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

Archive for the ‘Songs of 1969’ Category


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5773 Post No. : 18299

Yesterday 7th may 2024 was the third phase of General elections 2024 of India. I was looking forward to it for quite some time. The electoral process had started from march end itself and the process will go on till 4 June 2024. A very long drawn, a very elaborate, and at the same time a tedious and tiring process for all. Nevertheless, a very important process for India, and by that token, for the world, because it is the biggest polling exrcise evver undertaken in the history of mankind.

Under normal circumstances, polls should take place unnoticeably and be done with it. But that is hardly the case. It is a very loud, noisy, ugly process lasting nearly three months or so. Normal people, who do not apply their mind and are easily swayed by media, may be having a tough time whenever they read newspapers or switch on the TV. I, who consider myself as someone who applied my mind instead of blindly believing what I read or listen from others, have managed to keep by and large aloof from all this madness. I am eagerly waiting for all the seven phases of polling to get over and the results announced on 4 June 2024, so that we can all go back to our normal routines for the next five years.

I did not notice much poll related activities in Bhopal. That was because I do not watch TV, and secondly we do not get any newspapers. So the little I came to know about these activities was shrill campaigning on TV channels whenever my wife would open TV. On checking out news on my mobile, I was given to understand that voters are rather indifferent and voting percentages are down vis a vis 2019 elections. It was pointed out that a few parties do not have party workers to carry out election related activities. Other parties with resources have got complacent or disheartened, as the case may be, we were told. People are not even doing door to door canvassing this time, we were told.

After I settled down in Bhopal from July 2022, I first voted in local municipal election, and subsequently Assembly election. This time I was goping to vote in Parliamentary election. Every time, my centre is the same, namely St Xavier’s school, which is located nearly one km from my residence and is within walking distance. Based on past two elections, I knew that one gets a slip where polling details-viz centre, voter serial number, location of centre etc are mentioned. Typically one party or the other with resources would hand over these details at your household. This time I came to know that the election commission had taken this work on itself. But election commission failed to send slips to our locality. On friday, 3 may 2024, we did get our slips, alongwith pamphlet of a party that had the required resources and enthusiasm for the elections.

Out of the four slips for four voters of our household, only I and my wife were around to vote. The vote time was 7 AM to 6 PM. I suggested to my wife that we should go to vote early in the morning when there was less crowd at the polling station.

Next morning, we left for the polling booth at 7:30. I found that two couples from neighbouring houses were returning back after voting. So we were not really that early to the polling station. We found that there was a very long line of voters for our polling booth. That school had some half a dozen polling booths, each with a different number and serving different localities. Our polling booth had the longest queue. Perhaps the voters of our locality were the most enlightened !

There were separate queues for men and women. It took me about one hour to enter the polling booth room. My wife too entered at the same time. Inside the room, it did not take more than a couple of minutes. First one had to show the slip, and the staff would match the slip with his record and then cross the name on his list, indicating that the person had arrived to vote. Voter ID would be shown, and after that you would have to sign on a register, that would mean you have marked your attendance. Then a slip would be generated and given to you. The person ahead of you would go to the enclosure with EVM. A few seconds later a beep would be heard. The person would indicate that the vote was recorded. Then he would collect the slip from the next voter and ask him to go to the voting enclosure. The EVM voting is so easy these days. Just locate your desired symbol and press the button on its right. Look inside the small looking glass. This is VVPAT. It displays the symbol that you pressed. A few seconds later, beep sound is heard. Congratulations, your polling is done !

I and my wife left the booth at a few minutes apart. We arrived at the car, where I had kept my mobile (as carrying mobiles are not allowed inside polling booth). The time mentioned on the mobile was 8:36. So I guessd that I had voted at around 8:33 after standing in the queue for one hour.

We arrived back home a few minutes later.

I felt that I had accomplished an enormous task. I felt good and satisfied about it. The fact that our voting was over at about 8:30 meant we had defeated the sun and we were back at home by our breakfast time.

People feel tired after accomplishing a big task. I too felt tired. 🙂 It was a bit like how I feel when I fill up my IT return and it successfully gets submitted online. A few days later, IT department processes it I receive the message that my IT return has been accepted.

There is one difference though. IT return is filed every year. Voting takes place once in five year. If you add assembly election and municipality elections as well, then one needs to vote thrice in five years.

My case was unique. It was the very first time in my life that I had voted in a parliamentary election. Voting for a parliamentary election for the first time at an age of 60 plus ! It must be a strange kind of record. But that is not all. Though I had not voted in Parliamentary elections, I had figured in the parliament election process as a patrolling magistrate, as far back as in 1984 ! Imagine serving as an election official even before voting in the elections, seeing that I was not eligible for voting during the previous elections of 1980.

40 years ago was like a different era altogether, much different from what it is today. The Indian PM Mrs Indira Gandhi was assassinated by her own bodyguards in her official residence on 31 october 1984. Those were very difficult days for India as a nation.

I like my hostel mates in Jamalpur (Bihar) followed all these developments on the newly acquired colour TV in the hostel, just after a low power relay TV station was set up in Munger, the district HQ located 10 km from Jamalpur.
Elections were announced to be held late in december 1984 (in three phases). Nowadays people complain that elections are held in severe heat. That election, by contrast had taken place when winter season was in full swing in most parts of India, including the part where I was.

We needed to appear and pass external examinations that were held twice in an year- once in Summer, once in winter. Many of us (excluding some like me) were busy preparing for winter examinations. People like us laughed that they would be slogging hard while the rest of us would enjoy ourselves watching TV. Our happiness was wiped out from our faces when it turned out that those who did not have examinations would be sent to election duty.

So, we left for Munger. We had to serve as patrolling magistrates. Our job was to collect the election material, viz ballot boxes, ballot papers and other materials for the polling booths allotted to us. I was allotted three polling booths located in a village some 70 KM away. The district administration had seized all the vehicles they could seize and had kept them in a ground. These vehicles were to serve as the transport vehicles for the patrolling parties. Each patrolling party had one patrolling magistrate and he had four security personnel. My four security personnel were as young and raw as I was. They were trainee homeguard staff, and they were led by one trainee ASI.

In the briefing area, we all located our security personnel. Then we located the vehicle allotted to us. The vehicle allotted to us turned out to be a fully loaded truck. The truck was on its way to deliver its consignment when elections were declared and it, as well as other vehicles were “requisitioned” for election duty, along with its driver and cleaner. We collected our election materials, loaded them on the truck, got the directions to reach our destination and left. I, alongwith the ASI sat in drivers cabin whereas the sipaahis happily settled themselves over the roof of the driver’s cabin.

We had started in the afternoon. We were required to reach our destination by evening, when we had to go to the three allotted polling booths and hand over the polling material to them, so that they could prepare for the polling that was to start next morning.

When we arrived at the village, I found that the three polling stations were three village schools. These schools barely had any roof over them, and had just a few chairs and desks that were sufficient to hold the election. We handed over the election materials to the three polling booths, each located a few kilometers from the other. The polling booth staff had to stay in the polling booth etc at night. As for I and my staff, one building a few kilometers away was requisitioned in a nearby town. This building basically had a hall. Those were the days when Indians used to travel with their hold-all while travelling by train. I, as well as everyone else had brought their hold-alls, that contained razaai inside it, which was so important in that winter season. We laid out our hold-alls on the floor of the hall and slept, while the vehicles were kept outside in a ground. The security personnel and drivers fended for themselves.

Next day, as the polling began, I as patrolling magistrate was supposed to keep patrolling the three polling booths to ensure that polling was taking place peacefully.

While watching the polling process, I realised how actual polling takes place in Bihar and what is the role of administration. One realises that polling staff in the polling booth as well as the partoling party are outsiders who are working in interior places which are far away from towns and cities away from media glare. The voting these did not take as is shown on TV or movies. We also realised that the local administration, viz local police, worked according to the instructions of their bosses, viz ruling party at state level. We realised that no matter how much one tried, voting in interior areas was nothing but a case of peaceful booth capturing. The influential communities, in collusion with local police, would come to mutual understanding and they would “vote” certain number of votes on behalf of their community. Voters of weaker section (viz SC community voters) were not allowed to vote. Their quota of vote too was cast by the influential communities as agreed among themselves. They also made sure that the total number of votes cast by them was 89.9%. That was because polling above 90 % is considered suspicious and in that case repoll is ordered.

After the polling was over in the evening, all the polling materials, viz ballot boxes, unused polling material etc were collected by the patrolling magistrate and his team from the three booths. The polling booth staff requested that they too should be given lift to go out of the village. I let them, seeing that they, unlike the patrolling team were not provided with any vehicles.

We arrived back to district HQ at Munger where every team had to deposit all the polling materials. It was late at night when we deposited all the polling items and we were given our relieving letter.

When I checked up with fellow hostel mates, it turned out that I was not alone. Everyone had similar experiences. That made me feel better. We had gained first hand experience of how democratic institutions functioned in Bihar. Subsequently on TV, we heard knowledgeable poll related discussions by Prannoy Roy about vote swing, voter sentiments, voting trends etc. Those discussions were very convincing and erudite for armchair TV watchers, but those discussions failed to impress us.

By the way, state assembly elections took place a few months later in 1985. Same people who had served during Parliament elections were summoned again. Some of us backed out giving valid or not so reasons. Like for example, some South Indians gave the reason of language problem, which was a real problem for them. Personally understanding the “Bihari” language was no problem for me. I participated in the assembly election as well. This time my vehicle was a tractor ! Riding this tractor, with polling material and security staff on the trailer, we made such slow progress that we arrived at the polling booths just hours before the polling was to take place. On the positive side, this time I had a veteran police ASI, who had the necessary dabangai to ensure that polling malpractices were not allowed to take place in the polling booths. That made me feel much better.

So I had served as patrolling magistrate in one of the most important Parliamentary election in Indian history. 40 years later, I got to vote in a parliamentary election for the first time. These days voting takes place on EVM, which is a big improvement over ballot paper. Ballot paper voting was very expensive and very cumbersome. One voter typically took ten minutes to locate the desired symbol on a newspaper sized ballot paper, marked it, and then it had to be folded properly so that it could be shoved inside the ballot box. Booth capturers had expertise in “polling”. They could carry out 89.9% polling within a couple of hours, which was impossible if polling took place in a lawful manner, where typically unskilled and illiterate voters were made to vote.

Today, EVM has made it so easy. One can easily locate the desired symbol on the EVM. All one has to do is press the button adjacent to the symbol. One can see the symbol flashing in the VPAT box, and a beeping sound comes out, indicating that the voting in done. Voting takes a few seconds. It is standing in the queue and then showing up one’s documents for verification, and getting indelible ink on your finger that takes bulk of your time.

I hope that in future we will have the option of online voting as well, just as we can nowadays have the option of online banking and online commercial transactions. If financial transactions can take place online without glitch that I do not see any reason why online voting should not be implemented in future. That would be far more economical and convenient. Hopefully I will see online voting at least as an option in future elections.

Different people vote for different reasons. Likewise different people/ parties have different motives/ agendas while contesting the elections. It is the voters who have to decide what they consider is the suitable candidate for their vote.

On this occasion, here is a vote related song. This song is from “Aansoo Ban Gaye Phool”(1969). Kisore Kumar is the singer. Lyrics are pennede by Taj Bhopali. Music is composed by Laxmikant Pyarelal.

“Aansoo Ban Gaye Phool”(1969) was produced by S.M. Sagar and Anoop Kumar and directed by Satyen Bose for Anoop Kumar Productions. The movie had Ashok Kumar, Deb Mukherjee, Alka, Nirupa Roy, Raj Mehra, Anoop Kumar, Rakesh, with Helen and Pran. They were supported by Kumud Tripathi, Manik Dutt, Kumari Uma, Mughni Abbasi, Shekhar Purohit, Janki Das, Tarun Ghosh, Bazid Khan, Radhey Shyam, Gautam Mukherjee, Pardesi, Uma Dutt, Madhup Sharma, Prakash Misra, Behari, M.A. Latif, Vinod Sharma, Lalit Kapoor, Genius, Ramlal, Amrit Rana, Nadir, Deepak, Aziz Siddiqui, Habib etc in it.

Kisore Kumar is the singer. Lyrics are penned by Taj Bhopali. Music is composed by Laxmikant Pyarelal. This is one of those few songs where Kishore Kumar sings for his bhaanja (nephew) Deb Mukherjee. This is a song about a college election where Deb Mukherjee is seen heckling the candidate who is a product of nepotism, viz he is the son of the owner of the college.

This is the fifth and final song from “Aansoo Ban Gaye Phool”(1969). The movie thus joins the list of movies that have all their songs getting covered in the blog. The movie thus gets YIPPEED in the blog. The movie had made its debut in the blog on 8 may 2009. The movie gets yippeed on the same date fifteen years later on 8 may 2024 !

Audio

Video

Song-Election mein maalik ke ladke khade hain (Aansoo Ban Gaye Phool)(1969) Singer-Kishore Kumar, Lyrics-Taj Bhopali, MD-Laxmikant Pyarelal
Chorus
Unknown male voice 1
Unknown male voice 2

Lyrics

election mein maalik ke ladke khade hain
hahahaha
arre inhen kam na samjho
ye khud bhi bade hain
hahaha
haan
haan haan
inke siwa vote ka ka ka
haqdaar kaun hai
inse lade chunaav wo
gaddar kaun hai
jiyo raaja jiyo

ab chaahe kisi se pyaar karo
inko vote do
ab chaahe kisi se pyaar karo
inko vote do
waadon ka aitbaar karo
inko vote do
ab chaahe kisi se pyaar karo
inko vote do
ab chaahe kisi se pyaar karo
inko vote do
vote for
baap ka laal
arre vote for
baap ka laal

is shehar bhar mein jitne hain
akhbaar inke hain
daily dabba roz aamcha peela parcha
is shehar bhar mein jitne hain
akhbaar inke hain
kaale safed saikdon vyopaar inke hain
sab aspatal inke hain
beemar inke hain
parnaam laakh baar karo
inko vote do
waadon ka aitbaar karo
inko vote do
haan haan
ab chaahe kisi se pyaar karo
inko vote do

aise sapoot ab hain kahaan
apne desh mein
ek yahi pe hain

aise sapoot ab hain kahaan
apne desh mein
bhagwaan aa gaye hain
insaan ke bhes mein
chanda diya inhone
freedam ke case mein
sab inki jaijaikaar karo
inko vote do
waadon ka aitbaar karo
inko vote do
haan haan
ab chaahe kisi se pyaar karo
inko vote do

arre bolo re bappa dhingar bappa
de ghuma ke
ghuma ko
dhing phataafat dingdi popo
de ghuma ke
ghuma ke
hey
ghuma ke
hey
ghuma ke
hey

haay
haay haay
haay haay
haay
brmm
haay haay
haay haay

har cheez inki daas hai
har shai ghulaam hai
ajee chaandi ka joota inke paas hai
har cheez inki daas hai
har shai ghulaam hai
zinda inhin ke dam se
sharaafat ka naam hai
logon ke dil khareedna
bas inka kaam hai
arre kuchh to khayaal e yaar karo
inko vote do
waadon ka aitbaar karo
arre waadon waadon waadon ka
bhai pain pain
bhai bhai pain
waadon ka
aitbaar

waadon ka aitbaar karo
arre inko vote do
haan haan
ab chaahe kisi se pyaar karo
inko vote do

ho ho
ab chaahe kisi se pyaar karo
inko vote do

vote for
baap ka laal
baap ka laal
arre vote for
baap ka laal


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

Blog Day :

5754 Post No. : 18278

Today’s song is from a stunt film Toofan-1969. The film was an unusual stunt film story. It was directed by Radhakant and the Music Director was Daan Singh.

The Lyricist was Akhtar Romani. He is the same lyricist who entered the film world with a big bang. His first song was the only song he wrote for S.N.tripathi in that film. However, this only song became a big Hit song which is popular even today. The film was Hatimtai-1956 and the song was ” Parwar digar e aalam, tera hi hai sahara “, sung by Mohd. rafi and lip synched by Jairaj on the screen Romani’s career as a Lyricist was a short one. He wrote only 70 songs in 29 films. However he remained busy writing on film songs. film stories, s/plays and dialogues for more than 20 hit films. He also featured and conducted about 4 radio programmes. There was just one more lyricist who also wrote popular songs in his first film. Majrooh Sultanpuri (Asrar hasan khan ) wrote 7 songs in his first film ” Shahjehan”-1946 and all songs became hit songs. These were sung by Saigal, composed by Naushad.

The cast of the film was Dara Singh, Anita, N.A.Ansari, Azaad, Shabana, Johnny Whisky, Ratnamala, Arvind pandya, Dilip Dutt, helen, Bipin gupta and many others. I have not seen this film. After 1965 I had almost given up seeing films en masse and saw only selected films, due to my concentration on career and married life. I was a great fan of Dara Singh. Not because of his wrestling skills or physique but because he gave a respectable form to stunt and action films. Before him , action films were meant for only lower strata of the society like daily earners or labourers etc. who would encourage the hero on screen to beat the villains, bu shouting motivating suggestions and encouragement like ” Maar saale ko” or ” kar de batti gul” etc. After Dara singh entered the action films, his films were shown in better theatres and the type of audience also changed to better. After I started writing articles on old films, I was a bit shy to admit my love for his films. Then I came to know about ‘Memsaab’ (Greta Kaemmer), who proudly declared her status of being a fan of Dara Singh and I was happy to get a companion. Dara Singh was a perfect gentleman and never tried to be in the limelight. In fact, he used to feel very shy to be photographed or interviewed.

The 60s opened up a new Genre of Films. Films in which muscular He-men ‘acted’. Really speaking, their dialogues were delivered silently by their solid bodies and the fighting they did on the screens. Here were the Heroes who would kill dangerous Jungle animals barehanded, break Iron chains, fight with 10 people at a time, ride horses, swim expertly and overall display their physical might !

The beginning was done in 1958 with ‘Zimbo’, featuring Azad-a Parsee Bodybuilder. That way, Dara Singh had entered the films in 1952 with ‘Sangdil’ and he had a wrestling match with Om Prakash in ‘Pehli Jhalak’-1954. His first film as a hero -King Kong came in 1962, when he was already 34 years old !

That was a period when the Indian culture of defeats in all possible sports was on the peak and the Indians were looking for a Saviour. In Dara Singh, India found a SuperHero who won not only in India but also in Commonwealth and the World championships. Dara Singh was much more than an Actor. He was a piece of Folklore and he became a social phenomenon soon. He was a hybrid of Myth and Folklore, larger than life evocation of the Desi Hero. He represented the Indian idea of Masculinity-The Mard, a He Man. He had the muscle prowess but no aggression. He evoked security, gentleness and the right kind of patriarchy. He was proud to be a Jat and an Indian.

He was a Pehalwan trained in the Indian style of wrestling. Dara’s victories against King Kong and Zybisco in the late 50s made him a legend. Lakhs of people would gather at the venues of his bouts. He brought wrestling from the Akhadas to the Drawing rooms of Affluent homes. He remained Undefeated in 500+ bouts in his lifetime, winning Indian Championship in 1953, the Commonwealth championship in 1959 and the World Championship in 1968, when he was into acting in Hindi films full fledgedly !

He did roles of Kings, Princes, Rebels, Mutineer, Jungle Boy, Samson, Hercules, Sikander and the greatest role of his life as Hanuman. There may be 300 odd types of Ramayans, but only one Hanuman-Dara Singh. He was, for most people, the embodiment of the Monkey God. Without him the Ramayan was never the same ! Dara Singh, I am sure, would have been the original choice of even Valmiki !!!

Dara Singh was the Indian Superman. Even when he started doing character roles, the Heroes were happy to work with him. In one interview ( he gave interviews very rarely-he used blush too much), he had said,” Out of all my roles, I liked my role in Anand-70, where I was very comfortable doing my real life role-that of a Pahilwan in an Akhada !” He was probably one of the few who worked in A, B and C grade films in his life with equal ease and aplomb. Whether it was Mumtaz or Amitabh, he remained Dara Singh-Rustic, Strong, Indian, Gentle, Protective and Chivalrous.

Dara Singh was born at village Dharmuchak in Amritsar district on 19-11-1928 to Surat Singh and Balwant Kaur. He was married to Surjit Kaur Randhwa on 11-5-1961 and they had a son. From his second marriage he had 3 daughters and 2 sons. At the age of 22, he went to Singapore and won several championships. At 24 he did his first film role in Sangdil-52 and he became a Hero at 34 years of age. He did 122 Hindi films, 22 Punjabi films, besides producing 3 and directing 9 films.

He continued wrestling up to 1970. In 1978, he established his Dara Studios in Mohali, Punjab. His last film came in 2012-“Ata pata lapata”. With Mumtaz he did 16 films out of which 12 were Hit films. In those days, he was paid 4 lakh rupees per film. Dara Singh died on 12-7-2012. His brother Randhwa died on 21-10-2013 ( this news was hardly noticed).

Many Bodybuilders tried to copy Dara Singh. Their films never succeeded because people knew who the original Superman was. Indrajit, Viju Penkar, Hercules, Azad and even Randhwa did few Dara-like films, but they were never accepted by the audience. Dara Singh was Unique. One may think that his films were seen and liked only by the lower strata of society or exclusive C grade film audiences, but it was wrong. Dara Singh films were ‘Super Deluxe’ versions of B and C class films and were liked by people from Top class to bottom class. I was a great fan of Dara films and rarely missed any of them.

I was surprised to find the name of Arvind Pandya in the cast of this film. I knew he was a great Theatre personality and a Gujarati film star. He did very few Hindi films. Arvind Pandya (21 March 1923 – 22 July 1980) was an actor. In his career spanning 35 years, he acted in more than one hundred films including 75 Gujarati and 25 Hindi films. He also worked in Hindi and Gujarati theatres.

Pandya was born on 21 March 1923 in Bhadran. He spent his childhood in Khambhat and Baroda (now Vadodara). His father Ganpatrao was an executive manager in the Mandvi branch of Bank of Baroda. His mother’s name was Anandiben. He participated in the Indian independence movement and in 1942 Quit India movement.

Pandya went to Bombay (now Mumbai) in 1937 and joined St. Xavier’s College where he studied BA in Sanskrit. He studied music at Devdhar Classes and later under Pandharinath Kolhapure. After listening to him at an event at St. Xavier’s College, he was selected as a playback singer in Mansarovar (1946) by S. N. Tripathi in which he sang a solo as well as a duet with Shamshad Begum.

To enter the Hindi film industry, he visited Fatelal Damle’s studio several times in a period of six months but was denied. He continued to work in the theatre. He came to the attention of Prakash Picture’s director Shantikumar Dave who saw him in his role of Kach in the play Kach-Devyani.

Shantikumar cast him in the lead role in Gujarati film Bhakta Surdas (1947) in which he also sang several songs. After some Gujarati films, he worked with Meena Kumari in Hindi film Naulakha Haar (1953). He continued to play supporting roles as well as lead roles in Hindi and Gujarati films. He portrayed mostly historical, social and rural characters in these films. In the 1960s, he portrayed negative characters. He had played saints as well as bandits in his films. In his career spanning 35 years, he acted in more than one hundred films including 73 Gujarati films. He was known as “Ashok Kumar of Gujarati cinema”. Due to his efforts, Laxmi Studio was established in Baroda in 1975.

He continued acting in the Gujarati theatre. His successful plays included Sapnana Sathi, Jesal Toral, Unda Andhare Thi, Gadh Juno Girnar, Mari Venima Char Char Phool, Swayamsiddha, Major Chandrakant, Pachhale Barane and Sambharna. He received a prize from the Government of Maharashtra for his play Sapnana Sathi.

He was awarded several times for acting by the Government of Gujarat including in 1961 for Kadu Makrani, in 1962 for Nandanvan, in 1963-64 for Jivno Jugari, in 1970 for Majiyara Haiya and in 1975 for Tanariri.

He died on 22 July 1980 following brain hemorrhage. (based on an interview by Rajnikumar Pandyaji, wiki, muVyz and my notes. Thanks to all).

Today’s song is sung by Manna Dey. This was another surprise, as Manna Dey was never known to sing in such films. Maybe Daan Singh roped him in to sing this comedy song. With this song, the film Toofan-1969 becomes a YIPPEE film, with all its songs are covered here. Enjoy….


Song- Suna thha maine bachpan mein (Toofaan)(1969) Singer- Manna Dey, Lyricist-Akhtar Romani, MD- Daan Singh

Lyrics

suna thha maine bachpan mein
san unneessaupachpan mein
suna tha maine bachpan mein
san unneessaupachpan mein
allah meharbaan to gadha pahalwaan
allah meharbaan to gadha pahalwaan
arre aaj samajh aai jakar baat kahi ye jeevan mein
suna thha maine bachpan mein
san unneessau pachpan mein

motor mein yoon saath saathi chale
cyunti ke sang jaise hathi chale
leke mujhe meri sasural mein
kis shaan ye bhi chale
aage chala thaanedar
peechhe saare jamaadaar
beech mein dulha banke baithha, main albela daaku
roti soorat bhi hansti hai
pyaare ek din darpan mein
suna thha maine bachpan mein
san unneessau pachpan mein

lo lo lo lo lo lo lo
lo lo lo lo lo lo lo
lo lo lo lo lo lo lo

daata kadak thha naram ho gaya
banda thha thhanda garam ho gaya
zaalim se badla, har ek julm ka
ab to ye mera dharam ho gaya
maaroonga main gin ke yaar
dushman poore ekhazar
chor luteron ke adde ki, todoonga main har deewaar
maalik chaahe to bin mausam, phool khila de gulshan mein
suna thha maine bachpan mein
san unneessau pachpan mein

pahle tha kismat ka khaana kharaab
ab hoon muqaddar ka lekin nawab
pahle koi poochhta bhi na thha
ab sab khilayenge haluaa kabab
pahle to padti thhi maar, ab phoolon ke padenge haar
pahle duniya thhukraati thhi
ab bolegi jaijaikaar
ghar hoga gharwaali hogi
bachche honge aangan mein
suna thha maine bachpan mein
san unneessau pachpan mein
suna thha maine bachpan mein
san unneessau pachpan mein
suna thha maine bachpan mein
san unneessau pachpan mein


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

Blog Day :

5747 Post No. : 18270

Today’s song is from the film Gustakhi Maaf-1969.

Titles of Hindi films generally confuse me, but mostly they disappoint me. A normal cinegoer expects that the title of the film indicates the type of film it is or gives a hint of the film’s story subject or atleast the type/genre of the film. But mostly the titles are misleading. Luckily the hoardings and the posters of the film are more revealing and attractive. They give a closer hint about the film. Here too, what is shown on the hoardings is not seen in the films many times. Why I am saying all this is, because today’s film’s story has absolutely nothing to do with its title, by any angle.

The film is a little complicated story ( based on the Comedy of Errors) of two sisters who are twins and hence lookalikes. They are Asha and Seema, daughters of mr. Gupta, a businessman. Once while crossing a river in a boat, a severe storm capsized the boat. One daughter is with the father and one with the mother. Father somehow survives with the daughter, but the mother is injured and swept away. The other daughter Seema reaches a distant shore, where she is found by Mr. Seth, a widowed rich person. He has no issues. He adopts her and gives her also the name of Asha.

18 years pass. The girls become young. Asha Gupta comes to Darjeeling, with her friends. The other Asha Seth is living in Darjeeling only. There are two artist friends Shankar (Sujit Kumar) and Jai (Sanjeev Kumar). Local Asha falls in love with Sujit and by coincidence Asha Gupta starts loving Jai. After a lot of confusion and misunderstandings because of two similar looking girls with the same names, everything is clear and there is a happy ending. In addition, the mother of Asha who had lost her memory is in hospital at Darjeeling. She also regains memory and the whole family is reunited. THE END !

The film was directed by Raj Kumar Bedi and the film’s cast was Tanuja, Sanjeev Kumar, Sujit Kumar, Ulhas, Indira Bansal, Narbada Shankar, Vithaldas Panchotiya, Gopal Saigal and others. The songs were written by Naqsh Lyallpuri.

Just a few days back, I had talked about Hindu lyricists taking Muslim names, like Qamar Jalalabadi who was actually Omprakash Bhandari. Today’s Lyricist Naqsh Lyallpuri is another such example. He was in reality Jaswant Rai Sharma. Here is what is written about him on the internet site of ‘ The Encyclopedia of Indian Cinema’….

Jaswant Rai Sharma (24 February 1928 – 22 January 2017), popularly known by his pen name Naqsh Lyallpuri, was born in Lyallpur (now called Faisalabad and in present-day Pakistan) to a Punjabi-Brahmin family. In 1946 Sharma worked at a publishing house named Hero Publications and later moved to Lahore looking for work. After the Partition of India, the family migrated to Lucknow. Sharma later took on the pen name “Naqsh” – meaning an impression, a mark or a print – and added “Lyallpuri” to it, following the tradition of Urdu poets to associate with their birthplace.

Lyallpuri moved to Mumbai in 1951 and started working at The Times of India as a proofreader. Lyallpuri debuted as a film lyricist with the 1953 film Jaggu, writing the lyrics of “Agar Teri Aankhon Se Aankhein Mila Doon”, rendered by Asha Bhosle and composed by Hansraj Bahl. He worked in the postal department to earn his living. Music director Jaidev introduced him to television serials and asked him to write lyrics for the Hindi television series Shrikant. Lyallpuri went on to write songs for about 50 TV serials along with nearly 40 Punjabi films. Lyallpuri collaborated with various Bollywood music directors, including Madan Mohan, Khayyam, Sapan Jagmohan, Jaidev, Naushad, and Ravindra Jain, and Punjabi music composers like Surinder Kohli, Hansraj Bahl, Ved Sethi, and Husnlal-Bhagatram.

His Filmography….1963: Gul-e-Bakavali, Pyar Ka Bandhan, 1968: Aanchal Ke Phool, 1969: Gustakhi Maaf, Insaaf Ka Mandir, Paun Baran, 1970: Chetna, Gunah Aur Kanoon, Gunahon Ke Raaste, 1971: Kankan De Ohle, 1973: Rocky Mera Naam, 1974: Parinay, 1975: Kaagaz Ki Nao, 1976: Changay Mande Tere Bande, Kasam, 1978: Atyachar, Hazaar Haath, 1979: Kunwara Mama, Til Til Da Lekha, 1980: Sister, 1982: Dil Aakhir Dil Hai (Writer), 1983: Do Madari, 1984: Ek Naya Itihas, 1985: Nain Mile Chain Kahan, Takraar, 1986: Devar Bhabhi, 1987: Jaag Punjabi Shera, 1988: Ghar Aakhir Ghar Hai, Jag Wala Mela, Tapash, 1989: Marhi Da Deeva, 1990: Sounh Menoo Punjab Di.

The music Director was Sapan – Jagmohan. There were only 4 songs in this film. I was surprised. Normally there used to be 6-10 songs in any Hindi film. Curious, I looked at many more other films and I found that nowadays there are fewer songs in the films. I remember, the film ” Trishagni’-1988 had only one song.

These days there may be films without any songs also or songs only in the background. How times have changed ! When the Talkie films started, in its first decade there were average 9 to 10 songs. The record breaking 69 songs in film Indrasabha-1932 is unforgettable.

I wanted to know how the average number of songs in every decade came down. One day I found an analysis done by the famous record collector and music Historian Shri Girdharilal Vishwakarma ji of Jodhpur. Here is what he has presented in a table….

Decade Total number of Films in the decade Total number of songs in the decade Average number of films /year Average number of songs /film
1931-40 931 8247 93 9.0
1941-50 1236 11124 124 8.9
1951-60 1203 9624 120 8.0
1961-70 1007 6990 100 6.9
1971-80 1327 8295 133 6.3
1981-90 1843 9558 184 5.2
1991-2000 1902 9059 190 4.8
2001-10 1967 9154 197 4.7
2011-2017 1475 6785 227 4.6
Total 86.5 years Total number of movies 12891 Overall Average songs per decade 6785 Overall average films/ year 149 Overall average 6.1

You can see yourself how the average number of songs per film has come down. Initially, the craze of film songs was so great that in 1937, when Wadia Movietone released their First songless film- Naujawan, the unsuspecting audience was very angry and at many places the broke chairs etc. in protest as they felt cheated by the producers of that film by not having any songs ! I only hope that if this diminishing trend continues, the image of India as the producer of only ” Colourful Musical Dramas” will change in coming years !

Film Gustakhi Maaf-1969’s Music Director pair was Sapan-Jagmohan. This Jagmohan is not the NFS singer from Bengal- Jaganmoy Mitra aka Jagmohan Sursagar.

Jagmohan Bakshi of Sapan Jagmohan was born in Murrie in Punjab on 29-7 1929. Love of singing and music brought him to Bombay where he met a similar struggler Sapan Sengupta (born on 17-7-1932 at Sylhet in Bengal). One was from Pakistan -w and the other was from Pakistan -E. They became friends and shared a room in a Goregaon Chawl. They regularly sang in the chorus and had dreams of becoming MDs one day ! This pair was favoured by Naashaad, S D Burman and Salil Chaudhari.

Finally S D Burman gave Jagmohan Bakshi a chance to sing a duet with Asha Bhosle,in the film Taxi Driver-1954. The song became popular-‘ Dekho mane nahi roothi haseena,na jaane kya baat hai’. Still no offers came forth. He sang in Hamlet-54,a duet with Rafi. He sang his final and third trio with Lata and Usha in ‘Piya Milan’-1958. In his lifetime Jagmohan Bakshi sang only these three songs-no solo in them.
Later he formed a pair with Sapan as Sapan-Jagmohan and as MD gave music to their first film-Begaana-1963. This pair gave music to 43 films, mostly B and C grade obscure movies.

Jagmohan Bakshi died on 26-2-1999.

Today’s song is sung by Krishna Kalle and Manna Dey. This is the last and final song of this film, making it YIPPEED !


Song- Isaaron ka matbal samajh morey chhaila (Gustaakhi Maaf)(1969) Singers- Krishna Kalle, Manna Dey, Lyricist- Naqsh Llayalpuri, MD- Sapan-Jagmohan

Lyrics

isaaron ka matbal samajh morey chhaila
isaaro ka matbal samajh more chaila
isaaro ka matbal samajh more chaila
tu mora majnu hai main tori laila
tu mora majnu hai main tori laila
arrey pyaar wich hai kadam pehla pehla
arrey pyaar wich hai kadam pehla pehla
main teri laila

laila nahin majnu
haan haan
main tera majnu te tu meri Laila
main tera majnu te tu meri Laila

ae batiyaan u chaahe na maar
tora isak mori lega jaan
rasiya chahliya
arre yaar mera jab jab roothha
aise lage jaise rab roothha
soniye heeriye

tu naahin jaane torey badey maine liye kitne ilzaam
hmm
arre pyaar wich hai kadam pehla pehla
arre pyaar wich hai kadam pehla pehla
main tera majnu te tu meri Laila
main tera majnu te tu meri Laila

kaahe nayan uljhaa baithhee
raaton kee neend ganwa baithhee
rasiyaa aa
chhaliyaa aa
saanja ke tujhko sula doon main
meethhi si lori ga doon main
aaaa sonja raaj kumaari ee sonja
aan aan
sonja main balhaari ee sonja
sonja raajkumaari sonja sonja

patthar ko mai samjhaaun kaa
more darad ki naahin dawa
rasiyaa aa
chhaliyaa aa
yoon na bigad ke aankhen dikhaa
main to hoon kudiye tera ghulaam


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 :

5734 Post No. : 18256

“Pyaar Hi Pyaar”(1969) was directed by Bhappi Soni for R S Productions, Bombay. This “social” movie had Dharmendra, Vyjyantimala, Pran, Helen, Dhumal, Raj Mehra, Madan Puri, Sapru, Sulochana, Manmohan, Sulochana Chatterjee, Paro, Krishn Dhawan, Padma Rani, Junior Mehmood, Mehmood etc. in it.

“Pyaar Hi Pyaar”(1969) had six songs in it. Five songs have been covered in the blog so far. Hasrat Jaipuri was the lyricist for five songs whereas Rajinder Krishan had penned one song. Music was composed by Shankar Jaikishan.

Five songs have been covered in the blog. Here are their details:-

SNo in Blog Song Title Singer/s Lyrics Posted On Remarks
488 Ham aa gaye phir dar kaahe ka Rafi Hasrat Jaipuri 3 January 2009
489 Dekha hai teri aankhon mein pyaar hi pyaar beshumaar Rafi Hasrat Jaipuri 3 January 2009
499 Main kahin kavi na ban jaaun tere pyar me ae Kavita Rafi Hasrat Jaipuri 5 January 2009
15881 Tu mera main teri duniya jaley to jaley Asha Bhonsle, Rafi Hasrat Jaipuri 12 Setember 2020
17261 Abhi salaamat abhi hai zinda aap ka khidmatgaar Rafi Rajinder Krishan 8 December 2022 This song was the only song of the movie that was not penned by Hasrat Jaipuri

Here is the sixth and final song from “Pyaar Hi Pyaar”(1969) to appear in the blog. The song is sung by Asha Bhonsle and female chorus. Hasrat Jaipuri is the lyricist. Music is composed by Shankar Jaikishan.

The song is picturised as a stage dance performance song on Vyjyanti Mala and a few other female dancers. They are giving this performance in a house full hall. Dharmendra is present among the audience duly seated in the front row.

The song has three stanzas. The costumes of other female dancers remain unchanged throughout the song, but Vyjyanti Mala’s sari changes in every stanza. In the first stanza it is white (or is it cream colour ?), in the second stanza it becomes orange, in the third stanza it becomes purple. 🙂

With this song, all the songs of “Pyaar Hi Pyaar”(1969) have been covered in the movie. The movie thus joins the list of movies that have been YIPPEED in the blog.


Song-O sakhiyaan o sakhiyaan (Pyaar Hi Pyaar)(1969) Singer-Asha Bhonsle, Lyrics- Hasrat Jaipuri, MD-Shankar Jaikishan
Female Chorus

Lyrics

o sakhiyaan o sakhiyaan
aa haa
mori ankhiyaan lad gayin
aa haa
ik jaadugar se ae
ik jaadugar se
o sakhiyaan o sakhiyaan
aa haa
mori ankhiyaan lad gayin
aa haa
ik jaadugar se
ik jaadugar se
o sakhiyaan o sakhiyaan

ik dard uthhe hai
haaye haaye
rah rah ke jigar mein
hoy hoy
rehta hai wo zaalim
haay haay
har waqt nazar mein
hoy hoy
yaad uski jo aaye
raaton ko jagaaye
uljhe meri saanses
deewaana banaayen
o sakhiyaan o sakhiyaan
haan haan
mori ankhiyaan lad gayin
haan haan
ik jaadugar se
ik jaadugar se
o sakhiyaan o sakhiyaan
haan haan
mori ankhiyaan lad gayin
haan haan
ik jaadugar se
ik jaadugar se
o sakhiyaan o sakhiyaan

meethhee si kasak hai
haay haay
nas nas mein chamak hai
hoy hoy
jaagi hain umangen
haaye haaye
aur dil mein dhadak hai
hoy hoy
bas ek nazar se
kya cheez pilaayi
mujhko to sharaabi
kehti hai khudaayi
o sakhiyaan o sakhiyaan
haan haan
mori ankhiyaan lad gayin
haan haan
ik jaadugar se
ik jaadugar se
o sakhiyaan o sakhiyaan
haan haan
mori ankhiyaan lad gayin
haan haan
ik jaadugar se
ik jadugar se
o sakhiyaan o sakhiyaan

is pyaar ne meri
hoy hoy
kismat hi badal di
hoy hoy
ikraar ne meri
haay haay
haalat hi badal di
hoy hoy
jab tak na hua thha veeraan thhe nazaare
jis din se hua hai
din hain bade pyaare
o sakhiyaan o sakhiyaan
haan haan
mori ankhiyaan lad gayin
haan haan
ik jaadugar se
ik jaadugar se
o sakhiyaan o sakhiyaan
haan haan
mori ankhiyaan lad gayin
haan haan
ik jaadugar se
ik jadugar se
o sakhiyaan o sakhiyaan
haan haan
mori ankhiyaan lad gayin
haan haan
ik jaadugar se
ik jaadugar se
ik jaadugar se


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

Blog Day :

5662 Post No. : 18164

Shakespeare’s plays have been one of the important sources for adapting them in Hindi films since the beginning of the Indian film industry in 1913. However, since very few films produced and released during the silent film era survived, it is difficult to say how many silent films were based on Shakespeare’s plays. A research paper on Shakespeare on Screen by Dr. Joseph Koyippally has identified 8 silent films based on Shakespeare’s plays that were released between 1923-30.

In respect of Hindi talkie films, only a small number of films have survived which were released during the period 1931-1950. Only 12 Hindi films have been identified as based on Shakespeare’s plays during this period. According to this list, the first Hindi talkie film based on Shakespeare’s play was ‘Hathili Dulhan’ (1932) by Madan Theatres which was based on ‘The Taming of the Shrew’. From 1951 to 2014, 25 Hindi films have been identified as based on or inspired from Shakespeare’s plays. Almost all of the Hindi talkie films based on Shakespeare’s plays have not been the faithful adaptations but adapted to suit to the Indian culture, perceptions, the timeframe and most importantly, the Indian audience.

The first Hindi film based on or inspired from Shakespeare’s play, ‘The Comedy of Errors’ is said to be Bimal Roy’s ‘Do Dooni Chaar’ (1968) directed by Debu Sen. Gulzar was his Chief Assistant Director, the dialogue writer and the lyricist. When Gulzar turned director, he directed ‘Angoor’ (1982) based on the same play. Both these films have accredited Shakespeare for the story. There was one more film, ‘Heeralal Pannalal’ (1999) directed by Kanwal Sharma but there was no acknowledgement to Shakespeare. The latest film based on this play was Rohit Shetty’s ‘Cirkus’ (2022). The main feature of Shakespeare’s play, ‘The Comedy of Errors’ was that it had two twin male characters with ‘master and servant’ relationship. Their mistaken identities create comical situations. Of these four films, only ‘Angoor’ (1982) was a box office hit.

I feel that all films with double roles owe to Shakespeare’s play, ‘The Comedy of Errors’ at least for the comedy arising from mistaken identities. ‘Gustaakhi Maaf’ (1969) can be said to have been partially inspired from the same Shakespeare’s play. In this film also, the twins get separated while traveling on the boat (instead of ship) and after some years, the separated twins meet in the same town. The difference is that in this film, there is only one twin instead of two, and that too the female. The film was produced by Gopal Saigal and was written and directed by Raj Kumar Bedi. The star cast included Sanjeev Kumar, Tanuja (in double role), Sujit Kumar, Ulhas, Ravi Kant, Padma Khanna, Rafiya Sultana, Dilip Dutt, Johnny Whisky, Narbada Shankar, Vithaldas Panchotia, Gopal Saigal, V Gopal etc.

I had not watched ‘Gustaakhi Maaf’ (1969) mainly because around the same time, I had seen ‘Do Dooni Chaar’ (1968) in a theater. At that time, it was said that both these films had some similarities in their stories. Recently, I watched the film on one of the video sharing platforms in the context of one of its songs which I liked.

The story of the film is as under:

Ravikant’s wife has given birth to twin girls, Asha and Seema. After a year or so, Ravikant and his family go for a trip to a hill station. Their boat gets capsized in a storm and the family is separated. Ravikant’s wife and Seema are missing while Ravikant and Asha survives. The missing Seema is taken care by Gupta ji (Ulhas) who lives a lonely life. Ravikant’s wife continues to remain missing.

About 2 decades later, Asha has grown up in her city with her father, Ravikant while Seema grows up in a hill station where she was picked up by Gupta ji who has given her new name, Asha (I will continue to refer her as Seema to avoid confusion). Ravikant and Asha with her maid servant (Padma Khanna) go for a trip to the same hill station which they had visited about 2 decades back. From this point onward, due to the mistaken identities of Asha and Seema, there are hilarious situations.

Seema is in love with Shankar (Sujit Kumar), a painter and photographer who runs the business along with his younger brother, Jai (Sanjeev Kumar). Shankar has a date with Seema at a market place but as usual, he is going to be late because he has to place his beloved’s painting at top of a light pole to impress her. So he sends a note through his servant to handover to Seema. Disgusted with Shankar not yet come, Seema leaves the place in a huff. Just at that time, Asha comes out of a stall and the servant sees her. Thinking her to be Seema, he hands over the note to Asha who gets furious when she reads the love message. She slaps him and goes on her bicycle.

Thinking that Seema is angry with him, Shankar goes to meet Seema. Again Asha finds that another strange man has approached her to be his fiancé. He tries to hug her but gets a slap from Asha. With the presence of twins, many weird things happen, like for a necklace bought by Asha, the bill goes to Seema who refuses to pay for the necklace she had not bought. Munim goes back to her with a proof but Asha’s father takes out his gun and threatens him. Munim goes to the police station to lodge the complain. As soon as he returns from the police station to his jewelry shop, Munim finds Asha coming to pay the cost of the necklace since no one visited her place to collect the money. A surprised Munim feels that because he had lodged a police complaint, Asha is now ready to pay the amount.

In order to cajole Seema, Shankar visits her house and briefs her father, Gupta ji about the unusual behavior of Seema, He suggests that Seema should accompany him to a counselor. Gupta ji reveals to him that some members of his family have been lunatic. It is quite possible that Seema may have the hereditary traits. This is not a good news for Shankar. Anyway, he tries his best to convince her that he loves her a lot. At last, Seema gets convinced and Shankar also feels that she is not a nut as he earlier thought.

A happy Shankar returns to his shop to see the commotion. Asha who was walking along the road, sees her painting being displayed on a light pole. She gets annoyed and throws anything that comes to her hand towards the painting as well as their shop. Shankar, thinking her to be Seema, is now sure that she is indeed lunatic. Otherwise why she should damage the painting which he has made at her insistence. A shocked Shankar decides to run away from the place.

After few days, Asha revisits the shop and meets Jai to compensate the losses he may have incurred with her fury against the painting. She likes his behavior and slowly falls in love with her. She requests Jai to paint her to get compensated. Jai on the other hand, thinking her to be Seema, is in no mood to oblige her. He is confused as to why she is behaving to be nice to him when he considers her as his sister-in-law. He avoids Asha as long as possible. But Asha is not ready to give up. She tries to seduce Jai in connivance with Mirchi and with a long medley of parody songs, she is successful in wooing Jai who feels guilty, thinking Asha to be the beloved of his elder brother.

Seema goes to a picnic with her friends where she finds a gloomy looking Shankar sitting at a distance. She meets him and he is happy with her behavior. She says that he should return to his shop where she would bring her father to complete her engagement ceremony with him. Seema turns up with her father to see Shankar who has not yet reached there in the house. Jai, thinking her to be Asha, tries to be nice to her. Seema gets annoyed and leaves the house hastily to complain to Shankar. When Shankar is confronting with Jai about his ‘mistreatment’ of Seema, Asha turns up and starts becoming nice to Jai. Both Shankar and Jai are confused as to why there is often unpredictable changes in the behavior of Seema. They think that Seema needs to be referred to a psychiatric doctor.

The confusion about the mistaken identities gets over, when Asha along with her father Gupta ji visit at a mental hospital where Jai and Shankar have forcibly taken Seema to a psychiatric doctor. Both the separated sisters meet for the first time and their father, Ravikant recognizes them. Shankar-Seema and Jai-Asha are united.

‘Gustaakhi Maaf’ (1969) had 4 songs written by Naqsh Lyallpuri and set to music by Sapan-Jagmohan. In addition, there is a medley of the parody song. Two songs have been covered in the Blog. I am presenting the 3rd song from the film, “Tum Door Jaaoge Kaise” which is poignantly rendered by Asha Bhosle. The background to the song is that Jai (Sanjeev Kumar) has started loving Asha (Tanuja) but he is hesitant because he thinks her to be the beloved of his elder brother, Shankar (Sujit Kumar). So, he decides to avoid her. The song, picturised on Tanuja as Asha is the reflections of her thought on their relationship.

Sapan-Jagmohan reused the tune of this song for “Jhilmil Sitaaron Se Nainaa” which was rendered by Kishore Kumar in the film, ‘Amber’ (1985).

Video Clip:

Audio Clip:

Song-Tum door jaaoge kaise daaman bachaaoge kaise (Gustaakhi Maaf)(1969) Singer-Asha Bhonsle, Lyrics-Naqsh Layallpuri, MD-Sapan Jagmohan

Lyrics: (Based on Video Clip)

tum door jaaoge kaise
daaman bachaaoge kaise
hamen tum bhula naa sakoge..ae ae
tum door jaaoge kaise
daaman bachaaoge kaise
hamen tum bhula na sakoge..ae ae
tum door jaaoge kaise

jitna bhulaaoge tum
utna hi yaad aayenge..ae ae
neenden churaa lenge hum
khwaabon mein ghul jaayenge..ae ae
khwaabon mein ghul jaayenge
tadpenge tadpaayenge
o o o
tum door jaaoge kaise
daaman bachaaoge kaise
hamen tum bhula na sakoge..ae ae
tum door jaaoge kaise

dil ki lagi ban ke hum
dil mein sulag jaayenge.. ae ae
palkon pe aa kar kabhi
ashkon mein lahraayenge..ae ae
ashkon mein lahraayenge
daaman mein so jaayenge
o o o
tum door jaaoge kaise
daaman bachaaoge kaise
hamen tum bhulaa na sakoge..ae ae
tum door jaaoge kaise

khud pe na dhhaao sitam
tumhen zindagi ki kasam m m
ham door tak aa gaye
tum bhi chalo do kadam m m
tum bhi chalo do kadam
mere sanam kam se kam
ho o o
tum door jaaoge kaise
daaman bachaaoge kaise
hamen tum bhulaa na sakoge..ae ae
tum door jaaoge kaise
daaman bachaaoge kaise
hamen tum bhulaa na sakoge..ae ae
tum door jaaoge kaise

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

तुम दूर जाओगे कैसे
दामन बचाओगे कैसे
हमें तुम भुला ना सकोगे॰॰ए
तुम दूर जाओगे कैसे
दामन बचाओगे कैसे
हमें तुम भुला ना सकोगे॰॰ए
तुम दूर जाओगे कैसे

जितना भुलाओगे तुम
उतना ही याद आएंगे॰॰ए
नींदें चुरा लेंगे हम
ख्वाबों में घुल जाएँगे॰॰ए
ख्वाबों में घुल जाएँगे
तड़पेंगे तड़पाएंगे
ओ ओ ओ
तुम दूर जाओगे कैसे
दामन बचाओगे कैसे
हमें तुम भुला ना सकोगे॰॰ए
तुम दूर जाओगे कैसे

दिल की लगी बन के हम
दिल में सुलग जाएँगे॰॰ए
पलकों पे आ कर कभी
अशकों में लहराएंगे॰॰ए
अशकों में लहराएंगे
दामन में सो जाएँगे
ओ ओ ओ
तुम दूर जाओगे कैसे
दामन बचाओगे कैसे
हमें तुम भुला ना सकोगे॰॰ए
तुम दूर जाओगे कैसे

खुद पे ना ढाओ सितम
तुम्हें ज़िंदगी की क़सम॰॰म्म
हम दूर तक आ गए
तुम भी चलो दो कदम॰॰म्म
मेरे सनम कम से कम
हो ओ ओ
तुम दूर जाओगे कैसे
दामन बचाओगे कैसे
हमें तुम भुला ना सकोगे॰॰ए
तुम दूर जाओगे कैसे
दामन बचाओगे कैसे
हमें तुम भुला ना सकोगे॰॰ए
तुम दूर जाओगे कैसे


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

Blog Day :

5645 Post No. : 18137

‘Insaaf Kaa Mandir’ (1969) was produced by Sherbahadur Singh and Jagdish Singh and was written and directed by BR Ishara. The cast includes Sanjeev Kumar, Snehlata, Nadira, Asit Sen, Prithvi Raj Kapoor, Tarun Bose, Manmohan Krishna, Sapru, Laxmi Chhaya, Aruna Irani, Bela Bose, Mohan Sherry, Kanu Roy etc. This was BR Ishara’s debut film as a full-fledged director. After coming to Mumbai, it took him almost 2 decades to direct his first film. But it was not that he had run away from his village to Mumbai to make a career in films. It was, what he called the ‘torturous nature’ of his uncle which drove him to Mumbai where he was prepared to grab any work including domestic servant and waiter for sustenance.

Babu Ram Ishara, whose real name was Roshan Lal Sharma (07/09/1934 – 12/07/2012), was born in Bharwain village of Una district in Himachal Pradesh in a Brahmin family. He lost his mother at the age of 3 and after 2 years, he lost his father. The parent-less child was brought up by his grandmother. He completed his primary schooling in Bharwain village. His uncle who was based on Amritsar, had taken his admission in High school in Amritsar where his thread ceremony was also planned.

Being afraid of his uncle, Roshan Lal ran away from home by stealing his uncle’s money and came to Delhi where he met another boy. Both decided to visit Bombay (now Mumbai). While watching a film in a theater in Mumbai, the boy accompanying him quietly slipped away from the theater taking his money with him, never to be seen again. With no means for livelihood, Roshan Lal worked as a ‘baaharwala’ (waiter serving tea and food outside) in a hotel opposite Ranjit Studio. His main work was to serve tea to the workers and junior artists of Ranjit Studio and the nearby Shri Sound Studio. The studio workers used to call him ‘Babu’.

After few months, Roshan Lal joined Central Studios as office boy on a monthly salary of Rs. 60. One day, while serving tea to Qamar Jalalabadi in the studio, he gave Roshan Lal a new name, ‘Babu Ram’ as he did not want to call him by his real name Roshan Lal because his spiritual guru’s name was Roshan Nath. After the studio duties, Roshan Lal was also working as a cook to serve breakfast to Kaif Irfani in his house. Noting that Roshan Lal had flavour for writing, he told him to add a pen name ‘Ishara’ to his name Babu Ram. Thus, Roshan Lal Sharma became Babu Ram Ishara, better known as BR Ishara.

In between, BR Ishara was working as a household worker in Qamar Jalalabadi’s house who was producing ‘Aansoo’ (1953) at that time. He had assured BR Ishara that he would take him in his production office once the function of muhurat shot of the film got over. But the function got postponed a number of times. Fed up with cleaning utensils, BR Ishara left for Delhi to seek employment opportunity. However, his uncle got a wind of his arrival in Delhi. He took him to Amritsar and admitted in the 10th class. But the torture of his uncle was too much for him. After about 3 months, he again ran away and returned to Bombay.

Mukesh was planning ‘Anuraag’ (1956) and a preparatory work was going on to start the film. One of the acquaintances from the production team took BR Ishara to Mukesh who gave him a job of apprentice with no salary. After some time, pleased with his work as an apprentice, Mukesh made him Third Assistant at a monthly salary of Rs. 60. This was a turning point in the life of BR Ishara as for the first time, he got opportunity to get exposure to film making. With this work, he developed his aptitude for the film direction. After the completion of the ‘Anuraag’ (1956). he joined director, Tara Harish as his assistant in ‘Laalten’ (1956) and ‘Jalti Nishaani’ (1957).

‘Jaal Saaz’ (1959) is the first film in which he is officially accredited as dialogue director. It was during the making of this film that he learnt to speak Bengali since almost all the crew members were Bengali. In ‘Aawara Baadal’ (1964) also he was accredited as ‘dialogues written and directed by BR Ishara’. The film’s director Kedar Kapoor had differences with his original dialogue writer. So, he entrusted dialogue writing to BR Ishara under his guidance. Dulal Guha, who was to direct ‘Chaand Aur Suraj’ (1965), selected BR Ishara to write dialogue for the film which was his first formal work as a dialogue writer. With the words of mouth from some Bengali crew members, Basu Bhattacharya made him his second assistant for the film ‘Teesri Kasam’ (1966).

By this time, BR Ishara was virtually addicted to film making and he had developed a keen interest in film direction. Johny Whiskey, a close friend, was producing ‘Gunaah Aur Kanoon’ (1970). He entrusted to BR Ishara to write screenplay and dialogues and also to direct the film. At the same time, BR Ishara had also written story, screenplay and dialogues for the film ‘Insaaf Ka Mandir’ which he wanted to direct. He got producer for this film as well. Both the black and white films started more or less on the same time. Sanjeev Kumar, Prithviraj Kapoor, Tarun Bose, Asit Sen were the common actors for both the films. Both the films did not fare well on the box office. (Note: The life sketch of BR Ishara is mainly based on his interview at Vividh Bharati. The video clip of the interview is available here.)

It was his third film, ‘Chetna’ (1970) that BR Ishara got the recognition as a director. Made with a shoe-string budget and completed in 25 days, the film became a box office hit. It was the debut film of Anil Dhawan and Rehana Sultan who was a gold medallist from FTTI, Pune. BR Ishara’s other notable films were ‘Ek Nazar (1972) with Amitabh Bachchan and Jaya Bahaduri, ‘Milaap’ (1972) with Shatrughan Sinha and Reena Roy, ‘Dil Ki Raahen’ (1973) with Rahana Sultan and Rakesh Pandey, ‘Prem Shastra’ (1974) with Dev Anand and Zeenat Aman, ‘Ghar Ki Laaj’ (1979) with Sanjeev Kumar and Mausami Chatterjee and ‘Wo Phir Aayegi (1988) with Rajesh Khanna and Farah. ‘Main Bikaaoo’ (2004) was his last directed film which remained unreleased.

During his filmy career, BR Ishara directed 42 films of which 3 films remained unreleased. Most of his films raised socially relevant issues with his hard-hitting dialogues. But a majority of such films were box office failures. In 1984, he married Rehana Sultan.

BR Ishaara passed away on July 12, 2012. A few months before his death, he was not keeping good health. Later, he was diagnosed with tuberculosis.

The story of the film under discussion is as under:

Sunil (Sanjeev Kumar) has completed his law graduation and looking for the job opportunity. But before that, he receives a telegram that his father is seriously ill, and he should visit home to see him as soon as possible. By the time Sunil reaches home, his father has already passed away. The servant, Sunder (Asit Sen) hands over a letter to Sunil, written by his father which reveals that he is not his real father but has adopted him. His mother is somewhere in Mumbai which he is not aware of but one Durgadevi Jain (Nadira) can help him to locate his mother. The very next day, Sunil accompanied by Sunder, depart for Mumbai in search of his mother.

Sunil and Sunder reach Mumbai and meets Durgadevi. She puts a condition that she would reveal the whereabouts of his mother provided he agrees to become her adopted son so that she could bequeath him all her property and wealth. Sunil rejects her proposal and walks out of her house. He decides that he would himself search for her mother. But before that, he needs to have a steady job and a house in Mumbai. Sunder has one of his close friends, Shambhu (Manmohan Krishna) who works for Mumbai’s famous lawyer, Badri Prasad (Tarun Bose). He takes Sunil to Badri Prasad’s house. Sunil is pleasantly surprised to see Sunita (Snehlata) in the house who is the daughter of Badri Prasad and is in love with Sunil since college days. Badri Prasad not only appoints him in his office but also provide one of his vacant flats to Sunil.

During their discussions, Sunil comes to know that Durgadevi’s stepdaughter, Sadhana (Aruna Irani) had committed suicide about a couple of years back. Shambhu and Sunita, however, suspect that Sadhana was murdered by Durgadevi. Shambhu was earlier employed by Durgadevi while Sunita was Sadhana’s friend. In order to clear the doubts in the minds of Shambhu and Sunita, Badri Prasad entrusts the job of investigating Sadhana’s suicide case to Sunil who starts investigation with the assistance from Sunita and collect important evidence over a period of time to prove that Sadhana has not committed suicide, but she was murdered.

Sunil meets public prosecutor and joins him as his assistant with the recommendation of Badri Prasad. With his evidence, the court agrees to reopen the Sadhana’s suicide case in which Sunil represents as public prosecutor and Badri Prasad representing Durga Devi’s lawyer as he had done earlier. The last one hour of the film is mainly the court room drama with Prithvi Raj Kapoor as a Judge. With arguments and counterarguments between the prosecutor and the defendant’s lawyer, Durgadevi’s past life is exposed. The photographs of her abandoned child born out of wedlock are placed before the Judge and her motivation for killing her stepdaughter is revealed as relating to the property dispute. She concedes her involvement. The Judge announces that the judgement in the case would be delivered the next day. After the court proceedings ends, Judge asks Sunil to meet him in his chamber where he is shown the photographs of Durgadevi’s child from childhood to his adulthood. Sunil is shocked to see his own photograph. Judge requests him to meet Durgadevi who is sitting in an adjoining room. Sunil meets his biological mother and hugs her. Durgadevi is so much elated with meeting her son that she collapses on the floor and dies of heart attack.

I found the film’s plot quite interesting and gripping as a suspense thriller. But most of the audience would get the clue from a couple of dialogues between Sunil and Durgadevi as to who is his mother, and the suspense is revealed. I think, rather then keeping the suspense, BR Ishara may have thought that it would be more interesting for the audience to know as to how the prosecutor will prove the identity of Sunil’s biological mother and her involvement in Sadhana’s killing. And he has successfully done so through the intense court’s proceedings which takes about one hour of the film’s duration.

Of the main actors in the film, I feel that Nadira in the role of Durgadevi has given the top performance in the film. She has a challenging role to balance her performance of a grayish character with an emotional personality which she has successfully executed. Sanjeev Kumar in the role of a lawyer and later the prosecutor has given an excellent performance as expected, so also Tarun Bose as a defendant lawyer. Prithviraj Kapoor in the role of a judge has few dialogues. But his presence itself is sufficient to create an aura of dignity to his role. There is not much of the boredom in watching this film except a couple of songs which, to my mind, are not the situational songs. Nonetheless, all the songs are melodious.

The film has six songs written by Naqsh Lyallpuri (5) and Anwar Sasarami (1) which are set to music by Sapan-Jagmohan. One song has been covered on the Blog. I am presenting the second song from the film, “Sun Pyaare Sajna Re”, which is written by Naqsh Lyallpuri and rendered by Asha Bhosle and Mukesh. It is interesting to note that in all the films with the exception of a couple of films which BR Ishara directed during 1969-1977, there was at least one song rendered by Mukesh.

The background to the song under discussion is that Sunil (Sanjeev Kumar) shifts himself to Mumbai in search of his biological mother. He gets a job in the office of lawyer, Badri Prasad (Tarun Bose). Earlier, he has met the lawyer’s daughter, Sunita (Snehlata) who was his classmate in the law college and is in secretly in love with him. She works as his assistant in investigating the alleged suicide of Sadhana (Aruna Irani) and they are on their way to collecting evidences. At the same time, Durgadevi (Nadira) has placed one of her men to keep an eye on Sunil’s movements and his activities. The person, taking a diary note during the song is the one who works as such for Durgadevi.

Video Clip:


Audio Clip:

Song-Sun pyaare sajnaa re (Insaaf Ka Mandir)(1969) Singers-Asha Bhonsle, Mukesh, Lyrics-Naqsh Llayalpuri, MD-Sapan Jagmohan

Lyrics (based on video clip)

o o o
o o o
aa aa aa
aa aa aa
aa aa aa

sun pyaare
sajna re
mann gaaye
geet suhaane
geeton mein
pyaar hai tera
tu maane yaa naa maane
daali daali
matwaali
rut aayi
phool sajaane
phoolon mein roop hai tera
tu maane yaa naa maane

sun pyaare
sajna re..

tu kehde to jheel si gehri
aankhon mein kho jaaun

aaj mera jee chaahe
teri baanhon mein lehraaun
o o o tu kehde to jheel si gehri
aankhon mein kho jaaun

aaj mera jee chaahe
teri baanhon mein lehraaun
geet milan ke gaaun
daali daali
(aa aa aa aa)
matwaali
(aa aa aa aa)
rut aayi phool sajaane
(o o o o o)
phoolon mein roop hai tera
tu maane yaa naa maane

sun pyaare sajna re

tujhko paaya maine apna
tanmann arpan kar ke
aaj bane hain hum tum dono
saathi jeewan bhar ke

o o
tujhko paaya maine apna
tanmann arpan kar ke
aaj bane hain hum tum dono
saathi jeewan bhar ke
mehke phool dagar ke

sun pyaare
sajna re
mann gaaye
geet suhaane
geeton mein
pyaar hai teraa
tu maane yaa naa maane
daali daali
(aa aa aa aa)
matwaali
(aa aa aa aa)
rut aayi phool sajaane
(ho o o o o)
phoolon mein roop hai teraa
geeton mein pyaar hai teraa
tu maane yaa naa maane

sun pyaare sajna re
o o o
o o o
aa aa aa
aa aa aa
aaa aaa aaa
aa aaa aaa
aa aa aa aa aaa
aa aa aa aaa
o o o o o
aa aa aa aa

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

ओ ओ ओ
ओ ओ ओ
आ आ आ
आ आ आ
आ आ आ

सुन प्यारे
सजना रे
मन गाये
गीत सुहाने
गीतों में
प्यार है तेरा
तू माने या ना माने
डाली डाली
मतवाली
रुत आई
फूल सजाने
फूलों में रूप है तेरा
तू माने या ना माने
सुन प्यारे
सजना रे

तू कह दे झील सी गहरी
आँखों में खो जाऊँ
आज मेरा जी चाहे
तेरी बाहों में लहराऊँ
गीत मिलन के गाउँ
डाली डाली
(आ आ आ आ)
मतवाली
(आ आ आ आ)
रुत आई
फूल सजाने
(ओ ओ ओ ओ)
फूलों में रूप है तेरा
तू माने या ना माने
सुन प्यारे
सजना रे

तुझको पाया मैंने अपना
तन मन अर्पण कर के
आज बने हैं हम तुम दोनों
साथी जीवन भर के
ओ ओ
तुझको पाया मैंने अपना
तन मन अर्पण कर के
आज बने हैं हम तुम दोनों
साथी जीवन भर के
महके फूल डगर के
सुन प्यारे
सजना रे
मन गाये
गीत सुहाने
गीतों में
प्यार है तेरा
तू माने या ना माने
डाली डाली
(आ आ आ आ)
मतवाली
(आ आ आ आ)
रुत आई
फूल सजाने
(हो ओ ओ ओ)
फूलों में रूप है तेरा
तू माने या ना माने
सुन प्यारे सजना रे

ओ ओ ओ
ओ ओ ओ
आ आ आ
आ आ आ
आs आs आs
आ आs आs
आ आ आ आ आss
आ आ आ आ आss
ओ ओ ओ
आ आ आ आ


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 :

5606 Post No. : 18083

“Bhai Bahan”(1969) was directed by A Bhimsingh for Vikram Productions, Bombay. The movie, a typical south Indian style family drama, had Ashok Kumar, Sunil Dutt, Nutan, Pran, Padmini, Sulochana, Helen, Diwakar, Mukri, Bhalla, Shivraj, V Puranik, Babbanlal etc in it.

“Bhai Bahan”(1969) had seven songs in it. Two songs have been covered in the past.

Here is the third song from the movie to appear in the blog. This song is sung by Asha Bhonsle. Hasrat Jaipuri is the lyricist. Music is composed by Shankar Jaikishan.

The song is picturised as a roadside tamasha dance song on Jayshree T, as a good sized crowd, arranged in a circle, are seen watching the dance performance. This song must be one of the first dance songs picturised on Jayshree T, after her cabarat dance performance in “Chanda Aur Bijli”(1969), where her performance caught the eyes of film makers.

The song is picturised as a roadside tamasha dance song on Padmini Ramchandran. Mukri and Bhalla are also seen in the picturisation. I thank your regulars Mr Manohar Lal Dave and Prakashchandra for the corrections and other details.


Song-Chori chori aa jaa tu meri gali aa jaa (Bhai Bahan)(1969) Singer-Asha Bhonsle, Lyrics-Hasrat Jaipuri, MD-Shankar Jaikishan

Lyrics

chori chori aaja
tu meri gali aaja
ye dil hai
ye jaan hai
sajan ke liye ae
chori chori aaja
tu meri gali aaja
ye dil hai
ye jaan hai
sajan ke liye
ha ha ha
haa haa haa haa haa
chori chori aaja
tu meri gali aaja
ye dil hai
ye jaan hai
sajan ke liye ae ae

aaja re aaja
ye paayal pukaare
geeton ke tujhko milenge sahaare
palkon ki chhaanv mein
aa morey sajna
palkon ki chhaanv mein
aa morey sajna
ab to samajh le nazar se ishaare

o chori chori aaja
tu meri gali aaja
ye dil hai
ye jaan hai
sajan ke liye
la la la
laralaralaaralaa
chori chori aaja
tu meri gali aaja
ye dil hai
ye jaan hai
sajan ke liye

duniya ka dar hai
na logon ka dar hai
jag se niraali hamaari dagar hai
mauji hain man ke
na bandi kisi ke
mauji hain man ke
na bandi kisi ke
jeevan hamaara safar hi safar hai
ho chori chori aaja
tu meri gali aaja
ye dil hai
ye jaan hai
sajan ke liye
lalala
laralaralaralaa
chori chori aaja
tu meri gali aaja
ye dil hai
ye jaan hai
sajan ke liye

mausam salona ye ghadiyaan suhaani
roke ruki hai naa chanchal jawaani
hum besahaaron ki manzil naa koi
hum besahaaron ki manzil naa koi
kitni mazedaar apni kahaani

ho chori chori aaja
tu meri gali aaja
ye dil hai
ye jaan hai
sajan ke liye
hahaha
laralaralaralalaa
chori chori aaja
tu meri gali aaja
ye dil hai
ye jaan hai
sajan ke liye ae


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.

Blog Day :

5573 Post No. : 18045

# Superstar Child Artist – Junior Mehmood # 15
——————————————————–

It has been over eight years now that we started this series for the songs picturised on actor Junior Mehmood. We started with songs sung by Mohd Rafi for Junior Mehmood and later on added more songs sung by other singers for Junior Mehmood. There are still few songs yet to be posted which we discovered in recent years that are picturised on Junior Mehmood.

Junior Mehmood was a ‘star attraction’ in growing years of people like me who were born in late sixties or early seventies, and whatever of his movies we get to watch in our childhood days where he was a part of the movie, were always entertaining and enjoyable. Many of these movies had songs picturised on Junior Mehmood and that was an additional attraction always. These songs have been highly entertaining too. Junior Mehmood inspired by the dancing skills of his guru the great comedian actor Mehmood, had developed his style of dancing which was likened by all i.e. children as well as the grown-ups and adults watching his movies.

In the earlier articles we have read about the biography and also the filmography (till 1980) of Junior Mehmood and how he achieved ‘stardom’ in his childhood days and how he was referred to as a ‘Superstar Child Artiste’ in those years. However Junior Mehmood could not achieve the same success as a grown-up adult actor in his later films.

Under this series ‘Superstar Child Artist – Junior Mehmood’, today I present a song from the movie ‘Simla Road-1969’. So far we have posted songs sung by Mohd Rafi, Hemlata, Shanti Mathur, Asha Bhonsle, Sushma Shreshtha, Lata Mangeshkar, Suman Kalyanpur and Shamshad Begum in this series. Today we add one more singer i.e. Sarla Kapoor who lent her voice to Junior Mehmood in this song, which is a ‘Qawwali’ song.

“Simla Road-1969” was directed by Jugal Kishore for his home productions ‘Jugal Productions, Bombay’. The cast of this movie included Dev Kumar, Sarita, Jugal Kishore, K.N. Singh, Madhumati, Jayshree T., Brahm Bharadwaj, Leela Mishra, Murad, Junior Mehmood, Mirza Musharraf, Dilip Dutt, Manohar Deepak, Maruti and others. “Simla Road-1969” has six songs written by Asad Bhopali and the music for this movie was composed by Usha Khanna. The singers who lend their voice in this movie are Suman Kalyanpur, Sharda, Usha Khanna, Sarla Kapoor, Mohd Rafi, and Krishna Kalle. Three songs from this movie have already been posted on the blog earlier. I guess that this movie is not available online, though video of its songs are available now.

I was looking for the story of this movie and had reproduced a text from an online source and there is also very brief information about this movie available on other site but I found some difference among these two summaries. So I hold it and also I was looking for the character name of the respective actor. Finally I again went through all the earlier posts on the blog, and find that our in-house encyclopaedia Respected Shri Arunkumar jee has already mentioned the about the story of this movie in his comments (on a previous post covering another song of this movie) and that too as I wished it could be 🙂 . Here I am giving below the same text for the interested readers.

SIMLA ROAD (1969) story was one which was used by many, many people, including Jugal Kishore himself earlier. It was supposed to be a ‘Cloak and dagger’ type movie, having a strong story line, but alas, the Hero was Dev Kumar-with a stony body and a stony face too!

Mr. Kumar, a noted businessman is murdered. When his neighbour reaches his bungalow, he finds Shanker there. Shanker (Dev kumar) is in love with Kumar’s sister Veena (Sarita).Sharma (Jugal kishore) accuses Shanker of murder and he is arrested, but Shanker escapes and wounded by police bullet, is found by dancer Rita (Madhumati), who loves him. Bhupat (K.N.Singh)-ex dacoit, catches Shanker.Bhupat and Kumar were thieves but Kumar refuses to give him his share or even recognise him, so Bhupat wants to kill him, but he is murdered by somebody else. Bhupat tortures Shanker for that loot. Veena now hates him.
Now there are twists in the story. Shanker (as expected) happens to be a CBI officer to unearth stolen money. After few more twists, understandings and misunderstandings etc, the murder mystery is solved by Dev Kumar.
The murderer actually is….. 🙂

Now coming back to song under discussion, we can see Junior Mehmood with many other child artistes and Jayshree T performing on this song. It seems to be an attempt to divert the attention of the ‘guards’ who are holding Dev Kumar and Sarita in captivity, in order to get them freed. By the time this song dance performance comes to end the team of Jayshree T and Junior Mehmood get success in their motive. We can also see Jugal Kishore and other artistes in the picturisation of this song. ( I am unable to identify some key persons there). People who have watched earlier movies of Junior Mehmood from the late sixties and early seventies will certainly enjoy this wonderful performance by him and this overall composition.

Let us enjoy this song now…


Song-Maalan dil le gayee re maalan dil le gayee (Simla Road)(1969) Singers – Sarla Kapoor, Usha Khanna, Lyrics-Asad Bhopali, MD-Usha Khanna
Junior Mehmood, chorus

Lyrics

Yaaron dil thhaam ke
Meri kahaani suno
Dil ka fasaanaa
Mohabbat ki zabaani suno
Suno
Suno
Suno

Woh phoolon ki raani
Woh jaane e bahaar
Woh maasoom chehra
Woh zulfen pareshaan
Woh phoolon ki raani
Woh jaane e bahaar
Woh maasoom chehra
Woh zulfen pareshaan
Wo aankhon mein masti
Wo gaalon pe laalee
Zamaane se jiski adaa hai niraalee
Wo
Woh maalan dil le gayee re
Maalan dil le gayee
Maalan dil le gayee re
Maalan dil le gayee

haan haan dil le gayee re
maalan dil le gayee

Woh chaman mein thhi khadee
Jab nazar us se ladee
Haan
Woh chaman mein thhi khadee
Woh thhi khadee
Haan khadee

Haan
Woh chaman mein thi khadee
Jab nazar us se ladee

Aa aa aa aa aa aa aa
o o o
Jaag uthhaa
Dard e jigar
Na rahi apni khabar
Jaag uthhaa
Dard e jigar

Dard e jigar
Dard e jigar
Jaag uthhaa
Dard e jigar
Na rahi apni khabar

Sambhaala bahot dil
Magar dil na sambhlaa
Woh jo muskuraaye
To ye munh se niklaa
Kya
Maalan dil le gayee re
Maalan dil le gayee
Maalan dil le gayee re
Maalan dil le gayee

aa haa dil le gayee re
Maalan dil le gayee

Aa aa aa aa aa aa
aa aa aa aa aa aa

Aa aa aa aa aa aa
Aa aa aa

Jaan jaaye ke rahe
Koyi ab kuchh bhi kahe
Haan
Jaan jaaye ke rahe
Haan ji jaaye
Chaahe rahe
haan
Jaan jaaye ke rahe
Koyi ab kuchh bhi kahe

Aa aa aa aa aa
aa aa aa aa
Maine sochaa hai yahi
Dekhna hogaa yahi
Maine sochaa hai yahi
Haan jee yahi
Haan yahi ee
Maine sochaa hai yahi
Dekhna hogaa yahi

Woh meri banegi
Main uskaa banoongaa
Woh dulhan banegi
Main dulhaa banoongaa
Kaun
Maalan dil le gayee re
Maalan dil le gayee
Haan haan dil le gayee re
Maalan dil le gayee

O ho dil le gayee re
Maalan dil le gayee ee

Mere mehboob na dar
Aa gayaa hoon main idhar
Haan mere mehboob na dar
Mere mehboob na dar
Haan
Mere mehboob na dar
Aa gayaa hoon main idhar

Aa aa aa aa aa aa
Aa aa aa aa aa aa
Aa aa aa
Yaaron ka yaar hoon main
Tera dildaar hoon main
Yaaron ka yaar hoon main
Haan haan tera yaar hoon main
Yaaron ka yaar hoon main
Tera dildaar hoon main

Dekhne mein hoon main
Chhotaa sa bachchaa
Magar dil hai achchhaa
Mera pyaar sachchaa
Phir bhi
Dil le gayee re
Maalan dil le gayee
Maalan dil le gayee re
Maalan dil le gayee

Woh phoolon ki raani
Woh jaane e bahaar
Woh maasoom chehra
Woh zulfen pareshaan
Woh phoolon ki raani
Woh jaane e bahaar
Woh maasoom chehra
Woh zulfen pareshaan
wo aankhon mein masti
wo gaalon pe laalee
zamaane se jiskee adaa hai niraalee
wo maalan
dil le gayee re maalan
dil le gayee
Maalan dil le gayee re
Maalan dil le gayee
Maalan dil le gayee re
Maalan dil le gayee
Maalan dil le gayee re
Maalan dil le gayee


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

Blog Day :

5567 Post No. : 18036

A couple of years back, I had written for the Blog, articles on a few of Hindi film dancers/character actress which included Mohana Cabral, Naaz, Minoo Mumtaz, Heera Sawant, Sheila Vaz, Rani and Jeevankala. In this article, I take up for writing on one of the prominent dancers of Hindi films during 1970s and 1980s who also did supporting roles of varying types. The dancer/actor is Jayshree Talpade, popularly known as Jayshree T. I had watched her the first time in the film, ‘Chanda Aur Bijli’ (1969). This was the period and another couple of years more when I was active in watching Hindi films in the theatres, preferably during the first week of the release of the films and almost every weekends. After watching her dance performances in about a dozen films in 1970-72 with bits of supporting roles, I can say that just as Helen was a successor to Cuckoo, so is Jayshree T a successor to Helen. Interestingly, Jayshree T and her elder sister, Meena T had no intention of working in the films as none of their family members were connected with the film industry. How Jayshree T got the entry into Hindi films without much of a struggle is the story that will get unfolded as I discuss her profile.

Jayshree Talpade was born in c.1953 in Mumbai in a Marathi middle-class family belonging to Pathare Prabhu community. She was one of three sisters, the other two being Meena and Chhaya and one brother, Sandeep. Her father, Chitrasen Talpade was a Marathi stage actor and mother, Sugandha was a housewife who learnt singing and dancing during her spare time. Jayshree was a bright student, always getting the first rank in her school. Knowing her aptitude for dancing, her mother put her for learning Kathak dance under Kesari Panchal and later she became the disciple of Gopikrishna. She also represented Khalsa College as a dancer in inter-collegiate dance competitions and won trophy for her college.

Being a bright student, Jayshree had decided to become a doctor. However, the fate decided otherwise. In the interview, she gave an interesting trivia as to how she got associated with Hindi films. One day, a person came to their house, introducing himself as Ramdas and told her mother that Vijay Bhatt who was making ‘Gunj Uthi Shehnai’ (1959) was looking for a child artist to do the childhood role of Anita Guha. If interested, she can take her to the studio. At first, her mother flatly refused the offer telling that none of their family members were connected with films. However when he said that he had seen Jayshree doing the dance on the stage and she can do the role in the film, the mother agreed and took her to the Prakash Studio giving reference of Ramdas to the production team. The film production man denied having known any Ramdas from their team. Anyway, since the girl had come, he took her to Vijay Bhatt who after initial tests, selected her for the role. Even Talpade family did not have any acquaintance with Ramdas. It remains a mystery even today for Talpade family as to who was Ramdas.

As a child artists, Jayshree worked in some more films such as ‘Sangeet Samrat Tansen’ (1959), ‘Zameen Ke Taare’ (1960), ‘Pyaar Ki Pyaas’ (1961) etc in addition to Marathi films during her school holidays. During her 10th standard in the school, she was picked up for a role of a fresh college going girl for the film, ‘Abhilaasha’ (1968) on the suggestion of Choreographer, Herman Benjamin who had choreographed her dance in a Marathi film. This was her first solo dance in ‘Abhilaasha’ (1968) in which during a college picnic, she is seen dancing with Oscar when Sanjay Khan is singing, ek jaanib shamm-e-mehfil to woo Nanda. She still had no intention of pursuing the filmy career. She joined Khalsa college for her further studies.

It was her cabaret dance in ‘Chanda Aur Bijli’ (1969) which become a turning point in the career of Jayshree T. Thereafter, she got a series of films, (24 films in 1970, 23 films in 1971, and 21 films 1972) mainly for her dances which included the films which I had watched in theatres such as ‘Suhaana Safar’ (1970), ‘Khilona’ (1970), ‘Raaton Ka Raja’ (1970), ‘Samaaj Ko Badal Daalo’ (1970), ‘Pavitra Paapi’ (1970), ‘Tere Mere Sapne’ (1971), ‘Sharmeelee’ (1971), ‘Daastaan’ (1972). ‘Aankhon Aankhon Mein’ (1972), Joru Ka Ghulam’ (1972) and many more. Her role in ‘Khilona’ (1970) was one more turning point in her career to get recognised in the supporting role of a sister of Sanjeev Kumar. Hereafter, she started getting supporting roles, mostly as comedian and vamp, in addition to dancing.

Jayshree T claims that she has worked in around 500 Hindi films and in about 200 films in 17 regional languages for which she dubbed the dialogues in her own voice. In addition, she has been part of many musical tours, apart from her own, in India and abroad – from Talat Mehmood, Rafi, Mukesh, Kalyanji-Anandji to Bappi Lahiri and Anu Malik. She used to participated in the musical tours as a dancer, singer, and mimicry artist.

In 1989, Jayshree got married to Jayprakash Karnataki, son of Master Vinayak and the brother of Nanda. It was an arranged marriage at the instance of their spiritual Guru who said that they were made for each other. Jayprakash Karnataki is producer-director-actor in Marathi films. She has a son, Swastik Karnataki who is aspiring to be a film director. According to Jayshree T, her husband is a rakhi brother to Saira Bano. After the death of Dilip Kumar, her husband talks to Saira Bano almost every morning to ascertain her well-being. He was also doing the same thing for his sister, Nanda until her death in March 2014. Shreyas Talpade is a nephew of Jayshree T from her first cousin. [Note:The profile of Jayshree T is based mainly from her interview along with Meena T, supplemented with the supporting information available online including a couple of her other interviews.]

An interesting feature of the filmy career of Jayshree T is that she has worked with her elder sister, Meena T, herself a dancer, in many films. From their filmography, I have counted more than two dozens of Hindi films in which both the sisters have worked together. And something about her name as to how hwer Jayshree Talpade got changed to Jayshree T. According to her, when she joined the films, Jayshree Gadkar was already working in both Marathi and Hindi films. Also, people found it difficult to pronounce her surname ‘Talpade’. So, in her own volition, she changed her name to Jayshree T and Meena T followed her.

As discussed above, the film which became a catalyst for the filmy career of Jayshree T was ‘Chanda Aur Bijli’ (1969) after which she never looked back in her 5 decades of filmy career which is still continuing with acting in Hindi TV serials.

The film was produced and directed by Atmaram under the banner of Guru Dutt combines. It was Atmaram’s second film as producer-director after the death of Guru Dutt, the first being ‘Shikaar’ (1968). To continue the Guru Dutt’s film banner, Atmaram had approached writer, Nabendu Ghosh for adaptation of Charles Dickens’s novel, ‘Oliver Twist’ for a film which was later made as ‘Chanda Aur Bijli’ (1969). Nabendu Ghosh wrote the screenplay for the film. The main cast of the film consisted of Padmini, Sanjeev Kumar, Master Sachin, Bipin Gupta, Pratima Devi, Jeevan, Keshto Mukherjee, Bela Bose, Jr. Mehmood etc.

The film had six songs, three of which have already been covered on the Blog. I am presenting the 4th song, ‘tere ang ka rang hai angoori tauba’ from the film, rendered by Sharda. The song is written by Indeevar and is set to music by Shankar-Jaikishan. It is a cabaret dance song picturised on Jayshree T and Aakashdeep. One can see Randheer sitting in an isolated place with a bottle of drink. The Video Clip of the song has an additional stanza.

In her interview, Jayshree has revealed that the film was almost complete when Atmaram decided to add a cabaret dance as an item number (probably under pressure from the film distributors). Jayshree’s name was suggested to him as a cabaret dancer. Atmaram watched her dance in one of her Marathi films and selected her with a condition that her name would not appear in the credit titles of the film nor in the poster and publicity material as the film is almost complete. She agreed since she was getting an opportunity to work in a big banner film. Accordingly, the set for the dance was created at Natraj Studio with a revolving dance floor covered on one side with a giant water tank in 3-4 compartments to look like fish ponds. Only, in these ponds, instead of fish, girls will be swimming as background for the cabaret dance.

The very first day of the shooting, one of the glass of ponds broke, spilling a large quantum of water which severely damaged the revolving dance floor. The shooting was cancelled. A couple of other directors who were already shooting their films in Natraj Studio came to see the damage during which they suggested to Atmaram to take Helen for the cabret dance. Jayshree thought that she would not be called back for shooting. It took about one month to erect a new set and it was a pleasant surprise for Jayshree to be called back to complete the cabaret dance sequence. When the cabaret dance part of the film was shown to the distributors, they were so elated with the Jayshree’s dance that they demanded that her name should appear in the credit titles as well as the posters and publicity material. Her name did appear in the credit title of the film, but I have not seen any poster of the film in which her name appeared.

The song seems to have a jazz flavour if one goes by the orchestration of the song, giving a swinging feeling while listening to the song. Incidentally, in the later part of 1960s, Shankar-Jaikishan were influenced by Jazz music. In 1968, they released a private jazz album in collaboration with Ustad Rais Khan, called ‘Raaga – Jazz Style’ – an amalgam of Indian classical and Jazz music. During this period, many of their Hindi film songs had the jazz music flavour.

Video Clip:

Audio Clip:

Song-Tere ang ka rang hai sindoori (Chanda Aur Bijli)(1969) Singer-Shaarda, Lyrics-Indeewar, MD-Shankar Jaikishan

Lyrics(based on video clip):

tere ang ka rang hai angoori
tauba
tere honthon ki rangat sindoori
tauba
tauba
tauba
tere ang ka rang hai angoori
tauba
tere hothon ki rangat sindoori
tauba
tauba
tauba

ye bedhadak jawaani
dariya ka jaise paani
baahon mein thaam le tu
main ho chali deewaani
ye bedhadak jawaani
dariya ka jaise paani
baahon mein thaam le tu
main ho chali deewaani
tere ang ka rang hai angoori
tauba
tere hothon ki rangat sindoori
tauba
tauba
tauba

saanson mein phool mahke
shola sa jism dahke
jalne lagi hoon main bhi
tere paas paas rahke
saanson mein phool mahke
shola sa jism dahke
jalne lagi hoon main bhi
tere paas paas rahke
tere ang ka rang hai angoori
tauba
tere honthon ki rangat sindoori
tauba
tauba
tauba

baaton mein ik maza hai…
hansne mein ik ada hai…
utre na zindagi bhar
nainon mein wo nasha hai
baaton mein ik maza hai
hansne mein bhi ik ada hai
utre na zindagi bhar
nainon mein wo nasha hai
tere ang ka rang hai angoori
tauba
tere honthon ki rangat sindoori
tauba
tauba
tauba


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 :

5520 Post No. : 17968

“Madhavi”(1969) was Produced by Shri.B.Radhakrishna,B.Com. and directed by Chanakya for Sri Ganesh Prasad Movies Madras. The movie had Sanjay, Pran, Padmini, Mahmood and it introduced Deepa in the title role of Madhavi.
The movie also had Nazir Hussain, Murad, Mukri, Roopesh Kumar, RajKishore, Master Shahid, Rama(Kannada actress)and Aruna Irani. They were supported by Sunder Rao ,Ganapathy Bhat, Prem Kumar, Gemini Balu, Mudaliar,
And other junior artistes suppled by Eranial R.K.Lakkumanan. The story of the movie was inspired by R GGadkari’s immortal Marathi play ”Punya Prabhav”.

“Madhavi”(1969) had six songs in it. Three songs have been covered in the past.

Here is the fourth song from the movie to appear in the blog. The song is sung by Lata Mangeshkar. Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal.

The song is picturised on Deepa and Padmini. Padmini lip syncs the song while Deepa is seen getting moved by this song that recounts the tale of Abhimanyu..

Lyrics of the song and other details were sent to me by Prakashchandra.

Longer audio link

video link (Partial song)

Song-Jab honthon pe kahtaa ye aayee (Madhavi)(1969) Singer-Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics (of longer audio link) (Provided by Prakashchandra)

jab honthon pe kathaa ye aayee
man tadpaa aur aankh bhar aayee
jab honthon pe kathaa ye aayee
man tadpaa aur aankh bhar aayee

ek samay
kaurav paandav mein aen
aisaa yudh ghamsaan huaa
dharti khoon mein doob gayee
aur ambar lahoo luhaan huaa
haar lagee hone paandav kee ee
kaurav chal gaye aisee chaal
Dronacharya ne bichhaaa diyaa
ranbhoomi mein chakravyooh kaa jaal
ho o ho o o ho o
aisi bhayaanak huyee ladaayee
maut chalee banke aey purwaayee
jab honthon pe kathaa ye aayee
man tadpaa aur aankh bhar aayee

yudh ke liye ae kiyaa Maataa ne ae
phir Abhimanyu ko o taiyyaar
tilak lagaake aey
shastra sajaake aey
galey lagaake ae aakhiri baar
nanhaa saa sainik jaa takraayaa
shatru kee faujon se
chhotaa saa maanjhee na ghabaraayaa
toofaani maujhon se ae ae
o o o o o
aisi bhayanak huyee ladaayee
maut badariyaa banke ae chhaayee
jab honthon pe kathaa ye aayee
man tadpaa aur aankh bhar aayee

o o o o o o o
Abhimanyu ne jaan ganwaayee
maatr bhoomi ki laaj bachaayee ee
(sobbing sound)
band huye woh nain jo maa ke
nain nihaaraa kartey thhe
ho gaye chupp woh honth jo maa kaa
naam pukaaraa kartey thhe
kat gaye bas woh haath jo maa kaa
aanchal thhaamey rehtey thhe
mar gayaa Maa kaa laal jisey
saarey Abhimanyu kehtey thhe aey ae

(sobbing sound)


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 FIFTEEN years. This blog has over 18300 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

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(© 2008 - 2024) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

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Movies with all their songs covered =1411
Total Number of movies covered=4951

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