Archive for the ‘Songs of 2006’ Category
Beedi jalaile
Posted on: March 20, 2023
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5358 | Post No. : | 17571 | Movie Count : |
4723 |
Vishal Bhardwaj’s Trilogy of Shakespeare Play – 2: ‘Omkara’ (2006)
In this article, I am exploring the second film of Vishal Bhardwaj’s Shakespeare trilogy, ‘Omkara’ (2006) which is based on ‘Othello’ (1603).
There is a trivia which was narrated by Vishal Bhardwaj in a TV interview about a couple of years back. At Goa International Film Festival, he met Naseeruddin Shah who enquired as to what he was currently doing. Vishal Bhardwaj said that he had just completed a script based on Shakespeare’s ‘Othello’. Naseeruddin Shah retorted that ‘Othello’ was the weakest character in Shakespeare’s play and it will not work in Indian context. Vishal Bhardwaj gave him a copy of the script to read. Next day morning, Naseeruddin Shah came to Vishal Bhardwaj and said that he had read the script in the night and he would do the character of Bhaisaheb in the film. This shows the power of screenplay writing which makes a so-called weak Shakespeare play strong.
For ‘Maqbool’ (2004), Vishal Bhardwaj had to wait for nearly two years to get a producer/financier after the script was ready. But it was a smooth sailing for him in ‘Omkara’ (2006). He not only got a producer, he also got all the main actors as per his requirements. In ‘Omkara’ (2006), Vishal Bhardwaj has blended his artistic approach with commercial elements to avoid the repeat of the box office failure of ‘Maqbool’ (2004). His strategy worked and ‘Omkara’ (2006) fared very well on the box office front.
‘Omkara’ (2006) was produced by Kumar Mangat Pathak (Ajay Devgan’s Manager and the executive producer of most of Ajay Devgan Films) and was directed by Vishal Bhardwaj. The cast included Ajay Devgan and Kareena Kapoor in the lead roles supported by Saif Ali Khan, Konkana Sen Sharma, Vivek Oberoi, Bipasha Basu (special appearance), Naseeruddin Shah, Deepak Dobriyal, Pankaj Tripathi, Kamal Tiwari etc. The Censor Board certified the film for Adult viewing (A).
In ‘Omkara’ (2006), Vilash Bhardwaj molded the story of ‘Othello’ (1603) with the rural backdrop of Uttar Pradesh where ‘Bahubalis’ played prominent role in the politics. A comparison of main characters in ‘Othello’ with that in the film, ‘Omkara’ (2006) is presented in a tabular format below:
| In Othello | In Omkara | Remarks |
|---|---|---|
| Othello is a dark-skinned Commander of the Venetian army in Venice. | Omi Shukla or Omkara (Ajay Devgan), the head of a criminal gang is the son of a Brahmin father and low-caste mother. | In both ‘Othello’ and ‘Omkara’, the race/caste is not the main reason for tragedy. It is the jealousy and revenge for which race/caste is discreetly used for instigation against Othello/Omkara. |
| Iago, a soldier, and Othello’s trusted adviser. | Ishwar ‘Langda’ Tyagi (Saif Ali Khan), a henchman of Omkara. | In ‘Othello’ Iago kills his wife, Emilia while in ‘Omkara’ Indu kills her husband, Langda. |
| Desdemona, the white-skinned wife of Othello who abducted her. | Dolly Mishra (Kareena Kapoor), the high caste fair-skin wife of Omkara who was abducted by him from the wedding venue. | – |
| Cassio, Othello’s white-skinned lieutenant in the army. | Keshav ‘Kesu Firangi’ Upadhayay (Vivek Oberoi), the trusted and a fair-skinned handsome aid of Omkara. | The reason for appointing Cassio as lieutenant is because of his courage while Kesu’s promotion as Bahubali is mainly because of his charming nature and vote drawing ability from the younger generation. |
| Emilia, wife of Iago and Attendant to Desdemona. | Indu Tyagi (Konkana Sen Sharma), wife of Langda and so-called sister of Omkara is a close companion of Dolly Mishra. | By making Indu, the so-called sister of Omkara, her character is more powerful in ‘Omkara’ than Emilia in ‘Othello’. |
| Roderigo, the lover of Desdemona. | Rajju (Deepak Dobriyal), the bridegroom who was to marry Dolly. | Rajju thinks that Langda will help him get back Dolly. But Langda is actually using him in his plan to take revenge against both Omkara and Kesu. |
| Brabantio, a senator of Venice and the father of Desdemona. | Raghunath Mishra (Kamal Tiwari), a lawyer and the father of Dolly. | – |
| Duke of Venice, the Administrator of Venice | Bhaisaheb (Naseeruddin Shah), a politician. | – |
| Bianca, a courtesan in Venice. | Billo (Bipasha Basu), a dancer and the mistress of Kesu. | – |
| Language used in the play is poetic. | Language used in the film is local dialect of Western UP. | In keeping with the setting of the story in rural UP. |
The gist of the film’s story is as under:
Omkara (Ajay Devgan) is the head of a criminal gang operating under the patronage of Bhaisahab (Naseeruddin Shah), a local politician. Langda Tyagi (Saif Ali Khan) and Kesu (Vivek Oberoi) are the close confidants of Omkara. The film opens with Langda attacking a marriage procession (baaraat). Dolly (Kareena Kapoor), the bride is kidnapped by Omkara before bridegroom, Rajju (Deepak Dobriyal) reaches the marriage venue.
Raghunath Mishra (Kamal Tiwari), Dolly’s father and a lawyer with his men rushes to Omkara’s house and asks him to handover his daughter. Omkara, however, claims that Dolly chose him rather than Rajju. The matter goes to Bhaisahab where Dolly tell her father that she willingly eloped with Omkara. Raghunath Mishra feels betrayed by his daughter and leaves by telling Omkara that a daughter who betrays her father can betray him also. Dolly stays with Omkara.
In an election, Bhaisahab is a candidate. Omkara’s gang arranges a video of a sex scandal of Bhaisaheb’s political opponent resulting in his reputation getting tarnished. Bhaisaheb wins the election. In token of his appreciation, Bhaisaheb selects Omkara as a candidate for a local election. In order to canvas for his election, Omkara makes Kesu as his Bahubali over the claim of Langda who is senior to him. This sows the seeds of anger and jealousy in Langda who secretly plans to get revenge on both Omkara and Kesu.
The gang celebrates the election victory with a nautanki performance by Billo (Bipasha Basu), the dancer who is the mistress of Kesu. Seeing this opportunity, Langda pressurises Kesu to drink and a drunk Kesu gets instigated by the cigarette smoke emanating from Rajju’s mouth affecting Billo. A brawl between Kesu and Rajju takes place injuring Kesu. The matter goes to Omkara who is enraged by Kesu’s behaviour. Omkara punishes Kesu by sidelining him from important assignments.
To restore his position in the gang, Kesu approaches Langda for a way out. He suggests to Kesu to approach Dolly who can plead with Omkara to pardon him. Dolly agrees to put a word to Omkara provided he teaches her an English song. Kesu starts visiting Dolly and spends time with her for rehearsing an English song. Once, Omkara sees Kesu coming out of Dolly’s room and asks Langda about this. Langda, using this opportunity create suspicion in the mind of Omkara suggesting an affair between Kesu and Dolly. As a proof, a ‘kamarbandh’ jewellery gifted by Omkara to Dolly is found with Billo which was given to her by Kesu. In fact this was clandestinely managed by Langda through Indu. Suspicion overtakes rationale in the minds of Omkara. He assigns Langda to kill Kesu.
On the first night of his marriage, Omkara confronts Dolly of her ‘infidelity.’ In uncontrolled anger, he kills Dolly by suffocating her with a pillow. Indu enters the room and see the dead body of Dolly when she finds kamarbandh jewellery. She admits that she has taken it from Dolly’s room and handed it over to Langda. A realization comes to their minds that Langda has given it to Kesu to create the suspicion in the mind of Omkara. Angered by Langda’s conspiracy, Indu slashes Langda’s throat with a sickle resulting in his death. A seriously injured Kesu returns when he watches Omkara killing himself with his revolver out of guilt.
The film had 5 songs written by Gulzar and set to music by Vishal Bhardwaj. I present the first song ‘beedi jalaile jigar se piya’ to appear on the Blog. The song is picturised on Bipasha Basu, Saif Ali Khan, Vivek Oberoi, and Deepak Dobriyal with a large crowd. It is a nautanki song in celebration of the election win. The song is choreographed by Ganesh Acharya. The song starts with a prelude of scat (wordless vocables) singing by Sunidhi Chauhan and Sukhwinder Singh.
I have watched the video clip of the songs many times since the release of the film. I thought the song to be an item number. When I watched the full film, I realised that this song was an essential part of the film. Gulzar saab’s lyrics are raunchy which is understandable as it is for a nautanki song.
Gulzar Saab, at the launch of the music album of the film, had said that his lyrics of the song reflected the feudal system that prevailed in UP. When I started interpreting the song with Gulzar Saab’s statement, the line, ‘dhuaan na nikaari o lab se piya ye duniya badi jhaag hai’ I felt as if a serf (or a peasant) telling his other colleagues to keep their mouth shut in front of a powerful feudal lord. Similarly, the line in the song ‘na kasoor, na fatoor bina zuram ke hazoor mar gaye’ apart from the raunchiness, also give the impression of a powerful feudal lord sitting in front of a pleading serf. Likewise, the line in the song, ‘aisa kaate ke daant kaa nisaan chhod de’ though sounds erotic, it can also be visualised with a feudal lord sitting with his German Shepherd dog who let loose his dog to bite a serf as a part of the punishment. Such thing used to happen under zamindari system.
I do not know whether Gulzar had considered in his lyrics feelings of Langda after he was overlooked by Omkara for promotion as Bahubali in favour of Kesu. But at some places in the song, lyrics give such an impression. For instance, the line ‘naa kasoor naa fatoor bina zuram ke hazoor mar gaye’ gives an inner feeling of Langda that he has been denied promotion by huzoor (in this case, Omkara) without his fault.
As per the audio album, the song under discussion is rendered by Sukhwinder Singh, Sunidhi Chauhan, Nachiketa Chakraborty and Clinton Carejo. However, I did not find the voice of Clinton Carejo in the song. Probably, he may have rendered some occasional chants in the background of the song and also a line or two in the prelude. The chanting by the crowd in western concerts is mainly by the fans of the performers. Vishal Bhardwaj has added this element in this nautanki song to give such a feel.
The raunchy lyrics with Urdu and local dialects, the bawdy dances, the elements of folk music in orchestration, the chants in the background from the crowd and the lighting effects give a feel of a real nautanki performance in a rural setting in modern India.
This song also represents as to how far the nautanki folk music has progressed from the harmonium, sarangi/clarinet, dholak with sitting crowd under petromax light as in paan khaaye sainyya hamaaro in ‘Teesri Kasam’ (1966) to the digital music with chanting by the standing crowd under electric lights.
Video Clip:
Audio Clip:
Song-Beedi jalaile (Omkara)(2006) Singers-Sukhwinder Singh, Sunidhi Chauhan, Nachiketa Chakraborty, Lyrics-Gulzar, MD-Vishal Bhardwaj
Sunidhi and Sukhwinder, Male Chorus, Unknown voices
Lyrics (Based on Audio Clip):
[scat singing]
[scat singing]
ae ae ae ae ae ae ae
naa gil..aaf
naa lih..aaf
naa gilaaf naa lihaaf
thandi hawa bhi khilaaf
sasuri..ee
naa gilaaf naa lihaaf
thandi hawa bhi khilaaf
sasuri..ee
o itni sardi hai kisi kaa lihaaf laile..ae..ae..ae
o jaa padosi ke chulhe se aag laile..ae
o jaa padosi ke chulhe se aag laile..ae..ae
haan beedi jalaile….e
jigar se piya..aa
jigar ma badi aag hai
[scat singing]
beedi jalaile jigar se piya
jigar ma badi aag hai
[scat singing]
dhuaan na nikaari o lab se piya aa aaaa
(scat singing)
dhuaan na nikaari o lab se piya
ye duniya badi ghaaghh hai
o beedi jalaile jigar se piya
jigar ma badi aag hai
naa gilaaf naa lihaaf
thandi hawa bhi khilaaf
sasuri..ee
o itni sardi hai kisi ka lihaaf laile
o jaa padosi ke chulhe se aag laile
jaa padosi ke chulhe se aag laile
ae ae ae
(ai ai ai ai
naa kasoo….r
naa fatoo…..r
naa kasoor naa fatoor
bina zuram ke hazoor
mar gaye
o mar gaye
(o aise ik din dupehri bulaayi liyo re
baandh ghoongroo kachehri lagaayi liyo re
bulaayi liyo re
bulaayi liyo re dupehri
(lagaayi liyo re
lagaayai liyo re kachehri
angeethi chadhhaile..ae
(chants)
jigar se piya
(chants)
jigar ma badi aag hai
(ai ai ai ai ai)
beedi jalaile jigar se piya
jigar ma badi aag hai…ai
(ai ai ai ai)
o o o o
naa to chakkuon ki dh..aar
ho naa daraanti naa kat..aar
naa to chakkuon ki dhaar
naa daraanti naa kataar
aisa kaate ke daant kaa nisaan chhod de
ke kataayi to koi bhi kisaan chhod de
o aise
zaalim kaa chhod de
makaan chhod de re billo
zaalim kaa chhod de
makaan chhod de re
aise zaalim kaa
o aise zaalim kaa
aise zaalim kaa chhod de
makaan chhod de
naa bulaaya..aa
naa bataaya..aa
naa bulaaya naa bataaya
maa ne neend se jagaaya haay re…ae
aise chaunkele haath mein naseeb aa gaya..aa aa aa
wo elaaichi khilaai ke kareeb aa gaya..aa aa aaa
(scat singing)
koyla jalaayile
(chants)
jigar se piya..aa
(chants)
jigar ma
aag hai
[chants]
itni sardi hai kisika lihaaf laile..ae..ae..ae
(chants)
o jaa padosi
o jaa padosi
jaa jaa padosi
o jaa padosi ke chulhe se aag laile
——————————-
Meaning of some words used in the lyrics
————————————
Gilaaf=Protective cover, Jacket
Lihaaf=Blanket, Quilt
Fatoor (Fitoor)= Obsession
Daraanti=Sickle
Chaunkele=Startled, Coward, Timid
Khumaari chadh ke utar gayi
Posted on: March 9, 2023
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5347 | Post No. : | 17535 |
Today (9 march 2023) early morning, the first WhatsApp message I read in my family group was about producer-director-writer-actor Satish Kaushik who breath his last on the way to a hospital in Delhi early morning following a heart attack. His funeral is likely to take place in Mumbai later in the day. Next month, he would have completed 67 years, an age when many actors have rediscovered themselves in film industries. I felt very sorry that one of the few genial faces of the Hindi film industry and an actor who regaled us through his unique style of acting and dialogue delivery was no more with us. For now, only his films will keep his memory live.
Satish Kaushik (13/04/1956 – 09/03/2023) belonged to Haryana and was trained at the National School of Drama (NSD), Delhi. He followed it with the Film and Television Institute of India (FTII). I have observed through photographs that Satish Kaushik was very close to his alumni from NSD like Anupam Kher, Pankaj Kapoor, Sudhir Mishra, Neena Gupta etc.
Off hand, I think I had watched him for the first time on the screen in ‘Jaane Bhi Do Yaaron’ (1983). Later, I watched him in ‘Maasoom’ (1983), ‘Mr India’ (1987) and some more films. I have also seen some films of him with Govinda which I have enjoyed in their joint performances due to his great timing of dialogues. Probably, I watched him for the last time on OTT platform in ‘Tehzeeb’ (2003). Besides the films, I have watched him in some episodes of TV serials like ‘Ye Jo Hai Zindagi’, and ‘Katha Sagar’. He must have acted in more than 100 films in his lifetime. Whether films or TV serials, he made his presence felt to the audience.
Satish Kaushik also directed about 15 Hindi film beginning with ‘Roop Ki Rani Choron Ka Raja’ (1993) and produced about 6 films. He was also active in Hindi theatre.
As a tribute to the departed soul, I am presenting a song from his film, Umar’ (2006) which is picturised on him as a background song. The song is ‘Khumari chadh ke utar gayi’ which is rendered by Jagjit Singh. The song is written by Shaily Shailendra and is set to music by Shamir Tandon.
Audio Clip:
Video Clip:
Song-Khumaari chadh ke utar gayi (Umar)(2006) Singer-Jagjit Singh, Lyrics-Shaily Shailendra, MD-Shamir Tandon
Lyrics (based on Audio Clip)
khumaari chadh ke utar gayi
zindagi yoon hi guzar gayi
khumaari chadh ke utar gayi
zindagi yoon hi guzar gayi
kabhi sote sote kabhi jaagte
khwaabon ke peechhe youn hi bhaagte
apni to saari umar gayi
apni to saari umar gayi
khumari chadh ke utar gayi
zindagi yoon hi guzar gayi
rangeen bahaaron ki khwaahish rahi
haath magar kuchh aaya nahin
rangeen bahaaron ki khwaahish rahi
haath magar kuchh aaya nahin
kehne ko apne thhe saathhi kayi
saathh kisi ne nibhaaya nahin
koi bhi hamsafar nahin
koi bhi hamsafar nahin
kho gayi har dagar kahin
kabhi sote sote kabhi jaagte
khwaabon ke peechhe yoon hi bhaagte
apni to saari umar gayi
apni to saari umar gayi
khumaari chadh ke utar gayi
zindagi yoon hi guzar gayi
logon ko aksar dekha hai
ghar ke liye rote huye
logon ko aksar dekha hai
ghar ke liye rote huye
ham to magar beghar hi rahe
gharwaalon ke hote huye
gharwaalon ke hote huye
aaya apna nazar nahin
aaya apna nazar nahin
apni jahaan tak nazar gayi
kabhi sote sote kabhi jaagte
khwaabon ke peechhe yoon hi bhaagte
apni to saari umar gayi
apni to saari umar gayi
khumaari chadh ke utar gayi
zindagi youn hi guzar gayi
pehle to ham sun lete thhe
shor mein bhi shehnaaiyaan
pehle to ham sun lete thhe
shor mein bhi shehnaaiyaan
ab to hamko lagti hai
bheed mein bhi tanhaaiyaan
jeene ki hasrat kidhar gayi
jeene ki hasrat kidhar gayi
dil ki kali bikhar gayi
kabhi sote sote kabhi jaagte
khwaabon ke peechhe yoon hi bhaagte
apni to saari umar gayi
apni toh saari umar gayi
khumaari chadh ke utar gayi
zindagi yoon hi guzar gayi
hmm hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm hmm
Kehta hai baabul o meri bitiya
Posted on: October 11, 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 : |
4102 | Post No. : | 15252 | Movie Count : |
4190 |
The Dadasaheb Phalke Award is India’s highest award in cinema. It is presented annually at the National Film Awards ceremony by the Directorate of Film Festivals, an organisation set up by the Ministry of Information and Broadcasting. The recipient is honoured for their “outstanding contribution to the growth and development of Indian cinema” and is selected by a committee consisting of eminent personalities from the Indian film industry. The award comprises a Swarna Kamal (Golden Lotus) medallion, a shawl, and a cash prize of ?1,000,000 (US$14,000). Presented first in 1969, the award was introduced by the Government of India to commemorate Dadasaheb Phalke’s contribution to Indian cinema. Phalke (1870–1944), who is popularly known as and often regarded as “the father of Indian cinema”, was an Indian filmmaker who directed India’s first full-length feature film, Raja Harishchandra.
The first recipient of the award was actress Devika Rani, who was honoured at the 17th National Film Awards held in 1969. As of 2017, there have been 49 awardees. Among those, actor Prithviraj Kapoor (1971) and actor Vinod Khanna (2017) are the only posthumous recipients. Raj Kapoor accepted the award on behalf of his father Prithviraj Kapoor at the 19th National Film Awards in 1971 and was himself a recipient in 1987 at the 35th National Film Awards ceremony. Bommireddy Narasimha Reddy (1974) and Bommireddy Nagi Reddy (1986); Raj Kapoor (1987) and Shashi Kapoor (2014); Lata Mangeshkar (1989) and Asha Bhosle (2000) along with B. R. Chopra (1998) and Yash Chopra (2001) are the siblings who have won the award.
Note:- all of the above information I have extracted from Wikipedia and apologize for any wrong information therein.
October 11th 1942 was the date when Teji Bachchan- wife of Shri. Harivansh Rai Bachchan gave India the Shahenshah of Bollywood. He goes by the name Shri. Amitabh Bachchan. Anyone who has even the faintest knowledge about Indian movies -anywhere in the world- would have heard about this actor. He may have not been India’s first mega-superstar, that title will always be associated with Rajesh Khanna. The reason I have used the term Mega-Superstar for Rajesh Khanna is because Dilip Kumar- Dev Anand-Raj Kapoor were equally big stars of their generation and the trio were inspiration for the next set of actors like Manoj Kumar, Dharmendra, Rajendra Kumar, Rajesh Khanna, Jeetendra, Amitabh Bachchan etc. The popularity and fan-following that Rajesh Khanna achieved was much more than what the trio of the 50s and 60s may have experienced collectively. Amitabh Bachchan had a long journey to reach the level of popularity that was Rajesh Khanna’s; but even at the height of his superstardom one has never heard of girls writing letters to Amitabh with blood, or throwing themselves at his car or trying to commit suicide at the news of his marriage to Jaya Bhaduri etc.
What Amitabh experienced was a different kind of affection from his fans. There were people who prayed for his life in 1982 when he had an accident during the shoot of “Coolie”. There are accounts of people walking barefoot from far-flung places to the hospital where AB was admitted and battling for life after the accident; people offering prayers at various places of worship cutting across religious differences. AB has always thanked his fans for all the love they showered on him during that period. In fact, he always greets them on Sunday evenings (whenever he is in Mumbai i.e.) for which there is a huge crowd of fans waiting outside his Mumbai residence.
He may have been dubbed the angry-young-man in the early phase of his career but he was equally adept at emotional, romantic or comic roles. “Mahaan” (1983) had him in three roles where we had him as an emotional father/ husband, serious-faced inspector and comic stage artist. The turn of the century saw him change his style and take on a variety of roles and characters- strict father who will not accept his son marrying against his wishes (Kabhi Khushi Kabhi Gham), strict principal who wanted all his students to adhere to the ‘parampara’ ‘pratishtha’ etc laid down by the college (Mohabbatein), friendly-indulgent father to Akshay Kumar (“Ek Rishtaa: the bond of love” and “Waqt: the race against time”) etc. etc. etc. We saw him as a rustic near-bumbling cop in “Bunty Aur Babli”; aging teacher of a deaf-blind girl in “Black”; these successful experiments have seen him through 50 years in an industry which has many talented actors but no one has been given epithets like “Shahenshah of Bollywood”, “Big B” or “Star Of The Millennium”. He continues his reign over the hearts of his fans in spite of the next generation and the one after it giving movies that gross over 100 crores per film. He still gets author backed roles that befit his age and many-a-times is the central character of the story as in “Baghban” and “Baabul”. His detractors may feel that he is the most off-key (besura) singer (and I believe he agrees that he is mostly off-key) but the songs that he has sung (from the first full song “mere pass aao mere doston”) have been well received by his die-hard fans-yours truly included. 🙂
Coming back to the opening para of this post- here is the connection- Amitabh Bachchan is the recipient of this prestigious award for this year. He joins an august list of personalities who have had a major influence on the Indian film industry beginning from Devika Rani who is acknowledged as the first lady of Indian cinema.
This is the latest feather in AB’s cap in addition to the Padma awards – Padma Shri, Padma Bhushan and Padma Vibhushan; 4 National Awards for best actor and 15 Filmfare awards and numerous other awards from various national and international organisations.
Today he turns 77 and I am confused as to which is an appropriate song that should go with this post- I have a big collection to choose from- the blog has about 20 songs which have had Amitabh Bachchan in the recording room as a singer or uttering a few words with the main singer.
Today’s song is from the BR films produced 2006 release “Baabul”. It had AB play an indulgent and friendly father to Salman Khan and a loving father-in-law to Rani Mukherjee. The movie had a simple story of the loving father-in-law, fighting the opposition from his own wife and other family members, against his decision of getting his son’s widow remarried. The song comes at the fag end of the movie. It was on my list of songs under consideration for this post. What clinched the matter in its favour is that the song has two versions to it. The version in the movie is in the voice of Amitabh Bachchan and the album version is in Jagjit Singh’s voice. And only this morning I saw a message on our WhatsApp group that yesterday was Jagjit Singh’s anniversary.
So, we wish our Big B a long and healthy life and lots more years of entertaining us along with remembering Jagjit Singh and his smooth voice.
Video (Amitabh Bachchan voice)
Audio
Song-Kehta hai baabul o meri bitiya (Baabul)(2006) Singer-Amitabh Bachchan/ Jagjit Singh, Lyrics-Sameer, MD-Aadesh Srivastava
Lyrics
kehta hai baabul o meri bitiya
tu toh hai mere jigar ki chitthiya
kehta hai baabul o meri bitiya
tu toh hai mere jigar ki chitthiya
daakiya koyi jab aayega
tujhko churaa ke le jaayega
katega kaise lamha tere bina bata
jiyunga kaise tanha tere bina bata
katega kaise lamha tere bina bata aa aa
jiyuga kaise tanha tere bina bata
tu suhaagan rahe sang saajan rahe raat din
iss khushi ke liye har sitam main uthha loonga aa
tere jaane kaa gham mujhko hoga magar laadli
leke iss dard ko main sada muskuraaoonga
baabul toh dil se de raha duaa yahi
khushi ke saaye mein ho zindagi teri
baabul toh dil se de raha duaa yahi ee
khushi ke saaye mein ho zindagi teri
waqt ke saath zakhm yeh bhar jayega
pal guzar jayega tu meri baat maan le ae
yaadon ke aasre umr kat’ti nahin
hai haqeeqat yahi abb too jaan le ae ae
samundaron ka paani koyi naa pi saka
akela khaara jeevan koyi naa jee saka aa
samundaron ka paani koyi naa pi saka
akela khaara jeevan koyi naa jee saka
kehta hai baabul o meri bitiya
tu toh hai mere jigar ki chitthiya
daakiya koyi jab aayega
tujh ko churaa ke le jaayega
katega kaise lamha tere bina bata
jiyunga kaise tanha tere bina bata
katega kaise lamha tere bina bata
jiyunga kaise tanha tere bina bata
- In: Aspirations of Love | expression of love | Feelings of heart | Guest posts | Post by nahm | Romantic song | Shanker Mahadevan Songs | Song picturised abroad | Song picturised in at well known locations | Song sung by three or more singers | Songs of 2000s (2001 to 2010) | Songs of 2006 | Yearwise breakup of songs
- 6 Comments
This article is written by Nahm, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4023 | Post No. : | 15136 |
[Ed Note: With sincere apologies to the author and the readers. This write up was delivered to the editors much in advance of the blog anniversary date. It is our oversight that we missed posting it on 19th July. The lapse is regretted.]
As the blog turns 11 today, we can celebrate the first step in the double digit age milestone. Numerilogically, 11 means 1+1=2 . Does this mean second stage of second phase ? Or 11 simply means gyarah number ki bus. Mumbaikar’s know that gyarah number bus means ‘to walk on two feet’. Walking walking we have reached the 15000 plus figuratively.
So. . . its “Chalte Chalte Mere Ye Geet Yaad Rrakhna. . . Kabhi Alvida Na Kehna. . . Kabhi Alvida Na Kehna. . .“
Flashback related to this song. . . My first day in college :
Coming from a girls only Urdu medium school, trepidation crowding the mind, how will I fit in and all that. Admission was done, fees paid whether I wanted to study Commerce or not, it was a done deal. Backtracking from a path already taken was a no no… in the family. It was a good reputed college of Mumbai, my elder sister was happy that at least I got a good college bit more away from the usual Urdu medium crowd, than she had managed. She had changed streams from Science (which she was very keen to do) to Commerce, at the last moment, just to avoid going to a college (not so good) which was very close to home and right next to the school.
Nobody in the family expected me to do well in Xth as my math was very week. In the surprised euphoria of me doing well in SSC, the decision was taken to try for the good college, a little away from the residence, involving commute by bus. My elder sister had a big hand in convincing the parents. So no 11 number ki bus for me, rather real BEST buses.
I remember the day of my admission. Two days after the SSC results my father took my elder sister and me to the college. After the procedure was completed, while going back home, my sister had a brain wave of watching a movie, to celebrate my admission to the college and also my 15th birthday. I have said in an earlier post that my elder sister has a great sense of occasion. My father dropped us to the theatre, waited to get the tickets and left for his office. The movie was ‘Ab Aayega Mazaa’ (1984) with Anita Raj and Raja Bundela.
So, first day of college @ 12 noon, the class started to fill up. Some of us girls found each other, sat in a row separate from the boys. Actually now what is known as a column, was a row in the class room. First period happened to be of English.
The lady lecturer asked all of us to introduce ourselves and talk about interests hobbies etc. One of the boys said he like to sing and the lecturer having found a ‘bakra’ was no going to let go. So the boy ‘marta kya na karta’ sang this song in the class:
Chalte Chalte Mere Ye Geet Yaad Rrakhna. . . Kabhi Alvida Na Kehna. . .
The song as it is, is unforgettable, and with it this event of my first day of college is attached. Our college consisted of a motley crowd of upper, middle and lower crusts’s girls and boys. It had an ‘Urdu society’ with a Parsi Professor heading it and having its own notice board. Yes, the notice board was a great source of prestige during those times 🙂 .
The present song post is an almost sufiana song, a critically acclaimed song from the 2006 film ‘Kabhi Alvida Na Kehna’. Very unusual situation for a spectacular song, composed by Shankar-Ehsaan-Loy. There are three singers namely Shankar Mahadevan, Carlisa Monterio & Shafqat Amaanat Ali. Javed Akhtar is one of the lyricists. There is a Wikipedia page dedicated to this song. (I Wonder – do all songs have a page like this? ) Carlisa Monterio is the female singer who has penned the lines “Love Will Find A Way” as per the page on Wikipedia. I call this song almost sufiana, because it gives that feeling when one listens to the audio only.
It is picturized on Shah Rukh Khan and Rani Mukherjee, who are married to Priety Zinta and Abhishek Bachchan respectively. The two are also seen planning their respective wedding anniversary celebration, while meeting up from time to time at spectacular locations in Philadalphia, USA. They are both unhappy with their spouses and are still trying to continue in those marriages. Movie characters are rather fickle, not usually seen to be serious about their commitments. No doubt that divorce is sometimes the only way out of an abusive / real bad marriage. What is real bad and little bad, sort of can be worked at, is again relative. It is commendable that some civilized societies decided to reform and allow divorce as a permitted practice during 20th century. It was hailed as a step towards better rights for women.
Marriages and divorces in films are no mirror for realities. From what I have observed of bad marriages, one partner may be a major cause of discontent, but both partners suffer. Being the chief cause in a bad marriage doesn’t in anyway alleviate the personal sufferings. Parting ways in civilized manner should be a choice, but only if there is no way of reconciliation.
Also, because marriages are made in heaven, as human beings and social animals, we have a duty to safeguard this institution. Husband and wife’s is the primary relationship on which family is based and develops as a unit, it is the root of the family tree.
So this is a celebratory song for the 11th anniversary of the blog, and song no. 2 of the Mitwa trilogy. Ideally this would have been the 3rd and final song of the trilogy, but since the Anniversary is here, this song is the one I choose to post.
Happy anniversary to all my fellow travelers on the blog.
Video
Audio
Song – Mitwa..aa, Kahen Dhadhkanen Tujh Se Kya (Kabhi Alvida Na Kehna) (2006) Singer – Shankar Mahadevan, Carlisa Monterio, Shafqat Amaanat Ali, Lyrics – Javed Akhtar, MD – Shankar Ehsan Loy
Lyrics
love will
find a way
jaaniye ea
heeriye ea
love will
find a way
jaaniye ea
heeriye ea
mere mann ye bataa de tu
kis oar chala hai tu
kya paaya nahin tu ne
kya dhoondh rahaa hai tu. . .
jo hai ankahee
jo hai ansunee
wo baat kya hai bata..aa
mitwaa aa aaaaa aaaaa aaaaaa
kahen dhadkanen tujh se kya aa
mitwa aa aaa aaaaa aaaa
ye khud se to na tu chhupa
love will
find a way
jaaniye ea
heeriye ea
ho ooo oo
mere man ye bataa de tu
kis oar chalaa hai tu
kya paaya nahin tu ne
kya dhoondh rahaa hai tu
jo hai ankahee
jo hai ansunee
wo baat kya hai bata..aa
mitwaa aa aaaaa aaaaa aaaaaa
kahen dhadkanen tujh se kya
mitwa aa aaa aaaaa aaaa
ye khud se to na tu chhupa
ga ma pa dha ni
ni sa
ga ma pa dha na
dha ni
ni ra
pa ma
ga ma pa ni
ga ma pa dha ni
ni sa
ga ma pa dha na
dha ni
ni ra
pa ma
pa ma ga ni
mitwaa aaa
aaaa aaa
aaaaa aaaaa
jeewan dagar mein
dagar mein
dagar mein
prem nagar mein
nagar mein
nagar mein
jeewan dagar mein
prem nagar mein
aaya nazar mein
jab se koyi hai
tu sochta hai
tu puchhta hai
jis ki kami thhi
kya yeh wohi hai
haan ye wohi hai
haan ye wohi hai
ea ea yeee aaaeaaa eaaa
tu ek pyaasa
aur ye nadi hai
kaahe nahi iss ko tu
kkul ke bataaye
jo hai ankahee
jo hai ansunee
wo baat kya hai bataa aaa
mitwa aa aaaaa aaaaa aaaaaa
kahen dhadkanen tujh se kya
mitwa aa aaa aaaaa aaaa
ye khud se to na tu chhupaa
ho ooo
teri nigaahen
pa gayee raahen
par tu ye soche
jaaun na jaaun
ye zindagi jo
hai naachti to
kyun bediyon mein
hain tere paaon
preet ki dhun par
nach le paagal …al
udtaa agar hai
udne de aanchal
kaahe koi apne
ko aise tarsaaye
jo hai ankahee
jo hai ansunee
wo baat kya hai bataa aaa
mitwa aa aaaaa aaaaa aaaaaa
kahen dhadkanen tujh se kya
mitwa aa aaa aaaaa aaaa
ye khud se to na tu chhupaa
mere mann ye bataa de tu
kis oar chala hai tu
kya paaya nahin tu ne
kya dhoondh raha hai tu..
love will
find a way
jaaniye ea
heeriye ea
mitwa aa aaaaa aaaaa aaaaaa
love will
find a way
jaaniye ea
heeriye ea
mitwa aa aaaaa aaaaa aaaaaa
love will
find a way
jaaniye ea
heeriye ea
Where’s The Party Tonight
Posted on: June 20, 2019
- In: "Disco" song | Club song | Dance song | DJ song | Free Spirit Song | Group Dance | Guest posts | Loy Mendosa Songs | Party song | playful song | Post by Peevesie's mom | Shaan Songs | Shanker Mahadevan Songs | Song sung by three or more singers | Songs of 2000s (2001 to 2010) | Songs of 2006 | Vasundhara Das Song | Yearwise breakup of songs
- 3 Comments
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 : |
3989 | Post No. : | 15078 | Movie Count : |
4136 |
I hope to bring in a party mood with today’s post. We are celebrating something very important. We are wishing our leader good health, good times, good infrastructure in the form of uninterrupted power supply and good broadband facilities. We are also wishing that he never loses interest in adding new posts and finds for us hitherto unheard songs from rare movies and gives us rare combinations in terms of music directors, singers, actors etc. And I promise on behalf of fellow followers of the blog that we will not stop following the blog, keep sending new farmaishes (requests), and the regulars will also help you keep track of upcoming milestones, birthdays anniversaries etc.
I am sure I have the support of all Atulites in what I have promised our dear Atulji. So, let us all wish him a very Happy Birthday. May you relentlessly keep the blog moving. 🙂
The party song with this post is from Dharma Prorductions’ 2006 release ‘Kabhi Alvida Naa Kehna’ which was directed by Karan Johar and starred his friend and favourite Shahrukh Khan with Rani Mukherjee, Preity Zinta, Kiron Kher, Amitabh Bachchan, Abhishek Bachchan with guest appearances by Arjun Rampal, Kajol and a few others. The movie had Shankar-Ehsaan- Loy for music directors and Javed Akhtar as the lyricist. Today’s song is in the voices of Shankar Mahadevan, Loy Mendonsa, Vasundhara Das and Shaan.
Happy Birthday Atulji!!! Lets party tonight.
Audio
Video
Song – Where’s The Party Tonight (Kabhi Alvida Na Kehna) (2006) Singer – Shankar Mahadevan, Loy Mendonsa, Vasundhara Das, Shaan, Lyrics – Javed Akhtar, MD – Shankar-Ehsaan-Loy
Shankar Mahadevan + Vasundhara Das
Female Chorus
Male Chorus
All Together
Lyrics
nacho nite
gotta nach all nite
do you feel alright
wanna nach all nite
nacho nite
gotta nach all nite
do you feel alright
wanna nach all nite
dance with me baby
won’t you dance with me all night
won’t you party party party
won’t you burn the floor all night
nacho nite
gotta nach all nite
do you feel alright
wanna nach all nite
dance with me baby
won’t you dance with me all night
won’t you party party party
won’t you burn the floor all night
pyare pyare lamhe
lamhe lamhe
pyari pyari baatein
baatein baatein
sapno ke din hain
din hain din hain
sapno ki raatein
raatein raatein
ho gunje hai dil ke tarane
bajne hai geet suhane
behke hai sare deewane
toh nach le nach le whole night
where’s the party tonight
somewhere down the road
where’s the party tonight,
on the dance floor
oh sapno ke din hai,
sapno ki raatein
where’s the party tonight
dance with me baby
won’t you dance with me all night
won’t you party party party
won’t you burn the floor all night
nacho nite
gotta nach all nite
do you feel alright
wanna nach all nite
oooo sajna aa
oooo sajna aa
tere bina main nahi
ooooooo
i wanna go dancing
where’s the
take you out
party tonight
i wanna go dancing
where’s the
let’s scream and shout
i wanna go dancing
where’s the
take you out
party tonight
i wanna go dancing
where’s the
let’s scream and shout
party tonight
jo meri manzil tha,
paagal jispe dil tha
ha wo mujhe mil gaya
phool jo mehka tha,
jispe dil behka tha
baahon mein woh khil gaya
meheki hai pyar ki raahein,
beheki hai saari nigahein
phaili hai khwabon ki baahein
toh nachle nachle whole night
where’s the party tonight,
somewhere down the road
where’s the party tonight,
on the dance floor
oh sapno ke din hai,
sapno ki raatein
where’s the party tonight
nach
nach all nite
get it right
nach
nach all nite
get it right
meri ye kahani
jiski hoon deewani
woh hai deewana mera
jo hai dil ki rani
usko bhi zabani
yaad hai fasana mera
ho puri hui koi kahani
mil gayi dil ki nishani
jhoom uthi ye zindagaani
toh nachle nachle all night
where’s the party tonight,
somewhere down the road
where’s the party tonight,
on the dance floor
ho sapno ke din hai,
sapno ki raatein
where’s the party tonight
where’s the party tonight,
somewhere down the road
where’s the party tonight,
on the dance floor
ho sapno ke din hai,
sapno ki raatein
where’s the party tonight
aaaa aaaaa
aaa aaaaaa
i wanna go dancing
where’s the
take you out
party tonight
i wanna go dancing
where’s the
let’s scream and shout
i wanna go dancing
where’s the
take you out
party tonight
i wanna go dancing
where’s the
let’s scream and shout
party tonight
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 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.
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Blog Day : |
3968 | Post No. : | 15051 | Movie Count : |
4129 |
Hullo Atulwaasis
Today’s song is for all those who relish old songs. I am sure they will like it more because it is in black ‘n’ white. Now the majority of the blog’s followers will say – “oh, a song from the 40s,50s or 60s”. Next, I will say it is sung by Shekhar Ravijani AND Sneha Pant. I am sure the reaction to this would be “WHO?!!”. Finally, I will say that its written by Vishal Dadlani and music directors are Vishal (Dadlani) and Shekhar (Ravijani) and is from a movie released in 2006.
Now I have everyone’s attention, I think?
Let us first wish our dear Shri Paresh Rawal a very happy birthday. He turns 65 today. I am not sure when was the first time I saw him on screen but he has been an entertainer since 1984 in films and prior to that I am sure he must have done some theatre as he is an alumnus of the NM College in Mumbai which has an active drama group and has given the industry many a talented actors. Going by his filmography available online I seem to be following him from his first commercial movie “Arjun” which had him play villain along with Prem Chopra & Anupam Kher.
I seem to have seen most of the movies he was present in in the 80s and 90s (either in a movie hall or on television, but I have definitely seen “Naam”, “Samundar”, “Mirch Masala”, “Dacait”, “Marte Dam Tak”, etc. So many memories with each movie. He was main villain in “Roop Ki Rani Choron Ka Raja”, “King Uncle”, “Daud”; “Daud: and “King Uncle” adding a touch of comedy to his villainy and this mixture of comic- villainy was the mainstay of “Andaz Apna Apna”. He turned to full time comedy for the Priyadarshan directed 2000 release “Hera Pheri” along with Macho-men Akshay Kumar and Suneil Shetty. He won the Filmfare Best Comedian Award for playing Baburao Ganpatrao Apte. Since then we have seen him play various character roles which are not only villain or comedian or serious just give him a role and he will fit in. Recently I saw a 1993 movie on TV- “Sardar” – through the movie I forgot I was seeing Paresh Rawal playing the role. It felt as if India’s Iron Man himself was there on screen; no wonder the movie got him international acclaim.
I must confess that being a huge fan of his I can go on and on. So I am moving on to the song of the post. 2006 saw Paresh play Baburao all over again in the sequel to “Hera Pheri” -’’Phir Hera Pheri”. We also saw him in “Malamaal Weekly”, “36 China Town”, “Chup Chup Ke”, “Jaan Hoga Kya”, “Golmaal Fun Unlimited”, “Yun Hota toh Kya Hota”, “Bhagamk Bhaag”, “Familywala”.
“Golmaal Fun Unlimited” directed by Rohit Shetty saw Paresh play a blind man who is waiting for his grandson’s arrival from America along with his blind wife Sushmita Mukherjee. The gang of four naughty leading men end up landing in his home and then the laughter the movie generates just increases. Th movie was a surprise success at the box-office. Today’s song happens as the blind man relates how he fell in love with Mangala (Sushmita Mukherjee) and how he was shy to admit it. The song was picturised as a mixture of colour and black-n-white and was very cute visually with Sushmita trying to be coy like the heroines of the 60s and please don’t miss the lamb she is holding with Paresh Rawal trying to be Dev Anand, Dilip Kumar etc. 😉
So that then explains the opening to this post. Hope the followers of the blog like the song as much as I do.
Audio
Video
Song-Kyun aage peechhe dolte ho bhanwron ki tarah (Golmaal Fun Unlimited)(2006) Singers-Sneha Pant, Shekhar, Lyrics-Vishal Dadlani, MD-Vishal Shekhar
Chorus
Lyrics
kyun aage peechhe dolte ho bhanwaron ki tarah
kyun dekhte ho mujhko yoon besabron ki tarah
kyun aage peechhe dolte ho bhanwaron ki tarah
kyun dekhte ho mujhko yoon besabron ki tarah
kya mere deewaane ho,
nahin nahin
kya koyi parwaane ho,
nahin nahin
kya mere deewaane ho
kya koyi parwaane ho
kaam kya hai mujhse
itna keh do ji zara
bol de pyaar hai
khamosh kyun hai khada
hum agar hote toh
bol diya hota
kyun aage peechhe dolte ho bhanwaron ki tarah
kyun dekhte ho mujhko yoon besabron ki tarah
khidki pe meri kyun rakhte ho ankhiyaan
karte ho kyun tum
meri hi batiyaan
karte ho kyun tum
meri hi batiyaan
khidki pe meri kyun rakhte ho ankhiyaan
karte ho kyun tum meri hi batiyaan
mere liye aate ho
nahin toh
geet gungunaate ho
na na
mere liye aate ho
geet gungunaate ho
baat kya hai dil mein tumhaare tumko hi pata
chhod de ye sharam
tu pas usko bula
ham agar hote toh
bula liya hota
kyun aage peechhe dolte ho bhanwron ki tarah
kyun dekhte ho mujhko yoon besabron ki tarah
haathon mein kyun hai ye sone ka kangnaa
tumko pehnaake le jaoonga anganaa
sajani banaoge,
haan ji haan ji haan
jaan bhi lutaoge,
arey haan ji haan ji haan
sajni banaaoge
jaan bhi lutaaoge
aaj ham kahte hain tumse pyaar ho gaya
haath yeh thamkar
kahaan pe tu hai chala
apna bhi shukriya
kar diya hota
hum aage peechhe dolte hai bhanwaron ki tarah
hum dekhte hain tumko yoon besabron ki tarah
kya mere deewane,
arey haan ji haan ji haan
kya koyi parwaane,
arey haan ji haan ji haan ji haan
kya mere deewaane ho,
kya mere parwaane ho
aaj ham kahte hain
tumse pyar ho gaya
- In: Aspirations of Love | Feelings of heart | Guest posts | Kavitha Krishnamurthy Songs | Lyrics contributed by readers | Manna Dey songs | Post by Peevesie's mom | Shabab Sabri Songs | Song sung by three or more singers | Songs of 2000s (2001 to 2010) | Songs of 2006 | Sonu Nigam Songs | Yearwise breakup of songs
- Leave a Comment
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 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.
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Blog Day : |
3719 | Post No. : | 14652 | Movie Count : |
4004 |
Hullo to all in Atuldom
I don’t know if anyone has noticed the current obsession that I am displaying. Many of my contributions to the blog in this calendar year have been to celebrate the birthdays of artists who are otherwise called “character artist” or “supporting cast”.
Has anyone tried to visualise what story “The Ramayana” would have been if there was no Dasharatha, Kaikeyi, Sugriva, Hanuman, Vibhishana or even Ravan. Can one think of “The Mahabharat” minus Duryodhana, Shakuni, Kunti, or any of the “supporting characters”? Where would “Sholay” be without Gabbar, or the fate of “Mr. India” without Mogambo. Can one think of “Parichay” minus the cute kids of the family, “Chupke Chupke” without Jijaji, “Golmaal” without Bhavani Shankar; “Deewar” minus THE MAA. That means all stories, be they the epics or modern tales, need characters which are good, bad, ugly or in-between, around the main characters for the story to be interesting.
Thank God Indian movies follow the story-pattern set by the epics and have given us quality actors who don’t mind playing second fiddle to the main characters so-much-so that sometimes their acting out the character overshadows the character of the main lead itself.
Today’s post also celebrates the birthday of one such actor without whose presence Manoj Kumar’s “Shaheed”, “Purab Aur Paschim”, “Upkaar” or “Kranti” cannot be imagined. Rajesh Khanna’s 15 (out of the 19 that they were co-actors in) jubilee hits would be unthinkable and it seems that distributors, back then, backed any movie with this hero-villain Jodi. Similarly, his pairing with Bindu was also much sought after in movies till even in the 90s. This actor was successful for his villainy without gizmos or funny names. And he is one of the many actors whose work has always been appreciated by the audiences; who will be able to survive in the cut-throat competition that Bollywood has. He has played second fiddle to so many of his contemporary villains even after attaining success with ‘Kati Patang’, ‘Upkaar’, ‘Teesri Manzil’ etc.
He was known for his one-liners. For example “main woh bala hoon jo sheeshay se patthar ko todta hai” in Kati Patang; “jinke ghar sheeshe kain ho woh batti bhujakar kapde badalte hain” in Souten; then in the next decade of his career these one-liners went a step further towards enhancing his comic characters with gems like “bhains poonch uthayegi to gaana to nahi gayegi, gobar hi degi” in Aaj Ka Arjun; “kar bhala toh hoga bhala” in Raja Babu and the most charming one-liner of all “nanga nahayega kya aur nichodega kya” in Dulhe Raja. Aah! Now I can see that gleam of excitement in those reading this, and so I will not write his most famous one-liner “Prem naam hai mera, Prem Chopra” in Bobby
Before I began to write this post, I was hunting for songs with Prem Chopra in them. My logic was mostly all actors start out with the wish to play the main lead. There would be at least a movie or two where Prem Chopra was the HERO and sung some songs to the heroine. And sure enough I found a few but then they are already posted on our blog – “Tum Apni Saheli Ko. . .” (‘Samaaj Ko Badal Daalo’, 1970), “Paanv Mein Painjaniya, Naache Sajaniya. . .” (‘Kunwaari’, 1966), “London Se Aaya Hoon Albela” (‘Vachan’, 1973) & “Aaj Pila De Saaqi Apni Aankhon Ke Paimaane Se” (‘Doli’, 1969). But as a villain also he has sung a song in a train as part of a mission to loot an inspector played by Krishan Dhawan – “Raah Mein Kaliyan Khila ke Yaar” (‘Nafrat’, 1973). Then there are numerous songs where the heroine sings a romantic song to the handsome (many times more good-looking than the hero himself) Prem Chopra in a bid to evoke a response from the hero as in “Kitna Mazaa Aa Raha Hai. . .” (‘Raja Jaani’, 1972). Then there is the song from Sikandar-e-Azam without which no TV or Radio program is complete on the national holidays of Independence Day and Republic Day – “Jahaan Daal Daal Par Soney Ki. . .“. Just that the number of songs lip-synced by Prem Chopra is few. But there are such songs available and he is one of the lucky oldies (today being his 83rd birthday) to be still active in movies and getting to play meaningful characters and also sing once in a while.
He is related to the Kapoor Khandaan as his wife is sister to Krishna Kapoor, wife of Raj Kapoor. By that, he also is brother-in-law of Premnath, Rajendranath etc. His three daughters are married to actors Sharman Joshi, Vikas Bhalla and publicity designer Rahul Nanda- all connected with Bollywood.
About today’s song. I have seen this movie a few years ago on TV (of course) and was happy to see three characters as the protagonists of the movie. ‘Umar’ (2006) was written and directed by Karan Razdan (remember him from the Doordarshan serial ‘Rajani’). It had music by Shamir Tandon and Shaily Shailendra was the lyricist. It starred Kadar Khan, Satish Kaushik, Prem Chopra and Jimmy Shergill in the lead with Shakti Kapoor, Shenaz Treasurywala, Dalip Tahil etc. in supporting cast. It is a story of three old men living the last years of their life in the UK. The three have problems of their own viz. their children ill-treating them, racial discrimination etc. They find solace from an affectionate young man (Jimmy) who is a student and a singer / waiter at a bar. This young man gets embroiled in the murder of his owner and the three elderly men help him run from the law making them fugitives too. But then there were a few songs in that movie which centred around Kadar Khan, Prem Chopra and Satish Kaushik. This was a movie which in Atulji’s words “didn’t try to please all” and so was not very successful at that time possibly what used to be called an “art movie” in the 70s and 80s are now called movies for the “multiplex audience”.
Todays’ song is sung by Kavita Krishnamurty, Sonu Nigam, Manna Dey and Shabab Sabri.
Wishing Prem, Prem Chopra a very Happy Birthday. Thank you for entertaining us all your life.
(Video)
(Audio)
Song – Duniya Waalon Ko Nahin Kuchh Bhi Khabar (Umar) (2006) Singer – Manna Dey, Shabab Sabri, Sonu Nigam, Kavitha Krishnamurty, Lyrics – Shaily Shailendra, MD – Shamir Tandon
Chorus
Lyrics
ooooo hoooo oooooo
aaaaa aaaa haaa
duniyawaalon ko nahin kuchh bhi khabar
hai hai
duniyawaalon ko nahin kuchh bhi khabar
kahein pyar karne ki hai ye koi umar
ham kahein dil se dil mile jo agar
ham kahein dil se dil mile jo agar
tab hai pyar karne ki har ek umar
tab hai pyar karne ki har ek umar
duniyawaalon ko nahin kuchh bhi khabar
kahein pyar karne ki hai ye koi umar
ham kahein dil se dil mile jo agar
haan ham kahen dil se dil mile jo agar
tab hai pyar karne ki har ek umar
tab hai pyar karne ki har ek umar
duniyawaalon ko nahin kuchh bhi khabar
nahin kuchh bhi khabar
raat din seena kyun phadakata hai
seene me dil kyun dhadakata hai
lalla la
la la la la la
lalla la
la la la la la
raat din seena kyun phadakata hai
seene me dil kyun dhadakata hai
kahin to hai wo haseena koi
jiske liye dil ye tadapta hai
koi kahe gulbadan jaane chaman hai kahaan
koi kahe gulbadan jaane chaman hai kahaan
duniyawaalon ko nahin kuchh bhi khabar
kahein pyar karne ki hai ye koi umar
ham kahein dil se dil mile jo agar
haan ham kahein dil se dil mile jo agar
tab hai pyar karne ki har ek umar
tab hai pyar karne ki har ek umar
duniyawaalon ko nahin kuchh bhi khabar
ye jahaan ik saraaye phaani hai
yahaan har cheez aani jaani hai
aaaaaaa aaa aaa
oooo hoo ooo
ye jahaan ek saraye phaani hai
yahaan har cheez aani jaani hai
aa ke na jaaye wo budhapaa hai
jaa ke na aaye wo jawaani hai
gayi akad dheeli pakad josh magar hai jawaan
gayi akad dheeli pakad josh magar hai jawaan
duniyawaalon ko nahin kuchh bhi khabar
kahein pyar karne ki hai yeh koyi umar
ham kahein dil se dil mile jo agar
ham kahein dil se dil mile jo agar
tab hai pyar karne ki har ek umar
tab hai pyar karne ki har ek umar
duniyawaalon ko nahin kuchh bhi khabar
duniyawaalon ko nahin kuchh bhi khabar
kahein pyar karne ki hai yeh koi umar
ham kahein dil se dil mile jo agar
tab hai pyar karne ki har ek umar
tab hai pyar karne ki har ek umar
(tab hai pyar karne ki umar)
har ek umar
tab hai pyar karne ki umar
umar
umar
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 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.
Hullo to all in Atuldom
Wishing all a very Happy 70th INDEPENDENCE DAY. We step into our 71st year of Independence.
As children, we have been inculcated with a sense of patriotism. My school had a practice of hoisting the National Flag at a particular hour. Later in my life I was given to understand that this practise is governed by the hour the flag is hoisted in the nation’s capital Delhi- it seems that the flag has to be hoisted first in Delhi at the Red Fort and then the nation follows. I would love to know if what I learnt is right or wrong.
Read more on this topic…
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
Among the present generation of music directors of Hindi films, I like the songs composed by A R Rahman the most. If the songs composed by him are written by poets like Javed Akhtar, Prasoon Joshi or Gulzar, they are like icing on the cake. I must confess that the initial listening of his songs does not give me an extra-ordinary feeling. But after the release of the films and exposure of the songs to my ears multiple times, most of his songs begin to sound great. It takes time at least for me to develop a taste for his brand of music – from ‘Roja’ (1992) to ‘Gajini’ (2008), the last of his film I watched so far. Obviously, songs of ‘Rang De Basanti (2006) composed by A R Rehman gave me the same experience. I used to feel not so great about songs like the title song ‘rang de basanti’, ‘masti ki paathshala’ and ‘roobaroo’. It was only after watching the actual picturisation of these songs with contexts that I developed the taste to appreciate them. The film of course won many awards for its music and songs.
Read more on this topic…
Dekho na dekho na
Posted on: January 6, 2013
This article is written by Ava Suri, a fellow enthusiast of Hindi movie music and a regular contributor to this blog.
The purists among music lovers often like to keep a cut-off for their listening habits. ‘I don’t listen to songs later than this year,’ they often say. I don’t disagree with those cut-offs. There are times when we just don’t want to listen to the cacophony that our music often descends to. But then, like a proverbial ‘keechad me kamal’ a beautiful song pops up among all this noise. The sufiana songs from the present times are meaningful and pleasing to the ear. The songs written by Gulzar and Javed Akhtar, set to tunes by AR Rahman are beautiful and worth listening to again and again.
Read more on this topic…
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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