Archive for the ‘Song used in more than one film’ Category
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 : | 4219 | Post No. : | 15421 |
“Anyaay” (1949) was produced and directed by J S Kashyap for Diamond Pictures Limited, Bommbay.
“Anyaay”(1949) was a unique kind of movie. It was not an “original” standalone movie. It basically took scenes from 14 earlier movies of Bombay Talkies and combined them to come up with a story, shooting a few additional scenes as required. For shooting these scenes, the movie had used J S Kashyap, Laxman Saroj, Putli Bai, Narbada Shankar, Devidutt Nautiyal, Kesar Bai, Shree Bhagwan, B S Bhatnagar etc.
The movie had nine songs according to HFGK. Even the songs of the movie were those songs which were already utilised in Eearlier Bombay Talkies movies. For instance, the movie reused (with visuals) two songs from “Jeewan Prabhat”(1937) and one song from “Hamaari Baat”(1943).
Two songs from the movie have been covered in the past.
Here is the third song from “Anyaay” (1949) to appear in the blog. This song was originally used in “Izzat”(1937). There the song was sung by Devika rani but here the same song is sung by Meena Kapoor.
J S Kashyap was the lyricist in both the movies. Music in “Anyaay”(1949) version was by Ram Prasad.
Incidentally the tune of the song was different in the two movies.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the song picturisation as well as on the story of this movie.
Incidentally, the same song is mentioned in HFGK under two headings, viz at serial number 4 as “O jaane waale ye to bata” and at serial number 9 as “nagari laage sooni sooni”. So in effect, the movie had eight songs and not nine.
Song-O jaane waale ye to bata..nagari laage sooni sooni (Anyaay)(1949) Singer-Meena Kapoor, Lyrics-J S Kashyap, MD-Ram Prasad
Lyrics
O jaane waale
ye to bata
mujhe kiske sahaare chhod chala
mera man jeewan soona kar ke
kyun nirmohi munh mod chada
nagari laage sooni sooni
nagari laage sooni sooni
jabse gaye pal chain na gaye
ja se gaye
palchain na aaye
buri bhayi gati man ki
buri bhayi gati man ki
nisdin naina raah takat hai
nisdin naina raah takat hai
chaah lagi darashan ki
ho chaah lagi darsan ki
more peer badhat din dooni
more peer badhat din dooni
nagari laage sooni sooni
nagari laage sooni sooni
- In: "picnic" song | "Gramophone" song | Baag/Bagiya song | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Lata song | Lyrics contributed by readers | One song used in more than one movie | One song used in two movies | playful song | Post by Sudhir | Rafi songs | Rafi-Lata duet | Song used in more than one film | Songs of 1970s (1971 to 1980) | Songs of 1972 | 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 : |
4206 | Post No. : | 15399 | Movie Count : |
4244 |
Songs Repeated in Hindi Films – 16
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Aah yes, this one too. This iconic and popular song from the 1969 film ‘Jeene Ki Raah’, reappeared in a shorter version in the 1972 film ‘Baazigar’. Albeit the use of this song is somewhat casual, and does not seem to fulfill any purpose, symbolic or otherwise. Seems like a time filler, as one goes through the initial part of the film.
The original from the film ‘Jeene Ki Raah’ is a quite a well picturized song, with the reality of the situation moving into a surreal dream where the real village people performing the song are replaced by the hero and heroine, in heroine’s mind. All the songs of this film became very popular, and did contribute significantly to the rising graph of Jeetendra as a hero.
Fast forward three years later. The film ‘Baazigar’ in 1972, was a potential launch vehicle for Roopesh Kumar (cousin brother of actress Mumtaz), as a hero. He had made his debut in 1965, in supporting roles, both as a comic villain and in character riles. This was the first, and likely the only film in which he appears in the role of a hero.
Roopesh’s real name was Abbas Farashahi. He was born in Bombay on 16th Jan, 1946 (okay, just a week back was his birth anniversary, would have been 74). His father, Ali Asgar Farashahi had a very good restaurant and bakery business. However, being involved in dramatics in school and college, he was more interested to make a career in films. With some support from his cousin sister Mumtaz, he started working in small supporting roles. His first appearance is in the film ‘Tarzan and King Kong’ in 1965.
He appeared in over 120 films from 1965 through 1995. The list of his films do make an impressive reading. Here is a partial list of his films from the period till 1980 – ‘Sapno Ka Saudagar’ (1968), ‘Aadmi aur Insaan’ (1969), ‘Jeene Ki Raah’ (1969), ‘Sharafat’ (1970), ‘Jeevan Mrityu’ (1970), ‘Kal Aaj Aur Kal’ (1971), ‘Andaaz’ (1971), ‘Raampur Ka Lakshman’ (1972), ‘Seeta Aur Geeta’ (1972), ‘Prabhat’ (1973), ‘Loafer’ (1973), ‘Insaaniyat’ (1974), ‘Zinda Dil’ (1975), ‘Nagin’ (1976), ‘Karm’ (1977), ‘Dildaar’ (1977), ‘Chacha Bhatija’ (1977), ‘Amar Deep’ (1979), ‘Jaani Dushman’ (1979), ‘The Great Gambler’ (1979), ‘Lok Parlok’ (1979), ‘Hum Paanch’ (1980) etc.
Hmm. . . interesting to note that he also appeared in ‘Jeene Ki Raah’, the original film for the song being presented today.
He also produced and directed two films – ‘Hai Meri Jaan’ (1991) and ‘Meri Aan’ (1993).
Roopesh Kumar passed away quite unexpectedly, at a young age of 49. He was attending the Filmfare awards program of 1995. He suffered a severe heart attack while at the program, and passed away on way to the hospital.
The song presented today is picturized as a game being played at a picnic. This is a picnic with a difference. The only participants are the leading lady, Vijaylalitha and her pet animals – a horse named Chetak and a dog named Tommy. These are the screen names of these pets. Their real names, as per the credits are Joker and Johny respectively. The song is being played on a gramophone, and the game – well you can view it in the accompanying video. The song seems to have been edited, as it appears to end abruptly after playing one full stanza and getting into the start of the second stanza.
Ah yes, this 1972 film makes its debut on our blog today.
Overall, a very casual re-use in my opinion.
Song – Aa Mere Humjoli Aa, Khelen Aankh Micholi Aa (Baazigar) (1972) Singers – Lata Mangeshkar, Mohammed Rafi, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Chorus
Lyrics
ho o o ho o
ho o o ho o
[dialogue]
ho o o ho o
ho o o ho o
aa mere hamjoli aa
khele aankh micholi aa
galiyon me chaubaaron me
baaghon me bahaaron me
ho
main dhoondhoo tu chup ja
main aaun
na na
main aaun
na na na
aaun
na
main aaun
aa ja
peepal ke oopar jaa baitha
chup se mera saathi
dhak se lekin dhadak gaya dil
gir gayi haath se laathi
o pakdaa gaya
main aaun
na na
main aaun
na na na
aaun
na
main aaun
aa jaa
————————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————————
हो ओ ओ हो ओ
हो ओ ओ हो ओ
[संवाद]
हो ओ ओ हो ओ
हो ओ ओ हो ओ
आ मेरे हमजोली आ
खेलें आँख मिचोली आ
गलियों में चौबारों में
बागों में बहारों में
हो
ओ मैं ढूंढू तू छुप जा
आ मेरे हमजोली आ
खेलें आँख मिचोली आ
गलियों में चौबारों में
बागों में बहारों में
हो
ओ मैं ढूंढू तू छुप जा
मैं आऊँ
ना ना
मैं आऊँ
ना ना ना
आऊँ
ना
मैं आऊँ
आ जा
पीपल के ऊपर जा बैठा
चुप से मेरा साथी
धक से लेकिन धड़क गया दिल
गिर गई हाथ से लाठी
ओ पकड़ा गया
मैं आऊँ
ना ना
मैं आऊँ
ना ना ना
आऊँ
ना
मैं आऊँ
आ जा
Ik Bangala Baney Nyaara
Posted on: January 18, 2020
- In: "Bangla" (Bungalow) Song | "Gramophone" song | aspirations | Devnagri script lyrics by Sudhir | Guest posts | K L Saigal Film songs | Lyrics contributed by readers | One song used in more than one movie | One song used in two movies | Post by Sudhir | Song used in more than one film | Songs of 1960s (1961 to 1970) | Songs of 1969 | Songs reused again in subsequent movies | 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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 4201 | Post No. : | 15387 |
Songs Repeated in Hindi Films – 15
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And so, we do get to a song in Saigal Sb’s voice song in this series. Memory serving right, I would have preferred to start the series with this song. But oh well. Actually, we do have a Saigal Sb song earlier in this series. But that song – “Babul Mora, Naihar Chhooto Hi Jaaye”, is rerecorded in Jagjit Singh Chitra Singh voices.
Remembering the memorable singer KL Saigal Sb – it is 73 years today, since this Divine Voice departed from this mortal world. The singer has gone away, his voice, the sound captured in the songs recorded by him, are still alive.
The re-use film is ‘Do Raaste’ (1969) and this song is used as a backdrop in two places in the film. In both scenes, the song is being played from a 78 rpm record on an old styled gramophone. Almost the entire cast of the film gets presented in the two short clips. We see Balraj Sahni, Veena, Kamini Kaushal, Rajesh Khanna, Junior Mehmood and Jayant in the first clip. There is a lady actor sitting with Kamini Kaushal in the first part – is she Kumud Bole? Also, the baby girl with Junior Mehmood – I have seen her in other films also, but I am unable to put a name to her face. Then in the second clip, in addition to the above listed cast, we also have Prem Chopra, Bindu and Mumtaz. And yes, it is Krishnakant who gazes back at us from his perch in the portrait on the wall.
In its time, ‘Do Raaste’ was a popular hit film. Rajesh Khanna was the rising star at that time, plus the music of the film became very popular. Times were when a middle class joint family homes, were presented on screen quite realistically so. The story of the film is a typical loving family scenario, and then we have unhappiness and strife intervene – a new lady joining the household and sows the seeds of step-brotherly misunderstandings. The divide goes to extremes, before things get reformed and patched up. And then it is a joint happy family all over again.
This song appears twice in the film, once at the beginning, when everything is in a relaxed mood, and the household is the blessed ‘nyaara bangla’. And then, this song is presented again close to the end of the film, when all misunderstandings have been removed, and whole family reunites and returns once again to the ‘nyaara bangla‘.
In both the scenes, the song is being played on an old gramophone, which is manually operated. It has a big sound horn attached, as we remember from the old HMV logo. Ah, the pleasures of pure sounds from the 78 rpm records – no electronics, just a very authentic reproduction of the original sound as stored in electric impulses on the shellac. The wonders that were, without the later technologies and advancements. No creation of sound reproduction technology can even come close to the sound of a 78 rpm record playing on an HMV 102 machine – hand cranked, not even electricity to power the turntable. It continues to be a marvel of that age, which is also exemplified by another unique accomplishment – single mike recording with orchestra and multiple singers. The marvels of modern acoustic technology pale in comparison.
The song also brings back the memories of the heady days in the year 2011, going across the months of May through September. The blog was a ‘song-a-day’ platform for Saigal Sb songs. By the time we ended, we had brought on board all the Hindi/Urdu songs of Saigal Sb, which are available in public domain. The mind just cannot believe it is already more than 8 years ago that we went on that exhilarating journey. The joy of getting that done was surely a wondrous taste. But then I also think with some melancholy – that no more Saigal Sb songs are to be posted on our blog. Today’s post in this series is a device that makes us remember and revisit this miracle of nature that was – the voice of Saigal Sb. I take back my words – I would prefer to use ‘is’ instead of ‘was’. I am sure you will agree – for the voice continues to be with us. That peerless, unmatched, incomparable voice, that can only be replayed now.
Our dear Arun ji has mentioned in his previous post – “Door. . . Bahut Door” from yesterday – it was Raj Khosla’s (producer director of ‘Do Raaste’) own childhood memories that probably brought this song into the film. His father loved KL Saigal songs that would often play the records at home on an old gramophone. Those memories were relived by Raj Khosla himself, as he directed ‘Do Raaste’. Wonderful revival, wonderful renewal, wonderful memory stimulant. Thanks Raj Khosla ji, and thanks to Arun ji for bringing in this connect.
The original credits of this song are – lyrics by Kedar Sharma and music by RC Boral. Singing voice of course, is the inimitable Saigal Sb. Listen yet once again to this wondrous original voice – a benefaction of God Himself.
Song – Ik Bangala Baney Nyaara (Do Raaste) (1969) Singers – KL Saigal, Lyrics – Kedar Sharma, MD – RC Boral
Lyrics
ek bangla baney nyaara
ek bangla baney nyaara
rahe kunba jis mein saara
ek bangla baney nyaara
ek bangla baney nyaara
sone ka bangla, chandan ka jangla
sone ka bangla, chandan ka jangla
vishvakarma ke dvaara
vishvakarma ke dvaara
sone ka bangla, chandan ka jangla
vishvakarma ke dvaara
ati sundar pyaara pyaara
ek bangla baney nyaara
ek bangla baney nyaara
————————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————————
इक बंगला बने न्यारा
इक बंगला बने न्यारा
रहे कुनबा जिस में सारा
इक बंगला बने न्यारा
इक बंगला बने न्यारा
सोने का बंगला चंदन का जंगला
सोने का बंगला चंदन का जंगला
विश्वकर्मा के द्वारा
विश्वकर्मा के द्वारा
सोने का बंगला चंदन का जंगला
विश्वकर्मा के द्वारा
अति सुंदर प्यारा प्यारा
इक बंगला बने न्यारा
इक बंगला बने न्यारा
Aaj Phir Jeene Ki Tamanna Hai
Posted on: December 26, 2019
- In: Devnagri script lyrics by Sudhir | Feelings of heart | Free Spirit Song | Guest posts | Lata solo | Lata song | Lyrics contributed by readers | One song used in more than one movie | One song used in two movies | Post by Sudhir | Song used in more than one film | Songs of 1960s (1961 to 1970) | Songs of 1965 | Songs of 1980s (1981 to 1990) | Songs of 1983 | Songs reused again in subsequent movies | Yearwise breakup of songs
- 1 Comment
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 : |
4178 | Post No. : | 15355 | Movie Count : |
4233 |
Songs Repeated in Hindi Films – 14
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An iconic song from 1965 – absoute gem, absolutely unforgettable. “Kaanton Se Kheench Ke Ye Aanchal. . . Aaj Phir Jeene Ki Tamanna Hai” from the 1965 film ‘Guide’. Created by the greats of that era – Shailendra, SD Burman and Lata Mangeshkar. And coming from a film directed by Vijay Anand, one is assured that the picturization would be superlative, which it surely is. The song continues to sustain its beauty even after more than five decades. It is such a genuine treat both visually and aurally.
Eighteen years after this song came into being, it was used again in the 1983 film ‘Qayaamat’. This film is one of the plethora of crime-and-punishment films that crowded the screens during the 1980s and 90s. The main roles are played by Dharmendra, Shatrughan Sinha, Smita Patil, Jayaprada and Poonam Dhillon. Dharmendra and Shatrughan Sinha are close friends. But there is a falling out in their friendship, when Dharmendra is sent to jail, and he holds his police officer friend responsible for it. On returning from jail, he seeks to avenge himself for something that he considers as injustice meted out to him.
I have not seen the film and so will not be able to comment on the sequencing of this song within the storyline. Apparently, Jayaparada is the love interest of Dharmendra, and she appears in flashback in the movie. So there is some tragedy also related here. The occasion for the song is the birthday party of Shatrughan Sinha. Dharmendra is calling on a phone line to greet his friend. He finds out that Smita is about to sing a song at the party. He requests his friend to keep the phone line open so that he can listen. Then the song starts. It starts in the party, and almost immediately Dharmendra rewinds to the past where he sees Jayaprada singing in a very picturesque hillside setting. Rest of the song plays out in this flashback, returning to the party just moments before it ends.
Personally speaking, the song and its theme does not seem to fit into the birthday setting or even the hillside flashback interlude. It seems like force fitted, and completely out of place. But then that is just me.
The song has been reused in its original form. It is not re-recorded. So we get to enjoy the original audio, picturized on a different set of actors, in a different setting.
This song was identified and suggested by our dear Satyajit Rajurkar ji, for inclusion in this series. Thanks Satyajit ji.
Song – Aaj Phir Jeene Ki Tamanna Hai (Qayaamat) (1983) Singers – Lata Mangeshkar, Lyrics – Shailendra, MD – SD Burman
Lyrics
ho o o
kaanton se kheench ke ye aanchal
tod ke bandhan baandhi paayal
ho o
koi na roko dil ki udaan ko
dil wo chalaa
aa aa aa aa aa aa
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
apne hi bas mein nahin main
dil hai kahin to hoon kahin main
ho o o
apne hi bas mein nahin main
dil hai kahin to hoon kahin main
ho o o
jaane kya paake meri zindagi ne
hans kar kaha
haa haa haa aa ha aa
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
main hoon gubaar yaa toofaan hoon
koi bataaye main kahaan hoon
ho o o
main hoon gubaar yaa toofaan hoon
koi bataaye main kahaan hoon
ho o o
dar hai safar mein kahin kho na jaaun main
rastaa nayaa
a a aa aa aa aa
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
kal ke andheron se nikal ke
dekha hai aankhen malte malte
ho o o
kal ke andheron se nikal ke
dekha hai aankhen malte malte
ho o o
phool hi phool zindagi bahaar hai
tay kar liyaa
a a aa aa aa aa
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
aaj phir jeene ki tamannaa hai
aaj phir marne kaa iraadaa hai
————————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————————
हो ओ ओ
काँटों से खींच के ये आँचल
तोड़ के बंधन बांधी पायल
हो ओ
कोई न रोको दिल की उड़ान को
दिल वो चला
आ आ आ आ आ आ
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
अपने ही बस में नहीं मैं
दिल है कहीं तो हूँ कहीं मैं
हो ओ ओ
अपने ही बस में नहीं मैं
दिल है कहीं तो हूँ कहीं मैं
हो ओ ओ
जाने क्या पा के मेरी ज़िंदगी ने
हंस कर कहा
हा हा हा आ हा आ
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
मैं हूँ गुबार या तूफाँ हूँ
कोई बताए मैं कहाँ हूँ
हो ओ ओ
मैं हूँ गुबार या तूफाँ हूँ
कोई बताए मैं कहाँ हूँ
हो ओ ओ
डर है सफर में कहीं खो ना जाऊँ मैं
रस्ता नया
आ आ आ आ आ आ
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
कल के अँधेरों से निकल के
देखा है आँखें मलते मलते
हो ओ ओ
कल के अँधेरों से निकल के
देखा है आँखें मलते मलते
हो ओ ओ
फूल ही फूल ज़िंदगी बहार है
तय कर लिया
आ आ आ आ आ आ
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
आज फिर जीने की तमन्ना है
आज फिर मरने का इरादा है
Badan Pe Sitaare Lapete Huye
Posted on: December 24, 2019
- In: Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics contributed by readers | One song used in more than one movie | One song used in two movies | Post by Sudhir | Song used in more than one film | Songs of 2010s (2011 to 2020) | Songs of 2018 | Sonu Nigam Solo Songs | Sonu Nigam Songs | Stage song | Yearwise breakup of songs
- 5 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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
4176 | Post No. : | 15353 | Movie Count : |
4232 |
Songs Repeated in Hindi Films – 13
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A great day today. The remembrance day of one of most recognized icons of the Golden Era of Hindi film music. Rafi Sb. The name says it all. It is our own compulsions that drive us to write again and again about him, but yes, the name says it all. The mere mention brings to mind spontaneously, the journey spanning four decades, and thousands of rich gems that he rendered and bequeathed to us. The one voice that makes loving this music oh so easy.
We already have two posts today, enriching his memory, and talking about his work and his personality. The adjectives and epithets have all been used, time and again, so one is at a loss to say new things about him. There is a celebration gathering that happens at this residence today. Many devoted fans from across the country are in Bombay for this occasion. Our dear Bakshi ji is there today – have to hear from him his account of the visit to Rafi Mansion today.
Besides Bakshi ji, there are two more very good friends who are there today. Both of them are in the category of devotion beyond definition. It is a devotion that takes on the form of worship, which in of itself is a quality to be appreciated. Their life is all about Rafi Sb, their work is all about trying to perpetuate his memory. My meeting with them individually was through other friends, who introduced us. And it did not take any time to acknowledge and understand – this is going to be a lifelong association. I will briefly talk about them today.
Ahsan Qasim is a resident of Hapur, a small town that is about one a half hour’s drive from Delhi. He runs a small restaurant in his neighborhood, and has also setup a small coaching school for basic teaching of English and computers. He is an avid searcher and collector of anything that relates to Rafi Sb. As of now, we are quite much at the limits of Rafi Sb’s recorded songs. Yes, some numbers are still not accounted for, and I dare say, some numbers are still to be identified, given the gap in information available for some untraceable films of the era. But that does not limit his search. He is continuously searching for recordings of live programs, sitting through complete films looking to find out snippets of Rafi Sb’s voice used for items that do not qualify as complete songs, and hence have not been part of 78 rpm or LP releases. The verses sung in the film ‘Pyaasa’ (1957) are quite well known. But there are dozens of more such snippets that Ahsan Bhai has searched out.
He also collects videos of Rafi Sb’s songs, and hence he also continuously digging to locate films that are not yet in public domain. He has a channel on YouTube by his own name. He continuously adds to it – rare audios and videos of Rafi Sb songs. Recently he has uploaded a small video segment of a Rafi Sb song from the film ‘Kahin Aur Chal’ (1968), a film that decidedly has been categorized as lost, for now.
He has made a detailed listing of all the stars, and many who do not qualify as stars, to whom Rafi Sb has given playback. Rafi Sb never shied away from singing for completely new and unknown actors, as well as on screen characters. Ahsan Bhai’s drive is to identify such actors – he has a list and video clips of many totally unknown faces who are lip syncing Rafi Sb’s voice. And to say the least, his endeavor to dig out old films has been so beneficial for armchair collectors like me. 🙂 He is the person who was finally able to acquire ‘Karvaan e Hayaat’ and shared with me. Like so, he has dug out many other rare films, which we know that are not available in public domain.
The second person I wish to talk about today is another dear friend – Arun Gautam. The name plate outside his door reads as ‘Rafi Arun Gautam’. He is a resident of Delhi. When I visited his home for the first time, I was amazed to see – he has one room completely devoted to Rafi Sb. The room is almost like a museum, and also a room where he hosts his friends for listening sessions. The walls of the room are adorned with portraits and photographs of Rafi Sb, some are absolutely rare. All the shelves are full of books, cassette tapes, 78 rpm records and LPs. In between spaces are full of small and large memorabilia that relates to Rafi Sb. There is a harmonium, although not the original, but an exact replica of the one owned by Rafi Sb. There is telephone instrument, with Rafi Sb’s home phone number written on it – once again an exact replica of the original. There are two small cars (toy cars actually) – one a white Ambassador, and the second one a red Fiat, complete with the actual numbers on the number plates. The cars models and numbers are exactly the ones owned by Rafi Sb. There is a small statue of Rafi Sb. There are road signs – place of birth of Rafi Sb, his residence area in Bombay etc. I mean, it is a real treat for the fans of Rafi Sb. And Arun ji has such a childlike pleasure as he shows us visitors around the room.
There is an old gramophone player – the original HMV 102. If any of the readers have heard this sound they will understand. And for those who haven’t, I recommend them to listen to one if possible. Arun ji has a Philips player also – which is electronic. He played the same records on both the machines. The sound from the 102 – it shook my inside. Never ever have I heard such a complete and such a rich sound being reproduced from a 78 rpm record. Yes, we all know that the 78 rpm recording and reproduction is the ultimate. But that day, listening on the 102 was an unsurpassed, never before experience. A machine that is just cranked by hand, no electric or electronics involved. Just a very good sound box and a very good needle. The sound filled the room as I have never heard before. And with the same childlike eagerness, Arun ji played so many rare records. Not that we have not heard the audio before. But the records themselves are so rare, only one or maybe a few acknowledged copies to be existing in public domain. It was a memorable session we had that day, on my first visit. And of course, followed up later with more such sessions.
Arun ji also played some very rare and unheard snippets. Do you know that Rafi Sb has sung two lines of the immortal ghazal of Saigal Sb from ‘Shahjehan’ – “Gham Diye Mustaqil. . .”. This snippet is hidden away in the film ‘Reporter Raju’ (1962); it is not on any record, and only someone painstakingly searching for such things will be fortunate enough to locate it. And then, at the end of the session, as we were preparing to say goodbye, he asked us to wait for a minute. He went inside, and returned with a small plastic package. Opening it, he showed us a necktie – an original worn by Rafi Sb at recordings. Around the room he pointed out to a couple of photographs wherein Rafi is sporting that very necktie. We find out that it is presented to Arun ji by Rafi Sb’s daughter herself, when she visited Delhi and also came to Arun ji’s home. That was the most exhilarating close encounter for me.
And one more thing about Arun ji. He is the convener of the group that is petitioning for the Bharat Ratna award for Rafi Sb.
The most endearing thing about these two gentlemen – very soft spoken, very friendly, extremely humble, and a heart that will share anything you ask of them. True and devoted lovers of music, I must say. And I am fortunate to be in their circle of friends.
Memories of Rafi Sb, shaken and enlivened by these reminiscences.
The song today – although it is a Rafi song, but today’s presentation is not in his own voice. This song, “Badan Pe Sitaare. . .”, originally from the film ‘Prince’ (1969) – Rafi Sb giving playback for Shammi Kapoor, has got repeated in the film ‘Fanney Khan’ from 2018. Yes, so recent. The magic of the golden era lives on and on. This version is sung by Sonu Nigam, and performed on screen by Anil Kapoor.
This song comes to us courtesy of Peevesie’s Mom – the lady is always on the lookout to combine events and anniversaries. Today, 24th is the birth anniversary of Rafi Sb. And it is also the birth anniversary of actor Anil Kapoor. She located this song, and then graciously called me to take it on and present it as part of the ‘repeat songs’ series. Of course, with a short notice (like less than 24 hrs 🙂 ), and a opportunity to combine celebrations that is very difficult to pass. The song had to, has to come today, and today only. Of course, the pleasure of rewards is quite commensurate with the bait proffered. 😀
As I mentioned, the singing voice is Sonu Nigam – a sound that is quite close to Rafi Sb’s singing, as per many opinions. I am retaining the original credits of lyrics and music composition. On screen, we see Anil Kapoor, a part time vocalist in a local orchestral group in the film, attempting a ‘Shammisque’ perfromance. How far successful, I leave it to the readers to judge. For one, Shammi Kapoor would never have a set of dancers around him, in the manner in which the latter day dances are choreographed.
Some other links that come to mind. The dance starts with the rapid shaking of a hand by Anil Kapoor – memories of the dance in the song “Aa Ja Aa Ja, Main Hoon Pyaar Tera” (‘Teesri Manzil’, 1966). Then, we have the initial ‘alaap’ sounds, so to say. The first “lallalllallaaa, la llarrall lallaa lallallaaa” reminds one of the famous Rajesh Khanna performance of “Gulaabi Aankhen Jo Teri Dekhin. . .” (‘The Train’, 1970). Then there is a second piece that goes like “la ra la la la ra la la la ra la la la ra laa” – I am not able to decipher its ‘hear-alike’ source. Then there is the 3rd piece “pappaa pa pappaa pa” – if I am not mistaken, it reminds one of the opening sounds of “Duniya Mein, Logon Ko. . .” (‘Apna Desh’ 1972). Request readers to please add to or comment on these observations.
So a song with many entanglements. Original Rafi Sb song, rendered by a Rafi Sb ‘hear alike’. Original song performed by a Kapoor, now performed by another Kapoor. And the two anniversaries to add to the mix. Quite an interesting addition to the repeat song series. Thanks Peevesie’s Mom ji.
Happy and healthy wishes to Anil Kapoor – goodness, he turns 63 today. Last year he was 62. My, my. 🙂
And long live the memories of Rafi Sb. The best thing that God gave to Hindi films. Unforgettable.
Song – Badan Pe Sitaare Lapete Huye (Fanney Khan) (2018) Singers – Sonu Nigam, Lyrics – Hasrat Jaipuri, MD – Shankar Jaikishan
Lyrics
lallalllallaaa
la llarrall lallaa lallallaaa
la llarrall lallaa lallallaaa
la llarrall lallaa lallallaaa
la ra la la la ra la la la ra la la la ra laa
la ra la la la ra la la la ra la la la la laa
la ra la la la ra la la la ra la la la ra laa
paraa pappaa
paraa pappaa
paraa pappaa
paraa pappaa
pappaa pa pappaa pa
pappaa pa pappaa pa
pabbaa ba babbaa ba
babbaa ba babbaa ba
riul rham jham
jhamriul rham jham
jhamriul rham jhalurum
————————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————————
लल्ल लल्ल लल्ल ला
ला लारल्ल लल्ला लल्ललल्ला
ला लारल्ल लल्ला लल्ललल्ला
ला लारल्ल लल्ला लल्ललल्ला
ला रा ला ला ला रा ला ला ला रा ला ला ला रा ला
ला रा ला ला ला रा ला ला ला रा ला ला ला ला ला
ला रा ला ला ला रा ला ला ला रा ला ला ला रा ला
परपप्पा
परपप्पा
परपप्पा
परपप्पा
पप्पा पा पप्पा पा
पप्पा पा पप्पा पा
पब्बा बा बब्बा बा
बब्बा बा बब्बा बा
रीउल रह्म झम
झमरीउल रह्म झम
झमरीउल रह्म झालूरम
बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो॰॰ओ॰॰ओ
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये
बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये
है बनने सँवरने का जब ही मज़ा
कोई देखने वाला फन्ने तो हो
नहीं तो ये जल्वे हैं बुझते दिये
कोई मिटने वाला इक फन्ने तो हो
बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये
बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये
[तुरही वादन]
बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये
- In: "wooing" song | Babul Supriyo - Vinod Rathod Duet | Babul Supriyo Songs | Duet | expression of love | Feelings of heart | Guest posts | One song used in more than one movie | One song used in two movies | Party song | Post by Sudhir | Song used in more than one film | Songs of 2000s (2001 to 2010) | Songs of 2005 | Vinod Rathod Song | Yearwise breakup of songs
- 3 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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4119 | Post No. : | 15272 | Movie Count : |
4199 |
Songs Repeated in Hindi Films – 12
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What we have today is a repeat song of a very familiar and a very wonderful hit of its time, and yes, an all time favorite that seems to carry a timeless appeal for people in love. And as is shown on screen, people in love – of all ages. This reuse has some very interesting circumstances, mostly well evident in the picturization itself.
The original song is from the hit film ‘Khel Khel Mein’ from 1975. The lead pair in that film is Rishi Kapoor and Neetu Singh, who were famously in love off the celluloid also. They were referred to as the ‘Love Birds’ of the Hindi cinema. Their affair culminated in their tying the proverbial matrimonial knot in 1980. ‘Khel Khel Mein’ was possibly their second film together, having worked together earlier for the first time together, in ‘Zehreela Insaan’ in 1974. The original song is performed on screen by this pair, playing roles of college students in love, and in search of fun and adventure through petty pranks. On screen, the scenario is that both are drunk, and have got it into their minds to announce their love for each other to the world through this song. The original song is written by Gulshan Baawra and the music is by RD Burman.
The repeat song is from the 2005 film – ‘Pyaar Mein Twist’. The lead roles in this film are played by Rishi Kapoor and Dimple Kapadia. Seeing this pair on screen brought back memories of many a story, all the way back from three decades ago.
Rewind back to 1973. Rishi and Dimple make their individual debuts as lead players in ‘Bobby’, a teen romance that straddles two diverse strata of the society as well as religious affiliations. The film was the big hit of 1973, that revived the fortunes of RK banner after the box office debacle of ‘Mera Naam Joker’ (1970). The release of this film was preceded, and accompanied by a ton of controversies that had the pulp press working overtime for months on end. An uncanny facial resemblance (at that point in time) between Dimple and Nargis of ‘Barsaat’ (1949), created a havoc laden rumor tornado – that Dimple is actually Raj Kapoor’s daughter from his alleged affair with Nargis when the two were a popular and fantastic pair on screen, and off it, in late 1940s to mid 1950s. Of course the rumor was really preposterous; given the dates and timelines of years. But the smut press was really having a great time. Then another storm of rumor was thrown into this mix – that of an off screen affair between Rishi and Dimple. This was even more flabbergasting – as evidenced by the fact that Rishi – fondly called Chintu Baba, would soon be entangled with Neetu Singh, in a relationship that has lasted a life time. The rumor simply refused to die for weeks on end, despite strong denial statements by all parties concerned.
And then, even before the film ‘Bobby’ was formally released, there came another thunderous event that really complicated the already horrendous mess. Totally out of the blue, the marriage of Rajesh Khanna and Dimple Kapadia was announced. Rajesh Khanna was riding a great popularity wave as the superstar of the decade. The decision raised many an eyebrow, all the way to the sky, given that Rajesh Khanna was already in an almost live-in relationship with the small time actress Anju Mahendru. Couple that with the immediate announcement of Dimple’s retirement from the film industry. Goodness, the amount of dirty gossip raised by all these eventualities, was really getting out of hand. To a right thinking person, all the gossip was incredulous and unbelievable, at that time. It would serve no purpose to regurgitate it. And then, in some months’ time, as the controversies appeared to have lived out their usefulness, the box office success of ‘Bobby’ created another gossip storm – that all the controversies and their public discourse associated with Dimple – all the rumor rot was just a marketing ploy to create a box office success for ‘Bobby’. It took almost a year for the storm to die down.
Fast forward now to 1982. The long brewing trouble in the Rajesh-Dimple marriage came to a head, with Dimple leaving the matrimonial home with her two daughters, never to return again. After a cooling period of a year or so, the news emerged about the much awaited return of Dimple to the films. One of the first films that she signed up for was ‘Saagar’ (1985), opposite to Rishi Kapoor once again. The film was delayed by almost a year – in normal course it would have hit the theatres in 1984. Other films starring Dimple got released earlier.
Over the years, this pair has appeared on screen together with an infrequent regularity – ‘Allah Rakha’ in 1986, then on to ‘Ajooba’ and ‘Ranbhoomi’ in 1991. Then in 2005, after another gap of 14 years, came ‘Pyaar Mein Twist’, the film under discussion today. The two actors have appeared together in two more films since then – ‘Luck By Chance’ in 2009 and then ‘Patiala House’ in 2011.
‘Pyaar Mein Twist’ is a romantic comedy underlining a serious subject of mature age romance between two single parents, Yash (role played by Rishi Kapoor) and Sheetal (role played by Dimple Kapadia), both having a flourishing household each of them is responsible for. And yet, Cupid does not spare them from romantic entanglement, leading to a major social upset in the two families. However, with the support of a benevolent aunt (Toshi Auntie – role played by Farida Jalaal) and a supporting future son-in-law (Sanju – role played by Sameer Dattani), all ends well for all parties concerned. The ending sequence shows Yash performing the kanyadaan ceremony at the wedding of Sheetal’s daughter, topped off with a happy smiling family group photo shoot.
The reused song is actually not the real original. It has been re-recorded in different voices for the purpose of this film. It is a duet – but now it is a male-male duet. The original is sung by Kishore Kumar and Asha Bhosle. The repeat version is sung by Babul Supriyo and Vinod Rathod. On screen, it is performed by Yash and his childhood friend Khanna (role played by Satish Shah). The scene is a marriage anniversary party of Khanna. Yash, after a few pegs down his belt, decides to make a public proclamation of his love for Sheetal – much to her visible surprise and suppressed delight.
One query for the more knowledgeable readers – please help to identify the lady in the red saaree standing next to Dimple in this song. She plays the role of Satish Shah’s wife in this film. I have seen her in a couple of other contemporaneous films, but cannot recall her name.
The song starts off with the opening lines of another iconic hit of Rishi Kapoor – the song “Meri Umar Ke Naujawaanon. . . – To Gaao Om Shanti Om”, in his own voice, and then it leads into the lines “Khullam Khulla. . .”. Of the original three stanza song, only two stanzas have been used in repeat version.
So check out this modern day avataar of an iconic song from the 1970s, which is performed on screen by the same actor – thirty years apart. This must be a record of sorts, after considering WM Khan’s performance of the primeval “De De Khuda Ke Naam Pe. . .” in the three versions of the film ‘Alam Ara’ – 1931, 1956 and 1973.
Listen and enjoy.
Song – Khullam Khulla Pyaar Karenge Hum Dono (Pyaar Mein Twist) (2005) Singers – Babul Supriyo, Vinod Rathod, Lyrics – Gulshan Bawra, MD – RD Burman
Rishi Kapoor
Unidentified Male Voice
Babul Supriyo + Vinod Rathod
Chorus
Lyrics
hey..ey..ey
tum ne
kabhi kisi se
pyaar kiya
kiya. . .
kabhi kisi ko dil diya
diya. . .
maine bhi diya. . .
hey..ey..ey
jamaa de
hey y’all party people
listen now
. . . y’all listen now
. . . . . . y’all listen now
. . . . . . . . . y’all listen now
the same old love story
back again
yea
come on
now
say it
come on now
you party people
khullam khulla pyaar karenge hum dono
is duniya se nahin darenge hum dono
arrey khullam khulla pyaar karenge hum dono
is duniya se nahin darenge hum dono
pyaar hum karte hai chori nahi
mil gaye dil jora jori nahi
hum wo karenge jo dil kahe
hum ko zamaane se kya
that’s right
arrey khullam khulla pyaar karenge hum dono
is duniya se nahin darenge hum dono
hey..ey..ey
same old love story
like ya sing it
come on now
feel it
hey
dekh wo
ishq chhup chhup ke farma rahe hain
arrey hai
kya mazaa
dil hi dil me to ghabra rahe hain
hey ey
dekh wo
ishq chhup chhup ke farma rahe hai
arrey hai
kya mazaa
dil hi dil me to ghabra rahe hain
lagta hai dono padosi hain wo
rishta hi aisa hai jaane bhi do
hum wo karenge dil jo kahe
hum ko zamaane se kya
jamaa de
khullam khulla pyaar karenge hum dono
is duniya se nahin darenge hum dono
oye kitta
one one one one
one more time
hey
bolo na
pyaar ka hai ye dushman zamaana
arrey sun
haan bataa
sab ko milta nahin ye khazaana
hey
bolo na
pyaar ka hai ye dushman zamaana
ae hey hey sun
haan bataa
sabko milta nahi ye khazaana
arrey jinko aji ye khazaana miley
dekh dekh unko ye duniya jaley
hum wo karenge dil jo kahe
hum ko zamaane se kya
khullam khulla pyaar karenge hum dono
is duniya se nahin darenge hum dono
watch it watch it now
pyaar hum karte hai chori nahin
mil gaye dil jora jori nahin
hum wo karenge jo dil kahe
hum ko zamaane se kya
jamaa de
khullam khulla pyaar karenge hum dono
watch it watch it now
is duniya se nahin darenge hum dono
oye kitta
khullam khulla pyaar karenge hum dono
that’s right
is duniya se nahin darenge hum dono
jamaa de
khullam khulla pyaar karenge hum dono. . .
- In: Car Repair Garage Song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Kishore Kumar solo | Kishore Kumar songs | Lyrics contributed by readers | One song used in more than one movie | One song used in two movies | Post by Sudhir | Radio Song | Song used in more than one film | Songs of 1990s (1991 to 2000) | Songs of 1991 | 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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4092 | Post No. : | 15235 | Movie Count : |
4187 |
Songs Repeated in Hindi Films – 11
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I could not have expected a better surprise than this one today. Aha, here is this wonderful memorable song that has got repeated in a film after 34 years. And now, that repeat itself is 28 years past. Wow, 62 years later we are going to talk about a song from 1957, which appeared once again in another film in 1991.
Yes, the iconic song of road travel that has been immortalized in the annals of Indian cinema. The tone and the context of the song – a vagabond traveler, a second hand truck, the endless roads, and a journey without a destination – it set the template for others to emulate. Footloose has no mark over this. Don’t we all, at some time in life, aspire for a meandering aimless trip, just for the sake of the journey. And just for the heck of it. The destination – may it exist or not, companions – may they be there or not. Desultory, adrift, without any aim, feckless – when the apparent random futility is the purpose of the endeavor. What a state to be in – being, and yet not being, nary a care in the world. Aah yes, the mind sometimes wants an escape of sorts – “Le Chala Jidhar Ye Dil Nikal Padey”.
The original from the film ‘Nau Do Gyarah’ (1957) needs no introductions. The words, the melody and the imagery is etched in the mind, in all its details – Delhi roads of mid 1950s, sans traffic; the time when the traffic used to pass under the India Gate, and the Kashmere Gate (now these are monuments, cordoned off from the traffic); a miniscule encounter with a coy lady sitting in a car coming from the opposite direction; driving past the Taj Mahal; the long row of village belles carrying earthen pots of water, offering no grass (घास नहीं डालती 🙂 ) to the most handsome beseeching young man claiming to be laid out like a carpet at their feet – yes, all etched in the mind like it happened yesterday.
Time was when Sachin Da was quite, nay very selective, as always, in his choice of the singing voice for individual songs. And Kishore Da was never his ‘always’ choice for playback for Dev Anand. But Sachin Da has been proven right and right and right again, in his choice of singing voices. Imagine a “Khoya Khoya Chaand. . .”, or “Dil Ka Bhanwar. . .” or “Tu Kahaan Ye Bataa. . .” or “Hum Bekhudi Mein. . .” in a voice other than Rafi Sb, and a “Jaayen To Jaayen Kahaan. . .” in a voice other than Talat Sb, or the jazzy “Hum Dum Se Gaye. . .” in a voice other than Manna Dey, or the magnificent “Ye Raat Ye Chandni. . .”, or “Na Tum Hamen Jaano. . .” or “Chup Hai Dharti. . .” or “Yaad Aa Gayin Wo. . .” in a voice other than Hemant Da. It just will not stick in the imagination. Sachin Da got the best, the most suitable voice for the song, and after listening to them, the only verdict is – it cannot be bettered. In all the outings that Sachin Da shared with Dev Anand, apparently ‘Funtoosh’ (1956) and ‘Prem Pujari’ (1970) are the only two collaborations wherein we hear Kishore Da as the only voice playing back for Dev Anand. In all other films they have done together, Sachin Da has used a combination of different voices for Dev Sb. ‘Baazi’ (1951) also has only Kishore Da’s voice backing up Dev Anand for “Dil Ye Kya Cheez Hai. . .”, but then it is the only male voice song in the film, and that too, a song that only Kishore Da can do justice to.
And not just for Dev Sb. Sachin Da also has Rafi Sb and Kishore Da playing back for Rajesh Khanna in ‘Aradhana’ (1969), and Rafi Sb, Kishore Da and Manhar as the singing voices for Amitabh Bachchan in ‘Abhimaan’ (1973). Here was a music director who had his finger not on the pulse of public appeal, but on the pulse of divining which voice is the most suitable for a particular melody, a particular mood, and a particular situation.
And so, coming to the surprise that I mentioned in the first line of this write up. As I picked up this song for creating the next post in the series of repeat songs, a realization hit home. Today is the birth anniversaries of the two stalwarts who created the original song in 1957 – Sachin Da and Majrooh Sb. For Majrooh Sb, it is the centenary celebration, and for Sachin Da it is the 113th. Actually, Majrooh Sb’s info was already in mind since last night, as I was preparing Sadanand ji’s excellent write up for this great poet. And the rest of the coincidental links fell in place as I picked up this song for today’s post.
The film ‘Dil Hai Ke Maanta Nahin’ from 1991, is a popular hit romantic comedy from its time. It is remake of the storyline of the iconic ‘Chori Chori’ from 1956, which had the lead pair billing of Nargis and Raj Kapoor. And in turn, ‘Chori Chori’ is following the same storyline as the 1934 Hollywood hit film ‘It Happened One Night’, starring Clark Gable and Claudette Colbert, and directed by the legendary Frank Capra. This theme has also been used in other films in Kannada and Tamil. In later years, we also see ‘Jab We Met’ in 2007, based somewhat loosely on the same storyline.
The film is produced by Gulshan Kumar and is directed by Mahesh Bhatt. The lead pair is Aamir Khan and Pooja Bhatt. By 1991, Aamir was already an acknowledged star in the industry, and Pooja was just beginning her career. For both of them, this film proved to be a strong fillip for their individual careers.
The caper is well known – a spoilt heiress of a rich businessman flees from home, to be with the person she believes, wrongly of course, she is in love with. On the way, she meets another boy, the hero of the story, who helps her to get to her target, and eventually lands her back at her father’s home. As an outcome of the road adventures that are shared by the boy and the girl, they inadvertently and without realizing it till quite late in the storyline, fall in love with each other. And the movie ends with the girl fleeing once again (with the help of a very co-operative father) on the way to the altar, to be with the person she is truly in love with.
When I came to this connection, I was/am quite astounded. What a selection of a song for a memory reprisal. The original song with Dev Sb in the driver’s seat, is about an aimless road adventure. And in this film, the lead protagonists are going thru a road adventure of their own making, trying to save themselves from police, the detectives in pursuit and the general public who have been made aware of the runaway girl through newspaper ads and posters.
On their runaway adventure, there is car breakdown. It is taken into a garage for repairs. The mechanic departs briefly to get some welding work done from outside. The boy-girl pair are alone in the garage. The radio on the mechanic’s desk is playing. And as the mechanic departs, on comes this song on the radio waves. It catches the attention of the boy, who requests the girl to increase the volume on the radio. He is quite taken in with this ‘मस्त’ (catchy, engrossing) song. Coming close to the girl he takes her in his arms and they begin to dance to the tune. Their eyes meet. There is that oh so lovely pause in everything. Something tingles and connects. There is surprise and uncertainty on the faces of both of them. In the eyes, there is also an expectation of a liking that is so demure and endearing. It is one of those moments that feels like eternity. And yes, magic.
Till that ‘पाजी’ (scoundrel) mechanic barges in with a newspaper in hand announcing that the girl’s father is publicly searching for her. The moment of magic is so brutally broken.
The repeat song is the original. In this scene, somewhat less than two stanzas are played. Of course this is not listed in the songs of the film and does not appear on its cassette or CD. And so, in this post, I am retaining the original credits for this everlasting song.
And yes, once again, celebrating the anniversaries of the two of the greatest song-music creators in the Indian film industry. “Hum Hain Raahi Pyaar Ke. . .” – goodness, what a fantastic tagline.
Song – Hum Hain Raahi Pyaar Ke, Hum Se Kuchh Na Boliye (Dil Hai Ke Maanta Nahin) (1991) Singers – Kishore Kumar, Lyrics – Majrooh Sultanpuri, MD – SD Burman
Lyrics
hum hain raahi pyaar ke
hamse kuchh na boliye
hum hain raahi pyaar ke
hamse kuchh na boliye
hum hain raahi pyaar ke
hamse kuchh na boliye
jo bhi pyaar se milaa
hum usi ke ho liye
hum usi ke ho liye
jo bhi pyaar se milaa
hum usi ke ho liye
dard bhi hamen qubool
chain bhi hamen qubool
dard bhi hamen qubool
chain bhi hamen qubool
hamne har tarah ke phool
haar mein piro liye
hamne har tarah ke phool
haar mein piro liye
jo bhi pyaar se milaa
hum usi ke ho liye
hum usi ke ho liye
jo bhi pyaar se milaa
hum usi ke ho liye
dhoop thi naseeb mein
to dhoop mein liyaa hai dam
dhoop thi naseeb mein
to dhoop mein liyaa hai dam
chaandni mili to hum
chaandni mein so liye
chaandni mili to hum
chaandni mein . . .
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Hindi script lyrics (Provided by Sudhir)
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हम हैं राही प्यार के
हमसे कुछ न बोलिए
हम हैं राही प्यार के
हमसे कुछ न बोलिए
हम हैं राही प्यार के
हमसे कुछ न बोलिए
जो भी प्यार से मिला
हम उसी के हो लिए
हम उसी के हो लिए
जो भी प्यार से मिला
हम उसी के हो लिए
दर्द भी हमें कुबूल
चैन भी हमें कुबूल
दर्द भी हमें कुबूल
चैन भी हमें कुबूल
हमने हर तरह के फूल
हार में पिरो लिए
हमने हर तरह के फूल
हार में पिरो लिए
जो भी प्यार से मिला
हम उसी के हो लिए
हम उसी के हो लिए
जो भी प्यार से मिला
हम उसी के हो लिए
धूप थी नसीब में
तो धूप में लिया है दम
धूप थी नसीब में
तो धूप में लिया है दम
चाँदनी मिली तो हम
चाँदनी में सो लिए
चाँदनी मिली तो हम
चाँदनी में ॰ ॰ ॰
Aawaara Hoon. . .
Posted on: August 27, 2019
- In: Background song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics contributed by readers | Mukesh solo | Mukesh songs | One song used in more than one movie | One song used in two movies | philosophical song | Poignant Song | Post by Sudhir | Same song used in two or more movies | Song Filmed at an Aiorport | Song not figuring in HFGK | Song not mentioned in Hindi Film Geet Kosh | Song used in more than one film | Songs of 1960s (1961 to 1970) | Songs of 1970 | Yearwise breakup of songs
- 8 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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 4057 | Post No. : | 15190 |
Songs Repeated in Hindi Films – 10
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Blog 10-Year Challenge (2009-19) – Song No. 43
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As Gajendra ji had commented, couple of episodes ago – I am quite sure the readers are now beyond getting surprised by the songs posted in this series. Yes, some very interesting repeats, but oh well. . .
The interesting thing about today’s post is, well, two things. It is the singer’s Remembrance Day today, as well as, we also are showcasing the song as part of the 10 year challenge series.
10 years ago, this day, six songs were posted. Those were the days, when Atul ji was at his prolific best, and six new songs on the blog was quite the norm. And he followed an interesting convention. The songs he posted on one day, used to be in the incremental chronological order, as you can notice in the short table below.
| Chup Hojaa Ameeron Ke Ye Sone Ki Ghadi Hai | Bandi | 1957 | 1814 |
| O Pawan Veg Se Udne Waale Ghode | Jai Chittod | 1961 | 1815 |
| More Ang Lag Jaa Baalmaa | Mera Naam Joker | 1970 | 1816 |
| Gore Gore Gaalon Waale…Kahte Hain Mujhko Haseenon Ka Devtaa | Haseenon Ka Devta | 1971 | 1817 |
| Mile Mile Do Badan Khile Khile Do Chaman | Blackmail | 1973 | 1818 |
| Pahraa Hai Yahaan Pahraa | Badnaam | 1975 | 1819 |
There were two debut films that day – ‘Jai Chittod’ and ‘Haseenon Ka Devta’. And quite interestingly, both the films are at present miles away from being yippeee’d. Since that day, only one song has been added for ‘Jai Chittod’ (12 songs listed in Geet Kosh), and none for ‘Haseenon Ka Devta’ (6 songs listed in Geet Kosh). The remaining 4 films, ‘Bandi’ (1957), ‘Blackmail’ (1973), ‘Badnaam’ (1975) and ‘Mera Naam Joker’, the magnum opus by Raj Kapoor, have completed their account on the blog.
And yet, today, “Mera Naam Joker’ makes another appearance here, on account of an unlisted song. In that, it is a repeat song from RK’s own film from 1951 – ‘Awaara’. Being his own film, of course it would have been a simple thing to reuse the earlier song.
In the iconic song “Ae Bhai Zara Dekh Ke Chalo”, the poet Neeraj declares,
haan babu ye circus hai
aur ye circus hai show teen ghante ka
pehla ghanta bachpan hai
doosra jawaani hai
teesra buddhaapa hai
The entire film was presented as three chapters, with two intermissions. And quite literally, RK has presented three phases of life in these three segments – childhood, youth, and old age. And in each of these phases, there is a different lady with whom the Joker’s heart gets entangled. And every time, his emotions and timid overtures are eventually disregarded – in face of certain compulsions of life that each one of those lady characters struggle with, in their own lives. In the first phase, there is a mismatch of age. In the second, there is a mismatch of location / language / societal background. And in the third, there is a mismatch of aspirations in life versus the values of life.
The reprisal of this song occurs close to the end of the second segment. The Joker has lost his heart to a circus artist visiting from Russia. And as their visit and stay comes to a close, the lady has to leave, and go back to her own country with her group. The circus manager (role played by Dharmendra), in an earlier conversation, has already cautioned him against getting too friendly with the visitors. That caution has now become a prophesy realized. Marina (role played by Russian actress Kseniya Ryabinkina) has to leave. The Joker is at the airport, with Sher Singh (role played by Dara Singh), his partner in crime, or let’s say, his ustaad in the art of romance. The Joker has come to bid farewell to the departing Russian troupe, and his lady love, who cannot stay. There is a brief exchange between the two lovers, and the lady leaves, planting a kiss on the Joker’s lips, and waving a good bye. Sher Singh asks the Joker as to what the lady has said in her native language. The Joker replies forlornly, that her words reminded him of an old song.
And then this song from two decades earlier is played once again, as a background piece. Marina walks to the plane, and the plane departs. And the verses penned by Shailendra are re-told yet once again in the life of the Joker –
duniya mein tere teer ka
ya taqdeer ka maara hoon. . .
This verse segment is the one that I never seem to have been able to get over all my life. “That, in this life of mine, I have been vanquished either by my own destiny, or the glance arrows coming from your eyes – I do not know which one.” Such a powerful assertion in just ten words, ensconcing within itself a myriad philosophies of life, in a moment narrating and laying bare everything that can and could have gone wrong in an overwhelmed life. The emotions these ten words evoke inside, lie crumpled, tightly wound like a giant ball of thread, with no end visible – not enough words to unravel it and express it.
This song is probably one of the most recognizable songs ever in the ocean of Hindi film music – not only here in India, but also in many parts of this world, where RK’s films are loved as part of their own cultures. The first few bars of the prelude music start to play, and practically every one can recognize which song is coming up. And so, I remember, the first time I saw ‘Mera Naam Joker’, and this scene played out on the screen, and the Joker tells about being reminded of an old favorite song, and the prelude music begins to play – it was quite a shock of recognition that overpowered the heart. Yes, RK presenting this song at this juncture, makes all the sense, rounds up everything that he has been wanting to say through this film – ‘Mera Naam Joker’ – a wayward truant clown I am in this life.
An interesting throwback on this song – it was also repeated within the original film itself. Regular folks would remember, the closing scene – Nargis and Prithviraj Kapoor are visiting RK in the prison, after he has been incarcerated post his trial. It is a brief meeting – about two minutes or so. And as Nargis is asked to take leave, there is this standard dialogue that RK utters – “. . . meri soorat hi aisi hai”. Overcome by the understated innocence and simplicity, plus the unpretentious hangdog look on his face, Nargis once again rushes back into his arms, and exactly the same stanza starts to play in the background.
A few interesting observations about these two reprisals. Take the music and rendition. The song that plays in ‘Mera Naam Joker’ is very nearly the original, but as one listens carefully, one can make out small pieces of extra orchestral music that S-J have weaved in, merging it with the overall background score of the scene. And in the original film ‘Awaara’, the rendition has a small variation at the end. The words of the last line that Mukesh has sung include a very delicate and lovable “हाय” ~ “haaye” –
haaye. . .
awaara hoon..oon..oon. . .
This addition has made this line oh so much more endearing and adorable. Listening to this last one snippet made my day – more than all the pleasure and emotions that are flowing with the original complete version of the song. So surely, this segment, or at least this last line has been re-recorded, even then back in 1951, and presented separately as the end piece.
Next, in both these reprisals, there is a close, very close proximity of the lady love. In ‘Awaara’, the kiss almost happens – just short of the waving scissors of the censor board. And in ‘Mera Naam Joker’, the kiss does happen, with Marina forcefully planting it on the lips of the Joker. Oh well, I don’t know – should we expect a kiss, whenever this part of the song is played ?? Ha, ha, I am sure you will tell me – it happens only in the reel world. 🙂 🙂
Another cute co-incidence I discovered in the last scene of ‘Awaara’. RK and Nargis are in each others arms, and a loud voice calls out in the background, probably the prison warden or constable – “ओ क़ैदी नंबर 308, चलो” (“O prisoner no. 308, come on move.”). I made a little connect in my mind – I don’t know whether that was the intention of the director and dialogue writer. The number 308 – it rang a bell. 308 –> 30-8 –> 30th August –> Shailendra’s birthday. 🙂 🙂
Back to ‘Mera Naam Joker’, I might as well document it here, for possibly no more posts of this film could be forthcoming in the future. The three ladies who appear in each of the three chapters of this film, just examine the screen names – Mary, Marina, Meena. Sound quite connected, flowing right into each other. You combine Mary and Meena – becomes Marina. Just some musings of the wandering mind. Just like the three magazines that RK, Rajendra Kumar and Padmini are seen browsing through on the flight – Time (Padmini), Fortune (Rajendra Kumar) and Life (RK). 🙂 🙂
And then, back to Mukesh, after all so much wandering of the silly mind over the terrain of anecdotes and co-incidences. Even till late afternoon today, I hadn’t the faintest idea whether I would be writing post for the remembrance day today. Mahesh ji’s post, so wholesome and so satisfying, after posting that in early morning, I was not picking up new ideas to write another post on Mukesh. Later, in the afternoon, I was just browsing through the list of songs etc., and don’t know why, but I decided to check out the 10-year-challenge thing for today. Pulled out the list of songs for 27-08-2009. The title ‘Mera Naam Joker’ jumped out at me immediately, and before I could say bambi, my mind had made a few jumps around, connected other material, and brought out this well baked idea of doing a combined 10-year-challenge and repeat-songs post. Yes, I had this repeat song on my list, and had not yet planned when to post it. The mind made that decision for me today, and quite swiftly so, without taking me along on the steps of decision making.
I am glad I checked this out, and got to make this connection and getting this post out today. In the earlier post today, Mahesh ji has mentioned a figure of ~80% songs of Mukesh being hit songs. I cannot think of any other singer, at this level of prolific output, who can be associated with this high a percentage of successful and popular songs from his or her body of work. And then the second connect came when Arun ji deposited on the Whatsapp group, a reminder of the Mukesh anniversary program on Doordarshan seven years ago. I recalled that this was also the very first question that the person interviewing me and Shikha ji, put to me in this program. That question was – “Mukesh ji has about 800 songs to his credit? Why does it always seem that has sung much more?”
And my answer was exactly on these lines – in any singer’s body of work, there is a certain percentage of songs which are memorable, which became popular, and which are quite well retained in the memory. However, with all other singers, this ratio of popular and memorable songs to their total repertoire, is comparatively lower. By extrapolating this expectation, the mind always thinks that in case of Mukesh, his body of work ought to be much larger, if the number of his popular and memorable songs is so much. This is a very interesting point. After that TV program, I had this very discussion with a number of friends, and mostly we agreed to this conclusion.
No doubt the music director and the poet – they have a very significant contribution towards the creation of a song. But it is the voice of Mukesh, that makes something different out of any song. That is what has made so large a percentage of his songs popular and memorable. A soulful voice – that was my assertion on that TV program also, that – “मुकेश जी की आवाज़ में एक अनोखी आत्मीयता है, जो किसी और गायक में नहीं मिलती”. There is this so unique a characteristic of his rendition – an effortless exposition of the emotions, expressed in a most relaxing mode.
I feel I could go on and on. But then, not now. Another song, another post – there seems to be so much more one wants to say about this soulful, mellifluous voice – almost divine.
Song Repeat – Mera Naam Joker (1970)
Song Reprised at End – Awaara (1951)
Song – Aawaara Hoon. . . (Mera Naam Joker) (1970) Singers – Mukesh, Lyrics – Shailendra, MD – Shanker Jaikishan
Lyrics
aabaad nahin barbaad sahi
gaataa hoon khushi ke geet magar
gaataa hoon khushi ke geet magar
zakhmon se bharaa seena hai mera
hansti hai magar ye mast nazar
duniyaa aaa..aaa aaa..aaa
duniyaa mein tere teer kaa
ya taqdeer kaa maara hoon
aawaara hoon
aawaara hoon
ya gardish mein hoon aasmaan ka taara hoon
aawaara hoon
aawaara hoon
aawaara hoon
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Hindi script lyrics (Provided by Sudhir)
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आबाद नहीं बर्बाद सही
गाता हूँ खुशी के गीत मगर
गाता हूँ खुशी के गीत मगर
ज़ख़्मों से भरा सीना है मेरा
हंसती है मगर ये मस्त नज़र
दुनिया आ॰॰आ॰॰आ॰॰ आ॰॰आ॰॰आ॰॰
दुनिया में तेरे तीर का
या तक़दीर का मारा हूँ
आवारा हूँ
आवारा हूँ
या गर्दिश में हूँ आसमान का तारा हूँ
आवारा हूँ
आवारा हूँ
आवारा हूँ
- In: "wooing" 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 | Post by Sudhir | Same song used in two or more movies | Seduction song | Sensuous song | Song used in more than one film | Songs of 1980s (1981 to 1990) | Songs of 1985 | Yearwise breakup of songs
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 4053 | Post No. : | 15184 |
Songs Repeated in Hindi Films – 9
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Ah ha, even this song. 🙂
The film is ‘Alag Alag’ from 1985. Repeating an iconic song from the 1969 film ‘Aradhna’. And surely, the important thing to note is that the repeat would have involved no negotiations etc. The director, Shakti Samant, and the song writer Anand Bakshi, are the same. The producer of ‘Aradhna’ is Shakti Samant, and the producer of ‘Alag Alag’ is Rajesh Khanna, who incidentally appears in both the films. The music director of ‘Aradhna’ is SD Burman, and the music director for ‘Alag Alag’ is his son, RD Burman. I would believe that getting permission to repeat this song would have been quite easy. 🙂
As I checked out the the earlier posted original song (on 13 Jan, 2013) I notice that this repeat song is already identified by Sadanand ji in a comment posted on 31st Oct last year. And so, this song found its entry on the blog via this series. Well, for one, it is not listed in the Geet Kosh. That is the interesting part. There are seven songs listed for this film, and the singers listed against each one. The name Kavita Krishnamurthy, the singing voice of this version of the song, does not appear against any of the listed songs. Then, in the footnote, there is compiled list of playback singers given, which includes Kavita’s name, indicating that she has sung something for this film. If one does not view the film, and is not aware of this repeat performance of this song, one will keep wondering why does Kavita Krishnmurthy’s name appears in the list of playback singers, when she has not lent her voice to any song.
The 1985 film ‘Alag Alag’ is produced by Rajesh Khanna and Kusum Narula, under the banner of Aashirwaad Films International, Bombay. With this film, Rajesh Khanna made his debut as a producer in the industry. A small anecdote is noted – that Kishore Kumar did not accept any payment for his singing assignments in this film. He said that he felt indebted to Rajesh Khanna and ‘Aradhna’ for catapulting his career to a new high, and this being Rajesh’s first film as a producer, he would sing for him without accepting any payments.
The star cast of this film is listed as Shashi Kapoor, Rajesh Khanna, Tina Munim, Deven Verma, Sushma Seth, Gita Siddhartha, Urmila Bhatt, Anjana, Raj Rani, Rajesh Puri, Subiraj, Asit Sen, Bharat Bhushan, Bhagwan, Satyen Kappu, Mohan Choti, Birbal, Vikas Anand, Manmauji, Manik Dutt, Sunil Dhawan, Kamal Kanchan, Anoop, Pratap, Surendra, Shyam, Mohit, S Chavan, Gurubachan, with special appearance by Bindu and friendly appearances by Om Prakash and On Shivpuri.
Briefly, the story of this film is,
Tina Munim is a village belle, whose only dream in life is to marry a rich man. She comes to Bombay, meets Rajesh Khanna, and mistakes him for a rich man. When he reveals that he is not a rich man, but is a struggling singer looking for work in the film industry, she dumps him. Later in the film, we find out that he is actually a rich man’s son, who is out on his own, because his parents do not appreciate his desire to be a singer. The next set of events brings Tina to the home of Shashi Kapoor, who is a doctor and is widowed. Pursuing her goal with the single minded devotion, she now attempts to become his wife, This song is placed in the film at this juncture, as she tries to woo him.
The rest of the story is quite intertwined. Shashi Kapoor actually treats Tina Munim as a daughter. Rajesh comes to the doctor to get a false disability certificate as a reference. Tina meets him, confronts him and exposes him. Rajesh leaves, then is involved in an accident in which he loses his voice. He rejoins his family. Shashi Kapoor passes away on account of some illness. Tina is back on the road. With the help of his mother, Rajesh tries to promote Tina as a singer, without letting her know. They meet again, but Rajesh leaves because of his disability. Tina mistakes this to be that Rajesh hates her. And on goes the storyline, inching towards a happily ever after and a miraculous restoration of voice etc. 🙂
We come to this repeat song with a difference. So far in this series, most of the songs that have been reused, are presented as the original recording – barring “Babul Mora. . .” and “I Am A Disco Dancer“, which have been re-recorded in different singing voices. Today’s song also belongs to this latter group – that it is also a re-recorded version and not the original. The original, of course is Kishore Da, and in this female re-rendered version, the singing voice is Kavita Krishnamurthy.
You will notice that Tina’s attire in this song is quite similar to Sharmila’s in the original. An interesting repeat this one is. Enjoy.
Song – Roop Tera Mastaana, Pyaar Mera Deewaana (Alag Alag) (1985) Singers – Kavita Krishnamurthy, Lyrics – Anand Bakshi, MD – RD Burman
Female Voice + Male Voice
Lyrics
roop tera mastaanaa
pyaar mera deewaana
roop tera mastaanaa
pyaar mera deewaana
bhool koi humse na ho jaaye
roop tera mastaanaa
pyaar mera deewaana
bhool koi humse na ho jaaye
raat nasheelee
mast samaa hai
aaj nashe mein
saara jahaan hai
raat nasheelee
mast sama hai
aaj nashe mein
saara jahaan hai
haay sharaabi mausam behkaaye
ae ae ae ae
roop tera mastaanaa
pyaar mera deewaana
bhool koi humse na ho jaaye
——————————–
Hindi script lyrics (Provided by Sudhir)
——————————–
रूप तेरा मस्ताना
प्यार मेरा दीवाना
रूप तेरा मस्ताना
प्यार मेरा दीवाना
भूल कोई हमसे न हो जाये
रूप तेरा मस्ताना
प्यार मेरा दीवाना
भूल कोई हमसे न हो जाये
रात नशीली
मस्त समां है
आज नशे में
सारा जहां है
रात नशीली
मस्त समां है
आज नशे में
सारा जहां है
हाय शराबी मौसम बहकाए ए ए ए ए
रूप तेरा मस्ताना
प्यार मेरा दीवाना
भूल कोई हमसे न हो जाये
Pyaar Hua Iqraar Hua Hai
Posted on: July 11, 2019
- In: "Dream of Wide Awake Eyes" | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Lata song | Love song | Lover's tête-à-tête | Lyrics contributed by readers | Manna Dey songs | Manna Dey-Lata duet | Post by Sudhir | Song not figuring in HFGK | Song not mentioned in Hindi Film Geet Kosh | Song used in more than one film | Songs of 1970s (1971 to 1980) | Songs of 1979 | Songs reused again in subsequent movies | Yearwise breakup of songs
- 16 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 : |
4010 | Post No. : | 15117 | Movie Count : |
4152 |
Songs Repeated in Hindi Films – 6
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The heart must have missed a beat – on reading the title of this post. Goodness. . . this wonderful iconic song, 65 years ago – it captured the imagination and the hearts of a generation, nay, many a generation of young hearts in love. This unforgettable song is imprinted on the sands of memory, never to be erased by any winds that may blow, till the end of life.
The golden age of melody was at its peak. The manner in which Shailendra knit together the words and lines of this love song – cannot be and has not been bettered since. The melody and the orchestration conceived by Shanker Jaikishan – the arrangement of the instruments, the preludes, the interludes, the rhythm – everything just perfect in this song. The renditions – Manna Da and Lata – the voices working together seamlessly – rising and falling in unison, and in apposition, complementing, merging – the “aa haa haa” lines going up all the way to the clouds. The lines
pyaar jo toota
saath jo chhoota
receding into the depths of somber apprehensions, and then suddenly a rising declaration of a resolution,
chaand na chamkega kabhi
the rendition volume going up all the way to the moon. The resolve expressed with such a dignified confidence in the nature’s machinations. The moon – no it will never stop shining, and thus, by implication, this love will never be broken, this companionship will never part. And suddenly, instinctively, unknowingly there is a lump in the throat and a warm moisture on the corners of the eyelids. Yes, yes – that is what love is – the poet, the music-waala, the singers – yes, they have got it just right, on the dot. Yes that is what love is, what it ought to be. Such noble souls lived in that golden era – who could feel it right, and conjure up an imagination, combining the words, the music and the sound – and then tell it to us so simply – that no further discourse would be necessary.
I am reminded of another quintessential song from the same film –
ramaiya vasta vaiya
maine dil tujhko diya
And once again, the simplest of words, the simplest verse one can conjure up – and there is no better way, no better words invented, before or since, to say – I love you.
And the scene, the depiction – the conceptualization – a master presenter is at work here. Here is an emotional entanglement coming to fruition in the hearts of two young people, almost at the very bottom of the ladder of social significance. A part time employee at a laundry, who has “borrowed” a suit that has come for cleaning, and his shoes are in tatters. A self employed teacher, who gives basic education to the underprivileged children in the backyard of her own home. But then love does not check on social status, or verify your bank balances, before making a burrow into the hearts. That love is simple. That love is without embellishments. That love is honest and innocent. That simply is love, and it happens, just happens.
The overcast skies, the lashing rains, the amused witness – the chaiwaala (tea seller), the incidental umbrella, the handy tootle that the young man plays, the happenstance of three cheruby toddlers in raincoats – all put together in a scenario that simply cannot now be erased from the memory’s palette.
The emotional expressions of the leading pair are just as consummate and accomplished as the scenario itself. The sharing of the umbrella becomes such a pivotal exchange. The young man offers it to the lady. And she hands it back, seeing him getting drenched. He takes it, but then sees that she is in the same plight, so immediately offers it back to her. She once again takes it, and with a helplessness writ large on her face, sees him getting drenched once again. And then the inevitable happens. With her eyes clenched, and her lips trembling with apprehension, she inches closer to him – dawning of the realization that one must share when there is a need. And the two come close now, holding the same umbrella – realizing that in love, one has to share, one has to hold together, and one has to steady each other against the squall of the winds and outpourings of this ruthless world.
And then the song begins – question by the young man, not specifically directed at her, but at himself too. And the lady answers, for both of them together – “. . . Maaloom Nahin Hai Kahaan Manzil . . .”. One of the supreme examples of cinema at its very best, in telling about emotions that shake a heart when the love is just starting to take baby steps in there. Marvellous . . . simply marvelous – much more than the best of the words can express.
Um. . . kind of got carried away with the original. 🙂
25 years after the release of the original, this song was used once again in the 1979 film ‘Salaam Memsaab’. And the manner of use is so very innovative. A little earlier, back in 1970, when ‘Mera Naam Joke’ was released, at the beginning of part II we see Raj Kapoor at the Bombay Carnival, hosting a bioscope stand, singing “Kehta Ha Joker, Saara Zamaana. . .”. And as he sings, he is operating the bioscope in which we are treated to clips of his earlier films, especially ‘Awaara’ and ‘Shri 420’. It is fun to watch those clips in fast forward mode.
In ‘Salaam Memsaab’, a similar presentation is used. A little background. Radha (role played by Zarina Wahab) and Sunder (role played by Asrani) are two young people, friends and in love. They are the street tamaasha people who sing and dance on the roadside to earn their living. Sunder has high aspirations, and wants to become rich quickly. Radha also has aspirations, but she is averse to making compromises with her principles of honesty and truthfulness. They work together, but this difference in their view of life generates arguments.
Near the beginning of the film, just about half hour into it, Radha chances to see a bioscope man, playing his machine near the Gateway of India. She gets in line and starts watching – she gets in when the song “Pyaar Hua Iqraar Hua Hai. . .” is starting to play. We can see her enjoying the show, and then as the lead pair comes on at the beginning of the song, she gets into a different dreamy dimension of fantasy, and instead of seeing Raj Kapoor and Nargis on the screen, she sees herself and Sunder there, performing the same song, singing and expressing their newly discovered love for each other. She is fascinated, and the entire song is replayed on the screen in front of her, performed now by the two new lovers.
This is a very innovative presentation. In the singing parts of the clip, we can see Radha and Sunder performing, and in the other parts of the clip, the director uses the original footage and scenes. The entire song moves back and forth between the now Radha and Sunder, and the earlier scenes. Very interestingly edited and put together. E.g. when the line “Phir Bhi Rahengi Nishaaniyan” is playing, the scene clips back to the original version and we see the three toddlers with raincoats, toddling through the rain. Readers may recall that in the original version, the three kids are the children of Raj Kapoor – Ritu, Randhir and Rishi. The clip cuts back and forth between the current version, shown in subdued colors and shades, and the original version shown in black and white. Very intelligently designed.
In her dream of wide open eyes, Radha sees herself and Sunder, in an exact image of the hero and heroine on screen. As one watches their movements and expressions, the effort has been made to create an exact replica not just of the scenario, but also of the performance and expressions. You can open up two windows in the video playing software, and play the two songs, this one and the original, side by side. One is amazed by the effort made by Zarina and Asrani to replicate the performance as nearly as possible. Ah, we know it is not Raj Kapoor and it is not Nargis. But still it is a very impressive performance to see.
The film ‘Salaam Memsaab’ is produced under the banner of Roshan Films, Bombay and is directed by Asrani himself. The cast of actors includes Asrani, Zarina Wahab, Ranjeet, Manju Bansal, Rahman, Keshto Mukherjee, Asit Sen, Jugnu, Leela Mishra, Sulochana (Senior), Tom Alter, CS Dubey, Arvind Rathore, Anand Girdhar, Amol Sen, Dilip Tahil, Nilu Arora, Master Jeetu, Yusuf, and Raju, with friendly appearances by Ashok Kumar, Sunil Dutt, Yogita Bali, and Rishi Kapoor. The songs of this film are written by Majrooh Sultanpuri and the music is by RD Burman. Seven songs are listed for this film which have been rendered by Mohamed Rafi, Kishore Kumar, Lata Mangeshkar and Asha Bhosle.
This song, being a reuse, is not listed in Geet Kosh. And as I mentioned in an earlier episode of this series, it is not easy to track down such re-use songs, unless one has actually seen the film(s). I had also written that since I started this series, I have been getting inputs from many friends, from our bandwagon and also from others in our music lovers group, about such reuse songs. Since these songs are generally not listed, such inputs from friends has really added many interesting reuse scenarios that I was not aware of.
Today’s song was sent in as a suggestion from Anekant ji. He is a regular contributor in our comments section, and I am sure all are familiar with him. Not being aware of this reuse song, I am delighted to get this input from him. A real wonderful song, and a real wonderful reuse after twenty five years – from 1954 to 1979 to 2019 – and forty more, when we are now reading about it once again. 🙂
A reuse that takes you into a fantasy land of a dream of wide awake eyes. I am sure all of us have had some similar experience some time or another in our lives. Apologies for the digression, but I just remembered another such on screen ‘dream of wide awake eyes’ which I just cannot resist mentioning. 🙂 For all those who have seen and remember ‘Chhoti Si Baat’ (1972). Yes, I am referring to the song “Jaaneman Jaaneman Tere Do Nayan”. Amol Palekar is watching the film in a theatre. Onscreen the song is being performed by Dharmendra and Hema Malini. And within a few seconds, Amol Palekar goes into this ‘dream of wide awake eyes’, and through his eyes, we see the song being performed on screen by himself and Vidya Sinha. The reverie is quiet painfully broken as the villain appears at the end of the song and hits the hero with a belt. (Just from that split second profile, my feeling has been that it was actor Manmohan, the villain I mean.)
Ah so, we have a new category of songs to mull over – ‘dream of wide awake eyes’. And I am sure the readers will recall many such songs in Hindi films – yes, we do that a lot. 🙂
Enjoy today’s wonderful reuse treat and let’s wait for the next – what more such entertaining surprises are coming up.
Song – Pyaar Hua Iqraar Hua Hai (Salaam Memsaab) (1979) Singer – Manna Dey, Lata Mangeshkar, Lyrics – Shailendra, MD – Shanker Jaikishan
Manna Dey + Lata Mangeshkar
Lyrics
pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
pyaar hua
(aaa aaa aaa)
iqraar hua hai
(aaa aaa aaa)
pyaar se phir kyun darta hai dil
(aaa aaa aaa)
kaho ke apni preet ka
geet na badlega kabhi
tum bhi kaho is raah ka
meet na badlega kabhi
pyaar jo toota
saath jo chhoota
chaand na chamke ga kabhi
aaa haaa haaa
aaa haaa haaa
aaaaa haaa haaa
aaa aaa aaa
aaa aaa aaa
aaa aaa aaa
aaa aaa aaa
aaa aaa aaa
aaa aaa aaa
pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
pyaar hua
(aaa aaa aaa)
iqraar hua hai
(aaa aaa aaa)
pyaar se phir kyun darta hai dil
(aaa aaa aaa)
raaten dason dishaaon se
kahengi apni kahaaniyan
geet hamaare pyaar ke
dohraayengi jawaaniyan
main na rahoongi
tum na rahoge
phir bhi rahengi nishaaniyaan
pyaar hua
iqraar hua hai
pyaar se phir kyun darta hai dil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
kehta hai dil
rasta mushkil
maaloom nahin hai kahaan manzil
pyaar hua
(aaa aaa aaa)
iqraar hua hai
(aaa aaa aaa)
pyaar se phir kyun darta hai dil
(aaa aaa aaa)
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
प्यार हुआ
(आ आ आ)
इक़रार हुआ है
(आ आ आ)
प्यार से फिर क्यों डरता है दिल
(आ आ आ)
कहो के अपनी प्रीत का
गीत ना बदलेगा कभी
तुम भी कहो इस राह का
मीत ना बदलेगा कभी
प्यार जो टूटा
साथ जो छूटा
चाँद ना चमकेगा कभी
आ हा हा
आ हा हा
आss हा हा
आ आ आ
आ आ आ
आ आ आ
आ आ आ
आ आ आ
आ आ आ
प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
प्यार हुआ
(आ आ आ)
इक़रार हुआ है
(आ आ आ)
प्यार से फिर क्यों डरता है दिल
(आ आ आ)
रातें दसों दिशाओं से
कहेंगी अपनी कहानियाँ
गीत हमारे प्यार के
दोहराएंगी जवानियाँ
मैं ना रहूँगी
तुम ना रहोगे
फिर भी रहेंगी निशानियाँ
प्यार हुआ
इक़रार हुआ है
प्यार से फिर क्यों डरता है दिल
कहता है दिल
रस्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
कहता है दिल
रास्ता मुश्किल
मालूम नहीं है कहाँ मंज़िल
प्यार हुआ
(आ आ आ)
इक़रार हुआ है
(आ आ आ)
प्यार से फिर क्यों डरता है दिल
(आ आ आ)
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