Posts Tagged ‘1968’
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3979 | Post No. : | 15066 |
Songs Repeated in Hindi Films – 3
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Okay, okay, just before you sit up and ask again – “ये क्या हो रहा है”, a quick reminder that we are into this series of repeat songs. This is the third episode today.
There are well known, as well as obscure, instances existing in which the reused songs appear in the list of the songs of the latter film. The reuse listing of the song can appear as it is – a few examples being,
- “Gori Zulm Karey Zulf Ka Bikhar Jaana” – this song appears in the listings for the film ‘Main Aur Mera Bhai’ (1961) and the film ‘Pyaar Banaa Afsaana’, an unreleased film from 1960s.
- The four songs of the film ‘Ram Rajya’ of 1943 are reused in the film ‘Ramayan’ of 1954
“Beena Madhur-Madhur Kachhu Bol…”
“Ajab Vidhi Ka lekh Kisi Se Padha Nahi Jaaye…”
“Jhoole Mein Jhool Laal, Jhool Tu Jhool…”
“Tyagmayi Tu Gayi, Teri Amar Bhaawna…”
Note: The music director for both films is same – Shankar Rao Vyas; and the lyricist of these four songs is also the same – Ramesh Gupta.
- “Beeti Jaat Barkha Ritu Saajan Nahin Aaye” – this song appears in the listings for the film ‘Muraad’ (1939) and the film ‘Dharam Bandhan’ (1940).
- Four songs of an unreleased film ‘Parda’ from late 1940s are reused in the film ‘Achhaa ji’ of 1950
‘Taqraar Ko Badal Do Pyaar Mein, Na Karo Chhed Bekaar Mein…’
‘Bhool Hai Kisi Ko Apnana, Vichaaron Mein Basana…’
‘Kisi Ke Bholepan Ne… Mere Mann Ko Kheencha…’
‘Bhar Jaaye Aasmaan To Aahon Ki Kya Khata…’
Note: The lyricist (Indiwar) and music director (Shyam Babu Pathak) are the same. The film director (SH Thirani) is also the same.
- Six songs of the 1957 film ‘Pawanputra Hanuman’ have been reused in the 1969 film ‘Hanuman Chalisa’.
- Strange occurrence – two films of the same year, 1958 – ‘Rifle Girl’ and ‘Miss Toofaan Mail’ share the song – “Bheegi Hawa Mausam Jawaan, Masti Mein Dooba Saara Jahaan…”.
- Rare occurrence, the same song is used in three films. The song is “Bhiksha De De Maiya Pingla, Jogi Khada Hai Dwaar…”. The films are ‘Bharthari’ (1944), ‘Raajyogi Bharthari’ (1954), and ‘Gopichand Bharthari’ (1965). Lyricist identified for these songs is Pandit Indra.
- The song “Bolo Jaywantrao Ek Naam Prem Bhara. . .” appears in ‘Mera Imaan’ (1934) and ‘Swadesh Dewa’ (1946).
- Interesting re-use – the song “Phool Chun Le Mere Baalam Ki Jaane Kab Daal Jhuke” appears in ‘Naubahaar’ of 1952 and then again in ‘Firdaus’ of 1953. Artist combination is the same – Sahir, Roshan, Lata.
- Another one – “Baat Chalat Nai Chunari Rang Daali” – appears in film ‘Ladki’ of 1953 and then again in ‘Rani Roopmati’ of 1959.
Then there are films with the same list of songs.
- ‘Satyanarayan’ of 1948 and ‘Bhikhaari’ of 1949
- ‘Sushila’ of 1966 and ‘Subah Zaroor Aayegi’ of 1977
- ‘Amar Kahaani’ of 1949 and ‘Kanchan’ of 1955
- ‘Sipaahi’ of 1941 and ‘Jangi Jawaani’ of 1943
- ‘Suhaana Geet’ of 1941 and ‘Toote Dil’ of 1947
- ‘Ram Bhakti’ of 1958 and ‘Bhakt Raaj’ of 1950
- ‘Paanch Dushman’ of 1973 and ‘Daulat Ke Dushman’ of 1987
Although not specifically confirmed, in most cases, the above list of film pairs with all songs the same, the situation is that the latter film is a somewhat modified, re-certified and re-released version of the earlier film.
The above sampling is in no way exhaustive. More such instances may be discovered by a more meticulous review of the song lists in Geet Kosh.
But then, this observation has also to be annotated by saying that there are exceptions. There are many known cases where the repeat songs do not appear in the official list of songs of the film. The song may have been used as is without any modifications. The song may be used as an abridged version i.e. the stanzas used in repeat form are less than the original version. Or even when the song may be used quite differently.
These repeat instances of songs do not appear in the list of songs of the latter film. This is confirmed by a quick review of the Geet Kosh listings, which are primarily based on the information from the film booklets, and/or information printed on the gramophone records – 78 rpm records or LPs/EPs. Casual reuse, we may call it. Of course, ownership / copyright / permissions etc. are things that have to be taken care of. But it is always fun to be watching a film (especially when watching for the first time), and one is suddenly confronted with an unexpected song. The song already has a life and existence of its own. And it has its own popularity and following. All of a sudden out of the blue, the song will make a surprise appearance in another film, in another time. And one is simply – wow, एसा भी होता है – such things happen too.
The first song in this series – “Aa Ja Re Pardesi. . .” belongs to this category. As does this fun song that I bring to your notice today. An iconic song – a very typical and very strongly a Mehmood song, from the earlier film ‘Gumnaam’ from 1965, makes an unexpected and surprise appearance in the 1968 film ‘Brahmchaari’. This time around, the song is performed by the Junior incarnation of Mehmood, and he has done a superlative job of presenting this song. This song does not appear in the list of songs of the film ‘Brahmchaari’, and hence, when it appears in the film, the mind takes a double take – okay wow, this song, here.
The situation can be labeled as a ‘male-child item song’ 🙂 . It is just there, does not really add to the storyline content of the film. The children of Shammi Kapoor’s private orphanage are together, along with Mohan Choti, the handy man around the house, and Rajshri, who has descended on to this ‘family’ as a distraught outsider with no place to go. The song is heard on a gramophone player, on which the 78 rpm record is playing.
As I said earlier, Junior Mehmood has done a remarkable job performing this song, at that age. Born in 1956, he was all of 12 years old when he performed this song. A little short in height for his age, this performance is really lovable.
This video clip contains two stanzas, one less from the original three. However, my hunch is that all three were initially included when ‘Brahmchaari’ was released. In this video clip also, as the action moves from the first to the second stanza, there is slight jump in the visual, indicating there might have been a cut made – and the middle stanza was deleted later, for whatever reason.
Avinash ji has been posting a mini series on Junior Mehmood performances in Hindi films, so I will skip getting into more details about this fun child artist. Somehow the natural transformation, as these child artists move from childhood to adolescence to adulthood, does not seem to happen. The success of what their performance is, and the kudos it has drawn, continues to overshadow this required transformation as one grows in years. Very few examples are where an artist of proven merit in child roles has also made a successful career once having grown up. But that discussion is maybe another article, or another series.
Meanwhile, enjoy this really likeable performance, which I am sure will prompt you to go and take a look at the original ‘Gumnaam’ song also. I myself sure did.
Song – Hum Kaale Hain To Kya Hua Dilwaale Hain (Brahmchaari) (1968) Singers – Mohammed Rafi, Mehmood, Lyrics – Shailendra, MD – Shankar Jaikishan
Lyrics
khayaalon mein
khayaalon mein
khayaalon mein
khayaalon mein
jay hungaama
kahaan bhaag rahi tumen
kya hua. . .
kaale se darr gaye kya
hamay kaale hain to kya hua dilwaale hain
hamay kaale hain to kya hua dilwaale hain
hum tere tere tere chaahne waale hain
hamay kaale hain to kya hua dilwaale hain
hamay kaale hain to kya hua dilwaale hain
hum tere tere tere chaahne waale hain
hamay kaale hain to kya hua dilwaale hain
ye gore gaalaan tandaanaa
ye reshmi baalaan tandaanaa
ye solaa saalaan tandaanaa
haay tere khayaalaan tandaanaa
ye gore gaalaan tandaanaa
ye reshmi baalaan tandaanaa
ye solaa saalaan tandaanaa
haay tere khayaalaan tandaanaa
hum tere tere tere chaahne waale hain
hamay kaale hain to kya hua dilwaale hain
hamay kaale hain to kya hua dilwaale hain
hum tere tere tere chaahne waale hain
hamay kaale hain to kya hua dilwaale hain
hamay maanaa ghareeb hain tandaanaa
soorat se ajeeb hain tandaanaa
par phir bhi naseeb hai tandaanaa
ke tere khareeb hain tandaanaa
hamey maanaa ghareeb hain tandaanaa
soorat se ajeeb hain tandaanaa
par phir bhi naseeb hai tandaanaa
ke tere khareeb hain tandaanaa
hum tere tere tere chaahne waale hain
hamay kaale hain to kya hua dilwaale hain
hamay kaale hain to kya hua dilwaale hain
hum tere tere tere chaahne waale hain
hamay kaale hain to kya hua dilwaale hain
hamay kaale hain to kya hua dilwaale hain
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Hindi script lyrics (Provided by Sudhir)
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ख़यालों में
ख़यालों में
ख़यालों में
ख़यालों में
जे हंगामा
कहाँ भाग रई तूमे
क्या हुआ॰ ॰ ॰
काले से डर गए क्या
हमे काले हइं तो क्या हुआ दिलवाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हम तेरे तेरे तेरे चाहने वाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हम तेरे तेरे तेरे चाहने वाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
ये गोरे गालाँ तन्दाणा
ये रेशमी बालाँ तन्दाणा
ये सोला सालाँ तन्दाणा
हये तेरे ख्यालाँ तन्दाणा
ये गोरे गालाँ तन्दाणा
ये रेशमी बालाँ तन्दाणा
ये सोला सालाँ तन्दाणा
हये तेरे ख्यालाँ तन्दाणा
हम तेरे तेरे तेरे चाहने वाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हम तेरे तेरे तेरे चाहने वाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हमे माना ग़रीब हैं तन्दाणा
सूरत से अजीब हैं तन्दाणा
पर फिर भी नसीब है तन्दाणा
के तेरे क़रीब हैं तन्दाणा
हमे माना ग़रीब हैं तन्दाणा
सूरत से अजीब हैं तन्दाणा
पर फिर भी नसीब है तन्दाणा
के तेरे क़रीब हैं तन्दाणा
हम तेरे तेरे तेरे चाहने वाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हम तेरे तेरे तेरे चाहने वाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
हमे काले हइं तो क्या हुआ दिलवाले हइं
Jaao Mere Devta, Jaao Mere Praan
Posted on: May 15, 2019
- In: "Ganga" song | Devnagri script lyrics by Sudhir | Guest posts | Inspirational song | Krishna Kalle solo song | Krishna Kalle songs | Lyrics contributed by readers | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1968 | Songs of Encouragement | Yearwise breakup of songs
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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 : |
3953 | Post No. : | 15029 | Movie Count : |
4120 |
Missing Films of 1960s – 108
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At 108, generally a maala is considered to be complete. So we are at the 108th episode of this series, searching for and bringing on missing films of 1960s on to our blog. Ah but, the homework is not still fully done. So there still are some films pending, to be taken care.
The story of the descent of the holy river Ganga, from the Baikunth Lok down to the earth, is very detailed and interesting. It spans four generations of kings belonging to the Suryavansh, the Sun Dynasty, in which later Lord Ram also appeared.
In the lineage of Suryavansh – Vivaswaan (also known as Vaivaswat Manu) is the son of Sun God. He had 10 sons. His second eldest son is Ikshvaku, from whom starts the primary lineage of the Sun Dynasty as we know it. His next in line is a son named Nimi. The lineage progresses and through more generations reaches Raja Harishchandra. The descendants of Raja Harishchandra in sequence, are Rohit, Vrishabh, Baahuk and then Sagar (‘सगर’).
Raja Sagar has two wives – Sumati and Keshini, but no children. Once Rishi Aurv (‘और्व’), passing through the kingdom, stayed at the palace and accepted the hospitality of Raja Sagar. When he was leaving, pleased by the selfless service done by the king, he asked the king to express his wish. The king of course expressed his desire to have sons so that his dynasty may continue. The Rishi blessed him, and said that one of his queens will give birth to one son. The second queen will be blessed with 60,000 sons. All of them will be brave and exceptional, but that they will be playful and short in temper.
With the passage of time, the blessing of the Rishi bore fruits, and the sons were born. Sumati gave birth to one sone Asmanja, and Keshini gave birth to 60,000 sons. Asmanja turns out to be a person with negative qualities.
Then after another passage of time, the King decided to conduct the Ashvamedha Yajna, to proclaim his sovereignty over all the land. The sixty thousand sons were given charge of protecting the horse of the Yajna. Now, Lord Indra, the king of the demigods, was envious of Raja Sagar. He decided to play a mischief. One night, as all the sons and soldiers were asleep, Indra stole the horse, took it, and tied it in the ashram of Kapil Muni, who was meditating at that time.
The army of 60,000 sons of Sagar reached Kapil Muni’s ashram in search of the horse. Finding the horse there, they jumped to the conclusion that Kapil Muni had stolen it. Muni was deep in meditation. Sagar’s sons started to rebuke him and call him names. They prodded him with their bows and disturbed him no end. Kapil Muni’s mediation was broken. He opened his eyes and looked at the army of 60,000 sons of Sagar. Such was the power in him, that by his mere glance, the 60,000 boys were burnt to death and turned into ashes.
When Sagar heard of this news, he was grief stricken. All his sons, save one, had perished without any proper samskaar etc. He consulted his Raj Purohit, Vashishth Muni. Vashishth said that the only way the perished sons could attain salvation was if the waters of the holy river Ganga was sprinkled on the ashes of the army of sons. For Raja Sagar, it was an unthinkable task. The grief took his life. His remaining son Asmanja was not a good person, and had been banished from the kingdom. But the son of Asmanja – Anshuman, turned out to be a very noble person. Sagar made him the King. Anshuman made a vow to bring water of Ganga to the earth. He forsook his kingdom and did mediation and penance all his life. But was not successful. He had one son, Dilip. The onus of accomplishing this task fell on to his shoulder. He too followed the path of meditation and penance, but quickly lost his health and passed away. The mantle for this task was now taken up by Dilip’s son, Bhagirath.
He prayed to Brahma for long years. Finally, Brahma was pleased, and he blessed Bhagirath with the promise that Ganga would descend from Baikunth and will come to earth. The narrative further tells us of the problem of the strength and volume of the flowing waters of Ganga. The earth or any person on earth could not withstand the force of the flow of Ganga. Then Bhagirath prayed to Lord Shiva, who agreed to let the holy river Ganga descend on to him, he would bear the main brunt of the force, and then the rest of earth and its people would then be blessed by it. There is a lot more detail in this narrative, appearing in multiple scriptures.
The film ‘Har Har Gange’ of 1968 is produced under the banner of Nitin Chitra and is directed by Babubhai Mistry. (Another film by the same name was produced in 1979, and that too is also directed by the same person.) The star cast of the 1968 film is listed as Jaishri Gadkar, Abhi Bhattacharya, Mahesh Kumar, Sulochana, Jeevan, Bharti, BM Vyas, Arvind Pandya, Uma Dutt, Vishwas, SN Tripathi, Sudarshan, Babu Raje, Tuntun, Paulson, Dalda Hindustani, Mahesh Bhatt, Rajkumar, Shri Bhagwan, Saraswati Devi, Bhairavi, Uma Khosla, Meena Pankaj, Malti Shashi, Master Gopi, Prakash, Munna Bagla, Madhumati, Bela Bose, and Helen.
The film has 6 songs, all penned by Kavi Pradeep. The music is composed by SN Tripathi. The song has been rendered by Krishna Kalle. The occasion seems to be that King Bhagirath is leaving the kingdom to go to the forest to do penance and to free his dynasty from the curse that 60,000 of his ancestors had brought upon themselves. From the words in the verses, it seems as if the song is being performed on screen by the wife of King Bhagirath. I have not been able to locate her name in the related information available. I would request other knowledgeable readers to please add this information if available.
With this song, the 1968 film ‘Har Har Gange’ makes its debut on our blog. With the publication of this post we are coming to the home stretch with this series. Now just 4 more films from the 1960s remain in this project. More details about that later.
Song – Jaao Mere Devta, Jaao Mere Praan (Har Har Gange) (1968) Singer – Krishna Kalle, Lyrics – Kavi Pradeep, MD – SN Tripathi
Chorus
Lyrics
jaao mere devta
jaao mere praan
karey ganga maiya tumhaara kalyan
sidhaaro hey praan dhan
rakho kul ki aan
karey ganga maiya tumhaara kalyan
har har gange. . .
har har gange
barson se hai ye duniya dukhi
mit jaana par karna is ko sukhi
rakhna hamaare aansoo ka maan
jaao mere devta
jaao mere praan
karey ganga maiya tumhaara kalyan
har har gange. . .
har har gange
parvat jo rokey to rukna nahin
bijli girey phir bhi jhukna nahin
rakhna hamesha hatheli pe jaan
jaao mere devta
jaao mere praan
karey ganga maiya tumhaara kalyan
sidhaaro hey praan dhan
rakho kul ki aan
karey ganga maiya tumhaara kalyan
har har gange. . .
har har gange
har har gange. . .
har har gange
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Hindi script lyrics (Provided by Sudhir)
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जाओ मेरे देवता
जाओ मेरे प्राण
करे गंगा मैया तुम्हारा कल्याण
सिधारो हे प्राण धन
रखो कुल की आन
करे गंगा मैया तुम्हारा कल्याण
हर हर गंगे॰ ॰ ॰
हर हर गंगे
बरसों से है ये दुनिया दुखी
मिट जाना पर करना इसको सुखी
रखना हमारे आँसू का मान
जाओ मेरे देवता
जाओ मेरे प्राण
करे गंगा मैया तुम्हारा कल्याण
हर हर गंगे॰ ॰ ॰
हर हर गंगे
पर्वत जो रोके तो रुकना नहीं
बिजली गिरे तो झुकना नहीं
रखना हमेशा हथेली पे जान
जाओ मेरे देवता
जाओ मेरे प्राण
करे गंगा मैया तुम्हारा कल्याण
सिधारो हे प्राण धन
रखो कुल की आन
करे गंगा मैया तुम्हारा कल्याण
हर हर गंगे॰ ॰ ॰
हर हर गंगे
हर हर गंगे॰ ॰ ॰
हर हर गंगे
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 : | 3889 | Post No. : | 14920 |
“Aanchal Ke Phool”(1968) is released 50 years ago and that makes it a recent movie by the standards of this blog. 🙂 Nevertheless, little is known about this movie because it was a B grade movie and it failed to do well at the box office.
One song from the movie has been covered in the past and that was in 2011. Our beloved inhouse encyclopaedia Mr Arunkumar Deshmukh provided details about this movie. Here is what he had to say about this movie :-
It was a MRS Film production, directed by Karunesh Thakur, with music from Ved Sethi.
Ved Sethi is a Punjabi Music Director and the above film seems to be the only film in Hindi for which he gave music.There are only 4 songs in the movie.
The cast consisted of Sajjan and Kamini Kaushal as the lead pair,supported by Jeevan, Chand Usmani, Sunder, Mohan Choti,Namrata, Jayant, Ulhas, Jagdish Raj etc.
The story is Shankar(Sajjan) is a Mill worker in Bombay and stays with his 5 sons and a daughter. When he gets his 7th child, his childless neighbours Sunderlal(Sunder) and Ranu(Chand Usmani) volunteer to adopt the new born, but Shanker and Maya(K.K.) refuse. The expenses of the delivery are so much that when his only daughter Radha(Baby Poonam) is injured in her leg, he has to go to the charitable hospital. When he learns that her leg has to be amputed ,he is devastated and abandones the daughter and tells his wife that Radha has died.
The entire story is a boring,lengthy tear jerker which tries to emphasise that children are God’s gifts etc…..
Here is the second song from the movie to appear in the blog. The song is sung by Krishna Kalle. Naqsh Llayalpuri is the lyricist. Music is composed by Ved Sethi.
I am unable to identify the lady who lip syncs on this “aaj main jawaan ho gayi hoon” genre of song. I request our knowledgeable readers to help identify her.
Song-More man mein hai kaisi chubhan haay raam kaa se kahoon(Aanchal Ke Phool)(1968) Singer-Krishna Kalle, Lyrics-Naqsh Llayalpuri, MD-Ved Sethi
Lyrics
more man mein hai kaisi chubhan
haaye raam ka se kahoon
more man mein hai kaisi chubhan
haaye raam ka se kahoon
mora peera se toote badan
haaye raam ka se kahoon
more man mein hai kaisi chubhan
haaye raam ka se kahoon
halke halke pawan jhakore
jab jab lipte tan se more
kaahe nainan mein sharmaa ke hanse kajra main jaanoon na
more nas nas mein jaage agan
haaye raam ka se kahoon
more man me hai kaisi chubhan
haaye raam ka se kahoon
kaahe chunri sar se dhalke
kaahe mori paayal chhanke
kaahe palkan mein laaj basi bairi
itna bhi jaane na aa
piya julmi se laage nayan
haaye raam ka se kahoon
more man mein hai kaisi chubhan
haye raam ka se kahoon
sapnon mein baarat bhi dekhi
pi sang pahli raat bhi dekhi
sapnon mein baarat bhi dekhi
pi sang pahli raat bhi dekhi
kab sach honge sapne mere
kaise kah doon main jaanoon na aa
saji sapnon ki main hoon dulhan
haye ram ka se kahoon
more man me hai kaisi chubhan
haaye raam ka se kahoon
mora peera se toote badan
haaye raam ka se kahoon
more man mein hai kaisi chubhan
haaye raam
ka se kahoon
- In: Calling the beloved | Devnagri script lyrics by Sudhir | Feelings of heart | Ghazal | Guest posts | Lyrics contributed by readers | Missing the loved ones | NFS | Post by nahm | Rafi NFS | Rafi solo | Rafi songs | Songs of 1960s (1961 to 1970) | Songs of 1968 | Yearwise breakup of songs
- 2 Comments
This article is written by nahm, a fellow enthusiast of Hindi movie music and a regular 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 : | 3874 | Post No. : | 14895 |
Mohammed Rafi : The Incomparable (II) – Song No. 07
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I remember during the radio days, whenever a non filmy song programme would start, we would shut down the radio. Now it was time to play or to do some study seriously or even watch TV. The time for all of these things was limited. Entertainment was available only on its time with fixed hours and no more, because even if we were free the friends will be called home and play time was over. Time spend with friends in the colony playing or just doing gup-shup was precious.
One Doordarshan showed, programs in English, Marathi and Gujarati in variety of topics, kids shows, game & sports, filmy shows, quiz shows, songs etc. There used to be a program even for farmers called ‘Aamchi Maati Aamchi Manasa” (Our Soil and Our People). Childrens shows such as ‘Aao Maare Saathe’ and ‘Santa Kukdi’ are there in the memory. Shows like Sabira Merchants ‘Whats the Good Word’ and Tabassum’s ‘Phool Khile Hain Gulshan Gulshan’ and some shows by Yaqub Saeed are also in the recesses of deep memory.
Now everything is available anytime anywhere, with no fixed hours. Unlimited everything and I am back to the same theme of technology being good, but too much dependence on it is not so good. Its advancement are there for the human use, but what is happening all around is the other way round. The technology of internet /wi-fi is occupying the total collective human waking time and imagination. In fact there is nothing left to imagination, all of it is on display, so to speak.
Now back to what I was saying in the first paragraph. So sugam sangeet and anyhting non-filmy was a no-go zone as far as I can remember. I think it was my older sister who found those geet/songs drama shows like ‘Hawal Mahal’ etc. boring. So Vividh Bharati and All India Radio Urdu Service, both were only used to … listen to film songs. 🙂 Now I realise that this way I missed out on the non-film songs of various singers including those of Rafi Sb. Even Radio Ceylon was only for Binaca Geet Mala, and nothing else. So I had zero exposure of non film songs till those private videos started on television, for popularising the private music albums. Since my association with the blog I have learnt to appreciate the non-film songs and geets a lot better.
This post is to revive a series on Rafi Sb which I had started in 2016. The last post (no. 6) appeared in the blog on 31.07.2016, which was song No. 06 – Hum To Chale Pardes Hum Pardesi Ho Gaye.
Now his song no. 07 is a non-film ghazal which is written by Mirza Ghalib and composed by Khayyaam Sb. And rendition is by the one and only Rafi Sb. This is taken from the LP ‘Ghalib – Portrait of a Genius’, which was released by HMV in 1968 on the occasion of the birth centenary celebrations of this poet genius.
This is a popular ghazal and there are many renditions by other singers too. They seem to have been circumspect in selecting the ‘asha’ar’ to include in the rendition as have Khayyaam and Rafi Sb. This ghazal was made popular also by Gulzar Sahab, when he used a sha’ir from this ghazal for the mukhda of the song ‘Dil Dhoondta Hai Phir Wohi‘ in ‘Mausam’ (1975).
About the rendition what can one say that has not been said before. Words are inadequate as the listeners can listen and realise.
Song – Muddat Hui Hai Yaar Ko Mehmaan Kiye Huye (NFS) (1968) Singer – Mohammed Rafi, Lyrics – Mirza Ghalib, MD – Khayyaam
Lyrics
muddat hui hai yaar ko mehmaan kiye huye..ea
josh-e-qadah se bazm charaghaan kiye huye..ea
muddat hui hai yaar ko. . .
maange hai phir kisi ko lab-e-baam par hawas
maange hai phir kisi ko lab-e-baam par hawas
zulf-e-siyaah rukh pe pareshaan kiye huye..ea
zulf-e-siyaah rukh pe. . .
ik nau bahaar-e-naaz ko taake hai phir nigaah
chehra farogh-e-mai se gulistaan kiye huye..ea
chehra farogh-e-mai se. . .
ji dhoondhtaa hai phir wohi fursat ke raat din
ji dhoondhtaa hai phir wohi fursat ke raat din
baitthe rahe tasavvur-e-jaanan kiye huye..ea
baitthe rahe tasavvur-e. . .
‘Ghalib’ hamen na chhed ke phir josh-e-ashk se..ea
baitthe hain ham tahaiyya-e-toofan kiye huye..ea
muddat hui hai yaar ko mehmaan kiye huye..ea..ea
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Hindi script lyrics (Provided by Sudhir)
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मुद्दत हुई है यार को मेहमां किए हुये॰॰ए
जोश ए क़दाह से बज़्म चरागां किए हुये॰॰ए
मुद्दत हुई है यार को॰ ॰ ॰
मांगे है फिर किसी को लब ए बाम पर हवस
मांगे है फिर किसी को लब ए बाम पर हवस
ज़ुल्फ ए सियाह रुख पे परेशान किए हुये॰॰ए
ज़ुल्फ ए सियाह रुख पे॰ ॰ ॰
इक नौबहार ए नाज़ को ताके है फिर निगाह
चेहरा फ़रोग़ ए मय से गुलिस्ताँ किए किए हुये॰॰ए
चेहरा फ़रोग़ ए मय से॰ ॰ ॰
जी ढूँढता है फिर वही फुर्सत के रात दिन
जी ढूँढता है फिर वही फुर्सत के रात दिन
बैठे रहे तसव्वुर ए जानां किए हुये॰॰ए
बैठे रहे तसव्वुर ए॰ ॰ ॰
ग़ालिब हमें ना छेड़ के फिर जोश ए अश्क से॰॰ए
बैठे हैं हम तहइय्या ए तूफाँ किए हुये॰॰ए
मुद्दत हुई है यार को मेहमां किए हुये॰॰ए॰॰ए
Jaago Anjaani, Raajdulaari
Posted on: September 20, 2018
- In: Aarti Mukherjee - Subir Sen Duet | Aarti Mukherji songs | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Love song | Lover's tête-à-tête | Lyrics contributed by readers | needing each other | Post by Sudhir | Romantic song | Song of Longing | Songs of 1960s (1961 to 1970) | Songs of 1968 | Subir Sen Songs | Yearwise breakup of songs
- 2 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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
3716 | Post No. : | 14647 | Movie Count : |
4001 |
Missing Films of 1960s – 78
– – – – – – – – – – – – – – –
And here is the 4001st film to find its place on our blog. Thanks Atul ji, for a very interesting sojourn through a tale of years and numbers. The tales, most surely, is not yet done with. So many more chapters are still to be written, and I am sure there is still a ton of surprises that are waiting in the shadows.
As the years progress, it is to be expected that the number of people interested in this music form will be lessening. Maybe so, but the experience so far has been that the interest in this music form continues to retain the attention of music lovers. Their numbers may be reducing through a natural process, but the music is continuously attracting new followers. Let me mention a few very interesting developments which are very recent.
When digital music arrived on the scene, it took the world by storm. Every creator of music, every producer of music items made a beeline for the CDs and the digitally converted and compressed formats. Everything that is anything in music, well almost, is now available in mp3 and other digital formats, with a greater ease of storage and sharing. However, the aficionado listeners, having spent a lot of time with digital music are probably beginning to miss the fidelity of the analog recordings – of the vinyl records and the coated plastic tapes. As we all know, digitization is basically a process to slice the stream of music into tiny packets and store them in digital formats. This slicing process (called sampling), however fine tuned and precise it may be, still leads to a loss of content. When the digital sampling happens, and packets are created, it does drop out minute fractions of audio stream in between the packets. The resulting output may get subjected to further such process, as folks try more digital processes to ‘clean’ the sound and to tweak the different frequency ranges to their personal preferences. Every time such a transformation process is applied to a stream of music, it loses some fraction of its original content. I have been part of listening sessions wherein the differences between the analog audio tracks and their digitally transformed versions, have been demonstrated. With some surprising differences.
In recent months and years, there has been a slowly progressing turnback towards the analog sound once again. In Europe, the music companies have started pressing vinyl records once again, and we are seeing more and more of them in the market. Even many latest Hindi films are releasing their music on LPs once again. Just go to music stores, and to the online stores, and today, you can buy a much larger selection of latest music on LPs than maybe 10 or 15 years ago.
In the US, there is a spurt in the demand of original music tracks on 78 rpm records, and their market is really going up. Although I have not yet heard about a return back to 78 rpm pressing factories. But who knows, the value economics may still turn the tide in that direction.
In India, besides the music of newer Hindi films coming on LPs, there is another move coming up, towards re-releasing the available earliest music of the 1900s to 1940s on LP records. One of the factors is that majority of the music of that period is now technically out of copyright ownership status and is in public domain. I am aware of at least on such enterprise who are working to bring back to life, the music of the likes of Gauhar Jaan and Janakibai, and release the available collections in LP format. I have a feeling this will trend is only going to grow over the years, and we should be seeing more players come into this market. There is a ton of non-film music that is still available in 78 rpm format that is waiting for a second life. Digital is all well, but listeners are now returning to the gramophone.
In an interesting conversation just last month, I got this surprise news that some music companies are working to bring back the cassette tape into the market once again. The purity and the fidelity of the sound is once again the driving force behind this renewal. Over the decades, the research on the different storage media and formats, has established that the original media formats continue to be the safest, the most reliable and the most enduring. The life span of celluloid and plastic tapes (audio and VHS) has proven to be longer lasting than CDs and hard disks. Of course the caveat is that they are stored in proper conditions. The well stored celluloid films from the late 1800s are still going strong, much better than the VHS tapes, and which in turn are proving to be much longer lasting than DVDs and hard disks.
I will turn this detour into the technical aspects of media storage, back to where I had started from. That there still are a ton of surprises that are probably waiting in the shadows. Let me bring up another very interesting aspect of this discussion – the collections that are sitting with private collectors. Yes, there are many a sizeable collections of records that are in the possession of private collectors. With the passing of years and the intervention of natural processes, a number of these collections are changing hands and getting redistributed. These collections, for decades, have been religiously guarded and kept ultra safe for private listening only. With passage of time and change of guard (ownership thru inheritance), and for lack of interest on the part of the inheritee, these collections are now seeing light of the day. Knowledgeable collectors are avidly pursuing such opportunities to take a pick of some very well preserved and very rare recordings. A very interesting aside here is that collectors in Pakistan are also in the fray, and they are making a good harvest. As per comments made in discussions in music collector circles, in good probability, there are more 78 rpm records now in Pakistan than here in India. And that is because the Pakistani collectors seem to be keeping much better tabs on such movements of private collections than their Indian counterparts.
My hope and my expectation is that in this process of collections changing hands and moving to different owners, we may see some more of unheard, unlisted and unexpected recordings come out into public domain. Gosh, who knows what we may still encounter as the search brings up more and more hitherto unavailable items into the open.
Coming to the 4001st film – a very obscure and unfamiliar name – ‘Ek Surat Do Dil’ from 1968. Except for the listing in the Geet Kosh, I have no other information traceable, for this film. This is a film produced in Calcutta, under the banner of Kashi Alok Chitram. There is no information available about the actors or producer/director of this film. The Geet Kosh lists eight songs for this film. It appears as if only one record has surfaced in the public domain so far, and that seems to be the only source of information available. The names of the singers, songwriters and the music director seem to have been taken from the record label itself. The name of the music director is Bijan Pal. This name appears in the Geet Kosh only for this one film. And that’s it. Same is with the songwriter – Ramji Singh. A completely unfamiliar and obscure name, appearing in the Geet Kosh for this one solitary song.
Aha, the singer names are more familiar – Subir Sen and Aarti Mukherjee. The tune and the arrangement is very atypical. The sound makes one feel that this tune is heard somewhere before, but I cannot place anything specifically.
4001st film makes its debut here today. Let us take a quick look at the 1968 numbers. As per Geet Kosh, there are 72 films plus one Bhojpuri film. Of the 72 Hindi films, 66 films are already represented on our blog. This is the 67th film to come on board. That leaves 5 more to get – I think we will get to see at least a couple of more films from this year.
And yes, btw, 1968 is a very interesting and special year for our blog. Can you guess? 🙂
Song – Jaago Anjaani, Raajdulaari (Ek Surat Do Dil) (1968) Singer – Subir Sen, Aarti Mukherjee, Lyrics – Ramji Singh, MD – Bijan Pal
Subir Sen – Aarti Mukherjee
Lyrics
jaago anjaani
raajdulaari
dhal gaya chanda
kati raat saari
jaago anjaani
raajdulaari
dhal gaya chanda
kati raat saari
jaago anjaani. . .
oi re..ae..ae..ae..ae
ye angdaai kehti kahaani
meri rag rag mein machle jawaani
har kali par bhanwar gungunaate
pyaar ki raagni hain sunaate
aa ja re meet mere
ban ke geet mere
kaisi hai ye beqaraari
aa ja re meet mere
ban ke geet mere
kaisi hai ye beqaraari
jaago anjaani
raajdulaari
dhal gaya chanda
kati raat saari
jaago anjaani
raajdulaari
dhal gaya chanda
kati raat saari
jaago anjaani. . .
ye hawa madbhari ye bahaaren
phool muska ke mujhko pukaaren
jhoomta hai nadi ka kinaara
haaye kaisa suhaana nazaara
na jaao door kahin
aa jaao paas yahin
royegi birhan tumhaari
na jaao door kahin
aa jaao paas yahin
royegi birhan tumhaari
jaago anjaani
raajdulaari
dhal gaya chanda
kati raat saari
jaago anjaani
raajdulaari
dhal gaya chanda
kati raat saari
jaago anjaani. . .
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Hindi script lyrics (Provided by Sudhir)
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जागो अनजानी
राजदुलारी
ढाल गया चंदा
कटी रात सारी
जागो अनजानी
राजदुलारी
ढाल गया चंदा
कटी रात सारी
जागो अनजानी॰ ॰ ॰
ओई रे॰॰ए॰॰ए॰॰ए॰॰ए
ये अंगड़ाई कहती कहानी
मेरी रग रग में मचले जवानी
हर काली पर भँवर गुनगुनाते
प्यार की रागनी हैं सुनाते
आ जा रे मीत मेरे
बन के गीत मेरे
कैसी है ये बेक़रारी
आ जा रे मीत मेरे
बन के गीत मेरे
कैसी है ये बेक़रारी
जागो अनजानी
राजदुलारी
ढल गया चंदा
कटी रात सारी
जागो अनजानी
राजदुलारी
ढल गया चंदा
कटी रात सारी
जागो अनजानी॰ ॰ ॰
ये हवा मदभरी ये बहारें
फूल मुस्का के मुझको पुकारें
झूमता है नदी का किनारा
हाय कैसा सुहाना नज़ारा
ना जाओ दूर कहीं
आ जाओ पास यहीं
रोएगी बिरहन तुम्हारी
ना जाओ दूर कहीं
आ जाओ पास यहीं
रोएगी बिरहन तुम्हारी
जागो अनजानी
राजदुलारी
ढल गया चंदा
कटी रात सारी
जागो अनजानी
राजदुलारी
ढल गया चंदा
कटी रात सारी
जागो अनजानी॰ ॰ ॰
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog.This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3657 | Post No. : | 14520 |
Hullo Atulites
“Sadhu Aur Shaitaan” (1968) was directed by A. Bhimsingh and starred Mehmood, Om Prakash and Pran in important roles. It also had south star Bharathi, Kishore Kumar and Nasir Hussain in the cast.
Om Prakash played an honest bank employee where Nasir Hussain is the manager. Pran played Sher Khan alias Dilawar Khan a dacoit who seeks out his old friend Om Prakash and cheats him into accepting him into his household. His main intention is to rob the bank where Om Prakash is employed for which he manages to make duplicate locker keys and also achieves his goal. Nasir Hussain suspects Om Prakash and calls the police.
The rest of the movie goes in showing how Om Prakash proves his innocence with Mehmood and Bharathi’s help. In the course of this Pran is killed and the body is dumped under the back seat of Mehmood’s taxi. A considerable length of the movie is taken up in showing how the various passengers who hire the cab react when they see the body under the seat. And the list of passengers contains names of the who’s who of the film industry of that time- Sunil Dutt, Ashok Kumar, Dilip Kumar, Mumtaz, Lalitha Pawar, Jeewan, Nirupa Roy, Tun Tun, Mukri, etc. etc.
Today(23 july 2018) on the occasion of the death anniversary of Mehmood let us have a song from this movie which shows him in his elements. He replays his “hum kale hain toh kya hua” character with Bharathi as the person he is trying to woo. It is sung by Mehmood and Mohd Rafi. Rajinder Krishan is the lyricist and the Shankar Jaikishan like music is by Laxmikant Pyarelal.
Song-Mehbooba mehbooba bana leo mijhe dulha (Saadhu Aur Shaitaan)(1968) Singer-Rafi, Lyrics-Rajinder Krishan, MD-Laxmikant Pyarelal
Mehmood
Lyrics
??
ari kidhar hai ri tu
mere dil ki raani
mere nawaason ki naani
aa gaya hoon main
arre dekh le main aa gaya
permisson le ko
mehbooba mehbooba
bana leo mijhe dulha
jala deo mera chulha
mehbooba mehbooba
bana leo mijhe dulha
jala deo mera chulha
chaar meenar chhoda
bech ko taanga ghoda
aaya main dauda dauda
kha bhi leo raham thoda
mehbooba mehbooba
bana leo mijhe dulha
jala deo mera chulha
mehbooba mehbooba
bana leo mijhe dulha
jala deo mera chulha
dhatt tere gesoo
uff teri aankhiyaan
haaye teri baataan
pi jaaun ghol ko
uff teri masti
uff tera jalwa
mar ga mar ga main
bika bin mol ko
bika bina mol ko
abke jo munh ko moda
abke jo dil ko toda
amma ki khasam khaa ko
kha loonga zahar thhoda
mehbooba mehbooba
bana leo mijhe dulha
jala deo mera chulha
o mehbooba mehbooba
bana leo mijhe dulha
jala deo mera chulha
aa haa
kya achchi lag rahi tumen
jo ooper kaun sa dance master aa gaya
kis’se seek liya tumen
daantaan kya dikha rayin
arre nazdeek aao jee
nakhre kar rayin
thapak loonga
na tumain aatain
na hamko bulaatain
aji ji ko jalatain
thapak loonga dekh na
aisa kyun kartayin
zulm kyun dhaatayin
kya nakhre dikhaatayin
thapak loonga dekhna
thapak loonga dekhna
kaaike ye latka
kaaike ye jhatka
kaaike ye matka
kar leo dil chauda
mehbooba mehbooba
bana leo mijhe dulha
jala deo mera chulha
mehbooba mehbooba
bana leo mijhe dulha
jala deo mera chulha
chaar meenar chhoda
bech ko taanga ghoda
aaya main dauda dauda
kha bhi leo raham thhoda
mehbooba mehbooba
bana leo mijhe dulha
jala deo mera chulha
chulha jala do jee
aji ghaaslet daal ko phoonk daalo na
nichhe se maachis ki kaandi laaun kya
apne haath se khaana bana ko mujhe khilaao na
arre meri raani
arre ??
kahaan jaa ri tu
arri ??
arri ??
arri waapas aa
arri palat
palat
palat
palat
palat
palat
palat
palat
palat
palat
- In: "Helen" song | Dance song | Devnagri script lyrics by Sudhir | Feelings of heart | Group Dance | Guest posts | Lyrics contributed by readers | philosophical song | Post by Sudhir | Raj darbaar song | Songs of 1960s (1961 to 1970) | Songs of 1968 | Twin Dance Song | Yearwise breakup of songs
- 9 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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3619 | Post No. : | 14423 |
Missing Films of 1960s – 75
– – – – – – – – – – – – – – –
‘Thief Of Baghdad’ – a movie that has now became a legend, came to the silver screen almost a hundred years ago, in an era when even Hollywood was still in the silent zone. This archetypal tale adapted from the ‘Tales of a Thousand Nights’ (what we know better as ‘Arabian Nights’), was made into a film by Douglas Fairbanks who wrote the story for the film, produced it and played the lead role. Over the decades, this film has become a seminal benchmark of what fantasy cinema should be. The lavish production was much ahead of its time of the 1920s. In that era, the production cost of the film came to a whopping 1.1 million USD. One has to see to believe the scale of production – towering palaces, fabulous interiors, special effects to blow your mind and a cast of thousands much before Cecil B DeMille put his hand to the camera. This film is available in public domain, and it is a veritable treat to watch.
Over the decades, the film has been remade in Hollywood and also in other parts of the world, sustaining and perpetuating the fantasy of this adorable tale of a petty, brazen, street smart thief whose philosophy in life is “. . . what I like, I take.” His life changes when he sees the sleeping princess and falls in love with her. The plot of the story passes through many twists and turns and magical elements, before the two lovers are joined together. While watching the film, one gets this feeling – haan yes, this is how it happens in the adventure films of Hindi cinema. But the important thing to realize is – here is where it started. This is the original, and what followed are influenced from this one.
In Hindi films, the earliest reference we can garner is a silent film from 1931 – ‘Iraaque Ka Chor’. Although not essentially mentioning Baghdad, and in the absence of any plot details, it is possible that this film follows the Fairbanks original from 1924. Besides the interesting trivia that Baghdad and Basra were probably the only two well known cities of Iraq.
In the era of sound movies, 1934 is the first time this name appears. That year, two films were made – ‘Baghdad Ka Chor’ and ‘Iraaque Ka Chor’. The next in line is the 1946 film ‘Baghdad Ka Chor’, followed again in 1955 by another film of the same name. Then in 1968, we have the Dara Singh starrer ‘Thief Of Baghdad’. In 1977 came another version with the same title, the star cast being led by Shatrughan Sinha, Kabir Bedi and Sulakshana Pandit. In 1978, Kabir Bedi starred in another film by the same name, for TV.
With this song today we bring on board the 1968 film ‘Thief Of Baghdad’. The film is produced by Bohra Brothers and is directed by Shriram. The abbreviated list of actors is Dara Singh, Nishi, Helen, Savita, Jeevankala, P Kailash, BM Vyas, Sheikh, Ravi Kumar, Ram Kumar, Maqbool, Sunanda, Amritrana, Jilani, Sarita Devi, Munshi Munakka, Bijnor, Ramesh Kant, Johnny Whisky, Dilip Dutt, Maruti, Rani, Gani, Mohammed Ali, B Sandow, Gulab, Gaffar, Mansoor, Mohammedali Steelman, Vimla, Khursheed and Saudagar Singh. And we see many of them in the video clip of this song.
The information about the songs in Geet Kosh is indicated as being not complete. It lists 5 songs, with indication that more songs are in the film. The film being available, I checked it and I can identify at least one more song which is not listed in Geet Kosh.
The credits of the film identify two songwriters – Aziz Ghaazi and SH Bihari. The writer of this song is not specifically identified. Music is given by Baldev Nath, which most likely is the same person as Baldev Nath Bali or BN Bali.
This song is a raaj darbaar dance song which is performed by Helen and Rani [Jeevankala]. The singing voice is just one, i.e. Asha Bhosle with the lines being shared by the two dancers on screen.
[Ed Note: Thanks to dear Prakash ji for correcting the identification of the lady dancer accompanying Helen in this song.]
In this screen situation, Nishi is the princess who has fallen in love with Dara Singh, a commoner. Dara Singh and his team is captured and are shown in chains. The scheming Wazir, role played by P Kailash (I need help to identify this actor) has imprisoned the King, and has forced the princess to marry him, given that her father and her lover are both his prisoners. So Nishi and this Wazir are seated in the two throne like chairs, and the dance is being performed for the occasion. As per the storyline of this film, Helen performs the role of Dara Singh’s younger sister.
[Ed Note: Once again thanks to dear Prakash ji for identifying the actor playing the role of the Wazir.]
The video clip shows a number of actors. There are two more men in chains. The one in mustard shirt with chains tied to his wrists (again need help to identify this actor) plays the role of Dara Singh’s younger brother in the film. The third person in chains, wearing a black shirt and with chains around his neck is Sheikh. There is a few other actors shown in momentary close up shots, who are also watching this performance. I request other readers and friends to please help identify them.
So with this song, the 1968 film ‘Thief Of Baghdad’ makes its debut on our blog. That also brings the count of films brought on board through this series now to 75. Wow. Let us see how many more we are able to add in the coming weeks. Working on the home work list that Katie Ben prepared for me, we shall not be hitting the century mark on this series, but I think we will get pretty close. 🙂
Song – Humko Bhi Marna Hai, Tumko Bhi Marna Hai (Thief Of Baghdad) (1968) Singer – Asha Bhosle, Lyrics – [Unattributed], MD – Baldev Nath
Lyrics
khabrdaar. . .
hoshiyaar. . .
humko bhi marna hai
tumko bhi marna hai
humko bhi marna hai
tumko bhi marna hai
marne se darna kya
jeene ki baaten kar
humko bhi marna hai
tumko bhi marna hai
duniya ke gulshan mein
kaante hazaaron hain
duniya ke gulshan mein
kaante hazaaron hain
kaanton se bachta ja
duniya se daaman bhar
humko bhi marna hai
tumko bhi marna hai
chaahat ki raahon mein
maana ke khatra hai
chaahat ki raahon mein
maana ke khatra hai
phir bhi tu chalta ja
mere ishaaron par
humko bhi marna hai
tumko bhi marna hai
maujon mein rehne de
kashti jawaani ki
maujon mein rehne de
kashti jawaani ki
aata nahin hum ko
marna kinaaron par
humko bhi marna hai
tumko bhi marna hai
marne se darna kya
jeene ki baaten kar
humko bhi marna hai
tumko bhi marna hai
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
खबरदार॰ ॰ ॰
होशियार॰ ॰ ॰
हमको भी मरना है
तुमको भी मरना है
हमको भी मरना है
तुमको भी मरना है
मरने से डरना क्या
जीने की बातें कर
हमको भी मरना है
तुमको भी मरना है
दुनिया के गुलशन में
कांटे हजारों हैं
दुनिया के गुलशन में
कांटे हजारों हैं
काँटों से बचता जा
दुनिया से दामन भर
हमको भी मरना है
तुमको भी मरना है
चाहत की राहों में
माना के खतरे हैं
चाहत की राहों में
माना के खतरे हैं
फिर भी तू चलता जा
मेरे इशारों पर
हमको भी मरना है
तुमको भी मरना है
मौजों में रहने दे
कश्ती जवानी की
मौजों में रहने दे
कश्ती जवानी की
आता नहीं हम को
मारना किनारों पर
हमको भी मरना है
तुमको भी मरना है
मरने से डरना क्या
जीने की बातें कर
हमको भी मरना है
तुमको भी मरना है
- In: Aspirations of Love | Calling the beloved | Devnagri script lyrics by Sudhir | expression of love | Feelings of heart | Guest posts | Love song | Lyrics contributed by readers | Poignant Song | Post by Sudhir | Songs of 1960s (1961 to 1970) | Songs of 1968 | Suman Kalyanpur solo | Suman Kalyanpur songs | Vagaries Of Love | Waiting for love | Yearwise breakup of songs
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
| Blog Day : | 3616 | Post No. : | 14416 |
Missing Films of 1960s – 74
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In 1940, a film by the name ‘Thief Of Tatar’ was released. Then in 1955 came another film titled ‘Tatar Ka Chor’. And after another 13 years, in 1968, came the film ‘Tatar Ki Haseena’. Just like the ‘Alibaba’ of Arbian Nights and the ‘Thief Of Baghdad’, the Tatar subject also seemed to hold a special interest for Hindi film makers for some time.
The name Tatar applies to an ethnic community of people, originating from the mountains of Mongolia. Originally, these people formed nomadic tribes that moved westward from the Mongol region and over the centuries, spread out all the way to Central Asia and Eastern Europe. The name Tatar first appeared in the 5th century AD. Tatars are essentially different from Mongols; however historically, they have moved together across the Asian continent. The Tatar tribes accompanied Genghis Khan on his conquest of the central and south Asian territories. They mingled with the tribes of the Central Asia and the Turkish people. For a period of history they formed kingdoms and empires in the regions that are now known as the Central Asian republics. In fact, there continues to be a Republic of Tatarstan as part of the current Russian Federation. Currently, about 6.5 million people spreading from Mongolia, China and Siberia in the east, all the way to Poland and Slovakia in the west, claim Tatar roots and ethnicity.
Just like Genghis Khan, Taimur and Halaku (grandson of Genghis Khan) – the Mongol kings and warriors who became legends that have fascinated the historians and the literati, the stories of the Tatar tribes have held the same romanticism and their legends, tales and histories abound in the Central Asia. And thus, the interest of Hindi film makers and the production of films listed above.
Today, I introduce the 1968 film ‘Tatar Ki Haseena’ on our blog. The film is a costume drama produced under the banner of Daluat Productions and is directed by Aslam Allahbaadi. The cast of actors is listed as Nalini Chonkar, Shah Agha, Sherry, Murad, Preetam, Radhika, Heera Sawant, Jeevankala, Madhumati, Kumud Tripathi, Sadiq, Maqbool, Prince Arjun, Babu Rajpal, Siddi Baba, Anil, Vijay, Meena, Sarosh, Kiran, Raju, and Santosh etc.
The Geet Kosh lists 6 songs for this film, five of which are written by Aslam Allahbaadi and one by M Yusuf. Music direction is by S Kishan. It seems that this probably is the solitary film that Aslam Allahbaadi wrote for. Another name, simply as Aslam appears in the Geet Kosh listings but whether it is the same as the lyricist of this film, is not known definitely. S Kishan as a music director is known to the readers of this blog. He has about a dozen films to his credit in the 1960s and 70s, including four which remained unreleased. Four of his films are already represented on our blog.
Today’s selection from this film is rendered by Suman Kalyanpur. The music is a reminder of the Middle Eastern melodies. The song is an assertion of love. The protagonist, a lady, is addressing her lover, telling about the feelings of her heart – that she would readily give up her life even for him, that she is restrained and helpless and is seeking solace in his benefaction.
Only the audio of this song is available. I request other readers and friends who may have seen this film in its time, to kindly add more information about this film and this song.
‘Tatar Ki Haseena’ makes a debut on our blog today, with this song. Listen to this poignant rendition, and enjoy.
Song – Ho Gayi Tum Se Mohabbat Jaan Bhi Qurbaan Hai (Tataar Ki Haseena) (1968) Singer – Suman Kalyanpur, Lyrics – Aslam Allahbaadi, MD – S Kishan
Suman Kalyanpur + Chorus
Chorus
Lyrics
ho gayi tum se mohabbat jaan bhi qurbaan hai
tu mera mehboob hai
tu hi mera imaan hai
ho gayi tum se mohabbat jaan bhi qurbaan hai
jaan bhi qurbaan hai
dil ke haathon aaj main majboor hoon
paas reh kar bhi main tujh se door hoon
dil ke haathon aaj main majboor hoon
aaa aaa aaaa aaa
paas reh kar bhi main tujh se door hoon
aaa aaa aaaa aaa
ishq mein mar mar ke jeena aashiqon ki shaan hai
tu mera mehboob hai
tu hi mera imaan hai
ho gayi tum se mohabbat jaan bhi qurbaan hai
jaan bhi qurbaan hai
aap ki nazr e inaayat mujh pe gar ho jaayegi
zindagi araam se meri basar ho jaayegi
aap ki nazr e inaayat mujh pe gar ho jaayegi
zindagi araam se meri basar ho jaayegi
dil mein mere bas yahi ik aakhiri armaan hai
ho gayi tum se mohabbat jaan bhi qurbaan hai
jaan bhi qurbaan hai
dil dhadakta hai mera bas aap ke aa jaane se
dil dhadakta hai mera
shamma bhi jal jaati hai parwaane ke jal jaane se
shamma bhi jal jaati hai
dil dhadakta hai mera bas aap ke aa jaane se
shamma bhi jal jaati hai parwaane ke jal jaane se
bewafaa tujh par nichhaawar aaj meri jaan hai
tu mera mehboob hai
tu hi mera imaan hai
ho gayi tum se mohabbat jaan bhi qurbaan hai
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हो गई तुमसे मोहब्बत जान भी क़ुरबान है
तू मेरा महबूब है
तू ही मेरा ईमान है
हो गई तुमसे मोहब्बत जान भी क़ुरबान है
जान भी क़ुरबान है
दिल के हाथों आज मैं मजबूर हूँ
पास रह कर भी मैं तुझसे दूर हूँ
दिल के हाथों आज मैं मजबूर हूँ
आ आ आ आ
पास रह कर भी मैं तुझसे दूर हूँ
आ आ आ आ
इश्क़ में मर मर के जीना आशिक़ों की शान है
तू मेरा महबूब है
तू ही मेरा ईमान है
हो गई तुमसे मोहब्बत जान भी क़ुरबान है
जान भी क़ुरबान है
आप की नज़र ए इनायत मुझ पे अगर हो जाएगी
ज़िंदगी आराम से मेरी बसर हो जाएगी
आप की नज़र ए इनायत मुझ पे अगर हो जाएगी
ज़िंदगी आराम से मेरी बसर हो जाएगी
दिल में मेरे बस यही इक आखिरी अरमान है
हो गई तुमसे मोहब्बत जान भी क़ुरबान है
जान भी क़ुरबान है
दिल धड़कता है मेरा बस आप के आ जाने से
दिल धड़कता है मेरा
शम्मा भी जल जाती है परवाने के जल जाने से
शम्मा भी जल जाती है
दिल धड़कता है मेरा बस आप के आ जाने से
शम्मा भी जल जाती है परवाने के जल जाने से
बेवफा तुझ पर निछावर आज मेरी जान है
तू मेरा महबूब है
तू ही मेरा ईमान है
हो गई तुमसे मोहब्बत जान भी क़ुरबान है
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