbekistan. He was a direct descendant of Taimurlane. At the age of 12 years he ascended his father’s thrown and faced rebellion. Next few years were spent on fighting to save his kingdom. Having lost, and won and again lost the valley of Fergana and Samarkand three times, Babar decided to go to India.

He marched with his army towards India, which was ruled by Ibrahim Khan Lodhi that time. Babar’s army was tired and tried rebellion till they reached India. In the battle of Panipat, he defeated Lodhi and became the Emperor of India. Later he fought with several Rajput kings and won also. Babar married several times and had several children too. His 3 sons were main and Humayun was his dearest son. Babar established the Mughal Empire in 1526 at Delhi. It was Humayun, who succeeded Babar when he died on 26-12-1530.

‘Shahenshah Babar’ is a depiction of his life from childhood to death, but most part of the film is about the love affair and sickness of Humayun. After his death Babar was first buried in Agra, but later his remains were buried again in Kabul. Babar is considered a national hero in Uzbekistan and Kergystan. In India Babar is not known for such good things.

This film was made by Ranjit Movietone, calling it a historical film. It was directed by Wazahat Mirza Changezi (20-4-1908 to 4-8-1990). He directed 5 films, namely, ‘Swaminath’ (1942), ‘Jawaani’ (1942), ‘Shahenshah Babar’ (1944), ‘Prabhu Ka Ghar’ (1945) and ‘Nishaana’ (1950). He wrote lyrics in films like ‘Watan’ (1938), ‘Hum Tum Aur Woh’ (1938), ‘Bahen’ (1941), ‘Roti’ (1942) and ‘Jawaani’ (1942). Later he became famous as a screenplay and dialogue writer. Some of his famous films are ‘Zeenat’ (1945), ‘Shaheed’ (1948), ‘Shikast’ (1953), ‘Mother India’ (1957), ‘Yahudi’ (1958). ‘Mughal e Azam’ (1960), ‘Ganga Jamuna’ (1961), ‘Leader’ (1964), ‘Palki’ (1967) etc.

The music director was Khemchand Prakash and lyricists were Pt. Indra, Munshi Aziz and Munshi Shums. Out of the 9 songs, today’s song is 5th song to be discussed here. The cast of the film was Khurshid, Sheikh Mukhtar, Sushil Kumar, Yakub, Majid, Anwari, Agha and others.

Religious, mythological or historical stories have some characters who are with extra ordinary strength or even Rakshasas. Such characters maintained the equilibrium of entertainment in those films and made them more interesting with their actions. In the Hindi film industry, some actors fitted this requirement. Some of them were BM Vyas, Ramayan Tiwari, Sheikh Mukhtar, Dara Singh, Dev kumar etc. Sheikh Mukhtar fitted into these roles perfectly, for example as ‘Nadir Shah’ in film ‘Nadir Shah’ (1968), as Changez Khan in film ‘Changez Khan’ (1957), or as Sher Afghan in film ‘Noor Jehan’ (1967). In social films, roles of police officers and in action/stunt films as dacoit, drunkard, gambler etc. In some of the films directors used to make him do unimaginable and unbelievable acts like in film ‘Roti’ (1942), he brings down an aircraft with his spear throw ! As a police officer, he would hold 5-6 criminals by their scruff in his extra large hands or run barefoot after a speeding jeep and stop it !

His real name was Mukhtar Ahmed Siddiqi. He was from old Delhi. His father was a senior police officer. He was Bollywood`s first ‘hunk’ – one who would have put today`s WWF hulks to shame. Exceptionally tall and frighteningly hefty, he was endowed with an immense physique. His face was a roadmap of crisscrossing muscles. A sharp jaw line added to the dimensions of his rock-hard face. Hardly `star` material compared to the Hrithiks and Salmans of today. Yet, this rugged man was once a hero.

Those were the days when a limp-wristed hero, who could not even unlock the mysteries of the lush curls of his beloved, was universally adored in cinema halls. In such times, Sheikh Mukhtar adorned the garb of a hero. This feat was achieved by movie monarch Mehboob Khan. In ‘Ek Hi Raasta’ (aka ‘The Only Way’), a film directed by Mehboob Sb for Sagar Movietone way back in 1939, Sheikh Mukhtar was one of the three heroes. The other two were Arun Ahuja (matinee idol Govinda`s father) and a certain Harish (who later directed films such as ‘Burma Road’, he was Tara Harish). Though billed as male lead, Sheikh Mukhtar never fitted into the `romantic` mold. And why should he? He portrayed an uncouth lover, almost a pre-Neanderthal man, in Mehboob Khan`s ‘Roti’ with sensuous Sitara Devi as his beloved. In that film, Sheikh would bring down an aircraft with the mere strike of his spear. When thirsty, he would empty an entire bucket down his throat in one go. Soppy dialogues oozing with maudlin emotions such as love and romance, did not come forth from the super-hunk.

In Wadia`s ‘Krishnabhakt Bodana’ (1944), Sheikh Mukhtar was the Lord`s devotee. In ‘Bahen’ (1941), he portrayed the role of Nalini Jaywant’s brother. His imposing personality fitted well into period films which dabbled in history. He played the role of Shahenshah Babar; went on to become Chengez Khan and then donned the mantle of Sher Afghan in ‘Noor Jehan’, a film which he produced. He was often teamed with Begum Para, the bewitching beauty of that era. The pair hit it off exceedingly well on the screen. For countless cinema aficionados, the Sheikh Mukhtar-Begum Para pair was a classic case of the beauty and the beast. With pint-sized Mukri, Sheikh Mukhtar had a successful celluloid partnership. Sheikh Mukhtar produced a string of Hindi films, such as ‘Dada’, ‘Dara’, ‘Ustad Pedro’, ‘Toote Taare’, ‘Mr. Lambu’, ‘Annadaata’, ‘Mangu’ (with another beauty, Nigar Sultan), ‘Do Ustaad’, and ‘Noor Jehan’, among others.

He wove into his films a variety of songs, from “Bahaaron Ke Dole Mein Aayi Hai Jawaani”, a romantic number from ‘Annadaata’, to naughty ditties, such as “Dil Ka Ye Injan Seetiyaan Maare” from ‘Ustaad Pedro’, and “Namaste, Doctor Baaro, Hum Ko Bhi Ek Injection Maaro”. Sheikh Mukhtar`s pair of shoes, of twelve number size, (in ‘Do Ustaad’), summed up his big time existence. His role in this film was widely appreciated. Sheikh Mukhtar showcased his acting talents in the concluding scene of ‘Do Ustaad’ when he holds his long-lost brother and son to his bosom.

Sheikh Mukhtar invested all his hard-earned money on ‘Noor Jehan’, his dream project. However, the period film bombed miserably at the box office. And with the film collapsed this mighty man. Debts began to pile up. Income Tax arrears kept multiplying in geometrical progression. Unable to resolve this crisis, Sheikh Mukhtar, who was adored in Bollywood for his integrity and for his firmness to keep vices of every variety at bay, fled to Pakistan with the alacrity of a small-time house burglar. He took with him the prints of his films. But, sadly, the Pakistan film industry offered him no succor. He kept running from pillar to post, visiting government offices with a plea that he be allowed to release his films.

He was not at all welcomed by Pak film industry. As it is Indian films were already banned there. When all efforts failed, he met General Zia ul Haq. He was a great fan of Sohrab Modi. When he learnt that Sohrab Modi was acting in this film, he allowed the film’s release. However, the Pak film industry went to Supreme court against this order. The case dragged on and finally on 11th may 1980 he won the case. While hee was returning to Lahore with his son Sheikh Moinuddin, Mukhtar got a severe heart attack in the flight. He was immediately taken home and doctor was called. Strangely no doctor came to help him. Finally by the time he was taken to hospital, he died on the way.

‘Noor Jehan’, which was released in Pakistan after Sheikh Mukhtar died, on 23rd may 1980, kept the box office registers ringing with cash. In his 40 years’ career he acted in 70 films and under the banner of his own Omar Khayyam Films, he produced 8 films. (Some information from articles by Shirish Kanekar and Jawed Hamid is used here with thanks).

Singer actress Khurshid played the heroine Hameeda’s role and sang good songs too. Here is an edited interview of Khursheed, taken in 1992,by Pakistani journalist, Navid Rasheed (Thanks to Cineplot)..

Khursheed Bano was born as Irshad Begum in Lahore, on 14th April 1914. As a child she resided in the Bhatti Gate area next to Allama Iqbal’s house. The two families were pretty close. Khursheed was a child then. There was no ambition of joining the showbiz bandwagon then and it was by chance that led her to this arena.

Khursheed was very still young when she became an actress in the early 30’s. The era of the silent movies had already ended with the release of ‘Alam Ara’ in 1931 and the Indian film industry was going through a revolution. What set her apart from other heroines were her attractive face and certain flamboyance owing to which she made her presence felt. And then she was very good actress who could be melodramatic and happy-go-lucky with equal ease.

Each star then was required to playback for themselves and Khursheed was lucky to have a good voice. Hence started the brilliant era of some timeless classical and exemplary numbers like “Panchhi Baawraa Chaand Se Preet Lagaaye”.

The graceful and decent actress was luckier to secure some of the best films including ‘Sitaara’, ‘Shaadi’, ‘Musafir’, ‘Pardesi’, ‘Bhagat Surdas’, ‘Dekha Jayega’, ‘Shehanshah Babar’ and ‘Tansen’. ‘Pardesi’ had a very famous soundtrack comprising of memorable numbers by the late actress. In ‘Tansen’ she played the protagonist Tani with Kundan Lal Saigal as Tansen. Together they made indelible performances and the role took her to great heights. She even transcended Saigal with her strong performances and pretty looks and her fans started calling her Tani after that. Her leading men in those days apart from Saigal were Motilal, Ishwar Lal, Nazeer and Sadiq Ali. She made a successful pair with Motilal the most. Her female contemporaries included actresses of caliber like Kanan Bala, Devika Rani, Leela Chitnis, Suraiya, Swaranlata and Noor Jehan. The last three were her juniors.

Khursheed said that there was no such thing as rivalry in those days and actresses worked in close coordination. Abusing, backbiting or gossiping was not amongst their traits. Even the male stars with whom she worked treated her with great respect and there were no scandals.

Though she was an accomplished singer, acting remained her forte and first love. “Singing was a requirement to be a heroine in those days”, she said, “and even heroines with not too good voices were forced to sing if they were to act. But the composers were so good that they managed to get the best out of them then. Each song was recorded after several rehearsals. But I was an actress first and singing was just to complement that.”

Khursheed was not too happy with the way films shaped up in the years to come. So much so that she never wanted to see films anymore. In the interview she expressed her displeasure, “In spite of the resources and much higher budget, there is not a single film maker in the entire sub continent who could make a film even half as good as the films made in my era. Ours were simple films but treated well and had strong content. Plus the hard work and honesty of each unit member reflected in the entire film. This thing is missing now. A film is not only about technique, rather the issue, sensitivity and sincere dedication too.

Following partition in 1947, Khursheed opted to move to Pakistan. She worked in two Pakistani films too – ‘Mandi’ and ‘Fankaar’. But then she decided to quit and tied the knot with a Karachi – based businessman Yousaf Bhai Mian. They had one daughter who lived in the US when the interview was conducted. She then concentrated on her marriage alone and emerged equally successful on the home front as much as she was in films. She was happy that she quit films before their standards declined .

Khursheed died on 18-4-2001 at Lahore.

Khursheed Bano sang about 170 songs in about 40 films in India. Her life and career would have been like any other actor/singer, but for the controversy of her initiation into films as ‘SHEHLA’ ( HFGK writes this name as SHAILA ) at Calcutta between 1931 and 1935. It was finally and conclusively proved by Shri Kamlakar Pasupuleti ji, that Khurshid and Shehla were different and two separate individuals.

The story of film Shahenshah Babar,

The film starts with the march of Babar’s army to India in 1526, with flashbacks of his childhood and activities as an young man. Defeating Ibrahim Khan Lodhi in the battle of Panipat, Babar becomes Emperor of India.

One of his knights Sardar Sheikh has a daughter Hameeda. She and Babar’s son Humayun fall in love and meet often. When Babar comes to know this, he takes a promise from Humayun that he will forget Hameeda. Humayun promises and leaves Hameeda. Heart broken Hameeda is taken by her father to their native place .

Humayun falls ill and is on death bed. To save his life Babar prays to God that he saves Humayun and instead give death to Babar. In addition, he himself goes and brings back Hameeda to Humayun. In few months Humayun gets well, but Babar dies.

I distinctly remember, when I was studying in 5th or 6th standard, we had a lesson “The Power of Prayer” and in this lesson Babar and Humayun’s story was told, how Babar sacrifices his life for son’s life by praying to God. The film too has the same theme. It seems this story is there in ‘Humayun-Nama’ written by Gulbadan Begum, half sister of Humayun. I have not seen this film.

Today’s song is a duet of Zohrabai and Munshi Aziz. The song is written by Pt. Indra.

(Some information has been used, with thanks, from book ‘Forgotten movies on Muslim Culture 1933-1947’, by Shri Kamlakar Pasupuleti ji.)

Song – Hamen Bhool Mat Jaiyo Raja Ji  (Shahenshah Babar) (1944) Singer – Zohrabai, Munshi Aziz, Lyrics – Pt Indra, Music – Khemchand Prakash

Lyrics

hamen bhool mat jaiyo raja ji
hamen bhool mat jaiyo raja ji

ho raja ji
souten ke lambe lambe kes
o raja ji
souten ke lambe lambe kes
ulajh mat jaee
ulajh mat jaiyo raja ji
hamen bhool mat jaiyo raja ji

o rani ji
jaana padey hai bides
o rani ji
jaana padey hai bides
sandesa deti rahiyo
ho sandesa deti rahiyo rani ji
hamen bhool mat jaiyo raja ji

purab mat jaiyo ho morey raja
purab mat jaiyo ho morey raja
maalan ke teekhe teekhe nain
ho raja ji
maalan ke teekhe teekhe nain
paagal na ban jaiyo
ho paagal na ban jaiyo raja ji
hamen bhool mat jaiyo raja ji

dil to rahega paas tumhaare
dil to rahega paas tumhaare
naadan hai kismet kahiyo
o rani ji
naadan hai kismet kahiyo
sandesa deti rahiyo
ho sandesa deti rahiyo rani ji
hamen bhool mat jaiyo raja ji

dacchin mat jaiyo o morey raja
dacchin mat jaiyo o morey raja
panihaari ki matwaali chaal
ho raja ji
panihaari ki matwaali chaal
machal mat jaiyo
haaye machal mat jaiyo raja ji
hamen bhool mat jaiyo raja ji

pyaasa rahoon par panghat na jaavun
pyaasa rahoon par panghat na jaavun
tum hi pyaas bujhaiyo o rani ji
tum hi pyaas bujhaiyo
sandesa deti rahiyo
ho sandesa deti rahiyo rani ji
hamen bhool mat jaiyo raja ji

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

हमें भूल मत जइयो राजा जी
हमें भूल मत जइयो राजा जी

हो राजा जी
सौतन के लंबे लंबे केस

राजा जी
सौतन के लंबे लंबे केस
उलझ मत जइ
उलझ मत जइयो राजा जी
हमें भूल मत जइयो राजा जी

ओ रानी जी
जाना पड़े है बिदेस
ओ रानी जी
जाना पड़े है बिदेस
सँदेसा देती रहियो
हो सँदेसा देती रहियो रानी जी
हमें भूल मत जइयो राजा जी

पूरब मत जइयो हो मोरे राजा
पूरब मत जइयो हो मोरे राजा
मालन के तीखे तीखे नैन
हो राजा जी
मालन के तीखे तीखे नैन
पागल ना बन जइयो
हो पागल ना बन जइयो राजा जी
हमें भूल मत जइयो राजा जी

दिल तो रहेगा पास तुम्हारे
दिल तो रहेगा पास तुम्हारे
नादाँ है किस्मत कहियों
ओ रानी जी
नादाँ है किस्मत कहियों
सँदेसा देती रहियो
हो सँदेसा देती रहियो रानी जी
हमें भूल मत जइयो राजा जी

दछिन मत जइयो ओ मोरे राजा
दछिन मत जइयो ओ मोरे राजा
पनिहारी की मतवाली चाल
हो राजा जी
पनिहारी की मतवाली चाल
मचल मत जइयो
हाए मचल मत जइयो राजा जी
हमें भूल मत जइयो राजा जी

प्यासा रहूँ पर पनघट ना जावूँ
प्यासा रहूँ पर पनघट ना जावूँ
तुम ही प्यास बुझइयो ओ रानी जी
तुम ही प्यास बुझइयो
सँदेसा देती रहियो
हो सँदेसा देती रहियो रानी जी
हमें भूल मत जइयो राजा जी


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3890 Post No. : 14924 Movie Count :

4075

Missing Films of 1960s – 94
– – – – – – – – – – – – – – –

With every episode, we are closing in on clearing all the pending and available films for representation here on our blog. Today, we bring on the 1969 film ‘Pyaar’.

The word ‘Pyaar’ is likely to be one of those which are probably the most used in film titles. I have not done the search, but yes, it would be very interesting to take out a statistics on how many films have this word in their title. That being an interesting exercise in itself, I would take this to the next level – to check how many films are titled simply ‘Pyaar’. In the first five volumes of Geet Kosh, i.e. 1931 to 1980, there have been three films which are so titled. The years are 1940, 1950 and 1969.

The 1969 ‘Pyaar’ is produced under the banner of Film Makers, Calcutta, and is directed by Prahlad Sharma. The cast of actors includes Soma Salkar, Suraj, Sangeeta, Prem, Kavita, Biren, Shekhar, Alka, Jahar Rai, Baby Samli Rai, and Pandit Natwar etc. Geet Kosh lists 6 songs for this film, all of them from the pen of Prahlad Sharma (the director himself). Music is from the mind of V Balsara.

This particular song is a solo sung by Rafi Sb. The hero is trying impress upon his heart throb, not to walk away alone, but to be together. In the process, he tells her about the difficulties trying the negotiate the life’s passages alone.

With this post, we have now introduced 94 films that were earlier not represented on the blog. A few more films are yet waiting to be posted. 🙂

 

Song – Akad Ke Kahaan Chale Meri Jaan  (Pyaar) (1969) Singer – Mohammed Rafi, Lyrics – Prahlad Sharma, MD – V Balsara

Lyrics

akad ke kahaan chale meri jaan
karo na itna haaye gumaan
akad ke kahaan chale meri jaan
karo na itna haaye gumaan
akele chal na paaoge
meet mere tum kho jaaoge
abhi to kamsin ho nadaan
akad ke kahaan chale meri jaan
karo na itna haaye gumaan

bada lamba jeevan ka safar
nahin manzil ki tumhen khabar
ghiregi toofaan mein kashti
milegi tumko nahin dagar
samjhi
hamen tum le lo apne saath
kinaare se lag jaaoge
akele chal na paaoge
meet mere tum kho jaaoge
abhi to kamsin ho nadaan
akad ke kahaan chale meri jaan
karo na itna haaye gumaan

zara aane do mast bahaar
aah haa
khiloge kaliyon se dildaar
aah haa
gulabi hothon ka pee zehar
marenge bhanwre roz hazaar
oh ho ho ho
hiran si aankhon mein le nasha
hamen madhosh banaaoge
akele chal na paaoge
meet mere tum kho jaaoge
abhi to kamsin ho nadaan
akad ke kahaan chale meri jaan
karo na itna . . . . gumaan

aji sun lo mere hamdam
nahin ye nakhron ka mausam
zamaane se hum do pyaase
badi hai donon or jalan
haaye
hamaare pehlu mein aao
yakeen hai pyaas bujhaaoge
akele chal na paaoge
meet mere tum kho jaaoge
abhi to kamsin ho nadaan
akad ke kahaan chale meri jaan
karo na itna haaye gumaan
akad ke kahaan chale meri jaan
karo na itna haaye gumaan

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

अकड़ के कहाँ चले मेरी जान
करो ना इतना हाए गुमान
अकड़ के कहाँ चले मेरी जान
करो ना इतना हाए गुमान
अकेले चल ना पाओगे
मीत मेरे तुम खो जाओगे
अभी तो कमसिन हो नादान
अकड़ के कहाँ चले मेरी जान
करो ना इतना हाए गुमान

बड़ा लंबा जीवन का सफर
नहीं मंज़िल की तुम्हें खबर
घिरेगी तूफाँ में कश्ती
मिलेगी तुमको नहीं डगर
समझी
हमें तुम ले लो अपने साथ
किनारे से लग जाओगे
अकेले चल ना पाओगे
मीत मेरे तुम खो जाओगे
अभी तो कमसिन हो नादान
अकड़ के कहाँ चले मेरी जान
करो ना इतना हाए गुमान

ज़रा आने दो मस्त बहार
आ हा
खिलोगे कलियों से दिलदार
आह हा
गुलाबी होठों का पी ज़हर
मरेंगे भँवरे रोज़ हज़ार
ओ हो हो हो
हिरण सी आँखों में ले नशा
हमें मदहोश बनाओगे
अकेले चल ना पाओगे
मीत मेरे तुम खो जाओगे
अभी तो कमसिन हो नादान
अकड़ के कहाँ चले मेरी जान
करो ना इतना ॰ ॰ ॰ ॰ गुमान

अजी सुन लो मेरे हमदम
नहीं ये नखरों का मौसम
जमाने से हम दो प्यासे
बड़ी हैं दोनों ओर जलन
हाए
हमारे पहलू में आओ
यकीं है प्यास बुझाओगे
अकेले चल ना पाओगे
मीत मेरे तुम खो जाओगे
अभी तो कमसिन हो नादान
अकड़ के कहाँ चले मेरी जान
करो ना इतना हाए गुमान
अकड़ के कहाँ चले मेरी जान
करो ना इतना हाए गुमान


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 : 3808 Post No. : 14804

Today’s song is from film Chand sitare-48. Chand, Chandni, Tare and Sitare are the favourite words of film makers to use in the film titles.As many as 40+ film titles contain these words. The song is sung by Shamshad and chorus, composed by MD-Premnath and written by Lyricist I.C.Kapoor.

My Primary education was in Urdu language. Hyderabad being a Muslim state, learning Urdu had a definite advantage, but there were schools in English, Marathi, Telugu, Kannada and even Hindi mediums as well in Hyderabad and the treatment to all other languages than Urdu, was equal by the Nizam Government. This was because Hyderabad was a Trilingual state, consisting of 8 Telugu speaking Districts, 5 Marathi speaking Districts and 3 Kannada speaking districts, plus the rulers were Urdu speakers. From 5th standard I changed to Marathi Medium and continued till end of schooling. English, Marathi and Hindi were my favourite subjects, but Maths and Geography were my sworn enemies.

Maths particularly, first confused me and then irritated me. I failed to understand a sum like ” If 5 people build a Wall 5 feet X 5 feet in 5 days, how many days 25 people will take to build the same wall. Now, if the wall was already built by 5 people, why should anyone build it again ?

Similarly, A, B and C were hated by me. Sums like ” If A borrows 500 Rupees from B at the rate of 5% interest per month and B borrows 400 rupees from C at the rate of 2% interest per month, what would be A’s loss and B’s profit. I failed to understand, why should A borrow money from B, when C was offering loan at lower rates in the first place ?

Geography was another headache. Size and population of countries, Longitudes and Latitudes, Capitals and Currency of Nations, temperatures in Tundra and Siberia and rainfall in Cherapunjee, were beyond my comprehension. However, in Geography, there used to be some chapters in Astronomy also. I liked them very much. Different Planets ,The Milky Way and Comets fascinated me.

Especially Comets aroused my curiosities no end. I learnt that Comets were Heavenly Bodies, made up of Gases and space debris, which appeared suddenly in the sky, seen for a while and then disappeared. Some Comets created panic by crossing Earth’s passage and such Comets would be featuring in newspapers and on TVs.

Comets are like those friends who walk with us for few years and disappear from this world. Comets are like those personalities who shine for a while and then disappear for ever. In Hindi Music too, there were extraordinarily Talented people, who worked for a short period and then were gone for ever, just like Comets.

Master Madan is a good example in this context. In a short life, he sang immortal Gazals like, ” Yun na rah rah kar hamein tarsaiye” and ” Hairat se tak raha hai “. He was born on 28-12-1927 in Jallunder Dist. and died on 5-6-1942. In a singing career of just 3-4 years he became immortal. He left behind him 3 Bhajans, 3 Gazals and 2 Punjabi song records. He left this world, after shining just like a Comet.

Then there is C. Arjun who composed an eternal song like ” Paas baitho tabiyat bahal jayegi,maut ayee to tal jayegi ” and disappeared like a Comet. There are many such examples in the history of HFM.

In the arena of HFM, there were several such Comets- which came, shone for a while and disappeared. They were small and big Comets. May be good or ordinary too. We do not know. There were few composers who did just 2 or 3 films and some did 15 to 20 films. Still this number was not enough for their hidden talents to showcase. Some names come to mind offhand like Daan singh, Dilip Dholakia, Jamal sen, Chand Pardesi, Sardar Malik, Sailesh Mukherji, Vasant kumar Naidu etc.

One such Comet was Music Director Premnath (Wadhva). Composer Premnath is an ideal case for ” Same Name Confusions’. Since his name coincides with the more well known actor Premnath,operating almost in the same period,people misunderstood that Actor Premnath and composer Premnath were the same persons. Surprisingly,actor Premnath was a good singer himself and had been trained by professional Ustads for classical music,but he could never fulfill his desire of becoming a singer and became an actor instead. However he did a film song,which was posted on this blog by our Sudhir ji,some years back-if I remember right. But the fact remains that both persons were different.

PREMNATH the Music Director was born on 5-7-1918 in Gujranwala,Punjab. He learnt music from experts in Amritsar,Multan and Lahore.He acted in films like Shahr-e-khamoshi and also sang in Sohni Mahiwal-1938.
After marriage,he moved to Bombay. His first film as a Music Director was Rangbhoomi-1946.In this film ,a novice Mohd. Rafi sang many songs for him.His other films were Dehati-47,Chandrahas-47,Sagar’s Pehla pyar-47. He then produced a film ” Chand sitare”-48 under the banner of Ravindra Art productions. Mukesh,Lata and Geeta Roy sang in it. In film ‘Alakh Niranjan’-50,he used Mohd. Faruqi,Sulochana Kadam and Rajkumari.
Premnath gave music to many films of Super pictures of Aspy Irani like bade bhaiya-51 and Maya Machhindra-51,in which surendra, Geeta, Rafi and Shamshad sang. His another film ‘Qatil Kaun’ in late 50s was not released. For this film,Rafi, Asha, Manna Dey, Mubarak Begum and Shamshad had given songs.
His films diminished. Sati vaishalini-59, Main hoon jaadugar-65, Tarzan in Fairyland-68 and Gyani ji-77 were his last films. He composed 99 songs in all.
After he stopped work as MD,he devoted his time for the welfare of Cine Artists as a trade union leader. As a Secretary,he served the music Directors’ Assn. for 30 years.
He died on 27-4-1993 at the age of 75 years.

Film Chand sitare’s star cast was Jeevan, Manorama, Rajan Haksar, Niranjan Sharma, Anita, Satish, Leela etc. In Hindi films two actresses were known as ” Aunty’. One was actress Shammi and the other was ” Manorama aunty “. Both actresses were Heroines in their early career for few films, but soon accepted character roles. Both were seniors and highly respected in the industry.

During the course of last 80 odd years, thousands of actors came to work in films. Most of them wanted to become Hero or Heroine, but all could not make it. What does it take to become a Hero in a film ? ( Talking only for the period 1931 to 1970 please). Is it good looks ? Then how come Shaikh Mukhtar became a Hero ? or Ranjan ? High education ? Then how come Master Bhagwan became a Hero ? A God Father ? Then how come Motilal or Surendra became Heros ? For girls too same logic applies. In the early era, most Heroines were uneducated, like Meena Shorey, for example- who could not even sign her name. All were not Handsome or beautiful. I sincerely feel, it is neither Talent nor the good looks, it is nothing but the Luck Factor, which helps in making a career in films. This explains why good looking, educated 1 or 2 film’s Heros could not sustain themselves for long. Same way, good looking girls like Vijayalaxmi, Bimla kumari, krishnakumari, Tabassum, Yashodhara katju, Shubha Khote, Shashikala etc could not continue beyond 3-4 films as Heroines.

In the 40’s era, Manorama was one such actress. She had good education, beautiful Punjabi looks, fine acting, but she could not go beyond 3 films as Heroine and to contend with side and character roles in all her career. Manorama was born in Lahore on 16-8-1920,as Irene Issac Daniels, from Punjabi father and Irish mother. She took good looks from the father. While a student, she did some child roles in films from 1926 to 1936 and as an adult, she debuted in Pancholi’s Khazanchi-41 ( when Khazanchi was remade in 1958, she was the only actor who featured in this version also. Some other such examples were Kanhaiyalal acting in film Aurat-40 and Mother India-57 and Jayant in film Mala-41 and its remake Amar-54.Naushad was the same MD for both Mala and Amar.) She then acted in Himmat-41, Khandan-42, Zamindar-42, Poonji-43, Panchhi-44, Patwari-45 in Lahore. Here only she did Heroine’s roles in Khamosh Nigahen, Rehana and Shalimar- all in 1946. After partition, she migrated to India, but she got only side and character roles.

Meanwhile, in 1947, she got married to Rajan Haksar. After coming to India, shortly, their marriage broke. She had one daughter-Roopa from this marriage. Roopa tried her luck in films in 1970, without much success. Then she got married and settled.

Manorama grew in weight. Now she got comic or vamp roles. She did films like Ghar ki izzat, Johari, Hanste aansoo, Ek phool do mali, Shor, karvaan etc etc. In all she acted in 161 films. Her last film was Water-2005. She died on 15-2-2008. She perhaps, had the longest career among actresses-from 1926 to 2005, that is a cool 80 years ! Manorama was a highly respected person in the industry. Neetu singh, Madhuri Dixit, Ram Mohan, Ekta kapoor and others were her fans. Her famous films were Jhanak Jhanak….,Half Ticket, Budtameez,and Seeta aur Geeta.

Film Chand sitare-48 had 8 songs. 7 songs have featured already on this Blog and today’s song is the last song of the film. So, with this song, film Chand sitare-48 joins the list of films who have all songs covered. My thanks to Sudhir ji for providing and uploading the full version of this song from his collection.


Song-Phir chaayi hain kaali ghataayen pardes na jaa (Chaand Sitaare)(1948) Singer-Shamshad Begam, Lyrics-Ishwar Chand Kapoor, MD-Premnath
Chorus

Lyrics

phir chhaayin hain kaali ghataayen
pardes na jaa
lo aayin hain mast hawaayen
pardes na jaa

mere sapnon ki duniya basa ke
yoon jaao na ankhiyaan churaa ke
ankhiyaan churaa ke
mere sapnon ki duniya basa ke
yoon jaao na ankhiyaan churaa ke
ankhiyaan churaa ke
hamen aisi adaayen na bhaayen
pardes na jaa
lo aayi hain mast
lo aayi hain mast hawaayen
pardes na jaa

dekho dekho
kisi ne li angdaayi
dekho dekho
kisi ne li angdaayi
haule haule
jawaani kehne aayi
haule haule
jawaani kehne aayi
haaye naa jaa
suhaani raaten bolein
ke jiya mera doley
naina moti ro len
haaye na jaa
suhaani raaten bolein
ke jiya mera doley
naina moti ro len
mere lab pe hai ye hi sadaayen
pardes na jaa
lo aayi hain mast
lo aayin hain mast hawaayen
pardes na jaa

o jee nainon se behta hai paani
raaja do din ki hai zindagaani
zindagaani
o jee nainon se behta hai paani
raaja do din ki hai zindagaani
zindagaani
ab aa jaa
kaleja munh ko aaye
bin tere raha na jaaye
ab aa jaa
kaleja munh ko aaye
bin tere raha na jaaye
ham raah pe akhiyaan bichhaayen
pardes na jaa
lo aaye hai mast
lo aayi hai mast hawaayen
pardes na jaa
phir chhaayin hain kaali ghataayen
pardes na jaa

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

फिर छाईं हैं काली घटाएँ
परदेस ना जा
लो आईं हैं मस्त हवाएँ
परदेस ना जा
मेरे सपनों की दुनिया बसा के
यूं जाओ ना अखियाँ चुरा के
अखियाँ चुरा के
मेरे सपनों की दुनिया बसा के
यूं जाओ ना अखियाँ चुरा के
अखियाँ चुरा के
हमें ऐसी अदायें ना भायें
परदेस ना जा
लो आईं हैं मस्त
लो आईं हैं मस्त हवाएँ
परदेस ना जा

देखो देखो
किसी ने ली अंगड़ाई
देखो देखो
किसी ने ली अंगड़ाई
हौले हौले
जवानी कहने आई
हौले हौले
जवानी कहने आई
हाए ना जा
सुहानी रातें बोलें
के जिया मेरा डोले
नैना मोती रो लें
हाए ना जा
सुहानी रातें बोलें
के जिया मेरा डोले
नैना मोती रो लें
मेरे लब पे हैं ये ही सदाएं
परदेस ना जा
लो आईं हैं मस्त
लो आईं हैं मस्त हवाएँ
परदेस ना जा

ओ जी नैनों से बहता है पानी
राजा दो दिन की ज़िंदगानी
ज़िंदगानी
ओ जी नैनों से बहता है पानी
राजा दो दिन की ज़िंदगानी
ज़िंदगानी
अब आ जा
कलेजा मुंह को आए
बिन तेरे रहा ना जाये
अब आ जा
कलेजा मुंह को आए
बिन तेरे रहा ना जाये
हम राह पे अखियाँ बिछाएं
परदेस ना जा
लो आईं हैं मस्त
लो आईं हैं मस्त हवाएँ
परदेस ना जा
फिर छाईं हैं काली घटाएँ
परदेस ना जा


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3492 Post No. : 14034

‘Pooja Ke Phool’ from 1964, is a production from AVM, Madras. It is directed by A Bheemsingh. True to the colors of the family dramas emanating from the south, this film is not much different that the regular run-of-the-mill emotionally loaded films coming from there. This film however has a slight sinister twist, in that a murder is part of the storyline. There is a certain amount of drama built around the trial in the court and the effort to nail the true culprit – a task that is made extremely challenging by the fact that the hero Shankar (roled played by Dharmendra) repeatedly asserts in the court that he admits his guilt and should be punished. The heroine Shanti (role played by Mala Sinha) who is the lawyer defending Shankar, has her work cut out for her, to get the hero freed, when he himself doesn’t want to be.

Add to that another twist, that the hero and the heroine are actually not made for each other in this storyline – the hero is already a married person. Yes, there are confusions galore, as circumstances (and the director’s writ) do not allow this fact to be known till some time into the film. Which gives the director a chance to squeeze in a romantically naughty song like this one.

Well, the song itself is a wonderful creation, in the category of ‘please-don’t-go’ songs. The highlight of this song is the superb on screen performance of Mala Sinha. Her mannerisms and the execution of the entire song sequence is definitely a hallmark performance.

The star cast of the film includes Mala Sinha, Dharmendra, Sandhya Roy, Gopikrishan, Madhumati, Nana Palsikar, Mohan Choti, Umesh Sharma, Sulochana Chatterjee, Leela Chitnis, Ashok Kumar, Nimmi, Pran, Shivraj, and Mukri. All songs are penned by Rajendra Krishan and the music for them is created by Madan Mohan.

Enjoy this lovely naughty song, as the heroine is trying to impede the departure of the hero, as he tries to make a get-away in the middle of the night. Asking of questions and checking for logic is not allowed in some such scenarios. 🙂

Song – Banda Parwar. . . Raat Ke Andhere Mein Yun Chori Chori Chale Kidhar  (Pooja Ke Phool) (1964) Singer – Asha Bhosle, Lyrics – Rajendra Krishan, MD – Madan Mohan

Lyrics

banda parwar. . .

banda parwar
banda parwar
ho o o
raat ke andhere mein yun
chori chori chale kidhar
oye hoye hoye
raat ke andhere mein yun
chori chori chale kidhar
banda parwar

taar aaya dekhiye
aap ke sasuraal se

dekhiye na. .
abhi abhi ayaa hai

taar aaya dekhiye
aap ke sasuraal se
saas kunwaari aap ki
baithi hai sattar saal se
miley agar
aha ha
koi achha var
haa haa
miley agar
koi achha var
bechaari ka abaad ho ghar
banda parwar
o ho ho
raat ke andhere mein yun
chori chori chale kidhar
banda parwar

bura na maano to main poochun
jhoothon ke sardar se
ae
ae jhoothe
bura na maano to main poochun
jhoothon ke sardar se
apna sar kyon phod rahe ho
sapnon ki deewaar se
deewaane ho
ae
anjaane ho
ae ae
deewaane ho
anjaane ho
kya dekh rahe ho
aao idhar
banda parwar
o o o
raat ke andhere mein yun
chori chori chale kidhar
banda parwar

aap chhup kar
agar chale jaate
haal e dil hum
kabhi na keh paate
dil ki har baat
dil mein reh jaati
zindagi aansuon mein beh jaati

aap chhup kar
agar chale jaate. . .
haal e dil hum
kabhi na keh paate. . .
dil ki har baat
dil mein reh jaati
zindagi aansuon mein beh jaati
phir khwaabon ka
armaanon ka
phir khwaabon ka
armaanon ka
abaad kabhi na hota ghar
banda parwar
ho o o
raat ke andhere mein yun
chori chori chale kidhar
banda parwar
ho o o
raat ke andhere mein yun
chori chori chale kidhar
banda parwar

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

बंदा परवर॰ ॰ ॰

बंदा परवर
बंदा परवर
हो ओ ओ
रात के अंधेरे में यूं
चोरी चोरी चले किधर
ओय होय होय
रात के अंधेरे में यूं
चोरी चोरी चले किधर
बंदा परवर

तार आया देखिये
आप के ससुराल से

देखिये ना॰॰
अभी अभी आया है

तार आया देखिये
आप के ससुराल से
सास कुंवारी आपकी
बैठी है सत्तर साल से
मिले अगर
आहा हा
कोई अच्छा वर
हा हा
मिले अगर
कोई अच्छा वर
बेचारी का आबाद हो घर
बंदा परवर
ओ हो हो
रात के अंधेरे में यूं
चोरी चोरी चले किधर
बंदा परवर

बुरा ना मानो तो मैं पूछूं
झूठों के सरदार से

ए झूठे
बुरा ना मानो तो मैं पूछूं
झूठों के सरदार से
अपना सर क्यों फोड़ रहे हो
सपनों की दीवार से
दीवाने हो

अंजाने हो
ए ए
दीवाने हो
अंजाने हो
क्या देख रहे हो
आओ इधर
बंदा परवर
ओ ओ ओ
रात के अंधेरे में यूं
चोरी चोरी चले किधर
बंदा परवर

आप छुप कर
अगर चले जाते
हाल ए दिल हम
कभी ना कह पाते
दिल की हर बात
दिल में रह जाती
ज़िंदगी आंसुओं में बह जाती

आप छुप कर
अगर चले जाते॰॰॰
हाल ए दिल हम
कभी ना कह पाते॰॰॰
दिल की हर बात
दिल में रह जाती
ज़िंदगी आंसुओं में बह जाती
फिर ख्वाबों का
अरमानों का
फिर ख्वाबों का
अरमानों का
आबाद कभी ना होता घर

बंदा परवर
हो ओ ओ
रात के अंधेरे में यूं
चोरी चोरी चले किधर
बंदा परवर
हो ओ ओ
रात के अंधेरे में यूं
चोरी चोरी चले किधर
बंदा परवर


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3474 Post No. : 13955

 


चाँदनी रातें प्यार की बातें

खो गई जाने कहाँ

That is the very first introduction to this extremely versatile actress of the Hindi cinema. The song was played in the weekly Chitrahaar program one evening. And the kid me was soaking in the performance with an open mouth and extreme ignorance of the emotions being dealt with. The primeval image carried in was that of a serious actress given over to sad roles and sad songs. Little did I know that I couldn’t have more further from reality.

Remembering Geeta Bali, the actress extraordinaire, on the anniversary of her passing away (21st Jan).

Some months or a year later, the film came on to Doordarshan, and then I got another taste of this very song; but in accompaniment I also got to see “Chori Chori Meri Gali Aana Hai Bura” and “De Bhi Chuke Hum Dil Nazraana Dil Ka”. After this encounter, I would get to see more of her in other films aired on Doordarshan – ‘Anand Matth’ (1952), ‘Baawre Nain’ (1950), ‘Baazi’ (1951) etc. Other films would come later – ‘Baaz’ (1953), ‘Albela’ (1951), ‘Badi Behan’ (1949) etc., not essentially in that order.

Through these films, I began to know her much better, as compared to my initial impressions from the first song of ‘Jaal’ that I had viewed. A persona with a very vivacious and alive presence on the screen – a live wire presence that would light up whatever frame she was in. There was such an immense amount of communication happening through her expressions – the smiles, the twitching of the eyebrows, the tilt of the neck, the movements and more. The amount of expressions and emotions she would cram into and convey in one line of a song, was equivalent to what most other performers would convey in an entire song. And the energy she would impart to whatever scene and whatever role she would be in, was and continues to be a delight to watch.

Many years after she passed away, and her erstwhile husband Shammi Kapoor, had moved into senior character roles, interviews and articles began to appear that attempted to explain the transformation of Shammi Kapoor as an actor, from the sombre roles in films like ‘Rail Ka Dibba’ (1953), ‘Laila Majnu’ (1953) and ‘Shama Parwaana’ (1954) to the flamboyant energetic roles in ‘Del Deke Dekho’ (1959), ‘Tumsa Nahin Dekha’ (1957) and ‘Junglee’ (1961). It has been said that this transformation was an influence of Geeta Bali’s style and expressions of the characters she did on screen. Shammi Kapoor magnified that expression manifold with his own energy, and became the most successful swashbuckling hero of the 1960s.

Today’s song is from the film ‘Jalpari’ from 1952. The storyline is about a human sailor adventurer Ashok Kumar, who catches the fancy of the fairy princess of the undersea world. The role of the Jalpari, the fairy princess, is played by Geeta Bali. She has the human mortal brought to her palace in the undersea world, and tries to convince him to join her as her consort, and she would make him immortal. This song is her effort to woo him and his emotions for herself.

The lyricists name for this song is not specified. The music is by Pt Gobind Ram and the singing voice is that of Shamshad Begam.

Once again, a memory tickler from the yesteryears, to remember this peerless performer – she passed away this day 52 years ago, at an unimaginable age of 34 years. A salute to this darling performer of the screen – alive forever, in memories.

Song – Khushi Ke Phool Liye Aa Gaye Bahaar Ke Din  (Jalpari) (1952) Singer – Shamshad Begum, Lyrics – [Unattributed], MD – Pt Gobind Ram

Lyrics

khushi ke phool liye
aa gaye bahaar ke din
yehi bahaar ke din
ab banenge pyaar ke din

ho oo oo
raja aaj na jaane doon
main bhi jhoomun tu bhi jhoom
kal ki khabar kisko maloom
chham chham chham chham chhoom
chham chhoom

o raja singaar sajaaye
roop ki rani aayi
roop ki rani aayi
hans le gaa le mauj manaa le
roop ki rani aayi
hans le gaa le mauj manaa le
roop ki rani aayi
duniya mein macha de dhoom
tu bhanwra ban kar ghoom
aur ke phool par jhoom
chham chham chham chham chhoom
chham chhoom

o dewaane kisi ka ho ja
zulfon ki chhaaon mein so ja
o dewaane kisi ka ho ja
zulfon ki chhaaon mein so ja
jaam e mohabbat pee kar jhoom
jaam e mohabbat pee kar jhoom
kal ki khabar kisko maloom
chham chham chham chham chhoom
chham chhoom

oo oo oo
raja aaj na jaane doon
main bhi jhoomun tub hi jhoom
kal ki khabar kisko maloom
chham chham chham chham chhoom
chham chhoom

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
खुशी के फूल लिए
आ गए बहार के दिन
यही बहार के दिन
अब बनेंगे प्यार के दिन

हो ओ ओ
राजा आज ना जाने दूँ
मैं भी झूमूँ तू भी झूम
कल की खबर किसको मालूम
छम छम छम छम छूम
छम छूम

ओ राजा सिंगार सजाये
रूप की रानी आई
रूप की रानी आई
हंस ले गा ले मौज मना ले
रूप की रानी आई
हंस ले गा ले मौज मना ले
रूप की रानी आई
दुनिया में मचा दे धूम
तू भँवरा बन कर घूम
और एक फूल पर झूम
छम छम छम छम छूम
छम छूम

ओ दीवाने किसी का हो जा
ज़ुल्फों की छाँओं में सो जा
ओ दीवाने किसी का हो जा
ज़ुल्फों की छाँओं में सो जा
जाम ए मोहब्बत पी कर झूम
जाम ए मोहब्बत पी कर झूम
कल की खबर किसको मालूम
छम छम छम छम छूम
छम छूम

ओ ओ ओ
राजा आज ना जाने दूँ
मैं भी झूमूँ तू भी झूम
कल की खबर किसको मालूम
छम छम छम छम छूम
छम छूम


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3463 Post No. : 13895

Missing Films of 1960s – 40
– – – – – – – – – – – – – – –

What a find – this song. A lovely tuneful song, sung by Asha Bhosle, and on screen performed by Sheila Ramani. Aah yes, the memorable danseuse of those lovely lilting songs of ‘Taxi Driver’ (1954).

The film is ‘Aawaara Ladki’ from 1967. The Geet Kosh carries very limited information for this film, in the print volume IV. The production company is listed as Skyland Productions, Bombay. The music director is Dhaniram. Two songwriters are listed – Rajnikant and Kaif Irfani. This song is penned by Kaif Irfani.

Apparently at one time, the songs of this film may have been very rare, but now quite a few songs of this film are available online, some in video form. The film has been located and is now available in public domain. Geet Kosh lists four songs for this film, with the indication that there are possibly more songs also. At current time, with a cursory search, I am able to locate six songs for this film, on YouTube.

From the three video clips available on YouTube, at least three actor names can be ascertained, viz. Sudesh Kumar, Sheila Ramani and Shammi. The story of the film is probably a love triangle. In this song we see Sheila Ramani attempting to woo Sudesh Kumar. And in another video clip, another song, Shammi is also doing the same.

The song is rendered by Asha Bhosle. It is such a treat to locate and watch a video clip that has Sheila Ramani performing a song. Brings back the memories of the wonderful dances of ‘Taxi Driver’ and other performances, like “Jhoome Re Kali Bhanwraa Ulajh Gayaa Kaanton Mein” from the 1954 film ‘Naukri’. Sheila Ramani has also played the lead role in one Pakistani film – a delightful comedy titled ‘Anokhi’ from 1956. This latter film has a charming song – “Gaadi Ko Chalaana Babu Halke Halke Halke, Zara Dil Ka Jaam Na Chhalke” (available on YouTube at https://www.youtube.com/watch?v=DUFh9negzQE).

With the identification of this video clip, Shiela Ramani’s filmography needs to be updated. Most online sources list ‘Maa Beta’ of 1962 as her last film. Now we need to add this 1967 film to the list.

Click on play and listen to and watch this enchanting song.


Song – Arre Jaane Waale Nazar To Mila Ja  (Aawaara Ladki) (1967) Singer – Asha Bhosle, Lyrics – Kaif Irfani, MD – Dhaniram

Lyrics

arre jaane waale
ey ey ey ey

arre jaane waale
arre jaane waale

arre jaane waale
nazar to mila ja
tu nazar to mila ja
koi aur bijli bhi dil pe gira ja
mere dil pe gira ja
arre jaane waale

oo oo oo oo oo
mere dard e dil ki hain sun ye sadaaein
ye kehti hain ashqon mein doobi wafaayen
mere aansuon ko
mere aansuon ko zara to hansa ja
tu zara to hansa ja
koi aur bijli bhi dil pe gira ja
mere dil pe gira ja
arre jaane waale

kadam rok le
dekh mausam haseen hai
agar tu ne jaana hai rukna nahin hai
to aane ka apne yakeen to dilaa ja
to aane ka apne yakeen to dilaa ja aa aa
koi aur bijli bhi dil pe gira ja
mere dil pe gira ja
arre jaane waale

oo oo oo oo oo
hain do din jawaani mein ulfat ke mele
mere jaan o dil ki duaaen tu le le
rahe kyon gham e dil
rahe kyon gham e dil
gham e dil mita ja
tu gham e dil mita ja
koi aur bijli bhi dil pe gira ja
mere dil pe gira ja
arre jaane waale

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
अरे जाने वाले
ए॰॰ ए॰॰ ए॰॰ ए॰॰

अरे जाने वाले
अरे जाने वाले

अरे जाने वाले
नज़र तो मिला जा
तू नज़र तो मिला जा
कोई और बिजली भी दिल पे गिरा जा
मेरे दिल पे गिरा जा
अरे जाने वाले

ओ ओ ओ ओ ओ
मेरे दर्द ए दिल की हैं सुन ये सदाएँ
ये कहती हैं अशकों में डूबी वफाएँ
मेरे आंसुओं को
मेरे आंसुओं को ज़रा तो हंसा जा
तू ज़रा तो हंसा जा
कोई और बिजली भी दिल पे गिरा जा
मेरे दिल पे गिरा जा
अरे जाने वाले

कदम रोक ले
देख मौसम हसीं है
अगर तूने जाना है रुकना नहीं है
तो आने के अपने यकीं तो दिला जा
तो आने के अपने यकीं तो दिला जा॰॰आ॰॰आ
कोई और बिजली भी दिल पे गिरा जा
मेरे दिल पे गिरा जा
अरे जाने वाले

ओ ओ ओ ओ ओ
हैं दो दिन जवानी में उल्फ़त के मेले
मेरे जान ओ दिल की दुआएं तू ले ले
रहे क्यों ग़म ए दिल
रहे क्यों ग़म ए दिल
ग़म ए दिल मिटा जा
तू ग़म ए दिल मिटा जा
कोई और बिजली भी दिल पे गिरा जा
मेरे दिल पे गिरा जा
अरे जाने वाले


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TWELVE years. This blog has over 16400 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2021) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

16426

Number of movies covered in the blog

Movies with all their songs covered =1270
Total Number of movies covered =4462

Total visits so far

  • 14,521,991 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,940 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

Archives

Stumble

visitors whereabouts

blogadda

blogcatalog

Music Blogs - BlogCatalog Blog Directory
%d bloggers like this: