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

Archive for the ‘Vagaries Of Love’ Category


This article is written by Prakash Chandra, 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 :

3931 Post No. : 15004 Movie Count :

4108

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Atul Song-A-Day 15K Song Milestone Celebrations – 13
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Usually one chooses songs full of happiness and celebration for these types of occasions to celebrate, but as usual, I choose this haunting song, to celebrate. 🙂

The song is from the 1983 film ‘Sansani – The Sensation’. I have watched this movie one late night for the sake of this haunting song by Asha Bhosle. The movie was just a masala / murder mystery, where at the end the noble characters like Dr. Shriram Lagoo and Jayashree Gadkar turn out to be characters with grey shades. If you are a die-hard fan of Hindi movies of  70`s and early 80`s like me, you may enjoy this  pot-boiler, but watch the movie at your own risk. 🙂

But listen to this song, you may like it audio-wise.

This is an obscure mystery movie produced by Kavita Seth, who is also billed in the credits as “KAVITA – Introducing” as an actress. She is one of the principal lady characters in the movie. She appears wearing a white saree, roaming in the graveyards, and crying for her beloved Shailendra Singh (the playback singer, who got billing as “Friendly Appearance”). Shailendra Singh appears only at the climax, and also in a photograph in front of which the actress cries and sings this haunting song. But he did not get a playback singing chance, which is his original forte.

There is some confusion about the year of release of this movie, LP image of this movie shows the year 1979, censor certificate clearly shows the date 23-6-1983. According to HFGK-6, 1983 is the release of this movie.

The movie was “Dedicated to Late Director Irshad Afzal”, (I guess before the release of the movie the director must have passed away). The movie was produced under the banner of Panorama Pictures. The producer of the movie is Kavita Seth, who also makes her acting debut with this movie. The director’s name is mentioned differently in different sites as Irshad / Irshad Afzal / A Irshad.

The star cast of the movie includes Vinod mehra, Bindiya Goswami, Prem Chopra, Dr Shriram Lagoo, Shailendra Singh (Special Appearance), Kavita (Introducing), Jagdeep, Jayashree T, Jayashree Gadkar, Keshto Mukherjee, Jagdish Raj, Coca Cola, TP Jain, Ali Masood, Nilima, Meena T, Raj Kishore, Amal Sen, M Baig, Amarnath, Dutta Bhatt, Viraj, Gopal, Dina Pathak, Gulshan Grover, Viju Khote etc.

Songs of this film are written by Irshad (who was also the director). Music is composed by Hemant Bhosle. It has been mentioned in the credit sequences of the movie that the assistants to music director are Kersi Lord and Uttam Singh. These two genius composers cum arrangers also contributed to the musical score of this movie to a great extent. Kersi Lord has also done a lot of work with RD Burman.

The musical compositions of the movie are sung by playback singers like Asha Bhosle, Amit Kumar, Bhupender, Varsha Bhosle, and Hemant Bhosle. This movies has got following sound tracks

  1. Asha Bhosle : Phir Teri Yaad
  2. Asha Bhosle, Amit Kumar, Bhupinder & Varsha Bhosle : Patthar Ka Hai Sanam
  3. Asha Bhosle, Hemant Bhosle & Chorus : Sansanikhez Koi Baat
  4. Asha Bhosle, Varsha Bhosle : Saqiya Tu Koi
  5. Asha Bhosle, Amit Kumar : Ab Kahaan Jayenge Hum (Happy)
  6. Amit Kumar : Ab Kahaan Jayenge Hum (Sad)
  7. Hemant Bhosle : Theme music

Records of the movie were issued by The Gramophone Company of India Ltd. (aka His Master`s Voice). The movie was shot at outdoor locations of Madras, Bangalore, and Tamilnadu.

On screen this song has been divided into 3 parts. The first stanza features Dina Pathak, Shailendra Singh (i.e. appears in a photograph) and Kavita Seth aka Kavita . The 2nd stanza features Kavita Seth, Dr.Sriram Lagoo, and Vinod Mehra. And the 3rd stanza features Kavita Seth, Vinod Mehra and Jayashree Gadkar.

About the Music Director: Hemant Bhosle is the late son of Asha Bhosle. He passed away on September 28th of 2015. I like his musical compositions of the songs of ‘Taxi Taxie’ (1977). Given below is an incomplete filmography for him. If at all any additions or deletions are there in this regard, please let me know.

  • Taxi-Taxie (Polydor-1977)
  • Jadu Tona (Polydor-1977)
  • Anpadh (Polydor-1978)
  • Damaad (Polydor-1978)
  • Sansani (HMV-1980/Irshad)
  • Sweety (Music India-1980)
  • Nazrana Pyar Ka (Polydor-1980)
  • Shradhanjali (HMV-1981/Anjan)
  • Barrister (HMV-1982/Yogesh)
  • Teri Meri Kahani (TV Movie 1982/Anjaan,B.R.Chopra)
  • Doosra Kinara (1982)
  • Beta (1982/HMV/Anjaan)
  • Bandhan Kachchey Dhaagon Ka (HMV-1983)
  • Raja Jogi (1983)
  • Bachchon Ka Khel (1983/Gulshan Bawra)
  • Dharti Akash (TV Movie 1983)
  • Dharam Shatru (T-series,Super-1985/1988)
  • Bhaago Bhoot Aaya (1985)
  • Aakhiri Sanghursh (1987/1997)

Hemant Bhosle also provided music for some Marathi songs.

About the Lyricist Irshad:  I searched for lyricist Irshad`s other works, but got confused with Irshad who has connection with the Kishore Kumar camp, and has written songs for films such as ‘Door Ka Rahi’ (1971 – which has the famous song “Beqaraar Dil, Tu Gaaye Jaa”), ‘Badhti Ka Naam Dhadi’ (1974) ‘Shabaash Daddy’ (1978) and ‘Chalti Ka Naam Zindagi’ (1982). Irshad also written songs for other movies like ‘Naag Pooja’ (1971), ‘Pattharon Ka Shaher’ (1972) – both for Usha Khanna. Also for ‘Alibaba’ (1976) – Dara Singh starrer with Hansraj Behl as the music director.

I got further confused when I watched the movie credit sequences which displays the photo with garland and agarbatti and lines like “Dedicated to our beloved director – Irshad Afzal”, and further in the credits – “Lyrics, written and directed by IRSHAD”.

I doubt whether all the above Irshads are one and the same. I request our more knowledgeable readers and friends to please help clarify this possible ‘same name confusion’.

One of the comments related to the song in some site is as follows: “Phir Teri Yaad” is a completely mental slice of Indian psych/funk”. I failed to understand this comment, I request someone to please elaborate about this comment.

I will conclude my endless banter here 🙂

Congratulations and best wishes to our blog on its MEGA CELEBRATION. I love everything and everyone related to our blog. Visiting and reading the blog posts gives me immense joy.

Video

Audio

Song – Phir Teri Yaad Aa Gayi (Sansaani) (1983) Singer – Asha Bhosle, Lyrics – Irshad, MD – Hemant Bhosle

Lyrics

aaaaaa aaaaaaa aaaaaaaa aaaaaaa aaa
aaaa aaaaa aaaaaaaaa aaaaaa aaaa aaaaaa
aaaa aaaaaaa aaa
aaa aaaaa aaaaa

phir teri yaad aa gayee
gham ki ghataa.. chhaa gayee
raaton ki
veeraani
hum ko..
rula gayee
phir teri yaad aa gayee
gham ki ghataa.. chhaa gayee
raaton ki
veeraani
hum ko..
rula gayee
phir teri yaad aa gayee. . .

kabhi guzar ho
bahaar ka ab
to dil ke zakhmon ko
chhooke guzaregi
koi jo aaye
phuhaar ki rut
to baadalon se
bhi aag barsegi
tere bina ab
mere humdum
hai maut zindagi
phir teri yaad aa gayee
gham ki ghataa.. chhaa gayee
raaton ki
veeraani
hum ko..
rula gayee
phir teri yaad aa gayee. . .

hai zinda laashein
ye dil ke armaan
tere hi gham ke
kafan mein hain lipte
janaazaa uthne
ko hai tu aa jaa
safar aakhiri
to kar len tai mil ke
varnaa ye
rooh pyaasi
pyaasi hi reh jaayegi
phir teri yaad aa gayee
gham ki ghataa.. chhaa gayee
raaton ki
veeraani
hum ko..
rula gayee
phir teri yaad aa gayee. . .

chiraag-e-dil bhi
hai bujhne ko ab
panap rahey hain
andheron ke saaye
sulag rahi hain
tadapti saansein
maseehaa ban ke
koi to aa jaaye
sholaa hai
har dhadkan
gham ki chithaaon ki
phir teri yaad aa gayee
gham ki ghataa.. chhaa gayee
raaton ki
veeraani
hum ko..
rula gayee

phir teri yaad aa gayee
gham ki ghataa.. chhaa gayee
raaton ki
veeraani
hum ko..
rula gayee
phir teri yaad aa gayee. . .

———————————————————-
Hindi script lyrics (Provided by Prakash Chandra)
———————————————————-

आsssss आssssss आsssssss आssssss आss
आsss आssss आssssssss आsssss आsss आsssss
आsss आssssss आss
आsss आsssss आssss

फिर तेरी याद आ गयी
ग़म की घटा॰॰ छा गयी
रातों की
वीरानी
हमको॰॰
रुला गयी
फिर तेरी याद आ गयी
ग़म की घटा॰॰ छा गयी
रातों की
वीरानी
हमको॰॰
रुला गयी
फिर तेरी याद आ गयी॰ ॰ ॰

कभी गुज़र हो
बहार का अब
तो दिल के ज़ख्मों को
छूके गुज़रेगी
कोई जो आये
फुहार की रुत
तो बादलों से
भी आग बरसेगी
तेरे बिना अब
मेरे हमदम
है मौत ज़िन्दगी
फिर तेरी याद आ गयी
ग़म की घटा॰॰ छा गयी
रातों की
वीरानी
हमको॰॰
रुला गयी
फिर तेरी याद आ गयी॰ ॰ ॰

हैं ज़िंदा लाशें
ये दिल के अरमान
तेरे ही ग़म के
खफन में हैं लिपटे
जनाज़ा उठने
को है तू आ जा
सफर आखिरी
तो कर ले तय मिलके
वरना ये
रूह प्यासी
प्यासी ही रह जायेगी
फिर तेरी याद आ गयी
ग़म की घटा॰॰ छा गयी
रातों की
वीरानी
हमको॰॰
रुला गयी
फिर तेरी याद आ गयी॰ ॰ ॰

चिराग ए दिल भी
है बुझने को अब
पनप रहे हैं
अंधेरों के साये
सुलग रही हैं
तड़पती सांसें
मसीहा बन के
कोई तो आ जाए
शोला है
हर धड़कन
ग़म की चिताओं की
फिर तेरी याद आ गयी
ग़म की घटा॰॰ छा गयी
रातों की
वीरानी
हमको॰॰
रुला गयी

फिर तेरी याद आ गयी
ग़म की घटा॰॰ छा गयी
रातों की
वीरानी
हमको॰॰
रुला गयी
फिर तेरी याद आ गयी॰ ॰ ॰

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

Blog Day : 3902 Post No. : 14954

 

‘Bobby’ – a once in a life time sojourn. Smitten by this film, youngsters in any age will not be awed by any other drama of romance.

‘Bobby’ – the heart beat of a generation. Murmurs of that heartbeat continue to be alive decades after. Memories of that first love still makes the blood race through the veins, just as if that primal experience is still happening – for the first time.

‘Bobby’ – never before, and never after – was a story of adolescent love, ever presented with such an alluring composure, and such a charismatic style.

‘Bobby’ – open that page even today, and the freshness of fragrance of that first touch, that first embrace, that first kiss – under a row of Gulmohar trees in full bloom, still has the thump to pummel you off your feet. The ‘flame of the forest’ is ablaze with a riot of red. And so are the raging emotions within – not just the star crossed lovers on screen – it is me too, still floundering and floating in those seminal sensations of love – the moment frozen in time and age, forever. Check out the lover’s tryst at the swimming pool. Every other experience of passionate emotions pales into insignificance in the face of this compelling, electric attraction.

‘Bobby’ – the enduring Perfect Storm – nothing else comes close to capturing that first pubescent surge of hormones – the heart’s first introduction to the fascinating enthrallment of passion and love.

‘Bobby’ – the first steps into the adventures of delight, when the self desires to make space for another for the first time, savoring the first unfamiliar ecstasies of love.

‘Bobby’ – a film, a name, and a girl in a white frock with grey dots and a red piping – standing next to the entrance, near the golden statue of a maiden carrying a pot of water, quenching the thirst of many kinds; and the strains of music that play on that first sighting – “Jeena Yahaan Marna Yahaan, Is Ke Siwa Jaana Kahaan”. As always, the master of melodramatic presentation, RK chose this oh so appropriate music to play when this simple young girl made her first presence on the screen, and into the hearts of million young men – yes – Is Ke Siwa Jaana Kahaan. . .

I have written before about my many crushes on many a beauty of the silver screen. But this was / is the first time I really fell in love. Never heard of this girl before. Dimple Kapadia – no background in films, no links in the industry – and one day, she is just there, standing near the entrance, next to that golden statue. It was just a moment – and she took my heart away. That was just yesterday, but it seems as if an age has passed, and an entire life story of love has been played out. And yet, frozen in time, it still is 1973, and Bobby and me – forever.

As far as I can remember, no other film, no other director had, till that time, tried to tackle the subject of adolescent romance. Yes, there have been many films about childhood friendships that blossom out into love and romance when the protagonists are adults. College going students – yes, many films that have dealt with college romance. The one drawback of these tales was – the lead pair never did look like college students. Senior actors in their thirties, forties and even fifties, attempting to play romantic leads on a college campus. All is well till the movie plays, but once done, the memories remain of the oversize actors trying to fit into very young shoes.

Bobby was different. Bobby was homegrown fresh, young, as young can be. Dimple – all of sixteen years when she stepped into this role. Rishi, albeit not so young, was 21. But with his cupcake Johnson baby looks, he charmed his way into the hearts of a million girls. Take away all the aesthetics, and the story is as old as the ruins of Ranjeet Studios – boy from rich family meets girl from family not of the same social status, they fall in love, and the entire world around them crumbles down upon them. Coming all the way from days of Parsi theatre and silent cinema, this tale has been played over and over again, umpteen times.

And then, after seven decades or so, this tale once again exploded on to the screens, and ignited a whole generation of teenagers – a fire that has not been doused since then. It was not the melodrama that worked; it was, somewhat maybe, the music that worked; it was not the apparently artificial ambience of the Nath affluence – the rich side of the tussle; it was not the exaggerated and affected brash and boisterous Braganza who wears the same undersized suit to every formal scene in the film, (gosh, even the not so affluent have a proper dress sense), and the supporting roles – mother, nanny, friends, society girls, mild brained proposal for making a business alliance – in short, there was nothing in the film that was not done before, even by RK himself, nothing that was new for the cinema screen and for the audiences. What turned out to the winner was the lead pair – two unknown faces whose on screen chemistry tugged at the strings of the heart of the audience, and turned the rest of the oft repeated paraphernalia around them into a very convincing, charming, fascinating tale.

And between the two of them, Bobby comes up trumps to the histrionics of Raja. The film is Bobby, and Bobby all the way. Making innocence and glamour look oh so easy, the images in the mind are forever now – the coy and shy little girl in a frock, who is afraid to step into the lavish party, keeps standing at the entrance; the naïve and innocent little girl, telling about the ‘dhuk-dhuki’ in her heart when she see him; the troubled and broken lady, her heart asunder albeit from a misunderstood conversation, as she too looking on with pleading eyes, but unable to take a step towards him; the screaming pleading young woman, beseeching her grandmother not to lock her up, as Josef physically pulls her away and carries her upstairs at the behest of an agonized but very firm Mrs. Braganza. . . and many more. The images keep playing in the mind. And the film is all about this teen aged girl who is so intensely convinced about her love – you can see it in her face as she pleads with her grandmother – that she will die if separated from Raja; and sitting in the audience seats, one is so starkly convinced that she will, that there are tears streaming and the body muscles want to jump on to the screen and beat the hell out of Josef.

Oh Bobby, Bobby, Bobby – she pulled up a storm, and then – she just walked away. In a manner of speaking, it is good that she did. The legend and the aura of Bobby remained constant, unremitting . . . verily to become perpetual. The Dimple that we see from a decade later is a very different avatar. The memories, the marvel, the legend of Bobby, has remained intact. Nobody could quite portray the coy innocence and purity of heart, as we see Bobby on the screen and in the dreams. And that is very well for me – it is 1973, and Bobby, forever.

I am both sad and glad to get the opportunity for announcing the Yippeee-dom status for this film. After a 10 years travel, finally all the songs of this film are now present on the blog. 🙂  And sad, because we won’t be discussing this Bobby again in any future post. 😦

Eight songs, eight wonderful songs keeping alive the RK tradition for the best in music. The songs created quite a ripple when released, and over the decades, have remained popular with every new generation of teenagers, who simply love the ideas of simple thoughts as in “Mujhe Kuchh Kehna Hai” and “Hum Tum Ek Kamre Mein Band Hon”. 🙂 The seven songs posted earlier happened in the following sequence.

 

1 Main Shaayar To Nahin 869 10-Mar-09
2 Ankhiyon Ko Rahne De 998 30-Mar-09
3 Mujhe Kuchh Kehna Hai 5708 30-Mar-12
4 Jhoothh Bole Kauwwaa Kaate Kaale Kawwe Se Dariyo 13319 8-Jun-17
5 Ham Tum Ek Kamre Mein Band Hon Aur Chaabhi Kho Jaaye 14732 3-Nov-18
6 Beshaq Mandir Masjid Todo, Bulle Shaa Ye Kehta 14918 10-Mar-19
7 Na Chaahoon Sona Chaandi 14940 20-Mar-19

 

A journey that started 10 years ago, culminates today, with the posting of this fabulous and scintillating party song that carries many layers of silent conversations within itself. We are more than two third of the way into the movie. Nath and Braganza have fallen out big time, with the belligerent Braganza promising all sorts of consequences if Nath’s son is seen anywhere close to his daughter. Bobby is sent off to Goa – a la “Akhiyon Ko Rahne De Akhiyon Ke Aas Paas“. Raja is confined and under watch. New Year eve is nigh. The business driven Nath makes a business driven decision to announce the engagement of his son with the daughter of Mr. Sharma, one of his business associates. No matter that the lady chosen is somewhat retarded, and much below her actual age in mental capacity. Not being able to rebel and speak his mind, unable to confront his father, Raja is in a deadly dilemma about his life.

The party happens. The song happens. And Raja gets the answer for his life. As I said, the song has multiple layers of silent conversations happening. The party and the celebration is one. The parents are agog with delight of having struck two birds with one stone – made a major business gain, and tied down a wayward son into household chains. The joy of Nikki (Farida Jalal) is on a different high – she is getting married into another rich family. Then the song and the performance itself – that speaks of the travesty of love and lovers. Woe becomes he who is wretched enough to be entangled in a snare of love.

And there is the mind of Raja – bewildered, afraid, not believing what is going on around him. His insides are in a shamble, his heart is in agony, and all his parents can think of is an alliance for him, and a grand new year party. A look at him, his lost expressions in the midst of so much dance and revelry. And one is reminded of another RK song –

dhakke pe dhakka, reley pe relaa
hai bheed itni, par dil akela
par dil akela

And the scenario takes you back across two decades of musical and cinematic articulation – the troubled expressions of the face of Raja feeling hopelessly lost amidst the ongoing celebration, threading back to the joker singing at the Bombay carnival (‘Mera Naam Joker’, 1970), leading you back one more layer, to the bumbling hobo, new to the big town, and completely lost in its hustle bustle (‘Shri 420’, 1955). When I see that image, that look on Rishi Kapoor’s face during this party song, my mind goes back these two steps to more of RK’s wonder illustrations.

And then, we have this covert conversation happening between the dancer and the teenager with a troubled mind. The dancer is singing for him, without him realizing it so, at the beginning. In the first stanza, the dancer explains to Raja, the vagaries of love one has to endure. Falling in love does not mean just losing your heart to someone – actually one loses everything in life, one’s entire world and even one’s happiness. Then the dancer goes on to explain the time of adolescence – and this one line in this song is so intensely killing –

ye ek saal
bachpan aur jawaani ke beech ka
bada bura hota hai

And in this one liner, the lyricist has said everything that one needs to be said for the agonies of coming of age. This time of transition and hormonal changes bring in awarenesses that didn’t exist in the mind before. And these awarenesses are confusing, troubling and at times frightening. The call of the dancer’s voice now catches Raja’s attention – who realizes that this song is being sung for him. And in the second stanza, the dancer now reveals an answer. The seed is planted, the way is shown, and the contemplation of an elopement is initiated –

bacha ke aa..aankh
panchhi pinjra le ke ud jaaye to. . .

Lovely choreography here. For a moment, Raja is encircled by other dancers with frightening masks, as if he is caged inside a prison of fear, and the next instant, the dancer is floating away like a bird flying. And the words for the second stanza commence. Just pause and watch again this small magical interlude segment.

The third stanza of this song appears separately and a little later in the film (and is inserted as Part II in the lyrics below). Raja has run away from home, reached the place in Goa where Bobby is confined with her grandmother. He pleads to be allowed to meet, and to be permitted to be married. Grandma locks him up also, and sends message to Bombay. In the night, Raja manages to escape, gets in to Bobby’s room, and now they both flee on the mobike. The third stanza plays now. The burden of this stanza says that this incurable malady of love is under no one’s control, no matter how formidable a learned person (jogi – one who can control the senses and the mind) or how skilled a snake charmer might one be. A snake charmer is supposed to have power to control any snake. The lyrics say that the serpents of love are not even in their control.

The words in the song, the choreography, the covert exchanges happening between the dancer and the teenager – oh so well designed and executed. There is another layer of conversation that gets revealed. Just watch the expressions and try to visualize the mind of the young man as the song progresses. He is troubled, he is lost, he is incensed by the apparent sarcasm that the dancer is singing. And then he catches on. The message of being trapped “Ae. . .  Phansaa” transforms from his original thoughts that he played the game of hearts and lost and got trapped in this pining pain of love. But when Nikki joins the party, and the dancer points out yet once again “Ae. . .  Phansaa” he realizes – not earlier as he was thinking, but the entrapment is happening now, with the new proposed alliance for him. One begins to see a glimmer of understanding dawn in his eyes and his expressions. He is now listening more carefully. And when the second stanza is in progress, one can clearly make out that now he is fully in sync with the dancer, and her words, and the covert messages that she is communicating. And when the words for flying away with the pinjra are aired, the young man is all attention, slowly one feels the mind moving towards a new resolve, a new plan. At the end of this stanza, there is a very brief, but very meaningful pause, a wink, and a twist smile – almost as if saying – ‘Go’. In the film, the next thing we see is the mother, with letter in her hand, announcing with a scream that her son has run away – and the party has not yet ended. And the next thing we see is the young man and the vroooom of the Rajdoot GTS bike.

And I would like to talk about the dancer now, saving that for the last. In my mind, probably the best dance performance by Aruna Irani, across her career. The music is very fast paced, the movements are very energetic, and true to the RK traditions, the woman in her is so vividly and so sensitively, and sensuously presented. It is such a treat to watch this performance. I have lost the count of times that I have replayed this video in the past couple of days as I work to complete this write up. A superlative performance indeed, by her. Her expressions exhibit how much she is enjoying this herself. And very clearly, she is giving everything to this song. The sequences of steps, the movements – wonderfully choreographed and so expressively delivered by her.

The film credits do not include the name of the dance director, but after some digging, I am able to locate the name. The dance director in this film is Sohanlal, of Madras (now Chennai). It is tons of years ago, but I remember having met him in Madras. There was a brief period of time when I was in Madras on a job assignment. And one of my aunts, who stayed in Madras – her family was a tenant in the bungalow of Sohanlal, somewhere in Adyar area. I used to visit my aunt’s family almost on a weekly basis. And on a couple of occasions I even sat in the studio where Sohanlal ji was instructing students for practice.

Back to Aruna Irani. She has a brief but a significant role in the film. The misunderstanding that is caused between the young lovers, inadvertently, she is in the middle of it. In all her scenes, she looks so extremely charming and ravishing. And always on the dot with her presence and dialogue delivery.  A short and a very sweet performance. Of course with this dance as her best one that I can remember.

And so, the last of Bobby songs is now posted. We announce the addition of this film to the list of Yippeee’d films on our blog. Maybe, I won’t be writing any more about this film. But that is not to say that I do not have more to say about the film, and about Bobby – my first love. That is going to remain with me forever. Yes, it is 1973. . . forever.

The film is a benchmark for stories of young romance, that have been told, and as well for the stories that still have to be told. But the legend of ‘Bobby’ will endure.

The songs that have given idioms that have crept into the language of this subcontinent, be it “. . . pyaar mein sauda nahin”, or “. . . par pyaar bhara dil kabhi na todo, is dil mein dilbar rehta”, or even the simple expression that says “. . . mujhe kuchh kehna hai”. And yes, the ice breaker as one attempts to attract the attention of a lady – “main shaayar to nahin. . .”.

And thus I close this post with the reiteration – an expression for all who are always young in the heart. . .

“If you ever have been in love, this film is for you. . .”

(Part I – Party Scene)

(Part II – On The Road)

Song – Us Ka Chhoota Ghar Baar Sansaar (Bobby) (1973) Singer – Lata Mangeshkar, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal

Lyrics

(Part I)

ae..ae..ae..ae..ae. . . phasaa. . .

mmmmmmm mmmmmmm
arey arey arey

uska chhoota ghar baar sansaar
jo kar ke pyaar yaar kisi ke dil mein basaa
basaa
basaa. . .
ae..ae..ae..ae..ae. . . phasaa. . .

uska chhoota ghar baar sansaar
jo kar ke pyaar yaar kisi ke dil mein basaa
basaa
basaa. . .
ae..
ae..
ae..
phasaa. . .

laa laalaaa laa raa laa
laalala laalala laalala laalala

ye ek saal
bachpan aur jawaani ke beech ka
bada bura hota hai
ye ek saal
naujawaanon ka
nadaanon ka
deewaanon ka
ye ek saal
bachpan aur jawaani ke beech ka
bada bura hota hai
aashiq ka ho gaya naam badnaam
hua anjaam
subah sham zamaana hansa
hansa
hansa
ha ha ha ha ha ha
ae..ae..ae..ae..ae. . . phasaa. . .
uska chhoota ghar baar sansaar
jo kar ke pyaar yaar kisi ke dil mein basaa
basaa
basaa. . .
ae..
ae..
ae..
ae. . . phasaa. . .

bacha ke aa..aankh
panchhi pinjra le ke ud jaaye to
shaayad jaan bach jaaye
bacha ke aa..aankh
kisi jharokhe se
kisi mauke se
kabhi dhokhe se
bacha ke aa..aankh
panchhi pinjra le ke ud jaaye to
shaayad jaan bach jaaye
jeena hua dushwaar dildaar
ke laga aar paar teer kisi ne kasaa
kasaa
kasaa. . .
ae..
ae..
ae..
ae. . . phasaa. . .

uska chhoota ghar baar sansaar
jo kar ke pyaar yaar kisi ke dil mein basaa
basaa
basaa. . .
ae. . . phasaa. . .

(Part II)
ye prem rog
bade bade jogi saperon se bas mein nahin
hota hai
ye prem rog. . .
pyaar karte hain
log marte hain
kahaan darte hain
ye prem rog
bade bade jogi saperon se bas mein nahin
hota hai
us ne liya bairaag
jag se bhaag
ke lagi aag

naaginon ne jise dasaa
dasaa
dasaa
ha ha ha ha ha

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

(भाग १)

ए॰॰ए॰॰ए॰॰ए॰॰ए॰ ॰ ॰
फंसा॰ ॰ ॰

म्ममममम म्ममममम
अरे अरे अरे

उसका छूटा घर बार संसार
जो करके प्यार यार किसी के दिल में बसा
बसा
बसा॰ ॰ ॰
ए॰॰ए॰॰ए॰॰ए॰॰ए॰ ॰ ॰ फंसा॰ ॰ ॰

उसका छूटा घर बार संसार
जो करके प्यार यार किसी के दिल में बसा
बसा
बसा॰ ॰ ॰
ए॰॰
ए॰॰
ए॰॰
फसा॰ ॰ ॰

ला लाला ला रा ला
लालाला लालाला लालाला लालाला

ये एक साल
बचपन और जवानी के बीच का
बड़ा बुरा होता है
ये एक साल
नौजवानों का
नादानों का
दीवानों का
ये एक साल
बचपन और जवानी के बीच का
बड़ा बुरा होता है
आशिक का हो गया नाम बदनाम
हुआ अंजाम
सुबह शाम ज़माना हंसा
हंसा
हंसा
हा हा हा हा हा हा
ए॰॰ए॰॰ए॰॰ए॰॰ए॰ ॰ ॰ फंसा॰ ॰ ॰
उसका छूटा घर बार संसार
जो करके प्यार यार किसी के दिल में बसा
बसा
बसा॰ ॰ ॰
ए॰॰
ए॰॰
ए॰॰
ए॰॰
ए॰ ॰ ॰ फंसा॰ ॰ ॰

बचा के आ॰॰आँख
पंछी पिंजरा ले के उड़ जाये तो
शायद जान बच जाये
बचा के आ॰॰आँख
किसी झरोखे से
किसी मौके से
कभी धोखे से
बचा के आ॰॰आँख
पंछी पिंजरा ले के उड़ जाये तो
शायद जान बच जाये
जीना हुआ दुश्वार दिलदार
के लगा आर पार तीर किसी ने कसा
कसा
कसा॰ ॰ ॰
ए॰॰
ए॰॰
ए॰॰
ए॰॰
ए॰ ॰ ॰ फंसा॰ ॰ ॰
उसका छूटा घर बार संसार
जो करके प्यार यार किसी के दिल में बसा
बसा
बसा॰ ॰ ॰
ए॰ ॰ ॰ फंसा॰ ॰ ॰

(भाग २)

ये प्रेम रोग
बड़े बड़े जोगी सपेरों से बस में नहीं
होता है
ये प्रेम रोग॰ ॰ ॰
प्रेम करते हैं
लोग मरते हैं
कहाँ डरते हैं
ये प्रेम रोग
बड़े बड़े जोगी सपेरों से बस में नहीं
होता है
उसने लिया बैराग
जग से भाग
के लगी आग
नागिनों ने जिसे डसा
डसा
डसा
हा हा हा हा हा हा


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

Blog Day : 3887 Post No. : 14918

———————————————–
Blog 10-Year Challenge (2009-19) – Song No. 14
————————————————

‘Bobby’ created almost a storm in 1973. This drama of puppy love, completely fresh faces (almost, Rishi Kapoor had already made his mark in the ‘child RK’ role in ‘Mera Naam Joker’ (1970)), and a love story aimed at an age bracket lower than college going young people – the lovers in this film are just transitioning from high school to college. In the early 1970s, the influence of the hippie movement and free love ideas from the west into the Indian society was still a compelling influence. And the provocative presentation, as is the wont of RK style, ensured that young people of all ages went to see this film multiple times in the theaters.

The story of RK – from ‘Mera Naam Joker’ (1970) to ‘Bobby’ (1973) is quite well known. ‘Mera Naam Joker’ was designed and produced by RK as his magum opus. He put his everything into that film, both the creativity and the finances – and lost out on the gamble at the box office. Many reasons can be analyzed as to why that happened. ‘Mera Naam Joker’ is a remarkable film, but then maybe RK went overboard in certain aspects. With the huge success of ‘Sangam’ (1964) behind him he gambled that the length of the film won’t be a deterrent to the audience. He called the wrong numbers on the dice. The film was a financial disaster for RK, in its first run. It broke him.

But his resilience to bounce back played out well. After a gap of three years, he came up with ‘Bobby’, and he had the audiences lapping it up, again and again. Some journalist even wrote that RK has extracted his revenge on the system, as well as the audiences, and got compensated many times over for the disaster of ‘Mera Naam Joker’.

‘Bobby’ was also a significant departure for RK banner in another way. The Shankar-Jaikishan duo of music directors had been rendered solo, by the untimely departure of Jaikishan in 1970. RK took a glaring decision to switch music directors, bringing to close an association that had lasted for more than two decades. Many industry observers commented that this was expected. Many others in the industry were shocked by this move. A move that essentially signaled the downturn of Shankar as an MD. He doggedly tried to keep the SJ banner alive but the zest and the verve was gone, forever. The numbers speak for themselves – in 1971, seventeen films were released with music by SJ. Of course, presumably, a fair share of the work on this set of seventeen would have been done while Jaikishan was still alive. The rest of the decade of 1970s tells a grim story. 1972 – 8 films; 1973 – 7 films; 1974 – 4 films; 1975 – 5 films; 1976 – none; 1977 – 2; 1978 – 1; 1979 – 2; 1980 -1. The magic sun of SJ was slowly fading away.

RK switched to Laxmi-Pyaare. From RK’s perspective, this was a correct strategic move. And the results are for everyone to see. Of course, no one can discount the uncanny ability of RK to inspire creation of absolutely wonderful music for his films. And yes, Laxmi-Pyaare delivered to his expectations. The songs of ‘Bobby’ were super hits in their time, and they continue to be in popular demand even now after almost four decades. I am sure I do not need to present the song list to make this point. 🙂

With ‘Bobby’, RK and Laxmi-Pyaare introduced a new and a very different sound to the world of Hindi film music. The name – Narendra Chanchal. A singer with a very expressive, a very deep baritone – a voice with a phenomenal range that rivaled even Mahendra Kapoor in rendering the higher octaves. It is quoted that RK had heard him sing at some religious function. He followed up with some more research, and then decided to bring in this voice for a Sufi-like song in the film.

I remember that the promotion and the publicity presentations for this film was quite low key. The film was introduced without much fanfare. Yes, the choice of moving from SJ to LP did become talk of the town, but nothing much more than that. And this new singer – Chanchal, got introduced to the public, just as is. Working with the expected fare of Lata, Shailendra Singh, Asha and Manna Da, the audiences would be taken by surprise as Chancal would appear in person on the screen, to present this song.

And the song was an immediate hit. Over the years, it has gained almost a cult status. In reasonable memory, this probably was the first Sufi-type song presented in such traditional Sufi garb, in a Hindi film. No, I am not trying to discount all the bhajans and songs of religious expression that came before this. But surely, this song introduced a completely new sound in the Hindi film music space. The genre – picking on the original writings of Bulle Shah, the famous Sufi poet from Punjab. And the voice – no, not choosing Rafi or Manna Dey to render this. Chanchal – a new voice, a new full throated sound, that you had to slightly reduce the volume on the radio or gramophone, as his singing came on.

RK’s uncanny ability to present a song on the screen in a manner that the emotions of the players on screen will grab the emotions in the audience’s mind and heart, and pull the strings, almost viciously. The two young lovers are at a precipice of near break-up. Just recently into their romance, a jarring note of an unexplained misunderstanding tears them apart, oh so cruelly. The young man follows the lady, as she joins a school trip to get away from him. He tries to approach her; she is cold and nonchalant, and the ever chivalrous bystanders give a good beating to the young man. The lady is still silent. And so is the young man, just looking at her imploringly, asking for a chance to explain. The conversation is not entertained. The hearts are pining and wreathing with tears. But the stand-off remains. Explanations are not allowed. The silent gazes of pain, the eyes telling beseeching stories of pleadings. But no, the words are not permitted.

And then, this deep throated sound from a singer sitting in a group of porters, rises to block out and mask all the other sounds in the camp. A voice that delivers the message, the words that the young man is trying to articulate, but is not able to. Those words are compellingly brought out in this loud rustic voice of a folk singer, singing by the campfire, playing on a daff (‘डफ’) in his hand. The memories go back to ‘Jis Desh Mein Ganga Behti Hai’ (1960). There also, the protagonist plays the daff, when an important message, and the right words are to be delivered.

Over the years, Chanchal did sing, maybe a dozen, or maybe a score more songs in Hindi films. And then he quietly exited and went back to his forte – the world of popular religious bhajans. His success in that field is simply phenomenal, and for everyone to see. Just that he could not jell well with the systems of the tinsel town Mayanagri.
[Author’s Note: After little more research on the internet, we find that the total number of songs sung by Narendra Chancal in Hindi films is about 35.  Nahm ji has pointed out in comments another wonderful solo – “Kabhi Gham Se Dil Lagaaya” from film ‘Daaku’ (1975). Other superb solos by him are:
“Meri Zindagi Tumhare Pyaar Pe Kurbaan” – from ‘Jeevan Sangram’ (1974)
“Loot Liya Sansaar” – from ‘Fauji’ (1976)
“Yaar Di Chaukhat Kaaba Kaashi” – from ‘Ram Bharose’ (1977)
“Do Ghut Pila De Saaqiya” – from ‘Kaala Suraj’ (1986)
“Tut Gayi Je Yaari” – from ‘Ramkali’ (1986)
The other songs are duets, group songs, and of course religious bhajans.]

Ten years back, this day, the output on the blog was nothing short of phenomenal. On 10th March, 2009, a total of 12 songs were posted. Atul ji was quite in the pink, and on the roll, during those initial weeks and months of this blog. 12 songs mean that 12 films got represented that day. And ‘Bobby’ made its debut on that day, with the song – “Main Shaayar To Nahin”.

Over the past decade, nine of those films have been yippeee’d, and three remain. As I checked the list, I was somberly surprised that a film like ‘Bobby’, with one superlative song after another, had not yet been yippeee’d here. And mind you, the songs pending are not lightweights. Each one of them is a popular super hit, all by itself.

Quick round up review of credits – the words of this song are adapted and redrafted by Rajkavi Inderjeet Singh Tulsi, based on an original song by Bulle Shah. The music – Laxmi-Pyaare. Singing voice – Narendra Chanchal. On screen, the singer himself is performing the song, carrying the messages between the two young lovers, Rishi Kapoor and Dimple Kapadia, who are not communicating, except through the eyes. And the words of this song so powerfully express the unsaid emotions between them.

If you have ever been in love, this song is for you. And yes, if you have ever been in love, this film is for you.

 

Song – Beshaq Mandir Masjid Todo, Bulle Shaa Ye Kehta (Bobby) (1973) Singer – Narendra Chanchal, Lyrics – Inderjit Singh Tulsi, MD – Laxmikant Pyaarelal

Lyrics (Provided by Avinash Scrapwala)

beshaq mandir masjid dhaa de
bulle shah..aa ye kehta..aa

beshaq mandir masjid todo
bulle shah..aa ye kehta..aa
par pyaar bharaa dil
kabhi na todo..o..o
is dil mein..ae dilbar rehta

jis palde mein tuley mohabbat. . .
jis palde mein tuley mohabbat
us mein chaandi nahin tolnaa..aa
taubaa meri
naa dholna
main nahin bolna..aa
ho nahin bolna jaa
main nahin bolna jaa
o main nahin bolnaa jaa
dholna
main nahin bolnaa..aa
tauba meri
naa dholna
main nahin bolnaa..aa

aag te ishq baraabar dono..o
par paani aa..aag bujhaaye
aag te ishq baraabar dono
par paani aag bujhaaye
aashiq ke jab aansoo nikley..ae..ae
aur agan lag jaaye
tere saamne baithh ke rolaan..aa..aa..aa..aa..aa
ho tere saamne baithh ke rolaan
dil ka dukhdaa nahin pholna..aa..aa
dholnaa..aa
main nahin bolna..aa
ho nahin bolnaa jaa
main nahin bolnaa jaa..aa
ve main nahin bolna jaa
dholna
main nahin bolnaa..aa
tauba meri
naa dholna
main nahin bolnaa..aa

ve main nahin bolna..aa
o ve main nahin bolna..aa
ve main nahin bolna..aa..aa..aa..aa
ve main nahin bolna..aa
ve main nahin bolna..aa
dholna..aa
main nahin bolna
nahin bolna
ve main nahin bolna
nahin bolna aa
ve main nahin bolna aa
nahin bolna
ve main nahin bolna..aa..aa

———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————

बेशक मंदिर मस्जिद ढा दे
बुल्ले शाह॰॰आ ये कहता॰॰आ

बेशक मंदिर मस्जिद तोड़ो
बुल्ले शाह॰॰आ ये कहता॰॰आ
पर प्यार भरा दिल
कभी ना तोड़ो॰॰ओ॰॰ओ
इस दिल में॰॰ए दिलबर रहता
जिस पलड़े में तुले मोहब्बत॰ ॰ ॰
जिस पलड़े में तुले मोहब्बत
उसमे चांदी नहीं तोलना॰॰आ
तौबा मेरी
ना ढोलना
मैं नहीं बोलना॰॰आ
हो नहीं बोलना जा
मैं नहीं बोलना जा
ओ मैं नहीं बोलना जा
ढोलना
मैं नहीं बोलना॰॰आ
तौबा मेरी
ना ढोलना
मैं नहीं बोलना॰॰आ

आग ते इश्क बराबर दोनों॰॰ओ
पर पानी आ॰॰आग बुझाए
आग ते इश्क बराबर दोनों
पर पानी आग बुझाए
आशिक के जब आंसू निकले॰॰ए॰॰ए
और अगन लग जाए
तेरे सामने बैठ के रोलां॰॰आ॰॰आ॰॰आ॰॰आ॰॰आ
हो तेरे सामने बैठ के रोलां
दिल का दुखड़ा नहीं फोलना॰॰आ॰॰आ
ढोलना॰॰आ
मैं नहीं बोलना॰॰आ
हो नहीं बोलना जा
मैं नहीं बोलना जा॰॰आ
वे मैं नहीं बोलना जा
ढोलना
मैं नहीं बोलना॰॰आ
तौबा मेरी
ना ढोलना
मैं नहीं बोलना॰॰आ

वे मैं नहीं बोलना॰॰आ
ओ वे मैं नहीं बोलना॰॰आ
वे मैं नहीं बोलना॰॰आ॰॰आ॰॰आ॰॰आ
वे मैं नहीं बोलना॰॰आ
वे मैं नहीं बोलना॰॰आ
ढोलना॰॰आ
मैं नहीं बोलना
नहीं बोलना
वे मैं नहीं बोलना
नहीं बोलना॰॰आ
वे मैं नहीं बोलना॰॰आ
नहीं बोलना
वे मैं नहीं बोलना॰॰आ॰॰आ

 


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 : 3837 Post No. : 14846

It was in 1985 that after appearing my 12th exams, and as usual to take up some work in summer vacations, that I joined a Nagpur based Construction Company at Parli Vaijnath. Results for the exams were on favourable and I failed, so I continued working and after almost eleven months as the project was over, looking into my sincerity and dedication the site incharge recommended and arrange a job for me in Delhi based company working there for the expansion project. And going by the circumstances in a middle-class family, I dropped the idea of joining ‘regular education’ and instead thought that maybe I should opt for distance education – which however, become possible only after three and half years almost. . .

Well, when I joined this Delhi based company the first thing coming to my mind was travelling to Delhi and that way travelling India, because I had only visited Nagpur by that time, which was a big city for me other than the place where we were staying near Akola. I had not imagined then where I am heading to and how my life will be shaped or anything serious like that – I just kept going. I ended up working in this company for almost seventeen and half years.

After Parli Vaijnath the next destination for me was Koradi (Nagpur) for a short period, then to Kota (Rajasthan) for seven and half years, then to Phulpur (Allahabad) for two years, from there to Aonla (Bareilly) for almost six years. In between to Sonepat (Haryana) for a short period. Again Bareilly and from there to  Ghaziabad (UP), this was again for a short period of six months, then to Mundra (Kachchh-Gujarat) in between Kandla-Adipur (Kachchh-Gujarat). I spent almost eleven years in Kachchh before I left a job – reasons are part of another article 🙂 , but mainly to prove myself that I can do anything 🙂 .

Couple of months I was without job when I got an opportunity to join a company of my very first boss, who had by then become an owner of a company. This was my coming back to roots – return to Maharashtra after almost twenty-seven years. I spent almost two years in Nagpur to return to Gujarat – to shift my wife and as my daughters were already studying there so that I can proceed for my first overseas job in Kenya.

***

As I left my home state for work in 1988, I was always thinking of getting back there to be with my parents to have a settled life after marriage. However, as years passed by it didn’t happen even after my trying and appearing for several interviews. This longing for going back to Maharashtra was still there for many years when I was a bachelor and till many years after I got married. But as years passed, and I continued with my job, I slowly lost the interest of going back to my home state or the neighboring state. Then it was like if not Maharashtra at least Gujarat where industries were flourishing and job opportunities were more.

During this period, I always used to think about my childhood friends and other peoples who were well settled at the nearby places in home state and living a well settled life. I was envious of them, because from my batch I think I was the only one who had to leave the state and had to struggle, and move from place to place.

In our family also, before me, only my youngest uncle who had joined army was the first person to leave the state and travel across India. All other relatives either paternal or maternal were settled in Maharashtra only. After my army man uncle and me, it was after many years that one of my cousins got an opportunity in Germany and he is there since many years now.

So, I was always dreaming about the ‘fursat ke raat din’ and in turn the ‘smooth life – the ‘sahal rastaa’. . . Let us read some lines about this, that Javed Akhtar has written in his poem ‘Doraahaa’ (taken from his book ‘Tarkash’ (Quiver) and transliterated in English). I remember these lines with reverence – these were recited by my Guru and Motivational Speaker Shri Rooshikumar Pandya ji in one of his programs I attended, and that is how I became aware of it.

ye jeewan ik raah nahin
ik doraahaa hai
 
pehlaa rastaa bahut sahal hai
is mein koi mod nahin hai
ye rastaa, is duniya se bejod nahin hai
is raste par miltey hai
reeton ke aangan
is raste par miltey hai
rishton ke bandhan
is raste par chalnewaale
kehne ko sab sukh paate hai
lekin
tukde tukde ho kar
sab rishton mein bant jaate hai
apne palle kuchh nahin bachtaa
bachti hai
benaam si uljhan
saanson ka indhan
jis mein unki apni har pehchaan
aur un ke saare sapne
jal bujhte hai
is raste par chalnewaale
khud ko khokar jag paate hai
upar-upar to jeete hai
andar-andar mar jaate hai

***

But then I get to travel many places, working new job environments, facing new problems, visiting new places, adjusting to the new environments, different cultures, different cuisines 🙂 ; I start enjoying this way. . .

And the motivating things were – thinking about armed forces who are way not only from their homeland but away from their families too? How they survive? People who get transferred on regular intervals? How they cope with it? Even government servants. Or we also have employees getting transferred every now and then within a short period of time, how they deal with it? What are their sufferings?

And, working at or visiting construction sites and places around them and the ‘sub-travel’ that happened during this,  I was always reminded of the famous novel ‘Rangbhoomi’, by Munshi Premchand ji, and I used to think how years back he had written about the industrialization and its effects, and how it affects people’s behaviour staying away from their homes or had to leave their families in search of job and survival.

And I realized that my sufferings are not even a fraction of what these people were already going through in their lives.

***

After spending almost fifteen years (out of my home state Maharashtra where I left on 29.11.1988 to reach Kota then) in north India, I finally got a placement in a Delhi based company for their plant in Kachchh-Gujarat. I spent five and half years in one company and then shifted to another company in search of ‘growth’ – personal as well as professional.

When I made this change my HR head used to ask me that what change I got? Am I happy? And he was always telling me that ‘the sky is the same everywhere’. . .

Well, during those years I was reading and studying Sahir almost on daily basis and again somehow the circumstances at work were not giving me satisfaction. ‘Shaahi Ki Zanjeerein Todte Chalo’ – this song was daily going through my mind then, and as I shared it, it appeared on the blog on 02.12.2014 and within a week I ‘broke the shackles’ to put in my papers. I resigned without having another job in hand. I was ready to take new challenge but I didn’t expect of what it finally turned out to be for me.

I was without job for almost two and half months. Here we go back to the remaining part of the poem of Javed Akhtar Saab,

doosraa rastaa
bahot kathin hai
is raste mein
koi kisi ke saath nahin hai
koi sahaara dene waala haath nahin hai
is raste mein
dhoop hai
koi chhaaon nahin hai
jahaan tassalli bheekh mein de de
koi kisi ko

is raste mein
aisa koi gaaon nahin hai
ye un logon ka rastaa hai
jo khud apne tak jaate hai
apne aapko jo paate hai
tum is raste par hi chalna
 
mujhe pataa hai
ye rastaa aasaan nahin hai
lekin mujhko ye gham bhi hai
tumko ab tak
kyun apni pehchaan nahin hai

(Javed Saab had written this poem to his daughter Zoya)

***

Somehow, luckily, I got an opportunity and a job in Nagpur and somehow bitter-sweet I survived those two years again to change for a new job for which I would have to stay away from my family. Somehow these days are also passing now and the assignment will be finished soon. Or I will part the ways again, as yet once again I am feeling to move to other ‘horizons’. . .

I don’t know if what happened in my case had also happened with other people too. When I left the job in Gujarat and came back to Nagpur to work in a company which was owned by my very first boss when he himself was in service in another small construction company then. Then the company I joined in Kenya is where one of my earlier bosses already working as a director and with whom I had worked at two project sites in India years earlier, and I was coming back to him after almost eighteen years.

I get to relive the ‘nostalgia’ (in different settings now though) of those years again when I was junior to them and even junior in my professional life and when I came back to them at least I had achieved something in my professional life.

Still, working in different professional organisations, the question remains – Am I satisfied? Am I successful? Have I excelled myself since my previous work settings and professional journey?

Am I satisfied where I have reached from where I started?

And naturally ‘satisfaction’ and ‘success’ parameters are different for each individual.

So, it cannot be measured 🙂 . Some may be ‘satisfied but not successful’ and some ‘successful but not satisfied’ (I had once read it somewhere 🙂 ). But of course, the yardstick varies from person to person.

justju jiski thi usko to na paaya hamne
is bahaane se magar dekh li duniya hamne
(Shaharyar)

 ***

Almost nine months back, my family had to shift from Anand to Vadodara as my daughter had got a job there. This was the first time in all these twenty-four years after my marriage that the ‘shifting’ of household was going to be done without me!! I remember one night when I was going to bed in my camp and was just looking at my room made from ‘China structure’ the thought just came to my mind was – how many ‘roofs’ have I changed till now – (Kiraaye ke makaanon se lekar apne makaan tak aur phir se kiraaye ke makaanon tak. . .).

What I had achieved so far. . . And most importantly what I have contributed so far wherever I had been?

I quote Javed Akhtar again, ‘Krishanchander’ from the collection ‘Tarqash’.

apni zindagi mein tumne kya kiya?
kisi se sachche dil se pyaar kiya?
kisi dost ko nek salaah di?
kisi dushman ke bete ko mohabbat ki nazar se dekha?
jahaan andheraa tha wahaan roshni ki kiran le gaye?
jitni der tak jeeye, is jeene ka kya matlab tha?

Or take this from Sahir, when Naresh Kumar Shaad interviewed Sahir

‘When and where were you born?’

Sahir’s reply was ‘Young man, this is a routine question. Instead, when you ask me that question, add ‘why were you born?’ (taken from Akshay Manwani’s ‘Sahir Ludhianvi -The People’s Poet’

***

I remember one of my Bengali colleagues who was with me at Kota and had knowledge about palmistry telling me that wherever I will be I will be loved and remembered there. . . “lekin paisa rahega nahin tumhaare paas“. The same thing was told to me by my landlord at Bareilly who had a knowledge of astrology, ‘beta, jo bhi kamaaoge kharch ho jaayega’ 🙂 .

 But as I look back now, I feel happy about this journey till date;

ye ejaaz hai apni aawaargi ka
jahaan bhi gaye daastaan chhod aaye
(Habib Jaalib)

 And yet once again I am facing the same question again ‘I have to go from where I am’ but where? The addiction to travel to different places and meet different peoples, new problems, new observations – will that allow me to settle?

jidhar jaate hain sab, jaana udhar achchhaa nahin lagta
mujhe paamaal raaston ka safar achchhaa nahin lagta
(Javed Akhtar)

Or take this conversation as mentioned by Javed Akhtar while elaborating on his poem ‘Aawaargi’ the conversation between a master and his servant, from a story by Albert Camus;

I am going away from here

Where are you going? (Servant asks the Master)

I am going away from here that is where I am going

And I am sure there are many who must have enjoyed their respective ‘aawargis’, and there must be many who are enjoying now and there will be many who will choose their path when their ‘dil’ says and enjoy their ‘aawaargi’. . .  Here the ‘enjoyment’ is enjoying the ‘struggles’, the ‘sufferings’, the ‘hard work’, ‘the success’, the ‘failure’, the ‘regrets’, the ‘loneliness’, the ‘company’, ‘the good and bad decisions’, but keep going on and finding one’s own way in this journey of life. . .  I had been fortunate to meet few of them in my life and they have contributed a lot to the society too and left a mark of themselves around the peoples and places they were with. . .

हमारे हर शऊर -ए -ज़िन्दगी का राज़ ठहरेगी यही आवारगी
कल बाइस -ए -एज़ाज़ ठहरेगी 
– ओबैद आज़म आज़मी 

(शऊर -ए -ज़िन्दगी = जीवन की समझ
बाइस -ए -एज़ाज़ = सम्मान का कारण )

***

Javed Akhtar’s take on ‘aawaargi’ begins with these lines from the nazmaawaara’ by Majaaz Lucknowi.

shehar ki raat aur main naashaad-o-naakaaraa firoon
jagmagaati jaagti, sadakon pe aawaaraa firoon

I request readers to go through this link – ‘Aaawargi’ – and listen what Javed Akhtar had said about his poem ‘aawargi’ – the song we are enjoying today.

In Hindi movies, there are many songs and many famous ones too, having the word ‘aawaara’ used in them. However, I think that Aawaara Hoon’ from ‘Aawaara’ (1951) and one non-filmy song of Bhupen Hazarika ‘haan aawaara hoon’ are the closer to the theme of ‘aawaargi’ as mentioned by Javed Akhtar. Let us see the following stanzas each taken from these two songs;

aabaad nahin barbaad sahi
gaataa hoon khushi ke geet magar
zakhmon se bharaa seenaa hai meraa
hansti hai magar ye mast nazar
duniyaa aaa
duniyaa mein tere teer kaa yaa taqdeer kaa maaraa hoon
yaa gardish mein hoon aasmaan kaa taaraa hoon
aawaaraa hoon, aawaaraa hoon

and

jahaan kahin dekhe zindagi ke rang
wahaan thehar gaya
aawaargi mein aawaargi ko
manzil bana liya
maine dekhi hai kahin
gagan choomti oonchhi ataari
aur khaaq chhaanti dekhi hai wahin
zindagi bechaari
kahin dekhi hai kabhi
chaukhaton par
jhoolti phulwaari
murjhaayi kahin
khil na saki
ik kali bechaareee
maine dekhn hain zameen pe kai
bujhte huye sooraj
jalta hai jo aakaash mein
wo raat ka taara hoon
haan aawaara hoon

Even the song “Aawaara Ae Mere Dil“is another nice song. I may be forgetting some other songs – the readers may please add to this list of ‘aawaargi’ theme.

***

Now let us consider the peoples involved in this creation – the song of today – and the phase they were passing through in each of their individual lives. Because this composition is overall so nice that I was in dilemma on whose anniversary or special occasion I should present it. But since the ‘first creation’ are the lyrics I thought it appropriate to be posted on the occasion of the birth anniversary of Javed Akhtar (17 January). Wishing him belatedly on his seventy fourth birth anniversary and wishing him a healthy and peaceful life ahead.

RD Burman the composer, I think, has given one his best and all-time great composition. And I would rate in the same category as “Zindagi Ke Safar Mein Guzar Jaate Hain Jo Maqaam“, “Raah Pe Rehte Hain, Yaadon Pe Basar Karte Hain“. Early eighties were the period when Pancham Da’s career was on the declining phase, though during this period to 1994 till ‘1942 A Love Story’ happened he had given many beautiful compositions to us.

Kishore Kumar was already ruling the roost then but somewhere he was eager to go back to his roots to Khandwa ‘chal re musaafir chal re ab apne garb ko chal re’And somewhere in this song we can find from his voice that he was eager to return back to Khandwa as early as possible which did not happen as he passed away in 1987.

 ***

 ‘Duniyaa’ (1984) was directed by Ramesh Talwar for Dharma Productions, Pvt Ltd. It was produced by Yash Johar. Hiroo Johar was the associate producer of this movie. Naresh Malhotra was the Chief Assistant Director of this movie. Editing of this movie was done by the famous Waman Bhonsle and Gurudutt Shirali. This movie was passed by Censor Board on 18.09.1984.

It had Ashok Kumar, Dilip Kumar, Rishi Kapoor, Amrita Singh, Prem Chopra, Amrish Puri, and Pran. It also featured Satyen Kappu, Mac Mohan, Javed Khan, Arvind Deshpande, Sulbha Deshpande, Akbar, Dhumal, Master Rinkoo, Baby Pooja, and supported by many others. Pradeep Kumar, Kulbhushan Kharbanda and Om Puri makes a guest appearance in this movie, while Saira Banu appeared in a very special appearance in this movie.

Story, Screenplay and dialogues of this movie were written by Javed Akhtar who also wrote the lyrics of the six songs in this movie. Music for this movie was composed by RD Burman. And I think this album can be included in one of the best of Pancham Da, as this movie has all good songs. Asha Bhonsle, Lata Mangeshkar, Kishore Kumar and Mahendra Kapoor gave their voices to the songs in this movie.

No video clip of this song is available so far. I have also not watched this movie and so do not know in which context this song might have appeared in the movie.

[Acknowledgements – Javed Akhtar’s book ‘Tarqash’, Javed Akhtar on Tata Sky Active – ‘Aawaargi‘ episode.]

Song – Phirte Hain Kab Se Dar-b-Dar (Duniya) (1984) Singer – Kishore Kumar, Lyrics – Javed Akhtar, MD – RD Burman

Lyrics

phirtein hain kabse dar-badar
ab is nagar
ab us nagar
ik doosre ke hamsafar
main aur meri ee ee aawaargi
naa-aashna har rehguzar
naa-meharbaan sabki nazar
jaayen to ab jaayen kidhar
main aur meri ee ee aawaargi
phirtein hain kabse dar-badar
ab is nagar
ab us nagar

ik din mili ik maahjabeen
tan bhi haseen
jaan bhi haseen
dil ne kahaa hamse wahin
khwaabon ki hai manzil yahin
khwaabon ki hai manzil yahin
phir yoon huaa
wo kho gayee
to mujhko zid si ho gayi
laayenge usko dhoondh kar
main aur meri ee ee aawaargi
phirtein hain kabse dar-badar
ab is nagar
ab us nagar

ye dil hi thha jo seh gayaa
wo baat aisi keh gayaa
kehne ko phir kya reh gayaa
ashqon ka dariyaa beh gayaa
ashqon ka dariyaa beh gayaa
jab keh ke wo dilbar gayaa
tere liye main mar gayaa
rotein hain usko raat bhar
main aur meri ee ee aawaargi
phirtein hain kabse dar-badar
ab is nagar
ab us nagar

ham bhi kabhi aabaad thhe
aise kahaan barbaad thhe
be-fiqr thhe aazaad thhe
masroor thhe
dilshaad thhe
masroor thhe
dilshaad thhe
wo chaal aisi chal gayaa
hum bujh gaye dil jal gayaa
nikley jalaa ke apnaa ghar
main aur meri ee ee aawaargi
phirtein hain kabse dar-badar
ab is nagar
ab us nagar
ik doosre ke hamsafar
main aur meri ee ee aawaargi
phirtein hain kabse dar-badar

ab is nagar

ab us nagar. . .

[Following stanza is not included in the song/movie.
It is part of the ghazal written by Javed Akhtar.]

aasaar hain sab khot ke
imkaan hain sab chot ke
ghar band hain sab got ke
ab khatm hain sab totke
kismet ka sab ye pher hain
andher hain
andher hain
aise huye hai be-asar
main aur meri aawaargi

———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————

फिरतें हैं कबसे दर-बदर
अब इस नगर
अब उस नगर
इक दूसरे के हमसफ़र
मैं और मेरी॰॰ई आवारगी
ना-आशना हर रहगुज़र
ना-मेहरबान सबकी नज़र
जाएँ तो अब जाएँ किधर
मैं और मेरी॰॰ई आवारगी
फिरतें हैं कबसे दर-बदर
अब इस नगर
अब उस नगर

इक दिन मिली इक महजबीन
तन भी हसीं
जान भी हसीं
दिल ने कहा हमसे वहीँ
ख़्वाबों कि है मंजिल यहीं
ख़्वाबों कि है मंजिल यहीं
फिर यूं हुआ
वो खो गयी
तो मुझको ज़िद सी हो गयी
लायेंगे उसको ढूंढ कर
मैं और मेरी॰॰ई आवारगी
फिरतें हैं कबसे दर-बदर
अब इस नगर
अब उस नगर

ये दिल ही था जो सह गया
वो बात ऐसी कह गया
कहने को फिर क्या रह गया
अश्कों का दरिया बह गया
अश्कों का दरिया बह गया
जब कह के वो दिलबर गया
तेरे लिए मैं मर गया
रोतें हैं उसको रात भर
मैं और मेरी॰॰ई आवारगी
फिरतें हैं कबसे दर-बदर
अब इस नगर
अब उस नगर

हम भी कभी आबाद थे
ऐसे कहाँ बर्बाद थे
बे-फिक्र थे आज़ाद थे
मसरूर थे
दिलशाद थे
मसरूर थे
दिलशाद थे
वो चाल ऐसी चल गया
हम बुझ गए दिल जल गया
निकले जला के अपना घर
मैं और मेरी॰॰ई आवारगी
फिरतें हैं कबसे दर-बदर
अब इस नगर
अब उस नगर
इक दूसरे के हमसफ़र
मैं और मेरी॰॰ई आवारगी
फिरतें हैं कबसे दर-बदर

अब इस नगर

अब उस नगर॰ ॰ ॰

[नीचे दिया गया अंतरा, जो इसी नज़्म का हिस्सा है,
फिल्म के लिए रेकॉर्ड नहीं किया गया।]

आसार हैं सब खोट के
इमकान हैं सब चोट के
घर बंद हैं सब गोट के
अब ख़त्म हैं सब टोटके
किस्मत का सब ये फेर हैं
अंधेर हैं
अंधेर हैं
ऐसे हुए हैं बे-असर
मैं और मेरी आवारगी

 


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3830 Post No. : 14837

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 31
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘व’ – वो तो चुटकी में दिल लेके चलते हुये ॰ ॰ ॰

– – – –

याद ना जाये, बीते दिनों की. . .

So difficult it is to forget, the days that have gone by. Yes, you voice remains with us to be heard, just as a consolation.

– – – –

In a departure from the pattern in this series so far, today I am presenting an all male duet. As I was searching for a song starting with ‘व’, I came across this very interesting song from the 1950 film ‘Shaadi Ki Raat’. This one is a male-male duet in which Rafi Sb’s voice is accompanied by that of Raja Gul. And this made me think. I checked back on the songs posted so far in this series, only to find that I have only been posting male-female duets. Then, as I scanned the list of songs, I came across so many male-male duets. And I was asking myself – does that mean another series? I don’t know. Let’s wait and see.

This film has 12 songs listed as per HFGK, eight of which are penned by Sarshaar Sailaani, with other songwriters identified as Firoz, Surjeet and Nazim Panipati having contributed one song each. One song is unattributed as far as songwriter is concerned. Music is by Pt Gobind Ram. Two songs of this film are already showcased on our blog. Today’s song is from the pen of Sarshaar Sailaani.

The film is a social drama produced under the banner of Prakash Pictures and is directed by Yashwant Pethkar. List of actors is given as Geeta Bali, Rehman, Vijaylakshmi, Leela Mishra, Jankidas, Ansari, Shanta Kunwar, Baby Durga, Anwari Bai, and Arun. Given this list of actors, it may be surmised that this song would have been picturized on Rehman and another male actor. Names that figure are Jankidas, Ansari (could that be NA Ansari??), and Arun (possibly Arun Ahuja??), but I am not ready to hazard a guess. I would request other knowledgeable readers and friends to please add more information about this song and the film, if available.

The song tells of a young heart, that has recently been stolen by a femme fatale. The pilferage seemed to have happened in a jiffy, and the aggrieved party, whose heart is stolen, was just left surprised. A fun song in which one friend is describing this episode to another, and the other also joins in and tries to give some worldly advise. But alas, the laments of woe do not cease as the robbed victim continues to bemoan

wo to chutki mein dil le ke chalte huye
reh gaye hum yahan haath malte huye

Song – Wo To Chutki Mein Dil Le Ke Chalte Huye  (Shaadi Ki Raat) (1950) Singer – Mohammed Rafi, Raja Gul, Lyrics – Sarshaar Sailaani, MD – Pt Gobind Ram
Mohammed Rafi + Raja Gul

Lyrics 

wo to chutki mein dil le ke chalte huye
haaye chalte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye

wo to chutki..ee mein dil le ke
chalte huye..ae
aur reh gaye hum yahaan
reh gaye
hum yahan
haath malte huye
haath malte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye

wo hamen
aur hum
un ko takte rahe
aankh milti rahi dil dhadakte rahe
aankh milti rahi dil dhadakte rahe
aur paanv sambhale na
paa..aanv
sambhale na zaalim phisalte huye
haan phisalte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye

ik balaa ho gai
dillagi aap ki
aur baaz aaya main
tauba
tauba mere baap ki..ee..ee
aur raat kat’ti hai
kat’ti hai naa
arey par kaise
kaise
raat kat’ti hai karwat badalte huye
haan badalte huye
raat kat’ti hai karwat badalte huye..ae..ae
haaye raat kat’ti hai karwat badalte huye
lekin wo to
o wo to chutki mein dil le ke chalte huye
haaye chalte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye

dekho bhai
jaate jaate
mohabbat ka rang jaayega
aate aate
tabiyat ko chain aayega
aur bhai der lagti hai
haan
der lagti hai dil ko sambhalte huye
haan sambhalte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye

haa..aaye
kyon kya hua
haa..aan
ishq ne jis musibat mein daala hamen
us musibat se padta na paala hamen
arre bhai soch lete
kya soch lete
soch lete jo ghar se nikalte huye
haan nikalte huye
soch lete jo ghar se nikalte huye
haan nikalte huye
wo to chutki mein dil le ke chalte huye
haaye chalte huye. . .

———————————————————
Hindi Script Lyrics (Provided by Sudhir)
———————————————————

वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये

वो तो चुटकी॰॰ई में दिल लेके
चलते हुये॰॰ए
और रह गए हम यहाँ
रह गए
हम यहाँ
हाथ मलते हुये
हाथ मलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये

वो हमें
और हम
उनको ताकते रहे
आँख मिलती रही दिल धड़कते रहे
आँख मिलती रही दिल धड़कते रहे
और पाँव संभले ना
पा॰॰आँव
संभले ना
ज़ालिम फिसलते हुये
हाँ फिसलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये

इक बला हो गई
दिल्लगी आपकी
और बाज़ आया मैं
तौबा
तौबा मेरे बाप की॰॰ई॰॰ई
और रात कटती है
कटती है ना
अरे पर कैसे
कैसे
रात कटती है करवट बदलते हुये
हाँ बदलते हुये
लेकिन वो तो
ओ वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये

देखो भाई
जाते जाते
मोहब्बत का रंग जाएगा
आते आते
तबीयत को चैन आएगा
और भाई देर लगती है
हाँ
देर लगती है दिल को संभलते हुये
हाँ संभलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये

हाए॰॰
क्यों क्या हुआ
हाँ॰॰
इश्क़ ने जिस मुसीबत में डाला हमें
उस मुसीबत से पड़ता ना पाला हमें
अरे भाई सोच लेते
क्या सोच लेते
सोच लेते जो घर से निकलते हुये
हाँ निकलते हुये
सोच लेते जो घर से निकलते हुये
हाँ निकलते हुये
वो तो चुटकी में दिल लेके चलते हुये
हाए चलते हुये॰ ॰


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

Blog Day :

3794 Post No. : 14781 Movie Count :

4041

Missing Films of 1960s – 86
– – – – – – – – – – – – – – –

Today’s debut film from the decade of 1960s is ‘Sasta Khoon Mehnga Pyaar’ from 1970. Honestly, never heard of this film before I took on this home work exercise to dig out missing films of 1960s. This is an obscure and almost unknown film, although 1970, comparatively speaking, is more recent vintage. This film is so obscure that even the print version of the Geet Kosh does not carry any details about this film, except for the song list and the artists associated with the songs. However, later this film seems to have become available in public domain, and was released on disc by T-Series. A short video clip of the initial credits is currently available on YouTube. I have been able to get the list of actor names from this clip. However this clip also does not carry the complete credits – it ends before reaching the names of the producer and director.

The film is from the banner of Sharda Films, Bombay. The cast of actors is a long list, as per the film’s credits – Dev Kumar, Sonia Sahni, Shailesh Kumar, Sulochana, Sajjan, Padma, Madhumati, BM Vyas, Pichhoo Kapoor, Sheikh, Bhagwan, Maruti, Ulhas, Ramesh Kant, Jankidas, Tuntun, Lalita Kumar, Maqbool, Jilani, Moolchand, Amrit Rana, Amir, Jairy, Nabab Kardari, Nabab Dadri, Waman, Sugandhi, Gulab Singh, Roop Kumar, Ganpati, Anil Kumar, and Mahesh Purohit. The last four names in this list are identified as child artistes.

Geet Kost lists four songs for this film. All the four songs are from the pen of Asad Bhopali, and the music director is Usha Khanna. The singing voice is that of Asha Bhosle. From the music and the style of rendition, it appears that this song was filmed as a mujra dance. In fact, at two places in the song, a male voice is also heard asking a question “kya?”. The song tells of a tryst between the lovers, that happened the previous night, and the lady forgot her dupatta, at the meeting place, when she returned from meeting her lover.

I am hearing this song for the first time today, and I have heard it multiple times as I prepared to upload it. Usha Khanna’s music is attractive, and this is a good song to bring up from the depths of obscurity. Listen and enjoy.

Song – Pee Se Milna Ghazab Hua Raat Dhale  (Sasta Khoon Mehnga Pyaar) (1970) Singer – Asha Bhosle, Lyrics – Asad Bhopali, MD – Usha Khanna
Unidentified Male Voice

Lyrics

aaaa aaaaaaaa aaaaaa
aaaa aaaaaa haaa

pee se milna ghazab hua raat dhale
haan pee se milna ghazab hua raat dhale
hui jab main juda un se mil ke galey
haaye raam main to apna dupatta wahin bhool aayi
daiyya daiyaa main to apna dupatta wahin bhool aayi

jab nigaahen milin
jab nigaahen
jab nigaahen milin
honth tharra ke chup ho gaye the
ek toofaan thaa..aa..aa
jis mein hum dono hi kho gaye the
ek toofaan thaa
ek toofaan thaa
ek toofaan thaa
jis mein hum dono hi kho gaye the
arre ghar pahunchi hosh udey
ghar pahunchi hosh udey
jab ye khyaal aaya
kya
haaye raam main to apna dupatta wahin bhool aayi
daiyya daiyaa main to apna dupatta wahin bhool aayi

un ki baton ka ras
un ki baton ka
un ki baton ka ras
dil ki nas nas ko garma gaya tha
ek achhoota nasha..aa..aa
mere jazbaat par chhaa..aa..aa gaya tha
ek achhoota nasha
ek achhoota nasha
ek achhoota nasha
mere jazbaat par chhaa..aa..aa gaya tha
arre ghar pahunchi hosh udey
ghar pahunchi hosh udey
jab ye khyaal aaya
kya
haaye raam main to apna dupatta wahin bhool aayi
daiyya daiyaa main to apna dupatta wahin bhool aayi

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

आsss आssssssss आsssss
आsss आssssss हाsss

पी से मिलना गज़ब हुआ रात ढले
हाँ पी से मिलना गज़ब हुआ रात ढले
हुई जब मैं जुड़ा उनसे मिलके गले
हाए रामा मैं तो अपना दुपट्टा वहीं भूल आई
दइय्या दइय्या मैं तो दुपट्टा वहीं भूल आई

जब निगाहें मिलीं
जब निगाहें
जब निगाहें मिलीं
होंठ थर्रा के चुप हो गए थे
एक तूफान था॰॰आ॰॰आ
जिस में हम दोनों ही खो गए थे
एक तूफान था
एक तूफान था
एक तूफान था
जिस में हम दोनों ही खो गए थे
अरे घर पहुंची होश उड़े
घर पहुंची होश उड़े
जब ये ख्याल आया
क्या
हाए रामा मैं तो अपना दुपट्टा वहीं भूल आई
दइय्या दइय्या मैं तो दुपट्टा वहीं भूल आई

उन की बातों का रस
उन की बातों का
उन की बातों का रस
दिल की नस नस को गरमा गया था
एक अछूता नशा॰॰आ॰॰आ
मेरे जज़्बात पर छा गया॰॰आ॰॰आ था
एक अछूता नशा
एक अछूता नशा
एक अछूता नशा
मेरे जज़्बात पर छा गया था
अरे घर पहुंची होश उड़े
घर पहुंची होश उड़े
जब ये ख्याल आया
क्या
हाए रामा मैं तो अपना दुपट्टा वहीं भूल आई
दइय्या दइय्या मैं तो दुपट्टा वहीं भूल आई


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

3742 Post No. : 14698 Movie Count :

4018

Missing Films of 1960s – 82
– – – – – – – – – – – – – – –

Our journey of missing 1960s films continues. Coming to the next film – this one is ‘Veer Amar Singh Rathaur’ from 1970.

This film is from the banner of Sudarshan Chitra, Bombay, and is directed by Radhakant. The cast of actors listed for this film are Dev Kumar, Kumkum, Zeb Rehman, Tiwari, Jeevan, Kamal Kapoor, Johnny Whisky, and Jeevankala amongst others.

A film by this title was also made in 1957 – a slight variation in name – it was titled ‘Amar Singh Rathaur’. The earlier film had Jairaj and Nirupa Roy in lead roles. And it had 12 songs written by Bharat Vyas and composed by Sanmukh Babu Upadhyay. The 1970 reprisal has Dev Kumar and Kum Kum in lead roles. And this version has 14 songs all written and composed by Prem Dhawan.

There is possibly another film by this name, released later than 1980, but I am not very certain.

Prem Dhawan, who is known much better as a songwriter, has also worked as a music director for about 15 to 18 films during is career, about 5 of which are Punjabi films. He has mostly worked as a composer for films for which he also has written the songs. In one film, he has composed songs written by Kavi Pradeep (for ‘Kisaan Aur Bhagwa’, 1974) and for one more film, he has composed songs written by Ali Sardar Jafri (for ‘Naxalites’, 1980).

Only the audio of this song is available, but from listening to it, one can surmise that this song is a twin dance song. The singing voices in this all female duet are of Asha Bhosle and Usha Mangeshkar. I request other readers and friends who may have seen this film, to please add more information about this song, and the film.

A very peppy dance song, that talks about the ill effects of falling in love, and also of the sweet emotions. Listen and enjoy.

Song – Akhiyan Mila Ke Akhiyan  (Veer Amar Singh Rathaur) (1970) Singer – Asha Bhosle, Usha Mangeshkar, Lyrics – Prem Dhawan, MD – Prem Dhawan
Asha Bhosle + Usha Mangeshkar

Lyrics

ho akhiyaan mila ke akhiyan
haaye re akhiyaan mila ke akhiyan
ho main to baaz aai
ho main to pachhtaai
ke jaagun ab saari saari ratiyaan
haaye re akhiyaan mila ke akhiyan
haaye re akhiyaan mila ke akhiyan

jab se dekha hai dharti ka chaand
tab se dekha na chanda gagan ka
udd gai ab to aankhon ki neend
hosh kis ko hai ab tan badan ka
ke dagar bhool chali
haaye
ke nagar bhool chali

haaye
bhooli jaati hain bachpan ki sakhiyaan

haaye re akhiyaan mila ke akhiyan
haaye re akhiyaan mila ke akhiyan

haaye ye meethi meethi jalan
pyaar kehta hai jis ko zamaana
ab to jitna tadapta hai dil
dard lagta hai utna suhaana
unhin ki baat sochun
haaye
yahi din raat sochun

haaye
kaise un se kahun dil ki batiyaan

haaye re akhiyaan mila ke akhiyan
haaye re akhiyaan mila ke akhiyan

koi leta hai jab unka naam
mann hi mann jhoom leti hoon main to
jaane kyon dekh ke aainaa
apna munh choom leti hoon main to
ke khud hi likhti rahoon
haaye
ke khud hi padhti rahoon
oy
jaane kitni hi pyaar bhari patiyaan
haaye re akhiyaan mila ke akhiyan
haaye re akhiyaan mila ke akhiyan

o main to baaz aai
o main to pachhtaai
ke jaagun ab saari saari ratiyaan
haaye re akhiyaan mila ke akhiyan
haaye re akhiyaan mila ke akhiyan

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

हो अखियाँ मिला के अखियाँ
हाए रे अखियाँ मिला के अखियाँ
हो मैं तो बाज़ आई
हो मैं तो पछताई
के जागूँ अब सारी सारी रतियाँ
हाए रे अखियाँ मिला के अखियाँ
हाए रे अखियाँ मिला के अखियाँ

जब से देखा है धरती का चाँद
तब से देखा ना चंदा गगन का
उड़ गई अब तो आँखों की नींद
होश किसको है तन बदन का
के डगर भूल चली
हाए
के नगर भूल चली
हाए
भूली जाती हूँ बचपन की सखियाँ
हाए रे अखियाँ मिला के अखियाँ
हाए रे अखियाँ मिला के अखियाँ

हाए ये मीठी मीठी जलन
प्यार कहता है जिसको ज़माना
अब तो जितना तड़पता है दिल
दर्द लगता है उतना सुहाना
उन्हीं की बात सोचूँ
हाए
यही दिन रात सोचूँ
हाए
कैसे उनसे कहूँ दिल की बतियाँ
हाए रे अखियाँ मिला के अखियाँ
हाए रे अखियाँ मिला के अखियाँ

कोई लेता है जब उनका नाम
मन ही मन झूम लेती हूँ मैं तो
जाने क्यों देख के आईना
अपना मुंह चूम लेती हूँ मैं तो
के खुद ही लिखती रहूँ
हाए
के खुद ही पढ़ती रहूँ
ओय
जाने कितनी ही प्यार भरी पतियाँ
हाए रे अखियाँ मिला के अखियाँ
हाए रे अखियाँ मिला के अखियाँ

ओ मैं तो बाज़ आई
ओ मैं तो पछताई
के जागूँ अब सारी सारी रतियाँ
हाए रे अखियाँ मिला के अखियाँ
हाए रे अखियाँ मिला के अखियाँ


This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3722 Post No. : 14658

Hullo to all in Atuldom

Disclaimer: Thoughts presented in this song are not the thoughts of the author of this post. It is just a tool in the hands of the filmmaker to take the story of the film forward and explain why the central character professes ‘bachelorhood’. Readers are requested to enjoy the song

“Man Pasand” (1980 – censored on 26-6-1980 and released on 11-7-1980) was among the first few movies whose music cassette was purchased by my father along with “Yaarana” when they hit the market. And since then I am a huge fan of their songs. Know almost all of them by heart.

This was a movie produced by Amit Khanna and directed by Basu Chatterji. Rajesh Roshan was the music director and Amit Khanna himself wrote the lyrics. The movie itself was inspired by the famous stage play by George Bernad Shaw – ‘Pygmalion’ (first published in 1913), and also on the hugely popular iconic film ‘My Fair Lady’ (1964 – Rex Harrison and Audrey Hepburn). The movie stars Dev Anand, Tina Munim, Girish Karnad, Simple Kapadia, Leela Mishra and Mehmood.

The movie has Dev Anand and Girish Karnad playing best friends, bachelors and musicologists. They encounter a loud- and foul-mouthed vendor of ‘datun’ (neem branches} in the late-night local trains of Mumbai. Then and there Dev (Pratap) throws a challenge that he can transform the unpolished girl into a graceful and talented singer and Karnad (Kashinath) picks up the bet and agrees to marry the girl if Pratap is successful.

Today’s song happens when Kamli (Tina Munim) walks into the flat of Pratap, to be trained as a singer. That is her only aim and she doesn’t know that the two friends have other plans. Prior to the song Pratap tries to explain to Kashi that no one knows what their “marzi” is, whether it is a man or a woman. But once people get married they start trying to make the spouses dance to their “marzi”. That is the gist of the song.

Let us enjoy this lively Kishore Kumar number today on Dev Anand’s birth anniversary. He would have been 95. Dev Anand who was an entertainer from 1946 to 2011 almost 65 years. Dev Anand who was an actor, producer director. A heart throb of the audiences who loved his smile (crooked teeth notwithstanding) sparkling eyes, scarfs, caps and mufflers and all the things that made up DEV ANAND.

Audio

Video

Song – Manmaani Se Hargiz Na Daro (Man Pasand) (1980) Singer – Kishore Kumar, Lyrics – Amit Khanna, MD – Rajesh Roshan

Lyrics

hmmm
man maani se hargiz na daro,
kabhi shaadi na karo
man maani se hargiz na daro,
kabhi shaadi na karo

marzi hai
arre aaj kahin
baahar khaana khaayen
wo kahengi
nahin sahab theek aath baje
ghar wapas aa jaayen

kitaab liye haath me in
aap chain se baithe hain
memsaab poochengi
kyunji hamse roothe hai

kabhi kisi bhi naari se kar lo
do baatein
wo kahen inhi se hoti hai kya
chhup ke mulaqaaten
aji tauba bewakoofi ki hai shaadi inteha
har aurat apna soche
auron ki nahi parvaah
kyon theek nahin kaha maine
jo ji mein aaye wo karo
kabhi shaadi na karo
man maani se hargiz na daro
kabhi shaadi na karo

zara sochiye
aaram se aap ye
jeewan jee rahe hain
pasand ka kha rahe
pasand ka pi rahe hain
achcha bhala ghar hai aapka
lekin kya karen
aap se juda hai shauk
begum sahab ka
aate hi kahen suniye ji
har cheez ko badlo
pehle parde phir sofa
phir apna huliya badlo
aji maana tanhaai se
kabhi dil ghabraayega
jeewan saathi ki zaroorat
mehsoos karaayega
ha ha
lekin is ghabaraahat me jo shadi kar baithe
wo umr bhar pachhataayega
jeete ji arey bhai na maro
kabhi shadi na karo
man maani se hargiz na daro
kabhi shaadi
ho kabhi shaadi,
haan kabhi shaadi
na baaba na

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

हम्ममम
मन मानी से हरगिज़ न डरो
कभी शादी ना करो
मन मानी से हरगिज़ न डरो
कभी शादी ना करो

मर्ज़ी है
अरे आज कहीं
बाहर खाना खाएं
वो कहेंगी
नहीं साहब ठीक आठ बजे
घर वापस आ जाएँ

किताब लिए हाथ में
आप चैन से बैठे हैं
मेम साहिब पूछेंगी
क्यों जो हमसे रूठे हैं

कभी किसी भी नारी से कर लो
दो बातें
वो कहें इन्हीं से होती हैं क्या
छुप के मुलाक़ातें
अजी तौबा बेवक़ूफ़ी की हैं शादी इंतेहा
हर औरत अपना सोचे
औरों की नहीं परवाह
क्यों ठीक नहीं कहा मैंने
जो जी में आए वो करो
मन मानी से हरगिज़ न डरो
कभी शादी ना करो

ज़रा सोचिए
आराम से आप ये
जीवन जी रहे हैं
पसंद का खा रहे हैं
पसंद का पी रहे
अच्छा भला घर है आपका
लेकिन क्या करें
आप से जुदा है शौक
बेगम साहब का
आते ही कहें सुनिए जी
हर चीज़ को बदलो
पहले पर्दे फिर सोफा
फिर अपना हुलिया बदलो
अजी माना तन्हाइ से
कभी दिल घबराएगा
जीवन साथी की ज़रूरत
महसूस कराएगा
हा हा
लेकिन इस घबराहट में जो शादी कर बैठे
वो उमर भर पछताएगा
जीते जी अरे भाई न मरो
कभी शादी
हो कभी शादी
हाँ कभी शादी
ना बाबा ना


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3713 Post No. : 14642

Ek kissa hai, Radha ka. There is a tale, of a girl named Radha. She was in her teens, ‘kamsin’ as they say in parlance – young and innocent in years; sporting dark tresses that reached her knees; her supremely fair and flawless skin as if made from milk; her eyes – bright, with a depth enough for a smitten heart to drown itself. She would come to the terrace to hang out the laundry for drying. Iqbal, smitten as he was with the beauty of this young lady, would wait everyday to fill his heart with her moving images. The fascination, the infatuation remained as it is, unexpressed – for he could never muster up enough courage to say or do anything to express his feelings. Fears and apprehensions of many kinds held him back. Radha, remained a puppy love dream – forever. But is sure did make a poet out of that obsessed heart that could not express itself to its beloved.

He penned the following lines, as his initiation into the world of verse writing,

खेंचते हैं अपनी जानिब यार ये गेसू मुझे
आ रही है हर तरफ से प्यार की खुशबू मुझे
एक राधा से हुई है जब से मेरी दोस्ती
सारी दुनिया कह रही है आजकल हिन्दू मुझे

These tresses of my beloved, beckon me
The fragrance of love is diffused all around me
Since my heart has made a friend named radha
All the world is calling me a hindu these days

By his own admission, he would never have taken to pen and paper, if by some God sent blessing, this infatuation would have ripened into a reciprocated affair, and if the two would have been betrothed. The world of letters, and the world of cinema would have been robbed of one of the best romantic poets of the Golden Era of the Hindi film music.

Iqbal Hussain, born on 15th April, 1927 in Jaipur, grew up to be known by his pen name more than anything else – Hasrat. And the city of his origin came in to complete his identity recognition – Jaipuri.

He passed away this day (17th September) in 1999 after a scintillating career of almost five decades as a songwriter. The unsuccessful saga of his first love was in any case immortalized. The famous aria venerating the identity of the romantic messaging device called the ‘प्रेम पत्र’ (love letter), was originally written for his Radha, of the terrace visits. The song it became is – “Ye Mera Prem Patra Padh Kar” (film ‘Sangam, 1964).

It is a temptation to revisit all the great poetry he has written, that has become popular and enduring. But then even this one night, sleepless per force, would be inadequate to do justice. But in any case, that sampling may just be a reprise for all the dear melodies that I am sure all readers and lovers of this music, have stored away in their memories.

And so I just introduce this one song today. This wonderful melody, for the longest of the time, I was under the impression that this one is already posted here. But today I discovered that it is still in waiting. The film is ‘Badnaam’ from 1952. The music director is Basant Prakash (brother of Khemchand Prakash). The baritone rich singing voice is that of Shankar Dasgupta. The verses, of course, are from the pen of Hasrat Jaipuri.

The first sub line of this poem imitates the well known starting words of the famous she’er – “Ye Ishq Nahin Asaan, Bas Itna Samajh Lijey. . .” from a ghazal by the maestro Jigar Moradabadi. But after that it goes on to take a powerful identity of its own with lines like “. . .zakhmon mein chhupa lena, tasveer e mohabbat ko. . .” and “. . .khud lut ke sikha dena, duniya ko wafa karna. . .”.

An immense ghazal – words, composition, rendition – all are superlative. With memories of Hasrat Sb, enjoy this wonderful creation.

[Author’s Note: The episode of the poet’s first love is adapted from the definitive article on Hasrat Jaipuri, from the book ‘Hindi Filmon Ke Geetkar’ by Anil Bhargav.]

Song – Ye Ishq Nahin Aasaan, Kaanton Pe Jiya Karna (Badnaam) (1952) Singer – Shankar Dasgupta, Lyrics – Hasrat Jaipuri, MD – Basant Prakash

Lyrics

ye ishq nahin aasaan
kaanton pe
kaanton pe jiya karna
kaanton pe jiya karna

ye ishq nahin aasaan
kaanton pe jiya karna
kaanton pe jiya karna
ashqon ka zehar hardam
khush ho ke piya karna
kaanton pe jiya karna

kehte hain jise ulfat
ye khel hai sholon ka
kehte hain jise ulfat
ye khel hai sholon ka
chupchaap hi jal jaana
hargiz na gila karna
kaanton pe jiya karna

zakhmon mein chhupa lena
tasveer e mohabbat ko
tasveer e mohabbat ko
zakhmon mein chhupa lena
tasveer e mohabbat ko
tasveer e mohabbat ko
khud lut ke sikha dena
duniya ko wafa karna
kaanton pe jiya karna

aise to kai toofaan
raahon mein sataayenge
aise to kai toofaan
raahon mein sataayenge
ghabra ken a darr jaana
manzil pe badha karna
kaanton pe jiya karna
ye ishq nahin aasaan
kaanton pe jiya karna
kaanton pe jiya karna

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

ये इश्क़ नहीं आसान
काँटों पे
काँटों पे जिया करना
काँटों पे जिया करना

ये इश्क़ नहीं आसान
काँटों पे जिया करना
काँटों पे जिया करना
अशकों का ज़हर हरदम
खुश हो के पिया करना
काँटों पे जिया करना

कहते हैं जिसे उलफत
ये खेल है शोलों का
कहते हैं जिसे उलफत
ये खेल है शोलों का
चुपचाप ही जल जाना
हरगिज़ ना गिला करना
काँटों पे जिया करना

ज़ख़्मों में छुपा लेना
तस्वीर ए मोहब्बत को
तस्वीर ए मोहब्बत को
ज़ख़्मों में छुपा लेना
तस्वीर ए मोहब्बत को
तस्वीर ए मोहब्बत को
खुद लुट के सीखा देना
दुनिया को वफा करना
काँटों पे जिया करना

ऐसे तो कई तूफान
राहों में सताएंगे
ऐसे तो कई तूफान
राहों में सताएंगे
घबरा के न डर जाना
मंज़िल पे बढ़ा करना
काँटों पे जिया करना
ये इश्क़ नहीं आसान
काँटों पे जिया करना
काँटों पे जिया करना


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

Blog Day : 3689 Post No. : 14596

Today’s song is from film ‘Divorce’ (1938) – aka ‘Talaaq’. The song is sung by Sheela, lyricist was Pt. Anand Kumar and the MD was Meer Saheb (assisted by Ramchandra Chitalkar). The cast of the film was Naseem Bano, Gajanan Jagirdar, Prem Adib, Sheela, Vimla, Navin Yagnik, Khan Mastana etc. The film was made by Minerva Movietone and directed by Sohrab Modi. Divorce was one of the 3 films Modi made based on social problems. First film was ‘Meetha Zafar’ on alcohol habit, ‘Divorce’ was on separation of a couple and ‘Bharosa’ was on a very taboo and sensitive issue like incest.

One name in the cast is of Gajanan Jagirdar. We all know the famous actor and director Gajanan Jagirdar (real surname Jahagirdar. B 2-4-1907 D- 13-8-1988), but few know that he was branded ‘unlucky’. ‘Padosi’ (1941) was Jagirdar’s first film with Prabhat film company. By the time the film was complete Shantaram and his some friends left Prabhat making it crippled. Second time Jagirdar worked in  film ‘Ramshastri’ (1944) for Prabhat, the important partner Vishnupant Damle died and Prabhat almost collapsed. The third time Jagirdar worked for Prabhat in film ‘Lokmanya Tilak’, the company was auctioned and closed down for ever ! When Jagirdar worked in “Shahir Parshuram”of Mangal pictures, the company went bankrupt and closed down. In 1953, top production company Alhad Chitra employed Jagirdar for a bilingual film, ‘Mahatma’ (1953), not only the film flopped, it drowned the company and the Producer Datta Dharmadhikari came on the road. For survival he started a roadside kitchen !

Jagirdar started as a freelancer in the industry, in the film studios of Prabhat Films and Minerva Movietone and later acted and directed in a number of films post his accidental debut ‘Jalti Nishani’  in 1932.  He was hand-picked by V Shantaram to act in ‘Jalti Nishani’ when actor DD Mane wasn’t able to say the Urdu dialogues onscreen properly. And even though he was only 25, he enacted the part of a 75-year-old with aplomb.

Jagirdar began acting on the stage as a young child. As he grew older, he formed Arun Players, a theatre group which enacted plays like Harindranath Chattopadhyay’s ‘Returned from Abroad’ to Anton Chekhov’s ‘The Cherry Orchard’.

Not bound to any one studio, he worked as a freelancer for most of the major films studios of the time — from Prabhat Films to Minerva Movietone. At Prabhat, he began with writing the  English inter titles for films. He also taught the Prabhat artistes Urdu dialogue delivery. He assisted Bhalji Pendharkar for a bit and directed a few films like ‘Begunaah’ (1937) for Master Vinayak’s banner Hans Pictures. Later, he moved on to work as a scenarist (screenwriter) for Minerva Movietone’s ‘Meetha Zahar’ (1938) and ‘Divorce’ (1938). He also worked with filmmaker PK Atre, both as actor and director in a few films.

For V Shantaram’s last film with Prabhat Films, the famed director took up the issue of communal tension in the country. Jagirdar played the Muslim character Mirza, while Mazhar Khan played the Hindu character, Thakur in the bilingual. ‘Padosi’ was a critical and commercial hit at the time.

‘Ramshastri’ (1944) was a landmark bilingual film on Peshwa Madhavrao’s chief justice and one of the last classics produced by Prabhat Films. The film went through three directors — Raja Nene, Vishram Bedekar shot portions of the film before Gajanan Jagirdar, who was playing the lead character Ramshastri Prabhune, took over to finish it. It is said that V Shantaram also directed parts of it.

In Asit Sen’s ‘Apradhi Kaun’ (1957), Jagirdar played double role as two brothers Shrinath and Dinanath. It was a fantastic opportunity for the actor. As the wealthy Shrinath who has   inherited all of the ancestral property, Jagirdar was cool and composed. Meanwhile, as the down-on-his-luck brother Dinanath, Jagirdar transformed himself and his body to differentiate the two. Jagirdar acted in 147 films, directed 17 films and wrote 13 songs in film ‘Sant Tulsidas’ (1934).

Prior to his career in films, Jagirdar was also a teacher and later also taught acting. He became the first principal of the Film and Television Institute of India (FTII) in 1960, but resigned after a year.

He wrote two autobiographies that were published in 1971 and 1986. Additionally, he also wrote a book on acting which explored the Konstantin Stanislavsky’s method to the craft.

The film’s songs were written by Pt. Anand kumar. He was born in Delhi in 1907. He was a producer, director, writer and lyricist. From childhood, he was not interested in studies in English medium. He was taught Urdu, Hindi and Sanskrit by his poor Brahmin Shastri father. When he was 15 year old, he entered a business. He was always discontented. He wanted to become an actor, but family resisted. He tried fasting and even suicide. Then he stole some money and ran to Bombay. He could not get into any studio and after money finished, he returned to Delhi, only to take more money and run to Bombay again. Even after this failure, he went back to Delhi and started writing stories.

His first book ‘Mera Haq’ became a hot seller and he started earning money. He was invited by film people and he went to Bombay nth time. He wrote stories, dialogues and Lyrics of scores of films and earned name and money. He produced a film ‘Zameen’ (1943), under his own banner Anand Brothers. He directed 5 films,including a hit marathi film, ‘Gora Kumbhar’ (1942). Some of his films as a Lyricist were ‘Suvarn Mandir’ (1934), ‘Katle Aam’ (1935), ‘Pratibha’ (1937) ‘Divorce’ (1938), ‘Saathi’ (1938), ‘Alakh Niranjan’ (1940), ‘Punarmilan’ (1940), ‘Charnon Ki Daasi’ (1941), ‘Raja Rani’ (1942) etc. As a writer some films were, ‘Divorce’ (1938), ‘Honhaar’ (1936), ‘Saathi’ (1938), ‘Vasantsena’ (1942), ‘Rang Mahal’ (1948) etc.

Today’s song is sung by Sheela.  Sheela (real name – Roshan Ara) was born on 13-3-1925 at Sholapur-Maharashtra. Her father was Station Master at Sholapur Railway Station.

Once Sohrab Modi had come to Sholapur with his drama company. He went to the station to do reservations and saw Sheela. They got to know each other and he proposed to give her roles in his films. Thus Sheela came to Bombay in 1936 and Joined Minerva Movietone as a singer/actress.

Her first film was ‘Khan Bahadur’ (1937), in which she sang and acted. Then came ‘Jailor’ (1938) in which she sang 4 solo songs under MD Mir Sahib. Then ‘Divorce’ and ‘Meetha Zahar’ came.

She became famous only after her songs in ‘Pukar’ (1939). ‘Bharosa’, ‘Wasiyat’ and ‘Sikander’ also gave her name and fame. In ‘Sikander’ she had 6 songs out of total 7 songs. The famous song “Zindagi Hai Pyaar Se” also has her voice in the chorus. She was heroine in film ‘Wasiyat’ (1940).

‘Ulti Ganga’, ‘Bhakta Raidas’, ‘Prithvi Vallabh’, and ‘Patharon Ka Saudagar’ were all Minerva films. She had also done films elsewhere – ‘Alladin and Wonderful Lamp’, ‘College Girl’, ‘Gaibi Gola’, ‘Jahan Ara’, ‘Keemti Qurbani’, ‘Sansar Naiya’, ‘Shaitan Ka Paash’ etc. After 1943, she almost stopped working. Only in ‘Beete Din’ (1947) and lastly in ‘Billi’ (1949)’ sang songs, which was a stunt film of Nadia and Cavas.

She had married the actor Rama Shukla, in 1947. He was a Kanauji Brahmin and the families had terrible opposition to their marriage. The marriage was by Registration. Only 4 friends were present in the marriage. They had one son and one daughter. Rama Shukla died by heart attack in the 50s.

Her voice had a peculiar mixture of muslim style of Amirbai Karnataki and Marathi slant of Shanta Apte.

There is an anecdote with one of her songs. When film ‘Pukar’ was in the making, C Ramchandra was working as an assistant to MD Meer Saheb. He has mentioned in his autobiography also that in the absence of Meer saheb, he used to insert his tunes to songs as Meer Saheb’s. This was known to many, except, may be, Meer Saheb himself. One of the very popular songs sung by Sheela “Tum Bin Hamri Kaun Khabar Le” was actually composed by C Ramchandra. This is supposed to be CR’s first composed song. The credit, of course, went to Meer Saheb.

The song is very sweet and is sung also nicely.

(Credits- Swaron ki Yatra, Cinerang by Mujawar, Film Directory, Hindi Film Singers by Prof Yadav, HFGK, MuVyz and my notes.)


Song – Wo Aayen Na Aayen Yahaan Sajni (Divorce) (1938) Singer – Sheela, Lyrics – Anand Kumar, Music – Meer Saheb

Lyrics (Provided by Sudhir)

wo aayen na aayen yahaan sajni
wo aayen na aayen yahaan sajni
ghar hum ko aaj sajaana hai
ghar hum ko aaj sajaana hai

wo dekhen na dekhen hamen un ko
wo dekhen na dekhen hamen un ko
dil apna aaj dikhana hai
dil apna aaj dikhana hai
wo aayen na aayen yahaan sajni
wo aayen na aayen yahaan sajni
ghar hum ko aaj sajaana hai
ghar hum ko aaj sajaana hai

chaahe tum to kahaani bahut hi padhi
chaahe tum to kahaani bahut hi padhi
hamen apne haal sunaana hai
hamen apne haal sunaana hai

un ko apni kehte kehte
un ko apni kehte kehte
un ke dar par mit jaana hai
un ke dar par mit jaana hai

is raah ki khaaq mili jo hamen
is raah ki khaaq mili jo hamen
un ke kadmon ka thikaana hai
un ke kadmon ka thikaana hai
wo aayen na aayen yahaan sajni
wo aayen na aayen yahaan sajni
ghar hum ko aaj sajaana hai
ghar hum ko aaj sajaana hai
wo aayen na aayen yahaan sajni. . .

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

वो आयें ना आयें यहाँ सजनी
वो आयें ना आयें यहाँ सजनी
घर हमको आज सजाना है
घर हमको आज सजाना है

वो देखें ना देखें हमें उनको
वो देखें ना देखें हमें उनको
दिल अपना आज दिखाना है
दिल अपना आज दिखाना है
वो आयें ना आयें यहाँ सजनी
वो आयें ना आयें यहाँ सजनी
घर हमको आज सजाना है
घर हमको आज सजाना है

चाहे तुम तो कहानी बहुत ही पढ़ी
चाहे तुम तो कहानी बहुत ही पढ़ी
हमें अपना हाल सुनाना है
हमें अपना हाल सुनाना है

उनको अपनी कहते कहते
उनको अपनी कहते कहते
उनके दर पर मिट जाना है
उनके दर पर मिट जाना है

इस राह की खाक़ मिली जो हमें
इस राह की खाक़ मिली जो हमें
उनके कदमों का ठिकाना है
उनके कदमों का ठिकाना है
वो आयें ना आयें यहाँ सजनी
वो आयें ना आयें यहाँ सजनी
घर हमको आज सजाना है
घर हमको आज सजाना है
वो आयें ना आयें यहाँ सजनी॰ ॰ ॰


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 15100 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Total number of songs posts discussed

15125

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Movies with all their songs covered =1172
Total Number of movies covered =4153

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