Archive for the ‘Songs of 2013’ Category
Bhaagan ke rekhan ki bahangiyaa
Posted on: January 29, 2024
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5673 | Post No. : | 18184 | Movie Count : |
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William Shakespeare’s plays such as ‘Othello’, ‘Macbeth’, ‘Hamlet’, ‘Romeo And Juliet’, ‘A Midsummer Night’s Dream’, ’12th Night’, The Comedy of Errors’ etc have been adapted in Hindi films. These Shakespearian plays have romance, emotions, tragedy, melodrama, actions etc and Hindi mainstream filmmakers thrive on such ingredients in the film. The most popular Shakespeare’s play which have been adapted for Hindi films is ‘Romeo and Juliet’. There may be at least a dozen Hindi films adapted and inspired from this play. From the summary version of this play which I have read, two important aspects in the play emerge. First, the lovers are from two different feuding families who desperately try to separate them. Second, from the incipient stage of their love, there are strong indications that they are not going to be united and at the end, they die as doomed lovers. So, the adapted films need to have these two important aspects to qualify as a fair adaptation of Shakespeare’s ‘Romeo and Juliet’. The viewers must feel that it is tragic love story from start to end. Insofar as Hindi adapted films are concerned, I feel that Jaddan Bai’s ‘Romeo and Juliet (1947), directed by her son, Akhtar Hussain with her daughter, Nargis playing the role of Juliet, can be said to be the first version in Hindi film with an earnest degree of adaptation of Shakespeare’s play. In fact, this film has accredited William Shakespeare as the ‘story writer’. Films such as ‘Ek Duje Ke Liye’ (1981) and ‘Qayaamat Se Qayaamat Tak’ (1988), also fulfill this criteria.
Recently, I have watched the film, ‘Issaq’ (2013) which is also based on Shakespeare’s play, ‘Romeo and Juliet’ although there is no such acknowledgement in the film’s credit titles. In this film also, there are two warring families and son of one family is in love with the daughter of other family. The two warring families are determined to separate the lovers. At the end, both the lovers die.
‘Issaq’ (2013) was produced by Dhaval Gada and Sailesh Singh and was directed by Manish Tiwary. The cast included Prateik Babbar, Amyra Dastur, Ravi Kishan, Rajeshwari Sachdev, Neena Gupta, Makarand Deshpande, Amit Sial, Vineet Kumar Singh, Prashant Narayanan, Sudhir Pandey, Sandeep Bose, Evelin Sharma, Yuri Suri, Malini Awasthi, Akhilesh Jha etc. It was Amyra Dastur’s debut film. By the way the name of the film is a colloquial pronouncian of ‘Ishq’.
In the film, the story of ‘Romeo and Juliet’ has been transformed from Two feuding Italian families to two elite families of Varanasi who are loggerhead with each other. Their feud is over the control of sand mafia resulting in unleashing of violence between the gangs of two families. The state’s minister intervenes to bring a rapprochement between two families. But it is short-lived as the boy of one family loves the girl of other family and they secretly get married. Both these warring families once again become a sworn enemy on this issue leading to violence and deaths of near and dear ones. At the end, both the boy and the girl kill themselves. The story in some details is as under:
The patriarch of Kashyap family (Sudhir Pandey) and the patriarch of Mishra family (Sandeep Bose) are old rivals over the control of sand mafias in around Varanasi. There is also a Maoist group led by their leader (Prashant Narayanan) to reap the benefit from the illegal sand business for their own agenda. Because of the rivalries, often there are gang wars resulting in violence and sometime deaths. One of the state government’s minister (probably the indirect beneficiary of the sand business) intervenes to bring rapprochement between the two families. There is a temporary truce.
Kashyap has a teenage daughter, Bachchi (Amyra Dastur) from his first wife (Neena Gupta). His second wife is the young Paro (Rajeshwari Sachdev). Mishra has also a teenage boy, Rahul (Prateik Babbar) with interest in girls and the guns. He already had a short-lived love affairs with a foreign girl (Evelin Sharma). During a Holi festivity, Rahul meets Bachchi and both falls in love with each other. Despite knowing that their families have been in loggerhead for a long time, they go ahead with the dictate of their hearts rather than the consequences of their relations. They secretly marry in a temple run by a Baba (Makarand Deshpande) with the presence of Bachchi’s mother (Neena Gupta). This development shatters the truce between the two families and they are again on the warpath over the relation of Rahul and Bachchi.
Rahul is on the run as Bachchi’s maternal uncle, Teeta (Ravi Kishan) is determined to eliminate him. With the result, there is virtually a gang war between two families with a few of their close friends and family members getting killed including Rahul’s friend, Murari (Amit Sial) and Bachchi’s maternal uncle, Teeta. In the midst of violence, pain in separation and the oppressive families, the couple secretly meet. During one of such clandestine meetings, Bachchi’s step mother, Paro sees them. She starts scheming to separate them permanently. She informs Bachchi that soon she would be betrothed to a boy selected by the family.
Paro assigns Inspector, Preetam (Prashant Gupta) to arrange elimination of Rahul and as a reward, he would get married to Bachchi. Preetam gives the contract to Maoist leader to kill Rahul for which he would arrange to give him right to remove sand from a part of the river bed. Soon, there is a fierce gun fights between Maoists and Rahul and his men.
In the meanwhile, Bachchi’s marriage with Inspector, Preetam is fixed against the wishes of Bachchi. She goes to Baba to save her from the marriage. He gives her a bottle with liquid which, if consumed, will make her to sleep for 24 hours. By this way, she can get the marriage postponed for sometime. Bachchi returns and get ready for her pre-marriage ceremony in her room. She drinks the liquid and goes in her deep sleep. However, people around her think that she is dead. In the midst of his encounter with Maoists, Rahul gets the news that Bachchi is no more.
After killing Preetam and the Maoist leader, Rahul see the ‘dead’ body of Bachchi. He kills himself with his gun. With the sound of the gunfire, Bachchi is woken and find Rahul dead with the gun in his hand. With the dead body of Rahul on her lap, Bachchi kills herself with the same gun.
I found the film to be more of an action-oriented one with good doses of gunfights and violence than the romance. The uncertainty and fear looming large on the lovers because of the families’ pressures were lacking in the performances of Prateik Babbar and Amyra Dastur. Some of the supporting actors like Neena Gupta and Rajeshwari Sachdev were underutilised. Visually, the film is interesting to watch with Banaras Ghats, Holi celebrations in a former Raja’s palace and some of the action sequences.
The film had 7 songs including a double version song which were written by Anil Pandey (3), Mayur Puri (2), Raj Shekhar (1) and Neelesh Misra (1).The songs were set to music by Sachin-Jigar (3), Krsna (2) and Sachin Gupta (2). I am presenting the first song from the film, ‘Bhaagan ki rekhan ki bahangiyaa’ to appear on the Blog. The song is written by Anil Pandey and is rendered by Malini Awasthi and Raghubir Yadav on the music direction of Krsna (real name: Amitav Sarkar). It is a wedding song which is picturised when Bachchi (Amyra Dastur) is getting ready for her pre-wedding rituals. The song is written in Bhojpuri dialect as conversations between a daughter who is getting married and her father/mother. This type of song is also sung during Chhath pooja.
The sum and substance of the song is that the daughter, whose ‘bhaagan ki rekhan’ (lines of destiny on her palms) tell that it is time for her marriage, asks a few innocent questions to her father. In olden days, daughters used to get married when they were minors, hence the innocent questions.
Father, why are you sending me from maternal home (peehar)?
Why are you transforming me from a girl to a married woman?
Where is the destiny taking me?
Since childhood, you have taken care of me and made me happy.
You have swung me in your arms.
Then why is this happening in the midst of happiness?
Why have you called the wedding procession (baaraatis)?
Why have you made a shaamyaana and ordered palanquin?
Why is turmeric getting applied?
The wedding procession has turned crazy. Where should I run away?
The mother says to her daughter:
When you leave for your in-law’s house, we will be desolate.
Do not ask your father as to how he ordered palanquin and made shaamyaana.
The palanquin career would continue to walk.
Your mother’s tears would continue to flow.
Even you will not stop crying.
Video Clip:
Audio Clip:
Song-Bhaagan ke rekhan ki bahangiyaa bahangi lackat jaaye (Issaq)(2013) Singers-Malini Awasthi, Raghubir Yadav, Lyrics-Anil Pandey, MD-Krsna
Female chorus
Lyrics (based on audio clip):
bhaagan ke o o….
bhaagan ke rekhan ki bahangiyaa
bahangi lachkat jaaye
bahangi lachkat jaaye
bhaagan ke rekhan ki bahangiyaa
bahangi lachkat jaaye
bahangi lachkat jaaye
bhejo re kaahe baabaa hamkaa peehar se
bitiya se banni banke kahaan pahunchaaye
sahaa bhi naa jaaye
ho ka kare haaye
kahaan khaatir chale re kahariyaa
bahangi kahaan pahunchaaye
bahangi kahaan pahunchaaye
bachpan se paale aisan bitiyaa..
kaahe bahiyan ki jhulnaa jhulaaye
khusiyan ke ras man mein kaahe re..
baabaa tumne baratiyaa liyo bulwaaye
kaahe doli banwaaye amma mandwaa chhawaaye
chale silwaayan haldi kaa pis pis jaaye
bhaagan ke rekhan ki bahangiyaa
bahangi lachkat jaaye
bahangi lachkat jaa….ye
hmm hmm hmm hmm
sooraj saa chamkegaa mor mukut pehnega
raajaa banke chalegaa bannaa hamaaraa re
jeeja ko naa poochhegaa
arre phoophaa ko naa laayegaa
maamaa ko lootegaa
chaachaa khisiyaayegaa
behanon ko thumkaa lagaataa laayegaa
kaalaa peelaa tedhaa medhaa
bannaa baaraati aisaa laayaa re
ka kari haaye
kahaan chali jaaye
banno saram se mar mar jaaye
banno saram se mar mar jaaye
bhaagan ke rekhan ki bahangiyaa
bahangi lachkat jaaye
bahangi lachkat jaaye
tu ru ru ru
tu ru tu ru
tu ru ru
tu ru ru ru
tu ru tu ru
tu ru ru
sunwaa piyaar bitiyaa sun lo
tore nikharat hi nikhar naa jaaye
bitiyaa ke baabaa se naa poochhaa re
mandwa ke kaisan hola bihaan
chale chalenge kahaar
maiyyaa ansuwan ki dhaar
banni ro ro ke huyi jaaye hai taar taar
bhaagan ke rekhan ki bahangiyaa
bahangi lachkat jaaye
bahangi lachkat jaaye……ae
Ajeeb daastan hai ye
Posted on: October 17, 2023
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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In 2013, on the occasion of the 100 years of Indian cinema, Dharma Productions and Viacom 18 came out with a film titled ‘Bombay Talkies’ (2013). The film is the collection of four short films – ‘Ajeeb Daastaan Hai Ye’ directed by Karan Johar, ‘Star’ directed by Dipankar Banerjee, ‘Sheila Ki Jawaani’ directed by Zoya Akhtar and ‘Murabba’ directed by Anurag Kashyap. Each short film is of the length of about 30-35 minutes making it a full-length feature film of a little over 2 hours. The film was premiered at the Cannes International Film Festival in May 2013 and has theatrical release in India in June 2013.
‘Ajeeb Daastaan Hai Ye’ is a story of a gay man who is struggling with his sexual orientation. ‘Star’ is a story of a failed actor who has come to Mumbai from his native place. He does some odd jobs to sustain. At last, he gets a small role in a film which is critically appreciated. After the completion of his role and getting artistic pleasure, he leaves for his native place without taking the remuneration for his role. He tells his experience in Bollywood to his sick daughter who enjoys his stories. ‘Sheila Ki Jawaani’ is a story about a minor son who wants to become a Bollywood dancer against the wishes of his father. And the last, ‘Murabba’ is the story of a son who comes to Mumbai to fulfil a strange wish of his father, a fan of Amitabh Bachchan, to give a bottle of homemade murabba to him in his house and bring back half of the quantity of the murabba from that bottle to him. Each of the stories are relatable to Hindi film industry with unconventional endings. These four short films do not belong to the category of usual mainstream Hindi films.
In this article, I am taking up for discussion the first of the short films, ‘Ajeeb Daastaan Hai Ye’ directed by Karan Johar. Rani Mukherjee, Randeep Hooda and Saqib Saleem are the main actors.
It is a story of Avinash (Saqib Saleem) who is haunted by his family for being a gay. He quarrels with his father for not accepting him as gay and leaves home to fend for himself. On the way to the railway station, he listens to an old Hindi film song sung by a small begging girl which is actually a metaphor on his life. He is impressed with her voice but has no money to offer her. He finally gets on a job as intern in a film gossip magazine under the Associate Editor, Gayatri (Rani Mukherjee) whose husband Dev (Randeep Hooda) works in a TV channel as news anchor.
Avinash reveals to Gayatri that he is a gay. But she does not give a shocking reaction as he expected. Both of them exchange some pleasant repartees and they soon become friends. At least, Gayatri finds him to be more joyous and creating a happy mood for her than her husband, Dev who is of a serious type. One day, Gayatri invites Avinash for a dinner where he meets Dev. He finds him to be a bit reserve type of a person. However, both of them have a common interest in listening to old Hindi film songs which makes a common talking point to both of them.
One day, Avinash takes Dev to a railway pedestrian bridge where he makes him to listen to ‘lag jaa gale’ sung by the same small begging girl. He likes her singing and gives her handful of currency notes. Before handing over the money, he asks her as to what she would do with the money. She tells him that she would spend on his brother’s food and clothing. He again asks her whether she is not lying. She retorts back by saying that she does not lie and telling lie is a sin. (This is a metaphor for Dev both in terms of lyrics and of his pretension of not being a gay).
During his limited interaction with Dev, Avinash gets a feeling that he is in love with Dev who is camouflaging his sexual orientation. So, one day, Avinash visits Dev’s office without any intimation and calls him out of his recording room. He says to Dev that he felt like meeting him today. With this, he starts sensually hugging him in front of his office staff. Dev gets angry and assaults him badly. He comes back home badly bruised. After some time, Dev comes to his house and profusely apologises for his behaviour. During this period, both of them kiss each other but soon Dev hits him again and gets out of the house.
The next day, Avinash meets Gayatri in the office and tells her that her husband has kissed him. She does not react as she is in the midst of a meeting with her staff. Instead, she tells them that as usual, he is joking. But in her mind, she gets her answer as to why Dev has been so cold to her to make their marriage an unhappy one. She goes home and while removing her facial make-up, she tells Dev that now she knows that it was not her fault, but it was his problem (of sexual orientation) which kept them apart even in their private moments. (The removal of her make-up is a metaphor for unmasking of Dev’s sexual orientation). She tells Dev that it is all over between them, and she is free from him now.
The film ends with Dev walking over the railway pedestrian bridge where the beggar girl sings for him the second stanza of the song, ‘ajeeb daastaan hai ye’ and asks for money. Dev says he does not have any money. She says he is lying. He repeats her own sentence which she had said few days back to him while accepting money that he does not lie.
After watching this segment of the film, I am pleasantly surprised that Karan Johar who had directed the mainstream films with high doses of melodrama, like ‘Kuchh Kuchh Hota Hai’ (1998), “Kabhi Khushi Kabhi Gham’ (2001), ‘Kabhi Alvida Na Kahna’ (2006) and the likes, has handled a sensitive story very delicately. He has used the Hindi films’ favourite story of a love triangle with a twist. And what an end! Karan Johar made Dev listen to the most apt situational song from the beggar-girl’s soothing voice than listening in his room from a gramophone record. He has been making all his other mainstream films as per the taste of the audience. I guess, Karan Johar made this film as per his liking without worrying about the box office results.
Saqib Saleem has given a fantastic performance in the role of Avinash as a gay character. It is a difficult role because outwardly, he has to show himself as a joyous person while actually, he is very sad within. People get shocked about his sexual orientation which is not of his doing. He has been discarded by his parents. He has no one to share his feelings. Gayatri’s husband, Dev has cheated him. At least, he has not cheated anyone as he is open about his sexual orientation.
I liked the idea of making a capsule of 4 short films of different genre of stories to make it a full-length feature film. I do not think that the makers of the film had box office collections in mind as the film was as a tribute to the Indian cinema for completion of 100 years.
‘Ajeeb Daastaan Hai Ye’ part of the film has no songs. However, two immortal songs from Hindi films of golden period of film music have been partially used as recreated versions. The songs are ‘ajeeb daastaan hai ye’ from ‘Dil Apna Aur Preet Paraayee’ (1960) and ‘lag ja gale’ from ‘Wo Kaun Thhee’ (1964). Apparently, no audio album of the recreated songs was released.
I present the first song which becomes a title song for the short film under discussion. The song is rendered by Rashi Harmalkar who was about 9 years when she rendered this song. The song is picturised on a child beggar who has her usual place on a railway pedestrian bridge to beg for a living. Rashi Harmalkar is a disciple of Suresh Wadkar and she is a trained singer. Obviously, the credit for the lyrics and the music director goes to Shailendra and Shankar-Jaikishan, respectively.
The beggar girl is singing this song on the railway pedestrian bridge when Gayatri (Rani Mukherjee), Dev (Randeep Hooda) and Avinash (Saqib Saleem) are all getting ready and departs for their respective offices. Only Avinash walks over the bridge when he hears the girl singing and goes. The girl repeats the second stanza of the song when Dev and Gayatri have separated and Dev walks over the pedestrian bridge when he hears the song.
I am happy that in the film, the music director, Amit Trivedi has recreated two immortal songs from Hindi films keeping them true to the original tunes with light orchestration to retain the moods of the songs.
Video Clip:
Song-Ajeeb daastaan hai ye (Bombay Talkies)(2013) Singer-Rashi Harmalkar, Lyrics-Shailendra, MD-Shankar Jaikishan
Lyrics
ajeeb daastaan hai ye..
kahaan shuru kahaan khatam
ye manzilen hain kaun si
na wo samajh saken na ham
ajeeb daastaan hai ye
kahaan shuru kahaan khatam
ye manzilen hain kaun si
na wo samajh saken na ham
mubaaraken tumhen ke tum
kisi ke noor ho gaye
mubaaraken tumhen ke tum
kisi ke noor ho gaye
kisi ke itne paas ho
ke sabse door ho gaye…
ajeeb daastaan hai ye
kahaan shuru kahaan khatam
ye manzilen hain kaun si
na wo samajh saken na ham
ajeeb daastaan hai ye..
mubaaraken tumhen ke tum
kisi ke noor ho gaye
mubaaraken tumhen ke tum
kisi ke noor ho gaye
kisi ke itne paas ho..
ke sabse door ho gaye
ajeeb daastaan hai ye..
kahaan shuru kahaan khatam
ye manzilen hain kaun si
na wo samajh saken na ham
ajeeb daastaan hai ye…
Bataao bataao hai kya ye saheli
Posted on: March 4, 2023
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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5342 | Post No. : | 17516 | Movie Count : |
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‘Raanjhanaa’ (2013) is a love story which was produced by Krishika Lulla and was directed by Aanand L Rai. Dhanush (of Kolaveri fame) made his debut in Hindi film as a lead actor along with Sonam Kapoor. Other actors in the film were Mohammed Zeeshan Ayub, Swara Bhaskar, Abhay Deol (special appearance), Kumud Mishra, Deepika Amin, Shilpi Marwah, etc in supporting roles. The film was dubbed in Tamil as ‘Ambikapathy’ (2013).
The consequence of unrequited love is the theme of the film’s story.
Kundan Shankar (Dhanush), the son of a Tamil priest in a Varanasi temple is madly in love with his childhood crush, Zoya (Sonam Kapoor) who, now grown up, does not wish to reciprocate his love as they belong to different faith. Bindiya Tripathi (Swara Bhaskar) loves Kundan but he does not reciprocate her love for the obvious reason. When Zoya’s parents come to know about her relationship with Kundan, she is sent away to Aligarh for further schooling. Kundan continues to be in good books with Zoya’s parents who also admires him for his timely help whenever they required.
Zoya gets admission in JNU for higher studies where she gets involved with students’ union activities. Here, she comes in contact with Jasjeet Singh (Abhay Deol). Both are in love with each other and are keen to get married. Knowing her parents’ views on inter-faith marriage, Zoya tells Jasjeet to impersonate himself as Akram Zaidi when they meet her parents.
Zoya returns to Banaras after many years and meets Kundan to tell him that she is in love with Akram and he should convince her parents for her marriage with Akram. She also tells him that he should also get married to Bindiya who loves him. Kundan’s love for Zoya makes him agree to her both requests, albeit reluctantly.
On the day of the pre-wedding ceremonies of both Zoya and Kundan at different venues, Kundan’s comes to know through a newspaper report that the student leader of JNU is a Sikh, Jasjeet Singh in the guise of Akram Zaidi. This enrages Kundan so much that he rushes out of his pre-wedding ceremony to tell Zoya’s parents that Akram is not a Muslim. In the milieu, Jasjeet is badly beaten by Zoya’s relatives for lying them and Zoya tries to commit suicide. When Kundan comes to know about these incidents, he rushes to the hospital leaving his wedding ceremony. Injured Jasjeet is taken to his native place by his parents and Zoya recovers from her attempted suicide injuries.
When Kundan returns from hospital, it is too late for him to get married to Bindiya. His parents, being angry, expels him from the house. The homeless Kundan feels remorseful as it was because of him, Jasjeet got injured and Zoya tried to commit suicide. To redeem himself from his wrongdoing, Kundan takes Zoya to Jasbeer’s native place where he comes to know that he has succumbed to his injury.
Zoya rejoins JNU and carry forward the work of the party floated by Jasjeet. Kundan, after knowing that Zoya is heading the party, joins the party. He becomes popular with the party workers and overtime, he has risen to one of the important functionaries of the party. Zoya, who already holds Kundan responsible for Jasjeet’s death, feels threatened by Kundan’s popularity. With some instigations and support from outside politicians, Zoya plans to get Kundan injured during his campaign speech. However, Kundan gets badly injured in a blast and is hospitalized in a serious condition.
When Zoya comes to know that Kundan who was already aware of her plan, deliberately decided to get injured, she rushes to hospital to be with him. In his dying moment, he tells her that he is now very tired and wish to get a final rest. He wishes to be born in Banaras again and be an unrequited lover of a girl like Zoya.
The highlight of the film is the exceptional performance by Dhanush. He gives through his performance a feeling that no one else but he can only perform the role of Kundan. Dhanush dubbed his dialogues in Hindi in his own voice for which he took extensive coaching in Hindi. Some shades of Tamil accent in his Hindi dialogues worked well for his character of a Tamil brahmin in the film. Swara Bhaskar and Zeeshan Ayub also performed very well in their respective roles of Bindiya and Kundan’s close friend, Murari.
‘Raanjhanaa’ (2013) had 9 songs, all written by Irshad Kamil which were set to music by A R Rahman. According to Aanand L Rai, film’s director, when A R Rahman heard that the script was Banaras based, thoughts of Ustad Bismillah Khan immediately came to his mind. He suggested using elements of shehnai in the film’s songs in honour of the shehnai maestro. (Source: May 9, 2013 issue of ‘Mid-Day’). He composed all the songs in folk-classical base to give a feel of Banaras.
I am presenting the first song from the film, ‘bataao bataao kya hai paheli’ to appear on the Blog. The song is rendered by Madhushree, Vaishali Samant, Chinmayee, Aanchal Sethi and Chorus. The song is written by Irshad Kamil which is set to music by A R Rahman. The background of the song is that when it becomes certain to Kundan that Zoya would be getting married to her fiancé, Jasjeet Singh posing as Akram Zaidi, Kundan agrees to marry Bindiya. At both the places, pre-wedding rituals are going on simultaneously as this song is played in the background.
In this song, there are three riddles in the conversation between two ‘sakhis’ describing some ordinary events. One sakhi who acts as an interlocutor answers the riddles by imagining that she is talking about her ‘saajan’ (beloved). The ‘sakhi’ says ‘no’ and gives the answer which turns out to be something ordinary. The song is inspired from Amir Khusro’s ‘mukriyaan’ (riddles). An example of the many riddles Amir Khusro wrote is as under:
raat samay wah mere aawe
bhor bhaye wah ghari uti jaawe
ye achraj hai sab se nyaara
ae sakhi saajan
naa sakhi taara
Another feature of this song is that there are percussions and shehnai which are vocally played in the interludes. As per the credit titles of the film, the vocal percussions and shehnai were given by Chinmayee and Aanchal Sethi.
Video Clip:
Audio Clip (with video mix):
Song-Bataao bataao hai kya ye saheli (Raanjhana)(2013) Singers-Madhushree, Vaishali Samant, Chinmayee, Aanchal Sethi, Lyrics-Irshad Kamil, MD-A R Rahman
Lyrics: (Based on Audio Clip)
sa dha ni re
aa aa aa
sa dha
aa aa aa aa aa
aa aa aa aa aa
dha ma dha ni
dha ni re
dha ni pa
re ga ma dha pa
re ga pa sa
ga ma dha dha
ni ni sa ni dha pa
re ga ma dha pa re sa
aa aa aa
aa aa aa
ga ma dha dha
ni ni ni ga re ga
sa re sa
aa aa aa aaa
aa aa aa aaa
aa aa aa aaa
bataao bataao hai kya ye saheli
bataao bataao hai kya ye paheli
bataao bataao hai kya ye saheli
bataao bataao hai kya ye paheli
haan hai sakhi uljhan
kya sakhi uljhan
ae sakhi uljhan
kya sakhi uljhan
ae sakhi uljhan
kya sakhi uljhan
tyun tyun tyun tyun tyun….un
tyun tyun tyun tyun tyun….un
tyun tyun tyun
tidid tyun tyun tyun tyun….un
tidid tyun tyun tyun
tyun tyun tyun tyun
tyun tyun tyun
tyun tyun tyun
tyun tyun tyun
tyun tyun
hriday saara badal hai jaata
janam janam kaa usase naata
ho kabhi hai waadi ho o
kabhi suwaadi
kabhi hai waadi ho o
kabhi suwaadi
ae sakhi saajan
naa sakhi shaadi
ae sakhi saajan
naa sakhi shaadi
ae sakhi saajan
naa sakhi shaadi
pein pein pein pein pein
pein pein pein
pein pein pein pein pein
pein pein pein
paaye pa pa
paaye pa pa
paaye pa pa
paaye pa pa
paaye pa pa
paaye pa pa
pei…………..n
paaye pa pa
paaye
paaye pa pa
paaye
paaye pa pa
paaye
pei……………n
chaahe to wo karde andhera
geela karde tanmann mera
chaahe to wo karde andhera
geela karde tanmann mera
main to sukhaati hoon
tera dil daaman
ae sakhi saajan
o sakhi saawan
ae sakhi saajan
naa sakhi saawan
haaye
paas naa ho bada sataaye
sataaye
paas jo ho bada sataaye
sataaye
paas bulaaye bina batlaaye
bataaye
paas wo aaye bina batlaaye
bataaye
paas rahe nazar naa aaye
na aaye
paas rahe nazar lagaaye
lagaaye
paas usike rahen
khwaishen khwaishen
paas usike to hai
khwaishen khwaishen
o uske liye ho
karoon sau jatan
ae sakhi saajan
haan sakhi saajan
ae sakhi saajan
haan sakhi saajan
haan sakhi saajan
haan sakhi saajan
Sakhi ree saawan bhaawat naahin
Posted on: July 23, 2021
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4753 | Post No. : | 16492 | Movie Count : |
4480 |
Hindi Songs in Bangla Films:36
——————————————————
It has been almost one year when I wrote my last article under the series ‘Hindi songs from Bangla films’ on July 23, 2020 in the Blog. There are some more Hindi songs from Bangla films which are yet to be covered. But most of them are those films from which at least one song has been covered in the Blog. So, I kept the series on the back-burner.
A few days back, Partha Chanda ji, a regular visitor to our Blog, suggested me to write on a Hindi song from a Bangla film, ‘Goynar Boksho’ (Jewellery Box, 2013). The song was of my type which I immensely liked it. The synpsis of the film made an interesting reading. These two factors pushed me to write the article forthwith.
In the film, Maushumi Chatterjee has a pivotal role of a ghost who watches three generations of women brought up in a different social status as to how they attach importance to her jewellery box. I had liked Maushumi Chatterjee’s performance of a middle-aged aunt in ‘Piku’ (2015). Another interesting role of a new daughter-in-law in the film was played by Konkona Sen Sharma whose performance I have liked in ‘Wake Up Sid’ (2009). Surely, it was going to be an interesting film to watch with English sub-titles which I did so on one of the OTT platforms.
‘Goynar Boksho’ (2013, Bangla) was produced under the banner of Shree Venkatesh Films Pvt Ltd and was directed by Aparna Sen. The main cast included Maushumi Chatterjee, Konkona Sen Sharma, Saswata Chatterjee, Srabanti Chatterjee, Paran Banerjee, Pijush Ganguly, Aparajita Adhya, Manasi Sinha etc. The film’s story was adapted from the novel of the same name and a short story ‘Rashmonir Sonadana’ both written by Sirshendu Mukhopadhyay, a well-known Sahitya Akademy Award winner Bangla laureate.
In an interview with the Times of India sometime in 2012, Aparna Sen had revealed that she had read the story for the first time in 1993 and immediately decided to make a film on it. However, she could not get the right type of the film production house to finance the film. It took nearly 20 years to find the right film production house by which time, she had become a kind of celebrity film directors of art/parallel films.
The story of the film is as under:
Chandranath (Paran Banerjee) the patriarch of Mitra joint family was once landlord in East Bengal. After partition, the entire family migrates to West Bengal side. The Mitra family stays in a big 3-story house. Being from the family of landlord, none of the menfolk has worked for a living. Obviously, Chandranath’s two sons – Chandan (Saswata Chatterjee) and Chanchal (Pijush Ganguly) pass their time fishing in the pond near their house and visiting their respective courtesans in the evenings.
In the house, the 70-year old aunt, Pishima (Maushumi Chatterjee) who got married at 11 and became widow at 12 in Faridkot, has been deprived of all worldly pleasure, conjugal relationship and good food. She finds solace in her jewellery box containing 5 kgs of gold jewelleries as a part of her ‘streedhan’. Chandranath’s younger son, Chandan gets married to Somlata (Konkona Sen Sharma), a poor girl from an adjoining village. The family’s financial condition can be judged from the fact that the expenses for the wedding are paid off by selling an old Burma teak-wood double bed and an expensive carpet. All the members of Mitra family are afraid of Pishima because of her authoritative and cursing voice. Also no one in the family wants to be in the bad book of Pishima as she holds the jewellery box which the family can inherit once she dies.
One day, Somlata on a visit to Pishima’s room, finds her dead. Knowing fully well that once she dies, her gold jewellery would be sold over time for the family’s sustenance, Pishima turns ghost and entrusts the jewellery box to Somlata with a condition that she should safely keep it in a secret place without any family members knowing it including her husband. Now, the box has been handed over to the second generation. After the death of Pishima, the family members search for the jewellery box but in vain. They also call the police in case the box has been stolen but again police fail to find out the box.
None of the family members can see the hukka smoking Pishima’s ghost except Somlata to whom she bullies just to make sure that her jewellery box is not misused by her. However, due to adverse financial condition of the family, Somlata looks the gold jewelleries as a means of raising capital for her husband to set up a saree shop. For this purpose, she pledges one of the gold ornaments and convince Pishima that once the business earns profit, she would get the jewellery back in the box. Over a period of time, the fortunes of Mitra family improve enabling Somlata not only to get back the pledged ornament but also some of the antiques of the house which the family had sold for their sustenance.
Somlata gives birth to a daughter who grows up to become a college going Chaitali (Srabanti Chatterjee). One day, Somlata shows all the ornaments in the jewellery box to Chaitali who evinces no interest in the ornaments as they are all old style. Besides, she has no interest in wearing gold ornaments. Chaitali has an affair with a boy who is involved in supporting the underground movements in East Pakistan. On the advice of Pishima’s ghost, Chaitali donates all the ornaments to support the underground movements for an independent Bangla Desh. The film ends with a poem recitation-cum-song when the ghost of Pishima merges with the fog over the river.
Maushumi Chatterjee in the role of Pishima – both live and as a ghost, has given a lively performance. Generally, the role of a ghost should bring horror situations. But in this film, Maushumi Chatterjee in the role of ghost, brings comic situations in the film like her hukka smoking, her bullying tactics, the sarcastic comments on the family members, her suggestion to Somlata that like her husband, she should also have an extra-marital affair etc. Probably, the Bangla audience would enjoy more fun from her dialogues which have to be in East Bengali dialect due to her role being a native of Faridkot.
Konkona Sen Sharma as Somlata, the new daughter-in-law, has a contrasting role vis-à-vis Maushumi Chatterjee. She is so scared with the presence of Pishima in the house that she starts stammering. It is much later that a positive bonding develops between Pishima and Somlata. Both of them have a major presence in the film. The superlative performances of Konkona Sen Sharma as well as Maushumi Chatterjee in the film got them Filmfare Awards for the best actress and the best supporting actress, respectively in Bangla film category.
The coverage of the third generation in the film seems to be too rushed up. It gives an impression that the Aparna Sen was in a great hurry to finish the film. Probably, the film had become too long for a non-mainstream category and she therefore may have edited out some sequences from this part of the film.
It is interesting to note that Aparna Sen’s ‘Goynar Baksho’ (2013) was released, on April 12, 2013. After a week, Vishal Bhardwaj’s ‘Ek Thhi Daayan’ (2013) was released. In both these ‘ghost’ films, Konkona Sen Sharma acted. The story of ‘Ek Thhi Daayan’ (2013) was written by Mukul Sharma, the father of Konkona Sen Sharma and the ex-husband of Aparna Sen.
‘Goynar Boksho’ (2013) has 8 songs of which one song is in Hindi. It is interesting to watch a short Bengali rap song which is sung when some distant relatives of Chandranath visits Chandan’s saree shop to buy sarees for their daughter’s baby shower. The lyrics of the rap song mostly use various names of the sarees. The rap song was rendered by all the actors involved in the scene. All the songs were set to music by Debijyoti Mishra who was the chief assistant to Salil Chowdhury for 14 years and for Ilaiyaraja for 2 years.
I am presenting the Hindi song ‘sakhi ri saawan bhaawat naahi’ which is a ‘biraha’ song rendered by Shubha Mudgal in a Dadra format. The lyricist of the song is not mentioned. As with most of the songs in the film which is played in the background in driblets interspersed with dialogues, this ‘biraha’ song also follows the same pattern in the film. So, it is better to listen to the song on the audio clip for getting its seamless rendering.
This is a sublime song using the minimum musical instruments to give prominence to the singer’s voice. In the film, the song plays in the background when Somlata, on the instigation from the ghost of Pishima, is about to get involved with an extra-marital affair when her husband is away on a long tour.
Audio Clip:
Song-Sakhi ree saawan bhaawat naahin (Goynor Boksho)(Bangla)(2013) Singer-Shubha Mudgal, MD-Debijyoti Mishra
Chorus
Shubha Mudgal + chorus
Lyrics
sakhi ri…eeeee
saawan bhaawat naahi..eeeee ee
sakhi ri…eeeee ee eee
haan saawan bhaawat naahi..eeee
bijuri chamkat dar laagat hai
soona..aaaaa aa aa
soona
soona ghar laagat hai
kaun oar gaye peerahwa
kauno bataawat naahi.eee
bataawat naa..hi
saawan bhaawat naahi..ee
saawan bhaawat naahi
saawan bhaawat naahi..ee
saawan bhaawat naahi..ee
aaaaaaaaaaaa aaa
boondiya barsat aangan aangan
mann su….khaa
aa aa aaa
mann soo….kha bin tere saajan
saawan jaihyen baar phir aihyen….en en
gaile joban phir aawat naahin
sakhi ri..ee
saawan jaihen baar phir aihen….en
aa aa aaa
saawan jaihen baar phir aihen….en
gaile joban phir aawat naahi..ee ee
sakhi ri ..eeee
saawan bhaawat naahin
sakhi ri…eeee ee ee
saawan bhaawat naahi…eeeee
saawan bhaawat naahin
Chal Hand Utha Ke Nachchen
Posted on: July 8, 2020
- In: Body part song | Daler Mehndi Songs | Dance song | Devnagri script lyrics by Sudhir | Group Dance | Guest posts | Haath song | Lyrics contributed by readers | Mika Singh Songs | Post by Peevesie's mom | Song sung by three or more singers | Songs of 2010s (2011 to 2020) | Songs of 2013 | Sunidhi Chauhan Songs | Yearwise breakup of songs
- Leave a Comment
This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4373 | Post No. : | 15712 | Movie Count : |
4331 |
Hullo Atuldom
I don’t remember when was the last birthday post that I wrote for the sweet, chulbuli, very bright, charming and ever smiling Neetu Singh who made her debut in Bollywood as Baby Sonia in the double role of twin sisters, in ‘Do Kaliyan’ (1968).
But my thoughts and appreciation about her are there in the post for the song “Phoolon Ki Duniya Se Taaron Ki Duniya Mein“.
In there I had mentioned that she had appeared in 2013 in a movie called ‘Besharam’ which was directed by Abhinav Kashyap. She played a constable of the Delhi Police going by the name ‘Bulbul Chautala’ who is shown assisting Inspector ‘Chulbul Chautala’ (Rishi Kapoor) in tracking down a car thief Babli (Ranbir Kapoor). I saw this movie recently and realized that I still adore this pyari jodi who had been a craze till Neetu Singh got married and settled to look after her family.
Today’s song plays with the end credits of the movie and is sung by Mika Singh, Daler Mehndi and Sunidhi Chauhan where we have the young couple Rishi and Neetu dancing along with Ranbir and Pallavi Sharda. The song is written by Kumaar which is the mononym for Rakesh Kumar- a lyricist who has been active in Bollywood for a few years now. The music director is Lalit Pandit who used to form a team with his brother Jatin Pandit and gave us some chart-buster songs in movies like ‘Yes Boss’ (1997), ‘DDLJ’ (1995) etc.
The song has the evergreen pair shaking a leg to the beats of a very modern song which is neither a bhangra nor a disco. I must admit that it must have taken lots of guts to take to the dance floor after a gap of thirty years. The last movie where she had danced had come in 1983 ‘Ganga Meri Maa’ which if my guess is right would have been one that released long after it was completed.
Wishing this sweet charming and smiling on her 62nd birthday though I feel she may not celebrate this year. But I think we can still wish her health and happiness.
Audio
Video
Song – Chal Hand Utha Ke Nachchen (Besharam) (2013) Singer – Mika Singh, Daler Mehndi, Sunidhi Chauhan, Lyrics – Kumaar, MD – Lalit Pandit
Lyrics
nau baj gaye
hum saj gaye
do peg lagey angrei
ho nau baj gaye
hum saj gaye
do peg lagey angreji
jo chadh gayi
to addh gayi
yeh cheez badi hai creji
aaja thumkon ki.. limit badha le
hain jeb mein jitne.. note udaa de
hum dheet hain jitne
sweet hain utne
to bachche
chal hand uthaa ke nachchen
chal band bajaa ke nachchen
chal hand uthaa ke nachchen
chal hand uthaa ke nachchen
tu hoga
bada hero
par hum bhi nahi kachche
chal hand uthaa ke nachchen
chal band bajaa ke nachchen
chal hand uthaa ke nachchen
chal hand uthaa ke nachchen
ab rukne ka time nahin hai
khul ke nachna crime nahin hai
mike pakad ke aaj macha de halla halla
ho o ab rukne ka time nahin hai
khul ke nachna crime nahi hai
mike pakad ke aaj machha de halla halla
dil vil apne phenk huye hain
rahu-ketu theek huye hain
pakad ke finger tu pehna de chhalla chhalla
nainon se zara tu
neat pila de
phir badan soniye
beat hila de
hum desi jitne dude bhi utne hain sachche
chal hand uthaa ke nachchen
chal band bajaa ke nachchen
chal hand uthaa ke nachchen
chal hand uthaa ke nachchen
tu hoga
bada hero
par hum bhi nahi kachche
chal hand uthaa ke nachchen
chal band bajaa ke nachchen
chal hand uthaa ke nachchen
chal hand uthaa ke nachchen
chal back hila ke
nachchen
chal taang utha ke
nachchen
chal aag laga ke
nachchen
chal feet badha ke
nachchen
chal pila pila ke
nachchen
chal hila hila ke
nachchen
oye fikr chhod ke sharam faad ke nachchen
chal hand uthaa ke nachchen
chal band bajaa ke nachchen
chal hand uthaa ke nachchen
chal hand uthaa ke nachchen
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
नौ बज गये
हम साज गये
दो पैग लगे अँग्रेजी
हो नौ बज गये
हम साज गये
दो पैग लगे अँग्रेजी
जो चढ़ गई
तो अढ़ गई
ये चीज़ बड़ी है क्रेजी
आजा ठुमकों की॰॰ लिमिट बढ़ा दे
हैं जेब मैं जीतने॰॰ नोट उड़ा दे
हम ढीठ हैं जीतने
स्वीट हैं उतने
तो बच्चे
चल हैंड उठा के नच्चें
चल बैंड बजा के नच्चें
चल हैंड उठा के नच्चें
चल हैंड उठा के नच्चें
तू होगा
बड़ा हीरो
पर हम भी नहीं कच्चे
चल हैंड उठा के नच्चें
चल बैंड बजा के नच्चें
चल हैंड उठा के नच्चें
चल हैंड उठा के नच्चें
अब रुकने का टाइम नहीं है
खुल के नचना क्राइम नहीं है
माइक पकड़ के आज मचा दे हल्ला हल्ला
हो ओ अब रुकने का टाइम नहीं है
खुल के नचना क्राइम नहीं है
माइक पकड़ के आज मचा दे हल्ला हल्ला
दिल विल अपने फेंक हुये हैं
राहू केतू ठीक हुये हैं
पकड़ के फिंगर तू पहना दे छल्ला छल्ला
नैनों से ज़रा तू
नीट पिला दे
फिर बदन सोनिए
बीट हिला दे
हम देसी जीतने ड्यूड भी उतने हैं सच्चे
चल हैंड उठा के नच्चें
चल बैंड बजा के नच्चें
चल हैंड उठा के नच्चें
चल हैंड उठा के नच्चें
तू होगा
बड़ा हीरो
पर हम भी नहीं कच्चे
चल हैंड उठा के नच्चें
चल बैंड बजा के नच्चें
चल हैंड उठा के नच्चें
चल हैंड उठा के नच्चें
चल बैक हिला के
नच्चें
चल टांग उठा के
नच्चें
चल आग लगा के
नच्चें
चल फीट बढ़ा के
नच्चें
चल पिला पिला के
नच्चें
चल हिला हिला के
नच्चें
ओय फिकर छोड़ के शरम फाड़ के नच्चें
चल हैंड उठा के नच्चें
चल बैंड बजा के नच्चें
चल हैंड उठा के नच्चें
चल हैंड उठा के नच्चें
Mera Murshid Khele Hori
Posted on: May 1, 2020
This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4305 | Post No. : | 15574 | Movie Count : |
4288 |
WHAAATTT!!! is my first reaction. I am shattered by the flash news.
God can’t be so heartless.
The tributes are flowing in the various news channels.
Amitabh has twittered: He is gone…! Rishi Kapoor…. Gone…just passed away! .. I am destroyed!
Juhi has said: I am shocked beyond words.
Shakti Kapoor is saying: I can’t digest that he is not there. This shouldn’t have happened (is what is Shakti has been telling).
These were the first reactions. In his telephonic talk with the news channels Shakti Kapoor was telling that he looked fine and on the road to be being ‘fit and fine’ when he last met him before the lock-down. But of course it is a known fact the big C is a deceiver. I have gone through the feeling that Shakti was talking of.
Rishi “Chintu” Kapoor has left us in shock. We are yet to come out of the shock that Irfan Khan pushed us into. Both great performers. We don’t know who we should send condolences to in this hour of grief – their families, best friends, colleagues or we his fans.
I began this post as soon as I saw the news item. Now it is four in the afternoon.
Then I let myself cool down, very difficult. There are too many thoughts running through the head. He was very cute as the tiny boy walking in the rain with his siblings. He was a National award winner for his role in ‘Mera Naam Joker’ (1970) and best actor award for his debut in adults roles in ‘Bobby’ (1973).
I don’t know how to pay a tribute to my favourite actor/s Irfan and Chintu. So I tried to look for movies where the two have acted together – cannot be possible that these two have not done a movie together, considering that Rishi was very active playing so many diverse characters in recent years. I remembered a movie which I have seen on TV a few years back where Chintu played a character inspired by Dawood Ibrahim and Irfan played Wali Khan an Indian intelligence operative whose mission was to keep an eye on the activities of the don and his gang. I vaguely remember that the movie had a long climax where Wali (Irfan Khan) and Arjun Rampal (also playing an Indian intelligence operative) stage the exchange of the captured don, bring him into Indian territory, and shoot the don when the don mocks the Indian judicial system etc. and how he will be back into his underworld activities. One thing that stayed with me after the movie was both the don’s character and Wali have a bloody end. But the movie itself was a gripping tale.
Shankar-Ehsaan-Loy were the music directors and Niranjan Iyengar the lyricist. The qawwali as picturized in the film gives us a look of almost the entire star cast headed by Rishi Kapoor alongwith Irfan Khan, Shruti Hassan, Arjun Rampal, Huma Qureshi, Shriswara, Nassar, KK Raina etc. Rishi Kapoor looked deadly in that getup.
[Note: A second longer version of the song is also available, but apparently it is the longer audio version that has been quiet randomly overlaid with video clips from the film. The editing and lip syncing is jarring, but it gives one extra antraa of the song.]
And now he is not there. Even when we know that everyone has to go one day we don’t want people we like to go. But then that is the way of life and as I always say and what my mother believed in “Kal Kya Hoga Kis Ko Pata. . .”.
Thinking of two super actors, from different genres and eras May their soul be at peace now, at least they are eased of their pain
Song as Picturized
Remix – Longer Audio Version Overlaid with Video Clips
Song – Mera Murshid Khele Hori (D Day) (2013) Singer – Munnawar Masoom, Javed Ali, Shankar Mahadevan, Gaurav Gupta, Rajiv Sundaresan, Mani Mahadevan, Raman Mahadevan, Lyrics – Niranjan Iyengar, MD -Shankar Ehsan Loy
Chorus
Lyrics
Based on the Picturized Version
ho oo oo
saawa te suha rang sab ke naseeb da
ho oo oo oo oo
saawa te suha rang naseeb da
khele dukh sukh aankh micholi
ho oo oo
khele dukh sukh aankh micho..oli
jee mein tu..u..u
jaan mein tu..u..u
mere sare jahaa..aan mein tu
jee mein tu..u..u
jaan mein tu..u..u
mere sare jahaa..aan mein tu
ho oo oo
saawa te suha rang sab ke naseeb da
khele dukh sukh aankh micholi
mera murshid khele hori
mera murshid khele hori
[dialogue]
yaara rang hai uska nyaa..aara
mera murshid khele hori
pyaala chhidke apne karam ka
pyaala chhidke apne karam ka
rang de sab sansaa..aa..aara
mera murshid khele hori
mera murshid khele hori
[dialogue]
pyala chhidke apne karam ka
pyala chhidke apne karam ka
rang de sab sansara
ho oo oo
ishq da rang hai nyaara
tere ishq da rang hai nyaara
tere ishq da rang hai nyaara
tere ishq da rang hai. . .
[dialogue]
ho oo oo oo oo
uski rangat meri aadat
uski chaahat ek ibaadat
aaaa aaaaa aaaaaa
aaaaa aaaaaa aaaaaaaaa
uski rangat
meri aadat hai
uski chaahat
ek ibaadat hai
uske hone se
sab salaamat hai
uski nazron se sab ki barkat hai
sabki..ee..ee..ee barkat hai
naache naseeba taar pe jiske
haath hai jiske do..o..ori
mera murshid khele hori
ho pyaala chhidke apne karam ka
pyala chhidke apne karam ka
rang de sab sansaara
ho oo oo
[chanting – “Allah Ho Akbar”]
ishq da rang hai nyaara
tere ishq da rang hai nyaara
rang hai nyaara
ishq da rang hai nyaara
tere ishq da rang hai nyaara
[chanting – “Allah Ho Akbar”]
Additional Antraaa from the Longer Audio Version
uske reham se sab kuchh rangiya
rangeya..aa..aa
uski nemat se jag sajiya
ga ma pa ni sa
ni pa
ma re
kahin kaanton pe
phool bikhraaye
kahin ashqon ke
beech muskaaye
kahin kaanton pe
phool bikhraaye
kahin ashqon ke
beech muskaaye
kahin palkon pe
khwaab sajaaye
kahin raaton se
neend udaaye
kahin baadal
kahin barkha
kahin vakhra
kahi sarkha
roop se roop pe na ja uske
shabad anek hai
ek hai boli
mera murshid khele ho..o..ori
mera murshid khele ho..o..ori
yaara rang hai uska nyaara..aa
mera murshid khele ho..o..ori
jee mein tu..u..u
jaan mein tu..u..u
mere sare jahaa..aan mein tu
jee mein tu..u..u
jaan mein tu..u..u
mere sare jahaa..aan mein tu
aaaa aaaaa aaaaaa
aaaaa aaaaaa aaaaaaaaa
jee mein tu..u..u
jaan mein tu..u..u
mere sare jahaa..aan mein tu
jee mein tu..u..u
jaan mein tu..u..u
mere sare jahaa..aan mein tu
ho oo oo
pyaala chhidke apne karam ka..aa
rang de sab sansa..aa..aara
mera
pyaala chhidke apne karam ka
pyaala chhidke apne karam ka
rang de sab sansaara
ishq da rang hai nyaara
tere ishq da rang hai nyaara
tere ishq da rang hai nyaara
tere ishq da rang hai nyaara
jee mein tu..u..u
(jee mein tu..u..u)
jaan mein tu..u..u
(jaan mein tu..u..u)
mere saare jahaa..aan mein tu
(jee mein jaan mein saare jahaa..aan mein tu)
jee mein tu..u..u
(jee mein tu..u..u)
jaan mein tu..u..u
(jaan mein tu..u..u)
mere saare jahaa..aan mein tu
Ridhhi Siddhhi Vridhhi hoti
Posted on: September 12, 2019
This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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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:-
Audio
Video
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
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.
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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
Audio (Full)
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
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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