Archive for the ‘Simply joy’ Category
- In: "Panchchi" song | Free Spirit Song | Group Dance | Guest posts | Hemant Kumar songs | Manna Dey songs | MD-Singer Song | Post by Avinash Scrapwala | Simply joy | Song sung by three or more singers | Songs of 1960s (1961 to 1970) | Songs of 1969 | Sulakshana Pandit Songs | Yearwise breakup of songs
- 2 Comments
This article is written by Avinash Scrapwala, 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 : |
5090 | Post No. : | 17016 |
‘Raahgeer’ (1969), is a production from Geetanjali Chitradeep, Calcutta. It was directed by Tarun Majumdar. The movie has Biswajeet, Nirupa Roy, Asit Sen, Sandhya Roy, Vasant Chowdhury, Shashikala, Padma Chauhan, Anwar Hussain, Pahari Sanyal, Master Prasenjit, Ifthekar, Kanhaiyyalal, Chaman Puri, Savita Chatterjee, Ram Avtar, Rashid Khan, CS Dubey and others in it.
Here is what our dear Arun ji has mentioned in brief about this film while commenting on the song-post of the song “Janam Se Banjaara Hoon Bandhu”
Atul ji,
First of all, this is a production of GITANJALI CHITRADEEP, CALCUTTA.
The name of Hemant Kumar’s production house was GEETANJALI PICTURES, BOMBAY. So there is every possibility that this may be a home production, in some way or the other, of Biswajeet.
I remember having seen this film halfway, in the theatre, as it was very much boring.
Directed by Tarun Mujumdar, its cast was, Biswajeet, Sandhya Roy, Shashikala, Padma, Nirupa Roy, Kanhaiyalal, Anwar Hussain, Pahadi Sanyal, Prasanjit, Iftekhar, Asit Sen, Sabita Chatterjee etc.
The story, as I remember, was of a young man who is fond of wandering and sets out on an endless journey. The film depicts various experiences he encounters in his travels. He does not get attached to anybody but becomes a darling of many.
Neither the story, nor the music, nor the actors were of much interest and hence no wonder the film wandered aimlessly in search of success.
-AD
NB- There seems to be no record of any major award given to Rahgir. Maybe, Bengal Govt. or critics or journalists award may have been given to it.
The movie has ten songs and lyrics for all the ten songs are penned by Gulzar. The music is composed by Hemant Kumar. Here is the list of songs this movie has.
|
Sl. No. |
Song Title | Singer/s |
Posted On |
|
01 |
Janam Se Banjaaraa Hoon Bandhu | Hemant Kumar | 21.09.2011 |
|
02 |
He He, … Vaidhh Ke Palle Pade | Kishore Kumar | 13.07.2018 |
|
03 |
Aa, Do Do Pankh Lagaake Panchhi Banenge | Hemant Kumar, Aarti Mukherjee, Chorus |
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04 |
Daiyya Kasam-Sharam Laage, Ae Sakhi, Badaa Besharam Balam | Asha Bhonsle, Usha Mangeshkar |
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05 |
Babu Ghabraate Hain, Chori Chori Aankhon Se Teer Chalaate Hain | Asha Bhonsle, Kishore Kumar |
17.07.2018 |
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06 |
Tumhaare Nain Dekh Ke Sunaa Hai Log Jogi Ho Gaye | Hemant Kumar | 27.10.2013 |
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07 |
Haay Haay, Panchhi Re, Ude Gagan Gagan Mast Magan | Manna Dey, Hemant Kumar, Sulakshana Pandit, Chorus |
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08 |
Mujhko Dosh Na Dena Bandhu… Kabhi Ruk Gaye Hain Kabhi Chal Diye Hain | Hemant Kumar | |
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09 |
Bairi Aanchar Pag Pag Urjhe Hamaar, | Lata Mangeshkar, Chorus | |
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10 |
Mitwaa Re, Bhool Gaye Thhe Raahen Mitwa | Lata Mangeshkar, Chorus | 06.07.2016 |
This movie made its debut on the blog on 21.09.2011. However, as we can see in the above table, so far only five out of ten songs of this movie have been posted on the blog.
Today we take this opportunity to present the sixth song from this movie on the blog. It will be after a gap of almost four years since the fifth song of this movie was discussed on the blog.
Today’s song is sung by Manna Dey, Hemant Kumar, and Sulakshana Pandit. And is a light-hearted group chorus song having a philosophical side too. The lyrics are by Gulzar Sb and music is composed by Hemant Kumar.
Let us listen to and enjoy the today’s wonderful song now …
Song – Panchhi Re Udey Gagan Gagan Mast Magan (Raahgeer) (1969) Singers – Manna Dey, Hemant Kumar, Lyrics – Gulzar, MD – Hemant Kumar
Manna Dey + Sulakshana Pandit
Chorus
Lyrics
haay haay
panchhi re ae ae ae
ude gagan gagan
mast magan
kiske sang laagi lagan
kaisi lagan laagi re
panchhi re ae ae ae
ude gagan gagan
mast magan
kiske sang laagi lagan
kaisi lagan laagi re
hoy
panchhi re ae ae ae
ude gagan gagan
mast magan
kiske sang laagi lagan
kaisi lagan laagi re
o o o o
kaisi chaahton ki tujhe hawaa lagi hai
tujhe hawaa laagi hai
kaunse milan ke liye vidaa lagi hai
tujhe vidaa lagi hai
kaisi chaahton ki tujhe hawaa lagi hai
kaunse milan ke liye vidaa lagi hai
o o o
aasmaan pe mil gayaa hai
kaisaa watan
kaisaa watan
kaisaa watan re
panchhi re ude gagan gagan
mast magan
kiske sang laagi lagan
kaisi lagan laagi re
ghaat ghaat boond chune
chune ud jaaye
o o o
ghaat ghaat boond chune
chune ud jaaye
pyaasi maatiyon pe kahin jaaye barsaaye
o o o
pyaasi maatiyon pe kahin jaaye barsaaye
kiske gaon jayegaa re ae ae ae ae
kiske gaon jayegaa re
kiske watan
kiske watan
kiske watan re
panchhi re ude gagan gagan
mast magan
kiske sang laagi lagan
kaisi lagan laagi re
o o o
chaand si pari ke desh me bhi jaayiyo
ha ha desh jaayiyo
hoy sone waali baaliyon ke kaan laaiyiyo
ha ha kaan laaiyo
chaand si pari ke desh me bhi jaayiyo
sone waali baaliyon ke kaan laaiyiyo
o o o
os waale moti leke aana watan
aana watan
aana watan re
panchhi re ude gagan gagan
mast magan
kiske sang lagi lagan
kaisi lagan laagi re
panchhi re ae ae
panchhi re ude gagan gagan
ae
mast magan
ae
kiske sang laagi lagan
kaisi lagan laagi re
ae ae ae
- In: Bird songs | Blog century song | Century songs for the blog | Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Happy song | joie de vivre | Love song | Lyrics by Prakashchandra | Lyrics contributed by readers | Papeeha songs | Post by Sudhir | Shamshad Begam solo | Shamshad Begam songs | Simply joy | Songs of 1940s (1941 to 1950) | Yearwise breakup of songs
- 4 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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Blog Day: |
4700 | Post No. : | 16400 |
This article is the 16400th post in the blog.
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This Week, That Year – 7
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30May – 05Jun, 2011
Celebrations today – the first item of order. Yes, the two numbers above are telling a telling tale (pardon the pun please). I have been on board now, well, it seems all my life now. Yes, so many years ago. And as we continue this relentless beat forward, I continue to keep marveling – at the fact that the blog seems to have gotten a life of its own and the bandwagon continues to chug along merrily.
It is stated often – the destination is not of any import. It is the journey that has to be enjoyed. And as this blog keeps growing from height to height and going from strength to strength, these minor milestones and even the major milestones have really become a matter of routine. Ok yes – another century, well, this number of days, well, this average of songs per day, well. . . As I said, just a matter of routine that these stations come and go past quickly.
Ah but the journey – that is where the real joy is emerging. Yes, we had those days when 5,000th and 10,000th songs were such a big deal and Atulites of all shades were pinned to the emails and whatsapp chats as if the World Cup finals were on and both Gavaskar and Tendulkar were on crease, going full blast. I am sure the regulars have those days cemented into memory. The heady heights that we used to cheer and celebrate about.
I do not mean to say that we do not or will not continue to celebrate the milestones. But the drummer’s beat has changed somewhat. The magic of the daily routine is just unbelievable. There is such a serene comfort in the incessant regularity. A trust, a confidence, just like the Sun rising every day (well, some rare days may have clouds also). But then the Sun is there, and will appear in all its glory tomorrow morning again.
I know that most bandwagoneers will agree with me – the blog has become a foundational regularity in life, and whether or not I will open the browser early morning, I know that a new post will be there.
A new post, a new song – another gem to ruminate on today, from the ocean that is the Hindi film song. With the incessant dipping into this ocean every day, and the incessant pulling up of pearls and gems of the first water – one starts to believe. Starts to believe that there is a blessing that has descended on this concept, and the upon the fortunate ones who are connected with it, making our own, and many other lives meaningful.
The heart brims over, the mind stalls, the words slow down – enough been said, and yet, more than that enough still remains to be said. I had come across a quote from Rumi couple of days back – “The closer I get, the more I see how far I am”.
And the bandwagon chugs along. . .
4,700 days, 16,400 posts. And you must consider, the number of songs contained therein are much more – on account of multi part and multi version songs. By my tally of data that we are maintaining, the song count stands today, with this post – 17,010.
And there is still an ocean awaiting us. . .
Ok so, the week that was 30th May to 5th June in 2011 – the summer of 2011. Goodness, one of the slowest weeks I have written about in this series so far. Three dot days, four active days, and a total of 13 posts published. Atul ji, where were you located in the summer of 2011?
Let’s do the numbers first. A total of 13 posts and 12 films are showcased. One film ‘Mirza Ghalib’ (1954) comes in with two posts.
We had 4 debut films this week. No films got yippeee’d during the week. Of the 12 films that got featured, 7 films have since been yippeee’d. If we factor in the possibly untraceable songs, then we have two more films being Yippeee’d conditionally. Hmm, that is a very good %. Only three films out of the 12 posted, are still showing the pending status.
Looking at the distribution by decades, we have the following data,
1930s 1
1940s 5
1950s 6
1970s 1
Majority focus is on the Godlen Era.
No milestones got breached this week.
Here is the week’s data in table form.
| Blog Ten Year Challenge (2011-2021) Series | |||||||||
| Sl.No. | Movie Name | Year | HFGK NoS | ASAD NoS | Possible UT | Deb/Yip | Milestone | Film Status | Pending |
| 30-May-11 | |||||||||
| [No Posts] | |||||||||
| 31-May-11 | |||||||||
| 1 | Tansen | 1943 | 13 | 13 | Yippeee’d | ||||
| 2 | Meena Baazaar | 1950 | 12 | 12 | Yippeee’d | ||||
| 3 | Do Phool | 1958 | 9 | 9 | Yippeee’d | ||||
| 1-Jun-11 | |||||||||
| 1 | Bhakt Soordas | 1942 | 15 | 14 | 1 | Yc | 1 UT | ||
| 2 | Bholi | 1949 | 10 | 3 | D | Pending | 7 | ||
| 3 | Hyderabad Ki Naazneen | 1952 | 6 | 7 | Yippeee’d | ||||
| 2-Jun-11 | |||||||||
| 1 | Zameen Ke Taare | 1960 | 8 | 3 | D | Pending | 5 | ||
| 2 | Mirza Ghalib | 1954 | 11 | 12 | Yippeee’d | ||||
| 3 | Chor Baazaar | 1954 | 6 | 6 | Yippeee’d | ||||
| 4 | Aakhri Sajdaa | 1977 | 5 | 5 | Yippeee’d | ||||
| 3-Jun-11 | |||||||||
| 1 | Pooran Bhagat | 1933 | 20 | 6 | D | Pending | 14 | ||
| 2 | Mirza Ghalib | 1954 | 11 | 12 | Yippeee’d | ||||
| 3 | Bhanwraa | 1944 | 11 | 10 | 1 | D | Yc | 1 UT | |
| 4-Jun-11 | |||||||||
| [No Posts] | |||||||||
| 5-Jun-11 | |||||||||
| [No Posts] | |||||||||
After a no show on 30th May, the next day (31st May) has three films that featured on the blog – ‘Tansen’ (1943), ‘Meena Bazaar’ (1950) and ‘Do Phool’ of 1958. All three films have been Yippeee’d. And that actually posed a problem for me.
On 1st June, again three posts and three films – ‘Bhakt Soordas’ (1942), ‘Bholi’ (1949) and ‘Hyderabad Ki Naazneen’ (1952). ‘Bhakt Soordas’ is now already at the conditional Yippeee status. One song of this film, “Manuva Krishan Naam Rate Jaa.” is not traceable. No record was cut, and since the film is not available as yet, no way to say whether and how this song was presented in the film.
‘Hyderabad Ki Naazneen’ is Yippeee’d. And then ‘Bholi’ from 1949 still has many songs to go.
The problem that I mentioned in the 2nd previous paragraph, is that I do not have an available film from 31st May, to select a song for the post. And so I had to resort to pick a song from 1st June, and that to from, film ‘Bholi’, the only film from that date still having pending status.
On 2nd June, four films were added. ‘Mirza Ghalib’ (1954), ‘Chor Bazaar’ (1954) and ‘Aakhiri Sajda’ from 1977 have already been Yippeee’d. The film ‘Zameen Ke Taare’ still remains pending.
‘Mirza Ghalib’ also featued in the post list on 3rd June. Two more films came up that day – ‘Pooran Bhagat’ (1933) and ‘Bhanwra'(1944). ‘Mirza Ghalib’ being Yippeee’d already, ‘Bhanwara’ entered the conditional Yippeee status, since all songs of this film are posted, except for one, the song being ” Yeh Dua Maango Haseenon Aashikon Ka Dum Rahe” is still to be traced. That leaves behind ‘Pooran Bhagat’ from 1933 which still has a lot of songs still awaiting to be posted.
The song that I have selected from ‘Bholi’ for this post here today, is a gem of a rendition by Shamshad Begum. This song is vintage Shamshad. One can clearly hear the ‘khanak’ in the voice, as she goes on to present a song of first realization of love. The words are very craftily woven by Ishwar Chandra Kapoor and the music is by Pt. Gobind Ram. A beautiful creation by any standards.
‘Bholi’ is produced under the banner of Murli Movietone, Bombay, and is directed by Ram Daryani. The star cast is listed as Geeta Bali, Prem Adeeb, Shashikala, Jeevan, Gulab, Khatoon, Nazeera, Sheila, Ishu, Gope, and Nawab. There are 10 songs listed, all from the pen of Ishwar Chandra Kapoor with music by Pt Gobind Ram.
Ok so, I have not used this word so far in the article.
But yes, Congratulations – very much in order.
Congratulations to us all.
Song – Piya Piya Tu Bol Papiha, Din Phaagun Ke Aaye (Bholi) (1949) Singer – Shamshad Begum, Lyrics – Ishwar Chandra Kapoor, MD – Gobind Ram
Lyrics (Provided by Prakash ji)
piya piya tu bol papiha
din phagun ke aaye
jiya mera dola jaaye
piya piya tu bol papiha
din phagun ke aaye
jiya mera dola jaaye
ek daal pe khila hai genda
dooje daal chameli
koyal ban kar baag mein aayi
dulhan nai naveli
ek daal pe khila hai genda
dooje daal chameli
koyal ban kar baag mein aayi
dulhan nai naveli
phoolon ke kaanon mein apne dil ki baat sunaaye
jiya mera dola jaaye
phoolon ke kaanon mein apne dil ki baat sunaaye
jiya mera dola jaaye
piya piya tu bol papiha
din phagun ke aaye
jiya mera dola jaaye
aaj kisi ne chhed diye hain
man veena ke taar
aaj kisi ne chhed diye hain
man veena ke taar
do matwaare nainanwa mein
naach raha hai pyaar
haan haan
naach raha hai pyaar
aankhen dil se ye kehti hain
hans hans kar lut jaaye
aankhen dil se ye kehti hain
hans hans kar lut jaaye
piya piya tu bol papiha
din phagun ke aaye
jiya mera dola jaaye
piya piya tu bol papiha
din phagun ke aaye
jiya mera dola jaaye
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Hindi script lyrics (Provided by Sudhir Kapur)
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पिया पिया तू बोल पपीहा
दिन फागुन के आए
जिया मेरा डोला जाये
पिया पिया तू बोल पपीहा
दिन फागुन के आए
जिया मेरा डोला जाये
एक डाल पे खिला है गेंदा
दूजे दाल चमेली
कोयल बन कर बाग में आई
दुल्हन नई नवेली
एक डाल पे खिला है गेंदा
दूजे दाल चमेली
कोयल बन कर बाग में आई
दुल्हन नई नवेली
फूलों के कानों में अपने दिल की बात सुनाये
जिया मेरा डोला जाये
फूलों के कानों में अपने दिल की बात सुनाये
जिया मेरा डोला जाये
पिया पिया तू बोल पपीहा
दिन फागुन के आए
जिया मेरा डोला जाये
आज किसी ने छेड़ दिये हैं
मन वीणा के तार
आज किसी ने छेड़ दिये हैं
मन वीणा के तार
दो मतवाले नैननवा में
नाच रहा है प्यार
हाँ हाँ
नाच रहा है प्यार
आँखें दिल से ये कहती हैं
हंस हंस कर लुट जाये
पिया पिया तू बोल पपीहा
दिन फागुन के आए
जिया मेरा डोला जाये
पिया पिया तू बोल पपीहा
दिन फागुन के आए
जिया मेरा डोला जाये
Bambai Bambai Bambai Bambai Bam
Posted on: June 11, 2020
- In: Arun Joglekar Songs | Free Spirit Song | Fun lyrics song | fun timepass song | Guest posts | joie de vivre | Lyrics contributed by readers | One singer singing for several actors | playful song | Post by Sadanand Kamath | Ravindra Sathe Songs | Simply joy | Song of Introspection | Song sung by three or more singers | Songs about a place | Songs of 1980s (1981 to 1990) | Songs of 1990 | Songs picturised in cities | Tyagraj Khadilkar Songs | Vinay Mandke Songs | Yearwise breakup of songs
- 5 Comments
This article is written by Sadanand Kamath, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4346 | Post No. : | 15656 | Movie Count : |
4311 |
So far I have discussed three of the six feature films which Sai Paranjpye has directed in her filmy career – ‘Sparsh’ (1980) in “Geeton Ki Duniya Mein Sargam Hain Hum“, ‘Chashm-e-Baddoor’ (1981) in “Is Nadi Ko Mera Aaina Maan Lo” and ‘Saaz’ (1997) in “Baa. . .dal Ghumadh Badh Aaye“. In this article, I take up one more film by her – ‘Disha’ (1990) which, is not well known to the public at large. Sai Paranjpye accords this film as her best feature film in terms of excellence in all the main departments of the film making – story, screen-play, dialogues, direction, and the acting contributions from all the actors associated with this film.
According to Sai Paranjpye, the story of the film was in the making process for about 17 years before it got fructified in 1990. The unique feature of the film is that the story is based on three different experiences she got over these 17 years which have no connection with each other. Yet, she weaved a story around three events linking them with a common theme of the problems of migrants and casual workers. She believed that the life around us offers so much material for the films that there is no need to get inspired from Hollywood movies. In other words, Sai Paranjpye’s sources of ‘plagiarisation’ are life around her.
Sometime in early 1970s, Sai Paranjpye made a visit to a village in Pune district along with her two friends who had adopted that village for water harvesting. During that time, she met a villager, an agricultural labourer who owned a small parcel of barren land. He was convinced that under his barren land was the source of water. So, for about 12 years, he had been digging the well, all alone in his free time, sometime even the whole night. But there was no trace of water. The villagers had branded him as a mad man. Fed up with his obsession for digging well, his wife has left him many times but would eventually return. And then one day, he struck water in the well. Villagers who were earlier calling him as mad man made him the hero of the village. The well was named after him. The story of that villager was cinematic but it was not enough to make a full-length film.
After few years, Sai Paranjpye met her friend, Sabhashini Ali (ex-wife of producer-director, Muzaffar Ali) in Mumbai. She was doing some social work among the mill workers who were mostly migrants and staying in what is known in Mumbai Chawls as Gala (a type of dormitory). This was at a time when old mills in Mumbai were in the verge of closure as they could not compete with mills with technologically advanced power looms. She accompanied Sabhashini Ali to one of the Galas in mill area and was shocked to observe their staying conditions. In a single Gala, there were nearly 40 persons staying together in the shifts of 8 hours. They seem to enjoy their life. All were doing different activities – playing musical instruments, playing cards, shaving, some going out for practising lezim (folk dance). Sai Paranjpye talked to most of the mill workers after which she felt that it was a good theme for a cinema.
After some days, Sai Paranjpye once again met her two friends who had returned from Niphani after leading a protest against the tobacco growers and bidi makers for exploitation of tobacco workers. Those days, the middleman will recruit women from the nearby villages for making bidis at the end of which they would get daily wages based on the number of bidis they rolled in a day. But the middleman will exploit them by rejecting some rolled bidis on some false pretext. Also, some of the middlemen would make attempts for sexual favours as rewards for not rejecting some of the bidis rolled by them. Her two friends had taken up the issues with bidi factories and on behalf of the bidi workers.
With these three real stories, Sai Paranjpye wrote the script linking them with a common theme of the problems of migratory mill workers of Mumbai. This time, she decided to produce the film herself besides directing, writing the script, dialogues and songs. She roped in her favourite actors and also took Nana Patekar for the first time under her direction. The first part of the film was shot in a village near Pune. The second part of the film was shot in Mumbai in Sitaram and Indu Mills and the scenes of the migrant workers were shot in a real Gala of a Chawl. Some mill workers also acted in the films.
The main cast of ‘Disha’ (1990) consisted of Shabana Azmi, Om Puri, Nana Patekar, Raghuvir Yadav, Rajshri Sawant, Neelu Phule, Shayaji Shinde, Achyut Potdar etc. The gist of the story of the film is as under:
Bakuri is a non-descript village about one hour from Pune by road. In this village, the family of Parshuram (Om Puri) consisting of his wife, Hansa (Shabana Azmi), his five children and his younger brother, Soma (Raghuvir Yadav) stays in a hut. Parshuram is an agricultural labourer and has a small barren land in which nothing grows on it except the wild-flowers. However, he is convinced that under his barren land is the source of water. Hence for the last 12 years, he has been digging well, all alone whenever he is free. Hansa resents Parshuram’s obsession with digging well and often threatens to leave him. Soma plans to go to Mumbai for getting a job as most of the time, he is unemployed.
Soma is very friendly with Basanta (Nana Patekar) who stays with his old and sickly father (Neelu Phoole) in a hut close to Parshuram’s hut. Basanta is also an agricultural labourer whose marriage has been fixed with Phoolwanti (Rajshri Sawant) from an adjoining village. Basanta’s father wants his marriage to be performed with fun fare for which he takes a loan of Rs.10000/- against the hypothecation of a cow and a buffalo. The marriage of Basant and Phoolwanti is solemnised.
Soma comes to Mumbai for job and stays in a Gala where 40 other mill workers are staying, a few from his village. He gets a job in the mill. He sends money to his brother, Parshuram every month and sometime also sends readymade garments for his nephews and niece. Basanta, after his marriage feels uncomfortable as he is unemployed and the loan instalments are to be repaid which his father has taken for his marriage. So, he also departs for Mumbai in search of employment and lands in mill workers’ gala where his friend, Soma is also staying. Basanta also gets the job in the same mill where Soma is working.
After getting to know the realities in working condition in Mumbai, Basanta is determined to return to his village after working in the mill for 2-3 years and also advises Soma to return to the village with him so that with the money they earned, they can start a cooperative farming in the village. But Soma is determined to work in Mumbai for a long time as he is now addicted to the life of Mumbai.
After few months of stay in Mumbai, Basanta calls his wife, Phoolwanti to Mumbai to show her the city. One of his roommates in the gala arranges a independent room in a chawl for 7 days. After seeing the staying conditions of Basanta in Mumbai, his wife tells him to return to the village as early as possible when she leaves Mumbai for her village.
In the meanwhile, to run the household, both Hansa and Phoolwanti works in a bidi making unit to roll bidis for which they get daily wages in terms of the number of bidis rolled. But the munshi (Achyut Potdar) of the bidi making unit tries to exploit them by finding their faults while rolling the bidis for which no amount is paid. His intention is to force them to give him some sexual favours.
At one time, Basanta’s father writes a letter to him to come to the village for some urgent work. He returns and finds that his father has got a transistor radio and supplies of bidis from Munshi. He also comes to know that his wife is working for a bidi making unit. He is unhappy that his wife has to work for running the household.
The next day, Parshuram strikes water in the well which he has been digging for 12 years. The whole village rejoices and the mad Parshuram becomes a hero in the village. There is a felicitation by the entire village during which he declares that the water in the well is for the entire village.
Basanta returns to Mumbai earlier than schedule and his friend, Soma is surprised. Basanta tells him that he got bored in the village within two days. Then there is a twist in the story. Basanta who has been pressurising Soma to return to the village along with him after 2-3 years, decides that he is going to work in Mumbai on a long-term basis to earn good amount of money as Soma has been advising him. However, this time, Soma surprises him by revealing that his brother has struck water in the well and he is going back to the village to do farming. The film ends with Soma boarding a state transport bus which is driving to his village away from Mumbai with Basanta struck in Mumbai.
From the above narration, the story of the film looks simple. I found the film interesting to watch because Sai Paranjpye in her usual way has relied on visuals to speak for the story along with some punch-line dialogues. For example, Shabana Azmi regards the well as her ‘soutan’ as Om Puri spends more time in the well than in the house. Sometime, he takes his afternoon siesta in the well itself. To this, Om Puri’s repartee to Shabana Azmi is that she should be thankful that her ‘soutan’ is ‘baanjh’ (infertile); otherwise one more platoon of children would have joined the family. Here ‘baanjh’ has another meaning in that despite digging for many years, water has not struck in the well.
The film was released in Mumbai in November 1991 and thereafter in Pune by Sai Paranjpye as no one was willing to distribute the film. It generated interest in the initial few days with house-full board. After watching the film, Manmohan Desai offered to release the film in the Delhi circuit. With the releases in limited theatres. the box office collection could barely cover the budget of the film.
The film did not get any award in India. However, when the film was shown in Chennai International Film Festival in 1991 as a private entry (it could not be shown in Indian Panorama as it had not won any award), it was highly appreciated because of which over a period of time, the film got invitations in as many as 23 international film festivals all over the world where it has won 5 awards with cash prizes including one at Cannes international film festival.
Sai Paranjpye has mentioned in her book that the film had three songs. However, I found only two songs in the film – one is a lavani song and the other a fun song. Songs were not released on audio format. I am presenting the fun song, “Bambai Bambai Bambai Bambai Bam’ sung by Vinay Mandke, Ravindra Sathe, Tyagraj Khadilkar, Arun Joglekar and Chorus. The song is written by Sai Paranjpye which is set to music by Anand Modak. I am not able to segregate the lyrics according to playback singers as I am not familiar with their voices except that of Ravindra Sathe. I have also observed that playback singers seem to lip sync for multiple actors According to Sai Paranjpye, the ‘anokhe bol’ in the song have been rendered by Vinay Mandke in addition to his part of the song.
The song is picturised in a gala where about 40 mill workers stay. Except for about 10 actors, rest of the participants in the song are real mill workers staying in the gala. If one goes through the lyrics of the song, it would be observed that the sad realities of mill workers (or for that matter, migrant workers in general) have been presented in the mask of a fun song. In the last two stanzas, there are ‘locals verses migrants’ theme presented in ‘lavani’ style. The prelude music of the songs with “Dhak Dhak Dhak. . .” is akin to the sound generated by the power looms of a mill when they are operational.
This song is the essence of the film’s main theme. With this song, ‘Disha’ (1990) make a debut in the Blog.
Acknowledgements:
Some of the information about the background for making the film ‘Disha’ (1990) is based on
- An interview conducted by Sridhar Rangayan and Saagar Gupta titled ‘Queen of Humour: A Candid Interview with Award-Winning Director and Writer Sai Paranjpye,’ South Asianist, Vol 2, No.3 (2010).
- The Marathi book, ‘Sai – Maaza Kalapravaas’ (2016) written by Sai Paranjpye.
Song – Bambai Bambai Bambai Bambai Bam (Disha) (1990) Singer -Vinay Mandke, Ravindra Sathe, Tyagraj Khadilkar, Arun Joglekar, Lyrics – Sai Paranjpye, MD – Anand Modak
Chorus
Lyrics
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak
dhak dhak
dhak daa dham
dhak dhak
dhak dhak
dhak daa dham
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
gaon mein behti doodh ki ganga aa
haay
gaon mein behti doodh ki ganga aa
kaanha murli bajaawat hai bhai
kaanha murli bajaawat hai
aisa gokul chhoda… haay
aisa gokul chhoda bhai
kya narakpuri ye bhaawat hai
makdi ke jaal mein keeden ham
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam
dhuaan gootan aur bimaari
dhuaan gootan aur bimaari
yahaan jawaan mard ke baal pakey
har kuchh bikta hai is nagri mein
bol tumhaara chaar takey
arre chaar take bhi naahin kam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
wahaan aankh bichaaye baithi radha
aansoo uske sookh gaye
wahaan aankh bichaaye baithi radha
aansoo uske sookh gaye
bachche jo peechhe chhode wo
shaql baap ki dbhool gaye
bachche jo peechhe chhode wo
shaql baap ki bhool gaye
arre bhool gaye to kya hai gham
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bam bam bam bam
arre bambai bambai bambai bambai bam
bam bam bam bam
haaaaaaaaaaa
arre kameenon
beimaanon
badh badh taane dete ho
phir bharti kyunkar hote ho
tum phir bharti kyunkar hote ho
dham chik chik dham chik dham
arre bina bhulaaye tum mehmaan
upar se ho namak haram
waapas jaao
hari gun gaao,,o
waapas jaao
hari gun gaao
yahaan tumhaara kya hai kaam
yahaan timhaara kya hai kaam
kissa abhi karo ye khatam
khatam khatam bhai karo khatam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam bam bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam bam bam
aiyya
paapi pet yahaan le aaya…aa….aa
arre paapi pet yahaan le aaya
nagar nahi ye bhul bhulaiyya
khoon paseena yahaan bahaaya
arre khoon paseena yahaan bahaaya
iss nagri ka namak chukaaya..aa aa aa aaa
yahin basera ho ab hardam
yahin basera ho ab hardam
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
b-bam bam bambai
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
- In: "Bhaang"/intoxication song | "Nok-Jhonk" song | "Pichkaari" song | "Street Singing" song | "teasing" song | Celebration Song | Dance song | Devnagri script lyrics by Sudhir | Feelings of heart | Festival song | Free Spirit Song | Fun lyrics song | Guest posts | Happy song | Holi song | joie de vivre | Light hearted song | Lover's tête-à-tête | Lyrics contributed by readers | playful song | Post by Sudhir | Revelry song | Shalmali Kholgade Songs | Simply joy | Songs of 2010s (2011 to 2020) | Songs of 2013 | Village Fair dance song | Vishal Dadlani Song | Yearwise breakup of songs
- 12 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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Blog Day : |
3898 | Post No. : | 14943 | Movie Count : |
4082 |
Colorful greetings to all readers and friends. May this festival of colors, bring happiness and good health, to yourself, and to everyone you know. 🙂 May these colors multiply and spread good cheer across every day in the calendar.
Happy Holi to all.
On this blog, we are celebrating the eleventh iteration of this festival. Statistics is one thing – apart from that, the wonderful fact is that the songs of Holi in Hindi films, seem like a supply with no end. Of course yes, when the films and their directors continue to add more songs celebrating this festival every year.
I bring to your attention, this wonderfully fabulous song of the spirit of Holi, from a really very recent film – ‘Ye Jawaani Hai Deewaani’ from 2013. This film was one of the most successful films of that year, and I am sure you must be aware of it, even though it is possible that your tastes and preferences are rooted in the 1940s and 50s which is the gold standard for melody and music in Hindi films. However, that does not mean that music of the decades after the golden . . . – well it does deserve credit. It does catch your attention, and the music and songs still grow into your mind to become darling memories.
Although I have myself not been paying much attention and time to the music of the current years. But quite decidedly, along comes a film with a blast of music that forcefully captures your attention, and insists on becoming part of your list of favorites. Something quite of this sort happened with this 2013 film, for me. And it started very much with this song.
After a long time, I must say, that I have encountered a song of this festival, that simply takes your breath away. The spirit of celebration, and all the emotions that uniquely make this festival what it is – is not so totally and carefully represented every time. But surely, this song does it.
There is color, lots and lots of it.
There is water – it starts off with that.
There is cheer – for every person who is part of this song, and everyone else who may be listening and enjoying it.
There is music – yes of course.
There is dancing – goodness you must be kidding.
There is ‘bhaang’, and there is noise.
There is a large dipping pool – nay, a large dunking pool.
Oh yes, there is “छेड़ छाड़” – chhed chhaad, there is “ज़ोर ज़बरदस्ती” – zor zabardasti.
There are fair maidens running away to save themselves from being smothered with color and water.
And there are insistent and forceful young charmers who will not take ‘no’ for an answer. Or rather they do not even care what the answer is – they will force the color into your face and hair. They will chase you, and run you down, and cuddle you – and they will be more insistent, the more resistance one puts up.
There are drums.
There is singing – very loud, yes.
There is nonsense lyrics – like “लट्टू पड़ोसन की भाभी हो गई” – lattu padosan ki bhabhi ho gayi.
There are meaningful verses – “ज़ुल्मी ये हाजिर जवाबी हो गई. . .” – zulmi ye haazir jawaabi ho gai.
There is “नोक झोंक” – nok-jhonk – that is very verbal and very physical too.
There is humor, and there is suggestive propositioning – like “अरमानों में बेहिसाबी हो गई” – armaanon mein behisaabi ho gai.
And there is flights of fancy.
And there is uncharacteristic expressions of festivity from unexpected quarters
And there is a glimmer of surprised realizations.
The matters of heart, unexpressed, are just beneath the surface sheen.
And of course there is a shock of unexpected and amazing realizations – yes, this could surely be it.
There is joy of shared happinesses.
There is a loud cheer of good spirit.
And everything, each and every one of these ingredients put together into the mix to convince you – yayyy, it is Holi – get colored, and get wet, very wet.
Amazing, simply and truly amazing – after a long time, comes along a new sound that astonishes the mind with the honesty with which the true spirit of the festival is so sweetly captured. Needless to say it – but yes, I am quite truly floored.
I have not yet seen the complete film. I got introduced to the songs of this film over the past many months. Especially this Holi song was forcefully dumped into my notice just about a year ago, yes around the last iteration of this celebration. Enthused as I was, I could not make and present a post in time for the festival; now coming around to it after a wait of a full year. Even with this passage of time, the charm of this song has not diminished even one bit. I simply do not seem to be getting enough of this song. 🙂
The lyrics are written by Amitabh Bhattacharya and the music is by Preetam. Singing voices are of Vishal Dadlani and Shalmali Kholgade. On screen, the song is performed by Deepika Padukone, Ranbir Kapoor, Kalki Koechlin, Aditya Roy Kapoor and a ton of dancers. Deepika and Ranbir are so truly convincing in the complete free form enjoyment in this song. The movie makes its debut on our blog with this song.
Wishing a grand celebration of this festival today, to all friends and readers. Go out, get doused in colors, make up some fun lyrics – like “लट्टू पड़ोसन की भाभी हो गई” types, and sing it out at the top of the voice. It does not matter – it is Holi. Just down one glass of bhang and then blame it for everything. 😀 😀 😀
Happy Holi – – – celebrate.
Video
Song – Balam Pichkaari Jo Tu Ne Mujhe Maari (Ye Jawaani Hai Deewaani) (2013) Singer – Shalmali Kholgade, Vishal Dadlaani, Lyrics – Amitabh Bhattacharya, MD – Preetam
Chorus
Lyrics
abbey chashmish
kaun chashmish
holi hai. . .
itna mazzaa
kyon aa raha hai
tu ne hawa mein bhaang milaaya
itna mazzaa
kyon aa raha hai
tu ne hawa mein bhaang milaaya
duguna nasha
kyon ho raha hai
aankhon se meetha tu ne khilaaya
ho teri malmal ki kurti gulaabi ho gai
tu chali chaal jaise nawaabi ho gai
to
balam pichkaari
jo tu ne mujhe maari
to seedhi saadi chhori sharaabi ho gai
o jean pehan ke
jo tu ne maara thumka
to lattu padosan ki bhabhi ho gai
balam pichkaari
jo tu ne mujhe maari
to seedhi saadi chhori sharaabi ho gai
o jean pehan ke
jo tu ne maara thumka
to lattu padosan ki bhabhi ho gai
teri kalaai hai
haathon mein aai hai
maine maroda to
lagti malaai hai
mehnga padega ye
chaska malaai ka
upvaas karne mein
teri bhalaai hai
ho bindiya teri marhagaabi ho gai
ke armaanon mein behisaabi ho gai
teri to
balam pichkaari
jo tu ne mujhe maari
to seedhi saadi chhori sharaabi ho gai
o jean pehan ke
jo tu ne maara thumka
to lattu padosan ki bhabhi ho gai
kyon no vacancy ki
hothon pe gaali hai
jab ke tere dil ka
kamra to khaali hai
mujhko pata hai re
kya chaahta hai tu
boli bhajan teri
neeyat qawwaali hai
zulmi ye haazir jawaabi ho gai
tu to har taale ki aaj chaabi ho gai
o o
balam pichkaari
jo tu ne mujhe maari
to seedhi saadi chhori sharaabi ho gai
o jean pehan ke
jo tu ne maara thumka
to lattu padosan ki bhabhi ho gai
balam pichkaari
jo tu ne mujhe maari
to seedhi saadi chhori sharaabi ho gai
o jean pehan ke
jo tu ne maara thumka
to lattu padosan ki bhabhi ho gai
haan bole re zamaana kharaabi ho gai
haan bole re zamaana kharaabi ho gai
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
अबे चशमिश
कौन चशमिश
होली है॰ ॰ ॰
इतना मज़ा
क्यों आ रहा है
तूने हवा में भांग मिलाया
इतना मज़ा
क्यों आ रहा है
तूने हवा में भांग मिलाया
दुगुना नशा
क्यों हो रहा है
आँखों से मीठा तू ने खिलाया
हो तेरी मलमल की कुर्ती गुलाबी हो गई
तू चली चाल जैसे नवाबी हो गई
तो
बलम पिचकारी
जो तूने मुझे मारी
तो सीधी साड़ी छोरी शराबी हो गई
ओ जीन पहन के
जो तूने मारा ठुमका
तो लट्टू पड़ोसन की भाभी हो गई
बलम पिचकारी
जो तूने मुझे मारी
तो सीधी साड़ी छोरी शराबी हो गई
ओ जीन पहन के
जो तूने मारा ठुमका
तो लट्टू पड़ोसन की भाभी हो गई
तेरी कलाई है
हाथों में आई है
मैंने मरोड़ा तो
लगती मलाई है
महंगा पड़ेगा ये
चसका मलाई का
उपवास करने में
तेरी भलाई है
हो बिंदिया तेरी महारगाबी हो गई
के अरमानों में बेहिसाबी हो गई
तेरी तो
बलम पिचकारी
जो तूने मुझे मारी
तो सीधी साड़ी छोरी शराबी हो गई
ओ जीन पहन के
जो तूने मारा ठुमका
तो लट्टू पड़ोसन की भाभी हो गई
क्यों नो वेकेंसी की
होठों पे गाली है
जब के तेरे दिल का
कमरा तो खाली है
मुझको पता है रे
क्या चाहता है तू
बोली भजन तेरी
नीयत क़व्वाली है
ज़ुल्मी ये हाजिर जवाबी हो गई
तू तो हर ताले की आज चाबी हो गई
ओ ओ
बलम पिचकारी
जो तूने मुझे मारी
तो सीधी साड़ी छोरी शराबी हो गई
ओ जीन पहन के
जो तूने मारा ठुमका
तो लट्टू पड़ोसन की भाभी हो गई
बलम पिचकारी
जो तूने मुझे मारी
तो सीधी साड़ी छोरी शराबी हो गई
ओ जीन पहन के
जो तूने मारा ठुमका
तो लट्टू पड़ोसन की भाभी हो गई
हाँ बोले रे ज़माना खराबी हो गई
हाँ बोले रे ज़माना खराबी हो गई
Aayi bahaar mere angna mein aali
Posted on: May 30, 2018
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| Blog Day : | 3603 | Post No. : | 14380 |
“Dekha Pyaar Tumhaara”(1963) was directed by K Parvez (aka Kalptaru) for Mamta Movies, Bombay. The movie had Naaz, Subi Raj, Bhagwan, Achla Sachdev, Helen, Madan Puri, Sadhna Chaudhry, Shyam etc in it.
THe movie had six songs in it.
One song has been covered and that was five years ago.
Here is the second song from “Dekha Pyaar Tumhaara”(1963) to appear in the blog. This song is sung by Lata. Majrooh Sultanpuri is the lyricist. Music is composed by Raj Ratan.
The song is picturised as a joie de vivre song on Naaz, with Subiraj and Achla Sachdev also visible in the picturisation.
Audio
Video
Song-Aayi bahaar mere angna mein aali (Dekha Pyaar Tumhaara)(1963) Singer-Lata, Lyrics-Majrooh Sultanpuri, MD-Raj Ratan
Lyrics
l’la l’la l’la l’la lallaa lallaa laa
aayi bahaar mere
aayi bahaar mere angna mein aali
doloon main bani phoolon ki daali
o o o o
aayi bahaar mere
aayi bahaar mere angna mein aali
doloon main bani phoolon ki daali
o o o
l’ la laa
l’ la laa
l’ la laa la laa
ho o o
tan se
mann se
rang chhoote
jaise chaand kiran
mukh se phoote
jaise chaand kiran
mukh se phoote
honth ban gaye phoolon ke boote
honth ban gaye phoolon ke boote
zulf ho gayi
ho zulf ho gayi kuchh aur kaali
ho o o o
aayi bahaar mere
aayi bahaar mere angna mein aali
doloon main bani phoolon ki daali
o o o
l’ la laa
l’ la laa
l’ la laa la laa
ho o o o
chham chham
karti
gungunaati
aise jhoom chali
dagmagaati
aise jhum chali
dagmagati
jyon chale koi madhura ki maati
jyon chale koi madhura ki maati
hamse jaaye nahin
o hamse jaaye nahin chunari sambhaali
ho o o o
aayi bahaar mere
aayi bahaar mere angna mein aali
doloon main bani phoolon ki daali
o o o
l’ la laa
l’ la laa
l’ la laa la laa
ho o o
dil ka armaan
dil mein jaga
kya kahoon main jiya
kaa se laga
kya kahoon main jiya
kaa se laaga
paas hai mere sapnon ka raaja
paas hai mere sapnon ka raaja
phir bhi raah takoon
ho phir bhi raah takoon main nainon waali
o o o o
aayi bahaar mere
aayi bahaar mere angna mein aali
doloon main bani phoolon ki daali
ho o o o
If one has to see how one can express one’s feelings of joy and happiness through a semi classical song and dance, then look no further than this song.
Read more on this topic…
Balmaa khuli hawaa mein
Posted on: March 9, 2010
“Kashmir Ki Kali” (1964) is an out and out entertainer of an movie. Shammi Kapoor and debutant Sharmila Tagore, not to speak of Pran, Anoop Kumar and co make this movie a great fun to watch.
Read more on this topic…
Arri O makki ke phoote daane
Posted on: October 24, 2009
“Mirza Sahibaan” (1957) is an obscure movie which had Shammi Kapoor and Shyama in lead roles.
Read more on this topic…
Tim tim tim taaron ke deep jale
Posted on: October 14, 2009
What is the way to win a person over ? By treating him/ her well. Musically, it means making him/her listen to music that is soothing/ pleasing to the senses. Creators of music need not impress the listeners by their ability to create great music with impressive orchestra. The listeners gets impressed more when he gets so involved in the song that he begins to visualise the imagery alluded to in the song.
Read more on this topic…
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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