Posts Tagged ‘1962’
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Blog Day : |
4560 | Post No. : | 16155 |
Yearwise discussion of Lata Mangeshkar songs in HFM: Part XVI: Year 1962
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In this episode, we discuss Lata Mangeshkar songs that she sang in Hindi movies released in 1962.
In 1962, 93 Hindi movies contaning 613 songs were released. Lata Mangeshkar got to sing in 40 of these movies and she sang 129 songs in these movies. So Lata Mangeshkar’s voice was heard in 43 % of the movies released in 1962. Her voice was heard in 21 % of the songs appearing in the movies of 1962.
Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 1962 :-
| S N | Movie | Music director | Lata song in the blog | Lata HFM songs recorded in the year | Lata solo songs | Male duet | Female duet | Other songs | Lyricists |
|---|---|---|---|---|---|---|---|---|---|
| 1 | Aankh Michauli | Chitragupta | 3 | 3 | 3 | 0 | 0 | 0 | Majrooh Sultanpuri |
| 2 | Aarti | Roshan | 4 | 4 | 2 | 2 | 0 | 0 | Majrooh Sultanpuri |
| 3 | Aashiq | Shankar Jaikishan | 4 | 4 | 2 | 2 | 0 | 0 | Shailendra (3) Hasrat Jaipuri (1) |
| 4 | Anpadh | Madan Mohan | 5 | 5 | 5 | 0 | 0 | 0 | Raja Mehdi Ali Khan |
| 5 | Asli Naqli | Shankar Jaikishan | 3 | 3 | 2 | 1 | 0 | 0 | Hasrat Jaipuri (2) Shailendra (1) |
| 6 | Baghdad Ki Raaten | Dilip Dholakiya | 1 | 3 | 3 | 0 | 0 | 0 | Prem Dhawan |
| 7 | Banarasi Thug | Iqbal Qureshy | 2 | 2 | 1 | 1 | 0 | 0 | Akhtar Romani (1) Prem Dhawan (1) |
| 8 | Bees Saal Baad | Hemant Kumar | 3 | 3 | 3 | 0 | 0 | 0 | Shakeel Badayuni |
| 9 | Bezubaan | Chitragupta | 3 | 3 | 3 | 0 | 0 | 0 | Prem Dhawan |
| 10 | Burma Road | Chitragupta | 5 | 5 | 2 | 2 | 1 | 0 | Majrooh Sultanpuri |
| 11 | Dil Tera Deewaana | Shankar Jaikishan | 4 | 4 | 0 | 4 | 0 | 0 | Shailendra (3) Hasrat Jaipuri (1) |
| 12 | Dr Vidhya | S D Burman | 3 | 3 | 3 | 0 | 0 | 0 | Majrooh Sultanpuri |
| 13 | Gangu | Kalyanji Anandji | 0 | 1 | 0 | 1 | 0 | 0 | Prem Dhawan |
| 14 | Gyaarah hazaar ladkiyaan | N Datta | 1 | 1 | 1 | 0 | 0 | 0 | Majrooh Sultanpuri |
| 15 | Half Ticket | Salil Chaudhary | 3 | 3 | 0 | 3 | 0 | 0 | Shailendra |
| 16 | Hariyaali aur Raasta | Shankar Jaikishan | 6 | 6 | 3 | 3 | 0 | 0 | Hasrat Jaipuri |
| 17 | Jaadoogar Daaku | S N Tripathi | 1 | 2 | 1 | 0 | 1 | 0 | Prem Dhawan |
| 18 | Jhoola | Salil Chaudhary | 5 | 5 | 3 | 2 | 0 | 0 | Rajinder Krishan |
| 19 | Kailaashpati | Avinash Vyas | 2 | 3 | 3 | 0 | 0 | 0 | Madan |
| 20 | Kingkong | Chitragupta | 2 | 4 | 4 | 0 | 0 | 0 | Majrooh Sultanpuri |
| 21 | Maa Beta | Hemant Kumar | 3 | 4 | 1 | 3 | 0 | 0 | Prem Dhawan |
| 22 | Maaya Jaal | S N Tripathi | 1 | 1 | 0 | 1 | 0 | 0 | Prem Dhawan |
| 23 | Main Chup Rahoongi | Chitragupta | 5 | 5 | 2 | 3 | 0 | 0 | Rajinder Krishan |
| 24 | Manchali | Jamal Sen | 0 | 1 | 1 | 0 | 0 | 0 | Unknown |
| 25 | Manmauji | Madan Mohan | 4 | 4 | 3 | 1 | 0 | 0 | Rajinder Krishan |
| 26 | Mehandi Lagi Mere Haath | Kalyanji Anandji | 2 | 2 | 2 | 0 | 0 | 0 | Anand Bakshi |
| 27 | Pathan | Brij Bhushan | 1 | 1 | 1 | 0 | 0 | 0 | B K Puri |
| 28 | Prem Patra | Salil Chaudhary | 5 | 5 | 2 | 3 | 0 | 0 | Rajinder Krishan |
| 29 | Private Secretary | Dilip Dholakiya | 3 | 4 | 4 | 0 | 0 | 0 | Prem Dhawan |
| 30 | Professor | Shankar Jaikishan | 3 | 3 | 0 | 2 | 1 | 0 | Hasrat Jaipuri (2) Shailendra (1) |
| 31 | Raakhi | Ravi | 3 | 3 | 2 | 1 | 0 | 0 | Rajinder Krishan |
| 32 | Rangoli | Shankar Jaikishan | 5 | 5 | 3 | 2 | 0 | 0 | Shailendra |
| 33 | Sangeet Samrat Tansen | S N Tripathi | 2 | 2 | 1 | 1 | 0 | 0 | Shailendra |
| 34 | Sautela Bhai | Anil Biswas | 2 | 2 | 1 | 0 | 1 | 0 | Shailendra |
| 35 | Shaadi | Chitragupta | 4 | 4 | 4 | 0 | 0 | 0 | Rajinder Krishan |
| 36 | Sher Khan | S N Tripathi | 1 | 2 | 1 | 0 | 1 | 0 | Prem Dhawan |
| 37 | Son of India | Naushaad | 4 | 4 | 3 | 1 | 0 | 0 | Shakeel Badayuni |
| 38 | Soorat Aur Seerat | Roshan | 1 | 1 | 1 | 0 | 0 | 0 | Shailendra |
| 39 | Tower House | Ravi | 2 | 2 | 1 | 1 | 0 | 0 | Asad Bhopali |
| 40 | Zindagi aur Ham | Roshan | 7 | 7 | 7 | 0 | 0 | 0 | Pt Shiv Kumar (6) Veer Mohammadpuri (1) |
| Total | 40 movies | 18 MDs | 118 | 129 | 84 | 40 | 5 | 0 | 15 lyricists |
Lata Mangeshkar worked with 20 music directors and 15 lyricists in these 40 movies. Shankar Jaikishan, who had overtaken C Ramchandra to became the top music directors who worked with Lata in 1961, consolidated their position further. By end of 1962, they had composed 303 songs (in 55 movies) in the voice of Lata Mangeshkar. C Ramchandra continued to remain in the second position with 268 songs (in 54 movies). Other top music directors for Lata Mangeshkar were Chitragupta (160), Anil Biswas (118), Roshan (116), Madan Mohan (112), Husnlal Bhagatram (108), Hemant Kumar (103) and Naushad (100). Together these nine music directors composed 1388 songs out of 2498 songs that Lata Mangeshkar had sung in Hindi movies till end of 1962. The top seven lyricists till end of 1962 for Lata Mangeshkar were Rajinder Krishan (418), Shailendra (302), Hasrat Jaipuri (190), Prem Dhawan (167), Bharat Vyas (150), Shakeel Badayuni (146). Majrooh Sultanpuri (111). These seven lyricists had penned 1484 songs sung by Lata Mangeshkar till that time.
Lata Mangeshkar tied up with music director Brij Bhushan for the first time in a movie released during 1962. New lyricists with whom she worked for the first time in this year were Akhtar Romani, Anand Bakshi, B K Puri, Madan, Pt Shiv Kumar and Veer Mohammadpuri. Anand Bakshi, ho ould go on to pen the highest number of songs with her in future made his debut with Lata Mangeshkar this year in the movie “Mehandi Lagi Mere Haath”(1962).
Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 1962 :
| Year | Movie count | Lata song in the blog | Lata HFM songs recorded in the year | Lata solo songs | Male duet | Female duet | Other songs | Remarks |
|---|---|---|---|---|---|---|---|---|
| 1946 | 3 movies | 4 | 4 | 4 | 0 | 0 | 0 | |
| 1947 | 3 movies | 5 | 5 | 3 | 1 | 0 | 1 | |
| 1948 | 16 movies | 50 | 50 | 37 | 6 | 4 | 3 | |
| 1949 | 38 movies | 134 | 157 | 103 | 35 | 12 | 7 | |
| 1950 | 36 movies | 114 | 143 | 93 | 32 | 14 | 4 | |
| 1951 | 49 movies | 189 | 223 | 158 | 52 | 10 | 3 | |
| 1952 | 43 movies | 149 | 177 | 138 | 31 | 4 | 4 | |
| 1953 | 45 movies | 170 | 195 | 149 | 35 | 5 | 6 | |
| 1954 | 43 movies | 140 | 172 | 144 | 23 | 4 | 1 | |
| 1955 | 50 movies | 165 | 218 | 177 | 30 | 10 | 1 | |
| 1956 | 49 movies | 168 | 204 | 153 | 35 | 13 | 3 | |
| 1957 | 47 movies | 129 | 160 | 110 | 38 | 7 | 5 | |
| 1958 | 35 movies | 102 | 132 | 95 | 25 | 10 | 1 | |
| 1959 | 58 movies | 188 | 211 | 130 | 68 | 12 | 1 | |
| 1960 | 48 movies | 139 | 166 | 102 | 50 | 12 | 1 | |
| 1961 | 44 movies | 125 | 152 | 88 | 55 | 5 | 4 | |
| 1962 | 40 movies | 118 | 129 | 84 | 40 | 5 | 0 | |
| Total upto 1962 | 647 movies | 2106 | 2498 | 1768 | 556 | 127 | 45 |
It can be seen from the table of 1962 that Lata Mangeshkar sang 129 songs in movies released in 1962. As many as 118 of these songs have already been covered in the blog. Out of 40 movies of 1962 where Lata Mangeshkar sang, all Lata Mangeshkar songs of 31 movies are alreday covered. So we only have 11 Lata songs belonging to 9 movies of 1962 that remain as yet undiscussed in the blog.
Alphabetically the first such movie that offers us Lata Mangeshkar songs to discuss is “Baghdad Ki Raaten”(1962). This fantasy movie was directed by Nanabhai Bhatt for Manoj Pictures, Bombay. The movie had Shakila, Mahipal, Neeru, Isharlal, Ratnmala, Nagpal, Keshri,, R S Dubey, Leela Mishra, Vimal, Leela Gandhi, Mastan (tiger), Bhagan, Abu Hasan etc in it.
Lata Mangeshkar had sung three solo songs in it. One of these songs has been covered in the past.
Here is another Lata solo from “Baghdad Ki Raaten”(1962). Prem Dhawan is the lyricist. Music is composed by Dilip Dholakiya.
This is a rare song. Listening to this song, the first thought that crossed my mind was that this song is a hidden gem that deserved to be better known. It is sad that the song has ended up as an obscure rare song.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of the song.
Song-Dekho jee dekho kaisi haar ho gayi(Baghdad Ki Raaten)(1962) Singer-Lata, Lyrics-Prem Dhawan, MD-Dilip Dholakiya
Lyrics
aa aa aa aa aa aa
aa aa aa aa aa aa
aa aa aa aa
aa aa aa
aa aa aa
dekho jee dekho kaisi haar ho gayi ee
dekho jee dekho kaisi haar ho gayi
Shamma parwaane pe nisaar ho gayi ee ee
dekho jee dekho kaisi haar ho gayi ee
dekho jee dekho kaisi haar ho gayi
chheda kaisa naghma
toone ye dil ke saaz pe
daudi daudi aayi
main to iski aawaaz pe
chheda kaisa naghma
toone ye dil ke saaz pe
daudi daudi aayi
main to iski aawaaz pe
apne hi haathhon se main
shikaar ho gayi ee ee
dekho jee dekho kaisi haar ho gayi ee
dekho jee dekho kaisi haar ho gayi
dil tadpaane waale
main sadqe tere naam ke
aisa jaadoo daala
main reh gayi dil ko thhaam ke
dil tadpaane waale
main sadqe tere naam ke
aisa jaadoo daala
main reh gayi dil ko thhaam ke
baat jo na honi thhi
sarkaar ho gayi ee ee
dekho jee dekho kaisi haar ho gayi ee
dekho jee dekho kaisi haar ho gayi
jin kadmon ko duniya
rakhti hai dil mein choom ke
teri dhun pe zaalim
wo naach uthhe hai jhoom ke
jin kadmon ko duniya
rakhti hai dil mein choom ke
teri dhun pe zaalim
wo naach uthhe hai jhoom ke
jaane bhi de main teri dildaar ho gayi ee ee
dekho jee dekho kaisi haar ho gayi ee
dekho jee dekho kaisi haar ho gayi
Shamma parwaane pe nisaar ho gayi ee ee
dekho jee dekho kaisi haar ho gayi ee
dekho jee dekho kaisi haar ho gayi ee
Meri zindagi ke sahaare
Posted on: December 20, 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 : |
4538 | Post No. : | 16106 |
“Girls’ Hostel”(1962) was produced by Babu Bhai Desai and Ravindra Dave and directed by Ravindra Dave. The movie had Nalini Jaywant, Ajit, Johny Walker, Shamlal, Chand Burque, Cuckoo, Kanchan, Madhu, Nagpal, Nasreen, Radha Bai, Triza, Ulfat, Tina etc in it.
The movie had six songs in it. Five songs have been covered so far. Here are the details of these songs:-
| Blog post number | Song | Date posted | Remarks |
|---|---|---|---|
| 2943 | Suljhaao na uljhi zulfon ko | 10 September 2010 | Mukesh-Asha Bhonsle duet |
| 3319 | Ye haseen raat ye bahaar ye samaan | 10 December 2010 | Asha Bhonsle-Rafi duet |
| 6914 | Bartan kalai karaa lo | 29 October 2012 | Rafi solo |
| 11735 | Idhar bhi haseena udhar bhi haseena | 4 January 2016 | Rafi solo |
| 15878 | Main akeli mere dildaar bahot | 10 September 2020 | Asha Bhonsle solo |
Here is the sixth and final song from “Girls’ Hostel”(1962). It is sung by Asha Bhonsle. Lyricist is not known. Music is composed by Ravi.
Only the audio of the song is available. Asha Bhonsle is the lone female singer in this movie. So she could well have sung for the leading lady who, going by the starcast, appears to be Nalini Jaiwant. I request our knowledgeable readers to throw light on the picturisation of the song.
Lyrics of the song were sent to me by Prakashchandra.
With this song, all the six songs of “Girls’ Hostel”(1962) are covered in the blog and the movie thus joins the list of movies that have been YIPPEED in the blog.
Song-Meri zindagi ke sahaare (Girls’ Hostel)(1962) Singer-Asha Bhonsle, MD-Ravi
Lyrics(Provided by Prakashchandra)
meri zindagi ke sahaarey ae ae
aa jaa tujhe dil pukaarey ae
meri zindagi ke sahaarey ae ae
aa jaa tujhe dil pukaarey ae
khayaalon mein tu hai
nigaahon mein tu hai
tujhe dhoondhte hain nazaare ae ae ae
meri zindagi ke sahaarey ae ae
aa jaa tujhe dil pukaarey ae
kitney ujaaley
kitney andherey
beet gaye hain aas lagaaye
kitney ujaaley
kitney andherey
beet gaye hain aen aas lagaaye
ik naiyya saahil ko dhoondhey
ik raahi manzil ko bulaaye
ik raahi manzil ko bulaaye
milte nahin hain sahaarey ae ae
aa jaa tujhe dil pukaarey ae ae
meri zindagi ke sahaarey ae ae
aa jaa tujhe dil pukaarey
ye jeena bhi kya jeena hai
ek adhooraa sapna jaisey ae
ye jeena bhi kya jeena hai
ek adhooraa sapna jaisey
tere bina ye sooney ae sooney
subah-o-shaam guzaaroon kaisey
subah-o-shaam guzaaroon kaisey
tadpoon muhabbat ke maarey ae ae
aa jaa tujhe dil pukaarey ae
aa jaa tujhe dil pukaarey ae
This article is written by Sadanand Kamath, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4514 | Post No. : | 16067 |
Today, November 26, 2020 is the 31st Remembrance Day of Chand Usmani (03/01/1933 – 26/11/1989). She excelled in the roles of a suffering woman – as a wife, a sister and later as a mother. Though she was a fan of Hindi films in her teens, she did not think about an acting career in Hindi films. Her first preference was to complete her higher education in keeping with her family tradition. But her fate was written to be an actress.
Chand Usmani (Full name: Chandbibi Khanam Usmani) was born in a well-educated Pathan family in Agra. After completion of her Matriculation examination in 1949, she came to Mumbai on holiday and was staying with her relatives. During her stay in Mumbai, she saw an advertisement of the Kardar-Kolynos-Teresa Talent Contest which she participated just for a fun. She was surprised when she was selected for the participation in the contest. She was more surprised when, in the final round, she was selected as a runner-up in the contest. Producer-director A R Kardar was one of the sponsors and judges for the contest.
Even though Chand Usmani was a runner-up in the contest, A R Kardar was impressed by her presentations in the contest. He offered her the lead role in ‘Jeewan Jyoti (1953) produced by him and directed by Mahesh Kaul. Her lead actor was Shammi Kapoor for whom it was his debut film as well. The film was a box office failure but Chand Usmani’s role of a suffering wife was appreciated by the critiques.
I had watched Chand Usmani’s debut film ‘Jeewan Jyoti’ (1953) a few years back. Her performance in the role of a suffering wife of Shammi Kapoor was so natural that it did not occur to me at that time that this was her first film. With this film, Chand Usmani got type-casted for the role of a suffering wife and a suffering sister in almost all of her subsequent films of 1950s. She was a discarded wife in otherwise light comedy film, ‘Baraati’ (1954), a suffering beloved of Bharat Bhushan and a sister of villain Pran in ‘Amaanat’ (1955), an innocent flower girl in ‘Baap Re Baap’ (1955), a blind girl in ‘Rangeen Raaten’ (1956), Dilip Kumar’s sister in ‘Naya Daur’ (1957) and Rajendra Kumar’s sister in ‘Do Behanen’ (1959).
Some of the melodious songs pictuirsed on Chand Usmani in her films of 1950s in which she had lead/second lead roles are as under:
| Film | Song | Singer |
|---|---|---|
| Jeewan Jyoti (1953) | tasweeren banti hai kiranon se chhanti hain | Asha Bhosle-Shammi Kapoor |
| Baaraati (1954) | aa phir se mere pyaar ki kismat sanwaar de | Lata Mangeshkar |
| Amaanat (1955) | meri wafaayen tumhaari jafaayen | Asha Bhosle |
| Baap Re Baap (1955) | raat rangeeli chamke taare aaja sajanwaa | Asha Bhosle |
| Rangeen Raaten (1956) | ham jaage jag soye ri aali | Lata Mangeshkar |
| Do Bahenen (1959) | jhuk jhuk jhola khaaye re badariya | Lata Mangeshkar -Mahendra Kapoor |
Chand Usmani’s early films in which she got lead roles did not fare well at the box office except ‘Baap Re Baap’ (1955). She had to switch over to supporting roles by the end of the 1950s and thereafter. Some of her films in the 1960s with supporting roles were ‘April Fool ‘(1964), ‘Haqeeqat’ (1964), ‘Kohra’ (1964), ‘Anita’ (1967), ‘Khilona’ (1970), ‘Pehchaan’ (1970), ‘Khel Khel Mein’ (1975), ‘Kaadambari’ (1976), ‘Yaaraana’ (1981) etc. She got the Filmfare Award for the best supporting actor for her role in ‘Pehchaan’ (1970). From mid-70s through 80s, she did elderly roles.
Chand Usmani had a long and active filmy career till her last, spanning over 3 decades during which she worked in around 125 films. Her last released film was ‘Lohe Ke Haath’ (1990) though a couple of her delayed films were released later than 1990.
In an old interview of her in the TV programme, ‘Phool Khile Hain Gulshan Gulshan’, Tabassum had ‘chided’ Chand Usmani that she did not do any ‘acting’ in most of her films because she was in reality depicting her own personality. This may be the reason that in most of her films, Chand Usmani’s performances looked natural and convincing. Even in the midst of acting as a suffering woman, she portrays the role of a warm-hearted person with her innocent smiles. In the same interview, Chand Usmani said that she had two regrets which remained with her throughout in her life. First, she did not complete her higher education and second, she did not get chance to do variety of roles in the films.
Chand Usmani was acquainted with Mukul Dutt, when she was working in Bimal Roy’s ‘Prem Patra’ (1962) for which he was Assistant Director to Bimal Roy. Subsequently, they got married. Mukul Dutt directed box office hit films like ‘Aan Milo Sajna’ (1970), ‘Raaste Ka Pathhar’ (1972), ‘Chhalia’ (1973), etc. However, he could not carry the success as director in his subsequent films. He also intermittently worked as lyricists in many Bangla films during 1965-2002.
Chand Usmani died of cancer on November 26, 1989 at the age of 56 leaving behind her son and the husband.
On the occasion of 33rd Remembrance Day of Chand Usmani, I am presenting a song, ‘matwaali muraliya baaji re aadhi raat’ which is picturised on her in the film ‘Zindagi Aur Hum’ (1962). The song is rendered by Lata Mangeshkar on the words of Pandit Shivkumar which is set to music by Roshan.
I like the picturization of the song which gives me a feel of a real rural atmosphere. Just observe how natural Chand Usmani looks while throwing grains to pigeons.
In the beginning of the song under discussion, actors who appears on the screen are Naina, Dinesh and thereafter Nalini Jaywant. When prelude music is played, the song heard in the background is the theme song of the film which is intermittently heard in the background in low sound. The tune of the song under discussion is melodic and both the prelude as well as the interlude music are in keeping with the devotional mood of the song.
With this song, all the six songs (including a two-part song) of ‘Zindagi Aur Hum’ (1962) have been covered in the Blog.
Video Clip:
Song-Matwaali muraliyaa baaji re aadhi raat (Zindagi Aur Hum)(1962) Singer-Lata, Lyrics-Pt Shiv Kumar, MD-Roshan
Lyrics
matwaali muraliya baaji re aadhi raat
matwaali
matwaali muraliya baaji re aadhi raat
soyi thhi main apni atariya
soyi thhi main apni atariyaaa
sapne mein dekhi pi ki nagariya
soyi thhi main apni atariyaaa
sapne mein dekhi pi ki nagariya
chaunk padi ho
chaunk padi aadhi raat
muraliya baaji re aadhi raat
matwaali
matwaali muraliya baaji re aadhi raat
soyi gaam soyi gaam ki galiyaan
soyi gaam soyi gaam ki galiyaan
soyi sangee soyi rangreliyaan
soyi rangreliyaan
soyi gaam soyi gaam ki galiyaan
soyi sangee soyi rangreliyaan
soyi rangraliyaan
dhoom machi ho
dhoom machi aadhi raat
muraliya baaji re aadhi raat
matwaali
matwaali muraliya baaji re aadhi raat
le gayi sudh budh chheen muraliya
kar gayi mann ko leen (?) muraliya
jaadu bhari ho
jaadu bhari aadhi raat
muraliya baaji re aadhi raat
matwaali
matwaali muraliya baaji re aadhi raat
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 : |
4504 | Post No. : | 16044 |
Today, November 16th 2020 is the 53rd Remembrance Day of the music director, Roshan Lal Nagrath (14/07/1917 – 16/11/1967). In 1951, he had composed teri duniya mein dil lagta nahi waapas bula le for ‘Baawre Nain’ (1951).The Almighty seemed to have taken his composition seriously and snatched him away from us early at the age of 50.
Most of Roshan’s song compositions were like poems woven in Hindustani classical music. This was but natural because firstly, he was trained in Hindustani classical music in Marris College of Music (now Bhatkhande Music Institute) in Lucknow in the 1930s. During the same period, he had also learnt Sarod from Ustad Allauddin Khan and later learnt Dilruba/Esraj on his own. Secondly, he worked with illustrious lyricists who were also poets, like Kidar Sharma, Shailendra, Sahir Ludhianvi, Majrooh Sultanpuri, Shakeel Badayuni, Neeraj, Bharat Vyas, Kavi Pradeep etc.
In 1940, Roshan joined All India Radio (AIR), Delhi as a musician where he came into contact with Khurshid Anwar who had joined AIR as Music Programme Producer in 1939. Roshan worked in AIR for about 8 years during which he got the rich experience as a musician for all types of semi-classical music like thumris, dadras, ghazals, qawwalis and also the folk songs. During his stint in AIR, Roshan got married to Ira Moitra who was a regular singer at AIR, Delhi.
In 1948, Roshan decided to shift to Mumbai to try a career in Hindi film industry as a music director. Due to his wife Ira Roshan’s acquaintance with Anil Biswas, Roshan got the first-hand exposure of composing songs for films from Anil Biswas by attending his song recordings. During this period, he also worked with his erstwhile AIR colleague, music director Khurshid Anwar as his music assistant for ‘Singaar’ (1949). After this assignment, it was struggling days for him as he did not have any assignment.
Roshan met Kidar Sharma, producer-director, who had already announced his film, ‘Neki Aur Badi’ (1949) with Snehal Bhatkar as the music director. He found Roshan to be musically talented person. Knowing that Roshan was going through hard days, Kidar Sharma decided to entrust the work of music direction to him with the consent of Snehal Bhatkar. [Incidentally, for ‘Gunaah’ (1953), after one song, Kidar Sharma had replaced Roshan with his consent and entrusted the music direction to Snehal Bhatkar]. Unfortunately, ‘Neki Aur Badi’ (1949) badly flopped at the box office. Roshan was devasted and went into depression. Again, Kidar Sharma came to his rescue and entrusted him the music direction of his next film ‘Baawre Nain’ (1950).
The box office success of ‘Baawre Nain’ (1950) with almost all the 9 songs in the film becoming popular, established Roshan as a successful music director. This success was followed by ‘Ham Log’ (1951), ‘Malhar’ (1951), ‘Anhonee’ (1952), ‘Naubahaar’ (1952), Chaandni Chowk’ (1954) etc. Roshan did not have a good success in the second half of 1950s as a result of which he had taken some ‘B’ grade films’ assignments. In the 1960s, like ‘Baawre Nain’ (1950), Roshan started with ‘Barsaat Ki Raat’ (1960) which become one of the biggest block busters of 1960 with all its songs becoming popular.
Career-wise, 1960s were the best period for Roshan. He had a spate of musical successes in ‘Aarati’ (1962), ‘Taj Mahal’ (1963), ‘Dil Hi To Hai’ (1963), ‘Chitralekha’ (1964), ‘Dooj Ka Chaand’ (1964), ‘Bheegi Raat’ (1965), ‘Mamta’ (1966), ‘Bahu Begum’ (1967), ‘Anokhi Raat’ (1967) etc.
Mukesh was a friend of Roshan during their Delhi days in the early 40s. With Raj Kapoor in ‘Baawre Nain’ (1950), Mukesh was the obvious choice to sing for Raj Kapoor under his music direction. One can say that it was with Mukesh Roshan started his musical success in ‘Baawre Nain’, ‘Malhaar’ (1951) and ‘Hum Log’ (1951). Incidentally, when Mukesh produced his first film ‘Malhaar’ (1951), he entrusted the music direction to his friend Roshan.
Following the contractual obligation for Mukesh under which he could not sing songs for any other films during the making of ‘Maashooka’ (1953) in which he was the lead actor, Roshan’s collaboration with Mohammed Rafi among other male playback singers began to a greater extent than the earlier period. During 1953-56, Mukesh was concentrating mainly in his acting career and so was Talat Mehmood. This gave Rafi an opportunity to consolidate his collaboration with other music directors. In due course of time, Rafi’s collaboration with Roshan rose to such an extent that post 1954, Rafi became the main male playback singer for Roshan and sang most of the songs for Roshan among the male playback singers. . Among the female playback singers, obviousely, Lata Mangeshkar was Roshan’s main singer followed by Asha Bhosle.
Interestingly, Roshan’s musical career really took off with his association with Mukesh in Baawre Nain’ (1950) and ended with Mukesh in Roshan’s last film, ‘Anokhi Raat’ (1968).
The discussion on Roshan would remain incomplete without discussing his role in making the filmy qawwalis popular. If Madan Mohan was regarded as the king in the musical compositions of ghazals, Roshan was the king of the musical compositions of qawwalis. In ‘Chaandni Chowk’ (1954), Roshan composed his first qawaali – an all ladies qawwali ‘har baat puchhiye ye haqeeqat na puchhiye’. But his most popular qawwalis came from the pen of Sahir Ludhainvi in ‘Baabar’ (1960), Barsaat Ki Raat’ (1960), ‘Dil Hi To Hai’ (1963), ‘Taj Mahal’ (1963) and ‘Bahu Begum’ (1967).
The piece de resistance among the filmy qawwalis both for Roshan and Sahir Ludhianvi is the immortal na to kaarwaan ki talash hai ……ye ishq ishq hai from ‘Barsaat Ki Raat’ (1960). This is an unique qawwali. To the best of my knowledge, it is Hindi’s films’ longest qawwali (12minutes). It is the only filmy qawwali in which apart from Urdu/Persian/Hindi words, 4 lines in Punjabi and few words in Brijbhasha have been used. It is the only filmy qawwali in which an extensive definition of ‘ishq’ has been outlined to include not only the Sufiyana tradition of love towards God but also the spiritual love of Radha-Krishna, Meerabai, Seeta and Ram, Lord Buddha, Masiha among others. This type of qawwalis can only happen in India beacuse of its composite culture. Both Roshan and Sahir Ludhianvi had spent their formative stages of life in the neighbourhood of muslims and Hindu/Sikhs, respectively.
For Roshan, it was a challenging work to sustain the audience and listeners’ interest in 12-minute qawwali especially at a time when people had no patience to listen to even 3-minute songs in the theatres. It was the ingenuity of Roshan that he composed the qawwali, dividing in three broad segments with varying melodies and rhythms and ending with fast tempo and crescendo. It is also a qawwali in which five playback singers lent their voices – Manna Dey, S D Batish, Asha Bhosle, Sudha Malhotra and Mohammed Rafi.
During his filmy career (1949-1967), Roshan composed around 435 songs in 58 films of which the Blog has covered 347 songs as of date.
On the occasion of the 53rd Remembrance Day of Roshan, I am presenting a melodious song, ‘chheen liya beimaan mera dil’ from ‘Zindagi Aur Hum’ (1962). The song is sung by Lata Mangeshkar and is picturised on Nalini Jaywant. The words are of Pandit Shivkumar which have been set to music by Roshan. Apparently, the tune of the song is inspired from Roshan’s own song, saari saari raat teri yaad sataaye.
Video link:
Audio link:
Song-Chheen liya re beimaan mera dil (Zindagi Aur Hum)(1962) Singer-Lata, Lyrics-Pt Shivkumar, MD-Roshan
Lyrics
chheen liya re beimaan mera dil
chheen liya re beimaan mera dil
toot na jaaye kahin
toot na jaaye ae
toot na jaaye beimaan mera dil
chheen liya re beimaan
sona na maanga roopa na manga
nahin maanga dhan dhaan ho o
jaadu ki joro baandhi najariya
kar diye bekal praan ho o
kar diye bekal praan
chheen liya aa
chheen liya re beimaan mera dil
chheen liya re beimaan mera dil
champa na maanga
chameli na maangi
na rang ras ki khaan ho o
tere ishaare pe bagiya ki bagiya
kar deti kurbaan ho o
kar deti kurbaan
chheen liya aa
chheen liya re beimaan mera dil
chheen liya re beimaan mera dil
naam na jaanoon
gaam na jaanoon
na pehli pehchaan ho o
kaise tikaa loon kaise nikaaloon
shaam ka tu mehmaan ho o
shaam ka tu mehmaan
chheen liya aa
chheen liya re beimaan mera dil
chheen liya re beimaan mera dil
toot na jaaye kahin
toot na jaaye ae
toot na jaaye beimaan mera dil
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 : |
4497 | Post No. : | 16030 |
‘Zindagi Aur Hum’ (1962) was produced by Rashid Parwez and was directed by Pandit Anandkumar. The star cast included Nalini Jaywant, Chand Usmani, Naina, Dinesh, David, Leela Mishra, S Nazir, Mukri, Amar, Jagdish Kanwal, Chandabai, Anwaribai etc. The story was written by Pandit Shivkumar who was the elder brother of Pandit Anandkumar. Pandit Shivkumar also wrote lyrics for 5 of the 6 songs. It was a last film for Pandit Anandkumar as a director though he continued to write screen-play and dialogues for few more subsequent films. It was also the last film for Pandit Shivkumar if I go by the tribute given to him in the credit title of the film.
The highlight of the film is that a major part of the story revolves around the three main actresses – Nalini Jaywant, Chand Usmani and Naina. Hence, the six songs in the film were rendered by Lata Mangeshkar who has lip synced for all the three main actresses in the film. All the 6 songs (of which one song has two versions – solo version by Lata and duet version by Suman Kalyanpur and Sudha Malhotra) are very melodious. I am surprised as to why these songs set to music by Roshan are not as well-known as his equivalent songs in other films. As usual, the reason was that the film failed at the box office.
The DVD of the film is available on one of the video sharing platforms. Unfortunately, the film is heavily edited as a result of which there is some problems with the continuity of the story. With this limitation, I am attempting to present a gist of the story of the film below:
Chaudhari Niranjan Singh (S. Nazir) is a wealthy and a powerful landlord having two daughters – Tulsi (Chand Usmani) and Surajmukhi (Naina). In the neighbouhood, Kaudi (Nalini Jaywant) stays with her widowed mother (Leela Mishra). Tulsi, Surajmukhi and Kaudi are friends and they spend most of their time together. They always have some teasing sessions. In one of such sessions about their life partners, Surajmukhi’s says that she would marry a man of her choice while Tulsi says that she would marry a boy as per her father’s wishes. Kaudi on the other hand says that she would never marry in her life. But their fate is written something else.
There is a secret in Chaudhari Niranjan’s life. In the younger days, he had an affair with a widowed girl with whom he had a child out of wedlock. For the sake of family prestige, both the widowed girl and Chaudhari Niranjan decide to keep this as a secret. That child was none other than Tulsi and the widowed mother was also Kaudi’s mother.
After some years, Choudhari Niranjan plans for marrying Tulsi with a boy from his own community. He had selected Sujaan Singh, the son of his close friend as a bridegroom for Tulsi. Chaudhary Niranjan’s community leaders are against this marriage due to Tulsi being a child out of wedlock. But Choudhari goes ahead with the marriage. On the wedding day, when the couple were returning after the marriage, Sujaan is shot dead (probably akin to a honour killing). Tulsi returns to her home as a widow.
After some time, Manvir Singh (Dinesh, who has a double role in the film) along with his father (David) comes to Kaudi’s house for a temporary stay. Manvir Singh has returned from abroad after completing his education. The family had known each other. What surprises everyone is that Manvir Singh resembles Sujaan Singh. Being a guest in Kaudi’s house, both Manvir Singh and Kaudi have some ‘nonk-jhonk’ (light teasing arguments). In this process, Kaudi develops liking for him. Both Tulsi and Surajmukhi had been the childhood friends of Manvir Singh as his father was a friend of Chaudhari Niranjan.
In the meanwhile, Chaudhuri Niranjan is looking for a bridegroom for his second daughter, Surajmukhi and he has already selected Manvir Singh. Surajmukhi is happy about her father’s selection as she also secretly loves him. During the discussion with Manvir Singh’s father, Chaudhary offers 50 acres of land as a dowry which he raises to 100 acres. But Manvir Singh declines to marry a girl on the strength of her father’s money power.
Ever since Manvir Singh has come to stay in Kaudi’s house as a guest, Tulsi gets to see him often. But whenever she sees him or hears when he plays his flute, she gets convulsion and falls on the ground injuring herself. She thinks that her husband Sujaan has resurfaced. Both Kaudi and Surajmukhi tries to convince Tulsi that it is her illusion as he is not Sujaan. But she is not convinced. In this milieu, a situation develops in which all the three girls, Tulsi, Surajmukhi and Kaudi secretly love Manvir Singh but there is no reciprocation from his side to any one of them.
In the meanwhile, in the greed of getting 100 acres of land from Chaudhari Niranjan as dowry for marrying Surajmukhu, Manvir Singh’s father pressurizes the son to agree to marry her. In disgust, Manver Singh leaves the house to meet Chaudhary Niranjan in his mansion. After seeing him, Chaudhari Niranajan is perplexed as he is also surprise to find him resembling Sujaan. Manvir Singh makes it very clear to Chaudhari Niranjan that he has come with intention of his marriage with Tulsi after coming to know of unfortunate events in her life. Chaudhari Niranjan gets angry on Manvir Singh and ask him to leave. Surajmukhi secretly hears this conversation. This news also goes to Tulsi also who show happiness. Later Manvir Singh meets Tulsi to get her nod for the marriage. But after seeing him, she once again gets convulsion from which she does not recover and dies.
With this incidence, Surajmukhi decides to leave her father’s house as she does not need any worldly pleasure. However, Manvir’s father persuades her to return for his own vested interest to getting a fat dowry. Both Chaudhary Niranjan and Manvir Singh’s greedy father think that deck is now cleared for marriage of Surajmukhi with Manvir Singh. But there is a twist in the tale. When all of them arrive at Kaudi’s house, they find that Manvir Singh has already married to Kaudi. After some arguments, wiser counsel prevails on Chaudhari Niranjan Singh and with the consent of Surajmukhi, he agrees to formally get Kaudi married to Manvir Singh at his expenses in his haveli as a penance for his daughter Tulsi.
The film has an unusual story line in the genre of family drama. Pandit Shivkumar’s dialogues are crisp without using long monologues. The language used in the dialogues is a mix of high-sounding Hindi and Urdu words and sounds quite different from the usual ‘Hindustani’ used in the family drama. All the main actors in the film including the new comers Naina and Dinesh have given good performances. For Director Pandit Anandkumar and music director, Roshan, the film is their repeat performances in ‘Naubahaar’ (1952) in regards to the music composition of the songs and the picturization thereof.
Despite good story, good performances by the main actors and melodious songs, why did the film failed to score on the box offices? In my view, the film did not have ‘star value’ in the sense that barring Nalini Jaywant who was already on a declining trajectory on her acting career, none of the other actors had the capacity to attract the cinegoers. There were also no box-office ‘ingredients’ like villain, mujra dances, fights etc. Even the role of Chaudhari Niranjan as the landlord had no villainous character and hence no mujra dances and fights.
‘Zindagi Aur Hum’ (1962) had 6 songs, including a double version song of which 3 songs have been covered in the Blog. I am presenting the 4th song, jaa re jaa re meri chhod chunariya, sung by Lata Mangeshkar to appear on the Blog. The song is written by Pandit Shivkumar which is set to music by Roshan. The song is picturised on Nalini Jaywant.
I have come across on the internet at many places that Shiv Kumar Saroj has been accredited to the songs of this film except one song which is written by Veer Mohammed Puri. However, I have gone by the name given in the credit title which is ‘Pandit Shivkumar’.
I feel that Shiv Kumar Saroj who was a well-known announcer with Radio Ceylon during 1959-68 is a different person than Pandit Shivkumar. It is evident from the credit title of the film where it is mentioned that the film is dedicated to Pandit Shivkumar who could not see his visions realised. This indicates that at the time of release of the film, he was not alive to see his film which he wrote. Pandit Shivkumar started his filmy career in mid 1930s with Prabhat Film Company as writer. Later, his younger brother Pandit Anandkumar joined him. Shiv Kumar Saroj occasionally wrote lyrics for films from 1966 (Naag Mandir) till about mid-1980s.
With this song, only two songs from the film are left to be covered which I propose to cover in my next set of articles slated for this month.
Video Clip:
Audio Clip:
Song-Jaa re jaa re meri chhod chunariya (Zindagi aur Hum)(1962) Singer-Lata, Lyrics-Pt Shiv Kumar, MD-Roshan
Lyrics(Based on Video Clip)
jaa re jaa re meri chhod chunariya
ab main nyaari jhooloongi
jhooloongi
jaa re jaa re meri chhod chunariya
tere kaaran jhoola daala
naihar ki amraai
teri preet ke geet alaape
koyal sun sharmaayi
ae ri ae ri mujhe
ae ri ae ri mujhe laagi najariya
ab main nyaari jhooloongi ee
jhooloongi
jaa re jaa re meri chhod chunariya
bhaav ki daali chaav ki aali
prem dor latkaayi
bhaav na jaana chaav na jaana
jhonka de jhatkaayi
ae ri ae ri mujhe
ae ri ae ri mujhe aayi sooratiya
ab main nyaari jhooloongi
jhooloongi
jaa re jaa re meri chhod chunariya
toone aisa jaadu daala
sab sudh budh bisraayi
tere rang mein rang liya baana
ban thhan kar itraayi
ae ri ae ri main to
ae ri ae ri main to bhooli dagariya
ab main nyaari jhooloongi ee
jhooloongi
jaa re jaa re meri chhod chunariya
ab main nyaari jhooloongi ee
jhooloongi
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 : |
4477 | Post No. : | 15983 |
I wonder why Guru Dutt (09/07/1925 – 10/10/1964) who till 1958, had acted in lead roles in films of his own banner only, decided to act in films outside his banner. His first film outside his banner in a lead role was ’12 O Clock’ (1958) followed by ‘Sautela Bhai’ (1962), ‘Bharosa’ (1963), ‘Bahurani’ (1963), ‘Suhaagan’ (1964) and ‘Saanjh Aur Savera’ (1964). While his first film outside his banner as a lead actor may be an aberration, some of his later films as an actor outside his banner may probably have been out of financial compulsion following the box office failure of his film ‘Kaagaz Ke Phool’ (1959).
There is always hidden desire of any intellectual film director to direct a film on a story of his choice and on his terms. But very few producer/financier would agree to produce/finance such a film from the point of view of the commercial consideration. For Guru Dutt, ‘Pyaasa’ (1957) and ‘Kaagaz Ke Phool’ (1959) were two such films which he was keen to bring them to the notice of the film audience.
I came to know from an article by Nasreen Muni Kabir in https://scroll.in that the idea of making ‘Pyaasa’ (1957) had virtually begun in 1948 when Guru Dutt had written a story out of the frustration when he came to Mumbai in 1948. The post-partition period was difficult to adjust to a new environment. It was also difficult for the Padukone family to sustain in a big city without work. And Guru Dutt was not getting film offers. So, he wrote the story titled ‘Kashmakash’ making a poet the protagonist who faces the problem in getting his poems published. The story remained in the limbo until he established himself as a film director of repute.
In 1951, in the wake of his commercially hit film, ‘Baazi’ (1951) for which Sahir Ludhianvi had written popular songs, Guru Dutt had become a successful film director. I remember to have watched an interview of a film celebrity during its B/W avatar (I do not recall now as to who was the film celebrity). That film celebrity mentioned that during the making of Baazi’ (1951), Sahir Ludhianvi had given to Guru Dutt a copy of his collections of poems ‘Talkhiyaan’ (1944). Guru Dutt was very much impressed with a couple of nazms which included ‘jinhe naaz hai Hind par wo kahaan hai’. This nazm matched with the gloom of a poet in his story. Guru Dutt had decided to include this nazm whenever he makes the film based on his story, ‘Kashmakash’.
Since Guru Dutt was not sure of getting producer or financier for such a film and also the response on the box office due to gloomy nature of the story, he felt that he will have to take the financial risk in producing the film. For that he required his own resources to make the film as a producer. This explains as to why Guru Dutt, in the meanwhile, concentrated on making saleable light comedy films like ‘Aar Paar’ (1954) and ‘Mr and Mrs 55’ (1955) to fill his coppers for producing a film on a subject for which box office outlook was uncertain.
Abrar Alvi, in Satya Saran’s book ’10 years with Guru Dutt’ (2008) has mentioned that during one of the shooting schedules of ‘Mr and Mrs 55’ he narrated the story of a real life Gulabo, a courtesan to Guru Dutt which fascinated him to give a shape to his story, ‘Kashmakash’. In the meanwhile, he got busy with producing ‘C.I.D’ (1956) which also got the tremendous success at the box office. Now, Guru Dutt was ready to produce and direct the film of his choice. ‘Kashmakash’ became ‘Pyaasa’ (1957). Contrary to Guru Dutt’s expectation, ‘Pyaasa’ (1957) did good business at the box office and also got critics’ appreciation.
Probably, the success of ‘Pyaasa’ (1957) gave Guru Dutt a confidence in producing another of his favourite gloomy subject. That the fame and glamour attached to a successful film director has its cost in terms of personal spaces. A single failure would wipe out all the gains of a successful director earned over the years. A commercial failure would get more highlighted than the appreciation of his brilliant work of the past. The box office failure of ‘Kaagaz Ke Phool’ (1959) overshadowed the brilliant work as a director. What hurt Guru Dutt most was not the box office failure but the way the critics slammed him as narcissist and as his own biopic. After a gap of over a decade, Guru Dutt’s box office disaster got recognition as one of the greatest classic Hindi films.
The box office failure of ‘Kaagaz Ke Phool’ (1959) has affected the banner, Guru Dutt Films financially. There was not enough money to sustain the staff of Guru Dutt Films. It is during this time, Guru Dutt seems to have found a way of raising funds by acting in the films made outside his own banner during 1962-64. He also took the decision not to direct any films in future. His next two films under his own banner – ‘Chaudhavin Ka Chaand’ (1960) and ‘Sahab Bibi Aur Ghulam’ (1962) became box office hits, redeeming his film production banners.
‘Sautela Bhai’ (1962) was his first film in a lead role outside his banner after the debacle of ‘Kaagaz Ke Phool’ (1959). The film was directed by Mahesh Kaul. The main star cast included Guru Dutt, Pranoti Ghosh, Bipin Gupta, Rajkumar, Kanhaiyailal, Asit Sen, Bela Bose, Rani, Jeevankala, Radheshyam, etc. The film was based on a story, ‘Baikunther Will’ by Sharatchandra Chattopadhyay.
So far, 4 songs out of 8 from the film have been covered on the Blog. Here is the 5th song, ‘ab laagi naahin chute raama chaahe jiya jaaye’ from ‘Sautela Bhai’ (1962) which is presented here. The song is sung by Lata Mangeshkar and Meena Kapoor on the dancers, Rani and Jeevankala, respectively. There is also a male voice in a couple of lines in the song which, I feel, is that of the music director, Anil Biswas. The song was written by Shailendra.
Half-way through the dance, Guru Dutt makes a surprise entry and finds that his step brother (I guess, he is Rajkumar Jr.) is drunk and seen in the midst of the dancers. In a fit of rage, Guru Dutt assaults him. Some of patrons push Guru Dutt out of the courtesan’s house after which the singing and dancing resume.
Video Clip:
Audio Clip:
Song-Laagi naahin chhoote raam chaahe jiya jaaye (Saautela Bhai)(1962) Singers-Lata, Meena Kapoor, Anil Biswas, Lyrics-Shailendra, MD-Anil Biswas
Lata Mangeshkar + Meena Kapoor
Unknown male voice
Lyrics(based on video clip)
ab laagi naahi chhoote raam
laagi naahi chhoote raama
chaahe jiya jaaye raama
chaahe jiya jaaye raama
chaahe jiya jaaye
laagi naahi chhoote
naahi chhoote
naahi chhoote raa…m aam
chaahe jiya jaaye
waade ae ae kaa tere kisko bhala
o bhala aitbaar thha aa
phir bhi tamaam raat piya intzaar thhaa
khaamoshiyon mein har kisi aahat pe chaunk kar
aji aahat pe chaunk kar
kisi aahat pe chaunk kar
kehna mere is dil ka yahi
yahi
baar baar thha aa aa aa
kya
ae pare hatt
ke laagi naahi chhoote raa aam
chaahe jiya jaaye raa..m
chaahe jiya jaaye raama
chaahe jiya jaaye raama
chaahe jiya jaaye
laagi naahi chhoote
naahi chhoote
naahi chhoote raa.. aa aam
chaahe jiya jaaye
yoon hi raha jo teri wafa
ho jafaaon ka Silsila aa
niraash hoke toot hi jaayega dil mera
kya gujri mujhpe
tum ye kisi se na poochhna
kisi se na poochhna
kisi se na poochna
sun lena meri kabr se ae
aayegi ye sada aa aa
kya
ke laagi naahi chhoote raa. aa aam
chaahe jiya jaaye raama
chaahe jiya jaaye
chaahe jiya
chaahe jiya
chaahe jiya
chaahe jiya jaaye
laagi naahi chhoote
naahi chhoote
naahi chhoote raa….. aa aa aam
chaahe jiya
[Interruption in dances]
aa aa aa
aa aa aa aaa
ek maazra sunaata hoon main husn ishq ka
waah
[dialogues]
lekin wo dono kabron se aati thhi yeh sada
kya
laagi naahi chhoote raama
chaahe jiya jaaye raama
chaahe jiya jaaye
aaha
subhaan allah
laagi naahi chhoote raama
chaahe jiya jaaye raama
chaahe jiya jaaye
chaahe jiya
chaahe jiya
chaahe jiya
chaahe jiya jaaye
ah ah ah
waah waah jiyo
Kya kaha zara phir kaho
Posted on: October 19, 2020
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4476 | Post No. : | 15980 |
Today, October 19, 2020 is the 25th Remembrance Day of Baby Naaz, one of the super child artists of Hindi films who has enthralled the Hindi cinema buffs with her memorable roles. She was a destitute child in ‘Boot Polish’ (1954), the young Paro in ‘Devdas’ (1955), an orphan girl in ‘Do Phool’ (1958), a teenage daughter caught in the marital discord of her parents, Guru Dutt and Veena in ‘Kaagaz Ke Phool’ (1959) and many more roles.
Baby Naaz’s life from her childhood days to teenager has been traumatic and unhappy. Baby Naaz’s undated interview which appeared in ‘Stardust’ magazine sometime in mid-1970 is an indication of how a child has been exploited by her mother by pushing her into Hindi films as a child artist depriving her of schooling and a good childhood to make the family’s life comfortable. In today’s world, Baby Naaz’s case would come in the ambit of child abuse by her mother. From the age of 4, she has been the bread winner for her family when she started performing as a dancer on the road side stage shows. At the age of 8, she became a child artist in Hindi films which continued till her adulthood. In this process, Baby Naaz struggled with her 3-4 shifts of shooting a day depriving her of a normal childhood.
Based on Naaz’s interview mentioned above and also on Khalid Mohamed’s article in ‘The Daily Eyes’- July 8, 2020 and an article which appeared in December 29, 2017 issue of ‘Jansatta’, the life story of Naaz has been sumarised below:
Baby Naaz, (Real name: Salma Baig) was born in Mumbai on 20/08/1944 in a poor family. Her father, Mirza Dawood Baig was a story writer who was trying his luck to sell his stories for Hindi films but was unsuccessful. He remained unemployed beside being a sickly person. Baby Naaz’s mother was an ambitious lady who pushed Baby Naaz to Hindi films as a child artist so that with her income, she can run the house and have a comfortable life. Her father was against his daughter working in the film. But due to the extreme financial problem faced by the family, he reluctantly agreed to his friend, Lekhraj Bhakri’s request to let her do a childhood role of Suraiya in ‘Resham’ (1952). Salma Baig was given a screen name, ‘Baby Naaz’.
Due to her busy shooting schedules, Baby Naaz could not attend the school regularly for which she was rusticated. For the same reason, she had no time for enjoying her childhood. On the other hand, there was constant fights between her father and mother. Deprived of a normal childhood with love and affection from her parents, Baby Naaz twice attempted suicide by jumping into a well at the age of 10 but was saved by her maid servant.
When Naaz was 12, her parents separated and she started living with her mother. About 4 years later, her mother remarried to a film cameraman and shifted to her husband’s house. Slowly, she realised that she was the sole bread winner not only for her mother but also for her lover who had now become her step-father.
Baby Naaz came into limelight as a child artist in ‘Boot Polish’ (1954) in which she played the role of a destitute child along with Master Rattan. She enacted the emotional scenes as well as comedy acts very well. The film was shown in Cannes’ International Film Festival in 1955 where both Baby Naaz and Master Rattan were tied to receive the special commendations from the Jury. With this, Baby Naaz became the most sought-after child artist and worked in a spate of films during 1954-59. Around 1960 onwards, Naaz started getting roles as a major, mostly as a character actor though in a few films, she had also got the lead roles in ‘B’ grade films.
During the shooting of ‘Mera Ghar Mere Bachche’ (1960), Naaz became close to Subbiraj, a nephew of Prithviraj Kapoor. Both of them had the second lead roles and decided to convert their closeness into a marriage. However, families from both sides were against this marriage. Their courtship continued for 5 years. It was during the shooting of ‘Dekha Pyaar Tumhaara’ (1963), in which they were in the lead roles, they got married during the outdoor shooting of the film in Pratapgarh Fort. They returned to Mumbai as a married couple.
After the marriage, Naaz felt for the first time that she had got the love and affection which she had missed in her childhood. After the marriage, Naaz had to cut down her assignments in the films due to household responsibilities. In the 1970s, she started working with Kalyanji-Anandji for their musical programmes as a compere. In the 1980s, she almost stopped acting in the films as she had become a dubbing artist for some actresses from the south especially for Sridevi.
After a traumatic childhood and teens, Naaz was happy with her married life. When the time came for her to enjoy a life of contentment with her husband and two children, a tragedy struck in her life. In 1995, Naaz was diagnosed with cancer which was on a terminal stage. She breathed her last on October 19, 1995 when she was 51.
Baby Naaz worked in around 125 Hindi films during 1952-86 of which she worked as a child artist in about 50 films. In the 1960s, Naaz got opportunity to work as a lead/second lead actor in ‘Lambe Haath’ (1960), ‘Mera Ghar Mere Bachche’ (1960), ‘Gangu’ (1962), ‘Dekha Pyaar Tumhaara’ (1963), ‘Chaar Darvesh’ (1964), ‘Rocket Girl’ (1965) and Chhaila Babu’ (1967). However, these films did not do well at the box office.
After her marriage in 1963, Naaz restricted her film appearances by choosing the films in which the roles interested her. I find that post-marriage, most of the films in which she acted belonged to big banners and under good directors like M Sadiq in ‘Bahu Begum’ (1967), Sateyn Bose in ‘Raat Aur Din’ (1967), Lekh Tandon in ‘Jahaan Pyaar Miley’ (1969), Manmohan Desai in ‘Sachcha Jhootha’ (1970), Dulal Guha in ‘Dushman’ (1972). Hrishikesh Mukherjee in ‘Phir Kab Milogi’ (1974), Asit Sen in ‘Bairaag’ (1976), B R Chopra in ‘Karm’ (1977), Basu Chatterjee in ‘Sheesha’ (1986) etc.
On the occasion of the 25th Remembrance Day of Naaz, I present a song from ‘Gangu’ (1962) which was one of her films with a lead role for her. The film was directed by Promod Chakravarty. The song is ‘kya kaha zara phir kaho’ which is a duet sung by Subir Sen and Geeta Dutt. The song is written by Prem Dhawan is picturised on Chandrashekhar and Naaz which is set to music by Kalyanji-Anandji.
Video Clip:
Audio Clip:
Song-Kya kaha zara phir kaho (Gangu)(1962) Subir Sen, Geeta Dutt, Lyrics-Prem Dhawan, MD-Kalyanji Anandji
Lyrics
kya kaha zara phir kaho
aji kya kaha zara phir kaho
koi sun lega aji chup raho o
koi sun lega aji chup raho o
kya kaha zara phir kaho
koi sun lega aji chup raho
koi sun lega aji chup raho
tum na kaho to nigaahen kahengi
tumhaari ye bahki adaayen kahengi
tum na kaho to nigaahen kahengi
tumhaari ye bahki adaayen kahengi
youn na sataaya karo..o
koi sun lega aji chup raho o
koi sun lega aji chup raho o
kya kaha zara phir kaho
koi sun lega aji chup raho
koi sun lega aji chup raho
ki hai mohabbat to kaisa chhupaana
na ho jaaye dushman kahin ye zamaana
ki hai mohabbat to kaisa chhupaana
na ho jaaye dushman kahin ye zamaana
duniya se youn na daro..o
koi sun lega aji chup raho o
koi sun lega aji chup raho o
kya kaha zara phir kaho
aji kya kaha zara phir kaho
koi sun lega aji chup raho o
koi sun lega aji chup raho o
Main akeli mere dildaar bahot
Posted on: September 10, 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 : |
4437 | Post No. : | 15878 |
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Blog 10-Year Challenge (2010-2020) – Song No. 75
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This date ten years ago (viz 10 september 2010) saw things going to plan. Six songs were discussed on that day. First post appeared at 7 :35 AM and tghe sixth post was published at 9:42 AM.
Here are the details of the six songs (from six different movies):-
| Blog post number | Song | Movie- Year | Remarks |
|---|---|---|---|
| 2939 | Main dil mein dard basaa laayi | Anmol Ghadi 1946 | YIPPEED |
| 2940 | Hamko tumhaaraa hi aasraa Multiple version song | Saajan 1947 | YIPPEED |
| 2941 | Apni nazar se door wo | Bazaar 1949 | 15 songs covered out of 16. Final song not available |
| 2942 | Peechhe peechhe aakar chhoo lo hamen paakar | House No 44 1955 | YIPPEED |
| 2943 | Suljhaao na uljhi zulfon ko | Girl’s Hostel 1962 | 4 songs covered out of 6 |
| 2944 | Ye jawaani hai deewaani | Jawaani Deewaani 1972 | YIPPEED |
Four out of six movies that were taken up ten years ago on this date have been YIPPEED by now. Out of the remaining two movies, “Baazaar” (1949) has 16 movies and 15 of them are covered,. Thge remaining one song (Nazar se mil hi jaayegi nazar aahista aahistaa) could not be located so far, and therefore tyhis movie is still upYIPPEED.
That leaves us with “Girls’ Hostel”(1962). This movie had made its debut in the blog ten years ago. So far four songs (out of six) have been covered in the blog. Here are their details:-
| Song | Date |
|---|---|
| Suljhaao na uljhi zulfon ko | 10 september 2010 |
| Ye haseen raat ye bahaar ye samaan | 10 December 2010 |
| Bartan kalai karaa lo | 20 October 2012 |
| Idhar bhi haseena udhar bhi haseena | 4 January 2016 |
This movie was Produced by Babu Bhai Desai and Ravindra Dave and directed by Ravindra Dave. The movie had Nalini Jaywant, Ajit, Johnny Walker, Shamlal, Chand Burque, Cuckoo, Kanchan, Madhu, Nagpal, Nasreen, Radha Bai, Triza, Ulfat, Tina etc in it.
Today, as “blog Ten Year Challenge”, here is the fifth song from “Girls’ Hostel”(1962) to appear in the blog. The song is sung by Asha Bhonsle. Gulshan Baawra is the lyricist (as can be seen from the label on the record for this song in the link). Music is composed by Ravi.
Only the audio of this rare song is available. Going by the sounds of it, and considering the star cast, this song could well have been picturised on Cuckkoo as a club dance song. I request our knopwledgeable readers to throw light on the picturisation of this song.
Lyrics of this song were sent to me by Prakashchandra.
Song-Main akeli mere dildaar bahot (Girls’ Hostel)(1962) Singer-Asha Bhonsle, Lyrics-Gulshan Bawra, MD-Ravi
Lyrics(Provided by Prakashchandra)
main akeli mere dildaar bahot
meri ulfat ke hain beemaar bahot
meri aankhon ne laakhon dilon pe hai jaadu kiyaa aa
main akeli mere dildaar bahot
meri ulfat ke hain beemaar bahot
meri aankhon ne laakhon dilon pe hai jaadu kiyaa aaa
main akeli mere dildaar bahot
koi kahey mujhpe rehem keejiye
koi kahey aissey na situm kijeeye ae
koi kahey mujhpe rehem keejiye
koi kahey aissey na situm kijeeye
kabhi maine kissi pe qasam se sitam na kiyaa..aaa haayye
main akeli mere dildaar bhhot
ru roo roo roo ru
ru roo roo roo ru
aeyye
jiss ko bhi dekha maine hanske zaraa..aaa
uss ne hi poochha mere ghar ka pataa
jissko bhi dekha maine hanske zaraa
uss ne hi poochha mere ghar ka pata
aissi baatein sun ke ghabraaye mera jiyaa aaa hoyye
main akeli mere dildaar bahot
koi mere kaaley kaaley baalon pe fidaa
koi mere gorey gorey gaalon pe fidaa
koi mere kaaley kaaley baalon pe fidaa
koi mere gorey gorey gaalon pe fida
meri har ek adaa pe zamaana fidaa ho gayaa aaa hoyye
main akeli mere dildaar bahot
meri ulfat ke hain beemaar bahot
meri aankhon ne laakhon dilon pe hai jaadu kiyaa aaa
main akeli mere dildaar bahot
meri ulfat ke hain beemaar bahot
- In: "Jeep" song | "til" song | Body part song | Duet | expression of love | Feelings of heart | Geeta Dutt songs | Lyrics by Avinash Scrapwala | Lyrics contributed by readers | Munh song | Rafi songs | Rafi-Geeta Dutt duet | Songs of 1960s (1961 to 1970) | Songs of 1962 | Yearwise breakup of songs
- 3 Comments
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: |
4348 | Post No. : | 15659 |
Today (13 july 2020) is the birth anniversary of Prem Dhawan (13 june 1923-7 May 2001) Prem Dhawan is mainly known as a lyricist, but he was also a music director as well as an actor and choreographer.
Prem Dhawan made his debut as a lyricist in 1946 with the movie “Dharti Ke Lal”(1946). His last movie as a lyricist was was “Appu Raja”(1989).
He had the distinction of winning the National award for best lyricist in 1971 for his lyrics in Punjabi movie “Nanak Dukhiya Sab Sansaar” (1971). He also received Padma Shree award in 1970.
“Jahaan Daal par par sone ki chidiyaa karti hai basera”, the iconic song from “Sikandar e Azam”(1965) is an iconic song that gets played without fail on 26 januray and 15 august. “Ae watan ae watan” (Shaheed)(1965) and “Mera rang de basanti chola”(Shaheed)(1965) were pennned as well as composed by Prem Dhawan. “Ae mere pyaare watan” (Kaabuliwaala)(1961) was also penned by Prem Dhawan.
It is not that he only penned patriotic songs. He penned songs of all genre that one sees in HFM.”Chandamama door ke”(Vachan)(1955), an iconic mother-child lullaby, was penned by him. “Seene mein sulagte hain armaan (Aarzoo)(1951) was also his creation, as was the case with the folk song extraordinaire-:kaun rang mungwa kaun rang motiya”(Heera Moti)(1959). “Dil ko laakh sambhaala jee (Guest House)(1959), “Do roz mein wo pyaar ka aalam guzar gaya”(Pyaar Ki Raahen)(1959), “Haseen Ho Khuda to nahin ho (Mud Mud Ke an Dekh:(1960), “Dil Hai tera deewaana”(Zimbo Sahhar Mein)(1960), “Teri duniya se hoke majboor chala”(Pavitra Paapi”(1971)- all these were created by Prem Dhawan !
As a choreographer, he was the man behind the dances of “Naya Daur”(1957),”Dhool Ka Phool”(1959), “Waqt”(1965) etc.
The blog has as many as 438 of his songs as a lyricist and 22 of his songs as a composer.
On the occsaion of his berth anniversary, here is a song from “Gangu”(1962). This song is sung by Rafi and Geeta Dutt. Prem Dhawan is the lyricist. Music is composed by Kalyanji Anandji.
THe song is picturised on Chandrashekhar and Naaz who are seen driving in a car. Driving as well as a singing simultaneously, it is not advisable, but HFM safety standards have always been lax. 🙂
The lyrics of this song were sent to me by Avinash Scrapwala.
The audio and video versions contain different stanza towards the end.
Video
Audio
Song-Ye gora gora mukhda ye kaala kaala til (Gangu)(1962) Singers-Rafi, Geeta Dutt, Lyrics-Prem Dhawan, MD-Kalyanji Anandji
Chorus
Lyrics(Provided by Avinash Scrapwala)
Ye gora gora mukhdaa
Ye kaala kaala til
Ye gora gora mukhdaa
Ye kaala kaala til
Le gaye donon mil ke
Dekho ji mera dil
Hain khoti khoti baatein
Aur kaala tera dil
Hain khoti khoti baatein
Aur kaala tera dil
Deeewaane tu kahaan se
Gaya hai humen mil
Haaye
Ye gora gora mukhdaa
Ye kaala kaala til
Le gaye donon mil ke
Dekho ji mera dil
Hain khoti khoti baatein
Aur kaala tera dil
Deeewaane tu kahaan se
Gaya hain hume mil
Ho ho ho o
O o o ho ho o
Yoon itraa ke
humko lubhaa ke ae
Dil ko churaa ke jaati kahaan ho
Deke ye jhaanse
Jo humen phaanse
Jaayenge hum to
Marzi jahaan ho
Dekho akele na milegi Manzil
Haaye Ye gora gora mukhdaa
Ye kaala kaala til
Le gaye donon mil ke
Dekho ji mera dil
Hain khoti khoti baatein
Aur kaala tera dil
Deeewaane tu kahaan se
Gaya hai hamen mil
(Not in video)
Ho ho ho ho o
O o o ho ho o
Kaafir adaayein
Zaalim nigaahen
Jaan se mare
Jisko bhi chaahe
Kisne hain rokaa
Abhi hain maukaa
Khaana na dhokha
Bharna na aahen
Milte hi aankhen
Hum huye hain ghaayal
Haaye
Ye gora gora mukhdaa
Ye kaala kaala til
Le gaye donon mil ke
Dekho ji mera dil
Hain khoti khoti baatein
Aur kaala tera dil
Hain khoti khoti baatein
Aur kaala tera dil
Deeewaane tu kahaan se
Gaya hain hame mil
(Not in audio)
O o o o ho ho o
Aa aa aa ha ha aa
Hawaa jo aayi
Lat lehraayi
Yoon bal khaayi
Ulajh gayi re
Ja re deewaane
Kar na bahaane
Tere nishaane
Samajh gayi re
Phir bhi na jaane tu Hamaari mushqil
Haaye Ye gora gora mukhdaa
Ye kaala kaala til
Le gaye donon mil ke
Dekho ji mera dil
Hain khoti khoti baatein
Aur kaala tera dil
Deeewaane tu kahaan se
Gaya hain hamen mil
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