Archive for the ‘“teasing” song’ Category
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 : |
5762 | Post No. : | 18287 |
Today’s song is a song sung by Kishore kumar in his inimitable style, from the film Dilli Ka Thug-1958.
1958 was the year when so many musical films came. One could see the excellence of lyricists and the art of the Music Directors making those songs popular. In those days the active lyricists were Shakeel Badayuni, Sahir Ludhianvi, Shailendra, Majrooh, Hasrat Jaipuri, Bharat Vyas, Rajendra krishna, Prem Dhawan, Kaifi Azmi, Pradeep to name a few.
Composer kalyan ji debuted as an independent MD, for the film ‘Samrat Chandragupt’, in which a song written by Nirupa Roy was used. Iqbal Qureshi entered films with ” Panchayat”. Anand Bakshi debuted with ‘Bhala Aadmi’ and continued for another 45 years, becoming one who wrote maximum number of songs for Hindi films.
This was also the year in which, due to a misunderstanding, the long standing bond between Rajendra krishna and C.Ramchandra was broken and it became an additional reason for C Ramchandra’s downfall from his successful musical career. In this year 3 Qawalis became Hits. First was ‘Sadhana’s ‘ Aaj kyun humse parda hai’. The other 2 qawalis were from B and C grade fils. ‘Jungle Princess’ had the first ever qawali’ Adaayen teer hain’, which was a competition between Males and females. The third one was a real surprise. Film ‘Al Hilal’ gave ” Hamen to loot liya hai milke husn walon ne”, composed by Bulo C Rani.
Nargis- Sunil Dutt got married on 11th March and Shashi Kapoor- Jeniffer got married on 2nd July. Old time actors Gope and Yaqub expired. Devika Rani got Padmashree.
Some of the popular and Hit films were Aakhri Dao-Madan Mohan, Aji Bas Shukriya – Roshan, Amar Deep-C.Ramchandra, Chalti ka naam gaadi, Kala pani, Sitaron se aagey and Solva Saal – S.D.Burman, Dilli ka Thug-Ravi, Howrah Bridge, Phagun and Ragini- O.P.Nayyar, Lala Rukh and Phir Subah Hogi- Khayyam, Madhumati-Salil Chaudhari, Parvarish-Dattaram, Sadhana-N.Datta, Yahudi-Shankar-Jaikishen etc etc.
Dilli ka Thug-1958 was prodominently a Kishore Kumar film.
Kishore Kumar came to Bombay to become a singer, but he was forced by the circumstances to become a comedy actor. For Kishore Kumar, his dream of becoming a singer was looking bleak. Instead of singing, he was getting offers to do comic roles in films. It was only Dada Burman who dared to cast Kishore as the Playback singer for Dev Anand. The first ever song he sang for Dev Anand was ” Mere labon mein chhipe”-Baazi-51. However, it was not until his song in Munimji-55 ” Jeevan ke safar mein raahi” that he proved he was a singer first and actor next. Out of all 12 songs of Munimji, only this song was the most popular and hummable. In Funtoosh-56,Dada gave him ” Dukhi man mere”.By now Kishore was out of Saigal’s shadow. The song clicked, but not Kishore, because in that period he had heaps of acting offers and there was no time for concentrating on singing. He settled for singing his own songs and those songs for Dev which Dada gave him occasionally.
When Kishore kumar was trying very hard to establish himself in the film industry, at least as a comedy hero-if not a singer, it was Dada Burman who helped him by giving him songs in almost every film of his in the 50s.
Dada was an experimentalist and had judged Kishore very well. He knew that Kishore was a talented artiste, though without formal training in music. In the days when the music was serious and classical oriented, there were no takers for Kishore except Dada Burman. Kishore had a plain voice and had nothing else except his spontaneity in front of the mike to help him.
S D Burman was a path breaker. There are few instances of Dada going against the tide and winning ! The trend in the film industry was to use one singer for one actor in one film. Like, Mukesh for Raj Kapoor, Kishore for Rajesh khanna or Rafi for Dilip or later on for Shammi kapoor etc. Dada did not subscribe to this theory. He would use the singer depending on the mood of the song and situation of the song in the film. No matter if he has to use more singers for one Hero in One film.
Thus, Manhar, Kishore and Rafi sang for Amitabh in Abhimaan and Rafi, Kishore and Manna Dey sang for Dev Anand in Manzil. He had tried Kishore on Raj Kapoor in Pyar-50. In Sagina, Kshore sang for Dilip Kumar.
Kishore Kumar is the only singer in the world to have sung songs for three generations of actors from one family-TWICE !
He sang song “Bainya chhodo” for Mumtaz Ali, father of Mehmood-for whom Kishore sang many songs and in film Yehi hai Zindagi, Kishor sang for Mehmood’s son Lucky Ali.
He sang for Raj Kapoor in Pyaar-50, then he sang many songs for his son Rishi Kapoor. In the 2008 film, ” Bachna ae Haseeno”- Kishore Kumar song- Bachna ae Haseena was lip synched by Rishi Kapoor’s son, Ranbir Kapoor.
Despite the outstanding success of ”Padosan”-68, Kishore remained where he was- neither an actor nor a singer. The turning point came in 1969. S D Burman was composing music for ‘Aradhana’. He had already recorded 2 duets of Rafi and then Dada Burman fell seriously ill. He handed over the reins of music of this movie to his son R D Burman. Dada had already made the tunes. R D had only to make the recordings. Fresh from the success of Padosan and the songs of Kishore in that film, R D decided to record 2 solos and 1 duet with Lata in Kishore’s voice. Dada was not at all in a position to even protest and R D had never preferred Rafi over Kishore.
Kishore recorded the songs and ”the rest is History” as they say. In the 21st year of his film career, finally, Kishore had achieved what he had been dreaming of. Now every other composer wanted only Kishore and not Rafi. R D Burman had quietly brought a revolution in HFM, hoodwinking all, even his own father ! On his part, Kishore too had matched Rajesh Khanna’s screen presence with vitality and freshness in the songs of Aradhana. The success of Aradhana-not only its songs, but also a successful popular film with the most ordinary plot ever, was so much that people forgot that Hemant Kumar too had used Kishore Kumar for Rajesh Khanna in 1969 only itself in film Khamoshi, for the song” Voh shyam kuch ajeeb thi”. But this classic song from Hemant Kumar was swept away in Aradhana floods.
With ‘Aradhana’, Kishore’s second Golden period started-1970 to 1975, from 1970 to 1985, it is called Kishore Yug in HFM, but the melodious songs which he sang during the 6 years, i.e. 70-75 were really his best. Even after that Kishore did give some good songs, but,as he himself said in an interview ” the real music ended with 1975. Later on it was only factory production on line”. During 1970 to 1985 he sang more than 1800 songs in 764 films. You can imagine the quality of songs in later years.
Kishore had waited for 21 years to become a Singer, and he did become one, he sang only for 18 years !
it is a coincidence that one of the actors in Film Dilli ka Thug had also come to films to become a singer- and he had recorded some songs too- but ended up as an actor. The name may be unexpecte for most readers. He was IFTEKHAR !
Sayyadana Iftekhar Ahmed Shareef was born in Jallundhar on 26-2-1922. His father was a big gun in a private company at Kanpur, so his education upto Matriculation took place in Kanpur. Then he went to Lucknow to do a Diploma in Painting. He was very fond of singing and wanted to become a singer like the legendary Saigal. Naturally , he went to Calcutta to gain entry into singing . There he met Kamal Dasgupta who was impressed with his personality and mannerisms.
He not only recorded 2 of his songs, but also recommended his name as an actor to his production company. In 1944, Iftekhar was taken as an actor in the film Taqraar, opposite actress Jamuna. Next year, he did Ghar-45 and also Rajlakshmi-45- in which Talat Mehmood also acted and sang songs. During this period he fell in love with a Jew Girl- Hanna Joseph, who stayed in his building. Iftekhar broke his earlier engagement to Sayeeda from Lucknow and got married to Hanna, after converting her to Islam. Sayeeda never married in her lifetime after this break up. He got 2 daughters.
After 1947, his family had migrated to Pakistan, but he chose to remain in India. By that time he had done 2 more films, namely, Aisa Kyun and Tum aur Main. He decided to shift to Bombay due to riots in Calcutta in 47-48. In Bombay, he had no work and faced a lot of problems. His wife had to do a job for sustenance. Iftekhar was recognised and helped by Ashok Kumar. He was given a role in the film Muqaddar-50. Being a good painter, Iftekhar taught Painting to Ashok Kumar. In the next 20 years, he did 70 films.
Then came the film Ittefaq-1969, in which he did the role of a Police Officer. This film changed his life and there was no looking back. Films like Zanjeer, Deewar etc further augmented his image and he was well entrenched. He bought a house, car etc. His daughters got married. Iftekhar acted in 318 films in all.
After his younger daughter’s death, Iftekhar was a broken man. He fell ill and within a month’s time, he died on 1-3-1995.
It is written in many places on the Internet, that Iftekhar was the brother of actress Veena. It is NOT true. His only sister Shameem got married and migrated to Lahore, in 1947, where she died recently. Veena’s brother Iftekhar was a different person who got embroiled in the love affair of actress Suraiya. ( adapted, with Thanks, from http://www.beetehuedin.blogspot.com in addition to my own notes.)
With today’s song video, film Dilli ka Thug-1958 becomes an YIPPEE film, having all its songs covered here. Enjoy….
Song-Tera yoon nazar churaa ke jaanaa haaye haaye (Dilli Ka Thug)(1958) Singer- Kishore Kumar, Lyricist- Shailendra, MD- Ravi
Lyrics
chal re fakeere
chal ri amiran
takataka takbak
chal re fakeere
jibi chak jibi chak
dheere dheere
bidi bidi bidi bidi bidi bidi bidi bidi
hrrf mere
ae
o bandariya
o bandariya apne bandar se jhagadna hai bura
ik zara si baat par
aise bigadna hai bura
arrey tera yoon nazar chura ke jaana haaye haaye
yoon shuru hua hai yeh fasaana haaye haaye
tera yoon nazar chura ke jaana haaye haaye
yoon shuru hua hai yeh fasaana haaye haaye
rooth ke kahaan chali
o meri champakali
kab talak phiroongaa main
is tarah gali gali
tere bina mere dil ki
dil mein rahi jaaye
haaye haaye
yoon shuru hua hai yeh fasaana haaye haaye
tera yoon nazar chura ke jaana haaye haaye
yoon shuru hua hai yeh fasaana haaye haaye
dil chura ke chal diye
waah kya kamaal hai
ae tussi
ae tussi
ai tussi great ho ji ee
dil chura ke chal diye
waah kya kamaal hai
chor jaisi harkaten
mor jaisi chaal hai
dil bhi churaaye aur aankh bhi dikhaaye
haaye
haaye
yoon shuru hua hai yeh fasaana haaye haaye
tera yoon nazar chura ke jaana haaye haaye
yoon shuru hua hai yeh fasaana haaye haaye
berukhi se iss tarah
jaate hain toh jaayiye
haahaa haahhaah
berukhi se iss tarah
jaate hain toh jaayiye
haath na maliye janaab
honth na chabaaiye
bekadar ho pyaar kya hai
tum na samajh paaye
haaye haaye haaye
yoon shuru hua hai yeh fasaana haaye haaye
tera yoon nazar chura ke jaana haaye haaye
yoon shuru hua hai yeh fasaana haaye haaye
Hai shukar ke tu hai ladkaa
Posted September 12, 2023
on: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 : |
5534 | Post No. : | 17992 |
“Himmat”(1970) was produced by P Mallikarjun Rao and directed by Ravi Nagaich for Bharati International, Madras. The movie had Jeetedra,Mumtaz, Prem Chopra, K.N.Singh, Naaz, Asit Sen, Tun tun, Pravin Paul, Aruna Irani, Bobby, Jagdeep,Prabhakar Reddy, Ananda Mohan, Puranik, Premkumar, J.N.Anand, Kiran, Joshi, Nadir, Mamajee, Akhtar, Pande, Pratibha, Raja Rao, Brahm Bhardwaj etc in it. The movie also had guest appearances by Agha, Lata Arora, Master Sachin, Jayadev and club dancer Lakshmi.
“Himmat”(1970) had seven songs in it. Five songs have been covered so far.
Here is the sixth song from the movie.
The song is sung by Rafi. Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal.
From the picturisation, one can see that Mumtaz is dressed as a boy and has befriended Jeetendra. The movie watchers can easy see through the disguise of Mumtaz but our hero cannot. But he does feel like this new friend of his would be better off as a girl. In this song he expresses his feelings (while teasing Mumtaz) what he would have done had “he” been a “she”.
This song was quite a popular song of its time. I was aware of the song but I did not know the details of this song. It is only today (53 years later) that I have become aware of the details of the song that were sent to me by Prakashchandra alongwith the lyrics of the song.
Lyrics of the audio version are longer than the picturised version.
Audio
Video
Song-Hai shukar ke tu hai ladka (Himmat)(1970) Singer-Rafi, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Lyrics(of audio version)(Provided by Prakashchandra)
hai shukar ke tu hai ladkaa
ho tujhe dekh meraa dil dhadkaa
hai shukar ke tu hai ladkaa
ho tujhe dekh meraa dil dhadkaa
kya hotaa meri taubaa
agar tu ladki hoti
hoyye agar tu ladki hoti
hoyye hoyye agar tu ladki hotee
agar tu ladki hotee
main tere naaz uthhaataa
ho tujhe baagh ki sair karaataa
main tere naaz uthaataa
ho tujhe baagh ki sair karaataa
zulfon mein phool lagaataa
agar tu ladki hoti
hoyye agar tu ladki hoti
oyye oyye agar tu ladki hotee ee
agar tu ladki hoti
din mein sau pherey aey ae
teri gali mein lagaataa aaa
din mein sau pherey aey ae
teri gali mein lagaataa aaa
teri khidkee ke neechey aey ae
aake seetee bajaataa
(wistling sound)
kabhi aataa kabhi jaataa
tujhe itna sataataa
jeenaa mushqil ho jaataa
agar tu ladki hoti
oyye ae agar tu ladki hoti
oyye oyye agar tu ladkee hotee ee
agar tu ladki hotee
sun o shehzaade aey ae
tu jo hotee shehzaadee eee
sun o shehzaade aey ae ae
tu jo hoti shehzaadee eee
ab tak ho jaatee eee
teri meree shaadee
teraa ghungtaa uthhaathaa
tujhe aankhon mein basaataa
tujhe saaree raat jagaataa
agar tu ladki hoti
haayye agar tu ladki hoti
hoyye hoyye agar tu ladkee hotee ee
agar tu ladki hotee
yaa dost naheen to o o
main hee ladki hotee eee
yaa dost naheen to o o
main hee ladkee hotee eee
tere pyaar mein hanstee eee
teri yaad mein rotee eee
taubaa rey duhaayee
hoti meri ruswaayee hoti
badaa sharmaayee hoti
agar main ladkee hoti
haayye ae agar main ladki hoti
haayye hayye agar main ladki hotee ee
agar main ladki hotee
hai shukar ke tu hai ladkaa
ho tujhe dekh meraa dil dhadkaa
hai shukar ke tu hai ladkaa
ho tujhe dekh meraa dil dhadkaa
kya hota meri taubaa
agar tu ladki hoti
hoyye ae agar tu ladki hotee
agar tu ladki hoti
haayye aey ae agar tu ladki hotee eee
Torey Kurte Se Tohra Tan Jhalke
Posted July 20, 2023
on:- In: "Naughty" song | "teasing" song | Artist century song in blog | Asha Bhonsle songs | Century songs for the blog | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Lyrics by Sudhir | Lyrics contributed by readers | Mukesh songs | Mukesh-Asha Bhonsle duet | Post by Mahesh Mamadapur | Rare song | Song from unreleased movie | Songs from Unreleased Films of 1960s | Songs of 1960s (1961 to 1970) | Songs of 1970 | Yearwise breakup of songs
- 7 Comments
This article is written by Mahesh Mamadapur, 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 : |
5480 | Post No. : | 17908 | Movie Count : |
4789 |
Mukesh and his Composers – 29
I started my series on Mukesh and his Composers with the great Naushad Ali and had mentioned the reasons for the same in the post for the song “Kar Bhala Hoga Bhala“.
Naushad settling with Rafi Saab and Mukesh joining RK films as the resident male playback singer for Raj Kapoor’s productions are well known. However, what remains quite intriguing is to why Naushad avoided Mukesh for two decades in spite of the immense popularity of songs of ‘Mela’ (1948), ‘Anokhi Ada’ (1948) and ‘Andaz’ (1949).
Further, an aspect that I touched upon in my debut post is repeated here. Who is the most prolific male playback singer for Naushad after the obvious Rafi Saab.? Well, read on as answer to this important point in the annals of HFM is covered later on. “Kar Bhala Hoga Bhala” being a debut post, I had not prepared a table of Mukesh’s songs for Naushad and I wish to set that lacuna straight with this post so that the answer to the above question is amply covered.
One more curious point in this collaboration is the number of duets Mukesh sang with Lata for Naushad. This is quite important as it was Mukesh who introduced Lata to Naushad. I have already covered this aspect too in my debut post on the series. The answer strangely is one – a solitary duet in the film ‘Sunahra Sansaar’ (1975).
So, after more than 8 years on covering Mukesh songs for Naushad, today, I bring forth this table detailing the songs. Again, the first 16 songs in the list in only two years of 1948-49 beg the inevitable question as to why a few more gems were not created in the golden era by the duo. And more painful is the fact that we do not get any satisfying or convincing answers. The below table lists the magic that the duo created.
Sl. No. |
Name of the Song | Movie (Year) | Co-singers |
Lyricist |
1 |
Aayi Saawan Ritu Aayi Sajan Mora | Mela (1948) | Shamshad Begam | Shakeel Badayuni |
2 |
Dharti Ko Akaash Pukaare* | Mela (1948) | Shamshad Begam | Shakeel Badayuni |
3 |
Gaaye Jaa Geet Milan Ke | Mela (1948) | Shakeel Badayuni | |
4 |
Main Bhanwara Tu Hai Phool | Mela (1948) | Shamshad Begam | Shakeel Badayuni |
5 |
Mera Dil Todne Waale | Mela (1948) | Shamshad Begam | Shakeel Badayuni |
6 |
Bhool Gaye Kyun Deke Sahaaraa | Anokhi Ada (1948) | Shamshad Begam | Shakeel Badayuni |
7 |
Bhoolne Waale Yaad Na Aa | Anokhi Ada (1948) | Shakeel Badayuni | |
8 |
Kabhi Dil Dil Se Takraataa To Hoga* | Anokhi Ada (1948) | Shamshad Begam | Shakeel Badayuni |
9 |
Kyun Pheri Nazar# | Anokhi Ada (1948) | Anjum Pilibhiti | |
10 |
Manzil Ki Dhun Mein Jhoomte | Anokhi Ada (1948) | Shakeel Badayuni | |
11 |
Yeh Pyaar Ki Baaten Yeh Safar | Anokhi Ada (1948) | ||
12 |
Ham Aaj Kahin Dil Kho Baithe | Andaaz (1949) | MajroohSultanpuri | |
13 |
Jhoom Jhoom Ke Naacho | Andaaz (1949) | MajroohSultanpuri | |
14 |
Sunaa’un Kyaa Main Gham Apna# | Andaaz (1949) | MajroohSultanpuri | |
15 |
Toote Na Dil Toote Na Toote Naa | Andaaz (1949) | MajroohSultanpuri | |
16 |
Tu Kahe Agar | Andaaz (1949) | MajroohSultanpuri | |
17 |
Aankhen Khuli Thheen | Saathi (1968) | MajroohSultanpuri | |
18 |
Husn E Jaana Idhar Aa | Saathi (1968) | MajroohSultanpuri | |
19 |
Jo Chalaa Gaya Usey Bhool Ja | Saathi (1968) | MajroohSultanpuri | |
20 |
Mera Pyaar Bhi Tu Hai* | Saathi (1968) | MajroohSultanpuri | |
21 |
Kar Bhala Hoga Bhala | Taangewaala (1972) | MajroohSultanpuri | |
22 |
Bheegi-Bheegi Hawaa Hai | Sunahra Sansaar (1975) | Lata Mangeshkar | Anand Bakshi |
23 |
Torey Kurte Se Tohra Tan Jhalke | Pukar 1970’s (Unreleased) | Asha Bhosale | Jan Nisar Akhtar |
24 |
Tori Nazron Se Dhobaniya Laage Mann Mein Kaanta Re | Pukar 1970’s (Unreleased) | Chorus | Jan Nisar Akhtar |
* Multiple Version Song
# Not included in the film
Thus, there are a total of 24 songs. It is to be noted that 2, 8 and 20 respectively in the above list are multiple version songs which are covered as one on our blog. Harish ji in his latest version of Mukesh Geet Kosh however considers 8 and 20 as additional separate songs with different serial numbers. 9 and 14 are considered as NFS, ostensibly recorded for the respective movies. I would again request readers to grab their headphones and wonder regarding the God gifted timbre in the voice of Mukesh for the song “Sunaa’un Kya Main Gham Apna”. Can we have a one- or two-word description for the enchanting experience in listening to this rendition. I failed to come across one. I wonder who introduced this gem to the blog. 😉 And, the fact that this is not a commonly heard song is what makes the experience even more special. It is this aspect that I had mentioned in my post for the song “Tum Hi To Ho Jiska Sapna Maine Dekha Tha”
Songs of Yore site contains a detailed blogpost on Mukesh Naushad collaboration for any reader interested in additional information and discussions.
Coming to the most prolific male singer for Naushad after Rafi Saab, MuVyz in one of his comments on Aug 8 2013, had provided numbers of 159, 24, 23 and 15 for Rafi, Mukesh, GM Durrani and Shyam Kumar respectively. Sudhir ji in a quick check has provided me numbers of 19, 10 and 9 for G M Durrani, ShyamKumar and Surendra respectively. I have not checked myself these figures independently. If someone can do a detailed analysis, we could get to the bottom of the question.
However, what is clear is that Mukesh stands tall right after Rafi. Of course, there can be no comparison with Rafi as he sang nearly 7 times more than Mukesh. But it is very interesting to note that out of nearly 70 odd singers for Naushad, Mukesh ranks second in the male category.
Coming to today’s special song, it is clear form the table above that we are talking about a film titled ”Pukar which was being made in the 60’s by Sohrab Modi. The mind cannot help but race to his film of the same title released in 1939. Well, he was planning a remake of the same classic film and had a very illustrative list of actors in it. Dilip Kumar, Raj Kapoor, Shashi Kapoor, Saira Banu, and Rakhee were scheduled to play the main characters in the film. For some reason, the film never saw the light of the day. There is one incident recollected by Naushad somewhere wherein he recounts Mukesh returning his paycheck to Sohrab Modi and telling him that he would take the money after the film is a hit. It was probably a time when Modi was running through a bad phase financially. There are some references on the net which say that a few shots with Dilip Kumar and Saira Banu were shot. And since these two songs are available, it is apparent that these were to be shot on Raj Kapoor.
I do not count these as NFS. They may not be anywhere at par with the magic created by the duo in the late 40’s, but then times had changed and also lyrics of the songs toe pretty well in line with the plot of the shelved film.
As evident in the table above, all but the two songs from this movie have already been covered on the blog. I request the editors to add this important table to my first post in the series as supplementary information.
For today’s post, I take up the song “Torey Kurte Se Tohra Tan Jhalke”.
Editor’s note:-With this song, Asha Bhonsle silently reaches 3100 songs mark in the blog.
Song – `Torey Kurte Se Tohra Tan Jhalke (Pukar) (1960s) Singer – Mukesh, Asha Bhosle, Lyrics – Jaan Nisar Akhtar, MD – Naushad
Chorus
Male Chorus
Female Chorus
Lyrics (Provided by Sudhir)
mehlon mein baajat hai
naubat nagaade
khan han ho jamuna ka paat
rani dhobaniya ki
jhaanjhar se rama
chhan chhan kare sagro ghaat
oo oo oo ho oo
jiyo ram
jiyo ram
jiyo ram
jiyo ram
jiyo ram
jiyo ram
tore kurte se tohra tan jhalke
tore kurte se tohra tan jhalke
kaahe dhoya dhobaniya mal mal ke
kaahe dhoya dhobaniya mal mal ke hey
jiyo ram
jiyo ram
jiyo ram
jiyo ram
kaahe taake re
kaahe taake re dhobiya jal jal ke
paake mahuye se
ho paake mahuye se rasiya ras chhalke
paake mahuye se rasiya ras chhalke
jiyo ram
jiyo ram
jiyo ram
jiyo ram
mori dhobaniya to sulfe ki agni
mori dhobaniya to sulfe ki agni
jiyo ram
jiyo ram
jiyo ram
jiyo ram
gaalon ki garmi se pighe re nathni
gaalon ki garmi se pighe re nathni
nainon se neha ki aag dhalke
hoye
nainon se neha ki aag dhalke
kaahe taake re dhobiya jal jal ke
jiyo ram
jiyo ram
jiyo ram
jiyo ram
jiyo ram
jiyo ram
jiyo ram
jiyo ram
main to na jahiyo re dilli bajariya
sehron ke logwa ladaaye najariya
jiyo ram
jiyo ram
jiyo ram
jiyo ram
oo oo oo oo
main to na jahiyo re dilli bajariya
sehron ke logwa ladaaye najariya
chhore gajab dhhayen aaj kal ke
hoyye
tore kurte se tohra tan jhalke
kaahe taake re dhobiya jal jal ke
jiyo ram
jiyo ram
jiyo ram
jiyo ram
nadiya si uble re teri jawaani
nadiya si uble re teri jawaani
jiyo rani jiyo
jiyo ram
jiyo ram
poonam ki ratiyaan mein chadhta hai paani
poonam ki ratiyaan mein chadhta hai paani
janiya ye din tohri chhal bal ke
hoyye
janiya ye din tohri chhal bal ke
kaahe taake re
kaahe taake re dhobiya jal jal ke
paake mahuye se rasiya ras chhalke
tore kurte se tohra tan jhalke
kaahe dhoya dhobaniya mal mal ke
jiyo ram
jiyo ram
jiyo ram
jiyo ram
jiyo
jiyo
jiyo
jiyo
jiyo
jiyo
hrrr hrrr hrrr hrrr
hoyye
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
महलों में बाजत है
नौबत नगाड़े
खन खन हो जमुना का पाट
रानी धोबनिया की
झांझर से रामा
छन छन करे सगरो घाट
ओ ओ ओ हो ओ
जियो राम
जियो राम
जियो राम
जियो राम
जियो राम
जियो राम
तोरे कुरते तो तोहरा तन झलके
तोरे कुरते तो तोहरा तन झलके
काहे धोया धोबनिया मल मल के
काहे धोया धोबनिया मल मल के हे
जियो राम
जियो राम
जियो राम
जियो राम
काहे ताके रे
काहे ताके रे धोबिया जल जल के
पाके महुए से
हो पाके महुए से रसिया रस छलके
पाके महुए से रसिया रस छलके ए ए
जियो राम
जियो राम
जियो राम
जियो राम
मोरी धोबनिया तो सुल्फे की अग्नि
मोरी धोबनिया तो सुल्फे की अग्नि
जियो राम
जियो राम
जियो राम
जियो राम
गालों की गर्मी से पिघले रे नथनी
गालों की गर्मी से पिघले रे नथनी
नैनों से नेहा की आग ढलके
होय
नैनों से नेहा की आग ढलके
काहे ताके रे धोबिया जल जल के
हो तोरे कुरते तो तोहरा तन झलके
जियो राम
जियो राम
जियो राम
जियो राम
जियो राम
जियो राम
जियो राम
जियो राम
मैं तो ना जहियो रे दिल्ली बजरिआ
सैहरों के लोगवा लड़ाये नजरिया
जियो राम
जियो राम
जियो राम
जियो राम
ओ ओ ओ
मैं तो ना जहियो रे दिल्ली बजरिआ
सैहरों के लोगवा लड़ाये नजरिया
छोरे गज़ब ढाएँ आज कल के
हय्ये
छोरे गज़ब ढाएँ आज कल के
हो तोरे कुरते तो तोहरा तन झलके
काहे ताके धोबिया जल जल के
जियो राम
जियो राम
जियो राम
जियो राम
नदिया सी उबले रे तोहरी जवानी
नदिया सी उबले रे तोहरी जवानी
जियो रानी जियो
जियो राम
जियो राम
पूनम की रतियों में चढ़ता है पानी
पूनम की रतियों में चढ़ता है पानी
जनिया ये दिन तोहरी छल बल के
होय्य
जनिया ये दिन तोहरी छल बल के
काहे ताके रे
काहे ताके धोबिया जल जल के
पाके महुए से रसिया रस छलके
तोरे कुरते तो तोहरा तन झलके
काहे धोया धोबनिया मल मल के
जियो राम
जियो राम
जियो राम
जियो राम
जियो
जियो
जियो
जियो
जियो
जियो
हर्र हर्र हर्र हर्र
होय्ये
O jee teree chithhiyon se sharmaaun
Posted July 1, 2023
on: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 : |
5461 | Post No. : | 17878 |
Today’s song is from the film Hindustan Hamara (1950).
The film had music by Vasant Desai. The film had 6 songs written by Dewan Sharar, S.R. Saaz and Dr. Iqbal. The film’s cast consisted of Prithviraj, Dev Anand, Jairaj, Surendra, Prem Nath, K.N.Singh, Durga Khote, Nalini Jaywant, Tripti mitra, Shambhu Mitra, Yashodhara Katju, Sheela Nayak, Wast and many more.
The film was made by Paul Zils Productions and the film was directed by Paul Zils himself.
Now who was this Paul Zils ? Sounds like a foreign name. Yes, he was a German who came to India during the II World War period. Very few people know that Indian Cinema had a little known connection with the rise of Hitler in Germany in 1932-33. A group of men , engaged in Cinema in Germany, flocked to India in the 30’s and played a vital role in Indian Cinema and the arts of that time. After Hitler took over Germany in 1933, the German Cine Studio’s glory days were over and they were turned into Nazi Propaganda Machines ! It was at this time that several of its men left the studio and arrived in India, and contributed during the Indian cinema’s formative years.
The foremost among them was Frantz Osten, a German whom Himanshu Rai and Devika Rani met at the UFA when they went to train there (they worked with Lang and Marlene Dietrich). Osten had already been directing films for the couple since 1925, when he made Light of Asia for them from Germany. In 1934, he came to India and the next year, after Rai founded ‘ Bombay Talkies ‘ the legendary film studio in Malad that now lies in ruins, Osten directed its first film.
He went on to direct the famous Devika Rani-Ashok Kumar starrer, Achhut Kanya (1936), without much knowledge of Hindi. The film, which featured the song “Main ban ke chiriya”, was shot by Joseph Wirsching; the sets were designed by Karl von Spreti and the laboratory was headed by Zolle, Osten’s team of UFA ex-members from Germany, who worked for Rai’s state-of-the-art studio.
Osten and his fellow Germans directed 16 films for Rai. It was a remarkable feat for people who knew little Hindi ‘ mistaking the word “bulbul” once for a pair of bulls. While in Bombay, he became a member of the Nazi Party (1936). He was interned by the British at the outbreak of Second WW while shooting his last film there, Kangan. Released and allowed to return to Germany (1940).
Then there was Walter Kauffman, a scholar and composer interested in Oriental music, and Wilhelm Haas, a writer and a friend of Franz Kafka. Both were Jews, and Haas came to India because of Kauffman, who went on to found the Bombay Chamber Music Society. Kauffman arrived in 1934 after meeting director-producer Mohan Bhavnani at the UFA (where V. Shantaram also did a stint). Haas was in Czechoslovakia, but left the country for India just after Hitler’s invasion.
Kauffman, Haas and Bhavnani worked together in Premnagar (1940), Naushad’s first film as music director. Kauffman composed the background score; Haas wrote the screenplay. Kauffman is also the person behind the All India Radio signature tune. Haas was a member of the Indian chapter of PEN. Haas also wrote the script for Bhavnani’s Jhooti Sharam (1939).
The story of Paul Zils ( 1-6-1915 to 30-3-1979 ) stands out, though. Zils, believed to be a Nazi sympathizer, turned up in India under strange circumstances: he was bound for Indonesia in a steamer that got torpedoed by an Indian naval ship during World War II and he was taken prisoner.
After his release, because of his film experiences, the leadership of the sales department where Ezra Mir led a government documentary production company, called him to join Information films of India. End of October 1945, he came to Bombay and started his work. In March 1959 he returned to Germany.
As the studio system came to an end and individual producers took over, the days of the Germans in Indian cinema were over. Many, including Osten, went back to Germany. Set designer Spreti was appointed German ambassador to Guatemala and was later shot dead by terrorists. Josph Virsching-the Cinematographer, however, stayed back in India till his death in 1967. He did few Hindi films too.
Paul Zils directed 3 Dev Anand films, according to the documents. Hindustan Hamara-50 and Zalzala-52 are found in HFGK, but the third film called ‘ Shabash”, though listed in 1949, gives no details, except the film name. ( Information adapted from the book ” Walter Koffman” by Amit Gangar, with thanks and my notes).
(Incidentally, another foreigner – an American – named Ellis Roderick Dungan was in the Madras film industry from 1935 to 1950 and he directed over 20 Tamil films, not knowing a single word of Tamil language till the end. He went back to the USA but kept visiting India, making Hollywood films and Documentaries etc, till 1994. Just for extra information.)
One of the lyricists and actors was Dewan Sharar. he was one of the most educated and famous literary persons in the Western World, before joining Hindi film industry. Hindi film industry has seen uneducated, educated and talented artistes in various fields like acting, direction,production, cinematography, story and dialogue writing, Lyricists,composers etc etc. It has also seen successful artistes leaving films and shining somewhere else on their merits like, Shashi kapoor-sr, S D Batish, Lyricist Moti,B.A. etc etc. However , there is only one example where the artiste had an extraordinary success in totally unrelated fields, was a distinguished author and an acknowledged scholar BEFORE joining the film industry . He is Dewan Sharar. Not much has been written about him so far. Here is something about him.
Dewan was not his first name. It was a Title used as a prefix. He came from a family which had served as Dewans in many states traditionally in a few generations. His name was Atmanand Sharar. He was born (3-1-1899 to 28-4-1969) in Multan in erstwhile Punjab. From 1929 to 1942, he travelled in many countries. He is credited with editing the Magazine, ” Shabistan “, the first Urdu cinema paper in India. He worked as a Publicist for the League of Nations in Geneva, Switzerland. He edited a leading weekly ” Great Britain and the East ” for 3 years He regularly contributed to the British and American press. He was the first Indian whose 4 plays were broadcast over BBC. From 1937 to 1940, he was in charge of the cataloguing of Urdu books and Manuscripts in India House at London. He published many books like’ Indian Folklore’, ‘ In the Garden of Peacocks’, ‘ East meets West’ and ‘ Gong of Shiva’. The last one was translated into many languages of Europe. Hindi film ‘ Ishara’-43 was based on this novel. He also wrote the story of Himanshu Roy’s film ” Karma”-33- first English film by an Indian. The film credits start with his name First.
This is what South Asian Cinema Faculty of U.K.said about him, “Film and stage actor, writer of English novels, short stories, stage and radio plays, “Eastern Adviser” to British-Gaumont films in London and Urdu poet “. He also contributed prominently to Indian cinema as a producer, character actor and a story and dialogue writer. Born in Multan, Dewan Atmanand Sharar (1899-1969) came from a family that had served as Dewans or Ministers in Indian princely states. After graduating from Punjab’s prestigious Government College, Lahore, he established an impressive repertory company in 1919 and presented several Hindustani plays and mushairas in various urban centres. In 1929, he set up a film-producing and distribution company and began to edit Shabistan,reputedly the first Urdu cinema paper in India.
In 1933, Dewan Sharar moved to London for the completion and launch of Himansu Rai’s Indo-British film, Karma (1933) ofwhich he was the storywriter. It was completed in England by Indian & British Film Productions with J.L. Freer Hunt as the director and Thorold Dickinson as editor. Sharar also produced and acted in Nagin ki Rani, the Hindustani version of Karma. While in London, many of his English short stories on Indian life appeared in mainstream newspapers in the UK and overseas. A major London publishing firm, George G. Harrap & Co., published two of his English works: The Gong of Shiva(1935) and Hindu Fairy Tales(1936). His short stories were also published as part of an anthology which included contributions from other famous contemporary writers. He also contributed a number of English radio plays for the BBC.
After returning to India in 1939 just before World War II, he worked for All India Radio Bombay and Delhi. He then joined filmmaker, V. Shantaram and adapted Kalidasa’s Sanskrit classic, Shakuntala for the silver screen in Hindustani. The film was a runaway success and the Sharar-Shantaram combine lasted over a decade winning laurels for both Sharar and Shantaram’s banner, Rajkamal.
Sharar had adapted the story from the original ”अभिज्ञान शाकुंतल” by Mahakavi Kalidas written in the 3rd century. He wrote the story, dialogues and Lyrics also. This was Sharar’s first film with Shantaram . Their association continued for some more films like, Parbat pe apna dera-44, Dr. Kotnis ki amar kahani-46, Apna Desh-49, Teen batti char Raasta-53 and J.J. Payal baje-55.
Dewan Sharar also acted in 8 films and wrote 62 songs in 12 films.
In 1943, Ishaara (1943), a film based on Sharar’s English novel The Gong of Shiva catapulted actor Prithviraj Kapoor to stardom. Besides becoming an important pillar of popular Indian cinema, he also started Dewan Sharar Publications in 1963. His descendants include famous Bombay-based Indian film actor Akash Khurana and Nagpur-based businessman turned playwright and theatre actor Vikash Khurana. ”
Hindustan Hamara was one of those films which was made on the philosophies espoused by Gandhi and Nehru. India had just got Independence and their influence on the Janata was heavy. They used to say that India lives in villages. Gandhi had even started a campaign ” Chalo Gaon ki ore (चलो गांव की ओर )”. Many filmmakers were influenced by Gandhi-Nehru’s Socialism and the first 10 years after independence, films glorifying Nehruvian Socialism were made in large numbers. Today’s film, Hindustan Hamara was also one such film which advocated living in the villages. The story of this film was….
” Ram is a farmer, who ploughs his land in a village. He lives with his wife Ganga and son Laxman. Due to poverty, his brother Bala goes to the city, works in a factory and becomes a Union Leader. His beloved Usha stays in the village with her widowed mother. Mahadev, the Zamindar has a bad eye on Usha. One year the crop fails and all farmers become panicky. The farmers are united by a social worker – Shaikh saheb to start co-operative farming, which becomes successful and all farmers are happy. Ram comes to know that his brother Bala is coming to the village for a few days. Everyone is happy and Usha’s marriage with Bala is on the cards. Bala comes and meets usha.
The jealous Zamindar brings Police to take away Ram’s land as he had failed to repay his loan in time. The zamindar puts a condition that he should get his money within 2 days or he should be married to Usha on the third day. Ram and other farmers of the cooperative society join together. The society gives him the loan to repay the zamindar. Bala decides to leave the city job and settle in the village to improve the condition of the farmers.”
One can see that the story had shades of Nehru Philosophy, Gandhi principles and Russian farming concepts. In reality all these proved to be useless while the world moved forward. Russians themselves gave up their ideas and the world became modern with industries and technologies. The old ways of farming changed drastically. This, ofcourse is a different point !
I have not seen the film. It would be a great sight to see Dev Anand working as a farmer ! This was much before he decided to make himself ” The Romantic heartthrob of India” in the times to come !!
Today’s song is a duet by Nalini Jaywant and Balakram. This is only the second song of this film to be discussed here.
Song- O jee teri chitthiyon se sharmaaun (Hindustan Hamaara)(1950) Singers- Nalini Jaywant, Balakram, Lyrics-S R Saaz, MD-Vasant Desai
Lyrics
aa aa aa ra ree ree raa
raa ree raa
o jee teri chitthiyon se sharmaaun
o jee teri chitthiyon se sharmaaun
khat choom choom rah jaaun
khat choom choom rah jaaun
ki padh nahin paaun main
chhup chhup ke hamne sunaai
aji chhup chhup ke hamne sunaai
la re la re hamaari mithaai
la re la re hamaari mithaai
aji jaao
jaao jaao munh dho aao
jaao jaao munh dho aao
dekho gussa na mohe chadhhaao
dekho gussa na mohe chadhhaao
ki bin sajan jaaun main
aa aa aa
aa aa aa aa
aa aa aa
arre tu hai mast kalandar
o o
chaacha tera hai bandar
chaacha tera hai bandar
isi liye khat unke rakhti
isi liye khat unke rakhti
tum is takiye ke andar
da da da da da da da
ab naach naach
meri gudiya gudiya gudiya
ab naach naach
haan naach naach
haan naach
aur bol kaun hai bandar
naachan mein dhoom machaaun main
hmm
aa aa
aa aa aa aa
aa aa aa
abhi khat likhta hoon Bambai
abhi khat likhta hoon Bambai
wahaan se laayenge dulhan nayi
haan haan dulhan nayi
wahaan kuchh ek nahin hain kayi
kisi aur ko jaa ke sataao
kisi aur ko jaa ke sataao
ki sat nahin paaun main
aa aa aa
aa aa aa aa
aa aa aa
o jee teri chitthiyon se sharmaaun
o jee teri chitthiyon se sharmaaun
khat choom choom rah jaaun
ke padh nahin paaun main
aa aa aa
aa aa aa aa
aa aa aa
Jab roop hi pyaasa ho kar
Posted February 5, 2023
on: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 : |
5314 | Post No. : | 17421 |
———————————————–—————————————
Blog 10-Year Challenge (2013-2023) – Song No. 19
————————————————————————————–
On this date ten years back viz on 5 February 2013, four songs from four different movies were covered in the blog. Here are the details:-
Blog post number | Song | Movie (Year) | Remarks |
---|---|---|---|
7449 | Hamen itna bata de bhagwaan | Ratna Manjari(1955) | 2 songs covered out of 5 by now |
7450 | Ye duniya rail niraali | Paayal (1957) | 7 songs covered out of 9 by now |
7451 | Hip hip hurray | College Girl (1960) | Movie YIPPEED by now |
7452 | Hum pyaar karna sakta ke nahin sakta | Shabistan (1951) | Movie YIPPEED by now |
We can observe that two movies (out of four) whose songs were covered on the blog on this date ten years ago (on 5 February 2013) have since been YIPPEED in the blog. That leaves us with two unYIPPEED movies which are eligible for Blog Ten Year Challenge today ten years later (on 5 February 2023).
“Ratnamanjari”(1955) is one of them.
“Ratnamanjari”(1955) was produced by Trivedi and directed by G P Pawar for Chitrabharati, Bombay. The movie had Shakila, Mahipal, Rehana, Sapru, Maruti, Moni Chatterjee, Roopmala etc in it.
The movie had five songs in it. Two songs have been covered in the past.
Here is the third song from “Ratnamanjari”(1955) to appear in the blog. This song is sung by Rafi.B D Mishra is the lyricist. Music is composed by S N Tripathi.
From the sounds of it, this song is an eve teasing song from Satyug or Dwapar Yug. 🙂 Only audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song. My guess is that it is picturised on Mahipal and Shakila.
Lyrics of this song were sent to me by Prakashchandra.
audio link:
Song-Jab roop hi pyaasa ho kar (Ratnamanjari)(1955) Singer-Rafi, Lyrics-B D Mishra, MD-S N Tripathi
Lyrics (Provided by Prakashchandra)
jab roop hee pyaasaa aaa
ho kar yoon..oon..oon
chhup chhup ke ae paanee
piyegaa aaa
to roop kaa pyaasaa aaa aa
jo hogaa aa aa aa
woh o kyaa pee..eekar phir..rrr
jiyegaa aaa
(dialogues)
gussey mein tumhaaree roop kali
gussey mein tumhaaree roop kali
kuchch aur khilee mohey ae loot chalee
kuchch aur khilee mohey ae loot chalee
roopkalee
roopkalee
mohey loot chalee
honthhon pe chhupaayee jo laalee
honthhon pe chhupaayee jo laalee
donon gaalon pe ae phoot chalee
donon gaalon pe ae phoot chalee
roopkalee roopkalee
mohey loot chalee ee
(dialogues)
bhagwaan ko bhee
bharmaanaa kyaa aaa aaa
premee ke sang
sharmaanaa kyaa aaa
sundartaa se ae ae
sharmaaney aey ae ee ee
apnee to o
aadat chhoot chalee eee
(dialogues->” nirlaj kaheen ke” )
hamein tum chhodkar jaatee ho o o
jaao o kaisey ae ae jaaogee ee
samajhtee ho hamein aen
bechain kar ke ae
chain paaogee ee ee
asar jo o pyaar mein aen hogaa
to khud hee khinchke aaogee
hamaarey prem kee doree mein
tum
bandh kar ke aaogee
O zara sambhal sambhal ke chal
Posted August 5, 2022
on: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 : |
5131 | Post No. : | 17087 |
‘Kaarwaan (1956) was produced by Dev Jolly and directed by Rafique Rizvi for Shahkar Productions, Bombay. the movie had Mahipal, Shakila, Helen, Cuckoo, Randhir, Hiralal, Yashodhara Katju, Paul, Sheila Vaz, Gope, Satish, Zed Hussain, Sharma, Dhanraj, Prema etc in it.
The movie had nine songs in it. Three songs have been covered so far.
Here is the fourth song from ‘Kaarwaan’ (1956) to appear in the blog. The song is sung by Balbir. Pt Bhushan is the lyricist. Music is composed by S Mohinder. The song also has a female voice uttering monosyllables.
Only audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
Lyrics and other details were sent to me by Prakashchandra.
audio link:
Song-O zara sambhal sabhal ke chal (Kaarwaan)(1956) Singer-S Balbir, Lyrics-Pt Bhushan, MD-S Mohinder
Lyrics
o zaraa sambhal sambhal ke chal..ll
pad jaaye kamar mein na bal..ll
kyon
haayye tere bhi chaahne waale hain jaani
tere bhi chaahne waale hain jaani
zara sambhal sambhal ke chal..ll
jabse tumko dekhaa maine
dil hai daanwaadol
aakhir teree marzi kyaa hai
kuchch to munh se bol
mar jaaoon na main jal jal..ll
mar jaaoon na main jal jal..ll
haan..aaa…aan
tere bhi chaahne waale hain jaani
tere bhi chaahne waale hain jaani
zara sambhal sambhal ke chal…lll
in zulfon mein baandh ley mujhko
baandh ley meree jaa…aan
ek baar to dekh le hans ke
main tere qurbaan
ab chain naheen ek pal…ll
ab chain naheen ek pal
chal hatt
haayye tere bhi chaahne waale hain jaani
tere bhi chaahne waale hain jaani
zaraa sambhal sambhal ke chal…ll
dekh ke gorey gorey rukh pe
kaala kaalaa til..ll
ho gaya tere ishq mein seedha
mera tedha dil..ll
sab nikal gaye hain bal..lll
sab nikal gaye hain bal..ll
hmm huhh
hoyye tere bhi chaahne waale hain jaanee
tere bhi chaahne waale hain jaani
zaraa sambhal sambhal ke chal..ll
pad jaaye kamar mein na bal..ll
haayye tere bhi chaahne waale hain jaani
tere bhi chaahney waaley hain jaani
zaraa sambhal sambhal ke chal….lll
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
ओ ज़रा संभाल संभाल के चल
पड़ जाये कमर में न बल
क्यों
हाए तेरे भी चाहने वाले हैं जानी
तेरे भी चाहने वाले हैं जानी
ज़रा संभाल संभाल के चल
जबसे तुमको देखा मैंने
दिल है डांवाडोल
आखिर तेरी मर्ज़ी क्या है
कुछ तो दिल से बोल
मर जाऊँ ना मैं जल जल
मर जाऊँ ना मैं जल जल
हाँ
तेरे भी चाहने वाले हैं जानी
तेरे भी चाहने वाले हैं जानी
ज़रा संभाल संभाल के चल
इन ज़ुल्फों में बांध ले मुझको
बांध ले मेरी जान
एक बार तो देख ले हंस के
मैं तेरे क़ुर्बान
अब चैन नहीं इक पल
अब चैन नहीं इक पल
चल हट
हाए तेरे भी चाहने वाले हैं जानी
तेरे भी चाहने वाले हैं जानी
ज़रा संभाल संभाल के चल
देख के गोरे गोरे रुख पे
काला काला तिल
हो गया तेरे इश्क़ में सीधा
मेरा टेढ़ा दिल
सब निकल गए हैं बल
सब निकल गए हैं बल
हम्मम
हाए तेरे भी चाहने वाले हैं जानी
तेरे भी चाहने वाले हैं जानी
ज़रा संभाल संभाल के चल
पड़ जाये कमर में न बल
हाए तेरे भी चाहने वाले हैं जानी
तेरे भी चाहने वाले हैं जानी
ज़रा संभाल संभाल के चल
Dagar mori chhodo jee
Posted July 24, 2022
on: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 : |
5119 | Post No. : | 17067 |
Today’s song is from the film Ladai ke baad-1943.
This is a very misleading title for a film which was made during the peak period of Second World war. Reading this title, it is natural for anyone to feel that this was a film which was on the matters which will take place after the war is over, or it may be a depiction of the country and the social life going through changes after the war ended. But none of it ! It was simply all about a war (Ladai) between two neighbouring families, caused by the usual Ego clash – though there is a loving couple in both families, hoping to get married. And it was called a Comedy film.
The film was made by Navyug Chitrapat, Poona. There is a little history behind the launch of this film making company. Master Vinayak (father of actress Baby Nanda) had his own film company Hans Pictures, in partnership with half brother Baburao pendharkar and cameraman pandurang Naik. Their first film was Chhaya-36-aq bilingual in marathi and hindi. It was not only a hit film but also it won many awards. Next 2 films, Premveer-37 and Dhrmveer-37 were also successful. Then came the film Jwala-38, a bilingual. Unfortunately this film was a big flop and Vinayak suffered heavy loss. To make it up, he then made 2 more films-Bramhachari-38 and brandy ki botal-39. Although these were successful at the Box office, the loss was not compensated. Even the last attempt with marathi film Ardhangi-40 (Hindi-Ghar ki Rani-40) could not salvage the damage done by jwala and Hans Pictures was dissolved.
He then launched navyug Chitrapat, along with Acharya P.K.Atre as a partner. Navyug was the first film company to offer 100 rupees shares to the common public (Bombay Talkies had given its shares to its Directors initially). The first film made was in Marathi-Lapandav-40. Then came Amrit-41(in Hindi and marathi) and ‘Pahili Mangalagaur’-42 in marathi, wherein Lata Mangeshkar made her Debut. During the making of this film, Vinayak left navyug and started his own ” Prafull Pictures’. After the last film Ladai ke baad-1943, navyug Chitrapat also closed down.
Actually, if one goes through the early marathi Cinema production history, one would know that launching and closing film companies was quite frequent in the Marathi film industry. In the early era, films were made in Poona, Kolhapur and Bombay. Two major communities in Maharashtra, Gujarati and Marathi entered the cinema field. Gujaratis were businessmen and had the money power. They immediately became the owners of film companies, supplied finance and made profits. Marathi people had no money but they had a hard working nature, acting Talent, Music expertise and Technical knowledge. Thus the jobs were automatically divided. Whenever Marathi people owned or launched film companies, they lost the battle due to lack of business sense and clash of false egos among partners. In later years, however, this picture changed.
Film Ladai ke baad-43 was directed by R.S.Junnarkar. Raghunath Shankar junnarkar was born on 19-3-1911 in Bijapur. After matriculation, he joined the film industry as a technician,in 1931, in Zarina pictures. He moved to kohinoor film company and then to United Artistes. Later he joined Kohinoor Cinetone in the capacity of screenplay writer and editor in 1934. master Vinayak Called him to Hans pictures in 1936. He was diligent and hard working. He got his first chance as a director of film sangam (Hindi and Marathi)-1941. Before this, he had jointly directed the film Bahurani in 1940, with actor Mubarak.
For navyug pictures he directed Pahili mangalagaur, Tuzach (Hindi version Main tera hoon) and Pundalik all marathi films. After Vinayak left navyug he completed the film pahili mangalagaur. In this film, there was a kissing scene of Snehaprabha pradhan and Shahu Modak. Lata also debuted in this film with acting and singing for herself.
Junnarkar was excellent as a screenplay writer. he wrote for films Nigahe nafrat -35 (Debut of Shobhana Samarth), Chhaya-36, dharmaveer-37, jwala-38, Neera and nanda-1946(directed also). he also wrote lyrics for film Taqrar-1944, he edited films, premveer, Nigahe nafrat, dharmaveer, Birha ki raat and Baazuband. (Thanks to the book ‘ Marathi Cinema in retrospect’ by Sanjit Narvekar).
Coming back to film Ladai ke baad-43, the songs were written by Wali Saeb.He was the brother of lyricist Nazim Panipati. Wali Saheb was a person of one of a kind. He was an educated person fond of writing stories and songs, but he was also very orthodox in nature, So much so, that he had made it compulsory for his actress wife Mumtaz Shanti, to come for shootings in a Burkha, and was also a perfect Hypocrite who allowed her to act in films as a lover of the Hero ! He would put it in her contract that the hero would not touch her during the shoots. To ensure this, he used to be present personally in her every shoot. After the shooting, she was to put on her Burkha again and head straight home, without talking a word with anyone.
It seems her uncle Barkat Nizami ( husband of actress Geeta Nizami) had brought her in films and he used to take away 75% of her earnings ( 50% for himself and 25% for his son). However, after her marriage to Wali saheb, this had stopped.
His name was Wali Mohd Khan. He was born in Poona on 10-8- 1908. His family was from Punjab. He became a Compounder with a Doctor in Lahore till 1938. He used to write songs for the Recording companies, for a sum of Rs. 5 per song ! He entered film line as a story writer and Lyricist, with film,” Soni Kumharan ‘ produced by East India Film Company.His songs became popular and he started writing dialogues too.He wrote songs, stories and dialogues for 36 films in all, with 280 songs. He worked for Kamla Movietone, Pancholi studios,Talwar productions, Cine art production etc.He even sang one song in the film Udhar-1949.
After trying his hand at Direction in Venus pictures film ” Lady Doctor”-44, he went on to produce and direct film ” Dekhoji”-47, under his own banner, Punjab film corporation ltd. Bombay. He produced and directed 4 more films, Padmini-48, Heer Ranjha-48, Putli-50 and Zamane ki Hawa-52. In all these films, the Heroine was Mumtaz Shanti. He migrated to Pakistan, with his actress wife, in the mid 50s. ( Thanks to information from Film Directory-46, muVyz, HFGK and my notes.)
I am not giving the film story because it was given along with the film’s first song discussed here in 2016. The music was by Dada Chandekar. Shankar Vishnu aka Dada Chandekar was from Kolhapur. He was born on 19-3-1897. His father used to do Keertan in temples and also play Harmonium. Dada also became an expert in playing the harmonium. Due to poverty, Dada joined Kirloskar drama company and used to do female roles. One day, by chance when the regular Harmonium player was absent, Dada got the opportunity to play Harmonium in a drama, which was lauded by all.
Later he joined Deenanath Mangeshkar’s Balwant Natak company where he played Harmonium for 20 years. Now Dada wanted to join the film industry. He assisted Dhamman Khan in the film Kaliya Mardan made by Bhali Pendharkar. When Dhamman Khan was removed due to his irregularity, Dada was appointed MD for the same film. Thus started his career finally. In 1937, he joined Huns Pictures of Master Vinayak and gave background music for the film Jwala-1938. This prompted the film Brahmachari-1938 to be given to him. This film’s music became Hit and created records in Hindi and Marathi versions. He gave music to Huns and Navyug films.
His other films as a MD were Brandy ki Botal-39, Devta-39, Ghar ki Rani-40, Amrit-41, Sangam-41, Ladai ke baad-43, Lieutenant-44, Din Raat-45, Main Tera Hoon-47, Moti-47 and his last Hindi film Phool aur Kaante-48. Meanwhile he was doing Marathi films also. He gave music to 25 Marathi films till 1964. It was he, who gave the First ever opportunity to Lata Mangeshkar to sing in a film. The film was ” Pahili Mangalagaur”-1942. It was a duet with Snehprabha Pradhan.
Dada Chandekar gave music to many Marathi dramas and he also worked for All India Radio, Poona for a few years. Dada Chandekar, one of the early composers of Hindi and Marathi films, died on 27-1-1976 at Poona.
Today’s song is a duet sung by Snehprabha Pradhan and Govind Kuruvilkar.
Editor’s note. This is the 100th song of Wali sahab as a lyricist in the blog. He becomes 32nd lyricist and 94th artist overall to complete 100 songs in the blog.
Song- Dagar mori chhodo ji (Ladaai Ke Baad)(1943) Singers- Snehprabha Pradhan, Govind Kuruvilkar, Lyricist- Wali Sahab, MD- Dada Chandekar
Lyrics
Dagar mori chhodo ji
Dagar mori
chhodo ji
tum to chhedoge
main hoon akeli
tum to chhedoge
main hoon akeli
Dagar mori chhodo ji
Dagar mori
chhodo ji
donon haathhon mein mere kabootar
donon haathhon mein mere kabootar
tere sar se bhari hai ye gaagar
tere sar se bhari hai ye gaagar
kaise chhedoonga
naar naveli
Dagar mori chhodo ji
Dagar mori
chhodo ji
tum to chhedoge
main hoon akeli
tum to chhedoge
main hoon akeli
gaagar mein donon kabootar bithhaakar
gaagar mein donon kabootar bithhaakar
gaagar ko dhhakke se upar uthhaakar
gaagar ko dhhakke se upar uthhaakar
hamse karoge athhkheli
hamse karoge athhkheli
tu ko samjhaye ??
tu ko samjhaye ??
Dagar mori chhodo ji
Dagar mori
chhodo ji
tum to chhedoge
main hoon akeli
tum to chhedoge
main hoon akeli
mujhe baadh liya kaajal ki dori se kyun
mujhe baadh liya
mujhe baadh liya kaajal ki dori se kyun
toone chhedaa thha
toone chhedaa thha
panghat pe chori se kyun
toone chhedaa thha
panghat pe chori se kyun
mose bhool hui
aaj mose bhool hui
naar naveli
kahin dekhe na mori saheli
Dagar mori chhodo ji
Dagar mori
chhodo ji
tum to chhedoge
main hoon akeli
tum to chhedoge
main hoon akeli
agar mori chhodo ji
Dagar mori
chhodo ji
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 : |
5059 | Post No. : | 16973 |
Today 25th May’2022 is Remembrance Day of actor Sunil Dutt (born as Balraj Dutt, 6 June 1929 — 25 May 2005).
Sunil Dutt was active in ‘films’ around us when I was growing up in seventies. I remember to have watched his ‘black & white’ movies like ‘Ek Phool Chaar Kaante’, ‘Main Chup Rahoongi’, ‘Beti Bete’, ‘Gaban’, and movies like ‘Padosan’ and ‘Reshma Aur Shera’ in our colony club when I was a child. I do not remember correctly but I think I had also watched his ‘Post Box no.999’ as well.
Then I have vague memories of watching some of his movies with my parents, or brothers and cousins, and /or elders (like my Uncle) in the family. These are movies like ‘Sadhu Aur Shaitan’, ‘Heera’, ‘Himalay Se Ooncha’, ‘Nagin’, ‘Nehle Pe Dehla’, ‘Shaan’, ‘Yaari Dushmani’, etc.
I watched ‘Jaani Dushman’ alone as my Dad gave me ‘conditional permission’ that I will not take my younger brothers to watch the movie with me. (But the permission came only after I was punished 🙂 the day before it. I had mentioned this episode in my post on the movie ‘Jaani Dushman’.)
As a child we were always interested in watching movies irrespective of the star cast and I enjoyed watching all the above movies.
I get to watch his ‘Rocky’, ‘Dard Ka Rishta’, ‘Raaj Tilak’, ‘Watan Ke Rakhwaale’ ‘Mother India’, ‘Gumraah’, ‘Hamraaz’, ‘Mera Saaya’, ‘Insaan Jaag Uttha’, ‘Amrapali’, ‘Mujhe Jeene Do’, ‘Waqt’, ‘Khandan’ (these I watched during the years from 1983 to 1988. I passed out matriculation in 1983, stayed Akola with my grandparents for my study (but actually playing cricket and watching movies than focusing on studies. From 1985 to 1988 I was staying at Parli Vaijnath (Maharashtra)).
The movies I mentioned above are not appearing in their chronological order of release.
From the above movies, I remember I had watched ‘Padosan’ again in later years also on VCR, TV and online.
In the recent years I had watched his ‘Lage Raho Munna Bhai’ in 2006 in Kachchh. And very recently I watched his ‘Aaj Aur Kal’ online in 2017 when I was in Kenya.
I have not watched today’s movie which is ‘Meharbaan-1967’.
“Meharbaan-1967” was directed by A. Bhim Singh for ‘A.V.M., Madras’. It was produced by A.V. Meiyappan.
It had Ashok Kumar, Sunil Dutt, Nutan, Mehmood, Sudesh Kumar, Bhalla, Shaymlal, Jankidas, Umesh Sharma, Ramavtaar, Rajkishore, Mukri, Sulochana, Shashikala, Shyama, Raj Mehra, Ramesh Deo, Ashim Kumar, Kumari Padma, Master Levi, Jayanthi, Bharathi and others.
“Meharbaan-1967” had seven songs in it that were written by Rajinder Krishan. Following is the list of songs as mentioned in HFGK Vol-IV (1961-1970).
SNo | Song Title | Singer/s | Posted On |
---|---|---|---|
01 | Mera gadhaa gadhon ka leader | Mohd Rafi, Mehmood | 09.12.2016 |
02 | Aayega aayega ik chhail chhabilaa aayega | Mohd Rafi | Being presented today |
03 | Ik raaja ki sun lo kahaani | Lata Mangeshkar, Rafi | 06.06.2021 |
04 | Saawan ki raat kaari kaari | Asha Bhonsle | 03.03.2022 |
05 | Ae mere dost ae mere hamdam | Mohd Rafi | 21.01.2013 |
06 | Saari duniya mein dekhe hain do anpadh naadaan | Lata Mangeshkar | Coming soon |
07 | Ik raaja ki sun lo kahaani | Mohd Rafi | 06.06.2021 |
All the songs of ‘Meharbaan-1967’ were composed by the legendary music director Ravi Shankar Sharma known to us as ‘Ravi’.
Today’s song is sung by Mohd Rafi and on screen Sunil Dutt is performing on this song. Also seen in the picturisation of this song are Ashok Kumar, Bharati, Padma Khanna, Nutan, Sulochana and many others.
Let us listen to today’s song and pay our tributes to Sunil Dutt.
Song-Aayegaa aayegaa ik chhail chhabeela aayegaa (Meharbaan)(1967) Singer-Rafi, Lyrics-Rajinder Krishan, MD-Ravi
Lyrics
Aayega aayega
Ik chhail chhabeela aayega
Aayega aayega
Ik chhail chhabeela aayega
Ik din jo meri chhoti si
Gudiya ko le jaayega
Aayega aayega
Ik chhail chhabeela aayega
Bhool ja bachpan ki rang raliyaan
Aaye din sharmaane ke
Bhool ja bachpan ki rang raliyaan
Aaye din sharmaane ke
Chhod ke roti sang saheli
Saajan ke ghar jaane ke
Chaahe ghabraaye
Chaahe muhkdaa chhupaaye
Aane waala to aayega
Aayega aayega
Ik chhail chhabeela aayega
Aayega aayega
Ik chhail chhabeela aayega
Laakh chhupa le humse lekin
Chaal teri ye kehti hai
Laakh chhupa le humse lekin
Chaal teri ye kehti hai
Soorat ik albele ki
Teri ankhiyon mein rehti hai
Kaisi bal khaaye
Yahi aas lagaaye
Kab aane waala aayega
Aayega aayega
Ik chhail chhabeela aayega
Aayega aayega
Ik chhail chhabeela aayega
haan
Aa
Do din ka ab tera basera
Baabul ke is aangan mein
Do din ka ab tera basera
Baabul ke is aangan mein
Kaisa hoga desh piya ka
Jaagi hai chinta man mein
Chain na aaye
Yahi soch sataaye
Ab aane waala aayega
Aayega aayega
Ik chhail chhabila aayega
Aayega aayega
Ik chhail chhabila aayega
Ik din jo meri chhoti si
Gudiya ko le jaayega
Aayega aayega
Ik chhail chhabeela aayega
Aayega aayega
Ik chhail chhabeela aayega
Aayega aayega
Ik chhail chhabeela aayega
Aayega aayega
Ik chhail chhabeela aayega
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