Archive for the ‘Songs of 2002’ Category
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4631 | Post No. : | 16285 | Movie Count : |
4424 |
Today 23rd March 2021 is the ninetieth remembrance anniversary of martyr dome of Sardar Bhagat Singh, Sukhdev and Rajguru. They were hanged to death by the British regime on 23rd March 1931.
On this occasion as a tribute in remembrance of these great sons of this soil here is a song from the movie ‘23rd March 1931 Shaheed’ (2002).
As I had mentioned in my earlier post on the blog, in the year 2002 there were three movies released on the life of Bhagat Singh;
- 23rd March 1931 Shaheed
- The Legend of Bhagat Singh
- Shaheed-E-Azam
I would like to reproduce here what Dharmendra expressed about this movie his home production, (as appearing on the blurb of the audio cassette);
It is not the first time in the history of Indian Cinema that a film has been inspired by India’s favorite revolutionary. And quite honestly, it might not even be the last. This Sikh youth of character so powerful and deep represents the meaning of true patriotism and fearlessness to one and all. It can be assured that every time a movie is made on Bhagat Singh, not one person leaves the cinema hall carrying the same heart with which he arrives. It is not just his sacrifice that moves you; his biggest revolutionary thought and his smallest patriotic action, stir your blood inside. Bhagat Singh cannot be imitated, no matter how impressed you might feel. And yet, the one reason he chose death over life was to create a thousand of his kind so that each one of them could bear the depth of the same patriotic fervor to serve their country.
– Dharmendra
I was staying at Bareilly when this movie was released in 2002 and I had watched both the movies simultaneously i.e. ‘The Legend of Bhagat Singh’ and ‘23rd March 1931-Shaheed’. I remember both the movie were welcomed by huge crowds in their first week of release and thereafter ‘The Legend of Bhagat Singh’ had a good run on the box office, better than the today’s movie.
‘23rd March 1931 Shaheed’ was directed by Guddu Dhanoa for ‘Sunny Super Sound Presentation’. It was produced by Dharmendra.
It had Sunny Deol, Bobby Deol, Amrita Singh, Rahul Dev, Akshay Anand, Vicky Ahuja, Divya Dutta, Raja Bundela, Suresh Oberoi, Shakti Kapoor, Vivek Shauq, Samaresh Rautrai, Indal Singh, Sanjay Tripathi, Tej Sapru, Rajesh Khera, Deepak Sharma, Suresh Chatwal, Sachin Khedekar, Manoj Tiwari, Rana Jung Bahadur, Ishrat Ali, Imran Khan, Master Atit, Master Honey and Aishwarya Rai (in friendly appearance).
Screenplay of this movie is written by Sutanu Gupta and Dialogues of this movie are written by Sanjay S. Masoom Editing of this movie is done by Keshav Naidu. This movie was passed by Censor Board on 30.05.2002.
This movie has seven songs, written by Dev Kohli. The song “Sarfaroshi Ki Tamanna” by Ramprasad Bismil was included in the movie and with it the total number of songs makes it to eight. Songs in this film are sung by Udit Narayan, Alka Yagnik, Vinod Rathod, Hans Ran Hans (as per titles of the movie) and Bhupinder Singh, Mohd Salamat and Veer Rajendra (as mentioned in the blurb of the audio cassette of this movie and in addition to the names mentioned in the titles of the movie).
Today’s song is sung by Veer Rajinder and lyrics are by Dev Kohli. This song is in two parts (or may be three parts) in the movie as per video links available in the domain.
With the today’s song this movie ‘23rd March 1931 Shaheed’ (2002) makes its debut on the blog.
Let us now listen to the today’s song. . .
Video
Audio
Video (Part 2)
Audio (Part 2)
Song – Saans Hai Jab Talak, Naa Rukenge Kadam (23 March 1931 – Shaheed) (2002), Singer – Veer Rajinder, Lyrics – Dev Kohli, MD – Anand Raj Anand
Chorus
Lyrics
saans hai jab talak
naa rukenge kadam
chal pade hain to
manzil ko paa jaayenge
jaan pyaari nahin hai
watan se hamen
marte marte sabhi ko
bataa jaayenge
aye watan
aye watan
aye watan
aye watan
wo jawaani jo khoon ko
jalaati nahin
hmm hmm hmm hmm
wo watan ke liye
rang laati nahin
aa aa aa aa aa aa aa aa
aa aa aa aa aa aa
aa aa aa aa aa aa
daagh lekar ghulaami ka
kyun ham jeeyen
haan kyun ham jeeyen
soch kar raaton ko
neend aati nahin
saans hai jab talak
naa rukenge kadam
chal pade hain to
manzil ko paa jaayenge
jaan pyaari nahin hai
watan se hamen
marte marte sabhi ko
bataa jaayenge
aye watan
aye watan
aye watan
aye watan
aa aa aa aa aa aa aa
aa aa aa
hamne tay kar liyaa
hamne le li qasam
khoon se apne seechenge
apnaa chaman
hmm hmm hmm hmm
hamne tay kar liyaa
hamne le li qasam
khoon se apne seecnhenge
apnaa chaman
jaan lekar hatheli pe
ham chal diye
haan ham chal diye
baandh kar sar pe nikle
hain ham ye qafan
saans hai jab talak
naa rukenge kadam
chal pade hain to
manzil ko paa jaayenge
jaan pyaari nahin hai
watan se hamen
marte marte sabhi ko
bataa jaayenge
aye watan
aye watan
aye watan
aye watan
aye watan
aye watan
aye watan
aye watan
———–
(part-2)
———–
naaz tujhko to hogaa
bhagatsingh ki maa
tera beta watan ke kaam aa gayaa
sar jhukaa kar nahin
sar uthha ke chalaa
desh ke waaste
jaan lootaa ke chalaa
jaane waaloon ko dekho
watan ke liye
aa aa aa aa
shamma aazaadi ki wo
jalaa jaayenge
saans hai jab talak
naa rukenge kadam
chal pade hain to
manzil ko paa jaayenge
jaan pyaari nahin hai
watan se inhen
marte marte sabhi ko
bataa jaayenge
inquilaab zindabaad
inquilaab zindabaad
inquilaab zindabaad
——————————————————–
Hindi script lyrics (Provided by Avinash Scrapwala)
——————————————————–
सांस है जब तलक
ना रुकेंगे कदम
चल पड़े हैं तो
मंजिल को पा जायेंगे
जान प्यारी नहीं है
वतन से हमें
मरते मरते सभी को
बता जायेंगे
ऐ वतन
ऐ वतन
ऐ वतन
ऐ वतन
वो जवानी जो खून को
जलाती नहीं
ह्म ह्म ह्म ह्म
वो वतन के लिए
रंग लाती नहीं
आ आ आ आ आ आ आ आ
आ आ आ आ आ आ
आ आ आ आ आ आ
दाग़ लेकर ग़ुलामी का
क्यूँ हम जीयें
हाँ क्यूँ हम जीयें
सोच कर रातों को
नींद आती नहीं
सांस है जब तलक
ना रुकेंगे कदम
चल पड़े हैं तो
मंजिल को पा जायेंगे
जान प्यारी नहीं है
वतन से हमें
मरते मरते सभी को
बता जायेंगे
ऐ वतन
ऐ वतन
ऐ वतन
ऐ वतन
आ आ आ आ आ आ आ
आ आ आ
हमने तय कर लिया
हमने ले ली क़सम
खून से अपने सींचेंगे
अपना चमन
ह्म ह्म ह्म ह्म
हमने तय कर लिया
हमने ले ली क़सम
खून से अपने सींचेंगे
अपना चमन
जान लेकर हथेली पे
हम चल दिए
हाँ हम चल दिए
बाँध कर सर पे निकले
हैं हम ये कफन
सांस है जब तलक
ना रुकेंगे कदम
चल पड़े हैं तो
मंजिल को पा जायेंगे
जान प्यारी नहीं है
वतन से हमें
मरते मरते सभी को
बता जायेंगे
ऐ वतन
ऐ वतन
ऐ वतन
ऐ वतन
ऐ वतन
ऐ वतन
ऐ वतन
ऐ वतन
————–
(भाग- २ )
————–
नाज़ तुझको तो होगा
भगतसिंह कि माँ
तेरा बेटा वतन के काम आ गया
सर झुका कर नहीं
सर उठा के चला
देश के वास्ते
जान लूटा के चला
जाने वालों को देखो
वतन के लिए
आ आ आ आ
शम्मा आज़ादी को वो
जला जायेंगे
सांस है जब तलक
ना रुकेंगे कदम
चल पड़े हैं तो
मंजिल को पा जायेंगे
जान प्यारी नहीं है
वतन से इन्हें
मरते मरते सभी को
बता जायेंगे
इन्किलाब जिंदाबाद
इन्किलाब जिंदाबाद
इन्किलाब जिंदाबाद
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 : |
4510 | Post No. : | 16055 | Movie Count : |
4388 |
‘Vadh’ (2002) seems to have become an obscure film by now. Even though the film belongs to 21st century when the marketing through mass media has been the order of the day to promote the film, I do not recall having seen any such marketing blitzes for this film.
On-line searches revealed that it was a low budget film belonging to the genre of ‘suspense murder mystery’. A box office report suggests that the film was a ‘disaster’ as it earned about 50 per cent of the cost of production of the film. I guess, the absence of a well-conceived marketing of the film may have resulted in the prospective film audience not well-informed about the film. Otherwise, why should a film with Nana Patekar should get such a lukewarm reception at the box office? Probably, the low budget did not allow the makers of the film to indulge in high marketing blitzes.
‘Vadh’ (2002) was a maiden venture of Dilip Dhanwani who was in the film distribution business based in Mumbai. The star cast consisted of Nana Patekar, Anupama Verma, Puru Rajkumar, Meghna Kothari, Nakul Vaid, Sambhawana Seth, Arun Bakshi, Raju Mewani, Sweta Menon etc. The film was directed by N.S.R – the abbreviation for Nana Patekar, Rajesh Singh and Raj Bharath, respectively. Raj Bharath was entrusted with directing the film. However, due to alleged interferences by Nana Patekar, he left the film after which the Rajesh Singh was entrusted with the film’s direction. He also left the film on the same ground. Probably, producer thought it better to entrust the direction to Nana Patekar if he wants his film to be completed without any further delay.
The credit title of the film mentions that ‘it is a film by Nana Patekar for Dilip Dhanwani’. This shows as to how much Nana Patekar was involved in making of this film. This alone made me interested in watching the film, the DVD of which was available on one of the video sharing platforms. I watched this film in a single sitting as I found the film engrossing. The build-up of suspense till the last was superb. I could not guess as to who could be the murderer of three victims in the film which was attributed to a serial psychopath killer.
The gist of the story of the film is as under:
Dr, Arjun Singh (Nana Patekar) is a Psychiatrist who is attached to a mental hospital. He has a late marriage with Jyoti Singh (Anupama Verma) who is much younger than him. Dr. Arjun is very protective about his pregnant wife and loves her. His younger brother Vijay (Nakul Vaid) is a police inspector attached to Crime Branch who is in love with Meghna Kothari, the daughter of the Police Commissioner (Arun Bakshi).
In the mental hospital, there is a serial psychopath killer who has been kept in solitary confinement due to his violent behaviour. One day, the serial killer runs away from the hospital by breaking open the grilled door of his room. In this process, he kills three guards of the mental hospital by slicing the throats with ‘X’ slicing marks on the faces of the victims. This is his trade-mark killings. The police forces are looking out for the serial killer as this has created a panic among the residence.
Aryan (Puru Rajkumar) is a childhood friend of Dr. Arjun who is rich and a charming playboy. He spends much of his time in revelry and visits bars and clubs. He prefers casual relations with his girl-friends including the married ones and has no intention of marrying any of them. Dr. Arjun’s wife, Jyoti is also involved with extra marital relation with Aryan.
Soon after the running away of serial killer, one of the girl friends of Aryan is found murdered in her house. While the Crime Branch and Dr. Arjun think that the murder is a handywork of the serial killer with his trade-mark style of killing, Inspector Vijay has a doubt on Aryan as his visiting card is found in his murdered girl-friend’s house. After few days, another girl-friend of Aryan is found murdered in the same style which come to the light when Aryan visits her house. The presence of Aryan in the house makes Vijay confident that it is Aryan who has killed his girl friends in the same style as that of the serial killer so as to wood-wink the police in thinking that it is the work of the serial killer. Inspector Vijay arrests Aryan but due to lack of evidence against him, Aryan gets bail.
In the meanwhile, both Dr Arjun and his wife Jyoti are under threat from the serial killer. as they find ‘X’ mark in blood has been put on faces in their photo-frame. As a precautionary measure, Police Commissioner shifts them to a more secured place with a Commando attached to their new residence. Inspector Vijay ensures that he is present in the house when his brother, Dr. Arjun is on hospital duties.
Despite the security, one day, Jyoti finds that their personal Commando has been murdered in the same fashion as those killed by the serial killer. She gets the panic attack thinking that she and her husband would be the next target of the serial killers. A police team headed by the Police Commissioner visit to scene of the crime. To his horror, Inspector Vijay finds that his brother, Dr Arjun’s dead body is floating in a swimming pool with Jyoti murdered in her room with the same trade mark killing style as that of the serial killer.
The film ends with Police Commissioner taking a vow that he would not leave that mad serial killer and he would find him.
At the outset, the end of the film appears tame. This is because, I have not revealed the suspense part of the film just in case those who had not watched the film and are interested in doing so. The murder mystery has been solved as far as the film’s audience is concerned but for the police in the film, the case of the serial murders is yet to be solved.
The USP of the film is that the director has been successful in keeping the suspense in the film till the last. In fact, he has build-up the suspense as the film story progresses. However, this USP was not sufficient to make the film successful at the box office.
This film belongs to Nana Patekar from start to finish. There is no long and high-pitched dialogues for him as we are used to see him doing so in most of his films. He has a normal dialogue delivery and a restrained performance. Anupama Verma has done a conventional role of a house-wife which she has performed better than what she has been performing in her pop song videos. The suspense effects of the film have been well supported by the background music of Sanjay Chaudhary.
The weakness of the film is that it is too long for a suspense thriller. The film could have been easily condensed within the duration of say, 1 hour 45 minutes instead of 2 hours and 10 minutes to make it sleek for viewers. For example, there was not need to have two club songs of about 5 minutes durations just to support the playboy image of Puru Rajkumar. Such type of songs become distraction in a film which is trying to build-up the suspense. Probably, these two songs were included as a part of box office attractions. But the way these songs were conceived and presented, it would not have been a surprise if even front-benchers had taken a break by walking out of the theatre hall when these two songs were shown on the screen.
I also felt that there was no need for a romantic sub-plot of Inspector Vijay (Nakul Vaid) and his fiancée, Meghana Kothari. In fact, the role of Meghna Kothari is redundant in the film. On top of it, the pair have one song of about 5 minutes duration which appears to be forced upon the film.
And lastly, I missed the presence of N A Ansari type of a character in the film which would have added some aura around him, enhancing the suspense to the murder mystery.
‘Vadh’ (2002) has 6 songs, a high number for a suspense thriller. Except one, none of the song has pleased my ears. I am presenting the only song out of six which I liked and the song is ‘bahut khubsoorat hai aankhen tumhaari’ rendered by Jagjit Singh. The song is written by Nida Fazli which is set to music by Vishal-Shekhar. The song is picturised on Nana Patekar and Anupama Verma.
With this song, ‘Vadh’ (2002) makes its debut in the Blog.
Video Clip:
Audio Clip:
Song-Bahut khoobsoorat hain aankhen tumhaari (Vadh)(2002) Singer-Jagjit Singh, Lyrics-Nida Faazli, MD-Vishal Shekhar
Nana Patekar
Lyrics
hmm hmm hmm hmm
hmm hmm hmm hmm
bahut khubsoorat hain
aankhen tumhaari
bahut khubsoorat hain
aankhen tumhaari
agar ho inaayat
ae jaan-e-mohabbat
bana deejiye inko
kismat hamaari
bahut khubsoorat hain
aankhen tumhaari
tum in aankhon se duniya ko dekhti ho
aur main zindagi ko
jo sab se juda hai
wo andaaz ho tum
chhupa thha jo dil mein ae
wohi raaz ho tum
jo sab se juda hai ae
wo andaaz ho tum
chhupa thha jo dil mein ae
wohi raaz ho tum
tumhaari nazaakat a a
bani jab se chaahat
sukoon ban gayi hai
har ek bekaraari
bahut khubsoorat hain
aankhen tumhaari
na thhe jab talak tum
hamaari nazar mein
na thha chaand shab mein ae
na sooraj sahar mein
na the jab talak tum
hamaari nazar mein
na thha chaand shab mein ae
na sooraj sahar mein
tumhaari ijaajat
tumhaari hukoomat
ye saara gagan hai ae
ye dharti hai saari
bahut khubsoorat hain
aankhen tumhaari
bahut khubsoorat hain
aankhen tumhaari
agar ho inaayat
ae jaan-e-mohabbat
bana deejiye ae inko
kismat hamaari
bahut khubsoorat hain
aankhen tumhaari
bahut khubsoorat hain
aankhen tumhaari
bahut khubsoorat hain
aankhen tumhaari
Kya khoya kya paaya jag mein
Posted on: August 16, 2020
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 : |
4412 | Post No. : | 15809 |
Today, August 16, 2020 is the 2nd Remembrance Day of Atal Bihari Vajpayee (25/12/1924 – 16/08/2018), the former prime minister, one of the greatest statesmen, a nationalist, a good orator and a poet.
The political career of Atal Bihari Vajpayee has been an open book and it does not require an elaborate discussion. Suffice to say in brief that at the age of 18, Atal Bihari Vajpayee became politically active by participating in Quit India Movement of 1942 and was imprisoned for one month. In 1957, He became the member of Lok Sabha for the first time at the age of 33. From 1967 to 1984, he continued as a member of Lok Sabha without any interruption. Again from 1991 to 2009, he became the member of Lok Sabha. With nearly 5 decades of experience – both from the opposition and ruling parrties’ sides, one can gauge the vast political knowledge he had gathered to be rightly called as ‘Bhishma Pitamah’ of Indian politics who was admired by both the ruling and opposition parties.
Atal Bihari Vajpayee was known for his hard-hitting speech as a member of the opposition. But his speeches always remained within the boundary of political rivalry on ideological platforms and did not spill into personal enimity. It is because of this quality that Atal Bihari Vajpayee commanded the respect of all the prime ministers he faced in the Lok Sabha and of members of the opposition when he was the prime minister. In his very first terms in Lok Sabha during 1957-62 as a member of the opposition parties, Pandit Nehru, the then prime minister, was very much impressed by his debating skills. Once, he introduced Atal Bihari Vajpayee to a visiting foreign dignitary as a young and dynamic member of the opposition and he predicted him to be India’s future prime minister. His prediction came true after 40 years.
Let us recall a couple of examples in support of what has been stated above. During the Vote of Confidence motion in 1996 in Lok Sabha, Atal Bihari Vajpayee as a prime minister had quoted an instance that happened in the Rajya Sabha in November 1962 during the discussion on Chinese aggression in October 1962 :
It is not that I did not have disagreements with Nehru ji. These disagreements came out strongly during debates. In one of such debates I called Nehru’s personality and character as a mixture of Churchill and Chamberlain. (Neville Chamberlain, the Prime Minister of the UK from 1937-40 was highly criticised for his appeasement policy with Adolf Hitler. Winston Churchill was the prime minister who led the English to victory against Nazi Germany in the Second World War). Despite the comparison to two of the most controversial and critiqued world leaders, Nehru did not get angry. Later that evening, I ran into Nehru ji at a banquet in honour of a visiting foreign dignitary. He called and congratulated me for giving a rousing speech in the Rajya Sabha and he left smiling.
In 1994, when United Nations Human Right Commission at Geneva was to discuss a Pakistani resolution to label India as human right violator in Jammu & Kashmir, the then Prime Minister, P V Narsimha Rao chose the leader of the opposition, Atal Bihari Vajpayee as the leader of the Indian delegation to defend India. The Pakistani resolution was defeated. The fact that Narsimha Rao selected Atal Bihari Vajpayee as the leader of the delegation rather than other senior leaders from his party like Salman Khurshid who were part of the delegation, speaks volume about the calibre of and confidence reposed on Atal Bihari Vajpayee by then prime minister.
It is not known when Atal Bihari Vajpayee turned a poet. Whether it was the poet in him that pushed him to the politics or vice versa. He had said once that ‘he was poet by instinct and the politician by accident’. He had a literary bend of mind if we go by his association with magazines such as ‘Rashtradharma’, ‘Panchjanya’ and the newspapers like ‘Swadesh’ etc, during his younger days. Probably, he may have started writing poems during the the Quit India Movement of 1942. On August 15, 1947 when India got indepedence and people were celebrating the freedom from British Rule, Atal Bihari Vajpayee wrote the poem in a sombre mood:
पंद्रह अगस्त का दिन कहता
आज़ादी अभी अधूरी है।
सपने सच होने बाकी है,
रावी की शपथ न पूरी है॥
जिनकी लाशों पर पग धर कर
आज़ादी भारत में आई,
वे अब तक हैं खानाबदोश
ग़म की काली बदली छाई॥
The people of India at large came to know Atal Bihari Vajpayee also as a poet after his release from the Bengaluru Central Jail in 1977 following emergency. In his one year of life in the jail, Atal Bihari Vajpayee had written many poems in the pseudo name ‘Kaidi Kavirai’, some of which used to be smuggled out of the jail, translated in Kannada and pasted on the walls of colleges in Hubbali and Dharwad. ‘Kaidi Kavirai Ki Kundalian’, the collections of poems written by him while in the jail has been published. These poems belong to satirical and inspirational genres. An example of one of his satirical poems which he wrote while when he was ill in the jail:
डॉक्टरान दे रहे दवाई, पुलिस दे रही पहरा।
बिना ब्लेड के हुआ खुरदुरा, चिकना-चुपड़ा चेहरा।
चिकना-चुपड़ा चेहरा, साबुन, तेल नदारत।
मिले नहीं अखबार, पढ़ेंगे नई इबारत।
कह कैदी कविराय, कहां से लाएं कपड़े।
अस्पताल की चादर छुपा रही सब लफड़े।
But post-emergency years, Atal Bihari Vajpayee’s poems have become more visible than before. In some of his political rallies, he had started reciting his poems probably realising that poems of 6-8 lines have more impact on his audience to draw his point of view than a longer speech.
Atal Bihari Vajpayee’s most popular and an inspiring poem, kadam milaakar chalna hoga has been included in class-8 textbook along with the poems of Hazari Prasad Dwivedi, Ramdhari Singh Dinkar, Surykant Tripathi Nirala, Ismat Chugtai, Harishankar Parsai etc for 2019-20 onwards.
When Atal Bihari Vajpayee was admitted in a hospital in New York in 1988 for his kidney check-up, doctors had suggested kidney operations. That whole night, he could not sleep. During that night, the poem, maut se than gahi was born.
Another poem of Atal Bihari Vajpayee which I like is hari hari doob par. The last six lines sums up the philosophy of life which say that the sun will rise again and there will be sunshine. But I will not get to see the dew drop on the green carpet of grass of my garden in all the seasons:
सूर्य तो फिर भी उगेगा,
धूप तो फिर भी खिलेगी,
लेकिन मेरी बगीची की
हरी-हरी दूब पर,
ओस की बूंद
हर मौसम में नहीं मिलेगी।
To quote Bhagwat Goyal who has translated Vajpayee’s poems in to English, Atal Bihari Vajpayee believed that “politics and literature cannot belong to separate compartments. Rather they enrich and refine each other. When a litterateur gets involved in politics, his politics gets more refined. Similarly, if a politician has a literary background, he cannot ignore human feelings and emotions.” I have watched some of the important proceedings of the Lok Sabha in which I saw his speeches both as a Prime Minister and as a member of the opposition. To me, his speech sounded like a mix of statesmanship and literature like the one below.
The game of power would continue. Governments would come and go. Political parties would be formed and dissolved. But the country should survive and democracy should remain there forever. The debate (on Vote of Confidence Motion) would come to an end but the chapter which would start from the next day needed to be pondered over. The bitterness should not increase.
On the occasion of Atal Bihari Vajpayee’s 2nd Remembrance Day, I present one of his poems, ‘apne hi mann se kuchh bolen’ (2002) which has been turned into a non-film song composed and sung by Jagjeet Singh. The video of the song featuring Shahrukh Khan and Atal Bihari Vajpayee was produced by Saregama which was directed by Yash Chopra. The song is preceded by a preface read by Amitabh Bachchan, which was written by Javed Akhtar. This song is a part of an album, ‘Samvedna’ (Sensitivity) containing six poems written by Atal Bihari Vajpayee which have been turned into songs composed and sung by Jagjeet Singh.
The poem is philosophical one. It says that let the heart speak. Let it measure what has been gained and what has been lost. In one of the antaras, the poet says that earth is millions of years old and life is eternal. Elders may give a blessing of 100 years of life (sau sharadon ki vaani) but body has its limit. So, one should be ready to open the doors on the last knock.
Video Clip :
Audio Clip:
Song-Kya khoya kya paaya jag mein (Jagjeet Singh NFS)(2002) Singer-Jagjeet Singh, Lyrics-Atal Bihari Vajpayee, MD-Jagjeet Singh
Lyrics
kya khoya kya paaya jag mein
milte aur bichhadte mag mein
kya khoya kya paaya jag mein
milte aur bichhadte mag mein
mujhe kisi se nahin shikaayat
yadhyapi chhala gaya pag pag mein
ek drishti beeti par daalen
yaadon ki potali tatolen
ek drishti beeti par daalen
yaadon ki potali tatolen
apne hi mann se kuchh bolen
apne hi mann se kuchh bolen
prithhvi laakhon varsh puraani
jeevan ek anant kahaani
prithhvi laakhon varsh puraani
jeevan ek anant kahaani
par tan ki apni seemaayen
yadyapi sau sharadon ki vaani
itna kaafi hai antim dastak
par khud darwaaza kholen
itna kaafi hai antim dastak
par khud darwaaza kholen
apne hi mann se kuchh bolen
apne hi mann se kuchh bolen
janm maran kaa avirat phera
jeewan banjaaron kaa deraa
janm maran kaa avirat phera
jeewan banjaaron kaa deraa
aaj yahaan kal kahaan kooch hai
kaun jaanta kidhar savera
andhiyaara aakaash aseemit
praanon ke pankhon ko taulen
andhiyaara aakaash aseemit
praanon ke pankhon ko taulen
apne hi mann se kuchh bolen
apne hi mann se kuchh bolen
apne hi mann se kuchh bolen
apne hi mann se …. kuchh bolen
Kukdoo koon chhutti hai
Posted on: November 14, 2019
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4136 | Post No. : | 15295 | Movie Count : |
4213 |
Happy Children’s Day to Atuldom
“Makdee” means spider. This was also the title of a movie in 2002 which was directed by Vishal Bharadwaj who was also the music director. This was one of the movies in recent times that portrayed children the way they actually should be – as bright, intelligent, naughty and playful. I am put-off when children are portrayed as miniature adults and made to mouth huge sentimental dialogues which I am 100% sure kids from normal upbringing would not even dream of. My definition of kids from a normal upbringing is where the only thing that a child has to do is finish their school, come home -play in the ground or backyard, do their studies for the next day, help around the family as per necessity, play mischief and be active through the day so that they sleep peacefully and wake up fresh to have their routines all over again. In between all this they should have time to read comics, novels, have memorable time with their grandparents and friends which will stay with them for their life as pleasant memories. ‘Makdee’ was one such movie.
It had Shweta Prasad play 10-year-old twin sisters – Chunni and Munni. Chunni who was a prankster and Munni the timid, studious kind. Chunni keeps fooling around the village and constantly gets into trouble with the local butcher Kallu along with her friend ‘Mughal-e-azam’ and on one occasion Kallu chases them around the village and in the melee Munni runs into a mansion which is famous around the village as to being haunted. Then what follows is Chunni’s struggle to find her sister, save her from the clutches of the witch who resides in the haunted mansion, and in the process solve the case of all the persons from the village, who went missing, when they ventured into the mansion. She also is felicitated by the collector of the district as she finds the reason for the witch (Shabana Azmi) making the mansion her home- a hidden treasure.
‘Makdee’ had all the elements that would was needed in a children’s film- fun/ fantasy and a moral – which is the essential of any story telling session with kids. The moral being that “you cannot cry wolf always, as a time will come when people will stop believing you.”
14th November is celebrated as children’s day in India in memory of Pandit Jawaharlal Nehru. He was fondly called chacha Nehru and it is said that he was fond of children. I remember my father used to tell me about his school trip to Delhi when he was in class 8 or 9 and they were fortunate to have an audience with the then Prime Minister Pandit Nehru and what an experience it was – today’s youngsters would use the word AWESOME. My father was also proud about nearly sharing birth dates- his birthdate was 15th November. In fact, he used to say that it was not difficult to remember chacha Nehru’s death anniversary as that was the date he landed in Mumbai from Ahmedabad for his job and found all available forms of transport had stopped as a mark of respect to the departed leader. But that is not the purpose of this post.
Let us move on and enjoy this lively song which shows the exact emotion a child will have when it is a holiday from school or vacation or there is an unexpected holiday declared due to rains, bharat bandh, or death of some trustee or anyone remotely important. Here I will confess that I see myself as Chunni, Munni, Mughal-e-azam and all the kids in this movie. I identified with them.
Song-Kukdoo koon chhutti hai (Makdee)(2002) Singer-Upagna Pandya, Lyrics-Gulzar, MD-Vishal Bhardwaj
Chorus
Lyrics
kukdu koon oo
kukdu koon oo
chhutti hai
he chhutti hai
he chhutti hai
kukdu koon oo
ghanti bajaao paape
ghanti bajaao re
bastaa uthhaao paape
bastaa uthhaao bhaago re
hai kitaabon se kutti
chhutti hai
arre chhutti hai chhutti
chhutti hai
hai kitaabon se kutti
kutti hai
arre chhutti hai chhutti
chhutti hai
he chhutti hai
he chhutti hai
kukdu koon oo
jhum tanakum tanakum
jhum tanakum tanakum
tara tara tara
la la la lala
somwaar susti mein katataa hai
mangal ko mood kahaan banta hai
arre somwaar susti mein katataa hai
mangal ko mood kahaan banta hai
budh ki chintaa mein veer ki fikar
shukkar ka tambu shani ke ghar
monday ko sunday ki chhutti hai
hai kitaabon se kutti
chhutti hai
are chhutti hai chhutti
chhutti hai
arre monday ko sunday ki
arre chhutti hai chhutti
chhutti hai
he chhutti hai
kukdu koon oo
ghanti bajaao paape
ghanti bajaao re (he he he he)
bastaa uthaao paape
bastaa uthaao bhaago re
da da daa da da
pom pom pom
da da daa da da
pom pom pom
da da daa da da
pom pom pom
da da daa da da
pom pom pom
master jee
bhaago
Dola re dola re dola
Posted on: November 1, 2019
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4123 | Post No. : | 15278 | Movie Count : |
4203 |
Hullo Atuldom
November has dawned. Here is the first birthday post of the month.
It is the birthday of Aishwarya Rai Bachchan. This gorgeous Miss World 1994 is also a Padma award winner along with awards for Best Actress (Ham Dil De Chuke Sanam) and Best Actress in a supporting role as Parvati (Devdas).
She made her debut in movies after a brief stint as ramp model and modelling for products like Lux and Coca Cola where she appeared with Aamir Khan. Prior to that she had appeared in an ad for Pepsi with Amir Khan and Ritu Chaudhry (a.k.a Mahima Chaudhry) – remember the ad where the girls are Amir’s new neighbours and he jumps out of his window to run across and get a Pepsi for the girls and tries to impress them and Aishwarya appears as Sanjana at the end. I found other ads featuring Aishwarya on YouTube for products like watches, beauty creams etc. The next step after modelling was movies which happened with the Mani Ratnam directed Tamil film “Iruvar” (1997) with Mohanlal, Revathi, Prakash Raj as co-stars. She made her Hindi debut the same year with “Aur Pyar Ho Gaya” opposite Bobby Deol. And then she has not looked back. She has played a passionate artist in “Kandukondain Kandukondain” (Tamil) 2000, Tagore’s Binodini in “Choker Bali” (Bengali) 2003, depressed woman in “Raincoat’’ (Hindi) 2004, Kiranjit Ahluwalia -a much abused wife who got international attention for burning her husband to death- “Provoked’’ a British-drama genre movie in 2006, a nurse looking after a paralyzed magician turned Radio Jockey who has filed a petition seeking permission to end his life in “Guzaarish’’ in 2010. All the movies that I mentioned here gave her critical acclaim and she had a good number of successful critical and mass appeal films. She has proved the general thought wrong that a heroine loses her popularity and star appeal once married and a mother at that. She has been under public scrutiny for everything that she does but keeps mum and doesn’t reply to the trolls that she is subjected to. Isn’t that noteworthy?
A few years back, for my niece’s wedding, I had purchased a saree which my sister-in-law loved very much and was looking for a similar one only in a different colour combination. I tried to assist her in finding that or a similar saree in the combo she wanted. I am happy to say I finally managed to get it for her on my recent trip to Calcutta (now Kolkata) during Durga Puja. I am sure this sudden off-track by me has jolted the reader into thinking what is the connection with Aishwarya Rai!!
Well it is connected with the song that is coming with this post. It is the almost like the saree that all the ladies are wearing in this song (disclaimer: neither the song nor the movie was reason for my sis-in-law’s liking for the said combination; she doesn’t even know of its connection with Aishwarya 🙂 )
Another connection is that this song happens at a huge haveli in old Calcutta for Durga Puja. It is from the 2002 Sanjay Leela Bhansali directed “Devdas” based on the book of the same name by Sharath Chandra Chattopadhyay. We have Aishwarya Rai dancing with Madhuri Dixit (another heroine whose popularity has not decreased post marriage and kids) at the Sindhoor- Khela which is an essential part of Dussehra during Durga Puja.
The song is in the voice of Shreya Ghosal, Kavita Krishnamurthy and KK. It was written by Nusrat Badr and Ismail Durbar was the composer. Saroj Khan is the choreographer for this magnificent dance which had the two heroines looking extremely gorgeous and they matched step-for-step brilliantly.
It is a song which is my personal favourite 2-heroine dance and I don’t think I will ever tire of seeing it. The choreography got Saroj Khan her 8th Filmfare award and it must be the only song which has a Wikipedia page.
I suggest a visit to the page (dola re dola ) for interesting trivia about the song.
Today “Devdas” version 2002 makes its debut on the blog to Wish the blue-green eyed Miss World, Miss Photogenic and Miss World Continental Queen of Beauty – Asia- Oceania (sub titles that she won at the Miss world pageant held in Suncity -South Africa) a very Happy Birthday.
Song-Dola re dola re dola (Devdas)(2002) Singers-Shreya Ghosal, Kavita Krishnamurthy, KK, Lyrics-Nusrat Badr, MD-Ismail Darbaar
Lyrics
he dola re dola re dola re dola,
he dola re
hpo ho ho ho
haan haan hmm haan
haan haan haan haan
re dhaiya re dhaiya re re dhaiya aa
re dhaiya re dhaiya re re dhaiya aa
dhim ta dhim ta
dhim ta dhim ta
oooooo aaaa eeee
he dola re dola re dola re dola
haay dola dil dola mann dola re dola
he dola re dola re dola re dola
haay dola dil dola mann dola re dola
lag jaane do nazariya
gir jaane do bijuriya
bijuriya
bijuriya
gir jane do aaj bijuriya
lag jaane do najariya
gir jaane do bijuriya
baandh ke main ghungharoo,
pehan ke main paayal
ooo baandh ke main ghungharoo,
pehan ke main paayal
ho jhoom ke nachoongi
ghoom ke naachoongi
dola re dola re dola re dola
haay dola dil dola man dola re dola
dola re dolaa re dola re dola
haay dola dil dola man dola re dola
aiy yai yai yai yaa haa
aiy yai yai yai yaa haa
dekho ji dekho dekho
kaisi ye jhhankaar hai
inki aankhon mein dekho piyaaji ka pyar hai
inki aawaaz bhi haay kaisi khanakaar hai
piya ki yaadon mein yeh jiya bekraar hai
haay haay haay haay haay haay
maathe ki bindiya mein woh hai
mm palkon ki nindiya mein woh hai
tere to tan man mein woh hai,
teri bhi dhadkan mein woh hai
choodi ki chhan chhan mein woh hai
chhan chhan chhan chhan
chhanak chhanak chhan chhanak chhanak
kangan ki khan khan mein woh hai
khanak khanak khan
khanak khanak khan
khan khan khan
choodi ki chhan chhan mein woh hai
kangan ki khan khan mein woh hai
baandh ke main ghungharoo,
haan pehan ke main paayal
haan jhoom ke naachoongi
ghoom ke naachoongi
dola re dola re dola re dola
haay dola dil dola mann dola re dola
he dola re dola re dolaa re dola
haay dola dil dola mann dola re dola
hae ae ae ae ae ae
hae hae hae hae hae hae
hae ae ae ae ae ae
hae hae hae hae hae hae
tumne mujhko
duniya de di
mujhko apni
ho khushiya de di
unse kabhi naa hona door
dola dola dil dola dola dil dola dola dola
haan maang mein bhar lena sindoor
dola dola mann dola dola mann dola dola dola
unki baahon kaa tum ho phool
dola dola dil dola dola dil dola dola
main hoon kadmon ki bas dhool
dola dola mann dola dola mann dola dola
baandh ke main ghungharoo.
pehan ke main paayal
haan baandh ke main ghungharoo,
pehan ke main paayal
haan jhoom ke naachoongi
ghoom ke naachoongi
dola re dola re dola re dola
haay dola dil dola mann dola re dola
he dola re dola re dola re dola re dola re dola
haay dola dil dola mann dola re dola
dola dola dola dola dola dola
dola dola dola dola dola dola
dola dola dola dola dola dola
dola dola dola dola dola dola
he dola re
Ae zindagi ye lamha jee lene de
Posted on: September 8, 2019
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4069 | Post No. : | 15205 | Movie Count : |
4179 |
Hullo to Atuldom
Today I have a very difficult task. The task of selecting one song from a possible 5251 (7874-2623 as per the stats page of the blog) is almost like needle in a hay stack. And there will be at least a few thousand popular songs in this 5k of which many will fall in the category of “How come…?”. Some may lead to their movies getting Yyippeeeed and some may introduce a new movie onto the blog.
I never added any criteria for the song selection as I had so many songs of this singer, running through my head. Over the last few days I had heard many songs of this artist and found that most of them are yet to appear on the blog. It doesn’t help matters that she has been around since 1948 – just about 71 years of work to choose from. 71 years of work means singing for all the females who have ever graced the Bollywood firmament, of course excluding the ladies of the silent era. I thought I will take the easy way out and try and find the first ever Bollywood song recorded by her for Hansraj Behl in 1948. But, if only, life was that easy!!!! 🙂
Just then, as if Godsend, my daughter called me for getting some clarification and as soon as we finished her work with me, I told her what I was up to, and we went into overdrive about the song selection. She on her part suggested a few songs which both of us love and have music cassettes of, but I shot them down as they were non-filmy. I had my reasons for shooting them down- when there are so many movie songs left why go for non- film songs. We still have years to go before we run out of film songs. Then, after a lot of brain-storming with my dear Peevesie, I zeroed in on a song written by Gulzar.
What is unusual about this song? For one, it is one of the rare occasions where Anu Malik has given music for an album with songs written by Gulzar. This album has songs sung by Asha Bhonsle, K.S. Chitra, Jaspinder Narula, Roop Kumar Rathod, Palash Sen and KK. All the songs of the movie were well received. But the track by our birthday girl was a huge hit. I am talking of the songs from Meghna Gulzar’s directorial debut “Filhaal” of 2002. Meghna, as is well known, is the daughter of Rakhee and Gulzar. She started out her career as a free-lance writer, going on to assist Saeed Akhtar Mirza and her father before going on to direct “Filhaal”. It was not an unusual story but was handled differently.
The movie had Sushmita Sen and Tabu – as stars of commercial value and Dr. Palash Sen and Sanjay Suri as the male actors. The ladies are long-time friends but differ in their dreams and aspiration. They are different where settling into family is concerned but when one of them (Sushmita) has a problem in her family life, as she cannot conceive, the other (Tabu) steps in to be a surrogate mother to her friend’s child. Then differences crop up between the friends as the pregnancy progresses and how they resolve all the confusion forms the gist of the movie. It was critically appreciated but I am unaware of its commercial status.
Today’s song is sung by Asha Bhonsle. I hope all the readers had guessed that I want to wish our Ashaji a lot of health and good times and hope to hear more of her songs.
P.S.: Hope people have noted that I have exercised restraint and not mentioned about her lineage, family, her most popular songs and my favourite Asha Bhonsle song. Only I know how difficult it was not to mention songs. 🙂
Song-Ae zindagi ye lamha jee lene de (Filhaal)(2002) Singer-Asha Bhonsle, Lyrics-Gulzar, MD-Anu Malik
Lyrics
ae zindagi
yeh lamha jee lene de
ho o o o
pehle se likha
kuchh bhee nahin
roz naya kuchh
likhti hai tu
jo bhee likha hai
dil se jiya hai
ye lamha filhaal jee lene de
ye lamha filhaal jee lene de
maasoom si haseen bewajah hee kabhi
honthon pe khil jaati hai
anjaan si khushi
behti huyi kabhi
saahil pe mil jaati hai
ye anjaana sa darr
ajnabi hai magar
khoobsoorat hai jee lene de
ye lamha filhaal jee lene de
ye lamha filhaal jee lene de
dil hi mein rehta hai
aankhon mein behta hai
kachcha sa ik khwaab hai
lagta sawaal hai
shaayad jawaab hai
dil phir bhi betaab hai
ye sukoon hai toh hai
ye junoon hai toh hai
khoobsoorat hai jee lene de
ye lamha filhaal jee lene de
ye lamha filhaal jee lene de
ho o o pehle se likha kuchh bhi nahin
roz naya kuchh
ho o o likhti hai tu
jo bhi likha hai
dil se jiya hai
ye lamha filhaal jee lene de
ye lamha filhaal jee lene de
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 : |
4033 | Post No. : | 15156 | Movie Count : |
4161 |
In my last article, I had discussed Nagesh Kukunoor, a NRI and a Chemical Engineer from USA, who left his lucrative job there to become a film-maker. Somnath Sen was another NRI who, after working as a Software Engineer in the U.S., decided to become a film-maker. Armed with a Master’s in film-making from the University of Southern California, he returned to India to begin his passion for film making.
Initially based in Delhi, Somnath Sen started his work in the visual media with television serials. Later, he moved to Mumbai, where he began his apprenticeship in the various fields of film-making viz, direction, screen-play, cinematography, production-coordinator etc by associating himself with films like ‘Rangeela’ (1995), ‘Raja Hindustani’ (1996), ‘Judwaa’(1997), ‘Kachche Dhaage’ (1999), and ‘Jaanam Samjha Karo’ (1999). He was also associated with documentaries, music videos, corporate films and commercials. In around 2000, Somnath Sen moved back to Los Angeles and became the Creative Head of Lemon Tree Films, a Hollywood film banner floated by two American-Indians who were in the entertainment business.
‘Leela’ (2002) was Lemon Tree Films’ first full length feature film in English which was produced in Hollywood and directed by Somnath Sen. I was neither aware of this film nor was I aware of songs in it. It was only when I was browsing through the filmography of Gulzar saab I came across this film. Luckily, the DVD of the full film is available on the internet. I watched the film and came to know that it was a Hollywood film in English, shot mostly in around Los Angeles with most of the American crew.
The film in DVD is about 100 minutes’ duration. Some of the dialogues are muted probably on the suggestions of CBFC. There are three old Hindi film songs – one each from ‘Junglee’, ‘Jaanwar’ and Kohra’ played in the films (got the names from the credit titles) during some occasions but these are also muted either partly or fully probably on copyright issues.
The theme of the film is broadly the same as that of Nagesh Kukunoor’s ‘Hyderabad Blues’ (1998). However, there is subtle difference in the sense that while ‘Hyderabad Blues’ (1998) highlights the identity crisis faced by a returning NRI in India, ‘Leela’ (2002) is about the identity crisis experienced by an American-Indian teenage son of a NRI couple settled in the USA and a visiting professor from India to the USA. The film also portrays as to how the rules of moral conduct in India get diluted once NRIs spend long period of stay in the USA yet they remain engraved to some extent in them.
The story of ‘Leela’ (2002) revolves around two couples – one the Mumbai-based and the other the Los Angeles based. Leela (Dimple Kapadia) is a professor at the University of Bombay. Her husband, Nashaad (Vinod Khanna) is a poet-singer. Leela is not happy with marital life as her husband is a womaniser. However, separation from her husband is not in her mind as she still loves him.
The film starts with a funeral of Leela’s mother shot in Madh Island (This, with Leela travelling to Mumbai airport are the only scene from the film shot in India). Leela is depressed because of her mother’s death. Additionally, she also feels that she has lost her identity to her husband as she is more known as the wife of the poet Nashaad than a professor. She gets a timely offer from University of Southern California as a visiting professor on the subject of heritage of South Asian countries in a college. She accepts the offer and departs to her new abode to find her own space leaving her husband behind.
Once in the U.S., Leela meets Krishna who is known as Kris (Amol Mhatre, an American-Indian actor) among his friends. He is one of the students in her class. This 18-year boy comes from a broken family and is torn between two cultures, as he was born in the States to parents who immigrated from India. He has been brought up by single mother, Chaitali (Deepti Naval) a divorcee whose ex-husband, Jai (Gulshan Grover) stays with his American girl friend. When Leela befriends Kris’s mother, Chaitali, another professor in the same college, Leela comes to realise that there is much that she can learn about herself from Chaitali. She finds herself exploring the real meaning of freedom.
After some initial hesitation, Kris becomes close to Leela. He starts visiting Leela’s house to learnt more about Indian heritage. He also gets to know about Hindustani classical music and learns to play Sarod. Over a period of time, Kris’s constant meeting with Leela turns into his infatuation of her. Leela discovers herself in a way that would not have fit in the Indian moral code. She starts spending time with Kris. Despite the age difference, it is a meaningful relationship for the two – Leela looking for freedom and Kris getting to know about his Indian heritage.
The story takes a dramatic turn when Kris comes to know that her mother has an affair with an American man. It was a great shock to him. He leaves the house and his father arranges for him a separate house to stay. Around the same time, Leela on a telephonic talk with Nashaad, comes to know that he has a woman in his house. In a fit of anger, she bangs the telephone and remove the cord as she is in no mood to listen to Nashaad’s excuses. At this point, Kris visits Leela’s house and finds her in very bad mood. Both Kris and Leela are emotionally at the venerable situations. Both need each other for solace. At this juncture, both finds in each other’s arms and inevitable happens.
This incidence stains the relationship between Leela and Chaitali. She develops contempt for Leela. In the meanwhile, Nashaad who is worried about the strange behaviour of Leela, decides to accept an offer for his concert tour in the USA. He visits Leela’s house who shares her guilt with Nashaad of her ‘one-night stand’ with Kris. Nashaad is not perturbed by this news. On the contrary, he consoles Leela and at the same time chats with Kris. They became friends. In one of Nashaad’s private concerts, Kris even plays guitar as accompanying musician. After the end of his concert tour, Leela decides to return to India with Nashaad. The film ends with Kris at the departure gate of Los Angeles airport giving his cap to Nashaad as a memento. In return, Nashaad puts his folded shawl on the shoulder of Kris.
As told by director, Somnath Sen in one of his interviews, ‘Leela’ (2002) is a Hollywood film with a soul of a Bollywood. The elements of Bollywood are represented by Hindi songs of different genres – classical, Gujarati garba, Punjabi folk, ghazals and light music. More importantly, the film has a happy ending.
The film was a box office disaster. As per the Box Office India report, the film was made at a total cost of around Rs.2.25 crore. But world-wide, the film could garner about half of the cost of the film. The film was critically acclaimed in the US reviews but Indian reviews were not kind to the film.
The highlight of the film is the brilliant music given by Jagjit Singh (5 songs) and Shantanu Moitra (2 songs). I am presenting one of the songs ‘khumaar-e-gham hai mahekti fiza mein jeete hain’ which is a ghazal composed and sung by Jagjit Singh. The ghazal is written by Gulzar. All the she’rs of the ghazal sum up the relationship between Nashaad and Leela.
A video clip of the song made from short clips of the various scenes from the film is available on the internet, I feel that this is not the original video clip because I have seen these scenes in the film in the different context. My gut feeling says that this song was picturized on Nashaad (Vinod Khanna) during a get together with his fans in the USA. There is a scene in the film of get-together in which Nashaad’s fans request him to sing a ghazal. But the next scene jumps to Leela’s house. Probably, this song must have been deleted from film’s DVD which was released in 2006.
This lovely ghazal of Gulzar in the silken voice of Jagjit Singh fits very well to what English poet P B Shelly had said – ‘our sweetest songs are those that tell of saddest thought’.
Video Clip :
Audio Clip :
Song-Khumaar e gham hai mahakti fizaa mein jeete hain(Leela)(2002) Singer-Jagjit singh, Lyrics-Gulzar, MD-Jagjit Singh
Lyrics(Based on Audio Clip)
khumaar-e-gham hai mahekti fiza mein jeete hain
khumaar-e-gham hai mahekti fiza mein jeete hain
tere khayaal ki aab-o-hawa mein jeete hain
khumaar-e-gham hai mahekti fiza mein jeete hain
bade ittefaaq se milte hain milne waale mujhe
bade ittefaaq se milte hain milne waale mujhe
wo mere dost hain teri wafa mein jeete hain
tere khayaal ki aab-o-hawa mein jeete hain
khumaar-e-gham hai mahekti fiza mein jeete hain
firaaq-e-yaar mein saanson ko roke rakhte hain
firaaq-e-yaar mein saanson ko roke rakhte hain
har ek lamha guzarti qaza mein jeete hain
tere khayaal ki aab-o-hawa mein jeete hain
khumaar-e-gham hai mahekti fiza mein jeete hain
na baat poori huyi thhi ke raat toot gayi
na baat poori huyi thhi ke raat toot gayi
adhoore khwaab ki aadhi saza mein jeete hain
tere khayaal ki aab-o-hawa mein jeete hain
khumaar-e-gham hai mahekti fiza mein jeete hain
tumhaari baaton mein koi maseeha basta hai
tumhaari baaton mein koi maseeha basta hai
haseen labon se barasti shaba mein jeete hain
tere khayaal ki aab-o-hawa mein jeete hain
khumaar-e-gham hai mahekti fiza mein jeete hain
tere khayaal ki aab-o-hawa mein jeete hain
Jahaan Ho Pyaar Ka Mausam
Posted on: July 19, 2019
- In: aspirations | Devnagri script lyrics by Sudhir | Feelings of heart | Free Spirit Song | Guest posts | Indie Pop | Inspirational song | Lyrics contributed by readers | Post by Sadanand Kamath | Song of Hope | Song of Longing | Song sung by three or more singers | Songs of 2000s (2001 to 2010) | Songs of 2002 | Yearwise breakup of songs
- 1 Comment
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 : |
4018 | Post No. : | 15129 |
It is the 8th year of my association with our Blog. I do not remember the date but it was in the month of July 2011 when I found this musical Blog. I began my formal association with the Blog by posting my first comment sometime in the last week of July 2011. It was much later I came to know that the Blog had then just completed its third birth anniversary.
Congratulation to Atul ji and his bandwagon for completing today the 11th year of the Blog. Over a period of time, our Blog has transformed into a cooperative movement to propagate Hindi film and non-film music especially of the vintage and the golden periods.
My interest in Hindi film music began during the early days of Binaca Geet Mala which used to be broadcast on Radio Ceylon every Wednesday. But it was during the late 1960s that I developed interest in the nitty gritty of Hindi film songs. I became the collector of 78 rpm gramophone records of popular as well as the then rare songs mostly of films released during 1940s to 1960s. However, by 1972-73, I had become disillusioned with my hobby for number of reasons, the main reason being the undesirable practices of a few of the record collectors and sellers.
During 1990s to 2000s, I was virtually cut off from the Hindi film music of the golden era as even my record player became irreparable and the India-made new ones were not available. The radio had become almost redundant. During this phase, I used to regularly watch TV programmes on Doordarshan (for Chitrahaar), Channel [V] and MTV. At that time, I started liking Hindi pop songs (Indipop). Those were the days when Hindi pop songs had become very popular to the extent that they were competing with Hindi film songs in terms of sales of the song albums. Among the Hindi pop singers, Alisha Chinoy, Sunita Rao, Sweta Shetty, Phalguni Pathak, Palash Sen, Diler Mehndi, Lucky Ali, Sonu Nigam and many others became very popular. The popularity of Hindi pop songs attracted some of the already well-established artists like Asha Bhonsle, Nusrat Fateh Ali Khan, Shubha Mudgal, AR Rehman, Majrooh Sultanpuri, Javed Akhtar etc. who got associated with Indipop.
After my final retirement from the service in June 2009, I again got interested in Hindi film music. It was during this phase when I came across this Blog and my interest in the Hindi film music was revived. But the most important contribution of the Blog for me was that my hobby of listening Hindi film songs got expanded to cover non-film songs and research in Hindi films and the music. The Blog has become a learning curve for me insofar as Hindi films and non-films music are concerned.
On the occasion of the 11th birth anniversary of our musical Blog, I have chosen one of my favourite indipop songs of the new millennium. The song is ‘Jahaan Ho Pyaar Ka Mausam’ (2002) rendered by the all-girls VIVA Band consisting of Seema Ramchandani, Pratichee Mohapatra, Neha Bhasin, Mahua Kamat and Anushka Manchanda. The song is written by Javed Akhtar which is set to music by Jatin-Lalit.
The song has a very thought provoking mukhda which has a universal appeal:
jahaan ho pyaar ka mausam
jahaan sab dilon ka ho sangam
jahaan meethi ho sab logon ki zubaan
haan
mujhe aise nagar hai jaana
main aisa nagar dhoondh loongi kahin na kahin
When I heard this song recently after a long gap, it immediately struck me that the mukhda of the song was very apt for our Blog. For me, our Blog is the place where there is an atmosphere of love, union of hearts and minds. And where everyone speaks in a language of respect.
I should give some background about the song under discussion. In 2002, Channel [V] decided to promote pop stars in India. They started the first Indian version of the International Popstars Talent Show in 2002 in which 5 girls got selected. They formed a band named as VIVA. Their first album, VIVA produced by Times Music and Channel [V] was released in June 2002 which had 8 songs, including the song under discussion. All the songs were written by Javed Akhtar but they were set to music individually by Shankar-Ehsan-Loy, Jatin-Lalit, Sandeep Chowta, Raju Singh, Kersi Lord and Ashtosh-Dhruv. The album received a very good response and in the first year itself, sales of albums crossed 5 lakhs.
VIVA Band got split within two years of its formation despite unprecedented success of its two albums. Probably, the girls in the band could not handle their sudden fame. Later, all of them pursued their solo careers in music and the related fields.
I had watched the video of the song under discussion umpteen times on TV during 2002-03. I always liked it for its meaningful lyrics and comparatively soft musical interludes than some of other Indipops.
For those who had watched the video of the song on TV in early 2000, it will be a nostalgic experience.
Audio
Video
Song – Jahaan Ho Pyaar Ka Mausam (NFS – VIVA) (2002) Singer – Seema Ramchandani, Pratichee Mohapatra, Neha Bhasin, Mahua Kamat, Anushka Manchanda, Lyrics – Javed Akhtar, MD – Jatin-Lalit
Lyrics
oou oou oou oou oou
oou oou oou oou
jahaan ho pyaar ka mausam
jahaan sab dilon ka ho sangam
jahaan meethi ho sab logon ki zubaan
haan
jahaan ho pyaar ka mausam
jahaan sab dilon ka ho sangam
jahaan meethi ho sab logon ki zubaan
haan
jahaan ho pyaar ka mausam
jahaan sab dilon ka ho sangam
jahaan meethi ho sab logon ki zubaan
haan
mujhe aise nagar hai jaana
main aisa nagar dhoondh loongi
kahin na kahin
jahaan ho pyaar ka mausam
jahaan sab dilon ka ho sangam
jahaan meethi ho sab logon ki zubaan
haan
mujhe aise nagar hai jaana
main aisa nagar dhoondh loongi
kahin na kahin
jahaan ho pyaar ka mausam
jahaan sab dilon ka ho sangam
baaton mein ho ghul gayi
saare geeton ki jaise narmiyaan
aankhon mein ho yun khushi
moti bhari hon jaise seepiyaan
jahaan goonje prem shehnaai
jahaan zindagi le angdaai
jahaan har ghadi khushi ki ho daastaan
jahaan goonje prem shehnaai
jahan zindagi le angdaai
jahan har ghadi khushi ki ho daastaan
haan
mujhe aise nagar hai jaana
main aisa nagar dhoondh loongi
kahin na kahin
jahaan ho pyaar ka mausam
jahaan sab dilon ka ho sangam
rou rou rou rou rou
rou rou rou rou
rou rou rou rou
aisa ho nagar jahaan
chimni ka dhuaan phaila na ho
raahon mein hawaaon ka
aanchal zara bhi maila na ho
jahaan thande thande ho saaye
jahaan haule haule neend aaye
jahaan khwaab khwaab lagta ho har sama
jahaan thande thande ho saaye
jahaan houle houle neend aaye
jahaan khwaab khwaab lagta ho har sama
haan
mujhe aise nagar hai jaana
main aisa nagar dhoondh loongi
kahin na kahin
jahaan ho pyaar ka mausam
jahaan sab dilon ka ho sangam
jahaan meethi ho sab logon ki zubaan
haan
mujhe aise nagar hai jaana
main aisa nagar dhoondh loongi
kahin na kahin
jahaan ho pyaar ka mausam
jahaan sab dilon ka ho sangam
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
ऊ ऊ ऊ ऊ ऊ
ऊ ऊ ऊ ऊ
जहां हो प्यार का मौसम
जहां सब दिलों का हो संगम
जहां मीठी हो सब लोगों की ज़ुबान
हाँ
जहां हो प्यार का मौसम
जहां सब दिलों का हो संगम
जहां मीठी हो सब लोगों की ज़ुबान
हाँ
जहां हो प्यार का मौसम
जहां सब दिलों का हो संगम
जहां मीठी हो सब लोगों की ज़ुबान
हाँ
मुझे ऐसे नगर है जाना
मैं ऐसा नगर ढूंढ लूँगी
कहीं ना कहीं
जहां हो प्यार का मौसम
जहां सब दिलों का हो संगम
जहां मीठी हो सब लोगों की ज़ुबान
हाँ
मुझे ऐसे नगर है जाना
मैं ऐसा नगर ढूंढ लूँगी
कहीं ना कहीं
जहां हो प्यार का मौसम
जहां सब दिलों का हो संगम
बातों में हों घुल गई
सारे गीतों की जैसे नर्मियाँ
आँखों में हो यूं खुशी
मोती भरी हों जैसे सीपीयाँ
जहां गूँजे प्रेम शहनाई
जहां ज़िंदगी ले अंगड़ाई
जहां हर घड़ी खुशी की हो दास्ताँ
जहां गूँजे प्रेम शहनाई
जहां ज़िंदगी ले अंगड़ाई
जहां हर घड़ी खुशी की हो दास्ताँ
हाँ
मुझे ऐसे नगर है जाना
मैं ऐसा नगर ढूंढ लूँगी
कहीं ना कहीं
जहां हो प्यार का मौसम
जहां सब दिलों का हो संगम
रू रू रू रू रू
रू रू रू रू
रू रू रू रू
ऐसा हो नगर जहां
चिमनी का धुआँ फैला ना हो
राहों में हवाओं का
आंचल ज़रा मैला ना हो
जहां ठंडे ठंडे हों साये
जहां हौले हौले नींद आए
जहां ख्वाब ख्वाब लगता हो हर समा
जहां ठंडे ठंडे हों साये
जहां हौले हौले नींद आए
जहां ख्वाब ख्वाब लगता हो हर समा
हाँ
मुझे ऐसे नगर है जाना
मैं ऐसा नगर ढूंढ लूँगी
कहीं ना कहीं
जहां हो प्यार का मौसम
जहां सब दिलों का हो संगम
जहां मीठी हो सब लोगों की ज़ुबान
हाँ
मुझे ऐसे नगर है जाना
मैं ऐसा नगर ढूंढ लूँगी
कहीं ना कहीं
जहां हो प्यार का मौसम
जहां सब दिलों का हो संगम
Phatela jeb sil jaayegaa
Posted on: July 6, 2019
This article is written by Gajendra Khanna, 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 : |
4005 | Post No. : | 15109 | Movie Count : |
4150 |
For today’s post, I have chosen a movie who’s two namesakes are already there on the blog and thanks to their popularity they have even been yippeed already. However, this 2002 release and another namesake are perhaps waiting for me to open their account on the blog.
This film like many of the movies (phenomena particularly seen in 1930s) was inspired by a play. The director Vipul Amrutlal Shah adapted this movie from his own Gujarati play Andhalo Pato (Blindman’s Bluff). He has done these kind of adaptations later as well. I feel that its certainly a good idea to adapt movies from plays, novels, short stories etc as these often have wonderful ieas in them around which screenplays can be built. A good script will always give strength to a movie. Music no doubt is important to a movie but it can only do so much alone. I hope our filmmakers today will focus more on continuing this trend of re-using good stories rather than re-using good songs to make something else out of them!
The film tells the story of Vijay Singh Rajput (Bachchan) a hard-working but temperamental man who has spent all his life working for one bank and even achieving them international recognition. When Vijay loses his mind and goes on a violent rampage beating up another employee, he is subsequently fired. He decides to take vengeance by organising a full on heist and having the same bank robbed by three blind men as no one will suspect them. The film was quite appreciated when it released.
The detailed plot was as follows:-
Obsessive and temperamental bank manager Vijay Singh Rajput (Amitabh Bachchan) loses his job for badly beating up a bank clerk who tried to embezzle money. Angered at losing his job he plots revenge on the bank by intending to stage a heist. He employs three blind men – Vishwas (Akshay Kumar), a blind person who has the power of the sixth sense, Elias (Paresh Rawal) and Arjun (Arjun Rampal) — when, after passing by school for the blind, he understands that blind people can be trained to do things like sighted people. He blackmails and enlists the help of Neha (Sushmita Sen) who is a teacher at the school to train the trio to do the seemingly impossible heist. He chose blind people because they, as thieves, would never be suspected as noone would believe blind people can rob a bank.
The bank robbery is successful, with the jewels safely captured by the three. However, in the process of robbing the bank, Elias’s face is exposed, captured in footage and prompting citywide posters with his face. Meanwhile, Mr. Rajput anxiously tries to extort information from Vishwas and Arjun regarding the jewels and their location. Unable to answer, as they did not collect the items, they try to defer the answer by changing subjects. Ultimately, it is revealed that Elias is the one with complete knowledge of the box’s belongings. Meanwhile, tensions rise between Rajput and Neha; the latter resists the abusive nature of Rajput and his obnoxious harassing of Vishwas and Arjun. Arjun confesses his love to Neha, who reveals that she is associated in the plot only for the well-being of her younger brother, Rahul, who has been kidnapped by Rajput.
In a furious attempt, the police try to locate Elias. Elias lands up at Rajput’s place after getting drunk. Rajput tries several ways to force Elias into revealing the location of the box. Unable to generate an answer, he slams Elias, who falls on the ground and injures his eyes, causing bleeding. Even in this scenario, Rajput tries to get the information, but Vishwas and Arjun resist and claim that they will reveal the location if Elias is treated by paramedics. Rajput sends them to get Dr. Siddiqui. Vishwas senses that Elias is in danger and Arjun and Vishwas double back to the training center to save him. Rajput starts to harass Elias by tickling him to force him to reveal the answer.
In the action, Elias falls off the balcony and dies. Unable to bear the shock of the death, Neha pulls a gun on Rajput and threatens to reveal everything to the police if he does not leave her and the other two alone. Rajput notifies Neha that all these acts were done under her training, and he is spotless. Unable to bear this fact, Neha shoots herself, just as Vishwas and Arjun return after hearing loud screams.
Both men gang up on Rajput and try to attack him. Once Rajput realises that the men are ignorant about the jewels, he starts shooting them. The police arrive, and confusion ensues. Vishwas and Arjun come out and claim that Rajput is abusing them while he claims that there is a big conspiracy involving the two men, Neha and Elias. Unable to believe that blind men can ransack a bank and amidst Rajput’s impassioned defence, the police start getting suspicious. In the heat of defending himself, Rajput reveals that he had sent over Elias, thus confessing his crime.
In the end, Rajput has been locked away. Vishwas and Arjun decide to take care of Rahul and ultimately find the jewels – they were hidden in Elias’ musical instrument.
This would appear as the typical Hindi film end where the evil man ends up in jail. However, old timers may be remembering the curious case of Bandini having two endings being shot. As told in Bioscope ki Baaten on Vividh Bharti’s pitara programme long back Bimalda could not decide what end to give the movie. One option was to send Nutan’s character to hear new beau played by Dharmendra and the other was for her to go to her old love Ashok Kumar. As per announcer Kamal Sharma who hosted it as per my memory, Bimalda shot both the endings and showed it to a selected audience (perhaps the distributors??) who decided that the ending where She goes to side of the ailing Ashok Kumar would be more apt.
However in this movie’s case, the film makers had another ending in mind which was released in the overseas version! In the overseas viewers version, Rajput bribes the cop (Aditya Pancholi) and is set free, in return to get him his share and gets his manager Bhandari (Ajit Vachani) arrested. Vishwas and Arjun are sitting in a train (waiting for it to depart) and Rajput is standing on the platform with a smile on his face. He then warns them that “A dangerous game is about to begin”, after which Vishwas and Arjun both draw their guns, and the film ends.
Perhaps the film makers felt that overseas audience would better accept the corrupt angle while also leaving room for a sequel which never happened. Obviously, the alternate ending overseas version was longer in length too.
Interestingly, when the movie released, the pirated movies would often come via the Dubai route and in India, people going to cinemas and watching it at home were seeing the different endings! The movie was a big hit. I especially loved the way Sushmita Sen matched up to Amitabh Bachchan during her very effective role. Its sad that we have got to see so less of her in films. Bollywood, She hasn’t been seen since Chingaari (2006). Are you listening??
Before, I come to the chosen song itself, I must mention a very curious case of P-stats for the song. One man who “appears” as if He is yet to make his debut on the blog as far as one can see has not yet made his debut on the blog is making his debut with this song post. What’s interesting is that He’s making his debut on the blog as a singer, a composer as well as what he’s most known as – a Lyricist! Another interesting thing is that his co-composers in the song are a well known composer duo as well as a talented, now sadly deceased, solo composer. So this song for which he has written the lyrics has four composers! That’s quite rare must say!! I was surprised when I first discovered this and had to get hold of the “record” i.e. the CD to confirm the same! This gentleman has not only been a singer, composer and lyricist but also contributed to films as a dialogue writer as well as an actor!
You can see the CD for the credits here on Amazon.
I hope I have made you curious about the identity of the artist! You’ve probably heard some songs of his. He’s known for reviving Bambaiyya style songs in films like Ghulam (1998) and Satya (1998). For many years he was in demand for his Bambaiyya lyrics! His name is of course Nitin Raikwar.
How he came to write probably his biggest hit which kick started his lyricist career is a quite interesting incident. The year was 1996. Actor and filmmaker Neeraj Vora recommended that he go and meet ‘Mr Perfectionist’ Aamir Khan. Aamir was shooting on the sets of Ghulam at Sanpada in Navi Mumbai. He needed someone to write some funny shayaris for a character in his next film Sarfarosh. When Nitin reached there he found that due to some technical slag the whole unit was on standby while it was being rectified. Seeing Aamir free, Nitin went up to him and requested him to give a listen to one of the songs he had written. Aamir heard it and immediately called the director Vikram Bhatt. They both found the song unusual but nice. That song which got included in the movie was ‘Aati Kya Khandala’ which became a super duper hit (It was sung by Aamir himself with Alka Yagnik. Its not yet on the blog and I’m reserving it for a future post by me. Me. Me. Peevsie’s mom and other’s please note 😀 ). This song will probably feature in any playlist of Bambaiyya Hindi songs.
He was to follow it up with many hits. One of these is already on our blog. That is the famous Apun Bola Tu Meri Laila from Josh (2000) which has already had a post by Peevsie’s mom nearly 6 years back on 20th August here:-
In the tagging it has got miscredited to Sameer (who also wrote for the movie) and thus it became his “secret debut” on the blog (the writeup does mention him in one place!). The correctness of the credit can be easily seen on the CD here
Some of his other popular songs include Excuse Me Kya Re (from Style 2001) and Khallas from RGV’s Company (2002). He penned for many more movies being sought out for the Bambaiyya flavour. He was also called for children’s movies like Chhota Chetan (1998) and Jajantaram Mamantaram (2003).
He talked about all this in a 2017 interview with Mid Day.
To quote from it:-
Writing in tapori language was a skill that Raikwar developed after he moved to Mumbai from Pune in 1987. By then, he had already tried his hand at singing in orchestras, something his father wanted him to do since he was a successful show organiser. “But I didn’t see myself singing in orchestras all my life. I was aware of the risk and struggle involved in Bollywood, but I was adamant to make it,” he says. With little money to spend, Raikwar’s story reads like that of so many others who move to Mumbai from smaller towns to try their luck. “When a man is struggling, he spends time with people who are like him. So I would sit at chai tapris and talk to rickshawallas, drivers and daily wage labourers. Because I’m talkative and an extrovert by nature, I could strike up a conversation with just about anyone. That’s how I picked up the slang,” he says. Even when he didn’t have projects, Raikwar would write and seek feedback from his friends, some of whom were already working in the film industry as supporting actors. And it’s through their assistance that he finally met Anil Kapoor on the sets of Ladla. “I consider that the turning point in my life. Anil Kapoor felt I had potential and introduced me to directors and filmmakers,” he says. Raikwar’s first song was Teri Tirchi Nazar Main Hai Jaadoo for Anil Kapoor-starrer Loafer in 1996. But it was Aati Kya Khandala that earned him fame like no other. In fact, it helped him bag a Shah Rukh Khan film soon after. “I remember writing Apun Bola in 15 minutes after I heard the script. I wanted it to reflect Goan culture so I included words like kokum curry. You’ll also find words like ‘hoinga’ and ‘karenga’, just the way a Catholic aunty would say them,” he says.
In 2014, Raikwar had to put all work on the backburner for two years due to an illness. It began with bouts of headache, and he was later diagnosed with subdural hematoma of the brain. “The clots had to be removed through surgery. For a long time, I couldn’t work because of the illness. I’m fine now, and hope to get back to what I do best,” he says.
“I think what worked for me at that point was the novelty factor. People dig variety. For instance, we may love our vada pav, but when the burger made an entry in early 2000, we started queuing up for it. It’s the same with songs,” he says. These days, Raikwar is working on his debut album for which he has collaborated with Shrikant Ahire, one of Maharashtra’s foremost shadow dancers. He plans to release a single from it next month. The song is called Khan Sahab Apne Ladke Ko Sambhal. “I thought I’d write in a manner that people identify with. I can’t write in a flowery and larger-than-life way. It’s not me.”
For some reason, the album and song are yet to release though the 2017 interview suggested it would happen soon. No other work from him has come too as far as I can see.
Coming to the song post, It’s a very danceable song composed by our composer ‘quartet’ of Nitin Raikwar, Aadesh Shrivastav and Jatin-Lalit. Joining Nitin Raikwar sing in the movie are Aadesh Shrivastav himself and Actor/Singer Arun Bakshi who you all stalwarts probably already know about from his multiple movies. Written in his usual tapori style, the song for me at its core is quite a philosophical song asking one to not worry about our troubles and that we will one day have everything we want. The song has a nice uplifting mood to it that I love to listen when feeling a bit down sometimes. The feelings of the song somehow remind me of Manna Dey’s rendition of ‘Door Tera Gaon Ho, Thake Tere Paaon Hon Chalta Chal’ from movie Fashionable Wife (1959) which too I am fond of.
Here is the song for you all Bambaiyya Hindi lovers:-
Its picturised on Akshay Kumar, Arjun and Paresh Rawal. The song had become quite an anthem in those days just like today we have Apna Time Aayega but probably in a larger way. A view of the youtube comments of the song will prove that.
Karan Arora says, “My dad is a GM in maruti showroom now……. But 15 years ago…we had a financial crisis…He had to work as a driver under an advocate….we use to live on rent in one room of a govt. Apartment. I was 5 years old At that time.. Jab bhi main dukhi hota tha….he always use to say ” fatela jeb sil jayega…. Jo chahega mil jayega….. Tere bhi din ayenge chhote…. ” to encourage me… But us time esa lagta tha ki future hi nahi hai hamaara…but here we are… Living happily now… So I’m just sharing my story with you guys to encourage everyone who’s struggling in life right now….. Abhi main tum log ko kehta hoon “fatela jeb sil jayega… Jo chahega mil jayega…. Tere bhi din ayenge chhote”……bs rukne ka nahi…. Chalte raho…. 💙💙💙”
Saurabh Mahambrey says, “If three blind guys can sing about a better tomorrow and successful rob a bank …. You can do anything 😂😂😂”
Enceladus says, “2019 anyone 😂 this song is for eternal struggle”
Shubh Patil says, “Best way to get rid of anxiety attacks.. 2019 still here😁😁”
CRT says, “Whenever I feel down, I remember this song. And half of my tension goes away 😃”
Ansh Patil says, “Iconic song.. Amazing movie.. Specially Paresh Rawal rocks”
Shubham Hatekar says, “This song encourages me more than “Apna Time ayega”. Anyone feels same.”
I certainly feel the same. Stay motivated and keep going. You are stronger than the sum of all your troubles. Never forget that.
Video
audio
Song-Phatela Jeb Sil Jayega (Aankhen)(2002) Singers-Arun Bakshi, Aadesh Shrivastav, Nitin Raikwar, Lyrics-Nitin Raikwar, MD-Nitin Raikwar, Aadesh Shrivastav, Jatin-Lalit
Chorus
Lyrics
Phatela Jeb Sil Jaayega
Jo Chaahega Mil Jaayega
Tere Bhi Din Aayenge Chhote
Achcha Khaasa Hil Jaayega
Rukne Ka Nahin
Thakne Ka Nahi
Life Mein Chalte Rehne Ka
Are Bheja Kyon Sarkaane Ka
Sahi Bolta Hai Sahi Bolta Hai
Tension Kaayko Lene Ka
Sahi Bolta Hai Sahi Bolta Hai
Phatela Jeb Sil Jaayega
Jo Chaahega Mil Jaayega
Tere Bhi Din Aayenge Chhote
Achcha Khaasa Hil Jaayega
Rukne Ka Nahin Thakne Ka Nahin
Life Mein Chalte Rehne Ka
Are Bheja Kyon Sarkaane Ka
Sahi Bolta Hai Sahi Bolta Hai
Tension Kaayko Lene Ka
Sahi Bolta Hai Sahi Bolta Hai
Khaane Ka Hai Chicken Curry
Usko Mangta Patti Hari
Jeb Main Tere Dus Rupiya
Peele Cutting Khaale Bhajiya
Khaane Ka Hai Chicken Curry
Usko Mangta Patti Hari
Jeb Main Tere Dus Rupiya
Peele Cutting Khaale Bhajiya
Kismat Pe Rone Ka Nahin
calendar Badalte Rehne Ka
Are Bheja Kyon Sarkaane Ka
Sahi Bolta Hai Sahi Bolta Hai
Are Tension Kaayko Lene Ka
Sahi Bolta Hai Sahi Bolta Hai
Aaj To Hai Andhera
Kal Hoga Ujaala
Are Apni Diwali Hogi
Kisi Aur Ka Hoga Diwala
Kal Dekh Lena Paisa
Ho Ga Goni Bhar Kar
Income Tax Officer
To Haath Dhokhe Hi
Peeche Pad Jaayega
Ha Ha Ha
Phatela Jab Sil Jaayega
Jo Chaahega Mil Jaayega
Tere Bhi Din Aayenge Chhote
Achcha Khaasa Hil Jaayega
Rukne Ka Nahin
Thakne Ka Nahin
Life Mein Chalte Rehne Ka
Are Bheja Kyon Sarkaane Ka
Sahi Bolta Hai Sahi Bolta Hai
Are Tension Kaayko Lene Ka
Sahi Bolta Hai Sahi Bolta Hai
Phatela Jeb Sil Jaayega
Jo Chaahe Mil Jaayega
Are Bhalta Hich Pakda Baap
Line Mein Aa
Line Mein Aa
Dhin Taak Dhin Taak
Tere Bhi Din Aayenge Chhote
Achcha Khaasa Hil Jaayega
Rukne Ka Nahni Thakne Ka Nahin
Life Mein Chalte Rehne Ka
Life Mein Chalte Rehne Ka
ha
Life Mein Chalte Rehne Ka
Are Bheja Kyon Sarkane Ka
Sahi Bolta Hai Sahi Bolta Hai
Tension Kaayko Lene Ka
Sahi Bolta Hai Sahi Bolta Hai
Sahi Bolta Hai Sahi Bolta Hai
Sahi Bolta Hai Sahi Bolta.Hai
Sahi Bolta Hai Sahi Bolta Hai
—————————————————–
Devnagri Lyrics (Provided by Gajendra Khanna)
—————————————————-
फटेला जेब सिल जायेगा
जो चाहेगा मिल जाएगा
तेरे भी दिन आएंगे छोटे
अच्छा खासा हिल जाएगा
रुकने का नहीं थकने का नहीं
लाईफ में चलते रहने का
अरे भेजा क्यों सरकाने का
सही बोलता है सही बोलता है
टेन्शन कायेको लेने का
फटेला जेब सिल जाएगा
जो चाहेगा मिल जाएगा
तेरे भी दिन आएंगे छोटे
अच्छा खासा हिल जाएगा
रुकने का नहीं थकने का नहीं
लाईफ में चलते रहने का
अरे भेजा क्यों सरकाने का
सही बोलता है सही बोलता है
टेन्शन कायको लेने का
सही बोलता है सही बोलता है
खाने का है चिकन करी
उसको मंगता पत्ती हरी
जेब में तेरे दस रुपया
पीले कटिंग खा ले भजिया
खाने का है चिकन करी
उसको मंगता पत्ती हरी
पीले कटिंग खा ले भजिया
किस्मत पे रोने का नहीं
क्या लेनदार बदलते रहने का
अरे भेजा क्यों सरकाने का
सही बोलता है सही बोलता है
अरे टेन्शन कायको लेने का
सही बोलता है सही बोलता है
आज तो है अन्धेरा कल होगा उजाला
अरे अपनी दिवाली होगी
किसी और का होगा दिवाला
कल देख लेना पैसा
होगा गोनी भर कर
इन्कम टैक्स आफिसर
तो हाथ धो के ही पीछे पड़ जाएगा
हा हा हा
फटेला जेब सिल जाएगा
जो चाहेगा मिल जाएगा
तेरे भी दिन आएंगे छोटे
अच्छा खासा हिल जाएगा
रुकने का नहीं थकने का नहीं
लाईफ में चलते रहने का
अरे भेजा क्यों सरकाने का
सही बोलता है सही बोलता है
अरे टेन्शन कायको लेने का
सही बोलता है सही बोलता है
फटेला जेब सिल जाएगा
जो चाहे मिल जाएगा
अरे भलता हीच पकड़ा बाप
लाईन में आ लाईन में आ
धिन ताक धिन ताक
तेरे भी दिन आएंगे छोटे
अच्छा खासा हिल जाएगा
रुकने का नहीं थकने का नहीं
लाईफ में चलते रहने का
लाईफ में चलते रहने का
लाईफ में चलते रहने का
अरे भेजा क्यों सरकाने का
सही बोलता है सही बोलता है
टेन्शन कायको लेने का
सही बोलता है सही बोलता है
सही बोलता है सही बोलता है
सही बोलता है सही बोलता है
सही बोलता है सही बोलता है
Mera rang de basanti chola
Posted on: March 23, 2019
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 : | 3900 | Post No. : | 14950 |
When I was in school, we had some “boring” subjects like, History, Geography, Social Science etc. These were “arts” subjects and were considered low scoring as well.
When I think about it now, I realise that History text book basically used to be like a collections of a few chapters and each chapter was like a story of a particular era. For instance, first chapter was Ramayana. second Chapter was Mahabharata. Third chapter was Mauryavansh (Chandragupta Maurya , Samrat Ashok etc. A few chapters later, we were into Mughal era (Akbar, Shahjahaan etc, and then British Era.
In British era, we had discussion on freedom struggle. In freedom struggle, we basically read that non violent movement by Mahatma Gandhi earned India their freedom. There was passing mention of Bhagat Singh, Chandrashekhar Azad, Subhash Chandra Bose etc as well.
Then we were told that British were defeated by the non violent movement of Gandhi and they gave India independence, but at the last moment, they played a dirty trick and divided the country into two.
Many decades on, when we can gain information from sources other than test books published by the government or gooverment approved publishers, we can have a more holistic picture of things as they unfolded. We now have access to other sources as well as so we can form our own opinion on what was happening those days.
It could be seen that the country, like now, had people with different ideologies and people followed their own ideologies. There were followers of Mahatma Gandhi, but then there were followers of other leaders as well. We have seen that Subhash Chandra Bose had a tremendous following. And his philosophy of gaining independence for India was different from that of Mahatma Gandhi. Since history is written by “victors” and somehow Mahatma Gandhi’s non violent movie has been credited as the reason for India gaining independence so Indian freedom struggle has been penned accordingly.
When one thinks about it dispassionately, one realises that British were no saints who would somehow be shamed by “non violent” movements and would grant independence to India out of shame. There were many factors that made it increasingly difficult for them to continue to rule India. It was a combination of all these factors that finally broke the back of camel and Britain finally granted independence to India and left at the earliest opportunity.
The major cause why Britain left was that two world wars had taken place and it had taken a heavy toll on Britain financially. Britain was the sole superpower of the world before the first world war. After the end of the second wold war Britain was economically on the verge of collapse. They had to take loan from USA the new superpower of the world to keep their economy afloat.
India had contributed a good number of armymen to fight the world wars for Britain. It was the understanding that Britain would grant Indian independence after the world war.
Moreover, with Media (radio, newspapers etc) becoming influential, world opinion was turning in favour of freedom of India and it was becoming difficult for Britain to hang on to its colonies.
When we look at history, we find India was becoming ungovernable from early 1900s, because there were many cases of armed resistance from all over the country.
Not all freedom fighters were moderates. There were radicals as well. In fact , there was a trio of radicals popularly called Lal, Bal, Pal- viz Lala Lajpat Rai, Bal Gangadhar Tilak, and Bipin Chandra Pal. They incidentally, belonged to three major regions of the country and helped spread their message of armed struggle in their regions. Taken together, that was almost entire India. They advocated civil agitation and direct revolution to overthrow the British Empire.
British Government divided Bangal province and that caused widespread resentment among people. The protest against it was violent and quite a few protests died, some in police custody (viz Brahmabhandav Upadhyay) while some were hanged (Khudiram Bose, Bagha Jatin).
Then Draconian Rowlatt act was passed in 1919. Protest against this act led to the Jallianwala Massacre on 13 april 1919. The main perpetrator Dyer was forced to retire but he was hailed as a hero in Britain. Whatever goodwill Indians had for British government evaporated totally.
During 1920s, several armed resistances happened all over the country. One of the more prominent of them was Kakori Case (1925) in UP. Government treasury was looted while it was being carried in a train. In this case, three revolutionaries, namely Ramprasad Bismil, Rajendra Lahiri, Raushan Singh and Ashfaqullh.
It is noticeable that such activities were happening all over India, and in all these cases some people were prompmtly being found guilty and were being sentenced to death, no less. So many people were sentenced to death those days that the claim of Indian freedom fight being mostly non violent does not sound too convincing.
On March 23, 1931, Bhagat Singh along with his associates Sukhdev Thapar and Shivaram Rajguru were hanged to death for the killing 21-year-old British police officer John Saunders. They mistook Saunders for Superintendent James Scott, who was responsible for leading a lathi charge against Lala Lajpat Rai, who along with his followers was protesting against the Simon Commission.
Lala Lajpatrai was mortally injured in a Lathi charge on him by police led by Superintendent James Scott, when Lala Lajpatrai was leading a protest march against Simon Commision. Death of Lala Lajpat Rai stung Indians. Bhagat Singh, Bhagat Singh along with his associates Sukhdev Thapar and Shivaram Rajguru decided to avenge it by killing James Scott, but instead they killed 21-year-old British police officer John Saunders.
The case was heard on the court of Lahore Case Tribunal from 5th may 1930 and death penalty was pronounced on 27 october 1930.
Bhagat Singh along with Sukhdev Thapar and Shivaram Rajguru were hanged to death this day 88 years ago (23 march 1931).
Several movies have been made on Bhagat Singh. In all these movies, the song “Mera rang de basanti chola” gets played prominently. In these movies the three revolutionaries are seen marching to the gallows while singing this song (or while this song plays in the backgound).
Here is this song from “The Legend of Bhagat Singh”(2002). This song is sung by Sonu Nigam and Manmohan Waris. Sameer is credited as the lyricist, though this lyrics could well be a traditional song. Music is composed by A R Rahman.
Lyrics of this song were sent to me by Avinash Scrapwala.
Video
Song-Mera rang de basanti chola (the Legend of Bhagat Singh)(2002) Singers-Sonu Nigam, Manmohan Waris, Lyrics-Sameer,MD-A R Rahman
Both
Chorus
Lyrics(Provided by Avinash Scrapwala)
Mera rang de ae ae ae ae ae ae ae ae
Mera rang de ae basanti chola
maaye rang de ae
Mera rang de
basanti chola
maaye rang de
Mera rang de
basanti chola rang de
rang de ae ae
rang de
basanti chola
maaye rang de
ho o o o o o°°°°°
o o o o o
o o o o o o o o o o
nikley hai veer jiyaale
yoon apnaa seena taane
hans hans ke jaan lutaane
aazaad saweraa laane ae
mar ke kaise jeete hain
is duniyaa ko batlaane
tere laal chaley hain maaye
ab teri laaj bachaane
mar ke kaise jeete hain
is duniyaa ko batlaane
tere laal chaley hain maaye
ab teri laaj bachaane
aazaadi ka shola banke
khoon ragon mein dolaa aa
Mera rang de ae ae ae ae ae ae ae ae°°°°°
Mera rang de ae basanti chola
maaye rang de ae
Mera rang de
basanti chola
maaye rang de ae
Mera rang de
basanti chola rang de
rang de ae ae
rang de
basanti chola aa maaye rang de
din aaj ka badaa suhaana
Mausam bhi badaa sunehra
Ham sar pe baaandh ke aaye ae
Balidaanon ka ye sehra
Betaab hamaare dil mein
ik masti si chhayai hai
Ae desh alvidaa tujhko
Kehne ki ghadi aayi hai
Mehkenge teri fizaan mein
Ham banke hawaa ka jhonkaa
Kismat waalon ko miltaa aa
Aise marne ka mauka
Nikli ee hai baaraat
sajaa hai
Inquilaab ka dolaa aa
Mera rang de ae ae ae ae ae ae ae ae °°°°°
Mera rang de ae ae ae ae ae ae ae ae °°°°°
Mera rang de basanti chola rang de
rang de ae ae
rang de
basanti chola
maaye rang de ae
Mera rang de
basanti chola rang de
rang de ae ae
rang de
basanti chola maaye rang de ae ae ae
___________________________________________________________
Devnagri Script lyrics (Provided by Avinash Scrapwala)
__________________________________________________________
मेरा रंग दे ए ए ए ए ए ए ए°°°°°
मेरा रंग दे ए बसंती चोला माये रंग दे ए
मेरा रंग दे
बसंती चोला माये रंग दे ए
मेरा रंग दे
बसंती चोला रंग दे
रंग दे ए
रंग दे
बसंती चोला माये रंग दे
हो ओ ओ ओ ओ ओ°°°°°
ओ ओ ओ ओ ओ
ओ ओ ओ ओ ओ ओ ओ ओ ओ ओ
निकले है वीर जियाले
यूं अपना सीना ताने
हंस हंस के जान लूटाने
आज़ाद सवेरा लाने ए
मर के कैसे जीते है
इस दुनिया को बतलाने
तेरे लाल चले है माये
अब तेरी लाज बचाने
मर के कैसे जीते है
इस दुनिया को बतलाने
तेरे लाल चले है माये
अब तेरी लाज बचाने
आज़ादी का शोला आ बनके खून
रगों में डोला आ
मेरा रंग दे ए ए ए ए ए ए ए°°°°°
मेरा रंग दे ए बसंती चोला माये रंग दे ए
मेरा रंग दे
बसंती चोला माये रंग दे ए
मेरा रंग दे
बसंती चोला माये रंग दे
रंग दे ए
रंग दे
बसंती चोला आ माये रंग दे
दिन आज का बड़ा सुहाना
मौसम भी बड़ा सुनेहरा
हम सर पे बाँध के आये ए
बलिदानों का ये सेहरा
बेताब हमारे दिल में
इक मस्ती सी छायी है
अय देश अलविदा तुझको
कहने की घडी आयी है
महकेंगे तेरी फिजा में
हम बनके हवा का झोंका
किस्मत वालों को मिलता आ
ऐसे मरने का मौका
निकली ई है बरात सजा है
इन्किलाब का डोला आ
मेरा रंग दे ए ए ए ए ए ए ए°°°°°
मेरा रंग दे ए ए ए ए ए ए ए°°°°°
मेरा रंग दे ए बसंती चोला रंग दे
रंग दे ए
रंग दे
बसंती चोला माये रंग दे ए
मेरा रंग दे
बसंती चोला रंग दे
रंग दे
रंग दे ए
रंग दे
बसंती चोला माये रंग दे ए ए ए
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