Archive for the ‘qawwali’ Category
- In: "Moonch/mustache song | "Nok-Jhonk" song | Body part song | Devnagri script lyrics by Sudhir | Duet | Guest posts | Lyrics contributed by readers | Post by Arunkumar Deshmukh | qawwali | Rafi songs | Shamshad Begam Rafi duet | Shamshad Begam songs | Songs of 1960s (1961 to 1970) | Songs of 1962 | Yearwise breakup of songs | Zulf song
- 2 Comments
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
5665 | Post No. : | 18168 |
Today’s song is from the film ‘Baghdad Ki Raaten’ (1962).
The film is labelled as ‘kalpanik‘, (काल्पनिक) meaning based on an imaginary story. I would have loved to meet the writer of this story, who had such fantastic imagination, but the film mentioned that the story was by the ‘Story Department ‘ of the banner/studio. That explains ! It is not possible to imagine such stories by one single person. The Arabian Night stories were supposed to be told by Scheherazade-wife of the King Shehriar of Persia- to her husband at the rate of one story a night for continuously 1001 nights, to avoid her death. I am sure even she would gladly embrace death after hearing the ‘Arabian Stories’ made by the imaginative story departments of Indian films ! In this one department, we easily defeat the rest of the world’s filmmakers !!
‘Raat’ is yet another favourite word of our filmmakers. A cursory look at the Film Title Index, one finds that there were 21 films made with titles starting with the word Raat. And then there were films with the word Raat, placed in the title elsewhere too like ‘Ek Raat’ (4 films), ‘Barsaat Ki Raat’ (4 films). I found even a ‘Meethi Meethi Raat’ (1991). Further titles were found like ‘Ek Aadhi Raat (2005), ‘Aadhi Raat’ (2 films), ‘Aadhi Raat Ke Baad’ (1965) etc. Then I found ‘Milan Ki Raat’ (1967). With curiosity, I proceeded to try to find ‘Honeymoon Ki Raat, but instead I found ‘Ek Raat Shaitaan Ke Saath’ (2004) and I hurriedly wound up my research !
The decade of the 60’s, though a part of the ‘Golden Period’ to some extent, suffered much due to conditions prevailing in the country. If you take a look at the number of films made from 1961 to 1970, you will find the number had come down substantially, compared to earlier or later decades. See this – 924 films in 1930-40, 1191 films in 1940-50, 1125 in 1950-60, 942 in 1960-70, 1243 in 1970-80, 1668 in 1980-90, 1713 in 1990-2000 and 2352 in 2000-2010.
The reasons for this low number in 60-70 period were many. Major reason was escalation in the cost of film production. The cost had gone up substantially compared to the period 1931 to 1960, in terms of payments to the actors, directors and the music directors, raw film was costlier and other reasons. Attraction of making color films was very expensive. By the end of the 60’s, color films occupied about 70 % of the films produced.
War with China in 1962, war with Pakistan in 1965, death of Nehru ji in 1964, Shastri ji in 1966 and a severe drought condition in the North and East India were reasons which disturbed the national economy. In 1960 itself, to help the Film Industry, the Film Finance Corporation was established, which gave loans for film production at only 5 to 6 % interest rates. Due to this the ‘New Wave Cinema’ had a boost, affecting mainstream films. With all this the number of films made dwindled. However, by the end of the decade i.e. by 1970 the Hindi films once again crossed the figure of 100’s mark (102 films), never to fall again below 100 ! In fact, after the year 2000, the number has always been above 200 films !!
Film ‘Baghdad Ki Raaten’ (1962) was directed by Nanabhai Bhatt, a veteran of such films. The music was by D Dilip alias Dilip Dholakia. He used several names like Dilip, Dilip Rai, Dilip Kumar, in addition to D Dilip and Dilip Dholakia. Contribution of Gujarat to the film industry is tremendous right from the beginning of the moving pictures era. The important fact is, this contribution was all pervading, i.e. in all departments of film making from production to distribution and in the music field it was in the form of singers and composers. Producers like Dalsukh Pancholi and Chandulal Shah, directors like Desai and Doshi, actors like Sanjeev Kumar and Nirupa Roy, MDs like Pransukh Nayak and Madholal Master right up to Kalyan ji Anand ji….the list will be endless !
However, in the music field, not all those who came from Gujarat were as famous or lucky as some others. Composers like Avinash Vyas, Ninu Mujumdar, Ajit Merchant – despite the quantity and the quality, never got counted among the ‘Top Of the Line’ composers. Another name of such a composer is that of DILIP DHOLAKIYA.
Dilipbhai, as he was popularly called, was born on 15-10-1921 at Junagadh in Gujarat. He took classical music training from well known Gurus and also completed BA degree with Sanskrit and Gujrati Literature as main subjects. From 1942 to 1944 he even worked in govt. office, but his intense desire for music made him leave the job and seek opportunities. He sang on All India Radio for 5 Rs. a song basis. He developed friendship with Snehal Bhatkar who was working in HMV that time, and cut a record of two songs. He sang along with Saigal in a chorus for ‘Bhanwaraa’ (1944). Later Shantikumar Desai and Ratan Lal gave him songs in ‘Kismatwala’ and later Chitragupta also gave him songs in ‘Sakshi Gopal’, ‘Mahasati Savitri’, ‘Naya Raasta’ etc.
In 1947, he was selected by Feroze Nizami to sing the famous song, “Yahan Badla Wafaa Ka” from ‘Jugnu’ (1947). Few rehearsals also took place. Due to the turmoil of independence activity in 1947, Mohd. Rafi was stuck in Jalandhar, Punjab. Just one day prior to the recording, Mohd. Rafi came to Bombay. Feroze Nizami gave the song to Rafi, which made lot of good to him. This was the first indication to Dilip Bhai that Luck was not with him.
Basically, he worked as assistant to SN Tripathi and Chitragupta from 1951 to 1972 and later from 1972,as arranger for Laxmikant Pyarelal up to 1988.
While not so successful in Hindi, he was quite popular in Gujrati as a singer and composer. His song “Taari Aankhni Afeeni” from the film ‘Divadandi’ (1950), under Ajit Merchant’s baton is hugely popular even today.
His first independent film in Hindi, as composer was ‘Baghdad Ki Raaten’ (1956), but the film got released only in 1962 ! In all he gave music to 8 Hindi films, ‘Bhakti Mahima’, ‘Saugandh’, ‘Teen Ustaad’, ‘Private Secretary’, ‘Dagabaaz’, ‘Veer Ghatotkach’ and ‘Mata Vaishno Devi’. The song “Miley Nain, Miley Chain” from ‘Private Secretary’ by Lata, became quite popular in those days. He used several names like, Dilip, Dilip D, Dilip Rai and Dilip Kumar for his songs and music.
He gave music to 11 Gujarati films from 1963 to 1984. There is not much information available about Dilip Bhai on the internet or in books. However the following is the summary of his life, from a website ‘Deshgujarat’ with thanks to them-
- Gujarati film ‘Divadandi’ was released in year 1950. Though the film was not a superhit, its one song written by Venibhai Purohit, composed by Ajit Merchent and sung by Dilip Dholakia is superhit even today. The song is: “Taari Aankhni Afeeni”. Initially people misunderstood that this song was sung by Mukeshji.
- His father used to play flute while his grandfather Manishankar used to sing kirtan and bhajan in Swaminarayan Mandir.
- Shri Dholakia came to Mumbai in 1942 and passed BA.
- He worked in Bombay government’s Home department for two years as clerk in the Accountant General’s office. While his office was located on first floor, the third floor in same building was occupied by All India Radio.
- Born in 15 October 1921 in Junagadh, Shri Dilipbhai received education in Bahadurkhanji high school and Bahauddin College.
- His father’s name was Bhogilal.
- He loved songs on classical base.
- In 1944, musician Khemchand Prakash’s brother Ratanlal gave him chance to sing in ‘Kismatwala’ film. His songs were “Gori Chalo Na Seena Ubhar Ke” and ‘Dekho Hamse Na Aankhen Ladaaya Karo”.
- In 1946 he sang a song “Dukh Ki Is Nagri Mein Baba Koi Na Poochhe Baat” in film ‘Laaj’ under Ramchandra Pal’s music composition arrangement.
- He sang Saigal’s 1944 song of film ‘Bhanwara’ s song Thukra rahi hai duniya in chorus. He was introducted to musician Snehal Bhatkar in HMV studio with whose help a record of two songs ‘Bhint Fadi Ne Piplo Ugyo’, and ‘Aadha Tel Aur Aadhaa Paani’ was made. In this record Dilip Bhai was singer and Venibhai Purohit was lyricist.
- In 1948 Avinash Vyas gave chance to Dilip Bhai for two duet songs in film ‘Sati Son’. A name on record printed was Dilip Kumar. When Dilip Dholakia started his career as musician, he choose D Dilip as his identity. In 1960 he gave music in ‘Bhakta Mahima’ directed by K. Shankar under this new name.
- From 1951 he became assistant of musician Chitragupt and worked with him till 1972. In this course the films that were worked out were ‘Insaaf’, ‘Kismat’, ‘Zindagi Ke Mele’, ‘Bhabhi’ (“Chal Ud Ja Re Panchhi Ki Ab Ye Desh Huva Begana“, and “Chali Chali Re Patang Meri Chali Re“), ‘Kali Topi Lal Rumal’ (“Laagi Chhoote Na Ab To Sanam“, “Daga Daga Vai Vai“, “Diwaana Admi Ko Banaati Hain Rotiyan‘) etc.
- Moreover he worked as assistant of SN Tripathi. The tasks was assistant were very technical, such as writing notations, editing, providing creative inputs while composition of new creations.
- Dilip Bhai composed 16 songs in ‘Bhakti Mahima’, that were sung by Lata ji, Usha ji, Manna Dey, Suman Kalyanpur, S Janki. In 1961 he gave music in ‘Saugandh’ film in which Jaimini Ganeshan (father of famous actress Rekha) ans Anjali Devi acted. One song of this film “Apne Liye Jiye To Zamaane Me Kya Jiye” was sung by Rafi ji, and “Chali Hawaayen Matwaari” was sung by Lata and Talat ji. He also composed six songs in Nanabhai Bhatt directed film ‘Teen Ustad’.
- In 1962 he gave music in film ‘Baghdad Ki Raaten. While two songs of this film were sung by Geeta Dutt, one was by Shamshad Begam-Rafi. Dilip Bhai’s favorite writer for songs in those days was Prem Dhavan.
- Dilip Bhai had Manna Dey and Rafi ji singing his song of film ‘Private Secretary’. The song was “Pyaar Ka Maara Hoon Main Julie“. After this he gave music in film ‘Dagaabaaz’ in 1970 with name of Dilip Roy. In this film one song was sung by Mukesh ji. One song sung by Mahendra Kapoor, “Chaand Bhi Sitaare Bhi Hain Bazm Mein” was written by Kaifi Azmi. Dilip Bhai gave music of ‘Vir Ghatotkach’ and ‘Mata Vaishnavi Devi’ with name as ‘Dilip Roy’.
- Thus Dilipbhai gave music in eight Hindi films.
- He started giving music in Gujarati films from 1963 in film ‘Satyavan Savitri’. He has given music in 11 Gujaati films. Some famous songs from these films are: “Milan Na Deepak Sau” (‘Mota Ghar Ni Dheekri’), “Maane Andhara Bolave”, and “Paglu Paglama Atvanu”, “Sathiya Puravo Dwaare”, “Dhanna Dhatudi Patudi”, “Bole Milan No Mor” etc.
- He joined with Lakshmikant Pyarelal as assistant in 1972 and worked on this position for next 16 years.
- Dilip Bhai’s last recording happened on 15 February 1988.
Dilip Dholakiya passed away on 2-1-2011.
The cast of the film was Shakila, Mahipal, Ratnamala, Ishwarlal, Leela Mishra, Neeru (Shanta kumari Jr., debuted in film ‘Adhikar’ (1954)), Master Bhagwan, Abu Hasan and others. The film had another name Abu Hasan and the coincidence was that a small time actor Abu Hasan acted in this film and his name was credited also. The story of this film is given here (please do not chuckle while reading it).
When king Harun Al Rashid was ruling there lived a rich merchant Abu Hasan with his mother and sister Zarina. He had founded a group of friends of his age to spend good times, having parties etc. After few years he stopped the parties as his mother advised. King’s son Prince Gul loved Abu hasan’s sister Zarina, but he met her as a gardener’s son – Jaffer.
The king’s Vazir wanted to become the king. He arrested the king. His Prince did not know this, he thought the king has gone on shikar. The Vazir also arrested Abu Hasan and the Prince Gul and left them in front of hungry lions. However the lions kept their heads on Abu Hasan’s feet but did not eat them, because Hasan had provided them food for many years.
Seeing this, the Vazir was enraged and wanted to kill both, but Hasan’s friend group had come there with weapons and they attacked the Vazir. In the ensuing fight Vazir was killed. Abu Hasan, the king and Prince Gul were released. Gul married Zarina, Abu hasan married his love, court dancer Haseena and the king was reinstated. Abu Hasan was appointed Vazir now. Clap, Clap. The End !
Today’s song is a duet of Rafi and Shamshad Begum. Enjoy….
Song- Zulfon waalon se na bhool ke bhi pyaar keejiye (Baghdad Ki Raaten)(1962) Singers- Rafi, Shamshad Begum, Lyricist-Prem Dhawan, MD- Dilip Dholakiya
Female chorus
Male chorus
Lyrics
zulfon waalon se
na bhool ke bhi pyaar keejiye jee
zulfon waalon se
hoye moonchhon waalon pe
oye moonchhon waalon pe
kabhi na aitbaar keejiye jee
moonchhon waalon pe
moonchhon waalon pe
kabhi na aitbaar keejiye jee
muchho walo pe
zulfon waalon se
na bhool ke bhi pyaar keejiye jee
zulfon waalon se
o peechhe peechhe aayenge maare maare aap hi
o peechhe peechhe aayenge maare maare aap hi
naak ragdenge dar pe humaare aap hi
dar pe humaare aap hi
dar pe humaare aap hi
bheekh maangen to bhi
ae jee bheekh maangen to bhi
jootiyaan nisaar keejiye jee
moonchhon waalon pe
moonchhon waalon pe
kabhi na aitbaar keejiye jee
moonchhon waalon pe
kiske dum se haseenon ki ye aan baan hai
kiske dum se haseenon ki ye aan baan hai
moonchhon waalon ka in pe to ehsaan hai
inpe to ehsaan hai
inpe to ehsaan hai
arre karke ehsaan
dekh liya
karke ehsaan gaaliyaan hazaar leejiye jee
zulfon waalon se
zulfon waalon se
na bhool ke bhi pyaar keejiye jee
zulfon waalon se
ho jab se duniya bani hai
bas takraar hai yahi
ho jab se duniya bani hai
bas takraar hai yahi
hum to kahte hain yaaron ke pyaar hai yahi
ajee haan pyaar hai yahi
are haan pyar hai yahi
gar ye pyar hai to
haaye haaye haaye
arre arre arrey
gar ye pyaar hai to
tauba hazaar keejiye
zulfon waalon se
moonchhon waalon se
zulfon waalon se
na bhool ke bhi pyaar keejiye ji
zulfon waalon se
moonchhon waalon pe
kabhi na aitbaar keejiye jee
moonchhon waalon pe
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
ज़ुल्फों वालों से ना भूल के भी प्यार कीजिये जी
ज़ुल्फों वालों से
ओए मूञ्छों वालों पे
ओए मूञ्छों वालों पे
कभी ना एतबार कीजिये जी
मूञ्छों वालों पे
मूञ्छों वालों पे
कभी ना एतबार मूञ्छों वालों पेकीजिये जी
मूञ्छों वालों पे
ज़ुल्फों वालों से ना भूल के भी प्यार कीजिये
ज़ुल्फों वालों से
ओय पीछे पीछे आएंगे मारे मारे आप ही
ओय पीछे पीछे आएंगे मारे मारे आप ही
नाक रगड़ेंगे दर पे हमारे आप ही
दर पे हमारे आप ही
दर पे हमारे आप ही
भीख मांगें तो भी
ए जी भीख मांगें तो भी
जूतियाँ निसार कीजिये जी
मूञ्छों वालों पे
मूञ्छों वालों पे
मूञ्छों वालों पे कभी ना एतबार कीजिये जी
मूञ्छों वालों पे
किसके दम से हसीनों की ये आन बान है
किसके दम से हसीनों की ये आन बान है
मूञ्छों वालों का इन पे तो एहसान है
इन पे तो एहसान है
इन पे तो एहसान है
अरे करके एहसान
देख लिया
करके एहसान गालियां हज़ार लीजिये जी
ज़ुल्फों वालों से
ज़ुल्फों वालों से ना भूल के भी प्यार कीजिये
ज़ुल्फों वालों से
हो जबसे दुनिया बनी है
बस तकरार है यही
हो जबसे दुनिया बनी है
बस तकरार है यही
हम तो कहते हैं यारो के प्यार है यही
अजी हाँ प्यार है यही
अरे हाँ प्यार है यही
गर ये प्यार है तो
हाय हाय हाय
अरे अरे अरे
गर ये प्यार है तो
तौबा हज़ार कीजिये
ज़ुल्फों वालों से
मूञ्छों वालों पे
ज़ुल्फों वालों से ना भूल के भी प्यार कीजिये जी
ज़ुल्फों वालों से
मूञ्छों वालों पे कभी ना एतबार कीजिये जी
मूञ्छों वालों पे
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
5644 | Post No. : | 18135 |
Today’s song is from a Costume drama film Naqab-1955.
This was yet another film weaving a beaten-track story of the King – Queen and the evil Vazir. Initially I was quite amused with such stories and was keen to see these films. Slowly and in due course as I expanded my world, I started getting weary of such set stories. The basic plot used to be the same, only the names of places and the characters and actors used to be different. I guess, even the filmmakers got tired with these stories. In reality, the generation which enjoyed such child pleasing stories was receding in the background with the growing age and the next generation was eager to broaden its visions with different Genres of films like Comedy, Real life adventure, Religion, Love stories, Musicals, Historicals and what not !
Filmmakers who survived on the theatre-going crowds and their choices, realised the changed tastes and the Indian films turned a new leaf of films made. By the end of the 50’s and finally by the middle of the 60’s such films made a retreat and they slowly disappeared into the History pages finally. Looking back now, I remember how I enjoyed such films in my younger age. In those days, the leading stars too had no anathema to working in such costume dramas. One can easily quote names of this type of films in which great stars appeared in their early careers. They crossed this stage and the second, third and the fourth level artistes acted and sustained action/stunt costume films.
Today’s film Naqab-1955 had in its cast Madhubala, Shammi Kapoor, Asha Mathur, Ajit, Heeralal, Yashodhara Katju, Maruti (Parab) and others. Madhubala, Shammi Kapoor and Ajit graduated from these types of films in due course and became “A” grade actors in different types of films. Shammi Kapoor, who debuted in 1953 – at the age of 22 years – with the film Jeewan Jyoti, did 17 films, before the film ” Tumsa Nahin Dekha”-1957 changed his life forever – never to look back what types of films he did in his early career. He became a big star. He ruled the 60’s with musicals and comedies starring opposite top and debuting actresses, Pran typically as the Villain and Rafi as his voice amid the beautiful Kashmir background.
It was in 1955 only that he secretly married Geeta Bali, without informing his family, during the shooting of the film ” Miss Coca Cola”. Unfortunately Geeta Bali died in 1965, when he was shooting for the film ” Teesri Manzil”. The shooting was stopped, but the director Vijaya Anand kept the sets intact for 3 months – paying heavy rents. When Shammi Kapoor reported for shooting, he shot for the song ” Tumne mujhe dekha hokar meherbaan” !
Madhubala started as a child artiste and after doing 14 films, became the heroine opposite Raj Kapoor in film ” Neel Kamal”-1947, which changed her career. Ajit did 15 films before his film ” Beqasoor”-1950 became one of the most successful films of 1950. It was in this film that he changed his name from Hamid Khan to Ajit. After doing Hero and second lead films, he established himself as the most stylish and suave villain of Hindi films. As the coolest villain, he became famous for his dialogues like, Mona Darling, Smart Boy, Lilly- don’t be silly, How very interesting and Saara shehar mujhe Loyan ke naam se jaanata hai ! For many successful actors and actresses of the 60’s, Costume films were the road to their career heights.
Today’s film was directed by Lekhraj Bhakri. Here is some information on him…..
A youngster, like millions of displaced Punjabis ,crossed over to India in 1947 from Abbottabad ( Now Pakistan), when the Indian subcontinent was divided. He and his family, like hundreds of other refugee families from Punjab, were given shelter in Kingsway camp located in north Delhi.
It was by chance that the youngster named Hari Kishan Goswami (Manoj Kumar) met his distant cousin Lekh Raj Bhakri, a filmmaker, who was on a visit to Delhi. The well experienced movie maker was impressed with the personality of the lanky handsome man & inquired from him if he is interested in being an actor. The young lad, who was a fan of Dilip Kumar , readily agreed & reached Bombay. Those days Bhakri was making a film Fashion-1957, with his favourite actor Pradeep Kumar ,Mala Sinha,Chandra Shekhar,Jabeen & Kammo & the shooting was in progress . Mr Goswami was told to be in the studio , to get himself acquainted with the nitty gritty of the film making .
So Goswami started working as an assistant to director Lekhraj Bhakri- for the film Fashion-57. There was a song in the film, in the voice of Hemant Kumar, to be shot on a Beggar on the screen. On the day of shooting, the actor who was supposed to do the role of the beggar and sing this song, did not come. Lekhraj Bhakri caught Harikishen Goswami, put on the make up of the bearded beggar and made him sing this song on camera. Thus the debut of Goswami took place with Hemant Kumar’s song ! As a Beggar !!
No one from the audience could ever imagine that the person with dishevelled hairs, having a big beard , and with a song on his lips is a handsome young man of 19 years . The movie was ‘Fashion’, released in 1957 & the song was Composed & crooned by Hemant Kumar. It was the young man’s first exposure before camera. The song was to chide a wayward hero (Pradeep Kumar),who has left his wife (Mala Sinha),for another woman (Kammo) having ill intentions.The song was ” Dharti ki godh mein…” After Fashion-57, Bhakri made Sahara in 58 ,with M Rajan & Meena Kumari & Hari Kishan Goswami ( who now wanted to be called as Manoj Kumar, the name Dilip Kumar had in a film), was given a substantial role . Bhakri, true to his words, took on Manoj Kumar in his subsequent movies Panchayat, Chand & Honeymoon (1960).
Lekh Raj Bhakri directed his first film Rajpoot-51 and thereafter he regularly directed movies ,like Resham,Thokar, Dak Babu etc within a modest budget. He directed Nineteen movies during 1950 to 1962. His last film was Banarasi Thug-1962. He made most of his movies under the banner Tasviristan, owned by Kuldip Sehgal and his sibling Mulkh Raj Bhakri’s Golden movies. Mulkh Raj Bhakri, besides being a producer of Hindi/Punjabi movies ,was also a writer & lyricist . He wrote the famous song ‘Haye Chanda Gaye Pardes’ for Chakori, which is still appreciated by connoisseurs of film music. Mulkh Raj Bhakri also made Bhangra ,a super hit musical in Punjabi,which had Sunder & Nishi in lead roles.
Lekh Raj Bhakri made many family oriented movies, like Maa Beta, Tange Wali, Naya Zamana,HoneyMoon etc. At the same time ,he had no problems directing films of other genres for those who wanted to watch fantasy & Arabian Nights movies. For them he made Naqab, Alladin Laila & Nag Padmini. Later,he made a musical Muslim social ‘Shama’ which had Suraiyya & Nimmi & music was composed by Ghulam Mohammad.
Besides Manoj Kumar, Lekh Raj Bhakri introduced music director Kanu Ghosh with his film Naya Zamaan (1957 ) & Iqbal Qureishi with Panchayat (1958). He also introduced actor Vijay Dutt with Shama. Lekh Raj Bhakri hung his boots after Banarsi Thug, a hugely entertaining movie, released in 1962. He did not further attempt to make movies, as after the arrival of colour, the budget of Hindi movies was increased many fold & now it was a risky business. It did not suit the temperament of a simple soul like Bhakri Saheb. Mr Bhakri, who did not believe in showing off, always kept a low profile despite being a successful director, bade adieu to show business. Much later, he passed away on 03 March 1976 at the age of sixty years. It was a matter of time, when the era of principled film makers, who made purposeful movies with message , came to an end & proposal makers having no regards for ethical values arrived with the sole aim of earning money .( adapted from the article by shri M.N.Sardana ji, with thanks, and my notes. )
You can see one more name Maruti in the cast. Most people consider him only as a Comedian-which he was, but he was also a director. He was a comedy actor and father of Comedienne Guddi Maruti. Earlier to him there was another actor called Marutirao Pehelwan ( father of Dancer Gopi Krishna), who operated from Silent films to Talkie films till early 40’s. Although they had the same name, these actors did not cause any ” Same Name Confusion”, because they operated one after another – without overlapping their career period. However, I still found that some sites are making a mix up of their Filmography.
His full name was Marutirao Ganpatrao Parab. He was born on 12-2-1927 at Ahmednagar, near Poona. After completing his Matriculation, he came to Bombay to try his luck in film acting. His first few films like Pagli Duniya-44, and Gajre-48 were without his name in credits. He got his credits firmly from the film Albela-51. Then he featured in many many films…Footpath-53, Baap re Baap-55, Baghdad ka chor-55, Chori chori-56, Guest House-59, Opera House-61, Parasmani-63, Lutera-65, Ustad 420-69, Shor-72, Kunwara Baap-74, Don-78 etc etc. In the 60’s he mainly worked in Dara Singh films.
He acted in a total 221 films and featured in 34 songs on screen. He also directed 7 films, namely Baghi Shehzada-64, Hum sab ustad Hai-65, Killers-69, Bank Robbery-69, Mangu Dada-70, Kahin aar kahin paar-71 and Hum sab chor hain-73. His last film as an actor was Bandish – 1980. As an actor he was not much satisfied, but film direction gave him joy and satisfaction. After his last film he retired from films. However several films like karate-83 and Naya Bakra-85 got delayed releases. He died peacefully on 12-3-1981.
He had married his co-star Miss Kamal, a small time actress who worked in films like Dashehra-56, Tatar ka chor-55, Garma Garam -57, Darbar-55, Riyasat-56 etc. etc. Their daughter Guddi Maruti had better luck in films than both of them. ( Thanks to a note by Rajni kumar Pandya ji, book ‘Eena, meena deeka’ by Sanjit Narvwekar, HFGK, muVyz and my notes).
The story of the film Naqab-1955 was….
Princess Rukhsana was engaged to Prince Kamran of the neighbouring kingdom. She loved him. The Vazir loved Rukhsana very much but she did not respond. To get her, Vazir kills the king and imprisons her. Kamran comes with sister Yasmin and a few friends. Yasmin is roaming at night when she is arrested and taken to the Police station.There, Inspector Anwar falls in love. He releases her but she finds from him where Princess is kept. She tells her name as Roohi. She informs Kamran, who goes and meets Princes. Vazir comes to know this. He arrests Anwar, catches Roohi and orders Anwar to shoot Roohi. Here, Kamran frees Princess and comes to the court in disguise, with his friends.
Anwar, instead of Roohi, shoots at the Vazir. Kamran and his friends also attack the Vazir and kill him. Kamran and the Princes get married. Kamran becomes the king and Anwar is made Vazir.He marries Yasmin.
Today’s song is a qawali sung by S.D.Batish and S.Balbir, with Chorus. It is a two part song of almost 6 minutes. Enjoy the qawali.
Song- Majnu bana diya humen Farhaad kar diya (Naqaab)(1955) Singers- S Balbir, S.D.Batish,Lyricist-Prem Dhavan, MD- Pt Gobind Ram
chorus
Lyrics
Majnoo bana diya hamen
Farhaad kar diya
ahhahahaaha
subhan allah
kya baat hai
muqarrar
Majnoo bana diya hamen aen aen aen aen aen aen
Majnoo bana diya hamen
Farhaad kar diya
teree nazar ne humko to
barbaad kar diya
aa aa aa
ulfat ka hamen nazla hai ae ae ae ae
ulfat ka hamen nazla hai
to pyaar ka aa bukhaar
mar mar ke jee raha hai tere ishq ka aa beemaar
arre miyaan
isi liye to chacha Ghalib farma gaye hain
kya farma gaye hain
Ishq ne Ghalib nikamma kar diya
Ishq ne Ghalib nikamma kar diya
warna hum bhi aadmi thhe kaam ke ae
warna hum bhi aadmi thhe kaam ke
Ishq ne Ghalib nikamma kar diya aa aa aa aa aa
Ishq ne Ghalib nikamma kar diya
warna hum bhi aadmi thhe kaam ke
warna hum bhi aadmi thhe kaam ke
ab jigar thhaam ke baithho
meree baaree aayee
lo aur suno
arre bhai inki bhi baaree aayee
hahahahahaha
haan aan
ab jigar thhaam ke baithho
meree baaree aayee
haan ladakpan hee se
ishq kee beemaaree aayee
aise dilphenk thhe
jaate thhe jis kooche mein ae ae
aise dilphenk thhe
haaye
aise dilphenk thhe
jaate thhe jis kooche mein aen aen aen aen
log kehte thhe ke aashiq kee sawaaree aayee
magar chacha
ab
arre miyaan
ab to aashiq hain baraaye naam ke
ab to aashiq hain baraaye naam ke
warna hum bhee aadmee thhe kaam ke
warna hum bhee aadmee thhe kaam ke
haan aan aan aan
haan aan aan aan
o o o o o o
warna hum bhee aadmee thhe kaam ke ae ae
warna hum bhee aadmee thhe kaam ke
phir kaho barkhurdaar
ik dilruba thhi ikdin
ye dil jo mera atka
kadmon pe ja ke uske
sar maine apna patka
kadmon pe ja ke uske
sar maine apna patka
ye sar maine apna patka
shaamat jo meree aayee
abba ne khabar paayee
thhappad pe diya thhappad
phatke pe diya phatka
aur phir
rah gaye rote jigar ko thhaam ke ae
rah gaye rote jigar ko thhaam ke
warna hum bhee aadmee thhe kaam ke
warna hum bhee aadmee thhe kaam ke
ishq ne Ghalib nikamma kar diya aa aa aa aa
ishq ne Ghalib nikamma kar diya
warna hum bhee aadmee thhe kaam ke ae ae
warna hum bhee aadmee thhe kaam ke
kar de jo tu ishaaraa
taare falak se laa doon
kar de jo tu ishaaraa
taare falak se laa doon
kadmon pe tere laa ke
main chaand ko jhuka doon
kadmon pe tere laa ke
main chaand ko jhuka doon
na jaane tere aage
kyun zor nahin chalta
na jaane tere aage
kyun zor nahin chalta
warna to jaise chaahoon
duniya ko main mitaa doon
warna to jaise chaahoon
duniya ko main mitaa doon
magar haay ree qismat
din bure hain aashiq e naakaam ke
din bure hain aashiq e naakaam ke
warna hum bhee aadmee thhe kaam ke
warna hum bhee aadmee thhe kaam ke
ishq ne Ghalib nikamma kar diya aa aa aa aa aa
ishq ne Ghalib nikamma kar diya
warna hum bhee aadmee thhe kaam ke
warna hum bhee aadmee thhe kaam ke ae ae
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
5640 | Post No. : | 18131 |
Today’s song is a parody song from the film Ham kahan jaa rahen hain-1966.
This long titled film was made by Filmistan, which was once upon a time famous for for giving excellent, entertaining, musical and meaningful films like Eight days, Shikari,Do Bhai, Nadiya ke paar, Anand math, Anarkali, jagriti, Nagin, Shaheed, Shabistan, Sargam, Munim ji, Tumsa nahi dekha, paying Guest, nastik Aab E Hayat, Hum sab chor hain etc.
When Sashadhar Mukherjee left Filmistan to start his own studio, Filmalaya to launch his son Joy Mukherjee, the company was bought from the owners (S.mukherjee and Ashok Kumar0, by a Non Filmi shrewd businessman-Tolaram Jalan. After that films which came out from Filmistan were not in keeping with its past reputation, glory and tradition. The standard went down in subsequent years. The last film to come out from old Filmistan was Dooj ka Chaand-1964, directed by Nitin Bose and then the studio wound up. Now it is only a shooting studio under the management of one Jasraj Purohit and outside producers take it on rent to shoot their films.
Today’s film HKJRH (short form of the long title)-1966 was directed by Nitin Bose and the music was by basant prakash – the younger brother of the yesteryear music Director Khemchand prakash (12-12-1907 to 10-8-1950), who gave us memorable films like Mahal, tamasha, Muqaddar, Rinjhim, Saawan aaya re, Ziddi, Gaon, Mulaqat, Sindoor, Prabhu ka ghar, Bhanwara, tansen, Chandni, fariyaad, Shaadi, Ummeed etc.
Basant Prakash was born on27-1-1928 and died on 19-3-1996. I remember having seen a discussion on this Blog about his date of death. Most people thought that he died in the 50’s, whereas it was his elder brother Khemchand Prakash who had died then, before his most famous film Mahal was released. It was released just 10 days after his death. His name will always be remembered with the evergreen songs of his last film Mahal-1950.
Basant Prakash gave music to only 11 films. His first film was Jai Shankar-1951 and the last was Jyot Jale-1973. He had composed only 1 song for the film Anarkali-1953, when he left the film due to differences with the Filmistan people (later first Hemant Kumar and then finally C.Ramchandra took over and completed the film’s music.). Basant Prakash had 2 wives and 8 children. After leaving the films, he returned to his hometown in Rajasthan.
The songs of this film were written by Qamar jalalabadi. On the first glance it looks like a Muslim name and naturally so, because in that period, many lyricists were Muslims. However there were also Hindus having a command over Urdu, in addition, there were poets who wrote songs in pure Hindi too.
Om Prakash Bhandari (9 March 1917 – 9 January 2003), better known as Qamar Jalalabadi, was a poet and lyricist . He composed the title track of the popular television serial Vikram Aur Betaal.
He was born as Om Prakash Bhandari in a Punjabi family on 9 March 1917 in Jalalabad, a village near Beas in Amritsar district, Punjab, India. Right from the age of seven, he started writing poetry in Urdu. There was no encouragement from home, but a wandering poet named Amar Chand Amar met him in his hometown and encouraged him to write, recognising his immense talent and potential. He also gave him the pen name of Qamar which means moon, and Jalalabadi was added for his native town. It was the general trend in those days for writers to name themselves after the towns they hailed from. After completing his matriculation from Amritsar, he embarked on his journalistic career journey by writing for Lahore-based newspapers like Daily Milap, Daily Pratap, Nirala, Star Sahakar etc.
Attracted by the promise of a career in the film industry, Qamar Jalalabadi came to Pune in the early 1940s. In 1942, he wrote lyrics for his first film Zamindar which was a Pancholi Pictures production and the songs of this film were very well received, especially the song sung by Shamshad Begum “Duniya Mein Garibon Ko Aaram Nahi Milta”, which also had a line or two written by writer and poet Behzad Lucknawi.
Subsequently, Jalalabadi relocated to Bombay, and worked there as a lyricist for nearly four decades. His songs were sung by many notable singers including S. D. Batish, Noor Jehan, G. M. Durrani, Zeenat Begum, Manju, Amirbai Karnataki, Mohammad Rafi, Talat Mahmood, Geeta Dutt, Suraiya, Mukesh, Manna Dey, Asha Bhosle, Kishore Kumar and Lata Mangeshkar. He worked with many popular composers including S. D. Burman and Sardar Malik.
As a lyricist, Qamar Jalalabadi was very versatile. On one hand he wrote mesmeric duets like “Sun Meri Sawari Mujhko Kahin Tum Bhool Na Jaana…” sung by Lata Mangeshkar and Mohammed Rafi (film: Aansoo 1953) and on the other hand he penned comic relief songs like “Khush Hai Zamana Aaj Pehli Tarikh Hai” endured with full throttle gusto by Kishore Kumar (film: Pehli Tarikh-1954). This song became very popular and was played on Radio Ceylon on the first of every month for decades, and it probably continues so.
The film Howrah Bridge (1958) skyrocketed his career as lyricist to unprecedented heights. Songs like “Mera Naam Chin Chin Chu” (Geeta Dutt) and “Aaiye Meherbaan, Baithiye Jaanejaan….” (Asha Bhosle) became highly popular.
In his long career span he worked for several film companies like Prabhat Film Company, Pancholi Pictures, Filmistan Ltd., Famous Pictures, Minerva Movietone, Prakash Pictures, Wadia Films Ltd., Filmkar Ltd., Sippy Films, N.C. Sippy Films, Shri Shakti Films, Mitra Productions and many more.
He was one of the founder members of prestigious organisations like Film Writers Association & IPRS in Mumbai. The music composers he worked with were: Ghulam Haider, G. Damle, Pandit Amarnath, Khemchand Prakash, Husnlal Bhagatram, S.D. Burman, Anil Biswas, Shyam Sunder, Sajjad Hussain, C. Ramchandra, Madan Mohan, Sudhir Phadke, S.D. Batish, Sardar Malik, Ravi, Avinash Vyas and in the latter phase of his career with O. P. Nayyar, Kalyanji-Anandji, Sonik–Omi, Uttam Singh and Laxmikant–Pyarelal as well. Qamar Jalalabadi wrote song lyrics for 155 films and wrote a total of 709 songs in his long career. He was a poet (shayar) and participated in several mushairas all over India.
In his personal life, Jalalabadi was a highly religious person and he chanted excerpts from the Bhagavad Gita, the Koran as well as the Bible. He was deeply into transcendental meditation, and was mostly embedded in his writing for most part of the day. He once gifted a bungalow in Khar, Mumbai to one of his married sisters to save her from a difficult marriage, and shifted to simpler accommodation in Juhu with his own family. He and his wife Leelawati had seven children.
He had several friends and hundreds of fans whom he called his “pankhe”. His fan mail came in various languages; Hindi, English, Urdu and many regional languages as well. He replied to all his fan mail and judiciously sent an autographed photo as well. ( I have used information from an old book Filmi geetkar, wiki, muVys, HFGK and my notes for this article).
Film Ham Kahaan Jaa Rahe Hain-66 had a cast of debuting lead pair of Neena and Prakash, Abhi Bhattacharya, Badri Prasad, Leela Mishra, Jagirdar, Vithal Panchotia, Nadira, Rajan Haksar (ex husband of Manorama and father of actress Rita Haksar), Narbada Shankar, Jankidas and many others. Readers will notice that barring the lead pair, almost all the major actors were from the early era or the earlier generation. For example, Badri Prasad started his career in 1932, Abhi Bhattacharya in 1947, Leela Mishra in 1935, Panchotia in 1932, Gajanan Jagirdar in 1932 etc. Rajan Haksar and Nadira were also old actors. All these actors were in the evening of their careers. possibly they were taken because of Nitin Bose, who was always sympathetic about old artistes.
The story of this film was prepared by the “Story department of Filmistan”. Their intention was very good and they wanted to stress the importance of Indian tradition and values as following and copying the western styles at the cost of our own culture was not good. But then only good intentions or a good story is not enough to make a good film. if the film is not entertaining, all the scenes seem to be a crude way to stress your point. The handling of the story was faulty and the film flopped badly.
The story, in short, was……
Badri Prasad and Leela Mishra, visit their son in a city after a long time. What they see is, due to the neglect of the daughter in law-nadira- and the son-Rajan haksar- the children felt alienated from them and were going bastray. The old couple try and somehow manage to give the right direction to the family but they are insulted by the bahu, with the son helplessly watching. Badri Prasad and Leela Mishra leave the house. The children also go with them. After some time their daughter-heroine- falls sick and dies. The son and bahu realise their mistake too late.
Indian audiences generally like a happy ending. Gone are the days of the 30’s and the 40’s when Saigal and Dilip Kumar died in the films and still the films were hits There used to be immortal music and a strong story content. Without these 2 important elements, no wonder Ham Kahaan Jaa Rahe Hain-66 was a flop.
Today’s song is sung by Mahendra Kapoor, Krishna Kalle and chorus. It is a two part song in one video. The parodied songs can be easily identified by our readers. Enjoy the video….
Song- Hamen to maar diya mil ke duniyaawaalon ne (Ham Kahaan Jaa Rahe Hain)(1966) Singers- Mahendra Kapoor, Krishna Kalle, Lyricist-Qamar Jalalabadi, MD- Basant Prakash
Unknown male voice
chorus
Both
Lyrics
haaye
hamen to maar diya
arre kisne bhai
hamen to maar diya milke duniya waalon ne
kabhi ustaadon ne
kabhi gharwaalon ne
hamen to maar diya milke duniya waalon ne
kabhi ustaadon ne
kabhi gharwaalon ne
hamen to maar diya
aaj Hindustaan ke sab shaayar
badnaseebon ki baat karte hain
ya likhenge ya gareebon ki baat karte hain
haan
ya haseenon ki zulf mein uljhen
ya rakeebon ki baat karte hain
haan aan naujawaanon ka gham likhe na koi
ham pe kya hai sitam
likhe na koi
haan
hampe kya hai sitam likhe na koi
hamen to maara hai
kisne bhai
arre bhai kya bataayen
hamen to maara hai lecture sunaane waalon ne
kabhi ustaadon ne
kabhi gharwaalon ne
hamen to maar diya milke duniya waalon ne
kabhi ustaadon ne
kabhi gharwaalon ne
hamen to maar diya
ghar ki haalat ko hoo-bahoo suniye
baap bete ki guftgoo suniye
haan
haan kal kaha thha maine ye daddy se
laao paise hamaari arz hai ye
tumhen paala tumhaare daddy ne
hamen paalo tumhaara farz hai ye
haan
tum maheene mein tees dete ho
nakdi do din hi paas rahti hai
o atthaaees din maheene mein
jeb meri udaas rahti hai
yaar dete hain mujhko daawat roz
main bhi ek din unhen bulaata hoon
haan aan jaaun hotel mein baadshah bankar
aur kangaal banke aata hoon
ae mere baap tujhe apne hi bete ki kasam
phir mujhe apne khazaane ka sahaara de de ae
tees ke note meri jaan dobaara de de
ae mere baap
haan
daddy bole mere azeez ho tum
ek number ke badtameez ho tum
haan
ek number ke badtameez ho tum
sunaayee gaaliyaan
arre kisne bhai
kya bataaun mere yaar
sunaayee galiyaan kya kya sunaane waalon ne
kabhi ustaadon ne kabhi gharwaalon ne
hamen to maar diya milke duniya waalon ne
kabhi ustaadon ne kabhi gharwaalon ne
hamen to maar diya
haaye
apne teacher bhi kya kamaal ke hain
kya bataaun ajab khayaal ke hain
haan aan
apne teacher kabhi na khush honge
hamne to aazmaa ke dekh liya
unka paara kabhi utarta nahin
hamne maska lagaake dekh liya
tight patloon se unhen chidh hai
hero cut baal kaat khaate hain
haan chup raho to wo kehte hain goongi
kuch zabaan kholen daant khaate hain
jitni insult meree karte hain
utni insult to khuda ne bhi
kabhi shaitan ki na kee hogi
baat karne pe bhi hai paabandi
aah bharne pe bhi hai paabandi
haan aan
ajee jeene ka jikr kya keeje
yahaan marne pe bhi hai paabandi
haan aan
hamne ghabra ke ye soch thha ke mar jaayenge
mar ke bhi mil gaye to teacher ke ghar jaayenge
haan
mar ke bhi ?? teacher ke ghar jaayenge
haaye
dimaag chaata hai
arre kisne pyaare
na poochh mere dulaare
dimag chaata hai inke safed baalon ne
kabhi ustaadon ne
kabhi gharwaalon ne
hamen to maar diya
arre kisne bhai
hamen to maar diya milke duniya waalon ne
kabhi ustaadon ne kabhi gharwaalon ne
aha
kabhi ustaadon ne kabhi gharwaalon ne
kabhi ustaadon ne kabhi gharwaalon ne
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 : |
5573 | Post No. : | 18045 |
# Superstar Child Artist – Junior Mehmood # 15
——————————————————–
It has been over eight years now that we started this series for the songs picturised on actor Junior Mehmood. We started with songs sung by Mohd Rafi for Junior Mehmood and later on added more songs sung by other singers for Junior Mehmood. There are still few songs yet to be posted which we discovered in recent years that are picturised on Junior Mehmood.
Junior Mehmood was a ‘star attraction’ in growing years of people like me who were born in late sixties or early seventies, and whatever of his movies we get to watch in our childhood days where he was a part of the movie, were always entertaining and enjoyable. Many of these movies had songs picturised on Junior Mehmood and that was an additional attraction always. These songs have been highly entertaining too. Junior Mehmood inspired by the dancing skills of his guru the great comedian actor Mehmood, had developed his style of dancing which was likened by all i.e. children as well as the grown-ups and adults watching his movies.
In the earlier articles we have read about the biography and also the filmography (till 1980) of Junior Mehmood and how he achieved ‘stardom’ in his childhood days and how he was referred to as a ‘Superstar Child Artiste’ in those years. However Junior Mehmood could not achieve the same success as a grown-up adult actor in his later films.
Under this series ‘Superstar Child Artist – Junior Mehmood’, today I present a song from the movie ‘Simla Road-1969’. So far we have posted songs sung by Mohd Rafi, Hemlata, Shanti Mathur, Asha Bhonsle, Sushma Shreshtha, Lata Mangeshkar, Suman Kalyanpur and Shamshad Begum in this series. Today we add one more singer i.e. Sarla Kapoor who lent her voice to Junior Mehmood in this song, which is a ‘Qawwali’ song.
“Simla Road-1969” was directed by Jugal Kishore for his home productions ‘Jugal Productions, Bombay’. The cast of this movie included Dev Kumar, Sarita, Jugal Kishore, K.N. Singh, Madhumati, Jayshree T., Brahm Bharadwaj, Leela Mishra, Murad, Junior Mehmood, Mirza Musharraf, Dilip Dutt, Manohar Deepak, Maruti and others. “Simla Road-1969” has six songs written by Asad Bhopali and the music for this movie was composed by Usha Khanna. The singers who lend their voice in this movie are Suman Kalyanpur, Sharda, Usha Khanna, Sarla Kapoor, Mohd Rafi, and Krishna Kalle. Three songs from this movie have already been posted on the blog earlier. I guess that this movie is not available online, though video of its songs are available now.
I was looking for the story of this movie and had reproduced a text from an online source and there is also very brief information about this movie available on other site but I found some difference among these two summaries. So I hold it and also I was looking for the character name of the respective actor. Finally I again went through all the earlier posts on the blog, and find that our in-house encyclopaedia Respected Shri Arunkumar jee has already mentioned the about the story of this movie in his comments (on a previous post covering another song of this movie) and that too as I wished it could be 🙂 . Here I am giving below the same text for the interested readers.
SIMLA ROAD (1969) story was one which was used by many, many people, including Jugal Kishore himself earlier. It was supposed to be a ‘Cloak and dagger’ type movie, having a strong story line, but alas, the Hero was Dev Kumar-with a stony body and a stony face too!
Mr. Kumar, a noted businessman is murdered. When his neighbour reaches his bungalow, he finds Shanker there. Shanker (Dev kumar) is in love with Kumar’s sister Veena (Sarita).Sharma (Jugal kishore) accuses Shanker of murder and he is arrested, but Shanker escapes and wounded by police bullet, is found by dancer Rita (Madhumati), who loves him. Bhupat (K.N.Singh)-ex dacoit, catches Shanker.Bhupat and Kumar were thieves but Kumar refuses to give him his share or even recognise him, so Bhupat wants to kill him, but he is murdered by somebody else. Bhupat tortures Shanker for that loot. Veena now hates him.
Now there are twists in the story. Shanker (as expected) happens to be a CBI officer to unearth stolen money. After few more twists, understandings and misunderstandings etc, the murder mystery is solved by Dev Kumar.
The murderer actually is….. 🙂
Now coming back to song under discussion, we can see Junior Mehmood with many other child artistes and Jayshree T performing on this song. It seems to be an attempt to divert the attention of the ‘guards’ who are holding Dev Kumar and Sarita in captivity, in order to get them freed. By the time this song dance performance comes to end the team of Jayshree T and Junior Mehmood get success in their motive. We can also see Jugal Kishore and other artistes in the picturisation of this song. ( I am unable to identify some key persons there). People who have watched earlier movies of Junior Mehmood from the late sixties and early seventies will certainly enjoy this wonderful performance by him and this overall composition.
Let us enjoy this song now…
Song-Maalan dil le gayee re maalan dil le gayee (Simla Road)(1969) Singers – Sarla Kapoor, Usha Khanna, Lyrics-Asad Bhopali, MD-Usha Khanna
Junior Mehmood, chorus
Lyrics
Yaaron dil thhaam ke
Meri kahaani suno
Dil ka fasaanaa
Mohabbat ki zabaani suno
Suno
Suno
Suno
Woh phoolon ki raani
Woh jaane e bahaar
Woh maasoom chehra
Woh zulfen pareshaan
Woh phoolon ki raani
Woh jaane e bahaar
Woh maasoom chehra
Woh zulfen pareshaan
Wo aankhon mein masti
Wo gaalon pe laalee
Zamaane se jiski adaa hai niraalee
Wo
Woh maalan dil le gayee re
Maalan dil le gayee
Maalan dil le gayee re
Maalan dil le gayee
haan haan dil le gayee re
maalan dil le gayee
Woh chaman mein thhi khadee
Jab nazar us se ladee
Haan
Woh chaman mein thhi khadee
Woh thhi khadee
Haan khadee
Haan
Woh chaman mein thi khadee
Jab nazar us se ladee
Aa aa aa aa aa aa aa
o o o
Jaag uthhaa
Dard e jigar
Na rahi apni khabar
Jaag uthhaa
Dard e jigar
Dard e jigar
Dard e jigar
Jaag uthhaa
Dard e jigar
Na rahi apni khabar
Sambhaala bahot dil
Magar dil na sambhlaa
Woh jo muskuraaye
To ye munh se niklaa
Kya
Maalan dil le gayee re
Maalan dil le gayee
Maalan dil le gayee re
Maalan dil le gayee
aa haa dil le gayee re
Maalan dil le gayee
Aa aa aa aa aa aa
aa aa aa aa aa aa
Aa aa aa aa aa aa
Aa aa aa
Jaan jaaye ke rahe
Koyi ab kuchh bhi kahe
Haan
Jaan jaaye ke rahe
Haan ji jaaye
Chaahe rahe
haan
Jaan jaaye ke rahe
Koyi ab kuchh bhi kahe
Aa aa aa aa aa
aa aa aa aa
Maine sochaa hai yahi
Dekhna hogaa yahi
Maine sochaa hai yahi
Haan jee yahi
Haan yahi ee
Maine sochaa hai yahi
Dekhna hogaa yahi
Woh meri banegi
Main uskaa banoongaa
Woh dulhan banegi
Main dulhaa banoongaa
Kaun
Maalan dil le gayee re
Maalan dil le gayee
Haan haan dil le gayee re
Maalan dil le gayee
O ho dil le gayee re
Maalan dil le gayee ee
Mere mehboob na dar
Aa gayaa hoon main idhar
Haan mere mehboob na dar
Mere mehboob na dar
Haan
Mere mehboob na dar
Aa gayaa hoon main idhar
Aa aa aa aa aa aa
Aa aa aa aa aa aa
Aa aa aa
Yaaron ka yaar hoon main
Tera dildaar hoon main
Yaaron ka yaar hoon main
Haan haan tera yaar hoon main
Yaaron ka yaar hoon main
Tera dildaar hoon main
Dekhne mein hoon main
Chhotaa sa bachchaa
Magar dil hai achchhaa
Mera pyaar sachchaa
Phir bhi
Dil le gayee re
Maalan dil le gayee
Maalan dil le gayee re
Maalan dil le gayee
Woh phoolon ki raani
Woh jaane e bahaar
Woh maasoom chehra
Woh zulfen pareshaan
Woh phoolon ki raani
Woh jaane e bahaar
Woh maasoom chehra
Woh zulfen pareshaan
wo aankhon mein masti
wo gaalon pe laalee
zamaane se jiskee adaa hai niraalee
wo maalan
dil le gayee re maalan
dil le gayee
Maalan dil le gayee re
Maalan dil le gayee
Maalan dil le gayee re
Maalan dil le gayee
Maalan dil le gayee re
Maalan dil le gayee
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
5570 | Post No. : | 18042 |
Today’s song is a qawwali from the film Nazare-1949.
When Talkie films started in 1931, the filmmakers and the audience were so excited to have songs in the films that the number of songs per film in 1931 and 1932, on an average were 13.8 ( 6 films’ details not available) and 12.6 (10 films’ details not available). In 1932, films like Indrasabha had 69 songs, Chatra Bakavali had 49 songs and Gulru Zarina had 33 songs !
According to the Film Music Historian Girdharilal Vishwakarma ji, the average songs per film had dropped considerably in the last about 80 years, as following…..
| Decade | Films | Songs | Average |
|---|---|---|---|
| 1931-1940 | 931 | 8247 | 9.0 |
| 1941-1950 | 1236 | 11124 | 8.9 |
| 1951-1960 | 1203 | 9624 | 8.0 |
| 1961-1970 | 1007 | 6990 | 6.9 |
| 1971-1980 | 1327 | 8295 | 6.3 |
| 1981-1990 | 1843 | 9558 | 5.2 |
| 1991-2000 | 1902 | 9059 | 4.8 |
| 2001-2010 | 1967 | 9154 | 4.7 |
These figures match with the figures mentioned by Dr. Ashok Ranade, in his famous book ” Music beyond Boundaries”.
Today’s film Nazare-1949 had as many as 16 songs, almost double the decade average number of songs. Nowadays, I find that not only in today’s films, the number of songs are usually 3 to 4 and some are played in the background too. This is probably because today’s films have original and very strong story content. Many films are made on actual happenings and have a research base also. Opinion of other contributors of the Blog will be more factual, as I do not see films these days anymore.
Film Nazare had some very good songs by Geeta, Shamshad and G.M.Durrani…all my favourite singers. The film was directed by Prahlad Dutt. The other day, while reading a film related book on old films, I came across an interesting anecdote about this director.
Prahlad Dutt was actually a foreign trained photographer and Cameraman-expert in Trick scenes. He was working in Lahore in the early 40s. Pancholi’s film ” Shirin Farhad”-45 was getting ready and Prahlad Dutt was its Director and trick scene Master. His work was applauded by everyone. The scene where Farhad digs out a canal from a big mountain single handedly, was done by Prahlad with astounding results. After the Partition, he ran away from Lahore to Bombay. He soon got work here as his name was well known and famous.
Author Vithal Pandya, in his book ” Sapnon ke saudagar” has described an incident about Prahlad Dutt.
” Dutt was working in Ranjit, directing a film ” Mitti ke Khilone”-48. It was in early 1948. Gandhiji was killed on 30th January. 4-5 days after that, Ranjit studio workers were shocked to find a Police Jeep entering the studio,in speed. Out jumped an Inspector and asked, ” Where is Prahlad Dutt?” Ranjit Manager asked” why?” the answer was ” We have his arrest warrant in connection with Gandhi killing”. While the Manager offered to call him here from another floor where he was shooting, the Police ran towards that place. As soon as Prahlad saw the Police, he started running, with Police chasing him and shouting stop stop. He tried to climb the wall and disappear, but the inspector warned him first and then shot him with his pistol in his thigh. He fell down. He was arrested and taken away.
He was charged with various crimes and a case was put on him. However, he was released unblemished after 4 months. Ranjit management helped him quite a lot in those days. ”
Prahlad Dutt acted in only one film-Ek hi bhool-40 ( There was another actor S.Prahlad in films at the same time, but he was different). He directed 5 films in all- Shirin Farhad-45, Piya Ghar aajaa-47, Mitti ka khilona-48, Nazare-49 and Madhubala-50.
The film’s Music director was Bulo C Rani. The film was made by Ranjit Movietone. From 1937 to 1940, Gyan Dutt was the studio Music Director. After 24 films, he left and from 1940 to 1945, Khemchand Prakash became the studio M.D. he gave music to 20 films. After him his ‘chela’ Bulo C Rani took over The cast of this film was Shashikala, Agha, Satish, Shanti Madhok, Anwari, Ram Avatar and others.
Actress Anwari, who acted in this film , was from a Tawayaf family of Lucknow. She started her acting career with the film Heer Ranjha-32 opposite Rafiq Ghaznavi and then she acted in the film Pooran Bhagat-1932, along with K L Saigal. She played the role of Rani Uchharan.
She joined East India Film Co. and worked in films like Aurat ka pyar-33, Night Bird-34, Nagin-34 and Mumtaz Begum-34. She had also acted in another NT film Chandidas-34. She shifted her base to Bombay and worked in several films for the next four decades. Her last film was Chaitali-1975. In all she did 140 films. She was known as ‘ Pride of Lucknow’ during her peak period. She was credited variously as Anwari Begum, Anwari, and Anwari bai.
Actress Anwari was the second wife of Rafiq Ghaznavi with whom he had a daughter, Zarina. Later, Zarina changed her name to Nasreen and worked in director A.R. Kardar’s movie, ‘Shah Jehan’ and Daud Chand’s movie, ‘Aik Roaz.’ Later Zarina married Liaqat Gul Agha, a rich Jeweller of Pakistan and they settled in London. She became Zarina Agha. Further, Zarina Agha’s daughter, Salma Agha, achieved great fame as a singing star. She expired somewhere in the early 80s.
Anwari and Rafiq Ghaznavi were divorced (or separated) after Zarina/Nasreen’s birth, and Anwari then married a rich Hindu businessman named Jugal Kishore Mehra ( Maternal uncle-Mama- of Raj Kapoor). In order to marry Anwari, Jugal Kishore Mehra abandoned not only his family but also his religion; he became a Muslim and took the name Ahmed Salman. Since Anwari had a child, Jugal Kishore Mehra effectively became the father of the infant Zarina/Nasreen. Her daughter was Salma Agha, who became a singer and actress famous in India and Pakistan in later years.
Today’s song is in 3 Parts and it contains song numbers 11, 12 and 16 (in the list of songs for this movie in HFGK part 2). The combined length of the songs is 9 minutes and 29 seconds. The story of the film is not known. let us now enjoy this qawwali….
Song- Puraane chaahne waalon se kyun aankhen churaate ho (Nazaare)(1949) Singers- Geeta Roy, G M Durrani, Shamshad Begum, Lyrics-Rajinder Krishan, MD-Bulo C Rani
Geeta Roy + Shamshad Begam
Chorus
Lyrics
————————————–
Part I
————————————-
puraane chaahne waalon se aankhen churaate ho
kiya thha hamse waadaa
aur unke saath jaate ho
na tumse jaan na pehchaan
na kuchh waastaa apnaa
galey padne se kya haasil hai
pakdo raastaa apnaa
??
kiraaye per liya hai suit
kyun dhokhe mein aate ho
kiraaye per liya hai suit
kyun dhokhe mein aate ho
wohi ho tum
zamaane bhar ne ik din jisko thhukraayaa
wohi ho tum
zamaane bhar ne ik din jisko thhukraayaa
zamaane bhar ke thhukraaye ko
mere dil ne apnaayaa
mere dil ne apnaayaa
ye sheva(??) hai tumhaara dil
laga kar bhool jaate ho
ye sheva(??) hai tumhaara dil
laga kar bhool jaate ho
muhabbat ka zamaanaa hai
muhabbat ke nazaare hain
muhabbat ka zamaanaa hai
muhabbat ke nazaare hain
dilon mein hasraten betaab
aankhon mein ishaare hain
dilon mein hasraten betaab
aankhon mein ishaare hain
ishaaron hi ishaaron mein
kisi ka dil jalaate ho
ishaaron hi ishaaron mein
kisi ka dil jalaate ho
bharee mehfil mein le de ke
hamaara dil akela hai
bharee mehfil mein le de ke
hamaara dil akela hai
hamaare ghar mein veeraanee
wahaan pariyon ka mela hai
hamaare ghar mein veeraanee
wahaan pariyon ka mela hai
tumhaare paas hum aate hain
aur tum door jaate ho
tumhaare paas hum aate hain
aur tum door jaate ho
na rowen ronewaale
pyaar lekar main chali aayee
na rowen ronewaale
pyaar lekar main chali aayee
magar dekho kisi din
tum bhi ban jaana na harjaai
magar dekho kisi din
tum bhi ban jaana na harjaai
tumhen meri qasam ab chup raho
kyun dil dukhaate ho
tumhen meri qasam ab chup raho
kyun dil dukhaate ho
———————————————-
Part II
———————————————-
?? milaate ho usi ko khaak mein aen aen
jo dil se milta hai ae ae ae
meree jaan chaahne waalaa
badee mushqil se milta hai
puraane chaahne waalon se
kyun aankhen churaate ho
puraane chaahne waalon se
kyun aankhen churaate ho
ye soorat aur hamse dostee achchee nahin saahab
nashe mein aapne sandle meree dekhee nahin saahab
akelee dekh kar tum raah mein aankhen dikhaate ho
akelee dekh kar tum raah mein aankhen dikhaate ho
jalaate ho hamen aen aen lekin
kabhee tum bhi to o jalte thhey ae
na aate thhe agar hum
raat din pehloo badalte thhey
ye shai wah(?) hai tumhaaraa dil lagaa kar bhool jaate ho
ye shai wah(?) hai tumhaaraa dil lagaa kar bhool jaate ho
puraane chaaahne waalon se kyun aankhen churaate ho
puraane chaaahne waalon se kyun aankhen churaate ho
december ki ye thhandee raat
aur uspe ye tanhaai
na jaane aaj kis bairan ke ghar baithhe ho harjaai
chale bhi aao parwaanon
hamen naahaq jalaate ho
chale bhi aao parwaanon
hamen naahaq jalaate ho
samajh ae raat ki raanee
ye parwaane chale aaye
teree fariyaad se khinch kar
ye deewaane chale aaye
galey se aa milo
kyun door se ulfat jataate ho
galey se aa milo
kyun door se ulfat jataate ho
bujhaai hai agarche pyaas
nazron se yahi humne
paraai aag mein jalnaa
magar seekhaa nahin hamne
chalo ae doston
kyon muft mein jaanen ganwaate ho
chalo ae doston
kyon muft mein jaanen ganwaate ho
galey tujhko lagaayegaa
ye deewaanaa muhabbat ka
kafan baandhe huye aayaa hai
mastaana muhabbat ka
ye meree khushnaseebee hai
ke tum mujhko jalaate ho
tumhen meree qasam
ab chup raho
kyun dil dukhaate ho
————————————————-
Part III
————————————————-
bahaar aayee
chaman ke patte patte par shabaab aayaa
bahaar aayee
chaman ke patte patte par shabaab aayaa
likha thha khat jo bhanwre ko
nahin uska jawaab aayaa
likha thha khat jo bhanwre ko
nahin uska jawaab aayaa
kaho sarkaar
kaho sarkaar
kaho sarkaar
kaho sarkaar
main haazir hoon
kyun mujhko bulaate ho
kaho sarkaar
main haazir hoon
kyun mujhko bulaate ho
puraane chahne waalon se
kyun aankhen churaate ho
puraane chahne waalon se
kyun aankhen churaate ho
main lobhee ras ka hoon
duniya mujhe kehtee hai harjaai
milaayi aankh jisne mujhse
wo aakhir mein pachhtaayee
muhabbat ke ye din
kyun jhoothhee baaton mein ganwaate ho
muhabbat ke ye din
kyun jhoothhee baaton mein ganwaate ho
tum harjaai sahi lekin
ghadhee bhar ko chale aao
tum harjaai sahi lekin
ghadhee bhar ko chale aao
hamaare dil ki sun jaao
kuchh apni dil ki keh jaao
hamaare dil ki sun jaao
kuchh apni dil ki keh jaao
mujhe manzoor hai jo apni marzi se bulaate ho
mujhe manzoor hai jo apni marzi se bulaate ho
hamaare haathh se tum
aaj bachkar jaa nahin sakte
hamaare haathh se tum
aaj bachkar jaa nahin sakte
tumhaare pyaar ke dhokhe mein
ab hum aa nahin sakte
tumhaare pyaar ke dhokhe mein
ab hum aa nahin sakte
idhar bhee dil lagaate ho
udhhar bhee dil lagaate ho
idhar bhee dil lagaate ho
udhhar bhee dil lagaate ho
idhar bijlee udhhar shola
main jaaun toh kahaan jaaun
idhar bijlee udhhar shola
main jaaun toh kahaan jaaun
museebat hee museebat hai
jahaan jaaun wahaan jaaun
museebat hee museebat hai
jahaan jaaun wahaan jaaun
mohabbat ke maze loote hainab aansoo bahaate ho
mohabbat ke maze loote hainab aansoo bahaate ho
puraane chaahne waalon se kyon aankhen churaate ho
puraane chaahne waalon se kyon aankhen churaate ho
- In: expression of love | Feelings of heart | Guest posts | Mahendra Kapoor songs | Post by Peevesie's mom | qawwali | Song sung by three or more singers | Songs of 1970s (1971 to 1980) | Songs of 1980 | stage dance | Stage song | Suresh Wadkar songs | Usha Khanna songs | Yearwise breakup of songs
- 5 Comments
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
5562 | Post No. : | 18030 |
Hullo Atuldom
“Saajan ki Saheli” (1980) was a film that was produced & directed by Saawan Kumar Tak (9th August 1936- 25th August 2022). The songs were written by Majrooh Sultanpuri (1st October 1919- 25th May 2000) & Saawan Kumar Tak. Usha Khanna (d.o.b. 7th October 1941) was the music director. Asha Bhonsle, Sulakshana Pandit, Mohd Rafi, Mahendra Kapoor, Suresh Wadkar & Usha Khanna (herself) were the playback singers.
The film was a typical, simplistic melodrama. It was the story of a young unmarried girl who gets pregnant, giving birth to a girl but refusing to accept the child. On growing up the girl discovers the truth of her birth, tracks her mother down. The girl teams up with her mother’s husband to get her mother admit the parentage & accept her, even if her own love-life is compromised in the situation.
Nutan played mother to Rekha. Rajendra Kumar was Nutan’s husband & Anil Dhawan (guest appearance) the cause of Nutan’s pregnancy. Suresh Oberoi played a ‘Narad’ kind character giving the viewer a feeling that he is the villain. Vinod Mehra was a singer who falls in love with Rekha.
This film came in the period when Rekha was having a successful run at the box-office after being appreciated for her role in “Khubsoorat”. In fact 1980 was a Jackpot year of her career as she was seen in 12 films including a guest appearance in the Marathi film ‘Fatakadi’. I have seen the lavani sequence from that film a long time ago. ‘Jise tu kubool kar le’ (never heard of this film), ‘Jyoti Bane Jwala’ (a guest appearance), ‘Kali Ghata’, ‘Jal Mahal’, ‘Agreement ‘, ‘Neeyat’, ‘Judaai’, ‘Ram Balram’, ‘Maang Bharo Sajna’, ‘Aanchal’, & ‘Khubsoorat’ were the films of 1980 & I have seen all of them & 50% of them in a cinema hall. She was appreciated in “Saajan ki Saheli” also. Nutan was the other saving grace of this film.
Today on the occasion of Rekha’s 69th birthday we shall have a stage song from this Saawan Kumar film. The singers in the song are Usha Khanna, Suresh Wadkar & Mahendra Kapoor.
With this song we also wish Belated birthday wishes to Usha Khanna & think of Majrooh Sultanpuri whose birthdays just went by.
This post celebrated Rekha’s birthday on the blog 10 years back.
Song-Aaye hain wo mazaar pe ghoonghat utaar ke (Saajan Ki Saheli)(1980) Singers-Mahendra Kapoor, Suresh Wadkar, Usha Khanna, Lyrics-Majrooh Sultanpuri, MD-Usha Khanna
Chorus
Lyrics
marne ke baad hamaari yaad mein
aansu bahaate hain
nawaazish hai ye unki
aaj wo
do gul chadhaate hain
mazaar e ishq to kaanton ke bhi
kaabil nahin hota
Allaah
wo sar khole hamaari
kabr pe deewaanawaar aaye
arre isi ko maut kehte hain to ya rab
baar baar aaye ae ae
ke aaye hain wo mazaar pe
ghoonghat utaar ke
aaye hain wo mazaar pe
ghoonghat utaar ke
mujhse naseeb achhe hain
mujhse naseeb achhe hain
arre mere mazaar ke ae ae
aaye hain wo mazaar pe
ghoonghat utaar ke
aaye hain wo mazaar pe
ghoonghat utaar ke
aaye hain
aaye hain
arre aaye hain
aaye hain
aaye hain wo mazaar pe
ghoonghat utaar ke
aaye hain wo mazaar pe
ghoonghat utaar ke
ab to wo bhi
ishq ke
maare nazar
aane lage
arre unki bhi neend udd gayi
taare nazar aane lage
arre dil pareshaan
arre aankh veeraan
haan haan zulf barham
lab khaaaaa mo o o o osh
ab to wo kuchh aur bhi
pyaare nazar aane lage
aake hamaari kabr pe
toone jo muskura diya
bijli chamak ke gir padi
saara kafan jala diya
haaye
chain se so raha thha main
Allah
chain se so raha thha main
odhe kafan mazaar mein
aur yahaan bhi sataane aa gaye
kisne pata bata diya
yahaan bhi sataane aa gaye
kisne pata bata diya
aaye hain
aaye hain
arre aaye hain
aaye hain
aaye hain wo mazar pe
ghoonghat utaar ke
aaye hain wo mazaar pe
ghoonghat utaar ke
mujhse naseeb achhe hain
mujhse naseeb achhe hain
mere mazaar ke ae ae
aaye hain wo mazaar pe
ghoonghat utaar ke
aaye hain wo mazaar pe
ghoonghat utaar ke
bijli kabhi giri
kabhi saiyyaad aa gaya
hamne to chaar din bhi na dekhe bahaar ke
hamne to chaar din bhi na dekhe bahaar ke
saiyyad tere hukm e rih ai ka shukariyaa aa aa
hum to kafas mein kaat chuke din bahaar ke
hum to kafas mein kaat chuke din bahaar ke
hum to kafas mein kaat chuke din bahaar ke
arre waada wo kar gaye thhe
suno
mujhse shaam ka aa
waada wo kar gaye thhe
suno
mujhse shaam ka aa aa
to kaise katenge chaar pahar intzaar ke
to kaise katenge chaar pahar intzaar ke
to kaise katenge chaar pahar intzaar ke
kiya thha waada ke aayenge wo charaag jale
tamaam raat charaagon se
dil ke daagh jale ae ae ae
jaa dekha tera waada
haaye re tera waada
jaa dekha tera waada
haaye re tera waada
jaa dekha tera waada
haan dekha tera waada
ja dekha tera waada
haaye re tera waada
o jaa dekha tera waada
haaye re tera waada
ke haaye
ke haaye
kaise kate umariyaaa aa aa
aas hi aas mein beeti jaaye ae ae
hamre nayan daras bin tarse ae ae
tum bin baalam
kachhu na suhaaye ae
tori preet ke kaaran mose
roothhe apne paraaye
sab roothhe
ik tum mat roothiyo
tum ruthiyo to gazab hoi jaaye re
ja dekha tera waada
haaye re tera waada
jaa dekha tera waada
haaye re tera waada
jaa dekha tera waada
haan dekha tera waada
jaa dekha tera waada
haaye re tera waada
jaa dekha tera waada
haaye re tera waada
jaa dekha tera waada
haaye re tera waada
- In: "disguise" song | "Villain's" den song | Body part song | Chehra song | Devnagri script lyrics by Avinash Scrapwala | Duet | Guest posts | Kishore Kumar songs | Lyrics contributed by readers | Post by Avinash Scrapwala | qawwali | Rafi songs | Rafi-Kishore Kumar duet | Songs of 1970s (1971 to 1980) | Songs of 1978 | Yearwise breakup of songs
- 5 Comments
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
5553 | Post No. : | 18018 |
#the Decade of Seventies – 1971 – 1980 #
———————————————————–—-
#Bhoole-Bisre Geet # (Qawwalis – Part-2 – Post-9)
—————————————
Today’s song is a ‘Qawwali’ song from the 1978 movie ‘Muqaddar’!!!
I have mentioned the following in one of earlier posts on the blog, while presenting the series on ‘Qawwalis’ ‘Part-1’.
Qawwalis were common in Hindi films when I was growing up (1968-1983). As I grew watching them in the movies in my childhood, some qawwalis left lasting impression on my impressionable mind. I have a special fascination for this genre of music. It always takes me to an entirely different ‘musical world’.
In Hindi movies qawwalis are woven with the story topic of the movie. So, we have ‘’romantic qawwalis’, ‘men vs. women’, ‘husn aur ishq’, ‘celebrating a festival’, ‘devotional qawwalis’, ‘chor-police’, ‘marriage celebration’, ‘mujrim-munsif’, ‘scoring peanuts over each other’ (Atulology), ‘nok-jhonk’, ‘teasing each other’, ‘musical competition’, and other types of qawwalis in our movies.
Or it may be a competition of poetry between two groups (read men and women mostly) where ‘qawwalis’ would perfectly fit into the plot of a movie.
In many movies Qawwalis have been used to keep the suspense intact where actors, actresses would disguise themselves and enter the villain’s den to rescue their partners/friends caught by the villain. Or sometimes the villain will kidnap close relatives of the hero or heroine in the movie and ask for a ‘hefty’ ransom. And the hero/heroine would plan a song or disguise as a ‘musical-troupe’ to enter the ‘villain’s den’ to rescue a ‘child’, ‘relatives’ or a ‘famous scientist’ or a ‘police commissioner’ who would have been kidnaped by the villain or his associates. In our movies we also have qawwalis where we see ‘lawful elements (police, CID) and the unlawful elements (goondas, or burglar, thieves)’ have a ‘qawwali muqaabla’ in “disguise”. Qawwalis programs or performance in the movie was also played to mis-lead the villain sometimes. The hero/heroine or their friends and well-wishers would sing a qawwali and simultaneously free the innocent ones or their near and dear ones kidnapped by the villain and hold in his ‘den’. Sometimes this would happen just before the climax of the movie.
Today’s Qawwali is one performance which happens in the movie before the climax. We can say that it is the beginning of the climax in the movie.
‘Muqaddar-1978’ was directed by Ravi Tandon for ‘Sneh Films, Bombay’.
It was produced by Ravi Anand. It had Shashi Kapoor, Sanjeev Kumar, Parikshit Sahni, Rekha, Vidya Sinha, Paintal and Amjad Khan.
Other star cast includes Mac Mohan, Yunus Parvez, Jankidas, Rajesh Behl, Bharat Kapoor, Nandita Thakur, Vikas Anand, Praveen Pal, Ranveer Raj, Chandu, Master Shaka, Master Rajeev, Baby Rani, Uma Dhawan, Sudhir, O.P. Goyal and Jayshree T.
Aruna Irani makes guest appearance in this movie. Editing of this movie was done by S.R. Kabre. Dialogues of this movie were written by Dr Balkrishna Mauj. Story and Screenplay was written by Mukul Anand. This movie had four songs (as per HFGK Vol V 1971-1980) written by Anjaan and composed by Rajesh Roshan. Asha Bhonsle, Kishore Kumar, Mohd Rafi, Usha Mangeshkar had given their voices to the songs in this movie.
Let me take you through this movie till the end (Which I watched again on YouTube for this presentation). I have in my earlier post with this movie’s song have mentioned about its story in brief and mostly covering most of the first half of this movie. Today I will take you till the end of this movie here.
This movie ‘Muqaddar-1978’ is ‘DEDICATED TO THE TWENTY-FOUR-HOUR SOLDIERS! THE UNSUNG HEROES! THE POLICE!!
We have a strict and disciplined Police Inspector – Vijay Saxena (Sanjeev Kumar). He is very tough with ‘criminals’ and so sometimes he can deliver justice ‘on the spot’ 🙂
Inspector Vijay is a bachelor and normally eats at a road side ‘dhhaabaa’ run by Abdul Bhai (Yunus Parvez). One day Vijay reach the ‘dhhaabaa’ and orders the food for him. At the same time one old woman beggar comes there and asks for food. Vijay asks Abdul Bhai to provide her food and the expenses will be borne by him.
However when the ‘bhikhari buddhiya’ is crossing the road a car hits her and run away … Inspector Vijay follows the car, and as usual taking ‘Qaanoon’ in his hands ‘beats the ‘badmaash(s)’ … but then he has to face his senior Police Commissioner ( Jairaj).Annoyed by his action the commissioner of Police Jairaj (played by Jairaj) transfers him to the area of ‘Dhaaraavi’ where the local goons and the anti-social elements are highly active and need a ‘better treatment from the Police’ so that they are under control.
So, our Inspector is now in Dharavi, and he already has a sincere and dedicated assistant there – Patil (Bharat Kapoor) … who eventually sacrifices his life since he has been asked that ‘is mujrim pe goli mat chalana’ … but mujrim fires on him …In Dharavi we have Parishit Sahni as a ‘labour leader’ working in a ‘kapada mill’ of Sampat Seth (Amjad Khan). Sampat Seth is more interested in ‘smuggling’ to become the ‘wealthiest smuggler’. Sampat Seth has a sister Seema (Rekha) – who is interested in social work and has a soft corner towards labors in the ‘basti’. We have Ramu Dada (Shashi Kapoor) as a ‘spoiled’ younger brother of Amar Babu (Parikshit Sahni). Vidya Sinha plays Savitri (wife of Parikshit Sahni), Shashi’s Bhabhi and Rekha’s friend. Jimmy (Paintal) is Shashi’s lieutenant and accompanies him whenever he is driving truck and enjoying ‘mujaras’ after the day’s hard work
After reaching ‘Dhaaraavi’ Inspector Vijay destroys many ‘daaru and matke ka addaas’ and arrests many goons and local ‘daadas’ and warns them of dire consequences if they do not stop doing illegal & anti-social activities. In this mission his trusted assistant Patil ably supports him with required information and whereabouts of the criminals ‘operating locations’.In the ‘mill’, workers are expecting ‘bonus’ as the ‘Dushehra festival’ is approaching.
Sampat Seth declares bonus to workers as he wants them to work on ‘Dushehre ki Chhutti’, and behind the holiday working he can hide the ‘smugglers’ meet’ so that no one doubts …Parikshit Sahni is first reluctant, but then agrees to convince the workers to work on the ‘festival holiday’.There is a beggar in the neighbourhood Chandu (Chandu) – deaf and dumb – always asking for money from Amar Babu (Parikshit Sahni). But on Amar Babu’s advice he gives up begging and from the money given by Amar Babu is now making pictures by Rangoli Powder of ‘Ganesh, Sai Baba’, and ‘Shri Ram’on the road side. He has a crucial role in the movie as we progress further.
Meanwhile Inspector Vijay gets Ramu Dada and Jimmy into lock-up to interrogate them, but release them soon so as to keep track of them and their contacts secretly.However on the day of ‘Dushehra ’celebrations as the Ravana’s effigy is set to fire by the arrows of Amar Babu and Ramu Dada, enters our Inspector Vijay Saxena for checking of the ‘truck’ driven by Ramu Dada from Goa suspecting that it contains smuggled items in it😊 But he do not find anything objectionable there.
It so happens that one day Amar Babu notices some unusual truck movements after closing hours at the factory so he asks Sudhir (Sudhir) the loading Inspector about it. But Sudhir tells him that there is no activity after closing hours at the factory. However, on the day of ‘Diwali’ Amar Babu follows them and caught them loading the smuggled items (illicit liquor) into the trucks. Sudhir and his accomplice Rajesh (Rajesh Behl) and Amar Babu have arguments. Thinking of to bring this illegal activity to the notice of the owner and unaware that it is done only at the behest of him, Amar Babu reaches to the owner’s house. Where Sampat Seth tries to bribe him and Amar Babu gets to know all about the game. He lefts the place but is followed by the henchmen of Sampat Seth and is killed before he can disclose this secret to anyone. The deaf and dumb Chandu has seen these two persons killing Amar Babu.
(There is a sub-plot of Shehnaaz Bai (Aruna Irani). Ramu Dada had saved her earlier from goons and is her ‘raakhi brother’ now. So, when Ramu Dada leaves his Bhaiyya’s home he is staying at Shehnaaz Bai’s house which creates ‘galatfahmii’ in the mind of Seema. However, Shehnaaz Bai clarifies and told the ‘asliyat’ to Seema when Seema reach her place to request Ramu to return to his home.)
Seema persuades Ramu Dada to return back to his home. On the day of Diwali Ramu Dada buys some gifts for his bhaiyya-bhaabhi and return back to his home only to find his elder brother’s body lying to be taken for final rites.
Soon Ramu Dada and his accomplice Jimmy sets out to search for the killers, Chandu intercepted them and draw the sketches of the killers, where Jimmy identifies one of them i.e. Sudhir.
Ramu Dada bangs into Sudhir’s place and gets hold of him but Rajesh escapes. Ramu and Sudhir have fight. During the fight Sudhir dies (It is another fact that the real reason of his death comes to know later) and Ramu Dada is arrested by Police and sent behind the bars.
Police Inspector is also looking into the case of Amar Babu and they reach Chandu but Girdhari Lal the clever confidante of Sampat Seth shoots Chandu.
Chandu is dead but Police keeps him in the hospital under treatment to reach the real culprits. Girdhari Lal falls in the trap and get into the hospital to kill Chandu where Police Inspector is already hiding there to catch him. But Mac Mohan injects himself and dies without disclosing the name of the Boss. His other accomplices sitting outside the room try to run but Police chase them and in this chase one of the goons shoots Patil.
Police found some photographs from Girdhari Lal’s house where in one picture Sampat Seth, Sudhir, and Girdhari Lal are seen together. Inspector Vijay vows …
“Main Patil ki Qurbaani bekaar nahin jaane doongaa… Policewaalon ka khoon itnaa sastaa nahin hain Sampat Seth.”Meanwhile the medical report of Sudhir reveals that he died due to drinking of poisonous liquor and not by the beating of Ramu Dada. Inspector Vijay thanks the doctor and is on the way to convey this good news to Ramu Dada. But Ramu Dada plans to run away from the jail and succeeds. One police officer tries to shoot him but Inspector stops him from doing so. Inspector is suspended on this act but now he knows the reality and wants to help Ramu Dada.
Ramu Dada gets to know from Lala that Sudhir, Rajesh, Girdhari Lal are all of Sampat Seth’s ‘aadmis’ so he goes to Sampat Seth’s bungalow where Seema tells him that her brother has gone to Goa. Sampat Seth has arranged a big get-together of all smugglers where ‘Tiger’ (Smuggler) will also be attending and there will be party and music with a ‘Qawwali ki Raat’ Inspector Vijay also follows to Goa and Abdul Bhai helps him in locating Sampat Seth’s ‘thhikaanaa’ and told him that it is difficult to enter there from the main gate and suggests that there is back door way but it is difficult. “Difficult but not impossible …” (Inspector Vijay)!!
Inspector Vijay swims the sea shores and the fights the big rocks to reach the ‘addaa’ of Sampat Seth. On the way he meets Ramu Dada. After a brief scuffle they get together to ‘treat’ Sampat Seth. Meanwhile Sampat Seth kidnaps Ramu’s bhaabhi and has kept her at the ‘addaa’ for his entertainment.Before the climax, as was customary in those years in the films, we have ‘qawwali’ where our heroes have disguised themselves, which obviously gets disclosed to Sampat before the performance ends. After usual final twists & turns Samat Seth gets his reward and dies.
Inspector Vijay submits his resignation to the commissioner but he torns it two pieces.
“Kal se tumhaari duty bhiwandi police station mein lagaayi gayi hai… wahaan ke kuchh gunde logon ko bahot pareshaan kar rahe hain …report for duty tomorrow”… Inspector Vijay salutes the commissioner …Ramu Dada and Seema are together and his bhaabhi is happy. The mill workers have installed a bust of Amar Babu in the mill compound and the movie ends there. Cast of the movie and other titles gets rolling on screen and in the background we have the song playing…“Sooraj se aankhen milaa…Taaron ko o dharti pe laa aa” …
So that is all from one of those movies from the seventies – they were just magic (for us who were growing 🙂 ) …
(After all is done and dusted, one question comes to mind that why Inspector Vijay has to swim across the seashore, hang on the rope on the wall to have a back door entry at Sampat Seth’s ‘addaa’. As all the smugglers attending the ‘meet’ must have come travelling from the city only. Moreover, the Inspector has to disguise himself to reach there. So, he could have easily got entry inside from the main gate. May be the director had some other thoughts??? 🙂 )
Let us now enjoy this wonderful Qawwali sung by Kishore Kumar and Mohd Rafi. Shashi Kapoor and Sanjeev Kumar lip sync in their voices respectively. We can also see Amjad Khan, Vidya Sinha and many others in the picturisation of this song. Lyrics of the song are by Anjaan. He has penned very interesting lyrics for the given situation. This entertaining composition is by Rajesh Roshan. I am sure readers will enjoy watching and listening to this song. Here we go …
Video
Audio
Song-Tere chehre se pardaa hataana bhi hai (Muqaddar)(1978) Singers-Kishore Kumar, Rafi, Lyrics-Anjaan, MD-Rajesh Roshan
Chorus
Kishore Kumar + Rafi
Lyrics
Hmm mmm mmm
Badi rangeen mehfil hai
Badaa betaab
Har dil hai
Ghataa mein hai abhi
Bijlee
Abhi parde mein
kya aa
Qaatil hai ae
Hey ae
Tere chehre se pardaa
Hataanaa bhi hai
Wallaah wallaah wallaah
Ya allaah
Wallaah wallaah wallaah
Waar teri nazar kaa
bachaanaa bhi hai
Wallaah wallaah wallaah
Teri mehfil
Teri mehfil
Teri mehfil
Teri mehfil
Arey teri mehfil ki khaatir
Tamaashaa hai ham
Tamaashaa hai ham
Tamaashaa hai ham
haan
Tamaashaa hai ham
Par tujhe ik tamaashaa
Dikhaanaa bhi hai
Wallaah wallaah wallaah
Ya allaah
Wallaah wallaah wallaah
O tere chehre se ae pardaa
Hataanaa bhi hai
Wallaah wallaah wallaah
Waar teri nazar ka bachaanaa
Bhi hai ae
Aaj dekhenge ham
Kya qayaamat hai tu
Kya ghazab
Kya qahar hai
Kaisi aafat hai tu
Arey re re re re
Jaanlevaa agar tere
Andaaz hain
Ham darenge nahin
Ham bhi jaanbaaz hain ae
Jaanlevaa agar tere
Andaaz hai
Ham darenge nahin
Ham bhi jaanbaaz hain
Faislaa ho o
Faislaa ho
Faislaa ho o
Faislaa ho
Arey faislaa aaj
Ho jaaye
Har baat kaa aa
Har baat kaa aa
Haan haan
Har baat kaa
Saamne tu bhi hai
Ye zamaanaa bhi hai
Wallaah wallaah wallaah
Ya allaah
Wallaah wallaah wallaah
O tere chehre se pardaa
Hataanaa bhi hai
Wallaah wallaah wallaah
ae waar teri nazar ka bachaanaa
Bhi hai ae
Itnaa betaab naa ho
Dil ko zaraa thhaam le ae
Ye nazaaraa hon to
Koyi sabr se kya kaam le ae
Khel hi khel mein
Har khel bigad jaaye naa aa
Ab kalejey mein koyi
Aag ye bhadkaaye naa aa
Bahot naache
Bahot naache
Bahot naache
Bahot naache
Haan aan bahot naache tere
Ishaaron pe ham
Ishaaron pe ham
Ishaaron pe ham
Naach kar
Aaj tujhko
Nachaanaa bhi hai
Hey ae
Wallaah wallaah wallaah
Ya allaah
Wallaah wallaah wallaah
tere chehre se pardaa
Hataanaa bhi hai
Wallaah wallaah wallaah
Waar teri nazar ka bachaanaa
Bhi hai
Balaa se jaan jaati hai to
Jaaye ae
Arey jee ke kya aa hogaa
Tadap kar raat din
Gham ka zehar ye
Pee ke kya aa hoga
Aaj tak tadpe ham
Ab teri baari hai
Aaj ki shab teri
Jaan pe bhaari hai
Arey re re re re re
Dil tera aaj
Zaalim ke panje mein hain
Be-reham qaatilon ke
Shikanje mein hai
Dil tera aaj
Zaalim ke panje mein hain
Be-reham qaatilon ke
Shikanje mein hain
Dilon par parde
Parde mein ye khanjar
Phenkne waale ae
Tamaashaa khud na ban jaana
Tamaashaa dekhne waale ae
?? bahaaron ko
Rang to laane de ae
Baat ban jaayegi ee
Waqt to aane de ae
Arey re re re re re
Baat dil ki hai
Honthhon pe kab se ruki
Zulm kat tak sahe
Ab to had chuki
Baat dil ki hai
Honthhon pe kab se rukee
Zulm kat tak sahe
Ab to had chuki
O sitamgar
O sitamgar
O sitamgar
O sitamgar
O sitamgar
Bade Zulm toone kiye
Haan
Toone kiye
Haan ji toone kiye ae
Aaj zulmon ka badlaa
Chukaanaa bhi hai
Wallaah wallaah wallaah
Ya allaah
Wallaah wallaah wallaah
O tere chehre se pardaa
Hataanaa bhi hai
Wallaah wallaah wallaah
Waar teri nazar ka bachaanaa
Bhi hai
Wallaah wallaah wallaah
Teri mehfil
Teri mehfil
Teri mehfil
Teri mehfil
Arey teri mehfil ki khaatir
Tamaashaa hain ham
Tamaashaa hain ham
Tamaashaa hai ham
Par tujhe ik tamaashaa
Dikhaanaa bhi hai
Wallaah wallaah wallaah
Ya allaah
Wallaah wallaah wallaah
O tere chehre se pardaa
Hataanaa bhi hai
Wallaah wallaah wallaah
Waar teri nazar ka bachaanaa
Bhi hai
Wallaah wallaah wallaah
Ya allaah
Wallaah wallaah wallaah
Wallaah wallaah wallaah
Ya allaah
Wallaah wallaah wallaah
———————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
———————————————–
हम्म म्म म्म
बड़ी रंगीन महफिल है
बड़ा बेताब
हर दिल है
घटा में है अभी
बिजली
अभी पर्दे में
क्या आ
क़ातिल है ए
हे ए
तेरे चेहरे से पर्दा
हटाना भी है
वल्लाह वल्लाह वल्लाह
या अल्लाह
वल्लाह वल्लाह वल्लाह
वार तेरी नज़र का
बचाना भी है
वल्लाह वल्लाह वल्लाह
तेरी महफिल
तेरी महफिल
तेरी महफिल
तेरी महफिल
अरे तेरी महफिल की खातिर
तमाशा है हम
तमाशा है हम
हाँ
तमाशा है हम
पर तुझे इक तमाशा
दिखाना भी है
वल्लाह वल्लाह वल्लाह
या अल्लाह
वल्लाह वल्लाह वल्लाह
ओ तेरे चेहरे से पर्दा
हटाना भी है
वल्लाह वल्लाह वल्लाह
वार तेरी नज़र का
बचाना भी है
आज देखेंगे हम
क्या कयामत है तू
क्या ग़ज़ब
क्या कहर है
कैसी आफत है तू
अरे रे रे रे रे
जानलेवा अगर तेरे
अंदाज़ हैं
हम डरेंगे नहीं
हम भी जाँबाज है ए
जानलेवा अगर तेरे
अंदाज़ हैं
हम डरेंगे नहीं
हम भी जाँबाज है ए
फैसला हो ओ
फैसला हो
फैसला हो ओ
फैसला हो
अरे फैसला आज
हो जाये
हर बात का आ
हर बात का आ
हाँ हाँ
हर बात का
सामने तू भी है
ये ज़माना भी है
वल्लाह वल्लाह वल्लाह
या अल्लाह
वल्लाह वल्लाह वल्लाह
ओ तेरे चेहरे से पर्दा
हटाना भी है
वल्लाह वल्लाह वल्लाह
ए वार तेरी नज़र का
बचाना भी है
इतना बेताब ना हो
दिल को ज़रा थाम ले ए
ये नज़ारा हो तो
कोई सब्र से क्या काम ले ए
खेल ही खेल में
हर खेल बिगड़ जाये ना आ
अब कलेजे में कोई
आग ये भड़काए ना आ
बहोत नाचें
बहोत नाचें
बहोत नाचें
बहोत नाचें
हाँ आं बहोत नाचे तेरे
इशारों पे हम
इशारों पे हम
इशारों पे हम
नाच कर
आज तुझको
नचाना भी है
हे ए
वल्लाह वल्लाह वल्लाह
या अल्लाह
वल्लाह वल्लाह वल्लाह
तेरे चेहरे से पर्दा
हटाना भी है
वल्लाह वल्लाह वल्लाह
वार तेरी नज़र का
बचाना भी है
बला से जान जाती है तो
जाये ए
अरे जी के क्या आ होगा
तड़प कर रात दिन
ग़म का जहर ये
पी के क्या आ होगा
आज तक तड़पे हम
अब तेरी बारी है
आज की शब तेरी
जान पे भारी है
अरे रे रे रे रे रे
दिल तेरा आज
ज़ालिम के पंजे में है
बे-रहम कातिलों के
शिकंजे में है
दिल तेरा आज
ज़ालिम के पंजे में है
बे-रहम कातिलों के
शिकंजे में है
दिलों पर पर्दे
पर्दे में ये खंजर
फेंकने वाले ए
तमाशा खुद न बन जाना
तमाशा देखने वाले ए
कुछ बहारों को ??
रंग तो लाने दे ए
बात बन जाएगी ई
वक़्त तो आने दे ए
अरे रे रे रे रे रे
बात दिल की है
होंठों पे कब से रुकी
ज़ुल्म कब तक सहे
अब तो हद हो चुकी
बात दिल की है
होंठों पे कब से रुकी
ज़ुल्म कब तक सहे
अब तो हद हो चुकी
ओ सितमगर
ओ सितमगर
ओ सितमगर
ओ सितमगर
ओ सितमगर
बड़े
ज़ुल्म तूने किए
हाँ
तूने किए
हाँ जी तूने किए ए
आज ज़ुल्मों का बदला
चुकाना भी है
वल्लाह वल्लाह वल्लाह
या अल्लाह
वल्लाह वल्लाह वल्लाह
ओ तेरे चेहरे से पर्दा
हटाना भी है
वल्लाह वल्लाह वल्लाह
वार तेरी नज़र का
बचाना भी है
तेरी महफिल
तेरी महफिल
तेरी महफिल
तेरी महफिल
अरे तेरी महफिल की खातिर
तमाशा है हम
तमाशा है हम
तमाशा है हम
पर तुझे इक तमाशा
दिखाना भी है
वल्लाह वल्लाह वल्लाह
या अल्लाह
वल्लाह वल्लाह वल्लाह
ओ तेरे चेहरे से पर्दा
हटाना भी है
वल्लाह वल्लाह वल्लाह
वार तेरी नज़र का
बचाना भी है
वल्लाह वल्लाह वल्लाह
या अल्लाह
वल्लाह वल्लाह वल्लाह
वल्लाह वल्लाह वल्लाह
या अल्लाह
वल्लाह वल्लाह वल्लाह
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
5545 | Post No. : | 18006 |
Today’s song is a lovely qawwali from the film Paak Daman-1957. The story of this film seems to be very popular and well known, because I find that several films were made on this one story and with the same title. The first film came in 1931 as Paak Daman. Then came Paak Daman Raqasa-1932, Paak Daman-1940 and Paak Daman-1957. Meanwhile a Pakistani film Paak Daman was also made in 1969. You must be wondering what is so special in this story ? Let us first know this film’s story. I have seen this film, when I was in Hyderabad in the mid 50’s and I had really liked the film then.
” Handsome and well-educated Yusuf(Sudesh Kumar) inherits his father’s estate in Lucknow. To him gambling becomes just a pastime in the company of Asad (Kumar), a man without principles, and his associates Abboo and Nabboo. – Both Yusuf and Asad are in love with the beautiful Suraiya ( Chitra). Her cousin Mahmud (Moti Sagar) is also secretly in love with her; but she is unaware of it. She believes that Mahmud loves Sabiya (Krishna kumari), her best friend.
One day Asad sends his mother to Suraiya’s aunt with a view to bring about his marriage with her. The aunt rejects the proposal saying that Asad is a wastrel and not a fit husband for Suraiya. But Mahmud, knowing that Suraiya loves Yusuf, suggests that she be married to Yusuf. He decides to marry Sobiya who loves him deeply. – Infuriated Asad begins to destroy the perfectly happy matrimonial union of Yusuf and Suraiya. He lures Yusuf into the gulf of vice through gambling and drink. He even forges a letter from Mahmud to Suraiya and involves Yusuf into the murder of Mahmud.
As the police arrive on the scene, Asad deliberately helps Yusuf to abscond. Hearing of Mahmud’s death, poor Sabiya goes mad. With Yusuf in hiding and out of his way, Asad now proceeds to make Syraiya his own. He sends his henchman Nabbo to steal the letter from her house. He obtains the letter, but is caught by the police. Far away from Lucknow, Yusuf finds a job at the quarry of Haji Saheb who is none other than Sabiya’s father.
Yusuf comes back to Lucknow in disguise and his heart bleeds to find Suraiya and child undergoing untold hardships with only the faithful old servant Tehsin(W.M.Khan) by her side. Asad kidnaps Suraiya’s child and lures her into his secret den. Since she refuses to marry him, he places the child before the cage of a tiger and opens the door. Yusuf comes up in the nick of time, in the disguise of Gunga, and saves the child. Just then the police arrive with Tehsin and others and Asad is arrested. Thus all’s well that ends well.”
Paak Daman-1957 was a Muslim Social film. Muslim films fall under Two categories. One, films made on Historical Muslim characters like Akbar, Babar, Humayun, Shahjehan, Razia Sultan etc etc and the Second group is that of Muslim society. Just for the sake of curiosity, I scanned the 5 volumes of HFGK and wrote down names of films made on Muslim subjects-of both types. To my surprise, I could not go beyond even 50 films-from 1931 to 1980 !, Granting that I must have made a mistake in counting and identifying, since I do not know the story lines of every film, still the number will not go beyond 200 films, despite liberal stretching !
The point I want to make here is that not many Muslim social movies are made in India over the years. The earliest such film was Najma-43, I think. One very very explosive Muslim social film, made by Director Mehboob was “Elan” in 1947. Munawar Sultana was the lead actress in it. Before starting the shooting, Mehboob called her and said,” You have heard the story, it is a very very hot story. I guess there will be a lot of opposition from our fundamentalist people. You may have to face their ire. Maybe you will be attacked or thrown out of society. But remember, I am doing this film, because I want our people to improve on par with others. If you want, you can reject the film even now. Think and tell me before we start shooting.” Munawar Sultana quickly said,”There is no need to think. I want to do this film. I am not afraid of anyone. I have full faith in you.” After release, the film did evoke violent reactions from a section of the Muslim society but it subsided slowly.
Some other Muslim socials I remember are Zeenat, Dil hi to hai, Bahu begum, Dastak, Garm hawa, Bazar, Anjuman, Naseem, the Trilogy by Khalid Mohammed-Mammo-Sardari begum and Zubeida, Fiza, Junoon, Benazir, Ghazal,Chhote nawab. Then there were Barsaat ki raat, Nikah, Shatranj, Mehboob ki Mehndi, Umrao Jaan, Paakiza, Mere Mehboob, Chaudhavi ka chaand, Anwar, My name is Khan, Bombay etc. Surely, there must be many more than what I have mentioned. I am not counting Historical films as they are not socials.
One anecdote which is not very well known is that after the hit films of singer Noorjehan, her husband Shaukat Hussain wanted to make a film with Noorjehan and Saigal. A story ” Chaudhavi ka chaand” was selected for this film. It was to be a Muslim social film, which was sure to be a Hit. The film was planned after the film Zeenat-1945, somewherein 1947-48, when Saigal completed his commitments. However, Saigal died in early 1947 and due to Partition, Noorjehan and Shaukat Hussain migrated to Pakistan. Thus this story remained unused till 1960, when Guru Dutt made the film with Waheeda Rehman.
After partition, Indian films lost a major market like Lahore, Karachi, Rawalpindi and Dhaka etc and the Muslim socials suffered the most. It did not, however, stop such films from being made after 1947. Films like Kaneez-49, Nisbat-49, Parda-49, Hyderabad ki Nazneen-52, Darwaza-54, Chandni Chowk-54, Maalik-58, Maa ke Aansoo-59, Pehli raat-59 etc. were made but none were successful.
Funnily, while Muslim socials failed, the historical and costume Muslim films were successful like Anarkali, Mirza Ghalib, Hatimtai, Alibaba and 40 thieves etc. What’s more, even Mirza ghalib-54 became the First winner of president’s Gold Medal for a Hindi film. After Chaudhavi ka chaand became a hit, some more Muslim social films like Barsat ki raat, Chhote Nawab, Bahu Begum, Mere Huzoor, Paakiza etc. became successful, but overall there was a noticeable decline is such films in India after the 70’s decade. One interesting thing was that about 80% Muslim socials had Lucknow as the backdrop !
Paak Daman-1957 was made by the Wadia brothers. It was directed by S.M.Yusuf with music from Ghulam Mohd. The cats was Chitra, Sudesh Kumar, M.Kumar, Moti Sagar, W.M.Khan, H.Prakash, Sardar Mansoor and many others.
In the Hindi film industry, there are four types of people.
The first type is those people,who join this industry,struggle very hard and succeed in fulfilling their dreams,for example Guru Dutt, Mehboob, Johnny Walker, Lata Mangeshkar, Mohd.Rafi etc. who are well known to all by now.
The second type of people are those who join the industry,struggle very hard ,do not succeed and leave dejected.
The third type is those people who have a filmi connection or a strong luck ,who join, struggle a bit and succeed like for example, Raj Kapoor, Dev Anand, Dilip Kumar, Rakesh and Rajesh Roshan, Anand Milind, Nanda, Nargis, Meena Kumari etc
And….. the fourth type is those people who join the industry, struggle very hard and succeed partly, but end up doing something else, to keep them sustaining here.
The industry is full of people of the fourth type. People who come with dreams in their eyes, but end up doing something else. People who start as a Hero in 2-3 films, settle for side roles and finally character roles, like Dev Kumar, Sujit Kumar, Jeevan etc.
Not only this but we have examples where they started with something else and ended with a totally different thing and succeeded. For Example, Guru Dutt started as a Choreographer/dance Director (Lakharani-45) and ended up Actor/Director, Ashok Kumar started as a Lab Technician in photography but became a great actor and Amiya Chakravarty who started as a Bangla Teacher and a Canteen Manager in Bombay Talkies, for which later he directed finest movies.
In olden days, when the Studio system was there, Artistes used to be employed on a monthly basis and they had to do whatever work was given as per their capability. For example, in Ranjit Studios over 700 people were on the rolls at one time (The Government had to open a Ration shop inside the studio premises for them) from where actors were made out of script writers and the Director wrote songs !
So people joined the industry with a mind prepared to do whatever job, just to succeed in their ambition.
MOTI SAGAR was one such person who came to the industry to become a Hero, but ended up doing sundry roles, singing songs, writing stories and scripts and producing films. He ,however, could not get great success in any of these and ended up being ‘Jack of all trades, Master of None’.
MOTI SAGAR was born in New Delhi on 16-4-1925, but graduated from Lahore. In Lahore he got interested in acting in films. Then he met Inayat Hussain and G.A.Chishti-the composers and he loved singing. He came to Bombay in 1946. His cousins Motilal, Mukesh and Tara Harish were already there in films. Harish and Motilal were established,and Mukesh was trying very hard.
Moti Sagar did a second hero’s role in MALHAR-1951.
He sang his first song under Bulo C.Rani in GUL SANOBER-53 with Kalyani. Then came Pamposh, Shikar, Deewali ki raat, Makhichoos, Jai Mahadev, Salgirah, Filmi duniya filmi, and Prerana When he stopped getting songs and roles, he switched over to writing. He wrote stories for Badal, Lalkaar, Charas, Ram Bharose.
He acted in 13 films. He directed 2 films,namely Prerana-84 and Tanya-94. He wrote songs also for the film Prerana-84. He sang 13 songs in 9 films.
When this stopped he produced two films Hum Tere Ashiq hai and Badal. So, Moti Sagar was an Actor, Director, Producer, Lyricist, and a Singer.
After 1994, he retired. He died on 14-3-1999.
Preeti Sagar is his daughter. She too was a struggling singer. ( Same Name Confusion – Moti Sagar was the youngest son of Ramanand Sagar, who was a different person. He assisted his father in 15 films and 70 TV enterprises.)
Today’s song is a qawwali sung by Rafi and Bande Hasan Qawwal. It is very melodious. Enjoy….
Song- Bhatke huye raahi tujhe manzil ne pukaara (Paak Daaman)(1957) Singers- Mohd. Rafi, Bande Hasan Qawwal, Lyricist- Shakeel Badayuni, MD- Ghulam Mohammad
Lyrics
bhatke huye raahi tujhe manzil ne pukaara aa aa aa aa aa
bhatke huye raahi tujhe manzil ne pukaara aa
aaja tu idhar leke duaaon ka sahaara aa
aaja tu idhar leke duaaon ka sahaara
sahaara
bhatke huye raahi tujhe manzil ne pukaara aa
bhatke huye raahi
aa aa aa aa aa
aa aa aa
aa aa aa aa
aa aa aa aa aa
milti hain muraaden isi darbaar mein aake ae
milti hain muraaden isi darbaar mein aake ae
aa aa aa aa aa
aa aa aa aa
milti hai muraaden isi darbaar mein aake ae
jo maangna ho maang le tu haath utha ke ae
jo mangana ho maang le tu haath utha ke
utha ke
chamkenga yahi pe teri kismat ka sitaara aa
aaja tu idhar leke duaaon ka sahaara
sahaara
bhatke huye raahi tujhe manzil ne pukaara aa
bhatke huye raahi
aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa
kar tauba gunaahon se jhuka sajde mein sar tu
ahe kar tauba gunahon se
aahe kar tauba tauba tauba tauba tauba
aa aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aahe kar tauba gunaahon se jhuka sajde mein sar tu
kar tauba gunaahon se
jhuka sajde mein sar tu u u
alhaah ki rahmat hai tere saath
na dar tu
miyaan saath na dar tu
aa aa aa aa aa
Allah ki rahmat hai tere saath
na dar tu u u
kah de main karoonga na koi bhool dobaara aa aa
aaja tu idhar leke duaaon ka sahaara
sahaara
bhatke huye raahi tujhe manzil ne pukaara aa
bhatke huye raahi
jab aayengi dil mein tere imaan ki lahren aen
kab aayengi dil mein aahewa jab aayengi dil mein
aahewaa
jab aayengi dil mein tere
imaan ki lahren
ruk jaayengi phir aap hi toofaan ki lahren
miyaan
toofaan ki lahren
aan aan aan aan
ruk jaayengi phir aap hi toofaan ki lahren aen aen
mil jaayenga saahil tujhe kat jaayenga dhaara aa
mil jaayenga saahil tujhe kat jaayenga dhaara aa
aaja tu idhar leke duaaon ka sahaara
sahaara
bhatke huye raahi tujhe manzil ne pukaara aa
bhatke huye raahi
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa a aa
aa aa aa aa
aa aa aa aa aa aa
bhatke huye raahi tujhe manzil ne pukaara aa
bhatke huye raahi
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 : |
5543 | Post No. : | 18004 |
“Daak Babu”(1954) was produced and directed by Lekhraj Bhakri for Jubilee Pictures, Bombay. The movie had Nadira, Kuldip Kaur, Talat Mahmood, Yashodhara Katju, Radha Kishan, Manmohan Krishna, Ram avatar, Roshan, Uma, Munshi, Ranchodh, Ramdayal, P.N.Sharma etc in it.
“Daak Babu”(1954) had eleven songs in it (including one multiple version song). As many as ten songs have already been covered in the blog. Talat Mehmood and S Balbir were the male playback singers whereas female playback singing was done by Shamshad Begam, Mubarak Begam and Asha Bhonsle.
Here are the details of the songs covered so far:-
| SNo in Blog | Song Title | Singer/s | Lyrics | Posted On | Remarks | |
|---|---|---|---|---|---|---|
| 5417 | Ghir ghir aaye badarwa kaare Multiple version song | Talat Mehmood-Mubarak Begam duet, Talat Mehmood solo | Prem Dhawan | 8 February 2012 | Multiple version song (One duet, one male solo) | |
| 6311 | Ye kyaa hai dhang zamaane ka | Talat Mehmood | Prem Dhawan | 26 July 2012 | ||
| 6950 | Dil ki duniya jagmagaayi | Talat Mehmood-Asha Bhonsle duet | Chaand Pandit | 5 November 2012 | ||
| 7903 | Zindagi mein aaye jab wo kyun unhen thhukra diya | Talat Mehmood | Prem Dhawan | 15 April 2013 | ||
| 12038 | Sapne toot gaye | Asha Bhonsle | Prem Dhawan | 17 May 2016 | ||
| 14600 | Ik pardesi mann bhaaya | Mubarak Begam | Prem Dhawan | 25 August 2018 | ||
| 17074 | Ae dil khushi se pea ley | Asha Bhonsle | Prem Dhawan | 30 July 2022 | ||
| 17675 | Goree gayee tadpaa ke balam siskee dai dai rowey | Shamshad Begam, S Balbir duet | Raja Mehdi Ali Khan | 20 April 2023 | ||
| 17958 | Insaan khilauna matti ka matti ka khilauna hai | S Balbir | Dhaniram (MD) | 21 January 2023 |
Ten songs (out of eleven) have already been covered. That leaves us with one song to be covered. Here is that song. This song is sung by S Balbir, Shamshad Begam, male and female chorus. Only audio of the song is available. Lyrics are by Raja Mehdi Ali Khan. Lyrics contain some words that were commonplace those days but are no longer in use so many people born in recent years may not be familiar with these words, viz tincture, haiza, angeethhi etc.
From the lyrics, it appears top be a nok-jhonk song between the two genders, possibly picturised as a qawwaali. Music is composed by Dhaniram.
Only audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
With this song, all the songs of “Daak Babu”(1954) have been covered in the blog. The movie thus gets YIPPEED in the blog.
Song-Kisi ke teer e nazar dil pe khaaye baithhe hain (Daak Babu)(1954) Singers-S Balbir, Shamshad Begam, Lyrics-Raja Mehdi Ali Khan, MD-Dhaniram
Male chorus
Female chorus
Lyrics
kisi ke teer e nazar dil pe khaaye baithe hain
hum apne seene pe tincture lagaaye baithe hain
hum apne seene pe tincture lagaaye baithe hain
kisi ke teer e nazar dil pe khaye baithe hain
aa aa aa
haan aan aan aan
haaan
hua hai haizaa hamen aapke khayaalon mein
hua hai haizaa hamen aapke khayaalon mein
maro na hum pe maro jaake haspataalon mein
maro na hum pe maro jaake haspataalon mein
mareez e ishk yahaan
dum dabaaye baithe hain
mareez e ishk yahaan
dum dabaye
aa haan jee
dum dabaaye
aa aa haan
aji dum dabaaye
haan aan aan
aji dum dabaye baithe hain
kisi ke teer e nazar dil pe khaaye baithe hain
aa aa aa aa aa
shaadi mein sab kuchh khoiyo chun chun khaayo maans
teer e nazar mat khaaiyo
ki hoga satyaanaash
aaa aa aa aa aa
lakdi jalee koyela bane koyla jal bane raakh
aeji tum aise begairat ho
na koyla banoge na raakh
gori taane na maaro chale jaayenge
gori taane na maaro
gori taane na maaro chale jaayenge
lakdi koyla banenge jale jaayenge
lakdi koyla banenge jale jaayenge
gori tane na maro gori tane na maro chale jaayenge
jaan fokat mein yoon hi chali jaayegi jee
jaan fokat mein yoon hi chali jaayegi
is ki daal galne nahin paayegi jee
is ki daal galne nahin paayegi
haan aan aan aan
aan aan aan
angeethi pyaar ki hum to jalaaye baithe hain
angeethi pyaar ki hum to jalaaye
haan aan
hum to jalaye
haan aan aan
hum to jalaye
aan aan aan
hum to jalaaye baithe hain
kisi ke teere nazar dil pe khaaye baithe hain
haan aan aan
aan aan aan
aan aan aan
haan aan aan
kooche mein unke jhaadu lagaai tamaam raat
kooche mein unke jhaadu lagaai tamaam raat
deta raha muhalla duhaai tamaam raat
deta raha muhalla duhaai tamaam raat
badle mein dil ke humne diye tumko gham pe gham
badle mein dil ke humne diye tumko gham pe gham
haaye
seene pe lep karke tadapte rahe hain hum
seene pe lep karke tadapte rahe hain hum
uksa raha hai darde judai tamaam raat
uksa raha hai darde judai tamaam raat
deta raha muhalla duhaai tamaam raat
deta raha muhalla duhaai tamaam raat
aan aan aan aan
gali mein pyaar ki
gardan kataye baithe hain
kisi ke teer e nazar dil pe khaaye baithe hain
haan aan aan aan aan aan
haan aan aan
kooche mein unke jhaadu lagaai tamaam raat
kooche mein unke jhaadu lagaai tamaam raat
deta raha muhalla duhaai tamaam raat
deta raha muhalla duhaai tamaam raat
duniya ujaad di meri duniya ujaad di
duniya ujaad di meri duniya ujaad di
haaye
teri gali ke kutton ne dhoti hi faad di
teri gali ke kutton ne dhoti hi faad di
hoti rahegi aaj silaai tamaam raat
hoti rahegi aaj silaai tamaam raat
kooche mein unke jhaadu lagaai tamaam raat
deta raha muhalla duhaai tamaam raat
haa aa aa aa aa
gali me pyaar ki
gardan kataaye baithe hain
gali me pyar ki gardan kataaye
haan aan
gardan kataaye
haan aan aan
gardan kataaye
haan aan aan aan
gardan kataaye baithe hain
kisi ke teer e nazar dil pe khaaye baithe hain
kisi ke teer e nazar dil pe khaaye baithe hai
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
Recent comments