Archive for the ‘Shreya Ghoshal Songs’ Category
Arziyaan de rahaa hai dil aao
Posted on: February 1, 2024
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5676 | Post No. : | 18188 | Movie Count : |
4885 |
‘Bobby Jaasoos’ (2014) was produced by Dia Mirza and Sahil Sangha under the joint banners of Born Free Enterprises and Reliance Entertainment and was directed by debutant Samar Shaikh who also wrote the story. The screenplay and dialogues were written by Sanyukta Chawla-Shaikh. Vidya Balan and Ali Fazal were in the lead roles supported by Supriya Pathak-Kapur, Tanvi Azmi, Zarina Wahab, Arjan Bajwa, Rajendra Gupta, Kiran Kumar, Anupriya Goenka, Prasad Barve, Aakash Dahiya etc.
This is a story about a girl nicknamed Bobby from a conservative Muslim joint family based in the outskirt of Hyderabad. She wants to be detective much against the wishes of her father. She does start the detective work and becomes successful. But it is more with comical elements than with her professional touch. The story of the film becomes a bit complex when a local TV host who wants to avoid marriage fixed by his father, tries to engage Bobby to find out some adverse things about the girls on the basis of which he can reject the marriage proposal. But things work out something else between TV host and Bobby leading to some unexpected twist in the story.
The story of the film in some details is as under:
Bilqis, nicknamed as Bobby (Vidya Balan) lives with her conservative family in the outskirt of old Hyderabad. She is past her marriageable age. But she has an unconventional dream. She is addicted to watching TV serials ‘CID’ which has created interest in her to become a detective. She goes to a reputed detective agency to get employed but the owner refuses to employ her because of her unsophisticated behaviour and lack of higher education. Bobby decides to set up her own detective agency. Initially, she gets some small inconsequential detective work in which she becomes successful. In this, Tasawwur (Ali Fazal), a TV host is her regular client who seeks Bobby’s services in warding off his father’s pressure to get married by giving unfavourable reports on the girls his father has chosen as his bride. She also get a case from Lala (Arjan Bajwa), a local goon to break the proposed marriage of his girl friend, Afreen (Anupriya Goenka) to a groom selected by her father. Despite her success, Bobby continues to face disapproval of her father (Rajendra Gupta). The only silver lining to pursue her detective job is the tacit support from her mother (Supriya Pathak) and her Aunt (Tanvi Azmi).
But Bobby is not happy in solving local detectives cases which neither give her thrill in solving the cases nor are they lucrative. But luck smiles on her. She gets a wealthy client, Anees Khan (Kiran Kumar) who has given Bobby to search for a missing girl without providing much of a detailed background except her date of birth and a birthmark on her hand. She visits many places in disguise, such as a bangle seller, coaching classes, beauty parlours etc and she cracks the case by finding out her whereabouts.
Happy with Bobby’s success, Khan promptly pays her fees and gives her another case of a missing girl with the only information of a birth mark on her arm. This time, Bobby changes her strategy of investigation. Instead of visiting many places, she calls girls for the audition of a fake TV show. Many girls report for the audition during which Bobby sees their bare arms for the birthmark. She finds the missing girl among them with the birthmark with minimum efforts. Again, Khan showers her with large cash.
In the meanwhile, Tasawwur (Ali Fazal) who is not interested in marriage, works out a plan to ward off his father’s pressure on him to get married. He reveals to his father that he is in love with Bobby. After his initial reservation, his father is happy that at least his son has now agreed to get married. He promptly meets Bobby’s parents who are also pleased with the marriage proposal. Tasawwur has planned this under the presumption that Bobby would definitely reject his marriage proposal knowing her nature. Then he can indefinitely postpone the marriage in the guise of a jilted lover. But his plan fails. Bobby is angry with Tasawwur for playing the games with his family for his self-interest. In a fit of anger, Bobby agrees for the marriage to teach him a lesson. The engagement ceremony takes place. Tasawwur asks her in desperation whether she is really prepared to marry him. She responds by saying that she is currently busy with solving a case of a missing boy and if he helps her in this case, she would think about the marriage afterwards.
Anees Khan wants Bobby to find yet another missing person, this time a boy with a damaged toe. Bobby is happy with this case as she gets more money. But a doubt creeps in her mind fed by Lala as to why Anees Khan is ready to spend so much money to find them. She had also observed that Anees Khan had paid money to an unknown person after both the girls were found. She does a reality check. She finds that of the two missing girls she found out for him, one has disappeared and the family of the second girl has left the place for some unknown destination. Bobby starts doubting about Anees Khan’s intention. So, instead of starting her new detective work to find out the missing boy for Anees Khan, she starts the detective work to find out the antecedent of Anees Khan.
With the help of Tasawwur and some luck factors in her favour, Bobby finds that Anees Khan is the father of two missing girls and a boy who is none other than Lala. They went missing after a communal riot. After finding two girls, Anees Khan has sent them to London for higher studies and had paid money to an unknown person who was the foster father of his two missing daughters.
The film ends with Bobby and Tasawwur in love with each other but still undecided about the marriage.
I found the film interesting and entertaining with down to earth characters. The film does have a predictable suspense but the underlying purpose of the film was not to make it a suspense thriller. The film conveys a subtle message through a comical detective character, Bobby and the TV host, Tasawwur that every man and woman have right to live on their own terms. In a way, ‘Bobby Jaasoos’ (2014) is a Muslim social film with a blend of traditionality with modernity. The film flopped at the box office but I am sure that this film would be as critically discussed as other flopped films in this comedy genre like ‘Jaane Bhi Do Yaaron’ (1983) and ‘Andaaz Apna Apna’ (1994).
‘Bobby Jaasoos’ (2014) had 4 songs written by Swanand Kirkire and set to music by Shantanu Moitra. I am presenting the first song from the film, ‘arziyaan de rahaa hai dil aao’ to appear on the Blog. It is a duet song rendered by Papon (Real Name: Angaraag Mahanta) and Shreya Ghoshal. The main song is preceded by what sounds like a Sufi-style invocation which is again rendered in-between the song and at the end of the song. It gives a feeling of a mystical love song and this fits well in the situation. Bobby (Vidya Balan) and Tasawwur (Ali Fazal) are in love with each other yet it is illusive for both of them for different reasons.
The main song has been composed in the traditional ghazal tune with the soulful rendition of Papon and Shreya Ghoshal. There is an excellent Veena rendition in the last interlude which gives a feel of Carnatic music . The song has been shot with Golconda Fort and Qutb Shahi Tombs in the background, giving a nostalgical feelings.
Video Clip:
Audio Clip:
Song-Arziyaan de raha hai dil aao (Bobby Jaasoos)(2014) Singers- Shreya Ghoshal, Papon, Lyrics-Swanand Kirkire, MD-Shantanu Moitra
Both
Lyrics (based on audio clip):
tu meraa afsaanaa
tu meraa paimaanaa
tu meri aadat ibaadat hai tu
tu meraa muskaanaa
tu meraa ghabraanaa
tu meri gustaakhi maafi bhi tu
tu meri rag rag mein
tu meri nas nas mein
tu meri jaan hai aur tu meri rooh
tu hi junoon bhi hai
tu hi nashaa bhi hai
tu hi duaa meri sajdaa bhi tu
tu meraa afsaanaa
tu meraa paimaanaa
tu meri aadat ibaadat hai tu
arziyaan de rahaa hai dil aao
sun lo kuchh keh rahaa hai dil aao
aahaten kuchh nayi si jaagi hain
mausiki ik nayi hai sun jaaon
arziyaan de rahaa hai dil aao…
sun lo kuchh keh rahaa hai dil aao
tu meraa afsaanaa
tu meraa paimaanaa
tu meri aadat ibaadat hai tu
tu meraa muskaanaa
tu meraa ghabraanaa
tu mere gustaakhi maafi bhi tu
tu meri rag rag mein
tu meri nas nas mein
tu meri jaan hai aur tu meri rooh
tu hi junoon bhi hai
tu hi nashaa bhi hai
tu hi duaa meri sajdaa bhi tu
tu meraa afsaanaa
tu meraa paimaanaa
tu meri aadat ibaadat hai tu
aa aa aa aaaa
aa aa aaa aaaa
aa aa aa aa aa
la la la la la
aa aa aa aa aaa
jaagi si aankhon ko
de do na palkon ki chaadar zaraa
rookhe se honthon ko
de do na saanson ki raahat zaraa
tanhaa si raaton ko
de do na khwaabon ki saubat zaraa
khwaaishen ye kahe
de do na apni si ulfat zaraa..
ranjhishen bhool kar chale aao
arziyaan de rahaa hai dil aao
aahaten kuchh nayi si jaagi hain
mausiki ik nayi hai sun jaao
arziyaan de rahaa hai dil aao
suno kuchh keh rahaa hai dil aao
bin tere zindagi youn hi bewajah bemaani lage
bin tere zindagi jaise adhoori kahaani lage
bin tere bastiyaan kyun dil ki sooni veeraani lage
bin tere zindagi kyun khud hi khud se begaani lage….
marziyaan mod kar chale aao
arziyaan de rahaa hai dil aao
aahaten kuchh nayi si jaagi hain
mausiki ik nayi hai sun jaao
arziyaan de rahaa hai dil aao
suno kuchh keh rahaa hai dil aao
tu meraa afsaanaa
tu meraa paimaanaa
tu meri aadat ibaadat hai tu
tu meraa muskaanaa
tu meraa ghabraanaa
tu mere gustaakhi maafi bhi tu
tu meri rag-rag mein
tu meri nas-nas mein
tu meri jaan hai aur tu meri rooh
tu hi junoon bhi hai
tu hi nasha bhi hai
tu hi duaa meri sajda bhi tu
tu meraa afsaana
tu meraa paimaanaa
tu meri aadat ibaadat hai tu
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm
aa aa aa aa
aa aa aa aaa
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.
This article is his 800th post in the blog.
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5628 | Post No. : | 18117 | Movie Count : |
4865 |
‘Blue Mountains’ (2017) was produced by Rajesh Jain and was directed by debutant Suman Ganguli who also wrote story and screenplay for the film. The cast included Ranvir Shorey, Gracy Singh, Mahesh Thakur, Arif Zakeria, Rajpal Yadav, Vinod Nagpal, Amit Behl, Lisa-Marie Rettenbacher and Yatharth Ratnum (Debutant). The shooting of the film started in 2015 and was completed in two months. The major outdoor shooting of the film was done in Shimla and its outskirt. The film was first shown at the International Children’s Film Festival held in Hyderabad in November 2015 where it won the Golden Elephant Award for the best feature film in Asian Panorama. The film got theatrical release on April 7, 2017.
This was the last released film of Gracy Singh which means she has not worked in any Hindi film in the last 8 years. She had become a well-known face during the telecast of the TV serial, ‘Amaanat’ (1997) and her popularity had gone up after the release of ‘Lagaan (2001). Her first 3 Hindi films with her lead roles had won National Film Awards for the best films. Despite this, the acting career of Gracy Singh did not pick up as expected. What could be the reasons?
To analyse the reasons, I browsed through Gracy Singh’s filmography and went through her website. I also watched video clips of her spiritual speeches/dance performances/interviews available on video sharing platforms. At the outset, she had made it clear that she will work in only such films which can be watched by all the members of families. This must have become a limiting factor for her to get film offers. It also appears that she was also interested in other form of activities such as dance performances and spiritual activities by becoming a Brahma Kumari. She was pursuing the hobbies such as Reiki Healing, Rajyog Meditation, Chakra Balancing, Homeopathy, Paintings, Costume designing for her dance programmes, interior designing etc.
Gracy Singh was born on July 20, 1980, to a Sikh family based in Delhi. During her schooling, she got trained in Bharatnatyam dance which helped her to participate in the school dance competitions. After the completion of her schooling, she did her graduation in Arts. She wanted to pursue the classical dancing as a profession. During her college days, she joined a dance troupe, ‘The Planet’ through which she gave some dance performances in Delhi and other Indian cities.
Gracy Singh used to occasionally visit Mumbai for modelling, more as a hobby than the profession. During one of such visits, Sanjeev Bhattacharya, the director of TV serial, ‘Amaanat’ (1997) who was looking for a new face, offered her role in the serial. Although she had no interest in acting, she found the story of the serial appealing. She agreed to work in the serial and thus began her acting career. ‘Amaanat’ (1997) was a super hit TV Serial. I had watched many episodes of this serial when it was telecast during 1997-98.
With the exposure in TV serial, Gracy Singh got offers from Hindi films. ‘Hu Tu Tu’ (1999) was her debut film directed by Gulzar. This was followed by ‘Ham Aapke Dil Mein Rehte Hain’ (1999) directed by Satish Kaushik. In both these films, she had small roles. It was ‘Lagaan’ (2001) in which she was cast in lead role with Amir Khan. The film was a super hit and was nominated for Oscar. Two of her next three films, namely, ‘Munnabhai MBBS’ (2003) and ‘Gangajal’ (2003) also became hit films. Her next three films in 2004-5 did not fare well at the box office. She started accepting roles in films of the lesser-known banners. Her choosiness in accepting offers of films seems to be the reason that she almost stopped getting Hindi film offers from big banners. She started working in Punjabi, Telugu, Malayalam, Kannada, Marathi, Gujarati and Bengali films.
Probably, not getting films of her choice, Gracy Singh started devoting her spare time on dance performances. She refreshed her Bharatanatyam dance with a new Guru, Deepak Mazumdar through Hema Malini and gave her ‘Arangetram’ performance. She also got trained in Odissi and Kathak dances and formed her own dance troupe. She also learnt the costume designing for dancers in her troupe.
In 2013, Gracy Singh started her spiritual journey by joining Brahma Kumari Foundation. She wanted to permanently shift to their headquarter at Mt. Abu by giving up her professional career. But the Administrative Head of Brahma Kumaris Foundation at that time advised her to continue her professional career and also work for Brahma Kumaris. It is her association with Brahma Kumaris that made her a multi-facet personality. She completed her courses in second degree Reiki Healing, Rajyog Meditation, Chakra Balancing etc. She also got interested in painting and interior designing. She says that in Brahmakumaris, she found peace, happiness, contentment, understating, acceptance and support from fellow Brahmakumaris. She formed a group among Brahma Kumaris to stage plays on mythological stories at various places.
With Gracy Singh becoming a spiritually inclined person, she got an offer to act in a TV Serial, ‘Santoshi Maa’ (2015) which she accepted. During this period, she accepted a few Hindi film offers which she liked. One of them was ‘Blue Mountains’ (2017) with an off-beat story in which she did the role of a supressed classical singer. The story of the film is as under:
Som (Yatharth Ratnum), a teenaged boy from a small town is accidentally selected during audition for a television reality show of talent hunt for singer. Her mother, Vaani (Gracy Singh) who was once a classical singer, had to give up her professional singing career on her husband’s (Ranvir Shorey) transfer to Shimla. She now sees in her son the fulfilment of her own supressed dream of becoming a celebrated singer. Som is put into a lot of pressure from her mother with his close friends propping him up that he is going to become a star celebrity. He dreams of attaining a high goal like that of the height of Blue Mountains in his region.
After participating in the reality show, Som returns to his hometown on failing to make to the final selection. He sinks in his low self-esteem. He gives up singing and stops going to school. Slowly, he goes into depression. Som’s parents, his schoolteachers, his close friends and others in his town try to help him to overcome his low self-esteem. His mother also goes into depression because she thinks that she is responsible for the state of her son. Gradually, Som realises that he must resume to practice singing and make his mother come out of depression. He starts practising singing and his mother is happy. He also starts going to school. One day, because of his earlier performance in TV Reality singing show, he gets an offer from a music company for recording songs in Mumbai for an album. The family is elated and so are his school friends.
The moral of the story is that the participation in the event is more important than winning and the defeat is the first stage of attaining winning streaks later.
Suman Ganguli, the film’s director, in an interview, had said that since the film is about a budding singer, he needed a teenaged boy who could actually sing. He selected Yatharth Ratnum (real name Yatharth Ratnum Rastogi) because he was the 1st runner up of a TV reality singing show, ‘Sa Re Ga Ma Pa Little Champs (2009). He was put on an acting workshop for six months of rigorous training before the shooting for the film commenced.
Yatharth Ratnum Rastogi was born on November 9, 1996, in Varanasi. His father was in Audio distribution business while his mother was a housewife. He had interest in singing since his childhood. He was trained in Hindustani classical music from the age of 7. He started performing in the inter-school competitions and other local competitions from the age of 9. He completed his CBSE from Sunbeam School, Varanasi.
In 2009, Yatharth got an opportunity to perform in a singing reality show, Sa Re Ga Ma Pa Little Champ Talent Hunt where was the first runner up. That gave him an opportunity to visit Los Angles (LA) in 2009 where he got trained by a vocal coach, Maxayn Lewis. During his stay in LA, he got interested in singing in English. He started writing lyrics for the English songs and sang himself. His stay in LA prevented him to continue his college education. Back in India, he participated in the first English reality show ‘The Stage’ (2015) in which he was declared winner. This enabled him to participate in the concerts at 8 cities all over India and launch his solo career as a singer with a contract from Universal Music.
The producer of ‘Blue Mountains’ (2017) had seen Yatharth’ performance in Sa Re Ga Ma Pa Little Champ Talent Hunt in 2009. He got an offer from the producer to play the main teenaged protagonist. He was unsure of his acting capability. However, the film’s director, Suman Ganguli had confidence in him. He was given a rigorous six-month training in acting.
Today, more than the film, it is his solo singing concerts all over India which will help Yatharth in reaching a great height in his singing career. (Note: Profile of Yatharth Ratnum is mainly based on his interview which appeared here.).
‘Blue Mountains’ (2017) has 6 songs which are written by Naveen Tyagi (2), Panchhi Jalonvi (2), Sunil Sirvaiya (1) and Ozil Dalal (1). Songs are set to music by Aadesh Shrivastava (2), Monty Sharma (2) and Sundeep-Surya (2). During the making of the film, Aadesh Shrivastava passed away. I am presenting the first song, ‘chitchor kaare badraa ghanghor matwaare badraa’ to appear on the Blog. The song is rendered by Shreya Ghoshal on the words of Sunil Sirvaiya which is set to music by Monty Sharma.
The song is partly lip synced and partly in the background after the milk vendor, Damodar (Rajpal Yadav) congratulates Vaani (Gracy Singh) for her son getting through the audition of a reality show. He reminds her of a popular song she used to sing because of which he became a fan of her. Vaani goes into the flashback mode of her singing and dancing days. Gracy Singh is graceful in her singing and dancing performances in this song. The song precedes with a somewhat longish sargam (I am not able to decipher them), ably rendered by Shreya Ghoshal in a fast-paced tempo.
Som (Yatharth Ratnum) sings in the film only the mukhda of the song in three different situations – first at the time of the audition for qualifying in the reality show, second, at the time of learning from his mother and third while participating in the first round of the reality show. However, only the audio clip of this mukhda part of the song rendered by Yatharth Ratnum is available with the prelude of a long sargam.
Video Clip (Female version):
Audio Clip (Female version):
Audio Clip (Male version):
Song-Chitchor kaare badraa ghanghor matwaare badraa (Blue Mountains)(2017) Singer-Shreya Ghoshal, Lyrics-Sunil Sirwaiya, MD-Monti Sharma
Lyrics (based on Video clip):
[sargam]
chitchor..
kaare badraa
ghanghor..
matwaare badraa
chitchor..
kaare badraa
ghanghor..
matwaare badraa
tohe dekh dekh phoolon kaa
mehke anchraa
tohe soch soch bahaaron kaa
behke kajraa
koi kheenche dor mujhe teri ore
teri oar
kaare kaare badraa
ho o o kaare kaare badraa
ho o ho o kaare kaare badraa
kaare kaare badraa
chhanan chhanan chhan paayal boley
sanan sanan jo purwaa doley
chhanan chhanan chhan paayal boley
sanan sanan jo purwaa doley
radha boley sakhiyaan boley
kanhaa ke sang hi
ho o o o o o khelenge hum
o bansuri bajaaye jab
wo jamuna ke chhor pe
koi kheenche dor mujhe teri oar
teri oar
ho o o ho kaare kaare badraa
kaare kaare badraa..aa
Dheere jalnaa dheere jalnaa
Posted on: November 24, 2023
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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5607 | Post No. : | 18085 |
Hullo Atuldom
Like they say in some sponsored programs, I shall also say:- today’s song has been selected with the help of my daughter who is known as Peevesie to the followers of the blog. (I always feel we should acknowledge all those who help us). She is the one who pointed out that the director of the film (Paheli 2005) from which today’s song is, was someone who tried his hand at films which didn’t have the regular run-of-the-mill stories.
The director- Amol Palekar- was popular among the film viewers as someone who portrayed the guy-next-door type of characters with finesse, so much so that the audiences felt he was one of them. I am sure we can recall Ram Prasad (in minimum 2 films), Sanjay (also in 2 films of the ’70s), Vinod, at the mere mention of his name, I need not even spell out the names of the films. But, he was also known to play characters with negative shades in films like “Bhumika” (1977), “Khamosh” (1985) and “Teesra Kaun?” (1994). A look at his list of films released after 1980 shows that he was busy into making certain type of films which were diametrically opposite to ‘Naram Garam’ (1981), ‘Jeewan Dhara’ (1982), ‘Shriman Shrimati’ (1982), ‘Rang Birangi’ (1983), & many more such typical films of the ’80s. “Akriet” (1981) in Marathi, was his directorial debut, which was followed at regular intervals by ‘Ankahee’; ‘Thoda sa Roomani Ho Jaye’, and about 20 others, the last of them being the Marathi film ‘We are On! Houn Jau Dya’ which came in 2013 & which he had jointly directed with Sandhya Joglekar. Many of the films that he made are National Award winners. In addition to being an actor, producer, director he is also a trained painter, who has had a few one-man shows, being an alumnus of Mumbai’s J.J. School of Art. He was born in Bombay in 1944 & turns 79 today. Wishing Ramprasad Dashrathprasad Sharma (do I need to mention which film?) a very Happy Birthday.
Coming to “Paheli” (2005), it was produced by Shahrukh Khan’s Red Chillies Entertainment & Gauri Khan has been credited as the producer. It had a huge cast of Rani Mukherjee, Juhi Chawla, Shahrukh Khan, Anupam Kher, Suniel Shetty, A.K. Hangal & Amitabh Bachchan in a cameo. Naseeruddin Shah & Ratna Pathak Shah’s voices were used for the puppets. M.M.Kreem was the music director & Gulzar was the lyricist. Shreya Ghoshal, Hariharan, Sukhwinder Singh, Sonu Nigam, Madhushree & Bela Shende (two new names for me) were the singers used.
Sadanandjii’s post of 15th February 2023 gives us a lot of information about the story, who wrote it originally and the way it was treated by Mani Kaul & later by Amol Palekar. I don’t think I can better that post. So let us get to the song directly.
Song-Dheere jalna dheere jalnaa (Paheli)(2005) Singers-Sonu Nigam, Shreya Ghoshal, Lyrics-Gulzar, MD-M M Kreem
Sonu Nigam + male chorus
Male + Female chorus
Lyrics
dheere jalna
dheere jalna
dheere jalna aa
zindagi ki lau pe jalna
dheere dheere dheere dheere dheere dheere jalna
zindagi ki lau pe jalna
kaanch ka sapna
gal hi na jaaye
soch samajh ke
aanch rakhna
dheere jalna aa
dheere jalna
dheere jalna aa
dheere jalna
dheere jalna
dheere jalna
dheere dheere dheere dheere dheere jalna
hona hai jo hona hai wo hone se to rukta nahin
aasmaan toh jhukta nahin ee
dheere jalna
dheere jalna
dheere jalna aa
zindagi ki lau pe jalna
tere roop ki halki dhoop mein
do hi pal hain jeene hain
teri aankh mein dekh chuka hoon
wo sapne hain seene hain
aankhon mein sapnon ki
khirche hain chubhti hain
dheere jalna
dheere jalna
dheere jalna aa
dheere dheere dheere dheere dheere jalna
hona hai jo hona hai wo hone se to rukta nahin
aasmaan to jhukta nahin ee ee
dheere jalna
dheere jalna aa
zindagi ki lau pe hmmh hmm
dheere dheere dheere dheere hmm hmmmm
hmm hmm hmm
jalna
socha na thha aa aa
zindagi aisee
phir se milegi jeene ke liye ae ae
aankhon ko o o
pyaas lagegi
apne hi aansu peene ke liye
dheere dheere dheere dheere dheere jalna aa
zindagi ki lau pe jalna
dheere jalna dheere jalna dheere jalna aa
zindagi ki lau pe jalna
kaanch ka sapna
gal hi na jaaye
soch samajh ke
aanch rakhna aa aa
dheere jalna dheere jalna dheere jalna aa<
dheere jalna dheere jalna dheere jalna
dheere dheere dheere dheere dheere jalna
hona hai jo hona hai woh
hone se to rukta nahin
aasmaan to jhukta nahin
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 : |
5531 | Post No. : | 17987 | Movie Count : |
4813 |
Sometime in 2005, a film, ‘Mr Mehta/Mrs Singh’ was in the planning stage which was to be produced by Vishal Bhardwaj and UTV and was to be directed by Vishal Bhardwaj. Amir Khan and Kareena Kapoor were to act in lead roles. It was planned to be a romantic comedy. However, the film got aborted at the planning stage itself for reasons known to the producers.
About 5 years later, Medient Studios in association with Tarlac produced a film with similar sounding title, ‘Mr Singh/Mrs Mehta’ (2010) with ‘cross infidelity’ of two married couples as the theme of the story. The film was directed by Pravesh Bhardwaj who also wrote the story, screenplay, and dialogues. The main cast consisted of Prashant Narayanan, Aruna Shields, Naved Aslam, Lucy Hassan, Shilpa Mittal etc. Except for Prashant Narayanan, I had not heard the names of the other actors of the film. The film got ‘A’ certificate from Censor Board for its India release.
I have watched the film which is available for viewing on Dailymotion. The gist of the story of the film is as under:
Two married couples – Ashwin Mehta (Prashant Narayanan), a painter and Sakhi Mehta (Lucy Hassan), the first couple and Karan Singh (Naved Aslam)/Neera Singh (Aruna Shields), the second couple live in London. Neera suspects that Karan is having an affair with another lady and soon she gets to know the identity of lady as Sakhi. She visits Sakhi’s house but instead finds her husband, Ashwin in the house. Both are shocked to learn the affairs between Karan and Sakhi. Ashwin and Neera give solace to each other as they are sailing in the same boat. They often spend time together and recall their romantic moments with their spouses. With this background, they are unable to come to terms as to how quickly things have changed in their lives. Eventually, Neera and Ashwin become friends. Ashwin dare not ask his wife, Sakhi over her affair with Karan as if she confesses, it will shatter his life.
The friendship between Ashwin and Neera become stronger day by day. One day, Ashwin reveals his wish to paint Neera in the nude. After some hesitation, she agrees to give a nude pose. Slowly, Neera’s friendship with Ashwin turns into an affair between them. Ashwin justifies their affair as a means of settling the scores against her husband. Neera does not like Ashwin’s comments and breaks their relationship. On the other hand, the nude painting of a lady impresses Sakhi, Ashwin’s wife, very much and she encourages him to paint more and to hold exhibitions of his paintings.
One day, Neera and Karan walk by the painting exhibitions of Ashwin and Karan recognises the nude painting of his wife, Neera. Both walked inside the exhibition hall and find Sakhi standing by the side of Neera’s nude painting. Sakhi recognises Neera and gets the hint of Ashwin’s affairs with Neera. Karan and Sakhi also get shocked to see each other at the exhibition. The film ends with Ashwin and his wife Sakhi continue to live together while Neera moves out of Karan’s house.
The film has a very unusual story if not bizarre one. The normal response from the two persons who have come to know of their spouses’ extra-marital affair would generally be to confront the spouses rather than indulge themselves in affair to settle the score. Somehow, the screenplay has not sufficiently tackled the responses from the affected spouses. The film appears disjointed at some places. Probably, the Censor Board may have directed to delete certain scenes at least for the prints to be shown in India. The nude scene (blurred for Indian viewers) appears more of an item number rather than the absolute need of the situation.
The film story moves in a slow face and that too with dull moments. The performances of the main actors except Prashant Narayanan is average. The dialogue deliveries of both the female actresses are not up to the mark, probably because of their Indo-British background. The songs and the background music in the film are the plus points. Being a classical musician and vocalist, Ustad Shujaat Hussain Khan has used the semiclassical base for the compositions of the songs as well as for the background music. I liked the semiclassical tunes played mainly on sitar and flute as a background music.
The film has 6 songs including a second version song. All the songs have been written by Amitabh Verma and set to music by Ustad Shujaat Hussain Khan, the son, and the disciple of the great sitarist, Ustad Vilayat Khan of Etawah (Imdad Khani) Gharana. Music directors, Hafiz Khan Mastana and Aziz Khan were the first cousins of Ustad Vilayat Khan. Ustad Shujaat Hussain Khan has been known for his unique style of presentation in his concert, his sitar recital with own singing.
I am presenting the first song, ‘baarhaan dil mein ek sawaal aaya’ from the film to appear on the Blog. The song has two versions, both the solo renditions by KK (Krishnakumar Kunnath) and Shreya Ghoshal. While mukhda lyrics for both the versions are the same, the antaras are different. The music composition of the song is ghazal-based but the lyrics do not conform to the parameters set for the ghazal.
KK version of the song gets played in the background when both Neera and Ashwin realise that their affairs are more or less a replica of what their spouses have indulged without any scope of turning into the real companions. Shreya Ghoshal version of the song is played in the background towards the end of the film when Sakhi and her husband, Ashwin renew their love for each other and decided to stay together while Neera decides to move out of her husband, Karan’s house.
By the way, ‘baarhaan’ means ‘बार बार’ in Hindi, ‘often’ in English.
Video Clip (Male version)
Audio Clip (Male version)
Video Clip (Female version)
Audio Clip (Female version)
Song-Baarhaan dil mein ik sawaal aaya (Mr Singh/Mrs Mehta)(2010) Singer-KK/Shreya Ghoshal, Lyrics-Amitabh Verma, MD-Ustaad Shujat Hussain Khan
———————–
Lyrics (Male Version):
———————-
baarhaan dil mein ik sawaal aaya
baarhaan dil mein ik sawaal aaya
aaj socha to ye khayaal aaya
baarhaan dil mein ik sawaal aaya
aaj socha to ye khayaal aaya
do kadam saath bas chale tum hum
humsafar to na thhe kabhi tum hum
baarhaan dil mein ik sawaal aaya
teri baaton pe muskuraayen aankhen
teri khushbu se gungunaayen saansen
mere iss dil ko hai bas ek hi gham
humsafar to na thhe kabhi tum hum
baarhaan dil mein ik sawaal aaya
aaj socha to ye khayaal aaya
do kadam saath bas chale tum hum
humsafar to na thhe kabhi tum hum
baarhaan dil mein ik sawaal aaya
aaj phir teri yaad aayi hai
paas mere meri tanhaai hai
chalo achcha hai toote saare bharam
humsafar to na thhe kabhi tum hum
baarhaan dil mein ik sawaal aaya
aaj socha to ye khayaal aaya
do kadam saath bas chale tum hum
humsafar to na thhe kabhi tum hum
baarhaan dil mein ik sawaal aaya
—————————–
Lyrics (Female Version)
—————————–
baarhaan dil mein ik sawaal aaya
baarhaan dil mein ik sawaal aaya
aaj socha to ye khayaal aaya
baarhaan dil mein ik sawaal aaya
aaj socha to ye khayaal aaya
do kadam saath bas chale tum hum
humsafar to na thhe kabhi tum hum
baarhaan dil mein ik sawaal aaya
kisne socha thha din ye aayenge
apne saaye bhi chhoot jaayenge
main na jaanoon mujhe khushi hai ya gham
humsafar to na thhe kabhi tum hum
baarhaan dil mein ik sawaal aaya
aaj socha to ye khayaal aaya
do kadam saath bas chale tum hum
humsafar to na thhe kabhi tum hum
baarhaan dil mein ik sawaal aaya
dil hai bejaar
jism bejaan hai
koi ehsaas hi nahin baaki
na ye aankhen ye soch ke huyin nam
humsafar to na thhe kabhi tum hum
baarhaan dil mein ik sawaal aaya
aaj socha to ye khayaal aaya
do kadam saath bas chale tum hum
humsafar to na thhe kabhi tum hum
baarhaan dil mein ik sawaal aaya
Piyu boley piyaa boley
Posted on: July 24, 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 : |
5484 | Post No. : | 17916 |
‘Parineeta’ (2005) was produced by Vidhu Vinod Chopra and was directed by debutant Pradeep Sarkar. The star cast included Saif Ali Khan and the debutant Vidya Balan in the lead role with Sanjay Dutt, Dia Mirza, Raima Sen, Sabyasachi Chakraborty, Achyut Potdar, Surinder Kaur, Supriya Shukla, Rajesh Sharma etc. Rekha made a cameo appearance in the film.
The story of ‘Parineeta’ (2005) is based on Sharat Chandra Chattopadhyay’s famous Bengali novella of the same name. The first Hindi film based on this novella was made by Bimal Roy in 1953 with the same title. I will skip discussing the story of the film in this article as Peevesie’s Mom has already covered in this post. I would only add here that the debutant director, Pradeep Sarkar and the debutant lead actress, Vidya Balan gave the impression in the film that they were the seasoned artists. With this film, Saif Ali Khan proved that he could do challenging roles as well. Shantanu Moitra proved with his music direction in the film that he can compose songs like R D Burman in ‘1942 – A Love Story’ (1994).
There are 7 songs in the film of which 3 songs have already been covered on the Blog. I am presenting the 4th song which is my most favourite in the film. The song I am referring to is ‘piyu bole piya bole jiya dole jaanu na’. The song is rendered by Sonu Nigam, Shreya Ghoshal and Chorus on the words of Swanand Kirkire which is set to music by Shantanu Moitra. The song under discussion has impressed me so much that I have watched this song umpteen times. It turns out that minute details of the song have willy-nilly got engraved in my mind.
The background as well as situation of the song in the film is that Saif Ali Khan (Shekhar) who has more interest in Rabindra Sangeet and Elvis Presley than in his father’s business is struggling to compose a tune for a song on the piano. He calls Vidya Balan (Lalita) who is his next-door neighbour and a childhood friend to help him out.
Before the start of the main song, Saif Ali Khan plays piano for a tune and he starts humming the tune with vocables like ‘la la la la’ and ‘ hey ae ae’. Shreya Ghoshal singing for Vidya Balan helps Saif Ali Khan by joining him with his vocables. He encourages her by telling ‘not bad’ which is his catchphrase in the film. The beauty of the song is that from the start of the main song, Shreya Ghoshal sings with the accomplishment of the prominent tabla beats. And this remains throughout the singing part of the song. On a couple of occasions, solo flute is played within the antaras which is pleasing to the ears. The orchestration has been kept soft in the background throughout the song in keeping with the period of the story.
One unique feature of the song is the use of choir singing in the two interludes of the song. I think, there is some symbolism which the music director has tried to convey. The choir singing is symbolic of spirituality and union with the God. In this song, there is an inherent feeling of mutual love and the desire for the union in the minds of Shekhar and Lalita. The two antaras of the song give that indication of relationship, that is between a river and the ocean and between the rain-bearing clouds and the thirsty land. The choir singing in the interludes adds luster to the song.
The whole song is a musical conversation between Shekhar and Lalita. In my view, this song is a masterpiece because everything is perfect in this song – the lyrics, the music, the rendition, the picturisation and the performances of the actors involved in the song. I do not recall as to who said that poetry (lyrics) is the soul of a song. In this song, Shantanu Moitra has nicely ‘dressed up’ the song with the melody and rhythm. Sonu Nigam, Shreya Ghoshal and the chorus singers have provided the perfect ‘ornaments’ to the song. For me, the song under discussion has, in terms of gymnastic events, the score of perfect 10.
Video Clip:
Audio Clip:
Song-Piyu bole piya bole (Parineeta)(2005)Song-Saif Ali Khan, Sonu Nigam, Shreya Ghoshal, Lyrics-Swanand Kirkire, MD-Shantanu Moitra
Sonu+Shreya,
Chorus
Lyrics (Based on video clip)
hmm hmm hmm
la la la
hey ae ae
hmm hmm hmm
you are mine
hmm hmm hmm
la la la
hey ae ae
say, you are mine
hmm
achchi hai
thank you
hmm hmm hmm hmm
aa aa aa aa
aa aa aa aa
put in words (dialogue)
hmm hmm hmm hmm
piyu bole
piya bole
hmm hmm hmm hmm jaanoon na
jiya dole haule haule
kyun ye dole jaanoon na
not bad (dialogue)
dil ki jo baaten hain
baaten jo dil ki hain
dil hi mein rakhna piya
lab to na kholoon main
kholoon na lab to par
aankhon se sab keh diya
piyu bole piya bole
kya ye bole jaanoon na
jiya dole haule haule
kyun ye dole jaanoon na
piyu bole piya bole
kya ye bole jaanoon na
jiya dole haule haule
kyun ye dole jaanoon na
[Dialogues]
ha aa aa aa
ha aa aa aa
ha aa aa aa aaa
ha aa aa aa
ha aa aa aa
ha aa aa aa aaa
ek nadi se maine poochha
ithlaake chal di kahaan
door tere pi ka ghar hai
balkhaake chal di kahaan
thhoda wo ghabraayi
thhoda sa sharmaayi
uchhli yahaan se wahaan
saagar se milne ka
uska to sapna thha
meri hi tarah piya
o jiya dole haule haule
kyun ye dole jaanoon na
piyu bole piya bole
kya ye bole jaanoon na
jiya dole haule haule
kyun ye dole jaanoon na
ha aa aa aa
ha aa aa aa
ha aa aa aa aaa
ha aa aa aa
ha aa aa aa
ha aa aa aa aaa
maine poochha ik ghata se
itraake chal di kahaan
pyaas ki bhari zameen hai
barso bhi tarsaao na
thhoda wo gurraayi
thhoda sa tharraayi
garji yahaan phir wahaan
preet lutaati phir
jham jham jham barsi wo
teri hi tarah piya
hahah
piyu bole piya bole
kya ye bole jaanoon na
jiya dole haule haule
kyun ye dole jaanoon na
piyu bole piya bole
kya ye bole jaanoon na
jiya dole haule haule
kyun ye dole jaanoon na
hmm hmm hmm hmm
hmm hmm hmm hmm
(la la la la la la)
hmm hmm hmm hmm
(la………la la la)
piyu bole piya bole
(la la la la)
la la la jaanoon na
(hmm hmm hmm)
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 : |
5477 | Post No. : | 17897 | Movie Count : |
4782 |
‘Well Done Abba’ (2010) was produced under the banner of Reliance Big Pictures and was directed by Shyam Benegal. The main actors in the film are Boman Irani who played a double role of twin brothers and Minisha Lamba in the role of his daughter/niece. Other major actors in the film were Sameer Dattani, Ila Arun, Ravi Kishan, Sonali Kulkarni, Rajit Kapur, Ravi Jhankal, Yashpal Sharma, Rajendra Gupta, Rahul Singh, Salim Ghouse, Lalit Tiwari, Ayesha Jaleel, Deepika Amin etc. The film was majorly shot in Ramoji Film City and Ibrahimpatnam village near Hyderabad. The film was premiered at the Montreal International Film Festival in August 2009. It was later shown at London International Film Festival in October 2009 and at Dubai International Film Festival in December 2009. The film was released in India on March 26, 2010.
The film’s story is based on three short stories – (1) ‘Narsaiyyan Ki Bawdi’ by Jeelani Bano, (2) ‘Phoolwa Ka Pul’ by Sanjeev and (3) ‘Still Waters’ by Jayant Kripalani. The film is a political and social satire, a sort of black comedy in which some of the distressing issues in a village is presented in humorous ways.
It may be noted that in ‘Welcome To Sajjanpur’ (2008) also, Shyam Benegal has presented the story of a village as a political and social satire. Incidentally, during the making of these two films, Shyam Benegal was a member of Rajya Sabha (2006-12). Probably, he may have got the inspiration to make these two films from his exposures to the proceedings of the Rajya Sabha sessions.
The film is presented as his own storytelling by a driver, Armaan Ali (Boman Irani) to his boss (Rahul Singh) as to what led him to prolong his leave from one month to three months for visiting his native place in a village in, what is now Telangana. His boss is furious when Armaan resume duty after 3 months. He decides to sack Armaan for his indiscipline. However, before getting sacked, Armaan requests his boss to listen to his side of the story. However, his boss has no time to listen as he has to immediately leave on a tour to Pune. Armaan persuades his boss to allow to drive him to Pune during which he would narrate the reasons for his extended leave. If he is not convinced, he would leave the job after reaching Pune. The entire film is in flashback mode, based on Armaan’s narratives to his boss during the road journey on Mumbai-Pune Expressway. Armaan Ali’s true stories, though distressing, are not only hilarious but also bizarre to some extent.
The gist of the story narration in the film is as under:
After taking one month’s leave, widower, Armaan Ali (Boman Irani), the driver in a company in Mumbai, has gone to his native place to fix the marriage of his daughter, Muskaan Ali (Minisha Lamba). Armaan finds that the village is facing a scarcity of water for a long time. The Government has advertised that those below the poverty line (BPL) having the agricultural land holding of 2.5 acres and less, can get a Bawdi (well) constructed with 100% Government grants. Armaan decides to build a well on his piece of land. This is the beginning of Armaan’s tryst with bureaucratic processes involved in the construction of the well.
Armaan faces obstacles at every stages of processing of his application for the construction of a well – from getting BPL Certificate, Index of Land to prove the ownership of the land, inspection of the site by the Jr. Engineer, submission of photographs of the progress of the well construction etc. All these process turns out to be a bribery scam run by the bureaucrats. As a result, Armaan is left with no money to construct the well as almost all money he gets in three installments of grant is exhausted in paying bribes.
Watching her father in a distressing mood after he fails to get his well constructed, Muskaan decides to step in and takes the help from Arif (Samir Dattani). The two have soft corner for each other. They get to know through Right to Information Act that there are some more villagers who were all cheated in the bribery scam run by the bureaucrats for the construction of wells. Armed with the photos showing the progress of the construction of the well (which were printed by the Government approved photographer by using the photoshop editing tools), the letter of disbursal of grants, the letter of verification by the Government engineer and the receipt of the money received by the contractor, Muskaan lodges a FIR in the police station that someone has ‘stolen’ all the newly constructed wells. Police Inspector (Rajit Kapur) is intrigued as to how the wells can be ‘stolen’. His inspection reveals that none of the wells are in existence in the village.
Armaan knows that State’s assembly election is due, and this is the right time to bring this issue to the notice of the Government. He arranges the morcha of the affected villagers to the Irrigation Minister (Rajendra Gupta) who assures Armaan that he would get the matter sorted out. But emotionally, Armaan is so much affected by the entire process that he decides not to drink water from now onwards until he gets water from his own well. The news of morcha and the Amaan’s fast of not drinking water get prominence in the newspapers and TV news channels with the interviews of Armaan and Muskaan.
The State Government also faces the ‘no confidence motion’ by the opposition members on this issue which would come for discussion after a week. The irrigation Minister is anxious that the matter of ‘stolen’ wells is resolved before the ‘no confidence motion’ comes for discussion. He orders his bureaucrats to organize machinery and laborers to get all the ‘stolen’ wells constructed well before the ‘no confidence motion’ is taken up for discussion in the assembly. At the end, Armaan gets his dream of having a well in his land fulfilled along with other affected villagers. He breaks his fast by drinking water from his newly constructed well.
Along with his pre-occupation with the construction of the well, Armaan has also tried his best to fix Muskaan’s marriage. But he is not successful as the prospective grooms’ families do not agree to the marriage proposal because Muskaan does not like to wear hijab and burqa and wishes to continue her education after her marriage. Knowing very well that both Muskan and Arif like each other, finally, Armaan goes to Arif’s father (Lalit Tiwari) with the marriage proposal of Muskaan with Arif who gladly agrees for the marriage without any precondition. The marriage is solemnized.
There are some more sub-plots in the story of the film which I have avoided as the article will become too long. There is more fun in watching the film than reading the film’s story.
In this film, Boman Irani has given yet another brilliant performance in continuation of his earlier performances in the films like ‘Khosla Ka Ghosla’ (2006) and ‘3 Idiots’ (2009). I am surprised by the excellent performance of Minisha Lamba. She has completely transformed herself from a modern girl in her other films to a village girl with her immaculate mannerism and dialogue delivery. All other actors in the film, even in minor roles have performed well.
The film was successful at the box office. It won the National Award for the Best Film with a Social Message.
‘Well Done Abba’ (2010) had 5 songs written by Ashok Mishra (3), Swanand Kirkire (1) and Ila Arun (1). One song each was the theme song played in the background during the main credit titles at the beginning and the detailed credit titles at the end of the film. All the songs were set to music by Shantanu Moitra.
I am presenting the first song from the film, “Sun Zara Sun Zara Aaya Hai Pi Ka Sandesa” to appear on the Blog. This duet song is rendered by Shreya Ghoshal and Rupankar with chorus. The song is written by Swanand Kirkire. I did not find this song in the film if I go by the DVD of the film I watched on one of the OTT platforms. It appears that the song was deleted from the film as only the prelude music of the song is heard in the film when Arif Ali (Sameer Dattani) and his love interest, Muskaan Ali (Minisha Lambha) exchanges messages on their mobiles.
My hunch is that the song was planned to be picturised on them while exchanging the messages on their mobiles. Probably, song did not make it to the final print of the film. Incidentally, Rupankar, in his interview which was published on Calcutta Times of The Times of India (date unknown) had revealed that while recording the song, music director, Shantanu Moitra had told him that the song would need the approval from Shyam Benegal to appear in the film’s soundtrack.
With this song, Rupankar (Bagchi) made his debut in Hindi films as a playback singer. Rupankar is a well-known singer-lyricist-actor-composer in Bangla films and non-film songs. He is also a guitarist.
Audio
Song-Sun zara sun zara aaya hai pi ka sandesa (Well Done Abba)(2010) Singer-Shreya Ghoshal, Rupankar, Lyrics-Swanand Kirkire, MD-Shantanu Moitra
Chorus
Female chorus
Lyrics
sun zara sun zara
aaya hai pi ka sandesa
sun zara sun zara
aaya hai pi ka sandesa
hawa mein udd udd ke aaya hai
aaya hai pi ka sandesa aa
fiza mein ghul ghul ke poochhe hai
jiya tera haal hai kaisa aa aa aa
sun zara sun zara
sandesa ishq ka andesa
sun zara sun zara
sandesa ishq ka andesa
hawa mein udd udd ke aaya hai
aaya hai pi ka sandesa..aa
fiza mein ghul ghul ke poochhe hai
jiya tera haal hai kaisa aa aa
sun zara sun zara
aaya hai pi ka sandesa
sun zara sun zara
aaya hai pi ka sandesa
sandesa..aaaaa
sandesa
ishq kaa…aa sandesa
ambar resham zari mein
taaron ko bun ke laaya
sandesa tera sandesa
haaye sandesa
mausam wo saare saare
lafzon mein chunke laaya
sandesa are sandesa
haaye sandesa
arre dil to o hatheli pe hai
rog laga hai hamein jaane kaisa
ik haseen khwaab saa
chamka kare hai tera sandesa
ummeeden jagaaye hai tera sandesa
arre haay ram
hamen ishq ka hai andesa
sandesa..aaaaaa
sandesa
ishq kaa..aa sandesa
sun zara sun zara
aaya hai pi ka sandesa
sun zara sun zara
aaya hai pi ka sandesa
hmm
baadal patang dil ki dori se baandhe
laaya sandesa
tera sandesa
haan sandesa aa
jaise malang dil mein dhooni ramaaye
tera sandesa
haan sandesa
ho sandesa
dil to hatheli pe hai
rog laga hai hamen jaane kaisa
ek haseen khwaab sa
chamka kare haaye tera sandesa
umeeden jagaaye tera sandesa aa
arre haay ram
hamen ishq ka hai andesa
sandesa..aaaaaa
sandesa
ishq kaa….aa sandesa
sun zara sun zara
sandesa ishq ka andesa
sun zara sun zara
sandesa ishq ka andesa
ho o o
hawa mein udd udd ke aaya hai
aaya hai pi ka sandesa aa
fiza mein ghul ghul ke poochhe hai
jiya tera haal hai kaisa
hmm hmm hmm hmm
sun zara sun zara
aaya hai pi ka sandesa
sun zara sun zara
aaya hai pi ka sandesa
sandesa..aaaaaaa
sandesa
sun zara sun zara
aaya hai pi ka sandesa
ishq kaa….aa sandesa
sun zara sun zara
aaya hai pi ka sandesa
sandesa..aaaaaa
sandesa
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
सुन ज़रा सुन ज़रा
आया है पी का सँदेसा
सुन ज़रा सुन ज़रा
आया है पी का सँदेसा
हवा में उड़ उड़ के आया है
आया है पी का सँदेसा॰॰आ
फिज़ा में घुल घुल जे पूछे है
जिआ तेरा हाल है कैसा॰॰आ॰॰आ॰॰आ
सुन ज़रा सुन ज़रा
सँदेसा इश्क़ का अंदेसा
सुन ज़रा सुन ज़रा
सँदेसा इश्क़ का अंदेसा
हवा में उड़ उड़ के आया है
आया है पी का सँदेसा॰॰आ
फिज़ा में घुल घुल जे पूछे है
जिआ तेरा हाल है कैसा॰॰आ॰॰आ॰॰आ
सुन ज़रा सुन ज़रा
आया है पी का सँदेसा
सुन ज़रा सुन ज़रा
आया है पी का सँदेसा
सँदेसा॰॰आ॰॰आ
सँदेसा
इश्क़ का॰॰आ॰॰आ सँदेसा
अंबर रेशम ज़री में
तारों को बुन के लाया है
सँदेसा तेरा सँदेसा
हाय सँदेसा
मौसम वो सारे सारे
लफ़्ज़ों में चुन के लाया है
सँदेसा अरे सँदेसा
हाय सँदेसा
अरे दिल तो हथेली पे है
रोग लगा है हमें जाने कैसा
इक हसीन ख्वाब सा
चमका करे है तेरा सँदेसा
उम्मीदें जगाए है तेरा सँदेसा
अरे हाय राम
हमें इश्क़ का है अंदेसा
सँदेसा॰॰आ॰॰आ
सँदेसा
इश्क़ का॰॰आ॰॰आ सँदेसा
सुन ज़रा सुन ज़रा
आया है पी का सँदेसा
सुन ज़रा सुन ज़रा
आया है पी का सँदेसा
हम्म
बादल दिल की डोरी से बांधे
लाया सँदेसा
तेरा सँदेसा
हाँ सँदेसा॰॰आ
जैसे मलंग दिल में धूनी रमाए
तेरा सँदेसा
हाँ सँदेसा
हो सँदेसा॰॰आ
अरे दिल तो हथेली पे है
रोग लगा है हमें जाने कैसा
इक हसीन ख्वाब सा
चमका करे है तेरा सँदेसा
उम्मीदें जगाए है तेरा सँदेसा
अरे हाय राम
हमें इश्क़ का है अंदेसा
सँदेसा॰॰आ॰॰आ
सँदेसा
इश्क़ का॰॰आ॰॰आ सँदेसा
सुन ज़रा सुन ज़रा
आया है पी का सँदेसा
सुन ज़रा सुन ज़रा
आया है पी का सँदेसा
ओ ओ ओ
हवा में उड़ उड़ के आया है
आया है पी का सँदेसा
फिज़ा में घुल घुल जे पूछे है
जिआ तेरा हाल है कैसा
हम्म हम्म हम्म हम्म हम्म
सुन ज़रा सुन ज़रा
आया है पी का सँदेसा
सुन ज़रा सुन ज़रा
आया है पी का सँदेसा
सँदेसा॰॰आ॰॰आ
सँदेसा
सुन ज़रा सुन ज़रा
आया है पी का सँदेसा
इश्क़ का॰॰आ॰॰आ सँदेसा
सुन ज़रा सुन ज़रा
आया है पी का सँदेसा
सँदेसा॰॰आ॰॰आ
सँदेसा
Abhi Na Jaao Chhod Kar
Posted on: June 16, 2023
- In: "Please don't go" song | Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Love song | Lyrics contributed by readers | One song used in more than one movie | One song used in two movies | Poignant Song | Post by Sudhir | Shreya Ghoshal Solo Songs | Shreya Ghoshal Songs | Song Rendered Without Music | Song used in more than one film | Songs of 2010s (2011 to 2020) | Songs of 2011 | Yearwise breakup of songs
- 2 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5446 | Post No. : | 17850 | Movie Count : |
4769 |
Songs Repeated in Hindi Films – 28
– – – – – – – – – – – – – – – – – –
Of course yes. A repeat song again. And what a wonderful song at that.
The original song from the film ‘Hum Dono’ has become such an iconic fixture in the nostalgia, one of those peerless creations that may not be duplicated , maybe ever. It was the first and the only stint of music director Jaidev with Dev Sb’s Navketan banner. This singular partnership, with Sahir Sb writing the lyrics has given a bouquet of long and deep memories to generations of listeners.
In the original film, this song appears at the beginning of the film. And a very cute beginning too. No words, no dialogue – after the credits the first scenario is that the lead couple meets. Hero has been waiting, heroine is late, any and all exchange is just thru gestures and expressions. Together they fall into a slumber, and then the heroine wakes up and tries to leave without disturbing the hero. But the hero has clasped her ribbon in his hands, and wakes up as soon as the ribbon is pulled taut. And without saying a word, the song appears.
The song has become memorable and recognizable by the signature tinkling melody that is stored in a cigarette lighter. This is a very short and a very endearing aria, that is now printed in the memory of the lovers of Hindi film music. A little bit about this piece of music. This has been created using the musical instrument called Glockenspiel. It is a percussion instrument made from aluminium or steel bars arranged in a keyboard layout. Most of us would be familiar with a baby version of it, that is one of the most popular gift item for infants. From my inquiries about this piece of music, I have learnt this particular piece of music is played by the famous instrumentalist Kersi Lord. Kersi has been one of the lead multi instrument specialists in Indian cinema, and that too during the Golden Era of Hindi film music.
This endearing piece of music and the song has been reused in the film ‘Mausam’ from 2011. And to what a beautiful effect this song has been reused. Sadanand ji sent me a link for this song. I played it just for checking out, and truthfully saying, I have fallen in love with this reuse version.
‘Mausam’ of 2011 is a film that goes to many places. It is a very enchanting love story that tells the tale of two people in love, who belong to different religions. They are childhood friends. Their childhood is spent in rural Punjab, and Kashmir, in a time when the bon homie between neighbors and friends of all communities far outweighed the animosities that have been foisted on our society by the fundamentalist divisive forces.
The lead couple – Harry (full name Harinder Singh, role played by Shahid Kapoor) and Aayat (role played by Sonam Kapoor) fall in love in their teen years. Harry lives in Mallukot, a small village in Punjab. Aayat, whose family is in Kashmir, comes to visit her bua in the same village. The first interaction, and then more following – love develops between the two.
The story is not as much about family or societal resistance – rather not at all so. It is more about the political events that keep this couple apart for a long time. The period covered is roughly the decade starting from the demolition of Babri Masjid to the communal riots in Gujarat – roughly the period from 1992 to 2002. The story line moves across multiple geographies, going from Punjab to Bombay, to London, to New York, to Switzerland, back to India, ending up at Ahemdabad. The loving couple continue to meet at all these places, but the larger political events restrain them from coming to closer commitments. From Babri Masjid to Bombay bombings and riots, to Kargil War, to the 9/11 bombing of World Trade Center in New York, to the Ahmadabad riots of 2002.
The film is written and directed by Pankaj Kapoor (Shahid Kapoor’s father). Although criss-crossing many borders, the film does not stray. Pankaj Kapoor has kept a taut control over the progression of the story line. Only that one feels that too much of the world is crammed into a tale of love that waits.
Both the lead players have played somewhat controlled and introvert characters. The expressions of their emotional connect with each other is quite restrained and reserved – almost heart breaking. Harry joins the Indian Air Force, and that is where the Kargil War becomes part of the story-line. He is injured during action, and becomes partially paralyzed. At times unaware of each other’s tribulations, the lovers do not put any pressure of expectations on each other.
They keep meeting across geographies and across the calendar of significant events, and the circumstances and fate keep drawing them apart. The climax comes in the city of Ahmadabad, where Harry saves the life of Aayat, and overcomes his paralysis to rescue from a near fatal situation, a child girl of unknown parentage from a high rise Ferris wheel in an entertainment park.
The film has a happy ending with Harry going back into the Air Forcre, and the lovers come together and adopt the child girl they have rescued.
I had picked up the film just to view the situation in which this song has been reused. But I got curiously entangled with the story line and ended up viewing the entire film.
And I must admit that the use of this song in the situation is so endearingly more effective than the original. We are in London, Harry is on an official visit as part of an Air Force team. After the difficult times in Kashmir, Ghulam Rasool (Aayat’s father, role played by Kamal Chopra) migrates to London with his Hindu friend and neighbor Maharaj Kishan (role played by Anupam Kher). Quite frustrated by the political wranglings, the two families continue to be together. Chance encounter brings Aayat and Harry face to face. Harry invites Aayat to an official get together, after which he comes with her to drop her home. There is a meeting that gives a unmistakable flavor of “boy meeting the girl’s parents”. The conversation brings in the past somewhat, and an emotional Maharaj Kishan, playing with his cigarette lighter, presses it on. The endearing jingle is played, and for a moment all is silent. Then Harry comments that this tune sounds so familiar, but he can’t place the words. Ghulam Rasool talks about the film (‘Hum Dono’) and where he had seen it. As Harry is trying to recollect the lyrics, Aayat starts to sing them. She sings two lines. Harry is ready to depart. As Aayat walks to the main door with him, and he gets into the taxi to leave, the song continues in the background. We hear one stanza of the original song in this situation.
The reuse has been done so beautifully and so effectively. The words are playing in the background, and they are also playing in the facial expressions of Aayat, who is so clearly beseeching Harry not to leave just then. That exchange of glances between the two, the pauses as they are walking down towards the door, the earnest plea in Aayat’s eyes, and the understanding expression in Harry’s. One almost expects as if the story line would alter, and Harry stays back for some more time. But, after a pause, Harry gets into the taxi and leaves. The look of yearning, and frail vulnerability in Aayat’s eyes as the taxi departs, tells the complete story of their love.
In this reuse, the singing voice is that of Shreya Ghoshal. I must admit that I am completely bowled over by this version. There is no instrumental support at all. Shreya ji is singing without and music or rhythm support, and she has expressed this song oh so beautifully. If one is not persuaded to see the film, my recommendation is to at least see this song.
As I was searching online for this song, I also came across a longer two stanza version, but apparently that is not how it was used in the film. This version is a remix made from small clips from the film, which indicates that the song as sung by Shreya ji is a two stanza song, but in the film, only one stanza is used.
A song so endearingly rendered without music support, and a film that tells the story of love against the backdrop of geopolitical events. I just fell in love with both.
Short Version (Film Sountrack)
Long Version (Remix)
Song – Abhi Na Jaao Chhod Ka (Mausam) (2011) Singer – Shreya Ghoshal, Lyrics – Sahir Ludhianvi, MD – Jaidev
Lyrics
(Based on Longer Remix Version)
abhi na jaao chhodkar
ke dil abhi bhara nahin
abhi na jaao chhodkar
ke dil abhi bhara nahin
abhi abhi to aaye ho
abhi abhi to. . .
abhi abhi to aaye ho
bahaar ban ke chhaye ho
hawa zara mehak to le
nazar zara behak to le
ye sham dhal to le zara. . .
ye sham dhal to le zara
ye dil sambhal to le zara
main thodi der jee to loon
nashe ke ghoont pee to loon
nashe ke ghoont pee to loon
abhi to kuch kaha nahin
abhi to kuch suna nahin
bura na maano baat ka
ye pyaar hai gila nahin
adhoori aas
adhoori aas chhod ke
adhoori pyaas chhod ke
jo roz yun hi jaaoge
to kis tarah nibhaaoge
ke zindagi ki raah me
jawan dilon ki chaah me
kai mukaam aayenge
jo ham ko aajmaayenge
bura na maano baat ka
ye pyaar hai gila nahin
nahin nahin nahin nahin
ke dil abhi bhara nahin
abhi na jaao chhodkar
ke dil abhi. . .
bhara nahin. . .
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
अभी ना जाओ छोड़ कर
के दिल अभी भरा नहीं
अभी ना जाओ छोड़ कर
के दिल अभी भरा नहीं
अभी अभी तो आए हो
अभी अभी तो॰ ॰ ॰
अभी अभी तो आए हो
बहार बन के छाए हो
हवा ज़रा महक तो ले
नज़र ज़रा बहक तो ले
ये शाम ढल तो ले ज़रा॰ ॰ ॰
ये शाम ढल तो ले ज़रा
ये दिल संभल तो ले ज़रा
मैं थोड़ी देर जी तो लूँ
नशे के घूंट पी तो लूँ
नशे के घूंट पी तो लूँ
अभी तो कुछ कहा नहीं
अभी तो कुछ सुना नहीं
बुरा ना मानो बात का
ये प्यार है गिला नहीं
अधूरी आस
अधूरी आस छोड़ के
अधूरी प्यास छोड़ के
जो रोज़ यूं ही जाओगे
तो किस तरह निभाओगे
के ज़िंदगी की राह में
जवां दिलों की चाह में
कई मक़ाम आएंगे
जो हमको आज़माएँगे
बुरा ना मानो बात का
ये प्यार है गिला नहीं
नहीं नहीं नहीं नहीं
के दिल अभी भरा नहीं
अभी ना जाओ छोड़ कर
के दिल अभी॰ ॰ ॰
भरा नहीं॰ ॰ ॰
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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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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Blog Day : |
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
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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