Archive for the ‘Songs of 1978’ Category
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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.
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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
Jo sirf khushee ka mol karey
Posted on: March 12, 2024
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 : |
5716 | Post No. : | 18235 |
‘Madhu Maalti’ (1978) was produced by Nirmal Mishra and J S Bansal under the banner of Chitra Kathha and was directed by Basu Bhattacharya. The cast included Sachin and Sarika in the lead roles supported by Nadira, Dinesh Thakur, Manik Dutt, Bharat Bhushan, Abha Dhulia, Sulabha Deshpande, Arvind Deshpande, Parveen Paul, T P Jain, Madhup Sharma, Jaydev Hattangadi, Gopal Dutt, Gulshan Grover etc. Benjamin Gilani and Prema Narayan made guest appearances in the film. This was Gulshan Grover’s debut film.
The theme of the film is the teenage romance in a small town whose parents and their neighbourhood have been brought up in a conservative culture. Parents strongly resent their romance as they see it in the prism of morality. Under such a situation, the boy and girl of two families run away from the town. How they face the situations, first in a big city like Mumbai from where they had to leave in haste for Goa. Finally, a spinster lady, who lives alone in a house in Goa, gives shelter to them. She looks after them like her own grown-up children in a free environment. There is a great emotional upheaval for the spinster lady when the parents, now mellow down from their conservative mindsets, are seeking the return of their son and daughter.
The detailed story of the film is as under:
Madhu (Sachin) and Malti (Sarika) are the college going teenagers from two families residing in a small town with a conservative mindset. Anil Sharma (Dinesh Thakur) joins the college as the professor of English. He organises a college play ‘Romeo and Juliet’ in which he selects Madhu and Malti for the title roles. In the rehearsals, both of them fail to enact their performances to the satisfaction of Anil Sharma as both of them brought up in conservative families are shy of enacting love scenes. The pressures from the families of students forces the college authorities to stop the rehearsal of the play.
During the course of rehearsals of the play, Madhu and Malti fall in love. They secretly meet and sometime remain absent from the college. A neighbour reports their secret meeting to the respective families. Both the families oppose their relationship. Prof. Anil Sharma is in sympathy with them but at the same time he advises them that if they are really in love, they should be open about it. But the families have already put a strict vigilance on both of them. As a result, they have not talked to each other for a long time. Forced by the circumstances, Madhu and Malti run away to Mumbai with some money to continue their courtship unhindered.
While in Mumbai, Madhu and Malti lose their belongings and now they are moving in the city like pauper. They meet a couple, Tom (Benjamin Gilani) and Rossie (Prema Narayan) who take them to Goa to get them some job in a beach shack. During a dance programme, Tom misbehaves with Malti which infuriates Madhu to such an extent that he squeezes Tom’s neck making him unconscious. Thinking him to be dead, Madhu and Malti run away from the shack and contemplate suicide. It is at this time, Maria (Nadira) sees Madhu attempting suicide. She brings him to her house. On the other hand, Malti having taken shelter in a cemetery, meets John (Manik Dutt) who brings her to Maria’s house. Both Madhu and Malti are given shelter by Maria.
Maria has been living alone in her spacious house. John has been proposing to her for marriage for the last 20 years, but she has been rejecting his proposal for personal reason. None the less, they remain friends. With Madhu and Malti staying with Maria as her own children, this time when John proposes Maria, she accepts and gets married. He moves to Maria house. Maria is happy that she has got the company of Madhu and Malti as if her own children, John is also happy that finally he got married to his beloved. Madhu and Malti are happy that they are together in a free environment. Periodically, Madhu keeps Professor Anil Sharma informed about their well-being.
One day, Professor Anil Sharma and his wife (Abha Dhulia) visits Goa and meet Madhu and Malti in Maria’s house with a message that they have come here to take them back to their parents who have now mellowed down, and they would accept them. He had also booked their tickets on a passenger ship to Mumbai for onward journey to their town. Maria is upset that she would lose Madhu and Malti. Both of them assure Maria that they are not going to leave her. John tries to convince Maria not to be adamant and allow Professor Anil Sharma to take Madhu and Malti back to their parents. But Maria is firm so also Madhu and Malti not to leave Goa.
A disappointed professor Anil Sharma and his wife decides to leave Goa by Ship. John accompanies them to the boarding point of the ship when he sees Maria with Madhu and Malti also at the boarding point. In the previous night, Maria has retrospection reminding her that she cannot be selfish for her own happiness. She hands over Madhu and Malti to Professor Anil Sharma with moist eyes by saying that if their parents create problem for Madhu and Malti, she would teach them a lesson.
What a lovely film to watch! It is typical Basu Bhattacharya style of story narration in which human relationship plays important theme in his films. In this film, he has brought out the conflict between conservative parents and their teenage children which he compares with their guardian handling of the same children. As happens with his earlier films which were critically acclaimed but commercial failure, ‘Madhu Malti’ (1978) was no exception.
An interesting feature of the film’s background music is the uses of the snippets of a few popular Hindi film songs which are apt for the situations. For example, when Madhu and Malti secretly meet for the first time, both are very shy to talk to each other and the song ‘chup chup kade ho zaroor koi baat hai’ gets played in the background in a low sound. When Madhu and Malti arrive at Mumbai and looking for guest house for the stay, the song ‘do deewaane shahar mein raat mien yaa dopahar mein aab-o-daanaa dhoondhten hain ek aashiyaana dhoondhten hain’ gets played. When their belongings are stolen from the room, both of them argue for negligence during which the song ’babu ji dheere chalana pyaar mein zara sambhalna’ gets played in the background.
The film had 4 songs written and set to music by Ravindra Jain. One song has been covered on the Blog. I am presenting the second song, ‘jo sirf khushi kaa mol karey’, rendered by Mukesh. This song gets played in the background as Professor Anil Sharma (Dinesh Thakur) and his wife (Abha Dhulia) have been unsuccessful in convincing Maria to send back Madhu and Malti to their parents. Maria (Nadira) on the other hand is in emotional turmoil as she is losing them to their real parents at a faraway town. But in retrospection she feels that she cannot be selfish for her own happiness. The song is not only a philosophical one but also a retrospection for Maria. The life is a cycle of happiness and sorrow, and the companionship is not permanent.
The song broadly sums up the theme of the film.
Video Clip:
Audio Clip:
Song-Jo sirf khushee ka mol karey (Madhu Maalti)(1978) Singer-Mukesh, Lyrics-Ravindra Jain, MD-Ravindra Jain
Lyrics (Based in audio clip):
jo sirf khushi kaa mol karey
jo sirf khushi kaa mol karey
wo dost nahin saudaagar hai
jo apne hi jeene pe marey
jo apne hi jeene pe marey
wo dost nahin saudaagar hai
jo sirf khushi kaa mol karey
sukh aataa hai to apne sang
apne saathhi le aataa hai
sukh aataa hai to apne sang
apne saathhi le aataa hai
hai kaun kahaan tak kaa humdum
dukh hi to hamen batlaata hai
ho sukh mein sang aur dukh se darey
ho sukh mein sang aur dukh se darey
wo dost nahin saudaagar hai
jo sirf khushi kaa mol karey
hum aisaa saathhi dhoondhhte hain
jo hamko gham kaa meet kahe
hum aisaa saathhi dhoondhhte hain
jo hamko gham ka meet kahe
gham ho usko aur dard hamein
neer uska in aankhon se bahe
jo haathh faqat kaandhe pe dhare
jo haathh faqat kaandhe pe dhare
wo dost nahin saudaagar hai
jo sirf khushi kaa mol karey
Ae dil meri jaan
Posted on: December 14, 2023
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 : |
5627 | Post No. : | 18115 |
Happy birthday to Biswajeet (born December 14, 1936), the ‘chocolate hero’ of the 1960s on completing 87 years of age today. Kolkata born Biswajeet got his first break in a Bengali film, ‘Kangsha’ (1958). By 1962, he did about a dozen Bangla films before he shifted to Mumbai.
Biswajeet commenced his career in Hindi films with a box office hit film, ‘Bees Saal Baad’ (1962), produced by Hemant Kumar. Since then, his Hindi film career has travelled through the genres, first the suspense/thriller, followed by the musical romance and then to social/drama. His made-up girl’s character in the song ‘kajra mohabbat wala in ‘Kismat’ (1968) was a trend setter for Rishi Kapoor (‘Rafoo Chakkar’- 1975), Amitabh Bachchan (‘Laawaaris’-1981), Sanjay Dutt (‘Mera Faisla’-1984), Govinda (‘Aunty No.1’-1998) etc. He also became a trend setter in fashion with his all-white look that included white shoes. Jeetendra and Govinda later seem to have followed him to some extent.
I used to wonder as to how the Kolkata-born Biswajeet could speak his Hindi dialogues more or less fluently. The reason was that his father being an army doctor, he was on frequent transfers to places like Lucknow, Meerut, Lahore, Karachi etc where Biswajeet had spent his childhood.
Biswajeet had a spate of suspense films like ‘Bin Badal Barsaat’ (1963), ‘Kohra’ (1964), ‘Ye Raat Phir Na Aayegi’ (1966), ‘Jaal” (1967) etc which led to getting him branded as a ‘suspense hero’. In order to avoid the tag of the ‘suspense hero’, Biswajit did films in the genre of musical romance, like ‘April Fool’ (1964), ‘Mere Sanam’ (1965), ‘Do Dil’ (1965), ‘Night in London’ (1967), ‘Kismat’ (1968) etc. Biswajit also went on to do social/family drama films like ‘Kaise Kahoon’ (1964), ‘Sagaai’ (1966), ‘Do Kaliyaan’ (1968) ‘Paisa yaa Pyaar’ (1969), ‘Pyaar Ka Sapna’ (1969), ‘Main Sunder Soon’ (1971) etc. Most of his films were box office success. He also did few Bengali films during 1960s and 1970s. At one time, Biswajeet had a good number of films under production, requiring him to shuttle between Mumbai, Kolkata and Chennai.
Biswajeet turned producer-director with ‘Kahten Hain Mujhko Raja’ (1975) with star-studded cast that included Dharmendra, Hema Malini, Shatrughan Sinha and Rekha, apart from himself. The film flopped at the box office resulting in heavy financial losses. Post 1975, he did about two dozen of Hindi films but most of his films of this period failed to make much impression on the audience. Also, by this time, Rajesh Khanna, Dharmendra, Amitabh Bachchan, Jeetendra had given him the tough competition for the lead roles under top film production banners. He then switched over to the supporting roles in a few films. During his Hindi film career, he worked in 63 films, his last film being, ‘Aa Dekhen Zara’ (2009) in a guest role. His son, Prosenjit Chatterjee is a supper star of Bangla films.
How would have evolved Biswajeet’s Hindi film career if he had accepted the role of Bhootnath in ‘Sahib Bibi Aur Ghulaam’ (1962) is anybody’s guess. Biswajeet, in an interview, has revealed that Guru Dutt offered him the role when he saw his performance as Bhootnath in the Bangla play, ‘Sahib Biwi Gholam’ at Kolkata. He was called to Mumbai and was introduced to the main cast of the film. His friends, however, dissuaded him from accepting the role as they feared that due to whimsical nature of Guru Dutt, the film may get shelved. Instead, he accepted Hemant Kumar’s offer of ‘Bees Saal Baad’ (1962).
One of the unusual roles Biswajeet played in Hindi film was in ‘Raahgir’ (1969) in which he was a wandering young man in search of the meaning of the life. His performance was critically acclaimed. But the film flopped on the box office front. Another film in which Biswajeet had an unusual role was ‘Do Shikaari’ (1979) in which he played the role of a hunter in the wild African forest. Originally started with the title, ‘Anjaane Safar’ in 1969, the film was held up for nearly a decade reportedly due to the problem with the Censor Board. Finally, the film got the Censor Certificate on March 15, 1978, and was released on December 14, 1979.
‘Do Shikaari’ (1979) was produced and directed by Kuldeep Pal. The star cast included Biswajeet and the newcomer, Rekha in the lead roles with supporting actors, Vinod Khanna, Amjad Khan, Joginder, Keshto Mukherjee, Alka, Padma Khanna etc. The film flopped on the box office front but became famous for the controversy during the shooting in which Rakha was kissed by Biswajeet without her consent. Apparently, the scene got deleted by the censor board. Biswajeet has recently clarified that he did the scene as told by the director and agreed that Rekha’s consent was not taken.
The gist of the story of the film is as under:
The film is about unearthing of a treasure lying in Solomon’s Mines in Africa. Zorro (Amjad Khan) is after that treasure for the last 10 years without any trace of the route to reach. Sunita’s (Rekha) father has the map of reaching the hidden treasure. So, Zorro kidnaps Sunita’s father, and as a ransom, he pressurises Sunita to meet two hunters, Ranjeet (Biswajeet) and Satish (Vinod Khanna) in the African forest in the guise of searching her missing brother. She reaches Africa with the map and meets Ranjeet to help her in searching her missing brother. There is an offer of a huge money in case the brother is located which interests Satish. But Ranjeet refuses to help her by saying that he has more pressing work on hand.
With lot of persuasion, Ranjeet agrees to search for Sunita’s brother. He, Satish and Sunita travel in the dense forest of Africa facing the wild animals, hostile villagers and above all, the treachery by Satish who gets to know the route to reach Solomon’s Mines on a hill. In the meanwhile, Zorro with his men also reaches the African forest to keep a tag on the progress of the search for treasure.
Ranjeet gets hold of a local tribesman who knows the route to the Solomon’s hill. The entire group reaches the cave where they find one man (Mac Mohan) already on the job to search for the lost treasure. Now the secret is out that the search is for the hidden treasurer and not for the missing brother. Ranjeet has no interest on the lost treasure, but Satish gets greedy. He goes with the man (Mac Mohan) and after a long and treacherous walk, he finds the boxes of treasure. They are extremely elated. However, Ranjeet comes and tell them that the tribesman who had shown the route has vanished. Now the problem is how to get out of the cave.
Somehow, Satish finds out the outlet to come out of the cave. While one by one all persons are being taken out of the cave, Satish refuse to help Ranjeet to come out the cave as he wants him to die in the cave so that he gets the entire treasure. After a fierce fight with Satish, Ranjeet comes out of the cave to find that Zorro with his gang has already taken Sunita in their custody to force Ranjeet to take them to the treasure. However, local tribesmen with their weapons surround and overpower Zorro and his men. Zorro is taken into custody by the tribals for the death penalty, and Ranjeet and Sunita become their guests.
The tribal belief that those who tries to take out the hidden treasure never come back alive become once again true in the case of Zorro and Satish.
When the film had commenced shooting in 1969, Biswajeet was one of the top stars in Hindi films and Vinod Khanna was a newcomer having worked only in a couple of films. This was Rekha’s first film. When the film was released in 1979, Biswajit was at the start of his fading phase while Vinod Khanna was rising in status. Rekha had already become a star. Had the film was released on time, it would have become Rakha’s first released film.
‘Do Shikaari’ (1979) had 7 songs written by Jan Nisar Akhtar (3), Rahi Massom Reza (2), Ashk Jallandari (1) and Unknown (1). All the songs were set to music by Chitragupt. One song from the film has been covered in the Blog. I present the second song from the film, ‘ae dil meri jaan teri manzil hai kahaan’ to appear on the Blog, The song is written by Jan Nisar Akhtar and rendered by Biswajit, the only song he rendered for Hindi film. This is the background song when Biswajeet and Rekha travel in the safari jeep on their way to search for the treasure in the African forest.
Despite being a good singer, Biswajit avoided singing for himself in his Hindi films. The reason given by him was that he felt that Mohammed Rafi and Kishore Kumar were much better singers than him. However, when his friend and producer-director Kuldeep Pal insisted on him to sing a background song in this film, he agreed. Incidentally, during the lean phase of his filmy career, especially after 1980s, he started stage shows of his singing all over India. He has also to his credit some non-film song albums.
Video Clip:
Audio Clip:
Song-Ae dil meri jaan (Do Shikaari)(1979) Singer-Vishwajeet, Lyrics-Jaan Nisaar Akhtar, MD-Chitragupta
Lyrics
ae dil meri jaan
teri manzil hai kahaan
ae dil meri jaan
teri manzil hai kahaan
raahbar na raahi hai
door tak siyaahi hai
raaste sabhi hain anjaane
anjaana har samaa
ae dil meri jaan
teri manzil hai kahaan
raat din tujhe hai kiski justjoo
dard ban gayi ye kiski aarzoo
raat din tujhe hai kiski justjoo
dard ban gayi ye kiski aarzoo
armaan hai kyun deewaane
koi inhen kaise jaane
tuhi apna raazdaar
ae dil meri jaan
teri manzil hai kahaan
dhool hai zameen dhuaan hai aasmaan
khauf ka agar iraade hain jawaan
dhool hai zameen dhuaan hai aasmaan
khauf ka agar iraade hain jawaan
aandhi ho yaa ke toofaan
dam bhar ke sab hain mehmaan
nahi rukte kaarwaan
ae dil meri jaan
teri manzil hai kahaan
Hum do yaar hoshiyaar
Posted on: November 25, 2023
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 : |
5608 | Post No. : | 18086 | Movie Count : |
4854 |
Hindi film audience may be acquainted with Pearl Padamsee (1931 – 24/04/2000) for her good performances in Basu Chatterjee’s films, ‘Khatta Meetha’ (1977) and ‘Baaton Baaton Mein’ (1979). She was also seen in Shyam Benegal’s ‘Junoon’. But more than an actor in Hindi films, she was an eminent theatre personality who, in colloboration with Alyque Padamsee, propped up a vibrant English theatre in Mumbai for over 4 decades.
Born to Jewish-Christian parents, Pearl Padamsee was brought up in Bombay (Mumbai) as a baptised Christian. She completed her schooling in Mumbai and joined St. Xavier’s College where she became the Secretary of the College’s Dramatic Society. With the appointment of her father as the First Commissioner of India in British Fiji in 1948, the family shifted to Suva during which Pearl completed graduation in Anthropology from Australia and returned to India. She ran away from her parents’ house in Mumbai and married a businessman, B S Chowdhry. With him, she had a son, Ranjit Chowdhry (1955 – 2020) and a daughter, Rohini Chowdhry who died in her childhood. Soon after the birth of the daughter, Pearl Padamsee divorced her husband and came back to Mumbai with her children.
In Mumbai, Pearl Padamsee became a part of Theatre Group promoting English plays. She started her stage career as an actor. During her theatre career, she renewed her friendship with Alyque Padamsee who was with her in St Xavier’s College. By now, he had become a prominent advertising and English theatre personality. She acted in many English plays under the direction of Alyque Padamsee. Gradually, she became one of the prominent theatre personality as a producer-director-actor-writer in a number of English plays besides some Hindi plays as well. She also acted in Hindi and English films.
Pearl married Alyque Padamsee, who was in love with her since his college days. A daughter, Raell Padamsee was born to them. Her second marriage with Alyque Padamsee also failed and they got divorced. However, both of them remained good friends and had a good professional relationship until her death in 2000.
One of the important initiatives Pearl Padamsee took during her theatre career was in offering the optional ‘after-school theatre workshop’ to students in stage acting. Among the students she trained as child actors were Shashi Tharoor, Kumar Mangalam Birla and Farid Currim, all from Campion School. Another achievement of Pearl Padamsee as told by Shyam Benegal on the day of her funeral was that she created several generations of actors – Soni Razdan, Rajit Kapur, Cyrus Broacha, Jasmin Bharucha, Victor Bannerjee, Nikhil Kapur, Sabira Merchant, Vijay Crishna, Sharon Prabhakar, Ronnie Screwaala and Hosi Vasunia. Amrish Puri, Naseeruddin Shah, Mohan Gokhale and later, Boman Irani worked with Pearl Padamsee in theatres before they become well-known actors in Hindi films.
Pearl Padamsee passed away on April 24, 2000, due to a cardiac attack. Her son from the first marriage, Ranjit Chowdhry was an actor in Hindi films doing supporting roles. One can remember his performances in ‘Kattha Meetha’ (1977), ‘Baaton Baaton Mein’ (1979), ‘Khubsoorat’ (1981) etc. Raell Padamsee, daughter from her second marriage runs her own theatre company.
Pearl Padamsee’s first association with Hindi films started as a producer and actor with ‘Hungaama Bombay Ishtyle’ (1978). The film was directed by Ayesha Sayani who was also the joint producer of the film. By the way, Ayesha Sayani is the daughter of Hameed Sayani who was the compere, radio programme producer and an advertising man beside occasionally indulging in theatre.
The film’s cast included Amrish Puri, Naseeruddin Shah, Pearl Padamsee, Keith Stevenson, Mohan Gokhale, Mohan Agashe, Preeti Ganguly, Winnie Paranjpye, Ranjit Chowdhry, Sarita Ringshia and many children. Ameen Sayani was the narrator in the film. It was a Children’s film which was based on a play jointly written by Pearl Padamsee and Ratnakar Matkari.
The film was made with a shoestring budget of Rs.3 lakhs. Most of the actors acted in the film free of cost. The film took more than 2 years to complete mainly because the shooting with the children was possible during their school vacations. Also, the then emerging actors, Amrish Puri and Naseeruddin Shah could participate in the shooting only after getting spare time from their mainstream Hindi films.(Source: The Times of India, January 26, 2018).
The gist of the film’s story is as under:
Jaggudada (Amrish Puri) is a street gangster who runs the pick pocketing business with his sidekick Raju (Naseeruddin Shah) and some street children. There is a rival gang led by Aunty (Pearl Padamsee) and her sidekick, Bundledas (Keith Stevenson). The two sidekicks are labeled by the narrator as ‘chamcha’ of their respective boss.
Aunty plans to kidnap Mani (Sarita Ringshia), the daughter of a rich businessman, Seth Popatlal (Mohan Agashe) and his wife (Preeti Ganguly) in expectation of a hefty ransom. However, her plan gets leaked to Jaggudada who works out a strategy to outsmart Aunty in kidnapping Mani.
One day, when Mani is on the way to her school in the car, Aunty and Bundledas kidnap her in the guise of buying her bhelpuri. However, Aunty’s plan is foiled by Jaggudada and Raju who forcibly take Mani in a taxi with the intention of confining her in their hideout. The presence of Police Constable, Sakharam (Mohan Gokhale) who is on a beat duty, spoils Jaggudada’s plan and he had to leave kidnapped girl in the company of the street children.
Though Mani misses her homely luxuries, she is happy with the street children because, for the first time, she has all the freedom to play with street children and roam around with them without the discipline of her strict parents. However, Rosie (Winnie Paranjpye), the eldest of the street children, wishes Mani to be handed over to her parents as she does not want her to be in the pick pocket business.
Seth Popatlal lodges a complaint in the police station on his missing daughter. Sakharam is entrusted with locating the missing girl with his dog, Tiger. Rest of the film is like a merry go round between the rival gangs and Sakharam, trying to outsmart each other which lead to a situational comedy. At last, with the help of the dog, Sakharam locates Mani in the Boot House (in Kamla Nehru Park) with Rosie. Jaggudada, Raju, Aunty and Bundledas are arrested and are put behind bar. Mani is handed over to her parents. The street children are free from the clutches of Jaggudada for doing anti-social activities and they are admitted in a school.
‘Hungaama Bombay Ishtyle’ (1978) had six songs, all written by Kamlesh Pandey and set to music by the legendary film and theatre personality, B V Karanth. These were all the situational songs in the film which carry forward the narrative of the story. The album of the songs were not released on gramophone records.
I am presenting the first song, ‘ham do yaar hoshiyaar’ from the film to appear on the Blog. The song is sung by Nitin Mukesh as per https://muvyz.com/. The song starts with a prelude when Mohan Agashe is seen consoling his wife, Preeti Ganguly as their daughter has been kidnapped. Mohan Gokhale in the role of Police Constable, Sakharam is leaving Mohan Agashe’s house preceded by a police dog, Tiger in search of the kidnapped girl. The lyrics of the song are self-explanatory.
Note: The profile of Pearl Padamsee is mainly based on an article by Garson D’Cunha in ‘Outlook India’, May 8, 2000, an interview of Alyque Padamsee which appeared on Hindustan Times, August 22, 2013, and some snippets from the online sources.
Editor note-The singer of this song is Ambar Kumar.
Video Clip:
Song-Hum do yaar hoshiyaar (Hungaama Bombay Ishtyle)(1978) Singer-
Lyrics
ham do yaar hoshiyaar
ham do yaar hoshiyaar
apna daanv dikhaane chale hain
ham do yaar hoshiyaar
apna daanv dikhaane chale hain
Popatlal ki ladki ka
ham pata lagaane chale hain
Popatlal ki ladki ka
ham pata lagaane chale hain
ham do yaar hoshiyaar
apna daanv dikhaane chale hain
soongh soongh kar chor pakadte
toone umar guzaari
maine bhi dus saal police mein
khaali jhakh nahin maari
ham donon qaanoon ke dushman se
takraane chale hain
haan takraane chalen hain
ham do yaar hoshiyaar
apna daanv dikhaane chale hain
khabar chhapegi
photo chhapega
khabar chhapegi
photo chhapega
aur inaam milega
main ho jaaunga inspector
tu kutta hi rahega
lekin na ho udaas
ke tu hai
bade kaam ka kutta
khel nahin hona inspector
Sakharam ka kutaa
Sakharam ka kutta
ham donon apni yaari kaa
farz nibhaane chale hain
ham do yaar hoshiyaar
apna daanv dikhaane chale hain
ham do yaar hoshiyaar
ham do yaar hoshiyaar
ham do yaar
Qasme vaade nibhaayenge hum
Posted on: October 11, 2023
- In: Amitabh Bachchan songs | Amitabh Bachchan songs by Kishore Kumar | Duet | expression of love | Feelings of heart | Guest posts | Kishore Kumar songs | Kishore Kumar-Lata duet | Post by Peevesie's mom | Songs of 1970s (1971 to 1980) | Songs of 1978 | Theme song | Title song | Yearwise breakup of songs
- 6 Comments
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 : |
5563 | Post No. : | 18031 |
Hullo Atuldom
This post by Avinashji was a post full of his memories of his childhood & how he got into the habit of seeing films.
Similarly, any song or film from the 1970s, 80s & even 90s sends me down memory-lane. And if it is 11th of October – birthday of my all-time favourite actor who is called the BigB or the Shahenshah of Bollywood etc then a trip of nostalgia is natural.
Are there any songs of 30, 40 or even 50 years ago left to be posted ? Yes, of course! Many of them. Songs from movies where BigB is paired opposite Hema Malini, Zeenat Aman, Parveen Babi, Rekha, Jaya Bhaduri, Rakhee, Moushumi Chatterjee, Neetu Singh, etc fall in the 40 & 50 year old categories. Those films in which Rati Agnihotri, Meenakshi Seshadri, Amrita Singh, Sridevi, Jaya Prada etc were his romantic leads are also almost 30/ 40 years old. Unbelievable, no? But then when someone has been in the film industry from 1968/69 this is bound to be the case. And to make matters difficult for us he is still working and post 2000 he has played father, grandfather etc., still gets to sing a song & shake a leg.
All of the above means that we have a loonngg way to go before we yyiippeeee songs of Bachchan Sr. At the time of writing this post (as per the list on the right of the blog-page) there are 261 Amitabh Bachchan songs of which in 21 he has sung for himself. Atulji has also got categories for Amitabh Bachchan present without lip-syncing, AB songs by Rafi, Kishore Kumar, Mukesh, Mahendra Kapoor, Manna Dey, Yesudas, Gurdas Maan, Anwar, Manhar, Mohd Aziz, Shabbir Kumar, Amit Kumar, Sudesh Bhosle, Laxmikant, RD Burman, Shankar Mahadevan etc. It goes without saying that the blog has most songs where Kishore Kumar has sung for AB -93.
Bachchan Sr. has been an idol for many actors who made there way into the films post the success of “Sholay”. He has tried his hand at producing films through his Amitabh Bachchan Corporation Ltd. He gave a chance to a few actors like Arshad Warsi, Simran Bhalla, Chandrachur Singh, Priya Gill etc in his production. He also made a patriotic film for which Veeru Devgan was the director. “Major Saab” (1998) was a film which saw Nafisa Ali coming out of hiatus.
I have a few big problems whenever I sit to write a post for Amitabh Bachchan’s birthday-
(a) I don’t know what to write & how much
(b) which song & dance sequence from which era to use.
I haven’t even mentioned how he played a negative character in “Parwana”. Or second lead to Jeetendra & Rajesh Khanna. How he landed the role in “Sholay” or his multi-hero movies with actors of his era.
Since I opened this post with a reference to the 70s/80s/90s we shall have a song from that period. i.e. when he played a romantic leads.
Let us have a song of the most loved Jodi of those times. Now when I write “loved Jodi” readers will think of Rekha- Amitabh Bachchan. “Kasme Vade” did have a Rekha -Amitabh Bachchan song; Rekha had a guest appearance in the film. That song was used to establish the character of the second Amitabh. The second character is introduced after the first, docile, Professor character dies in a college skirmish.
“Don”, also a 1978 release, had 2 Amitabhs where one is introduced, using a song, after the ‘Don’ character dies.
But we are not having a song from ‘Don’ neither are we having a Rekha- Amitabh song. When I spoke of ‘loved Jodi’ I was thinking of Rakhee with Amitabh. They had featured in a few movies together in the 70s & 80s and in the second innings of their career they acted together as parents to grown up children- Akshay Kumar, Juhi Chawla, Simone Singh etc. Rakhee has played Amitabh’s sweetheart who gets married to someone else; his live-in friend (in 2 films); his bhabhi & even his mother (just so that she got to act with the Dilip Kumar). She got to marrying him in one film (if my memory is correct). This Jodi was a little less conspicuous I think as we don’t find any articles written anywhere.
So “Kasme Vade” opens with today’s song which establishes that the two have been in love for sometime. We have a very charming hero looking & smiling lovingly at his dainty beauty. It is in the voices of Kishore Kumar & Lata Mangeshkar, composed by RD Burman & Gulshan Bawra is the lyricist.
A stray thought just struck me- Rakhee was the female Sanjeev Kumar. Why? Both were often seen playing characters older than their actual age, she was given mature-looking make-up & outfits just like Sanjeev Kumar who after ‘Sholay’ played older characters very often.
Let us get on to today’s song and wish our BigB all the best for a healthy & active life in front of the camera- currently on the sets of KBC.
Song-Qasme vaade nibhaayenge hum (Qasme Vaade)(1978) Singers-Kishore Kumar, Lata, Lyrics-Gulshan Baawra, MD-R D Burman
Both
Lyrics
ho ho o o
ho ho ho ho o o
hey ae hey ae
ho ho ho o
hey hey hey ae
qasme vaade nibhaayenge ham
milte rahenge janam janam
o qasme vaade nibhaayenge ham
milte rahenge janam janam
o dekha maine tujhko to mujhe aisa laga
barson ka soya hua pyaar mera jaga
tu hai diya main hoon baati
aaja mere jeevan saathi
qasme vaade nibhaayenge ham
milte rahenge janam janam
chehron se hon anjaane ham
dil to dil ko pehchaane
kabhi pyaar nahin marta hai
paagal premi hi jaane
aa jaati hai lab pe khud hi
bhooli bisri baat
ho qasme vaade nibhaayenge ham
milte rahenge janam janam
tu hai mere jeene ka sahaara
sadiyon puraana hai saath hamaaraa
tu hai diya main hoon baati
aaja mere jeevan saathi
ho qasme vaade nibhaayenge ham
milte rahenge janam janam
ho ho o
o ho ho ho o
ho ho ho
aa haa haa aa
laa laa laa laa
o ho ho ho o
jis dil mein pyaar basa hai
vo dil bhagwaan ki moorat
ye moorat kabhi na badle
badle insaan ki soorat
dil ke bandhan itne sachche
jitne ye din raat
o qasme vaade nibhaayenge ham
milte rahenge janam janam
qasme vaade nibhaayenge ham
milte rahenge janam janam
- In: "disguise" song | "Villain's" den song | Body part song | Chehra song | Devnagri script lyrics by Avinash Scrapwala | Duet | Guest posts | Kishore Kumar songs | Lyrics contributed by readers | Post by Avinash Scrapwala | qawwali | Rafi songs | Rafi-Kishore Kumar duet | Songs of 1970s (1971 to 1980) | Songs of 1978 | Yearwise breakup of songs
- 5 Comments
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5553 | Post No. : | 18018 |
#the Decade of Seventies – 1971 – 1980 #
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#Bhoole-Bisre Geet # (Qawwalis – Part-2 – Post-9)
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Today’s song is a ‘Qawwali’ song from the 1978 movie ‘Muqaddar’!!!
I have mentioned the following in one of earlier posts on the blog, while presenting the series on ‘Qawwalis’ ‘Part-1’.
Qawwalis were common in Hindi films when I was growing up (1968-1983). As I grew watching them in the movies in my childhood, some qawwalis left lasting impression on my impressionable mind. I have a special fascination for this genre of music. It always takes me to an entirely different ‘musical world’.
In Hindi movies qawwalis are woven with the story topic of the movie. So, we have ‘’romantic qawwalis’, ‘men vs. women’, ‘husn aur ishq’, ‘celebrating a festival’, ‘devotional qawwalis’, ‘chor-police’, ‘marriage celebration’, ‘mujrim-munsif’, ‘scoring peanuts over each other’ (Atulology), ‘nok-jhonk’, ‘teasing each other’, ‘musical competition’, and other types of qawwalis in our movies.
Or it may be a competition of poetry between two groups (read men and women mostly) where ‘qawwalis’ would perfectly fit into the plot of a movie.
In many movies Qawwalis have been used to keep the suspense intact where actors, actresses would disguise themselves and enter the villain’s den to rescue their partners/friends caught by the villain. Or sometimes the villain will kidnap close relatives of the hero or heroine in the movie and ask for a ‘hefty’ ransom. And the hero/heroine would plan a song or disguise as a ‘musical-troupe’ to enter the ‘villain’s den’ to rescue a ‘child’, ‘relatives’ or a ‘famous scientist’ or a ‘police commissioner’ who would have been kidnaped by the villain or his associates. In our movies we also have qawwalis where we see ‘lawful elements (police, CID) and the unlawful elements (goondas, or burglar, thieves)’ have a ‘qawwali muqaabla’ in “disguise”. Qawwalis programs or performance in the movie was also played to mis-lead the villain sometimes. The hero/heroine or their friends and well-wishers would sing a qawwali and simultaneously free the innocent ones or their near and dear ones kidnapped by the villain and hold in his ‘den’. Sometimes this would happen just before the climax of the movie.
Today’s Qawwali is one performance which happens in the movie before the climax. We can say that it is the beginning of the climax in the movie.
‘Muqaddar-1978’ was directed by Ravi Tandon for ‘Sneh Films, Bombay’.
It was produced by Ravi Anand. It had Shashi Kapoor, Sanjeev Kumar, Parikshit Sahni, Rekha, Vidya Sinha, Paintal and Amjad Khan.
Other star cast includes Mac Mohan, Yunus Parvez, Jankidas, Rajesh Behl, Bharat Kapoor, Nandita Thakur, Vikas Anand, Praveen Pal, Ranveer Raj, Chandu, Master Shaka, Master Rajeev, Baby Rani, Uma Dhawan, Sudhir, O.P. Goyal and Jayshree T.
Aruna Irani makes guest appearance in this movie. Editing of this movie was done by S.R. Kabre. Dialogues of this movie were written by Dr Balkrishna Mauj. Story and Screenplay was written by Mukul Anand. This movie had four songs (as per HFGK Vol V 1971-1980) written by Anjaan and composed by Rajesh Roshan. Asha Bhonsle, Kishore Kumar, Mohd Rafi, Usha Mangeshkar had given their voices to the songs in this movie.
Let me take you through this movie till the end (Which I watched again on YouTube for this presentation). I have in my earlier post with this movie’s song have mentioned about its story in brief and mostly covering most of the first half of this movie. Today I will take you till the end of this movie here.
This movie ‘Muqaddar-1978’ is ‘DEDICATED TO THE TWENTY-FOUR-HOUR SOLDIERS! THE UNSUNG HEROES! THE POLICE!!
We have a strict and disciplined Police Inspector – Vijay Saxena (Sanjeev Kumar). He is very tough with ‘criminals’ and so sometimes he can deliver justice ‘on the spot’ 🙂
Inspector Vijay is a bachelor and normally eats at a road side ‘dhhaabaa’ run by Abdul Bhai (Yunus Parvez). One day Vijay reach the ‘dhhaabaa’ and orders the food for him. At the same time one old woman beggar comes there and asks for food. Vijay asks Abdul Bhai to provide her food and the expenses will be borne by him.
However when the ‘bhikhari buddhiya’ is crossing the road a car hits her and run away … Inspector Vijay follows the car, and as usual taking ‘Qaanoon’ in his hands ‘beats the ‘badmaash(s)’ … but then he has to face his senior Police Commissioner ( Jairaj).Annoyed by his action the commissioner of Police Jairaj (played by Jairaj) transfers him to the area of ‘Dhaaraavi’ where the local goons and the anti-social elements are highly active and need a ‘better treatment from the Police’ so that they are under control.
So, our Inspector is now in Dharavi, and he already has a sincere and dedicated assistant there – Patil (Bharat Kapoor) … who eventually sacrifices his life since he has been asked that ‘is mujrim pe goli mat chalana’ … but mujrim fires on him …In Dharavi we have Parishit Sahni as a ‘labour leader’ working in a ‘kapada mill’ of Sampat Seth (Amjad Khan). Sampat Seth is more interested in ‘smuggling’ to become the ‘wealthiest smuggler’. Sampat Seth has a sister Seema (Rekha) – who is interested in social work and has a soft corner towards labors in the ‘basti’. We have Ramu Dada (Shashi Kapoor) as a ‘spoiled’ younger brother of Amar Babu (Parikshit Sahni). Vidya Sinha plays Savitri (wife of Parikshit Sahni), Shashi’s Bhabhi and Rekha’s friend. Jimmy (Paintal) is Shashi’s lieutenant and accompanies him whenever he is driving truck and enjoying ‘mujaras’ after the day’s hard work
After reaching ‘Dhaaraavi’ Inspector Vijay destroys many ‘daaru and matke ka addaas’ and arrests many goons and local ‘daadas’ and warns them of dire consequences if they do not stop doing illegal & anti-social activities. In this mission his trusted assistant Patil ably supports him with required information and whereabouts of the criminals ‘operating locations’.In the ‘mill’, workers are expecting ‘bonus’ as the ‘Dushehra festival’ is approaching.
Sampat Seth declares bonus to workers as he wants them to work on ‘Dushehre ki Chhutti’, and behind the holiday working he can hide the ‘smugglers’ meet’ so that no one doubts …Parikshit Sahni is first reluctant, but then agrees to convince the workers to work on the ‘festival holiday’.There is a beggar in the neighbourhood Chandu (Chandu) – deaf and dumb – always asking for money from Amar Babu (Parikshit Sahni). But on Amar Babu’s advice he gives up begging and from the money given by Amar Babu is now making pictures by Rangoli Powder of ‘Ganesh, Sai Baba’, and ‘Shri Ram’on the road side. He has a crucial role in the movie as we progress further.
Meanwhile Inspector Vijay gets Ramu Dada and Jimmy into lock-up to interrogate them, but release them soon so as to keep track of them and their contacts secretly.However on the day of ‘Dushehra ’celebrations as the Ravana’s effigy is set to fire by the arrows of Amar Babu and Ramu Dada, enters our Inspector Vijay Saxena for checking of the ‘truck’ driven by Ramu Dada from Goa suspecting that it contains smuggled items in it😊 But he do not find anything objectionable there.
It so happens that one day Amar Babu notices some unusual truck movements after closing hours at the factory so he asks Sudhir (Sudhir) the loading Inspector about it. But Sudhir tells him that there is no activity after closing hours at the factory. However, on the day of ‘Diwali’ Amar Babu follows them and caught them loading the smuggled items (illicit liquor) into the trucks. Sudhir and his accomplice Rajesh (Rajesh Behl) and Amar Babu have arguments. Thinking of to bring this illegal activity to the notice of the owner and unaware that it is done only at the behest of him, Amar Babu reaches to the owner’s house. Where Sampat Seth tries to bribe him and Amar Babu gets to know all about the game. He lefts the place but is followed by the henchmen of Sampat Seth and is killed before he can disclose this secret to anyone. The deaf and dumb Chandu has seen these two persons killing Amar Babu.
(There is a sub-plot of Shehnaaz Bai (Aruna Irani). Ramu Dada had saved her earlier from goons and is her ‘raakhi brother’ now. So, when Ramu Dada leaves his Bhaiyya’s home he is staying at Shehnaaz Bai’s house which creates ‘galatfahmii’ in the mind of Seema. However, Shehnaaz Bai clarifies and told the ‘asliyat’ to Seema when Seema reach her place to request Ramu to return to his home.)
Seema persuades Ramu Dada to return back to his home. On the day of Diwali Ramu Dada buys some gifts for his bhaiyya-bhaabhi and return back to his home only to find his elder brother’s body lying to be taken for final rites.
Soon Ramu Dada and his accomplice Jimmy sets out to search for the killers, Chandu intercepted them and draw the sketches of the killers, where Jimmy identifies one of them i.e. Sudhir.
Ramu Dada bangs into Sudhir’s place and gets hold of him but Rajesh escapes. Ramu and Sudhir have fight. During the fight Sudhir dies (It is another fact that the real reason of his death comes to know later) and Ramu Dada is arrested by Police and sent behind the bars.
Police Inspector is also looking into the case of Amar Babu and they reach Chandu but Girdhari Lal the clever confidante of Sampat Seth shoots Chandu.
Chandu is dead but Police keeps him in the hospital under treatment to reach the real culprits. Girdhari Lal falls in the trap and get into the hospital to kill Chandu where Police Inspector is already hiding there to catch him. But Mac Mohan injects himself and dies without disclosing the name of the Boss. His other accomplices sitting outside the room try to run but Police chase them and in this chase one of the goons shoots Patil.
Police found some photographs from Girdhari Lal’s house where in one picture Sampat Seth, Sudhir, and Girdhari Lal are seen together. Inspector Vijay vows …
“Main Patil ki Qurbaani bekaar nahin jaane doongaa… Policewaalon ka khoon itnaa sastaa nahin hain Sampat Seth.”Meanwhile the medical report of Sudhir reveals that he died due to drinking of poisonous liquor and not by the beating of Ramu Dada. Inspector Vijay thanks the doctor and is on the way to convey this good news to Ramu Dada. But Ramu Dada plans to run away from the jail and succeeds. One police officer tries to shoot him but Inspector stops him from doing so. Inspector is suspended on this act but now he knows the reality and wants to help Ramu Dada.
Ramu Dada gets to know from Lala that Sudhir, Rajesh, Girdhari Lal are all of Sampat Seth’s ‘aadmis’ so he goes to Sampat Seth’s bungalow where Seema tells him that her brother has gone to Goa. Sampat Seth has arranged a big get-together of all smugglers where ‘Tiger’ (Smuggler) will also be attending and there will be party and music with a ‘Qawwali ki Raat’ Inspector Vijay also follows to Goa and Abdul Bhai helps him in locating Sampat Seth’s ‘thhikaanaa’ and told him that it is difficult to enter there from the main gate and suggests that there is back door way but it is difficult. “Difficult but not impossible …” (Inspector Vijay)!!
Inspector Vijay swims the sea shores and the fights the big rocks to reach the ‘addaa’ of Sampat Seth. On the way he meets Ramu Dada. After a brief scuffle they get together to ‘treat’ Sampat Seth. Meanwhile Sampat Seth kidnaps Ramu’s bhaabhi and has kept her at the ‘addaa’ for his entertainment.Before the climax, as was customary in those years in the films, we have ‘qawwali’ where our heroes have disguised themselves, which obviously gets disclosed to Sampat before the performance ends. After usual final twists & turns Samat Seth gets his reward and dies.
Inspector Vijay submits his resignation to the commissioner but he torns it two pieces.
“Kal se tumhaari duty bhiwandi police station mein lagaayi gayi hai… wahaan ke kuchh gunde logon ko bahot pareshaan kar rahe hain …report for duty tomorrow”… Inspector Vijay salutes the commissioner …Ramu Dada and Seema are together and his bhaabhi is happy. The mill workers have installed a bust of Amar Babu in the mill compound and the movie ends there. Cast of the movie and other titles gets rolling on screen and in the background we have the song playing…“Sooraj se aankhen milaa…Taaron ko o dharti pe laa aa” …
So that is all from one of those movies from the seventies – they were just magic (for us who were growing 🙂 ) …
(After all is done and dusted, one question comes to mind that why Inspector Vijay has to swim across the seashore, hang on the rope on the wall to have a back door entry at Sampat Seth’s ‘addaa’. As all the smugglers attending the ‘meet’ must have come travelling from the city only. Moreover, the Inspector has to disguise himself to reach there. So, he could have easily got entry inside from the main gate. May be the director had some other thoughts??? 🙂 )
Let us now enjoy this wonderful Qawwali sung by Kishore Kumar and Mohd Rafi. Shashi Kapoor and Sanjeev Kumar lip sync in their voices respectively. We can also see Amjad Khan, Vidya Sinha and many others in the picturisation of this song. Lyrics of the song are by Anjaan. He has penned very interesting lyrics for the given situation. This entertaining composition is by Rajesh Roshan. I am sure readers will enjoy watching and listening to this song. Here we go …
Video
Audio
Song-Tere chehre se pardaa hataana bhi hai (Muqaddar)(1978) Singers-Kishore Kumar, Rafi, Lyrics-Anjaan, MD-Rajesh Roshan
Chorus
Kishore Kumar + Rafi
Lyrics
Hmm mmm mmm
Badi rangeen mehfil hai
Badaa betaab
Har dil hai
Ghataa mein hai abhi
Bijlee
Abhi parde mein
kya aa
Qaatil hai ae
Hey ae
Tere chehre se pardaa
Hataanaa bhi hai
Wallaah wallaah wallaah
Ya allaah
Wallaah wallaah wallaah
Waar teri nazar kaa
bachaanaa bhi hai
Wallaah wallaah wallaah
Teri mehfil
Teri mehfil
Teri mehfil
Teri mehfil
Arey teri mehfil ki khaatir
Tamaashaa hai ham
Tamaashaa hai ham
Tamaashaa hai ham
haan
Tamaashaa hai ham
Par tujhe ik tamaashaa
Dikhaanaa bhi hai
Wallaah wallaah wallaah
Ya allaah
Wallaah wallaah wallaah
O tere chehre se ae pardaa
Hataanaa bhi hai
Wallaah wallaah wallaah
Waar teri nazar ka bachaanaa
Bhi hai ae
Aaj dekhenge ham
Kya qayaamat hai tu
Kya ghazab
Kya qahar hai
Kaisi aafat hai tu
Arey re re re re
Jaanlevaa agar tere
Andaaz hain
Ham darenge nahin
Ham bhi jaanbaaz hain ae
Jaanlevaa agar tere
Andaaz hai
Ham darenge nahin
Ham bhi jaanbaaz hain
Faislaa ho o
Faislaa ho
Faislaa ho o
Faislaa ho
Arey faislaa aaj
Ho jaaye
Har baat kaa aa
Har baat kaa aa
Haan haan
Har baat kaa
Saamne tu bhi hai
Ye zamaanaa bhi hai
Wallaah wallaah wallaah
Ya allaah
Wallaah wallaah wallaah
O tere chehre se pardaa
Hataanaa bhi hai
Wallaah wallaah wallaah
ae waar teri nazar ka bachaanaa
Bhi hai ae
Itnaa betaab naa ho
Dil ko zaraa thhaam le ae
Ye nazaaraa hon to
Koyi sabr se kya kaam le ae
Khel hi khel mein
Har khel bigad jaaye naa aa
Ab kalejey mein koyi
Aag ye bhadkaaye naa aa
Bahot naache
Bahot naache
Bahot naache
Bahot naache
Haan aan bahot naache tere
Ishaaron pe ham
Ishaaron pe ham
Ishaaron pe ham
Naach kar
Aaj tujhko
Nachaanaa bhi hai
Hey ae
Wallaah wallaah wallaah
Ya allaah
Wallaah wallaah wallaah
tere chehre se pardaa
Hataanaa bhi hai
Wallaah wallaah wallaah
Waar teri nazar ka bachaanaa
Bhi hai
Balaa se jaan jaati hai to
Jaaye ae
Arey jee ke kya aa hogaa
Tadap kar raat din
Gham ka zehar ye
Pee ke kya aa hoga
Aaj tak tadpe ham
Ab teri baari hai
Aaj ki shab teri
Jaan pe bhaari hai
Arey re re re re re
Dil tera aaj
Zaalim ke panje mein hain
Be-reham qaatilon ke
Shikanje mein hai
Dil tera aaj
Zaalim ke panje mein hain
Be-reham qaatilon ke
Shikanje mein hain
Dilon par parde
Parde mein ye khanjar
Phenkne waale ae
Tamaashaa khud na ban jaana
Tamaashaa dekhne waale ae
?? bahaaron ko
Rang to laane de ae
Baat ban jaayegi ee
Waqt to aane de ae
Arey re re re re re
Baat dil ki hai
Honthhon pe kab se ruki
Zulm kat tak sahe
Ab to had chuki
Baat dil ki hai
Honthhon pe kab se rukee
Zulm kat tak sahe
Ab to had chuki
O sitamgar
O sitamgar
O sitamgar
O sitamgar
O sitamgar
Bade Zulm toone kiye
Haan
Toone kiye
Haan ji toone kiye ae
Aaj zulmon ka badlaa
Chukaanaa bhi hai
Wallaah wallaah wallaah
Ya allaah
Wallaah wallaah wallaah
O tere chehre se pardaa
Hataanaa bhi hai
Wallaah wallaah wallaah
Waar teri nazar ka bachaanaa
Bhi hai
Wallaah wallaah wallaah
Teri mehfil
Teri mehfil
Teri mehfil
Teri mehfil
Arey teri mehfil ki khaatir
Tamaashaa hain ham
Tamaashaa hain ham
Tamaashaa hai ham
Par tujhe ik tamaashaa
Dikhaanaa bhi hai
Wallaah wallaah wallaah
Ya allaah
Wallaah wallaah wallaah
O tere chehre se pardaa
Hataanaa bhi hai
Wallaah wallaah wallaah
Waar teri nazar ka bachaanaa
Bhi hai
Wallaah wallaah wallaah
Ya allaah
Wallaah wallaah wallaah
Wallaah wallaah wallaah
Ya allaah
Wallaah wallaah wallaah
———————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
———————————————–
हम्म म्म म्म
बड़ी रंगीन महफिल है
बड़ा बेताब
हर दिल है
घटा में है अभी
बिजली
अभी पर्दे में
क्या आ
क़ातिल है ए
हे ए
तेरे चेहरे से पर्दा
हटाना भी है
वल्लाह वल्लाह वल्लाह
या अल्लाह
वल्लाह वल्लाह वल्लाह
वार तेरी नज़र का
बचाना भी है
वल्लाह वल्लाह वल्लाह
तेरी महफिल
तेरी महफिल
तेरी महफिल
तेरी महफिल
अरे तेरी महफिल की खातिर
तमाशा है हम
तमाशा है हम
हाँ
तमाशा है हम
पर तुझे इक तमाशा
दिखाना भी है
वल्लाह वल्लाह वल्लाह
या अल्लाह
वल्लाह वल्लाह वल्लाह
ओ तेरे चेहरे से पर्दा
हटाना भी है
वल्लाह वल्लाह वल्लाह
वार तेरी नज़र का
बचाना भी है
आज देखेंगे हम
क्या कयामत है तू
क्या ग़ज़ब
क्या कहर है
कैसी आफत है तू
अरे रे रे रे रे
जानलेवा अगर तेरे
अंदाज़ हैं
हम डरेंगे नहीं
हम भी जाँबाज है ए
जानलेवा अगर तेरे
अंदाज़ हैं
हम डरेंगे नहीं
हम भी जाँबाज है ए
फैसला हो ओ
फैसला हो
फैसला हो ओ
फैसला हो
अरे फैसला आज
हो जाये
हर बात का आ
हर बात का आ
हाँ हाँ
हर बात का
सामने तू भी है
ये ज़माना भी है
वल्लाह वल्लाह वल्लाह
या अल्लाह
वल्लाह वल्लाह वल्लाह
ओ तेरे चेहरे से पर्दा
हटाना भी है
वल्लाह वल्लाह वल्लाह
ए वार तेरी नज़र का
बचाना भी है
इतना बेताब ना हो
दिल को ज़रा थाम ले ए
ये नज़ारा हो तो
कोई सब्र से क्या काम ले ए
खेल ही खेल में
हर खेल बिगड़ जाये ना आ
अब कलेजे में कोई
आग ये भड़काए ना आ
बहोत नाचें
बहोत नाचें
बहोत नाचें
बहोत नाचें
हाँ आं बहोत नाचे तेरे
इशारों पे हम
इशारों पे हम
इशारों पे हम
नाच कर
आज तुझको
नचाना भी है
हे ए
वल्लाह वल्लाह वल्लाह
या अल्लाह
वल्लाह वल्लाह वल्लाह
तेरे चेहरे से पर्दा
हटाना भी है
वल्लाह वल्लाह वल्लाह
वार तेरी नज़र का
बचाना भी है
बला से जान जाती है तो
जाये ए
अरे जी के क्या आ होगा
तड़प कर रात दिन
ग़म का जहर ये
पी के क्या आ होगा
आज तक तड़पे हम
अब तेरी बारी है
आज की शब तेरी
जान पे भारी है
अरे रे रे रे रे रे
दिल तेरा आज
ज़ालिम के पंजे में है
बे-रहम कातिलों के
शिकंजे में है
दिल तेरा आज
ज़ालिम के पंजे में है
बे-रहम कातिलों के
शिकंजे में है
दिलों पर पर्दे
पर्दे में ये खंजर
फेंकने वाले ए
तमाशा खुद न बन जाना
तमाशा देखने वाले ए
कुछ बहारों को ??
रंग तो लाने दे ए
बात बन जाएगी ई
वक़्त तो आने दे ए
अरे रे रे रे रे रे
बात दिल की है
होंठों पे कब से रुकी
ज़ुल्म कब तक सहे
अब तो हद हो चुकी
बात दिल की है
होंठों पे कब से रुकी
ज़ुल्म कब तक सहे
अब तो हद हो चुकी
ओ सितमगर
ओ सितमगर
ओ सितमगर
ओ सितमगर
ओ सितमगर
बड़े
ज़ुल्म तूने किए
हाँ
तूने किए
हाँ जी तूने किए ए
आज ज़ुल्मों का बदला
चुकाना भी है
वल्लाह वल्लाह वल्लाह
या अल्लाह
वल्लाह वल्लाह वल्लाह
ओ तेरे चेहरे से पर्दा
हटाना भी है
वल्लाह वल्लाह वल्लाह
वार तेरी नज़र का
बचाना भी है
तेरी महफिल
तेरी महफिल
तेरी महफिल
तेरी महफिल
अरे तेरी महफिल की खातिर
तमाशा है हम
तमाशा है हम
तमाशा है हम
पर तुझे इक तमाशा
दिखाना भी है
वल्लाह वल्लाह वल्लाह
या अल्लाह
वल्लाह वल्लाह वल्लाह
ओ तेरे चेहरे से पर्दा
हटाना भी है
वल्लाह वल्लाह वल्लाह
वार तेरी नज़र का
बचाना भी है
वल्लाह वल्लाह वल्लाह
या अल्लाह
वल्लाह वल्लाह वल्लाह
वल्लाह वल्लाह वल्लाह
या अल्लाह
वल्लाह वल्लाह वल्लाह
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5550 | Post No. : | 18014 | Movie Count : |
4825 |
#the Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # (Debutant Movie- Atyaachaar-1978/Gulami Ki Zanzeeren-1983)
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Today’s song is from the ‘1978’ movie ‘Atyaachaar’. It was directed by C.P. Sharma for ‘Ripa Films, Bombay’. C.P. Sharma was also the writer and producer of this movie.
The cast of this movie included Chander, Sona, Akashdeep, Alka, Manek Chaudhary, Sarita Devi, Samar Rai, Satpal, Kamaljeet, Sukhdev, Fatima, Kavita, Yusuf, Jugnu, Krishna Iyer, Ravindra Mishra, Tulsi, Subhash, Veer, and Razia, Vijaya and Master Zaheer and others. Kamini Kaushal, Kader Khan, Tom Alter, Dulari, and Chandrashekhar had a special appearance in this movie. (HFGK Vol – V mentions Chandrashekhar, Madan Puri, Mukri and Padma Khanna had a friendly appearance which is not mentioned in the title of the movie available on online (version of 1983)). Albert had a guest appearance in this movie.
This movie was initially released in ‘1978’ when it was passed by Censor Board on 28.02.1978. However this movie was revised in 1983 and release with the title ‘Gulami Ki Zanzeeren’ in 1983 which was passed by Censor Board on 20.09.1983. Additional screenplay and dialogues of this movie was written by Khalid-Narvi. Editing of this movie was done by Prabhakar Supare.
‘Atyaachaar/Gulami Ki Zanzeeren had five songs composed by Ravindra Jain. Ravindra Jain penned two songs, Naqsh Lyallpuri two songs, and Hasrat Jaipuri had penned the lyrics for one song in this movie. However the name of Hasrat Jaipuri is missing from list of lyricists from the titles in the revised version of this movie available online. Mohd Rafi, Asha Bhonsle, Chandrani Mukherjee, Amit Kumar and Jaspal Singh were the playback singers for this movie’s songs. (I am not aware if any of the songs included in the original movie were edited in the revised version later as I have not watched the full movie yet).
Here is the brief about this movie taken from the YouTube link of this movie.
“Gulami Ki Zanzeeren is the story set in the pre independence India and revolve around Shiv and his revolutionary friends, which includes Shiv’s lady Nawab Khandan’s beautiful daughter Razia. Who shun all the luxuries of life and plunge into freedom struggle. . Atyaachaar is the story of brave, tough, dare, and devil, revolutionary Shiv who was shunted day and night by British Government for his deeds, and carried reward on his head. . Atyaachaar is also the story of an Indian police officer who is so devoted to his duties as police chief under the British, that he does not hesitate to turn out his wife just because she has full of sympathies with the freedom fighters. . Atyaachaar is also the story that teaches us to live and die for the cause of mother land. It is because of people like Shiv and his associates that today we are enjoying the fruits of freedom.”
Today’s song is a patriotic song reminding us of the innumerable sacrifices made by our countrymen for the freedom of this country. The song praises the martyrs and the many known and unknown who laid down their lives fighting against the tyrant British rule which was full of oppression and atrocities on our people and which took the lives of many prominent young revolutionaries. We got our hard fought freedom on 15th August’1947. And after that a long time of seventy five years have passed by now. Our country has made significant progress and development given in these years so far and has now become a prominent country ranking in the top ten countries of the world. However our responsibility to protect our sovereignty has also increased since then and we have also fought wars with our neighbor countries to protect our land and its people. Even now our soldiers are continuing fighting with the terrorists and other infiltrates on the border who try to disrupt our civil life by killing innocent people. We still have ‘traitors’ among us who out of their greediness make compromises with the enemies of this nation and help the ‘terrorists’ to achieve their interests by dividing the people of this country.
However, there are people who in their day to day live play important roles and give their highest sacrifice to protect this country. It is our duty to remember all such brave sons and daughters of this soil and pay tributes to them. I will not write much about it because it is the subject of ‘more action’ than ‘mere rhetoric’. However I would like to mention below what the narrator says at the starting of this movie in the background of the map of our country and showing the glimpses of ‘freedom movement’ and some prominent freedom fighters of Bharat.
‘Main Bharat hoon. mere Itihaas ka koyi aar paar nahin aur na hi mere vaibhav ki koyi seemaa. Isliye samay samay par mujhe mitaa daalne ki koshishen ki gayi. Mujhe lootne ke shadyantra rache gaye. Kisine mujhe dost banaakar lootaa to kisine ghulam banaa kar. Mere sapooton ko ye atyaachaar bhalaa kyun kar ganwaaraa hota. Kuchh ne atyaachaar ka muqaabla talwaar se kiya to kuchh jaanbaazon ne talwaaron ke daant apni gardon se tod daale. Mujhe apne har sapoot par naaz hain. Main phoolaa nahin samaataa jab meri santaan mere in sapooton ki jayantiyaa manaati hai unhe yaad kar leti hai. Lekin mujhe ek khed bhi hai. Meri santaan mere kuchh jaanbaazon ka naam tak nahin jaanti jinhone meri mitti ka mastak oonchaa karne ke liye apne aap ko bali vedi par chadhha diya aur uff tak nahin ki. Badlaa tak talab nahin kiya. Beshumaar shakti sampann British raaj ke ghor atyaachaar ki takkar mein in nihatthe deewaanon ne swatantrata ka bigool bajaa diya. Aur unka ek hi naaraa thha.
Maata aur matribhoomi swarg se mahaan hai. In naaron ki goonj se videshiyon ke kadam kaanp uthhe. Union Jack waqt ki pukaar ke aage munh ke bal gir padaa. Aur laal kile ke mastak par tirange ka chandan lag gayaa. Is tirange chandan ko mere sapooton ne salaami dee.मैं भारत हूँ। मेरे इतिहास का कोई आर पार नहीं और न ही मेरे वैभव की कोई सीमा। इसलिए समय समय पर मुझे मिटा डालने की कोशिशें की गईं। मुझे लूटने के षड्यंत्र रचे गए। किसीने मुझे दोस्त बना कर लूटा तो किसी ने ग़ुलाम बना कर। मेरे सपूतों को ये अत्याचार भला क्यूँ कर गंवारा होता। कुछ ने अत्याचार का मुक़ाबला तलवार से किया तो कुछ जांबाज़ों ने तलवारों के दाँत अपनी गर्दन से तोड़ डाले। मुझे अपने हर सपूत पर नाज़ है। मैं फूला नहीं समाता जब मेरी संतान मेरे इन सपूतों की जयंतियाँ मनाती है उन्हे याद कर लेती है। लेकिन मुझे एक खेद भी है। मेरी संतान मेरे कुछ जांबाज़ों का नाम तक नहीं जानती जिन्होने मेरी मिट्टी का मस्तक ऊंचा करने के लिए अपने आप को बलि वेदि पर चढ़ा दिया और उफ तक नहीं की। बदला तक तलब नहीं किया। बेशुमार शक्ति सम्पन्न ब्रिटिश राज के घोर अत्याचार की टक्कर में इन निहत्थे दीवानों ने स्वतन्त्रता का बिगूल बजा दिया। और उनका एक नारा था। माता और मातृभूमि स्वर्ग से महान है। इन नारों की गूंज से विदेशियों के कदम काँप उठे। यूनियन जैक वक़्त की पुकार के आगे मुंह के बल गिर पड़ा। और लाल किले के मस्तक पर तिरंगे का चन्दन लग गया। इस तिरंगे चन्दन को मेरे सपूतों ने सलामी दी।
Today is the day when we remember one of those young revolutionary martyrs of this land -Sardar Bhagat Singh. He was born on 28th September’1907 and sacrificed his life for the fellowmen of this country, leaving behind the legacy of his thoughts, indomitable spirit, bravery and mighty courage on 23rd March’1931.
Today also happens to be the birth anniversary of many celebrities and sportspersons who with their arts and sports have brought fame to this country and had made the countrymen proud of their deeds. There might be many unknown who were born today and may not be famous like the celebrities, those many soldiers on our borders, the other services who are continuing their good work in the development of this country and doing great works away from the limelight of publicity. We salute all those today and also pay our tributes to them.
Let us listen to the today’s song now which is soulfully sung by Mohd Rafi. Lyrics are by Naqsh Lyallpuri and music is composed by Ravindra Jain.
The audio of this full song is available while the video is available partially. I guess that this song is played in parts in the background in this movie. ( e.g. at the starting of this movie, when the revolutionaries are protesting and when the lead revolutionary shown in this movie sacrifices his life which is available in the video given herewith where we can see Chander (I hope I am correct), Kamini Kaushal, Dulari, and Sona in the picturisation of this song.
I would request knowledgeable readers to throw more light on this movie, whoever have watched it, and the songs in this movie.
Audio (Longer)
Video
Song-Jin veeron ne watan kaa sar oonchaa kiya hai (Atyaachaar)(1978) Singer-Rafi, Naqsh Llayalpuri, MD-Ravindra Jain
chorus
Rafi + chorus
Lyrics
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(Part-1)
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Ho o
Ho ho o
Ho ho o
Ho ho o
Jin veeron ne ae
Watan kaa sar
Oonchaa kiyaa hai ae
Unhen sheesh jhukaate rehnaa
Phool chadhhaate rehnaa aa
Maataram vande maataram
Maataram vande maataram
Maut ke parde mein
Un ko mil gayi hain zindagi
Ho o o
Desh ki khaatir jinhone ae
Ho o o
Hans kar di qurbaaniyaan
Bhool sakte hain bhalaa
Kaise unhen
Ahl e watan
Mit nahin sakte dilon se
Unki yaadon ke nishaan
Jin veeron ne ae
Jin veeron ne ae
Watan kaa sar
Oonchaa kiyaa hai ae
Unhen sheesh jhukaate rehnaa
Phool chadhhaate rehnaa aa
Maataram vande maataram
Vande ae
Maataram vande maataram
Aa aa aa
O o o o o
Khoon ke katre milaakar
Kaum ke pyaare shaheed
Ho o o o
Gangaa aur jamunaa ke
Ho o o o
Dhaaron ko rawaani de gaye
Zindagi ko jo samajhte thhe
Amaanat desh ki ee
Aanewaale waqt ko
Apni jawaani de gaye
Jin veeron ne ae
Jin veeron ne ae
Watan kaa sar
Oonchaa kiyaa hai ae
Unhen sheesh jhukaate rehnaa
Phool chadhhaate rehnaa aa
Maataram vande maataram
Vande ae
Maataram vande maataram
Vande ae
Maataram vande maataram
Vande ae
Maataram vande maataram
————————-
(Part-2)
————————
Jin veeron ne ae
Watan kaa sar
Oonchaa kiyaa hai ae
Unhen sheesh jhukaate rehnaa
Phool chadhhaate rehnaa aa
Maataram vande maataram
Maataram vande maataram
Ho ho o
Ho ho ho o
Ho o ho o
Kis qadar jaanbaaz thhe
Wo desh ke pyaare sapoot
Ho o o o
Jinki aankhon mein huaa
Ho o o o
Bezaar aazaadi kaa khwaab
Koyi hindu thhaa na muslim
Thhe sabhi wo bhaarti ee
Choom ker phaansi ka phandaa
Jo pukaare inquilaab
Inquilaab zindaabaad
Inquilaab zindaabaad
Jin veeron ne ae
Jin veeron ne ae
Watan kaa sar
Oonchaa kiyaa hai ae
Unhen sheesh jhukaate rehnaa
Phool chadhhaate rehnaa aa
Maataram vande maataram
Vande ae
Maataram vande maataram
Vande ae
Maataram vande maataram
Vande ae
Maataram vande maataram
Shaadiyaan jinko rachaanaa thhi
naye parcham taley ae
le ke sehron ki tamannaa aa
Wo shahaadat paa gaye ae
Dulhanon ke dil mein armaan
Rah gaye sindoor ke ae
Maang bharnaa thhi
bhari lekin chitaa kee raakh se
Jin veeron ne ae
Watan kaa sar
Oonchaa kiyaa hai ae
Unhen sheesh jhukaate rehnaa aa
Phool chadhhaate rehnaa aa
Maataram vande maataram
Vande ae
Maataram vande maataram
Vande ae
Maataram vande maataram
———————————–
Devnagri Script lyrics(Provided by Avinash Scrapwala)
————————————
भाग – १
————————————
हो ओ
हो हो ओ
हो हो ओ
हो हो ओ
जिन वीरों ने ए
वतन का सर
ऊंचा किया है ए
उन्हें शीश झुकाते रहना
फूल चढ़ाते रहना आ
मातरम वंदे मातरम
मातरम वंदे मातरम
मौत के पर्दे में
उन को मिल गयी हैं ज़िंदगी
हो ओ ओ
देश खातिर जिनहोने ए
हो ओ ओ
हंस कर दी कुर्बानियाँ
भूल सकते हैं भला
कैसे उन्हें
अहल-ए-वतन
मिट नहीं सकते दिलों से
उनकी यादों के निशान
जिन वीरों ने ए
जिन वीरों ने ए
वतन का सर
ऊंचा किया है ए
उन्हें शीश झुकाते रहना
फूल चढ़ाते रहना
मातरम वंदे मातरम
वंदे ए
मातरम वंदे मातरम
आ आ आ
ओ ओ ओ ओ ओ
खून के कतरे मिलाकर
कौम के प्यारे शहीद
हो ओ ओ ओ
गंगा और जमुना के
हो ओ ओ ओ
धारों को रवानी दे गए
ज़िंदगी को जो समझते थे
अमानत देश की ई
आनेवाले वक़्त को
अपनी जवानी दे गए
जिन वीरों ने ए
जिन वीरों ने ए
वतन का सर
ऊंचा किया है ए
उन्हें शीश झुकाते रहना
फूल चढ़ाते रहना
मातरम वंदे मातरम
वंदे ए
मातरम वंदे मातरम
वंदे ए
मातरम वंदे मातरम
वंदे ए
मातरम वंदे मातरम
————————-
भाग – २
————————-
जिन वीरों ने ए
वतन का सर
ऊंचा किया है ए
उन्हें शीश झुकाते रहना
फूल चढ़ाते रहना आ
मातरम वंदे मातरम
मातरम वंदे मातरम
हो हो ओ
हो हो हो ओ
हो ओ हो ओ
किस कदर जाँबाज थे
वो देश के प्यारे सपूत
हो ओ ओ ओ
जिनकी आँखों में हुआ
हो ओ ओ ओ
बेज़ार आज़ादी का ख्वाब
कोई हिन्दू था न मुस्लिम
थे सभी वो भारती ई
चूम के फांसी का फंदा
जो पुकारे इंकिलाब
इंकिलाब ज़िन्दाबाद
इंकिलाब ज़िन्दाबाद
जिन वीरों ने ए
जिन वीरों ने ए
वतन का सर
ऊंचा किया है ए
उन्हें शीश झुकाते रहना
फूल चढ़ाते रहना आ
मातरम वंदे मातरम
वंदे ए
मातरम वंदे मातरम
वंदे ए
मातरम वंदे मातरम
वंदे ए
मातरम वंदे मातरम
शादियाँ जिनको रचाना थी
नए परचम तले ए
ले के सेहरों की तमन्ना आ
वो शहादत पा गए ए
दुल्हनों के दिल में अरमान
रह गए सिंदूर के ए
मांग भरना थी
भरी लेकिन चिता की राख़ से
जिन वीरों ने ए
वतन का सर
ऊंचा किया है ए
उन्हें शीश झुकाते रहना
फूल चढ़ाते रहना आ
मातरम वंदे मातरम
वंदे ए
मातरम वंदे मातरम
वंदे ए
मातरम वंदे मातरम
Yaari hai phoolon se meri yaari hai
Posted on: June 19, 2023
- In: Bappi Lahiri solo songs | Bappi Lahiri Songs | Car song | Devnagri script lyrics by Sudhir | Guest posts | How come this song was not posted earlier | joie de vivre | Lyrics contributed by readers | MD-Singer Song | Post by Peevesie's mom | Songs of 1970s (1971 to 1980) | Songs of 1978 | Songs picturised in cities | Yearwise breakup of songs
- 2 Comments
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 : |
5449 | Post No. : | 17855 |
Hullo Atuldom
19th June is the birthday of actor Raj Kiran. He will be 73 today.
Recently I saw Mahesh Bhatt’s ‘Arth’ (1982) and I thought such a good-looking person. He was playing the part of Raj who falls in love with the recently jilted Pooja (Shabana Azmi); that was an odd pairing. But they looked good together. Raj Kiran had made his debut in 1975 through BR Ishara’s ‘Kaagaz Ki Nao’ with Sarika as his co-star. His next release was ‘Shiksha’ (1978) which was directed by S Ramanathan. It was produced by Tarachand Barjatya – meaning Rajshri productions.
The movie had Urmila Bhatt and Iftekhar playing Raj’s parents. Beena Banerjee & Benjamin played villagers who lives are effected by Vijay Gupta’s (Raj Kiran) reckless driving. Vijay’s father is a strict person who feels that giving him a proper punishment for this recklessness will make his son a better person. So instead of bailing him out of the situation the father throws him out of the house. Vinay takes up a job as a driver at a rich man’s place (I think that was Pinchoo Kapoor) under a new name – Vinay & also doesn’t disclose his lineage. Vinay (a.k.a Vijay) also comes across the family that was effected by his recklessness, helps them in various ways so that they come to terms with and out of their misfortune. That was the simple story of ‘Shiksha’.
Bappi Lahiri was the music director of the songs in this movie which were written by Gauhar Kanpuri. I have seen the shoot of a part of the opening song of this film.
The music-part of the song before an antara was shot on the road out side the building which was my maayka. There was a lot of activity on our road on that day. Suddenly we saw a few shops spring up. Then we found the reason for all the activity as we saw large reflectors, and crowds build up. Now, there is a park opposite my building at Andheri where suddenly there were people sitting under huge beach-style umbrellas. I think that was the time of some holidays or vacation so we kids (all aged below 12) were allowed lots of time in the park by our parents. Then we saw a car drive up with a whole lot of men and ramming through the newly set up shops. Then the shops got reset and the same thing happened again. Sometime later, a person involved in all of this came up and rang the bell at my home asking for water, cold if possible. And my mom gave him a few bottles of water that is when she made inquiries about what the shoot was all about. I remember that she gathered info that it was a new boy who was playing the hero, and this is going to be part of the song. I don’t know if she recognized Jagdeep who was the only known face in the whole setup; maybe she would have if he was not in that funny wig.
If we see the video of the song this incident happens from 3:52, when the car is shown driving from under a flyover which is the Gokhale Bridge of Andheri West. The vehicle drives past Barucha Baug also known as Parsi Colony (in our area). The cars comes down the road and takes a left turn and runs into those shops. My building is seen in the background at 3:58 seconds into the song. The building in the background at 4.02 was the staff quarters of Tata Housing Centre (where my aunt used to stay; in fact her house itself is seen very clearly). This 20 seconds of the song was shot on a sunny day outside my home in Andheri. One can say ‘My personal 20 seconds of Bollywood’ 🙂 with my building and Tata colony being seen again at 4.18 of the song.
Now the readers may have guessed the reason that I have chosen this Bappi Lahiri sung & directed song to go with today’s post that is wishing Raj Kiran a very Happy Birthday. He is said to have gone missing for the last few decades; his last released film was ‘Chudail No. 1’ in 1999.
Then I read Rishi Kapoor’s quote somewhere “I’ve been wondering where Raj had disappeared. The question was haunting me for a very long time. Then these rumours of Raj being no more began doing the rounds. I was really disturbed. How can a colleague with whom I shared a really good times, just vanish from the face of earth? I decided to look up Raj’s elder brother Govind Mahtani to find out about Raj. I was so relieved when Govind told me that Raj was alive. But he was confined to an institution in Atlanta due to health problems. … apparently, he looks after his own treatment by working within the institution. It’s a heart-rending situation for an actor who was so successful at one time”.
Hope this once upon a time handsome looking actor is fine.
Video
Audio
Song-Yaari hai phoolon se meri yaari hai (Shiksha)(1978) Singer-Bappi Lahiri, Lyrics-Gauhar Kanpuri, MD-Bappi Lahiri
Chorus
Lyrics
yaari hai
phoolon se meri yaari hai
pyaari hai ae
kali bhi mujhe pyaari hai
din doobey yaa shaam dhaley
gaatey huye
hum to chaley
arre yaari hai
phoolon se meri yaari hai
arre pyaari hai ae
kali bhi mujhe pyaari hai
din doobey yaa shaam dhaley
gaatey huye
hum to chaley
yaari hai
phoolon se meri yaari hai
laa laalaa
laaa laalaalaalaa
laaa laa laa
laa laa laa laa
jab hum jhoomen
ambar ghoomey
chalte hain to
raahen chale saathh mere
mastaaane hum
hum ko kya gham
rehti hardam
manzil mere haath mein ae ae
arre yaari hai
phoolon se meri yaari hai
pyaari hai ae
kali bhi mujhe pyaari hai
din doobey yaa shaam dhaley
gaatey huye
hum to chaley
arre yaari hai
phoolon se meri yaari hai
laaa laalaaaa
laaa laalaalaalaa
laaa laa laa
laaa laaa laa laa laa
aandhi toofaan
baadal bijli
ban ke tan ke
rukte nahin ham kahin
duniya mein to
jo hai ab hai
apna sab hai
kal hamne dekha nahin een een
arre yaari hai
phoolon se meri yaari hai
arre pyaari hai ae
kali bhi mujhe pyaari hai
din doobey yaa shaam dhaley
gaatey huye
hum to chaley
arre yaari hai
phoolon se meri yaari hai
arre pyaari hai ae
kali bhi mujhe pyaari hai
laaa laalaalaa
laaa laalaalaalaa
laaa laa laa laa
laa laaa laa laa laa
ho ho
laaa laalaalaa
laaa laalaalaalaa
laaa laa laa laa
laa laaa laa laa laa
ho ho
laaa laalaalaa
laaa laalaalaalaa
laaa laa laa laa
laa laaa laa laa laa
ho ho
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
यारी है
फूलों से मेरी यारी है
प्यारी है
कली भी मुझे प्यारी है
दिन डूबे या शाम ढले
गाते हुये हम तो चले
अरे यारी है
फूलों से मेरी यारी है
अरे प्यारी है
कली भी मुझे प्यारी है
दिन डूबे या शाम ढले
गाते हुये हम तो चले
अरे यारी है
फूलों से मेरी यारी है
लाss ला ला ला लाल्ला ला लाs
लाss ला ला ला लाल्ला ला लाs
जब हम झूमें
अबार घूमे
चलते हैं तो
राहें चलें साथ में
मस्ताने हम
हम को क्या ग़म
रहती है हरदम
मंज़िल मेरे हाथ में
यारी है
फूलों से मेरी यारी है
प्यारी है
कली भी मुझे प्यारी है
दिन डूबे या शाम ढले
गाते हुये हम तो चले
अरे यारी है
फूलों से मेरी यारी है
लाss ला ला ला लाल्ला ला लाs
लाss ला ला ला लाल्ला ला लाs
आँधी तूफान
बादल बिजली
बन के तन के
रुकते नहीं हम कभी
दुनिया में तो
जो है अब है
अपना सब है
कल हमने देखा नहीं
अरे यारी है
फूलों से मेरी यारी है
प्यारी है
कली भी मुझे प्यारी है
दिन डूबे या शाम ढले
गाते हुये हम तो चले
अरे यारी है
फूलों से मेरी यारी है
ला ला ला लाss ला लाss
ला ला ला ला लाss लाss लाल्ला
हो हो
ला ला ला लाss ला लाss
ला ला ला ला लाss लाss लाल्ला
हो हो
ला ला ला लाss ला लाss
ला ला ला ला लाss लाss लाल्ला
हो हो
ला ला ला लाss ला लाss
ला ला ला ला लाss लाss लाल्ला
हो हो
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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