Archive for the ‘Shreya Ghoshal Songs’ Category
Aadhi raat jab chaand dhale
Posted on: February 15, 2023
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 : |
5325 | Post No. : | 17455 | Movie Count : |
4696 |
In this article, I propose to explore two films – ‘Duvidha’ (1973) directed by Mani Kaul and ‘Paheli’ (2005) directed by Amol Palekar. Both these films are based on a short story, ‘Duvidha’ by the writer of Rajasthani literature and Sahitya Akademy Award winner, Vijaydan Detha (popularly known as ‘Bijji’). Bijji wrote the short story in 1958 by using a verbally transmitted Rajasthani folktale to convey a bride’s silent defiance of the prevailing patriarchal system by embracing a ghost as her husband when her real husband leaves for a faraway town on business for 5 years, two days after the marriage. The defiance came from the fact that her husband did not take into consideration his wife’s emotional needs while taking this decision. The author has used the metaphor of the ghost through which the wife’s silent revolt occurs.
The English translation of Bijji’s short story ‘Duvidha’ (The Dilemma) is here. I have considerably summarised the story as under:
A wealthy Seth’s son had just got married and they were returning home in a bullock cart procession. On the way, they took rest for lunch under the shadow of a large banyan tree which was the dwelling place of a ghost. The ghost’s eyes gauged the bride, and he instantly fell in love with her when she partially lifted her veil. During the post lunch procession, the bridegroom told the bride that after two days which was an auspicious day, he would be leaving home for a business trip to earn money and he would return home after 5 years. The bride was shocked. She thought that she had separated from her parents, brothers, sisters, and friends just to take this husband’s hand. And now she will be left alone in the company of strangers in her new house. But in a world of patriarchy, the will of the husband was the will of the wife.
In the meanwhile, enamored by the beauty of the bride, the ghost was planning as to how he could be with the bride. He got a chance when he came to know that the bridegroom was setting out for a journey and not returning home for the next 5 years. He thought if he took the form of the bridegroom, no one would recognise him as a ghost. The ghost turned up the next day at the Seth’s doorstep as his son and gave a convincing reason for his return that he would earn every day 5 gold coins by remaining here. The father and mother were happy that the son would be with them.
The ghost came to the bride’s bedroom and presented himself as her husband who had returned. The wife thought that her husband could not withstand the separation from her even for one day and was happy. The ghost was in dilemma whether to tell her the truth or carry forward impersonating as her husband for the next 5 years. The ghost decided to tell her the truth that he was a ghost that had taken the form of her husband as he fell for her beauty when her wedding procession was resting below his dwelling. He told her that since her parent-in-laws had taken him to be their son, there is no way his secret would come out. However, the ghost left the decision to accept him as her husband to the bride.
The bride was in dilemma. She thought that her husband was immersed in his ledgers. For him, there was no difference between the pages of ledger and the face of a woman. He has never bothered about a wife’s desires. If she could not control the one who went away, how she could control the one who came and loved her. She also felt that this ghost was so considerate that he asked for her consent before she accepted him as her husband, whereas none asked her consent when the marriage was fixed. The option was either she had to face loneliness or a relationship. She chose the latter and accepted the ghost as her husband.
Three years passed. Seth’s daughter-in-law became pregnant. The news reached the real husband through a visitor from his village. He was astonished. He at once set out to his village and found that midwives were tending to his wife who was moaning. So, the news was true. When the son met his parents, they were perplexed. They refused to believe him to be their son. The news spread like fire in the entire village. Now it become clear that out of the two same looking man, one was a cheat.
To decide as to which one was a cheat, the Seth and villagers went to a wise shepherd who tricked the ghost by making him to enter the empty waterskin, after which he tied the opening of the waterskin and threw it in the deep well for his eventual death. The real husband returns home and console his wife that it was not her mistake. If the parents could not recognise their real son, how could she recognise her real husband. For the wife, it was back to square one. She follows the same patriarchal order – obeying her parent-in-laws and husband without questioning. She wishes that when her daughter attains her womanhood, she would not have to experience her mother’s sufferings.
I have watched both films sometime back. There is a wide difference in the narrative style and the cinematic treatments adopted by Mani Kaul and Amol Palekar in their respective films. Of course, one had to recognised that both these films were made about 30 years apart during which the filmmaking technologies have changed like digital cinematography, computer generated special effects etc. Also, there are changes in the way the new generation of the film makers (director) and the consumers (cine audience) would respond to a similar theme.
‘Duvidha’ (1973) was produced on a shoestring budget. The main actors – Ravi Menon, fresh from FTII and Raisa Padamsee, the 16-year old Paris-based daughter of Akbar Padamsee, had no experience of acting in film or theatre. So, the main actors of the film were not carrying the images of the established actors. Actors appeared on the screen without make-up. The film was shot in a remote village in Jodhpur district which did not have even an unpaved road. The dwellings used during the shooting were real. Thus, the film depicted realism. It was an art film meant mainly for the niche audience.
‘Paheli’ (2005) on the other hand was a high budget film. Amol Palekar gave a modern feel to the story with a galaxy of star-actors, visual treats in the form of music and dances, extravagance setting, colourful costumes and jewelry. Technically also, it is a superb film. Perhaps, Amol Palekar wanted the story of the film to reach the wider audience, I gathered from one of the interviews of Amol Palekar that when he met ‘Bijji’ to get his permission to make the film, he apprised the author that his treatment to the story would be quite different from that attempted by Mani Kaul. He also said that he would like to change the end of the story to reflect progressive thinking. The author agreed with both. The film ends with the wife making a conscious decision to remain with the ghost while in the original story, the ghost is neutralised.
According to Amol Palekar, when he met Shahrukh Khan with the script and offered him the double roles of a newly wedded husband and the role of the ghost, he not only agreed to do the role, but he also requested Amol Palekar to allow him to produce the film under his then newly established film production banner, Red Chillies Entertainment. Apart from Shahrukh Khan and Rani Mukherjee in the lead roles, other actors comprised of Anupam Kher, Neena Kulkarni, Dilip Prabhawalkar, Padma Rani, Aditi Govitrikar, Suneil Shetty, Juhi Chawla (both in guest roles), Rajpal Yadav etc. Amitabh Bachchan played a cameo role of a wise shepherd. The star-stubbed film’s shooting was completed in 47 days which was majorly shot in Jhunjhunu district.
In ‘Duvidha’ (1973), Mani Kaul did not deviate much from the original story. He relied mainly on narratives, symbolism, and expressions of the actors in conveying the reactions of the characters involved than on the dialogues. Hence, most of the time, the actors have been shot in tight close-ups to capture their expression. For instance, in the first 10 minutes of the scene during which the newly wedded bride and bridegroom are travelling on a bullock cart, bride hardly talks. The bridegroom is busy with tallying his marriage expenses account. When the husband (Ravi Menon) tells his wife (Raisa Padamsee) that in the next two days, he would leave home for a faraway town for business and he would return only after 5 years, the wife is shocked by his revelation. But instead of starting the conversation, her reaction of a shocked expression on her face is captured in close up. She registers her protest by throwing the leftovers berries on the road as for her now, they no longer taste good.
In ‘Paheli’ (2005), Amol Palekar mainly relied on dialogues. Some part of the story was conveyed to the audience in narrative form through puppets with voice-overs by Nasiruddin Shah and Ratna Pathak Shah mostly for the ghost. For me the most important difference was that in ‘Duvidha’ (1973), the roles of husband and wife played by Ravi Menon and Raisa Padamsee had nicely merged with the characters of the original story. But no such feeling came to me while watching Shahrukh Khan and Rani Mukherjee in similar roles.
Despite the galaxy of stars, the extravagance in terms of production values and excellent music, ‘Paheli’ (2005) did not create ripples on the box office. The film was India’s official entry for 79th Oscar in the category of the Foreign Language Films. It is nearly 18 years after the release of the film. I feel that this film would become one of the classic Hindi films in the future. Similarly, the reference to ‘Duvidha’ (1973) would naturally come while discussing the evolution of offbeat Hindi films in India.
‘Duvidha’ (1973) had no songs specifically composed for the film. Nor did the film have background music except that a couple of traditional Rajasthani folk songs rendered by the folk singers were used as background music. ‘Paheli’ (2005) was conceived as a musical film and had six songs of which 5 songs were based on the Rajasthani folk songs. All the songs were written by Gulzar which were set to music by M M Kreem (Keeravani). All the songs are very melodious and are well picturised.
I am presenting the first song from the film to appear on the Blog. It is also the opening song of the film along with the credit titles. The song is ‘aadhi raat ko chaand dhale aur koi na ho pichhwaade mein’ rendered by Shreya Ghoshal, Madhushree (real name: Sujata Bhattacharya) and Bela Shende. The song starts as a pre-wedding song. But towards the end, song turns into a post-wedding (bidaai) song.
In the opening lyrics of the song, there is a hint to the bride (Rani Mukherjee) from her friends not to immediately say ‘yes’ to bridegroom’s pleading. I think Gulzar wrote opening lines to indicate the women’s empowerments through the bride that she has the choice to say ‘yes’ or ‘no’ for the marriage. In reality, however, in those days when the story was written, consent of bride for the marriage was taken for granted.
The song is a good audio-visual treat.
Video Clip:
Audio Clip:
Song-Aadhi raat jab chaand dhale (Paheli)(2005) Singers-Shreya Ghoshal, Madhushree, Bela Shende, Lyrics-Gulzar, MD-M M Kreem
Lyrics
aadhi raat jab chaand dhale
aur koi na ho pichhwaade mein
chaap dabaake thhaade rahiyo
tu aadhe re
aadhi raat jab chaand dhale
aur koi na ho pichhwaade mein
chaap dabaake thhaade rahiyo
tu aadhe re
minnat kare
na maaniyo
painyyaan pade
na maaniyo
agar woh haan keh de..ae
na kehna
woh na kehde…ae
haan kehna
jaan ki kasam de to
aadhi raat jab chaand dhale
aur koi na ho pichhwade mein
chaap dabake thaade rahiyo
tu aadhe re
minnat kare
na maaniyo
paiyyaan pade
na maaniyo
jewar na bole koi
ghoonghat na khole koi
ankhiyaan dikha deejiyo…o o
baataan mein uljhaaye to
poochho jo samjhaaye to
to mundiya hilaa deejiyo
darwaaje se kaan laga ke
sunti hongi sabi sakhiyaan
laaj waaj ko chhod chhaad kar
kundi kewade mein
minnat kare
na maaniyo
painyyaan pade
na maaniyo
jaa jaa naadaan paheli
barson ke baad saheli
jagne ki raat aayi hai
dekha karti thhi sapna
sapne ko aakhir apna
kehne ki raat aayi hai
dekh paraaye khasmon se tu
jalti kyun hai byaah kar le
door door se taak jhaank mst
aa jaa akhaade mein
aadhi raat jab chaand dhale
aur koi na ho pichhwaade mein
chaap dabaake thaade rahiyo
tu aadhe mein
minnat kare
na maaniyo
painyyaan pade
na maaniyo
gudiya batole more
doli mein rakhwa deejo
naani kahaani laawe
bhaiyya ko bulwa deejo
doli gali mein khadi ee
doli gali mein khadi
aa aa aa aaa aaa
aa aa aa
aa aa
maiyyaan ko lekar jaave
sang bhi jaao saheli
baabul re baabul tori ee
jaaye na jaaye akeli ee
jaaye na jaaye akeli
doli gali mein khadi..ee
doli gali mein khadi
doli gali mein khadi..ee
doli gali mein khadi
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5250 | Post No. : | 17252 | Movie Count : |
4644 |
Hullo Atuldom
History of Indian cinema is incomplete without mentioning the influence of Parsi theatre, specially in the initial years of the film industry. When we throw a question to Google about “influence of Parsi theatre on Indian Film Industry” this reply pops up:- “Stylistic elements like declamatory theatrical performances, the progression of narrative through song & dance sequences, melodrama, disguise & plot reversals”. I am sure there are knowledgeable followers of Atuldom who will be able to throw more light on this subject. If I recall, our in-house encyclopaedia Shri Arunkumar Deshmukh, has written about this in a few of his posts.
I think Sohrab Modi was one of the first Parsis in Indian Cinema and there have been many Parsi actors in later years too and I remember many of them in character roles- Dinyar Contractor, Dinyar Tirandaz and his wife Roshan, Daisy Irani, Maneka Irani, Honey Irani, etc. Nauheed Cyrusi, Perizad Zorabian of the current generation have played central characters. There are some mainstream actors who have a Parsi parent or grandparent. I am not going to list all of them here.
I will just say that the celebrity who celebrates his birthday on 2nd December is from Parsi Theatre. He began by playing Mohammad Ali Jinnah in “Gandhi” – a play which was followed by some more theatrical appearances and ads for ‘Krackjack’ (the biscuit), ‘Fanta’ (the cold drink), etc.
Of course he began his life at The Taj Mahal Palace & Tower as a waiter and room service personnel. He also helped his mother in running her bakery & Namkeen shop in South Mumbai. With the tips that he gathered at the Taj he saved up enough to buy a camera which he used to click photos of school cricket & football matches which he sold for 20 and 30 rupees.
We are reading about Boman Irani. He made his on-screen debut in 2000 with a blink-n-miss role in Mansoor Khan’s “Josh”. “Everybody Says I’m Fine!” (2001 release) was an Indian-English language film that was also actor Rahul Bose’s directorial debut and Boman Irani’s first screen presence of substance. Then we have had a deluge of memorable roles of this multi-talented versatile actor- Dr. J.C. Asthana (“Munna Bhai M.B.B.S” in 2003), Principal Viru Sahastrabuddhe a.k.a. VIRUS (“3 Idiots” in 2009), the forgetful college Principal of ‘Main Hoon Na’ (2004) etc etc. He has played Farokh Engineer in the 2021 release “83”. He has also acted in Tamil, Telugu, Malayalam, Marathi, Kannada films. A notable aspect of Boman Irani’s career is that he has never played any character that makes a caricature of any community.
Boman Irani has acted in a movie where he was romantically paired opposite Farha Khan (one of those in the industry with Parsi antecedent). It had a cast of Daisy Irani, Shammi, Mahabanoo Modi Kotwal, Nauheed Cyrusi, Dinyar Contractor, Kurush Deboo etc. The movie was “Shirin Farhad Ki Toh Nikal Padi” (release date 24 August 2012) which was directed by Bela Bhansali Sehgal and produced by Sanjay Leela Bhansali. It had music by Chandrajeet Ganguly a.k.a Jeet Gannguli, Amitabh Bhattacharya and Faraz Ali were the lyricists for sings sung by K.K., Shreya Ghoshal, Usha Uthup, Mohit Chauhan and Neeraj Shridhar.
The song with this post is a romantic song where we see Farha Khan and Boman Irani romancing in typical Bollywood fashion.
Video
Audio
Song-Ishq mein tere bina dil hi na lage(Shirin Farhad Ki to Nikal Padi)(2012) Singer-Shreya Ghoshal, KK, Lyrics-amitabh Bhattacharya, MD-Jeet Ganguly
Lyrics
rum da ra ra ra
pa rararara
rarararara
rum da ra ra ra
pa rararara
rarararara
hai dosti
kuchh zyaada zindagi se ho gayi
hai dosti
phir taaza zindagi se ho gayi
ye pyaar tera
khumaar sa hai
suhaane khwaab humne bhi bune ae
ishq mein tere bina
ishq mein tere bina
dil hi na lage
ishq mein tere bina
ishq mein tere bina
dil hi na lage
ahhahaha
tujhe milke samjhe
tujhse pahle kaisi
thi zindagi
thi zindagi
chehre se gulshan dil se sehra jaisi
thi zindagi ee
thi zindagi ee
ye pyaar tera
ye pyaar tera
bahaar sa hai
bahaar sa hai
to aaj phool humne bhi chune
ishq mein tere bina
ishq mein tere bina
dil hi na lage
ishq mein tere bina
ishq mein tere bina
dil hi na lage
meri har dhadkan pe toone khwaahish likh di
kya baat hai
kya baat hai
mere bikhre sur thhe
toone bandish likh di
kya baat hai
kya baat hai
ye pyaar tera
ye pyaar tera
malhaar sa hai
malhaar sa hai
taraane aaj humne bhi sune ae
ishq mein tere bina
ishq mein tere bina
dil hi na lage
ishq mein tere bina
ishq mein tere bina
dil hi na lage
hai dosti kuchh zyaada zindagi se ho gayi ee ee
hai dosti phir taaza zindagi se ho gayi
ye pyaar tera
ye pyaar tera
bahaar sa hai
bahaar sa hai
suhaane khwaab humne bhi bune
ishq me tere bina
haan tere bina
dil hi na lage
ishq mein tere bina
haan tere bina
dil hi na lage
ishq mein tere bina
haan tere bina
dil hi na lage
ishq mein tere bina
ha tere bina
dil hi na lage
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5220 | Post No. : | 17212 |
Hullo Atuldom
This is a multi-birthday post.
First and foremost we shall be wishing our Sudhirji- The Dillwala Dilliwala; Atulji’s trusted lieutenant on his birthday. He has been a huge help to Atulji and that has ensured that the blog has had no dot days since 25th December 2019. Let us all wish this Atulite with lots of fun and music.
“Main Hoon Na” (2004) was a Farah Khan directed film which was produced by Gauri Khan’s ‘Red Chillies Entertainment’ & Ratan Jain’s ‘Venus Records and Tapes’. Shahrukh Khan, Sushmita Sen, Zayed Khan, Amrita Rao, Bindu, Boman Irani, Satish Shah, Kirron Kher and Suniel Shetty were the main cast with Naseeruddin Shah and Kabir Bedi in special and guest appearances respectively. The songs were penned by Javed Akhtar and composed by Anu Malik. Shreya Ghoshal, Sonu Nigam, Abhijeet, KK, Vasundhara Das, Alka Yagnik, Sunidhi Chauhan and the Sabri brothers- Hashim & Aftab are the playback singers used in the movie.
With this song SRK (Shahrukh Khan) is shown trying to mingle among the young college crowd. He is shown as the odd man out or a student who is trying to restart his studies which he had to give up owing to family responsibilities etc. The younger crowd initially don’t want to associate with him but eventually they become a clique and then the story proceeds towards a climax where the students are held hostage, SRK with the help of his army forces helps rescue the young brigade, bring/ eliminate Suniel Shetty & group etc. before the happy ending. That means the movie was an all-out masala film.
The song is in the voices of Shreya Ghoshal and Sonu Nigam. There is a sad version too in Abhijeet’s voice.
2nd November also happens to be SRK and Anu Malik’s birthday. Here is wishing them all the best for the future and hoping that they continue go entertain us.
This words of this song may have been what Sudhirji told Atulji when he started sharing the responsibility of keeping the blog from having DOT days. 🙂
Duet version (Sonu Nigam and Shreya Ghoshal)
Solo version video (Partial)(Abhijeet)
Solo version Audio (full)(Abhijeet)
Song-Kiska hai ye tumko intezaar main hoon naa (Main Hoon Na)(2004) Singers-Sonu Nigam, Shreya Ghoshal/ Abhijeet, Lyrics-Javed Akhtar, MD-Anu Malik
Lyrics
Duet version (Sonu Nigam, Shreya Ghoshal)
————————–
hmm
kiska hai ye tumko intzaar
main hoon na aa aa
dekh lo idhar to ek baar
main hoon na aa aa
kiska hai ye tumko intzaar
main hoon na aa aa
dekh lo idhar to ek baar
main hoonn na aa aa
khaamosh kyun ho jo bhi kehna hai kaho
dil chaahe jitna pyaar utna maang lo
ho o
tumko milega utna pyaar
main hoon na aa aa
kiska hai ye tumko intzaar
main hoon na aa aa
dekh lo idhar to ek baar
main hoon na aa aa
kabhi jo tum socho
ke tum ye dekho
arre kitna mujhko tumse pyaar hai ae ae ae
to chup mat rehna
ye mujhse kehna
are koi kya aisa bhi yaar hai
dil hi nahin de
jaan bhi de jo tumhen
dil hi nahin de
jaan bhi de jo tumhen
ho o
to main kahoonga sarkaar
main hoon na aa
kiska hai ye tumko intzaar
main hoon na
dekh lo idhar to ek baar
main hoon na
khamosh kyun ho jo bhi kehna hai kaho
dil chaahe jitna pyaar utna maang lo o
ho o
tumko milega utna pyaar
main hoon na
kiska hai ye tumko intzaar
main hoon na
dekh lo idhar to ek baar
main hoon na
kehne ki ho dil mein koi baat
mujhse kaho
koi pal ho din ho yaa ho raat
mujhse kaho
koi mushkil koi pareshaani aaye
tumhen lage kuchh theek nahin haalaat
mujhse kaho
koi ho tamanna yaa ho koi aarzoo
koi ho tamanna yaa ho koi aarzoo
ho o
rehna kabhi na beqaraar
main hoon na
kiska hai ye tumko intzaar
main hoon na
dekh lo idhar to ek baar
main hoon na
khaamosh kyun ho jo bhi kehna hai kaho
dil chaahe jitna pyaar utna maang lo
ho o
tumko milega utna pyaar
main hoon na aa aa
kiska hai ye tumko intzaar
main hoon na aa aa
dekh lo idhar to ek baar
main hoon na aa
——————————–
Solo sad version (Abhijeet)
——————————–
khoya hai paake jisne pyaar main hoon na
bechain main hoon bekaraar main hoon na
koi toh ho aisa jisko apna keh sakoon
koi toh ho aisa jiske dil mein reh sakoon
ho o
koi toh kehta ek bar main hoon na aa aa
khoya hai paake jisne pyar mai hoon na
bechain mai hoon bekarar main hoon na
jo bandhan toote
jo apne roothhe
paas aa jaaye phir se dooriyaan
yeh kyun hota hai
ke dil rota hai
bebas ho jaati hai yeh zabaan
apne toh saare iss kinaare reh gaye
apne toh saare iss kinaare reh gaye
ho o
tanha chala jo uss paar
main hoon na aa aa
khoya hai paa ke jisne pyaar
main hoon na
bechain main hoon bekarar
main hoon na
jahaan bhi main jaaun
jahaan bhi main dekhoon
saare chehre begaane se hain
kabhi koi tha jo mera hi tha
yeh kisse abb afsaane se hain aen
kal zindagi ne khel khele thhe naye
kuchh log jeete jeet ke sab le gaye
ho o
hisse mein aaya jiske har
main hoon na aa aa
khoya hai paake jisne pyaar main hoon na
bechain main hoon bekarar main hoon na
Main tainu samjhaawaan ki
Posted on: September 5, 2021
This article is written by Arunkumar Deshmukh, 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 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 : |
4797 | Post No. : | 16558 | Movie Count : |
4509 |
Today’s song is from the film Humpty Sharma ki Dulhania-2014.
In the morning of 2nd September 2021, all the newspapers had the Front page news about the death of Bollywood’s young actor Sidharth Shukla, by Heart attack. They also flashed his photo. Looking at his photo, I thought he was quite a good looking macho fellow. Unlike my daily habit of reading only the headings of news ( rarely any news is worth reading these days), I read the complete news of Sidharth’s death- in Times of India and Maharashtra Times. I was surprised that such a healthy, athletic looking young man should get a Heart Attack and die of it !
Out of curiosity, I looked for his Bio-Data on the Internet and frankly, I was more than impressed. A boy from a middle class family in Bombay had achieved so much in so short a period-2005 to 2021, that it was just short of a Miracle. I seriously wanted to know more about him, his achievements, his desires, family, his career and his death.
Yesterday, the whole day, I was looking for information about him on the Internet and after learning enough about him, I thought he deserved a special post on our Blog. In the normal routine, I would not write a post on any recent film ( only because I am not in tune with modern cinema), but then this was an unusual event which I thought called for going deep into why such successful artistes die so early.
I came across an interview of Dr. Ashwini Mehta, Cardiologist in Sir Gangaram Hospital, Delhi, on this issue. He is of the opinion that even if the person is perfect in physical health, goes to Gym regularly etc, work stress and an unnatural desire to always remain fit can lead to Heart attack. The methods that artistes adopt to remain ever young are harmful. In case of Sidharth, he was brought dead to the Hospital. His Post Mortem report coming today has not revealed the exact cause. It expresses a doubt that perhaps excess Protein Diet could be one reason. More test reports are awaited.
The show business world is a killing one. On one hand it gives you name, fame and Money and on the other hand it kills you if you attempt to maintain these things beyond a limit by adopting wrong methods. There are many examples. I recollect reading somewhere that even Sri Devi did everything possible to remain beautiful always, till she succumbed to these very attempts.
In the last few years, there have been several unnatural deaths of young and upcoming artistes who adopted too much effort to remain happy and in public eyes all the time. This in turn gave them mental stress. few such examples of recent times are Sushant Rajput, Arathi Agarwal, Jiah Khan, Divya Bharati, Taruni Sachdev, Pratyusha Banerjee, Nafisa Joseph, Kuljit Randhava etc etc.
I gathered the life story of Sidharth Shukla from various sources on the internet. It is simply an outstanding career. However, now we know what attempts he used to adopt and at what cost…His Life !
Sidharth Shukla (12 December 1980 – 2 September 2021) was an actor, host and model who appeard in Hindi television and films. He was known for his roles in Broken But Beautiful 3, Balika Vadhu and Dil Se Dil Tak. He emerged as the winner of reality shows Bigg Boss 13 and Fear Factor: Khatron Ke Khiladi 7. He hosted Savdhaan India and India’s Got Talent. He won the World’s Best Model title in December 2005 beating 40 other participants from across Asia, Latin America, and Europe. He made his acting debut with a lead role in the 2008 show Babul Ka Aangann Chootey Na. In 2014, Shukla made his Bollywood debut in a supporting role in Humpty Sharma Ki Dulhania.
Shukla was born on 12 December 1980 into a Hindu family in Bombay (present-day Mumbai) to Ashok Shukla, a civil engineer employed at the Reserve Bank of India and Rita Shukla, a homemaker. He lost his father because of a lung disorder during his modelling days. He has two elder sisters. Shukla attended St. Xavier’s High School, Fort, Mumbai and holds a bachelor’s degree in Interior Design from Rachana Sansad School of Interior Design. Shukla has described himself as a very athletic child, and represented his school in tennis and football. He played against Italian football club, AC Milan’s under-19 team, on their Mumbai visit as part of Festa Italiana.
After completing bachelor’s degree in interior design, Shukla worked in an interior designing firm for a couple of years.
In 2004, Shukla was runner-up in the Gladrags Manhunt and Megamodel Contest. He appeared in a video “Resham Ka Rumal” sung by Ila Arun.
In 2005, he represented India at the World’s Best Model contest held in Turkey, and became the first Indian, as well as the first Asian, to win the title beating 40 contestants from across Asia, Latin America, and Europe. After winning the title, he appeared in advertisements for Bajaj Avenger, ICICI and Digjam.
2008–2011: Television debut
In 2008, he made his acting debut with a lead role in the television show Babul Ka Aangann Chootey Na on Sony TV .The show ended in February 2009.
In 2009, he appeared as Veer Vardhan Singh in Jaane Pehchaane Se… on Star One . The show ended in September 2010. After Jaane Pehchaane Se… Ye Ajnabbi ended, he also appeared in a few episodes of Aahat.
In 2011, he appeared as Rahul Kashyap in Love U Zindagi opposite Pavitra Punia on StarPlus. He also appeared in an episode of CID.
2012–2014: Breakthrough with Balika Vadhu and Bollywood debut
In 2012, Shukla appeared as District Collector Shivraj Shekhar, opposite Pratyusha Banerjee and Toral Rasputra in Balika Vadhu. . He received the “GR8! Performer of the Year (Male)” award at the Indian Television Academy (ITA) Awards. He left the show in 2015, when his character, Shiv, died fighting with terrorists.
In 2013, Shukla participated in the celebrity dance reality show Jhalak Dikhhla Jaa 6, and was eliminated in the 11th week.
In 2014, Shukla made his Bollywood debut in the romantic comedy Humpty Sharma Ki Dulhania in a supporting role The film earned him an award for “Breakthrough Supporting Performance (Male)” in the 2015 Stardust Awards.
2014–2018: Television hosting, Khatron Ke Khiladi and Dil Se Dil Tak
In 2014, Shukla was named the host of Savdhaan India.
In 2015, after exiting from Balika Vadhu, he hosted India’s Got Talent 6, with Bharti Singh, and the season finale was aired in June 2015.
In 2016, Shukla won the stunt reality show Fear Factor: Khatron Ke Khiladi 7. The same year, he hosted India’s Got Talent 7 with Bharti Singh, and the season finale was aired in July 2016. Later in 2016, Shukla appeared as Mr. Chakraborty, an Indian businessman, in a Kazakhstan movie, Business in Kazakhstan.
In 2017, he appeared as Parth Bhanushali in Dil Se Dil Tak .He left the series in December 2017.
2019–2021: Bigg Boss 13 and Broken But beautiful 3
In 2019, he participated in the reality show Bigg Boss 13, and was declared the winner in February 2020. Ormax media rated Shukla to be the most popular contestant of Bigg Boss 13, ranking him as number one throughout 20 weeks.
In 2020, after winning Bigg Boss 13, Shukla’s massive popularity helped him bag appearances in two music videos, “Bhula Dunga”, and “Dil Ko Karaar Aaya”. The same year, Shukla entered as one of the “Toofani” Seniors in Bigg Boss 14, Shukla then appeared in another music video “Shona Shona”.
In January 2021, Shukla hosted 16th week’s “Weekend Ka Vaar” of Bigg Boss 14, as Shukla was filling in for Salman Khan, who was missing from the show due to other work commitments. Shukla made his OTT debut as Agastya Rao with the third season of the romance web series Broken But Beautiful opposite Sonia Rathee streaming on ALTBalaji & MX Player. The series and Shukla’s performance received positive response from critics, Mugdha Kapoor of DNA India wrote, “It’s the fire and genuineness in Sidharth’s acting and freshness in Sonia’s performance that keeps the viewers glued and wanting to see more.”
In 2014, he won the Gold Awards Most Fit Actor award and was included in Rediff’s Television’s Top 10 Actors. In 2015, he was awarded with the Wellness Icon of the Year award in 8th Geospa Asiaspa India Awards. In 2021, he also won the Synth GlobalSpa Fit and Fab Award.
In 2021, he was declared The Times of India’s Charismatic TV personality. Before Bigg Boss 14 premiere, Sidharth was voted as the Bigg Boss Greatest Of All Times (GOAT) in a series of polls conducted by Colors TV, where 16 popular contestants across all the previous 13 seasons were nominated for the title.
Shukla died on 2 September 2021 after suffering a heart attack at the age of 40.
The film Humpty Sharma ki Dulhania-2014 was having everything in it which the younger generation wanted. The lead pair of Varun Dhawan (son of director David Dhawan) and Alia Bhatt(Daughter of director Mahesh Bhatt) came with filmi background. It does help. The film was released on 11-7-2014. It grossed 120 crores on a budget of 33 crores. The seven songs were written byKumaar, Irshad Kaamil and Shashank Khaitan who also wrote the story as well as directed the film. One song was sung by Alia Bhatt also. The cast of the film was Varun Dhawaqn, Alia Bhatt, Sidharth Shukla, Ashutosh rana, Gaurav Pandey, Shivani Mahajan and many more. The music was by Sachin-Jigar and Shaarib-Toshi. The film story was…..
Kavya Pratap Singh (Alia Bhatt), a beautiful, educated and stylish Punjabi girl from Ambala who is set to be engaged to an NRI American doctor, decides to go to Delhi to buy an expensive designer bridal dress for her wedding, after her father, Kamaljeet (Ashutosh Rana), refuses to get her the pricey dress. While staying at her maternal uncle’s house, she comes across one of his students, Rakesh “Humpty” Kumar Sharma (Varun Dhawan), a young and flirtatious Punjabi boy in Delhi, whose father, Vinod Kumar Sharma, runs a stationery shop. Humpty, with the help of his friends, Shonty (Gaurav Pandey) and Poplu, chases Kavya, but she’s not interested. He, however, manages to befriend her. Kavya confides in Humpty, that her friend in Delhi, Gurpreet Sodhi, was blackmailed by her ex-boyfriend, who had secretly filmed a sex sequence of the two.
Humpty stumbles upon an idea for victimizing Gurpreet’s ex-boyfriend that would also avenge Gurpreet, and also gather the money for the wedding dress for Kavya. They manage to get some money but Kavya isn’t happy about the way that money is obtained. However, these ensuing adventures make Kavya fall for Humpty, and the night before she is to leave for Ambala, they Have Sex and end up sleeping together. When Humpty asks her if she loves him, she says she won’t go against Kamaljeet’s wishes. In order to help Humpty get the money for Kavya’s dress, Vinod, Poplu and Shonty chip in their savings. Kavya reluctantly accepts the money and leaves Delhi.
Kavya is a changed person when she arrives home. She tells her family that she has decided not to buy that expensive dress. In the meantime, she gifts a fancy car to Humpty using that money, as she had known from him about Vinod’s dream for a car. Overwhelmed, Humpty and his friends go to Ambala, where he tries to win over Kavya. Kamaljeet believes firmly in arranged marriages against love marriages, as his elder daughter, Swati, married against his wishes and the marriage turned out to be a disaster ending in divorce. Kamaljeet instantly disapproves of Humpty, and gets the three friends beaten up. Upon repeated persuasion, he gives Humpty a chance to find at least one reason why Kavya shouldn’t marry Angad (Sidharth Shukla). He sets him a five-day deadline to give him the reason. Humpty and his friends try their best to find flaws in Angad but fail to do so.
At the end of the deadline and on her wedding day, Kavya runs away from home and calls Humpty to join her on a train to leave town, but he refuses and convinces Kavya to get off the train. Meanwhile, Kamaljeet and the rest of the family reach the train station, where Kavya and Humpty are embracing each other. Kamaljeet, wrongly assuming the pair was eloping, is enraged and hits Humpty, who gives a powerful and touching explanation saying that he may not be as rich, successful or good-looking as Angad, but he loves Kavya from the core of his heart. He leaves Ambala and heads back to Delhi after that incident. When Kavya is dressed up as a bride, Kamaljeet asks her if she still fancies that expensive wedding dress. She replies she’s not fit for an expensive classy dress, but is suitable for local dresses. As it dawns on Kamaljeet that her relationship would be fuller with Humpty and not Angad, he brings everyone to Delhi where he approaches Humpty and gives his consent to marry his daughter.
With this song, film Humpty Sharma ki Dulhania-2014 makes its debut on this Blog.
Audio
Video
Song- Main tainu Samjhaawaan ki (Humpty Sharma Ki Dulhaniya)(2014) Singers- Arijit Singh, Shreya Ghoshal, Lyricist- Ahmed Anees and Kumaar, MD- Jawad Ahmed and Shaarib – Toshi
Lyrics
nahin jeena tere baaju nahin jeena, nahin jeena
nahin jeena tere baaju nahin jeena, nahin jeena
nahin jeena tere baaju nahin jeena, nahin jeena
nahin jeena tere baaju nahin jeena, nahin jeena
main tainu samjhaawaan ki
na tere bina lagda jee
main tainu samjhaawaan ki
na tere bina lagda jee
tu ki jaane pyaar mera
main karoon intezaar tera
tu dil tuiyon jaan meri
main tainu samjhaavaan ki
na tere bina lagda jee
tu ki jaane pyaar mera
main karoon intezaar tera
tu dil tuiyon jaan meri
main tainu samjhawaan ki
na tere bina lagda jee
mere dil ne chun laiyaa ne
tere dil diyaan raahaan
tu jo mere naal tu rehta
turpe meriyaan saaha
jeena mera hoye
hun hai tera
ki main karaan
tu kar aitbaar mera
main karoon intezaar tera
tu dil tuiyon jaan meri
main tainu samjhaawaan kee
na tere bina lagda jee
ve changa nahion keeta beeba
ve changa nahion keeta beeba
dil mera tod ke
ve bada pachhtaiyaan akhaan
ve bada pachhtaiyaan akhaan
naal tere jod ke ae
tenu chhad ke kitthe jaawaan tu mera parchhaanvaa
tere mukhde vich hi main taan rab nu apne paawaan
mere to
haay
sajda tera kardi sadaa tu sun iqraar mera
main karoon intezar tera
tu dil tuiyon jaan meri
main tainu samjhaawaan ki
na tere bina lagda jee
This article is written by nahm, 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 : |
4545 | Post No. : | 17120 | Movie Count : |
4397 |
With the 300th post behind me, I can really get on with my regular song posts. I missed a few anniversary posts in November and December, but a few are coming up in the remaining days of December.
How does one start a birthday post for controversy’s favourite child? I have a little doubt whether he is controversy’s favourite child or controversy is his favourite child.
To be truthful, I stumbled upon this RFAK song link shared by someone on facebook. The songs of this movie and the movie itself has been kept fresh, not by frequent viewing on TV, but the songs which keep coming back to mind, with each subsequent song in the inevitable ‘eid release’ Salman Khan movies every passing year. I was an infrequent visitor to the theatre still in 2010. After ‘Dabangg’ came ‘Dabangg 2’ and ‘Dabangg 3’, to make the list of successful sequels.
I have discovered that Salman Khan’s full name is Abdul Rashid Salim Salman Khan. He is born on 27th December 1965, so he is turning 55 in 2020. That makes him 45 in 2010, when this movie ‘Dabangg’ released, which figures. A lot is there on the net and media about Salman Khan’s personal life and conduct, which has made him the favourite child of controversy. The media makes or breaks these people superstars or non-stars, so it is a two-sided coin. This show-biz is more murky waters now than it was, say, 50 years ago.
60 or 70 years ago, only the extremely poor were making their daughters join the film industry, as it was not known as a good profession. Very few girls from well to do families, or from the really noble families were working in the film industry. Even the filmy families who made it big would not allow their daughters or daughter-in-laws to work in films. Kapoor family is a case in point. Babita went against the family traditions and launched Karishma in films. But in recent decades things have changed a lot. It is no longer a case of question of survival for most of the stars or actors working in films and show business today. They are ready to go to whatever length they are required to earn name and fame and the resultant moolah. It is better not to judge anyone for their deeds and misdeeds. They need the media and the media needs them, so the circus goes on.
I would rather mention the positives, like Salman Khan’s charity work. Or the good unpretentious work he does to give back to the society. He does his bit, with or without media attention. There is a very good reason for his title as ‘bhai’. It is not just Salim Khan’s good offices that have taken him out of a few soups, that’s what I have heard.
Coming back to the song from ‘Dabangg’, it is two version song, one is a solo with chorus by Rahat Fateh Ali khan, second is a duet version by RFAK and Shreya Ghoshal.
Faaiz Anwar is the lyricist and composers are Sajid -Wajid. The duo Sajid-Wajid are borthers and sons of Sharafat Ali khan, a table player. Wajid was younger of the two and he expired on June 1, 2020, after he had a major operation for Kidney transplant in March 2020.
The song I am presenting is one of the best songs of year 2010. There was no Binaca geet mala then as there is no such thing now, but this song would have featured on such a programme. This song is unique that the mukhda is being sung by two different types of male choruses and I detect RFAK’s voice in both choruses, one a normal mode of singing and second in classical qawwali style. RFAK has vast invaluable experience of live singing with his uncle Nusrat Fateh Ali Khan, as a chorus companion and singing alaaps during his long qawwali renditions. The experience shows in qawwali-cum-sugam sangeet songs like these, where the pitch is different for the solo version and the duet version.
I rather think these songs sung by RFAK were not actually composed by the music directors assigned. Most likely they were just credited to the music director of the film but were actually composed by RFAK himself, be it Himesh Reshammiya, Sajid-Wajid, Vishal-Shekhar or Vishal Bharadwaj. The quota was usually one song per film only.
The duet version song is picturized on Salman Khan and Sonakshi Sinha(daughter of Shatrughan Sinha). Both look good in their role play, as a police inspector and a poor pottery maker. The movie is making its debut in the blog, with this earthy and natural sounding song.
Solo Version:
Duet version Audio:
Song-Tere mast mast do nain mere dil ka le gaye chain (Dabangg)(2010) Singers-Rahat Fateh Ali Khan, Shreya Ghoshal, Lyrics-Faaiz Anwar, MD-Sajid-Wajid
Chorus
Rahat Fateh Ali Khan + Chorus
Lyrics
——————————
Solo version
——————————
Taakte rehte tujh ko ooo
saanjh sawere ea
nainon mein ae ae ae
haay ae
nainon mein ae ae ae
ae ae
haay ae ae ae ae
taakte rehte tujh ko
saanjh savere ae
nainon mein basiyaan jaise
nain ye tere ae
nainon mein basiyan jaise ae
nain ye tere ae
tere mast mast do nain
mere dil ka le gaye chain
mere dil ka le gaye chain
tere mast mast do nain
tere mast mast do nain
mere dil ka le gaye chain
mere dil ka le gaye chain
tere mast mast do nain
pehle pehal tujhe
dekhaa to dil meraa
dhadkaa haay dhadkaa
dhadkaa haay
ho o o o o o o o
pehle pehal tujhe
dekhaa to dil meraa aa
dhadkaa haay dhadkaa
dhadkaa haay
jal jal uthhaa hoon main
shola jo pyaar ka
bhadkaa haay bhadkaa
bhadkaa haaye ae
neendon mein ghul gaye hain
sapne jo tere ae
badle se lag rahe hain
andaaz mere
badle se lag rahe hain
andaaz mere ae
tere mast mast do nain
mere dil ka le gaye chain
mere dil ka le gaye chain
tere mast mast do nain
tere mast mast do nain
mere dil ka le gaye chain
mere dil ka le gaye chain
tere mast mast do nain
aa aaaaa aaaaaa
ho oo oooo ooooooo
ooooooo
maahi be-aaaab saa
dil ye betaab saa aa
tadpaa jaaye tadpaa
tadpaa jaaye
maahi be-aab saa
dil ye betaab saa aa
tadpaa jaaye tadpaa
tadpaa jaaye ae
nainon ki jheel mein
utraa thhaa yoonhi dil
dooba jaaye doobaa
doobaa jaaye ae
hosh-o-hawaas ab to
khone lage hain
ham bhi deewaane tere
hone lage hain
ham bhi deewaane tere
hone lage hain
tere mast mast do nain
mere dil ka le gaye chain
mere dil ka le gaye chain
tere mast mast do nain
taakte rehte tujh ko o o
saanjh savere ae
nainon mein basiyaan jaise
nain ye tere
nainon mein basiyaan jaise ae
nain ye tere
tere mast mast do nain
mere dil ka le gaye chain
mere dil ka le gaye chain
tere mast mast do nain
tere mast mast do nain
mere dil ka le gaye chain
mere dil ka le gaye chain
tere mast mast do nain
tere mast mast do nain
mere dil ka le gaye chain
mere dil ka le gaye chain
tere mast mast do nain
———————————
Duet version
———————————
Taakte rehte tujh ko o
saanjh sawere ae
nainon mein ae ae ae ae ae
haay ae ae
nainon mein ae ae ae ae
haay ae ae ae ae
taakte rehte tujh ko
saanjh savere ae
nainon mein basiyaan jaise
nain ye tere ae
nainon mein basiyaan jaise
nain ye tere ae
tere mast mast do nain
mere dil ka le gaye chain
mere dil ka le gaye chain
tere mast mast do nain
tere mast mast do nain
mere dil ka le gaye chain
mere dil ka le gaye chain
tere mast mast do nain
pehle pehal tujhe
dekhaa to dil meraa
dhadkaa haay dhadkaa
dhadkaa haay
jal jal uthhaa hoon main
shola jo pyaar ka
bhadkaa haay bhadkaa
bhadkaa haaye ae
neendon mein ghul gaye hain
sapne jo tere ae
badle se lag rahe hain
andaaz mere ae
badle se lag rahe hain
andaaz mere ae
tere mast mast do nain
mere dil ka le gaye chain
mere dil ka le gaye chain
tere mast mast do nain
ho ho ho ho ho
ho ho ho ho ho
ho ho ho ho ho
tujh se shuru huyi
tujh pe hi khatm ho
duniya meri duniyaa
duniyaa meri ee ee
ye baat dil mein thhi
nainon ne bol di
main hoon teri
main hoon
main hoon teri ee
tujh ko hi yaad kar ke
aahen bharoon main
mil ke bhi mil na paaun
ab kya karoon main
mil ke bhi mil na paaun
ab kya karoon main
tere mast mast do nain
mere dil ka le gaye chain
mere dil ka le gaye chain
tere mast mast do nain
Taakte rehte tujh ko o
saanjh sawere ae
nainon mein ae ae ae
haay ae ae
nainon mein basiyaan jaise
nain ye tere
nainon mein basiyaan jaise
nain ye tere
tere mast mast do nain
mere dil ka le gaye chain
mere dil ka le gaye chain
tere mast mast do nain
tere mast mast do nain
mere dil ka le gaye chain
mere dil ka le gaye chain
tere mast mast do nain
tere mast mast do nain
mere dil ka le gaye chain
mere dil ka le gaye chain
tere mast mast do nain
Dil ko chura ke chale jaana na
Posted on: February 28, 2020
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 : |
4242 | Post No. : | 15460 | Movie Count : |
4259 |
Hindi Songs in Bangla Films – 20
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‘Aarohan’ (The Ascension, 2011 – Bangla film) was directed by Pinaki Choudhuri who wrote story and screen-play for the film. Soumitra Chatterjee and Sandhya Roy who were 76 and 69 years of age respectively at the time of making of this film were in the lead roles. The other supporting cast included Shamdarshi Dutta, Rituparna Sengupta (special appearance), Siddharth Chatterjee, Tulika Basu, Ashok Mukherjee, Rajesh Sharma, Nandini Chatterjee (special appearance) etc.
This film was selected for Montreal International Film Festival (2010) even before it was released in India. Pinaki Choudhury, the film’s director, in an interview, had said that he had read in a newspaper article about Mukti Bhavan in Varanasi where people who are about to die are given shelter for one month. He visited the place and spent few days with the inmates of the Bhavan. He was fascinated by the philosophy of the inmates who believe that dying in Varanasi give them salvation thus breaking the endless cycles of birth and death. Based on his experience, he wrote the story revolving around a patriarch of the family who decides to shift to Mukti Bhavan in Varanasi expecting that he would die within a month of his stay as per the prediction based on his horoscope.
It is not an easy decision for the old man to shift to Mukti Bhavan in Varanasi. There are clashes of thoughts between him and his aged wife, between him and his grandson also his friend. All of them react differently but for the same purpose of preventing him from going to Varanasi.
The film opens with a scene in which the 75-year old Surya Shekhar Chatterjee (Soumitra Chatterjee) while trying to cross a busy road in Kilkata is about to be hit by a speeding car when a young photographer saves him in the nick of time from the accident. Surya Shekhar is grateful to the photographer and invites him to his house.
Surya Shekhar is the firm believer in the horoscope. All predictions made on the basis of his horoscope has, so far, come true. One of the future predictions of his horoscope is that there will be threat to his life at the age of 75. And that threat was about to become true if the photographer had not saved him from the accident. Now he is fully convinced about his impending death as per the prediction in his horoscope. So, he plans to shift to Mukti Bhavan in Varanasi to attain salvation upon his death.
Surya Shekhar shares his plan with his wife (Sandhya Roy). She opposes his plan by saying that she had always supported him in his decisions but she would not agree for his shifting to Mukti Bhavan. But Surya Shekhar is adamant on his decision. His wife requests one of his close friends to counsel him to abandon his plan to stay in Mukti Bhavan. His friend tries to dissuade him from his plan by saying that what he is doing is not a faith but the plain superstition in believing the predictions. The young photographer who had saved him from the accident also tries to convince him by saying that astrology is not a science and no one can predict the future. But Surya Shekhar ends the debate by saying that Varanasi is his life’s last halting station.
As a flash back, Surya Shekhar does not have a good rapport with his son as the latter ridicules him for his so much dependence on the horoscopes. Their relation goes for the worst when the son decides to marry a girl outside his caste and that too without matching the horoscopes. Son gets married and settles down in the US. The son and his family had become persona non grata in Surya Shekhar’s house. Both father and son have not spoken to and seen each other for the last 25 years though his wife and the daughter-in-law are in communication with each other.
Surya Shekhar had not talked to his son when latter had a heart attack. He held a firm view that as per his horoscope, his son would not die before his death. Surya Shekhar has not even spoken and seen the face of his young grandson born and studied in the US who has come to India on a short vacation. The young photographer who had earlier saved Surya Shekhar is none other than his grandson Arijit (Samadarshi Dutta) which is revealed to Surya Shekhar by his wife while nominating him as the heir for his fixed deposits after his death.
Surya Shekhar departs for Varanasi along with his wife. Arijit accompanies them which would also give him the glimpses of Varanasi which has its unique character as a pilgrimage centre. The first few days of their stay in Varanasi goes well during which time he comes to know from the Manager of Mukti Bhavan that some old people who had come to die here have to make a revisit a number of times as they survived on each of their one-month stay. To hasten his death, Surya Shekhar decides to forgo dinner and also reduces his intake of food. The weakness caused by low intake of food makes him almost bedridden.
One day, Surya Shekhar get a mild chest pain. Since doctors are not permitted to visit Mukti Bhavan, Arijit informs his parents about his grandfather’s deteriorating health. Both his son and daughter-in-law rush to Varanasi to see him. Despite his son firmly telling him that by foregoing food he is in fact committing suicide, Surya Shekhar is not in a mood to argue with his son as he is destined to die in the next few days.
Parallelly, events are happening in Varanasi when Arijit gets involved with a married village woman from Bihar (Rituparna Sengupta) who also stays in the Mukti Bhavan with her mother-in-law who has also checked in for salvation. Her husband is a gay but her mother-in-law curses her being ‘baanj’ (barren) almost every day. Fed-up with her every day’s tantrums, daughter-in-law challenges her by saying that one day she will prove that she is not a baanjh. Her clandestine relation with Arijit results in her becoming pregnant. When her mother-in-law comes to know about it, she dies of shock. Now, the Bihari woman has to vacate the Mukti Bhavan. She becomes homeless as she has nowhere to stay with her illegitimate pregnancy. Seeing her predicament, Arijit decides to marry her and reveals his intention as such to his parents who at that moment are with his grandfather.
Arijit’s parents are shocked to know that he is going to marry not only a married woman but also outside his caste. Both of them oppose his proposal. But Arijit is adamant. In a fit of anger, Arijit’s father tries to slap him during which time, he gets a heart attack and dies in the Mukti Bhavan. Arijit performs his last rites at Varanasi Ghat. Surya Shekhar’s wife points out to her husband that he had said that the son would not die when he is alive. She questions him as to whose salvation he had predicted from the horoscope. After listening to his wife, Surya Shekhar takes out his horoscope from his pocket and tears it. He goes with his grandson to immerse his son’s ashes in the River Ganga. Arijit goes back to US with an assurance to his grandparents that he would soon return to India.
While returning to their room in Mukti Bhavan, Surya Shekhar finds the Bihari woman sitting with her meagre belonging at the Ghat. The film ends with Surya Shekhar asking the Bihari woman to accompany them to Kolkata where he has an old house. He would construct a bigger house where all of them would stay together. And that would be his salvation and emancipation.
This is the first time I watched the Dada Saheb Phalke Award winner, Soumitra Chatterjee in a lead role of 75-year old man in which he has got full scope to show his histrionic. He is well supported by equally talented Sandhya Roy with her excellent performance. I liked the young Samdarshi Dutta in the role of US returned grandson. His dialogues are in American accented English with American mannerism. Yet his character requires him to tune with the Indian ethos. It was a bit difficult role for him, that too in front of the senior actors which he has admirably performed. Ritupurna Sengupta in a role of a Bihari village woman has done a commendable performance of a rustic village woman with her dialogues in colloquial Hindi. All in all, it is a good film to watch.
In the DVD of the film I watched, there are 3 songs of which two are in Bengali and one in Hindi. In addition, there are two short Hindustani classical renderings by Ustad Rashid Khan in the background. I am presenting Hindi song ‘dil ko chura kar chale jaana na’ sung by Shreya Ghoshal which is picturised on Rituparna Sengupta who is in her beautiful dream sequence in Bollywood style. Samadarshi Dutta is also seen in the sequence. While lyricist of the song is unidentified, it is set to music by Suparna Kanti Ghosh.
Enjoy the beautiful interlude music from esraj (a musical instrument which produces the mixed sound of sitar and sarangi) and the flute along with the song.
Video Clip:
Audio Clip:
Song-Dil ko chura ke chale jaana naa (Aarohan)(Bangla)(2011) Singer-Shreya Ghoshal, MD-Suparna Kanti Ghosh
Lyrics (based on video clip)
hmm hmm hmm hmm
ha aa aaa
ha aa aa haa
ha aa aa aa aaa
hmm hmm hmm hmm chale jaana na
ha aa aaa
aa aa aaa
dil ko chura ke chale jaana na
dil ko chura ke chale jaana na
main ro ro maroongi tumhaare bina
apna bana ke chale jaana na
dil ko chura ke chale jaana na
zulmi iss duniya ne aur kya kiya
badnaami aur aansoo se dil bhar diya
phir tu ne pyaar se jo apna liya aa
phir tu ne pyaar se jo apna liya
rahoon kaise tumko nihaare bina
apna bana ke chale jaana na
dil ko chura ke chale jaana naa
tere jo saath hai to mumkin nahin
magar ab to kuchh bhi hai mushkil nahin
dhoondhti hoon khwaabon ki manzil yaheen ee
dhoondhti hoon khwaabon ki manzil yaheen
mile to jee loongi tumhaare bina aa
apna bana ke chale jaana na
dil ko chura ke chale jaana na
main ro ro maroongi tumhaare bina
apna bana ke chale jaana na
dil ko chura ke chale jaana na
ho o ooooooooo
o o o o o
Dola re dola re dola
Posted on: November 1, 2019
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4123 | Post No. : | 15278 | Movie Count : |
4203 |
Hullo Atuldom
November has dawned. Here is the first birthday post of the month.
It is the birthday of Aishwarya Rai Bachchan. This gorgeous Miss World 1994 is also a Padma award winner along with awards for Best Actress (Ham Dil De Chuke Sanam) and Best Actress in a supporting role as Parvati (Devdas).
She made her debut in movies after a brief stint as ramp model and modelling for products like Lux and Coca Cola where she appeared with Aamir Khan. Prior to that she had appeared in an ad for Pepsi with Amir Khan and Ritu Chaudhry (a.k.a Mahima Chaudhry) – remember the ad where the girls are Amir’s new neighbours and he jumps out of his window to run across and get a Pepsi for the girls and tries to impress them and Aishwarya appears as Sanjana at the end. I found other ads featuring Aishwarya on YouTube for products like watches, beauty creams etc. The next step after modelling was movies which happened with the Mani Ratnam directed Tamil film “Iruvar” (1997) with Mohanlal, Revathi, Prakash Raj as co-stars. She made her Hindi debut the same year with “Aur Pyar Ho Gaya” opposite Bobby Deol. And then she has not looked back. She has played a passionate artist in “Kandukondain Kandukondain” (Tamil) 2000, Tagore’s Binodini in “Choker Bali” (Bengali) 2003, depressed woman in “Raincoat’’ (Hindi) 2004, Kiranjit Ahluwalia -a much abused wife who got international attention for burning her husband to death- “Provoked’’ a British-drama genre movie in 2006, a nurse looking after a paralyzed magician turned Radio Jockey who has filed a petition seeking permission to end his life in “Guzaarish’’ in 2010. All the movies that I mentioned here gave her critical acclaim and she had a good number of successful critical and mass appeal films. She has proved the general thought wrong that a heroine loses her popularity and star appeal once married and a mother at that. She has been under public scrutiny for everything that she does but keeps mum and doesn’t reply to the trolls that she is subjected to. Isn’t that noteworthy?
A few years back, for my niece’s wedding, I had purchased a saree which my sister-in-law loved very much and was looking for a similar one only in a different colour combination. I tried to assist her in finding that or a similar saree in the combo she wanted. I am happy to say I finally managed to get it for her on my recent trip to Calcutta (now Kolkata) during Durga Puja. I am sure this sudden off-track by me has jolted the reader into thinking what is the connection with Aishwarya Rai!!
Well it is connected with the song that is coming with this post. It is the almost like the saree that all the ladies are wearing in this song (disclaimer: neither the song nor the movie was reason for my sis-in-law’s liking for the said combination; she doesn’t even know of its connection with Aishwarya 🙂 )
Another connection is that this song happens at a huge haveli in old Calcutta for Durga Puja. It is from the 2002 Sanjay Leela Bhansali directed “Devdas” based on the book of the same name by Sharath Chandra Chattopadhyay. We have Aishwarya Rai dancing with Madhuri Dixit (another heroine whose popularity has not decreased post marriage and kids) at the Sindhoor- Khela which is an essential part of Dussehra during Durga Puja.
The song is in the voice of Shreya Ghosal, Kavita Krishnamurthy and KK. It was written by Nusrat Badr and Ismail Durbar was the composer. Saroj Khan is the choreographer for this magnificent dance which had the two heroines looking extremely gorgeous and they matched step-for-step brilliantly.
It is a song which is my personal favourite 2-heroine dance and I don’t think I will ever tire of seeing it. The choreography got Saroj Khan her 8th Filmfare award and it must be the only song which has a Wikipedia page.
I suggest a visit to the page (dola re dola ) for interesting trivia about the song.
Today “Devdas” version 2002 makes its debut on the blog to Wish the blue-green eyed Miss World, Miss Photogenic and Miss World Continental Queen of Beauty – Asia- Oceania (sub titles that she won at the Miss world pageant held in Suncity -South Africa) a very Happy Birthday.
Audio
Video
Song-Dola re dola re dola (Devdas)(2002) Singers-Shreya Ghosal, Kavita Krishnamurthy, KK, Lyrics-Nusrat Badr, MD-Ismail Darbaar
Lyrics
he dola re dola re dola re dola,
he dola re
hpo ho ho ho
haan haan hmm haan
haan haan haan haan
re dhaiya re dhaiya re re dhaiya aa
re dhaiya re dhaiya re re dhaiya aa
dhim ta dhim ta
dhim ta dhim ta
oooooo aaaa eeee
he dola re dola re dola re dola
haay dola dil dola mann dola re dola
he dola re dola re dola re dola
haay dola dil dola mann dola re dola
lag jaane do nazariya
gir jaane do bijuriya
bijuriya
bijuriya
gir jane do aaj bijuriya
lag jaane do najariya
gir jaane do bijuriya
baandh ke main ghungharoo,
pehan ke main paayal
ooo baandh ke main ghungharoo,
pehan ke main paayal
ho jhoom ke nachoongi
ghoom ke naachoongi
dola re dola re dola re dola
haay dola dil dola man dola re dola
dola re dolaa re dola re dola
haay dola dil dola man dola re dola
aiy yai yai yai yaa haa
aiy yai yai yai yaa haa
dekho ji dekho dekho
kaisi ye jhhankaar hai
inki aankhon mein dekho piyaaji ka pyar hai
inki aawaaz bhi haay kaisi khanakaar hai
piya ki yaadon mein yeh jiya bekraar hai
haay haay haay haay haay haay
maathe ki bindiya mein woh hai
mm palkon ki nindiya mein woh hai
tere to tan man mein woh hai,
teri bhi dhadkan mein woh hai
choodi ki chhan chhan mein woh hai
chhan chhan chhan chhan
chhanak chhanak chhan chhanak chhanak
kangan ki khan khan mein woh hai
khanak khanak khan
khanak khanak khan
khan khan khan
choodi ki chhan chhan mein woh hai
kangan ki khan khan mein woh hai
baandh ke main ghungharoo,
haan pehan ke main paayal
haan jhoom ke naachoongi
ghoom ke naachoongi
dola re dola re dola re dola
haay dola dil dola mann dola re dola
he dola re dola re dolaa re dola
haay dola dil dola mann dola re dola
hae ae ae ae ae ae
hae hae hae hae hae hae
hae ae ae ae ae ae
hae hae hae hae hae hae
tumne mujhko
duniya de di
mujhko apni
ho khushiya de di
unse kabhi naa hona door
dola dola dil dola dola dil dola dola dola
haan maang mein bhar lena sindoor
dola dola mann dola dola mann dola dola dola
unki baahon kaa tum ho phool
dola dola dil dola dola dil dola dola
main hoon kadmon ki bas dhool
dola dola mann dola dola mann dola dola
baandh ke main ghungharoo.
pehan ke main paayal
haan baandh ke main ghungharoo,
pehan ke main paayal
haan jhoom ke naachoongi
ghoom ke naachoongi
dola re dola re dola re dola
haay dola dil dola mann dola re dola
he dola re dola re dola re dola re dola re dola
haay dola dil dola mann dola re dola
dola dola dola dola dola dola
dola dola dola dola dola dola
dola dola dola dola dola dola
dola dola dola dola dola dola
he dola re
- In: 15K Song Milestone Celebration Posts | Calling the beloved | Dance song | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Group Dance | Guest posts | Lyrics contributed by readers | Post by Pradeep Raghunathan | Shreya Ghoshal - Vaishali Mhade Duet | Shreya Ghoshal Songs | Songs of 2010s (2011 to 2020) | Songs of 2019 | Vaishali Mhade Song | Waiting for love | Yearwise breakup of songs
- 15 Comments
This article is written by Pradeep Raghunathan, 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 : |
3930 | Post No. : | 15002 | Movie Count : |
4107 |
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Atul Song-A-Day 15K Song Milestone Celebrations – 12
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Cannot believe that we have reached the milestone of 15k on the blog. Just seems like yesterday that we were all waiting with bated breath to reach the 10k milestone. How time flies, and how consistent and persistent all of you have been. No words to express each one of your dedication, passion and labour of love.
What can one say about this haven of ours that has not been said before? For someone like me who has been like a pardesi in some ways (not being active as all the regulars), it is so heartening when all of you still reach out and ask how things are with me and family.
Team ASAD we could equate with the CSK team in IPL, consistent, champions and liked by one and all. Needless to say, we have calm, composed leaders to lead us too 🙂 .
It does feel guilty that our Yippeeee! team could not continue our work after a point of time, and yet there is hope that we would get back to it one day soon and try really hard to get to the ever moving target of the blog :).
These days, the only place I get to listen to songs is the car, and most of the times, it is what my daughter decides to play that we get to listen to. One of the recent numbers that is pretty much on repeat in her current playlist is a lovely song from the upcoming movie that most people are looking forward to called ‘Kalank’.
The song has been picturised so well, and is even better thanks to two amazingly talented actors, Madhuri Dixit and Alia Bhatt. The voice for these two are the versatile Shreya Ghoshal and Vaishali Mhade. For some reason, when you listen to this song multiple times, reminds us of songs sung by the Mangeshkar sisters (the names of the songs do not come to mind).
Though Pritam is accused many a time to blatantly copy songs for his tracks in movies, he does come up with some brilliant numbers that forces you to play them in a loop.
I know I have not done justice to this article celebrating the 15k milestone of the blog, nor the song featured here, but I am hoping the article would be the last thing on your mind after you listen to this beautiful number which has such an amazing tempo and so well rendered.
Wishing Atul ji, Sudhir ji, Arun ji, Khyati Ben, Raja ji and the entire paltan and followers of the blog, a very big Congratulations! This is no mean achievement, and I am sure for the celebration we can expect some amazing trivia and posts to reach even more unique milestones with this one big milestone. Let the force be with our blog.
Video
Audio
Song – Ghar Morey Pardesiya, Aao Padhaaro Piya (Kalank) (2019) Singer – Shreya Ghoshal, Vaishali Mhade, Lyrics- Amitabh Bhattacharya, MD-Pritam
Chorus
Lyrics (Based on Audio Version)
raghukul reet sadaa chali aayi
praan jaaye par vachan na jayi
jai raghuvanshi ayodhyapati
ram chandra ki jai
siyavar ram chandra ki, jai
jai raghuvanshi ayodhyapati
ram chandra ki jai
siyavar ram chandra ki jai
ta di ya na dheem..
de re ta na de re nom
ta di ya na dheem..
de re ta na de re nom
ta di ya na dheem…
raghuvar teri raah nihaarein
raghuvar teri raah nihaarein
saaton janam se siya..aa..aa
ghar more pardesiya
aao padhaaro piya
ghar more pardesiya
aao padhaaro piya
ta di ya na ta de re na dum
ta di ya na ta de re na dheem
ta di ya na ta de re na dheem
ta da re na de dheem ta da ni
maine sudh-budh chain ganvaa ke
maine sudh-budh chain ganvaa ke
ram ratan paa liya
ghar more pardesiya
aao padhaaro piya
ghar more pardesiya
aao padhaaro piya
dheem ta dheem tanana dere na
dheem ta dheem tanana dere na
dha ni sa ma, sa ga ma dha, ni dha ma ga pa
ga ma pa sa sa, ga ma pa ni ni
ga ma pa ni dha pa ma ga re ga ma dha pa
re ma pa dha ma pa ni ni dha pa ma pa ga ma re sa ni sa re re ma ma pa pa dha dha ma ma
ni ni ni re sa ni dha ni dha pa ma pa dha ni dha pa ma ga re ga re sa ni sa re re ga
na to maiya ki lori
na hi phaagun ki hori
mohe kuch doosra na bhaaye re
jab se naina yeh jaa ke
ik dhanurdhar se laage
tab se birha mohey sataye re
haa..
na to maiya ki lori
na hi phaagun ki hori
mohe kuch doosra na bhaaye re
jab se naina yeh jaa ke
ik dhanurdhar se laage
tab se birha mohey sataaye re
duvidha meri sab jag jaane
duvidha meri sab jag jaane
jaane naa nirmohiya
ghar morey pardesiya
aao padhaaro piya
ghar morey pardesiya
aao padhaaro piya
haa, gayi panghat par bharan
bharan paniyaan deewaani
gayi panghat par bharan
bharan paniyaan…
(sargam)
gayi panghat par bharan
bharan paniyaan deewaani
gayi panghat par bharan
bharan paniyaan…
ho naino ke
naino ke tere baan se
murchhit huyi re hiraniya
jhoom jha na na na na…
jhana na na na na…
bani re bani main teri joganiya
ghar morey pardesiya
aao padhaaro piya
ghar morey pardesiya
aao padhaaro piya.
———————————————————-
Hindi script lyrics (Provided by Sudhir Kapur)
———————————————————-
रघुकुल रीत सदा चली आई
प्राण जाये पर वचन ना जाई
जय रघुवंशी अयोध्यापती
राम चंद्र की जय
सिया वर राम चंद्र की जय
जय रघुवंशी अयोध्यापती
राम चंद्र की जय
सिया वर राम चंद्र की जय
ता दी या ना धीम॰॰
दे रे ता ना दे रे नॉम
ता दी या ना धीम॰॰
दे रे ता ना दे रे नॉम
ता दी या ना धीम॰॰
रघुवर तेरी राह निहारे
रघुवर तेरी राह निहारे
सातों जनम से सिया॰॰आ॰॰आ
घर मोरे परदेसिया
आओ पधारो पिया
घर मोरे परदेसिया
आओ पधारो पिया
ता दी या ना ता दे रे ना दम
ता दी या ना ता दे रे ना धीम
ता दी या ना ता दे रे ना धीम
ता दा रे ना दे धीम ता दा नी
मैंने सुध बुध चैन गंवा के
मैंने सुध बुध चैन गंवा के
राम रतन पा लिया
घर मोरे परदेसिया
आओ पधारो पिया
घर मोरे परदेसिया
आओ पधारो पिया
धीम ता धीम तानाना देरे ना
धीम ता धीम तानाना देरे ना
धा नी सा मा
सा गा मा धा
नी धा मा गा पा
गा मा पा सा सा
गा मा पा नी नी
गा मा पा नी धा पा
मा गा रे गा मा धा पा
रे मा पा धा मा पा नी नी धा पा मा पा गा
मा रे सा नी सा रे
मा मा पा पा धा धा मा मा
नी नी नी रे सा नी धा नी धा पा मा पा धा नी
धा पा मा गा रे गा
रे सा नी सा रे रे गा
ना तो मईया की लोरी
ना ही फागुन की होरी
मोहे कुछ दूसरा ना भाये रे
जब से नैना ये जा के
इक धनुर्धर से लागे
तब से बिरह मोहे सताये रे
हा॰॰
ना तो मईया की लोरी
ना ही फागुन की होरी
मोहे कुछ दूसरा ना भाये रे
जब से नैना ये जा के
इक धनुर्धर से लागे
तब से बिरह मोहे सताये रे
दुविधा मेरी सब जग जाने
दुविधा मेरी सब जग जाने
जाने ना निर्मोहिया
घर मोरे परदेसिया
आओ पधारो पिया
घर मोरे परदेसिया
आओ पधारो पिया
हा॰॰
गई पनघट पर भरन
भरन पनियाँ दीवानी
गई पनघट पर भरन
भरन पनियाँ॰॰॰
(सरगम)
गई पनघट पर भरन
भरन पनियाँ दीवानी
गई पनघट पर भरन
भरन पनियाँ॰॰॰
हो नैनों के
नैनों के तेरे बाण से
मूर्छित हुई रे हिरणीया
झूम झा ना ना ना ना॰॰॰
झा ना ना ना ना॰॰॰
बनी रे
बनी मैं तेरी जोगनिया
घर मोरे परदेसिया
आओ पधारो पिया
घर मोरे परदेसिया
आओ पधारो पिया
Achha Lagta Hai
Posted on: April 16, 2019
- In: 15K Song Milestone Celebration Posts | Background song | Devnagri script lyrics by K Satish Shenoy | Duet | expression of love | Feelings of heart | Guest posts | Happy song | joie de vivre | Love song | Lover's tête-à-tête | Lyrics contributed by readers | Mohit Chauhan - Shreya Ghoshal Duet | Mohit Chauhan Songs | Post by K Satish Shenoy | Shreya Ghoshal Songs | Songs of 2010s (2011 to 2020) | Songs of 2011 | Yearwise breakup of songs
- 20 Comments
This article is written by K Satish Shenoy, 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 : |
3924 | Post No. : | 14991 | Movie Count : |
4101 |
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Atul Song-A-Day 15K Song Milestone Celebrations – 3
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Founders of Infosys (who started their venture reportedly on a Rs 10K seed capital) may not have imagined where their efforts will lead to, one day. Apple company, which started their journey from a garage, may not have guessed how big they will grow one day. Atul Ji when he single-handedly started this blog (with moral encouragement from friends like Raja Ji – as I understand & others who showed thumbs up at that time) may not have had an idea how far the journey will progress.
But here we – Atulites – are, looking at 15000 posts!!!!. No mean feat in the era of information & social media explosion. No success is without a reason. I would say that sheer commitment, passion, dedication of Atul Ji, Sudhir ji, Arun Ji, Sadanand Ji and all the other contributors & innumerable visitors to the blog have helped to make it to where we are today. Acha lagata hai na?
This post utilises three punch words, all prompted by today’s song. They are : ‘achha lagata hai’, ‘seedhe point pe aao na’ & ‘short me batalao na’.
I have covered ‘achha lagata hai’ in first para. I will now ‘come to the point’ in this Para 🙂 . Today’s song is from film ‘Aarakshan’ (2011). After ‘permission’ from seniors, to write on recent songs, I have chosen this one. This film makes its debut in ASAD, with this post.
The film is by Prakash Jha on the topic of reservation. I have seen this movie. It was not at all hard hitting as I expected. But I loved the music by Shankar Ehsaan Loy. The singers are Mohit Chauhan & Shreya Ghoshal. Lyrics are by Prasoon Joshi. I took to this song from the word Go. Fresh tune, feel young lyrics, joyously sung, lovingly enacted by Saif & Deepika, exciting orchestration are what appealed to me. ‘sun ke achha laga‘. I hope aap ko bhi achha lagega . I feel young all over again listening to this song 🙂 .
Today’s generation loves to keep it short – no patience for details/clarity, eh? ‘LOL’, ‘ASAP’ ‘ILU’ and such short forms are the flavour of the youngsters. Hence, as for the last punch word ‘short me batalao na’, I end this post. 🙂
Video
Audio
Song – Achha Lagta Hai (Aarakshan) (2011) Singer – Mohit Chauhan, Shreya Ghoshal, Lyrics – Prasoon Joshi, MD – Shankar Ehsaan Loy
Chorus
Lyrics (Based on Audio Version)
jhatak kar zulf jab tum
tauliye se baarishein azaad karti ho
achha lagta hai
hila kar honth jab bhi
haule haule guftagu ko saaz karti ho
achha lagta hai
oo oo oo
khushboo se behlaao na
seedhe point pe aao na
aaankh me aankhein daal ke keh do
khwaabon mein tehlaayo na
zara short mein
batlao na
seedhe point pe
aao na
seedhe point pe aao na. . .
la la laa laa
la la lal laa laa
la la laa laa
la la lal laa laa
alag ehsaas hota hai. . .
tumhaare paas hone ka
sarakti sarsarahat ki nadi mein reshmi lamhe
bheegone ka
o ho ho
zara sa mod kar gardan
jab apni hi adaa pe naaz karti ko
achha lagta hai
oo oo oo
lafzon se behlaao na
jhoothi moothi behkaao na
haathon ko haathon mein le ke
wo teen shabd tapkaao na
zara short mein
batlaao na
seedhe point pe
aao na
haan seedhe point pe aao na. . .
wo tere dhyaan ki khushboo
main sar tak odh leta hoon
bhatakti saans ko
teri gali mein gungunaane
chhod deta hoon
ho ho ho
tum apni khidkiyon ko khol kar
jab bhi naye aaghaaz karti ho
achha lagta hai
oo oo oo
gali gali gali gali gali
gali bhatkaao na
ghadi ghadi uljhaao na
senti ho
main jaan gai hoon
action bhi dikhlaao na
zara short mein
batlaao na
seedhe point pe
aao na
o seedhe point pe aao na. . .
achhaa. . .
o seedhe
o seedhe
o seedhe point pe
aao na. . .
la la laa laa
la la lal laa laa
la la laa laa
la la lal laa laa
la la laa laa
la la lal laa laa
———————————————————-
Hindi script lyrics (Provided by K Satish Shenoy)
———————————————————-
झटक कर ज़ुल्फ़ ज तुम तौलिये से
बारिशें आज़ाद करती हो
अच्छा लगता है
हिला कर होंठ जब भी
हौले हौले गुफतगु को साज़ करती हो
अच्छा लगता है
ओ ओ ओ
खुशबू से बहलाओ ना
सीधे पौइंट पे आवो ना
आँख में आंखे डाल के कह दो
ख़्वाबो में टहलाओ ना
ज़रा शौर्ट में
बतलाओ ना
सीधे पौइंट पे
आवो ना
सीधे पौइंट पे आवो ना॰ ॰ ॰
ल ल ला ला
ल ल लल ला ला
ल ल ला ला
ल ल लल ला ला
अलग एहसास होता है॰ ॰ ॰
तुम्हारे पास होने का
सरकती सरसराहट की नदी में रेशमी लम्हे
भिगोने का
ओ हो हो
ज़रा सा मोड़ कर गर्दन
जब अपनी ही अदा पे नाज़ करती हो
अच्छा लगता है
ओ ओ ओ
लफ्जों से बहलाओ ना
झूठी मूठी बहकाओ ना
हाथों को हाथ में ले के
वो तीन शब्द टपकाओ ना
ज़रा शौर्ट में
बतलाओ ना
सीधे पौइंट पे
आवो ना
सीधे पौइंट पे आवो ना॰ ॰ ॰
वो तेरे ध्यान की खुशबू
मैं सर तक ओढ़ लेता हूँ
भटकती सांस को
तेरी गली में गुनगुनाने छोड़ देता हूँ
हो हो हो
तुम अपनी खिड़कीयों को खोल कर
जब भी नए आग़ाज़ करती हो
अच्छा लगता है
ओ ओ ओ
गली गली गली गली गली
गली भटकाओ ना
घड़ी घड़ी उलझाओ ना
सेंटी हो
मैं जान गई हूँ
एक्शन भी दिखलाओ ना
ज़रा शौर्ट में
बतलाओ ना
सीधे पौइंट पे
आवो ना
सीधे पौइंट पे आवो ना॰ ॰ ॰
अच्छा ॰ ॰ ॰
ओ सीधे
ओ सीधे
ओ सीधे पौइंट पे
आवो ना॰ ॰ ॰
ल ल ला ला
ल ल लल ला ला
ल ल ला ला
ल ल लल ला ला
ल ल ला ला
ल ल लल ला ला
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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