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

Archive for the ‘“Sacrificing in love” song’ Category

Thukra Ke Teri Duniya Ko

Posted by: on: July 28, 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.

Blog Day :

 4393 Post No. : 15761

Screenplay is the first stage when a film is said to be born on paper. A screenplay writer translates the story/script from its literary form to an audio-visual presentation incorporating the ideas of the directors as to how each character is to be presented, the mood of the scenes, the surrounding environments, the stance of dialogue deliveries, the camera angles, lighting etc. Some screenplay writers also incorporate the dialogues. Directors like Satyajit Ray would write the screenplay in sketch form, visually presenting the scenes in each sheet of paper, something like what we used to see RK Laxman’s ‘You Said It’ in newspapers. In other words, screenplay is a complete document, representing a film in a paper format.

In a professional set-up, a director of the film would like to have with him a bound copy of the screenplay, a copy of which he would also handed over to each one of main actors, cinematographer, art director, sound engineer, choreographer, lyricists, music directors etc. before the film’s shooting commences. Some of the directors like Bimal Roy used to follow the system (as revealed by Dilip Kumar in an interview) while directors like Guru Dutt did not give much importance to this system as quite often, he used to make changes in the screenplay at the spur of the moment  while shooting (as revealed by Abrar Alvi in his book, ‘Ten Years With Guru Dutt’). In our office parlance, we can call screenplay as a manual of instructions for all those who are closely associated with the making of a particular film.

From the above description, it is apparent as to how important the role of screenplay writers have in the making of films. Unfortunately, most of the screenplay writers are ‘faceless’ in the sense that their faces seldom appear on the film magazines. It was Salim-Javed, the duo who, as a story, screenplay and dialogue writer, attained the status of stars during 1970s and early 80s and their faces became familiar to most of the cinema-lovers.

I am discussing in this article, one of the most prominent ‘faceless’ screenplay writers, an introvert who kept a low profile despite writing screenplays for many Hindi films for over 3 decades, which became popular. Some of his works attained the classic status such as ‘Parineeta’ (1953), ‘Devdas’ (1955), ‘Sujata’ (1959), ‘Bandini’ (1963), ‘Teesri Kasam’ (1966), ‘Abhiman’ (1971). He is the Bengali novelist and short-story writer, dancer, theatre actor and the director, Nabendu Ghosh who became a screenplay writer by default.

I came to know about Nabendu Ghosh for the first time about 3 years back when I was going through a book ‘Gulzar in Conversations with Nasreen Muni Kabir’ and Gulzar’s many interviews on the newspapers. In the book and the interviews, Gulzar gave credit to Nabendu Ghosh in shaping his career as a screenplay writer. I became interested in knowing him in details only when I came to know that he had made a statement as early as in 1945 that if at all he joined the film industry, it would be only under Bimal Roy. I found this statement surprising because in Bengali literary circle, he had already attained the status of a star writer due to popularity of his novels and short stories.

During the past few days, I have read books and interviews on Nabendu Ghosh given by his colleagues in the film industry, his own interview on Vividh Bharati and the extracts from his Bengali autobiography, ‘Eka Naukar Yatri’ (‘Traveler of the Lonely Boat’) translated in English by his daughter, Ratnottama Sengupta. On the basis of these sources, I have written his profile incorporating the important events in his life which is given below:

Nabendu Bhushan Ghosh (27/03/1916 – 15/12/2007) was born in Dhaka where he did his early schooling. The family shifted to Patna when his father, an advocate started practicing at the Patna High Court. Nabendu continued his secondary school in Patna and continued his college there completing MA in English literature. During his Patna days, Nabendu joined a local theatre group where he acted, mostly in the female role. He also learnt dancing at Uday Shankar’s Almora Cultural Centre.

Nabendu got a job in DIG’s office in Patna. However, during Quit India Movement, he wrote articles against the British rules. For this, he got warning from his sympathetic superiors from the office not to indulge in writing anti-British articles. Instead of heeding their advice, he preferred to resign from the job and shifted to Kolkata in 1944 where his life as a novelist and short story writers began. By the end of 1940s, Nabendu had became a star writer as his novels and short stories were very popular. During this period, he had written stories depicting almost every aspects of life in Bengal – the famine, the tram, the strike, the rationing, communal violence, partitions victims etc.

On a visit to Rajshahi (now in Bangla Desh) sometime in 1945, he watched a Bangla film ‘Udayer Pathe’ (1945) in a theatre. The film had influenced him so much that he took a vow that if he ever become a writer for the films, it would be for Bimal Roy, the director of the film. Probably, this was more like an emotional reaction to the film rather than his serious intention at that time. After a couple of years, Nabendu had a chance meeting with Bimal Roy in Kolkata who was impressed with writings. But it was not until 1951 when Ashok Kumar invited Bimal Roy to direct the film ‘Maa’ (1952) that Bimal Roy thought of taking Nabendu along with him.

Both for Bimal Roy and Nabendu Ghosh, the migration to Mumbai was not by choice but because of the compelling circumstances. With the creation of East Pakistan (now Bangla Desh), the markets for Bangla films and the Bangla novels and short stories had considerably dwindled thanks to the then East Pakistan Government’s policy of suppressing Bangla language in favour of Urdu. What was thought to be a temporary assignment in Mumbai in 1951 became a long creative association between Bimal Roy and Nabendu Ghosh from 1951 to 1966 as a screenplay writer in 9 films besides doing cameo roles in ‘Do Bhiga Zameen’ (1953) and ‘Sujata’ (1959).

During his 3 decades of association with Hindi films, Nabendu Ghosh wrote screenplay for a little over 30 films which included apart from Bimal Roy’s films mentioned above, films like ‘Aar Paar’ (1954), ‘Baadbaan’ (1954), ‘Milap’ (1955), ‘Detective’ (1958), ‘Teesri Kasam’ (1966), ‘Sharafat’ (1970), ‘Laal Pathar’ (1971), ‘Abhiman’ (1973), “Pratigya’ (1975), ‘Ganga Ki Saugandh’ (1978), ‘Krodhi’ (1981) etc. He also directed ‘Trishagni’ (1988) which gave him the National Film Award for the best debut director. Sometime in the middle of his filmy career, he had directed ‘Doctor Babu‘ (based on Phanishwarnath Renu’s story, ‘Maila Aanchal’) with Dharmendra and Jaya Bahaduri in the lead roles and RD Burman as the music director. When 70% of the film was canned, the producer of the film died leaving the film unfinished.

In 1995, he directed a television serial for Doordarshan, ‘Anmol Moti’ on Ashok Kumar. He directed Children Film Society’s ‘Netraheen Sakshi’ and for Ministry of Health, the film ‘Ladkiyaan’ (1997). He was a visiting faculty at FTII and conducted workshops on screenplay writing during 1967 to 1980. During his life time, Nabendu wrote 26 Bengali novels, 18 collections of Bengali short stories and his only English book – ‘Ashok Kumar – His Life and Times’.

Nabendu Ghosh passed away in Kolkata on December 15, 2007 at a ripe age of 91. Nabendu Ghosh’s last novel, ‘Kadam Kadam’ based on the experiences of character actor, Nazir Hussain in INA, was released during his birth centenary year 2016.

If we go through the list of the films for which Nabendu Ghosh wrote screenplays, it would be observed that most of the films were based on stories from literature. His screenplay writings were so powerful that even in respect of women displayed in the films as fallen from the grace from the eyes of the society, the cine audience loved those characters like Chandramukhi in ‘Devdas’ (1955), Kalyani in ‘Bandini’ (1963), Bijli in ‘Chanda Aur Bijli’ (1965), Hirabai in ‘Teesri Kasam’ (1966) and Chandni in ‘Sharafat’ (1970). Raj Kapoor had said after the release of ‘Teesri Kasam’ (1966) that Nabendu Ghosh’s screenplay brought in him the character of  ‘Hiraman’ more than that of Raj Kapoor.

Ratnottama Sengupta, the daughter of Nabendu Ghosh directed one-hour documentary film, ‘And They Made Classic Films’ on the bonding between Bimal Roy and her father based on his interviews. The film was shown at 23rd Kolkata International Film Festival, 2017. One of the interesting anecdotes which Ratnottama Sengupta narrated from the documentary film is –

“On the first day of shoot of ‘Devdas’ (1955), Dilip Kumar was in a tense mood walking up and down on the studio floor. When Nabendu Ghosh asked the reason, Dilip Kumar said that all three are sitting on his shoulders, referring to Pramathesh Barua who directed ‘Devdas’ (1935), KL Saigal who acted in it and Sarat Chandra Chattopadhyay who wrote the novel. She said that Nabendu Ghosh buried all three ghosts and painted a fresh picture of Devdas in his screen-play in such a way that even today when we talk of Devads, we think of Dilip Kumar.” [Quoted in an article by Anuj Kumar in ‘The Hindu’, January 5, 2018).

There were some pitfalls in Nabendu Ghosh’s filmy career also. He never got credit for writing screenplay for the film ‘Madhumati’ (1958). In fact, there is no mention of screenplay writer in the credit title of the film. When Guru Dutt selected one of his stories and wanted him to write screenplay for ‘Kaagaz Ke Phool’ (1959) on his story, Nabendu Ghosh declined by saying that he was busy with the screenplay of ‘Sujata’. He gave his story to Guru Dutt requesting him to get the screenplay written by someone else. When the film was released, Nabendu Ghosh was surprised to note that he was not credited in the film as a story writer while Abrar Alvi was duly credited as screenplay and dialogue writer.

‘Baadbaan’ (1954) for which Nabendu Ghosh wrote the screen-play, is regarded as a classic film though the film did not fare well at the box office. Vijay Anand who claimed in an interview at Satyajit Ray Film and Television Institute, Kolkata in 2003 that he had seen this film 10 times. He regards it as a piece of literature appearing on the screen. It was more of a screenplay writer’s triumph than the director.

I am presenting a song “Thukra Ke Teri Duniya Ko” from ‘Baadbaan’ (1954) which is rendered by Asha Bhosle. The song is written by Indeevar which is set to music by Timir Baran-S K Pal. In this song, Asha Bhosle seems to be trying to sing like Lata Mangeshkar, that too the way Lata has sung in ‘Anarkali’ (1953). Of course, this is my hunch.

Song – Thukra Ke Teri Duniya Ko (Baadbaan) (1954) Singer – Asha Bhosle, Lyrics – Indeewar, MD – Timir Baran, SK Pal

Lyrics

thukra ke teri duniya ko
chaahoon to kar doon choor
magar tere pyaar se hoon majboor
thukra ke teri duniya ko
chaahoon to kar doon choor
magar tere pyaar se hoon majboor
piya teri preet se hoon majboor
 
beh jaaye na teri duniya
aansoo na bahaaungi main
beh jaaye na teri duniya
aansoo na bahaaungi main
meri haaye na tujhko jalaa de
tere paas na aaungi main
mujhe dekhe na teri nazren
dekhe na teri nazren
ho jaaun itni door
magar tere pyaar se hoon majboor
piya teri preet se hoon majboor
 
baddua na dil de baithe
tujh ko na dosh doongi main
baddua na dil de baithe
tujh ko na dosh doongi main
taqdeer ke bair kiya hai
taqdeer se lad loongi main
main tod chalun
main tod chalun ek pal mein
tod chalun ek pal mein
duniya ka har dastoor
magar tere pyar se hoon majboor
piya teri preet se hoom majboor

thukra ke teri duniya ko
chaahun to kar doon choor
magar tere pyaar se hoon majboor
piya teri preet se hoon majboor

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

ठुकरा के तेरी दुनिया को
चाहूँ तो कर दूँ चूर
मगर तेरे प्यार से हूँ मजबूर
ठुकरा के तेरी दुनिया को
चाहूँ तो कर दूँ चूर
मगर तेरे प्यार से हूँ मजबूर
पिया तेरी प्रीत से हूँ मजबूर

बह जाये ना तेरी दुनिया
आंसूँ ना बहाऊँगी मैं
बह जाये ना तेरी दुनिया
आंसूँ ना बहाऊँगी मैं
मेरी हाए ना तुझको जला दे
तेरे पास ना आऊँगी मैं’
मुझे देखें ना तेरी नज़रें
देखें ना तेरी नज़रें
हो जाऊँ इतनी दूर
मगर तेरे प्यार से हूँ मजबूर
पिया तेरी प्रीत से हूँ मजबूर

बद्दुआ ना दिल दे बैठे
तुझको ना दोष दूँगी मैं
बद्दुआ ना दिल दे बैठे
तुझको ना दोष दूँगी मैं
तक़दीर ने बैर किया है
तक़दीर से लड़ लूँगी मैं’
मैं तोड़ चलूँ
मैं तोड़ चलूँ इक पल में
तोड़ चलूँ इक पल में
दुनिया का हर दस्तूर
मगर तेरे प्यार से हूँ मजबूर
पिया तेरी प्रीत से हूँ मजबूर

ठुकरा के तेरी दुनिया को
चाहूँ तो कर दूँ चूर
मगर तेरे प्यार से हूँ मजबूर
पिया तेरी प्रीत से हूँ मजबूर

Tags: , , , , ,

Mera ho balidaan

Posted by: on: September 11, 2018


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 : 3707 Post No. : 14633

——————————————————————–
Discussion on economics-2
——————————————————————–
Any Government, no matter what kind it is (Democratic, autocratic, Kingdom etc) needs money to function.

Government incurrs two kinds of expenditures:
1. Mandatory expenditures- on salaries of government staff, pensions of retired staff, debt servicing on loan taken etc.

2. Public administration, law and order, welfare activities, infrastructure development.

Money for all these comes from taxes, and if taxes are not enough, from borrowings (loans). It is desirable that most amount required for government is collected through taxes and not through borrowings.

Government collects money mainly though taxes. If country makes good progress (typically measured as GDP) then the government benefits through tax. But then how much tax gets collected depends on tax structure of a country as well as on the tax compliance of the country.

In general, higher the GDP, one would expect higher amount of tax collection for a country. But two countries with similar GDP can have collection of different amount of taxes. For instance, France and India have similar GDP. But their tax collections and accordingly their national budgets are different.

CIA factbook figures- from 2017 shows that

Comparison parameter India France
GDP (nominal) $ billions 2611 2584
Percentage of Tax collection to GDP 9.4% 56.2 %
Budget- Revenue $ billions 229.3 1446
Budget- Expenditures $ billions 330.3 1515
Budget deficit in % of GDP 4.1 2.7

Thus we see that India and France have similar GDP, but the revenue collected through taxation etc in France is more than 50 % of GDP whereas India was not able to collect even 10 % of GDP as revenue. So the advantage of such a large GDP could not be made use of by Indian Government. This is food for thought for those in India who do not pay taxes or underpay taxes and then blame government for not doing anything/ enough for them. Government can work to fulfill public aspirations only from the money that they receive as revenue. If Indian Government received as much in revenue as France receives then India would develop at an enormous rate and many public “grievances” would get addressed promptly and effectively.

Indians are used to receiving subsidies instead of paying for the goods/ services. While it may make them feel good on short term basis, these subsidies do not come for free. They are far more costly for the national economy that if we simply paid for the service without availing subsidy.

Let me illustrate my point by the example of petroleum prices which is a “burning” issue in India at present. Opposition parties are telling that the government is harrassing public by not reducing oil prices and so the government is anti people.

Let us examine the issue in some detail.

India imports crude oil and then refines it in refineries of oil companies of India. These refined products are then offered at retail outlets for sale. Though GST regime had come in existence in India but petroleum products are so far kept out of its ambit. So Petroleum products have the same old taxes as before namely excise duty which is levied by Central Government on oil companies and VAT which is levied by state governments at sales outlets.

So, the prices of petroleum products in India are determined mostly by taxes namely excise duty and VAT.

We have seen above that the tax collection in India is abysmal. Direct tax (viz Income tax and corporate tax) is paid by just one percent of population whereas indirect taxes (earlier there were so many of them, now just GST is there) traditionally yielded very little because most of indirect taxes were evaded and they never reached the coffers of the government.

Keeping all this in mind, Governments (Central as well as states) have deliberately kept Petroleum products out of GST and the same old taxes have been kept on them. This is one source of revenue, which unlike Income tax and other indirect taxes cannot be evaded and so it forms a very good chunk of revenues for Central as well as states.

If crude price goes up, then domestic prices are raised. If on the other hand, crude prices drop then domestic prices are not lowered. The additional revenue that accrues to governments when prices are low are plowed back into all these infrastructure and welfare works that are taking place all over the country. As long as this tax money is going for nation building and other essential activities then one should not mind it too much.

Let us examine what happens when Government decides to keep the prices of petroleum prices down artificially despite crude price skyrocketing. It basically means giving subsidy of that amount. Money for subsidy has to be raised from somewhere.

Let us examine the populist actions and their repercussions.

Government decides to lower the price by say Rs 10 and so gives a subsidy of Rs 10 per litre namely it reduced excise duty by Rs 10.

From where this Rs 10 will get compensated ? As discussed above, from tax collected, failing which borrowing. We have already seen what poor tax collection we get in India, so that leaves borrowing as the only option.

Steps Government Action Action for compensation Economic/ Market reaction
ONE Give subsidy Take loan to compensate for the loss Current Account Deficit goes up
TWO Borrow money from market Money borrowed from market by Government Fiscal deficit goes up
THREE Revenue earned in future to be used for repaying debt Money that should have been used for infrastructure/ public works going instead towards loan repayment Interest rate goes up
FOUR External trade gets affected adversely Import increases and export falls Trade deficit goes up
FIVE Rupee weakens Import becomes costly Rupee gets devalued
SIX Foreign currency gets stronger Foreign currency becomes costly and scarce Foreign currency reserve falls affecting imports
SEVEN High Fiscal deficit sends adverse signal to FII (Foreign institutional investors) FII withdraw their money Share market falls and market sentiment becomes negative
EIGHT Foreign capital exits the market Foreign capital becomes scarce Growth of economy slows down

I have stopped at step eight. There are other steps as well that becomes more and more catastrophic. Providing subsidy is akin to taking loan and that too a hefty loan and we keep repaying this loan back for many years and even decades. A good part of revenue earned by the government goes into loan repayment instead of going into useful infrastructure/ welfare work.

Giving subsidy instead of charging for it has cost the nation heavily and the public (who themselves demand these subsidies) themselves have to bear the burden in future.

One question that gets asked it, how did the previous government keep petroleum price in check despite high crude price. Answer- by taking the easy way out viz by providing subsidy. The nation and the public paid heavily for it for years.

Here is how it worked out.

One barrel of crude oil was $130. The government became hell bent on keeping the domestic price low. They gave heavy subsidy and compensated by borrowing money in the form of Oil bond. It caused Fiscal Deficit to rise.

That oil subsidy caused fiscal deficit and that led to interest rise, causing slump of business activities, this in turn led to inflation. The credit rating agency Moody threatened to downgrade India’s credit rating which shows that Foreign investors had lost faith in Indian market.

And all that just because of this populist decision of trying to keep the oil price down through subsidy.

One of the present day oil price rise protester, who was on the PM chair at that time, addressed the nation at that time on 4 june 2008 and he had this to say while providing oil subsidy-

“I would like the nation to remember that issuing bonds and loading deficits on oil companies is not a permanent solution to this problem. We are only passing on our burden to our children , who will have to repay this debt.”

So, those who had no guts to stand up in national interest ten years ago are today demanding that the present government show the same spinelessness that they showed during their time in power.

The Oil bond (viz the loan that they took to pay for oil subsidy) was not for a small amount. It was a hefty amount of Rs 2 lakh crore ($26 billions) and it had to be repaid in future. The present Government repaid it out of the foreign exchange reserve. Just imagine ! That previous government left the burden of this $26 billions loan on future governments and future generation of Indians. This amount, which could have financed lots and lots of infrastructure/ welfare works just went away as repayment of unnecessary loan. To put things in perspective, $26 billions is a bigger amount than what a neighboring country, which is in financial dire strait, is desperately looking for from IMF.

So in summary, I would say that the decision not to reduce oil price is in national interest. It is what is Fiscal discipline is all about. I would like all governments to show the same guts in standing firm in national interest. Fiscal discipline has had a salutary effect on Indian economy. Today inflation is down at around 5 % mark from the usual 10 % mark during oil subsidy days. Current Account deficit is 2.4% from a high of around 5 % in the past. Fiscal deficit, which is an indicator of financial health of the nation, is now 3.2 % of GDP (from past figures of 4.5 % of GDP) which is unprecedented for Indian economy. Foreign exchange, despite weakening rupee is at nearly at an all time high. There was a time when India had to approach IMF and had to pledge their gold to them to borrow a sum of $ 2 billions. Today, with a foreign reserve in excess of $400 billions, $2 billions is small change for India.

Squandering public money on populist activities is an act of gross fiscal indiscipline and its consequances can be devastating. There are examples of countries that were destroyed because of populist policies. Argentina, which used to be an advanced economy till 1950 came under the rule of a populist regime and then military dictatorship which destroyed its economy and that economy lies destroyed even today, with that country looking for an IMF bailout package repeatedly, including at present. Then there are other examples as well, viz Greece, Portugal, Ireland, Cyprus etc. Why look at foreign examples. Even Indian economy lay in ruins in 1990 as a result of fiscal indiscipline for three decades, that forced India to approach IMF for bailout in 1991. A nation that felt stung and humiliated before IMF took up the path of liberalization of economy. Some tough and brave decisions by that government and subsequent governments set India on the path of economical recovery and prosperity.

Instead of being misled on trivial issues by people with selfish motives, we should find out real facts about important issues on our own, instead of blindly believing whatsapp forwards that often originate from people with malicious motives. I have seen whatsapp forwards that “informed” us that oil price in India was the highest while is was very low in Pakistan, Nepal etc. The question to be asked is- do you know the condition of public services in Pakistan and Nepal? Pakistan does not have electricity half the time and their electricity tariff is the highest in the world. Their electricity changes are Rs 16 to 20 per unit. In India it is Rs 4 per unit. Are Indians prepared to pay electricity charges that Pakistanis pay ? In India 10000 pairs of trains run daily and a population equal to that of Australia is travelling on IR at any time. In comparison only about 300 trains run in Pakistan and only a population of 1.8 lakh (equal to population of a small town like Khandwa or Ganj Basoda) is travelling in Pakistan Railway in one day. In India, 3.3 lakh people fly by air daily ! In Pakistan only 6600 passengers fly by air in one day. India have the cheapest internet service in the world which is reasonably fast for the price. Many useful services like Railway and airlines reservations, banking services etc are already accessible on internet. Would Indians be ready to have the kind of internet that Pakistanis “enjoy” ? What about law and order ? Providing all these services takes money, and that money comes from taxes. If you provide petrol at subsidised prices that Pakistan and Nepal apparently do then you end up starving your public services with the result that your public services are of poor quality and/ or non existent.

India should compare themselves with China and there we find that the Chinese petroleum prices are similar to Indian prices.

I, as someone who has as much a stake as anyone else in the country, including politicians, would like all my governments to stand firm and gradually dismantle all subsidies. I would also want the tax collections in the country to come at par with advanced countries. All advanced countries collect atleast 25 to 30 % of their GDP as taxes and that is how they are able to finance their government spendings through taxes without needing to take loans. People not paying their taxes and expecting government to give them freebies/ subsidies, that can only be counterproductive. People who do not perform their duties should not expect any free favours. Nothing is free in this world. Someone has to pay for the services that some people may be availing for free or at subsidised rates. It is better if everyone pays for the services he /she is availing.

In brief, one has to make “sacrifices” if one wants to have a better and more prosperous future. If one looks around, one can see infrastructure works going on all around in areas like roadways, railways, ports, waterways, metros, Airports. Then there are welfare works like Pradhan Mantri Jeevan Jyoti Bima Yojana, Pradhan Mantri Suraksha Bima Yojana, Ujjawala, Ujaala, Jan Dhan Yojna, Pradhan Mantri M Jan Aushadhi Kendra etc. If taxes paid by us in various forms (including taxes on petroleum) are going for building infrastructure as well as for helping the poor sections of society, then where is the problem. I in fact would feel happy that my taxes are helping the nation grow visibly. What is there to feel aggrieved about ?

Instead of feeling aggrieved about petroleum prices that are not within our control because they are imported, we should on our own try to reduce our dependence on fossil fuel and look for alternative sources of energy that would be within our own control. Government is making long term plans to reduce our dependence on fossil fuel. We may not have notice it, but solar energy is being aggressively promoted. India is rich is sunlight and so we will be self sufficient in solar energy. Today it may only be supplying 2 % of our energy needs, but before we blink our eyes, we will find as much as 50 % of our energy needs being met by solar energy by 2030. That will reduce our dependence on fossil fuel a great deal and oil prices will become a non issue.

“Durga Pooja”(1954) produced by Dhirubhai Desai and his son Sharad Desai and directed by Dhirubhai Desai for Sharad productions, Bombay. The film had Trilok Kapoor, Shahu Modak, Nirupa Roy, S N Tripathi, Kamal, Indira Bansal, Prabha Shanker, Yashodhara Katju etc in it.

The movie had ten songs in it. Two songs have been covered in the past. Here is the third song from “Durga Pooja”(1954) to appear in the blog. The song is sung by Asha Bhonsle. Bharat Vyas is the lyricist. Music is composed by S N Tripathi.

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

I have not been able to get a few words correct in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.

Audio

Song-Mera ho balidaan (Durga Pooja)(1954) Singer-Asha Bhonsle, Lyrics-Bharat Vyas, MD-S N Tripathi

Lyrics

mera ho balidaan
mera ho balidaan
mera ho balidaan
mera ho balidaan
mere jeewan ke badle mein
miley kisi ko praan
mera ho balidaan
mera ho balidaan

uthho sakhi mere aansu
ro ro kar tumhen uthhaayen
aaj tumhaare charnon par
ye apne praan chadhaayen
sakhi ko miley suhaag amar
aur mera ho balidaan
mera ho balidaan
mera ho balidaan
mera ho balidaan

pati ke dukh mein dukhi rahe
wo bharat ki sannaari
swaami ko jeewan de wo
ji uthhe raajkumari
iski maut mujhe
mera jeewan ho is ko daan
mera ho balidaan
mera ho balidaan
mera ho balidaan

sachhi meri prem saadhna
sachhi pati Vrat??
sachha mera prem(??) agar hai
sachhi pati sang preet
sachhi hai yadi durga maiyya
to mujhko ye var de
pati sewa ke badle
meri ?? ko kar de
hey jagdambey hey ambey
do yahi mujhe vardaan
mera ho balidaaan
mera ho balidaaan
mera ho balidaaan

Tags: , , , ,

Ke lo ham aaye dulha bhaiyya ke baaraati ban ke

Posted by: on: March 10, 2018


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 : 3522 Post No. : 14146

“Aan Baan” (1972) was produced by Malik Chand Kochar and directed by Prakash Mehra. The movie had Rajendra Kumar, Rakhi, David Abraham, Jagdeep, Pran, Sunder, Kumkum, Som Dutt, Kanhaiyalal, Anwar Hussein, Tabassum etc in it.

The movie had six songs in it. Five of these songs have been covered in the blog. Here are the details of the songs from the movie that have been covered so far :-

Song Title

 Post No.

Post Date
Tum meri ho mere siwaa kisi ki nahin 4186 12-Jul-11
Badnaam ho gayaa dil bas aapki badaulat 4679 22-Sep-11
Jab tum ho mere hamsafar khoobsoorat 8536 15-Aug-13
Ooper dekho ya neeche 9667 5-Apr-14
Naam nahin koi dhaam nahin 14141 9-Mar-18

Here is the sixth and final song from “Aan Baan”(1972) to appear in the blog. This song is sung by Rafi. Gulshan Bawra is the lyricist. music is composed by Shankar Jaikishan.

The song is picturised as a baaraat song with Rajendra Kumar lip syncing the song as part of the baaraat, being the brother of the dulha. It turns out that he was in love with the dulhan Raakhi all these days and he is doing some sort of “sacrifice” by letting his brother marry his lady love. Those were the days when Hindi movies had some actors who would “sacrifice” out of thin air even when no sacrificing was called for. 🙂

Nevertheless, this song is the sixth and final son from “Aan Baan”(1972) to appear in the blog. with this song, “Aan Baan”(1972) joins the list of movies that have all their songs covered in the blog.

Audio

Video

Song-Ke lo ham aaye dulha bhaiyya ke baarati ban ke (Aan Baan)(1972) Singer-Rafi, Lyrics-Gulshan Bawra, MD-Shankar Jaikishan

Lyrics

mat poochho jo khushi ke maare
aaj hai apna haal
aankhon mein chhaayi hai masti
bahek rahi hai chaal

ke lo hum aaye dulha bhaiya ke baaraati ban ke
ke lo hum aaye dulha bhaiya ke baaraati ban ke
aaj duniya hai hamaari ee
haay
aaj duniya hai hamaari chalenge tan ke
ke lo hum aaye dulha bhaiya ke baaraati ban ke
ke lo hum aaye dulha bhaiya ke baaraati ban ke

pyaar ke dekho kaise kaise rang aaye hain sehre mein
hamne apne armaanon ke phool sajaaye sehre mein
pyaar ke dekho kaise kaise rang aaye hain sehre mein
hamne apane armaano ke phool sajaaye sehre mein
dil ke gulshan se ae
haay dil ke gulshan se
laaye hain jo chun chun ke
ke lo hum aaye dulha bhaiya ke baaraati ban ke
ke lo hum aaye dulha bhaiya ke baaraati ban ke

wahaan talak khushiyaan hi khushiyaan
najar jahaan tak jaati hai
khush kismat logo ko kismat aisa din dikhlaati hai
wahaan talak khushiyaan hi khushiyaan
najar jaha tak jaati hai
khush kismat logon ko kismat aisa din dikhlaati hai
isi din ko o
haay
isi din ko gujaare din gin gin ke
ke lo hum aaye dulha bhaiya ke baaraati ban ke
ke lo hum aaye dulha bhaiya ke baaraati ban ke

khushi mein dhadkan tez ho gayi
tej karo lay baaje ki
apni manjil tak aa pahunchi
ghodi dulhe raaje ki
khushi mein dhadkan tej ho gayi
tej karo lay baaje ki
apni manzil tak aa pahunchi
ghodi dulhe raaje ki
ho dil jhoome ae
haay dil jhoome
shehnaayi ki sadaayein sun ke
ke lo hum aaye dulha bhaiya ke baaraati ban ke
ke lo hum aaye dulha bhaiya ke baaraati ban ke

aaj duniya hai hamaari ee
haay
aaj duniya hai hamaari ee
chalenge tan ke
ke lo hum aaye dulha bhaiya ke baaraati ban ke
ke lo hum aaye dulha bhaiya ke baaraati ban ke

Tags: , , , , ,

Shamma Bujhne Ko Chali

Posted by: on: April 16, 2017


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.

Mohammed Rafi – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 35
– – – – – – – – – – – – – – – – – – – – – – – – – –

‘श’

“शम्मा बुझने को चली”

Of the many colors of Rafi Sb’s voice, probably the most touching, and the most impressive is his interpretation of the emotions of sadness. Maybe, it be so that the “. . . sweetest songs are the ones that tell of the saddest thoughts” (from the poetry of Percy Shelley, that inspired the iconic song of ‘Patita’ (1953) – “Hain Sab Se Madhur Wo Geet Jinhen Hum Dard Ke Sur Mein Gaate Hain”). And maybe, that the genuineness and honesty of expressions that go together with the unfeigned and substantive voice of Rafi Sb, it simply makes us feel the true depth of this ‘sweetness’ – a sweetness that touches a very familiar, a very dear chord within.
Read more on this topic…

Tags: , , , , , , , ,

Hum Jaan Lutaa Denge Apni Saajan Ki Jaan Se Pehle

Posted by: on: October 23, 2015


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.

Songs to Tickle Your Memory – 27
– – – – – – – – – – – – – – – – – –

मजरूह का गीत हो
चित्रगुप्त संगीत हो
लता की आवाज़ हो
और कुमकुम का नाच हो॰॰॰
           ॰॰॰ तो कैसे आए ना नाग बस में

 

majrooh ka geet ho
chitragupt sangeet ho
lata ki awaaz ho
aur kumkum ka naach ho. . .
      . . .to kaise aaye na naag bas mein

Welcome all.  The blog is compounding its riches, and is coming to another century milestone today – this halt being the 10,500th song.  Congratulations to all friends, readers and contributors.
Read more on this topic…

Tags: , , , , , , , , , ,

Teri Chaahat Mein Balam

Posted by: on: June 12, 2015


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a regular 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.

On this blog, we have discussed often about the confusion in data and information related to films, songs and artists.  Across the various sites online, and even in print sources, there is so much misinformation floating around that it is really difficult to now have a trust on any one source.  The subject of this post is one such case in example.
Read more on this topic…

Tags: , , , , , ,

Duniya mein aaya hai to phool khilaaye jaa

Posted by: on: October 1, 2012


“Mera Armaan Mere Sapne”(1963) was a Lalit Kala Mandir Production. It was directed by Arvind Sen. The movie had Pradeep Kumar, Naaz, Sumitra Devi, Johnny Whisky, Jayshree Gadkar, Pran, Asim Kumar etc in it.
Read more on this topic…

Tags: , , , , ,

What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over FOURTEEN years. This blog has over 17800 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2023) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

17808

Number of movies covered in the blog

Movies with all their songs covered =1365
Total Number of movies covered=4740

Total visits so far

  • 15,855,059 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,971 other subscribers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Historical dates

Blog Start date: 19 july 2008

Active for more than 5000 days.

networked blogs

Archives

Stumble

visitors whereabouts

blogadda

Visit blogadda.com to discover Indian blogs

blogcatalog

Music Blogs - BlogCatalog Blog Directory

Blog at WordPress.com.

%d bloggers like this: