Archive for the ‘Songs of 2015’ Category
Jaata Kahaan Hai Deewaane
Posted on: January 22, 2024
- In: Club song | Devnagri script lyrics by Sudhir | Guest posts | Lyrics by Prakashchandra | Lyrics contributed by readers | Neeti Mohan Solo Songs | Neeti Mohan Songs | One song used in more than one movie | One song used in two movies | Post by Sudhir | Song used in more than one film | Songs of 1950s (1951 to 1960) | Songs of 1956 | Songs of 2010s (2011 to 2020) | Songs of 2015 | Songs reused again in subsequent movies | Yearwise breakup of songs
- 3 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5666 | Post No. : | 18170 | Movie Count : |
4877 |
Songs Repeated in Hindi Films – 30
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Ah yes, another iconic song from the Golden Era is being reused. It no longer surprises me to continue discovering such reuse songs from the films of recent vantage. Here is this wonderful creation of Majrooh Sultanpuri and OP Nayyar Sb which is now used once again in the film ‘Bombay Velvet’ of 2015.
January is the OP Nayyar month.
Remembering OP Nayyar Sb, the maestro of melody and rhythm who literally ruled the Hindi cinema in the 1950s and 60s. Born on the 16th, he passed away on the 28th. Both memories belong to this month. If alive, he would have been 98 this month.
This song belongs to an extra special sub category of the reuse phenomena. Originally created for the super hit noir thriller ‘CID’ of 1956, it never saw the light of the projector lamp. For the reason that it was not included in the film. Yes, in the reuse category, we do occasionally come across songs which were originally created for a specific film, but eventually not included. Later after some decades, the song appeals to the producer of another film. It gets a new lease of life and gets included in another film. The original credits remain though.
It is quite incidental that I discover this reuse song, and about the same time, I also am part of a discussion on the original appearance of this song, which did not happen. Interestingly, two strikingly divergent stories/explanation were discussed. The prevalent story that people know about this song and its non-inclusion in the film, is attributed to Raju Bhartan. When I came across this reuse version, I had a brief conversation first with Bakshi ji. I was not certain whether the video version of the original was available. Bakshi ji felt that he had probably seen this video, that might have leaked out many years after the original release.
As per Raju Bhartan, the song was excluded because of censor objections. He relates in his writings, that the censors had objections to the words of the song. One part is the mukhda line – “Jaata Kahaan Hai Deewane, Sab Kuchh Yahan Hai Sanam”. Another version of the censor story is word ‘fiffy’ in the title lines. The producer tried to explain that this word in fact has no meaning. But the censors caught on to say that it is then all the more suspicious that this is an obscene and objectionable word. And so the censor scissors did the needful.
Then a second background story, a new (for me), of the reason behind exclusion was shared. This was shared by Peeyush Sharma ji, who is currently settled in Canada. He shared a conversation he had many years ago in Bangalore, with Shri VK Murthy. Murthy ji was the cinematographer of ‘CID’, and he had a different tale to tell.
This song was supposed to be picturized on Waheeda Rehman. This was supposed to be what we term on this blog, as a ‘villain’s den’ song. Raj Khosla was the director of the film, but overall charge was Guru Dutt. Two points about him. First, he was a good dancer in his own right, having been trained under Uday Shankar at Almora. Secondly, he is also acknowledged as the master of song picturization par excellence, and only Vijay Anand can be bracketed along with him in this category.
As per Murthy ji, this is what happened on the sets when this song was being picturized. The shooting started. Waheeda ji was in a very revealing dress, with sleeveless top and an exposed mid riff. Just the mukhda was being picturized when Guru Dutt signaled to Raj Khosla, and the shooting was stopped. Guru Dutt said something to the effect that the shooting of this song will need to be re-thought, and suspended the day’s work for the time being. Next day, the work started on a different scene.
A couple of days later, Raj Khosla and Murthy asked Guru Dutt about the abandoned shooting of the song. He replied that he is thinking about it, and will share his plan later. That later never came. And so, contrary to the version popularized by the writings of Raju Bhartan, the song never really got picturised, as per Murhty, the cinematographer. This version gains credibility from the fact the video of this song never surfaced, even decades after the release of the film. As per Murthy’s statement, maybe Guru Dutt felt awkward presenting Whaeeda Rehman in such a revealing manner, just in her debut appearance.
Coming to the reuse version. ‘Bombay Velvet’ is a tale of the dark underside of the Bombay world. Set in the second half of the decade of 1960s, it is based on the novel ‘Mumbai Fables’ by Gyan Prakash. In turn, the story and the ambiance of ‘Mumbai Fables’ is inspired by ‘LA Quartet’, a set of four novellas by James Ellroy. These are set in the Los Angeles under belly of the decades of 1940s and 1950s.
The film is a story of love that develops between a small time crook and street fighter Johnny Balraj (role played by Ranbir Kapoor) and Rosie (role played by Anushka Sharma), a singer who performs at shady clubs. It is story with a tragic ending. The love between the two becomes a problem for Johnny’s gangster boss, with few other twists thrown in involving the police, journalists, etc. A shootout happens at the end in which Johnny is killed, and Rosie is seriously injured.
This song is the first introduction of the two protagonists in a shady bar, named Bombay Velvet. It is a regular bar that also serves hookah smoking. Rosie is singing this song, and Ranbir is in an inner room smoking the hookah. He is drawn by the music and comes to the main area and sees her.
He is flamboyant, drunk, and has a bruised eye – appears to have had a fight recently. She is standing in front of a mike and a set of band players, with complete boredom writ large on her face, as if she would rather be somewhere else. Men crowd the room. We can see Manish Chaudhry, who is a newspaperman. Some in the crowd try to approach the singer, Johnny tries to block, a fight ensues – and the singer keeps on singing the song. Quite a scenario.
In the beginning of the video clip we see police inspector Vishwas Kulkarni (role played by Kay Kay Menon) talking on the phone. In the background we hear what is probably a radio playing. A program of film songs is in progress. We hear a snippet of the announcer’s voice which is announcing the next song. The announcer’s voice, overlaid with the phone conversation of Vishwas Kulkarni, is heard saying “. . . की आवाज़ में जिसे संगीत बद्ध किया है ओ पी नय्यर ने . . .” (“. . in the voice of (…) with music composed by OP Nayyar”). A very interesting way to acknowledge the song whose prelude music starts to play from the radio.
The scene shifts and we see Jamshed ‘Jimmy’ Mistry, a newspaper editor (role played by Manish Chaudhry), typing out a crime story about a smuggler’s escape from the prison. The prelude music continues to play in the background. The typewriter visual shifts to the front page of a tabloid newspaper, interestingly titled ‘Glitz’ (a throwback to the famous tabloid ‘Blitz’ that used to be published by RK Karanjia, simultaneously from Bombay and Delhi) carrying the story. The headline is accompanied with a black and white photograph. This photograph very suspiciously looks as if from from one of the earlier Hindi films – maybe ‘Baaz’, maybe ‘Jaal’ – just speculating, I am not able to identify.
The prelude of the song continues and the scene now shifts to Johnny, smoking a hookah, in an interior room of Bombay Velvet. As Johnny takes a puff, the the prelude music gains prominence and we see Johnny, enamored by the music, get up and come to the main area of the club, where Rosie is beginning the song – “Jaata Kahaan Hai Deewaane. . .”. As the song continues, the scene shifts back and forth between Bombay Velvet and to the outside during daytime, in what looks like the old Fort area of Bombay. For a good measure, we see a Victoria, and old model cars in the passing, as the director is trying to recreate the ambiance of Bombay of the 1960s. Johnny is stalking Rosie, trying to get her attention. Back inside the club, another evening, another performance by Rosie, and Johnny is there again. This time, through her visible boredom, Rosie gives a smile to Johnny. Jimmy Mistry also walks in again, and with a giggle Johnny confides in his ear – “Apni hai” (“She is mine”). And the familiarity develops. . .
Maybe the picturization of the song may prompt one to view the complete film.
The song has been used as it has been originally created. The words and the music is exactly the same. Only that it has been re-recorded in a different voice – that of Neeti Mohan. Thankfully, the rhythm and the flow of the song has not been tampered with. No remixing, or additional music effects. Neeti Mohan has been able to sing it quite well, bringing in the various inflections and variations that are in the original rendition. Ah but of course, Geeta Dutt is Geeta Dutt. The original is beyond comparison.
Let us listen to this re-recorded hit song. And enjoy the new visual.
Song – Jaata Kahaan Hai Deewaane (Bombay Velvet) (2015) Singer – Neeti Mohan, Lyrics – Majrooh Sultanpuri, MD – OP Nayyar
Lyrics (Provided by Prakashchandra)
jaata kahaan hai deewaane
sab kuch yahaan hai sanam
baaki ke saare fasaane
jhoothe hain teri kasam
aaaaa
fiffy
kuchh tere dil mein fiffy
kuchh mere dil mein fiffy
zamaana hai buraa
pehlu badalne lage
ghabraake chalne lage
aankhen milin bhi nahin
yoon hi sambhalne lage
ajee suniye huzoor
jaana hamse na door
ajee suniye huzoor
dekho dil hai kisi ka jalaana bura
jaata kahaan hai deewaane
sab kuch yahaan hai sanam
baaki ke saare fasaane
jhoothe hain teri kasam
fiffy
kuchh tere dil mein fiffy
kuchh mere dil mein fiffy
zamaana hai buraa
saiyyaad hai tu magar
mujhko na yoon tan ke dekh
naadaan zara ek baar
qaidi mera banke dekh
maano maano meri baat
hai ye pehli mulaqaat
maano maano meri baat
dekho pehlu se uth ke hai jaana buraa
jaata kahaan hai deewaane
sab kuchh yahaan hai sanam
baaki ke saare fasaane
jhoothe hain teri kasam ahaaa
fiffy
kuchh tere dil mein fiffy
kuchh mere dil mein fiffy
zamaana hai buraa
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
जाता कहाँ है दीवाने
सब कुछ यहाँ है सनम
बाकी के सारे फसाने
झूठे हैं तेरी क़सम
फिफ़्फ़ी
कुछ तेरे दिल में फिफ़्फ़ी
कुछ मेरे दिल में फिफ़्फ़ी
ज़माना है बुरा
पहलू बदलने लगे
घबरा के चलने लगे
आँखें मिलीं भी नहीं
यूं ही संभलने लगे
अजी सुनिए हुज़ूर
जाना हमसे ना दूर
अजी सुनिए हुज़ूर
दिल है किसी का जलाना बुरा
जाता कहाँ है दीवाने
सब कुछ यहाँ है सनम
बाकी के सारे फसाने
झूठे हैं तेरी क़सम
फिफ़्फ़ी
कुछ तेरे दिल में फिफ़्फ़ी
कुछ मेरे दिल में फिफ़्फ़ी
ज़माना है बुरा
सैय्याद है तू मगर
मुझको ना यूं तन के देख
नादां ज़रा एक बार
क़ैदी मेरा बन के देख
मानो मानो मेरी बात
ये है पहली मुलाक़ात
मानो मानो मेरी बात
देखो पहलू से उठ के है जाना बुरा
जाता कहाँ है दीवाने
सब कुछ यहाँ है सनम
बाकी के सारे फसाने
झूठे हैं तेरी क़सम
फिफ़्फ़ी
कुछ तेरे दिल में फिफ़्फ़ी
कुछ मेरे दिल में फिफ़्फ़ी
ज़माना है बुरा
Tu kisi rail si guzarti hai
Posted on: December 7, 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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5620 | Post No. : | 18102 | Movie Count : |
4860 |
‘Masaan’ (2015), a colloquial for ‘shmashaan’ (crematorium) was directed by the debutant Neeraj Ghaywan. The cast included the debutant Vicky Kaushal, Richa Chadha, Shweta Tripathi (debutant), Saurabh Chaudhary, Sanjay Mishra, Pankaj Tripathi, Bhagwan Tiwari, Nikhil Sahni etc. Born to Maharashtrian parents based in Hyderabad, director, Neeraj Ghaywan has degree in Electric Engineering and has done MBA from Symbiosis Institute of Business Management, Pune. After working in the corporate offices, he switched over to films as a writer and assisted director, Anurag Kashyap in ‘Gangs of Wasseypur’ (2012) and ‘Ugly’ (2013).
‘Masaan’ (2015) is made up of two stories covering two different families based in Banaras which have no connection with each other. However, as the film progresses, the two stories converge by the unfortunate events happening in their families, linking the girl of the one family with the boy of other family. The two protagonists of the film travel through tragedy, suffering and recovery after the loss of their respective sweethearts. The film also brings out the dilemma of the new generation of small towns caught between traditions and modernity. The film was majorly shot in Banaras and Allahabad (now Prayagraj).
The gist of the story is as under:
Devi (Rita Chadha) and her boyfriend, Piyush (Saurabh Chaudhary), both students in a college, check into a hotel room spending some intimate times during which he gives Devi a gift. However, a police team catches them for immoral activities. Fearing loss of his face before his family, Piyush locks himself in the toilet and commits suicide by slitting his wrist. Police now blackmails Devi for abetment of suicide by Piyush and demand a large sum from Devi’s father, Vidyadhar Pathak (Sanjay Mishra) not to pursue the case.
Devi has no regret for what she has done except the loss of life of her boyfriend. Vidyadhar, though very angry with Devi, pays a part of the demanded amount and decides to earn more money to pay the rest by indulging in betting. Devi works in a computer training institute to supplement the earning. However, with the news of Piyush’s suicide known to some, Devi is constantly harassed. Devi resigns from her job and shifts to Prayagraj for higher studies. She gets a job in the railway as the ticket booking clerk. With the constant guilt feeling of what happened to her boyfriend, Piyush, Devi visits his parents’ house to clear the misgiving about her in Piyush’s suicide. However, she is mistreated by Piyush’s parent.
In the second family, Deepak (Vicky Kaushal) is from a lower caste family who traditionally work in the cremation ground on the Banaras ghat. He wants to move away from his family’s traditional vocation and is looking forward in getting a better job. Deepak falls in love with Shaalu (Shweta Tripathi) belonging to the upper caste. However, both knows that the caste and class differences will make difficult to get her parents’ approval. They plan to get married once Deepak gets the job after completing his civil engineering degree.
Shaalu goes on a pilgrimage with her entire family. On the way, the bus in which they are travelling falls in the River Ganga claiming the lives of all the passengers. It is Deepak who had to conduct and watch Shweta’s funeral on the Banaras ghat. Deepak completes his civil engineering and gets a job in the railways at Prayagraj.
After the mistreatment by Piyush’s parents, Devi goes to a Ganga ghat and throws in the Ganga, the gift Piyush had given to her. She starts crying. Deepak who is already at the ghat offers her water. Both are working in Prayagraj and that too in railway but have met for the first time. The film ends with both taking a boat to Triveni Sangam and are seen conversing with each other.
The story of the film emphasises that one should come out of the past sufferings and live for the present so that the future becomes bright. This is in line with the Hindu and Buddhist philosophy of life that nothing is permanent including suffering and happiness. Attachment is the cause of suffering. In the film, both Devi and Deepak could not detach themselves after the death of their sweethearts. It is only when they realise that the life must go on, both of them throw in Ganga at Prayagraj at different time, the Shaalu’s ring and Piyush’s gift thus symbolically detaching themselves from the past relationship. In this way, both Devi and Deepak have reincarnated in their new relationship when they travel together in a boat to reach the Triveni Sangam in a bright sunny morning. The Sangam and the rising sun symbolise their union with a fresh start of their life.
‘Massan’ (2015) is an off-beat film with a tight and meticulous screenplay by Varun Grover. (The film’s original script with dialogues can be read here. There were some changes during the shooting of the film). There are few scenes where symbolisms have been used instead of dialogues. For example, there is a scene in which Sanjay Mishra is shown in great agony after he comes to know about his daughter’s (Richa Chadha) misadventure with her boyfriend, Piyush. Both the father and the daughter are shown in the same frame, symbolising that even though Sanjay Mishra is angry with his daughter, he will be supportive of her. The later events have proved this point.
The film was critically acclaimed and got Neeraj Ghaywan the Best Promising Debut Director at the Cannes Film Festival in May 2015, at the National Film Award and the Filmfare Award. The film did not perform well on the box office front. Generally, off-beat films are slow and at times, give a feeling of boredom though technically they may be superb. But ‘Masaan’ (2015) has made the slowdown in narrative visually interesting, thanks to the film’s cinematographer.
The film has 3 songs written by Varun Grover (2) and Sanjeev Sharma (1). The songs have been set to music by Indian Ocean, a Delhi based rock music band consisting of Amit Kilam, Himanshu Joshi, Nikhil Rao, Rahul Ram and Tuheen Chakravorty. I am presenting the first song from the film, ‘tu kisi rail si guzarti hai’ to appear on the Blog. The song is written by Varun Grover and is rendered by Swanand Kirkire.
The background to the song is that during Durga Pooja festival, Deepak (Vicky Kaushal) has invited Shaalu (Shweta Tripathi) but he misses her glances due to a large crowd. The lyrics of the song depict as to what is going in the mind of Deepak.
The first two lines of the mukhda of the song is taken from the third couplet of Dushyant Kumar’s ghazal ‘main jise odhta bichhaata hoon’. This has been duly acknowledged in the film’s title roll.
The song has a few metaphors which I find unusual in describing the sweetheart:
kisi lambe safar ki raaton mein
tujhe alaav (bonfire) saa jalaata hoon
ek jungle hai teri aankhon mein
main jahaan raah bhool jaata hoon
kaath (wood) ke taalen (locks) hain aankh pe daalen hain
unmein ishaaron ki chaabhiyaan laga
main hoon paani ke bulbule jaisa
tujhe sochoon to phoot jaata hoon
Varun Grover is one of my favourites among the new generation of lyricists. I have noted that he is fond of using unconventional imageries and metaphors in some of his song lyrics. Probably, he may be a fan of Gulzar. Varun Grover has a degree in Civil Engineer from IIT-BHU. His 4 years stay in Banaras during his college days must have become helpful in authentically depicting Banaras in the film’s screenplay. He worked in a multi-national software company in Pune before changing his career path to writer, actor and stand-up comedian.
Video Clip:
Audio Clip:
Song-Tu kisi rail si guzarti hai (Masaan)(2015) Singer-Swanand Kirkire, Lyrics-Varun Grover, MD-Indian Ocean
Male voice
Lyrics (based on audio clip)
tu kisi rail si guzarti hai ae ae
tu kisi rail si guzarti hai ae ae
main kisi pul saa aa
thartharaata hoon
tu bhale ratti bhar naa sunti hai ae
main tera naam
budbudaata hoon oon
kisi lambe safar ki raaton mein….
tujhe alaav saa aa..
jalaata hoon…
tu kisi rail si guzarti hai
main kisi pul saa aa
thartharaata hoon
kaathh ke taale hain
aankh pe daale hain
unmein ishaaron ki chaabhiyaan lagaa…..
kaathh ke taale hain
aankh pe daale hain
unmein ishaaron ki chaabhiyaan lagaa
raat jo baaki hai
shaam se taaki hai
neeyat mein thhodi ee ee ee
ee ee ee
neeyat mein thhodi kharaabiyaan lagaa
kharaabiyaan lagaa….
main hoon paani ke bulbule jaisaa……
tujhe sochoon to o
phoot jaata hoon
tu kisi rail si guzarti hai ae
main kisi pul saa aa
thartharaata hoon…..
tu kisi rail si guzarti hai….
main kisi pul saa….
thartharaata hoon
(nau de nau)
thartharaata hoon
(ra na na naa da da daa)
thartharata hoon
(nau de nau de)
thartharaata hoon
(nau de nau de ooooo..)
Ye Moh Moh Ke Dhaage
Posted on: September 16, 2023
- In: Angraag Mahanta (Papon) Solo Songs | Angraag Mahanta (Papon) Song | Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Love song | Lyrics contributed by readers | Monali Thakur Solo Songs | Monali Thakur Songs | Multi Version Song | Multiple version song | Post by Sadanand Kamath | Songs of 2010s (2011 to 2020) | Songs of 2015 | Yearwise breakup of songs
- 2 Comments
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 : |
5538 | Post No. : | 17998 | Movie Count : |
4816 |
According to some surveys, about 90 percent of the Indian marriages are still the outcome of arranged alliances. While the parents/elders are involved in the process of the selection of alliances, the ultimate decision are supposed to be left to boys/girls. But in reality, in most cases, under the pressure from the parents/elders, the boys/girls will not go against the selection of alliance by their parents/elders. In such cases, some newly married couples may soon realize that they are not in love with their spouses after the marriage for variety of reasons. But they continue to live together as the divorce is not a pleasant option. In some cases, over a period of time, a feeling of mutual care and trust set in the married couples. This is broadly the main theme of the film ‘Dam Laga Ke Haisha’ (2015).
I had a broad idea as to what is the meaning of dum laga ke haisha. During my childhood, I have often watched a group of laborers shouting “dum laga ke haisha” while pulling the heavy electric cables with their both hands for placing the cables underground. This was probably done to give more strength to them while pulling the cables. Now I know that this slang is also used to prop-up someone to do work beyond his capacity.
The film was produced under the banner of Yash Raj Films and was directed by Sharat Katariya who also wrote the screenplay and dialogues. The cast includes Ayushman Khurana and Bhumi Pednekar in the lead roles, supported by Sanjay Mishra, Alka Amin, Seema Pahwa, Mahesh Sharma, Shrikant Verma, Sheeba Chaddha, Chandrachoor Rai etc. Kumar Shanu appears in a cameo role in the film as himself. This was the debut film of Bhumi Pednekar for which she had to gain 30 kgs of weight to look like a fat girl as her role demanded. The film was entirely shot in Haridwar-Rishikesh. The time span of the story is around mid-1990s.
Bhumi Pednekar who, as the Assistance Casting Director in Yash Raj Film for six years, had been auditioning hundred of girls for the lead role in this film. But while doing so, unknowingly, she herself was under observation by the director of the film for the lead role. She ultimately bagged the role. [Source: the Times of India dated 14th September 2021].
The details of the story are as under:
A marriage proposal for Prem Tiwari (Anshuman Khurana), the son of Chandrabhan Tiwari (Sanjay Mishra) and Shashi Tiwari (Alka Amin) is brought by a priest. While Prem’s family is keen to get him married, he is strongly opposed to it as he had not yet settled in his life. Moreover, the prospective bride, Sandhya (Bhumi Pednekar) is overweight and is more educated (B.Ed.) than him (10th failed). But the elders in his family pressurise him to agree for the alliance as she is on the way to getting a teacher’s job in a high school. This would supplement the family’s declining income. Very reluctantly, Prem gives his nod for the marriage.
Prem is unable to reconcile with his marriage because it comes at the cost of his own self-esteem. Sandhya is educated and quick-witted while has always been a loser in his life. There are no common ground to start a life of love and affection. Sandhya on the other hand, is trying to make their marriage work despite her husband’s inferiority complex and occasionally his misbehavior with her. At the pre-wedding get-together of Prem’s friend, Prem becomes jealous of his friend getting a beautiful and lean bride. A few drinks and Prem comes out openly about his disliking for Sandhya. He loudly tells one of his friends in the gathering that he is spending his nights with a bull like wife. Sandhya overhears and feels insulted. The next day, she leaves with her baggage to her maternal house. The family members of Prem try to convince him to bring back his wife by apologizing to her. But he ignores their advice.
Inwardly, after few days, Prem has already started feeling his wife’s absence, but his self-esteem does not allow him to mend his way. He joins English classes to clear his paper for 10th standard. But in the examination hall, his preoccupation with his marital problems blanks him completely. On the other side, Sandhya files for divorce in a family court. The judge, after listening to both the parties, suggests them to stay together for six months and try for reconciliation. Sandhya agrees and returns to her in-law’s place. It is during this six months’ time that there is some improvements in Prem’s behavior towards his wife who also feels that her husband needs to be given some leeway for adjustments.
But Prem’s mental state is so weak that one day, he tried to commit suicide. Timely intervention by the family members saves him. Sandhya and family members think that they should do something to prop up his self-esteem. The annual competition called ‘Dum Laga Ke Haisha’ is being organized in Rishikesh in which married couples take part. The husband has to run, carrying his wife on the back, after overcoming few hurdles, has to crossed the winning line. After lot of cajoling by Prem’s family members and Sandhya, Prem reluctantly agrees to participate in the competition thinking that he would any way be out of the race early as he would not be able to carry his overweight wife.
The competition is inaugurated by none other than Kumar Shanu. The presence of his idol makes Prem to participate in the competition more vigorously than he had thought of the race. He runs taking his wife on the back. After overcoming hurdles in the race, Prem not only reach first on the winning line, but he also goes beyond it, carrying his wife on the back to his home. They hug each other for the first time with moist eyes until their family members come to take them back to the venue to accept the cup and prize money.
Along with the main theme, the film has some sub-plots which merge with the main theme without appearing extraneous. I have not included the sub-plots in the above details as it would make the article lengthy. Hats off to director, Sharat Katariya for making such a beautiful film without much of a melodrama. I think, by adding the race, the director has intended to show that just as Prem has won the race in which carrying his overweight wife is not a problem for him, it should not be a problem for making their married life smooth as well.
There are some heartwarming scenes which show that though Prem does not love his wife and avoids her company, he takes care of her whenever required. For example, he walks back and picks up the chappal of his wife which falls from the two wheelers while they are traveling. He brings back his wife’s file containing documents for her teacher’s interview which she has forgotten without which her interview would have been a non-starter. The performances of Ayushman Khurana and Bhumi Pednekar is superb. Despite her debut film, Bhumi Pednekar’s chemistry with Ayushman Khurana is great for a role where they have to depict their contra-chemistry.
Contrary to the Yash Raj Films’ standards, this film was made with a modest budget of around 14 crores as per the Box Office India report. Probably, there was some apprehension as to the success of the film at the box office. How the audience would react to a fat heroine in the film could have been an issue. However, the film gross collections surpassed Rs. 40 crores with in a month of its release and it continued to increase. The film won the National Film Award for the Best Feature Film in Hindi for 2015. Bhumi Pednekar won the Filmfare Award for the best debut actress for the film.
The film has six songs including a two version song, which are written by Varun Grover and set to music by Anu Malik. I am presenting the first song from the film, “Ye Moh Moh Ke Dhaage” to appear on the Blog. The song has two solo versions rendered by Monali Thakur and Papon (Angaraag Mahanta). Monali Thakur version of the song are played in the background depicting the turning points in the minds of both Prem and Sandhya. Somewhere in the back of their minds, the threads of ‘moh’ (desire) are slowly taking them to the path of love. A part of the song was filmed on Ram Jhoola in Rishikesh showing Ayushman Khurana and Bhumi Pednekar driving on their two-wheeler. I did not find the Papon version of the song in the film.
The song is identified as based on Raag Yaman and sounds very melodious to the ears. Along with the beautiful lyrics and the melody, the song is also enjoyable with major shehnai interlude before the first antara and the major flute interlude before the second antara. The song ends with another beautiful flute postlude. It is an unlikely Anu Malik song.
The song won the National Film Awards for the Best Lyrics for Varun Grover and the Best Playback Singer for Monali Thakur.
Female Version – Video
Female Version – Audio
Male Version – Audio
Song – Ye Moh Moh Ke Dhaage (Dum Laga Ke Haisha) (2015) Singer – Monali Thakur, Angraag Mahanta (Papon), Lyrics – Varun Grover, MD – Anu Malik
Lyrics
Monali Thakur Version
moh moh ke dhaage. . .
moh moh ke dhaage
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
ye moh moh ke dhaage
teri ungliyon se jaa uljhe
ye moh moh ke dhaage
teri ungliyon se jaa uljhe
koi toh toh na laage
kis tarah girha ye suljhe
hai rom rom ek taara..aa..aa
hai rom rom ek taara
jo baadalon mein se guzre..ae..ae
ye moh moh ke dhaage
teri ungliyon se jaa uljhe
koyi toh toh na laage
kis tarah girha ye suljhe
tu hoga zara paagal
tu ne mujhko hai chuna
tu hoga zara paagal
tu ne mujhko hai chuna
kaise tu ne ankahaa
tu ne ankahaa sab suna
tu hoga zara paagal
tune mujhko hai chuna..aa
tu din sa hai
main raat
aa na dono
mil jaaye shaamon ki tarah..aa..aa
ye moh moh ke dhaage
teri ungliyon se jaa uljhe
koi toh toh na laage
kis tarah girha ye suljhe
ye teri jhoothi baaten
main saari maan loon
ke teri jhoothi baaten
main saari maan loon
aankhon se tere sach sabhi
sab kuchh abhi jaan loon
ke teri jhoothi baaten
main saari maan loon
tez hai dhaara
behate se hummm awaara
aa tham ke saansen len yahaa..aan..aan
ye moh moh ke dhaage
teri ungliyon se jaa uljhe
koi toh toh na laage
kis tarah girha ye suljhe
Angraag Mahanta (Papon) Version
moh moh ke
moh moh ke..ae dhaage
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
ye moh moh ke dhaage
teri ungliyon se ja uljhe
ye moh moh ke dhaage
teri ungliyon se ja uljhe
koi toh toh na laage
kis tarah girha ye suljhe
hai rom rom ik taara..aa..aa
hai rom rom ik taara
jo baadalon mein se guzre..ae..ae
ye moh moh ke dhaage
teri ungliyon se ja uljhe
koi toh toh na laage
kis tarah girha ye suljhe
tu hoga zara paagal tu ne mujhko hai chuna
tu hoga zara paagal tu ne mujhko hai chuna
kaise tu ne ankaha
tu ne ankaha sab suna
tu hoga zara paagal tu ne mujhko hai chuna
tu din saa hai
main raat
aa na dono
mil jaaye shaamon ki tarah..aa..aa
ye moh moh ke dhaage
teri ungliyon se ja uljhe
koi toh toh na laage
kis tarah girha ye suljhe
ke aisa beparwah mann pehle to na thha
ke aisa beparwah mann pehle to na thha
chithiyon ko jaise mil gaya
jaise ik naya sa pata
ki aisa beparwah mann pehle to na thhaa
khaali raahen
hum aankh moonden jaayen
pahunche kahin to bewajah..aa..aa
ye moh moh ke dhaage
teri ungliyon se ja uljhe
koi toh toh na laage
kis tarah girha ye suljhe
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
मोनाली ठाकुर वर्शन
मोह मोह के धागे॰ ॰ ॰
मोह मोह के धागे
हम्म हम्म हम्म हम्म
हम्म हम्म हम्म हम्म
हम्म हम्म हम्म हम्म
हम्म हम्म हम्म हम्म
ये मोह मोह के धागे
तेरी उँगलियों से जा उलझे
ये मोह मोह के धागे
तेरी उँगलियों से जा उलझे
कोई टोह टोह ना लागे
किस तरह गिरह ये सुलझे
है रोम रोम इक तारा॰॰आ॰॰आ
है रोम रोम इक तारा
जो बादलों में से गुजरे॰॰ए॰॰ए
ये मोह मोह के धागे
तेरी उँगलियों से जा उलझे
कोई टोह टोह ना लागे
किस तरह गिरह ये सुलझे
तू होगा ज़रा पागल
तूने मुझको है चुना
तू होगा ज़रा पागल
तूने मुझको है चुना
कैसे तूने अनकहा
तूने अनकहा सब सुना
तू होगा ज़रा पागल
तूने मुझको है चुना॰॰आ
तू दिन है
मैं रात
आ ना
मिल जाएँ शामों की तरह॰॰अ॰॰अ
ये मोह मोह के धागे
तेरी उँगलियों से जा उलझे
कोई टोह टोह ना लागे
किस तरह गिरह ये सुलझे
ये तेरी झूठी बातें
मैं सारी मान लूँ
के तेरी झूठी बातें
मैं सारी मान लूँ
आँखों से तेरे सच सभी
सब कुछ अभी जान लूँ
के तेरी झूठी बातें
मैं सारी मान लूँ
तेज़ है धारा
बहते से हम्मम आवारा
आ थम के सांसें लें यहाँ॰॰आं॰॰आं
ये मोह मोह के धागे
तेरी उँगलियों से जा उलझे
कोई टोह टोह ना लागे
किस तरह गिरह ये सुलझे
अंगराग महनता (पापोन) वर्शन
मोह मोह के
मोह मोह के॰॰ए’ धागे
हम्म हम्म हम्म हम्म
हम्म हम्म हम्म हम्म
हम्म हम्म हम्म हम्म
हम्म हम्म हम्म हम्म
हम्म हम्म हम्म हम्म
हम्म हम्म हम्म हम्म
ये मोह मोह के धागे
तेरी उँगलियों से जा उलझे
ये मोह मोह के धागे
तेरी उँगलियों से जा उलझे
कोई टोह टोह ना लागे
किस तरह गिरह ये सुलझे
है रोम रोम इक तारा॰॰आ॰॰आ
है रोम रोम इक तारा
जो बादलों में से गुजरे॰॰ए॰॰ए
ये मोह मोह के धागे
तेरी उँगलियों से जा उलझे
कोई टोह टोह ना लागे
किस तरह गिरह ये सुलझे
तू होगा ज़रा पागल
तूने मुझको है चुना
तू होगा ज़रा पागल
तूने मुझको है चुना
कैसे तूने अनकहा
तूने अनकहा सब सुना
तू होगा ज़रा पागल
तूने मुझको है चुना॰॰आ
तू दिन है
मैं रात
आ ना
मिल जाएँ शामों की तरह॰॰अ॰॰अ
ये मोह मोह के धागे
तेरी उँगलियों से जा उलझे
कोई टोह टोह ना लागे
किस तरह गिरह ये सुलझे
के ऐसा बेपरवाह मन पहले तो न था
के ऐसा बेपरवाह मन पहले तो न था
चिट्ठियों को जैसे मिल गया
जैसे इक नया सा पता
के ऐसा बेपरवाह मन पहले तो न था
खाली राहें
हम आँख मूँदें जाएँ
पहुँचें कहीं तो बेवजह॰॰आ॰॰आ
ये मोह मोह के धागे
तेरी उँगलियों से जा उलझे
कोई टोह टोह ना लागे
किस तरह गिरह ये सुलझे
Jeena kya hai jaana maine
Posted on: December 6, 2021
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Blog Day : |
4889 | Post No. : | 16687 | Movie Count : |
4547 |
Yearwise discussion of Lata Mangeshkar songs in HFM: Part LXIII: Year 2015
———————————————————————————————————
In this episode, the 63nd episode, we cover Lata Mangeshkar songs that she sang in Hindi movies released in 2015. In the previous episode, we covered a Lata Mangeshkar song from a movie of 2011. So this time we should have covered a movie song of 2012. But it turns out that Lata Mangeshkar did not sing any songs in Hindi movies released in 2012, 2013 and 2014. In 2015, she sang one song in a movie. So, in this episode we jump over three years and arrive at the year of 2015.
Lata Mangeshkar sang just one song in one movie released in 2015.
Here are the details of the song sung by Lata Mangeshkar in Hindi movies released in 2011 :-
| S N | Movie | Music director | Lata song in the blog | Lata HFM songs recorded in the year | Lata solo songs | Male duet | Female duet | Other songs | Lyricists |
|---|---|---|---|---|---|---|---|---|---|
| 1 | DunnoY2 Life is a moment | Nikhil Kamath | 0 | 1 | 1 | 0 | 0 | 0 | Vimal Kashyap |
| Total | 1 movie | 1 MD | 0 | 1 | 1 | 0 | 0 | 0 | 1 lyricist |
Lata Mangeshkar worked with 1 music director and 1 lyricist in this one movie released in 2015.
Laxmikant Pyarelal were the most prolific music directors with Lata, with 664 songs in HFM with Lata Mangeshkar by the end of 2007. Shankar Jaikishan with 457 songs in the voice of Lata Mangeshkar were in the second position. R D Burman with 332 Lata Mangeshkar and Kalyanji Anandji with 307 songs were next ahead of C Ramchandra with 275 songs. Other top music directors for Lata Mangeshkar were Chitragupta (239), Madan Mohan (204), S D Burman (179),Naushad (146), Roshan (144), Hemant Kumar (127), Anil Biswas (120), Bappi Lahiri (112), Rajesh Roshan (111), Salil Chaudhary (109), Husnlal Bhagatram (108), and Vasant Desai (104). Together these seventeen music directors composed 3742 songs out of 5244 songs that Lata Mangeshkar had sung in Hindi movies till end of 2015. Anand Bakshi with 731 songs was the top lyricist with Lata Mangeshkar. Other leading lyricists with Lata Mangeshkar were Rajinder Krishan (555), Majrooh Sultanpuri (407), Shailendra (361), Hasrat Jaipuri (301), Prem Dhawan (201), Bharat Vyas (193), Shakeel Badayuni (189), Sahir Ludhianvi (161) and Indeewar (156). These ten lyricists had penned 3252 songs sung by Lata Mangeshkar till that time.
The above figures have remained unchanged for several years because Lata Mangeshkar no longer got to collaborate with the above music directors and lyricists after 2000.
Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 2015 :
| Year | Movie count | Lata song in the blog | Lata HFM songs recorded in the year | Lata solo songs | Male duet | Female duet | Other songs | Remarks |
|---|---|---|---|---|---|---|---|---|
| 1946 | 3 movies | 4 | 4 | 4 | 0 | 0 | 0 | |
| 1947 | 3 movies | 5 | 5 | 3 | 1 | 0 | 1 | |
| 1948 | 17 movies | 51 | 57 | 42 | 8 | 4 | 3 | |
| 1949 | 40 movies | 142 | 160 | 105 | 35 | 13 | 7 | |
| 1950 | 36 movies | 116 | 143 | 93 | 32 | 14 | 4 | |
| 1951 | 49 movies | 190 | 223 | 158 | 52 | 10 | 3 | |
| 1952 | 43 movies | 151 | 177 | 138 | 31 | 4 | 4 | |
| 1953 | 45 movies | 170 | 195 | 149 | 35 | 5 | 6 | |
| 1954 | 43 movies | 142 | 172 | 144 | 23 | 4 | 1 | |
| 1955 | 50 movies | 173 | 218 | 177 | 30 | 10 | 1 | |
| 1956 | 49 movies | 174 | 204 | 153 | 35 | 13 | 3 | |
| 1957 | 47 movies | 132 | 160 | 110 | 38 | 7 | 5 | |
| 1958 | 35 movies | 104 | 132 | 95 | 25 | 10 | 1 | |
| 1959 | 58 movies | 190 | 211 | 131 | 68 | 12 | 1 | |
| 1960 | 48 movies | 142 | 166 | 102 | 50 | 9 | 5 | |
| 1961 | 44 movies | 128 | 152 | 88 | 55 | 5 | 4 | |
| 1962 | 40 movies | 119 | 129 | 84 | 40 | 5 | 0 | |
| 1963 | 37 movies | 105 | 111 | 62 | 38 | 8 | 3 | |
| 1964 | 46 movies | 123 | 133 | 91 | 31 | 8 | 3 | |
| 1965 | 42 movies | 84 | 91 | 71 | 17 | 1 | 2 | |
| 1966 | 49 movies | 105 | 133 | 110 | 14 | 8 | 1 | |
| 1967 | 44 movies | 94 | 106 | 67 | 38 | 8 | 3 | |
| 1968 | 33 movies | 84 | 84 | 59 | 19 | 5 | 1 | |
| 1969 | 43 movies | 78 | 97 | 67 | 27 | 2 | 1 | |
| 1970 | 54 movies | 91 | 130 | 84 | 39 | 3 | 4 | |
| 1971 | 52 movies | 107 | 126 | 71 | 52 | 3 | 0 | |
| 1972 | 62 movies | 100 | 151 | 86 | 60 | 3 | 2 | |
| 1973 | 60 movies | 93 | 138 | 94 | 37 | 3 | 4 | |
| 1974 | 55 movies | 71 | 104 | 66 | 33 | 0 | 5 | |
| 1975 | 45 movies | 62 | 90 | 50 | 35 | 3 | 2 | |
| 1976 | 41 movies | 58 | 97 | 53 | 39 | 1 | 4 | |
| 1977 | 50 movies | 50 | 96 | 59 | 27 | 8 | 2 | |
| 1978 | 46 movies | 60 | 90 | 48 | 34 | 3 | 5 | |
| 1979 | 42 movies | 38 | 66 | 37 | 25 | 2 | 3 | |
| 1980 | 43 movies | 28 | 71 | 43 | 21 | 3 | 4 | |
| 1981 | 46 movies | 40 | 88 | 48 | 34 | 2 | 4 | |
| 1982 | 45 movies | 28 | 82 | 41 | 37 | 1 | 3 | |
| 1983 | 33 movies | 29 | 73 | 36 | 37 | 0 | 0 | |
| 1984 | 39 movies | 11 | 70 | 32 | 33 | 4 | 1 | |
| 1985 | 40 movies | 21 | 72 | 39 | 31 | 0 | 2 | |
| 1986 | 27 movies | 4 | 41 | 22 | 17 | 0 | 2 | |
| 1987 | 12 movies | 4 | 21 | 13 | 8 | 0 | 0 | |
| 1988 | 21 movies | 9 | 43 | 24 | 17 | 1 | 1 | |
| 1989 | 19 movies | 10 | 38 | 20 | 16 | 1 | 1 | |
| 1990 | 9 movies | 4 | 12 | 3 | 9 | 0 | 0 | |
| 1991 | 16 movies | 6 | 57 | 35 | 20 | 1 | 1 | |
| 1992 | 12 movies | 3 | 25 | 12 | 13 | 0 | 0 | |
| 1993 | 14 movies | 3 | 49 | 22 | 23 | 2 | 2 | |
| 1994 | 12 movies | 5 | 39 | 9 | 28 | 0 | 2 | |
| 1995 | 4 movies | 2 | 8 | 3 | 4 | 0 | 1 | |
| 1996 | 5 movies | 2 | 14 | 7 | 7 | 0 | 0 | |
| 1997 | 5 movies | 1 | 21 | 2 | 14 | 4 | 1 | |
| 1998 | 3 movies | 4 | 11 | 3 | 7 | 0 | 1 | |
| 1999 | 7 movies | 3 | 14 | 6 | 7 | 0 | 1 | |
| 2000 | 2 movies | 3 | 5 | 1 | 2 | 0 | 2 | |
| 2001 | 6 movies | 2 | 12 | 6 | 5 | 0 | 1 | |
| 2002 | 2 movies | 1 | 8 | 3 | 5 | 0 | 0 | |
| 2003 | NIL movies | 0 | 0 | 0 | 0 | 0 | 0 | |
| 2004 | 1 movie | 4 | 9 | 2 | 4 | 0 | 3 | |
| 2005 | 3 movies | 1 | 4 | 3 | 1 | 0 | 0 | |
| 2006 | 1 movie | 1 | 1 | 0 | 1 | 0 | 0 | |
| 2007 | 1 movie | 1 | 1 | 0 | 1 | 0 | 0 | |
| 2008 | 0 movie | 0 | 0 | 0 | 0 | 0 | 0 | |
| 2009 | 1 movie | 1 | 1 | 1 | 0 | 0 | 0 | |
| 2010 | 1 movie | 1 | 1 | 1 | 0 | 0 | 0 | |
| 2011 | 1 movie | 1 | 1 | 1 | 0 | 0 | 0 | |
| 2012 | 0 movie | 0 | 0 | 0 | 0 | 0 | 0 | |
| 2013 | 0 movie | 0 | 0 | 0 | 0 | 0 | 0 | |
| 2014 | 0 movie | 0 | 0 | 0 | 0 | 0 | 0 | |
| 2015 | 1 movie | 0 | 1 | 1 | 0 | 0 | 0 | |
| Total upto 2015 | 1884 movies | 3767 | 5244 | 3390 | 1515 | 213 | 126 |
“DunnoY2 Life is a moment”(2015) is the only movie released in 2015 that had a song in it which was sung by Lata Mangeshkar.
“DunnoY2 Life is a moment”(2015) was directed by Kapil Sharma for Movies Masti Magic Studios, Mumbai. The movie had Zeenat Aman, Kapil Sharma, Yuvraaj Parashar, Meera, Sadia Khan, Danish Bhat, Roniel Rajkunwar, Tonje Gjevjon, Injeborg Kolle, Edith Roth Gjevjon, Nasrullah Qureshi, Saru Maini, Nary Singh, Rahul Chaudhary, Shubham Sharma, Rahool Chaudhary, Kushal Anand, Manisha Mendonza, Shashi Shaini, Sara Marielle Gaup Beaska, Mona Krager, Ellen Froysaa, Amir Malik, Tarje F. Jortoft , Marius Loftum etc in it.
The movie had four songs in it. One song has the voice of Lata Mangeshkar.
Here is that song.
The song is sung by Lata Mangeshkar and chorus. Vimal Kashyap is the lyricist. Music is composed by Nikhil Kamath.
The song is picturised on Yuvraj Parashar and Kapil Kaustubh Sharma.
Lyrics of the song and other details are provided by Prakashchandra.
With this song, the movie “DunnoY2 Life is a moment”(2015) makes its debut in the blog.
Lata Mangeshkar did not sing any other songs in Hindi movies released in the subsequent years. So with this article, we have come to the end of this marathon series of Lata Mangeshkar songs which began on monday 27 september 2020 and continued for 63 mondays without a break.
List of Lata Mangeshkar songs till 1985 can be taken from the six volumes of HFGK. Songs from 1986 till 1989 can be seen from Lata Mangeshkar Gandhar Swaryatra. But no list of Lata Mangeshkar songs after 1989 is available. Searching for Lata Mangeshkar songs after 1989 was a voyage which was undertaken by me, and also by Prakashchandra (independent of each other). In the process, we may have discovered several Lata Mangeshkar songs that few music lovers may have been aware of.
I take this opportunity to thank Prakashchandra, who on his own initiative was searching for Lata Mangeshkar songs independentally. Searching for Lata Mangehkar songs sung by her after 2000 is like searching for needle in haystack, and prakashchandra has been a great help in this backbreaking work. I cannot thank him enough for this work which he undertook on his own for last so many weeks.
The yearwise breakup of Lata Mangeshkar songs is done and dusted with. During this journey, I have come up with vast amount of statistics pertaining to Lata Mangeshkar songs. For instance, I can now tell you how many male duets and how many female duets she has sung with which singers. I can give exact number of songs that she has sung for various music directors and lyricists. I will come up with those statistics sometime in future on suitable occcasions.
In future, I may undertake similar exercises for other big name singers as well. Keep watching these spaces.
As the final offering of this series here is the very last song of Lata Mangeshkar that she sang in Hindi movies:-
Song-Jeena kya hai jaana maine (DunnoY2 Life is a moment)(2015) Singer-Lata, Lyrics-Vimal Kashyap, MD-Nikhil Kamat
FF00FF
Lyrics(Provided by Prakashchandra)
jeena kya hai
jaanaa maine
jab se tumko jaanaa hai ae aey ae ae
lamhaa lamhaa..aa
kwaahish hai ye ae
bas tumko hee paanaa hai ae ae
ho oho o ho o
neendon se
dooriyan see hain
chain bin tere
ab naheen..een..een..een
rehti hoon main
ab jahaan kaheen
yaad aatey ho
tum waheen..een
I don`t know why
I don`t know why
I don`t know why
don`t know why
I don`t know why
ek doojey mein hee..ee..ee
saans hum lete hain..aen..aen
dard bhee khushee khushee..ee
baant hum lete hain…en..en
hai alag duniyaa se aey ae ae
rishtaa teraa meraa..aa.
manzilon se aagey..ey
rastaa teraa meraa..aaaa
chaahey le chal (chaahey le chal)
tu jahaan bhee (tu jahaan bhee)
sang tere aanaa hai ae ae ae
tere liye ae ae
duniyaa kya hai ae ae
khud ko bhool jaanaa hai ae ae
o ho o o
neendon se
dooriyaan see hain
chaain bin tere
ab naheen..een
rehti hoon main
ab jahaan kaheen
yaad aatey ho
tum waheen ..een
I don`t know why
I don`t know why
I don`t know why
don`t know why
I don`t know why
khwaab ye hai agar..rr…rrr
khwaab ye na tootey aey ae ae ae
maangey dil yehee duaa..aa..aaa
saath ye naa chootey aey ae
khaas har lamhaa hai aey
paas tere honey se aey ae ae
dartaa hai dil meraa..aaa
tumko kho dene se ae ae
ishq kyaa hai (ishq kyaa hai)
pyaar kyaa hai (pyaar kyaa hai)
tumse milke jaanaa hai aey ae ae
phoolon mein hai ae
khushboo jaisey aey ae ae
tujh mein yoon kho jaanaa hai ae ae
o ho o o
neendon se
dooriyaan see hain
chaain bin tere
ab naheen..een..een
rehti hoon main
ab jahaan kaheen
yaad aatey ho
tum waheen een
I don`t know why
I don`t know why
I don`t know why
don`t know why
I don`t know why
jeena kya hai
jaanaa maine
jab se tumko jaanaa hai ae aey ae ae
lamhaa lamhaa..aan
kwaahish hai ye ae
bas tumko hee paanaa hai ae ae
ho oho o ho o o
neendon se
dooriyan see hain
chain bin tere
ab naheen..een..een..een
rehthi hoon main
ab jahaan kaheen
yaad aatey ho
tum waheen..een
I don`t know why
I don`t know why
I don`t know why
don`t know why
I don`t know why
aaaa…aaa…aaa….aaaaa
aaa..aaa…aaaaa…aaa…aaaan…aaaa
oo …oo.ooo…ooo…ooo
oo ooo ooo ooo ooo ooo ooo
ooo ooo ooo
aaa…aaa…aaa…aaa…aaaa
aaa …aaaan…aaa…aaaa
Matargashti
Posted on: January 6, 2021
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 : |
4555 | Post No. : | 17147 | Movie Count : |
4401 |
Hullo Atuldom
Deepika Padukone, daughter of champion badminton player Prakash Padukone, herself a national level player, entered the glamour world of films through the modelling route. She is one of the highest paid actresses currently and winner of three filmfare awards for acting. 2006 was her debut year in Kannada films and 2007 saw her debut in Hindi films through Farah Khan’s ‘Om Shanti Om.’ Since then she has had a mixed bag of fortune as far as successful movies are concerned, but she hasn’t shied away from experimenting with the characters she plays on-screen. Her roles in ‘Piku’, ‘Bajirao Mastaani’, ‘Padmaavat’, ‘Finding Fanny’ etc are all diametrically different from each other and that doesn’t mean that she hasn’t done roles of young, modern damsels as in ‘Happy New Year’, ‘Chennai Express’, ‘Cocktail’, ‘Aarakshan’, ‘Yeh Jawaani Hai Deewani’ etc.
2015 saw her star opposite Ranbir Kapoor in Imtiaz Ali directed “Tamasha”. She played the role of a businessperson who helps Ranbir Kapoor’s character overcome his complexes. The movie was a drama based on a non-linear screenplay. A type of story telling which I have seen in a few movies in recent times. The story was loosely based on a French novel ‘The Little Prince’. It may have been a moderate success but the work of the lead pair was well received. It had music by A. R. Rehman and lyrics were by Irshad Kamil.
Irshad Kamil has been around writing songs for some successful movies for the last 15-16 years. He was born in Punjab and is a graduate of journalism and a post graduate and PhD in Hindi.
A. R. Rehman, born in Chennai as A.S. Dileep Kumar, in 1967 converted to Islam when he was in his 20s. His journey in the music world began when he scored music for jingles and documetaries for Television in the late 80s when he was still Dileep. His most enduring and easily re-callable jingle being for Titan Watches. His first independent score was for Mani Ratnam’s ‘Roja’ in 1991. Prior to that he was playing in the orchestra of famous South Indian music composers.
With today’s song we are wishing the maestro, that A. R. Rehman has turned out to be, on his 54th birthday. May he keep giving us lovely, loving, hummable songs. Let us also wish Deepika on her birthday which was yesterday (5th January) with health and happiness.
The song with this post is something that I have been hearing and seeing from the time it released in 2015. What struck me was the choreography and the spirited performance of Ranbir and Deepika. There is a portion of the song where he tries to ape Dev Anand in terms of steps, costume, cap etc. This is a song which is a good showcase for Deepika’s beauty and Rehman’s music. The playback is by Mohit Chauhan. As I was writing this I realized that there is one other movie with the same title starring Dev Anand, Meena Kumari, Ashok Kumar etc. and that is already present on the blog waiting to be yyiippeed.
Audio
Video
Song-Matargashti (Tamaasha)(2015) Singer-Mohit Chauhan, Lyrics-Irshad Kamil, MD-A R Rahman
Chorus
Lyrics
aaa
nanananana
nanananana
nanananana
matargashti khuli sadak mein
takdi tadak bhadak mein
ole gire sulagte se sulagte se
sadak mein chhatri na thhi bagal mein
aaya hi na akal mein
ke bhaagen ham
ya bheegen ham akad mein
to socha phir geela hua hai jo sukhaana ho ho ho
chaahe janaana ya mardaana
ho ho ho ho ho
attention
phenka naya paasa phir de gayi jhaansa
aenwain mujhe phaansa teri aisi ki ho taisi zindagi
phenka naya paasa phir de gayi jhaansa
aenwe mujhe phaansa
chirkut zindagi you know
nanananaanana
nananaa
tingning ting tenw
tu hi hai wo
hey
jis’se
hey
khela tha mein kho kho
khela tha kho kho
hey
tu hai
hey
laila shirin
hey
sohni juliet
hey
sun lo
hey
mujhko
hey
dhoondha na jungle mele mein
whatsapp
hey
main hoon
hey
ha ha ha ha ha ha
na tera na mera zamaana ho ho ho
na ye janaana na mardaana
ho ho ho ho
pakad paana
phenka naya paasa phir de gayi jhaansa
aenwain mujhe phaansa phir de gayi jhaansa
aenwain mujhe phaansa
chirkut zindagi you ow
ho
tu hi hai wo
hey
jisne
hey
khechi meri dhoti
hey
dhoti khechi
hey
o tu
hey
dhoondhe kahan bande
na main kaba kashi
hey
main twitter pe hoon
dp meri
hey
dekho
hu hu hu hu hu
sun re sun beliya
dil ne dhokha diya
aankhen milin tumse naajneen
mere hosho hawaas kho gaye
ho dil ro roka
ye aankhen hain dil ki jubaan
khwaab roz roz dekhe naye
ho o
dil ka bhanwar bole sun saathiya
chhup na dupatte mein tu o chhaliya
prem pujaari ke
dil ka bayaan hota raha
rota raha priye
to phir deng deng deng deng deng
tang tang dang dang
tand dang dang dang
dang dang dang
chhuk chhuk too too
tenw ting tanw
ting ting ting tenw tain
ding deng deng tenw
mamamamama
dung dung teng
dang dang dang dang
tang tang tang tang
dang dang dang dang
dung dung dung
chhup chhup tu tu
hmm
Chain Kahaan Prabhu Bin Manwa
Posted on: June 26, 2020
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: |
4361 | Post No. : | 15685 |
Hindi Songs in Bangla Film – 32
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The folk singer I am discussing here is from Assam. She has no direct or indirect connection to the soils of Bihar, Jharkhand and Uttar Pradesh. Yet her fans from these states has given her the title of ‘Bhojpuri Queen’. It is not that she has consciously chosen to sing in Bhojpuri. The fact is that it is one of the music recording companies who made her to sing Bhojpuri songs. Again, the title ‘Bhojpuri Queen’ to her would give an impression that she has restricted her singing mainly to Bhojpuri songs. But it is not so. She has been in her professional music scene since 2001 rendering nearly 9000 songs in 30 different languages/dialects of India. She has also done the playback singing in Hindi, Bhojpuri, Bangla, Assamese, Tamil and Marathi films, beside acting in some films. She is a folk musicologist and has done extensive research on the history of folk music especially in the Bhojpuri region.
I am referring to Kalpana Patowary (b. 27/10/1978) who has been endowed with a rich and powerful voice capable of singing in high octaves with ease. She was born in Sorbhog town in Barpeta district of Assam. Her father, Bipin Patowary, a folk singer himself and working for AIR (Aakashvani), Guwahati, gave Kalpana the initial training in Kamrupiya and Gaolporiya folk singing of Assam. She also learnt Baul singing from Naren Das. After completing her graduation in English literature from Cotton College, Guwahati, Kalpana enrolled in Bhatkhande College of Music, Lucknow from where she completed her Sangeet Visharad.
Even though Kalpana Patowary has been performing on the stage since her childhood, her professional music journey started in 2001 when after marrying Pervez Khan, her school-mate and neighbour in Assam, she shifted to Mumbai. She learnt Hindustani classical music from Ustad Ghulam Mustafa Khan of Rampur-Sahaswan Gharana in Mumbai. The first music album recorded by Kalpana Patowary was in 2001 which was a remix of popular Hindi songs. Her first Bhojpuri song album “Na Hum Se Bhangiya Pisaai’ae Ganesh Ke Papa” released in 2002 made her very popular among the Bhojpuri speaking population. With this popularity, she sang for the first time in a Bhojpuri film, ‘Sasura Bada Paisewala’ (2004) after which she became a regular playback singer of Bhojpuri films. She expanded her command over Bhojpuri songs by singing non-film folk songs in Puria, Pachra, Kajri, Birha, Sohar, Chaita and Nautanki genres. She traveled extensively in Bhojpuri speaking regions to study the folklore of the region. She was the first woman singer to sing and record a Chhapraihiya Purvi folk style song which was hitherto a male preserve.
In June 2012, Kalpana Patowary launched her music cum documentary album ‘The Legacy of Bhikari Thakur’ which was released by a British recording company, Virgin EMI Records. It received popularity all over the world, especially from in those countries having a sizeable Bhojpuri speaking population. It was a sort of Kalpana Patowary’s tribute to Bhikari Thakur who is regarded as ‘Shakespeare of Bhojpuri literature’. In addition, she also recorded documentary musical albums like ‘The Sacred Scriptures of Monikut’ and ‘Anthology of Birha’. She is the first singer to sings a Khadi Birha folk song for Coke Studio.
Kalpana Patowary as a playback singer in Bhojpuri films has faced criticism from some quarters for popularising Bhojpuri film songs with raunchy lyrics. She has defended herself by saying that in the initial period of her career in Bhojpuri film music, she was not well-versed with Bhojpuri dialect and the meanings. Also, she has pointed out that it is the writers of the songs who have to take care of the raunchy wordings. Also, she says that if the song was obscene than how did the Censor Board not take objection?
One of the effects of such criticism on Kalpana Patowary seems to be that she has become more determined to study the folklore of Bhojpuri region and popularise such folk songs not only all over India but also all over the world. Hence, during the last five years or so, she has been devoting much of her time in folklores of not only the Bhojpuri region but also of Bihar, Jharkhand, Uttar Pradesh, West Bengal, and North-Eastern States. She has also started her focus on devotional songs of these states.
It is in this background that Kalpana Patowary seems to have lapped up an opportunity by singing a devotional song “Chain Kahaan Prabhu Bin Manwa” in the film ‘Har Har Byomkesh’ (2015) which is picturised on herself. The song is written by Sutapa Basu which is set to music by Bickram Ghosh. The song in the video clip is partial as picturised in the film. The audio clip has got the full song.
The details of the film and the story have been given in my earlier article on the song – “Roothe Sajan Kaise Manaawe Ho Rama“.
—————————————————————————————————————————————————————–
Acknowledgements: The profile and other information on Kalpana Patowary is based on her interviews which appeared in some newspapers, magazines and also on Rajya Sabha TV. Information on her musical journey is also based on info from her website, http://singerkalpana.blogspot.com/
Video
Audio
Song – Chain Kahaan Prabhu Bin Manwa (Har Har Byomkesh) (2015) Singer – Kalpana Patowary, Lyrics – Sutapa Basu, MD – Bickram Ghosh
Lyrics
chain kahaan prabhu bin manwa
chain kahaan prabhu bin manwa
chain kahaan prabhu bin manwa
chain kahaan prabhu bin manwa
mann ki aankh se aansoo nikle
mann ki aankh se aansoo nikle
tan ki aankh rowe na
tan ki aankh rowe na
chain kahaan prabhu bin manwa
chain kahaan prabhu bin manwa
saagar paar kiya bajrangi..ee..ee
bajrangi ee..ee..ee
saagar paar kiya bajrangi
prabhu ke naam sahaayi
naam lewe to door ho peeda
naam lewe to door ho peeda
door howe kathinaayi
door howe kathinaayi
chain kahaan prabhu bin manwa
chain kahaan prabhu bin manwa
naam sahaare kaam sawaare..ae
naam sahaare kaam sawaare
mann ho mail kabhi na
main ho mail kabhi na
naam ke upar aur kachhu naahin
naam ke upar aur kachhu naahin
bhoole to ab nahin jeena
bhoole to ab nahin jeena
chain kahaan prabhu bin manwa
chain kahaan prabhu bin manwa
mann ki aankh ke aansoo nikle
tan aankh rowe na
tan aankh rowe na
chain kahaan prabhu bin manwa
chain kahaan prabhu bin manwa
chain kahaan prabhu bin manwa
chain kahaan prabhu bin manwa
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
चैन कहाँ प्रभु बिन मनवा
चैन कहाँ प्रभु बिन मनवा
चैन कहाँ प्रभु बिन मनवा
चैन कहाँ प्रभु बिन मनवा
मन की आँख से आँसू निकले
मन की आँख से आँसू निकले
तन की आँख रोवे ना
तन की आँख रोवे ना
चैन कहाँ प्रभु बिन मनवा
चैन कहाँ प्रभु बिन मनवा
सागर पार किया बजरंगी॰॰ई॰॰ई
बजरंगी॰॰ई॰॰ई॰॰ई
सागर पार किया बजरंगी
प्रभु के नाम सहाई
नाम लेवे तो दूर हो पीड़ा
नाम लेवे तो दूर हो पीड़ा
दूर होवे कठिनाई
दूर होवे कठिनाई
चैन कहाँ प्रभु बिन मनवा
चैन कहाँ प्रभु बिन मनवा
नाम सहारे काम सवारे॰॰ए
नाम सहारे काम सवारे
मन हो मैल कभी ना
मन हो मैल कभी ना
नाम के ऊपर और कछु नाहीं
नाम के ऊपर और कछु नाहीं
भूले तो अब नहीं जीना
भूले तो अब नहीं जीना
चैन कहाँ प्रभु बिन मनवा
चैन कहाँ प्रभु बिन मनवा
मन की आँख से आँसू निकले
तन की आँख रोवे ना
तन की आँख रोवे ना
चैन कहाँ प्रभु बिन मनवा
चैन कहाँ प्रभु बिन मनवा
चैन कहाँ प्रभु बिन मनवा
चैन कहाँ प्रभु बिन मनवा
Roothe Sajan Kaise Manaawe Ho Raama
Posted on: June 14, 2020
- In: Boat song | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Hindi Songs in Non-Hindi Films | Lyrics contributed by readers | Mujra song | Post by Sadanand Kamath | Sabina Mumtaz Alam Solo Song | Sabina Mumtaz Alam Song | Song from regional movies | Songs of 2010s (2011 to 2020) | Songs of 2015 | Yearwise breakup of songs
- 7 Comments
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 : |
4349 | Post No. : | 15660 | Movie Count : |
4313 |
Hindi Songs in Bangla Film – 29
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I became aware about the stories built around the fictional character of Byomkesh Bakshi, the murder mystery solver when a TV serial based on these stories was telecast on the Doordarhsan’s National channel in early 1990s. The serial was directed by Basu Chatterjee with Rajit Kapoor playing the role of Byomkesh Bakshi and KK Raina as Ajit, his assistant. During those days, the character of Byomkesh Bakshi became known all over India. ‘Byomkesh’ became synonymous with persons having inquisitive nature.
I had watched most of the episodes during those years. The episodes of this serial were recently re-telecast on the Doordarshan Channel during the Covid-19 lockdown. What I liked about the serial was restrained acting by Rajit Kapur as an investigator in a cool and calm mind, trying to solve the mysteries of murders with ‘much ado about nothing’ manner. In the end, the culprits were mostly the ones who were least suspected by the audience. This made the each and every episode a suspense thriller and the audience were glued to the show till the end.
Sharadindhu Bandopadhyay, the creator of Byomkesh Bakshi had written 32 published stories on his fictional character during 1932-70. He was associated with Bombay Talkies during 1938-40 as a story-writer for the films like ‘Bhabhi’ (1938), ‘Vachan’ (1938), ‘Navjeevan’ (1939), ‘Kangan’ (1939), ‘Durga’ (1939), ‘Punar Milan’ (1940) and ‘Azaad’ (1940). In 1970, he had started writing the 33rd story of Byomkesh Bakshi with ‘Bisupati Badh’ as its title. However, before the completion of the story, he died in 1970.
Some of the stories of Byomkesh Bakshi were made into feature films, mainly in Bengali. I got a list of 20 Bangla films made on Byomkesh Bakshi between 1967-2019. Probably, a few more films may have been made on Byomkesh Bakshi with different titles. One film was made in Hindi titled ‘Detective Byomkesh Bakshy’ (2015) under the banner of Yash Raj Films.
Last week, Partha Chanda, one of the regular visitors to our Blog conveyed to me that the Bangla film, ‘Har Har Byomkesh’ (2015) had 3 Hindi songs. I watched the film on one of the OTT media services with English subtitles. The film is based on one of 32 stories – ‘Banhi Patanga’ (English title: ‘Moth and Flame’). In Urdu, this story could have got the title of ‘Shama and Parwaana’. It is directed by Arindam Sil. The story is set in around mid-1940s. The gist of the story of the film is as under:
Byomkesh (Abir Chatterjee), his wife, Satyabati (Sohoni Sarkar) and his friend Ajit (Ritwick Chakraborty) have come from Kolkata on a holiday to Varanasi. They are the guests of DSP Pandey (Harsh Chhaaya). However, in a couple of days, Byomkesh co-incidentally gets involved in solving the murder mystery in Varanasi.
Pandey had received an invitation from Deepnarayan Singh (Adil Hussain), a rich zamindar to attend a party along with his guests in his palace for celebrating his cure from a liver ailment which had made him bed-ridden for about 5 months. In the party, Byomkesh was introduced, among others, to zamindar’s physician, Dr Palit (Dipankar Dey), Debnarayan (Indradip Dasgupta), the ‘good for nothing’ nephew of Deepnarayan, Shakuntala (Nusrat Jahan), the wife of Deepnarayan who is half of his age and whom he had married rather forcefully after the death of his first wife. During the party, Inspector (Shadab Kamal) came to the palace and informed Dr Palit of robbery in his clinic. However, not much monetary loss was reported. What could be the reason for robbery?
On the very next day, Deepnarayan dies soon after Dr. Palit administers injection for his liver problem. DSP Pandey rushes to the palace along with Byomkesh and Ajit. After interrogating those present in the palace including Dr. Palit and other relatives of Deepnarayan, Byomkesh comes to the conclusion that Deepnarayan has been murdered, possibly for one of the two motives – to corner his vast property by the interested relatives and second, to get rid of him due to extra-marital relationship.
As the investigation progresses, the list of suspects grows in the eyes of Byomkesh. The first is Debnarayan, the nephew of the deceased who would be the immediate beneficiary of the vast property as Deepnarayan has no children. Debnarayan’s wife, Chandni could also be a suspect as after the death, Shakuntala, now widow, would lose power in the palace. Chandni would be the de fact owner of the property as her husband, Debnarayan is not a smart person. Third, the Manager of the estate of Deepnarayan who. with his boss Deepnarayan’s death would get more freedom in managing the financial assets with the scope for misappropriation of money for his own benefits.
Even Shankutala, the widow of Deepnarayan is not above suspicion who is now 3-month pregnant. Byomkesh regards this as an illicit pregnancy as she has become pregnant when Deepnarayan had been bedridden for nearly 5 months with 24 hours surveillance from nurses on him because of his serious illness. Of course, Dr Palit is also in suspect’s list as it is only after he administered the injection, Deepnarayan had died. It is possible that he could have been influenced by any one of the suspects with an offer of handsome monetary rewards for administering poison to Deepnarayan. And lastly, Narmada Shankar (Subrata Dutta) who is from the same native place as Shakuntala has been friendly with her and has an access to meet her in the palace.
Finally, Byomkesh finds the killer and he is not from the above list. He reveals to all those present in the palace as to how he cracked the case. The film ends with Byomkesh, his wife, Satyabati and Ajit taking a stroll over the ghats of Varanasi as their holidays have just now begun.
I was curious about the title of the film, ‘Har Har Byomkesh’. After watching the film, I guess that the director wanted to give an indication that the whole episode took place in Varanasi, the city of Mahadev (Lord Shiva). So salutation, ‘Har Har Mahadev’ became ‘Har Har Byomkesh’. Interestingly, ‘Vyomkesh’ (pronounced in Bangla as ‘Byomkesh) is made up of two words, ‘Vyom’ (Air, space) and ‘Kesh’ (hair or jatta). When Lord Shiva is doing tandav nrutya, his hairs swing into the air. So Vyomkesh is another name for Lord Shiva. This is the interpretation I got on the internet about ‘Vyomkesh’.
‘Har Har Byomkesh’ (2015) has 3 songs – all in the sub-dialects of Hindi. This is not surprising as the story is set in Varanasi (as against Patna in original story). All 3 songs are composed in three different genres of Hindustani semi-classical music – Thumri, Chaiti and Bhajan. I am presenting here a Chaiti song “Roothe Sajan Kaise Manaawe Ho Raama” sung by Sabina Mumtaz Alam, Hindustani classical singer. The song is written by Sutapa Basu and is set to music by Bickram Ghosh, also a Hindustani classical musician and a fusion music director.
It is a mujra song which is being performed by a mujra singer in the midst of her admirers led by Debnarayan (Indradip Dasgupta), Narmada Shankar (Subrta Dutta) and their cronies in a boat sailing in River Ganga near the Varanasi ghats. Ajit (Ritwick Bandopadhyay), Byomkesh’s friend has gone for a stroll on the ghats of Varanasi. He is surprised to find Debnarayan on the boat enjoying the mujra performance just one day after the death of his uncle, Deepnarayan.
Song – Roothe Sajan Kaise Manaawe Ho Raama (Har Har Byomkesh) (2015) Singer – Sabina Mumtaz Alam, Lyrics – Sutapa Basu, MD – Bickram Ghosh
Lyrics
roothe sajan kaise manaawe ho raama. . .
roothe sajan kaise.. manaawe ho raama..aa
un dwaar kaise hum jaibe
un dwaar kaise hum jaibe
saanjh saverwa..aa..aa
saa..aanjh saverwa
kaate bin sandeswa
saa..njh.. saverwa
kaate bin sandeswaa
ho dikhaike
ho o o dikhaike sapanwa paas na aaibe
dikhaike sapanwa paas na aaibe
ho raa..aama..
kaise manaawe
roothe sajan kaise manaawe ho raama..
roothe sajan kaise.. manaawe
———————————————
Hindi script lyrics (Provided by Sudhir)
———————————————
रूठे सजन कैसे मनावे हो रामा॰॰
रूठे सजन कैसे॰॰ मनावे हो रामा॰॰आ
उन द्वार कैसे हम जईबे
उन द्वार कैसे हम जईबे
साँझ सवेरवा॰॰आ॰॰आ
साँ॰॰आँझ सवेरवा
काटे बिन संदेसवा
साँ॰॰आँझ॰॰ सवेरवा
काटे बिन संदेसवा
हो दिखईके
हो ओ ओ दिखईके सपनवा पास ना अइबे
दिखईके सपनवा पास ना अइबे
हो रा॰॰आमा॰॰
कैसे मनावे
रूठे सजन कैसे मनावे हो रामा॰॰
रूठे सजन कैसे॰॰ मनावे
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 : |
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Hullo Atuldom
Let me wish a very Happy Deepawali to one and all. Let the festival light up our lives with lots of positivity love and peace. Let the new Samvat bring in prosperity all around. In all this let us try and make the life of everyone around us happy too. Dhanteras, Naraka Chaturdashi and Laxmi Pooja starts the festive week which goes on to Bhai Dooj and ends with Chat Pooja. May there be no issues of weight gain for anyone 😉
Now there are other things that group “Atulites” is celebrating today. One of us is having his birthday. Also, birthday wishes to the daughter of another atulite. God bless them with lots of health and happiness.
A few months back we had a party song for Atulji’s birthday which asked “where’s the party tonight?”; don’t remember the reply. But here is the next party and it is a song on Bhai with Kareena Kapoor Khan in tow and the whole “mohalla” joining in the celebration. As it is the whole country is in festival mood and this song fits in for the occasion.
A confession – I knew the existence of this song which was written by Shabbir Ahmed and composed by Pritam Chakraborty. But I hadn’t heard it completely. Neither in the movie nor on any music channel. As I sat to write it for the post and heard it, I knew this was a song which our birthday boy will love as it underlines his quality of being a great host. Specially the line “aao jahaaz mein ya bharke truck se”; he will definitely say “aaj ki party meri taraf se”. Another thing which I realized is that this is the end credits- song of the 2015 Kareena Kapoor- Salman Khan blockbuster “Bajrangi Bhaijaan” which was directed by Kabir Khan. The song features the entire cast of the movie which includes Nawazuddin Siddique, Sharat Saxena, the child – who played the ‘mute central character’- Harshaali Malhotra, and all the actors who played parents to Kareena and Harshaali. Much like the whole of Atuldom wishing our Atulite and Daughter of the other Atulite on their birthdays. Gang work 😉
I am sure the regular followers of this blog have guessed who is the Atulite I am wishing. He was one of the first follower and farmaish(er) of the blog [sorry for the hinglish word and wrong grammar.] He is a doston ka dost. An occasional NRA – non-resident Atulite. A very gracious host and then he also is a fan of HFM thanks to having spent a small part of his life in that sphere of the country where Hindi films were the only source of entertainment. A Rafi fan who is addicted to Kishore Kumar’s voice too. Fan of Rajesh Khanna who learnt to love Amitabh too. Over the years his love for Sahir Ludhianvi’s work has grown that by no means, means that he doesn’t appreciate other lyricists. He loves to occasionally slip into the Punjabi way of speaking and loves to hear Urdu in songs and poetry. I am speaking of Rajaji. Wishing our dear Rajaji a very Happy Birthday.
I don’t know much about the daughter who has her birthday today. Don’t even know her name but all the best to her too. I hope, she too, will like today’s song. May she have lots of dreams and may they come true.
Happy Deepawali once again to all!!!
Audio
Video
Song-Ae party o party ae party party party(Bajrangi Bhaijaan)(2015) Singer-Mika Singh, Lyrics-Shabbir Ahmad, MD-Preetam Chakraborty
Chorus
Lyrics
ae party, o party,
aye party party party
aye party, o party,
aye party party party
papapappapapa
papapappapapa
papapappapapa
papapappapapa
papapappapapa
hai celebration
naacho dhana-dhan
music bajaao keh do yeh sabse
hai celebration naacho dhana-dhan
music bajaao keh do yeh sabse
aaj ki party meri taraf se
aaj ki party meri taraf se
chaand ko bolo utre falak se
aaj ki party meri taraf se
chaand ko bolo utre falak se
aaj ki party meri taraf se
um dum dukur dukur ahaa
dum dum dukur dukur oho
dum dum dukur dukur
dhing pata pat dhingri popo
dum dum dukur dukur
dum dum dukur dukur
dum dum dukur dukur
dhing pata pat dhingri popo
machi hai chull
tod ke rule
kare wo step ki gire log daayein baayein
neend bhi gull,
jashn hai full
naache jamke ke poora floor hill jaaye
baaz naa aaye,
shor machaaye
party jo na kare usko tata bye
machi hai chull
tod ke rule
kare wo step ki gire log daayein baayein
neend bhi gull
jashn hai full
naache jamke ke poora floor hill jaaye
baaz naa aaye
shor machaaye
party jo na kare usko tata bye
shaadi na function
aajao bantan
aao jahaaz mein ya bharke truck se
aaj ki party meri taraf se
aaj ki party meri taraf se
chaand ko bolo utre falak se
aaj ki party meri taraf se
dum dum dukur dukur ahaa
dum dum dukur dukur oho
dum dum dukur dukur
dhing pata pat dhingri popo
dum dum dukur dukur
dum dum dukur dukur
dum dum dukur dukur
dhing pata pat dhingri popo
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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