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

Archive for the ‘Songs of 2010s (2011 to 2020)’ Category


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

Blog Day :

4260 Post No. : 15484 Movie Count :

4268

Songs Repeated in Hindi Films – 17
– – – – – – – – – – – – – – – – – –

Aah yes, this one too. 😀 😀

This iconic creation from the team of Majrooh Sb and SD Burman, preparing such delicious offerings for the 1958 film ‘Chalti Ka Naam Gaadi’, got reused in a recent film. The memorable film needs no introduction, and neither do its songs and music. Great songs, falling in the category of ‘evergreen’, or ‘सदाबहार’ as Bakshi ji prefers to describe such songs.

This everlasting piece of naughty music, rendered equally playfully by Kishore Kumar, and the icing to top all these superlatives is the on screen performance by Kishore Da himself. Walking down the stairs backwards, talking to his tools, and making music from them, and all the while getting on the nerves of the lady customer who has barged into the car repair workshop run by three brothers whose motto in life is to dislike women. And that too at 2 am. Regulars will remember the beginning of this episode. Kishore is woken up in the middle of the night, a very rainy night, by a damsel drenched in rain. He wishes for her to disappear – quite a disturbance to his sleep while he is on active night duty. When the lady points out to the light glowing on the signboard that says ‘Day & Night Service’, the sleep starved hero shuts off the light bulb and declares – there, we are no longer day and night service – good bye.

All this preamble and then the song and its performance – the memories keep us music lovers awake at night.

Fast forward to 2013. A film came, titled ‘Listen Amaya’. The key thing that made this film attractive was the lead pair – Deepti Naval and Farooque Sheikh – teamed up once again after a gap of many years. Between 1981 and 1985, the two had appeared in six films as the lead pair. And the film names tell the story – ‘Chashme Buddoor’ (1981), ‘Saath Saath’ (1982), ‘Katha’ (1982), ‘Rang Birangi’ (1983), ‘Kisi Se Na Kehna’ (1983) and ‘Ek Baar Chale Aao’ (1983). Then in 1985, they again appeared together in Yash Chopra’s ‘Faasle’, albeit this time they were not the lead pair.

After ‘Faasle’, we do not see them together, goodness, till 2011. That year, the film ‘Tell Me, O Khuda’ was released. This is a film directed by Hema Malini, and was intended as the launch vehicle for her daugther, Esha Deol. Again, in this film, Farooque and Deepti were not the lead pair. They played the roles of foster parents of the leading lady Esha Deol. So effectively, ‘Ek Baar Chale Aao’in 1983 turns out to be their last outing together as the romantic lead pair.

Thirty years later, in 2013, comes ‘Listen Amaya’, and we see this pair once again playing the roles of a mature couple finding romance and love in their later years.

[Ed Note: Regulars will recall a similar film had come in 2005 – ‘Pyaar Mein Twist’. In that film, another fabulous romantic pair – Dimple Kapadia and Rishi Kapoor – of the ‘Bobby’ (1973) fame, had come together yet once again on the silver screen, to play the roles of mature single adults finding soulmates in their later years. Dimple and Rishi had also appeared in the film ‘Saagar’ (1985) as the lead romantic pair.]

Leela (Deepti) is a widow who owns and manages a library café – ‘Book A Coffee’. She has a daughter, Amaya, role played by Swara Bhaskar, who is a budding writer. Into their lives, walks in Jayant (Farooque), a widower, and a photographer by profession. Leela and Jayant are attracted towards each other, much to the discomfort of Amaya, who does not relish the thought of her mother being romantically involved. Although, she also is working with Jayant on a coffee table book about the old bazaars and market places of Delhi, but in her mind she hits a wall, when it comes to accept him as another man in her mother’s life.

The film is beautifully contoured around the concepts of memories and realities of life – passages of real life that slide into memories and portions of memory that become parts of life again. It is a touching tale of coming to terms with one’s own maturity, as on the part of Amaya, and on the other hand, acceptance and realization of emotions, without fanfare, without the flourish of animated expressions, on the part of Leela and Jayant. When Amaya is all too disturbed about the budding relationship in her mother’s life, the protagonists calmly give in, and decide to discontinue meeting, without a word being said, or any regrets being announced. And when Amaya sees this upcoming consequential circumstance, she finds herself flummoxed, to be at the fulcrum of a possible second disaster in her mother’s life. The sternest exchange that we see between the mother and daughter is when Leela admonishes Amaya telling her that she still is her mother and will continue to take care of her. And the softest touch of complaint is when Amaya finally reaches out to Jayant on the day their book is to be published, hugs him with the words asking the question – why does he never gets angry. A much more endearing assay about finding love than ‘Pyaar Mein Twist’. My humble opinion of course.

But what about this song, you will ask. Ah yes, we have to get back to the song, a repeat one at that, giving me the 17th opportunity of this series. 🙂 Amaya herself has a romantic link up in this film, with the young man Raghav (role played by Siddhant Karnick). Although part of the side plot, Raghav has an important part as in showing up the mirror to Amaya about what her feelings and reactions towards her mother’s life are all about.

Okay so this film needed a rocking romantic relief (not exactly, but something a la comic relief, a practice invented by the dramatists of the yore). So Raghav is an intelligent guy – to win over his lady love, he actually starts with the mother of his lady love, making his way to the heart of his beloved through the mind of his beloved’s mother. That is another thing that majority of the song as picturized, is spent in a dream sequence of wide open eyes where he is serenading his lady love actually.

There are three songs in this film, that have been created by the husband wife team of Indraneel Hariharan, the music director, and Poonam Hariharan, the lyricist. This ‘rocking romantic relief’ song is a re-rendition of the ‘सदाबहार’ classic, as mentioned above. The lyrics and the music of the song remain the same. Only that it has been re-recorded in the voice of Kunal Ganjawala for ‘Listen Amaya’. Another variation is that of the three original stanzas, only two have been used in this re-rendition. On screen, the song is performed by Siddhant Karnick. The venue of the song is the library café that is run by Leela. The song starts with Raghav trying to win over Leela. But then right after the mukhda is done, his mind slides into the fantasy plane, and he is now wooing Amaya in the dream world. The starting scene is kind of same as the car repair workshop from the original film. And that is in black and white too. But soon, color is ‘restored’ and we see more contemporary scenarios to motivate the romancing mood.

And the all too lovely effect – the sound of two clicks near the end of song. In the original, we have Kishore Kumar tapping in the final nut to finish the repair job. In the rerun, we have Leela snapping her fingers to get Raghav back from his reverie to the real world. Classic touch. 🙂

So two films from recent years, on romantic relationships between mature adults, have been picked up for this series – both having re-used an iconic popular hit from the golden era.

Time to do it again. . . 🙂

Song – Ek Ladki Bheegi Bhaagi Si  (Listen Amaya) (2013) Singer – Kunal Ganjawala, Lyrics – Majrooh Sultanpuri, MD – SD Burman
Chorus

Lyrics

hmm
ek ladki bheegi-bhaagi si
soti raaton mein jaagi si
mili ek ajnabi se
koi aage na peechhe
tum hi kaho ye koi baat hai
hmm
ek ladki bheegi-bhaagi si
soti raaton mein jaagi si
mili ek ajnabi se
koi aage na peechhe
tum hi kaho ye koi baat hai
hmm

dil hi dil mein jali jaati hai
bigdi bigdi chali aati hai
dil hi dil mein jali jaati hai
bigdi bigdi chali aati hai
dhundhlaati huyi
balkhaati huyi

saawan ki sooni raat mein
mili ek ajnabi se
koi aage na peechhe
tum hi kaho ye koi baat hai
hmm
ek ladki bheegi-bhaagi si
soti raaton mein jaagi si
mili ek ajnabi se
koi aage na peechhe
tum hi kaho ye koi baat hai
hmm

tan bheega hai sar geela hai
uska koi pench bhi dheela hai
tan bheega hai sar geela hai
uska koi pench bhi dheela hai
tanati jhukti
chalti rukti
nikli andheri raat mein
mili ek ajnabi se
koi aage na peechhe
tum hi kaho ye koi baat hai
hmm
ek ladki bheegi-bhaagi si
soti raaton mein jaagi si
mili ek ajnabi se
koi aage na peechhe
he he
tum hi kaho ye koi baat hai

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

हम्म
एक लड़की भीगी भागी सी
सोती रातों में जागी सी
मिली एक अजनबी से
कोई आगे ना पीछे
तुम ही कहो ये कोई बात है
हम्म
एक लड़की भीगी भागी सी
सोती रातों में जागी सी
मिली एक अजनबी से
कोई आगे ना पीछे
तुम ही कहो ये कोई बात है
हम्म

दिल ही दिल में जाली जाती है
बिगड़ी बिगड़ी चली आती है
दिल ही दिल में जाली जाती है
बिगड़ी बिगड़ी चली आती है
धुंधलाती हुई
बलखाती हुई
सावन की सूनी रात में
मिली एक अजनबी से
कोई आगे ना पीछे
तुम ही कहो ये कोई बात है
हम्म
एक लड़की भीगी भागी सी
सोती रातों में जागी सी
मिली एक अजनबी से
कोई आगे ना पीछे
तुम ही कहो ये कोई बात है
हम्म

तन भीगा है सर गीला है
उसका कोई पेंच भी ढीला है
तन भीगा है सर गीला है
उसका कोई पेंच भी ढीला है
तनती झुकती
चलती रुकती
निकली अंधेरी रात में
मिली एक अजनबी से
कोई आगे ना पीछे
तुम ही कहो ये कोई बात है
हम्म
एक लड़की भीगी भागी सी
सोती रातों में जागी सी
मिली एक अजनबी से
कोई आगे ना पीछे
हे हे
तुम ही कहो ये कोई बात है


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

Blog Day :

4242 Post No. : 15460 Movie Count :

4259

Hindi Songs in Bangla Films – 20
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‘Aarohan’ (The Ascension, 2011 – Bangla film) was directed by Pinaki Choudhuri who wrote story and screen-play for the film. Soumitra Chatterjee and Sandhya Roy who were 76 and 69 years of age respectively at the time of making of this film were in the lead roles. The other supporting cast included Shamdarshi Dutta, Rituparna Sengupta (special appearance), Siddharth Chatterjee, Tulika Basu, Ashok Mukherjee, Rajesh Sharma, Nandini Chatterjee (special appearance) etc.

This film was selected for Montreal International Film Festival (2010) even before it was released in India. Pinaki Choudhury, the film’s director, in an interview, had said that he had read in a newspaper article about Mukti Bhavan in Varanasi where people who are about to die are given shelter for one month. He visited the place and spent few days with the inmates of the Bhavan. He was fascinated by the philosophy of the inmates who believe that dying in Varanasi give them salvation thus breaking the endless cycles of birth and death. Based on his experience, he wrote the story revolving around a patriarch of the family who decides to shift to Mukti Bhavan in Varanasi expecting that he would die within a month of his stay as per the prediction based on his horoscope.

It is not an easy decision for the old man to shift to Mukti Bhavan in Varanasi. There are clashes of thoughts between him and his aged wife, between him and his grandson also his friend. All of them react differently but for the same purpose of preventing him from going to Varanasi.

The film opens with a scene in which the 75-year old Surya Shekhar Chatterjee (Soumitra Chatterjee) while trying to cross a busy road in Kilkata is about to be hit by a speeding car when a young photographer saves him in the nick of time from the accident. Surya Shekhar is grateful to the photographer and invites him to his house.

Surya Shekhar is the firm believer in the horoscope. All predictions made on the basis of his horoscope has, so far, come true. One of the future predictions of his horoscope is that there will be threat to his life at the age of 75. And that threat was about to become true if the photographer had not saved him from the accident. Now he is fully convinced about his impending death as per the prediction in his horoscope. So, he plans to shift to Mukti Bhavan in Varanasi to attain salvation upon his death.

Surya Shekhar shares his plan with his wife (Sandhya Roy). She opposes his plan by saying that she had always supported him in his decisions but she would not agree for his shifting to Mukti Bhavan. But Surya Shekhar is adamant on his decision. His wife requests one of his close friends to counsel him to abandon his plan to stay in Mukti Bhavan. His friend tries to dissuade him from his plan by saying that what he is doing is not a faith but the plain superstition in believing the predictions. The young photographer who had saved him from the accident also tries to convince him by saying that astrology is not a science and no one can predict the future. But Surya Shekhar ends the debate by saying that Varanasi is his life’s last halting station.

As a flash back, Surya Shekhar does not have a good rapport with his son as the latter ridicules him for his so much dependence on the horoscopes. Their relation goes for the worst when the son decides to marry a girl outside his caste and that too without matching the horoscopes. Son gets married and settles down in the US. The son and his family had become persona non grata in Surya Shekhar’s house. Both father and son have not spoken to and seen each other for the last 25 years though his wife and the daughter-in-law are in communication with each other.

Surya Shekhar had not talked to his son when latter had a heart attack. He held a firm view that as per his horoscope, his son would not die before his death. Surya Shekhar has not even spoken and seen the face of his young grandson born and studied in the US who has come to India on a short vacation. The young photographer who had earlier saved Surya Shekhar is none other than his grandson Arijit (Samadarshi Dutta) which is revealed to Surya Shekhar by his wife while nominating him as the heir for his fixed deposits after his death.

Surya Shekhar departs for Varanasi along with his wife. Arijit accompanies them which would also give him the glimpses of Varanasi which has its unique character as a pilgrimage centre. The first few days of their stay in Varanasi goes well during which time he comes to know from the Manager of Mukti Bhavan that some old people who had come to die here have to make a revisit a number of times as they survived on each of their one-month stay. To hasten his death, Surya Shekhar decides to forgo dinner and also reduces his intake of food. The weakness caused by low intake of food makes him almost bedridden.

One day, Surya Shekhar get a mild chest pain. Since doctors are not permitted to visit Mukti Bhavan, Arijit informs his parents about his grandfather’s deteriorating health. Both his son and daughter-in-law rush to Varanasi to see him. Despite his son firmly telling him that by foregoing food he is in fact committing suicide, Surya Shekhar is not in a mood to argue with his son as he is destined to die in the next few days.

Parallelly, events are happening in Varanasi when Arijit gets involved with a married village woman from Bihar (Rituparna Sengupta) who also stays in the Mukti Bhavan with her mother-in-law who has also checked in for salvation. Her husband is a gay but her mother-in-law curses her being ‘baanj’ (barren) almost every day. Fed-up with her every day’s tantrums, daughter-in-law challenges her by saying that one day she will prove that she is not a baanjh. Her clandestine relation with Arijit results in her becoming pregnant. When her mother-in-law comes to know about it, she dies of shock. Now, the Bihari woman has to vacate the Mukti Bhavan. She becomes homeless as she has nowhere to stay with her illegitimate pregnancy. Seeing her predicament, Arijit decides to marry her and reveals his intention as such to his parents who at that moment are with his grandfather.

Arijit’s parents are shocked to know that he is going to marry not only a married woman but also outside his caste. Both of them oppose his proposal. But Arijit is adamant. In a fit of anger, Arijit’s father tries to slap him during which time, he gets a heart attack and dies in the Mukti Bhavan. Arijit performs his last rites at Varanasi Ghat. Surya Shekhar’s wife points out to her husband that he had said that the son would not die when he is alive. She questions him as to whose salvation he had predicted from the horoscope. After listening to his wife, Surya Shekhar takes out his horoscope from his pocket and tears it. He goes with his grandson to immerse his son’s ashes in the River Ganga. Arijit goes back to US with an assurance to his grandparents that he would soon return to India.

While returning to their room in Mukti Bhavan, Surya Shekhar finds the Bihari woman sitting with her meagre belonging at the Ghat. The film ends with Surya Shekhar asking the Bihari woman to accompany them to Kolkata where he has an old house. He would construct a bigger house where all of them would stay together. And that would be his salvation and emancipation.

This is the first time I watched the Dada Saheb Phalke Award winner, Soumitra Chatterjee in a lead role of 75-year old man in which he has got full scope to show his histrionic. He is well supported by equally talented Sandhya Roy with her excellent performance. I liked the young Samdarshi Dutta in the role of US returned grandson. His dialogues are in American accented English with American mannerism. Yet his character requires him to tune with the Indian ethos. It was a bit difficult role for him, that too in front of the senior actors which he has admirably performed. Ritupurna Sengupta in a role of a Bihari village woman has done a commendable performance of a rustic village woman with her dialogues in colloquial Hindi. All in all, it is a good film to watch.

In the DVD of the film I watched, there are 3 songs of which two are in Bengali and one in Hindi. In addition, there are two short Hindustani classical renderings by Ustad Rashid Khan in the background. I am presenting Hindi song ‘dil ko chura kar chale jaana na’ sung by Shreya Ghoshal which is picturised on Rituparna Sengupta who is in her beautiful dream sequence in Bollywood style. Samadarshi Dutta is also seen in the sequence. While lyricist of the song is unidentified, it is set to music by Suparna Kanti Ghosh.

Enjoy the beautiful interlude music from esraj (a musical instrument which produces the mixed sound of sitar and sarangi) and the flute along with the song.

Video Clip:

Audio Clip:

Song-Dil ko chura ke chale jaana naa (Aarohan)(Bangla)(2011) Singer-Shreya Ghoshal, MD-Suparna Kanti Ghosh

Lyrics (based on video clip)

hmm hmm hmm hmm
ha aa aaa
ha aa aa haa
ha aa aa aa aaa
hmm hmm hmm hmm chale jaana na
ha aa aaa
aa aa aaa
dil ko chura ke chale jaana na
dil ko chura ke chale jaana na
main ro ro maroongi tumhaare bina
apna bana ke chale jaana na
dil ko chura ke chale jaana na

zulmi iss duniya ne aur kya kiya
badnaami aur aansoo se dil bhar diya
phir tu ne pyaar se jo apna liya aa
phir tu ne pyaar se jo apna liya
rahoon kaise tumko nihaare bina
apna bana ke chale jaana na
dil ko chura ke chale jaana naa

tere jo saath hai to mumkin nahin
magar ab to kuchh bhi hai mushkil nahin
dhoondhti hoon khwaabon ki manzil yaheen ee
dhoondhti hoon khwaabon ki manzil yaheen
mile to jee loongi tumhaare bina aa
apna bana ke chale jaana na
dil ko chura ke chale jaana na
main ro ro maroongi tumhaare bina
apna bana ke chale jaana na
dil ko chura ke chale jaana na
ho o ooooooooo
o o o o o


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

Blog Day :

4240 Post No. : 15455 Movie Count :

4257

Hindi Songs from Bangla Films : 19
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‘Jogajog’ (Relationship, 2015) was a Bangla film which was based on a novel of the same name written by Gurudev Rabindranath Tagore and published in 1929. The film was directed by Shekhar Das. The main cast included Bhartya Basu, Suvalagna Mukherjee, Ananya Chatterjee, Arjun Chakraborty, Shaheb Chatterjee, Locket Chatterjee etc. By the way, Bhartya Basu, the lead actor in the film was the MLA and the Minister of Tourism of the Government of West Bengal when the film’s shooting started. It was a debut film for the lead actress, Suvalogna Mukherjee.

Unfortunately, the film is not available on video sharing platforms. So, I had to depend upon the English edition of Tagore’s novel which is available online as well as review of the film on the Times of India. Having gone through both the sources, I get an impression that the film’s director, Shekhar Das has, by and large, adhered to the story of the novel including the names of the characters. The novel itself is a commentary on the declining influence of aristocracy of landlords in Bengal Presidency from early 20th Century and the emergence of neo-rich business class and their clash of culture and values. It is a feminist novel but at the end, it is the defeat for the female protagonist in the novel.

The gist of the story of the film is as under:

The story revolves around the hostility of two families – the Chatterjees and the Ghoshals. The Chatterjees are landlords whose fortunes have declined while that of Ghoshals have improved considerably thanks to their flourishing business. Bipradas Chatterjee (Arjun Chakraborty), current head of Chatterjee family is indebted to Madhusudan Ghoshal (Bratya Basu), the middle-aged head of Ghoshal family. To resolve the debt issue, Madhusudhan offers Bipradas to marry his younger sister, Kumudini (Suvalogna Mukherjee), a strong-willed, religious minded and cultured girl. She agrees to get married to Madhusudan who is twice her age to save her elder brother from the clutches of indebtedness to Ghoshals.

From the day Kumudini comes to Madhusudhan’s house after her marriage, she is assigned a subsidiary status in an already dysfunctional Ghoshal family in which there is a hen-pecked younger brother, a sister-in-law, Shyamasundari (Ananya Chatterjee) who has become widow at a young age. Kumuduni carries out her work in the household which is expected of a married woman. As she has been brought up in a cultured family where women have been treated equal with their men folks, Kumudini finds Ghoshal house exactly opposite of her cultural upbringing. Here she is treated as a sub-servient to Madhusudan as well as an object of his sexual desires. His vulgar display of wealth and the rustic way of conversations with her puts her off to such an extent that she develops aversion towards her husband. Added to her woos is Madhusudan’s illicit relationship with his sister-in-law, Shyamasundari. With these background , she takes recourse to spirituality. She identifies herself with Meerabai and find solace in singing Meera bhajans.

Over a period of time, Kumudini is subjected to emotional trauma and the marital rape. Not able to cope up with her emotional trauma any more, Kumudini comes back to her elder brother’s house. He gives her assurance that she is not a burden on him. On the contrary, it is her right to be in his house. However, when Kumudini’s pregnancy is revealed, her elder brother does not agree with Kumudini to get her liberation from the marriage as she is carrying Madhusudhan’s child. He justifies his stand by saying that it is not right to deprive the child from the father’s home. Kumudini is sent back to the Ghoshal household.

In a way, it is a defeatist end in the novel to Kumudini. Probably, Tagore went with the stark reality of that time. Since director, Shekhar Das had made this film in the 21st century, the film’s end comes with some minor changes so as not to make the film with a defeatist end for Kumudini. I have seen the end part of a pirated version of the film on a video sharing platform in which Madhusudhan visits Chatterjee’s house and meets Kumudini privately. He tenders his apology to Kumudini for his wrongdoings and request her to come back home.

‘Jogajog’ (2015) has two Meera bhajans of which I am presenting one of the most popular and famous bhajans ‘mere to Giridhar Gopal doosro na koi’. The bhajan is rendered by Shreya Ghosal whom I consider as ‘Lata Mangeshkar of 21st century insofar as per playback singing is concerned. I have watched her growing from the winner of ZEE TV’s ‘sa re ga ma’(children) programme sometime in the 90s and her first playback singing for Hindi film ‘Devdas’ (2002) and thereafter. I still remember the confidence and the pose with which she rendered a song in front of stalwarts like Ustad Ali Akbar Khan, Ustad Zakir Hussain, Girija Devi, Anil Biswas etc on the dais and many more stalwarts in the audience.

The song is picturised on Suvalogna Mukherjee and Bratya Basu is an impatient listener. The bhajan is set to music by Pandit Debojyoti Bose who is a Sarod player and a disciple of Sarod Maestro Ustad Amjad Ali Khan. He is more into concerts than the music director.

I checked and found out that this Meera bhajan has been a part of more than a dozen Hindi films from 1932 onward. The singers varied from Zubieda, Sitara Kanpuri, M S Subbulaxmi, Mangeshkar sisters (Lata, Asha, Usha) to Vaani Jayraman. This is not an exhaustive list. There may be more singers in non-film segment.

I find Shreya’s Ghoshal’s version of this popular Meera bhajan equally pleasing to listen.

Video Clip:

Audio Clip:

Song-Mere to Giridhar Gopal doosro na koye (Jogajog)(Bangla)(2015) Singer-Shreya Ghoshal, Lyrics-Meera Bai, MD-Pandit Debojyoti Bose

Lyrics

mere to Giridhar Gopal doosro na koi
mere to Giridhar Gopal doosro na koi
jaake sir mor mukut mero pati soi
mere to Giridhar Gopal

taat maat bharta bandhu apna nahi koi
chhaadi do kul ki kaani
chhaadi do kul ki kaani kaa kariye koi
mere to Giridhar Gopal

aayi main bhakti ka jo jagat dekhat mohi
daasi Meera Giridhar prabhu
daa..aasi Meera Giridhar prabhu taaro ab mohi
mere to Giridhar Gopal doosro na koi
mere to Giridhar Gopal doosro na koi
jaake sir mor mukut mero pati soi
mere to Giridhar Gopal


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4176 Post No. : 15353 Movie Count :

4232

Songs Repeated in Hindi Films – 13
– – – – – – – – – – – – – – – – – –

A great day today. The remembrance day of one of most recognized icons of the Golden Era of Hindi film music. Rafi Sb. The name says it all. It is our own compulsions that drive us to write again and again about him, but yes, the name says it all. The mere mention brings to mind spontaneously, the journey spanning four decades, and thousands of rich gems that he rendered and bequeathed to us. The one voice that makes loving this music oh so easy.

We already have two posts today, enriching his memory, and talking about his work and his personality. The adjectives and epithets have all been used, time and again, so one is at a loss to say new things about him. There is a celebration gathering that happens at this residence today. Many devoted fans from across the country are in Bombay for this occasion. Our dear Bakshi ji is there today – have to hear from him his account of the visit to Rafi Mansion today.

Besides Bakshi ji, there are two more very good friends who are there today. Both of them are in the category of devotion beyond definition. It is a devotion that takes on the form of worship, which in of itself is a quality to be appreciated. Their life is all about Rafi Sb, their work is all about trying to perpetuate his memory. My meeting with them individually was through other friends, who introduced us. And it did not take any time to acknowledge and understand – this is going to be a lifelong association. I will briefly talk about them today.

Ahsan Qasim is a resident of Hapur, a small town that is about one a half hour’s drive from Delhi. He runs a small restaurant in his neighborhood, and has also setup a small coaching school for basic teaching of English and computers. He is an avid searcher and collector of anything that relates to Rafi Sb. As of now, we are quite much at the limits of Rafi Sb’s recorded songs. Yes, some numbers are still not accounted for, and I dare say, some numbers are still to be identified, given the gap in information available for some untraceable films of the era. But that does not limit his search. He is continuously searching for recordings of live programs, sitting through complete films looking to find out snippets of Rafi Sb’s voice used for items that do not qualify as complete songs, and hence have not been part of 78 rpm or LP releases. The verses sung in the film ‘Pyaasa’ (1957) are quite well known. But there are dozens of more such snippets that Ahsan Bhai has searched out.

He also collects videos of Rafi Sb’s songs, and hence he also continuously digging to locate films that are not yet in public domain. He has a channel on YouTube by his own name. He continuously adds to it – rare audios and videos of Rafi Sb songs. Recently he has uploaded a small video segment of a Rafi Sb song from the film ‘Kahin Aur Chal’ (1968), a film that decidedly has been categorized as lost, for now.

He has made a detailed listing of all the stars, and many who do not qualify as stars, to whom Rafi Sb has given playback. Rafi Sb never shied away from singing for completely new and unknown actors, as well as on screen characters. Ahsan Bhai’s drive is to identify such actors – he has a list and video clips of many totally unknown faces who are lip syncing Rafi Sb’s voice. And to say the least, his endeavor to dig out old films has been so beneficial for armchair collectors like me. 🙂 He is the person who was finally able to acquire ‘Karvaan e Hayaat’ and shared with me. Like so, he has dug out many other rare films, which we know that are not available in public domain.

The second person I wish to talk about today is another dear friend – Arun Gautam. The name plate outside his door reads as ‘Rafi Arun Gautam’. He is a resident of Delhi. When I visited his home for the first time, I was amazed to see – he has one room completely devoted to Rafi Sb. The room is almost like a museum, and also a room where he hosts his friends for listening sessions. The walls of the room are adorned with portraits and photographs of Rafi Sb, some are absolutely rare. All the shelves are full of books, cassette tapes, 78 rpm records and LPs. In between spaces are full of small and large memorabilia that relates to Rafi Sb. There is a harmonium, although not the original, but an exact replica of the one owned by Rafi Sb. There is telephone instrument, with Rafi Sb’s home phone number written on it – once again an exact replica of the original. There are two small cars (toy cars actually) – one a white Ambassador, and the second one a red Fiat, complete with the actual numbers on the number plates. The cars models and numbers are exactly the ones owned by Rafi Sb. There is a small statue of Rafi Sb. There are road signs – place of birth of Rafi Sb, his residence area in Bombay etc. I mean, it is a real treat for the fans of Rafi Sb. And Arun ji has such a childlike pleasure as he shows us visitors around the room.

There is an old gramophone player – the original HMV 102. If any of the readers have heard this sound they will understand. And for those who haven’t, I recommend them to listen to one if possible. Arun ji has a Philips player also – which is electronic. He played the same records on both the machines. The sound from the 102 – it shook my inside. Never ever have I heard such a complete and such a rich sound being reproduced from a 78 rpm record. Yes, we all know that the 78 rpm recording and reproduction is the ultimate. But that day, listening on the 102 was an unsurpassed, never before experience. A machine that is just cranked by hand, no electric or electronics involved. Just a very good sound box and a very good needle. The sound filled the room as I have never heard before. And with the same childlike eagerness, Arun ji played so many rare records. Not that we have not heard the audio before. But the records themselves are so rare, only one or maybe a few acknowledged copies to be existing in public domain. It was a memorable session we had that day, on my first visit. And of course, followed up later with more such sessions.

Arun ji also played some very rare and unheard snippets. Do you know that Rafi Sb has sung two lines of the immortal ghazal of Saigal Sb from ‘Shahjehan’ – “Gham Diye Mustaqil. . .”. This snippet is hidden away in the film ‘Reporter Raju’ (1962); it is not on any record, and only someone painstakingly searching for such things will be fortunate enough to locate it. And then, at the end of the session, as we were preparing to say goodbye, he asked us to wait for a minute. He went inside, and returned with a small plastic package. Opening it, he showed us a necktie – an original worn by Rafi Sb at recordings. Around the room he pointed out to a couple of photographs wherein Rafi is sporting that very necktie. We find out that it is presented to Arun ji by Rafi Sb’s daughter herself, when she visited Delhi and also came to Arun ji’s home. That was the most exhilarating close encounter for me.

And one more thing about Arun ji. He is the convener of the group that is petitioning for the Bharat Ratna award for Rafi Sb.

The most endearing thing about these two gentlemen – very soft spoken, very friendly, extremely humble, and a heart that will share anything you ask of them. True and devoted lovers of music, I must say. And I am fortunate to be in their circle of friends.

Memories of Rafi Sb, shaken and enlivened by these reminiscences.

The song today – although it is a Rafi song, but today’s presentation is not in his own voice. This song, “Badan Pe Sitaare. . .”, originally from the film ‘Prince’ (1969) – Rafi Sb giving playback for Shammi Kapoor, has got repeated in the film ‘Fanney Khan’ from 2018. Yes, so recent. The magic of the golden era lives on and on. This version is sung by Sonu Nigam, and performed on screen by Anil Kapoor.

This song comes to us courtesy of Peevesie’s Mom – the lady is always on the lookout to combine events and anniversaries. Today, 24th is the birth anniversary of Rafi Sb. And it is also the birth anniversary of actor Anil Kapoor. She located this song, and then graciously called me to take it on and present it as part of the ‘repeat songs’ series. Of course, with a short notice (like less than 24 hrs 🙂 ), and a opportunity to combine celebrations that is very difficult to pass. The song had to, has to come today, and today only. Of course, the pleasure of rewards is quite commensurate with the bait proffered. 😀

As I mentioned, the singing voice is Sonu Nigam – a sound that is quite close to Rafi Sb’s singing, as per many opinions. I am retaining the original credits of lyrics and music composition. On screen, we see Anil Kapoor, a part time vocalist in a local orchestral group in the film, attempting a ‘Shammisque’ perfromance. How far successful, I leave it to the readers to judge. For one, Shammi Kapoor would never have a set of dancers around him, in the manner in which the latter day dances are choreographed.

Some other links that come to mind. The dance starts with the rapid shaking of a hand by Anil Kapoor – memories of the dance in the song “Aa Ja Aa Ja, Main Hoon Pyaar Tera” (‘Teesri Manzil’, 1966). Then, we have the initial ‘alaap’ sounds, so to say. The first “lallalllallaaa, la llarrall lallaa lallallaaa” reminds one of the famous Rajesh Khanna performance of “Gulaabi Aankhen Jo Teri Dekhin. . .” (‘The Train’, 1970). Then there is a second piece that goes like “la ra la la la ra la la la ra la la la ra laa” – I am not able to decipher its ‘hear-alike’ source. Then there is the 3rd piece “pappaa pa pappaa pa” – if I am not mistaken, it reminds one of the opening sounds of “Duniya Mein, Logon Ko. . .” (‘Apna Desh’ 1972). Request readers to please add to or comment on these observations.

So a song with many entanglements. Original Rafi Sb song, rendered by a Rafi Sb ‘hear alike’. Original song performed by a Kapoor, now performed by another Kapoor. And the two anniversaries to add to the mix. Quite an interesting addition to the repeat song series. Thanks Peevesie’s Mom ji.

Happy and healthy wishes to Anil Kapoor – goodness, he turns 63 today. Last year he was 62. My, my. 🙂

And long live the memories of Rafi Sb. The best thing that God gave to Hindi films. Unforgettable.

Song – Badan Pe Sitaare Lapete Huye  (Fanney Khan) (2018) Singers – Sonu Nigam, Lyrics – Hasrat Jaipuri, MD – Shankar Jaikishan

Lyrics

lallalllallaaa
la llarrall lallaa lallallaaa
la llarrall lallaa lallallaaa
la llarrall lallaa lallallaaa
 
la ra la la la ra la la la ra la la la ra laa
la ra la la la ra la la la ra la la la la laa
la ra la la la ra la la la ra la la la ra laa
 
paraa pappaa
paraa pappaa
paraa pappaa
paraa pappaa
 
pappaa pa pappaa pa
pappaa pa pappaa pa
pabbaa ba babbaa ba
babbaa ba babbaa ba
 
riul rham jham
jhamriul rham jham
jhamriul rham jhalurum

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

लल्ल लल्ल लल्ल ला
ला लारल्ल लल्ला लल्ललल्ला
ला लारल्ल लल्ला लल्ललल्ला
ला लारल्ल लल्ला लल्ललल्ला

ला रा ला ला ला रा ला ला ला रा ला ला ला रा ला
ला रा ला ला ला रा ला ला ला रा ला ला ला ला ला
ला रा ला ला ला रा ला ला ला रा ला ला ला रा ला

परपप्पा
परपप्पा
परपप्पा
परपप्पा

पप्पा पा पप्पा पा
पप्पा पा पप्पा पा
पब्बा बा बब्बा बा
बब्बा बा बब्बा बा

रीउल रह्म झम
झमरीउल रह्म झम
झमरीउल रह्म झालूरम

बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो॰॰ओ॰॰ओ
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये

बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये

है बनने सँवरने का जब ही मज़ा
कोई देखने वाला फन्ने तो हो
नहीं तो ये जल्वे हैं बुझते दिये
कोई मिटने वाला इक फन्ने तो हो
बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये

बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये

[तुरही वादन]

बदन पे सितारे लपेटे हुये
ओ जाने तमन्ना किधर जा रही हो
ज़रा पास आओ तो चैन आ जाये
ज़रा पास आओ तो चैन आ जाये

 


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

Blog Day :

4117 Post No. : 15270 Movie Count :

4197

Hullo Atuldom

Let me wish a very Happy Deepawali to one and all. Let the festival light up our lives with lots of positivity love and peace. Let the new Samvat bring in prosperity all around. In all this let us try and make the life of everyone around us happy too. Dhanteras, Naraka Chaturdashi and Laxmi Pooja starts the festive week which goes on to Bhai Dooj and ends with Chat Pooja. May there be no issues of weight gain for anyone 😉

Now there are other things that group “Atulites” is celebrating today. One of us is having his birthday. Also, birthday wishes to the daughter of another atulite. God bless them with lots of health and happiness.

A few months back we had a party song for Atulji’s birthday which asked “where’s the party tonight?”; don’t remember the reply. But here is the next party and it is a song on Bhai with Kareena Kapoor Khan in tow and the whole “mohalla” joining in the celebration. As it is the whole country is in festival mood and this song fits in for the occasion.

A confession – I knew the existence of this song which was written by Shabbir Ahmed and composed by Pritam Chakraborty. But I hadn’t heard it completely. Neither in the movie nor on any music channel. As I sat to write it for the post and heard it, I knew this was a song which our birthday boy will love as it underlines his quality of being a great host. Specially the line “aao jahaaz mein ya bharke truck se”; he will definitely say “aaj ki party meri taraf se”. Another thing which I realized is that this is the end credits- song of the 2015 Kareena Kapoor- Salman Khan blockbuster “Bajrangi Bhaijaan” which was directed by Kabir Khan. The song features the entire cast of the movie which includes Nawazuddin Siddique, Sharat Saxena, the child – who played the ‘mute central character’- Harshaali Malhotra, and all the actors who played parents to Kareena and Harshaali. Much like the whole of Atuldom wishing our Atulite and Daughter of the other Atulite on their birthdays. Gang work 😉

I am sure the regular followers of this blog have guessed who is the Atulite I am wishing. He was one of the first follower and farmaish(er) of the blog [sorry for the hinglish word and wrong grammar.] He is a doston ka dost. An occasional NRA – non-resident Atulite. A very gracious host and then he also is a fan of HFM thanks to having spent a small part of his life in that sphere of the country where Hindi films were the only source of entertainment. A Rafi fan who is addicted to Kishore Kumar’s voice too. Fan of Rajesh Khanna who learnt to love Amitabh too. Over the years his love for Sahir Ludhianvi’s work has grown that by no means, means that he doesn’t appreciate other lyricists. He loves to occasionally slip into the Punjabi way of speaking and loves to hear Urdu in songs and poetry. I am speaking of Rajaji. Wishing our dear Rajaji a very Happy Birthday.

I don’t know much about the daughter who has her birthday today. Don’t even know her name but all the best to her too. I hope, she too, will like today’s song. May she have lots of dreams and may they come true.

Happy Deepawali once again to all!!!


Song-Ae party o party ae party party party(Bajrangi Bhaijaan)(2015) Singer-Mika Singh, Lyrics-Shabbir Ahmad, MD-Preetam Chakraborty
Chorus

Lyrics

ae party, o party,
aye party party party
aye party, o party,
aye party party party
papapappapapa
papapappapapa
papapappapapa
papapappapapa
papapappapapa

hai celebration
naacho dhana-dhan
music bajaao keh do yeh sabse
hai celebration naacho dhana-dhan
music bajaao keh do yeh sabse
aaj ki party meri taraf se
aaj ki party meri taraf se
chaand ko bolo utre falak se
aaj ki party meri taraf se
chaand ko bolo utre falak se
aaj ki party meri taraf se
um dum dukur dukur ahaa
dum dum dukur dukur oho
dum dum dukur dukur
dhing pata pat dhingri popo
dum dum dukur dukur
dum dum dukur dukur
dum dum dukur dukur
dhing pata pat dhingri popo

machi hai chull
tod ke rule
kare wo step ki gire log daayein baayein
neend bhi gull,
jashn hai full
naache jamke ke poora floor hill jaaye
baaz naa aaye,
shor machaaye
party jo na kare usko tata bye
machi hai chull
tod ke rule
kare wo step ki gire log daayein baayein
neend bhi gull
jashn hai full
naache jamke ke poora floor hill jaaye
baaz naa aaye
shor machaaye
party jo na kare usko tata bye
shaadi na function
aajao bantan
aao jahaaz mein ya bharke truck se
aaj ki party meri taraf se
aaj ki party meri taraf se
chaand ko bolo utre falak se

aaj ki party meri taraf se
dum dum dukur dukur ahaa
dum dum dukur dukur oho
dum dum dukur dukur
dhing pata pat dhingri popo
dum dum dukur dukur
dum dum dukur dukur
dum dum dukur dukur
dhing pata pat dhingri popo


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

Blog Day :

4112 Post No. : 15263 Movie Count :

4194

Today’s song is from film 102 Not Out-2018.

Readers who identify me as a writer on old films, may be shocked, as I am about to write on a New Era song, as new as not even 1 year old ! But honestly, when I accidentally bumped into this song’s credit, which said that Amitabh Bachhan was the Music Composer of this song, I was myself surprised. Out of curiosity, I found out that song on You Tube and heard/saw it. Frankly, I was not only impressed but even I liked the song. Of course, much of the liking came from seeing the wonderful video of the song- which is just superb !

Amitabh Bachhan (AB for short please) is my favourite actor. I have been seeing many films since late 40s up to the end of the year 1963 – when I began my career in Pharma Marketing. In the beginning of 1971, I heard about film Anand-71, whose songs had already mesmerised me. I went to see the film. More than Rajesh Khanna, I was bowled over by the acting of the lanky New comer (it was AB’s just 7th film) – Amitabh Bachhan. Next I saw him when I was travelling in Goa, where I saw his film Bombay to Goa-72. This was a remake of Tamil film ” Madras to Pondecherry”-66. (Remakes were made in Marathi and Kannada also.) By now, AB had taken over my senses completely and I started seeing his films-but selectively.

Zanjeer-73 (15th film) made him a star. I enjoyed his films like Sholay-75, Deewar-75, Chupke Chupke-75, Amar Akbar and Anthony-77, Trishul-78, Don-78, Satte pe Satta-82 and Coolie-83. In early 80s, I stopped seeing films in Theatres or on TV, due to my job. After that till today, I have not visited a Theatre. I do not know how a Multiplex looks like from inside. I am not proud of this, but it underlines a fact that I had lost interest in seeing the New age films and that I had low level patience. Sometimes I saw films on VCP and later Video player. The last film of Amitabh I saw was Baadbaan-2003. My most favourite film of Amitabh is Trishul-78. I had even bought its Video cassette that time.

Amitabh Harivansh Bachchan, best known as Amitabh Bachchan, was born in Allahabad, India on October 11, 1942. India was still a British colony at the time, and would not achieve independence until five years later. Bachchan’s father was the renowned Hindi poet Dr. Harivansh Rai. His mother, Teji Bachchan, was a Sikh socialite. He has one younger brother, named Ajitabh.

Bachchan went to Sherwood College boarding school before enrolling in Delhi University, where he earned his Bachelor of Arts degree. Once he graduated, he became a freight broker in Calcutta. After a few years in Calcutta, Bachchan was ready for a change. He decided to move to Bombay and take a stab at Bollywood show business. By this time, India had been independent for nearly two decades, and Hindi cinema was thriving.

In 1969, Bachchan made his film debut in Saat Hindustani. Although the movie tanked at the box office, Bachchan still managed to capture the attention of directors. Soon enough, the offers started rolling in.

By the early 1970s, Bachchan had garnered popularity with audiences as the “angry young man” in a series of successful Hindi feature films. His starring role in Zanjeer was particularly instrumental in launching him to stardom as an action-movie hero. Bachchan’s performances in films like Laawaris, Coolie, Naseeb, Silsila, Shaarabi and Jaadugar continued to enamor fans of the tall and handsome action hero, and also landed him multiple Fanfare Awards. From the 1970s through the early 1980s, the swashbuckling Bachchan appeared in more than 100 films. He seized opportunities to work with India’s most acclaimed directors, such as Prakash Mehra, and dominated the silver screen with films like Trishul, Sholay and Chashme Buddoor. In addition to acting, Bachchan’s roles often required him to sing.

In 1982, Bachchan had a serious accident while filming. Fans prayed for his recovery. Bachchan survived the accident, but it prompted him to change career paths. In 1984, he traded his Bollywood stardom for a seat in the Indian Parliament. His political aspirations proved to be short-lived; in 1987, he left his seat due to unexpected controversy.

By the 1990s, the limelight surrounding Bachchan had begun to fade. But his decision to start his own entertainment production company, Amitabh Bachchan Corporation Limited, and make himself CEO, put him back in the headlines. Bachchan followed his true calling and returned to the silver screen in 1997 with the film Mrityudaata, produced by ABCL. In 2000, he also started hosting the Indian version of the television game show Who Wants to Be a Millionaire?. Despite a few box-office failures in the 1990s, in the 2000s, Bachchan climbed his way back up to stardom as a film actor, earning additional Filmfare and International Film Award nominations for his work on films like Baghban (2003), Khakee (2004) and Paa (2009).

Bachchan married movie actress Jaya Bhaduri in 1973. The couple have two children, a daughter and a son. Their daughter, Shweta Bachchan Nanda, is married to industrialist Nikhil Nanda, whose grandfather was the film director Raj Kapoor. Bachchan and Bhaduri’s son, Abhishek Bachchan, is also an actor and is married to actress Aishwarya Rai.

In addition to being a father and an actor, Bachchan devotes his time to charitable causes. In 2003 he was appointed a goodwill ambassador for the United Nations Children’s Fund (UNICEF). He has won several awards and recently the Dadasaheb Phalke award too. (biography.com).

In my recent post, I had done the analysis of Ashok Kumar’s work pattern. In that article, I had said that may be AB would overtake Ashok kumar’s statistics and the pattern. This was because both of them had a long career period – 61 years for AK and 50 years for AB, and both commanded market demand in their old age, long after their prime times in films. Today, let us see how AB fares….

Period Aproximate age Number of films done
1969-70 27-28 2 First film- Saat Hindustani-69
1971-80 29-38 62
1981-90 39-48 43
1991-2000 49-58 20
2001-2010 59-68 58
2011-2019 69-77 47

From 1981 to 2000 (20 years) he acted only in 63 films. In 1982 he met with a serious accident during shooting of Coolie film. Then in 1984, he joined Politics and became an M.P., He quit politics in 1987 and rejoined films. But by 1990, his limelight started fading and films were hard to come by. He formed his own company Amitaqbh Bachhan Corporation Limited (ABCL). In the year 2000, his fortune took a turn. He was selected to conduct a game show on TV- Kaun Banega Karodpati. This proved to be an extraordinary successful venture and his popularity soared. This also reflected in his films From 20 films in the decade of 1991 to 2000, he shot to 58 films in 2001 to 2010 period.

He remains one of the most respected actor in the film industry and is in full demand for films. AB has so far acted in 232 films. He has sung 64 songs in 44 films – though none of his songs have become a craze or popular. His first song came in film Kabhie Kabhie-76 and latest song is for film Badla-2019. I feel his golden period was when he worked with Manmohan Desai, Prakash Mehra and Hrishikesh Mukherjee. He was also benefited when he worked with 15 Screenplays and stories by Salim-Javed. it would have been 17 films, but he refused Hasth ki safai-74 and Mr.India-87 – both films were Box office Hits. Another thing. I read on Internet about his 1969 film ” Ek tha Chander, Ek thi Sudha ” starring AB, Jaya and Rekha. Was there any such film ? If anybody knows anything, please let me know. There is no mention of this film anywhere else.

Today morning (19th), I read in news that AB was admitted in Nanavati Hospital since 15th October for a Liver problem. Luckily, while I am typing this post,I learnt that he has been discharged in the morning only. I wish him good health and like this film’s title let him be 102 Not Out !!!

The film was directed by Umesh Shukla. It was based on a Gujarati story by Soumya Joshi. His next 3 films are ready for release in 2020 – Gulabo-Sitabo, Chehre and Bramhastra. This film had 6 songs. 3 were composed by Salim Suleimani, 1 each was composed by Amitabh Bachhan, Hiralal Bramhabhatt and Rohan Vinayak. The lyrics were by Amitabh Bhattacharya, who has written 308 songs in 82 films. He sang 31 songs in 18 films also. The film was released on 4-5-2018 and earned Rs 102 crores for an investment of Rs. 35 crores only. The story of the film, as per wiki, is….

Dattatraya Vakharia (Amitabh Bachchan) is a 102-year-old who enjoys life in jovial ways. Babulal Vakharia (Rishi Kapoor), his 76-year-old son, is the opposite, and believes that he is now too old to enjoy life, and detests how his father acts. Dhiru (Jimit Trivedi) is an employee at a medical shop who delivers medicine to the Vakharias. Dhiru likes Dattatraya for his attitude and is scared of Babulal because of his grumpy nature.

Dattatraya seeks to break the record of the oldest living person. and thus he seeks to avoid negative people. Therefore, he threatens to send his son to a elderly care facility unless he achieves certain conditions. While Babulal is hesitant, he accepts with Dhiru as a witness. Firstly, Babulal writes a love letter to his deceased wife. Next, he accuses his doctor of being a thief so that he stops going to the clinic daily for a checkup. While rejecting to cut holes in his childhood blanket, Babulal visits a playground and a church that remind him of childhood memories. He becomes sorrowed and distributes cake to young children in the streets with his father.

Babulal begins to appreciate his father’s outlook on life. However, Babulal receives a call from his estranged son Amol informing Babulal that he will visit India. While Babulal is ecstatic hearing the news, Dattatraya is certain that Amol’s motive is to claim their property as their heir. So he gives Babu his last task: to kick Amol out of the house for all his negligence towards his family. They argue and Babulal stops talking to Dattatraya. Even Dhiru, for the first time, supports Babulal and feels that Amol should be given a chance. Dattatraya reveals that Babu had spent all his savings to educate Amol and send him to the United States. However, Amol ignored them, telling nothing about his new family life in America. Dattatraya also tells his son he has cancer, living happily so that Babulal can live like him.

Days later, Amol arrives in India, where Babulal humiliates him in public, calling him to return home. Dattatraya passes away at 102 years of age. Babulal finds a recording of his father predicting that the record of the oldest man will be broken by Babulal himself.

When you will see this video song,I am sure you too will like it. With this song, film 102 Not out and AB as a Music Director make a Debut on the Blog.

This song reiterates, what I always say,” Not all that was made before 70 was good,same as, Not all that is made after 70s is bad”. There is always some good everywhere !


Song-Hey Pyaare chehre pe baaraa mat bajaa re (102 Not Out)(2018) Singers- Amitabh Bachhan, Rishi Kapoor, Lyrics- Amitabh Bhattacharya, MD- Amitabh Bachchan
Chorus

Lyrics

hey pyaare
chehre pe baarah mat baja re
satrangi lamhon ke gubbaare
khuli hawaaon mein uda re

hey
yaara samajh le ishaara
kya bole tumba
masti mein jee le zumba zumba
badumba zumba
yaara samajh le ishaara
kya bole tumba
masti mein jee le zumba zumba

comeon
sar se gira de
hey
fikar ka bojha
hey
kamar hila ke
ho
happy happy hoja
kehna tu maan le mera
yaara samajh le ishaara
kya bole tumba
masti mein jee le zumba zumba
hey
har dum har dam tu hai pareshan
frustration ki tu hai dukaan
teri sab samasya ka no samaadhaan
tu dukhi hai
haha
tu dukhi hai
dukhi hai
tu hai dukhi aat aatma
maan shrimaan sar per tension ka taany taany bomb
sad rehna hai tera kaam
kaam

teri life
teri life ek website ka form
naam hai jiska chinta ka form
chinta ka form
chinta ka form

haan budhiya
haan budhiya
rehne de churan waali pudiya
pudiya
apna le nuskha mera badhiya
badhiya
tan man mein chhootengi phuljhadiyaan
aha ha

yaara samajh le ishaara
kya bole tumba
masti mein jee le zumba-zumba
khataak
sar se gira de
fikar ka bojha
kamar hila ke
happy-happy hoja
kehna tu maan le mera
yara samajh le ishaara
kya bole tumba
masti mein jee le zumba zumba
paas paas bababa
paas paas bababa
paas paas bababa

re pappa
bas bhi kar tera la ra lappa
jo bhi tu bole
kyun main maanoon
teri naseehat bilkul dabba
teri umar ka takaaza
kya jaane tumba
shobha na de ye zumba-zumba
badumba zumba
teri umar ka takaaza
kya jaane tumba
shobha naa de ye zumba-zumba
chal ghar jaake
palang pe so ja
pehan ke muffler
shirt aur moza
kehna tu maan le mera aa aa

teri umar ka takaaza kya jaane tumba
shobha na de ye zumba-zumba
badumba zumba
teri umar ka takaaza kya jaane tumba
shobha na de ye zumba-zumba

samjhe dada pappa

gibbesrish lyrics

pyaare
chehre pe baarah mat baja re

satrangi lamhon ke gubbaare
khuli hawaaon mein uda re
comeon
yara samajh le ishaara
kya bole tumba
masti mein jee le zumba-zumba
badumba zumba
ho
yara samajh le ishaara
kya bole tumba
masti mein jee le zumba-zumba

aaye haaye
yaara samajh le ishaara
kya bole tumba
masti mein jee le zumba-zumba

come on everybody
yaara samajh le ishaara
kya bole tumba
masti mein jee le zumba-zumba


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

Blog Day :

4073 Post No. : 15211 Movie Count :

4181

Ganpati Bappa Morya
Pudcha Varshi Lavkar Ya

Ganesh Chaturthi is the festival celebrating the birth of Lord Ganesha. It falls on the Shukla Chaturthi (4th day after Amavasya) in the month of Bhadrapada of the Hindu calendar i.e. August-September of the Gregorian calendar. Now this is common to the whole of India. And everyone has their own list of prasad that they offer to the lord. And all the panchang reading elders will tell us that when the Chaturthi starts etc and for how many days the festival will be for (usually 10) but due to the lunar calendar that is followed there will be some ghatika calculations which will determine if the festival ends on the 10th or 11th day.

But thanks to Bal Gangadhar Tilak Maharashtra has a special way of celebrating it. There the devout bring home idols and do pooja for a day and half and give a send-off to their favourite god on the next day that is on Panchmi. Then there are also those who keep the lord in their homes for five days. In between they also have a Gauri sthapana and worship the mother and son together for 2 days and then see them off on the 5th day. That day is Gauri visarjan.

Then there are the Sarvajanik Ganesh Mandals. It is here that the youth get to show their ideas of decoration, event organisation etc. The mandals dedicate themselves to various causes and highlight this in their pandals. There is the usual bhajans playing through the 10 days of the festival etc. Then on the 10th day that means Anant Chaturdashi day there is the aarathi, the final pooja and then the idols along with all the flowers used for decoration etc are taken for immersion. The large ones are on open trucks and we have all the young revellers dancing to the beat of Nashik Dhols and recorded music and the cry of GANAPATI Bappa Morya filling the air space. (Environmentalists will call it high decibels of noise pollution). And there are the large numbers of people out on the streets till wee hours of the next morning waiting to see the last huge one immerse in the sea. If I am not wrong the last one is always Lalbaugcha Raja.

Lalbaug is a locality in the old Bombay region. This is where during the freedom struggle Balgangadhar Tilak had started the practice of community worship of the Lord as a way to protest the diktat of limit on number of people congregating.

Lalbaugcha Raja has a story of its own. It seems the market at Peru Chawl was shut down in 1932 effecting the livelihood of the fisherfolk and other vendors who operated from there. These vendors vowed to Ganesha for a permanent place for their market. The collective efforts of the councillors and prominent local residents of those times the landlord Rajabai Tayyabji gave the land for the existing Lalbaug Market.

In 1934 as a thanksgiving or fulfilment of their vow (Navasa in Marathi) the traders and fisherfolk came together to start this sarvajanik pandal. Since 1935 the same family -Kambli family- has been designing the idol which has kept nearly the same “sitting pose” over the years. The idol is always around 18-20 feet tall. The parts are made at their workshop in the adjoining lane and assembled in the pandal. The grand old man of the Kambli family then comes and paints the lord’s eyes. The decoration is always contemporary and this year it was “Chandrayaan”. The visarjan procession of Lalbaugcha Raja is eagerly awaited through the lanes that it takes to reach Girgaum Chowpatty. There are special trucks, trailers and boats with pulleys that help take the idol kilometres into the sea so that it can be given a proper deep-sea immersion to match its size.

P.S.: the details about Lalbaugcha Raja are from a documentary that I saw last week on National Geography Channel.

We had the N. Chandra’s “Ankush” (1986) which used the Ganesh visarjan backdrop to show the rivalry between two Ganesh pandals and how it erupts into street fight.

In Remo D’Souza’s “ABCD- Any Body Can Dance” (2013) we had a sequence showing Ganesh Visarjan. There was this wonderful dance number and the song was true to the Ganapati Bappa Morya spirit. The movie had a collection of dance freaks who were essentially a part of Remo’s troupe most of who are independent choreographers now. in addition we have Prabhu Deva and Ganesh Acharya, in major roles in the movie, present in this song.

I thought that this song is ideal for today. The song is sung by Shankar Mahadevan & Vishal Dadlani. The song is written by one Mayur Puri and Sachin-Jigar are the music directors. This means that this song would have qualified in the series of “Music Director singing for another music director list” that we had from Arunkumar Deshmukhji a few years back. (Both Shankar Mahadevan and Vishal Dadlani are music directors as we all know).

This is the link to the song:-


Song-Ridhhi Siddhhi Vriddhi Hoti (ABCD-Any Body Can Dance)(2013) Singers-Shankar Mahadewan, Vishal Dadlani, Lyrics-Mayur Puri, MD-Sachin Jigar

Lyrics

riddhi siddi vriddi hoti
haan tere hi aane se
aur sundar yeh srishti hoti
haan tere hi aane se
moraya… aaa
moraya…aaa
ganpati bappa moraya!
pudcha varshi lav kar ya

man ke andhere kone mein
jo danav chupa hai moraya
uspe hi jai ho toh digvijai ho
teri tarah moraya
ganpati bappa moraya!
pudcha varshi lav kar ya

ho… lakh koi de hunkare
lakh koi dhamkaale
ho oo
hum teri raahon pe chalte
hum nahi rukhne wale
mera deva devon ka devta
mazha deva devon ka devta
pair ye rukh ne na sar ye jhukne na dega
morya re moraya
ganpati bappa morya
shambu sutaya shambu sutaya
lambodarya morya
morya re bappa morya
ganpati bappa morya

devaa… aaaaa ho ooo

sajjan ki aas
durjan ka naash
tu kai sa bindaas hai raja
tu kai sa bindaas hai raja
teri ho puja phir koi duja
tu sab ka vishwas hai raja
tu sab ka vishwas hai raja
hoo… oooo
yun toh sabhi devoke aage
yeh sar jhuka hai morya
par apna hai tu
ghar pe humare aaya hai morya
morya re morya
ganpati bappa morya
shambu sutaya shambu sutaya
lambodarya morya
morya re bappa morya
ganpati bappa morya

gan ganganpati gaja mukh mangal
didikita didikita didikita dhundhun
ta ta tai tha
jai jagavandhan vakratunda daani daata
vignaharan subhakaran dhagina dha
vignaharan subhakaran dhagina dha
vignaharan subhakaran dhagina dha
dhum kita dhum kita dha dong dha dong
dha da kita tha
dhadong dhadong
dha da kita tha
dhadong dhadong
dha da kita tha
morya re morya
ganpati bappa morya

deva aaa aaaa aaaa

hey… jal mein, thal mein
shristi sakal mein
van mein, rann mein, kan kan mein
taru mein, tran mein, gaj mein, gana mein
morya hai har mann mein
hey rang ki dhaare, ras fuhaarein
chhal chhal chhalke sarjan mein
tej hai, bal hai, shakti prabal hai
morya ke darshan mein re bappa
morya ke darshan mein re deva
morya ke darshan mein hey..
morya ke darshan mein…. ho


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

4065 Post No. : 15200 Movie Count :

4177

Most traditional Hindi movis are formula movies. The formula keeps changing with time and the movies made during that era have same stories based on the same formula with minor variations.

Once in a while we have movies based on real life events. One finds that movie makers try to convert them to a formula movie.

Movies during the early years post independence tended to be tragic movies with sad ends. No matter what the topic, the movie would still have the usual songs. So, when movies based on true life stories were made, they followed the same formula.

“Lahore”(1949) is one example, which was made on the background of partitition. Same was the case with “Nastik”(1954). These movies had lots of songs, and the characters are seen suffering most of the time.

Then in 1960s, we had “Haqeeqat”(1964), made on the background of Indo China war. This movie was based on war, but it was mostly a musical movie with lots of hit songs, and war almost getting relegated to the background.

After many decades, Indians slowly started to have some achievemments under their belts. So, accordingly, Indian movies stories became more positive where the hero was more assertive than before.

During the last few years, several movies have been made on real life events, and most of these movies are success stories.

“Dangal”(2016) was based on a real life story of a man who despite living in a male dominated society manages to turn his daughters into international wresters. It was a real life inspiring story that caught the imagination of not only Indians but also Chinese audience ! The movie did a business of over Rs 700 crores in China !

Personally I loved “Parmanu”(2018), which was based on Pokharan II, an eventthat signalled the rise of a new and assertive India, far from the days of 1962 that “Haqeeqat”(1964) depicted.

“Uri” (2019) was based on surgical strike of 2016. There were people who left no stones unturned to tell us that surgical strike did not take place, and their supporters in India asked for proof. Believers went to the movie and turned it into a box office success. This episode, like the episode described in “Parmanu” (2018) demonstated the rise on a new and assertive India which would not take things lying down if wronged and would retaliate aggressively.

A country gains self confidence when it is doing well in economy and related fields. Indian economy is doing well for the last few years and India economy is fifth largest GDP in the world. Some media houses gleefully reported that India had slipped to seventh position, but that was on december 2018. As on today, India is again 5th biggest economy, a fact that our media is hiding from us.

A country can rise up the economy ladder only if it has high quality highly educated manpower. Low quality manpower can take an economy up to certain level, but after that level, you need top class manpower to take you forward. India at present is a low middle income group nation (per capita earning in the region of $ 1000 to $ 40000 per annum). India will need to more than double its GDP and then we can hope to break into the ranks of upper middle income nations (per capita income in the region of $ 4000 to $ 12000). Final barrier is $ 12000 and a country with per capita earning above that figure becomes a high income country.

Only those countries that invest in high quality education and high quality infrastructure can break in the league of upper middle group nations and finally into higher income nations. India has a long long way to go. But India is in the right track. I can visualise India breakin into the rank of upper middle rank nations when Indian GDP reaches about $ 6 trillions. It woulkd be sometime in the next ten years.

GDP of a nation keeps climbing at a good rate only if a country is doing high quality work which can be sold all over the world. India is a world leader in high quality research products like pharmaceuticals, health services etc. These sectors will help India grow up in future. In manufacturing sector, I hope to see some interesting world class products, like say Train 18 from Indian Railways and Tejas from HAL, which will have good market worldwide, if Indian Government can plan and execute the plans well.

ISRO, Indian space agency is a shining example of what Indian manpower is capable of. ISRO has earned tremendous name and goodwill for its stellar works. It has launched many satellites of foreign advanced nations and they have played an important role in earning respect for Indian manpower. It is not for nothing that many silicon valley big wigs are people of Indian origin.

“Mission Mangal”(2019) is based on ISRO’s mangalyaan expedition. With this mission, ISRO succeeded in sending its spacecraft (mars orbiter) to Mars successfully in thhe very first attempt, and they did it on a shoe string budget.

The movie “‘Mission Mangal” (2019) is jointly produced Cape of Good Films, Hope Productions, Fox Star Studios, Aruna Bhatia, and Anil Naidu and directed by Jagan Shakti. The movie has Akshay Kumar, Vidya Balan, Taapsee Pannu, Nithya Menen, Kirti Kulhari, Sharman Joshi, H. G. Dattatreya, Vikram Gokhale, and Sonakshi Sinha etc in it.

When this mission had actually taken place, social media was abuzz with a photograph that showed a few homely housewife looking ladies who were in reality ISRO scientists and who had played important roles in the success of the mission. The makers of this movie have been greatly influenced by this fact. The movie shows lots of female power in the movie.

The story , based on real life ISRO stories, starts by showing failure of a GSLV launch on December 25, 2010 due to an error of judgement by project director Tara Shinde (Vidya Balan). Rakesh Dhawan (Akshay Kumar) takes the responsibility of the failure on himself. As a punishment posting, he is hunted out to “Mangalyaan” mission, a mission no one has much hopes on.

Maenwhile Tara Shinde too gets herself transferred to Mangalyaan project and she has some idea about how this project can be successfully executed. Rakesh Dhawan and Tar Shinde convince the ISRO head (Vikram Gokhale) to support them by budget and staff. Budget is limited and keeps getting reduced, and the manpower asked in not what was needed. They end up with rookie scientists like Eka Gandhi (Sonakshi Sinha)the propulsion control expert, who is dying to leave ISRO and join NASA as soon as possible, spacecraft autonomy designer Neha Siddiqui (Kirti Kulhari ) whose second name causes raised eyebrows when she is looking for rented accomodation, navigation expert Krittika Agarwal (navigation expert) who has great difficulty learning to drive a car. Her husband is in Army who gets injured in an accident. Satellite designer and payload expert Varsha Pillai (Nithya Menon) has a nagging mother in law at home who taunts her for being childless.

There are two male scientists too. Astrology believing Parmeshwar Joshi (Sharman Joshi) is told by his astrologer that his “Mangal” is bhaari and that is why he is unable to get married. No wonder he is reluctant to join the mission. Then there is Anant Ayengar (H G Dattatreya) who is one year short of retirement and is already counting days.

How Rakesh Dhawan and Tara Shinde get their team to deliver and how successfully deal with major hurdles constitutes the story. While there are some critics who have found lots of weaknesses and holes in the story, I loved the movie. I find the episodes quite entertaing. When Rakesh Dhawan first goes to the mangalyaan area of ISRO, he finds that vacant and without any sings of life. Then he finds a matka with water in it. So there is water in mars- he observes. Then a cat enters the hall. So, there is life in Mars, he concludes.

The movie is based on a real life story, so we all know what hexactly happened. Still the movie keeps you glued to your seat. And it gives you goosebumps when the rocket lifts off from its launch pad.

This is a movie only Indians could have made and only Indians could have identfied with. I am happy that a movie was made on this subject. The makers have done the best they could have. insteda of finding faults (like what some people have done) I take it as glass half full and I enjoyed th movie. I think that most Indians who like to be positive about their lives and about their country will enjoy this movie.

The movie has three songs in it. My personal favourite is the theme song. The lyrics of this song are by Amitabh Bhattacharya and he has indulged in some interesting word play in this song. The song is sung by Benny Dayal , Vibha Saraf and others. Music is composed by Amit Trivedi.

This song happens to be the 15200th song in the blog. It is the first time that this blog has a new song from the current year as the century song. I think this song fully deserves it. It is a song that I loved from the vey fist time I heard it and watched it.

These days we have two actors who are competing for making movies on nationalistic subjects. One is Akshay Kumar and another is John Abraham. I had loved John Abraham’s “Parmanu”(2018) and I loved Akshay Kumar’s “Mission Mangal”(2019). In 1960s and 1970s, we had Manoj Kumar making patriotic movies. Today we have John Abraham and Akshay Kumar. There is one cartoon which shows the two of them grabbing each other by their collars, arguing about who should take up which nationalistic story next. Then there is another cartoon showing Akshay Kumar with P M Modi. Modi tells Akshay Kumar-“Keep making movies, I will keep giving you story ideas.” It must be said that the story idea for Article 370 is something that a Frederick Forsyth or Leon Uris would have been proud to write.

So, here is the 15200 th song for the blog. It must be one of the most unnoticed century post occasion which apparently no one was looking forward to, including even I myself. Nevertheless, the needful needs to be done. So we are now 15200 song post old with this writeup. I take this opportunity to thank all our visitors and well wishers for their continued encouragement and support. May we keep scoring many more centuries in future.

With this song, “Mission Mangal”(2019) makes its debut in the blog.


Song-Dil mein Mars hai (Mission Mangal)(2019) Singers-Benny Dayal, Vibha Saraf, Lyrics-Amitabh Bhattacharya, MD-Amit Trivedi

Lyrics

Om mangalam mission mangalam
Om mangalam mission mangalam
Om mangalam mission mangalam

Manzil door door door hai mushkil paas hai
Phir bhi khwaab khwaab khwaab mein twinkle stars hai
Om mangalam mission mangalam
Manzil door door door hai mushkil paas hai
Phir bhi khwaab khwaab khwaab mein twinkle stars hai

Chaand ko karke rahenge aaj overtake hum
poora chance hai ae
Three two one boom!
Dil mein Mars hai
Kyun ki dil mein Mars hai
Om mangalam mission mangalam
Apne dil mein Mars hai
Om mangalam mission mangalam
Udne ki pyaas hai
Dil mein Mars hai
Om mangalam mission mangalam
Space mangalam shuttle mangalam
Cool mangalam swag mangalam
Hash mangalam tag mangalam
Dream mangalam vision mangalam
Countdown ignition mangalam
Om mangalam mission mangalam telescope dhaari … swaaha

Om mangalam mission mangalam
Om mangalam mission mangalam
Apne brain brain brain ki hai kaarastani
Hum toh dhoondh dhoondh dhoondh len fire mein paani
fire mein paani
Apne desh desh desh mein sab kuch mumkin hai
We don’t need need need need no meherbaani
no meherbaani ee ee
Thode fail fail fail hain
phir bhi pass hain
Fulltu mood mood mood mein hum bindass hain
Chaand ko karke rahenge aaj overtake hum
poora chance hai ae
Three two one boom!
Dil mein Mars hai
O dil mein Mars hai
Om mangalam mission mangalam
Apne dil mein Mars hai
Om mangalam mission mangalam
Udne ki pyaas hai ae
Kyun ki dil mein Mars hai

Om mangalam mission mangalam
Speed mangalam medal mangalam
Josh mangalam jashn mangalam
Style mangalam tashan mangalam
Cosmos condition mangalam
Take-off permission mangalam
Om mangalam mission mangalam
kayinaat saari … swaaha


This article is written by Peevesie, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4045 Post No. : 15174

What kind of relationship must one have with their country? This is a question I have been pondering lately. There is no doubt one feels a sense of kinship and pride for the perseverance and accomplishments and bravery its people show on a near everyday basis. But then aren’t all these accomplishments a result of someone questioning some kind of status quo that existed in this country.

The world is feeling like a strange place. Ours isn’t the only country in the grips of a wave of nationalism that is based on a sense of othering and homogenizing our culture. But weren’t we taught ‘Unity in Diversity’  as one of our strengths in school? Independence day involved so many symbolic displays of things like ‘One Country, Many Cultures’; “Hindu Muslim Sikh Isaai, sab hai yahan bhai bhai”. One of my favourite lines to do the cringy school dances to was “Koi Punjab Se, Koi Maharashtra Se” one from the song “Ae Watan Ae Watan” (film ‘Shaheed’, 1965) – (though I hated the word Madrasi that was used in such displays, I am not from Madras!). And suddenly we have a country where questioning the status quo is being against the country.

Can’t one love the country and still dislike / disagree with somethings in it? We love our family and friends the same way no? The love is unconditional but there are things like maybe their lateness or forgetfulness that annoys us? Isn’t that what patriotism should be? An unconditional love that pushes us to work hard to improve our country so we are truly the best country in every metric?

Last year I saw a film called ‘Raazi’. It is based on the true story of an Indian spy who married into a Pakistani military family to help the Indian war efforts. Two plot points in the movie left a deep impression on me and on my patriotic sentiments. The first was when the ‘spy’ and her spouse have a conversation about why they both do what they do. And they both realize that they will always choose their birth country over their spouse. It’s just that their birth countries are different. The second point is this song I want to showcase in this post on independence day today. Incidentally this song is also titled “Ae Watan” .

This song in the film is supposed to be an Indian patriotic song being taught to Pakistani school children for a school function. Even though the song contains the opening lines (“Lab Pe Aati Hai Duaa. . .“) which is the national prayer of Pakistan. It was penned in 1902 by the legendary poet, Allama Iqbal. But by its very nature it is country neutral. It is sung in schools in Pakistan, as well as in some states in India. That’s when it hit me. The object of your emotion of patriotism – that is an accident of nature. You have no control over this. But you have control over what you do with it. And how you use the opportunity to leave the place you were born into, better than when you arrived into it.

There is a multitude of amazing things being done by Indians that we can be proud of – from sustainable sanitary solutions, to the moon mission, to Dutee Chand fighting the Olympic committee and her village simultaneously on accepting everything she was born with. Whether it’s is a medical condition or who she loves. This is a beautiful country that gained its independence because people refused to accept the status quo. And I choose to be proud of it without losing sight of how much further we have to go.

There is another reason I love this song, because the video reminds me of the Independence day celebrations we had in school and all the ways we practiced for it. Truly brings a certain nostalgia back

This song is “Ae Watan” from ‘Raazi’ (2018) which is directed by Meghana Gulzar and produced by Junglee Pictures and Dharma Productions. Its based on a book by Harinder Sikka named ‘Calling Sehmat’. The film version of the song has Alia Bhatt, Vicky Kaushal, Amruta Khanvilkar. The song is composed by Shankar Ehsaan and Loy, while its lyrics are written by Gulzar. Its female version, which is the one featured in the film, is sung by Sunidhi Chauhan and the male version which was for promos is by Arijit Singh. Both versions have longer audio versions than video. The lyrics given below are according to the audio versions I have.

Happy Independence day to all readers! Enjoy!

Female Version

Male Version (Chorus Only)

Song – Ae Watan Watan Mere Aabaad Rahe Tu (Raazi) (2018) Singers – Sunidhi Chauhan, Arijit Singh, Lyrics – Gulzar, MD – Shankar Ehsaan Loy
Chorus

Lyrics

lab pe aati hai dua ban ke tammana meri
zindagi shamma ki surat ho khudaaya meri
lab pe aati hai dua ban ke tammana meri
 
ae watan watan mere aabaad rahe tu
ae watan watan mere aabaad rahe tu
ae watan watan mere aabaad rahe tu
main jahan rahun jahaan mein yaad rahe tu
main jahan rahun jahaan mein yaad rahe tu
ae watan mere watan
ae watan mere watan
 
tu hi meri manzil hai pehchaan tujhi se
tu hi meri manzil hai pehchaan tujhi se
pohunchun mein jahaan bhi meri buniyaad rahe tu
pohunchun mein jahaan bhi meri buniyaad rahe tu
ae watan mere watan
ae watan mere watan 
 
tujh pe koi gum ki aanch aane nahi doon
tujh pe koi gum ki aanch aane nahi doon
qurbaan meri jaan tujhpe shaad rahe tu
qurbaan meri jaan tujhpe shaad rahe tu
 
ae watan watan mere aabaad rahe tu
main jahan rahun jahaan mein yaad rahe tu
ae watan mere watan
ae watan mere watan
ae watan mere watan
ae watan mere watan
ae watan mere watan
ae watan mere watan
ae watan mere watan
ae watan mere watan
ae watan mere watan
ae watan mere watan
labh pe aati hai dua banke tammanah meri
zindagi shamma ki surat ho khudaya meri
zindagi shamma ki surat ho khudaya meri
ae watan mere watan
ae watan mere watan

Male Version

ae watan watan mere 
ae watan aabaad rahe tu
aabaad rahe tu
aabaad rahe tu

ae watan watan mere aabaad rahe tu
ae watan watan mere aabaad rahe tu
ae watan watan mere aabaad rahe tu
main jahan rahun jahaan mein yaad rahe tu
main jahan rahun jahaan mein yaad rahe tu
ae watan mere watan
ae watan mere watan

tu hi meri manzil hai pehchaan tujhi se
tu hi meri manzil hai pehchaan tujhi se
pohunchun mein jahaan bhi meri buniyaad rahe tu
pohunchun mein jahaan bhi meri buniyaad rahe tu
ae watan watan mere aabaad rahe tu
main jahan rahun jahaan mein yaad rahe tu
ae watan mere watan
ae watan mere watan 

tujh pe koi gum ki aanch aane nahi doon
tujh pe koi gum ki aanch aane nahi doon
qurbaan meri jaan tujhpe shaad rahe tu
qurbaan meri jaan tujhpe shaad rahe tu

ae watan watan mere aabaad rahe tu
main jahan rahun jahaan mein yaad rahe tu
ae watan
ae watan
mere watan
mere watan
ae watan
ae watan
mere watan
mere watan
ae watan mere watan
ae watan mere watan
aabaad rahe tu
aabaad rahe tu
ae watan mere watan
aabaad rahe tu

O rangrez

Posted on: July 25, 2019


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

Blog Day :

4024 Post No. : 15137 Movie Count :

4157

Sports biopic is a rare genre for Hindi film industry until recently. Producing a sport biopic film is like venturing into an uncharted water. However, the box office successes of ‘Paan Singh Tomar (2012) and ‘Bhaag Milkha Bhaag’ (2013) have created a trend in Bollywood to produce sports biopic films on a regular basis. During the last 5 years, sports biopic such as ‘Mary Kom’ (2014), ‘Dangal’ (2016), ‘Azhar’ (2016), ‘Budhia Singh – Born to Run’ (2016), ‘M S Dhoni – The Untold Story (2017) and ‘Soorma’ (2018) were released. Some more sports biopic films have been in the pipelines for a long time. They include films on Dhayan Chand (Hockey), Saina Nehwal (Badminton), P V Sindhu (Badminton), Abhinav Bindra (Shooting) etc.

‘Bhaag Milkha Bhaag’ (2013) was a trend-setter in Hindi films in propagating sports biopic as a genre of film. The film was directed by Rakeysh Ompradkash Mehra with Farhan Akhtar as Milkha Singh – the Flying Sikh who was the first Indian sprinter to win gold medals in Asian and Commonwealth games. The screen-play, dialogues and songs were written by Prasoon Joshi. The film was a box office success to the extent that it logged about Rs,165 crore as global earnings as against the total cost of about Rs.30 crore in producing the film.

Unlike other genres of films, producing biopics, that too the sports biopic films are time consuming process as experienced by Rakeysh Omprakash Mehra, the producer-director of the film. True life stories required a lot of research. Finding a financier/distributor for the sports biopic film is equally difficult as this was an emerging genre of the film at the time of making the film. Lastly, finding a right type of actor to do the role of the sports biopic character is difficult. The actor needs to devote a considerable time to come into the physique and the mannerism requires for the character he plays in the biopic. Most of the top actors will not have time to spend for training schedules. Farhan Akhtar who did the role of Milkha Singh in ‘Bhaag Milkha Bhaag’ (2013) had revealed during an interview:

I went through a tremendous amount of training for nearly seven and a half months before we started shooting, and then again for the entire duration of shooting, which lasted about 10 or 11 months. So I was under training for more than a year and a half. I actually lived the life of an athlete; I wasn’t just pretending to be one.

Farhan Akhtar also took Urdu lessons from his father, Javed Akhtar and Punjabi lessons from Gulzar to improve his diction.

I missed watching ‘Bhaag Milkha Bhaag’ (2013) when it was released in July 2013 despite a high recommendation from my son. Recently, I watched the film on Hotstar and liked it. This is one of few films which I had watched on small screen in one go. I regretted for not having watched the film on a multiplex screen when it was released

The film has depicted the life story of Milkha Singh broadly reflecting three stages of his life from 1947 to 1962. In the first stage, he migrates to India as a 12-year orphaned boy from his village in Pakistan who has lost his parents, a brother and sister during partition. As a boy, he spends his childhood in Refugee camp in Delhi. His married sister takes care of him. In the second part, his grows into a teenager when he indulges in petty crime. He also falls in love with Biroo (Sonam Kapoor). But his girl friend would marry him only when he abandons his ruffian way of life and become a responsible man. Milkha Singh accepts the challenge and joins Army in his third attempt. The last part of the film is on his becoming a successful athlete (sprinter) after overcoming lots of physical hardships. He wins gold medals in Asian and Commonwealth Games but loses his Biroo as her parents had married her to a different groom. He also loses the medal in Rome Olympic but at the end he emerges winner in his life.

The director refrained from over-dramatising the emotional events following the partition. Milkha Singh has been depicted in the film true to his life having both good and not so good sides of his life. I never knew that Milkha Singh had a very traumatised childhood and had spent few days in Tihar Jail for petty crime, until I saw the film. For me, Milkha Singh was a ‘Flying Sikh’, a title which was given by General Ayub Khan when he defeated his Pakistani counter-part in 200m run in Indo-Pak Friendship Athletic Meet at Lahore in 1962.

By the way I noticed that the moustache of Wing Commander Abhinandan Varthaman which has become trendy, resembles that of Prayag Raj in the role of an Army Officer in ‘Bhaag Milkha Bhaag’ (2013).

The mesmersing music composed by Shankar-Ehsaan-Loy (S-E-L) is another plus point of the film. The album has 8 songs including one rock version of title song which is played as the credit titles run at the end of the film. I was unaware of almost all of the film’s songs except the title song ‘bhaag Milkha bhaag’ until I watched the film recently. I am sure, after ther release of the film, three of the songs namely, ‘havan kund maston ka jhund’ ‘zinda’ and ‘slow motion angreza’ must have become very popular with the younger lots as these songs are blended with rock music and rhythmic beats.

But what made me to write this article is one song out of 8 songs in the film which lingered in my mind for a long time. The song is ‘o rangrez tere rang dariya mein’ rendered by Javed Bashir and Shreya Ghoshal. Javed Bashir is a Pakistan-based Hindustani Classical, Sufi and Qawwali singer. The tune of the song is based on raag Khamaj which is generally used for virah ras (separation). Hence this raag is favourite of ghazal and thumri singers. Shankar Mahadevan has used Khamaj raag in this song somewhat in a lighter mood to sync with the romantic background of the song.

Another feature of this song is that though it is picturized as a romantic song, the underlying tone of the lyrics is Sufiyana. The song starts with salutation to Rangrez. The words, ‘Rang’ and ‘Rangrez’ have been widely used by Sufi poets. ‘Rangrez’ is a Persian word which means ‘dyer’ who colours the cloth. But Sufi poets use this word metaphorically for a Sufi Saint who imparts colour (knowledge) to his followers to be one with the Almighty. There is no difference between ‘you’ and ‘me’ in a same way when colour is applied to the cloth and they become one. Prasoon Joshi has nicely written three lines in the song under discussion to emphasize on the philosophy of ‘oneness’:

ek bhi saans alag nahin leni
khench lena praan iss tan ke
nahin rehna dooja ban ke

One more feature of this song is that in the interlude music, in addition to percussion (Tabla and Dholak) Bouzouki (Mandolin like instrument) and Guitar, a rare musical instrument called Esraj has been used. One can listen to the sound of Esraj in Video clip of the song between 1:33 and 2:05 which sounds like that of Sarangi. The reason is that Esraj (like Dilruba) is a hybrid musical instrument combining the sounds of Sitar and Sarangi. This instrument has rarely been used in Hindi film music as it has almost extinct from professional circuit by 1980s. Instead music directors like S D Burman, Roshan, R D Burman had used Dilruba. It appears that Esraj is one of music director S-E-L’s favourite musical instruments. They have used Esraj for musical compositions in ‘Manmarziyaan’ (2018) and ‘Raazi’ (2018) also.

Enjoy this ‘two-in-one’ song – a romantic song if one watches the video clip of the song and a Sufiyana song if one only listens to the song.

Video
f
Audio

Song-O rangrez (Bhaag Milkha Bhaag)(2013) Singers-Javed Bashir, Shreya Ghoshal, Lyrics-Prasoon Joshi MD-Shankar Ehsan Loy
Both

Lyrics (based on audio clip):

o rangre…..z
o rangrez
tere rang dariya mein
o rangrez
tere rang dariya mein
doobna hai bas tera ban ke
haaye
nahin rehna dooja ban ke

ek bhi saans alag nahin leni
ek bhi saans alag nahin leni
khench lena praan iss tan ke
haaye ae
nahin rehna dooja ban ke

apne hi rang mein mujhko rang de
dheeme dheeme rang mein mujhko rang de
saundhe-saundhe rang mein mujhko rang de
rang de na
rang de na
rang de na..aa
o o o
apne hi rang mein mujhko rang de
dheeme dheeme rang mein mujhko rang de
saundhe saundhe rang mein mujhko rang de
rang de na
rang de na
rang de na.. aa

ghunghroo hai tu
main to hoon paaon piya
jha na na na nan
peepal tu main to hoon chhaaon piya
tabhi hoon magan
o.. naino mein bas chhab teri lehraaye
jhalke chhalke chhalke re

barse halke halke
apne hi rang mein
ho o o
apne hi rang mein mujhko rang de
dheeme dheeme rang mein mujhko rang de
saundhe saundhe rang mein mujhko rang de
rang de na
rang de na
rang de na..aa

maala mein aa tujhko piro loon
tujhe pehnu sajan
honthon mein aa sargam sa boloon
tujhe rat loon sajan
sajan tees meri pees de mujh mein hi
ghul ja
mill ja mill ja sajnaa

pighal ke mill jaa mill jaa
apne hi rang mein
ho o o
apne hi rang mein mujhko rang de
dheeme dheeme rang mein mujhko rang de
saundhe saundhe rang mein mujhko rang de
rang de na
rang de na
rang de na..aa

ni dha pa
dha re sa
ni dha pa
dha re sa

o rangre….z
(o rangre…z)
o rangrez
tere rang dariya mein
o rangrez
tere rang dariya mein
doobna hai bas tera ban ke
haay
nahin rehna dooja ban ke

apne hi rang mein mujhko rang de
dheeme dheeme rang mein mujhko rang de
saundhe saundhe rang mein mujhko rang de
rang de na
rang de na
rang de na aa

ho o o
apne hi rang mein mujhko rang de
dheeme dheeme rang mein mujhko rang de
saundhe saundhe rang mein mujhko rang de
rang de na
rang de na
rang de na aa


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