Archive for the ‘Wedding ritual song’ Category
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 : |
5699 | Post No. : | 18217 |
“Raunaq”(1944) was directed by Dwarka Khosla for Saubhagya Pictures, Bombay. The movie had Motilal, Charlie, Chandramohan, Swarnlata, Chandraprabha etc in it.
“Raunaq”(1944) had ten songs in it. Three songs have been covered in the past.
Here is the fourth song from the movie to appear in the blog. This obscure song from this obscure movie is sung by a female voice with female chorus. HFGK is not very helpful because HFGK considers it a samooh geet (chorus song).
I request our knowledgeable readers to throw light on the lead female singer of this song. Going by the list of singers listed for other songs, this voice could well be that of Parul Ghosh (listed as Shrimati Ghosh in other songs). I request our knowledgeable readers to help identify the voice.
Only audio of the song is available. It appears to be a wedding ritual song being sung by sahelis of a would be bride. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of the song.
Audio is not very clear. I am not fully satisfied with the lyrics that I have noted down and there may be errors in it. I request our knowledgeable readers to point out the eoors if any and suggest corrections.
Ishwar Chand Kapoor is the lyricist. Music is composed by C Ramchandra.
Song-Ghoonghat mein haule haule bole dulhan (Raunaq)(1944) Singer-Unknown female voice, Lyrics-I C Kapoor, MD-C Ramchandra
Female chorus
Lyrics
ghoonghat mein haule haule boley dulhan
ghoonghat mein haule haule boley dulhan
aaj aa miley to tohe meri kasam
aaj aa miley to tohe meri kasam
meri kasam tohe meri kasam
haan meri kasam tohe meri kasam
baabul se boley meri shaadi rachaao
shaadi rachaao
baabul se boley meri shaadi rachaao
shaadi rachaao
deputy collector mera dulha banaao
dulha banaao
deputy collector mera dulha banaao
dulha banaao
o o o o
chhote se ghar mein mera ghutata hai dam
chhote se ghar mein mera ghutata hai dam
aaj aa miley to tohe meri kasam
aaj aa miley to tohe meri kasam
meri kasam tohe meri kasam
haan meri kasam tohe meri kasam
mehandi waale haathon se karti ishaare
karti ishaare
mehandi waale haathon se karti ishaare
karti ishaare
apne joban ki kasmein wo daare
kasmein wo daare
apne joban ki kasmein wo daare
kasmein vo daare
o o o
bagiya mein genda khila aao balam
bagiya mein genda khila aao balam
aaj aa miley to tohe meri kasam
aaj aa miley to tohe meri kasam
meri kasam tohe meri kasam
haan meri kasam tohe meri kasam
din hon dashahra tere raaten deewaali
din hon dashahra tere raaten deewaali
ghar ki tu raani bane
sainya ki pyaari
ghar ki tu raani bane
sainya ki pyaari
o o o
yahi duaayen dete jaate hain hum
yahi duaayen dete jaate hain hum
aaj aa miley to tohe meri kasam
aaj aa miley to tohe meri kasam
meri kasam tohe meri kasam
haan meri kasam tohe meri kasam
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 : |
5698 | Post No. : | 18216 | Movie Count : |
4891 |
‘Bride and Prejudice’ (2004) was an English language film produced by Miramax Films, Pathe Pictures, UK Film Council and 5 other film production companies based in the USA and Europe. The film was directed by Gurinder Chadha. The cast included Aishwarya Rai and Martin Henderson in lead roles with the supporting cast of Anupam Kher, Nadira Babbar, Naveen Andrews, Namrata Shirodkar, Meghna Kothari, Piya Roy Chowdhary, Indira Verma, Daniel Gillies, Sonali Kulkarni, Nitin Ganatra etc. The film was shot in the UK, the USA and India. The lead actor, Martin Henderson was born and brought-up in Auckland, New Zealand and now settled in Los Angles with his career in films and TV. Naveen Andrews was born and brought up in London. His parents were immigrants from Kerala. He is now a naturalised US citizen with his career in films and TV.
This film is an attempt by its director, Gurinder Chadha to present a modern version of Jane Austen’s novel, ‘Pride and Prejudice’ in which there are fusion of Indian, British and American cultures. The inter-racial relationship between Lalita (Aishwarya Rai) and William Darcy (Martin Henderson) forms the core issues of tradition, culture and the race in the film with light comical element. In short, the basic themes of the novel, ‘Pride and Prejudice’ have been presented in a way that is relevant in the current century.
From the video clips of the song, it would appear that the director has taken recourse to the Bollywood style with songs and dances forming an important part of the film. There are ‘Naagin’ dance, Bhangra dance and Dandiya dance in the film. There is a song by a popular American singer, Ashanti as an item number. Like most of the Hindi ‘masala’ films, ‘Bride and Prejudice’ (2004) has a love triangle with a mild melodrama, a manipulative mother, a villain and finally the lovers getting united with a Punjabi fat wedding. The good thing about the film is that the ‘masala’ elements by way of manipulative mother, the villain and the fights have been toned down probably to make it palatable to the foreign audience to whom the film is mainly addressed.
The film is not available to watch in India either on any video sharing platform or on OTT platforms. Some snippets of the film are available as well as video clips of the songs on a video sharing platform which gives some story idea about the film. I have, therefore, weaved the story of the film based on the film’s snippets and from the synopsis of the film posted on IMDb. Wherever, I got confused, I have taken recourse to the original novel, ‘Pride and Prejudice’. as almost all the original characters of the novel have been retained in the film. The condensed story of the film is as under:
Amritsar-based Chaman Bakshi (Anupam Kher) and his wife, Manorama Bakshi (Nadira Babbar) is looking for perfect husbands for their four marriageable daughters – Lalita (Aishwarya Rai), Jaya (Namrata Shirodkar), Maya (Meghna Kothari) and Lakhi (Piya Rai Chowdhury). Lalita is hesitant about arranged marriage and prefers marrying a man of her choice.
Balraj Uppal (Naveen Andrews), a London-based barrister visits India to attend his friend’s wedding in Amritsar. He is accompanied by his American friend, William Darcy (Martin Henderson), a hotelier. In the wedding, they meet Bakshi family. While Balraj and Jaya feel attracted to each other, Lalita does not like William Dracy because of his negative opinion about India and Indians.
After the wedding, Balraj, Jaya, William and Lalita visit Goa. During a concert in Goa, Lalita meets Johny Wickham (Daniel Gillies), the son of a nurse who had raised William. Johny reveals to Lalita that William kicked him out of his household as soon as his father passed way. Lalita likes Johny.
Back in Amritsar from Goa, Kohli (Nitin Ganatra), a distance cousin of Bakshis’ who has migrated to the USA and a Green Card holder, visits Bakshi family. His visit is mainly for selecting a girl for his marriage. Manorama likes Kohli and wants Lalita to marry him. But Lalita rejects this proposal. Kohli has proposed Chandra Lamba (Sonali Kulkarni), a close friend of Lalita who has accepted his proposal. They get married and are leaving for the USA for their wedding reception. With all persons left, Lalita and Jaya are disappointed as neither Johny nor Balraj keep in touch with them. On the contrary, Johny is in touch of their younger sister, Lakhi without their knowledge.
Kohli who has gone back to USA along with Chandra for their wedding reception, sends flight tickets to Bakshi family. In the USA, Balraj’s parents have lined up his meeting with his prospective brides. While Bakshis are taking the connecting flight from London to the USA, they meet William who is also taking the same flight to the USA. He exchanges his first-class ticket with Manorama Bakshi’s economy class ticket so that he can sit with Lalita and clear her misunderstanding about him.
Co-incidentally, Kohli’s wedding ceremony is being held in one of Wiiliam’s hotels. Lalita meets William’s sister who reveals that her brother has been talking nice thing about her. With misunderstanding about William cleared, Lalita and Wiiliam are now on good terms and started liking each other. However, at the wedding venue, William’s mother introduces a girl of her choice to William to eventually marry her. William says to his mother that he is in love with Lalita. William’s mother gets annoyed and leaves the venue. She has also tried to create misunderstanding between Balraj and Jaya.
Next day, William goes to meet Lalita only to find that Bakshis have already left for London. When William reaches London and meets Lalita, he comes to know that Lakhi, in the pretext of shopping, has actually gone with Johny. Both William and Lalita go in search of them and find them in a theatre, A fight ensues between Johny and William during which Lakhi is pulled away from Johny. Bakshi family is relieved that Lakhi is back. They also get a good news that Balraj has proposed to Jaya, and she has accepted. Bakshis are back in Amritsar for a twin wedding. Lalita’s marriage with William and Jaya’s marriage with Balraj takes place and they are taken in procession on the two decorated elephants in the midst of a large gathering of guests in keeping with a fat Punjabi wedding.
The film had 7 songs written by Javed Akhtar (4), Dev Kohli (1), Chaman Lal Chaman (1) and Anu Malik (1) which were set to music by Anu Malik. Two songs had English lyrics. I am presenting the first song from the film, ‘balle balle je soniyaa de rang dekh lo’ to appear on the Blog. The song is rendered by Sonu Nigam, Gayatri Iyer and chorus on the lyrics of Chaman Lal Chaman. This is a Punjabi folk wedding song on Bhangra beats. The first part of the song is a teasing one. The second part of the song is the expression of love. I give below a rough English translation of the teasing part of the song:
The boys say: Look at the colours of these beauties who are as free as kites without strings. They move too fast to grab them. Beware that their beauty can sting like bees.
The girls say: O good looking boys, you want to dance. Let us see how good you can dance. You only know how to talk and tease.
The boys reply: You are like sharp knives. You are like electric wires without insulation. If you come close to us, we will get the ‘shock of love’.
The song, choregraphed by Saroj Khan, is fast-paced and is full of energy. The main dancer (in black sherwani) is Naveen Andrews in the role of Balraj in the film. He dances with full energy and pace. In an interview, Saroj Khan stated that she had to teach Naveen Andrews the Bhangra dance steps from scratch and he has come out with a flying colour in this song. According to director, Gurinder Chadha, it took six days to complete the picturisation of the wedding song. The crew members – both Indian and foreigners – were so mesmerised by the rhythm of the song that they impromptu performed on the wedding song after the shooting of the song was completed.
Video Clip:
Audio Clip:
Song-Balle balle je soniya de rang dekh le (Bride and Prejudice)(Eng)(2004) Singers-Sonu Nigam, Gayatri Iyer, Lyrics-Chamanlal Chaman, MD-Anu Malik
Sonu Nigam and a male voice,
Gayatri Iyer and a female voice,
Male Chorus,
Female Chorus
Lyrics (based on audio clip):
hoye hoye
hoye hoye
hoye hoye
hoye hoye
hoye hoye
hoye hoye
o balle balle
o balle balle je soniyaa de rang dekh lo
binaa dor di udh di patang dekh lo
ho balle balle je soniyaa de rang dekh lo
binaa dor di udh di patang dekh lo
aaj munde huye enhan de malang dekh lo
binaa dor di udh di patang dekh lo
ay kudiyaan kudiyaan
ay tikhiyaan chhuriyaan
ay kudiyaan kudiyaan tikhiyaan chhuriyaan
kudiyaan jawan hath na aawan
ho o o
ena pundiyaan de maare huye tang dekh lo
o balle balle je soniya de rang dekh lo
bina dor di udh di patang dekh lo o o
sat sri akal soniyo
sunaao sanoon haal soniyo
sat sri akal soniyo
sunaao sanoon haal soniyo
oh zaraa nach ke dikhaoo
sadde naal soniyo
na soch sawaal soniyon
ehdi kyun chaal soniyo
na soch sawaal soniyo
ehdi kyun chaal soniyo
eh naaraa naaraa naaraa
eh tikhiyaan tejh kataaraa
eh naaraa naaraa naaraa
eh tikhiyaan tejh kataaraa
bijli di nangiyaan taaraa
oh taaraa taaraa taaraa
je kol enaa de aaoge ta
pyaar de chakke khaaoge
je kol enaa de aaoge ta
pyaar de chakke khaaoge
ho o o o o o
ho o o o o
ho o o o o
ho o o o o
baage vich aayaa karo
baage vich aayaa karo
jab chand chup jaawe
tusi mukhdaa dikhaayaa karo
jab chand chup jaawe
tusi mukhdaa dikhaayaa karo
tu aagayaa to bahaar aayi
haseen ho gayi nazaare saare
tu aagayaa to bahaar aayi
haseen ho gayi nazaare saare
maalaa vich phul tangeyaa aa
maalaa vich phul tangeyaa
umraan lang chali aan
par joban nahin langeya
umraan lang chali aan
par joban nahin langeya
hooooooooooooo
ho o o
hooooooooooooo
ho o o
ho o o o o
ho o o o o
aa aa aaa
aa aa aaa
aa aa aaa
aa aa aaa
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
aa aa aa aa aaa
aa aa aa aa aaa
hmm hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
Bhaagan ke rekhan ki bahangiyaa
Posted on: January 29, 2024
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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5673 | Post No. : | 18184 | Movie Count : |
4882 |
William Shakespeare’s plays such as ‘Othello’, ‘Macbeth’, ‘Hamlet’, ‘Romeo And Juliet’, ‘A Midsummer Night’s Dream’, ’12th Night’, The Comedy of Errors’ etc have been adapted in Hindi films. These Shakespearian plays have romance, emotions, tragedy, melodrama, actions etc and Hindi mainstream filmmakers thrive on such ingredients in the film. The most popular Shakespeare’s play which have been adapted for Hindi films is ‘Romeo and Juliet’. There may be at least a dozen Hindi films adapted and inspired from this play. From the summary version of this play which I have read, two important aspects in the play emerge. First, the lovers are from two different feuding families who desperately try to separate them. Second, from the incipient stage of their love, there are strong indications that they are not going to be united and at the end, they die as doomed lovers. So, the adapted films need to have these two important aspects to qualify as a fair adaptation of Shakespeare’s ‘Romeo and Juliet’. The viewers must feel that it is tragic love story from start to end. Insofar as Hindi adapted films are concerned, I feel that Jaddan Bai’s ‘Romeo and Juliet (1947), directed by her son, Akhtar Hussain with her daughter, Nargis playing the role of Juliet, can be said to be the first version in Hindi film with an earnest degree of adaptation of Shakespeare’s play. In fact, this film has accredited William Shakespeare as the ‘story writer’. Films such as ‘Ek Duje Ke Liye’ (1981) and ‘Qayaamat Se Qayaamat Tak’ (1988), also fulfill this criteria.
Recently, I have watched the film, ‘Issaq’ (2013) which is also based on Shakespeare’s play, ‘Romeo and Juliet’ although there is no such acknowledgement in the film’s credit titles. In this film also, there are two warring families and son of one family is in love with the daughter of other family. The two warring families are determined to separate the lovers. At the end, both the lovers die.
‘Issaq’ (2013) was produced by Dhaval Gada and Sailesh Singh and was directed by Manish Tiwary. The cast included Prateik Babbar, Amyra Dastur, Ravi Kishan, Rajeshwari Sachdev, Neena Gupta, Makarand Deshpande, Amit Sial, Vineet Kumar Singh, Prashant Narayanan, Sudhir Pandey, Sandeep Bose, Evelin Sharma, Yuri Suri, Malini Awasthi, Akhilesh Jha etc. It was Amyra Dastur’s debut film. By the way the name of the film is a colloquial pronouncian of ‘Ishq’.
In the film, the story of ‘Romeo and Juliet’ has been transformed from Two feuding Italian families to two elite families of Varanasi who are loggerhead with each other. Their feud is over the control of sand mafia resulting in unleashing of violence between the gangs of two families. The state’s minister intervenes to bring a rapprochement between two families. But it is short-lived as the boy of one family loves the girl of other family and they secretly get married. Both these warring families once again become a sworn enemy on this issue leading to violence and deaths of near and dear ones. At the end, both the boy and the girl kill themselves. The story in some details is as under:
The patriarch of Kashyap family (Sudhir Pandey) and the patriarch of Mishra family (Sandeep Bose) are old rivals over the control of sand mafias in around Varanasi. There is also a Maoist group led by their leader (Prashant Narayanan) to reap the benefit from the illegal sand business for their own agenda. Because of the rivalries, often there are gang wars resulting in violence and sometime deaths. One of the state government’s minister (probably the indirect beneficiary of the sand business) intervenes to bring rapprochement between the two families. There is a temporary truce.
Kashyap has a teenage daughter, Bachchi (Amyra Dastur) from his first wife (Neena Gupta). His second wife is the young Paro (Rajeshwari Sachdev). Mishra has also a teenage boy, Rahul (Prateik Babbar) with interest in girls and the guns. He already had a short-lived love affairs with a foreign girl (Evelin Sharma). During a Holi festivity, Rahul meets Bachchi and both falls in love with each other. Despite knowing that their families have been in loggerhead for a long time, they go ahead with the dictate of their hearts rather than the consequences of their relations. They secretly marry in a temple run by a Baba (Makarand Deshpande) with the presence of Bachchi’s mother (Neena Gupta). This development shatters the truce between the two families and they are again on the warpath over the relation of Rahul and Bachchi.
Rahul is on the run as Bachchi’s maternal uncle, Teeta (Ravi Kishan) is determined to eliminate him. With the result, there is virtually a gang war between two families with a few of their close friends and family members getting killed including Rahul’s friend, Murari (Amit Sial) and Bachchi’s maternal uncle, Teeta. In the midst of violence, pain in separation and the oppressive families, the couple secretly meet. During one of such clandestine meetings, Bachchi’s step mother, Paro sees them. She starts scheming to separate them permanently. She informs Bachchi that soon she would be betrothed to a boy selected by the family.
Paro assigns Inspector, Preetam (Prashant Gupta) to arrange elimination of Rahul and as a reward, he would get married to Bachchi. Preetam gives the contract to Maoist leader to kill Rahul for which he would arrange to give him right to remove sand from a part of the river bed. Soon, there is a fierce gun fights between Maoists and Rahul and his men.
In the meanwhile, Bachchi’s marriage with Inspector, Preetam is fixed against the wishes of Bachchi. She goes to Baba to save her from the marriage. He gives her a bottle with liquid which, if consumed, will make her to sleep for 24 hours. By this way, she can get the marriage postponed for sometime. Bachchi returns and get ready for her pre-marriage ceremony in her room. She drinks the liquid and goes in her deep sleep. However, people around her think that she is dead. In the midst of his encounter with Maoists, Rahul gets the news that Bachchi is no more.
After killing Preetam and the Maoist leader, Rahul see the ‘dead’ body of Bachchi. He kills himself with his gun. With the sound of the gunfire, Bachchi is woken and find Rahul dead with the gun in his hand. With the dead body of Rahul on her lap, Bachchi kills herself with the same gun.
I found the film to be more of an action-oriented one with good doses of gunfights and violence than the romance. The uncertainty and fear looming large on the lovers because of the families’ pressures were lacking in the performances of Prateik Babbar and Amyra Dastur. Some of the supporting actors like Neena Gupta and Rajeshwari Sachdev were underutilised. Visually, the film is interesting to watch with Banaras Ghats, Holi celebrations in a former Raja’s palace and some of the action sequences.
The film had 7 songs including a double version song which were written by Anil Pandey (3), Mayur Puri (2), Raj Shekhar (1) and Neelesh Misra (1).The songs were set to music by Sachin-Jigar (3), Krsna (2) and Sachin Gupta (2). I am presenting the first song from the film, ‘Bhaagan ki rekhan ki bahangiyaa’ to appear on the Blog. The song is written by Anil Pandey and is rendered by Malini Awasthi and Raghubir Yadav on the music direction of Krsna (real name: Amitav Sarkar). It is a wedding song which is picturised when Bachchi (Amyra Dastur) is getting ready for her pre-wedding rituals. The song is written in Bhojpuri dialect as conversations between a daughter who is getting married and her father/mother. This type of song is also sung during Chhath pooja.
The sum and substance of the song is that the daughter, whose ‘bhaagan ki rekhan’ (lines of destiny on her palms) tell that it is time for her marriage, asks a few innocent questions to her father. In olden days, daughters used to get married when they were minors, hence the innocent questions.
Father, why are you sending me from maternal home (peehar)?
Why are you transforming me from a girl to a married woman?
Where is the destiny taking me?
Since childhood, you have taken care of me and made me happy.
You have swung me in your arms.
Then why is this happening in the midst of happiness?
Why have you called the wedding procession (baaraatis)?
Why have you made a shaamyaana and ordered palanquin?
Why is turmeric getting applied?
The wedding procession has turned crazy. Where should I run away?
The mother says to her daughter:
When you leave for your in-law’s house, we will be desolate.
Do not ask your father as to how he ordered palanquin and made shaamyaana.
The palanquin career would continue to walk.
Your mother’s tears would continue to flow.
Even you will not stop crying.
Video Clip:
Audio Clip:
Song-Bhaagan ke rekhan ki bahangiyaa bahangi lackat jaaye (Issaq)(2013) Singers-Malini Awasthi, Raghubir Yadav, Lyrics-Anil Pandey, MD-Krsna
Female chorus
Lyrics (based on audio clip):
bhaagan ke o o….
bhaagan ke rekhan ki bahangiyaa
bahangi lachkat jaaye
bahangi lachkat jaaye
bhaagan ke rekhan ki bahangiyaa
bahangi lachkat jaaye
bahangi lachkat jaaye
bhejo re kaahe baabaa hamkaa peehar se
bitiya se banni banke kahaan pahunchaaye
sahaa bhi naa jaaye
ho ka kare haaye
kahaan khaatir chale re kahariyaa
bahangi kahaan pahunchaaye
bahangi kahaan pahunchaaye
bachpan se paale aisan bitiyaa..
kaahe bahiyan ki jhulnaa jhulaaye
khusiyan ke ras man mein kaahe re..
baabaa tumne baratiyaa liyo bulwaaye
kaahe doli banwaaye amma mandwaa chhawaaye
chale silwaayan haldi kaa pis pis jaaye
bhaagan ke rekhan ki bahangiyaa
bahangi lachkat jaaye
bahangi lachkat jaa….ye
hmm hmm hmm hmm
sooraj saa chamkegaa mor mukut pehnega
raajaa banke chalegaa bannaa hamaaraa re
jeeja ko naa poochhegaa
arre phoophaa ko naa laayegaa
maamaa ko lootegaa
chaachaa khisiyaayegaa
behanon ko thumkaa lagaataa laayegaa
kaalaa peelaa tedhaa medhaa
bannaa baaraati aisaa laayaa re
ka kari haaye
kahaan chali jaaye
banno saram se mar mar jaaye
banno saram se mar mar jaaye
bhaagan ke rekhan ki bahangiyaa
bahangi lachkat jaaye
bahangi lachkat jaaye
tu ru ru ru
tu ru tu ru
tu ru ru
tu ru ru ru
tu ru tu ru
tu ru ru
sunwaa piyaar bitiyaa sun lo
tore nikharat hi nikhar naa jaaye
bitiyaa ke baabaa se naa poochhaa re
mandwa ke kaisan hola bihaan
chale chalenge kahaar
maiyyaa ansuwan ki dhaar
banni ro ro ke huyi jaaye hai taar taar
bhaagan ke rekhan ki bahangiyaa
bahangi lachkat jaaye
bahangi lachkat jaaye……ae
Le liya dil hamaara chaandni ne
Posted on: August 13, 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 : |
5504 | Post No. : | 17946 |
Hullo Atuldom
13th August is a day when a few beautiful Bollywood ladies have their birthdays.
If Sridevi had been among us, her fans & the various channels would have gone crazy showing her films, songs, dances etc. on her 60th birthday. But that is not to be as she is lost to us her fans and we can only think of her, enjoy her songs etc.
Anita Raj Khurana -famous as Anita Raj- daughter of the eternal Police Inspector Jagdish Raj; turns a year older. Wishing her a very Happy Birthday and lots of fun . I have seen her recently on some television channel, she looks super fit & is said to be very health conscious. She turns 61.
Even, traditional beauty from South India, who was one of the first from South India to have a huge fan following among fans of Hindi films Vyjayanthimala turns a year older. Born on 13th August – not sure of her year of birth, various sites on the internet give year of birth as 1933, some also give the year as 1936- she also has her birthday today. Maybe she is turning 90 or is it 87. Whatever be the age here is Wishing her lots of good health & many many Happy Returns of the day.
Maybe there are a few more celebrities who have birthdays today, but these are the three who’s birth dates feature on the blog’s anniversary page.
There is no possibility of finding any film where the three ladies, who I have mentioned above, appear together. Though, I do recall a 1985 (made in South) film “Masterji” which featured Sridevi & Anita Raj along with Rajesh Khanna. But that film didn’t have any song where the two ladies are together.
On studying the status of films starring Vyjayanthimala, on our blog, I found “Phoolon Ki Sez” (1964) having the following 6 songs, out of a possible 9.
| Song | Date of post | Remarks |
|---|---|---|
| Aayegaa koyi hamraaz mere pyaar kaa | 19 July 2010 | A post on the occasion of blog birthday, as the blog completed two years |
| Aa tu aa zara dil mein aa | 6 July 2012 | |
| Taaron ki aankhon ka taara tu | 7 April 2013 | A multiple (three version)version song. This post by Sadanandji has all the details about the film |
| Aa bhi ja rasiya | 9 June 2014 | A post by Bharat Bhai |
| Jaane mujhe kya ho gaya | 14 August 2017 | Jaane Sudhir jee ko kya ho gaya. It must be one of the shortest post by Sudhirji. 🙂 |
| Pyaar ko madhur madhur iqraar ko | 19 July 2020 | A post by Avinashji on the occasion of blog birthday, as the blog completed twelve years |
Avinashji has mentioned in his Post that there is a multi-part song in the film. So eight songs (and not six) out of nine songs have been covered in the blog.
That leaves us with one song from the movie. It is in the voices of the Mangeshkar sisters -Lata & Asha.
On screen we can see a few ‘sakhis’ decking up Karuna (Vyjayanthimala) for her wedding with Nirmal (Manoj Kumar). I hope I am correct in guessing that the ‘sakhis’ are led by dancers ‘Madras Sisters’ Sasi, Kala & Mala. By the end of the song, Karuna looks a radiant bride.
Since all the posts, for the songs from this film, have details regarding star-cast, music director, lyricist, producer, director etc. I am not mentioning them in this post. With this the film attains YYIIPPEEEEhood.
Song-Le liya dil hamaara chaandni ne (Phoolon Ki Sez)(1964) Singers-Lata Mangeshkar, Asha Bhonsle, Lyrics-Hasrat Jaipuri, MD-P Adinarayan Rao
Both
Female chorus
Lyrics
aaj ki raat muhabbat ka nasha aa aa aa laayi hai
chaand kya hai
chaand kya hai
meri ee dulhan ki parchhaayi hai
aa aa aa aa aa
aa aa aa aa aa
le liya dil hamaara chaandni ne
ho de diya pyaar hamko i kali ne
ek jhalak ne ek najar ne ham pe jaadu kar diya
ek jhalak ne ik najar ne ham pe jaadu kar diya
le liya dil hamaara chaandni ne
ho o
de diya pyaar hamko ik kali ne is kali ne
haan is kali ne
le liya dil hamaara chaandni ne
ghata ne rang churaaya hai tere baalon se
har ek phool gulaabi hai tere gaalon se
har ek taara dhadakta hai aaj dil ki tarah
har ek taara dhadakta hai aaj dil ki tarah
mile hain raahi ko
mile hain raahi ko
manzil tere ujaalon se
aa aa aa aa aa
aa aa aa aa
le liya dil hamaara chaandani ne
ho de diya pyaar hamko ik kali ne
haan is kali ne
haan is kali ne
le liya dil hamaara chaandani ne
sharam ka phool se maathe pe jo paseena hai
damakata pyaar ka moti hai ya nageena hai
ise banaaya hai maalik ne apne haathon se
ise banaaya hai maalik ne apne haathon se
ye aasman se
ye aasman se
utri hui haseena hai
aa aa aa aa aa aa aa
aa aa aa
le liya dil hamaara chaandni ne
ho de diya pyaar hamko ik kali ne
haan is kali ne
haan is kali ne
le liya dil hamaara chaandni ne
ho o de diya pyaar hamko is kali ne
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
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
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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