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

Archive for the ‘Public lament song’ Category


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 : 3751 Post No. : 14716

The Hindi film industry has seen many legends in its 100+ years of existence. Giants in their chosen field, revered by not just their generation but by generations that followed. They have a very fond place in the hearts of film lovers, who are eternally thankful for their immense contribution to cinema. They all recognise the the world of cinema would be much the poorer without this contribution.

One such legend, and one who probably elevates the worth of the term “legend”, is, without doubt, yesteryear poet and lyricist, Sahir Ludhianvi.

Today (25 october 2018)happens to be his death anniversary – and, as we’ve done on previous occasions, we pay our humble tribute to him today.

Among various artistes that I’ve written about on this blog, Sahir has probably featured the most, alongside Rafisaab. I’ve written many times about him, on his birth and death anniversaries.

And yet, I’m never bored while discussing Sahir. Yes, readers of my posts might get bored 🙂 – but I’m not.

Whenever I write about him, I feel a rush of energy in my body. The content might be repetitive, but the huge regard I have for him overcomes everything else.

Sahir’s status as poet and lyricist extraordinaire is established beyond debate. He might not have been the most popular person around (and that’s the understatement of the millennium!) but even his most ardent critics would have to grudgingly acknowledge the sheer magic of his poetry.

Such is the richness of the treasure trove that he has left us that no post can do justice to it. In previous posts on him, I have often listed some of his songs – the sheer power of many of them transports you to a different world. Yes, there’s much more to a song than just its lyrics – but with Sahir, you could be assured that the lyrics never missed your attention.

Sahir’s lyrics were a direct reflection of his personality. He had strong views on various aspects of life and society, on relationships, on politics – and never hesitated to let the world know of them. It was as if he was waiting for an opportunity to use his poetry and lyrics to convey the message that Sahir, the person, wanted to get across to the world.

Thus, when you listened to “zindagi bheekh mein nahin milti, zindagi badh ke chheeni jaati hai”, you felt it was Sahir exhorting you to demand your rights in life.

Or even, later in life, when he was disillusioned with the way things were going in his life, “main pal do pal ka shaayar hoon”.

Sahir had a very strong sense of justice and injustice in society. Early in life, when called upon to choose between his mother and his far wealthier father, he chose his mother. Till her very end, he was totally devoted to her. Many of his songs reflect the loving relationship between a mother and child.

Throughout his life, Sahir spoke out against injustice and tyranny. He spoke for the underprivileged, the marginalized, the labour class. He tried to show society a mirror, however ugly it looked. He was trenchant in his criticism of the state of affairs – “Samaj ko badal daalo” was one of his lines.

Sahir’s lament about the pathetic state of living for the poor in India is well illustrated in the poignant songs of Pyaasa (1957). “Yahaan par to jeewan se hai maut sasti” he wrote, following it up with “ye duniya agar mil bhi jaaye to kya hai”. “Jinhe naaz hai Hind par wo kahaan hain”, he said.

Continuing in this refrain, he went satirical, writing “Cheen-o-Arab hamara, Hindustan hamara, rehne ko ghar nahin hai, saara jahaan hamaara” for Phir Subah Hogi (1958).

Each line, one could feel, coming straight from the heart.

There were other aspects also that Sahir was concerned about and discussed in his lyrics. Hindu-Muslim unity for example. Always a sensitive topic, and even more so in the years following independence. But Sahir was never one to shy away from a topic – his lines “tu Hindu banega na Musalmaan banega” are some of the greatest lines of Hindi cinema.

The other thing that bothered Sahir greatly was the treatment of women in Indian society. He was deeply disturbed by the lack of respect accorded to women, thanks to a patriarchal society that privileged men over women. Sahir minced no words while lamenting this – his “aurat ne janam diya mardon ko” is a classic in Hindi cinema, with its entire theme revolving around women and how they have been treated by men in India.

It is therefore only fitting that on his death anniversary, the song picked for the blog reflects his thoughts on this topic. The song is “Seeta bhi jahaan sukh paa na saki” from Lakshmi (1982). The film was released after Sahir’s death – in fact, the film starts with a tribute to Sahir.

This song was one of several songs proposed to me for this write-up by Avinashji. As usual, he has been kind enough to prepare the lyrics for this song.

Though this song is not all that well-known, certainly not as well known as “aurat ne janam diya mardon ko”, its words are trademark Sahir. Typical of him, in this song too, he laments the way women have been treated in Indian society. But this time he uses Seeta as his example, saying even she could not find happiness on this earth. He says women have forever suffered, and in today’s world, there isn’t even a Valmiki to give a Seeta refuge in time of need. She has to fend for herself all alone, and constantly seek to avoid the predatory eye of men around her.

Talking of the predatory eye, I cannot help talking about one of the hottest topics right now in India – at least in urban India and on social media. And that is the #MeToo movement. I’m sure Sahir would have had something to say about it, had he been around. So I’m taking the liberty of sharing my thoughts on the subject.

The #MeToo movement, in my opinion, is primarily about those who have been sexually abused and harassed, coming out with their story. While these are mostly women, it is not necessarily limited to women alone. There have been a few cases of men too coming out with their horrific stories. At the moment, it is largely focussed on workplace harassment, but there’s no reason it couldn’t go way beyond that.

It is a fact that, mainly thanks to our patriarchal society, there is a huge power imbalance between men and women in India. This actually exists around the world, but the patriarchy makes it much worse in India.

Power, as we all know, is a hugely corrupting and intoxicating drug. So it is not at all surprising that those in power, mostly men, would tend to exploit those they have power over, mostly women. This shouldn’t come as a surprise to anybody.

What makes it worse, as if to add insult to injury, Indian society is also unforgiving towards women in this respect. Instead of being supportive, it tends to blame the victim. Even the woman’s own family make her feel guilty for what is essentially a man’s wrongdoing. She is often gaslighted into thinking that it is somehow her fault, that she invited it. She is encouraged to just be quiet about it, since “the honour of the family” might be at stake.

If she is a working woman, she might even be encouraged to stop working. Many women have fallen out of the workforce in India for this reason alone.

Then again, thanks to the power imbalance, she is up against it if she even chooses to seek justice through the justice system. To even make a complaint to the police, to get an FIR registered is a huge challenge. When you’re complaining about a more powerful party, the system will bend towards that party. The police will either discourage you from giving your complaint, or will mock you, or will flatly refuse to write an FIR.

If you do get past the police hurdle, you still have the rest of the justice system to deal with. Courts which will insist on evidence – which in most cases of this sort is just not available.

Besides, the other party being much more powerful, he can ensure your life is made miserable.

So justice through the normal justice system (which is often referred to as “due process”) is almost always a pipedream.

To help matters, at least in the workplace, new legislation was brought in in 2013, replacing the earlier Vishakha guidelines which laid out steps to be taken at a workplace to deal with sexual harassment complaints. An employer is supposed to set up an Internal Complaints Committee (ICC) and so on.

I won’t go into all the details, but the reality is that many employers have not even set this up. And even where this is theoretically in place, women who have complained have failed to get justice. On the contrary, it has boomeranged on them – they’ve been marked as “trouble-makers” in the organisation. Remember, they are complaining about someone who is almost invariably in a higher power position in the company.

With this being the stark reality, whether we like it or not, is it surprising that many women have just kept their pain buried within themselves? They have tolerated harassment but not brought it out in the open. Maybe they didn’t want to jeopardize their careers – after all, it is the woman who tends to bear the brunt of any negative fallout in these matters.

But now we have #MeToo.

Some women at least have decided enough is enough. It is not their shame to bear, so why should they? So they have decided to come out with their story. It is cathartic for them – it must be so hard to keep this buried within you for years.

Some of them have disclosed their identity, some have not. Some have disclosed the identity of the predator, some have chosen not to specifically name him (although there are usually enough hints in their story). It’s upto each person to decide what level of comfort she has – no one can demand she behave in a particular way.

One complaint about #MeToo is that many of these stories are coming out after many years. Ten years, even twenty years. Why didn’t they come out earlier? How can we possibly believe something that might or might not have happened a decade ago?

I feel this is unreasonable. I’ve already explained how the odds are stacked against the woman – the situation was even worse a decade ago. Besides, when women have been constantly shamed, why would they invite further ridicule by complaining, especially when they have no hope of justice?

It is only now, that thanks to the #MeToo movement, they are coming out with their story – hoping to get closure if nothing else. If they get justice, great – if not, at least they’re hoping for closure.

Many have complained that outing men on social media is not the right way to go about this. That women should follow due process – that is, go through the justice sytem of police and courts, or through the workplace structures for this purpose.

And that has worked, right? After trying all that, and hitting their heads against a wall, women have finally chosen social media as their hope for getting their message across. And who can blame them? It’s not like they didn’t want due process – it is that “due process” failed them completely.

Another criticism of #MeToo is that it is often just accusation, without evidence. And no court can possibly accept that. There’s a chance that an innocent person is maligned out of malice or whatever other reason, and his reputation totally destroyed by a #MeToo accusation.

Yes, this is possible. In the spate of accusations, it is possible that some are fake too. Which is why every accusation needs to be attempted to be vetted to the extent possible. Having said that, it is also very unreasonable and unrealistic to expect evidence in cases of sexual harassment, because of its very nature. It tends to happen behind closed doors. So there will be many cases where such evidence is just not available.

Yet another criticism is that #MeToo is about the urban elite and about sometimes seemingly trivial harassment, while women in rural India suffer far worse.

I think this is unfair. Yes, rural women suffer harassment too – possibly much more. Does that mean urban women should be silent? What sort of logic is that? Rather, we should hope the movement spreads to rural India too. Most movements anyway start with those who have relatively more agency – and then spread.

All in all, I think #MeToo in India was long overdue. It started in the US almost exactly a year ago, and exposed many well-known Hollywood personalities like Harvey Weinstein and Kevin Spacey. Around that time, an Indian in the US, Raya Sarkar, prepared a list of predators in academia – but she was unfortunately criticized and the movement did not pick up steam then in India.

Now it has.

No one knows how it will go from here. Will it evolve further? Or will it fizzle out?

I’m sincerely hoping it evolves further. I’d like to see it grow – go beyond urban India, go beyond the few sectors it has so far been largely restricted to (films, media, advertising). There must be many more cases in politics, in government and corporate India, where power is most prone to abuse. Maybe those stories are slow in coming because the women involved are less comfortable coming out with their stories.

And that’s only fair. Each person has to decide for herself – she has to weigh the consequences of her actions. We need to respect that.

One huge positive impact of #MeToo has been that men themselves seem to be re-assessing their behaviour. Not just in the past but also in the present. They seem to be becoming more sensitized and aware of boundaries and space. And about consent. At least I hope so.

Hopefully films too will become more sensitized to gender from now on. I think it is already happening. Films in the past have been hugely misogynistic, often presenting stalking as romantic! And considering how much of an influence films/TV have on society, they might have playe thei role too in moulding society into what it is today.

But then, they were a function of their times – I don’t want to dwell on the past. We can’t change that anyway.

What we can change is the present and the future. And hopefully from now on at least, we will see better-behaved men, whether triggered by #MeToo or not.

Of course, we need much more to happen. Until we dismantle patriarchy there is always going to be victim-blaming and shaming. We all know that men are the root cause of the problem, yet we will continue to blame the women and expect them to “behave themselves”.

So much more needs to happen. We can all do our bit – by calling out patriarchy when we see it, even if it happens without our close circles. By bringing up the next generation with a better understanding of gender equality so that boys don’t grow up with a sense of entitlement. This is what manifests itself in most undesirable behaviour when the boy becomes a man.

Clearly we haven’t done enough in the last 60 years, since Sahir wrote “aurat ne janam diya” in 1958. It’s a sad reflection of our society that it feels relevant even in 2018.

I’d like a future generation to listen to it and say “Oh, how horrible things were for women in those days! Thank God things are so much better today, and women don’t go through all that!”

I know I’m dreaming – but you know what they say. Ummeed pe duniya kaayam hai.

Let’s do our bit to make it happen?

Thanks for listening.


Song-Seeta bhi jahaan sukh paa na saki (Lakshmi)(1982) Singer-Mahendra Kapoor, Lyrics-Sahir Ludhianvi, MD-Usha Khanna

Lyrics (Provided by Avinash Scrapwala)

Naa tera durbhaagya nayaa hai
Naa jag ka vyavhaar nayaa aa
Naa raahon ke shool naye ae
Naa patthar dil sansaar nayaa

Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai
Jo zulm teri taqdeer banaa
Jo zulm teri taqdeer banaa
Wo zulm yugon se zaari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai

Wo kanyaa ho ya garbhwati
Naari ko sadaa apmaan milaa
Wo kanyaa ho ya garbhwati
Naari ko sadaa apmaan milaa
Avtaaron ki nasl badhaa kar bhi
Patitaaon mein sthaan mila
Sadiyon se yahaan har ablaa ne
Sadiyon se yahaan har ablaa ne
Ro ro kar umar guzaari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai

Kehne ko to devi kehlaayee
Par naar yahaan daasi hi rahi
Kehne ko to devi kehlaayee
Par naar yahaan daasi hi rahi
Do pyaar ke meethhe bolon ki
Martey dam tak pyaasi hi rahi
Jo zehar miley wo peeti jaa
Jo zehar miley wo peeti jaa
Tu kaun si Janak dulaari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai

Maikaa chhoota sasuraal chhoota
Jaayegi magar jaayegi kahaan
Maikaa chhoota sasuraal chhoota
Jaayegi magar jaayegi kahaan
Ab Valmiki saa koyi rishi
Is dharti par paayegi kahaan
Ab tu ik bhatki hirni hain
Ab tu ik bhatki hirni hain
Aur mard ki aankh shikaari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai
Seeta bhi jahaan sukh paa naa saki
Tu us dharti ki naari hai

——————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
——————————————
ना तेरा दुर्भाग्य नया है
ना जग का व्यवहार नया आ
ना राहों के शूल नए ए
ना पत्थर दिल संसार नया

सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है
जो ज़ुल्म तेरी तकदीर बना
जो ज़ुल्म तेरी तकदीर बना
वो ज़ुल्म युगों से जारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है

वो कन्या हो या गर्भवती
नारी को सदा अपमान मिला
वो कन्या हो या गर्भवती
नारी को सदा अपमान मिला
अवतारों की नस्ल बढ़ाकर भी
पतिताओं में स्थान मिला
सदियों से यहाँ हर अबला ने
सदियों से यहाँ हर अबला ने
रो रो कर उम्र गुजारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है

कहने को तो देवी कहलाई
पर नार यहाँ दासी ही रही
कहने को तो देवी कहलायी
पर नार यहाँ दासी ही रही
दो प्यार के मीठे बोलों की
मरते दम तक प्यासी ही रही
जो ज़हर मिले वो पीती जा
जो ज़हर मिले वो पीती जा
तू कौनसी जनक दुलारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है

मैका छूटा ससुराल छूटा
जायेगी मगर जायेगी कहाँ
मैका छूटा ससुराल छूटा
जायेगी मगर जायेगी कहाँ
अब वाल्मीकी सा कोई ऋषि
इस धरती पर पाएगी कहाँ
अब तू इक भटकी हिरनी है
अब तू इक भटकी हिरनी है
और मर्द की आँख शिकारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है
सीता भी जहां सुख पा ना सकी
तू उस धरती की नारी है

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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 : 3648 Post No. : 14485

“Poornima”(1965) was directed by Narendra Suri for Roopkala pictures, Bombay. This “social” movvie had Meena Kumari, Dharmendra, Anita Guha, Mehmood, Siddhu, Nazeer Hussain, Durga Khote, Parveen Chaudhary, Sadhana Khote, Raja Nene, Kanu Roy, Kanchanmala, Kesri, Polson, Honey Irani, Bablu etc in it.

The movie had eight songs in it that were penned by four lyricists. Three of these songs have been covered in the past.

Here is the fourth song from “Poornima”(1965) to appear in the blog. The song is sung by Lata. Bharat Vyas is the lyricist. Music is composed by Kalyanji Anandji.

The song is picyturised as a background song where a dukhiyaari (what else) Meena Kumari is shown roaming around helplessly with her child. Nazeer Hussain, a perrenial dukhi budhha, is also visible in the picturisation.


O is desh ke rehne waalon (Poornima)(1965) Singer-Lata, Lyrics-Bharat Vyas, MD-Kalyanji Anandji

Lyrics

o is desh ke rahne waalon
naari ko devi kahne waalon
maa ke sapooton
bahnon ke bhai
zara sunte jaana ye meri kahaani
o is desh ke rahne waalon
naari ko devi kahne waalon
maa ke sapooton
bahnon ke bhai
zara sunte jaana ye meri kahaani
zara sunte jaana ye meri kahaani

bichhaaye jo kismat ne kaante
unhen bhi gale se lagaaya
magar haaye re badnaseebi
tere man ko ye bhi na bhaaya
chali aisi aandhi
uthha aisa toofaan
bhikhaaran bani aaj mahlon ki raani
zara sunte jaana ye meri kahaani

bhatakti phiroon aaj dar dar
hai roti bina pet khaali
uchhaale zamaane ne sikke
na roti kisi ne uchhaali
har ek dil hai maila
har ek aankh bhookhi
hawas ne sabhi ka kiya khoon paani
zara sunte jaana ye meri kahaani

ye dharti ka nanha sa munna
hai rahbar tumhaare watan ka
ye maangega jab bheekh tumse
to jhuk jaayega sar gagan ka
magar tumpe phir bhi asar kuchh na hoga
tumhaare liye khel hai zindgaani
zara sunte jaana ye meri kahaani

o is desh ke rahne waalon
naari ko devi kahne waalon
maa ke sapooton
bahnon ke bhai
zara sunte jaana ye meri kahaani
zara sunte jaana ye meri kahaani
zara sunte jaana ye meri kahaani


This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : 3606 Post No. : 14387

Hullo Atuldom

The song with this post was liked by my mother at the time when it was a regular on the radio waves. Specially the lines about aate mein mitti, chaawal mein kankar behisaab hai. I suppose those were the times when people had to rely on groceries from ration-shops (kids of the new millennium will not know what the fuss is all about). I remember people used to stand in queues to buy common things like soaps, oils, and other essentials. Aah! Those were different times and a different way of living.

The song with this post also reminds me of the discussion we had on the blog when the song Sun-Saahiba-Sun-Pyaar-Ki-Dhun/from ‘Ram Teri Ganga Maili’ (1986) was posted; about how Raj Kapoor used some of Hasrat Jaipuri’s lyrics in some of the movies he acted in post 1970. The sources that I referred to before writing this post gives credit to both Ravindra Jain and Hasrat Jaipuri for this song. We have knowledgeable followers of the blog who will enlighten us further on this.

A thought crossed my mind as I sat through the video of this song – if we see Rishi Kapoor on-screen these days it feels like we are seeing Raj Kapoor. The thought got confirmed recently after I saw ‘102 Not Out’ (2018) where Rishi plays a 75-year-old adorable, easily-irritable old man. I had to see the movie – how could I not see an Amitabh Bachchan – Rishi Kapoor movie :). Nice movie should be seen at least once.

With this post we remember the original showman of Bollywood – Raj Kapoor- on his 30th death anniversary. I remember reading about his demise in the newspaper on 3rd or 4th June – there were no instant messaging systems then and getting news about happenings in Mumbai, in local newspapers in Tamil Nadu (I had just begun my married life in a small town of TN that day) was generally a day or two late – different times and a different way of living.

Raj Kapoor had been conferred the Dadasaheb Phalke award that year. I remember seeing the event live on Doordarshan when he was assisted on to the stage. He collapsed at the event and was rushed to AIIMS New Delhi where he passed away almost a month later due to complications arising from his asthma. But his legacy lives in the form of his work as an actor, producer and director. His movies had great music and songs with meaningful lyrics. Whether it was “Sajan Re Jhooth Mat Bolo Khuda Ke Paas Jaana Hai” or “Ik Din Bik Jaayega Maati Ke Mol” – his songs conveyed truths of life. He spoke of the life of the common man in ‘Dil Ka Haal Suney Dilwaala‘  and of eternal love in “Main Na Rahoongi Tum Na Rahoge Phir Bhi Rahengi Nishaaniyan“. His songs had a worldwide appeal; it is said that his “Awaara Hoon” is remembered even today in Russia. What more do I say about this legend, it will be “chota munh aur badi baat”.

Let us get on to the song of the day. It is from the 1975 Naresh Kumar produced and directed ‘Do Jaasoos’. Raj Kapoor along with Rajendra Kumar played detectives out to trace a millionaire’s daughter and, in the process, catch a gang of smugglers led by Prem Chopra. Singer Shailendra Singh made his acting debut in this movie. Hasrat Jaipuri and Ravindra Jain are credited as lyricists and Jain was also the music director. Today’s song is in the voice of Mukesh and Rafi. Raj Kapoor considered Mukesh his singing voiceand Rafi was the chosen voice for Rajendra Kumar on a majority of occasions. The song is a take on the state of the nation at that point of time, but I think it is still relevant.

Remembering Raj Kapoortoday on his 30th anniversary of passing away.

[Ed Note: As per Geet Kosh, Hasrat Jaipuri and Ravindra Jain are jointly credited as lyricist for this song.]

 

Song – Do Jasoos Karen Mehsoos (Do Jaasoos) (1975) Singer – Mukesh, Mohammed Rafi, Lyrics – Hasrat Jaipuri/ Ravindra Jain, MD – Ravindra Jain
Mukesh + Mohammed Rafi

Lyrics

do jasoos karen mehsoos,
ke duniya badi kharaab hai
kaun hai sacha
kaun hai jhoota
har chehere pe naqaab hai
zara socho
zara samajho
zara sambhal ke rahiyo ji
zara socho
zara samajho
zara sambhal ke rahiyo ji
do jasoos karen mehsoos,
ke duniya badi kharaab hai

pyaas lagey to doodh piyo,
doodh mein paani milta hai
mandir mein bhi aaj diya
naqli ghee ka jalta hai
na asli mithaai hai
na asli malaai hai
maava hai sinhgaade ka,
kya zaalim halwaai hai
aate mein mitti chaawal mein kankar behisaab hai
kaun hai sachcha
kaun hai jhootha
har chehre pe naqaab hai
zara socho
zara samajho
zara sambhal ke rahiyo ji
zara socho
zara samajho
zara sambhal ke rahiyo ji
do jasoos karen mehsoos,
ke duniya badi kharaab hai

zehar dawaa mein shaamil hai
zehar dawaa se behtar hai
zehar bhi naqli milta hai
marna bhi ab doobhar hai
desh ke sachche dushman hain
yeh jo milaawat karte hain
in ki badaulat kitne log
maut se pehle marte hain
aise logon ko pakadaana
sabse bada sawaab hai
kaun hai sacha,
kaun hai sachcha
kaun hai jhootha
har chehre pe naqaab hai
zara socho
zara samajho
zara sambhal ke rahiyo ji
zara socho socho
zara samajho samjho
zara sambhal ke rahiyo ji
do jasoos karen mehsoos,
ke duniya badi kharaab hai

jab dekho hartaalen hain
jaane kiski chaalen hain
samjhaute ka naam nahi
agni mein ghee daale hain
deewaane toofan karen
logon ko hairaan karen
nehru ji ko bhool gaye
baapu ka apmaan karen
nehru ji ko bhool gaye,
baapu ka apmaan karen
apna hi ghar phoonk rahe hain
kaisa inqlaab hai
kaun hai sachcha
kaun hai jhootha
har chehre pe naqaab hai
zara socho
zara samajho
zara sambhal ke rahiyo ji
zara socho ho
zara samajho ho
zara sambhal ke rahiyo ji

do jasoos karen mehsoos,
ke duniya badi kharaab hai
kaun hai sachcha
kaun hai jhootha
har chehre pe naqaab hai
zara socho
zara samajho
zara sambhal ke rahiyo ji
zara socho
zara samajho
zara sambhal ke rahiyo ji
do jasoos karen mehsoos,
ke duniya badi kharaab hai
duniya badi kharaab hai

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

दो जासूस करें महसूस
के दुनिया बड़ी खराब है
कौन है सच्चा
कौन है झूठा
हर चेहरे पे नकाब है
ज़रा सोचो
ज़रा समझो
ज़रा संभल के राहियो जी
ज़रा सोचो
ज़रा समझो
ज़रा संभल के राहियो जी
दो जासूस करें महसूस
के दुनिया बड़ी खराब है

प्यास लगे तो दूध पियो
दूध में पानी मिलता है
मंदिर में भी आज दिया
नकली घी का जलता है
ना असली मिठाई है
ना असली मलाई है
मावा है सिंघाड़े का
क्या ज़ालिम हलवाई है
आटे में मिट्टी चावल में कंकर बेहिसाब हैं
कौन है सच्चा
कौन है झूठा
हर चेहरे पे नकाब है
ज़रा सोचो
ज़रा समझो
ज़रा संभल के राहियो जी
ज़रा सोचो
ज़रा समझो
ज़रा संभल के राहियो जी
दो जासूस करें महसूस
के दुनिया बड़ी खराब है

जहर दवा में शामिल है
जहर दवा से बेहतर है
जहर भी नकली मिलता है
मरना भी अब दूभर है
देश के सच्चे दुश्मन हैं
ये जो मिलावट करते हैं
इनकी बदौलत कितने लोग
मौत से पहले मरते हैं
ऐसे लोगों को पकड़ाना
सबसे बड़ा सवाब है
कौन है सच्चा
कौन है झूठा
हर चेहरे पे नकाब है
ज़रा सोचो
ज़रा समझो
ज़रा संभल के राहियो जी
ज़रा सोचो
ज़रा समझो
ज़रा संभल के राहियो जी
दो जासूस करें महसूस
के दुनिया बड़ी खराब है

जब देखो हड़तालें हैं
जाने किसकी चालें हैं
समझौते का नाम नहीं
अग्नि में घी डालें हैं
दीवाने तूफान करें
लोगों को हैरान करें
नेहरू जी को भूल गए
बापू का अपमान करें
नेहरू जी को भूल गए
बापू का अपमान करें
अपना ही घर फूँक रहे हैं
कैसा इन्क़लाब है
कौन है सच्चा
कौन है झूठा
हर चेहरे पे नकाब है
ज़रा सोचो हो
ज़रा समझो हो
ज़रा संभल के राहियो जी
ज़रा सोचो
ज़रा समझो
ज़रा संभल के राहियो जी

दो जासूस करें महसूस
के दुनिया बड़ी खराब है
कौन है सच्चा
कौन है झूठा
हर चेहरे पे नकाब है
ज़रा सोचो
ज़रा समझो
ज़रा संभल के राहियो जी
ज़रा सोचो
ज़रा समझो
ज़रा संभल के राहियो जी
दो जासूस करें महसूस
के दुनिया बड़ी खराब है
दुनिया बड़ी खराब है

 


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 : 3602 Post No. : 14374

“Duniyaadaari”(1948) was directed by K P Sahni for Free India Films, Bombay. The movie had Satyapal, Sofia, Mumtaz, Ghori, S Baburao, Sultana, Radha etc in it.

There were eleven songs in the movie. One song has been covered in the past.

Here is the second song from “Duniyaadaari”(1948) to appear in the blog. The song is sung by Afzal Lahori. Wahid Qureshi is the lyricist. Music is composed by Moti Nath.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of the song.


Paagal hai ye duniya paagal duniya waale (Duniyaadaari)(1948) Singer-Afzal Lahori, Lyrics-Wahid Qureshi, MD-Moti Nath

Lyrics

o o o o
o o o o

paagalkhaana
paagalkhaana
paagalkhaana hai ye duniya
paagal duniya waale
ho paagal duniya waale
haan paagal duniya waale
paagalkhaana

amrit ras ko munh na lagaayen
piyen zahar ke pyaale
amrit ras ko munh na lagaayen
piyen zahar ke pyaale
zahar ke pyaale
paagalkhaana
paagalkhaana hai ye duniya
paagal duniya waale
ho paagal duniya waale

tu bhi paagal main bhi paagal
paagal sab sansaar
tu bhi paagal main bhi paagal
paagal sab sansaar
jhoothe jag mein dhoondh rahe hain
hum sab sachha pyaar
jhoothe jag mein dhoondh rahe hain
hum sab sachha pyaar
sachche pyaar ko dhoondh dhoondh
kar pad gaye paanv mein chhaale
sachhe pyaar ko dhoondh dhoondh
kar pad gaye paanv mein chhaale
duniya waale
paagalkhaana
paagalkhaana hai ye duniya
paagal duniya waale
ho paagal duniya waale
haan paagal duniya waale
paagalkhaana
paagalkhaana
paagalkhaana
paagalkhaana


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 : 3560 Post No. : 14276

“Baankelal”(1972) was produced and directed by Ratan Kumar. The movie had Prithviraj Kapoor, Sulochana Chatterjee, Sheel Kumar, Abhi Bhattacharya, Sunder etc in it.

It appears that the movie was started in 1960s but it could get released only in 1972 and it flopped at the box office.

The movie had eight songs in it.

Here is the first song from “Baankelal”(1972) to appear in the blog. The song is sung by Mahendra Kapoor. Pt Madhur is the lyricist. Music is composed by Pardesi.

Video of the song is available and one can see that the song is a movie opening song which gets played as credits get displayed on screen. The video version contains only part of the song. Audio version is much longer.

With this public lament song about the misery of women in a brothel, “Baankelal”(1972) makes its debut in the blog.

Video (partial)

Audio (Full)

Song-Ye husn ka hai baazaar yahaan (Baankelal)(1972) Singer-Mahendra Kapoor, Lyrics-Madhur, MD-Pardesi

Lyrics

ye husn ka hai baazaar yahaan
aurat ki kahaani bikti hai
aurat ki kahaani bikti hai
ik zinda laash yahaan bikti
ik murda jawaani bikti hai

ye husn ka hai bazaar yahaan
aurat ki kahaani bikti hai
ik zinda laash yahaan bikti
ik murda jawaani bikti hai
jo biwi ko thhukraate hain
wo thokar khaane aate hain
o o o
o o o
jo biwi ko thukraate hain
wo thokar khaane aate hain
is paap ki putli ke aangan mein
puny kamaane aate hain
bebas aurat ki aahen aur
dil ki kurbaani bikti hai ae
o o o
dil ki kurbaani bikti hai
ye husn ka hai bazaar yahaan

besharmi ki botal khulti hai
aur toot’te laaj ke jaam yahaan
o o o o o o
besharmi ki botal khulti hai
aur toot’te laaj ke jaam yahaan
laala ban aate raam yahaan
baabu ban aate shyaam yahaan
gokul ki gwaalin bikti hai
aur awadh ki raani bikti hai ae
o o o o

ye husn ka hai bazaar yahaan
aurat ki kahaani bikti hai
ik zinda laash yahaan bikti
ik murda jawaani bikti hai
ye husn ka hai bazaar yahaan
o o o o o
o o o o o

jis ghar mein beta aata hai
aur likhta prem ka khaata hai
o o o
o o o
jis ghar mein beta aata hai
aur likhta prem ka khaata hai
bhugtaan ko lene is jodi se
baap bhi aata jaata hai
in kaale kothon pe mardon ki
meharbaani bikti hai ae
o o o o
meharbaani bikti hai
ye husn ka hai bazaar yahaan

ye aasmaan se nahin giri
is dharti ki hi jaayi hai
o o o o
ye aasmaan se nahin giri
is dharti ki hi jaayi hai
jitne hain inke diwane
kai baap hai aur kai bhaai hain
kulvadhu ki mehandi aur choodiyaan
har ek nishaani bikti hai ae
o o o o
har ek nishaani bikti hai
ye husn ka hai bazaar yahaan
aurat ki kahaani bikti hai
ik zinda laash yahaan bikti
ik murda jawaani bikti hai
ye husn ka hai bazaar yahaan


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 : 3539 Post No. : 14210

“Main Aazaad Hoon”(1989) was produced by Habib Nadiadwala and directed by Tinnu Anand. The movie was an adaptation of Frank Capra’s “Meet John Doe”(1941). Amitabh Bachcahn played the lead role in the movie.

While “Meet John Doe”(1941) was a superhit movie, its Hindi adaptation failed miserably at the box office. “Main Aazaad Hoon”(1989), like its Hollywood original, showed the hero as a common man, helpless against system. Indian audience, brought up on staple diet of escapist movies were not mature enough to appreciate movies that were off the beaten track. People expected Amitabh Bachchan to play his usual larger than life superman like character, but the movie depicted him as an ordinary man, as powerless and helpless as most ordinary men, and movie goers were not prepared for that. While “Meet John Doe”(1941) was a superhit movie, its Hindi adaptation failed miserably at the box office. So it showed, if any proof was needed that Indian audience of 1989 had not reached the maturity of Hollywood audience of 1941 !

Personally I quite liked the movie, but I was in a minority. Most other people had expected to see Amitabh Bachchan as an angry young man of “Trishul” or “Andha Kaanoon” and they felt let down with the non escapist fare that this movie served.

“Main Aazaad Hoon”(1989) had just one song in it.

Here is that sole song from “Main Aazaad Hoon”(1989). This song is sung by Amitabh Bachchan and chorus, in addition to some unidentified voices. The song is sung by Amitabh Bachchan and it is picturised on himself. Kaifi Azmi is the lyricist. Music is composed by Amar Utpal.

Since it is the only song from the movie, this song serves dual purpose simultaneously. This song is the debutant song as well as a YIPPEE song. So one can say, rather pompously that “Main Aazaad Hoon”(1989), makes its debut in the blog with this song and get YIPPEED as well. 🙂


Song-Itne baazoo itne sar (Main Aazaad Hoon)(1989) Singer-Amitabh Bachchan, Lyrics-Kaifi Azmi, MD-Amar Utpal
Chorus
Unknown male voice

Lyrics

itne baazu itne sar
hmm
itne baazu itne sar
gin le dushman dhyaan se
hmm hmm

itne baazu itne sar
gin le dushman dhyaan se
itne baazu itne sar
gin le dushman dhyaan se
haarega wo har baazi
jab khelen hum ji jaan se
haarega wo har baazi
jab khelen hum ji jaan se
jee jaan se

aao
aa jaao
jag pe chha jaao
ji jaan se
haan
ye hui na baat
aise hi gaate hain
ek do

aaye ho tum to aao
jee jaan se
hamen aake raah dikhaao
jee jaan se
manzil pe hamen pahunchaao
jee jaan se
aao
aa jao
jee jaan se
jag pe chha jao
ji jaan se
aao mere saath aao
ji jaan se
meri dhun mein tum gaao
ji jaan se
milke lashkar ban jaao
ji jaan se
aao
aa jaao
ji jaan se
jag pe chha jaao
ji jaan se
itne baazu itne sar
gin le dushman dhyaan se
itne baazu itne sar
ginle dushman dhyan se

haarega wo har baazi
jab khelen hum ji jaan se
haarega wo har baazi
jab khele hum ji jaan se

itne baazu itne sar
gin le dushman dhyaan se
itne baazu itne sar
gin le dushman dhyaan se
haarega wo har baazi
jab khelen hum ji jaan se
haarega wo har baazi
jab khelen hum ji jaan se

aao
aa jaao
ji jaan se
jag pe chha jaao
ji jaan se
aao
aa jaao
ji jaan se
jag pe chha jaao
ji jaan se

maalik ka dhan jo badhaaye
ji jaan se
?? hi dhan ban jaaye
ji jaan se
kyun na ik din lad jaayen
jee jaan se
aao
aa jaao
ji jaan se
jag pe chhaa jaao
ji jaan se

ek duniya sang hai
ye haq ki jung hai
ek duniya sang hai
ye haq ki jung hai

laalach se takraana hai
beshak takraayenge
haan
laalach se takraana hai
beshak takraayenge
jinko jhukna aata hai
saare sar kat jaayenge
jinko jhukna aata hai
saare sar kat jaayenge
aao
aa jaao
ji jaan se
jag pe chha jaao
ji jaan se
aao
aa jaao
ji jaan se
jag pe chha jao
ji jaan se
itne baazu itne sar
gin le dushman dhyaan se

haarega wo har baazi
jab khelen hum ji jaan se
haarega wo har baazi
jab khelen hum ji jaan se
aao aa jaao
jag pe chha jaao
aao aa jaao
jag pe chha jaao

itne baazu itne sar
gin le dushman dhyaan se
haarega wo har baazi jab khelen hum ji jaan se
itne baazu itne sar
gin le dushman dhyaan se
harega wo har baazi
jab khelen hum ji jaan se


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 : 3535 Post No. : 14199

“Sankalp”(1974) was directed by Ramesh Sahgal for Twinkle Stars, Bombay. This “social” movie had Farida Jalal, Sukhdev, Bipin Gupta, Anjali Kadam, arjun Bakshi, Mahesh (new discovery), Yunus Parvez, Leela Mishra, Jankidas, Suresh Divekar, Subhash Sethi, Mona, Nikita, Chandu Alahabadi, Master Sheroo, Master Ratan, Satish Chhabra etc in it, with special appearance by Sulakshana Pandit.

The movie had four songs in it. Three songs from the movie have been covered in the past. These three songs were discussed in 2011, 2015 and 2018 , viz at three year intervals. 🙂 Here are the details of these three songs:-

Song Title

Post No.

Post Date

Tu hi saagar tu hi kinaaraa 3921 23-May-11
Sab thhaath pada rah jaawega 11307 22-Jul-15
Ghaav dil ke dhuyen se seete hain 14194 22-Mar-18

Here is the fourth and final song from “Sankalp”(1974) to appear in the blog. This song is sung by Mukesh and Mahendra Kapoor. Kaifi Azmi is the lyricist. Music is composed on Khayyam.

Only the audio of this song is available. One can guess that the song is a public lament song where people hold politicians responsible for the ills of the nation. Yes, people four decades ago held the same view about politicains that they do now. 🙂

Personally I think that now a days we are much better off vis a vis the situation of 1970s. Those were the days when we had economic policies that relied upon dole contributed by western nations. Things are vastly better today. The economic policies which kept the nation poor and steadily brought it on the verge of bankruptcy have since been abandoned. Politicians continue to be more or less same as before but the country is doing far better. So people listening to this song today will not share the same despondency as this song may have brought about in the past.

With this song, “Sankalp”(1974) joins the list of movies that have all their songs covered in the blog.


Song-Bheetar bheetar khaaye chalo (Sankalp)(1974) Singers-Mukesh, Mahendra Kapoor, Lyrics-Kaifi Azmi, MD-Khayyam
Unknown voice
All

Lyrics

bheetar-bheetar khaaye chalo
baahar shor machaaye chalo
bheetar-bheetar khaaye chalo
baahar shor machaaye chalo
bhed kaun kholegaa
munh se kaun bolegaa

bheetar-bheetar khaaye chalo
baahar shor machaaye chalo

jantaa bholi-bhaali hai
pet bhi jeb bhi khaali hai
naaron se garmaa do lahu
vaadon se bahlaaye chalo
vaadon se bahlaaye chalo
bheetar-bheetar khaaye chalo
baahar shor machaaye chalo

badhti jaaye hai mehngaai
ghat’ti jaaye hai kamaayi
cheezon ke daam badhaaye chalo
insaan ka bhaav giraaye chalo
insaan ka bhaav giraaye chalo

bheetar-bheetar khaye chalo
baahar shor machaye chalo

haathon mein kuchh note lo
haathon mein kuchh note lo
phir chaaho jitne vote lo

khote se khotaa kaam karo
baapu ko neelaam karo
arre
baapu ki tasveer hai ye

tere baap ki kyaa jaagir hai ye
baapu-baapu karte raho

zahar dilon mein bharte raho
basti-basti aag lage
har insaan ek naag lage
praant-praant ko tang kare
bhaasha se bhaasha jang kare
koi yahaan malyaali
koi yahaan bangaali
gujrati hai koi yahaan
punjabi hai koi yahaan
ye hai maratha aur vo tamil
aapas mein yaari hai mushkil
sabko chaahiye apni zameen
hindustaani koi nahin
hindustaani koi nahin
hindustaani koi nahin

desh kahaan ab desh rahaa aa aa
desh kahaan ab desh rahaa
aa aa aa

desh to seemaaon mein bantaa
aur bhi tukde udaaye chalo
kursi apni bachaaye chalo
kursi apni bachaaye chalo
bheetar-bheetar khaaye chalo
baahar shor machaaye chalo


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

Blog Day : 3475 Post No. : 13960

“मैं लेखक हूँ, लेखक”।

The year – 1956. The film – that zany, crazy, fun and pathos filled runaway hit titled ‘Funtoosh’. Remembered today for a fantastic portfolio of songs. And a very sensitive and effective performance by Dev Anand.

The film has a noisy opening inside a mental asylum. Dev Anand, one of the inmates, is being released to the outside world. He knows himself, as do others, only as ‘funtoosh’. Apparently he has endeared everyone in that blessed place, for when he leaves, everyone offers him a gift, piling him and his pockets with trinkets, small tokens, a hat, a pair of sunglasses, garlands, rings and what not. From a world that is upside down compared to the outside, ‘funtoosh’ makes a grand exit on a tricycle, smoking a pipe.

Of course his level of awareness and understanding does not include the fact that the outside world is very much the ‘downside up’ version of the world inside the asylum. With inherent goodness and simplicity of a person sans memories, it does not take long for the world outside and its people, to relieve him of all those gifts. Folks will dearly remember the song “Ae Meri Topi Palat Ke Aa”, that is presented during this sequence of events.

In a matter of a few hours, and about 15 minutes into the film, ‘funtoosh’ is bereft of all his possessions, the gifts that were given to him by his friends from another ‘home’ that he had to leave. Evening is descending, and so is his mood – crestfallen. Dejected and doleful, he is sitting on the steps outside an Irani type restaurant, with a pen in his hand, his last worldly possession other than the clothes on his back. He is contemplating to write a letter to his friends back in the asylum, and he is visibly struggling to put down any words.

A bespectacled young man, carrying a couple of books under his arm, and lighting a cigarette, comes out of the restaurant, and pauses next to ‘funtoosh’, watching him trying to articulate something to write. He notices that ‘funtoosh’ has a postal envelop, but he does not have a piece of paper. He draws out a plain sheet from the notebooks he is carrying, and hands over to ‘funtoosh’.

‘funtoosh’ begins writing – “मेरे प्यारे दोस्तो”, (my dear friends) then pauses for a few seconds, then he draws a large question mark on the paper and signs it with a flourish – ‘funtoosh’. The bespectacled young man asks, “बस?” (that’s all?). ‘funtoosh’ replies – “इतना ही काफी है। ज़िंदगी के दो हिस्से होते हैं, एक सवाल, दूसरा जवाब। मैंने सवाल लिख दिया है, वो जवाब लिखेंगे” (I have written the question, they will write an answer).

Immediately the young man opens his notebook again, and starts to note down this philosophical gem. ‘funtoosh’ asks him why is he noting this down. The young man replies – “काम आएगा। मैं लेखक हूं, लेखक” (it will come handy, I am a writer). ‘funtoosh’ asks him so what does he write. The young man say – stories, about people like you. ‘funtoosh’ asks him whether he will write a story about him – ‘funtoosh’. The young man says – yes, why not. ‘funtoosh’, apparently is so moved by this interest and attention on part of the young man, he caps the pen in his hand, and forces it into the shirt pocket of the young man, saying that if he writes about him, then he should write using this pen.

And with that, it is the last of his worldly possession that ‘funtosh’ gives away to this young man.

The name if this young man does not appear anywhere in the credits, not even as a guest artist. At 22 years of age, this, in all probabilities, is Vijay Anand’s very first screen appearance. Not that his name has not appeared in credits before. Two years earlier, in 1954, when ‘Taxi Driver’, another Navketan hit was released, his name was introduced to the viewing public for the first time, in the role of the story and dialogue writer. But in this film, where he makes his first appearance on screen, his presence is not officially acknowledged anywhere.

Remembering Goldie – Vijay Anand – on the 84th anniversary of his birth today – 22nd January. A multi-faceted artist who has been an actor, producer, director, story and dialogue writer, film editor, and even sound editor.

In a manner of speaking, maybe a personal trait for keeping a low profile. For as we see his career develop, we find him making such cameo appearances in his films, completely unannounced. Folks will recall that Alfred Hitchcock used this device to make a fleeting appearance in his own films, and the viewers started to look forward to his films for, amongst other cinematic interests, to locate where does he make his signature cameo appearance.

Same with Vijay Anand – he also makes cameo appearances in his films. And he made another refinement on top of the Hitchcock-ian style of making a physical appearance. In place of making a physical appearance, he would lend his voice to a bit artist in a stray one-off dialogue, where one would least expect him to be. In the song “Pyaar Ka Raag Suno. . .” (‘Tere Ghar Ke Saamne’ – 1963), he is one of folks that Dev Anand and Nutan encounter, as they are serenading in the staircase of Qutab Minar. And then, in film ‘Guide’ (1965), his voice is heard midway through the film, as an absolute non-entity is enquiring about Raju Guide from the attendant at the book stall on the Udaipur railway station platform. I had at one time prepared a brief list of such appearances, but I am not able to locate it right at this moment. I will update this para, as soon as I am able to locate it or re-gather that info.

When we talk of great artists and their creations, we generally wonder – why is it that they did not produce more. Yes, some artists are very prolific. But then, we must also realize that most works of art, especially cinema, takes a fair amount of time to complete one creation. Yes, Vijay Anand’s career seems to be less prolific in comparison. It seems to have its stop and start times. In 1954, he is scripting ‘Taxi Driver’. In 1955, his name appears in the star cast of the film ‘Joru Ka Bhai’, a comedy film made by Chetan Anand, his elder brother. In 1956, he is makes a cameo in ‘Funtoosh’. In 1957, he makes his debut appearance in a lead role – as the hero opposite to Shakila in the film ‘Agra Road’. 1957 also sees the release of ‘Nau Do Gyaarah’, his debut directorial venture. Hmmm. . . quite a watershed year for his career, making debut both as a lead actor and a director in the same year.

Then, a gap of couple of years and we see all the three Anand brother appear together in the 1960 social hit film ‘Kaala Bazaar’. Vijay Anand plays the first love interest of Waheeda Rehman, who has gone to France for higher studies, and returns to India during the second half of the film, when an uncertain relationship is developing between Dev Anand and Waheeda Rehman. And yes, he is also the director of this film.

Next we hear about him in 1963 – as the director of the film ‘Tere Ghar Ke Saamne’. In between, there is  unconfirmed statements that he also was the shadow director of the film ‘Hum Dono’ in 1961.

1964 sees the release of Chetan Anand’s ‘Haqeeqat’ – he makes appearance as one of the soldiers in the army unit that is on the China border, and gets trapped in the winter snow as weather turns belligerent. He is present in the qawwali – “Ho Ke Majboor Mujhe Us Ne Bhulaaya Hoga”.

Come 1965, and we see the zenith of his creative career. Navketan’s ‘Guide’ is released, to a critical acclaim that predicts this film to be the best film Hindi cinema has produced. The prediction stands true today – more than fifty years later. The original author of the story, RK Narayan, was not too happy with the outcome, wherein Dev and Vijay had made some significant modifications to the original storyline. But the outcome of the final product says everything. The film is a grand tour of the human life, of the transformation of a soul from an expert guide, to a conman, to a sinner, and then on to a realization that takes the soul to horizons that are way beyond the mundane existence of this world, this life. The film remains to be seen yet once again, no matter how many times one has seen it. And the one man behind it – Vijay Anand. The performance he extracted from Dev Anand, is a remarkable achievement that even Dev was never able to replicate in his entire career.

And the songs of ‘Guide’ – each one of them deserves to be dealt with in separate individual write ups. The visualization and cinematography of “Aaj Phir Jeene Ki Tamanna Hai” can simply not be bettered. The top shot of the lead pair in the rear of truck full of hay, or the low angle tracking shot of Waheeda Rehman’s feet as she is walking on the walls of the fort. Or the superb capture of the sunset ambience in “Tere Mere Sapne Ab Ek Rang Hain” – a song that was completed in an unbelievable 4 shots. When I read this and then went back to review the video of this song again, it is now even a more staggering experience with this knowledge – just 4 shots. And more than just the songs – that have been viewed and viewed and viewed again and again, and written about and discussed and critiqued to no end – I would like to draw the attention of the readers to another musical piece, which keeps to just being short of a full fledged song. The snake dance in the village of snake charmers. The visualization, the settings, the lighting, everything about this piece is just out of this world – and I dare say, this would be probably the best on screen dance performance of Waheeda Rehman.

In 1966, we see his directorial capabilities reach a plane very different from ‘Guide’. The release is ‘Teesri Manzil’ directed by him. An edge-of-the-seat thriller cum comedy film, one sees Vijay’s song picturization capabilities touch even newer heights of perfection. If the songs of ‘Guide’ were about a traditional view of the life of this sub-continent, the songs of ‘Teesri Manzil’ brought in a rock element that had never been presented before as such. And no, I am not going to discuss the song details here – they are so much a favorite of every music lover, that I may just be holding a candle to what everyone already knows and believes in.

1967 – and another brilliant caper is in the making – ‘Jewel Thief’. Another taut thriller, another musical bonanza, and another set of memorable songs picturized so elegantly that it defies description to do justice. Yesterday I had written about the dance song of Jaishree T (from the film ‘Tere Mere Sapne’), with the comment that it was probably the best on screen performance for her. I make a same kind of statement today – the song “Hothon Mein Aisi Baat. . .” has been acknowledged as the best dance performance of Vijayantimala in her entire career.

1968 – and we don’t know what to say about his film this year. He directed the Dev Anand – Asha Parekh starrer ‘Kahin Aur Chal’, produced under a non-descript banner titled JM Productions. The film seems to have sunk without a trace. The stories that emerged later were that this film was produced with the express requirement to show losses, for some tax manipulations. The producers withdrew the film almost as soon as it was released, to claim losses. The sad part is that the film has completely disappeared. It is known that even Dev Anand himself was searching for it. It was not a Navketan production so he had no control over its ownership. Nothing more is noted anywhere about this film, except that its songs are available. This curious situation kind of makes this Vijay Anand directed film as one of the most sought after cinematic assets in the industry.

After another gap of an unlettered 1969, Vijay is back in 1970, with the news of another blockbuster hit of a comic thriller – ‘Johnny Mera Naam’. Coming on the heels of ‘Teesri Manzil’ and ‘Jewel Thief’, this another taut thriller demonstrated Vijay going from strength to strength, and also continuing to refine his uncanny handling of on screen song presentations. The songs of this film are simply stupendous – the picturization of “Pal Bhar Ke Liye. . .” is unimaginably innovative and yes, very sweet – “Pal Bhar Ke Pyaar Pe Nisaar Saara Jeevan. . .”. And then, yes, the handling of a worried Hema Malini being followed by the police in the song “O Mere Raja. . . Waada To Nibhaaya”.

So far, so good. But then it gets even better in 1971. Moving away from the thriller genre, Vijay Anand directs ‘Tere Mere Sapne’ – which maybe barring ‘Guide’, is probably the most sensitive and a most mature handling of a theme of family sentiments, and human failings and triumphs. I was in school when this film was released. And in my haughtiness of the amateur school time discussions about human psychology and social issues, I thought very well of this film, given of course some ‘critical defects’ that I believed I must communicate to the director, if I could. That haughtiness and the thought of those errors is long past. And, as with a handful of some very excellent films, this is one which has a new learning to give every time one views it. I have seen this film every so often again and again, and simply do not get tired of it. The multi- faceted pushes and pulls that are experienced in real life, are so well depicted in this epitome production about human life.

I clearly remember the discussion I had with my school friends after seeing this film. I commented (quite amateurishly I must add) that seeing the last scene gives the feeling as if having a child was the only objective of this film. Over the years, I have not only regretted that statement, but have progressively revised my understanding as to what this film is trying to portray and achieve.

And then, just about this juncture, it seems as if Vijay has lost the luster and the touch. His personal inclinations seem to be distracting him more into his inside world. And the personal relationships that he went into and came out, did not help either. He was drawn towards Osho (Bhagwan Rajneesh). He got married to Loveleen, one of the followers of Osho. The marriage did not last long, and was dissolved. Some time passes and he confounds the world with his next marital alliance. He stirred a controversy of Himalayan proportions by marrying the daughter of his own sister.

As these personal travails haunt him, he continues to create more films but then how do you write about them after having talked about his creations till the 1971. No, I am not demeaning the value in the films that follow ‘Tere Mere Sapne’. A sampler follows – ‘Blackmail’ and ‘Chhupa Rustom’ in 1973, ‘Bullet’ in 1976, ‘Ek Do Teen Char’ and Ram Balram in 1980, ‘Rajput’ in 1982, ‘Hum Rahe Na Hum’ in 1984, and ‘Main Tere Liye’ in 1986. All these are as a director. As an actor anther list to talk about – ‘Double Cross’ and ‘Hindustan Ki Kasam’ in 1973, ‘Chor Chor’ and ‘Kora Kaagaz’ in 1974, ‘Main Tulsi Tere Aangan Ki’ in 1978, and ‘Ghunghroo Ki Awaaz’ in 1981. We continue to see glimmers of his old self – the song ‘Pal Pal Dil Ke Paas. . .” in ‘Blakcmail’, and “Jo Main Hota Ik Toota Taara. . .” in ‘Chhupa Rustom’, are a throwback reminder of his prowess as a song director. His performances in ‘Kora Kaagaz’, ‘Main Tulsi Tere Aangan Ki’ and ‘Chor Chor’ are impressive and invite kudos. But with all this even, he seemed to have descended into the valleys. The sparkle that was Vijay – seemed to have been snuffed out.

In 2004 when he passed away, he was preparing to direct another Navketan film for Dev Anand – ‘Jaana Nahin Dil Se Door’. Apparently one (or more songs) were recorded. But it seems that the film was shelved when Vijay passed away. There is no mention of this film on Navketan’s web site.

I feel I have so much to write about this enigma that was Vijay Anand, but I will save that for another post. Coming to the song for today. And yes, by the way, we are Yippeee-ing the film ‘Tere Mere Sapne’ with this post. 🙂

Just this film itself evokes such emotions and memories that I wish I had posted all the songs of this film, and written about them. In the post yesterday, I had written about the celebration dance song, and somewhat of the story till that point in the film. Moving forward from there – the humble and grateful Phoolchand (role played by Sapru) gives a personal gift to Dr. Anand for having saved his newborn child’s life. It is a note of one hundred rupees. Mrs. Prasad (role played by Paro, the wife of Dr. Prasad (role played by Mahesh Kaul), the head of the hospital), takes an offense to this, and demands that Anand hands over that gift to her. Anand refuses. He decides to take on another job at another hospital in a village close by, rather than succumb to Mrs. Prasad’s demands for something he, at that point in time, feels very emotionally attached with.

Anand moves to the other hospital. The expected marriage of Nisha and Anand takes place. Nisha is pregnant for the first time. A mishap occurs. While at the market place, she is hit by a car that is recklessly being driven by an inebriated Seth Madhochand (role played by Premnath), the owner of the mining company in the village. Nisha loses the child. The rich Seth prevails over the judicial system, gets acquitted after producing tutored witnesses to establish that the accident was Nisha’s fault. Anand’s world is shattered. He leaves the village and returns to Bombay. In the starting scene of the film, one of his batch mates is pleading with him not to go the village. Now Anand returns to the same friend, who introduces him to others in the profession, and Anand, capable as he is, becomes one of the most sought after doctors in the city.

Affluence follows, no matter that Nisha’s life becomes a depressing bore. But Anand is so busy making money that he even overlooks the personal issues his beloved is going thru. Back in the village, the senior doctor, Dr. Prasad passes away. The hospital is renovated and expanded, and is to be re-inaugurated as a memorial to Dr. Prasad. Jagan (Dr. Jagannath Kothari, role played by Vijay Anand) comes to Bombay, seeking to convince Anand to return to the village hospital. Anand, flying high with the euphoria of financial success, declines the invite. Jagan returns to the village empty handed.

The day of the inauguration arrives. All arrangements are in place. All the village crowd is collected. But the local leader, who has been invited to do the honors at the inauguration ceremony, is late, with no information as to when he may arrive. At this juncture, I introduce Dr. Bhutani (role played by Agha). Bhutani is the village dentist, apparently the only one in the surrounding 20 some villages. And so a person of quite some eminence. Being in-charge of the ceremonies, he is also panicking with the non-arrival of the chief guest. He complains to Jagan, Jagan tells him to improvise. They enter the pandaal, and seat Mrs. Prasad in the chief guest’s chair. And Bhutani breaks into this song. The crowd present joins in, as does Jagan for the third antaraa, later in the song.

The singing voice is that of Manna Dey, which is lip synced both by Jagan and Bhutani on screen.

An important note about the presentation of this song. Originally, in the film, this song is presented as a three antaraa song, two sung by Bhutani, and one by Jagan. As I went back into the online world to search for this song, I am pleasantly surprised to discover a much longer version of this song, which most probably has been taken from the film’s LP. The person who has uploaded this, has put together this entire song as a single video. For the first three antaraas, he has retained the original footage. For the later three antaraas, he has improvised and done an edit / cut / paste to create additional footage from the original footage. So what we see in this clip is three antaraas of the original footage and three additional antaraas of an edited and spliced together footage. The blips are noticeable, but yet the person has done a fair enough job to make is look like a whole single song.

There is enough said, so I will abstain from typing further. Enjoy this song that tells of the ground realities of the social and political woes in our country. Although dated 1971, all the thoughts expressed in this song are still fully representative of what we are going through in current times. The travails are timeless, it seems.

But regardless, enjoy the song. 🙂 And oh yes, a reminder that with this post, ‘Tere Mere Sapne’ is now a part of yippeee-land on our blog. The details of all the songs posted is given below. Close to ten years it took, given that the first song of this film was posted in November of 2008.

 

Hey Mein Ne Kasam Li 227 8-Nov-08
Jaise Radha Ne Mala Japi 559 16-Jan-09
Jeewan Ki Bagiya Mahkegi 571 18-Jan-09
Mera Antar Ek Mandir Hai Tera 7387 22-Jan-13
Ta Thai Tat Thai Ata That Thai Tat 8274 2-Jul-13
Phurr Ud Chala Hawaaon Ke Sang Sang Dil Jaane Kidhar 13870 4-Jan-18
Mera Saajan Phool Kamal Ka, Kali Main Raat Rani Ki 13953 21-Jan-18
Andhi Parja Andha Raja, Takey Ser Bhaaji Takey Ser Khaaja 13960 22-Jan-18

 

Song – Andhi Parja Andha Raja Takey Ser Bhaaji Takey Ser Khaaja  (Tere Mere Sapne) (1971) Singer – Manna Dey, Lyrics – Neeraj, MD – SD Burman
Unidentified Male Voice
Chorus

Lyrics

hey..ey..ey..ey..ey
suno re
suno re
suno re. . . sajjano

andhi parja andha raja
takey ser bhaaji
takey ser khaaja
takey ser janta
takey ser neta
hum to mar gaye haaye
jamaane dhatt tere ki
jamaane dhatt tere ki
arey andhi parja andha raja
takey ser bhaaji
takey ser khaaja
takey ser janta
takey ser neta
hum to mar gaye haaye
jamaane dhatt tere ki
jamaane dhatt tere ki

desh ko kha gayi netagiri
khet ko kha gaya sookha
khet ko kha gaya sookha
hey..ey desh ko kha gayi netagiri
khet ko kha gaya sookha
khet ko kha gaya sookha
arey dharam ko kha gaye pandit mulla
karam hoi gaya bhoosa
karam hoi gaya bhoosa
hey..ey..ey
kauwwe khaayen. . . hey
kya bhaiya
kauwwe khaayen doodh malaai
hans marey haaye bhookha
jamaane dhatt tere ki
jamaane dhatt tere ki

hey ram raaj ke ghaat pe ab to
reh gaye kewal jhande
oy reh gaye kewal jhande
hey ram raaj ke ghaat pe ab to
reh gaye kewal jhande
reh gaye kewal jhande
arey jhandon ko bhi le kar bhaiya
chalen sadak par. . .
dande
chalen sadak par dande
arey kaun desh ka dhyaan karey..ey..ey
kya baat hai
kaun desh ka dhyaan karey
kyaaa
sab hain kursi ke pandey
jamaane dhatt tere ki
jamaane dhatt tere ki
jamaane hatt tere ki

oo oo oo oo
oo oo
oo oo
dar dar maari phire sachchaai
ban kar yahaan bhikhaari
arey ban kar yahaan bhikhaari
ho oo oo
dar dar maari phire sachchaai
ban kar yahaan bhikhaari
ban kar yahaan bhikhaari
are raaj karey mehlon mein baithi
daghabaaj makkaari
daghabaaj makkaari
ey jitney daktar badhe..ey..ey..ey hey
jitney daktar badhe desh mein
utni badhi beemaari
haaye re haaye
utni badhi beemaari
jamaane dhatt tere ki
jamaane dhatt tere ki

arey andhi parja andha raja
takey ser bhaaji
takey ser khaaja
takey ser janta
takey ser neta
hum to mar gaye haaye
jamaane dhatt tere ki
jamaane dhatt tere ki

———————-
stanzas not in film
———————-

dus dus saal jo tax nahin de
woh ban jaaye leader
arey wo ban jaaye leader
aaa aaa
dus dus saal jo tax nahin de
woh ban jaaye leader
wo ban jaaye leader
arey khoon pasina ek karey jo
wo ho jaaye phateechar
wo ho jaaye phateechar
kaun akal ki baat karey..ey..ey..ey
kaun akal ki baat karey
bhai sab par chadha shanichar
jamaane dhatt tere ki
jamaane dhatt tere ki

raat mein tha wo
kyaa
raat mein tha wo leegi bhaiya
subeh bana kangressi
arey subeh bana kangressi
arey raat mein tha wo leegi bhaiya
subeh bana kangressi
subeh bana kangressi
dal badlu ne neeti niyam ki
kar di aisi ki taisi
kar di aisi ki taisi
aey jiski laathi..ee
bhains usi ki
jiski laathi bhains usi ki
kya hai democracy
jamaane dhatt tere ki
jamaane dhatt tere ki
jamaane hatt tere ki

hey..ey..ey..ey
hawaa chali pashchim ki aisi
kala hui bedhangi
arey kala hui bedhangi
oo oo oo
hawaa chali pashchim ki aisi
kala hui bedhangi
kala hui bedhangi
arey angreji ka raag alaape
hindi ki saarangi
hindi ki saarangi
azaadi ke baal sanwaare
waah bhaiyaa
azaadi ke baal sanwaare
haaye karze ki kanghi
jamaane dhatt tere ki
jamaane dhatt tere ki

arey andhi parja andha raja
takey ser bhaaji
takey ser khaaja
takey ser janta
takey ser neta
hum to mar gaye haaye
jamaane dhatt tere ki
dhatt tere ki
hatt tere ki
dhatt tere ki
arey hatt tere ki
dhatt tere ki
arey hatt tere ki..ee..ee..ee

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हे॰॰ए॰॰ए॰॰ए॰॰ए
सुनो रे
सुनो रे
सुनो रे ॰ ॰ ॰ सज्जनों

अंधी परजा अंधा राजा
टके सेर भाजी
टके सेर खाजा
टके सेर जनता
टके सेर नेता
हम तो मर गए हाए
जमाने धत्त तेरे की
जमाने धत्त तेरे की
अरे अंधी परजा अंधा राजा
टके सेर भाजी
टके सेर खाजा
टके सेर जनता
टके सेर नेता
हम तो मर गए हाए
जमाने धत्त तेरे की
जमाने धत्त तेरे की

देश को खा गई नेतागीरी
खेत को खा गया सूखा
अरे खेत को खा गया सूखा
हे॰॰ए देश को खा गई नेतागीरी
खेत को खा गया सूखा
खेत को खा गया सूखा
अरे धरम को खा गए पंडित मुल्ला
करम होई गया भूसा
करम होई गया भूसा
हे॰॰
कौव्वे खाएं॰॰॰ हे
क्या भइय्या
कौव्वे खाएं दूध मलाई
हंस मरे हाए भूखा
जमाने धत्त तेरे की
जमाने धत्त तेरे की

हे राम राज के घाट पे अब तो
रह गए केवल झंडे
ओय रह गए केवल झंडे
हे राम राज के घाट पे अब तो
रह गए केवल झंडे
रह गए केवल झंडे
अरे झंडों को भी ले कर भइय्या
चलें सड़क पर॰॰॰
डंडे
चलें सड़क पर डंडे
अरे कौन देश का ध्यान करे॰॰ए॰॰ए
क्या बात है
कौन देश का ध्यान करे
क्या
सब हैं कुर्सी के पंडे
जमाने धत्त तेरे की
जमाने धत्त तेरे की
जमाने हत्त तेरे की

ओ ओ ओ
ओ ओ
ओ ओ
दर दर मारी फिरे सच्चाई
बन कर यहाँ भिखारी
अरे बन कर यहाँ भिखारी
हो॰॰ओ दर दर मारी फिरे सच्चाई
बन कर यहाँ भिखारी
बन कर यहाँ भिखारी
अरे राज करे महलों में बैठी
दग़iबाज मक्कारी
दग़iबाज मक्कारी
ए जितने डक्टर बढ़े॰॰ए॰॰ए॰॰ए हे
जितने डक्टर बढ़े देश में
उतनी बढ़ी बीमारी
हाय रे हाय
उतनी बढ़ी बीमारी
जमाने धत्त तेरे की
जमाने धत्त तेरे की

अरे अंधी परजा अंधा राजा
टके सेर भाजी
टके सेर खाजा
टके सेर जनता
टके सेर नेता
हम तो मर गए हाए
जमाने धत्त तेरे की
जमाने धत्त तेरे की

———————-
अंतरे जो फिल्म में नहीं हैं
———————-

दस दस साल जो टैक्स नहीं दे
वो बन जाये लीडर
are वो बन जाये लीडर
आ आ
दस दस साल जो टैक्स नहीं दे
वो बन जाये लीडर
वो बन जाये लीडर
अरे खून पसीना एक करे जो
वो हो जाये फटीचर
वो हो जाये फटीचर
कौन अकल की बात करे॰॰ए॰॰ए॰॰ए
कौन अकल की बात करे भई
सब पर चढ़ा शनीचर
जमाने धत्त तेरे की
जमाने धत्त तेरे की

रात में था वो
क्या
रात में था वो लीगी भइय्या
सुबह बना कांग्रेसी
अरे सुबह बना कांग्रेसी
अरे रात में था वो लीगी भइय्या
सुबह बना कांग्रेसी
सुबह बना कांग्रेसी
दल बदलू ने नीति नियम की
कर दी ऐसी की तैसी
कर दी ऐसी की तैसी
ए जिसकी लाठी॰॰ई
भैंस उसी की
जिसकी लाठी भैंस उसी की
क्या है डेमो क्रेसी
जमाने धत्त तेरे की
जमाने धत्त तेरे की
जमाने हत्त तेरे की

हे॰॰ए॰॰ए॰॰ए
हवा चली पश्चिम की ऐसी
कला हुई बेढंगी
अरे कला हुई बेढंगी
ओ ओ ओ
हवा चली पश्चिम की ऐसी
कला हुई बेढंगी
कला हुई बेढंगी
अरे अंगरेजी का राग अलापे
हिन्दी की सारंगी
हिन्दी की सारंगी
आज़ादी के बाल सँवारे
वाह  भइय्या
अरे आज़ादी के बाल सँवारे
हाए करजे की कंघी
जमाने धत्त तेरे की
जमाने धत्त तेरे की

अरे अंधी परजा अंधा राजा
टके सेर भाजी
टके सेर खाजा
टके सेर जनता
टके सेर नेता
हम तो मर गए हाए
जमाने धत्त तेरे की
धत्त तेरे की
हत्त तेरे की
धत्त तेरे की
अरे हत्त तेरे की
धत्त तेरे की
अरे हत्त तेरे की॰॰ई॰॰ई॰॰ई॰॰ई


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.

This is the 2800th song of Rafi Sb to be showcased on our blog.
‘Mera Suhaag’ (1961) is the 3800th film represented on our blog.

Blog Day : 3471 Post No. : 13936

Series of Rafi songs-Rafi with music directors
—————————————————————-
(Pal do pal ka saath)-MD composing just one Rafi song
——————————————————————-
Part I-Arun Raghavan
—————————-
During his HFM career, Rafi worked with 14 music directors in more than 100 songs each. I describe them as Major music directors for Rafi or three figure music directors with Rafi. Then there were 45 music directors who composed between 11 to 99 songs with Rafi. We can call them semi major or two figure music directors with Rafi.

Major (viz three figure) music directors created 2743 song with Rafi, which is 53 % of all Rafi songs in HFM. The semi major (viz two figure) music directors created 1528 Rafi songs, viz 30 % of all Rafi songs in HFM. So we can say that the major and semi major music directors (59 in number) contributed a whopping 83% of all Rafi songs, which adds up to 4271 songs in all.

Then there were 170 music directors who worked with Rafi in less than 10 songs each. They were like the proverbial squirrels of Ramayan fame, who would carry a few grams of tiny pebbles each on their tiny paws while the giant vaanars would carry large boulders on their shoulders. The individual contributions of each of these music directors may be small in comparison to the major music directors, but the cumulative total of Rafi songs by these single figure music directors adds up to a figure of 503 ! This total is bigger than the career total of HFM songs sung by some well known playback singers, viz K L Saigal, Suraiyya, Talat Mehmood etc. And these songs contain quite a few wonderful songs as well.

I had discussed this fact while discussing a song on the occasion of Rafi’s birth anniversary. Raja, while commenting on that article had written –

“Just wondering if we have covered songs of all those 173 composers (1-9 songs category) here already? If not, that could be a project. Every composer who has used Rafisaab should be on the blog, even if the song being posted for that composer isn’t necessarily the Rafisaab one (if it is, of course better!).
That could be our way of showing our gratitude to that composer.”

I had taken note of Raja’s suggestion. And this writeup begins our series of articles about those music directors who were associated with Rafi in less than ten songs each. The name that I have chosen for this series is- pal do pal ka saath. This phrase is taken from that memorable qawwaali from “The Burning Train” (1981) containing this phrase.

In the beginning, I will discuss those music directors who have worked with Rafi in just one song each.

There are 48 such music directors. While most of them are small time less heard music directors, we have some rather well known names too in the list.

I decided to take up these names alphabetically. The first name that crop up in Alphabetical order is Aabid Hussain Khan who composed one Rafi-Zohrabai Ambalewaali duet in a 1949 movie called Last Message”(1949). While a few songs from this movie are available, the Rafi song , viz. “na thahar sake na tadap sake” does not seem to be available.

The next name that comes up alphabetically is Aparesh Lahiri (father of Bappi Lahiri). He has composed one Rafi song in a movie called “Subhash chandra” (1978). Since Netaji Subhash Chandra Bose’s birth anniversary is coming up next week, that would be the opportune time to cover this song.

The next name in the list of music directors is Arun Raghavan. He was a South Indian music director and he worked in just one Hindi movie. This movie, called “Mera Suhaag” (1961) was produced by Produced by N S R Mani and directed by H Krishnamoorthy for Secarts, Madras. The movie had Kanta Rao, Rajnala, Ramkrishna, K V S Sarma, A V subbarao, Balkrishna, Krisha Kumari, Girija, Rajshree, Hemlata etc. in it. In all likelihood, this movie was a remake of a south Indian movie where songs were re reccorded in Hindi. There were nine songs in the movie. Eight of these songs were sung by well known South Indian playback singers viz. P Susheela, S Janki and P B Srinivas.

But there was one song in the movie which was sung by Rafi. And that happens to be the one and only collaboration of Arun Raghavan as a music director with Rafi in a Hindi movie.

The song is penned by Vinod Sharma, who like the music director is an obscure name for this blog.

This song is a rare song. Only the audio of the song is available.

From the sounds of it, the song appears to be used as a background song in the movie.

I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.

So much discussion on a song which is a rare and obscure song. Most sites dealing with HFM will struggle to find anything to write on this song. But trust us in this blog to treat most songs in general and songs like this in particular with so much care and respect, and we are able to come up with so many special things to say about songs like this.

This song is special for us for the following reasons:

1. This is the only occasion when Rafi has sung a song under the music direction of Arun Raghavan and under the penmanship of Vinod Sharma.

2. This is the 2800th Rafi song in the blog. It was a conscious decision on our part to use a Rafi song from a less known music directors to emphasize that they too have contributed their mite in enriching HFM.

3. With this song, “Mera Suhaag”(1961) becomes the 3800th movie to get represented in the blog. The same reason as given above applies here as well for considering this movie for this honour.


Song-Yug yug se anyaay ho raha hai naari ke saath (Mera Suhaag)(1961) Singer-Rafi, Lyrics-Vinod Sharma, MD-Arun Raghvan

Lyrics

Yug yug se anyaay ho raha hai naari ke saath
kaun samajh paaya uska dukh uske man ki baat
Yug yug se anyaay ho raha hai naari ke saath

dharmraj ne drupad suta ko diya juye mein haar
harichandra ki raani taara bik gayi beech baazaar
bik gayi beech baazaaaar
Yug yug se anyaay ho raha hai naari ke saath
kaun samajh paaya uska dukh
uske man ki baat

Shakuntala ko raaja bhoola
jiska thha vishwaas kiya
chhoti si thhi baat
Raam ne
Seeta ko vanwaas diya
Seeta ko vanwaas diya
Seeta ko vanwaas diya

tujhko bhi vanwaas mila hai
teri karun kahaani
kul maryaada raah mein teri
?? deewaani
tera dharm piya ko paana
?? tujhko mil jaaye
haan
?? tujhko mil jaaye
dukh ki kaali si raat kate
sukh ka sooraj muskaaye
tere man ka kamal khilaaye
tere man ka kamal khilaaye
tere man ka kamal khilaaye


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.

“Insaaf”(1956) was directed by Kedar Kapoor for Bhagyoday Pictures, Bombay. This movie had Nalini Jaiwant, Ajit, Kamal Kapoor, Ramesh Tiwari, Durga Khote, Helen, Johny Walker etc in it.
Read more on this topic…


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(© 2008 - 2018) 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.

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 TEN years. This blog has over 14700 song posts by now.

This blog is active and online for over 3700 days since its beginning on 19 july 2008.

Total number of songs posts discussed

14741

Number of movies covered in the blog

Movies with all their songs covered =1150
Total Number of movies covered =4028

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Blog Start date: 19 july 2008

Active for more than 4000 days.

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