Archive for the ‘Songs of 1970s (1971 to 1980)’ Category
Ae Mere Pyaare Watan
Posted on: May 10, 2024
- In: Devnagri script lyrics by Sudhir | Guest posts | Lyrics contributed by readers | Nostalgic song | One song used in more than one movie | One song used in two movies | Poignant Song | Post by Sudhir | sad song | Song used in more than one film | Songs of 1970s (1971 to 1980) | Songs of 1975 | Songs reused again in subsequent movies | Truck song | Yearwise breakup of songs
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5775 | Post No. : | 18302 |
Songs Repeated in Hindi Films – 31
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Reuse phenomena is quite a prevalent feature in Hindi cinema. We are already at the 31st episode of this series, and I must say we have just scratched the surface. There are reuse songs, there are partial reuse songs, there are medleys of songs, and even in some cases, there is a wholesale reuse in the entire film. A great example is the 2002 film ‘Dil Vil Pyaar Vyaar’. Bharat Shah, the producer of this film is an out and out die hard fan of Pancham Da, and this film showcases a dozen earlier hit songs of RD Burman.
Another such set of reuse albeit in snippets only, also happened in the 1982 film ‘Adhaarshila’. The producer director Ashok Ahuja has accommodated half a dozen or so songs from the golden era in the film, which is a film about making a film.
A more recent happening is the weather beaten but still fresh, Romeo and Juliet based love story – the 2023 film by Karan Johar – ‘Rocky Aur Rani Ki Prem Kahani’. This film has a very interesting twist to the original tale – two people in love are not able to join forces in life, and are forced to lead separate life stories. Quite an interesting twist happens when their respective grand children fall in love with each other, initially blessed with the ignorance of the family’s histories and the unsuccessful involvement of their grand parents two generations earlier. Karan Johar seems to be quite smitten with the music of the 50s, 60s and 70s – he has weaved into the film’s story no less than a dozen songs of yesteryear. All songs are snippets one to two minutes long. But a very interesting reuse nonetheless, that makes the film more enjoyable.
However, the difficult part is that the reuse songs are not credited in the information about the film. One has to dig for them, and if lucky, one comes across these reuse gems. There is a very interesting episode behind this find also, and I must thank Nalini ji for it. Recently, she shared with me part of a discussion happening on the ASAD WhatsApp group. The film under discussion was the 1975 ‘Prem Kahani’. And the discussion was on a song being played on the radio in this film, which does not seem to be from a Hindi film. The song, sounding strikingly familiar, is “Kuchh Bhi Na Kaha Aur Keh Bhi Gaye”. The original song is from the 1962 Pakistani film ‘Azra’. The song is written by Tanvir Naqvi and the music is composed by Master Inayat. The singing voice is that of the legendrary Noorjehaan, picturised on actress Neelo. Certainly a song to be treasured. So on the group, the discussion was resolved with a little bit of research, and it was declared that this is song from a Pakistani film.
Nalini ji shared this discussion on the side with me. And surely, it prompted me to take a look. So pulling out the film ‘Prem Kahani’ from my hard disk, I started to scan the film slowly to locate this Pakistani song being played on the radio. But then another discovery was sitting on the way. Before I reached the song I was looking for, I bumped into this song snippet – a replay of the iconic Manna Dey song from the 1961 film ‘Kabuliwaala’. Vinod Khanna, playing the role of Sher Khan, a pathaan truck driver, sings this song on screen, and in his own voice, while driving his vehicle.
‘Prem Kahani’ (of 1975) is a period film that is set in pre-independence years, when the freedom struggle was at its peak. Rajesh (role played by Rajesh Khanna) is a fugitive from the British law, for having assassinated a British police officer. He is on the run with the police hot on his heels. He takes refuge in the truck of Sher Khan who saves his life, and delivers him to safety at the home of Dheeraj (role played by Shashi Kapoor), a very dear friend of Rajesh. I will not delve into the story before and after this episode, but will surely add that Sher Khan gets caught, and the police torture him to find out the whereabouts of Rajesh. Sher Khan dies in police custody but does not reveal the location where he dropped Rajesh.
When Rajesh is riding in Sher Khan’s truck, there is a bit of dialogue between them. Rajesh asks Sher Khan why is he helping him, even though they do not even know each other. Sher Khan replies – yes he does not know Rajesh, but surely he understands the meaning of freedom, and so he is helping Rajesh.
At this point, he starts to sing this song. Interestingly, the rendition is in Vinod Khanna’s own voice. Only one stanza from the original song is presented. But still, a lively rendition by him.
So another reuse of an iconic song, which remains uncredited. And for this discovery, I must thank Nalini ji.
Song – Ae Mere Pyaare Watan (Prem Kahaani) (1975) Singer – Vinod Khanna, Lyrics – Prem Dhawan, MD – Salil Chaudhry
Lyrics
ae mere pyaare watan
ae mere bichhde chaman
tujh pe dil qurbaan
tu hi meri aarzoo
tu hi meri aabroo
tu hi meri jaan
maa ka dil banke kabhi seene se lag jaata hai tu
aur kabhi nanhi si beti ban ke yaad aata hai tu
jitna yaad aata hai tu
utana tadpaata hai tu
jitna yaad aata hai tu
utana tadpaata hai tu
tujh pe dil qurbaan
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
ए मेरे प्यारे वतन
ए मेरे बिछड़े चमन
तुझ पे दिल क़ुर्बान
तू ही मेरी आरज़ू
तू ही मेरी आबरू
तू ही मेरी जाँ
माँ का दिल बन के कभी सीने से लग जाता है तू
और कभी नन्ही सी बेटी बन के याद आता है तू
जितना याद आता है मुझको
उतना तड़पाता है तू
जितना याद आता है मुझको
उतना तड़पाता है तू
तुझ पे दिल क़ुर्बान
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5751 | Post No. : | 18275 |
“Kashish”(1980) was directed by Amin Chaudhary for Film Art International, Bombay. The movie had Naveen Nishchol, Reena Roy, Vinod Mehra, Chris Macliod, A.K. Hangal, Dr Shreeram Lagoo, Achala Sachdev, Narendra Nath, Sashikala, Patrick Macclo, Johny Whisky, Mitthu Sen, Sheli Desai, Bhim Sen, O.P. Malhotra, Lalit Kohli, Manohar Rathod, Pradeep Kochar, Jo Chiramont, Rin Chin, Michael O’ Brian, Fan Rizo, Mister Batra etc in it.
Rajni Sharma and Rama Vij made special appearances in the movie.
“Kashish”(1980) had three songs in it. Two songs have been covered in the blog.
Here are the details of the songs covered so far:-
| SNo in Blog | Song Title | Singer/s | Lyrics | Posted On | Remarks |
|---|---|---|---|---|---|
| 7615 | Kisi aasmaan pe to saahil milega | Rafi | Gulzar | 6 March 2013 | Lyrics by Avinash Scrapwala. Picturised on Navin Nischol |
| 16921 | Do pardesi anjaane se | Kishore Kumar, Suman Kalyanpur | Anjaan | 11 April 2022 | Post by Avinash Scrapwala. Picturised on Navin Nischol and Reena Roy |
Here is the third and final song from the movie to appear in the blog. The song is sung by Asha Bhonsle. Anjaan is the lyricist. Music is composed by Kalyanji Anandji. Only audio of this song is available. It is in contrast to the earlier covered songs whose video were available.
I request our knowledgeable readers to throw light on the picturisation of the song. My guess is that this song is a dance song which may have been picturised on a secondary character.
With this song, all the songs of “Kashish”(1980) are covered in the blog. The movie thus joins the list of movies that have been YIPPEED in the blog.
Song-Pardes mein jaa ke tu piyaa pardesi bhayaa (Kashish)(1980) Singer-Asha Bhonsle, Lyrics-Anjaan, MD-Kalyanji Anandji
Lyrics
pardes mein jaa ke tu u
piya pardesi bhaya
ho pardes mein jaake tu
piya pardesi bhaya aa
tu kaahe pardesi bhaya
meri janam janam ki preet
tu kaise bhool gaya aa
tu kaahe pardesi bhaya
ho o
o o o
o o o
jaana thha humse door
to kaahe preet badhhaai
o humse preet badhhaai
hua dil ka ye sheesha choor
ye kaisi thhokar lagaai ee
ye toone thhokar lagai
haar ke tere pyaar mein ye dil
maine jaan lutaai
haar ke tere pyaar mein ye dil
maine jaan lutaai
mere pyaar ki kadar na jaani
tu nikla harjaai
jhoothhe sapne dikha ke tu
piya pardesi bhaya aa
tu kaahe pardesi bhaya
meri janam janam ki preet
tu kaise bhool gaya aa
tu kaahe pardesi bhaya
dekha videsi roop
to desi rang na bhaaye
ye desi rang na bhaaye
ho gorey badan ki dhoop tere dil ko jalaaye ae
haaye re haaye dil ko jalaaye
raat raat bhar gori sautan ke sang raas rachaaye
raat raat bhar gori sautan ke sang raas rachaaye
teri saanwri teri yaad mein jal jal ke mar jaaye
mujhe jogan bana ke tu
piya pardesi bhaya aa
tu kaahe pardesi bhaya
meri janam janam ki preet
tu kaise bhool gaya aa
tu kaahe pardesi bhaya
aa aa aa
aa aa
aa aa aa
meri lagan mere meet
tujhe bhi tadpaayegi
haan tujhe tadpaayegi
meri kashish meri preet
tujhe waapas laayegi ee
tujhe waapas laayegi
reet rasam ke laaj sharam ke
saare bandhan todoon
reet rasam ke laaj sharam ke
saare bandhan todoon
main jatti punjab di
bainya thhaam ke phir na chhod u
kaahe daaman chhuda ke
tu piya pardesi bhaya
tu kaahe pardesi bhaya
pardes mein jaake tu
piya pardesi bhaya aa
tu kaahe pardesi bhaya aa
tu kaahe pardesi bhaya
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5750 | Post No. : | 18274 | Movie Count : |
4948 |
‘Maan Apmaan’ (1979) was produced and directed by N V Deshpande. The cast included Sanjeev Kumar, Kanan Kaushal, Sushma Shiromani, Usha Solanki, Gajanan Jagirdar, Dhumal. Mohan Choti, Ratnamala, Asit Sen, Jayshree T, Shammi, Vishwa Mehra, Neelam etc. As per IMDb, the film was in the making since 1968 with Sanjeev Kumar and Kanan Kaushal (who, at that time, were yet to established as successful actors). The film got delayed and at one time it was almost shelved. It was only when Sanjeev Kumar became a star and Kanan Kaushal came into limelight with her box office hit film, ‘Jai Santoshi Mata’ (1975), the film was revived, reshot and released in August 1979. The film was dubbed in Gujarati also.
The film’s lead actress, Kanan Kaushal (real name: Indumati Sheth) was born on March 21, 1939, in Baroda (now Vadodara). She belongs to Konkani speaking Gomantak Maratha Samaj, mainly concentrated in around Goa. Her interest in acting began during the school days but got a fillip during her college days when she started participating in plays during college’s cultural festivals. After completing MA in Economics and History, Indumati got involved in Marathi, Gujarati and Hindi theatres. In 1964, she got married to Shashikant Paigankar and became known as Indumati Paigankar. So, she started her filmy career after her marriage.
Indumati Paigankar came into limelight when she worked in a Hindi play, ‘Do Jahaan Ke Beech’ with Haribhai Jariwala (Sanjeev Kumar) and Leela Chitnis. Her acting in this play got attention from Hindi filmmakers. In 1964-65, she got roles in ‘Prahar’, ‘Asha Ke Deep’ and ‘Aakhri Din Pehli Raat’. Unfortunately, her first three Hindi films remained incomplete/shelved. During the making of ‘Aakhri Din Pehli Raat’ (shelved), the director, Kamal Amrohi suggested to change her name from Indumati Paigankar to Kanan Kaushal which she accepted. He also suggested the film’s hero, Haribhai Jariwala to change his name. So, he adopted his name to Sanjeev Kumar. Despite the film being shelve, both of them retained their new screen names for all their subsequent Hindi films. (Note: Kanan Kaushal’s profile of her early years is based on a Marathi write-up which appeared on maharashtranayak.in)
Kanan Kaushal’s first released Hindi film was ‘Sati Sulochana’ (1969) in which she was in a subsidiary role with Anita Guha and Premnath. Her first film in a lead role was ‘Maan Apmaan’ (1979) with Sanjeev Kumar, which started sometime in 1968. However, it got delayed for a long time. In ‘Pardesi’ (1970), Kanan Kaushal got a major role along with Mumtaz.
Kanan Kaushal had already worked in about a dozen Hindi films, mostly in supporting roles, but she had not established herself in terms of the the box office success. Then came the film ‘Jai Santoshi Mata’ (1975) in which Kanan Kaushal got a major role along with Anita Guha. This low budget film created an history in 1975 by becoming the second highest grossing film next to ‘Sholay’ (1975). As happens in Hindi films most of the time, Kanan Kaushal also got typed cast for mythological films. She did over a dozen films in this genre over the next 5 years in succession.
It is said that Kanan Kaushal after her successful role in ‘Jai Santoshi Mata’ (1975), got an image of a religious and a pious woman which she wanted to retain it. That made her to reject bold roles in Hindi films. Later on, when she shifted to doing character roles in the 1980s onwards, she was almost type-cast as a suffering wife/mother, more like Nirupa Roy type of roles. ‘Sanam Aap Ke Kaatir’ (1992) was her last Hindi film.
‘Ekati’ (1968) was Kanan Kaushal’s first Marathi film in which she paired with Kashinath Ghanekar. She worked in around 30 Marathi films under her original name, Indumati Paigankar. She also worked in about 16 Gujarati films and 4 Bhojpuri films in addition to about 40 Hindi films.
Kanan Kaushal retired from the films sometime in 1990s. Post retirement from films, she pursued her hobby as a Beautician. She has written and published two books in Marathi – ‘Roopsadhana’ (1994) and ‘Vadhucha Saajshrungar’. Her husband, Shashikant Paigankar passed away in 2001. They have one son and a daughter. The son, Parag Paigankar is an Executive Director in one of the well-known financial services companies in Mumbai. Her daughter is Meelan Samant.
The story of ‘Maan Apmaan’ (1979) is as under:
Thakur (Gajanan Jagirdar), a wealthy landlord, stays with his family consisting of his wife, Laxmi (Ratnamala), his two grown-up daughters – Parvati (Kanan Kaushal), Kamini (Neelam) and a son, Pratap (Mohan Chandola). Shankar (Sanjeev Kumar) is an orphan who has been brought up since his childhood by Thakur and also stays in the house. Thakur’s eldest daughter, Savitri (Usha Solanki) has already got married. Despite belonging to a wealthy family, Parvati is a simple, cultured and self-respected girl. Shankar is a simple man, and he is close to Parvati among other members of the family.
One day, Pratap sees both Shankar and Parvati outside a temple talking in an intimate manner and reports this to his mother, Laxmi. Paravati overhears their conversations and feels bad about Shankar getting a bad name for his closeness to her. She tells her mother that she would marry Shankar to remove any impression about him being in a scandalous relationship. Shankar is hesitant to marry her but Parvati persuades him for the marriage.
Thakur is dead against the marriage as it is not palatable to him as to how his daughter could marry a orphan who has no house to stay and no money to sustain. However, Parvati’s threat to commit suicide if her marriage with Shankar is denied, forces Thakur to agree for the marriage for which he offers financial assistance as well as allowing them to stay in the house. Both of them refuse the offer. After marriage, Shankar and Parvati leave the house to stay with Shankar’s friend, Ramdas (Asit Sen). However, due to unpleasant behaviour of Ramdas’s wife (Shammi), Shankar and Parvati leave the house and shift to his grandparent’s abandoned cottage in a different village. Shankar repairs the house and settles in the village.
Parvati gives birth to a baby boy. Thakur and his wife visit to see the child. However, after seeing them living in an abject poverty, they return home after Thakur insults them. After a few years, Shankar and Parvati receive an invitation to attend the marriage of her younger sister, Kamini. While Parvati’s mother is happy to see them after a long time, other members of the family give them a cold response. On the contrary, Savitri accuses Parvati of stealing her jewellery. A humiliated Shankar and Parvati return home with a vow never to visit them.
Years pass. Shankar and Paro receive an invitation to attend the marriage of her younger brother, Pratap. After humiliation during the marriage of her younger sister, Parvati and Shankar decide not to attend the marriage. Instead, she writes a letter to Pratap sending her best wishes for the marriage. However, her mother’s health deteriorates after the marriage as it was a shock for her that her daughter, Parvati could not attend the marriage. After few days, she passes away. After completion of the religious ceremonies, Thakur and his family members realise their mistakes of ill treatment to Shankar and Parvati. They all visit Shankar and Parvati’s house and reconcile with them.
The film had 3 songs written by Bharat Vyas which were set to music by Laxmikant-Pyarelal. I am presenting the first song, ‘ye geet kaun mere madhuban mein gaa rahaa’ to appear on the Blog. The song is rendered by Mohammed Rafi and Anuradha Paudwal. The song is picturised on Sanjeev Kumar and Kanan Kaushal reflecting their happiness over the news of becoming expectatant parents.
Video Clip:
Audio Clip:
Song-Ye geet kaun mere man madhuban mein gaa rahaa (Maan Apmaan)(1979) Singers-Anuradha Paudwal, Rafi, Lyrics-Bharat Vyas, MD-Laxmikant Pyarelal
Both
Lyrics
hmm hmm
hmm hmm hmm
hmm hmm hmm hmm hmm
hmm
aa aa aa aaa
aa aa aa aaa
aa aaaaa
ye geet kaun
mere mann madhuban mein gaa rahaa
ye geet kaun
mere mann madhuban mein gaa rahaa
mere soye praanon ko
meethhe meethhe sur se jagaa rahaa
ye geet kaun
mere mann madhuban mein gaa rahaa
ye geet kaun
mere soye praanon ko
meethhe meethhe sur se jagaa rahaa
ye geet kaun
raat ki belaa
main thhaa akelaa
chupke se ye kaun aayaa
raat ki belaa
main thhaa akelaa
chupke se ye kaun aayaa
door kabhi kyaa rah sakti hai
kaaya se apni chhaayaa
palkon mein jo basti hai
koi useykyun bulaa rahaa
ye geet kaun
mere mann madhuban mein gaa rahaa
ye geet kaun
bheegaa hai mausam
milte hain hum tum
bheegi hawaayen gaatee hain
bheegaa hai mausam
milte hain hum tum
bheegi hawaayen gaatee hain
pedon se lipti
komal lataayen
dekh hamen sharamaati hain
jaane ye kaisi khusbhoo udi
jo dil pe nashaa saa chhaa rahaa
ye geet kaun
mere mann madhuban mein gaa rahaa
ye geet kaun
deep mein jyoti
seep mein moti
teraa meraa mel yahi
deep mein jyoti
seep mein moti
teraa meraa mel yahi
saagar mein saritaa
lahron mein kavitaa
pyaar kaa paawan khel yahi
bhar ke apni baahon mein
mujhe koi jhoolaa jhulaa rahaa
ye geet kaun
mere mann madhuban mein gaa rahaa
mere soye praanon ko
meethhe meethhe sur se jagaa rahaa
ye geet kaun
ye geet kaun
hmm hmm
hmm hmm hmm
hmm hmm
hmm hmm hmm
Main hoon chhui mui
Posted on: April 14, 2024
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.
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Blog Day : |
5749 | Post No. : | 18272 |
Today’s song is from the film Chhupa Rustom-1973.
This was a Dev Anand film. Once upon a time, when I was very very young, I was very fond of his every film. He looked so cute, handsome and a real film Hero ! As the years rolled by, I saw less and less films. The last film that I enjoyed in which Dev was a hero was, perhaps, Guide -1965. Thereafter Dev Anand’s cute looks started fading, age was showing on his face and probably on his brain too, because he refused to accept that he was no more a cute looking actor. The result was saddening. Further, he was adamant in writing his own film stories, directing them and acting also as a Hero.
He no longer looked like his old self but refusal to accept it made Dev Anand get far away from his admirers. His films were failures, the audience was thin, but surprisingly he always got financiers to produce his films ! His other contemporary actor Heros like Raj Kapoor and Dilip Kumar had accepted the reality and adjusted to the roles in their new films, but Dev Anand was convinced that he would never look old,haggard or senior. So he continued his same old style of acting, choosing young Heroines- who would be like his daughters- whether it suited him or not.
From 1978 to 2011 he appeared in 18 films and 15 of them were directed by him. At the age of 88 years, he was the lead actor in his own film. Whatever he did in his later years gave his old admirers immense pain and sorrow but all this was pardoned for what he gave them when he was young and handsome ! His bank of popularity never became bankrupt for his old fans, because they shunned his later films but remembered Dev Anand of C.I.D., Paying Guest, Baazi, Patita, Taxi driver, Munimji, Pocket Maar, Funtoosh, Baarish, Kala Pani, Hum Dono and many more memorable films. For fans like me, he lived only in those films and after 1970, “our Dev Anand ” was not in the film line !
Dev Anand rejected many films where he did not have any songs. He never accepted sad and tragedy films. Unlike Dilip and Raj, he did not like ” Dying” at the end of a film. However, in his entire career, he ” died’ only TWICE in his films. First film was ” Zalzala”-1952 and the last was ” Guide’-1965. He was the hero in one English film “The Evil Within”-1970, made by 20th Century Fox of Hollywood. Baburao Patel of ” Film India ” magazine called him ‘ effeminate ‘. Wish Dev should have followed Shanta Apte’s example, but his temperament was different. he might not have had discretion of doing romantic roles in an unsuitable age, but surely he knew better than Ashok kumar not to work in Mythological or Historical war films and become an object of ridicule 1 (Watch Ashokmkumar in film ‘Humayun-1945’ of ‘ Uttara-Abhimanyu-1946’).
Film Chhupa Rustom was directed by Vijay Anand. Dev was paired with young and beautiful Hema Malini. Being his own company’s film, he was dominating in the film with cameras on him for a greater time, like always. The story of the film was…….
The Government of India had granted Rs.50,000/- to Prof. Harbanslal to conduct a study in the mountains bordering Tibet with India, called the Nangala Project. Harbans Lal(A.K.Hangal) is sure that within these ice-capped mountains lies an entire temple made of pure gold. When Vikram Singh (Ajit) and his son, Bahadur (Prem Chopra), find out about the Nangala Project, they abduct Harbans Lal in order to force him to reveal the exact location of this temple, in vain though and end up killing him.
Having failed in this venture, they kidnap the wife (Veena) and son of multi-millionaire Rajendra Jain(Sajjan) and demand that he get Bahadur married to his daughter, Ritu (Hema Malini). Rajendra discusses this matter with Ritu, and Ritu is ready and willing to do anything for her mother and brother. Rajendra hesitates, and soon he receives his wife’s thumb in the mail. Losing no time, Rajendra and Ritu make arrangements for the marriage and communicate accordingly with the kidnappers. Soon a wedding date is fixed, however, things do not go as planned as Ritu is abducted by a man called Natwarlal( Dev Anand) and taken to his hideout. While driving there, their car breaks down and they are forced to take a lift from Jimmy Fernandes (Vijay Anand), albeit at gunpoint. Jimmy drops them off at an isolated spot, leaving Natwarlal to work out the details of getting the ransom money from Rajendra. Before that could happen, Jimmy shows up and abducts Ritu.
With his wife and son still held captive with Vikram and his son, Rajendra is at his wits’ end as to whose life he should give priority to. Dev and his team kidnap Hema Malini, and get Ajit and his henchmen after them. The ruse is to somehow get the gangsters interested in Dev Anand, as the only person who can decipher the secret diary of Hangal, who is in Ajit’s custody. After more machinations, finally Dev Anand leads Ajit and Prem Chopra to the treasure, only to trap them in the underground vault, and extracts their confessions under the fear of death. Dev Anand reveals his identity. Ritu and Dev get United.
I always liked Vijay Anand – both as an actor and a director. Vijay Anand was a celebrated filmmaker, writer, editor, and actor in Hindi cinema. Known as “Goldie,” the younger brother of filmmaker Chetan Anand and matinée idol Dev Anand, Vijay Anand was born in Gurdaspur, Punjab, India on January 22, 1934. A very literate man, he graduated from Bombay University and while still a teenager wrote the script for his brother Dev Anand starrer “Taxi Driver” (1954), directed by his other brother Chetan Anand. The film, inspired by the crime thrillers of Hollywood, was released through their home production company Navketan, and became his first big hit.
“Nau Do Gyarah” (1957) was Vijay Anand’s directorial debut, which was based on his own script. The film starred his brother Dev Anand and Dev’s wife Kalpana Kartik. It became another hit. Goldie showed an exceptional visual style, especially when it came to picturizing song sequences. His next film was the story of a black marketer and his redemption in “Kaala Bazaar” (1960). The film starred his brother Dev again, along with Waheeda Rehman, who became a regular heroine for most Navketan films during that era. This was also the only film where all three brothers (Chetan, Dev, and Vijay Anand) acted together. “Tere Ghar ke Saamne” (1963) with Dev Anand and Nutan was a romantic comedy that became another hit. Goldie also wrote the screenplay for “Hum Dono” (1961) and supposedly ghost-directed the film as well.
His masterpiece as a filmmaker came with “Guide” (1965). Based on RK Narayan’s novel The Guide, the film is unforgettable for its bold themes about how a man (Dev Anand) and woman (Waheeda Rehman) live together outside the sanctity of a marriage. Composer S.D. Burman’s songs were given stunning visuals. The film became a huge hit and won several major awards, including two Filmfare Awards for Vijay himself for directing and for writing the dialogue for the film. With Guide, Vijay Anand became the Hindi film industry’s big star filmmaker. He was a visionary, a genius who could make intellectually stimulating films that could also generate profits and win industry awards. His next film also brought him everlasting glory. He directed and edited “Teesri Manzil” (1966) for producer and writer Nasir Husain. The film starred Shammi Kapoor and Asha Parekh and gave composer R.D. Burman (S.D. Burman’s son) his first major success. The film’s suspenseful story, combined with the stars’ romantic chemistry, and Burman’s modern songs, made it into another box office smash and a perpetual favorite among moviegoers.
Vijay Anand was at the pinnacle of his fame, when he went back to Navketan to direct the hit film “Jewel Thief” (1967). But there was a wrinkle. He found his “Jewel Thief” leading lady Vyjayantimala to be a distracted diva, especially after he enjoyed the professionalism and dedication of his previous leading ladies Waheeda Rehman and Asha Parekh. Nevertheless, Vyjayantimala gave a heartfelt and polished performance in “Jewel Thief,” and it seemed like Vijay Anand can do no wrong. But his next film proved otherwise.
After three hit films in a row (Guide, Teesri Manzil, Jewel Thief), Vijay Anand experienced his first flop. Initially, “Kahin Aur chal” (1968) had the makings of a hit, as it starred Dev Anand and Asha Parekh, who were both top box office draws in 1968, along with music composers Shanker-Jaikishen. But the film’s financier Tolaram Jalan wanted a flop film to adjust his income taxes, and so he took the film from Vijay Anand and released it in a single matinée show and then pulled it out. This experience pained the filmmaker, especially since the film never resurfaced again.
He bounced back with “Johnny Mera Naam” (1970), which grabbed the top stop at the box office in 1970. It starred Dev Anand and Hema Malini. Vijay Anand won two Filmfare Awards, one for editing and the other one for his screenplay. He then directed “Tere Mere Sapne” (1971) based on the A.J. Cronin’s novel “The Citadel.” He also played a supporting role as an alcoholic doctor. While the film became his personal favorite, it wasn’t a major success at the box office and became a turning point in his career. His subsequent films like “Blackmail” (1973), “Chhupa Rustom” (1973), “Bullet” (1976) were major disappointments. Also, at this time, Dev Anand was establishing himself as his own director.
At this time Vijay Anand was going through personal problems, as he married his much younger relative ( his sister’s daughter) and turned to a spiritual leader Godman Rajneesh. He did return to directing films with multi-starrers like Ram Balram (1980) and Rajput (1982) but the filming took a long time, because of the stars’ busy schedules and Anand felt he made too many compromises. He still made occasional films, such as Hum Rahe Na Hum (1984) and Main Tere Liye (1988) but these films lacked the famous Vijay Anand style. In all he directed 16 Hindi films.
Vijay Anand also acted in films for other directors, such as Double Cross (1973) and Ghungroo ki Awaaz (1980). Waheeda Rehman and Rakhee proclaimed him to be a genius filmmaker but also told the press that his acting skills paled in comparison to his directing skills. Generally it is believed that he made his acting debut with the film “Joru ka Bhai”-56. I always remember his small but eye-catching role of a journalist,in the initial part of the film Funtoosh-56. He acted in two major hit films, Kora Kagaz(1974) and Main Tulsi Tere Aangan ki (1978), but in both instances his acting was overshadowed by his leading ladies, Jaya Bhaduri and Nutan, who both won Filmfare Awards in the Best Actress category.
He acted in 13 films, including Funtoosh-56. In the early 1990s, he was seen in the television serial Tehqiqaat playing Sam the Detective. In 1997, his older brother Chetan Anand’s death devastated him. In 2001, he took over as the new censor board chief after Asha Parekh finished out her controversial three year term. Earlier, she hadn’t given clearance to his nephew Shekar Kapur’s film “Elizabeth” (1998) and several film industry insiders expected some tension between them, especially after Parekh admitted that she and Anand didn’t see eye-to-eye on policing adult films. But she invited him to her sixtieth birthday celebration in 2002, and they both celebrated the occasion as old friends and colleagues.
Anand was in the process of making another film with brother Dev Anand, when he died on February 23, 2004 due to a heart attack. He left behind his wife Sushma and son Vaibhav, an aspiring filmmaker. His grief-stricken older brother Dev Anand wept openly at the funeral.( Thanks to material from an article of Ramstep-IMDB, Ateet ke Sitare and my notes).
Today’s song is sung by Asha Bhosle. Written by Vijay Anand, it had music by Navketan’s favourite and regular Music director – S.D.Burman. This is the last and final song from this film. The film is YIPPEED now.
Audio
Video
Song- Main hoon chhui mui (Chhupa Rustam)(1973) Singer- Asha Bhosle, Lyricist-Vijay Anand, MD-S D Burman
Lyrics(Provided by Prakashchandra)
huhhh…hhh
chhuo naa..aaa
mar jaaoon sharmaa ke uyyee
main hoon chhui mui ee ee
aankhon se dekho lekin
chhuo naa aa aa
mar jaaoon sharmaa ke uyyee
main hoon chhuyee muyee ee ee
aankhon se dekho lekin
chhuo naa aa aa
mar jaaaon sharmaa ke
uyyee
khiltey ae aey ae
baagon..on kee main
komal
daalee ee
thheee…ee..ee ee
ghar mein..aen laakar
rakhaa..aaa..aa tumney
chaahaa..aaa dil se
phir bhee..ee..ee
murjhaaaaoon..oon oon
mar jaaoon
huhh
mar jaaoon sharmaake uyyee
main hoon chhuyee muyee ee ee
aankhon se dekho lekin
chhuo naa aaaa
mar jaaaon sharmaake uyee
madiraa aa aa
ki hoon oon pyaalee
lekin
chhoti ee ee ee
seee ee ee
pyaasey ae
ho tum
kuyein jaisey
thhar thhar..rrr…rrr kaanpoon
main..ae ae
dar jaa..aa aaoon oon
mar jaaoon
huhh
mar jaaoon sharmaa ke uyee
main hoon chhuyyee muyee ee ee
aankhon se dekho lekin
chhuo naa aaaa aaa
mar jaaaon
sharmaa ke
uyee
main hoon chhui mui eee
aankhon se dekho lekin
chhuo naa..aa aaa
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5748 | Post No. : | 18271 |
“Jeena Yahaan” (1979) was produced by N P Ali and directed by Basu Chatterjee for Jamu Productions. The movie had Shekhar Kapoor, Shabana Azmi, Amol Palekar, Zarina Wahab, Dina Pathak, Kiran Vairale, Vidya Sinha, Devendra Khandelwal, Arvind Deshpande etc. in it. This movie, a low budget “art” movie was based on a short story written by a well-known Hindi writer, Mannu Bhandari.
Sadanand Kamath jee had given the story of this movie while covering the previous song from the movie. Here is the story :
Shekhar (Shekhar Kapoor) and Lekha (Shabana Azmi) are from small towns who had made Mumbai their work place. Both are in love with each other and wants to get married. But their families are against this marriage because both belong to different castes. One day, both of them get married under Special Marriage Act, without the knowledge of their respective parents and start living in a small rented tenement. In the evening they spend time with their theatre friends with Sushma (Zarina Wahab) and Dinesh (Amol Palekar) being part of their friend circle, among others.
Sushma and Dinesh love each other but Sushma’s father is against this marriage. The real cause for the opposition to the marriage is that Sushma is the only bread-winner for the family, her father being unemployed for months. Both of them are encouraged by Shekhar and Lekha to get registered marriage which they follow and a date is decided for the registered marriage. In the group, there is Sipra (Vidya Sinha) who has lost her husband at a very young age with a small kid to look after. Lekha encourages her to start a play school for the small children and arranges the students and a place to start the play school. She is helped by her theater friends. (I think, the characters of Sushma, Dinesh and Sipra have been introduced just to jextapose the problems which have been faced by Shekhar and Lekha).
In all these efforts and also due to change of climate from town to Mumbai, Lekha is not keeping good health. Shekhar advises her to visit his parent’s house in a small town for few days for a change which she reluctantly agrees. Earlier, she had visited the place with Shekhar after the marriage for a very short stay. This time, Lekha stays for a longer period and during the initial period, she is quite happy with open sky, greenery all around and more importantly, the easy life away from the hustle bustle of Mumbai.
Within a few days of her stay, Lekha realises that all is not well in the house. The house has been divided into two parts with one part being occupied by Shekhar’s uncle and his family. Shekhar’s house is run by his mother (Dina Pathak) and Lekha’s mother-in-law (here after I will call her as ‘matriarch’) who is the final decision-maker in the house. Her father-in-law (Arvind Deshpande) has no say in the running of the house.
Shekhar’s younger brother, Shanker who is studying for BA wants to change his spectacles as his number has changed and he is getting head-ache. But his mother is not prepared to spend money for a new spectacles. On the other hand, she is prepared to spend money for some rituals to be conducted by a swami. Lekha tries to convince the matriarch by saying that Shankar’s study will be affected but it is of no use as she thinks that Shanker wanted to change the spectacle for more fashionable frame. (This shows the misplaced priorities for spending money in a rural/semi-urban setting).
In the house, the elder daughter-in-law who has become widow is looked down by the mother-in-law. Her younger brother, Diwakar (Devendra Khandelwal) occasionally visit her widow sister in the pretext of enquiring her well-being. But the real reason for this visit is to meet Gauri (Kiran Vairale), the younger sister of Shekhar. Both like each other but the matriarch is against Gauri meeting him since he happens to be the brother of her elder daughter-in-law whom she hates. With all these problems, Lekha feels suffocated even under the vast open place and a leisure life. She thinks of returning to Mumbai.
The matriarch finally decides to get Gauri married to a widower who is almost double the age of Gauri. Lekha tries to convince the matriarch that Gauri should get married to Diwakar who not only loves Gauri, but is also educated. Again, the matriarch has her own way and fix the date for Gauri’s marriage with a widower. Lekha is frustrated. She has to stop this marriage. Since Lekha has already decided to return to Mumbai, she tells both Gauri and Diwakar to run away from the town and board the same train in which she is returning to Mumbai. While Gauri agrees, Diwakar develops cold feet and politely refuse to become the part of the escape to Mumbai with Gauri. Lekha has no option but to take Gauri with her to Mumbai to stop her forcible marriage to a aged widower. In this plan, she takes into confidence, the matriarch’s sister-in-law and her elder daughter-in-law.
In Mumbai, Sushma and Dinesh have got married and are staying in Shekhar’s house while Lekha was out of Mumbai. They are happy as their parent have reconciled to the marriage. Shekhar and Lekha offer Dinesh and Sushma to continue to stay in their house until they find a house for themselves. She consoles Gauri that they will look for a suitable bridegroom for her in Mumbai. The film ends with Lekha’s dialogues as under:
‘Hum log yahin achche hain.
Ye muthi bhar aasmaan, ye chhoti si jagah
Lekin yahaan din mein hosla to hai’[We are happy here (in Mumbai).
A fistful of sky, a small room.
But here there is an encouragement to survive].
“Jeena Yahaan”(1979) had three songs in it. Two songs have been covered so far.
Here are the details of the songs covered so far:-
| SNo in Blog | Song Title | Singer/s | Lyrics | Posted On | Remarks |
|---|---|---|---|---|---|
| 12917 | Ham nahin dukh se ghabraayenge | Lata Mangeshkar, Yesudas | Yogesh | 12 February 2017 | Lyrics by Prakashchandra. Picturised on Zarina Wahab and Amol Palekar |
| 16072 | Ho o shaam aayi rangon mein rangi huyi | Lata Mangeshkar | Yogesh | 29 November 2020 | Post by Sadanand Kamath. Picturised on Kiran Vairaale |
Here is the third and final song from “Jeena Yahaan”(1979). This song is sung by Sabita Chaudhary, wife of music director. Yogesh is the lyricist. Music is composed by Salil Chaudhary.
The song is a background song. It is picturised in the movie twice. The first (longer) part shows Shabana Azmi travelling by train her her sasuraal while this song gets pkayed in the background. After getting down at the small roadside station, she comes out of station and finds one tonga that takes her to the destination village.
Part II of the song takes place in the village. This background song gets played while Shabana Azmi is savouring village life. Kiran Vairale (her sister in law) is also visible in the picturisation.
This is a movie that Sadanand Kamath jee enjoyed watching. I too would have enjoyed watching it when it was first released. But I think the movie story has got dated by now and there may not be too many takers for movies with such story line.
Prakashchandra is another regular who enjoyed watching this movie. He had sent the lyrics of all the songs of thgis movie. It was he who had pointed out that the picturised version of the song was longer than the audio version and it was picturised twice in the movie. The video link sent by him had become dead, but I managed to find video of this movie from where I obtained the video of this song.
This song, like the first song from the movie uses the word “Jeena Yahaan” in the lyrics. So this song , like the first song can be considered title song cum theme song of the movie.
With this song, all the three songs of “Jeena Yahaan”(1979) have been covered in the blog. The movie thus joins the list of movies that have been YIPPEED in the blog.
Audio (part I)(partial)
Video part one
Video part two
Song-Yahi to hai mere khwaabon ka jahaan (Jeena Yahaan)(1979) Singer- Sabita Chaudhary, Lyrics-Yogesh, MD-Salil Chaudhary
Lyrics(Provided by Prakashchandra)
——————-
Part I
——————-
yahi to hai mere khwaabon ka jahaan
yahi to hai mere khwaabon ka jahaan
ye saji dharti
ye khula khula aasmaan
saji dharti
ye khula khula aasmaan
kitna madhur lage jeena yahaan
yahi to hai mere khwaabon ka jahaan
tan mera chhoo gayi mehki hawa
man mera lehraa ke gaane laga
tan mera chhoo gayi mehki hawa
man mera lehraa ke gaane laga
bahak gaye mahak gaye mere armaan
bahak gaye mahak gaye mere armaan
yahi to hai mere khwaabon ka jahaan
kitna madhur lage jeena yahaan
ghane ghane pedon ke chhane yahaan dhoop
mausam kaa salona yahaan
lagtaa hai roop
ghane ghane pedon ke chhane yahaan dhoop
mausam kaa salona yahaan
lagtaa hai roop
pehle kahin dekhaa hi nahin
aankhon ne samaa
yehi toh hai mere khwaabon ka jahaan
kitnaa madhur lage jeenaa yahaan
mere liye raahon mein hain bikhre
khiley khiley phoolon ke ye gajre
mere liye raahon mein hain bikhre
khiley khiley phoolon ke ye gajre
dil ye mera samajh gaya phoolon ki jubaan
dil ye mera samajh gaya phoolon ki jubaan
yahi to hai mere khwaabon ka jahaan
yahi to hai mere khwaabon ka jahaan
ye saji dharti
ye khula khula aasmaan
saji dharti
ye khula khula aasmaan
kitna madhur lage jeena yahaan
jeena yahaan
jeena yahaan
jeena yahaaan
————————-
Part II
————————-
tann meraa chhoo gayee mehki hawaa
tann meraa chhoo gayee mehki hawaa
mann meraa lehraake gaane lagaa
behak gaye mehak gaye
mere armaan
behak gaye mehak gaye
mere armaan
yehi toh hai mere khwaabon kaa jahaan
yehi toh hai mere khwaabon kaa jahaan
ye sajee dharati
ye khulaa khulaa aasmaan
sajee dhararti
ye khulaa khulaa aasmaan
kitnaa madhur lage jeenaa yahaan
jeenaa yahaan
jeenaa yahaan
jeenaa yahaan
jeenaa yahaan
This article is written by nahm, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5746 | Post No. : | 18269 | Movie Count : |
4947 |
Dua’a (A prayer)
——————————–
O Allah, we seek refuge in Allah from a knowledge that does not benefit
And from a heart that is not humble
And a soul that is satisfied
And from a dua’ that is not heard
O The Most Generous.
O Allah we ask you for beneficial knowledge
And good provision and deeds that are accepted
O The Most Merciful.
O Allah, make the best of our lives towards the end of it,
And the best deeds of our deeds the last ones,
And the best of our days the day we meet You,
While You are satisfied with us
O Lord of the worlds
O Allah we ask you for a pure life
And a good end,
And a return that is neither shameful nor disgraceful
O The Most Generous
Our Lord do not impose blame upon us if we have forgotten or erred,
Our Lord, and lay not upon us a burden like that which You laid upon those before us,
Our Lord and do not burden us with which we have no ability to bear,
And Pardon us
And pardon us
And forgive us and have mercy upon us,
You are our Protector
So give us victory over the disbelieving people
Our Lord, indeed we have believed
So forgive our sins
So forgive our sins, and protect us from the punishment of the fire,
O Lord of the worlds
O Allah make us of the patient ones
O Allah make us of the truthful ones
O Allah make us of the obedient ones
O Allah make us of those who spend(for the sake of Allah)
O Allah make us of those who seek forgiveness
Forgive all of our sins
Forgive all of our sins
The small and the big
The first and the last ones
Secret ones and the ones done publicly
Forgive what we have put forth and what we have sent behind
What we did in secret and what we did in public
And what You know better than us
You are the Expediter and the Delayer
There is no God but You
Our Lord, we ask you for faith that does not turn back
And a blessing that never ends
And a blessing that never ends
And a blessing that never ends
And the company of our beloved Muhammad(pbuh)
In the Highest Paradise
In the Highest Paradise
In the Highest Paradise
O the Lord of the worlds
Our Lord,
And our Creator
And our Provider
Indeed every night You free people from the hell fire
O Allah free our necks from the fire
O Allah free our necks from the fire
O Allah free our necks from the fire
And necks of our fathers and mothers from the fire
And necks of our fathers and mothers from the fire
And our wives and our offsprings from the fire
And our wives and our offsprings from the fire
And our brothers and sisters from the fire
And our brothers and sisters from the fire
O Lord of the worlds
O the Most Compassionate, the Most Merciful,
O the Most Generous, The Beneficent Bestower of bounties
O The Most Kind, The Most Loving,
O The Most Compassionate, Merciful of the world
O You, whose mercy encompasses everything,
O Allah free our necks from the fire
O Allah free our necks from the fire
And necks of our fathers and mothers from the fire
And our wives and our offsprings from the fire
And our brothers and sisters from the fire
And all our Muslim men and Muslim women
And the believing men and believing women
(free them) By Your Mercy,
O The Most Merciful
Our Lord
Our Lord
And our creator
Your sevants besides us are many!
And we have no Lord but You to Whom we can invoke
And we stand between Your hands
O Allah, cleanse our hearts from hypocrisy
O Allah, cleanse our hearts from hatred
O Allah, cleanse our hearts from envy
O Allah, cleanse our hearts from pride
O Allah, do not leave us to ourselves even for the blink of an eye
Or even less than that
O the Alive, O the Everlasting
O the Alive, O the Everlasting
By your mercy, we seek help
Set right for us all our affairs
And do not abandon us to ourselves for the blinking of an eye(ie a moment)
****************************************
The Holy month of Ramadhan, Hijri 1445 began on 11th March, 2024, and now it has ended in other parts of the world. In India, we all shall celebrate Eid on 11th April.
“The month of Ramadan in which was revealed the Quran,
a guidance for mankind and clear proofs for the guidance and the criterion (between right and wrong).
So whoever of you sights (the crescent on the first night of) the month (of Ramadan i.e. is present at his home),
he must observe Saum (fasts) that month,
and whoever is ill or on a journey,
the same number [of days which one did not observe Saum (fasts) must be made up] from other days.
Allah intends for you ease,
and He does not want to make things difficult for you.
(He wants that you) must complete the same number (of days), and that you must magnify Allah [i.e. to say Takbir (Allahu-Akbar; Allah is the Most Great) on seeing the crescent of the months of Ramadan and Shawwal] for having guided you so that you may be grateful to Him.”
There was a flood of messages on whatsapp groups and direct messages and also on status updates. I am really feeling as an overdose of the only social media I am using. But as usual there, is a beneficial aspect also of this medium, as it keeps me connected to the outside world. And if I say this is the only social media I am using, I am deceiving myself. As a consumer of internet on some levels I am exposing myself as a speck of data, which is the fodder for the holy cow that is whattsapp.
So be it, if I am fodder for any user of my history and consumption of the internet. We all are fodder for each other, feeding on each other and growing and diminishing, as we go about our daily lives. Inter-dependent and inter-connected, we tend to use people and things and be used by them. Because as a mere mortal we are a needy creation, which needs substance. Beyond the substance and survival, humans have expanded the need to the level of greed. So, there is no end to human needs and necessities. This greed has made us into a race of consumerist society and there is no end to our greed.
“The likeness of those who were entrusted with the (obligation of the) Taurat (Torah) (i.e. to obey its commandments and to practise its legal laws), but who subsequently failed in those (obligations), is as the likeness of a donkey who carries huge burdens of books (but understands nothing from them). How bad is the example (or the likeness) of people who deny the Ayat (proofs, evidence, verses, signs, revelations, etc.) of Allah. And Allah guides not the people who are Zalimun (polytheists, wrong-doers, disbelievers, etc.)”
This greed is a food for more greed and the utter desperation of the fear of food scarcity and survival, points to a lot of current affairs events, which have shaped our present psyche.
“(64:16) So fear Allāh as much as you are able and listen and obey and spend [in the way of Allāh]; it is better for yourselves. And whoever is protected from the stinginess of his soul – it is those who will be the successful.”
(Cause greediness is integral part of every human – and so he needs to be protected by external factor ie only by Allah. And He will protect if … first part of the ayah)
We can pretend to be immune to the upheavals, but we are connected to the world and effected by it, whether we like it or not. And things have a way of giving way, of changing and changing for the better.
The civilization was not built in one day. No, it takes time for things to shape up and settle and to again shape up and settle. Not all of us are blessed with the visionary power, but the vision is there, and the change is a rule of nature.
In any era, if something prevailed, by divine decree, it must have been what was destined. The past cannot be changed, but the past is what has shaped the civilization. That is the reason the powerful among the so-called elite are looking to create more and different civilization beyond the world, on moon and on mars. And may the creator grant them more power and wherewithal to do so.
May the Almighty Allah, bless the keen and honest among us, grant the justifiable desires of all of us.
I am glad to be presenting this devotional song, rendered by one and only Mohammed Rafi Sahab, a soul capable of filling the most bland of lyrics with conviction and sincerity.
Recently, I had the privilege of visiting the historic Shanmukhanand Hall, Sion, near Gandhi Market. My son’s convocation was held in this holy month at the venue. Just as we entered the inside lane, we saw the corner of the Hall, we saw the giant cut-out of Rafi Sahab put up on the compound wall. Inside the lobby, there are glassed enclosure/spaces highlighting the legacy of the divine voice commemorating the Centenary year. Blessed are we to be a very minute part of this great performer artist’s era.
Many singers/orators and performers came and went before and after him. But who can match -him? Almighty Allah SWT created only one Mohammad Rafi, with no “saani”. One just needs to listen to the voice and marvel at this super creation of the Almighty.
Eid mubaarak to all.
Song-Uthho ae mominon maah -e-ramzan aaya (Arab ka sona)(UR)(1979) Singer-Mohammed Rafi, Lyrics-Aish Kanwal, MD-Jitin Shyam
Lyrics
Ghaflat mein sone waalon o o
Rab ne tumhen pukaaraa
Uthh kar zaraa…aa to dekho
Qudrat ka yeh ae ae nazaaraa
Rehmat ka ujaala chhaayaa
Allah ne yeh farmaayaa
Uthho ae mominon oo
Maah-e-ramzaan aaya
Uttho ae mominon oo
Maah-e-ramzaan aaya
Khudaa mominon par
Fida ho raha hai
magar tu abhi
bekhabar so rahaa hai
ghadi ye muqaddas
tu kyun kho rahaa hai ae
ghadi ye muqaddas
tu kyun kho rahaa hai ae
hain saare namaazi jaage
rehmat bhi khadi hai aage
Uthho ae mominon o o
Maah-e-ramzaan aaya
Uthho ae mominon o o
Maah-e-ramzaan aaya
Ke hai farz rozaa
Yehaan har bashar par
Qayaamat ke din
Apne daaman mein bhar kar
Yahi nekiyaan sab ko
Jaana hai le kar
Yeh barkat ki raaten
Yeh din hai munawwar
Khuda aaj rehmat
Lutaata hai ghar ghar
Huaa band dekho
Gunaahon ka daftar
Bichhaa di farishton ne
Rehmat ki chaadar
Bichhaa di farishton ne
Rehmat ki chaadar
Quraan ke tees ye paare
Ramzan mein rab ne utaare
Uthho ae mominon oo
Maah-e-ramzaan aaya
Uthho ae mominon oo
Maah-e-ramzaan aaya
Gunaahon se tauba
Tu kar le khudaara
Woh Razzaq hai
Bekason ka sahaara
Nahin uss ki rehmat ka
Koyi kinaaraa aa
Nahin uss ki rehmat ka
Koyi kinaaraa aa
Imaan ko kar lo taaza
Rehmat ka khula darwaaza
Uthho ae mominon o
Maah-e-ramzaan aaya
Rehmat ka ujaala Chhaayaa
Allah ne yeh farmaayaa
Uthho ae mominon o
Maah-e-ramzaan aaya
Maah-e-ramzaan aaya
Tanik tum hamri nazar pahchaano
Posted on: April 3, 2024
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5738 | Post No. : | 18260 |
“Albeli”(1974) was produced by Vijay Bali and directed by Karunesh Thakur for Kusum Pictures, Bombay. The by now obscure movie had Rehana Sultan, Vinod Mehra, Naazima, Sujit Kumar, Mahmood, Uttara(new find), Nana Palsikar, Sanjana, Maruti, V.Gopal, Husn Bano, S.N.Bannerjee, Dhanraj, Qamar Sarhadi, Billo, Kailash Kumari, Bimla Sharma, Darashan Rajendra, Ramlal, Niaz Haider, Kajal, Bhushan Tiwari etc in it.
The movie had four songs in it. The four songs were penned by four different lyricists. Two songs have been covered so far.
Here is the third song from “Albeli”(1974) to appear in the blog. According to credits, this song is sung by Suman Kalyanpur and Kanchan. Prabha Thakur is the lyricist. Music is composed by Kalyanji Anandji.
One of the earlier posted song was penned by Maya Goivind. This song is written by Prabha Thakur. It is rare to find even one female lyricist in Hindi movies, but this movie had two of them ! The lyrics have some colloquial Hindi words in it that were rarely used in Hindi movie songs.
Only audio of the song is available. It sounds like a synchronised dance song or may be a song where some females are getting teased by their sahelis. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of the song.
I have not been able to get a few words right. I request our readers with keener ears to help fill in the blanks/ suggest corrections wherever applicable.
Song-Tanik tum hamri nazar pahchaano (Albeli)(1974) Singers-Suman Kalyanpur, Kanchan, Lyrics-Prabha Thakur, MD-Kalyanji Anandji
Lyrics
ho o o
ho o o
o o o
o o
tanik tum
tanik tum hamri nazar pehchaano
tanik tum hamri nazar pehchaano
o o
baat jiya ki maano
tanik tum
baat jiya ki maano
tanik tum
tanik tum hamri nazar pehchaano
tanik tum hamri nazar pehchaano
o o o o
o o o o
o o o o o
o o o
more nainon mein
more naino mein saawan bas gaya
bas gaya
haaye naag prem ka das gaya
das gaya
koi das gaya das gaya das gaya
nazron ne daale hain dore dore
nazron ne daale hain dore
dekho nadan manva phans gaya
phans gaya phans gaya phans gaya
more saath saath mein
?? chubhat hai
??
tanik tum
tanik tum hamri nazar pehchaano
tanik tum hamri nazar pehchaano
tera sakhiyon ko
tera sakhiyo kon bhed bataaungi
main bataaungi
tohe aisa maza main chakhaaungi
main chakhaaungi
saara jeevan tu yaad karegi
karegi
saara jeevan tu yaad karegi
tohe aisa main paathh padhaaungi
are naa re naa naa baba
aisa naa kariyo
aise naa ban ??
tanik tum
- In: "Get together" song | Guest posts | Mukesh solo | Mukesh songs | Post by Sadanand Kamath | Raj Kapoor songs | Raj Kapoor songs by Mukesh | Rajesh Khanna present (without lip syncing) | Rajesh Khanna songs | Songs of 1970s (1971 to 1980) | Songs of 1978 | stage dance | Stage song | Yearwise breakup of songs
- 2 Comments
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5726 | Post No. : | 18246 | Movie Count : |
4945 |
‘Naukri’ (1978) was produced under the banner of R S J Productions and was directed by Hrishikesh Mukherjee. The cast included Rajesh Khanna, Zaheera and Raj Kapoor in main roles supported by Om Shivpuri, Pratima Devi, Tom Alter, V Gopal, Meena Roy, Vijay Sharma, Aarti, Lalita Kumari, Master Akbar etc. Nadira, A K Hangal, Jayshree T and Younus Parvez made the friendly appearances and Keshto Mukherjee, Padma Khanna and Deven Varma made guest appearances in the film. The film was released in the theatres on June 09, 1978. The film’s story was written by Salil Chowdhury who also provided the background music.
After the box office success of Hrishikesh Mukherjee-Rajesh Khanna combination in ‘Anand’ (1970), ‘Baawarchi’ (1972) and Namak Haraam’ (1973), Hrishikesh Mukherjee commenced shooting of ‘Naukri’ (1978) sometime in 1974 in which he also took his close friend, Raj Kapoor. However, the film took relatively longer time to complete in Hrishikesh Mukherjee’s standard. While I could not get authentic information as to why the film got delayed, it appears that there was some disagreement between Rajesh Khanna and the film’s producers which made the shooting schedules going awry. My guess is that when two super stars are working in the film, getting the fresh common dates from them becomes difficult. I also came to know from Hrishikesh Mukherjee’s biography that he lost interest in the film due to delay as well as the prevailing political situation in the country (Emergency during 1975-77).
The film had an unusual story of a World War-II soldier who has become physically challenged after the war. After the end of the war and till few days before India’s independence in 1947, he has remained unemployed. Hence, he cannot take care of his mother, sister and a brother. In desperation, he commits suicide. The interesting part of the story of the film begins at this point when he meets a Captain who reveals that both of them belong to a different world (ghosts’ world) now. The rest of the film is about sharing their past lives and mingling with other ghosts who in turns also share their past lives. The detailed story of the film is as under:
Physically challenged Ranjit (Rajesh Khanna) stays with his widowed mother (Pratima Devi), a teenage sister, Rekha (Aarti) and an adopted younger brother in a small house. Due to his physical condition, Ranjit is not able to get employment and to take care of his family. His landlord has asked him to vacate the house within 24 hours because he has not paid the rent for months. Depressed with the family’s condition, Ranjit commit suicide by jumping from the bridge over a passing train. He is dead.
A crowd gather watching the dead body of Ranjit. Suddenly, a bewildered Ranjit finds himself with the crowd. At that moment, Swaraj Singh (Raj Kapoor) appears and introduces himself as Captain to Ranjit. He points out that both of them now belong to the community of ghosts and people around them would not feel their presence nor would they hear their voices. First, Ranjit refuses to believe what Captain says. But when he realises that both his legs have become normal and his dead body still lies on the railway track, he tends to believe what Captain has told him.
Captain introduces other ghosts, one of them being a couple (Deven Varma and Jayshri T) who had committed suicide when their parents opposed their marriage. They get united in the ghost community. However, as they are ghosts, they cannot be physically close. Then, there is Rasiklal (Yunus Parvez) who is after Deven Varma for running away with his wife of previous birth (Jayshri T) but cannot catch them physically. Ranjit also meets a former British police officer, Anderson (Tom Alter) who was killed by two revolutionaries. Ranjit is surprised because being a British national, he should have been in their community of ghosts. Captain explains that he is here because apart from his bonhomie with two revolutionaries who are also here after they were hanged till death, his lover, Ferozabai (Padma Khanna) is also here.
Captain tells Ranjit that, now it is the time for him to tell as to why he has committed suicide. Ranjit starts his story from the college days when he spent good days with his family. He was a mixed doubles champion in Badminton in the college with his partner, Ramola (Zaheera) who was in love with Ranjit. However, Ranjit was not sure that their love for each other would convert into a marriage as Ramola was from a wealthy family and her father (Om Shivpuri) would not agree for the marriage. Ranjit’s father who was not keeping good health had to mortgage his house to run the family. After his death, he sold the house and shifted to a small house with his family.
Ramola continued her relationship with Ranjit. Even Ramola’s father was agreeable for the marriage provided he joined his company and proved his worthy of being his son-in-law. Ranjit was not agreeable, and the marriage proposal was terminated. At this stage, Captain interrupts Ranjit and tells him that his life story sounds like a Hindi film story – like Devdas, and he knows as to what next stage of his story would be. He presumes that after separation from Ramola, either Ranjit would get soaked in alcohol or he would start singing ghazals of separation. Ranjit tells Captain that he has not done anything of those sorts. Instead, he joined the army and in a war front, he got badly injured on both the legs. He was hospitalised and after recovery, he was on the crutches making his life miserable and for the same reason, he was unemployed. He could not get compensation from the army despite persuing for months because he could not prove that he lost his legs in the army operations. So, he committed suicide.
Curiosity makes Ranjit to ask Captain as to how he has landed in the community of ghosts. Captains says that his story is simple. As his name. Swaraj Singh suggests, he was from a freedom fighter’s family. However, he lost his father in the freedom struggle, and he had to look for some job to earn money for the family. So, he came to Mumbai and joined the film industry as a body double. During a scene picturisation when he was sitting astride on the horse as a body double for the hero, the horse suddenly slipped and fell in the deep valley killing him.
Ranjit is worried as to how his mother, sister and brother are managing to sustain. Captain points out that now it is none of his business to worry about them. If he was really concerned about them, he would not have committed suicide. Nonetheless, Captain takes him to show that his mother has become a beggar. His sister has become a prostitute, and his younger brother is selling candy in the train. Ranjit is devasted seeing his family’s flights. But he cannot help them as he is a ghost. Captain reminds him that he should have thought of this before committing suicide which is akin to running away from one’s responsibilities.
A gloomy Ranjit suddenly sees Ramola and a smile comes to his face. Ramola is also happy to see Ranjit and tells him that she committed suicide when she came to know that he had committed suicide. With this happy coincidence, Captain arranges a party for community of ghosts to cheer up Ranjit who has now got the company of Ramola. In the party, Captain is surprised to find his acquittance, Lily (Nadira), a call girl who had met Ranjit when he was alive and was in depressed mood. She gives a good and bad news to Captain. The good news is that India has got independence, and the bad news is that India is partitioned on the basis of Hindi and Muslim. Captain is devasted by the second news who was a firm believer of an united India. Captain vanishes into thin air.
Ranjit and Ramola exchange the events which led to their respective suicides. She laments that if he had apprised her of his problems, she would have managed to get him some work and in that case lives of both of them would have been saved. Now since both of them are ghosts, she wants to hear from him that he still loves her. When Ranjit tells her the same, she says she has remained ghost to hear these words. Having heard so, she is now free to renounce her present form. After this, Ramola also vanishes into thin air as if she has got salvation after Ranjit’s affirmation that he still loves her. Having left alone, Ranjit sees a procession in which his mother, sister and brother are participants. A police van comes and a police officer fires on the procession in which most of the persons are killed including Ranjit’s family. The film has a very unusual, surprising end.
The film is stated to be loosely inspired from Hollywood film, ‘It is a Wonderful Life’ (1946) by Frank Capra. While the basic idea may have been derived from this film, ‘Naukri’ (1978) is different in terms of story background and supernatural events peculiar to India. The first half of the film has been beautifully crafted which has Hrishikesh Mukherjee touch. However, in the second half of the film, Hrishikesh Mukherjee touch is majorly missing. Towards the end of the film, there are some preachings on the lines of what IPTA members would usually raise in their films. As mentioned earlier, it was said that Hrishikesh Mukherjee had lost interest in this film due to delay in completing the film.
Nonetheless, I found the film to be interesting one to watch. More than two-thirds of the film have Raj Kapoor and Rajesh Khanna in the frames. I always liked Rajesh Khanna in unconventional roles and this film was no exception. The role of Raj Kapoor in this film was dominant one whereas Rajesh Khanna was in a subdued role. The super stars in their contrasting roles gave their excellent performances worthy of watching them together for the first time in this film. Despite the presence of two super stars, the film failed at the box office. I feel that the film was not well publicised as I do not even recall this film. R D Burman’s average compositions failed to make the songs popular. As often happens, most of the delayed films do not perform well on the box office. By the way, it was the last film, both for Raj Kapoor and Rajesh Khanna with Hrishikesh Mukherjee.
The film had 4 songs written by Anand Bakshi and set to music by R D Burman. I am presenting the first song from the film, ‘upar jaake yaad aayi neeche ki baaten’ to appear on the Blog. The song is rendered by Mukesh for Raj Kapoor. Rajesh Khanna and Zaheera are also present in the audience.
The background to the song is that on the eve of India’s independence and also for the first time, Captain (Raj Kapoor) has seen Ranjit (Rajesh Khanna) in a happy face, (Raj Kapoor ) arranges a party for the ghost community. Ranjit is happy that his beloved Ramola (Zaheera) has also joined the ghost community after her suicide. Incidentally, much before this song sequence, Captain (Raj Kapoor) has actually delivered the dialogue which corresponds to the first two lines of the song when Ranjit starts worrying about the well beings of his mother, sister and brother.
Video Clip:
Audio Clip:
Song-Oopar jaa ke yaad aayin neeche ki baaten (Naukri)(1978) Singer-Mukesh, Lyrics-Anand Bakshi, MD-R D Burman
Female voice
Lyrics:
ae……….hee…………ee aa haa
hee hee hee hee o o
oopar jaa ke yaad aayi neeche kee baaten
honthhon pe aayi dil ke peechhe kee baaten
arre oopar jaa ke yaad aayi neeche kee baaten
honthhon pe aayi dil ke peechhe kee baaten
ae haseenon…. aao
ae haseenon aao meraa dil behlaao
reshmi zulfon ke jaal bichhaao
zindagi se bhi lambi hai ye kaali raaten
honthhon pe aayi dil ke peechhe kee baaten
arre oopar jaa ke yaad aayi neeche kee baaten
honthhon pe aayi dil ke peechhe kee baaten
hee…………. hee hee hee
hee tu tu tu
yaa tu tu tu tu tu…
yaa tu tu tu tu tu…
doston…… dushmanon
doston dushmanon galey mil ke zaraa
chhed do koi kisse dil ke zaraa
kaun jaane kab hongi phir ye mulaaqaaten
honthhon pe aayi dil ke peechhe kee baaten
arre oopar jaa ke yaad aayi neeche kee baaten
hothhon pe aayi dil ke peechhe kee baaten
chaahe aahen bharo chaahe chhedo taraane
log mil baithne ke dhoondhen bahaane
chaahe aahen bharo chaahe chhedo taraane
arre log mil baithne ke dhoondhen bahaane
ek jaise lagte hain janaaze aur baaraaten
honthhon pe aayi dil ke peechhe kee baaten
arre oopar jaa ke yaad aayi neeche kee baaten
honthhon pe aayi dil ke peechhe kee baaten
- In: Anuradha Paudwal songs | Celebration Song | Chandrani Mukherji Songs | Dance song | Guest posts | Kishore Kumar songs | Post by Peevesie's mom | Rafi songs | Song sung by three or more singers | Songs of 1970s (1971 to 1980) | Songs of 1978 | Title song | Yearwise breakup of songs
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This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5722 | Post No. : | 18242 | Movie Count : |
4944 |
Hullo Atuldom
Heard a song this morning after almost 45-46 years.
It was from “Amar Shakti”(1978) which was produced by A.K.Nadiadwala & directed by Harmesh Malhotra. It had Sulakshana Pandit, Shashi Kapoor, Shatrughan Sinha leading the cast with Pradeep Kumar, Jeevan, Om Shivpuri, Ranjeet, Roopesh Kumar, Indrani Mukherjee, Alka, Murad, Birbal, B.M. Vyas etc. playing supporting characters.
Manjula who was from South India; active in Malayalam, Tamil, Telugu, Kannada films, played a banjaran character in the film. She was seen in a few Hindi films of the late 1970s.
The songs of “Amar Shakti” were written by Anand Bakshi & composed by Laxmikant – Pyarelal. Asha Bhonsle, Sulakshana Pandit, Chandrani Mukherjee, with Kishore Kumar & Mohd. Rafi being the male singers.
The story of the film was of the typical “lost and found” story, where there is also a royal family involved. Since it was the story of royals, inheritance etc there has to be a scheming Diwan & a sulking brother of the King- Jeevan & Pradeep Kumar played these characters. There is a Maharaj (Murad) who becomes ill on hearing of the assassination of his Yuvraj & his wife. The Maharaj is also poisoned to death, but somehow the young Rajkumars (sons of the Yuvraj I think) escape or are saved. They come back as grownups to regain their lost titles etc. Along the way, there are the usual twists & turns, where the brothers are unaware of the relation between them (to start with). Then one brother is in love with the traitor’s (who is the current Maharaj) daughter & is also the Senapati of the land. This naturally puts the brothers on opposite sides of the law, before they discover their identities & unite before the HAPPY ENDING. Very typical!!!!
Today’s song happens after the brothers have found each other. They are celebrating in the ‘kabeela’ which had given shelter to one of the brothers & the palace nanny (Indrani Mukherjee). The princess (Sulakshana Pandit) also joins the dance routine. The lady in the red costume is Manjula.
With this song we also remember the super sweet, cute, handsome, Shashi kapoor on what would have been his 86th birthday. He had worked in 4 films as child star (from 1948-53) before making his debut as an adult in ‘Dharmputra’ that released in 1961. He was about 23 then, but already married to Jennifer Kendall. It was ‘Jab Jab Phool Khile’ (1965) opposite Nanda that helped him find a place among popular actors of the 1970s & much of the 1980s.
He had acted in around 160 films before he took retirement from films sometime in late 1990s. He had acted in 12 English & 148 Hindi films – solo hero films were 61 & 53 were in multi-starrers. He was seen playing supporting characters roles in 21 films (has played father to Govinda, I remember). “Ghar Bazar” which released in 1999 was Shashi Kapoor’s last film, his was a special appearance in the film which released 10 years after it was completed.
Here is the song that shows the handsome Shashi Kapoor who was a good actor but an average dancer. Kudos to the choreographer for giving the heroes horses in the middle of the song and making things easy for them.
Song-Sabko pata hai ye sabko khabar hai (Amar Shakti)(1978) Singers-Kishore Kumar, Rafi, Chandrani Mukherjee, Anuradha Paudwal, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Kishore Kumar + Rafi
Male chorus
Female chorus
All chorus
Kishore Kumar+Rafi+ Chandrani Mukherjee + Anuradha Paudwal
Lyrics
hey ae
Aa hey ae
sabko pata hai
yeh sabko khabar hai
sabko pata hai
yeh sabko khabar hai
amar hai shakti
shakti amar hai
amar hai shakti
shakti amar hai
phir kaahe ka dar hai ae ae ae
sabko pata hai
yeh sabko khabar hai
amar hai shakti
shakti amar hai
tu meri jaan hai
tu mera jigar jaane jigar
sabko pata hai yeh sabko khabar hai
sabko pata hai yeh sabko khabar hai
amar hai shakti
shakti amar hai
amar hai shakti
shakti amar hai
parbat uthhaa loon jo tu saath de
tu saath de
jo tu saath de
laa mere haathhon mein tu haath de
tu haath de
tu haath de
ho o o
bachpan mein toh saath khele nahin
khelenge abb hum akele nahin
abb saath apna zindagi bhar hai ae
maa ki duaaon mein
maa ki duaaon mein kitna asar hai
amar hai shakti
shakti amar hai
amar hai shakti
shakti amar hai
humko kisi ki nazar na lage
nazar na lage
nazar na lage
mujh par lage
tum par na lage
tum par na lage
tum par na lage
ho o o o
kyun apne dushman saare banen
chhoote mehal banjaare banen
gham na kar
hamaari lambi umar hai
mehlon se bhi oonchaa
mehlon se bhi oonchaa aaj yeh sar hai
amar hai shakti
shakti amar hai
amar hai shakti
shakti amar hai
aa aa aa aa aa aa aa
aa aa aa aa aa aa aa
kismat se tu mehmaan hai
mehmaan hai
mehmaan hai
hum pe bada tera ehsaan hai
ehsaan hai
ehsaan hai
o o o o
mujhko bhi tum apne kaabil karo
apnon mein mujhko bhi shaamil karo
yeh zindagaani ek safar hai
meree tumhaaree
meri tumhaari ek dagar hai
amar hai shakti
shakti amar hai
amar hai shakti
shakti amar hai
aa hey
sabko pata hai
yeh sabko khabar hai
sabko pata hai
yeh sabko khabar hai
amar hai shakti
shakti amar hai
amar hai shakti
shakti amar hai
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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