Archive for the ‘Songs of Encouragement’ Category
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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 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 : |
5419 | Post No. : | 17776 |
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Blog 10-Year Challenge (2013-2023)– Song No.119
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Ah.. Raj Kapoor – the Showman. Sometimes also referred to as the Greatest Showman of Indian Cinema. A lifetime affair with the camera – very prominently handled both ends, sometimes in front of it, and then also behind it. Starting with childhood appearances accompanying his illustrious father to studios. And on to be a performer himself. And very soon, a producer – to quench his thirst, rather his search, for the ultimate story of love.
Raj Kapoor – the eternal seeker, the eternal explorer – in quest for the meaning of love equation between a man and a woman. All his life he produced films. The subjects, the scenarios varied, but against all the scenarios the unwavering theme, the unchanging premise of emotions flowing from one heart to another.
What does it take to define this equation? He has explored this question incessantly through his films and the music of his films. It is said in the industry – he had a Midas touch for music. No matter which film one picks. There may be commentaries and reviews about the films, but always, the music. The music was always the winner. And it is through the songs and music of his films that he expressed this search, this quest – for the meaning of love – endlessly.
His films almost always bring together the lovers in disparate and trying situations. What does it mean to be in love when, by normal discourse, love may not, cannot happen. And yet it does. From his very first venture as a producer – film ‘Aag’ of 1948, he had Saraswati Kumar Deepak write for him
kahin ka deepak kahin ki baati
aaj baney hain jeevan saathi
These verses kind of set the journey in motion that lasted for almost for four decades till the Showman decided in 1988 to hang up his director’s cap. On and on, one film at time, one can trace this quest for the meaning of love throughout his journey. The words and verses never ever failed to chalk up the emotions that were the matter of his quest. ‘Barsaat’ came in 1949 and with it, it brought the timeless melodies of
o o o,
mujhe kisi se pyaar ho gaya
and
meri aankhon mein bas gaya koi re
mujhe neend na aaye main kya karoon
With ‘Awaara’ of 1951, the theme resounded with the melody of
ghar aaya mera pardesi
pyaas bujhi in nainan ki
In 1953, when ‘Aah’ came to the theater screens, audiences were not so enamored by the sad somber story of a love lost. But yet again, the music said it all, and forever.
sunte the naam hum, jinka bahaar se
dekha to bola jiya jhoom jhoom ke
The journey continued in 1955 with ‘Shri 420’, touching towering heights of emotional expressions with the simplest of words.
ramaiya vasta vaiya
maine dil tujh ko diya
To date, no verse writer worth his salt has expressed this emotion in words more simple than these.
The proverbial icing always has been the on screen presentation of these wonderful melodies. The visions of the song presentation are a heart warming journey of visuals stringed with the words played on arias of melodies that proved to be incomparable even to this day. There is no peer, no comparable expression that can, or that will replicate the emotional highs of
pyaar hua iraar hua hai
pyaar se phir kyon darta hai dil
And the voyage carries on with the search for that promised destination that may reveal that ultimate truth of this mystery of love. ‘Jis Desh Mein Ganga Behti Hai’ – 1961. A very brief verse in the middle of a song, seems to encompass the entire story of this quest.
itna sa dil tu de de agar
saara jag tera ho jaaye
saara jag tera ho jaaye
‘Sangam’ came in 1964. It came with a bevy of emotions that crossed through so many layers of the mind’s labyrinths encompassing compassion, sacrifice, friendship, betrayal – and yes, love of course. And the hearts would sing these lines forever
har dil jo pyaar karega
wo gaana gaayega
and
o mere sanam, o mere sanam
do jism magar ik jaan hain hum
ik dil ke do armaan hain hum
Then came the magnum opus in 1970. ‘Mera Naam Joker’ – a commercial disappointment initially which has later ended up becoming a cult film in its own right. A lifetime’s search for love, culminating in show at a circus. One after another, love appears in life of the Joker, but always leaves him alone at the end. And the heart of the Joker has these words to sing
bhoologe tum, bhoolenge wo
par hum tumhaare rahenge sada
Beyond that, now new generations were taking over. Romance and love donned new faces and new dresses in ‘Bobby’ (1973). The words got a different expression, the music changed, but the soul sound of love remained what it has for centuries – unchanged. A new voice was now strumming the drums and saying
. . . par pyaar bhara dil kabhi na todo
is dil mein dilbar rehta
And alongwith came the declaration that
deta hai dil de, badle mein dil ke
. . . . . . pyar mein sauda nahin
Then in 1978 came another significant milestone in this journey – ‘Satyam Shivam Sundaram’. With the thesis that the truth is always akin to God, and thus, it is always beautiful. The mind’s conflict between the truth of the beauty and the beauty of imagination is again a timeless discourse, dealt once again with the verses of tradition
bhor bhaye panghat par
and
sainyaan nikas gaye main naa ladi thi
‘Prem Rog’ appeared in 1982 and the Showman’s last venture – ‘Ram Teri Ganga Maili’ appeared in 1985.
‘Prem Rog’ was was a creation that came forth three and a half decades after his quest had debuted in ‘Aag’. And the wonder of the outcome thus far, thirty five years in the making, and the explorer still ended up with the question that started his quest way back in 1948. For in this film, he yet once again poses the question
ye din kyon nikalta hai
ye raat kyon hoti hai
ye peed kahaan se uthti hai
ye aankh kyon roti hi
….
mohabbat hai kya cheez, hum ko bataao
ye kis ne shuru ki, hamen bhi sunaao
The essence of a lifetime of search. At the end of his energies after years of exploring. And the explorer is yet asking the same question. Again. A lifetime spent in synthesis, after having sung so many beautiful verses in its praise, after equating it to God and saying – that which is true, it also is beautiful. And then negating all these achievements, discarding all the experiences of the landmarks of the journeys, the seeker once again picks up the question that had started his journey decades earlier.
And thus remains the enigma – as it is. The final offering of 1985 – ‘Ram Teri Ganga Maili’ brings a last message
sun saiba sun
pyaar ki dhun
Just listen to this aria of love. Do not search it with a question. Just savor the strumming emotions, and let this dhun immerse oneself, take one into the unknown unseen depths. Just relish and delight in this feeling of love – do not ask any questions of it. The wheel of life having come a full circle, and yet a definitive and culminating statement still could not be made. Such is it – the mystery of LOVE.
Ah yes, now for the song presented with this post. 1982 was the year when the young mind was still innocently concerned with the questions about this emotion. The film came along and I do remember I had seen it on the big screen. The analysis of how the realities of the society and the bitter truths of life, were still years ahead in time. The mind always was simply happy at witnessing a happy ending. Always assuming that all the hiccups and tribulations on the way are a conjuring of the story tellers mind, and that lovers are always destined to meet. Ah, the loveliness of that innocence, believing in the good always.
But that discussion in maybe another post, for another song of love.
‘Prem Rog’ is a story of unexpressed love, and maybe also love about which the lovers themselves are not aware. A young girl from a rich traditional family, a young lad – and orphan without any antecedents. And they are good friends, for the boy frequents the home of the girl to do sundry jobs for the household. The girl gets married, and widowed, in quick succession – in like a blink of the eye. Circumstances bring her back to her parent’s home. The contact is re-ignited. And the emotoions that were not expressed not understood till then, now come floating into the heart. There follows a long and grueling struggle, ultimately violent, with the social norms and traditions. However, a happy ending at the end.
I liked the film on two counts. One was a very stark, almost harsh portrayal of the tribulations of a young widow in a very conservative family. And second, it was a refreshing feeing to see Nanda and Tanuja both on screen after a gap. Of course, Shammi Kapoor was the added attraction.
A minor trivia. Padmini Kolhapure, at 17, became the youngest individual recipient of the Filmfare Best Actress Award for this film.
Songs of ‘Prem Rog’ are quite hummable and became very popular in their time. There are 6 songs in this film, five of which are already showcased on our blog. This is the sixth song to make it here, which brings us to declare ‘Prem Rog’ to be Yippeee’d on the blog.
The shooting of this song sequence is something special to mention. The film was shot in the studio and some scenes in and around a farm house on way to Poona. This particular song, no guesses, is shot in the tulip fields at Kukenhoff, close to Amsterdam in Holland. Yes, the same place where the ‘Silsila’ (1981) song “Dekha Ek Khwab To Ye SilSile Huye” was also shot.
It is interesting to note that the song opens with the lead pair on a bicycle. The bicycle looks very typically Indian. So one must assume that the artifact was carried by the shooting team from India to Holland.
The words of the song are very beautifully crafted. As the song opens, Devdhar (role played by Rishi Kapoor) blesses Manorama (role played by Padmini Kolhapure) with the years of his own life. In the first stanza, Manorama tells of the extremely difficult phase she is passing through, and tells Devdhar that she is a flower that has already been plucked from the branch. In the second stanza, Devdhar tells her about the temporary nature of happiness and sorrow in life, and that the days past are already past. In the third stanza there is an exchange. Manorama tells Devdhar that the sleep from her eyes is gone, and also cautions him that the flower he trying to pursue is not sweet any longer. And Devdhar responds that the flower is beautiful and innocent. As we watch the video clip of the song, one can see some realizations dawn on the face of Manorama.
The words are crafted by Pt Narendra Sharma, and give a very sophisticated and literary feel to the verses. Music is by Lakshmi-Pyaare. The singing voices are of Lata Mangeshkar and Suresh Wadkar. Suresh Wadkar had appeared on the film scene as a singer in 1976. This song likely was recorded in 1981.
The video clip has two stanzas, whereas the audio clip carries all the three stanzas. The lyrics given below are based on the audio clip.
Enough said, I believe, so let us get on to listen to this sonorous melody.
Video
Audio
Song – Bhanwre Ne Khilaaya Phool, Phool Ko Le Gaya Raaj Kunwar (Prem Rog) (1982) Singers – Suresh Wadkar, Lata Mangeshkar, Lyrics – Pt Narendra Sharma, MD – Lakshmikant Pyaarelal
Lyrics (by Prakashchandra)
hmmm hmmm hmmm
hmmm hmmm hmmm
hmmm hmmm hmmm
hmmm hmmm hmmm
bhanwre ne khilaayaa phool
phool ko le gaya raaj kunwar
hmmm hmmm hmmm
hmmm hmmm hmmm
bhanwre ne khilaayaa phool
phool ko le gaya raaj kunwar
bhanwrey tu kehna na bhool
phool tujhe lag jaaye meri umar
bhanwrey ne khilaayaa phool
phool ko le gaya raaj kunwar
(lauging sound)
aaa…aaaa…aaaa…aaaa….
aaaaa…aaa…aaaaa….aaaaa….
aaaaaa…aaaaaaaaaaaaaaaaa
(laughing sound)
hmmm hmmm hmmm
(laughing sound)
hmmm hmmm hmmm
(laughing sound)
hmmm hmmm hmmm
(laughing sound)
hmmm hmmm hmmm
(laughing sound)
bhanwre ne khilaaya phool
phool ko le gaya raaj kunwar
bhanwre ne khilaaya phool
phool ko le gaya raaj kunwar
bhanwre tu kehna na bhool
phool tera ho gaya idhar udhar
bhanwre ne khilaaya phool
phool ko le gaya raaj kunwar
hmmm hmmm hmmm
(aaa…aaaaa)
hmmm hmmm hmmm
(ooooooo..ooo)
wo din..n..n..
ab na..aa..aa rahey
kya kya vipda padi phool par
kaise phool kahey
wo din ab na rahey
honi thi ya wo anhonee
jaane isey vidhaata
chhoote sab singaar
giraa gal-haar toota har naata
shesh phool mil gaya dhool mein
kya kya dukh na sahey ae
wo din ab na..aa rahey
bhanwre tu kehna na bhool
phool daali se gaya utar
bhanwre ne khilaaya phool
phool ko le gaya raaj kunwar
hmmm hmmm hmmm
(aaa…aaaaa)
hmmm hmmm hmmm
(ooooooo..ooo)
sukh dukh aaye jaaye
jaaye ae ae ae
sukh dukh aaye jaaye
sukh ki bhookh na dukh ki chinta
preet jisey apna..aa..aaye
sukh dukh aaye jaaye
meera ne piya vish ka pyaala
vish ko bhi amrit kar daala
prem ka dhaai akshar padhkar
mast kabeeraa gaaye
sukh dukh aaye jaaye
bhanwre tu kehna na bhool phool
guzre din gaye guzar
bhanwre ne khilaaya phool
phool ko le gaya raaj kunwar
hmmm hmmm hmmmmadhur
hmmm hmmm hmmm
aaa..aaa..aaa..aaa..aaaa
aaa…aaaa…aaaa…
aaaa….aaaa
aaa..aaa…aaaa…aaa
o o oo o
oo oooo
na..aa..aa
na re na..aa
phaili phooli phulwaari mein
bhanwraa gunn gunn gunn gunn gunn gunn gunn gunn gaaye
kaahey sowat nindiya jagaaye ae ae
kaahey sowat nindiya jagaaye
laakhon mein kisi ek phool ne
laakhon phool khilaa..aaye
mand mand muskaaye
haaye kaahey sowat nindiya jagaaye
bhanwre tu kehna na bhool
phool tera madhur nahin madhukar
bhanwre ne khilaayaa phool
phool ko le gaya raaj kunwar
bhanwre tu kehna na bhool
phool mera sundar saral sughadh
bhanwre ne khilaayaa phool
phool ko le gaya raaj kunwar
(phool mera sundar saral sughadh)
phool ko le gaya raaj kunwar
(phool mera sundar saral sughadh)
phool ko le gaya raaj kunwar
(phool mera sundar saral sughadh)
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Hindi script lyrics (Provided by Sudhir)
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हम्मम हम्मम हम्मम
हम्मम हम्मम हम्मम
हम्मम हम्मम हम्मम
हम्मम हम्मम हम्मम
भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर
हम्मम हम्मम हम्मम
हम्मम हम्मम हम्मम
भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर
भँवरे तू कहना ना भूल
फूल तुझे लग जाये मेरी उमर
भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर
(हास्य ध्वनि)
आss आsss आsss आsss
आssss आss आssss आssss
आsssss आsssssssssssss
हम्मम हम्मम हम्मम
(हास्य ध्वनि)
हम्मम हम्मम हम्मम
(हास्य ध्वनि)
हम्मम हम्मम हम्मम
(हास्य ध्वनि)
हम्मम हम्मम हम्मम
(हास्य ध्वनि)
भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर
भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर
भँवरे तू कहना ना भूल
फूल तेरा हो गया इधर उधर
भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर
हम्मम हम्मम हम्मम
(हास्य ध्वनि)
हम्मम हम्मम हम्मम
(हास्य ध्वनि)
वो दिन॰॰न॰॰न
अब ना॰॰आ॰॰आ रहे
क्या क्या विपदा पड़ी फूल पर
कैसे फूल कहे
वो दिन अब ना रहे
होनी थी या वो अनहोनी
जाने इसे विधाता
छोटे सब सिंगार
गिरा गल-हार टूटा हर नाता
शेष फूल मिल गया धूल में
क्या क्या दुख ना सहे
वो दिन अब ना रहे
भँवरे तू कहना ना भूल
फूल डाली से गया उतर
भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर
हम्मम हम्मम हम्मम
(आss आssss)
हम्मम हम्मम हम्मम
(ओsssssss ओssss)
सुख दुख आए जाये
जाये॰॰ए॰॰ए
सुख दुख आए जाये
सुख की भूख ना दुख की चिन्ता
प्रीत जिसे अपनाए॰॰ए॰॰ए
सुख दुख आए जाये
मीरा ने पिया विष का प्याला
विष को भी अमृत कर डाला
प्रेम का ढाई अक्षर पढ़ कर
मस्त कबीरा गाये
सुख दुख आए जाये
भँवरे तू कहना ना भूल फूल
गुजरे दिन गए गुज़र
भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर
हम्मम हम्मम हम्मम
हम्मम हम्मम हम्मम
आs आs आs आs आsss
आss आsss आsss
आsss आsss
आss आss आsss आss
ओ ओ ओs ओ
ओss ओsssssss
ना॰॰आ॰॰आ
ना रे ना॰॰आ
फैली फूली फुवारी में
भँवरा गुन गुन गुन गुन गुन गुन गुन गुन गाये
काहे सोवत नींदिया जगाए॰॰ए॰॰ए
काहे सोवत नींदिया जगाए
लाखों में किसी एक फूल ने
लाखों फूल खिलाये
मंद मंद मुसकाए
हाए काहे सोवत नींदिया जगाए
भँवरे तू कहना ना भूल
फूल तेरा मधुर नहीं मधुकर
भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर
भँवरे तू कहना ना भूल
फूल मेरा सुन्दर सरल सुघढ़
भँवरे ने खिलाया फूल
फूल को ले गया राज कुँवर
(फूल मेरा सुन्दर सरल सुघढ़)
फूल को ले गया राज कुँवर
(फूल मेरा सुन्दर सरल सुघढ़)
फूल को ले गया राज कुँवर
(फूल मेरा सुन्दर सरल सुघढ़)
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5398 | Post No. : | 17707 |
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Blog 10-Year Challenge (2013-2023) – Song No.100
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On this date ten years ago (29 April 2013), six songs from six different movies were covered in the blog. Here are the details:-
| Post No | Song Title | Name of the movie | Remarks |
|---|---|---|---|
| 8001 | Mera husn lootne aayaa | Chandralekha (1948) | 8 songs covered out of 11 by now |
| 8002 | Chanda ki chaandni na suhaaye to kya karen | Duniya Ek Saraai (1947) | 5 songs out of 9 by now |
| 8003 | Tere saath chal rahe hain ye zameen ye chaand taare | Angaarey(1954) | Movie YIPPEED by now |
| 8004 | Itni si baat ka fasaana na banaao | Ek Ladki Saat Ladke(1961) | Movie YIPPEED by now |
| 8005 | Ham pe daya rakhna | Aas (1953) | Movie YIPPEED in the blog with this song |
| 8006 | Jaa jaa jaa jaa tujhe ham jaan gaye | Sehraa (1963) | Movie YIPPEED by now |
We observe that four movies (out of six) whose songs were covered in the blog on this date ten years ago (on 29 April 2013) have since been YIPPEED in the blog. That leaves us with two unYIPPEED movies that are eligible for Blog Ten Year Challenge today (29 April 2023).
“Chandralekha”(1948) is one BTYC eligible movie today.
“Chandralekha”(1948) was produced and directed by S S Vasan for Gemini Chitra, Madras. This blockbuster big budget movie had T.R.Rajkumari, M.K.Radha, Ranjan, Sundri Bai, Yashodra Katju, L.Narayan Rao, Subbayya Pillai, V.H.Janaki, H.Krishnamurthy, B.S.Kalla, A.K.Chopra, Sundar Rao, Varalakshmi etc in it.
“Chandralekha”(1948) had 11 songs in it. Eight songs have been covered in the blog by now.
Here is the ninth song from the movie to appear in the blog. The song is sung by chorus. Pt Indra Chandra is the lyricist. Music is composed by R Vaidhyanathan.
The song is played in the background as horse riding warriors are seen racing away towards somewhere (battlefield) in perfect formation, one after the other.
Lyrics of this song were sent to me by Prakashchandra.
This song is the 100th song in this year under the Blog Ten Year Challenge (2013-2023). We are still in on 29 April 2023. More than eight months are still left. Lots and lots of songs (1200 to be exact) were covered in the blog in 2013 between 30 April 2013 to 31 december 2013. Many of the movies of these songs are still unYIPPEED so we can hopefully have record number of songs under BTYC in this year, breaking previous year’s record of 140 songs set in BTYC (2012-2022).
This also happens to be the 100th post in the current month of April 2023. So we continue to live up to our new year resolution of posting 100 or more songs in each month in this year. Hopefully we will continue to stick to this resolution throughout the year and even beyond.
Audio link:
[https://www.youtube.com/watch?v=G4Y9g7ix1CY]
video link:
Song-Nazar milaaye jaa tu kadam badhaaye jaa (Chandralekha)(1948) Singer-Chorus, Lyrics-Pt Indra Chandra, MD-R Vaidhyanathan
Lyrics(Provided by Prakashchandra)
nazar milaaye jaa
tu kadam badhaaye jaa
tu hawaa jamaaye jaa
gaa dil se gaanaa aan
chaltey chal chalaa chal
manzil par chalaa chal
chaltey chal chalaa chal
manzil par chalaa chal
teer chalaanaa nazron ke chubhtey jaanaa
teer chalaanaa
nazron ke chubhtey jaanaa
pyaar sabko diye jaa
pyaar sabkaa liye jaa
pyaar sabko diye jaa
pyaar sabkaa liye jaa
badhey jaao
ladey jaao o ooo
judey jaao
judey jaao
nazar milaaye jaa
tu kadam badhaaye jaa
tu hawaa jamaaye jaa
gaa dil se gaanaa aan
chalte chal chalaa chal
manzil par chalaa chal
chalte chal chalaa chal
manzil par chalaa chal
teer chalaanaa nazron ke chubhtey jaanaa
teer chalaanaa nazron ke chubhtey jaanaa
pyaar sabko diye jaao
pyaar sabkaa liye jaao
badhey jaao
badhey jaao o ooo
judey jaao
judey jaao
nazar milaaye jaa
kadam badhaaye jaa
Teri Manzil Door Musafir
Posted on: June 4, 2022
- In: Chitragupt Songs As A Singer | Devnagri script lyrics by Sudhir | Guest posts | Lyrics by Sudhir | Lyrics contributed by readers | MD-Singer Song | philosophical song | Post by Arunkumar Deshmukh | Songs of 1940s (1941 to 1950) | Songs of 1948 | Songs of Encouragement | Yearwise breakup of songs
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This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me.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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5069 | Post No. : | 16987 |
Today’s song is from the film ‘Mala The Mighty’ (1948).
When I had first heard the name of this film, I wondered how ‘Mala’- a girl can be mighty ? I could never imagine that Mala could be a male’s name too. It was only after I grew up and toured the Eastern India (read W.B.) for official work, I came across this strange phenomenon – where, what is considered as an exclusive feminine name in the rest of India, could be a male’s name too ! Names like Mrinal, Vimal, Kamal, Jyoti, Mridul, Daya, Champavati, Devki, Dwaraka, Hiran etc. India truely is unique !
Film ‘Mala The Mighty’ was described as a costume drama, but clearly it was a C grade jungle film. The film’s other name was also ‘Sher-e-Jungle’. The film was produced by Basant Pictures of Homi Wadia. Homi was the younger brother of JBH Wadia and they were joint owners of Wadia Movietone, which was famous for making action/stunt films in the 30’s and the 40’s. The arrival of Fearless Nadia into Wadia Movietone strengthened its fortunes, The younger brother Homi Wadia fell in love with Nadia. he wanted to marry her, but his mother was against it. Therefore, only after his mother’s death, Homi married the then 51 year old Nadia and she became NADIA WADIA !
In 1942 there was a dispute between the brothers. The elder JBH Wadiawanted to make social and other genre films, while Homi wanted to continue with action/stunt films. He felt the financial risks were much less in action films and as such they already had a very good team of actors. In the end Homi Wadia formed his own Basant Pictures. The whole team led by Nadia joined Homi’s production house. Wadia Movietone had the non-human participants for stunt films, like the horse -Punjab Ka Beta, a Dog – Tiger and a Motor car – Rolls Royce Ki Beti. Homi Wadia made a new team with the Horse – Rajpoot, Dog – Moti, Motor Car – Austin Ki Bachhi and in addition they had a motorcycle – Runnio.
Home Wadia had the winning lead pair of Nadia and John Cawas for stunt films. By 1948, Nadia had reached the midpoint of her career. From 1933, in 15 years’ time she had done 28 action/stunt films. She slowed down and in the next 11 years she did 15 films only. Homi was always on the lookout for an actress who would take over from Nadia. First he got actress Radha Rani who did only 7 films for him and left. Then he found actress Leela- about whom no information is available. There was a time when several Leelas were acting in Hindi films – like Leela Chitnis, Leela Desai, Leela Chandragiri, Leela Gupte, Leela Pawar, Leela Sawant, Singer Leela Mehta and later on Leela Naidu. Out of these Leela Pawar, Leela Sawant and Leela Gupte were acting in stunt films of mainly Master Bhagwan. But Wadia’s Leela was not known. Anyway, she did only a few films, got married and left films.
Cast of the film was John Cawas, Leela, Dalpat, Azim, Shri Bhagwan, Shyamsunder, Waman Talpade and a few others. The film was also directed by John Cawas. A physical culturist, John Cawas was born in 1910 in Jubbulpore, Madhya Pradesh state. Athletic, handsome, and with an impressive physique (he won the 1930 All-India Bodybuilding Championship), John was a natural choice for the action flicks that had become so popular in the 1930s.
Hailing from a Parsi family he appeared as an extra in Wadia Movietone’s ‘Noor-e-Yaman’ (1935) which led to supporting roles in that company’s films ‘Desh Deepak’ (1935), ‘Hunterwali’ (1935) and ‘Miss Frontier Mail’ (1936), all featuring stunt queen Fearless Nadia, who he would continue to work with in countless other films.
He quickly graduated to lead roles in pictures like ‘Toofani Tarzan’ (1937), ‘Diamond Queen’ (1940), ‘Stunt King’ (1944), ‘Black and White’ (1944), ‘Atom Bomb’ (1947), ‘Maya Mahal’ (1949), ‘Jungle Ka Jaadu’ (1955), ‘Magic in Baghdad’ (1956), ‘Diler Daku’ (1957), and ‘Circus Queen’ (1959). He acted in 40 films, out of which he worked in 26 films with Fearless Nadia. He also directed 3 films – ‘Mala The Mighty’ (1948), ‘Baghdad Ka Jaadu’ (1956) and ‘Zimbo Ka Beta’ (1966).
Not content with just acting, he also kept busy as an assistant director, director, and writer on numerous films, the bulk of which were produced by JBH and Homi Wadia. Wadias gave him a flat in their office building to live – free for life. John Cawas never married, and after retiring from films, he continued on as caretaker of the Wadia film offices until his death on October 4, 1993.
Another cast member was Azeem – who later on became well known as a Fight Composer in Hindi films. Azim Bhai (real name: Saiyad Azim Jafri) was one of the leading action directors in Hindi films. After a stint in the army he headed off to Bombay in 1934 and found work as stunt man at Eastern Art Film Company where he was put under contract and he worked on most of the company’s films like ‘Sher Ka Panja’ (1934) ‘Bal Hatya’ (1935), ‘Dharam Ki Devi’ (1935), and ‘Prem Raatri’ (1936).
When Eastern Art Film went out of business, Azim moved over to Saroj Company then found work at Paramount Film Company, Imperial Film, and Wadia Movietone where he worked both as a stunt man and as an actor. Afterwards, he joined Master Bhagwan’s team and acted in many action/stunt films.
By the end of the 1940s, he became a Fight Master independently. Azim became well known for his swordsmanship and he often worked alongside fellow stunt coordinator Master Douglas and two were tasked with training Dilip Kumar and Prem Nath in that sport for the film ‘Aan’ (1953). Azim has also trained many action directors and stunt persons including Ghani, Ravi Khan, Dawood (aka Hercules), Veeru Ustad, and Mansoor.
Azim Bhai coordinated the stunts on a number of fantasy films including ‘King Kong’ (1963), ‘Jadugar Daku’ (1962), ‘Parasmani’ (1963), ‘Sunehri Nagin’ (1964), ‘Hercules’ (1964), and ‘Aaya Toofan’ (1964), the spy films ‘Spy In Rome’ (1968) and ‘Kismat’ (1969), as well as the horror flicks ‘Bees Saal Pehle’ (1972) and ‘Ab Kya Hoga’ (1977).
He died on 23-10-1984.
There was another Fight Composer with a similar name – S Azimbhai (Sheikh Azim), who was much junior and he operated from 1954 to 1999. He is not to be confused with the senior one.
The third interesting name in the cast is of Dalpat – a sure name in action films. Dalpat (Joshi) was a stunt artiste. A tall, sophisticated and suave person mostly appeared in negative roles . Dalpat was a part of Wadia’s unit since its inception and played the role of villain in the stunt movies ,which used to have Fearless Nadia and John Cawas or occasionally some other hero, apt in performing stunts.
Owing to the unprecedented popularity of Miss Nadia, other filmmakers also cast her along with John Cawas and Dalpat in their similar type of stunt movies for which she was known. After her era was over, Basant Pictures concentrated their energy in making mythological and Arabian Night movies, in which Dalpat always had a role. Later in the 50s, the studio system came to an end and actors and technicians who learned their art from their benevolent master Homi Wadia, looked for assignments from other producers.
One may call it destiny or lack of initiative on the part of Dalpat. He was offered only costume/stunt/religious movies by outside producers. Dalpat, who did a stint as production controller for a few movies, was reverentially called Dalpat Kaka owing to his age, seniority and status by film folks. Age did not affect his appearance and he looked as suave as he was many decades earlier. He started his career by acting first in ‘Hoor e Baghdad’ (1934). He worked in 120 films. His last film was ‘Toofaani Takkar’ (1978).
I had seen the film ‘Mala The Mighty’, in its second or maybe the third run in the early 50s. The film was a rehash of the frequently used, but tested formula of Tarzan – slightly modified. Such stories never stopped entertaining people. In any case who wanted the story? They all wanted the stunts, animals, fights and dances.
The story of the film is,
Mohanlal (Azim) is a rich businessman. Once while on a trip in a ship, on a bad stormy night, the ship is wrecked. He survives but his wife dies, and his 2 daughters are missing. After 15 years he decides to search for his daughters in the jungles of Kaliyana, bordering the sea, hoping that they might have been washed ashore.
With him is Chimanlal (Shri Bhagwan) who was to marry one of the daughters, and a friend Professor Tatto (Shyamsunder). On the border of the jungle they employ Ali Bux (Kareem), a guide and his friend Trivedi, who is actually a gold digger looking for the golden treasure of tribal queen Sheen. On their way they are attacked by tribals but there comes Mala The Mighty (John Cawas) who saves them with his army of elephants. Mala is the legendary king of the jungle who fights lions, tgers and kills crocodiles etc. He takes the party to his tree top house and they find Leela (Leela) a 17 year old beauty living as his companion.
Trivedi is captured by the tribals. He strikes a deal with Sheen, the queen (Leela – in double role), to capture Mala, whom Sheen loves, in exchange for the gold treasure. Mala gets captured and is brought to the tribal chief Rajan (Waman Talpade) who wants to kill him. Meanwhile Leela comes there with the party to rescue Mala. Mohan Lal recognises both girls as his long lost daughters. Rajan tries to kill Mala, but Sheen saves him and gets killed. The animal friends of Mala arrive and the tribals run away. Leela hugs her father but refuses to go with him, choosing to remain with Mala The Mighty.
Today’s song is sung by the film’s young and upcoming composer Chitragupta Shrivastav, M.A. Lyricist was Shyam Hindi.
The End !
Song – Teri Manzil Door Musafir (Mala The Mighty) (1948) Singer – Chitragupt, Lyricist – Shyam Hindi, MD – Chitragupt
Chorus
Lyrics (Provided by Sudhir)
aaaa aaaa aaa aaaa
aaaa aaaa aaa aaaa
aaaa aaaa aaa aaaa
aaaa aaaa aaa aaaa
aaaa aaaa aaa aaaa
aaaa aaaa aaa aaaa
oo oo oo
teri manzil door musafir
teri manzil door musafir
chalte jaana
chalte jaana
(aaaa aaaa aaa aaaa)
chalte jaana
(aaaa aaaa aaa aaaa)
chalte jaana
teri manzil door musafir
chalte jaana
chalte jaana
(aaaa aaaa aaa aaaa)
chalte jaana
(aaaa aaaa aaa aaaa)
chalte jaana
subah hai chalna shaam hai chalna
subah hai chalna shaam hai chalna
zindagi ka naam hai chalna
zindagi ka naam hai chalna
duniya ki har cheez hai chalti
har ek shay ka kaam hai chalna
aa jaati hai manzil chaahe
aa jaati hai manzil chaahe
kitni bhi ho door
kitni bhi ho door musafir
chalte jaana
(aaaa aaaa aaa aaaa)
chalte jaana
chalte jaana
(aaaa aaaa aaa aaaa)
chalte jaana
lobhi jeevan aisa panchhi
lobhi jeevan aisa panchhi
paap ki bole bhasha
(aaaa aaaa aaa aaaa)
(aaaa aaaa aaa aaaa)
paap ki bole bhasha
is ke dono pankh anokhe
asha aur niraasha
asha aur niraasha
lobh ka ant hai jaan gawaana
lobh ka ant hai jaan gawaana
lobh se bhago door
lobh se bhago door musafir
chalte jaana
(aaaa aaaa aaa aaaa)
chalte jaana
chalte jaana
(aaaa aaaa aaa aaaa)
chalte jaana
teri manzil door musafir
chalte jaana
(aaaa aaaa aaa aaaa)
chalte jaana
(aaaa aaaa aaa aaaa)
chalte jaana
chalte jaana
————————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————————
आ आ आ आ
आ आ आ आ
आ आ आ आ
आ आ आ आ
आ आ आ आ
आ आ आ आ
ओ ओ ओ
तेरी मंज़िल दूर मुसाफिर
तेरी मंज़िल दूर मुसाफिर
चलते जाना
चलते जाना
(आ आ आ आ)
चलते जाना
(आ आ आ आ)
चलते जाना
तेरी मंज़िल दूर मुसाफिर
चलते जाना
चलते जाना
(आ आ आ आ)
चलते जाना
(आ आ आ आ)
चलते जाना
सुबह है चलना शाम है चलना
सुबह है चलना शाम है चलना
ज़िंदगी का नाम है चलना
ज़िंदगी का नाम है चलना
दुनिया की हर चीज़ है चलती
हर इक शै का काम है चलना
आ जाती है मंज़िल चाहे
आ जाती है मंज़िल चाहे
कितनी भी हो दूर
कितनी भी हो दूर मुसाफिर
चलते जाना
(आ आ आ आ)
चलते जाना
चलते जाना
(आ आ आ आ)
चलते जाना
लोभी जीवन ऐसा पंछी
लोभी जीवन ऐसा पंछी
पाप की बोले भाषा
(आ आ आ आ)
(आ आ आ आ)
पाप की बोले भाषा
इसके दोनों पंख अनोखे
आशा और निराशा
आशा और निराशा
लोभ का अन्त है जान गवाना
लोभ का अन्त है जान गवाना
लोभ से भागो दूर
लोभ से भागो दूर मुसाफिर
चलते जाना
(आ आ आ आ)
चलते जाना
चलते जाना
(आ आ आ आ)
चलते जाना
तेरी मंज़िल दूर मुसाफिर
चलते जाना
(आ आ आ आ)
चलते जाना
चलते जाना
(आ आ आ आ)
चलते जाना
- In: Children's song | Devnagri script lyrics by Sudhir | Guest posts | Inspirational song | Lyrics contributed by readers | Post by Sadanand Kamath | Song Sung On Screen by Handicapped Character | Songs of 1970s (1971 to 1980) | Songs of 1980 | Songs of Encouragement | Sulakshana Pandit Solo | Sulakshana Pandit Songs | Teacher school kids song | Yearwise breakup of songs
- 2 Comments
This article is written by Sadanand Kamath, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
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:
- 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).
- 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 हम
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
- In: Alka Yagnik Song | Devnagri script lyrics by nahm | Feelings of heart | Group Dance | Guest posts | Inspirational song | Lyrics contributed by readers | Post by nahm | Song sung by three or more singers | Songs of 2000s (2001 to 2010) | Songs of 2001 | Songs of Encouragement | Sukhwinder Singh Song | Udit Narayan Song | Yearwise breakup of songs
- Leave a Comment
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.
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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.
Audio
Video
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
Jaao Mere Devta, Jaao Mere Praan
Posted on: May 15, 2019
- In: "Ganga" song | Devnagri script lyrics by Sudhir | Guest posts | Inspirational song | Krishna Kalle solo song | Krishna Kalle songs | Lyrics contributed by readers | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1968 | Songs of Encouragement | Yearwise breakup of songs
- Leave a 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 : |
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
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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