Posts Tagged ‘2004’
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 : |
5698 | Post No. : | 18216 | Movie Count : |
4891 |
‘Bride and Prejudice’ (2004) was an English language film produced by Miramax Films, Pathe Pictures, UK Film Council and 5 other film production companies based in the USA and Europe. The film was directed by Gurinder Chadha. The cast included Aishwarya Rai and Martin Henderson in lead roles with the supporting cast of Anupam Kher, Nadira Babbar, Naveen Andrews, Namrata Shirodkar, Meghna Kothari, Piya Roy Chowdhary, Indira Verma, Daniel Gillies, Sonali Kulkarni, Nitin Ganatra etc. The film was shot in the UK, the USA and India. The lead actor, Martin Henderson was born and brought-up in Auckland, New Zealand and now settled in Los Angles with his career in films and TV. Naveen Andrews was born and brought up in London. His parents were immigrants from Kerala. He is now a naturalised US citizen with his career in films and TV.
This film is an attempt by its director, Gurinder Chadha to present a modern version of Jane Austen’s novel, ‘Pride and Prejudice’ in which there are fusion of Indian, British and American cultures. The inter-racial relationship between Lalita (Aishwarya Rai) and William Darcy (Martin Henderson) forms the core issues of tradition, culture and the race in the film with light comical element. In short, the basic themes of the novel, ‘Pride and Prejudice’ have been presented in a way that is relevant in the current century.
From the video clips of the song, it would appear that the director has taken recourse to the Bollywood style with songs and dances forming an important part of the film. There are ‘Naagin’ dance, Bhangra dance and Dandiya dance in the film. There is a song by a popular American singer, Ashanti as an item number. Like most of the Hindi ‘masala’ films, ‘Bride and Prejudice’ (2004) has a love triangle with a mild melodrama, a manipulative mother, a villain and finally the lovers getting united with a Punjabi fat wedding. The good thing about the film is that the ‘masala’ elements by way of manipulative mother, the villain and the fights have been toned down probably to make it palatable to the foreign audience to whom the film is mainly addressed.
The film is not available to watch in India either on any video sharing platform or on OTT platforms. Some snippets of the film are available as well as video clips of the songs on a video sharing platform which gives some story idea about the film. I have, therefore, weaved the story of the film based on the film’s snippets and from the synopsis of the film posted on IMDb. Wherever, I got confused, I have taken recourse to the original novel, ‘Pride and Prejudice’. as almost all the original characters of the novel have been retained in the film. The condensed story of the film is as under:
Amritsar-based Chaman Bakshi (Anupam Kher) and his wife, Manorama Bakshi (Nadira Babbar) is looking for perfect husbands for their four marriageable daughters – Lalita (Aishwarya Rai), Jaya (Namrata Shirodkar), Maya (Meghna Kothari) and Lakhi (Piya Rai Chowdhury). Lalita is hesitant about arranged marriage and prefers marrying a man of her choice.
Balraj Uppal (Naveen Andrews), a London-based barrister visits India to attend his friend’s wedding in Amritsar. He is accompanied by his American friend, William Darcy (Martin Henderson), a hotelier. In the wedding, they meet Bakshi family. While Balraj and Jaya feel attracted to each other, Lalita does not like William Dracy because of his negative opinion about India and Indians.
After the wedding, Balraj, Jaya, William and Lalita visit Goa. During a concert in Goa, Lalita meets Johny Wickham (Daniel Gillies), the son of a nurse who had raised William. Johny reveals to Lalita that William kicked him out of his household as soon as his father passed way. Lalita likes Johny.
Back in Amritsar from Goa, Kohli (Nitin Ganatra), a distance cousin of Bakshis’ who has migrated to the USA and a Green Card holder, visits Bakshi family. His visit is mainly for selecting a girl for his marriage. Manorama likes Kohli and wants Lalita to marry him. But Lalita rejects this proposal. Kohli has proposed Chandra Lamba (Sonali Kulkarni), a close friend of Lalita who has accepted his proposal. They get married and are leaving for the USA for their wedding reception. With all persons left, Lalita and Jaya are disappointed as neither Johny nor Balraj keep in touch with them. On the contrary, Johny is in touch of their younger sister, Lakhi without their knowledge.
Kohli who has gone back to USA along with Chandra for their wedding reception, sends flight tickets to Bakshi family. In the USA, Balraj’s parents have lined up his meeting with his prospective brides. While Bakshis are taking the connecting flight from London to the USA, they meet William who is also taking the same flight to the USA. He exchanges his first-class ticket with Manorama Bakshi’s economy class ticket so that he can sit with Lalita and clear her misunderstanding about him.
Co-incidentally, Kohli’s wedding ceremony is being held in one of Wiiliam’s hotels. Lalita meets William’s sister who reveals that her brother has been talking nice thing about her. With misunderstanding about William cleared, Lalita and Wiiliam are now on good terms and started liking each other. However, at the wedding venue, William’s mother introduces a girl of her choice to William to eventually marry her. William says to his mother that he is in love with Lalita. William’s mother gets annoyed and leaves the venue. She has also tried to create misunderstanding between Balraj and Jaya.
Next day, William goes to meet Lalita only to find that Bakshis have already left for London. When William reaches London and meets Lalita, he comes to know that Lakhi, in the pretext of shopping, has actually gone with Johny. Both William and Lalita go in search of them and find them in a theatre, A fight ensues between Johny and William during which Lakhi is pulled away from Johny. Bakshi family is relieved that Lakhi is back. They also get a good news that Balraj has proposed to Jaya, and she has accepted. Bakshis are back in Amritsar for a twin wedding. Lalita’s marriage with William and Jaya’s marriage with Balraj takes place and they are taken in procession on the two decorated elephants in the midst of a large gathering of guests in keeping with a fat Punjabi wedding.
The film had 7 songs written by Javed Akhtar (4), Dev Kohli (1), Chaman Lal Chaman (1) and Anu Malik (1) which were set to music by Anu Malik. Two songs had English lyrics. I am presenting the first song from the film, ‘balle balle je soniyaa de rang dekh lo’ to appear on the Blog. The song is rendered by Sonu Nigam, Gayatri Iyer and chorus on the lyrics of Chaman Lal Chaman. This is a Punjabi folk wedding song on Bhangra beats. The first part of the song is a teasing one. The second part of the song is the expression of love. I give below a rough English translation of the teasing part of the song:
The boys say: Look at the colours of these beauties who are as free as kites without strings. They move too fast to grab them. Beware that their beauty can sting like bees.
The girls say: O good looking boys, you want to dance. Let us see how good you can dance. You only know how to talk and tease.
The boys reply: You are like sharp knives. You are like electric wires without insulation. If you come close to us, we will get the ‘shock of love’.
The song, choregraphed by Saroj Khan, is fast-paced and is full of energy. The main dancer (in black sherwani) is Naveen Andrews in the role of Balraj in the film. He dances with full energy and pace. In an interview, Saroj Khan stated that she had to teach Naveen Andrews the Bhangra dance steps from scratch and he has come out with a flying colour in this song. According to director, Gurinder Chadha, it took six days to complete the picturisation of the wedding song. The crew members – both Indian and foreigners – were so mesmerised by the rhythm of the song that they impromptu performed on the wedding song after the shooting of the song was completed.
Video Clip:
Audio Clip:
Song-Balle balle je soniya de rang dekh le (Bride and Prejudice)(Eng)(2004) Singers-Sonu Nigam, Gayatri Iyer, Lyrics-Chamanlal Chaman, MD-Anu Malik
Sonu Nigam and a male voice,
Gayatri Iyer and a female voice,
Male Chorus,
Female Chorus
Lyrics (based on audio clip):
hoye hoye
hoye hoye
hoye hoye
hoye hoye
hoye hoye
hoye hoye
o balle balle
o balle balle je soniyaa de rang dekh lo
binaa dor di udh di patang dekh lo
ho balle balle je soniyaa de rang dekh lo
binaa dor di udh di patang dekh lo
aaj munde huye enhan de malang dekh lo
binaa dor di udh di patang dekh lo
ay kudiyaan kudiyaan
ay tikhiyaan chhuriyaan
ay kudiyaan kudiyaan tikhiyaan chhuriyaan
kudiyaan jawan hath na aawan
ho o o
ena pundiyaan de maare huye tang dekh lo
o balle balle je soniya de rang dekh lo
bina dor di udh di patang dekh lo o o
sat sri akal soniyo
sunaao sanoon haal soniyo
sat sri akal soniyo
sunaao sanoon haal soniyo
oh zaraa nach ke dikhaoo
sadde naal soniyo
na soch sawaal soniyon
ehdi kyun chaal soniyo
na soch sawaal soniyo
ehdi kyun chaal soniyo
eh naaraa naaraa naaraa
eh tikhiyaan tejh kataaraa
eh naaraa naaraa naaraa
eh tikhiyaan tejh kataaraa
bijli di nangiyaan taaraa
oh taaraa taaraa taaraa
je kol enaa de aaoge ta
pyaar de chakke khaaoge
je kol enaa de aaoge ta
pyaar de chakke khaaoge
ho o o o o o
ho o o o o
ho o o o o
ho o o o o
baage vich aayaa karo
baage vich aayaa karo
jab chand chup jaawe
tusi mukhdaa dikhaayaa karo
jab chand chup jaawe
tusi mukhdaa dikhaayaa karo
tu aagayaa to bahaar aayi
haseen ho gayi nazaare saare
tu aagayaa to bahaar aayi
haseen ho gayi nazaare saare
maalaa vich phul tangeyaa aa
maalaa vich phul tangeyaa
umraan lang chali aan
par joban nahin langeya
umraan lang chali aan
par joban nahin langeya
hooooooooooooo
ho o o
hooooooooooooo
ho o o
ho o o o o
ho o o o o
aa aa aaa
aa aa aaa
aa aa aaa
aa aa aaa
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
hmm hmm hmm hmm
aa aa aa aa aaa
aa aa aa aa aaa
hmm hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
hmm hmm hmm
Jeene ke ishaare mil gaye
Posted on: February 5, 2024
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5680 | Post No. : | 18193 | Movie Count : |
4886 |
‘Phir Milenge’ (2004) was produced by Shailendra Singh under the banner of Percept Picture Company and was directed by Revathy. The cast included Salman Khan, Shilpa Shetty, Abhishek Bachchan, Nasser, Revathy, Mita Vashisht, Somayajulu, Raja Krishnamurthy, Kamalinee Mukherjee, etc. The film was released on August 13, 2004. Revathy has acted opposite Salman Khan in her first Hindi film, ‘Love’ (1991). After about 12 years, she is working with Salman Khan but this time also as a director. In one of her interviews which appeared on Rediff.com, Revathy revealed that when she informed Salman Khan about this film which she will be directing, he volunteered to be part of the film. And he did the role for free.
The film’s story is about the romantic relationship between girl working in an advertising agency and a boy which had developed during their college days. The boy turns out to be HIV positive. The girl also contracts HIV because of which she loses her job. She also faces social ostracisation. When she is going through her most troubled time in her life, she meets a young lawyer who gives her a ray of hope. The lawyer fights her case of wrongful dismissal by an advertising company in the court. The film also talks about stigma, discrimination and ignorance about HIV/AIDS. The story in detail is as under:
Tamanna (Shilpa Shetty), who is employed in an advertising company as an executive, has immensely contributed to the growth of the company. She has won many awards for her advertising works. She stays with her younger sister, Tanya (Kamalinee Mukherjee) who works as a Radio Jockey in a radio station. With no elder person in the family, both sisters support each other in times of need.
Rohit (Salman Khan), Tamanna’s sweetheart of their college days who works abroad, visits India after a long time for a college reunion. Both of them meet and recall their college days. Their love for each other is reignited. Rohit shares some intimate time with Tamanna before he leaves for abroad. Tamanna also gets busy with her advertising job.
One day, Tanya is met with an accident and is admitted to a hospital. She needs blood transfusion for which Tamanna goes to the hospital for blood donation. Dr. (Revathy) finds from her blood sample that Tamanna is HIV positive. She is shocked. She remembers that she had one intimate relations with Rohit. But she is not able to contact him as she has lost his contact number.
Both Tamanna and her sister, Tanya are facing an upheaval task as to how to tackle this ordeal. The news of Tamanna being HIV positive becomes known to her boss who always appreciated her good performances for the company. But he takes a dispassionate decision to terminate her services on the guise of her incompetency in work though Tamanna thinks that she has been dismissed from the job ostensibly for her being HIV positive. Tamanna decides to fight her case in the court on the ground of discrimination.
On the recommendation of her friend, Tamanna meets a young lawyer, Tarun (Abhishek Bachchan) who initially refuses to take her case under the pretext that he is a corporate lawyer, and he has no experience in handling HIV cases. However, when he observes her at the session court that no lawyer is willing to take up her case, Tarun agrees to be her lawyer and he would take guidance from his mentor (Nasser) under whom he has completed his apprenticeship. Once he accepts to represent Tamanna and get to know the details of the disease, Tarun becomes very serious in pursuing this case.
On the other side of the case, the advertising company hires Kalyani (Mita Vashisht) as lawyer to represent the company. However, Tarun loses the case in the session court on the ground that the management has got the power to terminate the services with compensation. Tarun tells Tamanna that they can appeal against the judgement of session court in the High Court as the session court has never said in the judgement that she was incompetent, and her boss has said that he knew about her being HIV positive before she was sacked.
However, Tamanna does not want to pursue the case further. The reason is that Rohit after returning to USA gets ill and he comes to know at that time that he is HIV positive. Now, he has come back to India and counting his last days in the hospital. Tamanna has met him and seen him in serious conditon. She is depressed that one day, she would be in the same situation.
Tarun meets his mentor who directs him to fight the case in the High Court Since the Indian laws on such cases are not clear, it would give him an opportunity to present the case in such a manner that High court judges are impressed with the arguments, and they give a favourable judgement which would become a reference point for the future such cases. Tarun makes a forceful and emotional presentation about the plight of HIV/AIDS affected persons. At the same time, Tamanna is in the hospital by the side of Rohim who passes away. The film ends with a caption ‘after two years’ showing Tamanna celebrating the birthday of Tanya when Tarun walks in and shows a copy of a business magazine on which the picture of Tamanna appears on its cover page.
The film was critically acclaimed but failed miserably at the box office. This was a film which did not fit into the mainstream Hindi films. Probably, Salman Khan fans did not like to see him ill and die at the end. Hats off to Revathy for handlining such a rarely discussed subject in Hindi films with sensitivity and simplicity without giving a feel of a documentary film. All the three main actors of the film, Shilpa, Salman and Abhishek had their unusual types of roles which they have admirably performed.
The film is a piece of a well-researched story in regard to the legal issues and HIV/AIDs as a disease. I have read that the film is inspired from Hollywood film, ‘Philadelphia’ (1993). I have not seen this Hollywood film. But I can say that the medico-legal issues that are covered in USA may not be applicable in India. The Hindi film may have been inspired from the Hollywood film, but the writer had to do good research covering the medico-legal issues in the Indian context which constitute a considerable part of the film. Both the producer and director of the film deserve applause for making a film on a taboo disease. I think, after ‘Nidaan’ (2000), the film under discussion is the second Hindi film on HIV/AIDs.
‘Phir Milenge’ (2004) had 8 songs including a double version song which were written by Prasoon Joshi (5) and Sameer (3) and set to music by Shankar-Ehsaan-Loy (4), Bhavatha Raja (2) and Nikhil-Vinay (2). I am presenting the first song from the film, ‘jeene ke ishaare mil gaye’ to appear on the Blog. The song is written by Prasoon Joshi and is set to music by Shankar-Ehsaan-Loy who has also rendered the song.
The song is partly lip synced by Salman Khan in the role of a singer and muscian and partly in the background with Shilpa Shetty giving him the company. The occasion is their college reunion when they meet after a long time. The video clip has only two stanzas while audio clip contains full song.
Video Clip:
Audio Clip:
Song-Jeene ke ishaare mil gaye (Phir Milenge)(2004) Singer-Shankar Mahadevan, Lyrics-Prasoon Joshi, MD-Shankar Ehsan Loy
Chorus
Lyrics
kuchh khushbooyen
yaadon ke jungal se beh chalin
kuchh khidkiyaan
lamhon ke dastak se khul gayi
kuchh geet puraane
rakhe thhe sirhaane
kuchh sur kahin khoye thhe
bandish mil gayi
jeene ke ishaare mil gaye
bichade thhe kinaare mil gaye
jeene ke ishaare mil gaye
bichade thhe kinaare mil gaye
jeene ke ishaare mil gaye
bichade thhe kinaare mil gaye
meri zindagi mein teri baarish kyaa huyi
mere raaste dariyaa bane behne lage
meri karwaton ko
toone aa ke kyaa chhuaa
kayi khwaab neendon ki gali rehne lage
jeene ke ishaare mil gaye
bichhde thhe kinaare mil gaye
jeene ke ishaare mil gaye
bichhde thhe kinaare mil gaye
meri lau hawaaon se jhagad ker jee uthhi
mere har andhere ko ujaale pi gaye
toone hanske mujhse muskuraane ko kahaa
mere mann ke mausam gulmohar se ho gaye
jeene ke ishaare mil gaye
bichhde thhe kinaare mil gaye
jeene ke ishaare mil gaye
bichhde thhe kinaare mil gaye
kuchh khushbuyen
saanson se saanson mein ghul gayin
kuchh khidkyaan
aankhon hi aankhon mein khul gayin
kuchh pyaas adhoori
kucha shyam sindoori
kuchh reshmi gunaahon mein raaten dhal gayin
jeene ke ishaare mil gaye
bichhde thhe kinaare mil gaye
o o o o
jeene ke ishaare mil gaye
bichhde thhe kinaare mil gaye
bichhde thhe kinaare mil gaye
jeene ke ishaare mil gaye
bichhde thhe kinaare mil gaye
jeene ke ishaare mil gaye
bichhde thhe kinaare mil gaye
jeene ke ishaare mil gaye
bichhde thhe kinaare mil gaye
jeene ke ishaare mil gaye
bichhde thhe kinaare mil gaye
Piyaa toraa kaisa abhimaan
Posted on: September 24, 2023
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 : |
5546 | Post No. : | 18008 |
‘Raincoat’ (2004) was produced by Shri Venkatesh Films and was directed by Rituparno Ghosh. Ajay Devgan and Aishwarya Rai Bachchan were in the lead roles supported by Anu Kapoor, Mauli Ganguly, Pradip Adhikari, Kailash Koppikar, Surekha Sikri, Sameer Dharmadhikari, Kameshwar Mishra etc. The film was adapted from the story, ‘Gift of Magi’ (1906) by O Henry which has been acknowledged in the film’s credit titles. The shooting of this film was completed in 16 days in Kolkata.
The film is a poignant love story of two childhood friends, Ajay and Aishwarya Rai who get separated by the destiny. Now both married with different spouses facing financial difficulties. They meet in Kolkata and their story starts. The gist of the story of the film has already been covered in the article by K Satish Shenoy. When I had watched the film for the first time, I had no idea as to how the film would end. But it turned out to be an unexpected one. Ajay Devgan pretends to be a successful TV Serial producer to Aishwarya Rai, while she in turn, pretends to be the wife of a wealthy husband with servants, drivers, etc. In reality, both have unhappy marriage and are in financial difficulties. Their reason for pretension is not because they want to show off to each other. Both have feelings for each other this pretension is out of concern to avoid the stress for each other. Hence, it is challenging for both the lead actors and the director to maintain a delicate balance between the light humour and the poignancy. This is one of the best films I have watched in the recent period. Both Aishwarya Rai and Ajay Devgan have given excellent performances which are contrary to their images in the mainstream Hindi films.
The film had 8 songs including two songs with additional versions. All the songs were written by Rituparno Ghosh. One song has already appeared on the Blog. I am presenting the second song from the film ‘piya tora kaisa abhimaan’ to appear on the Blog. The song has two versions – one rendered by Shubha Mudgal and the second version is rendered by Hariharan. Both the songs written by Rituparno Ghosh have the shades of Brajabuli dialect. Shubha Mudgal version appears in two parts against the background of the Ajay – Aishwarya’s flashbacks as well as their meetings in Kolkata. Hariharan’s version appears on the screen partially.
In Shubha Mudgal version, Gulzar recites his poem in between two stanzas. Film’s music director, Debjyoti Mishra, in his interview which appeared in The Times of India, August 20, 2020, has revealed that Rituparno Ghosh gave Gulzar a Bangla poem written by Shakti Chattopadhyay and requested him to write a poem in Hindi incorporating the same feelings and emotions as is in the Bangla poem. Instead of translating the Bangla poem, Gulzar wrote a fresh Hindi poem, keeping the feelings and emotions in the Bangla poem. He recited the poem interspersed with the song with his specialty in using metaphors and imagery in this poem.
In this song, Rituparno Ghosh has equated the love between Aishwarya Rai and Ajay Devgan with that of Radha-Krishna whose love for each other is eternal because their love did not result in their union. So, when Krishna married Rukmini, Radha’s love for Krishna remained the same. There are beautiful verses in the both the versions of the songs written by Rituparno Ghosh which I am discussing below:
saghan saawan laayi kadam bahaar
Mathura se doli laaye chaaron kahaar
nahin aaye kesariya balma hamaar
angana bada sunsaan
The heavy rains of saawan has made kadamba trees blossom.
Four kahaars (palanquin carriers) have brought palanquin from Mathura.
Alas, my kesariya balam (Krishna) did not come.
The ceremonial place is deserted.
Note: ‘Kahaar’ is a caste in North India who are water carriers, boatman, even fishermen. They are generally used for carrying palanquin.
apne nayan se neer bahaaye
apni Jamuna khud aap hi banaawe
lakh baar usmein hi nahaaye
poora na huyi asnaan
sookhe kesh rukhe besh manwa bejaan
I cried and shed tears from my own eyes.
I cried so much as if I bathed in the water of Jamuna River.
I bathed umpteen times, but I have not felt like completing my bath.
My hair and face have dried up. My heart has become lifeless.
bol sakhi kaahe kari saajo singaar
na pahinab aabhushana kaanchan haar
khali chandan laga ang maa hamaar
chandan garal samaan
Ae sakhi, why should I dress up to look nice?
I will not wear jewellery nor the gold pedant.
I will apply sandalwood paste all over my body.
Because sandalwood is like poison.
garal=poison
Note: Applying sandalwood paste is like becoming a saintly woman, who has renounced all worldly things. There is a saying ‘chandan garal samaan’ which means sandalwood is like a poison. According to a mythological belief, sandalwood trees are the abode of venomous snakes who encircle the sandalwood trees for shades but cannot poison the sandalwood trees. In this context, Rahim had said in one of his Dohas, ‘chandan vish vyaapat naahi, lipat rahat bhujang’.
And this article will not be complete if I do not discuss the unusual metaphors Gulzar Saab have used in his poems to bring out the pains of separation and longing.
aur seelan iss tarah bahati hai jaise
khushk rukhsaaron pe gile aansoo bahaten hain
The water from dampness (on the wall) is flowing like wet tears flowing on the dried cheeks. [Only Gulzar Saab can imagine ‘gile aansoo’ (wet tears). Probably, Gulzaar Saab is differentiating with those tears which do not come out in the open and flow].
ye baarish gungunati thhee isi chat ke munderon par
ye ghar ki khidkiyon ke kaanch par ungli se likh jaati thhee sandese
bilakhti rahti hai baithi huyi ab band roshandaanon ke peechhe
Rain used to give a humming sound on the terrace.
They would write messages over the glass frames of the windows.
Now, they sit behind the closed roshandaans, weeping.
Roshandaan: There seems to be no equivalent meaning in English for Roshandaan. The closest meaning would be a Ventilator with a glass frame which the old houses would generally have on the roof, high on the main walls of the house or above the windows for sunlight and breeze. During rains, roshandaan is kept closed.
dupharen aisi lagti hai bina moharon ke khaali khaane rakhen hain
na koi khelne waala hai baazi aur na koi chal chalta hai
The afternoons feel like an empty chess board with no chess pieces.
No one plays the game and no one makes a move.
Female version
Video Clip:
Male Version:
Video Clip (Partial):
Audio Clip:
Song-Piya toraa kaisa abhimaan (Raincoat)(2004) Singer-Shubha Mudgal/ Hariharan, Lyrics-Rituparno Ghosh, MD-Debjyoti Mishra
Lyrics
I. Female Version (Shubha Mudgal)
Lyrics (Based on Video Clip):Shubha Mudgal, Gulzar (poetry recitation)
piya tora kaisa abhimaan
piya tora…aa aa
kaisa
abhimaan
kisi mausam ka jhonka thhaa
(aa aa aa aa aa aaa)
jo iss deewaar par latki huyi tasweer tirchhi kar gaya hai
(aa aa aa aa aa aa aaa)
gaye saawan mein ye deewaaren youn seeli nahi thhee
(aa aa aa aa aa aa aaa)
na jaane iss dafa kyun inmein seelan aa gayi hai
(aa aa aa aa aa aa aaa)
daraaren pad gayin hain
(aa aa aa aa aa aa aaa)
aur seelan iss tarah bahati hai jaise
(aa aa aa aa aa aa aaa)
khushk rukhsaaron pe geele aansoo behte hain
(aa aa aa aa aa aa aaa)
saghan saawan laayi
kadam bahaar
Mathura se doli laaye
chaaron kahaar
nahin aaye…………ae
nahin aaye….ae ae
kesariya balmaa aa hamaar
angna bada sunsaan
ye baarish gungunaati thhee
isi chhat ke munderon par
ye baarish gungunaati thhee
isi chhat ke munderon par
ye ghar ki khidkiyon ke kaanch par
ungli se likh jaati thi sandese
bilakhti rahti hai baithhi huyi
ab band roshandaanon ke peechhe
apne nayan se neer bahaaye
apni Jamuna khud aap hi banaawe
apne nayan se neer bahaaye
apni Jamuna khud aap hi banaawe
aa aaaa aaaa aaaa
dupaharen aisi lagti hain
bina moharon ke khaali khaane rakhe hai
na koi khelane waala hai baazi
aur na koi chaal chalta hai
laakh baar usmein hi nahaaye……….
poora na huyi asnaa…….n
phir poora na huyi asnaa…..n
sookhe kes
rukhe bhes
manwa..aa bejaan
na din hota hai ab na raat hoti hai
sabhi kuchh ruk gaya hai
kisi mausam ka jhoka thhaa
jo iss deewaar par latki huyi tasweer tirchhi kar gaya
piya tora kaisa abhimaan
tora..aa aa aa
piya tora….
tora
tora…..aa
kaisa abhimaan
piya……aa
piya…….aa
piya……..aa
——————————–
II. Male Version (Hariharan)
——————————–
Lyrics:(based on Audio Clip)
piya tora kaisa abhimaan
piya tora…..aa aa aa
kaisa abhimaan
saghan saawan layi
kadam bahaar
Mathura se doli laaye
chaaron kahaar
saghan saawan laayi
kadam bahaar
Mathura se doli laaye
chaaron kahaar
nahin aaye……..ae ae ae
nahin aaye….ae
kesariya baalam hamaar
angna bada sunsaa…n
piya tora……..aaaaa
piya tora kaisa abhimaan
apne nayan se neer bahaaye
apni Jamuna khud aap hi banaawe
apne nayan se neer bahaaye
apni Jamuna khud aap hi banaawe
laakh baar usmein hi nahaaye ae
poora na hoyi asnaa…..n
poora na hoyi asnaa…..n
sookhe kes
rookhe bhes
manwa aa bejaan
piya tora aa…aa
piya tora
piya tora kaisa abhimaan
piya tora..aa kaisa abhimaan
bol sakhi kaahe kari saajo singaar
na pahin ab aabhusana kaanchan haar
bol sakhi kaahe kari saajo singaar
na pahin ab aabhusana kaanchan haar
khaali chandan laga ang maa hamaar
chandan garal samaan
piya tora…aa aa
piya tora kaisa abhimaan
piya tora…..aa aa kaisa abhimaan
abhimaan
kaisa abhimaan
Kabhi neem neem kabhi shahad shahad
Posted on: May 20, 2023
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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5419 | Post No. : | 17773 | Movie Count : |
4759 |
‘Yuva’ (2004) was produced by Mani Ratnam and G Srinivasan under the banner of Madras Talkies and was directed by Mani Ratnam. The film was simultaneously shot in Tamil as ‘Aaytha Ezhuthu’ (2004) with a different cast. The film was loosely based on the life story of George Reddy, a student leader who was a gold medalist in his post-graduation in Nuclear Physics from Osmania University, Hyderabad. He died young at the age of 25 by a stab wound in his college campus.
The screenplay was written by Mani Ratnam in Tamil which was translated in English and handed over to Anurag Kashyap to write dialogues in Hindi. According to Anurag Kashyap, Mani Ratnam gave him a free hand to write dialogues in Hindi keeping in mind that the language used in the dialogues was spoken Hindi of local dialect from UP/Bihar and the story was based in Kolkata.
I watched the film on an OTT platform about a month back. The film is about three main characters from different classes of society. The first character is Michael Mukherjee (Ajay Devgan), a college student doing his PhD. He has got a scholarship for going abroad and his future seems bright. However, he is not interested in going abroad as he is actively involved in local politics. He projects himself as a socially conscious youth leader who wants to bring about changes in the lives of the people for their betterment. He is keeping himself ready to stand in the election against Prosenjit Chatterjee (Om Puri), a corrupt politician. Michael is in love with Radhika (Esha Deol), a teacher.
The second character is Lallan Singh (Abhishek Bachchan), a migrant from Bihar who has come up the hard way in Kolkata. He is a hot-headed goon, an extortionist and a murderer. By this very nature, Lallan Singh is in demand in the games of politics. He works for Prosenjit Chatterjee as his henchman. He terrorises the college students who are the supporters of Michael. He is married to a Bengali girl, Sashi Biswas (Rani Mukerji) with whom he has ‘blow hot blow cold’ relationship. She tries to reform Lallan Singh but in vain.
The third character is Arjun Balachandran (Vivek Oberoi), son of a bureaucrat and a student who is doing his final mechanical engineering. He has planned everything in his life to be materialistic and opportunistic. He wishes to go for higher studies abroad and settle there to earn lots of money. All he wants is to have lots of fun filled life. He has bumped into a girl Meera (Kareena Kapoor) with whom he is in love.
In the film, the story of all the three characters runs parallel without any connection with each other. However, a murder attempt on Michael by Lallan Singh on the Howrah Bridge under the instructions from the politician, Prosenjit Chatterjee brings all the three characters together. From this incident onwards, the lives of all the three characters change. Michael now wants to fight the election against Prosenjit Chatterjee. Arjun abandons his plan to go to US to settle down there. Instead, he also joins with Michael to fight the election. Now it is the fights between Michael and Arjun versus Prosenjit Chatterjee and Lallan Singh. Finally, Michael Mukherjee and Arjun win the election. Both Michael and Arjun get married to their girlfriends. Lallan Singh is prosecuted for spate of murders and gets imprisonment for life while his wife, Sashi goes back to her parents’ house.
‘Yuva’ (2004) has six songs, all written by Mehboob Kotwal and set to music by A R Rahman. I am presenting the first song, ‘kabhi neem neem kabhi sahad sahad’ from the film to appear on the Blog. The song is rendered by Madhushree (Sujata Bhattacharya) and A R Rahman. The song is picturised on Rani Mukerji and Abhishek Bachchan.
The song starts and ends with humming to give a folk touch to it. Through song, Rani Mukerji describes the nature of her husband as sometimes rugged and sometimes very soft in nature. She compares his nature as bitter as neem leaves and as sweet as honey.
This is my most favourite song from the film for its melody, lyrics, raw romance and above all the A R Rahman’s interlude rendering on which both Abhishek Bachchan’s dance and Rani Mukerji’s expressions are mind blowing. I hear only two musical instruments – Ghatam and Ghunghroo (hand bells) in the background when the song starts with humming and up to the mukhda part. The soft play of Ghatam and Ghunghroo creates the necessary atmosphere when Abhishek Bachchan is walking in the rain-showers, carrying Rani Mukerji. In the later part of the songs, percussions have been mainly used. Another feature of this song is that Madhushree pronounces ‘sandhya’ as ‘shondha’ and ‘bairagi’ as ‘boiragi’ in keeping with the role of Rani Mukerji as a Bengali wife.
This song is unforgettable even after 19 years have passed since the release of the film in May 2004.
Video Clip:
Audio Clip:
Song-Kabhi neem neem kabhi shahad shahad (Yuva)(2004) Singers-Madhushree, A R Rahman, Lyrics-Mehboob Kotwal, MD-A R Rahman
Lyrics (Based on Audio Clip)
humm humm humma
humma humm humma
humma humm humma
humma humm
humm humm humma
humma humm humma
humma humm humma
humma humm
huun huun hunn huun huun
humm humm humma
humma humm
neem neem kabhi shahad shahad
kabhi narm narm kabhi sakht sakht
kabhi neem neem kabhi shahad shahad
kabhi narm narm kabhi sakht sakht
mora piya
mora piya
mora piya..aa hoo
nazaron ke teer mein basa hai pyaar
jab bhi chala hai wo dil ke paar
nazaron ke teer mein basa hai pyaar
jab bhi chala hai wo dil ke paar
lajja se mare re ye jiya
piya..aa
lajja se mare re ye jiya
piya re
lajja se mare re ye jiya
shondha ki ye laali mukh chamkaaye
sondhi sondhi khushboo mann behkaaye
zulfon ki raina phir kyun na chhaaye
ho chaand sitaare
dekhenge saare
chaand sitaare
dekhenge saare
lajja se mare re ye jiya
piya aa
lajja se mare re ye jiya
kabhi neem neem kabhi shahad shahad
kabhi narm narm kabhi sakht sakht
kabhi neem neem kabhi shahad shahad
kabhi narm narm kabhi sakht sakht
mora piya
mora piya
mora piya…aa oo
ho o o o o o o o……o
aa hi aa hi aa he o o o o o
aa o o o aa o o o aa o o o
aa ho o o o o o o o o o
aa he hi he hi he he ha ha ha ha
ha hi ha hi ha hi o
ha ha ha ha ha
aa hi aa hi aa hi aa hi aa hi
aa hi aa hi aa hi aa hi aa hi
ho hi aa ho hi aa ho hi aaa
o hi o o o ho hi aa
ho hi ho hi ho hi ho o aa
ho hi ho hi ho hi ho o aa
ho hi ho hi ho hi aa
aaaaaaaaaaaaaaa
boiraagi mann tera hai saheb ji
mere seene mein hai qaid wo ab ji
preet ki rakho laaj ae mere rab ji
o ruswa huyi to
duniya hansi to
ruswa huyi to
duniya hansi to
lajja se mare re ye jiya
piya..aa
lajja se mare re ye jiya
kabhi neem neem kabhi shahad shahad
kabhi narm narm kabhi sakht sakht
mora piya
mora piya
mora piya
nazaron ke teer mein basa hai pyaar
jab bhi chala hai wo dil ke paar
nazaron ke teer mein basa hai pyaar
jab bhi chala hai wo dil ke paar
lajja se mare re ye jiya
piya..aa
lajja se mare re ye jiya
piya re
lajja se mare re ye jiya
humm humm humma
humma humm humma
humma humm humma
humma humm
huun huun hunn huun huun
humm humm humma
humma humm
Jhin min jhini
Posted on: March 16, 2023
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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5354 | Post No. : | 17558 | Movie Count : |
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Vishal Bhardwaj’s Trilogy of Shakespeare plays – 1: ‘Maqbool’ (2004).
Williams Shakespeare’s plays have been very popular with the Indian theatres since the theatre movement started sometime in the later 18th century. It was in the late 19th century that some of the famous Shakespeare’s plays were adapted in the Indian theatres in Hindi, Urdu and other prominent regional languages like Bengali, Marathi, Gujarati, Tamil etc. The plays were molded into Indian socio-economic and political background. With the advent of silent films in India in 1913 and later the sound films from 1931, the film producers also adapted some of the popular Shakespeare’s plays for their films.
The earliest Hindi sound film based on Shakespeare play was ‘Hathili Dulhan’ (1932) which was adapted from a comedy play ‘The Taming of the Shrew’. Some other Hindi sound films adapted from Shakespeare plays (mentioned in the brackets) included ‘Kaafir-e-Ishq’, 1936 (Anthony and Cleopatra), ‘Jwala’. 1938 (Macbeth), ‘Pak Daman’, 1940 (Measure for Measure), ‘Aan’, 1952 (Taming of the Shrew), ‘Hamlet’. 1954 (Hamlet), ‘Do Dooni Chaar’, 1968 (The Comedy of Errors), ‘Angoor’, 1982 (The Comedy of Errors), ‘Qayamat Se Qayamat Tak, 1988 (Romeo & Juliet) and many more. About 40 Hindi films released between 1932 and 2014, based on Shakespeare plays have been listed here. This list is not exhaustive.
Shakespeare’s plays were also adapted into some Hindi films made in the 2000s. Of these, Vishal Bhardwaj’s Shakespeare trilogy, ‘Maqbool’ 2004 (Macbeth), ‘Omkara’ 2006 (Othello) and ‘Haider’ 2014 (Hamlet) are regarded as the best adaptation. These three films have received high critical acclaim. There are many published research papers on his trilogy on national and international forums, besides a PhD thesis on his trilogy by Dr Fatimah Javed. The uniqueness in Vishal Bhardwaj’s adaptations is that he has brought out the relevance of Shakespeare’s plays in the contemporary Indian socio-political background.
I intend to write one article each for these three films listed above. In this article, I will take up ‘Maqbool’ (2004), the first film in Vishal Bhardwaj’s trilogy of Shakespeare’s tragedy plays. The film was produced jointly by Vishal Bhardwaj and Bobby Bedi and was directed by Vishal Bhardwaj. The film has a strong cast which includes Irrfan Khan, Tabu, Pankaj Kapur, Naseeruddin Shah, Om Puri, Piyush Mishra, Deepak Dobriyal, Ankur Vikal, Ajay Gehi, Vivek Mushran, Rakesh Pandit, Shammi Narang, Masumeh Makhija, Mohini Mathur, Shweta Menon etc. Vishal Bhardwaj shifts the centre of struggle for power from the court of King Duncan of Scotland in ‘Macbeth’ to Mumbai’s Mafia Don, Jahangir (Abba) Khan’s house.
Probably, it may be for first time in the history of Hindi films that the screenplay of a film was published with English translation in a book form – ‘Maqbool: The Original Screenplay (with English Translation) by Vishal Bhardwaj and Abbas Tyrewala (2014)’. In this book, the rationale for some changes in the main characters of ‘Macbeth’ in ‘Maqbool’ (2004) have been spelt out. I thought, it was better to present these changes in a tabular form for easy understanding:
| In ‘Macbeth’ | In ‘Maqbool’ | Remarks |
|---|---|---|
| King Duncan of Scotland | Mafia Don Abbaji (Pankaj Kapur) of Mumbai underworld. | – |
| Macbeth, the General, who is the distant cousin of King Duncan | Maqbool (Irrfan Khan), the foster son and the right-hand man of Abbaji. | – |
| Lady Macbeth (wife of Macbeth) | Nimmi (Tabu) the mistress of Abbaji who is in illicit relationship with Maqbool. | There is a marked departure from the original characters just to give one more reason for Nimmi to instigate Maqbool to kill Abbaji, so that she becomes the legitimate wife of Maqbool. For him also, this becomes an additional motive to kill Abbaji, apart from becoming a mafia don. |
| Three Witches | Purohit (Naseeruddin Shah) and ‘Pandit (Om Puri) are cops who predict the rise of Maqbool as a Don as per the horoscope drawn by Pandit. | It was felt that after about 500 years from the staging of ‘Macbeth’, the witches with their prophecies and supernatural powers may not be believable for the current generation. In mafia world, cops fit well in place of witches. Additionally, one of the cops was shown as an astrologer who also makes predictions. |
| Braquo, the close friend of Macbeth | Kaka (Piyush Mishra), a close friend of Maqbool. | – |
| Fleance, Banquo’s son who is projected by witches to be the future king of Scotland | Guddu (Ajay Gehi), the son of Kaka. | From the end scene of the film, it can be inferred from the action of Guddu and his wife Sameera who takes the custody of Nimmi’s son that he may become the future Mafia Don of Mumbai. |
The gist of the story of the film is as under:
After the killing of the Lalji, right-hand man of mafia don Abbaji (Pankaj Kapur), by a rival gang, Maqbool (Irrfan Khan), the foster son of Abbaji becomes the de facto his right-hand man. He is also made in-charge of the Abbaji’s connection with Bollywood films. Abbaji has absolute faith in Maqbool and this is demonstrated in the film on a number of occasions. Nimmi (Tabu), the mistress of Abbaji who is half his age is not happy with her status. She and Maqbool are passionate about each other and are in illicit relationship.
Purohit (Naseeruddin Shah) and Pandit (Om Puri) are the corrupt cops who are on the payroll of Abbaji. Pandit is also an astrologer who had predicted the death of Abbaji’s right-hand man. Now, he predicts that Maqbool would be the future mafia don of Mumbai. His oft repeated dialogue in the film is that there should be balance of power in the universe. Fire should be afraid of water.
Nimmi sees a possibility of both of being sidelined after the marriage of Sameera (Mausami Makhija), daughter of Abbaji with Guddu (Ajay Gehi), the son of Kaka (Piyush Mishra), the close associate of both Abbaji and Maqbool. She instigates Maqbool by saying that he would remain like a loyal dog in the don’s hierarchy, if he does not kill Abbaji and grab the power to be a mafia don. Maqbool is caught between his loyalty to Abbaji and his love for Nimmi. Finally, his love for Nimmi wins over the loyalty to Abbaji. Maqbool kills Abbaji in his bedroom in sleep.
Maqbool thinks that with Abbaji out of his way, the next man has to be his close friend, Kakaji who suspects Maqbool in killing Abbaji. To whom the power will pass – Guddu, the son-in-law or Maqbool, the foster son. So, Kakaji becomes his number one enemy in his succession. Maqbool gets him killed while his son, Guddu narrowly escapes death. With almost whole gang turning against him now, Maqbool has to handle his enemies, within and outside his gang single handedly. He has no help from Nimmi as she, beside her pregnancy, has lost her balance of mind.
After the killing of Abbaji, Maqbool suffers from guilt conscious which has affected him in taking a balanced view of his problem. He starts thinking that all are his enemies, and they need to be eliminated. His guilt consciousness makes him devote more time to saving the baby in Nimmi’s womb than his safety. He takes Nimmi to hospital for delivery. With the arrival of cops surrounding the hospital, Maqbool runs away. He comes back to hospital the next day to meet Nimmi and the newly born son when he sees Guddu in the hospital. Maqbool takes out his gun to shoot him. But before that he finds the newly born son has been handed over to Guddu and his wife Sameera by the hospital authority. He comes to know from a hospital staff that Nimmi has died, and Guddu and his wife has taken the custody of the newly born son. His grim face turns into a happy one as he sees that there is someone to look after the newly born son. Maqbool throws his gun and walks out of the hospital in a happy state of mind only to be shot dead by Boti (Ankur Vikal), a member of a rival gang who has recently joined Abbaji’s gang.
I watched this movie for the first time before writing this article and regretted not having watched this film on the big screen. It is a fantastic film, more of human relation story than the underworld. I do not think that any one among the actors can replace Pankaj Kapur in the role of Mumbai’s mafia don, Abbaji. Irrfan Khan in the role of Maqbool has portrayed his character in such a way that at the end of the film, despite his wrongdoings, the audience would feel sorry for him. Naseeruddin Shah and Om Puri in the comparatively smaller role of corrupt cops are very good in their satirical punches. All other actors, some with minor roles, performed very well. This film also proves that cinema is the director’s medium.
As per Box Office report, despite the high critical acclaim, the film was not commercially successful. Probably the use of techniques like imagery, expressions, and body language in the film was beyond the understanding of the general cine audience. There is nothing for the front benchers and the film lovers from the mofussil region of India, like titillating dances they would expect in a mafia den. Even six murders are shown in the film in a subtle way without much of fight scenes. I think, Vishal Bhardwaj knew beforehand that the film was meant for the niche audience. He did not charge any fee as a screenplay writer, director and the music director for the film (as per the preface of the book referred to above).
There are 5 songs in the film, all written by Gulzar and set to music by Vishal Bhardwaj. I have found only 3 songs which appeared in the film. However, ‘excluded’ songs are available on audio albums. I am presenting the first song from the film ‘jhin min jhin min jhini’ to appear on the Blog. The song is sung by Sadhana Sargam, Anuradha Sriram, Ustad Sultan Khan, Rakesh Pandit and chorus.
The background of the song is that Ajay Gehi (Guddu), son of Kaka (Piyush Mishra) who is a close associate of Abbaji (Pankaj Kapur) is to get married to Sameera (Mausami Makhija), daughter of Abbaji. The song is played on the eve of the engagement ceremony. The song is prominently picturised on Tabu and Mausami Makhija as a part of sangeet ceremony for females.
In the soundtrack of the film, the prelude of the song is a couplet (doha) of Amir Khusro recited by a dancer (Shwetha Menon) which is not included in the song on the audio album. The song is interspersed by Sufi Qawwali which is again picturised on Shwetha Menon as a part of her mujra dance for the males during which Pankaj Kapur, Irrfan Khan, Om Puri, Naseeruddin Shah, Piyush Mishra, Shammi Narang etc can also be seen.
While the song is being played, the camera captures some other details such as conversation between Irrfan Khan and Om Puri, the conversation between Tabu and Irrfan Khan and Tabu’s expression on the dance between Pankaj Kapur and Shwetha Menon whom Tabu thinks as the potential mistress of Abbaji.
Video Clip:
Audio Clip:
Song- Jhin min jhini (Maqbool)(2004) Singers-Sadhana Sargam, Anuradha Sriram, Ustad Sultan Khan, Rakesh Pandit, Lyrics-Gulzar, MD-Vishal Bhardwaj
Female Chorus,
Male Chorus,
Sadhana Sargam and Anuradha Sriram,
Ustad Sultan Khan and Rakesh Pandit
Lyrics:(The opening doha from Video Clip)
aa aa aa aa aaa
Khusro rain suhaag ki
jaagi pi ke sang
tan mero mann piu ko
dono bhaye ek rang
[Tabla Theka]
jhin min jhini
jhin min jhini
jhin min jhin min jhini
jhin min jhini
jhin min jhini
jhin min jhin min jhini
seedhi saadhi baaten
baaten bholi bhaali
billo meri aankhon ki kamini
jhin min jhini
jhin min jhini
jhin min jhin min jhini
jaaun
na jaaun
jaaun na jaaun piya ki gali
range paaon pakdi gayi jo chali..ee
chikne chikne aangan hain
sainyaan ke ghar ke
main chalna bhool gayi re
sainyaan se dar ke
pagli kar dini
jhin min jhini
jhin min jhini
jhin min jhin min jhini
seedhi saadhi baaten
baaten bholi bhaali
billo meri aankhon ki kamini
jaaun
na jaaun jaaun piya ki gali
range paaon pakdi gayi jo chali..ee..eeee
aaj rang hai
aye maa rang hai re…ae…ae
(ae ae ae ae ae ae)
aaj rang hai
aye maa rang hai re…ae…ae
mere mehboobi ke ghar
rang hai re …ee
desi bidesi mein dhoondhe phiri hoon ho to
jab dekhu more sang hai ri
aaj rang hai
aaj rang hai…ai…ai
aaj rang hai
(rang hai)
aye maa rangi hai
mere mehboob ke ghar rang hai ri
jhin min jhini
jhin min jhini
jhin min jhin min jhini
seedhi saadhi baaten
baaten bholi bhaali
billo meri aankhno ki kamini
henna mein chhupa ke
jiya rakh diya..aa
hatheli pe jal tu diya rakh diya
roshan roshan pairon se
khud hi sharmaaun
main iss pag uss pag doloon
jaaun na jaaun
pagli kar dini
jhin min jhini
jhin min jhini
jhin min jhin min jhini
seedhi saadhi baaten
baaten bholi bhaali
billo meri aankhon ki kamini
jaaun
na jaaun piya ki gali
range paaon pakadi gayi jo chali
chikne chikne aangan hai
saiyaan ke ghar ke
main chalna bhool gayi re
saiyaan se dar ke
pagli kar dini
o o o o o o…..ooo
aa aa aa aa aaa
aa aa aa aa aaa
more..ae ae piri paayo
(piri paayo)
more..ae ae piri paayo
nizamuddin auliya
qutubuddin auliya
karimuddin auliya
allahuddin auliya
naseeruddin auliya
aa aa aa aa aaa
Allah ka pyaara wo to
jag ujiyaara wo to
jag ujiyaara
aaj rang hai
aye maa rang hai ri..ee
mere mahboob ke ghar rang hai ri
ye rishta kya kehlaata hai
Posted on: February 23, 2023
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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5333 | Post No. : | 17490 | Movie Count : |
4707 |
Maqbool Fida Hussain, popularly known as M F Hussain (17/09/1915 – 09/06/2011) has been one of the internationally celebrated artists known for his narrative, satirical, somber and paintings. He has also done paintings in series forms – Ramayan, Mahabharat, Mahatma Gandhi, Urban and Rural India etc. Some of his paintings have sold in the auction at record amounts. Some of his paintings had become controversial and drawn protests from a section of the people.
Towards the last part of his life, M F Hussain became fascinated by Madhuri Dixit. It is said that he watched ‘Hum Aapke Hain Kaun’ (1994) 67 times just for Madhuri Dixit. Probably, she became the muse for his subsequent paintings. He did a series of paintings on Madhuri Dixit. His fascination of Madhuri Dixit led his entry into Bollywood by making ‘Gajgamini’ (2000) with Madhuri Dixit. He depicted her from a simple woman to Kalidas’s Shakuntala, Leonarda da Vinci’s Mona Lisa and a photo journalist’s model. The film failed miserably at the box office. The film critics termed the film as an abstract work which was difficult to understand. M F Hussain’s response was that he followed his heart when he made the film as a tribute to womanhood.
Despite the financial loss in ‘Gajgamini’ (2000), at the age of 88, M F Hussain made his second attempt in film making. This time, his muse was Tabu in ‘Meenaxi: Tale of 3 Cities’ (2004). The film depicted Tabu as a muse of a novelist who has been suffering from ‘writer’s block’ for the last 5 years. Tabu is also in search of perfect love. The film was released on April 2, 2004, but M F Hussain took the decision to withdraw the film from theatres on April 24, 2004 after some Muslim organization objected to the lyrics of the song ‘noor-un-ala-noor’ penned by M F Hussain as ‘blasphemous.’ The film suffered the same fate as ‘Gajgamini’ except that the film was critically acclaimed, both nationally and internationally.
Urmila Matondkar became, M F Hussain’s 3rd muse when he watched her film, ‘Rangeela’ (1995). He saw the funny side in her. Hence, he was planning to make a comedy film with her. However, his self-imposed exile in Qatar from 2006 onwards prevented him from making any new films.
‘Meenaxi: Tale of 3 Cities’ (2004) was a home production of M F Hussain who was also director with his painter-son, Owais Hussain helping in the direction. The cast included Tabu, Raghuveer Yadav, Kunal Kapoor, Nadira Babbar, Sharat Saxena, Bharat Kapoor, Remo D’Souza, Rachana Shah etc. The film had some of the top film professionals like cinematographer Santosh Sivan, Art Director Sharmishta Roy, internationally known choreographer, Astad Deboo and music director A R Rahman.
I could not find the film’s DVD on video sharing websites as well as on the OTT platforms. So, I am not giving the gist of the film’s story based on my viewing of the film. However, I reproduce below the synopsis of the film’s story taken from Imdb (parenthesis mine):
Nawab (Raghuveer Yadav), a popular Hyderabadi novelist, is suffering from a classic case of writer’s block. Five years have passed, and stories of substance seem to have dried up. Then, almost providentially, Nawab comes across a young woman named Meenaxi (Tabu). She is enigmatic and individualistic – and not quite willing to perform the part of a passive muse. But that doesn’t deter a rejuvenated Nawab from giving her different personae – she can be the mysterious perfume trader of Hyderabad, the exotic desert bloom of Jaisalmer, the orphaned Maria of Prague (hence the tale of 3 cities). Inexorably, she consolidates her command over the novelist. She dismisses his renewed attempts at writing as insubstantial and hackneyed, plunging him into a state of deeper despair. She is scathingly critical about his story and is amused by one of his characters, the lovelorn and awkward Kameshwar (Kunal Kapoor). Finally, as Nawab strives on a new page all over again, Meenaxi comments that perhaps the book is in vain. In any case, it is much too late. The writer must survive and live if he can, without her support, inspiration, and criticism.
M F Hussain’s paintings are modern art and subject to varied interpretations by those who understand paintings, just like, say Mirza Ghalib’s ghazals which can be interpreted differently by those who are Urdu laureates. I can guess that his films’ depiction of the story would also be abstract. So, it is not expected that the normal film audience would understand and enjoy his films. M F Hussain, the financiers and distributors of the films would know in advance that his films are not expected to be box office hits. Perhaps, it is more of a thrill for the financiers and distributors to be associated with M F Hussain as a part of the elite group than making money from his films.
‘Meenaxi’ (2004) has six songs written by Rahat Indori (4), Sukhwinder Singh (1) and M F Hussain (1). All the songs were set to music by A R Rahman. I have watched video clips of all the songs which are available on video sharing websites. All the songs are well composed and picturised.
I am presenting ‘ye rishta kya kehlaata hai’, the first song from the film to appear on the Blog. The song is written by Urdu Poet, Rahat Indori and is rendered by Reena Bhardwaj, a London-based British-Indian singer and songwriter. She was doing her post-graduation from the London School of Economics when she got a call from A R Rahman to record the song under discussion. This was her debut Hindi film song. She has also sung a few Tamil and Telugu film songs for A R Rahman.
All the songs which I have watched are like M F Hussain’s ‘paintings in celluloid’. Each frame of the song’s shooting looks like a painting. One can take a screenshot of any frame and will look like a painting. I was so much impressed with ‘painting look-like frames’ that I made an audio clip of the song under discussion by including some screenshots from the video clip of the song. Audio clip is uploaded with the article.
The song is a beautiful poetry which M F Hussain picturised as if he was painting in multiple frames with beautiful colour combinations.
Video Clip:
Audio Clip:
Song-Ye rishta kya kehlaata hai (Meenaxi:The of 3 cities)(2004) Singer-Reena Bhardwaj, Lyrics-Rahat Indori, MD-A R Rahman
Lyrics
koi sachche khwaab dikhaakar
aankhon mein sama jaata hai
ye rishta….aa
ye rishta kya kehlaata hai ae
ye rishta kya kehlaata hai..ae ae
ye rishta kya kehlaata hai..ae ae
ye rishta kya kehlaata hai..ae ae
jab sooraj thhakne lagta hai..ae
aur dhoop simatne lagti hai..ae
koi anjaanee see cheez meri
saanson se lipatne lagti hai..aae ae ae
koi anjanee see cheez meri
saanson se lipatne lagti hai..ai
main dil ke kareeb aa jaati hoon
dil mere kareeb aa jaata hai ae
ye rishta kya kehlaata hai..ae ae
ye rishta kya kehlata hai..ae ae
iss gumsum jheel ke paani mein aen
koi motiyaan kar deta hai
ek daayra ban’ne lagta hai ae
aur badhke bhanwar ban jaata hai
ye rishta kya kehlaata hai..ae
ye rishta kya kehlata hai..ae
ye rishta kya kehlata hai..ai
ye rishta kya kehlata hai..ae ae
tasweer banaati rehati ho..on
main tooti huyi aawazon par..r
ek chehra dhundati rehati hoon
deewaaron kabhi darwaazon par r r
ek chehra dhundati rehati hoon
deewaar kabhi darwaazon par
main apne paas nahin rehati
aur door se koi bulaata hai
ye rishta kya kehlaata hai..ae
ye rishta kya kehlata hai..ae
ye rishta kya kehlata hai..ae
ye rishta kya kehlata hai..ae
ha aa aa aa aa aa haaa
hmm hmm hmm hmm hmm hmmm
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 : |
5220 | Post No. : | 17212 |
Hullo Atuldom
This is a multi-birthday post.
First and foremost we shall be wishing our Sudhirji- The Dillwala Dilliwala; Atulji’s trusted lieutenant on his birthday. He has been a huge help to Atulji and that has ensured that the blog has had no dot days since 25th December 2019. Let us all wish this Atulite with lots of fun and music.
“Main Hoon Na” (2004) was a Farah Khan directed film which was produced by Gauri Khan’s ‘Red Chillies Entertainment’ & Ratan Jain’s ‘Venus Records and Tapes’. Shahrukh Khan, Sushmita Sen, Zayed Khan, Amrita Rao, Bindu, Boman Irani, Satish Shah, Kirron Kher and Suniel Shetty were the main cast with Naseeruddin Shah and Kabir Bedi in special and guest appearances respectively. The songs were penned by Javed Akhtar and composed by Anu Malik. Shreya Ghoshal, Sonu Nigam, Abhijeet, KK, Vasundhara Das, Alka Yagnik, Sunidhi Chauhan and the Sabri brothers- Hashim & Aftab are the playback singers used in the movie.
With this song SRK (Shahrukh Khan) is shown trying to mingle among the young college crowd. He is shown as the odd man out or a student who is trying to restart his studies which he had to give up owing to family responsibilities etc. The younger crowd initially don’t want to associate with him but eventually they become a clique and then the story proceeds towards a climax where the students are held hostage, SRK with the help of his army forces helps rescue the young brigade, bring/ eliminate Suniel Shetty & group etc. before the happy ending. That means the movie was an all-out masala film.
The song is in the voices of Shreya Ghoshal and Sonu Nigam. There is a sad version too in Abhijeet’s voice.
2nd November also happens to be SRK and Anu Malik’s birthday. Here is wishing them all the best for the future and hoping that they continue go entertain us.
This words of this song may have been what Sudhirji told Atulji when he started sharing the responsibility of keeping the blog from having DOT days. 🙂
Duet version (Sonu Nigam and Shreya Ghoshal)
Solo version video (Partial)(Abhijeet)
Solo version Audio (full)(Abhijeet)
Song-Kiska hai ye tumko intezaar main hoon naa (Main Hoon Na)(2004) Singers-Sonu Nigam, Shreya Ghoshal/ Abhijeet, Lyrics-Javed Akhtar, MD-Anu Malik
Lyrics
Duet version (Sonu Nigam, Shreya Ghoshal)
————————–
hmm
kiska hai ye tumko intzaar
main hoon na aa aa
dekh lo idhar to ek baar
main hoon na aa aa
kiska hai ye tumko intzaar
main hoon na aa aa
dekh lo idhar to ek baar
main hoonn na aa aa
khaamosh kyun ho jo bhi kehna hai kaho
dil chaahe jitna pyaar utna maang lo
ho o
tumko milega utna pyaar
main hoon na aa aa
kiska hai ye tumko intzaar
main hoon na aa aa
dekh lo idhar to ek baar
main hoon na aa aa
kabhi jo tum socho
ke tum ye dekho
arre kitna mujhko tumse pyaar hai ae ae ae
to chup mat rehna
ye mujhse kehna
are koi kya aisa bhi yaar hai
dil hi nahin de
jaan bhi de jo tumhen
dil hi nahin de
jaan bhi de jo tumhen
ho o
to main kahoonga sarkaar
main hoon na aa
kiska hai ye tumko intzaar
main hoon na
dekh lo idhar to ek baar
main hoon na
khamosh kyun ho jo bhi kehna hai kaho
dil chaahe jitna pyaar utna maang lo o
ho o
tumko milega utna pyaar
main hoon na
kiska hai ye tumko intzaar
main hoon na
dekh lo idhar to ek baar
main hoon na
kehne ki ho dil mein koi baat
mujhse kaho
koi pal ho din ho yaa ho raat
mujhse kaho
koi mushkil koi pareshaani aaye
tumhen lage kuchh theek nahin haalaat
mujhse kaho
koi ho tamanna yaa ho koi aarzoo
koi ho tamanna yaa ho koi aarzoo
ho o
rehna kabhi na beqaraar
main hoon na
kiska hai ye tumko intzaar
main hoon na
dekh lo idhar to ek baar
main hoon na
khaamosh kyun ho jo bhi kehna hai kaho
dil chaahe jitna pyaar utna maang lo
ho o
tumko milega utna pyaar
main hoon na aa aa
kiska hai ye tumko intzaar
main hoon na aa aa
dekh lo idhar to ek baar
main hoon na aa
——————————–
Solo sad version (Abhijeet)
——————————–
khoya hai paake jisne pyaar main hoon na
bechain main hoon bekaraar main hoon na
koi toh ho aisa jisko apna keh sakoon
koi toh ho aisa jiske dil mein reh sakoon
ho o
koi toh kehta ek bar main hoon na aa aa
khoya hai paake jisne pyar mai hoon na
bechain mai hoon bekarar main hoon na
jo bandhan toote
jo apne roothhe
paas aa jaaye phir se dooriyaan
yeh kyun hota hai
ke dil rota hai
bebas ho jaati hai yeh zabaan
apne toh saare iss kinaare reh gaye
apne toh saare iss kinaare reh gaye
ho o
tanha chala jo uss paar
main hoon na aa aa
khoya hai paa ke jisne pyaar
main hoon na
bechain main hoon bekarar
main hoon na
jahaan bhi main jaaun
jahaan bhi main dekhoon
saare chehre begaane se hain
kabhi koi tha jo mera hi tha
yeh kisse abb afsaane se hain aen
kal zindagi ne khel khele thhe naye
kuchh log jeete jeet ke sab le gaye
ho o
hisse mein aaya jiske har
main hoon na aa aa
khoya hai paake jisne pyaar main hoon na
bechain main hoon bekarar main hoon na
Chale jaise hawaayen sanan sanan
Posted on: January 9, 2022
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 : |
4923 | Post No. : | 16756 | Movie Count : |
4559 |
Hullo Atuldom
This post is courtesy my youngest sister. We were on this telephonic chat and she was asking me about my new hobby/addiction and how it is coming by. In the conversation she mentioned about the how she appreciated Dilip Kumar in the song”Nain Lad Jaihe To Manwaa Maa Kasak Hoibe Kari” – his dancing to be more exact. She spoke about how the dance was almost continuous like a single shot song. And my reply to her was that the song from “Jewel Thief”Hothon Mein Aisi Baat Main Dabaa Ke Chali Aayi” is an ideal example of a song in a single-shot and how Vyjayanthimala has danced and cameras were strategically placed to catch every movement and moment. To this my sister replied that being a trained classical dancer it would not have been so difficult for Vyjayanthimala but see Dilip Kumar dance in ‘Ganga Jamna’.
Now the Dilip Kumar dance I have been seeing from time immemorial and it is one of the songs on my personal favorites list. But after speaking to my sister, I saw the song again just before I started this post. Even if it is not a single shot-song, the choreography makes it seem so. There is a flow in the movements and actions from one frame to the other and the end result is one amazing continuous dance-song.
What the morning conversation did was it reminded me of another song that is nearly like the Dilip Kumar song viz. the choreography makes it feel that the artists have danced seamlessly, without any cuts between shots. This is the handiwork of Farah Khan. It is from the 2004 released ‘Main Hoon Na’ that is produced by Gauri Khan (Red Chillies Entertainment) and Ratan Jain (Venus Records and Tapes) and directed by Farah khan. It has a small star cast consisting of Naseeruddin Shah (special appearance), Kabir Bedi (special appearance), Suniel Shetty (in a negative role), Satish Shah, Kiron Kher, Boman Irani (forgetful principal), and Sushmita Sen, Amrita Rao, Sharukh Khan and Zayed Khan. Plus there are Rakhi Sawant, Tabu and Sajid Khan (Farah’s brother) in blink and miss roles.
The songs are written by Javed Akhtar and Anu Malik is the music director. It was nominated for a few awards in that year and won the Filmfare Award for best music. Shreya Ghoshal, Sonu Nigam, Abhijeet, KK, Vasundhara Das, Alka Yagnik, Sunidhi Chauhan and the Sabri Brothers – Hashim and Aftab, are the voices that have sung in this film. Even Anu Malik sang a song in the film. Today’s song is in the voices of KK and Vasundhara Das.
We shall have this song today to wish Farah Khan on turning a year older. She had made her debut in films as dance director in 1992 with ‘Jo Jeeta Wahi Sikandar’ with the brilliantly picturised “Pehla Nasha Pehla Khumar” which had Aamir Khan prancing on the slopes of the Nilgiris in Ooty. She has since choreographed dance routines for about a 100 songs in 80 movies. She turned director with ‘Main Hoon Na’ and producer with ‘Joker’ (in 2012) which was directed by her husband Shirish Kunder. She has been in front of the camera in films right from 1995 as a person among the crowd etc. and she had a formal full length role in ‘Shirin Farhad Ki Toh Nikal Padi’ (2012) where she was romantic lead pair with Boman Irani and her aunt Daisy Irani played her to-be mother-in-law. Of course she has made it a practice to get her whole crew in front of the camera, along with the end-titles, in all the films that she has directed.
A very Happy Birthday to this multi-talented personality who comes from a family of artists who have been in Bollywood since the late ’50s – her maternal aunts are Honey and Daisy Irani, her father Kamran Khan was a stuntman-turned-filmmaker, Javed Akhtar is her maternal aunt’s ex-husband, so that makes Farhan Akhtar and Zoya Akhtar (filmmakers) her cousins.
Song- Chale jaise hawaayen sanan sanan(Main Hoon Na)(2004) Singers-Vasundhara Das, KK,Lyrics-Javed Akhtar, MD-Anu Malik
Male chorus
Female chorus
Vasundhara Rao + K K
Lyrics
lalalalalala
lalalalalala
lalalalaa
lalalalalala
lalalalalala
lalalalaa
whats up?
o o o o
o o o o
o o o o
o o o o
o o o o
o o o o
chale jaise hawaayen sanan sanan
ude jaise parinde gagan gagan
jaayen titliyaan jaise chaman chaman
yoonhi ghoomoon main bhi magan magan
he he he he
hehe wo o o o
he he o ho
aa haa aa aa aa
main deewaani dil ki raani gham se anjaani
kab darti hoon wo karti hoon jo hai thhaani
chale jaise hawaayen sanan sanan
ude jaise parinde gagan gagan
chhuk chhuk chhuk chhuk dum
chhuk chhuk chhuk chhuk dum
chhuk dum chhuk dum dum
chhuk dum dum
whats up?
say what?
koi roke koi aaye
jitna bhi mujh ko samjhaaye
main naa sunungi kabhi
apni hi dhun mein rahti hoon
main pagli hoon mai ziddi hoon
kahte hain ye to sabhi
koi nahin jaana
ke armaan kyaa hai mera aa aa
chale jaise hawaayen sanan sanan
ude jaise parinde gagan gagan
jaayen titliyaan jaise chaman chaman
yoonhi ghoomoon main bhi magan magan
he he
he he
he he
o o o
he he
o ho
aa ha
aa aa aa aa
main deewaani dil ki raani gham se anjaani
kab darti hoon vo karti hoon jo hai thhaani
chale jaise hawaayen sanan sanan
uden jaise parinde gagan gagan
[Dialogues]
nananana
nananan
nananana
nananan
nananan
aayen haseenaayen to aayen
mujh ko dikhaane apni adaayen
main bhi kuchh kam nahin
yeah
aankhon mein aankhen jo daaloon
dil main churaa loon hosh chura loon
koi ho kitna haseen
mera
ho gayaa wo
jo ik baar mujh se mila aa aa aa
chale jaise hawaayen sanan sanan
uden jaise parinde gagan gagan
jaayen bhanwre jaise chaman chaman
yoonhi ghoomoon main bhi magan magan
he he
he he
he he
o o o o
he he
o ho
aa haa
aa aa aaa
main deewaana main anjaana gham se begaana
hoon aawaara lekin pyaara
sab ne maana
chale jaise hawaayen sanan sanan
uden jaise paride gagan gagan
jaayen bhanwre jaise chaman chaman/font>
yoonhi ghoomoon main bhi magan magan
chale jaise hawaayen sanan sanan
ude jaise parinde
gagan gagan
- In: Alka Yagnik Song | Dance song | Devnagri script lyrics by Sudhir | Duet | Dupatta song | expression of love | Feelings of heart | Guest posts | Lyrics by Sudhir | Lyrics contributed by readers | One singer singing for two actors | Post by Peevesie's mom | Songs of 2000s (2001 to 2010) | Songs of 2004 | Udit Narayan Song | Yearwise breakup of songs
- 1 Comment
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 : |
4910 | Post No. : | 16726 | Movie Count : |
4553 |
Hullo Atuldom
‘Mujhse Shaadi Karogi’ (release date 30th July 2004) is produced by Sajid Nadiadwala and directed by David Dhawan. It has a cast headed by Priyanka Chopra, Salman Khan, Akshay Kumar, Amrish Puri, Kadar Khan, with Shashikala, Upasana Singh, Supriya Karnik, Satish Shah, Rajpal Yadav, etc for support. A few well-known faces make cameo appearances as themselves. The songs of the movie are written by Arun Bhairav, Jalees Sherwani (never heard these two names) and Sameer. Sajid- Wajid and Anu Malik are the music composers with Anu Malik giving music for one song and Sajid-Wajid having tuned the rest (there were 8 songs with two songs being multi-version songs).
The movie is the story of two friends Sameer and Sunny who meet in Goa after a gap of many years and only one of them recognizes the other as the ‘bachpan ka yaar‘. Actually Sunny seeks out Sameer with the help of Sameer’s grandmother (Shashikala) and tracks him down in Goa. Sunny gets Sameer to believe that he is after the girl, Rani Singh whom he is trying to woo. That makes it two hurdles for Sameer to overcome in his love-life; the other being Rani’s father (Amrish Puri). The movie has some fun moments between Sameer and Rani’s parents as also the landlord (Kadar Khan) of Sameer and Sunny. After a lot of madcap happenings Sameer comes to know that Sunny is actually Arun Khanna- his bachpan ka yaar – and that his aim in seeking out Sameer was just to reunite with him.
On the way to ‘THE END’ there is a chase through a crowded stadium (filmed at Bangalore’s stadium) after Sameer is taunted by Sunny about Sameer’s anger-management issues. Sameer snatches the microphone from the Chief Guest at the cricketing event, a friendly match between India and Pakistan, much to the amusement of the commentators and the players. He makes a public apology to Rani and her parents and proposes to her in front of the spectators.
This movie has Salman Khan playing Sameer, Akhsay Kumar playing Sunny alias Arun Khanna and Priyanka Chopra playing Rani Singh. Rajpal Yadav plays a madcap astrologer who keeps giving Sameer directions on how to woo Rani which always flop.
There have been a few posts on the blog, since 24th when the movie based on the 1983 world cup had its theatrical release. That movie is on my wish-list, but all those posts and references to cricketers making appearances, as themselves, on the silver screen, reminded me of this movie. Of course we have had Sunil Gavaskar and Sandeep Patil playing romantic characters on-screen and Syed Kirmani playing a negative character too, but we are looking at films that have cricketers playing themselves.
‘Mujhse Shaadi Karogi’ has Navjot Singh Sidhu play a commentator (he had turned a commentator mouthing Sidhuisms by then) and Sajid Khan (the comedian and film maker) sharing the commentary box. Then we have Javagal Srinath, Ashish Nehra, Irfan Pathan, Mohammad Kaif, Parthiv Patel, and Harbhajan Singh looking at the goings-on, on the pitch, from the pavilion. And (finally) we have Kapil Dev as the chief guest from whom Sameer snatches the microphone. Kapil Paaji also puts in his two-bit to help Sameer’s case with Rani and her father and put an end to the interruption that the drama was causing to the start of the game.
We are having this film making its debut on the blog to wish Salman Khan on his 56th birthday. Here is wishing him health and happiness and a long innings entertaining us Hindi Film Followers. This romantic song is composed by Sajid-Wajid and written by Arun Bhairav. It is sung by Alka Yagnik and Udit Narayan.
Song – Laal Dupatta Udd Gaya Re Bairi Hawa Ke Jhonke Se (Mujhse Shaadi Karogi) (2004) Singer – Alka Yagnik, Udit Narayan, Lyrics – Arun Bhairav, MD – Sajid-Wajid
Chorus
Lyrics
laal dupatta
laal dupatta
udd gaya re bairi hawa ke jhonke se
laal dupatta
udd gaya re bairi hawa ke jhonke se
mujhko piya ne dekh liya
haaye re dhokhe se
maana ke mujhe dil dega wo
magar meri jaan lega wo
maana ke mujhe dil dega wo
magar meri jaan lega wo
laal dupatta
laal dupatta
udd gaya re tera hawa ke jhonke se
laal dupatta
udd gaya re tera hawa ke jhonke se
tujhko piya ne dekh liya
haaye re dhokhe se
maana ke tujhe dil dega wo
magar apni jaan dega wo
maana ke tujhe dil dega wo
magar apni jaan dega wo
oo oo oo oo
oo oo oo
hey hey hey hey hey
la la
laakh chhuopaye baithi thi main
chaand se chehre ko
ik pal mein hi tod diya
bairan hawa ne pehre ko
oo
tere chehre kya jaana
kucch aisa jaadu chhaa gaya
mere chaand ko dekh ke
chaand bhi sharma gaya
mujhe sharam si aaye
haaye tauba
mera dil ghabraaye
haaye tauba
arey aa baahon mein chook naa jaayen
aise mauke se
tujhko piya ne dekh liya
haaye re dhokhe se
maana ke tujhe dil dega wo
magar apni jaan dega wo
maana ke mujhe dil dega wo
magar meri jaan lega wo
haaye
mehka mehka ye samaa
kehne laga aa pyaar kar
mere sohne yaar tu
dilbar se iqraar kar
oo
tere pyaar ki khushboo
meri saanson mein sama gai
le sajna sab chhod main tere
peechhe peechhe aa gai
tujhe pyaar ho gaya
haaye tauba
iqraar ho gaya
haaye tauba
arey
ab to roke naa rukun main
kisi ke roke se
mujhko piya ne dekh liya
haaye re dhokhe se
maana ke mujhe dil dega wo
magar meri jaan lega wo
maana ke tujhe dil dega wo
magar apni jaan dega wo
laal dupatta
udd gaya re bairi hawa ke jhonke se
hoye
laal dupatta
udd gaya re tera hawa ke jhonke se
tujhko piya ne dekh liya
haaye re dhokhe se
maana ke mujhe dil dega wo
magar meri jaan lega wo
maana ke tujhe dil dega wo
magar apni jaan dega wo
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
लाल दुपट्टा
लाल दुपट्टा
उड़ गया रे बैरी हवा के झोंके से
लाल दुपट्टा
उड़ गया रे बैरी हवा के झोंके से
मुझको पिया ने देख लिया
हाय रे धोखे से
माना के मुझे दिल देगा वो
मगर मेरी जान लेगा वो
माना के मुझे दिल देगा वो
मगर मेरी जान लेगा वो
लाल दुपट्टा
लाल दुपट्टा
उड़ गया रे तेरा हवा के झोंके से
लाल दुपट्टा
उड़ गया रे तेरा हवा के झोंके से
तुझको पिया ने देख लिया
हाय रे धोखे से
माना के तुझे दिल देगा वो
मगर अपनी जान देगा वो
माना के तुझे दिल देगा वो
मगर अपनी जान देगा वो
ओ ओ ओ ओ
ओ ओ ओ
हे हे हे हे हे
ल ल ल ला ला
लाख छुपाए बैठी थी मैं
चाँद से चेहरे को
इक पल में ही तोड़ दिया
बैरन हवा ने पहरे को
ओ
तेरे चेहरे क्या जाना
कुछ ऐसा जादू छा गया
मेरे चाँद को देख के
चाँद भी शर्मा गया
मुझे शरम सी आए
हाए तौबा
मेरा दिल घबराए
हाए तौबा
अरे आ बाहों में चूक ना जाएँ
ऐसे मौके से
तुझको पिया ने देख लिया
हाय रे धोखे से
माना के तुझे दिल देगा वो
मगर अपनी जान देगा वो
माना के मुझे दिल देगा वो
मगर मेरी जान लेगा वो
हाय
महका महका ये समा
कहने लगा आ प्यार कर
मेरे सोहने यार तू
दिलबर से इक़रार कर
ओ
तेरे प्यार की खुशबू
मेरी साँसों में समा गई
ले सजना सब छोड़ मैं
तेरे पीछे पीछे आ गई
तुझे प्यार हो गया
हाय तौबा
इक़रार हो गया
हाय तौबा
अब तो रोके ना रुकूँ
मैं किसी के रोके से
मुझको पिया ने देख लिया
हाय रे धोखे से
माना के मुझे दिल देगा वो
मगर मेरी जान लेगा वो
माना के तुझे दिल देगा वो
मगर अपनी जान देगा वो
लाल दुपट्टा
उड़ गया रे बैरी हवा के झोंके से
होय
लाल दुपट्टा
उड़ गया रे तेरा हवा के झोंके से
तुझको पिया ने देख लिया
हाय रे धोखे से
माना के मुझे दिल देगा वो
मगर मेरी जान लेगा वो
माना के तुझे दिल देगा वो
मगर अपनी जान देगा वो
Do pal ruka khwaabon ka kaarwaan
Posted on: October 25, 2021
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Blog Day : |
4847 | Post No. : | 16635 |
Yearwise discussion of Lata Mangeshkar songs in HFM: Part LVII: Year 2004
———————————————————————————————————
In this episode, the 57th episode, we were supposed to discuss Lata Mangeshkar songs that she sang in Hindi movies released in 2003, seeing that previous episode covered songs that she sang in 2002.
It turns out that Lata Mangeshkar did not sing any songs in movies released during 2003. So 2003 was the first year after 1945, when Lata Mangeshkar did not sing any songs in Hindi movies. So we needed to move on to the next year viz 2004. Even in that year, we were drawing a blank, till we reached the alphabet V. “Veer Zaara”(2004) turned out to be the only movie of 2004 where Lata Mangeshkar sang songs. She sang as many as 9 songs in this movie. 90 Hindi movies containing 632 songs were released uring 2004. So Lata Mangeshkar got to sing in 1.1 % of these movies and she sang 1.4 % of songs in these movies. So her era almost drew to a close after ruling the roost for more than six decades.
Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 2004 :-
| S N | Movie | Music director | Lata song in the blog | Lata HFM songs recorded in the year | Lata solo songs | Male duet | Female duet | Other songs | Lyricists |
|---|---|---|---|---|---|---|---|---|---|
| 1 | Veer Zaara | Madan Mohan | 3 | 9 | 2 | 4 | 0 | 3 | Javed Akhtar |
| Total | 1 movie | 1 MD | 3 | 9 | 2 | 4 | 0 | 3 | 1 lyricist |
Lata Mangeshkar worked with 1 music director and 1 lyricist in this one movie released in 2004. Madan Mohan had passed away in 1975, but his unused tunes, which his son had in his possession, were used for this movie, crediting Madan Mohan as the music director.
Laxmikant Pyarelal were the most prolific music directors with Lata, with 664 songs in HFM with Lata Mangeshkar by the end of 2002. Shankar Jaikishan with 457 songs in the voice of Lata Mangeshkar were in the second position. R D Burman with 332 Lata Mangeshkar and Kalyanji Anandji with 307 songs were next ahead of C Ramchandra with 275 songs. Other top music directors for Lata Mangeshkar were Chitragupta (239), Madan Mohan (204), S D Burman (179),Naushad (146), Roshan (144), Hemant Kumar (127), Anil Biswas (120), Bappi Lahiri (112), Rajesh Roshan (111), Salil Chaudhary (109), Husnlal Bhagatram (108), and Vasant Desai (104). Together these seventeen music directors composed 3742 songs out of 5234 songs that Lata Mangeshkar had sung in Hindi movies till end of 2004. Anand Bakshi with 731 songs was the top lyricist with Lata Mangeshkar. Other leading lyricists with Lata Mangeshkar were Rajinder Krishan (555), Majrooh Sultanpuri (407), Shailendra (361), Hasrat Jaipuri (301), Prem Dhawan (201), Bharat Vyas (193), Shakeel Badayuni (189), Sahir Ludhianvi (161) and Indeewar (156). These ten lyricists had penned 3252 songs sung by Lata Mangeshkar till that time.
Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 2004 :
| Year | Movie count | Lata song in the blog | Lata HFM songs recorded in the year | Lata solo songs | Male duet | Female duet | Other songs | Remarks |
|---|---|---|---|---|---|---|---|---|
| 1946 | 3 movies | 4 | 4 | 4 | 0 | 0 | 0 | |
| 1947 | 3 movies | 5 | 5 | 3 | 1 | 0 | 1 | |
| 1948 | 17 movies | 51 | 57 | 42 | 8 | 4 | 3 | |
| 1949 | 40 movies | 141 | 160 | 105 | 35 | 13 | 7 | |
| 1950 | 36 movies | 116 | 143 | 93 | 32 | 14 | 4 | |
| 1951 | 49 movies | 190 | 223 | 158 | 52 | 10 | 3 | |
| 1952 | 43 movies | 150 | 177 | 138 | 31 | 4 | 4 | |
| 1953 | 45 movies | 170 | 195 | 149 | 35 | 5 | 6 | |
| 1954 | 43 movies | 142 | 172 | 144 | 23 | 4 | 1 | |
| 1955 | 50 movies | 172 | 218 | 177 | 30 | 10 | 1 | |
| 1956 | 49 movies | 174 | 204 | 153 | 35 | 13 | 3 | |
| 1957 | 47 movies | 132 | 160 | 110 | 38 | 7 | 5 | |
| 1958 | 35 movies | 104 | 132 | 95 | 25 | 10 | 1 | |
| 1959 | 58 movies | 190 | 211 | 131 | 68 | 12 | 1 | |
| 1960 | 48 movies | 142 | 166 | 102 | 50 | 9 | 5 | |
| 1961 | 44 movies | 128 | 152 | 88 | 55 | 5 | 4 | |
| 1962 | 40 movies | 119 | 129 | 84 | 40 | 5 | 0 | |
| 1963 | 37 movies | 105 | 111 | 62 | 38 | 8 | 3 | |
| 1964 | 46 movies | 123 | 133 | 91 | 31 | 8 | 3 | |
| 1965 | 42 movies | 84 | 91 | 71 | 17 | 1 | 2 | |
| 1966 | 49 movies | 105 | 133 | 110 | 14 | 8 | 1 | |
| 1967 | 44 movies | 94 | 106 | 67 | 38 | 8 | 3 | |
| 1968 | 33 movies | 84 | 84 | 59 | 19 | 5 | 1 | |
| 1969 | 43 movies | 78 | 97 | 67 | 27 | 2 | 1 | |
| 1970 | 54 movies | 91 | 130 | 84 | 39 | 3 | 4 | |
| 1971 | 52 movies | 107 | 126 | 71 | 52 | 3 | 0 | |
| 1972 | 62 movies | 100 | 151 | 86 | 60 | 3 | 2 | |
| 1973 | 60 movies | 93 | 138 | 94 | 37 | 3 | 4 | |
| 1974 | 55 movies | 71 | 104 | 66 | 33 | 0 | 5 | |
| 1975 | 45 movies | 62 | 90 | 50 | 35 | 3 | 2 | |
| 1976 | 41 movies | 58 | 97 | 53 | 39 | 1 | 4 | |
| 1977 | 50 movies | 50 | 96 | 59 | 27 | 8 | 2 | |
| 1978 | 46 movies | 60 | 90 | 48 | 34 | 3 | 5 | |
| 1979 | 42 movies | 38 | 66 | 37 | 25 | 2 | 3 | |
| 1980 | 43 movies | 28 | 71 | 43 | 21 | 3 | 4 | |
| 1981 | 46 movies | 40 | 88 | 48 | 34 | 2 | 4 | |
| 1982 | 45 movies | 28 | 82 | 41 | 37 | 1 | 3 | |
| 1983 | 33 movies | 29 | 73 | 36 | 37 | 0 | 0 | |
| 1984 | 39 movies | 11 | 70 | 32 | 33 | 4 | 1 | |
| 1985 | 40 movies | 21 | 72 | 39 | 31 | 0 | 2 | |
| 1986 | 27 movies | 4 | 41 | 22 | 17 | 0 | 2 | |
| 1987 | 12 movies | 4 | 21 | 13 | 8 | 0 | 0 | |
| 1988 | 21 movies | 9 | 43 | 24 | 17 | 1 | 1 | |
| 1989 | 19 movies | 10 | 38 | 20 | 16 | 1 | 1 | |
| 1990 | 9 movies | 4 | 12 | 3 | 9 | 0 | 0 | |
| 1991 | 16 movies | 6 | 57 | 35 | 20 | 1 | 1 | |
| 1992 | 12 movies | 3 | 25 | 12 | 13 | 0 | 0 | |
| 1993 | 14 movies | 3 | 49 | 22 | 23 | 2 | 2 | |
| 1994 | 12 movies | 5 | 39 | 9 | 28 | 0 | 2 | |
| 1995 | 4 movies | 2 | 8 | 3 | 4 | 0 | 1 | |
| 1996 | 5 movies | 2 | 14 | 7 | 7 | 0 | 0 | |
| 1997 | 5 movies | 1 | 21 | 2 | 14 | 4 | 1 | |
| 1998 | 3 movies | 4 | 11 | 3 | 7 | 0 | 1 | |
| 1999 | 7 movies | 3 | 14 | 6 | 7 | 0 | 1 | |
| 2000 | 2 movies | 3 | 5 | 1 | 2 | 0 | 2 | |
| 2001 | 6 movies | 2 | 12 | 6 | 5 | 0 | 1 | |
| 2002 | 2 movies | 1 | 8 | 3 | 5 | 0 | 0 | |
| 2003 | NIL movies | 0 | 0 | 0 | 0 | 0 | 0 | |
| 2004 | 1 movie | 3 | 9 | 2 | 4 | 0 | 3 | |
| Total upto 2004 | 1875 movies | 3757 | 5234 | 3383 | 1512 | 213 | 126 |
As observed earlier, “Veer Zaara”(2004) was the only movie released in 2004 that had the voice of Lata Mangeshkar. “Veer Zaara”(2004) was produced and directed by Yash Chopra for Yashraj Films, Bombay. The movie had Shahrukh Khan, Rani Mukerji, Preity Zinta, Kirron Kher, Divya Dutta, Boman Irani and Anupam Kher in main roles. The movie had special appearances by Amitabh Bachchan, Hema malini and Manoj Bajpai. The movie also had Zohra Segal, S.M.Zaheer, Tom Alter, Akhilendra Mishra, Arun Bali, Gurdas Mann, Rushad Rana, Flt.Lt.Vinod Negi, Balwant Bansal, Rajesh Jolly, Anup Kanwal Singh, Kanwar Jagdish, Dev.K.Kantawala, Vicky Ahuja, Ranjeev Verma, Chandni, Jas Keerat, Sanjay Singh Bhadli, Kulbir Baderson, Shivaya Singh, Huzeifa Gadiwalla, Vishal Sharma, Amir Zadey, Sayyed Firdaus, Manish Arora, Banwarilal Jhol, Darshan Aulakh, Jitendra Bhardwaj, Pankaj Rain, Gurinder Singh Ginda etc in it.
The movie had eleven songs in it. Lata Mangeshkar’s voice was there in 9 of these songs.
Four songs, inclusing three containing Lata Mangeshkar’s voice, have been covered in the blog.
Here is the fourth song from “Veer Zaara”(2004) to appear in the blog. This song is sung by Lata Mangeshkar and Sonu Nigam. Javed Akhtar is the lyricist. Madan Mohan is the composer.
The song is picturised on Preity Zinta and Shahrukh Khan.
Lyrics of the song and other details were sent to me by Prakashchandra.
audio
video
Song-Do pal rukaa khwaabon ka kaarwaan (Veer Zaara)(2004) Singers-Lata, Sonu Nigam, Lyrics-Javed Akhtar, MD-Madan Mohan
Lyrics(Provided by Prakashchandra)
aaa aaa aaa aaaa
aaa aaa aaa aaa
do pal rukaa khwaabon ka kaarwaan
aur phir chal diye
tum kahaan aan hum kahaan
do pal ki thhi ye dilon ki daastaan
aur phir chal diye
tum kahaan aan hum kahaan aan
aur phir chal diye
tum kahaan aan hum kahaan aan aan
tum thhe ke thhi koyi ujli kiran
tum thhe yaa koyi kali muskaayi thhi…eee
tum thhe yaa sapnon kaa thhaa saawan
tum thhe ke khushiyon ki ghataa chhaayee thhee
tum thhe ke thaa koyi phool khilaa
tum thhe ae yaa milaa thha
mujhe nayaa jahaaan aan aan
do pal rukaa khwaabon ka kaarwaan
aur phir r r chal diye
tum kahaan aan hum kahaan aan
do pal ki thhi ye dilon ki daastaan
aur phir chal diye aey ae ae
tum kahaan aan hum kahaan aan
aur phir chal diye ae
tum kahaan aan hum kahaan aan aan aan
aaa aaa aaa aaa
aaa aaa aaa aaa
aaa aaa aaa aaa
aaa aaa aaa aaa
aaa aaa aaa aaa
tum thhe yaa khushboo hawaaon mein thhee
tum thhe yaa rang saari dishaaon mein thhe aey ae ae
tum thhe yaa raushni raahon mein thhi
tum thhe ya geet goonjey fizaaon mein thhe ae ae
tum thhe miley yaa mili thhi manzilein
tum thhe ae ke thhaa jaadoo
bharaa koyi samaa aan aaa aan aa
do pal rukhaa khwaabon ka kaarwaan
aur phir chal diye ae
tum kahaan aan hum kahaan aan
do pal ki thhi ye dilon ki daastaan
aur phir chal diye
tum kahaan aan hum kahaan aan
aur phir chal diye
tum kahaan aan hum kahaan aan
aur phir chal diye
tum kahaan aan hum kahaan aan aan aan
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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