Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Archive for the ‘Songs of Encouragement’ Category


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.

Blog Day :

4343 Post No. : 15648 Movie Count :

4310

‘Sparsh’ (1980) was Sai Paranjpye’s first feature film. Besides directing it, she wrote the story, screen-play and dialogues.  At the time of making of the film, she faced enormous problems at every stage – from the selection of actors to the submission of the film’s final print to the Central Board of Film Certification and then to the Feature Film Jury of the National Film Awards on due date. And if I go by what the director of the film has revealed through her interviews in newspapers and periodicals and also in her Marathi book, ‘Sai – Maaza Kalapravaas’, the major obstacles came from the producer of the film – Basu Bhattacharya, who was known in Hindi film industry as a stingy producer.

Sometime in the later half the 1970s (the actual year is not known), Sai Paranjpye produced a 10-minute documentary film on the visually impaired for Delhi Doordarshan to be telecast on the World Handicap Day. For this purpose, Sai Paranjpye had to visit a blind school to get a feel of how the blind students study and do extra-curricular activities. She had gone to the blind school with the apprehension in her mind as to whether she will be able to emotionally cope up with when she would witness them in the school.  However, she was pleasantly surprised to observe that the blind students were playing on the ground with a lot of excitement as if they were normal students. She also met the principal of the school who was also blind and had done PhD from the University of Wisconsin (USA). He looked savvy and dynamic – same as how a normal person at his position would look. Then an idea occurred to her that visually impaired persons need to be treated like normal persons more than showering pity and sympathy. This idea was translated in her TV documentary.

Sai Paranjpye, however, felt that 10-minute TV documentary was too short to cover the important aspects of what she had witnessed in the blind school. So, she expanded the subject into a telefilm titled ‘Raina Beeti Jaaye’ with Kulbhushan Kharbanda and Sushma Seth which was telecast on Delhi Doordarshan (year is not known but it has to be sometime in the later 1970s.). The film was well received and there were demands for its re-run on Doordarshan. This encouraged her to make a full-length feature film with a story revolving around a couple – one handicapped with blindness and the other a normal person who is emotionally handicapped. She also covered in the script some day-to-day incidences of the blind students. Thus, the idea of ‘Sparsh’ (1980) was born.

Sai Paranjpye had written the script of ‘Sparsh’ keeping in mind Sanjeev Kumar and Tanuja in the lead roles. However, after agreeing to work in the film, at the last moment, Sanjeev Kumar got himself out of the project when he came to know that the film was to be produced by Basu Bhattacharya. Probably, Sanjeev Kumar had a bad experience in working with Basu Bhattacharya in ‘Anubhav’ (1971) and ‘Girha Pravesh’ (1979). In his place, Naseeruddin Shah was roped in. Since the director was not sure about the working chemistry between Naseeruddin Shah and Tanuja, the latter was replaced by Shabana Azmi who had earlier worked with Naseeruddin Shah. When no one was ready to produce the film, Basu Bhattacharya offered to produce the film under his banner, Aarohi Films. The music direction was entrusted to Kanu Roy, the ‘darbaari’ musician of Basu Bhattacharya as Sai Paranjpye calls him. For lyrics, she selected her favourite, Indu Jain.

The film was to be majorly shot at Blind School Relief Association (BSRA) at Delhi. For the first time, Sai Paranjpye personally realised that Basu Bhattacharya, the producer was a stingy person. He had asked all the actors in the film to come for the shooting in their own dresses. Sai Paranjpye had to arrange for the uniform of the blind students in the film with a donation of cloth from a reputed cloth mill of Mumbai. The producer had arranged the free accommodation to all the actors and the technical staff in the hostel of BSRA which were barely comfortable. There are many more interesting anecdotes while making the film which have been described in Sai Paranjpye’s Marathi book referred to above in her own witty style.

Because of the subject of the film, a couple of philanthropists had given the donations for making the film which was naturally passed on to the producer of the film. In addition, there were many others who have contributed in the making of the film. In the credit title of the film, the list of such persons is bigger  than the list of the main and supporting actors. In short, my guess is that Basu Bhattacharya did not have to shell out much for the financing of the film as a producer.

It is worth noting that when ‘Sparsh’ (1980) was being made, Basu Bhattacharya was already working on his home production, ‘Griha Pravesh’ (1979). Aspersions were cast on the Aarohi Films that a part of the finance meant of ‘Sparsh’ (1980) was diverted for financing ‘Griha Parvesh’ (1979). So, the finance from the producer was not forthcoming on time for ‘Sparsh’ (1980). By the time the  film’s shooting was completed, Sai Paranjpye realised that she was not only the director but also a de facto production controller.

The film’s shooting was completed and was sent for processing at Bombay lab. But the prints had not come back for a long time. In fact, the Lab had not taken the processing of the film since Basu Bhattacharya had not cleared his dues to the lab on his earlier films. Since Sai Paranjpye wanted to send the film for participating in the National Film Awards, there was an urgency to complete the work on time. The producer of the film was not in a hurry to complete the process. Sai Paranjpye met the owner of Bombay lab and requested to take the processing of the film. She also assured him that  she would  arrange to pay for the processing out of her own resources. Thus, the film was processed, dubbed and a print of the film was sent in time as an entry for National Film Awards, 1980. The film won 3 National Film Awards – the best film, Sai Paranjpye for the best screen-play and Naseeruddin Shah for the best actor. The irony was that Basu Bhattacharya as a producer received the best film award for ‘Sparsh’ (1980) in the hands of the President with a cash prize.

It took another 4 years for ‘Sparsh’ (1980) to get a theatrical release in 1984. The premier of the film was held at Eros theatre in Mumbai. In 1985, the film won 3 Filmfare Awards – The best film and two awards for Sai Paranjpye for best director and the best dialogue. On the one side, the film was critically acclaimed not only in India but also in International film festivals held at London, Cairo, Beijing and Sydney. On the other side, barring Naseeruddin Shah who got all his dues from Basu Bhattacharya after putting much pressure on Basu Bhattacharya, no one including Sai Paranjpye, Shabana Azmi, Kanu Roy, Indu Jain, playback singer Sulakshna Pandit etc. got their dues from the producer for the film. For music director, Kanu Roy, it was his last film who died of cancer few months after the completion of the film.

Incidentally, Sai Paranjpye, in her film ‘Katha’ (1982) named Farooq Shaikh as Basu who was doing a negative character in the film. Is it symbolic or just a co-incidence?

The star cast of ‘Sparsh’ (1980) includes Naseeruddin Shah and Shabana Azmi in lead roles supported by Om Puri, Sudha Chopra, Mohan Gokhale, Arun Joglekar etc with scores of blind students.  Ustad Amjad Ali Khan made a guest appearance in the film as a sarod player.  The film was certified by the Censor Board on January 30, 1980. The film is now available for watching on a video sharing platform with English sub-titles and it is in HD. The gist of the story of the film is as under:

The story centres around the two main characters. Anirudh (Naseeruddin Shah) is the principal of a blind school who is handicapped by his blindness. Kavita (Shabana Azmi), a young widow is emotionally handicapped due to death of her husband. She has become reclusive and shuns the society. Her only hobby is the gardening and singing. Her close friend, Manju (Sudha Chopra) tries to bring Kavita out of her shell and suggests to work for the blind school of which her husband is one of the patrons. But she  does not succeed much.

On a party arranged by Manju on the occasion of her marriage anniversary, she invites Kavita who reluctantly agrees to attend. In the party, Kavita sees Anirudh whom she had briefly met near her house. She meets him and gets formally introduced as a principal of a blind school. After getting to know her background, Anirudh requests her to join his blind school as he finds it difficult to get the required sighted personals for the school. After much persuasion by Manju, Kavita joins the blind school.

After joining the blind school, children are happy with Kavita as they get the motherly treatment which was not there earlier. She makes them participate in extra-curricular activities like handicrafts, sports, plays, music etc. Anirudh is happy that the children have been kept busy in constructive activities. Over a period of time, both Anirudh and Kavita come closer and start liking each other’s company. They get engaged.

However, Anirudh starts developing complex of being visually handicapped. He feels that after marriage Kavita would get projected having made a great sacrifice in marrying a handicapped person. He would always feel low in front of Kavita. He may have to depend upon her after the marriage. So, he decides to call-off the engagement. Kavita is shocked by his decision but she diverts her mind by continuing her work among the blind students of the school. She learns Braille, (the language in which blind students read the books) and translate many books in Braille.

One day, Anirudh comes to Kavita’s house and request her to leave the blind school as according to him, it is creating the resentments among the other visually impaired staff and teachers. Actually, this is an excuse. The real reason is that Anirudh finds himself uncomfortable ever since he called off his engagement with Kavita. This time, Kavita tells him that she would not leave the school as it is her need to be with the 200 students of blind school. And if Anirudh forces her to leave, she would revolt against the order. After the few days of this incidence, Kavita, while in the school comes to know that Anirudh has been transferred to another blind school out of Delhi. Kavita tenders her resignation sighting the reason that the school needs Anirudh more than her.

When Manju comes to know about these developments, she goes to meet Anirudh in his office and tells him point blank that he has been seeing the imaginary issues in his marriage out of his complex and ego without giving any consideration the impact of his decision on Kavita’s life who has once again been emotionally shattered with his decision. After Manju’s friendly banter, the realisation comes to Anirudh’s mind. The film ends with a scene showing Anirudh slowly walking towards Kavita’s house.

The highlight of the film is Sai Paranjpye’s crisp screen-play and dialogues which I feel has made the film more interesting to watch with no melodramatic scenes. Naseeruddin Shah’s restrained performance as a blind principal of the school is one of his bests among his acting in the middle-of-the-road films. Before the shooting, he had spent about a fortnight with the blind principal of BSRA, Delhi to observe his mannerism and conduct. One can observe in the film that Sai Paranjpye has not shown him as blind man in a conventional way which we are used to see in Hindi films. He looks like a normal sighted man. It is only his mannerism in talking, walking, picking up of things etc which gives an impression of a blind man.

The title of the film ‘Sparsh’ is very apt which literally mean ‘touch’. But in a broader sense, it means ‘feeling’ which is the essence of the film. I will highly recommend the readers of this Blog to watch the film, preferably in one seating if not already seen.

‘Sparsh’ (1980) has 3 songs, all written by Indu Jain and sung by Sulakshna Pandit. The songs have been set to music by Kanu Roy. I am presenting the first song ‘Geeton Ki Duniya Mein Sargam Hain Hum’ sung by Sulakshna Pandit and chorus. In audio clip, there is an additional stanza. Overall, it is an inspirational song.

With this song, ‘Sparsh’ (1980) make a debut in the Blog.

Notes and Acknowledgements:

  1. Some of the information about the background for making the film ‘Sparsh’ (1980) 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).
  2. The anecdotes and trivia included in the article are based on the Marathi book, ‘Sai – Maaza Kalapravaas’ (2016) written by Sai Paranjpye.

Video

Audio

Song – Geeton Ki Duniya Mein Sargam Hain Hum (Sparsh) (1980) Singer – Sulakshana Pandit, Lyrics – Indu Jain, MD – Kanu Roy
Chorus

Lyrics

geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum
gaao bachcho
geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum
phir se gaao
geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum
 
chalte hain kadmon mein manzil bhare
mutthi mein khushiyon ki kunji dhare
chalte hain kadmon mein manzil bhare
muthi mein khushiyon ki kunji dhare
toofaan mein ghir jaayen kashti hain hum
taazi hawaaon ke jhonkhe hain hum
shabaash
geeton ki duniya mein sargam hain hum

phoolon mein khushboo ke parcham hain hum
geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum
 
nannhe dilon mein ummeeden hazaar
beejon mein jaise chhupi ho bahaar
nannhe dilon mein ummeeden hazaar
beejon mein jaise chhupi ho bahaar
kismat ki bagiya ke maali hain hum
kal ke karishme dikhaayenge hum
aa ha
geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum
geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum

chhote umar mein  akal se badhe
himmat ki mitti mein khele badhe
bolo
chhote umar mein akal se bade
himmat ki mitti mein khele badhe
taaron ko choo aayen itna hai dam
sir chadh jo bole ko jadoo hain hum
geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum
phir se gaao
geeton ki duniya mein sargam hain hum
phoolon mein khushboo ke parcham hain hum

——————————————–
Hindi script lyrics (Provided by Sudhir)
———————————————

गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम
गाओ बच्चो
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम
फिर से गाओ
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं ह

चलते हैं कदमों में मंज़िल भरे
मुट्ठी में खुशियों की पूंजी धरे
चलते हैं कदमों में मंज़िल भरे
मुट्ठी में खुशियों की पूंजी धरे
तूफाँ में घिर जाएँ कश्ती हैं हम
ताज़ी हवाओं के झोंके हैं हम
शाबाश
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम

नन्हें दिलों में उम्मीदें हज़ार
बीजों में जैसे छुपी हो बहार
नन्हें दिलों में उम्मीदें हज़ार
बीजों में जैसे छुपी हो बहार
किस्मत की बगिया के माली हैं हम
कल के करिश्मे दिखाएंगे हम
आ हा
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम

छोटे उमर में अकल से बड़े
हिम्मत की मिट्टी में खेले बढ़े
बोलो
छोटे उमर में अकल से बड़े
हिम्मत की मिट्टी में खेले बढ़े
तारों को छू आयें इतना है दम
सर चढ़ जो बोले वो जादू हैं हम
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम
फिर से गाओ
गीतों की दुनिया में सरगम हैं हम
फूलों में खुशबू के परचम हैं हम


This article is written by Nahm, 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.

Blog Day :

3989 Post No. : 15081

Mitwa – 1

sun mere bandhu re…..
sun mere mitwaa….
sun mere saathhi re…. 

The Poet i.e. Majrooh further says:

hotaa tu peepal,
main hoti amar lataa teri
hotaa tu peepal,
main hoti amar lataa teri
tere galey maalaa ban ke,
padi muskaati re
sun mere saathi re
sun mere bandhu re,
sun mere mitwaa
sun mere saathi re

The reference to peepal tree in the song is taking me to another memory of a long time ago.  The movie ‘Naseem’ seen a long time ago on TV.   I have looked up the info on this film on imdb (https://www.imdb.com/title/tt0241753/?ref_=nv_sr_1?ref_=nv_sr_1).

It’s a movie alternately named ‘The Morning Breeze’.   Kaifi Azmi played the grandfather of the central pratogoist Naseem in the film and there is a dialogue uttered by him , which goes :  “Hamaare ghar ke aangan mein ek bahut puraana peepal ka ped thha.” 

This in turn is reminds of my own paternal grandfather, who was a staunch Gandhian and a Satyagrahi.  One of the lakhs of foot soldiers whose names do not appear in the list of those who fought for the independence of India.  He was participant in the Swadeshi movement and the Quit India Movement, in the tiny village in Belgaum District.  It is said the police came to the village looking for him, but his mother hid him in the sacks of food grains and thus he escaped arrest.  His name is ‘Meeran Saheb’ in the traditional way, people were named in that by gone era.  He was an avid reader of newspapers and lived in his own world, if he could help it.  Lived an idealistic and minimalistic life in the era of idealism with resources, available only to the extent of one’s needs for survival.  Wore only white Khadi Kurta-eezar with Gandhi topi, till the day he died.   It was his daily attire, be it someone’s wedding or Eid or whatever celebration or occasion.  New  clothes a must for Eid, normally he made do with 2-3 sets of clothes.  His life’s priorities were simple, news on radio and newspapers of Urdu, Marathi and Kannada.  My ‘Dada’ was not the only one to wear khadi as an uniform, there were others, his peers mostly who wore only white Khadi .

Another thing, I am more like my grandfather than anybody else.  It has been a decade or two, since anyone has called me “Meeran Saheb”, (the whole family and relatives on my mothers side used to call me that) but the memory is more pleasant now than it felt at that time 🙂 .

We are living in the times which are also good in some ways and bad in some ways.  There has never been a utopian era.  It exists in dreams and books of the visionaries.   There may be rare examples of near perfect society with peace, justice and prosperity existing in recorded history.  So we make the best of what we have and survive with our self-respect intact, the head held high and the values of humanity held close to the heart.   And what of hope?  Hope is always there and dreams are never in short supply.  One needs to keep faith and prayer on the lips for the Providence, who provides for one and all.

Ah…… here is the concept of providence.  Providence is the source of all that the creation needs and gets.  I did say in the comments of a post “Karta Hai Ek Raavi Ye Dilsooz e Bayaan“,  that I will try and explain the concept of ‘Ni’amat’ and ‘Barakah’.

Niamat for me is the belief system of Islam, i.e. Imaan, higher level of Imaan is Taqwa.  It is the belief in Allah (SWT – Subhanahu Wa Ta-A’la meaning All Praises For Him), his Prophets (PBUT – Peace Be Upon Them), his revelations and the day of Judgement i.e. Aakhirah.  It is a niamat that we have the ability to see, to hear and to speak.  The ability to breath and live.  The elements of nature like air,  water  and food which are life’s substance.  ‘Niamat‘ is also the word of Allah – his revelations in the form of aayats of the Quraan), sent down as guidance and warning.   Also that Allah (SWT) has promised to preserve his revelations i.e. the Quraan for mankind till the end of time.

Barakah‘ or ‘Barkat’ is that Allah (SWT) keeps providing for us these life substances, provides for all the universe, even for the smallest / minutest life forms to the giant creatures.  He keeps forgiving us and accepting our prayers. Listens to them and grants our wishes whatever is best for us.  For he knows what is best for us, we do not know.  He is the one who gave us the wisdom to be ‘saabir‘ (Patient) and ‘shaakir’ (thankful).  ‘Barakah‘ is again that the Almighty has given us pious parents and spouse and granted us children, with joy and contentment in life.  It is simple that if we learn to be ‘saabir and shaakir’ we will be content with our lot and life will be full of joy.   ‘Barkah’ is also increase of health, wealth and happiness.   It’s a blessing from the Almighty that we have the ability to understand all this and life’s philosophy. It is also the ability to give and to share.  The maturity to understand and accept that whatever worldly wealth, name, fame we have is given by the Almighty Allah and it is not ours, but we are the custodians.  He gives it in our custody so that we share the bountiful of worldly goods, this includes knowledge, among fellow beings.  It’s like a distribution chain.

Charity, I believe is nothing but the justification of our being blessed with health and wealth, in fact all ‘niamat‘ and ‘barakat‘.  Some are blessed more and others are blessed less (with health, wealth etc. in material terms). For both the types of people the blessings bestowed by God Almighty are a test, no less.  How they treat these blessings, how they react, and how they relate all this to the Almighty.  How thankful and grateful they are for these blessings.

From him, Allah (swt)  we came and to him we shall return.  We take with us only our deeds.  Here we come to good deeds and bad deeds.  What is to be remembered here again our deeds are what we do, how we treat our fellow beings in the world and how we behave in the world and what we cause as a result of our conduct, speech and behavior and deeds and how charitable or otherwise, we are. Essentially how much caring and sharing, we exercise in our life amount to our deeds here.  Mostly we might see there is the system of use and abuse going on around us.  We are part of the same system and involved in the same type of deeds.  But there is a thread of light all around us which shows the path of good, right and peace and justice. If we go forward looking for good than we will find  only goodness.

It’s a ‘Niamat‘ and ‘Barakah‘ that we have a belief in the ‘Day of Judgment’ too, all things considered.  Day of Judgement is when all our good deeds and bad deeds will be considered, and Allah (SWT) will grant us ‘Heaven / Paradise’ or  “Hell Fire”.  If humanity has this belief that we are answerable for all our deeds to a superior power, than this will stop it from committing all crimes and bad deeds, from smallest of bad deeds, like hurting someone with bad words, even.

See !  He is giving us, guidance, showing us the way of a pious, clean, spiritual and just life,  promising to preserve this book for us till the end of time, promising us rewards for the good deeds that we are able to amass, because of his naimat and barakah, in the hereafter.    So , which of the blessings, gifts and favours  given by our Lord and Master, are we going to deny ?

May Allah (SWT) grant us with the Baraakah for believing in the essential goodness of human nature.

This song from “Lagaan’ is a special one.  The song’s title is ‘Mitwa’, and every time I am looking for a celebratory song, this keeps coming to memory.  It is all about hope and spirit to win and overcome the difficulties in life, with strength and aplomb.  Javed Akhtar is the lyricist and AR Rehman is composer.  It is a group song which became a speciality of AR Rehman. The singing voices are Alka Yagnik, Udit Narayan, Sukhwinder Singh and Srinivas.  This is one of my favourite songs by Udit Narayan, for the rally that he sang in the mukhdaa. There should be a category of ‘mitwaa‘ songs too, as there are many classic songs in the Golden era.  I have one more ‘mitwa‘ song in my sights for writing a post.  If I can find one more inspiring song in the category, will try to make a trilogy of posts on ‘Mitwaa”.

Meanwhile, the holy month of ‘Ramadhan’ has ended, with ‘Eid-ul-fitr’ also come and gone, I take this opportunity to wish everyone  Eid Mubarak, belatedly.  May Allah (SWT) grant your wishes and answer your prayers.

Song – O Mitwa, Sun Mitwa, Tujh Ko Kya Darr Hai Re (Lagaan) (2001) Singer – Sukhwinder Singh, Udit Narayan, AlkaYagnik, Srinivas, Lyrics – Javed Akhtar, MD – AR Rehman
Udit-Srinivas
Udit-Alka
Udit-Alka-Srinivas
All

Lyrics

har sant kahe
saadhu kahe
sach aur saahas hai jiske mann mein
ant mein jeet usee ki rahe

aa jaa re aa jaa re
aa jaa re aa jaa re
bhale kitne lambe hon raste ho
thake na tera ye tan ho
aa jaa re aa jaa re
sun le pukaare dagariya
rahe na ye raste taraste ho
tu aajaa re
iss dharti ka hai raja tu
yeh baat jaan le tu
kathinaai se takra ja tu
nahin haar maan le tu
oo mitwa
sun mitwa
tujh ko kya darr hai re
ye dharti apni hai
apnaa ambar hai re
oo mitwa
sun mitwaaaa
tujh ko kya darr hai re
ye dharti apni hai
apna ambar hai re
tu aa jaa re ea ea

sun lo re mitwaaaaa aa aaa
jo hai tumre mann mein
wohi hamre mann mein
jo sapna hai tumra
sapna wohi hamra hai ea ea
jeewan mein
haan
chale ham liyee
aasa ke diye nainan mein
diye hamri aasaaon ke
kabhi bujh na paayen
kabhi aandhiyaan jo aa ke
in ko bujhaayen
oo mitwa
sun mitwa
tujh ko kya darr hai re
ye dharti apni hai
apna ambar hai re
oo mitwa
sun mitwa
tujh ko kya darr hai re
dharti apni hai
apna ambar hai re
tu aa jaa re eaea

taanaa tana na
taanaanananana
taanaa tana na
taanaa nananana
taanaa tana na
taanaa nana nana
aa jaa re

taanaa tana na
taanaanananana
taanaa tana na
taanaanananana
taanaa tana na
taanaa nana nana
aa jaa re

sun lo re mitwa..aa..aa
purva bhi gaayegi
masti bhi chhaayegi
mil ke pukaaro to
phoolon wali jo rut hai..ea..ea
aayegi
haan
sukh bhare din
dukh ke bin
laayegi
hum-tum sajaayen aao
rangon ke mele
rehte ho bolo kaahe
tum yun akele..ea
e mitwa
sun mitwa
tujh ko kya darr hai re
ye dharti apni hai
apna ambar hai re
oo mitwa
sun mitwa
tujh ko kya darr hai re
ye dharti apni hai
apna ambar hai re
tu aa jaa re..ea

har sant kahe
saadhu kahe
sach aur saahas hai jis ke mann mein
ant mein jeet usee ki rahe

oo mitwa
sun mitwa
tujh ko kya darr hai re
ye dharti apni hai
apna ambar hai re
oo mitwa
sun mitwa
tujh ko kya darr hai re
ye dharti apni hai
apna ambar hai re
oo mitwa
sun mitwa
tujh ko kya darr hai re
ye dharti apni hai
apna ambar hai re
oo mitwa
sun mitwa
tujh ko kya darr hai re
ye dharti apni hai
apnaa ambar hai re

tu aa jaa re ea ea
tu aa jaa re ea ea
tu aa jaa re ea ea
tu aa jaa re ea ea

———————————————————-
Hindi script lyrics (Provided by Nahm)
———————————————————-

हर संत कहे
साधु कहे
सच और साहस है जिस के मन में
अंत में जीत उसी की रहे ।

आजा रे आजा रे
आजा रे आजा रे
भले कितने लम्बे हों रस्ते हो …
थके न तेरा ये तन हो …
आजा रे आजा रे
सुन ले पुकारे डगरिया
रहे न यह रस्ते तरसते हो
तू आ जा रे
इस धरती का है राजा तू
ये बात जान ले तू
कठिनाईसे टकरा जा तू
नहीं हार मान ले तू
ओ मितवा सुन मितवा
तुझ को क्या डर है रे
ये धरती अपनी है
अपना अंबर है रे
तू आ जा रे ए ए ए ए

सुन लो रे मितवाआ आ आ
जो है तुमरे मन में
वो ही हमरे मन में
जो सपना है तुमरा
सपना वही हमरा है ए ए
जीवन में
हाँ
चले हम लिए
आशा के दिये नैनन में
दिये हमरी आशाओं के
कभी बुझ न पाएँ
कभी आंधियान जो आ के
इन को बुझाएँ
ओ मितवा सुन मितवा
तुझ को क्या डर है रे
ये धरती अपनी है
अपना अंबर है रे
तू आ जा रे ए
ओ मितवा सुन मितवा
तुझ को क्या डर है रे
ये धरती अपनी है
अपना अंबर है रे
तू आ जा रे ए ए ए ए

ताना तान न
तानान न न न
ताना तान न
तानान न न न
ताना तान न
तानान न न न
आ जा रे

ताना तान न
तानान न न न
ताना तान न
तानान न न न
ताना तान न
तानान न न न
आ जा रे

सुन लो रे मितवाआ आ आ
पुरवा भी गाएगी
मस्ती भी छाएगी
मिल के पुकारो तो
फूलों वाली जो रूत है ए ए
आएगी
हाँ
सुख भरे दिन
दुख के बिन
लाएगी
हम तुम सजाएँ आओ
रंगों के मेले
रहते हो बोलो काहे
तुम यूं अकेले ए

ओ मितवा सुन मितवा
तुझ को क्या डर है रे
ये धरती अपनी है
अपना अंबर है रे
तू आ जा रे ए
ओ मितवा सुन मितवा
तुझ को क्या डर है रे
ये धरती अपनी है
अपना अंबर है रे
तू आ जा रे ए ए ए ए

हर संत कहे
साधु कहे
सच और साहस है जिस के मन में
अंत में जीत उसी की रहे ।

ओ मितवा सुन मितवा
तुझ को क्या डर है रे
ये धरती अपनी है
अपना अंबर है रे
ओ मितवा सुन मितवा
तुझ को क्या डर है रे
ये धरती अपनी है
अपना अंबर है रे
ओ मितवा सुन मितवा
तुझ को क्या डर है रे
ये धरती अपनी है
अपना अंबर है रे
ओ मितवा सुन मितवा
तुझ को क्या डर है रे
ये धरती अपनी है
अपना अंबर है रे
ओ मितवा सुन मितवा
तुझ को क्या डर है रे
ये धरती अपनी है
अपना अंबर है रे
तू आ जा रे ए ए ए ए
तू आ जा रे ए ए ए ए
तू आ जा रे ए ए ए ए
तू आ जा रे ए ए ए ए


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.

Blog Day :

3953 Post No. : 15029 Movie Count :

4120

Missing Films of 1960s – 108
– – – – – – – – – – – – – – –

At 108, generally a maala is considered to be complete. So we are at the 108th episode of this series, searching for and bringing on missing films of 1960s on to our blog. Ah but, the homework is not still fully done. So there still are some films pending, to be taken care.

The story of the descent of the holy river Ganga, from the Baikunth Lok down to the earth, is very detailed and interesting. It spans four generations of kings belonging to the Suryavansh, the Sun Dynasty, in which later Lord Ram also appeared.

In the lineage of Suryavansh – Vivaswaan (also known as Vaivaswat Manu) is the son of Sun God. He had 10 sons. His second eldest son is Ikshvaku, from whom starts the primary lineage of the Sun Dynasty as we know it. His next in line is a son named Nimi. The lineage progresses and through more generations reaches Raja Harishchandra. The descendants of Raja Harishchandra in sequence, are Rohit, Vrishabh, Baahuk and then Sagar (‘सगर’).

Raja Sagar has two wives – Sumati and Keshini, but no children. Once Rishi Aurv (‘और्व’), passing through the kingdom, stayed at the palace and accepted the hospitality of Raja Sagar. When he was leaving, pleased by the selfless service done by the king, he asked the king to express his wish. The king of course expressed his desire to have sons so that his dynasty may continue. The Rishi blessed him, and said that one of his queens will give birth to one son. The second queen will be blessed with 60,000 sons. All of them will be brave and exceptional, but that they will be playful and short in temper.

With the passage of time, the blessing of the Rishi bore fruits, and the sons were born. Sumati gave birth to one sone Asmanja, and Keshini gave birth to 60,000 sons. Asmanja turns out to be a person with negative qualities.

Then after another passage of time, the King decided to conduct the Ashvamedha Yajna, to proclaim his sovereignty over all the land. The sixty thousand sons were given charge of protecting the horse of the Yajna. Now, Lord Indra, the king of the demigods, was envious of Raja Sagar. He decided to play a mischief. One night, as all the sons and soldiers were asleep, Indra stole the horse, took it, and tied it in the ashram of Kapil Muni, who was meditating at that time.

The army of 60,000 sons of Sagar reached Kapil Muni’s ashram in search of the horse. Finding the horse there, they jumped to the conclusion that Kapil Muni had stolen it. Muni was deep in meditation. Sagar’s sons started to rebuke him and call him names. They prodded him with their bows and disturbed him no end. Kapil Muni’s mediation was broken. He opened his eyes and looked at the army of 60,000 sons of Sagar. Such was the power in him, that by his mere glance, the 60,000 boys were burnt to death and turned into ashes.

When Sagar heard of this news, he was grief stricken. All his sons, save one, had perished without any proper samskaar etc. He consulted his Raj Purohit, Vashishth Muni. Vashishth said that the only way the perished sons could attain salvation was if the waters of the holy river Ganga was sprinkled on the ashes of the army of sons. For Raja Sagar, it was an unthinkable task. The grief took his life. His remaining son Asmanja was not a good person, and had been banished from the kingdom. But the son of Asmanja – Anshuman, turned out to be a very noble person. Sagar made him the King. Anshuman made a vow to bring water of Ganga to the earth. He forsook his kingdom and did mediation and penance all his life. But was not successful. He had one son, Dilip. The onus of accomplishing this task fell on to his shoulder. He too followed the path of meditation and penance, but quickly lost his health and passed away. The mantle for this task was now taken up by Dilip’s son, Bhagirath.

He prayed to Brahma for long years. Finally, Brahma was pleased, and he blessed Bhagirath with the promise that Ganga would descend from Baikunth and will come to earth. The narrative further tells us of the problem of the strength and volume of the flowing waters of Ganga. The earth or any person on earth could not withstand the force of the flow of Ganga. Then Bhagirath prayed to Lord Shiva, who agreed to let the holy river Ganga descend on to him, he would bear the main brunt of the force, and then the rest of earth and its people would then be blessed by it. There is a lot more detail in this narrative, appearing in multiple scriptures.

The film ‘Har Har Gange’ of 1968 is produced under the banner of Nitin Chitra and is directed by Babubhai Mistry. (Another film by the same name was produced in 1979, and that too is also directed by the same person.) The star cast of the 1968 film is listed as Jaishri Gadkar, Abhi Bhattacharya, Mahesh Kumar, Sulochana, Jeevan, Bharti, BM Vyas, Arvind Pandya, Uma Dutt, Vishwas, SN Tripathi, Sudarshan, Babu Raje, Tuntun, Paulson, Dalda Hindustani, Mahesh Bhatt, Rajkumar, Shri Bhagwan, Saraswati Devi, Bhairavi, Uma Khosla, Meena Pankaj, Malti Shashi, Master Gopi, Prakash, Munna Bagla, Madhumati, Bela Bose, and Helen.

The film has 6 songs, all penned by Kavi Pradeep. The music is composed by SN Tripathi. The song has been rendered by Krishna Kalle. The occasion seems to be that King Bhagirath is leaving the kingdom to go to the forest to do penance and to free his dynasty from the curse that 60,000 of his ancestors had brought upon themselves. From the words in the verses, it seems as if the song is being performed on screen by the wife of King Bhagirath. I have not been able to locate her name in the related information available. I would request other knowledgeable readers to please add this information if available.

With this song, the 1968 film ‘Har Har Gange’ makes its debut on our blog. With the publication of this post we are coming to the home stretch with this series. Now just 4 more films from the 1960s remain in this project. More details about that later.

 

Song – Jaao Mere Devta, Jaao Mere Praan  (Har Har Gange) (1968) Singer – Krishna Kalle, Lyrics – Kavi Pradeep, MD – SN Tripathi
Chorus

Lyrics

jaao mere devta
jaao mere praan
karey ganga maiya tumhaara kalyan
sidhaaro hey praan dhan
rakho kul ki aan
karey ganga maiya tumhaara kalyan
har har gange. . .
har har gange

barson se hai ye duniya dukhi
mit jaana par karna is ko sukhi
rakhna hamaare aansoo ka maan
jaao mere devta
jaao mere praan
karey ganga maiya tumhaara kalyan
har har gange. . .
har har gange

parvat jo rokey to rukna nahin
bijli girey phir bhi jhukna nahin
rakhna hamesha hatheli pe jaan
jaao mere devta
jaao mere praan
karey ganga maiya tumhaara kalyan
sidhaaro hey praan dhan
rakho kul ki aan
karey ganga maiya tumhaara kalyan
har har gange. . .
har har gange

har har gange. . .
har har gange

———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-

जाओ मेरे देवता
जाओ मेरे प्राण
करे गंगा मैया तुम्हारा कल्याण
सिधारो हे प्राण धन
रखो कुल की आन
करे गंगा मैया तुम्हारा कल्याण
हर हर गंगे॰ ॰ ॰
हर हर गंगे

बरसों से है ये दुनिया दुखी
मिट जाना पर करना इसको सुखी
रखना हमारे आँसू का मान
जाओ मेरे देवता
जाओ मेरे प्राण
करे गंगा मैया तुम्हारा कल्याण
हर हर गंगे॰ ॰ ॰
हर हर गंगे

पर्वत जो रोके तो रुकना नहीं
बिजली गिरे तो झुकना नहीं
रखना हमेशा हथेली पे जान
जाओ मेरे देवता
जाओ मेरे प्राण
करे गंगा मैया तुम्हारा कल्याण
सिधारो हे प्राण धन
रखो कुल की आन
करे गंगा मैया तुम्हारा कल्याण
हर हर गंगे॰ ॰ ॰
हर हर गंगे

हर हर गंगे॰ ॰ ॰
हर हर गंगे


What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15700 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

15723

Number of movies covered in the blog

Movies with all their songs covered =1212
Total Number of movies covered =4329

Total visits so far

  • 13,618,752 hits

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,873 other followers

Bookmark

Bookmark and Share

Category of songs

Current Visitors

Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

Archives

Stumble

visitors whereabouts

blogadda

blogcatalog

Music Blogs - BlogCatalog Blog Directory
%d bloggers like this: