Posts Tagged ‘A R Rahman’
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.
|
Blog Day : |
5690 | Post No. : | 18207 | Movie Count : |
4888 |
‘Nayak’ (2001) was produced by A M Rathnam under the banner of Surya Movies and was directed by S Shankar. The cast included Anil Kapoor, Rani Mukerjee, Amrish Puri, Paresh Rawal, Johny Lever, Pooja Batra, Raja Krishnamurthy, Neena Kulkarni, Shivaji Satam, Saurabh Shukla, Anupam Shyam etc. This was a remake of Tamil film, “Mudhalvan’ (1998). This was S Shankar’s first Hindi film as a director.
In an interview which was published in ‘Hindustan Times’ on September 6, 2021, on the completion of 20 years of its release, Anil Kapoor revealed that it was only after Amir Khan and Shah Rukh Khan passed on the role, he pursued with the director, S Shankar and got the role. He felt that the film’ story connected with the common people and the film would remain relatable to the people over the years. Interestingly, Anil Kapoor played the role of TV Reporter, Shivajirao Gaikwad, the real name of South’s super star, Rajnikanth. Anil Kapoor also revealed in an interview on the Times of India, August 18, 2001, that he observed the mannerisms of well-known TV personalities like Pranoy Roy, Karan Thapar and Rajat Sharma to prepare himself in the role of a TV Reporter interviewing a Chief Minister in the film’s story.
The gist of the film’s story is as under:
The story of ‘Nayak’ (2001) moves around a TV reporter, Shivajirao (Anil Kapoor) who is known for asking some hard questions to the political bosses. During his first interview with the Chief Minister, Balraj Chauhan (Amrish Puri), he asks many uncomfortable questions about corruption, his promises on his election manifesto and realities which make the CM uncomfortable. In retorting his questions, the CM throws a challenge to Shivajirao to become the CM for one day to understand how difficult is to run the government. Shivajirao accepts the challenge and does much more better than Balraj which is appreciated by the people at large. Towards the end of the day, Shivajirao as a one-day CM gets Balraj arrested on the basis of proven charges. However, he gets the bail and Shivajirao leaves the CM’s chair.
During the course of his TV reporting work, Shivajirao meets a rural girl, Manjari (Rani Mukerjee) and falls in love with her. He wants to marry her, but her father is not ready as he is not having a Government job. In the meanwhile, the overwhelming public support for his excellent work forces Shivajirao to contest election which he wins and become the Chief Minister. However, the ex-Chief Minister, Balraj makes his work difficult by resorting to violence. He even tries to kill CM, Shivajirao by bomb blast. He also tries to create an anarchical situations by planning simultaneous bomb explosions to put the blame on Shivajirao. However, the intelligence gathered by his people prevents the bomb explosions.
Shivajirao devises a plan to get rid of Balraj who has now become a danger to the society. He calls Balraj in his chamber for discussion during which Shivajirao takes out his gun and shoots himself on his arm. Thinking that it was Balraj who has shot Shivajirao, the security guards shoot Balraj and kill him. Manjari’s father is now impressed with the excellent developmental work done by Shivajirao and gives his consent to Manjari to marry him.
The film failed at the box office. It is stated that one of the reasons for the film not recovering the cost was that the budgeted cost of the film significantly exceeded due to new technologies used in the film’s shooting. However, once the film became available on satellite TVs and later on OTT platforms, the film has attained a classic status. It is said that ‘Nayak’ (2001) is one of the most watched films on TV.
The film had 7 songs written by Anand Bakshi which were set to music by A R Rahman. He re-used tunes of 5 songs of the Tamil version and freshly composed 2 songs for the Hindi version. I am presenting the first song from the film, ‘rukhi sukhi roti tere haathhon se khaa ke aayaa mazaa badaa’ to appear on the Blog. The song is rendered by Shankar Mahadevan and Alka Yagnik. It is fast-paced song.
The background of this song is that after becoming the Chief Minister, Shivajirao (Anil Kapoor) has not met his sweetheart, Manjari (Rani Mukherjee) for a long time. He decides to spare one full day to her by visiting her house in disguise. Manjari is surprised by his sudden visit. She laments that if he had informed her in advance, she would have prepared a delicious lunch for him. Now she had only ‘rookhi sookhi’ roti and some onions. Both of them go for lunch in a open ground. He says that he has enjoyed her ‘rookhi sookhi’ rotis and he has been intoxicated by drinking the cold well-water from the courtyard.
Video Clip:
Audio Clip:
Song-Rookhee sookhee rotee tere haathon se khaake aayaa mazaa badaa (Nayak)(2001) Singers-Shankar Mahadevan, Alka Yagnik, Lyrics-Anand Bakshi, MD-A R Rahman
Both
Chorus
Lyrics (based on audio clip)
ae ae ae ae ri manjari…..ee eeee
lai lai lai lai lai
lai lai lai
lai lai lai lai lai
lai lai lai
lai lai lai lai lai
lai lai lai
lai lai lai lai lai
lai lai lai
rookhi sookhi roti tere haathhon se..
hey rookhi sookhi roti tere haathhon se
khaake aayaa mazaa badaa
thhandaa thhandaa paani tere aangan kaa
pi ke chhaayaa nashaa badaa
hey rookhi sookhi roti tere haathon se
khaa ke aayaa mazaa badaa
thandaa thandaa paani tere aangan kaa
pi ke chhaayaa nashaa……aa
he ae ae ho o o
bole jo mujhse tu
wo main kar jaaun
tere seene se lagaa ke main mar jaaun
taubaa o taubaa tu kyaa bolaa
dhadak dhadak meraa dil dolaa
taubaa o taubaa tu kyaa bolaa
dhadak dhadak meraa dil dolaa
taubaa o taubaa taubaa taubaa
dhadak dhadak meraa dil dolaaa
taubaa o taubaa o taubaa taubaa
dhadak-dhadak meraa dil dolaa
chalo ji koi titli pakadte hain
chalo ji kisi ped pe chadhte hain
kyaa hogaa jo main ped se gir gai gai gai gai
oh mujhe dard bada hogaa tujhko
chot agar lag gai
lai lai lai lai lai lai lai lai lai
lai lai lai lai lai
ye to puraani lai lai lai
prem-kahaani lai lai lai
baat koi kar aaj nai
nai nai nai nai nai
pyaar mein din aaye kaise
rog lage hamako aise
naach uthe do dil jaise
taa thai taa thai taa thai
tauba oh tauba tu kyaa bola
dhadak dhadak mera dil dola
tauba oh tauba tu kyaa bola
dhadak-dhadak mera dil dola
hey rookhi sookhi roti tere haathhon se
khaa ke aaya maza bada
thanda thanda paani tere aangan kaa
pi ke chhaya nasha bada
oh o o pyaari manjari
pyari manjari
oh lai lai lai lai lai lai
pyaari manjari
le le le le le le le
le le le le le le
lai lai lai lai lai lai lai
lai lai lai
ho o chalo ji nadiyaa mein nahaayenge
nahin jee pahale aam churaayenge
pakad gaye to badi maar padegi nahin nahin nahin
are pyaar-vyaar jo karte hain
wo maar se darte nahin
lai lai lai lai lai lai lai lai
lai lai lai lai lai lai
baat badal gai lai lai lai
bach ke nikal gai lai lai lai
chaal ye kaisi tu chal gai
gai gai gai gai gai
teer chalaa dil par laagaa
dard badaa meethaa jaagaa
dhak dhak jor se dil bhaagaa
dehli se mumbai
rookhi sookhi roti mere haathhon se
khaa ke aayaa mazaa tujhe
thandaa thandaa paani mere aangan kaa
pi ke aayaa nashaa tujhe
hey rookhi sookhi roti tere haathhon se
khaa ke aaya mazaa badaa
thhandaa thhandaa paani tere aangan kaa
pi ke chhaayaa nashaa…..aa
hey hey ae ho o
bole jo mujhse tu
wo main kar jaaun
tere seene se lagaake main mar jaaun
taubaa o taubaa
tu kyaa bolaa
dhadak dhadak meraa dil dolaa
tauba o tauba
tu kyaaa bolaa
dhadak dhadak meraa dil dolaa
taubaa o taubaa
o taubaa taubaa
dhadak dhadak meraa dil dolaa
taubaa o taubaa
o taubaa taubaa
dhadak dhadak meraa dil dolaa
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.
|
Blog Day : |
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
- In: "Searching for Beloved" Song | Babbul Supriyo - Srinivas Duet | Babul Supriyo Songs | Dance song | Devnagri script lyrics by Sudhir | Duet | Feelings of heart | Group Dance | Guest posts | Lyrics by Sudhir | Lyrics contributed by readers | Post by Peevesie's mom | praising a person | Rain song | Song Sung Inside A Cinema Hall | Songs of 1990s (1991 to 2000) | Songs of 1998 | Srinivas Songs | Yearwise breakup of songs
- 2 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.
|
Blog Day : |
5402 | Post No. : | 17726 | Movie Count : |
4748 |
Hullo Atuldom
Back after a gap of around one & half months.
Have been so active, doing various other activities, that for the first time, since 2009 (when I discovered the blog) and 2012 (when my first post appeared on the blog), I missed a few milestones (the 17,700th post) on the day it was posted. Also missed a post by Sudhir ji, which featured a song which I simply love to see “Wo Ladki Hai Kahaan“.
Also I missed writing posts on a few occasions for which I had drafts ready in my mind, but could not get down to writing or typing them. Occasions like the Hindu New Year (call them by any name- Ugadi, Vishu, Baishakhi, Cheti Chand etc.), birthdates and anniversaries of a few favourite celebs (Sachin Tendulkar, Rishi Kapoor, Irfan Khan, etc). Of course, there were posts on these special dates, just that I have been catching up on them over the last few days.
This last month and half, I have been attending a few weddings and landmark birthdays of my brothers & beloved Aunty (‘Kaaki‘ sounds more personal than Aunty). That meant hurried trips to Kerala & Mumbai (twice), and three days in Chennai. I managed to meet Guru ji on my first trip to Mumbai, but could spend only an hour with him. And saw he was preparing for his book ‘Forgotten Artists of Early Cinema and The Same name Confusion’ release. Feel so proud that I know him.
Getting to the purpose of this post- 3rd May is a special date in the annals of Indian Film Industry. It was on this date, in the year 1913, that Dadasaheb Phalke’s ‘Raja Harishchandra’, the first full length feature film produced in India, was premiered at Coronation Theater in Bombay. (The first ever film, projected moving pictures, was presented by the Lumiere Brothers in December 1895 in Paris, France).
Starting from that screening of the silent film ‘Raja Harishchandra’ till today, it is 110 years. We have had hundreds & thousands films made in almost all the Indian languages possible. There have been instances of films borrowing story ideas from our mythologies, folklore etc. Stories of India’s freedom struggle, biographies of leaders who were at the forefront at that time. The films made in India have converted novels, books into moving images that have left a permanent imprint in the minds of the enthralled fans. The list of ideas on which films are based are as varied as the framework of our country.
I have never felt the need to see films made in any other country, never had time to discover anything else. Of course, there have been a few English films that have crept into my list of films seen in my lifetime, these may add up to 15/20. But, largely, I have relished films made in Hindi, Malayalam, Tamil, Marathi, Telugu etc. In the days when Doordarshan was the sole home-entertainment source, I have even seen films in Gujarati, Bengali & Punjabi.
I know for sure that films were initially made in Lahore, Calcutta, Madras, Bombay, Kolhapur, Poona etc. Post 1947, Bombay, Madras & Calcutta (don’t know about Kolhapur & Poona) were the movie making centres with most South Indian language films being made in Madras. I am not sure about when Kerala, Andhra Pradesh & Karnataka and other states set up their own film cities. (I am expecting answers to all my doubts from the knowledgeable Atulites).
Just as story-ideas were exchanged between the films of all the languages, actors from one region were seen in films of other regions. That trend still continues.
Similarly, there has been a trend of bilinguals & trilinguals (movies made in two or three languages simultaneously) that is accepted by the audiences. And finally there are dubbed versions of popular films too. Even, this system has not been given up, and so we have ‘KGF’ (essentially a Kannada film), ‘RRR’ (Telugu), ‘Bombay’ (Tamil), ‘Roja’ (Tamil) being brought to the notice of the Hindi audiences by dubbing them. I would love to add instances of films from other languages too , but I am ignorant of these. I know for sure that ‘English Vinglish’, ‘Dil Se’, ‘PK’ have been dubbed into south Indian languages.
To celebrate the birthday of the Indian Film Industry I have chosen a song from the film ‘Doli Saja ke Rakhna’ (1998). This is Priyadarshan remaking Fazil’s (who normally made movies in Tamil and Malayalam) ‘Aniyathi Pravu’ (which directly translates as ‘Younger Sister Dove’). ‘Aniyathi Praavu’ was remade as ‘Premisthunnanu’ in Telugu, ‘Kadhalukku Mariyadhai’ in Tamil & ‘Preethigagi’ in Kannada. This is what made me feel ‘DSKR’ was an eligible option to celebrate the Indian Film Industry. It has Anupam Kher, Moushumi Chatterjee, Aruna Irani, Paresh Rawal, Mohnish Behl, Tej Sapru, Ninad Kamat, Suresh Menon, Umesh Shukla playing the family and friends to Akshaye Khanna and Jyothika. Amrish Puri had a special appearance in this film. Malayalam actor Innocent Vareed Thekkethala, known mononymously as Innocent, also made his Hindi debut in this film.
‘DSKR’ is also the debut film of Jyothika who was born in Mumbai in 1978. She starred in many South Indian films and became very popular too.
I would like to put in a few words about Innocent. He was a versatile actor who graced the Malayalam screen from 1972 and was seen playing characters that mostly brought a smile on the viewers face. He made an excellent foil, co-actor to all his co-stars and his pairing with KPAC Lalitha (who passed away in 2022) was well-received. His career of close to 700 films featured Tamil & Kannada films too. There were two Hindi films also, both made by Priyadarshan. He was also a writer, film producer and a politician. Innocent, who was born on 28th February 1948 died recently, on 26th March at the age of 75. He was a cancer survivor who took ill on 3rd March and died three weeks later. We can see him in today’s song in the uniform of an Army Colonel.
Today’s song is sung by Babul Supriyo & Srinivas. (Again meeting of artists from two regions). The song is composed by AR Rehman and written by Mehboob Kotwal (who is always credited as Mehboob).
Song – Taram Pum Taram Pum Taram Pumm, Chalo Usko Dhhodhenge Hum (Doli Saja Ke Rakhna) (1998) Singer – Babul Supriyo, Srinivas, Lyrics – Mehboob, MD – AR
Male Chorus
Female Chorus
Lyrics (Provided by Sudhir)
ye khoya khoya rehta hai
ye din mein soya soya rehta hai
ye raaton mein uth uth ke yahi gaata hai
wo le gai dil
tarram pum tarram pum tarramm pumm
chalo usko dhoondhenge hum
pari hai wo hai hoor koi
jo dhaaya hai itna sitam
nahin wo to kuchh aur hi hai
kahen kya yaaro tumse hum
tarram pum tarram pum tarramm pumm
chalo usko dhoondhenge hum
itni haseenon mein
chhupi ik aisi haseena hai
ke moti seep mein ho jaise
angoothi mein ho
nageena koi wo
dekha hai tumne
kaho kya usko
ho o o o
jaise nageena koi wo
dekha hai tumne
kaho kya usko oo oo oo
tarram pum tarram pum tarramm pumm
chalo usko dhoondhenge hum
pari hai wo hai hoor koi
jo dhaaya hai itna sitam
nahin wo to kuchh aur hi hai
kahen kya yaaro tumse hum
tarram pum tarram pum tarramm pumm
chalo usko dhoondhenge hum
tarram pum tarram pum tarramm pumm
tarram pum pum pum pum pum pumm
tarram pum tarram pum tarramm pumm
tarram pum pum pum pum pum pumm
doodh si rangat hai
dhuli ho chaandni se jaise
kamal ke jaisi nazaakat hai
karishma hai wo
khuda hi ka to jo
dekha hai tumne
kaho kya usko oo oo
jaise karishma hai wo
dekha hai tumne
kaho kya usko oo oo oo
tarram pum tarram pum tarramm pumm
chalo usko dhoondhenge hum
pari hai wo hai hoor koi
jo dhaaya hai itna sitam
nahin wo to kuchh aur hi hai
kahen kya yaaro tumse hum
tarram pum tarram pum tarramm pumm
chalo usko dhoondhenge hum
pari hai wo hai hoor koi
jo dhaaya hai itna sitam
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
ये खोया खोया रहता है
ये दिन में सोया सोया रहता है
ये रातों में उठ उठ के यही गाता है
वो ले गई दिल
तर्रम पम तर्रम पम तर्रम्म पम्म
चलो उसको ढूँढेंगे हम
परी है वो है हूर कोई
जो ढाया है इतना सितम
नहीं वो तो कुछ और ही है
कहें क्या यारो तुमसे हम
तर्रम पम तर्रम पम तर्रम्म पम्म
चलो उसको ढूँढेंगे हम
इतनी हसीनों में
छुपी इक ऐसी हसीना है
के मोती सीप में हो जैसे
अंगूठी में हो
नगीना कोई वो
देखा है तुमने
कहो क्या उसको
हो ओ ओ ओ
जैसे नगीना कोई वो
देखा है तुमने
कहो क्या उसको ओ ओ ओ
तर्रम पम तर्रम पम तर्रम्म पम्म
चलो उसको ढूँढेंगे हम
परी है वो है हूर कोई
जो ढाया है इतना सितम
नहीं वो तो कुछ और ही है
कहें क्या यारो तुमसे हम
तर्रम पम तर्रम पम तर्रम्म पम्म
चलो उसको ढूँढेंगे हम
तर्रम पम तर्रम पम तर्रम्म पम्म
तर्रम पम पम पम पम पम पम्म
तर्रम पम तर्रम पम तर्रम्म पम्म
तर्रम पम पम पम पम पम पम्म
दूध सी रंगत है
धुली हो चाँदनी से जैसे
कमाल के जैसी नज़ाकत है
करिश्मा है वो
खुदा ही का तो जो
देखा है तुमने
कहो क्या उसको ओ ओ
जैसे करिश्मा है वो
देखा है तुमने
कहो क्या उसको ओ ओ ओ
तर्रम पम तर्रम पम तर्रम्म पम्म
चलो उसको ढूँढेंगे हम
परी है वो है हूर कोई
जो ढाया है इतना सितम
नहीं वो तो कुछ और ही है
कहें क्या यारो तुमसे हम
तर्रम पम तर्रम पम तर्रम्म पम्म
चलो उसको ढूँढेंगे हम
परी है वो है हूर कोई
जो ढाया है इतना सितम
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.
|
Blog Day : |
5393 | Post No. : | 17689 | Movie Count : |
4746 |
In this article, I propose to explore the film ‘Mimi’ (2021) which was a remake of a Marathi film, ‘Mala Aai Vhhaychy!’ (2011) [meaning, I want to be a mother]. The film is about surrogacy. The Marathi film was produced by Samruoddhi Porey, a lawyer in Bombay High Court. The story was based on one of the surrogacy cases she handled in the High Court. The film won the National Film Award for the best feature film in Marathi. While the Marathi film was a complete melodrama, ‘Mimi’ (2021) added some situational comedy elements to reduce the impact of melodrama.
‘Mimi’ (2021) was produced by Dinesh Vijan under the banner of Maddock Films and was directed by Laxman Utekar. The star cast included Kirti Sanon, Pankaj Tripathi, Sai Tamhankar, Manoj Pahwa, Supriya Pathak, Evelyn Edwards, Aidan Whytock, Jacob Smith, Jaya Bhattacharya etc.
The film was majorly shot in Mandwa in Rajasthan during October to December 2019 and thereafter in around Jaipur in February-March 2020. When only 5 days’ shooting was required for completion of the film, the imposition of first coronavirus lockdown on March 25, 2020, derailed the completion schedule. The leftover shooting could be completed only in January 2021 and the patchwork shooting involving the foreign artists for continuity purposes were completed thereafter. Film was planned for a theatrical release in May 2021 when the second wave of coronavirus forced the authorities to clamp lockdown from the mid-April 2021. So, ‘Mimi’ (2021) got released on the digital platforms – Netflix and Jio TV on July 27, 2021.
The gist of the story of the film, ‘Mimi” (2021) is as under:
Mimi (Kriti Sanon), a dancer in a small town in Rajasthan is aspiring to be an actor in Bollywood. For her aspiration to become true, she needs to earn money for the preparatory work in becoming an actor which she tries to do so by her dance programme. But this does not give her enough money.
An American couple are in India who are looking for a surrogate mother. When staying in a hotel in Rajasthan, they watch Mimi’s dance and zeroes on her as the possible surrogate mother. They entrust their driver, Bhanu (Pankaj Tripathi) as a middleman to convince Mimi for surrogacy. After initial reservation, Mimi agrees to become the surrogate mother for the American couple for Rs.20 lakhs which will more than take care of her preparatory expenses to become an actor in Bollywood. She signs the contract of surrogacy. After a successful surrogacy procedure in a hospital, Mimi is declared pregnant. The American couple is happy. They take care of Mimi’s financial requirements for the next few months before they depart for the USA.
Now, the problem for Mimi is how to conceal her pregnant tummy from her parents and the rest of society in her town. Mimi lies to her parents that she is going to Mumbai for 9 months for a film shoot. She shifts to stays with her friend, Shama (Sai Tamhankar) who is her singing/dancing partner for the dance shows and stays in the other part of the town. On the instructions of the American couple, Bhanu also joins her.
After few weeks, the American couple returns to India to check the progress of Mimi’s pregnancy. They take her to the doctor for a check-up which reveals that the child is likely to be born with some deformity. Both Mimi and the American couple are shocked. The American couple returns to US without informing Mimi and advises her through Bhanu that she should get the child aborted. Mimi refuses to do abortion and instead she and Bhanu return to her home town in Rajasthan. Now the pregnancy is known to her parents as well as the town. To hide her surrogacy, Mimi tells her parents that while in Mumbai, she got married to Bhanu and the child in the womb was that of Bhanu. After some hesitation, Mimi’s parents accept to take care of her.
Few weeks later, Mimi delivers a baby boy with fair skin, blue eyes and the blond hair. People make fun of Bhanu as to how he could be father of such a fair skin and blond boy. In the meanwhile, Bhanu’s real wife and mother also comes to know that he has a son from a different woman. Bhanu, however, successfully convinces that the boy is born out of surrogacy, and he has only lent his name as Mimi’s husband to hide the truth. Due to his unique unusual appearance, the boy is loved by all around him. Both Mimi’s and Bhanu’s families accept the baby boy. They are all happy with a growing child around them. Raj is now 4-year-old.
After watching a viral short video of Mimi dancing with Raj, the American couple visits India and land in Mimi’s house. They demand the child back as per the contract. Mimi, who is now emotionally attached to Raj, refuses to part with Raj to the American couple. They plead that his wife, out of depression, tried to commit suicide and only the child would bring happiness in her. Neither Mimi nor their family is ready to hand over the child. The American couple decide to take the legal course to settle the issue. Mimi’s family also consults a lawyer who tells them that to fight the case, Raj would need to be present in the court for every hearing. Mimi does not want 4-year Raj to go through such an ordeal and confuse him further about his status. She decides to handover Raj to the American couple.
The film ends with the entire Mimi and Bhanu families unanimously agreeing to handover Raj to the American couple only to be told by them that they have already adopted an Indian girl child as they feel that Raj would be happy with Mimi, his biological mother.
The film raises the important issues – social, emotional, and legal, concerning surrogacy. After watching the film, the audience would be forced to think as to how far surrogacy is morally and ethically right due to its commercial nature. Anyway, in India, under the new Surrogacy (Regulation) Rules, 2022, the commercial surrogacy has been banned. Even for altruistic surrogacy, there are very tough conditions to be met before getting approval for a surrogate mother.
The film was critically acclaimed. Kirti Sanon was appreciated for her performance as a surrogate mother. Pankaj Tripathi’s performance was excellent. Other actors fitted very well in their respective roles. Due to coronavirus, the entire financial arithmetic of the film’s budget went awry, first because of the delay in release of the film and secondly, it did not get the theatrical release. With the passage of time, the film has stated to have not only recovered the cost but has also earned some profit as per box office report.
The film has 7 songs, all written by Amitabh Bhattacharya and set to music by A R Rahman. I present the first song, ‘chhoti si chiraiyya udke chali kis gaaon’ to appear on the Blog. The song is sung by Kailash Kher. This is a very emotional song played in the background when Mimi and her families starts the day’s activities waking up Raj from the bed, getting him bathe and feeding him. He is ready with his new dress and the baggage to travel. There are melodramatic scenes involving Mimi, her family and neighbours during the duration of the song. Raj, unaware of the his final disconnect with his biological mother and the family, is in a happy mood. The family travels in the car with Raj and reach the premises to hand him over to the American couple as the background song comes to an end.
The prelude and interlude music have some shades of Carnatic style which add to the poignancy of the song.
Video Clip:
Audio Clip:
Song-Chhoti si chiraiyya udke chali kis gaaon(Mimi)(2021) Singer-Kailash Kher, Lyrics-Amitabh Bhattacharya, MD-A R Rahman
Chorus
Lyrics
chhoti si chiraiyya aa
chhoti si chiraiyya
udke chali kis gaaon
chhoti si chiraiyya aa
chhoti si chiraiyya
udke chali kis gaaon
reh gaya daana
reh gaya paani
sooni bhayi amuwaa ki chhaaon
muniya mori
sooni bhayi amuwaa ki chhaaon
chhoti si chiraiyya aa
chhoti si chiraiyya
udke chali re kis gaaon aan
ajab niraali moh ki maaya
samjhe samajh nahi aaye
angna se tohri chehak to jaaye
tohri mehak nahin jaaye
nain samandar saath bhale par
bhare na karejwaa ke ghaav
muniya mori
bhare na karejwaa ke ghaav
chhoti si chiraiyya aa
chhoti si chiraiyya
de vidaayi mein tujhe kya keemti saamaan
de jaa nindiya rain ki subah ki le muskaan
bhar ke apni chonch mein
le jaa hamre praan
aa aa aaa aa
chhoti si chiraiyya
chhoti si chiraiyya
udke chali kis gaaon
reh gaya daana
reh gaya paani
sooni bhayi amuwaa ki chhaaon
muniya mori
sooni bhayi amuwaa ki chhaaon
muniya mori
sooni bhayi amuwaa ki chhaaon
Bataao bataao hai kya ye saheli
Posted on: March 4, 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.
|
Blog Day : |
5342 | Post No. : | 17516 | Movie Count : |
4713 |
‘Raanjhanaa’ (2013) is a love story which was produced by Krishika Lulla and was directed by Aanand L Rai. Dhanush (of Kolaveri fame) made his debut in Hindi film as a lead actor along with Sonam Kapoor. Other actors in the film were Mohammed Zeeshan Ayub, Swara Bhaskar, Abhay Deol (special appearance), Kumud Mishra, Deepika Amin, Shilpi Marwah, etc in supporting roles. The film was dubbed in Tamil as ‘Ambikapathy’ (2013).
The consequence of unrequited love is the theme of the film’s story.
Kundan Shankar (Dhanush), the son of a Tamil priest in a Varanasi temple is madly in love with his childhood crush, Zoya (Sonam Kapoor) who, now grown up, does not wish to reciprocate his love as they belong to different faith. Bindiya Tripathi (Swara Bhaskar) loves Kundan but he does not reciprocate her love for the obvious reason. When Zoya’s parents come to know about her relationship with Kundan, she is sent away to Aligarh for further schooling. Kundan continues to be in good books with Zoya’s parents who also admires him for his timely help whenever they required.
Zoya gets admission in JNU for higher studies where she gets involved with students’ union activities. Here, she comes in contact with Jasjeet Singh (Abhay Deol). Both are in love with each other and are keen to get married. Knowing her parents’ views on inter-faith marriage, Zoya tells Jasjeet to impersonate himself as Akram Zaidi when they meet her parents.
Zoya returns to Banaras after many years and meets Kundan to tell him that she is in love with Akram and he should convince her parents for her marriage with Akram. She also tells him that he should also get married to Bindiya who loves him. Kundan’s love for Zoya makes him agree to her both requests, albeit reluctantly.
On the day of the pre-wedding ceremonies of both Zoya and Kundan at different venues, Kundan’s comes to know through a newspaper report that the student leader of JNU is a Sikh, Jasjeet Singh in the guise of Akram Zaidi. This enrages Kundan so much that he rushes out of his pre-wedding ceremony to tell Zoya’s parents that Akram is not a Muslim. In the milieu, Jasjeet is badly beaten by Zoya’s relatives for lying them and Zoya tries to commit suicide. When Kundan comes to know about these incidents, he rushes to the hospital leaving his wedding ceremony. Injured Jasjeet is taken to his native place by his parents and Zoya recovers from her attempted suicide injuries.
When Kundan returns from hospital, it is too late for him to get married to Bindiya. His parents, being angry, expels him from the house. The homeless Kundan feels remorseful as it was because of him, Jasjeet got injured and Zoya tried to commit suicide. To redeem himself from his wrongdoing, Kundan takes Zoya to Jasbeer’s native place where he comes to know that he has succumbed to his injury.
Zoya rejoins JNU and carry forward the work of the party floated by Jasjeet. Kundan, after knowing that Zoya is heading the party, joins the party. He becomes popular with the party workers and overtime, he has risen to one of the important functionaries of the party. Zoya, who already holds Kundan responsible for Jasjeet’s death, feels threatened by Kundan’s popularity. With some instigations and support from outside politicians, Zoya plans to get Kundan injured during his campaign speech. However, Kundan gets badly injured in a blast and is hospitalized in a serious condition.
When Zoya comes to know that Kundan who was already aware of her plan, deliberately decided to get injured, she rushes to hospital to be with him. In his dying moment, he tells her that he is now very tired and wish to get a final rest. He wishes to be born in Banaras again and be an unrequited lover of a girl like Zoya.
The highlight of the film is the exceptional performance by Dhanush. He gives through his performance a feeling that no one else but he can only perform the role of Kundan. Dhanush dubbed his dialogues in Hindi in his own voice for which he took extensive coaching in Hindi. Some shades of Tamil accent in his Hindi dialogues worked well for his character of a Tamil brahmin in the film. Swara Bhaskar and Zeeshan Ayub also performed very well in their respective roles of Bindiya and Kundan’s close friend, Murari.
‘Raanjhanaa’ (2013) had 9 songs, all written by Irshad Kamil which were set to music by A R Rahman. According to Aanand L Rai, film’s director, when A R Rahman heard that the script was Banaras based, thoughts of Ustad Bismillah Khan immediately came to his mind. He suggested using elements of shehnai in the film’s songs in honour of the shehnai maestro. (Source: May 9, 2013 issue of ‘Mid-Day’). He composed all the songs in folk-classical base to give a feel of Banaras.
I am presenting the first song from the film, ‘bataao bataao kya hai paheli’ to appear on the Blog. The song is rendered by Madhushree, Vaishali Samant, Chinmayee, Aanchal Sethi and Chorus. The song is written by Irshad Kamil which is set to music by A R Rahman. The background of the song is that when it becomes certain to Kundan that Zoya would be getting married to her fiancé, Jasjeet Singh posing as Akram Zaidi, Kundan agrees to marry Bindiya. At both the places, pre-wedding rituals are going on simultaneously as this song is played in the background.
In this song, there are three riddles in the conversation between two ‘sakhis’ describing some ordinary events. One sakhi who acts as an interlocutor answers the riddles by imagining that she is talking about her ‘saajan’ (beloved). The ‘sakhi’ says ‘no’ and gives the answer which turns out to be something ordinary. The song is inspired from Amir Khusro’s ‘mukriyaan’ (riddles). An example of the many riddles Amir Khusro wrote is as under:
raat samay wah mere aawe
bhor bhaye wah ghari uti jaawe
ye achraj hai sab se nyaara
ae sakhi saajan
naa sakhi taara
Another feature of this song is that there are percussions and shehnai which are vocally played in the interludes. As per the credit titles of the film, the vocal percussions and shehnai were given by Chinmayee and Aanchal Sethi.
Video Clip:
Audio Clip (with video mix):
Song-Bataao bataao hai kya ye saheli (Raanjhana)(2013) Singers-Madhushree, Vaishali Samant, Chinmayee, Aanchal Sethi, Lyrics-Irshad Kamil, MD-A R Rahman
Lyrics: (Based on Audio Clip)
sa dha ni re
aa aa aa
sa dha
aa aa aa aa aa
aa aa aa aa aa
dha ma dha ni
dha ni re
dha ni pa
re ga ma dha pa
re ga pa sa
ga ma dha dha
ni ni sa ni dha pa
re ga ma dha pa re sa
aa aa aa
aa aa aa
ga ma dha dha
ni ni ni ga re ga
sa re sa
aa aa aa aaa
aa aa aa aaa
aa aa aa aaa
bataao bataao hai kya ye saheli
bataao bataao hai kya ye paheli
bataao bataao hai kya ye saheli
bataao bataao hai kya ye paheli
haan hai sakhi uljhan
kya sakhi uljhan
ae sakhi uljhan
kya sakhi uljhan
ae sakhi uljhan
kya sakhi uljhan
tyun tyun tyun tyun tyun….un
tyun tyun tyun tyun tyun….un
tyun tyun tyun
tidid tyun tyun tyun tyun….un
tidid tyun tyun tyun
tyun tyun tyun tyun
tyun tyun tyun
tyun tyun tyun
tyun tyun tyun
tyun tyun
hriday saara badal hai jaata
janam janam kaa usase naata
ho kabhi hai waadi ho o
kabhi suwaadi
kabhi hai waadi ho o
kabhi suwaadi
ae sakhi saajan
naa sakhi shaadi
ae sakhi saajan
naa sakhi shaadi
ae sakhi saajan
naa sakhi shaadi
pein pein pein pein pein
pein pein pein
pein pein pein pein pein
pein pein pein
paaye pa pa
paaye pa pa
paaye pa pa
paaye pa pa
paaye pa pa
paaye pa pa
pei…………..n
paaye pa pa
paaye
paaye pa pa
paaye
paaye pa pa
paaye
pei……………n
chaahe to wo karde andhera
geela karde tanmann mera
chaahe to wo karde andhera
geela karde tanmann mera
main to sukhaati hoon
tera dil daaman
ae sakhi saajan
o sakhi saawan
ae sakhi saajan
naa sakhi saawan
haaye
paas naa ho bada sataaye
sataaye
paas jo ho bada sataaye
sataaye
paas bulaaye bina batlaaye
bataaye
paas wo aaye bina batlaaye
bataaye
paas rahe nazar naa aaye
na aaye
paas rahe nazar lagaaye
lagaaye
paas usike rahen
khwaishen khwaishen
paas usike to hai
khwaishen khwaishen
o uske liye ho
karoon sau jatan
ae sakhi saajan
haan sakhi saajan
ae sakhi saajan
haan sakhi saajan
haan sakhi saajan
haan sakhi saajan
Nainaa neer bahaaye
Posted on: February 27, 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.
|
Blog Day : |
5337 | Post No. : | 17503 | Movie Count : |
4710 |
Amritsar born Canadian Indian, Deepa Mehta has been known for making feature films on social issues. Her most passionate film making project has been the ‘Element Trilogy’ – ‘Fire’ (1996), ‘1947 Earth’ (1998) and ‘Water’ (2005) for which she had received critical acclaim worldwide and also won her many awards. The themes of her films are progressive for some and controversial for others. So, controversies surrounded her most of the time when film’s shooting was to commence or at the time of the release of the films.
I have not yet watched ‘Fire’ (1996) and ‘1947 Earth’ (1998). But I have watched ‘Water’ (2005) for which there were a lot of controversies as soon as the film’s unit landed in Varanasi for shooting in 2000. I remember to have read the news in those days that film’s set in Varanasi was destroyed by the miscreants even though the film units had received approvals from both the Central and State governments for shooting. There was also the death threat to Deepa Mehta. She cancelled the shooting of the film and went back to her home city, Toronto.
After waiting for about 4 years, Deepa Mehta shifted her shooting location from Varanasi to Sri Lanka in 2004. The art director created a set of Varanasi with its ghats and ashrams at the shore of Bolgoda Lake, near Colombo. The inordinate delay in resumption of shooting resulted in taking a new set of actors including those from Sri Lanka. Earlier actors included Shabana Azmi, Nandita Das and Akshay Kumar. They were replaced by Seema Biswas, Lisa Ray, and John Abraham respectively. The role of 8-year young widow, one of the main actors was performed by Sarala Kariyawasam, a class 7th student from Galle, Sri Lanka.
‘Water’ (2005) takes the film audience back to 1938 when the widowed women (child, young or even old) were shifted to shelter homes (ashram) specially created for them. The film brings to the notice of the modern society the poverty, deprivation and exploitation of widows as prevailed in pre-independent India. This practice is not completely eradicated in some places in the post-independent India.
The film was produced by Deepa Mehta’s Canada based home production company, David Hamilton Production. The star cast included John Abraham, Lisa Ray, Seema Biswas, Sarala Kariyawasam, Manorama, Kulbhushan Kharbanda, Raghuveer Yadav, Vinay Pathak, Vidula Javalgekar Waheeda Rehman (special appearance), Garson D’Cunha etc. The gist of the film’s story is as under:
Chuyia (Sarala), the 8-year old widow is shifted to a ashram in Varanasi after the death of her husband. It is a traumatic experience for her to be separated from the parents in such a young age and live in a state of poverty among the widows. But her arrival in the ashram results in an atmosphere of activities in otherwise quiet life. Her energetic activities in the ashram get her noticed from two other widows – a young Kalyani (Lisa Ray) and a middle-aged Shakuntala (Seema Biswas). They become the protector of Chuyia.
Kalyani had become widow at age of 7 and is the most beautiful of the widows in the Ashram. Madhumati (Manorama), the ‘boss’ of the ashram has allowed Kalyani to grow her hairs because Madhumati has an arrangement with the pimp Gulabi (Raghuvir Yadav) to take Kalyani to wealthy clients, as a source of income for the ashram.
Shakuntala is only among the widows who can read and write. She is sharp and short tempered. Hence, Madhumati, despite being a ‘boss’ of the ashram, avoids bossing her. Shakuntala is God fearing and follow the dictates of the widowhood as explained to her by a priest (Kulbhushan Kharbanda). At the same time, she feels unjust to be a widow. When she asks the priest whether there is any other way to avoid the stigma of being widow, he says that there is a law which now allows widows to remarry. She is surprised as to why this was not brought to their notice. The priest cooly says that “we do not always follow the law when it is inconvenient”.
Narayan (John Abraham) returns to his home in Varanasi after becoming a lawyer in Kolkata. He has become the follower of Mahatma Gandhi who has been campaigning, among other things, for breaking social and religious barriers for widow remarriage. Narayan’s father, Dwarkanath (Gerson D’Cunha) has an aristocratic lifestyle and is liberal in his views. His mother (Waheeda Rehman) on the other hand is conservative and tradition bound.
One day Chuyia, while trying to catch her puppy who ran away from her, gets lost on her way back to ashram. She meets Narayan who drops her on the doorstep of Kalyani’s room in the ashram. He is shocked to see a young Kalyani who will be spending rest of her life in austerity and deprived of her rights. Narayan wants to marry Kalyani but she is not ready because she is God-fearing and tradition bound. With much persuasion by Narayan, Kalyani agrees to the marriage. Despite facing obstacles from Madhumati, Kalyani reaches the shore of River Ganga where Narayan is waiting to take her to his house across the river to meet his parents. When Kalyani sees the house from the boat, she at once tells Narayan to turn the boat back as she gets to know that Narayan’s father is also one of Madhumati’s clients on whom she was forced upon.
Kalyani returns to ashram and in the night, she commits suicide by drowning herself in the River Ganga. Narayan is shocked to know his father’s views on widows despite being liberal in views. He blames his father for Kalyani’s tragic end. He leaves the house to join Mahatma Gandhi. He meets Shankutala on the way at the shore of River Ganga. Both are at loss for words after the death of Kalyani. At last, Shakuntala asked Narayan a pertinent question. ‘Why are widows sent to ashram’? Narayan gives a practical explanation for this ancient practice: “One less mouth to feed, four less saris in a year, and a free corner in the house. Disguised as customs and traditions, it’s just about money”.
In the absence of Kalyani, Madhumati sends Chuyia as a replacement for the client in the guise of telling her that she is going back to her own house. When Shakuntala comes to know about this, she rushes to rescue Chuyia only to know that she was too late. She takes the traumatized Chuyia in her arms, confused as to what to do now to make her safe from Madhumati. She learns that Mahatma Gandhi would be arriving at the railway station to proceed to Allahabad. She rushes to the railway station. In the midst of crowded platform, Shakuntala runs to hand over Chuyia to any one of the passengers in the already slow moving train, pleading to take her with them. She finds to her surprise that it is Narayan who takes Chuyia from her in the overcrowded train.
There are some poignant moments in the film. For instance, in a few minutes after the opening scene, Chuyia who is in her deep sleep in the house is woken up by her father to tell her that her husband is no more, and she has become a widow now. She asks her father innocently “how long, father”? In one scene, she innocently asks ‘is there man-widow ashram also’? In spite of some poignant moments in the film, Deepa Mehta has successfully avoided the film turning into an intense melodrama. The subtle message from the film is that even if one goes by customs and traditions of widowhood, the ashram is at the shore of River Ganga whose water is the symbol of purification. The widows in the ashram have to remain self-restrained and chaste. But in reality, ashram has become a place for exploitation of widows. The other message is that widows have rights as a human beings.
‘Water’ (2005) became the official Oscar entry from Canada which made into the final five in the category of the best foreign language films. The film could be released in India only in 2007 which received lukewarm responses from the film audience. The film was meant for the niche audience most of whom may have probably watched the film on DVD released in 2005.
‘Water’ (2005) had 6 songs of which 5 songs were written by Sukhwinder Singh and one was the devotional song of Narsinh Mehta. A R Rahman has composed all the songs in raagdari music with some shades of folk music. In a long interview with Arjit Singh about Hindi film music, A R Rahman had said that ‘Water’ (2005) has been his most satisfying work as a music director. He said that he had composed all the six songs before the film’s shooting was stalled in 2000.
I am presenting the first song, ‘naina neer bahaaye’ from the film to appear on the Blog. The song is written by Sukhwinder Singh and is rendered by Sadhana Sargam. In the interview quoted above, A R Rahman revealed that he got inspired from a one-minute advertisement jingle in Hindi rendered by Kavita Krishnamurthy. Rahman could not recall the name of the composer of the jingle but remembered him as one of the most talented composers. He further said that he composed the tune of the song based on Raag Bhatiyari (the same raag which was used in the jingle).
When my extensive surfing on the internet did not get me anywhere about the jingle referred to by A R Rahman, a comment on the video clip of the song under discussion led me to this jingle:
purab se surya uga phaila ujiyaara
jaage har disha disha jaaga jag saara.
The video clip of the jingle is here.
This jingle was composed by Ashok Patki, the music director of Marathi films, plays and T V Serials. I have watched this advertisement many times on Doordarshan in early 90s. Kavita Krishnamurthy revealed in an interview that when she met A R Rahman for the first time for a song recording, he specifically pointed out this jingle and appreciated it for its musical composition. This indicates that this jingle remained in the mind of A R Rahman for a long time.
In the film, only the mukhda of the song is picturised. The background of the song is that after meeting Narayan who clears Kalyani’s misconception about widow remarriage, she decides to get married with him. This news gets leaked to Madhumati, the ‘boss’ of the ashram who cuts Kalyani’s hair and locks her in the room. The mukhda of the song plays in the background as she prays to Lord Krishna. The Director has compared Kalyani’s situation as that of Meerabai whose desire was to be with Giridhar despite many obstacles. Here Kalyani believes that her Giridhar (Narayan) would come and rescue her.
The song under discussion is pure Hindustani classical music, which is beautifully rendered by Sadhana Sargam, bringing out the underlying intense pathos. Unfortunately, this song ( as also other songs from the film) remained on the back burner due to delay in film’s released in India and after the release, its quick eclipse from the theatres.
Audio Clip:
Video Clip (Partial):
Song-Nainaa neer bahaaye (Water)(2005) Singer-Sadhana Sargam, Lyrics-Sukhwinder Singh, MD-A R Rahman
Lyrics (based on Audio Clip)
naina…aaaaaaa
naina neer bahaaye…ae ae
naina…aaaaaaa
naina neer bahaye..aae
mujh birhan kaa dil sajaan sang
mujh birhan kaa dil saajan sang
jhoom jhoom ke gaaye…ae ae
naina…aaaaaaa
naina neer bahaye…ae ae
naina…aaa
naina neer bahaaye ae
mujh birhan ka dil saajan sang
mujh birhan ka dil saajan sang
jhoom jhoom ke gaaye…ae ae
naina…aaa
naina neer bahaaye ae
ha aa aa aa
aa aa aa aa
vish kaa pyaala kaam na aaya
meera ne pee ke dikhlaaya..aa
vish ka pyaala kaam na aaya
meera ne pee ke dikhlaaya..aa
prem to hai gangajal ismein
prem to hai gangajal ismein
prem to hai gangajal ismein
vish amrit ban jaaye..ae ae
naina…aaaaaaa
naina neer bahaaye.. ae ae
prem hai Giridhar ki baansuriya..aa aa
prem hai Giridhar ki baansuriya
prem hai Radha ki saanwariya aa
ye hai saat suron kaa dariya
ye yai saat suron kaa dariya
jhar jhar bahta jaaye..ae ae
naina…aaaaaaa
naina neer bahaaye..ae ae
naina…aaaaaaa
naina neer bahaaye..ae ae
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.
|
Blog Day : |
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
Chupke se raat ki chaadar taley
Posted on: February 21, 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.
|
Blog Day : |
5331 | Post No. : | 17478 | Movie Count : |
4703 |
‘Saathiya’ (2002) was produced jointly by Yash Raj Films and Madras Talkies (of Mani Ratnam). It was a remake of Mani Ratnam’s super hit Tamil film,’Alai Payuthey’ (2000) with Madhavan and Shalini in lead roles. ‘Saathiya’ (2002) was directed by Shad Ali (son of the new wave film maker, Muzaffar Ali and his ex-wife Subhashini Ali), his first film as a director. Before getting the independent assignment as a director, Shad Ali had done apprenticeship under Mani Ratnam for 4 years. He was Assistant Director to Mani Ratnam in ‘Dil Se’ (1998) and the Associate Director for ‘Alai Payuthey’ (2000).
In an interview with rediff.com which appeared on December 17, 2002, Shad Ali had said that when Mani Ratnam offered him to direct ‘Saathiya’ (2002), it was a challenge for him as people were bound to compare the original Tamil film with Hindi remake. Hence, he changed the location of the story from Chennai to Mumbai and converted the story into Hindi culture. He asked Gulzar to write the new script for his dialogue writing, and write songs independent of the original film keeping the mood and essence of the original story intact. As per Box Office report, ‘Saathiya’ (2002) became a box office hit.
The film had Rani Mukherjee and Vivek Oberoi in lead roles with the supporting cast of Sandhya Mridul, Tanuja, Satish Shah, Swaroop Sampat, Sharat Saxena, Shamita Shetty etc. Shahrukh Khan and Taboo did cameo roles. The film is a romantic drama but there is some difference with usual Bollywood romantic films in which marriage is the culmination of falling in love after facing lots of obstacles. But in this film, the obstacles starts after the marriage – from parents, difficulties they face to adjust to each other, the cultural differences, tiffs etc. But at the end, the husband and wife feel that they love each other more than they did during their courtship. The gist of the story of the film is as under:
Aditya (Vivek Oberoi) and Suhani (Rani Mukherjee) meet at a marriage where he, after initial fun talks, starts following her. At first, she thinks that he is only flirting with her. But after some more meetings, both feels that they love each other. Suhani belongs to a middle-class family doing her medical while Aditya has been brought up in a luxurious lifestyle. So, parents of both are against their marriage. Nonetheless, Aditya and Suhani get married in in a temple in the presence of Marriage Registrar without the knowledge of their parents and continue to live in their respective home. Their marriage secret is out when Suhani’s elder sister’s marriage is being finalised. Aditya and Suhani leave their parents’ house and start leaving in a rented house together.
After the initial euphoria, the problems of adjustments between Aditya and Suhani arises leading to some tiffs and rifts in their married life. Some misunderstanding on the part of Suhani that Aditya is having an affair makes her life miserable. Worried about these developments, one day, while crossing the road on her way to hospital, Suhani is hit by a car driven by Savitri (Taboo) and injured. Suhani admitted to a hospital. Savitri runs away from the accident spot and telephones her husband, Yashwant (Shahrukh Khan) about the accident who visit the hospital and signs operations paper as her husband, only to hasten the surgery. In the hospital, to save Taboo, Shahrukh Khan takes the blame on himself for the accident. In the meanwhile, Aditya is waiting for Suhani to return home so that he can patch up with her.
After a lot of searches and enquiries, Aditya gets to know about the accident and visit the hospital where he finds that Suhani is in coma. Savitri with a guilty feeling, tells Aditya that it was she who was driving. When Suhani regains consciousness, the emotionally charged Aditya tells Suhani how much he felt her absence for few hours. Suhani also reciprocates the same. The film ends with Aditya hugging Suhani in the hospital.
‘Saathiya’ (2002) has nine songs written by Gulzar and set to music by A R Rahman. I am presenting the first song from the film to appear on the Blog. The song is ‘chupke se raat ki chaadar tale’ sung by Sadhana Sargam, Murtaza Khan and Qadir Khan. The refrains (first and third stanzas) are rendered jointly by Murtaza Khan and Qadir Khan. Murtaza and Qadir are the sons of Padma Vibhushan Ustad Ghulam Mustafa Khan of Rampur-Sahaswan Gharana.
The situation of the song is that Vivek Oberoi and Rani Mukherjee are married. But they are staying in their respective houses because they got married without disclosing it to their parents. This is a song about a separated couple longing for spending time together.
Two interesting observations about this song:
The line in the song, haule haule marwa ke raag mein Meer ki baat ho, Gulzar has used the metaphors of Raag Marwa and the Classical Urdu Poet, Meer Taqi Meer’s name. Raag Marwa in Hindustani classical music is an evening raag (dusk) which is generally used in composing songs of longing for reunion. There are many ‘bandishes’ on separation in raag Marwa. Meer Taqi Meer was known for his ghazals seeking reunion with his beloved but unsuccessful. One of his popular ghazals in this category is ‘faqeerana aaye sada kar chale’ in which there is a couplet, dikhaayi diye yoon ke bekhud kiya. When Gulzar talked about ‘Meer ki baat ho’, he did not mean to ‘talk about Meer’. I guess, he meant reciting Meer’s couplets with Raag Marwa playing in the background.
The second observation in this song is about the refrain sung by Murtuza Khan and Qadir Khan in the Sufi style of music. A R Rahman seems to be fond of this type of addition in the song as he again did in ‘tere bina beswaadi beswaadi ratiyaan’ in the film, ‘Guru’ (2007) by adding refrain ‘dum dara dum dara mast mast dara’. Incidentally, this is also a song of a separated couple longing for reunion, written by Gulzar and refrains rendered by Murtaza Khan and Qadir Khan.
The somber mood of the song under discussion is well captured in the Sarangi interlude by Ustad Sultan Khan. The orchestration has been kept on a low key throughout the song resulting in more emphasis on the melody.
Video Clip:
Audio Clip:
Song-Chupke se raat ki chaadar taley(Saathhiya)(2002) Singers-Murtaza Khan, Qadir Khan, Sadhana Sargam , Lyrics-Gulzar, MD-A R Rahman
Lyrics (Based on Audio Clip)
doston se jhoothi-moothi
doosron kaa naam leke
phir meri baaten karna
yaara
raat se din karna..aa
lambi judaai teri
bada mushkil hai
aahon se dil bharna
yaara
raat se din karna..aa
kab ye poori hogi
door ye doori hogi
kab ye poori hogi
door ye doori hogi
roz safar karna
yaara
raat se din karna
chupke se
chupke se
raat ki chaadar tale ae ae
chaand ki bhi aahat naa ho
baadal ke peechhe chalen
jale katra katra
gale katra katra
raat bhi naa hile aadhi aadhi
raat bhi naa hile aadhi aadhi ye
chupke se lag jaa gale
raat ki chaadar tale
farvari ki sardiyon ki dhoop mein
moondi moondi ankhiyon se dekhna
haath ki aad se ae
nimmi nimmi thhand aur aag mein
haule haule marwa ke raag mein
Meer ki baat ho..o o
din bhi naa doobe
raat naa aaye
shaam kabhi naa dhale..ae ae
shaam dhale to subah na aaye
raat hi raat chale..ae ae
chupke se
chupke se
raat ki chaadar tale
chaand ki bhi aahat naa ho
baadal ke peechhe chale
doston se jhoothi moothi
doosron kaa naam leke
phir meri baaten karna
yaara
raat se din karna..aa
lambi judaai teri bada mushkil hai
aahon se dil bharna
yaara
raat se din karna..aa
kab ye poori hogi
door ye doori hogi
kab ye poori hogi
door ye doori hogi
roz safar karna
yaara
raat se din karna
tujh bina pagli purwaai…..ee ee ee
tujh bina pagli ye purwaai
aake meri chunari mein bhar gayi
tu kabhi aise hi
gale lag jaise ye purwaai
aa gale lag jaise ye purwaai
saathiya sun tu…uu
kal jo mujhko neend naa aaye
paas bula lena..aa
god mein apni sar rakh lena
lori suna dena..aa
chupke se
lag jaa gale
raat ki chaadar tale
chaand ki bhi aahat naa ho
baadal ke peechhe chale
jale katra katra
gale katra katra
raat bhi naa hile aadhi aadhi
raat bhi naa hile aadhi aadhi ye
chupke se
lag jaa gale
raat ki chaadar tale
chaand ki bhi aahat naa ho
baadal ke peechhe chalen
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.
|
Blog Day : |
5326 | Post No. : | 17461 | Movie Count : |
4698 |
Khalid Mohamed, the journalist, the film critic, the former editor of Filmfare magazine and The Hindustan Times, started his career in Hindi film industry when he wrote the story and screenplay for Shyam Benegal’s trilogy on Indian Muslim Women – Mehmooda Begum in ‘Mammo’ (1994), ‘Sardari Begum’ (1996) and Zubeida Begum in ‘Zubeida (2001). All these three women were the relatives of Khalid Mohamed, Zubeida Begum being his mother. After working with Shyam Benegal, Khalid Mohamed turned director with his first film, ‘Fiza’ (2000). This was followed by ‘Tehzeeb’ (2003) and ‘Silsilay’ (2005). While ‘Fiza’ (2000) was a box office hit, his next two films were box office disasters. The last film he directed was ‘Katha’ – a remake of ‘Katha’ (1983) which has remained unreleased after the completion of the film in 2016.
‘Tehzeeb’ (2003) is Khalid Mohamad’s second film as a director for which he also wrote story and screenplay. The film is based on Ingmar Bergman’s Swedish drama film, ‘Höstsonaten’ (English title: ‘Autumn Sonata’, 1978). It is a woman-oriented Muslim social film with story mainly hovering around the mother-daughter relationship. The cast includes Shabana Azmi, Urmila Matondkar, Arjun Rampal, Dia Mirza, Namrata Shirodkar, Diana Hayden, Satish Kaushik, Palak Jain, Rekha Rao, and Rishi Kapoor in a special appearance. The gist of the story is as under:
Rukhsana (Shabana Azmi) and Anwar (Rishi Kapoor) have been married for long time with two daughters – Tehzeeb (Urmila Matondkar) and Nazneen (Dia Mirza) who is mentally challenged. Anwar is not doing well in his business and is depressed. Rukhsana on the other hand, is a popular and ambitious singer who has been doing very well in her career. One day, the depressed Anwar after some heated argument with Rukhsana commit suicide. This was seen by Tehzeeb (as a child) from a distance. Rukhsana is suspected to have killed Anwar for which she is arrested and jailed. However, she is released from the jail for the lack of evidence. She rebuilds her career as a singer and looks after her two daughters as a single mother.
As Tehzeeb grows into her adulthood, she develops some sort of grudge against her mother. She feels that during her childhood, she had not given enough time to them by spending more time in furthering her career as a singer. She also feel that her mother was responsible for her father’s suicide. Another friction point between mother and daughter is that Tehzeeb got married to Salim Mirza (Arjun Rampal), a writer, against her wishes. After marriage, Tehzeeb shifts to her husband’s place along with Nazneen.
Five years have passed since the marriage and Tehzeeb is happy in her married life. She also looks after her mentally challenged sister, Nazneen. At this juncture, Rukhsana decides to make a visit to Tehzeeb’s house to meet her and Nazneen. Both are happy to renew their ties after 5 years but at the same time there is some apprehensions as to how the visit will go. For the first few days, their relations are cordial. But eventually, the bent-up tensions between them surfaces on some occasions with arguments and counterarguments. Nevertheless, both have some happy moments too and recall their childhood nostalgia. So, mother and daughters become close to each other.
When things were looking normal, one day, Nazneen shoots herself with a gun which was in fact used by Anwar for his suicide. Luckily, she survives after some anxious moments. But this incidence indirectly facilitates removing Tehzeeb’s misunderstanding about her mother. She feels guilty about her attitudes towards the mother until now. She wants to say sorry to her mother and seek pardon for her misunderstanding. She approaches her mother who is sitting on a swing and apologises for the way she has treated her so far. But it is too late. Rukhsana does not respond as she has died of heart-attack. The film ends with Tehzeeb singing one of her mother’s favourites songs.
When I started watching the film, I was not very optimistic as to how the theme of mother-daughter relationship will be handled. My fear was that there would be a lot of melodrama with high-pitched arguments. The director has handled the grudge of a daughter against her mother very sensitively without appearing too melodramatic. At the same time, he has taken care to show in a subtle way that there is love and respect for each other. I liked the scene in which mother and daughter who are scheduled to personally meet after 5 years, start rehearsing in front of the mirrors in their respective homes as to how they would greet each other. The confrontation scenes between mother and daughter have been gracefully performed by both Shabana Azmi and Urmila Matondkar without sounding too melodramatic.
I felt that scenes involving Namrata Shirodkar as a budding singer and Diana Hayden as a publishing executive who flirts with Arjun Rampal looked superfluous. These two characters were like speed breakers to the smooth progression of the main theme of the story.
‘Tehzeeb’ (2003) has six songs of which Javed Akhtar wrote two and Blaze wrote one English song. The remaining songs are ghazals written one each by by Urdu poets Momin Khan Momin, Daagh Dehlvi and Shaad Azimabadi. All songs were set to music by A R Rahman.
I am presenting the first song from the film to appear on the Blog. It is a ghazal ‘mujhe pe toofaan uthhaaye logon ne’ written by Urdu Poet, Momin Khan Momin (1801-1852). In the soundtrack version, the film ends with two couplets of this ghazal picturised on Urmila Matondkar.
The ghazal is rendered by Sujata Bhattacharya and I have become a fan of her in recent times. Most of the time, I am not able to differentiate her voice with that of Shreya Ghoshal whom I also admire among the current playback singers in Hindi films.
Kolkata born Sujata Bhattacharya (later renamed herself as Madhushree) is a trained Hindustani classical vocalist with specialization in Khayal and Thumri. She was trained by Pandit Amiya Ranjan Bandopadhyay of Bishnupur Gharana. She completed her post graduate degree in music from Rabindra Bharati University. She was deputed to Surinam by Government of India to teach Hindustani classical music where Indian origin people form a bulk of the population. When she found that her students were more interested in light music and Hindi film songs, she had to change her teaching syllabus. At this juncture, she also felt that she should pursue more of playback singing career than the career as a Hindustani classical vocalist.
Javed Akhtar was instrumental in introducing Sujata Bhattacharya in Hindi films as playback singer when he recommended her name to Rajesh Roshan for a song in the film ‘Moksha’ (2001). Thereafter, she has sung under many prominent music directors, majorly with A R Rahman and M M Kreem (Keeravani) in Hindi, Tamil and Telugu films. It is at the instance of A R Rahman that she changed her name from Sujata Bhattacharya to Madhushree since Rahman had many Sujatas in his music team.
Madhushree’s forte is semi-classical and the light musical genres of songs comprising ghazal, thumri, devotional, folk and romantic though she has also sung under A R Rahman, some peppy songs. In ‘Tehzeeb’ (2003), she has sung 3 ghazals including the one under discussion.
Coming back to the ghazal under discussion, I find this ghazal unique in the sense that all the couplets are thematically inter-linked whereas in traditional ghazal, they are supposed to be autonomous. Another uniqueness in this ghazal is that Momin imagines a situation ahead of falling in unrequited love that normally is the subject matter of the ghazal. This will become clear from what Momin has conveyed in this ghazal.
The poet is sad that that people have created storms with accusation and have spread baseless stories about their love. He was only longing to meet his beloved but people have fabricating stories as if we have already met. It is strange that people are forcing us to see as our grand show of love which we ourselves have not personally experienced. All these rumours and fabricated stories have deprived them of the excitement of falling in love and have upset his beloved. It is pity what the people have done to Momin.
Another uniqueness of this ghazal is that A R Rahman has composed this ghazal in ‘nazm’ format. This is evident from the fact that the musical interlude comes after every two couplets. The background music sounds like symphony orchestra when the song is rendered. Overall it is a melancholic ghazal.
Audio Clip:
Video Clip:
Song-Mujhpe toofaan uthhaaye logon ne (Tehzeeb)(2003) Singer-Madhushree, Lyrics-Momin Khan Momin, MD-A R Rahman
Lyrics (Based on Audio Clip)
mujhpe toofaan uthhaaye logon ne
mujhpe toofaan uthhaaye logon ne
muft baithhe bithhaaye logon ne ..ae ae
muft baithhe bithhaaye logon ne..ae ae
kar diya apne aane jaane ke ae
kar diya apne aane jaane ke ae
tazkire jaaye jaaye logon ne
mujhpe toofaan uthhaaye logon ne
muft baithhe bithhaaye logon ne ae
vasl ki baatein kab ban aayin thh…ee ee
dil se daftar banaaye logon ne
baat apni wahaan na jamne dee
apne naqshe jamaaye logon ne ae
mujhpe toofaan uthhaaye logon ne
muft baithhe bithhaaye logon ne ae
muft baithhe bithhaaye logon ne ae
sunke udti si apni chaahat ki
sunke udti si apni chaahat ki ee
donon ke hosh udaaye logon ne ae
bin kahe raaz aaye pinhaani
bin kahe raaz aaye pinhaani ee
usey kyunkar sunaaye logon ne
mujhpe toofaan uthaaye logon ne
kya tamaasha hai jo na dekhe thhe
kya tamaasha hai jo na dekhe thhe ae
woh tamaashe dikhaaye logon ne ae
kar diya ‘Momin’ us sanam ko khafa
kya kiya haaye re haaye logon ne ne
kya kiya haaye re haaye logon ne
mujhpe toofaan uthaaye logon ne
muft baithhe bithhaaye logon ne
mujhpe toofaan uthhaaye logon ne
mujhpe toofaan uthhaaye logon ne ae
mujhpe toofaan uthhaaye logon ne
Door kahin ik aam ki bagiya
Posted on: February 6, 2023
This article is written by nahm, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
5315 | Post No. : | 17426 |
Tribute to Lata Mangeshkar – 1
————————————————-
A R Rahman – The Musician of 21st Century – 5
—————————————————————-
On February 06, 2022 the voice fell silent forever. Today is the first Remembrance Day of ‘Nightingale of India’. We can give her many adjective call her ‘Andaleeb-e-hindostan’ or ‘hindustan ki bulbul’. The government of India has awarded her the highest civilian award of ‘bharat ratna’.
I turn to Iqbal for inspiration. I was hoping to find something suitable for this occasion, as ‘bulbul’ figures prominently in Allama Iqbal’s poetry. I am not going too deep in the interpretation of this one, just reproducing the ghazal, with the translation in English, which I found on one of the sites on Allama Iqbal.
Ye Surood-e-Qumri-o-Bulbul Faraib-e-Gosh Hai
———————————————–
Ye Surood-e-Qumri-o-Bulbul Faraib-e-Gosh Hai
Batin-e-Hangama Abad-e-Chaman Khamosh Hai
These songs of turtle doves and nightingales are merely ear’s illusion
Behind this uproar the world of the garden is silent
Tere Pemanon Ka Hai Ye Ae Mai-e-Maghrib Asar
Khanda-Zan Saqi Hai, Sari Anjuman Be-Hosh Hai
O Western wine the effect of your goblets is only this
That cup‐bearer is laughing and the entire assembly is unconscious
Dehr Ke Gham Khane Mein Tera Pata Milta Nahin
Jurm Tha Kya Afreenish Bhi Ke Tu Ru-Posh Hai
In the world’s sorrowful house you are not traceable
Was creation also a crime so Your nature is concealed?
Ah, Dunya Dil Samajhti Hai Jise, Woh Dil Nahin
Pehlu-e-Insan Mein Ek Hangama-e-Khamosh Hai
Ah! What the world considers heart is not heart
In the human breast this is a silent tumult
Zindagi Ki Rah Mein Chal, Lekin Zara Bach Bach Ke Chal
Ye Samajh Le Koi Meena Khana Bar-e-Dosh Hai
.
Walk on the path of life but walk carefully
Understand that some glass work is on your shoulders
Jis Ke Dam Se Dilli-o-Lahore Hum Pehlu Huwe
Ah, Ae Iqbal! Woh Bulbul Bhi Ab Khamosh Hai
Through whom Delhi and Lahore were drawn together
Ah! Iqbal that nightingale is silent now.
This ghazal talks of Nightingale’s song, silence behind noises of the world, effect of wine (of power) on those who enjoy power, the role of ‘saaqi’ in this process, the true beauty of creation being invisible and untraceable in this sad world, a silent tumult in the human chest, the heart without characteristics of a real heart, an advice to be careful in the world as one carries delicate matters as baggage, etc.
The ghazal ends, stating that the nightingale which brought ‘Dilli’ and ‘Lahore’ closer is silent now. How appropriate!
It is just co-incidence that I started this post with the sentence ‘On February 06, 2022 the voice fell silent forever’ and afterwards found this ghazal which ends with a similar refrain. As expected, Iqbal never fails to impress, with vocabulary, which is unusual, yet relatable.
I will at least make a trilogy of posts as a tribute to a legend among all Indian artists. It disturbs me to hear people criticise her, whenever her name is mentioned in informal talks, during lunch time etc. Even without actively trying to dominate the hindi films singers’ field, which some allege Lata Mangeshkar did, she would have dominated and overshadowed her competition. There was lot of focus, dedication, talent, devotion to her singing and single-minded ambition involved in making her the voice of the nation, and it gave her the heights and glory, which she deserved and no one else could have achieved.
And the perfectionist in her would not have settled for anything less. There are hundreds of her songs, which are a legacy too varied, for any body to emulate. I have always held her voice, the shine of it, close to my heart. As a professional, she held the belief that she is the best and she would be the best. In this she was her own competition, and she competed with no one else.
Though the world of music does not consider hindi film music as a serious form of music. The format of writer, composer and singer being different persons, is a factor in this non-recognition. Despite this Lata Mangeshkar’s status as Indian vocalist is hers alone and this cannot be overstated and over rated.
This fact was amply acknowledged by the new age musician like A. R. Rehman. Lata Mangeshkar sang very few songs in the last 20 years, but majority of these songs are for ARR. ARR is forever, having unknown singers from his academy sing his songs. Many of the established playback singers of hindi films have sung for him, 1, 2 or 3 songs for him. Lata Mangeshkar would top this list with Sukhwinder Singh, as film after film, he had her sings bhajans, fusion songs and lullabies and sad songs. From ‘Dil Se’ to ‘Rang De Basanti’ to ‘Pukar’, the songs are many.
I am presenting here one such lullaby from the film Zubeida (2001), one of the well-known songs by Lata-ARR. The poetry is by Javed Akhtar.
Two songs from “Zubeida”(2001) are already on the blog:-
| Song | Date of posting |
|---|---|
| Dheeme dheeme gaaun dheere dheere gaaun | 29 May 2019 |
| Mehandi hai rachnewaali | 4 October 2014 |
As a lullaby goes, this is softer and having a story of a ‘Shehzadi’. As all are asleep, the Shehzadi comes down from her home in the stars, to the child’s house. She brings with her all the sweet dreams with her and arranges those dreams on the child’s eyelashes. How endearingly the scene for the child to go to sleep is created, making he or she secure in the knowledge that the princess is going to come and give him sweet dreams as soon as he or she sleeps.
With ARR’s orchestration yet to reach the pinnacle in the new century, this is one of the best scores of that period. I have my favourites in this film’s songs too. But this ‘lori’ becomes all time classic in this genre, with Lata’s singing, not to mention the imagery of dreams brought down from the shining stars, that Javed Akhtar created.
Full Audio:
Part video:
Song-Door kahin ik aam ki bagiya (Zubeida)(2001) Singer-Lata Mangeshkar, Lyrics-Javed Akhtar, MD-A R Rahman
Lyrics
hmmm mmm mmmm
hmmm hm hmmhmmhmm
hmmm mmm mmmm
hmmm hm hmmhmmhmm
aa aaaa
aahaahaa aaaa haaaaa
door kahin ik aam ki bagiyaa aa
door kahin ik aam ki bagiyaa
bagiyaa mein hai
thhandi chhaaon
chhaaon mein ik kachcha rastaa
raste mein pyaara sa gaaon
gaaon mein ik chhota sa ghar
ghar mein ik ujlaa sa aangan
aangan mein chandan ka palna
palne mein chandaa sa munnaa
aaa…
munne ki aankhon mein nindiyaa aa
door kahin ik aam ki bagiyaa
bagiyaa mein hai
thhandi chhaaon
chhaaon mein ik kachcha rastaa
raste mein pyaara sa gaaon
neele neele aasmaan mein
taaron ka hai ek nagar
jagmag jagmag ik taare par
ek shehzaadi ka hai ghar
chupke chupke raat ko uthh ke
dhyaan se dekhe koyi agar
jhilmil jhilmil hai taare mein
uss shehzaadi ke zevar
shehzaadi ithhlaaye
shehzaadi ye gaaye
door kahin ik aam ki bagiyaa aa
aadhi raat jab ho jaati hai
jab duniya so jaati hai
taaron se shehzaadi utar ke
munne ke ghar aati hai
meethhe meethhe saare sapne
apne saathh woh laati hai ae
sote munne ki palkon pe
ye sapne woh sajaati hai ae
sirhaane wo aaye
haule se wo gaaye
door kahin ik aam ki bagiyaa aa aa
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
Recent comments