Archive for the ‘Songs of 1967’ Category
- In: Asha Bhonsle - Usha Mangeshkar duet | Asha Bhonsle songs | Blog ten year challenge (2010-2020) | Duet | Guest posts | Lyrics by Prakashchandra | Lyrics contributed by readers | Post by Avinash Scrapwala | Songs of 1960s (1961 to 1970) | Songs of 1967 | Synchronised dance | Usha Mangeshkar songs | Yearwise breakup of songs
- 1 Comment
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4397 | Post No. : | 15774 |
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Blog 10-Year Challenge (2010-2020) – Song No. 47
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Today’s song is from the ‘1967’ movie ‘Naunihaal’ which is eligible for ‘Blog ten-years challenge’ of today, as its song was posted on this day on the blog ten years back.
There were six posts on that day on the blog and that was well going with the average posts per day on the blog then.
The songs represented on 01.08.2010 on the blog were as follows;
| Song | Movie title-Year | Remarks |
|---|---|---|
| Raat suhaani jaag rahi hai | Jigri Dost-1969 | All songs covered |
| Zulf bikhraati chali aayi ho | Ek Kali Muskaayi-1968 | All songs covered |
| Aasmaan se aaya farishtaa pyaar ka sabak sikhlaane | An Evening In Paris-1967 | All songs covered |
| Meri aawaaz suno | Naunihaal-1967 | 04 songs posted |
| Tere mere sapne ab ek rang hain | Guide-1965 | All songs covered |
| Dekhi zamaane ki yaari bichhde sabhi baari baari | Kaaghaz Ke Phool-1959 | All songs covered |
Out of the six movies represented then five movies viz. ‘Jigri Dost-1969’, ‘Ek Kali Muskaayi-1968’, ‘An Evening In Paris-1967’, ‘Guide-1965’ and ‘Kaaghaz Ke Phool-1959’ have already covered with all their songs posted on the blog and have attained ‘Yippeeeeee’ status on the blog.
‘Naunihaal-1967’ was directed by Raj Marbros for ‘Mercury Productions, Bombay’.
It had Balraj Sahni, Indrani Mukherji, Sanjeev Kumar, Master Babloo, Harendranath Chattopadhyay, Abhi Bhattacharya, Madhvi, Jagdeep, Asit Sen, Brahm Bharadwaj, Manmohan and others.
This movie had seven songs written by Kaifi Azmi and composed to music by Madan Mohan.
So far, the following four songs from this movie have been posted on the blog;
| Song | Posted On |
|---|---|
| Tumhaari zulf ke saaye mein | 06.05.2009 |
| Meri aawaaz suno | 01.08.2010 |
| Patthar ke bhagwaan pighal jaa | 10.05.2013 |
| Na re na re baabu | 14.07.2016 |
Today we are going to listen a song sung by Asha Bhonsle and Usha Mangeshkar. Lyrics are by Kaifi Azmi and music is composed by Madan Mohan.
This song is picturised on Laxmi Chhaya, Madhumati. Manmohan and many others are also seen in the picturization of this song.
Lyrics for the today’s song were sent by Prakashchandra.
Let us now enjoy today’s song …
Full audio
Video (Partial)
Song-Roop ke pujaariyo husn ke bhikaariyo (Naunihaal) (1967) Singers – Asha Bhonsle, Usha Mangeshkar, Lyrics – Kaifi Azmi, MD – Madan Mohan
Both
Lyrics (Provided by Prakashchandra)
roop ke pujaariyo
husn ke bhikhaariyo
(loud laughing sound)
roop ke pujaariyo
husn ke bhikhaariyo
aao aao aao gorey gaalon ki bheekh le lo
le lo le lo
kaaley baalon ki bheekh le lo
le lo le lo
gorey gaalon ki bheekh le lo
(mob making loud screaming noise)
mujh se tumko pyaar hai
tumse mujhko pyaar
chhoti si ek baat par kaahe ki taqraar
kaahe ki taqraar
o jee kaahe ki taqraar
raat milan ki jo sajan beet jaayegi
phir ye jawaani naa kisi kaam aayegi
tumne tadpaa diya
haath phailaa diya
ye naa kehna kabhi ee
hamne thukraa diya
le lo le lo le lo le lo le lo
gorey gaalon ki bheekh le lo
le lo le lo
kaaley baalon ke bheekh le lo
le lo le lo
gorey gaalon ki bheekh le lo
(mob making loud screaming noise)
masti meri aankh mein laali honthon par
dekho maine roop kyaa paayaa hai dilbar
paayaa hai dilbar
o maine paayaa hai dilbar
dar se sawaali jo koyi laut jaayega
dard bhare dil ko kahaan chain aayega
jaam chhalkaa diyaa aa
rang barsaa diyaa
dekho pyaar mein
daan kya kya diyaa
le lo le lo le lo le lo le lo
gorey gaalon ki bheekh le lo
le lo le lo
kaaley baalon ki bheekh le lo
le lo le lo
gorey gaalon ki bheekh le lo
(mob making loud screaming noise)
pariyon jaise baal hai hirni jaisi chaal
jaane kaisa aaj hai mere jee ka haal
mere jee ka haal
haaye mere jee ka haal
dil ki tadap dil ki sadaa jaan jaaungi
aaj kaho aaj kahaa maan jaaungi
roz taqraar kyaa
jeet kya haar kyaa
jo bujha de na pyaas
wo mera pyaar kyaa
le lo le lo le lo le lo le lo
gorey gaalon ki bheekh le lo
le lo le lo
kaaley baalon ke bheekh le lo
le lo le lo
gorey gaalon ki bheekh le lo
roop ke pujariyo
husn ke bhikhaariyo
aao aao aao
gorey gaalon ki bheekh le lo
le lo le lo
kaaley baalon ki bheekh le lo
le lo le lo
gorey gaalon ki bheekh le lo
- In: Baag/Bagiya song | Devnagri script lyrics by Ashwini Scrapwala | expression of love | Feelings of heart | Guest posts | Love song | Lyrics by Prakashchandra | Lyrics contributed by readers | Multiple version song | Post by Avinash Scrapwala | Rafi solo | Rafi songs | Romantic song | Sharda solo song | Sharda songs | Song picturised in at well known locations | Songs of 1960s (1961 to 1970) | Songs of 1967 | Yearwise breakup of songs
- Leave a Comment
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4387 | Post No. : | 15748 |
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Blog 10-Year Challenge (2010-2020) – Song No. 43
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Ten years back on this day 22nd July 2010 five songs were posted on the blog as per following.
|
Song |
Movie title-Year |
Remarks |
| Chaahaa thaa banoon pyaar ki raahon ka devata | Gunhaahon Kaa Devtaa-1967 | 3 of 7 songs posted |
| Dil milaa ke milo paas aake milo | Thakur Jarnail Singh-1966 | 3 of 6 songs posted |
| Ye khaamoshiyaan ye tanhaayiyaan | Ye Raaste Hai Pyaar Ke-1963 | All songs covered |
| Bheegi chaandni chhaayi bekhudi | Suhaagan-1964 | All songs covered |
| Ik baat bataa de jogi | Taj-1956 | All songs covered |
So, today, we have two movies eligible for posting a song under ‘Blog Ten-Year Challenge’ viz. ‘Gunaahon Ka Devta’ (1967) and ‘Thakur Jarnail Singh’ (1966). In this post, I am presenting a song from ‘Gunaahon Ka Devta’ wherein Prakash ji had sent the lyrics of this multiple versions song.
When I saw the mail and the song title, I was surprised to note that this song has not been posted yet on the blog. But when I checked the other remaining song from this movie, I was more surprised to note that there is one more song which I like very much because of the actor performing on it 😊 but this song too is yet to be posted on the blog. Well, I had watched this movie during my stay at Parli-Vaijnath from 1985-1988. And this movie did bring back memories of my stay there and the ‘peak movie watching period’ for me there, when I used to watch maximum movies of yesteryear coming to theatres. I remember I liked this movie and its songs too.
The film is produced and directed by Devi Sharma for ‘Janta Chitra’. It has Rajshri, Jeetendra, Mehmood, Leela Chitnis, Aruna Irani, Randhir, Tun Tun, Farida, Shahid, Rekha, SK Prem, Sujata, Jankidas and Jeevan. The story of this movie is also written by Devi Sharma, and its screenplay was written by Ravi Kapoor. Dialogues of this movie were written by Sarshar Sailani. Editing of this movie was done by Dharamvir. The movie was passed by Censor Board on 19.05.1967.
This movie has seven songs including one multiple version song. Lyrics were written by Hasrat Jaipuri and Shailendra (one song – the title song only). Music of this movie was composed by Shankar-Jaikishan. Mohd Rafi, Lata Mangeshkar, Mukesh, Manna Dey and Sharda had given their voices to for the songs in this movie.
So far, the following songs from ‘Gunaahon Ka Devta’ have been posted on the blog;
|
Song |
Posted On |
| Chaahaa thaa banoon pyaar ki raahon ka devata | 22.07.2010 |
| Raam kare kahin nainaa naa uljhen | 30.07.2010 |
| Teer aankhon ke jigar ke paar kar do yaar tum | 13.07.2012 |
Today’s song is the multiple version song where the male version is sung by Mohd Rafi and the female version has the voice of Sharda. Jeetendra is lip syncing in the voice of Rafi Saab in the male version whereas in the female version Rajshri is lip syncing in the voice of Sharda. Both of them are seen in the picturization of this song where we could see the lovers ‘complaining’ about each other for ‘trapping in love’ and simultaneously also reminding that one will not be able to forgot them easily.
As mentioned above lyrics of this song were sent by Prakashchandra.
Let us now enjoy this lovely song in both versions …
Male Version (Video)
Male Version (Audio)
Female Version (Video)
Female Version (Audio)
Song – Hum Ko To Barbaad Kiya Hai, Aur Kisey Barbaad Karoge (Gunaahon Ka Devta) (1967) Singer – Mohammed Rafi, Sharda, Lyrics – Hasrat Jaipuri, MD – Shankar Jaikishan
Lyrics (Provided by Prakashchandra)
haaye
kis ki jaan logi
kyaa iraada hai
hum ko to barbaad kiya hai
aur kise barbaad karoge
hum ko to barbaad kiya hai
aur kise barbaad karoge
bhool na jaana aaj ke din ko
ek din hum ko yaad karoge
hum ko to barbaad kiya hai
tirchhi nazar ke teer chalaao
naaz-o-adaa ki bijlee giraao
tirchhi nazar ke teer chalaao
naaz-o-adaa ki bijlee giraao
uff na karenge
hum bhi to dekhein
kitne sitam iijaad karoge
kis ki jaan logi
kya iraada hai
hum ko to barbaad kiya hai
aur kise barbaad karoge
bhool na jaana aaj ke din ko
ek din hamko yaad karoge
hum ko to barbaad kiya hai
tum chaaho to jaan bhi le lo
kaafir ho imaan bhi le lo
tum chaaho to jaan bhi le lo
kaafir ho imaan bhi le lo
dil waalon se paala pada hai ae
tum bhi bhala kya yaad karoge
ha haa
kis ki jaan logi
kya iraada hai
hum ko to barbaad kiya hai
aur kise barbaad karoge
bhool na jaana aaj ke din ko
ek din hamko yaad karoge
hum ko to barbaad kiya hai
hum bhi tumhein bechain karenge
pyaar mein aisa rang bharenge ae
hum bhi tumhein bechain karenge
pyaar mein aisa rang bharenge
neend na hogi in aankhon mein
tadpoge fariyaad karoge ae
ha ha
kis ki jaan logi
kya iraada hai
hum ko to barbaad kiya hai
aur kise barbaad karoge
bhool na jaana aaj ke din ko
ek din hamko yaad karoge
hum ko to barbaad kiya hai
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Devnagri Script lyrics (Provided by Avinash Scrapwala)
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हाए
किस कि जान लोगी
क्या इरादा है
हमको तो बरबाद किया है
और किसे बरबाद करोगे
हमको तो बरबाद किया है
और किसे बरबाद करोगे
भूल ना जाना आज के दिन को
एक दिन हमको याद करोगे
हमको तो बरबाद किया है ए
तिरछी नज़र के तीर चलाओ
नाज़ ओ अदा कि बिजली गिराओ
तिरछी नज़र के तीर चलाओ
नाज़ ओ अदा कि बिजली गिराओ
उफ़ ना करेंगे
हम भी तो देखें
कितने सितम इजाद करोगे
किस कि जान लोगी
क्या इरादा है
हमको तो बरबाद किया है
और किसे बरबाद करोगे
भूल ना जाना आज के दिन को
एक दिन हमको याद करोगे
हमको तो बरबाद किया है ए
तुम चाहो तो जान भी ले लो
काफिर हो ईमान भी ले लो
तुम चाहो तो जान भी ले लो
काफिर हो ईमान भी ले लो
दिल वालों से पाला पड़ा है
तुम भी भला क्या याद करोगे
ह हा
किस कि जान लोगी
क्या इरादा है
हमको तो बरबाद किया है
और किसे बरबाद करोगे
भूल ना जाना आज के दिन को
एक दिन हमको याद करोगे
हमको तो बरबाद किया है ए
हम भी तुम्हें बेचैन करेंगे
प्यार में ऐसा रंग भरेंगे
हम भी तुम्हें बेचैन करेंगे
प्यार में ऐसा रंग भरेंगे
नींद न होगी इन् आँखों में
तड़पोगे फ़रियाद करोगे
ह ह
किस कि जान लोगी
क्या इरादा है
हमको तो बरबाद किया है
और किसे बरबाद करोगे
भूल ना जाना आज के दिन को
एक दिन हमको याद करोगे
हमको तो बरबाद किया है ए
Badi kaafir tumhaari nazar nikli
Posted on: January 15, 2020
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 : | 4198 | Post No. : | 15381 |
“Sangdil” (1967), unlike “Sangdil”(1952) is a less known movie. It was directed by Dharam Kumar for Alamdeep Productions, Bombay. This B grade movie had Manohar Deepak, Bhagwan, Johnny Walker, Surendra, Ameeta, Dara Singh, Anwar, Indira, Satish etc in it.
“Sangdil”(1967) had five songs in it that have been forgotten with time. But these songs are forgotten gems.
One song from “Sangdil”(1967) has been covered in the blog. Here is the second song from the movie to appear in the blog.
This song is sung by Lata and Usha Mangeshkar. Naqsh Llayalpuri is the lyricist. Music is composed by G S Kohli.
The song is picturised as a synchronised dance song on a stage, watched by a house full audience in a hall.
I am unable to identify the two dancers. I request our knowledgeable readers to help identify them.
Song-Badi kaafir tumhaari nazar nikli (Sangdil)(1967) Singers-Lata, Usha Mangeshkar, Lyrics-Naqsh Llayalpuri, MD-G S Kohli
Both
Lyrics
Badi kaafir tumhaari nazar nikli
o Badi kaafir tumhaari nazar nikli
meri jaan le gayi
do jahaaan le gayi
ho ise shola kahoon ya kahoon main bijli
Badi kaafir tumhaari nazar nikli
meri jaan le gayi
do jahaaan le gayi
ho ise shola kahoon ya kahoon main bijli
Badi kaafir tumhaari nazar nikli
mehfil mein tumhaare jalwon mein
o o o
kya mujhpe qayaamat dhhaayi hai
kya mujhpe qayaamat dhhaayi hai
sau baar to dhhalka hai aanchal
sau baar ye nazar sharmaayi hai
sau baar ye nazar sharmaayi hai
ye mulaaqaat jaadoo asar nikli
kyun Badi kaafir tumhaari nazar nikli
meri jaan le gayi
do jahaaan le gayi
ho ise shola kahoon ya kahoon main bijli
Badi kaafir tumhaari nazar nikli
tum hosh mein rehna ae saaqi
o o o o o
mumkin hai rahe na hosh mujhe
mumkin hai rahe na hosh mujhe
ab mera sambhalna mushqil hai
behkoon to na dena dosh mujhe
behkoon to na dena dosh mujhe
saat rangeen pichhle pahar nikli
o Badi kaafir tumhaari nazar nikli
meri jaan le gayi
do jahaaan le gayi
ho ise shola kahoon ya kahoon main bijli
Badi kaafir tumhaari nazar nikli
meri jaan le gayi
do jahaaan le gayi
ho ise shola kahoon ya kahoon main bijli
Badi kaafir tumhaari nazar nikli
Ghiri ghiri aayi kaari badariya
Posted on: December 23, 2019
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4175 | Post No. : | 15349 | Movie Count : |
4231 |
Hindi Songs in Bangla Films – 14
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‘Antony Firingee’ (1967) was a Bengali film which has attained a classic status among the Bengali films. The film was directed by Sunil Banerjee. The main cast included Uttam Kumar, Tanuja, Lolita Chatterjee, Bhanu Bandopadhyay, Asit Baran, Ruma Guha Thakurta, Chhaya Devi etc. The film was based on a real-life story of Hensman Antony, a Portuguese national, who visited Chandannagar (near Kolkata) with his father, a trader, sometime in the 19th century. However, in the film, the story has some deviation from the real story probably to give a better cinematic depiction of the characters. Let me set out first the real story which I have gathered from the on-line sources.
Hensman Antony (1786-1836) arrived in Chandannager with his father, a trader sometime in the 19th century. He got so obsessed with the Bengali folk music and language that he decided to settle down in Chandannagar. During his stay, he started learning Bengali language and also the folk music. His life took a fresh turn when he saved a brahmin widow, Saudamini from self-immolation and took her to his place. He married her much to the annoyance of orthodox Bengalis. A widow re-marrying and that too a Firingee (foreigner from Europe) was nothing less than an act of blasphemy. The conservatives regularly harassed Antony and Saudamini by various means.
The influence of Saudamini on Antony was such that he started worshipping Maa Kali and Maa Durga that made him a spiritually inclined person. He also started learning Kavigaan (Bengali folk performances by poets of two groups who sing and perform in front of the villagers as a competition). He was also good in singing hymns in praise of Goddesses. His literary Bengali was so good that he became one of the popular poets of Kavigaan. These things did not go well with the orthodox upper caste Bengalis who felt that a Firingee is entering their domain. One day, a few villagers burnt their cottage which resulted in Soudamini getting burnt to death. At that point of time, Antony was away giving his winning performance in a Kavigaan.
There is an old Kali temple located in Bowbazar area of Kolkata known as ‘Firingee Kalibari’ to which Antony Firingee was associated with its renovation and also as a devotee.
The film, ‘Antony Firingee’ (1967) is available on-line for viewing in 7 parts. However, there is no English sub-titles. After knowing the real story of Hensman Antony, it was not difficult for me to relate the scenes in the film and also the context. Since the early life of Hensman Antony in Bengal was not known, the director has taken the cinematic liberty by showing that Antony’s mother was a Bengali. He spends most of his time singing Bengali songs with the workers of a riverbank. Antony’s behaviour is completely in odd with his brother and Marina (Lolita Chatterjee) who loves him. They would prefer him to mingle with their own (white) people.
The director has fictionalized the romantic link between Antony (Uttam Kumar) and Soudamini (Tanuja. In the film, her role was named as Nirupama) by making her a courtesan after she became a widow. Her singing as a courtesan attracts Antony. She reveals him her sad story as to how she ran away from home after the death of her husband to escape death on her husband’s funeral pyre. She was forced to become a courtesan by changing her name to Shakilabai. Both are now becoming closer to each other as both share the same interest – singing. Antony rescues her from the kothi and marries her. There is a complete transformation of Shakilabai from a courtesan to Nirupama as a housewife. Despite the constant harassment from the conservative society surrounding them for their rebellions, they lead a contended married life. Rest of the story in the film has been mostly kept as per the real-life story.
The dramatization by way of the irony of the situations in the film has been well conceived. For instance, because of Antony’s foreign origin, Bhola Moira (Asit Baran), the most popular kabiyal (a bard, akin to ‘kirtankar’ in Maharashtra and Karnataka) at that time, refuses to teach him to become the kabiyal. But in the end, at a Kavigaan, he defeats Bhola Moira who not only accepts his defeat graciously, he removes the flower garland from his neck and place it on Antony as a mark of his respect for Antony. And another irony of situation is that while Antony has won the duel with Bhola Moira, fanatics are burning his cottage in which his wife is being burnt alive. The film ends with Antony carrying the dead body of Nirupama out of the burnt house and takes to the river ghat.
The film won Uttam Kumar the National Award for the best actor in 1968. About 50 years later, ‘Antony Firingee’ (1967) was the opening film at Kolkata International Film Festival, 2018.
The film had 10 songs and a Tarana sung by Malbika Kanan, the wife of Pandit A T Kanan. All the songs are said to have become very popular. I am presenting the only Hindi song in the film, ‘ghir ghir aayi kaari badariya’ sung by Sandhya Mukherjee based on a popular traditional kajri. But in the film, it is sung for a mujra singer (Tanuja in the role of Shakinabai)) which is set to music by Anil Bagchi.
In the video version of the song, it is interspersed with western dances Antony’s community is indulging where Antony is being taken to participate. But he so immersed in mujra song heard in the background that he closes the door of the dance floor to hear the song uninterrupted. The audio clip has the full rendition.
Video Clip (Partial):
Audio Clip:
Song-Ghiri ghiri aayi kaari badariya (Anthony Firangi)(Bangla)(1967) Singer-Sandhya Mukherjee, MD-Anil Bagchi
Lyrics(based on audio clip)
aaa aaa aaa
aaa aaa aaa
aaa aaaa aaa aaa
ghiri ghiri aayi kaari badariya
piya nahin aaye
main kaa karoon guinyaan
ghiri ghiri aayi kaari badariya
piya nahin aaye
main kaa karoon guinyaan
kaa karoon guinyaan
piyaa nahin aaa…ye
piya nahin aaye
haaa aa aa
piya nahin aaye
piya nahin aaye
main kaa karoon guinyaan
daadur morey
daadur morey papeeha gaa…..ye
daadur morey papeeha boley
mujh birhan kaa jiyara…..aa doley
mujh birhan kaa jiyara…..aa doley
nis din unki yaa……d sataaye
piya nahin aaye
main kaa karoon guinyaan
piya nahin aaye mora
kaa karoon guinyaan
piya nahin aaye mora
kaa karoon guinyaan
piya nahin aaye
main kaa karoon guinyaa….n
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws
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Blog Day : |
4111 | Post No. : | 15262 | Movie Count : |
4193 |
Hindi Songs in Bangla Films – 2
– – – – – – – – – – – – – – – – –
The troika of Satyajit Ray, Ritwik Ghatak and Mrinal Sen had taken Indian cinema to a great height from the 1950s onward. They were regarded as the harbinger of the new wave cinema, also called the parallel cinema. They were all from Bengal and made the films mostly in Bengali. But they had not only had the pan India reach but also, they were globally famous through their films. They won many awards – both National and International.
Tapan Sinha was one more film-maker from Bengal who was a contemporary of Satyajit-Ghatak-Mrinal. He also made mostly Bengali films and had won National and International awards. But the general impression carried in the film circle was that he was not in league with the the troika. The reason was that he was regarded as ‘the middle of the road’ film maker whose films would have some mild doses of commercial ingredients. It is only after Tapan Sinha’s death in January 2009 that some film writers feel that he should have been a part of quartet, Satyajit-Ghatak-Mrinal-Tapan for the realism depicted in his films.
Tapan Sinha made his first film ‘Ankush’ (1954) in Bengali. Since then until 2000, he made 37 films which included some films in Hindi like ‘Zindagi Zindagi (1972), ‘Sagina’ (1974), ‘Ek Doctor Ki Maut’ (1991) etc. He also made some children’s films like ‘Safed Haathi’(1978), ‘Aaj Ka Robinhood’ (1987). Most of his films were based on the stories written by well-known Bengali writers like Gurudev Rabiindranath Tagore, Tarashankar Bandopadhyay, Ramapada Chowdhury, Samresh Basu etc.
Some of Tapan Sinha’s successful Bengali films were remade in Hindi. These include ‘Mere Apne’ (1971) by Gulzar adapted from ‘Apanjan’ (1968), ‘Baawarchi’ (1972) by Hrishikesh Mukherjee from ‘Gulpo Holeo Satti’ (1966), ’Zindagi Zindagi’ (1972) from ‘Khoniker Atithi’ (1959), ‘Sagina’ (1974) from ‘Sagina Mahato’ (1970) and ‘Ijaazat’ (1987) from ‘Jatugriha’ (1964).
‘Haate Baazare’ (Market Place, 1967) was one of the successful films in Bengali directed by Tapan Sinha. Ashok Kumar and Vyjayantimala were in the lead roles with Rudraprasad Sengupta, Ajitesh Bandopadhyay, Bhanu Bandopadhyay, Chinmoy Roy, Chhaya Devi, Samit Bhanja, Partho Mukherjee etc in the supporting roles. It was the first Bengali film for Vyjayantimala. Probably, it was also for the first time, Vyjayantimala sang for herself a Bengali song, cheye thaki cheye thaki along with Mrinal Chakraborty in this film. Vyjayantimala did not know Bengali. But Tapan Sinha did not dub her dialogues in the film with borrowed voice, Instead he made her to rehearse her dialogues after listening to the pre-recorded dialogues on the cassette.
The film was based on a novel of the same name by Banaphul (real name: Balai Chand Mukhopadhyay). The film is available for watching on video sharing platform but there are no English subtitles for those who do not understand Bengali. Still, one can get a feel of the story of the film.
Dr. Mukherjee (Ashok Kumar) is a doctor in a tribal town in Birbhum. He is well respected by the tribal folks as well as others which include Chhipli (Vyjayantimala), a young widow. In his jest to serve the people, Dr Mukherjee has no much time to attend to his wife’s illness of a chronic heart ailment. After the death of his wife, Dr Mukherjee leaves his job and starts a mobile clinic for the poor. Lachhman Lal (Ajitesh Bandopadhyay), the spoilt son of a local landlord is at a loggerhead with him as he protects Chhipli from his lustful eyes. This is resented by Lachhman Lal and as a vengeance, he spreads the rumour about Dr Mukherjee’s relationship with Chhipli who has been working with him as his assistant.
In a night of a tribal get-together where Chhipli also participates in songs and dances, Lachhman Lal hoodwinks Chhipli by sending a message through Nani (Chhaya Devi) that she has been called by Dr Mukherjee. On her way back, he tries to molest Chhipli. In the nick of time, Dr Mukherjee saves her but, in the fight, Dr Mukherjee strangulates Lachhman to death and in the process, he is also seriously injured. Dr Mukherjee dies the next day. But Chhipli continues to carry forward the work of the mobile clinic in the village with the help of a young doctor.
The film was not only a commercial success, it also won the National Film Award for the Best Feature Film.
By the way, there is a train named as ‘Haate Bazare Express’ which runs from Sealdah (Kolkatta) to Saharsa Junction/Purnia.
‘Haate Baazare’ (1967) had 3 songs, one of which I am presenting here because it is in Hindi. The song is ‘aage aage nanadi chale peechhe nanadaya’ sung by Chinmoy Roy, Mrinal Chakraborty and Aarati Mukherjee. The song is set to music by Tapan Sinha. The name of the lyricist for Hindi song is not mentioned. But the wordings of the song seem to indicate that it is a traditional song. Incidentally, Majrooh Sultanpuri also used some lines from this song in pyaare nanadaya sarota kahaan bhool aaye for Hindi film, ‘Zamaana’ (1985), strengthening my guess that it is based on a traditional folk song. Most importantly, this song has the quality of captivating the listeners and the folk song has that quality even with the meaningless lyrics.
In the song, while Chinmoy Roy sings for himself, Mrinal Chakraborty sings for an actor whom I guess to be Partho Mukherjee. He sings in a mix of Bengali and Hindi words, probably that is the dialect spoken in Birbhum, a border district with Bihar. Aarati Mukherjee sings for Vyjayantimala.
Enjoy this fun filled teasing song.
Video
Audio
Song-Aage aage nanadi chale peechhe nanadaiyya (Haatey Baazaarey)(Bangla)(1967) Singers-Chinmoy Roy, Mrinal Chakraborty, Aarti Mukherjee, MD-Tapan Sinha
Chorus
Lyrics(Based on Audio Clip)
aage aage nanadi chale peechhe nanadaiyya
aage aage nanadi chale peechhe nanadaiyya
aur uske peechhe main bechaari
mere peechhe sainyyaa
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye
aage aage nanodi chole peechhe nanodini
aage aage nanodi chole peechhe nanodini
aur taar peechhone aami choli
aamaar peechhe shojni
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye
nat mori nanadi khaayi peda nanadaiyya
nat mori nanadi khaayi peda nanadaiyya
main bechaari rabdi khaaye
main bechaari rabdi khaaye
joothha chaate sainyyaa
sarota kahaan bhool gaye
pyaare nanadaya
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye
nanadi mori thhaali dikhaaye chaate nanadaiyya
nanadi mori thhaali dikhaaye chaate nanadaiyya
main bechaari paan khaaun
main bechaari paan khaaun
choona chaate sainyyan
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye
aage aage nanodi chole peechhe nanodini
aar taar peechhone aami chaale
aamaar peechhe sojni
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye
aage aage nanadi chale peechhe nanadaiyya
aur uske peechhe main bechaari
mere peechhe sainyyaa
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye
aage aage nanadi chale peechhe nanadaiyya
aage aage nanadi chale peechhe nanadaiyya
aur uske peechhe main bechaari
mere peechhe sainyyaa
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye
- In: Asha Bhonsle - Usha Mangeshkar duet | Asha Bhonsle songs | Aspirations of Love | Blog ten year challenge (2009-2019) | Dance song | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Lyrics contributed by readers | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1967 | Twin Dance Song | Usha Mangeshkar songs | Yearwise breakup of songs
- 1 Comment
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4078 | Post No. : | 15217 |
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Blog 10-Year Challenge (2009-19) – Song No. 44
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Seven songs were posted ten years ago. The blog was in its childhood – “Bachpan Ke Din Bhi Kya Din The” 🙂 🙂 .
Only one of these seven was a debut song. The list given below has an interesting observation. All films that made an appearance that day, have since been yippeee’d. Except just the one that made its debut.
| Ye Duniya Hai Yahaan Dil Ka Lagaana Kisko Aata Hai | Shair | 1949 | 2nd | Yippeee’d |
| Aaj Gaawat Man Mero | Baiju Baawra | 1952 | 6th | Yippeee’d |
| Ae Kaash Chalte Mil Ke | Manzil | 1960 | 3rd | Yippeee’d |
| Ek Baat Kahoon Wallah Ye Husn Subhan Allah | Shrimaan Satyawaadi | 1960 | 2nd | Yippeee’d |
| Dukh Aur Sukh Ke Raaste Bane Hain Sabke Waaste | Hum Dono | 1961 | 5th | Yippeee’d |
| Aap Jabse Kareeb Aaye Hain | Noorjehaan | 1967 | Deb | 3 of 8 |
| Zindagi Khwaab Hai | Jaagte Raho | 1956 | 2nd | Yippeee’d |
The film is ‘Noorjehaan’ from 1967. Containing eight very wonderful melodies, it is surprising that only three of them have as yet appeared here. With compositions created by the mind of Roshan, there still are very wonderful numbers waiting in the wings for their turn.
I bring on the 4th song of this film today. An all female duet which is decidedly a twin dance song on the screen, is such a wonderful presentation in the voices of Asha Bhosle and Usha Mangeshkar. The words are from the pen of Shakeel Sb.
Although the film is available, the video of this song is not yet available online. The interesting thing is that this audio only version which is available from Sa Re Ga Ma, is most likely the long version of the song from the sound track. It has three antaraas. As I checked the 78 rpm version of this song, sure enough, it has only two antaraas. The middle antaraa, as listed in the lyrics below, is not available in the 78 rpm recording.
The act of rebellion is the famous motif of the saga of Salim / Jehangir. That the crown and the throne was less important, in the face of the matters of heart, with this heir to the throne of Delhi. A school of historians who have studied the Mughal dynasty, have an opinion – that the persona of Anarkali and that of Noorjehan, that we have been introduced through the pages of history, were probably the same person. The thought here is that eventually Akbar had to give in to the wishes of his only son and Anarkali, the court dancer, became the queen of the Mughal empire. Although, Akbar had his consolation by ensuring that the chronicles of that period, being documented by the then current historians and writers, would write the story as he demanded. Is it speculation? Or is it the truth? Maybe one will never know for certain.
Song – Aa Gaya Lab Pe Afsaana-e-Aashiqi (Noorjehaan) (1967) Singer – Asha Bhosle, Usha Mangeshkar, Lyrics – Shakeel Badayuni, MD – Roshan
Asha Bhosle + Usha Mangeshkar
Lyrics
aa gaya lab pe afsaana e aashiqui
ab kisi bhi fasaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui
aa gaya lab pe afsaana e aashiqui
ab kisi bhi fasaane ki parwaah nahin
hum to un se. . .
hum to un se mohabbat kiye jaayenge
ab hamen is zamaane ki parwaah nahin
ab hamen is zamaane ki parwaah nahin
ab hamen is zamaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui
aaj ae ishq saaya tera sar pe hai
taj kadmon mein hai takht thokar pe hai
taj kadmon mein hai takht thokar pe hai
aaj ae ishq saaya tera sar pe hai
taj kadmon mein hai takht thokar pe hai
mil gayin hain. . .
mil gayin hain hamen pyaar ki daulaten
ab kisi bhi khazaane ki parwaah nahin
ab kisi bhi khazaane ki parwaah nahin
ab kisi bhi khazaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui
zindagi mein bahaaren rahengi sada
hum ne ulfat ke gulshan mein pa li jagah
hum ne ulfat ke gulshan mein pa li jagah
zindagi mein bahaaren rahengi sada
hum ne ulfat ke gulshan mein pa li jagah
chaahe bijli. . .
chaahe bijli gire ya jaley aashiaan
ab hamen aashiaane ki parwaah nahin
ab hamen aashiaane ki parwaah nahin
ab hamen aashiaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui
bandagi kar rahe hain mohabbat ki hum
ye nahin jaante kya hai dair o haram
ye nahin jaante kya hai dair o haram
bandagi kar rahe hain mohabbat ki hum
ye nahin jaante kya hai dair o haram
jhuk gayi hai. . .
jhuk gayi hai zabin husn ke saamne
ab kahin sar jhukaane ki parwaah nahin
ab kahin sar jhukaane ki parwaah nahin
ab kahin sar jhukaane ki parwaah nahin
aa gaya lab pe afsaana e aashiqui
ab kisi bhi fasaane ki parwaah nahin
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
आ गया लब पे अफसाना ए आशिक़ी
अब किसी भी फसाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी
आ गया लब पे अफसाना ए आशिक़ी
अब किसी भी फसाने की परवाह नहीं
हम तो उनसे॰ ॰ ॰
हम तो उनसे मोहब्बत किए जाएँगे
अब हमें इस जमाने की परवाह नहीं
अब हमें इस जमाने की परवाह नहीं
अब हमें इस जमाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी
आज ए इश्क़ साया तेरा सर पे है
ताज कदमों में है तख्त ठोकर पे है
ताज कदमों में है तख्त ठोकर पे है
आज ए इश्क़ साया तेरा सर पे है
ताज कदमों में है तख्त ठोकर पे है
मिल गईं हैं॰ ॰ ॰
मिल गईं हैं हमें प्यार की दौलतें
अब किसी भी खजाने की परवाह नहीं
अब किसी भी खजाने की परवाह नहीं
अब किसी भी खजाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी
ज़िंदगी में बहारें रहेंगी सदा
हमने उल्फ़त के गुलशन में पा ली जगह
हमने उल्फ़त के गुलशन में पा ली जगह
ज़िंदगी में बहारें रहेंगी सदा
हमने उल्फ़त के गुलशन में पा ली जगह
चाहे बिजली॰ ॰ ॰
चाहे बिजली गिरे या जले आशियाना
अब हमें आशियाने की परवाह नहीं
अब हमें आशियाने की परवाह नहीं
अब हमें आशियाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी
बन्दगी कर रहे हैं मोहब्बत की हम
ये नहीं जानते क्या है दैयर ओ हरम
ये नहीं जानते क्या है दैयर ओ हरम
बन्दगी कर रहे हैं मोहब्बत की हम
ये नहीं जानते क्या है दैयर ओ हरम
झुक गई है॰ ॰ ॰
झुक गयी हैं ज़बीं हुस्न के सामने
अब कहीं सर झुकाने की परवाह नहीं
अब कहीं सर झुकाने की परवाह नहीं
अब कहीं सर झुकाने की परवाह नहीं
आ गया लब पे अफसाना ए आशिक़ी
अब किसी भी फसाने की परवाह नहीं
- In: "beach" song | Aspirations of Love | Baag/Bagiya song | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Happy song | Love song | Lover's tête-à-tête | Lyrics contributed by readers | Mahendra Kapoor songs | Mahendra Kapoor Usha Mangeshkar duet | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1967 | Usha Mangeshkar songs | Yearwise breakup of songs
- 5 Comments
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 : | 4008 | Post No. : | 15114 |
If someone pops up the name Jethalal, and asks for an identification, I am sure you will be puzzled to start with. Yes, surely a strange name, that many of the folks interested in Hindi films, will not be familiar with. This name belongs to the dear and popular actor of Hindi films – Sanjeev Kumar. His full real name was Harihar Jethalal Jariwala. Ah yes, now very familiar, right? 🙂
Remembering Sanjeev Kumar on the anniversary of his birth today. Had he been alive, he would have been 81 years old, having been born in the year 1938.
Sanjeev Kumar – an out and out product of stage and theatre, started his acting career at a very young age with IPTA (Indian People’s Theatre Association) and later continued with Indian National Theatre. He was born in Surat. The family moved to Bombay when he was young. After attending a training program at a local acting school, he joined the theatre while still in his late teens.
From the theatre, the progression to films was but natural for a performer as talented as he was. His first appearance was in the film ‘Hum Hindustani’ of 1960, in which he played a very small role. His first film as a hero was ‘Nishaan’ in 1965. For a few years his assignments were confined to C grade stunt and fantasy films. Then he 1968, he graduated into A grade cinema, with a sizeable role the 1968 film ‘Sunghursh’, alongside the likes of Dilip Kumar, Balraj Sahni, Iftekhar, Ulhas and Jayant. This year became a turning point in his career – ‘Raja Aur Runk’ became a runaway success, and ‘Anokhi Raat’ became the debut film of our blog. 🙂
The most powerful thing about Sanjeev Kumar’s performances has been that he never allowed himself to be typecast into any straitjacket. Whatever may have been the stage of his career, he willy nilly took such diverse variety of roles, regardless of the age and the temper of the character. When he was just 22, he played the role of a 60 year old in a stage play, father of 6 children. Positive or negative, he was simply concerned with a sincere portrayal. In ‘Anokhi Raat’ he plays the role of a dacoit. His comic roles are unforgettable – ‘Seeta Aur Geeta’, ‘Pati Patni Aur Who’, ‘Manchali’, ‘Angoor’, ‘Namkeen’, ‘Manoranjan’ . . . you name it. The diversity and the versatility of his performances is what brought the audiences into the cinema halls, just to see his roles. And for a surprising change, the viewing public never rejected him for his variety,
Today’s song is from the 1967 film ‘Gunehgaar’. From the era when he was still in the C grade stunt and crime thrillers, ‘Gunehgaar’ is the film in which he plays the role of an upright police inspector. His love interest is Kumkum, who later turns out to be the daughter of Sheikh Mukhtar, a wanted gangster. The film takes certain interesting and predictable turns, given the specifics of the relationships, and it ends with note of ‘All Is Well, That Ends Well’.
The film is produced under the banner of Simla Productions, and is directed by R Thakar. The cast of actors includes Sheikh Mukhtar, Sanjeev Kumar, Kumkum, Bhagwan, Madan Puri, Uma Dutt, Neelam, Nandini, Tuntun, Sulochana Chatterjee, Lakshmi Chhaya, Kundan, Dilip Dutt, and Tiwari.
The film has six songs, one of which – “Aankhen Pyaasi Lab Hain Pyaase” is already showcased here on our blog. The songwriting credits are shared equally between Akhtar Romani and Naqsh Lyallpuri. This song is from the pen of Naqsh Lyallpuri. Music direction is by Vedpal.
The song comes in at the start of the romantic relationship between Sanjeev Kumar and Kumkum – it is that initial getting to know each other type of song, performed partly on a beach and partly in a garden. Singing voices are Mahendra Kapoor and Usha Mangeshkar. A liltling and a very hummable song. Listen and enjoy.
Song – Nai Nai Hain Manzilen Naye Naye Hain Raaste (Gunehgaar) (1967) Singer – Mahendra Kapoor, Usha Mangeshkar, Lyrics – Naqsh Lyallpuri, MD – Vedpal
Mahendra Kapoor + Usha Mangeshkar
Lyrics
nai nai hain manzilen
naye naye hain raaste
chale na jaana chhod ke
hamen khuda ke waaste
nai nai hain manzilen
naye naye hain raaste
ho chale na jaana chhod ke
hamen khuda ke waaste
nai nai hain manzilen
aaaa aaaaa aaaaaaa
aaaa aaaaa aaaaaaa
ik chaand humsafar mila
kitni haseen baat hai
wo haath khushnaseeb hai
jis mein tumhaara haath hai
hum aaj is tarah miley
dil ki haseen raah mein
laakhon hi chaand ho gaye
roshan meri nigaah mein
tamaam kaayenaat aa gai
meri panaah mein
nai nai hain manzilen
naye naye hain raaste
chale na jaana chhod ke
hamen khuda ke waaste
nai nai hain manzilen
aaaaa aaaa aaaaaa aaaa
aaaaa aaaa aaaaaa aaaa
jhukti hui nigaah mein
meri wafaa ka raaz hai
naghma bani hain dhadkanen
dil mera ek saaz hai
dekha jo tum ne pyaar se
har phool muskura diya
mehki hui bahaar ne
sajde mein sar jhuka diya
nisar mein us husn ke
jis ne khuda bhula diya
nai nai hain manzilen
naye naye hain raaste
chale na jaana chhod ke
hamen khuda ke waaste
nai nai hain manzilen
naye naye hain raaste
chale na jaana chhod ke
hamen khuda ke waaste
nai nai hain manzilen
aaaaa aaaa aaaaaa aaaa
aaaaa aaaa aaaaaa aaaa
ooooo oooo oooooo oooo
ooooo oooo oooooo oooo
hmmmm hmmm hmmmmmm hmmm
hmmmm hmmm hmmmmmm hmmm
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
नई नई हैं मंज़िलें
नए नए हैं रास्ते
चले ना जाना छोड़ के
हमें खुदा के वास्ते
नई नई हैं मंज़िलें
नए नए हैं रास्ते
चले ना जाना छोड़ के
हमें खुदा के वास्ते
नई नई हैं मंज़िलें
आsss आssss आssssss
आsss आssss आssssss
इक चाँद हमसफर मिला
कितनी हसीन बात है
वो हाथ खुशनसीब है
जिस में तुम्हारा हाथ है
हम आज इस तरह मिले
दिल की हसीन राह में
लाखों ही चाँद हो गए
रोशन मेरी निगाह में
तमाम कायनात आ गई
मेरी पनाह मेँ
नई नई हैं मंज़िलें
नए नए हैं रास्ते
चले ना जाना छोड़ के
हमें खुदा के वास्ते
नई नई हैं मंज़िलें
आssss आsss आsssss आsss
आssss आsss आsssss आsss
झुकती हुई निगाह मेँ
मेरी वफा का राज़ है
नग़मा बनी हैं धड़कनें
दिल मेरा एक साज है
देखा जो तुमने प्यार से
हर फूल मुस्कुरा दिया
महकी हुई बहार ने
सजदे मेँ सर झुका दिया
निसार मैं उस हुस्न के
जिसने खुदा भुला दिया
नई नई हैं मंज़िलें
नए नए हैं रास्ते
चले ना जाना छोड़ के
हमें खुदा के वास्ते
नई नई हैं मंज़िलें
नए नए हैं रास्ते
चले ना जाना छोड़ के
हमें खुदा के वास्ते
नई नई हैं मंज़िलें
आssss आsss आsssss आsss
आssss आsss आsssss आsss
ओssss ओsss ओsssss ओsss
ओssss ओsss ओsssss ओsss
हम्ममम हम्म हम्मममम हम्म
हम्ममम हम्म हम्मममम हम्म
This article is written by Nahm, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
3997 | Post No. : | 15093 |
Mohammed Rafi : The Incomparable (II) – Song No. 12
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This particular ghazal, as some other Mirza Ghalib ghazals, has been sung by various singers. Some of the famous renditions by KL Sehgal Sb, Suraiyya and also by Jaddanbai are already posted in the blog:
https://atulsongaday.me/2012/11/20/nuktaa-cheen-hai-gham-e-dil/ KL Sehgal (‘Yahudi Ki Ladki’, 1933)
https://atulsongaday.me/2010/04/17/nukta-cheen-hai-gham-e-dil/ Jaddanbai (Non-Film song, 1930)
https://atulsongaday.me/2011/03/13/nukta-cheen-hai-gham-e-dil-2/ Suraiyya (‘Mirza Ghalib’, 1954)
Another rendition of the golden era is yet to find its way into the blog, so here is the Rafi Sahab rendition. This is a very small simple ghazal with only the four sha’irs being rendered.
The starting word is ‘nuktaa cheen’, which means to be critical or criticism of something or someone. The word ‘nuktaa’ in common urdu actually means ‘a point” or ‘a dot’. In geometry it used to be ‘nukta alif’ to ‘nukta bey” as in point A to point B.
Nukta cheeni as being critical of someone or something, ably comes out in this sha’ir by Qateel Shifai :
wohi to sab se zyada hain nukta cheen mera
jo muskura ke hamesha gale lagaye mujhe
Here the word is used in the sense of ‘being critical of someone”. But Ghalib says “nuktaa cheen hai gham-e-dil”, he means to use the word in the other English meaning of the word i.e. cirtical, as in serious ill or a critical condition of health. I have always felt like this about this sha’ir. Did Ghalib have knowledge of the English word for ‘nukta-cheeni’ and also its another usage, i.e. critical ? Who can say! It is more likely that ‘nukta cheen’ is a Persian origin word meaning critical, as in health condition.
Actually this blog has quite a few anecdotes about Mirza Ghalib recorded in the write-ups and comments. Those who wish to know more can read the comments on this page : https://atulsongaday.me/2011/02/23/aah-ko-chaahiye-ik-umr-asar-honey-tak/ including anecdote regarding this sha’ir :
banaa hai shah ka musaahib phire hai itraata
wagarna shehar mein ghalib ki aabroo kya hai
Also a few more things that I can recite from memory high lighting the legendary poets talent for ‘fil-ba-dih” replies i.e. quid pro que replies, what we mean when we say tit-for-tat.
Once Ghalib was taking a walk in the garden with the Emperor (Bahadur Shah Zafar) a few days after the holy month of Ramazaan. The Emperor asks him “Roze kitne rakkhe ?”.
Ghalib who is known for not observing the religious obligations, was ready with his reply “huzur, ek nahi rakkha”. Perfect example of telling the truth yet not saying it.
Mirza Ghalib was said to be very fond of mangoes. Once he was sitting down with friends and eating mangoes to the heart’s content. They all kept eating the mangoes and throwing the peel (chhilka) to one side. One among them who didn’t like mangoes was not eating. Some donkeys happened by and they made towards the mango peels, but did not eat them. The person who was not eating the mangoes, took the opportunity to ridicule the others including Ghalib, saying that “ke dekho aam to gadhe bhi nahin khaate”. To this Ghalib had the last word saying “gadhe hi aam nahin khaate”.
It has now been a few years since I had any meaningful, at length discussion with my cousins, uncles or even friends in live discussions. Since we grew up and became responsible persons in our lives, we all seem to meet on occasions, for a few short hours or days if we are lucky. And since most of my cousins are staying abroad, and lone friend from my school days is staying in faraway place, I miss this type of discussions.
It’s really funny how some conceptions or misconceptions are formed in mind and are difficult to dislodge. There are a few such instances related to words, where I carried misconceptions that were later corrected. One was about the Urdu word ‘habshi’ (meaning – a person belonging to the Habsh tribe of North Africa, a dark coloured person). I read the word as ‘Jashi”, since both words have the same formation as written in Urdu, except for placement of the dot below the alphabets. the ‘hai in ‘habshi’ is the same in the word as ‘jeem’, except for the dot below ‘jeem’. Actually the dot below the next alphabet ‘be’ may have looked like it below ‘hai’ and I read it as ‘jeem’ and read the word as ‘jashi’ to begin with, and the first impression stuck.
It was as late as 1981, when the film ‘Razia Sultan’ was released, and I became aware of my mistake. My elder sister had a hearty laugh at that time and she told the joke to her friends too. 🙂
Next such thing happened to me with the song “Mera Mann Tera Pyaasa” from Gambler (1971). In this song there is this stanza :
zindagi hai meri ik daao
tu hai haar jeet meri
aise waise jaise bhi tu khel ham se
jaisi marzi teri …..
This is one of my favourite Rafi/SDB song, but I thought the lines were:
zindagi hai meri ik daao
tu hai ‘haathhi’ meri
It must have been as late as 2003-04 when I was disabused of the fact that the word was ‘haar jeet’ and not ‘haathi’, by my friends in office. I took pain to explain how I could have thought of a ‘haathi’ in this line, mainly that since there is daao in first line, it can be a chess game and hence the haathi ! The friends managed not to double over with mirth 🙂 .
Having come to this song, I can leave it without quoting the last stanza :
pataa nahin kaun hoon main
kyaa hoon aur kahaan mujhe jaanaa
apni wo kahaani jo ajaani
ho ke ban gayi, fasaanaa
jeewan kyaa hai, tamaashaa
meraa man tera. . .
Here is this non-film ghazal rendered by Mohammed Rafi Sahab, which is composed by Khayyaam. Each and every word is rising from the throat as rose petals, falling on water – so light and slow, floating in the air first and resting on the water to swim.
This voice – a gift from the Almighty and a favour for mankind. . .
[Ed Note: This recording is from the LP released by HMV in 1967 on the occasion of the birth centenary celebrations of Mirza Ghalib. This is a very special LP – music by Khayyaam, singing voices of Begum Akhtar and Rafi Sb, narration by Kaifi Azmi and sleeve notes prepared by Ali Sardar Jafri. In current times, this LP has become a collector’s item.]
Song – Nukta-cheen Hai Gham e Dil, Us Ko Sunaaye Na Baney (NFS – Mohammed Rafi) (1967) Singer – Mohammed Rafi, Lyrics – Ghalib (Traditional), MD – Khayyaam
Lyrics
nuktaa-cheen hai gham-e-dil
us ko sunaaye na baney ea ea
kya baney baat jahaan
baat banaaye na baney ea ea
nuktaa-cheen hai gham-e-dil
khel samjha hai kahin
chhod na de bhool na jaaye
kaash yoon bhi ho ke
bin mere sataaye na baney ea ea
kaash yoon bhi ho ke
bojh wo sar se giraa hai ea
ke utthaaye na utthe ea ea
kaam wo aan padaa hai
ke banaaye na baney ea ea
kaam wo aan pada hai
ishq par zor nahi
hai ye wo aatish ghaalib
ke lagaaye na lagey
aur bujhaaye na baney ea ea
ke lagaaye na lagey
aur bujhaaye na baney ea ea
nuktaa-cheen hai gham-e-dil
———————————————————-
Hindi script lyrics (Provided by Nahm)
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नुकता चीं है ग़म-ए-दिल
उस को सुनाये न बने ए ए
क्या बने बात जहां
बात बनाए न बने ए ए
नुक़ता चीं है ग़म-ए-दिल
खेल समझा है कहीं
छोड़ न दे भूल न जाए
काश यूँ भी हो के
बिन मेरे सताये न बने ए ए
काश यूँ भी हो के
बोझ वो सर से गिरा है ए
के उठाये न ऊठे ए ए
काम वो आन पड़ा है
के बनाए न बने ए ए
काम वो आन पड़ा है
इश्क़ पर ज़ोर नहीं
है ये वो आतिश ग़ालिब
के लगाए न लगे
और बुझाए न बने ए ए
के लगाए न लगे
और बुझाए न बने ए ए
नुकता चीं है ग़म-ए-दिल
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