Archive for the ‘Songs of 2014’ Category
Bismil bismil bulbul e bismil
Posted on: March 24, 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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5362 | Post No. : | 17586 | Movie Count : |
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Vishal Bhardwaj’s Trilogy of Shakespeare Plays – 3: ‘Haider’ (2014)
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In this article, I am exploring ‘Haider’ (2014), the last film of the Shakesperean trilogy by Vishal Bhardwaj which is adapted from ‘Hamlet’ (1599).
In a talk with ‘Mumbai Mirror’ just before the release of ‘Haider’ (2014), Vishal Bhardwaj said that he took a long gap (8 years) from Shakespearean trilogy. For the final film on Shakespearean trilogy, he had two plays in mind – ‘King Lear’ and ‘Hamlet’. Finally, he chose ‘Hamlet’. The film was majorly shot in around Srinagar and Pahalgam in winter months probably to give a feel of gloomy atmosphere inherent in the story. As with his earlier two films of Shakespearean trilogy, Vishal Bhardwaj molded ‘Hamlet’ with intra-family drama in Kashmir in the background of militancy in 1995.
The main characters in ‘Hamlet’ (1599) and their counterparts in ‘Haider’ (2014) are presented in a tabular form below:
Vishal Bhardwaj felt that the idea of ghost in the film may not be believable to the current generation. So, he developed an additional character in Roohdaar who has spent time with Dr Hilaal in detention camp.
| In Hamlet | In Haider | Remarks |
|---|---|---|
| King Hamlet of Denmark | Dr Hilaal Meer (Narendra Jha) | In ‘Hamlet’, there is no character of King Hamlet. His names comes only when his death is announced. In ‘Haider’ (2014), Dr. Hilaal Meer has been shown treating an injured militants in his house. He also appears in army detention camp and also with Haider in his childhood in flashback. |
| Prince Hamlet, the son of deceased King Hamlet of Denmark and nephew of Claudius. | Haider (Shahid Kapoor), son of deceased Dr Hilaal Meer and nephew of Khurram Meer. | The tragic hero. Vishal Bhardwaj has made the character of Haider in ‘Haider’ (2014) much more aggressive than Prince Hamlet of ‘Hamlet’ (1599) |
| Claudius, younger brother of King Hamlet. | Khurram Meer (Kay Kay Menon), younger brother of Dr Hilaal Meer. | The villainous character responsible for the death of his elder brother. While Claudius becomes the king of Denmark and marries the widow queen, Khurram marries widow of his elder brother and becomes a political leader. |
| Gertrude, Queen of Denmark, and mother of Prince Hamlet. | Ghazala (Tabu), wife of Dr Hilaal Meer and mother of Haider. | – |
| Polonius, Counsellor to Claudius. | Parvez Lone (Lalit Parimoo), Police Inspector who works in close association with Khurram. | – |
| Ophelia, daughter of Polonius. | Arshia (Shraddha Kapoor), daughter of Parvez Lone, a journalist and the beloved of Haider. | Arshia in ‘Haider’ (2014) is more independent than Ophelia in ‘Hamlet’ who is shown as a meek character. |
| Ghost of Prince Hamlet’s father | There is no ghost but a character, Roohdaar (Irrfan Khan) does the same role as of ghost in ‘Hamlet’. | |
| Laertes, son of Polonius who is based in France. | Liyaqat, (Aamir Bashir) son of Parvez Lone who is based in Bengaluru. | – |
| Horatio, Prince Hamlet’s friend. | No equivalent character. | Vishal Bhardwaj has combined the role of Arshia both as the beloved and friend of Haider. |
‘Haider’ (2014) was jointly produced by Vishal Bhardwaj Pictures and UTV and was directed by Vishal Bhardwaj. The cast included Shahid Kapoor, Tabu, Shraddha Kapoor, Kay Kay Menon, Irrfan Khan (special appearance), Ashish Vidyarthi (special appearance), Lalit Parimoo, Kulbhushan Kharbanda, Aamir Bashir etc. The Censor Board has given the film U/A certificate (minor can watch the film under parental guidance) after some cuts suggested in the films and the director agreed to them.
This is one of a few films’ story which I found difficult to summarise as almost every scene in the film is important link to the continuity of the story. So, I have omitted it after finding that the summary of the story itself was more than 1000 words!
In my view, this film should be treated more as an intra-family drama of a Kashmiri family than the commentary on the political situations that prevailed in the mid-1990s in Kashmir. In the divided Meer family, the Khurram (Claudius in ‘Hamlet’) uses Army’s counter-insurgency operations to achieve his political ambition and clear the way for making formal the adulterous relationship with his elder brother’s wife, Ghazala (Queen Gertrude). His nephew, Haider (Prince Hamlet) uses militancy to take revenge against his uncle, Khurram for his betrayal of his father, Dr Hilaal Meer (King Hamlet of Denmark) and for killing him. So, portrayal of and commentaries on militancy and army’s counter-insurgency operations become inevitable part of the film. In ‘Hamlet’, all the main characters are killed or commit suicide. In ‘Haider’ (2014), Khurram (Claudius) and Haider (Prince Hamlet) have been shown seriously injured. The films end with a scene in which a seriously injured Khurram lies on the snow with his lower part missing due to a blast while Haider, also seriously injured walks away from the camera in the midst of dead bodies of militants and para military forces. The director has left to the imagination of the film audience to come o a conclusion as to what will happen to them.
Vishal Bhardwaj has tried to realistically present as to how a majority of innocent Kashmiris who have nothing to do with militancy have been caught in the ‘catch-22’ situation. They cannot antagonise militants and the army out of fear. However, I wish Vishal Bhardwaj had balanced this realistic approach with the other side of the realities by giving some footage in the film as to how difficult is for the army/paramilitary forces to decide between guilty and innocent in hostile and treacherous environments where trust is in deficit. One of the cardinal principles of army and para-military forces is that suspects are treated as guilty until proven otherwise. Also, there is no even a small footage in the film of the extreme hardship the minority communities suffered exactly during the time-frame chosen in the film.
‘Haider’ (2014) has 8 songs of which two songs are from the published poems of Faiz Ahmed Faiz and rests are written by Gulzar. All the songs are set to music by Vishal Bhardwaj in melodramatic mood in keeping with the story of the film.
I have selected a story-telling song from the film, ‘bismil bismil bulbul-e-bismal’ which corresponds to ‘Mousetrap’, a play within the play in ‘Hamlet’. In both ‘Hamlet’ and ‘Haider’ (2014), the play/song is a turning point for Hamlet/Haider to take revenge against his uncle. The song is written by Gulzar and rendered by Sukhwinder Singh and chorus. The song is presented in an opera style for which Norway-based Sudesh Adhana was entrusted with choreography of the song. Renowned puppeteer, Dadi Pudumjee specifically made puppets for this song, one of which was the tallest puppet (100 feet) used in any Hindi film.
The song was picturised at the ruins of Martand Sun temple (located on the way to Pahalgam from Srinagar). Since the shooting was scheduled in the peak winter season, every morning and even during the shooting, the snow accumulated on the dancing arena had to be cleared. On the days of the song picturisation, there used to be 5000-6000 people, many coming from mofussil areas for watching the shooting which created problems for the crew. Finally, Vishal Bhardwaj decided to make them sit in the raised arena of the temple complex in an orderly fashion and made them a part of the song sequence.(As revealed in his TV talk).
The song comes in the film at a time when Haider is emotionally upset after he becomes aware of the conspiracy of his uncle, Khurram in for his father’s death as told to him by Roohdaar (Irrfan Khan). Haider performs the dance in the presence of his uncle, Khurram and mother, Ghazala in celebration of their marriage. Haider’s intention in this dance performance is to gauge from the expressions of his uncle to confirm what Roohdaar had told him was true.
According to Sukhwinder Singh, Vishal Bhardwaj wanted the elements of Kashmiri folk music and folk dance for this song. He hired local musicians to play the Sarangi and the Rabab and recorded with them in a studio there. While picturising the song, he even invited these musicians to the shoot, and they joined Shahid Kapoor in playing Rabab. Vishal blended Kashmiri folk music with western opera music (Source: E-Times, 26/09/2014).
Video Clip:
Audio Clip:
Song-Bismil Bismil Bulbul e Bismil(Haider)(2014) Singer-Sukhwinder Singh, Unknown male voice, Lyrics-Gulzar, MD-Vishal Bhardwaj
Chorus
Lyrics (Based on Audio Clip)
bismil bismil bulbul-e-bismil
bismil bismil
mat mil mat mil
gul se mat mil
mat mil mat mil
ae bismil bismil bulbul-e-bismil
mat mil mat mil
gul se mat mil
bismil bismil bulbul-e-bismil
ae dil-e-bulbul
bulbul-e-bismil
mushkil dil bhi mushkil hoti hai
dil dhadke dil dil dhadke to,/em>
dil dhadke dil dil dhadke to
dhadkan-e-dil bhi harkat-e-dil ho..ti hai
khushboo-e-gul mein ishq bhara hai
mat mil mat mil
gul se mat mil
ae bulbul-e-bismil
mat mil mat mil
gul se mat mil
aye bulbul-e-bismil
ho o o o o
sun le zamaana samjhaata hoon
teri kahaani dohraata hoon
ae dil-e-bulbul
bulbul-e-bismil
ae dil-e-bulbul
bulbul
bulbul-e-bismil
ik joda thha
nar maada kaa
bholi thhi bulbul
nar saada thhaa
ik joda thhaa
nar maada kaa
bholi thhi bulbul
nar saada thhaa
barf gira karti thhi jab
bhar jaati thhi kohsaaron mein
ik baaz bada badneeyat thhaa
haan ik baaz bada badneeyat thhaa
udta thha..aa sabz anzaaron mein
pankhon mein uske maut chhupi thhi
mehfil mehfil dhoondh raha thhaa
mehlon ki manzil
mehfil mehfil dhoondh raha thhaa
mehlon ki manzil
bulbul ke khwaabon mein jaa kar
zaher ke dank lagaaye thhe
khushboo-e-gul mein zaher bhara..aa
aur maada ko bhijwaaye thhe
zaher ke dank lagaaye thhe..ae
bulbul ke khwaabon mein jaa kar
maada ko bhijwaaye thhe
zaher ke dank lagaaye thhe
ho o o o waadi mein chhidka baarood
jheel mein jaal bichha daale
chhuriyon se bechaare nar ke…ae
chhuriyon se bechaare nar ke…
dono pankh kata daale
are dil dil dil dil jhooth kahe ye
jhooth kahe buzdil
mat mil mat mil
gul se mat mil
ae bulbul-e-bismil
ae bulbul-e-bismil
ae bulbul-e-bismil
zakhmi nar ko qaid kiya
qaid kiya
qaid kiya
zanjeeron mein bandhwaaya
Baaraamula ke Sheerinpur se
phir paani mein phinkwaaya..aa
jhelum..m
jhelum
laal laal hua
laal laal hua
laal laal hua laal
jhelum..m
jhelum
laal laal hua
laal laal hua
laal laal hua laal
Kashmir ke paani ki taaseeren
ghul gayi zanjeeren taqdeeren
zinda hai wo zinda hoga..aa
muzrim bhi sharminda hoga..aa
zinda hai wo zinda hoga
muzrim phir sharminda hoga
zinda hai wo zinda hoga
muzrim phir sharminda hoga
hosh mein aaja
hosh mein aaja
ae bulbul-e-bismil
ae bulbul-e-bismil
khushboo-e-gul mein
zaher bhara hai
hosh mein aaja
hosh mein aaja
ae bulbul-e-bismil
hosh mein aaja
hosh mein aaja
ae bulbul-e-bismil
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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5302 | Post No. : | 17374 | Movie Count : |
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‘Dedh Ishqiyaan’ (2014) was a sequel to ‘Ishqiya’ (2010). Both the films were produced under the banner of V B Films of Vishal Bhardwaj along with Raman Maroo and were directed by Abhishek Choube. While the main actors, Naseeruddin Shah, Arshad Warsi and Salman Shahid were retained for the sequel, the lead actress, Vidya Balan was replaced with Madhuri Dixit. Other supporting actors were Huma Qureshi, Vijay Raaz, Manoj Pahwa, Mehmood Hashmi, Ravi Gosain etc.
The story of the film was written by Darab Farooqui. It is said that the film’s story has been partly influenced by Ismat Chughtai’s short story ‘Lihaaf’ which was published in a Lahore-based Urdu journal in 1942. ‘Lihaaf’ sets out the events following the sexual awakening in Begum Jan after her unhappy marriage with a Nawab. She gets into a romantic relationship with her female attendant. This became a big issue in 1942. A legal case was filed against Ismat Chughtai on charges of obscenity in the Lahore High Court. She was subsequently exonerated from the charges (Source: ‘The Feminist Voice of Ismat Chughtai’ – The DAWN, 27/11/2016). Probably, the director of ‘Dedh Ishqiyaan’ (2014) did not want to take that risk. So, in the film, the relationship between Begum Para (Madhuri Dixit) and Munniya (Huma Qureshi) were discreetly shown in the film.
I have seen this film 5-6 years back and again a few days back on YouTube. There are plenty of this film’s reviews available online. So, I will not go into the details. The film is a romantic comedy thriller. Everything about this film turned out to be right – the performances of the actors, a sleek screenplay, catchy dialogues in chaste Urdu, good cinematography, excellent lyrics, dance, and music compositions. The pair of Naseeruddin Shah and Arshad Warsi stole the show. Madhuri Dixit excelled in the role of Begum Para, depicting varied emotions apart from her excellent dances. Huma Qureshi acted well in pairing with Madhuri Dixit in the role of Munniya, her attendant. Vijay Raaz in the role of a politician and Nawab-in-waiting and Salman Shahid in the role of a gangster boss have been outstanding.
The film received very good reviews from the critics. But, as per box office report, upon the film’s release in early January 2014, it achieved the average collection at the box office. Based on the worldwide box office collections, the film barely recovered the cost of production. I am not surprised as this is not a mainstream Bollywood film. In my view, this film will attain the status of a classic film over time and all those associated with this film will feel proud.
I was curious to know as to why the film’s sequel title was chosen as ‘Dedh Ishqiyaan’. Why was the usual sequel title ‘Ishqiya-2’ (like Drishyam-2, the latest sequel film) not chosen? I tried to find out from some videos about the film, available online, but could not come across any formal explanation from the producer or director. There were a couple of videos available online on the making of the film in which actors and unit members tried to guess as to what the reason for this title could be. A unit member guessed that it could be a marketing gimmick. Madhuri Dixit pointed out that extra smart persons in Marathi are called ‘Deed Shahane’. She guessed that the film’s title may have reflected the main characters in the film, who are all conmen, who individually think that they are smarter to outwit the other conmen. The most interesting explanation of the title came from a reviewer of the film who felt that ‘Dedh Ishqiyaan’ means ‘one and a half passionate.’ Naseeruddin Shah, posing as a Nawab and Arshad Warsi, posing as his orderly are passionately in love with Madhuri Dixit and Huma Qureshi, respectively. This is ‘one’ type of love. On the other hand, Madhuri Dixit posing as a wealthy Begum of a deceased Nawab and Huma Qureshi as her attendant, have romantic relationship which the reviewer counts as half love.
‘Dedh Ishqiyaan’ (2014) had six songs, excluding remix versions, all written by Gulzar and set to music by Vishal Bhardwaj. None of the songs from the film has been covered in the Blog. My favourite 3 songs from the film are – (1) ‘hamaari atariya pe aaja re saanwariya’, (2) ‘jagaave saari raina’ and (3) ‘na bolun main to kaleja phoonkey’. The first two are semi-classical songs while Gulzar’s lyrics in third song has a Sufiana touch which influenced me to select this as the first song from the film to appear on the Blog. Let me attempt the translation of the song:
na boloon main to kaleja phoonkey
jo bol doon to zabaan jale hai
sulag na jaave agar sune wo
jo baat meri zabaan tale hain
If I don’t say, my heart puffs. If I say, my tongue burns. I hope she does not get angry if she hears what I have concealed below my tongue. [The lover is in catch-22 situation in disclosing his love to the beloved].
lage na phir youn ke rog laage
na saans aave na saans jaave
ye ishq hai namuraad aisa
ke jaan leve tabhi tale hain
Getting infected with love is like a disease. Neither one can inhale or exhale breath. This love is such a loser that it leaves only when it takes one’s life. [In Arabic literature, love has 7 stages. Death is the 7th and the last stage. The film also talks about the 7 stages of love. Hence Gulzar may have in mind the 7th stage of love while writing ‘ke jaan leve tabhi tale hain’] .
hamaari haalat pe kitta rove hai
aasmaan bhi tu dekh leejo
ke surkh ho jaave uski aankhen
jaise jaise din dhale hai
Looking at my condition, you see how much the sky has shed tears so much that even his eyes have become red as the day turns to dusk. [Gulzar has beautifully used the metaphor of the sky’s colour at the dusk as teary eyes turning red as the day ends].
I was under the impression that this song sung by Rahat Fateh Ali Khan was in the film’s soundtrack. While watching the film, I was surprised to know that in the film, it was sung by Raju Singh for Naseeruddin Shah who recites the poem in a mushaira in tarannum (tune) without the accomplishment of music. The song sung by Rahat Fateh Ali Khan with orchestration has been released on audio. I do not think that the song sung by Rahat Fateh Ali Khan is a version song because all the songs of the film, including that of Rahat Fateh Ali Khan were released a week before the release of the film in the theatres. This suggests that initially, the director had thought of Rahat Fateh Ali Khan singing for Naseeruddin Shah as a full-fledged song. Probably, on second thought the director may have felt that it would look authentic to render this song as a recitation of poetry without orchestration in a mushaira scene. Since Rahat Fateh Ali Khan was based in Pakistan, Raju Singh who is also the music director and singer in his own right, was roped in to sing this song sans the last antara.
Enjoy the song in Sufiana lyrics and melody with pop music orchestration, mainly with the string instruments.
Video Clip:
Audio Clip:
Song-Na boloon main to kaleja phoonkey (Dedh Ishqiyaan)(2014) Singer-Rahat Fateh Ali Khan/Raju Singh, Lyrics-Gulzar, MD-Vishal Bhardwaj
Lyrics(Based on Audio)
na boloon main to kaleja phoonkey
na boloon main to kaleja phoonkey
jo bol doon to zabaan jale hai
sulag na jaave agar sune wo….o o o o o o
sulag na jaave agar sune wo
jo baat meri zabaan tale hai ae ae ae
na boloon main to kaleja phoonkey
jo bol doon to zabaan jale hai ae ae ae ae
lage to phir youn ke rog laage ae ae
na saans aave na saans jaave ae ae ae ae
lage to phir youn ke rog laage
na saans aave na saans jaave
yeh ishq hai namuraad aisa….aa aa aa aa aa
yeh ishq hai namuraad aisa
ke jaan leve tabhi taley hai ae
hamaari haalat pe kitta rove hai
aasmaan bhi tu dekh leejo o o
hamaari haalat pe kitta rove hai
aasmaan bhi tu dekh leejo o o
ke surkh ho jaave uski aankhen aen aen aen
ke surkh ho jaave uski aankhen bhi
jaise jaise yeh din dhale hai ae ae
na boloon main to kaleja phoonkey
jo bol doon to zabaan jale hai ae ae
Main tainu samjhaawaan ki
Posted on: September 5, 2021
This article is written by Arunkumar Deshmukh, 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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4797 | Post No. : | 16558 | Movie Count : |
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Today’s song is from the film Humpty Sharma ki Dulhania-2014.
In the morning of 2nd September 2021, all the newspapers had the Front page news about the death of Bollywood’s young actor Sidharth Shukla, by Heart attack. They also flashed his photo. Looking at his photo, I thought he was quite a good looking macho fellow. Unlike my daily habit of reading only the headings of news ( rarely any news is worth reading these days), I read the complete news of Sidharth’s death- in Times of India and Maharashtra Times. I was surprised that such a healthy, athletic looking young man should get a Heart Attack and die of it !
Out of curiosity, I looked for his Bio-Data on the Internet and frankly, I was more than impressed. A boy from a middle class family in Bombay had achieved so much in so short a period-2005 to 2021, that it was just short of a Miracle. I seriously wanted to know more about him, his achievements, his desires, family, his career and his death.
Yesterday, the whole day, I was looking for information about him on the Internet and after learning enough about him, I thought he deserved a special post on our Blog. In the normal routine, I would not write a post on any recent film ( only because I am not in tune with modern cinema), but then this was an unusual event which I thought called for going deep into why such successful artistes die so early.
I came across an interview of Dr. Ashwini Mehta, Cardiologist in Sir Gangaram Hospital, Delhi, on this issue. He is of the opinion that even if the person is perfect in physical health, goes to Gym regularly etc, work stress and an unnatural desire to always remain fit can lead to Heart attack. The methods that artistes adopt to remain ever young are harmful. In case of Sidharth, he was brought dead to the Hospital. His Post Mortem report coming today has not revealed the exact cause. It expresses a doubt that perhaps excess Protein Diet could be one reason. More test reports are awaited.
The show business world is a killing one. On one hand it gives you name, fame and Money and on the other hand it kills you if you attempt to maintain these things beyond a limit by adopting wrong methods. There are many examples. I recollect reading somewhere that even Sri Devi did everything possible to remain beautiful always, till she succumbed to these very attempts.
In the last few years, there have been several unnatural deaths of young and upcoming artistes who adopted too much effort to remain happy and in public eyes all the time. This in turn gave them mental stress. few such examples of recent times are Sushant Rajput, Arathi Agarwal, Jiah Khan, Divya Bharati, Taruni Sachdev, Pratyusha Banerjee, Nafisa Joseph, Kuljit Randhava etc etc.
I gathered the life story of Sidharth Shukla from various sources on the internet. It is simply an outstanding career. However, now we know what attempts he used to adopt and at what cost…His Life !
Sidharth Shukla (12 December 1980 – 2 September 2021) was an actor, host and model who appeard in Hindi television and films. He was known for his roles in Broken But Beautiful 3, Balika Vadhu and Dil Se Dil Tak. He emerged as the winner of reality shows Bigg Boss 13 and Fear Factor: Khatron Ke Khiladi 7. He hosted Savdhaan India and India’s Got Talent. He won the World’s Best Model title in December 2005 beating 40 other participants from across Asia, Latin America, and Europe. He made his acting debut with a lead role in the 2008 show Babul Ka Aangann Chootey Na. In 2014, Shukla made his Bollywood debut in a supporting role in Humpty Sharma Ki Dulhania.
Shukla was born on 12 December 1980 into a Hindu family in Bombay (present-day Mumbai) to Ashok Shukla, a civil engineer employed at the Reserve Bank of India and Rita Shukla, a homemaker. He lost his father because of a lung disorder during his modelling days. He has two elder sisters. Shukla attended St. Xavier’s High School, Fort, Mumbai and holds a bachelor’s degree in Interior Design from Rachana Sansad School of Interior Design. Shukla has described himself as a very athletic child, and represented his school in tennis and football. He played against Italian football club, AC Milan’s under-19 team, on their Mumbai visit as part of Festa Italiana.
After completing bachelor’s degree in interior design, Shukla worked in an interior designing firm for a couple of years.
In 2004, Shukla was runner-up in the Gladrags Manhunt and Megamodel Contest. He appeared in a video “Resham Ka Rumal” sung by Ila Arun.
In 2005, he represented India at the World’s Best Model contest held in Turkey, and became the first Indian, as well as the first Asian, to win the title beating 40 contestants from across Asia, Latin America, and Europe. After winning the title, he appeared in advertisements for Bajaj Avenger, ICICI and Digjam.
2008–2011: Television debut
In 2008, he made his acting debut with a lead role in the television show Babul Ka Aangann Chootey Na on Sony TV .The show ended in February 2009.
In 2009, he appeared as Veer Vardhan Singh in Jaane Pehchaane Se… on Star One . The show ended in September 2010. After Jaane Pehchaane Se… Ye Ajnabbi ended, he also appeared in a few episodes of Aahat.
In 2011, he appeared as Rahul Kashyap in Love U Zindagi opposite Pavitra Punia on StarPlus. He also appeared in an episode of CID.
2012–2014: Breakthrough with Balika Vadhu and Bollywood debut
In 2012, Shukla appeared as District Collector Shivraj Shekhar, opposite Pratyusha Banerjee and Toral Rasputra in Balika Vadhu. . He received the “GR8! Performer of the Year (Male)” award at the Indian Television Academy (ITA) Awards. He left the show in 2015, when his character, Shiv, died fighting with terrorists.
In 2013, Shukla participated in the celebrity dance reality show Jhalak Dikhhla Jaa 6, and was eliminated in the 11th week.
In 2014, Shukla made his Bollywood debut in the romantic comedy Humpty Sharma Ki Dulhania in a supporting role The film earned him an award for “Breakthrough Supporting Performance (Male)” in the 2015 Stardust Awards.
2014–2018: Television hosting, Khatron Ke Khiladi and Dil Se Dil Tak
In 2014, Shukla was named the host of Savdhaan India.
In 2015, after exiting from Balika Vadhu, he hosted India’s Got Talent 6, with Bharti Singh, and the season finale was aired in June 2015.
In 2016, Shukla won the stunt reality show Fear Factor: Khatron Ke Khiladi 7. The same year, he hosted India’s Got Talent 7 with Bharti Singh, and the season finale was aired in July 2016. Later in 2016, Shukla appeared as Mr. Chakraborty, an Indian businessman, in a Kazakhstan movie, Business in Kazakhstan.
In 2017, he appeared as Parth Bhanushali in Dil Se Dil Tak .He left the series in December 2017.
2019–2021: Bigg Boss 13 and Broken But beautiful 3
In 2019, he participated in the reality show Bigg Boss 13, and was declared the winner in February 2020. Ormax media rated Shukla to be the most popular contestant of Bigg Boss 13, ranking him as number one throughout 20 weeks.
In 2020, after winning Bigg Boss 13, Shukla’s massive popularity helped him bag appearances in two music videos, “Bhula Dunga”, and “Dil Ko Karaar Aaya”. The same year, Shukla entered as one of the “Toofani” Seniors in Bigg Boss 14, Shukla then appeared in another music video “Shona Shona”.
In January 2021, Shukla hosted 16th week’s “Weekend Ka Vaar” of Bigg Boss 14, as Shukla was filling in for Salman Khan, who was missing from the show due to other work commitments. Shukla made his OTT debut as Agastya Rao with the third season of the romance web series Broken But Beautiful opposite Sonia Rathee streaming on ALTBalaji & MX Player. The series and Shukla’s performance received positive response from critics, Mugdha Kapoor of DNA India wrote, “It’s the fire and genuineness in Sidharth’s acting and freshness in Sonia’s performance that keeps the viewers glued and wanting to see more.”
In 2014, he won the Gold Awards Most Fit Actor award and was included in Rediff’s Television’s Top 10 Actors. In 2015, he was awarded with the Wellness Icon of the Year award in 8th Geospa Asiaspa India Awards. In 2021, he also won the Synth GlobalSpa Fit and Fab Award.
In 2021, he was declared The Times of India’s Charismatic TV personality. Before Bigg Boss 14 premiere, Sidharth was voted as the Bigg Boss Greatest Of All Times (GOAT) in a series of polls conducted by Colors TV, where 16 popular contestants across all the previous 13 seasons were nominated for the title.
Shukla died on 2 September 2021 after suffering a heart attack at the age of 40.
The film Humpty Sharma ki Dulhania-2014 was having everything in it which the younger generation wanted. The lead pair of Varun Dhawan (son of director David Dhawan) and Alia Bhatt(Daughter of director Mahesh Bhatt) came with filmi background. It does help. The film was released on 11-7-2014. It grossed 120 crores on a budget of 33 crores. The seven songs were written byKumaar, Irshad Kaamil and Shashank Khaitan who also wrote the story as well as directed the film. One song was sung by Alia Bhatt also. The cast of the film was Varun Dhawaqn, Alia Bhatt, Sidharth Shukla, Ashutosh rana, Gaurav Pandey, Shivani Mahajan and many more. The music was by Sachin-Jigar and Shaarib-Toshi. The film story was…..
Kavya Pratap Singh (Alia Bhatt), a beautiful, educated and stylish Punjabi girl from Ambala who is set to be engaged to an NRI American doctor, decides to go to Delhi to buy an expensive designer bridal dress for her wedding, after her father, Kamaljeet (Ashutosh Rana), refuses to get her the pricey dress. While staying at her maternal uncle’s house, she comes across one of his students, Rakesh “Humpty” Kumar Sharma (Varun Dhawan), a young and flirtatious Punjabi boy in Delhi, whose father, Vinod Kumar Sharma, runs a stationery shop. Humpty, with the help of his friends, Shonty (Gaurav Pandey) and Poplu, chases Kavya, but she’s not interested. He, however, manages to befriend her. Kavya confides in Humpty, that her friend in Delhi, Gurpreet Sodhi, was blackmailed by her ex-boyfriend, who had secretly filmed a sex sequence of the two.
Humpty stumbles upon an idea for victimizing Gurpreet’s ex-boyfriend that would also avenge Gurpreet, and also gather the money for the wedding dress for Kavya. They manage to get some money but Kavya isn’t happy about the way that money is obtained. However, these ensuing adventures make Kavya fall for Humpty, and the night before she is to leave for Ambala, they Have Sex and end up sleeping together. When Humpty asks her if she loves him, she says she won’t go against Kamaljeet’s wishes. In order to help Humpty get the money for Kavya’s dress, Vinod, Poplu and Shonty chip in their savings. Kavya reluctantly accepts the money and leaves Delhi.
Kavya is a changed person when she arrives home. She tells her family that she has decided not to buy that expensive dress. In the meantime, she gifts a fancy car to Humpty using that money, as she had known from him about Vinod’s dream for a car. Overwhelmed, Humpty and his friends go to Ambala, where he tries to win over Kavya. Kamaljeet believes firmly in arranged marriages against love marriages, as his elder daughter, Swati, married against his wishes and the marriage turned out to be a disaster ending in divorce. Kamaljeet instantly disapproves of Humpty, and gets the three friends beaten up. Upon repeated persuasion, he gives Humpty a chance to find at least one reason why Kavya shouldn’t marry Angad (Sidharth Shukla). He sets him a five-day deadline to give him the reason. Humpty and his friends try their best to find flaws in Angad but fail to do so.
At the end of the deadline and on her wedding day, Kavya runs away from home and calls Humpty to join her on a train to leave town, but he refuses and convinces Kavya to get off the train. Meanwhile, Kamaljeet and the rest of the family reach the train station, where Kavya and Humpty are embracing each other. Kamaljeet, wrongly assuming the pair was eloping, is enraged and hits Humpty, who gives a powerful and touching explanation saying that he may not be as rich, successful or good-looking as Angad, but he loves Kavya from the core of his heart. He leaves Ambala and heads back to Delhi after that incident. When Kavya is dressed up as a bride, Kamaljeet asks her if she still fancies that expensive wedding dress. She replies she’s not fit for an expensive classy dress, but is suitable for local dresses. As it dawns on Kamaljeet that her relationship would be fuller with Humpty and not Angad, he brings everyone to Delhi where he approaches Humpty and gives his consent to marry his daughter.
With this song, film Humpty Sharma ki Dulhania-2014 makes its debut on this Blog.
Audio
Video
Song- Main tainu Samjhaawaan ki (Humpty Sharma Ki Dulhaniya)(2014) Singers- Arijit Singh, Shreya Ghoshal, Lyricist- Ahmed Anees and Kumaar, MD- Jawad Ahmed and Shaarib – Toshi
Lyrics
nahin jeena tere baaju nahin jeena, nahin jeena
nahin jeena tere baaju nahin jeena, nahin jeena
nahin jeena tere baaju nahin jeena, nahin jeena
nahin jeena tere baaju nahin jeena, nahin jeena
main tainu samjhaawaan ki
na tere bina lagda jee
main tainu samjhaawaan ki
na tere bina lagda jee
tu ki jaane pyaar mera
main karoon intezaar tera
tu dil tuiyon jaan meri
main tainu samjhaavaan ki
na tere bina lagda jee
tu ki jaane pyaar mera
main karoon intezaar tera
tu dil tuiyon jaan meri
main tainu samjhawaan ki
na tere bina lagda jee
mere dil ne chun laiyaa ne
tere dil diyaan raahaan
tu jo mere naal tu rehta
turpe meriyaan saaha
jeena mera hoye
hun hai tera
ki main karaan
tu kar aitbaar mera
main karoon intezaar tera
tu dil tuiyon jaan meri
main tainu samjhaawaan kee
na tere bina lagda jee
ve changa nahion keeta beeba
ve changa nahion keeta beeba
dil mera tod ke
ve bada pachhtaiyaan akhaan
ve bada pachhtaiyaan akhaan
naal tere jod ke ae
tenu chhad ke kitthe jaawaan tu mera parchhaanvaa
tere mukhde vich hi main taan rab nu apne paawaan
mere to
haay
sajda tera kardi sadaa tu sun iqraar mera
main karoon intezar tera
tu dil tuiyon jaan meri
main tainu samjhaawaan ki
na tere bina lagda jee
Teri main balaayen loon
Posted on: July 18, 2021
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a regular contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4748 | Post No. : | 16480 |
Hullo Atuldom
Mangte Chungneijang Mary Kom (born 24 November 1982) is an Indian amateur boxer, politician, and incumbent Member of Parliament, Rajya Sabha. She is the only female to win the World Amateur Boxing Championship six times, the only female boxer to have won a medal in each one of the first seven World Championships, and the only boxer (male or female) to win eight World Championship medals. Nicknamed Magnificent Mary, she is the only Indian female boxer to have qualified for the 2012 Summer Olympics, competing in the flyweight (51 kg) category and winning a bronze medal.
She had also been ranked as the world’s No. 1 female light-flyweight by the International Boxing Association (amateur) (AIBA). She became the first Indian female boxer to win a gold medal in the Asian Games in 2014 at Incheon, South Korea and is the first Indian female boxer to win gold at the 2018 Commonwealth Games. She is also the only boxer to become Asian Amateur Boxing Champion for a record six times. She was awarded the Padma Vibhushan, India’s second highest civilian award, in 2020. She is also a recipient of the Rajiv Gandhi Khel Ratna award in 2009 and Arjuna award in 2003.
Born as the eldest child, in Manipur, to parents who were tenant farmers, Mary Kom had her schooling at various schools of the Churachandpur district of Manipur. She was participated in all kinds of athletic events specially javelin throw and 400 metres running. She was among the youngsters who were inspired by Dingko Singh, 1998 Bangkok Asian Games Gold medal winner in Boxing and a fellow Manipuri. She switched from athletics to Boxing but kept it a secret from her father who was an ex-wrestler. The family got to know of her involvement in Boxing when her photo appeared in a newspaper when she won the state championship in 2000. Mary Kom is married to footballer Karung Onkholer (Onler) and has three sons including twins. She resumed her training and went back to her winning ways after the birth of her first two children.
(All the above information I have extracted from Wikipedia)
There was a biographical film on her life in 2014 where Priyanka Chopra enacted the role of Mary Kom. The movie had many lesser known actors playing her husband, coach, family etc. Only Shishir Sharma, who played the National Level coach, was the other known face. Even the music composers- Shashi Suman and Shivamm Pathak- were new along with the lyricists Sandip Ssingh and Prashant Ingole. The movie was directed by Omung Kumar and produced jointly by Sanjay Leela Bhansali and Viacom18 Motion Pictures. The movie was decent and showed incidents in a cinematic way. So I would suggest that anyone who sees the movie should not complain that details shown is not as it happened in Mary Kom’s life.
How did I land on this movie? Well I was thinking up a post on Priyanka Chopra for her birthday as she turns a year older on 18th July. I was going through her filmography and found that she had sung a few songs in her career which began in 2002 in a Tamil film and 2003 in the Sunny Deol- Preity Zinta starrer ‘Hero: Love Story of a Spy’.
She was Miss World 2000. She has done a whole of gamut of characters including a negative shaded Sonia Kapoor in ‘Aitraaz’ in 2004 for which she got a lot of critical acclaim and nominations/ awards as Best supporting actress and Best performance in a Negative Role. Priyanka has also won the National award for her performance in ‘Fashion’ (2008). If I may add she also managed to find a footing on American Television in the series ‘Quantico’ in 2015.
The song with today’s post is the one she has sung in her own voice. I haven’t seen ‘Mary Kom’ completely so I don’t know if the video accompanying the song is how it happens in the movie or whether the video uploaded on YouTube is a cleverly stitched affair.
Happy Birthday Piggy Chops (a nickname she got during the shoot of BluffMaster! in 2005)
(may not be from original soundtrack)
Audio
Song-Teri main balaayen loon (Mary Kom)(2014) Singer-Priyanka Chopra, Lyrics-Sandeep Singh, MD-Shivam Pathak
Lyrics
teri main balaayein loon
tujhe main duaayein doon
tujhko main
khushiyon ke saaye doon oon
khwaabon ko sajaaye tu
aankhon mein basaaye tu
tujhko main
doon sab jo chhaahe tu u
saari raat ye pehra kare
keh doon chaand taaron ko o
chaaoro chaaoro
ichha paari chaaoro
chaaoro chaaoro
ichha paari chaaoro
jaag jaaye na tu
jaagoon raaton mein
jhoole jhoola tu
mere haathon mein
teri choomoon aankhein main
baithh sirhaane
saari raat ye pehra karein
keh doon chaand taaron ko
chaaoro chaaoro
ichha paari chaaoro
chaaoro chaaoro
ichha paari chaaoro
mmmm hmmm
aaaa ahaaa
haa aaa
mmmm hmmm
mmmm hmmm
aaaa ahaaa
haa aa
This article is written by nahm, 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 : |
4683 | Post No. : | 16365 |
This post has been a long time in preparation. I was not able to concentrate on this one due to many reasons. The holy month of Ramadan is a factor in this, and also other things.
I will start with a happy news. I am happy to share that the almighty Allah (SWT) has blessed us with a grand daughter earlier this month. So that’s another degree under my belt i.e. of a grandmother. At the time of my daughter’s marriage, a dear friend gave me this idea of having a new degree i.e. of a mother-in-law. I like the concept of gradual increase in degrees, with these important and happy steps in life.
It is not as if the granddaughter has kept me so busy, the pandemic has deprived me of my being a hands-on-grandmother, so far. United Kingdom also put India under the red list w.e.f 23.04.2021, so we are stranded here till things improve and have to get darshan of the new family member on video calls. I had a visa ready when the UK government made the decision on the 20th of April. But with all those high net-worth people from India clamouring to enter UK before the deadline, we had no chance.
Now we reach the serious matter of the pandemic. When the first wave was still on in India in 2020, I heard from the relatives abroad, that no one believes the data coming out of india. I would tell them, there may be some discrepancies in figures, but if there are lines outside the hospitals, morgues, crematoria and graveyardes, like the visuals coming from USA and some European countries, it would be difficult to hide. I would say, mercifully we in India were spared from witnessing such situation, which the experts around the world were predicting for India. And the first wave was spaced out, so the caseload on the medical health infrastructure was by and large managed, which reduced the death toll, for daily, weekly and monthly figures. The medical fraternity and health workers around the world have been grappling with this once a century occurrence, for more than a year now and understandably, are exhausted, fatigued. They include doctors from my family in India and abroad. My sister’s son is a covid warrior currently working in a private hospital in Mumbai. My son also has worked in Covid war rooms established by the BMC in Mumbai.
But the second wave in 2021 has not been so merciful. The virus as we all know does not discriminate, all humans are equally susceptible to it. Only the daily reported death tolls are surpassing the worst case-scenarios predicted by the experts in 2020. Our data compilation abilities being what they are, the situation is grim, very grim especially in the north, Central and Eastern India. The southern states, and Maharashtra have coped well with the second wave. But this is no reason for triumphalism with the situation being what it is in the rest of the country.
All denials, prevarication, perception, need for positivity is besides the point. The costs of human lives being lost is always the highest. This has far surpassed any mass casualty events in the last 2 centuries. All the wars, genocides, the riots, terror attacks pale in comparison to the sheer nos. being affected. It is no exaggeration when it is said, that everyone among us has lost someone dear or knows someone who has. I have lost two near family members and know a few more people who have lost immediate family members.
I also know of some such instances where close members within a community have formed groups of volunteers of medicos and non-medicos, helping the people deal with the problems of sickness, getting medical advice and help, quarantine, and treatment and even final rites of family members if need be. One such group is actively helping people in Belgaum.
This is not the end of the story, as the virus is here to stay and keeps mutating in different ways. Frequent hand washing, social distancing and wearing a medical mask(properly) at all times, are the only ways of disease prevention. The developed countries of the world, with scientific temperament, have already dealt with their second wave, had well planned strategy for the vaccine roll out before the end of 2020. Some of these scientific minds working for the developed countries are of Indian origin, part of the brain drain over the last 50 years. Even then there is no shortage of virologists and epidemiologist in our country.
I have tried to keep abreast of the pandemic related news and happenings around the world also. So I was very happy to learn that the vaccine developed at Oxford University is to be manufactured by SII, Pune. I saw part of an interview that the SII CEO gave to a TV channel in a whatsapp forward in October 2020, where he talked about the manufacturing costs, capacity of the plant and his plans of stockpiling and exporting of the vaccine. I did comment, how this person needs to export vaccine, with the limited capacity of manufacturing the no. of units per month. This, despite the world’s second largest consumer market being at his doorstep. Presumably, he had export orders in hand, so was revealing his plans for export to the world market. He spoke out of assurance about his product and it being in demand the world over. I was able to see all this, and I am not an expert in anything.
Then in January 2021 after the vaccination drive began in India, I read a newspaper article analysing the vaccination process, which said that at the current rate of manufacture and vaccine administering, it will take close to 8 years to vaccinate the whole population. Now with the ramped-up production with the amount advance given by the Govt of India in April 2021, to both the vaccine manufacturers in India, it will still take around three years to vaccinate the 70-75% of indian population, required for herd immunity.
So it does not appear realistic to believe that the indian manufactured vaccines are going to suffice. Foreign vaccines are needed to increase the vaccination speed so that maximum population can be vaccinated in smaller frame of time.
I have also heard it said that we are a huge population. Yes we have a huge population, everyone knows it. If 50-60 % of the population can vote in a 2-3 phase elections all over the country, they can be vaccinated in 4-6 vaccinated in a similar way. It is a matter of priorities. If we prioritise public health, good education and quality of life for all, as the matter of utmost importance, then it is an achievable target. Remember, when we started in 1947, we were short of many things, even food shortages and femines were a regular occurrence. As we became sufficient in food requirements and other essentials basic needs in the late 80’s and 90’s, the focus should have shifted to next essentials such as health facilites and good affordable education. In 2006, while in a personal discussion with a few colleagues, I had elaborated this point in detail as to how the public imagination was hijacked from essential matters, and the country was kept to the level of what it was in the 90’s.
The world at large is worried to see the situation in India. The virus and Pandemic don’t respect borders. India is such a large economy that things going bad in India have repercussions for global economy. As I said in a post last year, where I wrote about the pandemic, it has negative impact on micro economics the world over, not affecting as such on the macro economic level. A part of such micro economic strata is within the indian middle class, of which appx. 10 crore people are said to have gone below poverty line in the last one year.
The month of Ramadan is coming to an end, today. The last 10 days of the month are for asking forgiveness from Allah (swt). The devout and the not so devout the world over have been asking for the mercy of Almighty and asking forgiveness of intentional and not intentional, sins, aberrations, bad conduct and deeds, even as small an act as hurting a soul.
The qawwali I am presenting is a 30 minute, long rendition in the traditional naatiya qawwali format. When I read the news of Farid Sabri of Sabri brothers(Jaipur)’s demise, I thought I would prepare a post of one of his qawwali’s. I tried, but could not find one a truly inspiring one. There is one filmy qawwali by him, which I have plans to post sometime.
Then suddenly the crisis of supply of medical oxygen was the big news, with that came the news that Kingdom of Saudi Arabia is sending 80 MT of liquid oxygen to India to assist in the humanitarian crisis. The social media got flooded with clips of the news and this qawwali’s line in the background:
Har dard ki dawaa hai
Mohammed ke shehar mein
I have always known this qawwali, and it is famous one, but I had never seriously listened to it. When I found the qawwali rendition it was a later recording in a studio rendered by Aslam Sabri. Aslam Sabri seems to have sung songs/qawwali in a few films. I was not able to find any connection between him and the famous Sabri brothers of Pakistan, the first family of qawwal’s or to the Sabri brothers of Jaipur.
The qawwali is an expression of the great love and affection that followers of Islam have for the Prophet (pbuh). His beloved and loved city of Madinah and the Prophet’s masjid i. e. Masjid-e-Nabvi, is the focal point of this qawwali. In the extremities of these emotions, it is perhaps traditional or acceptable to go over the top or exaggerate beyond belief system.
About the two holy cities of Makkah and Madinah, the Harmain sharif, are the most visited sites on the face of this earth. At any given time through the year, these places are visited by 30 to 40 lakh people. The visitors arrive for ‘Umrah’ pilgrimage anytime in the year and ‘Hajj’ in the month of Zil-hajj. For the past 15 months, the govt. of Saudi Arabia, has stopped issuing Visa’s for the pilgrimages. This has caused a huge drop in business for the International Airline industry and hospitality industry. Any person connected with these business’s at the international or global level can verify the facts.
Only local citizens or may be expats are permitting to perform Hajj and Umrah. In the history it is the first time that devotees from other parts of the world could not perform Hajj in 2020. This year hopefully, the authorities will allow fully vaccinated people to perform Hajj 2021, while following the COVID protocol and SOP’s. I have visited the sites twice, but never in the month of Ramadan, which I have heard from those who have, is a special time to spend in Makkah and Madinah. It has been two low keys Ramadan’s now for these holy sites. We have been seeing photos and video’s of how the Harmain Sharif is observing the Covid protocols since last year, with very few people. Even the performing of the Salah(namaz) is with people standing 6 feet apart. The namaz in congregation is usually on the ‘fard’ for 2-5 minutes or longer, 10 minutes or so, if the longer surah is recited. In the Islamic faith, the believers stand shoulder to shoulder in a row. This signifies a basic tenet of Islam, where all humans are equal in eyes of Almighty.
Ek hi saff mein khade ho gaye mehmood-o-ayaz
Na koyi banda raha na koyi banda nawaaz
So said ‘Iqbal’, describing how the powerful and the weak of this world are standing shoulder to shoulder in a row for Salah.
This has been an example of how the religion of Islam adopts to the changing situations. The Hadith i. e. traditions of the Prophet(pbuh) also contain examples of how the protocol prescribed by the physicians at the time of spread of infectious diseases are to be followed at all costs. So that’s what the Harmain Sharif’s management and the Kingdom of Saudi Arabia, who are the custodians of the two holy Masajid, have done. This is the way followers of Islamic faith have tried to cope with the changed circumstances, the world over.
We in India, will be celebrating ‘Eid ul fitr’ on 14th of May, whereas the world over, in UK and Australia etc., it being observed on 13th of May, in accordance with the sighting of new moon in Saudi Arabia. The muslims of Kerela also follow the Gulf schedule. Now who ever has seen the world map or has a geographical sense of how the sun, moon and earth rotate and know that India lies in between the continent of Australia and Europe. This is because the Ulema’s in the many part of India have been very particular about following of the technicalities relating to the date and month, in the lunar calender. So we started Ramadhan a day later than most other parts of the world, also Eid is a day later.
Eid Mubarak everyone. May Allah (swt) keep all of us safe and healthy, in his hifz o amaan, and may he grant us the sa’adat of witnessing, praying in, and fasting in the next Ramadan.
Audio
Video
Song-Har dard ki dawaa hai Muhammad ke shahar mein (Haji Aslam Sabri qawwaali)(2014) Singer-Haji Aslam Sabri, MD-Md Tahir
Lyrics
ae ae ae ae
ae ae ae ae
de re na
ae ae ae
aaaaa aaaaaaa
aaaaaa
jab mera jazb-e-junoon
auj ka zeena hogaa
jab mera jazb-e-junoon
auj ka zeena hogaa
phailne aur simatne ka
qareena hogaa
ya madine mein samaa jaayegi
saari ee ee duniyaa
ya aa aa zamaane mein madinaa hi madinaa hogaa
ya nabi aap ke
jalwon mein wo ra’anaayi hai
ya nabi aap ke
jalwon mein wo ra’anaayi hai
dekhne par bhi meri aankh
tamannaayi hai
haq ta’alaa bhi kareem
aur Muhammad bhi kareem
do kareemon ne gunaahgaar ki banaayi hai
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
kyun aa ke ro rahaa hai
Muhommad ke shehar mein ae ae
kyun aa ke ro rahaa hai
Muhammad ke shehar mein ae ae
kyun aa ke ro rahaa hai
Muhommad ke shehar mein ae
har dard ki dawaa hai dawaa
har dard ki dawaa hai
Muhommad ke shehar mein
har dard ki dawaa hai
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
dukh dard-o-alam gham kat-te hain
dukh dard-o-alam gham kat-te hain
dukh dard-o-alam gham kat-te hain
hasnain ke sadqe bant-te hain
Muhommad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Kuchh aisi bheed lag jaati hai
Shah-e-deen ke rauze par
Hawaa ko raasta mushkil se miltaa hai
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
aaa aaaa aa aa
ghamon se jab bhi tabeeyat
malool hoti hai
to shaad kaam banaam-e-rasool hoti hai
ho jis duaa mein Muhammad ka waasta shaamil
huzoor-e-haq wo yaqeenan qubool hoti hai ae ae
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
hawaayen bhi adab ke saathh chalti hain
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
haathh mein tasbeen baghal mein musallah
haathh mein tasbeen baghal mein musallah
lab pe jaari Allah Allah
lab pe jaari Allah Allah
kehti hui pahunchi bait-ul-llah
kehti hui pahunchi bait-ul-llah
aur pukaari aye mere Allah
aur pukaari aye mere Allah
tu gadha ko jo nawaaze
to shehenshah bane ae
aur yateemon ko jo chaahe ae ae
to payambar kar de
aye mere Allah
to awaaz aayi
pagli…
mere parde mein wehdat ke siwaa kya hai
ja jo tujhe lena hai le
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Duaaon ma multaji hoon
yeh chaar misre jo pesh kar raha hoon
ye sun kar mere haq mein bhi duaa karen
ke aisa ho jaaye
mere baare mein kuchh
irshaad kiya jaayegaa aa
mere baare mein kuchh
irshaad kiya jaayegaa aa
dil-e-nashaad ko phir shaad kiya jaayegaa
main ye ummeed lagaaye huye
baithhaa hoon huzoor
ek baar aur mujhe yaad kiya jaayegaa
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
Muhammad ke shehar mein
aao gunaahgaaron
chalo sar ke bal chalen aen
aao gunaahgaaron
chalo sar ke bal chalen aen
aao gunaahgaaron
chalo sar ke bal chalen aen
chalo sar ke bal chalen
chalo sar ke bal chalen en
haan chalo sar ke bal chalen en
chalo sar ke bal chalen en
chalo chaloo
sar ke bal chalen
chalo sar ke bal chalen
waja pesh kar raha hoon
samaat farmaayen
wahaan sar jhukaate hain auliyaa
wahaan sar jhukaate hain auliyaa
wahaan sar jhukaate hain auliyaa
wahaan paaon rakhna rawaa nahin
chalo sar ke bal chalen ea
chalo sar ke bal chalen ea
chalo sar ke bal chalen
chalo sar ke bal chalen
chalo sar ke bal chalen
naazaan hai jis pe husn
wo husn-e-rasool hai
yeh kehkashan to
aap ke qadmon ki dhool hai
ae reh rawaan-e-shauq
chalo sar ke bal chalen en
chalo sar ke bal chalen
chalo sar ke bal chalen
chalo sar ke bal chalen
chalo sar ke bal chalen
begaana-e-irfaan ko
haqueeqat ki khabar kya
jo aap se waaqif na ho
wo ehl-e-nazar kya
manzoor-e-nazar kaun huaa
iss ki khabar kyaa
wo fazl pe aa jaaye to phir
a’iyb-o-hunar kya
kaamil ko dar-e-yaar ke sajdon se na roko o
qurbaan jahaan dil ho wahaan qeemat-e-sar kya
chalo sar ke bal chalen en
chalo sar ke bal chalen
chalo sar ke bal chalen
chalo sar ke bal chalen
chalo sar ke bal chalen
aao gunaahgaaron
chalo sar ke bal chalen en
aao gunaahgaaron
chalo sar ke bal chalen en
aao gunaahgaaron
chalo sar ke bal chalen en
tauba ka dar khulaa hai
tauba ka dar khulaa hai
Muhammed ke shehar mein
tauba ka dar khulaa hai
Muhammed ke shehar mein
tauba ka dar khulaa hai
Muhammed ke shehar mein
tauba ka dar khulaa hai
Muhammed ke shehar mein
qadmon ne unn ke khaak ko
kundan banaa diyaa aa
qadmon ne unn ke khaak ko
kundan banaa diyaa aa
qadmon ne unn ke khaak ko
kundan banaa diyaa aa
Allama Iqbal ka nazraana-e-aqeedat
Sarkar ke
qadam-e-mubarak
ki roshni mein
teri nigaah se zarre bhi meher o maah bane
gadaaye besar-o-samaan jahaan panaah bane
huzoor hi ke karam ne mujhe tassalli di
huzoor hi mere gham pe meri panaah bane
zamaana vazdo kunaa ab bhi unn ke tauq mein hai ae
gaar-e-hira se muraad hai
zamaana vazdo kunaa ab bhi unn ke tauq mein hai
jo koh a dasht kabhi teri jalwaagaah bane
wahi maqaam muhobbat ki jalwaagaah bane
jahaan jahaan se wo guzre jahaan jahaan pahunche ae
qadmon ne unn ke khaak ko
kundan banaa diyaa aa
qadmon ne unn ke khaak ko
kundan banaa diyaa aa
qadmon ne unn ke khaak ko
kundan banaa diyaa aa aa
mitti bhi keemiyaa hai
mitti bhi keemiyaa hai
Muhammed ke shehar mein
mitti bhi keemiyaa hai
Muhammed ke shehar mein
mitti bhi keemiyaa hai
Muhammed ke shehar mein
mitti bhi keemiyaa hai
Muhammed ke shehar mein
sadqaa lutaa raha hai
khudaa unn ke naam kaa aa
sadqaa lutaa raha hai
khudaa unn ke naam kaa aa
sadqaa lutaa raha hai
khudaa unn ke naam kaa aa
sonaa nikal rahaa hai
sonaa nikal rahaa hai
Muhammed ke shehar mein
sonaa nikal rahaa hai
Muhammed ke shehar mein
sonaa nikal rahaa hai
Muhammed ke shehar mein
sonaa nikal rahaa hai
Muhammed ke shehar mein
sab to jhuke hain
khaana-e-kaabaa ke saamne ae ae
sab to jhuke hain
khaana-e-kaabaa ke saamne ae ae
aa aa aa aa aa
aa aa aa aa
(maulana ahmed razzak allah barelvi rahmatullah ….ka nazraana e aqeedat
aur sufi bismil baba ?? hilaali ka nazraana e aqeedat jam kar raha hoon is misre par samaat farmaayen )
haajiyon aao shehnshaah ka rauza dekho
kaaba to dekh chuke kaabe ka kaabaa dekho oo
madinaa woh hai ke kaabaa bhi sajdaa kartaa hai ae
kaabaa khud taibaa ki jaanib jhuktaa lagta hai ae
kaabe ka kaaba sarkar ka rauza lagtaa hai ae
phool gulaab ka aap ke chehre jaisa lagta hai ae
aur chamaktaa chaand nabi ka talwa lagtaa hai ae
sab to jhuke hain
khaana-e-kaabaa ke saamne ae
sab to jhuke hain
khaana-e-kaabaa ke saamne ae
sab to jhuke hain
khaana-e-kaabaa ke saamne ae
kaabaa jhukaa huaa hai
kaaba jhukaa huaa hai
muhammed ke shehar mein
kaaba jhukaa huaa hai
muhammed ke shehar mein
kaaba jhukaa huaa hai
muhammed ke shehar mein
kaaba jhukaa huaa hai
muhammed ke shehar mein
aaaa aaaa
aaaa aaaa
aaaa aaaa
aaaa aaaa
saaya nahi hai gumbad-e-khizra ka aaj bhi ee
saaya nahi hai gumbad-e-khizra ka aaj bhi
aa aa aa aa aa
saaya nahi hai gumbad-e-khizra ka aaj bhi ee ee
samaeen-e-ikram
Aslam sabri
ba-chashm-e-khud
dekh chuka hai
saaya nahi hai gumbad-e-khizra ka aaj bhi ee ee
khinchaa kuchh
is niraali shaan se
naqsha Muhammad ka aa
ke naqqash-e-azal bhi hogayaa
shaidaa Muhammed kaa
koyi kya dekhtaa aks-e-qad-e-baala
Muhammed ka
Saraapa noor wo qaamat-e-zebaa
Muhammed ka
Isi ba’ayis nazar aata na thha
Saaya Muhammed ka aa
saaya nahin hai gumbad-e-khizra ka aaj bhi ee ee
saaya nahin hai gumbad-e-khizra ka aaj bhi ee ee
main tujhe a’alam-e-ashya’a mein bhi paa leta hoon
log kehte hain ke hai a’alam-e-baalaa teraa
ek baar aur bhi hazrat ne falasteen diyaa
raasta dekhti hai masjid-e-aqsaa teraa
poore qad se main khadaa hoon ye karam hai teraa
mujh ko jhukne nahin detaa hai sahaara teraa
log kehte hain ke saaya tere paikar ka na thha
main to kehtaa hoon jahaan bhar pe hai saaya teraa
yehaan tak shauq-e-deedar-e-nabi thha haq taalaa ko o
toone bhejaa yehan waan rakh liyaa saaya
saaya nahin hai gumbad-e-khizra ka aaj bhi ee
saaya nahi hai gumbad-e-khizra ka aaj bhi
saaya nahi hai gumbad-e-khizra ka aaj bhi ee
zindaa ye ma’ujzaa
ma’ujzaa
zindaa ye ma’ujzaa hai
Muhammed ke Shehar mein ae
zindaa ye ma’ujzaa hai
Muhammed ke Shehar mein
zindaa ye ma’ujzaa hai
Muhammed ke Shehar mein
zindaa ye ma’ujzaa hai
Muhammed ke Shehar mein
Dhoondha khuda ko dhoondhne
waalon ne har jagah
Dhoondha khuda ko dhoondhne
Waalon ne har jagah
Dhoondha khuda ko dhoondhne
waalon ne har jagah
lekin khudaa milaa hai milaa
lekin khuda milaa hai
Muhammed ke Shehar mein
lekin khudaa milaa hai
Muhammed ke Shehar mein
lekin khudaa milaa hai
Muhammed ke Shehar mein
lekin khudaa milaa hai
Muhammed ke Shehar mein
(hazraat
kuchh nayaa ashaar pesh kar raha hoon)
Khudaa azal se huaa aisa mubtala’a-e-rasool
Ke kaayenaat ko paida kiya baraa-e-rasool
Dilon ko bhaa gayi kuchh iss tarah adaa-e-rasool
Ke jaan-o-dil se sahaba huye fida-e-rasool
Dil-o-nigaah ki duniyaa pe aise chhaaye rasool
ke kaiynaat ki har shai mein jagmagaaye rasool
Agar huzoor na hote to kuchh nahin hotaa
Ye kaiynaat banaayi gayi baraa-e-rasool
Maloon jabeen pe basaaun main apni aankhon mein
Mile naseeb se mujh ko jo khaak-e-paa-e-rasool
Muhammed ke Shehar mein
Muhammed ke Shehar mein
Muhammed ke Shehar mein
Muhammed ke Shehar mein
(hazraat
sufi bismil baba ka ye nazraana jo aapne
peshtar suna
ye nazraana bhi unhin ne pesh kiya hai
Aslam Sabri ki aawaaz mein khuloosh(??) se sunen)
Baab-e-asar khula hai Mohammed ke Shehar mein
Maqbool har duaa hai Mohammed ke shehar mein
Khushiyon ka dar khula hai Mohammed ke Shehar mein
Kyun ghamzada khada hai Mohammed ke Shehar mein
dhokha fareb
ye sher tavajjuh(??) ka aamil hai
jo log baargaahe risaalat mein haaziri ka ?? haasil kar chuke hain
wo gawaah hain
jo pesh kar rahaa hoon ??
Dhoka fareb jhoot dagha aur kalaam-e-bad
koyi na jaanta hai Mohammed ke Shehar mein
behre salaam aate hain har dam malaaye kaa (??)
behre salaam aate hain har dam malaaye kaa (??)
behre salaam aate hain har dam malaaye kaa (??)
Jaari yeh silsilaa hai
Jaari yeh silsilaa hai Mohammed ke Shehar mein
Jaari yeh silsilaa hai Mohammed ke Shehar mein
Jaari yeh silsilaa hai Mohammed ke Shehar mein
Jaari yeh silsilaa hai Mohammed ke Shehar mein
(samaat farmaayen
kuchh naye ashaar pesh kar rahaa hoon)
Har subaha khushnumaa hai Mohammed ke Shehar mein
Har shaam dilrubaa hai Mohammed ke Shehar mein
Dil ka sukoon
rooh ki taskeen
nazar ka noor,
Bikhra hua pada hai Mohammed ke Shehar mein
(ye sher bahut pasand hai mujhe)
Allah re yeh masjid-e-nabwi ki raunaqen
Allah re yeh masjid-e-nabwi ki raunaqen
Jannat ka dar khula hai Mohammed ke Shehar mein
Har zakhm ke liye yehaan marham hai dastiyaab
Har zakhm ke liye yehaan marham hai dastiyaab
Har dard ki dawaa hai Mohammed ke Shehar mein
balke yoon kahoon ki
Har zakhm ke liye yehan marham hai dastiyaab
Har dard khud dawaa hai Mohammed ke Shehar mein
Iss sar zameen ke khaar bhi phoolon se kam nahin
Kaanta bhi gulnuma hai Mohammed ke Shehar mein
Duniya mein uss ne dekh li jannat ba-chashm-e-khud
Jo reh ke aa gayaa hai Mohammed ke Shehar mein
(agla sher sunen)
Shehar-e-nabi ki hadd ka ta’ayyun mahaal hai ae
Shehar-e-nabi ki hadd ka ta’ayyun mahaal hai ae
Shehar-e-nabi ki hadd ka ta’ayyun mahaal hai ae
A’alam basaa huaa hai
A’alam basaa huaa hai Mohammed ke Shehar mein
A’alam basaa huaa hai Mohammed ke Shehar mein
A’alam basaa huaa hai Mohammed ke Shehar mein
A’alam basaa huaa hai Mohammed ke Shehar mein
Be-parda sab ke saamne chamka khudaa ka noor
Abu jehl phir bhi dekh na paaya khudaa ka noor
Arsh-e-bareen se kam nahin taiba ki sar zameen
Khud jis ki god mein khud simat aaya khudaa ka noor
Taarif kya bayaan ho jamaal-e-rasool ki
Shakl-e-bashar mein wo hain saraapa khudaa ka noor
Ae raaz tu to hind mein maujood hai magar
Deen aa ke padh rahaa hai Mohammed ke shehar mein
Main kya kahoon ke kya hai Mohammed ke Shehar mein
Be-pardaa khud khudaa hai Mohammed ke Shehar mein
Aslam wo din bhi aaye ke sab log yeh kahen ea
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
Aaaa aaaaaa
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
Aaaa aaaaaa
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
Aaaa aaaaaa
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
Aaaa aaaaaa
ni sa sa re sa
sa ni sa sa re sa
ni sa sa re sa
sa ni sa sa re sa
Aaaa aaaaaa
ni sa sa re sa
sa ni sa sa re sa
aa aa aa aani sa sa re sa
sa ni sa sa re sa
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
ni sa re ma pa ni
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
pa ma pa ma re ma
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
sa re ni sa pa ni pa
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
re sa
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
yaa habeeb
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
ya mustafa
Bismil bhi jaa rahaa hai Mohammed ke Shehar mein
ya mustafa
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.
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Blog Day : |
4355 | Post No. : | 15676 | Movie Count : |
4319 |
In Hindi film industry, there are very few producer-directors who make the films out of their passion for bringing to the notice of the public at large, the social issues which they consider to be important. The mainstream film makers would generally avoid in their films such subjects as they are not money spinners at the box office unless they add ‘spices’ to those social issues to make it the box office success. I had earlier discussed such producers/directors like Nagesh Kukunoor and Sai Paranjpye. I guess, the main driving point for them in making socially relevant films is the creative satisfaction and probably the international recognition they may get. Showmanship in terms of top star actors, music directors, lyricists, costly sets and costumes and the marketing blitz before the release of the films do not fit into their budget.
‘Lakshmi’ (2014) was one socially relevant film based on a true story of child trafficking and prostitution. How did Nagesh Kukunoor got the idea of making ‘Lakshmi’ (2014)?
As revealed by Nagesh Kukunoor in a couple of interviews for the magazines, he was on a visit to a rescue shelter for child prostitutes run by a NGO, where he heard several stories of exploitation – both physical and emotional which were of very disturbing nature. But there was a story of one minor girl, Lakshmi who was kidnapped by a child trafficker and sold to a brothel. Despite all odds, she fought bravely, took the traffickers to the court and came out triumphant. All the rescued girls had only one wish list that such exploitation should not happen to other girls. Nagesh Kukunoor found the experience very moving and decided to make a film on it.
The biggest problem for Nagesh Kukunoor was that though he got the start and the end of Lakshmi’s real story, he was almost blank as to what happened in-between the start and end of the story. He felt that it was not proper to make the girl to relive the trauma she faced in the brothel. So, he relied on the inputs from NGOs as to how the girls were treated in the brothels and his own imagination to fill the gaps in the story. Hence, he calls his film ‘Lakshmi’ (2014) as ‘a fictional account of a true story’.
There was a problem in selecting the actor for the main role of Lakshmi who should be around 14 years of age. But it would be awkward for the director to discussed with a minor actor or with her parents, the scenes involving her activities in the brothel. So, Nagesh Kukunoor dropped the idea of making the film.
In a filmy party, Nagesh Kukunoor met the playback singer, Monali Thakur who was 21, but looked much younger because of her lean figure and small face. He thought that with proper costumes and hairstyles, she could be made to look like a 14-year girl. Fortunately for Negesh Kukunoor, Monali Thakur agreed to do the role of Lakshmi in the film though she had never acted earlier. So, the main actors for the film – Monali Thakur, Satish Kaushik, Shefali Shah besides Nagesh Kukunoor in the role of a pimp was finalised. Ram Kapoor acted in the role of an advocate for Lakshmi. The film was completed in 22 days of shootings which took place in around Hyderabad. The film faced some hurdles in the Censor Board but eventually got the certification for adult viewing.
I had watched the film on a video sharing platform a few years back but had left it half way as some of the scenes involving the crime and violence were very disturbing. Recently, I watched the film once again skipping disturbing scenes in-between but up to the end involving court-room scenes. The gist of the story of the film is as under:
Lakshmi (Monali Thakur), a minor girl, is sold to Reddy Garu (Satish Kaushik) by her father. Reddy is a child trafficker who runs a brothel in Hyderabad in the guise of a girls’ hostel as a ‘shelter for orphaned girls. He is assisted by Chinna (Nagesh Kukunoor) who is his front man for his brothel activities. But the kingpin for the immoral activities is a city corporator, Radha (Gulfam Khan). Initially, Reddy keeps Lakshmi in his house, giving her estrogen injections by his personal doctor in the name of injections for her weakness. After 3 weeks, she is sent to the brothel under the custody of Madam Jyothi (Shefali Shah) who is a tough both with her girls and clients but kind-hearted. Jyothi has a daughter who is studying engineering but she is not aware of her mother’s nature of job. Chinna often abuses Jyothi, both verbally and physically for not doing her job properly.
One day, Lakshmi runs away from the brothel and tries to register an FIR in the police station against the illegal activities going in the so called girls’ hostel. But instead of acting on her tip, the news is leaked out to Reddy who through Chinna catches her while on the run. He assaults her with his wooden club stubbed with nails. (did Chinese get the idea from this film!) so that she would not dare try to run away again. But she tells him that she would surely flee from brothel one day.
Since Reddy and Chinna get free every time there is a raid on the brothel, a social worker, Mohan (Ramkrishna Shenoy) sets a trap by becoming a bogus customer and record the activities in a room with a hidden camera with marked currency notes etc. A police raid on the brothel leads to the arrest of Reddy and Chinna along with Jyothi and girls. Girls are sent to the shelters run by Mohan for child prostitute. Both Reddy and Chinna get bail and the brothel is again opened.
Girls are not happy in the shelter house as neither the work interests them nor their parents and the society honourably accept them. So, one by all girls are back to the brothel except Lakshmi who says to Mohan that she would fight the battle in the court. Encouraged by her stand, Mohan and another lady social worker take her to an advocate, Avinash (Ram Kapoor) who had stopped his practice some years back due to nervous breakdown which in turn was because of the unethical activities of his fellow advocates who could be bought by the interested parties and the manipulation of witnesses.
After listening to the case, Avinash, refuses to take up the case on behalf of Lakshmi as during his practice on Prevetion of Immoral Trafficking Act (PITA) cases, the complainers did not stand up to the uncomfortable questions put forward by the defense advocates and key witnesses became hostile. Thus, all the cases were dismissed. He further states that not a single case under PITA has gone in favour of the aggrieved parties since the introduction of the Act because of this reason as well as aggrieved parties taking back their complained either due to threat or with money power. Lakshmi says with conviction that she will not change her statement. Her firm commitment makes Advocate Avinash to agree to fight the case on behalf of Lakshmi.
In the court, the defense lawyer asks Lakshmi very uncomfortable personal questions relating to her activities in the brothel so that she avoids answering which will make the case weak against the accused. The video footage of marked currency notes changing hands at the brothel did not carry weight as the defense lawyer says that the video could have been doctored. Also, being the girls hostel, the money could be changing hands due to legitimate activities of the hostel. in the absence of FIR and the medical report for rapes in the brothel at the material time, Advocate Avinash has no other proof to substantiate the charges made by Lakshmi.
The only proof which Mohan had with him was a long video footage of the room in which Lakshmi was raped in the brothel by 7 clients in the whole night which was recorded in a concealed close-circuit video camera which Mohan had installed with the connivance of Madam Jyothi. But the video footage is too personal to be displayed in the court room. But the urge in Lakshmi to punish Reddy and Chinna was so great that she agreed for the display of the video footage in the court. Also, the witness statement from the personal doctor of Reddy favouring Lakshmi’s contention and the video footage turned the court’s decision in favour of Lakshmi. Reddy, Chinna and Corporator Radha were found guilty under PITA and IPC and they were sentenced 10 years of imprisonment. Lakshmi’s father was also jailed for abatement of the crime.
Monali Thakur made a debut as an actor in the film and she has acted brilliantly though she could have been better trained in her dialogue delivery in Hyderabadi Hindi. She had displayed a very innocence face through out the film so much so that even after her bold decision to fight the case in the court, one never find aggressiveness in her face or in voice. She has played the role in a subtle way. Satish Kaushik in the role of Reddy has acted well but his dialogues with north Indian accents have let him down. On the other hand, Nagesh Kukunoor as Chinna the pimp, has excelled in his dialogues in Hyderabadi Hindi but was somewhat weak in his acting. Ram Kapoor as an advocate for Lakshmi has done excellent performance as an advocate.
As mentioned earlier, the film has some very disturbing scenes. The dialogues are raunchy. But these are expected in the film with the brothel having the central place in the story. Probably, on this background, Nagesh Kukunoor as a producer was not keen on releasing the film widely. The film was release in some select theatres all over India and mostly in the morning slots. However, the film was shown in International film festivals. In Palm Spring Film Festival, 2014, the film won the audience award for the best film among 191 films screened. The film was also shown free to many social organisations all over India.
‘Lakshmi’ has four songs – all as background songs. I am presenting the first song “Sun Ri Baawli Tu Apne Liye Khud Hi Maang Le Duaa” sung by Papon (real name: Angarag Mahanta). The song is written by an upcoming lyricist, Manoj Yadav which is set to music by Tapas Relia, also an upcoming music director from Gujarat.
I find the use of the words in lyrics interesting. The lyrics sounds like that 1960s and 1970s songs. A search in the internet gives me a profile of Manoj Yadav as the son of a mill worker of Mumbai who has spent his major life in Mumbai with summer holidays being spent in Gorakhpur, his native place. He says in one of the interviews that Gulzar’s jingles “Jungle Jungle Pata Chala Hai” which he had watched in his childhood influenced him to write poems. He started his career as a jingle writer for advertising films where Tapas Relia was one of the music directors. Then he gradually moved into Hindi films as song writer. So far, he has written lyrics for about 60 songs in 36 films since 2012.
The song under discussion is used as a background song in parts in 4 different situations in the film. Probably for this reason, the video clip of the song is not available. However, Tips, the owner of the music rights of the songs in the film has made a video clip of the song remixing some scenes from the film with the playback singer Papon while keeping intact the original sound track of the song in the video. The audio clip contains the elongated song.
Remixed Video
Video
Song – Sun Ri Baawli Tu Apne Liye Khud Hi Maang Le Duaa (Lakshmi) (2014) Singer – Papon (aka Angarag Mahanta), Lyrics – Manoj Yadav, MD – Tapas Relia
Lyrics
ae aa aa ae aaa
o o o o o
uu uu uu uu
ha aa aa aa
re re re re re
la ra aa ra aa aa
sun ri baawli tu apne liye
khud hi maang le duaa
koi tera na hona
sun ri baawli tu apne liye
khud hi maang le duaa
koi tera na hona
bejaar saa nazar aaye jo
tere saamne tera masihaa
wo tera na hona
tan kaa kamra man ki kothi
saanson kaa khel khilona aa aa
kesh mein suraj khos ke chalna
kabhi koi raat miley na aa aa
sun ri baawli tu apne liye
khud hi maang le duaa
koi tera na hona
ho o o
toothe taare uthaa le…
unse chanda bana le….ae..
toothe taare uthaa le
unse chanda bana le
thaam aanchal ka kona
usse tu aasmaan bana le
dhoop hai doli chhaavn hai dulhan
khud se preet chhodna
kesh mein suraj khos ke chalna
kabhi koi raat miley na aa aa
sun ri baawli tu apne liye
khud hi maang le duaa
koi tera na hona aa aa
ho o o
ud jaana jab
udne ka man ho.. ho…o o o
ud jaana jab
udne ka man ho
bharose raai ke lena??
tu hi tera hausla ho
likhne de jo bhi likhta hai lamha
uske haath rok na aa
kesh mein suraj khos ke chalna
kabhi koi raat miley na aa aa
sun ri baawli tu apne liye
khud hi maang le duaa
koi tera na hona
bejaar saa nazar aaye jo
tere saamne tera masihaa
wo tera na hona
tan ka kamra man ki kothi
saanson kaa khel khilona aa
kesh mein suraj khos ke chalna
kabhi koi raat miley na aa
sun ri baawli tu apne liye
khud hi maang le duaa
koi tera na hona…
sun ri baawli ae ae ae
sun ri baa…wli ee ee
sun ri baawli ee ee
sun ri baawli ae ae ae ae
Jhuke Tere Aage Sar
Posted on: January 26, 2018
- In: "Sports" song | Devnagri script lyrics by Sudhir | Guest posts | Indie Pop | Inspirational song | Lyrics by Peevesie's mom | Lyrics contributed by readers | Patriotic song | Post by Peevesie | Salim Merchant Song | Songs of 2010s (2011 to 2020) | Songs of 2014 | Vishal Dadlani Song | Yearwise breakup of songs
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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 : | 3479 | Post No. : | 13977 |
Republic day is a holiday that nearly everyone looks forward to in this country.
As a kid I would hate the day, though. We would have to get ready even earlier than usual, find our way to school for the ‘jhanda vandan’ – flag hoisting ceremony. I would usually be both in the marchpast and the patriotic dance. So, I would have to do a sneak off as soon as the flag is hoisted and get in costume for a badly choreographed patriot dance which had more in common with the actions that accompany a nursery rhyme.
I would then head back home where the society ‘jhanda vandan‘ would be over already and there would be poha for breakfast. My friends and I would chill together and then head home once our parents have finally gone hoarse from calling out to us for lunch. Then of course it would be the ol’e hearty meal and hearty sleep routine.
These days I love the day like the rest of the adult population. Which to be honest is mostly because it’s an off for nearly everyone and most people get to sleep in on a weekday. Except maybe liquor store owners and alcoholics. It is a difficult day for them indeed.
I know I sound cynical, but the way our country is right now, we manage to find our inner patriotism and urge to display our constitutional values only twice a year. We find it in ourselves to be socialist, liberal, proud of our diversities, and nationalist with a urge to do genuine social good. We talk about ‘swachhta abhiyan‘ over non-biodegradable thermocol cups of tea and foiled paper plates of food and plastic spoons. We have really taken our country for granted in a manner that is unprecedented in history.
The other day at the pre-Republic Day annual get together in my society, the party was ended with a loud cheer for a late communal regional leader of Maharashtra. My friends and I had a really uncomfortable look exchange and we then had a private conversation about how certain views sometimes get expressed in our families that we choose to remain silent out of respect for the elders in question. There was also a general agreement that the current political environment leaves very little space for the youth to be fully socialist liberals and thus we are choosing to be capitalists looking to make our way.
I think it’s high time we decide to be patriots outside the National holidays, cricket stadiums and the auditoriums of sports-based movies. Let us inculcate the values that make our nation move forward.
And meanwhile let me introduce some of you to a patriotic song from a recent sports-based movie, ‘Mary Kom’ (2014).
[Ed Note: With this song, the film ‘Mary Kom’ makes its debut on our blog today.]
Audio
Video
Song – Jhuke Tere Aage Sar (Mary Kom) (2014) Singers – Vishal Dadlani, Salim Merchant, Lyrics – Sandeep Singh, MD – Shivam
Chorus
Lyrics (Provided by Peevesie’s mom)
jhuke tere aage sar
teri god mera ghar
hai tujhe salaam india
india
mushkil waqt mein bhi
hum na khoyen hausla
mil ke saath chalne ka yoon kar len faisla
mitti hum jo choome to milta josh hai
bas teri hi khaatir jaan ye sarfarosh hai
jeet ka jashan hum manaayenge
aasmaan tiranga sajaana aaj hai
shaan se sabhi ko bataayenge
jeet lenge ye saara jahaan
jhuke tere aage sar
teri god mera ghar
hai tujhe salaam india
jhuke tere aage sar
teri god mera ghar
hai tujhe salaam india
india aa aaaaaaa
india aa
india
ho abr se iraade hon
koshisho ke waade hon
manzil milegi chaahe raahein hon khafa
aaaaaaaaaa
ho abr se iraade hon
koshisho ke waade hon
manzil milegi chaahe raahein hon khafa
desh ye sikhaata hai
himmatein badhaata hai
thhokar se gir ke na tu rukna be-wajaah
tera ye watan
kar kuch bhi jatan tu
jaan bhi is pe luta de tu
dar ko dara ke raggon mein fateh ka josh jaga
arsh ki udaane lagani hain
in hawaaoon ka rukh badalna aaj hai
desh ye ibbadat humari hai
de tu ye aaj sab ko bataa
jhuke tere aage sar
teri god mera ghar
hai tujhe salaam india
jhuke tere aage sar
teri god mera ghar
hai tujhe salaam india
jhuke tere aage sar
teri god mera ghar
hai tujhe salaam india
jhuke tere aage sar
teri god mera ghar
hai tujhe salaam india
aaaaaa
———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-
झुके तेरे आगे सर
तेरी गोद मेरा घर
है तुझे सलाम इंडिया
इंडिया
मुश्किल वक़्त में भी
हम न खोएँ हौसला
मिलके साथ चलने का यूं कर लें फैसला
मिट्टी हम जो चूमें तो मिलता जोश हाओन
बस तेरी ही खातिर ये जां सरफरोश है
जीत का जशन हम मनाएंगे
आसमां तिरंगा सजाना आज है
शान से सभी को बताएँगे
जीत लेंगे ये सारा जहान्
झुके तेरे आगे सर
तेरी गोद मेरा घर
है तुझे सलाम इंडिया
झुके तेरे आगे सर
तेरी गोद मेरा घर
है तुझे सलाम इंडिया
इंडिया॰॰आ॰॰आ॰॰आ
इंडिया॰॰आ
इंडिया
हो अब्र से इरादे हों
कोशिशों के वादे हों
मंज़िल मिलेगी चाहे राहें हों खफा
आ॰॰आ॰॰आ॰॰आ
हो अब्र से इरादे हों
कोशिशों के वादे हों
मंज़िल मिलेगी चाहे राहें हों खफा
देश ये सिखाता है
हिम्मतें बढ़ाता है
ठोकर से गिरके तू ना रुकना बेवजह
तेरा ये वतन
कर कुछ भी जतन
जां भी इस पे लुटा दे तू
डर को डरा के रगों में फतेह का जोश जागा
अर्श की उड़ाने लगानी हैं
इन हवाओं का रुख बदलना आज है
देश ये इबादत हमारी है
दे तू ये आज सबको बता
झुके तेरे आगे सर
तेरी गोद मेरा घर
है तुझे सलाम इंडिया
झुके तेरे आगे सर
तेरी गोद मेरा घर
है तुझे सलाम इंडिया
झुके तेरे आगे सर
तेरी गोद मेरा घर
है तुझे सलाम इंडिया
झुके तेरे आगे सर
तेरी गोद मेरा घर
है तुझे सलाम इंडिया
आ॰॰आ॰॰आ॰॰आ
Abhi To Party Shuru Hui Hai
Posted on: May 14, 2017
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.
Atul ji’s 10K Song Milestone Celebrations – 14
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So, let me start by prefacing that that I am probably the slowest contributor of this blog. While people like Sudhir ji have over a 1000 posts, and my own mother is slowly inching towards 200, this one is a measly tenth post by me. Earlier college and now my work life, leaves me with barely any time and energy to write for this much loved blog of ours. However, I still do lurk and read regularly everything that all of you write. And that’s when I realize, my busy schedule is probably just an excuse for my laziness. For when, Atulji can have written a whopping 10,000! Posts, what other reason can be there for me not having more than ten?
Read more on this topic…
Happy budday to you
Posted on: October 26, 2015
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Hi to all in Atuldom
Here is a quick quiz. Can anyone tell what is 26th October all about? Well well since this is a post by me obviously the answer to the quiz is birthday. But whose? One of our —ahh is it ok if I call the person a founder follower of the blog? One who has seen this ASAD from day one. Someone whose farmaish was first on the blog. Someone who saw the exclusive farmaish page on the blog first and sent a list of 5 farmaishes. One who was Atulji’s online friend first before physically meeting him. Am I right Atulji?
Read more on this topic…
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 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.
Songs have become an integral part of Hindi films since the advent of talkies in 1931. In the early 1930s, most of the Hindi film songs were influenced by the Hindustani classical ragas. This was understandable as most of the music directors of that period had exposure to Hindustani classical music. However, from the 1940s, songs based on semi-classical genres such as Thumri, Dadra, Khayal and folk music began to playe a predominant role in Hindi film music. The impact of Begum Akhtar on film music was evident as even ghazals were sung in thumri format in the films. At the same period, Kolkata based music directors were greatly influenced by Rabindra Sangeet while composing Hindi and Bengali film songs.
Read more on this topic…
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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