Archive for the ‘“recorded” song’ Category
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5701 | Post No. : | 18219 |
‘Aakrosh’ (1980) was produced by Devi Dutt under the banner of Krsna Movies Enterprise and was directed by Govind Nihalani. The cast included Naseeruddin Shah, Amrish Puri, Om Puri, Smita Patil, Mahesh Elkunchwar, Bhagyashree Kotnis, Arvind Deshpande, Dr Mohan Agashe, Vinay Apte, Vihang Nayak, Vasant Soman, Achyut Potdar, Reema Lagoo, Nana Palshikar etc. It was an off-beat film which was reportedly based on a news report which appeared in a local newspaper of an Adivasi woman mysteriously found dead. The story and screenplay were written by Vijay Tendulkar and dialogues were written by Satyadev Dubey.
There were many ‘firsts’ for ‘Aakrosh’ (1980). It was Devi Dutt’s first film as a producer. For Cinematographer, Govind Nihalani, it was his debut film as a director. It was also a debut film for Reema Lagoo and the music director, Ajit Varman. For Om Puri, it was his first film in a major role for which his acting prowess was recognised for the first time. He won the Filmfare Award for the Best Supporting Actor for this film.
The film’s producer, Devi Dutt was one of the younger brothers of Guru Dutt, other brothers being producer-director, Atmaram and advertising filmmaker, Vijay Padukone who had done small roles in ‘Manthan’ (1976) and ‘Bhumika’ (1977). Not much information about Devi Dutt’s childhood is available. It is through some of his interviews which appeared in media, about Guru Dutt’s film, I got some information about his growing up days.
Devi Dutt (Real name: Devidas Padukone, born in 1938) recalls that they did not have an easy childhood as there was always conflicts between his mother Vasanthi Padukone who was a teacher and his father, Shivshankar Padukone over the financial conditions. His father was first, a headmaster in a school in Panambur village (now an industrial hub and a part of New Mangaluru Port). Thereafter, he changed the job to work as a clerk in a bank in Bangaluru and thereafter a clerk in Burmah Shell (now Bharat Petroleum) in Kolkata.
Devi Dutt’s mother’s first cousin, Balkrishna Benegal (uncle of Shyam Benegal), who was an artist and the film publicist, helped the family. He was instrumental in Guru Dutt getting admission in Uday Shankar’s India Cultural Centre in Almora for learning dances. Later, after returning from Almora, he helped him getting employed as an assistant choreographer in Prabhat Films in Pune. From about late 1940s, Padukone family stayed in Matunga in a small house.
Geeta Dutt encouraged Devi Dutt to complete his education first before getting involved in films. His earliest connection with Hindi films was when Guru Dutt made him as a trainee soundman, assisting senior recordist, A Majid in ‘Pyaasa’ (1957). His first work was handling the sound while shooting of the song, ’jaane kya tuney kahee’. He became the Studio Manager when ‘Kaagaz Ke Phool’ (1959) was being made. He was instrumental in importing lens for shooting in cinemascope from 20th Century Fox. He has assisted Guru Dutt in administrative matters while making ‘Chaudhvin Kaa Chaand’ (1960) and ‘Saheb Bibi Aur Ghulam’ (1962). He was Publicist for ‘Bahaaren Phir Bhi Aayengi’ (1966). Interestingly, in all Guru Dutt’s films, Devi Dutt remained uncredited.
Since his brother, Atmaram had become the advertising filmmaker, Devi Dutt also wanted to make a beginning in ad films. Guru Dutt made available to him all that was required for making an ad film free of cost. Geeta Dutt gave him Rs.6000/- to start his company for ad films. He has made many ad films, some of which jointly with Atmaram.
After the death of Guru Dutt, he joined in the team of Shyam Benegal and became the Executive Production Controller for ‘Ankur’ (1974), ‘Nishaant’ (1975) and ‘Bhumika’ (1977). He was the Production Manager for ‘Gandhi’ (1982).
Devi Dutt turned producer with ‘Aakrosh’ (1980) giving the opportunity for Govind Nihalani his debut as a director. I guess, Devi Dutt role as a producer was mainly for raising finances for an off-beat film for which the usual sources of finance (film financiers/distributors) were difficult to come. He raised the major funding requirement from NDFC which then required a certain percentage of the film production cost to be borne by the producer. (Presently, NDFC does not grant loan for filmmaking. Either NDFC will produce or co-produce the film). The film won for the producer and director the National Film Award for the Best Film in Hindi. It also won the Golden Peacock Award for the Best Film in International Film Festival of India (1981) with a cash prize of Rs.40 lakhs to be distributed equally between the producer and the director.
Devi Dutt’s second film as a producer was ‘Maasoom’ (1983) giving directorial debut for Shekhar Kapoor. The film won 6 Filmfare Awards for the Best Film (Critic), Best Director (Shekhar Kapoor), Best Actor (Naseeruddin Shah), Best Music Director (R D Burman), Best Lyrics (Gulzar) and Best Female Playback Singer (Arati Mukherjee). He produced his third film, ‘Bhaavana’ (1984) in which he gave directorial debut for Pravin Bhatt. This film was no match with his first two films. Shabana Azmi won the Best Female Actor for the film. After this, Devi Dutt seems to have given up producing films. Incidentally, for both “Maasoom’ (1983) and ‘Bhaavana’ (1984), Chnada Dutt, his Punjabi wife was a co-producer.
At 85, Devi Dutt has retired from filmmaking. Currently, he is associated with Music Verandah as a Mentor which was started during Covid lockout period to connect the people through music for healing and joy.
The story of ‘Aakrosh’ (1980) is as under:
The film starts with a caption that on 25th December 1978, a dead body was found in a well in Kondachi Wadi village (in Maharashtra). The dead body was that of Nagi (Smita Patil), a young married tribal girl. The scene shifts to the cremation ground where the body of Nagi is being cremated with her husband, Bhiku (Om Puri) performing the last rites of his wife. Bhiku is taken back to the district jail as he is charged with killing his wife.
In flashback scene, it is made known to the audience that Bhiku and Nagi are tribals who work as labourers for Forest Contractor (Mohan Agashe), they live in abject poverty with his aged father (Nana Palshikar) and an unmarried sister (Bhagyashree Kotnis). Bhiku’s criminal case comes up for hearing in the district session court where public prosecutor, Dusane (Amrish Puri), a tribal, represents the Government and Bhaskar Kulkarni (Naseeruddin Shah), a brahmin, is a court appointed lawyer to defend Bhiku. For Bhaskar, it is his first case as a lawyer, and he has been trained by none other than Dusane who, in turn, has been trained by Bhaskar’s father.
As a defence lawyer, Bhasker talks to Bhiku to get the full background which led to the killing of his wife. But Bhiku does not answer to his any question. Rather his face and eyes indicate that he is stunned. Bhasker gets the same responses from Bhiku for his next 3-4 visits. He also visits the office of the editor whose paper had earlier published the news about Nagi’s dead body being found in the well. Even editor does not speak anything about the death, The editor is so fearful that he reminds Bhaskar that he did say anything about the case. Lastly, he meets Dr Patil (Arvind Deshpande) who has done the postmortem of the dead body of Nagi. Though he agrees to meet Bhaskar in the night, at the appointed time, he is missing from his house.
Bhaskar is frustrated because Bhiku’s silence would take him to nowhere in solving the case. And he does not want to lose his first case. Also, there is another reason that if he loses the case, tribals can cast an aspersion on him that he has deliberately lost the case because Bhiku is tribal. Bhaskar tries to get information from Bhiku’s father and sister on two occasions, but they also do not utter a single word. So are the other villagers living in their vicinity.
In the meanwhile, Bhaskar gets a feeling that some one is keeping surveillance on him whenever he goes out for his work. Once in the night, there is stone throwing incidence in his house. In another night, he is attacked by an unidentified person by a knife, getting a deep cut on his hand. Even the editor of the newspaper who had published the news of the death of Nagi gets assaulted by a unknown person. Things are getting weird, and Bhaskar thinks that all these incidences are connected with his handling of Bhiku’s case.
In one night, a person visits Bhaskar’s house who calls himself as a social worker (Mahesh Elkunchwar) who is trying to organise the tribals in the village for their welfare. Actually, he is a Marxist to make tribals fight for their rights against their exploiters. He reveals to Bhaskar that Nagi was gang raped by the Forest Contractor (Achyut Potdar), Zilla Parshad Chairman, Bhosle (Mohan Agashe) and Dr Patil as a punishment to Bhiku who used to raise his voice against them. Thereafter, all the three were involved in killing Nagi. The social worker says that he does not have any proof or witness to the act. He also says that in their organisation they can handle such criminals in their own method. But as a defence lawyer, it is Bhaskar’s duty to find witness or proof and punish the criminals.
In the next hearing in the court, Dusane, the prosecution lawyer brings 3 witnesses who testify before the judge that Bhiku used to force Nagi to spend nights with them to write off his debts to him and they had sent her back. One lady witness also says that she has seen Bhiku in a inebriated state, trashing Nagi and she had freed Nagi from his trashing.
In the meanwhile, Bhiku’s father dies and Bhiku is once again brought to the cremation ground to complete the last rites of his father. As soon as he competes the rituals, he walks with two policemen for returning to his jail. Suddenly, he snatches a dagger from a person and kills his sister. After which he gives a loud scream as he is being taken back to jail by policemen.
The film ends with about 5 minutes of conversations between Bhaskar and Dusane which are the eye-opener as to how the lawyers and judiciary system work in the country.
The most effective scene of the film is the second last scene of the film in which Bhiku kills his sister. As he is being taken back to jail, he gives a series of long loud scream signifying his bent up ‘aakrosh’ (anger) against the system. Generally, in all other films of this type, it is the exploiter/s who gets killed by the sufferer. In this film. Bhiku kills his sister apparently without any reason in the audience’s mind. But there is a subtle hint as to why he did so. When Bhaskar, in his last attempt to make Bhiku speak, warns him that if he does not speak, his sister can be the next victim of the perpetuators of the crime. Probably, that made Bhiku to kill his sister so that she does not become victim like his wife.
One of the main features of this film is that throughout the film, Om Puri in the role of Bhiku does not utter a single word except in a flashback scene when he is reprimanding his wife (Smita Patil) for visiting the Forest Contractor’s (Mohan Agashe) house and accepting a saaree from him. His reactions to any questions by Bhaskar and jail staff is met with stunned eyes. Even in the jail, he is always shown awake and in a tormented state.
The sum and substance of the film is that it is not few persons, but the entire system is responsible for the spread of corruption, the exploitations and atrocities of the weaker section of the society. The film has highlighted the two types of exploitations and repressions of tribals. The first, the financial exploitation in which workers are paid less than they are entitled to and the second, sexual exploitation of their women folks not only as object of pleasure but also as a punishment for raising voices against the powerful starta of the society.
I watched the film in one sitting, and it is not boring. The scenes of melodrama and of violence in the film are virtually non-existence. Still, the film is very discomforting to watch because the reality about the death of Nagi (Smita Patil) is known to everyone in the village including her husband, Bhiku and the law-enforcing agencies in the film. Still, the villagers are silent and more importantly, the silence of Bhiku (Om Puri) is deafening and haunting. And the law-enforcing agencies and the prosecution lawyer is bent upon sending Bhiku to life imprisonment. The film is more than 4-decade old, but we read in media that such things happen in the tribal and Dalit belts even now.
The film had 3 songs written by poets, Vasant Dev (2) and Suryabhanu Gupt which were set to music by Ajit Varman. One song has been covered in the Blog. I am presenting the second song from the film, ‘saanson mein dard dard mein saansen basi huyi’ which is written by Suryabhanu Gupt. The song is rendered by Madhuri Purandare as a radio song which the defending lawyer Bhaskar (Naseeruddin Shah) is listening in a frustrated mood when none of those in the know with the murder of Nagi (Smita Patil) including the accused Bhiku (Om Puri) are prepared to open their mouth out of fear of those in power.
The song on the film’s soundtrack starts from the third stanza whereas in the audio clip starts with two additional stanzas.
Video Clip:
Audio Clip:
Song-Saanson mein dard dard mein saansen basi huyin (Aakrosh)(1980) Singer-Madhuri Purandare, Lyrics-Suryabhan Gupt, Md-Ajit Verman
Lyrics (based on audio clip):
saanson mein dard
dard mein saansen basi huyin
saanson mein dard
dard mein saansen basi huyin
ham mein koi
kisi mein samaaye huye hain ham
hokar bhi apne aap ko
paaye huye hain ham
ham mein koi
kisi mein samaaye huye hain ham
saanson mein dard
dard mein saansen basi huyin
lete hain ab to saans bhi
ilzaam ki tarah
lete hain ab to saans bhi
ilzaam ki tarah
ghar aise bastiyon mein
basaaye huye hain ham
ham mein koi
kisi mein samaaye huye hain ham
saanson mein dard
dard mein saansen basi huyin
chhodaa hai ham ko laake
mohabbat ne ye kahaan
chhodaa hai ham ko laake
mohabbat ne ye kahaan
apne liye bhi jaise
paraaye huye hain ham
ham mein koi
kisi mein samaaye huye hain ham
saanson mein dard
dard mein saansen basi huyin
aayaa hai pesh ham se
zamaanaa kuchh iss tarah
aayaa hai pesh ham se
zamaanaa kuchh iss tarah
apne galey se khud ko…
lagaaye huye hain ham
ham mein koi
kisi mein samaaye huye hain ham
saanson mein dard
dard mein saanse basi huyin
ham mein koi
kisi mein samaaye huye hain ham
hokar bhi apne aap ko
paaye huye hain ham
ham mein koi
kisi mein samaaye huye hain ham
saanson mein dard
dard mein saansen
basi huyi
Nazron mein jaadoo bharaa
Posted on: January 23, 2024
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5667 | Post No. : | 18171 | Movie Count : |
4878 |
In the 1970s, Basu Chatterjee was one of those Hindi film directors who made films on the stories which a majority of the filmi audience could relate to their own every day life. Starting with ‘Saara Aakaash’ (1969), he made the classic films such as ‘Rajanigandha’ (1974), ‘Chhoti Si Baat’ (1975), ‘Chitchor’ (1976), ‘Khatta Meetha’ (1977), ‘Swaami’ (1977), ‘Baaton Baaton Mein’ (1979), ‘Shaukeen’ (1982) etc. But in 1990s and thereafter, Basu Chatterjee seems to have lost his magic touch to his ‘middle of the road’ cinemas.
‘Gudgudee’ (1997) was one of his such films which failed to attract the filmgoers and get critical appreciations. It was a romantic comedy inspired from the Hollywood film, ‘The Seven Year Itch’ (1955). The film was produced by Mahesh Bhatt under the banner of Plus Films and was directed by Basu Chatterjee. The cast included Anupam Kher and Pratibha Sinha in the lead roles, supported by Deb Mukherjee, Prateeksha Lonkar, Jugal Hansraj, Satish Kaushik, Naresh Suri, Mushtaq Ahmed, Jaya Bhattacharya etc. Shah Rukh Khan was the narrator at the beginning of the film.
The story of the film is as under:
Middle-aged Ajay Prasad (Anupam Kher) is a businessman based in Jaipur who stays with his wife, Sunita (Prateeksha Lonkar) and a school going son, Raja (Master Wajid). He is absent-minded and forgetful. Another problem with Ajay Prasad is that he imagines to be a charming person and women get attracted to him easily. He concocts many such stories about this to his friend, Shekhar (Deb Mukherjee) who has come to stay with him. Because of his imagination, any woman who comes to his contact , Ajay thinks that she has fallen for him, even with his own office secretary.
Ajay Singh receives an invitation from his close friend to attend a marriage in Mumbai with his family which is a three-day functions followed by a visit to Goa. His wife and son cannot accompany him to visit Mumbai as his son has to prepare for the school examinations. His wife, Sunita reminds him that as per the doctor’s advice, he is not to take alcoholic drinks and to control his imagination about women getting attracted towards him like a magnet. She also tells him to buy a teddy bear doll for Raja in Mumbai.
Ajay reaches Mumbai and he is received at the airport by Rabindranath (Satish Kaushik) who is going to be his attendant during his stay in Mumbai. An exclusive car and a fully furnished flat for his stay have been arranged. Ravi drops him at his rented flat. While taking the lift, Chandni (Pratibha Sinha), joins him in the lift. She stays in the adjoining flat on rental basis. She is a model who acts in advertising films. She is aspiring to be an actress to enjoy a luxurious living. She has a child-like behavior with some eccentricities.
Chandni often visits Ajay’s flat on some or other pretexts. Ajay starts imagining that even Chandni has fallen for his charm. The fact is that she is visiting his flat just to enjoy the air-conditioning in his flat whereas she has only a fan in her rented flat. But Ajay is reminded of his wife’s warning to avoid imagining about women. So, he behaves with Chandni just as a gentleman will behave with a lady. At the same time, he starts imagining that in his absence in Jaipur, Shekhar is flirting with his wife.
In the adjoining flat of Chandni, a budding singer (Jugal Hansraj) stays who likes her and dreams of marrying her. But Chandni is not interested in him though as a neighbor, she talks well with him.
During one of Chandni’s visit to his flat, Ajay nearly losses his gentlemanly behavior by trying to take her in his arms. But he loses balance and falls on her. He is terribly embarrassed as he has succumbed to his weak moment. However, Chandni is not perturbed as she consoles him by telling that such incidences often happen with her while shooting for advertising films. After this incidence, Ajay starts imagining, rather day-dreaming, that she has told her friends in TV channels about this incidence which is being telecast on news channels. He also imagines that his wife has seen the reporting of this incidence of TV and she would be coming to Mumbai. That evening, Ajay attends the marriage reception of his friend’s daughter where he meets a psychiatrist, Dr. Soormawala (Mushtaq Ahmed). He tells him that these type of the incidences often happen with middle-aged married persons. Without solving his problems, Dr. Soormawaala advises Ajay to read his book on this subject.
The next day, Chandni pays a visit to Ajay and tells him that for the last three nights, she did not have a proper sleep due to the fan in her flat not working. She has a shoot next day and she needs to have a sound sleep before the shoot. She requests Ajay to allow her to sleep in his flat on his sofa. Ajay agrees but he offers his bed room to her and he sleeps on the sofa in the living room. Next morning, Ajay finds his friend from Jaipur, Shekhar on his door. He says since he was on a personal visit to Mumbai, Sunita has told him to collect the teddy bear doll from him to take it back to Jaipur. Somehow, Ajay sends him out of his flat on some pretext as he does not want him to know that Chandni is in his flat which can create misunderstanding.
Fed up with the tension of imagining what the society would say about Chandni’s frequent visits to his flat and also spending a night in his flat, Ajay decides to leave for Jaipur, cutting short his stay in Mumbai and skipping his visit to Goa. When Chandni is about to leave his flat, Ajay informs her that he is returning to Jaipur by the earliest flight and she can stay in this flat for some more days for which he would speak to his host. Chandni thanks him for allowing her to stay in his flat. From the feedback, Ajay has given to her about his wife, she gives a piece of advice to Ajay that his wife has seen him to be a simple, shy, soft and of smiling nature and therefore, she does not need to keep a tag on him as to what he does when away from her. The film ends with Ajay giving a counter advice to Chandni that her singer friend has the same attributes worthy of her husband. If she agrees, she should get married to him and he would definitely attends the marriage.
After watching this film, I also watched ‘The Seven Year Itch’ (1955). The Hindi film is almost scene by scene replica of the original English version. The mannerisms of Anupam Kher and Pratibha Sinha in the film are partially inspired from those of Tom Ewell and Marilyn Monroe, respectively. Even some of the costume used by Pratibha Sinha in the film almost resembles that of Marilyn Monroe, especially of her cream color dress. There are some minor differences, like instead of Evelyn Keyes (wife of Tom Ewell in the film) going on a picnic with her son and a friend, it is Anupam Kher in Hindi film who is on a visit to Mumbai. While opening the champagne bottle, Tom Ewell’s finger gets stuck in the bottle, while in Hindi film, Anupam Kher’s finger gets stuck in Coca Cola bottle. I did not find in the credit titles any acknowledgement of the original story of the film.
Despite good performances by Anupam Kher and Pratibha Sinha, ‘Gudgudee’ (1997) flopped at the box office and currently, it has become an obscure film. The main reason for audience’s lack of interest in the film is that not only the end of the film, but also each and every actions of the main characters in the film are predictable. Also, Basu Chatterjee seems to have succumbed to the formula of mainstream Bollywood films with a couple of long duration songs which give the impression of ‘item songs’. Nonetheless, the film is interesting enough for an one-time watch.
‘Gudgudee’ (1997) had six songs written by Yogesh Gaud (4) and Amit Khanna (2) which were set to music by Bhappi Lahiri. I am presenting the first song from the film, “Nazaron Mein Jaadoo Bhara” to appear on the Blog. The song is rendered by Shivaji Chattopadhyay on the words of Amit Khanna.
The tune of the song sounds familiar to me and the orchestration song sounds akin to that of RD Burman. I think, the tune of the song sounds close to “Dil Ki Umangen Hain Jawaan from ‘Munim ji’ (1954) under the music direction of SD Burman. Probably, Bappi Lahiri seems to have deliberately done this composition in the light of the background to the song in the film. The import of the first line of “Dil Ki Umangen Hain Jawaan” has the same as ‘nazron mein jaadoo bharaa’. The middle-aged Anupam Kher’s has the aspiration of a young heart.
Before the song gets played in the film, Pratibha Sinha enters the flat of Anupam Kher with soft drinks bottles to enjoy the drink in the air-conditioned atmosphere. She suggests to listen to a ghazal. Anupam Kher switches on the tape recorder and the this song starts playing. Anupam Kher has inclination to flirt with Pratibha Sinha but limits his flirtation to dancing with her. After the end of the song, momentarily, Anupam Kher losses his control and tries to take Pratibha Sinha in his arms when he slips and both fall on a food trolley.
Video Clip:
Audio Clip:
Song-Nazron mein jaadoo bharaa (Gudgudee)(1997) Singers-Shivaji Chattopadhyay, Lyrics-Amit Khanna, MD-Bappi Lahiri
Female Voice
Lyrics (based on audio clip):
nazron mein jaadoo bhara
chaahon mein kho jaa zara
tanhaa na ab hum rahen
baahon mein so ja zara…aa
pa pa paa
pa ra pa pa
pa pa
pa pa paa..
nazron mein jaadoo bhara
chaahon mein kho jaa zara
tanhaa na ab hum rahen
baahon mein so ja zara…aa
pa pa paa
pa ra pa pa
pa pa
pa pa paa…
akeli hai hansinee
rootha hai uska piya
akeli hai hansinee
rootha hai uska piya
mana legi usey pyaar se
khud se hai waada kiya
nazron mein jaadoo bhara
chaahon mein kho jaa zara
tanhaa na ab hum rahen
baahon mein so ja zara…aa
pa pa paa
pa ra pa pa
pa pa
pa pa paa
ik lay mein do sur sajen
geet aisa gunguna
ik lay mein do sur sajen
geet aisaa gunguna
saanson ke taaron pe tu
dhun milan ki suna
nazron mein jaadoo bhara
chaahon mein kho ja zara
tanhaa na ab hum rahen
baahon mein so jaa zara…aa
pa pa paa
pa ra pa pa
pa pa
pa pa paa…
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Hindi script lyrics (Provided by Sudhir)
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नज़रों में जादू भरा
चाहों में खो जा ज़रा
तन्हा ना अब हम रहें
बाहों में सो जा ज़रा॰॰आ
पा पा पाs
पा रा पा पा
पा पा
पा पा पाs
नज़रों में जादू भरा
चाहों में खो जा ज़रा
तन्हा ना अब हम रहें
बाहों में सो जा ज़रा॰॰आ
पा पा पाs
पा रा पा पा
पा पा
पा पा पाs
अकेली है हंसिनी
रूठा है उसका पिया
अकेली है हंसिनी
रूठा है उसका पिया
मना लेगी उसे प्यार से
खुद से है वादा किया
नज़रों में जादू भरा
चाहों में खो जा ज़रा
तन्हा ना अब हम रहें
बाहों में सो जा ज़रा॰॰आ
पा पा पाs
पा रा पा पा
पा पा
पा पा पाs
इक लय में दो सुर सजें
गीत ऐसा गुनगुना
इक लय में दो सुर सजें
गीत ऐसा गुनगुना
साँसों के तारों पे तू
धुन मिलन की सुना
नज़रों में जादू भरा
चाहों में खो जा ज़रा
तन्हा ना अब हम रहें
बाहों में सो जा ज़रा॰॰आ
पा पा पाs
पा रा पा पा
पा पा
पा पा पाs
Samjha kya hai duniyaa daana
Posted on: August 3, 2020
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4399 | Post No. : | 15776 |
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Blog 10-Year Challenge (2010-2020) – Song No.49
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In my younger days, I remember to have watched Marathi film ‘Kunku’ (1937) on Bombay Doordarshan (now ‘Sahyadri’ Channel). At that time, I was not aware that ‘Duniya Na Maane’ (1937) was its Hindi version. Even it did not occur to me that the subject chosen for the film was very bold. I have no much recollections of the songs of the film but Shanta Apte’s performance has remained in my mind as it was quite different as compared with the theatrical acting by most of the actors of that time. Even her song renditions were looking natural as against the ‘fixed gaze’ style of song renditions witnessed in most of the films at that time.
After about 3 decades when I had watched the Hindi version on a video sharing platform, I still found that even in the present juncture, the subject handled in the film appears bold. I sometime feel that V Shantaram, the director, must be having a knack of convincing his other partners in Prabhat Films to agree to produce the film with a bold subject who may have thought that the film would receive the brickbats especially from the orthodox segment of the society after the release. That the film was a box office hit proves the capability of V Shantaram as a director for handling the bold subject in a way that convinced a large number of cine-goers about the evil of mismatched marriage
14-year old Nirmala (Shanta Apte) is married through a deciet by her uncle to a widower (Keshavrao Date), a lawyer, who is old enough to be her father. But she does not accept him to be her husband. While she takes care of the family as a housewife, she refuses to consummate the marriage by saying that while sufferings can be borne, injustice can not be tolerated. Over a period of time, her husband feels guilty and treat Nirmala as his daughter. He release her from the marriage but the conservative society does not accept this arrangement. In the end, the widower commits suicide with a note to Nirmala that she is free to remarry.
In selecting Shanta Apte in the role of Nirmala, V Shantaram must have observed her as a woman of substance who would perform her reel role of an enlightened woman who fights for her rights in a same way as she had done in her real life. In this film, there is a scene in which she gives a trashing with a cane to her college going step son for misbehaving with her as well as with his father and forces him to seek forgiveness from his father. I recall an instance when she had gone to ‘Filmindia’ office with a cane (or whip?) to trash Baburao Patel, the firebrand editor for writing some unpleasant comments about her acting. It was reported that to avoid trashing, Baburao Patel had to hide below his table.
10 years back, one song from the film ‘Duniya Naa Maane’ (1937) was posted on the Blog. So far, 5 songs from the film have been posted on the Blog details of which are as under:
| Songs | Name of the Film |
|---|---|
| ek thha raaja | 03/08/2010 |
| in the worlds broad field of battle | 04/08/2010 |
| man saaf tera hai ya nahin | 12/11/2012 |
| jai ambe gauri maiyya | 09/10/2013 |
| saawan jhoola jhool ke nikla | 19/03/2014 |
I am presenting the 6th song, ‘samjha kya hai duniya daana’ from the film which is rendered by actor-singer, Shanta Apte. The song is written by Munshi Aziz which is set to music by Keshavrao Bhole. In this song, there is no musical interludes. I liked the way, Shanta Apte sang the line ‘kisi ki chup’ followed by a very brief pause and then continuing singing ‘walwala kisi kaa’.
One of the features of the film was that the music director, Keshavrao Bhole did not use orchestra for all its songs, Instead, he relied on using a couple of musical instruments. Two of its 12 songs (including the one under discussion) were sung by Shanta Apte by playing gramophone records.
Video Clip:
Audio Clip:
Song-Samjha kya hai duniya daana (Duniya Na Maane)(1937) Singer-Shanta Apte, Lyrics-Munshi Aziz, MD-Keshavrao Bhole
Lyrics
samjha…aa kya hai duniya….aa ….aa
aa aa aa aaa
aa aa aa
daana
yahaan pe aake har ek apni
yahaan pe aake har ek apni
niraali duniya bana raha hai
niraali duniya bana raha hai
deewaana daana zamaana kya kya
deewaana daana zamaana kya kya
hamein tamaashe dikha raha hai
hamein tamaashe dikha raha hai
kisi ki chup
walwala kisi kaa
chhuri kisi ki
gala kisi kaa
kisi ki chup
walwala kisi kaa
chhuri kisi ki
gala kisi kaa
bura kisi ka
bhala kisi kaa
bura kisi ka
bhala kisi kaa
dharam yahi kya sikha raha hai
dharam yahi kya sikha raha hai
sitam kaa sahna
sitam kaa sahna
har ek taakat
badhega dil aur badhegi himmat
sitam ka sahna
aa aa aa aa
sitam ka sahna
har ek taakat
badhega dil aur badhegi himmat
hai ye bhi ek zindagi ki daulat
hai ye bhi ek zindagi ki daulat
suno ye aaj suna raha hai
suno ye aaj suna raha hai
Morey sainyya bedardi ban gaye
Posted on: January 9, 2015
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.
The voices that we hear most of the time are the usual well known voices that made their career singing in HFM. But sometimes we get to listen to voices who were basically classical singers and who were by and large disinclined to sing in movies. In some cases, they had to be cajoled and often paid unheard of amounts to convince then to sing a few songs in Hindi movies.
Read more on this topic…
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.
Today (10 december 2014) is the thirteenth death anniversary of Ashok Kumar (13 october 1911- 10 december 2001). Ashok Kumar was the original superstar of Hindi movies who earned this status in 1943 with “Kismat”(1943). Ashok Kumar’s film career began in 1930s and spanned the entire 20th century. He played all kinds of roles as an actor. He was much more than an actor, though. He was a movie produced as well. And he was well connected (through marriages) to lots and lots of major personalities of Hindi movies. In fact, if you are a trivia buff, then you can find that he was connected (through marriages) to people like Ravindranath Tagore, Prithviraj Kapoor etc in addition to the more obvious people like Mukherjis, Samarths etc. And he was of course the elder brother of Anoop Kumar and Kishore Kumar.
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This article is written by nahm, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
It is time for the alphabet ‘M’ in the A-Z of Rafi songs series. I have taken my time in deciding which type songs are a must in the series and accordingly have almost finalised the songs in this list. Initially, when planning this series I just made a random selection of songs for ‘A’, ‘B’ and ‘C’ to start it on time with Rafi sahab 33rd death anniversary.
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- In: "recorded" song | Asha Bhonsle solo | Asha Bhonsle songs | expression of love | Feelings of heart | Lyrics by Atif M | Lyrics contributed by readers | Rajesh Khanna present (without lip syncing) | Rajesh Khanna songs | Songs of 1960s (1961 to 1970) | Songs of 1967 | Yearwise breakup of songs
- 9 Comments
“Aurat” (1967) was a Gemini Combines movie and it was directed by S S Vasan and S S Balan. The movie had Firoz Khan, Padmini, Rajesh Khanna, Nazima, Pran, Achala Sachdev, O. P. Ralhan, Lalita Pawar, David Abraham, Nana Palsikar, Kanhaiyalal, Leela Chitnis, Mohan Choti, Niranjan Sharma, Revti, Baby Rani etc in it.
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Boondaniyaan barsan laagi re
Posted on: December 17, 2012
“Jailor” (1958) was a Minerva Movietone pictures production. It was directed by Sohrab Modi. The movie had Sohrab Modi, Geeta Bali, Kamini Kaushal, Pratima Devi, Abhi Bhattacharya, Nana Palsikar, Daisy Irani, Raj Kumar, E. Tarapore etc in it.
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“Saawan Aaya Re” (1949) is a movie starring Kishore Sahu, Ramola Devi, David Abraham, Pratima Devi, Ramesh Gupta etc. Kishore Sahu himself is the director of this movie.
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Kaise kate ratiyaan baalam
Posted on: September 1, 2011
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
Today’s write up is different from the normal format / content of Saigal Saab’s songs, that we are discussing on this blog. (I am in travel today, and have limited access to resources and time. I shall be back tomorrow.)
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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