Archive for the ‘Sukhwinder Singh solo song’ Category
Baadal baadal chalen aasmaan mein
Posted on: August 26, 2023
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5517 | Post No. : | 17963 | Movie Count : |
4805 |
Deepti Naval is known for her roles in parallel/experimental Hindi films. After watching a couple of her TV interviews, I have come to know that she is a multi-faceted personality. Apart from acting, Deepti Naval is a writer and director. She is also a poet, a painter, and a photographer. Probably, she is the first Indian American who has been associated with Hindi films in India.
The Amritsar-born Deepti Naval had shifted to New York sometime in 1971 when her father had taken a teaching assignment. After completing her bachelor’s degree in fine arts from a college in New York, Deepti Naval was pursuing painting and poetry writing as hobbies. But she took a decision to be part of Hindi films in India. Her parents who were settled in the USA were taken aback as none of their family members were directly or indirectly associated with the film industry. Her father did not object to her chosen career provided she took it seriously. She was resolute that she would work only in meaningful roles in socially relevant films. Before she came to India in 1978, she had already listed the names of the directors with whom she would like to work, like Shyam Benegal, Hrishikesh Mukherjee, Gulzar, Basu Bhattacharya etc whose films she had watched while in the USA. In Mumbai, Deepti Naval was helped by her friend, playback singer Rano Mukherjee through her father, Hemant Kumar in introducing her to Hrishikesh Mukherjee who in turn introduced her to Basu Bhattacharya. But it was Shyam Benegal, who offered her a small role in ‘Junoon’ (1978) which also became her training ground.
Deepti Naval got her first lead role in Vinod Pande’s ‘Ek Baar Phir’ (1980). From ‘Kamla’ (1984) onwards, she switched over to accepting intense roles which included her roles in ‘Mohan Joshi Haazir Ho’ (1984), ‘Daamul’ (1985), Main Zinda Hoon’ (1988), ‘Didi’ (1995) etc. Until now, she has acted in nearly 80 films. She has also acted in TV Serials like ‘Sauda’ (1992), Muqammal’ (2003) and has directed TV Serial, ‘Chhota Sa Assmaan’ (1995). She has published ‘Lamha Lamha (1983)’, her collection of poems and has been holding her painting and photographic exhibitions periodically. In 2015, she made her theatre debut in the play ‘Ek Mulaqaat’ in which she played the role of the legendary author, Amrita Preetam.
I was not aware that Deepti Naval had produced and directed a full-length feature film until a few days back when I accidentally came across a song from that film. The name of the film was ‘Do Paise Ki Dhoop Chaar Aane ki Baarish’ (2009). Incidentally, Gulzar wrote a title song for the film which gives me an intuition that he may have suggested the title for the film. The main cast of the film consists of Manisha Koirala, Rajit Kapur and Master Sanaj Naval (nephew of Deepti Naval) supported by Saurabh Dubey, Rajendra Gupta, Usha Jadahv, Rajiv Kachroo, Ravi Khote etc. Milind Soman, Makrand Deshpande, Aly Khan, and Anoop Soni made their special appearances in the film.
The film was premiered at the Cannes International Film Festival in 2009. Thereafter, it was shown in a few more International Film Festivals around the world. The film won the Best Screenplay writing award for Deepti Naval at the New York International Film Festival in 2009. However, the film could not get a theatrical release in India. In 2019, the film was released on an OTT platform. I watched the film on one of the video sharing platforms where it was made available for viewing about a year back. My impression is that the film is mainly meant for the niche audience.
The crux of the film’s story is embedded in its title which broadly means that no matter how much heavy rains bring misery to the people, a small window of sunshine brings hopes and aspirations to the people. The film’s story centres around three main characters, Juhi (Manisha Koirala), Debu (Rajit Kapur) and Kaku (Master Sanaj Naval) who are facing different kinds of worries. Juhi is a call girl who is in her middle age. She is worried that as years pass, her demand from the clients would get reduced putting her in financial distress. Debu is a gay with effeminate behaviour who is trying his best to get a break in Bollywood as lyricist. His boyfriend has broken up with him, and Debu has become homeless. Kaku, the son of Juhi is handicapped. He is dumb and cannot walk. Most of the time, he is at home in a wheelchair. He does not get as much attention from his mother as he wishes as she is busy with her clients.
An accidental meeting of Debu with Juhi in a taxi leads to Debu finding a shelter in Juhi’s house. Homeless Debu gets a home to stay as a caregiver to Kaku and for doing other household work. Kaku gets company to indulge in activities which he could not have taken up alone. Juhi is relieved that there is at least Debu to take care of Kaku. All the three are bonding well. There is a role reversal as Debu becomes a homemaker while Juhi is a bread-earner. There are some frictions in Debu and Juhi’s relations as Juhi does not like Debu’s effeminate behaviour and Debu does not like Juhi’s seducing behaviour with him. At one time, there is a tension in Juhi that Kaku has become more close to Debu than her. Debu does not like Juhi to pursue her vocation as there are other ways of earning money. But each of them accepts their respective roles as there are limitations for any other alternatives. In the end of the day, they happily reconcile over a cup of tea as if they believe in the maxim in a verse from a Hindi film song :
thode shiqwe bhi hon kuchh shikaayat bhi ho
to mazaa jeene kaa aur bhi aataa hai
There are some poignant and melodramatic moments in the film, but they are presented in such a way that those scenes turn into light humourous situations. The film also makes a point that intimacy between man and woman need not to be physical.
A novel feature that has been adopted in the film is the use of a few lines of some Hindi film songs, mostly of the golden period of Hindi film music in place of background music which relevant in the scenes. In addition, Rajit Kapur and Manisha Koirala sing a few lines of half-a-dozen old Hindi films songs in their own voices which fit well into the situations in the film. There are a couple of scenes where Juhi and Debu exchange dialogues through the verses of popular Hindi film songs of the golden period. One can say that their liking for the old Hindi film songs is also one of the factors that bind them together.
Another interesting feature I find in this film is that most of the scenes are with the backdrop of Mumbai rains and the Bandra-Worli Sea Link (BWSL) which was under construction then. Probably, rain was used as a metaphor for misery of the three main characters in the film and BWSL, as metaphor for trying to establish a connection between three of them.
The film has four songs written by Gulzar (2), Irshad Kamil (1) and Deepti Naval (1). All the songs have been set to music by Sandesh Shandilya. None of the songs were released on albums. A few months back, Deepti Naval has uploaded the video clips of all the songs on her official Youtube channel. I present the first song, ‘baadal baadal chalen aasmaan mein’ from the film, to appear on the Blog. The song is written by Deepti Naval which has been composed in two versions, one rendered by Sukhwinder Singh and other rendered by Sadhana Sargam. The songs are picturised on Rajit Kapur, Manisha Koirala and Master Sanaj Naval.
The background to Sukhwinder Singh version of the song is that Debu (Rajit Kapur) is very happy that he got his first lyrics accepted by a producer for which gets the payment. So, he takes Kaku (Sanaj Naval) out in his wheelchair in the pouring rain for his first experience in the rains. Sadhana Sargam version of the song is played when Juhi (Manisha Koirala) returning from her disappointing day is pleasantly surprised that Kaku and Debu have arranged for her birthday cake to be cut. These two songs are also partly featuring in the background of some scenes in the film.
Sukhwinder Singh – Version-1
Video Clip:
Sukhwinder Singh – Version-2
Video Clip:
Sadhana Sargam Version
Video Clip:
Song-Baadal baadal chalen aasmaan mein (Do Paise ki Dhoop Chaar Aane Ki Baarish)(2009) Singer-Sukhwinder Singh/ Sadhana Sargam, Lyrics-Deepti Naval, MD-Sandesh Shandilya
Chorus
Whispering voice
Lyrics
Sukhwinder Singh version lyrics
———————————–
(Based on Sukhwinder Singh Version-1)
———————————–
baadal baadal chalen aasmaan mein
baarish baarish jalen
baadal baadal chalen aasmaan mein
baarish baarish jalen
aa bheeg chalen
chal aa bheeg chalen
bhaag chalen . . .
aa bheeg chalen
chal aa bheeg chalen
bhaag chalen . . .
baadal baadal chalen aasmaan mein
baarish baarish jalen
aa bheeg chalen
chal aa bheeg chalen
bhaag chalen . . .
aa bheeg chalen
chal aa bheeg chalen
bhaag chalen . . .
duniya hai faani
(duniya hai faani)
khushi aani jaani
(khushi aani jaani)
shiqwa kyoon hum karen……en
duniya hai faani
(duniya hai faani)
khushi aani jaani
(khushi aani jaani)
aur shiqwa kyoon hum karen……en
gham azeez hai apna hai
gham se kyoon daren . . .
arre baadal baadal chalen aasmaan mein
baarish baarish jalen
aa bheeg chalen
chal aa bheeg chalen
bhaag chalen . . .
—————————
Sadhana Sargam Version
—————————
baadal baadal chalen aasmaan mein
baarish baarish jalen
baadal baadal chalen aasmaan mein
baarish baarish jalen
aa bheeg chalen
chal aa bheeg chalen
bhaag chalen . . .
aa bheeg chalen
chal aa bheeg chalen
bhaag chalen . . .
dil mein umang ho
hawa ka sang ho
dil mein umang
hawaaon ke sang
ik baar khul ke jee lein
aansoo bhi gar aa jaaye to
hum aaj hans ke pee lein…aen aen
baadal baadal chalen aasmaan mein
baarish baarish jalen
aa bheeg chalen
chal aa bheeg chalen
bhaag chalen . . .
[English Verses]
Chal chal mere sang sang
Posted on: August 8, 2023
- In: Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Lyricist - MD - Singer Song | Lyricist - Singer | Lyricist-MD | Lyrics contributed by readers | MD-Singer Song | Post by Sadanand Kamath | Songs of 1990s (1991 to 2000) | Songs of 2000 | Sukhwinder Singh solo song | Sukhwinder Singh Song | Yearwise breakup of songs
- 3 Comments
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5499 | Post No. : | 17940 | Movie Count : |
4796 |
‘Astitva’ (2000) was simultaneously produced in Marathi and Hindi under the banner of Friends India and Satyashwami Entertainment. The film was directed by Mahesh Manjrekar who also wrote the story and the screenplay. The main cast consisted of Tabu, Sachin Khedekar, Mohnish Behl, Smita Jaykar, Ravindra Mankani, Sunil Barve, Resham Seth and Kishore Nandlaskar with a friendly appearance by Namrata Shirodkar. Most of the actors came from Marathi theatre background.
The preparatory work of the film was started about 5 years before the film’s release in 2000, that too only in Marathi. However, none of the Marathi speaking actresses who were approached, showed interest in the main role in the film. So, the film was kept on hold and Mahesh Manjrekar decided to take up and complete his two Hindi films, ‘Vaastav’ (1999) and ‘Nidaan’ (2000). It was only when Tabu was selected for the film who could speak Marathi, it was decided to make the film in Hindi also with the same cast. The film was majorly shot in around Lonavala and was completed in 18 days’ shooting at a stretch. (As told by film’s lead actor, Sachin Khedekar in an interview published in Rediff.com on October 9, 2000).
The male chauvinism and the wife’s identity (astitva) outside her married life constitute the main theme of the film’s story. It also dwells with gender inequality with ‘sins’ of wife and husband treated in a different standard. The story of the film, somewhat in detail, is set out below:
The film starts with Malhar Kamat (Mohnish Behl), a music teacher now aged, walking towards a bungalow, and joining his lawyer who reads out his Will after which he signs the Will. He has left his immovable property comprising his bungalow, some gold, and cash to Aditi Pandit (Tabu). The Will is to be delivered to Aditi after his death.
Malhar has died and on the decided date, the Will has to be delivered to Aditi who lives in Pune with her husband, Shrikant Pandit (Sachin Khedekar) and a son, Aniket (Sunil Barve). Pandit family has arranged a lunch party for Shrikant’s close friend, Dr Ravi Bapat (Ravindra Mankani) and his wife, Meghna (Smita Jaykar) who have arrived in Pune from Goa. In the midst of the lunch party, a closed cover addressed to Aditi is delivered. Much to the surprise of Meghna, it is Shrikant who opens the closed cover and reads the content of the Will. He is shocked to know that Malhar has bequeathed his all assets to Aditi. What could be the reason which made Malhar to do such an act. Shrikant goes through his diary notes in which he has jotted down the important events in his life. With this, the story goes in the flashback mode.
Shrikant is the owner of a firm which is doing good business. He stays in a lavish bungalow with swimming pool. For business purposes, he is quite often required to travel all over India and abroad. This leaves Aditi, his wife frustrated as she has to spend most of her time in loneliness. During his travels, Shrikant has short affairs with other women. The only time he loves Aditi is when he needs to satisfy his sexual urge. He does not allow her to seek employment to keep herself busy by saying that in his family, women do not work outside and there is no need for her to work for additional income. Instead, Shrikant suggests her to learn music to keep herself busy. Though, Aditi is not musical-minded, she still takes up learning music by employing a music teacher, Malhar Kamat.
Aditi still feels frustrated as what she really needs is the love and companionship of her husband. Adding fuel to her frustration is the visit of her sister Sudha (Resham Seth) with her newly wedded husband for spending few days with her. Their companionship creates a feeling of her neglect by her husband. In her weak point, Aditi is unwittingly drawn toward Malhar during one of their music learning sessions and Malhar reciprocates turning it into an impromptu affair. Aditi feels guilty of her action and asks Malhar not to come to her house again.
After few days, Aditi becomes pregnant. Knowing the nature of her husband, Sudha advises her to terminate her pregnancy. But Aditi is not ready as she cannot deceive Shrikant. Her guilt makes her to confess to Shrikant the truth about her pregnancy. But Shrikant, in his euphoria of the double successes – first, he has won a big contract for his firm and the second, Aditi’s pregnancy news, is in no mood to hear what Aditi has to say about it. Watching Shrikant in an elated mood on his impending fatherhood, Aditi has no guts to reveal the truth. (Flashback over).
After completing reading his diary, Shrikant comes to a shocking conclusion that his son, Aniket could have been born with his wife having extra-marital relationship with Malhar. When confronted, Aditi reveals the truth to Shrikant who is devastated. He requests his close friend, Ravi Bapat, and his wife Meghna to at once reach to his house. In their presence, Aditi is forced to come out with the truth about Aniket. Aditi confesses the truth which she wanted to tell Shrikant at the time of her pregnancy. The result of her confession is that Aniket disowns his mother. Shrikant decides to keep himself aloof from her. Revati (Namrata Shirodkar) breaks her engagement with Aniket not because of these developments but for his decision to severe relationship with his mother.
Film ends with a long monologue from Aditi in front of all those present when she feels that her divorce with Shrikant is inevitable. She brings out all her suppressed feelings about her married life, the loneliness, Shrikant’s extra-marital affairs and the loss of her identity (astitva). She walks out of the house with Revati searching for her new identity and a song is played in the background with the following mukhda:
na katoongi, na jaloongi, na mitooungi, na maroongi
main thhi, main hoon, main rahoongi
The film is very absorbing from start to finish. The highlight of the film is Tabu’s monologue of over six minutes towards the end of the film during which Tabu brings out in the open, the suppressed feelings of the 27 years of her married life.
All the actors in the film have performed very well. Despite Sachin Khedekar’s role having negative traits (he is a male chauvinist husband), he is not an unlikeable character. Tabu has done a very restrained performance in keeping with her role of the wife with a middle-class mindset. At the end, her role generates sympathy. The actors and the director who have been associated with this film, must be feeling proud after 23 years of the film’s release not only because of the handling of a sensitive story but also of their great performances.
The film has 5 songs written by Shrirang Godbole (4) and Sukhwinder Singh (1) which were set to music by Rahul Ranade (4) and Sukhwinder Singh (1). I am presenting the first song from the film, “Chal Chal Mere Sang Sang” to appear on the blog. The song is written and composed by Sukhwinder Singh who has also rendered the song. The song is picturised on Mohnish Behl during Aditi’s musical lesson, interspersed with some imageries.
The song is beautifully picturised. While Mohnish Behl gives his feelings through singing, Tabu’s expressions undergo from some hesitancy to succumbing to Mohnish Behl’s feelings. The chorus echoing ‘chal chal’ and ‘sang sang’ is a way of bringing out Tabu’s pent-up feelings and to come out of her hesitancy.
Sukhwinder Singh is known to sing the song with his high octave. This is one of his few songs in which he has rendered in slower pace and in somewhat lower than his usual octave to create a serene atmosphere. It is a difficult song to sing. The unusual tabla rhythm throughout the song may be reflective of the dilemma in the mind of Tabu whether to succumb to her desire or not .
Everything is perfect in this song – the picturisation, the performances by the actors, the lyrics, the musical composition, and the rendition.
Video Clip:
Audio Clip:
Song-Chal chal mere sang sang (Astitva)(2000) Singer-Sukhwinder Singh, Lyrics-Sukhwinder Singh, MD-Sukhwinder Singh
Chorus
Lyrics (Based on Video Clip):
sa……………aa aa aa aa
dha ni re…………ae ae ae ae
dha ni re sa………..aa aa aa re sa
ta na na dhiri
dhim ta na na
ta na na dhiri
dhim ta na na
ta na na dhiri
dhim ta na na
chal chal
(ta na na dhiri)
mere sang sang
(ta na na dhiri)
chal chal
(ta na na dhiri)
mere sang sang
(ta na na dhiri)
chal chal
mere sang sang
chal chal
mere sang sang
mere dil ki dhadkan mein
tu lamha
lamha
har pal..l
chal chal
(chal chal)
mere sang sang
(sang sang)
hai tere bina sab kuchh tanha
tanha har pal..l
chal chal
(chal chal)
meri jaan-e-ghazal
jaan-e-ghazal
jaan-e-ghazal
chal chal mere sang sang
(ta na na dhiri)
haaaaaaaaaaa
aaaaaaaaaaaa
aaaaaaaaaaaa
chal chal
sang sang
chal chal
sang sang
ek tamanna dil mein hai
dekhoon main tujhe jee bhar ke
sapnon mein tere kho jaaun
akhiyon main band kar ke…..ae
saat suron kaa jhoola jhoolen
sang sang nis din
har pal pal
meri jaan-e-ghazal
jaan-e-ghazal
jaan-e-ghazal
chal chal
(chal chal)
mere sang sang
(sang sang)
chal chal
(chal chal)
mere sang sang
(sang sang)
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm…….
hmm…….
hmm…..
hmm…..
mahek uthhe hain phool chura kar
rang tere gaalon kaa
kaali ghata ne jaam piya hai
tere do adharon kaa..aa
ae meri haseen ghazal
mehka mehka
tera aanchal
meri jaan-e-ghazal
jaan-e-ghazal
jaan-e-ghazal
chal chal
(chal chal)
mere sang sang
(sang sang)
chal chal
(chal chal)
mere sang sang
(sang sang)
meri jaan-e-ghazal
jaan-e-ghazal
jaan-e-ghazal
ta na na
ta na na dhiri
ta na na
ta na na dhiri
ta na na
ta na na dhiri
ta na na
ta na na dhiri
ta na na
ta na na dhiri
ta na na
ta na na dhiri
aaaaaaaaaaaaa
aaaaaaaaaaaaa
aaaaaaaaaaaaa
aaaaaaaaaaaaa
aaaa aaaa aaaa
aaaa aaaa aaaa
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
सा॰॰॰॰॰॰॰॰॰॰॰॰॰॰॰ आ आ आ आ आ
धा नी रे ॰॰॰॰॰॰॰॰॰॰॰॰ ए ए ए ए
धा नी रे सा॰॰॰॰॰॰॰॰ आ आ आ रे सा
ता ना ना धीरी
धिम ता ना ना
ता ना ना धीरी
धिम ता ना ना
ता ना ना धीरी
धिम ता ना ना
चल चल
(ता ना ना धीरी)
मेरे संग संग
(ता ना ना धीरी)
चल चल
(ता ना ना धीरी)
मेरे संग संग
(ता ना ना धीरी)
चल चल
मेरे संग संग
चल चल
मेरे संग संग
मेरे दिल की धड़कन में
तू लम्हा
लम्हा
हर पल॰॰ल
चल चल
(चल चल)
मेरे संग संग
(संग संग)
है तेरे बिना सब कुछ तन्हा
तन्हा हर पल॰॰ल
चल चल
(चल चल)
मेरी जान ए ग़ज़ल
जान ए ग़ज़ल
जान ए ग़ज़ल
चल चल
मेरे संग संग
(ता ना ना धीरी)
हा॰॰आ॰॰॰॰॰॰॰॰
आ॰॰॰॰॰॰॰
आ॰॰॰॰॰॰॰
चल चल
संग संग
चल चल
संग संग
एक तमन्ना दिल में है
देखूँ मैं तुझे जी भर के
सपनों में तेरे खो जाऊँ
अखियों में बंद कर के॰॰ए
सात सुरों का झूला झूलें
संग संग
निस दिन
हर पल पल
मेरी जान ए ग़ज़ल
जान ए ग़ज़ल
जान ए ग़ज़ल
चल चल
(चल चल)
मेरे संग संग
(संग संग)
चल चल
(चल चल)
मेरे संग संग
(संग संग)
हम्म हम्म हम्म हम्म
हम्म हम्म हम्म हम्म
हम्म॰॰॰॰॰
हम्म॰॰॰॰॰
हम्म॰॰॰॰॰
हम्म॰॰॰॰॰
महक उठे हैं फूल चुरा कर
रंग तेरे गालों का
काली घाटा ने जाम पिया है
तेरे दो अधरों का॰॰आ
ए मेरी हसीन ग़ज़ल
महका महका
तेरा आंचल
मेरी जान ए ग़ज़ल
जान ए ग़ज़ल
जान ए ग़ज़ल
चल चल
(चल चल)
मेरे संग संग
(संग संग)
चल चल
(चल चल)
मेरे संग संग
(संग संग)
मेरी जान ए ग़ज़ल
जान ए ग़ज़ल
जान ए ग़ज़ल
ता ना ना
ता ना ना धीरी
ता ना ना
ता ना ना धीरी
ता ना ना
ता ना ना धीरी
ता ना ना
ता ना ना धीरी
ता ना ना
ता ना ना धीरी
ता ना ना
ता ना ना धीरी
आ॰॰॰॰॰॰॰॰
आ॰॰॰॰॰॰॰॰
आ॰॰॰॰॰॰॰॰
आ॰॰॰॰॰॰॰॰
आsss आsss आsss
आsss आsss आsss
Bismil bismil bulbul e bismil
Posted on: March 24, 2023
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5362 | Post No. : | 17586 | Movie Count : |
4726 |
Vishal Bhardwaj’s Trilogy of Shakespeare Plays – 3: ‘Haider’ (2014)
————————————————–
In this article, I am exploring ‘Haider’ (2014), the last film of the Shakesperean trilogy by Vishal Bhardwaj which is adapted from ‘Hamlet’ (1599).
In a talk with ‘Mumbai Mirror’ just before the release of ‘Haider’ (2014), Vishal Bhardwaj said that he took a long gap (8 years) from Shakespearean trilogy. For the final film on Shakespearean trilogy, he had two plays in mind – ‘King Lear’ and ‘Hamlet’. Finally, he chose ‘Hamlet’. The film was majorly shot in around Srinagar and Pahalgam in winter months probably to give a feel of gloomy atmosphere inherent in the story. As with his earlier two films of Shakespearean trilogy, Vishal Bhardwaj molded ‘Hamlet’ with intra-family drama in Kashmir in the background of militancy in 1995.
The main characters in ‘Hamlet’ (1599) and their counterparts in ‘Haider’ (2014) are presented in a tabular form below:
Vishal Bhardwaj felt that the idea of ghost in the film may not be believable to the current generation. So, he developed an additional character in Roohdaar who has spent time with Dr Hilaal in detention camp.
| In Hamlet | In Haider | Remarks |
|---|---|---|
| King Hamlet of Denmark | Dr Hilaal Meer (Narendra Jha) | In ‘Hamlet’, there is no character of King Hamlet. His names comes only when his death is announced. In ‘Haider’ (2014), Dr. Hilaal Meer has been shown treating an injured militants in his house. He also appears in army detention camp and also with Haider in his childhood in flashback. |
| Prince Hamlet, the son of deceased King Hamlet of Denmark and nephew of Claudius. | Haider (Shahid Kapoor), son of deceased Dr Hilaal Meer and nephew of Khurram Meer. | The tragic hero. Vishal Bhardwaj has made the character of Haider in ‘Haider’ (2014) much more aggressive than Prince Hamlet of ‘Hamlet’ (1599) |
| Claudius, younger brother of King Hamlet. | Khurram Meer (Kay Kay Menon), younger brother of Dr Hilaal Meer. | The villainous character responsible for the death of his elder brother. While Claudius becomes the king of Denmark and marries the widow queen, Khurram marries widow of his elder brother and becomes a political leader. |
| Gertrude, Queen of Denmark, and mother of Prince Hamlet. | Ghazala (Tabu), wife of Dr Hilaal Meer and mother of Haider. | – |
| Polonius, Counsellor to Claudius. | Parvez Lone (Lalit Parimoo), Police Inspector who works in close association with Khurram. | – |
| Ophelia, daughter of Polonius. | Arshia (Shraddha Kapoor), daughter of Parvez Lone, a journalist and the beloved of Haider. | Arshia in ‘Haider’ (2014) is more independent than Ophelia in ‘Hamlet’ who is shown as a meek character. |
| Ghost of Prince Hamlet’s father | There is no ghost but a character, Roohdaar (Irrfan Khan) does the same role as of ghost in ‘Hamlet’. | |
| Laertes, son of Polonius who is based in France. | Liyaqat, (Aamir Bashir) son of Parvez Lone who is based in Bengaluru. | – |
| Horatio, Prince Hamlet’s friend. | No equivalent character. | Vishal Bhardwaj has combined the role of Arshia both as the beloved and friend of Haider. |
‘Haider’ (2014) was jointly produced by Vishal Bhardwaj Pictures and UTV and was directed by Vishal Bhardwaj. The cast included Shahid Kapoor, Tabu, Shraddha Kapoor, Kay Kay Menon, Irrfan Khan (special appearance), Ashish Vidyarthi (special appearance), Lalit Parimoo, Kulbhushan Kharbanda, Aamir Bashir etc. The Censor Board has given the film U/A certificate (minor can watch the film under parental guidance) after some cuts suggested in the films and the director agreed to them.
This is one of a few films’ story which I found difficult to summarise as almost every scene in the film is important link to the continuity of the story. So, I have omitted it after finding that the summary of the story itself was more than 1000 words!
In my view, this film should be treated more as an intra-family drama of a Kashmiri family than the commentary on the political situations that prevailed in the mid-1990s in Kashmir. In the divided Meer family, the Khurram (Claudius in ‘Hamlet’) uses Army’s counter-insurgency operations to achieve his political ambition and clear the way for making formal the adulterous relationship with his elder brother’s wife, Ghazala (Queen Gertrude). His nephew, Haider (Prince Hamlet) uses militancy to take revenge against his uncle, Khurram for his betrayal of his father, Dr Hilaal Meer (King Hamlet of Denmark) and for killing him. So, portrayal of and commentaries on militancy and army’s counter-insurgency operations become inevitable part of the film. In ‘Hamlet’, all the main characters are killed or commit suicide. In ‘Haider’ (2014), Khurram (Claudius) and Haider (Prince Hamlet) have been shown seriously injured. The films end with a scene in which a seriously injured Khurram lies on the snow with his lower part missing due to a blast while Haider, also seriously injured walks away from the camera in the midst of dead bodies of militants and para military forces. The director has left to the imagination of the film audience to come o a conclusion as to what will happen to them.
Vishal Bhardwaj has tried to realistically present as to how a majority of innocent Kashmiris who have nothing to do with militancy have been caught in the ‘catch-22’ situation. They cannot antagonise militants and the army out of fear. However, I wish Vishal Bhardwaj had balanced this realistic approach with the other side of the realities by giving some footage in the film as to how difficult is for the army/paramilitary forces to decide between guilty and innocent in hostile and treacherous environments where trust is in deficit. One of the cardinal principles of army and para-military forces is that suspects are treated as guilty until proven otherwise. Also, there is no even a small footage in the film of the extreme hardship the minority communities suffered exactly during the time-frame chosen in the film.
‘Haider’ (2014) has 8 songs of which two songs are from the published poems of Faiz Ahmed Faiz and rests are written by Gulzar. All the songs are set to music by Vishal Bhardwaj in melodramatic mood in keeping with the story of the film.
I have selected a story-telling song from the film, ‘bismil bismil bulbul-e-bismal’ which corresponds to ‘Mousetrap’, a play within the play in ‘Hamlet’. In both ‘Hamlet’ and ‘Haider’ (2014), the play/song is a turning point for Hamlet/Haider to take revenge against his uncle. The song is written by Gulzar and rendered by Sukhwinder Singh and chorus. The song is presented in an opera style for which Norway-based Sudesh Adhana was entrusted with choreography of the song. Renowned puppeteer, Dadi Pudumjee specifically made puppets for this song, one of which was the tallest puppet (100 feet) used in any Hindi film.
The song was picturised at the ruins of Martand Sun temple (located on the way to Pahalgam from Srinagar). Since the shooting was scheduled in the peak winter season, every morning and even during the shooting, the snow accumulated on the dancing arena had to be cleared. On the days of the song picturisation, there used to be 5000-6000 people, many coming from mofussil areas for watching the shooting which created problems for the crew. Finally, Vishal Bhardwaj decided to make them sit in the raised arena of the temple complex in an orderly fashion and made them a part of the song sequence.(As revealed in his TV talk).
The song comes in the film at a time when Haider is emotionally upset after he becomes aware of the conspiracy of his uncle, Khurram in for his father’s death as told to him by Roohdaar (Irrfan Khan). Haider performs the dance in the presence of his uncle, Khurram and mother, Ghazala in celebration of their marriage. Haider’s intention in this dance performance is to gauge from the expressions of his uncle to confirm what Roohdaar had told him was true.
According to Sukhwinder Singh, Vishal Bhardwaj wanted the elements of Kashmiri folk music and folk dance for this song. He hired local musicians to play the Sarangi and the Rabab and recorded with them in a studio there. While picturising the song, he even invited these musicians to the shoot, and they joined Shahid Kapoor in playing Rabab. Vishal blended Kashmiri folk music with western opera music (Source: E-Times, 26/09/2014).
Video Clip:
Audio Clip:
Song-Bismil Bismil Bulbul e Bismil(Haider)(2014) Singer-Sukhwinder Singh, Unknown male voice, Lyrics-Gulzar, MD-Vishal Bhardwaj
Chorus
Lyrics (Based on Audio Clip)
bismil bismil bulbul-e-bismil
bismil bismil
mat mil mat mil
gul se mat mil
mat mil mat mil
ae bismil bismil bulbul-e-bismil
mat mil mat mil
gul se mat mil
bismil bismil bulbul-e-bismil
ae dil-e-bulbul
bulbul-e-bismil
mushkil dil bhi mushkil hoti hai
dil dhadke dil dil dhadke to,/em>
dil dhadke dil dil dhadke to
dhadkan-e-dil bhi harkat-e-dil ho..ti hai
khushboo-e-gul mein ishq bhara hai
mat mil mat mil
gul se mat mil
ae bulbul-e-bismil
mat mil mat mil
gul se mat mil
aye bulbul-e-bismil
ho o o o o
sun le zamaana samjhaata hoon
teri kahaani dohraata hoon
ae dil-e-bulbul
bulbul-e-bismil
ae dil-e-bulbul
bulbul
bulbul-e-bismil
ik joda thha
nar maada kaa
bholi thhi bulbul
nar saada thhaa
ik joda thhaa
nar maada kaa
bholi thhi bulbul
nar saada thhaa
barf gira karti thhi jab
bhar jaati thhi kohsaaron mein
ik baaz bada badneeyat thhaa
haan ik baaz bada badneeyat thhaa
udta thha..aa sabz anzaaron mein
pankhon mein uske maut chhupi thhi
mehfil mehfil dhoondh raha thhaa
mehlon ki manzil
mehfil mehfil dhoondh raha thhaa
mehlon ki manzil
bulbul ke khwaabon mein jaa kar
zaher ke dank lagaaye thhe
khushboo-e-gul mein zaher bhara..aa
aur maada ko bhijwaaye thhe
zaher ke dank lagaaye thhe..ae
bulbul ke khwaabon mein jaa kar
maada ko bhijwaaye thhe
zaher ke dank lagaaye thhe
ho o o o waadi mein chhidka baarood
jheel mein jaal bichha daale
chhuriyon se bechaare nar ke…ae
chhuriyon se bechaare nar ke…
dono pankh kata daale
are dil dil dil dil jhooth kahe ye
jhooth kahe buzdil
mat mil mat mil
gul se mat mil
ae bulbul-e-bismil
ae bulbul-e-bismil
ae bulbul-e-bismil
zakhmi nar ko qaid kiya
qaid kiya
qaid kiya
zanjeeron mein bandhwaaya
Baaraamula ke Sheerinpur se
phir paani mein phinkwaaya..aa
jhelum..m
jhelum
laal laal hua
laal laal hua
laal laal hua laal
jhelum..m
jhelum
laal laal hua
laal laal hua
laal laal hua laal
Kashmir ke paani ki taaseeren
ghul gayi zanjeeren taqdeeren
zinda hai wo zinda hoga..aa
muzrim bhi sharminda hoga..aa
zinda hai wo zinda hoga
muzrim phir sharminda hoga
zinda hai wo zinda hoga
muzrim phir sharminda hoga
hosh mein aaja
hosh mein aaja
ae bulbul-e-bismil
ae bulbul-e-bismil
khushboo-e-gul mein
zaher bhara hai
hosh mein aaja
hosh mein aaja
ae bulbul-e-bismil
hosh mein aaja
hosh mein aaja
ae bulbul-e-bismil
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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