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Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs

Posts Tagged ‘1973


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 : 4059 Post No. : 15192

“Chaalaak”(1973) was directed by T N Sharma and R K Bannerji for Film Dhara, Bombay. This “social” movie had Radha Saluja, Kiran Kumar, Alka, Jayshree T, Brahmchaari, Keshto Mukherji, Jagdeesh Raj, Brahm Bhardwaj, Master Ratan, Uma Dutt, Paresh Nanda, Moolchand, Banjara, Bachan Singh, Elizabeth, Suring=der Khanna, Sheikh, Bhola, Satyarani, Sudakshana Mukherji etc with guest appearances by Maruti, Hercules, Lalita Kumari, and friendly appearances by Ajeet, Gautam Sareen, P Jairaj and Danny Danjongpa.

The movie had five songs in it. Three of these songs have been covered in the past.

Here is the fourth song from “Chaalaak”(1973). This song is sung by Asha Bhonsle, Kishore Kumar and chorus. Hasrat Jaipuri is the lyricist. Music is composed by Ganesh.

The song is picturised as a party song. I am unable to identify the lady lip syncing the song in Asha Bhonsle’s voice. Danny lip syncs in Kishore Kumar’s voice. I request our knowledgeable readers to help identify the lip syncing lady.

The music of the song sounds familiar but that is not because this music was heard earlier. That is because this music was heard years later in a Laxmikant Pyarelal composition, viz “gore nahin ham kaale sahi” in “Deshpremi”(1982). Or is it some other song. I request our knowledeable readers to tell us about the song where this music is reused.


Song-Piye jaa jiye jaa (Chaalaak)(1973) Singers-Asha Bhonsle, Kishore Kumar, Lyrics-Hasrat Jaipuri, MD-Ganesh
Both
Chorus

Lyrics

duniya phaani
duniya phaani
ho bahta paani
arre jawaani badi toofaani
hey duniya phaani
hey bahta paani
arre jawaani badi toofaani

ho
zindagi kya ik nasha hai
mastiyon ka jaam hai
hey zindagi kya ek nasha hai
mastiyon ka jaam hai
piye ja

o jiye ja aa
piya ja jiye ja
piya ja jiye ja

piye ja ja ja
jiye ja ja ja
piye ja jiye ja piye ja jiye ja

tu ru ru ru ru ru
tu ru ru ru ru
tu ru ru ru ru ru
ho o
tu ru ru ru ru
tu ru ru ru
tu ru ru ru ru ru
aaa

laalalalalalala
laalalalala

hey hey haa

jo maza hai yaar ki baahon mein
ham se poochh lo
arre haan jo maza hai yaar ki baahon mein
ham se poochh lo
aankhen tumhaari shaayaraana
lab hain tumhaare ya paimaana

ho
ho
ho
piye jaa
o jiye jaa
piye ja jiye ja
piye ja jiye ja
duniya phaani

haa
hey bahta paani
haa
arre ye jawaani badi toofaani
ho duniya phaani

main hi tera humsafar hoon
kaun chheenega mujhe
arre main hi tera humsafar hoon
kaun chheenega mujhe

kab se tumhi pe main fida hoon
dil ki tumhaare ye sada hoon
haa
haa
haa
piye ja
jiye ja aa
piya ja jiye ja
piya ja jiye ja
duniya phaani

haa
hey bahta paani
haa
arre jawaani
badi toofaani
ho zindagi kya
ik nasha hai
mastiyon ka jaam hai

piye ja ja ja
jiye ja ja ja
piye ja jiye ja
piye ja jiye ja

piye ja aa
jiye jaa aa
piye ja aa
jiye jaa
piye ja
jiye ja
piye ja
jiye ja
piye ja
jiye ja
piye ja
jiye ja

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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 : 4029 Post No. : 15145

When you enjoy something, you think nothing of it without jumping on it. On the other hand, if you consider something as a burden, you cannot bring yourself to d it and start postponing it till you can no longer postpone it.

July is one such month when one is required to perform such unpleasant tasks. If one is an Indian tax payer then he must file his tax return by the end of this month. Most people find it an unpleasant task and kep postponing it. When they finally persuade themselves to do it on the last day, they find that others have also got the same idea. And since many people are trying to do the same thing at the same time, the system crashes and that throws things out of gear for everyone concerned.

The government also realises it and the last date is often extended. This year was one such occasion. The last date of filing income tax return has now been extended by one month. The last minute IT return filers will now procrastinate till end of august and will then scramble to file their returns on 31 august 2019, I am sure of it. 🙂

If one is an income tax return filer as well as a central government employee then one has some most unpleasant tasks to perform in this month. This tast is, filling up one’s performance review for the last year. It is called APAR (Annual Performance Appraisal Report).

In the past, things were done manually. Now everything is done online. So, government officers file their APAR as well as ITR electronically.

For someone like me, who is an experienced computer user, filing online APAR and ITR should not be a problem. And these problems can be daunting.

Just like there is a deadline for filing ITR, there is a deadline for APAR as well. Officers in various central governments had time schedule, viz officers would file their self appraisal by 30 june 2019, reporting officer would give his report by 31 july 2019, reviewing officer would give his remark by 31 august 2019 and accepting officer by 15 september etc. Different departments and zones have their own time frame that may be a bit flexible. For instance, in my Railweay zone, one could file self appraisal by 15 july 2019 and reporting officer had to give their review by 5 august 2019 and reviewing officer by 20 august 2019 and accepting officer by 10 september 2019.

Last date for me to file my self appraisal in my APAR was 15 july 2019. It was threatened that after 15 july 2019, the form would move to the next authority (reporting officer) on its own if self appraisal was not done by then. I took no action till 11 july 2019. Then I started to act. I collected data and filled up the relevant portions and then saved the data. That was on friday 12 july 2019.

The next step was to digitally sign it and forward it online to the reporting authority. Digital signature turned out to be a big hassle. Every Government officer has a digital signature ( in a USB token form)with him that he uses for digital signatures for various purposes like filing APAR, authorising purchases etc. These digital signatures are valid only for two years. You merrily use a digital signature and before you realise it, its validity is over. Then one has to apply for new token.

The digital signature that I had successfully used till six months ago was no longer working and so I had obtained a new digital signature. And this was registered in the APAR software as well. But when I tried to sign my APAR form digitally, I got error message. I tried the whole friday and also saturday but I could not get my digital signature working.

I was not the only one struggling with my APAR of course. There were others as well. When I discussed my dilemma with others on the same boat, I was advised that the solution was to de register the digital signature and then re register it.

On monday (15 july 2019), which was the last day for my APAR to be sent, I tried to follow the advice. I de registered the digital signature and then re registered it. Then, with bated breath, I procceeded on to affix digital signature. Much to my relief, this time it worked like a charm and my APAR went through duly digitally signed, to the next authority, viz reporting officer.

I too was reporting officer and/or reviewing officer for many officers and their APARs has arrived on my inbox. So I proceeded to write them. The most satisfying part of the exercise for me was to digitally sign the document and find the satisfying message that the digitally signed document was successfully sent to the next authority. I quickly finished up all APA’s in one day when the going was good and the digital signature was co operating.

That done, I began to feel as if I had won a big battle. Now I began to prepare myself mentally for filing the ITR. Going by past experience, I know that one should not try to file ITR on the last day. One should file it at least a few days in advance when income tax depratment servers are not lightly loaded and respond well. On the last day, one may not even get to access these servers.

In the past, ITR filing was a manual process and it had to be submitted in the local Income tax office, duly taking stampedacknowledgement. It was a hassle and so many people, including me, would pay money to some chartered accountant, who would bring an ITR form and take your signature on it. Then he would fill up the various colums, submit the form to the income tax office and give you the stamped acknowledgement.

The chartered accountant earned his money because it was a work full of hassles. And then the income tax rates kept on changing every year. Moreover, female employees had different income tax rates. So I would just get in touch with a chartered accountant and pay him for filing ITR for me as well as my wife.

Since 2012 or so, it has become possible to file income tax online. One could file it online, and also digitally sign if you had a digital signature with you. I would resolve to have a digital signature for myself, but I could never live up to this resolution. So, the next best thing was to take print our of the online filled form, sign it manually and send it to Income tax department at Bangalore. After a few months, you would receive acknowledgement that your ITR was accepted.

When online filing of ITR became possible, I began to do it for me and my wife.

since this was once in an year exercise, I would forget how I had filled up the ITR the last year and I would start afresh. I was this feeling that I had forgotten how it is done, that was the cause behind my reluctance in filing ITR.

Though the last date for filing ITR was extended to 31 july 2019, I decided that it was high time that I mustered enough courage and be done with it. So, it was on 29 july 2019 that I opened the computer and logged on to the income tax department site. And it was there that I got stuck. What was my user name and password ? With some online query, I realised that once PAN number was the user ID. Then I typed my password on a hunch and it worked. So I was relieved. I was finally logged on to the income tax department site.

I chose the option of filing the return online. I had my form 16 ready with me. I managed to put most values correctly and was pleased that the online calculator agreed with the calculations of form 16. But when I reached the portion that calculated income tax, I found that I was supposed to pay some more tax according to IT department calculation, whereas my form 16 showed that I had paid more tax than needed and IT department owed me some refund.

Where was the discreparcy ? On carefull scrutiny, I realised that I had not mentioned by contribution towards PM national relief fund, which was 100 % tax deductible. But how to enter this figure ? The relevant column of section 80 G was not accepting the figure. Then I realised that the ITR form had another tab for donations under sction 80 G. I went to that tab, filled the details and found that the relevant column in the form now accepted this figure. I also found that now the form 16 figures of income tax matched with the online calculation. So IT department was now in agreement that I had paid all my IT and I owed some refund.

That done, I saved the draft and came to the final part which is always my favourite part, sending the filled up form. I clicked the send button. The form displayed two errors, one was that I had to specify the bank account where refund is to be received. Second error was about using some prohibited special characters. I rectified the errors and clicked the button. This time the form was submitted.

Submission was alright, but form needed to be verified as well. It was only after verification that the IT depratment processes it. The traditional method is take a print out, sigh it and send it by post of IT department at Bangalore. It is the older and non elegant method of doing it, which used to be the method followed by majority of tax filers. But now several method of e verificcation are available and the IT department keeps adding to it. Last time I had done the e verification though online banking. This time I found a new option, viz e verification through Aadhaar. I chose this option. One gets OTP on one’s Aadhar registered mobile and this OTP is then needed to be typed in on the form. When I did not get the OTP for some time, I again clicked the verify by Aadhaar button. When OTP came and I filled it, I had a feeling that second click meant another OTP and the OTP filled my me was for the earlier click and so my e verification would fail.

I was right. My e mail advised me that my e verification had failed.

I braced myself and repeated the process again. This time I patiently waited for the OTP to arrive. It arrived and I keyed in the numbers. Now I received confirmation message that my aadhaar verification was successful, the ITR was submitted and e verified and I did not have to do anything else.

I felt jubilant. Now it was time to do the same for my wife’s ITR. She had sent her IT details to me by whatsapp, but my mobile storage was full and while deleting my storage, I had deleted her IT details as well. I was itching to process my wife’s IT return but I did not have any details to go by.

After lunch time, I phoned my wife and asked her to send her tax details. Armed with those details, I opened the IT department page and tried to log on. But I got an error- username or password incorrect ! I checked again. The username, viz PAN number was right. Was the password incorrect ? How to check it. I found that I had fortunately saved the details of my wife’s later ITR. The password was incorrect. I fed the correct details and was relieved to find the page opening.

Feeding the details was no problem. I find that the details were already filled up in the form. Apparently, IT department already had picked up the details of her IT return from her form 26AS (TRACES). So the details matched perfectly.

So I saved the draft and submitted the return. As for e verification, I thought that I should do it through online banking. I did that and the OTP that came on my wife’s registered mobile was filled. But the e verification could not be done. Perhaps I had done some mistake. I should have logged out of ITax department site before going to bank site. So I decided to do it through Aadhaar verification. On clicking this option, the IT site demanded aadhaar OTP within 2 minutes. This 2 minute limit was not there when I was doing it for my own tax return. Thankfully the OTP arrived in time and I fed the OTP with 30 seconds to spare. This time the e verification was a success. So, I was able to file the IT return of my wife as well.

As always, when the task gets accomplished, I feel that it was easy ! But by the next eleven months, I will have forgotten the process and I would agains get nervous and feel clueless when it is time to file the ITR the next year. 🙂

After this rather long writeup, I struggled to come up with a “suitable” song to go with it. Then I tried to visualise what the lead pair of Hindi movies will do after they accomplish such an important task. They will go outdoors and sing a joyous duet, of course. 🙂

So, here is just that joyous duet song. The song is sung by Rafi and Asha Bhonsle. Hasrat Jaipuri is the lyricist. Music is composed by Satyam.

The movie was directed by K S R Das for PNR Pictures, Madras. the movie had Anil Dhawan, Aruna Irani, Jyoti Laxmi, Narendranath, Jagdeep, Sulochana, Ramaprabha, Brahm Bhardwaj, Shetty, Coca Cola, Shekhar, Swaraj, Prem Kumar, Master Ripple Sapru, Bindu (special appearance), Baby Dolly, Baby Charulata etc in it.

The movie had five songs in it. Two songs have been covered in the past.

The song is picturised on Anil Dhawan and an unfamiliar looking lady. Going by the cast, my guess is that she is Jyoti Laxmi. I request our knowledgeable readers to help identify the lady.


Song-Kya kar diya bata do zara(Raani aur Jaani)(1973) Singers-Rafi, Asha Bhonsle, Lyrics-Hasrat Jaipuri, MD-Satyam

Lyrics

kya kar diya
bata do zara
ye dil deewaana hua aa aa
kya kar diya
bata do zara
ye dil deewana hua
tumhi ko mana
tumhi ko chaha tumhi ko pooja
haye bolo kya kar diya
bata do zara
ye dil diwana hua

poochha tumhi ne to kya chaahiye ae
hamne kaha ki wafa chaahiye ae

daaman tumhaara na chhodenge hum
waada wafa ka na todenge hum
wafa nibhaao
idhar to aao
wafa nibhaao
idhar to aao
gale lagaao

haaye bolo
kya kar diya
bata do zara
ye dil deewaana hua
aa aa aa
kya kar diya
bata do zara
ye dil deewaana hua

o o o
ru ru ru ru

la ra la la
laralalalala
lalalala

dam se tumhaare jawaan hai bahaar
tum jo kaho to karoon dil nisaar
tumhaare siva hum kidhar jayenge
yahi hum to kadmon pe mar jaayenge

bade haseen ho
ke dilnasheen ho
bade haseen ho
ke dilnasheen ho
mere yakeen ho
haaye bolo kya kar diya
bata do zara
ye dil deewaana hua

haaye
kya kar diya bata do zara
ye dil deewaana hua

nibhaana sajan dil ki har baat ko
samajhna zara dil ke jazbaat ko

khabar hai mujhe teri har baat ki
kadar hai mujhe tere jazbaat ki
tumhi dharam ho
tumhi karam ho
tumhi dharam ho
tumhi karam ho
tumhi sanam ho

haaye bolo kya kar diya
bata do zara
ye dil deewaana hua
aa aa aa
kya kar diya
bata do zara
ye dil deewaana hua

o o o ru ru ru ru
laralalala
laalaalaalaala
lalaalalaa
laalaalaalaalalalaa
laralara
lalalala
o ho ho ho


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 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 : 4007 Post No. : 15112

———————————————–——————————————
Blog 10-Year Challenge (2009-19) – Song No. 39
——————————————————————————————

Today’s movie falling under ‘ten-year challenge’ is ‘Banarasi Babu-1973’.

First song from this movie, the title song was represented on the blog ten years ago on this day (8 july 2009).

The other movies represented on the blog on this day are;

Movie title-Year Remarks
Muqaddar Ka Sikandar-1978 All Songs covered
Banarasi Babu-1973 03 of 07 songs posted
Ek Shrimaan Ek Shrimati-1969 05 songs covered
Aashiq-1962 All Songs covered
Bhaabhi Ki Choodiyaan-1961 All Songs covered
Mirza Sahiban-1947 All Songs covered

‘Banarasi Babu-1973’ was directed by Shankar Mukherjee for ‘Alankar Chitra’, Bombay’. Shankar Mukherjee was also the producer of this movie.

It had Dev Anand, Rakhi, Yogita Bali, Jeevan, Veena, Manorama, I.S.Johar, Bhagwan, Maruti, Rashid Khan, Rajan Haksar, Shivraj, Polson, S.N.Tripathi, Raj Rani, Brahm Bharadwaj, Kavi Babu, Dhanna, Bhushan Tiwari, Uttam Raj, Jerry, Raj Ratan Malhotra, Qamar Ali, Pradeep Dasgupta, Bhola, Nazeer Kashmiri, Jamini Babu, Neela Rai, Pahalwan, C.K.Dubey, and Miss Kamal Rai. Faryal makes a special appearance in this movie.

Story and Screenplay of this movie was written by K.A. Narayan. Dialogues for this movie were written by Rakesh Pant. The editing of this movie was done by Babu Lavande.

This movie had total seven songs (including one multiple version song). All of its songs were written by Rajinder Krishan, and music was composed by Kalyanji-Anandji. Asha Bhonsle, Kishore Kumar, Lata Mangeshkar gave their voices to the songs in this movie.
Lata Mangeshkar had sung three solo songs, Kishore Kumar had two solo and Asha Bhonsle had one solo songs in this movie. The movie had one duet song sung by Asha Bhonsle and Kishore Kumar.

This movie was passed by Censor Board on 20.03.1973.

I remember to have watched this movie during my childhood but I have forgotten most of it by now except its songs. I liked Bure bhi ham bhale bhi ham…ham hain Banarasi Babu very much then, perhaps because of its catchy tune. I had even memorized this song then and I remember it even today. That also happened to be the most popular song from this movie which finished at thirtieth number in the annual ‘Binaca Geetmala list’ of 1973.

I also recall that other songs from this movie were also nice and they were frequently heard on radio or loud speakers. Like, ‘mere peecche ek ladki’ (multiple version song, posted on 03.12.2017), ‘aap yahaan se jaane ka kya loge’, ‘tauba tauba sharaab badnaam ho gayi’, ‘qamar meri lattoo’, and the today’s song ‘koi koi raat aisi hoti hai’.

I was under the impression that these songs must have been covered earlier so it came as a surprise to me when I found that they are yet to be posted on the blog.

For today’s post I have selected the song ‘koi koi raat aisi hoti hai’ sung by Lata Mangeshkar, which a nice hummable song. It is a regular on radio even today.
This song is lip synced by Rakhi on screen and we can see Dev Anand also present there, for whom Rakhi is singing the song but she is not aware that this Dev Anand is not the same that she is looking for. 🙂

Let us now enjoy this song …

Video

Audio

Song-Koi koi raat aisi hoti hai (Banarasi Babu)(1973) Singer-Lata, Lyrics-Rajinder Krishan, MD-Kalyanji Anandji

Lyrics

Koi koi raat aisi hoti hai ae ae

Koi koi raat aisi hoti hai ae ae
Jismein koi baat aisi hoti hai
Jo dil se zubaan tak
laayi naa jaaye
Jo dil se zubaan tak
laayi naa jaaye
Aankhon se chhupaayi bhi naa jaaye ae ae
Koi koi raat aisi hoti hai ae
Jismein koi baat aisi hoti hai ae ae

Raushni diye ki bhi
bairi lagey
Bairi lagey
Bairi ee lagey
Chandaa ki chaandni bhi
zehri lagey
Zehri lagey
Zehri ee lagey ae
Sej bhi hai kaliyon se mehki huyi
Nainon mein nindiya hai behki huyi
Aur aane waale aa ke bhi naa aaye
Ae ae ae
Koi koi raat aisi hoti hai ae
Jismein koi baat aisi hoti hai ae ae

Bekhudi dheere dheere
laayi wahaan
Laayi wahaan
Laayi ee wahaan
Beqaraari ee mein bhi mazaa
aaye jahaan
Aaye jahaan
Aaye ae jahaan
Aanchal bhi sar se dhalakne lagaa
Umangon ka saagar chhalakne lagaa
Koi palkon ko aa ke jhukaaye ae ae ae
Koi koi raat aisi hoti hai ae ae
Jismein koi baat aisi hoti hai
Jo dil se zubaan tak
laayi naa jaaye
Jo dil se zubaan tak
laayi naa jaaye
Aankhon se chhupaayi bhi naa jaaye ae ae
Koi koi raat aisi hoti hai ae
Jismein koi baat aisi hoti hai ae ae

——————————————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
———————————————————————

कोई कोई रात ऐसी होती है ए ए

कोई कोई रात ऐसी होती है ए ए
कोई कोई रात ऐसी होती है ए ए
जिसमे कोई बात ऐसी होती है
जो दिल से ज़ुबान तक
लायी ना जाए
जो दिल से ज़ुबान तक
लायी ना जाए
आँखों से छुपायी भी ना जाए ए ए
कोई कोई रात ऐसी होती है ए
जिसमे कोई बात ऐसी होती है ए ए

रौशनी दिए की भी
बैरी लगे
बैरी लगे
बैरी ई लगे
चन्दा की चांदनी भी
ज़हरी लगे
ज़हरी लगे
ज़हरी ई लगे
सेज भी है कलियों से महकी हुयी
नैनों में निंदिया है बहकी हुयी
और आने वाला आ के भी ना आये
ए ए ए
कोई कोई रात ऐसी होती है ए ए
जिसमे कोई बात ऐसी होती है ए ए

बेखुदी धीरे धीरे
लायी वहाँ
लायी वहाँ
लायी ई वहाँ
बेक़रारी ई में भी मज़ा
आये जहां
आये जहां
आये ए जहां
आँचल भी सर से ढलकने लगा
उमंगो का सागर छलकने लगा
कोई पलकों को आ के झुकाए ए ए ए
कोई कोई रात ऐसी होती है ए ए
जिसमे कोई बात ऐसी होती है
जो दिल से ज़ुबान तक
लायी ना जाए
जो दिल से ज़ुबान तक
लायी ना जाए
आँखों से छुपायी भी ना जाए ए ए
कोई कोई रात ऐसी होती है ए ए
जिसमे कोई बात ऐसी होती है ए ए


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4002 Post No. : 15104

Songs Repeated in Hindi Films – 5
– – – – – – – – – – – – – – – – – –

Coming into the 5th episode of the repeat song series. Here is an example of a straight and simple reuse, as is. The film is ‘Raja Kaka’ from 1973. And the famous drunkard song by Mukesh – from the 1960 film ‘Dil Bhi Tera Hum Bhi Tere’, has been re-used in this film, without any changes or re-recording. As we listen to this picturization, it is clearly the original song that is simply being replayed in this film.

The song was performed by Balraj Sahni on screen in the earlier film. In this one, actor Roopesh Kumar takes on the role of a drunkard and attempts his own version of histrionics for the same verses. ‘Raja Kaka’ is a film about the relationship between rich industrialist and labour class. During the 1970s, the trade union movement was pretty strong in India, and we have many films in that era that have tackled this subject. In the film, Kiran Kumar and Roopesh Kumar are two very close friends. Both are street smart don type good samaritans, and they are trying to do good for the poor labour community in their area. Kiran Kumar is more suave and Roopesh Kumar is more rustic. As is evident from the video clip, Roopesh Kumar is of the type to get drunk, climb atop a stationary bus, and sing out this song.

Some interesting background into the reuse of this song. Firstly, the music director duo of the two films is the same – Kalyanji Anandji. And with some checking, I can say that possibly the producer of these two films is also the same. As per the Geet Kosh, the production banner for ‘Dil Bhi Tera Hum Bhi Tere’ from 1960 is Kanwar Kala Mandir and the name of the producer is listed as Bihari Masand. For the latter film from 13 years later, the production banner name is given as TM Bihari (Producers), and no specific name given in the producer column. The name of the producer of the former film and the name of the production banner of the latter film kind of map together, raising the possibility that the two films had the same producers. So having the same music director and the same producer – that is the easiest route to re-use of songs.

This video clip is incomplete. Only one stanza is covered. When viewing the complete film, it seems as if edit cuts or other splicing has reduced the length of the pircturised song, and the song seems to have an abrupt beginning and an abrupt end. I tried checking this in different versions available, but the situation seems to be the same. I have not been able to lay hands on a VHS tape of this film – checking that source may provide some definite information about the duration of the re-used song.

Mukesh’s voice – as always – is a pleasure to listen to. Check out the original song a here – “Haan Gunaah Kiya Hai Huzoor Maine”. When that one was posted, we had the discussion in comments about the correct words of the mukhda of this song. The manner in which it has been rendered, the first two words at times sound like “Haan Bura. . .”, and sometimes they sound like “Haan Gunaah. . .”. That little discussion on the rendition still persists. The readers may make up their minds as they listen to the song.

An iconic Mukesh song, reused in a later film. It sure does help to have the same music director and the same producer. 😉

 

Song – Haan Gunaah Kiya Hai Huzoor Maine  (Raja Kaka) (1973) Singer – Mukesh, Lyrics – KL Pardesi, MD – Kalyanji Anandji

Lyrics

haan gunaah kiya hai huzoor maine
haan gunaah kiya hai huzoor maine
haan
thhodi si
pee hai
zuroor maine
haan gunaah kiya hai huzoor maine
haan
thhodi si
pee hai
zuroor maine
haan gunaah  kiya hai huzoor maine

samajhti hai duniya sharaabi mujhe
samajhti hai duniya sharaabi mujhe
yeh kehti hai khaana kharaabi mujhe
yeh pehla kiya hai qusoor maine33
haan gunaah kiya hai huzoor maine
haan
thhodi si
pee hai
zuroor maine
haan gunaah  kiya hai huzoor maine

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

हाँ गुनाह किया है हुज़ूर मैंने
हाँ गुनाह किया है हुज़ूर मैंने
हाँ
थोड़ी सी
पी है
ज़ुरूर मैंने
हाँ गुनाह किया है हुज़ूर मैंने
हाँ
थोड़ी सी
पी है
ज़ुरूर मैंने
हाँ गुनाह किया है हुज़ूर मैंने

समझती है दुनिया शराबी मुझे
समझती है दुनिया शराबी मुझे
ये कहती है ख़ाना-खराबी मुझे
ये पहला किया है क़ुसूर मैंने
हाँ गुनाह किया है हुज़ूर मैंने
हाँ
थोड़ी सी
पी है
ज़ुरूर मैंने
हाँ गुनाह किया है हुज़ूर मैंने

 

 


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 : 3965 Post No. : 15047

Songs Repeated in Hindi Films – 2
– – – – – – – – – – – – – – – – – –

One of the most iconic songs of Saigal Sb. A song that is a definitive representation of Hindi film music of the 1930s. That incomparable rendition by Saigal Sb under the music direction of RC Boral was recorded live for the film ‘Street Singer’ (1938). Recorded more than eight decades ago, this remains a signature piece for time immemorial. The vision of Saigal Sb, leaving his home, just carrying his harmonium with him, walking with a slow measured pace, and singing this thumri – it is one of the lasting images of Hindi cinema. That version of the thumri from the ‘Street Singer’ can be viewed here – “Baabul Mora, Naihar Chhuto Hi Jaaye“.

Anecdotes around that live recording and shooting tell of a microphone hidden in the harmonium, of the slow pace of walking so as to complete the singing and the visual shot keeping within the range of the camera. Playback singing had already been invented (1935) and was in progressive use in the industry. And yet, this song was recorded live. The performance can only be called – unprecedented, incomparable and peerless. Nothing more fascinates the diehard fans of Saigal Sb, than this one song by him. Many singers have sung this, but the Saigal version remains untouched, unsurpassed.

In the film, this song spans an extended sequence of scenes. And small parts of this song are also rendered by Kanan Devi. There is a sequence where Kanan Devi attempts to sing this song in the theatre. Later, Bhola (KLS) departs from their shared home, upset that Manju (Kanan Devi) is enamored by Amar Babu (Jagdish Sethi), and wants to move in with him. But after just one day away from Bhola, Manju returns home searching for him. And finds that he has left. She makes a phone call to Amar Babu, requesting him to bring his car. They start to drive towards the road that leads to Bhola and Manju’s home village. In the meantime, the scene shifts between Manju searching for Bhola, and Bhola walking away with the harmonium. The song is reprised here three or four times, sometimes just the mukhda, sometimes just the antaraa.

Amar Babu is driving the car with dismay in his heart. A windstorm arrives. There is lot of dust in the air, and visibility is not good. Manju alights from the car, and starts following the path on foot – the path that Bhola would have taken returning to his village. Tired and overcome by storm, Bhola falls down by the roadside. Manju sees someone lying on the road and rushes to him. The tryst happens again. Amar Babu watches them from a distance. And then with a wry smile on his face, he returns to his car, to start the lonely journey back to his home. Bhola and Manju start their foot journey back to their village. Once again the song is heard in the voice of Kanan Devi, as the visual shows the two mates, in a silhouette against a darkening sky. The hearts have met, they are returning home, and the lady’s voice is telling – “Le Babul Ghar Aapno, Main Chali Piya Ke Des. . .”.

Thirty five years later, in 1973, this classical thumri is now included in the film ‘Aavishkaar’, starring Sharmila Tagore and Rajesh Khanna. This time, the music composition is by Kanu Roy, who transformed it into a duet, with the participating voices of Jagjit Singh and Chitra Singh. This time, in the picturization, this is presented as a background song, as the visual action on screen is mostly silent – and yet very expressive.

‘Aavishkaar’ presents a scenario of a brief hiatus in the lives of two people very much in love. In love they are, and they get married, and they start to live together. Maybe, just love is never enough. What love is – it needs to be examined, re examined and re invented often. And then it becomes love, more love and more meaningful. Else, just the drudgery of the consistent proximity, which used to be like heaven to start with, turns into stagnant boredom. Expectations still riding high, the lull now breeds contempt – a contempt that is actually screaming for and seeking a rejuvenated level of understanding and sharing. That is what ‘Aavishkaar’ is about.

The film starts on a day when it is the wedding anniversary of the protagonist couple. Amar (Rajesh Khanna) is aware, but still, broodingly ignores. He works late in office, he goes to see a film with a female co-worker, giving the audience the impression that he is seeking extra marital happiness. On his way back at night, he finally musters enough thought and courage, and buys a bouquet of Rajnigandha flowers. Arriving home, a certain scene transpires before he enters the house, and on an impulse, he places the bouquet in a flower pot next to the door, and enters the house, pretending that he does not remember the anniversary. A long night passes. There are flashbacks, there are arguments, there is even physical violence – highlighting the drift that has occurred in the relationship. Basu Bhattacharya has handled the conflict and the interactions very deftly. In my mind, this is the best handling of the situation of a very loving relationship gone sour. Many other films come to mind – ‘Arth’, ‘Dooriyaan’, ‘Anubhav’, ‘Aandhi’, ‘Grih Pravesh’, ‘Aap Ki Kasam’, the comical ‘Pati, Patni Aur Who’, ‘Abhimaan’ . . . and more. In ‘Aavishkaar’, the director portrays the conflict, the pain, and the reconciliation, at a very psychological level.

So, after a distraught and a tension filled hostile night, mostly sleepless and lot of exchanges and memories, the new day dawns. The rigmarole of the daily routine beckons. Mansi (Sharmila Tagore) gets up early and opens the front door to pick up the milk delivery. And then she sees. . . the bouquet standing in the flower pot. She picks it up. And the voice of Jagjit Singh drifts in from the background. She finds Amar standing behind her. . . and there is an embrace. A lot changed and a lot settled in that night of strife.

The two stanzas play out slowly. The first one as the couple are embracing and then they move back into the home. The second stanza is an external shot, mixing flashback again possibly, as we see the couple on the beach, in a mood of frolic, as the singer croons yet once again to say. . . “Le Babul Ghar Aapno, Main Chali Piya Ke Des. . .”.

The two instances that we are so familiar with, of the use of this song in Hindi films, both seem to have happy conclusion. But that was not the original thought when Wajid Ali Shah wrote and composed this thumri, way back in 1856. The British had played a game of deception with the Nawab of Awadh. In a bloodless coup, Wajid Ali Shah was dethroned and sent to Calcutta, and the British annexed Lucknow and the kingdom of Awadh. The Nawab was completely heartbroken, on leaving his beloved city, and his cultural roots. That is the time when this timeless poem was conceived.

Yes, the interpretations works both ways. There is this indication of a newlywed bride, going to her new matrimonial home. There is sadness on leaving the parent’s home, but there is also an eagerness and joyful elation of being with the one, with whom a new bond of love will be explored. And, there is the gloomy and poignant interpretation. Looking at the sad dilemma that was faced by Wajid Ali Shah – he was sentenced to leave behind his beloved city, his happy pastimes, and the people who made up his life that far. The discussions in literature talk about the passing passage of life into afterlife. That too, is a leaving behind of the home that one thinks to be their own, and then embark on a journey to meet the Maker. This jusxtaposition is captured so beautifully and so splendidly in this brief two verse thumri – “Main Chali Piya Ke Des. . .”.

In the context of this series, I bring on this song today to highlight another dimension of reuse that we see so often in Hindi films – the reuse of traditional poetry and folk music. This particular thumri is so simply a dear favorite of singers, that gathering the number of different renditions by different artists would be a big exercise in itself. Just to give you an idea, this thumri has been sung by the following singers – the list goes all the way from Bade Ghulam Ali Khan to Alisha Chinoy. The names, in no particular order are – Ustad Faiyaz Khan, Gauhar Jaan, Ustad Bade Ghulam Ali Khan, Siddheswari Devi, Begum Akhtar, Rasoolan Bai, Naina Devi, Kesarbai Kerkar, Ustad Mushtaq Hussain Khan, Malka Jaan, KL Saigal, Jagmohan Sursagar, Kannan Devi, Ustad Khadim Husain Khan, Girija Devi, Shobha Gurtu, Pandit Bhimsen Joshi, Pandit Jitendra Abhisheki, Kishori Amonkar, Jagjit Singh and Chitra Singh, Jagjit Singh (solo), Rajan-Sajan Mishra, Alisha Chinoy, Mahendra Chopra. . . and I am sure, many more artists of repute.

If I talk about Hindi films, then besides the two instances already covered in the write up above, this thumri appears in two more films. In 1954, Manna Dey has sung this for the film ‘Mahatama Kabir’ – a really wonderful rendition. Then later in 1964, Lata Mangeshkar has sung this for the Bhojpuri film ‘Naihar Chhutal Jaaye’.
[Ed Note: Dear Arun ji adds two more instances of this song being used in Hindi films, both from early 1930s. This song has been rendered by Durga Khote in the 1931 film ‘Trapped’ aka ‘Farebi Jaal’. Then again in 1934, this thumri appears in the list of songs for the film ‘Naachwaali’ – no information available regarding singer or music director.]

Such reuse that involves traditional poetry and folk songs, is really very simple, because this material is beyond the intellectual property disputes. For that matter, we have seen many such other creations being used in films across the decades. On the devotional side, the poems of Meerabai, Kabir Das, and Soordas are very popular and are used quite freely by the producers. Then we have the adabi poets, once again a traditional treasure that does not have any copyright issues attached. Ghazals of Ghalib are quite popular and have been used in many films across the decades. As I scanned the songs in HFGK I find that the ghazal “Dil e Nadaan Tujhe Hua Kya Hai” appears in 9 films from 1931 to 1980. The ghazal “Nuktacheen Hai Gham e Dil” appears in four films, “Ye Na Thee Hamaari Qismat” appears three times, “Phir Mujhe Deeda e Tar Yaad Aaya” also appears in three films, and so on.

Checking for Meerabai’s bhajans, one finds the popular ones like “Mere To Girdhar Gopal”, “Main To Gidhar Ke Ghar Jaaun”, “Tum Jo Todo Piya” etc., being used in many films. Not a precise search, but my estimate is that Meerabai’s bhajans appear in Hindi films more than 100 times. The search cannot be precise because there are many instances where the traditional bhajans or ghazals have been used without giving credit to the original poet. Additional note – Amir Khusro’s poetry appears in Hindi films no less than 10 times, of which at least 4 are occurrences of “Kaahe Ko Byaahi Bides. . .”.

The more difficult proposition would be to trace the folk songs reuse across Hindi films. With so much variations, and without acknowledgement to the original folk source, it is difficult to make an estimate of folk music reuse in films. But I will surely add that this segment would be more voluminous than the bhajans and ghazals. The song, or variations thereof, of “Jhumka Gira Re. . .” has been used in no less than four films.

Coming to the film ‘Aavishkaar’. The film is produced under the banner of Aarohi Film Makers and is directed by Basu Bhattacharya. The songs of this film are written by Gyandev Agnihotri and Kapil Kumar. And yes, this traditional thumri originally created by Wajid Ali Shah. The cast of actors is listed as Rajesh Khanna, Sharmila Tagore, Deena Gandhi, Denis Klement, Satyendra Kappu, Monika Jasnani, Devendra Khandelwal, Margaret, Mahesh Sharma, and Minna Johar etc.

Interesting side note – this film is the 2nd in the now famous trilogy by Basu Bhattacharya, on the topic of marital discord, the first one being ‘Anubahv’ (1971) and the 3rd being ‘Grih Pravesh’ (1977).

More interesting side notes. As we talk about reuse, I must mention the other interesting reuse in this film. Probably this is the only film where we can hear Sharmila Tagore singing. At one place in the film, the iconic Manna Dey song “Hansne Ki Chaah Ne. . .” is being sung by Sharmila. Then, at another place in the film, the song from ‘Teesri Kasam’ (1966) – “Duniya Banaane Waale, Kya Tere Mann Mein Samaai” is playing on the radio, and we can also hear Sharmila singing along with it.

So much for today. In the next episode, we shall explore another very interesting aspect of re-use of songs.

Song – Baabul Mora, Naihar Chhuto Hi Jaaye  (Aavishkaar) (1973) Singers – Jagjit Singh, Chitra Singh, Lyrics – Traditional, MD – Kanu Roy
Jagjit Singh + Chitra Singh

Lyrics

baabul mora. . .
naihar chhuto hi jaaye

baabul mora. . .
baabul mora. . .
naihar chhuto hi jaaye

chaar kahaar mil mori
doliyaan sajaaye re
mora apna begaana
chhuto jaaye. . .
naihar chhuto hi jaaye

[dialogue – Rajesh Khanna, Sharmila]

angnaa to parbat bhaya
deori bhai bides
le babul ghar aapno
main chali piya ke des
main chali piya ke des
main chali piya ke des

baabul mora. . .
naihar chhuto hi jaaye

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————

बाबुल मोरा॰ ॰ ॰
नईहर छूटो ही जाये

बाबुल मोरा॰ ॰ ॰
बाबुल मोरा॰ ॰ ॰
नईहर छूटो ही जाये

चार कहार मिल मोरी
डोलियाँ सजाये रे
मोरा अपना बेगाना
छूटो जाये॰ ॰ ॰
नईहर छूटो ही जाये

[संवाद – राजेश खन्ना, शर्मिला टागोर]

अंगना तो परबत भया॰ ॰ ॰
डेयोड़ी भई बिदेस
ले बाबुल घर आपनो
मैं चली पिया के देस
मैं चली पिया के देस
मैं चली पिया के देस

बाबुल मोरा॰ ॰ ॰
नईहर छूटो ही जाये

 


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3963 Post No. : 15043

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Blog 10-Year Challenge (2009-19) – Song No. 32
——————————————————————————————

Another date, and another look at our blog’s history. Ten years ago – well just a thought came to mind. If, say, we were more than two decades active with this blog, and then this idea occurred that we should start looking at our history, then guess, what would be the title of this series.  🙂 🙂  Nothing so straightforward as ‘Blog 10-Year Challenge’. The title then would be ‘Bees Saal Baad’. Sadly enough, there is no film in Hindi cinema history that talks something about a 10 year gap. 😀 😀

Coming to 25th May of 2009. Quite as regularly, six songs were posted that day. The films covered were

  1. Patita                                 1953
  2. Shabnam                           1964
  3. Main Suhaagan Hoon       1964
  4. Ganwaar                            1970
  5. Naina                                 1973
  6. Asha                                   1980

Of these six films, all but one have already been yippeee’d. The one remaining film is ‘Naina’ from 1973.

This film is one of those which suffered delays because of the unexpected departure of Rajshri from India. Rajshri, daughter of V Shantaram from his second wife Jaishree, made her debut as a child artist at the age of 4, in V Shantaram’s film – ‘Dr Kotnis Ki Amar Kahani’ (1948). She continued to appear in child roles for the next decade or so, all appearances in her father’s films – ‘Bhool’ in 1949 and ‘Subah Ka Taara’ in 1954. In 1961, she appears in a side role in the film ‘Stree’.

Her break in commercial cinema other than her father’s productions came in 1963, when she was cast opposite to Manoj Kumar in two films ‘Ghar Basa Ke Dekho’ and ‘Grahasthi’. Then in 1964, V Shantaram produced another musical spectacle – ‘Geet Gaaya Patthron Ne’, in which he cast Rajshri opposite to Jeetendra in his debut role as a hero. The same year we also see her in ‘Ji Chaahta Hai’ with Joy Mukherji and ‘Shehnai’ with Biswajit. Her career seems to be taking off well, as she is being actively cast opposite to the top line leading men in the industry.

1965 she gets into top casting with Shammi Kapoor in ‘Jaanwar’. The same year, we have another Biswajit starrer – ‘Do Dil’. The next year, she makes her presence felt with ‘Mohabbat Zindagi Hai’, working opposite to Dharmendra. In the same year, another film with Biswajit – ‘Sagaai’. About this time, the preparations are on for a supposed blockbuster, a film that went to multiple foreign locations, stringing in a loose story and a large cast of actors, led by Raj Kapoor and Rajshri. She was really in the top bracket now. Being the leading lady with Raj Kapoor as the hero, was still a big thing at that time.

But then, destiny intervened. Working on locations in the US, she met with an American young man – Greg Chapman, and promptly fell in love. They got married in 1969, and off she went and settled in the US – in Los Angeles, where she still lives with her husband, together managing their clothing business. A number of producers in Bombay got badly hit by this move, with the films and projects that had been launched and even partly made, with Rajshri in the lead. There was a lot of mixed press that happened at that time, when she announced to just up and leave India, and leave her work and career too.

In 1967, two films were released – ‘Dil Ne Pukaara’ with Shashi Kapoor, and ‘Gunahon Ka Devta’ with Jeetendra. In 1968 came ‘Brahmchari’ again with Shammi Kapoor, probably the last film that she completed before her departure from India. In 1968, also came ‘Suhaagraat’ working with Jeetendra again. I remember clearly, in one of the film magazines, maybe Madhuri or some other – a photograph of Rajshri appeared. And the caption of that photo was – “सुहागरात पूरी हो या न हो, मैं तो चली।” (“Whether Suhaagraat (literally the nuptial night) is accomplished or not, I am going”). That caption drew a lot of attention at that time. Essentially, the shooting work of ‘Suhaagraat’ was not complete when she left. The producer and director somehow assembled the material that was already shot, and then improvised to complete the rest of the scenes without the physical presence of Rajshri. E.g. the song “Ho Ganga Maiya Main Jab Tak Ki Paani Rahe” – just view the video of this song. Except for a couple or three close ups which seem to be stock shots from some other scene, in the scenes where Rajshri’s presence is required, the director has been clever enough to not close up the camera to the lady’s face. In the entire song one does not get to see clearly, the face of the lady in white. In one of the scenes a lady’s hands are shown carrying flowers and running towards the River Ganga – the face of the lady is not shown. This entire song was improvised, as were few other shots in the film.

Now coming to ‘Naina’. The release date of this film as 1973 anyway sounds dubious since Rajshri had already left India in 1969-70 time frame. I remember having read, once again in film magazine of that era, that the producer, sitting on a partially completed film, and having failed to convince Rajshri to cooperate to get it to completion, made a decision to modify the storyline, include an accidental death of the character played by Rajshri, bring in another female lead – Moushumi Chatterji, bring in one more dancer – Padma Khanna, and completed the film. The film in its final production was very different from the original conception. A couple of songs and some scenes with Rajshri are retained. And the rest of the storyline was changed and re-shot. And yes, Moshumi Chatterji gets the top billing, ahead of Rajshri.

The film is produced by Shakti International and is directed by Kanak Mishra. Geet Kosh lists seven songs for this film, written by three songwriters – Hasrat Jaipuri, Indiwar and Kaifi Azmi. Music is by Shanker Jiakishan. The star cast is listed as Shashi Kapoor, Moushumi Chatterjee, Rajshri, Rehman, Akashdeep, Devid, Padma Khanna, Sanjana, Shaukat Kaifi, Praveen Pal, Madhumati, Jagirdar, Nagar, Samson, Firoza, Tirath, Paulson, Dhanraj, Sitaram, Krishan Kumar, Radheshyam, Jugnu, Darpan, Sidharth, Farida Jalal, and AK Hangal.

Coming to this song today. As I remembered, and then again scanned this film today, this song is not present in the film. Possibly this is another casualty of the change in storyline. The song is recorded and is part of the records that were released for this film. But it is not carried in the film.

The lyrics are written by Hasrat Jaipuri. Music is by Shanker Jaikishan – in all likelihood, this music would have been scored prior to the passing away of Jaikishan in 1971. The singing voice is of Sharda. The song is a sad, ‘chal ud ja re panchhi’ type of song. Maybe, after the change in storyline, the director found it difficult to fit it into the revised scheme.

A very well written, very well composed and very well sung song this one is. I am sure you will also like it very much.

 


Song – Mann Ke Panchhi Kahin Door Chal Door Chal (Naina) (1973) Singer – Sharda, Lyrics – Hasrat Jaipuri, MD – Shanker Jaikishan

Lyrics

hmmmm hmm hmmmmm hmmmmm
hmmmm hmm hmmmmm hmmmmm

mann ke panchhi kahin door chal door chal
is chaman mein to apna guzaara nahin
gair ki hai dagar
gair ka hai nagar
saans lene ka bhi ek sahaara nahin
mann ke panchhi kahin. . .

koi humdum nahin
na wafaadaar hai
zindagi ab to jeene se bezaar hai
koi humdum nahin
na wafaadaar hai
zindagi ab to jeene se bezaar hai
gham ke toofaan hain
jis taraf dekhiye
aur toofaan mein koi kinaara nahin
mann ke panchhi kahin door chal door chal
is chaman mein to apna guzaara nahin
mann ke panchhi kahin. . .

hum ne dekhe yahaan
pathhron ke sanam
pooj kar bhi jinhen
hum to pachhtaayen hain
hum ye dekhe yahaan
pathhron ke sanam
pooj kar bhi jinhen
hum to pachhtaayen hain
zindagi ke liye haath phailaayen hum
aisa jeena to hum ko gawaara nahin
mann ke panchhi kahin door chal door chal
is chaman mein to apna guzaara nahin
mann ke panchhi kahin. . .

ye zameen beraham
aasmaan pur-sitam
in hadon se bhi aage
nikal jaayen hum
ye zameen beraham
aasmaan pur-sitam
in hadon se bhi aage
nikal jaayen hum
aasmaanon pe bhagwan bhi khaamosh hai
aisi kismet hai koi hamaara nahin
mann ke panchhi kahin door chal door chal
is chaman mein to apna guzaara nahin

mann ke panchhi kahin door chal door chal
is chaman mein to apna guzaara nahin
gair ki hai dagar
gair ka hai nagar
saans lene ka bhi ek sahaara nahin
mann ke panchhi kahin. . .

———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-

हम्मममम हम्म हम्ममम हम्ममम
हम्मममम हम्म हम्ममम हम्ममम

मन के पंछी कहीं दूर चल दूर चल
इस चमन में तो अपना गुज़ारा नहीं
गैर की है डगर
गैर का है नगर
सांस लेने का भी एक सहारा नहीं
मन के पंछी कहीं॰ ॰ ॰

कोई हमदम नहीं
ना वफादार है
ज़िंदगी अब तो जीने से बेज़ार है
कोई हमदम नहीं
ना वफादार है
ज़िंदगी अब तो जीने से बेज़ार है
ग़म के तूफान हैं
जिस तरफ देखिये
और तूफां में कोई किनारा नहीं
मन के पंछी कहीं दूर चल दूर चल
इस चमन में तो अपना गुज़ारा नहीं
मन के पंछी कहीं॰ ॰ ॰

हम ने देखे यहाँ
पत्थरों के सनम
पूज कर भी जिन्हें
हम तो पछताए हैं
हम ने देखे यहाँ
पत्थरों के सनम
पूज कर भी जिन्हें
हम तो पछताए हैं
ज़िंदगी के लिए हाथ फैलाएँ हम
ऐसा जीना तो हमको गवारा नहीं
मन के पंछी कहीं दूर चल दूर चल
इस चमन में तो अपना गुज़ारा नहीं
मन के पंछी कहीं॰ ॰ ॰

ये ज़मीन बेरहम
आसमान पुर-सितम
इन हदों से भी आगे
निकल जाएँ हम
ये ज़मीन बेरहम
आसमान पुर-सितम
इन हदों से भी आगे
निकल जाएँ हम
आसमानों पे भगवन भी खामोश है
ऐसी किस्मत है कोई हमारा नहीं
मन के पंछी कहीं दूर चल दूर चल
इस चमन में तो अपना गुज़ारा नहीं

मन के पंछी कहीं दूर चल दूर चल
इस चमन में तो अपना गुज़ारा नहीं
गैर की है डगर
गैर का है नगर
सांस लेने का भी एक सहारा नहीं
मन के पंछी कहीं॰ ॰ ॰

 


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3952 Post No. : 15028

# Superstar Child Artist – Jr. Mehmood # 6
————————————————–
(Rafi Sings for Jr. Mehmood # 4)
————————————-

Welcome all to this post of today where we are going to enjoy a song from the 1973 movie ‘Ek Naari Do Roop’.

‘Ek Naari Do Roop-1973’ was directed by Madhusudan for ‘Co-operative Pictures’.

It was produced by S. Srivastava and presented by Shatrughan Sinha.

This movie had Shatrughan Sinha, Rashmi, Iftekhar, Madan Puri, Mehmood Junior, Malika, Lalita Kumar, Kajal, Rajni, Sapru, Chaman Puri, Honey Chhaya, Maruti, Moolchand, Qureshi, Ranvir Raj, Subhash, Master, Sheroo, Ratan, Chikoo, with Nadira and Roopesh Kumar. Asha Sachdev makes a special appearance in this movie.

Screenplay and Dialogues of this movie were written by Madhusudan. Editing of this movie was done by Kamlakar with Babubhai Shah as Assistant.

This movie had total five songs in it.

Lyrics of the songs of this movie were written by Naqsh Lyallpuri and Asad Bhopali. (Naqsh Lyallpuri had penned three songs while two songs were penned by Asad Bhopali including <a href="Dil ka soona saaz taraana dhoondhega(Ek naari do roop)(1973)“>the one most well known and popular song from this movie. And incidentally both the songs penned by Asad Bhopali for this movie were sung by Rafi Saab).

So far, three songs from this movie have been posted on the blog, and today’s song will be the fourth song from this movie being posted on the blog.

Asha Bhonsle, Mohd Rafi and Kishore Kumar have given their voices to the songs in this movie.

Music for this movie was composed by Ganesh.

This movie was passed by Censor Board on 15.09.1973…

I have not watched this movie so can’t say much about its performance of other trivia associated with this movie. However, from the part of this movie that I have watched, I can say that this movie must be an interesting movie to watch.

‘Ek Naari Do Roop-1973’ had total five songs in it of which three songs have already been posted earlier. After posting the third song from this movie Atul ji had mentioned that he wants to take movie to ‘Yippeeee’dom’ at the earliest possible. 😊

I had then requested him that one song will be shared by me as it was planned by me for this series almost four and half years back. (however, the video or audio of this song was not available then and even now I could not find it’s audio link. It is because one of our most respected and beloved members that we have the video of this song for our enjoyment).

Also, I would like to thank Atul ji for waiting and allow me to share this song here (the first song from this movie to be posted on the blog was naturally the most known song from this movie i.e. ‘dil ka soona saaz taraana dhoondhega’, and it was posted on the 31.07.2008).

In the previous post under this series we have enjoyed the song ‘aisa banoonga actor main yaaron’ … from the movie ‘Ghar Ghar Ki Kahaani-1970’. We had also gone through the filmography of Junior Mehmood from 1967 to 1970.

Today’s song is sung by Rafi Saab and it is picturised on Junior Mehmood and others.

With this song all the songs sung by Rafi Saab for Junior Mehmood stands covered, however one more song sung by Rafi Saab is there where Junior Mehmood is present without lip-syncing the song. This information was also shared by Junior Mehmood himself during my first conversation with him.

Following are the other three songs sung by Rafi Saab for Junior Mehmood;

Lagey koi lottery koi jackpot lagey

Na koi paisa na ilm

Birha ki rain sooni sooni sejariya

I think there could be more songs (one I have noted) sung by other singers for Junior Mehmood which we have to explore, and thus I am not concluding this series yet. Also, in the next post we can have a look on filmography of Junior Mehmood from 1971-1980.

Lyrics for the today’s song are by Asad Bhopali and music is composed by Ganesh.
This song, may not be that much popular, is still a nice entertaining and hummable song from this movie.

Let us now enjoy today’s song …


Song-Ham hi jaanen ek torey manwaa ki peer (Ek Naari Do Roop)(1973) Singer-Rafi, Lyrics-Asad Bhopali, MD-Ganesh

Lyrics

Ham hi jaanen
ek Torey manwaa ki peer
Ham hi jaanen
ek Torey manwaa ki peer
Jagat mein pyaar lutaayi ke
Ham jaison ko apnayi ke
Haan
Jagat mein pyaar lutaayi ke
Ham jaison ko apnayi ke
Ban jayiho tum bhi ameeron ke ameer haan
Ham hi jaanen
ek Torey manwaa ki peer
Ham hi jaane
ek Torey manwaa°°° aa ki peer

Aahaa o re
O
Aaaha o re

Itna paisa ka kariyo re
Jod jod ke
haan
Haan
Ho o
Itna paisa ka kariyo re
Jod jod ke
Kal daaku le jaiyen taala tod tod ke
Maaya lobh ke chakkar chhodo
Ho o o o
Maaya lobh ke chakkar chhodo
Dukhiyaaron se naataa jodo

Ho o o o
Pochho gareebon ki ankhiyon se neer
Haaye ae
Ham hi jaane ek
Torey manwaa ki peer

Ham hi jaane
ek Torey manwaa°°° aa ki peer

Moochhan pe bal daike
Seenaa taan taan ke ae
haan
Haan
Ho o
Moochhan pe bal daike
Seenaa taan taan ke
Hamse ankhiyaan pher ke gujre
Jaan jaan ke
Oonchaa naam hai
Manwaa chhotaa
Ho o o o o o
Oonchaa naam hai
Manwaa chhotaa
Kaale kaam hai dhandaa khotaa

Ho o o o
Inse ka banbe hamaari taqdeer
Haan aa
Ham hi jaane ek
Ho
Torey manwaa ki peer
Ho
Ham hi jaane ek
Torey manwaa°°° aa ki peer

Aahaa o re
O
Aaaha o re

Hamri aashaa poori kar do
Dhoom dhaam se
Haan
Haan
Ho o hamri aashaa poori kar do
Dhoom dhaam se
man apna atkaa lo
Sai ram naam se
Ye pyaar ka saudaa kariyo
Ho o o o ho o o
Ye pyaar ka saudaa kariyo
Hamre man ki jholi bhariyo

Ho o o
Haathon mein hamre hai
Dhan ki lakeer
Haaye ae
Ham hi jaane ek
Torey manwaa ki peer

Ham hi jaane ek
Torey manwaa ki peer
Jagat mein pyaar lutaayi ke
Ham jaison ko apnayi ke
Haan
Jagat mein pyaar lutaayi ke
Ham jaison ko apnayi ke

Ban jayiho tum bhi ameeron ke ameer haan
Ham hi jaane ek
Torey manwaa ki peer

Ham hi jaane ek
Torey manwaa°°° aa ki peer

—————————————–
Devnagri Script Lyrics (Provided by Avinash Scrapwala)
—————————————–
हम ही जाने
एक तोरे मनवा की पीर
हम ही जाने
एक तोरे मनवा की पीर
जगत में प्यार लुटाई के
हम जैसों को अपनाई के
हाँ
जगत में प्यार लुटाई के
हम जैसों को अपनाई के
बन जयिहो तुम भी अमीरों के अमीर
हाँ
हम ही जाने
एक तोरे मनवा की पीर
हम ही जाने
एक तोरे मनवा°°°आ की पीर

अहा ओ रे

आहा ओ रे

इतना पैसा का करियो रे
जोड़ जोड़ के
हाँ
हाँ
हो ओ
इतना पैसा का करियो रे
जोड़ जोड़ के
कल डाकू ले जयिये ताला तोड़ तोड़ के
माया लोभ के चक्कर छोडो
हो ओ ओ ओ
माया लोभ के चक्कर छोडो
दुखियारों से नाता जोड़ो

हो ओ ओ ओ
पोछो गरीबों की अंखियों से नीर
हाए ए
हम ही जाने
एक तोरे मनवा की पीर

हम ही जाने एक
तोरे मनवा°°°आ की पीर
अ हा

मूछन पे बल दयिके
सीना तान तान के ए
हाँ
हाँ
हो ओ
मूछन पे बल दयिके
सीना तान तान के ए
हमसे अँखियाँ फेर के गुजरे
जान जान के
ऊंचा नाम है
मनवा छोटा
हो ओ ओ ओ ओ ओ
ऊंचा नाम है
मनवा छोटा
काले काम है धंधा खोटा

हो ओ ओ ओ
इनसे का बनबे हमारी तकदीर
हाँ आ
हम ही जाने एक
हो
तोरे मनवा की पीर
हो
हम ही जाने एक
तोरे मनवा°°°आ की पीर

अहा ओ रे

आहा ओ रे

हमरी आशा पूरी कर दो
धूम धाम से
हाँ
हाँ
हो ओ हमरी आशा पूरी कर दो
धूम धाम से
मन अपना अटका लो
साईं राम नाम से
ये प्यार का सौदा करियो
हो ओ ओ ओ हो ओ ओ
ये प्यार का सौदा करियो
हमरे मन की झोली भरियो

हो ओ ओ
हाथों में हमरे है
धन की लकीर
हाए ए
हम ही जाने
एक तोरे मनवा की पीर

हम ही जाने
एक तोरे मनवा की पीर
जगत में प्यार लुटाई के
हम जैसों को अपनाई के
हाँ
जगत में प्यार लुटाई के
हम जैसों को अपनाई के

बन जयिहो तुम भी अमीरों के अमीर हाँ
हम ही जाने
एक तोरे मनवा की पीर

हम ही जाने
एक तोरे मनवा°°°आ की पीर


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 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 : 3925 Post No. : 14993

———————————————–
Blog 10-Year Challenge (2009-19) – Song No. 29
————————————————

Hullo to all in Atuldom

Dil Ka Nazraana Le O Dildaar Le” – this was the debut post of the 1973 movie “Chalaak” which was directed by someone called RK Banerjee. All these years I had only heard this song. Thanks to the ongoing ten-year challenge series I landed on the post of the song which had been popular in the 70s and is still heard on Vividh Bharti (All India Radio), I learnt that it was a Kiran Kumar – Radha Saluja song, which movie etc.

I landed on that post because of this “Mann Gaaye Wo Taraana“. Now this is another song that was popular on the radio in those days and is still heard sometimes on radio. I learnt that this is a piano song with Alka at the piano and Kiran Kumar in a jeep.

Radha Saluja and Alka are lost to followers of Bollywood and Kiran Kumar has turned to doing character roles or supporting roles since 1988 when we saw him in Rakesh Roshan’s “Khudgarz”. The rest of the cast of this movie comprised of Bhram Bharadwaj, Ajit, Danny, Lalita Kumari, P Jairaj, Gautam Sareen (in friendly appearances) alongwith Keshto Mukherjee, Jayshree T, Jagdish Raj etc. The synopsis of the movie as given on IMDB is

Monica Kapoor (Radha Saluja) lives a wealthy lifestyle in London, England. When she hears that her estranged brother, Kishan (Bhram Bharadwaj), has been killed while traveling in a train, she returns home to India and asks his much younger and drop dead gorgeous widow, Shobha (Alka), to move out so that she could sell the house, pick up the cash, return to London and get married to her boyfriend, Manoj (Danny). She does get to sell the house and compels Shobha to move in with Kishan’s friend, Amar (Kiran Kumar), but Manoj steals the cash and disappears. Humbled by this incident, Monica also moves in with Amar and Shobha, as well as Amar’s younger brother, Chickoo, and ends up falling in love with Amar. She decides to marry him at the Registrar’s Office. When he does not show, she returns home and finds him getting intimate with Shobha. What Monica does not know is that Amar is not who he claims to be but is, in fact, an escaped convict, who is determined to marry Shobha and get her to reveal the secret location of some gold bars.

Looks like it was a typical masaala film (should see it when I get some time).

There were 6 posts on 17th of April 2009:

Koi Humdum Na Raha

Tum Apni Saheli Ko

Raina Beeti Jaaye

Mann Gaaye Wo Taraana

Tera Mera Saath Rahe

Rootha Hai To Manaa Lenge

Of these ‘Jhumroo’, ‘Amar Prem’ and ‘Jwaar Bhaata’ have all their songs on the blog that means these movies have been YYIIPPEEEED! ‘Samaaj Ko Badal Daalo’ has three songs left and ‘Saudaagar’ has two left. ‘Chalaak’ has only two songs on the blog. Here is the third. It is written by Hasrat Jaipuri and Ganesh is the music director. It has playback by Asha Bhonsle.

 

Song – Yahaan Kaun Hai Jo Tera Hai  (Chaalaak) (1973) Singer – Asha Bhosle, Lyrics – Hasrat Jaipuri, MD – Ganesh

Lyrics

mmm
yahaan kaun
tera hai
(hic)
ch ch ch ch
yahaan kaun hai jo tera hai
mere dil sambhal andhera hai
yahaan kaun hai jo tera hai
mere dil sambhal andhera hai
ye jahaan hai kya
har aadmi
haa aaaa
lutera hai
yahaan kaun hai jo tera hai

aaaaa aaaa aaaaaaa

pyar ke ye mahal
gir padi haaye re ek pal mein
la la la laa
jhoota wo sahaara tha
haye na hamara tha
phir hamein
karni padi hai maikashi
ye jahan hai kya har aadmi
haa aa
lutera hai
yahaan kaun hai jo tera hai
mere dil sambhal andhera hai
yahaan kaun hai jo tera hai

kyun yakeen
hum karein
patharon ka shehar ye zamaana
la la la laa
duniya kab hamaari hai
lakdi ki kataari hai
le mujhe
baahon mein le ae bekhudi
ye jahan hai kya har aadmi
aa aaa
lutera hai
yahaan kaun hai jo tera hai
mere dil sambhal andhera hai
yahaan kaun hai jo tera hai

aaaaa aaaa aaaaaaa

dil mera
bhar gaya
kyun jeeyun
kis liye iss jahaan mein
la la la laa
aansoon har taraana hai
apna jo begaana hai
arre hai yahaan ghaayal jawaan zindagi
ye jahan hai kya har aadmi
haa oo
lutera hai
yahaan kaun hai jo tera hai
mere dil sambhal andhera hai
ye jahaan hai kya har aadmi
haa aaaa
lootera (hic)
yahaan kaun hai
jo tera hai
(hic)

———————————————————-
Hindi script lyrics (Provided by Sudhir Kapur)
———————————————————-

म्ममम
यहाँ कौन
तेरा है
(हिक)
च च च च
यहाँ कौन है जो तेरा है
मेरे दिल संभाल अंधेरा है
यहाँ कौन है जो तेरा है
मेरे दिल संभाल अंधेरा है
ये जहां है क्या
हर आदमी
हा आ
लुटेरा है
यहाँ कौन है जो तेरा है

आssss आsss आssssss

प्यार के ये महल
गिर पड़े हाए रे एक पल में
ला ला ला ला॰॰
झूठ वो सहारा था
हाए ना हमारा था
फिर हमें
करनी पड़ी है मैकशी
ये जहां है क्या
हर आदमी
हा आ
लुटेरा है
यहाँ कौन है जो तेरा है
मेरे दिल संभाल अंधेरा है
यहाँ कौन है जो तेरा है

क्यों यकीन
हम करें
पत्थरों का शहर ये ज़माना
ला ला ला ला॰॰
दुनिया कब हमारी है
लकड़ी की कटारी है
ले मुझे
बाहों में ले ए बेखुदी
ये जहां है क्या
हर आदमी
आ आ
लुटेरा है
यहाँ कौन है जो तेरा है
मेरे दिल संभाल अंधेरा है
यहाँ कौन है जो तेरा है

आssss आsss आssssss

दिल मेरा
भर गया
क्यों जीऊँ
किस लिए इस जहां में
ला ला ला ला॰॰
आँसू हर तराना है
अपना जो बेगाना है
अरे है यहाँ घायल जवां ज़िंदगी
ये जहां है क्या
हर आदमी
हा ओ
लुटेरा है
यहाँ कौन है जो तेरा है
मेरे दिल संभाल अंधेरा है
यहाँ कौन है जो तेरा है
हा आ
लुटेरा (हिक)
यहाँ कौन है
जो तेरा है
(हिक)


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3912 Post No. : 14971

———————————————–
Blog 10-Year Challenge (2009-19) – Song No. 26
————————————————

Ten years ago, this day – the score card was six films, and six songs. The songs posted on that day are listed below.

 

Naino Me Pyaar Dole Sheroo 1957
Kaare Kaare Baadraa Bhaabhi 1957
Jab Baadal Lahraaya Chhoo Mantar 1956
Dil Pukaare Aare Aare Jewel Thief 1967
Tumhaari Nazar Kyun Khafa Ho Gayi Do Kaliyaan 1968
Har Haseen Cheez Ka Main Talabgaar Hoon Saudaagar 1973

 

Out of the six films, five films have since been Yippeee’d on the blog. I notice this interesting push for completing songs of a film. It seems that the preference is always to complete songs of films from 1950s and 1960s. Most of the time, when we are searching for a suitable selection for this Ten Years Challenge series, the films with songs pending are most likely to be not from 1950s and 1960s. I think it is a combination of preference for the melody and music of those two decades, plus the availability. On these two counts, the films from 1950s and 1960s would score the highest, and hence their quicker movement towards Yippeee status.

The film from this list, which still has songs remaining to be posted, belongs to 1973 – ‘Saudaagar’. When this film appeared in the theatres, the one surprising element was the lead pair – Amitabh Bachchan and Nutan, plus Padma Khanna of course. Once one got to know the storyline though, the choice would be rationalized. But at first sight, Nutan – a fairly senior lead actress by that time, paired opposite to an almost rank new comer, Amitabh Bachchan, at first raised some eyebrows. Nutan, having made her transition from child role (‘Hamaari Beti’, 1950) to lead actress roles with ‘Hum Log’ and ‘Nagina’ in 1951, had over two decades of career behind her. Amitabh, on the other hand, was just into the fifth year of his career. Having made a debut with the 1969 film ‘Saat Hindustani’, he was still seen as the Babu Moshai (‘Anand’, 1970), an actor in second lead type roles. No doubt, ‘Zanjeer’ also happened in 1973, and that put him on a fast track as an action hero. But when ‘Saudaagar’, and of course ‘Zanjeer’ were planned and were under production, the phenomenal succcess of the latter film was still into the future. At such a time, the casting of ‘Saudaagar’ surely surprised critics and audiences alike.

The film’s story is a sensitive portrayal of a love triangle, in which one side of the triangle is actually a pretense, nay a fraud, mounted by the male protagonist, for a vested interest, which is to finance his betrothal to his real love interest. It is a plain case of a dishonorable deception, which goes way beyond cheating and defrauding for money – it is a devious fraud on the heart and emotions of gullible and vulnerable widow. Moti (Amitabh) is a young trader in gur (jaggery made from the juice of date palms). Majubee (Nutan) is a relatively older widow, expert in making the jaggery from the date juice. The two have business relations, in that Moti collects the juices from the date palms, brings to Majubee, who makes jaggery from it, and Moti sells it in the market.

Phool Banu appears on the scene, and Moti falls head over heels for her. His efforts to gain a bride are thwarted by Phool Banu’s father, who demands a handsome meher amount for the marriage. Unable to procure the hefty amount demanded, Moti hatches a plan in his mind – he decides to get married to Majubee, and save money on the production process of gur, because he would not have to pay Majubee, once he becomes her husband. Majubee is shocked and surprised by the proposal, refuses at first, but then slowly gives in to the cajoling and pursuance by Moti. They get married. At the end of one season of gur making, Moti saves enough to pay the meher for his desired bride. He divorces Majubee, and immediately marries Phool Banu. Majubee is devastated, and completely broken, at being used such by this devious man, who has used her and defrauded her of her vulnerable honor in life.

But the story does not end here. As it turns out, Phool Banu has no inkling of the gur making proces. Her main interests in life are “Sajna Hai Mujhe Sajna Ke Liye“. Moti, unable to now supply good quality gur in the market, loses his reputation, and his business. The affluence is gone, the reputation is gone, and so is the dream of a happily-ever-after life with his beloved. And the story moves further. . . to be dealt with in another post later. 🙂

The film is produced by the house of Rajshree – Rajshree Pictures Pvt Ltd, Bombay. It is directed by Sudhendu Roy. Besides the three important stars already named, the impressive cast of actors includes Trilok Kapoor, Murad, Dev Kishan, V Gopal, CS Dubey, Pardesi, Narbada Shankar, Santosh Ghosh, Nadira, Ras Raj, Paritosh Choudhary, Ashok Mitra, Samar Rai, Jugnu, Chandu Allahabadi, Ramesh Verma, Shriram Shastri, Chaturvedi, Bihari, Leela Mishra, Paro, Habeeba, Salma, Sitara, Suraiya, Master Saka, Master Firdaus, and Baby Shamina.

Geet Kosh lists seven songs for the film. All the songs are created by the lyricist – MD Ravindra Jain. This song is sung by Lata Mangeshkar. On screen, it is performed by Padma Khanna, as she is walking back home from the river banks, after having crossed it on a boat. Amitabh has seen her, and is following her from the boat itself. Of course Padma Khanna, i.e. Phool Banu, is very much aware that she is being followed by this lanky and handsome young man. So she is playing the siren’s role to the hilt. Introduces herself in the song, she tells her pursuer about herself and her youth, and clearly communicates that she is verily enjoying the attention she is getting from him. In a couple of close shots, Amitabh looks very much like a provoked predator, as he eyes this willing beauty dancing for his benefit.

A catchy song, and enticing words. . . both characters are hunters, laying veritable traps for each other. 🙂

 

Song – Champa Nahin, Chameli Nahin, Main Genda Nahin Gulaab Nahin  (Saudaagar) (1973) Singer – Lata Mangeshkar, Lyrics – Ravindra Jain, MD – Ravindra Jain

Lyrics

champa nahin chameli nahin
main genda nahin gulaab nahin
phir bhi jo dekhe wo boley
tera koi jawaab nahin
main kaa karoon ke main hoon phool baano
ji main hoon phool baano
ho main kaa karoon ke main hoon phool baano
ji main hoon phool baano

champa nahin chameli nahin
main genda nahin gulaab nahin
phir bhi jo dekhe wo boley
tera koi jawaab nahin
main kaa karoon ke main hoon phool baano
ji main hoon phool baano
ho main kaa karoon ke main hoon phool baano
ji main hoon phool baano

saara gaaon
mera naam le ke aahen bhare
jo bhi dekhe meri surat
haaye haaye karey
saara gaaon mera naam le ke aahen bhare
jo bhi dekhe meri surat
haaye haaye karey
jo bhi dekhe meri surat
haaye haaye karey
koel nahin papiha nahin
main geeton bhari kitaab nahin
phir bhi jo dekhe wo boley
tera koi jawaab nahin
main kaa karoon ke main hoon phool baano
ji main hoon phool baano
haaye main kaa karoon ke main hoon phool baano
ji main hoon phool baano

kyun jamaana
hai deewaana mera
mujhe kya pata
main haseen hoon
main jawaan hoon
is mein meri kya khata
kyun jamaana hai deewaana mera
mujhe kya pata
main haseen hoon main jawaan hoon
is mein meri kya khata
main haseen hoon main jawaan hoon
is mein meri kya khata
saari umar lagey na nazar
mera aisa to shabaab nahin
phir bhi jo dekhe wo boley
tera koi jawaab nahin
main kaa karoon ke main hoon phool baano
ji main hoon phool baano
haaye main kaa karoon ke main hoon phool baano
ji main hoon phool baano

———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-

चम्पा नहीं चमेली नहीं
मैं गेंदा नहीं गुलाब नहीं
फिर भी जो देखे वो बोले
तेरा कोई जवाब नहीं
मैं का करूँ के मैं हूँ फूल बानो
जी मैं हूँ फूल बानो
हो मैं का करूँ के मैं हूँ फूल बानो
जी मैं हूँ फूल बानो

चम्पा नहीं चमेली नहीं
मैं गेंदा नहीं गुलाब नहीं
फिर भी जो देखे वो बोले
तेरा कोई जवाब नहीं
मैं का करूँ के मैं हूँ फूल बानो
जी मैं हूँ फूल बानो
हो मैं का करूँ के मैं हूँ फूल बानो
जी मैं हूँ फूल बानो

सारा गाँव
मेरा नाम ले के आहें भरे
जो भी देखे मेरी सूरत
हाए हाय करे
सारा गाँव मेरा नाम ले के आहें भरे
जो भी देखे मेरी सूरत
हाए हाय करे
कोयल नहीं पपीहा नहीं
मैं गीतों भरी किताब नहीं
फिर भी जो देखे वो बोले
तेरा कोई जवाब नहीं
मैं का करूँ के मैं हूँ फूल बानो
जी मैं हूँ फूल बानो
हाए मैं का करूँ के मैं हूँ फूल बानो
जी मैं हूँ फूल बानो

क्यों ज़माना
है दीवाना मेरा
मुझे क्या पता
मैं हसीं हूँ
मैं जवाँ हूँ
इस में मेरी क्या खता
क्यों ज़माना है दीवाना मेरा
मुझे क्या पता
मैं हसीं हूँ मैं जवाँ हूँ
इस में मेरी क्या खता
मैं हसीं हूँ मैं जवाँ हूँ
इस में मेरी क्या खता
सारी उमर लगे ना नज़र
ऐसा मेरा शबाब नहीं
फिर भी जो देखे वो बोले
तेरा कोई जवाब नहीं
मैं का करूँ के मैं हूँ फूल बानो
जी मैं हूँ फूल बानो
हाए मैं का करूँ के मैं हूँ फूल बानो
जी मैं हूँ फूल बानो


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3902 Post No. : 14954

 

‘Bobby’ – a once in a life time sojourn. Smitten by this film, youngsters in any age will not be awed by any other drama of romance.

‘Bobby’ – the heart beat of a generation. Murmurs of that heartbeat continue to be alive decades after. Memories of that first love still makes the blood race through the veins, just as if that primal experience is still happening – for the first time.

‘Bobby’ – never before, and never after – was a story of adolescent love, ever presented with such an alluring composure, and such a charismatic style.

‘Bobby’ – open that page even today, and the freshness of fragrance of that first touch, that first embrace, that first kiss – under a row of Gulmohar trees in full bloom, still has the thump to pummel you off your feet. The ‘flame of the forest’ is ablaze with a riot of red. And so are the raging emotions within – not just the star crossed lovers on screen – it is me too, still floundering and floating in those seminal sensations of love – the moment frozen in time and age, forever. Check out the lover’s tryst at the swimming pool. Every other experience of passionate emotions pales into insignificance in the face of this compelling, electric attraction.

‘Bobby’ – the enduring Perfect Storm – nothing else comes close to capturing that first pubescent surge of hormones – the heart’s first introduction to the fascinating enthrallment of passion and love.

‘Bobby’ – the first steps into the adventures of delight, when the self desires to make space for another for the first time, savoring the first unfamiliar ecstasies of love.

‘Bobby’ – a film, a name, and a girl in a white frock with grey dots and a red piping – standing next to the entrance, near the golden statue of a maiden carrying a pot of water, quenching the thirst of many kinds; and the strains of music that play on that first sighting – “Jeena Yahaan Marna Yahaan, Is Ke Siwa Jaana Kahaan”. As always, the master of melodramatic presentation, RK chose this oh so appropriate music to play when this simple young girl made her first presence on the screen, and into the hearts of million young men – yes – Is Ke Siwa Jaana Kahaan. . .

I have written before about my many crushes on many a beauty of the silver screen. But this was / is the first time I really fell in love. Never heard of this girl before. Dimple Kapadia – no background in films, no links in the industry – and one day, she is just there, standing near the entrance, next to that golden statue. It was just a moment – and she took my heart away. That was just yesterday, but it seems as if an age has passed, and an entire life story of love has been played out. And yet, frozen in time, it still is 1973, and Bobby and me – forever.

As far as I can remember, no other film, no other director had, till that time, tried to tackle the subject of adolescent romance. Yes, there have been many films about childhood friendships that blossom out into love and romance when the protagonists are adults. College going students – yes, many films that have dealt with college romance. The one drawback of these tales was – the lead pair never did look like college students. Senior actors in their thirties, forties and even fifties, attempting to play romantic leads on a college campus. All is well till the movie plays, but once done, the memories remain of the oversize actors trying to fit into very young shoes.

Bobby was different. Bobby was homegrown fresh, young, as young can be. Dimple – all of sixteen years when she stepped into this role. Rishi, albeit not so young, was 21. But with his cupcake Johnson baby looks, he charmed his way into the hearts of a million girls. Take away all the aesthetics, and the story is as old as the ruins of Ranjeet Studios – boy from rich family meets girl from family not of the same social status, they fall in love, and the entire world around them crumbles down upon them. Coming all the way from days of Parsi theatre and silent cinema, this tale has been played over and over again, umpteen times.

And then, after seven decades or so, this tale once again exploded on to the screens, and ignited a whole generation of teenagers – a fire that has not been doused since then. It was not the melodrama that worked; it was, somewhat maybe, the music that worked; it was not the apparently artificial ambience of the Nath affluence – the rich side of the tussle; it was not the exaggerated and affected brash and boisterous Braganza who wears the same undersized suit to every formal scene in the film, (gosh, even the not so affluent have a proper dress sense), and the supporting roles – mother, nanny, friends, society girls, mild brained proposal for making a business alliance – in short, there was nothing in the film that was not done before, even by RK himself, nothing that was new for the cinema screen and for the audiences. What turned out to the winner was the lead pair – two unknown faces whose on screen chemistry tugged at the strings of the heart of the audience, and turned the rest of the oft repeated paraphernalia around them into a very convincing, charming, fascinating tale.

And between the two of them, Bobby comes up trumps to the histrionics of Raja. The film is Bobby, and Bobby all the way. Making innocence and glamour look oh so easy, the images in the mind are forever now – the coy and shy little girl in a frock, who is afraid to step into the lavish party, keeps standing at the entrance; the naïve and innocent little girl, telling about the ‘dhuk-dhuki’ in her heart when she see him; the troubled and broken lady, her heart asunder albeit from a misunderstood conversation, as she too looking on with pleading eyes, but unable to take a step towards him; the screaming pleading young woman, beseeching her grandmother not to lock her up, as Josef physically pulls her away and carries her upstairs at the behest of an agonized but very firm Mrs. Braganza. . . and many more. The images keep playing in the mind. And the film is all about this teen aged girl who is so intensely convinced about her love – you can see it in her face as she pleads with her grandmother – that she will die if separated from Raja; and sitting in the audience seats, one is so starkly convinced that she will, that there are tears streaming and the body muscles want to jump on to the screen and beat the hell out of Josef.

Oh Bobby, Bobby, Bobby – she pulled up a storm, and then – she just walked away. In a manner of speaking, it is good that she did. The legend and the aura of Bobby remained constant, unremitting . . . verily to become perpetual. The Dimple that we see from a decade later is a very different avatar. The memories, the marvel, the legend of Bobby, has remained intact. Nobody could quite portray the coy innocence and purity of heart, as we see Bobby on the screen and in the dreams. And that is very well for me – it is 1973, and Bobby, forever.

I am both sad and glad to get the opportunity for announcing the Yippeee-dom status for this film. After a 10 years travel, finally all the songs of this film are now present on the blog. 🙂  And sad, because we won’t be discussing this Bobby again in any future post. 😦

Eight songs, eight wonderful songs keeping alive the RK tradition for the best in music. The songs created quite a ripple when released, and over the decades, have remained popular with every new generation of teenagers, who simply love the ideas of simple thoughts as in “Mujhe Kuchh Kehna Hai” and “Hum Tum Ek Kamre Mein Band Hon”. 🙂 The seven songs posted earlier happened in the following sequence.

 

1 Main Shaayar To Nahin 869 10-Mar-09
2 Ankhiyon Ko Rahne De 998 30-Mar-09
3 Mujhe Kuchh Kehna Hai 5708 30-Mar-12
4 Jhoothh Bole Kauwwaa Kaate Kaale Kawwe Se Dariyo 13319 8-Jun-17
5 Ham Tum Ek Kamre Mein Band Hon Aur Chaabhi Kho Jaaye 14732 3-Nov-18
6 Beshaq Mandir Masjid Todo, Bulle Shaa Ye Kehta 14918 10-Mar-19
7 Na Chaahoon Sona Chaandi 14940 20-Mar-19

 

A journey that started 10 years ago, culminates today, with the posting of this fabulous and scintillating party song that carries many layers of silent conversations within itself. We are more than two third of the way into the movie. Nath and Braganza have fallen out big time, with the belligerent Braganza promising all sorts of consequences if Nath’s son is seen anywhere close to his daughter. Bobby is sent off to Goa – a la “Akhiyon Ko Rahne De Akhiyon Ke Aas Paas“. Raja is confined and under watch. New Year eve is nigh. The business driven Nath makes a business driven decision to announce the engagement of his son with the daughter of Mr. Sharma, one of his business associates. No matter that the lady chosen is somewhat retarded, and much below her actual age in mental capacity. Not being able to rebel and speak his mind, unable to confront his father, Raja is in a deadly dilemma about his life.

The party happens. The song happens. And Raja gets the answer for his life. As I said, the song has multiple layers of silent conversations happening. The party and the celebration is one. The parents are agog with delight of having struck two birds with one stone – made a major business gain, and tied down a wayward son into household chains. The joy of Nikki (Farida Jalal) is on a different high – she is getting married into another rich family. Then the song and the performance itself – that speaks of the travesty of love and lovers. Woe becomes he who is wretched enough to be entangled in a snare of love.

And there is the mind of Raja – bewildered, afraid, not believing what is going on around him. His insides are in a shamble, his heart is in agony, and all his parents can think of is an alliance for him, and a grand new year party. A look at him, his lost expressions in the midst of so much dance and revelry. And one is reminded of another RK song –

dhakke pe dhakka, reley pe relaa
hai bheed itni, par dil akela
par dil akela

And the scenario takes you back across two decades of musical and cinematic articulation – the troubled expressions of the face of Raja feeling hopelessly lost amidst the ongoing celebration, threading back to the joker singing at the Bombay carnival (‘Mera Naam Joker’, 1970), leading you back one more layer, to the bumbling hobo, new to the big town, and completely lost in its hustle bustle (‘Shri 420’, 1955). When I see that image, that look on Rishi Kapoor’s face during this party song, my mind goes back these two steps to more of RK’s wonder illustrations.

And then, we have this covert conversation happening between the dancer and the teenager with a troubled mind. The dancer is singing for him, without him realizing it so, at the beginning. In the first stanza, the dancer explains to Raja, the vagaries of love one has to endure. Falling in love does not mean just losing your heart to someone – actually one loses everything in life, one’s entire world and even one’s happiness. Then the dancer goes on to explain the time of adolescence – and this one line in this song is so intensely killing –

ye ek saal
bachpan aur jawaani ke beech ka
bada bura hota hai

And in this one liner, the lyricist has said everything that one needs to be said for the agonies of coming of age. This time of transition and hormonal changes bring in awarenesses that didn’t exist in the mind before. And these awarenesses are confusing, troubling and at times frightening. The call of the dancer’s voice now catches Raja’s attention – who realizes that this song is being sung for him. And in the second stanza, the dancer now reveals an answer. The seed is planted, the way is shown, and the contemplation of an elopement is initiated –

bacha ke aa..aankh
panchhi pinjra le ke ud jaaye to. . .

Lovely choreography here. For a moment, Raja is encircled by other dancers with frightening masks, as if he is caged inside a prison of fear, and the next instant, the dancer is floating away like a bird flying. And the words for the second stanza commence. Just pause and watch again this small magical interlude segment.

The third stanza of this song appears separately and a little later in the film (and is inserted as Part II in the lyrics below). Raja has run away from home, reached the place in Goa where Bobby is confined with her grandmother. He pleads to be allowed to meet, and to be permitted to be married. Grandma locks him up also, and sends message to Bombay. In the night, Raja manages to escape, gets in to Bobby’s room, and now they both flee on the mobike. The third stanza plays now. The burden of this stanza says that this incurable malady of love is under no one’s control, no matter how formidable a learned person (jogi – one who can control the senses and the mind) or how skilled a snake charmer might one be. A snake charmer is supposed to have power to control any snake. The lyrics say that the serpents of love are not even in their control.

The words in the song, the choreography, the covert exchanges happening between the dancer and the teenager – oh so well designed and executed. There is another layer of conversation that gets revealed. Just watch the expressions and try to visualize the mind of the young man as the song progresses. He is troubled, he is lost, he is incensed by the apparent sarcasm that the dancer is singing. And then he catches on. The message of being trapped “Ae. . .  Phansaa” transforms from his original thoughts that he played the game of hearts and lost and got trapped in this pining pain of love. But when Nikki joins the party, and the dancer points out yet once again “Ae. . .  Phansaa” he realizes – not earlier as he was thinking, but the entrapment is happening now, with the new proposed alliance for him. One begins to see a glimmer of understanding dawn in his eyes and his expressions. He is now listening more carefully. And when the second stanza is in progress, one can clearly make out that now he is fully in sync with the dancer, and her words, and the covert messages that she is communicating. And when the words for flying away with the pinjra are aired, the young man is all attention, slowly one feels the mind moving towards a new resolve, a new plan. At the end of this stanza, there is a very brief, but very meaningful pause, a wink, and a twist smile – almost as if saying – ‘Go’. In the film, the next thing we see is the mother, with letter in her hand, announcing with a scream that her son has run away – and the party has not yet ended. And the next thing we see is the young man and the vroooom of the Rajdoot GTS bike.

And I would like to talk about the dancer now, saving that for the last. In my mind, probably the best dance performance by Aruna Irani, across her career. The music is very fast paced, the movements are very energetic, and true to the RK traditions, the woman in her is so vividly and so sensitively, and sensuously presented. It is such a treat to watch this performance. I have lost the count of times that I have replayed this video in the past couple of days as I work to complete this write up. A superlative performance indeed, by her. Her expressions exhibit how much she is enjoying this herself. And very clearly, she is giving everything to this song. The sequences of steps, the movements – wonderfully choreographed and so expressively delivered by her.

The film credits do not include the name of the dance director, but after some digging, I am able to locate the name. The dance director in this film is Sohanlal, of Madras (now Chennai). It is tons of years ago, but I remember having met him in Madras. There was a brief period of time when I was in Madras on a job assignment. And one of my aunts, who stayed in Madras – her family was a tenant in the bungalow of Sohanlal, somewhere in Adyar area. I used to visit my aunt’s family almost on a weekly basis. And on a couple of occasions I even sat in the studio where Sohanlal ji was instructing students for practice.

Back to Aruna Irani. She has a brief but a significant role in the film. The misunderstanding that is caused between the young lovers, inadvertently, she is in the middle of it. In all her scenes, she looks so extremely charming and ravishing. And always on the dot with her presence and dialogue delivery.  A short and a very sweet performance. Of course with this dance as her best one that I can remember.

And so, the last of Bobby songs is now posted. We announce the addition of this film to the list of Yippeee’d films on our blog. Maybe, I won’t be writing any more about this film. But that is not to say that I do not have more to say about the film, and about Bobby – my first love. That is going to remain with me forever. Yes, it is 1973. . . forever.

The film is a benchmark for stories of young romance, that have been told, and as well for the stories that still have to be told. But the legend of ‘Bobby’ will endure.

The songs that have given idioms that have crept into the language of this subcontinent, be it “. . . pyaar mein sauda nahin”, or “. . . par pyaar bhara dil kabhi na todo, is dil mein dilbar rehta”, or even the simple expression that says “. . . mujhe kuchh kehna hai”. And yes, the ice breaker as one attempts to attract the attention of a lady – “main shaayar to nahin. . .”.

And thus I close this post with the reiteration – an expression for all who are always young in the heart. . .

“If you ever have been in love, this film is for you. . .”

(Part I – Party Scene)

(Part II – On The Road)

Song – Us Ka Chhoota Ghar Baar Sansaar (Bobby) (1973) Singer – Lata Mangeshkar, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal

Lyrics

(Part I)

ae..ae..ae..ae..ae. . . phasaa. . .

mmmmmmm mmmmmmm
arey arey arey

uska chhoota ghar baar sansaar
jo kar ke pyaar yaar kisi ke dil mein basaa
basaa
basaa. . .
ae..ae..ae..ae..ae. . . phasaa. . .

uska chhoota ghar baar sansaar
jo kar ke pyaar yaar kisi ke dil mein basaa
basaa
basaa. . .
ae..
ae..
ae..
phasaa. . .

laa laalaaa laa raa laa
laalala laalala laalala laalala

ye ek saal
bachpan aur jawaani ke beech ka
bada bura hota hai
ye ek saal
naujawaanon ka
nadaanon ka
deewaanon ka
ye ek saal
bachpan aur jawaani ke beech ka
bada bura hota hai
aashiq ka ho gaya naam badnaam
hua anjaam
subah sham zamaana hansa
hansa
hansa
ha ha ha ha ha ha
ae..ae..ae..ae..ae. . . phasaa. . .
uska chhoota ghar baar sansaar
jo kar ke pyaar yaar kisi ke dil mein basaa
basaa
basaa. . .
ae..
ae..
ae..
ae. . . phasaa. . .

bacha ke aa..aankh
panchhi pinjra le ke ud jaaye to
shaayad jaan bach jaaye
bacha ke aa..aankh
kisi jharokhe se
kisi mauke se
kabhi dhokhe se
bacha ke aa..aankh
panchhi pinjra le ke ud jaaye to
shaayad jaan bach jaaye
jeena hua dushwaar dildaar
ke laga aar paar teer kisi ne kasaa
kasaa
kasaa. . .
ae..
ae..
ae..
ae. . . phasaa. . .

uska chhoota ghar baar sansaar
jo kar ke pyaar yaar kisi ke dil mein basaa
basaa
basaa. . .
ae. . . phasaa. . .

(Part II)
ye prem rog
bade bade jogi saperon se bas mein nahin
hota hai
ye prem rog. . .
pyaar karte hain
log marte hain
kahaan darte hain
ye prem rog
bade bade jogi saperon se bas mein nahin
hota hai
us ne liya bairaag
jag se bhaag
ke lagi aag

naaginon ne jise dasaa
dasaa
dasaa
ha ha ha ha ha

———————————————————-
Hindi script lyrics (Provided by Sudhir)
———————————————————-

(भाग १)

ए॰॰ए॰॰ए॰॰ए॰॰ए॰ ॰ ॰
फंसा॰ ॰ ॰

म्ममममम म्ममममम
अरे अरे अरे

उसका छूटा घर बार संसार
जो करके प्यार यार किसी के दिल में बसा
बसा
बसा॰ ॰ ॰
ए॰॰ए॰॰ए॰॰ए॰॰ए॰ ॰ ॰ फंसा॰ ॰ ॰

उसका छूटा घर बार संसार
जो करके प्यार यार किसी के दिल में बसा
बसा
बसा॰ ॰ ॰
ए॰॰
ए॰॰
ए॰॰
फसा॰ ॰ ॰

ला लाला ला रा ला
लालाला लालाला लालाला लालाला

ये एक साल
बचपन और जवानी के बीच का
बड़ा बुरा होता है
ये एक साल
नौजवानों का
नादानों का
दीवानों का
ये एक साल
बचपन और जवानी के बीच का
बड़ा बुरा होता है
आशिक का हो गया नाम बदनाम
हुआ अंजाम
सुबह शाम ज़माना हंसा
हंसा
हंसा
हा हा हा हा हा हा
ए॰॰ए॰॰ए॰॰ए॰॰ए॰ ॰ ॰ फंसा॰ ॰ ॰
उसका छूटा घर बार संसार
जो करके प्यार यार किसी के दिल में बसा
बसा
बसा॰ ॰ ॰
ए॰॰
ए॰॰
ए॰॰
ए॰॰
ए॰ ॰ ॰ फंसा॰ ॰ ॰

बचा के आ॰॰आँख
पंछी पिंजरा ले के उड़ जाये तो
शायद जान बच जाये
बचा के आ॰॰आँख
किसी झरोखे से
किसी मौके से
कभी धोखे से
बचा के आ॰॰आँख
पंछी पिंजरा ले के उड़ जाये तो
शायद जान बच जाये
जीना हुआ दुश्वार दिलदार
के लगा आर पार तीर किसी ने कसा
कसा
कसा॰ ॰ ॰
ए॰॰
ए॰॰
ए॰॰
ए॰॰
ए॰ ॰ ॰ फंसा॰ ॰ ॰
उसका छूटा घर बार संसार
जो करके प्यार यार किसी के दिल में बसा
बसा
बसा॰ ॰ ॰
ए॰ ॰ ॰ फंसा॰ ॰ ॰

(भाग २)

ये प्रेम रोग
बड़े बड़े जोगी सपेरों से बस में नहीं
होता है
ये प्रेम रोग॰ ॰ ॰
प्रेम करते हैं
लोग मरते हैं
कहाँ डरते हैं
ये प्रेम रोग
बड़े बड़े जोगी सपेरों से बस में नहीं
होता है
उसने लिया बैराग
जग से भाग
के लगी आग
नागिनों ने जिसे डसा
डसा
डसा
हा हा हा हा हा हा


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What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has over 15200 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

Total number of songs posts discussed

15221

Number of movies covered in the blog

Movies with all their songs covered =1178
Total Number of movies covered =4183

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Blog Start date: 19 july 2008

Active for more than 4000 days.

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