Posts Tagged ‘1965’
Thi Shubh Suhaag Ki Raat Madhur
Posted on: January 26, 2020
- In: "story" song | Devnagri script lyrics by Avinash Scrapwala | Guest posts | Lyrics by Avinash Scrapwala | Lyrics contributed by readers | Patriotic song | poetry based song | Post by Sudhir | Song of sacrifice | Songs of 1960s (1961 to 1970) | Songs of 1965 | Stage song | War song | Yearwise breakup of songs
- 3 Comments
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 4209 | Post No. : | 15404 |
Greetings all for the celebration today – the anniversary of declaration of our nation as a Sovereign Socialist Secular Democratic Republic.
The Constituent Assembly, consisting of 389 eminent people from across all walks of life and all population segments in the country, was established on 6th December, 1946. After a string of debates, which included public debates in different parts of the country, the Assembly agreed to adopt our constitution on 6th November, 1949. And then on 26th January of 1950, the nation of India, that is Bharat, was declared as being governed according to this document which is the supreme law of our land.
The Preamble to the constitution states the following,
WE, THE PEOPLE OF INDIA, having solemnly resolved to constitute India into a SOVEREIGN SOCIALIST SECULAR DEMOCRATIC REPUBLIC and to secure to all its citizens:
JUSTICE, social, economic and political;
LIBERTY of thought, expression, belief, faith and worship;
EQUALITY of status and of opportunity;
and to promote among them all FRATERNITY assuring the dignity of the individual and the unity and integrity of the Nation;
IN OUR CONSTITUENT ASSEMBLY this twenty sixth day of November, 1949, do HEREBY ADOPT, ENACT AND GIVE TO OURSELVES THIS CONSTITUTION.
The constitution become the bedrock foundation for enunciating all the defining principles of governance and jurisprudence, which in turn form the source of all the laws that apply to our country and its citizens.
In terms of an identity, a nation is characterized and represented by a set of symbols which identify and define it. Wherever we may be in this world, whatever may be the query about what India is, the answers will always be in terms of certain symbols that are constant and do not change – our flag, our national emblem, our national anthem, our currency, and more.
As a matter of fact, symbols and symbolism form a very imperative part of our lives. All around us, in our everyday environment, we encounter a multitude of symbols that relate to every aspect of our lives. They could be fashion brands, corporate houses, currency, governments, services, road traffic – well, just any class and category of ‘things’ in and around our lives. These symbols are significant artifacts that represent, convey, and inspire a plethora of meanings and emotions relating to our everyday lives and experiences. These symbols may be local or universal. Everywhere in the world, the sign of dollar is a symbol for money. Traffic lights and signs are universal symbols, recognized across national boundaries. Emoticons we use every day now in our communications, are symbols that represents emotions, things, communication snippets. I could go on describing, and there would be no end to how symbols have become such an integral and pervasive part of our lives.
In a world we live in – a fragmented world of divisions that are represented and controlled on the basis of multiple criteria. We are a world of nation states. And the world over, the national identities are represented and underscored by a set of symbols. The flags, the emblem, colors, badges, plants/birds/animals – in fact each nation has a collection of symbols to characterize and epitomize its national identity. In our native Hindi, the word for flag is ‘निशान’ (nishan), which is a synonym for ‘symbol’.
National anniversaries are also in the nature of symbols of a nation. The celebrations of these anniversaries represent a dynamic continuity of the national identity across the pages of history. There is an evolution and transformation that happens with time, but the basic elements and definitions remain a constant. That constancy is an edifice of identity and a hallmark of stability and continuity in the matters of everyday interactions in the lives of the people of the nation. The presence of these symbols in our lives, and their everyday transactions, generates in our hearts a comfortable feeling of being – being an Indian.
For example, encountering the flag – our Tricolour, evokes in the heart, overwhelming emotions of pride, honor, affinity, affection and belonging. These symbols have become so much a part of our existence, that inside ourselves very strong emotions are now linked with these symbols. These symbols are now a cornerstone of our and our country’s existence.
The matter of honor and pride, linked with symbols and the emotions that these symbols evoke, has been a matter of very personal and a very human experience all across the history. The song being presented in this post today is a very forceful and compelling testimony on the inherent relationship between symbols and matter of national honor. Here is a brief slice of history representing a true episode from the annals of the Rajput history. As the reader will go through this song, one will find many symbols – that of patriotism, personal relations and personal sacrifices – being invoked.
The episode tells a piece of history, about Haadi Rani, who is now a folk heroine in Rajasthan. Haadi Rani was the daughter of King Haada Chauhan of the Kingdom of Boondi. She was married to Rawat Ratan Singh Chundaawat of Salumber (in Udaipur). Ratan Singh was the commander of the army of Maharana Raj Singh of Mewar, India was ruled at that time by the sixth Mughal Emperor – Aurangzeb Alamgir.
In a turn of events, the royal Mughal forces invaded Mewar. Maharana Raj Singh sent an urgent emissary to Rawat Ratan Singh, to raise the army and join the battle against Aurangzeb’s forces. As circumstances would have it, Ratan Singh had just been married one week prior. Initially, he was hesitant to leave his newlywed bride, and go to the battlefield. However, Haadi Rani reminded him of his duty towards the king and the kingdom, and prevailed upon him to join the battle. Ratan Singh left Salumber and his bride, and proceeded to join Maharana Raj Singh with his contingent. However, his mind was still engrossed with the amorous affections for Haadi Rani.
Midway from his march towards Udaipur, he sent back a messenger to his palace, with a message for his bride – that she should send him some token symbol of love – ‘प्रेम चिन्ह’, to sustain him through the times he is away from her. On reading the message, Rani sensed the state of mind of her husband, and at first, was quite bewildered as to what she should do. She apprehended that his mind being engrossed with her, he would not be an effective soldier and commander on the battlefield. But quickly she made up her mind, and decided the commit the ultimate sacrifice. She instructed the messenger quite sternly. Then she proceeded to behead herself with a sword. The messenger, very shocked and shaken, followed her instructions, and carried her bleeding head on golden tray, covered with her bridal finery, to Ratan Singh.
Ratan Singh, waiting eagerly for the ‘प्रेम चिन्ह’, received what he never expected in his wildest dreams. Uncovering the tray, he saw the head of his newlywed bride. His grief and his repentance had no bounds, for in a flash he realized what Haadi Rani had done, and why had she done it. As the folklore goes, he picked up the head and slung it around his neck with the tresses that he had once caressed with love. With this demeanor, he launched himself into the battle. It is said that fought valiantly like a man possessed, and led his army to victory against the forces of the Mughal Emperor. Once the victory was attained and the opposition army was in retreat, Ratan Singh alighted from his horse, knelt down on the ground and proceeded to behead himself.
In the intense and turbulent martial history of Rajasthan, this episode stands amongst the most powerful and most emotional, where the honor of the kingdom, and its security is perceived as a paramount commitment, even above personal engagements and requirements. Haadi Rani made the supreme sacrifice for the sake that her commander husband would not be swayed by the thoughts of his recent matrimony, and that the sight that she eventually presented to her husband would have served as a vicious impetus for him to give his utmost in the battle against the enemy.
The symbolism of honor – the trumpets announcing the onset of warfare. The symbolism of love – the ‘प्रेम चिन्ह’ that Ratan Singh request for. And the symbolism of sacrifice – the ultimate step taken by Haadi Rani. This song converges these symbolisms into itself. A wonderfully emotional and a soul stirring presentation of one of the most chilling episodes of Rajput history.
The song is from the 1965 film ‘Nai Umar Ki Nai Fasal’. In the film, the setting of this song is as follows. A group of students, including Tanuja, Rajeev and Raj Kishore, are visiting another college in another city, for the annual festival of the latter college. As part of the program, all participant colleges are to present a stage item at the festival. This performance is presented by the protagonist group. In the film, Rajeev is the creative spirit of the team, and he completes the writing of this poem just in time for preparing the performance. On stage, the role of Haadi Rani is played by Tanuja, and that of Rawat Ratan Singh by Raj Kishore. We can see Rajeev doing the rendition of the poem on the mike placed in the wings of the stage.
The words of this poem are written by Manmohan Tiwari, the only song of this film that is not written by Neeraj. Music composition is by Roshan. The singing voice is of Manna Dey – the song has been rendered with such flourish and emotional dexterity.
A stirring reminder again today, the price of breathing in free air is defined through examples like this episode from our history. The finale of the song brings us back into convergence of the historical and the present tense – “O Bharat Maa Teri Jai Ho”.
Whatever else may be our compulsions, our personal motivations, our limitations, our interests, I am sure none of us differs about this sentiment – “O Bharat Maa Teri Jai Ho”.
[Ed Note: With this post, all songs of this film are now represented on our blog. The film ‘Nai Umar Ki Nai Fasal’ is now yippeee’d.]
Song – Thi Shubh Suhaag Ki Raat Madhur (Nai Umar Ki Nai Fasal) (1965) Singer – Manna Dey, Lyrics – Manmohan Tiwari, MD – Roshan
Lyrics (Provided by Avinash Scrapwala)
thi shubh suhaag ki raat madhur
madhu chalak rahaa tha kan kan mein
sapne jagtey the nainon mein
armaan machaltey the mann mein
sardaar magan mann jhoom raha
pal pal har ang phadakta tha
honthon par pyaas mahakti thi
praanon mein pyaar dhadakta tha
tab hi ghunghat mein muskaati
tab hi ghunghat mein muskaati
pag paayal cham cham chamkaati
raani antahpur mein aayi
kuch sakuchaati kuch sharmaati
mehndi se haath rache donon
maathe par kumkum ka teeka
gora mukhda muskaa de to
poonam ka chaand lagey pheeka
dheere se badh choodavat ne
dheere se badh choodavat ne
raani ka ghunghat pat khola
nas nas mein kaundh gayi bijli
peepal patte sa tan dola
adharon se adhar miley jab tak
lajja ke toote chhand band
rann-bigul dwaar par goonj uthaa aa
rann-bigul dwaar par goonj uthaa
shehnaayi ka swar huaa mand
bhuj bandhan bhoola aalingan
aalingan bhool gaya chumban
chumban ko bhool gayi saansen
saanson ko bhool gayi dhadkan
taj kar suhaag ki sej saji
taj kar suhaag ki sej saji
bola aa na yuddh ko jaaunga
teri kajraari alkon mein
mann moti aaj guthaaunga
pehle to raani rahi maun
phir kaal jwaal si bhabhak utthi
bin baadal bin barkhaa maano
kya bijli koyi kadak utthi
ghayal naagan si bhaunh taan
ghunghat ukhaadkar yoon boli
talwaar mujhe de do apni
tum pehan raho choodi choli
pinjde mein koyi band sher
pinjde mein koyi band sher
sehsa sote se jaag utthe
yaa aandhi andhad saath liye
jaise pahaad se aag utthe
ho gaya khadaa tan kar ranaa
haathon mein bhaala utthaa liya
har har bam bam bam mahadev
har har bam bam bam mahadev
kah kar rann ko prasthaan kiya
dekha pati ka jab veer vesh
pehle to raani harshaayi
phir sehmi tthitthki akulaayi
aankhon mein badli ghir aayi
paagal si gayi jharokhe par
paagal si gayi jharokhe par
par-kite hansini thi adheer
ghodey par chadhaa dikhaa ranaa
jaise kamaan par chadhaa teer
donon ki aankhen huyi chaar
choodavat phir sudhbudh khoyi
sandesh pathaa kar raani ko
mangwaaya prem chinh koi
sewak ja pahunchaa mehlon mein
raani se maangi sainaani
raani jhijhki phir cheekh utthi
boli kah de mar gayi raani
le khadag haath
phir kahaa thahar
le sainaani
le sainaani
ambar bola
le sainaani
dharti boli
le sainaani
rakh kar chaandi ki thaali mein
sewak bhaaga le sainaani
ranaa adheer bola badhkar
laa
laa
laa
laa
laa sainaani
kapda jab magar hataaya to
rah gaya khada moorat ban kar
lahuluhaan raani ka sir
hansta tha rakha thaali par
sardaar dekh kar chitkaar uttha
haa raani
haa meri raani
adbhut hai teri qurbaani
tu sach much hi hai kshatraani
phir ed lagaayi ghode par
dharti boli jai ho jai ho
haadi raani teri jai ho
o bharat maa teri jai ho
o bharat maa teri jai ho o
teri jai ho
o bharat maa teri jai ho o
————————————————————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————————————————-
थी शुभ सुहाग कि रात मधुर
मधु छलक रहा था कण कण में
सपने जगते थे नैनों में
अरमान मचलते थे मन में
सरदार मगन मन झूम रहा
पल पल हर अंग फड़कता था
होंठों पर प्यास महकती थी
प्राणों में प्यार धड़कता था
तब ही घूँघट में मुस्काती
तब ही घूँघट में मुस्काती
पग पायल छम छम छमकाती
रानी अन्तःपुर में आयी
कुछ सकुचाती कुछ शरमाती
मेहँदी से हाथ रचे दोनों
माथे पर कुमकुम का टिका
गोरा मुखड़ा मुस्का दे तो
पूनम का चाँद लगे फीका
धीरे से बढ़ चूंडावत ने
धीरे से बढ़ चूंडावत ने
रानी का घूँघट पट खोला
नस नस में कौंध गयी बिजली
पीपल पत्ते सा तन डोला
अधरों से अधर मिले जब तक
लज्जा के टूटे छंद बन्द
रण बिगुल द्वार पर गूँज उठा आ
रण बिगुल द्वार पर गूँज उठा
शहनाई का स्वर हुआ मन्द
भुज बंधन भूला आलिंगन
आलिंगन भूल गया चुम्बन
चुम्बन को भूल गयी साँसें
साँसों को भूल गयी धड़कन
तज कर सुहाग कि सेज सजी
तज कर सुहाग कि सेज सजी
बोला॰॰आ न युद्ध को जाऊँगा
तेरी कजरारी अलकों में
मन मोती आज गुंथाऊंगा
पहले तो रानी रही मौन
फिर काल ज्वाल सी भभक उठी
बिन बादल बिन बरखा मानो
क्या बिजली कोई कड़क उठी
घायल नागन सी भौंह तान
घूँघट उखाड़कर यूं बोली
तलवार मुझे दे दो अपनी
तुम पहन रहो चूड़ी चोली
पिंजड़े में कोई बंद शेर
पिंजड़े में कोई बंद शेर
सहसा सोते से जाग उठे
या आंधी अंधड़ साथ लिए
जैसे पहाड़ से आग उठे
हो गया खडा तन कर राणा
हाथों में भाला उठा लिया
हर हर बम बम बम महादेव
हर हर बम बम बम महादेव
कह कर रण को प्रस्थान किया
देखा पति का जब वीर वेश
पहले तो रानी हर्षाई
फिर सहमी ठिठकी अकुलाई
आँखों में बदली घिर आई
पागल सी गयी झरोखे पर
पागल सी गयी झरोखे पर
पर-कटी हंसनी थी अधीर
घोडे पर चढ़ा दिखा राणा
जैसे कमान पर चढ़ा तीर
दोनों कि आँखें हुयी चार
चूंडावत फिर सुधबुध खोयी
सन्देश पठा कर रानी को
मंगवाया प्रेमचिन्ह कोई
सेवक जा पहुंचा महलों में
रानी से मांगी सैनाणी
रानी झिझकी फिर चीख उठी
बोली कह दे मर गयी रानी
ले खड्ग हाथ
फिर कहा ठहर
ले सैनाणी
ले सैनाणी
अम्बर बोला
ले सैनाणी
धरती बोली
ले सैनाणी
रख कर चांदी कि थाली में
सेवक भागा ले सैनाणी
राणा अधीर बोला बढ़कर
ला
ला
ला
ला
ला सैनाणी
कपडा जब मगर हटाया तो
रह गया खडा मूरत बन कर
लहुलुहान रानी का सर
हंसता था रक्खा थाली पर
सरदार देख कर चीत्कार उठा
हा रानी
हा मेरी रानी
अद्भुत है तेरी कुर्बानी
तू सचमुच ही है क्षत्राणी
फिर एड़ लगाई घोड़े पर
धरती बोली जय हो जय हो
हाड़ी रानी तेरी जय हो
ओ भारत माँ तेरी जय हो ओ
ओ भारत माँ तेरी जय हो
तेरी जय हो
ओ भारत माँ तेरी जय हो
Jeewan bhar ham tum saath rahe
Posted on: January 22, 2020
This article is meant to be posted in atulsongaday.me.This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 4205 | Post No. : | 15394 |
“Amat Jyoti”(1965) was directed by Raman B Desai for Bombay Films, Bombay. The movie had L. Vijayalaxmi, Ulhas, Kamal Mehra, Sapru, Mahipal etc in it.
The movie had nine songs in it. Three songs have been covered in the past.
Here is the fourth song from “Amat Jyoti”(1965) to appear in the blog. This song is sung by Asha Bhonsle and Mahendra Kapoor. Bharat Vyas is the lyricist. music is composed by Vasant Desai.
Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.
Lyrics of this song are provided by Nitin Shah.
Song-Jeewan bhar ham tum saath rahe (Amar Jyoti)(1965) Singers-Asha Bhonsle, Mahendra Kapoor, Lyrics-Bharat Vyas, MD-Vasant Desai
Lyrics (Provided by Nitin Shah)
Aji o o o
o sajan
aa aa aa aa
aa aa aa aa
jeewan bhar ham tum saath rahe
jeewan bhar ham tum mil na sakey
tum ko hum phoolon se poojen
par phoolon se hum khil na sakey
jeewan bhar hum
aji o o o
o sajan
ik mukhde ke do nain thhe hum
aapas meinn phir bhi door rahe
ik nadi ke hum thhe kinaare do
jo milne se mazboor rahe
milne se sapne choor huye
dil ke chaahat bekaar rahe ae ae
donon aapas rote kewal
ik sheeshe ki deewaar rahi ee ee ee
hum soch khade thhe do bande
hum paanch khade thhe do bande
tatke to rahe par mil na sakey
jeewan bhar ham tum saath rahe
jeewan bhar ham tum mil na sakey
jeewan bhar hum
aji o o o
o sajan
aji o o o
o sajan
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 : |
4144 | Post No. : | 15310 | Movie Count : |
4217 |
Hindi Songs in Bangla Films – 8
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‘Aalor Pipasa’ (Thirst for Light) was a Bangla film released in January 1965. The film was directed by Tarun Majumdar. The film is available on-line with English sub-titles. The story of the film is about a courtesan (Sandhya Roy) who sacrifices her life for the betterment of her son. The entire story is depicted in the film by way of flash back when a senior doctor (Pahadi Sanyal) tells the story of the courtesan to his junior doctor (Asit Baran). The junior doctor happens to be the courtesan’s son.
Obviously, the story of the film revolves around Sandhya Roy and I must say that she has given an outstanding performance in the film. Hitherto, my knowledge about Sandhya Roy was limited to her Hindi films like ‘Asli Naqli’ (1962), ‘Pooja Ke Phool’ (1964), ‘Jaane Anjaane’ (1971) etc. But in Hindi films she had only secondary roles like Dev Anand’s ‘munhboli bahen’ (adoptive sister) in ‘Asli Naqli’ (1962) where she displays her combative but soft at heart attitudes. The song from the film laakh chupaao chhup na sakega was picturised on her.
In Bangla films, Sandhya Roy has been one of the prominent actresses who has been active in Bangla film industry for over 5 decades starting with lead roles and switching over to character roles. She has worked in more than 100 films. She is also in politics having successfully contested parliamentary election from Mednipur in 2014 on Trinamul Congress ticket.
Sandhya Roy (born 11/04/1941) was born in Nabadwip (West Bengal). However, her family belonged to Khulna (now in Bangla Desh) where her grand father was a landlord. In her childhood, she lost her parents. She was brought up by her maternal uncle at Khulna where she had her early education.
In 1957, Sandhya Roy returned to Kolkata and stayed with her sister. This was the beginning of her unexpected journey to Bangla films. While watching the shooting of the film ‘Mamlar Fol’ (1957), the director saw her and offered her a role in the crowd. Her first full-fledged film was ‘Antariksha’ (1957). After the success of this film, she started getting offers of lead roles in many Bangla films. She remained one of the leading actresses in Bangla films during 1960-80. During this period, she was paired with Biswajeet in about 20 films.
Sandhya Roy had her stint in Hindi films with ‘Asli Naqli’ (1962) which was followed by ‘Pooja Ke Phool’ (1964), ‘Raahgir’ (1969), ‘Jaane Anjaane’ (1971), Bandagi’ (1972) etc. The last Hindi film she acted was ‘Ek Anaar Sau Bimaar’ (2008). However, despite her good acting, she could not actively pursue her career in Hindi films.
From 1980s onward, Sandhya Roy continues to work in Bangla films as a character actress beside pursuing her political career.
Sandhya Roy married Tarun Majumdar, one of the leading directors of Bangla films who had also directed Hindi films, ‘Balika Badhu’ (1967) and ‘Raahgir’ (1969).
‘Aalor Pipasa’ (1965) had nine songs of which as many as 5 songs were Hindi semi-classical songs. This was to be expected since the story of the film revolves around a courtesan who entertains her clients by singing and dancing. The film also has a Sanskrit strotra (hymns) which has been rendered by Hemant Kumar as a background song when credit titles roll in the film.
In the film, Lata Mangeshkar sings two solos for Sandhya Roy of which I have selected the song ‘ghir aayi badariya piya naahi aaye’. The song has been written by Kaifi Azmi which has been set to music by Hemant Kumar.
Song-Ghir aayi badariya piya naahin aaye (Aalor Pipaasa)(Bangla)(1965) Singer-Lata, Lyrics-Kaifi Azmi, MD-Hemant Kumar
Lyrics
ghir aayi badariya piya naahin aaye
ghir aayi badariya piya naahi aaye
tan man jale mora birha sataaye
tan man jale mora birha sataaye
ghir aayi badariya piya naahin aaye
jaa jaa re badra tu pi ko manaa laa
jaa jaa re badra……aa aa aa aa aa
jaa jaa re badra tu pi ko manaa laa
pi ke bina mohe kachhu hi na bhaaye
pi ke bina mohe
pi ke bina mohe kachhu hi na bhaaye
ghir aayi badariya piya naahin aaye
ghir aayi badariya piya naahin aaye
jeewan hai pyaasa ankhiyaan hain pyaasi
jeewan hai pyaasa ankhiyaan hain pyaasi
jeewan hai pyaasa ankhiyaan hain pyaasi
megha re kaahe ko jhariya lagaaye
megha re kaahe ko
megha re kaahe ko jhariya lagaaye
ghir aayi badariya piya naahin aaye
tan man jale mora birha sataaye
ghir aayi badariya piya naahin aaye
ghir aayi badariya piya naahin aaye….ye ye
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 4026 | Post No. : | 15139 |
“Aasmaan Mahal”(1965) was directed by Khwaja Ahmad Abbas for Naya Sansaar, Bombay. This “social” movie had Pithviraj, Sureskha, Nana Palsikar, Rashid Khan, Madhukar, Yunus Parwez, Mridula, Dilip Raj, Ravikant, Veerendra Raj Anand, Chandar B Kaushal, Anwar Hussain, Naseem Bano, Ishrat Sultana, Anugeeta, David, Ram singh, Murthi, M A Parkar, Irshad Panjathan, Babbanlal, Agrawal, Rani, Shibghatullah etc in it.
The movie had six songs in it. One song has been covered in the past.
Here is the second song from “Aasmaan Mahal”(1965) to appear in the blog. This song is sung by Vijaya Majumdar. Ali Sardar Jafri is the lyricist. Music is composed by J P Kaushik.
The song is picturised as a mushaira song, where a lady (Surekha ?) recites this shayri, seated among her sahelis while men are seated in front.
I request our knowledgeable readers to help identify the actors seen in the picturisation.
I have not been able to get a few words right. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.
Song-Toone samjhi hi nahin kya hai haqeeqat meri (Aasmaan Mahal)(1965) Singer-Vijaya Majumdar, Lyrics-Ali Sardar Jafri, MD-J P Kaushik
Lyrics
toone samjhi hi nahin
kya hai haqeeqat meri
itni aasaan nahin ae dost mohabbat meri
itni aasaan nahin ae dost mohabbat meri
itni aasaan nahin
jaam o meena ke siwa aur bhi paimaane hain
jaam o meena ke siwa aur bhi paimaane hain
dard-e-dil dard-e-mohabbat hi to maikhaane hain
tu na samjha hai na samjhega shiqaayat meri
itni aasaan nahin ae dost mohabbat meri
itni aasaan nahin
khwaab daulat ke
gareebi ko dikhaane waale
aasmaanon pe mahal ?? banaanewaale
inki ?? se na bahlegi tabeeyat meri
itni aasaan nahin ae dost mohabbat meri
itni aasaan nahin
sooni saajen(?) ki tamanna hai na resham ki talaash
khaak hai khaak ye daulat ka sunehra aakaash
teri aankhon hi mein aabaad hai jannat meri
itni aasaan nahin ae dost mohabbat meri
itni aasaan nahin
kaanpte honthon pe ik harfe wafa ki khushbu
aa aa
kaanpte honthon pe ik harfe wafa ki khushbu
ik dhadakta hua dil ek chamakta aansu
yahi moti yahi heere yahi daulat meri
itni aasaan nahin ae dost mohabbat meri
itni aasaan nahin
Nayi umar ke naye sitaaro
Posted on: July 5, 2019
- In: Background song | Bhupinder Singh solo | Bhupinder Singh songs | Blog ten year challenge (2009-2019) | Devnagri script lyrics by Avinash Scrapwala | Guest posts | Lyrics contributed by readers | Movie ending song | movie opening song | Post by Avinash Scrapwala | Song not figuring in HFGK | Song not mentioned in Hindi Film Geet Kosh | Songs of 1960s (1961 to 1970) | Songs of 1965 | Theme song | Yearwise breakup of songs
- 2 Comments
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.
| Blog Day : | 4004 | Post No. : | 15107 |
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Blog 10-Year Challenge (2009-19) – Song No. 38
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Today’s song is from the movie ‘Nai Umar Ki Nai Fasal-1965’. This movie was introduced on the blog on this day ten years back viz on 5th July 2009.
The movie ‘Nai Umar Ki Nai Fasal-1965’ is known mainly for its ‘epic song’ ‘Caravan guzar gaya’ written by Neeraj. The movie made its debut in the blog with this song.
Whenever I come across ‘milestone movies’, ‘epic movies’, or ‘the movies which have left a mark in the annals of Hindi film history’, I feel the urge to find out more about such movies and to share its songs on the blog if the opportunity for that still exists. I get an opportunity to share a song from this mvie today. I think that it is the first opportunity for me to cover a song composed by Roshan, one of my favourite music directors.
Though only one song from the movie is supposed to be left over, I found out that the number of leftover songs is not one but two.
As per HFGK this movie had seven songs (including one multiple version song) only. Movie information on wiki listed eight songs for this movie.
The one song not mentioned in HFGK is a song which plays in the background when the titles of the movie keeps rolling, and this is the song we are going to present here today.
The other remaining song from the movie is penned by Manmohan Tiwari according to HFGK. However, the movie titles only mention the name of Neeraj ji as lyricist for this movie.
So I guess that the today’s song is also written by Neeraj ji.
(I would request our editors and knowledgeable readers to throw more light on this movie and its songs.)
Now, for all such movies and their songs where we wish to cover the relevant details, trivia or biographical information about the ‘cast and crew’ of that movie we always have few posts which comes with such information.
Details of this movie and its songs, including trivia etc are covered in posts on the songs , viz.
Mero sainyya gulabiyo ko phool
Isko bhi apnaata chal usko bhi apnaata chal
and
Caravan guzar gaya gubaar dekhte rahe
After today’s post, just one more song from the movie is left to be covered. I can say that the remaining song will waiting for an appropriate occasion before that song gets covered. 🙂
Looking back at this date ten years back, songs from following movies were covered on the blog on 05th July 2009;
| ‘Umang-1970’ | All Songs covered |
| ‘Nai Umar Ki Nai Fasal-1965’ | |
| ‘Chaar Dil Chaar Raahein-1959’ | All Songs covered |
| ‘Jhoola-1962’ | All Songs covered |
| ‘Aaraam-1951’ | All Songs covered |
| ‘Aarzoo-1950’ | All Songs covered |
‘Nai Umar Ki Nai Fasal’ was directed by R. Chandra for Shri. Vishwabharati Films. It had Tanuja, Rajeev, Leela Chitin, Shobhna Samarth, M.A. Latif, Renuka Rai, S.K. Prem, Ulhas, Bhalla, Raj Kishore, Khurshid Bawra and others.
Music for this movie was composed by Roshan and lyrics were written by Neeraj and Manmohan Tiwari (one song).
Today’s song is sung by Bhupinder Singh. It is a background song that plays with titles rolling on the screen. This song also has a second part which appears at the end of the movie.
Today’s song is a motivational song that seeks to inspire the new generation to bring about a positive change in the society for the upliftment of all. Thisis is in complete contrast to the debut song of this this movie ten years back on the blog, which was a ‘melancholic song’ (as Atul ji mentioned in his post ten years ago).
Let us now listen to today’s song …
Video (Part I)
Video (Part II)
Song-Nayi umar ke naye sitaaro (Nai Umar Ki Nai Fasal)(1965) Singer-Bhupinder Singh, Lyrics-Neeraj, MD-Roshan
Lyrics
——————————
Part I
——————————
Nayi umar ke naye sitaaro
Nayi fasal ki nayi bahaaro
Khilo phalo is tarah ke
Poore chaman ka poora libaas badley
Nayi umar ke naye sitaaro
Nayi fasal ki nayi bahaaro
Likho jawaani ke naam khat wo
Ke phool ban jaayen khaar saare
Be-roshni ki lagaao kalmen
Zameen pe ugne lagen ae sitaare
Badaldo pichchhle hisaab aise
Ulat do gham ke naqaab aise
Ke sab ki sab ye zameen badley
Ke sab ka sab ye aakaash badley
Nayi umar ke naye sitaaro
Nayi fasal ki nayi bahaaro
Nayi umar ke naye sitaaro
Nayi fasal ki nayi bahaaro]
———————————
(Part 2)
———————————
Nayi umar ke naye sitaaro
Nayi fasal ki nayi bahaaro
Khilo phalo is tarah ke
Poore chaman ka poora libaas badley
Nayi umar ke naye sitaaron
Nayi fasal ki nayi bahaaron
———————————————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
———————————————————————
(भाग -1)
—————
नयी उम्र के नए सितारो
नयी फसल की नयी बहारो
खिलो फलो इस तरह के
पूरे चमन का पूरा लिबास बदले
नयी उम्र के नए सितारो
नयी फसल की नयी बहारो
लिखो जवानी के नाम ख़त वो
के फूल बन जाएँ खार सारे
बे-रौशनी की लगाओ कलमें
ज़मीन पे उगने लगे ए सितारे
बदलदो पिछले हिसाब ऐसे
उलट दो ग़म के नकाब ऐसे
के सब की सब ये ज़मीन बदले
के सब का सब ये आकाश बदले
नयी उम्र के नए सितारो
नयी फसल की नयी बहारो
नयी उम्र के नए सितारो
नयी फसल की नयी बहारो
——————-
(भाग -2)
——————-
नयी उम्र के नए सितारो
नयी फसल की नयी बहारो
खिलो फलो इस तरह के
पूरे चमन का पूरा लिबास बदले
नयी उम्र के नए सितारो
नयी फसल की नयी बहारो
Muddat ki tamannaaon ka sila
Posted on: February 27, 2019
- In: Blog ten year challenge (2009-2019) | Devnagri script lyrics by Avinash Scrapwala | expression of love | Feelings of heart | Lyrics by Avinash Scrapwala | Lyrics contributed by readers | Mahendra Kapoor solo | Mahendra Kapoor songs | Songs of 1960s (1961 to 1970) | Songs of 1965 | Yearwise breakup of songs
- 1 Comment
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3876 | Post No. : | 14898 |
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Blog 10-Year Challenge (2009-19) – Song No. 10
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Today is 27 february 2019. The day is almost over and the first post of the day is just about coming up. Things were much different on this day ten years ago. On that day (27 february 2009), as many as seven songs were covered. Those were the days when I would discuss six or seven sog a day with ease, and a century of songs would come up in sixteen days or so.
Even I am surprised at the level of energy motivation and passion that I used to possess those days. 🙂
Coming to this day ten years ago, as many as seven songs were covered. Six of these movies have been YIPPEED by now. The only unyippeed movie from that day is “Kaajal”(1965).
“Kaajal”(1965) was directed by Ram Maheshwari for Kalpanalok, Bombay. The movie had Meena Kumari, Raj Kumar, Dharmendra, Padmini, Sailesh Kumar, Helen, Durga Khoy=te, Jageerdar, Tiwari, Mahendra, Gopal Sahgal, Tuntun, Keshav Rana, Madhu Apte, Abhimanyu Sharma, Polson, Rajan Kapoor, Mumtaz, Mehmood etc in it.
The movie had eleven songs in it. Eight songs from the movie have been covered in the past. The movie made its debut in the blog on this day ten years ago with the song Tora man darpan kahlaaye.
I had not watched any movies in movie halls from 1972 to 1977. Only after I reached College and got “freedom” that I began to watch movies with a vengeance, as if to make up for lost time. It was during this movie watching spree that I watched “Kaajal” (1965) in 1978 or 1979 in a movie hall called Ratan Talkies in Ranchi. So that was nearly forty years ago. I think that this cinema hall no longer exists. If we have any Ranchi based readers then I request the to help confirm or refute this fact.
When I watched the movie, I kept getting surprised repeatedly by the feeling-“arre, ye gaana is film ka hai”. The movie was full of well known timeless classic songs. Base somewhere in a neighbouring state, Raja too independently felt the same way when he watched this movie.
Coming to today’s song, it is a “shringaar” ras song which is sung by Mahendra Kapoor. Sahir Ludhianvi is the lyricist. Music is composed by Ravi, whom I had begun to regard as a creator of conic songs, thanks to a plethora of sungs composed by him that had ended up becoming timeless classics.
This song is picturised on Dharmendra and Padmini. Incidentally, This movie was the first occasion for me to watch Dharmendra, Padmini and many others.
Lyrics of this song were sent to me by Avinash Scrapwala.
Song-Muddat ki tamannaaon ka sila (Kaajal)(1965) Singer-Mahendra Kapoor, Lyrics-Sahir Ludhianvi, MD-Ravi
Lyrics(Provided by Avinash Scrapwala)
muddat ki tamannaaon ka sila
jazbaat ko ab mil jaane do
muddat ki tamannaaon ka sila
jazbaat ko ab mil jaane do
jis tarah mili hai do roohen
us tarah se lab mil jaane do
muddat ki tamannaaon ka sila
seene se hataa do aanchal ko
shaane se jhatak do zulfon ko
seene se hataa do aanchal ko
shaane se jhatak do zulfon ko
shaane se jhatak do zulfon ko
jaati huyi rangeen ghadiyon ko
rukne ka sabab mil jaane do
muddat ki tamannaaon ka sila
in paak gunaahon ki ghadiyaan
aati hai magar har raat nahin
in paak gunaahon ki ghadiyaan
aati hai magar har raat nahin
aati hai magar har raat nahin
is raat mein sab kho jaane do
is raat mein sab mil jaane do
muddat ki tamannaaon ka sila
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Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————
मुद्दत की तमन्नाओं का सिला
जज़्बात को अब मिल जाने दो
मुद्दत की तमन्नाओं का सिला
जज़्बात को अब मिल जाने दो
जिस तरह मिली है दो रूहें
उस तरह से लब मिल जाने दो
मुद्दत की तमन्नाओं का सिला
सीने से हटा दो आँचल को
शाने से झटक दो जुल्फों को
सीने से हटा दो आँचल को
शाने से झटक दो जुल्फों को ओ
शाने से झटक दो जुल्फों को
जाती हुयी हंगीन घड़ियों को
रुकने का सबब मिल जाने दो
मुद्दत की तमन्नाओं का सिला
इन पाक गुनाहों कि घड़ियाँ
आती है मगर हर रात नहीं
इन पाक गुनाहों कि घड़ियाँ
आती है मगर हर रात नहीं ई
आती है मगर हर रात नहीं
इस रात में सब खो जाने दो
इस रात में सब मिल जाने दो
मुद्दत की तमन्नाओं का सिला
- In: Asha Bhonsle - Usha Mangeshkar duet | Asha Bhonsle songs | Blog ten year challenge (2009-2019) | Dance song | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Guest posts | Lyrics contributed by readers | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1965 | Twin Dance Song | Usha Mangeshkar songs | Yearwise breakup of songs
- 1 Comment
This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3875 | Post No. : | 14897 |
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Blog 10-Year Challenge (2009-19) – Song No. 9
————————————————
Great idea this, the ten year challenge series. Works as a great reminder across the years and makes us pay attention to films and songs that have been waiting in the wings for a long time.
Today, I pick that lovely little film from 1965 – ‘Akashdeep’. It had made its debut on our blog ten years ago today – 26th Feb, 2009. Dharmendra was a very fresh face, just about four or five years into his career that year, and Nanda was somewhat senior. Ashok Kumar plays the role of a right thinking but apparently an abrasive mill owner and businessman, with Nimmi in the role of his mute wife. Mehmood plays the younger brother of Ashok Kumar, with Shobha Khote as his wife. Mehmood and his family lives separately from his brother, in relative poverty – he runs a small tea shop. The story of the film is woven around a village community where the mill is major work provider – the story of the workers in conflict with the wealthy capitalists. The film has a socialist message. Ashok Kumar’s intentions are always good, but he is impatient with the people who do not understand his viewpoint. After the conflict, the story comes to a happy ending with Ashok Kumar transforming the factory into a co-operative, giving equal shares to all the workers.
The film has some really memorable songs penned by Majrooh Sb and tuned to wonderful melodies by Chitragupt. We have “Dil Ka Diya Jalaa Ke Gaya”, an enchanting Lata solo played on the gramophone player in the film – the song that introduces Nimmi to Ashok Kumar; then the ecstatic rendition by Rafi Sb – “. . . Mujhe Aap Kis Liye Mil Gaye”, presented on screen by Dharmendra in a soft late evening setting, by the waters of a lake; the lovely duet by Lata and Mahendra Kapoor – “Suniye Jaana. . .” – on screen Dharmendra and Nanda; and the lilting springy Lata solo again – “Miley To Phir Jhuke Nahin. . .” performed by Nanda next to the seashore, late evening setting once again. I list these four songs, for these are the most popular songs of this film and all of them are already showcased here on our blog.
Besides these, there are four more songs in this film. Two of the songs are of the social messaging type, one is a parody song performed as a stage presentation, and the fourth pending song is an all female duet sung by Asha Bhosle and Usha Mangeshkar. As I checked out the online availability, I am surprised to note that this Asha-Usha duet song is not available anywhere. I was curious, for I could not recall having heard this song before. So, pulling it out of my collection, as I played it, I am completely bowled over by the melody construct that Chitragupt has weaved around the words of Mahrooh, and presented it as a twin dance song. Absolutely fresh and lovely presentation, even after more than sixty years.
‘Akashdeep’ is directed by Phani Majumdar – and coincidentally, we have a write up on this talented director published just yesterday by Sadanand ji, with the song “Taaron Se Akhiyaan Milaaun Main”.
So, presenting the fifth song of this film. A very less heard melody, which I am sure you will fancy immediately. Cheers and happy listening.
Song – Gudia Ban Ke Naachoon Saajna Ke Dwaare (Akashdeep) (1965) Singer – Asha Bhosle, Usha Mangeshkar, Lyrics – Majrooh Sultanpuri, MD – Chitragupt
Asha Bhosle + Usha Mangeshkar
Lyrics
oo oo ooo oo oo
oo oo ooo oo oo
gudia ban ke naachoon
saajna ke dwaare
gudia ban ke naachoon
saajna ke dwaare
pyaar ka kajra
nainwa mein daare
gudia ban ke naachoon
saajna ke dwaare
gudia ban ke naachoon
ban ke daal main to jhool chali
tan mera hai sab phool kali
ban ke daal main to jhool chali
tan mera hai sab phool kali
naujawaani
zindgaani
gaati rahegi pyaar ki kahaani
gudia ban ke naachoon
saajna ke dwaare
gudia ban ke naachoon
saajna ke dwaare
pyaar ka kajra
nainwa mein daare
gudia ban ke naachoon
kal kisi ne yahi baat kahi
zindgaani ik raat sahi
kal kisi ne yahi baat kahi
zindgaani ik raat sahi
raat bhai to
chaand nikla
chanda dooba kho gaye sitaare
gudia ban ke naachoon
saajna ke dwaare
gudia ban ke naachoon
saajna ke dwaare
pyaar ka kajra
nainwa mein daare
gudia ban ke naachoon
saajna ke dwaare
gudia ban ke naachoon
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Hindi script lyrics (Provided by Sudhir)
———————————————————-
ओ ओ ओs ओ ओ
ओ ओ ओs ओ ओ
गुड़िया बाँके नाचूँ
साजना के द्वारे
गुड़िया बाँके नाचूँ
साजना के द्वारे
प्यार का कजरा
नैनवा में डारे
गुड़िया बाँके नाचूँ
साजना के द्वारे
गुड़िया बाँके नाचूँ
बनके डाल मैं तो झूल चली
तन मेरा है सब फूल कली
बनके डाल मैं तो झूल चली
तन मेरा है सब फूल कली
नौजवानी
ज़िंदगानी
गाती रहेगी प्यार की कहानी
गुड़िया बाँके नाचूँ
साजना के द्वारे
गुड़िया बाँके नाचूँ
साजना के द्वारे
प्यार का कजरा
नैनवा में डारे
गुड़िया बाँके नाचूँ
कल किसी ने यही बात कही
ज़िंदगानी इक रात सही
कल किसी ने यही बात कही
ज़िंदगानी इक रात सही
रात भई तो
चाँद निकला
चंदा डूबा खो गए सितारे
गुड़िया बाँके नाचूँ
साजना के द्वारे
गुड़िया बाँके नाचूँ
साजना के द्वारे
प्यार का कजरा
नैनवा में डारे
गुड़िया बाँके नाचूँ
साजना के द्वारे
गुड़िया बाँके नाचूँ
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