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

Archive for the ‘Poignant Song’ Category


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

Blog Day :

4369 Post No. : 15701

“Zindagi”(1964) was written produced and directed by Ramanand Sagar for Gemini Productions, Madras. This movie had Raj Kumar, Rajendra Kumar, Vyjayanthimala, Helen, Mehmood, Prithviraj Chauhan, Jeevan, Dhumal, Jayant, Kanhaiyalal, Hiralal, Master Shahid, Leela Chitnis, Pushpavalli(Actress Rekha`s mother), Baby Farida & “Honey”, Mumtaz Begum, Moolchand, Nirupa Roy, Satyajeet etc in it.

The movie had 13 songs in it. Nine songs from the movie have been covered in the past.

Last year, on 30 august 2019, we had covered an expectant mother song, viz Ek naye mehmaan ke aane ki khabar hai. Today, some ten months later, we find Vyjyanti Mala, the expectant mother in that song, seeking to abandon that child, while Prithviraj Kapoor is also visible in the picturisation. I request our knowledgeable readers to throw light on the circumstances that are depicted in the picturisation of this song,

The song is sung by Lata. Hasrat Jaipuri is the lyricist. Music is composed by Shankar Jaikishan.

Lyrics of this song were sent to me by Prakashchandra.


Song-Pyaar ki dulhan sada suhaagan (Zindagi)(1964) Singer-Lata, Lyrics-Hasrat Jaipuri, MD-Shankar Jaikishan

Lyrics(Provided by Prakashchandra)

pyaar ki dulhan sada suhaagan
kabhi na widhwa hoye
jeewan maran se upar rishta
janam janam ka hoye

pyaar ki dulhan sada suhaagan
kabhi na widhwa hoye
jeewan maran se upar rishta
janam janam ka hoye
janam janam ka hoye

o chain mere dil ke
mere ghar ki raushni
tere to maa ka doodh
ye hai aakhiri ghadi
poochhe agar zamaana
teri ma kidhar gayi
kehna ke mere baaba se milne chali gayi
kehna ke mere baaba se milne chali gayi

ab na maa hoon main kisi ki
na bahu na beti
teri jogan hoon
tere paas chali aati hoon
teri yaadon ko liye
saath chali aati hoon
teri yaadon ko liye
saath chali aati hoon


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 :

4352 Post No. : 15667

A voice that sounds quite mature, dripping with heavy bass – a baritone that appeared to emerge from somewhere deep inside. Playing this sound on the songs like “Zindagi Pyaar Ki Do Chaar Ghadi Hoti Hai”, or “Lele Dard Paraaya Kar De Door Gham Ka Saaya”, or “Jaane Wo Kaise Log The Jinke Pyaar Ko Pyaar Mila”, “Ganga Aaye Kahaan Se. . .”, and many more of this ilk, sounds so natural and, well, so suitable. The deep bass gets to the perfect tone of poignancy that is needed for these songs.

And yet Sachin Da would choose this voice to present the best of the romance-of-the-young-heart songs, when way back in 1952, he recorded “Ye Raat Ye Chandni Phir Kahaan” for a young guitar strumming conman on screen. He would return to this voice again and again, for the same effect. Fast forward to 1955 and he brings on the same voice for a soft romantic song of the night – “Chup Hai Dharti Chup Hain Chaand Sitaare”. Then in 1958, he would once again return to the same voice for the thumping lyrical “Hai Apna Dil To Awaara”, that astoundingly carried the day as the playback. And then in 1962 would be “Na Tum Hamen Jaano. . .“. All four songs – lip synced by Dev Anand onscreen. Only Sachin Da could have visualized the effect of this voice on these romantic creations. And of course, the voice itself, to be able to bring in that young heart effect into the life breath of these songs.

The effect is so endearingly replicated in other songs like “Keh Rahi Hai Zindagi, Jee Sakey To Jee”, and “Beqaraar Kar Ke Hamen Yun Na Jaaiye”, and “Ye Nayan Darey Darey”, or even in “Ek Baar Zara Phir Keh Do Mujhe Sharma Ke Tum Deewaana”, and many more.

Celebrating the birth centennial (on 16 June, 2020) of this magical voice – Hemant Kumar.

This song is from the lesser known film – ‘Raami Dhoban’ from 1953. The film is produced by Ramesh Vyas for the banner Navkala Niketan, Bombay. The film is directed by Hiren Bose, who is also the music director. The star cast of this film is Kamini Kaushal, Abhi Bhattacharya, Tiwari, Ashita, Ramesh Vyas, Shalini, Bannerjee, Mishra, Sankatha Prasad, Rai Mohan, Gautam, Sachin Ghosh, Nandini, Sona Chatterji, Uma Devi, Sulochana Chatterjee, and Prem Adeeb.

The film is a veritable musical, with as many as 14 songs, all written by Ram Murty. Five over these songs are already featured on our blog.

This song is such a beautiful rendition of a sad song of love – “Panchhi Ud Gaya Preet Laga Ke”. I pulled out and heard this beautiful solo song for the first time today. The words tell of a beloved that stole the heart, and has now left, leaving behind loneliness and a broken heart. The words are lovely, and so is the rendition. A vintage Hemant Da song.

Song – Panchhi Ud Gaya Preet Laga Ke  (Raami Dhoban) (1953) Singer – Hemant Kumar, Lyrics – Ram Murti, MD – Hiren Bose

Lyrics

panchhi udd gaya..aa..aa

panchhi udd gaya preet laga ke
panchhi udd gaya..aa..aa
sapnon ki
sapnon ki sukh sajia ke bairi piir basa ke
sapnon ki..ee..ee
sapnon ki sukh sajia ke bairi piir basa ke
panchhi udd gaya..aa..aa

mann ke pinjra chori chori
bandh ke raakhi prem ki dori
mann ke pinjra chori chori
bandh ke raakhi prem ki dori
chhod gaya..aa
chhod gaya haaye mohe dard bhara geet suna ke
chhod gaya..aa
chhod gaya haaye mohe dard bhara geet suna ke
panchhi udd gaya..aa..aa

shaam rang kuchh kaam na aaya
radhe radhe..ey..ey
bol chuka
par bedardi raha na apna
apna ho kar hua paraaya
tod gaya wo prem ki dori
chhod gaya wo nagri mori
tod gaya wo prem ki dori
chhod gaya wo nagri mori
haaye chhalia
haaye chhalia mujhse munh mod gaya tthes laga ke
haaye chhalia
haaye chhalia mujhse munh mod gaya tthes laga ke
panchhi udd gaya..aa..aa
panchhi udd gaya preet laga ke
panchhi udd gaya..aa..aa

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

पंछी उड़ गया॰॰आ॰॰आ

पंछी उड़ गया प्रीत लगा के
पंछी उड़ गया॰॰आ॰॰आ
सपनों की
सपनों की सुख सजिया के बैरी पीर बसा के
सपनों की॰॰ई॰॰ई
सपनों की सुख सजिया के बैरी पीर बसा के
पंछी उड़ गया॰॰आ॰॰आ

मन के पिंजरा चोरी चोरी
बांध के राखी प्रेम की डोरी
मन के पिंजरा चोरी चोरी
बांध के राखी प्रेम की डोरी
छोड़ गया॰॰आ
छोड़ गया हाय मोहे दर्द भरा गीत सुना के
छोड़ गया॰॰आ
छोड़ गया हाय मोहे दर्द भरा गीत सुना के
पंछी उड़ गया॰॰आ॰॰आ

शाम रंग कुछ काम ना आया
राधे राधे॰॰ए॰॰ए
बोल चुका
पर बेदर्दी रहा ना अपना
अपना होकर हुआ पराया
तोड़ गया वो प्रेम की डोरी
छोड़ गया वो नागरी मोरी
तोड़ गया वो प्रेम की डोरी
छोड़ गया वो नागरी मोरी
हाय छलिया
हाय छलिया मुझसे मुंह मोड़ गया ठेस लगा के
हाय छलिया
हाय छलिया मुझसे मुंह मोड़ गया ठेस लगा के
पंछी उड़ गया॰॰आ॰॰आ
पंछी उड़ गया प्रीत लगा के
पंछी उड़ गया॰॰आ॰॰आ


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 :

4345 Post No. : 15653

Saga Of Sleepless Nights – 8
– – – – – – – – – – – – – – –

aa jaao tadapte hain armaan
ab raat guzarne waali hai. . .

Good morning. It is 8 am, on Wednesday, the 10th June, 2020. We are onto the 162nd day of the year, and running through the 24th week. It is the 5th day (panchmi) of the waning moon cycle (krishna paksh) of the month of Aashaad. As per the Hijri calendar, today is the 17th day of the month of Shawwal.

The other important associations of today’s date are – it is the International Iced Tea Day – be sure to have a frosty glass of iced tea today. Today also is the International Ball Pen Day. This day in 1943, the first patent was issued in the US, for what would and has become the most popular writing instrument across the globe.

Notable Indian cinema association for today – it is the remembrance day of character actor and villain – Jeevan.
And the upcoming notable anniversaries are  – actress Shyama on 12th June and songwriter Prem Dhawan on the 13th June.

=======

This song is another one in the series of the sleepless nights saga.

aa jaao tadapte hain armaan
ab raat guzarne waali hai. . .

The song is from the 1954 film ‘Danka’. The film is a stunt cum costume drama which is produced under the banner of Goodwill Pictures, Bombay, and is directed by JP Advani. The cast of actors is listed as Nimmi, Amarnath, Mohna, Sundar, Heera Lal, Neelam, Shivraj, Uma Devi, Roop Kumar, and Om Prakash etc.

The film has eleven songs listed in the Geet Kosh. The songs are written by three lyricists – Jaan Nisar Akhtar, Nazim Panipati and Arshi Ajmeri. This song is from the pen of Jaan Nisar Akhtar. The music for this film is composed by Aziz Hindi. The singing voice is that of Lata Mangeshkar. Viewing the list actors, it seems most likely that this song would have been picturized on Nimmi.

The song is an expression of sadness, expressed by the lady, as she is calling out to her beloved, telling him about the ambiance of the lovely albeit a lonely night that she is experiencing without him. The moon, the stars, the clear skies of a calm and sad night, all are waiting with her, giving her company in this loneliness. The emotions of longing and eagerness to be with him are making this forlorn night a difficult time to pass. The mighty splendors of love turn into a sigh of melancholy in the lonely nights of separation, as the heart and the arms ache to be with the beloved. And when that happens, the mind of the poet will express itself in these beautiful verses.

This lovely song is a new discovery for me. I am hearing it for the first time, as I checked out the short list of songs that I have prepared for this series. The words, the melody, and the life infused in them through of the singing voice of Lata – all come together to create this lovely song of wait and longing.

Listen and enjoy this obscure melody from the golden era of Hindi film music.

Ed note:- With this song, Jaan Nisaar Akhtar completes 200 songs as a lyricist in the blog.

 

Song – Ye Sitaare Ye Chaand, Ye Raatein Jawaan  (Danka) (1954) Singers – Lata Mangeshkar, Lyrics – Jaan Nisar Akhtar, MD – Aziz Hindi

Lyrics

ye sitaare ye chaand
ye raaten jawaan
bata kya karoon tu kahaan main kahaan
ye sitaare ye chaand

bheegi raaten ye taaron bhara aasmaan
aa ja varna guzar jaayega ye sama
bheegi raaten ye taaron bhara aasmaan
aa ja varna guzar jaayega ye sama
tere bin soone soone hain donon jahaan
bata kya karoon tu kahaan main kahaan
ye sitaare ye chaand

kab se aankhen hain bekhwaab tere liye
tere liye
kab se aankhen hain bekhwaab tere liye
tere liye
har tamanna hai betaab tere liye
haaye tere liye
main hoon aur gham ki khaamosh tanhaaiyan
bata kya karoon tu kahaan main kahaan
ye sitaare ye chaand

chhut na jaaye ummeedon ka daaman kahin
lut na jaaye tamanna ka gulshan kahin
chhut na jaaye ummeedon ka daaman kahin
lut na jaaye tamanna ka gulshan kahin
reh na jaaye adhoori meri daastan
bata kya karoon tu kahaan main kahaan
ye sitaare ye chaand

ye sitaare ye chaand
ye raaten jawaan
bata kya karoon tu kahaan main kahaan
ye sitaare ye chaand

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

ये सितारे ये चाँद
ये रातें जवां
बता क्या करूँ तू कहाँ मैं कहाँ
ये सितारे ये चाँद

भीगी रातें ये तारों भरा आसमां
आजा वरना गुज़र जाएगा ये समा
भीगी रातें ये तारों भरा आसमां
आजा वरना गुज़र जाएगा ये समा
तेरे बिन सूने सूने हैं दोनों जहां
बता क्या करूँ तू कहाँ मैं कहाँ
ये सितारे ये चाँद

कब से आँखें हैं बेख़्वाब तेरे लिए
तेरे लिए
कब से आँखें हैं बेख़्वाब तेरे लिए
तेरे लिए
हर तमन्ना है बेताब तेरे लिए
हाय तेरे लिए
मैं हूँ और ग़म की खामोश तनहाईयां
बता क्या करूँ तू कहाँ मैं कहाँ
ये सितारे ये चाँद

छुट ना जाये उम्मीदों का दामन कहीं
लुट ना जाये तमन्ना का गुलशन कहीं
छुट ना जाये उम्मीदों का दामन कहीं
लुट ना जाये तमन्ना का गुलशन कहीं
रह ना जाये अधूरी मेरी दास्तान
बता क्या करूँ तू कहाँ मैं कहाँ
ये सितारे ये चाँद

ये सितारे ये चाँद
ये रातें जवां
बता क्या करूँ तू कहाँ मैं कहाँ
ये सितारे ये चाँद


This article is written by Avinash Scrapwala, 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.

Blog Day :

4320 Post No. : 15607 Movie Count :

4299

– नमस्कार सर जी , जय श्री कृष्ण,
अविनाश बोल रहा हूँ,

– बोलिए बोलिए अविनाश भाई,

– कैसे हैं सर आप

– मुझे क्या हुआ है ?

That is our respected Bharat Bhai. I spoke to him last in this March. Just a courtesy call. But whenever I spoke to him, he was always energetic, full of life and cheerful. . .

I used to call him occasionally, in between particularly after meeting him first time in November 2016 during the Mumbai gang-out. Thereafter the second meeting happened in April 2018 at Surat when Arun ji, Sadanand ji and Bharat Bhai came to meet Harish Raghuvanshi ji at his place.

But today, on 16th May we got this sad news of his demise on 8th of this month.

We all pray to god to rest his soul in peace!!!

Our heartfelt condolences and tributes to him!!!

This song which could have been a part of his series ‘Sureeli Suman’ which I had shared to him and requested a post, but it could not happen somehow, may be because of his health issues. . .

After coming back from Kenya to India I was eager to visit Mumbai and meet him but it could not happen.

On 19th March I called him to greet him on his birthday and also to seek his blessings, as I always used to do while ending the conversation.

– मैं आऊँगा मुंबई आपसे मिलने … मुझे आशीर्वाद दीजिये,

– वो तो हमेशा ही आपके साथ है और रहेगा, इसमें तो कोई बोलने कि बात ही नहीं है,

– ठीक है सर , मिलते है फिर …

We will miss you Sir!!!

The warmth, the love you showered in every meeting and whenever I spoke to you will always remain in memory – the musical meetings, your smiling face and your lovable presence around us will always be missed.

प्रणाम सर जी !

 

 

Song – Ummeedon Se Keh Do Ke Na Aansoo Bahaayen (Jwaalamukhi) (UR) (1950s)(1959) Singer – Suman Kalyanpur, Lyrics – Dukhi Amritsari, MD – Devraj

Lyrics

ummeedon se keh do
ke na aansoo bahaayein
rone ko ab to aa gayi hain
kaali ghataayein
ummeedon se keh do

keh do ke ab na machlen
seene mein nafratein
seene mein nafratein
keh do ke ab na tadpen
haaye
dil ki hasratein
haaye
dil ki hasratein
duniya ki nigaahon mein
kahin ham na aa jaayen
rone ko to aa gayi hain
kaali ghataayein
ummeedon se keh do

keh do ke looti duniya meri
aa ke yahin par
aa ke yahin par
keh do ke padi maut hain
chaahat ki zameen par
hai kaun wo apni
jo is arthhi ko uthhaaye
rone ko ab to aa gayi hain
kaali ghataayein
ummeedon se keh do

keh do meri duniya ko
kyun barbaad kiya hai
kyun barbaad kiya hai
keh do meri khushiyon ko
kyun nashaad kiya hain
kyun nashaad kiya hain
haalat ko meri dekh ke
na nain bhar aayen
rone ko ab to aa gayi hain
kaali ghataayein
ummeedon se keh do

—————————————————————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————————————————————–

उम्मीदों से कह दो
के न आंसू बहायें
रोने को अब तो आ गयी हैं
काली घटाएँ
उम्मीदों से कह दो

कह दो के अब न मचलें
सीने में नफरतें
सीने में नफरतें
कह दो के अब न तडपें
हाये
दिल की हसरतें
हाये
दिल की हसरतें
दुनिया की निगाहों में कहीं
हम न आ जाएँ
रोने को अब तो आ गयी हैं
काली घटाएँ
उम्मीदों से कह दो

कह दो के लुटी दुनिया मेरी
आ के यहीं पर
आ के यहीं पर
कह दो के पड़ी मौत हैं
चाहत की ज़मीन पर
हैं कौन वो अपनी
जो इस अर्थी को उठाए
रोने को अब तो आ गयी हैं
काली घटाएँ
उम्मीदों से कह दो

कह दो मेरी दुनिया को
क्यूँ बर्बाद किया हैं
क्यूँ बर्बाद किया हैं
कह दो मेरी खुशियों को
क्यूँ नाशाद किया हैं
क्यूँ नाशाद किया हैं
हालत को मेरी देख के
न नैन भर आये
रोने को अब तो आ गयी हैं
काली घटाएँ
उम्मीदों से कह दो


This article is written by Avinash Scrapwala, 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.

Blog Day :

4314 Post No. : 15595

‘Sone Ki Chidiya’ (1958) – you must be wondering. . .

All the songs from this movie have been covered on the blog as per details given below,

 

Song  Posted On
 Pyaar par bas to nahin hai  06.06.2009
 Raat ka bhar ka hai mehmaan andheraa  26.09.2010
 Sach bataa tu mujhpe fidaa  16.05.2011
 Sainyya jabse ladin hain tose ankhiyaan  07.12.2011
 Chhuk chhuk chhuk chhuk rail chale  08.12.2011
 Bekas ki tabaahi ke saamaan hazaaron hai  23.04.2012

Since all the songs from this movie have been covered and the movie has achieved ‘Yippeeee’ status on the blog one would genuinely ask the question why this post now? and which song??

As I have mentioned in my earlier post with the ‘couplet song’ “Aap Abhi Ishq Ki Tehzeeb Se Aagaah Nahin” from ‘Dil Hi To Hai’ (1963), that I had prepared an excel sheet for Sahir and his music directors with the number of songs in the movies where Sahir Ludhianvi was lyricist. During the preparation of this list I had to go through the HFGK Vol II to VI and check the movie page for each movie. There I had noted some corrections and other interesting information. Accordingly, we are in the process of correcting some ‘tags’ for lyrics and adding some ‘snippets’, or ‘couplet songs’ wherever they are available and we can bring them here on the blog.

In the movie page for ‘Sone Ki Chidiya’ in HFGK Vol III, there is a footnote which mentions about a ‘nazm’ penned by Kaifi Azmi recited in his own voice in the movie (which on screen is lip synced by none other than Balraj Sahni). When I searched for audio/video of this ‘poem’ it was already available and that is the reason for this post here today.

Today 10th May, is the 18th anniversary of remembrance of Kaif Azmi (14.01.1919 – 10.05.2002). Also, we remember the genius ‘effortless performer’ Balraj Sahni on 1st May (01.05.1913 – 13.04.1973) on his 107th birth anniversary, which was in the previous week.

‘Sone Ki Chidiya’ is produced by Ismat Chugtai under the banner of Film India Corporation, Bombay, and is directed by Shahid Latif. The story and screenplay was also written by Ismat Chugtai herself. Editing of this movie was done by SE Chandiwale.

The star-cast of this movie includes Nutan, Balraj Sahni, Talat Mahmood, Altaf, Amar, Bikram Kapoor, Protima Devi, Chandabai, Sarita Devi, Baij Sharma, Hammad Jafri, Lotan, Bishan Khanna, Jagdish Kamal, Nazeer Kashmiri, Begambai, Zebunissa, Baby Radha, Baby Chagle, Master Patankar, Dhumal and many others.

The movie has eight songs, including two multi version songs. Asha Bhonsle, Talat Mahmood and Mohd Rafi had given their voices to the songs in this movie. Music for this movie was composed by OP Nayyar. I have been familiar with songs like “Pyaar Par Bas To Nahin“, “Raat Bhar Ka Mehmaan Andhera“, “Sach Bataa Tu Mujhpe Fidaa” from this movie since years, and that is the only association with this movie name for me, as I never got to watch this movie. However, since now the movie is available ‘online’, I will watch it sometime in the future.

One more very interesting point about this film. When I checked for title credits for lyricist of this movie it included names of three stalwart poets of Hindi cinema – Sahir, Majrooh and Kaifi. So we can see these three great poets of their time coming together here. I am not aware of any other such instance of coming together of these three great poets. Knowledgeable readers can throw more light on this.

As a tribute to both great film personalities – Kaifi Azmi and Balraj Sahni, whose contributions to the Hindi Cinema will be remembered by the generations to come, let us listen to these poignant yet motivating verses or poetry recitation included in the movie ‘Sone Ki Chidiya’.

 

 

Song – Aaj Ki Raat Bahut Garm Hawa Chalti Hai (Sone Ki Chidiya) (1958) Singer – Kaifi Azmi, Lyrics – Kaifi Azmi, MD – OP Nayyar

Lyrics

aaj ki raat bahut garm hawa chalti hai
aaj ki raat na footpath pe neend aayegi
sab utthho
main bhi utthhoon
tum bhi utthho
tum bhi utthho
koi khidki isi deewaar mein khul jaayegi

ye zameen tab bhi nigal lene pe aamaada thi
paaon jab toot’ti shaakhon se utaare hum ne
in makiinon ko khabar hai
na makaanon ko khabar
un dinon ki jo gufaaon mein guzaare hum ne

sirf khaaqa thha jo sach poochho to khaaqa bhi na thha
jis’se ye qasr ye aiwaan utaare ham ne
haath dhalte gaye saanchon mein to thakte kaise
naqsh ke baad naye naqsh nikhaare hum ne
kee ye deewaar buland aur buland  aur buland
baamon-o-dar aur zaraa aur  sanwaare ham ne
aandhiyaan tod liyaa karti thhi sham’on ki laven
jad diye is liye bijlee ke sitaare hum ne
aandhiyaan tod liyaa karti thhi sham’on ki laven
jad diye is liye bijlee ke sitaare ham ne
ban gayaa qasr to pehre pe koyi baithh gayaa
ban gayaa qasr to pehre pe koyi baithh gayaa
so rahe khaaq pe ham shorish-e-taamiir liye

apni nas nas mein liye mehnat-e-paiham ki thakan
band aankhon mein isi qasr ki tasveer liye
arre, din pighalta hai isi tarah saron par ab tak
raat aankhon mein khatakti hai syaah teer liye
aaj ki raat bahut garm hawaa chalti hai
aaj ki raat na footpath pe neend aayegi
sab utthho
main bhi utthhoon
tum bhi utthho
tum bhi utthho
koi khidki isi deewaar mein khul jaayegi

—————————————————————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————————————————————–

आज की रात बहुत गर्म हवा चलती है
आज की  रात न फुटपाथ पे नींद आएगी
सब उठो
मैं भी उठूँ
तुम भी उठो
तुम भी उठो
कोई खिड़की इसी दीवार में खुल जायेगी

ये ज़मीन तब भी निगल लेने पे आमादा थी
पाँव जब टूटती शाखों से उतारे हम ने
इन मकीनों को ख़बर है न मकानों को ख़बर
उन दिनों की जो गुफाओं में गुज़ारें हम ने

सिर्फ ख़ाका था जो सच पूछो तो ख़ाका भी न था
जिससे ये क़स्र ये ऐवान उतारे हम ने
हाथ ढलते गए सांचों में तो थकते कैसे
नक़्श के बाद नए नक़्श निखारे हम ने
की ये दीवार बुलंद और बुलंद और बुलंद
बाम ओ दर और ज़रा और सँवारे हम ने
आंधियां तोड़ लिया करती थी शमओं की लवें
जड़ दिए इस लिए बिजली के सितारे हम ने
आंधियां तोड़ लिया करती थी शमओं की लवें
जड़ दिए इस लिए बिजली के सितारे हम ने
बन गया क़स्र तो पहरे पे कोई बैठ गया
बन गया क़स्र तो पहरे पे कोई बैठ गया
सो रहे ख़ाक पे हम शोरिश ए तामीर लिये

अपनी नस नस में लिये मेहनत ए पैहम की थकन
बन्द आँखों में इसी क़स्र कि तस्वीर लिये
अरे, दिन पिघलता है उसी तरह सरों पर अब तक
रात आँखों में खटकती है सियह तीर लिए

आज की रात बहुत गर्म हवा चलती है
आज की रात न फुटपाथ पे नींद आएगी
सब उठो
मैं भी उठूँ
तुम भी उठो
तुम भी उठो
कोई खिड़की इसी दीवार में खुल जायेगी


This article is written by Arunkumar Deshmukh, 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.

Blog Day :

4299 Post No. : 15558

Today’s song is from film Bharat Milap-1942. It is sung by G M Durani and the music is by Shankar Rao Vyas, for lyrics written by Pt.Indra.

Few years back, I remember, Dr. Surjit Singh ji had published a list of 7000 names of actors, who had acted in films from the beginning till up to the year 2000. He had found this list on a site which was no more existing. I had meticulously copied that list on my Laptop, in the year 2010. Since then, I have changed my Laptop 3 times and now I do not find this list with me anymore. God knows when it got deleted or was left out uncopied, sometime.

Of course, that is not the point at all. I wonder how so many people joined an industry which did not provide any security, nor did it assure continuous earnings. Leave aside the stigma of working in” films” in olden times, but this industry neither had permanent jobs nor a fixed income. Take a look at any film-Silent or Talkie-only a handful people were credited. Later in the Talkie films, this list became larger. One can see this in any volume of HFGK of 30s or 40s. But then, if you exclude the names which got repeated in films, the total list of actors may not cross 2-3 thousand,perhaps.

Barring the main and known actors, most other actors are not even identifiable for the general public. Names without faces! Such actors constitute the bulk of numbers in the industry. If you take a look at the cast of a film, more than half of names are unknown or known by only repeat value in many films. These names have no faces. Information about them is not available in any books. They remain only names, replaced by other names after few years. The extras or junior artistes who are seen on screens in many scenes, throughout the film are also members of the industry.

There are some groups on Fb, who have experts among them. These people keep on identifying obscure faces on screen scenes and name them. One glaring crusader in these specialists is M N SARDANA ji, who writes short notes about almost unknown actors seen on the screen as judges,lawyers, police inspectors, beggars, villain cronies and people in such insignificant roles. Hats off to him and people like SANDEEP PAHAWA ji, whose comments are lapped up by readers. I may be one of the dedicated readers of their notes and comments on Fb.

Like any other language, there are writers and authors in Marathi too, who write on old films and old actors etc from the vintage Hindi films. One such author calls himself ” Babu Moshoi “. His articles are published regularly in newspapers, magazines etc. He has written several books. His real name is Hemant Desai. Another such writer in Hindi and Gujarati is Vithal Pandya. I have many such books in my library. Through these books I get to know old actors and their information, sometimes. I get surprised at many names as I read about some names about whom I had never known. For example, do you know who did King Dashrath’s role in films Bharat Milap-42 and Ramrajya-43, or the role of Kanva Muni in film Shakuntala-43 ? Who was the actress in Kaushalya’s role in Ramrajya-43 or Ram Vivah-49 ?

This actor was I.T.Nimbalkar and this actress was Shanta Kothari (nee Shanta Kumari). These were artistes from Silent film era, spilled over the Talkie films. They started as Hero and Heroine, but shifted to character roles, as the time went by. In our film industry, such cases are not new. In fact such type of actors who remained practically unknown to later generations of audiences, were highly respected by film people during shootings. Their seniority and work was respected.

This is a very good practice in the industry, by directors and other actors to give respect to old timers. Raj Kapoor used to send his car to fetch Bhudo Advani for shootings of film Boot Polish scenes. Hrishikesh Mukherjee kept special chair for Master Shiraz, during the shooting of film Guddi. He also ensured to feature Shiraz in the film credits. These are only samples to stress what I have said. Not every such matter is published but it is a special feature of the industry.

I try to gather information on such unknown and forgotten artistes and write on them. Not everytime I am successful, but I have written about many such actors, directors, MDs etc. Some of them are Omkar Devaskar, Zunzar rao pawar, Ganapat rao Bakare, Shankar rao Vazare, Naseem Junior, Shamim Jr, Altaf, Urmila, Ranjana, kusum Deshpande, Vasant rao Thengadi, Jamshed ji etc etc. Today, we will know more about one such old time actor who was prolific and worked in films of Bombay and Calcutta.

I.T.Nimbalkar aka Indurao T. Nimbalkar ( he was always credited as only ‘ Nimbalkar ‘ in all films) was born on 6-12-1893, in Kolhapur state. This was the time Kolhapur was slowly developing as Kalapur (hub of arts) and the seeds of film making were being planted there. Baburao Painter, one of the original film makers had started his ” Maharashtra Film Company” on 1-12 1917.

Baburao, Damle, Fattelal etc were taught painting By Anandrao painter, who was an extraordinary painter of those times. All these people, along with V Shantaram, Keshavrao Dhaiber and few more also joined Baburao painter’s Maharashtra Film company. True that, film making had started even earlier in Maharashtra, but Baburao painter is credited with making films a form of art and spreading it on a larger canvas of India.

Indurao Nimbalkar grew up in this atmosphere in Kolhapur. He passed his Matriculation exam and also did a diploma in Printing. Nimbalkar was six feet tall and had a good physique. He was expert in riding, swimming and wrestling. He did 1000 sit-ups every day. Shahu maharaj, the king of Kolhapur encouraged all arts as well as development of lower castes. Arya Samaj had a ‘ Gurukul’ in Kolhapur. Impressed with Nimbalkar’s education and body, Shahu ji appointed him as Editor of the weekly ‘ Arya’ and secretary of Gurukul.

One day Baburao Painter, along with assistant V Shantaram visited his press and offered Nimbalkar a role in his proposed film Sairandhri. Shahu maharaj also permitted and encouraged him ,so Nimbalkar joined the film line. He was already famous due to his fiery editorials and now people came to see his shootings too. However, due to money shortage, the film did not complete. ( It was later made in 1919, but with different cast. V Shantaram made coloured Sairandhri in 1933 with Nimbalkar again).

Nimbalkar acted in many silent films like Baji Deshpande, Khazanchi (directed by Moti gidwani- England returned), Lanka, Kismet (directed by Baburao Patel) etc etc. After the closure of Maharashtra F. Co., Nimbalkar was invited by V Shantaram to do Vishvamitra’s role in its first Talkie film ” Ayodhya ka Raja” -1932, in Hindi and Marathi. After this, he did Jalti Nishani-32, Sairandhri-33, Maya Machhindra, Sinhagadh etc.

After this, Nimbalkar went to Calcutta on invitation and worked in films made by Radha Films, Laxmi Studios, Devdatta films and New Theatres. From 1934 to 1938, he acted in 12 Hindi films. He was provided a Bungalow, car with driver, servants etc. His son studied in local school there. Returning to Bombay he worked as an assistant director to Keshavrao Dhaiber for film ‘Nandkumar’, made by his Jayashree Films. Next 2 years he shuttled between Calcutta and Bombay. He did King Dashrath’s role in Prakash films’ Bharat Milap-42 and Ramrajya-43 in this period.

He was invited by V Shantaram for acting in his first film under banner of Rajkamal- Shakuntala-43. Nimbalkar did the role of Kanva Muni in it. He later also acted in Jeevan yatra, Subah ka tara, Parchhain, Teen batti char rasta, Toofan aur Diya, Z Z Payal baje. Earlier he did Aapki sewa mein, prarthana,Nal Damayanti, Seedha Rasta, Gokul, Apna Ghar, Maharathi karna, Seeta Swayamvar. He worked in pyasa, Mera Naam Joker, Amar prem etc etc. From 1928 to 1970 he acted in over 250 films.

His wife Sushila was also educated and looked after his home and children. She never visited any sets in her life time. Nimbalkar died on 17-1-1973 at Kolhapur. (Thanks to an article in book Chandraat-चांदरात by Babu moshoi)

Film Bharat Milap-42 was directed by Vijay Bhatt (12-5-1907 to 17-10-1993). The film was made under their own banner Prakash Films. Prakash Studios was built in 1934 at Andheri. The first film to be made there was ‘Actress’ (Bambai ki Mohini), written and produced by Vijay Bhatt. The famed torch of Prakash Pictures continued to shine over decades and in all, 64 films were produced in various genres, in black and white as well as colour.

Vijay Bhatt played an important role in the careers of some major stars. He was the person who gave Mehzabeen (Meena Kumari),the name Baby Meena.

He also gave her the first major heroine’s role in Baiju Bawra-52.Till then she did roles in B and C grade films. O K Dar Kashmiri was given the name ” JEEWAN “, when he did Narad’s role in Bharat Milap. Later he did Narad’s role in over 100 films. Suraiyya got her big singing role in Station Master-42. Manoj Kumar was made hero in Himalaya ki God mein-65.

Today’s song is from film Bharat Milap-42. This was a Bilingual film in Hindi and Marathi(as Bharat-Bhet). Main characters were Prem Adeeb as Ram, Shobhana Samarth as Seeta and Shahu Modak as Bharat. Durga khote was Kaikeyi, Vimla Vashishta was Manthara and Nimbalkar as King Dashrath.

The story of Bharat Milap is too well known and it is to the credit of Bhatt brothers that they kept the story line true to original,supported by several books and curators as well as scholars. This was the first major mythological film of Prakash and they did not spare efforts or money to raise spectacular sets, costumes and war scenes ( when Bharat is attacked by Nishad raja’s army).

It was a delight to see this film. There were no scenes of Miracles. I saw this film in its second run, sometime in the end of 40s, but the memories are still fresh. In fact this film became a benchmark for all subsequent mythological films, in my mind. Shahu Modak, who was Bharat in this film, was popular as Krishna in such films.

Editor’s note:-This song is the 200th song of Pt Indra chandra as a lyricist in the blog.


Song-Raam chale Raam chale ban chale Raam Raghuveer (Bharat Milaap)(1942) Singer-G M Durrani, Lyrics-Pt Indra Chandra, MD-Shankar Rao Vyas

Lyrics

Ram Chale
Ram Chale ae ae ae ae ae
ban chale Ram Raghuveer
ban chale Ram Raghuveer
ban chale Ram Raghuveer
kahaan Janaki Janak dulaari
kahaan Janaki Janak dulaari
kahaan laadla Lakshman re
kahaan laadla Lakshman re
jhoole thhe jo phool hindole
jhoole thhe jo phool hindole
aaj chale kantak ban re
aaj chale kantak ban re

ho gayi sooni
aaj Ayodhya aa aa
soona Saryu teer
soona aa aa Saryu teer
ban chale Ram Raghuveer
ban chale Ram Raghuveer
ban chale Ram Raghuveer

roko o o
koi roko o
rathh roko hey purwaasi
jaate hai punya pravaasi
hote hain kyun banwaasi
hote hain kyun banwaasi

gayi khushi ee ee
aur rahi udaasi

Ram ka rathh kya chalta hai
sab ko ye chakr kuchalta hai
Shree Ram ka rathh kya chalta hai
sab ko ye chakr kuchalta hai
Raghukul ka bhaagya badalta hai
Raghukul ka bhaagya badalta hai
ugta sa suraj dhhalta hai
ugta sa suraj dhhalta hai ae ae
praan chale hain sang Raam ke ae
soona pada shareer
soona pada aa aa shareer

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

राम चले
राम चले ए ए ए ए
बन चले राम रघुवीर
बन चले राम रघुवीर
बन चले राम रघुवीर
कहाँ जानकी जनक दुलारी
कहाँ जानकी जनक दुलारी
कहाँ लाडला लक्ष्मण रे
कहाँ लाडला लक्ष्मण रे
झूले थे जो फूल हिंडोले
झूले थे जो फूल हिंडोले
आज चले कंटक बन रे
आज चले कंटक बन रे

हो गई सूनी
आज अयोध्या॰॰आ॰॰आ
सूना सरयू तीर
सूना॰॰आ॰॰आ सरयू तीर
बन चले राम रघुवीर
बन चले राम रघुवीर
बन चले राम रघुवीर

रोको ओ ओ
कोई रोको ओ
रथ रोको हे पुरवासी
जाते हैं पुण्य प्रवासी
होते हैं क्यों बनवासी’
होते हैं क्यों बनवासी’

गई खुशी॰॰ई॰॰ई
और रही उदासी

राम का रथ क्या चलता है
सबको ये चक्र कुचलता है
श्री राम का रथ क्या चलता है
सबको ये चक्र कुचलता है
रघुकुल का भाग्य बदलता है
रघुकुल का भाग्य बदलता है
उगता सा सूरज ढलता है
प्राण चले हैं संग राम के
सूना पड़ा शरीर
सूना पड़ा॰॰आ॰॰आ शरीर


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 : 4193 Post No. : 15376

———————————————–——————————-
Blog 10-Year Challenge (2010-2020) – Song No. 2
——————————————————————————

“Laal Patthar” (1971) was produced by FC Mehra and directed by Sushir Majumdar. The movie had Raaj Kumar, Vinod Mehra, Hema Malini, Raakhee, Ajit, Asit Sen, Paintal etc in it.

The movie had seven songs in it. Five songs have been covered in the past.

Here is the sixth song from the movie. It is sung by Asha Bhonsle. Neeraj is the lyricist. Music is composed by Shankar Jaikishan.

The song is picturised on Raakhee, with Hema Malini also listening to the song from her room.

[Ed Note: (Update) This song is being included in the Blog 10-Year Challenge (2010-2020). Its 10-year date is actually 11 Jan, but it got posted on 10th.]

Audio

Video

Singer-Phoolon se meri sej sajaao (Laal Patthar)(1971) Singer-Asha Bhonsle, Lyrics-Neeraj, MD-Shankar Jaikishan

Lyrics

phoolon se meri sej sajaa do
aaj main loongi janam dobaara
chanda ki bindiya
taaron ke kangan
sapnon ke laao haar
saanson mein meri kesar mahke
angon mein jhoome bahaar
aisa karo singar sakhi ri
sudh budh bhhoole shyaam hamaara


This article is written by Raja, 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 : 4116 Post No. : 15269

Here is that date again.

The 25th of October is a date that many Hindi film lovers, and lovers of shaayari, remember with some pain. For it was on the 25th of October 1980 that one of the tallest figures of the industry, and certainly of the world of poetry, bade farewell to us.

Sahir Ludhianvi.

I’m usually careful with my choice of adjectives, especially when using them in the superlative. But in the case of Sahir, I don’t have the slightest hesitation in saying “one of the tallest”. For he comfortably satisfies this criterion.

There have been more famous figures in the industry.

And there have certainly been more popular and liked figures in the industry. If anything, Sahir, with his uncompromising nature, and and ego and mood to match, wasn’t the easiest person to get along with.

And yet, when it comes to stature, that too in his particular field, Sahir was truly a giant.
Without belittling any of the others who also produced outstanding work in the form of lyrics, Sahir always seemed to be in a league of his own.

They say that an actor is not real – after all, it is his job to act. He is only putting on a show. Which is one reason Kishore Kumar preferred singing to acting. He felt a singer can put his heart and soul into a song, whereas an actor’s job is to pretend.

A lyricist goes a step further than even a singer.

While a singer can put his heart and soul into a song, he does not create it. He only renders it.

The text comes from the lyricist.

And therefore the lyricist has the best chance of putting his heart and soul into his creation. He talks to his audience through his lines. He can use his poetry as an outlet for his thoughts, his feelings, his joys and his frustrations.

And I feel no one did this better than Sahir.

With Sahir, what you saw was what you got.

Sahir was pretty much an open book in terms of his preferences, his likes and dislikes. Nothing duplicitous or fake about him. He had strong views on certain topics, and he had absolutely no qualms about expressing them.

He even got into trouble early in his life with the Government of Pakistan for this reason – and fled Lahore (and thus, Pakistan) to come to India in 1949.

Imagine if this had not happened. Imagine what might have been lost to us.

Whatever issues Indians might have with the Government of Pakistan, I thank the Pakistan Government, on behalf of all Indians, for creating an “enabling” environment for Sahir to move to India. 🙂

And Sahir never looked back.

From “thandi hawayen” (Naujawan-1951), the song that got him noticed, to “pal do pal ka saath hamaara” (The Burning Train-1980), one of the last films for which he wrote lyrics, Sahir was one of the most highly regarded lyricists of his time.

I remember saying this before. When Sahir passed away, I only knew his name as a lyricist. In those days, still a teenager, I had limited knowledge of song details. I’d know the song, and the singer. Yes, some chance I’d know the composer, but unless I’d listened carefully to the lyricist’s name while listening to it on radio, not much chance I’d know the lyricist. In those days, to be honest, I enjoyed songs without knowing whether it was a Majrooh or Sahir or Shailendra or Hasrat Jaipuri song.

With this limited knowledge, I read the obituary on Sahir in the Illustrated Weekly of India in 1980. It was a fairly long obituary, and naturally many of his songs were mentioned.

That was when it hit me.

Oh, “aage bhi jaane na tu” was Sahir’s?

And “ye raat ye chaandni phir kahaan”?

Oh, and “udey jab jab zulfen teri” also?

And “abhi na jao chhod kar”?

And “zindagi bhar nahin bhoolegi wo barsaat ki raat?”

And “tu Hindu banega na Musalmaan banega”?

Oh, and “jeevan ke safar mein raahi” also?

And “tadbeer se bigdi hui taqdeer bana le”?

There were many more – and each one was a song I knew, a classic. Yet, such was my pathetic knowledge at the time of who the lyricist was, that I never realized these were all Sahir.

At that time, if you’d asked me to mention a few Sahir songs, I’d have come up with Pyaasa and Kabhie Kabhie songs. These I always knew as Sahir songs. But I am ashamed now to think of how ignorant I otherwise was.

It was only at that moment I realized what a legend Sahir had been. And what the world had lost.

After that, I paid a lot more attention to the lyricist, while listening to songs.

And often it was Sahir.

Much later in life, I read that it was only on Sahir’s insistence that All India Radio itself started mentioning the name of the lyricist also, in its radio programmes.

It was not only the name of the lyricist, but also the lyrics themselves, that I started paying attention to.

And that is when I realized that Sahir’s lyrics were different.

They were deep, they conveyed an emotion that came from the heart – and often a strong emotion at that. They were not the “baith ja, baith gayi, khadi ho ja, khadi ho gayi” types.

If today lyrics are a very big, in fact the biggest, part of my love for a song, it is entirely due to Sahir. I listen to lyrics carefully today – no appreciation of a song is complete for me, without appreciating the lyrics.

Whether Sahir was writing romantic poetry (“abhi na jao chhod kar”) or mocking the government for its failures (“cheen-o-Arab hamaara”), whether he was lamenting the state of society (“jinhe naaz hai Hind par wo kahaan hain”), or trying to uplift those seemingly with no hope (“wo subah kabhi to aayegi”), whether he was exhorting the oppressed to fight for their rights (“ponchh kar ashq” , “na munh chhupa ke jiyo”), or showing a mirror to society about its treatment of women (“aurat ne janam diya mardon ko”), whether he was trying to promote communal harmony (“tu Hindu banega na Musalmaan banega”), or talking about the futility of war (“khuda-e-bartar”), every single time Sahir’s lyrics tugged at your heart strings.

Not just because the poetry was beautiful and the lyrics powerful (which they absolutely were), but because you could feel that every word was written with heart and soul. No wonder it went straight from Sahir’s heart to our hearts.

You could feel Sahir’s anguish and despair when he says “ye duniya agar mil bhi jaaye to kya hai”. Or his cynicism when he says “aasmaan pe hai khuda aur zameen pe hum, aajkal wo is taraf dekhta hai kam”.

At the same time, you could feel the romance in the air, with “tum agar saath dene ka waada karo” and “parbaton ke pedon par”. Just listen to poetry like “thehre thehre paani mein, geet sarsaraate hain….bheege bheege jhonkon mein, khushbuon ka deraa hai”. Waah!
And “abhi na jao chhod kar”, one of my alltime favourites, and surely one of the most perfect songs ever in every respect.

Sahir’s poetry for the hurt felt by the jilted lover was no less powerful. “Jaane wo kaise log the jinke pyaar ko pyaar milaa”. Or lines like “laut rahi hain meri sadaayen, deewaaron se sar takra ke….haath pakad kar chalne waale, ho gaye rukhsat haath chhuda ke (sad version of in hawaon mein)”. And of course, “chalo ek baar phir se ajnabi ban jaayen hum dono” with lines like “wo afsaana jisey anjaam tak laana na ho mumkin, usey ek khoobsoorat mod dekar chhodna achha”.

Then you have the Barsaat Ki Raat qawwalis. Roshan’s masterpiece “na to karwaan ki talaash hai” merging into “ye ishq ishq hai ishq ishq” is one of the greatest ever compositions in Hindi cinema, with Sahir’s contribution in lyrics being no less significant. With lines like “jo dawaa ke naam pe zeher do, us chaaraagar ki talaash hai”.

I can go on and on. Dharamputra, Taj Mahal, Aaj Aur Kal, Mujhe Jeene Do, Chitralekha, Kaajal, Waqt, Neel Kamal, Humraaz, Bahu Begum, Aadmi Aur Insaan. Each one with memorable lyrics. One of my favourites is “poochhe koi ki dard-e-wafaa kaun de gaya, raaton ko jaagne ki sazaa kaun de gaya…kehne se ho malaal, to hum kya jawaab dein….duniya kare sawaal, to hum kya jawaab dein”.

Although Sahir was less productive in the 70s, he still came up with poetry that reminded us of Sahir of yore. The 70s was a decade where poetry began steadily losing ground to more “chaalu” lyrics. Urdu also began losing ground in the process.

This was a development that Sahir could not prevent, but did leave him disillusioned. His “main pal do pal ka shaayar hoon” very correctly represents his then state of mind. He continued to write though, but mostly for the Chopra family’s films, for films like Karm, Trishul, Insaaf Ka Tarazu, Kaala Patthar and The Burning Train.

Since Sahir started as a poet, and moved into film song lyrics, the sense of poetry comes across strongly in his lyrics. Much like with Kaifi Azmi.

So much for Sahir’s poetry. No one can do justice to it in one article. I’ve barely scraped the surface.

But what really makes me put Sahir on a different pedestal altogether is not the QUALITY of his poetry, but the CONTENT of his poetry.

Clearly Sahir was a rebel, a non-conformist.

And his poetry often reflected this, since he wrote straight from the heart.

But importantly, he never shied away from expressing his views. He never tried to be politically correct. He showed society a mirror, whether society liked it or not. For example, his line “kaho ji tum kya kya khareedoge, yahaan to har cheez bikti hai” is a much underrated, but powerful, line, in my opinion.

Yes, he railed and ranted – whether it made a difference or not. “Samaj ko badal daalo” he wrote.

Today, 39 years after his death, we are still languishing with most of the ills that existed in Sahir’s time, and which he spoke against.

It is a sad commentary of our times that many of his laments feel just as relevant today as they felt then. Yes, “aurat ne janam diya mardon ko, mardon ne usey bazaar diya” and “tu Hindu banega na Musalmaan banega, insaan ki aulad hai insaan banega” are just as relevant in 2019, as they were in 1958-59.

If Sahir were alive today, he’d probably be writing just as strongly today as he wrote then. The issues haven’t gone, sadly only Sahir has.

That’s a sobering thought.

Now, let’s move on to the song for today.

It’s from the 1969 film, Paisa Ya Pyaar.

As has now become customary :-), the lyrics for this song have been sent to me by Avinashji.

I remember seeing this film as a young boy, but I don’t remember the story now. It was a remake of a Tamil film Panama Paasama, starring Gemini Ganesan and Saroja Devi, which was a pretty big hit at the time. In fact, the name Panama Paasama, translates in Hindi to Paisa Ya Pyaar.

I remember the song “Ber lo, ber lo” was a lift from the very popular “yelantha pazham yelantha pazham” song of Panama Paasama. 🙂

But today’s song is different. It is a typical Sahir song – Insaan ne paise ke liye.

Here, Sahir’s lament is about how money destroys relationships. He talks about how people lose everything, even their own self-respect, for money. He concludes by saying that love is the biggest wealth there is.

The song is sung by Hemant Kumar, music composed by Ravi.

Please do listen.

I’d like to end by saying that Sahir was wrong in one respect.

He wrote

“kal koi mujh ko yaad kare
kyon koi mujhko yaad kare
masroof zamaana mere liye
kyon waqt apna barbaad kare”

Sahir saab, I can only say you grossly underestimated our love and respect for you.

jo aapse mila hai, wo itna hai anmol
roz sunte hain, aap hi ke hum bol
aap ko bhool jaayen, ye mumkin nahin
aap ki yaad na aaye, aisa koi din nahin

Thank you SO MUCH for what you’ve given us, Sahir saab.

And, very importantly, for just being you.

Video

Audio

Song-Insaanon ne paise ke liye aapas ka pyaar mita daala (Paisa Ya Pyaar)(1969) Singer-Hemant Kumar, Lyrics-Sahir Ludhainvi, MD-Ravi

Lyrics (based on audio link) (Provided by Avinash Scrapwala)

Insaanon ne ae
Paise ke liye
Aapas ka pyaar mitaa daalaa
Insaanon ne ae
Paise ke liye
Aapas ka pyaar mitaa daalaa
Hanste baste ghar phoonk diye
Dharti ko narak banaa daalaa

Mitti se nikaala sone ko
Sone se banaaye mahal magar
Mitti se nikaala sone ko
Sone se banaaye mahal magar
Jazbaat ke naazuk rishton ko
Mitti ke taley dafnaa daalaa
Insaanon ne
Paise ke liye
Aapas ka pyaar mitaa daalaa

Deen aur dharam ko haar diya
Neki ko badi par waar diyaa
Deen aur dharam ko haar diya
Neki ko badi par waar diyaa
Mandir Masjid aur Girjon ko
Bankon ki bhent chadhaa daalaa
Insaanon ne
Paise ke liye
Aapas ka pyaar mitaa daalaa

Daulat ki hawas mein logon ne
Kya kya na kiya is duniya mein
Kya kya na kiya is duniya mein
Chaahat izzat mehnat gairat
Sabkaa neelaam uthhaa daalaa
Insaanon ne ae
Paise ke liye
Aapas ka pyaar mitaa daalaa

Pyaar apne jagah khud daulat hai
Ye baat na samjhi insaan ne
Pyaar apne jagah khud daulat hai
Ye baat na samjhi ee insaan ne
Kudrat ke banaayi daulat ka
Sikkon mein mol lagaa daalaa
Insaanon ne ae
Paise ke liye
Aapas ka pyaar mitaa daalaa

————————————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————————–
इंसानों ने ए
पैसे के लिए
आपस का प्यार मिटा डाला
इंसानों ने ए
पैसे के लिए
आपस का प्यार मिटा डाला
हँसते बसते घर फूँक दिए
धरती को नरक बना डाला

मिटटी से निकाला सोने को
सोने से बनाए महल मगर
मिटटी से निकाला सोने को
सोने से बनाए महल मगर
जज़्बात के नाज़ुक रिश्तों को
मिटटी के तले दफना डाला
इंसानों ने
पैसे के लिए
आपस का प्यार मिटा डाला

दीन और धरम को हार दिया
नेकी को बदी पर वार दिया
दीन और धरम को हार दिया
नेकी को बदी पर वार दिया
मंदिर मस्जिद और गिरिजों को
बैंकों की भेंट चढ़ा डाला
इंसानों ने
पैसे के लिए
आपस का प्यार मिटा डाला

दौलत की हवस में लोगों ने
क्या क्या न किया इस दुनिया में
क्या क्या न किया इस दुनिया में
चाहत इज्ज़त मेहनत गैरत
सबका नीलाम उठा डाला
इंसानों ने ए
पैसे के लिए
आपस का प्यार मिटा डाला

प्यार अपने जहाँ खुद दौलत है
ये बात न समझी इंसान ने
प्यार अपने जहाँ खुद दौलत है
ये बात न समझी ई इंसान ने
कुदरत के बनायी दौलत का
सिक्कों में मोल लगा डाला
इंसानों ने ए
पैसे के लिए
आपस का प्यार मिटा डाला


This article is written by Raja, 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 :

4104 Post No. : 15254 Movie Count :

4191

First of all, my apologies for my infrequent appearances here. Even calling it a cameo is unfair to a cameo, because, to be honest, it is not even that. It is more like, a “blink and you miss” situation.

Anyway, here I am today, back with a post. The occasion is the Remembrance Day of someone very special to the Hindi film industry, and also to me. He has millions of fans around the world and is easily one of the legends of the industry.

I am talking about Kishore Kumar, of course.

I’ve written about Kishore Kumar many times in the past. And yet, when Avinash ji requested me to write a post for this occasion, I immediately agreed. Such is my love for Kishore Kumar that even if I repeat myself and bore my readers in the process 🙂 , I could not bring myself to say no.  🙂

The problem then was to get the required writing mood back. What they say about writing is very true. If you don’t write for an extended period of time, you gradually lose the ability to do so. That is why many writers practise their writing everyday, by writing at least a minimum number of words.

When I wrote to Avinash ji saying “Mere thoughts gather nahin ho rahe. I have lost the ability to write”, he replied “Aap Kishore Kumar ke gaane suniye aur din bhar sunte rahiye. Thoughts will come, I am sure.” 🙂

So I did listen to a few songs – predictably songs of ‘my’ era. “Khizaan Ke Phool”, “Jeevan Se Bhari Teri Aankhen”, “Teri Duniya Se”, “Hum Bewafa Hargiz Na The”, “O Mere Dil Ke Chain”, “Ye Shaam Mastaani” and a few others.

I think that might have helped a bit, because here I am.

Anyway, coming to Kishore Kumar.

The years just roll by – it is already 32 years since he left us.

He was just 58 at the time – far too young to go.

But like they say, it is not the years in your life that count, it is the life in your years.

And Kishore Kumar had plenty of life in his years.

No one will dispute that Kishore Kumar was the No.1 all-rounder in the industry. There have been a few others who have had multiple skills. Manoj Kumar was actor, writer, director, producer. Mehmood was also quite an all-rounder.

But Kishore was in a league of his own, because in each of his roles, he left a mark. Of course he is best-known as a singer, but even today many remember his acting, especially in comedy roles like in ‘Dilli Ka Thug’, ‘Chalti Ka Naam Gaadi’, ‘Half Ticket’ and many other films.

But there was so much more to Kishore Kumar than just comedy. And probably to prove this point, he produced and directed films like ‘Door Gagan Ki Chhaon Mein’ (1964) and ‘Door Ka Raahi’ (1971). I was stunned when I saw both these films – they have tremendous depth and philosophy, uncommon for the times.

His versatility was not limited to singing, acting, producing and directing though. Kishore Kumar also composed music, for some of his films.  Like the two films mentioned above, whose songs are quite popular to this day. As are the songs of  ‘Jhumroo’ (1961).

This is why I call Kishore Kumar the Gary Sobers of the Hindi film industry. 🙂 He could take on any role, and make a success of it.

But beyond even his multifarious talents, there was Kishore the person. And even as a person, he is quite an inspiration for me. His attitude towards life is something I can only admire.

Those who worked with Kishore Kumar, especially Lata Mangeshkar and Asha Bhosle, vouch  for his ability to enliven a recording session with his sense of humour, his cracking a joke or pulling someone’s leg. Some people are like this – never a dull moment with them around.

It is not as if Kishore didn’t have low moments, or tough times. Everyone has these – Kishore was no exception. But he never let this affect his professionalism. He was very clear about himself, his philosophy towards life – and he never allowed others to define it for him.

Like he said “Duniya samajhti hai main paagal hoon….main samajhta hoon duniya paagal hai”.

I think, whatever his conflicts with the world might have been, especially later in his life, he was at peace with himself. And that is most important for a human being. Like he told Lata Mangeshkar in an interview in the fag end of his career “I am quite happy”. He expressed a desire to run away from it all, and go to a place which was calling out to him.

Today, on his Remembrance Day, I feel Kishore Kumar found that place and left us in order to go there.

And left us with SUCH a treasure of songs and memories that we are indebted to him for life.

So thank you, thank you, thank you, Kishore Kumar for what you have given us. Speaking purely for myself, as someone who has been part of my life from my very early years, when I listened repeatedly to songs like “Mere Sapnon Ki Raani” and “Ye Shaam Mastaani” on the radio, your impact on my life cannot be described.

Now onto the song for today.

It is a totally new song for me. In fact I have never even heard of the film. Details, including lyrics of the song, have been sent to me by Avinash ji.

This is what he says :

“Zindagi Jeene Ke Liye-1984’ was directed by K.S. Sethumadhavan for ‘Tirupati Chitra Mandir, Bombay’. It was produced by Hastimal.

It had Rakhi Gulzar, Suresh Oberoi, Vijay Arora, Manmohan Krishan, CS Dubey, Krishan Dhawan, Shobhha Khote, Birbal Raj, Raj Kishore, Rakesh Roshan, Tina Munim, Master Rinku, Shah Chaturvedi, Raghvaiyya, Santosh Kumar, Lata Kashmiri, Dolphin and others. Deepa and Ramu make a guest appearance in this movie.

This movie was passed by Censor Board on 06.06.1984. However, the movie was re-certified by Censor on 15.12.1987 with a UA certificate (as mentioned in HFGK).

The movie has total seven songs, including the three-part song being presented today (as per HFGK Vol-VI 1981-1985) composed by Rajesh Roshan. HFGK mentions Rajesh Roshan as the lyricist for this movie and the same is mentioned on the vinyl cover of this movie available on online sources, which I guess is correct. (myswar.co also mentions the same). Asha Bhonsle, Kishore Kumar, Pankaj Udhas and Yesudas had given their voices to the songs in this movie.”

This film, ‘Zindagi Jeene Ke Liye’ (1984), makes its debut entry on this blog today.

The song itself is amazing. I’d never heard it before, but when I heard it for the first time a few days ago, it touched my heart. It also suits this occasion, as it talks of a person who feels he is ready to move on.

Please do listen to this wonderful song. Quite a gem, it is, especially in Kishore Kumar’s voice. Thanks for the song, Avinash ji.

Audio, All Parts

Video, Partial

Song – Udte Udte Pyaase Panchhi (Zindagi Jeene Ke Liye) (1984) Singer – Kishore Kumar, Lyrics – Indeevar, MD – Rajesh Roshan

Lyrics (Provided by Avinash Scrapwala)

Part 1

hmmm mmmm mmmm mmmm mmmm
hmmm mmmm mmmm mmmm mmmm

udte udte pyaase panchhi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye
armaan pyaase chhaayi udaasi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye

ek nadi thhi pyaar ki
saari duniya byopaar ki
ek nadi thhi pyaar ki
saari duniya byopaar ki ee
raah roke apni khadi thhi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye

zindagi ke ae baaki thhe kuchh lamhe
shaayad ke ho milna phir hamen
zindagi ke ae baaki thhe kuchh lamhe
shaayad ke ho milna phir hamen
maar daalegi ye bebasi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye
armaan pyaase chhaayi udaasi
pyaase panchhi thhak gaye

Part 2

door jaa rahe hain
ke nainaa ro rahe hain
door jaa rahe hain
ke nainaa ro rahe hain
saanson ki na toote ladi ee
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye

Part 3

haathon ne hamesha waar kiya
kabhi naa kisiko pyaar kiya
haathon ne hamesha waar kiya
kabhi naa kisiko pyaar kiya
nas nas basi buzdili thhi
pyaase panchhi thhak gaye ae
udte udte pyaase panchhi
pyaase panchhi thhak gaye ae

————————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
————————————————————

भाग १

हम्मम मम्मम मम्मम मम्मम मम्मम
हम्मम मम्मम मम्मम मम्मम मम्मम

उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए
अरमां प्यासे छायी उदासी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए

एक नदी थी प्यार कि
सारी दुनिया ब्योपार कि
एक नदी थी प्यार कि
सारी दुनिया ब्योपार कि ई
राह रोके अपनी खड़ी थी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए

ज़िन्दगी के ए बाकी थे कुछ लम्हे
शायद के हो मिलना फिर हमें
ज़िन्दगी के ए बाकी थे कुछ लम्हे
शायद के हो मिलना फिर हमें
मार डालेगी ये बेबसी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए
अरमां प्यासे छायी उदासी
प्यासे पंछी थक गए

भाग २

दूर जा रहे हैं
के नैना रो रहे हैं
दूर जा रहे हैं
के नैना रो रहे हैं
साँसों की ना टूटे लड़ी ई
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए

भाग ३

हाथों ने हमेशा वार किया
कभी ना किसीको प्यार किया
हाथों ने हमेशा वार किया
कभी ना किसीको प्यार किया
नस नस में बसी बुज़दिली थी
प्यासे पंछी थक गए ए
उड़ते उड़ते प्यासे पंछी
प्यासे पंछी थक गए ए


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

Blog Day :

4098 Post No. : 15244 Movie Count :

4189

Films are regarded as director’s medium. He is like a captain of the ship. It is the director’s responsibility to make his film successful – critically as well as financially.

A film director may have directed many successful films but he will generally be known by his one classic cult film. For instance, when we talk about PC Barua, ‘Devdas’ (1935) comes to our mind first though he had directed other successful films like ‘Mukti’ (1937) and ‘Jawaab’ (1942).  In case of Mehboob Khan, it is ‘Mother India’ (1957) though he had directed many successful films in the 1940s. K Asif and ‘Mughal-e-Azam’ (1960), Guru Dutt and ‘Pyaasa’, (1957) and Kamal Amrohi and ‘Pakeezah’ (1972) are inseparable. In the international arena, Raj Kapoor is known more for his film, ‘Aawaara’ (1951) than other equally successful films. This is not an exhaustive list.

But there is one film director who is known by his flop film in the genre of satirical comedy. The film is ‘Jaane Bhi Do Yaaron’ (1983) and the director is Kundan Shah. In an interview held sometime in 2012 on the occasion of the re-release of the film in digitised version, he had said he considered this film as his failed project though it has attained a cult status.

Remembering Kundan Shah today, October 7th on his 2nd Remembrance Day who excelled in projecting the serious social issues in soft comedies through films and TV serials. I became aware of him with his very first film which I had watched on TV much before he became well known by his TV serials.

I found it very difficult to get the information on Kundan Shah’s early life before he ventured into films and TV serials. A book, ‘Jaane Bhi Do Yaaron – Seriously Funny Since 1983’ (2010) written by Jai Ajay Singh was supposed to have some information about his early life. But the book has remained out of stock for some time. However, a preview of some pages of the book was available online which gave me some information about the early life of Kundan Shah.

Born in a Gujarati family, Kundan Shah spent his childhood in Aden (now in Yemen) and did his schooling there until the age of 13 when his family shifted to Mumbai. He completed his schooling and thereafter his graduation in commerce. He worked for a publishing house for about 4 years before enrolling himself in the Film and Television Institute of India (FTII) in 1973 for direction. It is at FTII, he found interest in the genre of comedy during the second year of the course.

As a project in FTII, he made a 25-minute diploma film titled ‘Bonga’ (Siren) which the students of direction have to make in the final year. The film was a farcical comedy involving a gang of five people attempting a bank robbery. The cast included FTII students like Satish Shah, Rakesh Bedi, Suresh Oberoi, Om Puri etc. There were no dialogue in the film except each one of the gang of five yelling ‘bonga’. Bhaskar Chandavarkar, an instructor in FTII at that time (who was also a music director) composed the background music. The film was critically acclaimed by his fellow students in FTII. His seniors in FTII like Naseeruddin Shah and Saeed Akhtar Mirza were surprised as to how this serious looking man could have made a graceful comedy film out of the nonsensical ideas.

After completion of his diploma in FTII in 1976, Kundan Shah struggled for a couple of years to find the opening in the film industry. He formed a commune of some of his fellow FTII diploma holders and produce short documentary films. However, in this work, Kundan Shah ran into financial problems. Almost all of his colleagues had already been disillusioned with their career and left for their respective places. Kundan Shah also moved to England with his family and worked there to make enough money to pay off his debt.

Kundan Shah returned to India after about 18 months. He got an attractive offer from the maker of ‘Gandhi’ (1981) to work as Assistant Director for six months at a monthly salary of Rs.10,000/-. The offer was very tempting. He consulted his colleague, Saeed Akhtar Mirza who dissuaded him from accepting the offer as he would mostly be doing the work of crowd controlling during the outdoor shooting. Instead, Saeed Mirza coxed him to write a script and make the film himself. In the meanwhile, Kundan Shah worked as Assistant Director in  Saeed Akhtar Mirza’s ‘Albert Pinto Ko Gussa Kyon Aata Hai’ (1980) and Vidhu Vinod Chopra’s ‘Sazaa-e-Maut (1981). These association also put pressure on him to direct a film as his FTII fellow students, Saeed Mirza and Vidhu Vinod Chopra had already made films. It is at this point of time, Kundan Shah decided to make a feature film which resulted in making his first film ‘Jaane Bhi Do Yaaron’ (1983).

As I came to know from the video clips of interviews of Kundan Shah, Naseeruddin Shah, Ravi Baswani, Sudhir Misra and others, it was a long struggle for completing the film and releasing it. Kundan Shah wrote the story and script based on the experiences of two of his fellow FTII students who after failing to get any assignment from the film industry, decided to open a photo studio and undertake fashion and industrial photography. Their bad experiences in the venture became the main theme of the story coupled with Kundan Shah’s personal experiences in dealing with a rationing office in Mumbai for the release of cement quota for repairs to drainage system in his building where he was the Secretary.

When the script was ready, no producer/financier was willing  to invest in the film based on his script. Some financiers termed the script as idiotic. As a last resort, Kundan Shah approached National Film Development Corporation (NDFC) to take a loan for producing the film himself. The total cost film production was expected to be around Rs. 7 lakhs and NDFC would grant the loan only up to 75% of the cost after their Script Committee approved the script. However, Kundan Shah got a pleasant surprise when NDFC not only approved his script but also offered to produce the film under its banner as they thought that the script was an effective commentary on the situations prevailing in the country. So financial side of the problem got sorted out.

Next was the selection of actors and the crew for the film. With a budget of only Rs.7 lakhs, engaging the established actors even for the main roles was out of question. Kundan Shah relied on his FTII colleagues and the actors/ crews from IPTA/National School of Drama. The actors included Naseeruddin Shah, Ravi Baswani, Satish Shah, Satish Kaushik, Om Puri, Pankaj Kapoor, Bhakti Bharve, Neena Gupta, Vidhu Vinod Chopra, Deepak Qazir, Rajesh Puri, Ashok Banthia and Jaspal Sandhu. Some of the actors also worked behind the camera. For instance, Vidhu Vinod Chopra and Deepak Qazir were the Production Controllers. Satish Kaushik was one of the dialogue writers. Renu Saluja was the editor for the film beside the assistant director.

Naseeruddin Shah had revealed in an interview that during the making of the film, he was feeling uneasy with the script as he felt that all he was doing appeared to him to be nonsensical. He had arguments with Kundan Shah on several occasions but at the end it was Kundan Shah whose writ prevailed. Even after the completion of the film, Naseeruddin Shah was pessimistic about the success of the film.

The film was released in a few theatres in Mumbai in and some other cities in August 1983. The film received a lukewarm response from the audience. The film was withdrawn after a week in Mumbai and ran in a few theatres only for morning shows. In Delhi, the film ran for 37 weeks in a single theatre for morning show only. The film was also shown on then newly set up DD Metro Channel on the week-ends for a month or so. Gul Anand, the producer of some off-beat comedy films like ‘Khatta Meetha’ (1978) and ‘Chashme-e-Buddoor’ (1981) after watching the film had said to Kundan Shah that if he had not seen the film and only read the script , he would have thrown it out of his window. This shows how Kundan Shah made an interesting film out of the nonsensical script. The lukewarm response for the film was a setback for Kundan Shah. He did not venture into directing any film for the next 10 years.

After about 30 years, ‘Jaane Bhi Do Yaaron’ (1983) was digitally restored and was re-released in November 2012 in multiplexes in Mumbai and in some major cities by which time, the film had already attained a cult status.

In the meanwhile, television was becoming a mass media with a pan India reach. In 1984, Doordarshan permitted the sponsored TV serials produced outside Doordarshan on its National Channel. Kundan Shah and many other persons associated with film industry took this as an opportunity and started their association with the producers of TV Serials. Kundan Shah made his debut on Television by directing some episodes of ‘Ye Jo Hai Zindagi’ (1984). It ran on Doordarshan with 67 episodes some of which were directed by Manjul Sinha and Raman Kumar. Actors were drawn from FTII and theatres. The serial had a phenomenal run which rediscovered Kundan Shah as a master of directing situational comedy.

With the runaway success of ‘Ye Jo Hai Zindagi’, Kundan Shah became the partner in Iskra Films, a TV serial producing company started by Saeed Akhtar Mirza and Aziz Mirza. ‘Nukkad’ (1986) was its first production.  The other successful TV Serials in which Kundan Shah was associated with were ‘Wagle Ki Duniya’ (1988) and ‘Circus’ (1989).

After a gap of more than 10 years, Kundan Shah decided to make a film on the script he wrote in the genre of romantic comedy. The film’s original title ‘Albela’ had to be changed to ‘Kabhi Haan Kabhi Na’ (1994) as this title was already registered by someone with Film Producers Associations like IMPPA. As usual for Kundan Shah, the film was delayed for a variety of reasons. The original lead actors, Amir Khan and Juhi Chawla withdrew from the film due to delay in finding a producer/financier. Shahrukh Khan, who was originally taken for the role which eventually went to Deepak Tijori, was promoted as a lead actor with Suchitra Krishnamoorthy.

After completion, the film remained in the cans for nearly 18 months as no distributor was willing to release the film probably due to the hero turning out to be loser in the end. This was the status of this film despite the fact that by this time, Shahrukh Khan was already on his path to become a super star due to box office successes of his films like ‘Raju Ban Gaya Gentleman’ (1992), ‘Deewana’ (1992), ‘Darr’ (1993) and ‘Baazigar’ (1993). Finally, Shahrukh Khan in partnership with one of his friends from the film industry released the film in February 1994. Though the film was regarded as an average success after the release, over a period of time, the film has earned more than 5 times its cost and it has also attained a cult status for Kundan Shah.

It was another six years after ‘Kabhi Haan Kabhi Naa’ (1994) that Kundan Shah took ‘Kya Kehna’(2000) for direction which was Preity Zinta’s debut film. This was Kundan Shah’s first mainstream film which was devoid of any comedy. On the contrary, Kundan Shah tackled a serious issue of pre-marital pregnancy with sensitivity. As usual for Kundan Shah, this film was also delayed in getting released. Once it got released, it was  the pleasant surprise to all concerned with the film that it was a box office hit.

The next in lines of films which Kundan Shah directed were ‘Hum To Mohabbat Karega’ (2000), ‘Dil Hai Tumhara’ (2002) and  ‘Ek Se Badkar Ek’ (2004). All the three films flopped at the box office making him to take a virtual retirement from the mainstream films. He returned to his foray of making films with off-beat themes in ‘Teen Behanen’ (2005), based on a real-life story of three sisters who committed suicide because their father could not afford to pay dowry. The film remained unreleased till date.  His last film was a political satire, ‘P Se PM Tak’ (2015) which was a disaster at the box office.

Kundan Shah died in sleep of heart attack on October 7, 2017 at his residence. One of the emotional tributes on his death was that of Shahrukh Khan whom he compared like his mother. He said ‘I was 25 when I came to Mumbai. I have stayed in Kundan’s house and I have been fed by his family and taken care of by them’. Shahrukh Khan had worked in a few episodes of Kundan Shah’s TV Serials, ‘Wagle Ki Duniya (1988) and as a lead actor in ‘Circus’ (1989). His close friends who had been regular visitors to his office said that Kundan Shah’s office cupboard was full of film scripts in various stages. Sadly, there were no takers for these scripts to turn them into films.

As a tribute to Kundan Shah on the occasion of his 2nd Remembrance Day, I am presenting a song from ‘Kya Kehna’ (2000) which was directed by him. The song is ‘Ae Dil Laaya Hai Bahaar, Apnon Ka Pyaar, Kya Kehna’. The song is rendered by Hariharan and Kavita Krishnamurthy on the words of Majrooh Sultanpuri which was set to music by Rajesh Roshan. The song has two versions – happy and sad, the latter version being also a inspirational song.

Hariharan lip syncs for Anupam Kher, Chandrachud Singh and Mamik Singh while Kavita Krishnamurthy lip syncs for Farida Jalal, Preity Zinta and Nivedita Bhattacharya (in sad version). On the sound track, some lines of the song have been rendered as duet, but in the film, it is for all the actors present in some scenes.

The tune of the song is a straight lift from Oh Carol, I am but a fool, darling I love you, though you treat me cruel, sung by pop singer, song writer and composer, Neil Sedaka in  1957.

Happy Version

Sad Version

Song – Ae Dil Laaya Hai Bahaar, Apno Ka Pyaar, Kya Kehna  (Kya kehna) (2000) Singer – Hariharan, Kavita Krishnamurthy, Lyrics – Majrooh Sultanpuri, MD – Rajesh Roshan
Harirahan + Kavita Krishnamurthy

Lyrics

Happy Version

oh……..o
ho o o o o
o o o o o
o o o o

ae dil
laaya hai bahaar
apnon ka pyaar
kya kehna
milen hum
chhalak utha
khushi ka khumaar
kya kehna
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna…aa
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna
ae dil
laaya hai bahaar
apnon ka pyaar
kya kehna
milen hum
chhalak utha
khushi ka khumaar
kya kehna
 
hum tum yun hi milte rahein
mehfil yoon hi sajti rahe
bas pyaar ki yehi ek dhun
har subah-o-shaam bajti rahe
gale mein mehekte rahein
pyaar bhari
baahon ka haar
kya kehna…aa
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna
 
oh……..o
ho o o o o
o o o o o
o o o o
ae dil
laaya hai bahaar
apnon ka pyaar
kya kehna
milen hum
chhalak utha
khushi ka khumaar
kya kehna
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna…aa
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna
 
Sad Version
 
dil ka koi tukda kabhi
dil se juda hota nahi
apna koi jaisa bhi ho
apna hai wo duja nahi
yahi hai wo milan hai jo
sachmuch hai
dil ka qaraar
kya kehna
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna
ae dil
laaya hai bahaar
apnon ka pyaar
kya kehna
milen hum
chhalak utha
khushi ka khumaar
kya kehna
 
kuchh apne hi tak yoon nahi
ye hai sawaal sab ke liye
jeena hai to jag mein jiyo
ban ke misaal sab ke liye
dekho kaisa mehak raha
pyaar bhari
baahon ka haar
kya kehna…aa
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna
ae dil
laaya hai bahaar
apnon ka pyaar
kya kehna
milein hum
chhalak utha
khushi ka khumaar
kya kehna
 
jo ho gaya so ho gaya
logon se tu darna nahi
saathi tere hain aur bhi
duniya mein tu tanha nahi
saamna karenge mil ke
chaahe dus ho
chaahe hazaar
kya kehna..aa
khile khile chehron se aaj
jag hai mera
gul-e-gulzaar
kya kehna

oh……..o
ho o o o o
o o o o o
o o o o
ae dil
laaya hai bahaar
apnon ka pyaar
kya kehna
milen hum
chhalak utha
khushi ka khumaar
kya kehna
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna


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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15700 song posts by now.

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

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