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

Archive for the ‘Songs of 1988’ Category


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 :

4453 Post No. : 15920 Movie Count :

4367

Hullo Atuldom

This is a post to wish Suyash Pandey on his 58th birthday (DoB 25 September 1962). His mother was a physician and a personal dietitian to Rekha in the ’80s. His father was in the team of surgeons who performed the first ever heart transplant in India at Mumbai’s KEM Hospital in the 70s. Suyash Pandey’s daughter is also in movies and she made her debut in 2019.

I am talking of the smart, tall and lively actor who is popular as Chunky Pandey (his daughter is Ananya Pandey). He made his debut in 1987 in the Shibu Mitra directed multi-starrer “Aag Hi Aag” playing Moushumi Chatterjee and Dharmendra’s son. That movie was produced by Pahlaj Nihalani. Neelam Kothari was his love-interest in that movie. Chunky’s “Paap Ki Duniya” (1988) was his second with producer Nihalani and director Shibu Mitra. This was also a multi-starrer. It also had Neelam as the female lead. Only difference was, here Neelam was in love with Sunny Deol’s character.

I remember seeing the movie at the time of its release, of course with my all-time moving-seeing companion ‘my dad’. After sitting through the movie, which he enjoyed thoroughly, he said that the story is same as Raj Kapoor’s “Awaara”. That is, the son of an honest cop (Pran) is kidnapped by a notorious criminal (Danny), and is brought up to be a professional thief and criminal (Sunny Deol). The movie has enough twists and turns because of which the criminal’s son (Chunky) is brought up by the cop and he becomes a cop, hot on the heels of the criminals Danny and Sunny. And then everyone finds out their blood-relatives and we have a happy ‘the end’ and Inspector Vijay (Chunky) is happy to see Ashok alias Suraj (Sunny) marrying Aarthi (Neelam).

Chunky is one actor who was mostly seen in multi-starrers and was nominated for the best supporting actor award for his role in “Tezaab”, where he played Anil Kapoor’s friend Baban, who helps Anil (Munna) find Mohini (Madhuri) when Lotiya Pathan (Kiran Kumar) kidnaps her.
But IMHO he was best, playing comic characters – his “Aankhen” with Govinda is the best case to prove my point. Of course, his career took a slight beating when the Khan’s appeared on the Bollywood firmament but he has managed to find a footing in movies of the new millennium and is seen doing varied characters which are not necessarily comedy or romantic and also not the typical character actor type roles.
He was a decent dancer and today’s song is proof of that. It is from “Paap Ki Duniya” which is written by Anjaan and Bappi Lahiri is the music director. S. Janaki and Kishore Kumar are the playback. The song was decently popular in those days when the movie released and is based on some Marathi folk song. I also feel that there may be a Marathi original to this song.

As I was seeing the video (after years) a few things struck me:-
(1) the Marathi saris that Neelam wears are the same colors as the dresses preceding them.
(2) Bappi Lahiri had a field day composing the interlude music which has both western and folk beats.
(3) The choreographer must have enjoyed composing the dance as both the artists were decent dancers. By the way, this song was Inspector Vijay’s fantasy.
A very Happy Birthday to Chunky who has a knack of cracking up at jokes of which he is often the target.


Song-Mera dil tota ban jaaye kaisa mithhu mithhu bole haaye(Paap Ki Duniya)(1988) Singers-Kishore Kumar, S Janaki, Lyrics-Anjaan, MD-Bappi Lahiri

Lyrics

(BIRD SOUNDS)
main tera tota
tu meri maina
main tera tota
tu meri maina
maane na kyun kehna
phoolon ke jaisi teri jawaani
phoolon ke jaisi teri jawaani
jaane kya jaadu chalaaye
mera dil tota ban jaaye
kaisa mithu mithu bole haaye
mera dil tota ban jaaye
kaisa mithu mithu bole haaye
na tu hai tota
na main hoon maina,
maanoongi na kehna
na tu hai tota
na main hoon maina
maanoongi na kehna
jaanoon main jaanoon baatein banaake
jaanoon main jaanoon baatein banaake,
tu kaisa chakkar chalaaye
kyun dil tota ban jaaye
kaahe mithu mithu bole haaye
kyun dil tota ban jaaye
kaahe mithu mithu bole haaye

raahon mein
kyun roke
mujhko subah’o shaam
khulke tu
bol kabhi
mujhse tujhe kya hai kaam

mujhko toh
hai tujhse
bas itna sa kaam
lih de haan
likhde tu
saari umar mere naam
mera dil tota ban jaaye
kaisa mithu mithu bole haaye
mera dil tota ban jaaye
kaisa mithu mithu bole haaye
main tera tota
tu meri maina
maane na kyun kehna
phoolon ke jaisi teri jawaani
phoolon ke jaisi teri jawaani,
jaane kya jaadu chalaaye
mera dil tota ban jaaye,
kaisa mithu mithu bole haaye
kyun dil tota ban jaaye,
kaahe mithu mithu bole haaye haaye

garmi ho
sardi ho
ya barse barsaat
barson se
main tera
peechha karoon din raat
tu aaye
jab aaye
keh jaaye woh baat
woh teri
baat mujhe
sone na de saari raat

mera dil tota ban jaaye,
kaisa mithu mithu bole haaye
o mera dil tota ban jaaye,
kaisa mithu mithu bole haaye
main tera tota
tu meri maina
maane na kyun kehna
phoolon ke jaisi teri jawaani
phoolon ke jaisi teri jawaani
jaane kya jaadu chalaaye
mera dil tota ban jaaye
kaisa mithu mithu bole haaye
kyun dil tota ban jaaye,
kaahe mithu mithu bole haaye

main teri
dil tera
dil leke raaja
chal mil ke
ud jaaye
ham aasmaano ke paar

meri jaan
badhke tu
thhaam le mera haath
pyaar ke woh
pankh mile
ud jaaoon main tere saath
mera dil tota ban jaaye
kaisa mithu mithu bole haaye
mera dil tota ban jaaye,
kaisa mithu mithu bole haaye
tu mera tota
main tere maina,
maanoongi main kehna
jab pyar aisa
haan tere jaisa
woh pyaar aisa
haan teri jaisa
dil ko kabhi chhoo jaaye
mera dil tota ban jaaye,
kaisa mithu mithu bole haaye

mera dil tota ban jaaye,
kaisa mithu mithu bole haaye
mera dil tota ban jaaye,
kaisa mithu mithu bole haye
mera dil tota ban jaaye,
kaisa mithu mithu bole haaye


This article is written by Peevesie’s mom, 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 :

4319 Post No. : 15605 Movie Count :

4297

Hullo Atuldom

Today’s song is from a movie that released 32 years ago. This movie and song were instrumental in catapulting our today’s birthday girl into the big-league.

She had made her debut in Bollywood in 1984 through a Rajshri Productions movie which had a story similar to the Jaya Bhaduri starrer “Uphaar” of the 70s. Then followed a string of movies; which were not so successful; where she was an “also there” or what is generally termed as a glamour doll. Even 1988 saw her in four movies three of which were commercial failures. So we can term her start to be something like what the Big B experienced in the 70s.

But her fourth release of 1988 (release date 11 November) made her an overnight star along with re-affirming Anil Kapoor’s standing in the industry.

So today’s song is from N.Chandra’s “Tezaab” and with this we are wishing our “Mohini” a.k.a Madhuri Dixit (Nene got added to her name after marriage to Dr. Nene in 1999). Madhuri played a unfortunate, kindhearted and gentle girl who is forced to dance by her father so that his drunken ways are financed. She looked the role of a meek, frail girl but danced brilliantly.

Most Madhuri’s subsequent movies had atleast one great dance number. Who can forget “humko aaj kal hain intezaar”; “mera piya ghar aaya o ramji”; “Tamma tamma loge”; “dhak dhak karne laga” and the cream of them all “choli ke peeche kya hain” to name the most popular ones (there are many more) As I write this I find all the songs that I have mentioned here are yet to make their appearance on the blog except for the song from Khalnayak “choli ke peeche”.

She made an excellent pair with whoever she was cast opposite but the pairing with Anil Kapoor was a different class altogether. They did 18 films together including the 2018 release “Total Dhamaal”. There is a strange camaraderie between the two actors which is evident in any scene that they enact.

She must be among the few actress who have acted with pairs of father and son- Rishi and Ranbir Kapoor, Vinod and Akshaye Khanna for example.
Today’s song has a female and male version. Female playback -Alka Yagnik and male – Amit Kumar. The songs were written by Javed Akhtar and Laxmi-Pyare were the composers.

The male version is shot on the streets of Mumbai and we can see the steps of the famous Asiatic Library; also Akbarally’s which was one of the first departmental store of Mumbai (have done shopping there a few times when the kids were small.)

The Female version is a stage song which ends when a group of bandits or thugs led by Kiran Kumar, invade the scene with the intention to corner Anupam Kher (who played the drunkard father of Mohini). They leave carrying Mohini with them when they cannot find Anupam Kher.

So here is wishing the ever so beautiful brilliant dancer and of a million-bucks smile a long and healthy life and success in all her future ventures too. She still has a lot of time before she calls it a day. She is still very young.

Male version

Female version

Song-Ek do teen chaar paanch chhe saat (Tezaab)(1988) Singer-Amit Kumar/ Alka Yanik, Lyrics-Jawed Akhtar, MD-Laxmikant Pyarelal
Male chorus
Female chorus

Lyrics

——————–
Male version
——————–
ding dong ding
ding dong ding dong ding dong
ding dong ding
ding dong ding dong ding dong
ding dong ding
ding dong ding dong ding dong
ding dong ding
ding dong ding dong ding dong

ek do teen
char paanch chhe saat aath nau
dus gyarah baarah terah
ek do teen
char paanch chhe saat aath nau
dus gyarah barah terah

tera karoon
tera karoon din gin gin ke intezaar
aaja sanam aayi bahaar
tera karoon din gin gin ke intezaar
aaja sanam aayi bahaar
ek do teen
chaar paanch chhe saat aath nau
dus gyarah barah terah
ek do teen
char paanch chhe saat aath nau
dus gyarah barah terah

chaudah ko jab maine kehlaaya thha
chaudah ko jab maine kehlaaya thha
pandarah ko aaoonga
main aaya thha
pandarah ko parde se nikli na tu
tujh ko na paake main ghabraaya tha
solah ko bhi
solah ko bhi subah se tha bekarar
aaja sanam aayi bahaar
tera karoon din gin gin ke intezaar
aaja sanam aayi bahaar
ek do teen
char paanch chhe saat aath nau
dus gyarah barah terah

satarah ko soya nahin raatbhar
athhaarah ko bhi tu na aayi nazar
unees ko main deewaana hua
bees ko ghar se rawaana hua
galiyon mein
galiyon mein goonje deewaane ki pukaar
aaja sanam aayi bahaar
tera karoon din gin gin ke intezaar
aaja sanam aayi bahaar
ek do teen
chaar paanch chhe saat aath nau
dus gyarah barah terah

ikkees ko aayi na
baaees ko tu
jab na mili teyees chaubees ko
pachees ko samjhaya sab ne mujhe
mat jaane de de na chhabees ko
duniya mein bas
duniya mein bas din hain mere aur chaar
aaja sanam aayi bahaar
tera karoon din gin gin ke intezaar
aaja sanam aayi bahaar
ek do teen
char paanch chhe saat aath nau
dus gyarah baarah terah

din lage hafte
re hafte maheene
maheene lagte saal
aake zaara tu dekh toh le
kya hua hai mera haal
deewaana dar dar main phirta hoon
na jeeta hoon na main marta hoon
tanhaayi ki raatein sehta hoon
aaja aaja
aaja aaja aaja
aaja ke din ginta rehta hoon
aaaa
ek do teen
char paanch chhe saat aath nau
dus gyarah barah terah
ek do teen
char paanch chhe saat aath nau
dus gyarah barah terah

tera karoon din gin gin ke intezaar
aaja sanam aayi bahaar
ek do teen
char paanch chhe saat aath nau
dus gyarah barah terah

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

mohini mohini mohini mohini
mohini mohini mohini mohini
ho ho ho ho
ho ho ho ho oooooo

namaskaar
namaskaar
kahiye, kya sunege aap
arre pehle ye kahiye, kahaan thi aap
main
main kar rahi thi kisi ka intezaar
kaun hai woh
jisse karati hoon pyaar
haaye
aur, jisse karati hoon minnate baar baar,
kaise
aise

ding dong ding,
ding dong ding dong ding dong
ding dong dong
ding dong ding dong dong dong
ek do teen,
chaar paanch chhe saat aath nau,
dus gyarah baarah terah
ek do teen,
chaar paanch chhe saat aath nau,
dus gyarah barah terah

tera karoon,
tera karoon din gin gin ke intezaar
aaja piya aayi bahaar
tera karoon din gin gin ke intezaar
aaja piya aayi bahaar
ek do teen,
chaar paanch chhe saat aath nau,
dus gyarah baarah terah
ek do teen,
chaar paanch chhe saat aath nau,
dus gyarah barah terah

chaudah ko tera sandesa aaya
chaudah ko tera sandesa aaya,
pandrah ko aaoonga ye kehlaaya
chaudah ko aaya na pandrah ko tu,
tadpaake mujhko toone kya paaya
solah ko bhi
solah ko bhi solah kiye thhe singaar,
aaja piya aayi bahaar
tera karoon din gin gin ke intezaar,
aaja piya aayi bahaar
ek do teen,
chaar paanch chhe saat aath nau,
dus gyarah barah terah

satrah ko samjhi sang chhoot gaya
athharah ko dil toot gaya
ro ro guzaaraa maine saaraa unnees
bees ko dil ke tukde hue bees
phir bhi nahin
phir bhi nahin dil se gaya tera pyaar,
aaja piya aayi bahaar
tera karoon din gin gin ke intezaar,
aaja piya aaye bahaar
ek do teen,
chaar paanch chhe saat aath nau,
dus gyarah barah terah

ikkees beeti,
baayees gayi,
teyees guzari, chaubees gai
pachchees chhabees ne maara mujhe
birha ki chakki mein main pis gayi
din bas
din bas maheene ke hain aur chaar
aaja piya aayi bahaar
tera karoon din gin gin ke intezaar,
aaja piya aaye bahaar
ek do teen,
chaar paanch chhe saat aath nau,
dus gyarah barah terah

din bane hafte re,
hafte maheene,
mahine ban gaye saal
aake zara tu dekh to le
kya hua hai mera haal
deewaani dar dar main phirti hoon
main jeeti hoon naa main marti hoon
tanhaayi ki raaten sehti hoon
aaja aaja
aaja aaja aaja
aaja ke din ginnti rehti hoon
ek do teen,
chaar paanch chhe saat aath nau,
dus gyaarah baarah terah
ek do teen,
chaar paanch chhe saat aath nau,
dus gyarah barah terah

tera karoon din gin gin ke intezaar,
aaja piya aaye bahaar
tera karoon din gin gin ke intezaar,
aaja piya aaye bahaar
ek do teen,
chaar paanch chhai saat aath nau,
dus gyarah barah terah
ek do teen,
chaar paanch chhe saat aath nau,
dus gyaarah baarah terah


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

Blog Day :

4274 Post No. : 15509 Movie Count :

4275

Songs Repeated in Hindi Films – 18
– – – – – – – – – – – – – – – – – –

So this suggestion and reminder from Anekant ji, dropped into my mail box yesterday. And I take this opportunity to present this repeat song that is so appropriate for the continuing celebrations of Navratri.

The original song – “Tu Ne Mujhe Bulaaya Sheraanwaaliye“, is from the film ‘Aasha’ (1980) and on screen it is performed by Jeetendra and others. Reena Roy is present in the picturization. Fast forward eight years to 1988 and the song has been repeated in the film ‘Do Waqt Ki Roti’ (1988), as is. Meaning, it is not a re-recording. The song has been replayed as original. The only difference is that a full antaraa is deleted. The original song has two antaraas, and this reuse song has only one.

‘Do Waqt Ki Roti’ is produced by MP Aggarwal and is directed by Satpaal. The primary cast of actors is listed as Feroz Khan, Sanjeev Kumar, Reena Roy, Sulakshana Pandit, Nirupa Roy, Amjad Khan, Shakti Kapoor, Satyendra Kappu, Ranjeet, and Jagdeep. The film has five songs, other that this reuse song.

The interesting similarity that the music directors of these two films are the same. So maybe that is why the reuse may not have been a problem. However, as usual, this reuse song is not listed in the list of songs of this film.

Today is the sixth day of Navratri celebrations. The incarnation of the Goddess Mother that is worshipped today is Maa Kaalratri or Maa Mahakaali. I would like to discuss this appearance of the Mother in a little more detail. It is quite possible that the readers may be quite familiar with this description.

The description is as per the Devi Bhagwat. As it their wont – the Devatas have been defeated by two powerful aruras (demons) – Shumbh and Nishumbh, and had lost the occupation of the Kingdom of Heavens. The commander of the asura armies was another demon named Raktbeej. Raktbeej had a boon that he had received from Brahma ji. As is usual the asuras, after long periods of penance and austerities, would always end up asking for the blessing of longevity – that they could never be destroyed. This boon has been asked for by the asuras in many different forms. Raktbeej asked for this boon in the form that in case he is in a battle, and he is wounded, then when his blood touches the ground in form of drops, every drop will immediately form a replica of the Raktbeej himself. So even if he is wounded, just by the result of this blessing, an army of Rakbeej clones will be created. By this way, Raktbeej may never be vanquished, and he would only get stronger with additional forces of clones of himself to support him.

The Devatas were in despair, and they prayed to the Mother Goddess. She appeared and asked them what were they seeking from Her. They explained the predicament in their battle against Shumbh and Nishumbh – that they, the Devatas will never be able to defeat the asuras, as long as their commander Raktbeej is leading them. The Mother Goddess assured them of help, and sent them away to wage another war on the asuras. The battle started. Devatas started to target Raktbeej, but his blessing still obstructed the Devatas to make any headway in the fight. In fact, when Devatas would inflict any blow Raktbeej, the drops of blood from his body, as they touched the ground, would sprout into another Raktbeej, thus strengthening the army of asuras.

The Mother Goddess then took on the form of Maa Kaali and joined the battle. The appearance and demeanor of the Mother in the Kaali form was frightening. Completely black in appearance from head to toe, wearing black, long black hair loose open and waving, a garland made of skulls in the neck, and wearing a skirt made from the limbs of the dead, with a khadag (a sword like weapon, curved in a different way) in one hand, and bowl made from the outer layer of a coconut, in the other hand. The fearful appearance was further enhanced with a long red tongue that perpetually remained outside the mouth, waving like a blood red serpent.

She reached close to Raktbeej and hit him with the khadag. An injured Raktbeej started to bleed from his wounds. Maa Kaali reached out with her waving tongue and started to lap up every drop of his blood that oozed out of his wounds. Working feverishly with her long tongue, she picked up very drop of blood from Raktbeej’s body, and continued to strike him. Losing blood, he started to become weak, as he continued to lose blood and his strength. And the boon was going waste because Maa Kali did not allow the drops of his blood to reach the ground. Finally, Maa Kaali cut off the head of Raktbeej with a blow from her khadag. To catch the falling blood from the dethatched neck, Maa Kali held the coconut bowl under it, once again not allowing even a drop of blood to fall on the ground. As the cup would overflow, Maa Kaali would drink from it, to make room to hold more blood.

The appearance and sight of the Mother was really frightful. She seemed to not be under Her own control. Waving the khadag in anger, she started to destroy anything and anybody that crossed her path. The army of asuras was thus decimated, but the Mother could not be stopped. The Devatas then prayed to Lord Shiv and requested him to rescue them from the wrath of Maa Kaali. Lord Shiv appeared to face Maa Kaali, but he too could not dissuade her and calm her down. She continued in her stride, destroying everything in her path. Then Lord Shiv lay down on the ground, in the path where she was headed. Maa Kaali continued in her stride and finally set a foot on Lord Shiv himself. Realizing suddenly that she had stepped on to her own consort, she came to a halt. Her anger dissipated, she stepped back and became calm.

There is a reason that describe this episode today. Today is the day of the worship of Maa Kaalratri, or Maa Kaali, and so it is appropriate to recount her legend. I remember hearing this narrative recounted to me by elders, or reading it in books, and I always used to wonder at the bizarre description of this event. Years passed and as I came to high school, I would finally get a reasonable explanation of this narrative. In the biology class, as we read about viruses and infections and deadly diseases, it suddenly came together in my mind that this description of Maa Kaali is so analogous to weeding out a deadly disease. Raktbeej is the infection that multiplies incessantly. The more you try to root it out, the more it spreads. Like the drops of blood falling on ground, it is the viruses that attack healthy cells, they multiply, and then attack more healthy cells.  Maa Kaali is likened to the antidote to the infection, that attempts to cut down the avenues for the infection to spread, not allowing it to reach more healthy cells thus depriving it of its resources to multiply.

That is quite much the situation that is faced by the world in present times. An unbridled and unknown new infection is running rampant through the human population, incurring a very high toll of fatalities. The mechanism of isolation and social distancing is analogous to not allowing the drops of blood of Raktbeej to fall on the ground, and not find newer option to breed and grow. The ideas that had formed in my mind during my high school studies of biology, are kind of getting reflected in the events of this worldwide spread of the deadly virus infection. The containment solution is in being isolated and not allowing propagation. Countries that are practicing this measure, are being somewhat successful in minimizing the fatal damage to the population. And the nations that, for whatever reason of culture or politics are failing to exercise this discipline, are on the way to incur heavy losses in terms of human life. A scenario that is described in our ancient texts is playing out in the real world with a very eerie congruence.

So, the day to pray to Maa Kaali today, is the day also to understand this mechanism of disallowing Raktbeej to replicate itself and to curtail the damage that can be done by an uncontrolled spread of this contagion.

May the Mother Goddess Maa Kaali appear once again on this earth, and destroy this Raktbeej like malady, cleanse this earth and rescue her children.

Ameen.

 

Song – Tu Ne Mujhe Bulaaya Sheraanwaaliye  (Do Waqt Ki Roti) (1988) Singer – Narendra Chanchal, Rafi, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Chorus

Lyrics

saanchi jyoto waali maata. . .
maata. . .
teri jai jaikaar
jai jaikaar. . .‎
jai jaikaar. . .‎
jai jaikaar. . .

‎‎tu ne mujhe bulaaya sheraanwaaliye. . .
main aaya main aaya sheraanwaaliye
tu ne mujhe bulaaya sheraanwaaliye. . .
main aaya main aaya sheraanvaaliye
‎o jyotaan vaaliye
pahaadaan vaaliye
o mehraan vaaliye. . .
tu ne mujhe bulaaya sheraanvaaliye. . .
main aaya main aaya sheraanvaaliye
o o o
tu ne mujhe bulaaya sheraanvaaliye. . .
main aaya main aaya sheraanvaaliye

kaun hai raaja
kaun bhikhaari
kaun hai raaja
kaun bhikhaari
ek baraabar tere saare pujaari
tu ne sab ko darshan de ke
tu ne sab ko darshan de ke
apne gale lagaaya sheraanvaaliye
tu ne mujhe bulaaya sheraanvaaliye
o jyotaan vaaliye
pahaadaan vaaliye
o mehraan vaaliye. . .
tu ne mujhe bulaaya sheraanvaaliye. . .
main aaya main aaya sheraanvaaliye

‎o prem se bolo

jai maata di
o saare bolo
jai maata di
o aate bolo
jai maata di
o jaate bolo
jai maata di
o kasht nivaare
jai maata di
o paar utaare
jai maata di
devi maan bholi
jai maata di
bhar de jholi
jai maata di
o jode darpan
jai maata di
maa de ke darshan
jai maata di
o jai maata di
jai maata di
jai. . . maata di..ee..ee
‎jai maata di‎
jai maata di‎
jai maata di‎
sheraanwaali ki jai

jai maata di‎
jai maata di‎
pahaadaan vaali ki jai,

jai maata di‎
jai maata di
‎vaishno raani ki jai

jai maata di‎
jai maata di‎
ambe raani ki jai

jai maata di
‎jai maata di‎
pahadaan waali ki jai‎


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 :

4272 Post No. : 15503 Movie Count :

4273

Hullo Atuldom

Ideally this post should have come last year, when this veteran of about a few hundred movies, turned 80. But then that has not happened.
I have decided that we shall not let the occasion go unnoticed. And in south India, the celebration for a person turning 80 is normally on completing 81, as the system of calculating the auspicious date to celebrate says that the person should have witnessed a 1000 full moons in his life, with the life being said to have started after the 1st birthday. Etc. Etc. Etc.

Whatever be the logic, the celebration called “Sadabhishekam” is after the person crosses 81 and our celebrity is turning 81 today. So here we are wishing this veteran a Happy 81st birthday.

He was born Syed Ishtiaq Ahmed Jafri on 29th March 1939 in Amritsar. He made his first screen appearance at the young age of 11 or 12. B.R.Chopra’s “Afsana” was the starting point followed by “Ab Dilli Door Nahin”, “Hum Panchi ek Daal ke”, “Do Bigha Zameen”, “Aar Paar” etc. AVM’s “Bhabhi” saw him in his first role of a grownup. And then there was no looking back and we have seen him in movies till 2017- a really long career. He played a leading man in a few movies before finding his comic timing in “Brahmachari”.

He has had many famous songs filmed on him -“Paas baitho tabiyat bahal jayegi”, “In pyar ki raahon mein”, we have seen him shaking a leg when Shamshad Begum sang, for Kumkum’s debut in movies, “kabhi aar kabhi paar”. This post introduces us to the person whose 81st birthday it is today.

Yes we are wishing “Soorma Bhopali” of Sholay a.k.a father of Jaaved and Naaved Jaafri of ‘Booogie Boogie’ fame. Simply put we are celebrating comedian Jagdeep’s birthday.

He may have done around 100 movies prior to “Sholay” but when Salim-Javed wrote the character of ‘Soorma Bhopali’ it changed Jagdeep’s fortunes forever. He was seen in many movies after “Sholay” too but very few remember him as the sidekick of Gopi (Mithun Chakravarty) ‘Kabari” in Surakksha”” (1979); ‘Chandu alias James Bond’ in the 1977 release “Agent Vinod”; he had a tiny-blink-n-miss role in Feroz Khan’s “Qurbani”. Jagdeep was forever requested to reappraise his Soorma Bhopali, atleast once, in many subsequent movies. He himself wrote and directed a movie with the title “Soorma Bhopali” in 1988. I don’t know much about that movie other than the fact that it had a whole lot of Jagdeep’s co-actors from “Sholay” making guest and special appearances in that movie. IMDB.com gives the list of actors as Agha, Amitabh Bachchan, Master Bhagwan, Birbal, Brahmachari, Danny, Dharmendra; Aruna Irani appears to be the sole female in the starcast.

I have chosen a song from this 1988 movie to accompany this post. The music directors were Dilip Sen- Sameer Sen and songs were written by Asad Bhopali, Jaan Nissar Akhtar and Jagdeep himself has written a song. It was a difficult task selecting a song from this movie as Jagdeep has also sung a few songs in the movie. But I finally decided that we will have a song that accompanies the movie’s credits that is what I have deduced from the available clip. This song is sung by Mohd Aziz and Jagdeep and Asad Bhopali is the lyricist. As I was writing the lyrics I caught the names of lot more actors than those that I have mentioned who were common to Sholay and this movie.

Here is wishing our very own Soorma Bhopali, who had a one-liner to his character in Sholay that said “Soorma Bhopali aise nahin hai”, A very Healthy and happy Birthday.


Song-Main hoon Soorma Bhopali (Soorma Bhopali)(1988) Singer-Md Aziz , Lyrics-Asad Bhopali, MD-Dilip Sen Samir Sen
Jagdeep

Lyrics

assalaam vaalekkum
aadaab arz hai
namaste
aao hanste hanste
aur jaao hanste hanste
paan khaalo
aur issi baat pe bajaao taali

ke main hoon soorma bhopali
arre haan soorma bhopali
ke main hoon soorma bhopali
miyaan haan soorma bhopali
main na rahoon Bhopal mein
toh sheher lage hai khaali ee ee
main hoon soorma bhopali
miyaan haan soorma bhopali

yeh mera bhopal hai
jo pyaar se maalaamaal hai
bairagadh se T T Nagar tak
jo hai yahaan khush-haal hai
moti masjid jaama masjid
Taj ul Masjid dekh kar
jo bhi dekhe birla mandir
chamak uthhe hai uski nazar
kamlapati raani ka mahal hai
beech mein donon taalon ke
jaise meri naak hai pyaare
beech mein donon gaalon ke
meri chaal anokhi sabse
meri chaal anokhi sabse
meri ada hai niraali ee ee
main hoon soorma bhopali
miyaan haan soorma bhopali

meri cycle meri dulhan hai
isko saja ke rakhta hoon
ise akela jab bhi chhodoon
taala laga ke rakhta hoon
logon meri soorat pe na jaao
dil hai mera aaine jaisa
mujhse meri ammi ne kahaa thha
beta haath ka mail hai paisa

paise ki parwaah na karna
bhale kaam mein rehna aage
uske karam par rakhna bharosa
woh jab chaahe kismat jaage
ooparwaala
ooparwaala kadam kadam par
kare teri rakhwaali ee ee
main hoon soorma bhopali
arre haan soorma bhopali
main na rahoon bhopal mein
toh sheher lage hai khaali ee ee
main hoon soorma bhopali
miyaan haan soorma bhopali
main hoon soorma bhopali
miyaan haan soorma bhopali


This article is written by Peevesie’s mom, 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 :

4268 Post No. : 15495 Movie Count :

4270

hullo Atuldom

Under Sudhirji’s current series “Songs repeated in hindi films” he posted Ek Ladki Bheegi Bhaagi Si on March 17th, that reminded me that Farooque Sheikh’s Birth anniversary was round the corner. he would have turned 72 today (25 march 2020).

I was reading up about Farooque Sheikh ((25 March 1948 – 28 December 2013) and discovered he was the son of a lawyer and was a law graduate himself. He had leanings towards theatre and met his future wife Roopa and future co-star Shabana Azmi on the stages of St. Xavier’s College in Mumbai.

His first released movie was M.S. Sathyu’s “Garam Hawa”. What followed was a list of movies that represented the meaningful cinema of the 70s and 80s, movies that were neither ART or COMMERCIAL but more of the MIDDLE-OF-THE-ROAD kind; movies that the middle class audiences of those times identified with. We saw him in Chashme Baddoor, Katha, Rang Birangi, Ek Baar Chale Aao, Faasle, Ab Aayega Maza, Biwi Ho Toh Aisi etc.
Today we shall have a song from “Biwi Ho Toh Aisi” which had an unusual pairing. We were used to seeing Farooque with Deepti Naval in most films back then, but “BHTA” had Farooque pairing with Rekha romantically, and Kadar Khan and Bindu played his parents and Salman Khan (this was Salman Khan’s debut movie) played his brother.

This was not the first time that Rekha teamed up with Farooque Sheikh. He had played a Nawaab who was in love with Umrao in Umrao Jaan. There was one other movie with the same pairing but we see Farooque Sheikh playing the typical romantic Bollywood hero here.
Here is today’s song.


Song-Phool gulaab ka (Biwi Ho To Aisi)(1988) Singers-Md Aziz, Anuradha Paudwal, Lyrics-Anjaan, MD-Laxmikant Pyarelal
Both

Lyrics

phool gulaab ka
phool gulaab ka
laakhon mein hazaaron mein
ek chehra janaab ka aa aa
phool gulaab ka
haan jhonke suroor ke
jhonke suroor ke ae
aisi taareefen taareefen
aisi taareefen karna
seekhe koyi huzoor se ae ae

phool gulab ka
haan jhonke suroor ke ae

gore gore haathon mein mehandi mehakti hai
gore gore haathon mein mehandi mehakti hai
phool si kalaayi mein choodi khanakti hai ae
choodi khankati hai ae ae
maujen chenaab ki
maujen chenaab ki ee
maathhe pe chamakti hai bindiya hijaab ki ee ee
phool gulaab ka

khushbuon ke saaye mein
kya kya gul boote hain
khushbuon ke saaye mein
kya kya gul boote hain
prem rang sachcha hai
baaki rang jhoothhe hain
baaki rang jhoothhe hain ae ae
mausam jawaan hai
mausam jawaan hai ae
tauba boloon kya boloon
mushkil mein jaan hai ae ae
jhonke suroor ke ae ae

thhami thhami lehren hain
ruka ruka paani hai
thhami thhami lehren hain
ruka ruka paani hai

teri meri aankhon mein
raat ki kahaani hai
teri meri aankhon mein
raat ki kahaani hai
raat ki kahaani hai ae ae
waada bahaar ka
waada bahaar ka aa
umrr bhar gaayenge
naghma yeh pyaar ka aa aa

phool gulaab ka
laakhon mein hazaaron mein
ek chehra janaab ka aa aa
jhonke suroor ke
aisi taareefen karna seekhe koyi huzoor se ae ae

phool gulab ka
laakhon mein hazaaron mein
ek chehra janaab ka aa aa
phool gulaab ka
laakhon mein hazaaron mein
ek chehra janaab ka


This article is written by Nahm, a fellow enthusiast of Hindi movie music and a regular 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 :

4092 Post No. : 15236

I have been meaning to write a post on Majrooh Sultanpuri for some months now to commemorate the 100th birth Anniversary of a poet and film song writer par excellence.   But as usual one puts somethings on back burner and postpones things for some other time.

Last week I started the lyrics of this song from ‘Qayaamat Se Qayaamat Tak’ (1988), incidentally on my iPad and saved the file in yahoo mail. But that file is not opening in the any of the computers, so this post again didn’t even start.  Today is 1st October, 2019.  A very nice post by Sadanad Kamath Sir has appeared in the blog, which is quiet inspiring and it gave fresh ammunition to my jaded thoughts to start this write up.

Majrooh Saab’s super success with all music director, big and small, prolific and selective, is not comparable to anyone else.   None of the major song writers in his era can boast a list of composers as comprehensive as him, and more importantly successful, famous and hit songs.  Be it Madan Mohan and SD Burman, Chitragupt and Laxmikant Pyarelal, or RD Burman, Roshan, Rajesh Roshan & Khaiyyam, least of all Naushad & OP Nayyar, C Ramchandra & Salil Chaudhary also. I don’t have to start listing the beautiful lyrical and profound songs, Majrooh Saab wrote with/for all these composers.

Among his contemporaries, Kaifi Azmi, Sahir Ludhianvi, Shailendra, Hasrat Jaipuri, Rajendra Krishnan, Shakeel Badayuni, Qamar Jalaalabadi, later on Indeevar, Anand Bakshi and Gulzar etc., most were aligned with a music director or a film production  group etc.  Music Directors also preferred to work with a single lyricist or a couple at a time.  Among the major composers only SD Burman seemed to have worked with all of the above listed lyricist, as well as Majrooh.

Sahir Ludhianvi was more prone to making tributes to other poets in his songs.  But Majrooh seems to have paid a ‘khiraj-e-aqeedat’ to his fellow progressive poet Faiz Ahmed Faiz in Madan Mohan’s “Chiraag’ song “Teri Aankhon Ke Siwa Duniya Mein Rakha Kya Hai”.  This line is part of the immortal Nazm by Faiz – “Mujh Se Pehli Si Mohabbat Mere Mehboob Na Maang“.

In recent times, I have found that reading good work by others inspires me to write my own thoughts.  This is truer about poetry.  When I listen to some poets work, it given wings to my thoughts too.  I feel like writing something not necessarily on similar lines, better or superior, but some verse, some tributary sentences.

One can only wonder how such great creative minds must have felt when they heard some inspiring work of other greats and felt like expanding on the theme.  In this instance Majrooh Saab has gone on another tangent –

teri aankhon ke siwaa duniya mein rakkha kya hai
ye utthen subha chale, ye jhuken sham dhaley
mera jeena mera marna inhi palkon ke taley

As a poet with a heart that was Majrooh, why won’t he say –

dil me rakh lena ise haathon se ye chhoote na kahin
geet naazuk hai mera sheeshe se bhi toote na kahin

In my earlier tribute post for Majrooh Saab I have stated that just the lyrical poetry in “Rahen Na Rahen Hum, Mehka Karenge” in ‘Mamta’ (1966) is enough to make his place in the ‘Hall of Fame’ of Hindi film music.   Many colourful songs for Nasir Hussain’s films are written by Majrooh Saab for OP Nayyar and RD Burman.

The new age songs written by Majrooh for the film ‘Khaamoshi’ (1996) are among my favourites.  This time I have chosen a song from the 1988 film ‘Qayaamat Se Qayaamat Tak’ produced by Nasir Hussain and directed by his son Mansoor Khan for launching of Tahir Hussain’s son Aamir Khan. Incidentally dialogues, story and screenplay all are credit to Nasir Hussain.  The song starts with prelude music of clocks going “tick tock tick tock” in a departmental store, where Juhi Chawla has come to shop with her parents, Dalip Tahil and Beena.  She accidentally runs into Aamir Khan, who has promised his parent that he will not meet and talk to Juni Chawla for 6 month (?) or so. Aamir Khan and Juhi Chawla belong to two Rajput families who are at logger heads with each other over past broken alliances among the families due to which Dalip Tahil’s sister had committed suicide.

Juhi Chawla and Aamir Khan met during a picnic trip to Mount Abu and fell in love without knowing that their families are having this rivalry.  Due to this, the love story is actually doomed to end in tragedy, but at the time of this song the lovebirds are unaware of this and are happily waiting for the wait period to get over. The singers are Udit Narayan and Alka Yagnik, and the music is by Anand-Milind. The songwriter is one and only Majrooh Sultanpuri.   If I remember correctly, this was the film which started the trend of abbreviating the name of film as QSQT.

A song of hope and happy endings. A song with birthday parties, picnic on cycles and dreamy dates and marking days in the calendar till happy days are here again.

Song – Ae Mere Humsafar, Ek Zara Intezaar (Qayaamat Se Qayaamat Tak) (1988) Singer – Udit Narayan, Alka Yagnik, Lyrics – Majrooh Sultanpuri, MD – Anand Milind

Lyrics 

ae mere
humsafar
ek zara intezaar
sun sadaayen
de rahi hai
manzil pyaar ki
ae mere
humsafar
ek zara intezaar
sun sadaayen
de rahi hai
manzil pyaar ki

ab hai judaai ka mausam
do pal ka mehmaan
kaise na jaayega andhera
kyun na thamega toofaan
ab hai judaai ka mausam
do pal ka mehmaan
kaise na jaayega andhera
kyun na thamega toofaan
kaise na milegi
manzil pyaar ki
ae mere
humsafar
ek zaraa intezaar
sun sadaayen
de rahi hai
manzil pyaar ki

pyaar ne jahaan pe rakkha hai
jhoom ke qadam ek baar
wahin se khula hai koi rasta
wahin se giri hai deewaar
pyaar ne jahaan pe rakkha hai
jhoom ke qadam ek baar
wahin se khula hai koi rasta
wahin se giri hai deewaar
roke kab ruki hai
manzil pyaar ki
ae mere
humsafar
ek zara intezaar
sun sadaayen
de rahi hai
manzil pyaar ki

———————————————————-
Hindi script lyrics (Provided by Nahm)
———————————————————-

ए मेरे
हमसफर
एक ज़रा इंतजार
सुन सदाएं
दे रही हैं
मंज़िल प्यार की
ए मेरे
हमसफर
एक ज़रा इंतजार
सुन सदाएं
दे रही हैं
मंज़िल प्यार की

अब है जुदाई का मौसम
दो पल का महमाँ
कैसे न जाएगा अंधेरा
क्यूँ न थमेगा तूफान
अब है जुदाई का मौसम
दो पल का महमाँ
कैसे न जाएगा अंधेरा
क्यूँ न थमेगा तूफान
कैसे न मिलेगी
मंज़िल प्यार की
ए मेरे
हमसफर
एक ज़रा इंतजार
सुन सदाएं
दे रही हैं
मंज़िल प्यार की

प्यार ने जहां पे रक्खा है
झूम के कदम एक बार
वहीं से खुला है कोई रस्ता 
वहीं से गिरि है दीवार
प्यार ने जहां पे रक्खा है
झूम के कदम एक बार
वहीं से खुला है कोई रस्ता
वहीं से गिरि है दीवार
रोके कब रुकी है
मंज़िल प्यार की
ए मेरे
हमसफर
एक ज़रा इंतजार
सुन सदाएं
दे रही हैं
मंज़िल प्यार की


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 :

4063 Post No. : 15196 Movie Count :

4175

“Ghar Mein Ram Gali Mein Shyam”(1987) was produced by Jairam Gulabani and directed by Subhash Sonik for Babu Films, Bombay. This movie had
Govinda, Neelam Kothari, Anupam Kher,Khushboo,Beena aka Beena Bannerjee, Rita Bhaduri, Johny Lever, Nivedita Saraf aka Nivedita Joshi, Satish Shah, Kirty Kumar(Govinda`s Elder Brother in real life), Shakeela Bano, Buta Singh, Mahinder, Pramod Phatak, Ravinder Singh Grover, Beeta, Ram Dhani etc in it.

The movie had five songs in it and they were sung by fve singers.

Today (2 september 2019) is Ganesh Chaturthi. On this occasion here is Lord Ganesh related song from “Ghar Mein Ram Gali Mein Shyam”(1987). This song is sung by Suresh Wadkar and chorus. Anjaan is the lyricist. Music is composed by Amar Utpal.

The song is lip synced by Anupam Kher, with Rita Bhaduri, Neelam, Govinda and many other also visible in the picturisation of this devotional song.

Lyrics of this song were sent to me by Prakashchandra.

With this song, “Ghar Mein Ram Gali Mein Shyam”(1987) makes its debut in the blog.

I take this opportunity to wish everyone a very Happy Ganesh Chaturthi.

Video links:

Audio link (Longer)

Song-Ganpati Bappa morya khoob tera sansaar hai (Ghar Mein Raam Gali Mein Shyam)(1987) Singer-Suresh Wadkar, Lyrics-Anjaan, MD-Amar Utpal
Chorus

Lyrics(Based on audio link)(Provided by Prakashchandra)

ganpati bappaa
moryaa

ooo ho oo hooo ooo
ooooo ho ho ho ho
hooo ho oo hooo
ooo ho oo hooo ooo
ooooo ho
hooo ho oo hooo ho
ho ganapati bappa moreya
mangalmoorti morya
o mangalmoorti moreyaa
mangaldarshan saarkaa
hho ganapati bappa morya
mangalmoorti morya

ganpati bappa morya
khoob tera sansaar hai
ganpati bappa moryaa
khoob tera sansaar hai

paap hai atyaachar hai
dayaa dharam na pyaar hai ae
sachchaai ki haar hai
jhooth ki jai jaikaar hai
sachchaai ki haar hai
jhooth ki jai jaikaar hai

ganpati bappa moryaa
khoob tera sansaar hai
ganpati bappa moryaa
khoob tera sansaar hai

dhokha dein jo auron ko yahaan
haan jee auron ko yahaan…aaan
poojey unnko poojey rey kyun saari duniyaa..aa
saarey jogi dhongee ho gaye
haan haan dhongee ho gaye
saare gyaani dhyaani jaane kahaan kho gaye
pyaar banaa vyaapaar hai
duraachaar vyabhichaar hai
zulmon ki bharmaar hai ae
ganpati bappa morya
khoob tera sansaar hai
ganpati bappa moryaa
khoob tera sansar hai

karm hai eeshwar
karm hi poojaa…aaa
karm hai eeshwar
karm hi poojaa
karm se badh ke
dharm na doojaa
jeenaa kya hai ae
bas wohi jaaney
jo jeevan se ae
haar na maaney
sundar ye sansaar hai
karm ki shakti apaar hai
kyun praani laachar hai..ae
ganpati bappa morya
khoob tera sansaar hai
ganpati bappa moryaa
khoob tera sansaar hai

agyaani hain jitne devaa
unn ko gyaan de
devaa unn ko gyaan de ae
riddhi siddhi
aur sukh sampati ka
ham ko daan de ae
agyaani hain jitne e devaa…aaaa…aaaa
ho o o o o
agyaani hain jitne devaa unn ko gyaan de
riddhi siddhi aur sukh sampati ka hamko daan de
tera bharaa bhandaar hai
tu sabka aadhaar hai
jag ka paalanhaar hai ae
ganpati bappa moryaa
khoob tera sansaar hai
ganpati bappa moryaa
khoob tera sansaar hai

paap hai athyaachar hai
dayaa dharam na pyaar hai ae
sachchaai ki haar hai
jhooth ki jai jaikaar hai
sachchaai ki haar hai
jhooth ki jai jaikaar hai

ganpati bappa moryaa
khoob tera sansaar hai
ganpati bappa moryaa
khoob tera sansaar hai
hho ganpati bappa moreyaa
mangalmoorthi moryaa
hho mangalmoorthi moreyaa
mangaldarshan saarkaa
(ho o o o o)
ho ganpati bappa moryaa(ho o o o o)
mangalmoorti moryaa (ho o o o o)
ho mangalmoorti moryaa(ho o o o o)
mangaldarshan saarkaa (ho o o o o)
ho ganpati bappa moryaa (ho o o o o)
mangalmoorti moryaa
(ho o o o o)


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 :

4043 Post No. : 15168 Movie Count :

4167

I had not heard of a film named ‘Chatran’ (1988) until recently. The title of the film was unusual. I was wondering as to why the film in which Gulzar and R D Burman were associated, has remained obscure. After a search on the Google, I got the answer.

There was a Japanese film ‘Koneko Monogatari’ (1986) which became the most popular film in Japan in 1986 and continues to get earnings from this even now. Due to the film’s popularity, Columbia Pictures Industries (now Sony Pictures) dubbed the film in English under the title ‘The Adventures of Milo and Otis’ (1989). The English version film also became a box office hit.

But, before the English version of the film was released, the Indian film producer, Gul Anand got it dubbed in Hindi, titled ‘Chatran’ (1988). The film’s cast consisted of only the animals who did the live actions in the film. It is the story of a friendship between Chatran (the kitten) and Poosky (the pug-nosed puppy). So there were no dialogues in in all the versions of the film. The dubbing part is only of the narrators in the films. I watched the Hindi version of the film on the internet. The film is of 70-minute duration. The gist of the story is as under:

On a farm, a cat gives birth to seven kittens of which one of the male kittens, Chatran is naughty and is curious about its surroundings which sometime lands him in trouble. Chatran becomes friendly with mild-mannered Poosky and they become inseparable. They play ‘hide and seek’ game in the court yard of the farm in which Poosky is always a seeker and Chatran, a hider. But in this game, sometime Chatran gets in to trouble due to his curiosity. For instance, Chatran gets trapped in a chimney and with great difficulties, comes out of it with an ashen face.

One day, both Chatran and Poosky go towards the shore of a stream. Out of curiosity, Chatran enters into a wooden box lying in the stream water at the shore. Because of Chatran’s playful nature, the wooden box gets drifted to flowing stream. Poosky tries to save him by jumping into the stream but the wooden box gets drifted away from him. Poosky keeps trailing Chatran from the shores of the stream. From here onward, Chatran’s adventure starts.

Rest of the film is about how Chatran faces the problems and escapes on each occasion. He faces a bear but in nick of the time, Poosky comes to his rescue and fights with bear. Once Chatran comes out of the stream, he wanders in the forest and gets into trouble with snakes, bear and seagulls etc but successfully escapes. The positive side of his adventure is that during his wandering in the forest, he is sheltered by a deer and a pig with her piglets.

Finally, Chatran and Poosky unite in a vast meadow. They come back to their farm. They find their own mates and leave separately. They raise their own kittens and puppies. The film ends with Chatran and Poosky meeting each other with their extended family in the old farm house.

There were charges levelled against the original Japanese and English version films by Animal Rights Activists that there were cruelties to animals used in the filming. For example, there was a scene in which kitten plunges from a cliff and falls in the sea. Also, there was fight between the puppy and the bear. But the charges were never substantiated. However, I did not find any such problem for the Hindi version of the film from animal rights activists like PETA in India. Incidentally, the original Japanese film was of the duration of about 90 miniutes. But both the English and Hindi versions were of the duration of about 70 minutes. It is quite likely that some scenes which might have invited the wrath of Animal Rights Activists may have been deleted.

After watching the film, I personally felt that the scene in which the Chatran (the kitten) meows in pain when bitten by a crab (or scorpion?), looked to me real. Also, Chatran appeared stressful when he was drifting in the wooden box in the stream. And it is one of the longest scenes in the film. I do not know whether an animal put into such a stressful situation by a person, comes under the definition of ‘cruelty to the animal’.

As in the case of the Japanese and English versions of the film, the Hindi version,’Chatran’ (1988) has a ‘Sutradhaar’ (Narrator) and that function was superbly handled by Gulzar. At some places, he appears to have deviated from the original version. For example, in the beginning of the film, his narratives have unusual imageries which are not in the original Japanese version as well as in English version of the film:

Do bade bade sansaar hain ye, pariwaar hain ye.
Aakash aur dharti achche rishtedhaar hain ye.
Raat aakaash ki beti hai.
Kuchh kaali hai.
Aakaash ne gore chaand ki bindi de kar
isko chunmun karke taaron ke gahane pehanaayen hain.
Aur din aakaash ka beta hai.
Gora bhi hai magroor bhi hai.
Dharti par uski fazaa bhi hai.
Fazaa ke laakhon aur karodon chehare hain.
In cheharon se dharti par rounak rehti hai.
In sab mein zindagi behti hai.
In sab mein zindagi behti hai

The film has only one song of 4 stanzas, each stanza being played on 4 different occasion in the film. The last stanza is played with the montages of the film as credit titles roll. Asha Bhosle sings the words of Gulzar. The song is set to music by R D Burman.

With this song, ‘Chatran’ (1988) makes its debut in the Blog and also gets ‘yippied’ at the same time.

Video Clip(All the 4 parts)


Audio Clip(All the 4 parts)

Song-Zindagi zindagi zindagi (Chatran)(1988) Singer-Asha Bhonsle, Lyrics-Gulzar, MD-R D Burman

Lyrics

————————–
Part-1
————————–

zindagi
zindagi
zindagi

zindagi
zindagi
zindagi

khoobsoorat hai tu janm leti huyi
khoobsoorat hai tu janm deti huyi
zindagi
zindagi
zindagi

chhoo ke gujri hawa ke bahaane kabhi
aur shabnam mein utri nahaane kabhi
chhoo ke gujri hawa ke bahaane kabhi,
aur shabnam mein utri nahaane kabhi
ek mausum si gudgudi zindagi
zindagi

———————————-
Part-2
———————————-
na to dariya ruka na kinaara mila
door hota gaya jo sahaara mila
na to dariya ruka na kinaara mila
door hota gaya jo sahaara mila
dagmagaati huyi chal padi zindagi
dagmagati huyi chal padi zindagi
zindagi

————————————
Part-3
————————————-
dhoop chhaaon mein aisi buni zindagi
zindagi ne ye kaisi chuni zindagi
hans rahi thhi abhi ro padi zindagi
hans rahi thhi abhi ro padi zindagi
zindagi

————————————-
Part-4
————————————-
zindagi
zindagi
zindagi

zindagi
zindagi
zindagi

khoobsoorat hai tu janm leti huyi
khoobsoorat hai tu janm deti huyi
zindagi
zindagi
zindagi

pyaar hi pyaar hai kho gayi zindagi
ek se phir anek ho gayi zindagi
pyaar hi pyaar hai kho gayi zindagi
ek se phir anek ho gayi zindagi
ho gayi hai ye kitni badi zindagi
ho gayi hai ye kitni badi zindagi
zindagi
zindagi
zindagi

zindagi
zindagi
zindagi


This article is written by Satyajit Rajurkar, 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 : 3497 Post No. : 14054

Last weekend, during my forced medical leave, I was a bit bored and wanted to watch any old Hindi mystery movie, which I had not seen. My search on You Tube led me to a B grade (or even C grade) movie with good lead stars (Vinod Mehra and Yogita Bali) and even a bit of interesting story line. However, I wasted 1 hr 56 minutes of my time, except for a song which is as good as the old Bappi Da songs.

This song brought out goose pimples in me. It was so enthralling, so melodious, so refreshing, so sweet, excellently penned and composed. Bappi Da probably went back to his basic days of “Chalte Chalte”, “Dil Se Miley Dil”, “Lahoo Ke Do Rang” etc, because this song belongs to the same genre as songs from these movie. I usually do not post songs post 1980s, unless it is absolutely rare and beautiful. This rare gem is from a 1988 thriller titled “Who Milie Thi” aka “Kaun Hai Khooni”. Kishore Kumar comes up with another winner with this romantic number. The song is composed by Bappi Lahiri as mentioned and written by Farook Kaiser. The female voice during the interlude and at the end of the song is of Meena Patki.

Now without prolonging the suspense let me tell you that the song I am talking about is “Chhoo Ne Se Maila Ho Aisa Badan Toone Paaya Hai”. Even today, when I come across such a soft romantic song, the music and the lyrics can take me back to a cherished time, making instantaneous connections to places and times full of evocative memories. The song is penned either by Gauhar Kanpuri or Farooque Kaiser, composed by Bappi Lahiri and is from “Woh Milie Thi” (1988)

For those readers interested in the synopsis, it goes as this:

Amar, young and smart foreign returned Mines Engineer moves to Lalitpur to reopen his own coal mines which were closed down fifteen years back after the mysterious deaths of Amars father and uncle. But before he reaches to his destination he meets a beautiful mysterious girl Milie performing mujra in mysterious Pili Haveli.

While crossing the long and dark valleys, Milie suddenly vanishes and Amar collides with Milie’s skeleton in pitch darkness. Amar’s friend police inspector Vikram tells him that Milie had died five years back and it is her soul that is still around in search of peace. Amar doesn’t believe this and keeps on trailing Milie wherever he sees her. Once while trailing Milie Amar finds inspector Vikrams dead body and is accused for his murder.

Meanwhile Amar goes back to city and gets married but has to run back to Lalitpur leaving his forest night because his friend Vijay meets an accident, After reaching there he finds it was a minor accident. Now one after another incident holds Amar to go back to meet his newly wedded bride. His mother reaches Lalitpur with his bride. Amar happily goes to meet his wife but once again he is forced to leave her by a danger siren. Amar runs towards the source but on the way he is attacked by mysterious people and the police save him. Amar reaches home and finds his bride missing. He runs to find her but is taken on gun point by his own servant John and the real race with the devil starts, a race, in which the devil is only interested to kill Amar.

The movie had three directors – Dilip Bose, Samir Chowdhury and Azeem Malik and was produced by Rama Kapoor, the movie starred Vinod Mehra, Yogeeta Bali in lead roles, supported by Mahesh Anand, Vikas Anand, Bindu, Aruna Irani, Jagdeep, T.P. Jain, Joginder, Kader Khan, Madhu Malini, Ram Mohan, Shobhini Singh, Jayshree T., Veena with special appearences by Shashi Kapoor and Moushumi Chatterjee.

Today (13 february 2018) is the 73rd anniversary of Vinod Mehra (13 February 1945 – 30 October 1990). Here is this gem of a song from a “recent” yet obscure movie as a tribute to Vinod Mehra.

With this song, “Wo Milie Thhi”(1988) makes its debut in the blog.

Video

Audio

Song-Chhoone se maila ho aisa badan toone paaya hai (Wo Milie Thhi)(1988) Singer-Kishore Kumar, Meena Patki, Lyrics-Farooque Kaiser, MD-Bappi Lahiri

Lyrics

Chhoone Se Maila Ho
Aisa Badan Toone Paaya Hai
Saara chaman mujhko
aisa lage teri chhaaya hai
Tu Hai
Mere liye
Main hoon sanam
Tere liye
La lalaa
laa laa lalaa
La lalaa
laa laa lalaa

Chhoone Se Maila Ho
Aisa Badan Toone Paaya Hai
Saara chaman mujhko
aisa lage teri chhaaya hai
Tu Hai
Mere liye
Main hoon sanam
Tere liye

Paayal ki chham chham mein main
Khoya raha
Sapnon ki baahon mein main
Soya raha
Paayal ki chham chham mein main
Khoya raha
Sapnon ki baahon mein main
Soya raha
Tu mili
zindagi mil gayi
aa aa aa aa aa aa
Chhoone Se Maila Ho Aisa Badan Toone Paaya Hai
Saara chaman mujhko aisa lage teri chhaaya hai
Tu Hai
Mere liye
Main hoon sanam
Tere liye

aa aa aa
aa aa aa
aa aa aa aa
aa aa aa
aa aa

Pariyon ki basti se kya
Aayi hai tu
Nainon ke pyaalon mein kya
Laayi hai tu
Pariyon ki basti se kya
Aayi hai tu
Nainon ke pyaalon mein kya
Laayi hai tu
Tu mili
bekhudi mil gayi
aa aa aa aa aa aa
Chhoone Se Maila Ho Aisa Badan Toone Paaya Hai
Saara chaman mujhko aisa lage teri chhaaya hai
Tu Hai
Mere liye
Main hoon sanam
Tere liye

Phoolon ki khushboo si hai
Tujh mein basi
Jaadoo sa karti hai yeh
Teri hansi
Phoolon ki khushboo si hai
Tujh mein basi
Jaadoo sa karti hai yeh
Teri hansi
Tu mili
har khushi mil gayi
aa aa aa aa
Chhoone Se Maila Ho
Aisa Badan Toone Paaya Hai
Saara chaman mujhko
aisa lage teri chhaaya hai
Tu Hai
Mere liye
Main hoon sanam
Tere liye
Laa la laa
Hmm Hmm Hmm hm
Laa laa la laa
Hmm Hmm Hmm Hmm hm
Hmm Hmm Hmm hmm
Hmm Hmm Hmm Hmmm
Laa laa la laa
Hmm Hmm Hmm Hmmm


This article is written by Aparna H M, 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.

This song is from a movie called “Namumkin” from the year 1988. It is one of the lesser known movies directed by Hrishikesh Mukherjee. His other movies are considered masterpieces but not this one it seems.
Read more on this topic…


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 TWELVE years. This blog has over 15900 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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(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

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