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

Archive for the ‘Songs of 1990s (1991 to 2000)’ Category


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 : 4135 Post No. : 15294

Today (13 november 2019) is the birthday of Juhi Chaawla (DoB 13 november 1967). Juhi Chawla, alongwith the likes of Madhuri Dixit, Sridevi, Jayaprada etc was from my generation viz born in 1960s). 🙂

Indian actresses holding their own in inernational beauty pageants and they going on to become popular matinee idols was not all that common those days. Juhi Chawla became Femina Miss India in 1984. She then participated in Miss Universe competition, winning the best costume award there.

Though she did not win the Miss Universe title or even finish among runners ups, it is interesrting to note that she was perhaps the most successful among all Miss Universe contestents of that year. While most other contestents did not have any reat careers, Juhi Chawla had a very successful movie career beginning from 1986, when se made her debut with “Sultanat”(1986).

“Qayamat Se qayamat Tak”(1988) launched her (and Aamir Khan) in Hindi movies.

1990s was the prime decade for Juhi Chawla. when she, alongwith Madhuri Dixit ruled the roost as the leading lady in Hindi movies.
Nowa days, she is still active, not in movies but in IPL, as co owner of Kolkata Night Riders.

Whenever I think of Juhi Chawla, the first movie that comes to my mind is “Hum Hain Raahi Pyaar Ke”(1993).

I have watched this movie. But now I cannot recall where I watched the movie. I was posted in Purna (Maharashtra) during those days. Purna had no movie halls. Going to Nanded or Parbhani to watch movies during weekends used to be my modus operandi. Did I watch this movie in one of these two places, or did I watch the movie somewhere else (like say Secunderabad) I am not sure now. It happens with growing age. I (alongwith the birthday girl) have become older by 26 years. 🙂

I loved the movie. Both lead actors were in my age group, making it easy for me to identify with their characters. 🙂

Three songs from this movie have been covered. The third song from the song was covered exactly two years ago for the same occasion, viz Juhi Chawla’s birthday.

Here is another song from the same movie (Fourth out of six), to celebrate another birthday of Juhi Chawla. The song is sunng by Alka Yagnik and Kumar Sanu. Sameer is the lyricist. Music is composed by Nadeem Shrawan.

The song is picturised on Juhi Chawla and Aamir Khan, who imagine themselves falling in love with each other, while the two kids (playing Aamir Khan’s nephew nd niece) have no clue.

We wish Juhi Chawla a very happy birthday and many happy returns of the day.


Song-Mujhse muhabbat ka izraar karta (Ham Hain Raahi Pyaar Ke)(1993) Singers-Alka Yagnik, Kumar Sanu, Lyrics-Sameer, MD-Nadeem Shrawan

Lyrics

mujhse mohabbat ka izhaar karta
mujhse mohabbat ka izhaar karta
mujhse mohabbat ka izhaar karta
kaash koi ladka mujhe pyaar karta
kaash koi ladka mujhe pyaar karta
mujhse mohabbat ka izhaar karti
mujhse mohabbat ka izhaar karti
kaash koi ladki mujhe pyaar karti
kaash koi ladki mujhe pyaar karti

o o o
meri maang mein chaand taare sajata
jo main roothh jaati mujhe wo manaata
meri maang mein chaand taare sajaata
jo main roothh jaati mujhe wo manaata
haalat meri ee wo jaanta
dhadkan meriee pehchaanta aa
apni bhi chaahat ka ikraar karta
apni bhi chaahat ka ikraar karta
kaash koi ladka mujhe pyaar karta
kaash koi ladka mujhe pyaar karta
mujhse mohabbat ka izhaar karti
mujhse mohabbat ka izhaar karti
kaash koi ladki mujhe pyaar karti
kaash koi ladki mujhe pyaar karti

ho o o
wo bechain hoti
main betaab hota
nigaahon mein uski
mera khwaab hota
wo bechain hoti
main betaab hota
nigaahon mein uski
mera khwaab hota
sharma ke wo lagti gale
rakhta usey palkon tale ae
chori chori wo mera deedaar karti
chori chori wo mera deedaar karti
kaash koi ladki mujhe pyaar karti
kaash koi ladki mujhe pyaar karti

mujhse mohabbat ka izhaar karta
mujhse mohabbat ka izhaar karta
kaash koi ladka mujhe pyaar karta
kaash koi ladka mujhe pyaar karta

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

Blog Day :

4124 Post No. : 15279 Movie Count :

4204

Hullo Atuldom

Let us all wish the Baadshah of Bollywood on his 54th birthday.

Wish this was an audio post, then I would have started my post with what we used to hear on the radio Ads in the 70s and 80s. I would have first played a line “aashiq hoon main qaatil bhi hoon” then after the voice over by a Vijay Behl or Ameen Sayani or a Vinod Sharma or it could be Harish Bhimani (I don’t remember the names of all the announcers, sorry) the Radio Ad would have closed with the repeat of the last line of the mukhda of the song – “Baadshah o baadshah, baadshah hey baadshah, baadshah”.

But then this is neither an audio post nor a radio ad. But our today’s birthday boy is a huge fan of those days, when we used to hear songs on the radio. Up the volume when our favourite song was played and sat glued to hear all the details of the song viz: singer, lyricist, composer, movie name etc. And if due to some disturbance on the frequency waves or any other reason we missed the details then we would have to wait for god-knows-how-long to hear it again. Because back then, Radio Ceylon and Vividh Bharati were our sole source for HFM- Doordarshan happened much later and IMDB and other sites were not even on the horizon. Right Birthday Boy? I am talking of our Sudhirji here. We have seen him mention about his love for HFM being fed by what he heard on the Radio in many of his posts.

He is an ‘Aashiq’ of film music and is so knowledgeable about its many aspects. And he keeps discovering new angles of HFM and his posts are rich because of this constant search of his. And occasionally he also doubles up as Atulji’s most trusted aide in keeping the blog running. Thank you Atulji for introducing us to Sudhirji- the dilldaar Dilliwala. Wish you a very Happy Birthday Sudhirji, may you never run out of ideas for new posts and series.

November 2nd also happens to be the birthdate of music director/ singer Anu Malik- son of yesteryear-music director Sardar Malik. He has been around in the industry since 1980 – debuting with an obscure movie “Hunterwaali 77” (never heard of this movie before 🙂 ). He has worked his way to the A-list music directors with successful albums like “Mard”, “Sohni Mahiwal”, “Ganga Jamuna Saraswati” etc. His albums of the 90s had many melodies which got their movies a slightly long run at the box-office; movies like “Sir”, “The Gentleman”, “Vijaypath”. “Naaraz’’, “Naajayaz’’ etc. Music by Anu Malik in “Chamatkaar” was the first collaboration of SRK (the other birthday boy for today). Subsequently Anu Malik has given music to a few of SRK’s movies- “Baazigar”, ‘Ram Jaane”, “Duplicate”, “Baadshah”, “Josh”, “Asoka”, “Main Hoon Na” etc etc. Wish you a very Happy Birthday Anu Malik.

As can be seen in the list in the previous paragraph we have a huge library from which to choose a song for today. I have had suggestions from my Peevesie and Nahmji too about which could be a good choice for today’s triple birthday and I am settling for the song with which I opened the post as I have inside information about the possibility of Peevesie’s suggestion being fulfilled today.

From his debut in movies in 1992 to 1998 SRK had about 3 or 4 releases every year. 1999 had only one SRK movie- Baadshah (it was after the success of this movie that Shahrukh was given the epithet “Baadshah of Bollywood”), which was directed by Abbas – Mustan. It had him playing a bumbling detective with Sudhir, Johnny Lever, Sharad Sankhla, Harpal as his team mates and Twinkle Khanna was the female lead. It had Rakhee and Amrish Puri with Sharat Saxena, Deepshika, Sachin Khedekar etc in supporting roles and Shashikala and Prem Chopra in guest appearances. Our song today is from “Baadshah” which was written by Sameer and filmed as a disco song performed in a night club with Twinkle, Amrish Puri, Viju Khote etc as audience and Pankaj Dheer makes an entry towards the end of the song. It is sung by Abhijeet (who turned 61 on 30th October).

A very Happy Birthday to all the Birthday Boyz. Lets enjoy the party.


Song-Aashiq hoon main qaatil bhi hoon (Baadshah)(1999) Singer-Abhijeet, Lyrics-Sameer, MD-Anu Malik

Lyrics

Aashiq hoon main 
qaatil bhi hoon
sabke dilon mein shaamil bhi hoon

o ho o oh o ho o ho
o ho o oh o ho o ho

Aashiq hoon main 
qaatil bhi hoon
sabke dilon mein shaamil bhi hoon
Aashiq hoon main 
qaatil bhi hoon
sabke dilon mein shaamil bhi hoon
dil ko churaana,
neendein udaana
bas yahi mera kusoor
waadon se apne mukarta nahin 
marne se main kabhi darta nahin
baadshah o baadshah,  
baadshah hey baadshah
baadshah o baadshah,
baadshah 

hae ae ae ae yo
hae yo

chaaron taraf hain mere hi charche
honthon pe hai bas mera naam
rangon bhari subah meri
masti mein doobi hai meri sham
jhoothi kahaani sacchi lage
aawargi mujhe achchi lage
nagmein sunaana
sabko nachaana 
bas yahi mera kusoor
waadon se apne mukarta nahi
marne se mai kabhi darta nahi
baadshah o baadshah,
baadshah hey baadshah
baadshah o baadshah,
baadshah

ho o ho o ho o

hai yeh mohabbat kamzori meri
chaahat ki duniya pe mera raaz
bas rab ke aage jhukta mera sar
jhukte mere saamne takhto taaj
andaaz mera sabse juda
mein baadshahon kaa baadshah
sapne sajaana
hansna hasaana
bas yahi mera kusoor
waadon se apne mukarta nahin
marne se mai kabhi darta nahin
baadshah o baadshah 
baadshah hey baadshah
baadshah o baadshah,
baadshah
baadshah o baadshah,
baadshah hey baadshah
baadshah o baadshah,
baadshah


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 :

4098 Post No. : 15244 Movie Count :

4189

Films are regarded as director’s medium. He is like a captain of the ship. It is the director’s responsibility to make his film successful – critically as well as financially.

A film director may have directed many successful films but he will generally be known by his one classic cult film. For instance, when we talk about PC Barua, ‘Devdas’ (1935) comes to our mind first though he had directed other successful films like ‘Mukti’ (1937) and ‘Jawaab’ (1942).  In case of Mehboob Khan, it is ‘Mother India’ (1957) though he had directed many successful films in the 1940s. K Asif and ‘Mughal-e-Azam’ (1960), Guru Dutt and ‘Pyaasa’, (1957) and Kamal Amrohi and ‘Pakeezah’ (1972) are inseparable. In the international arena, Raj Kapoor is known more for his film, ‘Aawaara’ (1951) than other equally successful films. This is not an exhaustive list.

But there is one film director who is known by his flop film in the genre of satirical comedy. The film is ‘Jaane Bhi Do Yaaron’ (1983) and the director is Kundan Shah. In an interview held sometime in 2012 on the occasion of the re-release of the film in digitised version, he had said he considered this film as his failed project though it has attained a cult status.

Remembering Kundan Shah today, October 7th on his 2nd Remembrance Day who excelled in projecting the serious social issues in soft comedies through films and TV serials. I became aware of him with his very first film which I had watched on TV much before he became well known by his TV serials.

I found it very difficult to get the information on Kundan Shah’s early life before he ventured into films and TV serials. A book, ‘Jaane Bhi Do Yaaron – Seriously Funny Since 1983’ (2010) written by Jai Ajay Singh was supposed to have some information about his early life. But the book has remained out of stock for some time. However, a preview of some pages of the book was available online which gave me some information about the early life of Kundan Shah.

Born in a Gujarati family, Kundan Shah spent his childhood in Aden (now in Yemen) and did his schooling there until the age of 13 when his family shifted to Mumbai. He completed his schooling and thereafter his graduation in commerce. He worked for a publishing house for about 4 years before enrolling himself in the Film and Television Institute of India (FTII) in 1973 for direction. It is at FTII, he found interest in the genre of comedy during the second year of the course.

As a project in FTII, he made a 25-minute diploma film titled ‘Bonga’ (Siren) which the students of direction have to make in the final year. The film was a farcical comedy involving a gang of five people attempting a bank robbery. The cast included FTII students like Satish Shah, Rakesh Bedi, Suresh Oberoi, Om Puri etc. There were no dialogue in the film except each one of the gang of five yelling ‘bonga’. Bhaskar Chandavarkar, an instructor in FTII at that time (who was also a music director) composed the background music. The film was critically acclaimed by his fellow students in FTII. His seniors in FTII like Naseeruddin Shah and Saeed Akhtar Mirza were surprised as to how this serious looking man could have made a graceful comedy film out of the nonsensical ideas.

After completion of his diploma in FTII in 1976, Kundan Shah struggled for a couple of years to find the opening in the film industry. He formed a commune of some of his fellow FTII diploma holders and produce short documentary films. However, in this work, Kundan Shah ran into financial problems. Almost all of his colleagues had already been disillusioned with their career and left for their respective places. Kundan Shah also moved to England with his family and worked there to make enough money to pay off his debt.

Kundan Shah returned to India after about 18 months. He got an attractive offer from the maker of ‘Gandhi’ (1981) to work as Assistant Director for six months at a monthly salary of Rs.10,000/-. The offer was very tempting. He consulted his colleague, Saeed Akhtar Mirza who dissuaded him from accepting the offer as he would mostly be doing the work of crowd controlling during the outdoor shooting. Instead, Saeed Mirza coxed him to write a script and make the film himself. In the meanwhile, Kundan Shah worked as Assistant Director in  Saeed Akhtar Mirza’s ‘Albert Pinto Ko Gussa Kyon Aata Hai’ (1980) and Vidhu Vinod Chopra’s ‘Sazaa-e-Maut (1981). These association also put pressure on him to direct a film as his FTII fellow students, Saeed Mirza and Vidhu Vinod Chopra had already made films. It is at this point of time, Kundan Shah decided to make a feature film which resulted in making his first film ‘Jaane Bhi Do Yaaron’ (1983).

As I came to know from the video clips of interviews of Kundan Shah, Naseeruddin Shah, Ravi Baswani, Sudhir Misra and others, it was a long struggle for completing the film and releasing it. Kundan Shah wrote the story and script based on the experiences of two of his fellow FTII students who after failing to get any assignment from the film industry, decided to open a photo studio and undertake fashion and industrial photography. Their bad experiences in the venture became the main theme of the story coupled with Kundan Shah’s personal experiences in dealing with a rationing office in Mumbai for the release of cement quota for repairs to drainage system in his building where he was the Secretary.

When the script was ready, no producer/financier was willing  to invest in the film based on his script. Some financiers termed the script as idiotic. As a last resort, Kundan Shah approached National Film Development Corporation (NDFC) to take a loan for producing the film himself. The total cost film production was expected to be around Rs. 7 lakhs and NDFC would grant the loan only up to 75% of the cost after their Script Committee approved the script. However, Kundan Shah got a pleasant surprise when NDFC not only approved his script but also offered to produce the film under its banner as they thought that the script was an effective commentary on the situations prevailing in the country. So financial side of the problem got sorted out.

Next was the selection of actors and the crew for the film. With a budget of only Rs.7 lakhs, engaging the established actors even for the main roles was out of question. Kundan Shah relied on his FTII colleagues and the actors/ crews from IPTA/National School of Drama. The actors included Naseeruddin Shah, Ravi Baswani, Satish Shah, Satish Kaushik, Om Puri, Pankaj Kapoor, Bhakti Bharve, Neena Gupta, Vidhu Vinod Chopra, Deepak Qazir, Rajesh Puri, Ashok Banthia and Jaspal Sandhu. Some of the actors also worked behind the camera. For instance, Vidhu Vinod Chopra and Deepak Qazir were the Production Controllers. Satish Kaushik was one of the dialogue writers. Renu Saluja was the editor for the film beside the assistant director.

Naseeruddin Shah had revealed in an interview that during the making of the film, he was feeling uneasy with the script as he felt that all he was doing appeared to him to be nonsensical. He had arguments with Kundan Shah on several occasions but at the end it was Kundan Shah whose writ prevailed. Even after the completion of the film, Naseeruddin Shah was pessimistic about the success of the film.

The film was released in a few theatres in Mumbai in and some other cities in August 1983. The film received a lukewarm response from the audience. The film was withdrawn after a week in Mumbai and ran in a few theatres only for morning shows. In Delhi, the film ran for 37 weeks in a single theatre for morning show only. The film was also shown on then newly set up DD Metro Channel on the week-ends for a month or so. Gul Anand, the producer of some off-beat comedy films like ‘Khatta Meetha’ (1978) and ‘Chashme-e-Buddoor’ (1981) after watching the film had said to Kundan Shah that if he had not seen the film and only read the script , he would have thrown it out of his window. This shows how Kundan Shah made an interesting film out of the nonsensical script. The lukewarm response for the film was a setback for Kundan Shah. He did not venture into directing any film for the next 10 years.

After about 30 years, ‘Jaane Bhi Do Yaaron’ (1983) was digitally restored and was re-released in November 2012 in multiplexes in Mumbai and in some major cities by which time, the film had already attained a cult status.

In the meanwhile, television was becoming a mass media with a pan India reach. In 1984, Doordarshan permitted the sponsored TV serials produced outside Doordarshan on its National Channel. Kundan Shah and many other persons associated with film industry took this as an opportunity and started their association with the producers of TV Serials. Kundan Shah made his debut on Television by directing some episodes of ‘Ye Jo Hai Zindagi’ (1984). It ran on Doordarshan with 67 episodes some of which were directed by Manjul Sinha and Raman Kumar. Actors were drawn from FTII and theatres. The serial had a phenomenal run which rediscovered Kundan Shah as a master of directing situational comedy.

With the runaway success of ‘Ye Jo Hai Zindagi’, Kundan Shah became the partner in Iskra Films, a TV serial producing company started by Saeed Akhtar Mirza and Aziz Mirza. ‘Nukkad’ (1986) was its first production.  The other successful TV Serials in which Kundan Shah was associated with were ‘Wagle Ki Duniya’ (1988) and ‘Circus’ (1989).

After a gap of more than 10 years, Kundan Shah decided to make a film on the script he wrote in the genre of romantic comedy. The film’s original title ‘Albela’ had to be changed to ‘Kabhi Haan Kabhi Na’ (1994) as this title was already registered by someone with Film Producers Associations like IMPPA. As usual for Kundan Shah, the film was delayed for a variety of reasons. The original lead actors, Amir Khan and Juhi Chawla withdrew from the film due to delay in finding a producer/financier. Shahrukh Khan, who was originally taken for the role which eventually went to Deepak Tijori, was promoted as a lead actor with Suchitra Krishnamoorthy.

After completion, the film remained in the cans for nearly 18 months as no distributor was willing to release the film probably due to the hero turning out to be loser in the end. This was the status of this film despite the fact that by this time, Shahrukh Khan was already on his path to become a super star due to box office successes of his films like ‘Raju Ban Gaya Gentleman’ (1992), ‘Deewana’ (1992), ‘Darr’ (1993) and ‘Baazigar’ (1993). Finally, Shahrukh Khan in partnership with one of his friends from the film industry released the film in February 1994. Though the film was regarded as an average success after the release, over a period of time, the film has earned more than 5 times its cost and it has also attained a cult status for Kundan Shah.

It was another six years after ‘Kabhi Haan Kabhi Naa’ (1994) that Kundan Shah took ‘Kya Kehna’(2000) for direction which was Preity Zinta’s debut film. This was Kundan Shah’s first mainstream film which was devoid of any comedy. On the contrary, Kundan Shah tackled a serious issue of pre-marital pregnancy with sensitivity. As usual for Kundan Shah, this film was also delayed in getting released. Once it got released, it was  the pleasant surprise to all concerned with the film that it was a box office hit.

The next in lines of films which Kundan Shah directed were ‘Hum To Mohabbat Karega’ (2000), ‘Dil Hai Tumhara’ (2002) and  ‘Ek Se Badkar Ek’ (2004). All the three films flopped at the box office making him to take a virtual retirement from the mainstream films. He returned to his foray of making films with off-beat themes in ‘Teen Behanen’ (2005), based on a real-life story of three sisters who committed suicide because their father could not afford to pay dowry. The film remained unreleased till date.  His last film was a political satire, ‘P Se PM Tak’ (2015) which was a disaster at the box office.

Kundan Shah died in sleep of heart attack on October 7, 2017 at his residence. One of the emotional tributes on his death was that of Shahrukh Khan whom he compared like his mother. He said ‘I was 25 when I came to Mumbai. I have stayed in Kundan’s house and I have been fed by his family and taken care of by them’. Shahrukh Khan had worked in a few episodes of Kundan Shah’s TV Serials, ‘Wagle Ki Duniya (1988) and as a lead actor in ‘Circus’ (1989). His close friends who had been regular visitors to his office said that Kundan Shah’s office cupboard was full of film scripts in various stages. Sadly, there were no takers for these scripts to turn them into films.

As a tribute to Kundan Shah on the occasion of his 2nd Remembrance Day, I am presenting a song from ‘Kya Kehna’ (2000) which was directed by him. The song is ‘Ae Dil Laaya Hai Bahaar, Apnon Ka Pyaar, Kya Kehna’. The song is rendered by Hariharan and Kavita Krishnamurthy on the words of Majrooh Sultanpuri which was set to music by Rajesh Roshan. The song has two versions – happy and sad, the latter version being also a inspirational song.

Hariharan lip syncs for Anupam Kher, Chandrachud Singh and Mamik Singh while Kavita Krishnamurthy lip syncs for Farida Jalal, Preity Zinta and Nivedita Bhattacharya (in sad version). On the sound track, some lines of the song have been rendered as duet, but in the film, it is for all the actors present in some scenes.

The tune of the song is a straight lift from Oh Carol, I am but a fool, darling I love you, though you treat me cruel, sung by pop singer, song writer and composer, Neil Sedaka in  1957.

Happy Version

Sad Version

Song – Ae Dil Laaya Hai Bahaar, Apno Ka Pyaar, Kya Kehna  (Kya kehna) (2000) Singer – Hariharan, Kavita Krishnamurthy, Lyrics – Majrooh Sultanpuri, MD – Rajesh Roshan
Harirahan + Kavita Krishnamurthy

Lyrics

Happy Version

oh……..o
ho o o o o
o o o o o
o o o o

ae dil
laaya hai bahaar
apnon ka pyaar
kya kehna
milen hum
chhalak utha
khushi ka khumaar
kya kehna
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna…aa
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna
ae dil
laaya hai bahaar
apnon ka pyaar
kya kehna
milen hum
chhalak utha
khushi ka khumaar
kya kehna
 
hum tum yun hi milte rahein
mehfil yoon hi sajti rahe
bas pyaar ki yehi ek dhun
har subah-o-shaam bajti rahe
gale mein mehekte rahein
pyaar bhari
baahon ka haar
kya kehna…aa
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna
 
oh……..o
ho o o o o
o o o o o
o o o o
ae dil
laaya hai bahaar
apnon ka pyaar
kya kehna
milen hum
chhalak utha
khushi ka khumaar
kya kehna
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna…aa
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna
 
Sad Version
 
dil ka koi tukda kabhi
dil se juda hota nahi
apna koi jaisa bhi ho
apna hai wo duja nahi
yahi hai wo milan hai jo
sachmuch hai
dil ka qaraar
kya kehna
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna
ae dil
laaya hai bahaar
apnon ka pyaar
kya kehna
milen hum
chhalak utha
khushi ka khumaar
kya kehna
 
kuchh apne hi tak yoon nahi
ye hai sawaal sab ke liye
jeena hai to jag mein jiyo
ban ke misaal sab ke liye
dekho kaisa mehak raha
pyaar bhari
baahon ka haar
kya kehna…aa
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna
ae dil
laaya hai bahaar
apnon ka pyaar
kya kehna
milein hum
chhalak utha
khushi ka khumaar
kya kehna
 
jo ho gaya so ho gaya
logon se tu darna nahi
saathi tere hain aur bhi
duniya mein tu tanha nahi
saamna karenge mil ke
chaahe dus ho
chaahe hazaar
kya kehna..aa
khile khile chehron se aaj
jag hai mera
gul-e-gulzaar
kya kehna

oh……..o
ho o o o o
o o o o o
o o o o
ae dil
laaya hai bahaar
apnon ka pyaar
kya kehna
milen hum
chhalak utha
khushi ka khumaar
kya kehna
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna
khile khile chehron se aaj
ghar hai mera
gul-e-gulzaar
kya kehna


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 :

4092 Post No. : 15235 Movie Count :

4187

Songs Repeated in Hindi Films – 11
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I could not have expected a better surprise than this one today. Aha, here is this wonderful memorable song that has got repeated in a film after 34 years. And now, that repeat itself is 28 years past. Wow, 62 years later we are going to talk about a song from 1957, which appeared once again in another film in 1991.

Yes, the iconic song of road travel that has been immortalized in the annals of Indian cinema. The tone and the context of the song – a vagabond traveler, a second hand truck, the endless roads, and a journey without a destination – it set the template for others to emulate. Footloose has no mark over this. Don’t we all, at some time in life, aspire for a meandering aimless trip, just for the sake of the journey. And just for the heck of it. The destination – may it exist or not, companions – may they be there or not. Desultory, adrift, without any aim, feckless – when the apparent random futility is the purpose of the endeavor. What a state to be in – being, and yet not being, nary a care in the world. Aah yes, the mind sometimes wants an escape of sorts – “Le Chala Jidhar Ye Dil Nikal Padey”.

The original from the film ‘Nau Do Gyarah’ (1957) needs no introductions. The words, the melody and the imagery is etched in the mind, in all its details – Delhi roads of mid 1950s, sans traffic; the time when the traffic used to pass under the India Gate, and the Kashmere Gate (now these are monuments, cordoned off from the traffic); a miniscule encounter with a coy lady sitting in a car coming from the opposite direction; driving past the Taj Mahal; the long row of village belles carrying earthen pots of water, offering no grass (घास नहीं डालती 🙂 ) to the most handsome beseeching young man claiming to be laid out like a carpet at their feet – yes, all etched in the mind like it happened yesterday.

Time was when Sachin Da was quite, nay very selective, as always, in his choice of the singing voice for individual songs. And Kishore Da was never his ‘always’ choice for playback for Dev Anand. But Sachin Da has been proven right and right and right again, in his choice of singing voices. Imagine a “Khoya Khoya Chaand. . .”, or “Dil Ka Bhanwar. . .” or “Tu Kahaan Ye Bataa. . .” or “Hum Bekhudi Mein. . .” in a voice other than Rafi Sb, and a “Jaayen To Jaayen Kahaan. . .” in a voice other than Talat Sb, or the jazzy “Hum Dum Se Gaye. . .” in a voice other than Manna Dey, or the magnificent “Ye Raat Ye Chandni. . .”, or “Na Tum Hamen Jaano. . .” or “Chup Hai Dharti. . .” or “Yaad Aa Gayin Wo. . .” in a voice other than Hemant Da. It just will not stick in the imagination. Sachin Da got the best, the most suitable voice for the song, and after listening to them, the only verdict is – it cannot be bettered. In all the outings that Sachin Da shared with Dev Anand, apparently ‘Funtoosh’ (1956) and ‘Prem Pujari’ (1970) are the only two collaborations wherein we hear Kishore Da as the only voice playing back for Dev Anand. In all other films they have done together, Sachin Da has used a combination of different voices for Dev Sb. ‘Baazi’ (1951) also has only Kishore Da’s voice backing up Dev Anand for “Dil Ye Kya Cheez Hai. . .”, but then it is the only male voice song in the film, and that too, a song that only Kishore Da can do justice to.

And not just for Dev Sb. Sachin Da also has Rafi Sb and Kishore Da playing back for Rajesh Khanna in ‘Aradhana’ (1969), and Rafi Sb, Kishore Da and Manhar as the singing voices for Amitabh Bachchan in ‘Abhimaan’ (1973). Here was a music director who had his finger not on the pulse of public appeal, but on the pulse of divining which voice is the most suitable for a particular melody, a particular mood, and a particular situation.

And so, coming to the surprise that I mentioned in the first line of this write up. As I picked up this song for creating the next post in the series of repeat songs, a realization hit home. Today is the birth anniversaries of the two stalwarts who created the original song in 1957 – Sachin Da and Majrooh Sb. For Majrooh Sb, it is the centenary celebration, and for Sachin Da it is the 113th. Actually, Majrooh Sb’s info was already in mind since last night, as I was preparing Sadanand ji’s excellent write up for this great poet. And the rest of the coincidental links fell in place as I picked up this song for today’s post.

The film ‘Dil Hai Ke Maanta Nahin’ from 1991, is a popular hit romantic comedy from its time. It is remake of the storyline of the iconic ‘Chori Chori’ from 1956, which had the lead pair billing of Nargis and Raj Kapoor. And in turn, ‘Chori Chori’ is following the same storyline as the 1934 Hollywood hit film ‘It Happened One Night’, starring Clark Gable and Claudette Colbert, and directed by the legendary Frank Capra. This theme has also been used in other films in Kannada and Tamil. In later years, we also see ‘Jab We Met’ in 2007, based somewhat loosely on the same storyline.

The film is produced by Gulshan Kumar and is directed by Mahesh Bhatt. The lead pair is Aamir Khan and Pooja Bhatt. By 1991, Aamir was already an acknowledged star in the industry, and Pooja was just beginning her career. For both of them, this film proved to be a strong fillip for their individual careers.

The caper is well known – a spoilt heiress of a rich businessman flees from home, to be with the person she believes, wrongly of course, she is in love with. On the way, she meets another boy, the hero of the story, who helps her to get to her target, and eventually lands her back at her father’s home. As an outcome of the road adventures that are shared by the boy and the girl, they inadvertently and without realizing it till quite late in the storyline, fall in love with each other. And the movie ends with the girl fleeing once again (with the help of a very co-operative father) on the way to the altar, to be with the person she is truly in love with.

When I came to this connection, I was/am quite astounded. What a selection of a song for a memory reprisal. The original song with Dev Sb in the driver’s seat, is about an aimless road adventure. And in this film, the lead protagonists are going thru a road adventure of their own making, trying to save themselves from police, the detectives in pursuit and the general public who have been made aware of the runaway girl through newspaper ads and posters.

On their runaway adventure, there is car breakdown. It is taken into a garage for repairs. The mechanic departs briefly to get some welding work done from outside. The boy-girl pair are alone in the garage. The radio on the mechanic’s desk is playing. And as the mechanic departs, on comes this song on the radio waves. It catches the attention of the boy, who requests the girl to increase the volume on the radio. He is quite taken in with this ‘मस्त’ (catchy, engrossing) song. Coming close to the girl he takes her in his arms and they begin to dance to the tune. Their eyes meet. There is that oh so lovely pause in everything. Something tingles and connects. There is surprise and uncertainty on the faces of both of them. In the eyes, there is also an expectation of a liking that is so demure and endearing. It is one of those moments that feels like eternity. And yes, magic.

Till that ‘पाजी’ (scoundrel) mechanic barges in with a newspaper in hand announcing that the girl’s father is publicly searching for her. The moment of magic is so brutally broken.

The repeat song is the original. In this scene, somewhat less than two stanzas are played. Of course this is not listed in the songs of the film and does not appear on its cassette or CD. And so, in this post, I am retaining the original credits for this everlasting song.

And yes, once again, celebrating the anniversaries of the two of the greatest song-music creators in the Indian film industry. “Hum Hain Raahi Pyaar Ke. . .” – goodness, what a fantastic tagline.

Song – Hum Hain Raahi Pyaar Ke, Hum Se Kuchh Na Boliye  (Dil Hai Ke Maanta Nahin) (1991) Singers – Kishore Kumar, Lyrics – Majrooh Sultanpuri, MD – SD Burman

Lyrics

hum hain raahi pyaar ke
hamse kuchh na boliye
hum hain raahi pyaar ke
hamse kuchh na boliye
hum hain raahi pyaar ke
hamse kuchh na boliye
jo bhi pyaar se milaa
hum usi ke ho liye
hum usi ke ho liye
jo bhi pyaar se milaa
hum usi ke ho liye

dard bhi hamen qubool
chain bhi hamen qubool
dard bhi hamen qubool
chain bhi hamen qubool
hamne har tarah ke phool
haar mein piro liye
hamne har tarah ke phool
haar mein piro liye
jo bhi pyaar se milaa
hum usi ke ho liye
hum usi ke ho liye
jo bhi pyaar se milaa
hum usi ke ho liye

dhoop thi naseeb mein
to dhoop mein liyaa hai dam
dhoop thi naseeb mein
to dhoop mein liyaa hai dam
chaandni mili to hum
chaandni mein so liye
chaandni mili to hum
chaandni mein . . .

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

हम हैं राही प्यार के
हमसे कुछ न बोलिए
हम हैं राही प्यार के
हमसे कुछ न बोलिए
हम हैं राही प्यार के
हमसे कुछ न बोलिए
जो भी प्यार से मिला
हम उसी के हो लिए
हम उसी के हो लिए
जो भी प्यार से मिला
हम उसी के हो लिए

दर्द भी हमें कुबूल
चैन भी हमें कुबूल
दर्द भी हमें कुबूल
चैन भी हमें कुबूल
हमने हर तरह के फूल
हार में पिरो लिए
हमने हर तरह के फूल
हार में पिरो लिए
जो भी प्यार से मिला
हम उसी के हो लिए
हम उसी के हो लिए
जो भी प्यार से मिला
हम उसी के हो लिए

धूप थी नसीब में
तो धूप में लिया है दम
धूप थी नसीब में
तो धूप में लिया है दम
चाँदनी मिली तो हम
चाँदनी में सो लिए
चाँदनी मिली तो हम
चाँदनी में ॰ ॰ ॰


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 : 4092 Post No. : 15234

hamaare baad ab mehefil mein afsaane bayaan honge
bahaaren humko dhoondengi na jaane hum kahaan honge

rahen naa rahen ham mehakaa karenge
ban ke kali, ban ke sabaa, baag e wafaa mein

ek din bik jaayega maati ke mol
jag mein reh jaayenge pyaare tere bol
duje ke hothon ko dekar apne geet
koyee nishaanee chhod, phir duniya se dol

These three songs of Majrooh saab and some more are of the eminence that would have been categorised as poems of repute if they were not film songs.

Remembering Majrooh Sultanpuri (01/10/1919 – 24/05/2000) today on his birth centenary. In fact, Majrooh Saab’s birth centenary celebrations commenced on September 30, 2018 with a 2-day National Seminar on his contributions to Hindi films and the Urdu literature which was held at the Kalina campus of Mumbai University. Thereafter, a few more such celebrations were also held elsewhere. For instance, Hindustan Academy celebrated his centenary at Prayagraj on August 19, 2019. Paasbaan-e-Adab also arranged Majrooh Saab’s birth centenary celebrations on December 22, 2018 at Yeshwantrao Chavan Auditorium in Mumbai in which his non-filmy ghazals were show-cased in the form of songs by upcoming singers.  In Delhi, Jashn-e-Rekhta scheduled a special session on Majrooh Saab in its annual conference in December 14, 2018. I am sure many more such celebrations would have taken place all over India.

Like Shailendra, Majrooh Saab had a reluctant entry into the film world as a lyricist. But once he got associated with his first film ‘Shahjahan’ (1946), he ruled the Hindi film industry as a lyricist for nearly 6 decades with over 2000 songs in about 350 films. He wrote lyrics for the first generation hero, KL Saigal under the baton of the first generation music director, Naushad for Shahjahan’ (1946) to the third generation hero, Shah Rukh Khan and the third generation music director,  AR Rahman for ‘1 To Ka 4’ (2001).   This is the testimony of his smooth adaptation of the changing environments in Hindi film music. He achieved this stature on his own terms throughout his filmy career.

Naturally, with his long association with Hindi films, the range of the songs Majrooh Saab wrote varied. Some samples of his  different genres of songs : Gham Kiye Musthakil , C A T Cat, Cat Maane Billi, Bade Bhole Ho Hanste Ho Sun Ke Duhaai,  Dhalki Jaaye Hamaari Chundariyaa Ho Raam, Raahi Manwa Dukh Ki Chinta Kyun Sataati Hai, Aa Ja Aa Ja Main Hoon Pyaar Tera, Papa Kehte Hain Bada Naam Karega etc. He also wrote a few pop songs like Raat Shabnami Bheegi Chaandni. The list is endless.

Much has been said about Majrooh Saab in both the print and electronic medias. I had also written two articles on him for the blog. So, I will skip his biographical part and would confine my discussion mainly with his contributions as a lyricist and a poet.

Some of Majrooh Saab’s contemporary lyricists like Sahir Ludhianvi, Shailendra, Kaifi Azmi, Prem Dhawan were already associated with Progressive Writers Association (PWA), a group of writers with leftist ideology, when they got associated with Hindi film industry. For Majrooh Saab, it was in the reverse order. He joined PWA only after he got associated with Hindi films in 1946. But he was the most fearless among PWA lyricists. In 1949, he was arrested in Mumbai for reciting an inflammatory poem written by him in the gathering of the mill workers in Mumbai (earlier Bombay). He was given an option to apologise or spend two years in prison. He opted for the latter despite the fact that with the box office success of his film ‘Andaz’ (1949) and his songs becoming popular among the public, his filmy career had brightened up. Probably, Majrooh Saab was the only one among PWA lyricists who had gone to jail in India in the post-independent period.

Two years of absence from the Hindi film industry is a long enough for anyone to be forgotten. Majrooh Saab is perhaps the only lyricist who made a successful comeback in the Hindi film industry after two years of his hibernation in jail. But it was not a smooth sailing for his comeback. Naushad for whom he wrote successful songs in ‘Shahjahan’ (1946) and ‘Andaz’ (1949) refuse to work with Majrooh Saab saying that he would not work with non-believers. (Generally, followers of leftist’s ideology were regarded as atheist).  Of course, later they made up, and worked together in ‘Saathi’ (1968), and still later became ‘sambandhi’ (relatives by marriage of their kins).

While Majrooh Saab got opportunities to write one or two songs for some films of 1951-52, it was in 1953, he got for the first time after ‘Andaz’ (1949) to exclusively write songs for ‘Baaghi’ (1953) working with Madan Mohan, ‘Fareb’ (1953) with Anul Biswas and ‘Baaz’ (1953) with OP Nayyar. Unfortunately, despite having good songs, these films failed miserably at the box office. However, the versatility of Majrooh Saab as a lyricist became evident from these films which had different genres of songs. In a way, one can say that Majrooh Saab’s writing of light-hearted songs began with ‘Baaz’ (1953).

It was ‘Aar Paar’ (1954) which once more brought together the Guru Dutt-OP Nayyar-Majrooh Saab combination. And this time, they became a winning combination. The fortunes of this combo changed for the better and they repeated their feat with ‘Mr and Mrs 1955’ (1955) and ‘CID’ (1956). Generally, we talk about the catchy tune. But in these films, for the first time, Hindi film industry got the taste of ‘catchy lyrics’ of Majrooh Saab who until then, had been identified with melancholic songs of ‘Shahjahan’ (1946), and ‘Andaz’ (1949).

Majrooh saab is known as a master craftsman in writing lyrics for a pre-set tune. His choice of appropriate words which not only fit best in the metre of the line but also  suited to the ‘meend’ (ascending or descending notes in the metre) and ‘murki’ (short taan in the metre) for pre-set tunes. As a result, listeners would believe that he wrote the lyrics first and the music director set the tune later. There are hundreds of such examples of his songs written on pre-set tunes. I will just discuss a couple of his songs which have been written on a pre-set tunes:

chhupaa lo yoon dil mein pyaar meraa
ke jaise mandir mein lau diye ki

hide away (protect) my love in your heart
like the flame of a lamp in a temple

This is a song from ‘Mamta’ (1966) set to tune based on raag Yaman by Roshan. This song has been written in pure Hindi. The second line of the mukhda has an unusual imagery which gets repeated in each of the antaraas. But at each place, the meaning of the imagery changes based on the previous lines. It is a wonder as to how Majrooh Saab could imagine and conceive the right emotion with right words. I feel that literary quality of this song makes it fit enough to be included in the curriculum of Hindi poems in the high school.

Now see the contrast in the second example of the song of a different genre written in Hindi-Urdu mix:

He: hum ne to dil ko aap ke qadmon pe rakh diyaa
      iss dil ka kya karenge yeh ab aap sochiye

She: hum aap ki wafaa ki qasam khaa rahen hain aaj
       kaise wafaa karenge yeh ab aap sochiye

He: i have kept my heart at your feet
now it is up to you to think what to do with it

She: i swear by your faithfulness today
now you decide how to sustain this faith

This is a deleted song from the film ‘Mere Sanam’ (1965) set to music by OP Nayyar. Again, these lines show the mastery of Majrooh Saab in using appropriate words on a pre-set tune without disturbing the metre of the song. On top of it, as a bonus to the listeners, he has written the song in a ‘shaayaraana andaz’ – ghazal style (but it is not a ghazal). The song belongs to the genre of romance but it is also a soft ‘nok jhonk’ (quick repartee) song.

How one can forget the contributions of Majrooh Saab in reviving the interest in duet songs which had seen a declining trend in the early 1950s. Majrooh Saab held the view that it was not the fault of producers-directors but of lyricists and music directors who did not pay much attention to the duet songs. As a result, directors reduced the duet song situations in their films.

Hindi films had the best duet songs during 1955-70 mainly from Majrooh Saab in combination with Burman Da and OP Nayyar which were mostly in the genre of romantic comedy. The films which had a few popular duets were ‘Aar Paar’ (1954), ‘Mr and Mrs 1955’ (1955), ‘Nau Do Gyaarah’ (1957), Paying Guest (1957), ‘Tumsa Nahin Dekha’ (1957), ‘Chalti Ka Naam Gaadi’ (1958), ‘Dil Deke Dekho’ (1959), ‘Phir Wohi Dil Laaya Hoon’ (1963), ‘Teen Deviyan’ (1965), ‘Mere Sanam’ (1965), ‘Mohabbat Isko Kehte Hain’(1965), ‘Teesri Manzil’(1966) and many more.

From the mid-1960s onward, Majrooh Saab started working with the second generation of music directors also. Laxmikant-Pyarelal (LP) and RD Burman were two promising music directors amongst them. But both were struggling to get themselves firmly established in Hindi film industry since early 1960s. One may call it a sheer co-incidence that when Majrooh Saab worked with them for the first time in ‘Dosti’ (1964) and ‘Teesri Manzil’ (1966) respectively, the films and their songs became super hit. Although LP’s ‘Parasmani’ (1963) was a box office success with its songs becoming very popular, it was only after the extra-ordinary success of ‘Dosti’ (1964) that LP started getting big banner films. Same was true for R D Burman after the success of ‘Teesri Manzil’ (1966). From these two films onward, both LP and RD Burman got a tremendous boost to their filmy career. Majrooh Saab worked with RD Burman in as many as 75 films churning out around 350 songs. With LP, he worked in 42 films with around 200 songs.

Next in the line of the second generation of the music directors with whom Majrooh Saab worked are, Rajesh Roshan, Anand-Milind and Jatin-Lalit, among others. Again, whether it was a co-incidence or the magical lyrics of Majrooh Saab, his first association with them also turned out to be their first successful film at the box office. The films were ‘Kunwaara Baap’ (1974), ‘Qayaamat Se Qayaamat Tak’ (1988) and ‘Jo Jeeta Wohi Siknadar’ (1992) respectively.

There is another side of Majrooh Saab’s personality and that is as an Urdu poet of repute. And he kept this side of his personality distinct from that of a lyricist of Hindi film songs making it sure that his ideological views do not seep into his film lyrics. Though Majrooh Saab had written many meaningful lyrics, he never considered them to be part of his poems. So, if one wishes to know the real personality of Majrooh Saab, one has to read his ‘taraqqi-pasand’ (progressive) ghazals. I have  gone through the ghazals that are available online. His hardcore revolutionary call was evident in most of his ghazals which he wrote in the 1940s.  An example:

jalaa ke mashaal-e-jaan hum junoon-sifaat chale
jo ghar ko aag lagaaye wo hamaare saath chale

Majrooh Saab is regarded as a pioneer in writing modern progressive ghazals, breaking away from the conventional style of ghazals of the classical poets. He gave a different interpretation of some of the common metaphors used in the conventional ghazals, in his progressive ghazals. For instance, the word ‘manzil’ is often used in the conventional ghazal to reach out to the beloved. But Majrooh Saab has used ‘manzil’ in plural form in the ‘matla’ she’r of one of his popular  progressive ghazals  to mean that the attainment of objectives (manzilen) becomes easy when someone joins hands with him (comradeship):

mujhe sahal ho gayi manzilen, wo hawaa ke rukh bhi badal gaye
teraa haath haath mein aa gayaa, ke charaag raah mein jal gaye

Most of Majrooh Saab’s ghazals written in 1940s are filled with heavy doses of Arabic and Persian words. But it is not surprising, as he had studied Arabic and Persian in school. Once he got associated with Hindi films, probably, Majrooh Saab could not devote much time to Urdu literature. Hence his output in terms of published works is limited. ‘Kulliyat-e-Majrooh Sultanpuri’  seems to be the only published works of his ghazals.

Majrooh Saab’s journey of six decades of prolific song writer of Hindi films ended on the planet of earth on May 24, 2000 but not before he was conferred with the prestigious Dadasaheb Phalke Award in 1993 – the first Hindi film lyricist to get this award. He left around 2000 of his Hindi film songs for us to cherish his memory for eternity.

On the occasion of birth centenary of Majrooh Saab, I have chosen an apt song written by him from the film ‘Kabhi Haan Kabhi Naa’ (1994) which was directed by one of my favourite directors, Kundan Shah. The song is ‘Wo To Hai Albela Hazaaron Mein Akela’ a duet sung by Devaki Pandit and Kumar Sanu. The song is set to music by Jatin-Lalit.

One of the interesting features of the picturization of the song is that both Devaki Pandit and Kumar Sanu lip sync for multiple actors. Devaki Pandit lip syncs for Shashi Sahay, Sadia Siddiqui, Reeta Bhaduri and Kumar Sanu lip syncs for Nasiruddin Shah, Tiku Talsania, Satish Shah and Anjaan Srivastav. On the sound track, both the singers sing a few lines together but, in the film, their voices are for the entire group of actors and actresses.

A reading of Majrooh Saab’s lyrics of this song reminds me to say that his style of song writing remained, more or less, the same throughout his filmy career. I do not think that other Hindi song lyricists would have used the words like ‘aib’ (vice) and ‘hunar’ (virtue) in their songs in the  1990s.

Audio

Video

Song – Wo To Hai Albela, Hazaaron Mein Akela  (Kabhi Haan Kabhi Naa) (1994) Singer – Devaki Pandit, Kumar Sanu, Lyrics – Majrooh Sultanpuri, MD – Jatin-Lalit
Devaki Pandit + Kumar Sanu

Lyrics

wo to hai albela
hazaaron mein akela
wo to hai albela aa
hazaaron mein akela
sadaa tum ne aib dekha
hunar ko na dekha
wo to hai albela
hazaaron mein akela
sadaa tum ne aib dekha
hunar ko na dekha
wo to hai albela aa
 
fursat mili na tumhen apne jahaan se
us ke bhi dil ki kabhi samjhte kahaan se
fursat mili na tumhen apne jahaan se
us ke bhi dil ki kabhi samjhte kahaan se
jaana hai jise patthar
heera hai wo to heera
sadaa tum ne aib dekha
hunar ko na dekha
wo to hai albela aa
hazaaron mein akela
wo to hai albela aa
 
bansi ko lakdi sadaa samjha kiye tum
par us ke naghmon ki dhun kahaan sun sakey tum
bansi ko lakdi sadaa samjha kiye tum
par us ke naghmon ki dhun kahaan sun sakey tum
diye ki maati dekhi
dekhi na us ki jyoti
sadaa tum ne aib dekha
hunar ko na dekha
wo to hai albela
hazaaron mein akela
wo to hai albela aa
hazaaron mein akela
sadaa tum ne aib dekha
hunar ko na dekha
wo to hai albela
hazaaron mein akela
wo to hai… albela aa

———————————-
Devnagari script lyrics (Provided by Sudhir)
———————————–

वो तो है अलबेला
हजारों में अकेला
वो तो है अलबेला
हजारों में अकेला
सदा तुमने एब देखा
हुनर को ना देखा
वो तो है अलबेला
हजारों में अकेला
वो तो है अलबेला
हजारों में अकेला
सदा तुमने एब देखा
हुनर को ना देखा

फुर्सत मिली ना तुम्हें अपने जहां से
उसके भी दिल की समझते कहाँ से
फुर्सत मिली ना तुम्हें अपने जहां से
उसके भी दिल की समझते कहाँ से
जाना है जिसे पत्थर
हीरा है वो तो हीरा
सदा तुमने एब देखा
हुनर को ना देखा
वो तो है अलबेला॰॰आ
हजारों में अकेला
वो तो है अलबेला॰॰आ

बंसी को लड़की सदा समझा किए तुम
पर उसके नग़मों की धुन कहाँ सुन सके तुम
बंसी को लड़की सदा समझा किए तुम
पर उसके नग़मों की धुन कहाँ सुन सके तुम
दिये की माटी देखी
देखी ना उसकी ज्योती
सदा तुमने एब देखा
हुनर को ना देखा
वो तो है अलबेला
हजारों में अकेला
वो तो है अलबेला
हजारों में अकेला
सदा तुमने एब देखा
हुनर को ना देखा
वो तो है अलबेला
हजारों में अकेला
वो तो है॰ ॰ ॰ अलबेला॰॰आ


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 : 4069 Post No. : 15206

Today (8 september 2019) is the birth anniversary of Bhupen Hazarika (8 September 1926 – 5 November 2011).

It is appropriate that we honour him in the blog with a song. Lyrics of the song (sent by Avinash Scrapwala) is there with me. When I listened to the song, I wanted to listen to the original Assamese song. That opened a Pandora’s box. I discovered such a goldmine of information about Bhupen Hazarika, Assam, Assamese culture and History etc that it became a case of information overload for me. Now I have so much information to discuss that I do not known where to begin.

The thought that immediately came to my mind is whether Bhupen Hazarika has got his due recognition. The answer is, yes, belatedly, but his contribution has been recognised and he received Bharat Ratna this year in 2019. A posthumous recognition, and a richly deserved one.

The contribution of Bhupen Hazarika in putting North East part of India in general and Assam in particular and bringing its rich culture to the notice of outsiders is immense.

He began very young and visited all over the world and became a truly cosmopolitan Indian. And he never forgot his roots !

Assam and North East is a remote part of India, and it was considered a “punishment” post for Indians living in other parts of the country. That was mainly because this part of the country was neglected and underdeveloped. The aspirations and feelings of this part of the country were not properly addressed. This led to feeling of alienation and led to separatist movements and militancy.

I had the experience of being posted in this “punishment” posting area from 2000 to 2003. These three years helped me understand Assam and North East first hand by interacting with the natives of the region. And I realised how their hopes, aspirations, demands etc were falling into deaf ears for decades.

Now, for the last few years, attempts has been made to make the people of north East region feel like every one else. The infrastructure works that were languishing for decades have been fast tracked. In 2000, I was posted in Lumding division. The MG line from Lumding to Badarpur and beyond in South Assam was planned for BG conversion but the progress was abysmally slow. During the last few years, this project was fast tracked and now we finally have BG line between Lumding and South Assam. A travel between Silchar to Lumding, which took 12 hours now takes five hours. This remote area now feels more mainstream with rest of Assam. Assam itself now feels more mainstream in India than ever before.

In the past, roads and bridges would not be constructed in border areas because China used to object. Now the government ignores such Chinese protests and goes ahead with the construction work. That is how the long pending demands of Assam and North East were met. Bogibeel Bridge, which was a demand since 1985, in the agreement signed between AASU and Indian Government was gathering dust for decades before this bridge finally got constructed and inaugurated in 2019. One year ago, another bridge (which too was not getting constructed in the past because of Chinese protests) got finished and was inaugurated. This bridge over river Lohit, connecting Dhola and Sadia ( the longest road bridge in India), was very appropriately named as Bhupen Hazarika Bridge.

At a time when North East felt alienated from rest of India, it was people like Bhupen Hazarika who kept their morale high and kept their hopes alive, and kept their faith in India intact.

Not just India, even the neighboring Bangladesh regards him highly. His iconic Assamese folk song Manush Manusher Jonno (Humans are for humanity) was chosen to be the second most favourite number after the National anthem of Bangladesh, in a Bangladeshi opinion poll.

Many of his Assamese songs became known all over India after their Hindi versions were made. One such album of his songs was “Main aur Mera Saaya”(1993). Here, Gulzar translated some of Bhupen Hazarika’s iconic Assamese songs into Hindi.

These Hindi songs became so popular that they are sung all over India by artists and they are performed by school children in their cultural programmes.

Here is the song “Ek Kali Do Pattiyaan” from this album. Bhupen Hazarika had sung this song originally in Assamese as “Eti Kuhi Duti Paat”. This song has subseuently been sung by many other artists, in Assamese as well as Hindi, and I guess in other languages as well.

Here is this goose bump inducing folk song from Assam, beautifully translated into Hindi by Gulzar. The song is sung and composed by Bhupen Hazarika.

As mentioned above, the lyrics of this song were sent to me by Avinash Scrapwala.


Song-Ek kali do pattiyaan (Bhupen Hazarika NFS)(1993) Singer-Bhupen Hazarika, Lyrics-Gulzar, MD-Bhupen Hazarika

Lyrics (Provided by Avinash Scrapwala)

Ek kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein
ho oEk kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein

Khul ke khilkhilaati
Saawan barsaati
Hans rahi hai kaun ye
Mogre jagaati
Ho mogre jagaati
Khul ke khilkhilaati
Saawan barsaati
Hans rahi hai kaun ye
Mogre jagaati
Ho mogre jagaati
Ek kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein ae

Jugnu aur Lachhmi ki
Lagan aisi aayee
Daali daali jhoomi leke angdaayee
O Leke angdaayee
Jugnu aur Lachhmi ki
Lagan aisi aayee
Daali daali jhoomi leke angdaayee
O Leke angdaayee
O o
Ek kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein ae

Jugnu aur Lachhmi ki
Preet rang laayee
Nanhi si ek munni si
Chuppi jagmagaaee
O Chuppi jagmagaaee
Jugnu aur Lachhmi ki
Preet rang layee
Nanhi si ek munni si
Chuppi jagmagaaee
O Chuppi jagmagaaee
Ek kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein ae

Ek kali do pattiyaan aa aan
Khilne bhi naa paayee thhi ee ee
Todne us baageeche mein
Daanav aaya re
Ho o daanav aaya re
Daanav ki parchhaayee mein
Kaanp rahi thhi pattiyaan
Bujhne lagi maasoom kali
Daanav ki parchhaayee mein
Daanav ki parchhaayee mein

Saaye se bedaar huye
Tambaran si baahon ke
Saaye se bedaar huye
Tambaran si baahon ke

Dhol maadal bajne lage
Maadal aise baaje re
Lakhon milke naache re
Aaya ek toofaan naya
Daanav dar ke bhaag gaya
Maadal aise garja re
Daanav dar ke bhaga re
Daanav dar ke bhaga

Ek kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein
Ratanpur baageeche mein
Ho Ratanpur baageeche mein

————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————

एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में
हो एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में

खुल के खिलखिलाती
सावन बरसाती
हंस रही है कौन ये
मोगरे जगाती
हो मोगरे जगाती
खुल के खिलखिलाती
सावन बरसाती
हंस रही है कौन ये
मोगरे जगाती
हो मोगरे जगाती
एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में ए

जुगनू और लछमी की
लगन ऐसी आयी
डाली डाली झूमी ले के अंगडाई
ओ ले के अंगडाई
जुगनू और लछमी की
लगन ऐसी आयी
डाली डाली झूमी ले के अंगडाई
ओ ले के अंगडाई
हो ओ ओ
एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में ए

जुगनू और लछमी की
प्रीत रंग लाई
नन्ही सी एक मुन्नी सी
चुप्पी जगमगाई
ओ चुप्पी जगमगाई
जुगनू और लछमी की
प्रीत रंग लाई
नन्ही सी एक मुन्नी सी
चुप्पी जगमगाई
ओ चुप्पी जगमगाई
एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में

एक कली दो पत्तियाँ आ आँ
खिलने भी ना पायी थी ई
तोड़ने उस बागीचे में
दानव आया रे
हो ओ दानव आया रे
दानव की परछाई में
काँप रही थी पत्तियाँ आँ
बुझने लगी मासूम कली
दानव की परछाई में ए
दानव की परछाई में

साए से बेदार हुए
ताम्बरन सी बाहों के
साए से बेदार हुए
ताम्बरन सी बाहों के

ढोल मादल बजने लगे
मादल ऐसे बाजे रे
लाखों मिलके नाचे रे
आया एक तूफान नया
दानव डर के भाग गया
मादल ऐसे गरजा रे
दानव डर के भागा
रे दानव डर के भागा

एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में ए
रतनपुर बागीचे में
हो ओ रतनपुर बागीचे में


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 :

4066 Post No. : 15201 Movie Count :

4178

Today, September 5th is 24th Remembrance Day of Salil Chowdhury (19/11/1925 – 05/09/1995), the legendary music director who was the pioneer in fusion music – blending Indian melodies with the orchestration of western classical music. As he himself admitted during an interview on All India Radio, Salil Da was greatly influenced by the music of Beethoven and Mozart because his father used to play gramophone records of their music which he had listened during his childhood.

Salil Da’s musical legacy has been carried forward by the likes of RD Burman, Ilaiyaraaja and AR Rahman. I will come back later the organic connection of Ilaiyaraaja and A R Rahman with the music of Salil Da.  It is the irony of fate that while the followers of his musical legacy have attained the top slots in the film industry, Salil Da could not get such recognition in Hindi film industry. Perhaps, he was quite ahead of time and those who mattered in the Hindi film industry (producers and distributors) failed to realise his potentials.

Salil Da has to be a genius person in the making if I go by his various activities during his childhood and younger days. At the age of 6, he learns piano. As a student, he writes and compose songs for the school’s plays. As a teenager, he gets actively associated in the Peasants Movements in his village. In the midst of such activities, he completes his high school and later graduation from Kolkata University. He becomes a member of Communist Party of India and gets actively involved with Indian People’s Theatre Association (IPTA) while he is simultaneously doing his post-graduation studies. He is a playwright, song writer, composer and sometime actor in IPTA plays. Salil Da participates in the peasants’ uprising and goes underground for a couple of years. During this period, he writes and composes ‘chetonaar gaan’ (songs of awakening). He learns almost all the important musical instruments like piano, flute, esraj, sarod, sitar, guitar, percussion which is in most cases self-thought. He is the first to set up Bombay Youth Choir and later Calcutta Choir Group which he personally conducts in the 1950s. He is a poet, story writer, lyricist and music director.

With so much of his multifarious activities in around Kolkata, how did Salil Da get involved with Hindi film music in Mumbai? I quote below, in his own words during an  interviews on All India Radio:

I came to Bombay by stroke of luck. I was writing script (of my story ‘Rickshawaala’) for a Bengali film.  When Hrishikesh Mukherjee heard the story, he liked it. He said that he would narrate the story to Bimalda (Bimal Roy) who was expected to come to Kolkata from Mumbai. So, I took the appointment of Bimlada and read out the entire script to him. Bimlda did not show any reaction to the story but advised me to meet him the next morning.

When I went to meet him the next morning, I was told that he had left for Mumbai by the morning flight on some urgent work. Within a week, I got the telegram from Bimalda that he had decided to make a Hindi film based on my story and I should come to Mumbai with the script. That’s how I landed in Mumbai for ‘Do Beegha Zameen’ (1953).

After the success of ‘Do Beegha Zameen’ (1953), Salil Da was employed in Bimal Roy Productions as a music director. He did many films for the banner like ‘Biraj Bahu’ (1954), ‘Naukari’ (1954), ‘Amaanat’ (1955), ‘Parivaar’ (1956), ‘Aparadhi Kaun’ (1957), ‘Madhumati’ (1958), ‘Usne Kaha Thaa’ (1960), ‘ Parakh’ (1960).‘Kabuliwaala’ (1961), and  ‘Prem Patra’ (1962). During this period, he also did many other films outside the banner of Bimal Roy Productions. Song compositions in almost all these films are outstanding. Some of the songs from Bimal Roy’s  films are evergreen and they are still remembered. For instance “Aaha Rimjhim Ke Ye Pyaare Pyaare Geet Liye” (from ‘Usne Kaha Tha’) and “O Sajnaa Barkha Bahaar Aayi” (from ‘Parakh’).

In ‘non-Bimal Roy’ films, Salil Da composed excellent songs in films like ‘Jaagte Raho’ (1956), ‘Aawaaz’ (1956), ‘Ek Gaon Ki Kahaani’ (1957), ‘Honeymoon’ (1960), ‘Chhaaya’ (1961),  ‘Maaya’ (1961) etc. The songs like “Zindagi Khwaab Hai” (‘Jagte Raho’, Mukesh’s first song under Salida), “Dhitang Dhitang Bole” (‘Awaaz’), “Raat Ne Kya Kya Khwaab Dikhaaye” (‘Ek Gaon Ki Kahaani’), “Mere Khwaabon Mein Khayaalon Mein” (‘Honeymoon’),  “Koi Sone Ke Dilwaala” (‘Maaya’), and “Itna Na Mujhse Tu Pyaar Badha” (‘Chhaaya’)  are some of my favourites of Salil Da.

Despite scoring beautiful songs in the films of early 50s, Salil Da was still regarded as a flop music director in the eyes of film distributors.  The box office success of‘ ‘Madhumati’ (1958) and the high popularity of its songs enabled Salil Da to shed the tag of ‘flop music director’. I remember that not a single day will pass without one or two songs from ‘Madhumati’ (1958) being played on the radio after the release of the film. Salil Da got his first Filmfare Award for the best music director for this film.

It is difficult to pin point the best song from ‘Madhumati’ as all the songs were outstanding. Because I am a trekker, I may be biased in my liking for “Suhaana Safar Aur Ye Mausam Haseen“. The sound of chirping of the birds in the prelude creates a natural atmosphere in the scene for the song. Incidentally, adding in the prelude the chirping sounds of the birds was suggested by SD Burman. Salil Da used folk-based melody from Bengal, Assam, Nepal and also from Poland for almost all the songs in the film. He requisitioned the services of Dattaram for playing dholak in all the songs (as revealed by Dattaram in his TV interview). One can hear Dattaram ‘thekas’ prominently in the song “Ghadi Ghadi Mora Dil Dhadke“.

With the tremendous success of ‘Madhumati’ (1958), Salil Da got more film assignments such as ‘Chhaaya’ (1961), ‘Poonam Ki Raat’ (1965), ‘Chaand Aur Sooraj’ (1965), ‘Pinjre Ke Panchhi’ (1966) (which he also directed), among many others.

During his second phase of the musical career, he did some notable films like ‘Mere Apne’ (1971), ‘Anand’ (1971), ‘Annadaata (1972), ‘Rajanigandha’ (1974), ‘Chhoti Si Baat’ (1976), ‘Anand Mahal’ (1977) etc. Some of the popular as well notable songs of Salil Da of this period are “Zindagi Kaisi Hai Paheli Haaye” (‘Anand’), (note the choir singing in the interludes), “Raaton Ke Saaye Ghane” (‘Annadaata’) (song may not have become popular but it is an intricate composition which only Lata could do justice), “Kai Baar Yoon Bhi Dekha Hai” (‘Rajnigandha’) (my favourite and whenever I wish to listen to this song, I prefer to watch on the video clip) and “Na Jaane Kyun Hota Hai Ye Zindagi Ke Saath” (‘Chhoti Si Baat’) (again, I prefer to listen to the song by watching the video clip of the song).

I know, I have missed some more of popular songs composed by Salil Da . I will end with  one more song from the stable of Salil Da which did not become as popular as it should have been. The song is  “Koi Hota Jisko Apna” from ‘Mere Apne’ (1971).  It is a complex composition which Kishore Kumar has ably rendered. The mukhda tune was inspired from the background score of ‘Anand’(1970).

After about 1975, his Hindi film assignments came down that too was limited to small banners. On the other hand, his assignments in Bengali and South Indian films were on the rise. Also, he had shifted his base to Kolkata in mid 1970s as he had planned for setting up of a modern recording studio in Kolkata. During about 25 years of his active association with Mumbai, he composed about 300 songs in about 65 Hindi films.

Discussion on Salil Chowdhury’s musical career in films will not be complete unless we take into account his sojourn to South Indian films especially the Malayalam films. He was introduced to Malayalam films  by Ramu Khairat, the Malayalam film director who was a part of IPTA delegation along with Salil Da to an East European country in 1960. Their IPTA background and the common interest in films made them friends. When Ramu Khairat finalised the making of Malayalam film, ‘Chemmeen’ (1965), he selected Salil Da as the music director. The film received tremendous response from the cinegoers. This film is regarded as the first successful ‘arty’ film in South India.

The highlight of the film was the popularity of its four songs. The extra-ordinary success of the songs changed the complexion of the South Indian film music. Salil Da set his firm footing in the South Indian film industries. He did 25 Malayalam films and 10 films in Tamil, Telugu and Kannada. In addition, he was also associated with about 40 Bengali films as a lyricist and music director.

One of the innovative ideas Salil Da experimented with his music was that he composed new songs based on his earlier songs as well as from the background score by giving a different structure to the new songs. For instance, in an interview, Salil Da gave an interesting example of his song “Aaja Re Pardesi Main To Kab Se Khadi Iss Paar”  from ‘Madhumati’ (1958). The mukhda tune was based on the melodic background music of ‘Jaagte Raho’(1956). This background music is played whenever Raj Kapoor is about to drink water to quench his thirst but the circumstances makes him to run away from the scene without drinking water. In the same song, Salil Da has used the mukhda tune of “Ghadi Ghadi Mora Dil Dhadke” as the interlude music.

Another example I had noted many years back and worth mentioning is the comparison of the song “Baag Mein Kali Khili Bagiya Mehki” from ‘Chaand Aur Sooraj’ (1965) with “Saathi Re Tujh Bin Jiya Udaas” from ‘Poonam Ki Raat’ (1965). Salil Da has used more or less the same tune for the antaras of both the songs. Salil Da’s different melodic and orchestration structures makes these two songs sounding different. Hence, first song sounds like that for a growing up girl waiting for her fiance and the other one as a haunting song. Also note in the latter song how the mukhda tune of the former song converted into the interlude music and gets merges with the antara tune.

I had mentioned earlier that there is some organic connection between Salil Da, Ilaiyaraaja and AR Rahman. During his assignments in the South Indian films, especially in Malayalam films as a music director, Salil Da had in his orchestra, Ilaiyaraaja as a lead guitarist and RK Sekhar (father of AR Rahman) as his Assistant and Arranger. AR Rahman joined Ilaiyaraaja’s troup as Keyboard player. Incidentally, Salil Da had predicted that one day Ilaiyaraaja would become the top most music director of India. His prophecy has come true.

A music analyst in his article in The Hindu has opined that in his early years of music direction, Ilaiyaraaja seemed to have been influenced by Salil Da in using fusion music which he improvised a lot in his later years. The same music analyst also felt that Salil Da was influenced by the music of Ilaiyaraaja in composing Bengali songs in his later years.

On the occasion of 24th Remembrance Day of the legendary music director, Salil Da, I have chosen a rarely heard Sanskrit song  ‘tava virahe vanamaali’ from the film ‘Swami Vivekanand’ (1994). The music for the song has been composed by Salil Da in a classical raaga, Yaman. The song is written by the famous Sanskrit poet of the 12th century AD – Jaidev. It is rendered by Kavita Krishnamurthy. It is a classical dance song which is picturised on Shobna (Pillai), a well-known Malayalam and Tamil film  actress and a Bharatnatyam dancer. She is the niece of Padmini and Ragini.

I took the song’s lyrics from Geet Govind. English translation of the lyrics is embedded on the audio clip of the song. This is the song I liked best out of 8 songs in the film.

There is long history about the film ‘Swami Vivekanand’ (1994). The film was directed by GV Iyer  a khadi-clad barefoot Gandhian who has been known for  making films based on spiritual themes. He was the first to make a feature film in Sanskrit, ‘Adi Shankaracharya’ (1983) which won 4 National Film Awards including the award for the Best Film. This was followed by ‘Madhvacharya’ (1986) in Kannada, ‘Ramanujacharya’ (1989) in Tamil, ‘Bhagvad Geeta – The Song of the Lord’ (1993) in Sanskrit.  In addition, he has acted in and directed many Kannada films since 1954.

‘Swami Vivekanand’ (1994) was GV Iyer’s first foray into Hindi film which also falls under the spiritual theme.  The film was produced by T Subbarami Reddy, a parliamentarian and a well-known Telugu and Bollywood film producer. The main characters in the film, Swami Vivekanand was played by Sarvadaman Banerjee and that of Ramkrishan Paramhans by Mithun Chakraborty. Tanuja, Pradeep Kumar, Debashree Roy were some of the other actors in the film. Shammi Kapoor, Shashi Kapoor, Hema Malini, Rakhee, Jaya Prada, Manmooty, Meenakshi Seshadari and Anupam Kher did some minor roles as guest actors.

The film took about 5 years to complete and further about 3 years to get released for public viewing. Naseeruddin Shah who was selected to play the role of Ramkrishna Paramhans had to be dropped due to pressure from right-wing activists. The role went to Mithun Chakraborty despite having an image of disco dancer at that time. There were many objections from various quarters including Ramkrishna Mission. When issues were being addressed by the director, someone filed a suit in the high court which after sometime, cleared the film with about 20 cuts. The film was premiered on National Channel of Doordarshan on August 15, 1998 and thereafter it was released in the theatres. The film was a disaster at the box office.

‘Swami Vivekanand’ (1994) was  Salil Da’s last Hindi film. Salil Da was regarded as an expert in background music but this was the only his Hindi film for which he could not give background music due to his sudden death on September 5, 1995.

Audio

Video

 

Song – Tava Virahe Vanamaali Sakhi Seedati  (Swami Vivekanand) (1994) Singer – Kavita Krishnamurthy, Lyrics – Jaidev (Traditional), MD – Salil Chaudhry

Lyrics

tava virahe vanamaali
sakhi seedati
tava virahe vanamaali
sakhi seedati
tava virahe vanamaali
 
dahati shishir-mayookhe
maranam-anukaroti
patati madan-vishikhe
vilapati vikalataroti
aa aa aa aaa
aa aa aa aaa
aa aa aaa
aa aa aaa
aa aa aa aa aaa
dahati shishir-mayookhe
maranam-anukaroti
patati madan-vishikhe
vilapati vikalataroti
vikalataroti
tava virahe vanamaali
sakhi seedati
tava virahe vanamaali
 
aa aa aaa aa
aa aa aaa aa
dhvanati madhupa-samoohe
shravanam-api dadhaati
manasi valit-virahe
nishi nishi rujam-upyaati
dhvanati madhupa-samoohe
shravanam-api dadhaati
manasi valit-virahe
nishi nishi rujam-upyaati

vasati vipin-vitaane

tyajati lalitdhaam
luth’ti dharani-shayane
bahu vilapati tava naam
vasati vipin-vitaane
tyajati lalitdhaam
luth’ti dharani-shayane
bahu vilapati tava naam aa
tava naam
tava virahe vanamaali
sakhi seedati
tava virahe vanamaali
sakhi seedati
tava virah..ae
vanamaali..ee

———————————-
Devnagari script lyrics (Provided by Sudhir)
———————————–

[Ed Note: The complete text of the original song (song no. 10 in the book) consists of 8 verses, which appear in the 5th chapter of this epic poem, placed between the 34th and the 35th shloks in the book. For the purpose of the film, only the first four have been adapted. There is a lead in verse which is a part of this song. It reads as,
वहति मलयसमीरे मदनमुपनिधाय ।
स्फुटति कुसुमनिकरे विरहिहृदयदलनाय ॥  ]

तव विरहे वनमाली सखि सीदति ॥ १॥
तव विरहे वनमाली सखि सीदति
तव विरहे वनमाली

दहति शिशिरमयूखे मरणमनुकरोति ।
पतति मदनविशिखे विलपति विकलतरोऽति ॥ २॥
आ आ आ आ
आ आ आ आ
आ आ आ
आ आ आ
आ आ आ आ आ
दहति शिशिरमयूखे मरणमनुकरोति
पतति मदनविशिखे विलपति विकलतरोऽति
तव विरहे वनमाली सखि सीदति
तव विरहे वनमाली

आ आ आ आ
आ आ आ आ
ध्वनति मधुपसमूहे श्रवणमपि दधाति ।
मनसि वलितविरहे निशि निशि रुजमुपयाति ॥ ३॥
ध्वनति मधुपसमूहे श्रवणमपि दधाति
मनसि वलितविरहे निशि निशि रुजमुपयाति

वसति विपिनविताने त्यजति ललितधाम ।
लुठति धरणिशयने बहु विलपति तव नाम ॥ ४॥
वसति विपिनविताने त्यजति ललितधाम
लुठति धरणिशयने बहु विलपति तव नाम
तव नाम
तव विरहे वनमाली सखि सीदति
तव विरहे वनमाली सखि सीदति
तव विरहे॰॰ए
वनमाली॰॰ई

 


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 :

4044 Post No. : 15171 Movie Count :

4168

hullo to all of Atuldom

Yesterday (13 august 2019) was the birth anniversary of our dear Sridevi, hailed as the first female superstar of Bollywood. I was not liking it that we had let it go without a post. Then last thing before I switched off for the day, I saw a song on some satellite channel and had my ‘eureka’ moment. I found a song from the later period of Sridevi’s career when she had started experimenting with the characters she played.

The song was from the 1997 Raj Kanwar directed and Boney Kapoor produced “Judaai”. The movie starred Sridevi alongside Urmila Matondkar and Anil Kapoor with Kadar Khan, Johnny Lever, Farida Jalal, Upasana Singh, Junior Mehmood, Paresh Rawal, Dinesh Hingoo, Saeed Jaffrey and two sweet child actors. Poonam Dhillon had a special appearance. The movie was a remake of a 1994 Telugu film “Shubhalagnam”.

It was a story of a lady Kajal (Sridevi) who gets her honest and loving husband (Anil Kapoor) married to his boss’s niece (Urmila) in exchange for money in her quest to become rich quickly. She gets this done much against her husband’s wishes and she faces social problems when she realises that it is not possible to remain your ex-husband’s legal wife after having divorced him and practically sold him to another lady. The film received mixed reviews for its simple and clichéd plot and execution. But the performances of the lead actresses were appreciated. This was Sridevi’s last film appearance before she took a sabbatical to lead a family life. Sridevi and Johnny Lever played the children of Kadar Khan and Farida Jalal.

Incidentally today happens to be the 62nd birthday of Johnny Lever. He was brought up as John Prakash Rao Janumala. He had to drop out of studies as his family faced financial problems and he pithed in by doing odd jobs including selling pens on the streets by mimicking Bollywood stars etc. At a program in his father’s plant (Hindustan Lever Limited) he mimicked some senior officers and the workers there gave him his stage name JOHNNY LEVER. He started out his career doing stage shows Kalyanji Anandji Nite, Tabassum Hit Parade etc which served as his launchpad. He has been entertaining the world since the 80s. His daughter Jamie is following in his footsteps and is a comedian-actor-singer. Here is wishing him a long and healthy life.

Todays’ song is sung by Bali Brahmabhatt, Alka Yagnik and Shankar Mahadevan. Nadeem Shravan are the music composers and Sameer was the lyricist. It is a party song that celebrates the birthday of Sridevi’s character’s daughter. We have Upasana Singh, Kadar Khan, Sridevi, Urmila and Anil Kapoor singing and Junior Mehmood is also there in the scene.

So, here is a song which sings the mind of most males of the species. I am not judging anybody. 🙂 my statement is based on all the husband-wife jokes that are constant on the various social media forums. 🙂


Song-Shaadi kar ke phans gaya yaar (Judaai)(1997) Singers-Bali Brahmbhatt, Alka Yagnik,Shankar Mahadewan, Lyrics-Sameer, MD-Nadeem Shrawan
Chorus

Lyrics

haayo rabba haayo rabba haayo rabba
haayo rabba haayo rabba haayo rabba
haayo rabba haayo rabba haayo rabba
haayo rabba haayo rabba haayo rabba
aa haa
aa haa
aa haa
aa haa

shaadi karke
shaadi karke phans gaya yaar
achcha khaasa thha kanwara
aa aaa
aa aaa
o shaadi karke phans gaya yaar
achcha khaasa thha kanwara
aa aaa
aa aaa
arre jo khaaye pachhtaaye
jo na khaaye woh lalchaaye
jo khaaye pachtaaye
jo na khaaye woh lalchaaye
door se meethha lagta hai
yeh kadva laddoo pyaaara
shaadi karke
shaadi karke phans gaya yaar
achcha khaasa thha kanwara
aa aaa
aa aaa
o shaadi karke phans gaya yaar
achcha khaasa tha kanwara
aa aaa
aa aa aaa

aasmaan ki pari ho chaahe gori ho ya kaali
chaar dinon ki chaandni hoti hai har gharwaali
abbaa dabbaa jabbaa aa
abbaa dabbaa jabbaa aa

aasmaan ki pari ho chaahe gori ho ya kaali
chaar dinon ki chaandni hoti hai har gharwaali
shaadi karne waala bas shaadi ke din hansta hai
saari umr woh rota hai
iss jaal mein jab fansta hai
dar dar bhatke
dar dar bhatke mere yaar
dekho iss aafat ka maara
aa aaa
aa aaa
o shaadi karke phans gaya yaar
achcha khaasa thha kanwaara
aa aaa
aa aaa

arre sun mere harry re ae ae
arre sun mere hirva
sun o hiraalaal re ae
saare agar kanwaare hote
na karta koi shaadi
kaise chalti ye duniya
kaise badhhti aabaadi

aa aaa
aa aaa
aa aaa
aa aaa

hey saare agar kanwaare hote
na karta koi shaadi
kaise chalti ye duniya
kaise badti aabaadi
byaah racha ke jo na main teri mummy ko laata
bol zara pagle
tu kaise iss dharti pe aata
tere jaisa
tere jaisa moorakh na paida hoga kahin dobaara

aa haaa aa haaa
shaadi karke phans gaya yaar
achcha kahsa tha kanwara
aa haaa
aa haaa

mere tan ka gehna ban gaye chanda aur sitaare
maine jitne sapne dekhe poore ho gaye saare

aa haaa
aa haaa

aaj main kitni khush hoon jeewan ki khushiyo ko pa ke
jee karta hai nsachu bin paayal ghungroo chankaake

jaise din ke bina adhuri hoti raina kali
do pahiyo ke bina chale na gaadi jeewan waali
mere apne
mere apne meri jaan maine tum pe sab kuchh vaara

aa haaa
aa haaa

o shaadi karke phans gaya yaar
achcha khasa thha kanwara
aa aaa
aa aaa
jo khaaye pachataaye
jo na khaaye woh lalchaaye
door se meetha lagta hai ye kadva laddoo pyaara
shaadi karke
shaadi karke phans gaya yaar
achcha khaasa thha kanwara
aa aaa
aa aaa
o shaadi karke phans gaya yaar
achcha khaasa tha kunwara
aa aaa
aa aa aa aa

haayo rabbaa haayo rabbaa haayo rabbaa
haayo rabbaa haayo rabbaa haayo rabbaa
haayo rabbaa haayo rabbaa haayo rabbaa
haayo rabbaa haayo rabbaa haayo rabbaa


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 :

4041 Post No. : 15166 Movie Count :

4166

‘Dil Se’ (1998) was produced by Mani Ratnam along with Ram Gopal Varma and Shekhar Kapoor and was directed by Mani Ratnam. The film was a part of Mani Ratnam’s trilogy of human relationship in the backdrop of politics and terrorism. In this series, his earlier two films were ‘Roja’ (1992) and ‘Bombay’ (1995).

The film’s main actors consisted of Shahrukh Khan who, on a reporting assignment to North-East India, falls in love with a mysterious girl (Manisha Koirala) who is a part of a terrorist group. As a result, she remains elusive to him. His love for her becomes his obsession. He searches for her, meets her during his many assignments but she gives him a slip on each occasion. Preity Zinta is another girl with whom Shahrukh Khan’s marriage has been fixed by his family.

At the end, Shahrukh Khan finds Manisha Koirala in Delhi but comes to know about her group’s plan of exploding explosives, carried in her vest, at the venue of gathering for the celebration of 50th Independent Day. He tries hard to persuade her to give up the terrorist activities and marry him. But it was too late for her. The bomb explodes accidentally and both die before she reaches the planned target.

The film had 6 songs which were written by Gulzar and were set to music by A R Rahman. None of the song has yet been represented on the Blog. The song ‘chhaiya chhaiya’ became the most popular song of the film. However, I have preferred to present ‘jiya jale jaan jale nainon tale dhuaan chale’ sung by Lata Mangeshkar. The reason is that I liked the idea of incorporating in the song, the Malayalam lyrics written by Girish Puthencheri and sung by M G Sreekumar and Chorus as interlude music. The other reason is that the song has been picturised in Kerala at Athirappilly Falls, Periyar Lake and Alappuzha backwaters among others – the places I had visited in 2008.

This was the first song Lata Mangeshkar sang under the music direction of A R Rahman. Generally, she does not visit outside Mumbai to record the song. But she made an exception by flying to Chennai to record the song in A R Rahman’s recording studio. The song was recorded in one take. However, it took about 10 days for Rahman to give a final shape to the song by improvising the background music and incorporating interludes in the song.

During this period, A R Rahman came with an idea to incorporate a short clip of Malayalam song as interludes in the song. He wanted Gulzar to translate the Malayalam lyrics into Hindi. To get an idea, he played the Malayalam song over the phone to Gulzar. After listening to the clip, Gulzar advised Rahman to retain the Malayalam lyrics in the clip for the song as it sounded beautiful in the background giving a feel of the atmosphere of Kerala. Rahman agreed with Gulzar’s suggestion. The song turned out to be an unique composition. (Note: The trivia are based on Gulzar’s interviews with Nasreen Munni Kabir in 2012).

From the lyrics as well as the picturization of the song, it would appear that the song conveys the imagination of the bride (Preity Zinta) about her wedding night. The eroticism in the lyrics is nicely camouflaged in imageries. Example:

masle phoolon ki mahak mein titliyon ki kyaariyaan
raat bhar bechaari mehndi pisti hai pairon tale

I got the Malayalam lyrics and the English translation thereof from a blog post of Maithily Menon on the internet. The beauty of Malayalam lyrics may have been diluted in English translation. The translation appears to me more a literal than the underlying deeper meaning envisaged by the lyricist. Corrections, if any, in Malayalam lyrics and the English translation, from readers knowing Malayalam are welcome.

Video Clip:

Audio Clip:

Song-Jiya jale jiya jale (dil Se)(1998) Singers-Lata Mangeshker, M G Sreekumar, Lyrics-Gulzar, MD-A R Rahman
Hindi Chorus
Malayalam Chorus

Lyrics (Based on audio clip)

jiya jale jaan jale
jiya jale jaan jale
nainon tale
dhuaan chale
dhuaan chale
punchiri thanu konchiko
munthiri mutham chinthiko
manchani varna chundari vaave
thanakinaka
thakadhimi aadum thankanilaave hoi
punchiri thanu konchiko
munthiri mutham chinthiko
manchani varna chundari vaave
thanakinaka
thakadhimi aadum thankani laave hoi

thanka kolusalle
kurukum kuyilalle
maaran mayilalley
thanga kolusalle
koorukum kuyilalle
maaran mayilalley

jiya jale jaan jale
nainon tale
dhuaan chale
dhuaan chale
raat bhar dhuaan chale
jaanu na jaanu na jaanu na sakhi ri
jiya jale jaan jale
nainon tale
dhuaan chale
dhuaan chale
raat bhar dhuaan chale
jaanu na jaanu na jaanu na sakhi ri
jiya jale
jaan jale

dekhte hain tan mera
mann mein chubhti hai nazar
dekhte hain tan mera
mann mein chubhti hai nazar
hontth sil jaate unke
narm honthon se magar
ginti rahti hoon main apni
karwaton ke silsile
kya karoon
kaise kahoon
raat kab kaise dhale
jiya jale jaan jale
nainon tale
dhuaan chale
dhuaan chale
raat bhar dhuaan chale
jaanu na jaanu na jaanu na sakhi ri
jiya jale jaan jale
nainon tale
dhuaan chale
dhuaan chale
raat bhar dhuaan chale
jaanu na jaanu na jaanu na sakhi ri
jiya jale
jaan jale
kuruvanikiliye
kuruvanikiliye
kukuru koorukuru kooki kuruki
kunnimarathil uyal adi
kodum orikki kootu vilikunne
maran nine kooki kuruki kotu vilikunne
kukuru koorukuru kooki kuruki
kunnimarathil uyal adi
kodum orikki kootu villikunne
maran nine kooki kuruki kotu vilikunne

thanka kolusallae
kurukum kuyilallae
maaran mayilallae hoi
thanka kolusallae
kurukum kuyilallae
maaran mayilallae

ang ang mein jalti hai
dard ki chingaariyaan
masle phoolon ki mahak mein
titliyon ki kyaariyaan
raat bhar bechaari mehndi
pisti hai pairon tale
kya karoon
kaise kahoon
raat kab kaise dhale
jiya jale jaan jale
nainon tale
dhuaan chale
dhuaan chale

dhuaan chale
dhuaan chale
jaanu na jaanu na jaanu na sakhi ri
jiya jale jaan jale
nainon tale dhuaan chale

(jiya……..aa jale….ae)
dhuaan chale
raat bhar dhuaan chale

(jiya………aa jale…ae)
jaanu na jaanu na jaanu na sakhi ri
jiya……..aa jale………ae jaan jale…ae
jiya jale

——————————————
Malayalam lyrics translated in English
——————————————
First Malayalam Stanza
————————————
Give me a smile and lisp
Of kisses as sweet as grapes
O sweet and beautiful girl
Dance in the golden light
Like the golden anklets
Like the cooing cuckoo
Like the dancing peacock.
——————————–
Second Malayalam Stanza
——————————–
O kuruvani bird
Making noise(like kukuru kurukuru)
Swinging on the kunni tree
Is calling you after making the nest
Your lover is calling you again and again
Dance in the golden light
Like the golden anklets
Like the cooing cuckoo
Like the dancing peacock


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 :

4032 Post No. : 15154 Movie Count :

4160

This is the story of a Telugu man born in Hyderabad in an upper middle-class Naidu family. He completes his schooling in a Boarding school in Yercaud. After graduating in Chemical Engineering from Osmania University, he proceeds to USA and completes M.S. in Chemical Engineering. He gets a good job in the USA as an Environment Consultant. So far so good. The boy has met successfully, the sequential schedules of most of the middle and upper middle-class families – Good schooling and college, higher studies in the USA followed by a good job there. The next in the sequence is finding a good bride for the boy to settle down and showcase him among the family and friends. But at this stage, there a break in the sequence of our Telugu man.

During his stay of about a decade in the USA, our man develops interest in film-making. Perhaps, he was influenced by watching many Hollywood films during his stay in the USA. Slowly, this interest turns into a passion. Now, he finds his job monotonous. One day, he resigns from the job and enroll himself in film making and acting courses. Armed with the story, screen-play and dialogues for his film, he returns to India. He selects himself as the actor who is the protagonist in the story of his first film in the making. He finalises a couple of other actors and actresses who are fresh faces. But his first obstacle in making the film is finding a financier who can invest money in his film.

Our man spends about a year in Mumbai for studying the nuances of film making and also finding a financier. He is disillusioned by the way Bollywood works. He also fails to find a financier for the film. He comes to the conclusion that if he wants to make a film on his own terms, he needs to finance the film himself. So, he goes back to the USA, works there for about a year and saves US$40000/-. With this money, he returns to India for good. In his earlier visit to Hyderabad, he had met a lady who is the boutique fashion shop owner. After audition, he ropes her in the film as an actor and makes her the partner in his film production company. The film’s shooting commences and is completed in 17 days at the total cost of about 17 lakhs. The film is submitted to the Censor Board for certification. And here our man faces the second hurdle.

The Censor Board suggests about two dozen of cuts including a kissing scene to certify the film. Our man visits to meet the Censor Board officials. He finds that if he agrees to the cuts suggested by the Censor Board, the entire sensibility of the film is lost. On the other hand, Censor Board is not prepared to certify the film without the cuts suggested by it. He files an appeal to the Appellate Authority of the Censor Board for the review of the cuts. The Appellate Authority upholds the views of our man. The film is certified without any cut but a couple of words in the dialogues are muted. Now the film is ready for the release. Here our man faces the third obstacle.

The film remains in the cans for nearly a year as no distributor is willing to take up to release the film. First, the film is in English language. Second, the film maker is an unknown entity to the film world apart from the absence of star value in the film’s cast. Third, the film’s story would have attracted only a section of the audience. In desperation, our young man releases the film on Doordarshan in 1997 on a paltry sum of Rs.2 lakh. But this gave the film some exposure to the English-speaking audience.

In the meanwhile, the film is shown in MAMI film festival in Mumbai sometime early 1998 and receives encouraging responses from the festival audience including Shyam Bengal. On the recommendation of Shyam Bengal, one of the leading film distributors of Mumbai watches the film in a preview theater and agrees to distribute the film. The film is released and receives tremendous support from the audience as well as from the critics. The film is a box office success. A new name of the producer-director is added to the list of parallel film-makers in India.

The young Telugu man is Nagesh Kukunoor and his maiden film is ‘Hyderabad Blues’ (1998). The owner of the boutique shop is Elahe Hiptoola who became the partner in Nagesh’s film production company, SIC, besides acting in some of his films and assisting him in the direction. The film revolves around a NRI who after spending a considerable time in the USA, is caught in a cross fire of Indian and foreign cultures. The film was in English language though a few dialogues were in Telugu and Hyderabadi Hindi.

After the success of ‘Hyderabad Blues’ (1998), Nagesh Kukunoor has produced and directed films such as ‘Rockford’ (1999), ‘Bollywood Calling’(2001), ‘3 Deewaaren’ (2003), ‘Hyderabad Blues-2’ (2004), ‘Iqbal’ (2005), ‘Dor’ (2006), ‘Bombay To Bangkok’ (2008), ‘8×10 Tasveer’ (2009), ‘Aashaayein’ (2010), ‘Mod’ (2011), ‘Lakshmi’ (2014), ‘Dhanak’ (2016) etc. Although many of his films have been critically acclaimed, some of which got national and international awards, most of them had failed at the box office collections.

Nagesh Kukunoor also tried his hand in producing and directing a couple of the ‘middle of the path’ films by taking Bollywood stars. In ‘8×10 Tasveer’ (2009), he got Akshya Kumar to play the lead role. In ‘Aashaayein’ (2010), he roped in John Abraham. Both these films did not fare well at the box office. So he has reverted to parallel cinemas again.

‘Rockford’ (1999) was Nagesh Kukunoor’s second film in English which revolved around the story about ‘coming of age’ boy who is admitted to a boarding school. Film shows his transformation from a naive, scared boy into a confident teenager after facing some problems in adjusting to new environment. There is a scene in the film in which he develops a soft corner for the only lady teacher (Nandita Das) in the school. His day-dreaming about singing ‘shokhiyon mein ghola jaaye…’ from ‘Prem Pujaari’ (1970) with the lady teacher is hilarious. He then finds her sitting with PT teacher (Nagesh Kukunoor). Now his imagination takes him to Nagesh Kukunoor singing with the teacher. He becomes jealous. Watch the video.

‘Rockford’ (1999) have six songs of which 2 songs are in Hindi. The song ‘yaaron dosti badi hi haseen hai’ sung by KK is from his non-film album which is used in the film. The other Hindi song which I am presenting today is ‘aasmaan ke paar shaayad aur koi aasmaan hoga’ is rendered by Shankar Mahadevan who has also composed the music with his music partners, Ehsaan Noorani and Loy Mendoca.

This song in CD version is of 6-minute duration. However, in the film, this song is used only for 1:35 minutes in the background of the main credit titles at the beginning of the film probably to set the mood of the film. A promotional video featuring Shankar-Ehsaan-Loy and the three actors in the role of students in the film, namely, Rohan Dey, Imran Mirza and Kailash Athmanathan was also released. The theme of the music video is a trip to the down memory lane. Shankar Mahadevan, in his interview at the time of the release of this music video had revealed that he had composed this song in Raag Jog in combination with Raag Kedar. What a violin interlude between 2:51 and 3:22 in the audio clip in Carnatic music style!

There was no need for me to search as to who wrote lyrics for this song. A reading of the mukhda of the song with unusual imageries undoubtedly pointed to Gulzar. Yes, the lyrics are by Gulzar saab.

baadalon ke parbaton par
koi baarish ka makaan hoga

I like it.

Acknowledgement : The ‘story’ of Nagesh Kukunoor is based on a number of interviews he gave on visual and print media over the years.

Promotional Video Clip :

Audio Clip :

Song-Aasmaan ke paar shaayad aur koi aasmaan hoga (Rockford)(1999) Singer-Shankar Mahadewan, Lyrics-Gulzar, MD-Shankar Ehsan Loy
Chorus

Lyrics (Based on audio clip)

sansana
albela sansana
sansana
albela sansana

aasmaan ke paar shaayad
aur koi aasmaan hogaa
sansana
albela sansana

o
aasmaan ke paar shaayad
aur koi aasmaan hogaa
baadalon ke parbaton par
koi baarish ka makaan hogaa
main hawa ke paron pe kahaan
jaa raha hoon kahaan
kabhi udta huaa
kabhi mudta huaa
mera raasta chala
ho ho ho ho o
main hawa ke paron pe kahaan
jaa raha hoon kahaan

ho ho ho
ho ho ho
ho ho ho
ho ho ho

mere paaon ke tale ki
yeh zameen chal rahi hai
kahin dhoop thhandi thhandi
kahin chhaanv jal rahi hai
is zameen ka aur koi
aasmaan hoga
hogaa aa aa
aasmaan
ho aasmaan hogaa
main hawa ke paron pe kahaan
jaa raha hoon kahaan

in lambe raaston par
sab tez chalte honge
ho o o
in lambe raaston par
sab tez chalte honge
copy ke pannon jaise
yahaan din palate honge
shaam ko bhi subah jaisa
kya sama hogaa
hogaa aa
kya samaa aa
kya shama hogaa
main hawa ke paron pe kahaan
jaa raha hoon kahaan

aasmaan ke paar shaayad
aur koi aasmaan hoga
aur koi aasmaan hoga
baadalon ke parbaton par koi
baarish ka makaan hogaa
hoga
ho o o
main hawa ke paron pe kahaan
jaa raha hoon kahaan
kabhi udta huwa
kabhi mudta huwa
mera raasta chala
o ho ho ho
main hawa ke paron pe kahaan
jaa raha hoon kahaan
main hawa ke paron pe kahaan
jaa raha hoon kahaan
main hawa ke paron pe kahaan
jaa raha hoon kahaan
ho ho ho
ho ho ho
ho ho ho
ho ho ho
ho ho ho
ho ho ho
ho ho ho
ho ho ho


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(© 2008 - 2019) 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.

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 15200 song posts by now.

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

Total number of songs posts discussed

15289

Number of movies covered in the blog

Movies with all their songs covered =1180
Total Number of movies covered =4209

Total visits so far

  • 12,555,238 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

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