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

Archive for the ‘Songs of 1950s (1951 to 1960)’ Category


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.

Blog Day :

4377 Post No. : 15720

“I worshipped Bimal Roy. For me, his worth as a man was more than his films… It is impossible for me to describe what a man he was.”

The above quote was by Ritwik Ghatak, one of Bimal Roy’s desciples who later became an internationally known director of parallel cinema in Bangla films.

In Hindi film industry, there are many film artists, directors and those connected with the film music who are admired for their excellent professional performances. But there would be very few among them who would also be admired as the good human beings. Among few such personalities, the name of Bimal Roy comes to my mind because for the last few months, I have extensively read on the life and works of Bimal Roy. I have found that those who have closely worked with him like Dilip Kumar, Balraj Sahani, Vyjaynatimala, Kamini Kaushal, Nutan, Dharmendra, Shashi Kapoor, Hrishikesh Mukherjee, Gulzar and many more have highly talked about Bimal Roy as a fine human being besides an being an outstanding director. What touched me most about Bimal Roy was what Manobina Roy, his wife had said in an interview. Just a few minutes before his death on January 8, 1966, Bimal Roy had called her and said that he was deeply worried about his workers in Mohan Studio as to what will happen to them after his death. Only when she assured him and repeated her assurance that she would take care of them, Bimal Roy closed his eyes never to open them again.

Today, July 12th 2020 is 111th birth anniversary of Bimal Roy (12/07/1909 – 08/01/1966), one of the greatest Hindi film directors who rose from a still photographer to a cinematographer and then as a producer-director of some of the classic and socially relevant films. Although, there were many film directors from Bengal – especially in the Bombay Talkies who had directed Hindi films in Mumbai in the 1940s, it is said that it was Bimal Roy who brought ‘Bengaliness’ in his Hindi films in Mumbai. He was a trend setter in introducing the ‘middle of the road’ films.

Arunkumar Deshmukh ji has already discussed Bimal Roy’s biographical and celluloid journey in his article covering the song, chale re chale raam vanwaas. I would, therefore, skip his profile and his sequential journey in the film industry. I propose to concentrate mainly on three important phases in his filmy career which led to his meteoric rise in the film industry – as a Cinematographer, as a Director for films produced by New Theatres and as a Producer-director of Hindi films in Mumbai. In my view, the three phases were also the important turning points in the career of Bimal Roy.

Bimal Roy joined New Theatres (NT) as an Assistant Cameraman to Nitin Bose in 1932 during which he assisted him for ‘Chandidas’ (1932, Bangla version and also Hindi version in 1934), ‘Meerabai’ (1933) etc. He was promoted as a cinematographer in NT and shot films like ‘Devdas’ (1935), ‘Manzil’ (1936), ‘Mukti’ (1937), ‘Abhagin’ (1938), ‘Abhinetri’ (1940) ‘Meenakshi’ (1942) etc.

The high point in his career as a cinematographer was ‘Mukti’ (1937) – the first film from NT which was extensively shot outdoors, mostly in the forest of Gauripur (Assam). It was a challenge for Bimal Roy as a Cinematographer to shoot outdoors, the scenes with proper lightings. Even his indoor shots were exceptional. His camera works in the opening scene of the film itself is marvelous. The camera focuses on P C Barua who walks through three rooms, one after another before knocking the door of the fourth room. Here, only the camera ‘speaks’ in the scene in complete silence without any background music to create suspense as to what is going to happen next. The light and shadow effects have been effectively used to convey the mood of the situations in the film.

Kanan Devi, in one of her interviews had said that in ‘Mukti’ (1937), Bimalda through his camera work, made her more beautiful than what she looked in reality. P C Barua, the director, was so happy with his camera work in the film that in the publicity poster of ‘Mukti’ (1937), he made the name of Bimal Roy to appear next to his name with names of the actors appearing in the side. Probably, this may be the first occasion in NT that the publicity poster had prominently carried the name of the cinematographer.

Bimal Roy entered his second phase of his career when he turned as a director for the first time for the Bangla film ‘Udayer Pathe’ [(1944), ‘Towards the Twilight’]. A year later, a Hindi version of the film was made as ‘Hamraahi’ (1945), also directed by Bimal Roy. Manobina Roy, the wife of Bimal Roy was surprised as to why he chose the subject of exploitation by upper class of the lower strata of the society when he himself had the background of a landlord’s son. Probably, he may have seen such scenarios in his teenage days in his family and he wished to bring them to the notice of masses.

The challenge for Bimal Roy in this fiim was that NT boss, B N Sarkar has personally told to direct the film with the left-over cut pieces of the raw stock of negative film as those days, raw stock of films was rationed. There was no scope for wastage of the raw stock of films by way of reshoots. On the top of it, he had taken newcomers, Binita Bose (Roy) and Radhamohan Bhattacharya as the lead actors. With these backgrounds, it was imperative that he should also take the responsibility as a cinematographer. When the shooting of the film was completed, B N Sarkar was surprised that the film was completed by Bimal Roy without taking any extra stock of raw films.

The film though made with a small budget was one of the top box office grossers for NT. The film ran for more than one year in Kolkata’s Chitra theatre. With its Hindi version of the film, the name of Bimal Roy became well-known all-over India. In the Bengali speaking regions, ‘Udayer Pathe’ (1944) became one of the highly discussed films. The film became a trend setter for some subsequent Hindi films having ‘rich girl poor boy’ love story with the background of a class conflict. Chetan Anand’s ‘Neecha Nagar’ (1946) followed, more or less, the similar pattern in the story.

The extra-ordinary success of ‘Udayer Pathe’ (1944) did not help much in Bimal Roy’s career as a director as fortune of NT had taken a down turn due to the adverse impact on the film industry of the World War II and thereafter partition of Bengal by creating the then East Pakistan. Bimal Roy did direct two films for NT – ‘Anjangarh’ (1948) and ‘Pehla Aadmi’ (1950). The highlight of ‘Pehla Aadmi’ (1950) was that it was made on Netaji Subhash Chandra Bose. It was a challenge for Bimal Roy to shoot the battle scenes of the film in the studio itself which should look real in the film. I have watched the clip of the battle scene and it looks real. Though these two films were critically acclaimed, they did not fare well at the box office.

The downfall of NT in post-partition period and the emergence of Bombay (Mumbai) as the main film production centre prompted many artists and technicians in Kolkata to migrate to Mumbai. On the other hand, the Bombay Talkies was also going through the bad times. An opportunity came to Bimal Roy when he was invited by Ashok Kumar to direct ‘Maa’ (1952) for Bombay Talkies which he had to reluctantly accept due to the adverse conditions of the film industry in Kolkata. Bimal Roy came to Mumbai with his team consisting of Hrishikesh Mukherjee (Editor), Asit Sen (Assistant Director), Nabendu Ghosh (Dialogue writer) and Paul Mahendra (Hindi dialogue writer and actor). Later, some more artists and technicians from Kolkata like Kamal Bose (Cinematographer), Arvind Sen, Asit Sen, Debu Sen, Basu Bhattacharya and Salil Chaudhury joined Bimal Roy.

In terms of box office, ‘Maa’ (1952) did not add to the coffers of Bombay Talkies. Bimal Roy was all set to return to Kolkata along with his team when Ashok Kumar gave him another film, ‘Parineeta’ (1953) which was produced under the banner of Ashok Kumar Productions. Simultaneously, something was cooking within Bimal Roy’s team. Hrishikesh Mukherjee had revealed in an article that after watching an English film in Eros Theatre at Churchgate, Bimal Roy and his team were returning home on a BEST double decker bus and were discussing as to why they cannot make film like the one they watched. Bimal Roy asked as to who will write the story for the film to which everyone in his team offered to share the responsibilities. That was how Bimal Roy Productions was born on a double decker bus of BEST. And this was the third turning point in Bimal Roy’s career.

Bimal Roy embarked upon his maiden film ‘Do Bigha Zameen’ (1953) as a producer-director. Bimal Roy had read the story ‘Rickshwala’ written by Salil Chaudhury, based on the Rabindranath Tagore’s poem, ‘Doi Bigha Zomi’. This was perhaps the first film in Bollywood depicting what is called ‘neo-realism’, a term normally used for post-war effects on the poor class of the population who tended to migrate to urban area for sustenance. Many in his team had reservations about the selection of Balraj Sahani in the role of Shambhu, the farmer because of his urban look. But Bimal Roy struck to his choice. He had seen him acting live on the sets of ‘Dharti Ke Laal’ (1946) when he had visited Mumbai at the time of the release of his film ‘Hamraahi’ (1945) and thereafter in ‘Hum Log’ (1951).

‘Do Bigha Zameen’ (1953) put Bimal Roy on an international pedestal. The film won for him the Prix International Prize at 7th Cannes Film Festival (1954). The film also won him National Award for the Best Film and also the inaugural Filmfare Award, 1954 for the ‘Best Film’ and ‘The Best Director’. With the success of this film, the seeds of the ‘middle of the road’ cinema was sown in Bollywood.

One of Bimal Roy’s film which did not fit into his psyche of film making was ‘Madhumati’ (1958). The reincarnation story of the film was written by Ritwik Ghatak who was an assistant to Bimal Roy during his Kolkata days. He was without work in Kolkata and had come to Mumbai for work. Bimal Roy assigned him to write a story and screen play for his forthcoming film and also direct the film. This was how the film ‘Madhumati’ (1958) was born. But, at the last minute, he had to go back to Kolkata as he could arrange finance for his Bangla film, ‘Ajantrik’ (1958). ‘Madhumati’ (1958) was thought of mainly for the financial survival of Bimal Roy Productions. Hence, the commercial elements in the film was evident with Dilip Kumar and Vyjayantimala in lead roles, Pran as villain and Johny Walker as comedian and 11 songs. With Bimal Roy handling the direction, the mix of classic touch and commercial elements led the film to attain the status of the most commercially successful film for Bimal Roy Productions and the highest grosser among Hindi films released in 1958. The film won 9 Filmfare Awards.

Bimal Roy has shown through his films like ‘Udayer Pathe’ (1944), ‘Do Bigha Zameen’ (1953), ‘Sujata’ (1959) and ‘Bandini’ (1963) that the victims of oppressions have superior morality than the oppressors. Bimal Roy had not been known to have leanings towards any political ideology. It is, therefore, a surprise to observe that in most of his films, the exploitation of downtrodden by the superior class of the society is evident though he belonged to a wealthy family of the landlords in a village near Dhaka in East Bengal (now Bangla Desh). The reasons for his ‘dislike’ for landlords or upper class probably stem from having been a victim himself when after the death of his father in 1930, his family was denied share in the estate and was expelled. He along with his mother and brothers had migrated to Kolkata where they may have initially faced the same problem as Balraj Sahani in ‘Do Bigha Zameen’ when he migrated to Kolkata.

Rinki Roy Bhattacharya believes that some characters in his films may have been modelled on the traits of a few of his family members. For instances, the arrogant and authoritarian fathers in ‘Udayer Pathe’ (1944), ‘Parineeta’ (1953) and ‘Devdas’ (1955) may have been based on Bimal Roy’s authoritarian father. The character of a whip cracking school master in ‘Devdas’ may be a whip cracking Head Master of Bimal Roy’s school in Dhaka. Pran’s character in ‘Madhumati’ (1958) may have been inspired from his uncle Jogeshchandra Roy who loved wines, women and dances.

During his filmy career, Bimal Roy directed 15 Hindi films which included his classics and popular films like ‘Parineeta’ (1953), ‘Do Bigha Zameen’ (1953), ‘Biraj Bahu’ (1954), ‘Devdas’ (1955) ‘Madhumati’ (1958), ‘Yahudi’ (1958) ‘Sujata’ (1959), ‘Parakh’ (1960), ‘Prem Patra’ (1962) and ‘Bandini’ (1963) which was his last film as a director.

Bimal Roy also produced 7 Hindi films which he did not direct but gave the opportunity to direct most of them to his assistants. These films were ‘Amaanat’ (1955) directed by Aravind Sen, ‘Parivar’ (1956) and ‘Apraadhi Kaun’ (1957) both directed by Asit Sen (comedian), ‘Usne Kaha Thha’ (1960) directed by Moni Bhattacharya and ‘Kabuliwaala’ (1961) directed by Hemen Gupta who was unemployed at that time. ‘Benazir’ (1964) and ‘Do Dooni Chaar’ (1968) were directed by S Khalil and Debu Sen respectively due to Bimal Roy’s illness.

Those who had worked closely with Bimal Roy had said that he was a man of few words. It was very difficult to initiate a conversation with him. Dilip Kumar had said in an interview that he found the most peaceful atmosphere among the studios when he worked with Bimal Roy because no one was allowed to talk loudly. Nabendu Ghosh, his screen-play and dialogue writer, has said that Bimal Roy spoke little but smoked cigarettes a lot. Probably, his cigarette smoking may have resulted in lung cancer at a later stage which took his life on January 8, 1966.

At the time of his death, Bimal Roy had started work on ‘Do Dooni Chaar’ (1968) and ‘Sahaara’. While the first film was completed by one of his assistants, Debu Sen and got released in 1968, ‘Sahaara’ which was based on Bengali novel ‘Chaitali’ by Ashapoorna Devi got sheleved. In fact, Bimal Roy had done some shooting of the film with Dharmendra and Sharmila Tagore when he got ill on the set after which he never recovered. When Dharmendra became a top star from early 1970s, he convinced Bimal Roy’s wife, Manobina Roy to revive the film for which he arranged the finances and pursuaded Saira Bano to act in the film. Hrishikesh Mukherjee directed the film under its new title ‘Chaitali’ (1975).

One of Bimal Roy’s dream project which was very close to his heart was a bilingual film ‘Amrit Kumbh Ki Khoj Mein’ (Hindi and Bangla). He had started the work as early as 1960 when he had shot about one hour of footage of Ardha Kumbha Mela held at Allahabad in 1960. Gulzar was entrusted with writing the script for the film. It was his intention to complete the shooting of the film during the next Poorna Kumbh Mela. During the last stages of Bimal Roy’s illness when he was bed-ridden, Gulzar used to visit him every day and read out what he had written for the script of his favorite film. With the death of Bimal Roy, the film remained a dream. However, scenes shot for the film were converted into a 12 minutes of documentary film ‘Images of Kumbh Mela (1960) by his son, Joy Bimal Roy.

On the occasion of Bimal Roy’s 111th birth anniversary, I have selected a song, ‘main na boloon na boloon na boloongi’ from ‘Maa’ (1952), his first film in Mumbai as a director. The song is sung by Geeta Dutt which is picturised on Shyama. The song is written by Bharat Vyas which is set to music by S K Pal.

With this song, all the songs of ‘Maa’ (1952) have been covered in the Blog.

Acknowledgements: In writing this article, I have been greatly benefitted by the following sources:

1. ‘Bimal Roy – The Man Who Spoke in Picture’ (2009), a book containing a collection of articles, edited by Rinki Roy Bhattacharya, the daughter of Bimal Roy.

2. ‘The Cinema of Bimal Roy – An ‘Outsider’ Within’ (2017) by Shoma A, Chatterji. (Book).

3. ‘Ravi Paar Aur Anya Kahaaniyaan’ (1999) by Gulzar – Chapter on ‘Bimal da’.

4. Remembering Bimal Roy (2007) – A documentary film by Joy Bimal Roy.

Editor’s note: This song is the 5000th song from the decade of 1950s(1951 to 1960) to appear in the blog.

Video Clip:

Audio Clip:

Song-Main na boloon na boloon na boloongi (Maa)(1952) Singer-Geeta Dutt, Bharat Bhushan, Lyrics-Bharat Vyas, MD-S K Pal

Lyrics

main na boloongi
o main na boloon na boloon na boloongi
aaj mere chhote se dil mein
chhupa hai kya raaz main na kholoongi
aaj main na boloon na boloongi aaj

kya raaz hai
hai to bataao

saawan ki ithlaate baadal se poochh lo ji
baadal se poochh lo
kajraare nainon ke kaajal se poochh lo ji
kaajal se poochh lo
bhole baalam
mohe laage sharam
haaye laage sharam
bhole baalam
mohe laage sharam
haaye laage sharam
ye bharam apne man ka na kholoongi
aaj main na boloongi
aaj main na boloon na boloongi aaj
main na boloongi
ho main na boloon na boloon na boloongi
aaj mere chhote se dil mein
chhupa hai kya raaz main na kholoongi
aaj main na boloon na boloongi aaj

achcha
hum bhi nahin sunte

o o o o o
suna maine jo
wo kaise sunaaun
wo baaten tumhe main kaise bataaun
kaho ji kaise bataaun
kuchh khud samjho
kuchh khud samjho
kuchh meri palkan se samajh lo ji
palkan se samajh lo
kuchh dil mein chhupi dil ki dhadkan se samajh lo ji
dhadkan se samajh lo
bhole baalam mohe laage sharam
haaye laage sharam
bhole baalam mohe laage sharam
haaye laage sharam
ye bharam apne man ka na kholoongi
aaj main na boloongi
aaj main na boloon na boloongi aaj


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 :

4372 Post No. : 15708

“Jungle Ka Jawaahar” (1952) was a Basant Pictures production movie. It was directed by Homi Wadia. The movie had John Cawas, Nadia, Dalpat, Goldstein, Shapur, Agha, Abdulla etc in it.

The movie had five songs in it. One song has been covered in the past.

Today is the 102nd birth anniversary of Saraswati Kumar Deepak (7 july 1918-8 july 1986). While searching the dates of his anniversaries, I drew a blank on google. So it turns out that the anniversary page of this blog is perehaps one of the very few places online where these dates are available.

On this occasion, here is a song from “Jungle Ka Jawaahar”(1952). This song is sung by Shyam Sundar (singer) and Sulochana Kadam. Saraswati Kumar Deepak is the lyricist. Music is composed by Madholal Damodar Master.

The song picturised as a Tarzan and Jane kind of picturisation. My guess is that the actors are the famous John Cawas and Nadia. I request our knowledgeable readers to help identify them.

The lyrics are cute. The city slicker gentleman wants to introduce the lady to the charms of Big cities like Bombay and Delhi, but the lady, comfortable is jungle, wants none of that.

Lyrics of this song were sent to me by Avinash Scrapwala.

Video

Song-Shrimati shrimati aao aao (Jungle Ka Jawaahar)(1952) Singers-Shyam Sundar, Sulochana Kadam, Lyrics-Saraswati Kumar Deepak, MD-Madholal Damodar Master

Lyrics (Provided by Avinash Scrapwala)

O o
shrimati
shrimati
Aao aao aao
Aao o
O na na na na
Na main aaun

Tu aa aa aa
aa aa aa aa

Nayi duniya dikhaaun
Na na na na main aaun
Nayi duniya dikhaaun
Na na na na main aaun
Albeli dikhlaaun main
Chamak damak
Nayi duniya ki
Ja ja
Albeli dikhlaaun main
Chamak damak
Nayi duniya ki
Sun meri pyaari baat
Na na na na
Sharmeeli chal tu saath
Chhod de jungle ka mangal
Badhaa de
Badhaa de apna haath
Na na na na
Haan haan haan haan
Haa

Main tere haath na aaun
Pedon mein
Pedon mein ja chhip jaaun
Main tere haath na aaun
Pedon mein ja chhip jaaun

Sharmeeli dikhlaaun main
Tadak bhadak nayi duniya ki
o meri pyaari ??
sharmeeli chal tu saath
Chhod de jungle ka mangal
Badhaa de apna haath
Na na na
Na na na
na na na na

Aa jungle ki billi
Billi?
Aa jungle ki billi
Tujhe dikhaaun dilli
Dilli se bambai le jaaun
Motor mein juhu dikhlaaun
Na na na na
Na na na na
Na main aaun

Aa jungle ki billi
Tujhe dikhaaun dilli
Dilli se bambai le jaaun
Motor mein juhu dikhlaaun
Halwa khilaaun
Laddoo khilaaun
Chaupaati ki chaat khilaaun
Halwa khilaaun
Laddoo khilaaun
Chaupaati ki chaat khilaaun

Is jungle ko chhod ke
Chau

Chaupaati
Chaupaati na aaun
Haan main chaupaati na aaun

Bambai le jaaun
Raani banaaun
Na na na na na
Achhi achhi film dikhaaun
Achhi achhi film dikhaaun
La la laa
Oon oon oon
Jo kal ??
Sheesh mahal ??
Jo kal??
Sheesh mahal ??
Mila pardesi mehmaan
Ab to kehna mera maan
Jo kal ??
Sheesh mahal ??
Mila pardesi mehmaan
Ab to kehna mera maan
O Na na na
Haan haan haan haan

Nayi duniya dikhaaun
Na na na na main aaun
Albeli dikhlaaun main
Chamak damak
Nayi duniya ki
Sun meri pyaari baat
Pyaari baat
Sharmeeli chal tu saath
Chal tu saath
Chhod de jungle ka mangal
Badhaa de apna haath
Badhaa de apna haath
Badhaa de apna haath
Teri meri Jodi niraali hai
Matwaali hai
Nakhrewaali hai
Teri meri Jodi niraali hai
Ma ma ma ma matwaali hai
Nakhre nakhre nakhre nakhrewaali hai
Nakhre
Nakhre
Nakhre
Nakhrewaali hai
Teri meri Jodi niraali hai


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.

Blog Day :

4371 Post No. : 15705 Movie Count :

4329

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Hindi Songs in Bangla Films : 34
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‘Jalsaghar’ [(1958), Music Room] was Satyajit Ray’s third film (4th film in terms of the date of release). After the box office failure of his second film, ‘Aparajito’ (1957), Satyajit Ray decided to make a popular film which would cater to the taste of Bengali audience. ‘Jalsaghar’. the short story of Tarashankar Bandopadhyay was the basis for the film which had the popular subject of the declining fortunes of zamindars (landlords) who patronized arts and music. So, there would be scope for songs and dances which would attract the audience.

But how could a director of the stature of Satyajit Ray succumb to make a commercial film whose heart was attuned to making the intellectual films? So, the net result was that when ‘Jalsaghar’ (1958) shooting was completed, the popular subject of declining aristocracy became a serious subject. The popular music associated with such subject was turned into the hardcore Hindustani classical songs and a classical dance. In other words, the film took the shape of an artistic film and won the National Film Award, 1959 for the best feature film in Bengali.

It took quite a long time to search for a dilapidated palace in West Bengal for shooting the film. At last, someone from Murshidabad suggested Nimtita Rajabari in Murshidabad which suited well as a palace for a zamindar whose fortunes are on the decline. It was a great coincidence that later on, Tarashankar Bandopadhyay revealed to Satyajit Ray that his short story was inspired by landlord Upendra Narayan Chaudhury who stayed in Nimtita Rajabari. His descendants have now settled in Kolkata.

The film is available for viewing on one of the video sharing platforms in 10 parts with English sub-titles. While watching, I felt that the original film may have been edited to some extent. However, the continuity of the story seems to have been maintained. The film’s story is set in the mid 1930s and centres around Chhabi Biswas in the role of an aged music-loving landlord. He is present in almost all the frames of the film. Rest of the main actors like Padma Devi, Gangapada Bose, Tulsi Lahiri, and Kali Sarkar have subsidiary roles. The story as depicted in the film is as under:

Biswambar Roy (Chhabi Biswas) is an aged feudal landlord who lives in his dilapidated palace on the banks of a river. He has lost his wife, Mahamaya Devi (Padma Devi) and the only son, Khoka some years back when their boat capsized in the river during a storm. He has lost much of the land-holding due to the soil erosion created by the river. He has only one servant, Ananta (Kali Sarkar) and the Estate Manager (Tulsi Lahiri) to his company besides his horse and an elephant. To maintain his status as an aristocratic landlord, he indulges in lavish spending and pleasures like hosting concerts in his music room, high quality drinks etc. Much of his assets including the remaining land and jewelries have been mortgaged or sold.

While old Biswamber is resting in his room reminiscing his golden days as a wealthy landlord, Mahim Ganguly (Gangapada Bose), his neighbour and a neo-richman, visits the palace to invite him to attend his son’s thread ceremony. While Biswamber declines to attend giving an excuse that because of his old age, he has stopped going out of his palace. But this event reminds him of his son’s thread ceremony which he had conducted in pomp and show worthy of a landlord which included a grand firework in the night followed by a musical concert in his jalsaghar (music room) where all his guests were served choicest drinks. He also remembers that in the same night, his wife resented his spending on concerts too, by mortgaging her jewellery.

Biswamber also remembers that he had arranged a next musical concert on the day his wife and son were to return to the palace after the visit to her mother’s place, to celebrate the new year. This was also to show his might to his new-rich neighbour, Mahim even though for this, Biswamber had to sell some of his antique furniture and some more jewellery. While the concert was in the mid-way, he got the news that his wife and the son drowned in the river while returning on a boat.

After the death of his wife and son, Biswamber has been living in the palace alone with a servant to attend to him. His music room has remained locked for many years. He has become a recluse. He is in no mood to accept his neighbour Mahim’s personal invitation to attend his newly constructed house-warming ceremony and a dance concert. But it reminds him of his music room which has been closed for years. He orders his servant to open it at once. He spends some time inside the music room reminiscing of his glorious days.

In order to spite his neighbour, Biswamber decides to organise a dance concert of a famous kathak dancer from Banaras for which he spends his last cash reserves of Rs.500 for refurbishing his music room, arranging drinks to his guests and giving his last of the precious stones as a gift to the dancer. After the concert, though he has become almost bankrupt, a drunk Biswamber is very happy that he could effectively replicate his past glory to spite his neo-rich neighbour, Mahim.

However, as the night progresses, he observes that one by one the candles in the chandeliers of his music room are getting over, making the room dark. A frightened Biswamber linking the candle light-off to the end of his own life, calls his servant, Ananta who apprises him that the dawn is approaching. He would open the windows and the sunlight would make the room brightened. As the morning sun rises, in his last show of grandeur of his aristocracy, Biswamber mounts his favourite horse and rides at a faster pace away from the palace. But he is thrown out of the horse and dies at the banks of the river – the same river which is also responsible for the erosion of his land and the death of his wife and son.

The moral of the story is that though Biswamber knows that his fortunes are on the decline, he is not ready to adjust to the reality of the situation. Every effort is made to maintain his lavish spending even in the background of facing the adverse financial position. There is no need to compete in terms of prestige with the neo-rich, Mahim who has improved his economic condition by his business acumenship. On the other hand, Biswamber should have taken the clues from Mahim to diversify into some other business ventures. In both the cases – the decline of Zamindars and the emergence of non-Zamindar neo-rich, Satyajit Ray has very well explored human psychology of showmanship.

The highlight of the film is the superb performance by Chhabi Biswas in the role of an aged landlord. The entire film lies on his shoulder. It may be worthwhile to note that in reality, actor Chhabi Biswas belonged to an aristocratic family. He has personally witnessed the downfall of aristocracy. With this background, it comes naturally to him to perform his role of a falling aristocrat. In fact, there is so much of a genuineness in his performance that those who have watched the film would sympathise with him at the end of the film notwithstanding the fact that it is his ego and the false prestige which are responsible for his downfall.

One of the scenes in the film which I liked the most is when Biswamber enteres his jalsaghar (music room) for the first time after keeping it locked for some years. He spends about 5-6 minutes inside jalsaghar without any dialogue and the background music, observing each and every item – portraits of his forefathers, each and every chandeliers, furniture and fixtures etc. This scene reminds me of a similar scene in ‘Kaagaz Ke Phool’ (1959) when an aged Guru Dutt visits his studio and glances the entire studio, reminiscing of his glorious days as a successful director. He touches the camera and sits on his director’s chair in the dark studio never to get up.

Satayjit Ray has used the camera as well as the expression and gestures of the main actors to move forward the story of the film more than the dialogues. My guess is that of 100 odd minutes of the film, the dialogues in the film would have cumulatively consumed not more than 40 minutes. Ustad Vilayat Khan has used mainly Sitar and Flute for background music which goes well with the ambience of the palace as well as the genre of the story.

Like ‘Kaagaz Ke Phool’ (1959), ‘Jalsaghar’ (1958) had also the same fate of failure at the box office. The reviews of the film after its release in India were mostly adverse. It was only after a couple of years when the film was released in the US and the UK, it received a cult status. Over a period of time, the film has been one of the widely discussed classic films of Satyajit Ray like ‘Kaagaz Ke Phool’ (1959). In June 2018, the film was shown in the Siri Fort Auditorium, the only Indian classic film shown at Navras Duende World Film Festival.

‘Jalsaghar’ (1958) has two songs – both rendered in Hindustani classical raags. In addition, the film also has the 8-minute of Kathak dance by Roshan Kumari, the daughter of playback singer, Zohrabai Ambalewaali. I am presenting a traditional thumri ‘bhar bhar aayi mori ankhiyaan piya bin’ rendered by Begum Akhtar. The song is picturised on Begum Akhtar herself up to say 01:45 of duration. Thereafter, the actress singing the song is different until Begum Akhtar surfaces again towards the end of the song. However, the entire duration of the song is rendered by Begum Akhtar. The Thumri was set to music by Ustad Vilayat Khan.

The background of the song is that Biswamber Roy remembers his olden days when after the thread ceremony of his son, he had arranged a concert in the night in his jalsaghar where all the guests had been served with drinks. All the money spent for the event was raised by selling his wife’s jewellery.

The director’s camera captures many other details while the singer is rendering the Thumri. The camera pans over the entire jalsaghar to show the grandeur of the music room. The camera also captures other subsidiary activities simultaneously going on, both physically and mentally. The camera focuses on Chhabi Biswas who is shown to be listening very intensely. But behind the intensity, he is also thinking something else as his eyes remain static, probably remembering many such music soirees of the past. His neighbour, Gangapada Bose is inhaling snuff but at the same time, he is embarrassed as to whether any of the guests has noticed his action. The camera also captures him in trying to control his sneeze following inhaling the snuff and thereafter searching for a glass of drink.

This film, in my view, is a ‘must see’ for those who believe the films as the director’s medium and also for the excellent performance of Chhabi Biswas as an aged landlord.

Video Clip:

Audio Clip:

Song-Bhar bhar aayi mori ankhiyaan piya bin (Jalsaghar)(Bangla)(1958) Singer-Begam Akhtar, MD-Ustaad Vilaayat Khan

Lyrics

aaaaaa
aaa aa aa aaaa
aaa aaa aaaaaa
aaaa aaa aa
aaaaaaaaa aa
aaaaaaaaaaaaa
aa aa
aa aa aa aaaa
aaaaaaaaa
aaa aaa aaa aa
aa aa aa aa aaa aa
aa aa aaaa aa aaaa
ae bhar bhar aayin mori ankhiyaan
piyaa bin
bhar bhar aayin mori ankhiyaan
piyaa bin
bhar bhar
bhar bhar aa………yin
bhar bhar aa………yin
aa aa aa aaa aaa
ae ae ae
bhar bhar aayin aa aaa
bhar bhar aayin mori ankhiyaan
piya bin
bhar bhar aayin
bhar bhar aayin
aa……yi
aa……yi mori ankhiyaan
bhar bhar aayin mori
bhar bhar aayin mori ankhiyaan
piya bin

ghir ghir aayin…een een een…… een een
ghir ghir aayin..een kaari ee ee badariya aa aa
ghir ghir aayi..ee
aa…..aa….yi
ghir ghir aayin
o o ghir ghir
ghir ghir aa..yin een kaari ee badariya
dharkan laagi mori chhatiyaan
piya bin
dharkan laagi


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

Blog Day :

4370 Post No. : 15702

Today’s song is a special song from the film Mirza Sahibaan-1957. It is special because it is almost a 9 minute song – 8 minutes and 36 seconds, to be exact. There is one more-Punjabi- song in this film, which is about 6m 30s long. Today’s song is written by Verma Malik and the music is composed by Sardul kwatra- one of the 3 Sikh composers in Hindi films during that period ( the other two were G S Kohli and S Mohinder). His younger brother Bhagwant Kwatra was his assistant here.

Sardul Singh Kwatra was one of the very few Sikh Music Directors Hindi Films had. He was born in Lahore in 1928. He was educated and trained in classical music at Lahore. His teacher in music was Sardar Awatar Singh, who was quite famous in Lahore. Later Sardul singh joined Hansraj Behl as his assistant.

After Partition, his family first shifted to Amritsar and then to Bombay. The family established a film production company and started making films. Their first film was ‘Ek Teri Nishani”-49. Sardul singh was its MD, along with Pt. Amarnath and Vinod. Later he composed for ‘Jalte Deep”-50, with T.K.Das. His first independent film was “Man ka Meet”-50.
His family company wanted to make a Punjabi film “Posti”-50. Sardul got newcomer Shyama to be the Heroine. Shyama also acted in their second film “Kode Shah’-53. Their next Hindi film was ‘Goonj’-52, for which Sardul convinced Suriya to be its Heroine. He was its MD of course.

Sardul singh was a tall,well built and handsome person. Unfortunately his severe inclination towards beautiful women overpowered his talents. He used to proudly say, ‘I can not create good music without beautiful faces. ” He was aware of his looks and used it unabashedly to influence women.

When he was in Bombay, he requested Mohd. Rafi ( after this film) to let out the top floor flat in Rafi’s bungalow to him , since it was empty. Being a good and helpful man, Rafi agreed. When Rafi’s son’s marriage was fixed, he wanted his flat back, but Sardul kwatra refused to vacate. Those days, the Bombay Rent control act was in favour of the tenants, so Rafi had a lot of problems. After a few years, Sardul filed a criminal case also against Rafi, in this connection. Rafi suffered a lot because of this. Finally, while going to Chandigarh before shifting to the USA, Sardul Kwatra vacated the flat. This detailed story is described in ” aap ki parchhaiyan” a book by Rajnikumar Pandya ji.

He gave music to 22 Hindi and 13 Punjabi films. In 1970, he visited Chandigarh and established ‘Chandigarh Film Institute”. He left his wife and children and went to the USA with another good looking woman, in 1978. He got 2 children from this association. Sardul singh Kwatra died in the US on 6-7-2004.

India is a unique country in the world. ” Vividhata mein ekta” (विविधता में एकता ). A country which has 28 states and 9 UTs, 22 languages mentioned in its Constitution, 30 languages spoken by 30 lakh people each, 122 languages spoken by more than 10000 people each and 1652 languages spoken in all the country. So many religions are living amicably since thousands of years and still the country is ONE unit, when the Nation needs it. Disproving all the Pundits of the world saying that India will break into pieces after independence, we are stronger and more developed by the day. So, what is the secret ?

The secret is its Culture, which keeps all faiths and languages bound together. In India, Culture is greater than and a bigger influence than individual religions. The flexibility, adaptability and readiness to make changes by the majority section, is the secret. This makes India the biggest Democracy in the world today. The entire world looks up to us as a final Saviour.

Culture and Folklore have bound Indians together. In every state there are its own Folk tales, Folk Dances and Folk Music. Still, some common Folklore is all over the country. Though every region has its own Folklores, Lovers’ Folk lore from Punjab and Sind have been traditionally well known throughout India, e.g. Heer-Ranjha or Sohni-Mahiwal etc etc. Our films have a great contribution in keeping the country United and Together,despite calamities and aggressions. Some of the Folk tales of Love from Punjab and Sindh became well known due to films made on them.

There are 9 Tragic Love stories from Punjab and Sindh,in which both the lovers die without getting united. These 9 Love stories are-
Mirza-Sahiban
Heer – Ranjha
Sassi-Punnu
Momal-Rano
Umar-marvi
Sohni-Mahiwal
Lila-Chanesar
Noorie-Tamchi
Dhaj-Rorkumar (Unlike most pairs,in Mirza Sahiban,the Male name comes First !)
Indian film producers have helped spread these Immortal Love stories by making movies on them,as under-
Heer-Ranjha… Films made in 1931,32,48 and 1970
Mirza-Sahiban… In 1933,35,47 and 1957
Sassi-Punnu… In 1932,33 and 1946
Sohni-Mahiwal…In 1933,46,58 and 1984
Umar-Marvi…in 1942
Noorie-Tamchi…In 1934
Today’s film was directed by Ravi Kapoor, who directed 3 more films-Kala Chor-56,Chalta Purja-58 and Accident-65. The cast of the film was Shyama, Shammi Kapoor, Ram Singh, Madan Puri,Uma Dutt, Indira, Nazir kashmiri, Tun Tun, Daljit and many others.

Indira. This is a ‘Same Name Confusion’ artiste. During the silent Era and early Talkie period, there was one Indira Devi. Her real name was Effie Hippolet- an Anglo-Indian She acted in 24 silent films since 1927, but did only two Talike films-Al-Hilal-35 and Wamaq Azra-1935. Then there is the comedian fatty Indira Bansal who was operative from 1951 to 1981, and worked in 116 films. This Indira was different.

Indira, one of Punjabi cinema’s most popular leading ladies of the 1960s, was born on August 6, 1938 in northern India. Growing up in an aristocratic family in the Punjab village of Kharian, her family lost everything when they had to flee their home during partition to settle in Kanpur. In 1952 her family shifted to Bombay where an Elder brother ran a successful business.

Indira was noticed by the popular comedien Bhagwan while he was shooting a movie at Jagriti Studios, and she was put in the cast of his film Rangeela (1953). Raj Kapoor, who happened to be visiting the set of Rangeela, noticed Indira and later cast her as the daughter of a rich industrialist in his film Shree 420 (1955).

Indira continued to appear in supporting roles in major Hindi productions like Funtoosh (1956), Mirza Sahibaan-1957, Yahudi (1958), and Dil Deke Dekho(1959). She had just appeared as the lead in the low budget yarn Jungle Ki Duniya (1959) when she was cast as the heroine in a Punjabi film titled Yamla Jatt in 1960. This was followed that same year by two more Punjabi pictures, Do Lacchian and Kiklee. All three films were very successful.

Returning to Hindi language movies, she found herself much in demand for B-films with colorful titles like Maya Mahal (1963), Jungle Boy (1963), Tarzan Aur Jadugar (1963), Pahadi Nagin (1964), Arab Ka Lal (1964), Son of Zimbo (1966), Sheba and Hercules (1967), Tarzan in Fairyland (1968) and CID Agent 302 (1968), sometimes playing the heroine, but more often than not as a vamp or villain. Occasionally she would snag a nice supporting role in a major production like Do Dil (1965) or Mere Huzoor (1968), and she still continued to star in Punjabi fare.

Sometimes billed as Indira Billi (her real name was Indira Kaur) she was interviewed in 1963 for Picture Post magazine where she talked about her beginnings: “I had not the good fortune of stepping into films and finding myself a heroine right from the start as had been the case with many glamour girls these days. It was a life of toil and tears, fighting every inch, every day, and month after month. Sometimes I was fed up, felt tired of the ceaseless struggle to make my presence felt. With the struggle for existence keen and with not enough money, those early days were none too happy for a girl aspiring for a respectable place in the film world, let alone stardom. Sometimes I had my misgivings whether I was right in coming into films. Some kind of inferiority complex took hold of me and I thought several times that I would never become a star.” Indira married cinema owner Shiv Kumar in the early to mid-1960s and left the film scene in the early 1970s.

The story of the film Mirza Sahibaan-57 was….

Sahiba’s father (Uma Dutt) is Mirza’s mother’s brother (making them cousins). She brings Mirza for an extended visit to her family home, a visit cut short when Sahiba’s mother (Gulab) throws a fit over her young daughter’s budding relationship with Mirza, who for some reason is not considered worthy of her. Mirza adamantly refuses to leave his Sahiba when his insulted mother packs up her bags and goes.

Her sad-sack hen-pecked brother promises to take good care of Mirza, although how someone so lacking a spine can possibly protect a kid who is clearly not wanted is beyond me. Anyway, Sahiba and Mirza become inseparable and grow into young adults (Shyama and Shammi Kapoor) who adore each other. The little cocoon of love that surrounds them is constantly under attack by Sahiba’s brothers Mir (Ram Singh) and Shamir (Madan Puri) in addition to her mother, but the pair remains steadfast (although they spend a lot of time talking about their willingness to die for one another, never a good omen).

In addition to Sahiba, Mirza has a passion for his white mare and his bow and arrows and is a crack shot. This endears him no further to his nasty cousins, and his love for Sahiba is also a thorn in the side for the local barber and matchmaker Umara (?) who stands to lose a commission if the young lovers marry each other. When Sahiba persuades Mirza to take her to a local fair, Umara takes the opportunity to create trouble.

Umara informs Mir and Shamir that Sahiba is at the fair with Mirza. Infuriated, they track him down and beat him mercilessly, although not as mercilessly as Sahiba’s mother when they all reach home. She throws Mirza out of the house and locks Sahiba in her room. Sahiba’s father quickly accedes to his wife’s wishes that he get Sahiba married into the wealthy Choudhary family (who happen to be her relatives) nearby, and Umara is called in.

Sahiba, unable to escape her mother’s eagle eye, asks her friend Mora to take a message to Mirza, who is now homeless and despondently considering suicide.

Mora saves him from jumping off a cliff, and he goes to stay with their aunt, Bibo.

Umara the matchmaker now becomes very busy, going first to fix Sahiba’s marriage with the son of Choudhary Sahab (Nazir Kashmiri), and then to Mirza’s parents’ house, where he tells them how mistreated Mirza has been. Mirza’s mother asks him to plead with Mirza to return home—which he doesn’t have to do because Bibo is already suggesting it to Mirza. She relents though in the face of Mirza’s devotion.

He agrees to return to his parental home if Bibo will bring Sahiba to him to say goodbye, which she does. He promises to return for Sahiba, and she says that she will send word when her wedding date is fixed so that he can save her. I am not clear how this will work out better than if they just leave right now, but it’s not my plot. Sahiba’s wedding is eventually fixed for the same day as Mirza’s sister Chatti’s, and Bibo sends a message to Mirza.

Mirza receives the message, and races away on his trusty white mare to rescue Sahiba from her wedding. He runs away with her.

The end- The opposite party follows Mirza and Sahiba and kills Mirza. Sahiba commits suicide and both die in each other’s arms.

(For this post, I thank Wikipedia, Mike Barnum’s Blog, HFGK, memsaabstory.com and my notes.)


Song-Subah uthh ke Mirze yaar ne Sahibaan ka le liya naam(Mirza Saahiban)(1957) Singers-Rafi, Shamshad Begam, Lyrics-Verma Malik, MD-Sardul Kwatra
Male chorus
Female chorus
All chorus

Lyrics

haddipa
haddipa
haddipa
haddipa
hey

ho o o
ho ho ho ho
subah uthh ke mirze yaar ne
sahibaan ka le liya naam
ghar ghar mashoori ho gayi ee
gali gali hua badnaam
ho o o o
o o o o
tera chori chori pyaar thha
ab aage sare aam
ho ho ho ho ho ho ho
kya jaane mirza sahibaan
ab kya hoga anjaam
khha liya beliya toone aam

aaha
aaha
aaha
aaha
aaha
aaha

hey kudiya ne
hey kudiya ne
hey kudiye ne

balle balle balle
hey mundaiy ne
hey mundaiy ne
hey mundaiy ne

ho sadqe
hey kudiya ne ?? kudiyaa waali ??
hurr
hey munde
shahar de gunde
baaj na aawan

aa hahahahaha
Hey kudiya ?? kudiyaa ho ?? dil churaawan
ho sadqe
Hey munde
shahr ke gunde
baaj na aawan

hurr
mohe le de dupatta malmal ka
ho rang zara halka
?? kal ka
?? karo kal ka
oye soniya aa
oye beliya

mohe le de dupatta malmal ka
ho rang zara halka
ho rang zara halka
ho soniya
hoy beliyaa

ho tu le ke dupatta jab aayegi ee ee
tu le ke dupatta jab aayegi
ho bindiya lagaayegi
najar lag jaayegi ee
ho soniye ae
ho heeriye
hey kudiya ni ?? kudiya
?? dil churaawan
ho balle balle balle
hey munde
shahr ke gunde
baaz na aawan

aa mil gale
duniya jale
duniya se chalen door hum
hai waasta
ab raastaa
chhodo jee ye majboor??

haaye
dil le liya aa aa aa
gham de diya aa aa
dil le liya aa aa
gham de diya
bedardi
gham de diya

ho mujhe dil ki
banaa le jee malika
bharosa nahin pal ka
na waada karo kal ka
oy soniyaa aa aa
oye beliyaa

oye kudiye ni ??
?? dil churaawan

hoye sadqe
Hey munde
shahar ke gunde
baaz na aawan

ke rang dhingrang
ke rang dhingrang
ke rang dhingrang

ke rang dhingrang
ke rang dhingrang
ke rang dhingrang

haathhon mein haath
?? ke kangan
?? rang

balle balle balle balle
?? chunari rang birangi ke ho gaye ??
ab ??

ke rang dhingrang
ke rang dhingrang
ke rang dhingrang

ho gori
jab se chali gayi dhali ho hamko

ho balle balle
to humko dard judaai mili
?? kaun hamaara
ab chale na chaara
ke rang dhingraari
ke rang dhingraari
ke rang dhingraari
ke rang dhingraari

shehron mein se shahar anokha
shahar hai ek Ambaala
ho Ambaale ki ek sundari
rang thha uska kaala
punjaab ke chhaile ne ae ae
is Punjaab ke chhaile ne thha usko jaadoo daala
chala gaya wo tod ke dil ko
bholi soorat waala
ab kahaan jaayegi haan
pher baithh ke maala
ab kahaan jaaogi
pher baithh ke maala
ab kahaan jaaogi
pher baithh ke maala
ab kahaan jaaogi
aa hahahaha

sadak kinaare ek chhokra
khada thha najar jamaaye
Raaja ki ek ladki dekhi
dekh ke bola haaye
kehne laga dil khaali hai

aay haay
kehne laga dil khaali hai
koi ismein aaye
ik ladki ne khol ke joote
sar pe khoob jamaaye
ro ro bole wo

koi mujhe banchaaye
ro ro bole wo
koi mujhe bachaaye
ro ro bole wo
koi mujhe bachaaye
ro ro bole wo o
aahaa


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 : 4368 Post No. : 15700

While covering songs on most days, I do not feel much pressure. The only pressure on me is that the day should not end up as a DOT day. I make sure that at least one writeup appears on the blog every day. Fortunately there has been no DOT days this year. The last DOT day of the blog was in December 2019.

The other “pressure”, apart from that of avoiding DOT day, is to make sure that guest posts are published within a day or so. If there is too much delay in publishing them then it may lead to avoidable misunderstanding. Then there is pressure of publishing articles that are topical (having to do with anniversaries, special days etc) which must be published on the appointed day otherwise they lose their relevance.

When it is a question of publishing one post to avoid DOT day, I am happy just being able to publish a bare bones article, an article that hardly has any details other than the most basic information, a far cry from some of the three thousand words plus writeups in the blog. A few of the special occasion writeups are also like that. Guest posts are “easy” because all the hard work is already done by others. It is articles by me on special occasions that put me under pressure. If I am aware of the special occasion well in advance then I am mentally prepared, but if I become aware of the special occasion only on the day when it arrives, then I am in “trouble”. It happens with me in case of many of the anniversaries, seeing that I am not very good in remembering such dates.

Then there are some many days, like Mother’s day, Father’s day, Doctor’s day, Chocolate day and other such largely artificially created days that one becomes aware of only in the morning when one starts the computer and open the search page viz google. And there is some special google doodle staring at you, informing you that it was “Milk” day on that day ! I became aware of “milk” day on the morning of 1st June 2020. I felt that I needed to write an article on the occasion. Much of my day was spend thinking about an appropriate song, because there were very few songs on milk. Then it struck me that milk products qualify as well. And there are so many Hindi film songs on “Maakhan” (butter). We in India even have a God (Lord Krishna) who is the brand ambassador of “Maakhan”. It was already afternoon when this idea struck me and then I started typing out my writeup on the topic. This article finally appeared on the blog in the afternoon at 16:39 IST.

I feel the most “pressure” when the blog reaches its nervous nineties. It means that we need to have a special song as our blog century song. Nowadays, we are barely going at the rate of two or three songs in a day and we do not seem to able to muster the kind of creative writing juices that seemed to flow in abundance till a few years ago. Those days, people would start eagerly anticipating the moment. They would sometimes even stat guessing the song, taking hint from the tallies of various artists in the blog, or basing their guess on the anniversaries to come.

Those days are behind us. Those days we were galloping at Rajdhani express speed, reaching a century in 16 days. These days we are crawling at the speed of a passenger train, reaching centuries in over 50 days.

Just like in case of special occasion songs, I obviously has to think of an appropriate song for the blog century song. The song must be a “special” song befitting the special occasion. As in the case of other “special” occasion songs, this special occasion also puts me under pressure. This time the pressure is of my own making because I myself do not pay attention to the matter in time, and start worrying about it only at the last moment.

I was aware that we are reaching out 157th century, viz song post number 15700, but it was only yesterday (2nd July 2020) when I finally realised that the century post had to be inevitably posted on 3rd July 2020, if I had to ensure that this occasion did not clash with other special occasions viz anniversaries etc.

Like on many similar blog century occasions, I have chosen a “special” song as the blog post number 15700 of the blog. This song can be described as belonging to the category of rare songs, that few people may have heard of. Forget the song, one may not even have heard the name of the movie. The movie is called “Safed Ghoda Kaala Sawaar”(1960) aka “Black Rider”(1960). It was directed by Mehmood (same as the comedian or someone else ?) for Screenarts Bombay. The B grade obscure movie had Kamran, Krishnkumari, Habeeb, Shaam, Najma etc in it. HFGK mentions five songs for this movie.

One song from this movie has been covered in the past. Here is the second song from “Black Rider” (1960) to appear in the blog. The song is sung by Balbir and Minu Prushottam with chorus. Naqsh Llayalpuri is the lyricist. Music is composed by Harbans.

The song is a qawwaali and sounds wonderful to listen to. But while most qawwaalis are quite long, this qawwaali ends after three minutes , after just two stanza, with the listeners wanting more. I wonder if this song was originally longer and only three minutes long version of the qawwaali was released on record. I request our knowledgeable readers to thow light on the movie as well as on the picturisation of the song.
[Ed Note: As Sudhir ji points out in his comment, the full song is double the length – it is 6+ minutes and appears on two sides of a 78 rpm record. Whoever has uploaded the song did not take care enough to upload the full song. Sudhir ji has now uploaded the full qawwaali and updated the lyrics.]

With this extremely rare song, the blog reaches another century in the blog. This century took 53 days. Now that we are onto song post number 15700, the next magic number 16000 appears near by. Hopefully we will reach that big landmark in a matter of another few months.

With this post done, now I feel free to post next few articles without much pressure, before it would be time for the next important events for the blog, viz blog anniversary (which falls in july itself) etc.

I take this opportunity to thank one and all for their continued support in helping this musical bandwagon keep chugging along merrily. Many more musical gems still lie ahead that we need to explore and savor.

Song – Husn Waale Khilauna Jaan Ke Dil Tod Dete Hain (Black Rider)(1960) Singers – S Balbir, Meenu Purushottam, Lyrics – Naqsh Llayalpuri, MD – Harbans
Male chorus
Female chorus

Lyrics

aa aa aa
haseenon ki adaaon ne
hazaaron ko mitaa daala
kisi ko kar diya ruswa
kisi ka ghar jalaa daala

husnwaale khilauna jaan ke dil tod dete hain
husnwaale khilauna jaan ke dil tod dete hain
nazar se loot lete hain
tadapta chhod dete hain
ishq waale laga kar aag daaman chhod dete hain
ishq waale laga kar aag daaman chhod dete hain
ye zaalim berukhi se dil ka sheesha tod dete hain
ishq waale laga kar aag daaman chhod dete hain
ishq waale laga kar aag daaman chhod dete hain

kabhi palken jhukaa ke aur
kabhi zulfon ko bikhraa ke
aa aa aa
kabhi nazren milaa ke aur
kabhi aanchal ko lehraa ke
aa aa aa
dilon ko loot lete hain
dilaason per hi behlaa ke
tamaasha dekhte hain phir
tadapte dil ko tadpaa ke
sahaara dene se pehle
sahaare chhod dete hain
sahaara dene se pehle
sahaare chhod dete hain
nazar se loot lete hain
tadapta chhod dete hain
husnwaale khilauna jaan ke dil tod dete hain
husnwaale khilauna jaan ke dil tod dete hain

hamaara naam bhi badnaam
kar daala zamaane ne
haa..aa..aan
ghazab ki talkhiyaan bhar di
mohabbat ke fasaane mein
bade hi tez hain ye ishq waale
dil lagaane mein
basa ke apne haathon
pyaar ki basti mitaane mein
ye aise raahbar hain jo bhatakta chhod dete hain
ye aise raahbar hain jo bhatakta chhod dete hain
ye zaalim berukhi se dil ka sheesha tod dete hain
ishq waale laga kar aag daaman chhod dete hain
ishq waale laga kar aag daaman chhod dete hain

haa..aa..aa..aan
bade masoom bantey hain
bahut hoshiyaar hotey hain
haa..aa..aan
sambhal paate nahin wo
jin pe inke waar hotey hain
ye zaalim ishq waale
kis qadar ayyaar hotey hain
jo in se dil lagaate hain
bahut bezaar hotey hain
mohabbat ka haseen rishta ye pal mein tod detey hain
mohabbat ka haseen rishta ye pal mein tod detey hain
nazar se loot lete hain
tadapta chhod dete hain
ishq waale laga kar aag daaman chhod dete hain
ishq waale laga kar aag daaman chhod dete hain
aaa aaa aaa aaa aaaaa
aaa aaa aaa aaaaa
husnwaale khilauna jaan ke dil tod dete hain
husnwaale khilauna jaan ke dil tod dete hain
aaa aaa aaa aaa
aaa aaa aaa aaa
ishq waale laga kar aag daaman chhod dete hain

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

आ आ आ
हसीनों की अदाओं ने
हजारों को मिटा डाला
किसी को कर दिया रुसवा
किसी का घर जला डाला

हुस्नवाले खिलौना जान कर दिल तोड़ देते हैं
हुस्नवाले खिलौना जान कर दिल तोड़ देते हैं
नज़र से लूट लेते हैं
तड़पता छोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं
ये ज़ालिम बेरुखी से दिल का शीशा तोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं

कभी पलकें झुका के और
लाभी ज़ुल्फों को बिखरा के
आ आ आ
अभी नज़रें मिला के और’
कभी आंचल को लहरा के
आ आ आ
दिलो को लूट लेते हैं
दिलासों पर ही बहला के
तमाशा देखते हैं फिर
तड़पते दिल को तड़पा के
सहारा देने से पहले
सहारा छोड़ देते हैं
सहारा देने से पहले
सहारा छोड़ देते हैं
नज़र से लूट लेते हैं
तड़पता छोड़ देते हैं
हुस्नवाले खिलौना जान कर दिल तोड़ देते हैं
हुस्नवाले खिलौना जान कर दिल तोड़ देते हैं

हमारा नाम भी बदनाम
कर डाला जमाने ने
हाँ॰॰आँ॰॰आँ
ग़ज़ब की तल्खियाँ भर दीं
मोहब्बत के फसाने में
बड़े ही तेज़ हैं ये इश्क़वाले
दिल लगाने में
बसा के अपने हाथों
प्यार की बस्ती मिटाने में
ये ऐसे राहबर हैं जो भटकता छोड़ देते हैं
ये ऐसे राहबर हैं जो भटकता छोड़ देते हैं
ये ज़ालिम बेरुखी से दिल का शीशा तोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं

हाँ॰॰आँ॰॰आँ॰॰आँ
बड़े मासूम बनते हैं
बड़े होशियार होते हैं
हाँ॰॰आँ॰॰आँ
संभाल पाते नहीं वो
जिनपे इनके वार होते हैं
ये ज़ालिम इश्क़ वाले
इस कदर अय्यार होते हैं
जो इनसे दिल लगाते हैं
बड़े बेज़ार होते हैं
मोहब्बत का हसीं रिश्ता ये पल में तोड़ देते हैं
मोहब्बत का हसीं रिश्ता ये पल में तोड़ देते हैं
नज़र से लूट लेते हैं
तड़पता छोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं
आ आ आ आ आ
हुस्नवाले खिलौना जान कर दिल तोड़ देते हैं
हुस्नवाले खिलौना जान कर दिल तोड़ देते हैं
आ आ आ आ आ
इश्क़ वाले लगा कर आग दामन छोड़ देते हैं


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.

Blog Day :

4368 Post No. : 15697 Movie Count :

4327

Hindi songs in Bangla Films – 33
————————————–

Music Directors, Ravi (Ravi Shankar Sharma) and Hemant Kumar (Hemant Mukherjee or Hemant Mukhopadhyay as he is known in Bangla films industry) had an interesting and collaborative partnership in the 1950s. As revealed in his multiple TV interviews, Ravi came to Mumbai in 1950 to become a playback singer. He started as a chorus singer and his first song as a chorus singer was for zara jhoom le jawaani ka zamaana in ‘Naujawaan’ (1951).

Hemant Kumar got his first Hindi film assignment as a music director in Filmistan’s ‘Anand Math’ (1952) in which Ravi got a chance as a chorus singer for the song vande maataram. Hemant Kumar seems to have found Ravi as a knowledgeable and resourceful person having good command over Hindi and Urdu, the latter being the weak points for Hemant Kumar. So, he appointed Ravi as his Music Assistant. What I have gathered from the TV interviews is that Ravi had become Hemant Kumar’s man Friday. Whenever Hemant Kumar found some ‘musical resources gap’, it was Ravi who would step in to fill the gaps – be as a musician, lyricist and singer and apprising him of the nuances of Hindi and Urdu words in lyrics.

One of the best collaborative efforts of Hemant Kumar with Ravi as his Assistant Music Director was in ‘Naagin’ (1954). All the songs of the films were super hit and Hemant Kumar won Filmfare’s Best Music Director’s Award for the film. In one of the film’s songs, Hemant Kumar did not want to use the Been as an instrument but he wanted the sound of the Been. Ravi came forward to compose the Been music on Harmonium which was played on Clavioline (a keyboard music instrument) by Kalyanji to produce Been like sound. The Been music was created on the tune of mera dil ye pukaare aaja and used in mann doley mera tann doley. The songs with Been music became so famous that HMV came out with a gramophone record covering only the Been music for which Ravi was given credit for composing the Been music.

Hemant Kumar was very much inspired by an East Bengal folk song ‘Allah megh de paani de chhaaya de tui’ which was made very popular by S D Burman when he sang this song in Jodhpur Music Festival held sometime in mid-1940s. Hemant Kumar wanted to use this folk tune in one of the songs of ‘Naagin’ (1954). But Ravi did not want the song to sound like folk tune. So, he played a variation of the mukhda tune on his harmonium based on the folk tune which Hemant Kumar liked and incorporated in the song chhod de patang meri chhod de. Only listeners of Hindi film songs with keen ears could have made out that this song was based on a folk song referred to above. At least, I can say for myself that I did not realise this fact until Ravi himself had revealed this in one of his TV interviews, despite the fact that I was aware of allah megh de paani de used in ‘Guide’ (1965) by S D Burman and I also knew that it was partially used in de de pyaar de pyaar de pyaar de re by Bappi Lahiri.

One more instance where Ravi came as a filler for Hemant Kumar’s muscian was on the day of the recording of the song na ye chaand hoga na taare rahenge for ‘Shart’ (1954). The musician playing the Clavioline did not turn up for recording. Since it was the main instrument to be used for prelude and interludes, Hemant Kumar decided to cancel the recording. But Ravi stepped in and offer to play the Clavioline. Thus, the song recording was completed as per schedule with Ravi playing the Clavioline.

During his association with Hemant Kumar, Ravi also stepped in as one-song lyricist in ‘Bandish’ (1955), ‘Arab Ka Saudagar’ (1956), Hamaara Watan’ (1956) and ‘Bandi’ (1957). Ravi as an Assistant Music Director also sang under Hemant Kumar in ‘Daaku Ki Ladki’ (1954), ‘Bahu’ (1955), ‘Lagan’ (1955), ‘Arab Ka Saudagar’ (1956), ‘Laalten’ (1956) and ‘Yahudi Ki Ladki’ (1957).

Ravi worked with Hemant Kumar as Assistant Music Director in 22 films during 1954-57 which included ‘Shart’ (1954), ‘Jaagriti’ (1954), ‘Naagin’ (1954), ‘Bahu’ (1955), ‘Bandish’ (1955), ‘Inspector’ (1956), ‘Ek Hi Raasta’ (1956), ‘Durgesh Nadini’ (1956), ‘Yahudi Ki Ladki’ (1957), ‘Ek Jhalak’ (1957), ‘Champakali’ (1957) etc. During this period, Ravi also got assignments as an independent music director in ‘Vachan’ (1955). ‘Albeli’ (1955), ‘Prabhu Ki Maya’ (1955), ‘Ayodhyapati’ (1956), ‘Ek Saal’ (1957) and ‘Narsi Bhagat’ (1957).

The association of Hemant Kumar and Ravi ended sometime in 1957, when the former advised Ravi to look for independent assignments as a music director. Hemant Kumar he felt that working with him as Assistant Music Director for a long time would restrict his musical career. Though Ravi was not keen to leave his association with Hemant Kumar, he saw logic in his mentor’s advice and parted his fruitful association with him. However, Ravi did not have to struggle to get his independent assignments as three of the production banners – Devendra Goel, S D Narang and Nadiadwala with whom he had worked as Assistant Music Director for Hemant Kumar, engaged him as music director for their films. After the success of his music in ‘Chaudhvin Ka Chaand’ (1960), Ravi never looked back in his musical journey. Before and after parting of their association, as per my counting, Hemant Kumar sang least 22 songs under the music direction of Ravi.

Hemant Kumar and Ravi also collaborated in a Bangla movie, ‘Shesh Parichaya’ (1957), where Ravi was associated as a lyricist for two Hindi songs in the film. These two songs are ‘chal aisi jagah ae dil’ and ‘jhoom jhoom kar gaa le’, both rendered by Lata Mangeshkar. Unfortunately, the film is not available for viewing online on any of the video sharing platforms. I do not have any idea about the story of the film. Whether the film ‘Shesh Parichaya’ (1957) has any connection with a novella of the same title written by Sharatchandra Chattopadhyay is difficult to guess. The only available information on-line is that the film was directed by Sushil Majumdar and Basanta Chaudhury, Sabitri Chatterjee and Chhabi Biswas acted in the film. Hemant Kumar was the music director.

I am presenting first of the two Hindi songs from “Shesh Paricay”, viz. ‘chal aisi jagah le chal’ sung by Lata Mangeshkar. The song reminds me of chali jaa chali jaa chali jaa from ‘Ham Log’ (1951).

Audio Clip:

Song-Chal aisi jagah ae dil (Shesh Parichay)((Bangla)(1957) Singer-Lata, Ravi, MD-Hemant Kumar

Lyrics

chal aisi jagah ae dil
jahaan zulm-o-sitam na ho
jahaan chain miley tujhko
chal aisi jagah ae dil
jahaan zulm-o-sitam na ho
jahaan chain miley tujhko
chal aisi jagah ae dil

bedard hai zamaana
tera saath kaun dega
tere gham ki daastaan ko…o
koi nahin sunega
bedard hai zamaana
tera saath kaun dega
tere gham ki daastaan ko..o
koi nahin sunega
seene mein daba le tu
iss gham ke fasaane ko
kehna na zamaane ko
chal aisi jagah ae dil

duniya ne aaj tujhse
badlin hai jab nighaahen
tu bhi zara badal de ae
ye zindagi ki raahen
duniya ne aaj tujhse
badlin hain jab nighaahen
tu bhi zara badal de ae
ye zindagi ki raahen
taqdeer bani dushman
jab tere mitaane ko
ghar tera jalaane ko
chal aisi jagah ae dil
jahaan zulm-o-sitam na ho
jahaan chain miley tujhko
chal aisi jagah ae dil


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

Blog Day:

4361 Post No. : 15684

Today’s song, rather a beautiful Bhajan, is from the film Bhagwat Mahima-55. Earlier 3 songs/Bhajans of this film are discussed here, so it will be the 4th Bhajan from this film to appear here.

The film was made by Filmistan. It was directed by a veteran All-rounder Vithaldas Panchotiya and the music was composed by Hemant kumar- who was famous for creating Bhajans in films.

Hemant Kumar’s associaton with Filmistan started with the film Anand math-52. Director Hemen Gupta recommended his name to S.Mukherjee at that time. Having heard Hemant’s name for his Bangla songs, Mukherjee accepted his name. Earlier C Ramchandra had left Filmistan during the making of film Shabistan-51, due to the interference of his old tormentor Bibhuti Mitra, the film Director.(He was called for the film Anarkali again, after Basant Prakash had left halfway).

Hemant did many films for Filmistan like Shart-54, Samrat-54,Nagin-54, Jagriti-54, Bhagwat Mahima-55 and Durgesh nandini-56. When Hemant was asked to make music for the film Nagin, an interesting event happened. S.Mukherjee had never worked with Master Bhagwan, but he had immense faith in Bhagwan’s Music sense. Most times Mukherjee used to ask Bhagwan’s advice on song tunes of his films. One day, C Ramchandra hosted a party at his bungalow-Sai prasad, Dadar, to celebrate Silver jubilee of film Albela. When the party was in full swing, on the IIIrd floor terrace, Mukherjee called Bhagwan aside and asked him to come with him to the ground floor. Bhagwan was surprised, but without questioning, he accompanied him to the ground floor. There he saw a young man with a Harmonium. Mukherjee said,” Dada, listen to these tunes and give me your opinion.” Then he turned to that young bespectacled man and asked him to play his song tunes. After listening to the tunes, Bhagwan looked excited and said,” My God, kya superb tunes hai ye. Sab gaane hit honge”. That was Hemant Kumar with Nagin Tunes ! Needless to say that Mukherjee passed all tunes.

The decade of 1950s, besides being a part of the “Golden Era” of Hindi film music, also was a very favourable period for Religious films. This was a decade in which maximum number of Mythological/Religious films were made – a record number of 124 films in 10 years’ time. This gave an unprecedented average of One film every month for 10 years at a stretch ! This was a period when joint families still existed and there were many senior citizens in almost every family-who were keen on seeing religious films. The TV had not yet arrived and stage dramas were relegated to the second place in entertainment for families.

During the 1960s and the 1970s, the number of Religious films dwindled, as a variety of topics were handled by films – including the New Wave films, which focused on different issues of the Middle class Indians.

Film Bhagwat Mahima-55 was based on Bhagwat Puran stories. Out of all the 18 Puranas of Hindu religion, Bhagwat Puran is the most popular and most read scripture. It contains 18000 Shlokas in 12 Cantos or Chapters and has stories about Lord Shri Krishna and his devotees. Bhagwat puran has 3 main sections, which emphasize about 1) Bhakti Yog or the Spiritual path to God, 2) Dnyaan Yog or the Wisdom Path and 3) (Nishkaam) Karm Yog or the Virtuous Action Path (without expecting fruits thereof). The entire Puran is about Krishna from his birth to his exit from this world and stories about events and people connected with him throughout his Mortal life.

Hemant Kumar (16-6-1920 to 26-9-1989) excelled in religious films, with his melodious music,often sung in his own voice. Looking at his career statistics, he was more successful as a Singer in Hindi films than as a Music Director. He sang 320 songs in 173 films, while he gave music to only 55 films, composing 423 songs, in his career. I simply love his songs, especially his duets with Lata and Geeta Dutt.

When he first came to Bombay in 1951 to score music for film Anand Math-52, he had a problem with Hindi language pronunciations. As a professional, it is to his credit that he tried hard and successfully corrected his Hindi, while retaining the characteristic Bangla sweetness in his voice. Lata had once said,” when Hemant Kumar sings, you feel a Sadhu is singing !”. Hemant Kumar usually wore a Dhoti and Kurta. His voice was typically different and by nature he was a thorough Gentleman.

The director of this film was Vithaldas Panchotiya. Except those readers, who have a knowledge of early era Hindi films, it is unlikely that other readers might have even heard this name. In the early era, when the studio system was firmly established, the artistes employed by the studio had no specific duties. Anybody and everybody had to do what was needed by the company. Due to this many capable artistes became all rounders in film making.

Vithaldas Panchotiya was certainly one such person. He has been a Producer, Director, story writer, dialogue writer, screenplay writer, lyricist, Singer, Music Director and God knows what else !

Born in October 1906 in Vadnagar in Gujarat, he followed his father’s footsteps. His father worked in stage dramas and toured with the drama company. From the age of 8 years Vithaldas started acting in dramas. Later he joined Calcutta’s Alfred Drama company, owned by Madon Theatres Limited. He worked on a salary of Rs. 35 pm. While working in dramas, he established his own Gujarat Film company and produced 12 silent films in 10 years. Vithaldas first acted in silent film ‘ Dhruv charitra’-1921. He learnt dance and music too. He acted , directed, sang songs and gave music also. He acted in Talkie film ” Muflis Ashiqe”-1932, claimed to be India’s first comedy film. He acted, sang and composed music for this film.

Being a staunch Gandhian, he used to participate in rallies etc. Some of his films were Hindustan-32, Insaf ki Tope-34, Gaibi Gola-35 ( he was the writer and the director too.He gave a break to Baby Noorjahan in this film.), Khudai Khidamadgar-37 aka Garib ki Tope, Takdir ki Tope-38 etc . As per one source, he acted in 35 films, directed 10 talkie films, sang 8 songs, gave music to 1 film and wrote Lyrics to 2 films. Additionally story, dialogues and screenplay writing were also done by him. Some of his films were, Shaikh chilli-37, Khush naseeb-46, Prabhu ki maya-55, Ghar ki numaish-49, Karmaveer-38, Raman-54, Jagriti-54, Hum sab chor hain-56, Basant 60, Bhagvat mahima etc.

I find it very difficult to know exactly how many films he did in various capacities in the 1930s, as there are conflicting claims by him and Master Fida Hussain. In a few cases the details in HFGK and what he claims, gets contradicted. Some of his films in the 40s are Ramanuj-43, Giribala-47, Grihalaxmi-48, Ghar ki Numaish-48 ( released only in 1962, with the title ‘ Jai ho muhabbat ki ‘ )

Thanks to information and statistical data provided by Shri Harish Raghuwanshi ji of Surat, we know that his Filmography consists of a total 11+ 26 films. The break up is-

11 silent films
25 Talkie films as Actor and 1 film as a writer only.
9 films as a Director
2 films as Lyricist and
2 films as Music Director
As per Muvyz data, he sang 37 songs in 8 films.

from 1951 to 1960, he did 13 films- mostly ( 9) for Filmistan. He directed 2 of them. After 1960 his work was reduced. The death of his 3 sons broke him emotionally. As a true Gandhian, it was his dream to make a film- Gandhi Sangram- on mahatma Gandhi. He had done all the spade work and the Muhurat of shooting was also done on 2-10-1987, The Government had promised finance. Even Rajiv Gandhi promised him that. However nothing came to him and he died on 30-10-1996, with his dream unfulfilled.

His daughter Shradha used to work in Gujarati films. She too died in a Train accident in 2000. Her daughter Deepshikha is an actress.

The story of the film Bhagwat Mahima-55 is……

Nagar Seth, a rich man living in one of the gayest cities of India, had everything he wanted in life with one exception. And that was his having no children. His wife, Shanta, consoled him by saying that it was better not to have a child rather than have one who would ruin the fair name of the family by his mis-deeds. She narrated to her husband the story of Sukhram who served his son for three generations in the forms of a bull, a dog and a serpent, even though he could have gone to heaven without doing this service. His son, however, ill-treated the father throughout. Anyway, the story failed to impress Nagar Seth.

One day Shri Jagat Guru Shankaracharya happened to pass through the town. Shanta, who was a disciple of his, requested him to console her husband. In doing so, Shankaracharya narrated a story from the Immortal Classic, Shrimad Bhagvat, wherein Atmadev, also placed in similar circumstances, prayed for a child. Doing penance, Atmadev had `darshan of Narad Muni who gave him a fruit saying that his wife would beget a noble son if she ate the fruit. . Atmadevs wife had no faith in miracles and, on the advice of her sister, Ganga, gave the fruit to her cow.
Ganga, who was expecting a baby, offered her child to Dhundhuli (Atmadevs wife) for some consideration. Thus, Atmadev was made to believe that Ganga’s child was his own. He was named Dhundhukari.

At the same time, the cow which had eaten the fruit, also gave birth to a son who was human in every feature except his ears which were shaped like cows. This boy was also brought up by Atmadev and named “Gokarn”.

Both the boys grew up together and, in due course, became young men. Gokarn, who led a pious and righteous life, became a learned and famous man. Dhundhukari, on the other hand, grew up in bad ways and became the terror of the town. . One day, Dhundhukaris real father, i.e.Ganga’s husband, told Atmadev about his son’s real identity. This so much upset Atmadev that he went away into the forest. There, later, he lost his life.

Champa, a helpless girl and one of the many victims of Dhundhukari, conspired with some of her friends and killed Dhundhukari. Because of his manifold sins, he then became a wandering ghost. . Gokarn, who had now become a Mahatma, was at Gaya offering `Pind Dan to his deceased father when he learned about Dhundhukari’s fate. To relieve him of his ghostly existence, Gokarn offered `Pind Dan not once, but 108 times. Still, he was not successful. He then offered prayers to Suryadev on the advice of learned pandits. Suryadev, pleased with the prayers, blessed Gokarn and asked him to recite Shrimad Bhagvat for the salvation of Dhundhukari’s ghost.

Today’s Bhajan is sung by Hemant Kumar. It is a very good Bhajan rendered equally nicely by Hemant Kumar. I like it very much. You too will.


Song-Digant Nath devta anant roop sohta (Bhagwat Mahima)(1955) Singer- Hemant Kumar, Lyricist-Sarswati Kumar Deepak, MD- Hemant Kumar

Lyrics

om Japakusuma Samkaasham Kashyapeyam Mahadhyuthim
?? Tamorim Sarva Paapaghnam Pranathosmi Divakaram

Digant Nath devata
anant roop sohta
tamas kiran anek se
?? vishw paalate
Digant Nath devata
anant roop sohta
tamas kiran anek se
?? vishw paalate
Digant Nath devata

kripaalu Ravi kripa karo
kripaalu Ravi kripa karo
dayaalu Ravi daya karo
mahaan ye ?? tu
ke tum karo ??te
Digant Nath devata

suna rahe digant ke
anant ?? bhairavi
saja rahe ho tum nishaan
vishw bhar ki aarti
dukhon se ?? mukti do
ubaarne ki yukti do
sabhi ke paap taap ko
prabhu tumhi sanwaarte
Digant Nath devata
anant roop sohta
tamas kiran anek se
?? vishw paalate
Digant Nath devata
Digant Nath devata aa aa
Digant Nath devata aa aa


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.

Blog Day :

4357 Post No. : 15679 Movie Count :

4320

Hindi Songs in Bangla Film – 31
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In Balochistan province of Pakistan, there is a well-known Hindu temple, Hinglaj Mata Temple locally known as Nani Ka Mandir. This temple is regarded as one of the 51 Shaktipeeths and is revered by Hindus, Sikhs and Muslims from Balochistan and Sindh especially the Zikri Balochs who are also the patrons of the temple. The temple is located at the banks of River Hinglaj with a rock carved deity in a cave. This temple is ‘kul devta’ (family deity) of many Hindu khatri families of Sindh, Balochistan and also of some of those residing in India and abroad.

In olden times, visiting the temple involved a trek of around 250 kms from Karachi through the hot deserts and hilly terrains. Now, there is a road from Karachi which takes about 4 hours to reach the temple. In the bi-annual pilgrimage which takes place during Navratris in the months of April and October, thousands of pilgrim marches on foot to Hinglaj Mata Temple. On the way, pilgrims spend a night at Chandrakoop (Moon Well), a shrine of volcanic mud-filled well. It is believed that if pilgrims confess the sins committed by them during their life time while offering prayer at Chandrakoop, they become free from the sins.

Kalikananda Abadhut, a Bengali monk, wrote a travelogue of his pilgrimage to what he calls ‘Marutirtha Hinglaj’ (‘Desert Pilgrimage of Hinglaj’). Probably, he may have gone on pilgrimage before the partition. Based on this travelogue, Bikash Roy, the producer-director-actor, made a Bangla film with the same title which was released in 1959. The star cast included Bikash Roy as an Ascetic leading a group of pilgrims to Hinglaj Mata temple. Uttam Kumar and Sabitri Chatterjee, who later join the pilgrimage unintentionally, performed the role of a husband and a wife. Other actors included Anil Chatterjee, Pahari Sanyal, Chandrabati Devi, Sandhya Devi etc. The film was shot in Digha  in East Mednipur district of West Bengal whose topography closely matches to that of Hinglaj.

On the recommendation from Pradeep ji (Dr. Pradeep Kumar Shetty) who also pointed out that there was a Hindi song in the film, I watched the film with English sub-titles on a video sharing platform. The story of the film is as under:

Abadhut, an ascetic (Bikash Roy) is leading a group of pilgrims to Hinglaj Mata temple located in Balochistan. He is assisted by Popatlal (Pahadi Sanyal), Rooplal (Anil Chatterjee) and Bhairabi (Chandrabati Devi). There is also a priest who is conscious of traditions and caste system and expects everyone to follow strictly.

Before the departure from Karachi, Abadhut cautions the pilgrims that it is a long and arduous journey for days involving walking through hot desert sands and hilly tracks. The food is meagre and pilgrims will have to spend nights without any shelters. Since the water is scarce in the desert, Abadhut advises pilgrims not to share their water with others. All the pilgrims during the journey are to behave as ascetic and worked selflessly for other pilgrims when they are in need of assistance.

Abadhut also tells the story and significance of pilgrimage to Hinglaj Mata temple. When Lord Vishnu scattered the body of Sati all over the Indian sub-continent, the head fell on Hinglaj and thus became the holiest place among the 51 Shaktipeeths. Whoever has committed the sins, they can visit Hinglaj Mata temple only after confessing the sins at Chandrakoop, a volcanic shrine, located on the way to Hinglaj temple. Lord Ram is said to have visited Hinglaj to wash off the sin committed by him by killing Ravan.

While Abadhut is giving guidance to the pilgrims, there is a couple who have taken shelter at pilgrims’ base camp. They are Thirumal (Uttam Kumar) and Kunti (Sabitri Chatterjee). Kunti, a daughter of a wealthy merchant is already married but her husband has been missing for the last two years. She takes the help of Thirumal, a fake astrologer for finding her husband. During their meetings, they become close to each other. One day, Kunti runs away with Thirumal and they get married at the temple. But the society refuses to accept their marriage as her first husband is supposed to be alive though missing and both of them belong to different caste. After failing to find shelter, they are on the run and finally they take refuge in Karachi base camp of pilgrims.

Kunti suggests Thirumal to let follow the pilgrims so that at least for some days, they are safe. But Thirumal refuses. However, in the night a person tries to molest Kunti. Next morning, Thirumal agrees to be the part of the pilgrims. But by the time, pilgrims caravan has already left. Both try to catch up with the pilgrims but they have gone too far and taken a shelter during noon to avoid the harsh sun. Abadhut notices that a couple are walking towards him from quite a distance and then suddenly they fall on the sand. He sends his other pilgrims to look for them. They are brought to the pilgrims’ shelter in unconscious state. After few hours, they regain consciousness. Thirumal tells his story as to how he has grown up in Kolkata as an orphan and did all sorts of illegal work including stealing and how he met Kunti and got married. While catching up with the pilgrims, on the way, they were waylaid by dacoits and Kunti was raped.

After hearing the story, some pilgrims do not want Thirumal and Kunti as part of pilgrimage as they have committed the sins. After the incident, Kunti also feels that she is the sinner for loving Thirumal and a disgraceful woman because of which they are facing all sorts of problems in their life. So, she turns ascetics cutting off her relations with Thirumal who is devastated. He exhibits bouts of insanity. However, despite the murmur of protests from pilgrims, Abadhut takes care of both of them by postponing the journey by one day.

Next day, pilgrims start a long day’s journey. On the way, some pilgrims get dehydrated and are taken care by other pilgrims. But the priest is not able to walk. So Thirumal takes him on his back and walks towards the destination which is Chandrakoop. However, Thirumal suddenly feels suffocated as he is not able to remove the hands of the priest around his neck. He collapses unconscious. It transpires that the priest had already died on the way and Thirumala was carrying his corpse on his back  This event results in Thirumal getting once again the bout of madness. He leaves the caravan and walk aimlessly. In no time, he is found missing. Other pilgrims have no strength to search for him. They think that Thirumal would eventually return.

Finally, pilgrims reach Chandrakoop. After the bath, they visit the shrine of volcanic mud well to offer prayer and also to make the confession of their sins. If the confession is true, the muddy water in Chandrakup continues to boil. Otherwise it stops boiling. While Kunti is about to make her confession, she sees Thirumal on the opposite side on the top of a hillock. But in the streak of madness, Thirumal jumps in the boiling muddy water of Chandrakoop and gets submerged, never to return.

The journey continues to Hinglaj Mata temple and pilgrims complete the prayers. They are now on the return journey. However, Abadhut, Bhairabi and Kunti takes a detour and in the process, they lose direction. The long walk makes them dehydrated and fall on the sand unconscious. Some of the pilgrims rescue them but not Kunti who after regaining consciousness, had already proceeded towards Chandrakoop and jumped into the boiling mud well to join her husband, Thirumal. The bond which was cursed during their life time has become divine with their death.

The director has nicely attempted to make the pilgrims’ journey to run along with moral journey. The pilgrims’ group is a mix of all classes and caste but a priest in the group laments that pilgrims have forgotten the traditions and customs. He does not like to be touched by other pilgrims. He is uncomfortable with Abadhut drinking tea with local tribals. But when the priest gets dehydrated and requires to be carried, it is Thirumal, a sinner according to the priest, who carries him on his shoulder. It is the irony that the priest who is the strong follower of the traditions and religious customs, upon his death,  his last rites is carried out  in the desert without any religious ceremony.

There are few among the pilgrims who are of the opinion that it is a sin to allow Thirumal and Kunti to accompany them in the pilgrimage as they are the sinners. It is once again Abadhut who makes them understand that they need to weigh between sin and compassion. Otherwise abandoning both of them in the desert would tantamount to abetment of their death which is a sin. Lastly, those who are branding them as sinners have also committed the sins. Otherwise why they should visit Chandrakoop to confess their sins to get them washed off. And a confession made by one of the assistants, Popatlal is the worst kind as it related to infanticide.

The film makes us to ponder what is sin and what is virtuous. Perhaps, the answer lies in two lines of Sahir Ludhianvi in a song from ‘Chitralekha’ (1964):

ye paap hai kya ye punya hai kya
reeton par dharm ki moharen hain

‘Marutirtha Hinglaj’ (1959) has three non-Bangla songs of which two are vedic chants in Sanskrit. The third song is a Naat, “Tu Nishaan-e-Benishaan Hai” sung by Shankar-Shambhu Qawwaal and chorus. Lyrics writer is not known. Perhaps it may have been mentioned in the credit titles of the film which is displayed only in Bengali. The Naat is set to music by Hemant Kumar.

The situation of the song is that when the pilgrims take the halt for the day, Abadhut notices a bulky man coming from the opposite direction. He is Khan Sahab who has come to invite the pilgrims to his place where they can rest in shades and also have the advantage of having a well. He also invite pilgrims  to  join his group for the prayer in praise of the Almighty.

Video

Audio

Song – Tu Nishaan e Benishaan Hai (Marutirath Hinglaj) (1959) Singer – Shankar Shambhu Qawwaal, Lyrics – [Unknown], MD – Hemant Kumar
Chorus

Lyrics

ae ae ae
aa aa aa
tu nishaan-e-benishaan hai
tu bahaare-e-sarmadi hai. . .
tera dekhna ibaadat
ibaadat
tera dekhna ibaadat
teri yaad zindagi hai..
tera dekhna ibaadat
aa aa aa aa
teri yaad zindagi hai
aa aa aa aa
tera dekhna ibaadat
 
aa aa aa aa
ye sahi hai pur khata hoon
magar hoon to tera banda aa
ye sahi hai pur khata hoon
magar hoon to tera banda aa
tu agar mujhe nibha le
nibha le
tu agar mujhe nibha le..
teri banda parwari hai..
tu agar mujhe nibha le
aa aa aa aa
teri banda parwari hai
(aa aa aa aa)
tu agar mujhe nibha le
 
aa aa aa
mera daaman-e-gadaai
tere aage kyun na phaile ae
tera mulk do jahaan hain
tere ghar mein kya kami hai. . .
tera mulk do jahaan hai
tere ghar mein kya kami hai. . .
aa aa aa aa
tera mulk jo jahaan hai
 
tere dar pe sajde karna
ho karna
tere dar pe sajde karna
tujhe yaad kar ke rona aa
yehi hai namaaz meri
ho meri
yehi hai namaaz meri
yehi meri bandagi hai..
ye hi hai namaaz meri
aa aa aa aa
yehi meri bandagi hai..
aa aa aa aa
yehi hai namaaz meri
meri ee. . .

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Hindi script lyrics (Provided by Sudhir)
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ए ए ए
आ आ आ
तू निशान ए बेनिशां है
तू बहार ए सरमदी है॰ ॰ ॰
तेरा देखना इबादत
इबादत
तेरा देखना इबादत
तेरी याद ज़िंदगी है॰॰
तेरा देखना इबादत
आ आ आ आ
तेरी याद ज़िंदगी है
आ आ आ आ
तेरा देखना इबादत
आ आ आ आ

ये सही है पुर ख़ता हूँ
मगर हूँ तो तेरा बंदा आ
ये सही है पुर ख़ता हूँ
मगर हूँ तो तेरा बंदा आ
तू अगर मुझे निभा ले॰॰
तेरी बंदा परवरी है
तू अगर मुझे निभा ले
आ आ आ आ
तेरी बंदा परवरी है
आ आ आ आ
तू अगर मुझे निभा ले

आ आ आ
मेरा दामन ए गदाई
तेरे आगे क्यों ना फैले
तेरा मुल्क दो जहां है
तेरे घर में क्या कमी है॰ ॰ ॰
तेरा मुल्क दो जहां है
तेरे घर में क्या कमी है॰ ॰ ॰
आ आ आ
तेरा मुल्क दो जहां है

तेरे दर पे सजदे करना
हो करना
तेरे दर पे सजदे करना
तुझे याद करके रोना आ
यही है नमाज़ मेरी
हो मेरी
यही है नमाज़ मेरी
यही मेरी बंदगी है॰॰
यही है नमाज़ मेरी
आ आ आ आ
यही मेरी बंदगी है॰॰
आ आ आ आ
यही है नमाज़
मेरी॰ ॰ ॰


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Blog Day:

4356 Post No. : 15677

“Sapna” (1952) was directed by Kidar Sharma for Hindustan production company. The movie had Kishore Sahu, Bina Rai, Cuckoo, Shakuntala, Moni C, Hiralal, Rani Chanda, Narbada Shanker, Paul Sharma etc in it.

The movie had seven songs in it. Three songs from the movie have been covered in the blog.

Here is the fourth song from “Sapna”(1952) to appear in the blog. This song is sung by Rafi, Shamshad Begam along with male and female chorus. Bharat Vyas is the lyricist. Music is composed by Shyambabu Pathak.

Only the audio of the song is available. It sounds like a community dance song. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Ae ghanan ghanan ghan garje (Sapna) (1952) Singers-Rafi, Shamshad Begam, Lyrics-Bharat Vyas, MD-Shyambabu Pathak
Male Chorus
Female Chorus

Lyrics

babadik babadik
babadik baabdik
babadik babadik baabdik

hoy hoy
hoy hoy
hoy hoy
hoy hoy
ho rara ho

aa aa aa
aa aa aa

raa raa ho
ho ho ho
raa raa ho
ho ho ho
raa raa ho
ho ho ho

raa raa ho
ho ho ho
raa raa ho
ho ho ho
raa raa ho
ho ho ho

Ae ghanan ghanan ghan ghanananan ghanan garje
ba ba ba baadarwa
baadal ke dil mein khinch gayi
khinch gayi bilji ki rekha
?? bijli ki rekha
arre gori ki aankhen
mit gayi mit gayi
ye kisne dekha
kahoji bhai ye kisne dekha
baat ye sau baaton ki baat
raat ye sau raaton ki raat
baat ye sau baaton ki baat
raat ye sau raaton ki raat

Hoy
laar lilla
laar lilla
naar naweli aayi re
laar lilla
laar lilla
naar naweli aayi re
chamak chamak kar chale chaal ye
bijli si lugaai re
chamak chamak kar chale chaal ye
bijli si lugaai re
laar lilla
laar lilla
naar naweli aayi re

jyun jungle ki ee ee ee laakdi
gaanthh gathheelee hoye
baalaapan ki ee ee preetdi
bahot hathheelee ho o o o o ye

phulwa chunte kaanto lago ree
phulwa chunte kaanto lago ree
teekho teekho kaanto
meethho meethho kaanto
bagiya mein hamko nindiya jo aayee
nindiya
jo aayee
main to kaliyon ki godi mein so gayee re
ho main to
ho main to
ho main to kaliyon ki godi mein so gayee re
chupke se ungli ko kaante ne kaat liya

kaante ne kaat liya
daiyya re ghaayal main ho gayee re
haay daiyya re ghaayal main

ho gayee re
ho gayee
phulwa chunte kaanto lago ree
phulwa chunte kaanto lago ree
teekho teekho kaanto
meethho meethho kaanto

bhanwron ke bhole bhaale jigar par
nainon ka teer mera

chal gaya re chal gaya
phoolon ke sang muskaate yoon dekhoon main
phoolon ke sang muskaate yoon dekhoon main
kaanta nigoda kyun jal gaya re
haaye kaanta nigoda kyun jal gaya re jal gaya

phulwa chunte kaanto lago ree
phulwa chunte kaanto lago ree
teekho teekho kaanto
meethho meethho kaanto

phulwa phulwa phulwa phulwa
aa aa aa aa
phulwa phulwa phulwa phulwa
aa aa aa aa

kisne chheda kaanon mein mere
zaalim jawaani ka raag re

raag re
raag re
raag re

tadpan lagi more man ki machhariyaa
tadpan lagi more man ki machhariyaa
paani mein laagi hai aag re
aag re
aag re
aag re

aa aa aa aa aa
aa aa aa aa aa
phulwa phulwa phulwa phulwaa
aa aa aa aa aa aa
phulwa phulwa phulwa phulwaa
aa aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa

aa aa aa aa aa aa
phulwa phulwa phulwa phulwaa
aa aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa


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:

4354 Post No. : 15672

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Blog 10-Year Challenge (2010-2020) – Song No. 37
—————————————————————————

The blog saw only two posts on this day ten years ago on 19 june 2010. In contrast, today (19 june 2020) saw two posts getting published simultaneously early morning at 5 AM ! And this is going to be the third post for the day !

The two songs discussed on the blog on 19.06.2010 were:-

Song Movie title-Year Remarks
Saat samundar paar ke … gudiyon ke bazaar se Taqdeer-1967 All songs covered
Zulfon ki sunahri chhaaon tale Zindagi Yaa Toofaan- 1958 08 of 10 songs posted

“Taqdeer”(1967) has already been YIPPEED. “Zindagi Ya Toofaan”(1958) had made its debut ten years ago. This movie was produced and directed by Nakshab. The movie had Nutan, Pradeep Kumar, Johnny Walkar, Om Prakash, Yakub, Minoo Mumtaz, Lotan, Sangeeta, Amar, Shakeel, Vikram Kapoor, Nazirbai, Qaisarbai, Sagar, H.Prakash, Jagoo, Dayabai, Indira, Jaffri, Suresh(Guest Artist) etc in it.

“Zindagi Ya Toofaan”(1958) had ten songs in it. Eight songs have been covered in the past. Here are the songs from the movie that have been covered so far :-

Song Posted On
Zulfon ki sunahri chhaaon tale 19.06.2010
Hamaaraa kyaa hai ham tadpen 17.09.2010
Zindagi hai ya koi toofaan hai 07.08.2011 Multiple version song
Ae dil waalon pyaar na karnaa 14.01.2012
Mubaarak sab to phoolon ka sajaa kar … 06.04.2012
Dil hai badaa beimaan bedardaa 03.01.2017
Badi mushqil se ham samjhe 08.02.2020

Two songs from “Zindagi Yaa Toofaan”(198) are left. Our regular contributors were threatening to send a song on the occasion of blog ten year challenge and I was dreading that they should not send the “wrong” song. Fortunately our contributors, viz Prakashchandra and Avinash Scrapwala have sent the “right” song for the occasion. This song is sung by Asha Bhonsle and Talat Mehmood. Nakshab is the lyricist. Music is composed by Naashaad.

The song is picturised on Nutan and Pradeep Kumar.

With this song, nine songs out of ten are covered in the blog. The one song left in the blog is a special song (one that I was hoping was not sent for today’s occasion), which I will cover at an opportune date (already identified). The lyrics of this song are already sent to me.

Audio

Video

Song-Mujhe hai zara jazb e dil aazmaanaa (Zindagi Yaa Toofaan)(1958) Singers- Asha Bhonsle, Talat Mehmood, Lyrics – Naqshab, Music- Naashad

Lyrics (Provided by Prakashchandra) based on audio link

ho o o mujhe hai
zaraa jazb-e-dil aazmaanaa
mujhe hai zaraa jazb-e-dil aazmaanaa
mujhe hai zaraa jazb-e-dil aazmaanaa
yahaan kuchh bhi guzre
magar tum na aanaa
yahaan kuchh bhi guzre ae
magar tum na aanaa

mere paas aaakar na
daaman bachaanaa
mere paas aaakar na
daaman bachaanaa
machalne ka dil dhoondhtaa hai bahaanaa
machalne ka dil
dhoondhtaa hai bahaanaa

thaharti chali jaa
rahi hai tabeeyat
thaharti chali jaa
rahi hai tabeeyat
guzartaa chalaa jaa
rahaa hai zamaanaa
guzartaa chalaa jaa
rahaa hai zamaanaa

muhabbat bharosaa
bharosaa muhabbat
muhabbat bharosaa
bharosaa muhabbat
idhar ek dil hai
udhar hai zamaanaa
idhar ek dil hai ae
udhar hai zamaanaa

yakeen hai to raah-e-wafaa
se guzar jaa
yakeen hai to raah-e-wafaa
se guzar jaa
gumaan hai to iss raah
mein phir na aanaa
ghumaan hai to iss raah
mein phir na aanaa

dupatte ke aanchal ko
bal de rahe hain
dupatte ke aanchal ko
bal de rahe hain
banaane ko hai koyi
taazaa bahaanaa
banaane ko hai koyi
taazaa bahaanaa

———————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
———————————–
हो ओ ओ मुझे है
ज़रा जज़्ब-ए-दिल आज़माना
मुझे है ज़रा जज़्ब-ए-दिल आज़माना
मुझे है ज़रा जज़्ब-ए-दिल आज़माना
यहाँ कुछ भी गुज़रे
मगर तुम न आना
यहाँ कुछ भी गुज़रे
मगर तुम न आना

मेरे पास आकर ना
दामन बचाना
मेरे पास आकर ना
दामन बचाना
मचलने का दिल ढूंढता है बहाना
मचलने का दिल
ढूंढता है बहाना

ठहरती चली जा रही है तबीयत
ठहरती चली जा रही है तबीयत
गुज़रता चला जा
रहा है ज़माना
गुज़रता चला जा
रहा है ज़माना

मुहब्बत भरोसा
भरोसा मुहब्बत
मुहब्बत भरोसा
भरोसा मुहब्बत
इधर एक दिल है
उधर है ज़माना
इधर एक दिल है
उधर है ज़माना

यकीन है तो राह-ए-वफ़ा
से गुज़र जा
यकीन है तो राह-ए-वफ़ा
से गुज़र जा
गुमाँ है तो इस राह में
फिर न आना
गुमाँ है तो इस राह में
फिर न आना

दुपट्टे के आँचल को
बल दे रहे हैं
दुपट्टे के आँचल को
बल दे रहे हैं
बनाने को है कोई
ताज़ा बहाना
बनाने को है कोई
ताज़ा बहाना


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15700 song posts by now.

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

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(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

15723

Number of movies covered in the blog

Movies with all their songs covered =1212
Total Number of movies covered =4329

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