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

Archive for the ‘Poignant Song’ Category


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

Blog Day :

4633 Post No. : 16288

#The Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 126 # Tumhaari Kasam-1978
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Most of us are familiar with this lovely song ‘ham dono milke kaaghaz pe dil ke chitthi likhenge, jawaab aayegaa’ from the movie ‘Tumhaari Kasam-1978’. This song used to be played frequently on radio when I was growing up(going by the release date of the movie I was just above ten years of age then).

I like this song very much and so when I prepared my list of songs that bring back memories this was by default included in my list. But what about other songs from this movie? I think they were not notable songs and were easily forgotten?

I was not aware about the other songs from this movie until this article when I looked upon to present a song from this movie on the blog.

‘Tumhaari Kasam-1978’ had made its debut on the blog well in the initial days of the blog i.e., on 04.10.2008.
So, today after a gap of ’12 years,05 months, and twenty-one days (‘4555’ days – including 24.03.2021) we are adding the second song of this movie. And I have deliberately chosen a lesser-known song from this movie sung by Preeti Sagar and lip synced on screen by Master Rajoo.

“Tumhaari Kasam-1978” was directed by Ravi Chopra for ‘Associated Films & Finance Corporation’. It was produced by C.V.K. Shastry.

This movie had Jeetendra, Navin Nischol, Moushumi Chatterjee, Padmini Kapila, Master Rajoo, Vimal Ahuja, Jagdish Raj, Prem Sagar, Achala Sachdev, Narbada Shankar, Lina Das, Ranjeet Sood, Anand Balraj, R.S. Chopra, Master Shaka and others. Komila Virk, Alka, Roopesh Kumar and Pradeep Kumar make special appearance in this movie.

Story of this movie was written by Tikam. Screenplay and dialogues of this movie were written by Kamleshwar.
Pran Mehra was the Chief Editor for this movie and Editing was done by S.B. Mane with Pradeep Mehra as his assistant.

This movie was passed by Censor Board on 09.03.1978.

This movie had four songs (including one two-part song) written by Anand Bakshi. Music was composed by Rajesh Roshan.

Lata Mangeshkar, Mukesh, Asha Bhonsle, Preeti Sagar and Kishore Kumar give their voices to the songs in this movie.

here is a brief about this movie taken from ‘Wikipedia’;

Vidya (Moushumi Chatterjee) and Raja (Raju Shrestha) live in poverty. They get separated due to certain circumstances. Vidya starts working at Anand’s (Jeetendra) house as a maid. Raja is forced to beg for a local gang. While Vidya is attending to her chores, the alcoholic, Anand, tries to molest her. She escapes but is unfortunately hit by a speeding vehicle driven by Sunil Verma (Navin Nischol). This accident makes her visually impaired. The guilt-ridden Anand wants to apologize to Vidya. Will she accept the apology? Will Vidya reunite with her brother?

here is the list of songs of this movie as appearing in HFGK Vol-V (1971-1980);

S.No. Song Title Singer/s Posted On
01 Ye naa hogaa, nahin hoga hoga…ham donon milke kaaghaz pe dil ke Asha Bhonsle, Mukesh 04.10.2008
02 Mera naam Raaja, main bheekh maangu kaise Preeti Sagar Being presented today
03 Hmm, zu zu … main husn ka hoon deewaanaa Kishore Kumar
04 Aye mast hawaa ye to bataa kis waqt yahaan Lata Mangeshkar
05 Ae ladki pyaar karegi, tu mera aitbaar karegi

(in two parts) Lata Mangeshkar, Kishore Kumar
*HFGK included the ‘title music track’ of this movie as the sixth soundtrack*

I have not watched this movie and only thing I associate this movie name is its ‘Asha-Mukesh’ duet so far. Also, I think this movie was not successful on the box office.

I would request knowledgeable readers to throw more light on this movie and its songs.

Let us now listen to today’s song which also has the ‘signature touch’ of Rajesh Roshan. As mentioned above Master Rajoo is lip-syncing for Preeti Sagar’s voice and also seen in the picturization of the song are Anand Balraj, Moushumi Chatterjee and many others.


Song-Mera naam Raaja main bheekh maangoon kaise (Tumhaari Kasam)(1978) Singer-Preeti Sagar, Lyrics-Anand Bakshi, MD-Rajesh Roshan

Lyrics

mera naam raaja
main bheekh maangoon kaise
bheekh main naa maangoon to
bolo jiyun kaise
mera naam raaja aa
mera naam raaja
main bheekh maangoon kaise
bheekh main naa maangoon to
bolo jiyun kaise
mera naam raaja

raste mein miley to
main poochhoon bhagwan se
teri kya thhi dushmani
is chhoti si jaan se ae
din bhar bhaagoon
raat ko jaagoon
din bhar bhaagoon
raat ko jaagoon
maa se sune loriyaan
bachche mere jaise
bheekh main naa maangoon to
bolo jiyun kaise
mera naam raaja aa

apne in haathon pe
mujhko badaa guroor thha
bheekh main inse maangoon
qismat ko ye Manzoor thha
sapne toote
apne chhoote ae
sapne toote
apne chhoote
thehro jaanewaalon
dete jaao do paise ae
bheekh main naa maangoon to
bolo jiyun kaise
mera naam raaja aa
main bheekh maangoon kaise
bheekh main naa maangoon to
bolo jiyun kaise
mera naam raaja aa


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

Blog Day :

4470 Post No. : 15967 Movie Count :

4375

#the Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 105# In Remembrance – Kishore Kumar #
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Today 13th October’2020 is the thirty-third ‘Remembrance Day’ of the legendary singer Kishore Kumar.
It was on 13th October’1987 that he left this world at the age of fifty-eight only (04.08.1929-13.10.1987) leaving his family, followers and fans shocked, grief-stricken and heart-broken.

On this occasion as a tribute to him here is a song from ‘1976’ movie ‘Aaj Ka Ghar’.

I was not aware of this movie earlier until I came across this song a few years back. I guess this must be a lesser known or may be even an obscure movie (though it is now available on internet and uploaded three months back (the link which I saw).

‘Aaj Ka Ghar-1976’ was directed by Surendra Shailaj for ‘Shi Adarsh Arts, Bombay’. It was produced by Jaymala. Surendra Sinha was the production controller for of this movie.

It had Jaymala, Shreeram Lagoo, Romesh Sharma, Helen, Lalita Pawar, Baby Mona, Jalal Agha, Madan Puri, I.S. Johar, Chandrashekhar, Ramesh Deo, Master Tito and A.K. Hangal. They were supported by K.K. Purohit, Ilaben, Neelam, Jassu Ben, Jagirdar, Nazmu, Lata Sahni, Chhotu, Vinay, Hansa, Jagmohan Juneja, Mohan Thakur, Duggal, A.U. Khatri and others.

Story and screenplay of this movie was written by B.K. Adarsh whereas the basic idea was by Harin Mehta. Editing of this movie was done by Ravi Patankar. Dialogues and lyrics were written by M.G. Hashmat and revised dialogues were written by Surendra Shailaj (who directed the movie).

Music of this movie was composed by music duo Anil-Arun who composed music for many successful Marathi movies from 1971-1991. Both of them worked independently as well as a ‘team’ for Marathi movies. They also worked as assistants (music arranger) for S.D. Burman and also worked as assistants for may Hindi movies jointly as well as independently.

Anil of Anil Arun is the famous music composer and arranger Anil Mohile whereas Arun Paudwal (spouse of Anuradha Paudwal) was music director. However, as Arun Paudwal passed away in 1991 the pair was broken.

Arun Paudwal also composed music for the ‘1992’ movie ‘Meera Ka Mohan’ which was released after his death. And thereafter Anil Mohile continued to give music to Marathi Movies. He also arranged music for more than hundred programs of Lata Mangeshkar and many Hindi movies too. He passed away on 1st February’2012. Lata Mangeshkar penned a heartfelt condolence on his death as he was very close to the Mangeshkar family.

Coming back to the songs of today’s movie the movie had only three songs-one solo each by Kishore Kumar and Anuradha Paudwal and one duet of Anuradha Paudwal and Adolf.

This movie was passed by Censor Board on 31.12.1976.

Today’s song is a back-ground song sung by Kishore Kumar and written by M.G. Hashmat. Music is composed by Anil-Arun (I guess this the only Hindi movie they jointly composed music for).

They make their debut on the blog with the movie also making its debut on the blog.

In the few initial posts in this series I had presented some background songs sung by Kishore Kumar. I think it would be interesting to compile a list of such background songs he sung in Hindi movies and that gives us an interesting topic for another post in the future.

Secondly when I came back from Kenya after finishing the project there, I had planned that I will surely visit Khandwa on at least two important dates i.e. 4th August and 13th October as the Kishore fans there always have special programs on these dates, however due to the current situation I doubt if the programs would be held there.

Also couple of years back we had heard that the ancestral home of Kishore Kumar in Khandwa is either sold or bought by somebody and it is going to be renovated due to its dilapidated condition. I am not aware of its present status now(or if it has been taken over by the state government as some rumors were there?). But I will always cherish the memories my earlier visits to Khandwa to this place and the Kishore Kumar memorial there on the Khandwa-Indore road.

Remembering the ‘versatile genius’ Abhas Kumar Ganguly – Kishore Kumar today and paying our tributes, let us listen to one of his songs …

I have not watched this movie. But, from the video of the song available it seems that the song gets played in parts in the movie at various situations and twists and turns in the story of the movie.

However, the happy ‘antaraa’ is played in the beginning of the movie (with titles, as I have watched the titles) and is repeated in the end of the movie where we have a ‘happy ending’ 🙂

I hope that you like this song …

(video, parts mixed with audio)

Audio

Song-Baar baar aansuon ne bhigoyi nazar (Aaj Ka Ye Ghar)(1976) Singer-Kishore Kumar, Lyrics-M G Hashmat, MD-Anil Arun
Chorus

Lyrics

(played in background with titles)

Baar baar aansuon ne bhigoyi nazar
Jaane kyun lut gaya aaj ka aa ye ghar
Aaj ka aa aa ye ghar
Baar baar aansuon ne bhigoyi nazar
Jaane kyun lut gaya aa aaj ka ye ghar
Aaj ka ye ghar
aaj ka aa aa ye ghar

Aansuon ka zehar jo bhi
Muskuraake pee gaya
Aansuon ka zehar jo bhi
Muskuraake pee gaya
Kaaton se bhi uljha magar
Wo phool ban ke jee gaya
Ho gaya phir safal
Zindagi ka Safar
Dekh lo ik nazar
Aaj ka aa ye ghar
Aaj ka aa aa ye ghar

(Lyrics as per video link)

Baar baar aansuon ne bheegoyi nazar
Jaane kyon lut gaya aaj ka aa ye ghar
Aaj ka aa aa ye ghar
Baar baar aansuon ne bheegoyi nazar
Jaane kyon lut gaya aa aaj ka ye ghar
aaj ka aa aa ye ghar

Aaj khushiyon ke chaman mein
Kaisi ye aandhi chali
Aa aa aa aa aa
Aaj khushiyon ke chaman mein
Kaisi ye aandhi chali
Kyon tod di jhonkon ne
Gham ke shaakh se khilti kali
Chal diya baaghbaan bhi
Kali raund kar
Jaane kyun lut gaya
Aaj ka aa ye ghar

Aur koi chhod jaata
To na yoon hota gila
Aur koi chhod jaata
To na yoon hota gila
Ae aasmaan ye to bataa
Ye kis khata ki di sazaa
Kyun gaya apna hi dil mera tod kar
Jaane kyun lut gaya
Aaj ka aa ye ghar

Baar baar aansuon ne bhigoyi nazar
Jaane kyun lut gaya aaj ka aa ye ghar
Aaj ka aa aa ye ghar

meri mamtaa ki nishaani ee
bin mitaaye mit gayi
meri mamtaa ki nishaani ee
bin mitaaye mit gayi
ik deep ki thhi raushni
kyon bin bujhaaye bujh gayi ee
naa wo geet (?)
naa wo geet
naa wo dhun
naa wo swar
Jaane kyun lut gaya aaj ka aa ye ghar
Aaj ka aa aa ye ghar

Aa aa aa aa aa
Aa aa aa aa aa
Aa aa aa aa aa

Gardishon mein waqt ki hain
Zindagi ke kaafile ae ae
Aa aa aa aa aa
Gardishon mein waqt ki hain
Zindagi ke kaafile
Dil se lagaaya kal jinhen
Hain aaj unse faasle
Chha gaya andhkaar
Ab main jaaun kidhar
Jaane kyun lut gaya
Aaj ka aa ye ghar
Aaj ka aa ye ghar

zindagi ki kashmakash se
toot kar jaaun kahaan
main chhoot kar is qaid se
jaaun bhi to jaaun kahaan
sholaa ban jal uthhi ee
meri shaam o sahar
Jaane kyun lut gaya
Aaj ka aa ye ghar
Aaj ka aa ye ghar

Aansuon ka zehar jo bhi
Muskuraa ke pee gaya
Aansuon ka zehar jo bhi
Muskuraa ke pee gaya
Kaanton se bhi uljha magar
Wo phool ban ke jee gaya
Ho gaya phir safal
Zindagi ka Safar
Dekh lo ik nazar
Aaj ka ye ghar
Aaj ka ye ghar


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 :

4393 Post No. : 15761

Screenplay is the first stage when a film is said to be born on paper. A screenplay writer translates the story/script from its literary form to an audio-visual presentation incorporating the ideas of the directors as to how each character is to be presented, the mood of the scenes, the surrounding environments, the stance of dialogue deliveries, the camera angles, lighting etc. Some screenplay writers also incorporate the dialogues. Directors like Satyajit Ray would write the screenplay in sketch form, visually presenting the scenes in each sheet of paper, something like what we used to see RK Laxman’s ‘You Said It’ in newspapers. In other words, screenplay is a complete document, representing a film in a paper format.

In a professional set-up, a director of the film would like to have with him a bound copy of the screenplay, a copy of which he would also handed over to each one of main actors, cinematographer, art director, sound engineer, choreographer, lyricists, music directors etc. before the film’s shooting commences. Some of the directors like Bimal Roy used to follow the system (as revealed by Dilip Kumar in an interview) while directors like Guru Dutt did not give much importance to this system as quite often, he used to make changes in the screenplay at the spur of the moment  while shooting (as revealed by Abrar Alvi in his book, ‘Ten Years With Guru Dutt’). In our office parlance, we can call screenplay as a manual of instructions for all those who are closely associated with the making of a particular film.

From the above description, it is apparent as to how important the role of screenplay writers have in the making of films. Unfortunately, most of the screenplay writers are ‘faceless’ in the sense that their faces seldom appear on the film magazines. It was Salim-Javed, the duo who, as a story, screenplay and dialogue writer, attained the status of stars during 1970s and early 80s and their faces became familiar to most of the cinema-lovers.

I am discussing in this article, one of the most prominent ‘faceless’ screenplay writers, an introvert who kept a low profile despite writing screenplays for many Hindi films for over 3 decades, which became popular. Some of his works attained the classic status such as ‘Parineeta’ (1953), ‘Devdas’ (1955), ‘Sujata’ (1959), ‘Bandini’ (1963), ‘Teesri Kasam’ (1966), ‘Abhiman’ (1971). He is the Bengali novelist and short-story writer, dancer, theatre actor and the director, Nabendu Ghosh who became a screenplay writer by default.

I came to know about Nabendu Ghosh for the first time about 3 years back when I was going through a book ‘Gulzar in Conversations with Nasreen Muni Kabir’ and Gulzar’s many interviews on the newspapers. In the book and the interviews, Gulzar gave credit to Nabendu Ghosh in shaping his career as a screenplay writer. I became interested in knowing him in details only when I came to know that he had made a statement as early as in 1945 that if at all he joined the film industry, it would be only under Bimal Roy. I found this statement surprising because in Bengali literary circle, he had already attained the status of a star writer due to popularity of his novels and short stories.

During the past few days, I have read books and interviews on Nabendu Ghosh given by his colleagues in the film industry, his own interview on Vividh Bharati and the extracts from his Bengali autobiography, ‘Eka Naukar Yatri’ (‘Traveler of the Lonely Boat’) translated in English by his daughter, Ratnottama Sengupta. On the basis of these sources, I have written his profile incorporating the important events in his life which is given below:

Nabendu Bhushan Ghosh (27/03/1916 – 15/12/2007) was born in Dhaka where he did his early schooling. The family shifted to Patna when his father, an advocate started practicing at the Patna High Court. Nabendu continued his secondary school in Patna and continued his college there completing MA in English literature. During his Patna days, Nabendu joined a local theatre group where he acted, mostly in the female role. He also learnt dancing at Uday Shankar’s Almora Cultural Centre.

Nabendu got a job in DIG’s office in Patna. However, during Quit India Movement, he wrote articles against the British rules. For this, he got warning from his sympathetic superiors from the office not to indulge in writing anti-British articles. Instead of heeding their advice, he preferred to resign from the job and shifted to Kolkata in 1944 where his life as a novelist and short story writers began. By the end of 1940s, Nabendu had became a star writer as his novels and short stories were very popular. During this period, he had written stories depicting almost every aspects of life in Bengal – the famine, the tram, the strike, the rationing, communal violence, partitions victims etc.

On a visit to Rajshahi (now in Bangla Desh) sometime in 1945, he watched a Bangla film ‘Udayer Pathe’ (1945) in a theatre. The film had influenced him so much that he took a vow that if he ever become a writer for the films, it would be for Bimal Roy, the director of the film. Probably, this was more like an emotional reaction to the film rather than his serious intention at that time. After a couple of years, Nabendu had a chance meeting with Bimal Roy in Kolkata who was impressed with writings. But it was not until 1951 when Ashok Kumar invited Bimal Roy to direct the film ‘Maa’ (1952) that Bimal Roy thought of taking Nabendu along with him.

Both for Bimal Roy and Nabendu Ghosh, the migration to Mumbai was not by choice but because of the compelling circumstances. With the creation of East Pakistan (now Bangla Desh), the markets for Bangla films and the Bangla novels and short stories had considerably dwindled thanks to the then East Pakistan Government’s policy of suppressing Bangla language in favour of Urdu. What was thought to be a temporary assignment in Mumbai in 1951 became a long creative association between Bimal Roy and Nabendu Ghosh from 1951 to 1966 as a screenplay writer in 9 films besides doing cameo roles in ‘Do Bhiga Zameen’ (1953) and ‘Sujata’ (1959).

During his 3 decades of association with Hindi films, Nabendu Ghosh wrote screenplay for a little over 30 films which included apart from Bimal Roy’s films mentioned above, films like ‘Aar Paar’ (1954), ‘Baadbaan’ (1954), ‘Milap’ (1955), ‘Detective’ (1958), ‘Teesri Kasam’ (1966), ‘Sharafat’ (1970), ‘Laal Pathar’ (1971), ‘Abhiman’ (1973), “Pratigya’ (1975), ‘Ganga Ki Saugandh’ (1978), ‘Krodhi’ (1981) etc. He also directed ‘Trishagni’ (1988) which gave him the National Film Award for the best debut director. Sometime in the middle of his filmy career, he had directed ‘Doctor Babu‘ (based on Phanishwarnath Renu’s story, ‘Maila Aanchal’) with Dharmendra and Jaya Bahaduri in the lead roles and RD Burman as the music director. When 70% of the film was canned, the producer of the film died leaving the film unfinished.

In 1995, he directed a television serial for Doordarshan, ‘Anmol Moti’ on Ashok Kumar. He directed Children Film Society’s ‘Netraheen Sakshi’ and for Ministry of Health, the film ‘Ladkiyaan’ (1997). He was a visiting faculty at FTII and conducted workshops on screenplay writing during 1967 to 1980. During his life time, Nabendu wrote 26 Bengali novels, 18 collections of Bengali short stories and his only English book – ‘Ashok Kumar – His Life and Times’.

Nabendu Ghosh passed away in Kolkata on December 15, 2007 at a ripe age of 91. Nabendu Ghosh’s last novel, ‘Kadam Kadam’ based on the experiences of character actor, Nazir Hussain in INA, was released during his birth centenary year 2016.

If we go through the list of the films for which Nabendu Ghosh wrote screenplays, it would be observed that most of the films were based on stories from literature. His screenplay writings were so powerful that even in respect of women displayed in the films as fallen from the grace from the eyes of the society, the cine audience loved those characters like Chandramukhi in ‘Devdas’ (1955), Kalyani in ‘Bandini’ (1963), Bijli in ‘Chanda Aur Bijli’ (1965), Hirabai in ‘Teesri Kasam’ (1966) and Chandni in ‘Sharafat’ (1970). Raj Kapoor had said after the release of ‘Teesri Kasam’ (1966) that Nabendu Ghosh’s screenplay brought in him the character of  ‘Hiraman’ more than that of Raj Kapoor.

Ratnottama Sengupta, the daughter of Nabendu Ghosh directed one-hour documentary film, ‘And They Made Classic Films’ on the bonding between Bimal Roy and her father based on his interviews. The film was shown at 23rd Kolkata International Film Festival, 2017. One of the interesting anecdotes which Ratnottama Sengupta narrated from the documentary film is –

“On the first day of shoot of ‘Devdas’ (1955), Dilip Kumar was in a tense mood walking up and down on the studio floor. When Nabendu Ghosh asked the reason, Dilip Kumar said that all three are sitting on his shoulders, referring to Pramathesh Barua who directed ‘Devdas’ (1935), KL Saigal who acted in it and Sarat Chandra Chattopadhyay who wrote the novel. She said that Nabendu Ghosh buried all three ghosts and painted a fresh picture of Devdas in his screen-play in such a way that even today when we talk of Devads, we think of Dilip Kumar.” [Quoted in an article by Anuj Kumar in ‘The Hindu’, January 5, 2018).

There were some pitfalls in Nabendu Ghosh’s filmy career also. He never got credit for writing screenplay for the film ‘Madhumati’ (1958). In fact, there is no mention of screenplay writer in the credit title of the film. When Guru Dutt selected one of his stories and wanted him to write screenplay for ‘Kaagaz Ke Phool’ (1959) on his story, Nabendu Ghosh declined by saying that he was busy with the screenplay of ‘Sujata’. He gave his story to Guru Dutt requesting him to get the screenplay written by someone else. When the film was released, Nabendu Ghosh was surprised to note that he was not credited in the film as a story writer while Abrar Alvi was duly credited as screenplay and dialogue writer.

‘Baadbaan’ (1954) for which Nabendu Ghosh wrote the screen-play, is regarded as a classic film though the film did not fare well at the box office. Vijay Anand who claimed in an interview at Satyajit Ray Film and Television Institute, Kolkata in 2003 that he had seen this film 10 times. He regards it as a piece of literature appearing on the screen. It was more of a screenplay writer’s triumph than the director.

I am presenting a song “Thukra Ke Teri Duniya Ko” from ‘Baadbaan’ (1954) which is rendered by Asha Bhosle. The song is written by Indeevar which is set to music by Timir Baran-S K Pal. In this song, Asha Bhosle seems to be trying to sing like Lata Mangeshkar, that too the way Lata has sung in ‘Anarkali’ (1953). Of course, this is my hunch.

Song – Thukra Ke Teri Duniya Ko (Baadbaan) (1954) Singer – Asha Bhosle, Lyrics – Indeewar, MD – Timir Baran, SK Pal

Lyrics

thukra ke teri duniya ko
chaahoon to kar doon choor
magar tere pyaar se hoon majboor
thukra ke teri duniya ko
chaahoon to kar doon choor
magar tere pyaar se hoon majboor
piya teri preet se hoon majboor
 
beh jaaye na teri duniya
aansoo na bahaaungi main
beh jaaye na teri duniya
aansoo na bahaaungi main
meri haaye na tujhko jalaa de
tere paas na aaungi main
mujhe dekhe na teri nazren
dekhe na teri nazren
ho jaaun itni door
magar tere pyaar se hoon majboor
piya teri preet se hoon majboor
 
baddua na dil de baithe
tujh ko na dosh doongi main
baddua na dil de baithe
tujh ko na dosh doongi main
taqdeer ke bair kiya hai
taqdeer se lad loongi main
main tod chalun
main tod chalun ek pal mein
tod chalun ek pal mein
duniya ka har dastoor
magar tere pyar se hoon majboor
piya teri preet se hoom majboor

thukra ke teri duniya ko
chaahun to kar doon choor
magar tere pyaar se hoon majboor
piya teri preet se hoon majboor

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

ठुकरा के तेरी दुनिया को
चाहूँ तो कर दूँ चूर
मगर तेरे प्यार से हूँ मजबूर
ठुकरा के तेरी दुनिया को
चाहूँ तो कर दूँ चूर
मगर तेरे प्यार से हूँ मजबूर
पिया तेरी प्रीत से हूँ मजबूर

बह जाये ना तेरी दुनिया
आंसूँ ना बहाऊँगी मैं
बह जाये ना तेरी दुनिया
आंसूँ ना बहाऊँगी मैं
मेरी हाए ना तुझको जला दे
तेरे पास ना आऊँगी मैं’
मुझे देखें ना तेरी नज़रें
देखें ना तेरी नज़रें
हो जाऊँ इतनी दूर
मगर तेरे प्यार से हूँ मजबूर
पिया तेरी प्रीत से हूँ मजबूर

बद्दुआ ना दिल दे बैठे
तुझको ना दोष दूँगी मैं
बद्दुआ ना दिल दे बैठे
तुझको ना दोष दूँगी मैं
तक़दीर ने बैर किया है
तक़दीर से लड़ लूँगी मैं’
मैं तोड़ चलूँ
मैं तोड़ चलूँ इक पल में
तोड़ चलूँ इक पल में
दुनिया का हर दस्तूर
मगर तेरे प्यार से हूँ मजबूर
पिया तेरी प्रीत से हूँ मजबूर

ठुकरा के तेरी दुनिया को
चाहूँ तो कर दूँ चूर
मगर तेरे प्यार से हूँ मजबूर
पिया तेरी प्रीत से हूँ मजबूर


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 :

4380 Post No. : 15725

‘Baadbaan’ (1954) was produced by Bombay Talkies Workers’ Industrial Society, the last-ditch efforts by the workers of The Bombay Talkies to keep the banner alive. The Bombay Talkies was on the verge of its closure when it faced the financial crunch following the failures of ‘Tamaasha’ (1952) and ‘Maa’ (1952) at the box office. ‘Baadbaan’ had star cast comprising of actors who were mostly the well-wisher of The Bombay Talkies. They included Ashok Kumar, Dev Anand, Meena Kumari, Usha Kiran, Jairaj, Leela Chitnis, Sheikh Mukhtar, Krishnakant, Bipin Gupta, Gope etc.

The film was majorly shot in Versova, (locals call it as ‘Vesave’), a fishing village at the outskirt of the then Bombay City. Among the names of the other crew members of the film mentioned here , is the name of Raja H Mura (Harishchandra Mura) as one of the Assistant Directors who assisted Phani Majumdar in the film. I came to know from a facebook upload of a print page concerning the film that Raja H Mura was a fisherman of Versova village near Andheri in Mumbai who also worked as a junior artist in films. It was Raja who made all the logistic arrangements for shootings in the Varsova village and also in the sea. Probably, with his experience of sailing in high sea, the shots involving the sailing of boats and their capsizing in the sea may have been supervised by Raja.

The name of Versova fishermen’s village took me back by over 6 decades. I recalled that I had accompanied my family members to Versova village sometime in mid-1950s to pay a social visit to one of our relatives who ran a grocery shop and a small restaurant in the village.  He was staying in one of the Portuguese types of house, almost similar to the ones I have seen later in Goa. The visit was a full of adventure. From Andheri railway station, we took a horse carriage which dropped us near Four Bungalows (or Seven Bungalows?). From this point, we had to walk through a narrow muddy path for about 15-20 minutes which passed through a swamp to reach the village. Now, Versova is an upscale locality in the suburb of Mumbai though a part of it still retains its old world village charm.

The print of ‘Baadbaan’ (1954) was lost in a studio fire along with some more films. So, the chances of watching this film in the future looks very bleak. Based on Encyclopaedia of Indian Cinema, the broad story of the film is as under:

Lalan (Jairaj), the village headman, leaves to warn fishermen about an impending storm but he goes missing during the storm followed by his wife Leela (Leela Chitnis). Their orphaned child who is left in the house is adopted by the District Magistrate, Choudhary (Bipin Gupta). The child grows up to become Naren (Dev Anand). Educated abroad, he is to wed Bina (Meena Kumari), the daughter of a family friend. Shankar (Ashok Kumar), Naren’s friend and Bina’s music teacher, is also in love with her but keeps his feeling to himself. The marriage of Naren with Bina is called off when Choudhary admits that Naren is the son of a fisherman, adopted by him.

With this background, Naren shifts to  his village where he decides to dedicate his life to the welfare of the fishermen. He starts an ice factory and the workers co-operative society. He falls in love with the village girl, Mohnia (Usha Kiran). In the meanwhile, seeing that Bina is very sad as she misses Naren, Choudhury agrees to her marriage with Naren. But she is unhappy about his rural activism. The death of his wife, Bina in a tragic circumstance leads Naren to be with his own people and also with Mohnia who shares his passion for improving the lots of fishermen in his village.

There are 7 songs in the film written by Indiwar (5) and Uddhav Kumar (2) of which two songs have already been covered in the blog. All songs were set to music by Timir Baran and SK Pal. I am presenting the third song of the film, “Har Roz Kaha, Har Roz Suna” sung by Geeta Dutt. The song is written by Indiwar under the music direction of Timir Baran and SK Pal. Going by the wordings of the song, I guess this song is picturised on Meena Kumari and the situation of the song could be after her marriage with Dev Anand is called off, she is in a sad state of mind.

It is a poignant song which surprisingly eluded the blog for so long.

Song – Har Roz Kaha Har Roz Suna (Baadbaan) (1954) Singer – Geeta Dutt, Lyrics – Indeewar, MD – Timir Baran – SK Pal

Lyrics

har roz kaha har roz suna
ek baat na poori ho paayi..ee
ho paayi
har roz kaha har roz suna
ek baat na poori ho paayi..ee
ho paayi
har roz kaha
 
dil de bhi chuke dil le bhi chuke
dil de bhi chuke dil le bhi chuke
saugaat na poori ho paayi..ee
ho paayi
har roz kaha
 
aakash mein jaise chaand badhaa
aakash mein jaise chaand badhaa
badhti hi gayi mann ki aasha
saagar chalka dhaara nikli
phir bhi ye jeevan hai pyaasa
chhaayi bhi ghata paani barsa
barsat na poori ho paayi..ee
ho paayi
har roz kaha
 
uthti hi rahi saagar mein lahar
uthti hi rahi saagar mein lahar
kuchh kam na huyi chaahat dil ki
paa kar bhi tumhen ye dil na bhara
kuchh aur badhi hasrat dil ki
shehnaai baji aur raat saji
baarat na poori ho paayi..ee
ho paayi
har roz kaha

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

हर रोज़ कहा
हर रोज़ सुना
एक बात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा
हर रोज़ सुना
एक बात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा

दिल दे भी चुके
दिल ले भी चुके
सौगात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा

आकाश में जैसे चाँद बढ़ा
आकाश में जैसे चाँद बढ़ा
बढ़ती ही गई मन की आशा
सागर छलका
धारा निकली
फिर भी ये जीवन है प्यासा
छाई भी घटा
पानी बरसा
बरसात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा

उठती ही रही सागर में लहर
उठती ही रही सागर में लहर
कुछ कम ना हुई चाहत दिल की
पा कर भी तुम्हें ये दिल ना भरा
कुछ और बढ़ी हसरत दिल की
शनहाई बजी
और रात सजी
बारात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा


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


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 16300 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

16312

Number of movies covered in the blog

Movies with all their songs covered =1257
Total Number of movies covered =4426

Total visits so far

  • 14,339,107 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

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