Archive for the ‘"Recording" 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
- In: "Recording" song | Aarti Mukherji songs | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Hindi Songs in Non-Hindi Films | Lyrics contributed by readers | Manna Dey Aarti Mukherjee duet | Manna Dey songs | Post by Sadanand Kamath | Song from regional movies | Songs of 1960s (1961 to 1970) | Songs of 1970 | Yearwise breakup of songs
- 6 Comments
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.
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Blog Day : |
4314 | Post No. : | 15593 | Movie Count : |
4293 |
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Hindi songs in Bangla Films: 27
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One of the many Bangla films in which Uttam Kumar paired with Supriya Devi was ‘Bilambita Loy’ (1970). The film was directed by Agragami. The star cast included Uttam Kumar, Supriya Devi, Nirmal Kumar, Deepa Chatterjee, Asit Baran, Tarun Kumar, Bimal Mitra etc. I have watched the film with English sub-titles on an OTT platform. The film’s English sub-titles are not as good as they ought to be. They are also not properly synchronized with the scenes. Within these limitations, I could make out the story of the film as under:
Mriganka (Uttam Kumar), an upcoming painter, falls in love with Aditi (Supriya Devi), the singer during their college days. After the completion of college, they decide to get married. Aditi belongs to Christian family with a good financial status in the society whereas Mriganka belongs to an orthodox Hindu middle class family. There is opposition from both the families due to different religious and social status. Both of them get married against the wishes of their respective family. However, Aditi’s father gives some initial financial support to set up the house and also send with them Judith (Deepa Chatterjee), an orphan who has been staying with Aditi’s family since childhood, to support the newly married couple in household work.
With the help of the initial financial support from Aditi’s father, Mriganka gets a large house at a very high rent. He also furnishes the house by buying costly furniture and fixtures. In a short period of their marriage, Mriganka has spent all the money his father-in-law has given to his daughter. He has no income as he is yet to establish himself as a painter of repute. Hence his paintings remain unsold in the exhibitions. Soon, there is a financial crisis for the newly married couple.
Both Mriganka and Aditi meet their common friend Subroto (Nirmal Kumar) to get his guidance as to how to come out of their financial mess. Based on his advice, they move to a smaller house to reduce the rent outgo. Aditi who has been trained in Hindustani classical music decides to take singing as a career and becomes the radio singer. She earns her fees but not enough to run the house. Mriganka is not able to sell his paintings. So, Subroto helps him getting a job in the office. However, being a painter at heart, office work does not interest him. Within short time, he leaves the office job.
In the meanwhile, Aditi has become a famous singer. The gramophone records of her songs are sold like hot cake. She becomes very busy in her singing assignments. She has now become a celebrity. Both are now comfortable on their financial front. However, Mriganka is not able to sell any of his paintings despite getting favourable critical reviews of his paintings. He is not prepared to compromise on the subject of his paintings by which the art lovers can be enticed. Out of frustration, there is constant frictions between Mriganka and Aditi on trivial issues. Mriganka who has been a teetotaler and a non-smoker becomes an alcoholic. The matter reaches a stage when Aditi misunderstands Mriganka in the company of a female model in her house as a muse for his painting. In the background of intense arguments, Mriganka decides to leave the house. Eventually, Mriganka and Aditi get divorce.
While Aditi’s singing career is on the upper trajectory, Mriganka’s luck is not in his favour. He decides to try his luck out of India by participating in the painting exhibitions in Europe. Despite having differences with his father, Mariganka was fortunate that at the time of the death, his father has left him his share of savings which has come handy now to finance his trip to Europe. However, Mriganka returns to India without any success in Europe. His health has already started deteriorating forcing him to give up painting.
One day, while coming out of the church, Judith sees Mriganka walking on the road looking very sick. She takes him to her house and nurses him for few days until he recovers from his ill health. Even after that Judith visits Mriganka’s house daily to take care of his food and other daily routine. This information gets passed on to Aditi when Subroto meets her. She gets upset over the ‘scandalous’ relations between Judith and Mriganka but dismisses this information as of no concern to her.
Mriganka gets married to Judith and he is back to painting due to her encouragement. But at the back of her mind, Judith feels that she is indirectly responsible for the separation of Aditi and Mriganka as she had given a false testimony to the divorce court that she had affairs with Mriganka in order to hasten the divorce proceedings under instructions from him. Judith suffers a miscarriage and she dies in the hospital. Aditi attends the burial of Judith where Mriganka and his friend Subroto are present.
The film ends with a scene in which Aditi and Mriganka come out of the burial ground. He is about to go his way when Aditi stops him. Mriganka crosses the road with the support of Aditi holding his hand.
This film is one more example in Bangla films of ending scene being indeterminate leaving it to the audience to interpret in their own way. The first interpretation could be that it was a mere courtesy to help Mriganka to cross the road and drop him in his house in her car. Another interpretation could be that by supporting him to cross the road by holding his hand, they are united as a couple. The third interpretation which looks more probable to me is that Aditi has decided to extend her emotional support to Mriganka after the death of Judith and they remain friends.
At the outset, I thought that the story of the film is akin to Hindi film ‘Abhimaan’ (1973) in which the husband and wife who are professional singers get separated because of ego clashes. But at the end, there is an emotional reunion between the two.
In my view, in ‘Bilambita Loy’ (1970), there are no explicit ego clashes between their respective professions or between man and woman. Even if it is there, the director has kept that at the low key. The friction points between Mriganka and Aditi arise because the former is not able to spend much time with the latter as she is quite busy in her professional work. Aditi has problem with Mriganka because he spends money on things which are not priorities like alcohol when his own earnings are not enough to get two meals a day. Neither Mriganka has problem with Aditi’s professional pursuit nor Aditi is concerned about Mriganka not able to earn income.
In the height of their frictions, it is Mriganka who decides to go for divorce to give Aditi the space in her professional pursuit. He also knows that she will not divorce him. So, he creates an impression that he has affairs with Judith to get the divorce faster. In sums, I feel that the director has handled the subject with delicate balance, avoiding the label of a feminist to Aditi and a male chauvinist to Mriganka.
‘Bilambita Loy’ (1970) has 5 songs of which one is in Hindi. The song which I am presenting is “Mann Kahaan Laago Mora Chain Ganwaayi Diyo Re’ which is a duet sung by Manna Dey and Aarti Mukherjee. The song is written by Gulzar which is set to music by Nachiketa Ghosh.
The situation of the song is that after becoming popular singer in Bangla songs, a new music director has taken Aditi for the first time to sing a Hindi song to test it in the market. His idea is that if successful, he wants her to accompany him to Mumbai to make her popular in Hindi songs which will also benefit the music director in pursuing his career in Mumbai. However, with so much happening with her in personal front, Aditi finally declines to move out of Kolkata. In real life also, Supriya Devi, after working in Mumbai for 3 films – Begaana’ (1963), ‘Aap Ki Parchhaayian’ (1964) and ‘Door Gagan Ki Chhaaon Mein’ (1964), she bid farewell to Bollywood. It is said that she refused Raj Kapoor’s offer to her of a role in ‘Mera Naam Joker’ (1970) which eventually went to Simi.
(Video)
(Audio)
Song – Mann Kahaan Laago Mora Chain Gawaai Diyo Re (Bilambita Loy)(Bangla) (1970) Singer – Manna Dey, Aarti Mukherji, Lyrics – Gulzar, MD – Nachiketa Ghosh
Manna Dey + Aarti Mukherji
Lyrics
taap chadhe to
baid bulaayi ke. . .
tan ke rog utaare
arre mann ka rog na jaaye raama
laakh jatan kar haare
mann kahaan laago
aiyyo. . .
arre mann kahaan laago
mora chain ganwaayi diyo re
mann kahaan laago
mora chain ganwaayi diyo re
nain laage
bairi naina
nain laage
bairi naina
raat jagaayi diyo re ae
mann kahaan laago
ho o
arre mann kahaan laago
mora chain ganwaayi diyo re. . .
kehte naina
sunte naina
preet ki andhi do batiyaan
haan
jhooth si kaari
laagi raama
veham se lambi
ye ratiyaan
kaisa rog lagaayi diyo re. . .
o mann kahaan laago
uyi ammaa
arre mann kahaan laago
mora chain ganwaayi diyo re. . .
ae ae ae ae
man kahaan laago
mora chain ganwaayi diyo re
kaahe chhalken
bheegi phalken
rote hanste sapanon mein
rog lage hai
jogan jaisi
do sansaari akhiyon mein
kaun ye paath padhaayi gayo re..
mann kahaan laago
haaye
arre mann kahaan laago
mora chain ganwaayi diyo re. . .
ae ae ae ae ae
mann kahaan laago
mora chain ganwaayi diyo re
nain laage
bairi naina
nain laage
bairi naina
raat jagaayi diyo re ae
man kahaan laago
mora chain ganwaayi diyo re
hey ae ae ae ae
man kahaan laago
mora chain ganwaayi diyo re
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Hindi script lyrics (Provided by Sudhir)
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ताप चढ़े तो
बैद बुलाइ के॰ ॰ ॰
तन के रोग उतारे
अरे मन का रोग ना जाये रामा
लाख जतन कर हारे
मन कहाँ लागो
अइओ॰ ॰ ॰
अरे मन कहाँ लागो
मोरा चैन गँवाई दियो रे
मन कहाँ लागो
मोरा चैन गँवाई दियो रे
नैन लागे
बैरी नैना
नैन लागे
बैरी नैना
रात जगाई दियो रे
हो ओ
अरे मन कहाँ लागो
मोरा चैन गँवाई दियो रे॰ ॰ ॰
कहते नैना
सुनते नैना
प्रीत की अंधी दो बतियाँ
हाँ
झूठ सी कारी
लागि रामा
वहम से लंबी
ये रतियाँ
कैसा रोग लगाई दियो रे॰ ॰ ॰
ओ मन कहाँ लागो
ऊई अम्मा
अरे मन कहाँ लागो
मोरा चैन गँवाई दियो रे॰ ॰ ॰
ए ए ए ए
मन कहाँ लागो
मोरा चैन गँवाई दियो रे
काहे छलकें
भीगी पलकें
रोते हँसते सपनों में
रोग लगे है
जोगन जैसी
दो संसारी अखियों में
कौन ये पाठ पढ़ाई गयो रे॰ ॰ ॰
मन कहाँ लागो
हाए
अरे मन कहाँ लागो
मोरा चैन गँवाई दियो रे॰ ॰ ॰
ए ए ए ए ए
मन कहाँ लागो
मोरा चैन गँवाई दियो रे
नैन लागे
बैरी नैना
नैन लागे
बैरी नैना
रात जगाई दियो रे
मन कहाँ लागो
मोरा चैन गँवाई दियो रे
हे ए ए ए ए ए
मन कहाँ लागो
मोरा चैन गँवाई दियो रे
Aa aaja aaja
Posted on: December 6, 2019
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 : | 4158 | Post No. : | 15327 |
“Street Singer”(1966) was directed by Chandrashekhar for Bhavdeep Films, Bombay. The movie had Chandrashekhar, Sarita, K N Singh, Manmohan Krishna, madan Puri, David, Sundar, ratna, Jeewan Kala, Keshav Rana, Agha, Tuntun, Polson, Bimal Chadha, Brijmohan, Ridku, Kundan, Sheikh, Amrit Patel etc in it.
This movie had seven songs in it. One song from the movie has been covered in the past.
Here is the second song from “Street Singer”(1966). This song is sung by Rafi. Hasrat Jaipuri is the lyricist. Music is composed by Suraj.
It is popularly thought that Suraj was Shankar of Shankar Jaikishan. But Mr Arunkumar Deshmukh, our beloved inhouse encyclopaedia tells us that Suraj was a pseudonym taken by Dattaram, Sebastian D’souza and Enoch Daniels. All these musicians, who were assistants of Shankar Jaikishan had only this movie to their credit under the name of Suraj.
Shankar had given music in a Marathi movie “Tee mee navhech” (1970) under the name of Suraj, and that is how this confusion about Shankar being the music director of “Street Singer” (1966) arose.
This song is picturised as a studio recording song on Chandrashekhar.
Audio – Part I Male (Rafi version)
Video – Part I Male (Rafi version)
Audio – Part II Female (Sharda version)
Video – Part II Female (Sharda version)
Song-Aa aaja aaja (Street Singer)(1966) Singer-Rafi/Sharda, Lyrics-Hasrat Jaipuri, MD-Suraj
Lyrics
————————
Part I
————————-
aa
aaja aaja
aa gale laga
aa
aaja aaja
aa gale laga
aise mein tu to kahaan chala
kahaan chala hai saathiyaa
aa
aaja aaja
aa gale laga
aise main tu to kahaan chala
kahaan chala hai sathiya
dil mein hai tu
teri chhavi
phir kyun nazar pyaasi rahi
phir kyun nazar pyaasi rahi
aa
aaja aaja
aa gale laga
aa
aaja aaja
aa gale laga
aise mein tu to kahaan chala
kahaan chala hai saathiya
aankhen teri
masti bhari
tarsa na tu
ham ko pila
tarsa na tu
hamko pila
aa
aaja aaja
aa gale laga
aa
aaja aaja
aa gale laga
aise mein tu to kahaan chala
kahaan chala hai saathiya
————————
Part II
————————-
aa aa aaja aaja
aa aa gale laga
aa aa aaja aaja
aa aa gale laga
aise me tu to kahaan chala
kahaan chala o saathiya
aa aa aaja aaja
aa aa gale laga
aise me tu to kahaan chala
kahaan chala o saathiya
dard-e-jigar kehne na de
mujhme samaa aake na jaa
mujhme samaa aake na jaa
aa aa aaja aaja
aa aa gale laga
aa aa aaja aaja
aa aa gale laga
aise me tu to kahaan chala
kahaan chala o saathiya
aa aa aaja aaja
aa aa gale laga
aa aa aaja aaja
aa aa gale laga
aa aa aaja aaja
aa aa gale laga
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 : | 3854 | Post No. : | 14866 |
Three days ago (viz on 2 february 2019), I began the blog’s own “ten Year Challenge” where we began to post another song from a movie whose song (another one) was posted on the same day ten years ago. I began this seties with “Sharaabi”(1984), and on the next day (3 february 2019), it was the turn of “Do Dishaayen”(1982).
This “ten Year Challenge” was a non starrer of the next day viz 4 february 2019, because the movies whose songs were covered ten years ago on 4 february 2019 have already been YIPPEED in the blog. Smae is the case for today viz 5 february 2019. Tomorrow givven us some respite because one (just one) of the movies that were covered on 6 february 2009 is still un yippeed. So we can hope to resume this “ten Year Challenge” tomorrow.
In the process of this challenge, our YIPPEE project gets an inadvertent impetus as well. We not only feel glad to see that so many movies, that made their debuts in the blog ten years ago are already YIPPEED. Even the unYIPPEED movies get some renewed attention towards this project.
Take the case of “Sharaabi”(1984) for instance. When I covered the fourth song from this song as part of “ten Year Challenge”, I realised that two songs from the movie were yet to be covered. On futher checking, it turned out that the two songs were multiple version songs. In other words, they could be covered in one writeup.
Here are the details of the songs covered earlier:-
|
Song Title |
Post No. |
Post Date |
| Mujhe naulakha mangade re o sainya deewaane | 670 | 2-Feb-2009 |
| Manzilen apni jagah hain raaste apni jagah | 6840 | 11-Oct-2012 |
| Jahaan chaar yaar mil jaayen wahin raat ho gulzaar | 6881 | 22-Oct-2012 |
| Intaha ho gayi intzaar ki | 14863 | 2-Feb-2019 |
“Sharaabi”(1984) was produced by Satyendra Pal and directed by Prakash Mehra. The movie had Amitabh Bachchan, Jaya Prada, Om Prakash, Ranjeet, Pran, Satyen Kappu, Deepak Parashar, Smita Patil, Bharat Bhushan, C S Dube, A K Hangal, Dinesh Hingoo, Viju Khote, Mukri, Suresh Oberoi, Sudhir, Mayur, Gurbachan, Asha Lata, Chandrashekhar, Jankidas, Pinchoo Kapoor, Ram Sethi, Rajan Haksar, Sunder etc in it.
This remaining song has a male version sung by Kishore Kumar and a female version sung by Asha Bhonsle. The male version , which also has the voice of chorus is picturised as a street song where Amitabh Bachchan disturbs the sleep of people at night, just to search for Jaya Prada who, he is vaguely aware of being a resident of that locality.
The female version of the song is picturised as a radio/ recording song where Jaya Prada playing a successful singer sings this song whose lyrics and tune are clearly plagiarised from our hero. Our hero and his faithful sidekick Om Prakash watch/ listen while their intellectual property right is thus nonchalantly being violated by the lady.
With this song, all the songs of “Sharaabi”(1984) are now featured in the blog and the movie thus joins the list of movies that have all their songs covered in the blog.
Audio – Kishore Kumar version
Video – Kishore Kumar version
Audio – Asha Bhonsle version
Video – Asha Bhonsle version
Song-De de pyaar de pyaar de pyaar de re (Sharaabi)(1984) Singer-Kishore Kumar/ Asha Bhonsle, Lyrics-Anjaan, MD-Kalyanji Anandji
Amitabh Bachchan
Chorus
—————————–
Lyrics
—————————–
Kishore Kumar version
—————————–
meena
meena
meena
hum bande hain pyaar ke ae
maangen sab ki khair
haan aan
apni sab se dosti ee
nahin kisi se bair
o de de pyaar de
de de pyaar de pyaar de pyaar de re
hamen pyaar de
de de pyaar de pyaar de pyaar de re
hamen pyaar de
duniya waale kuchh bhi samjhen
ham hain prem deewaane
jahaan bhi jaayen tujhe pukaaren
gaa ke prem taraane
de-de pyaar de
pyaar de re hamen pyaar de
o de de pyaar pyaar pyaar pyaar pyaar de re
hamen pyaar de
hi ee
arre aane ko to roz hain aate
sooraj chaand sitaare
haan aan phir bhi andheri hai ye duniya
tu hi raah dikhaa re
prem pyaar sukh chain ki barkha teri nazar se barse
ye dukh-dard ki aag bujhe
koi dil naa pyaasa tarse
de de pyaar de
pyaar de re
hamen pyaar de
o de de pyaar pyaar pyaar pyaar pyaar de re
hamen pyaar de
yahaan dilon ke beech khadi jo
wo deewaar gira de
haan dil mein soyi soyi aisi ee
pyaar ki jyot jaga de
pyaar ho dil mein to lagti hai saari duniya pyaari
ham saari duniya ke hain
saari duniya hamaari
de de pyaar de
pyaar de-re
hamen pyaar de
o de-de pyaar de pyaar de pyaar de de
hamen pyar de
de-de pyaar de pyaar de pyaar de-de hame pyaar de
de-de pyaar de pyaar de pyaar de-de
hamen pyaar de
de-de pyaar de pyaar de pyaar de-de hamen pyaar de
de-de pyaar de pyaar de pyaar de-de hamen pyaar de
de-de pyaar de pyaar de pyaar de-de hamen pyaar de
de-de pyaar de pyaar de pyaar de-de hamen pyaar de
———————
Asha Bhonsle version
————————
ham bande hain pyaar ke ae
maangen sabki khair
o o
apni sabse dosti ee
nahin kisi se bair
de de pyaar de ae
de de pyaar de pyaar de pyaar de re
hamen pyaar de
de de pyaar de pyaar de pyaar de re
hamen pyaar de
duniya waale kuchh bhi samjhen
ham hain prem deewaane
jahaan bhi jaayen tujhe pukaaren gaa ke prem taraane
de de pyaar de
pyaar de re
hamen pyaar de
de de pyaar de pyaar de pyaar de re
hamen pyaar de
yahaan dilon ke beech khadi jo
wo deewaar gira de
haan aan
dil mein soyi soyi aisi ee
pyaar ki jyot jaga de ae
pyaar ho dil mein to lagte hain
saari duniya pyaari
ham saari duniya ke hain
saari duniya hamaari
de de pyaar de
pyaar de re hamen pyaar de
de de pyaar de pyaar de pyaar de re
hamen pyaar de
de de pyaar de pyaar de pyaar de re
hamen pyaar de
de de pyaar de pyaar de pyaar de re
hamen pyaar de
de de pyaar de pyaar de pyaar de re
hamen pyaar de
de de pyaar de pyaar de pyaar de re
hamen pyaar de
- In: "Aankh" song | "Recording" song | Asha Bhonsle songs | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Love song | Lover's tête-à-tête | Lyrics contributed by readers | Post by Sudhir | Rafi duets अ से ह तक | Rafi songs | Rafi-Asha Bhonsle duet | Series of articles | Songs of 1960s (1961 to 1970) | Songs of 1965 | Yearwise breakup of songs
- Leave a Comment
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 : | 3786 | Post No. : | 14769 |
Mohammed Rafi – Duets – ‘अ’ से ‘ह’ तक (From ‘अ’ to ‘ह’) – 30
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –
‘ल’ – लीजिये दिल का नज़राना, लीजिये आँख का शुक्राना ॰ ॰ ॰
– – – –
आवाज़ दे कर हमें तुम बुलाओ ॰ ॰ ॰
Ah yes, that is what the heart desires, but sadly, that will happen no more. . . you are so far away now, that our supplications so sent, do not reach you any more.
– – – –
OK, wow, another gem from the radio listening days. And what a wonderful reminder this song is. The film is ‘Naya Kanoon’ from 1965, and Rafi Sb is accompanied by Asha Bhosle in this song. Given that Madan Mohan is the music director, I am a little surprised that Lata does not figure in this film at all. Eight songs in all, with four female solos, and one duet (this one) – all carry the voice of Asha Bhosle. Possibly this recording may have been done during the time when there was a stand off between Lata ji and Rafi Sb. Still surprising that Madan Mohan did not get Lata to sing even one of the solo songs. Or possibly, other reasons, circumstances may have intervened.
The film is directed by RC Talwar for the banner of Manchanda Productions, Bombay. The main star cast is listed as Ashok Kumar, Vaijayantimala, Bharat Bhushan, Poornima, Nishi, Leela Mishra, Badri Prasad, Kamal Mehra, and Om Prakash among others. There are eight songs in this film, or may be seven, because one song is a multi version song sung as a solo by both Rafi Sb and Asha Bhosle. All songs are from the pen of Hasrat Jaipuri, except one, which is written by Saraswati Kumar Deepak.
On screen, this song is filmed a recording studio song. The two singers – Bharat Bhushan and Vijayantimala, are recording this song in a studio. Or maybe the song is being broadcast live. As we see the three stanzas, there are short visual interludes, and the dresses of the two artistes are different in each stanza. The intervening scenes convey a message as if displaying the rising popularity, as well as prosperity of the singer.
Bharat Bhushan in this 1965 film is a distant call from his heydays of ‘Baiju Baawra’ in 1952. Decidedly not looking any younger, but he is also looking much more morose. As the visual clip starts and the music comes on, the mind gets into position for a fast paced light hearted duet. But the expression on the face of the hero conveys as if he is going to break into “Maayoos To Hoon Waade Se Tere. . .” 🙂 🙂 .
Regardless, a very breezy composition which will tickle a few memories in the minds of radio listeners. Listen and relive those memories.
Audio
Video
Song – Lijiye Dil Ka Nazraana, Lijiye Aankh Ka Shukraana (Naya Kanoon) (1965) Singer – Mohammed Rafi, Asha Bhosle, Lyrics – Hasrat Jaipuri, MD – Madan Mohan
Lyrics
lijiye dil ka nazraana
lijiye aankh ka shukraana
ye preet banegi afsaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi
lijiye dil ka nazraana
lijiye aankh ka shukraana
ye preet banegi afsaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi
aankh ne dekha to dil ne paa liya
meethi baaton ne hamne behka liya
pyaar mein hum bhi tumhaare ho gaye
tum miley to hum khushi se kho gaye
kadmon mein khada hai deewaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi
lijiye dil ka nazraana
lijiye aankh ka shukraana
dil bade armaan se laaya hoon main
ye kali toofaan se laaya hoon main
meri palken jhuk rahi hain laaj se
tum hamaare ho chuke ho aaj se
aaya hai shama ka parwaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi
lijiye dil ka nazraana
lijiye aankh ka shukraana
aur bhi duniya mein laakhon chaand hain
aapke aage magar wo maand hain
aur bhi duniya mein laakhon phool hain
aapke aage magar wo dhool hain
haazir hai tumhaara mastaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi
lijiye dil ka nazraana
lijiye aankh ka shukraana
ye preet banegi afsaana
bolo to sahi hai kya marzi
bolo to sahi hai kya marzi
lijiye dil ka nazraana
lijiye aankh ka shukraana
———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————
लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना
ये प्रीत बनेगी अफसाना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी
लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना
ये प्रीत बनेगी अफसाना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी
आंख ने देखा तो दिल ने पा लिया
मीठी बातों ने हमने बहका लिया
प्यार में हम भी तुम्हारे हो गए
तुम मिले तो हम खुशी से खो गए
कदमों में खड़ा है दीवाना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी
लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना
दिल बड़े अरमान से लाया हूँ मैं
ये काली तूफान से लाया हूँ मैं
मेरी पलकें झुक रही हैं लाज से
तुम हमारे हो चुके हो आज से
आया है शमा का परवाना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी
लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना
और भी दुनिया में लाखों चाँद हैं
आपके आगे मगर वो माँद हैं
और भी दुनिया में लाखों फूल हैं
आपके आगे मगर वो धूल हैं
हाजिर है तुम्हारा मस्ताना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी
लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना
ये प्रीत बनेगी अफसाना
बोलो तो सही है क्या मर्ज़ी
बोलो तो सही है क्या मर्ज़ी
लीजिये दिल का नज़राना
लीजिये आँख का शुक्राना
Phir Bhor Bhayee Jaaga Madhuban
Posted on: August 18, 2018
- In: "film Shooting" song | "Recording" song | Devaki Pandit Solo Songs | Devaki Pandit Songs | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics contributed by readers | Morning song | Post by Peevesie's mom | Semi Classical song | Song about Nature | Song in Film Inside Film | Songs of 1990s (1991 to 2000) | Songs of 1997 | Yearwise breakup of songs
- 2 Comments
This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : | 3683 | Post No. : | 14585 |
18th August is the birthday of another veteran of Bollywood. She has been around from the age of 8 beginning as a child star in ‘Gunga Jumna’ (1961). She has been awarded the filmfare best supporting actress award twice and also the Life Time Achievement award. I am here talking of Aruna Irani. She turns 64 today.
Here is a song on the occasion which presents her in a different style from her usual dancing self. Also a thing to be noted is that in this clip, they have used visuals from black and white movies especially from the days when Madhubala and Dilip Kumar were a hit pair. Plus another thing that struck me was the chemistry between the two leading actresses – Shabana Azmi and Aruna Irani (playing the elder sister). The story line is somewhat based on the life of the two famous singing sisters in the industry – Lata Mangeshkar and Asha Bhosle.
‘Saaz’ was produced and directed by Sai Paranjpe in 1998. Jaaved Akhtar is the lyricist. This particular song is Zakir Hussain’s composition. It is sung by Devaki Pandit.
Happy birthday to Aruna Irani.
Audio (Longer)
Video
Song – Phir Bhor Bhayee Jaaga Madhuban (Saaz) (1997) Singer – Devaki Pandit, Lyrics – Javed Akhtar, MD – Zakir Hussain
Lyrics
mmmmmmm
aaa aaa aaaaaa
aaaaaaa aaaaaaa
phir bhor bhayi jaaga madhuban
phir bhor bhayi jaaga madhuban
phir mehki hawa
phir behki hawa
phir mehki hawa
phir behki hawa
phoolon se mili phir koi kiran
aaa aaaa aaaa
phir bhor bhayi jaga madhuban
phir bhor bhayi
phir mausam ras chhalkaane laga
phir mausam ras chhalkaane laga
phir kaliyon mein rang aane laga
phir koi nadi balkhaane lagi
phir koyal mann me gaane lagi
phir goonja mere mann ka aangan
aaa aaaa aaaa
phir bhor bhayi
phir geet hawa mein ghulne lage
phir bol suron mein dhulne lage
phir raagini machli saanson mein
phir shehad ghula aawazon mein
phir jhoom utha yeh neel gagan
aaa aaaa aaaa
phir bhor bhayi jaga madhuban
phir bhor bhayi
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
मम्मम्ममम
आss आss आsssss
आssssss आsssssss
फिर भोर भई जागा मधुबन
फिर भोर भई जागा मधुबन
फिर महकी हवा
फिर बहकी हवा
फिर महकी हवा
फिर बहकी हवा
फूलों से मिली फिर कोई किरण
आss आss आsssss
फिर भोर भई जागा मधुबन
फिर भोर भई
फिर मौसम रस छलकाने लगा
फिर मौसम रस छलकाने लगा
फिर कलियों में रंग आने लगा
फिर कोई नदी बलखाने लगी
फिर कोयल मन में गाने लगी
फिर गूँजा मेरे मन का आँगन
आss आss आsssss
फिर भोर भई
फिर गीत हवा में घुलने लगे
फिर बोल सुरों में धुलने लगे
फिर रागिनी मचली साँसों में
फिर शहद घुला आवाज़ों में
फिर झू उठा ये नील गगन
आss आss आsssss
फिर भोर भई जागा मधुबन
फिर भोर भई
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 : | 3572 | Post No. : | 14312 |
“Putli”(1950) was produced and directed by Wali Sahab for Punjab Film Corporation, Bombay. The movie had Mumtaz Shanti ,Pran, Yaqoob, Husn Banu, Srinath, Majnu, Prem Dhawan, Ramesh Thakur , Sheela Naik etc in it.
The movie had eleven songs in it. Three songs from the movie have been covered in the past.
Here is the fourth song from the movie. HFGK mentions this song as sung by Meena Kapoor. On listening to the song, one can notice that the song has a male voice as well. There were two lyricists in the movie viz Wali Sahab and Abid Gulrez. HFGK is silent about the lyricist of the song. Seeing that Wali sahab was the maker of this movie, one can assume that most songs, including this song, must have been penned by him. So I have assumed Wali Sahab as the lyricist of this song.
Picturisation shows Mumtaz Shanti and a gentleman standing in front of microphones and singing. They are either singng live for the radio or or they are recording- I am not sure.
I request our knowledgeable readers to throw light on the identification of the male singer as well as the male actor in the picturisation.
There were two music directors in the movie. Music of this song is composed by Aziz Hindi.
Audio
Video
Song-Koi ambuwa pe piyu piyu gaaye re piya (Putli)(1950) Singers-Meena Kapoor, Male voice, Lyricist-Wali Sahab, MD-Aziz Hindi
Lyrics
koi ambuwa pe
koi ambuwa pe piyu piyu gaaye re piya
main na jaanoon teri yaad kyun aaye re piya
koi ambuwa pe piyu piyu gaaye re piya
main na jaanoon teri yaad kyun aaye re piya
main na jaanoon teri yaad kyun aaye re piya
jab kaali kaali ratiyon mein pyaari pyaari yaad teri aati hai
tere pyaar ki kasam saari raat hamen neend nahin aati hai
jab kaali kaali ratiyon mein pyaari pyaari yaad teri aati hai
tere pyaar ki kasam saari raat hamen neend nahin aati hai
jab kaali kali
jab kaali kaali ghat chha jaaye re piya
main na jaanoon teri yaad kyun aaye re piya
main na jaanoon teri yaad kyun aaye re piya
koi ambuwa pe piyu piyu gaaye re piya
main na jaanoon teri yaad kyun aaye re piya
lambi lambi raaten piya lambe lambe din
haaye lambe lambe din
lambi lambi raaten piya lambe lambe din
haaye lambe lambe din
teri yaad mein kaate maine gin gin din
gin gin din
teri yaad mein kate maine gin gin din
gin gin din
ab tere bina
ab tere bina sachmuch haaye re piya
main na jaanoon teri yaad kyun aaye re piya
main na jaanoon teri yaad kyun aaye re piya
koi ambuwa pe piyu piyu gaaye re piya
main na jaanoon teri yaad kyun aaye re piya
o o o
o o o
o o o
aa aa
aa aa aa
aa aa aa
neem taley ankhiyaan milaana nahin bhoolna
milaana nahin bhoolna aa aa
o o o
neem taley ankhiyaan milaana nahin bhoolna
milaana nahin bhoolna aa aa
pyaar ki gali mein piya aana nahin bhoolna
aana nahin bhoolna
aa aa aa aa
pyaar ki gali mein piya aana nahin bhoolna
aana nahin bhoolna
ye sama suhaana
ye sama suhaana beeta jaye re piya
main na jaanoon teri yaad kyun aaye re piya
main na jaanoon teri yaad kyun aaye re piya
koi ambuwa pe piyu piyu gaaye re piya
main na jaanoon teri yaad kyun aaye re piya
jab kaali kaali ghat chha jaaye re piya
main na jaanoon teri yaad kyun aaye re piya
Nindiya hai sapna hai
Posted on: September 19, 2015
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
18th September 2015 is the birthday of Kaifi and Shaukat Azmi’s daughter Shabana Azmi. She turns 66 on this day.
There are many children who are known as so-and-so’s child and there are many children who make a place for themselves in public eye and then the parents are called so-and-so’s parents. That means Shabana Azmi’s Pehchaan need not be as Kaifi and Shaukat Azmi’s daughter. She is a persona by herself. Being the poet’s daughter or the veteran stage actress’s daughter only explains her artistic leanings.
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Dheere dheere bol
Posted on: February 3, 2014
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.
“Actress” (1948) was directed by Najam Naqvi for Filmistan. The movie had Prem Adeeb, Rehana, Misra, Meena Shorey, Mukri, David Abraham, Jamal Amrohi etc in it.
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
NAYI KAHAANI (1943) was produced under the banner of Prabhat Film Company and directed by D D Kashyap. The star cast included Jairaj, Miss Ross, B Nadrekar, Shalini, Paresh Banerjee, Master Balakram etc. I had not heard of Miss Rose as an actress. A search on the website did not reveal much information about her except some basic information here. She was born as Rose Masbiah in Calcutta (Kolkatta) in a Jewish family. Her filmography indicates that she started working for Madan Theatres in Calcutta starting with the film ‘Hindustan’ (1932). Sometime around 1938, she shifted to Bombay (Mumbai) and joined Sagar Movietone. After the closure of Sagar Movietone, she seems to have become a freelance actor doing roles in films produced under the banners of Ranjit Movietone, National Studios and other film production banners in Bombay/Poona. During her career, she acted in 24 films. ‘Daasi Yaa Maan’ (1946) was her last film. She was a good singer and in a few films, she sang her own songs.
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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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