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

Archive for the ‘Rafi songs’ Category


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

Blog Day :

4273 Post No. : 15506

A rain drop falls on a smoldering matchstick. And extinguishes it. A poet sees this happening. And the poet’s mind creates the lines that go on to become an iconic song that lead the on screen performer by hand to the rising heights of super-stardom. You may have already guessed it. Ah yes, I am talking about ‘Amar Prem’ (1971) and Rajesh Khanna. The song – “Chingaari Koi Bhadke To Saawan Usey Bhujaaye”. And the poet behind this hit song – Anand Bakshi.

Remembering Anand Bakshi on his remembrance day today. He passed away this day in 2002.

A career that had quite a chequered start, lasted for more than 4 decades. And continued to produce hits after hits all the way till he passed away. Chequered in that he joined the army in 1947 as a switchboard operator in the Signals Core; left the army and came to Bombay (now Mumbai) in early 1950s; made no headway and in despair, returned to join the army; but could not get rid of the film-bug. He resigned from the army again in 1956 and came to Bombay once again. This time he stuck it out. Bhagwan Dada gave him a break in his 1958 film ‘Bhala Aadmi’. The young Anand, then 27 years old, penned six songs for that film. One song by him had already appeared in an obscure 1957 film ‘Silver King’. Sadly, maybe expectedly, no songs of ‘Silver King’ are available. His debut song is probably lost forever, barring some miracle discovery.

The stumbling start led to success, slowly but surely. Popular hits came in ones and twos, and Anand continued to push his career graph, always up and up. Seven films carried his songs in 1959. Not popular hits, but surely a few are a good listen. Attention came his way in 1960, with films like ‘Air Mail’ – “Shoon Shadap Nazron Ki Jhadap” and “Tumhin Ne Mera Dil Chheen Kar”; ‘Mehlon Ke Khwab’ – “Lo Ji Bujh Gayi Bijli Pyaar Ki”; ‘Zameen Ke Taare’ – “Tinke Pe Tinka, Chhutti Ke Din Ka”; Then in 1961 came the film ‘Razia Sultana’ with Nirupa Roy and Jairaj in lead roles. The duet written by Anand went on to become an all time favorite – “Dhalti Jaaye Raat, Keh Le Dil Ki Baat”.

Then came 1962, with the perennial favorite qawwaali – “Meri Taveer Le Ke Kya Karoge”. Plus the films ‘Mehndi Lagi Mere Haath’, ‘Baanke Saanwariya’ with a good repertoire of songs by Anand. And the year was topped by the one song he wrote for ‘Vallah Kya Baat Hai’ – “Ghame e Hasti Se Bas Begaana Hota”. He was 32 years of age.

1963 was adorned with another wonderful qawwali from his pen. The film – ‘Jab Se Tumhen Dekha Hai’, and the song – “Tumhen Husn De Ke Khuda Ne Sitamgar Banaaya Banaaya”. That year, we also have from him “Taaron Ki Chhaon Taley, Shamma Parwaane Miley” in the film ‘Zaraak Khan’, and the sterling Mukesh solo – “Chaand Aaahen Bharega” from the film ‘Phool Baney Angaare’, which was otherwise loaded with a set of charming hits.

Next was 1964 (of course 🙂 ) and the film for which Anand teamed up with Laxmi-Pyaare to produce a set of songs that have remained on the lips and in the mind of music lovers since then – ‘Mr X In Bombay’. And this was the year that this young poet made it to the Binaca Geet Mala listing (at no. 6) for the first time with the song – “Mere Mehboob Qayaamat Hogi”. What a song it is, and what a set of lilting songs this film carries. Anand’s foothold in the tinsel town was now firm and very steady.

1965 – and just the sampling of films should be enough – ‘Himalay Ki God Mein’, ‘Jab Jab Phool Khile’, ‘Lutera’, ‘Shriman Funtoosh’ and ‘Teesra Kaun’ – memorable songs that are too numerous to be listed individually. Notable mentions required though, for “Hamen Kya Jo Har Su Ujaale Huye Hain” from ‘Namaste Ji’ and “Ye Dard Bhara Afsaana” from ‘Shriman Funtoosh’. And yes – “Pyaar Ka Fasaana Bana Le Dil Deewaana” from ‘Teesra Kaun’.

Going from strength to strength, Anand rounded off the year 1966 with fabulous songs in films like ‘Aasra’, ‘Aaye Din Bahaar Ke’, ‘Devar’, ‘Pati Patni’, ‘Preet Na Jaane Reet’, ‘Professor X’,  and ‘Sunehre Qadam’.

In 1967, Anand completed 10 years of his career in the Bombay film industry with top hits in films like ‘Milan’, ‘Farz’, ‘Night In London’, ‘Aamne Saamne’, ‘Milan Ki Raat’, ‘Chandan Ka Palna’, and ‘Taqdeer’. What more to say.

The remaining years of the 1960s decade – even listing a sampler would be too much space to cover. Suffice to say that the super hit “Mere Sapnon Ki Raani. . .” that truly launched Rajesh Khanna on the way to super stardom, came from the pen of Anand Bakshi.

And he would go on writing for another three and a half decades – including perennial favorites like “Hum Ko Tumse Ho Gaya Hai Pyaar Kya Karen” (‘Amar Akbar Anthony’, 1977), “Tujhe Dekha To Ye Jaana Sanam” (‘Dilwaale Dulhaniya Le Jaayenge’, 1995), and thousands more – in fact a total of 3,500 songs spread out across more than 635 films. Such a career cannot be done justice in a single blog post. 🙂

Thanks Anand Bakshi ji, for so many wonderful memories to hum and enjoy.

Coming to the song for today. As I was seeking to get one of his earliest songs to present today, I came upon this wonderful Rafi solo that has been tuned by S Mohinder. The film is ‘Sun To Le Haseena’ which belongs to his debut year 1958.

Produced under the banner of Filmistan Limited, the film is directed by SP Bakshi. The star cast is listed as Shashikala, Ravindra Kapoor, Agha, P Kailash, Badri Prasad, Randhir, Gulab, Sabita Chatterjee, Kanu Rai, Manju, Manohar Geer, Majnu, Vitthal Das Panchotia, Madhu Apte, Ramlal, Leela, Bazid Khan, Rajeshwar Singh, Noor, Chandramohan, Pathak, Shantaram, Ravi Tandon, Sundar, and Pal.

The film has a total of seven songs written by four songwriters, with Anand’s contribution tally is three. (Other songwriters are Sarshaar Sailaani, Kaif Irfaani and Raahil Gorakhpuri). This is the second song of this film, written by him to be showcased here, and the third song from the film.

Rafi Sb has rendered this call-to-the-beloved song with gusto. A very interesting listen, I am sure you will agree.

Song – De Deedar, O Dildaar (Sun To Le Haseena) (1958) Singer – Mohammed Rafi, Lyrics – Anand Bakshi, MD – S Mohinder

Lyrics

de deedar. . .
o dildaar. . .
haaye jhaank jharokhe se ik baar
aashiq tere dar pe aa ke ban gaya chowkidaar
ke de deedar. . .
o dildaar. . .

hota hai kahin kuchh khatka
lagta hai mujhe ik jhatka
hota hai kahin kuchh khatka
lagta hai mujhe ik jhatka
pal chhalak chhalak jaata hai
mere armaanon ka matka
mere armaanon ka matka. . .
har aahat pe chaunk ke jaani hota hoon taiyaar
ke de deedar. . .
o dildaar. . .
haaye jhaank jharokhe se ik baar
aashiq tere dar pe aa ke ban gaya chowkidaar
ke de deedar. . .
o dildaar. . .

o nakhre takhre waali
ye raat hai kaali kaali..ee. . .
o nakhre takhre waali
ye raat hai kaali kaali
kar saamne chaand sa mukhda
chaahe chhup ja de kar gaali
chaahe chhup ja de kar gaali. . .
varna faand ke aa jaaunga ye oonchi deewaar
ke de deedar. . .
o dildaar. . .
haaye jhaank jharokhe se ik baar
aashiq tere dar pe aa ke ban gaya chowkidaar
ke de deedar. . .
o dildaar. . .

main tujh pe ho ke lattu
tere naam ka ho gaya rattu..uu. . .
main tujh pe ho ke lattu
tere naam ka ho gaya rattu. . .
tere gham ka utha ke bojha
bana aadmi se main tattu
bana aadmi se main tattu. . .
ab tadpa tadpa ke zaalim yun na mujhko maar
ke de deedar. . .
o dildaar. . .
haaye jhaank jharokhe se ik baar
aashiq tere dar pe aa ke ban gaya chowkidaar
ke de deedar. . .
o dildaar. . .

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

दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰ ॰
हाए झांक झरोखे से इक बार
आशिक तेरे दर पे आके बन गया चौकीदार
के दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰ ॰

होता है कहीं कुछ खटका
लगता है मुझे ईक झटका
होता है कहीं कुछ खटका
लगता है मुझे ईक झटका
पल छलक छलक जाता है
मेरे अरमानों का मटका
मेरे अरमानों का मटका॰ ॰ ॰
हर आहट पे चौंक के जानी होता हूँ तैयार
के दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰ ॰
हाए झांक झरोखे से इक बार
आशिक तेरे दर पे आके बन गया चौकीदार
के दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰ ॰

ओ नखरे टखरे वाली
ये रात है काली काली॰॰ई॰ ॰ ॰
ओ नखरे टखरे वाली
ये रात है काली काली
कर सामने चाँद सा मुखड़ा
चाहे छुप जा देकर गाली
चाहे छुप जा देकर गाली॰ ॰ ॰
वरना फांद के आ जाऊंगा ये ऊंची दीवार
के दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰ ॰
हाए झांक झरोखे से इक बार
आशिक तेरे दर पे आके बन गया चौकीदार
के दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰

मैं तुझपे हो के लट्टू
तेरे नाम का हो गया रट्टू॰॰उ॰ ॰ ॰
मैं तुझपे हो के लट्टू
तेरे नाम का हो गया रट्टू॰ ॰ ॰
तेरे ग़म का उठा के बोझा
बना आदमी से मैं टट्टू
बना आदमी से मैं टट्टू॰ ॰ ॰
अब तड़पा तड़पा कर ज़ालिम यूं ना मुझको मार
के दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰ ॰
हाए झांक झरोखे से इक बार
आशिक तेरे दर पे आके बन गया चौकीदार
के दे दीदार॰ ॰ ॰
ओ दिलदार॰ ॰


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: 4273 Post No.: 15505

Hullo Atuldom

Today’s is a “this happened to me” post. It was a “dream” more than a “dream come true”. A chance to see the Dream Girl in person on my last trip to Mumbai.

So this is what happened- we had just landed at Mumbai airport. I was very tired after a long day followed by a delayed-flight. I told my husband that today i am in no position to walk the distance to the baggage-claim and am planning to hop on to any buggy that ferries passengers and I did. There were two passengers already on that buggy and the lady who was sitting mentioned that the passenger who was in the buggy that overtook us was Hema Malini. And I was disappointed that I had missed having a glimpse of her.

When we reached the drop-off point, I saw that the Dream Girl had just got off and was being courteous with the airport staff and allowing selfies. Very hesitantly I waved out to her and she acknowledged. Then I hinted through action that I would like to come closer and also click pictures with her and she permitted. Then my husband clicked a picture and she said:- “you will not get a good pic from so far, come closer.” And we had one more click which I shared instantly with my children.

My son commented immediately “He has never seen me smile so brilliantly.” But my personal feeling was there can be no smile as Brilliant as that of the Dream Girl -Hema Malini. She still looks a dream, and carries herself so elegantly and majestically. She displayed no airs about being a star or MP i.e. Member of Parliament.

My husband mentioned to her that I was a huge fan of hers and occasionally write about her in the blog. To this she replied- “hope you don’t write anything uncomplimentary”, and I said “oh no, not at all. We write only about the songs and their related movies.” And she gave me her brilliant smile. But this is one encounter that will stay with me forever and I am yet to believe it happened to me.

Recently my husband asked me why I haven’t written about my experience and I said I was waiting for an occasion. Plus I was wondering which song of hers should go with the post, and on what occasion do I present it etc. Today seems to be a good enough occasion. The anniversary of the lyricist of the song.

It is the 18th anniversary of lyricist Anand Bakshi (21 July 1930 – 30 March 2002). He was born Bakshi Anand Prakash Vaid, in Rawalpindi, in modern day Pakistan. His family came to India in the aftermath of partition. Poetry writing was his hobby and when he joined the Indian Army he continued to write whenever time permitted.

All of this are well known facts about Anand Bakshi. We also know that simultaneously he tried marketing his songs to Mumbai film industry. He finally got discharged from the army in 1956 and tried to become a writer or singer but found his foothold as a lyrics writer and “Bhala Aadmi” in 1958 was his first released movie where he wrote four songs.

“Mehndi Lage Mere Haath” with music by Kalyanji Anandji was his first success. And then the songs which found a mark in the hearts and minds of cine-goers never stopped. His wish to sing in movies was fulfilled when he sand “Baaghon mein bahaar aayi” and another solo for “Mom Ki Gudiya” in 1972. he has sung few more songs but written close to 3500 and we have 1036 of them on the blog.

Coming back to today’s song. On my return from Mumbai, last weekend, I saw “Pratiggya”(1975) starring Hema Malini, Dharmendra and Ajit. I don’t remember seeing the movie at the time of its release. This was a movie produced by Dharmendra himself and had “main jat yamla pagla deewana” (the only song from the movie on the blog) which is still in the minds of the fans even after a lapse of 45 years.

Laxmikant- Pyarelal were the music directors with whom Anand Bakshi collaborated in 302 movies. As I was writing this I came across the list of movies released in 1975, fifteen of which had songs written by Anand Bakshi, would like to know if it is a record of some kind.

The song with this post comes immediately after the song “jatt yamla pagla deewana” comes to a close. At the end of the song a drunk Ajit Singh (Dharmendra) falls into the river and dreams that Radha (Hema) is Sahibaan and he is Mirza.

So here is this love song where Hema looks a dream in the dream sequence and let us say Thank You to Anand Bakshi for leaving us this gem.


Song-Uthh neend se mirziya jaag jaa (Pratigya)(1975) Singers-Lata, Rafi, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Chorus

aa aa aa aa
aa aa aa
aa aa aa aa aa
aa aa aa
aa aa

hmm hmm hmm
hmm hmm hmm

uthh neend se mirziya jaag ja aa
teri sahibaan kare pukaar
tu ek akela bhaag jaa aa
tere peechhe ae ae ghudsawaar
vo aa gaye badla lene nu
haan aan aan
tere dushman mere veer
bedardi teer kamaan se ae ae
teri chhaati denge cheer
aisa lagta hai pyaar ke ae
nahin achche kuchh sanjog
humko mar ke bhi soniya aa aa aa
nahin milne denge log

sun sahibaan ?? yaqeen ke
rakh pyaar ki laaj jara
meri bakki(??) se daran farishte
te jatt se dare khuda
aane de unko saamne
hone de lahu-luhaan
chupchaap tamaasha dekh tu u u u u
tere sadke meri jaan
ye baat nahin wo jaante
mere dushman tere veer
jo maar sake mujhe soniye
ae ae ae ae
nahin bana abhi vo teer

o o o o o
o o
o o o o
o o o
haaye re


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

Blog Day :

4270 Post No. : 15500 Movie Count :

4271

Ok, so Atul approached me a few days ago requesting me for a post for a special occasion.

My posts have become very infrequent here – in fact, before my latest post on Sahir’s birth anniversary (8th March), my previous post was on his death anniversary last year (25th October). So a gap of more than 4 months.

But then, like often happens in Test cricket, you wait and wait for a wicket to fall – and when one falls, another quickly follows.

Same has happened here. Following quickly on the heels of the 8th March post, here is another one.

And on such an occasion that I just could not refuse. Let’s just call it the perfect yorker. 🙂

Friends, I am SO honoured here to present Rafisaab’s 3000th song on this blog.

Please allow me now to take a deep breath to let this sink in.

I don’t remember now when we got to Rafisaab’s 1000th and 2000th songs, but as we scale new heights, it feels like we’re entering rarified space.

3000 songs of one artiste on our blog is quite an astonishing achievement. Of course, we’ve already got there with Lata Mangeshkar (she’s going strong with 3500+ right now) but Rafisaab is only the second artiste to hit this milestone here.

Even as I write this post, I feel extremely humbled – and undeserving of this honour. This post is supposed to be a tribute not just to Rafisaab, but to this blog itself.

And there have been so many more here, starting with Atul himself, who deserve to write this. My contributions have dramatically reduced – while there are at least a dozen others (actually many more), who contribute much more, and far more regularly.

But since I am a big Rafisaab fan, I think Atul approached me for this. (In fact there are even bigger Rafisaab fans here – but let’s not start comparing. :-))

Having said all that, let’s talk a bit about Rafisaab here – and our love for him.
I say “our”, because I know I speak for everyone here when I say, we all love Rafisaab here. Only the degree might differ.

Speaking for me personally (and maybe for others too), it has never been about just Rafisaab’s voice.

Sure, for his voice alone, he would easily have had a special place in my heart. That divinity in his voice, his ability to transport me into a different realm altogether, the intonations, the “thehraav” – all of these put him on a level that’s stratospheric for me.

I have spent hours listening to Rafisaab, often intending to listen to just one song. 🙂 I’d listen to one, then get tempted to listen to another, then another, and so on. And before I’d realize it, the minutes would turn into hours. I’ve even spent all night listening to him (ok, that was a few years ago, when I coul stay awake all night). 🙂

It has been said many times before, and by many, but I will say it again – at least in HFM, I haven’t seen any singer with the versatility of Rafisaab. He could deliver every single song in exactly the mood and range required for it. Which is why he could do rock and pop singing just as comfortably as he could do bhajans and ghazals.

Rafisaab could totally get you into any mood the song demanded. He could just mesmerize you into it.

One moment he’s singing the breezy “pukaarta chala hoon main” or the sensuous “aaja re aa zaraa”, the next he’s singing the bhajan “sukh ke sab saathi”. 🙂

One moment, you’re imagining yourself as Shammi Kapoor with “aaja aaja main hoon pyaar tera”, the next you’re Bharat Bhushan lamenting “o duniya ke rakhwaale”. 🙂

They said of Rafisaab that he was an extremely shy and quiet person outside the recording room. You could barely hear his voice.

But once, in the room, recording?

He was a totally different person.

He would be so totally immersed in the song, giving it the very best he could, that you couldn’t believe it was the same person who, outside the room, hardly ever spoke.

In this sense, Rafisaab was a thorough professional. He always sought to give his very best, regardless of who the composer was.

In stature, he was often far higher than most of the composers he sang for. So it is only normal that composers might have hesitated to ask him for a retake, and could have just gone with whatever had been recorded, even if they were not fully satisfied.

But such was Rafisaab’s humility, such was his professionalism, such was his lack of ego, that he would ask the composer if it was ok – and if the composer had any suggestions for improvement, Rafisaab would redo it to the composer’s satisfaction.

That is truly the sign of greatness of an artiste.
And, considering how many successful artistes end up with ego too to match, Rafisaab stands out as an exception.

There are so many other things about Rafisaab that speak of the greatness of him as a human being.

There are other examples of Rafisaab’s nature that are also endearing.

For example, the fact that he sang for composers for a nominal fee, even just a token one rupee, because he knew they could not afford to pay him fees compatible with his stature.

Even in the royalty issue, which resulted in his fallout with Lata, his stand was typical. I don’t want to play judge here, and talk about whether his/Lata’s action was right or wrong, but it was typical of Rafisaab to feel that he had been adequately compensated for the work he had done, and shouldn’t ask for more.

Rafisaab’s generosity went beyond the industry. He provided financial support to people who did not even know who their benefactor was.

All of this, without the slightest arrogance. When someone would praise one of his songs, Rafisaab would just smile and point upwards , as if to say “sab ooparwaale ki kripa hai”.

There’s SO much one could learn from Rafisaab and his values. Ever-polite, ever-professional, ever-helpful, ever-smiling, ever-humble. And ever the family man too, because he always enjoyed spending time with his family.

I’ve written many times about him here – and much of what I’m saying here is repetitive (and possibly boring), but it always gives me great joy to write about Rafisaab, whatever the occasion.

I invariably then write about his character and not just his songs, because his character amazes me just as much as his amazing voice.

So the fact that we have now got 3000 songs of Rafisaab on this blog is a hugely satisfying achievement. My hearty congratulations to Atul, and to everyone else who has been part of this process.

Oh, and in all the discussion about Rafisaab and his 3000th song, I almost forgot.

There’s another milestone to celebrate today – today’s song also happens to be the 15500th song on the blog.

Yes, 15,500.

There was a time, in the early years of the blog, when every century was a major milestone. Then, as the centuries began getting clocked with regularity, the celebration around them decreased. We had entered the chiliad league, so our major milestones became 1000, 2000, 3000 and so on….now past 15000.
The 100s became minor milestones.
While this is understandable to some extent after 155 centuries, I still think every century deserves to be celebrated.

Let us NEVER forget that EVERY song involves a fair amount of effort, and though contributors (*cough*, *cough*) do their bit, every song still requires time & effort from Atul/Sudhirji. And they’ve put this effort 100 times, since 15400. So, I definitely think they deserve appreciation and a round of applause for this.

Now onto the song for today.

You can always trust Atul to unearth songs that have long faded from people’s memory. Or maybe they never got attention when they were released.

The same applies to films too. After all, the Hindi film industry is prolific, with hundreds of films being released every year, and thousands of songs.

As a result, many songs and films never get attention.

This blog has always tried to unearth such songs and films, and to give them their share in the limelight, even if it is several years after their release. After all, every song involves a lot of effort from many artistes. And for a film? The effort is several times more – involving so many more people, in various capacities, each one playing his/her role hoping to see the film succeed at the box-office.

I don’t know the success rate of films, but I’d say there are far more films that don’t click at the box-office, than those which do. Let’s not get into reasons here – I’m no pundit – but I do always like to acknowledge the effort that has gone into making a film anyway.

Why so much of a build-up in this post?

Because the song for today has as much to do with the film as with the song itself.

Prima facie, the song looks like a routine song. It’s a qawwali, with its usual nok-jhok, and, as isn’t uncommon in movies, with disguises. 🙂

Now I’m a sucker for qawwalis, so even though this probably isn’t in the same league as many more illustrious ones, I’m happy to just listen to it, and enjoy it.
Besides, this was 1982 – and by then, qawwalis were slowly on the decline. The times had changed, and naturally films had to reflect the changed times.
So I wouldn’t judge this qawwali, keeping other classics in mind. 🙂

When Atul sent me an e-mail requesting me for a write-up, he explained why he picked this song. It has to do with not just the song, but the film as well.

This is what he said:

The song that I have chosen for the occasion is a special song. It is a rare song. It is composed by an obscure music director called B T Singh. It is the only song of B T Singh with Rafi in his career. HFGK mentions that music was arranged and composed by Uttam Singh. He could be assistant to B T Singh.

The movie is an obscure movie called “Chambal Ke Daaku”(1982). This movie was Produced by R S Sandhu , written and directed by S Azhar for S L Cheema films, Bombay.
The USP of the movie was “Real dacoits pesented first time on screen.”
The movie had real dacoits viz Mohar Singh, Madho Singh, Fateh Singh, Lakhan Singh, Kalyan Singh and hundred of ex dacoits, and actors like Nazneen, Javed Khan, Madhumalini, Sulochana, Malti Joshi, Yasmeen, Birbal, Dushyant, Deep, Ashok, S S Khan, Nirmal Singh, Shamsher Singh, Jeewan Singh, Joginder Singh, Amreek Singh, Joginder Singh Laddhar, Mahendra Singh, Chandrakala, Ramesh Deo, Sohel Khan, Joga Singh, Sayyad Khan, Praveen Lakhad, Gajendra Gadge, Rajkumar, Baw Brar, Shabbir Khan, Guest apppearances by Padma Khanna, Hina Kausar, Mahendra, Raza Murad etc.”

Wow!
So now we have a film here where real-life dacoits just decided to act in a film. Maybe there are other examples too (what about “Jis Desh Mein Ganga Behti Hai”)?

In any case, it is a rather fascinating scenario. And of course, when I learnt about this, my mind began working overtime, imagining all sorts of things.

– Were they active dacoits, wanted by the police? If so, how did they get to act? Or had they served their sentence, and reformed? In which case, they shouldn’t be judged on their past, of course.
– How much were they paid?
– Was it maybe just a smart move for the producer to co-opt real-life dacoits so that not only does he have a USP, but he also has access to their expertise, and could film in locations he wouldn’t otherwise dare to?
– How did co-stars, and the rest of the crew feel? Imagine having chai with a real-life dacoit. You’d probably not want to upset him, or even crack a joke about him, for fear of him taking offence at it
– In the shooting scenes, was anyone worried that the dacoits might just get excited and take it all too literally?

Such thoughts, and more, came to my mind, because this was reel life and real life potentially getting mixed up. The key word here is “potentially”. 🙂

Chambal itself was a common film theme in those days – especially in the 70s and early 80s. Films mirror real-life events, and dacoity used to be in the news off and on in those days. There were plenty of dacoit films made in that time, the most famous being Sholay, of course. 🙂

I remember VP Singh, CM of UP (1980-82) came down hard on dacoity in his time, and even got a lot of praise for it. But soon after, there was a major dacoity, as if to spite him – and he offered to resign as CM.

I myself used to travel a lot by train from Orissa to Delhi in the early 80s, and go through Gwalior-Morena (I think Dholpur in Rajasthan also), which I think is the Chambal area. The landscape would be “interesting”, and would trigger my imagination. 🙂

Anyway, enough of digression.

Back to the song, it is sung by Rafisaab (of course), together with Asha Bhosle and Manna Dey. Rafisaab passed away in 1980, so it’s possible this is one of his last few songs – unless the film took a while to get released.

I must admit I couldn’t recognise many faces – but Ramesh Deo is, of course, unmistakeable.

Hope you enjoy the song, and imagine yourself singing it with real-life dacoits in Chambal Valley. 🙂

And once again, congratulations to the blog for clocking Rafisaab’s 3000th, and the blog’s 15500th.

Audio

Video


Song-Uljhan ho chaahe koi aa jaaye mushqil (Chambal Ke Daaku)(1982) Singers-Rafi, Asha Bhonsle, Manna Dey, Lyrics-Gauhar Kanpuri, MD-B T Singh
Male chorus
Female chorus

Lyrics

banaayenge bhanwar mein raasta
aur lahron pe saahil
bhanwar kehte hain uljhan ko o
lahar ka naam hai ae ae mushqil

uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil
mil ke rahegi yahin apni manzil
mil ke rahegi yahin apni manzil
kehta hai aaj yehi mera dil
uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil

kahaan se aaye ho
bolo ji kya iraada hai

Ji kya iraada hai
hamaari baat hai
ya doosron se waada hai

ye dil ka raaz hai
dil mein hi rehne do dilbar
haan rehne do dilbar
banega baat ka afsaana honthon pe aa kar
dilon ke raaz ko
o o o o o o
dilon ke raaz ko
nazron se ham to
kehte hain
kehte hain
kehte hain
ham si haseenon ko samjho na gaafil
gaafil
ham si haseenon ko samjho na gaafil
uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil

haaye
haseen adaaon ka rangeen nazaara dekhenge
nazaara dekhenge
ham apni aankh se kismat ka taara dekhenge
haaye ae ae ae
ae ae ae
aa aa aa aa aa
aa aa aa aa
nazar nawaaz
nazaaron mein jee nahin lagta
haaye ae ae
haseen chaand sitaaron mein aen
jee nahin lagta
sa ni ma dha pa ni
dhi ma pa ni sa
sa ni sa dha ni
pa dha
ma pa
ma ga ma
ga re ga sa re
sa re ga ma pa
nigaah e naaz ka hamko ishaara mil jaaye

ishaara mil jaaye
hamen bhi jeene ka
koi sahaara mil jaaye

isharaa paaoge ae ae ae
isharaa paaoge
jhaanko hamaari aankhon mein
aankhon mein
aankhon mein
chaand se chehre pe
taaron ki jhilmil
jhilmil

chaand se chehre pe taaron ki jhilmil
uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil

samajh gaya hoon main
dil aur nazar ke afsaane

nazar ke afsaane
anaar ek hai
aur uske do hain deewaane

deewaana kaun hai
duniya ko ye bataana hai
yahi bataana hai
nazar ke teer se taqdeer aazmaana hai
jo hoshiyaar hai
ae ae ae ae ae
jo hoshiyaar hai
duniya usi ke kaabil hai
kaabil hai
kaabil hai
mehfil se baahar bhi hai ek mehfil
mehfil

mehfil se baahar bhi hai ek mehfil
uljhan ho chaahe koi aa jaaye mushqil
uljhan ho chaahe koi aa jaaye mushqil
kahin uljhan hai
kahin mushqil hai

kahin mehfil kahin manzil
ye lo mera fasaana
ye kissa hai puraana
oho
hamaara dil na todo
oho
ye dil ki bat chhodo
oho
mere nazdeek aao
oho
qayaamat na uthhaao
oho
tumhaara dil hai patthar
aha
magar tum ho sitamgar
oho
mujhe tarpaaya tumne
oho
mujhe uljhaaya tumne
oho
tujhe hamne pooja
oho
mere dil mein hai dooja

oho
kahaan hai wo kidhar hai
oho
idhar hai ye udhar hai


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: 4270 Post No.: 15498

“Mr John”(1959) was produced by Nigam and directed by Indar for N K Productions, Bombay. The movie had Shyama, Johny Walker, Helen, Lalita Pawar, Ifthikhar, Krishnakumari, Mumtaz, Tuntun, Mohan Choti, Kamal Mohan, Sampson, Uma Dutt, Ravi, Champal Lala, Rashid, Daraaz, Wahid, Genious, Tiwari, Ramlal, Anil, Singh, Jaani, Ghouse, Tarun Kumar, Ajay Kumar, Ajeet, B Fazl e Kareem, Mukhtaar, Pt Baijnath etc in it.

The movie had seven songs in it. Four of these songs have been covered in the past.

Here is the fifth song from “Mr John”(1959) to appear in the blog. The song is sung by Lata and Rafi. Jaan Nisaar Akhtar is the lyricist. Music is composed by N Datta.

Only the audio of the song is available. My guess is that this song is picturised on Shyama and Johny Walker. Nevertheless, I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Mujhe dekho hoti der (Mr John)(1959) Singers-Lata, Rafi, Lyrics-Jaan Nisaar Akhtar, MD-N Datta

Lyrics

mujhe dekho hoti der
khade kyun mera rasta gher
sajan ghar jaane do o
sajan ghar jaane do
o karo haaye na ye andher
na lo yoon hamse nazren pher
ki dil bhar jaane do o o
ki dil bhar jaane do

sajan ghar jaane do o

na dekho din na dekho raat
karo kyun chhed mere saath
na dekho din na dekho raat
karo kyun chhed mere saath
kahin chhoona na mera haath
karoongi phir na tumse baat
karoongi phir na tumse baat
sajan ghar jaane do o
sajan ghar jaane do
ho karo haaye na ye andher
na lo yoon hamse nazren pher
ki dil bhar jaane do o
ki dil bhar jaane do

sajan ghar jaane do o

jo dekhen gorey gorey gaal
na bigde kaise dil ka haal
jo dekhen gorey gorey gaal
na bigde kaise dil ka haal
na baaton mein hamen do taal
raho aankhon mein aankhen daal
raho aankhon mein aankhen daal
ki dil bhar jaane do o
ki dil bhar jaane do

mujhe dekho hoti der
khade kyun mera rasta gher
sajan ghar jaane do o
sajan ghar jaane do
sajan ghar jaane do o

aji ye dil hai be-aaraam
zara to pyaar se lo kaam
aji ye dil hai be-aaraam
zara to pyaar se lo kaam

karoge kya mujhe badnaam
arre hone ko aayi shaam
arre hone ko aayi shaam
sajan ghar jaane do o
sajan ghar jaane do
mujhe dekho hoti der
khade kyun mera rasta gher
sajan ghar jaane do o
sajan ghar jaane do
ho karo haaye na ye andher
na lo yoon hamse nazren pher
ke dil bhar jaane do o
ke dil bhar jaane do

sajan ghar jaane do o o


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

Blog Day : 4251 Post No. : 15471

Back here on the blog after a fairly long break.
I daresay it would’ve been even longer if it were not a very special occasion today.

From today, we start the centenary celebrations of Sahir Ludhianvi’s birth.
Since he was born on 8th March 1921, today happens to be his 99th birth anniversary.

So yes, it is a very special occasion for Urdu poetry and classic HFM lovers. As a massive Sahir fan, I thought I owed it to him to write a post for the occasion. I’ve written so often about him here, on practically every birth and death anniversary, and have nothing new to say anymore – and yet it feels like a betrayal of sorts to let this day go by, without paying tribute to him.

So when Avinashji, an even bigger Sahir fan than myself, requested me to write a post for Sahir on this occasion, I could not, but agree. 🙂

But I must also admit that for the first time I told Avinashji that I don’t think I’d be in the right mental frame to be able to do this. For me, writing a post here is an investment of emotion – and right now, to be honest, I feel quite empty within. If it were not for Sahir, I don’t think I’d be able to pull myself together for this post.

To Avinashji’s credit, as always, he provided me with a list of songs and lyrics that I could choose from. And left it to me to see whether I could come up with a post. I owe this post to him too.

Ok, enough about myself and my “mental frame” – this post is about Sahir, not about me. 🙂

What can I say about Sahir that I haven’t said before?
Actually nothing.

But since it’s Sahir, whatever I’ve said before can hopefully be repeated, without sounding boring. 🙂
Just like whatever Sahir wrote as social messages, not once but repeatedly in different ways, was never boring, and only meant as a reminder to society, to show people a mirror.

For me, as for many others, Sahir was much more than just a poet or lyricist. Yes, he was a lyricist par excellence. But I’m pretty sure I wouldn’t have had this level of regard for him if he’d limited himself to just writing lyrics or poetry on mundane matters, however beautifully worded.

Sahir’s greatness, in my mind, has a lot to do with the topics he chose to express his views on. And the manner of such expression.

Sure, he could write about romance – “abhi na jao chhod kar” will always be one of my all-time favourite romantic songs.

Sure, he could write about heartbreak too – “jaane wo kaise log the jinke pyaar ko pyaar milaa”, another favourite.

Sure, he could write about love in its multitude of shades – is there a more exquisite ode to love than “ye ishq ishq hai ishq ishq”?

Sure, he could write bhajans with consummate ease – “tora mann darpan kehlaaye” and “aan milo aan milo shyam saanwre” are just two examples.

Sure, he could write light-hearted, fun songs too – the first song that comes to mind in this category is an all-time favourite “sar jo tera chakraaye”.

Sure, he could write, and wrote quite often, on a mother’s love for her child – “tu mere pyar ka phool hai”, “tere bachpan ko jawaani ki dua deti hoon” and “tu mere saath rahega munne” come to mind.

And yet, Sahir rises, no, TOWERS, above all others when it comes to writing on social issues.

No one, NO ONE, showed a mirror to society as earnestly as Sahir. It was as if he truly came into his own on these occasions.

Whether he was writing about injustice towards the oppressed, society’s shocking treatment of women, casteism, communalism, labor exploitation, or the futility of war, Sahir’s words were like cries of anguish, straight from the heart. You could feel the raw sincerity in them, even if they were often laced with cynicism, sarcasm or anger. Or, occasionally, even hope.

So many songs come to mind.

“Tu Hindu banega na musalmaan banega” – where Sahir calls out communalism in all its ugliness
“Cheen-o-arab hamara” – where Sahir sarcastically exposes India’s hypocrisy over wealth disparity
“Jinhe naaz hai Hind par wo kahaan hain” – Sahir at his cynical best, showing society a mirror of its ugly reality
“Khuda-e-bartar teri zameen par” – where Sahir busts the myth about the glory of war, pointing out that there are no winners in war, only bloodshed
“Ponchh kar ashq” – where Sahir exhorts the oppressed to rise and demand their rights from the oppressor, pointing out that colour, religion, caste, race can never be above humanity
“Aurat ne janam diya mardon ko” – Sahir’s famous lament about society’s treatment of women
“Wo subah kabhi to aayegi”– where Sahir, in one of his less frequent refrains, chooses hope over despair

and many more.

Every single time asking questions of society, pointing out its flaws, exhorting it to reform.

That each of his songs is STILL relevant more than 50 years after he wrote them, is truly sad, and a reflection of Indian society – but no one can ever fault Sahir for not doing his utmost to put his writing ability to good use. If society is still languishing in darkness, it certainly isn’t Sahir’s fault.

And it is for this particular trait of Sahir’s that he has a very special place in my heart.

Yes, he’d have had his own place in my heart anyway for lyrics like “wo afsaana jise anjaam tak laana na ho mumkin, use ek khoobsoorat mod dekar chhodna achha”.

But his attempt at social awareness, and his speaking truth to power, takes my regard for him to a different level altogether.

If I may say so, and no disrespect meant to any lyricists who have come since, but no one comes close to Sahir’s intensity in this one matter.

Or maybe times have changed too.

Now, coming to the song for today.

Avinashji gave me a few options – of the lot, I picked the title song of “Samaj Ko Badal Daalo” (1970). Lyrics have been provided by Avinashji, of course. 🙂

It’s a lament, not uncharacteristic of Sahir, where he lets loose on society itself, blaming it for its own ills. That it tolerates corruption and crime is the biggest reason society suffers these, in the first place. Reform cannot start unless society decides to step up, and adopt a zero tolerance policy towards these. Hence “samaj ko badal daalo”.

I honestly don’t think it’s a bad assessment of why we are the way we are.

Without coming across as too preachy, let me share a few thoughts quickly.

We Indians love to blame our politicians for everything. We blame them for corruption, for the poor state of our roads, education and healthcare, for dividing society along communal lines – basically everything.

And yes, since they are our leaders, and have power, it’s not unfair to place responsibility and accountability on them.

And yet, where do these politicians come from?

They don’t fall from the skies, they come from amongst US.

So if we’re complaining about corruption and bigotry in our politicians, we first need to acknowledge that we, as a society, are ourselves guilty of these very shortcomings in our character. We carry a lot of baggage historically, and don’t have a particularly high moral compass ourselves. Our politicians then just exploit our weaknesses.

For example, politicians pander to our base instincts, dividing us based on identity, or other group characteristic. And we fall for it. Every single time.

Then again, when it comes to governance, they manage to get away with promises because we don’t make a serious enough effort to hold them accountable anyway. We behave like slaves – and get treated as such. So our leaders end up with power, but no accountability.

This is OUR fault. If we didn’t allow them to exploit us like this, if we raised the bar and held them accountable to us, things would be very different.

So when Sahir writes “samaj ko badal daalo”, it does resonate a lot with me. And hopefully with others too.

End of “preaching”. 🙂

The song itself is sung by Rafisaab, at the start of the film, as credits roll. I remember seeing this film as a young boy – what I remember most about it from that time is that the hero (Parikshat Sahni, who was then still Ajay Sahni) gets stabbed midway in the film and dies. I’d never seen a film till then where the hero dies midway :-), so I couldn’t reconcile easily to this at all.

A few years ago, I watched this film again, just out of curiosity. I wouldn’t call it a bad film as such (I’ve seen worse), but the last 30 minutes or so, are very dark and depressing. After watching this film, it might linger in your mind – and you’re likely to feel sad for a while.

Considering people usually look towards cinema for escapist fare, and don’t want to be reminded of daily miseries of life, this film is definitely not one you should watch if you want a feel-good feeling from the film. Don’t get misled by the fun “tum apni saheli ko” song, picturised on Prem Chopra.

But none of this takes away from Sahir, who is the reason for this post. Rafisaab singing Sahir’s lines are always a joy for me – even if it’s a sad song.

I hope you will also listen to it – and possibly agree that what we need most is for society itself to reform, otherwise we will continue bad practice of the past, and only regress.

In my opinion, the greatest danger to a society is not economic bankruptcy (which, however hard, CAN be corrected through appropriate economic policy), but moral bankruptcy (which eats away at the very fabric of society, and is therefore far more difficult to correct).

Thank you for reading.

Audio
(audio) (lyrics noted are as per this link)
Video

Song-Samaaj ko badal daalo (Samaaj Ko Badal Daalo)(1970) Singer-Rafi, Lyrics-Sahir Ludhianvi, MD-Ravi

Lyrics(Provided by Avinash Scrapwala)

(Ye ek katha jo laakhon logon ke ae
Jeevan ka darpan hai
Desh pita ke charnon mein
Ham sab ki ore se arpan hai)

***

Samaaj ko badal daalo o o
Samaaj ko badal daalo o o o
Samaaj ko badal daalo
Zulm aur loot ke rivaaz ko badal daalo
Samaaj ko badal daalo

Kitne ghar hai jinme aaj raushni nahin
Kitne ghar hai jinme aaj raushni nahin
Kitne ae tan-badan hai jinme zindagi ee nahin
Mulq aur kaum ke mizaaj ko badal daalo o
Mulq aur kaum ke mizaaj ko badal daalo
Samaaj ko badal daalo o
Zulm aur loot ke rivaaz ko badal daalo
Samaaj ko badal daalo o

Sainkdo ki mehnaton par
Ek kyun paley
Sainkdo ki mehnaton par
Ek kyun paley ae
Oonch neech se bharaa
Nizaam kyun chale ae
Aaj hai yahi to
Aise aaj ko badal daalo o
Aaj hai yahi to
Aise aaj ko badal daalo
Samaaj ko badal daalo o
Zulm aur loot ke rivaaz ko badal daalo
Samaaj ko badal daalo

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

समाज को बदल डालो ओ ओ
समाज को बदल डालो ओ ओ ओ
समाज को बदल डालो
ज़ुल्म और लूट के रिवाज़ को बदल डालो
समाज को बदल डालो

कितने घर है जिनमे आज रौशनी नहीं
कितने घर है जिनमे आज रौशनी नहीं
कितने ए तन-बदन है जिनमे ज़िन्दगी ई नहीं
मुल्क और कौम के मिज़ाज को बदल डालो ओ
मुल्क और कौम के मिज़ाज को बदल डालो
समाज को बदल डालो ओ
ज़ुल्म और लूट के रिवाज़ को बदल डालो
समाज को बदल डालो ओ

सैंकड़ो की मेहनतों पर
एक क्यूँ पले
सैंकड़ो की मेहनतों पर
एक क्यूँ पले ए
उंच नीच से भरा
निजाम क्यूँ चले ए
आज है यही तो
ऐसे आज को बदल डालो ओ
आज है यही तो
ऐसे आज को बदल डालो
समाज को बदल डालो ओ
ज़ुल्म और लूट के रिवाज़ को बदल डालो
समाज को बदल डालो ओ


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

Blog Day : 4248 Post No. : 15467

“Piya Milan Ki Aas” (1961) was directed by S N Tripathi for Vijay Films. J S Cashyap was the producer. The movie had Ameeta, Manoj Kumar, Sunder, Pratima Devi, Jeevan, Nalini Chonker, Daisy Irani, Indira Bansal, Polson, S. N. Tripathi etc in it.

The movie had eight songs in it. Six songs from the movie have been covered in the past.

Here is the sseventh song from “Piya Milan Ki Aas” (1961) to appear in the blog. The song is sung by Rafi and chorus. Bharat Vyas is the lyricist. Music is composed by S N Tripathi.

I am unable to identify the actor lip syncing the song. I request our knowledgeable readers to help identify the actor.

PS-Prakashchandra, our inhouse identifier of faces, tells us that the actor lipsyncing in Rafi’s voice is Sundar.


Song-Chhuri bagal mein hai Munh mein Raam (Piya Milan Ki Aas)(1961) Singer-Rafi, Lyrics-Bharat Vyas, MD-S N Tripathi
Chorus

Lyrics

jholi mein goli aur chutki mein gutki
mufat ka gatkaaye maal
arre baaba kare kharaaba
bhai bachna
ye kaljug ke kaal

solah aana paaw ratti
pate ki keh gaye jati sati
solah aana paaw ratti
pate ki kah gaye jati sati
hey aise lafangon se bachna
jo karen saadhuon ko badnaam
chhuri bagal mein hai munh mein raam
chhuri bagal mein hai munh mein raam
chhuri bagal mein hai munh mein raam

jata badhaa kar alakh jaga kar maala phiraate aathon jaam
chhuri bagal mein hai munh mein raam
chhuri bagal mein hai munh mein raam

hey kare saadhuon ko badnaam
chhuri bagal mein hai munh mein raam
chhuri bagal mein hai munh mein raam

bhor bhaye ganga tat jaawen
bhor bhaye ganga tat jaawen
kapda rang ke rang jamaawen
kapda rang ke rang jamaawen
chimta gaad ke dhooni ramaawen
sulfa daal ke chilam chadhaawen
(cough cough cough)
sulfa dal ke chilam chadaawen
aadhi raat ko bam bam kar ke
bam bam bam bam bam bam
aadhi raat ko bam bam kar ke
sabki karte neend haraam
chhuri bagal mein hai munh mein raam
chhuri bagal mein hai munh mein raam

hey kare saadhuon ko badnaam
chhuri bagal mein hai munh mein raam
chhuri bagal mein hai munh mein raam
churi bagal mein hai munh mein raam
chhuri bagal mein hai munh mein raam
chhuri bagal mein hai munh mein raam
bhaai raam bhaai raam
bhaai raam bhaai raam
bhaai raam bhaai raam bhaai
raam bhaai raam bhaai

ek haath beedi ka bandal
ek haath beedi ka bandal
dooje haath mein sohe kamandal
dooje haath mein sohe kamandal
lambe chaude aur mustandal
sath chale chelon ka mandal
aadambar paakhand chhal kapat
aadambar pakhand chhal kapat
ye bagla bhakton ke kaam
chhuri bagal mein hai munh mein raam
chhuri bagal mein hai munh mein raam

hey kare saadhuon ko badnaam
chhuri bagal mein hai munh mein raam
chhuri bagal mein hai munh mein raam
chhuri bagal mein hai munh mein raam
chhuri bagal mein hai munh mein raam
chhuri bagal mein hai munh mein raam
bhaai raam bhaai raam
bhaai raam bhai raam
bhaai raam bhai raam bhaai
raam bhaai raam bhaai


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

Blog Day :

4243 Post No. : 15462

Entertaining Sales Pitch Songs – 11
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This post is likely the one which has been the most scrambled for. Leap day it is. So much history and folklore around this date, no doubt. But notwithstanding that, it struck us quite late in the day, as to how such a rare occasion be not celebrated, and not represented on our blog. We are all adept at combining celebrations and conjuring up milestones and reasons to post a celebratory article. So how come this leap day phenomena be left by the side. So we got going to get something in place, but it was quite late that we got started. Here is a brief about the gensis.

Time is 6:48 in the evening. An innocent query laden email from dear Arun ji lands in the mail box. He is enquiring about 29th Feb, 2016. The date seems to be blanked out on the blog, so were not posts added that day or is that an error of logging on the blog.

7:30 pm comes the response from Atul ji – yes, in 2016, the leap day actually was dot day.

Within one minute at 7.31 pm lands another follow up from Atul ji – and I quote –

“Today I wanted to post a blog leap day challenge, but my internet at home as well as office let me down. Atul”

There is radio silence for another about one hour or so. Around 8:20, I am back on my laptop, checking emails, and run into this exchange that has recently happened. It is 8:25 pm by the time I jump into the flow, and write to Atul ji, enquiring what did he have in mind.

Another 25 minutes creep by. It is 8:52 when Atul ji reply lands in the mail box. He wanted to follow up with a ‘challenge’ type post using one of the un-yippeee’d films from the list of posts from 29th Feb, 2012. Despite all the lethargy and laziness, I am stirred up to take on this challenge. Quickly I make a check of the films used on 29th Feb 2012. The list reads like,

Ban Ban Ke Bigadti Hai Taqdeer Gareebon Ki Guzaara 1954
Dil Ko Hai Tumse Pyaar Kyun NFS – Jagmohan `Sursagar` 1945
Tum Saamne Aakar Jis Dam Khazaanchi 1958
Dhal Chuki Shaam E Gham Kohinoor 1960
Bhare Hain Aankh Mein Aansoo Saara Jahaan Hamaara 1961
Manzil Ki Chaah Mein Devdas 1955

Only two films stand out as the candidates for this challenge – ‘Guzaara’ from 1954 and ‘Saara Jahaan Hamaara’ from 1961. Given the familiarity of the film and songs, I am tempted to attempt ‘Saara Jahaan Hamaara’. But then another peculiarity tries to pull my attention. The film ‘Guzaara’ from 1954 made its debut on the blog on this day – the leap – of 2012. And then – nothing else. For the past 8 years, the film has been sitting neglected, on one of the most interesting calendar days in, well, in the calendar. 🙂

And so, I decided to pick ‘Guzaara’. I sent out an email to Atul ji at 9:11 (that sounds almost sinister. . .) with the message – “‘Guzaara’ from 1954 would be an interesting candidate. Only one song, posted on leap day 2012, now second song on leap day 2020. 😀 :D”.

This time, the response is very immediate. Within a minute Atul ji confirms that he was also thinking to pick this film.

Poor ‘Guzaara’ – has been sitting on the bench for – goodness, 8 years. आते जाते हुये, the other films would ask cursorily – “How’s it going? Idling for long??”

And listlessly (pun intended) ‘Guzaara’ would reply – “गुज़ारा चल रहा है”. :D)  :D)

And then suddenly another thought passed into the mind’s channels. Debut on the leap day in 2012, no action till the leap day on 2020, when the second song gets posted. And I hope this does not lead to a typecasting (so common in the industry, no?). because if it does, then poor ‘Guzaara’ would take more than two decades to get yippeee’d for its 8 songs. (LOL)

‘Guzaara’ is a social film from the production house of Aaina Pictures, Bombay produced and directed by SM Yusuf. The star cast is listed as Karan Diwan, Paro, Jabeen, Mirza Musharraf, Chand Burque, Baby Naaz, Romi, SM Yusuf, Manju, Tiwari, Baalam, Faizi, Sangeeta, Chhagan Romeo, Mehru. Hmmm. . . Karan Dewan and Paro, this would have been an important film of its time. The eight songs of this film are written by Fauq Zami – two songs, Muneer Lakhnavi – one song, and Raja Mehdi Ali Khan five songs. The music direction is by Ghulam Mohammed. The film comes from the same year as ‘Mirza Ghalib’, one of the most well known films with music by him.

Today’s song is a “sales pitch” song, rendered by Rafi Sb. The item for sale is ‘bhajia’, and the song goes along with homilies and interesting advises, as it tries to make better of selling ‘pakodas’. 😉 Looking at the star cast, the most likely candidate for performing this song is Karan Dewan himself. I cannot bring myself to imagine that Mirza Musharraf or Baalam would take on performing this song on screen. I would request our more knowledgeable friends and readers to please add more information about this song, and the film.

Ah so, the leap challenge, at last. And the film gets its second song on the blog, on the same leap day, eight years apart. Come to think of it – do we know what is the origin of the term ‘leap’ as it applies to this date and this calendar terminology. Hmmm. . . as we look at the calendars progression from one year to the next, and given 365 days in the year and 7 days in the week, the thumb rule is that the new year starts on the weekday, next to the day on which the previous year starts. Except for this peculiar creature called ‘leap year’ when the sequence of week day ‘leaps’ ahead by one day. Oh yes, this is the simple explanation available from dictionary.com.

I am sure all are familiar with the rules of the Julian calendar, set is place by Julius Ceaser, which instituted this leap day’s concept, and the later correction by Pope Gregory, resulting in the Gregorian calendar that makes an exception for missing a leap year every 100th year, but then also not missing it every 400th year, to account for the correct number of days passing per year, given that the earth uses up 365 days, 5 hours, 48 minutes, and 45 seconds, give or take a few milliseconds here and there, to completely go once around the sun. That is being astronomically correct. Otherwise, what would we know better, just being used for waking up with sunrise every day. Leap day, leap year – what does it matter. At the end of the day, and quoting from another song by Rafi Sb – “Jitni Likhi Thhi Muqaddar Mein. . .” – the number of breaths destined are what it is. History records that in 1582, when Pope Gregory announced this correction to the calendar, the official dates were adjusted by 10 days, There were riots in the city of Vatican and the common man protested, wanting 10 days of their lives to be returned.

Ah well, as the world turns. And not very precisely so. 🙂

So listen to Rafi Sb, and enjoy the ‘bhajias’.

Song – Duniya Ki Haalat Naram Naram (Guzaara) (1954) Singer – Mohammed Rafi, Lyrics – Raja Mehdi Ali Khan, MD – Ghulam Mohammed
Chorus

Lyrics

duniya ki haalat naram naram
o duniya ki haalat naram naram
halwa chhodo
poori chhodo
bhajiye kha lo garam garam
duniya ki haalat naram naram

tu ne bhi muft ki khaai hai
kya tu bhi mera bhai hai
o kya tu bhi mera bhai hai
meri hi tareh honge mister
tere pichhle janam ke karam karam
ho munna pichhle janam ke karam karam
o duniya ki haalat naram naram
halwa chhodo
poori chhodo
bhajiye kha lo garam garam
duniya ki haalat naram naram

hum tumko kahaan se den bhiksha
o bhaiyya ja kar ke khencho riksha
ho munna ja kar ke khencho riksha
mat desh pe apne bojh bahno
hai ye hi hamaara dharam dharam
hai ye hi hamaara dharam dharam
hoye
duniya ki haalat naram naram
halwa chhodo
poori chhodo
bhajiye kha lo garam garam
duniya ki haalat naram naram

chaar aane mein insaan bikey
do aane mein imaan bikey
chaar aane mein insaan bikey
do aane mein imaan bikey
ek aane mein bhagwan bikey
ae duniya waalo shame shame shame
ae duniya waalo sharam sharam

o duniya ki haalat naram naram
o duniya ki haalat naram naram
halwa chhodo
poori chhodo
bhajiye kha lo garam garam
duniya ki haalat naram naram
hoye

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

दुनिया की हालत नरम नरम
ओ दुनिया की हालत नरम नरम
हलवा छोड़ो
पूरी छोड़ो
भाजिया खा लो गरम गरम
दुनिया की हालत नरम नरम

तूने भी मुफ्त की खाई है
क्या तू भी मेरा भाई है
ओ क्या तू भी मेरा भाई है
मेरी ही तरह होंगे मिस्टर
तेरे जनम के पिछले करम करम
हो मुन्ना तेरे जनम के पिछले करम करम
ओ दुनिया की हालत नरम नरम
हलवा छोड़ो
पूरी छोड़ो
भाजिया खा लो गरम गरम
दुनिया की हालत नरम नरम

हुम तुमको कहाँ से दें भिक्षा
ओ भईय्या जा कर के खेंचो रिक्शा
हो मुन्ना जा कर के खेंचो रिक्शा
मत देश पे अपने बोझ बनो
है ये ही हमारा धरम धरम
है ये ही हमारा धरम धरम
होये दुनिया की हालत नरम नरम
हलवा छोड़ो
पूरी छोड़ो
भाजिया खा लो गरम गरम
दुनिया की हालत नरम नरम

चार आने में इंसान बिके
दो आने में इमार बिके
चार आने में इंसान बिके
दो आने में इमार बिके
एक आने में भगवान बिके
ए दुनिया वालो शेम शेम शेम
ए दुनिया वालो शरम शरम

ओ दुनिया की हालत नरम नरम
ओ दुनिया की हालत नरम नरम
हलवा छोड़ो
पूरी छोड़ो
भाजिया खा लो गरम गरम
दुनिया की हालत नरम नरम


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 :

4241 Post No. : 15457 Movie Count :

4258

“Jai Jwaala”(1972) also known as “Pooja Aur Paayal”(1972) was a movie produced under the banner of K D Films Bombay. The movie had Sujit Kumar, Sonali, Madhumati, Ram Mohan, Kammo, Chandrashekhar, B M Vyas, Shahid Bijnori, Dinesh Hingoo, Kumud Tripathi, Rukhsana, Ratna, Bhupendra Kumar, Hanifa, Tikkoo, Baby Saeeda, Nirupama, Rehman etc, with special appearances by Sunil Dutt, Sanjeev Kumar, Jaya Bhaduri, Madan Puri, Lata Bose, Gopi Krishan and Johny Walker.

The movie had six songs in it.

Here is the first song from “Jai Jwaala”(1972) to appear in the blog. This song is sung by Rafi. Naqsh Llayalpuri is the lyricist. Music is composed by Kamalkant.

The song is picturised as a drunkard song on Sujit Kumar and a mujra dancing Madhumati.

With this song, “Jai Jwaala”(1972) makes its debut in the blog.


Song-Ye to mumkin hi nahin hai (Jai Jwaala)(1972) aka (Pooja Aur Paayal) (1972) Singer-Rafi, Lyrics-Naqsh Llayalpuri, MD-Kamalkant

Lyrics

ye to mumkin hi nahin hai
ki bahak jaaun main
saakiyaa itni pila de
ki mahak jaaun main
saakiyaa itni pila de
ki mahak jaaun main
ye to mumkin hi nahin hai ki
bahak jaaun main
saakiyaa itni pila de
ki mahak jaaun main
saakiyaa itni pila de
ki mahak jaaun main

ye amaanat hai teri
tu jo kahe dil apna
ye amaanat hai teri
tu jo kahe dil apna
aaj kadmon pe tere
jhoom ke rakh jaaun main
saakiyaa itni pila de
ki mahak jaaun main
ye to mumkin hi nahin hai ki
bahak jaaun main
saakiyaa itni pila de
ki mahak jaaun main

aaj ki raat meri jaan ye
tamanna hai meri
aaj ki raat meri jaan ye
tamanna hai meri
ban ke masti teri
aankhon se chhalak jaaun main
saakiyaa itni pila de
ki mahak jaaun main
saakiyaa itni pila de
ki mahak jaaun main
ye to mumkin hi nahin hai ki
bahak jaaun main
saakiyaa itni pila de
ki mahak jaaun main
saakiyaa itni pila de
ki mahak jaaun main
ki mahak
main
ke
main
ki mahak jaaun main
ki mahak jaaun main


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

Blog Day : 4239 Post No. : 15451

Mohammed Rafi: The incomparable (II) – Song No. 16
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25/02/2020 – Death anniversary of S. H. Bihari
—————————————————

I am presenting this Rafi sahab solo, philosophical song in memory of Shamsul Huda Bihari (1922-1987) on his 33rd death anniversary day today (25 february 2020).

S. H. Bihari was born in 1922 and his filmy career started in late 1940s it appears.

First song in Rafi Excel sheet is the Rafi-Suraiyya duet “Qismat ke likkhe ko mitaa na sakaa” from Duniya(1949). This would appear to be the first film song by S. H. Bihari, because even the website(http://www.shbihari.com/Welcome.html) on S. H. Bihari is listing his film career from 1950 onwards. There is no mention of his having written this song or other songs from the film. Another song from this film has featured in my series “Divas of hindi film music”.

As per the stats page in the blog he has written total 425 film songs, out of which 175 are posted in the blog. Frankly, through 50’s and 60’s the lyricist scene was full of stalwarts and legendary poets mainly urdu shayars. The music director had multiple choices. Some chose to stick to their tried and tested poets for long durations like Shankar-Jaikishan and Naushad. Others are moving from lyricist to lyricist and poet to another poet or using a combination of poets to write songs for them. But by and large, each music director would work with one lyricist for a particular movie, depending of the genre of the film and type of songs required. A case in point is Ravi- Shakeel Badayauni for ‘Chaudhvi ka chaand” and S. D. Burman- Shakeel Badayuni for ‘Benazir”. Another situation is Madan Mohan-Kaifi Azmi for Chetan Anand’s films like namely ‘Haqueeqat”, ‘Hindustaan ki Qasam”, “Hanste Zakhm” and “Heer Ranjha”. Otherwise Madan Mohan had distinct preference for Raja Mehdi Ali Khan, Rajendra Krishan and Majrooh Sultanpuri. Madan Mohan even did “Laila Majnu” with Sahir Ludhianvi.

Let’s go back to S. H. Bihari. Seeing his filmography, he seems to be a favourite of Hemant Kumar through 50’s and Ravi’s during late 50’s. Through 60’s he worked extensively with O. P. Nayyar, achieving the peak with block buster films like ‘Kashmir ki Kali” and “Ek Musafir Ek Hasina”. The 60’s is the productive decade also working with various music director like, Usha Khanna, Ravi, Shankar-Jaikishan, Ram-Ganguly etc. During 70’s again is mixed fare with Shankar- Jaikishan, O. P. Nayyar and various composers. And the 80’s is mostly with Laxmikant-pyarelal and notable hit music score is in Pyar Jhukta Nahi(1985).
This song from Madhur Milan(1955) is a sweet sounding melodious, motivational and philosophical song. The more I hear such Rafi song the more I am enamoured with Rafi sahab solos of 50’s decade. Song of this film released on 01.01.1955, are composed by Bulo C. Rani. The cast is Mahipal, Madanpuri, Bhudo Advani, Roopmala and Nigar Sultana. Out of twelve songs only 5 songs are posted in the blog. A trivia I gathered from these posts is that the lead actor Nigar Sultana has written a song for the film which is picturized on herself.

The song talks of long journey and hurdles in the journey. It could also mean the eternal journey which is inevitable, seeing that “jaana hai musaafir tujhe har haal mein jaana” is repeated many times. Also the ‘thikaana’ is not just ‘dur’ but ‘badi door’ also, means a long struggle to reach the destination. The line “Chhoti teri seemaaon ka dushman hai zamaana” is meant to convey the personal limitations of the ‘musaafir’ or it can even mean the ‘boundaries of integrity/values’ which the musaafir is loath to lose that the ‘zamaana’ would prefer to destroy. Also those ‘taqdeer ki faujen’ is a phantom, creating a scene where there is a fight with the destiny for the values, truth and maintain the integrity.

The second stanza is too fascinating. This talks of ‘revolution’ or great upheaval, which will go down in history as an achievement. “chaand sitaare” bear witness of this ‘bravery’ and the world shall remember the fascinating story.

I am taking a liberty of reproducing an essay which I wrote(again) for an essay competition in the office.

Integrity – A way of life.

Integrity for me – definitely should be a way of life.
Integrity will come with total transparency in all aspect of life. This is the only way of achieving it. Total integration of thoughts, speech and deeds. Ha, so simple isn’t it?
There is no doubting that a human beings integrity should be beyond doubt. One may ask the question that it is beyond doubt in all cases, where exactly? In the utopian world would be my answer.
We may lament all we want about the limitations of human fallibility. The path of truth is always fraught with thorns, as the thinkers and philosophers throughout the history of this civilization have concurred.
As the most superior creation of the God Almighty, we have a unique gift to offer to the world. We can be true to ourselves as we possess the intelligence to see the truth and recognize it and achieve a semblance of it, to whatever extant it is possible for each one of us. Truth truly is an achievement, has always been one in all eras. The very nature and purity of the concept makes sure that it is a superior achievement, taking the achiever to a higher plain. In an ideal society this achievement should have been the goal of life. All the ancient philosophies and religions point to this.

Religious beliefs are a very sure shot way of achieving this recognition of truth and total amalgamation of truth in thoughts, speech and deeds. The belief that the god Almighty is watching us, nothing is hidden from him and that we have to answer for all our deeds on the ‘Day of Judgment’, will go all the way to the achievement of this task. The fact that nothing can be hidden from a superior force will make each and every one of us to face facts.
During my school days, I recall that there used to a lecture/period for the topic of ‘Deeniyat’. Here as very young children, we were taught that there are two angels sitting on both our shoulders, recording our deeds. The angel on the right shoulder records all our good deed, like we helped someone, gave charity, spoke truth. Alternatively, the angel on the left shoulder records all our bad deeds, if we lied, if we deceived someone, or treated anyone badly etc. Come to think of it, when all is said and done, there are more things that we can do are in the category of bad deeds and there are very few falling under good deeds. I can elaborate, but there is no need for it. In our circumstances and makeup, it is easier to do bad deeds than good. Because sticking to the truth is tougher and keeps getting tougher.

Here is another story heard in childhood, which adds value addition to my discourse here:

A teacher gave a task to the children – He gave them a chick each, asked them to take it to a place where no one can see you and kill it.
Next day, all the kids came and told their story of the task. Somebody went to the bathroom, someone went to the storeroom, to garage etc to kill the chick. Only one child had still not killed it and brought it to school. The teacher asked him that why he did not complete the task. The child replied that he could not find a place where no one can see it to complete the task, because God almighty was everywhere and is constantly watching, so where to go. There is no place where you can hide from the omnipresence of God almighty.

The religions, I have always believed are the means to achieve one goal,that is to regulate human behavior.

A wise man was once asked: Sir, in which field could I make a great career ?

He said: Be a good human being. There is a huge opportunity in this area and very little competition.
And lastly, life is about choices. Some we regret, some we are proud of and some will haunt us. We are what we choose to be.
Everything that happens in life is not fixed… it can be changed by a weapon called will power.
I think Allama Iqbal meant this only here :
Khudi ko kar buland itna ke har taqdeer se pehle
Khuda bande se khud puchhe bataa teri razaa kya hai.


Song-Hai door badi door (Madhur Milan)(1955) Singer-Mohd Rafi, Lyrics-S H Bihari, MD-Bulo C Rani

Lyrics

Hai door badi door
badi door thikaana
Jaana hai musaafir
Tujhe har haal mein jaana
Jaana hai musaafir
Tujhe har haal mein jaana

Utthtaa hua toofaan hai
Behti hui maujen ean
Utthtaa hua toofaan hai
Behti hui maujen
Badhti hi chali aati hain ea ea ean
Badhti hi chali aati hain
Taqdeer ki faujen
Chhoti si(teri) seemaaon ka
Dushman hai zamaana
Jaana hai musaafir tujhe
har haal mein jaana
Jaana aa hai musaafir tujhe
har haal mein jaana
Hai door
Hai door badi door
badi door thikaana
Jaanaa hai musaafir
Tujhe har haal mein jaana
Jaanaa hai musaafir
Tujhe har haal mein jaana aa

Aati hai to ooo ooo
Aati hai to aa jaane de
Kashti se tabaahi
Aati hai to ooo ooo
Aati hai to aa jaane de
Kashti se tabaahi
Hain chaand sitaare
Teri himmat ki gawaahi ee eeee
Duniya ko sadaa yaad rahegaa ye fasaanaa
Jaana hai hai musaafir tujhe
har haal mein jaana
Jaanaa hai musaafir tujhe
Hai door badi door badi door thikaana
Jaana hai musaafir
Tujhe har haal mein jaana
Hai doo ……ooo…….oooo …..ooor

—————————–
Lyrics in Devnagri script (Provided by nahm)
—————————–
है दूर बड़ी दूर
बड़ी दूर ठिकाना
जाना है मुसाफिर तुझे
हर हाल में जाना
जाना है मुसाफिर तुझे
हर हाल में जाना

उट्ठता हुआ तूफ़ान है
बहती हुई मौजें एँ
उट्ठता हुआ तूफ़ान है
बहती हुई मौजें
बढ़ती ही चली आती हैं
बढ़ती ही चली आती हैं
तक़दीर की फौजें
छोटी सी सीमाओं का
दुश्मन है ज़माना
जाना है मुसाफिर तुझे
हर हाल में जाना
जाना है मुसाफिर तुझे
हर हाल में जाना
है दूर
है दूर बड़ी दूर
बड़ी दूर ठिकाना
जाना है मुसाफिर तुझे
हर हाल में जाना
जाना है मुसाफिर तुझे
हर हाल में जाना

आती है तो ओ ओ
आती है तो आ जाने दे
कश्ती से तबाही
आती है तो ओ ओ
आती है तो आ जाने दे
कश्ती से तबाही
हैं चाँद सितारे
तेरी हिम्मत की गवाही
दुनिया को सदा
याद रहेगा ये फसाना
जाना है मुसाफिर तुझे
हर हाल में जाना
है दूर बड़ी दूर
बड़ी दूर ठिकाना
जाना है मुसाफिर तुझे
हर हाल में जाना
है दू………उ ……उ……र


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

Blog Day :

4224 Post No. : 15428 Movie Count :

4252

Hindi Songs from Bangla Films -17
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Bengali film industry has given us many eminent film directors. If I list the names in chronological order, the first name that comes to my mind is Debaki Kumar Bose who had directed classic films like ‘Chandidas’ (1932), ‘Puran Bhagat’ (1933), ‘Vidyapati’ (1937), ‘Nartaki’ (1940) etc. Next in line is P C Barua known for classic films like ‘Devdas’ (1935). ‘Mukti’ (1937), ‘Jawaab’ (1942) etc. Then we have Nitin Bose, Phani Majumdar, Bimal Roy etc. In respect of parallel cinema, names of Satyajit Roy, Mrinal Sen, Ritwik Ghatak, Tapan Sinha, Rituparno Ghosh etc are well known not only in India but also internationally. This list is not exhaustive as their names came to my mind mainly because they were associated with Hindi films.

During the last few months, I have been selectively watching Bangla films on video sharing platforms. In this way, I became aware of some more directors for the first time. Among them, one of the directors whose film direction I liked is that of Ajoy Kar. I have seen his films like ‘Harano Sur’ (1957), ‘Saptapadi’ (1961), “Saat Paake Bandha’ (1963). I have also gone through the details of his other films on the net. His films are mostly based on unusual story line. Being a cinematographer himself, his films are full of some fine black and white photography. In fact, his photography ‘speaks’ dialogues for the actors on whom the shots have been framed. His four films have received National Film Awards for the best feature film/Certificates of Merit in Bengali film category.

Recently, I watched one more of his film, ‘Khelaghar’ (1959) which strengthened my view that Ajoy Kar was one of the greatest Bengali film directors whose name has, by and large, remained unknown to non-Bengali film audience. He had no occasion to direct any Hindi film although one of his Bangla film ’Saat Paake Bandha’ (1963) was remade in Hindi as ‘Kora Kaagaz’ (1974) with Anil Ganguly as director.

‘Khelaghar’ [1959 (Playhouse)] was a suspense film based on a patriotic theme of pre-independent India with more prominence to human relationship. The story was written by Salil Sen Gupta who also wrote dialogues for the film. The main cast consisted of Uttam Kumar, Mala Sinha, Chhabi Biswas, Asit Baran, Salil Datta, Preeti Majumdar, Ashish Mukherjee, Khagen Pathak, Dhiraj Das etc. Hemant Kumar was the music director for the film.

The story in the film revolves around a revolutionary, Gautam Chatterjee (Uttam Kumar) and Ruchira (Mala Sinha), the daughter of the Police Insepctor Banerjee (Chhabi Biswas). The film starts with a scene in which revolutionary Gautam who has been awarded death sentence by hanging has escaped from the jail. After deceiving the police forces, he accidentally enters into a compound of the Police Inspector’s residence and climb the pipe leading to a bedroom where Ruchira is sleeping. He gags her and tells that to save his life, he is forced to do this act. After discarding his jail uniform and wearing Police Inspector’s casual dress, he leaves the house and remains elusive to the police.

In the meanwhile, Ruchira’s marriage has been fixed with a foreign-return boy against her wish but she agrees to the marriage to keep her father’s word. The prospective husband’s constant interference in her personal matters creates a rift between them and Ruchira avoids meeting him. Her father is bent upon marrying her with the boy despite Ruchira’s dislike for him. One day, after heated arguments with her father over her marriage, Ruchira runs away from home in the night. Her father sends his police to bring her back. In trying to dodge the police, Ruchira lands alone in a shady street where a group of goons try to catch up with her. A well-dressed person saves her from the goons. The person is none other than revolutionary Gautam who though recognises Ruchira, refrains from mentioning it while Ruchira fails to recognize him. Both introduce each other with their false names and background.

Having failed to convince Ruchira to go back to her home or take shelter in a women’s hostel, Gautam arranges for a small room for her stay with the help of his Hindi speaking associate (Asit Baran). In the meanwhile, the police forces are looking for Gautam. After getting a tip off from an informer, the police raid the house in which Ruchira is staying where Gautam has come on a visit. But his associate who has already got a wind of the police raid, makes both of them to escape from the back door. While Gautam knows that police had come to catch him, Ruchira thinks that her father had sent the police force to take her back home.

After this incidence, Gautam’s associates suggest him to leave Ruchira as the risk to his life by associating himself with a daughter of the Police Inspector is very high. They also think that she could be a mole from the police to catch him. But Gautam rejects the proposals and arranges her stay in a room of his associate’s house. Over a period of time, Ruchira starts liking Gautam who also likes her but he downplays his feeling towards her as he has no future for a settled life with noose around his neck already waiting.

While Gautam is having a meeting with his associates in an underground hideout, police forces raid the place. While trying to run away from the place, Gautam is hit by a bullet on his leg. Somehow, he escapes from the police dragnet and reaches to Ruchira who tends him. At this point, he tells her to return to her father’s home as he knew from the beginning that she was the daughter of Police Inspector, Banerjee. Later, she also comes to know from an old newspaper with his photo that the person who has helped her is none other than the revolutionary Gautam to whom the entire police force is looking to catch him. Guatam once again tries to persuade Ruchira by telling her that the last few days they spent together was like a playhouse on a sand which would be swept away by sea waves. But Ruchira remains firm on her decision not to leave him in this situation.

After few days, Inspector Banerjee is shocked to get the news from an informer that his daughter is looking after the injured Gautam in a house. He calls for police force and lead himself for a raid. He asks Gautam to surrender but Ruchira comes in his way and tells her father that he can take Gautam over her dead body. Nevertheless, Gautam surrenders and he is taken to the police station. Despite repeated plea from her father, Ruchira refuses to return home with him by telling that she would stay back in her husband’s house. Though she has not married to Guatam, her it was her intention to let her father know.

Now, here comes the suspense part of the film. Next day after the re-arrest of Gautam, a person surrenders in front of the Inspector Banerjee claiming that he is the real revolutionary Guatam Chatterjee and he would prove this only in the court. In the retrial of Gautam, the real Gautam Chatterjee reveals that the arrested person is Shantanu Roy (Uttam Kumar) who is not a member of the Revolutionary Group but a poet and musician in whose house the revolutionary group used to meet occasionally. During one such meeting in his house, the police raid led by Inspector Banerjee Shantanu Roy held the door until all the revolutionaries including Guatam Chatterjee escaped from the back door. Since Inspector Banerjee addressed Shantanu Roy as Gautam Chatterjee, this gave an idea to Shantanu Roy to impersonate himself as Gautam Chatterjee to save the real Gautam Chatterjee.

The court pronounced the judgement giving 2 years of rigorous infringement to Shantanu Roy for falsifying as Gautam Chatterjee and having link with the revolutionary group. The film ends with Shantanu Roy telling Ruchira that after all, the playhouse is going to remain true as it is the question of few months wait.

The film is a ‘must watch’ for its superb story telling direction, the excellent performances by the main actors and the sublime black and white photography. Most of the scenes have been shot in the night in keeping with the theme of the film. That Ajoy Kar took some excellent close-up shots of Mala Sinha and Uttam Kumar, speak a lot about their acting ability. I never felt bored in watching this film which has English sub-titles.

I found only one song listed in the film on various sites which is a Bengali song rendered by Hemant Kumar. I came to know about a short (of about 2 minutes) Hindi song only after watching the film which I am presenting with this article. The song is ‘kehti hai mujhko duniya deewaana nashe mein hai’ sung by Mohammed Rafi and picturised on Asit Baran in the role of an associate of the revolutionary Gautam in the film. Since his dialogues in the film are in Hindi, the song has to be in Hindi which is set to music by Hemant Kumar. Going by the credit titles of the film, the song is written by S H Bihari.

Actually, Asit Baran is acting as a drunkard to get into a room where he is secretly scheduled to meet Gautam. Since the duration of the song is less than 2 minutes, probably no gramophone record of the song was made. Luckily, the video clip of the song is available. There is another two- line Hindi song sung by Rafi and picturised on Asit Baran.

By the way, Asit Baran was a well known actor-singer and playback singer who has acted and sung in Hindi films like ‘Saugandh’ (1942), ‘Kashinath’ (1943), ‘Wapas’ (1943), ‘Wasiyatnama’ (1945), ‘Manzoor’ (1949), ‘Parineeta’ (1953), ‘Suhag Sindoor’ (1953 ), etc. But for the song under discussion, Rafi sang for him. The reason is that by 1953, Asit Baran’s voice had somewhat deteriorated. In the film ‘Suhaag Sindoor’ (1953), songs sung by Shailesh Mukherjee may have been picturised on Asit Baran who was the lead actor in the film.

Enjoy this lesser known Rafi song.

Video link:

Song-Kehti hai mujhko duniya deewaana nashe mein hai (Khelaghar)(1959) Singer-Rafi, Lyrics-S H Bihari, MD-Hemant Kumar

Lyrics

kehti hai mujhko duniya
deewaana nashe mein hai
ha ha ha
wah
nashe mein hai
meri nazar se dekho
zamaana nashe mein ha….i
kehti hai mujhko duniya
deewaana nashe mein hai
meri nazar se dekho
zamaana nashe mein hai
hic
nashe mein hai

bhookha koi gareeb jab
raahon mein gir pada
bhookha koi gareeb jab
raahon mein gir pada
duniya ne ye kaha ke
uthhaana nashe mein hai
kehti hai mujhko duniya
deewaana nashe mein hai
meri nazar se dekho
zamaana nashe mein hai

ik jaam aur de de
ho saaqi tera bhala
de de saaqi kya kami hai
ik jaam aur de de
ho saaqi tera bhala
aakhir tera deewaana hai
maana nashe mein hai
kehti hai mujhko duniya
deewaana nashe mein hai
meri nazar se dekho
zamaana nashe mein hai
hic
nashe mein…..


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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has more than 15500 song posts by now.

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