Posts Tagged ‘1980’
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5751 | Post No. : | 18275 |
“Kashish”(1980) was directed by Amin Chaudhary for Film Art International, Bombay. The movie had Naveen Nishchol, Reena Roy, Vinod Mehra, Chris Macliod, A.K. Hangal, Dr Shreeram Lagoo, Achala Sachdev, Narendra Nath, Sashikala, Patrick Macclo, Johny Whisky, Mitthu Sen, Sheli Desai, Bhim Sen, O.P. Malhotra, Lalit Kohli, Manohar Rathod, Pradeep Kochar, Jo Chiramont, Rin Chin, Michael O’ Brian, Fan Rizo, Mister Batra etc in it.
Rajni Sharma and Rama Vij made special appearances in the movie.
“Kashish”(1980) had three songs in it. Two songs have been covered in the blog.
Here are the details of the songs covered so far:-
| SNo in Blog | Song Title | Singer/s | Lyrics | Posted On | Remarks |
|---|---|---|---|---|---|
| 7615 | Kisi aasmaan pe to saahil milega | Rafi | Gulzar | 6 March 2013 | Lyrics by Avinash Scrapwala. Picturised on Navin Nischol |
| 16921 | Do pardesi anjaane se | Kishore Kumar, Suman Kalyanpur | Anjaan | 11 April 2022 | Post by Avinash Scrapwala. Picturised on Navin Nischol and Reena Roy |
Here is the third and final song from the movie to appear in the blog. The song is sung by Asha Bhonsle. Anjaan is the lyricist. Music is composed by Kalyanji Anandji. Only audio of this song is available. It is in contrast to the earlier covered songs whose video were available.
I request our knowledgeable readers to throw light on the picturisation of the song. My guess is that this song is a dance song which may have been picturised on a secondary character.
With this song, all the songs of “Kashish”(1980) are covered in the blog. The movie thus joins the list of movies that have been YIPPEED in the blog.
Song-Pardes mein jaa ke tu piyaa pardesi bhayaa (Kashish)(1980) Singer-Asha Bhonsle, Lyrics-Anjaan, MD-Kalyanji Anandji
Lyrics
pardes mein jaa ke tu u
piya pardesi bhaya
ho pardes mein jaake tu
piya pardesi bhaya aa
tu kaahe pardesi bhaya
meri janam janam ki preet
tu kaise bhool gaya aa
tu kaahe pardesi bhaya
ho o
o o o
o o o
jaana thha humse door
to kaahe preet badhhaai
o humse preet badhhaai
hua dil ka ye sheesha choor
ye kaisi thhokar lagaai ee
ye toone thhokar lagai
haar ke tere pyaar mein ye dil
maine jaan lutaai
haar ke tere pyaar mein ye dil
maine jaan lutaai
mere pyaar ki kadar na jaani
tu nikla harjaai
jhoothhe sapne dikha ke tu
piya pardesi bhaya aa
tu kaahe pardesi bhaya
meri janam janam ki preet
tu kaise bhool gaya aa
tu kaahe pardesi bhaya
dekha videsi roop
to desi rang na bhaaye
ye desi rang na bhaaye
ho gorey badan ki dhoop tere dil ko jalaaye ae
haaye re haaye dil ko jalaaye
raat raat bhar gori sautan ke sang raas rachaaye
raat raat bhar gori sautan ke sang raas rachaaye
teri saanwri teri yaad mein jal jal ke mar jaaye
mujhe jogan bana ke tu
piya pardesi bhaya aa
tu kaahe pardesi bhaya
meri janam janam ki preet
tu kaise bhool gaya aa
tu kaahe pardesi bhaya
aa aa aa
aa aa
aa aa aa
meri lagan mere meet
tujhe bhi tadpaayegi
haan tujhe tadpaayegi
meri kashish meri preet
tujhe waapas laayegi ee
tujhe waapas laayegi
reet rasam ke laaj sharam ke
saare bandhan todoon
reet rasam ke laaj sharam ke
saare bandhan todoon
main jatti punjab di
bainya thhaam ke phir na chhod u
kaahe daaman chhuda ke
tu piya pardesi bhaya
tu kaahe pardesi bhaya
pardes mein jaake tu
piya pardesi bhaya aa
tu kaahe pardesi bhaya aa
tu kaahe pardesi bhaya
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5720 | Post No. : | 18239 |
‘Ramu To Deewaana Hai’ (1980, UR) was produced and directed by Chandru who also acted in the lead role, wrote screenplay. dialogues, lyrics and composed songs for the film. Other actors in the film were the debutant Deepa Rani, Yakub, Chand Usmani, Manvendra Chitnis, Leela Chitnis, Janakidas, Baby Ritu etc. Rehman, I S Johar, David, Gulshan Bawra and Padmini Kapila made the guest appearances and Raj Kapoor made a special appearance in the film.
According to Syed Siraj, a film journalist and film critic since 1970, the ‘all-in-one’ Chandru was the brother of Arjun Hingorani, the producer-director. Incidentally, I have noted that Kishore Rege, Cinematographer of ‘Ramu To Deewaana Hai’, was also the cinematographer for at least 3 films produced and directed by Arjun Hingorani. Chandru had assisted Raj Kapoor in a few of R K Films and had also done small roles.
The film appears to be in the making for a very long time. According to IMDb, the film was started in 1962 in black and white. After a few reels of shooting, it was decided to make it in colour. Thereafter, the film faced financial problems thus resulting in delay in completion. It appears that the film was completed, and the LP of the film’s songs was released in December 1980. However, the film remained unreleased. It was sometime in 2001 that Arjun Hingorani bought the distribution rights of the film. But he does not appear to have released the film. Both Arjun Hingorani and Chandru have now passed away.
There is also a reference in music director, Biddu’s autobiography ‘Made In India – Biddu – Adventures of a Lifetime’ (2015) about Chandru Asrani (yes, he refers to him by surname ‘Asrani’) as pointed out by Syed Siraj. The producer-director-writer-actor-lyricist-music director of ‘Ramu To Deewaana Hai’ met Biddu in London in 1980 following the success of his song, in Feroz Khan’s ‘Qurbaani’ (1979). He showed him about 90% of the completed film which had been under production for about 14 years. Chandru wanted him to compose two songs to be added to complete the film so as to entice the film distributors.
Sometime in 1988-89, Chandru had an informal get-together of some film journalists to his house in Khar in which film journalist, Syed Siraj was also present. Siraj said that during the gathering, Chandru had played some songs from the film which included in the voices of Mukesh, Mubarak Begum and Kishore Kumar. But none of the songs sounded like that composed by Biddu. The LP issued by HMV/SAREGAMA contains 8 songs which have been rendered by Mukesh, Suman Kalyanpur, Mubarak Begum and Kishore Kumar. However, the Mp3 clips of the songs (probably through CD) from the film contains 10 songs, two of which are in English – (1) ‘Go go’, and (2) ‘Life is a business’ rendered by a band called High Society – which sound the typical Biddu’s compositions.
As of now, ‘Ramu To Deewaana Hai’ (1980 UR) remains unreleased and the film is not available on any of the video-sharing and OTT platforms. However, a couple of short video clips of some of the scenes from the film are available on video sharing platform. It appears that Chandru has played the title role of Ramu.
The film’s song album had 10 songs, 2 of which were in English. The 8 Hindi songs were written and composed by Chandru. Two songs from the film have been covered in the Blog. I am presenting the 3rd song, ‘kwaabon ki duniyaa sitaaron ki duniyaa’ rendered by Mukesh. The song is picturised on Chandru as a stage song. Raj Kapoor is the main guest in the audience. The person sitting on his left wearing specs is N N Sippy. David is the compere on the stage who introduces Chandru as the new music director of Raj Kapoor. After the end of the singing, Raj Kapoor walks towards Chandru and congratulates him. He also tells Chandru to meet him in his studio. One can also see a happy Leela Chitnis in the background.
This song may have been picturised in the year 1979 or earlier because David migrated to Canada in 1979.
Video Clip:
Audio Clip:
Song-Khwaabon ki duniya sitaaron ki duniya (Ramu To Deewaana Hai)(UR)(1980) Singer-Mukesh, Lyrics-Chandru, MD-Chandru
Lyrics:
khwaabon ki duniyaa
sitaaron ki duniyaa
door bhi hai
par door naheen..een
khwaabon ki duniya sitaaron ki duniyaa
door bhi hai par door naheen een
ujde fizaa ke chaman se ye kah do
ki rangeen bahaar ab door naheen…een
khwaabon ki duniyaa
har taraf hon veeraaniyaa
gher chuki hon aandhiyaan
har taraf hon viraaniyaan
gher chuki hon aandhiyaan
tadapte armaan ke iss jahaan ko
kabhi to sakoon bhi aayegaa aa
khwaabon ki duniyaa sitaaron ki duniyaa
door bhi hai par door naheen..een
khwaabon ki duniyaa
kaali ghataayen jab jaayengi
sunahree kiranen aayengi
kaali ghataayen jab jaayengi
sunahree kiranen aayengi
phir in baaton ko yaad kar
aayegi khud ko bhi hansee ee
khwaabon ki duniyaa sitaaron ki duniyaa
door bhi hai par door naheen een
ujde fizaa ke chaman se ye kah do
ki rangeen bahaar ab door naheen..een
khwaabon ki duniyaa
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5701 | Post No. : | 18219 |
‘Aakrosh’ (1980) was produced by Devi Dutt under the banner of Krsna Movies Enterprise and was directed by Govind Nihalani. The cast included Naseeruddin Shah, Amrish Puri, Om Puri, Smita Patil, Mahesh Elkunchwar, Bhagyashree Kotnis, Arvind Deshpande, Dr Mohan Agashe, Vinay Apte, Vihang Nayak, Vasant Soman, Achyut Potdar, Reema Lagoo, Nana Palshikar etc. It was an off-beat film which was reportedly based on a news report which appeared in a local newspaper of an Adivasi woman mysteriously found dead. The story and screenplay were written by Vijay Tendulkar and dialogues were written by Satyadev Dubey.
There were many ‘firsts’ for ‘Aakrosh’ (1980). It was Devi Dutt’s first film as a producer. For Cinematographer, Govind Nihalani, it was his debut film as a director. It was also a debut film for Reema Lagoo and the music director, Ajit Varman. For Om Puri, it was his first film in a major role for which his acting prowess was recognised for the first time. He won the Filmfare Award for the Best Supporting Actor for this film.
The film’s producer, Devi Dutt was one of the younger brothers of Guru Dutt, other brothers being producer-director, Atmaram and advertising filmmaker, Vijay Padukone who had done small roles in ‘Manthan’ (1976) and ‘Bhumika’ (1977). Not much information about Devi Dutt’s childhood is available. It is through some of his interviews which appeared in media, about Guru Dutt’s film, I got some information about his growing up days.
Devi Dutt (Real name: Devidas Padukone, born in 1938) recalls that they did not have an easy childhood as there was always conflicts between his mother Vasanthi Padukone who was a teacher and his father, Shivshankar Padukone over the financial conditions. His father was first, a headmaster in a school in Panambur village (now an industrial hub and a part of New Mangaluru Port). Thereafter, he changed the job to work as a clerk in a bank in Bangaluru and thereafter a clerk in Burmah Shell (now Bharat Petroleum) in Kolkata.
Devi Dutt’s mother’s first cousin, Balkrishna Benegal (uncle of Shyam Benegal), who was an artist and the film publicist, helped the family. He was instrumental in Guru Dutt getting admission in Uday Shankar’s India Cultural Centre in Almora for learning dances. Later, after returning from Almora, he helped him getting employed as an assistant choreographer in Prabhat Films in Pune. From about late 1940s, Padukone family stayed in Matunga in a small house.
Geeta Dutt encouraged Devi Dutt to complete his education first before getting involved in films. His earliest connection with Hindi films was when Guru Dutt made him as a trainee soundman, assisting senior recordist, A Majid in ‘Pyaasa’ (1957). His first work was handling the sound while shooting of the song, ’jaane kya tuney kahee’. He became the Studio Manager when ‘Kaagaz Ke Phool’ (1959) was being made. He was instrumental in importing lens for shooting in cinemascope from 20th Century Fox. He has assisted Guru Dutt in administrative matters while making ‘Chaudhvin Kaa Chaand’ (1960) and ‘Saheb Bibi Aur Ghulam’ (1962). He was Publicist for ‘Bahaaren Phir Bhi Aayengi’ (1966). Interestingly, in all Guru Dutt’s films, Devi Dutt remained uncredited.
Since his brother, Atmaram had become the advertising filmmaker, Devi Dutt also wanted to make a beginning in ad films. Guru Dutt made available to him all that was required for making an ad film free of cost. Geeta Dutt gave him Rs.6000/- to start his company for ad films. He has made many ad films, some of which jointly with Atmaram.
After the death of Guru Dutt, he joined in the team of Shyam Benegal and became the Executive Production Controller for ‘Ankur’ (1974), ‘Nishaant’ (1975) and ‘Bhumika’ (1977). He was the Production Manager for ‘Gandhi’ (1982).
Devi Dutt turned producer with ‘Aakrosh’ (1980) giving the opportunity for Govind Nihalani his debut as a director. I guess, Devi Dutt role as a producer was mainly for raising finances for an off-beat film for which the usual sources of finance (film financiers/distributors) were difficult to come. He raised the major funding requirement from NDFC which then required a certain percentage of the film production cost to be borne by the producer. (Presently, NDFC does not grant loan for filmmaking. Either NDFC will produce or co-produce the film). The film won for the producer and director the National Film Award for the Best Film in Hindi. It also won the Golden Peacock Award for the Best Film in International Film Festival of India (1981) with a cash prize of Rs.40 lakhs to be distributed equally between the producer and the director.
Devi Dutt’s second film as a producer was ‘Maasoom’ (1983) giving directorial debut for Shekhar Kapoor. The film won 6 Filmfare Awards for the Best Film (Critic), Best Director (Shekhar Kapoor), Best Actor (Naseeruddin Shah), Best Music Director (R D Burman), Best Lyrics (Gulzar) and Best Female Playback Singer (Arati Mukherjee). He produced his third film, ‘Bhaavana’ (1984) in which he gave directorial debut for Pravin Bhatt. This film was no match with his first two films. Shabana Azmi won the Best Female Actor for the film. After this, Devi Dutt seems to have given up producing films. Incidentally, for both “Maasoom’ (1983) and ‘Bhaavana’ (1984), Chnada Dutt, his Punjabi wife was a co-producer.
At 85, Devi Dutt has retired from filmmaking. Currently, he is associated with Music Verandah as a Mentor which was started during Covid lockout period to connect the people through music for healing and joy.
The story of ‘Aakrosh’ (1980) is as under:
The film starts with a caption that on 25th December 1978, a dead body was found in a well in Kondachi Wadi village (in Maharashtra). The dead body was that of Nagi (Smita Patil), a young married tribal girl. The scene shifts to the cremation ground where the body of Nagi is being cremated with her husband, Bhiku (Om Puri) performing the last rites of his wife. Bhiku is taken back to the district jail as he is charged with killing his wife.
In flashback scene, it is made known to the audience that Bhiku and Nagi are tribals who work as labourers for Forest Contractor (Mohan Agashe), they live in abject poverty with his aged father (Nana Palshikar) and an unmarried sister (Bhagyashree Kotnis). Bhiku’s criminal case comes up for hearing in the district session court where public prosecutor, Dusane (Amrish Puri), a tribal, represents the Government and Bhaskar Kulkarni (Naseeruddin Shah), a brahmin, is a court appointed lawyer to defend Bhiku. For Bhaskar, it is his first case as a lawyer, and he has been trained by none other than Dusane who, in turn, has been trained by Bhaskar’s father.
As a defence lawyer, Bhasker talks to Bhiku to get the full background which led to the killing of his wife. But Bhiku does not answer to his any question. Rather his face and eyes indicate that he is stunned. Bhasker gets the same responses from Bhiku for his next 3-4 visits. He also visits the office of the editor whose paper had earlier published the news about Nagi’s dead body being found in the well. Even editor does not speak anything about the death, The editor is so fearful that he reminds Bhaskar that he did say anything about the case. Lastly, he meets Dr Patil (Arvind Deshpande) who has done the postmortem of the dead body of Nagi. Though he agrees to meet Bhaskar in the night, at the appointed time, he is missing from his house.
Bhaskar is frustrated because Bhiku’s silence would take him to nowhere in solving the case. And he does not want to lose his first case. Also, there is another reason that if he loses the case, tribals can cast an aspersion on him that he has deliberately lost the case because Bhiku is tribal. Bhaskar tries to get information from Bhiku’s father and sister on two occasions, but they also do not utter a single word. So are the other villagers living in their vicinity.
In the meanwhile, Bhaskar gets a feeling that some one is keeping surveillance on him whenever he goes out for his work. Once in the night, there is stone throwing incidence in his house. In another night, he is attacked by an unidentified person by a knife, getting a deep cut on his hand. Even the editor of the newspaper who had published the news of the death of Nagi gets assaulted by a unknown person. Things are getting weird, and Bhaskar thinks that all these incidences are connected with his handling of Bhiku’s case.
In one night, a person visits Bhaskar’s house who calls himself as a social worker (Mahesh Elkunchwar) who is trying to organise the tribals in the village for their welfare. Actually, he is a Marxist to make tribals fight for their rights against their exploiters. He reveals to Bhaskar that Nagi was gang raped by the Forest Contractor (Achyut Potdar), Zilla Parshad Chairman, Bhosle (Mohan Agashe) and Dr Patil as a punishment to Bhiku who used to raise his voice against them. Thereafter, all the three were involved in killing Nagi. The social worker says that he does not have any proof or witness to the act. He also says that in their organisation they can handle such criminals in their own method. But as a defence lawyer, it is Bhaskar’s duty to find witness or proof and punish the criminals.
In the next hearing in the court, Dusane, the prosecution lawyer brings 3 witnesses who testify before the judge that Bhiku used to force Nagi to spend nights with them to write off his debts to him and they had sent her back. One lady witness also says that she has seen Bhiku in a inebriated state, trashing Nagi and she had freed Nagi from his trashing.
In the meanwhile, Bhiku’s father dies and Bhiku is once again brought to the cremation ground to complete the last rites of his father. As soon as he competes the rituals, he walks with two policemen for returning to his jail. Suddenly, he snatches a dagger from a person and kills his sister. After which he gives a loud scream as he is being taken back to jail by policemen.
The film ends with about 5 minutes of conversations between Bhaskar and Dusane which are the eye-opener as to how the lawyers and judiciary system work in the country.
The most effective scene of the film is the second last scene of the film in which Bhiku kills his sister. As he is being taken back to jail, he gives a series of long loud scream signifying his bent up ‘aakrosh’ (anger) against the system. Generally, in all other films of this type, it is the exploiter/s who gets killed by the sufferer. In this film. Bhiku kills his sister apparently without any reason in the audience’s mind. But there is a subtle hint as to why he did so. When Bhaskar, in his last attempt to make Bhiku speak, warns him that if he does not speak, his sister can be the next victim of the perpetuators of the crime. Probably, that made Bhiku to kill his sister so that she does not become victim like his wife.
One of the main features of this film is that throughout the film, Om Puri in the role of Bhiku does not utter a single word except in a flashback scene when he is reprimanding his wife (Smita Patil) for visiting the Forest Contractor’s (Mohan Agashe) house and accepting a saaree from him. His reactions to any questions by Bhaskar and jail staff is met with stunned eyes. Even in the jail, he is always shown awake and in a tormented state.
The sum and substance of the film is that it is not few persons, but the entire system is responsible for the spread of corruption, the exploitations and atrocities of the weaker section of the society. The film has highlighted the two types of exploitations and repressions of tribals. The first, the financial exploitation in which workers are paid less than they are entitled to and the second, sexual exploitation of their women folks not only as object of pleasure but also as a punishment for raising voices against the powerful starta of the society.
I watched the film in one sitting, and it is not boring. The scenes of melodrama and of violence in the film are virtually non-existence. Still, the film is very discomforting to watch because the reality about the death of Nagi (Smita Patil) is known to everyone in the village including her husband, Bhiku and the law-enforcing agencies in the film. Still, the villagers are silent and more importantly, the silence of Bhiku (Om Puri) is deafening and haunting. And the law-enforcing agencies and the prosecution lawyer is bent upon sending Bhiku to life imprisonment. The film is more than 4-decade old, but we read in media that such things happen in the tribal and Dalit belts even now.
The film had 3 songs written by poets, Vasant Dev (2) and Suryabhanu Gupt which were set to music by Ajit Varman. One song has been covered in the Blog. I am presenting the second song from the film, ‘saanson mein dard dard mein saansen basi huyi’ which is written by Suryabhanu Gupt. The song is rendered by Madhuri Purandare as a radio song which the defending lawyer Bhaskar (Naseeruddin Shah) is listening in a frustrated mood when none of those in the know with the murder of Nagi (Smita Patil) including the accused Bhiku (Om Puri) are prepared to open their mouth out of fear of those in power.
The song on the film’s soundtrack starts from the third stanza whereas in the audio clip starts with two additional stanzas.
Video Clip:
Audio Clip:
Song-Saanson mein dard dard mein saansen basi huyin (Aakrosh)(1980) Singer-Madhuri Purandare, Lyrics-Suryabhan Gupt, Md-Ajit Verman
Lyrics (based on audio clip):
saanson mein dard
dard mein saansen basi huyin
saanson mein dard
dard mein saansen basi huyin
ham mein koi
kisi mein samaaye huye hain ham
hokar bhi apne aap ko
paaye huye hain ham
ham mein koi
kisi mein samaaye huye hain ham
saanson mein dard
dard mein saansen basi huyin
lete hain ab to saans bhi
ilzaam ki tarah
lete hain ab to saans bhi
ilzaam ki tarah
ghar aise bastiyon mein
basaaye huye hain ham
ham mein koi
kisi mein samaaye huye hain ham
saanson mein dard
dard mein saansen basi huyin
chhodaa hai ham ko laake
mohabbat ne ye kahaan
chhodaa hai ham ko laake
mohabbat ne ye kahaan
apne liye bhi jaise
paraaye huye hain ham
ham mein koi
kisi mein samaaye huye hain ham
saanson mein dard
dard mein saansen basi huyin
aayaa hai pesh ham se
zamaanaa kuchh iss tarah
aayaa hai pesh ham se
zamaanaa kuchh iss tarah
apne galey se khud ko…
lagaaye huye hain ham
ham mein koi
kisi mein samaaye huye hain ham
saanson mein dard
dard mein saanse basi huyin
ham mein koi
kisi mein samaaye huye hain ham
hokar bhi apne aap ko
paaye huye hain ham
ham mein koi
kisi mein samaaye huye hain ham
saanson mein dard
dard mein saansen
basi huyi
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.
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Blog Day : |
5691 | Post No. : | 18209 |
Hullo Atuldom
6th February 2022 followers of Indian music, across the genres of Bhav-geet, Film Sangeet, Bhajans and any other that we can think of, lost the most accomplished, sought after, loved (& any other add-ons that we know of) singer. She went by the name Lata Mangeshkar fondly addressed as Lata Didi by the multitude of her followers. She was the go-to voice (a modern day term for first choice) of all music composers for their debut films – remember ‘ghar aaja ghir aayi’ RD Burman, ‘Parasmani’ & its songs which was the first released film of Laxmi- Pyare. Even Madan Mohan is said to have approached Lata Mangeshkar to sing for his debut film ‘Aankhen’ but could get her into the recording room only for his next ‘ Adaa’ which released in 1951.
“Patita” (1980) was a movie that had music by Bappi Lahiri. He had Lata Mangeshkar sing some melodious songs which are in the “not so easily recalled” category. Songs like ‘baithe baithe aaj aayi mere mann mein’; “sunte sunte yeh meri kahaani” which were filmed on a very young Shoma Anand. The other actors in the film were Mithun Chakravarty, Raj Kiran, Vikram, Seema Deo, Ramesh Deo, Madan Puri, Sulochana etc. The movie was directed by I. V. Sasi who remade it from his own Malayalam film & Mukul Roy was the producer. Anand Bakshi was the lyricist for the film. The film had 5 songs of which 3 were Lata Mangeshkar solos & 2 Kishore Kumar solos. One Of Kishore Kumar solos is already on the blog with a post by Avinashji on 4 August 2018:-
Dil dhhak dhhak karne laga
Here is the next song today to wish the bright eyed, sweet looking Shoma Anand on turning 65 today. She made her debut in 1976 with Pramod Chakravarty’s “Barood” where Rishi Kapoor was her costar. She was a regular in many movies of the 70s, 80s, & 90s; though her run as lead actress was limited she was seen very often as the scheming sister-in-law, daughter-in-law etc. in family-dramas. She was most appreciated for playing BINA MATHUR in Ekta Kapoor’s (first television production) HUM PAANCH; a full-on comedy show.
The song with this post is a song which speaks about the aspirations of a young girl. I recall seeing this film on TV a few years back but cannot recall when the song happens, after she comes in contact with which of the heroes. From the video it looks like Raj Kiran is the trigger for the song but Vikram is also seen keeping an eye on the singer.
Thanking Bappida (whose death anniversary was yesterday) for giving us this Lata Mangeshkar melody.
Song-Baithhe baithhe aaj aayee mere man mein(Patita)(1980) Singer-Lata, Lyrics-Anand Bakshi, MD-Bappi Lahiri
Lyrics
baithhe baithhe aaj aayi mere man mein
ban jaaun main ghata
ud jaaun gagan mein
o baithhe baithhe aaj aayi mere man mein
ban jaaun main ghata
ud jaaun gagan mein
ud jaaun gagan mein aen aen aen
baithhe baithhe aaj aayi mere man mein
ban jaaun main ghata
ud jaaun gagan mein
ud jaaun gagan mein
ud jaaun gagan mein
ud jaaun gagan mein
ud jaaun gagan mein
kabhi kheloon main phoolon se
kabhi saawan ke jhoolon se
kabhi kheloon main phoolon se ae
kabhi saawan ke jhoolon se
daali daali pe main lahraaun oon
baithhe baithhe aaj aayi mere man mein
ban jaaun main hawa
kho jaaun chaman mein
kho jaaun chaman mein aen aen
ud jaaun gagan mein
ud jaaun gagan mein
ye jo subah naweli hai ae
raina ki saheli hai
ye jo subah naweli hai ae
raina ki saheli hai
donon hans ke gale mil rahe hain aen
baithhe baithhe aaj aayi mere man mein
ban jaaun main ?? is madhur milan mein
is madhur milan mein aen aen
ud jaaun gagan mein
ud jaaun gagan mein
phool saare nahin khilte ae
chaand sabko nahin milte
phool saare nahin khilte ae
chaand sabko nahin milte
dhoondhhoon main kahaan phir ujaala aa
baithhe baithhe aaj aayi mere man mein
ban jaaun main diya
jal jaaun agan mein
jal jaaun agan mein aen aen
ud jaaun gagan mein
ud jaaun gagan mein
ud jaaun gagan mein
ud jaaun gagan mein
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5636 | Post No. : | 18125 | Movie Count : |
4869 |
‘Unnees Bees’ (1980) was produced by V R Parameshwaram and was directed by Swaroop Kumar. The cast included Rakesh Roshan, Ranjeeta Kaur, Mithun Chakraborty, Yogeeta Bali, Kadar Khan. Reeta Bhaduri, Ranjeet, Urmila Bhat, Jayshree T, Jeevan, Bharat Bhushan, Raj Mehra, Ram Sethi etc. Sujit Kumar made the guest appearance in the film. Both the producer and the director debuted with this film.
The interesting point about casting of the film is that this is Yogita Bali’s second film with Mithun Chakraborty who probably married him during the making of the film. Ranjeeta Kaur and Mithun Chakraborty have worked together in as many as 21 films. They were very popular pairs of the 1980s. But in this film, Ranjeeta Kaur was paired with Rakesh Roshan.
Ranjeeta Kaur is one of the few female actors in Hindi films whose filmy career galloped with her very first film, ‘Laila Majnu’ (1976). For this film, director, H S Rawail had signed her when she was still in FTII. The shooting of the film was to commence after the completion of her acting course. In the intervening period, a few good wishers of Rawail advised him not to take risk with a newcomer for such a big film. However, Rawail was confident about his selection. To be on the safe side, Rawail sent Ranjeeta’s photograph to the film’s lead actor, Rishi Kapoor, with a cryptic note that he had already made his choice to cast her. Rishi Kapoor did not respond which meant that he had no objection to his selection.
‘Ankhiyaon Ke Jharokhon Se’ (1978) was Ranjeeta’s second film which also became a super hit. Originally, Sarika was signed for the film. However, due to some problems, she withdrew from the film. Tarachand Barjatya then signed Ranjeeta for the lead role. Once again, there were few who suggested to Tarachand Barjatya to change the lead actress with their own suggestions. However, he was adamant in retaining her in the film. These two trivia show how luck factors play an important role for a newcomer. (Both these trivia were revealed by Ranjeeta during her interview which appeared on the Times of India, 13/09/1920).
Ranjeeta Kaur was born in Patiala on 22/09/1956 in a Sikh family. Her father was a bureaucrat in Government while her mother was housewife. After completion of schooling in Shimla she enrolled in Film and Television Institute of India, Pune in the acting course. In the last year in FTII, she was selected by H S Rawail as a lead actress for ‘Laila Majnu’ (1976).
The super success of her first two films with tragic love stories made her a super star. During her first 10 years of Hindi film career, Ranjeeta worked in as many films as 54 films. However, between 1986 and 1990, 11 films of her were released most of which turns out to be flop films. In those days, in the film magazines, there used to be some gossip and rumours about Ranjeeta. One of the rumours was that after the successive failures of her few films on the box office in the second half of the 1980s, she was not in her good frame of mind. As a result, there has been some instances of problems faced by her films’ producers and directors. Another reason for her downfall, based on her filmography, could be that she signed some films with supporting roles/second lead. Probably, this may have prompted the producers not to take her on lead roles. It appears that Ranjeeta could not manage her sudden stardom to her advantage.
With her filmy career not picking up, Ranjeeta tried in TV serials. But she did not like the long and erratic hours of shooting scheduled associated with TV serials. In 1990, she decided to give up her filmy career and married a businessman, Raj Masand in December 1990 who had business interest in the Caribbean Islands. Post-marriage, Ranjeeta shifted to Pune bidding good bye to Hindi films. In Pune she worked in an International School as Public Relation Officer. After a gap of 15 years, Ranjeeta worked in three Hindi films, ‘Anjaane’ (2005), ‘Zindagi Tere Naam’ (2008). and
‘Jaane Pehchaane’ (2011). The last one was a remake of her superhit film, ‘Akhiyon Ke Jharokhon Se’ (1978). None of the films made to the list of box office sucess.
In 2007, Ranjeeta and her husband shifted to USA (Virginia) after her son got admission in a University. They opened a chain of stores around Norfolk, taking franchise of 7-Elevn stores. After the completion of her son’s education, he also joined in his father’s business. In 2015, the family shifted back to India and settled in Pune’s Koregaon Park. (Note: The life sketch of Ranjeeta is mainly based on her interview referred to above).
‘Unnees Bees’ (1980) is the typical Hindi films based on successfully tested ‘Lost and Found’ story. While many Hindi films on this formula turned out to be box office success, like ‘Waqt’ (1965), ‘Johny Mera Naam’ (1970), Yaadon Ki Baarat’ (1973), ‘Amar Akbar Anthony’ (1977) etc, the film under discussion failed at the box office. Probably, the film’s writer, Kadar Khan may have convinced with statistics that the film based on ‘lost and found’ story is a winning formula as can be judged by the success of the film listed above. The debutant producer and director seem to believe in him. The ‘lost and found’ story of the film moves on an expected line. The gist of the story is as under:
After the death of the Shanti, a widow, her three children (2 brothers and a sister) get separated. Dev (Rakesh Roshan) is brought up by the smuggler Singh (Ranjeet), Jai is brought up by a pathan, Yakub Khan (Kadar Khan) but works for criminal Madan (Jeevan). Sister, Aarti (Reeta Bhaduri) has been brought up by a church priest.
After many years, Both Dev and Jai face each other for the first time when Aarti is molested by a gang of criminals. The gang is beaten by both Jai and Dev and Aarti is set free. Both have a sisterly affection for Aarti and assure her that they would be there to protect her. Afterwards, both Jai and Dev go their own way without knowing that one day Jai would be given the task to eliminate Dev by Madan. They do meet at the terrace of the house where Aarti stays and fight to get the information from Dev about the keys to the sumggled goods. One of themd would have got killed but the timely intervention of Aarti who send them out.
Jai has a soft corner for Annu (Yogita Bali) to whom he had saved the clutches of moestation from Singh’s hencemen. Dev falls in love with Kamal (Ranjeeta) who initially feels that Dev is more interested in her wealth than her. After the initial mistrust about Dev, Kamal falls in love with her. But between his love for Kamal and the task given by Singh to procure diamond necklace from her put Dev in a fix. Finally, Dev decides to leave the smuggling work for Singh and Jai decides not to work for Madan. A chance meeting of Jai with Kaka (Raj Mehra) who knows the background under which both brothers and sisters were separated, creates the prospect of a reunion as he now knows that Dev is his lost brother and Aarti is his lost sister.
But before their reunion, Dev and Jai are on the target of their respective bosses. Dev along with his sister, Aarti is abducted by Singh’s henchmen. Jai finds out the hideout and release both Dev and Aarti. Now it is turn of Jai who is surrounded by the henchmen of Madan. Finally, Dev joins Jai and after a long fight, Dev and Jai emerge victorious. Police enforcements arrive on the scene and arrests the henchmen and bosses. Dev and Jai are united with their sister, Aarti, Kamal and Annu.
The film had 5 songs written by Amit Khanna which were set to music by Rajesh Roshan. Udit Narayan made debut as a playback singer in this film when he sang ‘mil gaya mil gaya’ with Mohammed Rafi and Usha Mangeshkar. However, I am presenting a different song, ‘naaraazgi ye aap ki hamen jeene na degi’, the first from the film to appear on the Blog. The song is rendered by Suman Kalyanpur and Mohammed Rafi which is picturised on Ranjeeta and Rakesh Roshan. The composition of song sounds like that of the 1960s’ style.
The background to the song is that Dev (Rakesh Roshan) who is in love with Kamal (Ranjeeta), has been annoyed by Kamal who says that he loves her for her money because she is wealthy. Dev gets angry and retorts her by saying that her eyes are covered by the veils of the ego of wealth. The day she sees him as a woman with clear eyes, then only she should meet him. Kamal does meet him in a sea-side restaurant but he walks away from her towards the beach when this song starts. It is a song of appeasement to the beloved and she is successful in winning him back.
Video Clip:
Audio Clip:
Song-Naaraazagi ye aap kee hamen jeene nahin degee(Unnees Bees)(1980) Singers-Suman Kalyanpur, Mohammed Rafi, Lyrics-Amit Khanna, MD-Rajesh Roshan
Both
Lyrics
naaraazgi ye aap ki hamen jeene nahin degi
chhodiye ye adaayen aur hamen pyaar keejiye
naaraazgi ye aap ki hamen jeene nahin degi
chhodiye ye adaayen aur hamen pyaar keejiye
apnon se berukhi ye achchee nahin sanam
apnon se berukhi ye achchee nahin sanam
kaise yakeen dilaayen khaaye kyaa kasam
ye bedili to aapki
ye bedili to aapki meri jaan hi le legi
chhodiye ye adaayen aur hamen pyaar keejiye
tumne kaha jo pyaar se lo maan gaye hum
tumne kaha jo pyaar se lo maan gaye hum
jeewan ke humsafar ko pehchaan gaye hum
ab zindagi mein khushiyaan
ab zindagi mein khushiyaan tumse hi bas milengi
chhodiye ye adaayen aur hamen pyaar keejiye
sapnon mein tere mere sapnon ka rang hai
main dor hoon teri tu meri patang hai
zindaadili se ishq ki
zindaadili se ishq ki ik pyaas si jagi hai
chhodiye ye adaayen aur hamen pyaar keejiye
naaraazgi ye aap ki hamen jeene nahi degi
chhodiye ye adaayen aur hamen pyaar keejiye
Mainaa re mainaa re
Posted on: October 25, 2023
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5577 | Post No. : | 18050 | Movie Count : |
4841 |
#the Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # (Debutant Movie-Chemmeen Lehren -1980)
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# Desh ki mitti ki khushboo-5 #
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Today’s song is from the ‘1980’ movie ‘Chemmeen Lehren’. This movie was dubbed in Hindi from the original Malayalam movie ‘Chemmeen-1965’. The movie originally made in ‘1965’ in Malayalam language is a milestone movie of the History of Indian Cinema and is considered as the pride of Malayalam Cinema. It was a turning point in the history of Malayalam Cinema. It was directed by Ramu Kariat.
The Malayalam movie was based on the novel by the same name ‘Chemmeen’ written by Thakazi Sivasankara Pillai, first published in 1956. Since this movie was based on the story of Thakazi Sivasankara Pillai an acclaimed literary personality in India and Malayalam Literature, let us have some information about him in brief. He also wrote the screenplay of this movie.
Thakazi Sivasankara Pillai was born on 17th April 1912 at Thakazi (Alleppey, Kerala). He has written many novels, novellas, and short stories in Malayalam which mainly focused on the societal conditions of Kerala of mid-twentieth century, and the lives of the oppressed classes. He started writing at an early age and his first novel came in 1934 which was “Thyagathinu Prathiphalam”. His novel ‘Chemmeen’ was published in 1956 for which he was awarded the prestigious ‘Sahitya Academy Award’ of 1957. His novel ‘Chemmeen’ and subsequently the movie with the same title got him national and international fame. This novel was later translated in more than eighteen languages of the world and it was also adapted for movies made in several countries. Films were also made based on his works like ‘Enippadikal -1964 (Rungs of the Ladder), ‘Anubhavangal Paalichakal-1966’. In 1984 he was awarded with the highest literary award – the ‘Gyanpeeth award’ for his novel ‘Kayar’. He was also the recipient of the third highest civilian honor ‘Padma Bhushan’ of Government of India. Thakazi Sivasankara Pillai passed away on 10th April 1999.
The movie ‘Chemmeen-1965’ made in Malayalam language was the first south Indian movie to win the National Award i.e. the ‘President’s Golden Lotus’ for the best film. The presentation of the movie and its’ artistic and technical values pioneered the growth of Malayalam Cinema in these aspects. It also paved the way for making of more movies based on the literary works in Malayalam language.
The success of this movie was because of coming together of some of the best talents and stalwarts of Indian Cinema. The cinematography of this movie was done by Marcus Bartley (supported by U. Rajagopal). Editing of this movie was done by Hrishikesh Mukherjee. Music for this movie was composed by none other than the legendary music director Salil Chaudhary. Since the readers on the blog are aware about Hrishikesh Mukherjee and Salil Chaudhary let us have brief information about the other lead members of the crew of this movie, which I feel necessary here as a tribute to these great talents who made a deep impact on the audiences with this movie and set new benchmark for regional cinema as well as Indian Cinema.
Marcus Bartley (22.04.1917-14.03.1993) was an Anglo-Indian Cinematographer mainly working for Telugu films. He was born in an Anglo-Indian family of doctors in Yercaud (Tamilnadu). Bartley started as an amateur photographer while he was in school. He later moved to Bombay in 1940 to join as a press photographer for ‘The Times of India’. From there he became a ‘Newsreel Cameraman’ for the British Movietone under the patronage of ‘The Times of India’. He did not have any formal training in photography but learn his craft on the job with sheer dedication and hard work. His first film as cinematographer was ‘Swarga Seema-1945’ with Pragati Studios, Madras. Other than the Telugu language films he also worked for few films in Hindi, Malayalam and Tamil. He worked as a cinematographer for some of the classic films like ‘Shavukaru-1950’, Paathala Bhairavi-1951’, ‘Missamma-1955’, ‘Maya Baazaar-1957’, ‘Gundamma Katha-1962’, ‘Chemmeen-1965’, ‘Ram Aur Shaym-1967, etc. ‘Saathi-1968’, ‘Ghar Ghar Ki Kahaani-1970’, ‘Yahi Hai Zindagi-1977’ and ‘Zindagi Jeene Ke Liye-1984’ are other Hindi movies where he worked for. He won the ‘National Film Award for Best Cinematography’ and the Tamilnadu State Film Award for best Cinematographer in 1970 for “Shanti Nilayam-(Tamil, 1969). He was the first Indian to win the Best Cinematography award ‘Gold Medal’ at the ‘Cannes Film Festival’ for the movie ‘Chemmeen’. His photography for the movie ‘Chemmeen’ was highly praised and it had a major role to bring the essence of the story & canvas on the screen. However he did not receive the national award for this movie. Bartley was known to be a perfectionist and he treated everybody with same respect as he didn’t believe in ‘hierarchies’.
The dialogue writer S.L. Puram Sadanandan (15.04.1928 – 17.09.2005) was a prolific scenarist and major playwright of Malayalam cinema. He worked with the director Ramu Kariat for ‘Chemmeen-1965’ and for ‘Nellu-1974’ (where he had done the adaptation of the story by P. Vatsala for the film).
“Chemmeen Lehren-1980” was directed by Ramu Kariat for ‘Kanmani Films, Cochin’. It was produced by Babu Ismail. The cast of this movie included Sathyan, Sheela, Madhu, Kottarkkara Shridharan Nair, S.P. Pillai, Lata, Adoor Bhawani, Adoor Pankajam, Rajakumari, Eddie, Kottayam Chellappan, J.A.R. Anand, Paravoor Bharathan, Kothamangalam Ali and others. This Hindi movie was passed by Censor Board on 03.09.1980. Story and screenplay of this movie was written by Thakazi Sivasankara Pillai and dialogues were written by S.L. Puram Sadanandan. Lyricist for this movie was Vyalar Rama Verma. Manna Dey, Santha P Nair, Leela P., K.P. Udayabhanu and K.J. Yesudas were the playback singers for this movie. Lyrics for the songs in Hindi are written by lyricist Yogesh.
“Chemmeen-1965” (aka ‘wrath of the sea’ aka ‘shrimp’) tell us a tragic love story against the backdrop of the fishing village and life of a fishing community in a village of Kerala their beliefs, faith and traditions… The Encyclopedia of Indian Cinema mentions it as the ‘melodrama which put Malayalam Cinema on the map of Indian Cinema’.
Here is the gist of the story of this movie –
Chambankunju (S.K. Nair) is a Hindu fisherman who is helped by his daughter Karuthamma (Sheela) in his fishing trade. Karuthamma loves Pareekutty (Madhu) who is a Muslim Trader. However given the traditions Karuthamma cannot marry Pareekutty and is married to a stranger Palani (Sathyan). The village people have doubts over the chastity of Karuthamma because of her affair with Pareekutty. But Sathyan believes that she didn’t have any physical relationship with Pareekutty. The villagers criticize and censured Palani. Once Karuthamma and Pareekutty met and they make love. Palani is out in the sea for fishing and battling with a shark. Palani gets into a whirlpool and dies. This is attributed to the wrath of sea goddess Kadalmma who exacts revenge for the infringement of prevailing chastity codes of the fishermen community.
Mentioning about the presentation of this story on screen and the technical aspects of this film ‘The Encyclopedia of Indian Cinema’ mentions that “Known mainly for the remarkable performances of its entire lead cast (notably Sathyan), the film was made as a sprawling epic matching the scale of one of Malayalam literature’s most famous novels. The editing, done by Hrishikesh Mukherjee virtually as a salvation job for a production that had apparently got out of hand, is extremely tight, but the film still retains the frontier realism of a fishing community battling the forces of nature, myth and uncontrolled emotion as dictated by the script. Novelist Pillai’s highly mystical end in the book, as Palani battles the shark while his wife betrays him, nevertheless remains too complex for predominantly realist melodrama. Composer Salil Chaudhary’s Malayalam debut was remarkably successful, and both songs and background score are integral to the scale of the drama.”
Let us now get to know a brief about the director of this movie i.e. Ramu Kariat (01.02.1927 – 10.02.1979). He was born in Engandiyur, Thrissur- Kerala into a farming family. He started writing poetry and prose when he was still in his teens.
He started his career with the theatre group ‘Kerala People’s Art Club’. He debuted in Malayalam movies by co-directing the movie ‘Thiramal’ with director Vimal Kumar and P.R.S. Pillai. He directed many films from the 1950s to 1970s in Malayalam Cinema and his films were in the broad context of the cultural renaissance spearheaded by the ‘Kerala People’s Art Club’. Many of the movies which he directed had the stories based on the prominent litterateurs of Malayalam language. His movies won several awards and brought accolades for him (e.g. ‘Neelakuyil’, ‘Mudiyanaya Puthran’, and ‘Chemmeen’). Ramu Kariat was the member of the jury at the ‘9th Moscow International Film Festival’ in 1975. He directed around fifteen films in his career.
Coming to the lead actors who acted in this movie now i.e. Sathyan, Sheela, Madhu and K.S. Nair (who plays the role of the father of Karuthamma), they all have been stalwarts in their field and their respective film career where they have left the indelible mark on the audience and had been a reason of joy for their audience and people who liked their acting and love them. However discussing about these actors would take considerable space here. I would have loved to write about them in this article but I am leaving it for future otherwise this article will become a ‘long documentary’ article So we will have the information about them in other posts with the remaining songs of this movie.
Let us now enjoy the song where we can see fishermen setting out for the sea for fishing and on the other side Karuthamma and her ‘sahelis’ where they are singing the story of the ‘myth of the sea’ in this song. The fishermen on the other side are singing and ready to face any challenge in the sea. Today’s song is sung by Suresh Wadkar, Antara Chaudhary and chorus. Lyrics are by Yogesh and music is composed by Salil Chaudhary.
(Sources of information – ‘The Encyclopedia of Indian Cinema’ by Ashish Rajadhyaksha & Paul Willemen, ‘History of Indian Cinema’ by Renu Saran, ‘Wikipedia’, and several articles available online media related to the movie ‘Chemmeen’.)
Let us welcome ‘Chemmeen Lehren-1980’ on the blog. I was unable to note correct words at many places which I would request knowledgeable readers to kindly provide please. I could not find the Hindi dubbed version of this movie online, however, the movie is available in Malayalam language online.
Enjoy the song ‘pennaale pennaale’ (i.e. in Malayalam) we will now have the Hindi dubbed version of this song which is a nice song to listen to …
Video
(video, same song in Malayalam)
Song-Maina re maina re (Chemmeen Lehren)(1980) Singers – Antara Chaudhary, Suresh Wadkar, Lyrics-Yogesh, MD-Salil Chaudhary
Female chorus
Male chorus
Lyrics
mainaa ke ae
mainaa ke ae
ras bhare nainaa re ae
nainaa re ae
mainaa ke ae
mainaa ke ae
ras bhare nainaa re ae
nainaa re ae
kaahe sharmaa ke
munh mode
kaahe sharmaa ke
munh mode
gaao na
mainaa ke ae
mainaa ke ae
ras bhare nainaa re
nainaa re ae
tandaanaa
tandaanaa
tandaa aa
tandaanaa
tandaanaa
tandaa aa
bhar ke dil jo tu muskaaye
hiley to sau sau bal khaaye
oye oye
laage dam muyi re
tere ghar aayi
sandili belaa re ae
neele aakaash par
wo sooraj ugaa aa
he ae
neele aakaash par
wo sooraj ugaa aa
he ae
sone se rang se ye
saagar sajaa aa
he ae
sone se rang se ye
saagar sajaa aa
he ae
chal do patwaaar le kar
lehron mein naao khe kar
aa aa
chal do patwaaar le kar
lehron mein naao khe kar
deti hai door se wo manzil sadaa aa
he ae
deti hai door se
wo manzil sadaa aa
barson hai puraani
batiyaan bholi ee
machhuwaaron ki sun
batiyaan bholi ee
ik din
koyi machheraa
samandar gayaa
toofaan aayaa aa
doobaa andar gayaa aa
??
dooba?? aaya
hoye hoye
niraali kahaani
har pal yaad
zaraa tu rakhnaa aa
mainaa ke ae
mainaa ke ae
ras bhare nainaa re
nainaa re ae
aandhi toofaanon se
ham naa daren
he ae
aandhi toofaanon se
ham naa daren
he ae
dil hain hamaare to
armaan bhare ae
he ae
dil hain hamaare to
armaan bhare ae
he ae
ham gir ke
sambhalenge
ham to na badlenge
ham gir ke sambhalenge
aa aa
ham to naa badlenge
aa aa
mausam ye roop chaahe
kitne dhare ae
aa he ae
mausam ye roop chaahe
kitne dhare ae
barson hain
puraani batiyaan bholi
machhuwaaron ki
sun batiyaan bholi ee
ik din
ek machheran
pati ko bhooli
patiyon ki rasmein reet bhooli
pati uska are toofaan ??
?
hoye hoye
mainaa ke ae
mainaa ke ae
ras bhare nainaa re
nainaa re ae
tandaanaa tandaanaa
tandaa aa
tandaanaa tandaanaa
tandaa aa
tandaanaa tandaanaa
tandaa aa
tandaanaa tandaanaa
tandaa aa
tandaanaa tandaanaa
tandaa aa
- In: expression of love | Feelings of heart | Guest posts | Mahendra Kapoor songs | Post by Peevesie's mom | qawwali | Song sung by three or more singers | Songs of 1970s (1971 to 1980) | Songs of 1980 | stage dance | Stage song | Suresh Wadkar songs | Usha Khanna songs | Yearwise breakup of songs
- 5 Comments
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.
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Blog Day : |
5562 | Post No. : | 18030 |
Hullo Atuldom
“Saajan ki Saheli” (1980) was a film that was produced & directed by Saawan Kumar Tak (9th August 1936- 25th August 2022). The songs were written by Majrooh Sultanpuri (1st October 1919- 25th May 2000) & Saawan Kumar Tak. Usha Khanna (d.o.b. 7th October 1941) was the music director. Asha Bhonsle, Sulakshana Pandit, Mohd Rafi, Mahendra Kapoor, Suresh Wadkar & Usha Khanna (herself) were the playback singers.
The film was a typical, simplistic melodrama. It was the story of a young unmarried girl who gets pregnant, giving birth to a girl but refusing to accept the child. On growing up the girl discovers the truth of her birth, tracks her mother down. The girl teams up with her mother’s husband to get her mother admit the parentage & accept her, even if her own love-life is compromised in the situation.
Nutan played mother to Rekha. Rajendra Kumar was Nutan’s husband & Anil Dhawan (guest appearance) the cause of Nutan’s pregnancy. Suresh Oberoi played a ‘Narad’ kind character giving the viewer a feeling that he is the villain. Vinod Mehra was a singer who falls in love with Rekha.
This film came in the period when Rekha was having a successful run at the box-office after being appreciated for her role in “Khubsoorat”. In fact 1980 was a Jackpot year of her career as she was seen in 12 films including a guest appearance in the Marathi film ‘Fatakadi’. I have seen the lavani sequence from that film a long time ago. ‘Jise tu kubool kar le’ (never heard of this film), ‘Jyoti Bane Jwala’ (a guest appearance), ‘Kali Ghata’, ‘Jal Mahal’, ‘Agreement ‘, ‘Neeyat’, ‘Judaai’, ‘Ram Balram’, ‘Maang Bharo Sajna’, ‘Aanchal’, & ‘Khubsoorat’ were the films of 1980 & I have seen all of them & 50% of them in a cinema hall. She was appreciated in “Saajan ki Saheli” also. Nutan was the other saving grace of this film.
Today on the occasion of Rekha’s 69th birthday we shall have a stage song from this Saawan Kumar film. The singers in the song are Usha Khanna, Suresh Wadkar & Mahendra Kapoor.
With this song we also wish Belated birthday wishes to Usha Khanna & think of Majrooh Sultanpuri whose birthdays just went by.
This post celebrated Rekha’s birthday on the blog 10 years back.
Song-Aaye hain wo mazaar pe ghoonghat utaar ke (Saajan Ki Saheli)(1980) Singers-Mahendra Kapoor, Suresh Wadkar, Usha Khanna, Lyrics-Majrooh Sultanpuri, MD-Usha Khanna
Chorus
Lyrics
marne ke baad hamaari yaad mein
aansu bahaate hain
nawaazish hai ye unki
aaj wo
do gul chadhaate hain
mazaar e ishq to kaanton ke bhi
kaabil nahin hota
Allaah
wo sar khole hamaari
kabr pe deewaanawaar aaye
arre isi ko maut kehte hain to ya rab
baar baar aaye ae ae
ke aaye hain wo mazaar pe
ghoonghat utaar ke
aaye hain wo mazaar pe
ghoonghat utaar ke
mujhse naseeb achhe hain
mujhse naseeb achhe hain
arre mere mazaar ke ae ae
aaye hain wo mazaar pe
ghoonghat utaar ke
aaye hain wo mazaar pe
ghoonghat utaar ke
aaye hain
aaye hain
arre aaye hain
aaye hain
aaye hain wo mazaar pe
ghoonghat utaar ke
aaye hain wo mazaar pe
ghoonghat utaar ke
ab to wo bhi
ishq ke
maare nazar
aane lage
arre unki bhi neend udd gayi
taare nazar aane lage
arre dil pareshaan
arre aankh veeraan
haan haan zulf barham
lab khaaaaa mo o o o osh
ab to wo kuchh aur bhi
pyaare nazar aane lage
aake hamaari kabr pe
toone jo muskura diya
bijli chamak ke gir padi
saara kafan jala diya
haaye
chain se so raha thha main
Allah
chain se so raha thha main
odhe kafan mazaar mein
aur yahaan bhi sataane aa gaye
kisne pata bata diya
yahaan bhi sataane aa gaye
kisne pata bata diya
aaye hain
aaye hain
arre aaye hain
aaye hain
aaye hain wo mazar pe
ghoonghat utaar ke
aaye hain wo mazaar pe
ghoonghat utaar ke
mujhse naseeb achhe hain
mujhse naseeb achhe hain
mere mazaar ke ae ae
aaye hain wo mazaar pe
ghoonghat utaar ke
aaye hain wo mazaar pe
ghoonghat utaar ke
bijli kabhi giri
kabhi saiyyaad aa gaya
hamne to chaar din bhi na dekhe bahaar ke
hamne to chaar din bhi na dekhe bahaar ke
saiyyad tere hukm e rih ai ka shukariyaa aa aa
hum to kafas mein kaat chuke din bahaar ke
hum to kafas mein kaat chuke din bahaar ke
hum to kafas mein kaat chuke din bahaar ke
arre waada wo kar gaye thhe
suno
mujhse shaam ka aa
waada wo kar gaye thhe
suno
mujhse shaam ka aa aa
to kaise katenge chaar pahar intzaar ke
to kaise katenge chaar pahar intzaar ke
to kaise katenge chaar pahar intzaar ke
kiya thha waada ke aayenge wo charaag jale
tamaam raat charaagon se
dil ke daagh jale ae ae ae
jaa dekha tera waada
haaye re tera waada
jaa dekha tera waada
haaye re tera waada
jaa dekha tera waada
haan dekha tera waada
ja dekha tera waada
haaye re tera waada
o jaa dekha tera waada
haaye re tera waada
ke haaye
ke haaye
kaise kate umariyaaa aa aa
aas hi aas mein beeti jaaye ae ae
hamre nayan daras bin tarse ae ae
tum bin baalam
kachhu na suhaaye ae
tori preet ke kaaran mose
roothhe apne paraaye
sab roothhe
ik tum mat roothiyo
tum ruthiyo to gazab hoi jaaye re
ja dekha tera waada
haaye re tera waada
jaa dekha tera waada
haaye re tera waada
jaa dekha tera waada
haan dekha tera waada
jaa dekha tera waada
haaye re tera waada
jaa dekha tera waada
haaye re tera waada
jaa dekha tera waada
haaye re tera waada
Qasam na lo koi humse
Posted on: October 6, 2023
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.
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Blog Day : |
5558 | Post No. : | 18024 | Movie Count : |
4831 |
Hullo Atuldom
6th October 1933 was the date of birth of Brijmohan Kishanlal Sadanah who was born in Gujranwala Punjab, undivided India. He was a producer/ director of entertainers like “Yeh raat phir na aayegi”, “Ustadon ke ustad”, “Victoria No. 203”, “Chori mera kaam”, “Ek se badkar ek”, “Professor Pyarelal” etc. Before turning producer with “Ustadon ke ustad” in 1963 he was a director of films like “Tu nahi aur sahi”, “Nai rahen”, “Bhule bhatke” etc. He was the brother of Chander Sadanah who was associate producer of ‘Victoria No.203’, ‘Do Bhai’ etc. i.e. the brothers worked as a team.
Brij (as he was called in the industry) was married to actress Sayeeda Khan who had acted in ‘Kanyadaan’ alongside Shashi Kapoor & Asha Parekh. Kamal Sadanah who made his debut in films with ‘Bekhudi’ in 1992 with Kajol is the son of Brij & Sayeeda. Even Chander Sadanah’s daughters Nagma & Jyotika are actresses; seen mostly South Indian films. All this I have written to show that this is a family of entertainers which had only one black spot in its history; which is public knowledge & I don’t intend mentioning it here. Today Brij would have been 90 but for the unfortunate incident in October of 1990.
Today’s song is from the 1980 released Shatrughan Sinha- Zeenat Aman- Vinod Khanna starrer “Bombay 405 Miles”. Iftikhar, Deven Verma, Helen, Raza Murad, Shammi, Murad and Amjad Khan & Pran were the other important characters in the film. The music of the film was by Kalyanji Anandji & lyrics were by Indeevar. Lata Mangeshkar, Asha Bhosle, Mohd. Rafi, Kishore Kumar, Mahendra Kapoor, & Hemlata were the singers used. The story of the film was very simple:
“Ranveer Singh’s (Iftikhar) family is killed by his adopted brother Veer Singh (Amjad Khan) when Ranveer Singh is away on a business tour. He comes back witha a doll for his daughter that can record voices. (The doll is an important part of the climax) Mistakenly, Veer Singh’s men kill Sonu daughter of Masterji (Pran) thinking she is Munni daughter of Ranveer Singh.
Kishen (Shatrughan Sinha) a con man from Calcutta and Kanhaiya (Vinod Khanna) a con men from Delhi are ordered by the court to stay away (tadipaar) from respective city limits for five years. Kishen and Kanhaiya meet at a bus stand along with a con woman Radha (Radha) they decide to travel to Bombay. On the way the duo come across Mohanlal (guest appearance of Chaman Puri) elder brother of Masterji and loyal driver of Ranveer Singh. He dies while saving Munni from Veer Singh’s man and tells them that Munni’s life is in danger as its a question of Crores of Rupees.
Kishen and Kanhaiya reach Bombay with Munni thinking they will get benefited from it as Munni belongs to a rich family. But before they could trace anyone Veer Singh finds their whereabouts and puts his men behind Kishen and Kanhaiya.
And then the roller-coaster of entertainment takes over. I have seen the film in a cinema hall when it had released as my dear father was a huge fan of such over-the-top entertainers which didn’t need logic to see them through. I am also a fan of this film & see it whenever it comes on any television channel. I appreciate the writer’s (K.A. Narayan) thinking when he named the main characters- Kishan, Kanhaiya & Radha. Another aspect of the film which I love is the interactions between Kishan & Kanhaiya but then these two actors have been seen together in a few films before this one & I am sure there must have been a comfort level between the two.
With this post we also remember the tall, handsome, dimple- chinned Vinod Khanna. He had made his debut in films with “Man ka Meet” in 1969 & he was not the main lead there. His next few films saw him play characters that were either Shammi Kapoor’s brother or Rajesh Khanna’s nemesis (villain in ‘Aan Milo Sajna’ & inspector in ‘Sachaa Jhootha’) etc. After about 12 such films he was seen in a different type of film ‘Mere Apne” in 1971. Similar, differently made film was “Achanak” (1973) where he was cast as an army man who is accused of killing his beloved wife. There were films like ‘Mera Gaon Mera Desh’, ‘Anokhi ada’ etc between ‘Mere Apne’ & ‘Achanak’ which saw him play negative vicious characters & making a name for himself.
His second phase in films began after he returned from sanyaas & we saw him in films like ‘Insaaf’, ‘Batwaara’ , ‘Chandni’; as a father in ‘Kshatriya’, ‘Parampara’ & he was there in two installments of Salman khan’s “Dabangg”. Reading my post, people will wonder if I forgot his teaming up with Amitabh Bachchan in the movies of the late 1970s- no I haven’t. I stop in my tracks when I see one of those movies even today. Similarly his ‘Inkaar’, ‘Kudrat’, ‘Lahu ke do rang’ & a few more are on my list of most-loved films.
Missing you Vinod Khanna the original Jabbar Singh.
Song-Qasam na lo koi humse (Bombay 405 miles)(1980) Singers-Asha Bhonsle, Kishore Kumar, Lyrics-Indeewar, MD-Kalyanji Anandji
Lyrics
Qasam na lo koi hamse
qasam na hum koi khaayenge
haan qasam na lo koyi hamse
qasam na hum koyi khaayenge
jab tak saath nibhega
tab tak saath nibhaayenge
lekin jis din saath nahin nibha toh
gar saath nahin jo nibhega
dil se dil jab na milega
jaise dost juda hote hain
hum waise juda ho jaayenge
qasam na lo koyi hamse
qasam na hum koyi khaayenge
na ho jinko khud pe bharosa
wahi qasmein liya karte hain
wahi qasmein liyaa karte hain
sachche hon jinke iraade
wahi waade kiya karte hain
sachcha ho agar yaaraana
toh phir kya yaqeen dilaana
ho jinko pyaar nibhaana
bin boley woh pyaar nibhaayenge ae
qasam na lo koyi hamse
qasam na hum koyi khaayenge
kabhi juda hone ki naubat hi kyon kar aaye
naubat hi kyon kar aaye
ek dooje ke saanche mein
insaan agar dhhal jaaye
chehre pe na hon jo naqaaben
do dilon hon jo khuli kitaabein
manzoor agar ho haqeeqat
hamein khwaab na behka paayenge ae
qasam na lo koyi hamse
qasam na hum koyi khaayenge
qasam na lo koyi hamse
qasam na hum koyi khaayenge
la la la laaa laaa laalaa
la la la laa lalaalaa
Tu aisa kaisa marad
Posted on: May 18, 2023
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.
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Blog Day : |
5417 | Post No. : | 17765 | Movie Count : |
4756 |
Hullo Atuldom
“Aakrosh” (1980) was directed by Govind Nihalani. Produced by Devi Dutt & NFDC. It had Vijay Tendulkar & Satyadev Dubey as writers; which meant that the film was either an Art film (meaning audiences fed on fantasy & escapist stories would not buy a ticket to see it) or at least a middle of the road film (meaning it showed the realities of the times in a not-so-harsh manner). I have never seen the film, so I don’t know what category it falls under. But various sites on the internet have classified “Aakrosh” as crime – drama.
The film had a cast of Om Puri, Naseeruddin Shah, Smita Patil, Achyut Potdar, Amrish Puri, Mohan Agashe, Arvind Deshpande, Vinay Apte, Reema Lagoo etc.; indicating that the film must have been a performance-filled film complete with heavy & hard-hitting dialogues. Almost bordering on stage-like feel looking at the super actors present in the film. The songs were written by Vasant Deo & Suryabhanu Gupt. Ajit Verman was the music director, the film had three songs.
The film was based on some real-life incident of those times and was part of Vijay Tendulkar’s series of works based on explorations on violence. It was a scathing satire on the corruption in the judicial system and the victimization of the underprivileged by the able & the powerful. It showed the public prosecutor (I think Naseeruddin Shah played this part) discovering the harsh realities of the scheduled tribes of India, in the 1980s, when defending the case of a tribesman (Om Puri) accused of murdering his wife (Smita Patil).
I was sure with such a stark subject, there would have been no scope for any song-n-dance sequence in this film. But I was wrong. I discovered that there was a dance number; which would have been tagged as an item-number in today’s parlance. I discovered this song on 18-May-2017. What was so special that I remember this date so vividly?
That was the date, when the news channels broke the news of Reema Lagoo’s death. She was one of the many artists who was popular in all the entertainment formats- stage, films, television etc. She was born Nayan Bhadbhade and her mother Mandakini Bhadbhade was a stage actress. Nayan took to acting on stage as a student and her professional stage assignments continued even when she took employment. She became Reema Lagoo after her marriage to Vivek Lagoo in 1978. Reema and Vivek Lagoo have a daughter who is also an actress and theatre actress.
Reema debuted in films in 1979 with Jabbar Patel’s ‘Sinhasan’. If I am not wrong, “Aakrosh” was her Hindi debut, where she performed in the song with today’s post. ‘Kalyug’ produced by Shashi Kapoor was her next in Hindi which was followed by a few more until ‘Qayamat Se Qayamat Tak’ (QSQT) & ‘Maine Pyar Kiya’ (MPK) came along in 1988 & 1989 (respectively) and she became the lovable sweet mother who is always in support of her children. Along with these films, she was seen on Doordarshan in serials like ‘Khandaan’ but her portrayal of Kokila Kulkarni in ‘Shrimaan Shrimati’ (1994-1999) & Devaki Verma in Sachin Pilgaonkar’s (a.k.a Master Sachin) ‘Tu Tu Main Main’ (1994-2000) made her a darling of the audiences. And to think, she was just around 30 years of age when she played a mother to Juhi Chawla (QSQT) or Salman Khan (MPK).
Thinking of this lovely, sweet, cute lady whose career was cut short by her untimely death. She was busy shooting for serial till the previous day.
Today’s song is sung by Madhuri Purandare (never heard this name before), written by Vasant Deo and composed by Ajit Verman. The song shows that Reema Lagoo could dance too.
Song-Tu aisa kaisa marad (Aakrosh)(1980) Singer-Madhuri Purandare, Lyrics-Vasant Deo, MD-Ajit Verman
Unknown male voice
Female chorus
Lyrics
ho o
aa aa aaa
aa aa aa aa
aa aa aa
aa aa aa aaa
tu aisa kaisa marad
kaun ga
barf sa sarad
are re re re re re
toone kya thhaani ee ee
haan aan aan aan aan
tu aisa kaisa marad
barf sa sarad
toone kya thhaani
zara dekh ke meri garam mom si pighli jaaye jawaaa aa aani
tu aisa kaisa marad
baraf sa sarad
toone kya thhaani
zara dekh ke meri garam mom si pighli jaaye jawaa aa aani
zara dekh ke iski garam mom si pighli jaaye jawaa aaa aani
chauthhe roz naha ke main to badal rahi thhi saadi
ho badal rahi thhi saadi
chauthhe roj naha ke main to badal rahi thhi saadi
tu aaya ke main ghabrai
ke haay fisal padi meri saadi ee ee
vo aaya
ke ye ghabraayi
ke haaye phisal padi ee saadi
tu aankh meench ke khada aa aa
bana munh aisa aa aa aa
aa aa aa
gunguna raha
jo o o o
hanuman chaalisa
main beech se kat gayi
ho gayi paani paani paani ee ee
arre paani paani paani
main beech se kat gayi
ho gayi paani paani paani ee ee
zara dekh ke meri garam mom si pighli jaaye jawaa aa aani
tu aisa kaisa marad
baraf sa sarad
toone kya thhaani ee
zara dekh ke meri garam mom si pighli jaaye jawaa aa aani
zara dekh ke iski garam mom si pighli jaaye jawaa aa aani
?? jale to hota
saaree raat ujaalaa
arre saaree raat ujaala
bina prem ke karm khule na
bin chaabhi ke taala
arre bin chaabhi ke taala
mujhe ang laga lo aas rahe na koi ee ee ee
?? ye na kahe koi ee ee
ye khili kunj mein sej piya ??
zara dekh ke meri garam mom si pighli jaaye jawaa aa aani
zara dekh ke iski garam mom si pighli jaaye jawaa aa aani
tu aisa kaisa marad
barf sa sarad
toone kya thhaani
zara dekh ke meri garam mom si pighli jaaye jawaaa aani
Ye zindagi chaman hai
Posted on: May 12, 2023
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5411 | Post No. : | 17749 | Movie Count : |
4751 |
#the Decade of Seventies – 1971 – 1980 #
————————————————————————
# Bhoole-Bisre Geet # (Debutant Movie- Kismat/Qismat-1980)
——————————————-——————————
With this post we introduce the movie ‘Qismat-1980’ on the blog.
Movies with this title-Kismat or Qismat were made and released in the years ‘1943’, ‘1956’(Qismat), ‘1968’, ‘1980’(Qismat), ‘1995’(Qismat) and in the year ‘2004’.
(I hope all them brought good ‘fortunes’ to the ‘producers’ of the movies 🙂 ).
Out of these the movies released in ‘1943’, ‘1956’ and ‘1968’ have already been represented on the blog.
I was longing to present this movie on the blog as it serves the purpose of bringing ‘movies with the same title on the blog’ (at least till the decade of 1971-1980).
‘Qismat-1980’ was directed by Bhishm Kohli for ‘Pashupati Pictures, Bombay’.
It had Ranjeeta, Mithun Chakravarty, Shakti Kapoor, Shivangi Kolhapure (debutant movie), T.P. Jain, Urmila Bhatt, Dulari, Gautam Sarin, Tarun Ghosh, Vimal Chopra, Rajeev, Bholu Vadhawan, Gurbachan, Om Shivpuri, Baby Pinki, Master Bobby, Neelofar, Birbal, Rajat, Lateef and others.
Jalal Agha had a guest appearance in this movie.
This movie was a ‘social movie’, passed by Censor Board on 18.08.1980.
‘Qismat-1980’ has six songs written by Amit Khanna and composed by Bappi Lahiri. Asha Bhonsle, Manna Dey, Yesudas, Kishore Kumar and T. Meena had given their voices to the songs in this movie.
Here is the list of the songs in this movie with their respective singers.
| SNo. | Song Title | Singer/s |
|---|---|---|
| 01 | O… kuchh chhup chhup ke aate hai | Asha Bhonsle |
| 02 | Aa… arey masti… masti kahaan hai mastaana aa gaya hai | Manna Dey |
| 03 | Ye zindagi chaman hai | Yesudas, chorus |
| 04 | Gir ke sambhalte hain ham | Kishore Kumar |
| 05 | Ik to main jawaan us pe tu yahaan | Asha Bhonsle |
| 06 | Mehboob ki mehbooba ko lalkaaro nahin | T. Meena |
Today we present a song sung by Yesudas from this movie. I became aware of this song more than one decade later when I got to listen to it on radio.
I have not watched this movie ‘Qismat’ and also not aware of how it did fare at the box office then.
A partial video of the tsong is available where we can see Mithun Chakravarty lip-syncing this song and trying to console and motivate Ranjeeta on the screen.
Lyrics for the song are by Amit Khanna. Music is composed by Bappi Lahiri. This must be one of the best songs that Bappi Da has composed in the decade of 1971-1980.
Let us now listen to the song…
Audio
Video partial
Song-Ye zindagi chaman hai (Qismat)(1980) Singer-Yesudas, Lyrics-Amit Khanna, MD-Bappi Lahiri
Chorus
Lyrics
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
aa aa aa
ye zindagi chaman hai
sukh dukh
phool aur kaante ae
ham tum baaghbaan hain
kyun naa mil kar inko baanten
ye zindagi chaman hai
sukh dukh
phool aur kaante ae
ham tum baaghbaan hain
kyun naa milkar inko baanten aen
aa aa aa
ha aa aa
o o o o o
hmm hmm hmm
ho mushqil dagar
yaa lambaa safar
ho chaahe anjaanaa nagar
din ho yaa raat
chalenge saath
ban ke sadaa ham hamsafar
kabhi naa kabhi
kahin naa kahin
bol uthhenge ye sannaate
ye zindagi chaman hai
sukh dukh
phool aur kaante ae
ham tum baaghbaan hain
kyun naa milkar inko baanten aen
aa aa
aa haa aa
aa aa aa
hmm hmm hmm
aa aa aa aa
aa aa aa aa
aa aa aa aa
hamesha khushi
tumko miley
saayaa bhi gham ka door rahe
aankhon mein ho
sapney naye
masti mein ae tu choor rahe
jeenaa usi ko
ye raas aaye
hans kar jo jeewan kaate
ye zindagi chaman hai
sukh dukh
phool aur kaante ae
ham tum baaghbaan hain
kyun naa milkar inko baanten
aa aa
aa haa aa
aa aa aa
hmm hmm hmm
ye zindagi chaman hai
sukh dukh
phool aur kaante ae
ham tum baaghbaan hain
kyun naa milkar inko baanten aen
aa aa aa
aa haa aa
hmm hmm hmm
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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