Posts Tagged ‘1955’
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“Chaar Paise” (1955) was produced and directed by N K Ziri. The movie had Kishore Kumar, Shyama, Johnny Walker, Agha, Kammo, Nishi, Nazir Kashmiri etc etc. in it.
The interesting thing about this movie (as recounted by Mr Arunkumar Deshmukh, our beloved inhouse encyclopaedia) is that this movie was never released in movie halls, yet the prints of this movie are available online !
The movie had six songs in it. Three of these songs have been covered in the blog in the past.
Here is the fourth song from “Chaar Paise” (1955) to appear in the blog. The song is sung by Lata. Sartaz Rahmani is the lyricist. Music is composed by B D Burman.
The song is picturised on Shyama.
Song-Maajhi meri naiyya ko ji chaahe jahaan le chal (Chaar Paise)(1955) Singer-Lata, Lyrics-Sartaj Rahmani, MD-B D Burman
Lyrics
maajhi meri naiya ko o o
ji chaahe jahaan le chal
hmm hmm hmm
maajhi
meri naiya ko
ji chaahe jahaan le chal
le chal
le chal
maajhi
meri naiya ko
ji chaahe jahaan le chal
le chal
le chal
maajhi
aa aa aa aa
chaand taaron ke nagar mein
le chal apne saath
chaand taaron ke nagar mein
le chal apne saath
meri kismat mera jiwan
ab hai tere haath
le chal
le chal maajhi
zindagi ke do kinaare
saahil ya manjhdhsar
zindagi ke do kinaare
saahil ya manjhdhssar
ek taraf hai saari duniya
ek taraf hai pyaar aar
le chal
le chal
maajhi
meri naiya ko
ji chaahe jahaan le chal
le chal le chal
maajhi
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
“Haseena”(1955) was directed by J P Advani for Shabaab Productions. The movie had Jairaj, Shyama, Krishna Kumari, Amarnath, Manmohan Krishna, Durga Khote etc. in it.
The movie had 11 songs in it. Two songs from the movie has been discussed in the past.
Here is the third song from “Haseena”(1955) to appear in the blog. This song is sung by Asha Bhonsle. Jaan Nisaar Akhtar is the lyricist. Music is composed by Bulo C Rani.
Only the audio of the song is available. The song sounds like a mujra song to me. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Teri mehfil se uthh kar tere deewaane kahaan jaayen (Haseena)(1955) Singer-Asha Bhonsle, Lyrics-Jaan Nisaar Akhtar, MD-Bulo C Rani
Lyrics
teri mehfil se uthh kar
tere deewaane kahaan jaayen
teri mehfil se uthh kar
tere deewaane kahaan jaayen
arre dil loot kar
loot kar r r r
are dil loot kar
humse nigaahen phernewaale
bata hum leke armanon ke veeraane kahaan jaayen
bata hum leke armaanon ke veeraane kahaan jaayen
jo tu rukh pher le apna aa aa aa aa
jo tu rukh pher le apna
to dil ka haal kya hoga
uthhale shama jab koi
to parwaane kahaan jaayen
uthhaa le shama jab koi
to parwaane kahaan jaayen
tujhi ko apne dil ka dard
jab samaja nahin sakte
tujhi ko apne dil ka dard
jab samaja nahin sakte
to apna dard duniya bhar ko samajhaane kahaan jaayen
to apna dard duniya bhar ko samajhaane kahaan jaayen
teri mehfil se uhthh kar tere deewaane kahaan jaayen aen aen
Nanha Mora Doley Mori Anganiaa
Posted on: May 24, 2017
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
रोक सकता हमें ज़िन्दान-ए-बला क्या ‘मजरूह’
हम तो आवाज़ हैं दीवार से छन जाते हैंRok sakta hamen zindaan-e-bala kya ‘Majrooh’
Ham to aawaaz hain deewaar se chhan jaate hain.
[Can prison of calamity stop us?
We are the voice which can infiltrate the wall].
This she’r was written by the young Majrooh Sultanpuri probably sometime in the 1940s. Perhaps he was goaded by the idealistic impulses when he was associated with the Progressive Writers Association (PWA), a left-oriented ideological group. Nonetheless, for Majrooh Sultanpuri, it has been a quick transformation – from an idealistic poet of PWA to a lyricist in the film industry.
Today, May 24th 2017 is the 17th Remembrance Day of Majrooh Sultanpuri (01/10/1919 – 24/05/2000) who ruled the Hindi film industry as a lyricist for over 5 decades. His long innings in Hindi film industry can be gauged by the fact that he wrote lyrics for music director Naushad in 1946 to A R Rahman in 2000. He wrote lyrics for the three generation of Kapoor family – for Raj Kapoor in ‘Andaz’ (1949) to Randheer Kapoor in ‘Rampur Ka Lakshman’ (1972) and to Karishma Kapoor in ‘Ham To Mohabbat Karega’ (2000). These are the testimonies of his smooth adaptation of the changing environments in Hindi film music. He achieved this without much diluting the quality of his lyrics.
Majrooh Sultanpuri was initially a reluctant lyricist if I go by his as well as others’ interviews. In 1945, he had accompanied his mentor, Jigar Moradabadi to Bombay (Mumbai) for participation in a Mushaira. Many film producers and directors saw such mushaira as an opportunity to select budding poets to write songs for their films. One of the producer-directors who attended the mushaira was AR Kardar. He was producing and directing ‘Shah Jahan’ (1946) and was keen to engage Jigar Moradabadi to write songs for the film. However, Jigar Moradabadi declined the offer and instead suggested him to take his disciple, Majrooh Sultanpuri who had impressed the audience with his poetry in the mushaira.
Majrooh Sultanpuri was reluctant to write songs for the films as he felt that his association with films would affect his shaayari. However, at the end, he could not say no to his mentor and agreed to write the songs for ‘Shah Jahan’ (1946). This was the start for a reluctant lyricist which culminated into a very long and a successful filmy career.
After the success of his iconic songs ‘Shah Jahan’ (1946) such as gham kiye mushtakil, Majrooh Sultanpuri also wrote songs for Naushad in films such as ‘Qeemat’ (1946) and ‘Andaz’ (1949) and for Bulo C Rani in ‘Anjuman’ (1948) and ‘Nazaare’ (1949) among others. The success of ‘Andaz’ (1949) and ‘Aarzoo’ (1950) firmly established Majrooh Sultanpuri as a lyricist. However, his filmy career got a setback sometime in 1950 when the then Government of Bombay arrested him for inciting the workers through his recitation of poems. Although the Government gave him an opportunity to apologise his action, he refused and instead spent 2 years in Arthur Road Jail along with Balraj Sahani.
After his release from the jail, he found it hard to get the assignments. The absence of 2 years in Hindi film industry is a long period to successfully restart the career. By this time, Naushad had Shakeel Badayuni, SD Burman had Sahir Ludhinavi, Raj Kapoor with Shankar-Jaikishan had Shailendra and Hasrat Jaipuri. During this period, Majrooh Sultanpuri got work to write one or two songs in a few films. Perhaps, his jail stint thought him a lesson that he had to keep his ideological views separate from his filmy career. Thanks to his calibre and with some luck, his second inning started with a good number of films albeit with a gap.
In 1953, 9 films in which Majrooh Sultanipuri contributed lyrics were released. However, almost all these films did not fare well on the box office front although they had some very good songs. Among his 1953 released films, ‘Fareb’ (1953) had two beautiful songs aa mohabbat ki basti basaayenge ham and husn bhi hai udaas udaas ishq bhi gham se choor hai. ‘Baaghi’ (1953) had hamaare baad ab mehfil mein afsaane bayaan honge. ‘Footpath’ (1953) had shaam e gham ki kasam aaj ghamgeen hain ham and ‘Hamdard’ (1953) had tera haathh haathhon mein aa gaya.
The year 1954 was a milestone in the filmy career of Majrooh Sultanpuri along with OP Nayyar and Guru Dutt who all were associated with the film ‘Baaz’ (1953). Despite good songs, the film had failed at the box office. Guru Dutt’s next venture ‘Aar Paar’ (1954) was hopping to recoup the financial losses. The film became a super hit at the box office. For Majrooh Sultanpuri, it was a successful departure from the poignant songs which he used to write earlier to light-hearted songs like appeasement song (ye lo main haari piya huyi teri jeet re) and Hinglish/Bambaiyya/nok jhonk/teasing song (arrey na na na na na tauba tauba).
The success of ‘Aar Paar’ (1954) proved that Majrooh Sultanpuri was also an expert in writing light-hearted songs and that he could easily write songs for pre-set tunes without much compromising in the use of appropriate words in the lyrics. Later he wrote many such songs in films like ‘Mr and Mrs 1955’ (1955), ‘CID’ (1956), ‘Nau Do Gyaarah’ (1957), ‘Paying Guest’ (1957), ‘Chalti Ka Naam ghaadi’ (1958), ‘Dilli Kaa Thug’ (1958) and many more.
With over 2000 songs in about 350 films during 1946-2000, it is not possible to discuss the full career of Majrooh Sultanpuri in a single article. So I will skip his works with music directors like SD Burman, OP Nayyar, Chitragupt, Roshan, Madan Mohan, Ravi etc during the 1960s and with music directors like Laxmikant-Pyarelal, Rajesh Roshan, Anand- Milind, Jatin-Lalit, Bappi Lahiri, Anu Malik etc 1970s onward. However, I feel that I must include here the unique and the long lasting association of Majrooh Sultanpuri with RD Burman.
When Nasir Hussain signed Majrooh Sultanpuri as lyricist for ‘Teesri Manzil’ (1966), the music director for the film was not finalised. Majrooh Sultanpuri suggested the name of RD Burman as the music director. However, the name had to be vetted by Shammi Kapoor, the lead actor of the film as it was generally known that he would prefer OP Nayyar or Shankar-Jaikishan as the music director. After a presentation by RD Burman, Shammi Kapoor was so much impressed by the tunes of the songs composed by RD Burman that he instantly gave his nod.
The ‘khushnuma’ songs of Majrooh Sultanpuri which RD Burman composed the folk-based tunes with some elements of rock, jazz and latino became an instant hit with the young generation. Personally, I feel that the songs of ‘Teesri Manzil’ (1966) was the beginning of the end of the golden era of Hindi film music. A new and modern style of Hindi film music started which was well received not only by the younger generation but also many of my generation. Majrooh Sultanpuri’s lyrics acted as a continuum during the change of Hindi film musical eras. And what a contrasting style of lyrics he wrote during 1966 itself! For example, he wrote o mere sona re sona re sone re, de dungi jaan juda mat hona re for ‘Teesri Manzil’ (1966) and also chhupa lo yoon dil mein pyaar mera ke jaise mandir mein lau diye ki in ‘Mamata’ (1966).
I had called RD Burman-Majrooh Sultanpuri combination an unique one. The reason is that after listening to the songs of ‘Teesri Manzil’ (1966), one can immediately feel the vast differences in the types of songs composed earlier with that of the songs of Teesri Manzil. But the lyrical style of Majrooh Sultanpuri remains more or less the same. So it was a sort of blend of the golden era style of lyrics with modern melodies and rhythm.
Majrooh Sultanpuri wrote songs for RD Burman in as many as 75 films during 1966-1996 – the highest number of films he did with a music director. Laxmikant-Pyarelal ranked a distant second with 42 films during 1964-1992 and Chitragupt with 23 films ranked third. His association with music directors like SD Burman, OP Nayyar, Rajesh Roshan, Anand-Milind etc resulted in writing songs for films ranging between 15 and 20. But the fact remains that he worked with almost all the top music directors of his time.
An interesting observation about the association of Majrooh Sultanpuri with then upcoming music directors is in order. The first film which some of them did with him became the turning point for the successful takeoff in their career. Examples are Laxmikant-Pyarelal (Dosti, 1964), RD Burman (‘Teesri Manzil’, 1966), Rajesh Roshan (‘Kunwara Baap’, 1975) and Anand-Milind (‘Qayamat Se Qayamat Tak’, 1985).
In 1993, Majrooh Sultanpuri was conferred with the prestigious Dadasaheb Phalke Award, the first film lyricist to get the award.
As happens in any filmy career, Majrooh Sultanpuri’s career got a set back during the second half of the 1990s. His favourite music directors were not in much demand and probably he could not adjust to the lyrical demands of the third generation of music directors.
One silver lining during this lean period for Majrooh Sultanpuri was Asha Bhonsle’s non-film pop album ‘Jaanam Samjha Karo’ (1997) in which all the eight songs were written by Majrooh Sultanpuri. This album was sold like a hot cake mainly because of the popularity of the song jaanam samjha karo which won MTV and V Channel award for Asha Bhonsle in 1997. I remember that not a single day passed on the TV musical channels without playing this pop song when the song’s video was made public. While the younger generation may have liked the pop music and the way the video was shot on Milind Soman and Helen Brodie, I liked more for its lyrics and Asha Bhonsle’s rendition. At that time, I was not even aware that it was written by Majrooh Sultanpuri.
Just a few months before his death on May 24, 2000, one of his fellow lyricists had met him and enquired as to what he was doing. Majrooh Sultanpuri replied in Hindi ‘andhon ke shahar mein aaina bech raha hoon’. (I am selling mirrors in the city of blinds). This, by and large, sums up the status of lyricists in the neo-modern era of Hindi film music.
On the occasion of 17th Remembrance Day of Majrooh Sultanpuri, I recall his five of the six songs he wrote for the film ‘Garam Coat’ (1955), the 6th song being a Meera bhajan. Five songs were rendered by Lata Mangeshkar for which she did not take any remuneration. Five songs from the film have already been covered in the blog. The film was produced by Rajinder Singh Bedi and was directed by Amar Kumar. The star cast included Balraj Sahani, Nirupa Roy, Vijaylaxmi, Jayant, Brahm Bhardwaj, Baij Sharma, Rashid Khan etc.
Here is the 6th song ‘Nanha Mora Dole Mori Anganiyaa’. The song was set to music by Pandit Amarnath Chawla, who was the senior most disciple of Ustad Amir Khan. The song is picturised on Vijaylaxmi who plays with her kid and admires his aimless walk in the courtyard of her village house. The background of this song is that Balraj Sahani has lost his entire salary on the salary day and his debtors would be asking for the money he owes them. He decides to commit suicide by coming in front of the train. However, by the time he reaches the spot, the train had just passed. A dejected Balraj Sahani waits for another train to come when he suddenly hears humming of a song sung by a mother for her child from a house on the other side of the railway track. He reaches near the house and what he sees bring some smile on his face. Instead of committing suicide, Balraj Sahani goes back to his home.
Majrooh’s lyrics in this song is the true reflection of the village settings about 60 years back which are still valid even in the 21st century for many of the villages in India. I have come across a couple of Hindi words used in the lyrics such as ‘humak’ (toddler’s walking attempts), ‘kilkaari’ (toddler’s loud sound when happy) after a long time.
[Ed Note: With this post, the film ‘Garam Coat’ joins the list of films with all songs covered on this blog. Yippeee time. . . ]
Song – Nanha Mora Doley Mori Anganiaa (Garam Coat) (1955) Singer – Lata Mangeshkar, Lyrics – Majrooh Sultanpuri, MD – Pt Amarnath
Lyrics
nanhe re..e..e..
munne re..e..e..
nanhe re..e..e..
munne re..e..e..
nanhe re..e..e..
munne re..e..e..
hmm hmm hmm hmm
hmm hmm hmm hmm
nanha mora doley
mori anganaiya
nanha mora doley
mori anganaiya
door se dekhoon aur musakaaun
door se dekhoon aur musakaaun
moond ke ankhiyaan paas bulaaun
moond ke ankhiyaan paas bulaaun
natkhat hans ke chale paiyaan paiyaan
nanha mora doley
mori anganiyaa
nanha mora doley
komal aisa
mora albela
komal aisa
mora albela
aankh pade to
rang ho maila
aankh pade to
rang ho maila
daare phiroon main to achra ki chhaiyaan
nanha mora doley
mori anganiyaa
nanha mora doley
humak humak chaley
maare kilkaari
humak humak chaley
maare kilkaari
chhoti chhoti batiyaan
laage pyaari pyaari
chhoti chhoti batiyaan
laage pyaari pyaari
laage nazar nahi
le loon balaiyaan
nanha mora doley
mori anganiyaa
nanha mora doley
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
नन्हें रे॰॰ए॰॰ए॰॰
मुन्ने रे॰॰ए॰॰ए॰॰
नन्हें रे॰॰ए॰॰ए॰॰
मुन्ने रे॰॰ए॰॰ए॰॰
नन्हें रे॰॰ए॰॰ए॰॰
मुन्ने रे॰॰ए॰॰ए॰॰
हम्म मम्म मम्म मम्म
हम्म मम्म मम्म मम्म
नन्हा मोरा डोले
मोरी अंगनइया
नन्हा मोरा डोले
मोरी अंगनइया
दूर से देखूँ और मुसकाऊँ
दूर से देखूँ और मुसकाऊँ
मूँद के अँखियाँ
पास बुलाऊँ
मूँद के अँखियाँ
पास बुलाऊँ
नटखट हंस के चले पइंय्यां
नन्हा मोरा डोले
मोरी अंगनइया
नन्हा मोरा डोले
कोमल ऐसा
मोरा अलबेला
कोमल ऐसा
मोरा अलबेला
आँख पड़े तो
रंग हो मैला
आँख पड़े तो
रंग हो मैला
डारे फिरूँ मैं तो
अचरा की छइंय्यां
नन्हा मोरा डोले
मोरी अंगनइया
नन्हा मोरा डोले
हुमक हुमक चले
मारे किलकारी
हुमक हुमक चले
मारे किलकारी
छोटी छोटी बतियाँ
लागे प्यारी प्यारी
छोटी छोटी बतियाँ
लागे प्यारी प्यारी
लागे नज़र ना
ले लूँ बलइंय्यां
नन्हा मोरा डोले
मोरी अंगनइया
नन्हा मोरा डोले
- In: "chaand" song | Bulo C Rani Solo Songs | Bulo C Rani Songs | Devnagri script lyrics by Sudhir | Feelings of heart | Guest posts | Lyrics contributed by readers | MD-Singer Song | Post by Sadanand Kamath | Rare song | Songs of 1950s (1951 to 1960) | Songs of 1955 | Yearwise breakup of songs
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
Today, May 24, 2017 is the Remembrance Day of Bulo C Rani, the music director and the singer who left this day 24 years ago under unfortunate circumstances. A contemporary of music directors like Anil Biswas, Ghulam Haider, Naushad, C Ramchandra and Khemchand Prakash, it is a sad commentary on Hindi film industry that Bulo C Rani could not attain the stature of these music directors. And this is despite the fact that he was associated with the Hindi film industry for over 2 decades and had churned out some immortal compositions.
I started listening to Hindi film songs on the radio as a teenager and in my younger days, the music directors like Naushad, C Ramchandra, S D Burman, Husnlal-Bhagatram, Shankar-Jaikishan, Roshan, Madan Mohan, OP Nayyar etc were familiar to me. But I had not heard of Bulo C Rani and other lesser known music directors. However, I was very familiar with a few of the songs composed by him like Prwaanon Se Preet Seekh Len, Hamen To Loot Liya Mil Ke Husn Waalon Ne and Maangne Se Jo Maut Mil Jaati. At that time, for me, these songs and the singers were inseparable without caring to know about the lyricists and composers of the songs.
It was during early 70s when I was first exposed to the old Hindi films songs of 40s and 50s by my friend, when I heard in his house Sundarta Ke Sabhi Pujaari. In a way, this song served not only to be my introduction to the film ‘Jogan’ (1950) but also to Bulo C Rani. Over a period of time, I became familiar with his contributions to Hindi film industry as a music director. After joining this Blog, I was pleasantly surprised to know that during his stint as a music director, he had composed as many as 584 songs in 70 Hindi films.
Bulo C Rani (06/05/1920 – 24/05/1993) was born in Hyderabad (Sindh) in a Sindhi family. His father Chandiram was a musician who was the music director in some of the films of early 1930s. I find from the internet that three films, viz. ‘Insaan Ya Saitaan’ (1933), ‘Prem Pariksha’ (1934) and ‘Yaasmin’ (1935) have Chandiram as the music director. So the young Bulo C Rani may have got the inspiration from his father to develop his interest in the music.
Sometime in the early 40s, Bulo C Rani visited Lahore with the intention of working under Ghulam Haider who had become a household name with the runaway success of his songs in ‘Khazaanchi’ (1941). However, after finding that he has not become even assistant to Ghulam Haider, he shifted to Bombay (Mumbai) on the advice of DN Madhok, lyricist and the then ‘king maker’ in Hindi film industry. He took Bulo C Rani to Ranjit Studios where he was got employment as assistant to Khemchand Prakash and Gyan Dutt, the main music directors of Ranjit Movietone at that time.
Bulo C Rani got the chance to compose two songs for the film ‘Paighaam’ (1943) thanks to Gyan Dutt who was the music director for the film. It was in the early 1944 that he got the independent assignments as a full-fledged music director in Ranjit Movietone’s two films ‘Pagli Duniya’ (1944) and ‘Carvaan’ (1944). Both these films were directed by Aspi Irani. There were total of 27 songs in these two films of which as many as 15 songs were sung by Amirbai Karnataki. In these two films, Bulo C Rani also sang 5 songs with a psuedo name ‘Bhola’.
And what a musical start for Bulo C Rani! In ‘Caravaan’ (1944), two songs, Sooni Padi Hai Pyaar Ki Duniya Tere Baghair sung by Amirbai Karnataki and Aankhon Mein Intezaar Ki Duniya Liye Huye sung by Zohrabai Ambalewaali became very popular. In ‘Pagli Duniya’ (1944), I like the song Dil Dard Se Bharpoor Hai Aankhon Mein Hai Paani and “Gar Hum Ko Jalaaoge Duniya Ko Jalaa Denge’, both sung by Amirbai Karnataki. Unfortunately for Bulo C Rani, despite good music, ‘Pagli Duniya’ (1944) failed miserably at the box office and ‘Caravaan’ (1944) registered only a modest success. Additionally, in terms of public tastes, Bulo C Rani could not match his compositions in these two films with that of songs of his boss, Khemchand Prakash in ‘Bharthari’ (1944) and ‘Bhanwara’ (1944) which were released in the same year.
In the remaining of the 1940s, Bulo C Rani had on an average 5 films per year thanks to Ranjit Movietone where he was a full time employee. By the end of 1946, both Khemchand Prakash and Gyan Dutt had turned free-lance music directors thus giving Bulo C Rani more opportunity to get the films from Ranjit Movietone. A few of the popular songs composed by him during this period were Badariya Baras Gayi Us Paar from ‘Moorti’ (1945), Jaa Parwaane Jaa Kahin Shama Jal Rahi Hai from ‘Rajputaani’ (1946), Wo Teer Kaleje Par Ik Shokh Ne Maara Hai from ‘Anjuman’ (1948) etc.
Discussion on Bulo C Rani would not be complete without ‘Jogan’ (1950) which was produced by Chandulal Shah under the banner of Ranjit Movietone. This film was finalised with Dilip Kumar and Nargis, the two prominent actors of that time as lead actors. However, the financial condition of Ranjit Movietone was so precarious that the company had money to sustain for only one month. Kidar Sharma who had already left Ranjit Movietone to produce and direct films under his own banner was approached with a request to start the shooting to complete the film in one month.
Kidar Sharma accepted the challenge and started shooting during the day time and the post production work in the night time for which he had to stay in Ranjit Studio. Bulo C Rani was entrusted with the music direction of the film with 15 songs to be composed and recorded. The film was completed in less than a month and was released. The film was a box office hit and became the 5th highest grosser at the box office for 1950. The success of the film was attributed mainly to 15 songs of which 6 songs were Meera Bai’s Bhajans. The highlight of film was that all the 15 songs became very popular. Bulo C Rani’s real recognition as a music director came with the success of these songs.
The success of ‘Jogan’ (1950) did not add value to Bulo C in terms of his musical career. In fact, during 1951, he had only one film “Pyaar Ki Baaten’ (1951) which got released. During 1950s, one of his films which was critically acclaimed for its music was ‘Bilwamangal’ (1954). My favourite songs from the film are Parwaanon Se Preet Seekh Len and Hum Ishq Ke Maaron Ko Do Dil Jo Diye Hotey.
In the greater part of 1950s, Bulo C Rani was relegated to some B grade films and in 1960s, he was getting films mostly belonging to the genre of action/costume/fantasy/mythology. Producers of such B and C grade films will have limited budget which prevents them, among other things, hiring the top playback singers for the music directors. During 1950 to 1966, Bulo C Rani composed nearly 300 songs of which Lata Mangeshkar and Mohammed Rafi, who had become the top playback singers, sang for him only 22 and 31 songs respectively.
During his stint with B and C grade films, Bulo C Rani appears to have been influenced by the qawwali genre of songs and that too by Yusuf Azad/Ismail Azad. There were qawwalis in ‘Noor E Yaman’ (1956), ‘Jahaazi Lootera’ (1957), ‘Al Hilal’ (1958), ‘Black Tiger’ (1960), ‘Pedro’ (1960), ‘Room No.17’ (1961), ‘Jaadoo Mahal’ (1962), ‘Madam Zorro’ (1962) and ‘Jadoo’(1966). In ‘Son of Hatimtai’ (1965), there was qawwali sung by Rafi and Jaani Babu Qawwal.
‘Sunehre Qadam’ (1966) was Bulo C Rani’s last film after which he kept himself away from the Hindi film industry. It is said that during this period, he started teaching music to students. He also composed music for a couple of Sindhi films and some non-filmy songs. I feel that his musical career was tied with the fate of Ranjit Movietone. The moment, Ranjit Movietone’s factory-like film production stopped, Bulo C Rani lost his comfort zone. It was difficult for him to face the competitions from the likes of Naushad, C Ramchandra, S D Burman, Shankar-Jaikishan, OP Nayyar, Roshan, Madan Mohan etc during 1950s and 60s.
It is a well-known fact that in any vocation, not all becomes successful even if the persons have more or less the same talent. What differentiates between a successful and not so successful person is the extra punch (in today’s parlance ‘extra toppings’) the successful persons apply in their approach to work. I guess, Bulo C Rani may have lacked that extra punch in his work. Additionally, one also requires luck to be on his side for attaining the success. Luck was obviously not in favour of Bulo C Rani as he did not have good banners to support him as was the case with his compatriot music directors in the 1950s and 60s. In this context, one of the songs written by Kaif Irfani and composed by Bulo C Rani for the film ‘Gul Sanobar’ (1953) aptly applies to him:
isse na aur lootiye
ye dil bahut gareeb hai
naseeb se main kya kahoon
naseeb to naseeb hai
Bulo C Rani was a good singer. In fact, he started his filmy career as a singer with “Roothna Pyaar Mein Karwat Ka Badal Jaana Hai’ in the film ‘Mehmaan’ (1942) under the music direction of Khemchand Prakash. By the time he became a full-fledged music director in 1944, he had already sung 14 songs in 10 films. During his entire filmy career, he sang 43 songs in 24 films. All these songs were sung under the music direction of Gyan Dutt and Khemchand Prakash in addition to his own music direction.
On the 24th Remembrance Day of Bulo C Rani, I have selected a rare ghazal from the film ‘Madhur Milan’ (1955) which I came across only a few days back. In fact, I was under the impression that I had listened to all the songs of this film as early as in early 1970s in my friend’s house. But it was not so.
The song is “Ye Chaandni, Ye Hawa, Ye Samaa Bahaaron Ka’ composed and sung by Bulo C Rani. The songwriter is Jaan Nisar Akhtar. The video of this rare song was not available on the internet. So I have made a video from mp3 clip and uploaded the same a few days back on YT. The highlight of this song is that Bulo C Rani has rendered the ghazal in a style which is the reminiscence of KL Saigal era.
Song – Ye Chaandni Ye Hawa Ye Samaa Bahaaron Ka (Madhur Milan) (1955) Singer – Bulo C Rani, Lyrics – Jaan Nisar Akhtar, MD – Bulo C Rani
Lyrics
ye chaandni
ye hawaaa aa aa
ye samaa baha..aron kaa aa
chali hai raat liye kaarwaan sitaaron kaa aa
chali hai raat
kuchh is mazey se
haan aan aan aan
kuchh is mazey se
bahi jaa rahi hai kashti e jaan
kuchh is mazey se
bahi jaa rahi hai kashti e jaan
kabhi khayaal bhi aataa nahin kinaaron kaa aa
chali hai raat
ae aeeeeee
jo tum nigaah uthaao oo
to ye fiza jaage ae ae
jo tum nigaah uthaao
to ye fiza jaage ae
abhi to naam hai jaage huye nazaaron kaa aa
chali hai raat
ye soch lo
ke mohabbat kaa kya taqaaza hai
ae ae ae
ae ae
ye soch lo
ke mohabbat kaa kya taqaaza hai
ye dekh lo
ye dekh lo ke ishaara hai kya bahaaron kaa
chali hai raat liye
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
ये चाँदनी
ये हवा॰॰आ
ये समा बहा॰॰आरों का॰॰आ
चली है रात लिए
कारवां सितारों का
चली है रात
कुछ इस मज़े से
हाँ आं आं आं
कुछ इस मज़े से
बही जा रही है कश्ती ए जान
कुछ इस मज़े से
बही जा रही है कश्ती ए जान
कभी ख्याल भी आता नहीं किनारों का
चली है रात
ए॰॰ एsss
जो तुम निगाह उठाओ॰॰ओ
तो ये फिज़ा जागे॰॰ए॰॰ए
जो तुम निगाह उठाओ
तो ये फिज़ा जागे॰॰ए
अभी तो नाम है जागे हुये नज़ारों का॰॰आ
चली है रात
ये सोच लो
के मोहब्बत का क्या तक़ाज़ा है
ए॰॰ए॰॰ए॰॰ए
ये सोच लो
के मोहब्बत का क्या तक़ाज़ा है
ये देख लो
ये देख लो के इशारा है क्या बहारों का
चली है रात लिए
Dupatta mera dhhalak gaya sar se
Posted on: May 23, 2017
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
“Darbaar” (1955) was a Golden Movie production. It was directed by Nanubhai Bhatt. The movie had Mahipal, Chitra, Sunder, Tiwari, Kammo, Kamal, Niranjan Sharma etc in it, which suggests that it was a B grade movie.
Nine songs from this movie have been discussed in the past. Here is the tenth and final song from the movie to appear in the blog. This song is sung by Geeta Dutt. Asad Bhopali is the lyricist. Music is composed by Hansraj Bahl.
Only the audio of this song is available. My guess is that this song was picturised on Chitra. I request our knowledgeable readers to throw light on the picturisation of this song.
With this song, “Darbaar” (1955) joins the list of movies that have all their songs covered in the blog.
Song-Dupatta mera dhalak gaya sar se (Darbaar)(1955) Singer-Geeta Dutt, Lyrics-Asad Bhopali, MD-Hansraj Bahl
Lyrics
dupatta mera dhalak gaya
dhalak gaya sar se
haaye dupatta mera
dupatta mera dhalak gaya
dhalak gaya sar se
o dhalak gaya sar se
sarak gaya sar se
dupatta mera
dupatta mera dhalak gaya
dhalak gaya sar se
haaye dupatta mera
dhalka dupatta to jholi bana li
phailaake jholi main banke sawaali
maangoon dil ki muraad
kar do dil mera shaad
o o o
kar do dil mera shaad
main to khaali na jaaungi is dar se
dupatta mera dhalak gaya
dhalak gaya sar se
haaye dupatta mera
sunti hoon tum to ho sabke sahaare
aayi hoon aaj main bhi dar pe tumhaare
sun lo meri pukaar
jholi bhar do sarkaar
o o o
jholi bhar do sarkaar
meri bigdi banegi isi dar se ae ae
dupatta mera dhalak gaya
dhalak gaya sar se
haaye dupatta mera
loota chaman ho meri zaalim khizaan ne
dil pe giraai bijli phir aasmaan ne
tooti har ek aas
zindagi hai udaas
o o o
zindagi hai udaas
aapki rahmat idhar bhi zara barse
dupatta mera dhalak gaya
dhalak gaya sar se
haaye dupatta mera
dupatta mera dhalak gaya
dhalak gaya sar se
haaye dupatta mera
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
The first time I saw this film, it was on Doordarshan, and the only song that I could appreciate (given my age) was “Bibi Mendaki Ri Tu To Paani Mein Ki Raani”. Rest of the film, its emotional and familial nuances were all lost on me. Those were the days, when watching television was a privilege bestowed upon oneself by a friendly neighbor. One would go to watch television at a neighbor’s home, or hang on to the windows, if entry was not permitted. And so, the opportunity that one gets to watch a movie was in itself a treat, and an accomplishment. And one always wanted to make the most of such opportunities. Getting bored was not only not an option, but it was a thought furthest from the mind. I have this placement in front of a TV screen, and I will watch it for as long as I am allowed, whatever may be the content. The serious stuff was mostly OHT (Overhead Transmission), and the mind would remember and register the fun parts like Balraj Sahni having poori and lassi at a halwai shop in the morning before reaching his office, or singing this above mentioned song with his children on the Sunday when he is at home. But as far as watching time is concerned, it was to be religiously spent, to watch the entire film, whether I could make out more of it or not.
In later years, small memories of the films, snatches of screen shots, would replay randomly in the mind – Jayant taking Rashid Khan to task very onerously, or Balraj Sahni with a bundle of mail in his hand, standing in front of the sorting dockets, trying to quickly put the mail items into the correct dockets, Balraj Sahni admiring a new coat hanging in the display window of a tailor’s shop. Mind you, the names of the characters and the words to describe the scene are all being currently generated. In the mind’s eye, it is just the images themselves that are very familiar, without any labels, without any words.
Many years on, just on a memory recall, I started to search for this film. For quite a long time this film was not available. A friend once got a version of it, but that was just about an hour long. So one can imagine what would have remained after such merciless cutting. That version seemed to have gone around, and a rumor followed it – the songs of this film are lost forever. Then, when the Geet Kosh volume three was released, it also carried a footnote to this film which says that except for one song, all songs were deleted from this film, and the film was truncated to half its length, and renamed as ‘The Clerk & The Coat’. This further strengthened the fears of the lost songs and lost film. However, in all probability, this was just a version created from the original, for consumption in the foreign markets, or for participation in foreign film festivals. Thankfully, none of these prophecies proved to be true eventually. Once the VCD binge started, and more and more films started landing in the market, the original of this film also finally appeared in a near complete state. And then, I got to see it once again.
‘Garam Coat’ is a very poignant film. It deals with the everyday problems in the lives of lower middle income strata of society in a newly independent and developing India. Balraj Sahni is a lowly paid postal clerk, with a monthly salary of one hundred rupees, and a family of five. In the hands of Rajendra Singh Bedi and performance lead Balraj Sahni, both stalwarts of the IPTA movement, the film has descended to the practical levels of realism, and to pragmatic heights of credibility. The home of this clerk is a bare bones home. The kitchen is frugally stocked. The children are not well dressed. The housewife is very simply presented. The protagonist himself wears an old and ragged coat throughout the entire film. The name of the banner is Cine Co-operative Ltd, Bombay. In all probability, this was yet another joint effort of social conscience of IPTA.
The clerk fancies a new coat. On his way to work, he always pauses outside a tailor’s shop, admiring a new coat on display. The owner of the shop, sees him daily, and one day invites him into the shop, enquiring whether he plans to buys some new clothes. Unable to defend himself, and knowing that he is unable to afford the price of a new coat, he sheepishly tells about the qualities and the warmth of the coat that he is wearing, and that, no, he does not plan to buy a new one.
Come pay day, and the clerk returns home, happy with the load of a solitary one hundred rupee note in his pocket. Life is spring, and all is happiness in the household. Next morning, it is going to be a shopping spree for the month, and all expectations are high. The morning begins with the fun song “Bibi Mendaki Ri. . .”, and off goes the clerk to the market, with a list of shopping and hundred rupees in his pocket.
His first stop is a toy shop. He browses, he selects something for his children, almost pays for the items pulling out the hundred rupee note; but then thinks better of it, and saying he will return shortly, stuffs the note back into his coat pocket. His next stop is a halwaai shop where he has poori and lassi. He is in high moods, joking with the shopkeeper and other customers. As gets up to leave and pushes his hands in his coat pocket to pay for the breakfast – all the agonies of hell descend upon him. The note is missing. An impressive portrayal of a person who has lost everything in life – Balraj Sahni is insulted and kicked out of the halwaai shop. He runs back to the toy shop, tries to convince the shopkeeper that he might have dropped his money at his shop. Once again, he is insulted and made to leave the premises. Now, he simply has no place to go.
The remaining part of the movie is about his trials and tribulations on trying to survive without his salary through at least one more month till the next pay day. The movie is full of scenarios of what such a person will do – he tries to borrow, he tries to get advance, he tries to take up a part time job as a tutor, he goes without lunch, he contemplates suicide, even tries it. But the agonies simply do not cease. How he shares this calamity with his wife, and how does his wife respond, are all classic scenes to be visited again. The wife goes to the pansaari (grocery shop owner) and tried to get groceries on account, she and children start to make paper bags out of newspapers in an effort to raise some money. There are friends at office like Jayant who try their best to help him within his limited means. And there are unfriendly colleagues like Rashid Khan, who are completely unmoved by the troubles of their co-worker. There are scenes and performances that move me to tears as I watch the helplessness of an honest good man, trying to keep his wits together and to keep his family alive. The saving grace of the film is that the lost money is located at the end. And it is a very interesting way that it turns up.
In this sad and poignant film, this song is probably the saddest and the most pain filled song. Having come to know of the calamity that has befallen her husband, and the manner in which he is trying to fight these problems, there comes a point when the wife’s hopes probably break and she calls for help. The entire scenario and the get up of the film is so deeply entrenched into the simple values of our social system. She has no help at hand, she has no one with whom she can share her pain. For a woman in our culture, her last hope is her maternal family. But she is too afraid to inform them or talk to them. So she tells the bird to take her message to her parents and family, and let them know that she just a cheerless bundle of tears these days.
Then after telling this to the crows, she starts to make amendments to her request. First, she prohibits the crow from telling her mother, she will break down and cry. Then, thinking some more she prohibits the crow from telling her father also, he will cry into the cloth of his pugree (head dress) and not know what to do. She tells the crow to tell everyone, but not these two.
Then in the next stanza she makes some more amendments. She tells the crow not to tell her sister either, for she may give up her own food. Then she says, do not even tell my bhaabhi (sister-in-law, brother’s wife), for the fear that she might spread this in her own maternal family and make fun of it. She tells the crow to tell everyone, but not these two.
The embattled lady then ends the verses with telling the crow, to go an tell this tale of woes to her brother only. He will surely come to her aid, riding the blue steed.
The agony and the poignancy contained in these verses is so emphatic. She wants this message to be told to everyone in her family, and then slowly, one by one she decides not to tell this or that person, and finally, in conclusion she is ready to tell it to her brother only. The words, the composition and the rendition, brings tears to my eyes, as many times as I have heard this play. And it also underscores the vitality of the brother-sister relationship in our culture. When all seems to be lost and the lady is totally helpless, it is her brother that she thinks of, to go and share. (You may have noticed, I have tagged this song as a ‘brother-sister song’).
This low key, less heard of film, is one of my favorites – in and about the art of telling a poignant story through cinema. Although Lata ji has herself selected “Jogiya Se Preet Kiye Dukh Hoye” from this film, as one of her most favorite songs, in my humble opinion, I would rate this song even higher than “Jogiya Se . . .”.
Wonderful memories of an era of very simple living, of traditions and culture, of values – a touch of India that is very dear to me.
Song – Kahiyo Roye Dukhia Re, Ja Re Panchhi Tu Ja Re (Garam Coat) (1955) Singer – Lata Mangeshkar, Lyrics – Majrooh Sultanpuri, MD – Pt Amarnath
Lyrics
kahiyo roye dukhia re
jaa re panchhi tu jaa re. . .
kaaga des hamaare
udd jaa re
kahiyo roye dukhia re
jaa re panchhi tu jaa re. . .
kaaga des hamaare
udd jaa re
kahiyo roye dukhia re
ek na kahiyo maa raani ko
royegi wo meri gudiyon ko dekh ke
ek na kahiyo maa raani ko
royegi wo meri gudiyon ko dekh ke
ek na kahiyo babul ji se
ek na kahiyo babul ji se
royenge pagdi ko munh se lapet ke
aur sab se kahiyo tu pyaare
jaa re panchhi tu jaa re. . .
kaaga des hamaare
udd jaa re
kahiyo roye dukhia re
ek na kahiyo behna meri se
haathon ki roti gira degi ro ke
haathon ki roti gira degi ro ke
ek na kahiyo bhabhi meri se
maike mein jaa ke hansegi wo munh pe
maike mein jaa ke hansegi wo munh pe
aur sab se kahiyo tu pyaare
kahiyo re dukh mera bhaiyya se jaa ke
kahiyo re dukh mera bhaiyya se jaa ke
aayega wo neela ghoda uda ke
utrega mere duaare
jaa re panchhi tu jaa re. . .
kaaga des hamaare
udd jaa re
kahiyo roye dukhia re
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
कहियो रोये दुखिया रे
जा रे पंछी तू जा रे॰॰॰
कागा देस हमारे
उड़ जा रे
कहियो रोये दुखिया रे
जा रे पंछी तू जा रे॰॰॰
कागा देस हमारे
उड़ जा रे
कहियो रोये दुखिया रे
एक ना कहियो माँ रानी से
रोएगी वो मेरी गुड़ियों को देख के
एक ना कहियो माँ रानी से
रोएगी वो मेरी गुड़ियों को देख के
एक ना कहियो बाबुल जी से
एक ना कहियो बाबुल जी से
रोएँगे पगड़ी मुंह से लपेट के
और सब से कहियो तू प्यारे
जा रे पंछी तू जा रे॰॰॰
कागा देस हमारे
उड़ जा रे
कहियो रोये दुखिया रे
एक ना कहियो बहना मेरी से
हाथों की रोटी गिरा देगी रो के
हाथों की रोटी गिरा देगी रो के
एक ना कहियो भाभी मेरी से
मायके में जाके हंसेगी वो मुंह पे
मायके में जाके हंसेगी वो मुंह पे
और सब से कहियो तू प्यारे
कहियो रे दुख मेरा भैया से जाके
कहियो रे दुख मेरा भैया से जाके
आएगा वो नीला घोडा उड़ा के
उतरेगा मेरे द्वारे
जा रे पंछी तू जा रे॰॰॰
कागा देस हमारे
उड़ जा रे
कहियो रोये दुखिया रे
Aisi nazren na daal kar le khayaal
Posted on: May 22, 2017
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
“Riyaasat”(1955) was directed by Jaswant Jhaweri for Roopkamal Chitra, Bombay. The movie had Mahipal, Mala Sinha, Sunder, Kamal, Hiralal, Prakash, Babu Raje etc in it.
The movie had seven songs in it. One song from the movie has been covered in the past.
Here is the second song from “Riyaasat”(1955) to appear in the blog. This song is a duet sung by Geeta Dutt and Rafi. Prem Dhawan is the lyricist. Music is composed by Avinash Vyas.
Only the audio of this rare song is available. My guess is that this song is picturised on the lead pair of Mahipal and Mala Sinha, but I cannot be sure. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Aisi nazren na daal (Riyaasat)(1955) Singers-Geeta Dutt, Rafi, Lyrics-Prem Dhawan, MD-Avinash Vyas
Lyrics
aisi nazren naa daal
kar le khayaal
keh dengi aankhen saari duniya se haal
rakkho ji dil ko zara apne sambhaal
aa haa
ye gore gore gaal
lahraate baal
thumak thumak matwaali chaal
rakkhe ji kaise koi dil ko sambhaal
o o
teri mastaani aankhon mein dil mera kho gaya
ab kya karen ji
ab kya karen ji
jo bhi hona thha ho gaya
meethhi baaton ke jaal mujhpe na daal
main jaanoon pahchaanoon nazron ki chaal
rakho ji dil ko zara apne sambhaal
o o o
o o o
o o o
o o o
o o o
o o o
o o o
chhodo balam chhodo haath hamaara
jaao ji jhoothha hai pyaar tumhaara
ye tera jalaal
jaise jalti mashaal
patli kamar jaise phoolon ki daal
rakkhe ji kaise koi dil ko sambhaal
o o o
o o o
o o o
o o o
o o o
o o o
o o
o o
jab milte hain bichhde saathi to mil jaaye jag saara
deepak se mil jaaye baati to mit jaaye andhiyaara
mere dil ka sawaal
ab to na taal
nainon mein aaj zara naina to daal
rakkhe ji kaise koi dil ko sambhaal
aisi nazre na daal karle khayaal
keh dengi aankhen sari duniya se haal
rakkho ji dil ko zara apne sambhaal
o o o
o o o
o o o
aa aa aa aa aa
aa aa aaa
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
“Darbaar” (1955) was a Golden Movie production. It was directed by Nanubhai Bhatt. The movie had Mahipal, Chitra, Sunder, Tiwari, Kammo, Kamal, Niranjan Sharma etc in it, which suggests that it was a B grade movie.
Eight songs from this movie have been discussed in the past. Here is the ninth song from the movie to appear in the blog. This song is sung by Geeta Dutt. Asad Bhopali is the lyricist. Music is composed by Hansraj Bahl.
Only the audio of this song is available. My guess is that this song was picturised on Chitra. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Yoonhi aankhon mein aankhen daale sanam (Darbaar)(1955) Singer-Geeta Dutt, Lyrics-Asad Bhopali, MD-Hansraj Bahl
Lyrics
yoon hi aankhon mein aankhen daale sanam
tu baitha rahe
main dekha karoon
tu baitha rahe ji
main dekha karoon
hamen chhoo na sake
duniya ke sitam
tu baitha rahe
main dekha karoon
tu baitha rahe ji
main dekha karoon
dil kehta hai tujhko sajde karoon
dil kehta hai tujhko sajde karoon
tere saath jiyoon tere saath maroon
jab tak rahe mere dum mein dum
tu baitha rahe
main dekha karoon
tu baitha rahe ji
main dekha karoon
nazren hain jahaan dil bhi hai wahin
nazren hain jahaan dil bhi hai wahin
ye pyaas kabhi bujhne ki nahin
jalwon ki kasam
soorat ki kasam
tu baitha rahe
main dekha karoon
tu baitha rahe ji
main dekha karoon
ae maalik meri neendon ke
ae maalik meri neendon ke
ae chaand meri ummeedon ke
tera pyaar na ho kabhi dil se kam
tu baitha rahe
main dekha karoon
tu baitha rahe ji
main dekha karoon
yoon hi aankhon mein aankhen daale sanam
tu baitha rahe
main dekha karoon
tu baitha rahe ji
main dekha karoon
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
यूं ही आँखों में आँखें डाले सनम
तू बैठा रहे
मैं देखा करूँ
तू बैठा रहे जी
मैं देखा करूँ
हमें छू न सकें
दुनिया के सितम
तू बैठा रहे
मैं देखा करूँ
तू बैठा रहे जी
मैं देखा करूँ
दिल कहता है तुझको सजदे करूँ
दिल कहता है तुझको सजदे करूँ
तेरे साथ जीऊँ
तेरे साथ मरूँ
जब तक रहे मेरे दम में दम
तू बैठा रहे
मैं देखा करूँ
तू बैठा रहे जी
मैं देखा करूँ
नज़रें हैं जहां दिल भी है वहीं
नज़रें हैं जहां दिल भी है वहीं
ये प्यास कभी बुझने की नहीं
जलवों की कसम
सूरत की कसम
तू बैठा रहे
मैं देखा करूँ
तू बैठा रहे जी
मैं देखा करूँ
ए मालिक मेरी नींदों के
ए मालिक मेरी नींदों के
ए चाँद मेरी उम्मीदों के
तेरा प्यार ना हो कभी दिल से कम
तू बैठा रहे
मैं देखा करूँ
तू बैठा रहे जी
मैं देखा करूँ
यूं ही आँखों में आँखें डाले सनम
तू बैठा रहे
मैं देखा करूँ
तू बैठा रहे जी
मैं देखा करूँ
Meri jaan jaati hai mujhko sambhaalo
Posted on: May 20, 2017
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
“Darbaar” (1955) was a Golden Movie production. It was directed by Nanubhai Vakil. The movie had Mahipal, Chitra, Sunder, Tiwari, Kammo, Kamal, Niranjan Sharma etc in it, which suggests that it was a B grade movie.
Seven songs from this movie have been discussed in the past.
Today (20 may 2017) is the 33rd remembrance day of Hansraj Bahl ( 19 november 1916- 20 may 1984). On this occasion, here is the the eighth song from the movie to appear in the blog. This song is sung by Shamshad Begam. Asad Bhopali is the lyricist. Music is composed by Hansraj Bahl.
Only the audio of this song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Meri jaan jaati hai mujhko sambhaalo (Darbaar)(1955) Singer-Shamshad Begam, Lyrics-Asad Bhopali, MD-Hansraj Bahl
Lyrics
aa aa aa
aa aa
aa aa aa aa
meri jaan jaati hai
mujhko sambhaalo
meri jaan jaati hai
mujhko sambhaalo
o o o
wo baanka jo jaata hai
usko bula lo
usko bula lo
meri jaan jaati hai
mujhko sambhaalo
meri jaan jaati hai
mujhko sambhaalo
bahaaren chaman se juda kar rahe ho
bade naa-samajh ho
ye kya kar rahe ho
bade naa-samajh ho
ye kya kar rahe ho
zara socho samajho
zara dekho bhaalo
o o o
wo baanka jo jaata hai
usko bula lo
usko bula lo
meri jaan jaati hai
mujhko sambhaalo
main naghma hoon lekin mera saaz wo hai
agar saaz main hoon
to aawaaz wo hai
agar saaj main hoon
to aawaaz wo hai
chale jaao roothhe huye ko manaa lo
o o o
wo baanka jo jaata hai
usko bula lo
usko bula lo
meri jaan jaati hai
mujhko sambhaalo
khushi do ghadi ki hai gham jeete jee ka
tumhe kya mila dil dukhaa kar kisi ka
tumhe kya mila dil dukhaa kar kisi ka
mohabbat karo zindagi ka maza lo
o o o
wo baanka jo jaata hai
usko bula lo
usko bula lo
meri jaan jaati hai
mujhko sambhaalo
meri jaan jaati hai
mujhko sambhaalo
Teri ada par nisaar karne
Posted on: May 12, 2017
This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
“Darbaar” (1955) was a Golden Movie production. It was directed by N Vakil (aka Nanubhai B Vakil). The movie had Mahipal, Chitra, Sunder, Tiwari, Kammo, Kamal, Niranjan Sharma etc in it, which suggests that it was a B grade movie.
Six songs from this movie have been discussed in the past. Here is the seventh song from the movie to appear in the blog. This song is sung by Talat Mehmood. Asad Bhopali is the lyricist. Music is composed by Hansraj Bahl.
Only the audio of this song is available and so it is difficult to say for sure about the picturisation of the song. My guess is that this song was picturised on the leading man of this movie, viz Mahipal. I request our knowledgeable readers to throw light on the picturisation of this song.
Song-Teri ada par nisaar karne (Darbaar)(1955) Singer-Talat Mehmood, Lyrics-Asad Bhopali, MD-Hansraj Bahl
Lyrics
teri ada par r nisaar karne ae ae ae ae
teri ada par nisaar karne
main dil ko laaya, teri gali mein
main dil ko laaya, teri gali mein
teri ada par nisaar karne
main dil ko laaya, teri gali mein
mai dil ko laaya, teri gali mein aen
zamaane bhar ka aa haseen tohfa aa aa aa aa
zamaane bhar ka haseen tohfa
main le ke laya, teri gali mein
mai le ke laya, teri gali mein
teri ada par nisaar karne
main dil ko laya, teri gali mein
main aisi kaafir nazar ke sadke ae ae ae
main aisi kaafir nazar ke sadke
ki jisne mera guroor toda aa aa aa aa
jo sar kahin bhi
na jhuk saka thha
wo sar jhukaaya teri gali mein
wo sar jhukaaya teri gali mein
teri ada par nisaar karne
main dil ko laaya, teri gali mein
bade maze ka hua ye sauda aa aa
bade maze ka hua ye sauda
teri amaanat
tujhi ko de di
ee ee ee
ee ee ee
jo dil mila thha teri gali mein
wo dil lutaaya teri gali mein
wo dil lutaaya teri gali mein
teri ada par nisaar karne
main dil ko laaya
teri gali mein
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