Archive for the ‘Wedding song’ Category
Raajaa ki aayee hai baaraat
Posted on: March 21, 2023
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5359 | Post No. : | 17577 | Movie Count : |
4725 |
Hullo Atuldom
Born into the film industry. Married into another famous movie-making family. Debut film (in Hindi) with a star-son; a Khan at that. In fact, heroes in her first six films had KHAN as their last name.
I am speaking of Rani Mukherjee who was born into the Mukherjee-Samarth family. Her father Ram Mukherjee was the son of Ravindramohan Mukherjee who was Sashadhar Mukherjee’s (founder of Filmalaya studios) brother. Her mother is the playback singer Krishna Mukherjee. Additionally her brother is director Raja Mukherjee. So that is Rani’s maayka.
She is married to Aditya Chopra; Yash Chopra’s son. ‘Shadaab Khan’ (Amjad Khan’s son) in ‘Raja ki Aayegi Baraat’; ‘Aamir Khan’ in ‘Ghulam’; ‘Shahrukh Khan’ in ‘Kuch Kuch Hota Hai’; ‘Faraaz Khan’ (son of Yusuf Khan a.k.a Zebisco of ‘Amar Akbar Anthoy’) in ‘Mehndi’; ‘Salman Khan’ in ‘Hello Brother’; were her first five movies with the Khans. The sixth film, that I spoke of at the start of this post, ‘Mann’ had Rani only for a song where she shared screen time with Aamir Khan for a song.
Anil Kapoor, Bobby Deol, Abhishek Bachchan, Govinda, where the other heroes she was usually cast opposite in the first few years of her career. She also played Kamal Haasan’s wife in ‘Hey Ram’; incidentally Shahrukh Khan also had a role in the film, not opposite Rani though.
Subsequent films saw her in a few two-heroine films like ‘Chori Chori Chupke Chupke’; ‘Kahin Pyaar Na ho jaaye’; ‘Mujhse Dosti Karoge’ etc.
Movies with Rani Mukherjee were full of good songs, and commercial entertainers. Today she turns a year older- 45 to be exact.
Last Friday saw the release of “Mrs Chatterjee v/s Norway” which has Rani playing a mother and the promos show her to be playing some kind if activist. She has been seen in this type of movies since 2011 when she appeared in ‘No one killed Jessica’.
The song with this post is from her debut film ‘Raja ki Aayegi Baraat’ (1996). Other than Rani Mukherjee & Shadaab Khan the film also had Saeed Jaffery, Raja Murad, Gulshan Grover, Divya Dutta, Asrani, Shashi Sharma, Mohnish Behl, Goga Kapoor, Yunus Parvez etc. in the cast. The film showed Rani playing a girl with happy dreams of marriage and a rosy life. These dreams are shattered when Shadaab Khan enters her life, rapes her to avenge her humiliating him etc. But Shadaab is forced to marry Rani as a punishment for his crime against her by the judge played by Yunus Parvez. Rani uses this opportunity to get even with her tormentor but the couple end up falling in love and the marriage becomes a success. There are some twists and turns before the movie ends in a “marriage baraat”; the kind which Rani had dreamt of.
Let us wish Rani a Happy Birthday with this song which sees Rani living her dream of a “Grand Baraat” at her wedding.
Song-Raaja ki aayee hai baaraat (Raja Ki aayegi Baaraat)(1996) Singer-Vijeyta Pandit, Lyrics-Sameer, MD-Aadesh Srivastava
Female chorus
Lyrics
raaja ki aayi hai baaraat mere aangan mein
raaja ki aayi hai baaraat mere aangan mein
main to naachoon hilaa ke roomaal mere aangan mein
aangan mein
sabke chehre khil rahe hain
masti aisi hai chhaayi
haaye
masti aisi hai chhaayi
phool barse
rang bikhre
mil rahi hai badhaayi
haaye haaye
mil rahi hai badhaayi
ye to bade hi shagun ki hai baat mere aangan mein
raaja ki aayi hai baaraat mere aangan mein
main to naachoon hilaa ke roomaal mere aangan mein
aangan mein
dulhe raaja janch rahe hain
baandh ke sar pe sehra
haaye
baandh ke sar pe sehra
is khushi mein lag raha hai
waqt jaise ho thahra
haaye haaye
waqt jaise ho thahra
saath dulhan ke saj gayi raat mere aangan mein
raaja ki aayi hai baaraat mere aangan mein
main to naachoon hilaa ke roomaal mere aangan mein
aangan mein
bhaabhi meetha munh karaaye
note bahnon ne waare
haaye haaye
note bahnon ne waare
bin piye hi jhoom rahe hain paapa jee bhi hamaare
haaye
paapa jee bhi hamaare
aisi khushiyon ki huyi barsat mere aangan mein
raaja ki aayi hai baaraat mere aangan mein
main to naachoon hilaa ke roomaal mere aangan mein
aangan mein
oye
oye
oye oye oye
Jhin min jhini
Posted on: March 16, 2023
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5354 | Post No. : | 17558 | Movie Count : |
4719 |
Vishal Bhardwaj’s Trilogy of Shakespeare plays – 1: ‘Maqbool’ (2004).
Williams Shakespeare’s plays have been very popular with the Indian theatres since the theatre movement started sometime in the later 18th century. It was in the late 19th century that some of the famous Shakespeare’s plays were adapted in the Indian theatres in Hindi, Urdu and other prominent regional languages like Bengali, Marathi, Gujarati, Tamil etc. The plays were molded into Indian socio-economic and political background. With the advent of silent films in India in 1913 and later the sound films from 1931, the film producers also adapted some of the popular Shakespeare’s plays for their films.
The earliest Hindi sound film based on Shakespeare play was ‘Hathili Dulhan’ (1932) which was adapted from a comedy play ‘The Taming of the Shrew’. Some other Hindi sound films adapted from Shakespeare plays (mentioned in the brackets) included ‘Kaafir-e-Ishq’, 1936 (Anthony and Cleopatra), ‘Jwala’. 1938 (Macbeth), ‘Pak Daman’, 1940 (Measure for Measure), ‘Aan’, 1952 (Taming of the Shrew), ‘Hamlet’. 1954 (Hamlet), ‘Do Dooni Chaar’, 1968 (The Comedy of Errors), ‘Angoor’, 1982 (The Comedy of Errors), ‘Qayamat Se Qayamat Tak, 1988 (Romeo & Juliet) and many more. About 40 Hindi films released between 1932 and 2014, based on Shakespeare plays have been listed here. This list is not exhaustive.
Shakespeare’s plays were also adapted into some Hindi films made in the 2000s. Of these, Vishal Bhardwaj’s Shakespeare trilogy, ‘Maqbool’ 2004 (Macbeth), ‘Omkara’ 2006 (Othello) and ‘Haider’ 2014 (Hamlet) are regarded as the best adaptation. These three films have received high critical acclaim. There are many published research papers on his trilogy on national and international forums, besides a PhD thesis on his trilogy by Dr Fatimah Javed. The uniqueness in Vishal Bhardwaj’s adaptations is that he has brought out the relevance of Shakespeare’s plays in the contemporary Indian socio-political background.
I intend to write one article each for these three films listed above. In this article, I will take up ‘Maqbool’ (2004), the first film in Vishal Bhardwaj’s trilogy of Shakespeare’s tragedy plays. The film was produced jointly by Vishal Bhardwaj and Bobby Bedi and was directed by Vishal Bhardwaj. The film has a strong cast which includes Irrfan Khan, Tabu, Pankaj Kapur, Naseeruddin Shah, Om Puri, Piyush Mishra, Deepak Dobriyal, Ankur Vikal, Ajay Gehi, Vivek Mushran, Rakesh Pandit, Shammi Narang, Masumeh Makhija, Mohini Mathur, Shweta Menon etc. Vishal Bhardwaj shifts the centre of struggle for power from the court of King Duncan of Scotland in ‘Macbeth’ to Mumbai’s Mafia Don, Jahangir (Abba) Khan’s house.
Probably, it may be for first time in the history of Hindi films that the screenplay of a film was published with English translation in a book form – ‘Maqbool: The Original Screenplay (with English Translation) by Vishal Bhardwaj and Abbas Tyrewala (2014)’. In this book, the rationale for some changes in the main characters of ‘Macbeth’ in ‘Maqbool’ (2004) have been spelt out. I thought, it was better to present these changes in a tabular form for easy understanding:
| In ‘Macbeth’ | In ‘Maqbool’ | Remarks |
|---|---|---|
| King Duncan of Scotland | Mafia Don Abbaji (Pankaj Kapur) of Mumbai underworld. | – |
| Macbeth, the General, who is the distant cousin of King Duncan | Maqbool (Irrfan Khan), the foster son and the right-hand man of Abbaji. | – |
| Lady Macbeth (wife of Macbeth) | Nimmi (Tabu) the mistress of Abbaji who is in illicit relationship with Maqbool. | There is a marked departure from the original characters just to give one more reason for Nimmi to instigate Maqbool to kill Abbaji, so that she becomes the legitimate wife of Maqbool. For him also, this becomes an additional motive to kill Abbaji, apart from becoming a mafia don. |
| Three Witches | Purohit (Naseeruddin Shah) and ‘Pandit (Om Puri) are cops who predict the rise of Maqbool as a Don as per the horoscope drawn by Pandit. | It was felt that after about 500 years from the staging of ‘Macbeth’, the witches with their prophecies and supernatural powers may not be believable for the current generation. In mafia world, cops fit well in place of witches. Additionally, one of the cops was shown as an astrologer who also makes predictions. |
| Braquo, the close friend of Macbeth | Kaka (Piyush Mishra), a close friend of Maqbool. | – |
| Fleance, Banquo’s son who is projected by witches to be the future king of Scotland | Guddu (Ajay Gehi), the son of Kaka. | From the end scene of the film, it can be inferred from the action of Guddu and his wife Sameera who takes the custody of Nimmi’s son that he may become the future Mafia Don of Mumbai. |
The gist of the story of the film is as under:
After the killing of the Lalji, right-hand man of mafia don Abbaji (Pankaj Kapur), by a rival gang, Maqbool (Irrfan Khan), the foster son of Abbaji becomes the de facto his right-hand man. He is also made in-charge of the Abbaji’s connection with Bollywood films. Abbaji has absolute faith in Maqbool and this is demonstrated in the film on a number of occasions. Nimmi (Tabu), the mistress of Abbaji who is half his age is not happy with her status. She and Maqbool are passionate about each other and are in illicit relationship.
Purohit (Naseeruddin Shah) and Pandit (Om Puri) are the corrupt cops who are on the payroll of Abbaji. Pandit is also an astrologer who had predicted the death of Abbaji’s right-hand man. Now, he predicts that Maqbool would be the future mafia don of Mumbai. His oft repeated dialogue in the film is that there should be balance of power in the universe. Fire should be afraid of water.
Nimmi sees a possibility of both of being sidelined after the marriage of Sameera (Mausami Makhija), daughter of Abbaji with Guddu (Ajay Gehi), the son of Kaka (Piyush Mishra), the close associate of both Abbaji and Maqbool. She instigates Maqbool by saying that he would remain like a loyal dog in the don’s hierarchy, if he does not kill Abbaji and grab the power to be a mafia don. Maqbool is caught between his loyalty to Abbaji and his love for Nimmi. Finally, his love for Nimmi wins over the loyalty to Abbaji. Maqbool kills Abbaji in his bedroom in sleep.
Maqbool thinks that with Abbaji out of his way, the next man has to be his close friend, Kakaji who suspects Maqbool in killing Abbaji. To whom the power will pass – Guddu, the son-in-law or Maqbool, the foster son. So, Kakaji becomes his number one enemy in his succession. Maqbool gets him killed while his son, Guddu narrowly escapes death. With almost whole gang turning against him now, Maqbool has to handle his enemies, within and outside his gang single handedly. He has no help from Nimmi as she, beside her pregnancy, has lost her balance of mind.
After the killing of Abbaji, Maqbool suffers from guilt conscious which has affected him in taking a balanced view of his problem. He starts thinking that all are his enemies, and they need to be eliminated. His guilt consciousness makes him devote more time to saving the baby in Nimmi’s womb than his safety. He takes Nimmi to hospital for delivery. With the arrival of cops surrounding the hospital, Maqbool runs away. He comes back to hospital the next day to meet Nimmi and the newly born son when he sees Guddu in the hospital. Maqbool takes out his gun to shoot him. But before that he finds the newly born son has been handed over to Guddu and his wife Sameera by the hospital authority. He comes to know from a hospital staff that Nimmi has died, and Guddu and his wife has taken the custody of the newly born son. His grim face turns into a happy one as he sees that there is someone to look after the newly born son. Maqbool throws his gun and walks out of the hospital in a happy state of mind only to be shot dead by Boti (Ankur Vikal), a member of a rival gang who has recently joined Abbaji’s gang.
I watched this movie for the first time before writing this article and regretted not having watched this film on the big screen. It is a fantastic film, more of human relation story than the underworld. I do not think that any one among the actors can replace Pankaj Kapur in the role of Mumbai’s mafia don, Abbaji. Irrfan Khan in the role of Maqbool has portrayed his character in such a way that at the end of the film, despite his wrongdoings, the audience would feel sorry for him. Naseeruddin Shah and Om Puri in the comparatively smaller role of corrupt cops are very good in their satirical punches. All other actors, some with minor roles, performed very well. This film also proves that cinema is the director’s medium.
As per Box Office report, despite the high critical acclaim, the film was not commercially successful. Probably the use of techniques like imagery, expressions, and body language in the film was beyond the understanding of the general cine audience. There is nothing for the front benchers and the film lovers from the mofussil region of India, like titillating dances they would expect in a mafia den. Even six murders are shown in the film in a subtle way without much of fight scenes. I think, Vishal Bhardwaj knew beforehand that the film was meant for the niche audience. He did not charge any fee as a screenplay writer, director and the music director for the film (as per the preface of the book referred to above).
There are 5 songs in the film, all written by Gulzar and set to music by Vishal Bhardwaj. I have found only 3 songs which appeared in the film. However, ‘excluded’ songs are available on audio albums. I am presenting the first song from the film ‘jhin min jhin min jhini’ to appear on the Blog. The song is sung by Sadhana Sargam, Anuradha Sriram, Ustad Sultan Khan, Rakesh Pandit and chorus.
The background of the song is that Ajay Gehi (Guddu), son of Kaka (Piyush Mishra) who is a close associate of Abbaji (Pankaj Kapur) is to get married to Sameera (Mausami Makhija), daughter of Abbaji. The song is played on the eve of the engagement ceremony. The song is prominently picturised on Tabu and Mausami Makhija as a part of sangeet ceremony for females.
In the soundtrack of the film, the prelude of the song is a couplet (doha) of Amir Khusro recited by a dancer (Shwetha Menon) which is not included in the song on the audio album. The song is interspersed by Sufi Qawwali which is again picturised on Shwetha Menon as a part of her mujra dance for the males during which Pankaj Kapur, Irrfan Khan, Om Puri, Naseeruddin Shah, Piyush Mishra, Shammi Narang etc can also be seen.
While the song is being played, the camera captures some other details such as conversation between Irrfan Khan and Om Puri, the conversation between Tabu and Irrfan Khan and Tabu’s expression on the dance between Pankaj Kapur and Shwetha Menon whom Tabu thinks as the potential mistress of Abbaji.
Video Clip:
Audio Clip:
Song- Jhin min jhini (Maqbool)(2004) Singers-Sadhana Sargam, Anuradha Sriram, Ustad Sultan Khan, Rakesh Pandit, Lyrics-Gulzar, MD-Vishal Bhardwaj
Female Chorus,
Male Chorus,
Sadhana Sargam and Anuradha Sriram,
Ustad Sultan Khan and Rakesh Pandit
Lyrics:(The opening doha from Video Clip)
aa aa aa aa aaa
Khusro rain suhaag ki
jaagi pi ke sang
tan mero mann piu ko
dono bhaye ek rang
[Tabla Theka]
jhin min jhini
jhin min jhini
jhin min jhin min jhini
jhin min jhini
jhin min jhini
jhin min jhin min jhini
seedhi saadhi baaten
baaten bholi bhaali
billo meri aankhon ki kamini
jhin min jhini
jhin min jhini
jhin min jhin min jhini
jaaun
na jaaun
jaaun na jaaun piya ki gali
range paaon pakdi gayi jo chali..ee
chikne chikne aangan hain
sainyaan ke ghar ke
main chalna bhool gayi re
sainyaan se dar ke
pagli kar dini
jhin min jhini
jhin min jhini
jhin min jhin min jhini
seedhi saadhi baaten
baaten bholi bhaali
billo meri aankhon ki kamini
jaaun
na jaaun jaaun piya ki gali
range paaon pakdi gayi jo chali..ee..eeee
aaj rang hai
aye maa rang hai re…ae…ae
(ae ae ae ae ae ae)
aaj rang hai
aye maa rang hai re…ae…ae
mere mehboobi ke ghar
rang hai re …ee
desi bidesi mein dhoondhe phiri hoon ho to
jab dekhu more sang hai ri
aaj rang hai
aaj rang hai…ai…ai
aaj rang hai
(rang hai)
aye maa rangi hai
mere mehboob ke ghar rang hai ri
jhin min jhini
jhin min jhini
jhin min jhin min jhini
seedhi saadhi baaten
baaten bholi bhaali
billo meri aankhno ki kamini
henna mein chhupa ke
jiya rakh diya..aa
hatheli pe jal tu diya rakh diya
roshan roshan pairon se
khud hi sharmaaun
main iss pag uss pag doloon
jaaun na jaaun
pagli kar dini
jhin min jhini
jhin min jhini
jhin min jhin min jhini
seedhi saadhi baaten
baaten bholi bhaali
billo meri aankhon ki kamini
jaaun
na jaaun piya ki gali
range paaon pakadi gayi jo chali
chikne chikne aangan hai
saiyaan ke ghar ke
main chalna bhool gayi re
saiyaan se dar ke
pagli kar dini
o o o o o o…..ooo
aa aa aa aa aaa
aa aa aa aa aaa
more..ae ae piri paayo
(piri paayo)
more..ae ae piri paayo
nizamuddin auliya
qutubuddin auliya
karimuddin auliya
allahuddin auliya
naseeruddin auliya
aa aa aa aa aaa
Allah ka pyaara wo to
jag ujiyaara wo to
jag ujiyaara
aaj rang hai
aye maa rang hai ri..ee
mere mahboob ke ghar rang hai ri
Jhoome jee bahaar jhoome
Posted on: March 5, 2023
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5343 | Post No. : | 17520 |
#the Decade of Fifties –1951 – 1960 #
——————————————————————
In this post we are going to listen to a song from the ‘1957’ movie ‘Aadmi’.
Films with the same title “Aadmi” have been released in 1939, 1957, 1968 and 1993. Out of these, films released in ‘1939’, ‘1957’ and ‘1968’ are already represented on the blog. One of them, viz ‘Aadmi-1968’ is YIPPEED on the blog.
‘Aadmi-1957’ was directed by Navneet Rai for ‘Picutres Parade’ presentation. It was produced by Kumar Anand.
It had Nasir Khan, Begum Para, Kamran, Nirmal Kumar, Patanjali, Uma Dutt, Kammo, Arvind Kumar, Heera Sawant, Prem Sagar, Nalini and Kamal Mehra.
Sheikh, Bhudo Advani and Yakub made a guest appearance in this movie.
This movie was passed by Censor Board on 02.04.1957.
HFGK Vol-III (1951-1960) mentioned in the foot-note for this movie page that this movie ‘Aadmi-1957’ was the last film of actress Begum Para.
“Aadmi-1957” has eight songs in it.
Music of this film was composed by Ramnath, while lyrics for all its’ eight songs were penned by Sartaj Rahmani.
Here is the list of songs in this movie:-
| SNo | Song Title | Singer/s | Posted On |
|---|---|---|---|
| 01 | Duniya door se suhaani | Mohd Rafi, chorus | 25.11.2015 |
| 02 | Chhup chhup ke re chupke chupke | Shamshad Begum, chorus | 14.04.2019 |
| 03 | Dil gair ka jab ho jaaye | G.M. Durrani | |
| 04 | Nayi nayi ye preet hamaari | G.M. Durrani, Sudha Malhotra | |
| 05 | Jhoome ji bahaar jhoome | Sudha Malhotra | Being presented today |
| 06 | Teri zulf mein dil jab se atkaa | S. Balbir, Sudha Malhotra | |
| 07 | Ummeedon ki duniya … | Madhubala Zaveri | |
| 08 | Kaho kuchh bhi zabaan par … | Sudha Malhotra |
Today’s song is the third song from this movie to be presented on the blog. It is sung by Sudha Malhotra. Lyrics are by Sartaj Rehmani and music is composed by Ramnath.
I am unable to identify the actresses shown in the video of this song available on the internet (I sincerely hope that this video is authentic and from this movie only).
Today’s song is a nice song which the lady seems to be singing for her ‘sakhi-saheli’ , where I guess, the marriage of her ‘sakhi-saheli’ with her beloved seems to be on the card 🙂
Let us now listen to the song …
Video
Audio
Song-Jhoome jee bahaar jhoome (Aadmi)(1957) singer-Sudha Malhotra, Lyrics-Sartaj Rahmani, MD-Ramnath
Lyrics
jhoome jee bahaar jhoome
jhoome jee bahaar jhoome
rut aayi pyaar ki ee ee
dil ke qaraar jhoome
jhoome jee bahaar jhoome
jhoome ji bahaar jhoome
toone jo dekhe thhe
sundar sapney ae
toone jo dekhe thhe
sundar sapney ae
aaj huye tere preetam apne ae
aaj huye tere preetam apne ae
jhoom le gaa le gori
khushiyaan manaa le ae
jhoom le gaa le gori
khushiyaan manaa le ae
laayi hoon khabariyaa main
pi ke dwaar ki ee
jhoome jee bahaar jhoome
jhoome jee bahaar jhoome
rut aayi pyaar ki ee ee
dil ke qaraar jhoome
jhoome jee bahaar jhoome
jhoome jee bahaar jhoome
man ki kali ee ab phool banegi ee
man ki kali ab
man ki kali ab phool banegi
pyaase nainon ki sakhi pyaas bujhegi
pyaase nainon ki sakhi pyaas bujhegi ee
gaayenge do dil dhun malhaar ki ee
jhoome jee bahaar jhoome
jhoome jee bahaar jhoome
rut aayi pyaar ki ee ee
dil ke qaraar jhoome
jhoome jee bahaar jhoome
jhoome jee bahaar jhoome
sainyyaan jee tera jab
ghoonghat uthhaayenge ae ae
sainyyaan jee tera jab
ghoonghat uthhaayenge ae
tu sharmaayegi ee
wo muskaayenge
tu sharmaayegi ee ee
wo muskaayenge
sambhal sambhal ke ae
machal machal ke ae ae
sambhal sambhal ke ae
machal machal ke ae
niklegi munh se gori….
Aadhi raat jab chaand dhale
Posted on: February 15, 2023
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5325 | Post No. : | 17455 | Movie Count : |
4696 |
In this article, I propose to explore two films – ‘Duvidha’ (1973) directed by Mani Kaul and ‘Paheli’ (2005) directed by Amol Palekar. Both these films are based on a short story, ‘Duvidha’ by the writer of Rajasthani literature and Sahitya Akademy Award winner, Vijaydan Detha (popularly known as ‘Bijji’). Bijji wrote the short story in 1958 by using a verbally transmitted Rajasthani folktale to convey a bride’s silent defiance of the prevailing patriarchal system by embracing a ghost as her husband when her real husband leaves for a faraway town on business for 5 years, two days after the marriage. The defiance came from the fact that her husband did not take into consideration his wife’s emotional needs while taking this decision. The author has used the metaphor of the ghost through which the wife’s silent revolt occurs.
The English translation of Bijji’s short story ‘Duvidha’ (The Dilemma) is here. I have considerably summarised the story as under:
A wealthy Seth’s son had just got married and they were returning home in a bullock cart procession. On the way, they took rest for lunch under the shadow of a large banyan tree which was the dwelling place of a ghost. The ghost’s eyes gauged the bride, and he instantly fell in love with her when she partially lifted her veil. During the post lunch procession, the bridegroom told the bride that after two days which was an auspicious day, he would be leaving home for a business trip to earn money and he would return home after 5 years. The bride was shocked. She thought that she had separated from her parents, brothers, sisters, and friends just to take this husband’s hand. And now she will be left alone in the company of strangers in her new house. But in a world of patriarchy, the will of the husband was the will of the wife.
In the meanwhile, enamored by the beauty of the bride, the ghost was planning as to how he could be with the bride. He got a chance when he came to know that the bridegroom was setting out for a journey and not returning home for the next 5 years. He thought if he took the form of the bridegroom, no one would recognise him as a ghost. The ghost turned up the next day at the Seth’s doorstep as his son and gave a convincing reason for his return that he would earn every day 5 gold coins by remaining here. The father and mother were happy that the son would be with them.
The ghost came to the bride’s bedroom and presented himself as her husband who had returned. The wife thought that her husband could not withstand the separation from her even for one day and was happy. The ghost was in dilemma whether to tell her the truth or carry forward impersonating as her husband for the next 5 years. The ghost decided to tell her the truth that he was a ghost that had taken the form of her husband as he fell for her beauty when her wedding procession was resting below his dwelling. He told her that since her parent-in-laws had taken him to be their son, there is no way his secret would come out. However, the ghost left the decision to accept him as her husband to the bride.
The bride was in dilemma. She thought that her husband was immersed in his ledgers. For him, there was no difference between the pages of ledger and the face of a woman. He has never bothered about a wife’s desires. If she could not control the one who went away, how she could control the one who came and loved her. She also felt that this ghost was so considerate that he asked for her consent before she accepted him as her husband, whereas none asked her consent when the marriage was fixed. The option was either she had to face loneliness or a relationship. She chose the latter and accepted the ghost as her husband.
Three years passed. Seth’s daughter-in-law became pregnant. The news reached the real husband through a visitor from his village. He was astonished. He at once set out to his village and found that midwives were tending to his wife who was moaning. So, the news was true. When the son met his parents, they were perplexed. They refused to believe him to be their son. The news spread like fire in the entire village. Now it become clear that out of the two same looking man, one was a cheat.
To decide as to which one was a cheat, the Seth and villagers went to a wise shepherd who tricked the ghost by making him to enter the empty waterskin, after which he tied the opening of the waterskin and threw it in the deep well for his eventual death. The real husband returns home and console his wife that it was not her mistake. If the parents could not recognise their real son, how could she recognise her real husband. For the wife, it was back to square one. She follows the same patriarchal order – obeying her parent-in-laws and husband without questioning. She wishes that when her daughter attains her womanhood, she would not have to experience her mother’s sufferings.
I have watched both films sometime back. There is a wide difference in the narrative style and the cinematic treatments adopted by Mani Kaul and Amol Palekar in their respective films. Of course, one had to recognised that both these films were made about 30 years apart during which the filmmaking technologies have changed like digital cinematography, computer generated special effects etc. Also, there are changes in the way the new generation of the film makers (director) and the consumers (cine audience) would respond to a similar theme.
‘Duvidha’ (1973) was produced on a shoestring budget. The main actors – Ravi Menon, fresh from FTII and Raisa Padamsee, the 16-year old Paris-based daughter of Akbar Padamsee, had no experience of acting in film or theatre. So, the main actors of the film were not carrying the images of the established actors. Actors appeared on the screen without make-up. The film was shot in a remote village in Jodhpur district which did not have even an unpaved road. The dwellings used during the shooting were real. Thus, the film depicted realism. It was an art film meant mainly for the niche audience.
‘Paheli’ (2005) on the other hand was a high budget film. Amol Palekar gave a modern feel to the story with a galaxy of star-actors, visual treats in the form of music and dances, extravagance setting, colourful costumes and jewelry. Technically also, it is a superb film. Perhaps, Amol Palekar wanted the story of the film to reach the wider audience, I gathered from one of the interviews of Amol Palekar that when he met ‘Bijji’ to get his permission to make the film, he apprised the author that his treatment to the story would be quite different from that attempted by Mani Kaul. He also said that he would like to change the end of the story to reflect progressive thinking. The author agreed with both. The film ends with the wife making a conscious decision to remain with the ghost while in the original story, the ghost is neutralised.
According to Amol Palekar, when he met Shahrukh Khan with the script and offered him the double roles of a newly wedded husband and the role of the ghost, he not only agreed to do the role, but he also requested Amol Palekar to allow him to produce the film under his then newly established film production banner, Red Chillies Entertainment. Apart from Shahrukh Khan and Rani Mukherjee in the lead roles, other actors comprised of Anupam Kher, Neena Kulkarni, Dilip Prabhawalkar, Padma Rani, Aditi Govitrikar, Suneil Shetty, Juhi Chawla (both in guest roles), Rajpal Yadav etc. Amitabh Bachchan played a cameo role of a wise shepherd. The star-stubbed film’s shooting was completed in 47 days which was majorly shot in Jhunjhunu district.
In ‘Duvidha’ (1973), Mani Kaul did not deviate much from the original story. He relied mainly on narratives, symbolism, and expressions of the actors in conveying the reactions of the characters involved than on the dialogues. Hence, most of the time, the actors have been shot in tight close-ups to capture their expression. For instance, in the first 10 minutes of the scene during which the newly wedded bride and bridegroom are travelling on a bullock cart, bride hardly talks. The bridegroom is busy with tallying his marriage expenses account. When the husband (Ravi Menon) tells his wife (Raisa Padamsee) that in the next two days, he would leave home for a faraway town for business and he would return only after 5 years, the wife is shocked by his revelation. But instead of starting the conversation, her reaction of a shocked expression on her face is captured in close up. She registers her protest by throwing the leftovers berries on the road as for her now, they no longer taste good.
In ‘Paheli’ (2005), Amol Palekar mainly relied on dialogues. Some part of the story was conveyed to the audience in narrative form through puppets with voice-overs by Nasiruddin Shah and Ratna Pathak Shah mostly for the ghost. For me the most important difference was that in ‘Duvidha’ (1973), the roles of husband and wife played by Ravi Menon and Raisa Padamsee had nicely merged with the characters of the original story. But no such feeling came to me while watching Shahrukh Khan and Rani Mukherjee in similar roles.
Despite the galaxy of stars, the extravagance in terms of production values and excellent music, ‘Paheli’ (2005) did not create ripples on the box office. The film was India’s official entry for 79th Oscar in the category of the Foreign Language Films. It is nearly 18 years after the release of the film. I feel that this film would become one of the classic Hindi films in the future. Similarly, the reference to ‘Duvidha’ (1973) would naturally come while discussing the evolution of offbeat Hindi films in India.
‘Duvidha’ (1973) had no songs specifically composed for the film. Nor did the film have background music except that a couple of traditional Rajasthani folk songs rendered by the folk singers were used as background music. ‘Paheli’ (2005) was conceived as a musical film and had six songs of which 5 songs were based on the Rajasthani folk songs. All the songs were written by Gulzar which were set to music by M M Kreem (Keeravani). All the songs are very melodious and are well picturised.
I am presenting the first song from the film to appear on the Blog. It is also the opening song of the film along with the credit titles. The song is ‘aadhi raat ko chaand dhale aur koi na ho pichhwaade mein’ rendered by Shreya Ghoshal, Madhushree (real name: Sujata Bhattacharya) and Bela Shende. The song starts as a pre-wedding song. But towards the end, song turns into a post-wedding (bidaai) song.
In the opening lyrics of the song, there is a hint to the bride (Rani Mukherjee) from her friends not to immediately say ‘yes’ to bridegroom’s pleading. I think Gulzar wrote opening lines to indicate the women’s empowerments through the bride that she has the choice to say ‘yes’ or ‘no’ for the marriage. In reality, however, in those days when the story was written, consent of bride for the marriage was taken for granted.
The song is a good audio-visual treat.
Video Clip:
Audio Clip:
Song-Aadhi raat jab chaand dhale (Paheli)(2005) Singers-Shreya Ghoshal, Madhushree, Bela Shende, Lyrics-Gulzar, MD-M M Kreem
Lyrics
aadhi raat jab chaand dhale
aur koi na ho pichhwaade mein
chaap dabaake thhaade rahiyo
tu aadhe re
aadhi raat jab chaand dhale
aur koi na ho pichhwaade mein
chaap dabaake thhaade rahiyo
tu aadhe re
minnat kare
na maaniyo
painyyaan pade
na maaniyo
agar woh haan keh de..ae
na kehna
woh na kehde…ae
haan kehna
jaan ki kasam de to
aadhi raat jab chaand dhale
aur koi na ho pichhwade mein
chaap dabake thaade rahiyo
tu aadhe re
minnat kare
na maaniyo
paiyyaan pade
na maaniyo
jewar na bole koi
ghoonghat na khole koi
ankhiyaan dikha deejiyo…o o
baataan mein uljhaaye to
poochho jo samjhaaye to
to mundiya hilaa deejiyo
darwaaje se kaan laga ke
sunti hongi sabi sakhiyaan
laaj waaj ko chhod chhaad kar
kundi kewade mein
minnat kare
na maaniyo
painyyaan pade
na maaniyo
jaa jaa naadaan paheli
barson ke baad saheli
jagne ki raat aayi hai
dekha karti thhi sapna
sapne ko aakhir apna
kehne ki raat aayi hai
dekh paraaye khasmon se tu
jalti kyun hai byaah kar le
door door se taak jhaank mst
aa jaa akhaade mein
aadhi raat jab chaand dhale
aur koi na ho pichhwaade mein
chaap dabaake thaade rahiyo
tu aadhe mein
minnat kare
na maaniyo
painyyaan pade
na maaniyo
gudiya batole more
doli mein rakhwa deejo
naani kahaani laawe
bhaiyya ko bulwa deejo
doli gali mein khadi ee
doli gali mein khadi
aa aa aa aaa aaa
aa aa aa
aa aa
maiyyaan ko lekar jaave
sang bhi jaao saheli
baabul re baabul tori ee
jaaye na jaaye akeli ee
jaaye na jaaye akeli
doli gali mein khadi..ee
doli gali mein khadi
doli gali mein khadi..ee
doli gali mein khadi
Kaahe ko byaahi bides
Posted on: January 25, 2023
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5304 | Post No. : | 17380 |
Hullo Atuldom
Kaahe ko byaahi bides posted on 30 march 2014 is a post where I had thanked all the lyrics writers of film songs for highlighting emotions of human beings and particularly women. I had said “WOW” to writers who cared for feelings of the Female of the human species. Specially the feelings at the time of “Bidaai” after the wedding rituals.
In that post I had also mentioned that songs with the heading/ title “Kaahe ko byaahi bides” has appeared twice on the blog until that date -30/03/2014. It is nearly 9 years since and fresh reviewing shows that we have the following songs posted with the said title
| Song | Movie (Year) | Date of post | Remarks |
|---|---|---|---|
| Lakhi baabul mere kaaahe ko deenhi bides | Suhaagraat (1948) | 7 December 2011 | Credited to Amir Khusro |
| Kaaahe ko byaahi bides | Heer Ranjha (1948) | 8 December 2011 | |
| Kaahe ko byaahi bides | Nadirshah (1968) | 25 February 2013 | |
| kaahe ko byaahi bides | Aadha Din Aadhi Raat (1977) | 30 March 2014 | |
| Kaahe ko byaahi bades | Jailor (1938) | 7 August 2018 | (post by Arunji) |
| Kaahe ko byaahi bides re lakhi baabul morey | Jhankaar(1942) | 24 February 2020 | (post by Arunji & credited to Amir Khusro.) |
| Kaahe ko byaahi bides | Umraao Jaan (1981) | 4 March 2022 | (credited to Amir Khusro) |
As can be seen from the above we have seven versions of “Kaahe ko byaahi bides” of which ‘suhaagraat”(1948) “Umrao Jaan” (1981) & ” Jhankaar” (1942) give credit to Amir Khusro for the song. One version each have been credited to Wali Sahab, Kamal Amrohi, Majrooh Sultanpuri & Anand Bakshi. Another interesting result of this review- two of the posts are exhaustive, highly informative writeups by our in-house encyclopaedia Shri Arunkumar Deshmukhji.
This is what he has said in his post dated 07/08/2018 about the use of this song in films :-
Today’s song is “Kaahe Ko Byaahi Bides”. This is a famous song by Amir Khusro. This has been used in several films like, Jhankaar-42, Heer Ranjha-48, Nadir Shah-68, Suhag Raat-48, Maang Bharo Sajna-80 and Umrao Jaan-2009, in addition to today’s song from film Jailor-38. It is also sung as a NFS by many famous singers. Mostly in films, the original song is mixed with some new lyrics and the credit is given to film’s lyricist. In film Jailor-38 too, the lyricist’s name is given as Kamal Amrohi.
All of what I have written above will make readers wonder where I am getting.
Of course I am presenting another version with this post. It is in the voice of Kavita Krishnamurthy, written by Anand Bakshi and tuned by Laxmi-Pyare. It is from the 1980 release “Maang Bharo Sajna” which was directed by T. Rama Rao and produced by A. Poornachandra Rao.
It had Rekha- Moushumi Chatterjee – Jeetendra heading a cast which also had Kajal Kiran, Asrani, Om Shivpuri, Parveen Paul, Yunus Parvez, Mohan Choti etc. The plot was essentially, an oft-repeated, melodrama where the hero falls in love & marries one heroine but has to, later, marry the other heroine who may have been selected by his family. At the time of the second marriage, the hero may believe that the first wife is dead or lost to him (as the case maybe) thus making the second marriage valid. Then the first wife will make a reappearance and then the complications will begin, leading to everyone being ready to sacrifice their love. Matters will get more interesting (for the audience) if the heroines are friends and infants are also present, then the climax will have one lady dying so that the other one live the rest of her life peacefully. This was the outline of most triangular love-stories, but was a hit-formula adopted by filmmakers to fill their coffers.
Today’s song comes at the close of the movie where we have a dying Rekha being accepted by Moushumi Chatterjee as her husband’s first wife. She instructs her husband to fill Rekha’s ‘Maang’ with Sindoor.
With this post we wish Kavita Krishnamurthy on turning a year older. This was one of her first recording for Hindi films. Of course, she had recorded ‘aayega aayega… aayega aanewaala” under Vilayat Khan’s music direction for “Kaadambari” (1975) and here is the post to that song as written by Sudhirji in his series “Songs Repeated In Hindi Films”.
That makes the song from “Kaadambari” her debut in Hindi films, which was followed by a song in Kannada under Bhaskar Chandavarkar’s music direction. Today’s song from “Maang Bharo Sajna” happened to be her first in the 1980s; however songs from “Pyar Jhukta Nahin” (1985) got her recognition; though there were other films between 1980 & 1985 were Kavita Krishnamurthy had sung songs most of which under Laxmi-Pyare’s music direction.
I had a very sweet experience last weekend. I got an opportunity to wish today’s birthday girl on the occasion of Sankranti. I interacted with her for a few minutes, wished her etc. She was gracious enough to let me click pictures with her. She told me that Bangalore is, now her favourite city, when I told her that I had met her once before too, on a flight from Bangalore to Mumbai.
Here is the song.
Song-Kaahe ko byaahi bides (Maang Bharo Sajna)(1980) Singer-Kavita Krishnamurthy, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Lyrics
kaahe ko byaahi bides
lakhi baabul more
kaahe ko byaahi bides
paak bhara maine gudiyon ka chhoda
paak bhara maine gudiyon ka chhoda
chhoda saheliyon ka saath
lakhi baabul more
kaahe ko byaahi
kaahe ko byaahi bides
kaahe ko byaahi bides re
lakhi baabul more
kaahe ko byaahi bides
hum tore baabul chaube ki chidiya
hum tore baabul chaube ki chidiya
rain base ud jaaye re
lakhi baabul more
kaahe ko byaahi bides
bhaiyon ko dene mahle do-mahle
bhaiyon ko dene mahle do-mahle
humko diya pardes re
lakhi baabul more
kaahe ko byaahi bides
kaahe ko byaahi bides re
lakhi baabul more
kaahe ko byaahi bides
kaahe ko byaahi bides
kaahe ko byaahi bides
Jaa Ri Laadli Apne Ghar Ko
Posted on: November 23, 2022
- In: "Doli" song | bidaai song | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Geeta Dutt - Meena Kapoor NFS | Geeta Dutt songs | Geeta Dutt- Meena Kapoor duet | Guest posts | Lyrics contributed by readers | Meena Kapoor songs | NFS | Post by Sudhir | Rare song | Songs of 1950s (1951 to 1960) | Songs of 1952 | Wedding song | Yearwise breakup of songs
- 1 Comment
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.
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Blog Day : |
5241 | Post No. : | 17238 |
Today we celebrate a combined anniversary of two singers. Two singers who were contemporary, two singers who were very good friends, two singers whose voices were considered almost similar. It is the birth anniversary of Geeta Dutt (nee Roy), and the remembrance day of Meena Kapoor.
23rd November – Geeta Ji was born in the year 1930 in Idilpur village (now in Bangladesh), into a zamindar family. In early 1940s, they moved to Calcutta (now Kolkata) and then to Bombay (now Mumbai) in mid 1940s. The same date in 2017, Meena ji passed away in Kolkata, after some years of illness. She was in Delhi till 2003, the year when Anil Da (Anil Biswas) passed away, and then she moved to Kolkata.
Geeta ji started her singing career in 1945, with the film ‘Aadhaar’ under the music direction of SN Tripathi. Her last released film is ‘Anubhav’ from 1971, and then ‘Midnight’ from 1972, which remained unreleased.
Meena ji started her career in 1946. Two films with her playback singing were released that year – ‘Door Chalen’ under the music direction of KC Dey, and ‘Eight Days’ under the music direction of SD Burman. Her last singing assignment is recorded for the 1965 film ‘Chhoti Chhoti Baaten’, with music by Anil Biswas.
As I thought of writing a combined post for these two singing ladies, I tried to search for a duet sung by them. As per the Geet Kosh, I am able to locate only three duets they have sung. Two of them are already posted here on our blog. The first one is from the film ‘Aadhi Raat’ (1950) – “Main Ne Balam Se Poochhaa Miloge Kahaan”, and the second one is from the film ‘Jalte Deep’ also from 1950 – “Aayi Milan Ki Raat Karo Meethhi Meethhi Baat”. The third duet listed in Geet Kosh is from 1951 film ‘Ghaayal’. The song is “Tera Kisi Pe Aaye Dil…”. This song is not yet posted on our blog. And for good reason. This song is not yet traceable in public domain. The funny thing is that the song on the ‘palat’ (other) side of the record (GE 8739) is very much available – “Dil Toota Hua, Pal Pal Tujhe Pukaare” (singer is Meena Kapoor) and also posted on our blog. But as I started inquiring yesterday evening from my trusted circle of collector friends, all of the replied that this song is somehow not yet available.
But then today late morning, I got information about two other duet songs of this pair, which was very heartening. Just as a side, film ‘Ghaayal’ of 1951 has one other song in which the voices of these two ladies appear. However, this one is a trio song accompanied by GM Durrani. It is a long song, on both sides of the record (no. GE8740) which means it is about 6 minutes long. I was actually preparing to use this trio song for today’s post, but then I got two responses from two dear friends, both sharing information about one duet song each. Very interesting development indeed.
First I got to see a message from dear Gajendra Khanna ji (Bengaluru based) in which he shared info about another duet song. This one is from the 1948 film ‘Hip Hip Hurray’ (aka ‘Chaube ji’) and the song title is “Hum Jaan Gaye Jaan Gaye Jaan Gaye Ji”. The Geet Kosh does not list the singer names for this song. I tried to confirm this information, checking with another dear friend Zafar Bhai (based in Delhi-6), and he sent me the image of the record of this song. The reason that GK does not list the singer names is because the record itself does not carry these names. On checking back with Gajendra Ji, he shared with me the audio of the song, and said that the identification is based on the voices on the track. So we found another duet song.
And then almost immediately Zafar Bhai also responded with an additional song. This turns out to be a NFS duet, that makes it all the more rare. The fact that there are really very rare duet NFS songs (of any pair of singers), being able to locate one with these two voices, which have otherwise also not sung too many songs together, makes is rarer than rare.
I decided to go ahead with this NFS song, and dear Zafar Bhai immediately obliged by posting it on YouTube. All the additional delays that bring this post to almost 9 pm in the evening, are my doing. :D) :D)
The lyrics of this song are from the pen of Madhukar Rajasthani, an eminent poet of his time. Music is from the mind of Vedpal Verma, one of the lesser heard names in Hindi films, who has otherwise a notable portfolio of 70 songs from about a dozen films (this info is till 1980, and there may be more work done by this MD beyond 1980).
The song is a ‘bidaai’ song. A hoary tradition of this land – a song that is sung to bid farewell to a new bride as she starts her journey to a new home, a new family and a new life partner. The words are so wonderfully appropriate. My identification of the voices is that the first stanza is in the voice of Geeta ji and the second stanza is in the voice of Meena ji. I may be wrong, as I am not a good judge of voices. The record label unmistakably carries both names. In case my identification is in error, please let me know and I will make necessary changes.
In the beginning of the song there are a few lines that have been recited by an unidentified male voice. Could it be the poet himself? I cannot say.
Two very beautiful voices, and two very beautiful ladies. Good friends, but singing together only occasionally. Enjoy this very rare treat of an NFS duet song, with lots of thanks to Zafar Bhai for making my day.
Song – Jaa Ri Laadli Apne Ghar Ko (NFS) (1952) Singer – Geeta Roy (Dutt), Meena Kapoor, Lyrics – Madhukar Rajasthani, MD – Vedpal Verma
Lyrics
kaisa milan ye kaisa bichhudna
kaisa milan ye kaisa bichhudna
kaisi jag ki reet re
kaisi jag ki reet
de di bida mohe hanste hanste
de di bida mohe hanste hanste
kaise hain ye meet
goonj raha kaanon mein ab tak
wahi vidaai geet
ja ri laadli apne ghar ko
yaad hamaari karna
saath tumhaare meri duaaen
phoolo phalo khush rehna
ja ri laadli
oo oo oooo
bachpan ke sab sangi saathi
bachpan ke sab sangi saathi
bhulat naahin bhulaaye
man chhoda babul ki nagri
man chhoda babul ki nagri
tan doli mein jaaye
tan doli mein jaaye
door kahin wo le ke bansi
baar baar ye gaaye
ja ri laadli apne ghar ko
yaad hamaari karna
saath tumhaare meri duaaen
phoolo phalo khush rehna
ja ri laadli
————————————————
Hindi script lyrics (Provided by Sudhir Kapur)
————————————————
कैसा मिलन ये कैसा बिछुड़ना
कैसा मिलन ये कैसा बिछुड़ना
कैसी जग की रीत रे
कैसी जग की रीत
दे दी बिदा मोहे हँसते हँसते
दे दी बिदा मोहे हँसते हँसते
कैसे हैं ये मीत
गूंज रहा कानों में अब तक
वही विदाई गीत
जा री लाड़ली अपने घर को
याद हमारी करना
साथ तुम्हारे मेरी दुआएं
फूलो फलो खुश रहना
जा री लाड़ली
ओ ओ ओ
बचपन के सब संगी साथी
बचपन के सब संगी साथी
भूलत नहीं भुलाए
मन छोड़ा बाबुल की नगरी
मन छोड़ा बाबुल की नगरी
तन डोली में जाये
तन डोली में जाये
दूर कहीं वो ले के बांसुरी
बार बार ये गाये
जा री लाड़ली अपने घर को
याद हमारी करना
साथ तुम्हारे मेरी दुआएं
फूलो फलो खुश रहना
जा री लाड़ली
Mere Dost Tujhe Tera Meet Mubarak
Posted on: May 19, 2022
This article is written by nahm, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5053 | Post No. : | 16967 |
In the beginning years of this millennium, we among the last dwellers of last millennium, were kept mesmerized with old Hindi film songs. This was a willing intoxication, which made it possible to deal all difficulties, happiness, sadness, tragedies etc. that life chose to throw at us. Often the songs that played randomly in a collection of songs playing on computer would become a subject of discussion. Once, a close friend said she like this song by Mohammed Rafi Sb a lot:
baa-hosh-o-hawaas mein deewaanaa
ye aaj waseeyat kartaa hoon
ye dil ye jaan mile tumko
main tumse muhabbat kartaa hoon
This song from the film ‘Night In London’ (1967) is posted here.
Another colleague/friend once spoke of this song from ‘Aaye Din Bahaar Ke’ (1966) – “Mere Dushman Tu Meri Dosti Ko Tarse“. Now this song is very interesting in its lyrics/poetry which is actually cursing the beloved. Total and full of ‘bad-duaa’ ie ill wishing – it is to be seen to be believed, what all the poet is wishing on his beloved friend.
mere dil se sitamgar toone achchi dillagi ki hai
ke banke dost apne doston se dushmani ki hai
mere dushman tu meri dosti ko tarse
mujhe gham dene waale tu khushi ko tarse
tu phool bane patjhad kaa, tujh pe bahaar na aaye kabhi
meri hi tarah tu tadpe tujhko qaraar na aaye kabhi
jiye tu is tarah ke zindagi ko tarse
itnaa to asar kar jaayen meri wafaayen o bewafaa
ik roz tujhe yaad aayen apni jafaayen o bewafaa
pashemaan hoke roye, tu hansi ko tarse
tere gulshan se zyaadaa veeraan koyi veeraanaa na ho
is duniyaa mein koyi teraa apnaa to kyaa, begaanaa na ho
kisi kaa pyaar kyaa tu berukhi ko tarse
Just falling short of wishing death! ‘jiye tu iss tarah ke zindagi ko tarse’. There are numerous songs of this situation in Hindi films, too many to count actually. In the 60’s it can be said, that every other film had this situation song, where the hero or the heroine is wronged, and singing a song lamenting the bewafaai of the beloved. But I have looked all over the blog and I could not find any other song so full of curses. And this is also the only song on the blog, which is tagged as ‘hate song’ category. The song still sounds so believable and not odd at all. All the credit to the team of composers, lyricist and the singer. For this would easily have gone wrong.
There are some more songs, which have somewhat similar emotions and ill-wishes expressed in different forms. I made a list of songs with those varied expressions.
|
Sl. No. |
Song |
Lyrics |
| 1 | Mere Mehboob Qayaamat Hogi | meri tarah tu aahen bhare tu bhi kisi se pyaar karey aur rahe wo tujhse parey toone O sanam dhaaye hain sitam to ye tu bhool na jaana ke na tujhpe bhi inaayat hogi aaj rusva teri galiyon mein muhabbat hogi mere mehboob qayaamat hogi aaj rusva teri galiyon mein mohabbat hogi |
| 2 | Jo Unki Tamanna Hai Barbaad Ho Ja | jo unki tamannaa hai, barbaad ho jaa to ai dil muhabbat ki kismat banaa de tadap aur tadap kar abhi jaan de de yoon marte hain mar jaane waale, dikhaa de |
| 3 | Mohabbat Ab Tijaarat Ban Gayi Hai | kabhi thha naam iska bewafaai magar ab aajkal ye behayaayee shareefon ki sharaafat ban gayi hai tijaarat ab mohabbat ban gayi hai mohabbat ab tijaarat ban gayi hai tijaarat ab mohabbat ban gayi hai |
| 4 | Gairon Pe Karam Apnon Pe Sitam | ham bhi the tere manzoor-e-nazar, dil chaahe to ab iqraar na kar sau teer chalaa seene pe magar, begaanon se milkar waar na kar begaanon se milkar waar na kar bemaut kahin mar jaayen na ham ai jaan-e-wafaa ye zulm na kar, Ghairon pe karam apnon pe sitam, ai jaan-e-wafaa ye zulm na kar rahne de abhi thodaa saa bharam, ai jaan-e-wafaa ye zulm na kar |
| 5 | Guzre Hain Aaj Ishq Mein Hum Us Maqaam Se | humko na ye gumaan thha, o sangdil sanam raah-e-waffa se tere behak jaayenge kadam chhalkega zehar bhi teri aankho ke jaam se guzre hain aaj ishq mein hum us maqaam se guzre hain o bewaffa, tera bhi yoon hi toot jaaye dil tu bhi tadap tadap ke pukaare ke haaye dil tera bhi saamnaa ho kabhi, gham ki shaam se guzre hain |
| 6 | Main Teri Dushman Dushman Tu Mera | sab ki jubaan par meri kahaani mera dasa huwa maange na paani sabki jubaan par meri kahaani mera dasa huwa maange na paani tera tamaasha sab dekhenge kya hota hai ab dekhenge dekhega tu na kal ka savera main naagan tu sapera aa aa |
| 7 | Neend Ud Jaaye Teri Chain Se Sone Waale | neend ud jaaye teri chain se sone waale ye duaa maangte hain nain ye rone waale maine ki hain jafaayen mujhse kyun ho wafaayen lag gayin mujhko mere pyaar ki bad-duaayen tu wafaa karta ham to thhe tu wafaa karta ham to thhe bewafa hone waale neend ud jaaye teri chain se sone waale |
| 8 | Kya Se Kya Ho Gaya Bewafaa Tere Pyaar Mein | kyaa se kyaa ho gayaa bewafaa aaaa tere pyaar mein chaahaa kyaa kyaa milaa bewafaa aaaa tere pyaar mein chalo suhaanaa bharam to tootaa jaanaa ke husn kyaa hai kahti hai jisko pyaar duniyaa kyaa cheez kyaa balaa hai dil ne kyaa naa sahaa bewafaa aaa aaa tere pyaar mein |
| 9 | Din Dhal Jaaye Haaye Raat Na Jaaye | pyaar me jinke sab jag chhoda aur huye badnaam unke hi haathon haal hua ye baithe hain dil ko thaam apne kabhi the ab hain paraaye Din dhal jaaye haay raat na jaaye |
| 10 | Mo Se Chhal Kiye Jaaye | samajhaake main to haari haan dhamkaaya dini gaari, aur karoon bhi kyaa dekho moraa jiyraa haan jiyraa tadpaaye, jiyraa tadpaaye mohe haay haay dekho sainyaa beimaan mose chal, mose chal, mose chal kiye jaaye, |
| 11 | Bahaaron Ne Mera Chaman Loot Kar | mujhe kyaa pataa thaa kabhi ishq mein raqeebon ko kaasid banaate nahin raqeebon ko kaasid banaate nahin khataa ho gayi mujhse kaasid mere tere haath paighaam kyun de diyaa bahaaron ne meraa chaman lootkar |
| 12 | Meri Zindagi Mein Tum Kyun Aaye | haay buri dukhiyaa dil ki meraa dard badhaao naa baalam meraa sabr padaa tumse jo kahin jal jaaoge tum mar jaayenge ham jal jaaoge tum mar jaayenge ham dukhiyaa-dil ki wo haay hai dukhiyaa-dil ki wo haay hai jo saare zamaane ko sulagaaye meri zindagi mein tum kyun aaye |
| 13 | Thukra Ke Teri Duniya Ko | baddua na dil de baithe tujh ko na dosh doongi main taqdeer ke bair kiya hai taqdeer se lad loongi main main tod chalun main tod chalun ek pal mein tod chalun ek pal mein duniya ka har dastoor magar tere pyar se hoon majboor piya teri preet se hoom majboor thukra ke teri duniya ko chaahun to kar doon choor magar tere pyaar se hoon majboor piya teri preet se hoon majboor |
Here is a list of some of my all-time favourite songs by Rafi sahab in the similar situations:
Patthar Ke Sanam Tujhe Hum Ne Mohabbat Ka Khuda Jaana – ‘Patthar Ke Sanam’ (1967)
Dil Ke Jharokhe Mein Tujhko Bitha Kar – ‘Brahmchari’ (1968)
Aaj Ki Raat Mere Dil Ki Salaami Le Le – ‘Ram Aur Shyam’ (1967)
Dil Jo Na Keh Saka – ‘Bheegi Raat’ (1965)
Teri Zulfon Se Judaai To Nahin Maangi Thi – ‘Jab Pyaar Kisi Se Hota Hai’ (1961)
Rang Aur Noor Ki Baraat Kise Pesh Karun – ‘Ghazal’ (1964)
There are more similar/different songs created for Hindi films for such situations, where dejected lovers either drown in self-pity or end up giving ‘bad-dua’ in a smaller/kinder way, to the beloved. But most songs of this genre are praying for the happiness of the beloved, who has deceived them, has indulged in ‘bewafaai’ for want of similar expressive word in the English language. An excellent case in point is this pensive Lata song – “Ajeeb Dastaan Hai Ye“, filmed on Meena Kumari in ‘Dil Apna Aur Preet Paraai’ (1960). Shankar-Jaikishan and Shailendra created this classic song with just the right touch of melancholy and congratulatory mood. With a dose of resignation.
Most songs in this genre, also turn out to be popular, be it the pensive songs of Mukesh, Lata, Suraiyya, Talat Mehmood or Mohammed Rafi. So the well known songs are all posted. Looking for the theme, I ended up with “Tu Pyaar Hai Kisi Aur Ka” song in ‘Dil Hai Ke Maanta Nahin’ (1991) by Kumar Sanu. Quite a decent composition with innovative lyrics, that one.
I was sure all well-known Rafi songs in this genre are posted. But as luck would have it, I found the link of this Rafi solo in one of my saved files, which I was just randomly checking. This is a well-known song from the film ‘Dhadkan’ (1972). Composer is Ravi who also wrote this song with Ali Jalili. Ali Jalili is an unknown poet for the blog, as this is the first song by him to be posted. Avinash ji is doing a series of 70’s decade missing movies, so he may be able to find some other films where Ali Jalili has written lyrics. Ali Jalili has written one more song in the same film with Ravi, “Tumse Nazar Mili”, which was also used for advertisement of different products. My guess is he must be someone connected with advertising jingles, more so as he has collaborated with Ravi, not a regular poet for writing the two songs in this film.
The song is filmed as a wedding reception song, where Sanjay Khan is singing this song for congratulating the bride Mumtaz and groom Roopesh Kumar. The real feelings of Sanjay Khan are evident, but he is trying to disguise them and give blessings to the couple.
Two songs of the film are already posted in the blog, so this is the 3rd song.
Jab Toone Kuchh Na Kiya
Main To Chala Jidhar Chale Rasta
I have done posts of some songs of the late 70’s and early 80’s, but very few songs of early 70’s. This song has a very deeply meaningful and emotional core, as we expect from Ravi’s compositions usually. There is the Punjabi dholak music in the background which carries the rhythm of the song. And Rafi Sb’s singing is again out of this world. For me this is a known song, as it used to be played regularly on radio. Again, when one really listens to it with a critical ear, with the aim of judging its merit with other such type of songs, a few are listed above, it is revealed as a fabulous song on all counts. More fabulous for being a 70’s song. By now Ravi is a seasoned and senior composer, with huge successes behind him and much more experience of how to get the best out of Rafi. And Rafi Sb has delivered spectacularly in this song, the only one in the film. Subtle changes in the way some words are sung in every repeated line, and those are again different for every time he sings the mukhda. I refuse to believe that anyone else could do so much variation in a single voice, same rhythm and level, two stanza song, in live recording.
The pauses in the lines and words of a line, and starting the next word at the same level as before the pause, what superb control in the vocals. I am not a technical person, in the matter of singing, but if anyone can explain this phenomenon to me, I will be thankful to them. It sounds as a modern-day recording done bit by bit, line by line, and mixed afterwards. Practice makes things perfect and well-rehearsed is the forte of Rafi Sb. But the question is how well rehearsed and how much perfect. I can just conclude that the farishta in the guise of a singer is giving the same dedicated 200 % to a song composed for a new actor of 70’s, as he gave to all his songs, repeated in live shows, which won him accolades and a place is history.
Video (Partial)
Audio (Full)
Song – Mere Dost Tujhe Tera Meet Mubarak (Dhadkan) (1972) Singer – Mohammed Rafi, Lyrics – Ravi, Ali Jalili, MD – Ravi
Lyrics
tamannaon ki duniya
yun to har insaan basaata hai ea
magar paata wohi hai ea
jo…. yehaan taqdeer laata hai ea
mere dost tujhe
tera meet mubaarak
mere dost tujhe tera meet mubaarak
yeh saaz naya geet mubaarak
mere dost tujhe tera meet mubaarak
mere dost tujhe tera meet mubaarak
kheli hai bahaar se ye phoolon ki kali
khwaabon ki dulhan bade naazon mein pali
kheli hai bahaar se ye phoolon ki kali
khwaabon ki dulhan bade naazon mein pali
palkon pe bitthaana aise sukh dena aa
yaad na kare yeh kabhi baabul ki gali ee
apne baabul ki gali
gaaye khushi ke taraane
aisi preet mubaarak
gaaye khushi ke taraane
aisi preet mubaarak
yeh saaz naya geet mubaarak
mere dost tujhe tera meet mubaarak
mere dost tujhe tera meet mubaarak
chamke kyun na taara us ki qismat ka
jis ko mila ho ye haseen tohfa aa
chamke kyun na taara us ki qismat ka
jis ko mila ho ye haseen tohfaa aa
badaa hi naseeb waala hai wo jag mein
haathh mein ho jis ke aisi pyaari rekha
aisi nyaari rekha
aaj haar bhi kahe
tujhe jeet mubaarak
aaj haar bhi kahe
tujhe jeet mubaarak
yeh saaz naya geet mubaarak
mere dost tujhe tera meet mubaarak
mere dost tujhe tera meet mubaarak
———————————————————
Hindi script lyrics (Provided by Nahm)
———————————————————
तमन्नाओं कि दुनिया
यूं तो हर इन्सान बसाता है
मगर पाता वही है
जो…. यहां तक़्दीर लाता है
मेरे दोस्त तुझे
तेरा मीत मुबारक
मेरे दोस्त तुझे तेरा मीत मुबारक
ये साज़ नया गीत मुबारक
मेरे दोस्त तुझे तेरा मीत मुबारक
मेरे दोस्त तुझे तेरा मीत मुबारक
खेली है बहार से ये फूलों कि कली
ख्वाबों कि दुल्हन बड़े नाज़ों में पली
खेली है बहार से ये फूलों कि कली
ख्वाबों कि दुल्हन बड़े नाज़ों में पली
पलकों पे बिठाना ऐसे सुख देना अ अ
याद न करे ये कभी बाबुल कि गली ई
अपने बाबुल कि गली
गाए खुशि के तराने
ऐसी प्रीत मुबारक
गाए खुशी के तराने
ऐसी प्रीत मुबारक
ये साज़ नया गीत मुबारक
मेरे दोस्त तुझे तेरा मीत मुबारक
मेरे दोस्त तुझे तेरा मीत मुबारक
चमके क्यों न तारा उस की क़िस्मत का
जिस को मिला हो ये हसीन तोह्फ़ा
चमके क्यों न तारा उस की क़िस्मत का
जिस को मिला हो ये हसीन तोह्फ़ा
बड़ा ही नसीब वाला है वो जग में
हाथ में हो जिस के ऐसी प्यारी रेखा
ऐसी न्यारी रेखा
आज हार भी कहे
तुझे जीत मुबारक
आज हार भी कहे
तुझे जीत मुबारक
ये साज़ नया गीत मुबारक
मेरे दोस्त तुझे तेरा मीत मुबारक
मेरे दोस्त तुझे तेरा मीत मुबारक
Tim tim tim tim chamke re taara
Posted on: March 31, 2022
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5004 | Post No. : | 16904 |
Today’s song is from the ‘1970’ movie ‘Suhaana Safar’.
Many of my articles are prompted when my memory gets triggered while listeneing to (or thinking about) songs of movies that I watched long ago.
Today’s post is one such post.
I was travelling to pick up my elder daughter from her new working place which is around 150 kms from Vadodara ( a journey of around two hours and forty-five minutes long). I was travelling to bring her back home for ‘holi’ vacation and her marriage vacation 🙂 (her marriage is scheduled this week). 🙂
I was travelling in the afternoon. When I switched on to ‘vividh bharati’ on 93.9FM’ I got to listen to this program ‘kuchh baatein kuchh geet’. It is a ‘theme’ based program where the audience also share their thoughts related to the theme and request for songs of their choice according to the theme.
During this program I got to listen to this song ‘aha aha aa ye suhaana safar’ (as the theme for that day of 17th March 2022 was ‘suhaana’ or ‘suhawnaapan’ etc.
I liked this song very much. It brought back memories of watching this movie when I must be around seven-eight years old. This movie was screened at the weekly screening of movies at the colony club where we then resided.
Though I do not remember this movie now, but this song is permanently embedded on my mind. I had shared this song as a ‘lyrics contributor’ on the blog.
I must be between two-three years old when this movie ‘Suhaana Safar-1970’ had released. Recently I came across many movies of ‘end-sixties’ or from the years – 1968 to 1971 where songs from some of the movies are part of my nostalgia of those years.
I am sure some songs may be getting embedded on my impressionable mind then where the elders must have carried me to movies they watched or some songs were played frequently on the radio, when I was growing, and thus they become part of my vague memories.
I had earlier attempted to list down the songs which makes me feel nostalgic and those songs which bring back old memories, in this post.
I am thinking to revisit movies in chronological order -from the year of my birth i.e. 1968 to 1983-85 when I become a grown up boy and had completed my 10+2 education. I am sure this will be an interesting ‘journey’. But that is a part of another ‘series’ 🙂 of posts.
Coming back to the today’s post now …
When I reached back to my ‘base station’’ I browsed the blog and noted that this movie ‘Suhaana Safar’ is yet to be ‘Yippeeee’ed’ on the blog. On checking the remaining two songs I find the song under discussion more suitable for today’s presentation as the song is happening on a ‘marriage function’ in the movie.
“Suhaana Safar -1970” was directed by Vijay for ‘Century Films, Bombay’.
It had Shashi Kapoor, Sharmila Tagore, Om Prakash, Lalita Pawar, David, Manmohan Krishna, Leela Mishra, Bhagwan, K.N. Singh, Tiwari, Sunder, Randhir, Mukri, Keshto Mukherji, Sherry, and others.
This movie had six songs written by Anand Bakshi and composed to music by Laxmikant-Pyarelal.
Five songs from this movie have already been posted on the blog as given below.
| SNo | Song Title | Singer/s | Posted On |
|---|---|---|---|
| 01 | Aha aha ye suhaana safar | Mohd Rafi | 18.03.2018 |
| 02 | Haay re paisa… paise ka hai kya yakeen | Mohd Rafi | 28.03.2022 |
| 03 | Tim tim tim tim chamke re taara… | Lata Mangeshkar, chorus | Being discussed today |
| 04 | Choodiyaan bazaar se mangwaa de re | Asha Bhonsle, Mohd Rafi | 08.03.2012 |
| 05 | Saari khushiyaan hai muhabbat ki … | Mohd Rafi | 21.06.2009 |
| 06 | Aha aha ye suhaana safar | Suman Kalyanpur | 18.03.2018 |
Today’s song is sung by Lata Mangeshkar. This vigorous dance song is lip synced by Jayshree T. She has given an energetic and enthusiastic performance in this song which is highly enjoyable to watch.
Also seen in the picturisation of the song are Shashi Kapoor and many other male-female artists.
Let us now enjoy today’s song and say ‘Yippeeee’ to this movie ‘Suhaana Safar-1970’ on the blog.
(When I had already noted the lyrics of this song and noting the date of the earlier posts, I noted that this movie was eligible for ‘blog ten-year challenge’ on 08.03.2022. And as usual lyrics of the remaining two songs from this movie were also sent by our dear Prakash ji for that day.)
Video
Audio
Song-Tim tim chamke re taara (Suhaana Safar)(1970) Singer-Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Chorus
Lyrics(Provided by Prakashchandra)
aa aa aa aa aa aa aa aa aa aa
aa aa aa aa aa aa aa aa aa aa
tim tim tim tim chamke re taaraa
o re damkey roop tihaaraa aa
tim tim tim tim chamke re taaraa
o re damkey roop tihaaraa
oye dulhaniyaa
jeewan saathi aaya
aaya leke baraati o taubaa
tim tim tim tim chamke re taaraa
o re damkey roop tihaaraa
oye dulhaniyaa
jeewan saathi aaya
aaya leke baraati o taubaa
ghoonghtaa giraa le ae
mukhdaa chhupaa le
ghoonghtaa giraa le ae
mukhdaa chhupaa le
ghoonghtaa giraa le ae
mukhdaa chhupaa le
laagey naa nazar
kaalaa tikaa lagaa le
khan khan khan khan khanke kalaayi
o re taubaa raam duhaayi
oye dulhaniyaa
dulhaniyaa aa aa
jeewan saathi aaya
aaya
leke baraati o taubaa
boley sajan se
teri painjaniyaa
boley sajan se
teri painjaniyaa
boley sajan se ae
teri painjaniyaa
le chal banaa ke mohe apni sajaniyaa
dam dam dam dam damroo baaje
o re ghunghroo pag mein saaje
oye dulhaniyaa
dulhaniyaa aa aa
jeewan saathi aaya
aaya
leke baraati o taubaa
resham ki pagdi ee
phoolon ka sehraa
resham ki pagdi ee
phoolon ka sehraa
resham ki pagdi ee
phoolon ka sehraa
chamke khushi se dekho dulhe ka chehraa
dhak dhak dhak dhak dhadke jiyaraa
o re bhadke kyun angaaraa
oye dulhaniyaa
dulhaniyaa aa aa
jeewan saathi aaya
aaya
leke baraati o taubaa
tim tim tim tim chamke re taaraa
o re damkey roop tihaaraa aa
oye dulhaniyaa
jeewan saathi aaya
aaya leke baraati o taubaa
Nanhi bitiya byaah rachaaye
Posted on: March 27, 2022
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5000 | Post No. : | 16898 |
“Durga”(1939) was produced by Devika Rani and Himanshu Rai and directed by Franz Osten for Bombay Talkies, Bombay. The movie had Devika Rani, Rama Shukul, V H Desai, Mumtaz Ali, Peethawala, Saroj Borkar, Balwant singh, Lalita Deulkar etc in it.
“Durga”(1939) had ten songs in it. Two songs have been covered in the blog so far.
Here is the third song from “Durga”(1939) to appear in the blog.
Devika Rani is the singer. Lyrics are penned by Narendranath Tuli. Saraswati Devi is the music director.
Only the audio of this rare song is available. It is clear that the song was picturised on Devika Rani herself.
From the lyrics it is seen that the song is a “wedding” song. Whether it is a gudda gudiya wedding song or a real wedding song is not known, seeing that video of the song is not available.
Nevertheless, the fact that this song came to my notice just now and it is getting discussed today validates the oft made observation that some higher forces are overseeing this blog and it is these higher forces that often decide what songs are covered in this blog on what day. 🙂 The daughter of one of our regulars got married today and fate ordained that the blog celebrates the occasion with this song from the yore.
So we take this occasion to greet the recently wedded daughter of our regular contributor Avinash Scrapwala. We all wish Shivani and Jeegar a very happy, prosperous and long married life.
Song-Nanhi Bitiya Byaah Rachaaye (Durga) (1939) Singer-Devika Rani, Lyrics-Narendranath Tuli, MD-Saraswati Devi
Lyrics
Nanhi bitiya byaah rachaaye
dulha chadh haathi par aaye
Nanhi bitiya byaah rachaaye
dulha chadh haathi par aaye
baaje dhol mridang
?? rah jaaye dang
baaje dhol mridang
?? rah jaaye dang
laal chunariya kesari choli
sheesh chadhe chandal aur roli
laal chunariya kesari choli
sheesh chadhe chandal aur roli
kumkum pushp ka phool
maang bhare sindoor
kumkum pushp ka phool
maang bhare sindoor
baapu aaye doli chadhaaye
naina chham chham neer bahaaye
baapu aaye doli chadhaaye
naina chham chham neer bahaaye
maa ko bhaari ??
ghar ko ??
nanhi bitiya byaah rachaaye
dulha chadh haathi par aaye
baaje dhol mridang
chhalakat ??
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 4998 | Post No. : | 16896 | Movie Count : | 4590 |
Hullo Atuldom
In the (almost) 14 years of its existence, there have been many changes in the lives of those associated with atulsongaday.me.
Our Atulji has shifted base a few times in these years. If I am not wrong his daughter has qualified to be a doctor as also Nahmji’s son and Shri Arunkumar Deshmukhji’s (Guruji) grandson/s have also become doctors. Peevesie who entered the world of ASAD and was called the youngest follower turning to contributor and mouthpiece (for the blog) among her friends and family has since become a working adult and even has a life-partner as also Nahmji’s daughter. Avinashji has also shifted base a few times and also had an overseas stint in the years in between. Maheshji (Mukesh Fan is his second name) has returned to Motherland and is no longer an NRA (non-resident atulite). I know that similar changes, in life & on the work front, have happened in the lives of other Atulites too. I have myself graduated from being a full-time mother to a leisurely-paced mother.
There is a lesser-known Atulite who has contributed only one post as a guest-poster (she took over the mantle of youngest contributor). Her forte’ is that she is musically inclined as her father (a hyper-active atulite). I know that she also pens verses which are very meaningful. She had given her father this post on his birthday six years back. She was welcomed wholeheartedly by atulites who wanted more from her but her preoccupation with education and other activities may not have given her time to contribute more to the blog. But the song with that post was so meaningful, it would have been appropriate for today. She has grownup into a young adult and is stepping into a new phase of her life. Here is wishing her all the best for the future.
There is a happy event happening in the life of our Guruji too in the next few days. Wishing him lots of joy and all the best to his grandson.
“Jab Pyar Kisise Hota Hai” is a title that was first used in Hindi films in 1961 which was written and directed by Nasir Husain and had his time-tested formula of hero impersonating, heroine falling in love with the impersonator, misunderstandings creeping in due to the villain and heroine’s father, and finally the hero and heroine getting married with the blessings of all elders. The movie was littered with great songs.
The title was repeated again in 1998. This time the director was Deepak Sareen who had started his career as assistant to Yash Chopra in ‘Deewar’. He had been assistant in ‘Kabhi Kabhi’, ‘Doosra Aadmi’, ‘Silsila’, ‘Mashaal’ and ‘Faasle’ before independently directing ‘Ranbhoomi’, ‘Aaina’, ‘Gaddar’, ‘Jab Pyaar Kisise Hota Hai’, and ‘Albela’. This romantic film had a skirt-chaser for a hero who is disliked by the girl initially. He woos her by promising to give up his errant ways, convinces both families that they are ready to marry. But the twist in the tale comes in the form of the hero’s son from a previous girlfriend who insists that he will tell-all to the fiancee if the hero doesn’t tell himself. The story comes to a happy ending with the girl and the child forgiving the hero and ‘THE END’
“Jab Pyaar Kisi Se Hota Hai” (1998) starred Twinkle Khanna, Farida Jalal, Himani Shivpuri, Namrata Shirodkar (guest appearance), Salman Khan, Anupam Kher, Johnny Lever, Saeed Jaffery, and Master Aditya Narayan. The movie had songs written by Anand Bakshi and composed by Jatin-Lalit. Today we are having the movie debuting with a song sung by Alka Yagnik and Sonu Nigam. It has the whole cast except Aditya Narayan enjoying the engagement of Salman and Twinkle.
Song-Chal pyaar karegi haan jee haan jee (Jab Pyaar Kisi Se Hota Hai)(1998) Singers-Sonu Nigam, Alka Yagnik, Lyrics-Anand Bakshi, MD-Jatin Lalit
Male Chorus
Female chorus
Lyrics
o ladke deewaane
kahaan se aaya tu
dulhan ko le jaane
kahaan se aaya tu
o ladke deewaane
kahaan se aaya tu
dulhan ko le jaane
kahaan se aaya tu
chal pyar karengi
haan jee haan jee
mere saath chalengi
na jee na jee
ho chal pyaar karengi
haan jee haan jee
o mere saath chalengi
na jee na jee
arre tu haan kar
ya na kar teri marzi soniye ae
hum tujhko uthhakar le jaayenge
doli mein bithhakar le jaayenge ae ae
hum ghar mein kahin chhup jaayenge
sang tere nahin hum jaayenge
chal pyar karengi
haan jee haan jee
hoye hoye hoye
ahaa ahaa ahaa
o gore gore mukhde waali
o kaale kaale nainon waali
maan mera ehsaan ke maine haan kar di ee
tu warna kunwaari reh jaati
ye shaadi hamaari reh jaati ee ee
tu warna kunwaari reh jaati
ye shaadi hamaari reh jaati ee
chal pyaar karegi
haan jee haan jee
mere saath chalegi
na jee na jee
ho ho ho
aa aahaa aahaa aa aahaa
ho ho ho
aa aahaa aahaa aa aahaa
ja main nahin karti shaadi vaadi
mujhko pyaari hai yeh aazaadi
main toh apne baabul ke baaghon ki bulbul hoon oon
bas tujhse mujhe yeh kehna hai
pinjre mein mujhe nahin rehna hai ae ae
bas tujhse mujhe yeh kehna hai
pinjre mein mujhe nahin rehna hai
chal pyar karegi
haan jee haan jee
o mere saath chalegi
na jee na jee
oye oye oye
ahaa ahaa ahaa
aankhon se kaajal le jaayenge
zulfon ke baadal le jaayenge
arre hum aaye hain door se
yoon waapas na jayenge ae
hum apni sajaniya le jaayenge
arre hum apni dulhaniya le jaayenge ae
hum apni sajaniya le jaayenge
arre hum apni dulhaniya le jaayenge
hey chal pyar karegi
haan jee haan jee
mere saath chalegi
na jee na jee
arre tu haan kar ya na kar
teri marzi soniye ae
hum tujhko uthhakar le jaayenge
arre doli mein bithhakar le jaayenge ae ae
hum apni sajaniya le jaayenge
arre hum apni dulhaniya le jaayenge ae
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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