Archive for the ‘Sonu Nigam Solo Songs’ Category
Mujhse naaraaz ho to ho jaao
Posted on: February 19, 2024
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5694 | Post No. : | 18212 | Movie Count : |
4889 |
‘Paapa Kahte Hain’ (1996) was produced by Plus Films (of Mahesh Bhatt and Amit Khanna) and was directed by Mahesh Bhatt. The cast included Jugal Hansraj, Mayuri Kango, Anupam Kher, Tiku Talsania, Navni Parihar, Alok Nath, Reema Lagoo, Suhas Joshi, Soni Razdan, Javed Khan, Dinesh Hingoo, Abhimanyu Singh, Sujata Kango, Johny Bakshi etc. The film was planned as a tele-film. However, when the main cast was finalised, it was decided to make it a feature film with Jugal Hansraj and Mayuri Kango in the lead roles. While Jugal Hansraj had already worked in a lead role in ‘Aa Gale Lag Jaa’ (1994), for Mayuri Kango, it was her first film in the lead role and her mother, Sujata Kango also acted in this film.
About 5 years back, I had read a newspaper report that a former Bollywood actor has taken over as the Industry Head of Google India. The actor turned out to be Mayuri Kango. Her journey from an actress in the popular song, ‘ghar se nikalte hi’ from the film in the mid-1990s to one of the top posts in the corporate world is interesting. Her journey is also an inspiration, especially for women who are not successful in their filmy career to try some other sector to have a successful career.
Mayuri Kango (B:15/08/1982) was born in Aurangabad (Now Chhatrapati Sambhajinagar). Her father, Dr Balchandra Kango is a member of the Communist Party of India and currently, he is the National Secretary. Her mother, Sujata Kango is a theatre and TV artists. Whenever in a play, if a role of a child actor was required, it was Mayuri who will get that role. Mayuri was a bright student who completed her schooling from Aurangabad.
After the end of her Board examination, Mayuri visited her mother who was temporarily staying in Mumbai for her theatre work. Saeed Akhtar Mirza, a renowned TV and film director, while meeting her mother, saw Mayuri. He took her in a title role in his off-beat film, ‘Naseem’ (1995). The film won National Film Award for Best direction and Screenplay for Saeed Akhtar Mirza. After her debut, while Mayuri was waiting for her Board exam results, she was offered a lead role in ‘Paapa Kahte Hain’ (1996) by Mahesh Bhatt who was impressed by her performance in ‘Naseem’ (1995). She agreed to work in the film thinking that since it was a tele-film, she will be freed in short time to continue her college studies. In the meanwhile, she got selected for IIT, Kanpur for the Engineering degree. However, when Mahesh Bhatt decided to make ‘Paapa Kahte Hain’ (1996) as a full-length feature film, she was required to devote more time for the film’s shooting both in India and abroad. Looking at the start of her filmy career, she decided to drop out of IIT and instead she chose to do BA.
Despite the popularity of its songs, ‘Paapa Kahte Hain’ (1996) failed at the box office. However, Mayuri got a number of offers for Hindi films. At one point of time, she had 15 films on hand, However, more than half of them got either shelved or remained unreleased. Her released films were ‘Betaabi’ (1997), ‘Hogi Pyaar Ki Jeet’ (1999), ‘Baadal’ (2000), ‘Jeetenge Hum’ (2000), ‘Paapa The Great’ (2000), ‘Shikaari’ (2000) and ‘Adharam’ (2006). None of these films attained box office success. Later, she worked in a Telugu film, ‘Vamsee’ (2000) in a supporting role. With no career progression in her filmy career, Mayuri shifted to TV serials during 2000-2003.
Mayuri got married to an NRI, Aditya Dhillon in December 2003 and then shifted to New York. Here, she completed MBA in Finance and Marketing in 2005. She started her new career in digital advertising. The couple had a son born in 2011. In 2013, they shifted back to India as her career was taking shape and she required the family support to look after her son. Her in-laws are staying in Gurugram which she made her base. Her Linkedin profile indicates that Mayuri Kango had worked as a managing director at a global marketing agency, ‘Performics’. She was also previously the Chief Digital Officer in marketing and advertising agency, ‘Zenith’. Since April 2019, Mayuri Kango has been a part of Google India Company where she is serving as the Industry Head, based in Gurugram.
Mayuri Kango is very active on the social media platforms as well as on TV interviews during which she shared her experience of working in the corporate sector as a former actress. Initially, she felt that her corporate clients were not taking her seriously because of her filmy background. Perhaps, they thought that beauty and brains did not gell together. But she was successful in dispelling this myth over a period of time to scale a new height in the corporate world.
The story of ‘Paapa Kahte Hain’ (1996) is as under:
Sweety Khanna (Mayuri Kango) lives with her mother Vinita Gandhi (Navni Parihar), maternal grandmother Shobhna Gandhi (Suhas Joshi) and Grandfather Taraknath Gandhi (Tiku Talsania). She is very rebellious and emotionally charged girl. As a result, she does not get along well within the family as well in the school. She sometime suspects that she is an illegitimate child of her mother because she is not supposed to talk about her father. All she knows from her grandfather is that her father had eloped with her mother, and he did not turned up when she was born. The relationship between Taraknath and Vinita is strained as she holds him responsible for keeping her away from her husband.
As Sweety is now grown up, Taraknath arranges a marriage for her, and the engagement is fixed. Vinita is not happy. It is at this juncture, Vinita reveals to Sweety that she had met her father in the Seychelles. She got married to him as a minor. Taking advantage of this, Taraknath forced her father to divorce her failing which he would inform the police. After divorce, Taraknath brought her mother back to India. Sweety’s dad never knew her address and hence never came looking. Taraknath did not inform Sweety’s father that Vinita was pregnant when she was divorced and was brought back to India.
After getting the vital information about her father, Sweety runs away to Seychelles on the day of the engagement. At the airport, Rohit Dixit (Jugal Hansraj) has come to receive one Swati Anand on behalf of a hotel guest, Kishan Khanna (Anupam Kher). When Sweety is questioned by immigration about her purpose of visit to Seychelles, she does not answer but in the spur of the moment she says Rohit knows her. She herself presents to Rohit as Swati and goes with him to the hotel. She convinces Rohit that she is Kishan’s daughter and Rohit gives her the keys to Kishan’s room who is away on holiday with Swati Sinha (Sony Razdan) on a date. The fact is that Kishan is staying in the same hotel but in a different room with Swati who is a divorcee.
To enable her to move around Seychelles for the search of her father, Sweety befriends Rohit and creates a feeling that she is in love with him. The secret is out when Kishan sees Sweety in his hotel room. To avoid being thrown out of the hotel room, Sweety creates a scene in public that she is the daughter of Kishan who is refusing to acknowledge as such because he has divorced her mother. Kishan’s companion, Swati leaves him when she finds that he has a daughter but continues to stay in the hotel in a different room. Kishan calls for police to get rid of Sweety from his room. However, because Sweety has been crying for long, Kishan feels sorry for her and allows her to stay.
Over a period of time, Kishan and Sweety have developed a sort of father-daughter relationship, both being unaware of the fact that they are father and daughter in real life. In the meanwhile, Rohit continues to accompany Sweety for the search of her father and in this she remains away from Kishan for few days without telling him. When she returns, Kishan is upset with her for not informing him. After some arguments, Kishan orders her to leave his room at the earliest. However, Kishan cools down next morning and promises Sweety to help her in search of her father. At the same time, Sweety’s fake lover affair with Rohit has turned into a real love between them.
In the meanwhile, Taraknath gets to know that Sweety is in Seychelles. He visits Seychelles and forcibly brings her back to India. Kishan and Rohit follows them in Mumbai. When Kishan meets Vinita, he realises that Sweety is his daughter. Taraknath follows up with the wedding of Sweety which he had arranged earlier. However, on the day of wedding, Kishan and Rohit play pranks which result in bridegroom’s family breaking the marriage. Taraknath is now in a pitiable situation. Kishan intervenes and make him understand that he cannot have everything as per his will. Taraknath’s entire family members support Kishan. Finally, Taraknath permits Sweety to marry Rohit.
From the story details, it appears to me that Manohar Shyam Joshi had originally written the story for a soap opera type of a TV serial, going by the many twists. There is a breakdown of logic once the story of the film shifts to Seychelles. Incidentally, it was a afterthought of the director to cover shooting in Seychelles. The film flopped at the box office despite the popularity of its songs.
The film had six songs written by Javed Akhtar and set to music by Rajesh Roshan. The most popular song from the film was ‘ghar se nikalte hi’ for which Javed Akhtar got the Filmfare Award for the Best Lyricist. However, I am presenting a different song, ‘mujhse naaraaz ho to ho jaao’ from the film to appear on the Blog. The song is rendered by Sonu Nigam and is picturised on Anupam Kher and Mayuri Kango.
The background to this song is that Mayuri is upset that Jugal is leaving Seychelles because she has showered her fake love on her for the selfish reason which he is now aware of. But now she is really in love with him. It is at this stage Anupam Kher tells her that there is no point in getting angry with or keeping distance from oneself.
I picked up this song mainly because this has a reminiscence of Madan Mohan’s compositions.
Video Clip:
Audio Clip:
Song-Mujhse naaraaz ho to ho jaao (Papa Kahte Hain)(1996) Singer-Sonu Nigam, Lyrics-Javed Akhtar, MD-Rajesh Roshan
Lyrics:
mujhse naaraaz ho to ho jaao
mujhse naaraaz ho to ho jaao
khud se lekin khafaa khafaa na raho
mujhse tum door jaao to jaao
aap apne se tum judaa naa raho
mujhse naaraaz ho to ho jaao
khud se lekin khafaa khafaa na raho
mujhse naaraaz ho to ho jaao
mujhpe chaahe yakeen karo naa karo
mujhpe chaahe yakeen karo naa karo
tumko khud par magar yakeen rahe
sar pe ho aasmaan yaa ke naa ho
pair ke neeche ye zameen rahe
mujhko tum bewafaa kaho to kaho
mujhko tum bewafaa kaho to kaho
tum magar khud se bewafaa naa raho
mujhse naaraaz ho to ho jaao
aao ik baat main kahoon tumse
aao ik baat main kahoon tumse
jaane phir koi ye kahe naa kahe
tumko apni talaash karni hai
hamsafar koi bhi rahe naa rahe
tumko apne sahaare jeena hai
tumko apne sahaare jeena hai
dhoondhti koi aasraa naa raho
mujhse naaraaz ho to ho jaao
khud se lekin khafaa khafaa naa raho
mujhse tum door jaao to jaao
aap apne se tum judaa naa raho
Tanhaai. . . Tanhaai
Posted on: September 10, 2023
- In: Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics contributed by readers | Post by nahm | sad song | Separation song | Song Filmed at an Aiorport | Song picturised abroad | Songs of 2000s (2001 to 2010) | Songs of 2001 | Songs of Loneliness | Songs picturised at well known locations | Songs picturised in cities | Sonu Nigam Solo Songs | Sonu Nigam Songs | Yearwise breakup of songs
- Leave a Comment
This article is written by nahm, 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 : |
5532 | Post No. : | 17989 |
The life lived in this finite world with infinite possibilities is nothing if not the memories collected in the heart and mind. The audio-visual medium, overdose or not, is the ultimate. Some of those lasting memorable visuals are of the silver screen and black & white television screen. I may forget some of the names of those characters and actors, but the emotions conveyed and invoked in those scenes stay with me and have survived the test of time.
One of those lasting memories is of the Pakistani Television series called ‘Dhoop Kinaare’. Those were the times of late 80’s when VCRs were hired along with video cassettes of these serials and people did binge watching of all episodes of the serial. The same as what people do with OTT serials now. But the similarity ends there. These are Urdu Serials written by contemporary literary writers. Zubaan ki shaayistgi was the main attraction plus the packaging in characters.
There was a precursor to ‘Dhoop Kinaare’ titled ‘Ankahee’ which was equally popular. Both different serials but finite ones with happy endings. Though ‘Ankahee’ ends in a twisted kind of happy ending. I have tried to find a good print on YouTube some years ago, of ‘Dhoop Kinare’, but the one I got to see was very bad quality audio/video.
I found this Wikipedia page on ‘Dhoop Kinaare’ to revive my memories and find that it was all of 17 episodes. The page does say that the “In India, the show was remade by Sony Entertainment Television India as ‘Kuch Toh Log Kahenge’. It started on 3 October 2011 and had total of 346 episodes”. Recently Kamath Sir has written a post for the title song of this serial.
The bad quality audio/video meant that I don’t get to hear/understand most of the dialogues being spoken. The facial expressions are also very unclear to view. The memory of watching it on VCR is also a ‘dhundli yaad’ but will serve my purpose here. First is the intense dislike/hatred that Dr. Ahmer (Raahat Kazmi) has for the unknown granddaughter of his foster father. The affection he has for the house, where each nook and corner, has unlimited memories for him with his foster father, who meant the world to him. Yet the father has left the house that they both built together, with their own hands, to the unknown granddaughter. This makes him feel like an orphan all over again as the father gave preference to his blood ties. Rendering him bitter and un-trusting of kind people, in a way.
Dr. Zoya (Marina Khan) works as an intern in the same hospital, where he is the HOD of Pediatrics. He is very derisive in his contempt of what he considers her ineptitude and non-seriousness. This, without knowing that she is the same grand daughter of his foster father, who inherited the house he is so fond of and desperate to buy.
The characters are all woven in the emotions, their past and present hurts. There are stories within them which are revealed in flash back.The treatment of the Indian serial was very different, and it by-passed the ‘house and inheritance’ matter. At least I do not remember it. Glamorous packaging was there in both with romanticism, but in ‘Dhoop Kinaare’ the strong characterization is the lasting take away.
There is a scene when, Dr. Zoya’s father visits Dr. Ahmer at the hospital. He is the first one to discover that Dr. Ahmer is the one trying to buy the house, left to Dr. Zoya by her maternal grandfather. Afterwards, Dr. Ahmer goes with the father to the hospital entrance. As soon as they come outside, the father who is wearing his spectacles, says“matla’a achaanak se abar alood hogaya hai”, meaning ‘the sky is full of clouds all of a sudden’. Dr. Ahmer promptly takes the spectacles of the father and wipes them with a handkerchief before returning it to him. Having realized that Dr. Ahmer is the foster son of his estranged late father-in-law, who never forgave his daughter for marrying a person not approved by him and going away, Dr. Zoya’s father is aware that there are troubles or storms waiting for them in the relationship even before it began.
“matla’a achaanak se abar alood hogaya hai” is the everyday event for people living in hot and humid climes and wearing spectacles. As soon as we come out of an air conditioned space, the spectacles frost over with the humid air vaporizing the cold glass. For clarity in the event happening.
A couple more serials are coming to mind seen at that time, like ‘Parchhaiyan’ and ‘Tanhaaiyan’ with lead actors forming a chain of sorts. ‘Parchhaiyan’ had Rahat Kazmi in lead with Sahira Kazmi (details about them are available in the blog). ‘Ankahi’ had Shehnaz Shaikh with Javed Shaikh. This Shehnaz Shaikh was the lead character in ‘Tanhaaiyan’ and Marina Khan played her younger sister. Then Marina Khan as Dr. Zoya and Rahat Kazmi as Dr. Ahmer in ‘Dhoop Kinaare’. There is another common link in all these serials i.e. all these were written by Haseena Moin. These were the most famous and best serials of that era. It appears so from what I am finding online now. This was the first wave of the Pakistani TV serials, second wave started in 2011 with ‘Humsafar’ of HUM TV.
Haseena Moin has written the script of Raj Kapoor’s ‘Henna’ (1991) also. I have learnt on the net now that Raj Kapoor wanted Shehnaz Shaikh of ‘Ankahi’ and ‘Tanhaaiyan’ fame to do the title role in ‘Henna’. But Shehnaz Shaikh refused, so Haseena Moin recommended Zeba Bakhtiyar for the role. Marina Khan has also acted in one Indian serial titled ‘Tanha’ also written by Haseena Moin for Star Plus in mid-90’s maybe. I found only this title song link on YouTube by Kumar Sanu – “Dekhiye To Lagta Hai, Zindagi Ki Raahon Mein“.
I knew about this serial at StarPlus, having seen it, but cannot remember much about it now. Javed Akhtar is the lyricist of that title song.
I am presenting today another song by Javed Akhtar, sung by Sonu Nigam. This is the last remaining song of the film ‘Dil Chaahta Hai’ (2001). Composers are Shankar Ehsan Loy. The film has 6 songs, five of which are already posted here on our blog.
- “Dil Chaahta Hai“
- “Kaisi Hai Ye Rut“
- “Koi Kahe Kehta Rahe Kitna Bhi Humko Deewaana“
- “Jaane Kyon Log Pyaar Karte Hain“
- “Wo Ladki Hai Kahaan“
This is my 4th post of this film’s music score and ‘Tanhaai’ is my favourite, because of Sonu Nigam and also the composition. Unique instruments and their different sound carried the new-ness at the turn of the century to another level in Hindi film music.This song is a solo with no chorus, but still seems like all the elements shown in the picturization are singing the song with Sonu Nigam. There must be a technique of cinematic visualization to sync with the music in this fashion.
As the song ends in the movie, Aakash (Amir Khan) is sitting in the living room of his apartment in Sydney overlooking the harbor. His father has sent him to Australia to look after the business there, so that he grows up and learns to be responsible, as a disciplinary action. Aakash meets Shalini (Priety Zinta) on the flight to Sydney, exactly at interval point in the film and continues to meet up and sing songs and watch operas with her. Now Shalini has gone back to India to marry her fiancé, who is the real son of her foster parents. Aakash has realized that he has fallen hard for Shalini and this is no game. His life is barren and lonely without her.
In the desolate mood, Aakash calls his father, asks for his mother. Father realizes something is amiss, asks him if he is not feeling well. Aakash replies, all is well, and that he is busy whole day and tired by evening. Father feels compassion for once and asks him to come back to India. Inevitable, as the movie had to end sometime.
[Editor’s Note: With this post, the film ‘Dil Chaahta Hai’ joins the ranks of Yippeee’d films on the blog, with all songs convered.]
Song – Tanhaai. . . Tanhaai (Dil Chaahta Hai) (2001) Singer – Sonu Nigam, Lyrics – Javed Akhtar, MD – Shankar Ehsaan Loy
Lyrics
tanhaai ee
eeee eee eeeee
tanhaai eeee
dil ke raaste mein
kaisi thokar
maine khaai
toote khwaab saare
ek mayoosi hai chhaai
har khushi ee
so gai ee
zindagi ee
kho gai ee
tum ko jo pyar kiya maine
to sazaa main paai ee
tanhaai ee
tanhaai ee
meelon hai phaili hui
tanhaai ee
tanhaai ee
tanhaai ee
meelon hai phaili hui
tanhaai ee
khwaab mein dekhaa tha ek aanchal
main ne apne haathhon mein
ab toote sapnon ke sheeshe
chubhte hain in aankhon mein
khwaab mein dekhaa thha ek aanchal
main ne apne haathhon mein
ab toote sapnon ke sheeshe
chubhte hain in aankhon mein
kal koi tha yaheen
ab koi bhi nahin ee ee
ban ke naagin jaise hai
saanson mein lehraai
tanhaai ee
tanhaai ee
palkon pe kitne aansoo hai laai
tanhaai ee
tanhaai ee
palkon pe kitne aansoo hai laai
kyun aisi ummeed ki maine
jo aise nakaam hui ee
door banaai thi manzil to
raste mein hi shaam hui ee
kyun aisi ummeed ki main ne
jo aise nakaam hui ee
door banaai thi manzil to
raste mein hi shaam hui ee
ab kahaan
jaaun main
kis ko samjhaaun main ea
kya main ne chaaha thha
aur kyon qismat mein aai
tanhaai ee eeaaee
tanhaai ee
jaise andheron ki ho gehraai ee
dil ke raaste mein
kaisi thokar
maine khaai
toote khwaab saare
ek mayoosi hai chhaai
har khushi ee
so gai ee
zindagi ee
kho gai ee ee
tum ko jo pyar kiya maine
to sazaa main paai ee
tanhaai ee
tanhaai ee
meelon hai phaili hui
tanhaai ee
tanhaai ee
tanhaai ee
meelon hai phaili huyi
tanhaai ee
tanhaai
tanhaai
tanhaai
tanhaai
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
तन्हाई॰॰ई
ई ई ई ई
तन्हाई॰॰ई
दिल के रास्ते में
कैसी ठोकर
मैंने खाई
टूटे ख्वाब सारे
एक मायूसी है छाई
हर खुशी॰॰ई
सो गई॰॰ई
ज़िंदगी॰॰ई
खो गई॰॰ई
तुम को जो प्यार किया मैंने
तो सज़ा मैं पाई॰॰ई
तन्हाई॰॰ई
तन्हाई॰॰ई
मीलों है फैली हुई
तन्हाई॰॰ई
तन्हाई॰॰ई
तन्हाई॰॰ई
मीलों है फैली हुई
तन्हाई॰॰ई
ख्वाब में देखा था एक आँचल
मैंने अपने हाथों में
अब टूटे सपनों के शीशे
चुभते हैं इन आँखों में
ख्वाब में देखा था एक आँचल
मैंने अपने हाथों में
अब टूटे सपनों के शीशे
चुभते हैं इन आँखों में
कल कोई था यहीं
अब कोई भी नहीं॰॰ई
बन के नागिन जैसे है
साँसों में लहराई
तन्हाई॰॰ई
तन्हाई॰॰ई
पलकों पे कितने आँसू है लाई
तन्हाई॰॰ई
तन्हाई॰॰ई
पलकों पे कितने आँसू है लाई
क्यों ऐसी उम्मीद की मैंने
जो ऐसे नाकाम हुई॰॰ई
दूर बनाई थी मंज़िल तो
रस्ते में ही शाम हुई
क्यों ऐसी उम्मीद की मैंने
जो ऐसे नाकाम हुई॰॰ई
दूर बनाई थी मंज़िल तो
रस्ते में ही शाम हुई
अब कहाँ जाऊँ मैं
किसको समझाऊँ मैं
क्या मैंने चाहा था
और क्यों किस्मत में आई
तन्हाई॰॰ई
तन्हाई॰॰ई
जैसे अँधेरों की हो गहराई
दिल के रास्ते में
कैसी ठोकर
मैंने खाई
टूटे ख्वाब सारे
एक मायूसी है छाई
हर खुशी॰॰ई
सो गई॰॰ई
ज़िंदगी॰॰ई
खो गई॰॰ई
तुम को जो प्यार किया मैंने
तो सज़ा मैं पाई॰॰ई
तन्हाई॰॰ई
तन्हाई॰॰ई
मीलों है फैली हुई
तन्हाई॰॰ई
तन्हाई॰॰ई
मीलों है फैली हुई
तन्हाई॰॰ई
तन्हाई॰॰ई
तन्हाई॰॰ई
तन्हाई॰॰ई
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5364 | Post No. : | 17593 | Movie Count : |
4730 |
‘Adhikaar’ (1996) was a TV Serial which was telecast in 1996-99 on ZEE TV. The serial was directed by Lekh Tandon. The main actors in the serial were Rajeev Varma, Smita Jaykar, Arundhati Ganorkar, Bharat Kapoor, Vineeta Malik, Shefali Shetty (Shah), Irrfan Khan, Divya Seth, Sachin Khedekar, Sangeeta Ghosh, Zia Hamid, Ashalata, Muneera Surati, Neha Sharad, Arundhati Rao, Mangla Kenkare, S M Zahir, Anang Desai, Sooraj Thapar and many more.
I had seen a few episodes of serial when it was telecast. I have also watched a few episodes of the serial recently on a video sharing platform. In the male dominated society, women are treated as subordinate, and they are not encouraged to air their views openly in a family gathering. The Serial highlights the problems of women faced in two families, a Hindu and a Muslim family with different perspectives.
Amita (Shefali Shetty) is an outspoken girl in the family of lawyer who defies the conventional tradition of agreeing to dictates of her parents (Bharat Kapoor and Veena Malik) if, in her view, the dictates are not rational. While not agreeing with her parents, she gives her reasons for that which makes her parents speechless. Shama (Arundhati Ganorkar), her college friend, also faces the same dictates from her parents. She protests but she is not as bold as Amita to defy. She does agree with most of her parents’ advice even though she is not in agreement with them. One thing in common about both of them is that in order to avoid subordinate existence within the family, they feel that they have to get educated and become economically independent. Amita’s family has the monetary ability to spend on higher education but are not keen for her higher education. On the other hand, Shama is in danger of losing her college education due to financial reasons.
Raja Sahab (Rajeev Varma) and his wife Shahida (Smita Jaykar) have been married for 20 years but she remains childless. He divorces her and gets married to Shama against her wish for her parents for financial reasons. After divorce, his first wife is relocated in servant’s quarters. Shama tries to correct Raja Sahab by telling her that she has no problem if his first wife stays in the same house but in vain. At the same time, Raja Sahab is not averse to Shama continuing the college education. After the death of Raja Sahab, Shama continues the education to become a lawyer with the help of her lawyer friend, Ali (Sachin Khedekar). Then, there is a character of inqilabi shayar Abid (Irrfan Khan) who loves Shama’s sister, Zubeida, but she is afraid to tell her mind to the mother.
The sum and substance of this serial is that a better status for women irrespective of their religion leads to the creation of a well-balanced society. At the outset, the serial looks feminist. But Reoti Saran Sharma, the story writer has nicely brought out women’s empowerment without taking an anti-male stance in the story. Some of the male characters in the story become the facilitators for the equal rights to the women in their family.
In most of the TV serials of that time, it was common to have title songs which, in nutshell, give the main theme of the story. But in ‘Adhikar’ (1996), apart from the short title song, there are some full-fledged songs just like in Hindi films. I am presenting a ghazal ‘meri talaash chhod de tu mujhko paa chuka’ written by Naqsh Layallpuri which is recited by Sonu Nigam. The ghazal is set to music by Talat Aziz.
The original ghazal is of 7 she’rs of which only the first 6 she’rs have been included in the recitation. The ‘maqta’ (last she’r) not included is as under:
paani se ‘Naqsh’ kab hui roshan yeh zindagi
main apne aansuon ke diye bhi jala chuka
The ghazal is picturised on Irrfan Khan in a private mushaira in which Zubeida (Divya Seth) is present. The background to this picturisation is that Abid (Irrfan Khan) who is an inqilabi poet, often gets jail terms for writing the inflammatory poems. This time after he is released from the jail, he visits Zubaida’s house to tell her that he still wants to marry her. Her mother and sister, Shama are present, and they are surprised. Later, Shama comes to know from Zubeida that she met Abid for the first time in a mushaira in which he recited his ghazals. So, this is a flashback scene.
Video Clip
Audio Clip:
Song-Meri talaash chhod de tu mujhko paa chukaa (Adhikaar)(TV Serial)(1996) Singer-Sonu Nigam, Lyrics-Naqsh Llayalpuri, MD-Talat Aziz
Lyrics (Based on Video Clip)
meri talaash chhod de
meri talaash chhod de
tu mujhko paa chuka
meri talaash chhod de
tu mujhko paa chuka
meri talaash chhod de
tu mujhko paa chuka..aa
main soch ki hadon se
main soch ki hadon se
bahut door jaa chuka
main soch ki hadon se
bahut door jaa chuka
meri talaash chhod de
tu mujhko paa chuka
logon daraana chhod do
tum waqt se mujhe
logon daraana chhod do
tum waqt se mujhe..ae
ye waqt baar baar
mujhe aazmaa chuka
ye waqt baar baar
mujhe aazmaa chuka
main soch ki hadon se
bahut door jaa chuka
badlega ankareeb yeh
dhaancha samaaj kaa..aa
badlega ankareeb yeh
dhaancha samaaj kaa
badlega ankareeb yeh
dhaancha samaaj kaa..aa
iss baat par main doston
iss baat par main doston
imaan laa chuka
iss baat par main doston
imaan laa chuka
meri talaash chhod de
tu mujhko paa chuka..aa
main soch ki hadon se
bahut door jaa chuka
ab tum mere khayaal ki
parvaaz dekhna
ab tum mere khayaal ki
parvaaz dekhna..aa
main ik ghazal ko zindagi
main ik ghazal ko zindagi
apni bana chuka
main ik ghazal ko zindagi
apni bana chuka..aa
meri talaash chhod de
meri talaash chhod de
ae sone waalon neend ki
ae sone waalon neend ki
chaadar utaar do
ae sone waalon neend ki
chaadar utaar do..o o
kirnon ke haath subah kaa
kirnon ke haath subah kaa
paighaam aa chuka
kirnon ke haath subah kaa
paighaam aa chuka..aa
main soch ki hadon se
bahut door jaa chuka
meri talaash chhod de
tu mujhko paa chuka
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5340 | Post No. : | 17510 | Movie Count : |
4711 |
Madhur Bhandarkar, the four-time National Film Award winner, is known to make films on some unusual issues. Some of his films’ titles like ‘Chandni Bar’ (2001), ‘Satta’ (2003), ‘Page-3’ (2005), ‘Corporate’ (2006), ‘Traffic Signal’ (2007), ‘Fashion’ (2008), ‘Heroine’ (2012), ‘Calendar Girls’ (2015) are indicative of the diverse and unusual subjects he has covered in his films. He does not think that his films are exposes but they show what is happening in society without passing value judgement. Usually, he makes films with one or two well-known actors. Rest of actors are usually from the theatre/TV background. Songs in his films are not a priority. Most of the issues he takes up in his film is Mumbai-based.
With this background of his film making, I thought that Madhur Bhandarkar may have come from theatrical background or from FTII. But surfing on the internet including the Radio/T V interviews, for his profile revealed that he came from a humble background, and he had no theatre or filmy experiences. His is one of rags to riches stories.
Madhur Bhandarkar was born in a middle-class Gowd Saraswat Brahmin family staying in Khar in Mumbai suburb. He was a school dropout due to financial reasons. At the age of 16, he started the business of renting film video cassette in his neighboring areas which included all types of his customers – hutment dwellers, politicians, fashion and corporate world, film actors and directors, bar girls, people connected with gangsters and many more category. He himself used to watch many Hindi films which led to developing his interest in filmmaking. He has said in an interview that he is the encyclopedia of Hindi films released between 1970-80 during which period, he watched films in all the theatres located between Colaba and Virar.
After the advent of cable TV, the business of renting film video cassette no longer became profitable. Madhur Bhandarkar, probably through the networking with his customers connected with Hindi film industry, got entry into film industry as assistant to some ‘B’ grade film directors. He graduated to become the Assistant Director to Ram Gopal Varma while he was making ‘Rangeela’ (1995). In this film, Madhur Bhandarkar did a cameo role of Assistant Director. He worked with Ram Gopal Varma for 4 years before venturing into an independent director. While he wanted to make issue-based films, no producer/financier was willing to support him in his maiden film. So, perforce, he had to make his first directorial venture, ‘Trishakti’ (1999), a pure masala film which miserably failed at the box office.
With the failure of ‘Trishakti’ (1999), Madhur Bhandarkar took an issue-based subject for his second film, ‘Chandni Bar’ (2001). However, as it often happens in Hindi film industry, it is difficult to get a producer or a financier for a film with a realistic story. It was only when Tabu agreed to do the film, R Mohan, a Malayalam film producer came forward to produce the film. This film not only became a box office success, but it also got 4 National Film Award for Best Film covering other social issues, best actress for Tabu, best supporting actor for Atul Kulkarni and Best supporting actress for Ananya Khare.
Madhur Bhandarkar made some more issue-based films like ‘Satta’ (2003) – a political drama, ‘Page 3’ (2005) – on the life of a journalist vis-à-vis the business interest of the newspapers, ‘Corporate’ (2006) – on corporate war between two powerful industrialists, ‘Traffic Signal’ (2007) – the life around traffic signals in Mumbai, ‘Fashion’ (2008) – on fashion industry, ‘Heroine’ (2012) – on a career path of a heroine from superstar to a decline, ‘Calendar Girls’ (2015) – the jumping platform from pin-up girls to dreaming about stardoms, etc. However, from 2008 onwards, his films did not fare well on box office though the films were critically acclaimed. Madhur Bhandarkar co-produced along with Gaurang Jalan, his first Bengali film, ‘Avijatrik’ (2021) which was directed by Subhrajit Mitra. The film won the National Film Award for the Best Feature Film in Bengali.
Following the critically acclaimed, commercially successful and strong woman-oriented film, ‘Chandni Bar’ (1999), Madhur Bhandarkar’s next film was about an independent woman who had a strong dislike for politicians. But the circumstances made her to take plunge in the world of murky politics in order to survive in the midst of a political family. The film is a lesser known, ‘Satta’ (सत्ता, 2003). The film’s cast included Raveena Tandon, Atul Kulkarni, Govind Namdev, Sameer Dharmadhikari, Manoj Joshi, Anju Mahendru, Abhay Bhargva, Abhijit Lahiri, Amardeep Jha etc. The gist of the film’s story is as under:
Anuradha Sehgal (Raveena Tandon) is a daughter of a Delhi-based divorced parent who is independent minded and fun-loving girl. She shifts to Mumbai on a job and meets a debonaire, Vivek Chauhan (Sameer Dharmadhikari), son of a leading politician, Mahendra Chauhan (Shri Vallabh Vyas). They fall in love and get married. Anuradha shifts to her husband’s place in Mumbai. Within few days, she discovers the true nature of Vivek who is a spoilt brat, a drunkard, and a womaniser. In the house also, there are restrictions on women on free conversations when men are discussing some matters. Mahendra is planning to make his son, Vivek stand for state assembly election and make him the potential candidate for the Chief Minister.
One day while in the bar, Vivek kills a bar girl for not serving him drink (probably a la Jessica Lal murder case) for which he is imprisoned. This put Mahendra’s plan in jeopardy as Vivek will not get ticket for contesting election. Other party functionaries suggest Mahendra Chauhan that his daughter-in-law, Anuradha should context the election in place of Vivek.Under pressure to contest election, Anuradha wins the election and become MLA. Her father-in-law assings his close confident, Yeshwant Varde (Atul Kulkarni) to Anuradha to guide her in the survival games of politics. Gradually, Anuradha learns of ropes of political games and transforms herself from homely woman into a strong political leader. She introduces reforms to change the complex of party politics in which there is no place for double standard politicians.
After facing some obstacles, like floating the news of her suspected ‘affairs’ with Yeshwant from the opponents of her own partymen, Anuradha is successful in cleansing the system of nexus between politicians, businessmen, underworld, and the policemen. She becomes the kingmaker of her party by playing the same crooked games of politics which were hitherto played by her adversaries. She chooses Anna Saheb Joshi (Hemendra Bhatia), a veteran of the party with a clean image and honesty to be the Chief Minister who believes that ‘satta’ (power) is an opportunity to bring a positive changes in the standard of living of the people.
I had watched Raveena Tandon in her glamourous roles in the mainstream Hindi films. It is the first time that I have watched her in the powerful role of Anuradha. She has truly justified the faith reposed by the director by giving her the best performance in the film. Performances from other main actors have also very good.
‘Satta’ (2003) had six songs (including a multi-version song) written by Javed Akhtar and set to music by Raju Singh. I was not even aware that there were songs in this film until I watched the film recently. Of the 5 songs of the film, I liked only the multiple version song which I am presenting here. The song is ‘gungunaati hai geet gaati hai zindagi’. The song is rendered by Asha Bhosle and Sonu Nigam separately as a solo song on the same lyrics. Asha Bhosle version is a background song picturised on Raveena Tandon and Atul Kulkarni. I could not locate in the film as to where Sonu Nigam version of the song got picturised. I suspect that Sonu Nigam version of the song may have got deleted in the DVD.
The song starts with a beautiful prelude of interplay of piano and flute. Asha Bhosle sings the song with ‘harkat’ on some words which is more noticeable in audio clip than on video clip as latter’s sound quality is not so good. Sonu Nigam’s rendition is also very good.
I have listened to both the versions of the songs many times during the last one week. And each time I listen to this song I get reminded of R D Burman especially in antaras.
Video Clip (Asha Bhosle version):
Audio Clip: (Asha Bhosle version):
Audio Clip (Sonu Nigam version):
Song-Gungunaati hai geet gaati hai zindagi (Satta)(2003) Singer- Asha Bhonsle/ Sonu Nigam, Lyrics-Javed Akhtar, MD-Raju Singh
Lyrics
gungunaati hai
geet gaati hai
zindagi..ee
tum jo aaye to
muskuraati hai
khilkhilaati hai
zindagi..ee
tum jo aaye to
dil mein ab jaise
kaliyaan si khilti hain
dil mein ab jaise
kaliyaan si khilti hain
gul khilaati hai
mehke jaati hai
zindagi ee ee
tum jo aaye to
gungunaati hai
geet gaati hai
zindagi..ee
tum jo aaye to
muskuraati hai
khilkhilaati hai
zindagi..ee
tum jo aaye to
bechain ik lahar thhi
ab usse
mil gaye hain
kinaare
ho
bechain ik lahar thhi
ab usse
mil gaye hain
kinaare
betaab ik nazar thhi
ab usse
mil gaye hain
nazaare
dil mein ab jaise
tasveeren banti hain
dil mein ab jaise
tasveeren banti hain
gudgudaati hai
chhed jaati hai
zindagi..ee
tum jo aaye to
gungunaati hai
geet gaati hai
zindagi..ee
tum jo aaye to
paaya jo dil ne tumko
zindagi ee
har khushi paa gayi hai
paaya jo dil ne tumko
zindagi
har khushi paa gayi hai
mere humsafar ho tum jo
raah mein
raushni chhaa gayi hai
dil mein ab jaise
kirne si chhanti hain
dil mein ab jaise
kirnen si chhanti hain
jhilmilaati hai
jagmagaati hai
zindagi..ee
tum jo aaye to
gungunaati hai
geet gaati hai
zindagi..ee
tum jo aaye to
muskuraati hai
khilkhilaati hai
zindagi..ee
tum jo aaye to
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4937 | Post No. : | 16787 |
23rd January 2022
Today 23rd January ’22 is the one hundred and twenty-fifth birth anniversary (born on 23rd Janunary, 1897) of our great leader Netaji Subhash Chandra Bose. On this occasion as a tribute to Netaji Subhash Chandra Bose we listen a song from the recent movie ‘Gumnaami’ (2019).
I watched this movie on OTT platform last week and would like to mention here or rather I would like to request that every Indian should watch this movie. I think this movie was made in Bangla and Hindi language. The version available on OTT is the Bangla version. But major part is in Hindi and English so anybody can easily understand this movie.
The movie is based on the Mukherjee commission findings and the research movement taken by Mission Netaji and the later events.
Senior member of our team Shri Sadanand Kamath ji has presented a song from this movie “Shubh Sukh Chain Ki Barkha Barse” on the blog on 23.07.2020. His post elaborately mentions about the movie and its content. So, I would not like to repeat the same again here in this post.
But, yes, I would like to mention here that the movie has been successful in bringing the essence of the movement lead by the two journalists Chandrachur Ghose and Anuj Dhar in real life to bring forward the truth of Gumnaami Baba who died at Faizabad on 16th September 1985. In the movie we have shown that one journalist (Chandrachur Dhar) and his few friends put on their fight through RTI and other sources to prove that Gumnaami Baba was very much Subhash Chandra Bose.
This song is said to be the original song composed to welcome Subhash Chandra Bose in Singapore where he reached after a 90 day marine journey, from Germany in a submarine (U-Boat) provided by Hitler’s Govt.
I present here the film version as sung by Sonu Nigam, as well as the original audio recording that was made just after World War II. The original audio recording has one extra stanza.
An honor salute to the Great Son of India, the only one leader who is called Neta ji.
And it seems that the mystery is destined to abide for a long long time.
Video Clip (Based on Film ‘Gumnaami’)
Audio (Original Recording made after WWII)
Song – Subhash Ji. . . Subhash Ji. . . Wo Jaan e Hind Aa Gaye (Gumnaami) (Bangla) (2019) Singer – Sonu Nigam, Lyrics and Music Composition – Indian Residents of East Asia, Song Recreated by – Indradeep Das Gupta
Lyrics
(Based on Video Clip)
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
Subhash ji
Subhash ji ee
Subhash jaan e Hind hain
Subhash shaan e Hind hain
Subhash aan e Hind hain
Subhash maan e Hind hain
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
Subhash ji
Subhash ji ee
kali kali
gali gali
ye andaleeb chah chali
gali gali
gali gali
ye aam khalq gaa rahe
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
Subhash ji
Subhash ji ee
(chorus)
toofan e hind laayenge
wo shaan e hind laayenge
phirangiyon ki qaum par
wo qahar ban ke chhayenge
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
Subhash ji
Subhash ji ee
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
Subhash ji
Subhash ji ee
(Based on Original Audio Version)
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
Subhash jaan e Hind hain
Subhash shaan e Hind hain
Subhash aan e Hind hain
Subhash maan e Hind hain
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
kali kali
gali gali
ye andaleeb chah chali
gali gali
gali gali
ye aam khalq gaa rahe
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
wo aan e hind laayenge
wo shaan e hind laayenge
phirangiyon ki qaum par
wo qahar ban ke chhayenge
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
khushi ka daur aa gaya
nishan(??) ban ke chhaa gaya
wo asia ka aaftab
ab asia mein aa gaya
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
Subhash ji
Subhash ji
wo jaan e hind aa gaye
hai naaz jis pe hind ko
wo shaan e hind aa gaye
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
(विडियो पर आधारित)
सुभाष जी
सुभाष जी
वो जान ए हिन्द आ गए
है नाज़ जिस पे हिन्द को
वो शान ए हिन्द आ गए
सुभाष जी
सुभाष जी॰ ॰ ॰
सुभाष जान ए हिन्द हैं
सुभाष शान ए हिन्द हैं
सुभाष आन ए हिन्द हैं
सुभाष मान ए हिन्द हैं
सुभाष जी
सुभाष जी
वो जान ए हिन्द आ गए
है नाज़ जिस पे हिन्द को
वो शान ए हिन्द आ गए
सुभाष जी
सुभाष जी॰ ॰ ॰
कली कली
गली गली
ये अन्दलीब चह चली
गली गली
गली गली
ये आम ख़लक़ गा रही
सुभाष जी
सुभाष जी
वो जान ए हिन्द आ गए
है नाज़ जिस पे हिन्द को
वो शान ए हिन्द आ गए
सुभाष जी
सुभाष जी॰ ॰ ॰
वो आन ए हिन्द लाएँगे
वो शान ए हिन्द लाएँगे
फिरंगियों की कौम पर
वो कहर बन के छाएंगे
सुभाष जी
सुभाष जी
वो जान ए हिन्द आ गए
है नाज़ जिस पे हिन्द को
वो शान ए हिन्द आ गए
सुभाष जी
सुभाष जी॰ ॰ ॰
(मूल आडियो पर आधारित)
सुभाष जी
सुभाष जी
वो जान ए हिन्द आ गए
है नाज़ जिस पे हिन्द को
वो शान ए हिन्द आ गए
सुभाष जी
सुभाष जी
वो जान ए हिन्द आ गए
है नाज़ जिस पे हिन्द को
वो शान ए हिन्द आ गए
सुभाष जान ए हिन्द हैं
सुभाष शान ए हिन्द हैं
सुभाष आन ए हिन्द हैं
सुभाष मान ए हिन्द हैं
सुभाष जी
सुभाष जी
वो जान ए हिन्द आ गए
है नाज़ जिस पे हिन्द को
वो शान ए हिन्द आ गए
सुभाष जी
सुभाष जी
वो जान ए हिन्द आ गए
है नाज़ जिस पे हिन्द को
वो शान ए हिन्द आ गए
कली कली
गली गली
ये अन्दलीब चह चली
गली गली
गली गली
ये आम ख़लक़ गा रही
सुभाष जी
सुभाष जी
वो जान ए हिन्द आ गए
है नाज़ जिस पे हिन्द को
वो शान ए हिन्द आ गए
सुभाष जी
सुभाष जी
वो जान ए हिन्द आ गए
है नाज़ जिस पे हिन्द को
वो शान ए हिन्द आ गए
वो आन ए हिन्द लाएँगे
वो शान ए हिन्द लाएँगे
फिरंगियों की कौम पर
वो कहर बन के छाएंगे
सुभाष जी
सुभाष जी
वो जान ए हिन्द आ गए
है नाज़ जिस पे हिन्द को
वो शान ए हिन्द आ गए
सुभाष जी
सुभाष जी
वो जान ए हिन्द आ गए
है नाज़ जिस पे हिन्द को
वो शान ए हिन्द आ गए
खुशी का दौर आ गया
निशान(??) बन के छा गया
वो एशिया का आफताब
अब एशिया में आ गया
सुभाष जी
सुभाष जी
वो जान ए हिन्द आ गए
है नाज़ जिस पे हिन्द को
वो शान ए हिन्द आ गए
सुभाष जी
सुभाष जी
वो जान ए हिन्द आ गए
है नाज़ जिस पे हिन्द को
वो शान ए हिन्द आ गए
This article is written by Peevesie’s mom, 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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4760 | Post No. : | 16505 | Movie Count : |
4485 |
Hullo to all in Atuldom
Ideally I would have liked to send the song with this post, a few days back so as to be posted on 26th July which was ‘Kargil Vijay Diwas’. A day, which commemorates India’s victory over Pakistan, and regaining control of the mountain tops in Northern Kargil of Ladakh in July 1999.
I am sure that we all are aware of the background that led to the 1999 war between India and Pakistan, inspite of the Lahore Declaration of February 1999, which was meant to provide a peaceful and bilateral solution to the Kashmir-issue.
Here is what I have gathered from various sources on the internet about the Kargil conflict:
“During the winter of 1998-1999, some elements of the Pakistani Armed Forces were covertly training and sending Pakistani troops and paramilitary forces, some allegedly in the guise of mujahideen, into territory on the Indian side of the line of control (LOC). The infiltration was code named “Operation Badr.” The aim of the Pakistani incursion was to sever the link between Kashmir and Ladakh and cause Indian forces to withdraw from the Siachen Glacier, thus forcing India to negotiate a settlement on the broader Kashmir dispute. Pakistan also believed that any tension in the region would internationalise the Kashmir issue, helping it to secure a speedy resolution. Yet another goal may have been to boost the morale of the decade-long rebellion in Indian Administered Kashmir by taking a proactive role.
Initially, with little knowledge of the nature or extent of the infiltration, the Indian troops in the area assumed that the infiltrators were jihadis and claimed that they would evict them within a few days. Subsequent discovery of infiltration elsewhere along the LOC, and the difference in tactics employed by the infiltrators, caused the Indian army to realize that the plan of attack was on a much bigger scale. The total area seized by the ingress is generally accepted to between 130 sq.km – 200 sq.km.
The Government of India responded with Operation Vijay, a mobilisation of 200,000 Indian troops. Finally, war came to an official end on July 26, 1999, thus marking it as Kargil Vijay Diwas.
527 soldiers from Indian Armed Forces sacrificed their lives during the war”
I have written a post to commemorate Kargil Divas once before too, where the song was from “Lakshya- 2004”. There was one movie that was made on the theme of Kargil-war in 2003 too. That was written and directed by J P Dutta. It had a huge star-cast and songs were penned by Javed Akhtar which were set to music by Anu Malik. The song tries to express the feeling of a martyr who wishes well for his fellow warriors and I don’t want to dilute it by expressing my opinions etc about it.
I had first thought of this song when the Pulwama suicide attack had happened. I had felt that it was not the first of its kind; I remembered the attack on the Indian Parliament on 13th December 2001 as well as the 26/11 terrorist attack of 2008, on various locations around Mumbai. I am sure all these unwanted tensions will keep popping up till the Kashmir issue is resolved. The least an Indian can do is pay respects to the departed heroes and show gratitude to the armed forces.
Today’s song is in the voice of Sonu Nigam. It has (in order of their appearance) – Akshaye Khanna, Ashutosh Rana, Manoj Bajpai, Abhishek Bachchan, Ajay Devgan, Puru Rajkumar, Saif Ali Khan, Sanjay Kapoor, Rohit Roy, Suneil Shetty, Sanjay Dutt, Deepraj Rana, Sudesh Berry, Mukesh Tiwari, Kareena Kapoor, Rani Mukherjee, Esha Deol, Raveena Tandon, Namrata Shirodkar, Armaan Kohli, Preethi Jhangiani, Isha Koppikar, Mahima Chaudhry on-screen. “LOC Kargil” (2003) showed the war/ conflict almost as it had happened in the winter of 1999. Also, the names of the principal characters were also (almost) true-life as also the names of the various battalions.
Incidentally, 30th July is the birthdate of Sonu Nigam who was born in Haryana to Agham Kumar and Shobha Nigam in Faridabad. He began at singing at the age of four when he joined his father Agham Kumar on stage to sing ‘Kya Hua Tera Wada’- the Mohd. Rafi classic. He continued accompanying his father on various occasions before finally shifting to Mumbai at the age of 19 to try his luck in Bollywood. He has been singing in Bollywood from 1993 and has various hits to his credit. His voice is soft on the ear. Many of his songs are my personal favourites with ‘Sandese aate hain’ from ‘Border’ and ‘yeh dil deewaana’ from ‘Pardes’ topping my list. I don’t know if the followers of this blog have heard the song with this post but it is another one from my playlist.
Here is wishing this singer a healthy and happy future.
Audio
Video
Song-Bas itna yaad rahe ek saathhi aur bhi thha (LOC Kargil)(2003) Singers-Sonu Nigam, Lyrics-Javed Akhtar, MD-Anu Malik
Lyrics
Khaamosh hai jo yeh woh sada hai
Woh jo nahin hai woh keh raha hai
(Bharat Mata Ki Jai
Bharat Mata Ki Jai)
Saathiyon tumko miley ae
jeet hi jeet sada aa
bas itna yaad rahe ae ae
ek saathi aur bhi thha
jaao jo laut ke tum m
ghar ho khushi se bhara
jaao jo laut ke tum m
ghar ho khushi se bhara
bas itna yaad rahe ae ae
ek saathi aur bhi thha
bas itna yaad rahe ae ae
ek saathi aur bhi thha
kal parbaton pe kahin een
barsi thhi jab goliyaan
hum log thhe saath mein aen
aur hausle thhe jawaan
ab tak chattaanon pe hai ae
apne lahoo ke nishaan aan
saathi mubaarak tumhen aen
ye jashn hai jeet ka
bas itna yaad rahe ae ae
ek saathi aur bhi thha
(Vande Matram
Vande Matram)
kal tumse bichhdi hui
mamta jo phir se miley
kal phool chehra koi
jab tumse milke khiley
kal tumse bichhdi hui ee
mamta jo phir se miley
kal phool chehra koi ee
jab tumse milke khiley
paao tum itni khushi ee
mit jaayen saare giley ae ae
hai pyaar jinse tumhen aen
saath rahen woh sada
bas itna yaad rahe ae ae
ek saathi aur bhi thha
(this part plays along with end titles)
jab aman ki baansuri ee
goonje gagan ke taley
jab dosti ka diya aa
inn sarhadon pe jaley
jab bhool ke dushmani ee
lag jaaye koi galey ae ae
jab saare insaanon ka aa
ho ek hi kaafila
bas itna yaad rahey ae ae
ek saathi aur bhi thha
jaao jo laut ke tum
ghar ho khushi se bhara aa aa
bas itna yaad rahe ae ae
ek saathi aur bhi thha
bas itna yaad rahe ae ae
ek saathi aur bhi thha
This article is written by nahm, 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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4472 | Post No. : | 15973 | Movie Count : |
4377 |
This is the last song and culmination of a short series of posts about inspired/copied songs. The team of creators of this song from Sangharsh(1999) is Jatin-Lalit, Sameer and Sonu Nigam. This inspiration behind this song is the OPN song from “Ek Musaafir Ek Hasina”.
This is the list of the five songs posted so far in this series:
| Song | Posted on |
|---|---|
| Tu meri zindagi hai | 21 Sep 2020 |
| Bhoori bhoori aankhon waala ek ladka hai | 28 Sep 2020 |
| Love ki ghanti baj gayi meri | 28 Sep 2020 |
| Raaja ko raani se pyaar ho gaya | 1 Oct 2020 |
| Saathiya tu mere sapnon ka meet hai | 6 Oct 2020 |
Before internet and Youtube, it may have been easy to simply copy or lift a song created by someone else and pass it off as your own. Lay persons who are not actually conversant with music and composition process would not be able to find a link.
There is the famed instance of Madan Mohan doing this sort of thing, and using the tune from Sajjad Hussain’s “Sangdil” song “Ye hawa ye raat ye chaandni”, for his song “Tujhe kya sunaaun main dilruba” in “Aakhri Daao” (1958). In fact Madan Mohan went on to use the same tune for the song “hai isi mein pyar ki aabroo” in Anpadh (1962).
In fact, the tune is also very similar for this ghazal rendition in Laal Qila.
Coming back to the song from Sangharsh(1999), the singer Sonu Nigam is trying to sing the style of Kishore Kumar, which he does in many songs, but here the precedent is a Rafi rendition. It appears to a deliberate attempt to make the song sound different from the “Ek Musafir Ek Haseena” song.
I have seen this movie on cable TV, so can try to give a bit of the background. It was about the horrors of ‘child sacrifice’ and black magic like issues that are a part of ancient dogmas prevalent in some parts. Practices like child sacrifice for attaining immortality. Ashutosh Rana played the character of the tantric/fanatic, which is looking to sacrifice a particular child of certain physical attributes, at a particular time and hour determined by some principles of black magic on a full moon night. The takeaway of the film was Ashutosh Rana’s performance as the tantric.
Priety Zinta is a police officers who is assigned to solve this case of case of saving the child kidnapped by the tantric.
Akshay Kumar is a professor in jail, the crime is unclear. Priety Zinta needs Akshay’s help to solve the case and save the child from being sacrificed.
The topic was certainly unique, never dealt before in hindi films. Priety Zinta visits Akshay Kumar in jail and he manages to spook her so much that she calls her friend Aman Verma in Delhi to share her fear and insecurity. Aman Verma is trying to reassure her divert her attention from her fears of past and present by singing this song on the phone.
So this is a phone song too. The funny part is Aman Verma’s phone goes dead while is song is still going on, he goes to a public phone booth to complete the song. Complete it does, with the donkeys surrounding the phone booth 🙂 🙂
Audio :
Video :
Song-Mujhe raat din bas mujhe chaahti ho (Sangharsh) (1999) Singer – Sonu Nigam, Lyricist – Sameer, Music Director – Jatin-Lalit
Lyrics
hmmm
hmmm hmmm hmm
hey ae ae
La la la
mujhe raat din
bas mujhe ae
chaahti ho
mujhe raat din
bas mujhe ae
chaahti ho
kaho na kaho
mujh ko
sab kuchh pataa hai
haan
karoon kya mujhe
tum bataati nahin ho
chhupaati ho mujh se yeh
tumhaari khataa hai
haan
mujhe raat din
bas mujhe
chaahti ho
meri beqaraari ko
hadd se badhaana
tumhen khoob aata hai
baaten banaana
nigaahen milaa key yoon
mera chain lenaa
sataa ke mohabbat mein
yoon dard denaa
mujhe dekh ke
aise palken jhukaanaa
sharaarat nahin hai to
phir aur kya hai
haan
mujhe raat din
bas mujhe
chaahti ho
la la la la la
la la la la la
la la la la la
tumhen neend aayegi
ab na mere bin
mujhe hai yaqeen
aisa aayegaa ek din
khuli teri zulfon mein
soyaa rahoongaa aa
tere hi khayaalon mein
khoyaa rahoongaa aa
kabhi gaur se
meri aankhon mein dekho
meri jaan tumhaara hi
chehra chhupaa hai
haan
mujhe raat din
bas mujhe
chaahti ho
kaho na kaho
mujh ko
sab kuchh pataa hai
haan
karoon kya mujhe
tum bataati nahin ho
chhupaati ho mujh se yeh
tumhaari khataa hai
haan
mujhe raat din
bas mujhe
chaahti ho
hmmm mmm
hey he ae
la la laa aa
This article is written by Peevesie’s Mom, 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 : |
4308 | Post No. : | 15580 | Movie Count : |
4289 |
Hullo Atuldom
May 3 is not any celebrities birthday going by the listings on the anniversaries page of the blog. But a more important date for followers of movies. That was the date when the first Indian movie released in the year 1913.
“Raja Harishchandra” directed and produced by Shri. Dhundiraj Govind Phalke a.k.a Dadasaheb Phalke, was a silent film that released in Bombay’s Coronation Cinematograph and Variety Hall, Girgaon on 3rd May 1913 after a Premier at Olympia Theatre on 21st April. This was the genesis of the Indian Film Industry which has been entertaining generations since then. The movies, as we have come to love, has thrown up stories that are inspired from our mythology, history, real-life experiences etc. There are fans for a “Jai Santoshi Maa” as well as “Sholay”. I remember that when the Malayalam movie “Swami Ayyappan” came to the theatres in Bombay (it had hit the marquee in 1975 in Kerala) Manoj Kumar’s “Kranti” had also released and our family chose to see the Malayalam movie as it gave us an insight into the life and times of the lord Ayyappa.
Today we are having a song, from a movie, whose title is inspired from a famous song of the late 70s. The director of the movie was a person who has grown up in the film industry (so to say) as he is the son of a famous producer-director. The cast is headed by a fan of movies who himself has a huge fan-following.
I am talking of a song from the 2008 released “Rab Ne Bana Di Jodi” (meaning “Match made in the heavens”) which was written and directed by Aditya Chopra, son of Yash Chopra who was also the producer of the film. And I need not add that Yash Chopra was a successful producer- director who began his innings in the film industry in the 50s. The movie had a cast headed by Anushka Sharma and Shahrukh Khan.
Today’s song happens when the lead pair have gone to see movie. “A cinema inside a cinema” as I would like to put it. The lady- Taani (Anushka) is bored with the proceedings on the screen. Then she imagines that one of her acquaintances has jumped on to the screen and then the whole atmosphere perks up. He says: “Taani partner do not fear when Raj is here. Humne bhi Ishq ke ustaadon se seekha hai” (I think those are his exact words). And then the song starts.
IMHO this song can claim to be fully inspired by all the preceding generations of actors and actresses. We have Shahrukh Khan and Kajol beginning the song as Raj Kapoor and Nargis, this is followed by Shahrukh as Dev Anand and Bipasha Basu as Sadhana. Then we have Lara Dutta as Helen to Shahrukh’s Shammi Kapoor act which is followed by Rajesh Khanna and Sharmila Tagore by SRK and Preity Zinta. The song has SRK and Rani Mukherjee reminding us of Rishi Kapoor and Neetu Singh. So basically we go down memory lane as we see this song and try and relive the 50s, 60s and 70s.
I must complement the lyricist Jaideep Sahni for coming up with a song that had to have pre-existing words/lyrics/thoughts. One must not miss how “Babu Moshai” has fitted beautifully into the song. Also worth mentioning the art director’s and set designer’s contributions. They have done so much detailing- we should not miss the book that Preity as Sharmila Tagore is trying to read. It is called “Amar Prem” and has a photo of Rajesh Khanna and Sharmila Tagore from “Aradhana” in the song ‘Kora kaagaz tha ye mann mera’. Also we should not miss the huge Raj Kapoor hat at the start of the song as also the Dev Anand Cap, the eye from where the Shammi Kapoor segment starts and finally the long scarfs/mufflers that Rishi Kapoor used to sport and the steps that he and Neetu were exponents of. We should not forget the choreographer too. The composers Salim-Suleiman have also showed that they have also grown up on this fodder. They had an unenviable task of making a song from the music that was tuned by the legends of Bollywood and also not make a bad rehash.
Let us also enjoy this tribute to the great Ustaads (masters).
P.S: After I wrote this post I realized that 3rd May also happens to be Nargis’s death anniversary. It is 39 years since her passing and it was Dadasaheb Phalke’s birth anniversary on 30th April 1870- 150th birthdate.
Audio
Video
Song-Hum hain raahi pyaar ke phir milenge chalte chalte(Rab ne bana di jodi)(2008) Singer-Sonu Nigam, Lyrics-Jaideep Sahni, MD-Salim Suleman
Lyrics
(awaara)
(Awaara)
(music uses awaara’s signature tune)
pyaar huwa ikraar huwa
jeena yahaan marna yahaan
inn baahon ko
inn raahon ko
chhod ye chhaliya jaaye kahaan
maana dil toh hai anaari,
yeh awaara hi sahi
are bol radha bol sangam hoga ke nahin
har janam mein
rang badal ke
khwaabon ke pardo pe hum khilte
ham hain raahi pyaar ke
phir milenge chalte chalte
hey
ham hai raahi pyaar ke
phir milenge chalte chalte
(here “Yeh dil na hota bechaara” tune is used)
dil ka bhanwar kare
kare pukaar jab
pyaar kisi se hota hai
jiya o jiya kuchh bol do
ab dard sa dil mein hota hai
tidli yoo
tidli yoo
oo tere ghar ke saamne ghar banaaunga
toota hi sahi
pal bhar ke liye koi humein pyaar karle
jhootha hi sahi
jhootha hi sahi,
haay jhootha hi sahi ee
har janam mein
rang badal ke
khwaabon ke pardo pe hum khilte ae
ham hain raahi pyar ke
phir milenge chalte chalte
ham hain raahi pyaar ke ae
phir milenge chalte chalte
yaahoo
yaahoo
(here “o haseena zulfonwaali” tune is used)
oh haseena
zulfonwaali jaane jahaan
chaahe mujhko
junglee keh de saara jahaan
ho mehfil mehfil tu phire,
yaahoo yaahoo dil kare
mehfil mehfil tu phire,
yaahoo yaahoo dil kare
badan pe sitaare lapete huwe
har janam mein
rang badal ke
khwaabon ke pardo pe hum khilte
ham hain raahi pyaar ke
phir milenge chalte chalte
hey
ham hain raahi pyar ke
phir milenge chalte chalte
babu moshai ( Rajesh Khanna’s voice)
(here the tune is “sapnon ki raani kab aayegi tu)
hooo hehe haaa
hey jai jai shiv shankar,
kaanta laage na kankar
chaahe kuchh kar le zamaana
mere jeevan saathi
mere sapnon ki rani
zindagi safar hai suhaana
hey kuchh to log kahenge,
na suna keejiye
hey chain aaye mere dil ko
duwa keejiye
hey har janam mein
rang badal ke
khwaabon ke pardon pe hum khilte ae
ham hain raahi pyar ke
phir milenge chalte chalte
hey
ham hai raahi pyar ke
phir milenge chalte chalte
papa papapa paaa
papa papapa paaa
zu zu zu zuuu zuuu
zuuu zuuu zu zu zu
(here tune is from “bachna ae haseeno”)
darde dil darde jigar,
zamaane ko dikhaana hai
darde dil darde jigar,
zamaane ko dikhaana hai
hum kisi se kum nahin hai,
tujhko yeh bataana hai
ye waada raha,
oh meri chaandni ee
har janam mein
rang badal ke
khwaabon ke pardon pe hum khilte
ham hain raahi pyar ke
phir milenge chalte chalte
hey ham hain raahi pyaar ke ae
ah ah ah
chalte chalet ae ae ae
ae ae ae ae
aa chalte chalte
hum hain raahi pyaar ke ae
phir milenge chalte chalte
Badan Pe Sitaare Lapete Huye
Posted on: December 24, 2019
- In: Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics contributed by readers | One song used in more than one movie | One song used in two movies | Post by Sudhir | Song used in more than one film | Songs of 2010s (2011 to 2020) | Songs of 2018 | Sonu Nigam Solo Songs | Sonu Nigam Songs | Stage song | Yearwise breakup of songs
- 5 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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4176 | Post No. : | 15353 | Movie Count : |
4232 |
Songs Repeated in Hindi Films – 13
– – – – – – – – – – – – – – – – – –
A great day today. The remembrance day of one of most recognized icons of the Golden Era of Hindi film music. Rafi Sb. The name says it all. It is our own compulsions that drive us to write again and again about him, but yes, the name says it all. The mere mention brings to mind spontaneously, the journey spanning four decades, and thousands of rich gems that he rendered and bequeathed to us. The one voice that makes loving this music oh so easy.
We already have two posts today, enriching his memory, and talking about his work and his personality. The adjectives and epithets have all been used, time and again, so one is at a loss to say new things about him. There is a celebration gathering that happens at this residence today. Many devoted fans from across the country are in Bombay for this occasion. Our dear Bakshi ji is there today – have to hear from him his account of the visit to Rafi Mansion today.
Besides Bakshi ji, there are two more very good friends who are there today. Both of them are in the category of devotion beyond definition. It is a devotion that takes on the form of worship, which in of itself is a quality to be appreciated. Their life is all about Rafi Sb, their work is all about trying to perpetuate his memory. My meeting with them individually was through other friends, who introduced us. And it did not take any time to acknowledge and understand – this is going to be a lifelong association. I will briefly talk about them today.
Ahsan Qasim is a resident of Hapur, a small town that is about one a half hour’s drive from Delhi. He runs a small restaurant in his neighborhood, and has also setup a small coaching school for basic teaching of English and computers. He is an avid searcher and collector of anything that relates to Rafi Sb. As of now, we are quite much at the limits of Rafi Sb’s recorded songs. Yes, some numbers are still not accounted for, and I dare say, some numbers are still to be identified, given the gap in information available for some untraceable films of the era. But that does not limit his search. He is continuously searching for recordings of live programs, sitting through complete films looking to find out snippets of Rafi Sb’s voice used for items that do not qualify as complete songs, and hence have not been part of 78 rpm or LP releases. The verses sung in the film ‘Pyaasa’ (1957) are quite well known. But there are dozens of more such snippets that Ahsan Bhai has searched out.
He also collects videos of Rafi Sb’s songs, and hence he also continuously digging to locate films that are not yet in public domain. He has a channel on YouTube by his own name. He continuously adds to it – rare audios and videos of Rafi Sb songs. Recently he has uploaded a small video segment of a Rafi Sb song from the film ‘Kahin Aur Chal’ (1968), a film that decidedly has been categorized as lost, for now.
He has made a detailed listing of all the stars, and many who do not qualify as stars, to whom Rafi Sb has given playback. Rafi Sb never shied away from singing for completely new and unknown actors, as well as on screen characters. Ahsan Bhai’s drive is to identify such actors – he has a list and video clips of many totally unknown faces who are lip syncing Rafi Sb’s voice. And to say the least, his endeavor to dig out old films has been so beneficial for armchair collectors like me. 🙂 He is the person who was finally able to acquire ‘Karvaan e Hayaat’ and shared with me. Like so, he has dug out many other rare films, which we know that are not available in public domain.
The second person I wish to talk about today is another dear friend – Arun Gautam. The name plate outside his door reads as ‘Rafi Arun Gautam’. He is a resident of Delhi. When I visited his home for the first time, I was amazed to see – he has one room completely devoted to Rafi Sb. The room is almost like a museum, and also a room where he hosts his friends for listening sessions. The walls of the room are adorned with portraits and photographs of Rafi Sb, some are absolutely rare. All the shelves are full of books, cassette tapes, 78 rpm records and LPs. In between spaces are full of small and large memorabilia that relates to Rafi Sb. There is a harmonium, although not the original, but an exact replica of the one owned by Rafi Sb. There is telephone instrument, with Rafi Sb’s home phone number written on it – once again an exact replica of the original. There are two small cars (toy cars actually) – one a white Ambassador, and the second one a red Fiat, complete with the actual numbers on the number plates. The cars models and numbers are exactly the ones owned by Rafi Sb. There is a small statue of Rafi Sb. There are road signs – place of birth of Rafi Sb, his residence area in Bombay etc. I mean, it is a real treat for the fans of Rafi Sb. And Arun ji has such a childlike pleasure as he shows us visitors around the room.
There is an old gramophone player – the original HMV 102. If any of the readers have heard this sound they will understand. And for those who haven’t, I recommend them to listen to one if possible. Arun ji has a Philips player also – which is electronic. He played the same records on both the machines. The sound from the 102 – it shook my inside. Never ever have I heard such a complete and such a rich sound being reproduced from a 78 rpm record. Yes, we all know that the 78 rpm recording and reproduction is the ultimate. But that day, listening on the 102 was an unsurpassed, never before experience. A machine that is just cranked by hand, no electric or electronics involved. Just a very good sound box and a very good needle. The sound filled the room as I have never heard before. And with the same childlike eagerness, Arun ji played so many rare records. Not that we have not heard the audio before. But the records themselves are so rare, only one or maybe a few acknowledged copies to be existing in public domain. It was a memorable session we had that day, on my first visit. And of course, followed up later with more such sessions.
Arun ji also played some very rare and unheard snippets. Do you know that Rafi Sb has sung two lines of the immortal ghazal of Saigal Sb from ‘Shahjehan’ – “Gham Diye Mustaqil. . .”. This snippet is hidden away in the film ‘Reporter Raju’ (1962); it is not on any record, and only someone painstakingly searching for such things will be fortunate enough to locate it. And then, at the end of the session, as we were preparing to say goodbye, he asked us to wait for a minute. He went inside, and returned with a small plastic package. Opening it, he showed us a necktie – an original worn by Rafi Sb at recordings. Around the room he pointed out to a couple of photographs wherein Rafi is sporting that very necktie. We find out that it is presented to Arun ji by Rafi Sb’s daughter herself, when she visited Delhi and also came to Arun ji’s home. That was the most exhilarating close encounter for me.
And one more thing about Arun ji. He is the convener of the group that is petitioning for the Bharat Ratna award for Rafi Sb.
The most endearing thing about these two gentlemen – very soft spoken, very friendly, extremely humble, and a heart that will share anything you ask of them. True and devoted lovers of music, I must say. And I am fortunate to be in their circle of friends.
Memories of Rafi Sb, shaken and enlivened by these reminiscences.
The song today – although it is a Rafi song, but today’s presentation is not in his own voice. This song, “Badan Pe Sitaare. . .”, originally from the film ‘Prince’ (1969) – Rafi Sb giving playback for Shammi Kapoor, has got repeated in the film ‘Fanney Khan’ from 2018. Yes, so recent. The magic of the golden era lives on and on. This version is sung by Sonu Nigam, and performed on screen by Anil Kapoor.
This song comes to us courtesy of Peevesie’s Mom – the lady is always on the lookout to combine events and anniversaries. Today, 24th is the birth anniversary of Rafi Sb. And it is also the birth anniversary of actor Anil Kapoor. She located this song, and then graciously called me to take it on and present it as part of the ‘repeat songs’ series. Of course, with a short notice (like less than 24 hrs 🙂 ), and a opportunity to combine celebrations that is very difficult to pass. The song had to, has to come today, and today only. Of course, the pleasure of rewards is quite commensurate with the bait proffered. 😀
As I mentioned, the singing voice is Sonu Nigam – a sound that is quite close to Rafi Sb’s singing, as per many opinions. I am retaining the original credits of lyrics and music composition. On screen, we see Anil Kapoor, a part time vocalist in a local orchestral group in the film, attempting a ‘Shammisque’ perfromance. How far successful, I leave it to the readers to judge. For one, Shammi Kapoor would never have a set of dancers around him, in the manner in which the latter day dances are choreographed.
Some other links that come to mind. The dance starts with the rapid shaking of a hand by Anil Kapoor – memories of the dance in the song “Aa Ja Aa Ja, Main Hoon Pyaar Tera” (‘Teesri Manzil’, 1966). Then, we have the initial ‘alaap’ sounds, so to say. The first “lallalllallaaa, la llarrall lallaa lallallaaa” reminds one of the famous Rajesh Khanna performance of “Gulaabi Aankhen Jo Teri Dekhin. . .” (‘The Train’, 1970). Then there is a second piece that goes like “la ra la la la ra la la la ra la la la ra laa” – I am not able to decipher its ‘hear-alike’ source. Then there is the 3rd piece “pappaa pa pappaa pa” – if I am not mistaken, it reminds one of the opening sounds of “Duniya Mein, Logon Ko. . .” (‘Apna Desh’ 1972). Request readers to please add to or comment on these observations.
So a song with many entanglements. Original Rafi Sb song, rendered by a Rafi Sb ‘hear alike’. Original song performed by a Kapoor, now performed by another Kapoor. And the two anniversaries to add to the mix. Quite an interesting addition to the repeat song series. Thanks Peevesie’s Mom ji.
Happy and healthy wishes to Anil Kapoor – goodness, he turns 63 today. Last year he was 62. My, my. 🙂
And long live the memories of Rafi Sb. The best thing that God gave to Hindi films. Unforgettable.
Song – Badan Pe Sitaare Lapete Huye (Fanney Khan) (2018) Singers – Sonu Nigam, Lyrics – Hasrat Jaipuri, MD – Shankar Jaikishan
Lyrics
lallalllallaaa
la llarrall lallaa lallallaaa
la llarrall lallaa lallallaaa
la llarrall lallaa lallallaaa
la ra la la la ra la la la ra la la la ra laa
la ra la la la ra la la la ra la la la la laa
la ra la la la ra la la la ra la la la ra laa
paraa pappaa
paraa pappaa
paraa pappaa
paraa pappaa
pappaa pa pappaa pa
pappaa pa pappaa pa
pabbaa ba babbaa ba
babbaa ba babbaa ba
riul rham jham
jhamriul rham jham
jhamriul rham jhalurum
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Hindi script lyrics (Provided by Sudhir)
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लल्ल लल्ल लल्ल ला
ला लारल्ल लल्ला लल्ललल्ला
ला लारल्ल लल्ला लल्ललल्ला
ला लारल्ल लल्ला लल्ललल्ला
ला रा ला ला ला रा ला ला ला रा ला ला ला रा ला
ला रा ला ला ला रा ला ला ला रा ला ला ला ला ला
ला रा ला ला ला रा ला ला ला रा ला ला ला रा ला
परपप्पा
परपप्पा
परपप्पा
परपप्पा
पप्पा पा पप्पा पा
पप्पा पा पप्पा पा
पब्बा बा बब्बा बा
बब्बा बा बब्बा बा
रीउल रह्म झम
झमरीउल रह्म झम
झमरीउल रह्म झालूरम
बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो॰॰ओ॰॰ओ
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये
बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये
है बनने सँवरने का जब ही मज़ा
कोई देखने वाला फन्ने तो हो
नहीं तो ये जल्वे हैं बुझते दिये
कोई मिटने वाला इक फन्ने तो हो
बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये
बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये
[तुरही वादन]
बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये
Abhi Mujh Mein Kahin Baaki
Posted on: April 26, 2017
- In: Atul ji's 10K Song Milestone Celebration Posts | Brother Sister song | Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Love song | Lyrics contributed by readers | Post by Pradeep Raghunathan | Romantic song | Songs of 2010s (2011 to 2020) | Songs of 2012 | Sonu Nigam Solo Songs | Sonu Nigam Songs | Yearwise breakup of songs
- 5 Comments
This article is written by Pradeep Raghunathan, fellow enthusiasts of Hindi movie music and contributors to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Atul ji’s 10K Song Milestone Celebrations – 7
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Sudhir ji, got in touch with us Atulwaasis and told us that there is a HUGE milestone coming up on the blog.
I had no clue that it was this huge. With my little knowledge of maths, I did some calculation and it works to an average of around 3 posts a day for the last 9 years. If that just seems like a number to you – you either do not understand hard work when you see it, or you are just a passer by seeing this blog for the first time.
While I still wonder how it is even possible to have such commitment and endurance I am reminded of what Atul ji often tells us – this is a “Labour of Love”. And then it all falls in place and makes so much sense. Atul ji has been a beacon of light, a guru, a nostalgia maker, the man who got all us crazy Atulwaasis together.
Read more on this topic…
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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