Archive for the ‘“Zindagi” song’ Category
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 : |
5707 | Post No. : | 18225 |
“Khyber” (1954) was produced and directed by Kamal Kapoor for Kapil Pictures, Bombay. The movie had Kamal Kapoor and Nigar Sultana in lead roles. The movie also had Naaz, Tiwari, Niranjan Sharma, BM Vyas, Chaman Puri, Nand Kishore, Dev Raj, Rajan Kapoor, Dichhoo Kumar (Jr.), Roop Kumar, Baby Ratan, Chiman Lal, Charanjit Kumar, Indu Pal etc in it.
“Khyber” (1954) had eight songs in it. Four songs have been covered in the blog.
Here is the fifth song from “Khyber” (1954) to appear in the blog. The song is sung by Shamshad Begam and chorus. Asad Bhopali is the lyricist. Music is composed by Hansraj Bahl.
Only the audio of this song is available. The song appears to be a dance song. I request our knowledgeable readers to throw light on the movie as well as on the picturisation of this song.
Song-Jung bhee hai pyaar bhee hai zindagee (Khyber)(1954) Singer-Shamshad Begam, Lyrics-Asad Bhopali, MD-Hansraj Bahl
Chorus
Lyrics
hoye
jung bhi hai pyaar bhi hai zindagee
hoy hoy
jung bhi hai pyaar bhi hai zindagee
hoy laale
jung bhi hai pyaar bhi hai zindagee
hoy zindagee
saaz bhi talwaar bhi hai zindagee
hoy hoy saaz bhi talwaar bhi hai zindagee
hoy laale
saaz bhi talwaar bhi hai zindagee
hoy zindagee
hoy
jung bhi hai pyaar bhi hai zindagee
hoye ae
jung ho ya aa aa pyaar ho sab dil se hai
jung ho ya pyaar ho
sab dil se hai
jeet ho ya aa haar ho sab dil se hai
jeet ho ya haar ho
sab dil se hai
ho o o
jeet bhi hai haar bhi hai zindagee
zindagee
jung bhi hai pyaar bhi hai zindagee
hoy hoy
saaz bhi talwaar bhi zindagee
hoye
pyaar hi kya aa aa jismein kabhi jung na ho
pyaar hi kya jismein kabhi jung na ho
jung hi kya aa aa dil mein jab umang na ho
jung hi kya dil mein jab umang na ho
ho o ?? bhi jhankaar bhi hai zindagee
Zindagee
jung bhi hai pyaar bhi hai zindagee
hoy hoy saaz bhi hai talwaar bhi zindagee
hoye
pyaar bhare ae geet sada gaaye ja
pyaar bhare geet sada gaaye ja
gaaye ja bal khaaye ja lehraaye ja
gaaye ja bal khaaye ja lehraaye ja
ho o o
maut bhi hathiyaar(?) bhi hai zindagee
zindagee
jung bhi hai pyaar bhi hai zindagee
hoy hoy
saaz bhi talwaar bhi hai zindagee
hoy laale
jung bhi hai pyaar bhi hai zindagee
hoy hoy
saaz bhi talwaar bhi hai zindagee
- In: "bicycle" song | "Zindagi" song | Amitabh Bachchan present (without lip syncing) | Amitabh Bachchan songs | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | joie de vivre | Love song | Lover's tête-à-tête | Lyrics contributed by readers | Post by Sadanand Kamath | Songs of 2000s (2001 to 2010) | Songs of 2003 | Sonu Nigam Songs | Sonu Nigam-Sunidhi Chauhan duet | Sunidhi Chauhan Songs | Yearwise breakup of songs
- 2 Comments
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 : |
5661 | Post No. : | 18163 | Movie Count : |
4876 |
Happy birthday to actor-writer-director, Honey Irani who completes 74 years today (17 January 2024). She shares her birth date with her ex-husband, Javed Akhtar who turns 79 today.
Honey Irani is the daughter of Noshir Irani who was one of the partners of Mumbai’s famous Irani Bakery and restaurant, B Merwan & Co. located opposite Grant Road railway station. (I used to visit this place almost every Saturdays to buy their famous maawa cake). Her mother, Perin Irani was fond of Hindi films and was firm that her children should work in films. Honey Irani is the youngest among 5 siblings – Maneka Irani, Bunny Irani, Sarosh Irani and Daisy Irani. Maneka Irani was married to producer-director-actor, Kamran Khan. Farah Khan and Sajid Khan are their daughter and son respectively. Daisy Irani was married to KK Shukla who was a story and screenplay writer. Sarosh Irani was a child actor in early 1960s. He assisted his uncle Kamran in his films. Later, he was associated with B Merwan & Co as one of the partners. Perin Irani produced the film, ‘Bachpan’ (1963) in which her daughters, Maneka Irani and Daisy Irani acted.
My cinematic acquaintance with Honey Irani (also of her elder sister, Daisy Irani) was as a child actor who sometimes got boy’s roles. Her debut film as a child actor was ‘Ek Gaon Ki Kahaani’ (1957). Two songs which have remained in my mind for a long time in which she had an important role as a child actor were “Tim Tim Karte Taare” in ‘Chiraag Kahan Roshni Kahaan’ (1959) and “Naani Teri Morni Ko Mor Le Gaye” in ‘Maasoom’ (1960). As a child actor, Honey Irani has worked in about 20 films and in adult roles in 6 films. She gave up acting in the films after her marriage with Javed Akhtar in 1972. They separated in 1978 and got divorced in 1984. However, they have remained friends.
Today’s generation knows Honey Irani as the mother of the successful film makers, Farhan Akhtar and Zoya Akhtar. But she is more than that. She has moved her filmy career from the front of the camera to behind the camera by turning first, as assistant director to Ramesh Talwar for ‘Basera’ (1981), ‘Duniya’ (1984), and ‘Zamaana’ (1985), and later, as a story and screen-play writer. She had a natural flavor for storytelling from her childhood. She has also been writing short stories as a hobby, but was afraid to publish them as it may be construed as indirect contributions from her now ex-husband Javed Akhtar. Her flavor for writing was recognized by Pamela Chopra, wife of Yash Chopra when she read her story, ‘Aaina’ and had planned to make a TV Serial on this story. However, when Yash Chopra read the story, he decided to make a full-length film, ‘Aaina’ (1993) at a later time. Instead, he gave her to write the full story and screenplay for ‘Lamhe’ (1991) by giving her the basic framework of the story.
After ‘Lamhe’ (1991) was critically acclaimed for its bold story, she wrote story/screenplay for ‘Parampara’ (1992), ‘Darr’ (1993), ‘Suhaag’ (1994), ‘Laawaaris’ (1999), ‘Kaho Na Pyaar Hai’ (2000), ‘Kya Kehna’ (2000), ‘Koi Mil Gaya’ (2003), Krissh’ (2006) and ‘Krissh 3’ (2013) etc. So far, she has written story/screenplay for 18 films. Most of her stories are on human relationship with women-oriented themes. With ‘Armaan’ (2003) she made her debut as a director, the only film she has directed so far.
‘Armaan’ (2003) was produced by Dinesh Gandhi and was directed by Honey Irani. The star cast included Amitabh Bachchan, Anil Kapoor, Preity Zinta, Gracy Singh, Aamir Bashir, Randhir Kapoor, Arun Bali, Prithvi Zutshi, Preety Dayal, Suhita Thatte, Vijay Kenkre, Rajiv Kumar etc. Probably, this is the first film in which Amitabh Bachchan and Anil Kapoor worked together. The film was premiered at IIFA Awards Night at Johannesburg on May 16, 2003, and had a simultaneous theatrical release.
According to Honey Irani, it was her childhood dream to become a doctor. However, due to her busy schedule as a child actor, she could not even complete her schooling leave alone becoming a doctor. The story of ‘Armaan’ (2003) written by her, reflected her imaginations of doctor-patient relationship and also the troubled human relationships in which there are bitter-sweet moments. She decided to make a debut as a director for this film because the subject was close to her heart. (Source: Honey Irani’s interview published in ‘The Telegraph online’, January 26, 2023).
The story of the film is as under:
Dr Siddharth Sinha (Amitabh Bachchan) runs a hospital with his adopted son, Dr Aakaash Sinha (Anil Kapoor) who is a Neurosurgeon. Dr. Neha Mathur (Gracy Singh) joins the hospital as an Anesthetist. Initially, Neha and Aakaash do not get along well as there are professional as well as personal differences in their approach.
Dr Siddharth wants to expand as well as upgrade the hospital for which he forms a group of experts to submit the project report. From the doctor’s perspective, both Aakaash and Neha are also required to jointly prepare and submit a project report. During this time, both Neha and Aakaash come closer and reveal their love for each other.
The expansion and upgradation of the hospital require financial backing which Dr Siddharth is desperately looking for. Here comes in the scene the super-rich, Gulshan Kapoor (Randhir Kapoor) with his spoiled daughter, Sonia Kapoor (Preity Zinta) who has fallen in one-sided love with Aakaash after they met at a party. Gulshan Kapoor offers to bear the financial cost of the expansion and the modernization of the hospital, In return, he wants Aakaash’s hands in marriage with his daughter, Sonia. Siddharth rejects the offer as he already knows that Aakaash is in love with Neha.
The circumstances drastically changes when Siddharth dies of heart-attack. Aakaash is now in desperation to fulfill his father’s dream of upgrading his hospital for which he needs financial help. So, Aakaash sacrifices his love for Neha by marrying Sonia. Neha understands Aakaash’s predicament and moves on with her life by continuing to work in the hospital.
Post-marriage with Sonia, Aakaash has to face the unpredictable behavior of his wife who is possessive about Aakaash and jealous with Neha. Her bizarre behavior at home affects Aakaash’s professional works in the hospital. It is a hell of a life for him to deal with a wife who is akin to a mental case. The death of Neha’s mother in the hospital due to Aakaash’s absence at the operation theater creates his intense dislike for his wife who had deliberately not informed him about the surgery. He leaves the house never to return to his wife.
Angered by Aakaash’s behavior, Sonia takes a revolver and drives her car to reach Neha’s house, probably to kill her. However, due to her intense anger in her mind, Sonia losses control of her car and is met with an accident with a serious head injury. She is brought to the hospital where her chances of the success of her brain operation is minimal. As a neurosurgeon, it is a challenge for Dr Aakaash to make her brain surgery successful to give Sonia a second life. On the other hand, if operations is unsuccessful, people would talk about his professional integrity especially in the background of the strained relation with his wife.
Aakaash conducts Sonia’s brain surgery successfully against all odds with the help of Neha. Sonia is discharged from the hospital. After a couple of months when she has fully recovered, Sonia visits Aakaash and tells him that after a successful surgery, her brain has become hyper-active which is telling her that they are not made for each other. She hands over the divorce papers signed by her to Aakaash and leaves his house for London. Aakaash and Neha are united.
I enjoyed the film though some parts of the story did appear familiar to me. All the four main actors have given good performances with Preity Zinta in her grayish role topping the list. The film was pleasing to my eyes because of its hill station backdrop with forest trails.
The film had 7 songs including one version song which were written by ‘birthday boy’, Javed Akhtar and set to music by Shankar-Ehsaan-Loy. I present the first song from the film, “Meri Zindagi Mein Aaye Ho” to appear on the Blog. The song is rendered by Sunidhi Chauhan and Sonu Nigam. One can call it a ‘cycle song’ during which both Anil Kapoor and Gracy Singh express love for each other while cycling on a road passing through forest.
The background to the song is that Dr. Neha Mathur (Gracy Singh) and Dr. Aakaash Sinha (Anil Kapoor) work in a hospital as colleagues. But they are loggerhead with each other – both professionally and personally. It is during their project work for the upgradation of the hospital, they become close. This song follows when both reveal their love for each other.
Javed Akhtar surely wrote this song keeping in mind the situation in the film. But if he had written this song in 1972, he would have dedicated this song to Honey Irani. It was after his marriage with her in 1972 that he tasted tremendous successes as a writer in ‘Seeta Aur Geeta’ (1972), ‘Zanzeer’ (1973), ‘Majboor’ (1974), ‘Sholay’ (1975), ‘Deewaar’ (1975), ‘Don’ (1978), ‘Trishul’ (1978) etc.
Video Clip:
Audio Clip:
Song-Meri zindagi mein aaye ho (Armaan)(2003) Singers-Sunidhi Chauhan, Sonu Nigam, Lyrics-Javed Akhtar, MD-Shankar Ehsan Loy
Both
Lyrics (based on audio clip):
meri zindagi mein aaye ho
aur aise aaye ho tum
jo ghul gaya hai saanson mein
wo geet laaye ho tum
meri zindagi mein aaye ho
aur aise aaye ho tum
jo ghul gayaa hai saanson mein
wo geet laaye ho tum
ho tum hi kaho
tum hi kaho
dil jo aise gaaye
koi kyon na gungunaaye
meri zindagi mein aaye ho
aur aise aaye ho tum
jo ghul gayaa hai saanson mein
wo geet laaye ho tum
o ho o o o
o o
ho o o o
o o
o ho o o o
o o
ho o o o
o o
o ho o o o
o o
o ho o o o
o o
tumko paa ke
hans ke gaa ke..ae
nikhri hai sanvri hai zindagi
ujli subahen rangeen shaamen
aa gayi ek nayi dilkashi..
ho maan bhi lo
maan bhi lo raat jo hai kehti
ye fiza jo samjhaaye
meri zindagi mein
o ho o o o
o o
ho o o o
o o
ho o o o
o o
ho o
o o
meri zindagi mein aaye ho
aur aise aaye ho tum
jo ghul gaya hai saanson mein
wo geet laaye ho tum
tum se pehle
dekhe kab thhe
maine ye khwaabon ke kaarwaan. . .
tum jo aaye
tum ho laaye
ankahee ansunee daastaan
o suno zaraa
suno zaraa
mera dil bhi haaye
wo kahaani dohraaye
meri zindagi mein
meri zindagi mein aaye ho
aur aise aaye ho tum
jo ghul gayaa hai saanson mein
wo geet laaye ho tum
ho tum hi kaho
tum hi kaho dil jo aise gaaye
koyi kyun na gungunaaye
meri zindagi mein aaye ho
aur aise aaye ho tum
jo ghul gayaa hai saanson mein
wo geet laaye ho tum
o ho o o o
o o
o ho o o o
o o
o ho o o o
o o
o ho o o o
o o
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
मेरी ज़िंदगी में आए हो
और ऐसे आए हो तुम
जो घुल गया है साँसों में
वो गीत लाये हो तुम
मेरी ज़िंदगी में आए हो
और ऐसे आए हो तुम
जो घुल गया है साँसों में
वो गीत लाये हो तुम
हो तुम ही कहो
तुम ही कहो
दिल जो ऐसे गाये
कोई क्यों ना गुनगुनाए
मेरी ज़िंदगी में आए हो
और ऐसे आए हो तुम
जो घुल गया है साँसों में
वो गीत लाये हो तुम
ओ हो ओ ओ ओ
ओ ओ
हो ओ ओ ओ
ओ ओ
ओ हो ओ ओ ओ
ओ ओ
हो ओ ओ ओ
ओ ओ
ओ हो ओ ओ ओ
ओ ओ
हो ओ ओ ओ
ओ ओ
तुम को पा के
हंस के गा के
निखरी है संवरी है ज़िंदगी
उजली सुबहें रंगीं शामें
आ गई इक नई दिलकशी
हो मान भी लो
मान भी लो रात जो है कहती
ये फिज़ा जो समझाये
मेरी ज़िंदगी में
ओ हो ओ ओ ओ
ओ ओ
हो ओ ओ ओ
ओ ओ
ओ हो ओ ओ ओ
ओ ओ
हो ओ ओ ओ
ओ ओ
मेरी ज़िंदगी में आए हो
और ऐसे आए हो तुम
जो घुल गया है साँसों में
वो गीत लाये हो तुम
तुम से पहले
देखे कब थे
मैंने ये ख्वाबों के कारवाँ
तुम जो आए
तुम हो लाये
अनकही अनसुनी दास्ताँ
ओ सुनो ज़रा
सुनो ज़रा
मेरा दिल भी हाय
वो कहानी दोहराए
मेरी ज़िंदगी में
मेरी ज़िंदगी में आए हो
और ऐसे आए हो तुम
जो घुल गया है साँसों में
वो गीत लाये हो तुम
हो तुम ही कहो
तुम ही कहो
दिल जो ऐसे गाये
कोई क्यों ना गुनगुनाए
मेरी ज़िंदगी में आए हो
और ऐसे आए हो तुम
जो घुल गया है साँसों में
वो गीत लाये हो तुम
ओ हो ओ ओ ओ
ओ ओ
हो ओ ओ ओ
ओ ओ
ओ हो ओ ओ ओ
ओ ओ
हो ओ ओ ओ
ओ ओ
This article is written by Mahesh Mamadapur, 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 : |
5644 | Post No. : | 18136 |
Mukesh and his Actors – 01
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Well, the Halley’s comet is back on the blog.
So much so that it did not feature in nearly two centuries of latest posts. Reasons? Aren’t they cliches already on the blog?
Incidentally, speaking of the real macro universe comet itself, it last appeared in 1986 and is expected to pass by the pale blue dot next in July 2061. Second week of December this year, it reached the farthest point from the sun known as aphelion, thus beginning its journey towards the inner solar system.
So, the date for sighting arguably the most famous comet is set for July 2061 for earthlings alive then.
Coming back to the blog, we start with a new series Mukesh and his Actors. This has been a task which I had been contemplating for years and remained a non-starter mainly because I could not decide as to which actor, I should take up for the debut post.
Before we start with the post itself and regarding my infrequent appearances on the blog, I thought it would be politic to have a recap of the statistics of my 3 ongoing series on Mukesh. So here is a summary of the articles posted so far.
| Series | No. of Posts |
|---|---|
| Mukesh and his Composers | 30 |
| Mukesh and his Co-Singers | 9 |
| NFS of Mukesh | 3 |
| Mukesh and his Actors | 1 |
A kind of a geometric sequence it is. With dwindling number of Mukesh’s songs to be posted, I don’t think the numbers will change drastically, but let’s see how frequent my appearances occur in the near future. 😊
To take up an actor for this debut post, Raj Kapoor, of course is the most obvious choice. But the sheer numbers and the preparation of a long table would consume a lot of time and thus it was also a reason that I kept procrastinating the series.
Also, I would have personally loved to start the series with Motilal, the man responsible for bringing Mukesh to the fore of cinema world. But all the songs rendered by Mukesh for his discoverer remain covered on the blog.
Mukesh lent his voice to Dilip Kumar, Dev Anand, Ashok Kumar, Ajit, Dharmendra, Rajesh Khanna, Shashi Kapoor, Sunil Dutt, Manoj Kumar, Pradeep Kumar, Rajendra Kumar, Sanjeev Kumar, Shammi Kapoor, Raj Kumar, Feroz Khan, Mehmood, Vinod Khanna and a host of other actors. However, it is extremely difficult to identify the next profound actor for whom Mukesh gave playback. I know many fans would place Manoj Kumar, next on the list.
A strong reason for not having a profound list could be because Mukesh’s numbers for other actors are quite few. Another basis is the fact of immense popularity of the songs that Mukesh sang. So, whether it was well-known or unknown actors, the voice of Mukesh has stood the test of time. Some actors such as Sudesh Kumar in Saranga 1961 remain in active memory only because of the playback that Mukesh rendered.
As I have said earlier, almost all songs of Motilal have been covered on the blog. I say almost as there is always a hope that some or the other untraced/forgotten song may crop up anytime. Quite a few songs of Mukesh remain untraced/unavailable even though there is information available on them.
Since this is a debut post on the series, I thought it would be appropriate to include a table of songs sung by Mukesh for Motilal, notwithstanding the fact that all are already covered on the blog.
So here is a table with a disclaimer in the form of a (#) sign besides the title and its description at the bottom of the table.
| MUKESH’s playback for MOTILAL (#) | |||||
|---|---|---|---|---|---|
| S. No | Name of song | Movie (Year of release) | Co-singer if any | Composer | Lyricist |
| 1 | Badariyaa baras gayi us paar | Moorti (1945) | Khursheed, Hameeda Bano | Bulo C Rani | Pt. Indra Chandra |
| 2 | Haseenon se haseenon ko | Moorti (1945) | Bulo C Rani | Pt. Indra Chandra | |
| 3 | Maana ke tum haseen ho | Moorti (1945) | Bulo C Rani | Pt. Indra Chandra | |
| 4 | Dil jaltaa hai | Pehli Nazar (1945) | Anil Biswas | Aah Sitapuri | |
| 5 | Jawaani ye bharpoor | Pehli Nazar (1945) | Naseem Akhtar | Anil Biswas | Aah Sitapuri |
| 6 | Pehli nazar ka teer | Pehli Nazar (1945) | Naseem Akhtar | Anil Biswas | Aah Sitapuri |
| 7 | Tae kar ke badi door ki | Pehli Nazar (1945) | Anil Biswas | Aah Sitapuri | |
| 8 | Hamaare sainyyaan daaru pee ke | Do Dil (1947) | Rajkumari | Pt Govindram | D N Madhok |
| 9 | Jiyaa beimaan | Do Dil (1947) | Pt. Govindram | D N Madhok | |
| 10 | Kaaghaz ki meri naav | Do Dil (1947) | Suraiyya | Pt. Govindram | D N Madhok |
| 11 | Le matki aa jaa raadha ri | Do Dil (1947) | Pt. Govindram | D N Madhok | |
| 12 | Maati kaa but bhaa gayaa | Do Dil (1947) | Suraiyya | Pt. Govindram | D N Madhok |
| 13 | Pyaar jataa ke | Do Dil (1947) | Pt. Govindram | D N Madhok | |
| 14 | Badaraa ki chhaaon tare | Lekh (1949) | Suraiyya | Krishan Dayal | Qamar Jalalabadi |
| 15 | Lut gayaa din raat ka aaraam | Lekh (1949) | Krishan Dayal | Qamar Jalalabadi | |
| 16 | Ye kaafila hai pyaar ka | Lekh (1949) | Asha Bhonsle | Krishan Dayal | Qamar Jalalabadi |
| 17 | Berukhi bas ho chuki | Hamaari Beti (1950) | Geeta Roy | Snehal Bhatkar | Randheer |
| 18 | Dil ka milna mushqil hai * | Hamaari Beti (1950) | Snehal Bhatkar | Pt. Phani | |
| 19 | Kisne ye kisne | Hamaari Beti (1950) | Geeta Roy | Snehal Bhatkar | Randheer |
| 20 | Mohabbat bhi jhoothi | Hamaari Beti (1950) | Snehal Bhatkar | Pt. Phani | |
| 21 | Aise mein koi chham se jo | Hanste Aansoo (1950) | G M Durrani | Ghulam Mohammad | Shewan Rizvi |
| 22 | Maine sapna jo dekha hai | Hanste Aansoo (1950) | Rajkumari | Ghulam Mohammad | Majrooh Sultanpuri |
| 23 | Mohabbat kisko kehte | Hanste Aansoo (1950) | Shamshad Begam | Ghulam Mohammad | Shewan Rizvi |
| 24 | Qismat mein yahin likha tha | Hanste Aansoo (1950) | Ghulam Mohammad | Majrooh Sultanpuri | |
| 25 | Rakhaa hua nishaane pe | Hanste Aansoo (1950) | Lata | Ghulam Mohammad | Shewan Rizvi |
| 26 | Zindagi khwaab hai | Jaagte Raho (1956) | Salil Chaudhary | Shailendra | |
| 27 | Zindagi khwaab hai, tha hamen bhi pata ** | Chhoti Chhoti Baaten (1965) | Anil Biswas | Shailendra | |
# Due to unavailability of adequate information and video proofs, it is not known for sure if Mukesh provided playback for Motilal for all the songs in the above table. Motilal’s presence in the aforesaid films as an actor is however well established.
* Multiple version song
** Not included in the film
There are heroes, heroines, stars, superstars etc. and then there are Actors.
Actors, in their true sense are very few. Motilal was one such popular and natural Actor.
His very presence on the screen was acting in itself. Such was the aura he carried on the screen.
The story of how he brought Mukesh into the world of cinema is well documented on the blog and elsewhere. For two decades, Mukesh gave playback to about 26 odd songs for Motilal.
More than 95% of all the songs are from the first decade of Mukesh’s life as actor and playback singer. We all know the struggles of Mukesh as an actor, composer, producer and ultimately the popularity he gained as a playback singer.
In the above table, even though Moorthi was released before Pehli Nazar, it was the fame that the solo from Pehli Nazar that installed Mukesh on the pedestal of playback popularity. The legendary Kudan Lal Saigal stating that he does not remember singing the song is not a piece of recorded history. But, given the style and utmost facsimile of rendering it should not be surprising if Saigal saab had indeed quoted such a thing. I have often stated that this will remain the biggest compliment that Mukesh ever received in his career.
Moving on, I have already discussed the immense popularity of the triad from Moorthi at S. No 1 It is said that in those days people used to foregather outside hotels etc. to listen to this song.
Mukesh’s duet with Naseem Akhtar at S. No 6 is a personal favourite of mine. The confidence in the voice of Nassem Akhtar while she conveys her feelings and the sort of timid responses from a newcomer to singing makes up for interesting listening.
Do Dil (1947) starring Suraiya had 3 each solos and duets by Mukesh.
Number 10 is a beautiful sad duet, which Mukesh mastered in his later years.
Lekh (1949) had 2 beautiful duets and 1 sad solo. When I first got smitten to the voice of Mukesh in late eighties, I remember running from one cassette shop to another in search of the solo. Ultimately, I had to get it recorded and copied on a blank cassette paying a hefty amount. Those were the days when the joy of eventually possessing a favourite song and playing multiple times knew no bounds.
I always visualize Dev Anand on the screen for the duet at S. No 14. This could be because of the popular duet of Mukesh with the same Suraiya in Vidya 1948. 😊
However, there was no Dev Anand in Lekh (1949) and it must have been pictured on Motilal himself.
The other duet from Lekh with Asha Bhosale is historically important as it was the first time that the two singers came together.
The next two films Hamaari Beti and Hanste Aansoo released in 1950 had a total of 9 songs with various co-singers. Many of these songs are also immensely popular to this day. For multiple version song at 18, I request readers to see the comment of our Nitin ji on the blog. So very apt.
Thereafter, it was only after 6 years that Mukesh sang his well-known drunkard song in Jaagte Raho (1956) for Motilal. This was the last playback of Mukesh for the actor.
At 27, I have retained the soulful rendition Zindagi khwaab hai, tha hamen bhi pata, even though it was not part of the released film and obviously not picturized on Motilal. The other song of this movie was Mukesh’s duet with Lata and was picturized and sung for Moti Sagar in the film.
The solo, it is said was specially created and dedicated as a homage by Mukesh to Motilal who passed away before the film was released. It is also said that Mukesh himself scored the music for the particular song and never took credit for it. It was Mukesh sincerely thanking Motilal from the bottom of his heart for everything that Motilal meant to him both in his personal life as well as professional career.
The lines,
chandd din thhaa basera hamaara yahaan
ham bhi mehmaan thhey
ghar toh uss paar thhaa
gives me goosebumps every time, I listen to them for the genuine and honest intensity of the rendering.
Moving ahead, I have a two-page detailed filmography of Motilal collected from a Hindi or Marathi magazine decades back. Incidentally, the author of the article is our own Harish ji, the compiler of Mukesh Geet Kosh. However, I am unable to find any details on the singers who have given playback for Motilal or the songs that he may have himself sung as he mainly worked in the era where playback was slowly evolving. Even for most of the songs in the above table, videos are not available. Readers can also associate that most of these numbers have been unearthed by our Sudhir ji for our listening pleasure. However, even his posts are sans videos of the songs as they are simply not available/difficult to trace or lost forever.
I request readers to provide any information that they may have regarding the songs of Motilal not only for Mukesh but for other playback singers as well.
I have already shared the two-page article/filmography of Motilal on various whatsapp groups. If anyone else is interested I will be more than happy to share.
With this, I end my chapter on Mukesh songs for Motilal, however the post is incomplete as a song has to be featured. So, lets move on.
Mukesh in his early years gave playback for famous singers like Dev Anand, Dilip Kumar etc. But these numbers are few and all are already covered on the blog.
To make a debut on the series, I was long contemplating Amitabh Bachchan for whom Mukesh sang a few songs including immensely popular ones from Kabhi Kabhi.
However, during the contemplating period, all songs on Big B were slowly covered on the blog and I was left with none.
So, what am I up to in this post? Well read on.
Before we come to the song for the post, it would be prudent to again have a glance at all the songs that Mukesh rendered for Big B and so here is the detailed table.
| MUKESH’s playback for AMITABH BACHCHAN | |||||
|---|---|---|---|---|---|
| S. No | Name of song | Movie (Year of release) | Co-singer if any | Composer | Lyricist |
| 1 | Ib tum paas na aanaa | Raaste ka Patthar (1972) | Asha Bhonsle | Laxmikant Pyarelal | Anand Bakshi |
| 2 | Main har dum kisi ko dhoondhta hoon | Raaste ka Patthar (1972) | Asha Bhonsle | Laxmikant Pyarelal | Anand Bakshi |
| 3 | Raaste kaa patthar kismat ne mujhe | Raaste ka Patthar (1972) | Laxmikant Pyarelal | Anand Bakshi | |
| 4 | Behna o behna teri doli | Adalat (1976) | Kalyanji Anandji | Gulshan Bawra | |
| 5 | Hamka aisa waisa naa samjho | Adalat (1976) | Amitabh Bachchan | Kalyanji Anandji | Gulshan Bawra |
| 6 | Kabhi kabhi mere dil mein * | Kabhi Kabhie (1976) | Khayyam | Sahir Ludhianvi | |
| 7 | Main pal do pal kaa shaayar * | Kabhi Kabhie (1976) | Khayyam | Sahir Ludhianvi | |
*Multiple version song
So, in all, there are only 3 films with 7 songs. 6 and 7 are multiple version songs which feature Mukesh. So, the count can be considered as 9 also.
The first of the 3 films, Raaste ka Patthar (1972) had two duets with Asha Bhosale and one popular solo which incidentally was a title song.
Adalat 1976 had a solo and another song with Big B himself rendering a few words thus making it a virtual duet.
Mukesh’s duet with Amitabh Bachchan! Now, that’s some kind of a song.
Coming to the last film of the duo, (Kabhi Kabhi, 1976), seriously, what’s the first thing that comes to mind when one comes across this film.
Of course, apart from the moment doe-eyed Rakhee raises her head with her lustrous hair strewn across her left shoulder whilst Big B is rendering Main Pal Do Pal Ka Shaayar on the stage
Or her satiny hair descending on the face of Big B whilst Mukesh is singing
yeh gesuon ki ghani chhaaon hain meri khaatir
indeed, it’s the songs that Mukesh rendered for Big B for the film that spontaneously come to the mind.
Mukesh’s playback perfectly matched the baritone voice of Amitabh dialogue delivery to the T.
Such was the impact of the Mighty Mukesh’s voice right from Motilal to Amitabh Bachchan. From 1940, when he sang for himself on screen to 1976, the year he passed away, the golden voice mattered.
Mukesh also won his fourth and last Filmfare award for the title song of this film.
Finally, coming to the song for the post itself, it is not lip-synced by Amitabh Bachchan but he very well features in the song along with Sharmila Tagore. This aspect is known as some video links on YouTube are available albeit containing snippets of the song. It appears to me that the song features as some sort of refrain throughout the movie. I request knowledge readers to throw more light of this song in the film.
The film is ‘Faraar’ (1975) produced by Alankar Chitra and directed by Shanker Mukherjee. The film stars Amitabh Bachchan, Sharmila Tagore, Sanjeev Kumar et.al. the actor on the screen singing Mukesh’s solo has been identified by our Prakash ji as probably Kishore Namit Kapoor.
The complete audio of the song is available, but strangely the video is difficult to trace on the net. Prakash ji remembers theatre version of the film containing the full video of the song. I have requested our Sudhir ji also to help. I thank our Sadanand ji who brought to my notice that this song was yet to feature on the blog and thus “reserving” it for my new series.
12 posts of mine have appeared on the blog this year, averaging a post a month. Though the number is less, its better off compared to the paltry 3 and 2 in 2021 and 22 respectively.
I intend to increase the number in the coming year by having shorter writeups. 😊.
I take this opportunity to wish the editors, contributors and all readers A very happy and prosperous New Year 2024
May we all continue to enjoy and multiply our mirth of songs and films on the blog.
[Author’s Note: The table containing Mukesh’s songs for Motilal is already with the disclaimer. When this list was shared on a whatsapp group, Mr. Param Arunachalam ji was kind enough to respond that there are a few more Motilal films containing Mukesh’s songs but he too is not sure if they were indeed playback for Motilal. Some examples cited by him are “Arshon Pe Sitara Hai” (‘Beete Din’, 1947), “Na Na Tum Hampe Hanso Na Piya” (‘Mera Munna’, 1948), a couple of songs from ‘Sartaj’ 1950 etc.
I have based my list on the latest edition of Mukesh Geet Kosh (Vol 2) by Shri Harish Raghuwanshi ji. I did not get the list re-confirmed by him due to his health.Thus, this post will probably remain a page under construction for a long time as we seek more and definite info from knowledgeable readers. As and when more info is available, details will be updated. An honest, serious and sincere effort has been made to kickstart this important series with an apt debut of Mukesh’s song for his mentor Motilal. I request readers to acknowledge the difficulties in having a correct and complete list and help us in making it more accurate. — Mahesh]
Audio (Full)
Video (Partial)
Song-Zindagi kya hai yaadon ki baaraat (Faraar)(1975) Singer-Mukesh, Lyrics-Rajinder Krishan, Md-Kalyanji Anandji
Lyrics
zindagi kya hai ae
hmm hmm hmm hm
lalalalala
zindagi kya hai
yaadon ki baaraat
zakhmon ki baaraat
zindagi kya hai
yaadon ki baaraat
zakhmon ki baaraat
kuchh dehke aur kuchh andekhe sapnon ki baaraat
zindagi kya hai
yaadon ki baaraat
zakhmon ki baaraat
kaun kahaan par mil jaaye aur kaun kahaan kho jaaye
kaun kahaan kho jaaye
karwat badle waqt ye aise
kya se kya ho jaaye
kya se kya ho jaaye
gham ke mod pe aakar thahre
khushiyon ki baaraat
zindagi kya hai
yaadon ki baaraat
zakhmon ki baaraat
aisi bhi hotin hai dil mein dard bhari kuchh yaaden
dard bhari kuchh yaaden
dil machale to ban jaati hai honthon par fariyaaden
honthon par fariyaaden
aur duniya ye samjhe
ye hain naghmon ki baaraat
zindagi kya hai
yaadon ki baaraat
zakhmon ki baaraat
zakhmon ki baaraat
zakhmon ki baaraat
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Blog Day : |
5604 | Post No. : | 18081 |
Entire month of october and first half of november saw India awash in cricket mania. ODI World cup cricket was being held in India from 5 october 2023 to 19 november 2023.
As games progressed, we found India keep winning one match after another. They won all their nine group matches and finished top of the table. In contrast, other teams had to scramble and fight hard to qualify for the semi finals. When the group matches were over, India were at the top with nine wins, South Africa and Australia, with seven wins each were second and third. New Zealand, with five wins took the fourth and final semi final position. Other six teams, including England the defending champions fell by the wayside.
The last three matches, unlike the first 45 matches, were knockout matches. What happened in the group stages had no bearing on what was going to happen in the semi finals.
India had to face New Zealand in the semi final. It was all very tough and stressful for Indian fans. If Afghanistan, who had Australia on the mat in their group match, had managed to take the last three Australian wickets as cheaply as they had claimed the top seven wicket, then Afghanistan could well have qualified as the fourth team and faced India. But that was not to be. Afghanistan failed to claim another wicket and Australia claimed a miraculous victory, without losing any more wicket.
New Zealand had been a difficult opponent for India in world cups. In the group stage, India had managed to break a 20 year old jinx of always losing to New Zealand in World cups, but would they be able to do it again in the semi final ? It would have been very difficult for India to take the blow had the hitherto undefeated Indian team gone down to New Zealand that had lost as many as four out of their nine matches in the tournament and had only won against non qualifying teams in the tournament. India piled on a big total batting first, but New Zealand, despite losing two early wickets, were looking well set to overhaul India total. To make matters worse, India had even dropped a catch when a well set New Zealand batsman gave a catch.
When it all looked lost, fortunately Williamson mishit one attempted six and this time the fielder at the boundary made no mistake. This lucky break fortunately turned the tide in favour of India. New Zealand kept fighting, as is their wont, but India managed to win by 70 runs in the end. The huge target set by Indian batsmen helped them in winning the semi final.
The other Semi final saw South Africa electing to bat first on winning the toss, as they had done in group matches. Unlike in group matches, where they would pile on huge totals and then defend the total, this time they found the going tough. The ball was seaming and swinging all around so their decision to bat first backfired. South Africa were soon reduced to 24/4. They could not recover from it and were bowled out for 212. Australia in reply made a quick start, but soon started to lose wickets, especially to spin. In the end, they huffed and puffed to a three wickets win.
So, final was set up between India and Australia. Our media, and even for that matter even the foreign media began to think that Indian win in the final was going to be a certainty.
When final took place, we saw that Australia had done their homework and they had made elaborate plans. They won the toss, and elected to field, much to the surprise of Indians. Indians, it was thought would score a big total, like they had done in the semi final and that would be curtains for Australia. But that was not to be. India, after scoring 80/2 in ten overs, could only score 160/8 in the next forty overs. Australia, after losing three early wickets, recovered, consolidated and finally emerged comfortable winners by six wickets, with 43 balls to spare.
What happened in the final ? Why all predictions and forecasts of Indian wins went haywire ?
It was difficult to see the faint writing on the wall in the haze of shrill hype, but the facts were unmistakably indicating that Indian think tank were getting too arrogant and cocky for their own good. By the final, Indians were no longer playing like a team that was hungry. It was looking like an overfed team that thought it had done enough and they only needed to do the same thing once again in the final that they had done ten times.
But Australia, that struggled in the beginning of the tournament, had gradually got into their grooves. Unlike India, whose graph had peaked and was now on decline, Australian graph was nearing its peak and still climbing.
With the benefit of hindsight, we can see so many weaknesses that India possessed that other teams failed to exploit but Austrlia exploited.
India think tank were complacent in the final and they had underestimated Australia. Australia on the other hand had done their homework thoroughly for each and every Indian players. Indian think tank played exactly the same team that they had played for the last few matches. That played into Australian hands because for them it was liking guessing the question paper correctly. India needed to ask them questions out of syllabus. In other words, India needed to do something that Australia had not prepared for.
What was that ? It meant India needed to play Ashwin. Australia had so many lefthanders in their team. Ashwin was a tried and successful bowler against them. In the first match between these two teams at Chennai, Ashwin was played and he was very economical and effective against Australia taking one for 34 in his ten overs. That is not all. Ashwin had also played against Australia in the quarterfinal in 2011. There he had taken 2 top order wickets for 52 in his ten overs. India had won that quarterfinal match. But India, in a lakeer ka fakeer manner blindly followed the dictum of “do not disturb the winning combination”. They did not realise that their tried and tested combination was a losing combination against Australia.
Moreover, Indian “winning” combination was easier to plan against for Australians and their planning was meticulous. They had plans for each Indian batsmen. Their task was made easier because all Indian batsmen in top order were right handers. Moreover, they had a left arm pacer (Starc). It is a kind of bowler that always troubles Indian right hander batsmen. And so it proved. Starc turned out to be the wrecker in chief claiming three for 55 including the key wickets of Gill and Rahul.
This Indian team was seriously dependent on good start by first three wickets. For the second time in the tournament, first three batsmen failed. The first occasion too was against the same team in group match. Once India lost the first three wickets at the total of 81, it was as if wind was taken out of Indian sails. The batsmen at the crease started to bat timidly realising that they had too long a tail. While 80 runs were scored in 10 overs, only 160 runs were scored in next 40 overs.
If either Gill or Shreyas Aiyyar had survived for another ten overs, then things would have been different, but that was not to be.
One can say that the team balance was very badly disturbed after the injury of Pandya. His presence allowed India to have six frontline bowlers and longer batting. Because of his absence, the team had longer tail. Suryakumar Yadav turned out to be a failure with the bat. Team management expectation that he would be able to bat like how he batted in T20 were misplaced. He failed abysmally to justify the faith the team management had on him.
Those who think that this team was very strong and deserved to win the title got their answer in the final. No, this team was not strong enough to win the final. It had only five bowlers. If one of them failed, the team bowling failed. Likewise, the batting relied on big contribution from top three. If that did not come, then the entire batting collapsed like a pack of cards. All these weaknesses were exposed in the final match.
So, Indians have be be reconciled to the fact that they were second best in the final and therefore they end up as the runners up.
The last ODI world cup title win of India was in 2011. When we look at that team, we realise how lucky Indians were to have that team. That team did not slow down after the fall of three wickets. In fact that team did not slow down even after the fall of five wickets. In the quarterfinal against Australia in 2011, India chasing 261, were reduced to 187/5. The sixth wicket pair of Yuvraj Singh and Suresh Raina then calmly took India home adding 74 runs in 61 balls.
Absense of one player did not upset the balance of that team, unlike this team of 2023. The team of 2023 had only five bowlers in the team and there were no part time backup bowlers in the playing XI. The team of 2011 played with four bowlers and seven batsmen. Most batsmen were very good wicket taking bowlers as well. Sachin Tendulkar, Sehwag, Yuvraj Singh, Yusuf Pathan, Suresh Raina- all could bowl and take wickets. In fact Gambhir and Kohli were the only top order batsmen in the team that were not bowlers. Yuvraj Singh in fact proved out to be the second most successful wicket taker for the team with 15 wickets !
And what about the batting of the 2011 Indian team ? Most of the time, a left hand-right hand batting combination was at the crease, making life difficult for the opposition bowlers. Half the batsmen were left handers and half the batsmen were right handers. Likewise in bowling, we had left arm pacers (Zaheer Khan, and Asish Nehra) and right arm pacer (Munaf Patel), followed by challenging offspin spin by Harbhajan Singh/ Ashwin, left arm othodox spin by Yuvraj Singh etc. This mind boggling variety while batting as well as bowling proved very important in the success of that team. This fact has not received adeqaute attention from the future think tanks of BCCI (including the present think tank).
What is more, the playing XI of that team kept getting changed and opponents found players in the playing XI they could not plan against. For example, Raina did not play in the group stage and he unexpectedly made his presence felt tellingly in the quarterfinal (against Australia) and in the semifinal (against Pakistan) and turned potentially match losing totals into match winning totals.
That team did lose one match. That was their final group match against South Africa. That loss made that Indian team shed any complacency/ overconfidence that they had developed about themselves. They were ready for the knockout stages with renewed vigour and hunger.
Though it is unfair to compare and contrast between two teams, but we can see that the present team did not have the same depth as the team of 2011. In fact, Indian teams of 2015 as well as 2019, like the team of 2023 have seemingly followed the same pattern. They top the group stage on the strength of their top order batsmen, and the weaknesses of their lower order batsmen remains unexposed. Their batting/ bowling fails in the all important knockout stage. These teams lack top order batsmen who could also bowl ten overs out of fifty. Their batting fire power fizzles off after the early loss of top order wickets. Lack of lower order batting firepower may have been the missing link that had made the all important difference in the final outcome of Indian teams in these tournaments.
Be thankful that the weakness got exposed only in the final. It could well have been exposed in the semi final itself. That would have been far more painful than the loss in the final. Let us also thank teams like South Africa and Afghanistan. They kept Pakistan out of semi final. Had it been India vs Pakistan semi final then a loss for India there would have left an unimaginably deep scar in the collective psyche of Indians.
Indians were using the same tricks against every team that were becoming old. They failed to surprise Australia with some new tricks. Australia were well prepared. Australia beat India hollow in planning and excecution.
This defeat has been very difficult for most Indians to take. The aftermath of this defeat had sent Indians into mass depression, despondency and disappointment.The six weaks time following this tournament seems to have been a big waste of time, money and productivity, which still could have been forgotte, forgiven and justified had India won the final.
Now that the inevitable has happened and Indians do not know how to react, it is time they pick themselves up and limp back to their normal lives. Let them learn some lessons and use these lessons in future when similar cricket tournaments come up again.
I, like million others find myself in the same boat, has noted down some points, that I hope will help us cope with such events in a more painless manner. So read along.
India has already reached where it could have reached in cricket. Any more investment in cricket will only be a waste of effort according to the law of diminishing returns. Instead of investing more money on cricket which will not lead to any improvement in the form of ICC titles, it is better if Indian sportslovers start detoxifying themselves from cricket. Take as much interest in cricket as you take in other sports and no more. What is the level of interest in Hockey for Indians ? They take interest only when a hockey tornament is on. Once the tournament is over, Indians quickly forget hockey. Few people know the names of Indian hockey players. Same level of interest need to be shown for Indian cricket. ODI world cup was over two days back. So go back to your normal life. Feeling of hurt, disillusionment, pain etc will serve no useful purpose because you have no say in running of Indian cricket. Please realise the true facts of life and be done with it. In India cricket is run by BCCI which is a private society registered in Chennai. It wants your money and it is excellent in taking money out of your pocket, but it is not answerable to you as an Indian citizen. The sooner you realise it and get reconciled to it, the better it will be for you.
India (which is BCCI)reached the final and lost there. Our media made so much noise while covering the world cup, that it convinced everyone that Indian team was far too good for all opposition and it was 100 % going to lift the title. Everyone bought into this hype and ended up enriching the coffers of BCCI and ICC. Not just public, even the government got influenced by the hype as we could see on the day of the final.
It is high time Indians learnt the lesson and stopped buying the hype created by Indian media. This hype was so sickening. To my mind it was no different from air pollution in North India. Air pollution was affecting only North India but this hype pollution had far worse effect on Indian population all over India. When the hype bubble got punctures, Indians who bought into the hype are finding it very difficult to come to grips with reality. Please learn from this experience and make sure that you will not allow this happen again the next time another cricket world cup comes around (in one year time). If possible, make use of this experience to say no to the next IPL that will come up in five months time. No amount of playing IPL will make BCCI players world beaters in ICC events The sooner we realise it the better it is for you. In any cases there have been enough Indians who have been brainwashed into following cricket and they will continue following it. Those who do not want to suffer from the same shock again unlike the brainwashed population should learn the lesson and move on. They should follow cricket only when the team is doing well and stop following it when the team is not performing well. That is what we do while following other sports. So why should cricket be any different ?
Why put all your eggs in the same basket ? You are an Indian, not a neighbouring country that has no other sport other than cricket to look up to. Look at other sports. They have so much pleasure to give you. Chess for example. Are indians aware that India is number two chess playing nation in the world in chess ranking? USA is number one, Russia, for long number one in the world has fallen behind India at number three. Chess, unlike cricket is played in every country of the world. Other cricket playing nations are far far behind India in Chess. Among other teams participating in the cricket world cup, Netherlands is second at 11th, England is 14th, Australia 42nd, Bangaldesh 70th, South Africa 71st, New Zealand 79th, Sri Lanka 99th, Pakistan 110th, Afghanistan 123rd. On the same days when cricket world cup was being held, grand swiss Chess tournament was held. Is was sort of like Wimbledon of Chess where the highest ranked players from the world participated. Indians won the open (men’s) as well as Women’s title in this tournament. That should have been the biggest sporting achievement for Indians in recent times, but Indians were not even aware of it.
Apart from chess, Indians are world class in shooting, Archery, badminton as well. With a fraction of money and time that is being devoted to cricket, india will be among world’s best in other sports as well.
In brief, Indian interest in cricket has already touched the level of oversaturation. It is high time we make it a little unsaturated where performance and title wins are rewarded, while non performance and non title wins are penalised by lack of interest from the public. If public keep rewarding cricketers who act more as rock stars and less as cricketers then Indian public will keep suffering the same heartbreaks in future as well. Say no to such heartbreaks again.
Yesterday (20 november 2023), which was the day after the cricket world cup final and a day of disappointment for Indians, I had posted a song that some of our regulars thought was being published to mourn the Indian defeat, but without any accompanying writeup I was told that a writeup, with a few words of consolation would be appreciated. So, here is this writeup which I hope will act as some balm to the pains that Indian cricket followers have suffered.
On this occasion, here is a song from “Mr India”(1987). “Mr India”(1987) was produced by Boney Kapoor and Directed by Shekhar Kapur and Satish Kaushik. The movie had Anil Kapoor, Sridevi, Amrish Puri, Ashok Kumar, Satish Kaushik, Anu Kapoor, Aftab Shivdasani, Ahmed Khan, Bob Christo, Harish Patel, Ramesh Deo, Yunus Parvez, Anjan Srivastava, Ajit Vachchani, Karan Nath, Sharat Saxena, Gurbachan, Dalip Tahil etc in it.
This movie had six songs in it. Three songs have been covered in the past.
This song, a suitable song for the occasion is sung by Kishore Kumar. Javed Akhtar is the lyricist. Music is composed by Laxmikant Pyarelal. The song is picturised on Anil Kapoor and several kids.
Happy version (Video)
Sad version I(Audio)
Sad version II (Video)
Song-Zindagi ki yahi reet hai (Mr India)(1987) Singer-Kishore Kumar, Lyrics-Javed Akhtar, MD-Laxmikant Pyarelal
Children Chorus
————————–
Lyrics
————————
Happy version
————————
zuzuzuzuzu
zuzuzuzuzu
zuzuzuzuzu
zuzuzuzuzu
zuzuzuzuzu(ruru)
zuzuzuzuzu(ruru)
zuzuzuzuzu(ruru)
zuzuzuzuzu(ruru)
zindagi ki yahi reet hai
haar ke baad hi jeet hai
zindagi ki yahi reet hai
haar ke baad hi jeet hai
thhode aansu hain thhodi hansi
aaj gham hai to kal hai khushi ee
zindagi ki yahi reet hai
haar ke baad hi jeet hai
thhode aansu hain thhodi hansi
aaj gham hai to kal hai khushi ee
zindagi ki yahi reet hai
haar ke baad hi jeet hai
zindagi raat bhi hai
savera bhi hai zindagi
zindagi raat bhi hai
savera bhi hai zindagi
zindagi hai safar aur
basera bhi hai zindagi
zindagi hai safar aur
basera bhi hai zindagi
ek pal dard ka gaanv hai
doosra sukh bhari chhaanv hai
har naye pal naya geet hai
zindagi ki yahi reet hai
gham ka baadal jo chhaaye
to ham muskuraate rahe
gham ka baadal jo chhaaye
to ham muskuraate rahe
apni aankhon mein aashaaon ke
deep jalaate rahe
aaj bigde to kal phir baney
aaj roothhe to kal phir maney ae
waqt bhi jaise ik meet hai
zindagi ki yahi reet hai
zindagi ki yahi reet hai
haar ke baad hi jeet hai
thhode aansu hain thhodi hansi
aaj gham hai to kal hai khushi
zindagi ki yahi reet hai
haar ke baad hi jeet hai
—————————
Sad version I
—————————-
khelte khelte ek titli na jaane kahaan kho gayi ee
khelte khelte ek titli na jaane kahaan kho gayi
ek nanhi kiran kyun andhere mein yoon so gayi
(aa aa aa aa aa)
sabki aankhon mein fariyaad hai
(aa aa aa aa aa)
sabke dil mein teri yaad hai ae
(aa aa aa aa aa)
tu nahin hai teri preet hai
(aa aa aa aa aa)
zindagi ki yahi reet hai
(aa aa aa aa aa)
zindagi ki yahi reet hai
(aa aa aa aa aa)
zindagi ki yahi reet hai
—————————————————————–
Sad version II
Kavita Krishnamurthy
Chorus I
Chorus II
—————————————————————-
gham ka baadal jo chaaye
gham ka baadal jo chaaye
to hum muskuraate rahen
tu hum muskuraate rahen
apni aankhon mein aashaaon ke deep jalaate rahen
aaj bigde to kal phir baney
aaj roothhe to kal phir maney ae
waqt bhi jaise ik meet hai
zindagi ki yahi reet hai
zindagi ki yahi reet hai
haar ke baad hi jeet hai
zindagi ki yahi reet hai
haar ke baad hi jeet hai
Zindagi tu mera saathh denaa
Posted on: November 16, 2023
This article is written by Avinash Scrapwala, 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 : |
5599 | Post No. : | 18074 | Movie Count : |
4849 |
#the Decade of Eighties – 1981 – 1990 #
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(Debutant Movie – Bedard-1982 – Lyricist – Naqsh Lyallpuri-1)
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Today’s song is a ‘gem’ of song which remained a lesser heard and lesser known song, which might be because it is from a movie few people are aware of. The title of the film is ‘Bedard’ which seems to be an obscure movie of its time. I like this song very much for its poetic value and the overall composition. it is sung by Bhupinder Singh and the song is composed by Kanti Kiran.
Hardly any information is available about the music composer Kanti Kiran, except that he had also composed music for the Hindi movie ‘Jhoom Uthhaa Aakaash-1973’. I had shared a few songs from this movie earlier here on the blog and liked them too.
Lyricist for the song is Naqsh Lyallpuri (24.02.1928-22.01.2017). He is well known for penning many unforgetteble songs. He was born as Jaswant Rai in Lyallpur (now in Pakistan) and later his family migrated to India after partition. When he started writing poetry he took his pen name as Naqsh and since he belonged to Lyallpur (now known as Faisalabad in Pakistan) it got added as ‘suffix’ to his pen name as was customary during those times.
The life story of Naqsh Lyallpuri can be considered a perfect example of how destiny and luck plays its role in one’s life to help become a person successful as well and allow him to follow one’s passion and do things what one like to do in his life.
He had to struggle a lot to achieve his success. Naqsh’s father was an Engineer by profession in Lyallpur. However his job was a transferrable job. So they had to spend few years in Rawalpindi before coming back to Lyallpur again. Naqsh’s father wanted him to be an Engineer while Naqsh’s Uncle who was a Doctor wanted him to be a Doctor. However Naqsh himself was interested in literature and poetry. His teacher Ramlal spotted the literary talent in him and advised him to continue learning literature. Naqsh also learned Urdu, Persian and Arabic from his teacher. At home they generally used Urdu or Hindi. Naqsh was later shifted to a hostel in Lahore where he found his way to the ‘adabee mehfils’ (meeting of littérateurs’) where budding poets and established poets met regularly and presented their works. Naqsh got an opportunity to present his poetry here in around ‘1945’ when he was seventeen years old. Comments and advices from the seniors there helped him to improve further.
After partition of the country the family of Naqsh Lyallpuri came to Lucknow. From here started the struggle for the family to earn and sustain living. Naqsh was under pressure to join some job and start earning. Since he was not getting any suitable opportunities in Lucknow he decided to go to Bombay. He left Lucknow without telling his family members, with only two rupees in his pocket, and reached Bombay. He had a ‘pen-friend’ Pradeep Naiyyar in Bombay whom he thought of meeting in order to seek his help for some job. However, when he reached his friend’s place he found that he had gone out of station to Poona for two weeks. Naqsh was on the road looking for some shelter as he had already spent the money he had. He saw one Sardar ji near the place, whom he enquired with about some ‘shelter’ near-by. This Sardar ji helped him to get accommodation in Sarai – Gurudwara Matunga. The Sardarji also told him that he could stay at the Gurudwara for eight days with food two times in the langar. At the Gurudwara another generous Sardar ji who was from Ludhiana, helped him with some money when the later was returning back to Punjab.
Once it so happened that Naqsh set out to have a ‘paan’ after his meal at a ‘paan shop’ near ‘Citylight cinema’. At the ‘paan shop’a gentleman alighted from a car. It turned out that he was Deepak Ashaa friend of Naqsh from his Lahore days. He had become a film actor in Bombay. Deepak Asha (also known as film director Dharam Kumar who directed ‘Ghamand-1955’, etc.) took Naqsh to his home in Bombay and arranged for his stay and food in Bombay.
Naqsh got his first job in Bombay in the Post & Telegraph department at Mandvi post office in Bombay.
Naqsh never thought of writing for films. He came to Bombay in 1951 to get whatever work he could get to have a decent living. In his P&T job his job was to allocate staff based on requirement. People coming in his contacts loved him since he was a poet. This first job gave him earning of Rs.122.00 to 125.00 per month. However he quit his job as the job was not giving his the creative satisfaction that he craved for.
By this time he had earned some reputation as a’ poet-writer’ among his contacts who used to visit him regularly. Some of them suggested him to write a ‘play’ which they would arrange to stage. The title of this play was ‘Tadap’. Ram Mohan who was a well-known actor then was the lead actor of this play. Naqsh had also written five songs for this play. Ram Mohan was quite impressed with his works and he introduced Naqsh Lyallpuri to director Jagdish Sethi who was the director of the movie ‘Jaggu-1952’. Thus Naqsh Lyallpuri got his entry into the ‘Hindi Film World’.
After writing some songs for stunt films (which Naqsh was reluctant earlier, as he want to write for ‘social films’ only) he finally ‘rose to fame’ with the song ‘main to har mod par’ from the movie ‘Chetna-1970’. In between Naqsh Lyallpuri also wrote songs for many Punjabi films. In Hindi films most of his collaborations were with music director Sapan-Jagmohan, Jaidev and Khayyam.
We will be exploring his filmography and his collaborations with other music directors in future posts under this series. We will also discuss his most popular songs and songs that remained lesser known but had his ‘trademark’ ‘soft, tender and meaningful’ poetry in them.
Let us start this journey of ‘songs’ written by Naqsh Lyallpuri with a song from the movie ‘Bedard-1982’ in this post.
“Bedard-1982” (passed by Censor Board on 29.06.1982) was directed by Rajdeep for ‘R.K. International, Bombay’. It was jointly produced by Qadeer Khan & Rajdeep. The director Rajdeep had also written Story, screenplay and dialogues of this movie. He had also done the editing of this movie. The cast of this movie included Neeta Mehta, Vikram, Rajdeep, Rehana Sultana, Kanan Kaushal, Master Shiboo, Bharat Bhushan, Jairaj, B.M. Vyas, Kamalakar Date, Padmashree, Ajay Chaddha, Ashok Nag, Mohan Choti, Montu, Baldev Kalsi, Amul Sen, Yunus Bihari, Javed Khan, Sonu, Baby Haseena, Baby Anita, Dilip, Jabbar, Pushpa Singh, Rashid, Tuntun and others.
‘Bedard-1982’ has three songs written by Naqsh Lyallpuri and composed to music by Kanti Kiran. Bhupinder Singh and Asha Bhonsle had given their voices to the songs in this movie where Bhupinder Singh has one solo (with chorus) and Asha Bhonsle has sung two solo songs for this movie.
The director of this movie Rajdeep who also acted in this movie seems to be a multifaceted personality who has done acting, lyrics writing, direction, producing films and writing for Hindi Films. As a director he has the following movies to his credit.
1) Iraadaa – 1971
2) Basti Aur Baazaar – 1973
3) Hazaar Haath – 1978
4) Sister – 1980
5) Bedard – 1982
I could not find more information about director the Rajdeep (like his biographical information etc) except that he has done acting, writing, singing in films other than direction of films. He has been a producer of few movies too.
Coming to the movie ‘Bedard-1982’, I guess that this movie is not available online. I had never watched this movie earlier and I was not aware of this movie till recently. ‘Cinemaazi’ mentions the story of this movie in brief here which they mention has been taken from the ‘official press booklet’ of this movie. The story of the movie is of ‘love and sacrifice’. I would request knowledgeable readers to throw more light on this movie and picturisation of its songs.
Let us now listen to this song which is written by Naqsh Lyallpuri and composed by Kanti Kiran. From the sources available we can conclude that this is the only movie where they worked together. Bhupinder, my favourite singer has sung this song. Over to the song now…
With this song this movie ‘Bedard-1982’ makes its debut on the blog.
Song-Zingadi tu mera saath dena (Bedard)(1982) Singer – Bhupinder Singh, Lyrics- Naqsh Layallpuri, MD-Kanti Kiran
chorus
——————————–
Lyrics
——————————–
aa aa aa aa
aa aa aa aa
aa
aa
aa
aa
aa
zindagi
tu mera saath denaa aa
pyaar se haath mein haath denaa aa
karz mujhko chukaanaa hai
har saans kaa
zindagi
tu mera saath denaa aa
pyaar se haath mein haath denaa aa
karz mujhko chukaanaa hai
har saans kaa
zindagi
tu mera saath denaa aa
pyaar ki raah mein
mod aayaa aa
jo mera thhaa
main sab chhod aayaa aa
pyaar ki raah mein
mod aayaa aa
jo mera thhaa
main sab chhod aayaa aa
dil ke jalne se kitnaa
ujaalaa huaa
zindagi
tu mera saath denaa aa
pyaar se haath mein haath denaa aa
karz mujhko chukaanaa hai
har saans kaa
zindagi
tu mera saath denaa aa
pyaar se haath mein
haath denaa aa
manzilon se rahaa bekhabar main
ban gayaa dard ka ik safar main
manzilon se rahaa bekhabar main
ban gayaa dard ka ik safar main
ban gayaa dard ka ik safar main
ek tinkaa hawaaon mein udtaa rahaa
zindagi
tu mera saath denaa aa
pyaar se haath mein haath denaa aa
karz mujhko chukaanaa hai
har saans kaa
zindagi
tu mera saath denaa aa
pyaar se haath mein
haath denaa aa
ghoont peetaa rahaa main lahoo ke
paaon haare nahin justajoo ke
ghoont peetaa rahaa main lahoo ke
paaon haare nahin justajoo ke ae
hai yakeen ke milegaa
koyee raastaa
zindagi
tu mera saath denaa aa
pyaar se haath mein haath denaa aa
karz mujhko chukaanaa hai
har saans kaa
zindagi tu mera saath denaa aa
pyaar se haath mein
haath denaa aa
aa aa aa aa
aa aa aa aa
aaaa
aaaa
aaaa
aaaa
aaaa
hai sahar tak diye ko jalaanaa aa
rah na jaaye adhooraa fasaanaa
aa
aa
hai sahar tak diye ko jalaanaa aa
rah na jaaye adhooraa fasaanaa aa
rah na jaaye adhooraa fasaanaa
haath se chhoot jaaye naa daaman tera
zindagi tu mera saath denaa aa
pyaar se haath mein haath denaa aa
karz mujhko chukaanaa hai
har saans kaa aa
zindagi
tu mera saath denaa aa
pyaar se haath mein
haath denaa aa
karz mujhko chukaanaa hai
har saans kaa aa
aa
aa
aa aa aa
aa
aa
aa aa aa
——————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
——————————–
आ आ आ आ
आ आ आ आ
आ
आ
आ
आ
आ
ज़िंदगी
तू मेरा साथ देना आ
प्यार से हाथ में हाथ देना आ
कर्ज़ मुझको चुकाना है हर सांस का
ज़िंदगी
तू मेरा साथ देना आ
प्यार से हाथ में हाथ देना आ
कर्ज़ मुझको चुकाना है हर सांस का
ज़िंदगी
तू मेरा साथ देना आ
प्यार की राह में
मोड आया आ
जो मेरा था
मैं सब छोड़ आया आ
प्यार की राह में
मोड आया आ
जो मेरा था
मैं सब छोड़ आया आ
दिल के जलने से कितना
उजाला हुआ
ज़िंदगी
तू मेरा साथ देना आ
प्यार से हाथ में
हाथ देना आ
कर्ज़ मुझको चुकाना है
हर सांस का
ज़िंदगी
तू मेरा साथ देना आ
प्यार से हाथ में
हाथ देना आ
मंज़िलों से रहा बेखबर मैं
बन गया दर्द का इक सफर मैं
मंज़िलों से रहा बेखबर मैं
बन गया दर्द का इक सफर मैं
बन गया दर्द का इक सफर मैं
एक तिनका हवाओं में उड़ता रहा
ज़िंदगी
तू मेरा साथ देना आ
प्यार से हाथ में
हाथ देना आ
कर्ज़ मुझको चुकाना है
हर सांस का
ज़िंदगी तू मेरा साथ देना आ
प्यार से हाथ में
हाथ देना आ
घूंट पीता रहा मैं लहु के
पाँव हारे नहीं जुस्तजू के
घूंट पीता रहा मैं लहु के
पाँव हारे नहीं जुस्तजू के
है यकीन के मिलेगा
कोई रास्ता
ज़िंदगी
तू मेरा साथ देना आ
प्यार से हाथ में हाथ देना आ
कर्ज़ मुझको चुकाना है
हर सांस का
ज़िंदगी
तू मेरा साथ देना आ
प्यार से हाथ में
हाथ देना आ
आ आ आ आ
आ आ आ आ
आ
आ
आ
आ
आ
है सहर तक दिये को जलाना आ
रह न जाये अधूरा फसाना
आ
आ
है सहर तक दिये को जलाना आ
रह न जाये अधूरा फसाना आ
रह न जाये अधूरा फसाना
हाथ से छूट जाये ना
दामन तेरा
ज़िंदगी
तू मेरा साथ देना आ
प्यार से हाथ में हाथ देना आ
कर्ज़ मुझको चुकाना है
हर सांस का
ज़िंदगी
तू मेरा साथ देना आ
प्यार से हाथ में हाथ देना आ
कर्ज़ मुझको चुकाना है
हर सांस का
आ
आ
आ
आ
आ
आ
आ
आ
आ
आ
आ
आ
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
5587 | Post No. : | 18061 | Movie Count : |
4843 |
Dussehra (Vijaya Dashami) is celebrated on the 10th day of Navratri festival. One of the common traditions during the celebration of Dussehra festival is the burning of the effigies of Raavan along with his son Indrajit and his brother Kumbhakaran, symbolising the victory of good over evil. However, there are few places in India where Raavan’s effigy is not burnt during Dussehra celebrations. On the contrary, Raavan is worshipped.
In Baijnath (Himachal Pradesh), during Dussehra festival, Raavan’s effigy is not burnt as locals believe that burning the effigy of Raavan, who was a devotee of Lord Shiva, will bring wrath of Lord Shiva. Taking a clue from the practice of not burning the effigy of Raavan in a few places in India, I guess, Johny Bakshi wrote a fictional story for his film, ‘Raavan’ (1984), of a village where, on Dussehra day, though the effigies of Raavan, Indrajit and Kumbhakarna are placed for burning, the effigy of Raavan is left alone. The reason is that a village girl who was in love with a self-centred demonic man aptly named as Raavan, had transformed him from ‘Raavan’ to ‘Ram’. Both of them dies when a huge burning effigy of Raavan collapses on them.
‘Raavan’ (1984) was produced and directed by Johny Bakshi who also wrote the story. Star cast included Smita Patil, Gulshan Arora, Om Puri, Vikarm, Ketan Anand, Vikas Anand, Balchandra Kulkarni, M K Nawab, Manmauji, Naidu, Suresh Desai etc.
The opening scene of the film shows a reporter interviewing the village Sarpanch, Shankar (Ketan Anand) during the occasion of Dussehra and asks him as to why effigy of Raavan is left untouched while other two effigies have been burned. Sarpanch tells the reporter that the death anniversary of a village girl, Ganga (Smita Patil) falls on Dussehra day. She was responsible for transformation of a village goon, Raavan (Gulshan Arora) from demon to Ram. After listening to the full story, the reporter says that it is a good story material for a film.
The story of the film is as detailed below:
In a village, Ganga stays with her old mother and a handicapped younger brother. They lead a hand to mouth existence. Some time, she has to steal fruits and other eatables from others to fend for themselves. Ganga has immense faith in God. She prays and sometime write letters complaining to the God about their extreme poverty and requesting Him to send some money. She drops the letter to the village post office without address. The postman reads her letters and out of pity send her a small amount by way of money order to Ganga.
There are two more characters in the village with opposite temperaments. Nandu (Vikram), an unemployed youth has a poetic mind but lacks smartness. He is a friend of Raavan (Gulshan Arora), a village goon who manipulates him to assist him in cheating the villagers. He is also his partner in his street show of knife throwing act.
Ganga is good in playing flute and singing. Taking advantage of their economic condition, her maternal uncle, who is a Madaari (street entertainer) takes Ganga in his troupe by convincing her impoverished mother and paying some money to her. Because of Ganga, the uncle gets more crowd to see his show. But he treats Ganga like a slave. Ganga is fed up and she is planning to get away from her uncle.
Raavan is also a street entertainer. After Ganga joining her uncle’s troupe, Raavan finds his shows getting deserted. He decides to bring Ganga to his side. This becomes easy for him as Ganga is already fed-up with her uncle. Ganga joins Raavan and Nandu. Nandu being of a sober character, helps Ganga in preventing Raavan to take sexual advantage of her. Raavan sees the closeness between Nandu and Ganga to his dislike. Both Nandu and Gang trust Raavan despite his cruel behaviour because he is saviour for both of them.
Raavan’s hatred towards Nandu gets reflected when Raavan, in his knife throwing act in front of a large crowd, hits his knife on Nandu’s heart and he dies. Raavan and Ganga elope from the scene and take a train to go to an undisclosed destination. They both gets down at a railway station. Raavan leaves Ganga and tells her that he would be back. But actually, he runs away to evade the police.
The Station Master (Om Puri) gives Ganga the shelter. Ganga, believing Raavan’s words that he would come back, waits for him at the railway station for the eternity. Raavan is in jail spending a life term for killing Nandu. Once in jail, over a period of time, Raavan who has enough time now to think over his life’s journey so far, starts remembering his cruel behaviour with Nandu, Ganga and other villagers. A thinking process starts within him that what he was doing was not right. Slowly, his starts repenting his past behaviour making him to cry.
During this period, Ganga makes it a point to join every year Dussehra festival where she would hug the effigy of Raavan so that it is not burnt. For her, Raavan is not the character of Ramayan but Raavan, the village goon whom she trusts and loves. Because of this, the village sarpanch (Balchandra Kulkarni) decides to burn the effigy of only Indrajit and Kumbhakaran and leave the effigy of Raavan intact.
After hearing the Ganga’s wait at railway station for Raavan, a newspaper reporter visits the railway station and wants to take her interview which she flatly declines. However, he clicks her photos and carry the story in the next day’s local newspapers. A copy of the newspaper reaches in the jail and Raavan reads the article on Ganga. The already emotional Raavan breaks down and he wants to reach out to Ganga at the railway station at any cost.
On the Dussehra day, the new sarpanch (Ketan Anand) is bent upon implementing the burning of the effigies as per the convention which means that effigy of Raavan would be burnt. Ganga on the other hand is determined not to allow the burning of Raavan’s effigy by hugging as she has been doing for many years.
Raavan breaks the jail and runs away to meet Ganga at the railway station. However, finding Ganga having gone to the site of Dussehra celebrations, he runs toward the site, They both meet and hug each other when the process of burning the effigies starts. The heavy weight burnt effigy of Raavan falls on them killing both of them.
The film is a story of despair, betrayal, love and salvation which is presented to give an impression of a folklore. The film is a good attempt on the part of Johny Bakshi who made his debut as director of this film with somewhat off-beat subject. The theme of the film is that rather than burning the effigy of Raavan, it is better to ‘burn’ the demonic behaviour.
The wait of Ganga at a railway station every day for Raavan reminds of a real story of a faithful Japanese dog, Hachiko (details at Wikipedia) who visited and waited for his master at a railway station everyday till Hachiko’s death, but he could not see his master who had actually died in the office few years back.
The film is said to be inspired from the Italian film, ‘La Starda’ (1954). I have watched this film too and one can say that it is a partial inspiration for ‘Raavan’ (1984). The film’s ending scenes in ‘La Starda’ (1954) create more emotional impact on the audience then in ‘Raavan’ (1984). For, Gulshan Arora is no Anthony Quinn. Smita Patil as Ganga and Om Puri as Station Master have done their roles as per the expectations. Vikram has an unusual role with few scenes in the film which he has done well.
The film had 7 songs all written by Urdu poet, Sudarshan Faakir which were set to music by Jagjit Singh-Chitra Singh. I am presenting the first song, a ghazal, ‘zindagi meri hai toota hua sheesha koi’ from the film to appear on the Blog. The ghazal is rendered by Bhupendra Singh. A long prelude of flute supplements the poignant mood of the ghazal.
Sudarshan Faakir has been known to write most of his ghazal of poignant mood depicting sorrow, despair, gloom, pessimism as his own life story was of that nature probably due to his neglected childhood and a failed love affair. The ghazal singers like Begum Akhtar and Jagjit Singh became popular by singing the ghazals written by him. But he remained unknown during most of his active years. It was at the insistence of first, Begum Akhtar and later Jagjit Singh (his college mate in Jalandhar) that he came to Mumbai to record non- film songs for them and also for some films.
The ghazal under discussion appears in the film in three different situations. The first two stanzas of the ghazal are picturised on Ganga (Smita Patil) and Nandu (Vikram) reflecting on their own life after Raavan (Gulshan Arora) beats both of them, breaking Smita Patil’s flute for suspecting them of stealing his cash. The third stanza of the ghazal is played in the background when an aged Ganga is waiting at the railway station for the return of Raavan. The last stanza is again played in the background when Raavan breaks down in the jail, repenting for his wrong doings to Nandu and Ganga.
The online video clip of the ghazal is available for only the first two stanzas. I have culled out the relevant scenes of stanzas 3 and 4 to make it a video clip of the full ghazal.
Video Clip:
Audio Clip:
Song-Zindagi meree hai toota hua sheeshaa koi (Raavan)(1984) Singer-Bhupinder Singh, Lyrics-Sudarshan Faakir, MD-Jagjit Singh-Chitra Singh
Lyrics
zindagi meri hai toota hua sheesha koi
zindagi meri hai toota hua sheesha koi
kaash mil jaaye mujhe aaj maseeha koi
zindagi meri hai toota hua sheesha koi
ladkhadaane lage ukhhdi huyi saanson ke chiraag
ladkhadaane lage ukhhdi huyi saanson ke chiraag
haaye kis waqt mila banke ujaala koi
kaash mil jaaye mujhe aaj maseeha koi
kaafile aaye gaye phir bhi kayi barson se
kaafile aaye gaye phir bhi kayi barson se
jaane ik mod pe kyun baithha hai tanha koi
kaash mil jaaye mujhe aaj maseeha koi
kaise ro ro ke pighalte hain gunaahon ke pahaad
kaise ro ro ke pighalte hain gunaahon ke pahaad
aake dekhen to sahi ye bhi nazaara koi
zindagi meri hai toota hua sheesha koi
kaash mil jaaye mujhe aaj maseeha koi
zindagi meri hai toota hua sheesha koi
- In: "Zindagi" song | Background song | Devnagri script lyrics by Avinash Scrapwala | Guest posts | Kishore Kumar solo | Kishore Kumar songs | Lyrics contributed by readers | Movie ending song | movie opening song | philosophical song | Post by Avinash Scrapwala | Songs of 1980s (1981 to 1990) | Songs of 1988 | Yearwise breakup of songs
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This article is written by Avinash Scrapwala, 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 : |
5565 | Post No. : | 18034 | Movie Count : |
4835 |
#the Decade of Eighties – 1981 – 1990 #
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(A Tribute to Kishore Kumar – The Versatile Genius)
Today (13 October 2023) we pay our tributes to the ‘versatile genius’ Kishore Kumar (04.08.1929 – 13.10.1987) on his thirty-sixth ‘Remembrance Anniversary’.
Much has already been written about Kishore Kumar in the media and on this blog too. So I am not going to repeat the same today. But I would like to mention that Kishore Kumar will be discussed till HFM exists on this planet. Much will be written about him till the HFM exists on this planet. People of future generations will keep coming across his songs and his biography and his acting and musical skills and his writing skills and his directing skills and … we can go on adding about this multifaceted personality, and a simple yet sometimes eccentric human being.One needs to into depth into his life to understand Kishore Kumar fully. So people will keep discoving facts about him.
On this occasion I am presenting a lesser heard song sung by Kishore Kumar. I became aware of this song a little while ago. This song is from the ‘1988’ movie ‘Aakhri Muqaabla’. I was unaware about this movie till recently. I had never listened to this song in the past. I became aware of this song thanks to the book – ‘When Ardh Satya met Himmatwaala- The many lives of 1980s’ Bombay Cinema’ by Avijit Ghosh which I added to my library recently. The author mentions this song under ‘super songs that never hit the charts’ (from the eighties). On the musical front the decade of ‘eighties’ was ruled by ‘Bappi Lahiri’ music and of many songs that people would like to forget about, but there was also ‘unforgetteble’ music created during this decade and today’s song is one such song. Listening to the today’s song also reminds me of a composition from the movie ‘Sitamgar-1985’ which was composed by R.D. Burman. However the today’s song is composed by Usha Khanna. The singer for the both songs is Kishore Kumar.
Today’s song is from the movie ‘Aakhiri Muqaabla’ (passed by Censor Board on 19.12.1988).
‘Aakhiri Muqaabla’ was directed by Sudesh Chandra Issar for ‘Lily Films, Bombay’. It was produced by Dr D.D. Singh and Mrs Baljinder Kaur. The cast of this movie included Shashi Kapoor, Suresh Oberoi, Rajan Sippy, Divya Rana, Padmini Kapila, Puneet Issar, Asha Sachdev, Paintal, Shammi, Dev Kumar, Brahmachari, Pradeep Kumar, Chandrashekhar, Junior Mehmood, Chand Usmani, Mac Mohan, Nandita Thakur, Ram Mohan, Bob Christo, Tej Sapru, Shivraj, Dharmesh Tiwari, Vyjanti, Jerry, Asha Sharma and others. This movie introduced D.D. Singh and Palaaki Singh. And the movie had Dharmendra in an ‘above all-special appearance’.
Story of this movie was written by Jag Mohan Singh. Screenplay was by Surinder Kaul and Dialogues were written by Raja Bedi. Editing of this film was done by Padmakar Nirbhavane.
There were thrree lyricists in this movie. They are Gauhar Kanpuri, Jag Mohan Singh and Indeevar. Kishore Kumar (who had passed away in 1987), Asha Bhonsle and Suresh Wadkar had given their voices to the songs in this movie. Music for this movie was composed by Usha Khanna. This movie has total three songs including the multi-part song under discussion. However the lyricistwise breakupfor the individual songs is not known. An Audio link of the song mentions the lyricist name as Indeevar for this song but it needs to be confirmed. The link mentions Usha Khanna’s voice in the duet version, but her name does not appear in the title of this movie under the list of singers for this movie.
This song is available in three parts. The first part is played in background and video of this song is available. This song is played when the titles are rolling and we can see Shashi Kapoor as a Doctor and others on the screen. The video of the second part could not be found as of now. The third part is played at the end of the movie in the background. Here we can see Shashi Kapoor, Rajan Sippy, Padmini Kapila, and Divya Rana on the screen. Also seen is Dharmendra smiling as ‘all ends well’ 🙂
I hope readers will enjoy this song. It is a philosophical song.
Let us listen to this song now …
With this song the movie ‘Aakhiri Muqaabla-1988’ makes its debut on the blog.
Solo (Part I) (video)
Duet (Audio)
Solo Part III (Audio)
Solo part I and III (Audio)
Song-Zindagi kya hai kaantaa hai ya phool (Aakhri Muqaabla)(1988) Singer-Kishore Kumar, Lyrics-Gauhar Kanpuri/Indeevar/Jag Mohan Singh, MD-Usha Khanna
Unidentified voice
Lyrics
————————-
Part I
————————-
zindagi kya hai ae
kaantaa hai yaa phool
kaantaa samajhnaa hai bhool
zindagi hai phool
jeewan hai maalaa
sukh dekh ke motee ee
in motiyon se
jeewan mein jyoti
jeewan hai maalaa
sukh dekh ke motee ee
in motiyon se
jeewan mein jyoti ee ee
zindagi kya hai ae
aansoo hai yaa muskaan
aansoo nahin naadaan
zindagi hai muskaan
tez badi ye samay ki
dhaaraa hai ae
aashaa niraashaa
iskaa kinaaraa hai
tez badi ye samay ki
dhaaraa hai
aashaa niraashaa
iskaa kinaaraa hai ae ae
zindagi kya hai
toofaan hai yaa patwaaar
toofaan na samjho yaar
zindagi hai patwaaar
zindagi kya hai ae
kaantaa hai yaa phool
kaantaa samajhnaa hai bhool
zindagi hai phool
————————————-
(Duet version)
————————————
zindagi kya hai
toofaan hai yaa patwaaar
toofaan
toofaan
toofaan
toofaan na samjho yaar
zindagi hai patwaaar
zindagi kya hai ae
kaantaa hai yaa phool
kaantaa
naa naa
naa naa
saanson ki bagiyaa
man apnaa maali
pyaar ki khushboo
aashaa ki daali ee
saanson ki bagiyaa
man apnaa maali ee
pyaar ki khushboo
aashaa ki daali ee ee ee
zindagi kya hai
maati hai yaa sonaa
maati
maati
maati
maati samajh ke na khonaa aa
zindagi hai sonaa
jeewan hai maalaa
sukh dekh ke motee ee
in motiyon se
jeewan mein jyoti
jeewan hai maalaa
sukh dekh ke motee
in motiyon se
jeewan mein jyoti ee ee
zindagi kya hai ae
aansoo hai yaa muskaan
aansoo
aansoo
aansoo oo
aansoo nahin naadaan
zindagi hai muskaan
tez badi ye samay ki
dhaaraa hai
aashaa niraashaa
iskaa kinaaraa hai
zindagi kya hai
toofaan hai yaa patwaaar
toofaan
toofaan
toofaan
toofaan na samjho yaar
zindagi hai patwaaar
zindagi kya hai ae
kaantaa hai yaa phool
kaantaa
naa naa
naa naa
———————————–
(Part-III with dialogues, dialogues are not included here)
———————————-
zindagi kya hai ae
kaantaa hai yaa phool
kaantaa samajhnaa hai bhool
zindagi hai phool
jeewan hai maalaa
sukh dekh ke motee ee
in motiyon se
jeewan mein jyoti
jeewan hai maalaa
sukh dekh ke motee ee
in motiyon se
jeewan mein jyoti ee ee
zindagi kya hai ae
aansoo hai yaa muskaan
aansoo nahin naadaan
zindagi hai muskaan
————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————–
भाग I
————-
ज़िंदगी क्या है ए
कांटा है या फूल
कांटा समझना है भूल
ज़िंदगी है फूल
जीवन है माला
सुख देख के मोती ई
इन मोतियों से
जीवन में ज्योति
जीवन है माला
सुख देख के मोती ई
इन मोतियों से
जीवन में ज्योति ई ई
ज़िंदगी क्या है ए
आँसू है या मुस्कान
आँसू नहीं नादान
ज़िंदगी है मुस्कान
तेज़ बड़ी ये समय की
धारा है ए
आशा निराशा
इसका किनारा है
तेज़ बड़ी ये समय की
धारा है ए
आशा निराशा
इसका किनारा है ए ए
ज़िंदगी क्या है
तूफ़ाँ है या पतवार
तूफ़ाँ न समझो यार
ज़िंदगी है पतवार
ज़िंदगी क्या है ए
कांटा है या फूल
कांटा समझना है भूल
ज़िंदगी है फूल
————————————-
(युगल गीत )
———————————–
ज़िंदगी क्या है
तूफ़ाँ है या पतवार
तूफान
तूफान
तूफान
तूफ़ाँ न समझो यार
ज़िंदगी है पतवार
ज़िंदगी क्या है ए
कांटा है या फूल
कांटा
ना ना
ना ना
साँसों की बगिया
मन अपना माली ई
प्यार की खुशबू
आशा की डाली ई
साँसों की बगिया
मन अपना माली ई
प्यार की खुशबू
आशा की डाली ई ई ई
ज़िंदगी क्या है
माटी है या सोना
माटी
माटी
माटी
माटी समझ के न खोना आ
ज़िंदगी है सोना
जीवन है माला
सुख देख के मोती ई
इन मोतियों से
जीवन में ज्योति
जीवन है माला
सुख देख के मोती ई
इन मोतियों से
जीवन में ज्योति ई ई
ज़िंदगी क्या है ए
आँसू है या मुस्कान
आँसू
आँसू
आँसू
आँसू नहीं नादान
ज़िंदगी है मुस्कान
तेज़ बड़ी ये समय की
धारा है ए
आशा निराशा
इसका किनारा है
ज़िंदगी क्या है
तूफ़ाँ है या पतवार
तूफान
तूफान
तूफान
तूफ़ाँ न समझो यार
ज़िंदगी है पतवार
ज़िंदगी क्या है ए
कांटा है या फूल
कांटा
ना ना
ना ना
———————————–
(भाग III संवादों के साथ, संवाद यहाँ पर शामिल नहीं किए गए हैं)
————————————-
ज़िंदगी क्या है ए
कांटा है या फूल
कांटा समझना है भूल
ज़िंदगी है फूल
जीवन है माला
सुख देख के मोती ई
इन मोतियों से
जीवन में ज्योति
जीवन है माला
सुख देख के मोती ई
इन मोतियों से
जीवन में ज्योति ई ई
ज़िंदगी क्या है ए
आँसू है या मुस्कान
आँसू नहीं नादान
ज़िंदगी है मुस्कान
- In: "Zindagi" song | Asha Bhonsle solo | Asha Bhonsle songs | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Happy song | joie de vivre | Lyrics by Prakashchandra | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Songs of 1950s (1951 to 1960) | Songs of 1956 | Yearwise breakup of songs
- 3 Comments
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5509 | Post No. : | 17953 |
Today’s song is from a C grade costume film ‘Aan Baan’ (1956).
I was in two minds while searching for songs of this film on YouTube. Firstly, whenever I tried to find a song of this film, invariably YouTube presented songs from the film ‘Aan Baan’ made in 1972. After getting tired of this behaviour of YT, I got an idea and I asked for songs from ‘Aan Baan’ (1972). Lo and behold ! YT promptly gave me songs from ‘Aan Baan’ (1956) ! I was in a fix whether to pat my back for this idea or to curse YT for its dumbness.
Secondly, I was very happy that my coined word ‘Same Name Confusion’ and my pioneering work on this subject which troubled the HF history students no end, had even influenced YT which got confused with the same name film title !!
Out of 7 songs of this film 5 songs are already on the Blog. Today’s song will be the 6th song. The 7th and the last song of this film is available on You Tube, waiting to make this film Yippeed !
This film was a routine C grade costume film, having a story involving a King, Queen and wicked Vazir – a story which was used by hundreds of such films. Anyway, as long as there was a fixed audience the such films were made and the makers made a lot of money too. These films were made with a stringent budget but had a wide market all over.
The story of this film was. . .
When the Maharani of Shivgarh was on the deathbed, she asked others of the family to take care of her daughter Jai Kumari. But all the others were of different natures. Her father was an old warrior. Elder brother Devi Singh believed in peace and co-existence. Younger brother Amar Singh believed in the might of the sword and wanted the throne for himself.
When Devi Singh fell in love with a dancer Heera, Amar Singh wanted to rebel against him, but Jai Kumari supported elder brother and got him married to Heera. Amar Singh, however, continued troubling the family. Fed up, the king took back all his ranks and honors and boycotted him from the family. Only Jai Kumari helped him to regain all his honors.In the meantime, Jai Kumari fell in love with Karan Singh, Prince of the neighboring enemy state Raigarh. Taking this opportunity, Amar Singh waged a war with the king and his elder brother Devi Singh. Amar Singh won the battle and the king and brother were arrested and sent to jail. Jai Kumari herself went to jail along with father and brother.
When Karan Singh came to know this, he attacked the state with the help of sympathizers in Shivgarh. The king, brother and sister are freed and Amar Singh gets killed in the battle. Devi Singh becomes the king. Jai Kumari and Karan Singh get married. Thus all is well. The audience jumps up like a child and goes back to their homes, greatly relieved !
Despite being a Ccostume film the actors and the MD were good, because the producer and director was DD Kashyap. The film was made under his banner Kashyap Films. He had a good taste. The music directors Husnlal-Bhagatram are one of my favorite composers from the older generation.
Husnlal-Bhagatram was one of the most popular composer pairs of their times. They started in 1944 with ‘Chand’. Their peak was achieved in 1949 and their magic ended with the sixth decade. They gave music to 53 films (of which two are unreleased) and most films’ music became popular. Although Bhagatram was the elder of the two brothers, their name was famous as Husnlal–Bhagatram. During the peak of their career, the handsome, good looking Husnlal’s name was linked to the upcoming singer of those days – Lata Mangeshkar. This episode is described by C Ramchandra in his autobiography in Marathi.
Elder brother Bhagatram had given music to 9 films in 1939 and 1940, independently, under the name Bhagatram Batish, but the brothers prospered only after Husnlal joined his brother and they gave music as Husnlal-Bhagatram.
Pandit Husnlal was born in Kahma Village, district Jalandhar, Punjab, on 8-4-1920. He was initiated into music by his father, the Late Devi Chand and elder brother Pandit Amar Nath, (the famous music composer of the ‘40s). Later he became the disciple of Sangeet Maha Mahopadhyaya Pandit Dilip Chandra Vedi Ji.
Pandit Husnlal’s first passion was playing the violin, and he learned further under Ustad Bashir Khan. Pandit Husnlal was a performer par excellence in khayal, thumri, dadra, ghazal, and bhajan. He had a voice range of three octaves and was an accomplished master of complicated patterns of taans, like his Guru Vedi Ji.
Pandit Husnlal was an accomplished Violinist, a renowned classical singer and an ace music director. He, along with his elder brother Bhagatram (an ace harmonium player, born in 1914), were the first prolific Hindi film music directors to work as a duo and went by the name of Husnlal-Bhagatram. The beauty and command over the violin can be seen in different compositions of the duo’s songs in films. They popularized Punjabi folk music as an art form, with a range of music that has a rare lilt and rhythm, yet soulful and poignant, thus becoming the most sought after composers. Their first hit was a film named ‘Chand’, after which they never looked back. They gave super hit melodies for 53 Hindi films. One point to be noted is that most of his films celebrated their Golden Jubilee with a credit to the music compositions and songs.
Their film ‘Badi Behan’ (1949) is a classic in the history of Indian cine music. Besides the most popular song, “Chup Chup Khade Ho Zaroor Koi Baat Hai” there are other seven numbers which gave the audiences the pleasure of music as an art form – “Wo Pass Rahen, Ya Door Rahen“, “Tum Mujhko Bhool Jaao, Ab Hum Na Mil Sakenge“, “Likhne Waale Ne Likh Dee Meri Tqdeer Mein Barbaadi” and “Bigdi Banaaney Waale, Bigdi Banaa De” (Suraiya) and “Mohabbat Ke Dhoke Mein Koi Naa Aaye” (Mohammed Rafi).
In the songs “Chaley Janaa Nahin Nain Mila Ke” and “Jo Dil Mein Khushi Ban Kar Aaye” Lata Mangeshkar was perhaps at her best and there could not have been a better return gift to the composer Husnlal on Lata’s 20th birthday (Lata Mangeshkar was born in 1929). The utterance coming straight from the singer’s heart, at times makes the listener cry, as a spontaneous outcome of eternal pleasure. The quality of a diamond cutter in master violinist Husnlal can be visualized through these two immortal melodies of Lata Mangeshkar. The Punjabi style dholak played by their musician, Shanker (of Shanker-Jaikishan fame) was again a notable landmark!
The song “Suno Suno Ae Duniya Waalo Bapu Ki Yeh Amar Kahani”, sung by Mohammed Rafi, was a milestone in the history of music. This song was written by Rajendra Krishan and composed by the duo within a record time of just 24 hours; soon after the demise of Mahatma Gandhi, the Father of the Nation. More than a million copies of the set of two 78 rpm discs of this recording were sold, within one month.
Husnlal-Bhagatram worked with famous playback singers like Ameerbai Karnataki, Suraiya, Shamshad Begum, Zohrabai Ambala, Lata Mangeshkar, Geeta Dutt, Suman Kalyanpur, and Kishore Kumar, Mohammed Rafi, Mukesh, among others. They also composed and played alongside Pandit Ravi Shankar and Pandit Jasraj.
Pandit Husnlal performed as a violinist on All India Radio and at other renowned music festivals and concerts and taught music to his music-loving disciples. In the late 60s, this pair parted company with each other. Husnlal’s father in law was an influential person. With his help, Husnlal settled in Delhi and started teaching music to aspirants.
One day morning, while on a morning walk, he fell dead in a garden. Someone recognized him and informed his family. The day was 28-12-1968.
Bhagatram too spent his last days in pathetic condition, working for other composers. He passed away in 1973, in Bombay. His son Ashok,who uses the surname Sharma, is an artiste with Doordarshan.
[Author’s Note: I had the opportunity to speak to Shri Ashok Sharma ji, about his father, a few months back].
Once Lady Luck turns her back on someone, destiny plays strange games. Here is a comment by a leading composer of the 50s, about Husnlal-Bhagatram’s destiny,
Some things happen in life differently – for example, as Shankar was a good dancer, he danced with dholak, in ‘Pyaar Ki Jeet’ (1948), and the music directors were the then first pair of Hindi film music Husnlal Bhagatram who were brothers. Husnlal was a good violinist and Bhagatram was a harmonium master. When they were assigned the film ‘Pyaar Ki Jeet’, Shankar was their assistant and played dholak and tabla and being a dancer himself, danced in the film as stated above.
It is destiny, that Shankar made a pair with Jaikishan and both with a brilliant mind, went on to become the most successful of music directors, and Husnlal Bhagatram, went into oblivion with the passage of time.
Husnlal’s father-in-law was a well established person and supported his son-in-law, after being failure as music director. Husnlal took to play violin. And Bhagatram, sorry to say, being alone, started to play harmonium under the direction of his disciple, none other than Shankar, who once played dholak and tabla under his direction. . . What would you call it. . .? Destiny?
Here is their filmography by year.
[Author’s Note: Thanks to dear Mahesh ji for preparing the following table for HB’s filmography.]
| Composer | Year | Name of the Films | No of Films | |
|
Bhagatram |
1939 | Midnight Mail, Bahadur Ramesh, Bhedi Kumar, Chashmawali | 4 | |
| 1940 | Tatar Ka Chor, Sandesha, Hatimtai Ki Beti, Deepak Mahal | 4 | ||
| 1941 | Hamara Desh | 1 | ||
| Husnlal and Bhagatram |
1944 | Chand | 1 | |
| 1945 | Nil | |||
| 1946 | Hum Ek Hain, Nargis | 2 | ||
| 1947 | Heera, Mirza Sahiban, Mohan, Romeo And Juliet | 4 | ||
| 1948 | Aaj Ki Raat, Lakhpati, Pyaar Ki Jeet | 3 | ||
| 1949 | Amar Kahani, Balam, Badi Bahen, Bansariya, Hamari Manzil, Jal Tarang, Naach, Raakhi, Sawan Bhadon | 9 | ||
| 1950 | Aadhi Raat, Apni Chhaya, Birha Ki Raat, Chhoti Bhabhi, Gauna, Meena Bazaar, Pyar Ki Manzil, Sartaj, Surajmukhi | 10 | ||
| 1940s | Bambi (UR) | 1 | ||
| 1951 | Afsana, Rajput, Sanam, Shagun, Stage | 5 | ||
| 1952 | Kafila, Raja Harishchandra | 2 | ||
| 1953 | Aansoo, Farmaish | 2 | ||
| 1954 | Shama Parwana | 1 | ||
| 1955 | Adl e Jehangir, Kanchan | 2 | ||
| 1956 | Aan Baan, Mr Chakram | 2 | ||
| 1957 | Dushman, Jannat, Krishna Sudama | 3 | ||
| 1958 | Trolley Driver | 1 | ||
| 1959 | Nil | |||
| 1960 | Nil | |||
| 1950s | Kya Baat Hai (UR) | 1 | ||
| 1961 | Apsara | 1 | ||
| 1962 | Nil | |||
| 1963 | Shaheed Bhagat Singh | 1 | ||
| 1964 | Nil | |||
| 1965 | Tarzan And Circus | 1 | ||
| 1966 | Sher Afghan | 1 | ||
Bhagatram was the elder brother, Husnlal was the younger brother. Have you anytime wondered why the younger brother’s name comes first in this pair ?
Normally, when a pair of brothers is referred, it is the elder brother’s name that comes first. For example, Ram-Laxman or Balram – Srikrishna or even Kalyanji – Anand ji, Jatin-Lalit or Anand-Milind. For many years, this matter was bothering me, but I could not find any justification for this unusual way of pairing. I was sure that there must be some story behind this.
The Blog ‘Songs of Yore’ published the second part of Husnlal-Bhagatram post on 11-8-2017, based on the interview of Dinesh Prabhakar, son of Husnlal and Ms. Nirmala Devi. During her talk, Nirmala Devi explained the reasons for calling the pair as Husnlal-Bhagatram, in spite of Bhagatram being the elder one and more experienced of the two. Bhagatram had already given music, individually to 9 films, in the late 30s and early 40s, before the pair was formed. Her statement answered my long awaited query about the unusual name of the pair. Here is the related portion of her interview,
The 90-year old Shrimati Nirmala Devi is an amazing lady. She still has a razor-sharp memory and superb knowledge of music and music personalities of that era. She gave me a lot of interesting information, not available elsewhere – for example, the reason why the younger brother Husnlal’s name comes first in the duo’s name. Her talk also revealed that other family commitments, too, in Delhi were contributory factors for their decline in the film music.
Shrimati Nirmala Devi speaks about her husband (late) Pt Husnlal….“DD Kashyap, who was directing ‘Chaand’ (1944) for Prabhat Films, wanted to engage Pt Amarnath based in Lahore, who was a towering figure in music. As he was heavily preoccupied, he strongly recommended his younger brother Pt Husnlal who was staying with him and assisting him in Lahore-based films of Pancholi and others, assuring Kashyap that Pt Husnlal was no less talented than him. Pt Amarnath was like a father-figure to his younger brothers, especially to Pt Husnlal. A music session was organized to demonstrate Pt Husnlal’s talent. Kashyap was highly impressed. When it was time for Pt Husnlal to proceed for Poona/Bombay, Pt Amarnath, out of concern for his kid-brother, suggested to Kashyap to also engage Pt Bhagatram with him. Kashyap expressed difficulty in arranging the payment for two as the contract was already made out. Pt Amarnath assured him that he should not bother about increasing the fee, but the two brothers must work together. Thus it was that Bhagatram got appended to Husnlal, forming the duo HB. ”
Another reason why the younger brother’s name preceded the elder brother was simply the aesthetics – Husnlal-Bhagatram sounding better than the other way around.
[Author’s Note: Thanks to Blog ‘Songs of Yore’ for this information.]
Almost all the songs in this film are good. Today’s song also is sung by Asha Bhosle very nicely.
Song – Jhoom rahi hai zindagi (Aan Baan)(1956) Singer – Asha Bhosle, Lyricist – Qamar Jalalabadi, MD – Husnlal-Bhagatram
Lyrics (Provided by Prakashchandra)
jhoom rahi hai zindagi
ae mere dil tu gaaye jaa
saans jahaan tak aaye jaaye
pyaar ki dhun sunaaye jaa
jhoom rahi hai zindagi
tera hazaar shukriya
pyaar ka dard de diya
dard mein hai badaa mazaa
aur ise badhaaye jaa
jhoom rahi hai zindagi
ae mere dil tu gaaye jaa
saans jahaan tak aaye jaaye
pyaar ki dhun sunaaye jaa
jhoom rahi hai zindagi
aankhon mein aankhen daal ke
kaisa pila diya nasha
kaisa pila diya nasha
hosh kahe sambhal sambhal
dil kahe ladkhadaaye jaa
jhoom rahi hai zindagi
ae mere dil tu gaaye jaa
saans jahaan tak aaye jaaye
pyaar ki dhun sunaaye jaa
jhoom rahi hai zindagi
pehlu se dil nikaal ke
kadmon pe tere rakh diya
chaahe ise rulaaye jaa
chaahe ise hansaaye jaa
jhoom rahi hai zindagi
ae mere dil tu gaaye jaa
saans jahaan tak aaye jaaye
pyaar ki dhun sunaaye jaa
jhoom rahi hai zindagi
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
झूम रही है ज़िंदगी
ए मेरे दिल तू गाये जा
सांस जहां तक आए जाये
प्यार की धुन सुनाये जा
झूम रही है ज़िंदगी
तेरा हज़ार शुक्रिया
प्यार का दर्द दे दिया
दर्द में है बड़ा मज़ा
और इसे बढ़ाए जा
झूम रही है ज़िंदगी
ए मेरे दिल तू गाये जा
सांस जहां तक आए जाये
प्यार की धुन सुनाये जा
झूम रही है ज़िंदगी
आँखों में आँखें डाल के
कैसा पिला दिया नशा
कैसा पिला दिया नशा
होश कहे संभल संभल
दिल कहे लड़खड़ाए जा
झूम रही है ज़िंदगी
ए मेरे दिल तू गाये जा
सांस जहां तक आए जाये
प्यार की धुन सुनाये जा
झूम रही है ज़िंदगी
पहलू से दिल निकाल के
कदमों पे तेरे रख दिया
चाहे इसे रुलाये जा
चाहे इसे हसाए जा
झूम रही है ज़िंदगी
ए मेरे दिल तू गाये जा
सांस जहां तक आए जाये
प्यार की धुन सुनाये जा
झूम रही है ज़िंदगी
Kya kya rang dikhaaye zindagi
Posted on: July 31, 2023
This article is written by Avinash Scrapwala, 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 : |
5491 | Post No. : | 17929 |
#the Decade of Sixties – 1961 – 1970 #
————————————————————————
(Remembrance Day – Mohd Rafi 31.07.2023)
—————————————————-
Today 31st July’2023 is the forty-forth ‘Remembrance Day’ of the legendary singer Mohd Rafi (born on 24.12.1924 and passed away on 31.07.1980).
We remember this ‘divine voice’ of Hindi Film Music today and pay our tributes to him on this blog.
I have mentioned it earlier that there have been many passionate, heartfelt, lovable posts on Rafi Saab in the past here on this blog and we will have many such posts in future as well. So, I am not going to write about Rafi Saab’s voice, his songs or his personality and the many incidences which have been known to us about his generosity and all. But I would like to mention something which is more than enough to mention how Rafi Saab has become a part of my life since I exist here on this ‘earth’.
Rafi Saab started his singing career in Hindi movies in 1945-46 or 1944-45. I was born in 1968, and if we leave the first three-four- or five years of my childhood or why, even they should be considered since Rafi Saab’s songs coming out of radio were still reaching my ears. When I was growing, his songs were with us all the time. We were listening, enjoying, singing and savoring this ‘divine voice’ which motivated, inspired, and even medicated our souls’ in this journey of our life. There are a host of emotions that we feel in our lives, and there were Rafi Saab’s song to express almost every one of the emotions that we felt in our lives. This voice takes ones to the ‘heights of meditation’ and the ‘highest spiritual experience’ if you are willing to ‘submerge’ yourself there.
What I want to mention here is that we grew up listening to his songs on the radio – ranging from the new songs from latest movies (in 1970s) as well as older songs from earlier movies. Gradually we become familiar with many Rafi gems that were created before my birth i.e. ‘1968’. For example songs like “Yahaan Badlaa Wafaa Ka Bewafaai Ke Siwaa Kya Hai from ‘Jugnu’ (1947) which I got to listen for the first time on All India Radio’s Urdu Service is one of my favorites. There are many more favorites of course. . .
I have already mentioned earlier that the very first song from a Hindi movie that I memorized by heart is “Suhaani Raat Dhal Chuki”. I was in 7th/8th standard at that time.
Even today I can sing it (sing?:) ) without looking at the the lyrics. There are many such songs of Rafi Saabs that are ‘kanthhast/zabaani yaad’ to me.
I vaguely remember reading the news of his death in newspaper and the pictures of his last journey where people flooded the roads in spite of the continuous rains.
Forty three years have passed since Mohammad Rafi left this world but his voice is with us. During these forty three years, we have explored and discovered many more of his songs, listening to them and savored them. It goes without saying that his voice will be with us throughout our life, and will be there with us even when it is time for us to breathe our last, may be with the accompaniment of the song “Chal Ud Jaa Re Panchhi” in the background.
On this occasion, I am presenting a song from a 1969 movie as my tribute. The song is from the movie ‘Badi Didi’ (1969). It was directed by Narendra Suri for Archana Films, Bombay. Narendra Suri was also co-producer of this movie with Nand Kumar. ‘Badi Didi’ had Nanda, Jeetendra, Om Prakash, Mahmood, Nazir Hussain, Raj Mehra, Aruna Irani, Dilip Raj, Padma, Jeevan, Leela Chitnis, Ulhas, Poornima and others.
This movie has six songs penned by Rajinder Krishan and composed by Ravi. Mahendra Kapoor, Manna Dey, Asha Bhonsle and Mohd Rafi are singers who had given playback to the songs of this movie. There is only one Rafi song in this movie which is a solo song. This song is available in two parts on online sources. Though, HFGK does not mention this song as a two part song. This movie is also available online but I have not yet watched it.
As mentioned above ‘Badi Didi’ was directed by Narendra Suri. I could gather some information about him. Narendra Suri marked his directorial debut with the movie ‘Begunaah’ (1957). He went on to directed ‘Laajwanti’ (1958), ‘Majboor’ (1964), ‘Purnima’ (1965), ‘Badi Didi’ (1969) and ‘Vandana’ (1975). He was also an associate director for the movie ‘Shikast’ (1953) which was directed by Ramesh Saigal. For ‘Badi Didi’ he was also a co-producer. He also produced and directed the movie ‘Vandana’.
The article on him (which I have mentioned below) mentions that his movies got noticed and earned limited success. Some of these movies had good songs and music. As far as I am concerned I remember to have watched the movie ‘Laajwanti’ on Doordarshan and I remember a couple of its songs as well. I am also aware of the songs of ‘Purnima’ though I do not remember if I have watched this movie. Narendra Suri is remembered mainly for the movie ‘Laajwanti’ (1958) and also ‘Begunaah’ (1957). The prints of ‘Begunah’ (1957) were destroyed as it was legally charged with plagiarism. It remains the only case of its kind so far in the history of Hindi Films (I hope I am correct). ‘Laajwanti’ (1958) bagged the National Award for Best Film in 1959 and it was also entered in the Cannes Film Festival of 1959 to compete for Best Feature Film.
Coming to today’s song, it is sung by Mohd Rafi. Lyrics are by Rajinder Krishan and music is composed by Ravi.
Let us listen to the song now savor the divine voice of Mohd Rafi.
So far, only one song from this movie has been posted on the blog and this song is the second song from this movie to be presented on the blog. This song is a short song available on audio only. I would request knowledgeable readers to throw more light on this song. I guess that this song gets played in the background in the movie.
(Sources of information about Narendra Suri – an article , myswar.co and geet kosh and this blog).
Song-Kya kya rang dikhaaye zindagee (Badi Didi)(1969) Singer-Rafi, Lyrics-Rajinder Krishan, MD-Ravi
Lyrics
aisi chali taqdeer ki aandhi ee
bikhar gaye ae ae sab tinkey
qismat ne is ghar se liye
hain badle ye kis din ke
kya kya rang dikhaaye zindagi
kya kya rang dikhaaye ae
kya kya rang dikhaaye zindagi
kya kya rang dikhaaye
kathhputli ki tarah
aadmi ko bhi naach nachaaye ae
kya kya rang dikhaaye zindagi
kya kya rang dikhaaye
sukh ke din jab beet gaye to
dukh ke bhi kat jaayenge
haar na himmat
gham ke parbat
raahon se hat jaayenge
kehte hain insaan usey jo
har thhokar sah jaaye ae
kya kya rang dikhaaye zindagi
kya kya rang dikhaaye
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
ऐसी चली तक़दीर की आँधी
बिखर गए सब तिनके
किस्मत ने इस घर से लिए
हैं बदले ये किस दिन के
क्या क्या रंग दिखाये ज़िंदगी
क्या क्या रंग दिखाये
क्या क्या रंग दिखाये ज़िंदगी
क्या क्या रंग दिखाये
कठपुतली की तरह
आदमी को भी नाच नचाए
क्या क्या रंग दिखाये ज़िंदगी
क्या क्या रंग दिखाये
सुख के दिन जब बीत गए तो
दुख के भी कट जाएँगे
हार ना हिम्मत
ग़म के पर्बत
राहों से हट जाएँगे
कहते हैं इंसान उसे जो
हर ठोकर सह जाये
क्या क्या रंग दिखाये ज़िंदगी
क्या क्या रंग दिखाये
This article is written by Avinash Scrapwala, 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 : |
5479 | Post No. : | 17905 |
The blog completes 15 years of its existence today (19 july 2008-19 july 2023).
#the Decade of Forties – 1941 – 1950 #
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Happy birthday ‘Atul’s Song a Day’… and many happy returns of the day!!!
Yes!!! Today we celebrate the birth anniversary of this lovely blog which is celebrating its fifteenth birthday today. It was born on 19th July’2008.
Regulars on this blog are aware that this blog is a ‘part of our life’ Ever since we got associated with it we cannot imagine out existence without it. So I need not mention how much I love this blog and how it has been a constant motivation and inspiration too for ‘movie-music lovers’ like me.
Coming straightaway to today’s post, I am continuing further with the recent ‘Mumbai meet’ memories which are still fresh and will continue to be so till the next meet happens.
Our respected Sudhir ji has already posted a detailed post day before yesterday here, so the proceedings of the day have been refreshed in the minds of the members. Sudhir ji’s article also brings the happenings of the ‘meet’ for reading pleasure of the readers associated with this blog.
I am going to add just ‘two’ more ‘notes’ where one is the ‘incidence’ prior to the ‘gang-out’ and second one is the ‘memento’ and other than this we have a song to enjoy and expressing ‘what all members’ of this blog wish about this journey of songs, music, movies, stars, artistes, and nostalgia.
When the date for the ‘Mumbai meet’ was finalized I booked my tickets for to and fro travel on 17th May’2023 and from that day I was eagerly awaiting for 2nd June. The excitement I was going through cannot be explained in words, because I was going to meet Atul ji and Sudhir ji (and Nitin ji) for the first time.
I was to board the train on 1st June’2023 mid-night from Vadodara to Mumbai. However the ‘14701-Aravali Express had got delayed by more than an hour, so I started from my home in an auto rickshaw at around 00:15 hrs of 2nd June.
Everything was going well … the auto was going in good speed. The traffic at that time was not restricted and so the signals were through. The railway station was still around 3 to 4 kms away. I was watching around and auto was in good speed and just before I could think a moment I saw a car coming in full speed from the right side and it just crossed the bridge (of the right side) and was approaching the crossroad junction.
Before I could ask the auto driver to slowdown, it happened!!
The auto driver suddenly took a right turn to avoid the collision or the big ‘shot’.
But it hit the left side of the speeding car and turned upside down. I step down from the left side before the auto just turned upside down from my side. The left side glasses of the auto were broken the driver fallen down was picked up by people gathered around. Around forty peoples were surrounding me and the driver, and questioning us if we were ok?
I was still in state of shock and repeatedly checking my body parts ensuring that I had no injuries. My phone was on the floor, but the bag containing ‘laptop’ was ok.
The driver was an elder to my age (or it seems so) so I checked with him and he also left unhurt except some ‘scratches’ here and there.
The top of the auto got bent. People took us to a safe corner. The driver of the car that hit our auto also came to check us if were ok or need some medication. Everything was ok, the vehicle had some ‘injuries’ and a small front glass of the auto was totally broken and its hood bended. Its main front glass had a big scratch.
As I was thinking what to do, the auto driver got himself arranged and ready to continue the journey. After reaching the station I again checked with the driver and since I know his phone had also got discharged, I expressed my concern and asked him if he needed to call anybody. But he turned out to be brave soul and he told me that he would take care of it himself. On reaching the platform I was still checking myself if everything was ok and if there was any injury or bleeding. 🙂
I had shared this incidence to Guruji first (and to Peevesie’s Mom ji I think) on reaching his place, and shared it with my wife and daughter after reaching back home later.
My younger daughter takes no time to turn into ‘angry young girl’, so I was prepared for that. And soon she informed my elder daughter at Rajkot so that she can also ‘reprimand’ me suitably. 🙂
Thanks to the driver who in a split second took a right turn to avoid a severe ‘collision ‘otherwise it was going to be horizontal-vertical collision and given the speed of the car one cannot imagine what could have happen.
So, that is how ‘life moves on’ … since this was related to the ‘Mumbai meet’ travel I thought I should share it here 🙂
***
As usual for me I had carried a sheet and colored pens to get ‘memory of Mumbai gang-out’ on paper 🙂
I had done it previously during a ‘regulars meet’ at Bengaluru in 2016. (Readers can enjoy this post here … Ham banjaaron ki baat mat poochho ji… )
During the ‘Mumbai gang out’ same year, our respected Bharat Bhai had got recorded everybody’s video so ‘paper’ was not used there. 🙂
I asked Sudhir jee to suggest the theme for the ‘memento’ and he suggested ‘Ye hanstaa huaa kaarwaan zindagi kaa na poochho chalaa hain kidhar …’
We always, for describing the journey of this blog use words or lyrics like ‘gaaye chalaa jaa’, ‘geet gaata chal’, ‘gaataa jaaye banjaaraa’, ‘ham banjaarein’ etc etc…
The picture of this ‘memento’ is also being uploaded with this post here:-
What all team members sincerely wished for the blog was that ‘this should be a never ending journey’ and it should continue beyond our time too …
ye kaarwaan e zindagi
naa aye khudaa
rukey kabhi
naa aye khudaa
rukey kabhi …
We all have individual goals for the ‘music-movies-memories’ and I wish that all of us achieve the same and relive the ‘nostalgia’ in our journey
“raaste safar ke ham
kaat lein hansi khushi
apni apni manzilon ko
jaayen pahunch ham sabhi”
***
I came across today’s song after coming back from Mumbai when I was looking for songs on ‘kaarwaan’. I liked this song very much, and I sincerely hope that all members of our team and readers will enjoy this song…
It is from the ‘1949’ movie ‘Parda’.
“Parda-1949” was directed by A.G. Soorma for ‘K’ Pictures, Bombay.
It was produced by R.M. Vora and M. Bashir was the associate producer of this movie.
It was a social genre film.
It had Rehana, Chand, Kusum Thakkar (as per the titles of the movie it is Kusum Thakkar and not Kusum Thakur as mentioned elsewhere), Sadiq, S Nazeer, Nazeer Kashmiri, Ansari, Vazeer, Abubakar, Gulzar, Shanti Madhok, Amar and others.
Story of this movie was written by Kabil Amritsari. Dialogues of this movie were written by Rajjan, Kabil Amritsari, and M. Sarosh.
Editing of this movie was done by D.R. Barodkar and Akbar Ali.
(This movie is available online and that is why I can add some names from the crew in above information, which has not been mentioned in the previous posts on the songs with this movie. I hope to watch this movie sometime and add its story on the blog (though the audio quality of the video of this movie available online seems to be ‘not clear’).
As per HFGK this movie has thirteen songs. Out of these thirteen songs twelve songs are composed by Sharma ji (Khayyam Saab).
One song is composed by Anwar Husain and Nandram.
(However in the book ‘Khayyam-The Man – His Music’ by Vishwas Nerurkar-Bishwanath Chatterjee only four songs are mentioned as composed by Khayyam Saab and other nine songs are mentioned as composed by Anwar Hussain-Nandram).
Two lyricists share the lyrics for the songs of this movie. Swami Ramanand wrote four songs and Tanvir Naqvi wrote six songs for this movie. Lyricist’s name for three individual songs is not mentioned in HFGK Vol-II (1941-1950).
Let us now enjoy this wonderful ‘caravan’ song …
Happy birthday once again to this blog and thanks a lot to Atul ji…
Singers’ name for this song is not mentioned in HFGK. For the Music Director’s name I have considered the information from the book on Khayyam Saab mentioned above.
I would request our seniors and knowledgeable readers to throw more light on the information about this movie and its artistes.
Video
Audio
Song-Ye kaarwaan e zindagi na ae Khuda rukey kabhee (Parda)(1949) Singers-Khayyam, Rafi (singers not mentioned in HFGK), Lyrics-Tanveer Naqvi, MD-Anwar Hussain, Nandram
Lyrics
aa aa aa aa aa
aa aa aa aa aa
ye kaarwaan e zindagi
ee ee ee ee
naa ae khudaa
rukey kabhi
naa ae khudaa
rukey kabhi
ye kaarwaan e zindagi
ee ee ee ee
naa ae khudaa
rukey kabhi
naa ae khudaa
rukey kabhi
aa aa aa aa aa aa
aa aa aa aa aa aa
aa aa aa
raaste safar ke ham
kaat lein hansi khushi
ee ee ee ee
raaste safar ke ham
kaat lein hansi khushi
ee ee ee ee
apni apni manzilon ko
jaayen pahunch ham sabhi
ee ee ee
ham sabhi ee
ham sabhi
naa ae khudaa
ruken kabhi
naa ae khudaa
ruken kabhi
ye kaarwaan e zindagi
ee ee ee ee
naa ae khudaa
ruken kabhi
naa ae khudaa
ruken kabhi
aa aa aa aa aa aa
aa aa aa aa aa aa
aa aa aa
ae khudaa e do jahaan
aan aan aan
ae khudaa e do jahaan
aan aan aan
ban kaafile kaa
paasbaan aan
paasbaan aan
paasbaan aan
kat jaaye bekhatar safar
a a a a a a
a a a a a a
mushqil naa ghere koyi bhi
mushqil naa ghere koyi bhi
naa ae khudaa
ruken kabhi
naa ae khudaa
ruken kabhi
ye kaarwaan e zindagi
ee ee ee ee
naa ae khudaa
ruken kabhi
naa aye khudaa
ruken kabhi
——————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
——————————–
आ आ आ आ आ आ आ आ
ये कारवान ए जिंदगी
ई ई ई ई ई
ना अए खुदा
रुके कभी
ना अए खुदा
रुके कभी
ये कारवान ए जिंदगी
ई ई ई ई ई
ना अए खुदा
रुके कभी
ना अए खुदा
रुके कभी
आ आ आ आ आ आ
आ आ आ आ आ आ
आ आ आ
रास्ते सफर के हम
काट ले हंसी खुशी
ई ई ई ई
रास्ते सफर के हम
काट ले हंसी खुशी
ई ई ई ई
अपनी अपनी मंज़िलों को
जाएँ पहुँच हम सभी
ई ई ई
हम सभी ई
हम सभी
ना अए खुदा
रुके कभी
ना अए खुदा
रुके कभी
ये कारवान ए जिंदगी
ई ई ई ई ई
ना अए खुदा
रुके कभी
ना अए खुदा
रुके कभी
आ आ आ आ आ आ
आ आ आ आ आ आ
आ आ आ
अय खुदा ए दो जहां
आँ आँ आँ
अय खुदा ए दो जहां
आँ आँ आँ
बन काफिले का
पासबान आँ
पासबान आँ
पासबान आँ
कट जाये बेखतर सफर
अ अ अ अ अ अ अ अ अ अ अ
मुश्किल ना घेरे कोई भी
मुश्किल ना घेरे कोई भी
ना अए खुदा
रुके कभी
ना अए खुदा
रुके कभी
ये कारवान ए जिंदगी
ई ई ई ई ई
ना अए खुदा
रुके कभी
ना अए खुदा
रुके कभी
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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