Posts Tagged ‘1959’
Ik ik pal mein badle zamaana
Posted on: September 23, 2020
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 : |
4450 | Post No. : | 15910 |
Recently,(12th of July’2020 to be precise) the blog saw the 5000th song from the decade 1951-1960 covered on the blog.
This ‘melodious decade’ has around ten thousand songs (as per HFGK) and if we look from that point of view we are just on the ‘half-way mark’ (or little above now as the songs are getting added frequently to this decade, thanks to the collaboration of our team members and also because of projects like Blog Ten Year Challenge.
All songs of this decade may not be available. Only time will tell us what will be the final tally for the songs of 1951-1960.
I noticed that there are a few movies of this decade which are represented in the blog by just one song. I will start from the movie where it began for me during the very first phase of the current ‘pandemic’ or the ‘first lock-down’ period.
It so happened that during the ‘first lock down’ when everything was becoming abnormal gradually and we were getting acquainted with the ‘new routine’, one evening we all family members were preparing for a ‘card game’ before finally retiring for the day. And there was some discussion that ‘kaise din aa gaye hain’ or ‘how the future days are going to be’ and it just knocked the ‘right’ cord in my brain … ‘din raat badalte hain, haalaat badalte hain’, and what more one wants if we have that soothing voice in such situations to calm our mind and give relaxation and the much needed motivation too.
(But today’s discussion is not about Hemant Kumar ji).
So, I played the song on my mobile (that has become new order of the day now since songs are available on YT and easy to play, as the cassette-recorder has taken a safe place in the shelves 🙂 ).
When I checked on the blog, I was surprised that only one song from this movie ‘Naya Sansaar-1959’ was posted on the blog. That piqued my interest and I searched for the other songs of this movie. I marked one song, another philosophical song from this movie for my presentation. I had then planned to present this song but could not make it some how as I had then started my job here and working at our place was resumed after first thirty days of the lock-down. Later I planned to present it on the birth anniversary of the lyricist of this song – Rajinder Krishan. But then it got delayed more and maybe it was waiting for the ‘right time’ for me as I experienced ‘how days things were changing for me after coming back from Kenya 🙂 and like the today’s song after ‘din raat badalte hain’ it was ‘ik ik pal mein badley zamaanaa’. Very soon I lost the ‘shortest tenure job’ of my life. May be God wanted me to rest and spend ‘quality time with my family (which I missed due to my stay in Kenya) :).
After that we had a ‘relocation of the rented accommodation’ in the same city.
So, a little bit changing of ‘surroundings’ again, and though some ‘minor health issues’ bothering (our Doctor is aware 🙂 ) it’s almost two months now at the new place. And as they say ‘this shall also pass’, yes!!
But one thing is constant for me and continues … ‘blog, music, songs’ …
Thanks to God and our well-wishers all of us are safe and healthy so far …
Today on the ‘thirty-third’ ‘Remembrance anniversary’ (06.06.1919-23.09.1987) of lyricist Rajinder Krishan, as a tribute to him, we are going to listen to a song penned by him from the same movie ‘Naya Sansaar-1959’.
‘Naya Sansaar-1959’ was directed by Nanabhai Bhatt for ‘Shri Krishna Films, Bombay’. It was produced by Darshan. It had Jayshree, Pradeep Kumar, Kumari Nanda, Dhumal, Tun Tun, Sundar, Shammi, Majnu, Sheila Vaaz, Sai Subbulakshmi, Kamala Lakshman and others.
This movie had six songs, and all were written by Rajinder Krishan. Music for this movie was composed by Chitragupta.
Lata Mangeshkar, Hemant Kumar, and Usha Mangeshkar had given their voices to the songs in this movie.
Today’s song is sung by Lata Mangeshkar.
As mentioned above lyrics are Rajinder Krishan and music is composed by Chitragupta.
Song-Ik ik pal mein badle zamaana (Naya Zamaana)(1959) Singer-Lata, Lyrics-Rajinder Krishan, MD-Chitragupta
Lyrics
ik ik pal mein badley zamaanaa aa
ik ik pal mein badley zamaanaa
aaj nayaa
kal hogaa puraanaa aa
hoga puraanaa aa
ik ik pal mein badley zamaanaa aa
kal ki naar nadi ke paar ki
baat takat thhi saajan ki ee
kal ki naar nadi ke paar ki
baat takat thhi saajan ki ee
aankh mein kajraa
haath mein gajraa
paaon mein jodi jhaanjhan ki
aaj lagey ye baat fasaanaa
ek fasaanaa aa
ik ik pal mein badley zamaanaa aa
ik ik pal mein badley zamaanaa
pyaar ke badle ab to thhikaane
naye tareeke
naye zamaane
kahin pe hotel
kahin pe picnic
kahin pe rock n roll ke gaane
bol naye aur nayaa taraanaa
nayaa taraanaa
ik ik pal mein badley zamaanaa aa
ik ik pal mein badley zamaanaa
kal naa jaane is dharti se
chaand pe jaake ae pyaar karen
kal naa jaane is dharti se
chaand pe jaake pyaar karen
saanjh ke jhoole mein dilwaale
ulfat ka iqraar karen
kaisaa hogaa samaa suhaanaa
samaa suhaanaa aa
ik ik pal mein badley zamaanaa aa
ik ik pal mein badley zamaanaa
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 : |
4448 | Post No. : | 15902 |
Dancing has been an integral part of Indian cinema even during the era of silent films. In most of the silent films, dancing was mostly confined to courtesans which the society saw it in a negative way. It was only after sound films came in 1931, the film makers started looking for actors who could also sing and dance. So, multi-tasking was the buzz word for the main actors during the early period of sound films. Some actors like Mumtaz Ali, Sunita Devi, Shahzaadi etc were known for their dancing skills though they also acted in supporting roles. Even some lead actors like Molina Devi of New Theatres (remember her dance in ‘Kaarwaan-e-Hayat’, 1935), Radha Rani of Bombay, Mumtaz Shanti and even Leela Chitnis in the film ‘Kanchan’ (1941) were required to dance as part of their roles. By the start of 1940, Sadhana Bose from Bengal joined Hindi films as a classical dancer in the lead/supporting roles.
A few trained dancers like Sitara Devi and Auzurie joined the Hindi film industry by the middle of 1930s. While Sitara Devi was trained both in Hindustani classical and western dances, Auzurie was trained in folk and western dances. Unfortunately, many of their films of 1930s with dances are not available for viewing. While Sitara Devi graduated to heroine and side heroine’s roles in the 1940s, Auzurie continued to work in the films mainly as a dancer.
The success of Sitara Devi and Auzurie in Hindi films seems to have prompted the film makers to have dance song numbers in most of the Hindi films in mid-40s onward. This gave the more scope for trained dancers to join Hindi films. One of the prominent dancers to join Hindi films was Cuckoo in mid-40s. She set a trend in Hindi films by her dance numbers to have at least one dance sequence in most of the Hindi films in the second half of the 1940s and thereafter. The important of her dance numbers in Hindi films can be gauged by the fact that during 1944-50, she danced in as many as 74 films.
With Cuckoo’s popularity as a dancer, some more prominent dancers joined Hindi films like Kumkum in 1947, Mohana Cabral in 1948, Roopmala in 1949, Sheila Vaz, Helen and Padmini, all in 1951. By the middle of 1950s, Hindi film makers had a good number of dancers to choose. One of the dancers who joined Hindi films in the second half of 1950s was Minu Mumtaz. Based on the book, ‘Mehmood – A Man of Many Moods’ (2005) by Hanif Zaveri and ‘The Incredibly Beautiful Minoo Mumtaz’ in YouTube Channel, ‘Tabassum Talkies’, I have attempted a short write-up covering the life story of Minu Mumtaz below:
Minu Mumtaz (real name: Malikunnisa Ali) was born on April 26, 1942 in Mumbai. She was one of the eight siblings of Mumtaz Ali, the popular dancer, singer and supporting actor of the Bombay Talkies in the 1930s and 40s. Mehmood, the comedian was her elder brother and the actor Anwar Ali was her youngest brother.
The family which was enjoying from the money and fame of Mumtaz Ali in the 40s, drifted to poverty due to his excessive drinking. He lost all money, houses, cars and even household items just to satisfy his addiction to drinking. With this, the responsibility of looking after a large family fell on Mehmood, being the eldest son. But he was not getting enough money from his odd jobs to look after a large family. It was Minu Mumtaz who thought of working in the films. She had learnt dance from her father and used to perform dances in her father’s dance troupe, ‘Mumtaz Ali Nites’. But her mother was against any one working in the films as she felt that it was the films which made her husband, Mumtaz Ali the victim of drinking habit.
But the financial condition in the family had become extremely precarious. A time came when it was difficult to manage even two-time meals. One day Minu Mumtaz along with her elder sister, Khairunnisa met Nanubhai Vakil for work in his film who was directing ‘Sakhi Hatim’ (1955. When he came to know that she was the daughter of Mumtaz Ali, he gave her a small role in the film. This was the beginning of her filmy career. She got more films with her dance numbers. With her song in ‘CID’ (1956), she got recognition as a good dancer. Thereafter, there was no looking back for Minu Mumtaz as she got many films, enhancing her status from a dancer to character actors, side roles with the heroines and in a few films even as a heroine.
During the shooting of her film ‘Bandhan’ (1956), Meena Kumari, who had become the sister-in-law of Mehmood, having married her younger sister, Madhu in 1952, gave Malikannisa the screen name ‘Meenu’ to rhyme with Meena. Because of the efforts of Minu Mumtaz, the family got to live in a comfortable position. Mehmood used to say that Minu Mumtaz is not her younger sister but she is like an elder brother to him. Of course, after his box office hit film, ‘Chhoti Bahen’ (1959), Mehmood’s luck also turned for the better in his filmy career to become a star comedian and later the producer and the director.
Minu Mumtaz married S. A. Akbar in 1963 who had directed Mehmood’s ‘Chhote Nawab’ (1961). The family first shifted to Kuwait and thereafter moved to Canada where she resides now.
I have gone through Minu Mumtaz’s filmography as well as songs picturised on her which throws some interesting information. During her active years of filmy career, Minu Mumtaz worked in around 75+ films. Almost equal numbers of songs have been picturised on her. In some films, she had more than one song to her credit. She was in the lead roles in ‘Black Cat’ (1959) and ‘Ghar Ghar Ki Baat’ (1959).
Johny Walker was like a member of the entire Mumtaz Ali family and he was consulted on important family matters. The marriage of Mehmood with Madhu was decided fixed in Johny Walker’s house. I feel that Johny Walker has been instrumental in pushing up her filmy career at least in the initial stages. This is borne out by the fact that Minu Mumtaz worked with Johny Walker in as many as 23 films of which in most of these films, she paired with him. Her brother, Mehmood had worked with her in 14 films of which 9 films pertain to the years when Mehmood had not firmly established in Hindi film industry.
As I said earlier, around 75 songs have been picturised on Minu Mumtaz. Our Blog has covered as many as 69 songs. I have given below links of a few of her popular songs for ready reference:
main hoon Johny badaa toofaani – ‘Maai Baap’ (1957)
boojh mera kya naam re – ‘C.I.D.’ (1956)
aji chale aao aji chale aao – ‘Halaaku’ (1956)
meri jaan meri jaan pyaar kisi se – ‘Yahudi’ (1958)
sitaare raah takte hain – ‘Black Cat’ (1959)
jaanu jaanu re chhupke kaun aaya – ‘Insaan Jaag Utha’ (1959)
saaqiyaa aaj mujhe neend nahin aayegi – ‘Sahib Biwi Aur Ghulam’ (1962)
thodi der ke liye mere ho jaao – ‘Akeli Mat Jaiyyo’ (1963)
On the basis of the listing of Minu Mumtaz songs on the Blog as well as the video clips of her songs available on the video sharing platforms, I have been able to identify six songs picturised on Minu Mumtaz for which video clips are available and are yet to be covered in the Blog. I present one of those six songs from the film ‘Jagga Daaku’ (1959). The song is ‘teri kasam tujhko sanam pyaar kiya re’ sung by Geeta Dutt. Obviously, the song is picurised as a dance by Minu Mumtaz. Jairaj is present in the entire duration of the song. The song is written by B D Mishra which is set to music by S N Tripathi.
Unfortunately, the picture as well as audio qualities of the song on video clip are not good. At two places, there are breaks in the song. So, I have based the lyrics on the audio clip which has a better-quality audio.
As happened with me when I heard the song, I am sure that most of the senior visitors to the Blog would recall that they had heard this song long back but did not relate to the film.
This is the second song to appear in the Blog out of 6 songs in ‘Jagga Daaku’ (1959).
Audio Clip:
Video Clip:
Song-Teri kasam tujhko sanam pyaar kiya re (Jagga Daaku)(1959) Singer-Geeta Dutt, Lyrics-B D Mishra, MD-S N Tripathi
Lyrics
teri kasam
teri kasam tujhko sanam pyaar kiya re
teri mohabbat ne bekraar kiya re
bekraar kiya re
haay
teri kasam
tu jo muskuraaya
tu jo muskuraaya
halka sa nasha chhaaya
madhosh hoke maine tujh pe apna dil lutaaya
tu jo muskuraaya
halka sa nasha chhaaya
madhosh hoke maine tujh pe apna dil lutaaya
tujh pe apna dil lutaaya
haay
teri kasam
teri kasam tujhko sanam pyaar kiya re
teri mohabbat ne bekaraar kiya re
bekaraar kiya re
haay
teri kasam
pyaar pehla pehla
pyaar pehla pehla
ikraar pehla pehla
ye pehli pehli haar ka izhaar pehla pehla
pyaar pehla pehla
ikraar pehla pehla
ye pehli pehli haar ka
izhaar pehla pehla
izhaar pehla pehla
haay
teri kasam
teri kasam tujhko sanam pyaar kiya re
teri mohabbat ne bekaraar kiya re
bekaraar kiya re
haay
teri kasam
naaz mera tu hai
naaz mera tu hai
andaaz mera tu hai
tu raaz zindagi hai
mere dil ki aarzoo hai
naaz mera tu hai
andaaz mera tu hai
tu raaz zindagi hai
mere dil ki aarzoo hai
mere dil ki aarzoo hai
haay
teri kasam
teri kasam tujhko sanam pyaar kiya re
teri mohabbat ne bekaraar kiya re
bekaraar kiya re
haay
teri kasam
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 : |
4446 | Post No. : | 15896 |
“Hero No 1” is a movie that has been released thrice, at the gap of three decades. Films of this title have been released in 1939, 1959 and 1997.
The last named movie is not represented in the movie, but the earlier too movies are.
“Hero No 1″(1959) was produced by L G s Lal and directed by Sultan for Jawahar Films, Bombay. this stunt movie had Kamran, Nazi, Niru, Shaam , Habeeb, Leela Gupte, Heera Sawant, Ghani, D Rajkumar, Sattar, Muhammad Ali, Chaandbala, Heera, Shobha, Maqbool, Naresh Chandra, Tuntun, Sheikh etc in it.
One song has been covered in the past.
Here is the second song from “Hero No 1″(1959) to appear in the blog. This song is sung by Madhubala Jhaweri. Muzaffar Shahjahanpuri is the lyricist. Music is composed by Iqbal,
Only the audio of this rare song is available. I request our knowledgeable readers to thow light on the picturisation of the song.
Song-Mujhe fariyaad karne de mujhe aansoo bahaane de (Hero Number 1)(1959) Singer-Madhubala Jhaweri, Lyrics-Muzaffar Shahjahanpuri, MD-Iqbal
Chorus
Lyrics
aa aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
Mujhe fariyaad karne de
mujhe aansoo bahaane de
lagi hai aag jo dil mein
lagi hai aag jo dil mein
arre zaalim bujhaane de
Mujhe fariyaad karne de
mujhe aansoo bahaane de
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
jigar ki chot dil ke daagh
ab main kisko dikhlaaun
main apne dard ki fariyaad
kiske paas le jaaun
dar o deewaar hi ko gham
ka afsaana sunaane de
lagi hai aag jo dil mein
lagi hai aag jo dil mein
arre zaalim bujhaane de
Mujhe fariyaad karne de
mujhe aansoo bahaane de
aa aa aa aa
aa aa aa aa
aa aa aa aa
aa aa aa aa
chaman ko loot kar
mujhpar jo fasle zulm dhaaye jaa
magar dil ek ka hai
doosre ka ho nahin sakta
muhobbat ke janaaze pe
mujhe maatam manaane de
lagi hai aag jo dil mein
lagi hai aag jo dil mein
arre zaalim bujhaane de
Mujhe fariyaad karne de
mujhe aansoo bahaane de
Tu Nishaan e Benishaan Hai
Posted on: June 22, 2020
- In: Devnagri script lyrics by Sudhir | Guest posts | Hindi Songs in Non-Hindi Films | Lyrics contributed by readers | Naatiyaa qawaali | Post by Sadanand Kamath | Praising The Almighty | qawwali | Shankar Shambhu Qawwaal Songs | Songs of 1950s (1951 to 1960) | Songs of 1959 | Yearwise breakup of songs
- 3 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 : |
4357 | Post No. : | 15679 | Movie Count : |
4320 |
Hindi Songs in Bangla Film – 31
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In Balochistan province of Pakistan, there is a well-known Hindu temple, Hinglaj Mata Temple locally known as Nani Ka Mandir. This temple is regarded as one of the 51 Shaktipeeths and is revered by Hindus, Sikhs and Muslims from Balochistan and Sindh especially the Zikri Balochs who are also the patrons of the temple. The temple is located at the banks of River Hinglaj with a rock carved deity in a cave. This temple is ‘kul devta’ (family deity) of many Hindu khatri families of Sindh, Balochistan and also of some of those residing in India and abroad.
In olden times, visiting the temple involved a trek of around 250 kms from Karachi through the hot deserts and hilly terrains. Now, there is a road from Karachi which takes about 4 hours to reach the temple. In the bi-annual pilgrimage which takes place during Navratris in the months of April and October, thousands of pilgrim marches on foot to Hinglaj Mata Temple. On the way, pilgrims spend a night at Chandrakoop (Moon Well), a shrine of volcanic mud-filled well. It is believed that if pilgrims confess the sins committed by them during their life time while offering prayer at Chandrakoop, they become free from the sins.
Kalikananda Abadhut, a Bengali monk, wrote a travelogue of his pilgrimage to what he calls ‘Marutirtha Hinglaj’ (‘Desert Pilgrimage of Hinglaj’). Probably, he may have gone on pilgrimage before the partition. Based on this travelogue, Bikash Roy, the producer-director-actor, made a Bangla film with the same title which was released in 1959. The star cast included Bikash Roy as an Ascetic leading a group of pilgrims to Hinglaj Mata temple. Uttam Kumar and Sabitri Chatterjee, who later join the pilgrimage unintentionally, performed the role of a husband and a wife. Other actors included Anil Chatterjee, Pahari Sanyal, Chandrabati Devi, Sandhya Devi etc. The film was shot in Digha in East Mednipur district of West Bengal whose topography closely matches to that of Hinglaj.
On the recommendation from Pradeep ji (Dr. Pradeep Kumar Shetty) who also pointed out that there was a Hindi song in the film, I watched the film with English sub-titles on a video sharing platform. The story of the film is as under:
Abadhut, an ascetic (Bikash Roy) is leading a group of pilgrims to Hinglaj Mata temple located in Balochistan. He is assisted by Popatlal (Pahadi Sanyal), Rooplal (Anil Chatterjee) and Bhairabi (Chandrabati Devi). There is also a priest who is conscious of traditions and caste system and expects everyone to follow strictly.
Before the departure from Karachi, Abadhut cautions the pilgrims that it is a long and arduous journey for days involving walking through hot desert sands and hilly tracks. The food is meagre and pilgrims will have to spend nights without any shelters. Since the water is scarce in the desert, Abadhut advises pilgrims not to share their water with others. All the pilgrims during the journey are to behave as ascetic and worked selflessly for other pilgrims when they are in need of assistance.
Abadhut also tells the story and significance of pilgrimage to Hinglaj Mata temple. When Lord Vishnu scattered the body of Sati all over the Indian sub-continent, the head fell on Hinglaj and thus became the holiest place among the 51 Shaktipeeths. Whoever has committed the sins, they can visit Hinglaj Mata temple only after confessing the sins at Chandrakoop, a volcanic shrine, located on the way to Hinglaj temple. Lord Ram is said to have visited Hinglaj to wash off the sin committed by him by killing Ravan.
While Abadhut is giving guidance to the pilgrims, there is a couple who have taken shelter at pilgrims’ base camp. They are Thirumal (Uttam Kumar) and Kunti (Sabitri Chatterjee). Kunti, a daughter of a wealthy merchant is already married but her husband has been missing for the last two years. She takes the help of Thirumal, a fake astrologer for finding her husband. During their meetings, they become close to each other. One day, Kunti runs away with Thirumal and they get married at the temple. But the society refuses to accept their marriage as her first husband is supposed to be alive though missing and both of them belong to different caste. After failing to find shelter, they are on the run and finally they take refuge in Karachi base camp of pilgrims.
Kunti suggests Thirumal to let follow the pilgrims so that at least for some days, they are safe. But Thirumal refuses. However, in the night a person tries to molest Kunti. Next morning, Thirumal agrees to be the part of the pilgrims. But by the time, pilgrims caravan has already left. Both try to catch up with the pilgrims but they have gone too far and taken a shelter during noon to avoid the harsh sun. Abadhut notices that a couple are walking towards him from quite a distance and then suddenly they fall on the sand. He sends his other pilgrims to look for them. They are brought to the pilgrims’ shelter in unconscious state. After few hours, they regain consciousness. Thirumal tells his story as to how he has grown up in Kolkata as an orphan and did all sorts of illegal work including stealing and how he met Kunti and got married. While catching up with the pilgrims, on the way, they were waylaid by dacoits and Kunti was raped.
After hearing the story, some pilgrims do not want Thirumal and Kunti as part of pilgrimage as they have committed the sins. After the incident, Kunti also feels that she is the sinner for loving Thirumal and a disgraceful woman because of which they are facing all sorts of problems in their life. So, she turns ascetics cutting off her relations with Thirumal who is devastated. He exhibits bouts of insanity. However, despite the murmur of protests from pilgrims, Abadhut takes care of both of them by postponing the journey by one day.
Next day, pilgrims start a long day’s journey. On the way, some pilgrims get dehydrated and are taken care by other pilgrims. But the priest is not able to walk. So Thirumal takes him on his back and walks towards the destination which is Chandrakoop. However, Thirumal suddenly feels suffocated as he is not able to remove the hands of the priest around his neck. He collapses unconscious. It transpires that the priest had already died on the way and Thirumala was carrying his corpse on his back This event results in Thirumal getting once again the bout of madness. He leaves the caravan and walk aimlessly. In no time, he is found missing. Other pilgrims have no strength to search for him. They think that Thirumal would eventually return.
Finally, pilgrims reach Chandrakoop. After the bath, they visit the shrine of volcanic mud well to offer prayer and also to make the confession of their sins. If the confession is true, the muddy water in Chandrakup continues to boil. Otherwise it stops boiling. While Kunti is about to make her confession, she sees Thirumal on the opposite side on the top of a hillock. But in the streak of madness, Thirumal jumps in the boiling muddy water of Chandrakoop and gets submerged, never to return.
The journey continues to Hinglaj Mata temple and pilgrims complete the prayers. They are now on the return journey. However, Abadhut, Bhairabi and Kunti takes a detour and in the process, they lose direction. The long walk makes them dehydrated and fall on the sand unconscious. Some of the pilgrims rescue them but not Kunti who after regaining consciousness, had already proceeded towards Chandrakoop and jumped into the boiling mud well to join her husband, Thirumal. The bond which was cursed during their life time has become divine with their death.
The director has nicely attempted to make the pilgrims’ journey to run along with moral journey. The pilgrims’ group is a mix of all classes and caste but a priest in the group laments that pilgrims have forgotten the traditions and customs. He does not like to be touched by other pilgrims. He is uncomfortable with Abadhut drinking tea with local tribals. But when the priest gets dehydrated and requires to be carried, it is Thirumal, a sinner according to the priest, who carries him on his shoulder. It is the irony that the priest who is the strong follower of the traditions and religious customs, upon his death, his last rites is carried out in the desert without any religious ceremony.
There are few among the pilgrims who are of the opinion that it is a sin to allow Thirumal and Kunti to accompany them in the pilgrimage as they are the sinners. It is once again Abadhut who makes them understand that they need to weigh between sin and compassion. Otherwise abandoning both of them in the desert would tantamount to abetment of their death which is a sin. Lastly, those who are branding them as sinners have also committed the sins. Otherwise why they should visit Chandrakoop to confess their sins to get them washed off. And a confession made by one of the assistants, Popatlal is the worst kind as it related to infanticide.
The film makes us to ponder what is sin and what is virtuous. Perhaps, the answer lies in two lines of Sahir Ludhianvi in a song from ‘Chitralekha’ (1964):
ye paap hai kya ye punya hai kya
reeton par dharm ki moharen hain
‘Marutirtha Hinglaj’ (1959) has three non-Bangla songs of which two are vedic chants in Sanskrit. The third song is a Naat, “Tu Nishaan-e-Benishaan Hai” sung by Shankar-Shambhu Qawwaal and chorus. Lyrics writer is not known. Perhaps it may have been mentioned in the credit titles of the film which is displayed only in Bengali. The Naat is set to music by Hemant Kumar.
The situation of the song is that when the pilgrims take the halt for the day, Abadhut notices a bulky man coming from the opposite direction. He is Khan Sahab who has come to invite the pilgrims to his place where they can rest in shades and also have the advantage of having a well. He also invite pilgrims to join his group for the prayer in praise of the Almighty.
Video
Audio
Song – Tu Nishaan e Benishaan Hai (Marutirath Hinglaj) (1959) Singer – Shankar Shambhu Qawwaal, Lyrics – [Unknown], MD – Hemant Kumar
Chorus
Lyrics
ae ae ae
aa aa aa
tu nishaan-e-benishaan hai
tu bahaare-e-sarmadi hai. . .
tera dekhna ibaadat
ibaadat
tera dekhna ibaadat
teri yaad zindagi hai..
tera dekhna ibaadat
aa aa aa aa
teri yaad zindagi hai
aa aa aa aa
tera dekhna ibaadat
aa aa aa aa
ye sahi hai pur khata hoon
magar hoon to tera banda aa
ye sahi hai pur khata hoon
magar hoon to tera banda aa
tu agar mujhe nibha le
nibha le
tu agar mujhe nibha le..
teri banda parwari hai..
tu agar mujhe nibha le
aa aa aa aa
teri banda parwari hai
(aa aa aa aa)
tu agar mujhe nibha le
aa aa aa
mera daaman-e-gadaai
tere aage kyun na phaile ae
tera mulk do jahaan hain
tere ghar mein kya kami hai. . .
tera mulk do jahaan hai
tere ghar mein kya kami hai. . .
aa aa aa aa
tera mulk jo jahaan hai
tere dar pe sajde karna
ho karna
tere dar pe sajde karna
tujhe yaad kar ke rona aa
yehi hai namaaz meri
ho meri
yehi hai namaaz meri
yehi meri bandagi hai..
ye hi hai namaaz meri
aa aa aa aa
yehi meri bandagi hai..
aa aa aa aa
yehi hai namaaz meri
meri ee. . .
———————————————————
Hindi script lyrics (Provided by Sudhir)
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ए ए ए
आ आ आ
तू निशान ए बेनिशां है
तू बहार ए सरमदी है॰ ॰ ॰
तेरा देखना इबादत
इबादत
तेरा देखना इबादत
तेरी याद ज़िंदगी है॰॰
तेरा देखना इबादत
आ आ आ आ
तेरी याद ज़िंदगी है
आ आ आ आ
तेरा देखना इबादत
आ आ आ आ
ये सही है पुर ख़ता हूँ
मगर हूँ तो तेरा बंदा आ
ये सही है पुर ख़ता हूँ
मगर हूँ तो तेरा बंदा आ
तू अगर मुझे निभा ले॰॰
तेरी बंदा परवरी है
तू अगर मुझे निभा ले
आ आ आ आ
तेरी बंदा परवरी है
आ आ आ आ
तू अगर मुझे निभा ले
आ आ आ
मेरा दामन ए गदाई
तेरे आगे क्यों ना फैले
तेरा मुल्क दो जहां है
तेरे घर में क्या कमी है॰ ॰ ॰
तेरा मुल्क दो जहां है
तेरे घर में क्या कमी है॰ ॰ ॰
आ आ आ
तेरा मुल्क दो जहां है
तेरे दर पे सजदे करना
हो करना
तेरे दर पे सजदे करना
तुझे याद करके रोना आ
यही है नमाज़ मेरी
हो मेरी
यही है नमाज़ मेरी
यही मेरी बंदगी है॰॰
यही है नमाज़ मेरी
आ आ आ आ
यही मेरी बंदगी है॰॰
आ आ आ आ
यही है नमाज़
मेरी॰ ॰ ॰
Toone mera maine tera dil le liyaa
Posted on: May 9, 2020
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 : |
4313 | Post No. : | 15592 |
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Blog 10-Year Challenge (2010-2020) – Song No. 27
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“Qaidi No 911″(1959) was produced and directed by Aspi for Basant Pictures, Bombay. The movie had Shaikh Mukhtar, Nanda, Minoo Mumtaz, Daisy Irani, Mehmood, Mukri, Gajanan Jagirdar,Hiralal,Achla sachdev,Protima devi,Babu raje,uma dutt,tuntun,
Nagpal,altaf,Bhudo advani,fazloo,mithoo miya,mohan sandow,ram murthy,shetty,shafi,gulab,
prem sagar,hanuman,Krishan kumar,bagla,afsar jhan,munira begum & honey irani
On this day ten years ago, two songs were covered. One song from “Samundar”(1957) and one song from “Qaidi No 911″(1959).
“Samundar”(1957) has been YIPPEED by now. That leaves “Qaidi No 911″(1959) as the only candidate for Blog Ten Year challenge today.
“Qaidi No 911″(1959) had six songs in it. Four songs (including a multiple version song) have been covered in the blog.
Here are the details of the songs from this movie that have been covered so far:-
| Song | Posted On |
|---|---|
| Meethi meethi baaton se bachna zaraa Multiple version song | 29-Sep-2009 |
| Pyaar bhari ye ghataayen | 9-May-2010 |
| Tere teer ko hamne pyaar se dil mein rakh liyaa | 2-Jan-2012 |
Latching on to this Blog Ten year Challenge opportunity, Prakashchandra has sent me the lyrics of a song from “Qaidi No 911″(1959). this song is sung by Lata. Hasrat Jaipuri is the lyricist. Music is composed by Dattaram.
The song is picturised as a roadside tamasha dance song on the beach of Chaupati I guess. Mukri is trying to attract customers for his bioscope, but the potential customers get diverted to watch the dance performance of Nanda. 🙂
The picturistion is somewhat reminiscent of “Don”(198) song,“Ee hai Bambai nagariya tu dekh babua”.
audio link:
video link:
Song-Toone mera maine tera dil le liya (Qaidi No 911)(1959) Singer-Lata, Lyrics-Hasrat Jaipuri, MD-Dattaram
Lyrics (audio link) (Provided by Prakashchandra)
toone mera maine tera dil le liyaa
haayye toone mera maine tera dil le liyaa
do nain milaa ke haaye rey deewaana kar diya
hoyye deewaana kar diyaa
hoyye toone mera maine tera dil le liyaa
do nain milaa ke haaye rey deewaana kar diya
hoyye deewaana kar diyaa
aaj ruk jaa deewaane
yehi hai apni marzi
pyaar ki raahon mein
aur chaahon mein aisi kya jaldi
aaj ruk jaa deewaane
yehi hai apni marzi
pyaar ki raahon mein
aur chaahon mein aisi kya jaldi
karo na phir ishaaraa
liyaa kyun dil hamaaraa
bataa do
bataa do kab kahaan aur kaisey
toone mera maine tera dil le liyaa
hoyye toone mera maine tera dil le liyaa
do nain milaa ke haaye rey deewaena kar diya
hoyye deewaana kar diyaa
baat sunn le bedardi
phiroon main ghaayal hirni
chaandni raaton mein barsaaton mein
lehraati gaati
baat sunn le bedardi
phiroon main ghaayal hirni
chaandni raaton mein barsaaton mein
lehraati gaati
ye kaissa teer chalaayaa
nazar na hamko aayaa
bataa do
bataa do kab kahaan aur kaisey
toone mera maine tera dil le liyaa
ho toone mera maine tera dil le liyaa
do nain milaa ke haaye rey deewaana kar diya
hoyye deewaana kar diyaa
bheekh de do ulfat ki
bharo jee dil ki jholi
pyaar ki raani hoon
deewaani hoon main aisi bholi
bheekh de do ulfat ki
bharo jee dil ki jholi
pyaar ki raani hoon
deewaani hoon main aisi bholi
ye kaisi aag lagaayi
kali dil ki khilaayi
bataa do
bataa do kab kahaan aur kaisey
toone mera maine tera dil le liyaa
hhoyye toone mera maine tera dil le liyaa
do nain milaa ke haaye rey deewaanaa kar diya
hoyye deewaana kar diyaa
hoyye toone mera maine tera dil le liyaa
do nain milaa ke haaye rey deewaanaa kar diyaa
Bachke zara hat ke
Posted on: May 2, 2020
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?: |
4306 | Post No. : | 15577 |
“Saazish” (1959) was directed by Surya Kumar for Filmistan. The movie had Ranjan, Nalini Chonkar, B M Vyas, P Kailash, Balraj, Husn Banu, Randheer, Kanu Roy, Badri Prasad, Ram Avtar, Sabita Chatterji, Indira Bansal, Bhalerao, Vitthaldas Panchotiya, Sulochana etc in it.
The movie had eight songs in it. One song has been covered in the past.
Here is the second song from “Saazish” (1959). The song is sung by Asha Bhonsle. Qamar Jalalabadi is the lyricist. Music is composed by S D Batish.
Only the audio of the song is available. It sounds like a club dance song to me. I request our knowledgeable readers to throw light on the picturisation of the song.
Song-Bachke zara hatke (Saazish)(1959) Singer-Asha Bhonsle, Lyrics-Qamar Jalalabadi, MD-S D Batish
Lyrics
ho ho ho
o o
bachke zara hat ke
zara hat ke
hat ke hat ke
ho
bachke zara hat ke zara hat ke hat ke hat ke
ban jaayega tamaasha
dekho na yoon palat ke
aji hat ke hat ke hat ke
o o o
bachke zara hat ke
zara hat ke hat ke hat ke
laralaralalala
laralaralalala
laralaralalarra
tedhi jahaan ki raahen chal khol ke nigaahen
bhoologe hosh saaheb jab do lagenge jhatke
ajo hatk hatke hatke
o o o o bachke
zara hat ke
ban jaayega tamaasha
dekho na yoon palat ke
aji hat ke hat ke hat ke
ho o o o
bach ke
zara hat ke
zara hat ke hat ke hat ke
laralaralala
laralaralala
laralaralala
main hoon jawaan kayaamat
dekho meri karaamat
aayi hai jiski shaamat
wo mere paas phatke
aji hatke hatke hatke
o o o o
bachke
zara hat ke
ban jaayega tamaasha
dekho na yoon palat ke
aji hat ke hat ke hat ke
o o o bach ke zara hat ke
zara hat ke hat ke hat ke
laralaralalala
laralaralalala
laralaralalala
mudna huzoor mudna
ooncha bahut na udna
mudna huzoor mudna
ooncha bahut na udna
varna patang hazrat
neeche giregi kat ke
aji hat ke hat ke hat ke
o o o o
bachke zara hat ke
ban jaayega tamasha
dekho na yoon palat ke
aji hat ke hat ke hat ke
o o o
bachke zara hat ke
zara hat ke hat ke hat ke
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