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

Archive for the ‘stage dance’ Category


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3904 Post No. : 14958

———————————————–
Blog 10-Year Challenge (2009-19) – Song No. 22
————————————————

This day, ten years ago, the songs that we were listening to are listed below,

 

Dukh Ke Ab Din Beetat Naahin Devdas 1935
Antam Fantam Chhod De Babu Hum Sab Chor Hain 1956
Hai Kali Kali Ke Lab Par Lala Rukh 1958
Jaa Re Beimaan Tujhe Jaan Liyaa Private Secretary 1962
Dil Ki Girah Khol Do Raat Aur Din 1967
Apni Aadat Hai Sabko Salaam Karnaa Pyaar Deewaana 1972

 

Six songs were posted, six films represented. Over the past 10 years, four of these films have completed their run of songs – ‘Devdas’ (1935), ‘Hum Sab Chor Hain’ (1956), ‘Lala Rukh’ (1958) and ‘Raat Aur Din’ (1967).

For the remaining two films, the score card says –

‘Private Secretary’ (1962) – 4 songs posted out of total 7 listed, and
‘Pyaar Deewaana’ (1972) – 2 songs posted out of total 8 listed.

So in preparation for the Ten Year Challenge post for today, as I started to scan the remaining songs of these two films, I had to stop right at the first song that I checked, for I knew it has to be this one today. The song is a stage dance song from the film ‘Private Secretary’. The listing in the Geet Kosh is not fully informative, because the song title listed is actually the lead in verse to the song. The burden of the song comes later, and it was not apparent when I read the song title. But when I played this song – my goodness, I am amazed that a song of this caliber has been lying unnoticed for all these years. That is the reason for the urgency in my mind to post this.

This song was frequently heard on the air waves during the radio listening days, and so it is a very familiar and a favorite song from that time. After the leading verse, as soon as Lata ji starts to croon “O O O Saanwre. . .”, I just sat up straight with surprise – my God, this song, this lovely melody. Not yet posted. Hiding where all these years. And I knew it has to get posted right away.

The film ‘Private Secretary’ is produced under the banner of Radiant Movies, Bombay and is directed by Chander. The cast of actors is listed as Ashok Kumar, Jaishri Gadkar, NA Ansari, Mohan Choti, Poornima, Raja Gosavi, Neelam, Jerry, TN Sinha, Manohar Geer, Raj Kumar, Ravi Khanna, Kashi, CN Kapoor, Athawale, and Umakant. The seven songs listed are all from the pen of Prem Dhawan, and the music is composed by Dilip Dholakia. The singing voice is of Lata Mangeshkar.

The song is performed by Jaishree Gadkar on screen, as a stage performance. In the beginning of the song, we can see Ashok Kumar and Mohan Choti as part of the audience. A wonderful song and an equally wonderful performance – the song merits to be on the list of best dance songs.

Listen to this charming melody. And tell me. Did you have the same reaction as I did?

Song – O Saanwre, Aa Ja Pyaar Liyei  (Private Secretary) (1962) Singer – Lata Mangeshkar, Lyrics – Prem Dhawan, MD – Dilip Dholakia

Lyrics

pee ke daras ko tarse akhiyaan
bin saawan ke barse akhiyaan

kit gaye rasiya
o mann basiya
kaa se mann ki
boloon re batiyaan

aaaaa aaaaaa aaaaa aaaaaa
aaaaaaaa aaaaaa aaaaaa aaaaa
aaaa aaa aaa aaa aa
aaaa aaa aaa aaa aa
aaaa aaa aaa aaa aa
o saanware
aa jaa pyaar liye
gaati bahaar liye
ke tere bina morey naina huvey
baaware
o saanware
aa jaa pyaar liye
gaati bahaar liye
ke tere bina morey naina huvey
baaware
o saanware

jab se suratiya aankhon mein samaai
hum ko to laage saari duniya paraai
jab se suratiya aankhon mein samaai
jab se suratiya aankhon mein samaai
hum ko to laage saari duniya paraai
milne ki pyaas liye
ek yahi aas liye
baithi rahoon main subah shaam re
ooo ooo ooo
o saanware
aa jaa pyaar liye
gaati bahaar liye
ke tere bina morey naina huvey
baaware
o saanware

dil ko bichhaaya hai
raahon mein tumhaari
jaane kab kismet jaagegi hamaari
dil ko bichhaaya hai
dil ko bichhaaya hai
raahon mein tumhaari
jaane kab kismet jaagegi hamaari
din jaaye raat aaye
dil se na aag jaaye
saanson mein goonje tera naam re
oo oo
o saanware
aa jaa pyaar liye
gaati bahaar liye
ke tere bina morey naina huvey
baaware
oo oo saanware

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

पी के दरस को तरस गई अखियाँ
बिन सावन के बरसे अखियाँ

कित गए रसिया
ओ मन बसिया
का से मन की
बोलूँ रे बतियाँ

आssss आsssss आssss आsssss
आsssssss आsssss आsssss आssssssss
आsss आss आss आs
आsss आss आss आs
आsss आss आss आs
ओ ओ सांवरे
आ जा प्यार लिए
गाती बहार लिए
के तेरे बिना मोरे नैना हुवे
बावरे
ओ सांवरे
आ जा प्यार लिए
गाती बहार लिए
के तेरे बिना मोरे नैना हुवे
बावरे
ओ सांवरे

जबसे सुरतिया आँखों में समाई
हमको तो लागे सारी दुनिया पराई
जबसे सुरतिया आँखों में समाई
जबसे सुरतिया आँखों में समाई
हमको तो लागे सारी दुनिया पराई
मिलने की प्यास लिए
एक यही आस लिए
बैठी रहूँ मैं सुबह शाम रे
ओ ओ ओ
ओ सांवरे
आ जा प्यार लिए
गाती बहार लिए
के तेरे बिना मोरे नैना हुवे
बावरे
ओ सांवरे

दिल को बिछाया है
राहों में तुम्हारी
जाने कब किस्मत जागेगी हमारी
दिल को बिछाया है
दिल को बिछाया है
राहों में तुम्हारी
जाने कब किस्मत जागेगी हमारी
दिन जाये रात आए
दिल से ना आग जाये
साँसों में गूँजे तेरा नाम रे
ओ ओ
ओ सांवरे
आ जा प्यार लिए
गाती बहार लिए
के तेरे बिना मोरे नैना हुवे
बावरे
ओ ओ ओ सांवरे

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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. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3901 Post No. : 14952

This song is from Master Bhagwan’s film ‘Damaad’ (1951).

This is the film which inspired Bhagwan to write a comedy social musical film story for his evergreen film Albela. In the decade of 1940’s, Bhagwan had specialised in low budget C grade action and stunt films. Usually his films would be completed in Rs. 60 to 70 thousand rupees only. He used to churn out films after films with the same set of actors with almost the same story in all his films. The audience of Master Bhagwan’s films came to the theatre to see his antics and comedy, coupled with action scenes of fighting and incredible stunts.

Usually Bhagwan never played the hero’s role in his own films. The hero in his films would necessarily be Baburao Pehelwan and Bhagwan used to be his side kick. Both had their love interests – usually the heroine for Baburao and her friend or maid for Bhagwan. Like Baburao and Bhagwan, even the lady actors were fixed. He had a set of such actresses like Shanta Patel, Chanchal, Leela Gupte, Vitha Lokare, Usha Shukla etc. They used to be in his films by turns. Actor Azim Bhai (who later became the famous Fight Master in Hindi films) was usually the good natured but timid employer of these two. Their job was to protect the Seth ji from goons, fight with them and finally win the girls in the end. Film after film the same story was used with slight changes here and there. The audience was least bothered about the story or the histrionics etc. They came for the dialogues, the fights and stunts.

Very few people know that both Raj Kapoor and Dilip Kumar were his great fans. When Bhagwan fell on bad times and shifted to a 2-room tenement in a chawl in Dadar, Dilip Kumar, while going for his daily shootings, used to stop at the chawl, honk till Bhagwan appeared in the gallery and waved to him, and then he proceeded to his work.

It was Raj Kapoor, who used to see his shootings in Jagriti studio, very near to RK studio. He once suggested to him to try making a social film. Incidentally, his good friend C Ramchandra (Anna for Bhagwan) also pressed him to dare making a social film. CR even promised him to give music to his social film in his popular name C Ramchandra (he gave music to Bhagwan’s films in the name of ‘Annasaheb ‘ till then). Bhagwan started thinking seriously on this issue. At that very time he got an offer to work in a social comedy film, to be produced by Beema Films of MT Mudnani and directed by Brij Rani. Since this was a social film Bhagwan wanted to give it a try. He wanted to assess the feasibility of making his own social film.

The film was ‘Damaad’ (1951). The story was simple. A simpleton is made a ‘ghar jamai’ (resident son-in-law) and has a miserable life. Incidentally, he becomes a successful singer. The film was absolutely an ordinary one. Being a director himself, Bhagwan understood the potential of the story to become a hit film. In addition the offer of C Ramchandra’s music was also inviting him. The film ‘Damaad’ came and went without making any ripples. Neither the producer made any more films, nor the director got any other film. The cast and the 3 MDs employed were also C grade anyway.

Taking inspiration from film ‘Damaad’, Bhagwan started writing the story of ‘Albela’ . For this film, he needed a cast other than his usual C grade film cast. Other actors were booked but no reputed heroine was ready to work in his film. Those days, Bhagwan’s name was only associated with C grade action stunt films. Then one day he approached Geeta Bali. She agreed – a bit reluctantly – to listen to his story. After listening to the story, Geeta Bali realized the potential of a hit film and said yes.

The shooting of ‘Albela’ started but Bhagwan kept it a secret. After few weeks of shooting, he invited Anna (CR) to come to see the shooting, without telling him anything. Anna went to Jagriti studios to see the shooting. After some shots were taken, he asked, ‘Bhagwan, this is your film, but where are the fights?”. Bhagwan smiled and said,”Anna, there are no fights. This is a social film I am making which you wanted me to do. Now it is your turn to stand by what you had promised to give your best music”. Sure enough C Ramachandra gave immortal music to film ‘Albela’ and the rest is history as they say.

Bhagwan’s planning for ‘Albela’ was so perfect that he got the Censor Certificate on 13-12-1951 and the film was released on next day i.e. on 14-12-1951 at Imperial Talkies in Bombay. Within 3-4 days, the film became houseful in every show. It was so successful that it overshot the combined collection of first week opening of BR Chopra’s ‘Afsaana’, Raj Kapoor’s ‘Awaara’, Dev Anand’s ‘Baazi’, AVM’s ‘Bahaar’ and Nitin Bose’s ‘Deedaar’, all released in 1951 only!

The tremendous success of ‘Albela’ made the financiers, producers and directors to line up Bhagwan’s doorstep with project proposals. The success of ‘Albela’ had also gone to the head of Bhagwan dada. He did not realize or acknowledge the contribution of Geeta Bali and C Ramchandra’s music to its success. He thought that it was due to him and he went on signing film after films in that period. As his new films started failing, the incomplete films were abandoned and ‘Albela’ became his swan song. The downward slide of his career and popularity started right after this film, although some more films like ‘Bhagam Bhag’ (1956) etc were hits-again due to music and Kishore Kumar.

Anyway the producer NT Madnaney never ever tried to produce any more films after ‘Daamad’, which was not at all successful at the box office.
The screenplay and direction was by Brij Rani. There were 3 composers, Shamoo who had given music to ‘ Yeh hai zindagi-48’ and ‘Begunah’ (1949) with Haribhai. Indravadan Bhatt had given music to 10 films in the late 40s. Ram Panjwani had been an actor in Berozgaar-36 and Chhotisi duniya-39, a singer in Damad-51 and Maa ka pyar-49, an MD for Magroor-50 and Damad-51 and also a Lyricist for one song in film Teen Batti chaar Rasta-53

The story was more or less same as ‘Albela’ – a good for nothing fellow sings well and makes a fortune – that is the one line story of this film.

Chamak (Bhagwan) is too simple a person, who is a teacher in a school, where even his students make fun of him. He gets married to a rich man’s daughter-Geeta (Krishna Kumari). Chamak loses his job and his father-in-law takes him to his house in a bigger town. Chamak is impressed with all the wealthy living and eats like a hog and sleeps like a dog every day. Honored initially as the son-in-law of the house, slowly he is despised, insulted and treated shabbily by in laws for doing nothing.

One day when Chamak is singing alone, the manager of the local theatre hears him, gets impressed and offers him job of a singer. Chamak accepts it and in no time becomes a famous singer and tours all over India. Seeing that he is famous, his in laws start pampering him. Now Chamak has become clever. He teaches a lesson to his in laws and finally they realize their folly and all is well that ends well.

The cast of the film was Bhagwan, Krishna Kumari, Yashodhara Katju, Protima Devi, Cuckoo, Habib, Kathana, Ishu Jahagirdar etc. etc. The story and screenplay was by director Brijrani.

Brij Rani was born in 1921 at Shikarpur, Sindh province, in a well to do business family. She studied up to Matriculation and also qualified as a Middle School Teacher. However, she opted to join films as an actress. Her first film was Jeewan Jyoti-37, doing an un credited small role to get the feel, followed by Calcutta after Midnight-37, Aurat-40, Wayda-40, Ulti Ganga-42, Daughters of the Jungle-43, Bhagta Bhoot-43, Circus Girl-43 and Lal Haveli-44.

She was getting roles only in stunt films and C grade films. Being from a business community, she started her own company- Bharat productions and herself made stunt films.

Meanwhile she continued acting in films like Lal Haveli-44 and acted and directed film Circus King-46 and film Sajni-47. Then there was a gap. probably she looked after her family. In 1951, she directed film Daamaad-51.

As far as Yashodhara Katju is concerned, there is a bizarre story behind her entry into films. Earlier there was a Kashmiri girl working in Hindi films,in the late 30s. Her name was Shyama Zutshi. Actor Chandramohan too was a Kashmiri Bramhin and held the view that Kashmiri Bramhin girls should not work in films as it is below their dignity. He strongly opposed Shyama’s work in the films and put lot of pressure on her to quit films. Fed up of his pestering and also afraid of his anger, Shyama left films. Her last film was Khooni Jadugar-1939.

However, soon after this, yet another girl who too was a Kashmiri Bramhin came into films from 1941. Chandramohan tried all his pressure tactics and tried to force her out of the films, but this girl was different. She was tough and did not fear him or yield to his intimidations. She continued to work in films unabated. Chandramohan died in 1949, but this girl worked in films from 1941 to 1974. She worked in 86 films and earned quite a name.

Her name was Yashodhara Katju ( 15-4-1928 to 1974 ). She was the niece of Pt. Nehru, but never ever used her highly placed relations to get work. Her father K L Katju was U.P.’s well known politician and also a senior bureaucrat. They were from Lahore, where Yashodhara had studied upto Senior Cambridge and also dancing. She was a leading comedienne in the early 50s and had formed a pair with Gope for some films. She married a Navy officer and spent her retired life as a housewife, away from filmdom.

Today’s song is actually in 2 parts, but it is combined in one video. The singers are Sulochana kadam(for Yashodhara katju), Ram Panjwani (for Bhagwan), Ishu Jahagirdar (for Dhobi), and Shrimati Vishnilal ( for elderly lady). VISHNI LAL was born in Hyderabad( Sindh) in 1926. She came to Bombay in 1943 to sing in films. Ram Daryani recommended her to Khemchand Prakash and he gave a break to her in film Chiragh-43. She sang in very few films like Qurbani-43,Anjuman-48 Mitti ke khilaune-48,Maghroor-50,Daamaad-51,Chhoti Duniya-53 etc.

Her family shifted to Bombay in 1947, after Partition. She was married to a businessman Mansukhani. She then settled in Dubai, with her family.

Let us now enjoy the song video.


Song – Dhobiya Re Dhobiya Re Tera Chhora (Daamaad) (1951) Singers – Sulochana Kadam, Ram Panjwani, Shrimati Vishnilal, Ishu Jahagirdar, Lyrics – Bahaar Ajmeri, MD – Indravadan Bhatt
Sulochana Kadam + Ram Panjwani
Chorus

Lyrics

oo oo oo
dhobia

dhohia re dhobia re tera chhora
ho tera chhora
beech bajaria chhed kare mosey
beech bajaria chhede
dhohia re dhobia re tera chhora
ho tera chhora

main na chhedoon
main na chhedoon is ko dada
jhooth kahe ye tosey
ram kasam. . .
ram kasam iljaam dhare hai
bair karey ye mosey
ram kasam iljaam dhare hai
bair karey ye mosey

hmmm mmmmm

tu chhori re chhori re chhori chhori re
bada sareef hai mera chhora
bada sareef hai mera chhora
oo oo chhori
chhori jhooth kyon boley
o chhori jhooth kyon boley
sundar dekh ke morey lallan ko
kyon tera manwa doley
ho chhori
kyon tera manwa doley

oo oo
oo oo oo oo oo
o dhobia
sunder hai tera chhora to
main bhi naar albeli
sunder hai tera chhora to
main bhi naar albeli
roop dekh sharmaaye jaaye re
dhobia
roop dekh sharmaaye jaaye re
bagia mein haaye chameli
bagia mein haaye chameli
bada theed hai
bada theed hai. . .
o tera chhora
bada theed hai
bada theed hai. . .
o tera chhora
beech bajariya ghere
beech bajariya ghere
dhobia re dhobia re tera chhora
ho tera chhora

kyon ri dhobaniya
lagaai bujhaai to kar ke chali
par main to ko samjhunga
lagaai bujhaai to kar ke chali
par main to ko samjhunga
bhari bajariya mein o chhori
bhari bajariya mein o chhori
teri khabar main loonga
ab teri khabar main loonga
oo oo oo dhobia
chal hatt
parey hatt

oo oo dhobia
samjhaaye lei e ka
nahin to main rapat likhaaye deungi
samjhaaye lei e ka
nahin to main rapat likhaaye deungi
oo oo thaanedar se
thaanedar se keh kar main to
lambardaar se keh kar main to
band karaye deungi
milat mein
milat mein
qaid karaaye deungi
main ghabraaye gai
tere chhore se
phirey hai peeche morey
phirey hai peeche morey
dhobia re dhobia re tera chhora
oo tera chhora

shiv ram
shiv ram
shiv ram
shiv ram
shiv ram

mukhiya ke chhore se chhori
mukhiya ke chhore se chhori
kaahe karey tu ladaai
maafi maang le 
o chhori
maafi maang le 
maine lallan se kar di teri sagaai

oo oo oo oo
teri meri bhool hui o baalam
kar le mosey mel
haan haan
kar le mosey mel
tu mera chaand hai
main teri chandni

oo oo oo oo
chhaila re chhaila re chhaila chhaila re
khelen chaand ka khel
aao khelen chaand ka khel
khel
aa ri dhobaniya
ho gaya tera mera mel
ho gaya tera mera mel
ho gaya tera mera mel
ho gaya tera mera mel. . .

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

ओ ओ ओ
धोबिया

बीच बज़रिआ छेड़ करे मोसे
बीच बज़रिआ छेड़े
धोबिया रे धोबिया रे तेरा छोरा
हो तेरा छोरा

मैं ना छेड़ूँ
मैं ना छेड़ूँ इसको दादा
झूठ कहे ये तोसे
राम कसम॰ ॰ ॰
राम कसम इल्जाम धरे है
बैर करे ये मोसे
राम कसम इल्जाम धरे है
बैर करे ये मोसे

हम्मम म्ममम

तू छोरी रे छोरी रे छोरी छोरी रे
बड़ा सरीफ है मेरा छोरा
बड़ा सरीफ है मेरा छोरा
ओ ओ छोरी
छोरी झूठ क्यों बोले
सुंदर देख के मोरे ललन को
क्यों तेरा मनवा डोले
हो छोरी
क्यों तेरा मनवा डोले

ओ ओ
ओ ओ ओ ओ ओ
ओ धोबिया
सुंदर है तेरा छोरा तो
मैं भी नार अलबेली
सुंदर है तेरा छोरा तो
मैं भी नार अलबेली
रूप देख शरमाये जाये रे
धोबिया
रूप देख शरमाये जाये रे
बगिया में हाए चमेली
बगिया में हाए चमेली
बड़ा ठीठ है
बड़ा ठीठ है॰ ॰ ॰
ओ तेरा छोरा
बड़ा ठीठ है
बड़ा ठीठ है॰ ॰ ॰
ओ तेरा छोरा
बीच बज़रिआ घेरे
बीच बज़रिआ घेरे
धोबिया रे धोबिया रे तेरा छोरा
हो तेरा छोरा

क्यों री धोबनिया
लगाई बुझाई तो कर के चली
पर मैं तो को समझूँगा
लगाई बुझाई तो कर के चली
पर मैं तो को समझूँगा
भरी बज़रिआ में ओ छोरी
भरी बज़रिआ में ओ छोरी
तेरी खबर मैं लूँगा
अब तेरी खबर मैं लूँगा
ओ ओ ओ धोबिया
चल हट
परे हट

ओ ओ धोबिया
समझाये लेई ए का
नहीं तो मैं रपट लिखाये देऊंगी
समझाये लेई ए का
नहीं तो मैं रपट लिखाये देऊंगी
ओ ओ थानेदार से
थानेदार से कह कर मैं तो
लंबरदार से कह कर मैं तो
बंद कराये देऊंगी
मिलत में
मिलत में
क़ैद कराये देऊंगी
मैं घबराए गई तेरे छोरे से
फिरे है पीछे मोरे
फिरे है पीछे मोरे
धोबिया रे धोबिया रे तेरा छोरा
हो तेरा छोरा

शिव राम
शिव राम
शिव राम
शिव राम
शिव राम

मुखिया के छोरे से छोरी
मुखिया के छोरे से छोरी
काहे करे तू लड़ाई
माफी मांग ले ओर छोरी
माफी मांग ले
मैंने ललन से कर दी तेरी सगाई

ओ ओ ओ ओ
तेरी मेरी भूल हुई ओ बालम
कर ले मोसे मेल
हाँ हाँ
कर ले मोसे मेल
तू मेरा चाँद है
मैं तेरी चाँदनी

ओ ओ ओ ओ
छैला रे छैला रे छैला छैला रे
खेलें चाँद का खेल
आओ खेलें चाँद का खेल
खेल
आ री धोबनिया
हो गया तेरा मेरा मेल
हो गया तेरा मेरा मेल
हो गया तेरा मेरा मेल
हो गया तेरा मेरा मेल॰ ॰ ॰


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.

Blog Day : 3890 Post No. : 14923

———————————————–
Blog 10-Year Challenge (2009-19) – Song No. 16
————————————————

15 songs have been covered so far in the ‘ten-year challenge’ on the blog so far and this will be the 16th post in the series.

As we proceed in this journey, it is getting more and more interesting at least as far as I am concerned. I was not associated with the blog ten years ago, so my browsing through the blog for posts of those days give me an interesting singh on the way posts were appearing on the blog ten year ago. My first comment on the blog would appear on the blog on 15.09.2009.

This process of visiting or revisiting or re-revisiting brings back memories associated with those movies or songs that were covered those days. Some of these movies are those which I have watched when I was growing and some are when I was already a grown up (:) ) person, like from 1989 onwards.

Coming back to the movies of songs that were presented on 13.03.2009 we have the following list;

‘Naiyya-1979’
‘Zakhmee-1975’
‘Saajan-1969’
‘Chitchor-1976’
‘Parwaana-1971’
‘Haqeeqat-1964’
‘Bandhan-1940’
‘Dushman-1939’

All the movies except ‘Saajan-1969’ have achieved ‘all songs covered’ (Yippeeee:) ) status on the blog.

I remember to have watched ‘Saajan-1969’ either during mid-seventies or in late seventies. And since then two songs from this movie were always in my memory and nostalgic for me. Both of these songs viz. ‘resham ki dori’ and ‘saajan saajan pukaaroon galiyon mein’ have already been posted on the blog.

Today’s song is a classical based song where Asha Parekh is performing on a stage. Watching this reminds me of many of her classical dance-based performances in other movies, and which I think were a regular feature in the movies she acted in given her prowess in classical dance.

When I initially checked the songs from ‘Saajan-1969’ I thought I had come across a longer version of this song (or maybe I am mistaken) , but finally at the time of drafting this article I could locateonly a shorter video link.
However, I looked for the audio of this song which has two stanzas, though only one stanza is there in the in movie available online. Knowledgeable readers are requested to throw more light on this. Or maybe, I guess, this song was edited in the movie.

‘Saajan-1969’ was produced and directed by Mohan Sehgal for ‘Delux Films, Bombay’. It had Asha Parekh, Manoj Kumar, Om Prakash, Shabnam, Sulochana, Madan Puri, Jagirdar, Sapru, Raj Mehra, S.P. Sinha, Jankidas, Brahm Bharadwaj, Shammi, Lata Bose, Murad, Iftekhar, Ratan Gaurang, Mirajkar, Parasram, and Narmada Shankar.

This movie had total seven tracks including one music track and one multiple version song. All songs in this movie were written by Anand Bakshi and music was composed by Laxmikant-Pyarelal.
So far four songs (including one multiple version song) from this movie have been covered.

Today’s song is the fifth song from this movie being posted and that would leave us with only one song remaining to be posted from this movie to take it to the ‘Yippeeee land’ 🙂 (however this remaining song doesn’t seem to be available either on video or audio, we need to search and check or knowledgeable readers can advice and throw more light on this)

Let us now enjoy today’s song …

Audio (Full)

Video (Partial)

Song-Baansuri tihaari Nandlal (Saajan)(1969) Singer-Asha Bhonsle, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

Baansuri tihaari Nandlal
Bani mori sautaniyaa
Baansuri tihaari Nandlal
Bani mori sautaniyaa
Ye paas tere bairan
Hoon door main sajaniyaa
Baansuri tihaari Nandlal
Bani mori sautaniyaa
Baansuri tihaari Nandlal
Bani mori sautaniyaa

Bansi ko tu honthhon se lagaaye
Bansi ko tu honthhon se lagaaye
Man tadpaaye
Mora jee tarsaaye
Kaahe ko maine tose neha lagaaye ae
Kaahe ko maine tose neha lagaaye
Ye jag maine chhoda
Bani main joganiya
Baansuri
Baansuri ee
Baansuri tihaari Nandlal
Bani mori sautaniyaa
Baansuri tihaari Nandlal
Bani mori sautaniyaa

Kehne lage hain mohe birhan saare
Kehne lage hain mohe birhan saare
Ye do naina more birhaa ke maare
Baat nihaare teri saanj sakhaare ae
Baat nihaare teri saanj sakhaare
O raat bhar jaagoon main ban ke chandaniya
Baansuri
Baansuri ee
Baansuri tihaari Nandlal
Bani mori sautaniyaa
Ye paas tere bairan
Hoon door main sajaniyaa
Baansuri tihaari Nandlal
Bani mori sautaniyaa
Mori sautaniyaa
Mori sautaniyaa
Baansuri tihaari Nandlal
Bani mori sautaniyaa

———————————-
Devnagri Script lyrics(Provided by Avinash Scrapwala)
———————————-
बांसुरी तिहारी नन्दलाल
बनी मोरी सौतनिया
बांसुरी तिहारी नन्दलाल
बनी मोरी सौतनिया
ये पास तेरे बैरन
हूँ दूर मैं सजनिया
बांसुरी तिहारी नन्दलाल
बनी मोरी सौतनिया
बांसुरी तिहारी नन्दलाल
बनी मोरी सौतनिया

बंसी को तू होंठों से लगाए
बंसी को तू होंठों से लगाए
मन तडपाये
मोरा जी तरसाए
काहे को मैंने तोसे नेहा लगाए ए
काहे को मैंने तोसे नेहा लगाए
ये जग मैंने छोड़ा
बनी मैं जोगनिया
बांसुरी
बांसुरी ई
बांसुरी तिहारी नन्दलाल
बनी मोरी सौतनिया
बांसुरी तिहारी नन्दलाल
बनी मोरी सौतनिया

कहने लगे हैं मोहे बिरहन सारे
कहने लगे हैं मोहे बिरहन सारे
ये दो नैना मोरे बिरहा के मारे
बाट निहारे तेरी सांज सखारे ए
बाट निहारे तेरी सांज सखारे
ओ रात भर जागु मैं बन के चंदनिया
बांसुरी
बांसुरी ई
बांसुरी तिहारी नन्दलाल
बनी मोरी सौतनिया
ये पास तेरे बैरन
हूँ दूर मैं सजनिया
बांसुरी तिहारी नन्दलाल
बनी मोरी सौतनिया
मोरी सौतनिया
मोरी सौतनिया
बांसुरी तिहारी नन्दलाल
बनी मोरी सौतनिया


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. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3828 Post No. : 14833

Today’s song is from film Hum kisi se kam nahin-77, made under the banner of Nasir Hussain films.

This is the 3rd consecutive song from the 70s that I am discussing. Do not wonder whether I have shifted sides- from writing on films of 30s and 40s to the 70s. Possibly, for the time being, this is the last one from this period. Actually, I have nothing against the musical or film aspect of the period 70s and beyond. It is only that, mostly they are not of my likings. Of course, I have always said that , ” Everything that was made before 70s was not all good, as much as everything made after 70s was not bad either.”

Good or bad depends upon the personal perceptions, because these are opinions. If you measure them on a scale- like say-durability, then it is measurable and no one can deny the durability quotient of old songs vis-a- vis songs after 70s. A lot can be said on this issue, but not today and not here. Anyway, to each his own !

Why do people like a movie ? If the correct answer was known to anybody, he would be a Trillionnaire in no time ! However, when this question is asked to a common man on the street, the answers one would get would be 1. Story is good. 2. Acting is good. 3. Music is good. 4. I like this Hero/Heroine and many such explanations. My observation is that Music and Songs is one major reason for a movie to be popular and successful. There are many examples like Albela-51, Baiju Bawra-52, Anarkali-53, almost all films of Saigal, most Noorjehan and Suraiya films and most films made by Producer, Director and Writer Nasir Hussain.

Nasir Hussain probably had received from God, the formula for successful films-for a short term use. Out of his 13 films, first 10 were hit films- primarily due to Romance and excellent music. It is said that being a script and story writer himself he used one story for all his films-with some variations, of course- and the time he changed the story his films became a flop. Shammi kapoor, whose sinking career took up turn because of the Nasir Hussain film ” Tumsa nahin dekha”-57, had once said, ” we have heard stories of Marwadis coming here with just one Lota and building empires. Here was a man who used one story for his films for 30 years and succeeded !”

Mohammed Nasir Hussain Khan aka Nasir Hussain was born on 2-2-1931 ( wiki says it is 16-11-1926) in Bhopal.His family was related to Maulana Abul Kalam Azaad. While studying in Lucknow University, he wrote several dramas for A.I.R., Lucknow. He even got First prize for 2 consecutive years in the University writing competition .( one of these stories were used to make film ‘ Baharon ke Sapne’). In 1948, he came to Bombay and joined Filmistan.

His first story was for film Shabnam-49, jointly with Qamar Jalalabadi. Independently he wrote story/screenplay/dialogues for Shabistan-51, Anarkali-53, Shart-54, Munimji-55 and Paying Guest-57. Then he wrote Tumsa Nahin Dekha and insisted to direct the film himself. Tolaram Jalan, the owner of Filmistan was not ready to give it to a New director, but when NH threatened to quit, he relented unwillingly but cut the film’s budget. Nasir took Shammi Kapoor ( who had given 9 flops in a row) and new comer Ameeta and made the low budget film Tumsa Nahin Dekha-57.

When Tolaram Jalan saw the film, he was not happy at all,but the film celebrated Jubilees in 30 cities in India. Nasir Hussain got Rs. 10000/- for the story and his salary for 8 months, Rs.8000/- a total of Rs 18000 for this successful film ! When his mentor Shashdhar Mukherjee left Filmistan, to start his own ‘ Filmalaya Studios’, Nasir also left. For this new company. he made Dil Deke Dekho- 59, introducing Asha parekh as New Heroine. The film was a Hit , but he got only Rs. 25000- . Nasir decided that only his own company can give him more money.

With just Rs. 10,000/- in pocket he established his own Nasir Hussain Films Ltd. and made ‘ Jab pyar kisise hota hai-61. Another Hit. Then he made Phir wohi dil laya hoon-63, Teesri manzil-66. Baharon ke sapne-67, Pyar ka Mausam-69, Carvan-71, Yadon ki baraat-73 and Hum kisise kam nahin-77.

For film Teesri manzil-66, the film started with Dev Anand as the Hero. After 2 reels’ shooting, Dev had some differences and he left the film. Shammi Kapoor was roped in. The film was directed by Vijay Anand and for the first time R D Burman was taken for providing Music. Later on Nasir Hussain, Majrooh Sultanpuri and RD Burman collaborated for another 5 films.R D Burman continued till 1985, doing in all 9 films for Nasir Hussain.

After his films in 1981,84 and 85 flopped serially, Nasir Hussain stopped direction and wrote screen play and dialogues for Qayamat se Qayamat taq-88 and Jo Jeeta Wohi Sikandar-92. His nephew Amir Khan was launched in these films. Nasir Hussain died on 13-3-2002 after a Heart attack.

Actors Asha Parekh, Rajendra Nath , Sidhu, Malika and Krishan Mehta owe their career to Nasir Hussain. Shammi Kapoor ,a struggling actor was given a new identity by him & thanks to him, Shammi Kapoor reached at the pinnacle of popularity. Even Amita became a hit property overnight by the success of Tum Sa Nahin Dekha,

While he encouraged new comers, he did not forget the veteran actors ,who had passed their prime . Late B M Vyas ,who was getting roles only in period/religious/Arabian Night movies was chosen by Nasir Hussain for an important role in main stream movie Tum Sa Nahin Dekha. Old timer Wasti ,who regaled the audiences with his natural acting in Sanjog , Rattan, Pugree made in forties and many Punjabi & Hindi movies later on , was passing through a bad phase . Nasir honored him by offering the roles of substance in Dil Deke Dekho,Jab Pyar Kisi Se Hota Hai & Phir Wohi Dil Laya Hoon. He rekindled the fond memories of the forties ,when he signed actors of proven caliber like Rajinder Singh, Mubarak, Kanu Roy, Raj Mehra ,Mumtaz Ali , Surendra Nath & many more . Here I’ll specifically mention the name of Nasir Khan & Bharat Bhushan ,who were passing through the most difficult phase of their lives . The benign film maker Nasir took them in his movies Yaadon Ki Baraat & Pyar Ka Mausam respectively ,just to assure them that they have not been forgotten and the industry recognizes their contribution . It is my strong belief that it was the blessings of those grateful old timer actors ,which made Nasir Hussain so prosperous and successful.

Nasir Hussain had that typical story formula in most of his films of “overhearing” ! In Tumsa Nahi Dekha, Pran overhears about Shammi Kapoor arriving & after stealing Shammi Kapoor’s recommendation letter, introduces himself as Shankar (Shammi Kapoor) . In Dil Deke Dekho, JPKSHH & Pyar Ka Mausam, the heroes concerned, overhear the heroine speaking about a comedian’s arriving (mostly as a marriage candidate) & after packing the comedian back,the hero banks on the name of the comedian. In Teesri Manzil, Shammi Kapoor overhears Asha Parekh speak, that she has come there to take revenge on himself (Rocky) and implies to Asha & her friends that he is different person named Anil Kumar Sona .
Even though with this common formula in most of his films , all his movies did well at the theatre on the basis of good songs & music !

There was a letter from a reader, in Filmfare, which stated thus, ” It is not at all important to pay attention to that so-called Hindi movie critic group who always referred and called Nasir Hussain as man of the movie with Escapism themes all the time to make his movie at box office hit. Working men need to have some kind of entertainment after spending hours and hours in heaps of works and concerned chores. Naturally there grows the tendency to escape from daily reality by engaging in daydreaming, fantasy….and there comes Nasir Hussain with this magical stick plus his established style of screenplay writing and later directing evergreen chocolate hero viz. Dev Anand…rebellious Shammi Kapoor…smiling Joy Mukherjee….charming Shashi Kapoor….handsome Jeetendra….and there was all time beautiful dancing lady ever present in her gorgeous smile…Asha Parekh who worked with these heroes with her fresh enthusiasm. What else an ordinary cine goer wish to have while spending his money for a ticket at window ? Apart from main hero and heroine there were devoted character actors playing various parts . ”

The Hero of the film Hum kisise kam nahin-77 was Rishi Kapoor, born on 4-9-1952. His first entry through Mera Naam Joker-70 fetched him a Film fare award. His debut as a Hero in Bobby-73 also brought him an award from filmfare. He is one actor who is popular even after he retired from films-not fully though. A film The Body-2019, was just released last week, directed by Jitu Joseph.His son Ranbir Kapoor is carrying the Kapoor mantle very ably.

Rishi Kapoor aka Chintoo has some different records on his name. He is the only actor having had 45 different heroines with whom he was cast. He also worked with 20 New entrant Heroines in their Debut films. He was Hero to seniors like Shabana Azmi, Rekha, Rakhee and Hema ( she was launched by his father), then with Madhuri, Shridevi, Tina Munim and Raveena Tandon. He worked with Simi Garewal in film Karz-1980, after his first film Mera Naam Joker-70. Some of his New heroines were Dimple, Kajal Kiran, Bhavna Bhatt, Ashwini Bhave, Radhika, Farah, Vinita, Zeba, Divya, Naseem, Rukhsaar etc etc. He acted in 162 films and also directed 1 film-Aa ab laut chale-99. He lent his voice in 7 songs in 6 films.

Today’s song is a copy of the famous Abba song ” Mama Mia”. So be it, seeing the youthful Rishi and Kajal Kiran singing and dancing is a real treat, in this video. Enjoy….
( For this article I have used information from Yadon ki Baraat by S Kanekar, The Hindu, wiki, MuVyz, HFGK, article by M N Sardana ji in woh din yaad karo and my notes)


Song- Mil gaya hum ko saathi mil gaya (Ham Kisi Se Kam Nahin)(1977) Singers- Asha Bhonsle, Kishore Kumar, Lyrics- Majrooh Sultanpuri, MD- R D Burman
Chorus

Lyrics

mil gaya
hum ko saathi mil gaya
hum se gar koi jal gaya
wu wu
jalne de
wu wu
jalne de
chal gaya
pyaar ka jaadu chal gaya
hum se gar koi jal gaya
wu wu
jalne de
wu wu
jalne de

tere liye
zamaana tere liye
aur tu mere liye
tere liye
zamaana tere liye
aur tu mere liye

mil gaya
humko saathi mil gaya
hum se gar koi jal gaya

wu wu
jalne de
wu wu
jalne de

tere liye
zamaana tere liye
aur tu mere liye

tere liye
zamaana tere liye
aur tu mere liye

haa

ae haa

hey

ae haa

haa

turuturututu
ha
turuturututu
ha
turuturututu
ha
turuturututu

wow beauty


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3822 Post No. : 14824 Movie Count :

4053

Missing Films of 1960s – 89
– – – – – – – – – – – – – – –

The year that we are currently exploring is 1970. And I am surprised to be coming across so many films that at least I have not been familiar with. It would have been the period that listening to the radio would have already started. However, this film does not ring a bell at all.

The film that I introduce today is ‘Sau Saal Beet Gaye’. The obscurity of this film can also be estimated by the fact that even HFGK does not contain many details about this film. It contains a partial list of songs, and very little other information about the film itself. The banner name is identified as Natraj Productions. The lyricist name is listed as Indeewar, and the music director is identified as Usha Khanna.

Now, however, the film is available online. I reviewed the credits and gathered the following additional information. The star cast of the film is Ashok Kumar, Helen, Raj Mehra, Sajjan, Iftekhar, Pratima Devi, Chaman Puri and Mukri. The screenplay and dialogues are written by Ashok Kumar himself. The producer is Madan Chopra and the director is given as two names, indicating a duo – Ved-Madan. Possibly Madan is the same as the person identified as the producer.

I did not view the film in detail, only did a quick fast forward scan. Very interestingly, the lead romantic pair in this film is Ashok Kumar and Helen. The story is about two lovers meeting across the boundaries of life and death – in two different births. Quite familiar you might say. Yes, more than a handful of films come to mind that are based on this story outline.

Anyway, details in another post, maybe. Today’s song is a stage dance song performed by Helen. The male companion in this clip is not identified – most likely an unfamiliar junior artist who just appears in this song in the film. Helen works for a theater company owned by Iftekhar, who is the cousin brother of Ashok Kumar in the film. At the end of this song, Ashok Kumar and Helen are introduced, ostensibly for the first time, but there appears the first glimmer of a familiarity. And onward, the story unfolds.

The lyrics are from the pen of Indeewar and the music is by Usha Khanna. The singing voice is Asha Bhosle. A peppy and fast paced fun number that introduces Helen in this storyline. A Helen song is always a treat, and this one is no less. Listen and enjoy.

 

Song – Brahmchari Ji, O Brahmchari Ji  (Sau Saal Beet Gaye) (1970) Singer – Asha Bhosle, Lyrics – Indeewar, MD – Usha Khanna

Lyrics

brahmchaari ji
o brahmchaari ji
brahmchaari ji
o brahmchaari ji
aao kareeb aao
aise na sharmaao
aao kareeb aao
aise na sharmaao
hum hain tumhare pujaari..
brahmchaari ji
o brahmchaari ji
brahmchaari ji
o brahmchaari ji

ye dikhaawa hai ye bhes utaaro ji
reh ke duniya mein duniya sanwaaro ji
aa ritra..rom-ritra..rom-ritra..ramanna
aa ritra..rom-ritra..rom-ritra..ramanna
ye dikhaawa hai ye bhes utaaro ji
reh ke duniya mein duniya sanwaaro ji
bhatko na ban mein tum
thehro ji mann mein tun
preet meri deewaani tumhaari..
brahmchaari ji
o brahmchaari ji
brahmchaari ji
o brahmchaari ji

insaan marte hain marti nahin aasha
yahaan har dil hai bas pyaar ka pyaasa
aa ritra..rom-ritra..rom-ritra..ramanna
aa ritra..rom-ritra..rom-ritra..ramanna
insaan marte hain marti nahin aasha
yahaan har dil hai bas pyaar ka pyaasa
duniya na thukraao
khud ko na tadpaao
mujhko dekho khushi hoon tumhaari..
brahmchaari ji
o brahmchaari ji
brahmchaari ji
o brahmchaari ji

har kisi ko
kisi ki zaroorat hai
ye hi duniya mein jeene ki surat hai
aa ritra..rom-ritra..rom-ritra..ramanna
aa ritra..rom-ritra..rom-ritra..ramanna
har kisi ko
kisi ki zaroorat hai
ye hi duniya mein jeene ki surat hai
palken to kholo ji
kuchh hum se bolo ji
aarzoo ho tumhen to hamaari
brahmchaari ji
o brahmchaari ji
brahmchaari ji
o brahmchaari ji
aao kareeb aao
aise na sharmaao
aao kareeb aao
aise na sharmaao
hum hain tumhare pujaari..
brahmchaari ji
o brahmchaari ji
brahmchaari ji
o brahmchaari ji

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

ब्रह्मचारी जी
ओ ब्रह्मचारी जी
ब्रह्मचारी जी
ओ ब्रह्मचारी जी
आओ करीब आओ
ऐसे ना शर्माओ
आओ करीब आओ
ऐसे ना शर्माओ
हम हैं तुम्हारे पुजारी॰॰
ब्रह्मचारी जी
ओ ब्रह्मचारी जी
ब्रह्मचारी जी
ओ ब्रह्मचारी जी

ये दिखावा है ये भेस उतारो जी
रह के  दुनिया में दुनिया सँवारो जी
आ रित्रा॰॰रोम-रित्रा॰॰रोम-रित्रा॰॰रामन्ना
आ रित्रा॰॰रोम-रित्रा॰॰रोम-रित्रा॰॰रामन्ना
ये दिखावा है ये भेस उतारो जी
रह के  दुनिया में दुनिया सँवारो जी
भटको ना बन में तुम
ठहरो जी मन में तुम
प्रीत मेरी दीवानी तुम्हारी॰॰
ब्रह्मचारी जी
ओ ब्रह्मचारी जी
ब्रह्मचारी जी
ओ ब्रह्मचारी जी

इन्साँ मरते हैं मरती नहीं आशा
यहाँ हर दिल है बस प्यार का प्यासा
आ रित्रा॰॰रोम-रित्रा॰॰रोम-रित्रा॰॰रामन्ना
आ रित्रा॰॰रोम-रित्रा॰॰रोम-रित्रा॰॰रामन्ना
इन्साँ मरते हैं मरती नहीं आशा
यहाँ हर दिल है बस प्यार का प्यासा
दुनिया ना ठुकराओ
खुद को ना तड़पाओ
मुझको देखो खुशी हूँ तुम्हारी॰॰
ब्रह्मचारी जी
ओ ब्रह्मचारी जी
ब्रह्मचारी जी
ओ ब्रह्मचारी जी

हर किसी को किसी की ज़रूरत है
ये ही दुनिया में जीने की सूरत है
आ रित्रा॰॰रोम-रित्रा॰॰रोम-रित्रा॰॰रामन्ना
आ रित्रा॰॰रोम-रित्रा॰॰रोम-रित्रा॰॰रामन्ना
हर किसी को किसी की ज़रूरत है
ये ही दुनिया में जीने की सूरत है
पलकें तो खोलो जी
कुछ हमसे बोलो जी
आरज़ू हो तुम्हें तो हमारी
ब्रह्मचारी जी
ओ ब्रह्मचारी जी
ब्रह्मचारी जी
ओ ब्रह्मचारी जी
आओ करीब आओ
ऐसे ना शर्माओ
आओ करीब आओ
ऐसे ना शर्माओ
हम हैं तुम्हारे पुजारी॰॰
ब्रह्मचारी जी
ओ ब्रह्मचारी जी
ब्रह्मचारी जी
ओ ब्रह्मचारी जी


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3778 Post No. : 14757

‘Dhongee’ (censor certificate 23-12-1976), was a movie directed by Ashok Roy and produced by Kant Kumar productions. It seems to have had a delayed release (Wikipedia says it was released 4th May 1979). It has a starcast of Randhir Kapoor, Neetu Singh, Asrani, Sujit Kumar, Farida Jalal, Iftikhar, and Premnath. Rakesh Roshan had a friendly appearance. The lyricist to this movie was Anand Bakshi and music director was Rahul Dev Burman. The movie had five songs and Asha Bhonsle, Kishore Kumar and Amit Kumar were the playback singers. One song of this film – “Haaye Re Haaye Tera Ghunghta” – has been posted earlier, as a contribution by Pamir Harvey where a brief outline of the movie is provided. This song is popular to this day. I remember that sometime in the late 90s or early 2000 there was a remix version to this song which triggered the memory of this song. As I sat to write this post I discovered that there has been another version of this song which has been used in a recent movie titled ‘Paisa Vasool’ (2004) – I don’t know anything about this recent movie.

Continuing after seeing the movie 🙂

So, ‘Dhongee’ is the usual masaala stuff, with a brother (Randhir Kapoor) and sister (Farida Jalal) loving and helping each other with wooing their prospective fathers-in-laws (Raj Mehra and Satyen Kappu). The brother’s aim is to fulfil his ‘dead’ father’s promise to the groom’s father and see that his sister lives a happy married life. On the way to fulfilling this he meets with an accident and ‘dies’. The insurance amount that his sister gets post the brother’s death is used by his fiancée (Neetu Singh) and her father to get the sister married. This is one part of the movie. But it is not even ‘interval time’ in the movie. Now begins the tale. The brother has actually survived the accident, has been unconscious for about 2 months, tended by a Nepali Gurkha – typically named Bahadur; recovers just in time to remember his sister’s wedding date; rushes home to witness the wedding without being seen by anyone. Now he is guilt-ridden that he has cheated the insurance company and is ready to do any activity that will earn him the money to repay the insurance. Here Bahadur steps in, suggests a name and location change & sends him to Nepal. Randhir Kapoor (Anand) is intrigued that random people around Kathmandu recognise him and escort him to a palace. After a few scenes that show the goings-on in the palace it is revealed that the palace is the headquarters for printing fake notes, belongs to Bahadur alias John and Anand has been cleverly sweet-talked into standing-in for the actual John (Premnath – it was the period when he used to play the BADMAN). Additionally, it is also revealed that the ‘dead’ father is a captive in the palace; the fiancée reaches Kathmandu (on duty, being an air-hostess); sees Anand; goes back; reports to the sister and then the whole family comes to help and rescue the father and brother and finish the movie. The songs are spread through the movie with a mandatory dance with the villain – Premnath is made to sing and dance.

Remembering Premnath today on his birth anniversary, he would have been 92. He was already the cute roly-poly fisherman – Braganza (‘Bobby’, 1973)- when I first became aware of the actor. And through the 70s he was Rai Saab Bhupendra Singh (‘Johnny Mera Naam’, 1970) Khan Badshah (‘Shor’, 1972), Dharmdas ‘Dharmatma‘ (‘Dharmatma’, 1975), IG Khanna (‘Kalicharan’, 1976), Sir Juda (‘Karz’, 1980) etc. I don’t remember having seen any of his movies where he had played a hero. I remember my father was a fan of the songs pictured on him in Raj Kapoor’s ‘Barsaat’ (1949) – “Patli Kamar Hai Tirchhi Nazar Hai“; “Main Gareebon Ka Dil Hoon Watan Ki Zabaan” from ‘Aab-e-Hayaat’ (1955) and “Main Raahi Bhatakne Waala Hoon” from ‘Baadal’ (1951). I recently discovered Vodafone Play – an app offered by Vodafone – which has a section dedicated to old movies, and I discovered ‘Saaqi’ (1952) – an interesting Arabian Nights type fantasy film where he co-starred with Madhubala.

Today’s song has Premnath sharing screen space with Randhir Kapoor (his nephew – ‘bhaanja’, in real life) and Neetu Singh, and shaking a leg outside the Kathmandu temple. I think this was a popular song in the past. Amit Kumar is the playback for Premnath.

Song – Rangon Ki Chhaaon Dhoop Mein (Dhongee) (1976) Singer – Asha Bhosle, Kishore Kumar, Amit Kumar, Lyrics – Anand Bakshi, MD – RD Burman

Lyrics

ho o oooo
ooo ooo
ooo ooo

mmmm. . .
usey jaan lo
pehechaan lo

rangon ki chhaon dhoop mein
wo aaya hai naye roop mein
rangon ki chhaon dhoop mein
wo aaya hai naye roop mein
wo hai. . . ek behroopiya
usey jaan lo
pehechaan lo
usey jaan lo oo
pehechaan lo
rangon ki chhaon dhoop mein
woh aaya hai naye roop mein
rangon ki chhaon dhoop mein
wo aaya hai naye roop mein
wo hai. . . ek behroopiya
usey jaan lo
pehechaan lo
usey jaan lo oo
pehechaan lo

jaise koi dulha baandhe sehra
us ke chehre pe hai naqli chehra
hooo ooo
jaise koi dulha baandhe sehra
us ke chehre pe hai naqli chehra
aaaa aaaaa
ab is mein kya raaz hai
poora dhokhebaaz hai
usey jaan lo pehechaan lo
rangon ki chhaon dhoop mein
wo aaya hai naye roop mein
wo hai. . . ek behroopiya
usey jaan lo
pehechaan lo
usey jaan lo oo
pehechaan lo

suljha di aankhon ne dil uljhan
haan haan yahi to hai hum sab ka dushman
he he
suljha di aankhon ne dil uljhan
haan haan yahi toh hai hum sab ka dushman
ooo oooooo
ooo ooo
ooo ooo
ooo ooo
iski sab kahaaniyan
iski hai nishaaniyan
usey jaan lo pehechaan lo
rangon ki chhaon dhoop mein
wo aaya hai naye roop mein
wo hai. . . ek behroopiya
usey jaan lo
pehechaan lo
usey jaan lo oo
pehechaan lo

tum dhongee ho to hum bhi kuchh kam nahin
tum ne jaal bichhaaya hai to gham nahin
he he
tum dhongee ho to hum bhi kuchh kam nahin
tum ne jaal bichhaaya hai to gham nahin
in baaton mein dam nahin
darne waale hum nahi
hamen jaan lo pehechan lo
rangon ki chhaon dhoop mein
main aaya hoon naye roop mein
arey
main hoon. . . ek behroopiya
hamen jaan lo
pehechaan lo
hamen jaan lo
pehechaan lo

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

हो ओ ओssss
ओsss ओsss
ओsss ओsss

मम्ममम॰ ॰ ॰
उसे जान लो
पहचान लो

रगों की छाँव धूप में
वो आया है नए रूप में
रगों की छाँव धूप में
वो आया है नए रूप में
वो॰ ॰ ॰ है एक बहरूपिया
उसे जान लो
पहचान लो
उसे जान लो॰॰ओ
पहचान लो
रगों की छाँव धूप में
वो आया है नए रूप में
रगों की छाँव धूप में
वो आया है नए रूप में
वो॰ ॰ ॰ है एक बहरूपिया
उसे जान लो
पहचान लो
उसे जान लो॰॰ओ
पहचान लो

जैसे कोई दूल्हा बांधे सेहरा
उसके चेहरे पे है नक़ली चेहरा’
हो ओ
जैसे कोई दूल्हा बांधे सेहरा
उसके चेहरे पे है नक़ली चेहरा’
आsss आsss
अब इस में क्या राज़ है
पूरा धोखेबाज़ है
उसे जान लो
पहचान लो
रगों की छाँव धूप में
वो आया है नए रूप में
वो॰ ॰ ॰ है एक बहरूपिया
उसे जान लो
पहचान लो
उसे जान लो॰॰ओ
पहचान लो
उसे जान लो॰॰ओ
पहचान लो

सुलझा दी आँखों ने दिल की उलझन
हाँ हाँ यही तो है हम सबका दुश्मन
हे हे
सुलझा दी आँखों ने दिल की उलझन
हाँ हाँ यही तो है हम सबका दुश्मन
ओsss ओsssss
ओsss ओsss
ओsss ओsss
ओsss ओsss
इसकी सब कहानियाँ
इसकी हैं निशानियाँ
उसे जान लो॰॰ओ
पहचान लो
रगों की छाँव धूप में
वो आया है नए रूप में
वो॰ ॰ ॰ है एक बहरूपिया
उसे जान लो
पहचान लो
उसे जान लो॰॰ओ
पहचान लो
उसे जान लो॰॰ओ
पहचान लो

तुम ढ़ोंगी हो तो हम भी कुछ कम नहीं
तुमने जाल बिछाया है तो ग़म नहीं
हे हे
तुम ढ़ोंगी हो तो हम भी कुछ कम नहीं
तुमने जाल बिछाया है तो ग़म नहीं
इन बातों में दम नहीं
डरने वाले हम नहीं
हमें जान लो
पहचान लो
रगों की छाँव धूप में
मैं आया हूँ नए रूप में
मैं॰ ॰ ॰ हूँ एक बहरूपिया
मुझे जान लो
पहचान लो
मुझे जान लो
पहचान लो


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3727 Post No. : 14666

Today, October 1st is the birth anniversary of two iconic personalities of Hindi film music. Both started their career in Hindi film industry in Bombay (Mumbai) in 1946 – one as a music director and the other as a lyricist. Yes, it is Sachin Dev Burman’s 112th birth anniversary and Majrooh Sultanpuri’s 99th birth anniversary. Both have been my favourites amongst the music directors and lyricists of the golden era of Hindi film music. Both seem to have been made for each other. SD Burman was one of the earliest pioneers in introducing the concept of ‘tune first lyrics later’ in Hindi film music while Majrooh Sultanpuri was master in writing lyrics to the tune.

I found both of them to be non-conformists in their respective fields.  SD Burman’s compositions did not leave trails to identify them as SD Burman type of music. In my younger days, it was not easy for me to identify the songs composed by SD Burman. Had I not known in advance, I would have difficulties in knowing that songs of ‘Baazi’ (1951), ’Pyaasa’ (1957) and  ‘Nau Do Gyarah’ (1957) were composed by the same music director. Majrooh Sultanpuri on the other hand wrote lyrics of varied moods and of all genres with ease. Another common factor between these two stalwarts was that both were called as ‘old man with young heart’. If SD Burman could composed Roop Tera Mastaana at the age of 64, Majrooh Sultanpuri wrote lyrics for Raat Shabnami Bheegi Chaandni at the age of 77.

Despite both SD Burman and Majrooh Sultanpuri starting their filmy career in 1946, it took about 11 years for both of them to work together in Navketan’s  ‘Nau Do Gyaarah’ (1957), though the other collaboration, ‘Paying Guest’ (1957) was released first. The main reason was that SD Burman was already working with Sahir Ludhianvi since 1951. It was only when SD Burman stopped engaging Sahir after ‘Pyaasa’ (1957) that he found Majrooh Sultanpuri as a suitable lyricist partner. From 1957 till SD Burman’s death in October 1975, both of them worked together in 20 films composing 137 songs.

I have already written about Majrooh Sultanpuri last year while covering the song Nanha Mora Doley Mori Anganiaa. So in this article, I propose to discuss only the musical career of SD Burman.

Sachin Da (1/10/1906 – 31/10/1975) was born in Comilla, a part of Tripura at that time (now in Bangladesh). He belonged to Tripura’s royal family in which his father, Nabadwip Chandra Dev Burman, was the next in line to Tripura Royalty. However, due to some palace machinations, Nabadwip Burman was denied his right as the next king of Tripura because of which he along with his family shifted to Comilla. SD Burman’s childhood years in Comilla became his training ground for music as he became enthralled by the folk music of what was then known as East Bengal.

After graduation from a Comilla college, SD Burman enrolled for Master’s degree in English in the University of Calcutta in 1924. However, he soon gave up his studies to become the disciple of Krishna Chandra Dey (KC Dey). Later, he continued his musical training under Ustad Badal Khan and Pandit Bhishamdev Chatopadhyay.  The royal family of Tripura were the connoisseurs of Hindustani classical music. They resented SD Burman’s indulgence in singing and recording folk songs for earning as it was below dignity for a royal member of family to earn from the music. They also felt that folk songs were not meant for royalty as they were sung by the lower strata of the society. Because of this, SD Burman did not get the traditional royal welcome when he visited Agrtala after his marriage with Meera in 1938.

In 1932, SD Burman left Tripura for Calcutta (Kolkata) for pursuing his interest in music. In the same year, he approached HMV for his first recording of a non-filmy Bengali song. However, he failed in the audition test. Luckily for him, Hindustan Musical Products (Hindustan Records) offered to record his first gramophone song. The song became a major success for Hindustan Records. During 1932-1946, SD Burman recorded over 100 non-films, mostly Bengali and some filmy Bengali songs most of which became commercially successful.

Despite success as a singer in non-film songs, SD Burman had to face disappointment in 1933 when a song sung by him in the film ‘Yahudi Ki Ladki’ (1933) was deleted and was recorded afresh in the voice of Pahadi Sanyal due to the internal politics of New Theatre. In 1935, SD Burman got an opportunity to do a minor role of a beggar in Madhu Bose’s film ‘Selima’ (1935) in which he was to sing a song. At first, SD Burman refused telling that he would be ostracised from the Tripura royal family if they came to know that he was working in a film. However, Madhu Bose assured him that no one would recognise him in his make-up of a beggar with beard and moustache. So this became SD Burman’s first film song as an actor-singer.

Sometime in 1942, SD Burman got an offer from Chandulal Shah to join Ranjit Movietone as music director. The offer was declined as he did not relish the idea of leaving Kolkata. In the next two years, he found that he was not able  to get enough opportunity to compose music for Bangla films as all important banners had their own music directors in their pay rolls. These music directors would offer him to sing as a playback singer which he would not agree as his wish was to become a music director. At this juncture, he took a decision that he would not sing for any other music directors and he would sing his own compositions for films not as a playback singer but as background singer. He maintained that stand consistently after he became a part of the Bombay (Mumbai) film industry in 1946.

In early 1940s, Bengal was reeling under the worst famine. The film industry was adversely affected. There was an exodus from Kolkata to Mumbai film industry for a different reason. SD Burman knew that despite his liking for Kolkata, he had to move to Mumbai to be able to achieve his dream of becoming a music director. In October 1944, SD Burman along with his family landed in Mumbai on the invitation from Rai Bahadur Chunnilal and Sashadhar Mukherjee who had formed Filmistan with Ashok Kumar, Gyan Mukherjee and other technicians, a breakaway group from Bombay Talkies.  Burman joined Filmistan as music director.

In Mumbai, SD Burman’s greatest handicap was his inability to fully understand Hindi, leave aside Urdu.  This handicap willy-nilly made him the pioneering in ‘tune first lyrics later’ concept in Hindi film song compositions. It is said that in his first two films with Filmistan, C Ramchandra helped SD Burman in music arrangements. I guess, as a newcomer, it was difficult for him to arrange musicians and communicate with them.

His first film as a music director was ‘Shikaari’ (1946) followed by ‘Aath Din’ (1946), both produced under the banner of Filmistan.  The music of ‘Shikari’ (1946) did not create much interest in the common public though studio hands appreciated newness in his music compositions. However, songs of ‘Aath Din’ (1946) especially two songs sung by SD Burman and Pehle Na Samjhaa Pyaar Tha by Ameerbai Karnataki became popular and made him a different class of music director well-versed with the then East Bengal folk music.

SD Burman was not satisfied with his music in these two films as he did not find anyone in the streets singing his songs. On the contrary, he found his servant always humming the songs from ‘Rattan’ (1944). He felt that unless his songs became popular on the streets, his presence as a music director would never be felt in Bombay film industry.

In the meanwhile, Sashadhar Mukherjee allowed him to take up the music direction in the films outside Filmistan. In 1947, he did two films outside Filmistan – ‘Chitor Vijay’ (1947) and ‘Dil Ki Rani’ (1947) both having Raj Kapoor and Madhubala as lead pairs. Neither the films fared well on the box office front nor did the songs become popular. The only point of interest in ‘Dil Ki Rani’ (1947) was that SD Burman made Raj Kapoor to sing in his own voice a song, O Duniya Ke Rehne Waalo Bolo Kahaan Gaya Chitchor.

Filmistan entrusted SD Burman with the music direction of ‘Do Bhai’ (1947). Sashadhar Mukherjee was a hard task master who rarely got satisfied with the tunes SD Burman composed for this film. Fed up with the constant rejections of tunes by Sashadhar Mukherjee, one day, SD Burman decided to have a show down with his boss. Probably after that he would think of leaving Filmistan and go back to Kolkata. To his surprise, Sashadhar Mukherjee at once approved the first tune he played on the harmonium and asked him record the song at the earliest. The song was Mera Sundar Sapna Beet Gaya sung by Geeta Roy (later Dutt). This song made Geeta Roy a star playback singer overnight. The film was a box office success. For the first time, SD Burman heard his servant humming this song which made him very happy. In 1948, he composed songs from ‘Vidya’ (1948). It was his first film with Dev Anand and Suraiya. The film did not fare well on the box office but one song  Laayi Khushi Ki Duniya, picturised on Dev Anand and Suraiya, became very popular.

Filmistan’s ‘Shabnam’ (1949) can be regarded as SD Burman’s first real successful film as a music director as all the songs of the films became very popular. For SD Burman, it was one of his most satisfying period of his musical career as he found the songs of ‘Shabnam’ being heard on the street quite often. He even heard the labourers at Bandra Railway Station, singing one of the songs from this film in tandem with their track maintenance work.

In 1950s, SD Burman did not have much success as a music director. ‘Afsar’ (1950) was his first film for Navketan – a film production company started by Chetan Anand and Dev Anand. The film did not fare well at the box office although two songs – Naina Deewaane Ek Nahin Maane and Man Mor Huaa Matwaala became popular. ‘Pyaar’ (1950) also did not have a great run. SD Burman was now depressed that even after 5 years of his stint as a music director in Bombay film industry, he has not established himself as a successful music director. With this thought in mind, he decided to leave Mumbai and return to Kolkata.

At that time, Ashok Kumar was reviving Bombay Talkies by producing ‘Mashaal’ (1950) for which SD Burman was entrusted with the music direction. His leaving at a crucial juncture would have affected the film. After much persuasion by Ashok Kumar, SD Burman stayed back to complete the music direction of the film with a condition that after the completion of his work, he would return to Kolkata.

It so happened that ‘Mashaal’ (1950) became a box office hit film. Almost all the songs of the film became very popular. But it was Manna Dey’s song,  Upar Gagan Vishaal which drew attention of the common folk. With this song, Manna Dey seemed have announced that he had, at last, arrived in the world of Hindi film music. Manna Dey had worked as an Assistant Music Director for SD Burman but he got his first chance to sing under his baton only in ‘Mashaal’ (1950).

With the success of ‘Mashaal’ (1950), producers lined up for signing SD Burman for their films which included ‘Bahaar’ (1951), ‘Buzdil’ (1951), ‘Ek Nazar’ (1951), ‘Naujawaan’ (1951) and ‘Sazaa’ (1951). All these films had very popular songs some of which are still remembered today like Sainya Dil Mein Aana Re, Jhan Jhan Jhan Jhan Paayal Baaje, Thandi Hawaayen Lehra Ke Aayen and Tum Na Jaane Kis Jahaan Mein Kho Gaye.

But one film SD Burman  did in 1951 gave a tremendous boost to his career as a music director – it was Navketan’s ‘Baazi’ (1951). It was Guru Dutt’s first directorial venture. SD Burman’s musical treatment in this film was quite a contrast to what he had so far churned out. There were no Bengali traces in the songs. Instead, he predominantly used western and Punjabi beats. In fact, he turned Sahir Ludhinavi’s philosophical ghazal, Tadbeer Se Bigdi Huyi Taqdeer Banaa Le  into a seductive club song. All the songs of ‘Baazi’ (1951) became super hits. The success of ‘Baazi’ (1951) made SD Burman almost a permanent fixture with Navketan Banner until ‘Chhupa Rustom’ (1973). By now, he had dropped the idea of shifting to Kolkata.

The musical success of ‘Baazi’ (1951) created a successful pair of Sahir Ludhianvi and SD Burman. During 1951-57, both of them created 138 songs in 18 films. Unfortunately, due to clash of egos, they did not work together after ‘Pyaasa’ (1957).

I will not go into further details of his successful films as they are in large numbers. But there are a few films which I consider as classic insofar as SD Burman’s music is concerned. They are ‘Taxi Driver’ (1954), ‘Pyaasa’ (1957), ‘Nau Do Gyaarah’ (1957), ‘Paying Guest’ (1957), ‘Kaala Paani’ (1958), ‘Sujata’ (1959), ‘Kaala Baazar’ (1960), ‘Bandini’ (1963) ‘Tere Ghar Ke Saamne’ (1963), ‘Guide’ (1965), ‘Aradhana’ (1969), ‘Prem Pujari’ (1970), ‘Sharmilee’ (1971), ‘Tere Mere Sapne’ (1971), and ‘Abhimaan’ (1973). But within these films, there were high points in SD Burman’s musical career – ‘Baazi’ (1951), ‘Pyaasa’ (1957), ‘Guide’ (1965), ‘Aradhana’ (1969) and ‘Abhimaan’ (1973).

During 1946 until his death in October 31, 1975 SD Burman composed music for 90 films (including one unreleased film) comprising 673 songs (666 songs if I exclude 7 songs from the unreleased film). This gives an annual average of 3 films. According to those who had closely worked with SD Burman, he would consider him to be ‘busy’ if he had two films on hand. He considered himself ‘very busy’ if he had 3 films on hand. He would not take any more musical assignments until he completed one of the three films on hand. So the annual average of 3 films are within the parameter he set for himself.

It was during the recording the song, Badi Sooni Sooni Hai Zindagi Ye Zindagi  from ‘Mili’ (1975) that SD Burman got paralytic attack and was shifted to Bombay Hospital. Later, RD Burman completed the recording of the song. What an irony! When Kishore Kumar was singing this song for recording, his mentor was in the hospital in deep coma. SD Burman remained in coma for the next 5 months until his end came on October 31, 1975.

Since the article has already become very lengthy, I propose to write a second part of the article covering some other aspects of SD Burman’s Hindi film music on his Remembrance Day on October 31, 2018. There are hundreds of anecdotes in the life of SD Burman – some known and some unknown to me – which makes his musical journey very interesting. While Gulzar called him ‘Prince of Music’, Pandit Hari Prasad Charasia referred him as ‘Sangeet Sant’ (Saint of Music). Kersi Lord, who worked with SD Burman as a drummer and later as an accordionist for a very long time, called him ‘an old man with a young heart’ insofar as his music was concerned. Pandit Shiv Kumar Sharma, the santoor player called SD Burman as a wonderful person with child-like innocence.

I will end this article with a statement that SD Burman was a music director who remained at the zenith of his musical career in Hindi film industry since the success of ‘Baazi’ (1951) until his death on October 31, 1975. Even 5 year hiatus with Lata Mangeshkar (1957-62) did not affect his musical career. Some of the films for which SD Burman composed music may have failed at the box office but his music did not fail.

On the occasion of 112th birth anniversary of SD Burman and 99th birth anniversary of Majrooh Sultanpuri, I present one of their creations from ‘Sitaaron Se Aage’ (1958). The film was produced by VL Narasu, a coffee plantation magnate from the South India. The film starred Ashok Kumar, Vyjayantimala, Jagdish Sethi, Johny Walker, Shammi, Iftekhar, Raja Sulochana, Leela Mishra, Manmohan Krishna etc.

The film seems to have jinxed from the very beginning. Gyan Mukherjee was originally assigned to direct the film. He had even completed musical sitting with SD Burman. The film went into shooting floor in 1956. However, Gyan Mukherjee fell ill and was diagnosed with brain tumour. He was also afflicted by Parkinson’s disease. He passed away in November 1956. Ashok Kumar had to rope in Satyen Bose to direct the film (As revealed by late Sachin Bhowmick and quoted in ‘SD Burman – The Prince Musician’ – Anirudh Bhattacharjee & Balaji Vittal (2018).

During the making of the film, SD Burman got into tiff with Lata Mangeshkar on the issue of re-recording of the song, Sainya Kaise Dhaaroon Dheer as he wished to record the song afresh with some changes in the tune. Since Lata was leaving for a foreign trip, she could not give him the date, nor she could commit to give a priority date on her return from the trip. This enraged SD Burman to such an extent that he stopped engaging Lata Mangeshkar as a playback singer for the next 5 years. He got the above-mentioned song recorded in the voice of Asha Bhonsle. But she could not render the song the way S D Burman wanted. So he retained the originally recorded Lata version for the film. The remaining songs which were to be sung by Lata in the films were rendered by Asha Bhonsle (3) and Geeta Dutt (1).

After about 8 years from this incidence, SD Burman got his original wish fulfilled. Lata Mangeshkar recorded a song based on the tune of the song referred to above. The result was the culmination of a new song for the film ‘Guide’ (1965). The song was Mo Se Chhal Kiye Jaaye Dekho Sainya Beimaan. Incidentally, as I checked from the credit titles, Hiralal was one of the choreographers for both ‘Sitaaron Se Aage’ (1958) and ‘Guide’ (1965).

‘Sitaaron se Aage’ (1958) got delayed and finally released sometime in early 1958. The film was a musical extravaganza with Vyjayantimala performing a number of semi-classical dances in the film. A feature of the songs in this film was that  SD Burman used Western scores in a couple of songs like Chanda Ki Chaandni Ka Jaadoo and Mehfil Mein Aaaye Wo Aaj Dheere Se that sounded like waltz music.

So far 7 songs (out of 9 including one multiple version song) from this film have been covered in the Blog. I present the 8th song – ‘Aa Khilte Hain Gul, O Mere Bulbul’ sung by Lata Mangeshkar. The song was written by Majrooh Sultanpuri and picturised on Vyjayantimala as a dance song. The song is not only melodious but rhythmic as well.

[Author’s Note: Some of the information on SD Burman’s early life and early musical career has been sourced from ‘SD Burman – The World of His Music’ by Khagesh Dev Burman (translated from Bengali by SK Ray Chaudhuri), 2013.]

(Video)

(Audio)

Song – Aa Khilte Hain Gul, O Mere Bulbul (Sitaaron Se Aage) (1958) Singer – Lata Mangeshkar, Lyrics – Majrooh Sultanopuri, MD – SD Burman
Chorus

Lyrics

aa khilten hain gul
o mere bulbul
rut hai jawaan
tu hai kahaan
dilruba aa aa aaa
aa khilten hai gul
o mere bulbul
rut hai jawaan
tu hai kahaan
dilruba aa aa aaa
aa khilten hai gul
ho oo mere bulbul
mil jaa gale
kahin ye milan ki 
rut na dhale
mil jaa gale
kahin ye milan ki 
rut na dhale
 
o o o o
o o o o o 
wohi teri raahen
wohi meri aahen
wohi main hoon
wohi dil mera
o
wohi teri raahen
wohi meri aahen
wohi main hoon
wohi dil mera
wohi teri baaten
wohi meri raaten
wohi rang e mehfil mera
rah ke juda
dil na dukha
aa bhi jaa aa aa aaa
aa khilten hain gul
o mere bulbul
jiyara jaley
piya kabhi apne
din thhe bhale
o jiyara jaley
piya kabhi apne
din thhe bhale
rut hai jawaan
tu hai kahaan
dilruba aa aa aaa
aa khilten hain gul
o mere bulbul
 
aa aa aa aa
aa aa aa aaa
aa aa aa aa
aa aa aa aaa
aa aa aa aa

o o o o
o o o
raah teri takta
gham se sulagta
chaand bechaara kahaan gaya
o raah teri takta
gham se sulagta
chaand bechaara kahaan gaya
tu hi nahi aaya
dhal gaya saaya
yahaan ka taara wahaan gaya
raat dhali
jhoom chali
phir hawaa aa aa aaa
aa khilten hain gul
o mere bulbul
tum na miley
khadi khadi jaloon piya
chanda taley
ho tum na miley
khadi khadi jaloon piya
chanda taley
rut hai jawaan
tu hai kahaan
dilruba aa aa aaa
aa khilten hain gul
o o mere bulbul. . .

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

आ खिलते हैं गुल
ओ मेरे बुलबुल
रुत है जवां
तू है कहाँ
दिलरुबा आ आ॰॰आs
आ खिलते हैं गुल
ओ मेरे बुलबुल
रुत है जवां
तू है कहाँ
दिलरुबा आ आ॰॰आs
आ खिलते हैं गुल
हो ओ मेरे बुलबुल
मिल जा गले
कहीं ये मिलन की
रुत ना ढले
मिल जा गले
कहीं ये मिलन की
रुत ना ढले

ओ ओ ओ ओ
ओ ओ ओ ओ ओ
वही तेरी राहें
वही मेरी आहें
वही मैं हूँ
वही दिल मेरा

वही तेरी राहें
वही मेरी आहें
वही मैं हूँ
वही दिल मेरा
वही तेरी बातें
वही तेरी रातें
वही रंग ए महफिल मेरा
रह के जुदा
दिल ना दुखा
आ भी जा आ॰॰आ॰॰आ
आ खिलते हैं गुल
ओ मेरे बुलबुल
जियरा जले
पिया कभी अपने
दिन थे भले
जियरा जले
पिया कभी अपने
दिन थे भले
रुत है जवां
तू है कहाँ
दिलरुबा आ आ॰॰आs
आ खिलते हैं गुल
ओ मेरे बुलबुल

आ आ आ आ
आ आ आ आss
आ आ आ आ
आ आ आ आss
आ आ आ आ

ओ ओ ओ ओ
ओ ओ ओ
राह तेरी ताकता
ग़म ये सुलगता
चाँद बेचारा कहाँ गया
ओ राह तेरी ताकता
ग़म ये सुलगता
चाँद बेचारा कहाँ गया
तू ही नहीं आया
ढाल गया साया
यहाँ का तारा वहाँ गया
रात ढली
झूम चली
फिर हवा आ॰॰आ॰॰आs
आ खिलते हैं गुल
ओ मेरे बुलबुल
तुम ना मिले
खड़ी खड़ी जलूँ पिया
चंदा तले
हो तुम ना मिले
खड़ी खड़ी जलूँ पिया
चंदा तले
रुत है जवां
तू है कहाँ
दिलरुबा आ आ॰॰आs
आ खिलते हैं गुल
ओ ओ मेरे बुलबुल॰ ॰ ॰


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3713 Post No. : 14640

# Superstar Child Artist – Jr. Mehmood # 4
————————————————–
(Rafi Sings for Jr. Mehmood # 3)
————————————-
Greetings to all for the ongoing ‘Ganesh Festival’…!!!

I have many fond memories of ‘Ganpati Utsav’ being held in our colony premises and the ‘various cultural programs’ held during the ‘ten-day’ festival.

For us children then, the main attractions were ‘Orchestras’, ‘Dramas’ and a ‘movie’ if at all it could be arranged and screened in open ground and where we used to watch it from either side of the screen.:)

Among the other programs like ‘orchestra’ and ‘drama’ which would be performed by artists coming from different locations there was also a ‘drama’ and ‘cultural program’ by artists from our colony and students from schools. I was always a part of the ‘drama’ team of juniors as a ‘performer’ and also was a part of the ‘seniors’ for ‘prompting’ behind the stage if some artist forgot the ‘dialogues’. My voice was suitable for that purpose at that time. 🙂

That reminds me of one of my friends who used to do mimicry of Mehmood and Junior Mehmood on stage during such programs. And that also reminds me of ‘the musical nights being held that time with some special star also performing therein’. But, since such programs would be held at the city about 25/30 kms from the place we were staying then, it was not possible for us children to attend such programs.

Junior Mehmood was among the ‘star performer’ in those years and that reminder bring us to this fourth article in the series of articles covering songs performed by or picturized on Junior Mehmood and lip synced by him on screen in Hindi Movies.

Initially I started this series discussing the songs sung by Rafi Saab for Junior Mehmood and the following two songs sung by Rafi Saab for Junior Mehmood have been discussed earlier;

1) Lagey koi lottery koi jackpot lagey (Rivaaz)(1972)

2) Na Koi Paisa Na Ilm Banaao Bambai Mein Film (Bansi Birju) (1972)

Thereafter we extended this series to cover the songs sung by other singers (mainly female singers, I think so 🙂 ) for Junior Mehmood. And those songs which are yet to be discussed on the blog.

Thus, we have the following song as the third post in this series which was posted on 15th November, 2017;

3) Mera Naam Hai Mehmood.

Today’s song is from the movie ‘Tanhaai-1972’.

‘Tanhaai-1972’ was ‘S.B. Films’ presentation, directed by Jagdish Nirula for ‘Chitrashala, Bombay’. This film was produced by S.I. Shivadasani.

It had Rehana Sultan, Anil Dhawan, Shatrughan Sinha, Jagdev, Lakshmi Chhaya, Iftekhar, Poornima, Dulia, Randhir, Baby Chintu, Lalita Kumari, Jankidas, Moolchand, Arpana, Master Shahid, Jagdish Raj, Kirti, Madhu, Jery, Bhola
And Mehmood Junior.

The movie introduced Ashok Khanna.

Story & Screenplay of this film was by Sadhram Sapru. Its dialogues were written by Qamar Jalalabadi. Editing for this movie was done by Govind Dalwadi.

Its music was composed by Usha Khanna and the four songs of this film were penned by Asad Bhopali – three songs and Amanullah Khan Aman – one song.

The film had three solo songs- two by Asha Bhonsle, one by Kishore Kumar which has already been discussed here, and one song sung by Mohd Rafi, Usha Khanna (and Junior Mehmood (as per HFGK), however the titles of this movie did not mention the name of Junior Mehmood under ‘Playback’.

The film was passed by Censor Board on 23rd October’1972.

As per the filmography of Jr. Mehmood available on various sources on the internet he acted in many movies since his first release to this movie “Tanhaai-1972”.
However, these sources where his filmography has been mentioned does not mention the name of this movie ‘Tanhaai-1972’ in their list. (So, the complete list of his movies/filmography needs to checked and authenticated to have accurate number of movies if we need to discuss them year wise.)

Also, till the release of this movie “Tanhaai-1972” Junior Mehmood was a part of many movies which were successful at the box office and he was seen in many Rajesh Khanna movies like ‘Do Raaste-1969’, ‘Aan Milo Sajna-1970’, ‘Kati Patang-1970’, ‘Haathi Mere Saathi-1971’, ‘Chhoti Bahu-1971’, ‘Dil Daulat Duniya-1972’ and other movies.

I had mentioned in my earlier post and many of us are aware of that Junior Mehmood shot to fame from the ‘1968 movie – Brahmachari’ where he performed on Mehmood’s famous ‘ham kaale hain to kya huaa dilwaale hain’ from ‘Gumnaam-1965’’.

He repeats once again performing on Mehmood’s famous ‘mehbooba mehbooba bana leo mujhe dulha’ from ‘Saadhu Aur Shaitaan-1968’ in the movie ‘Johar Mehmood in Hong Kong-1971’ where on screen he performs in the presence of his guru Mehmood and I.S.Johar. (Peevesie’s Mom ji have recently discussed this song from ‘Saadhu Aur Shaitaan-1968’ on the blog).

Mehmood Fans and moviegoers are well aware of Mehmood’s – ‘Kapoor’s three generation act- Prithviraj, Raj and Randhir, in the song ‘Ye kaisa aayaa zamaanaa…’, in the movie ‘Hamjoli-1970’.

Surprisingly this song is yet to be posted on the blog. (may be Mehmood fans in the group are aware and want to give us a surprise 🙂 )

Junior Mehmood tried to repeat a similar act in the song ‘birhaa ki rain’ which is being presented here today.

Taking inspiration from the above song from ‘Hamjoli-1970’ and continuing his ‘genius’ further, and in fact going a step further of his Guru Mehmood, Junior Mehmood did this ‘four roles’ (additionally enacting a female artist, Aruna Irani, I guess…) act in today’s song.

Initially I had planned this song post to be shared in Oct’15 and it was then that the first draft of this article was prepared, however later it got delayed and the song from the movie ‘Baalak-1969’ was posted.

I have not watched this movie ‘Tanhaai-1972’, however our beloved Raja Saab had mentioned of watching this movie in his post presenting the first song from this movie – ‘saawan mein kahin aag na lag jaaye chaman ko’ on the blog.

Let us now enjoy today’s song …

Video

Audio

Song-Birha ki rain sooni sooni sejariya (Tanhaai)(1972) Singers-Rafi, Usha Khanna, Jr Mehmood, Lyrics-Asad Bhopali, MD-Usha Khanna
Rafi + Usha Khanna
Chorus

Lyrics

Aa aa
Aa aa aa aa aa aa aa
Aa aa aa aa aa
Aa aa aa aa aa aa aa
Aa aa aa aa aa aa aa

Birhaa ki rain
Sooni sooni sejariya
Birhaa ki rain
Sooni sooni sejariya
Birhaa ki rain

Raama ghazab dhaaye
Mori baali umariya aa aa
Birhaa ki rain
Sooni sooni sejariya aa aa
Birhaa ki rain

Pa ma ga ma paa paa paa
Pa ma ga ma paa paa paa
Aa aa aa aa aa aa aa
Aa aa aa aa aa
Birhaa ki rain
Birhaa ki rain
Birhaa ki rain

O my god
Grandfather
Tum gaata hai ke rota hai
Idhar ko headache hota hai
Sister, come on!!
One two three four

Paa paa
Du daa daa du
Dada dada aa
Du daa daa du
Paa paa
Du daa daa du
Dada dada aa
Du daa daa du
La laa
la la la laa
La la la la la laa
La la la la la laa

Tum hai seedha saadaa
Tum kya jaano new age ki bhaasha aa

Tum hai seedha saadaa
Tum kya jaano new age ki bhasha
Aaj kal ke
Gora gori
Gora gori
Chori chori
Kyun gaate hain gaana aa
Laa laa aa
Laa laa aa
Laa laa

la la la laa aa
la la la laa aa

Arey muniya
Arey Munna
Chup karo re
Chup karo
Chup

Sharm tum ko na aataai
Hungaamaa kyon machaatai
Dilaa kaaikon jalaatai
Bazurgaa ko sataatai
Sharm tum ko na aatai
Hungaamaa kyon machaatai
Dilaa haiku jalaatai
Bazurgaa ko sataatai
Nako buri baataan
Nako buri baata
Nako buri baata
nako o

Gaao na baba
Phir se gaao na
gaao na

O sister
Ye grandfather todta hai music ka taang
Ham log gaayenga beautiful song

Tum par ab aaj
Aaj hai apna raaj
Tum par ab aaj
Aaj hai apna raaj

Chhodo kal ka raag puraana
Father ye hai nayaa zamaana
Dekho dekho
Naach dekho
Dekho dekho
Naach dekho
Dekho dekho
Naach dekho
Dekho dekho
Naach dekho

Arre muniya
chup kar ja
Munne
chup kar ja
Arrey
Arrey
Achchha achchha
Gaa lo
Pet bhar ke gaa lo
Main jaata hoon
Jaata hoon
Jaata hoon

————————————————
Devnagri Script lyrics(Provided by Avinash Scrapwala)
———————————————–
आ आ
आ आ आ आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ आ आ
आ आ आ आ आ आ आ

बिरहा की रैन
सूनी सूनी सेजरिया
बिरहा की रैन
सूनी सूनी सेजरिया
बिरहा की रैन

रामा गज़ब ढाए
मोरी बाली उमरिया आ आ
बिरहा की रैन
सूनी सूनी सेजरिया आ आ
बिरहा की रैन

प् म ग म पा पा पा
प् म ग म पा पा पा
आ आ आ आ आ आ आ
आ आ आ आ आ

बिरहा की रैन
बिरहा की रैन
बिरहा की रैन

ओ माय गॉड
ग्रैंडफादर
तुम गाता है के रोता है
इधर को हेड़ेक होता है
सिस्टर, कम ऑन
वन टू थ्री फोर

पा पा
दु दादा दु
दादा
दु दादा दु
पा पा
दु दादा दु
दादा
दु दादा दु
ल ल ल ल ल ला
ल ल ल ल ल ला
ल ल ल ल ल ला
ल ल ल ल ल ला

तुम है सीधा सादा
तुम क्या जानो न्यू ऐज की भाषा आ

तुम है सीधा सादा
तुम क्या जानो न्यू ऐज की भाषा आ
आज कल के
गोरा गोरी
गोरा गोरी
चोरी चोरी
क्यूँ गाते है गाना आ
ला ला आ
ला ला आ
ला ला
ल ल ल ला आ
ल ल ल ला आ

अरे मुनिया
अरे मुन्ना
चुप करो रे
चुप करो
चुप

शर्म तुम को न आताई
हंगामा क्यों मचाताई
दिला कैको जलाताई
बुज़ुर्गा को सताताई
शर्म तुम को न आताई
हंगामा क्यों मचाताई
दिला कैको जलाताई
बुज़ुर्गा को सताताई

नको बुरी बाता
नको बुरी बाता
नको बुरी बाता नको ओ

गाओ न बाबा
फिर से गाओ न
गाओ न

ओ सिस्टर
ये ग्रैंडफादर तोड़ता है म्यूजिक का टांग
हम लोग गायेगा ब्यूटीफुल सॉंग

तुम पर अब आज
आज है अपना राज
तुम पर अब आज
आज है अपना राज

छोडो कल का राग पुराना
फादर ये है नया ज़माना
देखो देखो
नाच देखो
देखो देखो
नाच देखो
देखो देखो
नाच देखो
देखो देखो
नाच देखो

अरे मुनिया
चुप कर जा
मुन्ने
चुप कर जा
अरे
अरे
अच्छा अच्छा
गा लो
पेट भर के गा लो
मैं जाता हूँ
जाता हूँ
जाता हूँ


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3620 Post No. : 14427

16th June is the birthday of the disco dancer who had to struggle a lot in his career initially. But then “sabr’ ka phal meetha hota hai” and his stars changed after the success of B. Subhash’s “Disco Dancer” in 1982.

We are today wishing Gourang Chakraborty a.k.a Mithun Chakravarty on his 68th birthday.

He was a graduate from FTII and was the national award winner for his debut movie “Mrigaya” (1976) which was a Mrinal Sen direction. Then followed a spate of successful and semi-successful movies “Suraksha”, “Wardat”, “Wanted”, “Pyar Jhukta Nahi”, “Prem Vivah” etc. The last 2 named showcased him in characters that were diametrically opposite to what he played in the action-packed “Suraksha”, “Wardat” (a sequel to Suraksha) & “Wanted”. All these movies made him dear to those producers who couldn’t afford big stars like Amitabh Bachchan etc., as most of his successful movies were low-budget films to start off but in raked in the moolah at the Box-Office and that is what matters in the final analysis. The success of “Disco Dancer” went on to endorse his style of acting and dancing and youngsters copy his style to this day. He must have done close to 100 movies in the 90s itself in spite of it being the period when the Khans were on their upward movement. The turn of the millennium saw him in supporting roles that were comic, villainous, benevolent etc.

Rohit Shetty’s “Golmaal 3” had him re-visiting his “Disco Dancer” where he danced the song that made him popular. It was re-recorded and reshot with a few changes- the original was a stage song; this one was in a discotheque. And after the song we have a typical Indian film scene where the heroines’ rich father asks him to forget the girl in exchange for money & the self-respecting (swabhimaani) hero refuses to take the money. All-in-all a hilarious tribute to everything that Bollywood and Indian movies showcase.

Todays’ song from “Disco Dancer” is sung by Vijay Benedict written by Anjaan and music is by Bappi Lahiri. Kamal and Suresh Bhatt were the choreographers for the movie. People say that this song changed Bappida’s fortunes. Also though there are many who will cry that this movie and its songs changed the face of Bollywood music. But I will not get into that debate here. Let us all just say Happy birthday Mithunda. 🙂


Song-I am a disco dancer (Disco Dancer)(1982) singer-Vijay Benedict, Lyrics-Anjaan, MD-Bappi Lahiri

Lyrics

Wow!!
Will you sing with me?
yeaa

Say d
D
Say I
I
Say s
S
C
C
O
O
Disco
Disco
Disco
Disco
yeaa

I am a disco dancer
I am a disco dancer
I am a disco dancer
zindagi mera gaana
main isi ka deewaana
toh jhoomo toh naacho
aao mere saath nacho gaao
I am a disco dancer,
hey I am a disco dancer
hey I am a disco dancer

Doston
meri yeh zindagi
geeton ki amaanat hai
Main isi liye paida hua hoon
ye log kehte hain
main tab bhi gaata thha
jab bol paata nahin thha
ye paanv mere toh
tab bhi thhirakte thhe
jab chalna aata nahi tha
naghmon ki masti hai
meri jawaani mein
hai dance mere lahoo ki rawaani mein
ha ha ha ha ha
ooo
yahaan meri haar
oooo
yahaan meri jeet
ooo
yahi mere geet
toh jhoomo
toh naacho
aao mere saath naacho gaao
I am a disco dancer
I am a disco dancer
I am a disco dancer

d se kya hota hai
darling
aaha
deewana
aaha
disco
aaha
d se hota hai dance
i se hota hai item
s se hota hai singer
c se hota hai chorus
o se orchestra

o beautiful
whats your name?
Nisha
Tumhe maloom hai jawaani kya hoti hai
Mmm nahin maaloomhahahaha

jawaani ek lehar hai,
jawaani ek nasha hai
jawaani jis pe aata hai,
woh hi jaane ye kya hai
do din ki hasti mein
sadiyon ki masti hai
bindaas bawari jawaani,
dil pyase milte hain
aise jawaani mein
jaise mile aag paani
is umr mein kyun na,
manmaani kar jaayen
masti ki raahon mein,
had se guzar jaye
ha ha ha ha ha
o ho ho
jahaan mile pyaar
o ho ho
wahi mere yaar
o ho ho
ho jaaye nisaar
to jhoomo
to naacho
oo mere saath nacho gaao
I am a disco dancer
I am a disco dancer
I am a disco dancer
zindagi mera gaana
lalalala
main isi ka deewaana
lalalalala
to jhoomo
to naacho
aao mere saath naacho gaao
I am a disco dancer
I am a disco dancer
yea
I am a disco dancer

disco dancer
disco dancer
disco dancer
disco dancer

disco dancer
disco dancer
disco dancer
disco dancer
disco dancer
disco dancer
disco dancer
disco dancer
hey


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3589 Post No. : 14342

Hullo Atuldom

Back to writing after a gap of 3 weeks. Lovely three weeks. Spent among the hills of North- East India and South India. Must thank my nephew for insisting that I accompany them. If the Himalayas and its snow-clad peaks are a heavenly sight so are the mountain ranges of the Nilgiris in the south – the common feature being acres of tea gardens. For the second weekend outing to the Nilgiris, I hold my son and niece responsible.

Trust humans to spoil a good thing. Where there was a lot of discipline among the locals at both places; tourists have ruined Ooty as much as say Lonavla, Khandala or Mahabaleshwar in Maharashtra. Thankfully Sikkim has not faced much tourist onslaught and so is much cleaner. The air in these hill stations are so pollution free one doesn’t feel like returning to pavilion and the reality of daily routine. I am sure our Sadanand ji will be nodding in agreement being an avid traveller and having visited many such pristine locations. Hope I am right?

More about my travels some other time, I will get straight to the topic of this post.

This post is to wish the lady with the dazzling smile a very happy birthday. Unbelievable that she turned 51 yesterday. The dancer who out-dances her co-star without meaning to and effortlessly at that. But she is not all song and dance only; she is great in exhibiting all emotions with her eyes, face and voice. Just like the heroines of yesteryear, specially Madhubala, with whom she used to be constantly compared. Yes yes. I am speaking of Madhuri Dixit (now Nene). Having made her debut in movies through the 1984 Rajshri Productions ‘Abodh’ and tasting success with ‘Tezaab’, ‘Ram Lakhan’, ‘Tridev’, etc. she made a place for herself among the top-ranked heroines of Bollywood. Her teaming with Anil Kapoor, Sunny Deol, Sanjay Dutt, Govinda, Jackie Shroff (all the reigning stars of that period) was well received by the audiences. In the later half of the 90s she also teamed successfully with the 3Khans. She was lucky to have roles written specially for her as in Prakash Jha’s ‘Mrityudand’ and MF Hussain’s ‘Gaja Gamini’.

As much as I love Madhuri and her movies with their songs and dances, there are some songs of her’s which I don’t approve of. For example, her song in the movie ‘Anjaam’ – “Athraa Baras Ki Kunwaari Kali Thi. . . Choodi Tooti Chane Ke Khet Mein” or the song from ‘Khalnayak’ – “Choli Ke Peeche Kya Hai”; and then there is ‘Mera Piya Ghar Aaya O Ram ji” in ‘Yaarana’ or even “Dhak Dhak Karne Laga” from ‘Beta’. All these songs and some more of that type, which made Madhuri Dixit a dancing-star, are full of double meanings and were lapped up by the public. But there also is a greater number of Madhuri songs which are just as popular and have more ‘decent’ lyrics. For example, “Didi Tera Devar Deewana”, and her songs from ‘Devadas’, ‘Saajan’, ‘Sangeet’ etc. (no, I am not going to list her filmography here 🙂 ). The song with this post is one such song.

It is from Rajkumar Santoshi’s 2000 release ‘Pukaar’ (making a debut on the blog).  The main cast of this film is Madhuri with Anil Kapoor and Namrata Shirodkar and a supporting cast of Om Puri, Kulbhushan Kharbanda, Rohini Hattangadi, KD Chandran, Neeraj Vora, Danny and Prabhu Deva (just for a song). It is a well-made film based on espionage in the army and had a love triangle added for spice which gives the central characters a lot of scope to showcase their ‘sacrificing attitudes’. The songs are penned by Javed Akhtar and AR Rehman is the composer. This song is sung by Shankar Mahadevan and Kavita Krishnamurty. It is a stage show to celebrate some event in the army cantonment. The song shows Madhuri decently matching steps to Prabhu Deva’s vigorous dance. Anil Kapoor, Namrata and the other members of the cast are in the audience which join in towards the song’s climax.

Wish you a very Happy Birthday Madhuri!

Song – Que Sera Sera Sera, Jo Bhi Ho So Ho (Pukaar) (2000) Singer – Shanker Mahadevan, Kavita Krishnamurthy, Lyrics – Javed Akhtar, Kaly, MD – AR Rehman
Female Chorus
Male Chorus
All Chorus

Lyrics

naujawaano
baat maano
kabhi kisi se
na pyaar karna
naujawaano
baat maano
kabhi kisi se
na pyaar karna
hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho
hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho

pyaar zindagi
pyaar har khushi
pyaar jisne paaya hai,
wahi dil phool jaisa khila
pyaar galti hai
pyaar dhokha hai
pyaar dhalti chhaaya hai,
dekho phir na karna gila
oo oo
pyaar zindagi
pyaar har khushi
pyaar jisne paaya hai,
wahi dil phool jaisa khila
pyaar galti hai
pyaar dhokha hai
pyaar dhalti chhaaya hai,
dekho phir na karna gila
pyaar hi dhadakano ki kahaani hai,
pyaar hai haseen daastaan
pyaar ashqon ki deta nishaani hai,
pyaar mein hai chain kahaan
pyar ki baat jisne na maani hai
uski na to zameen hai na hai aasmaan
naujawaano
baat maano
kabhi kisi se
na pyaar karna
hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho
hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho

pyaar jaise hai purab-pashchim
pyaar hai uttar-dakkhin,
yahaan hai pyaar hi har disha
pyaar rog hai
pyaar dard hai
pyaar tode dil ek din
ye hi hai pyaar ka silsila
oo oo
pyaar jaise hai purab-pashchim
pyaar hai uttar-dakkhin,
yahaan hai pyaar hi har disha
pyaar rog hai
pyaar dard hai
pyaar tode dil ek din
ye hi hai pyaar ka silsila
pyaar se hi to rangeen jeevan hai
pyaar se hi dil hai jawaan
pyaar kaanto ka jaise koi ban hai
pyaar se hi gam ka samaan
pyaar se jaane kyon tum ko uljhan hai
pyaar to saari duniya pe hai meharbaan
naujawaano
baat maano
naujawaano

hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho
hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho

na na na na naujawaano
na na na na
na na na na
na na na na
na na na na
naujawaano
na na na na
na na na na
na na na na
na na na na
na na na na
na na na na
na na na na

hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho

hamein pyaar ka ho aasra
phir chaahe jo ho
hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho
hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho

pyaar pyaar pyaar pyaar pyaar pyaar

ok ok ok ok. . .

pyaar pyaar pyaar pyaar pyaar pyaar

hamein pyaar ka ho aasra
phir chaahe jo ho
hamein pyaar ka ho aasra
phir chaahe jo ho

hey que sera sera sera
jo bhi ho so ho
hamein pyaar ka ho aasra
phir chaahe jo ho
phir chaahe jo ho
phir chaahe jo ho
phir chaahe jo ho


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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 15000 song posts by now.

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