Archive for the ‘Songs of 2003’ Category
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5682 | Post No. : | 18197 |
‘Haasil’ (2003) was produced under the banner of Karma Networks Productions and was directed by Tigmanshu Dhulia who also wrote the story, screenplay and dialogues. The cast included Jimmy Shergill, Hrishita Bhatt in the lead roles supported by Irfaan Khan, Ashutosh Rana, Rajpal Yadav. Varun Bundela, Sharat Saxena, Sudhir Pandey, Raj Zutshi, Tinu Anand, Brijendra Kala, Navani Parihar, Atmaram Bhende etc. The film is a political thriller which starts with students’ politics with a link to the national politics.
This was Tigmanshu Dhulia’s first film as a director and his first collaboration with Irfaan Khan in a film after which they worked together in some more films such as, ‘Charas’ (2004), ‘Paan Singh Tomar’ (2012), ‘Sahab Biwi Aur Gangster’ (2011), ‘Sahab Biwi Aur Gangster Returns’ (2013). On the basis of some of the films I have watched, Tigmanshu Dhulia’s treatment of the story in terms of presentation is quite different from the mainstream Bollywood films. At the same time, his films cannot be called the ‘middle of the road’ or ‘parallel’ cinemas. Most of his films are action/crime thrillers.
Prayagraj born Tigmanshu Dhulia’s family belong to Pauri in Uttarakhand and have no connection with films except that his father, K C Dhulia who was a judge in Allahabad High Court was fond of watching both Hindi and English films. Sometimes, the young Tigmanshu would accompany his father in film theatres who would explains to him the nuances of the films’ stories. His mother was a Professor of Sanskrit in Allahabad University. His schooling was done in Prayagraj and later in Dehradun.
Tigmanshu Dhulia is the youngest among three brothers. His eldest brother, Sudhanshu Dhulia is currently a judge in the Supreme Court while the elder brother, Himanshu Dhulia was a Captain in Indian Navy.
During his college years, Tigmanshu Dhulia started participating in the college dramas as an actor. He was also a member of the college’s music band in which he used to play guitar. After completing his B.A. in English and Economics from Allahabad University in 1986, he took admission for post-graduation in National School of Drama, New Delhi. During his last year in NSD, Delhi, Tigmanshu’s childhood girlfriend, Tulika ran away from her home to get married to him when her parents were arranging marriage with someone else. They got married in 1989 at an Arya Samaj temple followed by a court marriage. Tulika Dhulia now works as Costume designer mostly for her husband’s films.
After completion of his post-graduation from NSD, Tigmanshu Dhulia shifted to Mumbai with his wife sometime in 1990 and stayed with his elder brother, Himanshu Dhulia who was that time attached to INS Hamla. So, his basic requirements of food and shelter were taken care of. But he was still unemployed.
In those days, BI was starting a new private TV channel for broadcasting TV programmes through cables. So, Tigmanshu Dhulia got an offer to produce and direct a TV serial for it. ‘Hum Bambai Nahi Jaayenge’ (1993) was his first TV serial for BI TV, directed by him. However, the series could not be telecast as BI TV had some problems with the cable operators. So, the series remained unreleased. However, his work as a writer-director was appreciated which got him the work as a casting director for ‘Bandit Queen’ (1994). He had also done a few cameo roles in some films. Thereafter, he started assisting director, Pradip Krishen in ‘Electric Moon’ (1992) and Ketan Mehta in ‘Sardar’ (1993). For the next 10 years or so, he directed many TV serials which included ‘Naya Daur’ (1995),’Rajdhani’ (1999) and ‘Best Sellers’ (1999) under which six short stories were presented. During this period, he also wrote dialogues for ‘Dil Se’ (1998).
By the turn of the century, Tigmanshu Dhulia had already written a script for ‘Haasil’ (2003) but he was not getting a producer/financier. The climax in the film was planned with the crowd of Kumbh Mela in Allahabad (Prayagraj). When only 4 days were left to the close of the Kumbh Mela, one of his friends hurriedly arranged some money to enable him to shoot the climax scenes in the midst of Kumbh Mela. After watching the rushes of the climax scenes, a producer agreed to finance the film. The film was critically acclaimed. He started getting a number of films to direct. However, most of the films he signed did not materialised. So, what he got was only the signing amount. With this experience, Tigmanshu Dhulia decided to direct the films at his initiative with the willing producers/financiers.
‘Charas’ (2004) was Tigmanshu’s next released film which, despite critically acclaimed, failed at the box office. Probably, he took a sabbatical from film making and concentrated of a couple of TV serials. He returned to directing ‘Shaagird’ (2011) which was again critically acclaimed but failed at the box office. With ‘Sahab Biwi Aur Gangster’ (2011) and ‘Paan Singh Tomar’ (2012), Tigmanshu Dhulia turned the tide with box office success. The latter film won him the National Film Awards for the Best Feature Film. Tigmanshu Dhulia has so far directed 14 films and a few Web Series. [Note: The early life of Tigmanshu Dhulia is mainly based on his TV interview with Neelesh Misra under his TV Series, ‘The Slow Interview’].
The story of ‘Haasil’ (2003) is as under:
The opening scene of the film sets the tone to the power of the students’ leader when he enters the hall with his cronies to take his seat in the midst of the Vice Chancellor’s speech. He has to abruptly stop his speech for some time when the students are hailing their leader. Of the many factions of the students’ politics, there are two main factions – one led by Daya Shankar Pandey (Ashutosh Rana) and the second by Ranvijay Singh (Irfaan Khan). There are violent clashes that take place between the rival gangs just before the election of the President of the Students Union.
There is another track running parallel to the students’ politics in the film – Annirudh Sharma (Jimmy Shergill) and Niharika Singh (Hrishita Bhatt). Both are college students from descent families, away from the college politics and are also theatre artists. They are in love with each other.
One day, Annirudh saves Ranvijay Singh from the goons of the rival gang and becomes friendly with him. He slowly drifts towards students’ politics under Ranvijay Singh. His family members and Niharika advise Annirudh to keep away from Ranvijay Singh. But he is swayed by the power of Ranvijay Singh without realising that he is getting into a trap set by Ranvijay Singh who secretly loves Niharika. He helps Ranvijay Singh to get votes from students to become the President of Students’ Union by eliminating his main rivals.
One day, Annirudh commits a crime on the instigation by Ranvijay Singh. To save Annirudh from the police, Ranvijay arranges his escape to Mumbai where he has to look after himself. In the meanwhile, Niharika’s father arranges her marriage with someone else. Annirudh returns to Allahabad, and he is shocked to learn that it is Ranvijay Singh who is Niharika’s prospective groom. He feels a great betrayal by Ranvijay Singh whom he has considered as his elder brother. Now, Ranvijay’s marriage with Niharika is fixed in a matter of days. Annirudh and Niharika escape to a unknown place in the city.
Ranvijay Singh comes to know that Annirudh and Niharika have been kept in a safe house by Chief Minister (CM), Kabanlal Tiwari (Sudhir Pandey) to prevent Niharika’s marriage with Ranvijay Singh. He blackmails CM with a tape recording of his conversations which can result in the fall of his government and the end of his political career if the tape is released to public. CM succumbs to blackmail and instructs his staff to release Annirudh and Niharika the next day in the Kumbh Mela with a revolver to Annirudh for his safety.
Ranvijay comes at the Kumbh Mela with his gang with the intention of kidnapping Niharika. Annirudh confronts him and in a fit of rage, he kills Ranvijay Singh with his revolver. At that very moment, some plainclothes policemen come and showers bullets on Ranvijay Singh who is already dead. They remove from his pocket, the recorded tape and take Annirudh and Niharika to the CM who is waiting in his official car. He tells Annirudh that there is no need for him to surrender to the police as in the official record, Ranvijay Singh has been killed in encounter with police. The film ends with Annirudh and Niharika walking away from the Kumbh Mela.
The film is fast-faced, and the action shots look realistic without much of extravagances. Dialogues are crisps and well delivered by the concerned actors. All the main actors have performed their bests. After watching Irfaan Khan’s performance in the film, I think, this film was a turning point in his acting career worthy of a National Film Award for the best actor. Unfortunately, the producer did not submit the film to the panel for the consideration of the National Film Awards. Despite critical acclaims, the film was a ‘disaster’ at the box office front as per Box Office India report.
The film had 7 songs written by Israr Ansari (3), Kausar Pandey (2), Devmani Pandey (1) and Satyaprakash (1) which were set to music by Jatin-Lalit. One song has been covered on the Blog. I am presenting the 2nd song, ‘aankhen bhi hoti hai dil ki zubaan’ from the film which is rendered by Abhijeet on the words of Israr Ansari. This is the first song in the film in the background of the budding love affairs of Annirudh (Jimmy Shergill) with Niharika (Hrishita Bhatt). It is a background song in which Annirudh recalls his various meetings with Niharika.
The song starts with the prelude of a short piano recital which reminds me of the piano prelude of the song, ‘pehla nasha pehla khumaar’ from ‘Jo Jeeta Wohi Sikandar’ (1992). In the second and the last interludes, saxophone and guitar, respectively are mainly used.
Video Clip:
Audio Clip:
Song-Aankhen bhi hoti hain dil ki zubaan (Haasil)(2003) Singer-Abhijeet, Lyrics-Israr Ansari, MD-Jatin Lalit
Lyrics (based on audio clip):
aankhen bhi…. hoti hain dil ki zubaan
aankhen bhi…. hoti hain dil ki zubaan
bin boley kar deti hain
haalat ye pal mein bayaan
aankhen bhi… hoti hain dil ki zubaan
bin boley kar deti hain
haalat ye pal mein bayaan
aankhen bhi… hoti hain dil ki zubaan
khaamoshi bhi to pyaar mein
rakhti bahut hi asar hai
kab ishq ho jaaye yahaan
dil ko kahaan ye khabar hai
do dil ke ye silsile
chup sake hai kahaan
aankhen bhi… hoti hain dil ki zubaan
aankhen bhi… hoti hain dil ki zubaan
hey ae ae
he he he
haa aa aa aa aaa
hmm neend aaye na
jab aankhon mein
badhne lage bekaraari
shabnam ko bhi chhoone se jab
mehsoos ho chingaari
to aisa kyun lagtaa hai
ek hai zameen aasmaan
aankhen bhi… hoti hain dil ki zubaan
aankhen bhi…ee hoti hain dil ki zubaan
bin boley kar deti hain
haalat ye pal mein bayaan..aan aan
bin boley kar deti hain
haalat ye pal mein bayaa……an
- In: "bicycle" song | "Zindagi" song | Amitabh Bachchan present (without lip syncing) | Amitabh Bachchan songs | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | joie de vivre | Love song | Lover's tête-à-tête | Lyrics contributed by readers | Post by Sadanand Kamath | Songs of 2000s (2001 to 2010) | Songs of 2003 | Sonu Nigam Songs | Sonu Nigam-Sunidhi Chauhan duet | Sunidhi Chauhan Songs | Yearwise breakup of songs
- 2 Comments
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 : |
5661 | Post No. : | 18163 | Movie Count : |
4876 |
Happy birthday to actor-writer-director, Honey Irani who completes 74 years today (17 January 2024). She shares her birth date with her ex-husband, Javed Akhtar who turns 79 today.
Honey Irani is the daughter of Noshir Irani who was one of the partners of Mumbai’s famous Irani Bakery and restaurant, B Merwan & Co. located opposite Grant Road railway station. (I used to visit this place almost every Saturdays to buy their famous maawa cake). Her mother, Perin Irani was fond of Hindi films and was firm that her children should work in films. Honey Irani is the youngest among 5 siblings – Maneka Irani, Bunny Irani, Sarosh Irani and Daisy Irani. Maneka Irani was married to producer-director-actor, Kamran Khan. Farah Khan and Sajid Khan are their daughter and son respectively. Daisy Irani was married to KK Shukla who was a story and screenplay writer. Sarosh Irani was a child actor in early 1960s. He assisted his uncle Kamran in his films. Later, he was associated with B Merwan & Co as one of the partners. Perin Irani produced the film, ‘Bachpan’ (1963) in which her daughters, Maneka Irani and Daisy Irani acted.
My cinematic acquaintance with Honey Irani (also of her elder sister, Daisy Irani) was as a child actor who sometimes got boy’s roles. Her debut film as a child actor was ‘Ek Gaon Ki Kahaani’ (1957). Two songs which have remained in my mind for a long time in which she had an important role as a child actor were “Tim Tim Karte Taare” in ‘Chiraag Kahan Roshni Kahaan’ (1959) and “Naani Teri Morni Ko Mor Le Gaye” in ‘Maasoom’ (1960). As a child actor, Honey Irani has worked in about 20 films and in adult roles in 6 films. She gave up acting in the films after her marriage with Javed Akhtar in 1972. They separated in 1978 and got divorced in 1984. However, they have remained friends.
Today’s generation knows Honey Irani as the mother of the successful film makers, Farhan Akhtar and Zoya Akhtar. But she is more than that. She has moved her filmy career from the front of the camera to behind the camera by turning first, as assistant director to Ramesh Talwar for ‘Basera’ (1981), ‘Duniya’ (1984), and ‘Zamaana’ (1985), and later, as a story and screen-play writer. She had a natural flavor for storytelling from her childhood. She has also been writing short stories as a hobby, but was afraid to publish them as it may be construed as indirect contributions from her now ex-husband Javed Akhtar. Her flavor for writing was recognized by Pamela Chopra, wife of Yash Chopra when she read her story, ‘Aaina’ and had planned to make a TV Serial on this story. However, when Yash Chopra read the story, he decided to make a full-length film, ‘Aaina’ (1993) at a later time. Instead, he gave her to write the full story and screenplay for ‘Lamhe’ (1991) by giving her the basic framework of the story.
After ‘Lamhe’ (1991) was critically acclaimed for its bold story, she wrote story/screenplay for ‘Parampara’ (1992), ‘Darr’ (1993), ‘Suhaag’ (1994), ‘Laawaaris’ (1999), ‘Kaho Na Pyaar Hai’ (2000), ‘Kya Kehna’ (2000), ‘Koi Mil Gaya’ (2003), Krissh’ (2006) and ‘Krissh 3’ (2013) etc. So far, she has written story/screenplay for 18 films. Most of her stories are on human relationship with women-oriented themes. With ‘Armaan’ (2003) she made her debut as a director, the only film she has directed so far.
‘Armaan’ (2003) was produced by Dinesh Gandhi and was directed by Honey Irani. The star cast included Amitabh Bachchan, Anil Kapoor, Preity Zinta, Gracy Singh, Aamir Bashir, Randhir Kapoor, Arun Bali, Prithvi Zutshi, Preety Dayal, Suhita Thatte, Vijay Kenkre, Rajiv Kumar etc. Probably, this is the first film in which Amitabh Bachchan and Anil Kapoor worked together. The film was premiered at IIFA Awards Night at Johannesburg on May 16, 2003, and had a simultaneous theatrical release.
According to Honey Irani, it was her childhood dream to become a doctor. However, due to her busy schedule as a child actor, she could not even complete her schooling leave alone becoming a doctor. The story of ‘Armaan’ (2003) written by her, reflected her imaginations of doctor-patient relationship and also the troubled human relationships in which there are bitter-sweet moments. She decided to make a debut as a director for this film because the subject was close to her heart. (Source: Honey Irani’s interview published in ‘The Telegraph online’, January 26, 2023).
The story of the film is as under:
Dr Siddharth Sinha (Amitabh Bachchan) runs a hospital with his adopted son, Dr Aakaash Sinha (Anil Kapoor) who is a Neurosurgeon. Dr. Neha Mathur (Gracy Singh) joins the hospital as an Anesthetist. Initially, Neha and Aakaash do not get along well as there are professional as well as personal differences in their approach.
Dr Siddharth wants to expand as well as upgrade the hospital for which he forms a group of experts to submit the project report. From the doctor’s perspective, both Aakaash and Neha are also required to jointly prepare and submit a project report. During this time, both Neha and Aakaash come closer and reveal their love for each other.
The expansion and upgradation of the hospital require financial backing which Dr Siddharth is desperately looking for. Here comes in the scene the super-rich, Gulshan Kapoor (Randhir Kapoor) with his spoiled daughter, Sonia Kapoor (Preity Zinta) who has fallen in one-sided love with Aakaash after they met at a party. Gulshan Kapoor offers to bear the financial cost of the expansion and the modernization of the hospital, In return, he wants Aakaash’s hands in marriage with his daughter, Sonia. Siddharth rejects the offer as he already knows that Aakaash is in love with Neha.
The circumstances drastically changes when Siddharth dies of heart-attack. Aakaash is now in desperation to fulfill his father’s dream of upgrading his hospital for which he needs financial help. So, Aakaash sacrifices his love for Neha by marrying Sonia. Neha understands Aakaash’s predicament and moves on with her life by continuing to work in the hospital.
Post-marriage with Sonia, Aakaash has to face the unpredictable behavior of his wife who is possessive about Aakaash and jealous with Neha. Her bizarre behavior at home affects Aakaash’s professional works in the hospital. It is a hell of a life for him to deal with a wife who is akin to a mental case. The death of Neha’s mother in the hospital due to Aakaash’s absence at the operation theater creates his intense dislike for his wife who had deliberately not informed him about the surgery. He leaves the house never to return to his wife.
Angered by Aakaash’s behavior, Sonia takes a revolver and drives her car to reach Neha’s house, probably to kill her. However, due to her intense anger in her mind, Sonia losses control of her car and is met with an accident with a serious head injury. She is brought to the hospital where her chances of the success of her brain operation is minimal. As a neurosurgeon, it is a challenge for Dr Aakaash to make her brain surgery successful to give Sonia a second life. On the other hand, if operations is unsuccessful, people would talk about his professional integrity especially in the background of the strained relation with his wife.
Aakaash conducts Sonia’s brain surgery successfully against all odds with the help of Neha. Sonia is discharged from the hospital. After a couple of months when she has fully recovered, Sonia visits Aakaash and tells him that after a successful surgery, her brain has become hyper-active which is telling her that they are not made for each other. She hands over the divorce papers signed by her to Aakaash and leaves his house for London. Aakaash and Neha are united.
I enjoyed the film though some parts of the story did appear familiar to me. All the four main actors have given good performances with Preity Zinta in her grayish role topping the list. The film was pleasing to my eyes because of its hill station backdrop with forest trails.
The film had 7 songs including one version song which were written by ‘birthday boy’, Javed Akhtar and set to music by Shankar-Ehsaan-Loy. I present the first song from the film, “Meri Zindagi Mein Aaye Ho” to appear on the Blog. The song is rendered by Sunidhi Chauhan and Sonu Nigam. One can call it a ‘cycle song’ during which both Anil Kapoor and Gracy Singh express love for each other while cycling on a road passing through forest.
The background to the song is that Dr. Neha Mathur (Gracy Singh) and Dr. Aakaash Sinha (Anil Kapoor) work in a hospital as colleagues. But they are loggerhead with each other – both professionally and personally. It is during their project work for the upgradation of the hospital, they become close. This song follows when both reveal their love for each other.
Javed Akhtar surely wrote this song keeping in mind the situation in the film. But if he had written this song in 1972, he would have dedicated this song to Honey Irani. It was after his marriage with her in 1972 that he tasted tremendous successes as a writer in ‘Seeta Aur Geeta’ (1972), ‘Zanzeer’ (1973), ‘Majboor’ (1974), ‘Sholay’ (1975), ‘Deewaar’ (1975), ‘Don’ (1978), ‘Trishul’ (1978) etc.
Video Clip:
Audio Clip:
Song-Meri zindagi mein aaye ho (Armaan)(2003) Singers-Sunidhi Chauhan, Sonu Nigam, Lyrics-Javed Akhtar, MD-Shankar Ehsan Loy
Both
Lyrics (based on audio clip):
meri zindagi mein aaye ho
aur aise aaye ho tum
jo ghul gaya hai saanson mein
wo geet laaye ho tum
meri zindagi mein aaye ho
aur aise aaye ho tum
jo ghul gayaa hai saanson mein
wo geet laaye ho tum
ho tum hi kaho
tum hi kaho
dil jo aise gaaye
koi kyon na gungunaaye
meri zindagi mein aaye ho
aur aise aaye ho tum
jo ghul gayaa hai saanson mein
wo geet laaye ho tum
o ho o o o
o o
ho o o o
o o
o ho o o o
o o
ho o o o
o o
o ho o o o
o o
o ho o o o
o o
tumko paa ke
hans ke gaa ke..ae
nikhri hai sanvri hai zindagi
ujli subahen rangeen shaamen
aa gayi ek nayi dilkashi..
ho maan bhi lo
maan bhi lo raat jo hai kehti
ye fiza jo samjhaaye
meri zindagi mein
o ho o o o
o o
ho o o o
o o
ho o o o
o o
ho o
o o
meri zindagi mein aaye ho
aur aise aaye ho tum
jo ghul gaya hai saanson mein
wo geet laaye ho tum
tum se pehle
dekhe kab thhe
maine ye khwaabon ke kaarwaan. . .
tum jo aaye
tum ho laaye
ankahee ansunee daastaan
o suno zaraa
suno zaraa
mera dil bhi haaye
wo kahaani dohraaye
meri zindagi mein
meri zindagi mein aaye ho
aur aise aaye ho tum
jo ghul gayaa hai saanson mein
wo geet laaye ho tum
ho tum hi kaho
tum hi kaho dil jo aise gaaye
koyi kyun na gungunaaye
meri zindagi mein aaye ho
aur aise aaye ho tum
jo ghul gayaa hai saanson mein
wo geet laaye ho tum
o ho o o o
o o
o ho o o o
o o
o ho o o o
o o
o ho o o o
o o
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
मेरी ज़िंदगी में आए हो
और ऐसे आए हो तुम
जो घुल गया है साँसों में
वो गीत लाये हो तुम
मेरी ज़िंदगी में आए हो
और ऐसे आए हो तुम
जो घुल गया है साँसों में
वो गीत लाये हो तुम
हो तुम ही कहो
तुम ही कहो
दिल जो ऐसे गाये
कोई क्यों ना गुनगुनाए
मेरी ज़िंदगी में आए हो
और ऐसे आए हो तुम
जो घुल गया है साँसों में
वो गीत लाये हो तुम
ओ हो ओ ओ ओ
ओ ओ
हो ओ ओ ओ
ओ ओ
ओ हो ओ ओ ओ
ओ ओ
हो ओ ओ ओ
ओ ओ
ओ हो ओ ओ ओ
ओ ओ
हो ओ ओ ओ
ओ ओ
तुम को पा के
हंस के गा के
निखरी है संवरी है ज़िंदगी
उजली सुबहें रंगीं शामें
आ गई इक नई दिलकशी
हो मान भी लो
मान भी लो रात जो है कहती
ये फिज़ा जो समझाये
मेरी ज़िंदगी में
ओ हो ओ ओ ओ
ओ ओ
हो ओ ओ ओ
ओ ओ
ओ हो ओ ओ ओ
ओ ओ
हो ओ ओ ओ
ओ ओ
मेरी ज़िंदगी में आए हो
और ऐसे आए हो तुम
जो घुल गया है साँसों में
वो गीत लाये हो तुम
तुम से पहले
देखे कब थे
मैंने ये ख्वाबों के कारवाँ
तुम जो आए
तुम हो लाये
अनकही अनसुनी दास्ताँ
ओ सुनो ज़रा
सुनो ज़रा
मेरा दिल भी हाय
वो कहानी दोहराए
मेरी ज़िंदगी में
मेरी ज़िंदगी में आए हो
और ऐसे आए हो तुम
जो घुल गया है साँसों में
वो गीत लाये हो तुम
हो तुम ही कहो
तुम ही कहो
दिल जो ऐसे गाये
कोई क्यों ना गुनगुनाए
मेरी ज़िंदगी में आए हो
और ऐसे आए हो तुम
जो घुल गया है साँसों में
वो गीत लाये हो तुम
ओ हो ओ ओ ओ
ओ ओ
हो ओ ओ ओ
ओ ओ
ओ हो ओ ओ ओ
ओ ओ
हो ओ ओ ओ
ओ ओ
Dil mein kuchh ho raha hai
Posted on: January 9, 2024
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 : |
5653 | Post No. : | 18149 | Movie Count : |
4872 |
‘Freaky Chakra’ (2003) was produced by V K Prakash who also directed the film jointly with Ziba Bhagwagar. The cast included Dipti Naval, Sachin Khedekar, Sunil Raoh, Ranveer Shorey (as narrator), Rajeev Ravindranathan, Pranam Janney etc. The film’s shooting was done from start to finish in 21 days in Bangaluru. Sunil Raoh has mainly acted in Kannada films, and this is his only Hindi film so far. He is the brother of playback singer, Sowmya Raoh.
Producer-director, V K Prakash is a Palakkad born adman who owns Trends Adfilm Makers Pvt Ltd., based in Bengaluru. He is an alumnus of School of Drama, Thrissur. He started his career as an advertising film maker. He is known to produce and direct feature films in Malayalam, Kannada and Hindi.
Unfortunately, I did not find the full film, ‘Freaky Chakra’ (2003) on video sharing platforms or on OTT platforms though a few tit bits of the film are available. From the promo materials, the film is stated to be a story on relationship between four individuals which makes it a rectangular love story. The film does not follow the usual story-telling structure in films. The story is set in the imagination of a writer (Ranveer Shorey) who is a narrator of the story. The characters, sometime veer away from what he has imagined. (Based on a report in the Times of India, February 4, 2003).
The gist of the story of the film gathered from the tits bits of the film available online and elsewhere is as under:
Ms Thomas (Dipti Naval) who was earlier a doctor, gives up her profession after she failed to save her husband. Now a widow, she works as a mortician (arrangements for funerals). At the age of 40, Ms Thomas has become an eccentric lady with irritating behaviour. She lives alone in her apartment. But some strange things are happening to her. She often gets phone calls from a cranky caller (Sachin Khedekar) who talks to her in a sexual overtone. He is none other than her neighbour who is in love with her. He often approaches her under the pretext of some sickness and gets insulted. Children ring the bells of her flat and run away. Water tapes often run dry when she is taking bath. The security guard of her apartment puts cotton buds in his ears when he sees her coming. She has arguments with everyone she comes across – with her vegetable vendors and with auto rickshaw drivers.
Things change for Ms Thomas when an uninvited teenager guest (Sunil Raoh) becomes her paying guest who is calm and have patient to face her irritating behaviour. Over a period of time, the two gel well with each other. They go for outing, watches movies and lunch at restaurants. She becomes trendy in her appearance. Her irritating character has disappeared. Now she enjoys children ringing her apartment bell. Eventually the guest and Ms Thomas get into an romantic affair and living like a couple. This is not liked by the writer (Ranveer Shorey) who feels jealous. He tries to introduce rifts between them so that they are separated. But they are shown together when the film ends.
I have not seen the film in full because it is not available online or even in VCD/DVD format. But prima-facie, I found the story interesting which is mainly concentrated in around Ms Thomas (Dipti Naval). She has got a challenging role to depict the contrasting moods and emotions. The box office report shows that the film was released on 7 screens and was a ‘disaster’ on the box office.
‘Freaky Chakra’ (2003) had 7 songs written by Shiven Surendranath, Shormishta Mukherjee, Roohi Dixit, Kavitha Paul. A couple of songs were written jointly by Shiven Surendranath-Roohi Dixit and Shiven Surendranath-Kavitha Paul. All the songs were set to music by Ouseppachan, a music director of Malayalam films. This is his first Hindi film as a music director so far.
I am presenting the first song from the film, ‘dil mein kuchh ho raha hai’ to appear on the Blog. The song is rendered by KK (Krishnakumar Kunnath) on the words jointly penned by Shiven Surendranath-Roohi Dixit. The song appears in the film as a background song when there is a complete change in the behaviour of Ms Thomas (Dipti Naval), from an irritating and snobbish lady to a well-behaved and a pleasant lady when the paying guest (Sunil Raoh) starts living in her apartments sharing their concerns for each other. The song is a prelude to their romantic sojourn.
I like the song for its simple lyrics and for the musical composition – both for melody and orchestration. The guitar interludes with drums and bass providing for rhythm with intermediate oral percussion syllables (e.g., tha tha kita…..) create a fusion of western and Carnatic music.
Incidentally, music director, Ouseppachan had originally used this tune in the song, ’maunam swaramayi’ in a Malayalam film, ‘Aayushkalam’ (1992) using mainly the Indian musical instruments for the orchestration. However, After the release of the Hindi song, he reused the tune in the song, ‘chittikuruvi’ in the Malayalam film, ‘Mullavalliyum Thenmavum’ (2003) using, more or less, same orchestration as used for the Hindi song.
Video Clip:
Audio Clip:
Song-Dil mein kuchh ho raha hai (Freaky Chakra)(2003) Singer-KK, Lyrics-Shiven Surendranath-Roohi Dixit, MD-Ouseppachan
Lyrics (based on the audio clip):
[Oral percussion syllables]
dil mein kuchh ho rahaa hai
kyaa pataa chal rahaa hai
dekho sab badal gayaa hai
ye dil ko pataa chalaa hai
maine….. jab se tumhen dekhaa
tumne….. jab se mujhe jaanaa
dil mein jo ho rahaa thhaa
wo samajh aayaa
dil mein kuchh ho rahaa hai
kyaa pataa chal rahaa hai
dekho sab badal gayaa hai
ye dil ko pataa chalaa hai
ta ra ta ra ta ra ra ra
ta ra ta ra
ta ra ra ra ra
ta ra ta ra
[Whistling]
tumhaari aankhon mein donon jahaan
kiranon ki narmi hai yahaan
tumhaari aankhon mein donon jahaan
kiranon ki narmi hai yahaan
tumhaare aane se dil bahal jaataa hai
tumhaare aane se dil bahal jaataa hai
aur ye saaraa jahaan khil jaataa hai
din din tha na din din tha na
na dir din din na tha
dil mein kuchh ho rahaa hai
kyaa pataa chal rahaa hai
dekho sab badal gayaa hai
ye dil ko pataa chalaa hai
hey ae ae ae ae ae
hey ae ae ae ae ae
tumhaari baaton se mehke samaa
jadoo bhari hai hawaa
tumhaari baaton se mehke samaa
jadoo bhari hai hawaa
tum jo kehte ho
dil mera suntaa hai
tum jo kehte ho
dil mera suntaa hai
aur ye saaraa jahaan khil jaataa hai
din din tha na din din tha na
na dir din din na tha
dil dil mein kuchh ho rahaa hai
kyaa pataa chal rahaa hai
dekho sab badal gayaa hai
ye dil ko pataa chalaa hai
maine….. jab se tumhen dekhaa
tumne….. jab se mujhe jaanaa
dil mein jo ho rahaa thhaa
wo samajh aayaa
dil mein kuchh hmm hmm hmm hmm
dil mein kuchh hmm hmm hmm
dil mein kuchh hmm hmm hmm hmm
hmm hmm hmm hmm hmm hmm
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 : |
5651 | Post No. : | 18146 | Movie Count : |
4871 |
In the aftermath of Kargil War of 1999, some Hindi films have been made on this subject, mostly as war films like ‘LOC Kargil’ (2001) and ‘Lakshya’ (2004). In the recent period, ‘Gunjan Saxena’ – The Kargil Girl’ (2020) and ‘Shershaah’ (2021) were also made on the subject. I was not aware that ‘Dhoop’ (2003) was also related to Kargil War of 1999. When I watched the film, I became aware that this film was based on a true story of Captain Anuj Nayyar, MVC who laid down his life while capturing Point 4875 in the Tiger Hill sector in Kargil War. He was posthumously awarded Maha Veer Chakra and his family was granted franchise for operating a petrol pump.
While other films on Kargil War are mostly events from the war front, ‘Dhoop’ (2003) begins the story after the Kargil War ends. The film is about how martyr’s parents faced massive bureaucratic red tapes and corruption at various levels, apart from humiliation to get the petrol pump operational which was allotted to them by the Government of India. However, after a gap of more than 2 years, with the intervention of the Prime Minister, the petrol pump became operational.
I had heard that our bureaucratic systems and the level of corruption do not leave even the dead bodies. After watching the heart-touching film, ‘Dhoop’ (2003), I was ashamed they did not leave even the Kargil war martyrs. I googled on this subject and read some related articles one among which was an article appearing on Outlook India. The article revealed that bureaucratic apathy and corruption faced by war martyrs was wide spread. I quote below the part of the article relevant in the case of Captain Anuj Nayyar:
Prime Minister Vajpayee started his Independence Day speech from Red Fort by paying his respects to those who had laid down their lives for the nation. This year, however, the celebrations were slightly different. Prof S.K. Nayyar, Captain Anuj Nayyar’s father, went up to the PM and said: “I gave my son to the country in its war against Pakistan but now I am fighting a war against your bureaucracy.” This is how families of most of Kargil’s martyrs feel now – betrayed and let down.
Two years ago, the Vajpayee government, still flush with victory, had offered petrol pumps and gas agencies to all such families. Now, Prof Nayyar, proud to be a Mahavir Chakra awardee’s father, risks becoming a mere statistic tucked away in government files. So have all the others. Of the 446 families that applied for retail outlets for either petrol pumps or LPG agencies, only 308 letters of intent have been issued, and of these only 113 are operational.
The bureaucracy – be it in the office of the DCP Licensing, the water department or the electricity department—has spared no family, it seems. Prof Nayyar’s application for an NOC gathered dust in the DCP Licencing’s office and all pleas came to nought till he wrote to home minister L.K. Advani. He had to, for petrol being an ‘explosive’ item, a NOC is the first step in the many to follow before the pump becomes a reality. Nayyar got his NOC within two hours of Advani reading his letter, but as he says: “How are wives of jawans living in remote villages ever going to access the home minister and why do we need to approach the highest authority for something that the government itself promised us?”
When the Government allotted the petrol pump franchise to Captain Anuj Nayyar’s father, as a part of the compensation, his wife was not interested in accepting it as she felt that loss of her son cannot be compensated. His father also said that they do not need petrol pump for a living as both of them earns enough to sustain. It was only after the persuasion by Captain Anuj Nayyar’s boss, a Major in his regiment to accept it as part of perpetuating the memory of their martyr-son, they accepted the allotment. With this acceptance, the parents’ nightmare started as pointed out in the article referred to above. After the petrol pump became operational, Professor S K Nayyar, Captain Anuj Nayyar’s father aptly named the petrol pump as ‘Kargil Height Filling Station’. After his retirement from Delhi School of Economics, he started looking after the ‘Kargil Height’ which is located in Vasundhara Enclave in Delhi. After his death in October 2014, his wife, Meena Nayyar is looking after ‘Kargil Height’. The income from the petrol pump goes to a trust which grants financial assitance to the childrens of poor family for education and other needs.
‘Dhoop’ (2003) was directed by Ashwini Chaudhary. The cast included Om Puri, Revathi, Sanjay Suri (special appearance), Gul Panag (debutant), Gopi Desai, Yashpal Sharma, Virendra Saxena, Murli Sharma, Preeti Dayal, Ehsaan Khan, Rohitashva Gaur, Ashutosh Jha etc. This low budget film got a limited theatrical release on November 7, 2003, without marketing and fanfare.
The idea of making this film came to Ashwini Chaudhary when he watched a TV interview of Professor S K Nayyar, the father of Captain Anuj Nayyar in which he described his long-drawn struggle to make the petrol pump allotted to him to become operational. Ashwini Chaudhary was moved by his tale. He met Professor S K Nayyar in Delhi and told him that he wanted to make a film on his long journey of struggle to get the petrol pump operational. Initially, he discouraged him by saying that not many would watch a film with a story of an old couple. But realising that Ashwini Chaudhary was emotionally affected by what he saw during his TV interview, Professor S K Nayyar agreed. Ashwini Chaudhary says that the three persons who greatly contributed with their inputs were Professor S K Nayyar, Om Puri and Jagjit Singh. (Source: Times Entertainment, July 26, 2020).
In the film, ‘Dhoop’ (2003), the names of Captain Anuj Nayyar, his parents and his fiancée have been changed. The events in their lives are depicted in the film more or less the same with a few additions for dramatisation. The gist of the story of the film is as under:
Suresh Kapoor (Om Puri) is the professor of economics in Delhi School of Economics. His wife, Sarita Kapoor (Revathi) works as a Librarian in University of Delhi. They have a son, Captain Rohit Kapoor (Sanjay Suri) who is posted in the war zone of Kargil sector. One day, Professor Suresh Kapoor receives a telephone from the Army Head Quarters that his son has laid down his life while capturing an important peak in Kargil Sector. His parents are devasted. So is his fiancée, Peehu Verma (Gul Panag) who were to get married in a couple of months.
Captain Rohit Kapoor is awarded Maha Veer Chakra. Professor Suresh Kapoor gets a letter from Army Head Quarters that they have been offered a petrol pump in the memory of their son which can also be a source of living for them. But Sarita Kapoor does not want to accept the offer. Professor Suresh Kapoor also feels that both of them are earning enough to sustain their lives. Major Kaul, who was the head of the Jaat Battalion to which Captain Rohit Kapoor was attached, persuades Kapoors to accept the offer to perpetuate the memory of their son. Peehu Verma seconds the suggestion. Professor Kapoor accepts the offer.
Little did Professor Kapoor and his wife know of the nightmare they would go through for nearly two years from the date of the allotment of petrol pump. When they approach various Government departments and local authorities for land allotment, water supply, electric supply, obtaining NOCs from police, fire brigade and under Explosive Act, he finds that no paper would move unless the concerned officials are bribed. And when he refuses to pay bribes, they are humiliated. For these officials, the war time is their peak season for earning money as more the martyrs more the money for them. It is only when Sarita Kapoor gets threatened by some hooligans because of the upright stand taken by her husband, Professor Kapoor decides to give up the offer of petrol pump. At that moment, Peehu Verma, comes with a good news that Prime Minister has given them an appointment for 5 minutes and it is right now.
Professor Suresh Kapoor, his wife and Peehu Verma meets the Prime Minister in his chambers and submit a file containing his two years of his journey of struggles with the various Government departments and other bodies. The next day, the newspapers carry reports of the suspension of those officials who were creating obstacles for Professor Kapoor. He gets land allotted, water and electricity connections and NOCs from the required authorities. The petrol pump becomes operational with the name ‘Kargil Heights’. Professor Kapoor sets up a trust to channel income from petrol pump for children’s education of poor families.
This is one of those rare melodramatic films which is heart-touching. Despite slow pace of story, especially in the first half, I did not get bored mainly because of the intense high-quality performances of Om Puri and Revathi in the role of parents of the martyr. The debutant Gul Panag also the supporting performance. The story in the second half of the film becomes more interesting as it is in this part that melodrama ends, and Om Puri’s journey starts to get his petrol pump operationalised during which he faces obstacles at every stage. Some of the dialogues are hard-hitting. The best part of the film is that it emotionally connects to the audience. The only drawback of the film, if I may say so, is that there are 8 songs in the film most of which, I felt, did not add to the progress of the story. In my view, only 2-3 songs would have been right numbers with one each song at the beginning and the end of the films which are the tone setting songs of the film.
The film failed at the box office mainly because it was meant for audience who like to watch sensible films. I feel that the makers of this film were aware that the film may not be a success in terms of box office collections. Hence, they did not spend money for marketing of the film.
‘Dhoop’ (2003) had 8 songs written by Nida Fazli which were set to music by Lalit Sen. I am presenting the first song, a ghazal from the film, ‘har ek ghar mein diyaa bhi jale anaaj bhi ho’ to appear on the Blog. The song is rendered by Jagjit Singh using Nida Fazli’s one of the published ghazals. The original ghazal has two more couplets.
The soft and melancholic singing of Jagjit Singh with flute rendition by Ronu Majumdar camouflage Nida Fazli’s hard-hitting ghazal. The sum and substance of the ghazal is that every household must have light and food to eat (‘diya jale’ and ‘anaaj’ are symbolic of prosperity in the household). If these are not there, people should be ready to protest (ehtijaaj). The poet further says that changing the ruler is not impossible (muhaal). It is the need to have a society that can change the ruler. How long one can keep the better days in the imprisonment of assurances for tomorrow? Why not today? The last couplet is symbolic of what Om Puri in the film had gone through. Instead of spending about 2 years, running from pillar to post, that time could have been productively utilised for other works if the authorities had done their work promptly.
This ghazal is very relatable to the story of the film.
Video Clip:
Audio Clip:
Song-Har ek ghar mein diya bhi jaley anaaj bhi ho (Dhoop)(2003) Singer-Jagjit Singh, Lyrics-Nida Fazli, MD-Lalit Sen
Lyrics (based on audio clip):
ae ae ???????
har ek ghar mein diyaa bhi jaley anaaj bhi ho
har ek ghar mein diyaa bhi jaley anaaj bhi ho
agar na ho kahin aisaa to ehtjaaj bhi ho
agar na ho kahin aisaa to ehtjaaj bhi ho
har ek ghar mein diyaa bhi jaley anaaj bhi ho
hukoomaton ko badalnaa to kuchh muhaal nahin
hukoomaton ko badalnaa to kuchh muhaal nahin
hukoomaten jo badaltaa hai wo samaaj bhi ho
hukoomaten jo badaltaa hai wo samaaj bhi ho
agar na ho kahin aisaa to ehtjaaj bhi ho
agar na ho kahin aisaa to ehtjaaj bhi ho
har ek ghar mein diyaa bhi jaley anaaj bhi ho
rahegi kab talak waadon mein qaid khushhaali
rahegi kab talak waadon mein qaid khushhaali
har ek baar hi kal kyun kabhi to aaj bhi ho
agar na ho kahin aisaa to ehtjaaj bhi ho
har ek ghar mein diyaa bhi jaley anaaj bhi ho
na karte shor sharaabaa to aur kyaa karte
na karte shor sharaabaa to aur kyaa karte
tumhaare shahar mein kuchh aur kaam-kaaj bhi ho
tumhaare shahar mein kuchh aur kaam-kaaj bhi ho
har ek ghar mein diyaa bhi jaley anaaj bhi ho
agar na ho kahin aisaa to ehtjaaj bhi ho
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 : |
5505 | Post No. : | 17948 | Movie Count : |
4799 |
Aishwarya Rai and Abhishek Bachchan have worked together in 8 films before they got married in April 2007. Their first film was ‘Dhaai Akshar Prem Ke’ (2000). Just before their marriage, they worked together in ‘Guru’ (2007). In this article, I am taking up for discussion, their second film as a lead pair, ‘Kuchh Na Kaho’ (2003). The film was produced by Ramesh Sippy and was directed by Rohan Sippy. The other supporting cast included Arbaaz Khan, Satish Shah, Suhasini Mulay, Himani Shivpuri, Jaspal Bhatti, Meghna Malik, Tanaaz Irani, Jennifer Winget, Razak Khan, Gautami Kapoor, Ejaz Khan etc.
I had no idea as to how the story of the film unfolded as I selected this film mainly for the good musical scores by Shankar-Ehsaan-Loy, the well-crafted lyrics by Javed Akhtar and the picturesque location of a couple of songs. I watched the film only a few days back. Briefly, the story of the film is as under:
Raj (Abhishek Bachchan) who is a bachelor, stays with his widow mother (Suhasini Mulay) who is a doctor in the USA. He has no intention of marrying. However, his maternal uncle, Rakesh (Satish Shah) who stays in Mumbai is constantly forcing him to get married. Raj has to visit Mumbai to attend his cousin, Nikki’s (Meghna Malik) engagement. Rakesh sees an opportunity to get Raj married. He assigns the work of finding a suitable bride to Namrata (Aishwarya Rai), who is an employee of his firm.
Namrata brings many proposals for the selection of brides but Raj with his wired plans makes the prospective brides to run away from him. During this process, Raj falls in love with Namrata, without being aware that she is already married, but her husband Sanjeev (Arbaaz Khan) has deserted her without his whereabouts soon after the birth of her son, Adi (Parth Dave). Hence, she is hesitant to reciprocate Raj’s advances. Finally, she discloses to Raj her status as a deserted wife. Raj is still firmly resolved to marry her. While they are planning to get married, Sanjeev returns as a spoiler in their plan. But Namrata’s firm stand against Sanjeev with her feminine monologue, forces him to have a change of heart. While leaving, Sanjeev gives advice to Raj that he should not treat Namrata after marriage in the same way as he had treated her.
The story of the film does appear to remind me of almost similar lines of stories in some other films which I am not able to recall; or may be a hotchpotch of stories taken from a couple of Hindi films. The film could have become an absorbing one with a tight screenplay to reduce its run time from nearly 3 hours to say 2:15 hours. The first half of the film is interesting while the second half gets dragged. However, film is visually appealing with outdoor shootings at some of the beautiful locales in India and abroad.
The film has six songs written by Javed Akhtar and set to music by Shankar-Ehsaan-Loy. I liked three songs from the film but my most favourite song from the film which I am presenting here is ‘mujhe tum chupke chupke jab aise dekhti ho, achchi lagti ho’, the first song to appear on the Blog. The song is rendered by Udit Narayan and Kavita Krishnamurthy. This is a mutually praising song of a loving couple in their romantic sojourn in the imagination of Raj (Abhishek Bachchan) when he is planning to convey his love to Namrata (Aishwarya Bachchan) through a letter. His imagination takes the shape of a song through beautiful locales.
The song starts with a whispering female chorus, ‘achchi achchi achchi’ as if it is addressed to be heard by Namrata’s ears only. The entire first stanza of the song is beautifully picturised in-around Athirappilly Falls in Kerala. Raj admires Namrata the way she looks at him, the way she plays with her hair and the scarf. Namrata reciprocate by admiring Raj for the display of the his sigh of relief on seeing her presence which makes her feel that he loves only her. It is now the turn of the Raj to shower praises for her ‘bholapan’(innocence), ‘saadgi’ (simplicity), ‘dilkashi’ (charming) and ‘taazgi’ (freshness). She returns his compliments by saying that all these colourful qualities in her have been derived from him.
There is a long interlude of nearly 1:30 minutes between the first and second stanza with an excellent choreographic presentation in beautiful locales, probably Ooty. The level of praise for each other go higher up in the second stanza. Raj calls Namrata, giving her new names like ‘dilnasheen’ (attractive), ‘naazneen’ (elegant), ‘maahroo’ (moon-faced) and ‘mahajabeen’ (beautiful). Namrata is overwhelmed by so many beautiful names given to her by Raj.
The song is good to watch on a video clip to witness good on-screen chemistry between Aishwarya Rai and Abhishek Bachchan in the midst of beautiful locales.
Editor’s note:-With this song, Javed Akhtar now has 100 songs in the blog as a lyricist. He becomes the 36th lyricist to reach 100 songs mark in the blog. In addition, 39 music directors and 23 singers have also completed their centuries in the blog.
Video Clip:
Audio Clip:
Song-Mujhe tum chupke chupke jab aise dekhti ho (Kuchh Na Kaho)(2003) Singers-Udit Narayan, Kavita Krishnamurthy, Lyrics-Javed Akhtar, MD-Shankar Ehsan Loy
Lyrics(Based on Audio Clip)
achche achche achche
achche achche achche
mujhe tum chupke chupke jab aise dekhti ho
achchi lagti ho
kabhi zulfon se kabhi aanchal se jab khelti ho
achchi lagti ho
mujhe dekh ke jab tum youn thhandi aahen bharte ho
achche lagte ho
mujhko jab lagta hai tum mujh par hi marte ho
achche lagte ho
tum mein ae meherbaan
saari hai khoobiyaan
bholaapan
saadagi
dilkashi
taazagi..eeee
dilkashi
tumse hai
taazagi tumse hai
tum huye hamnashi
ho gayi main haseen
rang tumse miley hain saare
taareef jo sunke tum aise sharma jaati ho
achchi lagti ho
kabhi hans deti ho aur kabhi itra jaati ho
achchi lagti ho
mujhe dekh ke jab tum youn thandi aahen bharte ho
achche lagte ho
khoye se tum ho kyun
soch mein gum ho kyun
baat jo dil mein ho
keh bhi do
keh bhi do…o o o
sochta hoon ke main
kya pukaaroon tumhen
dilnasheen
naazneen
maahroo
mahajabeen
yeh sab hain naam tumhaare
mere itne saare naam hai jab tum ye kehte ho
achche lagte ho
mere pyaar mein jab tum khoye khoye se rehte ho
achche lagte ho
mujhe tum chupke chupke jab aise dekhti ho
achchi lagti ho
kabhi zulfon se kabhi aanchal se jab khelti ho
achchi lagti ho
achche lagte ho
achchi lagti ho
achche lagte ho
achchi lagti ho
achche lagte ho
la la la la
la la la la
la la la la
la la
la la
la la la la
la la la la
la la la la
la la
la la
la la la la
la la la la
la la la la
la la
la la
Indian Indian, Sher Dil Indian
Posted on: June 20, 2023
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 : |
5450 | Post No. : | 17861 | Movie Count : |
4772 |
#the Decade of – 2000 – 2010 #
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During the travels that I had in recent months, I had a trip to north. It included visiting Dalhousie, Dharamshala, and the tourist spots near to these places. The last leg of our trip was visiting Amritsar. We had planned to visit the Jalianwaala Bagh Memorial, Golden Temple and the Wagah Border. On 16th April 2023 morning we started from Dharamshala for Amritsar. Since we got late in the morning we reached Amritsar around three o’ clock in the afternoon. We straightway visited the Jalianwaala Bagh Memorial first and from there decided to go to Wagah Border first as the time for beating retreat ceremony was getting closer. So we thought that after the visit to the border we would be visiting the Golden Temple in the evening later.
It was getting late and by the time we reached the Wagah Post and it was around five in the evening. The stadium there was already fully crowded as it was a Sunday that day. We got our seats in the balcony on the top floor. The whole atmosphere there was full of joy, excitement and pride for the country. The stands were full and the music on. There were the big TV screens already on the corners of the gates at the borders and it was playing the history and achievements of BSF.
Here I am not going into the details of the parade, its process or the other technicalities and the procedures. It is all available on the internet and there is a wiki page on it too. But here I would definitely like to mention that I was totally in a different world there and so were all the members with me and I think even all the audiences gathered there. Being physically present there is totally different than watching the parade on TV screen at your home. The anchor or conductor in charge there is so full of energy that there is not a single dull moment you would feel and all our senses are only focused on the gates at the border, the tricolor at the top and the non-stop slogans enchanted by the peoples present there.
The officer in charge seemed to be carrying a non-stop flow of huge energy within him. He keep motivating the stands from each side and then combining them as whole and all responding to him with the same energy in return. I was feeling myself very fortunate to get this witnessed all and that too on the border where I can see the neighboring country’s land so near to me. It was like a dream coming true for me. Though I have traveled a lot but still a lot is still to be visited. And visiting places that we had read about in books of history since schooldays gives a rare satisfaction and a moment full of pride and love for one’s country.
This is something all that is beyond words for me. Our hearts get filled with pride, our chests pumped to the fullest and our heads held high!!! Such was this moment!!!
Later on we met the guards or the soldiers there and speak to some of them. Then only we realize how they are performing their duties there with a round the clock vigil there at the border. The soldiers come from different states and speak different languages but here they are all one. They are all Indians. And we the people are all Indians there. Not a single moment the thought of caste, creed, religion, race etc comes to our mind there.
I had to celebrate this visit and so this post.
You may call it a ‘by-product-post’ of that detailed post I had written here earlier. (And, yes, one more related to that trip is yet to come). Eventually these posts got delayed. But I had a song in my mind since long that I wished to share here. And it couldn’t have better song than a song from a Sunny Deol movie where he is performing on it in his ‘own style’.
***
And in between, after that travel the Mumba Gangout happened. And I got a chance to meet Atul ji. Another long cherished dream to meet him in person was fulfilled. Someone won’t believe this but I have to share this that many times I had dreams of meeting Atul ji and Sudhir ji in person before actually meeting them. And whenever I had such dreams I used to think if I would ever be able to meet them in person or not? But I am thankful to God for giving me this opportunity to meet them and our other senior members (second time) in this life only. 🙂
Nahin to main bhoot ban ke mandraataa phirtaa. . .
Atul ji has given us this unique blog and the many many reasons to enjoy music, nostalgia, childhood memories and the real life situations that we have passed through and that we will be going through more till we are here. This unique blog now has become a very special unique blog on internet over the globe. This blog have won millions of heart and continues to do so.
Jahaan jaatein hain chhaa jaatein hain … Atul ji tussi great ho!!
I don’t know why but sometimes I become Punjabi. (I am Assamese, Bengali, Gujarati, Bihari, UPian and like that … I am Indian after all 🙂 ).
Our Shri Sudhir ji has often mentioned Atul ji as our ‘fearless leader’ which also means
Sherdil Indian
What did you say? You are getting to some song or want to ‘have’ a ‘bhangraa’ (bangraa paa le … i.e. why the ‘have’ and not ‘do’ :). We have a reason for that too!!!
It is our Atul ji’s birthday today.
And I wish that when he is cutting the cake he plays this song on the speakers with a big volume if not full volume. I hope there is not any Nana Patekar ‘Agnisakshi’ type neighbor around around there.
In the first meeting with Atul ji we all were expecting him to speak more because we want to listen to him. But I think he is as ‘shy’ as we see ‘Sunny Deol’ in public appearances, but he is in full ‘action’ when he is on the blog. Sunny Paa ji also excels in ‘action’ only. 🙂
That is why they say ‘your actions should speak louder than your words’ . (In Sunny paa ji’s case only both can speak quite loud). 🙂
Oh. . . again I am back to Sunny paa ji. . .
There was a time in those ‘Gadar’ days when I used to watch every Sunny Deol movie at least two times or more.
Hoping more sunny days around …
Wishing Atul ji a very happy birthday … once again with a ‘rocking’ Sunny Deol song…
About the movie
‘Jaal – The Trap’ (2003) was directed by Guddu Dhanoa for Parth Productions, Mumbai. It was produced by Vinod Shah and Harish Shah. It had Sunny Deol, Tabu, Reema Sen, Anupam Kher, Farida Jalal, Ashish Vidyarthi, Mukesh Rishi, and Amrish Puri. The supporting cast include Virendra Saxena, Shahbaz Khan, Ragesh Asthana, Amit Bhalla, Kishori Kulkarni, Bobby Saini, Prem Lala, Raj Nair, Ghanshyam Rohera, Susheel Parashar, Raj Tilak, Deepak Bhatia, Nikhil Kumar, Rocky Fernandes, Sanjeev Nanda, and others.
Story and screenplay of this movie was written by Rajiv Kaul and Praful Parekh. Dialogues for this movie were written by Dilip Shukla. Sanjay Verma was the editor of this film. Background music for this movie was given by Aadesh Shrivastava. The action by Tinu Verma in this movie is brilliant and that all comes in the second half of the movie. This movie was passed by Censor Board on 12.03.2003.
The movie has six songs. Sameer and Anand Raj Anand are the lyricists for this movie. And songs were composed by Anand Raj Anand. Alka Yagnik, Udit Narayan, Kumar Sanu, Zubin, Chitra, and Anand Raj Anand had given their voices to the songs in this movie.
I would like to mention in very brief about this movie that this movie had a very good plot with a ‘tricky-twist’. From the cast we can easily guess that the performances were good too. But still this movie failed to make an impact on the box office. It was because of the length of the movie and especially the first half of the movie which got a bad review by all. Had the first half of this movie been edited and the film was reduced in length like a Hollywood movie, it would have been a great movie. Yes, of course, the songs also needed to be ‘cut’ except today’s song. 🙂
This movie was shot at some beautiful outdoor locations in New Zealand, Kulu, Manali, Dalhousie, Shimla, Bikaner and Nasik. This song is picturised in Shimla, at the picturesque Ridge location on the Mall. The hero of the movie Sunny Deol as expected excels in ‘action’ but none the less whenever he is doing a ‘foot tapping’ performance like in the today’s song is always a ‘treat’ to watch and enjoyable too.
Major Amrish Kaul (Amrish Puri) has been given with the responsibility of protecting Anita Chaudhury (Reema Sen) who is a daughter of Minister Bhagwat Chaudhury (Virendra Saxena). Assisting Major Kaul in this assignment is Captain Amarjeet Singh (Shahbaz Khan). Anita is in New Zealand and terror groups are planning to kidnap her.
In this gang we have Naved Rabbani (Ashish Vidyarthi) and Junaid Afghani (Mukesh Rishi). Naved Rabbani is already arrested earlier and in police custody. To get Naved released, the ‘terrorists’ have plans to kidnap Anita. Anita has been given special instructions for venturing outside and the limits have been prescribed which she should not cross over. But she ventures out with her friends for skiing. As expected the terrorists group attacks Anita but their attempt is foiled by Major Kaul and his army.
Anita begs pardon of Major Uncle after this incident. Major Uncle is supposed to travel to India but he is trying to cancel this visit. But finally, Anita accepts her mistake and assures to obey the instructions of Mr. Kaul further. Kaul Saab is travelling to India and Anita insists to see him off at the airport. So she accompanies him to the airport. On the way she inquires about the family of Major Kaul and the family members. When Major tells her that he has son named Ajay (Sunny Deol), she asks what he is doing ‘kya kartaa hai wo’.
‘Woh kya kartaa hai aur kya karnaa chaahtaa hai inhin sawaalon ke jawaab to dhhoondhhne ki koshish kar rahaa hoon. Jo main chaahtaa hoon woh chaahtaa nahin, aur jo woh kartaa hai meri samajh mein nahin aata’.
‘Magar, aisaa kartaa kya hai?’
Here, enters Ajay on the screen with a mandolin in his hand singing this song.
. . .
This film makes its debut on the blog today.
Enjoy 🙂
For Atul ji – jahaan jaatein hain chhaa jaatein hain – musical blogs ki duniyaa mein ‘NUMBER ONE’ .
Video
Audio
Song – Indian, Indian, Sher Dil Indian (Jaal – The Trap) (2003) Singers – Anand Raj Anand, Lyrics – Sameer, MD – Anand Raj Anand
Unidentified Child Voice
Chorus
Lyrics (Based on Audio)
o aa aa aa aa
hoye
hoye
hoye
hoye
hoye
hoye
hoye
jahaan jaatein hain
chhaa jaatein hain ae
har dil ko ye
bhaa jaatein hain ae aen aen aen
hoye
hoye
hoye
hoye
hoye
hoye
jahaan jaatein hain
chhaa jaatein hain ae
har dil ko ye
bhaa jaatein hain
ho ishq watan se
ya husn se
ye karte hain to
nibhaate hain ae ae
har baat mein number one
indian
hoye
indian
hoye
sherdil indian
hoye
indian
hoye
indian
hoye
sherdil
hoye
indian
hoye
indian
hoye
sherdil
hoye
indian
hoye
indian
hoye
sherdil
jahaan jaatein hain
chhaa jaatein hain ae
har dil ko ye
bhaa jaatein hain
ho ishq watan se
ya husn se
ye karte hain to
nibhaate hain ae ae
har baat mein number one
indian
indian
sherdil indian
indian
indian
sherdil
indian
indian
sherdil indian
indian
indian
sherdil
o o o o o o o o
o
(brurrrr oo oo )
hoye
hoye
hoye
hoye
hoye
hoye
nehru aur gandhi
oye oye oye
laaye ik aandhi
oye oye oye
aaye josh mein fauzi
oye oye oye
hil gayaa dalhousie
oye oye oye
aazaad bhagat singh
udham singh ne
chalaa di goli tan
indian
hoye
indian
hoye
sherdil indian
hoye
indian
hoye
indian
hoye
sherdil
indian
hoye
indian
hoye
sherdil indian
hoye
indian
hoye
indian
hoye
sherdil
hey
yo !
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
yahaan mother teresa
oye oye oye
de shaanti sandeshaa
oye oye oye
jhaansi ki raani
oye oye oye
kar gayi qurbaani
oye oye oye
raana prataap ke aage
kabhi thhehraa na koyi dushman
chal
indian
hoye
indian
hoye
sherdil indian
hoye
indian
hoye
indian
hoye
sherdil
hoye
indian
hoye
indian
hoye
sherdil indian
hoye
indian
hoye
indian
hoye
sherdil
hoye
hee ya aa !!
yahaan ram ramaiyyaa
oye oye oye
yahaan krishn kanhaiyya
oye oye oye
is desh ke daani
oye oye oye
is desh ke shaani
oye oye oye
yahaan sone jaisi mitti hai
jal amrit saa paawan
yo !!
indian
indian
sherdil indian
indian
indian
sherdil
indian
indian
sherdil indian
indian
indian
sherdil
ni saa re saa saa
. . . . .
. . . . .
ma pa pa ni ni
saa saa re re saa
indian
indian
sohne sohne indian
indian
indian
sohne sohne indian
indian
indian
sohne sohne
indian
indian
sohne sohne indian
indian
indian
sohne sohne
india de munde
oye oye oye
india diyaan kudiyaan
oye oye oye
ye meethhi baatein
oye oye oye
misri diyaan pudiyaan
oye oye oye
yahaan raanjhe jaisa har dulha
aur heer si har dulhan
indian
indian
sherdil indian
indian
indian
sherdil
indian
indian
sherdil indian
indian
indian
sherdil
jahaan jaatein hain
chhaa jaatein hain aen aen aen ae
har dil ko ye bhaa jaatein hain aen
ho ishq watan se
ya husn se
ye karte hain to
nibhaate hain
har baat mein number one
indian
indian
sherdil indian
indian
indian
sherdil a
bruuurr oh
indian
indian
sherdil indian
indian
indian
sherdil
indian
indian
sherdil indian
indian
indian
sherdil
indian
indian
sherdil indian
indian
indian
sherdil
indian
indian
sherdil indian
indian
indian
sherdil
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 : |
5340 | Post No. : | 17510 | Movie Count : |
4711 |
Madhur Bhandarkar, the four-time National Film Award winner, is known to make films on some unusual issues. Some of his films’ titles like ‘Chandni Bar’ (2001), ‘Satta’ (2003), ‘Page-3’ (2005), ‘Corporate’ (2006), ‘Traffic Signal’ (2007), ‘Fashion’ (2008), ‘Heroine’ (2012), ‘Calendar Girls’ (2015) are indicative of the diverse and unusual subjects he has covered in his films. He does not think that his films are exposes but they show what is happening in society without passing value judgement. Usually, he makes films with one or two well-known actors. Rest of actors are usually from the theatre/TV background. Songs in his films are not a priority. Most of the issues he takes up in his film is Mumbai-based.
With this background of his film making, I thought that Madhur Bhandarkar may have come from theatrical background or from FTII. But surfing on the internet including the Radio/T V interviews, for his profile revealed that he came from a humble background, and he had no theatre or filmy experiences. His is one of rags to riches stories.
Madhur Bhandarkar was born in a middle-class Gowd Saraswat Brahmin family staying in Khar in Mumbai suburb. He was a school dropout due to financial reasons. At the age of 16, he started the business of renting film video cassette in his neighboring areas which included all types of his customers – hutment dwellers, politicians, fashion and corporate world, film actors and directors, bar girls, people connected with gangsters and many more category. He himself used to watch many Hindi films which led to developing his interest in filmmaking. He has said in an interview that he is the encyclopedia of Hindi films released between 1970-80 during which period, he watched films in all the theatres located between Colaba and Virar.
After the advent of cable TV, the business of renting film video cassette no longer became profitable. Madhur Bhandarkar, probably through the networking with his customers connected with Hindi film industry, got entry into film industry as assistant to some ‘B’ grade film directors. He graduated to become the Assistant Director to Ram Gopal Varma while he was making ‘Rangeela’ (1995). In this film, Madhur Bhandarkar did a cameo role of Assistant Director. He worked with Ram Gopal Varma for 4 years before venturing into an independent director. While he wanted to make issue-based films, no producer/financier was willing to support him in his maiden film. So, perforce, he had to make his first directorial venture, ‘Trishakti’ (1999), a pure masala film which miserably failed at the box office.
With the failure of ‘Trishakti’ (1999), Madhur Bhandarkar took an issue-based subject for his second film, ‘Chandni Bar’ (2001). However, as it often happens in Hindi film industry, it is difficult to get a producer or a financier for a film with a realistic story. It was only when Tabu agreed to do the film, R Mohan, a Malayalam film producer came forward to produce the film. This film not only became a box office success, but it also got 4 National Film Award for Best Film covering other social issues, best actress for Tabu, best supporting actor for Atul Kulkarni and Best supporting actress for Ananya Khare.
Madhur Bhandarkar made some more issue-based films like ‘Satta’ (2003) – a political drama, ‘Page 3’ (2005) – on the life of a journalist vis-à-vis the business interest of the newspapers, ‘Corporate’ (2006) – on corporate war between two powerful industrialists, ‘Traffic Signal’ (2007) – the life around traffic signals in Mumbai, ‘Fashion’ (2008) – on fashion industry, ‘Heroine’ (2012) – on a career path of a heroine from superstar to a decline, ‘Calendar Girls’ (2015) – the jumping platform from pin-up girls to dreaming about stardoms, etc. However, from 2008 onwards, his films did not fare well on box office though the films were critically acclaimed. Madhur Bhandarkar co-produced along with Gaurang Jalan, his first Bengali film, ‘Avijatrik’ (2021) which was directed by Subhrajit Mitra. The film won the National Film Award for the Best Feature Film in Bengali.
Following the critically acclaimed, commercially successful and strong woman-oriented film, ‘Chandni Bar’ (1999), Madhur Bhandarkar’s next film was about an independent woman who had a strong dislike for politicians. But the circumstances made her to take plunge in the world of murky politics in order to survive in the midst of a political family. The film is a lesser known, ‘Satta’ (सत्ता, 2003). The film’s cast included Raveena Tandon, Atul Kulkarni, Govind Namdev, Sameer Dharmadhikari, Manoj Joshi, Anju Mahendru, Abhay Bhargva, Abhijit Lahiri, Amardeep Jha etc. The gist of the film’s story is as under:
Anuradha Sehgal (Raveena Tandon) is a daughter of a Delhi-based divorced parent who is independent minded and fun-loving girl. She shifts to Mumbai on a job and meets a debonaire, Vivek Chauhan (Sameer Dharmadhikari), son of a leading politician, Mahendra Chauhan (Shri Vallabh Vyas). They fall in love and get married. Anuradha shifts to her husband’s place in Mumbai. Within few days, she discovers the true nature of Vivek who is a spoilt brat, a drunkard, and a womaniser. In the house also, there are restrictions on women on free conversations when men are discussing some matters. Mahendra is planning to make his son, Vivek stand for state assembly election and make him the potential candidate for the Chief Minister.
One day while in the bar, Vivek kills a bar girl for not serving him drink (probably a la Jessica Lal murder case) for which he is imprisoned. This put Mahendra’s plan in jeopardy as Vivek will not get ticket for contesting election. Other party functionaries suggest Mahendra Chauhan that his daughter-in-law, Anuradha should context the election in place of Vivek.Under pressure to contest election, Anuradha wins the election and become MLA. Her father-in-law assings his close confident, Yeshwant Varde (Atul Kulkarni) to Anuradha to guide her in the survival games of politics. Gradually, Anuradha learns of ropes of political games and transforms herself from homely woman into a strong political leader. She introduces reforms to change the complex of party politics in which there is no place for double standard politicians.
After facing some obstacles, like floating the news of her suspected ‘affairs’ with Yeshwant from the opponents of her own partymen, Anuradha is successful in cleansing the system of nexus between politicians, businessmen, underworld, and the policemen. She becomes the kingmaker of her party by playing the same crooked games of politics which were hitherto played by her adversaries. She chooses Anna Saheb Joshi (Hemendra Bhatia), a veteran of the party with a clean image and honesty to be the Chief Minister who believes that ‘satta’ (power) is an opportunity to bring a positive changes in the standard of living of the people.
I had watched Raveena Tandon in her glamourous roles in the mainstream Hindi films. It is the first time that I have watched her in the powerful role of Anuradha. She has truly justified the faith reposed by the director by giving her the best performance in the film. Performances from other main actors have also very good.
‘Satta’ (2003) had six songs (including a multi-version song) written by Javed Akhtar and set to music by Raju Singh. I was not even aware that there were songs in this film until I watched the film recently. Of the 5 songs of the film, I liked only the multiple version song which I am presenting here. The song is ‘gungunaati hai geet gaati hai zindagi’. The song is rendered by Asha Bhosle and Sonu Nigam separately as a solo song on the same lyrics. Asha Bhosle version is a background song picturised on Raveena Tandon and Atul Kulkarni. I could not locate in the film as to where Sonu Nigam version of the song got picturised. I suspect that Sonu Nigam version of the song may have got deleted in the DVD.
The song starts with a beautiful prelude of interplay of piano and flute. Asha Bhosle sings the song with ‘harkat’ on some words which is more noticeable in audio clip than on video clip as latter’s sound quality is not so good. Sonu Nigam’s rendition is also very good.
I have listened to both the versions of the songs many times during the last one week. And each time I listen to this song I get reminded of R D Burman especially in antaras.
Video Clip (Asha Bhosle version):
Audio Clip: (Asha Bhosle version):
Audio Clip (Sonu Nigam version):
Song-Gungunaati hai geet gaati hai zindagi (Satta)(2003) Singer- Asha Bhonsle/ Sonu Nigam, Lyrics-Javed Akhtar, MD-Raju Singh
Lyrics
gungunaati hai
geet gaati hai
zindagi..ee
tum jo aaye to
muskuraati hai
khilkhilaati hai
zindagi..ee
tum jo aaye to
dil mein ab jaise
kaliyaan si khilti hain
dil mein ab jaise
kaliyaan si khilti hain
gul khilaati hai
mehke jaati hai
zindagi ee ee
tum jo aaye to
gungunaati hai
geet gaati hai
zindagi..ee
tum jo aaye to
muskuraati hai
khilkhilaati hai
zindagi..ee
tum jo aaye to
bechain ik lahar thhi
ab usse
mil gaye hain
kinaare
ho
bechain ik lahar thhi
ab usse
mil gaye hain
kinaare
betaab ik nazar thhi
ab usse
mil gaye hain
nazaare
dil mein ab jaise
tasveeren banti hain
dil mein ab jaise
tasveeren banti hain
gudgudaati hai
chhed jaati hai
zindagi..ee
tum jo aaye to
gungunaati hai
geet gaati hai
zindagi..ee
tum jo aaye to
paaya jo dil ne tumko
zindagi ee
har khushi paa gayi hai
paaya jo dil ne tumko
zindagi
har khushi paa gayi hai
mere humsafar ho tum jo
raah mein
raushni chhaa gayi hai
dil mein ab jaise
kirne si chhanti hain
dil mein ab jaise
kirnen si chhanti hain
jhilmilaati hai
jagmagaati hai
zindagi..ee
tum jo aaye to
gungunaati hai
geet gaati hai
zindagi..ee
tum jo aaye to
muskuraati hai
khilkhilaati hai
zindagi..ee
tum jo aaye to
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 : |
5326 | Post No. : | 17461 | Movie Count : |
4698 |
Khalid Mohamed, the journalist, the film critic, the former editor of Filmfare magazine and The Hindustan Times, started his career in Hindi film industry when he wrote the story and screenplay for Shyam Benegal’s trilogy on Indian Muslim Women – Mehmooda Begum in ‘Mammo’ (1994), ‘Sardari Begum’ (1996) and Zubeida Begum in ‘Zubeida (2001). All these three women were the relatives of Khalid Mohamed, Zubeida Begum being his mother. After working with Shyam Benegal, Khalid Mohamed turned director with his first film, ‘Fiza’ (2000). This was followed by ‘Tehzeeb’ (2003) and ‘Silsilay’ (2005). While ‘Fiza’ (2000) was a box office hit, his next two films were box office disasters. The last film he directed was ‘Katha’ – a remake of ‘Katha’ (1983) which has remained unreleased after the completion of the film in 2016.
‘Tehzeeb’ (2003) is Khalid Mohamad’s second film as a director for which he also wrote story and screenplay. The film is based on Ingmar Bergman’s Swedish drama film, ‘Höstsonaten’ (English title: ‘Autumn Sonata’, 1978). It is a woman-oriented Muslim social film with story mainly hovering around the mother-daughter relationship. The cast includes Shabana Azmi, Urmila Matondkar, Arjun Rampal, Dia Mirza, Namrata Shirodkar, Diana Hayden, Satish Kaushik, Palak Jain, Rekha Rao, and Rishi Kapoor in a special appearance. The gist of the story is as under:
Rukhsana (Shabana Azmi) and Anwar (Rishi Kapoor) have been married for long time with two daughters – Tehzeeb (Urmila Matondkar) and Nazneen (Dia Mirza) who is mentally challenged. Anwar is not doing well in his business and is depressed. Rukhsana on the other hand, is a popular and ambitious singer who has been doing very well in her career. One day, the depressed Anwar after some heated argument with Rukhsana commit suicide. This was seen by Tehzeeb (as a child) from a distance. Rukhsana is suspected to have killed Anwar for which she is arrested and jailed. However, she is released from the jail for the lack of evidence. She rebuilds her career as a singer and looks after her two daughters as a single mother.
As Tehzeeb grows into her adulthood, she develops some sort of grudge against her mother. She feels that during her childhood, she had not given enough time to them by spending more time in furthering her career as a singer. She also feel that her mother was responsible for her father’s suicide. Another friction point between mother and daughter is that Tehzeeb got married to Salim Mirza (Arjun Rampal), a writer, against her wishes. After marriage, Tehzeeb shifts to her husband’s place along with Nazneen.
Five years have passed since the marriage and Tehzeeb is happy in her married life. She also looks after her mentally challenged sister, Nazneen. At this juncture, Rukhsana decides to make a visit to Tehzeeb’s house to meet her and Nazneen. Both are happy to renew their ties after 5 years but at the same time there is some apprehensions as to how the visit will go. For the first few days, their relations are cordial. But eventually, the bent-up tensions between them surfaces on some occasions with arguments and counterarguments. Nevertheless, both have some happy moments too and recall their childhood nostalgia. So, mother and daughters become close to each other.
When things were looking normal, one day, Nazneen shoots herself with a gun which was in fact used by Anwar for his suicide. Luckily, she survives after some anxious moments. But this incidence indirectly facilitates removing Tehzeeb’s misunderstanding about her mother. She feels guilty about her attitudes towards the mother until now. She wants to say sorry to her mother and seek pardon for her misunderstanding. She approaches her mother who is sitting on a swing and apologises for the way she has treated her so far. But it is too late. Rukhsana does not respond as she has died of heart-attack. The film ends with Tehzeeb singing one of her mother’s favourites songs.
When I started watching the film, I was not very optimistic as to how the theme of mother-daughter relationship will be handled. My fear was that there would be a lot of melodrama with high-pitched arguments. The director has handled the grudge of a daughter against her mother very sensitively without appearing too melodramatic. At the same time, he has taken care to show in a subtle way that there is love and respect for each other. I liked the scene in which mother and daughter who are scheduled to personally meet after 5 years, start rehearsing in front of the mirrors in their respective homes as to how they would greet each other. The confrontation scenes between mother and daughter have been gracefully performed by both Shabana Azmi and Urmila Matondkar without sounding too melodramatic.
I felt that scenes involving Namrata Shirodkar as a budding singer and Diana Hayden as a publishing executive who flirts with Arjun Rampal looked superfluous. These two characters were like speed breakers to the smooth progression of the main theme of the story.
‘Tehzeeb’ (2003) has six songs of which Javed Akhtar wrote two and Blaze wrote one English song. The remaining songs are ghazals written one each by by Urdu poets Momin Khan Momin, Daagh Dehlvi and Shaad Azimabadi. All songs were set to music by A R Rahman.
I am presenting the first song from the film to appear on the Blog. It is a ghazal ‘mujhe pe toofaan uthhaaye logon ne’ written by Urdu Poet, Momin Khan Momin (1801-1852). In the soundtrack version, the film ends with two couplets of this ghazal picturised on Urmila Matondkar.
The ghazal is rendered by Sujata Bhattacharya and I have become a fan of her in recent times. Most of the time, I am not able to differentiate her voice with that of Shreya Ghoshal whom I also admire among the current playback singers in Hindi films.
Kolkata born Sujata Bhattacharya (later renamed herself as Madhushree) is a trained Hindustani classical vocalist with specialization in Khayal and Thumri. She was trained by Pandit Amiya Ranjan Bandopadhyay of Bishnupur Gharana. She completed her post graduate degree in music from Rabindra Bharati University. She was deputed to Surinam by Government of India to teach Hindustani classical music where Indian origin people form a bulk of the population. When she found that her students were more interested in light music and Hindi film songs, she had to change her teaching syllabus. At this juncture, she also felt that she should pursue more of playback singing career than the career as a Hindustani classical vocalist.
Javed Akhtar was instrumental in introducing Sujata Bhattacharya in Hindi films as playback singer when he recommended her name to Rajesh Roshan for a song in the film ‘Moksha’ (2001). Thereafter, she has sung under many prominent music directors, majorly with A R Rahman and M M Kreem (Keeravani) in Hindi, Tamil and Telugu films. It is at the instance of A R Rahman that she changed her name from Sujata Bhattacharya to Madhushree since Rahman had many Sujatas in his music team.
Madhushree’s forte is semi-classical and the light musical genres of songs comprising ghazal, thumri, devotional, folk and romantic though she has also sung under A R Rahman, some peppy songs. In ‘Tehzeeb’ (2003), she has sung 3 ghazals including the one under discussion.
Coming back to the ghazal under discussion, I find this ghazal unique in the sense that all the couplets are thematically inter-linked whereas in traditional ghazal, they are supposed to be autonomous. Another uniqueness in this ghazal is that Momin imagines a situation ahead of falling in unrequited love that normally is the subject matter of the ghazal. This will become clear from what Momin has conveyed in this ghazal.
The poet is sad that that people have created storms with accusation and have spread baseless stories about their love. He was only longing to meet his beloved but people have fabricating stories as if we have already met. It is strange that people are forcing us to see as our grand show of love which we ourselves have not personally experienced. All these rumours and fabricated stories have deprived them of the excitement of falling in love and have upset his beloved. It is pity what the people have done to Momin.
Another uniqueness of this ghazal is that A R Rahman has composed this ghazal in ‘nazm’ format. This is evident from the fact that the musical interlude comes after every two couplets. The background music sounds like symphony orchestra when the song is rendered. Overall it is a melancholic ghazal.
Audio Clip:
Video Clip:
Song-Mujhpe toofaan uthhaaye logon ne (Tehzeeb)(2003) Singer-Madhushree, Lyrics-Momin Khan Momin, MD-A R Rahman
Lyrics (Based on Audio Clip)
mujhpe toofaan uthhaaye logon ne
mujhpe toofaan uthhaaye logon ne
muft baithhe bithhaaye logon ne ..ae ae
muft baithhe bithhaaye logon ne..ae ae
kar diya apne aane jaane ke ae
kar diya apne aane jaane ke ae
tazkire jaaye jaaye logon ne
mujhpe toofaan uthhaaye logon ne
muft baithhe bithhaaye logon ne ae
vasl ki baatein kab ban aayin thh…ee ee
dil se daftar banaaye logon ne
baat apni wahaan na jamne dee
apne naqshe jamaaye logon ne ae
mujhpe toofaan uthhaaye logon ne
muft baithhe bithhaaye logon ne ae
muft baithhe bithhaaye logon ne ae
sunke udti si apni chaahat ki
sunke udti si apni chaahat ki ee
donon ke hosh udaaye logon ne ae
bin kahe raaz aaye pinhaani
bin kahe raaz aaye pinhaani ee
usey kyunkar sunaaye logon ne
mujhpe toofaan uthaaye logon ne
kya tamaasha hai jo na dekhe thhe
kya tamaasha hai jo na dekhe thhe ae
woh tamaashe dikhaaye logon ne ae
kar diya ‘Momin’ us sanam ko khafa
kya kiya haaye re haaye logon ne ne
kya kiya haaye re haaye logon ne
mujhpe toofaan uthaaye logon ne
muft baithhe bithhaaye logon ne
mujhpe toofaan uthhaaye logon ne
mujhpe toofaan uthhaaye logon ne ae
mujhpe toofaan uthhaaye logon ne
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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Hullo Atuldom
A song from a new movie (by the standards of this blog) for the listening pleasure of followers of this blog.
‘Hungama (The Ruckus)’ is a 2003 release – nearly 20 years old already – that was produced by Venus records and tapes and directed by Priyadarshan. One of the many that Priyan (as his friends in the South address him as) remade from Malayalam hits. It was a remake of Priyans’ Malayalam ‘Poochakkoru Mookkuthi’ (meaning A Nose-ring for the Cat) which was itself a remake of the Telugu movie ‘Gopala Rao Gari Ammayi’ which had elements borrowed from the plot of Charles Dickens ‘The Strange Gentleman’.
‘Hungama’ had Rimi Sen, Akshay Khanna, Aftab Shivdasani as the youngsters and Paresh Rawal, Shoma Anand, Shakti Kapoor, Neena Kulkarni, Rajpal Yadav, Tiku Talsania, Upasna Singh, Sanjay Narvekar, Manoj Joshi, Razzaq Khan, etc. and Malayalam film actor Jagadish in a minuscule role of Paresh Rawal’s housekeeper. The movie had music by Nadeem Shravan for songs written by Sameer. Babul Supriyo, Shaan, Sadhana Sargam, Richa Sharma, Alka Yagnik, Udit Narayan, Abhijeet, Sonu Nigam and Kumar Sanu were the playback singers used.
The movie revolved around the confusion caused by two characters having the same name. Both Shoma Anand and Rimi Sen are called ‘Anjali’. Then, the conning of Kachra Seth (Shakti Kapoor) by Anil Singh claiming to be Paresh Rawal’s son Munna Tiwari (Sanjay Narwekar) adds to more confusion. Plus, there is the usual love triangle which gives us romantic songs. But, for me, the highlight in the movie is where Shoma Anand doubts her husband (Paresh Rawal) of having a relation with Rimi Sen and Paresh Rawal doubting his wife as her character undergoes a change the minute she lands in their city-home. As if to add fuel to fire Akshay Khanna keeps visiting their house and asking for Anjali (meaning Rimi Sen) which Paresh construes as Anjali (Shoma Anand).
As can be seen from the above, Paresh Rawal was the main character in this movie, just as he was in many of Priyadarshan’s Hindi movies ‘Hera Pheri’, ‘Hulchul’, ‘Chup Chup Ke’, ‘Bhagam Bhag’ and a few more, all of which I have seen more than once. Today we are wishing this versatile actor on turning 67 (is he really that old, unbelievable).
Today’s song happens at a party thrown by Anjali (Shoma Anand) for her birthday where both Anjali (Rimi) and Akshay Khanna are uninvited guests. But the husband and wife feel that the other has invited their new ‘friend’ and fantasize the two dancing with their new-friend. Sadhana Sargam and Shaan are the singers who have been invited to entertain the people at the party. A very cute song which is nice on the ears.
Song – Chain Aapko Mila Mujhe Deewaangi Mili (Hungama) (2003) Singer – Shaan, Sadhna Sargam, Lyrics – Sameer, MD – Nadeem Shravan
Lyrics (Provided by Sudhir)
ey hey hey hey
la la la la
ey hey hey hey
aa haa haa
hmmm hmmm hmmm
la la la la
la la la lalala lalala la
chain aap ko mila
mujhe deewaangi mili
hosh aapko mila
muhe to bekhudi mili
phir bhi pyaar
aap se hi karta hai dil
chain aap ko mila
mujhe deewaangi mili
o ho hosh aapko mila
muhe to bekhudi mili
phir bhi pyaar
aap se hi karta hai dil
chain aap ko mila
mujhe deewaangi mili
manaaun to main isko kaise
ye dil deewaana hai na maane
bataaun to bhala main kaise
ye ishq kya hai ye na jaane
shaidaai main
tera hua
tujhko nahin hai ye pata aa aa aa
jaam aapko mila
mujhe to berukhi mili
o ho hosh aapko mila
muhe to bekhudi mili
phir bhi pyaar
aap se hi karta hai dil
chain aap ko mila
mujhe deewaangi mili
koi kisi pe jaan de de
koi kare hai bewafaai
ye faaslon ka dard kya hai
ye jaanti hai bas judaai
tujhse mili
jabse nazar
deewaani main ho gayi ee ee ee
neend aapko mili
mujhe to bebasi mili
aa haa haa hosh aapko mila
muhe to bekhudi mili
phir bhi pyaar
aap se hi karta hai dil
chain aap ko mila
mujhe deewaangi mili
chain aap ko mila
mujhe deewaangi mili
aa haa haahosh aapko mila
muhe to bekhudi mili
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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