Posts Tagged ‘1973’
Main hoon chhui mui
Posted on: April 14, 2024
This article is written by Arunkumar Deshmukh, 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 : |
5749 | Post No. : | 18272 |
Today’s song is from the film Chhupa Rustom-1973.
This was a Dev Anand film. Once upon a time, when I was very very young, I was very fond of his every film. He looked so cute, handsome and a real film Hero ! As the years rolled by, I saw less and less films. The last film that I enjoyed in which Dev was a hero was, perhaps, Guide -1965. Thereafter Dev Anand’s cute looks started fading, age was showing on his face and probably on his brain too, because he refused to accept that he was no more a cute looking actor. The result was saddening. Further, he was adamant in writing his own film stories, directing them and acting also as a Hero.
He no longer looked like his old self but refusal to accept it made Dev Anand get far away from his admirers. His films were failures, the audience was thin, but surprisingly he always got financiers to produce his films ! His other contemporary actor Heros like Raj Kapoor and Dilip Kumar had accepted the reality and adjusted to the roles in their new films, but Dev Anand was convinced that he would never look old,haggard or senior. So he continued his same old style of acting, choosing young Heroines- who would be like his daughters- whether it suited him or not.
From 1978 to 2011 he appeared in 18 films and 15 of them were directed by him. At the age of 88 years, he was the lead actor in his own film. Whatever he did in his later years gave his old admirers immense pain and sorrow but all this was pardoned for what he gave them when he was young and handsome ! His bank of popularity never became bankrupt for his old fans, because they shunned his later films but remembered Dev Anand of C.I.D., Paying Guest, Baazi, Patita, Taxi driver, Munimji, Pocket Maar, Funtoosh, Baarish, Kala Pani, Hum Dono and many more memorable films. For fans like me, he lived only in those films and after 1970, “our Dev Anand ” was not in the film line !
Dev Anand rejected many films where he did not have any songs. He never accepted sad and tragedy films. Unlike Dilip and Raj, he did not like ” Dying” at the end of a film. However, in his entire career, he ” died’ only TWICE in his films. First film was ” Zalzala”-1952 and the last was ” Guide’-1965. He was the hero in one English film “The Evil Within”-1970, made by 20th Century Fox of Hollywood. Baburao Patel of ” Film India ” magazine called him ‘ effeminate ‘. Wish Dev should have followed Shanta Apte’s example, but his temperament was different. he might not have had discretion of doing romantic roles in an unsuitable age, but surely he knew better than Ashok kumar not to work in Mythological or Historical war films and become an object of ridicule 1 (Watch Ashokmkumar in film ‘Humayun-1945’ of ‘ Uttara-Abhimanyu-1946’).
Film Chhupa Rustom was directed by Vijay Anand. Dev was paired with young and beautiful Hema Malini. Being his own company’s film, he was dominating in the film with cameras on him for a greater time, like always. The story of the film was…….
The Government of India had granted Rs.50,000/- to Prof. Harbanslal to conduct a study in the mountains bordering Tibet with India, called the Nangala Project. Harbans Lal(A.K.Hangal) is sure that within these ice-capped mountains lies an entire temple made of pure gold. When Vikram Singh (Ajit) and his son, Bahadur (Prem Chopra), find out about the Nangala Project, they abduct Harbans Lal in order to force him to reveal the exact location of this temple, in vain though and end up killing him.
Having failed in this venture, they kidnap the wife (Veena) and son of multi-millionaire Rajendra Jain(Sajjan) and demand that he get Bahadur married to his daughter, Ritu (Hema Malini). Rajendra discusses this matter with Ritu, and Ritu is ready and willing to do anything for her mother and brother. Rajendra hesitates, and soon he receives his wife’s thumb in the mail. Losing no time, Rajendra and Ritu make arrangements for the marriage and communicate accordingly with the kidnappers. Soon a wedding date is fixed, however, things do not go as planned as Ritu is abducted by a man called Natwarlal( Dev Anand) and taken to his hideout. While driving there, their car breaks down and they are forced to take a lift from Jimmy Fernandes (Vijay Anand), albeit at gunpoint. Jimmy drops them off at an isolated spot, leaving Natwarlal to work out the details of getting the ransom money from Rajendra. Before that could happen, Jimmy shows up and abducts Ritu.
With his wife and son still held captive with Vikram and his son, Rajendra is at his wits’ end as to whose life he should give priority to. Dev and his team kidnap Hema Malini, and get Ajit and his henchmen after them. The ruse is to somehow get the gangsters interested in Dev Anand, as the only person who can decipher the secret diary of Hangal, who is in Ajit’s custody. After more machinations, finally Dev Anand leads Ajit and Prem Chopra to the treasure, only to trap them in the underground vault, and extracts their confessions under the fear of death. Dev Anand reveals his identity. Ritu and Dev get United.
I always liked Vijay Anand – both as an actor and a director. Vijay Anand was a celebrated filmmaker, writer, editor, and actor in Hindi cinema. Known as “Goldie,” the younger brother of filmmaker Chetan Anand and matinée idol Dev Anand, Vijay Anand was born in Gurdaspur, Punjab, India on January 22, 1934. A very literate man, he graduated from Bombay University and while still a teenager wrote the script for his brother Dev Anand starrer “Taxi Driver” (1954), directed by his other brother Chetan Anand. The film, inspired by the crime thrillers of Hollywood, was released through their home production company Navketan, and became his first big hit.
“Nau Do Gyarah” (1957) was Vijay Anand’s directorial debut, which was based on his own script. The film starred his brother Dev Anand and Dev’s wife Kalpana Kartik. It became another hit. Goldie showed an exceptional visual style, especially when it came to picturizing song sequences. His next film was the story of a black marketer and his redemption in “Kaala Bazaar” (1960). The film starred his brother Dev again, along with Waheeda Rehman, who became a regular heroine for most Navketan films during that era. This was also the only film where all three brothers (Chetan, Dev, and Vijay Anand) acted together. “Tere Ghar ke Saamne” (1963) with Dev Anand and Nutan was a romantic comedy that became another hit. Goldie also wrote the screenplay for “Hum Dono” (1961) and supposedly ghost-directed the film as well.
His masterpiece as a filmmaker came with “Guide” (1965). Based on RK Narayan’s novel The Guide, the film is unforgettable for its bold themes about how a man (Dev Anand) and woman (Waheeda Rehman) live together outside the sanctity of a marriage. Composer S.D. Burman’s songs were given stunning visuals. The film became a huge hit and won several major awards, including two Filmfare Awards for Vijay himself for directing and for writing the dialogue for the film. With Guide, Vijay Anand became the Hindi film industry’s big star filmmaker. He was a visionary, a genius who could make intellectually stimulating films that could also generate profits and win industry awards. His next film also brought him everlasting glory. He directed and edited “Teesri Manzil” (1966) for producer and writer Nasir Husain. The film starred Shammi Kapoor and Asha Parekh and gave composer R.D. Burman (S.D. Burman’s son) his first major success. The film’s suspenseful story, combined with the stars’ romantic chemistry, and Burman’s modern songs, made it into another box office smash and a perpetual favorite among moviegoers.
Vijay Anand was at the pinnacle of his fame, when he went back to Navketan to direct the hit film “Jewel Thief” (1967). But there was a wrinkle. He found his “Jewel Thief” leading lady Vyjayantimala to be a distracted diva, especially after he enjoyed the professionalism and dedication of his previous leading ladies Waheeda Rehman and Asha Parekh. Nevertheless, Vyjayantimala gave a heartfelt and polished performance in “Jewel Thief,” and it seemed like Vijay Anand can do no wrong. But his next film proved otherwise.
After three hit films in a row (Guide, Teesri Manzil, Jewel Thief), Vijay Anand experienced his first flop. Initially, “Kahin Aur chal” (1968) had the makings of a hit, as it starred Dev Anand and Asha Parekh, who were both top box office draws in 1968, along with music composers Shanker-Jaikishen. But the film’s financier Tolaram Jalan wanted a flop film to adjust his income taxes, and so he took the film from Vijay Anand and released it in a single matinée show and then pulled it out. This experience pained the filmmaker, especially since the film never resurfaced again.
He bounced back with “Johnny Mera Naam” (1970), which grabbed the top stop at the box office in 1970. It starred Dev Anand and Hema Malini. Vijay Anand won two Filmfare Awards, one for editing and the other one for his screenplay. He then directed “Tere Mere Sapne” (1971) based on the A.J. Cronin’s novel “The Citadel.” He also played a supporting role as an alcoholic doctor. While the film became his personal favorite, it wasn’t a major success at the box office and became a turning point in his career. His subsequent films like “Blackmail” (1973), “Chhupa Rustom” (1973), “Bullet” (1976) were major disappointments. Also, at this time, Dev Anand was establishing himself as his own director.
At this time Vijay Anand was going through personal problems, as he married his much younger relative ( his sister’s daughter) and turned to a spiritual leader Godman Rajneesh. He did return to directing films with multi-starrers like Ram Balram (1980) and Rajput (1982) but the filming took a long time, because of the stars’ busy schedules and Anand felt he made too many compromises. He still made occasional films, such as Hum Rahe Na Hum (1984) and Main Tere Liye (1988) but these films lacked the famous Vijay Anand style. In all he directed 16 Hindi films.
Vijay Anand also acted in films for other directors, such as Double Cross (1973) and Ghungroo ki Awaaz (1980). Waheeda Rehman and Rakhee proclaimed him to be a genius filmmaker but also told the press that his acting skills paled in comparison to his directing skills. Generally it is believed that he made his acting debut with the film “Joru ka Bhai”-56. I always remember his small but eye-catching role of a journalist,in the initial part of the film Funtoosh-56. He acted in two major hit films, Kora Kagaz(1974) and Main Tulsi Tere Aangan ki (1978), but in both instances his acting was overshadowed by his leading ladies, Jaya Bhaduri and Nutan, who both won Filmfare Awards in the Best Actress category.
He acted in 13 films, including Funtoosh-56. In the early 1990s, he was seen in the television serial Tehqiqaat playing Sam the Detective. In 1997, his older brother Chetan Anand’s death devastated him. In 2001, he took over as the new censor board chief after Asha Parekh finished out her controversial three year term. Earlier, she hadn’t given clearance to his nephew Shekar Kapur’s film “Elizabeth” (1998) and several film industry insiders expected some tension between them, especially after Parekh admitted that she and Anand didn’t see eye-to-eye on policing adult films. But she invited him to her sixtieth birthday celebration in 2002, and they both celebrated the occasion as old friends and colleagues.
Anand was in the process of making another film with brother Dev Anand, when he died on February 23, 2004 due to a heart attack. He left behind his wife Sushma and son Vaibhav, an aspiring filmmaker. His grief-stricken older brother Dev Anand wept openly at the funeral.( Thanks to material from an article of Ramstep-IMDB, Ateet ke Sitare and my notes).
Today’s song is sung by Asha Bhosle. Written by Vijay Anand, it had music by Navketan’s favourite and regular Music director – S.D.Burman. This is the last and final song from this film. The film is YIPPEED now.
Audio
Video
Song- Main hoon chhui mui (Chhupa Rustam)(1973) Singer- Asha Bhosle, Lyricist-Vijay Anand, MD-S D Burman
Lyrics(Provided by Prakashchandra)
huhhh…hhh
chhuo naa..aaa
mar jaaoon sharmaa ke uyyee
main hoon chhui mui ee ee
aankhon se dekho lekin
chhuo naa aa aa
mar jaaoon sharmaa ke uyyee
main hoon chhuyee muyee ee ee
aankhon se dekho lekin
chhuo naa aa aa
mar jaaaon sharmaa ke
uyyee
khiltey ae aey ae
baagon..on kee main
komal
daalee ee
thheee…ee..ee ee
ghar mein..aen laakar
rakhaa..aaa..aa tumney
chaahaa..aaa dil se
phir bhee..ee..ee
murjhaaaaoon..oon oon
mar jaaoon
huhh
mar jaaoon sharmaake uyyee
main hoon chhuyee muyee ee ee
aankhon se dekho lekin
chhuo naa aaaa
mar jaaaon sharmaake uyee
madiraa aa aa
ki hoon oon pyaalee
lekin
chhoti ee ee ee
seee ee ee
pyaasey ae
ho tum
kuyein jaisey
thhar thhar..rrr…rrr kaanpoon
main..ae ae
dar jaa..aa aaoon oon
mar jaaoon
huhh
mar jaaoon sharmaa ke uyee
main hoon chhuyyee muyee ee ee
aankhon se dekho lekin
chhuo naa aaaa aaa
mar jaaaon
sharmaa ke
uyee
main hoon chhui mui eee
aankhon se dekho lekin
chhuo naa..aa aaa
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 : |
5670 | Post No. : | 18178 |
Greetings and wishing all friends and readers a very Happy and a Promising Republic Day.
The nation has come a long way from the first Republic Day in 1950. 73rd celebration of this momentous event that proclaimed and established India as a Republic. The new Constitution of the nation, which had been under discussion, preparation, reviews and approval process for the previous three years, was finally signed by the members of the Constituent Assembly and adopted as the guiding document for the nation.
The Constituent Assembly was setup in December of 1946 with 389 members – partly elected by the Provincial Assemblies and partly nominated. Some members got disengaged from the team during it progress through the years. On the day it was adopted, the membership stood at 299. The major drafting work was done by the seven member drafting committee, led by Dr BR Ambedkar. The other six members of the drafting committee were KM Munshi, Muhammed Sadulla, Alladi Krishnaswamy Iyer, N Gopalaswami Ayyangar, Devi Prasad Khaitan and BL Mitter.
The signing ceremony took place on 24th January, 1950, and the Constitution came into force on 26th Januray.
It is interesting to know – in the intervening period of about 3 years, i.e. from 15th August 1947 to 26th January, 1950, India continued to have a status of a Dominion under the British Crown. The defense forces of the country were controlled by the British. India continued to be governed by the Govt Of India Act (1935).
A part of the Constitution – 16 articles of the total 395 articles – came into force on 26th November 1949. Finally, on 26th January 1950, the previous governing instruments i.e. the Govt Of India Act (1935) and the Indian Independence Act (1947), both belonging to the British regime, were officially repealed and India was declared a Republic. Over years, more than 100 amendments have been made to the constitution, bringing the total no. of articles to 470.
Lest we forget, the Preamble of our Constitution states as follows,
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.
A powerful set of statements, established by profound thought and discussion, from which flow all the remaining components of the Constitution, and all the laws that are enacted by the Parliament or State Assemblies must adhere to this framework.
Independence came to our nation on 15th August, 1947, but the concluding part of this process that established the sovereignty and the framework to govern came on 26th January, 1950.
An event of profound significance, it is a celebration of continued existence of this nation.
I present today, a poetry snippet from the 1973 film by Chetan Anand – ‘Hindustan Ki Kasam’. The film is a life drama that plays itself out on the background of the India-Pakistan war of 1971. The films is a salute the guardians of the independence and sovereignty of our nation – our armed forces.
There are two parts to this snippet. The first part is rendered at the beginning of the film. The scene is simply the view from a plane in its flight through the clouds and its landing back on the ground. This part is in the background. The rendering voice clearly is of Chetan Anand. This part is setting the stage for the second part. It is a brief summary of the message of Bhagvadgita – as Krishna tells Arjun the secrets of Atma and non-attachment.
The second part of this snippet is delivered by Ranbir (role played by Vijay Anand). He is a Wing Commander with the Indian Air Force. He is posted on a forward air base. He flies sorties to counter enemy planes and attack enemy on the ground. He is celebrating his promotion at a party when the war breaks out.
The scene is of this snippet is that he is ready to take off on a sortie. In the maintenance hangar he spends a few minutes with his friends on the maintenance team. A jolly exchange about the birth of a son to one of the mechanics leads into the question – when will this war come to an end. Vijay Anand responds by talking about the message of Karma from the Bhagvadgita. He mentions that he learnt it from the writings of a poet of Urdu. The mechanics team requests to listen to that poetry. And the pilot obliges by reciting the lines he has read.
Then he marches off to his plane, never to return – his plane is shot by the enemy during that sortie, and he is fatally injured.
The verses are written by Kaifi Azmi. Chetan Anand, the director, has made excellent use of the message of Bhagvadgita as a preamble to the call of duty that a soldier, a pilot has to respond to.
The two brothers, Chetan and Vijay, need no introduction. This trio of brothers – with Dev Anand – is the second most prominent family in Hindi films, next only to the Kapoors. Last Monday, 22nd January, it was the birth anniversary of the youngest of these three – Vijay, also known by his other popular name – Goldie. Born on 22nd January in 1934 at Gurdaspur in Punjab, he is probably the most talented of all the three brothers.
But it has to be a passing reference today. Will take another opportunity to write more about him.
Once again, greetings for the Republic Day.
And an honorable tribute to our defense forces – the guardians of our independence and sovereignty.
Song – Dosto Hum Aaj Ke Arjun Hi To Hain (Hindustan Ki Kasam) (1973) Singer – Chetan Anand, Vijay Anand, Lyrics – Kaifi Azmi, MD –
Lyrics
Part I
aur phir krishn ne arjun se kaha
na koi bhai na beta na guru
ek his shakl ubharti hai har aaine mein
aatma marti nahin
jism badal leti hai
dhadkan is seene ki ja chhupti hai us seene mein
jism lete hain janam
jism fana hote hain
jism lete hain janam
jism fana hote hain
aur jo ik roz fana hoga
wo paida hoga
ik kadi tootti hai
doosri ban jaati hai
khatm ye silsila e zindagi phir kya hoga
Part II
saathiyo dosto
hum aaj ke arjun hi to hain
hum se bhi krishn yahi kehte hain
ke zindagi sirf amal
sirf amal
sirf amal
aur ye bedard amal suleh bhi hai jung bhi hai
aman ki mohini tasveer mein hain jitney rang
unhin rangon chhupa khoon ka ek rang bhi hai
jung rehmat hai ke laanat
ye sawaal ab na utha
jung jab aa hi gayi sar pe
to rehmat hogi
door se dekh na bhadke huye sholon ka jalaal
isi dozakh ke kisi koney mein jannat hogi
saathiyo dosto
hum aaj ke arjun hi to hain
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Hindi script lyrics (Provided by Sudhir)
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Part i
और फिर कृष्ण ने अर्जुन से कहा
ना कोई भाई ना बेटा ना भतीजा ना गुरु
एक ही शक्ल उभरती है हर आईने में
आत्मा मरती नहीं
जिस्म बादल लेती है
धड़कन इस सीने की जा छुपती है उस सीने में
जिस्म लेते हैं जनम
जिस्म फना होते हैं
जिस्म लेते हैं जनम
जिस्म फना होते हैं
और जो इक रोज़ फना होगा
वो पैदा होगा
इक कड़ी टूटती है
दूसरी बन जाती है
खत्म ये सिलसिला ए ज़िंदगी फिर क्या होगा
Part II
साथियो दोस्तो
हम आज के अर्जुन ही तो हैं
हम से भी कृष्ण यही कहते हैं
के ज़िंदगी सिर्फ अमल
सिर्फ अमल
सिर्फ अमल
और ये बेदर्द अमल सुलह भी है जंग भी है
अमन की मोहिनी तस्वीर में हैं जितने रंग
उन्हीं रंगों में छुपा खून का एक रंग भी है
जंग रहमत है के लानत
ये सवाल अब ना उठा
जंग जब आ ही गई सर पे
तो रहमत होगी
दूर से देख ना भड़के हुये शोलों का जलाल
इसी दोज़ख के किसी कोने में जन्नत होगी
साथियो दोस्तो
हम आज के अर्जुन ही तो हैं
Liye chal gadiyaa o mere mitwaa
Posted on: January 20, 2024
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 : |
5664 | Post No. : | 18166 |
‘Door Naheen Manzil’ (1973) was produced and directed by Hari Walia. The cast included Sanjeev Kumar, Reshma, Pradeep Kumar, Faryal, Durga Khote, Suresh, Ramavatar, Sadhana Khote etc, with special appearances of Manmohan Krishna, Hina Kausar, Joginder, and Maruti. The film was released on October 9, 1973.
It would appear that the film was in the making for a long time. The original music director was Roshan who had recorded a title song of the film. After his death on November 16, 1967, Shankar-Jaikishan were roped in. The film’s original cast included Nutan in the lead role. However, she withdrew from the film after she had some problem with Sanjeev Kumar while working with him in the film ‘Devi’ (1970). Nutan was replaced by debutant Reshma. Some online references mention her to be one of the sisters of Bindu. Reshma does have some facial resemblance of Bindu.
There may be about a dozen Hindi films with the stories of two brothers falling in love with the same girl, generally with one responsible brother and the other, the brat. Finally, one of the brothers get the girl. But in ‘Door Naheen Manzil’ (1973), the circumstances makes the elder brother to take care of the girl who is supposed to be abandoned by a man the elder brother is not aware. It is only when they meet after a long time that the man is none other than his younger brother. The girl comes to know about the circumstances and now she is caught between a younger brother whom she loved and his elder brother who has given her shelter when she needed badly being an orphan. How does this tangle get resolved?
The story of the film is as under:
Kewal (Sanjeev Kumar) is a pilot in Air India on international routes. He is in love with Anjali (Reshma) who is an orphan and works as a Nurse in a hospital. Whenever, Kewal comes back to Mumbai from his international travels, he meets Anjali and spend times with her. In one of such meetings, they were required to spend a night together in a hotel because she was late for returning to her hospital quarters whose gate closes early in the night. He intends to marry her on his return from the next international flight as she carries his child in her womb.
Shankar (Suresh), his childhood friend who is also in Mumbai has become an alcoholic and a womaniser. Many times, Kewal has caught Shankar in inebriated conditions during which he was trying to molest ladies. He has warned Shankar to desist from such acts. For this reason, Shankar is angry as well jealous with Kewal for his relations with Anjali. Shankar plans to retaliate.
Anjali meets a Dadi Maa (Durga Khote) in her hospital whose grandson, Guddu (Master Ratan) has been admitted here. Anjali tends Guddu in the hospital and after his discharge, she meets Dadi Maa and Guddu periodically in their temporary residence in Mumbai to enquired about the well-being of Guddu.
One day, Anjali sees a photograph of Kewal with a lady in a newspaper with a caption that they are going to get married. Anjali is shocked and she has no one to share her trauma except Dadi Maa who suggests her to join her on her return journey to thier native place and spend sometime to get over the trauma. Anjali resigns from her job and goes with Dadi Maa and Guddu.
In the native place, Dadi Maa lives in a palatial house where her son Ashok (Pradeep Kumar) is in timber business and owns a large chunk of land. Guddu is his son from his wife who had ditched him after having extra-marital relationship with a man. This has created hatred for woman in the mind of Ashok. As a result, he resents the presence of Anjali in the house. Days pass and there is always some conflicts between him and Anjali about her singing, placing more idols of Gods in the house etc.
After knowing the reasons for his bizarre behaviour, Anjali tries to pacify him by saying that just because of the wrong doing of one woman, it is not right to treat all women in the same yardstick. Gradually, Ashok mellows down and starts behaving normally with Anjali when he comes to know that like him, she is also the victim of a man who have discarded her after she had become pregnant from him. Ashok assures Anjali that he would take care of her and also of her child when born.
When things have nicely settled down for Anjali, she faces yet anther litmus test. Kewal after returning from the international flight, comes to know that Anjali has resigned from her job and has left the city for some unknown destination. He gets worried as she has no one in the family or friends to guide her. After not finding her anywhere, Kewal decides to visit his native place for a change which he had abandoned long time back.
One day, Anjali is shocked to find Kewal sitting in her house. Soon Dadi Maa and Ashok come to the house and are delighted to see Kewal after a long time. Kewal is the second son of Dadi Maa and the younger brother of Ashok. Anjali is in a piquant situation. She is caught between two brothers – one, whom she loved and the other, who gave her the shelter. In this milieu, Anjali leaves the house without the knowledge of anyone. At nick of the time, Ashok reaches the railway station where she is waiting for the train to arrive. He takes her back to the house but she does not disclose the reason for abruptly leaving the house.
Anjali’s closeness to Ashok creates a doubt in the mind of Kewal. He fails to get the reasons from Anjali for her unusual behaviour with him. He goes to a local bar for a drink where he meets Shankar who has also come to the native place to meets his blind grandfather and his sister (Faryal). Kewal is worried that Shankar may spill the beans about his relations with Anjali to Ashok. His fear becomes true as Shankar, in an inebriated condition, goes to Ashok and Shankar follows him. When he is about to spill the beans, Kewal pounced upon him. After a brief fight with Kewal, Shankar manages to kidnap Anjali to drive her out of the place. But his sister comes on the way and injures Shankar by firing from the revolver belonging to him. The police team comes and arrest him.
Before he is taken to the police station, Shankar requests the police to allow him to make a confession in the presence of Ashok, Kewal and Anjali. He reveals that just to create a rift between Kewal and Anjali, it was he who got published the fake news in the papers with the photograph of Kewal and a lady with the caption that they are going to get married. The film ends with Ashok performing the ritual of uniting Kewal and Anjali.
From the story, I feel that with Nutan being the original lead actress, it was planned to be a woman-oriented film. With Reshma taking Nutan’s place, her role seems to be somewhat watered down. The film suffers from some continuity problems probably arising out of a long delay in completion of the film during which the film’s shooting may have been halted for a long period. The move over from one scene to another in couple of places does not appear to be linear narrations nor the flashback. Probably, it may be some kind of editing errors while converting the film from VHS tapes to VCD. It was only when I watched the second half of the film, I could get some connection in the story. For example, I did not understand what is the role of Shankar (Suresh) in the first half of the film – a villain or a supporting character who comes in contact with Kewal (Sanjeev Kumar). It was only in the second half I came to know that Shankar and Kewal belonged to the same native place and they were childhood friends. But later on, Shankar had developed a hatred for Kewal out of jealousy.
‘Door Naheen Manzil’ (1973) had 5 songs with one song spread over to 3 different scenes in the film. The songs were written by Anjaan (3) and Indeevar (2) which were set to music by Shankar-Jaikishan (4) and Roshan (1). Except the one, I found rest of the songs melodious. Two songs have already been covered on the Blog. I present the 3rd song, “Liye Chal Gadiyaa O Mere Mitwaa” to appear on the Blog. The song is written by Indeevar and is rendered by Suman Kalyanpur on the music direction of Roshan. It is a ‘boat song’ (or a raft song?) picturised on Reshma and Sanjeev Kumar when they go for a ride during their romantic sojourn prior to their forthcoming marriage. Incidentally, this is the last released song of Roshan after his death in November 1967.
The film’s soundtrack has three antaras of the song while the audio clip has two antaras. This is a typical Roshan composition with sitar and flute recitals dominating in the prelude. The rhythm pattern used in the song gives a feel of a boat song.
Video Clip:
Audio Clip:
Song-Liye chal gadiyaa o mere mitwaa (Door Naheen Manzil)(1973) Singer-Suman Kalyanpur, Lyrics-Indeewar, MD-Roshan
Lyrics (Based on Video Clip):
liye chal gadiya
o mere mitwa
door naheen manzil
o o o door naheen manzil
liye chal gadiya
o mere mitwa
dekho deewaani hawa
le udi aanchal mera
dekho deewaani hawaa..
le udi aanchal mera
dheere dheere dil bhara
jiyaa ghabraaye
meraa jiyaa ghabraaye
tan mein bijlee leharaaye ae piya
liye chal gadiya
o mere mitwa
door naheen manzil
o o o door naheen manzil
khush bahut hain aaj hum
maang le kuchh bhi sanam
khush bahut hain aaj hum
maang le kuchh bhi sanam
tujhse pyaaraa kuchh nahin
dilon jaan hain tu
meri dilon jaan hai tu
tere naam sab kuchh kar diya
liye chal gadiya
o mere mitwa
door naheen manzil
o o o…
wo lagi mann mein agan
piglaa jaataa hai badan
wo lagi mann mein agan
piglaa jaataa hai badan
pyaar ki sheetal kiran
sholaa banti jaaye
sholaa banti jaaye
toone mujhko ye kya kar diya
liye chal gadiya
o mere mitwa
door naheen manzil
o o o door naheen manzil
liye chal gadiya
o mere mitwa
door naheen manzil
o o o door naheen manzil
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
ले चल गडिया
ओ मेरे मितवा
दूर नहीं मंज़िल
ओ ओ दूर नहीं मंज़िल
लिए चल गडिया
ओ मेरे मितवा
देखो दीवानी हवा
ले उड़ी आँचल मेरा
देखो दीवानी हवा
ले उड़ी आँचल मेरा
धीरे धीरे दिल भरा
जिया घबराए
मेरा जिया घबराए
तन में बिजली लहराए॰॰ए पिया
लिए चल गडिया
ओ मेरे मितवा
दूर नहीं मंज़िल
ओ ओ दूर नहीं मंज़िल
खुश बहुत हैं आज हम
मांग ले कुछ भी सनम
खुश बहुत हैं आज हम
मांग ले कुछ भी सनम
तुझसे प्यारा कुछ नहीं
दिल ओ जान है तू
मेरी दिल ओ जान है तू
तेरे नाम सब कुछ कर दिया
लिए चल गडिया
ओ मेरे मितवा
दूर नहीं मंज़िल
ओ ओ
वो लगी मन में अगन
पिघला जाता है बदन
वो लगी मन में अगन
पिघला जाता है बदन
प्यार की शीतल किरण
शोला बनती जाये
शोला बनती जाये
तू ने मुझको ये क्या कर दिया
लिए चल गडिया
ओ मेरे मितवा
दूर नहीं मंज़िल
ओ ओ दूर नहीं मंज़िल
लिए चल गडिया
ओ मेरे मितवा
दूर नहीं मंज़िल
ओ ओ दूर नहीं मंज़िल
Achcha hee hua dil toot gayaa
Posted on: December 24, 2023
- In: Background song | Devnagri script lyrics by Avinash Scrapwala | Feelings of heart | Guest posts | Lyrics contributed by readers | Multiple version song | Post by Avinash Scrapwala | Rafi solo | Rafi songs | Sharda solo song | Sharda songs | Songs of 1970s (1971 to 1980) | Songs of 1973 | Yearwise breakup of songs
- Leave a Comment
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5637 | Post No. : | 18128 |
#the Decade of Seventies – 1971 – 1980 #
———————————————————–—-
The song under discussion song is from the ‘1973’ movie ‘Maa Behan Aur Beewee’.
It is a multiple version song sung by Mohd Rafi and Sharda.
Today 24th December’2023 is the ninety-ninth birth anniversary of the legendary singer – ‘divine voice’ – Mohd Rafi. He was born on 24th December’1923 and he passed away on 31st July’1980.
We are all aware of Mohd Rafi as a ‘great singer’ and a ‘great human being’. Much has already been written about him on this blog and in print and digital media. So I will not repeat the same again today in this article here.
From my side as a tribute to Mohd Rafi I am presenting this song which was requested by our dear Dr Pradeep Shetty ji and it is lying with us for several months. Doctor Saab was supposed to present this song here, but he couldn’t do it due to some reasons.
As per our blog statistics the total song tally of Mohd Rafi is mentioned as ‘4846’ songs. We have so far covered 3293 songs on the blog out of these 4846 songs. It means we still have 1553 songs yet to be posted on the blog. I am not aware whether all the remaining songs are available. It is possible that we may have lost some songs or they may not be available currently. There are many non-film songs sung by him as well. So, it is still a long way to go to have all Rafi Saab songs (from films at least) on this wonderful blog.
The movie of the song under discussion, viz. “Maa Behan Aur Beewee-1973” was directed by Harbans Kumar for ‘Global Films, Bombay’. It had Kabir Bedi, Prema Narayan, Raj Kishore, Jankidas, Sushma, Renu, Samar Deep, Tuntun, Jugal Kishore, Kaushal Raj, Chanda, Moolchand, Eliot Sampson, James Bond, Narmada Shankar, Fatima Rizvi, Raj Kaul, Feroza Damaniya, Thakur Chhabda, Rajesh Mekin, Hangama, Fazal Khan, Master Shaka, Shetty and others. David, Anjana Mumtaz and Tabassum had a special appearance in this movie.
I have not watched this movie or read about it, so I can’t say anything about today’s movie in this article. This song is composed by Sharda and lyrics are written by Qamar Jalalabadi-Vedpal Verma. Geet Kosh has mentioned the name of these two lyricists for all the songs of this movie. From my side I have tried to compile the list of movies where music is composed by Sharda and the number of Rafi songs therein. I would like to present this list as given below. The today’s movie was the first movie of Singer Sharda (1933-2023) as a ‘music-director’.
| SNo | Title of the Movie/Year | Director | Songs in the movie | Rafi Solo | Rafi Duets/ song with more than two singers |
|---|---|---|---|---|---|
| 01 | Maa Behan Beewee/1973 | Harbans Kumar | 06 | 1 | 0 |
| 02 | Gharibi Hataao/1973 | R.K. Middha | 06 | 1 | 0 |
| 03 | Kshitij/1974 | Prem Kapoor | 04 | 0 | 1 |
| 04 | Zamaane Se Poochho/1976 | Abrar | 07 | 1 | 1 |
| 05 | Mandir Masjid/1977 | Mohd Hussain | 05 | 1 | 2 |
| 06 | Zehreelee/1977 | V.N. Reddy | 03 | 0 | 1 |
| 07 | Hazaar Haath/1978 | Rajdeep | 06 | 0 | 1 |
| 08 | Tu Meri Main Tera/1980 | Kewal Mishra | 05 | 5 | 1 |
| 09 | Mailaa Aanchal/1981 | Surendra S. Kapoor | 07 | 1 | 0 |
| TOTAL NO OF SONGS | 49 | 10 | 7 | ||
From the above table we can see that the voice of Mohd Rafi featured in 17 songs out of 49 songs composed by Singer-Composer Sharda.
Mohd Rafi was nominated for the ‘Best Playback Singer –Male’ for this song sung by him. (That year, it was Mahendra Kapoor who won this award for ‘Roti Kapada Aur Makaan’).
This song (both version) is played in the background. We can see Kabir Bedi, Prema Narayan and two others (whom I unable to identify) present in the picturisation of this song. While in the picturisation of the female version of this song we can see Anjana Mumtaz, Kabir Bedi and Prema Narayan in the present there.
The lyrics of this song are quite meaningful and it is a nice song to listen to. One song from this movie “Maa Behan Beewee” has been posted on the blog earlier. This song is the second song from this movie to be presented on this blog.
Let us now listen to the song and watch its picturisation …
(video, male version)
(audio, male version)
(video, female version)
(audio, female version)
Song-Achcha hi hua dil toot gaya (Maa Behan Aur Beewee)(1973) Singer-Rafi/ Sharda, Lyrics-Qamar Jalalabadi+Vedpal Verma, Music-Sharda
Lyrics
—————————
(Male version)
—————————
achchhaa hi huaa
dil toot gayaa …
achchhaa hi huaa
dil toot gayaa
achchhaa hi kiyaa
jo toone kiyaa
loongaa na kabhi
ab naam e wafaa
achchhaa hi huaa
dil toot gayaa
achchhaa hi kiyaa
jo toone kiyaa
loongaa na kabhi
ab naam e wafaa
achchhaa hi huaa
dil toot gayaa
thhaa jinkaa roop
nigaahon mein ae
wo hain ghairon ki
baahon mein
thhaa jinkaa roop
nigaahon mein ae
wo hain ghairon ki
baahon mein
kis baat ka badlaa
mujhse liyaa
haaye mujhse liyaa
achchhaa hi huaa
dil toot gayaa
achchhaa hi kiyaa
jo toone kiyaa
loongaa na kabhi
ab naam e wafaa
achchhaa hi huaa
dil toot gayaa aa
naqli thhe phool
mohabbat ke ae
jhoothhe thhe vaade
ulfat ke
naqli thhe phool
mohabbat ke ae
jhoothhe thhe vaade
ulfat ke ae
har bandhan se
main chhoot gayaa
haaye chhoot gayaa
achchhaa hi huaa
dil toot gayaa
achchhaa hi kiyaa
jo toone kiyaa
loongaa na kabhi
ab naam e wafaa
achchhaa hi huaa
dil toot gayaa aa
dil mein to sochaa
kya kya thhaa aa
tera pyaar to
ret ka dariyaa thhaa
dil mein to sochaa
kya kya thhaa
tera pyaar to
ret ka dariyaa thhaa
naa tair sakaa
naa doob sakaa
naa doob sakaa
achchhaa hi huaa
dil toot gayaa
achchhaa hi kiyaa
jo toone kiyaa
loongi na kabhi
ab naam e wafaa
achchhaa hi huaa
dil toot gayaa aa
achchhaa hi huaa
dil toot gayaa
achchhaa hi kiyaa
jo toone kiyaa
loongi na kabhi
ab naam e wafaa
achchhaa hi huaa
dil toot gayaa aa
——————————————
(Female version)
——————————————
achchhaa hi huaa
dil toot gayaa
achchhaa hi kiyaa
jo toone kiyaa
loongi na kabhi
ab naam e wafaa
achchhaa hi huaa
dil toot gayaa
achchhaa hi kiyaa
jo toone kiyaa
loongi na kabhi
ab naam e wafaa
achchhaa hi huaa
dil toot gayaa
thhaa jinkaa pyaar
nigaahon mein ae
wo hain gairon ki
baahon mein
thhaa jinkaa pyaar
nigaahon mein ae
wo hain gairon ki
baahon mein
kis baat ka badlaa
mujhse liyaa
haay mujhse liyaa
achchhaa hi huaa
dil toot gayaa
achchhaa hi kiyaa
jo toone kiyaa
loongi na kabhi
ab naam e wafaa
achchhaa hi huaa
dil toot gayaa aa
asli hain phool
mohabbat ke ae
sachche thhe vaade
ulfat ke
asli hain phool
mohabbat ke ae
sachche thhe vaade
ulfat ke
par tu unko naa
naa jaan sakaa
naa jaan sakaa
achchhaa hi huaa
dil toot gayaa
achchhaa hi kiyaa
jo toone kiyaa
loongi na kabhi
ab naam e wafaa
achchhaa hi huaa
dil toot gayaa aa
dil mein to sochaa
kya kya thhaa
tera pyaar to
ret ka dariyaa thhaa
dil mein to sochaa
kya kya thhaa
tera pyaar to
ret ka dariyaa thhaa
dil pyaasaa thhaa
pyaasaa hi rahaa
pyaasaa hi rahaa
achchhaa hi huaa
dil toot gayaa
achchhaa hi kiyaa
jo toone kiyaa
loongi na kabhi
ab naam e wafaa
achchhaa hi huaa
dil toot gayaa aa
————————————-
Devnagri script lyrics (Provided by Avinash Scrapwala)
————————————-
(पुरुष स्वर)
——————————–
अच्छा ही हुआ दिल टूट गया
अच्छा ही हुआ दिल टूट गया
अच्छा ही किया जो तूने किया
लूँगा ना कभी अब नाम-ए-वफ़ा
अच्छा ही हुआ दिल टूट गया
अच्छा ही किया जो तूने किया
लूँगा ना कभी अब नाम-ए-वफ़ा
अच्छा ही हुआ दिल टूट गया
था जिनका रूप निगाहो में
वो है गैरो की बाहों में
था जिनका रूप निगाहो में
वो है गैरो की बाहों में
किस बात का बदला मुझसे लिया
हाय मुझसे लिया
अच्छा ही हुआ दिल टूट गया
अच्छा ही किया जो तूने किया
लूँगा ना कभी अब नाम-ए-वफ़ा
अच्छा ही हुआ दिल टूट गया
नकली थे फूल मोहब्बत के
झूठे थे वादे उल्फ़त के
नकली थे फूल मोहब्बत के
झूठे थे वादे उल्फ़त के
हर बंधन से मैं छूट गया
हाय छुट गया
अच्छा ही हुआ दिल टूट गया
अच्छा ही किया जो तूने किया
लूँगा ना कभी अब नाम-ए-वफ़ा
अच्छा ही हुआ दिल टूट गया
दिल में तो सोचा क्या क्या था
तेरा प्यार तो रेत का दरिया था
दिल में तो सोचा क्या क्या था
तेरा प्यार तो रेत का दरिया था
ना तैर सका ना डूब सका
ना डूब सका
अच्छा ही हुआ दिल टूट गया
अच्छा ही किया जो तूने किया
लूँगा ना कभी अब नाम-ए-वफ़ा
अच्छा ही हुआ दिल टूट गया
अच्छा ही किया जो तूने किया
लूँगा ना कभी अब नाम-ए-वफ़ा
अच्छा ही हुआ दिल टूट गया
——————————-
(महिला स्वर)
——————————–
अच्छा ही हुआ दिल टूट गया
अच्छा ही किया जो तूने किया
लूँगी ना कभी अब नाम-ए-वफ़ा
अच्छा ही हुआ दिल टूट गया
अच्छा ही किया जो तूने किया
लूँगी ना कभी अब नाम-ए-वफ़ा
अच्छा ही हुआ दिल टूट गया
था जिनका प्यार निगाहो में
वो है गैरो की बाहों में
था जिनका प्यार निगाहो में
वो है गैरो की बाहों में
किस बात का बदला मुझसे लिया
हाय मुझसे लिया
अच्छा ही हुआ दिल टूट गया
अच्छा ही किया जो तूने किया
लूँगी ना कभी अब नाम-ए-वफ़ा
अच्छा ही हुआ दिल टूट गया
असली हैं फूल मोहब्बत के ए
सच्चे थे वादे उल्फ़त के
असली हैं फूल मोहब्बत के ए
सच्चे थे वादे उल्फ़त के
पर तू उनको ना जान सका
ना जाना सका
हाय छुट गया
अच्छा ही हुआ दिल टूट गया
अच्छा ही किया जो तूने किया
लूँगी ना कभी अब नाम-ए-वफ़ा
अच्छा ही हुआ दिल टूट गया
दिल में तो सोचा क्या क्या था
तेरा प्यार तो रेत का दरिया था
दिल में तो सोचा क्या क्या था
तेरा प्यार तो रेत का दरिया था
दिल प्यासा था
प्यासा ही रहा
प्यासा ही रहा
अच्छा ही हुआ दिल टूट गया
अच्छा ही किया जो तूने किया
लूँगी ना कभी अब नाम-ए-वफ़ा
अच्छा ही हुआ दिल टूट गया
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 : |
5597 | Post No. : | 18072 |
“Chhupa Rustam”(1973) was produced and directed by Vijay Anand for Navketan Enterpreises, Bombay. The movie had Dev Anand, Hema Malini, Vijay Anand, Prem Chopra, Bindu, Ajit,Veena, Sajjan, A.K.Hangal, Late Rashid Khan, Shyam Kumar, Anil, Kirti Kumar, Sudhir, Manohar, Bipin Nesargi, Uma Dutt, Dhannalal, Bihari, Nawab, Gopal Srivastav, Rattan Gaurang, Kishen Bahadur, Gopal Bhutani, Ujagar Singh, Noshir, R.D.Khan etc in it. Kamran figured in guest appearance and Premnath in special appearance in the movie.
“Chhupa Rustam”(1973) had seven songs in it. Five songs have been covered so far.
Here is the sixth song to appear in the blog. This song is sung by Lata Mangeshkar. Neeraj is the lyricist. Music is composed by S D Burman.
The song is picturised as a flashback song on Hema Malini, Dev Anand and Vijay Anand.
Lyrics of the song and other details were sent to me by Prakashchandra.
Video link:
Audio link:
Song-Suno suno suno meree dukh bharee daastaan (Chhupa Rustam)(1973) Singer-Lata, Lyrics-Neeraj, MD-S D Burman
Lyrics(Provided by Prakashchandra)
oooo
oooo
ooo
ooo
koyee hai ae ae ae jo..oo suney aey ae
suno suno suno meri
dukh bhari daastaan..aaan
dukhbhari meri daastaan
ho o ho o o
suno suno suno meri
dukh bhari daastaan..aaan
dukhbhari meri daastaan
jalaa mera aashiyaan..aan…aaan…aa
haayye main kyaa karoon
ho o o
suno suno suno meri
dukh bhari daastaan..aaan
dukhbhari meri daastaan
Maa meri khoyee..eee
bhai mera khoyaa
pyaar bhari duniyaa..aa aa mit gayee..eee
Maa meri khoyee..eee
bhai mera khoyaa
pyaar bhari duniyaa..aa mit gayee..eee
mehlon ki raanee
banee hai bhikhaarin
beech dagar main to..oo
lut gayee
jalaa meraa aashiyaan..aan..aaan
haayye main kyaa karoon..oon
ho o o
suno suno suno meri
dukh bhari daastaan..aaan
dukh bhari meri daastaan..aan
huhh bairi hai zamanaaa
gaaon hai ajaanaa
raahein mushqil
jahaan mujhe jaanaa
honthh siley mere..aey ae
paaon bandhey mere
nainon mein aansoon kee hathhkadee
honthh siley mere..aey ae
paaon bandhey mere
nainon mein aansoon kee hathhkadee
idhar udhar merey aey ae
khadey hain luterey
dekhey koyi meri bebasi
jalaa mera aashiyaan..aa..aan…aa
haayye main kyaa karoon
ho o o
suno suno suno meri
dukh bhari daastaan..aaan
dukhbhari meri daastaan..aan
jalaa mera aashiyaan..aan…aaan…aan…aa…aan..aa…aaa
haayye main…aen..aen kyaa karoon
Mere hamraahee mere pyaar
Posted on: June 27, 2023
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5457 | Post No. : | 17873 | Movie Count : |
4775 |
#the Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # (Missing movies of 1973-Hifaazat-23)
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Today we pay our tributes to one of the greatest music directors of Hindi Cinema i.e. Rahul Dev Burman. He was born on this day i.e. 27th June, 1939 and passed away on 04th Jaunary, 1994. Had he been alive today he would have turned eighty four years old. But he left us at the age of fifty-five only. In his last days he suffered on both health ground and mentally he was upset for treatment given to him in those troubled days by the industry and peoples around him.
Today I am presenting a song from a lesser known movie where the music was composed by RD Burman. This movie is ‘Hifaazat’ from 1973. This movie is making its debut on the blog today.
When I came across this movie title in HFGK and noted that this is yet to be represented on the blog I was surprised. Since the music of this movie was composed by none other than RD Burman. It was a fact that I could not digest because one, I would never expect a film where the music was composed by RD Burman and that two, from the seventies, could be still missing from the blog. Those were the years when RD Burman was ruling the charts. But then there have been such instances for example films like ‘Jeewan Mukt’ (1977), ‘Nafrat’ (1973) etc. where the songs didn’t get popular but were later termed as ‘good songs’ and even ‘classics’ in some cases. I have given these examples that happened in my case, where I was not aware of the songs of this movie and got to know about them after coming into contact with this blog over the years since 2012. Earlier I was under the impression that I am aware of all the songs composed by RD Burman but that was not the case and I got to listen many of his songs in these years after 2012 when I become associated with this blog.
Same is the case with today’s movie ‘Hifaazat’ of 1973. I do not remember haivng heard the songs associated with this movie title of 1973 earlier (of course, I remember the later ‘Hifaazat’ of 1987’). For today’s post we will consider the movies of 1973 for which RD Burman had composed the music.
Here is the list.
| Sl. No. | Movie Title | Director | Lyricist | Status on Blog |
|---|---|---|---|---|
| 1 | Aa Gale Lag Jaa | Manmohan Desai | Sahir Ludhianvi | Yippeeee’ed |
| 2 | Anaamikaa | R. Jhalani | Majrooh Sultanpuri | Yippeeee’ed |
| 3 | Badaa Kabutar | Deven Verma | Yogesh | Represented |
| 4 | Bandhe Haath | O.P. Goyale | Majrooh Sultanpuri | Yippeeee’ed |
| 5 | Chhalia | Mukul Dutt | Rajinder Krishan | Yippeeee’ed |
| 6 | Do Phool | S. Ramnathan | Majrooh Sultanpuri | Represented |
| 7 | Double Cross | Gogi Anand | Majrooh Sultanpuri | Represented |
| 8 | Heeraa Pannaa | Dev Anand | Anand Bakshi | Yippeeee’ed |
| 9 | Hifaazat | K.S.R. Dass | Majrooh Sultanpuri | Missing |
| 10 | Jaise Ko Taisaa | M. Murugan, M. Kumaran | Anand Bakshi | Represented |
| 11 | Jheel Ke Us Paar | Bhappie Soni | Anand Bakshi | Yippeeee’ed |
| 12 | Joshilaa | Yash Chopra | Sahir Ludhianvi | Yippeeee’ed |
| 13 | Mr. Romeo | Subhash Mukherjee | Anand Bakshi | Represented |
| 14 | Nafrat | Shyam Ralhan | Majrooh Sultanpuri | Represented |
| 15 | Namak Haraam | Hrishikesh Mukherjee | Anand Bakshi | Yippeeee’ed |
| 16 | Paanch Dushman | Vimal Rawal | Majrooh Sultanpuri | Represented |
| 17 | Raajaa Raani | Sachin Bhowmick | Anand Bakshi | Represented |
| 18 | Rickshaawaalaa | K. Shankar | Anand Bakshi | Represented |
| 19 | Shareef Badmaash | Raj Khosla | Anand Bakshi | Yippeeee’ed |
| 20 | Yaadon Ki Baaraat | Nasir Hussain | Majrooh Sultanpuri | Yippeeee’ed |
From the above table we can see that RD Burman composed music in as many as twenty movies that were released in 1973. Out of these 20 films 19 have been represented on the blog and only one i.e. ‘Hifaazat’ is yet to be represented in the blog. That missing movie is making its debut today.
If we go through the annual list of ‘Binaca Geetmala’ of the year 1973, songs from the films ‘Anaamikaa’ (title song at nos. 4 & 36), ‘Do Chor’ (1972) (at nos. 8 & 19), ‘Raaja Raani’ (at nos. 10 & 21), ‘Seeta Aur Geeta’ (1972) (at no. 11), ‘Mere Jeewan Saathi’ (at no. 13), ‘Do Phool’ (at no. 15), ‘Parichay’ (1972) (at no. 25), ‘Rampur Kaa Laxman’ (1972) (at no. 28), ‘Jheel Ke Us Paar’ (at no. 24) and ‘Shehzaadaa’ (1972) (at no. 37) figured in the list. So in all thirteen songs composed by RD Burman figured in this list. Interestingly, his father Sachin Dev Burman had fourteen of his songs featured in the list of 1973. In addition, a few songs of Pancham figured in the ‘shadow’ list too. The topper that year was “Yaari Hai Imaan Mera ” from ‘Zanjeer’ (1973), followed by ‘Bobby’ (1973) and ‘Victoria No. 203’ (1973) on 2 and 3 numbers respectively.
Today’s movie ‘Hifaazat’ was directed by KSR Dass (or Doss) for Balakrishna Movies. It was produced by RV Venkateswarulu and B Susheela Devi. It had Vinod Mehra, Asha Sachdev, Narendranath, Kumud Chhugani, Coca Cola, Sikandar and Kanhaiyalal. They were supported by Anand, Prem Kumar, Raghavan, Mamta, Baby Indira, Bhima Raju, Balbir Singh, Prakash and Jyothilakshmi. Ashok Kumar, Madan Puri, Ranjeet and Iftekhar had a friendly appearance in this movie. Lalita Pawar was the guest artiste in this movie.
Editing of the film was done by KSR Das, Kandaswamy, and Sivam was the associate editor. Dialogues of this movie were written by Prem Kapur. This movie was passed by Censor Board on 30.05.1973.
This movie has four songs which were written by Majrooh Sultanpuri and music was composed by RD Burman. Kishore Kumar and Asha Bhonsle are the playback singer for the songs in this movie.
The director of this movie KSR Dass (Konda Subbarama Das) was born on 05.01.1936 in Venkatagiri, Nellore. He directed many films in South Indian languages mainly in Telugu and Kannada language and also around sixteen Hindi movies. He had also done editing and story, screenplay writing for many movies. His directorial debut was in the movie ‘Loguttu Perumallakeruka’ (1966) (in Telugu) with Sobhan Babu, Gitanjali, Gummadi, & others. As a director his association with the Telugu superstar actor Krishna was highly successful and they worked together in around thirty movies. Their association started with the movie ‘Takkari Donga Chakkani Chukka’ (1969). KSR also worked with legends like NT Rama Rao, Rajinikanth, Vishnuvardhan and Chiranjeevi. ‘Mosagallaku Mosagadu’ (1971) (Telugu) with actor Krishna, ‘Yugandhar’ (1979) (Telugu) with NTR, ‘Annadammula Savaal’ (1978) (Telugu) with Krishna and Rajinikanth, and ‘Billa Ranga’ (1982) (in Telugu & Kannada) with Chiranjeevi and Mohan Babu are some of the iconic movies that KSR directed. B Vithhalacharya was the co-director in ‘Mosagallaku Mosagadu’.
KSR directed over 100 films with many of them becoming the block-busters on the box office. ‘Nagulamma’ (2000) was the last movie he directed. He was awarded the ‘Puttana Kanagal Award’ for his contributions to Kannada cinema by the Karnataka State Government in 2008-2009. (This award is given in the memory of the most influential Kannada film maker Shubraveshti Ramaswamiah Seetharama Sharma popularly known as SR Puttana Kanagal.) This highly revered director passed away on 08th June, 2012 at the age of 76.
I am giving below the list of Hindi movies directed by KSR Das (or Dass or Doss as mentioned at many places).
|
Sl. No. |
Movie Title | Director | Lyricist/s | Music Director |
Censor Date |
| 1 | Gunfighter Johny | KSR Das | Randhir | Aadi Narayan Rao | 25.03.1972 |
| 2 | Lady James Bond | KSR Das | Kewal | Satyam | 11.07.1972 |
| 3 | Pistolwaali | KSR Das | Mohanlal Kaul | Satyam | 11.04.1972 |
| 4 | Raani Meraa Naam | KSR Das | Majrooh Sultanpuri | RD Burman | 19.04.1972 |
| 5 | Ratnaa Daakoo | KSR Das | BR Tripathi | Satyam | 29.12.1972 |
| 6 | Apnaa Farz | KSR Das | Prem Dhawan | Satyam | 02.07.1973 |
| 7 | Hifaazat | KSR Das | Majrooh Sultanpuri | RD Burman | 30.05.1973 |
| 8 | Johny Meraa Yaar | KSR Das | Sajan Dehalvi | Satyam | 06.08.1973 |
| 9 | Bahaadur Ladkiyaan | KSR Das | Hayat Warsi | Satyam | 01.09.1973 |
| 10 | Raani Aur Jaani | KSR Das | Hasrat Jaipuri, PL Santoshi | Satyam | 08.11.1973 |
| 11 | Chor Kaa Bhaai Chor | KSR Das | Brij Bihari | DS Ruben | 07.11.1978 |
| 12 | Diler | KSR Das | PL Santoshi | SN Tripathi | 30.04.1979 |
| 13 | Khoon Ki Holi | KSR Das | Sameer | Satyam, MR Srivatsa | 16.02.1979 |
| 14 | Billa Ranga (dubbed) | KSR Das | BR Tripathi | Satyam | 28.06.1984 |
| 15 | Taaqatwaala (dubbed) | KSR Das | BR Tripathi | Satyam | 18.10.1984 |
| 16 | Mulzim | KSR Das | Indeevar | Bappi Lahiri | 14.03.1988 |
Note: Some of the above movies could be dubbed movies. I have marked them as such wherever I have this information).
[Source of information about KSR Das is ‘Veethi’, ‘Wikipedia’, Geet Kosh, Myswar, Telugu Cineblitz etc.]
Coming to today’s movie ‘Hifaazat’, Geet Kosh mentions this movie as a movie from ‘social genre’. Following is the brief about this movie as summarized by me after watching this movie on YouTube.
Kishore (Vinod Mehra) and Asha (Asha Sachdev) love each other and want to marry. Their fathers Kapur, likes to be called Camphor (Kanhaiyalal) and Judge Ram Prasad (Ashok Kumar) respectively are friends. However, Kishore’s father is initially reluctant and does not agree for this marriage but later on surrenders to what his son wants. So he gives his nod for the marriage. But, at the same time the family priest of Kishore’s father discloses that Asha is not the real daughter of Judge Ram Prasad and she is an adopted one. Also Asha’s family is suffering from some curse where Asha is only the surviving member and others are no more. Asha gets to listen to this conversation and judge Ram Prasad has to tell her truth about her real father (role played by Iftekhar).
Knowing this, Kishore’s father now cancels the marriage of Kishore and Asha. Judge Ram Prasad tries to convince Camphor but he is adamant. Kishore is present upstairs and secretly listening what his father has said to the judge.
Kishore and Asha decide to go to Asha’s parental house ‘Sona Mansion’, which is in Kashipur village and which is known to be a haunted place. On the way they meet a Saw Mill owner (Madan Puri), and Sewak Singh (Narendranath). No body helps Kishore with the address of ‘Sona Mansion’ but Sewak helps him. Sewak is actually ‘eyeing’ Asha. Sewak’s mother (Lalita Pawar) wants her son to do some good work and make an honest living. But he wants to get rich quick and for that he forces his mother to transfer the family property in his name.
Kishore and Asha reach ‘Sona mansion’ and stay there to find the secret in the haveli. Meanwhile Sewak tries to molest Asha and later on tries to rape her. Lajjo (Kumud Chhugani) loves Sewak but Sewak doesn’t like her now. Lajjo knows about Sewak’s intentions and she informs Kishore when Sewak and his friends corner Asha in the Jungle. Sewak’s mother keeps visiting the haveli and Kishore notices that on one such visit. Lajjo is murdered but her body disappears.
Finally the goons are set right by Kishore and by the time he reaches the haveli Sewak is killed. But who killed him ?
Asha is saved by Kishore but somebody attacks Kishore and is trying to finish him. Who is that person ?
At the same time Sewak’s mother also reaches the haveli and finds her son’s body there. She knows who has killed her son. Who is that person?
How Kishore and Asha get to know the truth and what is the curse over Asha’s parents ? All that is what this movie is all about.
Why the movie was titled as ‘Hifaazat’ and what was ‘being protected’ can be found out by watching this movie which is available on YouTube.
An interesting watch, but you will have to tolerate the ‘hinglish’ of Camphor (Kanhaiyalal) till the first half of this movie like … ‘hum tumko nahin bataaying ant mein kya hoyiing in thi film’. 🙂
We have four songs in this movie. The first two are roothhna manaana songs first by the heroine and second by the hero for each other. Third song is a ‘gypsy’ song which is by the khaanabadosh in their camp on the jungle route of the haveli where Kishore and Asha had to halt in the night. The fourth song is a ‘joie de vivre’ song when Asha sets out of the haveli as Kishore is out for some shopping and Asha takes this opportunity to roam freely in the haseen waadiyaan. This fourth song is also a good song from this movie, but for today I have chosen the first song in this movie that is ‘appeasing the lover’ type song sung by Asha Bhosle and in the movie performed by Asha Sachdev for Vinod Mehra. Lyrics are by Majrooh Sultanpuri and music is composed by RD Burman.
Let us enjoy the song and welcome ‘Hifaazat’ of 1973 on the blog.
Video
`
Audio
Song-Mere hamraahee mere pyaar (Hifaazat)(1973) Singer-Asha Bhosle, Lyrics-Majrooh Sultanpuri, MD-RD Burman
Lyrics
aa aa aa aa
aa aa aa aa aa
aa aa aa aa aa
zu zu zu zu zu oo oo oo oo
mere hamraahi ee
mere pyaar
roti hai tum bin
ye bahaar
ab to aa jaao sanam
rahi main kab se
tum ko pukaar
haathhon mein leke piyaa haa..aathh
aise naa chhodo mera saath
haathhon mein leke piyaa haa..aathh
aise naa chhodo mera saath
mere hamraahi ee mere pyaa..aar
roti hai tum bin ye bahaar
jo sang aa sakey na tum
kadam milaa sakey na tum
ye to o o bura hua jee ee ee
aayi nahin abhi manzil
bachaate ho abhi se dil
tum ko o
ye kya hua jee ee
kya pyaar tera
yahi thha sanam
haaye allaah
ikraar tera
yahi thha sanam
kya pyaar tera
yahi thha sanam
haaye allaah
ikraar tera
yahi thha sanam
la la laa
mere hamraahi ee
mere pyaar
arey roti hai tum bin
ye bahaa aar
jaane jahaan judaa ho ke
chaley kahaan khafa ho ke sainyyaan
hansi hansi mein aen
kaahe ko jee jalaate ho
kaahe ko munh phulaate ho
zara si ee
dillagi mein ae ae
jaane naa doongi
tumhaari kasam
haaye allaah
jaan de doongi
tumhaari kasam
jaane naa doongi
tumhaari kasam
haaye allaah
jaan de doongi
tumhaari kasam
la la laa
mere hamraahi ee
mere pyaar
roti hai tum bin ye bahaar
ab to aa jaao sanam
rahi main kab se
tum ko pukaar
haathhon mein leke piyaa haathh
aise naa chhodo mera saath
haathhon mein leke piyaa haathh
aise naa chhodo mera saath
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
आ आ आ आ
आ आ आ आ
आ आ आ आ
ज़ू ज़ू ज़ू ज़ू ज़ू
ओ ओ ओ ओ
मेरे हमराही मेरे प्यार
रोती है तुम बिन ये बहार
अब तो आ जाओ सनम
रही मैं कब से तुम्हें पुकार
हाथों में लेके पिया हाथ
ऐसे ना छोड़ो मेरा साथ
हाथों में लेके पिया हाथ
ऐसे ना छोड़ो मेरा साथ
मेरे हमराही मेरे प्यार
रोती है तुम बिन ये बहार
जो संग आ सके ना तुम
कदम मिला सके ना तुम
ये तो॰॰ओ बुरा हुआ जी॰॰ई
आई नहीं अभी मंज़िल
बचाते हो अभी से दिल
तुम को॰॰ओ ये क्या हुआ जी॰॰ई
क्या प्यार तेरा यही था सनम
हाय अल्लाह
इक़रार तेरा यही था सनम
क्या प्यार तेरा यही था सनम
हाय अल्लाह
इक़रार तेरा यही था सनम
ला ला लाss
मेरे हमराही मेरे प्यार
अरे रोती है तुम बिन ये बहार
जाने जहां जुदा हो के
चले कहाँ खफा हो के सइय्याँ
हंसी हंसी में
काहे को जी जलाते हो
काहे को मुंह फुलाते हो
ज़रा सी दिल्लगी में
जाने ना दूँगी तुम्हारी कसम
हाय अल्लाह
जान दे दूँगी तुम्हारी कसम
जाने ना दूँगी तुम्हारी कसम
हाय अल्लाह
जान दे दूँगी तुम्हारी कसम
ला ला लाss
मेरे हमराही मेरे प्यार
अरे रोती है तुम बिन ये बहार
अब तो आ जाओ सनम
रही मैं कब से तुम्हें पुकार
हाथों में लेके पिया हाथ
ऐसे ना छोड़ो मेरा साथ
हाथों में लेके पिया हाथ
ऐसे ना छोड़ो मेरा साथ
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 : |
5407 | Post No. : | 17741 | Movie Count : |
4750 |
When I was informed that today (8 May 2023) is World Donkey Day, then my Initial reaction was to have a hearty laugh. I thought that yesterday (7 May ) was World laughter day. How come the next day is an extension of that Laughter day. I in fact thought of writing a post of World Donkey day. I asked Avinash Scrapwala, who sent me lyrics of a song for World laughter day, for a song for World Donkey day. He promptly sent me lyrics of a song.
My original idea was to write a light hearted post on this occasion. But when I carried out some research on the subject, the mood of amusement soon turned into a sombre mood. I realised that making fun of Donkeys was unfair. They have traditionally been given a rough deal in Indian culture which they did not deserve. Even our Hindi film songs where donkeys have been covered, have used donkeys as a matter of ridicule. When I listened to the song sent on this occasion, I was relieved to know that Donkey is not made a subject of ridicule in this song that I was afraid of.
Yesterday while discussing “Laughter” day, I was wondering who are the persons behind such days. I could not get the answer for World Laughter day, but I could readily get the answer for World Donkey day. It is Dr Abdul Raziq Kakar, Low Carbon Livestock Expert, Camelogist & Ethnoecologist. He is behind not just World Donkey day (8 May) but also behind World Camel Day (4 August).
He realized that the hardworking donkey wasn’t being recognized for its efforts in building our society. Their input has improved the quality of life for people all around the world. He started by creating a Facebook group talking about the animal. In 2018, World Donkey Day was officially set up and it’s been celebrated every year since. Its purpose is to spread information about donkeys and how they impact human lives.
Dr Abdul Raziq Kakar is a Pashtun from Khaiber Pakhtunwa area of Pakistan. In his facebook page he describes himself as “a camelist, desert explorer, animal scientist, extensive livestock ecologist, nature lover, traditional knowledge seeker, and camel advocate (for food and agriculture). I love exploring the deserts and understanding the attitude of Mother Earth. I do environmental activism and planting trees on my own.” He did B Sc, M Sc and Ph D from Faislabad University of Pakistan. His PhD subject was Camel Science.
Donkeys, like Human, first originated in Africa and from there they spread world wide. According to wikipedia -“Donkeys were probably first domesticated by pastoral people in Nubia, and they supplanted the ox as the chief pack animal of that culture. The domestication of donkeys served to increase the mobility of pastoral cultures, having the advantage over ruminants of not needing time to chew their cud, and were vital in the development of long-distance trade across Egypt. In the Dynasty IV era of Egypt, between 2675 and 2565 BC, wealthy members of society were known to own over 1,000 donkeys, employed in agriculture, as dairy and meat animals and as pack animals. In 2003, the tomb of either King Narmer or King Hor-Aha (two of the first Egyptian pharaohs) was excavated and the skeletons of ten donkeys were found buried in a manner usually used with high ranking humans. These burials show the importance of donkeys to the early Egyptian state and its ruler.”
It is heartening to know that Egyptians treated Donkeys with respect for their contributions in their lives, even if people of some other countries, including India were rather ungrateful towards them.
Wikipedia further mentions that
By the end of the fourth millennium BC, the donkey had spread to Southwest Asia, and the main breeding centre had shifted to Mesopotamia by 1800 BC. The breeding of large, white riding asses made Damascus famous[citation needed], while Syrian breeders developed at least three other breeds, including one preferred by women for its easy gait. The Muscat or Yemen ass was developed in Arabia. By the second millennium BC, the donkey was brought to Europe, possibly at the same time as viticulture was introduced, as the donkey is associated with the Syrian god of wine, Dionysus. Greeks spread both of these to many of their colonies, including those in what are now Italy, France and Spain; Romans dispersed them throughout their empire.[24]
The first donkeys came to the Americas on ships of the Second Voyage of Christopher Columbus, and were landed at Hispaniola in 1495.[26] The first to reach North America may have been two animals taken to Mexico by Juan de Zumárraga, the first bishop of Mexico, who arrived there on 6 December 1528, while the first donkeys to reach what is now the United States may have crossed the Rio Grande with Juan de Oñate in April 1598.[27] From that time on they spread northward, finding use in missions and mines. Donkeys were documented as present in what today is Arizona in 1679. By the Gold Rush years of the 19th century, the burro was the beast of burden of choice of early prospectors in the western United States. With the end of the placer mining boom, many of them escaped or were abandoned, and a feral population established itself.
As for their use, Wikipedia has great details:
The donkey has been used as a working animal for at least 5000 years. Of the more than 40 million donkeys in the world, about 96% are in underdeveloped countries, where they are used principally as pack animals or for draught work in transport or agriculture. After human labour, the donkey is the cheapest form of agricultural power.[53] They may also be ridden, or used for threshing, raising water, milling and other work.[54] Some cultures that prohibit women from working with oxen in agriculture do not extend this taboo to donkeys.[55]
In developed countries where their use as beasts of burden has disappeared, donkeys are used to sire mules, to guard sheep, for donkey rides for children or tourists, and as pets. Donkeys may be pastured or stabled with horses and ponies, and are thought to have a calming effect on nervous horses. If a donkey is introduced to a mare and foal, the foal may turn to the donkey for support after it has been weaned from its mother.[57]
A few donkeys are milked or raised for meat. Approximately 3.5 million donkeys and mules are slaughtered each year for meat worldwide.[58] In Italy, which has the highest consumption of equine meat in Europe and where donkey meat is the main ingredient of several regional dishes, about 1,000 donkeys were slaughtered in 2010, yielding approximately 100 tonnes (98 long tons; 110 short tons) of meat.[59] Asses’ milk may command good prices: the average price in Italy in 2009 was €15 per litre, and a price of €6 per 100 ml was reported from Croatia in 2008; it is used for soaps and cosmetics as well as dietary purposes. The niche markets for both milk and meat are expanding.[28] In the past, donkey skin was used in the production of parchment.[28] In 2017, the UK based charity The Donkey Sanctuary estimated that 1.8 million skins were traded every year, but the demand could be as high as 10 million.[36]
In China, donkey meat is considered a delicacy with some restaurants specializing in such dishes, and Guo Li Zhuang restaurants offer the genitals of donkeys in dishes. Donkey-hide gelatin is produced by soaking and stewing the hide to make a traditional Chinese medicine product. Ejiao, the gelatine produced by boiling donkey skins, can sell for up to $388 per kilo, at October 2017 prices.
Bulk of donkeys are found is underdeveloped parts of the world where their treatment leaves much to be desired. They are kept under nourised and over worked by humans who themselves are from the lowest strata of society. In developed parts though, they are treated with more dignity.
In developed countries, the welfare of donkeys both at home and abroad has become a concern, and a number of sanctuaries for retired and rescued donkeys have been set up. The largest is The Donkey Sanctuary near Sidmouth, England, which also supports donkey welfare projects in Egypt, Ethiopia, India, Kenya, and Mexico.[35]
In 2017, a drop in the number of Chinese donkeys, combined with the fact that they are slow to reproduce, meant that Chinese suppliers began to look to Africa. As a result of the increase in demand, and the price that could be charged, Kenya opened three donkey abattoirs. Concerns for donkeys’ well-being, however, have resulted in a number of African countries (including Uganda, Tanzania, Botswana, Niger, Burkina Faso, Mali, and Senegal) banning China from buying their donkey products.
In 2019, The Donkey Sanctuary warned that the global donkey population could be reduced by half over the next half decade as the demand for ejiao increases in China.
Though Pakistan has someone like Dr Abdul Raziq Kakar who was instrumental in establishing World Donkey Day, Pakistan (unlike African countries) hs shown no hesitation in selling its donkeys to China on a big scale as has been reported in media.
We all have noticed that we do not care about our stray animals once they lose their usefulness. I hope India too joins the ranks of developed world and creates sanctuaries for these stray animals. In India, we have seen stray cows leading miserable lives on streets struggling to get nourishment. Under this circumstances, an animal like Donkey faces far more hardships, which it hardly deserves.
As for its nature, wikipedia rightfully mentions that :
Donkeys have a notorious reputation for stubbornness, but this has been attributed to a much stronger sense of self-preservation than exhibited by horses. Likely based on a stronger prey instinct and a weaker connection with humans, it is considerably more difficult to force or frighten a donkey into doing something it perceives to be dangerous for whatever reason. Once a person has earned their confidence they can be willing and companionable partners and very dependable in work.
Although formal studies of their behaviour and cognition are rather limited, donkeys appear to be quite intelligent, cautious, friendly, playful, and eager to learn.
I am quite sure that donkeys are intelligent animals. If we treat them with dignity and respect, I am sure we can get them to respond better to human commands, provided they are reasonable commands. We Indians consider Donkey as well as Owl as synonyms of fool, which is not correct. Donkes are intelligent, so are Owls.
When I checked up, I found that several other animals too have their international days. But most of these days have been pioneered by Americans and perhaps Europeans. In India, we supposedly consider cow a very important animal, but Indians have not pioneered anything like World Cow Day. There is one Cow Appreciation day in USA. India has the largest population of water buffalo. Together, these two creatures have made India world’s largest milk producer. But we do not even have a World Buffalo day pioneered by India. There is one national Buffalo day of USA, that is all. All this speaks very poorly for us Indians who cannot get World Cow Day or World Buffalo day and here I had planned to use World Donkey Day to ridicule the poor creatute. Not any longer. I have begun to look at donkeys with respect. They have played an important role in the advancement of human civilisation. They deserve to be treated with dignity. It is high time we shed our biased and outdated outlook towards animals like Donkeys, Owl, Buffalo etc, which gets reflected in the phrases that our language possess, viz “Gadha kahin ka”, “Ulloo ka pattha”, “bhains ke aage been bajaaye” etc.
The idea behind these days is to create awareness among people. I think I have certainly become more aware about Donkeys thanks to this “World Donkey Day”.
Let us come to the song.
The song under discussion is from an obscure movie called “Koraa Aanchal”(1973)
“Koraa Aanchal”(1973) was directed by Somesh Joshi & V. Mhatre for ‘Mexico Films, Bombay’. The movie had had Dheeraj, Narendra Nath, Snehlata, Laxmi Chhaya, Joginder, Junior Mehmood, Kamini Devi, Indumati, Birbal, Rajaji, Preeti, Vilas, Jerry, Junior Jerry, Nath Sayam and others in it. Actress Veena made guest appearance in this movie.
This movie was passed by Censor Board on 02.08.1973.
“Koraa Aanchal”(1973) has six songs composed by Roshanlal Khatri.
The six songs were shared by four lyricist viz. Somesh Joshi, Shadab, Gauhar Kanpuri, and Paras Budhwani (one each). (Credit for two songs has been jointly shared by Shadab+Gauhar Kanpuri and Shadab+Paras Budhwani as mentioned in the foot-note for this movie page in HFGK Vol-V (1971-1980).
It is a movie of 1973 that was so far missing from the blog. It is Avinash Scrapwala who was bringing these missing movies of 1973 to the blog, but in this case, he has graciously allowed me to introduce this movie on the blog, for the reason that this song does contain a “Donkey” related song.
This song is sung by Usha Mangeshkar and an unknown child voice. Lyrics are by Somesh Joshi. Music is composed by Roshanlal Khatri.
Only audio of this rare song are available. I request our knowledgeable readers to throw light on the picturisation of this song.
Lyrics of the song and other details were sent to me by Avinash Scrapwala.
With this song, the movie “Koraa Aanchal”(1973) makes its debut in the blog.
Song-Jaanwaron mein seedhha saada ye hai ik chaupaaya (Koraa Aanchal)(1973) Singer-Usha Mangeshkar, Unidentified voice , Lyrics-Somesh Joshi, MD-Roshanlal Khatri
Lyrics(Provided by Avinash Scrapwala)
jaanwaron mein
seedhaa saadhaa
ye hai ik chaupaayaa
jaanwaron mein
seedhaa saadhaa
ye hai ik chaupaayaa
mehnat kartaa rehtaa
jo bhi laado wahi ladaayaa
samajh mein aayaa aa
bolo ji ?
nahin aayaa !!
koodaa karkat
ghaas paat jo bhi paaya
so khaayaa
koodaa karkat
ghaas paat jo bhi paaya
so khaayaa
dil ka sachchaa
akal ka kachchaa
ye prabhu ki maaya
samajh mein aaya
haan aayaa
to bolo kya hai
bolo kya hai
to bolo kya hai
bolo kya hai
gadhaa aa !!!
phaagun mein
khush hotaa hai wo
par saawan mein
rotaa hai wo
(donkey crying)
aley baap le
ye to bahot rotaa hai
guluji
ye kyun lotaa hai
phaagun mein sookhaa hariyaalaa
uski nazar na aaye ae
sab kuchh usne khaaya samajhke
ye phoolaa na samaaye ae
saawan paaye haraa jidhar wo
apni nazar ghumaaye ae
kuchh bhi charaa nahin hai usne
aisaa munh banaaye
aur motey motey ashq bahaaye
to bolo kya hai
bolo kya hai
to bolo kya hai
bolo kya hai
gadhaa aa !!!
insaanon mein bhi hote hain
gadhey tumhen batlaayen
jo apni aukaat ko bhooley
bolo to wo kya hai
insaanon mein bhi hote hain
gadhey tumhe batlaayen
jo apni aukaat ko bhooley
bolo to wo kya hai
aise gadhe ko kya samjhen
jo chaand se aankh milaaye
chaand chakor kaa pyaar jo ho to
apni samajh mein aaye
gadhaa baawraa aa
chaand se aankh milaaye ae
chaand se aankh milaaye ae
gadhaa baawraa aa
baawraa aa
baawraa aa
Laali mere laal ki
Posted on: May 7, 2023
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Blog Day : |
5406 | Post No. : | 17739 |
We often hear this lament from oldtimers that things were simpler in their days and they have become complicated now a days. As a fresh entrant into the club of oldtimers, I tend to agree. Things were really simple in the old days. And they were easy to remember as well if you were a student who was required to remember these facts.
Take some examples from the past(my days of 1960s) and compare them with the present situation (2023)
| Question asked | Reply in 1960s | Reply in 2023 |
|---|---|---|
| Name of all Presidents of India | Dr Rajendra Prasad, S Radhakrishnan, Zakir Hussain | Too many to recall and name |
| Name of all Prime Ministers of India | Jawaharlal Nehru, Lal Bahadur Shashtri, Indira Gandhi | Too many to recall and name |
| How many cricketers have scored over 8000 test runs | Only one, Garfield Sobers | Too many to recall and name |
| How many cricketers have taken over 300 test wickets | Only one, Freddie Trueman | Too many to recall and name |
| How many Indian cricketers have scored over 3000 test runs | Only three, Polly Umrigar, Vijay Manjrekar, Chandu Borde | Too many to recall and name |
| What are the various car models manufactured in India | Ambassador, Premier Padmini | Too many to recall and name |
| Days that are celebrated | New Year, Republic Day, Independence day, Children’s day, Labour day | Too many to recall and name |
It is the answer to the last question that has led to this writeup. This morning Avinash Scrapwala informed me that today (7 May) is Laughter day. Now what is this laughter day ? And who decides these days ? Every day now a days has some vague day or the other. There are some days that celebrate more than one topic, often vague and unheard ones. There are 365 days but there many be more number of “Day” to celebrate. It is an overload of “days” now a days. No one can remember them, and no one can “celebrate” them all.
Who decided that today is Laughter day ? Does he mean that we need not laugh on other days, or did he think that laughter has become so rare that a day needed to be dedicated for it ? I do not think that alarming situation has arrived as yet.
My own view is that all these days are meant to create business for say greeting card makers. But now a days even greeting card makers cannot keep up with these days.
We also have world music day. This one day is for others. We in this blog have our music day every day.
My take on all these days is that they are for lazy people. What is the need to have say Music day. We do not have this need. Every day is music day for us. Why should we have Women’s day. Every day should be a Women’s day and well as Men’s day. Also Children’s day.
Coming to Laughter day, I think this day too is unnecessary. At least for us music lovers. Regulars of this blog many of them also connected through whatsapp, share jokes in the group every day. So we are having our laughter day daily.
Nevertheless, someone has decided to have a world laughter day today on 7 May. By the way, is this fellow the same one who came up with the idea of Happiness Index ? Let him come up with a laughter Index as well. I can predict that European countries will top the ranking. India will be ranked behind Pakistan and Bangladesh and this ranking will be used by Western Media to pooh pooh India achievements in various sectors.
But that is in the future. So far we only have a world Laughter day today. So we have to celebrate it.
Looking at the right side of the blog, I notice that there are 88 songs under the category of “Comedy” and another 73 under “comedy songs”. Then there are 319 songs under the category of “lighthearted” songs. There may be more but they have not been categorised under these heads. So this suggests that we have about 450 songs out of 17000 plus songs as comedy song. This suggesdts that 2.5 % of the songs represented in the blog are comedy songs.
If we have world sadness day or world melancholic day, we in the blog will be right up there with the best sad and / or melancholic people there. But they someone will create a world melancholy index and prove that Indians are way down that list too. 🙂
When we think of laughter, one thinks of Kishore Kumar immediately. Quite a few of his comedy songs are already represented in the blog. To celebrate the Laughter day, here is a less known of his comedy song. This song is from “Phagun”(1973).
“Phagun”(1973) was directed by Rajinder Singh Bedi for ‘Dachi Films, Bombay’. The movie had Waheeda Rehman, Dharmendra (special appearance), Jaya Bhaduri, Vijay Arora, Om Prakash, Ravi Ghosh, Jagdev Bhambri, K.S. Kriplani, Vimal Joshi, Indu Mehta, Smita, Rajrani, Suman Sinha, Baldev Trehan, Ramlal, Pardesi, Narmada Shankar, V. Gopal, Anand (Mamaji), Beri and others in it.
“Phagun”(1973) had six songs in it. Four songs have been covered in the past. Here is this song, the fifth from the movie to appear in the blog. The song is sung by Kishore Kumar, Pankaj Mitra, Sunil Kumar and R.S. Bedi. Majrooh Sultanpuri is the lyricist. Music is composed by S D Burman.
It appears that only audio of the song is available. The movie itself came during the days when Rajesh Khanna ruled the roost and movies with other heroes did not find much favour with the audience. This movie was one of the lesser patronised movies of its time. That explains why this song, despite having the voice of Kishore Kumar in it failed to get popular. Personally I am listening to this for the first time. The song would have become popular had the movie done better at the box office.
Song-Laali mere laal ki (Phaagun)(1973) Singers-Kishore Kumar, Pankaj Mitra, Sunil Kumar, R.S. Bedi, Lyrics-Majrooh Sultanpuri, MD-S D Burman
Lyrics(Provided by Avinash Scrapwala)
Arey bhai
Tum log chup kyun ho
Bolo
Kuchh to bolo
So jaao o
Arre mitthu miyaan
Kuchh bolo ni
Hmm hmm
Kuchh chaalo ni
Hmm
Wadi chup kyun ho
Kuchh bolo ni
Haan bolon se Banti hai boli
Aur boli se bante hain geet
Geet
Haan haan geet
To phir
Haan haan aan aan
Hun hun hunh oon
Haan haan aan
Hun hun hunh oon
Haan haan aan
Hun hun hunh oon
Laali mere laal ki
Hun hun hunh oon
Laali mere laal ki
jit dekhoon tit laal
Hun hun hunh oon oon oon
Laali dekhan main gayi ee
arey
Arey main bhi ho gayi laal
Waah waah
Haa haa
Saadhu saadhu
Phir
Phir
raat huyi
Ek baat huyi
Chori chori chori ee
Mulaaqaat huyi
Phir
Phurr
Phurr phurr rr
Bataao ni wadi
Kyaa baat huyi
Keh doon
Keh do
Keh doon
Keh do
Hunh hunh
Nahin kahoongaa
Nahin kahoongaa
Nahin kahoongaa
Nahin kahoongaa
Nahin kahoongaa
Nahin kahoongaa
Chaahe maaro
Chaahe peeto
Chaahe maskaa lagaao
Chaahe maaro
Chaahe peeto
Chaahe maskaa lagaao
Magar
Nahin boloongaa
Nahin boloongaa
Nahin boloongaa
Bolo naa
Nahin boloongaa
Nahin boloongaa
Nahin boloongaa
Chanakya pandit bol gaye
Udoon
Hi hi
Haa haa
Waah waah
Haa aa aa aan
Suno suno aur suno o
Wo oonchaa saa
Haan haan
Ped jo hain naa
Haan haan
Kal main uske
He hey
paas gayaa thhaa
achchaa achchaa
patte neeche pade huye thhe
pandit mullaah aa chadhey huye thhe
Ishwar allaah ladey huye thhe ae
Sar ke liye
Nahin re nahin
Ghar ke liye
Naahi re naahi
Dar ke liye
Nahin re nahin
To phir kiske liye ae
Keh doon
Keh do
Keh doon
Keh do
Hunh hunh
Nahin kahoongaa
Nahin kahoongaa
Nahin kahoongaa
Nahin kahoongaa
Nahin kahoongaa
Nahin kahoongaa
Chaahe maaro
Chaahe peeto
Chaahe maskaa lagaao
Chaahe maaro
Chaahe peeto
Chaahe maskaa lagaao
magar
Nahin boloongaa
Nahin boloongaa
Nahin boloongaa
Bolo naa
Nahin boloongaa
Nahin boloongaa
Nahin boloongaa
Chanakya pandit bol gaye ae
Hi
Hoore ae…
Hi hi
Hurey
Hurey
Arey baap re a
Main to darr rrr gayaa
Ha
Ha
Ha
He ah ah ah
He ah ah ah
He ah ah ah
(hunh ha ha hunh ha ha )
He ah ah ah
(hunh ha ha hunh ha ha )
Gaadi roko o
Paaro
Bolo devdaashaa aa
Roti kyun ho paaro
Haan haan
Preetam jo main jaanti
Hunh hunh oon oon
Preetam jo main jaanti
Preet kiye dukh hoye ae
Hunh hunh oon oon oon
Nagar dhhandhhoraa
Dhhandhhoraa aa
pit ti
Preet na
kariyo koye ae
chh chh chh chh
Allaah
To aashiq ko naa
Dikhlaaye buddhaapaa
Allaah
To aashiq ko naa
Dikhlaaye buddhaapaa
Haaye haaye re
Budhhapaa
Haaye haaye
Haaye are budhhaapaa
Haaye haaye re
Budhhapaa
Haaye haaye
Haaye are budhhaapaa
Jab ham bhi chaley
Saath chaley
Reechh ka bachchaa
Jab ham bhi chaley
Saath chalaa
Reechh ka bachchaa
Arey reechh kaa bachchaa
Arey reechh kaa bachchaa
Jaako naahin
Phate biwaai
U kaa jaane
Peer paraayee
Jaako naahin
Phate biwaai
U kaa jaane
Peer paraayee
Ayin
Raghu kul chalaa sati
Raghu kul reet sadaa
Chali aayi
pran jaaye par bachan na jaayee
jaayee jaayee
Ban chaley
Raam raghuraayi ee
Ban chaley
Raam raghuraayi ee
Chanakya
chi chi chi chanakya
Ban chaley
Raam raghuraayi ee
Chanakya pandit bol gaye
Hi hi
Hi hi
Ae guduum
Arey bhaalu aaya
Nahin aaya
To phir so jaao
(Snoring sound)
(whistling sound)
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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