Archive for the ‘Songs of 1969’ Category
Suna thha maine bachpan mein
Posted April 19, 2024
on: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
O sakhiyaan o sakhiyaan
Posted March 30, 2024
on: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
Sun pyaare sajnaa re
Posted January 1, 2024
on:- In: Asha Bhonsle songs | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Love song | Lyrics contributed by readers | Mukesh songs | Mukesh-Asha Bhonsle duet | Post by Sadanand Kamath | Songs of 1960s (1961 to 1970) | Songs of 1969 | Yearwise breakup of songs
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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
Jab honthhon pe kathaa ye aayee
Posted August 29, 2023
on: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)
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