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

Archive for the ‘Songs of 1980s (1981 to 1990)’ Category


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

Blog Day :

4371 Post No. : 15707

———————————————–——————————-
Blog 10-Year Challenge (2010-2020) – Song No. 40
——————————————————————————

Ten years back on 06.07.2010 three songs from three movies were represented on the blog:-

Song Movie title-Year Remarks
Gori hain kalaayiyaan tu lade mujhe hari hari choodiyaan Aaj Ka Arjun-1990 02 songs posted
Sajna mera dil tera dil gayaa mil Jhoola-1962 All songs covered
Piyaa piyaa naa laage moraa jiyaa Phagun-1958 All songs covered

Two movies ‘Jhoola-1962’ and ‘Phagun-1958’ have already been YIPPEED, so we have only one movie viz. ‘Aaj Ka Arjun-1990’ which is eligible for ‘blog ten-year challenge’ today (6 july 2020).

I remember that I was staying at Kota (Rajasthan) when this movie ‘Aaj Ka Arjun’ was released. Two of its songs had become very much popular. The song ‘chali aana tu paan ki dukaan pe’ was played on cassette-recorder in every ‘paan-shop’ in the ‘gali’ and ‘nukkad’ 😊 while the other song ‘gori hain kalaayiyaan’ was also played and could be heard everywhere (specially in Rajasthan).

Befittingly these two songs have already been covered on the blog. It proves that the same two songs were considered the most popular by the editor of the blog as well. 🙂

Song Posted On
Chali aana tu paan ki dukaan pe saadhe teen baje 26.05.2009
Gori hain kalaayiyaan tu lade mujhe hari hari choodiyaan 06.07.2010

I had never watched this movie (for me it was a ‘No Amitabh movie’ years those days), so when our Prakash ji sent the lyrics of the today’s song, I had no recollections of having listening to this song. Other than the above mentioned two songs of this movie I was not aware of remember any other songs of this movie. However, when I listened to today’s song, I liked it. I may have heard this song in the past but the song may have failed to register with me in the past.

This song is in two versions- one is sung by Amit Kumar and the other by Lata Mangeshkar.

“Aaj Ka Arjun-1990” was directed by K.C. Bokadia for BMB Productions. K.C. Bokadia was also the producer of this movie. It had Amitabh Bachchan, Jaya Prada, Radhika, Suresh Oberoi, Kiran Kumar and Amrish Puri. The movie introduced Rishabh Shukla on the big screen.

Asrani and Anupam Kher make special appearance in this movie. The above cast was supported by Preeti Sapru, Baby Guddu, Bramhachari, Praveen Kumar, Anirudh Agarwal, Junior Mehmood, Ram Kumar and Vikas Anand.

Story of this movie was written by P. Vasu and screenplay was written by Santosh Saroj. Dialogues of this movie were written by Anirudh Tiwari. Saroj Khan and Chinni Prakash were the choreographers for this movie. Editing of this movie was done by M.S. Shinde.

Lata Mangeshkar, Kavita Krishnamurthy, Alka Yagnik, Shabbir Kumar, Mohd Aziz and Amit Kumar had given their voices to the songs in this movie. Anjaan was the lyricist for the songs in this movie and music was composed by Bappi Lahiri.

This movie was passed by Censor Board on 03.08.1990.

Let us now listen to today’s multiple version song. It is sung by Amit Kumar and Lata Mangeshkar. Lyrics are by Anjaan and music is composed by Bappi Lahiri.

Lyrics of this song were sent by Prakashchandra.

Audio (Male version)

Audio full (Female version)

Video (Female version)

Song-Naa jaa re naa jaa re (Aaj Ka Arjun)(1990) Singers-Amit Kumar/ Lata, Lyrics-Anjaan, MD-Bappi Lahiri

——————————
Lyrics (Provided by Prakashchandra)

—————————
Male version
————————–

naa jaa re ae ae ae ae
naa jaa re ae ae ae ae

naa jaa re ae
naa jaa re ae
yoon mujhe ae chhod ke
dil meraa aa tod ke ae ae ae ae
naa jaa re
na jaa re
yoon mujhe ae chhod ke
dil meraa aa tod ke ae ae ae
naa jaa re
na jaa re ae

munne mere dekh ke tujhko
ab tak zindaa hoon
bhool huyi to
maaf bhi kar de
main sharmindaa hoon
tu jo mujhse rooth gayaa to
main mar jaaungaa aa
mar kar bhi main
behna ko kya munh dikhlaaungaa aa
toot jaaungaa main
naa jaa yoon rooth ke ae ae
naa jaa re ae
naa jaa re
yoon mujhe ae chhod ke
dil meraa aa tod ke ae ae
naa jaa re
naa jaa re
naa jaa re
naa jaa re
naa jaa re
naa aa jaa re

———————————————–
Female version:
———————————————–

naa aa jaa re ae
naa a a a a aa aa aaa
naa jaa re ae
naa aa jaa..aaa

naa jaa re ae
naa jaa re
yoon mujhe ae chhod ke ae ae
naa jaa re ae
na jaa re ae
yoon mujhe ae chhod ke
dil meraa aa tod ke ae ae
naa jaa re ae
naa jaa re ae
yoon mujhe ae chhod ke ae ae
naa jaa re ae
naa jaa re ae

tujhse bichhad ke
tere bina to
jee na sakoongi main ae
aayegaa tu
laut ke phir to
phir na miloongi main
tujhse bichhad ke
tere bina to
jee naa sakoongi main aen
aayegaa tu
laut ke phir to
phir naa miloongi main
o o o o o o
o o o o o o
o o o
o o o o
ho o o o
yoon nazar mod ke
gham se dil jod ke ae ae ae
naa jaa re ae
naa jaa re ae
yoon mujhe ae chhod ke
dil meraa aa tod ke ae ae
naa jaa re ae
naa jaa re ae

saari bahaarein
saare nazaare
saath hi letaa jaa aa
jaate jaate mujhko thhoda
zehar hi detaa jaa aa
saari bahaarein
saare nazaare
saath hi letaa jaa aa
jaate jaate mujhko thhoda
zehar hi detaa jaa
o o
o o o o o o o o o
o o o o
o o o o
tujhko meri qasam
ye qadam rok le ae ae ae
naa jaa re ae
naa jaa re ae
yoon mujhe ae chhod ke
dil meraa aa tod ke ae ae ae
naa jaa re ae
naa jaa re ae
yoon mujhe ae ae chhod ke ae
naa jaa re ae
naa jaa re
naa jaa re ae
naa jaa re ae

————————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————-
(पुरुष स्वर)
————————————————
ना जा रे ए ए ए ए
ना जा रे ए ए ए ए
ना जा रे ए ना जा रे ए
यूं मुझे ए छोड़ के
दिल मेरा तोड़ के ए ए ए ए
ना जा रे ना जा रे
यूं मुझे ए छोड़ के
दिल मेरा आ तोड़ के ए ए
ना जा रे ना जा रे ए
मुन्ने मेरे देख के तुझको
अब तक ज़िंदा हूँ
भूल हुयी तो
माफ़ भी कर दे
मैं शर्मिन्दा हूँ
तू जो मुझसे रूठ गया तो
मैं मर जाऊँगा आ
मर कर भी मैं
बहना को क्या मुंह दिखलाऊंगा आ
टूट जाऊँगा मैं
ना जा यूं रूठ के ए ए
ना जा रे ना जा रे
यूं मुझे ए छोड़ के
दिल मेरा आ तोड़ के ए ए
ना जा रे
ना जा रे
ना जा रे
ना जा रे
ना जा रे
ना जा रे
———————–
(महिला स्वर)
———————–
ना जा रे ए
ना आ आ आ आ आ आ °°°°°
ना जा रे ए
ना जा°°°°°आ°°°°°
ना जा रे
ना जा रे
यूं मुझे ए छोड़ के ए ए
ना जा रे ना जा रे
यूं मुझे ए छोड़ के
दिल मेरा तोड़ के ए ए
ना जा रे ना जा रे
यूं मुझे ए छोड़ के ए ए
ना जा रे ना जा रे

तुझसे बिछड़ के
तेरे बिना तो
जी ना सकूंगी मैं ए
आएगा तू
लौट के फिर तो
फिर ना मिलूंगी मैं
तुझसे बिछड़ के
तेरे बिना तो
जी ना सकूंगी मैं एं
आएगा तू
लौट के फिर तो
फिर ना मिलूंगी मैं
ओ ओ ओ ओ ओ ओ ओ °°°°°
ओ ओ ओ ओ ओ ओ ओ °°°°°
हो ओ ओ ओ ओ ह ओ ओ ओ
हो ओ ओ ओ °°°°°
यूं नज़र मोड़ के
ग़म से दिल जोड़ के ए ए ए
ना जा रे ना जा रे
यूं मुझे ए छोड़ के
दिल मेरा आ तोड़ के ए ए
ना जा रे ना जा रे

सारी बहारें
सारे नज़ारे
साथ ही लेता जा
जाते जाते मुझको थोडा
ज़हर ही देता जा आ
सारी बहारें
सारे नज़ारे
साथ ही लेता जा
जाते जाते मुझको थोडा
ज़हर ही देता जा
ओ ओ ओ ओ ओ ओ ओ °°°°°
ओ ओ ओ ओ ओ ओ ओ °°°°°
हो ओ ओ ओ ओ ह ओ ओ ओ
हो ओ ओ ओ °°°°°
तुझको मेरी क़सम
ये क़दम रोक ले ए ए ए
ना जा रे ना जा रे
यूं मुझे ए छोड़ के
दिल मेरा आ तोड़ के ए ए ए
ना जा रे ना जा रे
यूं मुझे ए ए छोड़ के ए
ना जा रे ना जा रे
ना जा रे ना जा रे ए …


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

Blog Day :

4368 Post No. : 15698 Movie Count :

4328

Today 3rd July 2020 is the sixty-eighth birth anniversary (born on 3rd July 1952) of Singer Amit Kumar Ganguly or Amit Kumar.

On this occasion here is a song from the movie ‘Swarthi-1986’ sung by him.

“Swarthi-1986” was directed by Radhakant for ‘Filmnagar’. It was produced by Sohanlal Kanwar. Smt. Vijayalaxmi was the co-producer of this movie. It had Suresh Oberoi, Neeta Mehta, Shafi Inamdar, Komal Mahuvakar, Aruna Irani, Paintal, with Anupam Kher, supported by Chand Usmani, Arun Mathur, Baba, Vandana Shastri, Sunanda, Rana Jung Bahadur, Tulsi, Manjit Sikhwal, Kaka, Malik, Sehgal, Ashok Saxena, Amar Nath and Alka Noopur and others.

Story of this movie was written by Ram Kelkar. Editing of this movie was done by Satpal Suri and Narinder Arora.

This movie had six songs (including one multiple version song). Lyrics of these songs for this movie were written by M.G. Hashmat (four songs, including one multiple version song), Vishweshvar Sharma and Dilip Tahir (one song each). Music was composed by Sapan Jagmohan.

Amit Kumar, Anuradha Paudwal and Suresh Wadkar had given their voices to the songs in this movie.

Today’s song is written by M.G. Hashmat and sung by Amit Kumar. Sapan Jagmohan is the composer as mentioned above.

Let us now enjoy this entertaining song. Lyrics of this song were sent by Prakashchandra. Only audio of this song is available and my guess is that it must have been lip synced by Suresh Oberoi the hero of this movie. The other details of this movie are taken from the ‘titles’ of the movie available on YT link. However, the date of passing by Censor Board of this movie could not be confirmed.

When Prakash ji had sent this song, he had put a question mark against the year-1985/1986- of this movie and that prompted me to check for this movie details. However, since this movie is not mentioned in the HFGK Vol-VI (1981-1985) I guess the year of the release of this movie is 1986. I was also not aware of this movie name or its songs. And I was listening to this song first time, I think. Amit Kumar has sung the song in his style with gusto and it’s a nice song to enjoy. 😊

With this song ‘Swarthi-1986’ makes its debut on the blog. …

(audio)
Song-Mera to iraada hai jaan e mann (Swaarthi)(1986) Singer-Amit Kumar, Lyrics-M G Hashmat, MD-Sapan Jagmohan

Lyrics(Provided by Prakashchandra)

mera to iraadaa hai jaan-e-mann
teraa kyaa iraadaa hai jaan-e-mann
mera to iraadaa hai jaan-e-mann
ho o o mujhe bhi nashaa hai
tujhe bhi nashaa hai ae
mujhe bhi nashaa hai
tujhe bhi nashaa hai
dil ko na rok aajdil ke paas aane de
meraa to iraadaa hai jaan-e-mann
bol teraa kyaa iraadaa hai jaan-e-mann
meraa to iraadaa haijaan-e-mann…aaa

sab haseenon mein tera
maine intikhaab kiyaa
ek zarre ko
mohabbat ne aftaab kiyaa aa
kehne ko hanstaa hoon
samjho to rotaa hoon
rakh ke tasveer teri
dil pe roz sotaa hoon
kehne ko hanstaa hoon
samjho to rotaa hoon
rakh ke tasweer teri
dil pe roz sotaa hoon
kab ke bichhde aaj miley hain
bujhe bujhe dil milke jaley hain
dil ko na rok aaj dil ke paas aane de
aaj kaa to waadaa hai jaan-e-mann
meraa to iraadaa hai jaan-e-mann
bol tera kyaa iraadaa hai jaan-e-mann
lutf aisaa nahin
kisi jannat ke maikhaane mein
jo nazar aaye tere
husn ke paimaane mein ae
nazar hai aashiqanaa
adaa har maashooqanaa
aisey mehboob mausam mein hai mushkil door jaanaa aa
haan aa
nazar hai aashiqanaa
adaa har maashooqanaa
aisey mehboob mausam mein hai mushkil door jaanaa
kyon na badan ki aag bujhaa lein
pyaas ko peekar pyaas mitaa lein
dil ko na rok aaj dil ke paas aane de
raat ka taqaazaa hai jaan-e-mann
meraa to iraadaa hai jaan-e-mann
bol tera kyaa iraadaa haijaan-e-mann a a a

ho o o meri ungli mein tere
husn kaa aa nagina ho
maroon to munh pe tere
pyaarkaapaseenaa ho o o
ha hahee
husn to teraa hai
ishq to meraa hai
maze ke waaste hi
raat ka andheraa hai ae
husn to teraa hai
ishq to meraa hai
maze ke waaste hi
raat ka andheraa hai
ek duje mein kho jaayenge ae
chain se phir to so jaayenge
dil ko na rok aaj dil ke paas aane de
donon kaa hi faaydaa hai jaan-e-mann
meraa to iraadaa hai jaan-e-mann
bol teraa kyaa iraadaa hai jaan-e-mann
mujhe bhi nashaa hai
tujhe bhi nashaa hai ae
mujhe bhi nashaa hai
tujhe bhi nashaa hai
dil ko na rok aaj dil ke paas aane de
meraa to iraadaa hai jaan-e-mann
tera kya iraada hai jaan-e-mann
bol meraa to iraadaa hai jaan-e-mann
ha haha
ho hoho
heeheehee

———————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————
मेरा तो इरादा है जानेमन
तेरा क्या इरादा है जानेमन
मेरा तो इरादा है जानेमन
हो ओ ओ मुझे भी नशा है
तुझे भी नशा है ए
मुझे भी नशा है
तुझे भी नशा है
दिल को ना रोक आज दिल के पास आने दे
मेरा तो इरादा है जानेमन
बोल तेरा क्या इरादा है जानेमन
मेरा तो इरादा है जानेमन अ अ अ

सब हसीनों में तेरा
मैंने इन्तिखाब किया
एक ज़र्रे को
मोहब्बत ने आफताब किया आ
कहने को हंसता हूँ
समझो तो रोता हूँ
रख के तस्वीर तेरी
दिल पे रोज़ सोता हूँ
कब के बिछड़े आज मिले हैं
बुझे बुझे दिल मिलके जले हैं
दिल को ना रोक आज दिल के पास आने दे
आज का तो वादा है जानेमन
मेरा तो इरादा है जानेमन
बोल तेरा क्या इरादा है जानेमन

लुत्फ़ ऐसा नहीं
किसी जन्नत के मयखाने में
जो नज़र आये तेरे
हुस्न के पैमाने में ए
नज़र है आशिकाना
अदा हर माशूकाना
ऐसे महबूब मौसम में है मुश्किल दूर जाना आ
हाँ आ
नज़र है आशिकाना
अदा हर माशूकाना
ऐसे महबूब मौसम में है मुश्किल दूर जाना
क्यों न बदन कि आग बुझा लें
प्यास को पीकर प्यास मिटा लें
दिल को ना रोक आज दिल के पास आने दे
रात का तकाज़ा है जानेमन
बोल तेरा क्या इरादा है जानेमन अ अ अ

हो ओ ओ मेरी ऊँगली में तेरे
हुस्न का आ नगीना हो
मरूं तो मुंह पे तेरे
प्यार का पसीना हो ओ ओ
ह ह ही
हुस्न तो तेरा है
इश्क तो मेरा है
मज़े के वास्ते ही
रात का अन्धेरा है ए
हुस्न तो तेरा है
इश्क तो मेरा है
मज़े के वास्ते ही
रात का अन्धेरा है
एक दूजे में खो जायेंगे ए
चैन से फिर तो सो जायेंगे
दिल को ना रोक आज दिल के पास आने दे
दोनों का ही फायदा है जानेमन

मेरा तो इरादा है जानेमन
बोल तेरा क्या इरादा है जानेमन
मुझे भी नशा है
तुझे भी नशा है ए
मुझे भी नशा है
तुझे भी नशा है
दिल को ना रोक आज दिल के पास आने दे
मेरा तो इरादा है जानेमन
तेरा क्या इरादा है जानेमन
बोल मेरा तो इरादा है जानेमन
ह ह ह
हो हो हो
ही ही ही


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

Blog Day :

4367 Post No. : 15696

Today (2 july 2020) is the 66th birth anniversary of Sayeed Mohammed Aziz-un-Nabi, better known as singer Mohammed Aziz (2 July 1954 – 27 November 2018).

I was under the impression that he made his debut as a playback singer in 1970s. I was mistaking him with Anwar, who began his career in 1970s. Mohammad Aziz made his debut as a playback singer in HFM in 1984. He shot to fame with “Main mard taange waala”, the title song of “Mard”(1985). He then sung some other memorable songs. One of them being “Mai se meena se na saaqi se”.

On the occasion of his birth anniversary, here is a song from “Aakhir Kyon”(1985). This song is sung by Md Aziz. Indeewar is the lyricist. Music is composed by Rajesh Roshan.

The song gets played on a radio / two in one while Rajesh Khanna and Smita Patil, playing an estranged couple, look on.

The lyrics of the song are quite inspirational. The lyrics makes this song a forgotten gem.

Lyrics of this song were sent to me by Avinash Scrapwala.

Video

Audio

Song-Ek andhera laakh sitaare (Aakhir Kyon)(1985) Singer-Md Aziz, Lyrics-Indeewar, MD-Rajesh Roshan

Lyrics

hmm hmm hmm hmm hmm hmm
hmm hmm
hmm hmm hmm

ek andheraa laakh sitaaare ae
ek niraasha laakh sahaare
sabse badi saugaat hai jeewan
naadaan hain jo jeewan se haare ae
ek andheraa laakh sitaaare ae
ek niraasha laakh sahaare
sabse badi ee saugaat hai jeewan
naadaan hai jo jeewan se haare ae
ek andheraa laakh sitaare ae ae

duniya ki ye bagiyaa aisi
jitney kaanten phool bhi utne
duniya ki ye ae ae bagiyaa aisi
jitney kaanten phool bhi utne
daaman mein khud aa jaayenge
jinki taraf tu haath pasaaare
ek andheraa laakh sitaare ae

beete huye kal ki khaatir tu
aanewaala kal mat khona
beete hue kal ki khaatir tu
aanewaala kal mat khona
jaane kaun kahaan se aakar
raahen teri phir se sanwaaare ae
ek andheraa laakh sitaare ae

dukh se agar pehchaan na ho to
kaisaa sukh aur kaisi khushiyaan
dukh se agar pehchaan na ho to
kaisaa sukh aur kaisi khushiyaan
toofaanon se lad kar hi to
lagte hain saahil kitne pyaaare ae
ek andheraa laakh sitaaare
ek niraasha laakh sahaaare
sabse badi saugaat hai jeewan
naadaan hain jo jeewan se haare ae
ek andheraa laakh sitaare ae ae ae

—————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————-
ह्म ह्म ह्म ह्म ह्म ह्म
ह्म ह्म ह्म ह्म ह्म …

एक अन्धेरा लाख सितारे ए
एक निराशा लाख सहारे
सबसे बड़ी सौगात है जीवन
नादाँ है जो जीवन से हारे ए
एक अन्धेरा लाख सितारे ए
एक निराशा लाख सहारे
सबसे बड़ी सौगात है जीवन
नादाँ है जो जीवन से हारे ए
एक अन्धेरा लाख सितारे ए ए

दुनिया की ये बगिया ऐसी
जितने कांटे फूल भी उतने
दुनिया की ये बगिया ऐसी
जितने कांटे फूल भी उतने
दामन में खुद आ जायेंगे
जिनकी तरफ तू हाथ पसारे
एक अन्धेरा लाख सितारे ए

बीते हुए कल की खातिर तू
आनेवाला कल मत खोना
बीते हुए कल की खातिर तू
आनेवाला कल मत खोना
जाने कौन कहाँ से आकर
राहें तेरी फिर से सँवारे ए
एक अन्धेरा लाख सितारे ए

दुःख से अगर पहचान न हो तो
कैसा सुख और कैसी खुशियाँ
दुःख से अगर पहचान न हो तो
कैसा सुख और कैसी खुशियाँ
तूफानों से लड़कर ही तो
लगते हैं साहिल कितने प्यारे ए
एक अन्धेरा लाख सितारे ए
एक निराशा लाख सहारे
सबसे बड़ी सौगात है जीवन
नादाँ है जो जीवन से हारे ए
एक अन्धेरा लाख सितारे ए ए ए


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day:

4362 Post No. : 15688

I would prefer to stop counting the numbers, and rather go by the impressions in the memory. Well, it sounds so unbelievable that Nitin Mukesh turns 70 today. It seems like just a little while ago that we heard him sing for the first time in ‘Mera Naam Joker’ (1970). It was actually an unlisted song, in English. A song of good wishes and greetings – “Wish Me Luck”.

Then in 1981, when the song “Zindagi Ki Na Toote Ladi” from the film ‘Kranti’ was doing the rounds of popularity, my first impression on hearing this voice was – how come, was this song recorded earlier? The voice sounds so close to the voice of Mukesh, his father. Well yes, the voice is distinct, if one is listening carefully. But it also has an unmistakable shade of Mukesh’s voice.

Nitin Mukesh was born this day in 1950. Although he made his singing debut in 1970, his songs are few and far between in that first decade of his career. His more active years were the 1980s and 1990s. And even so, one cannot count his career as being prolific.

Today’s song is from the 1981 film ‘Nakhuda’. It was a big banner film of its time, produced by Yash Chopra for Yash Raj Films. The film is directed by Dilip Naik. The star cast for the film is Kulbhushan Kharbanda, Swaroop Sampat, Raj Kiran, Madan Puri, Javed Khan, Vikas Anand, Sudhir Dalvi, Bharat Kapoor, Madhu Malhothra, Mac Mohan, Yunus Parvez, Asha Sachdev, Jagdish Raj, Mahaan, Murlidhar, Bandini, Nandini, Umesh, Murari, Chand, Raj Verma, Chandu, Pardesi, Amarnath, Rajesh, and Rauf Khan.

The film has 6 songs. One song is a composition by Nusrat Fateh Ali Khan, and also sung by him. The remaining 5 songs are from the pen of Nida Fazli, and have been tuned to music by Khayyaam. One song of this film is already showcased on our blog. This is the second song of this film to make its appearance here today. Lyrics for this song have been sent in by our dear Avinash ji.

On screen, the song is picturized on Raj Kiran and Swaroop Sampat. As the words indicate, this is an ‘expectant parents’ song, with the characters expressing happiness and love for each other, with the knowledge that another member of the family is on way.

Wishing Nitin Mukesh, a very happy birthday, and also many many more years of good health and active singing. All the best wishes to him.

Video

Audio

Song – Tumhaari Palkon Ki Chilmanon Mein (Nakhuda) (1981) Singer – Nitin Mukesh, Lata Mangeshkar, Lyrics – Nida Fazli, MD – Khayyaam

Lyrics (Provided by Avinash Scrapwala)

hmmmm…hmmmmm..hhmmm
hmmm…hmmm…hmmmm…hmmmm
hmhmmm….hmmm…hmmmmm
hmmm…hmmm….hmmm..hmmmm

lalla la la laa laaa
lalla llall la la laa laaa
lalla la la laa laaa
lalla llall la la laa laaa

tumhaari palkon ki
chilmanon mein
ye kya chhuppa hai
sitaare jaisa
haseen hai ye
hamaare jaisa
shareer hai ye
tumhaare jaisa
tumhaare khwaabon
ke aayeene mein
ye kyaa chhuppa hai
hamaare jaisa
jawaan hai ye
hamaare jaisa
haseen hai ye
tumhaare jaisa

tumhaari baahon mein
chhup ke hum ne
tumhi ko tum se
chura liya hai
tumhaari baahon mein
chhup ke hamne
tumhi ko tum se
chura liya hai
churaane waale ke
haath hum ne
jo kho diya tha
wo pa liya hai
tumhaare honthon ki
khaamoshi mein
ye kya chhupa hai
ishaare jaisa
tumhaare honton ki
khaamoshi mein
ye kya chhupa hai
ishaare jaisa
haseen hai ye
hamaare jaisa
shareer hai ye
tumhaare jaisa

naye musaafir ke
kaun hain hum
naye musaafir ko
ye bata do
naye musaafir ke
kaun hain hum
naye musaafir ko
ye bata doi
woh tum se khud hi
karega baatein
kareeb aa ke
isey jaga do
tumhaari sharmilee
shokhiyon mein
ye kya chhupa hai
sharaare jaisa
tumhaari sharmilee
shokhiyon mein
ye kya chhupa hai
sharaare jaisa
haseen hai ye
hamaare jaisa
shareer hai ye
tumhaare jaisa

tumhaari palkon ki
chilmanon mein
ye kya chhupa
hai sitaare jaisa
tumhaare khwaabon ke
aayeene mein
ye kyaa chhupa hai
hamaare jaisa
jawaan hai ye
(hmmm…hmmmm)
hamaare jaisa
(hmmmmm)
haseen hai ye
(hmmm…hmmmm)
tumhaare jaisa
(hmmmmm)

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

हम्ममम॰॰॰ हम्मममम॰॰॰ हम्म
हम्म॰॰॰ हम्म॰॰॰ हम्मममम॰॰॰ हम्ममम॰॰॰
हम्ममम॰॰॰ हम्मममम॰॰॰ हम्म
हम्म॰॰॰ हम्म॰॰॰ हम्मममम॰॰॰ हम्ममम॰॰॰

लल्ल ला ला ला॰॰ ला॰॰॰
लल्ल लल्ल ला ला ला॰॰ ला॰॰॰
लल्ल ला ला ला॰॰ ला॰॰॰
लल्ल लल्ल ला ला ला॰॰ ला॰॰॰

तुम्हारी पलकों की
चिलमनों में
ये क्या छुपा है
सितारे जैसा
हसीन है ये
हमारे जैसा
शरीर है ये
तुम्हारे जैसा
तुम्हारे ख्वाबों के
आईने में
ये क्या छुपा है
हमारे जैसा
जवान है ये
हमारे जैसा
हसीन है ये
तुम्हारे जैसा

तुम्हारी बाहों में
छुप के हमने
तुम्ही को तुमसे
चुरा लिया है
तुम्हारी बाहों में
छुप के हमने
तुम्ही को तुमसे
चुरा लिया है
चुराने वाले के
हाथ हमने
जो खो दिया था
वो पा लिया है
तुम्हारे होंठों की
खामोशी में
ये क्या छुपा है
इशारे जैसा
तुम्हारे होंठों की
खामोशी में
ये क्या छुपा है
इशारे जैसा
हसीन है ये
हमारे जैसा
शरीर है ये
तुम्हारे जैसा

नए मुसाफिर के
कौन हैं हम
नए मुसाफिर को
ये बता दो
नए मुसाफिर के
कौन हैं हम
नए मुसाफिर को
ये बता दो
वो तुमसे खुद ही
करेगा बातें
करीब आ के
इसे जगा दो
तुम्हारी शर्मीली
शोखियों में
ये क्या छुपा है
शरारे जैसा
तुम्हारी शर्मीली
शोखियों में
ये क्या छुपा है
शरारे जैसा
हसीन है ये
हमारे जैसा
शरीर है ये
तुम्हारे जैसा

तुम्हारी पलकों की
चिलमनों में
ये क्या छुपा है
सितारे जैसा
तुम्हारे ख्वाबों के
आईने में
ये क्या छुपा है
हमारे जैसा
जवान है ये
(हम्मम॰॰॰ हम्ममम)
हमारे जैसा
(हम्ममम)
हसीन है ये
(हम्मम॰॰॰ हम्ममम)
तुम्हारे जैसा
(हम्ममम)


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.

Blog Day:

4362 Post No. : 15687

Hullo Atuldom

27th June- birth anniversary of our beloved Panchamda a.k.a RD Burman. We have many posts on this blog which gives us details of his birth, his lineage, and many many other trivia connected with how he got the nickname “Pancham”.

So without wasting time or as some people would like to say ‘zyaada footage khaaye bagair’ I will come straight to today’s song. It is from the 1989 released, Vidhu Vinod Chopra written-produced & directed “Parinda”. It had Madhuri Dixit, Jackie Shroff, Anil Kapoor, and Nana Patekar in a rather grey role. Anupam Kher was there in a special appearance.

Anil Kapoor and Jackie Shroff played brothers. Anupam Kher played Anil Kapoor’s friend and Madhuri’s brother. Jackie Shroff works for the underworld chieftain Anna (Nana Patekar). Anil Kapoor returns from studying abroad and meets his childhood friend Anupam Kher who has become a police officer. He also witnesses his friend being shot down by the underworld and decides to avenge his death.

The movie is interspersed with the tender love and camaraderie that is shared between the brothers and their dreams of having a family complete with wife children etc. Today’s song is when the brothers are thinking of the impending marriage of Anil Kapoor with Madhuri.

“Parinda” had seven songs which were written by Khurshid Hallauri of which one is there on the blog, posted on 15th of May 2015. (It has a sad version which was posted in the comments by Prakashchandraji) There was also a comment there by Prakashchandraji:- “And Who is Khursheed Hallauri ??, the lyricist, Any one who has information about him, Please share with us.” This question still remains.

This movie was planned by Vinod Chopra after his low-budget suspense thriller “Khamosh” failed to find a distributor for theatrical release. “Parinda” received critical acclaim when released. It also won two National awards and five Filmfare awards. It was also selected to represent India at the Oscars that year.

I chose this particular song as it talks of a marriage and we have an active follower of this blog celebrating his anniversary today. He is a big fan of Pancham and his music so I hope he and his life-partner (also known as Satulite in Atuldom) like this song.

Thank You Panchamda for leaving us this fun song.

Audio

Video

Song-Sehre mein dulha hoga (Parinda)(1989) Singers-Shailendra Singh, Suresh Wadkar, Lyrics-Khursheed Halluri, MD-R D Burman
Both

Lyrics

sehre mein dulha hoga,
ghoonghat mein dulhan hogi
haan sehre mein dulha hoga,
ghoongat mein dulhan hogi

masti mein naachenge yaar
ke ghar mein baaja bajega
sehre mein dulha hoga
ghoongat mein dulhan hogi
sehre mein dulha hoga,
ghoonghat mein dulhan hogi
masti mein naachenge yaar
ke ghar mein baaja bajega

ho o aayega jab din woh khushi ka
hosh rahega kisko kisika
hoo ghar aayegi bhaiyya ki dulhan
jhoom uthhega yeh ghar aangan
hey raat suhaani hogi,
chadhhti jawaani hogi

duniya deewaani hogi,
saath me rani hogi
karke sola singaar
ke ghar me baaja bajega

haan sehre mein dulha hoga,
ghoongat mein dulhan hogi
sehre mein dulha hoga,
he ghoongat mein dulhan hogi
masti mein naachenge yaar
ke ghar me baja bajega

poore honge armaan dil ke
honge khush dulhan se mil ke
pyaar se hongi pyaari baatein,
katt jaayengi pal mein raatein

haan saanson mein hogi jwaala
chaabhi hogi na hoga taala
saali hogi na saala,
saala hoga na saali

aaya hai tere dar pe sawaali
shirdiwaale sai baba
shirdiwaale sai baba
aaya hai tere dar pe sawaali
no no no bhaiyya
sawaali nahin saali saali
saali hogi na saala,
chaabi hoga na taala

saali hogi na saala,
chaabi hoga na taala
donon karenge pyaar
ke ghar mein baaja bajega

haan sehre mein dulha hoga,
ghoonghat mein dulhan hogi
sehre mein dulha hoga,
ghoonghat mein dulhan hogi
masti mein naachenge yaar
ke ghar mein baaja bajega

armaanon ki bagiya khilegi,
bhaiyya ko mere dulhan milegi
o o behne lagegi prem ki dhaara
paawan hoga jeewan saara

hoga jo poora saal
godi mein hoga laal
hoga jo poora saal
godi mein hoga laal
haan duniya dekhegi mera kamaal
ho chhorra ganga kinaare waalaa
ho chhorra ganga kinaare waalaa
o khaike paan banaaras waalaa
khuli jaaye band akal kaa taalaa
phir to aisa kare kamaal
seedhi karde sabki chaal

arre arre arre
chaal nahin gadhe
saal saal
hoga jo poora saal
godi mein hoga laal
hoga jo poora saal
godi mein hoga laal
chhota sukhi parivaar
ke ghar mein baaja bajega
sehre mein dulha hoga
ghoonghat mein dulhan hogi
sehre mein dulha hoga
ghoonghat mein dulhan hogi
masti mein naachenge yaar
ke ghar mein baaja bajega
haan baaja bajega
ha ha
arre baaja bajega
baaja bajega


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day:

4356 Post No. : 15678

“One good thing about music, when it hits you, you don’t feel pain”.

Thus spoke Bob Marley (1945-1981), the famous Jamaican singer and songwriter, about the power of music. From the most casual to the most formal, every activity, every endeavor of human existence is in one form or another, quite inextricably linked with music. Music pervades our lives and our beings. In many an instance, music appears quite unexpectedly in our lives.

Back in 1981, the Minister of Culture of France was a gentleman by the name Jack Lang. He appointed Maurice Fleuret as the Director of Music and Dance. One observation Maurice had about the cultural ethos of France – “the music everywhere, the concert nowhere”. He conducted a sample survey of the French population. The survey brought out some very interesting results; the most important one was which established that almost half the population was adept at playing one or another type of musical instrument.

Armed with this result, Maurice dreamt of bringing this talent for music, out in the open. Working with his minister, Maurice set out to design a method which would allow common people to be able to perform for others. From this pursuit was born the concept of ‘Fête de la Musique’ or the ‘Festival of Music’. After preparing and communicating for many weeks, finally the date for this public festival was decided as 21st June. In the year 1982, this event was rolled out across the length and breadth of France.

Ever since, the phenomena has spread to practically everywhere. This festival is now held in more than a thousand cities across 170 countries.

One basic feature of this celebration is that it is free. The artists and musicians perform for free. And also, all performances are free for the viewing public.

When writing about music, I have occasionally fallen back on the 1985 film ‘Sur Sangam’, for a suitable song for the post. Once again today, as I write to celebrate this worldwide event, I bring to the readers another wonderful song that tells about the nature and practice of music. The beginning words of this song lay out such an adept definition,

saadh re mann sur ko saadh re
ek mann ko doosre se baandh re

Yes, a force that brings together and binds the minds and hearts of people. Need I say more – the experience of the regulars of this musical bandwagon will speak for itself.

As I noted in my write up for the song “Aaye Sur Ke Panchhi Aaye”, as far as the memory serves, the film ‘Sur Sangam’ is probably the last film that I can remember, that has music as its central theme. After 1985, I cannot recall any other Hindi film built on the theme of music.

The film is a Hindi remake of the iconic Telegu film ‘Shankarabharnam’. It has been produced by V Ramesh for Vijay Madhavi Pictures, Madras and is directed by K Vishwanath. The eminent star cast of this film includes Girish Karnad, Jayaprada, Sachin, Sadhna Singh, Deven Verma, Bharti Achrekar, Paintal, Tabassum, Asrani, Bhushan Tiwari, Dina Pathak, Mohan Choti, OP Singh, Jeet Mohan, Sulabha Deshpande, SP Dubey, Urmila, Master Akash Singh and Baby Mamta.

The film has a set of very wonderful 11 songs, all written by Vasant Dev, and set to wonderful classical melodies by Lakshmikant Pyaarelal. Five songs of this film are already showcased on our blog. And the sixth makes its appearance today on the occasion of the World Day of Music. The singing voice is that of Rajan Sajan Misra.

May there be delightful music today, and every day in our lives.

Song – Saadh Re Mann Sur Ko Saadh Re (Sur Sangam) (1985) Singer – Rajan Sajan Misra, Lyrics – Vasant Dev, MD – Laxmikant Pyaarelal

Lyrics

saadh re
mann sur ko saadh re
saadh re
mann sur ko saadh re

ek mann ko
doosre se
baandh re
saadh re
mann sur ko saadh re
saadh re..ae..ae
mann sur ko saadh re

taa..aa..aan hai suraj kiran
taa..aa..aan hai suraj kiran
alaap neelam ka gagan
alaap neelam ka gagan
ab ugey ankur dhara par
baandh aisa raag re..ae..ae
saadh re..ae
mann sur ko saadh re
saadh re..ae
mann sur ko saadh re

ma pa nee nee nee dha
nee. . . sa
ga nee ma pa
pa ga
ma re
re pa

megh se malhaar le tu. . .
megh se malhaar le tu
gandh se gandhaar le tu
gandh se gandhaar le tu
dhol pancham kokila ka
tu bahaa re raag re. . .
saadh re..ae
mann sur ko saadh re
saadh re..ae
mann sur ko saadh re

mann yahi tu dhyaan rakh
mann yahi tu dhyaan rakh
sur ki sahi pehchaan rakh
sur ki sahi pehchaan rakh
tu rahe ya na rahe
par sur rahe abaad re..ae
ae..ae

saadh re..ae
mann sur ko saadh re
saadh re..ae..ae
mann sur ko saadh re
saadh re..ae
mann sur ko saadh re

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

साध रे
मन सुर को साध रे
साध रे
मन सुर को साध रे

एक मन को
दूसरे से
बांध रे
साध रे
मन सुर को साध रे
साध रे॰॰ए॰॰ए
मन सुर को साध रे

ता॰॰आ॰॰आन है सूरज किरण
ता॰॰आ॰॰आन है सूरज किरण
आलाप नीलम का गगन
आलाप नीलम का गगन
अब उगे अंकुर धरा पर
बांध ऐसा राग रे॰॰ए॰॰ए
साध रे॰॰ए
मन सुर को साध रे
साध रे॰॰ए
मन सुर को साध रे

म प नी नी नी ध
नी॰ ॰ ॰ स
ग नी म प
प ग
म रे
रे प

मेघ से मल्हार ले तू॰ ॰ ॰
मेघ से मल्हार ले तू
गंध से गंधार ले तू
गंध से गंधार ले तू
ढोल पंचम कोकिला का
तू बहा रे राग रे॰ ॰ ॰
साध रे॰॰ए
मन सुर को साध रे
साध रे॰॰ए
मन सुर को साध रे

मन यही तू ध्यान रख
मन यही तू ध्यान रख
सुर की सही पहचान रख
तू रहे या ना रहे पर
सुर रहे आबाद रे॰॰ए
॰॰ए॰॰ए

साध रे॰॰ए
मन सुर को साध रे
साध रे॰॰ए॰॰ए
मन सुर को साध रे
साध रे॰॰ए
मन सुर को साध रे


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

Blog Day :

4346 Post No. : 15656 Movie Count :

4311

So far I have discussed three of the six feature films which Sai Paranjpye has directed in her filmy career – ‘Sparsh’ (1980) in “Geeton Ki Duniya Mein Sargam Hain Hum“,  ‘Chashm-e-Baddoor’ (1981) in “Is Nadi Ko Mera Aaina Maan Lo” and ‘Saaz’ (1997) in “Baa. . .dal Ghumadh Badh Aaye“. In this article, I take up one more film by her – ‘Disha’ (1990) which, is not well known to the public at large. Sai Paranjpye accords this film as her best feature film in terms of excellence in all the main departments of the film making – story, screen-play, dialogues, direction, and the acting contributions from all the actors associated with this film.

According to Sai Paranjpye, the story of the film was in the making process for about 17 years before it got fructified in 1990. The unique feature of the film is that the story is based on three different experiences she got over these 17 years which have no connection with each other. Yet, she weaved a story around three events linking them with a common theme of the problems of migrants and casual workers. She believed that the life around us offers so much material for the films that there is no need to get inspired from Hollywood movies. In other words, Sai Paranjpye’s sources of ‘plagiarisation’ are life around her.

Sometime in early 1970s, Sai Paranjpye made a visit to a village in Pune district along with her two friends who had adopted that village for water harvesting. During that time, she met a villager, an agricultural labourer who owned a small parcel of barren land. He was convinced that under his barren land was the source of water. So, for about 12 years, he had been digging the well, all alone in his free time, sometime even the whole night. But there was no trace of water. The villagers had branded him as a mad man. Fed up with his obsession for digging well, his wife has left him many times but would eventually return. And then one day, he struck water in the well. Villagers who were earlier calling him as mad man made him the hero of the village. The well was named after him. The story of that villager was cinematic but it was not enough to make a full-length film.

After few years, Sai Paranjpye met her friend, Sabhashini Ali (ex-wife of producer-director, Muzaffar Ali) in Mumbai. She was doing some social work among the mill workers who were mostly migrants and staying in what is known in Mumbai Chawls as Gala (a type of dormitory). This was at a time when old mills in Mumbai were in the verge of closure as they could not compete with mills with technologically advanced power looms.  She accompanied Sabhashini Ali to one of the Galas in mill area and was shocked to observe their staying conditions. In a single Gala, there were nearly 40 persons staying together in the shifts of 8 hours. They seem to enjoy their life. All were doing different activities – playing musical instruments, playing cards, shaving, some going out for practising lezim (folk dance). Sai Paranjpye talked to most of the mill workers after which she felt that it was a good theme for a cinema.

After some days, Sai Paranjpye once again met her two friends who had returned from Niphani after leading a protest against the tobacco growers and bidi makers for exploitation of tobacco workers. Those days, the middleman will recruit women from the nearby villages for making bidis at the end of which they would get daily wages based on the number of bidis they rolled in a day. But the middleman will exploit them by rejecting some rolled bidis on some false pretext. Also, some of the middlemen would make attempts for sexual favours as rewards for not rejecting some of the bidis rolled by them. Her two friends had taken up the issues with bidi factories and on behalf of the bidi workers.

With these three real stories, Sai Paranjpye wrote the script linking them with a common theme of the problems of migratory mill workers of Mumbai. This time, she decided to produce the film herself besides directing, writing the script, dialogues and songs. She roped in her favourite actors and also took Nana Patekar for the first time under her direction. The first part of the film was shot in a village near Pune. The second part of the film was shot in Mumbai in Sitaram and Indu Mills and the scenes of the migrant workers were shot in a real Gala of a Chawl. Some mill workers also acted in the films.

The main cast of ‘Disha’ (1990) consisted of Shabana Azmi, Om Puri, Nana Patekar, Raghuvir Yadav, Rajshri Sawant, Neelu Phule, Shayaji Shinde, Achyut Potdar etc. The gist of the story of the film is as under:

Bakuri is a non-descript village about one hour from Pune by road. In this village, the family of Parshuram (Om Puri) consisting of his wife, Hansa (Shabana Azmi), his five children and his younger brother, Soma (Raghuvir Yadav) stays in a hut. Parshuram is an agricultural labourer and has a small barren land in which nothing grows on it except the wild-flowers. However, he is convinced that under his barren land is the source of water. Hence for the last 12 years, he has been digging well, all alone whenever he is free. Hansa resents Parshuram’s obsession with digging well and often threatens to leave him. Soma plans to go to Mumbai for getting a job as most of the time, he is unemployed.

Soma is very friendly with Basanta (Nana Patekar) who stays with his old and sickly father (Neelu Phoole) in a hut close to Parshuram’s hut. Basanta is also an agricultural labourer whose marriage has been fixed with Phoolwanti (Rajshri Sawant) from an adjoining village. Basanta’s father wants his marriage to be performed with fun fare for which he takes a loan of Rs.10000/- against the hypothecation of a cow and a buffalo. The marriage of Basant and Phoolwanti is solemnised.

Soma comes to Mumbai for job and stays in a Gala where 40 other mill workers are staying, a few from his village. He gets a job in the mill. He sends money to his brother, Parshuram every month and sometime also sends readymade garments for his nephews and niece. Basanta, after his marriage feels uncomfortable as he is unemployed and the loan instalments are to be repaid which his father has taken for his marriage. So, he also departs for Mumbai in search of employment and lands in mill workers’ gala where his friend, Soma is also staying. Basanta also gets the job in the same mill where Soma is working.

After getting to know the realities in working condition in Mumbai, Basanta is determined to return to his village after working in the mill for 2-3 years and also advises Soma to return to the village  with him so that with the money they earned, they can start a cooperative farming in the village. But Soma is determined to work in Mumbai for a long time as he is now addicted to the life of Mumbai.

After few months of stay in Mumbai, Basanta calls his wife, Phoolwanti to Mumbai to show her the city. One of his roommates in the gala arranges a independent room in a chawl for 7 days. After seeing the staying conditions of Basanta in Mumbai, his wife tells him to return to the village as early as possible when she leaves Mumbai for her village.

In the meanwhile, to run the household, both Hansa and Phoolwanti works in a bidi making unit to roll bidis for which they get daily wages in terms of the number of bidis rolled. But the munshi (Achyut Potdar) of the bidi making unit tries to exploit them by finding their faults while rolling the bidis for which no amount is paid. His intention is to force them to give him some sexual favours.

At one time, Basanta’s father writes a letter to him to come to the village for some urgent work. He returns and finds that his father has got a transistor radio and supplies of bidis from Munshi. He also comes to know that his wife is working for a bidi making unit. He is unhappy that his wife has to work for running the household.

The next day, Parshuram strikes water in the well which he has been digging for 12 years. The whole village rejoices and the mad Parshuram becomes a hero in the village. There is a felicitation by the entire village during which he declares that the water in the well is for the entire village.

Basanta returns to Mumbai earlier than schedule and his friend, Soma is surprised. Basanta tells him that he got bored in the village within two days. Then there is a twist in the story. Basanta who has been pressurising Soma to return to the village along with him after 2-3 years, decides that he is going to work in Mumbai on a long-term basis to earn good amount of money as Soma has been advising him. However, this time, Soma surprises him by revealing that his brother has struck water in the well and he is going back to the village to do farming. The film ends with Soma boarding a state transport bus which is driving to his village away from Mumbai with Basanta struck in Mumbai.

From the above narration, the story of the film looks simple. I found the film interesting to watch because Sai Paranjpye in her usual way has relied on visuals to speak for the story along with some punch-line dialogues. For example, Shabana Azmi regards the well as her ‘soutan’ as Om Puri spends more time in the well than in the house. Sometime, he takes his afternoon siesta in the well itself. To this, Om Puri’s repartee to Shabana Azmi is that she should be thankful that her ‘soutan’ is ‘baanjh’ (infertile); otherwise one more platoon of children would have joined the family. Here ‘baanjh’ has another meaning in that despite digging for many years, water has not struck in the well.

The film was released in Mumbai in November 1991 and thereafter in Pune by Sai Paranjpye as no one was willing to distribute the film. It generated interest in the initial few days with house-full board. After watching the film, Manmohan Desai offered to release the film in the Delhi circuit. With the releases in limited theatres. the box office collection could barely cover the budget of the film.

The film did not get any award in India. However, when the film was shown in Chennai International Film Festival in 1991 as a private entry (it could not be shown in Indian Panorama as it had not won any award), it was highly appreciated because of which over a period of time, the film got invitations  in as many as 23 international film festivals all over the world where it has won 5 awards with cash prizes including one at Cannes international film festival.

Sai Paranjpye has mentioned in her book that the film had three songs. However, I found only two songs in the film – one is a lavani song and the other a fun song. Songs were not released on audio format. I am presenting the fun song, “Bambai Bambai Bambai Bambai Bam’ sung by Vinay Mandke, Ravindra Sathe, Tyagraj Khadilkar, Arun Joglekar and Chorus. The song is written by Sai Paranjpye which is set to music by Anand Modak. I am not able to segregate the lyrics according to playback singers as I am not familiar with their voices except that of Ravindra Sathe. I have also observed that playback singers seem to lip sync for multiple actors  According to Sai Paranjpye, the ‘anokhe bol’ in the song have been rendered by Vinay Mandke in addition to his part of the song.

The song is picturised in a gala where about 40 mill workers stay. Except for about  10 actors, rest of the participants in the song are real mill workers staying in the gala. If one goes through the lyrics of the song, it would be observed that the sad realities of mill workers (or for that matter, migrant workers in general) have been presented in the mask of a fun song. In the last two stanzas, there are ‘locals verses migrants’ theme presented in ‘lavani’ style. The prelude music of the songs with “Dhak Dhak Dhak. . .” is akin to the sound generated by the power looms of a mill when they are operational.

This song is the essence of the film’s main theme. With this song, ‘Disha’ (1990) make a debut in the Blog.

Acknowledgements:

Some of the information about the background for making the film ‘Disha’ (1990) is based on

  1. An interview conducted by Sridhar Rangayan and Saagar Gupta titled ‘Queen of Humour: A Candid Interview with Award-Winning Director and Writer Sai Paranjpye,’ South Asianist, Vol 2, No.3 (2010).
  2. The Marathi book, ‘Sai – Maaza Kalapravaas’ (2016) written by Sai Paranjpye.

Song – Bambai Bambai Bambai Bambai Bam (Disha) (1990) Singer -Vinay Mandke, Ravindra Sathe, Tyagraj Khadilkar, Arun Joglekar, Lyrics – Sai Paranjpye, MD – Anand Modak
Chorus

Lyrics

dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak dhak dhak
dhak dhak
dhak dhak
dhak daa dham
dhak dhak
dhak dhak
dhak daa dham

arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
 
gaon mein behti doodh ki ganga aa
haay
gaon mein behti doodh ki ganga aa
kaanha murli bajaawat hai bhai 
kaanha murli bajaawat hai
aisa gokul chhoda… haay
aisa gokul chhoda bhai
kya narakpuri ye bhaawat hai
makdi ke jaal mein keeden ham
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam
 
dhuaan gootan aur bimaari
dhuaan gootan aur bimaari
yahaan jawaan mard ke baal pakey
har kuchh bikta hai is nagri mein
bol tumhaara chaar takey
arre chaar take bhi naahin kam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
 
wahaan aankh bichaaye baithi radha
aansoo uske sookh gaye
wahaan aankh bichaaye baithi radha
aansoo uske sookh gaye
bachche jo peechhe chhode wo
shaql baap ki dbhool gaye
bachche jo peechhe chhode wo
shaql baap ki bhool gaye
arre bhool gaye to kya hai gham
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bam bam bam bam
arre bambai bambai bambai bambai bam
bam bam bam bam
 
haaaaaaaaaaa
arre kameenon
beimaanon
badh badh taane dete ho
phir bharti kyunkar hote ho
tum phir bharti kyunkar hote ho
dham chik chik dham chik dham
arre bina bhulaaye tum mehmaan
upar se ho namak haram
waapas jaao
hari gun gaao,,o
waapas jaao
hari gun gaao
yahaan tumhaara kya hai kaam
yahaan timhaara kya hai kaam
kissa abhi karo ye khatam
khatam khatam bhai karo khatam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
bambai bambai bambai bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam bam bam
arre bambai bambai bambai bambai bam
bam b-bam b-bam bam bam bam
 
aiyya
paapi pet yahaan le aaya…aa….aa
arre paapi pet yahaan le aaya
nagar nahi ye bhul bhulaiyya
khoon paseena yahaan bahaaya
arre khoon paseena yahaan bahaaya
iss nagri ka namak chukaaya..aa aa aa aaa
yahin basera ho ab hardam
yahin basera ho ab hardam
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam
b-bam bam bambai
arre bambai bambai bambai bambai bam
arre bambai bambai bambai bambai bam


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

Blog Day: 4339 Post No.: 15638

She was born in Mumbai, raised in Lucknow and Canberra (Australia), grew up in Pune, did some theatre course in Paris, spent a considerable time in Delhi and now she spends time commuting between Mumbai and her ancestral home in Pune. She has worked through almost all the segments of mulit-media – a radio announcer, television producer, documentary film maker, Hindi film writer-director, author and some more. She is not shy of mincing words about those personalities even of high statures who have one time or the other rubbed her in a wrong way. She is Sai Paranjpye (born on March 19, 1938). It is interesting to note the background of family as she seems to have inherited some genes from them.

1. Her maternal grandfather, Sir R P Paranjpye was an alumnus of University of Cambridge and a renowned Mathematician. He was the Chancellor of University of Bombay and the University of Lucknow. He was Indian High Commissioner in Australia during 1944-47. He had interest in literature.

2. Her mother, Shankuntala Paranjpye had been an alumini of University of Cambridge and worked in International Labour Organisation in Geneva for about 2 years in the 1930s. In the 1930s and 40s, she acted in Marathi and Hindi films. She also wrote novels and plays in Marathi and English. She did a pioneering work in propagating family planning as early as in 1938. She was a nominated Rajya Sabha member and was awarded Padma Bhushan in 1991.

3. Her father, Youra Sleptzoff was a Russian painter to whom her mother married in Geneva but divorced him after the birth of her daughter, Sai.

4. Her paternal Grandmother, Babushka was a theater personality. She had acted in some major plays.

With these backgrounds, Sai Paranjpye became proficient in Marathi, Hindi and English with some working knowledge of Sanskrit and French. She started her career as an Announcer and Compere of children’s programme in All India Radio, Pune. She also did some children’s plays in partnership with Arun Joglekar to whom she married. She joined Film Institute of India as Lecturer in which Jala Agha, Sadhu Mahadev and Rehana Sultana were her students.

In 1963, Sai Paranjpye joined the National School of Drama, Delhi and completed her graduation. She joined All India Radio, Delhi. During the 1970s, she worked with Doordarshan, Delhi as producer and director. During this period, she produced and directed many teleplays and documentaries. One of her documentary films was on Pankaj Mullick (1973) which was based on an extensive research and was made with some rare photographs as montage. Unfortunately, according to Sai Paranjpye, this documentary film is not traceable in Doordarshan’s archive. She had also directed children’s films, ‘Jaadu Ka Shankh’ (1974), ‘Sikander’ (1976) and ‘Bhaago Bhoot’ (2001). After coming into National Doordarshan channel in 1982, Sai Paranjpye made her debut TV serials ‘Ados Pados’ (1985) followed by ‘Chhote Bade’ (1985).

Sai Paranjpye produced/directed 8 Hindi feature films – ‘Sparsh’ (1980), ‘Chashm-e-Baddoor’ (1981), ‘Katha’ (1982), ‘Disha’ (1990), ‘Chooriyaan’ (1993), ‘Papeeha’ (1994) ‘Saaz’ (1997) and ‘Chakachak’ (2005). In all these films, she has taken up issues in each film like visual impairment, migrants, alcoholism, playback singing career, environment etc. In some of these films which are available for viewing, she does not preach nor creates melodramatic moods. These films are more like an eye opener to the audience.

In the decade of 2010-20, Sai Paranjpye has been mostly busy with writing her biography in Marathi which was published and got released in 2016. The title of her autobiography is interesting – ‘Sai – Maza Kalapravaas’ meaning ‘My Artistic Journey’. She has restricted the coverage in the biopgraphy to her artisitc jpourney only. She is now working on the English version of her autobiography. In 2006, Government of India awarded her with Padma Bhushan.

Coming to ‘Chashm-e-Baddoor’ (1981), Sai Paranjpye, in one of her interviews, revealed that at the screening of her first film ‘Sparsh’ (1980) at Tashkent Film Festival, she met Gul Anand, who liked the film. He said that he would like to make a film with her but it should be a comedy film. Fortunately, she had a teleplay ‘Dhuaan Dhuaan’ ready which she turned into a script for the film ‘Chashm-e-Baddoor’ (1981) produced by Gul Anand and directed by her. The star cast included, Farooq Shaikh, Dipti Naval, Rakesh Bedi, Ravi Baswani, Saeed Jafrey, Leela Mishra, Vinod Nagpal, Vinod Doshi etc with Amitabh Bachchan and Rekha making cameo appearances. The film was digitally restored in 2013. The film was shot in Delhi. Some people had told Sai Paranjpye that ‘Chashm-e-Baddoor’ (1981) is the publicity material for Delhi.

I had watched this film in a theatre when it was released in 1981. While I have a general idea about the plot, the scene which has still firmly stored in my mind is when Dipti Naval visits Farooq Shaikh’s room to market the ‘chamko’ brand of washing powder. And seeing her, Rakesh Bedi and Ravi Baswani run out of the room before she enters. Recently, I watched the digitally restored film to recapitulate the plot of the film which I have summarized below:

The film starts with Omi (Rakesh Bedi) smoking a cigarette and then passing it on to Jomo (Ravi Baswani) who smokes and passes it on to Sid (Farooq Shaikh). In the background, a gramophone record is symbolically playing Meer Taqi Meer’s ghazal ‘ye dhuaan kahaan se uttha hai’, rendered by Mehdi Hasan. It is clear from their dialogues that the trio are the University students who are sharing a rented room in Delhi. They are enjoying their summer vacation. While Sid is a serious type who keeps himself busy in reading books, the other two, Omi and Jomo are vagabonds who like to indulge in impressing girls and watching plays in the theatre.

Omi and Jomo have an arrangement with Lallan Miyaan (Saeed Jaffrey), the shopkeeper from whom they buy cigarettes on credit but they postpone clearing their debt with some pretext or the other. There are always some friendly banters between Lallan and the trios.

A girl, Neha (Dipti Naval) staying in a neighbouring house becomes the centre of attraction to Omi and Jomo who decide to individually visit her house to impress her. While their experiences of meeting in her house was not good, but for the sake of impressing one another, both Omi and Jomo pretend to each other and also to Sid that they had a gala day with Neha.

One day, Neha visits their room to market ‘Chamko’ washing powder. Seeing her through the peephole of the main door, both Omi and Jomo run away from the room lest their true experiences with her would be exposed. It is Sid, who opens the door and get to know the purpose of Neha’s visit. It is for the first time that Sid has experienced talking to a girl. Neha leaves the room after showing the demonstration of washing powder. Sid is now attracted to Neha. After their frequent meetings at a restaurant, both decides to formalize their relationship in to the marriage.

This sudden developments in the life of Sid is not digestible to his friends, Omi and Jomo. They try to discourage Sid by concocting stories about Neha to break their relationship. They succeed in their efforts. Sid is devasted so is Neha. Sid losses interest in office work and his studies for Ph.D. He even tenders his resignation to his boss in the office. Both Omi and Jomo are alarmed at Sid’s depressed mood especially when they find Tik-20 bottle in Sid’s drawer (which he had actually bought for eliminating bedbugs). They decide to reunite Sid and Neha. Both had heard a spate of kidnapping in Delhi. So, both Omi and Jomo hatch a plan under which they would kidnap Neha with Neha’s grandmother (Leela Mishra) being kept in the loop and Sid would turn a saviour of Neha.

But before their fake kidnapping plan is operationalized, Neha is actually kidnapped by a gang. It is Sid who with the help of Omi and Jomo captures the kidnappers. As a satire on mainstream Bollywood films, when everything is over, the police team comes to arrest the kidnappers. Sid and Neha are united.

On the basis of some of the films I have seen, Sai Paranjpye must be a keen observer wherever she goes. She must have observed the college students during her long stay in Delhi when she was associated with Delhi Doordarshan. She may have encountered or observed some timid stalkers like Omi and Jomo in the 1970s. The wits and humour in the film may not turn the audience laugh but certainly the smile will be written on their face. This is Sai Pranjpye brand of humour which I have also witnessed in ‘Katha’ (1982) and in TV Serial, ‘Ados Pados’ (1985).

With the advent of information technology, everything is changed now. Therefore, it is difficult to recreate the environment of Chashm-e-Baddoor of 1981 in the 21st century setting. The remake of the film, ‘Chashm-e-Baddoor’ (2013) did not create the same interest among the cinegoers as the cult status of ‘Chashm-e-Baddoor’ (1981) has created. I can watch this film any number of times.

‘Chashme-e-Baddoor’ (1981) had 7 songs of which 5 songs have been covered in the Blog. Here is the 6th song, ‘is nadi ko mera aaina maan lo’ sung by Shailendra Singh and Haimanti Sukla. The song is set to music by Raj Kamal. Indu Jain who wrote the lyrics was an author and a poetess who was known for writing poems on the contemporary issues. She also uses imageries which are evident in the lyrics of the song. Probably, she would have given a tough competition to Gulzar saab if she was actively involved in writing Hindi film songs in terms of the use of imageries.

Indu Jain was the Head of Hindi Department in Indraprastha College, Delhi when the film was being shot in Delhi. Duriing this period, she was scheduled to visit Japan as a visiting professor. While leaving India, she had taken the situation of the songs in the film in detail and dictated the lyrics to Sai Paranjpye over the phone. (Source: ‘Sai – Maza Kalapravaas’).

The background of the song is that Omi (Rakesh Bedi) visits Neha’s (Dipti Naval) house to impress her. But she thinks that he is the plumber who has come to repair her kitchen’s sink. She tells him to bring his tool box and get the work done fast. He goes out of the house never to return to her house but return to his own room. When his competitor Jomo asks him as to how the meeting went on with Neha, he narrates a false story upon which the screen shows the song under discussion.

Probably, this may be the first time when Rakesh Bedi has got chance to sing a song with the heroine of the film.

Audio Clip:

Video Clip:

Song-Is nadi ko mera aainaa maan lo (Chashme Baddoor)(1981) Singers-Shailendra Singh, Haimanti Shukla, Lyrics-Indu Jain, MD-Rajkamal
Both

Lyrics(Based in Audio Clip)

is nadi ko mera aaina maan lo
is nadi ko mera aaina maan lo
ki muhabbat ka bahta nasha jaan lo
is nadi ko mera aaina maan lo

tarangon mein dhadkan larajta jigar
raks karte kamal thharthharaata bhanwar
tarangon mein dhadkan larajta jigar
raks karte kamal thharthharaata bhanwar
ye chheenten kisi ki tamaanna na ho..o
ye chheenten kisi ki tamaanna na ho
kahin aapke haathon tanha na ho
is roopak ko mera aaina maan lo
unkahe raaz ki daastaan jaan lo

is nadi ko mera aaina maan lo

ude baadalon mein bala hasraten
parindon si chhoo aaye behad haden
ude baadalon mein bala hasraten
parindon si chhoo aaye behad hade
hawaaon ko itni izaazat na do
hawaaon ko itni izaazat na do
ki auron ka bhi sabr tauba karo
ye kinaara mera aaina maan lo
har lahar se meri aarzoo jaan lo

is nadi ko mera aaina maan lo

tani doriyon par saji zindagi
ishaaron pe chadhti utarti khushi
tani doriyon par saji zindagi
ishaaron pe chadhti utarti khushi
dupatte se tinke jhatakti raho..o
dupatte se tinke jhatakti raho
gul o naaz se mera daaman bharo
is nadi ko mera aaina maan lo
ki mohabbat ka bahta nasha jaan lo
is nadi ko mera aaina maan lo


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

Blog Day: 4335 Post No.: 15631

The connoisseurs of Hindi film music of the 1960s and 1970s would recall the four melodious songs sung by Geeta Dutt in ‘Uski Kahaani’ (1966) and ‘Anubhav’ (1971). Fans of Gulzar would know that all these four songs have come from his pen. But I will not be surprised if only few of them would remember that all these four songs had been set to music by Kanu Roy. Among these few persons, most of them would not have known his real identity. In his case, it was not only of the confusion of same name but also the confusion with a wrong family tree.

Most of the websites including Wikipedia says that Kanu Roy was an actor and music director who started his acting career in 1940s and switched over to music direction from 1960 onwards. His filmography in IMDb shows him both as an actor and the music director. In some websites, Kanu Roy as a music director has been discussed with the photograph of the actor, Kanu Roy. He is also been wrongly associated with the family of Geeta Dutt as one of her brothers. The facts are:

1. Kanu Roy, the actor and Kanu Roy, the music director were different persons. Kanu Roy, the actor came to Bombay (Mumbai) in early 1940s to join Bombay Talkies. On the basis of Gulzar’s interview which appeared in a ‘Filmfare’ issue of 2012, Kanu Roy, the music director came to Bombay sometime in mid-1950s. (My guess is that he may have come with Basu Bhattacharya who was his close friend).

2. Kanu Roy, the actor was never a music director. Kanu Roy, the music director never acted in films.

3. Kanu Roy, the music director was not a brother of Geeta Dutt. I have seen a photograph of Geeta Dutt’s full family before her marriage. In this photograph, there is no Kanu Roy. The names of Geeta Dutt’s four brothers are Mihir Roy, Ranjit Roy, Mukul Roy and Milan Roy.

With multiple confusion about his name, even the basic profile of the music director, Kanu Roy is difficult to get. I could get some information from Gulzar’s interview published in one of the Filmfare issues of 2012 which is available on http://www.tanqeed.com . In this interview, Gulzar talked about his association as a lyricist with Kanu Roy which I have summarized below with my marginal inputs.

Kanu Roy had picked up the musical notes from Bengal. He began his career by assisting music director, Salil Choudhury who also had Kanu Ghosh as his Assistant Music Director. It seems Kanu Roy was a Welder by profession and had worked on the upkeeping of the Howrah Bridge. He was an introvert by nature and had in him a mix of timid and humble nature.

Basu Bhattacharya and Kanu Roy were great friends. It was Basu Bhattacharya who gave Kanu Roy his first break as a music director in ‘Uski Kahaani’ (1966) which he produced and directed at shoestring budget. Subsequently, he worked in another five films of Basu Bhattacharya. Because of the low budget films, Basu Bhattacharya would never allow Kanu Roy to have more than 6-8 musicians (as against 50-100 musicians the music directors like Shankar-Jaikishan, Naushad, O P Nayyar etc would have in their orchestra). Also, Kanu Roy would not get the regular shifts in the recording studios for rehearsals of the songs. He had to manage in the early morning hours of the recording studio. He did not have a bargaining power with Basu Bhattacharya to ask for more musicians. (Probably for the same reason, he may not have got the playback singers of his choice). It is remarkable that with these constraints, Kanu Roy could composed melodious songs in Basu Bhattacharya’s films.

Kanu Roy’s career ended with his life on 20/12/1981. He lived in poverty and died in poverty.

During his musical journey from 1966-80, Kanu Roy composed 28 songs in 8 films, of which 6 films were of Basu Bhattacharya. Of the remaining two films, one film ‘Mayuri’ (1970s) remained unreleased. Though his contributions to Hindi film music in terms of numbers were low, many of his melodious songs still linger on. Unfortunately, his name may not ring bell for many who may still enjoy those melodious songs.

Although most of Kanu Roy’s melodious songs have been covered in the Blog, I found one song which I liked for its all-round excellence – lyrics, rendition, melody, composition and the picturization. The song is ‘pahchaan to thhi pahchaana nahi’ from ’Griha Pravesh’ (1979). The song is rendered by Chandrani Mukherjee on the words of Gulzar. Having watched the film, I feel that this song summarises the theme of the film.

Amar (Sanjeev Kumar) and Mansi (Sharmila Tagore) has been married for 10 years with 8-year old boy. During this period, some staleness in their relationship develops. Both are under the illusion that they are in love but in practice, they are just being together under one roof. Now their marriage is in the verge of collapse when Amar develops affairs with his office typist Sapna (Sarika). He is caught in a bind in that while he loves Sapna, in the back of his mind, he is also emotionally attached to his family.

Finally, Amar tells Mansi of his intention to divorce her to marry Sapna. After the initial shock, Mansi agrees for divorce on the condition that he should bring Sapna to the house to meet her. The reason is that Sapna has seen Amar in the office as an Accountant and develop the liking for him in an office environment. But she has not seen him in his house where the environment is different.

Before Sapna visit to her house, Mansi gets her house painted. She undergoes herself to a new make-over. While doing this, the song under discussion plays in the background. Sapna visits her house with Amar. After a brief meeting, Mansi takes Amar aside and tell him that she is ready to leave him for Sapna. After the meeting, Mansi tells Amar to drop Sapna to her house. However, when crossing the road, Sapna walks over to the other side of the road while Amar gets stranded on the opposite side because of a marriage procession on the road. In the midst of the orchestra in the marriage procession playing ‘tu Ganga ki mauj mein Jamuna ki dhara’, both Amar and Sapna take leave by waving hands at each other. The scene is symbolic of conveying the message that Amar has a change of heart. The film ends with Amar returning home having coffee with Mansi and his son with the replaying of the film’s song ‘zindagi phoolon ki nahi, phoolon ki tarah mehkti rahe’.

The lyrics of the song under discussion are simple and convey retrospection on the part of a housewife who forgets to give attention to herself. Instead, much of her time is spent in the kitchen, looking after husband and the child and upkeep of the house. In this milieu, she forgets her own identity.

In keeping with the low budget of the film, Kanu Roy has used only three main musical instruments in this song – Sarod, Sitar and what I believe to be Khol (Bangla Dholak) which one can hear in a low rhythm as the song is rendered. The song starts with a prelude of Sarod and Sitar and the same instruments are used in the interludes of the song. Chandrani Mukherjee, who is the sister-in-law of Bappi Lahiri, has rendered the song with poignant feeling in keeping with the mood of the situation. The Audio clip is longer with the same lyrics because it has the longer prelude music than in the video clip.

This song sums up the story of a housewife in a middle-class society.

Video Clip:

Audio Clip:

Song-Pehchaan to thhi pehchaana nahin(Grih Pravesh)(1979) Singer-Chandrani Mukherjee, Lyrics-Gulzar, MD-Kanu Roy

Lyrics

pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi

jab dhoop barasti hai sar pe to
paanv mein chhaanv khilti hai
main bhool gayi thhi chhaanv agar
milti hai to dhoop mein milti hai
is dhoop aur chhaanv ke khel mein kyun
jeene ka ishaara samjha nahin
pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi

main jaagi rahi kuchh sapnon mein
aur jaagi huyi bhi soyi rahi
jaane kin bhool bhulaiyya mein kuchh
bhatki rahi kuchh khoyi rahi
jeene ke liye main marti rahi
jeene ka ishaara samjha nahin
pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi pehchaana nahin
maine apne aap ko jaana nahin
pehchaan to thhi


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Blog Day :

4333 Post No. : 15629 Movie Count :

4304

Regulars of this blog are aware that my family had three pets namely Nuppy (cat), Bhole (dog) and Chhote (Dog) that my wife adopted in september 2010, october 2010 and december 2010 respectively in the place where she lived. I was based at Nagpur those days, some 300 km away. They were all very young when they were brought home. I would visit my wife and daughter and bring them to Nagpur along with the pets during their holidays.

These pets and their interesting tales are covered in several of my writeups, viz. Aaye ho to dekh lo duniya zaraa (Chiraag Kahaan Roshni Kahaan), Jab koi ladki baar baar mere dil ko tadpaaye (Chattan Singh), Ye pyaari pyaari paati (Janmbhoomi), Tu hai mera yaar (Milan),Jahaan chaar yaar mil jaaye wahaan raat ho gulzaar (Sharaabi)(1984), Jaa jaldi bhaag jaa (Deshpremi)(1982), Bade miyaan to bade miyaan (Bade Milaay Chhote Miyaan)(1998) etc.

Most of these writeups were happy tales describing the amusing antics of the pets. The first and so far the only sad writeup appeared on 29 june 2012, where I broke the news that the cat nuppy was no more.

There have been no detailed posts in the blog about my pets since 2015 though I had a collection of many new interesting stories about them.

I have finally decided to pen another writeup on my pets. This is unfortunately another obituary. It is Chhote, the youngest pet who passed away on 27 may 2020.

When we got the medical cards of our pets made in Nagpur in January 2011, the three of us were the owners of the three pets. Chhote was shown as owned by my wife, Bhole by me and Nuppy by our daughter.

The three pets have brought us countless hours of joy as long as they lived and left fond memories after two of them left us.

Chhote was the centre of attraction of our household. Not just the humans in the house, even the other two pets of the house were very fond of him. He had a natural knack of winning over strangers (animals as well as human beings). He was the youngest pet, and the other two pets were very protective of him. In the winter season of 2010-11, the three of them would sleep snuggled up with each other. The two senior pets would keep Chhote between them, protecting him from both sides.

My wife never pampered our daughter (despite she being our only child), but Chhote was pampered by her, to the extent that she began to give step motherly treatment to Bhhole. Later she realised the error of her ways and made amends. Chhote began to assert proprietary claims over my wife and would prevent Bhole form coming close to her. When I came visiting from Nagpur, Bhole paid Chhote in the same coin. He staked a proprietary claim over me and prevented Chhote from coming close to me, much to our amusement. Till the last moment, this ownership claim was not given up. But to our credit, we tried to treat both dogs fairly even if he was not the owner. 🙂

Chhote had such smooth silky coat. In Nagpur, I would hear the door bell. At the door, I would find the padosan living upstairs holding Chhote and telling me that he was going to the busy main road. I would thank her and take hold of Chhote. People loved to hold Chhote in their arms, just to feel the texture of his smooth silky coat.

Cat was allowed to go out and come in but the dogs were not. But Chhote, always looking for challenges and adventures would often escape out of the home. Bhhole would then seek to escape so that he could go out and protect Chhote.

While Bhole and nuppy knew their way back home, Chhote did not and he would lose his way. Then my wife would order nuppy to go and bring Chhote back. Amazingly, nuppy understood the command. She would go and bring Chhote home. This happened more than once and so it could not be just a coincidence.

Even street dogs began to know him. Once a street dog brought him back to the home! As a reward, my wife gave that dog some foodstuff to eat.

Chhote gave respect to his senior pets, just like humans do.

While Chhote had the temperament of being a dog seeking to socialise with everyone, Bhhole was an athletic dog, with strong jaws and good running speed. My daughter appointed him her sprint coach. The two would begin their sprint together. Bhhole would easily outrun her and then stop to allow her to catch up with him before resuming his sprint. Bhhole’s coaching was quite useful seeing that my daughter was the 100 metre sprinting champion of her class among girls and once she even won a District level sprint.

Bhhole would also play football with my daughter while being dressed properly in football shorts. Bhhole, proudly sporting his footballing short looking like Scoobie Doo, would be seriously tackling the daughter for ball possession when he would suddenly find his shorts being pulled down. It was Chhote (looking like Scrapy Doo) entering the arena wondering what happened to the tail of Bhhole. Bhhole would snarl at him, asking him to leave him alone. 🙂

Once, Chhote for some reason began to whine and whimper and got into the nerves of my wife. It is said by wise men, and morning message to this effect regularly gets circulated in whatsapp groups that “One should not take imortant decisions when angry and one should not make promises when happy”. It is a wise saying that my wife does not practice. She got annoyed with Chhote and decided to give away the trouble making Chhote to someone else. She convinced a lady to take Chhote and handed Chhote to her.

That was a saturday. When the daughter came back home from school and found Chhote missing, she started crying and insisted that Chhote be brought back. Even the other two pets were silent and sad. Next morning, wife and daughter went to that lady. They found Chhote, who roamed around freely inside his earlier home, tied by a chain in that household. Chhote was very happy to see them. My wife asked Chhote back. Much to their relief, the lady agreed to hand Chhote back. While they were bringing Chhote back, a cow who had recently given birth to a calf though that her calf was being taken away. she gave a chase. My wife went to the cow and showed her Chhote and convinced her that it was a pup and not her calf. 🙂 When Chhote was brought back home, the other pets, silent since morning, became happy and cheerful. The raunaq of the household had returned. The voice of Chhote which my wife was finding annoying till the previous day began to sound like music to her ears.

Chhote was quite intelligent and smart. Unlike most humans, he could think out of the box and outsmart humans. A human would chain him and think that Chhote cannot get away. Chhote would pull his head out of the neck collar and the human would be left holding the chain with the collar. Chhote had used this trick on many unsuspecting humans. In the early days, we tied him with chain made of fibre. He would bite off the rope and free himself. Then we bought metal chains to tie him and Bhole.

In Nagpur, we had a garden adjacent to my residence. The garden is closed from all sides. I would leave the dogs in the garden every morning for an hour before bringing them inside the home. I was secure in my knowledge that there was no way the dogs can go out of the garden. But as I mentioned before, Chhote outwitted me. He laid a detailed long term plan. This plan was carried out so well that I could notice nothing. One week later, when I went to the garden to bring the two pets back, they were nowhere to be found. They had escaped !

What Chhote had done was an example of a lateral thinking at its best. He found out that the mud under the gate was soft. So every day, he got Bhhole (the athletic dog) to dig some mud from under the gate. Bhhole dug some mud everyday for seven days. On the seventh day, enough gap got created under the gap and the two escaped through that gap.

Where did they go ? There was a children’s part nearby. The board said-“only for Children of Railway employees”. The two dogs were playing there, considering themselves as children of a Railway employee.

Both dogs had different natures and different qualities. Chhote, the brainy one, had the ability to analyse things and work out ingenious solutions, which is unusual for most other dogs. For instance Bhole could never do these things. When it came to opening doors, Bhhole only knew how to open door by pushing. If the door needed to be pulled then Bhole was all at sea. But Chhote could easily pull a door. He even worked out the way to go through spring loaded doors by pulling it safely.

Bhole was good in barking whereas Chhote was not. When Bhole barked, his bark was so furious that people thought that many dogs were barking. Chhote accompanied him in barking but he in reality would only be only lip syncing in Bhole’s voice.

Chhote had some superhuman abilities in him. For instance he could tell by smell if the foodstuff was edible. We often used to buy milk packets when running short of Milkman supplied milk. Once we bought one such milk packet and offered this milk to the pets. Pets, who would dring milkman supplied milk without a fuss, refused t drink it despite being hungry. Later they drank milkman supplied milk. That is how we realised that the milk suppled in milk packets was not safe.

Chhote’s hearing ability was truly superhuman. The car that we have is one of millions such cars built to the same specifications, but Chhote could tell this car apart by the sound of its engine. He could do it when the car was at least a kilometer away. The person driving the car could barely listen to the sound of the engine, whereas Chhote, located one kilometer away could tell that this car belonging to the family was arriving back home in five minutes.

Chhote was very fond of being driven around in that car. He would take the passenger seat and look around, soaking in the scenario. He has traveled a lot between Maharashtra and MP, seated on the passenger seat.

When visitors came home, they were afraid of Bhole and they would request that Bhole be tied down by chain. No one was afraid of Chhote. Chhote would remain free and join in watching the visitors (plumbers/ electricians etc) do their stuff. If luggage was being moved from one place to another (for instance during transfers) Chhote would sit on the furnitures and would get carried along with the furniture. If the school friends of the daughter drop in and had their discussion while seated on chairs, Chhote too would hop on a chair and give them company.

From Nagpur, I got transferred to Bilaspur during end of 2011 and shifted the luggage in February 2012. All six of us travelled from Nagpur to Bilaspur in that car.

Bilaspur residence had a sprawling premise. The wall was broken at places. Initially I was worried that the dogs would escape through the gaps and would be lost. But after nearly one year of tussle between the pets and me, I realised that the pets could go out and come in safely. There were many occasions when I felt that the dogs (one or both) were lost, but fortunately they came back safely every time. In due course, the premise became a safe haven for pups and their mothers. The two pets would repel any male dogs from entering the premise, but pups and their mothers were welcome to reside in the premise. There was a time when the premise housed, apart from Bhhole and Chhote, two female dogs and nearly a dozen pups.

Bhole and Chhote had their meals in their earmarked pots. Bhole was very possessive about his meal and would not share it with any other dogs. Chhote on the other hand was quite accommodating and shared the meal of his pot with any pup who approached him. The pups adored him. I had taken photographs (that I shared on facebook) that show Chhote walking around with nearly a dozen pups following him.

We also had some temporary pets there that lasted for just a few months before being lost for one reason or the other. My wife had given them interesting names. One of these temporary pets was a pup named Kabra Singh. Both Bhole and Chhote were quite friendly with Kabra Singh and they would teach him tricks of dogfight. I have a photograph where Kabra Singh is seen trying to apply those tricks on his own gurus. 🙂 Kabra Singh tried to copy the mannerisms of Chhote. If Chhote was seated on a chair then he would get seated on a small stool striking the same pose as Chhote.

When I was transferred from Bilaspur to Izatnagar in UP in 2015 then bringing the two pets offered challenges because of the distance involved. Finally I worked out an elegant solution (first suggested by the daughter). She suggested that we needed to bring them by train. Initially I told her that it was not possible. Then on checking up the rules I found that dogs could be brought in guards van or in AC first (if other passengers do not object). No self respecting pet dog would ever travel in the guard van with the guard (without the owner) so that option was ruled out. The dogs had to be taken only by AC first. The best and fail safe way to ensure that there was no objection from other fellow passengers was to ensure that we got the cabin of two berths instead of four berth cabin. I requested for it. I was ensured that I would get that provided no VIPs traveled that day by that train. I prayed and my prayers were answered. VIPs kept away and we were allotted two berth cabin. The dogs, duly certified fit to travel (certificate issued by a government vet), with their documents and tickets were with us. THe TTE saw the tickets and raised no alarms (I had already ensured that the TTE was briefed beforehand). Chhote occupied the lower berth and watched eagerly out of the window like a wide eyed kid. Bhole, not interested , made himself comfortable at the floor of the cabin. Chhote let my wife share the lower berth with him. 🙂

Early morning, we arrived at Agra cantt. From there, we reached Izatnagar by road.

Izatnagar in UP was different from Bilaspur in Chattisgarh. The premise of the residence was just as porous as was the case with Bilaspur residence but I realised that allowing the dogs to roam free like they did at Bilaspur was not safe. So after a few close shaves, it was made sure that the two dogs were taken out of the residence only while chained. Of course then escaped from the chain many a times and those who ran behind to bring them back aften had harrowing time cornering them and bringing them back.

Every morning I would take the dogs on walk, one dog at a time. It was alweays Chhote first, because it was he who insisted on being taken for a walk first thing in the morning, come rain or snow. Thanks to him, I became the most disciplined officer in Izatnagar who would regularly go on a walk at 6 AM and even earlier while others were still sleeping. Even during torrential rain, Chhote would insist on having his daily morning walk. He was that kind of outgoing dog.

The street dogs in Izatnagar were quite big built and fearsome. They would try to bully Chhote and Chhote would get nervous. I , armed with a stick, assured him that he was under Z category security and he was well protected. I would manage to keep the gang of street dogs at bay. When it was the turn of Bhole to go on his morning walk, the tables were turned. For some reason, the appearance of Bhole unnerved even those big built hardened street dogs assembled in a gang and they would quickly disperse at the sight of Bhole. Bhole walked the street like a dabang dog.

Like at Bilaspur, even at Izatnagar, pups and their mothers were allowed to stay in the premises of the residence. As at Bilaspur, even here the pups were fond of the pets. Even Bhole was admired by pets. When they went on their morning walk, these pups also accompanied them. Pups accompanying Bhole would take advantage of Bhole’s appearance to bully even big looking street dogs and chase them away. 🙂

Izatnagar has an IVRI (Indian Vetenary Research Institute) nearby. The two dogs would often go there for their medical check ups and there they would combine to bully other dogs.

When I was transferred from Izatnagar to Gorakhpur in August 2018, I and my wife travelled by our car with our pets. The residence at Gorakhpur had proper walls so the pets could not go out. So for the first time in years, we could leave the dogs in the premise without worrying about them going out of premises. On three occasions, during heavy rains, I found parts of wall falling down and the premise getinmg exposed to public. Those were harowing days, because it meant dogs could escape to busy main road and from then onwars there was no hope for seeing them again. On all these occasions, I managed to somehow keep the dogs restrained while the wall got repaired (first temporarity and then permanently). On those days, I would take them out of residence while chained. Otherwise the dogs had forgotten the experience of being chained after coming to Bilaspur.

After one year of stay at Gorakhpur, Chhote suddenly developed the desire to go on a walk out of the residence every morning and afternoon, like how it was in Izatnagar. It was from december 2019 onwards. Chhote continued to go on his walks till march 2020,

It was during the last months of 2019 that Chhote started suffering from a medical problem that initially went unnoticed. My wife feels that he had developed a tiny swelling inside his mouth on the right side. Later, on being checked, it turned out to be malignant cancer. My wife took him to a vet for treatment in early march 2020, hoping that it would help. Next date of treatment was 25 march 2020, which turned out to be the date when lockdown started in India. It was in the second week of april that the Vet clinic finally opened. When Chhote was taken to the vet, he had become quite weak and thin by then because he was not able to eat properly. He was given driops and some injections, which helped a bit, and his appetite returned a bit. He has stopped eating his normal food. My daughter suggested that he be fed soft chicken pieces. She ordered chicken biryaani online every afternoon. I would feed Chhote soft pieces morsel by morsel which he would struggle to eat. He would then drink lots of water in a bid to wash it down.

The cancerous growth was becoming bigger. It led to continuous secretion that Chhote would try to wipe on his forelimbs. So his shiny white coat wou;d get dirty and discolored. I began to give him baths every second day which gave him relief for some time before his body would once again be covered with that secretion.

Chhote was suffering. Inability to take in nourishment was telling on him. An erstwhile burly looking Chhote was getting shrunk in size which was sad to see. When I showed his video to my daughter she began to cry at his plight.

When Chhote was taken to the vet again one week later, this time he stated that it was a hopeless case. The swelling is solid swelling. Nothing can be done to reduce it- the vet stated.

So I came back and informed this fact tyo my wife on phone.

To the credit of Chhote, he endured this pain stoically. He had realised that his last time was approaching. He seemed to be reconciled to it, secure in the knowledge that we tried everything we could for him. In his prime, he would bother us for many things, but this time he had decided that he would try and be as less of a problem on us as he could help. He did not whimper once throughout his suffering.

On my part, I made sure that Chhote did not feel unwanted, unloved and uncared for because of his medical condition. He was given the same freedom as before. No quarantine, no restrictions, no stigmas. He in fact was given special attention as far as feeding him and bathing him was concerned.

When my wife and daughter first became aware of the worsening condition of Chhote, they opined that he should not be made to suffer like this and he should be given euthanasia. I opposed the idea telling them that he was eating chicken and so he was getting nourishment.

By 25th may, his condition took a turn for the worse. He stopped taking even the little nourishment he was able to take earlier. And he had become so weak that he struggled to stand on his feet.

On 26th may, I phoned my wife and informed her of Chhote’s situation. I told her that I could no see Chhote holding on for much longer. It was now I, instead of she, who broached the subject of euthanasia. My wife, from her location in MP tried to get things arranged by talking to people concerned. The feedback was that no doctor was prepared. So be it. But we needed to be ready since the end was near.

On 26th of night, Chhote struggled to move around in the hall. He tried to sit in one place, and then another, then at yet another place and so on. He did not eat anything. with some effort, he drank water.

At night, he was sleeping in the hall. Late at night, when I woke up and looked at the hall, he was not there. It meant that he had gone to some other room where he liked to stay.

Every night, I am woken up by Bhhole a few times who wants to go out to relieve himself. And I take his out. Every time I do that, more often than not, Chhote too joins in. On this night, Chhote did not come out.

Next morning, when I hardly got any sleep, I took Bhole out of residence. At about 5 AM, I mustered enough courage to venture in the direction where Chhote had gone at night. There he was, lying stone cold at the floor. He had expired, after bravely fighting off this killer disease for several weeks.

As instructed by my wife the previous day, I kept the body on Chhote’s bed, which my daughter had ordered for him online the previous year. Then I covered him with a dupatta of my wife.

My wife had phoned the concerned people. An area was located in one corner of the premise adjacent to the boudary wall. A grave was dug. Chhote along with his bed and my wife’s dupatta covering him was laid to rest in that grave. Flowers, plucked from the plants in the premise were laid on the grave. Agarbattis were lit.

When nuppy had died, it came as a sudden shock because Nuppy was young and without any ailments. Chhote’s death on the other hand was not unexpected. It had become nevitable after cancer was detected inside his mouth and it was diagnosed as incurable. The pain of losing Chhote was tempered by other feelings, viz, feeling of relief that Chhote was finally put out of the terrible misery he was going through.

Then there was the feeling that I was spared a moral dilemma of subjecting my pet to euthanasia. No doubt I wanted that in order to save the pet from further pain, but that would have still amounted to murder. I was mightily relived that I could now could keep a clear conscious. I also felt morally upright knowing that I did not lt my pet down, I did not betray him and I did not hurt his feelings while he was undergoing his suffering. He was in need of support and comfort and I tried to provide that. When I realised that his end was near then I decided not to leave him alone.I took leave from office and stayed at home in the second half of 26 may 2020. So I was at home when the end came sometime in the night of 26 may-27 may.

My daughter asked me, did Chhote sport his collar while being buried ? I replied in the affirmative. Then I realised how wise it was on my part to fit Chhote’s favourite collar around his neck. Pet dogs wear this collar proudly as a badge of honour for being a pet of a household. Chhote departed from the world, secure in the knowledge that he was sporting his favourite collar at that time.

How did Bhole react to the demise of Chhote ? In the morning of 27 may 2020. Bhole must have gone to the room where Chhote was lying dead. He must have seen that Chhote was no more alive. Bhole kept a sombre silence throughout the morning. He saw Chhote, with his bed and dupatta cover being carried out. So he knew that Chhote would no longer be around.

Chhote got a decent honorable burial with eight human beings present. If there is something like soul which watches from above, then the soul of Chhote would have felt that he was treated well in his life and also while bidding him a final farewell.

There is this concept of “Shaapit gandarv” and “shaapit dev”. In ancient mythology, some gods would anger some rishis/ munis and the rishis / munis woud curse them to get born in the Mrityulok. On request, the sentence would be reduced a bit. Like for instance, in Mahabharat, eight vasus were cursed by Rishi Vashisht that they would e born as humans. On request, it was stated by Rishi that they would hav to spend just a few moments as human, as their mother would kill them immediately and then they could be back as Vasus. Some acquaintances, who are familiar with our pets have suggested that our pets too were like such devas who were cursed by some munis that they would be born as dogs on earth. On being requested, their sentence was softened. It was ordained that they would be brought up by a kind human family that would bring them up with care and affection. It is a theory that I agree with. Chhote and Bhole, and also nuppy seem to be very special pets who possessed qualities that seem unreal in a normal cat/ dog.

So, nuppy and Chhote are back to being the devas that they were before they came into our lives. Bhole is the only one left now. He perhaps needed to serve the longest sentence of them all. Like the humans, Bhole too is remarkable well composed and is coping well with the loss. Hopefully, we will get over the loss soon. The font memories of Chhote will ofcourse linger for many years. We have not forgotten nuppy who left us eight years ago, and I am sure same will be the case with Chhote as well.

I am sad but also relieved, and philosophical about this loss. Two days have already passed. I thought that I would keep this news to myself. But then I decided that it would be a burden on my chest if I kept this fact to myself. So this writeup, the longest in the blog for some time is my effort to get the load off my chest and then resume my normal life.

I searched for a suitable somh to go with the occasion. The search led me to a song from “Pyaas”(1982).

“Pyaasa”(1982) was produced and directed by O P Ralhan for Ralhan Productions Bombay. It had Kanwaljeet, Zeenat Aman, Tanuja, Anju Mahendroo, Madan Puri, Kamini Kaushal, A K Hangal, Dheeraj Kumar, Manmohan Krishna, Ram Mohan, Brahmchaari, Kamaldeep, Jagdish Raj, Devyani Thakkar, Shivraj, R S Chopra, Asha Sharma, Gauri Verma, Sunil Dhawan, Dhanraj, Maqbool, Hakeem, Ashok, Rafiq, Anil Ahuja, Rani Gill, Surjit Kaur, Shwini Kumar, Zeenat, Satyarani, Ramlal , Jimmy, Gopal Ralhan, Vinod Talwar, Ashok, Ratan Gaurang, Harendra, Kumud Tripathi, Ramesh Kumar, V K Chopra, Renu Kumar, Tarana, G Ansari, Ameer, Raj Kishore, Master Chhotu, Debut-Aaloka, Guest appearances by McMohan and Om Shivpuri.

This forgotten movie had eight songs by three lyricists. This song from “Pyaasa”(1982) is a song that seems tailormade for the sombre occasion. The song is sung by Kishore Kumar. Shiv Kumar Saro is the lyricist. Music is composed by Bappi Lahiri.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.

With this song, “Pyaas”(1982) makes its debut in the blog.


Song=Saath mera chhod kar (Pyaas)(1982) Singer-Kishore Kumar, Lyrics-Shiv Kumar Saroj, MD-Bappi Lahiri
Chorus

Lyrics

hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm

saath mera chhod kar
saath mera chhod kar
chal diya tu kahaan
dil mera tod kar
dil mera tod kar
saath mera chhod kar
saath mera chhod kar
chal diya tu kahaan
dil mera tod kar
dil mera tod kar

aaa aa aa aa
aaa aaa aa aaa aaa

gham se bhara hoon main
aur mujhe gham na do
phool maange thhe maine
mujhko khaar na do
saath mera chhod kar
saath mera chhod kar
chal diya tu kahaan
dil mera tod kar
dil mera tod kar

hmm hmm hmm hmm
hmm hmm

yaaden thhin kitni haseen roye aasmaan roye zameen
sahar ka ham kya karen yaar apna saath nahin
saath mera chhod kar
saath mera chhod kar
chal diya tu kahaan
dil mera tod kar
dil mera tod kar

aa aa aa aa
har dil mein zinda hai tu
insaan nahin farishta hai tu
gareebon ki hai jaan tu
insaan par ehsaan tu
saath mera chhod kar
saath mera chhod kar
chal diya tu kahaan
dil mera tod kar
dil mera tod kar
hmm hmm hmm hmm hmm


What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15700 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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