Archive for the ‘Song of Introspection’ Category
Guzar gaye jo haseen zamaane
Posted on: May 23, 2023
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 : |
5422 | Post No. : | 17786 |
“My Love”(1970) was directed by S Sukhdev for Atool Arts, Bombay. the movie had Shashi Kapoor, Sharmila Tagore, Rajindernath, Azra, Madan Puri, Lakshmi Chhaya, Raj Mehra, Nirupa Roy, Jayant, Iftikhar, Sulochana Chatterjee, Manorama, Pinchoo Kapoor, Prayag Raaj, Mustafa, Miss Caron Leslie, Jerry etc in it.
“My Love”(1970) had seven songs in it. Three songs have been covered so far. The last song was covered in the blog more than ten years ago.
Here is the fourth song from the movie to appear in the blog. This song is sung by Asha Bhonsle. The song is picturised on Sharmila Tagore. Shashi Kapoor and Ifthikhar are also visible in the picturisation.
Anand Bakshi is the lyricist. Music was composed by Daan Singh.
Lyrics of the song and other details were sent to me by Prakashchandra.
Audio link:
video link:
Song-Guzar gaye jo haseen zamaane (My Love)(1970) Singer-Asha Bhonsle, Lyrics-Anand Bakshi, MD-Daan Singh
Lyrics(Provided by Prakashchandra)
guzar gaye ae jo haseen zamaaney
khayaal mein phir ubhar rahey hain
udaas dil ki bujhee umangon
mein ik nayaa rang bhar rahey hain
guzar gaye ae jo o
ye kaisey mumkin hai hamnasheenon
ke dil ko dil kee khabar naa pahunchey
ye kaisey mumkin hai hamnasheenon
ke dil ko dil kee khabar na pahunchey
ye kaisey mumkin hai hamnasheenon
ke dil ko dil kee khabar na pahunchey
khabar na pahunchey
unhein bhi hum yaad aathey hongey
ke jin ko hum yaad kar rahey hain
guzar gaye jo haseen zamaaney
khayaal mein phir ubhar rahey hain
guzar gaye jo o o
woh bewafaa to naheen hai lekin
ye bewafaayee naheen to kyaa hai
woh bewafaa to naheen hai lekin
ye bewafaayee naheen to kyaa hai
woh bewafaa to naheen hai
lekin ye bewafaayee naheen to kyaa hai
naheen to kyaa hai
churaa ke nazrein jo yoon tasawwur
mein saamney se guzar rahey hain
guzar gaye jo haseen zamaaney
khayaal mein phir ubhar rahey hain
guzar gaye ae ae ae ae ae jo o o
- In: Asha Bhonsle solo | Asha Bhonsle songs | Blog Ten Year Challenge (2013-2023) | Introduction song | Lyrics by Prakashchandra | Lyrics contributed by readers | Song from unreleased movie | Song of Introspection | Songs from Unreleased Films of 1960s | Songs of 1960s (1961 to 1970) | Songs of 1970 | Yearwise breakup of songs
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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 : |
5421 | Post No. : | 17782 |
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Blog 10-Year Challenge (2013-2023) – Song No.122
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On this date ten years ago (22 May 2013),seven songs from seven digfferent movies was covered in the blog. Here are the details:-
| Post No | Song Title | Name of the movie | Remarks |
|---|---|---|---|
| 8110 | Main teri huyi re baalma | Gehra Daagh(1963) | Movie YIPPEED in the blog by now |
| 8111 | Saanwariya teri yaad mein ro ro marenge ham | Ramu To Deewaana Hai(1980) | 2 songs covered out of 10 by now |
| 8112 | Suraj ki garmi se jalte huye tan ko | 2/3 Parinay (1974) | 2 songs covered out of 3 by now |
| 8113 | Aaye aaye re nanhe munne raaja ko nindiya sulaaye | Doosri Sita (1974) | Movie YIPPEED in the blog with this song |
| 8114 | Jhoomta muskuraata chal | Mauqa (UR)(1970) | One song covered out of 4 |
| 8115 | Toone har raat muhabbat ki qasam khaayee hai | Ganga Ki Saugandh(1978) | Movie YIPPEED by now |
| 8116 | Tu meri adhoori pyaas pyaas | Ghajini (2008) | 1 song covered out of 5 by now |
We observe that two movies (out of seven) have since been YIPPEED in the blog. One movie was YIPPEED on this date ten years ago itself.
That leaves us with five unYIPPEED movies that are eligible for Blog Ten Year Challenge today.
“Mauqa”(1970) was an unreleased movie. The movie remained unreleased but four of its songs that were recorded were released in 1970. As for the details, the only detail available about the movie is hat it was produced under the banner of Give and Take movies. The movie had Nipon Goswami and Shobhana in it, perhaps in the lead roles.
One song from this unreleased movie was covered in the blog on this date ten years ago. Here is the second song from the movie.
This song is sung by Asha Bhonsle. Abhilaash is the lyricist. Music is composed by Asit Ganguly.
From the lyrics, it appears to be an introduction song, where a kid, who would grow up to be the hero, sings this song on the streets a bit like how Amitabh Bachchan wouldsing “rote huye aate hain sab hansta hua jo jaayega” in “Muqaddar Ka Sikandar”(1978) eight years later. That is my guess about the picturisation of this song. 🙂 I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song, in case this song managed to get picturised.
Lyrics of the song were sent to me by Prakashchandra.
Audio link:
Song-Sadkon ka raaja main sabka hoon saathi (Mauqa)(UR)(1970) Singer-Asha Bhonsle, Lyrics-Abhilash, MD-Asit Ganguly
Lyrics(Provided by Prakashchandra)
sadkon ka raajaa
main sabkaa hoon saathi
hai koyi naam meraa
na koyi meri jaatee rey aey ae ae
karoon woh safaayee ee
o mere bhaai
deti rahee ee ee duniyaa duhaayee
bolo bolo raamaa
bolo bolo krishnaa aaa
bolo bolo raamaa
bolo bolo krishnaa aaa
maal main ameeron kaa
apnaa samajhkar
kartaa hoon yaaron
duniyaa baraabhar
maal main ameeron kaa
apnaa samajhkar kartaa hoon yaaron
duniyaa baraabhar
shaam saverey ae
yehee kaam mere
galiyon mein charchey hain aam mere
bolo bolo raamaa
bolo bolo krishnaa aaa
bolo bolo raamaa
bolo bolo krishnaa aaan aaa
chhotaa hoon lekin
badon ko jhukaaoon
chaltey hawaa ke bhi haath na aaoon
chhotaa hoon lekin
badon ko jhukaaoon
chaltey hawaa ke bhi haath na aaoon
abhee to hai chhotee
meri har sharaarat
hoke badaa main banoongaa qayaamat
bolo bolo raamaa
bolo bolo krishnaa aaa
bolo bolo raamaa
bolo bolo krishnaa aaa aaa
sadkon ka raajaa
main sabkaa hoon saathi
hai koyi naam meraa
na koyi meri jaatee rey aey ae ae
karoon woh safaayee
o mere bhaai
deti rahee ee ye duniyaa duhaayee
bolo bolo raamaa
bolo bolo krishnaa aaa
bolo bolo raamaa aaa
bolo bolo krishnaa aaa aaa
Wo Jo Tha Khwaab Sa
Posted on: April 29, 2023
- In: Atif Aslam Solo Songs | Atif Aslam Songs | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics contributed by readers | philosophical song | Post by Sadanand Kamath | Song of Introspection | Song picturised in at well known locations | Songs of 2010s (2011 to 2020) | Songs of 2017 | Yearwise breakup of songs
- 4 Comments
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5398 | Post No. : | 17708 | Movie Count : |
4747 |
Today, April 29, 2023, is the 3rd Remembrance Day of Irrfan Khan, the actor par excellence. After Guru Dutt, I think, he was the only actor whose eyes spoke more than his dialogues.
It was during the shooting of ‘Qarib Qarib Singlle’ (2017) that Irrfan Khan fell sick giving him a feeling that all was not well with his health. After the release of the film in November 2017, Irrfan Khan revealed through his twitter handle in March 2018 that he was diagnosed with neuroendocrine tumors. He was under treatment in the UK for a year. After recovering from his illness, he returned to India in early 2019 and commenced the shooting for ‘Angrezi Medium’ (2020). The bout of illness resurfaced which prevented him in participating in the promotion of ‘Angrezi Medium’ (2020). He was admitted in a hospital in Mumbai on April 28, 2020, and left for the heavenly abode on April 29, 2020, at the age of 53. By the way, on the eve of Irrfan Khan’s 3rd Remembrance Day, Swiss-French Production’s Hindi (with Rajasthani dialect) film, ‘The Song of Scorpions’ (2023) in which he acted in the lead role, is scheduled to get a theatrical release in India on April 28, 2023.
Irrfan Khan (07/01/1967 – 20/04/2023) was born in Jaipur in a middle-class family, which once belonged to one of the noble families of Tonk in Rajasthan. His father had a business of tyres. From the childhood, he was an introvert person. Surprisingly, he was also an vegetarian from his childhood. His father used to make fun of him that mistakenly a brahmin has been born in his family. He completed his schooling and graduation in Arts from Jaipur. His mother wanted him to become a professor but his interest was to become an actor. During his teenage years, Irrfan Khan used to participate in amateur dramas in Jaipur. He was a fan of Hindi films and used to watch Hindi films regularly. From that time onwards, he had made up his mind to become an actor in Hindi films. He had decided to enroll for post-graduation in Theatre in the National School of Drama (NSD), Delhi. However, with his father’s death, it was not possible to leave Jaipur for Delhi. Being the eldest son, it became his responsibility to look after his mother and, a younger brother. That meant that he had to run his father’s tyre shop. Later, it was his younger brother who took the responsibility of looking after his father’s tyre shop that made him possible to join NSD in 1986. His elder sister helped him in paying fees for the enrollment in NSD.
After completing his post-graduation in theatre from NSD, Irrfan Khan went through a very hard struggle to get the entry into Hindi films. On the advice of Tigmanshu Dhulia, one of his batch-mate in NSD and also his close friend (now a producer-director-actor-writer), Irrfan Khan shifted to Mumbai in 1988. But it was very hard to get even a respectable role in Hindi films. Because of his introvert nature, he was not good at marketing himself as an actor. For the livelihood, he started working in TV Serials. Two of his prominent roles in TV serial which I saw was that of playing historian Badayuni in ‘Bharat Ek Khoj’ (1988) and the Urdu Poet, Makhdoom Mohiuddin in ‘Kahkashan’ (1991). His first acting assignment in Meera Nair’s ‘Salaam Bombay’ (1989) was reduced to a cameo role in the final cut which made his moral low. [Note: The personal information about Irrfan Khan is based on a couple of his TV interviews].
Irrfan Khan got some small roles in Hindi films like ‘Kamala Ki Maut’ (1989), ‘Drishti’ (1990), ‘Ek Doctor Ki Maut’ (1991) and many more but these films did not made the audience to carry a lasting impression about his acting, probably due to small roles and sometime inconsequential roles. After a disappointing decade of 1990s for Irrfan Khan, a silver lining came in his filmy career when London-based director Asif Kapadia offered him the lead role in the movie, ‘The Warrior’ (2001). The film ran successfully and was a hit in international film festivals, making Irrfan Khan an internationally known actor.
Irrfan Khan acted as a villain in ‘Haasil’ (2003), his close friend, Tigmanshu Dhulia’s first film as a director. The film was critically acclaimed though it failed at the box office. However, Irrfan Khan’s villainous role was very much appreciated with his Allahabadi Hindi accent. His other critically acclaimed films included Vishal Bhardwaj’s ‘Maqbool’ (2004), Mira Nair’s ‘Namesake’ (2006), Anurag Basu’s ‘Life in Metro’ (2007), Danny Boyle’s ‘Slumdog Millionaire’ (2008). Tigmanshu Dhulia’s ‘Paan Singh Tomar’ (2012) brought a second boost in the acting career of Irrfan Khan making him as an accomplished actor. He won the National Award for the best actor in this film. He justified his position as an actor par excellence in his subsequent Hindi films like ‘Lunch Box’ (2013), ‘Piku’ (2015), ‘Qarib Qarib Singlle’ (2017), ‘Hindi Medium’ (2017) and his last released film, ‘Angrezi Medium’ (2020). For the last two films, Irrfan Khan won Filmfare’s best actor awards.
During His active filmy career, Irrfan Khan acted in around 85 films. 18 films remained unreleased as of the date. I have watched most of his critically acclaimed films. Irrfan Khan does not have any particular mannerism in his acting like Raj Kapoor, Dilip Kumar, Dev Anand, Shammi Kapoor, Rajesh Khanna, Shahrukh Khan etc. These star-actors had huge fan following who would expect their favorite star-actors to repeat their mannerism in all films. Irrfan Khan, on the other hand, has fan followers who seem to like his varied roles with an unconventional acting style.
On the occasion of the 3rd Remembrance Day of Irrfan Khan, I have selected one of the songs from his film, ‘Qarib Qarib Singlle’ (2017) in which he teamed up with Malayalam actress, Parvathy in lead roles. It is a romantic comedy, a genre in which Irrfan Khan has never done the role as a lead actor in his previous films. The film is produced by Ajay Rai and Sutapa Sikdar (wife of Irrfan Khan) and is directed by Tanuja Chandra. Other supporting cast of the film included Neha Dhupia, Isha Sharvani, Pushti Shakti, Luke Kenny, Brijendra Kala, Navneet Nishan, Siddharth Menon, Bajrang Bali Singh, Avneet Kaur etc.
I have watched the film on OTT sometime last month. The film turned out to be beyond my expectation. I liked the unusual romantic story of single couple, Irrfan Khan and Parvathy during their journey from Rishikesh to Jaipur and finally to Gangtok. They are not usual hero and heroine of the mainstream Hindi films. They travel to these places simply because Irrfan Khan’s three ex-girlfriends are well settled at these places and he would like Parvathy to know that despite his break-up with them, they still remember him and he is welcome at their respective houses. During the journey, both Irrfan Khan and Parvathy appear pole apart in their temperaments. But towards the end of their journey, they realize that they love each other and their differences in temperaments complement each other as a couple.
The film was critically acclaimed. Performances of both Irrfan Khan and Parvathy were highly appreciated. But that did not reflect positively on film’s box office collections. I found the film interesting to watch. The protagonist in the film is Parvathy and the very nature of her role, she has to be less talkative and to act like lacking in confidence which she does very well. But it is Irrfan Khan who generates interest for the audience through his extroversion and witty presence.
‘Qarib Qarib Singlle’ has 4 songs written by Raj Shekhar (2) and Hussain Haidry (2). These songs were set to music by Vishal Mishra (2) and Rochak Kohli (2). All songs are apt to the situations. In addition, there was a Sufi Qawwali which was edited out at the final cut.
I am presenting the film’s first song “Wo Jo Tha Khwaab Sa” to appear on the Blog. The song is sung by Atif Aslam. Raj Shekhar has written the song which is set to music by Vishal Mishra. The song does not have the second antara in the film’s soundtrack while audio clip contains full song. I like the song for its philosophical lyrics and the way Atif Aslam has brought the emotion in his rendering.
In the film, the song is played in the background as Jaya, while in Gangtok, decides to meet her ex-boyfriend (Luke Kenny). On the other hand, Yogi (Irrfan Khan) after meeting his all three ex-girlfriends, gets looped into his past relationships. Note how Irrfan Khan’s eyes speak when he secretly watches the dance trainer, Isha Sharwani who was one of his ex-girlfriends. The lyrics by Raj Shekhar is philosophical. The substance of the song is why should one spoil the present enjoyable moments by recalling and conducting ‘post-mortem’ of the past break-ups? Whether one should be loath about the past break-ups and look for the reasons therefor as to what went wrong or to move on to enjoy whatever one has for the present. The frequent refrain ‘jaane de’ in the song is emphasizing on these two options.
Video
Audio
Song – Wo Jo Tha Khwaab Sa (Qareeb Qareeb Singlle) (2017) Singer – Atif Aslam, Lyrics – Raj Shekhan, MD – Vishal Mishra
Lyrics
(Based on Audio Clip)
aaa aaa aaaa
aaa aaa aaaa aaaaa
aaa aaa aaaa
aaa aaa aaaa aaaaa
wo jo thha khwaab saa
kya kahen jaane de
ye jo hai kam se kam
ye rahe ke jaane dein
wo jo thha khwaab saa
kya kahen jaane de
ye jo hai kam se kam
ye rahe ke jaane dein
kyun na rok kar khud ko
ek mashwara kar len
magar jaane de
aadatan to sochenge
hota yun to kya hota
magar jaane de
wo jo thha khwaab saa
kya kahen jaane de
ye jo hai kam se kam
ye rahe ke jaane dein
beeta jo beete na haaye kyun
aaye yun aankhon mein
hum ne to bemann bhi socha na…aa
kyun aaye tum baaton mein
poochhte jo hamse tum
jaane kya kya hum kehte
magar jaane de
aadatan to sochenge
hota yun to kya hota
magar jaane de
wo jo thha khwaab saa
kya kahen jaane dein
ye jo hai kam se kam
ye rahe ke jaane dein
aasaan nahi hai magar
jaana nahi ab udhar
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
aasaan nahi hai magar
jaana nahi ab udhar
maaloom hai jahaan dard hai
wahin phir bhi kyun jaayen
wahi kashmakash wahi uljhane
wahi tees kyun laayen
behtar to ye hota
hum mile hi na hote
magar jaane de
aadatan to sochenge
hota yun to kya hota
magar jaane de
wo jo thha khwaab saa..aa
kya kahen jaane de
ye jo hai kam se kam
ye rahe ke jaane dein
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Hindi script lyrics (Provided by Sudhir)
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आ आ आ
आ आ आ आ
आ आ आ
आ आ आ आ
वो जो था ख्वाब सा
क्या कहें जाने दे
ये जो है कम से कम
ये रहे के जाने दें
वो जो था ख्वाब सा
क्या कहें जाने दे
ये जो है कम से कम
ये रहे के जाने दें
क्यों ना रोक कर खुद को
एक मशवरा कर लें
मगर जाने दे
आदतन तो सोचेंगे
होता यूं तो क्या होता
मगर जाने दे
वो जो था ख्वाब सा
क्या कहें जाने दे
ये जो है कम से कम
ये रहे के जाने दें
बीता जो बीते ना हाए क्यों
आए यूं आँखों में
हमने तो बेमन भी सोचा ना॰॰आ
क्यों आए तुम बातों में
पूछते जो हमसे तुम
जाने क्या क्या हम कहते
मगर जाने दे
आदतन तो सोचेंगे
होता यूं तो क्या होता
मगर जाने दे
वो जो था ख्वाब सा
क्या कहें जाने दे
ये जो है कम से कम
ये रहे के जाने दें
आसां नहीं है मगर
जाना नहीं अब उधर
ह्म्म ह्म्म ह्म्म ह्म्म
ह्म्म ह्म्म ह्म्म ह्म्म
ह्म्म ह्म्म ह्म्म ह्म्म
ह्म्म ह्म्म ह्म्म ह्म्म
आसां नहीं है मगर
जाना नहीं अब उधर
मालूम है जहां दर्द है
वहीं फिर भी क्यों जाएँ
वही कशमकश वही उलझनें
वही टीस क्यों लाएँ
बेहतर तो ये होता
हम तुम मिले ही ना होते
मगर जाने दे
आदतन तो सोचेंगे
होता यूं तो क्या होता
मगर जाने दे
वो जो था ख्वाब सा
क्या कहें जाने दे
ये जो है कम से कम
ये रहे के जाने दें
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
Pehchaan to thhi pehchaana nahin
Posted on: May 31, 2020
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day: | 4335 | Post No.: | 15631 |
The connoisseurs of Hindi film music of the 1960s and 1970s would recall the four melodious songs sung by Geeta Dutt in ‘Uski Kahaani’ (1966) and ‘Anubhav’ (1971). Fans of Gulzar would know that all these four songs have come from his pen. But I will not be surprised if only few of them would remember that all these four songs had been set to music by Kanu Roy. Among these few persons, most of them would not have known his real identity. In his case, it was not only of the confusion of same name but also the confusion with a wrong family tree.
Most of the websites including Wikipedia says that Kanu Roy was an actor and music director who started his acting career in 1940s and switched over to music direction from 1960 onwards. His filmography in IMDb shows him both as an actor and the music director. In some websites, Kanu Roy as a music director has been discussed with the photograph of the actor, Kanu Roy. He is also been wrongly associated with the family of Geeta Dutt as one of her brothers. The facts are:
1. Kanu Roy, the actor and Kanu Roy, the music director were different persons. Kanu Roy, the actor came to Bombay (Mumbai) in early 1940s to join Bombay Talkies. On the basis of Gulzar’s interview which appeared in a ‘Filmfare’ issue of 2012, Kanu Roy, the music director came to Bombay sometime in mid-1950s. (My guess is that he may have come with Basu Bhattacharya who was his close friend).
2. Kanu Roy, the actor was never a music director. Kanu Roy, the music director never acted in films.
3. Kanu Roy, the music director was not a brother of Geeta Dutt. I have seen a photograph of Geeta Dutt’s full family before her marriage. In this photograph, there is no Kanu Roy. The names of Geeta Dutt’s four brothers are Mihir Roy, Ranjit Roy, Mukul Roy and Milan Roy.
With multiple confusion about his name, even the basic profile of the music director, Kanu Roy is difficult to get. I could get some information from Gulzar’s interview published in one of the Filmfare issues of 2012 which is available on http://www.tanqeed.com . In this interview, Gulzar talked about his association as a lyricist with Kanu Roy which I have summarized below with my marginal inputs.
Kanu Roy had picked up the musical notes from Bengal. He began his career by assisting music director, Salil Choudhury who also had Kanu Ghosh as his Assistant Music Director. It seems Kanu Roy was a Welder by profession and had worked on the upkeeping of the Howrah Bridge. He was an introvert by nature and had in him a mix of timid and humble nature.
Basu Bhattacharya and Kanu Roy were great friends. It was Basu Bhattacharya who gave Kanu Roy his first break as a music director in ‘Uski Kahaani’ (1966) which he produced and directed at shoestring budget. Subsequently, he worked in another five films of Basu Bhattacharya. Because of the low budget films, Basu Bhattacharya would never allow Kanu Roy to have more than 6-8 musicians (as against 50-100 musicians the music directors like Shankar-Jaikishan, Naushad, O P Nayyar etc would have in their orchestra). Also, Kanu Roy would not get the regular shifts in the recording studios for rehearsals of the songs. He had to manage in the early morning hours of the recording studio. He did not have a bargaining power with Basu Bhattacharya to ask for more musicians. (Probably for the same reason, he may not have got the playback singers of his choice). It is remarkable that with these constraints, Kanu Roy could composed melodious songs in Basu Bhattacharya’s films.
Kanu Roy’s career ended with his life on 20/12/1981. He lived in poverty and died in poverty.
During his musical journey from 1966-80, Kanu Roy composed 28 songs in 8 films, of which 6 films were of Basu Bhattacharya. Of the remaining two films, one film ‘Mayuri’ (1970s) remained unreleased. Though his contributions to Hindi film music in terms of numbers were low, many of his melodious songs still linger on. Unfortunately, his name may not ring bell for many who may still enjoy those melodious songs.
Although most of Kanu Roy’s melodious songs have been covered in the Blog, I found one song which I liked for its all-round excellence – lyrics, rendition, melody, composition and the picturization. The song is ‘pahchaan to thhi pahchaana nahi’ from ’Griha Pravesh’ (1979). The song is rendered by Chandrani Mukherjee on the words of Gulzar. Having watched the film, I feel that this song summarises the theme of the film.
Amar (Sanjeev Kumar) and Mansi (Sharmila Tagore) has been married for 10 years with 8-year old boy. During this period, some staleness in their relationship develops. Both are under the illusion that they are in love but in practice, they are just being together under one roof. Now their marriage is in the verge of collapse when Amar develops affairs with his office typist Sapna (Sarika). He is caught in a bind in that while he loves Sapna, in the back of his mind, he is also emotionally attached to his family.
Finally, Amar tells Mansi of his intention to divorce her to marry Sapna. After the initial shock, Mansi agrees for divorce on the condition that he should bring Sapna to the house to meet her. The reason is that Sapna has seen Amar in the office as an Accountant and develop the liking for him in an office environment. But she has not seen him in his house where the environment is different.
Before Sapna visit to her house, Mansi gets her house painted. She undergoes herself to a new make-over. While doing this, the song under discussion plays in the background. Sapna visits her house with Amar. After a brief meeting, Mansi takes Amar aside and tell him that she is ready to leave him for Sapna. After the meeting, Mansi tells Amar to drop Sapna to her house. However, when crossing the road, Sapna walks over to the other side of the road while Amar gets stranded on the opposite side because of a marriage procession on the road. In the midst of the orchestra in the marriage procession playing ‘tu Ganga ki mauj mein Jamuna ki dhara’, both Amar and Sapna take leave by waving hands at each other. The scene is symbolic of conveying the message that Amar has a change of heart. The film ends with Amar returning home having coffee with Mansi and his son with the replaying of the film’s song ‘zindagi phoolon ki nahi, phoolon ki tarah mehkti rahe’.
The lyrics of the song under discussion are simple and convey retrospection on the part of a housewife who forgets to give attention to herself. Instead, much of her time is spent in the kitchen, looking after husband and the child and upkeep of the house. In this milieu, she forgets her own identity.
In keeping with the low budget of the film, Kanu Roy has used only three main musical instruments in this song – Sarod, Sitar and what I believe to be Khol (Bangla Dholak) which one can hear in a low rhythm as the song is rendered. The song starts with a prelude of Sarod and Sitar and the same instruments are used in the interludes of the song. Chandrani Mukherjee, who is the sister-in-law of Bappi Lahiri, has rendered the song with poignant feeling in keeping with the mood of the situation. The Audio clip is longer with the same lyrics because it has the longer prelude music than in the video clip.
This song sums up the story of a housewife in a middle-class society.
Video Clip:
Audio Clip:
Song-Pehchaan to thhi pehchaana nahin(Grih Pravesh)(1979) Singer-Chandrani Mukherjee, Lyrics-Gulzar, MD-Kanu Roy
Lyrics
pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi
jab dhoop barasti hai sar pe to
paanv mein chhaanv khilti hai
main bhool gayi thhi chhaanv agar
milti hai to dhoop mein milti hai
is dhoop aur chhaanv ke khel mein kyun
jeene ka ishaara samjha nahin
pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi
main jaagi rahi kuchh sapnon mein
aur jaagi huyi bhi soyi rahi
jaane kin bhool bhulaiyya mein kuchh
bhatki rahi kuchh khoyi rahi
jeene ke liye main marti rahi
jeene ka ishaara samjha nahin
pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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