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

Archive for the ‘Songs of 1960s (1961 to 1970)’ Category


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

Blog Day : 3979 Post No. : 15066

Songs Repeated in Hindi Films – 3
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Okay, okay, just before you sit up and ask again – “ये क्या हो रहा है”, a quick reminder that we are into this series of repeat songs. This is the third episode today.

There are well known, as well as obscure, instances existing in which the reused songs appear in the list of the songs of the latter film. The reuse listing of the song can appear as it is – a few examples being,

  • “Gori Zulm Karey Zulf Ka Bikhar Jaana” – this song appears in the listings for the film ‘Main Aur Mera Bhai’ (1961) and the film ‘Pyaar Banaa Afsaana’, an unreleased film from 1960s.
  • The four songs of the film ‘Ram Rajya’ of 1943 are reused in the film ‘Ramayan’ of 1954
    “Beena Madhur-Madhur Kachhu Bol…”
    “Ajab Vidhi Ka lekh Kisi Se Padha Nahi Jaaye…”
    “Jhoole Mein Jhool Laal, Jhool Tu Jhool…”
    “Tyagmayi Tu Gayi, Teri Amar Bhaawna…”
    Note: The music director for both films is same – Shankar Rao Vyas; and the lyricist of these four songs is also the same – Ramesh Gupta.
  • “Beeti Jaat Barkha Ritu Saajan Nahin Aaye” – this song appears in the listings for the film ‘Muraad’ (1939) and the film ‘Dharam Bandhan’ (1940).
  • Four songs of an unreleased film ‘Parda’ from late 1940s are reused in the film ‘Achhaa ji’ of 1950
    ‘Taqraar Ko Badal Do Pyaar Mein, Na Karo Chhed Bekaar Mein…’
    ‘Bhool Hai Kisi Ko Apnana, Vichaaron Mein Basana…’
    ‘Kisi Ke Bholepan Ne… Mere Mann Ko Kheencha…’
    ‘Bhar Jaaye Aasmaan To Aahon Ki Kya Khata…’
    Note: The lyricist (Indiwar) and music director (Shyam Babu Pathak) are the same. The film director (SH Thirani) is also the same.
  • Six songs of the 1957 film ‘Pawanputra Hanuman’ have been reused in the 1969 film ‘Hanuman Chalisa’.
  • Strange occurrence – two films of the same year, 1958 – ‘Rifle Girl’ and ‘Miss Toofaan Mail’ share the song – “Bheegi Hawa Mausam Jawaan, Masti Mein Dooba Saara Jahaan…”.
  • Rare occurrence, the same song is used in three films. The song is “Bhiksha De De Maiya Pingla, Jogi Khada Hai Dwaar…”. The films are ‘Bharthari’ (1944), ‘Raajyogi Bharthari’ (1954), and ‘Gopichand Bharthari’ (1965). Lyricist identified for these songs is Pandit Indra.
  • The song “Bolo Jaywantrao Ek Naam Prem Bhara. . .” appears in ‘Mera Imaan’ (1934) and ‘Swadesh Dewa’ (1946).
  • Interesting re-use – the song “Phool Chun Le Mere Baalam Ki Jaane Kab Daal Jhuke” appears in ‘Naubahaar’ of 1952 and then again in ‘Firdaus’ of 1953. Artist combination is the same – Sahir, Roshan, Lata.
  • Another one – “Baat Chalat Nai Chunari Rang Daali” – appears in film ‘Ladki’ of 1953 and then again in ‘Rani Roopmati’ of 1959.

Then there are films with the same list of songs.

  • ‘Satyanarayan’ of 1948 and ‘Bhikhaari’ of 1949
  • ‘Sushila’ of 1966 and ‘Subah Zaroor Aayegi’ of 1977
  • ‘Amar Kahaani’ of 1949 and ‘Kanchan’ of 1955
  • ‘Sipaahi’ of 1941 and ‘Jangi Jawaani’ of 1943
  • ‘Suhaana Geet’ of 1941 and ‘Toote Dil’ of 1947
  • ‘Ram Bhakti’ of 1958 and ‘Bhakt Raaj’ of 1950
  • ‘Paanch Dushman’ of 1973 and ‘Daulat Ke Dushman’ of 1987

Although not specifically confirmed, in most cases, the above list of film pairs with all songs the same, the situation is that the latter film is a somewhat modified, re-certified and re-released version of the earlier film.

The above sampling is in no way exhaustive. More such instances may be discovered by a more meticulous review of the song lists in Geet Kosh.

But then, this observation has also to be annotated by saying that there are exceptions. There are many known cases where the repeat songs do not appear in the official list of songs of the film. The song may have been used as is without any modifications. The song may be used as an abridged version i.e. the stanzas used in repeat form are less than the original version. Or even when the song may be used quite differently.

These repeat instances of songs do not appear in the list of songs of the latter film. This is confirmed by a quick review of the Geet Kosh listings, which are primarily based on the information from the film booklets, and/or information printed on the gramophone records – 78 rpm records or LPs/EPs. Casual reuse, we may call it. Of course, ownership / copyright / permissions etc. are things that have to be taken care of. But it is always fun to be watching a film (especially when watching for the first time), and one is suddenly confronted with an unexpected song. The song already has a life and existence of its own. And it has its own popularity and following. All of a sudden out of the blue, the song will make a surprise appearance in another film, in another time. And one is simply – wow, एसा भी होता है – such things happen too.

The first song in this series – “Aa Ja Re Pardesi. . .” belongs to this category. As does this fun song that I bring to your notice today. An iconic song – a very typical and very strongly a Mehmood song, from the earlier film ‘Gumnaam’ from 1965, makes an unexpected and surprise appearance in the 1968 film ‘Brahmchaari’. This time around, the song is performed by the Junior incarnation of Mehmood, and he has done a superlative job of presenting this song. This song does not appear in the list of songs of the film ‘Brahmchaari’, and hence, when it appears in the film, the mind takes a double take – okay wow, this song, here.

The situation can be labeled as a ‘male-child item song’ 🙂 . It is just there, does not really add to the storyline content of the film. The children of Shammi Kapoor’s private orphanage are together, along with Mohan Choti, the handy man around the house, and Rajshri, who has descended on to this ‘family’ as a distraught outsider with no place to go. The song is heard on a gramophone player, on which the 78 rpm record is playing.

As I said earlier, Junior Mehmood has done a remarkable job performing this song, at that age. Born in 1956, he was all of 12 years old when he performed this song. A little short in height for his age, this performance is really lovable.

This video clip contains two stanzas, one less from the original three. However, my hunch is that all three were initially included when ‘Brahmchaari’ was released. In this video clip also, as the action moves from the first to the second stanza, there is slight jump in the visual, indicating there might have been a cut made – and the middle stanza was deleted later, for whatever reason.

Avinash ji has been posting a mini series on Junior Mehmood performances in Hindi films, so I will skip getting into more details about this fun child artist. Somehow the natural transformation, as these child artists move from childhood to adolescence to adulthood, does not seem to happen. The success of what their performance is, and the kudos it has drawn, continues to overshadow this required transformation as one grows in years. Very few examples are where an artist of proven merit in child roles has also made a successful career once having grown up. But that discussion is maybe another article, or another series.

Meanwhile, enjoy this really likeable performance, which I am sure will prompt you to go and take a look at the original ‘Gumnaam’ song also. I myself sure did.

Song – Hum Kaale Hain To Kya Hua Dilwaale Hain  (Brahmchaari) (1968) Singers – Mohammed Rafi, Mehmood, Lyrics – Shailendra, MD – Shankar Jaikishan

Lyrics

khayaalon mein
khayaalon mein
khayaalon mein
khayaalon mein

jay hungaama
kahaan bhaag rahi tumen

kya hua. . .
kaale se darr gaye kya
hamay kaale hain to kya hua dilwaale hain
hamay kaale hain to kya hua dilwaale hain
hum tere tere tere chaahne waale hain
hamay kaale hain to kya hua dilwaale hain
hamay kaale hain to kya hua dilwaale hain
hum tere tere tere chaahne waale hain
hamay kaale hain to kya hua dilwaale hain

ye gore gaalaan tandaanaa
ye reshmi baalaan tandaanaa
ye solaa saalaan tandaanaa
haay tere khayaalaan tandaanaa
ye gore gaalaan tandaanaa
ye reshmi baalaan tandaanaa
ye solaa saalaan tandaanaa
haay tere khayaalaan tandaanaa
hum tere tere tere chaahne waale hain
hamay kaale hain to kya hua dilwaale hain
hamay kaale hain to kya hua dilwaale hain
hum tere tere tere chaahne waale hain
hamay kaale hain to kya hua dilwaale hain

hamay maanaa ghareeb hain tandaanaa
soorat se ajeeb hain tandaanaa
par phir bhi naseeb hai tandaanaa
ke tere khareeb hain tandaanaa
hamey maanaa ghareeb hain tandaanaa
soorat se ajeeb hain tandaanaa
par phir bhi naseeb hai tandaanaa
ke tere khareeb hain tandaanaa
hum tere tere tere chaahne waale hain
hamay kaale hain to kya hua dilwaale hain
hamay kaale hain to kya hua dilwaale hain
hum tere tere tere chaahne waale hain
hamay kaale hain to kya hua dilwaale hain
hamay kaale hain to kya hua dilwaale hain

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

ख़यालों में
ख़यालों में
ख़यालों में
ख़यालों में

जे हंगामा
कहाँ भाग रई तूमे

क्या हुआ॰ ॰ ॰
काले से डर गए क्या
हमे काले हइं तो क्या हुआ दिलवाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हम तेरे तेरे तेरे चाहने वाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हम तेरे तेरे तेरे चाहने वाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं

ये गोरे गालाँ तन्दाणा
ये रेशमी बालाँ तन्दाणा
ये सोला सालाँ तन्दाणा
हये तेरे ख्यालाँ तन्दाणा
ये गोरे गालाँ तन्दाणा
ये रेशमी बालाँ तन्दाणा
ये सोला सालाँ तन्दाणा
हये तेरे ख्यालाँ तन्दाणा
हम तेरे तेरे तेरे चाहने वाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हम तेरे तेरे तेरे चाहने वाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं

हमे माना ग़रीब हैं तन्दाणा
सूरत से अजीब हैं तन्दाणा
पर फिर भी नसीब है तन्दाणा
के तेरे क़रीब हैं तन्दाणा
हमे माना ग़रीब हैं तन्दाणा
सूरत से अजीब हैं तन्दाणा
पर फिर भी नसीब है तन्दाणा
के तेरे क़रीब हैं तन्दाणा
हम तेरे तेरे तेरे चाहने वाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हम तेरे तेरे तेरे चाहने वाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं

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

Blog Day :

3976 Post No. : 15063 Movie Count :

4133

Missing Films of 1960s – 111
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“हम तो डूबेंगे सनम, तुमको भी ले डूबेंगे।“
(“hum to doobenge sanam, tumko bhi le doobenge”)

(I will drown no doubt my dear, but will take you down with me.)

Some conversations, some words, touch a certain nerve inside that they simply cannot be forgotten.  And some of them go even a step further.  Some such words become so indelibly ingrained in the collective memory of a society that they end up becoming a part of the current lingua franca, an idiom that normal people begin to use in everyday conversations.

The above dialogue is one such example. This phrase has become part of the Hindustani exchange – I am sure this is a matter of current experience for all of us. Let me tell you where this dialogue comes from. The earliest occurrence that I am aware of is this being used in a film – well, 68 years ago. The year was 1951. The film maker was Raj Kapoor. The film was ‘Aawaara’. The scene in reference is / was considered a daring scene in those times. Nargis and Raj Kapoor are seen in swimming costumes, in a splashing pool close to a beach. This comes a little before the song “Dum Bhar Jo Udhar Munh Phere. . .”.

Nargis invites RK to dive into the pool. RK feigns fear, as if expressing he does not know how to swim. This exchange is all through facial expressions. Nargis dives into the pool. RK follows. Nargis quickly scrambles out of the pool, then tells RK that the water is deep, and he might drown. RK lunges at Nargis’ hand and tries to pull her back into the pool, and speaks this dialogue – “हम तो डूबेंगे सनम, तुमको भी ले डूबेंगे।“.

The dialogues of ‘Aawaara’ (as also the story) are written by Khwaja Ahmed Abbas or KA Abbas for short. As a writer, he was associated with Raj Kapoor and RK Films all the way from ‘Aawaara’ in 1951 to ‘Henna’ in 1991. He had passed away in 1987. Raj Kapoor had started making ‘Henna’, but then he himself passed away in 1988. The film was completed by Randhir Kapoor.

The association he shared with Raj Kapoor lasted almost 4 decades. The association stands the testimony of ideology – KA Abbas was a very active member of both IPTA (Indian People’s Theatre Association) and PWA (Progressive Writers Association). And Raj Kapoor and his socialistic ideology as expressed in films like ‘Aawaara’, ‘Shri 420’, ‘Boot Polish’, ‘Ab Dilli Door Nahin’, ‘Jaagte Raho’ etc. These films have a focus on the underprivileged in the society, and are a call to make a better society.

The word “progress and progressive” attached with it has a history of its own. In 19th century England, the word progressive was the battle cry of all those who wanted a better deal for the underprivileged and wanted science and technology to spearhead the movement for social development. It stood for liberation and democracy. Munshi Prem Chand, doyen of Urdu writers, had delivered the Presidential Address of the first meeting of the PWA. It was a movement for the freedom-loving writers who were opposed to the status quo in the feudal-dominated Indian society. They thought that unless the Indian society was not transformed and the common masses were not in the driving seat, nothing could change. Writers like Krishan Chander, Ismat Chugtai, Saadat Hasan Manto, Ahmad Nadeem Qasmi, Ali Sardar Jafri, Sibte Hassan, Ehtesham Hussain, Mumtaz Hussain, Sahir Ludhianvi, Kaifi Azmi, Ali Abbas Hussaini, Makhdoom Mohiuddin, Farigh Bukhari, Khatir Ghaznavi, Raza Hamdani, M Ibrahim Joyo, Sobho Gianchandani, Shaikh Ayaz, Rajinder Singh Bedi, Amrita Pritam, Ali Sikandar, Zoe Ansari, Majaz Lucknawi, and yes, Khwaja Ahmed Abbas, made it the strongest literary movement.

My earliest introduction to Abbas Sb was sometimes in mid 1960s. Although we watched the movies diligently, on TV and on the big screen, it was not yet time to grasp all the names that came while the credits were rolling. Becoming familiar with the story writer or the art director or the choreographer, was still a few years hence. What stuck to my mind was really a very out of the way encounter. It was a tele-film which probably no one remembers any more. But somehow, that film and the name has simply remained glued in memory. It wasn’t accompanied by any pompous announcements etc. It was just a film, that happened to get telecast when I happened to be sitting in front of the television at a neighbour’s house one evening. The title of the film is ‘India, My India’. It was a very interesting documentary. Starting with the very early morning hour – like 5 am, the telefilm captured vignettes of rural and urban lifein India, from different parts of the country. For every hour, the location would change. And for the next about 5 minutes, the viewer was treated to a sampling of the local life and local color at that hour of the day, accompanied by a narrative description. Over a period of two hours, 24 different locations of the country were mapped into this documentary, showing life as it happens, at different times in a cycle of 24 hours. To my tiny intelligence, this was a wonderful new experience, and I am sure a wonderful new experiment for its creator.

Another place where this name was highlighted every week, was on the last page of the weekly tabloid – Blitz, published from Bombay and Delhi. Being a journalist household, we always had a huge selection of newspapers and magazines delivered every morning. Blitz was one of the weekly papers that was the staple of many member of our household (a joint family setup at that time). For me, Blitz was an attraction because it always carried something ‘scandalous and titillating’ 😉 . Of course, the name of KA Abbas was always prominently posted on the last page of the weekly edition, quite appropriately titled the ‘Last Page’. I remember I used to read it with interest, because it was always a wry and a sideways look at the socio-political current affairs. A good read, because it introduced many a names to my still fledgling memory, names that would become important in later decades.

KA Abbas was born in Panipat (now in Haryana). He came into a family of erudite scholars with a history of good education and social involvement. His father was a celebrated Urdu poet, Khwaja Altaf Hussain Hali, a student and scholar of Mirza Ghalib. His grandfather Khwaja Gulam Abbas was one of the leaders of the first war of independence in 1857 – the first celebrated martyr of Panipat who was blown from the mouth of a cannon. Abbas’s father graduated from Aligarh Muslim University, was a tutor of a prince and a prosperous businessman. He spearheaded an effort to modernise the preparation and manufacture of Unani medicines. Abbas’s mother, Masroor Khatoon, was the daughter of Sajjad Husain, an enlightened educationist. Abbas took his early education in ‘Hali Muslim High School’, which was established by his great grand father Hali. He was instructed in reading the Arabic text of the Quran. Abbas completed his matriculation at the age of fifteen. He did his B.A. with English literature in 1933 and LLB in 1935 from Aligarh Muslim University.

Abbas began his career as a journalist with ‘National Call’, a New Delhi based newspaper after finishing his BA. Simultaneously, while doing his LLB in 1934, he started ‘Aligarh Opinion’, India’s first university students’ weekly during the pre-independence period. In 1935, Abbas came to Bombay and joined ‘The Bombay Chronicle’. He occasionally served as a film critic. An event transpired and the film editor of the paper passed away. Abbas got promoted to be the editor of the film section.

While at The Bombay Chronicle, (1935–1947), he started a weekly column called ‘Last Page’, which he continued when he joined the Blitz magazine. ‘Last Page’, (‘Azad Kalam’ in the Urdu edition). This column continued till Abbas Sb passed away in 1987, making this the longest-running political column in India’s history (1935–87). A collection of these columns was later published as two books.

In 1936, a few months after having come to Bombay and starting work at ‘The Bombay Chronicle’, a meeting with Himanshu Rai and Devika Rani happened. As a result, the young journalist took his first steps into the film industry. He started working as a copywriter and a publicist for Bombay Talkies. And shortly thereafter, he sold his first story and screenplay to Bombay Talkies – the film being ‘Naya Sansaar’ (1941).

The world of Hindi cinema quickly opened up to him. Here was an energetic young man with liberal outlook and a new expression, seeking to inject a new wave into the world of cinema. ‘Naya Sansar’ was the first such offering. He won the Bombay Film Journalists Association (BFJA) award for the best screenplay in 1942, for this film.

1943 – the great famine of Bengal happened. A story took a foothold in his mind. He wrote the story, the screenplay, became a producer and a director also in the same step – the result was the 1945 release of ‘Dharti Ke Lal’. KA Abbas had fired the first volley of the neo-realist socially aware cinema in India. The film was made under the banner of IPTA.

In parallel, he wrote the script for Chetan Anand’s ‘Neecha Nagar’ and V Shantatram’s ‘Dr Kotnis Ki Amar Kahaani’. Both films were released in 1946.  ‘Neecha Nagar’ went on to win the Palme d’Or (Golden Palm) award at the Cannes Film Festival, in one of the three categories – the only Indian film to have that honor in the history of our industry.

In 1951, he set up his own banner – ‘Naya Sansaar’, and went on to create some very iconic films in the history of Indian cinema. Commercial success not being the criteria, the value of social awareness and the commentary on the state of current affairs in the society simply cannot be measured. A short sampling of his critically acclaimed work is as follows,

1951: Screenplay for ‘Awaara’, nominated for the Palme d’Or at the Cannes Film Festival.

1956: Screenplay for ‘Jaagte Raho’, won the Crystal Globe Grand Prix at the Karlovy Vary International Film Festival in 1957 and the Certificate of Merit at the fourth National Film Awards.

1958 Screenplay and direction for ‘Pardesi’, nominated for the Palme d’Or at the Cannes Film Festival.

1960: Direction for ‘Eid Mubarak’ (children’s documentary) , got All India Certificate of Merit for the Second Best Children’s Film

1964: Screenplay, production and direction for ‘Shehar Aur Sapna, won the National Film Award for Best Feature Film

1965: Direction for ‘Hamaara Ghar’, won award at the International Film Festival, Santa Barbara, USA

1970: Screenplay, production and direction for ‘Saat Hindustani’, won the Nargis Dutt Award for Best Feature Film on National Integration at National Film Awards

1972: Screenplay, production and direction for ‘Do Boond Pani’, won the Nargis Dutt Award for Best Feature Film on National Integration at National Film Awards

Other major films he was associated with either as screenplay/story writer, producer, or director – or all of the roles, include ‘Aaj Aur Kal’ (1947), ‘Anhonee’ (1952), ‘Raahi’ (1953), ‘Munna’ (1954), ‘Shree 420’ (1955), ‘Chaar Dil Chaar Raahen’ (1959), ‘Gyaarah Hazaar Ladkiaan’ (1962), ‘Aasmaan Mahal’, (1965), ‘Bambai Raat Ki Baahon Mein’ (1967), ‘Mera Naam Joker’ (1970), ‘Bobby’ (1973), ‘Achaanak’ (1973), ‘Faaslah’ (1974), ‘The Naxalites’ (1980), ‘Love In Goa’ (1983), ‘Ek Aadmi’ (1988), and ‘Henna’ (1991).

As a journalist, he met with and interviewed several renowned world leaders and notable personalities – including the Russian Prime Minister Khrushchev, American President Franklin Roosevelt, Charlie Chaplin, Mao-Tse-Tung and Yuri Gagarin.

As a writer, he has authored more than 70 books in his lifetime in Hindi, Urdu and English.

In 1963, Abbas wrote, produced and directed ‘Shehar Aur Sapna’. This film is an experience totally different. The theme of the film is the dream city of Bombay, and the severe housing problem it faces. The myth of this city attracts thousands of young men who arrive here every day, with a dream of their own. But the harsh realities of making a living, and of having a roof on one’s head in this city, is an experience that can shatter many a tough determined minds.

The story is told through the experiences of Bhola, a young man – almost a village bumpkin, who comes to Bombay in search of livelihood, and Radha, a young woman also from a distant village, who is duped into a sham marriage, and is then plowed into flesh trade, from where she dares to escape, to start living on her own terms in this cruel and heartless city. For a time, their home is an abandoned drain pipe. Their support system is a trio of good samaritans, who themselves are inhabitants of the world of footpath dwellers – roles played by David, Anwar Hussain and Nana Palsikar. Manmohan Krishan plays the role of a wandering homeless poet (shades of ‘Matwaala Shaayar Ram Joshi’) who is a mute observer to all the events that transpire in the lives of this set of characters.

The progression of the storyline came as a shock to many who had never visited Bombay. No doubt the events depicted are dramatized to a certain extent, but surely they are also grounded in the realities of the living experience of this city. As the film comes to a close, the young couple are now parents to a newborn, their temporary shelter hosted by the three samaritans has been razed by bulldozers, to clear the way for an apartment complex being built by a rich builder, their drain-pipe home has finally found the purpose it was originally intended for – that is, the pipeline is laid and the drain pipe buried into the earth. The closing shot of the film shows the couple walking into a dying dusk, carrying the baby and their worldly belongings in a couple of makeshift shoulder bags, not knowing where to head – maybe towards a dream – a ‘sapna’, and nothing else.

A time of his own life that Abbas Sb has talked about in his writings and interviews – he too had slept of the footpaths of Bombay during his initial days in the city. As he prepared to shoot this film, he actually walked through the streets and bylanes of the city where the have-nots dwell in large numbers, at all times of the day and in all types of weather, to be able to recreate the landscape in the film to tell the story he wanted to. People making homes in drain pipes is a reality that he has seen and experienced. So it came quite naturally that he is able to present these sequences so convincingly.

The film is written, produced and directed by KA Abbas, under his own banner – Naya Sansaar, Bombay. The roles of the lead pair Bhola and Radha, are performed by Dilip Raj (son of the renowned P Jairaj) and Surekha Parkar. The rest of the cast is listed as Nana Palsikar, Manmohan Krishan, David, Anwar Hussain, Asit Sen, Jagdish Kanwal, Rasheed Khan, Ravikant, Ram Murty, Nazeer Kashmiri, Narbada Shankar, Moti Beena, Master Javed, and Pardesi amongst others.

Coming to the music of this film – the thing that makes the music of this film some sort of a rarity is the fact that it was never released on gramophone records. The songs of this film are essentially a recitation of poetry that occurs at four points in the story line. The poet protagonist is Manmohan Krishan. He is the one who sings all these four pieces, accompanying significant moments in this film. The lines of this poetry are penned by Ali Sardar Jafri and the music direction is by JP Kaushik (aka Jag Phool Kaushik).

The rare thing about these poetical pieces is of course their availability. These renditions were never released on gramophone records. Furhter, despite being an award winning film, the film itself has become a rarity, not available easily in public domain. Our dear friend from Jaipur, Pawan Jha, has uploaded one poetical segment elsewhere on YouTube. In absence of the availability of all the four pieces of poetry, I have extracted and edited the four pieces into a single video clip, from a copy of the film which itself is not the best. But no complaints – at least we have what we have. Small blessings that all the four poetical pieces are available. I debated and discussed with friends, whether this should be four different poetical renditions. As one listens to the four pieces, one can make out the one single thread that runs through these four pieces, giving credence to the Geet Kosh listings that lists these four pieces as parts 1 to 4. And so I felt it important to present them together as one poem with four parts. In the edited clip, I have included a very small segment of the film appearing just before each part presents itself in the storyline, to get a flavor of the backdrop against which each of these parts is presented.

The interesting thing about this post is that the film makes its debut today on our blog, and simultaneously, we can also declare it as yippeee’d – all the songs of this film are now posted. And it also brings us close, very close, to the culmination of this series of bringing on board the missing films of 1960s.

As one reviews the history of Indian cinema, one does not, should not categorize the luminaries like Satyajit Ray, Bimal Roy, Raj Kapoor, K Asif, Chetan Anand, Ritwick Ghatak, Mehboob Khan, Mrinal Sen, Rituparno Ghosh, Muzzafar Ali and the like. These legendary film makers each are a class unto themselves. And so is Khwaja Ahmed Abbas. His body of work put together may well form an institution that will be a matter of research and debate for decades to come. The medium of cinema is undoubtedly more rich, because KA Abbas worked on it. And because a compelling film like ‘Shehar Aur Sapna’ was created by him.

Born on 7th June, 1914, today is the 105th birth anniversary of this illustrious film maker. One of the very few whose dedication went exceptionally beyond the considerations of commercial success of his creations. His focus, his commentary, never wavered away from an acknowledged social responsibility of the medium of cinema. I fall back once again on the film ‘Aawaara’ and its dialogues – two samples.

Raj is running from the police and incidentally enters the home of Judge Raghunath and Rita. There is an exchange about the identity of the intruder. In a comic way, Raj is trying to convince Rita that he is a thief. And this is how he presents it –

“बस यही तो हमारे नए समाज का कमाल है।

जो चोर हैं, दूसरों की जेब काटते हैं, पब्लिक की आँख में धूल डालते हैं, मेरे जैसे फ़र्स्ट क्लास सूट पैंट पहनते हैं, उन्हें हम शरीफ समझते हैं। और जो ईमानदारी से मेहनत मजदूरी करके पेट पालते हैं, फटे पुराने कपड़े पहनते हैं, उन्हें चोर आवारा डाकू समझ कर धर लिया जाता है। ये पूंजीपति, ये काले बाज़ार वाले सेठ, ये मुनाफाखोर, ये ब्याज लेने वाले, ये सब कौन हैं। मेरी तरह चोर।“

“Bas yahi to hamaare naye samaaj ka kamaal hai.

Jo chor hain, jo doosron ki jeb kaat’te hain, public ki aankh mein dhool jhonkte hain, mere jaise first claas suit pant pehante hain, unhen hum shareef samajhte hain. Aur jo imaandari se mehnat mazdoori kar ke pet paalte hain, fatey puraane kapde pehante hain, unhem chor aawaara daaku samajh kar dhar liya jaata hai. Ye poonjipati, ye kaale bazaar waale seth, ye munaafakhor, ye byaaj lene waale, ye sab kaun hain. Meri tarah chor.”

And in the closing minutes of the film, as the court case against Raj is in progress, the judge invites Raj to say what he wants to, in his own defence. One part of that monologue goes like –

“आप जो चाहे मुझे सज़ा दे सकते हैं।

मगर क्या आप समझते हैं के मुझे फांसी देने से ये पाप क्रोध हिंसा और अपराध का जहर जो आपकी दुनिया में फैला हुआ है, ये दूर हो जाएगा।

मैं आपको अपनी जीवन कथा सुनाना नहीं चाहता। मगर इतना ज़रूर कहना चाहता हूँ, के अपराध के कीड़े मुझे खून में अपने माँ बाप से नहीं मिले थे। उस गंदे गट्टर से मिले थे जो हमारी गंदी चाल के पास से बहता है। वो गट्टर आज भी वहाँ बह रहा है। और अपराध के कीड़े अब भी उस में पल रहे हैं। और.. और सैंकड़ों हजारों बच्चे जो आस पास की चालों में रहते हैं रोज़ाना इन कीड़ों के शिकार हो रहे हैं। मेरी फिक्र ना कीजिये, उन बच्चों की फिक्र कीजिये, अपने बच्चों की फिक्र कीजिये। ऐसा ना हो

के एक दिन आप, और आप, और आप, और आपका बच्चा भी मेरी तरह इस कटहरे में बार बार कहे के मेरी रगों में भी शरीफ बाप का खून है।”

Aap jo chaahe mujhe sazaa de sakte hain.

Magar kya aap samajhte hain ke mujhe faansi dene se ye paap krodh hinsa aur apradh ka zehar jo aapki duniya mein faila hua hai, ye door ho jaayega.

Main aapko apni jeevan katha sunaana nahin chaahta. Magar itna zaroor kehna chaahta hoon, ke apradh ke keede mujhe khoon mein apne maa baap se nahin miley the. Us gande gattar se miley the jo hamaari gandi chaal ke paas se behta hain. Wo gattar aaj bhi wahaan beh raha hai. Aur apradh ke keede ab bhi us mein pal rahe hain. Aur. . aur sainkdon hazaaron bachche jo aas paas ki chaalon mein rehte hain rozaana in keedon ke shikaar ho rahe hain. Meri fiqr na kijiye, un bachchon ki fiqr kijiye, apne bachchon ki fiqr kijiye. Aisa na ho ke ek din aap, aur aap, aur aap, aur aapka bachcha bhi meri tarah is katehre mein baar baar kahe ke meri ragon mein bhi shareef baap ka khoon hai.

Touching upon the sordid realities of human existence, and the dichotomy of the crooked and dubious haves versus the helpless have nots just trying to survive. The dialogues bring home a message that is topical even today – a message that inevitably gets lost in the glitz of commercial compulsions.

His creations, his vision is exceptional. Even when he writes the story for ‘Bobby’ – yes it is a showman’s film, an RK creation. But beneath the formula drama, there is an effort to dissect and discuss the social divide of the rich-boy-poor-girl tale. It is was an RK film – one had a ice-cream flavored happy ending.

‘Shehar Aur Sapna’ is an out and out KA Abbas statement – the ending is poignant, rooted in the real world, but still colored with an idealist’s hope looking into the future – shades of “. . . Wo Subah Kabhi To Aayegi. . .”.

[Acknowkledgements – A part of this article is adapted from the material in multiple articles on Wikipedia.]

Song – Ye Shaam Bhi Kahaan Hui  (Shehar Aur Sapna) (1963) Singer – Manmohan Krishan, Lyrics – Ali Sardar Jafri, MD – Jag Phool Kaushik

Lyrics

(Part 1)

ye shaam bhi kahaan hui
ye shaam bhi kahaan hui
shaam bhi kahaan hui

patharon ki basti hai
patharon ka zinda hai
patharon ki deewaaren
jin mein qaid insaan hai
patharon ki sejen hain
patharon ka bistar hai
patharon ke takiye hain
patharon ki chaadar hai
neend aur sapne bhi
patharon mein dhalte hain
patharon ke seene mein
kitne paap palte hain
kitne paap palte hain

shaam bhi kahaan hui
ye shaam bhi kahaan hui
shaam bhi kahaan hui

(Part 2)

pathar ka bhagwaan yahaan hai
pathar ka shaitaan
pathar ke dil
pathar ke sar
pathar ke insaan
koi rasta kaise paaye
dil ka haal kisey samjhaaye
chaaron or khadi hai dekho
pathar ki santaan
pathar ki santaan

shaam bhi kahaan hui
ye shaam bhi kahaan hui
shaam bhi kahaan hui

(Part 3)

pyaar ko aaj nai
tarah nibhaana hoga
pyaar ko aaj nai
tarah nibhaana hoga
hans ke har dard ko
har gham ko bhulaana hoga
hans ke har dard ko

aansoo’on se jo bujhe jaate hain
aankhon ke chiraagh
aansoo’on se jo bujhe jaate hain
aankhon ke chiraagh
khoon e dil de ke unhen
phir se jalaana hoga
khoon e dil de ke unhen
phir se jalaana hoga
pyaar ko aaj nai

abhi khil jaayenge masle huye
kuchle huye phool
abhi khil jaayenge masle huye
kuchle huye phool
shart bas ye hai ke
seene se lagaana hoga
shart bas ye hai ke
seene se lagaana hoga
pyaar ko aaj nai

wo jo kho jaayen to
kho jaayegi duniya saari
wo jo kho jaayen to
kho jaayegi duniya saari
wo jo mil jaayen to
saath apne zamaana hoga
wo jo mil jaayen to. . .

(Part 4)

hazaar ghar hazaar dar
ye sab hain ajnabi magar
khabar nahin ke ab kidhar
mudegi apni rehguzar

yahaan se jaayenge kahaan
amaan paayeng kahaan
ye zindagi ki bebasi
ye bebasi ki zindagi..ee..ee

ye bebasi ki zindagi..ee..ee

shaam bhi kahaan hui
ye shaam bhi kahaan hui
shaam bhi kahaan hui

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

(भाग 1)

ये शाम भी कहाँ हुई
ये शाम भी कहाँ हुई
शाम भी कहाँ हुई

पत्थरों की बस्ती है
पत्थरों का ज़िंदा है
पत्थरों की दीवारें
पत्थरों के इंसान हैं
पत्थरों की सेजें हैं
पत्थरों का बिस्तर है
पत्थरों के तकिये हैं
पत्थरों की चादर है
नींद और सपने भी
पत्थरों में ढलते हैं
पत्थरों के सीने में
कितने पाप ढलते हैं
कितने पाप ढलते हैं

शाम भी कहाँ हुई
ये शाम भी कहाँ हुई
शाम भी कहाँ हुई

(भाग 2)

पत्थरों का भगवान यहाँ है
पत्थरों का शैतान
पत्थर के दिल
पत्थर के सर
पत्थर के इंसान
कोई रस्ता कैसे पाये
दिल का हाल किसे समझाये
चारों ओर खड़ी है देखो
पत्थर की संतान
पत्थर की संतान

शाम भी कहाँ हुई
ये शाम भी कहाँ हुई
शाम भी कहाँ हुई

(भाग 3)

प्यार को आज नई
तरह निभाना होगा
प्यार को आज नई
तरह निभाना होगा
हंस के हर दर्द को
हर ग़म को भुलाना होगा
हंस के हर दर्द को

आंसुओं से जो बुझे जाते हैं
आँखों के चिराग़
आंसुओं से जो बुझे जाते हैं
आँखों के चिराग़
खून ए दिल दे के उन्हें
फिर से जलाना होगा
खून ए दिल दे के उन्हें
फिर से जलाना होगा
प्यार को आज नई

अभी खिल जाएँगे मसले हुये
कुचले हुये फूल
अभी खिल जाएँगे मसले हुये
कुचले हुये फूल
शर्त बस ये है के
सीने से लगाना होगा
शर्त बस ये है के
सीने से लगाना होगा
प्यार को आज नई

वो जो खो जाएँ तो
खो जाएगी दुनिया सारी
वो जो खो जाएँ तो
खो जाएगी दुनिया सारी
वो जो मिल जाएँ तो
साथ अपने ज़माना होगा
वो जो मिल जाएँ तो

(भाग 4)
हज़ार घर हज़ार दर
ये सब हैं अजनबी मगर
खबर नहीं के अब किधर
मुड़ेगी अपनी रहगुज़र

यहाँ से जाएँगे कहाँ
अमान पाएंगे कहाँ
ये ज़िंदगी की बेबसी
ये बेबसी की ज़िंदगी॰॰ई॰॰ई

ये बेबसी की ज़िंदगी॰॰ई॰॰ई

शाम भी कहाँ हुई
ये शाम भी कहाँ हुई
शाम भी कहाँ हुई


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 : 3972 Post No. : 15057

Yesterday (2 june 2019) was Sunday. I for some reason thought that there was lots of time available with me and so I would do things that I had not done for ages. Sunday morning is the day when DD national presents ‘Rangoli’.

I used to be a regular watcher of this programme when I was based at Bilaspur. That was four to seven years ago. I have rarely watched this programme since.

On this ‘Rangoli’ programme on 2 june 2019, This presenter announced that the programme would have songs dealing with nature. I found that most songs were from 1990s from movies such as ‘Roja’ etc, with a couple of songs from 1960s. There was no value addition from the anchor on these songs while discussing the songs. May be I was expecting her too keep us enthralled like an Ameen Sayani or Nalin Shah. But then those days and those knowledgeable presenter have become rare to find. We should at least be thankful that Vividh Bharti still has good presenters with knowledge as well as passion for old songs.

I then thought that instead of finding fault in the presentation of ‘Rangoli’, I should look in the mirror. Even my articles in the blog has become routine. It is time to bring some zing and enthusiasm in my writeups.

Just as the ‘Rangoli’ programme covered mainly songs from 1990s, I too noted down the lyrics of some songs from 1990s. Somehow those songs of 1990s did not bring the same “kuchh kuchh hota hai” feeling in me. I decided to randomly pick a song from 1960s. This random picking gave me a song from ‘Phool Bane Angaarey’ (1963).

‘Phool Bane Angaarey’ (1963) was directed by Suraj Prakash for Asiatic Arts Productions Bombay. This movie had Mala Sinha, Raj Kumar, Johny Walker, Aashish Kumar, Shammi, Mumtaz Begam, Mukri, Nasreen, Tuntun, Sarita Devi, Laxmi, Leela Mishra, Chaman Puri, Ravikant, Mansaram, Bhalla etc in it.

The movie has six songs in it. Three of the most popular songs from the movie have been covered in the past.

The song under discussion, that I picked by lottery, is one that I had never heard before. But when I listened to this song, I quickly realised that my hunch about the difference in quality of songs between golden era songs and songs of 1990s was not misplaced. This forgotten and less heard song from 1960s sounded so sweet and lovely. And I had never heard this song before !

This song is sung by Lata. Anand Bakshi is the lyricist. Music is composed by Kalyanji Anandji.

It was one of the earlier songs penned by Anand Bakshi in his career. This song came in the era when classy lyrics were being written by several established lyricists. So Anand Bakshi, in a bid to make his mark among such talented lyricists came up with this gem of a song. It is ironic that many of his lesser quality songs are better known than this song.

Even the music director duo were relatively new on the scene. And in this song they have tried to create a Salil Chaudhary like effect. The song and its picturisation is reminiscent of Salil Chaudhary compositions of those years.

The song is picturised on Mala Sinha.

Yesterday (2 June 2019) gave me a feeling that I failed to utilise it to the full. Nevertheless, I noted down the lyrics of some songs from 1990s, that I will discuss next.


Song-Sambhal to le dil deewaana (Phool Bane Angaarey)(1963) Singer-Lata, Lyrics-Anand Bakshi, MD-Kalyanji Anandji

Lyrics (Provided by Prakashchandra)

dil deewaana
zara
thehar
jaana

sambhal to le dil deewaana
zara thehar jaana aa
sambhal to le dil deewaana
zara thehar jaana
abhi na saamne aana
zara thehar jaana
sambhal to le

main guzri umr ko waapas zara pukaar to loon
main apne aap ko thhoda bahut sanwaar to loon
libaas gham ka nigaahon se main utaar to loon
samaa to ho le suhaana zara thahar jaana
abhi na saamne aana
zara thehar jaana
sambhal to le

khushi bhi itni achaanak main seh na paaungi
main apne aap mein bas aaj reh na paaungi
jo tum se kehna hai mujhko
wo keh na paaungi
main yaad kar loon fasaana
zara thehar jaana
abhi na saamne aana
zara thehar jaana
sambhal to le

sataane waale
tumhen main bhi thhoda tadpaaun
talaash karte phiro tum mujhe
main chhup jaaun
hazaar kehne pe bhi saamne na main aaun
banaa loon koi bahaana
zara thehar jaana
abhi na saamne aana
zara thehar jaana

sambhal to le dil deewaana
zara thehar jaana
sambhal to le

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

दिल दीवाना
ज़रा
ठहर
जाना

संभल तो ले दिल दीवाना
ज़रा ठहर जाना
संभल तो ले दिल दीवाना
ज़रा ठहर जाना
अभी ना सामने आना
ज़रा ठहर जाना
संभल तो ले

मैं गुज़री उम्र को वापस ज़रा पुकार तो लूँ
मैं अपने आप को थोड़ा बहुत संवार तो लूँ
लिबास ग़म का निगाहों से मैं उतार तो लूँ
समा तो हो ले सुहाना ज़रा ठहर जाना
अभी ना सामने आना
ज़रा ठहर जाना
संभल तो ले

खुशी भी इतनी अचानक मैं सह ना पाऊँगी
मन अपने आप में बस आज रह ना पाऊँगी
जो तुमसे कहना है मुझको
वो कह ना पाऊँगी
मैं याद कर लूँ फसाना ज़रा ठहर जाना
अभी ना सामने आना
ज़रा ठहर जाना
संभल तो ले

सताने वाले तुम्हें भी थोड़ा तड़पाऊँ
तलाश करते फिरो तुम मुझे
मैं छुप जाऊँ
हज़ार कहने पे भी सामने ना मैं आऊँ
बना लूँ कोई बाहाना ज़रा ठहर जाना
अभी ना सामने आना
ज़रा ठहर जाना
संभल तो ले

संभल तो ले दिल दीवाना
ज़रा ठहर जाना
संभल तो ले


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

Blog Day :

3959 Post No. : 15037 Movie Count :

4123

Missing Films of 1960s – 110
– – – – – – – – – – – – – – –

Coming into the home stretch now. 110 films from 1960s added during this series. Some of them have been so rare that no information even is available about them. Like today’s film – ‘Black Arrow’ from 1965.

Geet Kosh, the major source of all information on Hindi films of those decades, provides us with the following details. The film is produced under the banner of Ameer Productions, Bombay, and is directed by Mehmood. It is not clear whether this is the same person as the comedian Mehmood that we are all so familiar with. The film is listed as a costume drama. The film poster that is available online indicates this film to be of the ‘zorro’ genre – a masked rider wearing a black cape and a black hat and riding a black horse – gives an impression of a zorro clone type film.

The star cast is listed as Hercules, Chandrakala, SK Shyam, Anjum, Funny Walker, Jilani, Hameeda Bano, Sadhana Khote, Khurshid Khan, Nazeer Kashmiri, Shakeela Bano Bhopali, and Jaani Babu qawwaal.

Geet Kosh lists four songs for this film. All the songs are written by Aziz Ghaazi. Now this name, although not new on the blog, does not have any information associated with it. We have four songs by this songwriter on the blog. In the Geet Kosh listings, I could locate 29 songs written him, for 9 films, from 1958 to 1969. Then, in our blog, his name appears again for a film in 1987 – ‘Tarzan And Cobra’. That makes 10 films that are known to have his name connected with. Almost all films that he has written for are stunt and costume drama films, as their names would suggest – ‘Jungle Princess’ (1958), ‘Choron Ki Baraat’ (1960), ‘Diler Haseena’ (1960), ‘Night Bird’ (1961), ‘Black Arrow’ (1965), ‘Noor Mahal’ (1965), ‘Tarzan And Hercules’ (1966), ‘Tarzarn Aur Jaadui Chiraagh’ (1966), ‘Sakhi Lutera’ (1969), and ‘Tarzan And Cobra’ (1987). So far this is all the information that I have been able to locate about this obscure songwriter.

The previous song written by Aziz Ghazi and posted on our blog, is a qawwaali in the voices of Mubarak Begum and Jaani Babu Qawwaal – “Adaayen Teer Hain Andaaz Barchhi Bhaale Hain” from the film ‘Jungle Princess’ (1958). And again today, we have another qawwaali sung by the same singers. As I have been surveying the landscape of 1960s films and songs, I realize that the qawwaali has been a very popular song type used in the films, all the way from mid 1950s to around end 1970s. So much that every third or fourth film, especially if it is a stunt type B/C grade film, contains a qawaali. Many of them are quite obscure, unavailable. And those which are available, are not much heard. Maybe because they belong to obscure films. But the qawwaalis, in themselves, are superb creations that have gone unnoticed and are lost to the listeners. It may be an idea to do another series of such unfamiliar qawwaalis from that era. (Aah. . . plans. . .) 😉

Let’s listen to this ‘nok jhonk’ qawaali, a very obscure and a rare song. This is the only song that is available for this film, in public domain. It appears that other songs were probably not released on gramophone records. Small mercies – that this one long qawwaali is now available.

Given the list of actors, my intuition says that this qawwaali is performed on screen by Shakeela Bano Bhopali, lip syncing for the back ground voice of Mubarak Begum, and Jaani Babu Qawwaal, singing for himself.

Another interesting point that comes to mind, as I listened to an prepare the lyrics. Per our earlier discussions, and Atul ji’s observations, a nok-jhonk type of song always ends in an agreement between the parties. In other words, it takes about three minutes for the jhagda to end and friendship to begin. This being a qawaali, the protagonists are taking longer to make their points. However the agreement is reached, albeit it arrives after six minutes. Oh well, it is a qawwaali after all. 🙂

Song – Jhoothe Ho Jhoothe Tum Ishq Waale  (Black Arrow) (1965) Singer – Mubarak Begum, Jaani Babu Qawwaal, Lyrics – Aziz Ghazi, MD – Iqbal
Mubarak Begum + Jaani Babu Qawwaal
Female Chorus
Male Chorus

Lyrics

nazar aate ho tum
bezaa..aar hum se. . .

na hoga ye kabhi
sarkaa..aar hum se. . .

jhoothe ho jhhoothe tum ishq waale
dil tod daala hamaara
maar daala arey maar daala
jhoothe ho jhhoothe tum ishq waale
dil tod daala hamaara
maar daala arey maar daala

ho dil ke kale tum husn waale
dil tum ne chheena hamaara
maar daala arey maar daala
ho dil ke kale tum husn waale
dil tum ne chheena hamaara
maar daala arey maar daala

tum ne achhi ye mohabbat ki adaa ha paayi
aaj is ke ho to kal us ke baney shaidaai
jaante hi nahin tum waada nibhaana kya hai
jaaiye jaaiye in baaton mein rakha kya hai
haa aaa aaa aaa aaaa
tum se harjaai ki. . .
ulfat ka bharosa kya hai. . .
jhoothe ho jhhoothe tum ishq waale
dil tod daala hamaara
maar daala arey maar daala

tum ne har baat ko afsaana bana kar chhoda
jis ko chaaha us ko deewaana banaa kar chhoda
bijliyaan hosh pe hans hans ke giraane waale
dil ki duniya mein ho tum aag lagaane waale
aaaa aaaa aaaaa aaaaaaa
ek hum hi nahin. . .
kehte hain zamaane waale. . .
ho dil ke kale tum husn waale
dil tum ne chheena hamaara
maar daala arey maar daala
ho dil ke kale tum husn waale
dil tum ne chheena hamaara
maar daala arey maar daala

hum na hotey to zamaane mein andhera hota
dard ka ranj ka nafrat ka basera hota
husn se apne nazaaron ki sajaaya hum ne
pyaar kya hota hai ye tum ko bataaya hum ne
haa aaa aaa aaa aaaa
ishq mein mit gaye par lab na hilaaya hum ne. . .
jhoothe ho jhhoothe tum ishq waale
dil tod daala hamaara
maar daala arey maar daala
jhoothe ho jhhoothe tum ishq waale
dil tod daala hamaara
maar daala arey maar daala

hum na hotey to ye shokhi na masti hoti
husn ki duniya pe hasrat hi barasti hoti
pyaar kar ke tumhen magroor banaaya hum ne
dilbari ka har ek andaz sikhaaya hum ne
haaaa aaaa aaaaa aaaaaaa
ishq ki raah mein
dil apna jalaaya hum ne. . .
ho dil ke kale tum husn waale
dil tum ne chheena hamaara
maar daala arey maar daala
ho dil ke kale tum husn waale
dil tum ne chheena hamaara
maar daala arey maar daala

pyaar ke naam pe tum mil ke daghaa detey ho
tum wafaadaari ki inaam sazaa detey ho
tum ne chhoda hai mohabbat mein sahaara de kar
tukde dil kar diya hai tum ne hamaara le kar
aaj to gusse mein sarkaar nazar aate ho
khich ke tum aur bhi talwaar nazar aate ho
maan letey hain chalo pyaar tumhaara sachchaa
aao mil jaao ye jhagda nahin hota achhaa
baat taqraar ki dekho na zabaan par laao
saaz e dil chhed ke ulfat ke taraane gaao

hum hain tumhaare
tum ho hamaare
dil ko mila hai sahaara
pyaar ka har taraf hai ujaala

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

नज़र आते हो तुम
बेज़ा॰॰आर हम से॰ ॰ ॰

ना होगा ये कभी
सरका॰॰आर हम से॰ ॰ ॰

झूठे हो झूठे तुम इश्क़ वाले
दिल तोड़ डाला हमारा
मार डाला अरे मार डाला
झूठे हो झूठे तुम इश्क़ वाले
दिल तोड़ डाला हमारा
मार डाला अरे मार डाला

हो दिल के काले तुम हुस्न वाले
दिल तुमने छीना हमारा
मार डाला अरे मार डाला
हो दिल के काले तुम हुस्न वाले
दिल तुमने छीना हमारा
मार डाला अरे मार डाला

तुमने अच्छी ये मोहब्बत की अदा है पाई
आज इसके हो तो कल उसके बने शैदाई
जानते ही नहीं तुम वादा निभाना क्या है
जाइए जाइए इन बातों में रखा क्या है
हा॰॰ आss आss आss आsss
तुमसे हरजाई की॰ ॰ ॰
उलफत का भरोसा क्या है॰ ॰ ॰
झूठे हो झूठे तुम इश्क़ वाले
दिल तोड़ डाला हमारा
मार डाला अरे मार डाला

तुमने हर बात को अफसाना बना कर छोड़ा
जिसको चाहा उसको दीवाना बना कर छोड़ा
बीजलियाँ होश पे हंस हँस के गिराने वाले
दिल की दुनिया में हो तुम आग लगाने वाले
आsss आsss आssss आssssss
एक हम ही नहीं॰ ॰ ॰
कहते हैं जमाने वाले॰ ॰ ॰
हो दिल के काले तुम हुस्न वाले
दिल तुमने छीना हमारा
मार डाला अरे मार डाला
हो दिल के काले तुम हुस्न वाले
दिल तुमने छीना हमारा
मार डाला अरे मार डाला

हम ना होते तो जमाने में अंधेरा होता
दर्द का रंज का नफरत का बसेरा होता
हुस्न से अपने नज़ारों को सजाया हमने
प्यार क्या होता है ये तुमको बताया हमने
हा॰॰ आss आss आss आsss
इश्क़ में मिट गए॰ ॰ ॰
पर लब ना हिलाया हमने॰ ॰ ॰
झूठे हो झूठे तुम इश्क़ वाले
दिल तोड़ डाला हमारा
मार डाला अरे मार डाला
झूठे हो झूठे तुम इश्क़ वाले
दिल तोड़ डाला हमारा
मार डाला अरे मार डाला

हम ना होते तो ये शोख़ी ना मस्ती होती
हुस्न की दुनिया पे हसरत ही बरसती होती
प्यार कर के तुम्हें मगरूर बनाया हमने
दिलबरी का हर एक अंदाज़ सिखाया हमने
हा॰॰ आsss आssss आssssss
इश्क़ की राह में॰ ॰ ॰
दिल अपना जलाया हमने॰ ॰ ॰
हो दिल के काले तुम हुस्न वाले
दिल तुमने छीना हमारा
मार डाला अरे मार डाला
हो दिल के काले तुम हुस्न वाले
दिल तुमने छीना हमारा
मार डाला अरे मार डाला

प्यार के नामे पे तुम मिलके दग़ा देते हो
तुम वफादारी की इनाम सज़ा देते हो
तुमने छोड़ा है मोहब्बत में सहारा दे कर
टुकड़े दिल कर दिया है तुमने हमारा लेकर
आज तो गुस्से में सरकार नज़र आते हो
खिच के तुम और भी तलवार नज़र आते हो
मान लेते हैं चलो प्यार तुम्हारा सच्चा
आओ मिल जाओ ये झगड़ा नहीं होता अच्छा
बात तक़रार की देखो न ज़बां पर लाओ
साज ए दिल छेड़ के उलफत के तराने गाओ

हम हैं तुम्हारे
तुम हो हमारे
दिल को मिला है सहारा
प्यार का हर तरफ है उजाला


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 : 3959 Post No. : 15036

Today (21 may 2019) is the rememberance day of Subodh Mukherji (14 April 1921 – 21 May 2005). The name of Subodh Mukherji is synonymous with movies that many HFM lovers have either grown up with or have relived them as part of their discovery of Hindi movies. What movies he has produced and directed!

He directed Munim Ji(1955), Paying Guest(1957) and “Teesri Aankh”(1982). He produced and directed “Love Marriage”(1959),”Junglee” (1961), “April Fool”(1964), “Saaz Aur Aawaaz”(1966), “Abhinetri”(1970) and “Ulta Seedha(1985)”. He also produced “Shaagird”(1967) and “”Sharmeelee”(1971).

As a tribute to the renowned movie maker of the golden era, here is a song from “Abhinetri”(1970). This song is sung by Lata. Majrooh Sultanpuri is the lyricist. Music is composed by Laxmikant Pyarelal.

This melodious song is picturised on Hema Malini and Shashi Kapoor, with Hema Malini seen wooing Shashi Kapoor. So women empowerment could be seen in Hindi movies as far back as in 1970 itself. 🙂

Audio (Full)

Video (one less stanza)

Song-Khinche hamse saanwre itne kyun ho(Abhinetri)(1970) Singer-Lata, Lyrics-Majrooh Sultanpuri, MD-Laxmikant Pyarelal

o ho ho ho ho ho
khinche hamse saanwre
itne kyun ho
khinche hamse saanwre
itne kyun ho
roko paagal man ko
ke jisne chaaha tum ko o o
meri baahon se pare
itne kyun ho
khinche hamse saanwre
itne kyun ho

rut ye doori ki nahin hai
ho o o o o
rut ye doori ki nahin hai
gori kahin hai
pi kahin hai
rukiye to
are re re re rukiye to
are are aisa kya
are re re re re
suniye to haan
roko chanchal man ko
ke jisne chaaha tumko o o
oho
ajee gusse mein bhare
itne kyun ho
khinche hamse saanwre
itne kyun ho

kabhi na poocha haal mera
ho o o o
kabhi na poocha haal mera
lage ujaala bhi andhera
gham ab to
arre re re re rukta hai
arre arre man mera
are re re re dukhta hai
haan
roko vyaakul man ko
ke jisne chaaha tumko o o
o ho
piya apnon se phire
itne kyun ho
khiche hamse saanwre
itne kyun ho

pyaar ki hoon main to pyaasi
ho o o o
pyaar ki hoon main to pyaasi
tum na samjhe ye udaasi
aage aao
na na na na kahna kya
ohoon ohooon
tumhre bin
na na na an rahna kya
haan
roko paagal man ko
ke jisne chaaha tum ko o o
o ho
chatur ho ke
baawre
itne kyun ho
khinche hamse saanwre
itne kyun ho
roko paagal man ko
ke jisne chaaha tum ko
o o
meri baahon se pare
itne kyun ho
khinche ham se saanwre
itne kyun ho


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

Blog Day :

3957 Post No. : 15034 Movie Count :

4122

Missing Films of 1960s – 109
– – – – – – – – – – – – – – –

Today’s film is ‘Night In Calcutta’ from 1970, produced under the banner of Mahendra Productions, Bombay. Given that it is a 1970 film, and looking at the list of songs, I am surprised this film did not make it here earlier. The lead pair in this film is Sanjeev Kumar and Simmi. By the time this film was released in 1970, both actors had comfortably settled into their careers. Sanjeev, having made his debut in 1960, had 10 years behind him, mostly in B/C grade cinema. 1971 was a year ahead when he would get recognition and national award with his portrayal in the film ‘Dastak’. Simi Garewal, had made her debut in 1962, with the English film ‘Tarzan Goes To India’ opposite to Feroze Khan, also had a good eight years behind her, with a mix of films, but mostly second female lead or a character role, but surely having worked with luminary directors of Indian cinema – Satyajit Ray, Mrinal Sen, Mehboob Khan, Raj Kapoor and Raj Khosla. ‘Siddhartha’, directed by Conrad Rooks – a definitive role as a courtesan, was still two years hence, in 1972.

Besides the lead pair, the rest of the cast is listed as Jaishri Talpade, Jagdev, Bhagwan, Master Sachin, Baby Neeta, Amrit Mahendra, Satyendra Kumar, Neelam, Vimal Joshi, Peter, Jai Singh, Samson, R Gaurang, Aasi, Ravi Khanna, Dev Kumar, Dhanraj, Jyoti Kiran, and Poonam More. Amrit Mahendra is also the producer and director of this film.

Four songs are listed for this film, all from the pen of Asad Bhopali. The music direction is by Usha Khanna. This song is sung by Suman Kalyanpur. The song is in memory from the radio listening days. I was searching for the video of this film and the song, but seems it is not available currently. I have some memory that probably I have seen this film on TV long back. However, I am not able to recall anything about the plot and the storyline. I request other knowledgeable readers who may have seen this film (and have better recall than me 🙂 ), to please add more info about this film and the song.

Maybe three more to go. 🙂

[Ed Note: Our dear Prakash ji has brought to my notice that this song, as per Geet Kosh, appears twice in the film, and so it is a multi part song. In the second part, one stanza is different. The link for the part 2 of this song is now updated below. The lyrics for the second stanza which is different, are also appended below.]

Part I

Part II

Song – Parde Ki Baat Parde Mein Rahe To Achhaa Hai  (Night In Calcutta) (1970) Singer – Suman Kalyanpur, Lyrics – Asad Bhopali, MD – Usha Khanna

Lyrics

Part 1

laaaaaa 
lala llalla laa
lala llalla laa

lala llalla laa
lala llalla laa

lala llalla laa
lala llalla laa

lala llalla laa
lala llalla laa. . .

parde ki baat parde mein rahe to achhaa hai
parde ki baat parde mein rahe to achhaa hai
na tum ajnabi
na hum ajnabi
na tum ajnabi
na hum ajnabi
parde ki baat parde mein rahe to achhaa hai
parde ki baat parde mein rahe to achhaa hai

rang kyon ud gaya
aankh kyon jhuk gayi
kaun se mod par
zindagi ruk gayi
ho oo oo ooooo
rang kyon ud gaya
aankh kyon jhuk gayi
kaun se mod par
zindagi ruk gayi
jo hum ko kehna tha
wo hamne keh diya
jo hum ko kehna tha
wo hamne keh diya
parde ki baat parde mein rahe to achhaa hai
parde ki baat parde mein rahe to achhaa hai

dil ki uljhan chhupaane se kya fayda
hum se nazren churaane se kya fayda
ho oo oo ooooo
dil ki uljhan chhupaane se kya fayda
hum se nazren churaane se kya fayda
jo hum ko kehna tha
wo hamne keh diya
jo hum ko kehna tha
wo hamne keh diya
parde ki baat parde mein rahe to achhaa hai
parde ki baat parde mein rahe to achhaa hai
na tum ajnabi
na hum ajnabi
na tum ajnabi
na hum ajnabi
parde ki baat parde mein rahe to achhaa hai
parde ki baat parde mein rahe to achhaa hai

Part 2
(One stanza that is different.)

husn jaaga hua raat madhosh hai
dard hai jis ke dil mein wo khamosh hai
ho oo oo ooooo
husn jaaga hua raat madhosh hai
dard hai jis ke dil mein wo khamosh hai
jo hum ko kehna tha
wo hamne keh diya
jo hum ko kehna tha
wo hamne keh diya
parde ki baat parde mein rahe to achhaa hai
parde ki baat parde mein rahe to achhaa hai
na tum ajnabi
na hum ajnabi
na tum ajnabi
na hum ajnabi
parde ki baat parde mein rahe to achhaa hai
parde ki baat parde mein rahe to achhaa hai

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

भाग 1

ला॰॰आ॰॰आ॰॰आ
लाला ल्ललला ला
लाला ल्ललला ला

लाला ल्ललला ला
लाला ल्ललला ला

लाला ल्ललला ला
लाला ल्ललला ला

लाला ल्ललला ला
लाला ल्ललला ला

पर्दे की बात पर्दे में रहे तो अच्छा है
पर्दे की बात पर्दे में रहे तो अच्छा है
ना तुम अजनबी
ना हम अजनबी
ना तुम अजनबी
ना हम अजनबी
पर्दे की बात पर्दे में रहे तो अच्छा है
पर्दे की बात पर्दे में रहे तो अच्छा है

रंग क्यों उड़ गया
आँख क्यों झुक गई
कौन से मोड पर
ज़िंदगी रुक गई
हो ओ ओ ओsss
रंग क्यों उड़ गया
आँख क्यों झुक गई
कौन से मोड पर
ज़िंदगी रुक गई
जो हमको कहना था
वो हमने कह दिया
जो हमको कहना था
वो हमने कह दिया
पर्दे की बात पर्दे में रहे तो अच्छा है
पर्दे की बात पर्दे में रहे तो अच्छा है

दिल की उलझन छुपाने से क्या फायदा
हमसे नज़रें चुराने से क्या फायदा
हो ओ ओ ओsss
दिल की उलझन छुपाने से क्या फायदा
हमसे नज़रें चुराने से क्या फायदा
जो हमको कहना था
वो हमने कह दिया
जो हमको कहना था
वो हमने कह दिया
पर्दे की बात पर्दे में रहे तो अच्छा है
पर्दे की बात पर्दे में रहे तो अच्छा है
ना तुम अजनबी
ना हम अजनबी
ना तुम अजनबी
ना हम अजनबी
पर्दे की बात पर्दे में रहे तो अच्छा है
पर्दे की बात पर्दे में रहे तो अच्छा है

भाग 2
(
एक अंतरा जो फर्क है।)

हुस्न जागा हुआ रात मदहोश है
दर्द है जिसके दिल में वो खामोश है
हो ओ ओ ओsss
हुस्न जागा हुआ रात मदहोश है
दर्द है जिसके दिल में वो खामोश है
जो हमको कहना था
वो हमने कह दिया
जो हमको कहना था
वो हमने कह दिया
पर्दे की बात पर्दे में रहे तो अच्छा है
पर्दे की बात पर्दे में रहे तो अच्छा है


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

Blog Day :

3953 Post No. : 15029 Movie Count :

4120

Missing Films of 1960s – 108
– – – – – – – – – – – – – – –

At 108, generally a maala is considered to be complete. So we are at the 108th episode of this series, searching for and bringing on missing films of 1960s on to our blog. Ah but, the homework is not still fully done. So there still are some films pending, to be taken care.

The story of the descent of the holy river Ganga, from the Baikunth Lok down to the earth, is very detailed and interesting. It spans four generations of kings belonging to the Suryavansh, the Sun Dynasty, in which later Lord Ram also appeared.

In the lineage of Suryavansh – Vivaswaan (also known as Vaivaswat Manu) is the son of Sun God. He had 10 sons. His second eldest son is Ikshvaku, from whom starts the primary lineage of the Sun Dynasty as we know it. His next in line is a son named Nimi. The lineage progresses and through more generations reaches Raja Harishchandra. The descendants of Raja Harishchandra in sequence, are Rohit, Vrishabh, Baahuk and then Sagar (‘सगर’).

Raja Sagar has two wives – Sumati and Keshini, but no children. Once Rishi Aurv (‘और्व’), passing through the kingdom, stayed at the palace and accepted the hospitality of Raja Sagar. When he was leaving, pleased by the selfless service done by the king, he asked the king to express his wish. The king of course expressed his desire to have sons so that his dynasty may continue. The Rishi blessed him, and said that one of his queens will give birth to one son. The second queen will be blessed with 60,000 sons. All of them will be brave and exceptional, but that they will be playful and short in temper.

With the passage of time, the blessing of the Rishi bore fruits, and the sons were born. Sumati gave birth to one sone Asmanja, and Keshini gave birth to 60,000 sons. Asmanja turns out to be a person with negative qualities.

Then after another passage of time, the King decided to conduct the Ashvamedha Yajna, to proclaim his sovereignty over all the land. The sixty thousand sons were given charge of protecting the horse of the Yajna. Now, Lord Indra, the king of the demigods, was envious of Raja Sagar. He decided to play a mischief. One night, as all the sons and soldiers were asleep, Indra stole the horse, took it, and tied it in the ashram of Kapil Muni, who was meditating at that time.

The army of 60,000 sons of Sagar reached Kapil Muni’s ashram in search of the horse. Finding the horse there, they jumped to the conclusion that Kapil Muni had stolen it. Muni was deep in meditation. Sagar’s sons started to rebuke him and call him names. They prodded him with their bows and disturbed him no end. Kapil Muni’s mediation was broken. He opened his eyes and looked at the army of 60,000 sons of Sagar. Such was the power in him, that by his mere glance, the 60,000 boys were burnt to death and turned into ashes.

When Sagar heard of this news, he was grief stricken. All his sons, save one, had perished without any proper samskaar etc. He consulted his Raj Purohit, Vashishth Muni. Vashishth said that the only way the perished sons could attain salvation was if the waters of the holy river Ganga was sprinkled on the ashes of the army of sons. For Raja Sagar, it was an unthinkable task. The grief took his life. His remaining son Asmanja was not a good person, and had been banished from the kingdom. But the son of Asmanja – Anshuman, turned out to be a very noble person. Sagar made him the King. Anshuman made a vow to bring water of Ganga to the earth. He forsook his kingdom and did mediation and penance all his life. But was not successful. He had one son, Dilip. The onus of accomplishing this task fell on to his shoulder. He too followed the path of meditation and penance, but quickly lost his health and passed away. The mantle for this task was now taken up by Dilip’s son, Bhagirath.

He prayed to Brahma for long years. Finally, Brahma was pleased, and he blessed Bhagirath with the promise that Ganga would descend from Baikunth and will come to earth. The narrative further tells us of the problem of the strength and volume of the flowing waters of Ganga. The earth or any person on earth could not withstand the force of the flow of Ganga. Then Bhagirath prayed to Lord Shiva, who agreed to let the holy river Ganga descend on to him, he would bear the main brunt of the force, and then the rest of earth and its people would then be blessed by it. There is a lot more detail in this narrative, appearing in multiple scriptures.

The film ‘Har Har Gange’ of 1968 is produced under the banner of Nitin Chitra and is directed by Babubhai Mistry. (Another film by the same name was produced in 1979, and that too is also directed by the same person.) The star cast of the 1968 film is listed as Jaishri Gadkar, Abhi Bhattacharya, Mahesh Kumar, Sulochana, Jeevan, Bharti, BM Vyas, Arvind Pandya, Uma Dutt, Vishwas, SN Tripathi, Sudarshan, Babu Raje, Tuntun, Paulson, Dalda Hindustani, Mahesh Bhatt, Rajkumar, Shri Bhagwan, Saraswati Devi, Bhairavi, Uma Khosla, Meena Pankaj, Malti Shashi, Master Gopi, Prakash, Munna Bagla, Madhumati, Bela Bose, and Helen.

The film has 6 songs, all penned by Kavi Pradeep. The music is composed by SN Tripathi. The song has been rendered by Krishna Kalle. The occasion seems to be that King Bhagirath is leaving the kingdom to go to the forest to do penance and to free his dynasty from the curse that 60,000 of his ancestors had brought upon themselves. From the words in the verses, it seems as if the song is being performed on screen by the wife of King Bhagirath. I have not been able to locate her name in the related information available. I would request other knowledgeable readers to please add this information if available.

With this song, the 1968 film ‘Har Har Gange’ makes its debut on our blog. With the publication of this post we are coming to the home stretch with this series. Now just 4 more films from the 1960s remain in this project. More details about that later.

 

Song – Jaao Mere Devta, Jaao Mere Praan  (Har Har Gange) (1968) Singer – Krishna Kalle, Lyrics – Kavi Pradeep, MD – SN Tripathi
Chorus

Lyrics

jaao mere devta
jaao mere praan
karey ganga maiya tumhaara kalyan
sidhaaro hey praan dhan
rakho kul ki aan
karey ganga maiya tumhaara kalyan
har har gange. . .
har har gange

barson se hai ye duniya dukhi
mit jaana par karna is ko sukhi
rakhna hamaare aansoo ka maan
jaao mere devta
jaao mere praan
karey ganga maiya tumhaara kalyan
har har gange. . .
har har gange

parvat jo rokey to rukna nahin
bijli girey phir bhi jhukna nahin
rakhna hamesha hatheli pe jaan
jaao mere devta
jaao mere praan
karey ganga maiya tumhaara kalyan
sidhaaro hey praan dhan
rakho kul ki aan
karey ganga maiya tumhaara kalyan
har har gange. . .
har har gange

har har gange. . .
har har gange

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

जाओ मेरे देवता
जाओ मेरे प्राण
करे गंगा मैया तुम्हारा कल्याण
सिधारो हे प्राण धन
रखो कुल की आन
करे गंगा मैया तुम्हारा कल्याण
हर हर गंगे॰ ॰ ॰
हर हर गंगे

बरसों से है ये दुनिया दुखी
मिट जाना पर करना इसको सुखी
रखना हमारे आँसू का मान
जाओ मेरे देवता
जाओ मेरे प्राण
करे गंगा मैया तुम्हारा कल्याण
हर हर गंगे॰ ॰ ॰
हर हर गंगे

पर्वत जो रोके तो रुकना नहीं
बिजली गिरे तो झुकना नहीं
रखना हमेशा हथेली पे जान
जाओ मेरे देवता
जाओ मेरे प्राण
करे गंगा मैया तुम्हारा कल्याण
सिधारो हे प्राण धन
रखो कुल की आन
करे गंगा मैया तुम्हारा कल्याण
हर हर गंगे॰ ॰ ॰
हर हर गंगे

हर हर गंगे॰ ॰ ॰
हर हर गंगे


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

Blog Day :

3950 Post No. : 15026 Movie Count :

4119

Missing Films of 1960s – 107
– – – – – – – – – – – – – – –

The film that is being introduced today is ‘Lav Kush’ from 1967. It was a time when mythological and religious films were still a draw – a draw enough for producers to continue producing this genre of films. It was a crop of artists, producers and financiers who held sway in the decades from the early years of Indian cinema, till maybe 1980s. Beyond that, once that crop withered away – passing away, retiring, or just plain fatigue, this genre of films has seen only a downward slide.

The film is produced by Basant Pictures. Regulars will recall that Basant Pictures is an off shoot of the Wadia Movietone, and both these production banners have witnessed great success in the 1940s and 1950s – Wadia with their stunt films (mostly starring Nadia), and Basant with their religious and social offerings.

The film is directed by SN Tripathi; ah yes, the same person who is also the music director. The cast of actors reads like Jaishri Gadkar, Aseem Kumar, Sheel Kumar, Bela Bose, Bablu, SN Tripathi, Chitra, Dalpat, BM Vyas, Hari Shukla, Bhagwan Sinha, RC Pandey, and Lalita Desai. The film has seven songs listed, and all the seven are penned by songwriter Saraswati Kumar Deepak.1

The song is a dance song in the royal court. The time of narrative is when Lord Ram has safely returned to Ayodhya, He has been crowned as the king, and the Ram Rajya is installed. Things seem to be settling down and moving smoothly. At this juncture, it becomes known that Sita is expecting and should become a mother soon.

This song is played at this time, when a court full of ladies marking this celebration with their good wishes blessings. The lead dancer in this song is Bela Bose. Interesting to note that Bela Bose is known for the ‘other’ types of dances. However, this dance – cast in a combination of semi classical plus folk steps – is no less impressive.

Maybe 5, or 6 films more to go for the 1960s list. Hopefully soon. 🙂

 

Song – Aao Ri Pyaari Behna Hil Mil Gaao Ri  (Lav Kush) (1967) Singer – Suman Kalyanpur, Lyrics – Saraswati Kumar Deepak, MD – SN Tripathi
Chorus

Lyrics

aao ri pyaari behna
hilmil gaao ri
bahurani Seeta ji ki
god bharaao ri
bahurani Seeta ji ki
god bharaao ri
aao ri pyaari behna
hilmil gaao ri
bahurani Seeta ji ki
god bharaao ri
bahurani Seeta ji ki
god bharaao ri

ek maas beeta doosara maas beeta
ye teesara mahina
ye teesara mahina
kacha pakka waar mann ko na bhaawe thaal
dekho bookh laage na
dekho bookh laage na
hare hare amuvaa ki chutney piswaao ri
bahurani Seeta ji ki
god bharaao ri
bahurani Seeta ji ki
god bharaao ri

lag gaya satwaan mahina
dekho jhukna kathin ho gaya
jhukna kathin ho gaya
kaise buhaarengi anganwaa
ke achra khisakne laga
achra khisakne laga
phoolon ki sej pe in ko sulaao ri
bahurani Seeta ji ki
god bharaao ri
bahurani Seeta ji ki
god bharaao ri

tulsi ko pooj ke
suraj devta ki karey vinti Siya
karey vinti Siya
choom choom achra
suhaginan bahu ko aashish de diya
bahu ko aashish de diya
nauven mahine mein to munna khilaao ri
bahurani Seeta ji ki
god bharaao ri
bahurani Seeta ji ki
god bharaao ri

aao ri pyaari behna
hilmil gaao ri
bahurani Seeta ji ki
god bharaao ri
bahurani Seeta ji ki
god bharaao ri

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

आओ री प्यारी बहना
हिलमिल गाओ री
बहुरानी सीता जी की
गोद भराओ री
बहुरानी सीता जी की
गोद भराओ री
आओ री प्यारी बहना
हिलमिल गाओ री
बहुरानी सीता जी की
गोद भराओ री
बहुरानी सीता जी की
गोद भराओ री

एक मास बीता दूसरामास बीता
ये तीसरा महिना
ये तीसरा महिना
कच्चा पक्का वार मन को ना भावे थाल
देखो भूख लागे ना
देखो भूख लागे ना
हरे हरे अमुवा की चटनी पिसवाओ री
बहुरानी सीता जी की
गोद भराओ री
बहुरानी सीता जी की
गोद भराओ री

लग गया सातवाँ महिना
देखो झुकना कठिन हो गया
झुकना कठिन हो गया
कैसे बुहारेंगी अंगनवा
के अचरा खिसकने लगा
अचरा खिसकने लगा
फूलों की सेज पे इनको सुलाओ री
बहुरानी सीता जी की
गोद भराओ री
बहुरानी सीता जी की
गोद भराओ री

तुलसी को पूज के
सूरज देवता की करे विनती सिया
करे विनती सिया
चूम चूम अचरा
सुहागिनन बहू को आशीश दे दिया
बहू को आशीश दे दिया
नौवें महीने में तो मुन्ना खिलाओ री
बहुरानी सीता जी की
गोद भराओ री
बहुरानी सीता जी की
गोद भराओ री

आओ री प्यारी बहना
हिलमिल गाओ री
बहुरानी सीता जी की
गोद भराओ री
बहुरानी सीता जी की
गोद भराओ री


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

Blog Day :

3948 Post No. : 15023 Movie Count :

4118

Missing Films of 1960s – 106
– – – – – – – – – – – – – – –

Today, we bring on board the 1968 film ‘Balram Srikrishna’. We are now down to some of the most obscure films on this list of pending films of 1960s. However, the film itself is available, and the video clip of this song is uploaded. As the name suggests, it is a mythological / historical film based on our scriptures. It depicts some of the episodes from the stories related to the Sri Krishna avataar of the Supreme Lord. And Balram is the name of the elder brother of Sri Krishna in this incarnation.

The film is produced under the banner of Joy Films, Bombay and is directed by Chandrakant. The star cast listed for this film is very very impressive – Dara Singh, Shahu Modak, Premnath, Nana Palsikar, Randhawa, Azad, Ashish Kumar, Gemini Ganesh, Prithviraj, Savitri, Jaishri Gadkar, Geetanjali, Madhumati, Bela Bose, Padma Rani, Sushma, Uma Khosla, Aruna Irani, Sulochana Chatterjee, Babu Raje, Sherry, BM Vyas, Anand Joshi, Arvind Pandya, Bhale Rao, Radheshyam, and Pal Sharma.

There are nine songs listed for this film. All songs are from the pen of Kavi Pradeep. The music composition is by C Ramchandra. This song is rendered by Asha Bhosle, supported by a chorus of voices.

On screen this song is performed by Geetanjali, accompanied by a group of sahelis. I have not seen this film, but my intuition tells me that Geetanjali is playing the role of Rukmani, the daughter of Bhishmaka, the king of Vidarbha. As per the descriptions in the Puranas, Rukmani is the incarnation of Goddess Lakshmi. In this incarnation, she is born on this earth as the daughter of Bhishmaka. At a young age, she learns about Lord Krishna, His beauty and His virtues. She starts to love Him in Her heart, and takes a vow that She would be married only Him. As is logical even, for Goddess Lakshmi cannot be betrothed to anyone other than the Supreme Lord Vishnu himself, because they are the Eternal Couple.

The later part of the stories tell about how Her brother Rukmi announces Her betrothal to Shishupal, the crown prince of Chedi. This is to please Jarasandh, the King of Magadh. Jarasandh is a sworn enemy of Krishna, as he is the father-in-law of King Kamsa of Mathura, whom Krishna had slain in hand-to-hand combat. The detailed stories are quite intricate. Suffice to say that Rukmini becomes aware of Rukmi’s plans to get Her married to Shishupal. Having made a personal vow to Herself, that She would marry Krishna only, She sends a message to Him through a brahmin. On receiving the message, Krishna, who is now the King of Dwarka, sets out in His chariot to reach Vidarbha at the earliest. Balram, His elder brother, follows him with the army, quite correctly anticipating trouble, when Krishna would reach Vidarbha.

Bhishmaka, Rukmani’s father, is in favor of his daughter marrying Krishna, but is helpless in the face of Rukmi’s arrogant insistence. On the morning of the wedding day, Rukmani goes to the temple for prayers. Krishna is waiting there, all set with His chariot and horses. They elope from the temple, and start Their journey towards Dwarka. When Rukmi learns about this elopement, gathers his army and sets out in chase of the fleeing Couple. The two armies catch up. While Balram with his army vanquishes the army of Rukmi and Jarasandh, Krishna engages in a duel with Rukmi and defeats him. He is just going to behead him, when Rukmani begs that Her brother be forgiven. Krishna relents and spares Rukmi’s life.

As mentioned earlier, the complete description is very detailed and intricate. Only a brief summary has been presented above to establish the context. This song, from the lyrics and the performance, is most likely from the time when Rukmani has realized Her love for Krishna in Her heart, and She is pining to meet Him and see Him. The verses tell of the depth of Her anxious eagerness to meet Him.

A very melodious song, that I have heard for the first time, as I prepare for this post. A lost gem that should have been better known. Listen and enjoy.

Song – Jis Ki Sohni Hai Soorat, Mann Mohini Hai Moorat  (Balram Srikrishna) (1968) Singer – Asha Bhosle, Lyrics – Kavi Pradeep, MD – C Ramchandra
Chorus

Lyrics

aa aaa aaaa aaaaa

koi bata do
pata piya ka
kahaan mera chit chor
main wo prem deewaani
jis ka preetam
nand kishore

jis ki sohni hai soorat
mann mohni hai moorat
aise saanwariya se jaane kab hoga milan
aise saanwariya se jaane kab hoga milan

jis ki sohni hai soorat
mann mohni hai moorat
aise saanwariya se jaane kab hoga milan
aise saanwariya se jaane kab hoga milan

door disha mein muraliya boley
taan taan par jiya mera doley
door disha mein muraliya boley
taan taan par jiya mera doley
muraliya boley
jiyara doley
jis ka naam bansi waala
jis ne chhup chhup jaadu daala
aise natkhat se mere kab ladenge nayan
aise natkhat se mere kab ladenge nayan
jis ki sohni hai soorat
mann mohni hai moorat
aise saanwariya se jaane kab hoga milan
aise saanwariya se jaane kab hoga milan

jaane kis din
aayenge sainyaan
pyaar se meri
pakdenge bainyaan
jaane kis din
aayenge sainyaan
pyaar se meri
pakdenge bainyaan
aayenge sainyaan
pakdenge bainyaan
jin ka sunder hai badan
jin ka roop mann mohan
aise prabhu mujhe denge kab darshan
aise prabhu mujhe denge kab darshan
jis ki sohni hai soorat
mann mohni hai moorat
aise saanwariya se jaane kab hoga milan
aise saanwariya se jaane kab hoga milan

jab jab nabh mein
baadal chhaate
mujhe ghan shyaam mere
bade yaad aate
jab jab nabh mein
baadal chhaate
mujhe ghan shyaam mere
bade yaad aate
baadal chhaate
yaad wo aate
jis ko maana mann hi mann
maine apna jeevan dhan
aise piya ji ki main kab banungi dulhan
aise piya ji ki main kab banungi dulhan
jis ki sohni hai soorat
mann mohni hai moorat
aise saanwariya se jaane kab hoga milan
aise saanwariya se jaane kab hoga milan

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

आ आss आss आssss

कोई बता दो
पता पिया का
कहाँ मेरा चित चोर
मैं वो प्रेम दीवानी
जिसका प्रीतम
नन्द किशोर

जिसकी सोहनी है सूरत
मन मोहनी है मूरत
ऐसे साँवरिया से जाने कब होगा मिलन
ऐसे साँवरिया से जाने कब होगा मिलन

जिसकी सोहनी है सूरत
मन मोहनी है मूरत
ऐसे साँवरिया से जाने कब होगा मिलन
ऐसे साँवरिया से जाने कब होगा मिलन

दूर दिशा में मुरलीया बोले
तान तान पर जिया मोरा डोले
दूर दिशा में मुरलीया बोले
तान तान पर जिया मोरा डोले
मुरलीया बोले
जियरा डोले
जिसका नाम बंसी वाला
जिस ने छुप छुप जादू डाला
ऐसे नटखट से मेरे कब लड़ेंगे नयन
ऐसे नटखट से मेरे कब लड़ेंगे नयन
जिसकी सोहनी है सूरत
मन मोहनी है मूरत
ऐसे साँवरिया से जाने कब होगा मिलन
ऐसे साँवरिया से जाने कब होगा मिलन

जाने किस दिन
आएंगे संईयां
प्यार से मेरी
पकड़ेंगे बंईयां
जाने किस दिन
आएंगे संईयां
प्यार से मेरी
पकड़ेंगे बंईयां
आएंगे संईयां
पकड़ेंगे बंईयां
जिनका सुंदर है बदन
जिनका रूप मन मोहन
ऐसे प्रभु मुझे देंगे कब दर्शन
ऐसे प्रभु मुझे देंगे कब दर्शन
जिसकी सोहनी है सूरत
मन मोहनी है मूरत
ऐसे साँवरिया से जाने कब होगा मिलन
ऐसे साँवरिया से जाने कब होगा मिलन

जब जब नभ में
बादल छाते
मुझे घन श्याम मेरे
बड़े याद आते
जब जब नभ में
बादल छाते
मुझे घन श्याम मेरे
बड़े याद आते
बादल छाते
याद वो आते
जिसको माना मन ही मन
मैंने अपना जीवन धन
ऐसे पिया जी की मैं कब बनूँगी दुल्हन
ऐसे पिया जी की मैं कब बनूँगी दुल्हन
जिसकी सोहनी है सूरत
मन मोहनी है मूरत
ऐसे साँवरिया से जाने कब होगा मिलन
ऐसे साँवरिया से जाने कब होगा मिलन


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3939 Post No. : 15014

“Naughty Boy”(1962) was produced and directed by Shakti Samanta. The movie had Kishore Kumar, Kalpana, Omprakash, Sundar, Madan Puri, Kanu Roy, Krishnkant, Kundan, Praveen Paul, Shivraj, Sulochana Cahtterji, Prretibala, Nand Kishore, Masud, Paachhi, Manjula, Samar Chatterji, Kamaldeep, etc in it.

The movie had eight songs in it.

The details of the songs from the movie that have been covered in the past :-

1 Sa sa sa sa re 3558 23-Feb-11
2 Ho ho dil dhadka 7483 10-Feb-13
3 Ho gayee shaaam dil badnaam 10177 30-Aug-14
4 Ab to batla arre zaalim 10222 8-Sep-14
5 Jahaan bhi gaye ham o mere hamdam 10861 11-Feb-15
6 Rang ye duniya badalti hai badal ja pyaare 14417 12-Jun-18
7 Nazren mila ke jo duniya ki nazron se dare 14725 31-Oct-18

Here is the eighth and final song from “Naughty Boy”(1962) to appear in the blog. The song is sung by Asha Bhonsle. Shailendra is the lyricist. Music is composed by S D Burman.

The picturisation shows this song as a bar dance/ club dance song where a lady dancer (Kalpana ?) singing near the table occupied by Kishore Kumar, looking like Joy Mukherji. For a moment I thought that Kishore Kumar was apeing Joy Mukherji, but then I realised that Kishore Kumar was the maternal uncle (Mama) of Joy Mukherji, and why would he ape the mannerisms of someone who was half his age and a newcomer.

I request our knowledgeable readers to help identify the dancer.

With this song, a very small (under two minutes long) song, “Naught Boy”(1962) now has all its songs covered in the blog and the movie joins the list of movies that have been YIPPEED in the blog.


Song-Tum mere pehchaane phir bhi ho anjaane (Naughty Boy)(1962) Singer-Asha Bhonsle, Lyrics-Shailendra, MD-S D Burman

Lyrics

tum mere pehchaane
phir bhi ho anjaane
main to yahaan
kahaan tum kahaan
ho o o
ho o o
tum mere pehchaane

dekho na mujhe tum hoke hairaan
meri tumhaari hai puraani pehchaan
jab talak mere tan mein hai jaan
mere rahoge tum mere mehmaan
dhokhe mein na aao
kaise bhi aazmaao
o ho
ho o ho ho
tum mere pehchaane
phir bhi ho anjaane
main to yahaan
kahaan tum kahaan
ho o o
ho o ho
tum mere pehchaane
phir bhi ho anjaane
main to yahaan
kahaan tum kahaan
ho o o
ho o o
tum mere pehchaane


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What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over TEN years. This blog has over 15000 song posts by now.

This blog is active and online for over 3900 days since its beginning on 19 july 2008.

Total number of songs posts discussed

15070

Number of movies covered in the blog

Movies with all their songs covered =1171
Total Number of movies covered =4135

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