Archive for the ‘Songs of 1990s (1991 to 2000)’ Category
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5364 | Post No. : | 17593 | Movie Count : |
4730 |
‘Adhikaar’ (1996) was a TV Serial which was telecast in 1996-99 on ZEE TV. The serial was directed by Lekh Tandon. The main actors in the serial were Rajeev Varma, Smita Jaykar, Arundhati Ganorkar, Bharat Kapoor, Vineeta Malik, Shefali Shetty (Shah), Irrfan Khan, Divya Seth, Sachin Khedekar, Sangeeta Ghosh, Zia Hamid, Ashalata, Muneera Surati, Neha Sharad, Arundhati Rao, Mangla Kenkare, S M Zahir, Anang Desai, Sooraj Thapar and many more.
I had seen a few episodes of serial when it was telecast. I have also watched a few episodes of the serial recently on a video sharing platform. In the male dominated society, women are treated as subordinate, and they are not encouraged to air their views openly in a family gathering. The Serial highlights the problems of women faced in two families, a Hindu and a Muslim family with different perspectives.
Amita (Shefali Shetty) is an outspoken girl in the family of lawyer who defies the conventional tradition of agreeing to dictates of her parents (Bharat Kapoor and Veena Malik) if, in her view, the dictates are not rational. While not agreeing with her parents, she gives her reasons for that which makes her parents speechless. Shama (Arundhati Ganorkar), her college friend, also faces the same dictates from her parents. She protests but she is not as bold as Amita to defy. She does agree with most of her parents’ advice even though she is not in agreement with them. One thing in common about both of them is that in order to avoid subordinate existence within the family, they feel that they have to get educated and become economically independent. Amita’s family has the monetary ability to spend on higher education but are not keen for her higher education. On the other hand, Shama is in danger of losing her college education due to financial reasons.
Raja Sahab (Rajeev Varma) and his wife Shahida (Smita Jaykar) have been married for 20 years but she remains childless. He divorces her and gets married to Shama against her wish for her parents for financial reasons. After divorce, his first wife is relocated in servant’s quarters. Shama tries to correct Raja Sahab by telling her that she has no problem if his first wife stays in the same house but in vain. At the same time, Raja Sahab is not averse to Shama continuing the college education. After the death of Raja Sahab, Shama continues the education to become a lawyer with the help of her lawyer friend, Ali (Sachin Khedekar). Then, there is a character of inqilabi shayar Abid (Irrfan Khan) who loves Shama’s sister, Zubeida, but she is afraid to tell her mind to the mother.
The sum and substance of this serial is that a better status for women irrespective of their religion leads to the creation of a well-balanced society. At the outset, the serial looks feminist. But Reoti Saran Sharma, the story writer has nicely brought out women’s empowerment without taking an anti-male stance in the story. Some of the male characters in the story become the facilitators for the equal rights to the women in their family.
In most of the TV serials of that time, it was common to have title songs which, in nutshell, give the main theme of the story. But in ‘Adhikar’ (1996), apart from the short title song, there are some full-fledged songs just like in Hindi films. I am presenting a ghazal ‘meri talaash chhod de tu mujhko paa chuka’ written by Naqsh Layallpuri which is recited by Sonu Nigam. The ghazal is set to music by Talat Aziz.
The original ghazal is of 7 she’rs of which only the first 6 she’rs have been included in the recitation. The ‘maqta’ (last she’r) not included is as under:
paani se ‘Naqsh’ kab hui roshan yeh zindagi
main apne aansuon ke diye bhi jala chuka
The ghazal is picturised on Irrfan Khan in a private mushaira in which Zubeida (Divya Seth) is present. The background to this picturisation is that Abid (Irrfan Khan) who is an inqilabi poet, often gets jail terms for writing the inflammatory poems. This time after he is released from the jail, he visits Zubaida’s house to tell her that he still wants to marry her. Her mother and sister, Shama are present, and they are surprised. Later, Shama comes to know from Zubeida that she met Abid for the first time in a mushaira in which he recited his ghazals. So, this is a flashback scene.
Video Clip
Audio Clip:
Song-Meri talaash chhod de tu mujhko paa chukaa (Adhikaar)(TV Serial)(1996) Singer-Sonu Nigam, Lyrics-Naqsh Llayalpuri, MD-Talat Aziz
Lyrics (Based on Video Clip)
meri talaash chhod de
meri talaash chhod de
tu mujhko paa chuka
meri talaash chhod de
tu mujhko paa chuka
meri talaash chhod de
tu mujhko paa chuka..aa
main soch ki hadon se
main soch ki hadon se
bahut door jaa chuka
main soch ki hadon se
bahut door jaa chuka
meri talaash chhod de
tu mujhko paa chuka
logon daraana chhod do
tum waqt se mujhe
logon daraana chhod do
tum waqt se mujhe..ae
ye waqt baar baar
mujhe aazmaa chuka
ye waqt baar baar
mujhe aazmaa chuka
main soch ki hadon se
bahut door jaa chuka
badlega ankareeb yeh
dhaancha samaaj kaa..aa
badlega ankareeb yeh
dhaancha samaaj kaa
badlega ankareeb yeh
dhaancha samaaj kaa..aa
iss baat par main doston
iss baat par main doston
imaan laa chuka
iss baat par main doston
imaan laa chuka
meri talaash chhod de
tu mujhko paa chuka..aa
main soch ki hadon se
bahut door jaa chuka
ab tum mere khayaal ki
parvaaz dekhna
ab tum mere khayaal ki
parvaaz dekhna..aa
main ik ghazal ko zindagi
main ik ghazal ko zindagi
apni bana chuka
main ik ghazal ko zindagi
apni bana chuka..aa
meri talaash chhod de
meri talaash chhod de
ae sone waalon neend ki
ae sone waalon neend ki
chaadar utaar do
ae sone waalon neend ki
chaadar utaar do..o o
kirnon ke haath subah kaa
kirnon ke haath subah kaa
paighaam aa chuka
kirnon ke haath subah kaa
paighaam aa chuka..aa
main soch ki hadon se
bahut door jaa chuka
meri talaash chhod de
tu mujhko paa chuka
Raajaa ki aayee hai baaraat
Posted on: March 21, 2023
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5359 | Post No. : | 17577 | Movie Count : |
4725 |
Hullo Atuldom
Born into the film industry. Married into another famous movie-making family. Debut film (in Hindi) with a star-son; a Khan at that. In fact, heroes in her first six films had KHAN as their last name.
I am speaking of Rani Mukherjee who was born into the Mukherjee-Samarth family. Her father Ram Mukherjee was the son of Ravindramohan Mukherjee who was Sashadhar Mukherjee’s (founder of Filmalaya studios) brother. Her mother is the playback singer Krishna Mukherjee. Additionally her brother is director Raja Mukherjee. So that is Rani’s maayka.
She is married to Aditya Chopra; Yash Chopra’s son. ‘Shadaab Khan’ (Amjad Khan’s son) in ‘Raja ki Aayegi Baraat’; ‘Aamir Khan’ in ‘Ghulam’; ‘Shahrukh Khan’ in ‘Kuch Kuch Hota Hai’; ‘Faraaz Khan’ (son of Yusuf Khan a.k.a Zebisco of ‘Amar Akbar Anthoy’) in ‘Mehndi’; ‘Salman Khan’ in ‘Hello Brother’; were her first five movies with the Khans. The sixth film, that I spoke of at the start of this post, ‘Mann’ had Rani only for a song where she shared screen time with Aamir Khan for a song.
Anil Kapoor, Bobby Deol, Abhishek Bachchan, Govinda, where the other heroes she was usually cast opposite in the first few years of her career. She also played Kamal Haasan’s wife in ‘Hey Ram’; incidentally Shahrukh Khan also had a role in the film, not opposite Rani though.
Subsequent films saw her in a few two-heroine films like ‘Chori Chori Chupke Chupke’; ‘Kahin Pyaar Na ho jaaye’; ‘Mujhse Dosti Karoge’ etc.
Movies with Rani Mukherjee were full of good songs, and commercial entertainers. Today she turns a year older- 45 to be exact.
Last Friday saw the release of “Mrs Chatterjee v/s Norway” which has Rani playing a mother and the promos show her to be playing some kind if activist. She has been seen in this type of movies since 2011 when she appeared in ‘No one killed Jessica’.
The song with this post is from her debut film ‘Raja ki Aayegi Baraat’ (1996). Other than Rani Mukherjee & Shadaab Khan the film also had Saeed Jaffery, Raja Murad, Gulshan Grover, Divya Dutta, Asrani, Shashi Sharma, Mohnish Behl, Goga Kapoor, Yunus Parvez etc. in the cast. The film showed Rani playing a girl with happy dreams of marriage and a rosy life. These dreams are shattered when Shadaab Khan enters her life, rapes her to avenge her humiliating him etc. But Shadaab is forced to marry Rani as a punishment for his crime against her by the judge played by Yunus Parvez. Rani uses this opportunity to get even with her tormentor but the couple end up falling in love and the marriage becomes a success. There are some twists and turns before the movie ends in a “marriage baraat”; the kind which Rani had dreamt of.
Let us wish Rani a Happy Birthday with this song which sees Rani living her dream of a “Grand Baraat” at her wedding.
Song-Raaja ki aayee hai baaraat (Raja Ki aayegi Baaraat)(1996) Singer-Vijeyta Pandit, Lyrics-Sameer, MD-Aadesh Srivastava
Female chorus
Lyrics
raaja ki aayi hai baaraat mere aangan mein
raaja ki aayi hai baaraat mere aangan mein
main to naachoon hilaa ke roomaal mere aangan mein
aangan mein
sabke chehre khil rahe hain
masti aisi hai chhaayi
haaye
masti aisi hai chhaayi
phool barse
rang bikhre
mil rahi hai badhaayi
haaye haaye
mil rahi hai badhaayi
ye to bade hi shagun ki hai baat mere aangan mein
raaja ki aayi hai baaraat mere aangan mein
main to naachoon hilaa ke roomaal mere aangan mein
aangan mein
dulhe raaja janch rahe hain
baandh ke sar pe sehra
haaye
baandh ke sar pe sehra
is khushi mein lag raha hai
waqt jaise ho thahra
haaye haaye
waqt jaise ho thahra
saath dulhan ke saj gayi raat mere aangan mein
raaja ki aayi hai baaraat mere aangan mein
main to naachoon hilaa ke roomaal mere aangan mein
aangan mein
bhaabhi meetha munh karaaye
note bahnon ne waare
haaye haaye
note bahnon ne waare
bin piye hi jhoom rahe hain paapa jee bhi hamaare
haaye
paapa jee bhi hamaare
aisi khushiyon ki huyi barsat mere aangan mein
raaja ki aayi hai baaraat mere aangan mein
main to naachoon hilaa ke roomaal mere aangan mein
aangan mein
oye
oye
oye oye oye
- In: Duet | Guest posts | Kavitha Krishnamurthy Solo Songs | Kavitha Krishnamurthy Songs | Multi Version Song | Multiple version song | Pankaj Udhas Solo Song | Pankaj Udhas Song | Pankaj Udhas-Kavita Krishamurthy duet | Post by Avinash Scrapwala | Songs of 1990s (1991 to 2000) | Songs of 1995 | Theme song | Title song | Yearwise breakup of songs
- 4 Comments
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5328 | Post No. : | 17469 | Movie Count : |
4700 |
#the Decade of Nineties – 1991 – 2000 #
————————————————————————
(A tribute to Composer Khayyam Saab on his birth anniversary)
————————————————————————
Today 18th February 2023 is the Ninety-sixth birth anniversary of Mohammed Zahur “Khayyam” Hashmi Saab, whom we fondly know as Khayyam Saab. Had he been alive, he would have turned ninety-six years old today.
He was born on 18.02.1927 and he passed away on 19.08.2019.
As a tribute to him today I am presenting his song composition from the movie “Mohabbaton Kaa Safar-1995”.
‘Mohabbaton Kaa Safar-1995’ was directed by Mohammad Salahuddin Parvez for ‘Al Salam International Productions’. Mohammad Salahuddin Parvez was also the producer of this movie and he also wrote all the songs in this movie.
The star cast of this movie included Imran Khan, Shanti Priya, Aruna Irani, Raza Murad, Arjun, Amrish Puri, Mehmood and others.
Upasna Singh had a guest appearance in this movie.
This movie has as many as twelve songs. Out of these twelve songs Khayyam had composed eleven songs. (The composer for the remaining one song is not known).
Pankaj Udhas, Suresh Wadkar, Kavita Krishnamurty, Udit Narayan, Jagjit Kaur, Jayaprada and Amrish Puri had given their voices to the songs in this movie.
As mentioned in Hindi Filmography Vol-I (1986-2000) this movie was passed by Censor Board on 18.10.1995.
This movie, even though a recent release by the standards of the blog, seems to be an obscure movie of its time. I could not find videos of the songs of this movie or even the audio’s individual songs of this movie except a duet song and a complete ‘jukebox’ of the audio songs is available. (A partial video of this movie is available on internet but it seems to be copied one and it is not much clear).
Today we listen to a song from this movie which is a multiple version song having a duet, a male version and a female version.
It is sung by Pankaj Udhas and Kavita Krishnamurty. Lyrics are by Mohammad Salahuddin Parvez and music is composed by Khayyam Saab.
From the partial video of the movie available on internet it can be easily guessed that on the screen this song is performed by the actor Imran Khan and actress Shantipriya.
This song is a beautiful composition to listen to and it grows upon us if we listen to it a few times. It takes us to an altogether different world of its own.
With this song the movie ‘Mohabbaton Kaa Safar-1995’ makes its debut on the blog today.
Our tributes to Khayyam Saab on his birth anniversary today!!!
Let us now listen to the song …
Duet version
Female solo version
Male solo version
Song-Muhabbaton ka safar hai hamaare saath chalo (Mohabbaton Ka Safar)(1995) Singers-Pankaj Udhas, Kavita Krishnamurthy, Lyrics-Salahuddin Parvez, MD-Khayyam
Both
Lyrics
muhabbaton ka safar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo o o
haseen raahguzar hai
hamaare saath chalo
haseen raahguzar hai
hamaare saath chalo
fazaa mein aaj khumaari si
mujhko lagti hai ae
fazaa mein aaj khumaari ee si
mujhko lagti hai ae
ke meri saans bahot tez tez
chalti hai ae
ajab nashe ka asar hai
hamaare saath chalo
ye kaisaa dard e jigar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo
qaraar deke naa
waapas qaraar le lenaa aa
qaraar deke naa
waapas qaraar le lenaa aa
naa umr bhar ka mujhe
intezaar de denaa aa
ke dil mein halkaa saa dar hai
hamaare saath chalo
ye dil tumhaara hi ghar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo o
jo lenaa chaaho to
sabr o qaraar le lenaa aa
jo lenaa chaaho to
sabr o qaraar le lenaa aa
magar jawaab mein
thhodaa sa pyaar de denaa aa aa
tumhaare dar pe ye sar hai
hamaare saath chalo o
tumhaari paak nazar hai
hamaare saath chalo o
muhabbaton ka safar hai
hamaare saath chalo o
tumhaare husn ke jalwaon se
jo chamaktaa hai ae
tumhaare husn ke jalwaon se
jo chamaktaa hai ae
hamaara ghar jo ghataaon mein bhi
damaktaa hai ae ae
wo aasmaan se udhar hai
hamaare saath chalo
wo aasmaan se udhar hai
hamaare saath chalo o
hamaaraa chaand nagar hai
hamaare saath chalo o
haseen raahguzar hai
hamaare saath chalo
haseen raahguzar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo o
muhabbaton ka safar hai
hamaare saath chalo o
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(Female version)
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muhabbaton ka safar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo o
haseen raahguzar hai
hamaare saath chalo
haseen raahguzar hai
hamaare saath chalo
fazaa mein aaj khumaari si
mujhko lagti hai ae
fazaa mein aaj khumaari ee si
mujhko lagti hai ae
ke meri saans bahot tez tez
chalti hai ae ae ae
ajab nashe ka asar hai
hamaare saath chalo
ajab nashe ka asar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo
qaraar deke naa
waapas qaraar le lenaa aa
qaraar deke naa
waapas qaraar le lenaa aa
naa umr bhar ka mujhe
intezaar de denaa aa aa
ke dil mein halkaa saa dar hai
hamaare saath chalo
ke dil mein halkaa saa dar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo o
jo shaam aayi to
kuchh dard bhi pighalne lagey ae
jo shaam aayi to
kuchh dard bhi pighalne lagey ae
ke mausam e dil o jaan mein
charaagh jalne lagey ae ae ae
ab aanewaali sahar hai
hamaare saath chalo
ab aanewaali sahar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo o
khayaalon khwaab ke
phoolon se jo basaaya hai
khayaalon khwaab ke
phoolon se jo basaaya hai
ufaq ke paar
sitaaron se jo sayaaya hai
hamaara chaand nagar hai
hamaare saath chalo
hamaara chaand nagar hai
hamaare saath chalo
hamaara chaand nagar hai
hamaare saath chalo o o
haseen raahguzar hai
hamaare saath chalo
haseen raahguzar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo o
——————————-
(Male version)
——————————-
muhabbaton ka safar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo o o
haseen raahguzar hai
hamaare saath chalo
haseen raahguzar hai
hamaare saath chalo
kitaab ban ke main seene se
liptaa rehtaa hoon
kitaab ban ke main seene se
liptaa rehtaa hoon
main mehndiyon mein tumhaari
mehaktaa rehtaa hoon
ajab suhaana asar hai
hamaare saath chalo o
ajab suhaana asar hai
hamaare saath chalo o
muhabbaton ka safar hai
hamaare saath chalo o
gulaab chehre ko
apne jo tum jhukaati ho o
gulaab chehre ko
apne jo tum jhukaati ho o
sitaare honthhon pe
kitne mere sajaati ho o
ye bekhudi ke lehar hai
hamaare saath chalo
ye bekhudi ke lehar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo o
jo lenaa chaaho to
sabr o qaraar le lenaa aa
jo lenaa chaaho to
sabr o qaraar le lenaa aa
magar jawaab mein
thhodaa sa pyaar de denaa aa aa
tumhaare dar pe ye sar hai
hamaare saath chalo o
tumhaare dar pe ye sar hai
hamaare saath chalo o
muhabbaton ka safar hai
hamaare saath chalo o
tumhaare husn ke jalwon se
jo chamaktaa hai ae
tumhaare husn ke jalwon se
jo chamaktaa hai ae
hamaara ghar jo ghataaon mein bhi
damaktaa hai ae ae
wo aasmaan se udhar hai
hamaare saath chalo
wo aasmaan se udhar hai
hamaare saath chalo o
wo aasmaan se udhar hai
hamaare saath chalo o o
haseen raahguzar hai
hamaare saath chalo
haseen raahguzar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo
muhabbaton ka safar hai
hamaare saath chalo o
This article is written by nahm, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5326 | Post No. : | 17460 |
The other day when this song from the film Takshak(1999) appeared in the blog, it invoked memories of another film song of the same actors, a similar dance song, where Tabu is dancing with a group of girls, in day light this time. The song is from the film “Vijaypath”(1994), already posted in the blogAaiye aapka intezaar thhaa.
This is the only song to appear here. But this movie had other songs which were more popular, and one song became a controversial one. My own favourite song is this song filmed in outdoors, near a magnificent waterfall, parts of the song are filmed at the famed location of Vrindavan Garden in Mysore, which was as common location as Kashmir. It could be more common due to it being in south where more and more films were being made. Shooting for lots of hindi films produced by filmmakers from Mumbai were also largely done in Madras, Hyderabad etc.
The song in question is a romantic song tastefully composed by Anu Malik, and filmed on the same two actors, Tabu and Ajay Devgan. This was early on in both of their film career. Tabu’s first movie with Sanjay Kapoor, made by Boney Kapoor got delayed by several years. As artists both Tabu and Ajay Devgan have come a long way from those early years. Both have won laurels, recognition, and awards. Ajay Devgan was just another star kid, a small star’s kid, launched as action hero cum angry young man. His father being a fight master, he was showcased as a fight and stunt Hero with a soft heart and tendency for romance. He also had to do the song and dance routine with heroines. His movies did well mainly with Kajol, or they turned out to be well. I remember films like “Dil hi to hai” and “pyar to hona hi thha”. After the release of “Kuchh Kuchh hota hai”,Kajol and Ajay Devgan got married. Kajol stopped working for a few years. Making sporadic come backs, in Karan Johar’s films and Ajay Devgan’s home productions.
In this regard, I also remember an article in a film magazine, which gave detailed forecast about the career and personal life of some of the top leading actresses of the time. I remember reading about Tabu and Rani Mukherjee, and the life and career of these two are predicted accurately. Predictions, about careers is understandable, but personal life and life’s struggles, hurdles, how could anyone predict? and they turned out to be very close to what happened to them in general. Rani Mukherjee is a recluse now, just like her husband Aditya Chopra. Both Rani Mukherjee and Tabu were ambitious and serious about their careers, and they got their name and fame, in the film industry. Tabu is active in films and OTT, also. Notable film in recent times is “Drishyam’ and its sequel, which had both Ajay Devgan and Tabu in pivotal characters, giving performances of critical acclaim.
Ajay Devgan’s remarkable films are ‘Zakhm” and ‘Hum Dil de chuke sanam”. I have other songs filmed on him, which I plan to post. But a lingering memory from “Hum Dil De Chuke Sanam”, of a scene, where Ajay Devgan sings “Chingari koyi bhadke to saawan usse bujha de”. I personally like all the songs of ‘Amar Prem” barring this one. And that scene affirmed my not liking the song. People sing and remember many RDB-Kishore-Rajesh Khanna songs, but no one goes to touch this one.
Here is the song, written by Zameer Kazmi, 8 minutes long, for only 3 stanzas, but absorbing one. The singers are Alka Yagnik and Kumar Sanu. The song talks of “mulaquat”, an interesting word in Urdu which means a magnitude of things. For the time being, I will suffice to say that it means, a meeting, an encounter, a surprising coming across, what and what not. Appropriately, there is a restaurant on the main street of a popular weekend destination for Mumbaikars named “Mulaaquat”. I personally do not know of any other place named such.
I have wanted to post this song for a long time now. So here is it, and I have hummed this one to myself many a times, visiting that restaurant.
Audio:
Video:
Song-Raah mein unse mulaaqaat ho gayee (Vijaypath)(1994) Singers-Alka Yagnik, Kumar Sanu, Lyrics-Zameer Kazmi, MD-Anu Malik
both
Lyrics (as per audio)
Ah ha ha aaaa
ah ha ha haaa aaa
raah mein unn se
mulaquat ho gayee ee
raah mein unn se
mulaquat ho gayee ee
jis se darte thhe
wohi baati ho gayee
Ah ha ha aaaa
ah ha ha haaa aaa
raah mein unn se
mulaquat ho gayee ee
raah mein unn se
mulaquat ho gayee ee
jis se darte thhe
wohi baati ho gayee
Ah ha ha ha aaaa
ah ha ha haaa aaa
ishq ke naam se
dar lagtaa thha
dil ke anjaam se
dar lagtaa thha
ishq ke naam se
dar lagtaa thha
dil ke anjaam se
dar lagtaa thha
dil ke anjaam se
dar lagtaa thha
aashiqui wo hi
mere saathh ho gayi ee
aashiqui wo hi
mere saathh ho gayi ee
jis se darte thhe
wohi baati ho gayee
Ah ha ha ha aaaa
ah ha ha haaa aaa
tere bin kuchh nahin
bhaata hai mujhe
har taraf tu nazar
aat hai mujhe
tere bin kuchh nahin
bhaata hai mujhe
har taraf tu nazar
aat hai mujhe
har taraf tu nazar
aat hai mujhe
Zindagi taaron ki
Baaraat ho gayi ee
Zindagi taaron ki
Baaraat ho gayi ee
jis se darte thhe
wohi baati ho gayee
Ah ha ha ha ha aaaa
aa ha ha haaa aaa
aankh roye naam pe tere
saawan ki tarah
tu samaayee dil mein mere
dhadkan ki tarah
aankh roye naam pe tere
saawan ki tarah
tu samaayee dil mein mere
dhadkan ki tarah
dhadkan ki tarah
har taraf pyaar ki
barsaat ho gayi ee
har taraf pyaar ki
barsaat ho gayi ee
jis se darte thhe
wohi baati ho gayee
Ah ha ha ha aaaa
ah ha ha haaa aaa
raah mein unn se
mulaquat ho gayee ee
raah mein unn se
mulaquat ho gayee ee
jis se darte thhe
wohi baati ho gayee
Ah ha ha ha aaaa
ah ha ha haaa aaa
Palkon pe chalte chalte
Posted on: February 11, 2023
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5320 | Post No. : | 17446 | Movie Count : |
4695 |
Amol Palekar has mostly been identified with some of his ‘boy-next-door’ type of roles in Hindi films like ‘Rajnigandha’ (1974), ’Chhoti Si Baat’ (1976) ‘Chitchor’ (1976) ‘Gharonda’ (1977) ‘Golmaal’ (1979), Baaton Baaton Mein’ (1979) etc. In some of his interviews, he always claimed that he became the actor by accident, the producer by compulsion, the director by choice and artist (painter) by nature. Before debuting as an actor in Hindi films, Amol Palekar was deeply involved with experimental Marathi and Hindi theatres, both as an actor and a director. Even after his popularity as an actor had soared, he continued to get involved in the experimental theatres.
With the trait of experimentation in his DNA, Amol Palekar debuted in the film direction with his Marathi film, ‘Akriet’ (1981 – English title: Unimaginable). This was the first Marathi film to win a Special Jury Award at Nantes Film Festival in France. He debuted in Hindi film as a director in ‘Ankahee’ (1985, English title: Unspoken), followed by ‘Thhoda Sa Roomaani Ho Jaaye’ (1990). He has so far directed about 15 films in Hindi, Marathi, and English. All the films which he has directed so far are away from mainstream commercial films. Almost all his films have one common theme, women emancipation.
‘Daayra’ (1996, English title: The Square Circle) was Amol Palekar’s third film as a director which explored the wider gamut of companionship beyond man-woman relationship. The film’s story was written by Novelist, Timeri Murari who also wrote screenplay and co-produced the film with Parvesh Sippy. The story is mainly focused around a relationship between a transvestite man who moves in the public wearing women’s dress and a kidnapped girl who after escaping from the kidnappers, wears man’s dress to feel safe in the public.
Amol Palekar wanted an actor to look like a macho man and not an effeminate for the role of transvestite. The main roles were first offered to Milind Soman and Madhu Sapre who after some hesitation, declined to work in the film. Finally, a friend from the theatre suggested Nirmal Pandey’s name who readily agreed to do the role. Sonali Kulkarni who was still in the college at that time was selected for the girl’s role. The film was extensively shot outdoor in the tribal belt of Odisha.
The film faced problems with the Indian Censor Board which gave it ‘A certificate with some cuts in the scenes and dialogues. Amol Palekar had no problem with ‘A’ Certificate but refused to cut any scenes or dialogues from the film. So, the film did not get Censor Certificate and hence did not get released in India in the theatres or through DVD format. The film was, however, premiered at Toronto Film Festival on September 12, 1996 and subsequently screened at London Film Festival on June 13, 1997 and in France on July 9, 1997. About two years later, the film was released in the theatres in the UK, France, United States, Canada, Australia without songs. The film ran for 8 weeks at the West End theatre, London. The film’s DVD was released in the UK and elsewhere (except India) in February 2015.
‘Daayra’ (1996) received the Special Jury Award at the 44th National Film Awards (1996) for sensitive handling of a challenging theme concerning the neglected and marginalized section of the society. At the Festival de Valenciennes in France, the Grand Prix Jury jointly awarded the Best actor and actress Award to Sonali Kulkarni and Nirmal Pandey, respectively. ‘Time’ magazine called ‘The Square Circle’ (Daayra) one of the best 10 films of 1997.
It is very unfortunate that ‘Daayra’ (1996) which has been critically acclaimed both in India and abroad, did not get released in India.
The film’s synopsis which I have culled out from a website on Timeri Murari, the story and screenplay writer and the co-producer of the film, is reproduced below (with my additions in parenthesis):
An innocent village girl (Sonali Kulkarni), on the eve of her marriage, finds her whole secure life shattered by an unexpected event (she is kidnapped to be sold in brothel). She finds herself far from home, facing an alien, predatory world, with no experience of dealing with it. Only through good fortune, after a brutalising experience, a reluctant stranger (Nirmal Pandey) befriends her. He is a Transvestite, a wise, witty character on a journey of his own. He’s an entertainer (as a female folk singer and a dancer), earning a living from his performances in villages and on the roadside. She forces him to help her get home. In order to ensure she makes the journey safely and without further harm befalling her, he disguises her as a Man.
They start together on the road. The girl now acting the man, the man now a woman, on a journey, which neither knows where, or how it will end. Like a ‘La Starda’ (the Italian film released in 1954), this is the dramatic story of two people travelling along an endless road, all alone, beyond the boundary of ordinary society, outcasts, slowly coming to terms with each other and the world around them. He teaches her his craft and together they entertain the passing parade of people they come across. The film is also filled with the humour of their many experiences.
At the same time, for the girl, this is a journey of discovering the freedom of being a man in a male chauvinistic Indian society. Her suppressed spirit soars. She no longer has to behave as the servile, traditional woman. But they can’t deny their destinies of being a woman and a man who have gradually fallen in love with each other. So, towards the end of their journey, they revert to their sexual identities to fulfil this love. But a journey once begun can never end. Nor can the traveller return to be the person she/he once was. Her past won’t accept her (in the village) and her future is now irrevocably intertwined with her lover, the transvestite, come what may.
‘Daayra’ (1996) has 6 songs (including one multiple version song), all written by Gulzar and set to music by Anand-Milind. I am not a great admirer of Anand-Milind’s musical compositions. But in this film, his musical composition is outstanding. All the 5 songs are melodious with least ‘noises’ from the orchestrations. Gulzar’s lyrics are unusual. Unfortunately, with film remaining unreleased in India, all the songs have remained unknown to most of the people in India until 2015 when SAREGAMA released the songs in mp3 clips.
I am presenting the first song from the film, ‘palkon pe chalte chalte jab unghne lagti hain’ – a lullaby sung by Yesudas. There is also Asha Bhosle version of the song. In the absence any child actor in the film, I guess the lori is for each other – Sonali Kulkarni and Nirmal Pandey. I guess, both the versions of the lori may have been partly picturised in keeping with the trend in off-beat films.
It is a beautiful lori with unusual lyrics penned by Gulzar. The musical prelude and interludes are equally pleasing to the ears.
Audio Clip (Yesudas version):
Audio Clip: (Asha Bhosle version):
Song-Palkon pe chalte chalte (Daayra)(1996) Singer-Yesudas/ Asha Bhonsle, Lyrics-Gulzar, MD-Anand Milind
Lyrics
palkon pe chalte chalte jab oonghne lagti hain
so jaa aankhen soti hain to udne lagti hain
palkon pe chalte chalte jab oonghne lagti hain
so jaa aankhen soti hain to udne lagti hain
saundhe se aakaash pe neele bajre behten hain
paakhi jaisi aankhen sapne chugne lagti hain
palkon pe chalte chalte jab oonghne lagti hain
so jaa aankhen soti hain to udne lagti hain
saundhe se aakaash pe neele bajre behten hain
paakhi jaisi aankhen sapne chugne lagti hain
pighli huyi hai geeli chaandni
kachhi raat kaa sapna aaye
hmm hmm hmm hmm
thhodi si jaagi
thhodi si soyi
neend mein koi apna aaye
hmm hmm hmm hmm
neend mein halki khushbooyen si ghulne lagti hain
so jaa aankhen soti hain to udne lagti hain
saundhe se aakash pe neele bajre behten hain
paakhi jaisi aankhen sapne chugne lagti hain
aankhon se kehna
lori mein behna
raaton ka koi chhor nahin
hmm hmm hmm hmm
tere to aur bhi honge sapne
mera to koi aur nahin
hmm hmm hmm hmm
bolti aankhen neend mein sapne sun’ne lagti hain
so jaa aankhen soti hain to udne lagti hain
saundhe se aakaash pe neele bajre behten hain
paakhi jaisi aankhen sapne chugne lagti hain
palkon pe chalte chalte jab oonghne lagti hain
so jaa aankhen soti hain to udne lagti hain
saundhe se aakaash pe neele bajre behten hain
paakhi jaisi aankhen sapne chugne lagti hain
Chup tum raho chup ham rahen
Posted on: February 7, 2023
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5316 | Post No. : | 17436 | Movie Count : |
4694 |
Sudhir Mishra has been known for making off-beat/parallel Hindi films. ‘Ye Wo Manzil To Nahin’ (1988) was his first off-beat film as a director. The film won the National Film Award for the best debut film of a director. Thereafter, he directed another 15 off- beat films, the last being ‘Afwaah’ (2022) which is awaiting release. Off-beat films, by their very nature, would attract only a select group of audiences. Hence, it is not likely that most of these films would qualify as box office hits. I have not heard of any of Sudhir Mishra’s films as box office success. Some of his films first got released in the international film festivals. Almost all of his films were critically acclaimed. Despite this, it was difficult to manage theatrical release for some of his films.
Sudhir Mishra is a member of the political family. His grandfather, Dwarka Prasad Mishra was a freedom fighter and a veteran in Congress Party. He was the Chief Minister of Madhya Pradesh for two terms. His uncle, Brajesh Mishra was in Indian Foreign Service (IFS) and thereafter the National Security Adviser to the Prime Minister, Atal Bihari Vajpayee. Despite this, Sudhir Mishra and his younger brother, Sudhanshu Mishra chose career in Hindi films. They both moved to Pune from Lucknow and thereafter to Mumbai in 1980. Sudhir Mishra started his career as assistant director and scriptwriter in Kundan Shah’s ‘Jaane Bhi Do Yaaron’ (1983) and later worked with Saeed Akhtar Mirza in ‘Mohan Joshi Haazir Ho’ (1984) and with Vidhu Vinod Chopra in ‘Khamosh’ (1985). So, one can say that Sudhir Mishra’s foundation in Hindi film industry started with off-beat films.
With this brief introduction of Sudhir Mishra, today, I have taken for discussion, his 4th off-beat film, ‘Iss Raat Ki Subah Nahin’ (1996) which was produced by Plus Films of Mahesh Bhatt and Amit Khanna. According to Imtiaz Hussein, the dialogue writer, the film’s original title was ‘Nishachari’ which was changed just before the finalisation of the film’s credit titles. Sudhir Mishra has taken actors for the film mostly from theatres and TV industry. The cast included Nirmal Pandey, Tara Deshpande, Smriti Mishra, Ashish Vidyarthi, Virendra Saxena, Manoj Pahwa, Saurabh Shukla, Murad Ali, Deepak Qazir, Vijay Raaz etc. It is Nirmal Pandey’s first film in a lead role and the first film for Madhavan also who did the role of a club singer. I had watched this film on Youtube sometime back. To recapture my memory, I once again watched the film on OTT platform recently.
The story of the film was written by Sudhanshu Mishra which was based on an incidence happened with him in the night in Pune. During his night stroll, he caught hold of a man and slapped him for teasing a girl. The man was later identified as the brother of a local don. For the next one week, Sudhanshu Mishra confined himself in the campus of FTII where he was a student. [Source: Amar Ujaala, June 6, 2020]. Taking this incident as a base, he added other characters in the story in which during few hours of one night, things go wrong with an advertising executive, Aditya (Nirmal Pandey), his wife Pooja (Tara Deshpande), his lover, Malavika (Smriti Mishra), the Don, Ramanbhai (Ashish Vidyarthi) who is unintentionally slapped by Aditya and Vilas (Saurabh Shukla), till recently, a close confidant of the Don and now a suspect of colluding with Don’s rival.
The Don, having got shamed by an unintentional slap by Aditya and watched by his henchmen as also of his rivals in the hotel lobby is bent upon killing Aditya who is on the run. However, Don is unaware that Vilas, his one-time confidant, is after his life as Vilas suspects that his wife was shot dead by Don. Aditya faces marital problems as Pooja suspects that he is in relationship with Malavika. But Aditya is unable to explain his life threatening situation to his wife as he is on the run. Malavika is confused as to whether Aditya really loves her. Rajesh (Manoj Pahwa), Aditya’s close friend is helping him in running away from the Don. But there is a hidden agenda of Rajesh. Inspector Patankar who is in the pay packet of Don, has his agenda to get rid of him at opportune time as a part of an encounter killing. In short, one incident in the night reveals the hidden nature of the major characters in the film.
Sudhir Mishra presented the story very well as a director without creating any confusion in the minds of the audience despite many characters entangled in the plot. The crisp editing by the film’s editor and his wife, Renu Saluja has made the film a fast-paced thriller. There are some good dialogues as satires on the society. For instance, when the cronies of Don entered Aditya’s flat to search him, they are surprised by the extravagance style of living in the flat. One of the cronies says that they should talk to Don to get them a flat like this. The other says that he can forcefully occupy this flat. The third one says that there is something called law. The first one retorts ‘where is the law? Have we not made an unauthorized entry in the flat?’.
Among the main actors, Ashish Vidyarthi in the role of Don Ramanbhai gives an excellent performance. After the end of the film, I get an impression that Ashish Vidyarthi would get more sympathy from the audience than the hero, Nirmal Pandey though the latter has also given good performance. If I was to select the most outstanding scene in the film, it would be the one in which Nirmal Pandey unintentionally slaps Ashish Vidyarthi, the Don. The stunned reactions of Ashish Vidyarthi for a minute or so is marvelous. He is ashamed in front of his cronies as well as the cronies of his rival gang. His reputation as a Don is at stake especially if it becomes a front-page news in the newspapers, next morning. So, he has to kill Aditya before the dawn even if he knows that it was unintentional slap. This is the irony in the life of a Don.
The film got released in Mumbai in one theatre, Minerva that too in the pre-matinee slot of 10.00 a.m. I believe, similar was the fate of the film in about dozen theatres elsewhere in India. In short, the film did not get theatres for regular shows. The film was critically acclaimed but, as per the Box Office India report, the film could barely recover the cost of production over a period of time (probably with T V and OTT rights).
The film has six songs, barring a couple of songs, rest of the songs have been partially used in the film’s soundtrack though the mp3 clip versions have full songs. All the songs have been written by Nida Fazli which were set to music by M M Kreem (known as M M Keeravani in Telugu Films and Marakatha Mani in Tamil Films). This was his second independent Hindi film, the first being ‘Criminal’ (1995). Earlier, he was associated in Hindi dubbed films, mostly from Telugu original films.
I am presenting the first song from ‘Iss Raat Ki Subah Nahin’ (1996) to appear on the Blog. The song is ‘chup tum raho chup ham rahen’ sung by K S Chithra and M M Kreem who rendered his first Hindi song for this film, lip syncing for debutant Madhavan and for Nirmal Pandey in Flash-back scenes. The situation in the film is that the advertising agency in which Aditya (Nirmal Pandey) is an Executive, has hosted a party in a hotel lawn. In the same hotel, Don with his henchmen have gathered to question Vilas, once a close confidant of Don who is now suspected of working for a rival gang. In a way, through this club song, the director attempts to introduce all the main characters in the film with their activities. Nirmal Pandey as Aditya, the Advertising Executive, Tara Deshpande as Pooja, his wife, Smriti Mishra as Malvika, Aditya’s love interest, Ashish Vidyarthi, the Don, Murad Ali as Chotu, Don’s favourite henchman and other henchmen.
In this song, there is a couple of flashback scenes of Nirmal Pandey and Smriti Mishra to establish their extra-marital relationship. There is also a scene in which the waiter, while serving tea to Don, gives him the duplicate key of the hotel room (in which Saurabh Shukla in the role of Vilas is hiding with his wife). This song, therefore, subtly gives the audience how the story has evolved around Aditya and Malavika and how it is going to unfold for Ashish Vidyarthi and Saurabh Shukla.
The orchestration of the song and the rhythmic style reminds me of R D Burman.
Video Clip:
Audio Clip:
Song-Chup tum raho chup ham rahen (Iss Raat Ki Subah Nahin)(1996) Singers-K S Chithra, M M Kreem, Lyrics-Nida Fazli, MD-M M Kreem
Lyrics (Based on Audio Clip)
chup tum raho
chup ham rahen
chup tum raho
chup ham rahen
khaamoshi ko khaamoshi se..ae
zindagi ko zindagi se
baat karne do…o o o
chup tum raho
chup ham rahen…aen
chup tum raho
chup hum rahen
khaamoshi ko
khaamoshi se ae
zindagi ko
zindagi se
baat karne do…o o o o
chup tum raho
chup ham rahen
chup tum raho
aankhon mein kho jaayen aankhen
bole haath se haath
aankhon mein kho jaayen aankhen
bole haath se haath
baahon mein chhup kar
saanson se jaise dole raa….t
ungliyon ko
ungliyon se ae
mausamon ko shokhiyon se
baat karne do…o o o o
chup tum raho
chup ham rahen
khamoshi ko khamoshi se ae
zindagi ko zindagi se
baat karne do…o o o o
chup tum raho
chup ham rahen aen
chup tum raho
la la la la la
la la la
la la la la la
la la la
honthon par
honthon se likhen
bin shabdon ke geet
honthon par
honthon se likhen
bin shabdon ke geet
dharti se ambar tak goonje
jismon ka sang……eet
bekhudi ko o
bekhudi se ae
aashiqi ko o
aashiqi se
baat karne do…o o
chup tum raho
chup ham rahen
chup tum raho
chup ham rahen
chup tum raho chup
ham rahen
chup tum raho
chup ham rahen
chup tum raho
ham rahen
tum raho
tum raho
Imtihaan hum pyaar ka de ke
Posted on: February 1, 2023
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5311 | Post No. : | 17411 | Movie Count : |
4690 |
In this article, I will explore the song, ‘imtihaan ham pyaar ka de ke, raah dekhe kya hai nateeja’ from ‘Dil Hi Dil Mein’ (2000) which was remade in Hindi from the 1999 released Tamil film, ‘Kadhalan Dhinam’ (Valentine’s Day). The Hindi film was partly dubbed and partly reshot as two of the supporting actors – Anupam Kher and Johny Lever were not the part of the original Tamil film. The lead actors in both the versions were Sonali Bendre and Kunal Singh who debuted as the lead actor in both these films. I had heard the song under discussion long time back without knowing the name of the film. In fact, I was not aware of either of these films until recently.
The story and the review of the film which I read online did not push me to watch the film. It is beyond my imagination that Johny Lever acted in the film as a professor in the business management school and helped his student to write love letters. However, love affair of hero and heroine through internet was probably an innovative idea in 1999. I watched video clips of almost all the songs and selected a song for discussion as mentioned above which, in my view, was the best song from the film. I have also watched the original Tamil song, kaadhal ennum thervezhuthi penned by Tamil poet and lyricist, Valli (real name: T S Rangarajan). The song was picturised in around Sydney.
The love song under discussion which will be the first song from the film to appear on the Blog, was written by P K Mishra. While S P Balasubrahmanyam sang for Kunal Singh in Tamil version, Srinivas sang for him in Hindi version. Swarnalatha sang for Sonali Bendre in both the versions. It is said that this song is one of the favourites of A R Rahman and he includes this song during his concerts in India and abroad. This song (both Tamil and Hindi) is also remembered for two of the artists associated with this song – Kunal Singh and Swarnalatha – who passed away in their young age.
Kunal Singh (29/09/1976 – 07/02/2008) committed suicide in Mumbai when he was 32. At that time, he had shifted to Mumbai and turned producer with his under-production film, ‘Yogi’. It was speculated that he was depressed as his acting career did not take-off after the initial success of his 3 Tamil films. Subsequently, his 4 films failed at the box office in a row and about half-a-dozen Tamil films were either shelved or did not get released.
Kerala born Swarnalatha (29/04/1973 – 12/09/2010) had a phenomenal rise in her career as a playback singer. During her active years 1987-2006, she is said to have recorded over 1000 songs in Tamil, Telugu, Kannada, Malayalam, Hindi, Bengali, Punjabi, and Urdu with her immaculate pronunciation in each of these languages. At the peak of her playback singing career, she suffered from a rare lung disease for which there was no cure. After spending about 3 years in anonymity, Swarnalatha succumbed to lung disease on 12/09/2010 at the young age of 37. [Swarnalatha’s detailed biography is here ].
Coming back on the song under discussion, the singing voices of Srinivas and Swarnalatha sound fresh and pleasing to the ears. There is a magical exuberance in Swarnalatha’s voice when she sings ‘dola dola dola dola, man dola dola dola’ and in her humming at the end of the song in the audio clip. Both her renditions are mesmerising.
The melodical treatment of the song points to 1950s style. The prominent use of Flute in the prelude and Mandolin in the first interlude also give that impression. However, the rhythm is foot tapping throughout the song. The rhythmic patterns in this song remind me of the song, ‘achchi lagti ho’ from ‘Kuchh Na Kaho’ (2003) which have, more or less, similar rhythm though musical instruments may be different in use. The song ends with postlude of mukhda tune majorly played on violins, flute, mandolin and on the double bass. In audio clip, the song ends with humming by Swarnalatha of the mukhda tune.
A R Rahman has done the fusion again, this time between 50’s melody and 90s rhythm.
This is the last of my five articles on fusion songs.
Video Clip:
Audio Clip:
Song-Imtihaan hum pyaar ka de ke (Dil Hi Dil Mein)(2000) Singers-Srinivas, Swarnalatha, Lyrics-P K Mishra, MD-A R Rahman
Both
Lyrics (Based on Video Clip)
imtihaan ham pyaar ka de ke ae
raah dekhen kya hai nateeja
imtihaan ham pyaar ka de ke ae
raah dekhen kya hai nateeja
[Dialogues]
imtihaan ham pyaar ka de ke ae
raah dekhen kya hai nateeja
imtihaan ham pyaar ka de ke ae
raah dekhen kya hai nateeja
naa aaya yakeen dil ko
jab naam apna dekha
kaagaz pe wo tere dil ke
ye aankhen huyi hairaan
sach hai sach hai jo dekha hai
dilbar tan-man apna
hamne vaara tum pe
dola dola dola dola
man dola dola dola
dola dola dola dola
man dola dola dola
haa aa aa
gori gori ye kalaayi teri chhoo loon zara
teri choodiyon se dhun koi chhedoon zara
gori gori ye kalaayi teri chhoon loon zara
teri choodiyon se dhun koi chhedoon zara
jis pal tu ne chhuaa mujhe zara zara
mujhe haya bhi aayi dil ko aaya maza zara
tere roop ki sharaab
aankhon se peete hain
sachche maikash to aise hi hote hain
zindagi youn hi beet rahi thhi sanam
tere milne se jeene mein aaya hai dam
imtihaan ham pyaar ka de ke
raah dekhen kya hai nateeja
imtihaan ham pyaar ka de ke
raah dekhen kya hai nateeja
dola dola dola dola
man dola dola dola
dola dola dola dola
man dola dola dola
mera roop hai tum se khila khila
khushiyon ka hai tum se hi sila sila
maine rab se jo maangi dua dua
unhin duaaon ka tum hi to ho na sila sila
ab to pyaar ki barsaat honi hai din raat
chaahe kuchh ho haalaat
dena pyaar ka saath
youn hi apni mohabbat phoole phale
ye kaarwaan youn hi chala chale
imtihaan ham pyaar ka de ke ae
raah dekhen kya hai nateeja
imtihaan ham pyaar ka de ke ae
raah dekhen kya hai nateeja
dola dola dola dola
man dola dola dola
dola dola dola dola
man dola dola dola
imtihaan ham pyaar ka de ke ae
raah dekhen kya hai nateeja
Sun ri sakhi meri pyaari sakhi
Posted on: January 30, 2023
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5309 | Post No. : | 17405 |
A R Rahman started his filmy career as an independent music director with ‘Roja’ (1992) in Tamil which became a super hit film with its music playing an important role for the film’s popularity. About a year later, Hindi dubbed version of ‘Roja’ was released which also became a hit. I observe from the filmography of A R Rahman that 3 Tamil/Malayalam films out of his first 4 films were dubbed in Hindi and released. This may be a sort of record for A R Rahman at the beginning of his career as a music director among the music directors of South Indian films in the similar situation. Subsequently, some more Tamil films for which A R Rahman was the music director were dubbed in Hindi. One of the very successful films was ‘Kadhalan’ (1994) [English meaning: Loverboy] which was dubbed in Hindi with the title ‘Hamse Hai Muqabala’ (1995). The Hindi dubbed version of the film got Censor Certificate on May 31, 1995. The film was produced by K T Kunjumon and directed by S Shankar. Prabhu Deva and Nagma were in the lead role supported by S P Balasubrahmanyam, Girish Karnad, Vadivelu, Raghuvaran etc.
In an interview published in E-Times of India dated September 17, 2019, on the occasion of the completion of 25 years of the release of the film, K T Kunjumon, the producer of the film revealed that he and S Shankar, the director decided to work on the box office tested love story of a middle-class boy with a girl of an affluent and influential family. To develop the story further, Kunjumon gave an idea of fictionalization of the cold war then going on between the Chief Minister Jayalalitha and the Governor Dr Channa Reddy. Since Kunjumon was himself a functionary of AIADMK in Kerala, the Governor was made the villain in the film’s story.
In this film, all the ingredients for the box office success such as romance, dances, songs, villain, fights etc were included. The only worry for the producer and the director was the audience’s reactions to Prabhu Deva as a lead actor. In all his earlier films, Prabhu Deva had worked as a dancer and at most in a cameo role in the song sequence. To overcome the likely adverse reactions to Prabhu Deva as the lead actor, the producer and the director decided to make the film appealing to the audience, by making use of visual effects and animations in the songs.
‘Kadhalan’ (1994) became a super hit film which was beyond the expectations of the film makers as well as of the trade circles. The film’s songs became very popular. The film got five National Awards – four in the technical categories and one to debut playback singer, P Unnikrishnan, who sang Ennavale adi ennavale in Tamil. With more than expected success of the film on the box office front, the producer decided to dub the film in Hindi with the title. ‘Hamse Hai Muqabala’ (1995) for wider audience. Even Hindi version of the film became a box office hit.
The story of ‘Hamse Hai Muqabala’ (1995) which I have come to know only recently, did not motivate me to watch the film. To me, it was a wild imagination to show a constitutional head of a State as the initiator of the terrorist activities in his State to prove the breakdown of law and order situation thus facilitating the dismissal of the state government. The 9 songs of the film are musical treats, and I am happy restricting myself to watching the video clips of the songs. I will not miss the visual effects shown in the film as they are mainly used in the song picturization. All the songs have been written by P K Mishra. One song from the film has been represented on the Blog.
The two most popular songs of the film, if I go by the number of times, they were shown on the TV music channels in the year 1995 were ‘muqabala muqabala’ and ‘urvasi urvasi’. The immense popularity of these two songs seems to have sidelined in the popularity chart, my favourite song from the film, ‘sun ri sakhi meri pyaari sakhi’ which I am discussing here. The song is rendered by Hariharan. I have also enjoyed listening to the song’s Tamil equivalent, Ennavale adi ennavale rendered by debutant playback singer, P Unnikrishnan.
This song has everything. The beautiful lyrics by P K Mishra, the pleasing to the ear melody, the novelty in the orchestration, the soulful rendition by Hariharan and nicely picturised on Prabhu Deva and Nagma with visual effects in a picturesque location gives a feel of sublime love song. For P K Mishra, it is not an easy work of transliteration of Tamil song into Hindi as he has to find the appropriate Hindi words to match the lip syncing of Tamil words on actors in the song picturisation. So, in some lines, P K Mishra has used words in Hindi which is not the exact translation but broadly in line with the mood of the song.
I often get a feel of spirituality in A R Rahman’s musical compositions in which the semi-classical melody is blended with soulful orchestrations. For example, the violin played between 1:58 – 2:18 and the flute (probably played by Naveen Kumar) between 3:30 – 3:48 of the song provide the synergy of soul and exuberant. Another feature of the song is that Hariharan sings in a higher octave (pitch) some lines in the song to emphasise the genuineness of love. The wordings of the song also give me a feel of the Radha-Krishna song. This is more pronounced when I listen to the audio clip.
The song has a classical Carnatic touch. A couple of comments on ‘ennavale adi ennavale’ suggest that the song is based on Carnatic raag Neelambari. A further search on Youtube reveals that this raag is mainly used for singing lullaby. Truely, listening to this song makes me to close eyes with mind relaxed. I have listened to this song as well as its Tamil version many times during the last few days and my interest in the song has not diminished.
Video Clip:
Audio Clip (Full)
Song-Sun ri sakhi meri pyaari sakhi (Ham Se Hai Muqaabla)(1995) Singer-Hariharan, Lyrics-P K Mishra, MD-A R Rahman
Unidentified female singer
Lyrics (based on Audio Clip):
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm hmm…..m
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm
hmm hmm hmm…..m
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm hmm…..m
sun ri sakhi meri pyaari sakhi
yeh dil kahin khoya hai mera
jaane kahaan ise bhool gaya
nahin kuchh bhi hai mujhko pata
teri paayal mein maine dhoondh liya
tere kadmon tale sajni
pyaar kiya to jaan gaya
yeh mushkil hai kitni ee
meri saanson mein tera pyaar basa
aankhon mein tumhin sajni ee
sun ri sakhi meri pyaari sakhi
yeh dil kahin khoya hai mera
hmm hmm hmm
hmm hmm hmm
kaise tujhe izhaar karoon main
haalat iss dil ki
tan mein man mein iss dhadkan mein
ho rahi halchal si
dekhe bina tujhe lagti hai
ik yug si ek ghadi
sab nazren jo dekh rahin
mere dil mein dahshat si
yeh swarg hai
yaa nark hai
mujhko hosh nahin
meri zindagi aur maut hai
ab haath mein tere hi…ee ee ee
sun ri sakhi meri pyaari sakhi
yeh dil kahin khoya hai mera
hmm hmm hmm hmm hmm
hmm
hmm hmm hmm hmm hmm
hmm
hmm hmm hmm hmm hmm
hmm
koyaliya tu kah de
to tujhe geet sunaaun main
naagmani teri naagin si
zulfon ko sanwaaroon main
chandramukhi tujhe neend nahin
to lori sunaaun main
thhandi hawa nahin lag jaaye
tujhe chunari odaaun main
mere pyaar ki jo baat hai
kaanon mein bataaun main
tere kadamon ke jo nishaan hain
yaadon mein basaaun main…aen aen aen
sun ri sakhi meri pyaari sakhi
yeh dil kahin khoya hai mera
jaane kahaan ise bhool gaya
nahin kuchh bhi hai mujhko pata
teri paayal mein maine dhoondh liya
tere kadamon tale sajni
pyaar kiya to jaan gaya
yeh mushkil hai kitni
meri saanson mein tera pyaar basa
aankhon mein tumhin sajni
sun ri sakhi meri pyaari sakhi
yeh dil kahin khoya hai mera
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Govind Nihalani joined Hindi film industry as a Cinematographer in 1974. In the initial period, he mainly worked with Shyam Benegal as a Cinematographer, both for his documentary and feature films. In 1980, he turned director and directed some socially relevant films such as ‘Aakrosh’ (1980), Vijeta (1982), ‘Ardha Satya’ (1983), ‘Aghaat’ (1985), ‘Drishti’ (1990), ‘Drohkaal’ (1994), ‘Hazaar Chauraasi Ki Maa’ (1998). Almost all his films, both as a Cinematographer and the Director were critically acclaimed.
With ‘Thakshak’ (1999), Govind Nihalani made his first attempt (and probably the last) in producing and directing a commercial genre of Hindi film, also called ‘the mainstream Bollywood’ film. In his interview held sometime in December 1999 which was published on the ‘Rediff On The Net’, Govind Nihalani revealed that Ajay Devgan was keen to work with him and he had a script ready to fit the role for him. Manmohan Shetty, who had produced some of Govind Nihalani offbeat films, was requesting him to make a film for the wider audience also. The eagerness of Ajay Devgan to work with him, getting Manmohan Shetty to finance the film and an opportunity to experiment with a different genre of film, prompted him to make ‘Thakshak’ (1999). Ajay Devgan and Tabu were the lead pair with Amrish Puri, Rahul Bose, Govind Namdev, Nethra Raghuraman, A K Hangal, Ravi Patwardhan, Uttara Baokar etc. in supporting roles.
As revealed by Govind Nihalani in a separate interview, producing and directing a commercial film was a new experience for him. His earlier films were made with a small budget, and he did not have the pressure of box office success. Hence, he made his earlier films without interference from any quarters. While making ‘Thakshak’, though he did not have any problem with his main actors, there were pressures from the distributors to make some changes in the script of the film with their own suggestions when they were shown the rushes of the film. That the film took 2 years to complete (as against his earlier films which he completed in less than one year) would indicate that he had to compromise on his script which Govind Nihalani had originally written.
I had not watched the film when it was released. In fact, I did not have any idea about the story of the film. The only thing I knew about the film at that time was a dance song picturised on Tabu which I liked and therefore had watched the song on TV music channels a few times. Sometime back, that dance song came back to my mind and I refreshed my memory by watching the video clip of the song. I liked the song so much that I marked in my mind to write an article on this song for the Blog. Subsequently, I also watched the film on You Tube.
‘Thakshak’ (1999) is a romantic crime thriller. The story of the film was in keeping with the socio-political situations in the country, particularly in Mumbai of Builders-Underworlds-politicians nexus. Ishaan (Ajay Devgan), is the son of Nahar Singh (Amrish Puri), the partner in the real estate business of Jodha Bhai (Ravi Patwardhan) who in reality is a gangster. Sunny (Rahul Bose), the grandson of Jodha Bhai and Ishaan are great friends. But their temperament is quite different. Sunny believes that the power flows from the barrel of a gun. Ishaan reminds him that that the one who thrives on the power of gun can also get killed by the same gun. The subtle temperament of Ishaan is further soften when he meets his lady love Suman (Tabu). The influence of Suman on Ishaan turns him to shed the violent life of the underworld to the decent life of a common man. But Ishaan is in dilemma as his oath of allegiance to Sunny to remain with him as his partner in crime and his conscious telling him to follow the life like a common man like his idealistic romantic partner, Suman. A further complications in these relationship – Ishaan and Sunny and Ishaan and Suman develops when Suman is the witness to the crime committed by Sunny in killing the owner of an old house to grab the plot where Ishaan is the partner in the crime. How the emerging situations themselves force Ishaan to come out of his moral obligations toward Sunny and follow the path of humanity is the finale of the film.
Now my 2 cents on the film. The story of a criminal trying to live a decent life like a common man has been tried in Hindi films many time. But in ‘Thakshak’, Govind Nihalani has given somewhat different treatment in that he has projected Ishaan caught in a moral dilemma of protecting his gangster friend, Sunny against whom his lady love, Suman has testified. The emotional upheaval Ishaan goes through has been well presented. All the three main actors – Ajay Devgan, Tabu and Rahul Bose have performed very well. However, the momentum of the story slows down due to 8 songs in the film most of which do not fit into the story of the film. Also, in my view, there was no need for the role of Nethra Raghuraman as a night club dancer on whom 2 songs have been picturised. I guess these are the additions which may have been suggested by the distributors. I feel that the story, screenplay, and dialogues with the exclusions of some songs and some unwarranted scenes would have turned the film into an absorbing thriller. Nonetheless, the film is interesting to watch at least once.
‘Thakshak’ (1999) has 8 songs, written by Mehboob (6) Sukhwinder Singh (1) and Sukhwinder Singh-Tejpal Kaur (1) which were set to music by A R Rahman. None of the songs has been represented on the Blog. I present the first song to appear on the Blog which is my most favourite song from the film. The song is ‘mujhe rang de range de mujhe rang de’ which is a semi-classical dance song. At the same time, the music composition sounds like that of a qawwali song.
The song is written by Sukhwinder Singh jointly with Tejpal Kaur and rendered by Asha Bhosle. There are some Punjabi words in the lyrics.
There is an interesting trivia as to how Sukhwinder Singh got to write this song as well as one more song for the film. He had come to ‘Chennai to meet A R Rahman for the first time. He was composing tunes for ‘Thakshak’ (1999). A R Rahman asked him whether he can write songs. Sukhwinder Singh promptly nodded and wrote the song under discussion. When Rahman asked him to pen one more song, Sukhwinder Singh told him that he has come to get some singing assignments from him. Rahman kept his promise and gave him to sing chal chhainyya chhainyya chhainyya chhainyya from ‘Dil Se’ (1998).[Source: The Asian Age, May 16, 2016].
While listening to this song, I felt that there is some spiritual feel in the opening lines of the songs as it is repeated several times. I remembered that Hazrat Amir Khusrow had written a Sufi Kalam, ‘mohe apne hi rang mein rang de’. This has become inspiration for some lyricists of Hindi films to include this spiritual element. One example is the song, o rangrez, tere rang dariya mein from ‘Bhaag Milka Bhaag’ (2013).
According to Sukaina Nagpal, the song was choreographed by her mother, Saroj Khan. [Source: Rediff interview appeared on July 3, 2020]. It is a 7+ minutes dance song picturised on Tabu who is not a trained dancer. Yet, she has performed the dance gracefully. The confidence of the Choreographer in the dancing ability of Tabu can be judged from the fact that she was covered in mid-shot frame to capture her hand gestures, expressions, and steps most of the time. Some of her shots were of longer durations, which is possible only when it is picturised on a trained dancer. Note Tabu’s expression and hand gestures at 5:36-5:42 in line with the lyrics. Probably, she must have toiled a lot during the rehearsals. All the supportive dancers did very well in synchronization of dancing steps as well as expressions and gestures. For example, watch 3:52 – 4:22 of the video clip. This is, in my view, one of the best dances choreographed by Saroj Khan in Hindi films.
I think after S D Burman, A R Rahman is one among the current music directors who is expert in picking the right playback singer suitable to his style of songs. In this film, he has used Hema Sardesai, Sujata Trivedi, and Alisha Chinoy among female playback singers for other songs. It is said that A R Rahman selects a playback singer only after he has composed the tune and the music for a song. His musical compositions decide the playback singer. For the song under discussion, he has used Asha Bhosle’s voice. And it turned out to be the right choice. Note how Asha Bhosle takes the octave leap from lower to higher pitch effortlessly. Towards the end of the song, her aalaaps are mesmerising. The song ends with Tabu going into a trance true of a Sufi singing.
Lastly, I must make a special mention of the flute interlude in the song from 2:58 to 3:34. I guess, it was played by Flautist, Naveen Kumar who has been continuously associated with A R Rahman since ‘Roja’ (1992) until he moved to Mumbai in 2003. Thereafter, Naveen Kumar played flute for A R Rahman, albeit occasionally.
I can watch the video clip of this song umpteen time because all those who are associated with song have done exceedingly well to make it a classic dance song.
Video Clip:
Audio Clip:
Song-Mujhe rang de rang de mujhe rang de (Takshak)(1999) Singer-Asha Bhonsle, Sukhwinder Singh-Tejpal Kaur, MD-A R Rahman
Male chorus
Female chorus
Lyrics
Mujhe rang de…….ae
rang de
mujhe rang de rang de
mujhe rang de ae
mujhe rang de
rang de
mujhe rang de rang de mujhe rang de
ho o o o ho o
ho o o o ho o
ho o o o ho o
ho o o o ho o
mujhe rang de rang de
rang de rang de mujhe rang de
rang de rang de
rang de rang de mujhe rang de
haan mujhe rang de mujhe rang de
mujhe rang de rang de mujhe rang de
haan rang de haan rang de
haan apni preet vich rang de
ho o o o ho o
ho o o o ho o
mujhe rang de mujhe rang de
mujhe rang de rang de mujhe rang de
haan rang de haan rang de
haan apni preet vich rang de
mujhe rang de mujhe rang de
mujhe rang de rang de mujhe rang de
haan rang de haan rang de
haan apni preet vich rang de
main ban ke savera jaag uthhi
main jaag uthhi…ee ee
main banke savera jaag uthhi
main jaag uthhi
jee jaag uthhi
main banke morni naach uthhi
main naach uthhi
channa naach uthhi
tere naina mere naina
mere nainon mein rang de
haan rang de haan rang de
haan apni preet vich rang de
ho o o o ho o
tere naina mere naina
mere nainon mein rang de
haan rang de haan rang de
mujhe apni preet vich rang de
rang de rang de
rang de rang de mujhe rang de
rang de rang de
rang de rang de mujhe rang de
rang de rang de
rang de rang de mujhe rang de
rang de rang de
rang de rang de mujhe rang de
rang de rang de mujhe rang de
rang de rang de mujhe rang de
rang de rang de mujhe rang de
rang de rang de mujhe rang de
rang de rang de mujhe rang de
rang de rang de
rang de rang de
rang de rang de mujhe rang de
rang de rang de
rang de
rang de rang de mujhe rang de
rang de
rang de rang de mujhe
rang de rang de mujhe
rang de rang de mujhe
rang de
rang de
tere sapnon ke aangan mein chham chham chaloon
main chaloon main chaloon tere sang sang chaloon
aaja aaja ve aaja tu ban ke hawa
tere sadke jaawaan
tere vaare jaawaan
aaja aaja ve aaja tu banke hawa
tere sadke jaawan tere vaare jaawan
mujhe rang de mujhe rang de
mujhe rang de rang de mujhe rang de
haan rang de haan rang de
haan apni preet vich rang de
mujhe rang de mujhe rang de
mujhe rang de rang de mujhe rang de
haan rang de haan rang de
aa apni preet vich rang de
rang de……ae
rang de
[Sargam]
main bhi tanha hoon
tu bhi hai tanha kahin
main adhoori yahaan
tu adhoora kahin
ik aahat si hoti hai mujhko yahaan
tu kahaan hai kahaan hai kahaan hai kahaan
mujhe le chal tu
le chal tu
le chal wahaan…aan aan
jahaan tak aasmaan aasmaan aasmaan…aan aan
ho mohobbat ki duniya nasheman jahaan
mujhe le chal tu le chal tu le chal wahaan
ho mohobbat ki duniya nasheman jahaan
mujhe le chal tu le chal tu le chal wahaan
tu le chal wahaan
tu le chal wahaan
tu le chal wahaan
rang de rang de
rang de rang de mujhe rang de
rang de rang de
rang de rang de mujhe rang de
rang de rang de
rang de rang de mujhe rang de
rang de rang de
rang de rang de mujhe rang de
aa aa aa aaa aaaa
(rang de rang de)
aa aa aa aa aaaa
(rang de rang de mujhe rang de)
ae ae ae ae ae ae ae
(rang de rang de)
ae ae ae
(rang de rang de mujhe rang de)
ae ae ae ae ae ae
(rang de rang de)
rang de……….
(rang de rang de mujhe rang de)
de……….ae
(rang de rang de)
rang de rang de mujhe rang de
rang de rang de
rang de rang de mujhe rang de
rang de rang de
(ho o o o ho o)
rang de rang de mujhe rang de
rang de rang de
(ho o o o ho o)
rang de rang de mujhe rang de
rang de rang de
rang de rang de mujhe rang de
Jhanda ooncha rahe hamaara
Posted on: January 26, 2023
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5305 | Post No. : | 17384 | Movie Count : |
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Hullo Atuldom
Wishing everyone of us a Very Happy Republic Day.
गणतंत्र दिवस की शुभकामनायें
This was my post last year for the occasion. & in that post I had lamented about ignorance among many citizens regarding the significance of 26th January and why it was chosen to be Republic Day.
“The 308 members of the Constituent Assembly, of thenewly Independent India, signed hand-written copies (in Hindi and English) of the Constitution of India on 24th January 1950 after much deliberation and some changes. The Constitution was adopted and came into effect throughout the country from 26th January 1950. Dr. Rajendra Prasad started his tenure as first President of India and the Constituent Assembly became the Parliament of India.
That makes January 26th 2023 India’s 73rd Republic Day”.
(I don’t mind making the above paragraph part of my posts every time I write for 26th January)
There are certain events attached with the Republic Day celebrations which I love to see, when shown live on Television and in repeat if I have missed the live telecast.
I like the way Doordarshan shows a brief history about how we attained Independence, how the Constituent Assembly was setup, and the signing of the Constitution itself. This is normally followed by the live telecast rom New Delhi’s India Gate where the Prime Ministers of India pay homage at the Amar Jawaan Jyoti which is at India Gate, to the departed soldiers; I love the serene atmosphere around the whole scene, the two-minute silence etc. Then the Prime Minister drives down Rajpath towards the saluting base and awaits the arrival of the President Of India who is also the Commander-in-Chief of the Indian Armed Forces. The National Flag is Unfurled, National Anthem is played, Awards for exemplary bravery on the warfront are conferred to recipients and then the Parade commences showcasing India’s Defence capabilities, Cultural and Social Heritage. The Armed Forces participate in the March Past accompanied by their bands; plus there are the NCC, Bharat Scouts & Guides, school children and Tableaus from the various states and Government agencies forming the second part of the parade. The climax of the parade is the Brilliant Fly-past by the Indian Air Force- showing us formations, showering Flower petals on Rajpath etc.
The event comes to a close with the singing of Jana-Gana-Mana. and the Presidential Cavalcade departs followed by the Prime Minister and other dignitaries. I am always amazed by the Horses that form the President’s Bodyguards- their heads are still when the National Anthem is on. The events of the Republic Day come to a close with the Beating the Retreat ceremony on 29th January, this is another charming event. Specially how the Marching soldiers walk back into the sunset and darkness at the end of the parade and the Lights come on at North Block, South Block and Parliament House. This event is held at Vijay Chowk and has trumpeters, buglers, pipe & drum bands of the three-wings of the Armed Forces.
A few changes have taken place in the last few years- Rajpath has been renamed as Kartavya Path and the Amar Jawaan Jyoti from India Gate has been shifted and merged with the eternal flame at the National War Memorial which is close by.
It is my tiny wish to be able to witness the events live atleast once in my life, but then as my dear family has always said we may not be able to get a close enough seat and see things as clearly. True, I don’t disagree. It is similar to saying that when we see a cricket match in a stadium we may not be able to see all the madness in all the stands of the stadium like we see on TV. But then the charged atmosphere at any venue cannot be felt in the TV, correct or not? I can say this based on my experiences gained at the various music concerts that I have attended over the last few years.
Let us get back to 26th January.
There are a few songs that are played on these National days- Saare Jahan Se Achcha, Mahatma Gandhi’s favourite hymn ‘Vaishnava Janato’ and Jhanda Ooncha rahe hamara- by the bands in the parades.
We all know that ‘Saare Jahaan Se Achcha’ was written by Allama Mohammad Iqbal in 1904. We know that Jana Gana Mana was by Gurdev Rabindranath Tagore. Vande Maatram was by Bankim Chandra Chatterjee.
But, personally, I was unaware about the other most important song that we are taught as kids in school- Jhanda Ooncha Rahe Hamaara. Only yesterday I came across a post in our blog by (who else) Shri Arunkumar Deshmukhji. It enlightened me to the fact this was first used in a film in 1938 (any wonder that I like to call him Guruji).
What set me on this quest was a video that I saw recently on TV where I saw Rajnikanth accompanied by Sridevi, Swapna, A K Hangal and I think I spied Macmohan, walking along the lanes of some hilly region, in company of some locals, with the Tricolour in their hands and singing “Jhanda Ooncha Rahe Humara”. On further digging I came to know that it was from the 1991 released, Anil Sharma directed “Farishtay”. It was sung by Shabbir Kumar and the female version has Asha Bhonsle’s voice. Bappi Lahiri is the music composer. Lyrics have been credited to Shyamlal Gupta Parshad.
I looked up about the lyricist and this is what I found- Shyamlal Gupta Parshad belonged to Kanpur and had vowed to walk barefoot till India got freedom from the British rule. Shyamlal Gupta was born as the third child to Vishveshwar Parshad and Kaushalya Devi on September 9, 1896. He penned this song on March 4, 1924.
His song was recognised as the flag song by the All India Congress Committee and was sung for the first time on Jallianwala Baug Diwas 0n 13th April 1924; at Phoolbagh Kanpur in the presence of Pandit Jawaharlal Nehru. Sarojini Naidu sung it in 1938 at the Haripura Session of the Congress where Mahatma Gandhi’s was present.
All this and more on Syamlal Gupta Prashad his family and there current status is available in this article which was the source from which I wrote the above paragraph.
Let us now hear the song from Farishtay (I would love to know if the movie makers have been true to what Shyamlal Gupta Parshad wrote all those years ago). But I can feel that the basic tune is same as the one that was used in the 1938 ‘Fearless Nadia’ film.
Let the us all say “Hum sab bhartiya hain”, “Saare Jahaan se achcha hindustan humara”, ‘Jhanda Ooncha rahe humara” and say with pride
Vande Maatram
Jai Hind
Happy Republic day to Indians
Shabbir Kumar version
Asha Bhonsle version
Song-Jhanda ooncha rahe hamaara (Farishtay)(1991) Singer-Shabbir Kumar/ Asha Bhonsle, Lyrics-Shyamal Gupta Prashad, MD-Bappi Lahiri
Chorus
Lyrics
————————
Shabbir Kumar version
———————–
jhanda ooncha rahe humaara
vijayi vishv tiranga pyaara
jhanda ooncha rahe humaara
vijayi vishv tiranga pyaara
sada shakti darsaane waala
pren sudha barsaane waala
veeron ko hrshaane waala
maatrbhoomi ka tan man saara
maatrbhoomi ka tan man saara
jhanda ooncha rahe humaara
vijayi vishv tiranga pyaara
is jhande ke neeche nirbhay
le swaraaj yah avichal nishchay
bolo bharat maata ki jai
swatanrta hai dhyey humaara
swatanrta hai dhyey humara
jhanda ooncha rahe humaara
vijayi vishv tiranga pyara
jhanda ooncha rahe humaara
vijayi vishv tiranga pyara<
jhanda ooncha rahe humaara
vijayi vishv tiranga pyaara<
————————–
Asha Bhonsle version
—————————
jhanda ooncha rahe humaara
vijayi vishv tiranga pyaara
jhanda ooncha rahe humaara
vijayi vishv tiranga pyaara
sada shakti sarsaane waala
prem sudha barsaane waala
veeron ko hrshaane waala
maatribhoomi ka tan man saara
maatribhoomi ka tan man saara
jhanda ooncha rahe humaara
vijayi vishav tiranga pyaara
aa aa aa aa aa
aa aa aa aa aaa
aa aa aa aa aa
aa aa aa aa aa
swatanrta ke bheeshan ran mein
??kar josh badhe kshan kshan mein
kaanpe shatru dekh ke man mein
mit jaaye bhay sankat saara
mit jaaye bhay sankat saara
jhanda ooncha rahe humaara
vijayi vishv tiranga pyaara
jhanda ooncha rahe humaara
vijayi vishv tiranga pyaara
jhanda ooncha rahe humaara
vijayi vishv tiranga pyaara
is jhande ke neeche nirbhay
len swaraaj yah avichal nishchay
bolo bharat maata ki jai
swatanrta hai dhyey humaara
swetanrta hai dhyey humaara
jhanda ooncha rahe humaara
vijayi vishv tiranga pyaara
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
aao pyaare veeron aao
desh dharm par bali bali jaao
ek saath sab milkar gaao
pyaara bharat desh humaara
pyaara bharat desh humaara
jhanda ooncha rahe humaara
vijayi vishv tiranga pyaara
jhanda ooncha rahe humaara
vijayi vishv tiranga pyaara
jhanda ooncha rahe humaara
vijayi vishav tiranga pyaara
iski shaan na jaane paaye
chahe jaan bhale hi jaaye
vishv vijay kar ke dikhlaaye
tab hove pran poorn humaara
tab hove pran paarn humaara
jhanda ooncha rahe humaara
vijayi vishv tiranga pyaara
aa aa aa aa aa aa
aa aa aa aa aa aa
aa aa aa aa aa aa
aa aa aa aa aa aa
sada shakti darshaane waala
pren sudha barsaane waala
veeron ko harshaane waala
maatribhoomi ka tan man saara
maatribhoomi ka tan man saara
jhanda ooncha rahe humaara
vijayi vishv tiranga pyaara
jhanda ooncha rahe humaara
vijayi vishv tiranga pyaara
jhanda ooncha rahe humaara
vijayi vishv tiranga pyaara
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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