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

Posts Tagged ‘Aarti Mukherji


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

Blog Day :

4915 Post No. : 16737 Movie Count :

4556

I count the minutes the days the hours. . .
I count the stars. . .

Days, then weeks, then months – on to years and decades. The march of time incessantly continues. Superimposed on this unremitting progression is a calendar that allows us to measure passages of time. The philosophers of yore had no tools other than observation and contemplation, by which they used to measure natural phenomena. And then this measurement and contemplation over long periods of time uncovered patterns of celestial movements which tied into the the design of changing climate on earth. And thus was born the concept of calendar and measures of years. Over a period of time it got refined into a detailed structure that we now see as twelve months and 365 days. Of course with further refinements of leap years and leap centuries to make accurate adjustments to synchronize the this framework with the precise movement of Sun in our skies.

As aeons progressed, the year became a substantive measure of passage of time that fitted well into the cycle of seasons, and hence into the cycle of agriculture and farming of crops. This was the basic standard that started it all – there is nothing more critical in the world than food for survival. Air and water are available, but food – it has to be grown.

So the year became a standard of passages in life. The human life, its works and its achievements got tied with the cycle of years. Age of humans, education, performance measures of all kinds et al, got tied to the cycle of years. Longevity of relationships and the apparent joy of happiness, trust and loyalty, financial turnovers – you name it. Everything happens with the passage of years.

And the year also become the benchmark of celebrations, be it birthdays, anniversaries etc., everything is in terms of number of years.

And this pyramid is completed when we celebrate the passage of the ‘year’ itself. From time immemorial, different races, different nations, different belief systems, different working systems, and more – have identified their own regulated time points within a year, when the completion of one year is announced. Within our own country we have multiple celebrations around the year, when we announce the dawn of a new year. And so have many other countries, religions and sects of people.

The Gregorian calendar is the most prevalent and accepted calendar around the world at present times. And hence the start of a fresh year as per this calendar is also a celebration that has been accepted worldwide. Come 1st January, and the dawn of the New Year is celebrated across all nations and across all time zones. So that brings us to the celebration of the New Year on our blog also.

Over the past thirteen plus years, we have celebrated this day fourteen times, starting with 1st January 2009, and counting up to today i.e. 2022. As I tried to trace out the songs which are specifically New Year celebration songs, I could locate only 11 songs that have been used so far on this blog. No doubt the celebration and greetings messages are contained in some more posts that are dated 31st Dec and 1st Jan. But not all those songs are specifically New Year celebration songs. Here is the list of these eleven songs. In case I have missed any, please leave a comment, and I shall update this table.

Ye Saal Ki Aakhhri Raat Hai Beraham 1980 31-Dec-11
Saal Mubaarak Saahib Jee Do Jaasoos 1975 1-Jan-12
Naya Saal Aaye Tamaashe Dikhaaye Nazraana Pyaar Ka 1980 1-Jan-12
Aanewaale Saal Ko Salaam Aap Ke Saath 1986 1-Jan-12
Sabko Mubarak Naya Saal Samrat 1954 1-Jan-13
Saal Mubaarak Aaya Ho Jiyo Mere Raaja Toote Khilaune 1954 1-Jan-13
Happy New Year To You Do Jaasoos 1975 1-Jan-13
Naye Puraane Saal Mein Ek Raat Baaki Hai Raksha 1981 31-Dec-14
Aadhi Raat Aayi To Khayaal Aaya Hai Bahaaron Ki Manzil 1991 1-Jan-15
Assalaam-aile-Qum, Saal Mubaarak Ho Telephone 1986 31-Dec-19
Sach Kehta Hai Ye Saara Zamaana Jaagir 1984 1-Jan-20

Our dear Prakash Chandra ji has been very diligent with ferreting out songs for special occasions, and he has been very helpful in the past in getting details about New Year celebration songs to Atul ji and myself. Actually two of his suggested songs are still waiting. As I was trying to use one of them for this post, I discovered that the links provided were not functional at this time. So for today, we are using this song from the 1977 film ‘Zehreeli’. The film makes its debut on our blog today.

‘Zehreeli’ is a run-of-the-mill crime and punishment tale. A B-grade movie, that most likely came and went without raising much interest. The film comes from the production house of Amba Films,Bombay and is directed by VN Reddy, who is also the cinematographer of this film. The star cast of this film is listed as Neetu Singh, Shailendra Singh, Bindu, Jalal Agha, Imtiaz, Virendra, Jairaj, Purnima, Sharat Saxena, Jagirdar, Satish Arora, Nandita Thakur and others.

As per Geet Kosh, there are three songs in this film. The music director for this film is Sharda, whom we better know as a singer.  As I check the MD details on the blog, we already have four songs on board, that have been composed by her. This now is the fifth song composed by her to be showcased here.

Two songs of this film are penned by Vithalbhai Patel and one song is written by Abhilaash. This song is from the pen of Vithalbhai Patel. The singing voices are of Mohammed Rafi and Aarti Mukherji. On screen, Bindu is lip syncing the voice of Aarti Mukherji. I had a hard time trying to identify the gentleman who lip syncs Rafi Sb’s voice. The name is M Naidu, and he is also the choreographer for the film. I must thank my dear friend Ahsaan Bhai, an ardent fan of Rafi Sb, for this identification.

The song is somewhat peculiar. It has only one stanza after the mukhda, and it was also an exercise to confirm that this is the complete version. The audio of the song, and also the song on screen has a longer duration. More than half the duration of the song is simply music and dance by Bindu. Oh well, the powers that may be. It is a song of Happy New Year message, so here we are.

This is the opening song of the film immediately after the credits are displayed on screen.

And so, it is a goodbye to the dear 2021, and a welcome to the fresh and new 2022.
Wishing all readers, friends and fellow band-wagoneers, a Very Happy and Peaceful New Year.

gaya saal gaya aur naya saal aaya

Audio

Video


Song – Jawaan Samaa Jawaan Bahaar Chaman Muskuraaya  (Zehreeli) (1977) Singer – Mohammed Rafi, Aarti Mukherji, Lyrics – Vithalbai Patel, MD – Sharda
Mohammed Rafi + Aarti Mukherji
Chorus

Lyrics

hey
jawaan samaa jawaan bahaar
chaman muskuraaya
gaya saal gaya aur naya saal aaya
jawaan samaa jawaan bahaar
chaman muskuraaya
gaya saal gaya aur naya saal aaya
dil mein pyaar ka nasha
jhoomti disha disha
chaaron or jaadu sa chhaa gaya
chaaron or jaadu sa chhaa gaya

[sounds of revelry and laughter]

har nazar mein pyaar ki hai roshni
muskura rahi hai nai zindagi
hey
hara adaa lagey hamein bhali bhali

baahon mein aa gai hai har khushi
mujh se koi mujh ko hi chura gaya
aankhon mein taare sajaa gaya

hey. . .
jawaan samaa jawaan bahaar
chaman muskuraaya
gaya saal gaya aur naya saal aaya

Happy New Year

[sounds of revelry and laughter]
[music and dance sequence]

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

हे
जवां समा जवां बहार
चमन मुस्कुराया
गया साल गया और नया साल आया
जवां समा जवां बहार
चमन मुस्कुराया
गया साल गया और नया साल आया
दिल में प्यार का नशा
झूमती दिशा दिशा
चारों ओर जादू सा छा गया
चारों ओर जादू सा छा गया

[आमोद प्रमोद और हंसी के शब्द]

हर नज़र में प्यार की है रोशनी
मुस्कुरा रही है नई ज़िंदगी
हर अदा लगे हमें भली भली
बाहों में आ गई है हर खुशी
मुझसे कोई मुझको ही चुरा गया
आँखों में तारे सजा गया

हे
जवां समा जवां बहार
चमन मुस्कुराया
गया साल गया और नया साल आया

हैप्पी न्यू यीयर

[आमोद प्रमोद और हंसी के शब्द]
[नृत्य संगीत]


This article is written by Sadanand Kamath, a fellow enthusaist 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 :

4314 Post No. : 15593 Movie Count :

4293

—————————————–
Hindi songs in Bangla Films: 27
—————————————–

One of the many Bangla films in which Uttam Kumar paired with Supriya Devi was ‘Bilambita Loy’ (1970). The film was directed by Agragami. The star cast included Uttam Kumar, Supriya Devi, Nirmal Kumar, Deepa Chatterjee, Asit Baran, Tarun Kumar, Bimal Mitra etc. I have watched the film with English sub-titles on an OTT platform.  The film’s English sub-titles are not as good as they ought to be. They are also not properly synchronized with the scenes. Within these limitations, I could make out the story of the film as under:

Mriganka (Uttam Kumar), an upcoming painter, falls in love with Aditi (Supriya Devi), the singer during their college days. After the completion of college, they decide to get married. Aditi belongs to Christian family with a good financial status in the society whereas Mriganka belongs to an orthodox Hindu middle class family. There is opposition from both the families due to different religious and social status. Both of them get married against the wishes of their respective family. However, Aditi’s father gives some initial financial support to set up the house and also send with them Judith (Deepa Chatterjee), an orphan who has been staying with Aditi’s family since childhood, to support the newly married couple in household work.

With the help of the initial financial support from Aditi’s father, Mriganka gets a large house at a very high rent. He also furnishes the house by buying costly furniture and fixtures. In a short period of their marriage, Mriganka has spent all the money his father-in-law has given to his daughter. He has no income as he is yet to establish himself as a painter of repute. Hence his paintings remain unsold in the exhibitions. Soon, there is a financial crisis for the newly married couple.

Both Mriganka and Aditi meet their common friend Subroto (Nirmal Kumar) to get his guidance as to how to come out of their financial mess. Based on his advice, they move to a smaller house to reduce the rent outgo. Aditi who has been trained in Hindustani classical music decides to take singing as a career and becomes the radio singer. She earns her fees but not enough to run the house. Mriganka is not able to sell his paintings. So, Subroto helps him getting a job in the office. However, being a painter at heart, office work does not interest him. Within short time, he leaves the office job.

In the meanwhile, Aditi has become a famous singer. The gramophone records of her songs are sold like hot cake. She becomes very busy in her singing assignments. She has now become a celebrity. Both are now comfortable on their financial front. However, Mriganka is not able to sell any of his paintings despite getting favourable critical reviews of his paintings. He is not prepared to compromise on the subject of his paintings by which the art lovers can be enticed. Out of frustration, there is constant frictions between Mriganka and Aditi on trivial issues. Mriganka who has been a teetotaler and a non-smoker becomes an alcoholic.  The matter reaches a stage when Aditi misunderstands Mriganka in the company of a female model in her house as a muse for his painting. In the background of intense arguments, Mriganka decides to leave the house. Eventually, Mriganka and Aditi get divorce.

While Aditi’s singing career is on the upper trajectory, Mriganka’s luck is not in his favour. He decides to try his luck out of India by participating in the painting exhibitions in Europe. Despite having differences with his father, Mariganka was fortunate that at the time of the death, his father has left him   his share of savings which has come handy now to finance his trip to Europe. However, Mriganka returns to India without any success in Europe. His health has already started deteriorating forcing him to give up painting.

One day, while coming out of the church, Judith sees Mriganka walking on the road looking very sick. She takes him to her house and nurses him for few days until he recovers from his ill health. Even after that Judith visits Mriganka’s house daily to take care of his food and other daily routine. This information gets passed on to Aditi when Subroto meets her. She gets upset over the ‘scandalous’ relations between Judith and Mriganka but dismisses this information as of no concern to her.

Mriganka gets married to Judith and he is back to painting due to her encouragement. But at the back of her mind, Judith feels that she is indirectly responsible for the separation of Aditi and Mriganka as she had given a false testimony to the divorce court that she had affairs with Mriganka in order to hasten the divorce proceedings under instructions from him. Judith suffers a miscarriage and she dies in the hospital. Aditi attends the burial of Judith where Mriganka and his friend Subroto are present.

The film ends with a scene in which Aditi and Mriganka come out of the burial ground. He is about to go his way when Aditi stops him. Mriganka crosses the road with the support of Aditi holding his hand.

This film is one more example in Bangla films of ending scene being indeterminate leaving it to the audience to interpret in their own way. The first interpretation could be that it was a mere courtesy to help Mriganka to cross the road and drop him in his house in her car. Another interpretation could be that by supporting him to cross the road by holding his hand, they are united as a couple. The third interpretation which looks more probable to me is that Aditi has decided to extend her emotional support to Mriganka after the death of Judith and they remain friends.

At the outset, I thought that the story of the film is akin to Hindi film ‘Abhimaan’ (1973) in which the husband and wife who are professional singers get separated because of ego clashes. But at the end, there is an emotional reunion between the two.

In my view, in ‘Bilambita Loy’ (1970), there are no explicit ego clashes between their respective professions or between man and woman.  Even if it is there, the director has kept that at the low key. The friction points between Mriganka and Aditi arise because the former is not able to spend much time with the latter as she is quite busy in her professional work. Aditi has problem with Mriganka because he spends money on things which are not priorities like alcohol when his own earnings are not enough to get two meals a day. Neither Mriganka has problem with Aditi’s professional pursuit nor Aditi is concerned about Mriganka not able to earn income.

In the height of their frictions, it is Mriganka who decides to go for divorce to give Aditi the space in her professional pursuit. He also knows that she will not divorce him. So, he creates an impression that he has affairs with Judith to get the divorce faster. In sums, I feel that the director has handled the subject with delicate balance, avoiding the label of a feminist to Aditi and a male chauvinist to Mriganka.

‘Bilambita Loy’ (1970) has 5 songs of which one is in Hindi. The song which I am presenting is “Mann Kahaan Laago Mora Chain Ganwaayi Diyo Re’ which is a duet sung by Manna Dey and Aarti Mukherjee. The song is written by Gulzar which is set to music by Nachiketa Ghosh.

The situation of the song is that after becoming popular singer in Bangla songs, a new music director has taken Aditi for the first time to sing a Hindi song to test it in the market. His idea is that if successful, he wants her to accompany him to Mumbai to make her popular in Hindi songs which will also benefit the music director in pursuing his career in Mumbai. However, with so much happening with her in personal front, Aditi finally declines to move out of Kolkata. In real life also, Supriya Devi, after working in Mumbai for 3 films – Begaana’ (1963), ‘Aap Ki Parchhaayian’ (1964) and ‘Door Gagan Ki Chhaaon Mein’ (1964), she bid farewell to Bollywood. It is said that she refused Raj Kapoor’s offer to her of a role in ‘Mera Naam Joker’ (1970) which eventually went to Simi.

(Video)

(Audio)

Song – Mann Kahaan Laago Mora Chain Gawaai Diyo Re (Bilambita Loy)(Bangla) (1970) Singer – Manna Dey, Aarti Mukherji, Lyrics – Gulzar, MD – Nachiketa Ghosh
Manna Dey + Aarti Mukherji

Lyrics

taap chadhe to
baid bulaayi ke. . .
tan ke rog utaare
arre mann ka rog na jaaye raama
laakh jatan kar haare

 
mann kahaan laago
aiyyo. . .
arre mann kahaan laago
mora chain ganwaayi diyo re
mann kahaan laago
mora chain ganwaayi diyo re
nain laage
bairi naina
nain laage
bairi naina
raat jagaayi diyo re ae
mann kahaan laago
ho o
arre mann kahaan laago  
mora chain ganwaayi diyo re. . .

kehte naina
sunte naina
preet ki andhi do batiyaan
haan
jhooth si kaari
laagi raama
veham se lambi
ye ratiyaan
kaisa rog lagaayi diyo re. . .
o mann kahaan laago
uyi ammaa
arre mann kahaan laago
mora chain ganwaayi diyo re. . .
ae ae ae ae
man kahaan laago
mora chain ganwaayi diyo re
 
kaahe chhalken
bheegi phalken
rote hanste sapanon mein
rog lage hai
jogan jaisi
do sansaari akhiyon mein
kaun ye paath padhaayi gayo re..
mann kahaan laago
haaye
arre mann kahaan laago
mora chain ganwaayi diyo re. . .
ae ae ae ae ae

mann kahaan laago
mora chain ganwaayi diyo re
nain laage
bairi naina
nain laage
bairi naina
raat jagaayi diyo re ae
man kahaan laago
mora chain ganwaayi diyo re
hey ae ae ae ae
man kahaan laago
mora chain ganwaayi diyo re

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

ताप चढ़े तो
बैद बुलाइ के॰ ॰ ॰
तन के रोग उतारे
अरे मन का रोग ना जाये रामा
लाख जतन कर हारे

मन कहाँ लागो
अइओ॰ ॰ ॰
अरे मन कहाँ लागो
मोरा चैन गँवाई दियो रे
मन कहाँ लागो
मोरा चैन गँवाई दियो रे
नैन लागे
बैरी नैना
नैन लागे
बैरी नैना
रात जगाई दियो रे
हो ओ
अरे मन कहाँ लागो
मोरा चैन गँवाई दियो रे॰ ॰ ॰

कहते नैना
सुनते नैना
प्रीत की अंधी दो बतियाँ
हाँ
झूठ सी कारी
लागि रामा
वहम से लंबी
ये रतियाँ
कैसा रोग लगाई दियो रे॰ ॰ ॰
ओ मन कहाँ लागो
ऊई अम्मा
अरे मन कहाँ लागो
मोरा चैन गँवाई दियो रे॰ ॰ ॰
ए ए ए ए
मन कहाँ लागो
मोरा चैन गँवाई दियो रे

काहे छलकें
भीगी पलकें
रोते हँसते सपनों में
रोग लगे है
जोगन जैसी
दो संसारी अखियों में
कौन ये पाठ पढ़ाई गयो रे॰ ॰ ॰
मन कहाँ लागो
हाए
अरे मन कहाँ लागो
मोरा चैन गँवाई दियो रे॰ ॰ ॰
ए ए ए ए ए

मन कहाँ लागो
मोरा चैन गँवाई दियो रे
नैन लागे
बैरी नैना
नैन लागे
बैरी नैना
रात जगाई दियो रे
मन कहाँ लागो
मोरा चैन गँवाई दियो रे
हे ए ए ए ए ए
मन कहाँ लागो
मोरा चैन गँवाई दियो रे


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 :

4111 Post No. : 15262 Movie Count :

4193

Hindi Songs in Bangla Films – 2
– – – – – – – – – – – – – – – – –

The troika of Satyajit Ray, Ritwik Ghatak and Mrinal Sen had taken Indian cinema to a great height from the 1950s onward. They were regarded as the harbinger of the new wave cinema, also called the parallel cinema. They were all from Bengal and made the films mostly in Bengali. But they had not only had the pan India reach but also, they were globally famous through their films. They won many awards – both National and International.

Tapan Sinha was one more film-maker from Bengal who was a contemporary of Satyajit-Ghatak-Mrinal. He also made mostly Bengali films and had won National and International awards. But the general impression carried in the film circle was that he was not in league with the the troika. The reason was that he was regarded as ‘the middle of the road’ film maker whose films would have some mild doses of commercial ingredients. It is only after Tapan Sinha’s death in January 2009 that some film writers feel that he should have been a part of quartet, Satyajit-Ghatak-Mrinal-Tapan for the realism depicted in his films.

Tapan Sinha made his first film ‘Ankush’ (1954) in Bengali. Since then until 2000, he made 37 films which included some films in Hindi like ‘Zindagi Zindagi (1972), ‘Sagina’ (1974), ‘Ek Doctor Ki Maut’ (1991) etc. He also made some children’s films like ‘Safed Haathi’(1978), ‘Aaj Ka Robinhood’ (1987). Most of his films were based on the stories written by well-known Bengali writers like Gurudev Rabiindranath Tagore, Tarashankar Bandopadhyay, Ramapada Chowdhury, Samresh Basu etc.

Some of Tapan Sinha’s successful Bengali films were remade in Hindi. These include ‘Mere Apne’ (1971) by Gulzar adapted from ‘Apanjan’ (1968), ‘Baawarchi’ (1972) by Hrishikesh Mukherjee from ‘Gulpo Holeo Satti’ (1966), ’Zindagi Zindagi’ (1972) from ‘Khoniker Atithi’ (1959), ‘Sagina’ (1974) from ‘Sagina Mahato’ (1970) and ‘Ijaazat’ (1987) from ‘Jatugriha’ (1964).

‘Haate Baazare’ (Market Place, 1967) was one of the successful films in Bengali directed by Tapan Sinha. Ashok Kumar and Vyjayantimala were in the lead roles with Rudraprasad Sengupta, Ajitesh Bandopadhyay, Bhanu Bandopadhyay, Chinmoy Roy, Chhaya Devi, Samit Bhanja, Partho Mukherjee etc in the supporting roles. It was the first Bengali film for Vyjayantimala. Probably, it was also for the first time, Vyjayantimala sang for herself a Bengali song, cheye thaki cheye thaki along with Mrinal Chakraborty in this film. Vyjayantimala did not know Bengali. But Tapan Sinha did not dub her dialogues in the film with borrowed voice, Instead he made her to rehearse her dialogues after listening to the pre-recorded dialogues on the cassette.

The film was based on a novel of the same name by Banaphul (real name: Balai Chand Mukhopadhyay). The film is available for watching on video sharing platform but there are no English subtitles for those who do not understand Bengali. Still, one can get a feel of the story of the film.

Dr. Mukherjee (Ashok Kumar) is a doctor in a tribal town in Birbhum. He is well respected by the tribal folks as well as others which include Chhipli (Vyjayantimala), a young widow. In his jest to serve the people, Dr Mukherjee has no much time to attend to his wife’s illness of a chronic heart ailment. After the death of his wife, Dr Mukherjee leaves his job and starts a mobile clinic for the poor. Lachhman Lal (Ajitesh Bandopadhyay), the spoilt son of a local landlord is at a loggerhead with him as he protects Chhipli from his lustful eyes. This is resented by Lachhman Lal and as a vengeance, he spreads the rumour about Dr Mukherjee’s relationship with Chhipli who has been working with him as his assistant.

In a night of a tribal get-together where Chhipli also participates in songs and dances, Lachhman Lal hoodwinks Chhipli by sending a message through Nani (Chhaya Devi) that she has been called by Dr Mukherjee. On her way back, he tries to molest Chhipli. In the nick of time, Dr Mukherjee saves her but, in the fight, Dr Mukherjee strangulates Lachhman to death and in the process, he is also seriously injured. Dr Mukherjee dies the next day. But Chhipli continues to carry forward the work of the mobile clinic in the village with the help of a young doctor.

The film was not only a commercial success, it also won the National Film Award for the Best Feature Film.

By the way, there is a train named as ‘Haate Bazare Express’ which runs from Sealdah (Kolkatta) to Saharsa Junction/Purnia.

‘Haate Baazare’ (1967) had 3 songs, one of which I am presenting here because it is in Hindi. The song is ‘aage aage nanadi chale peechhe nanadaya’ sung by Chinmoy Roy, Mrinal Chakraborty and Aarati Mukherjee. The song is set to music by Tapan Sinha. The name of the lyricist for Hindi song is not mentioned. But the wordings of the song seem to indicate that it is a traditional song. Incidentally, Majrooh Sultanpuri also used some lines from this song in pyaare nanadaya sarota kahaan bhool aaye for Hindi film, ‘Zamaana’ (1985), strengthening my guess that it is based on a traditional folk song. Most importantly, this song has the quality of captivating the listeners and the folk song has that quality even with the meaningless lyrics.

In the song, while Chinmoy Roy sings for himself, Mrinal Chakraborty sings for an actor whom I guess to be Partho Mukherjee. He sings in a mix of Bengali and Hindi words, probably that is the dialect spoken in Birbhum, a border district with Bihar. Aarati Mukherjee sings for Vyjayantimala.

Enjoy this fun filled teasing song.

Video


Audio

Song-Aage aage nanadi chale peechhe nanadaiyya (Haatey Baazaarey)(Bangla)(1967) Singers-Chinmoy Roy, Mrinal Chakraborty, Aarti Mukherjee, MD-Tapan Sinha
Chorus

Lyrics(Based on Audio Clip)

aage aage nanadi chale peechhe nanadaiyya
aage aage nanadi chale peechhe nanadaiyya
aur uske peechhe main bechaari
mere peechhe sainyyaa
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye

aage aage nanodi chole peechhe nanodini
aage aage nanodi chole peechhe nanodini
aur taar peechhone aami choli
aamaar peechhe shojni
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye

pyaare nanadaiyya
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye

nat mori nanadi khaayi peda nanadaiyya
nat mori nanadi khaayi peda nanadaiyya
main bechaari rabdi khaaye
main bechaari rabdi khaaye
joothha chaate sainyyaa
sarota kahaan bhool gaye
pyaare nanadaya
sarota kahaan bhool gaye

pyaare nanadaiyya
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye

nanadi mori thhaali dikhaaye chaate nanadaiyya
nanadi mori thhaali dikhaaye chaate nanadaiyya
main bechaari paan khaaun
main bechaari paan khaaun
choona chaate sainyyan
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye

pyaare nanadaiyya
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye

aage aage nanodi chole peechhe nanodini
aar taar peechhone aami chaale
aamaar peechhe sojni
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye

pyaare nanadaiyya
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye

aage aage nanadi chale peechhe nanadaiyya
aur uske peechhe main bechaari
mere peechhe sainyyaa
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye
aage aage nanadi chale peechhe nanadaiyya
aage aage nanadi chale peechhe nanadaiyya
aur uske peechhe main bechaari
mere peechhe sainyyaa
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye
pyaare nanadaiyya
sarota kahaan bhool gaye


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

Blog Day : 4017 Post No. : 15125

Two signature melodies, one sweet voice,

Do Naina, Aur Ek Kahaani

Do Panchhi, Do Tinke, Kaho Le Ke Chale Hain Kahaan

And the voice – Aarti Mukherjee.

Celebrating Aarti ji’s birthday today – she turns 76 today. Greetings and best wishes to her for good health, and many more such celebrations to follow.

Aarti ji was born in Calcutta, in 1943. Along with her formal school education, her grooming in classical music also continued side by side, at the feet of teachers like Shri Chinmoy Lahiri, Shri Susheel Bannerjee and Ustad Mohammed Sageeruddin. It was a childhood dream for her to be a famous singer, and be counted in the same list as Lata Mangeshkar.

In her teen years – she was just 12 or 13, in 1955 she appeared in the ‘All India Music Talent Contest’ in Calcutta. Then couple of years down the road, in 1957, she participated in the Metro-Murphy Talent Search Contest held in Bombay. The panel of judges were the esteemed cream of music directors from Hindi cinema – Anil Biswas, Naushad, Vasant Desai and C Ramchandra. She was judged to be the winner in the female singer category. This recognition opened doors for her as a playback singer in the world of cinema. She was just fourteen years old.

Vasant Desai gave her the debut break when he invited her to sing for the 1958 film ‘Do Phool’. It is a chirpy lilting children’s song that she rendered so effectively – “Matak Matak Naachoon Re”. Oportunities started to come her way. She sang a duet with Lata ji, for the film ‘Sahaara’, also 1950 – “Atkan Matkan Dahi Chatokan”. Then on to ‘Schoolmaster’ in 1959, and ‘Angulimaal’, ‘Apna Ghar’ in 1960. The song “Dheere Dheera Dhal Re Chanda” is one of her earliest popular melodies.

In 1962, she got her first break in Bangla films, with the film ‘Kanya’. Her versatility and her sweet voice helped her to make a place for herself in the Bangla cinema, coming quickly to the level of popularity of Sandhya Mukherjee, who was the lead playback singer in that era. She has given playback to almost all the stalwart leading ladies of Bangla cinema of that time – Aparna Sen, Sharmila Tagore, Madhabi Mukherji, Debashri Roy, and Tanuja etc.  Her popularity was at its peak in 1970s.

Meanwhile, she continued to sing in Hindi films, such sweet renditions like – “Mat Jaiyo Piya Pardes Sajaniya Paiyaan Pade Re” (‘Vidyapati’, 1964), “Saara Mora Kajra Chhudaaya Tu Ne” (‘Do Dil’, 1965), “Kirnon Ki Dori Chaand Ka Palna” (‘Maya Sundari’, 1967), “Jaago Anjaani Rajdulaari” (‘Ek Surat Do Dil’. 1968), and more.

In 1975 came the popular and successful ‘Geet Gaata Chal’ – in which Ravindra Jain gave us such beautiful melodies – “Shyam Teri Bansi. . .”, “Kar Gaya Kaanha Milan Ka Waada” and “Main Wahi, Darpan Wahi”.

Aarti ji has won the Filmfare award for the best female playback singer in 1983 for the song of ‘Maasoom’ – “Do Naina. . .”. She has also won the Bengal Film Journalists Award for best playback singer in 1967, for film ‘Golpo Hoelo Satyi’ and 1976, for ‘Chhutir Phande’. For her vocal performance in ‘Geet Gaata Chal’ (1975), she was honored with the Mian Tansen Award.

Today, I present a very interesting and a very pleasing melody from the 1959 film ‘Schoolmaster’. The film is a Hindi remake of the 1958 hit Kannada film, of the same name. The film is produced and directed by BR Panthulu, under the banner of Padmini Pictures. The star cast for this film is listed as BR Panthalu, Radha Kishan, Ulhas, MV Rajamma, Shakeela, B Saroja Devi, Kamini Kadam, Lalita Pawar, Achla Sachdev, Karan Diwan, David, Jawahar Kaul, Raja Gosavi, Puranik, Vishwa Mehra, Shivaji Ganeshan, Baby Laxmi, Kusumlata, Kumuda, Shashikala, Venkatesh, Gopi Nath, Ganesh, Vijay, Pramod, and Ramesh. The story of the film is a typical family drama of a joint family – a retired schoolmaster with three sons, and he ends up losing his house and even a respectful accommodation with his children. This theme has been replayed in many films, earlier and later.

Geet Kosh lists 9 songs for this film. All the song have been written by Kavi Pradeep. The music is by Vasant Desai. Vasant Desai has used as many 10 playback singers in this film – Lata Mangeshkar, Manna Dey, Geeta Dutt, Talat Mehmood, Mahendra Kapoor, Pradeep, Lalita, Indu and Sarla. And then there is this one solo song in the voice of Aarti Mukherjee.

A lovely melody, and a very lovely rendition. Listen and enjoy.

Song – Ek Do Teen, Gin Bhai Gin  (School Master) (1959) Singer – Aarti Mukherji, Lyrics – Kavi Pradeep, MD – Vasant Desai

Lyrics

ek do teen
gin bhai gin
ye duniya badi kathin
is duniya mein hotey hai
hansne ke bhi din
roney ke bhi din
ek do teen
gin bhai gin
ye duniya badi kathin
is duniya mein hotey hai
hansne ke bhi din
roney ke bhi din

sab ko yahaan milti hai khushi
sab ko yahaan milta hai gham
sab ko yahaan milti hai khushi
sab ko yahaan milta hai gham
faraq magar hai itna sa
kisi ko zyaada kisi ko kam
faraq magar hai itna sa
kisi ko zyaada kisi ko kam
isi tarah ye jeevan chalta
shaam subah pal chhin
shaam subah pal chhin
ek do teen
gin bhai gin
ye duniya badi kathin
is duniya mein hotey hai
hansne ke bhi din
roney ke bhi din
ek do teen
gin bhai gin
ye duniya badi kathin
is duniya mein hotey hai
hansne ke bhi din
roney ke bhi din

kismet sabko jag mein naach nachaaye
kadve meethe sabko ghoont pilaaye
ulta waqt yahaan jab aaye haaye
apne bhi hotey hain paraaye haaye
dekhne waale dekh laga ke
aankhon mein durbin
aankhon mein durbin
ek do teen
gin bhai gin
ye duniya badi kathin
is duniya mein hotey hai
hansne ke bhi din
roney ke bhi din

ek do teen
gin bhai gin
ye duniya badi kathin
is duniya mein hotey hai
hansne ke bhi din
roney ke bhi din

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

एक दो तीन
गिन भई गिन
ये दुनिया बड़ी कठिन
इस दुनिया में होते हैं
हंसने के भी दिन
रोने के भी दिन
एक दो तीन
गिन भई गिन
ये दुनिया बड़ी कठिन
इस दुनिया में होते हैं
हंसने के भी दिन
रोने के भी दिन

सबको यहाँ मिलती है खुशी
सबको यहाँ मिलता है ग़म
सबको यहाँ मिलती है खुशी
सबको यहाँ मिलता है ग़म
फरक मगर है इतना सा
किसी को ज़्यादा किसी को कम
फरक मगर है इतना सा
किसी को ज़्यादा किसी को कम
इसी तरह ये जीवन चलता
शाम सुबह पल छिन्न
शाम सुबह पल छिन्न
एक दो तीन
गिन भई गिन
ये दुनिया बड़ी कठिन
इस दुनिया में होते हैं
हंसने के भी दिन
रोने के भी दिन
एक दो तीन
गिन भई गिन
ये दुनिया बड़ी कठिन
इस दुनिया में होते हैं
हंसने के भी दिन
रोने के भी दिन

किस्मत सबको जग में नाच नचाए
कडवे मीठे सबको घूंट पिलाये
उल्टा वक़्त यहाँ जब आए हाए
अपने भी होते हैं पराये हाए
देखने वाले देख लगा कर
आँखों में दुरबिन
आँखों में दुरबिन
एक दो तीन
गिन भई गिन
ये दुनिया बड़ी कठिन
इस दुनिया में होते हैं
हंसने के भी दिन
रोने के भी दिन

एक दो तीन
गिन भई गिन
ये दुनिया बड़ी कठिन
इस दुनिया में होते हैं
हंसने के भी दिन
रोने के भी दिन


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 : 3894 Post No. : 14934

“Aarambh”(1976) was directed by Gyan Kumar for Prerna Pictures, Calcutta. This obscure social movie had Rakesh Pandey, Rama Vij, Kishore Kapoor, Bipin Gupta, Rohin Kumar, Kalyan Chatterji, Chandrakala, M L Daga, Trilochan Jha, Nanu, B P Tiwari, Madan Sudan, Ravi Yagnik, Surendra Gupta, Tej Bahadur, C R Tenani, Naval Joshi, Akhtar, Gayatri Mukherji, Laxmi Chaaya etc with Master Piyush (new discovery) and Pallavi Mehta (guest role) etc in it.

This movie had four songs in it. Three of these songs have been covered in the past.
Here are the details of the songs from the movie that have been covered so far:-

Song Title

Post No.

Post Date

Sabhi sukh door se guzren 5199 26-Dec-2011
Waadiyon mein kho jaayen ham tum 7542 22-Feb-2013
Tumhaare bina o sajna adhoori hoon main 14690 12-Oct-2018

Here is the fourth and final song from “Aarambh”(1976) to appear in the blog. The song is sung by Aarti Mukherji. Shri Shalabh is the lyricist. Music is composed by Anand Shankar.

Only the audio of the song is available. Assuing that Rama Vij was the leading lady of the movie, my guess is that this song was picturised on her (playing a wronged lady) standing near a piano (being played by the hero) where she is blessing the hero despite being wronged. 🙂

Nevertheless, I request our knowledgeable readers to throw light on the picturisation of this song.

I have not been able to get one word right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.

With this song, all the songs in the movie are now covered and “Aarambh”(1976) joins the list of movies that are YIPPIED in the blog. This movie becomes the 150th movie starting with the letter “A” that has been YIPPIED in the blog. 🙂


Song-Khush rahe tu ke khushi ki shama jalti rahe (Aarambh)(1976) Singer-Aarti Mukherji, Lyrics-Shri Shalabh, MD-Anand Shankar

Lyrics

khush rahe tu ke khushi ki shama jalti rahe ae
khush rahe tu ke khushi ki shama jalti rahe
zindagi pyaar ke saanche mein sada dhalti rahe ae
khush rahe tu ke khushi ki shama jalti rahe

manzilen khud hi miley raah se teri aakar
manzilen khud hi miley raah se teri aakar
tere jazbaat e tamanna ki raushni paa kar
teri azmat mein
azmat mein
nihaan rasme wafa milti rahe ae
khush rahe tu ke khushi ki shama jalti rahe ae
khush rahe
khush rahe ae
khush rahe tu

zindagi phoolon bhari geeton bhari ho teri ee
zindagi phoolon bhari geeton bhari ho teri
bas yahi ek dua tere liye hai meri
tere gulshan mein kali kali
khwaabon mein pali khilti rahe ae
khush rahe tu ke khushi ki shama jalti rahe
zindagi pyaar ke saanche mein sada dhalti rahe ae
khush rahe tu ke khushi ki shama jalti rahe ae
khush rahe tu
khush rahe ae
khush rahe tu


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3738 Post No. : 14690

“Aarambh”(1976) was directed by Gyan Kumar for Prerna Pictures, Calcutta. This obscure social movie had Rakesh Pandey, Rama Vij, Kishore Kapoor, Bipin Gupta, Rohin Kumar, Kalyan Chatterji, Chandrakala, M L Daga, Trilochan Jha, Nanu, B P Tiwari, Madan Sudan, Ravi Yagnik, Surendra Gupta, Tej Bahadur, C R Tenani, Naval Joshi, Akhtar, Gayatri Mukherji, Laxmi Chaaya etc with Master Piyush (new discovery) and Pallavi Mehta (guest role) etc in it.

This movie had four songs in it. Two of these songs have been covered in the past.

Here is the third song from “Aarambh”(1976) to appear in the blog. The song is sung by Aarti Mukherji. Shri Shalabh is the lyricist. Music is composed by Anand Shankar.

Only the audio of the song is available. Assuing that Rama Vij was the leading lady of the movie, my guess is that this song was picturised on her. I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Tumhaare bina o sajna adhoori hoon main (Aarambh)(1976) Singer-Aarti Mukherji, Lyrics-Shri Shalabh, MD-Anand Shankar

Lyrics

tumhaare bina o sajna
adhoori hoon main
tumhaare bina o sajna
adhoori hoon main
jiski manzil ho tum
aisi doori hoon main
tumhaare bina o sajna
adhoori hoon main

mere man ke gagan ke tumhi chandrma
meri har raat tumse bani poornima
tum ho baadal
tumhaari mayuri hoon main
jiski manzil ho tum
aisi doori hoon main
tumhaare bina o sajna
adhoori hoon main

tum mujhe yoon miley
gandh se jyun pawan
dhany hai paa tumhen mera tan mera man
preet ki kalpna se poori hoon main
jiski manzil ho tum
aisi doori hoon main
tumhaare bina o sajna
adhoori hoon main


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3733 Post No. : 14678

“Shyaam Tere Kitne Naam”(1977) was produced by Vinod Kumar and A Narang and directed by Shantilal Soni. All these days I was undr the impression that the movie was a Rajshree Production movie !

The movie had Sachin, Sarika, Meena T, Manhar Desai, Bharat Bhooshan, Shyama, Jalal Agha, Sunder etc in it.

The movie had six songs in it. One song has been covered in the past.

Here is the second song from “Shyaam Tere Kitne Naam”(1977) to appear in the blog. The song is sung by Jaspal Singh, Aarti Mukherji and chorus. Anjaan is the lyricist. Music is composed by Ravindra Jain.

The song is picturised as a dance song on Sachin, Sarika and many others.

Audio

Video

Song-Jamuna kinaare baje shyaam ki baansuriya (Shyaam Tere Kitne Naam)(1977) Singers-Jaspal Singh, Aarti Mukherji, Lyrics-Anjaan, MD-Ravindra Jain
All Chorus
Male chorus
Female chorus
Aarti Mukherji + Chorus
Jaspal Singh + Aarti Mukherji

Lyrics

ho o o
aa aa aa

jamuna kinaare baje shyaam ki baansuriya
shyaam ki baansuriya baje shyaam ki baansuriya
shyaam to hai raadha ka baawra
shyaam to hai raadha ka baavra
ho o kaanha ke rang rangi raadha baawariya
raadha ke rang ranga saanwra

saanvra
saanvra

saanvra
saanvra

jamuna kinaare baje shyaam ki baansuriya
shyam ki baansuriya baje shyam ki baansuriya

gokul mein
gokul mein
shor macha
shor macha
kahaan gayin gwaalan ki chhoriyaan
kahaan gayin gwaalan ki chhoriyaan
ghar angna
ghar angna
bisra ke
bisra ke
mohan sang raas rachen goriyaan
mohan sang raas rachen goriyaan
o o sab mein samaake sabse aankhiyaan churaake
raadha ke sang chala saanwra

saanwara saanwara
o ho ho
saanwara saanwara
o ho ho
jamuna kinaare baje shyaam ki baansuriya
shyaam ki baansuriya baje shyaam ki baansuriya

o o o o
o o o o
o o o o

raadha ki
raadha ki
paayal se
paayal se
bandhi jaise murli ki taan re
bandhi jaise murli ki taan re
kaanha ki
kaanha ki
murli mein
murli mein
base jaise raadha ke praan re
base jaise raadha ke praan re
o o o
raadha ke jaisi koi dooji na premika

kaanha sa premi nahin doosra
saanwra saanwra
o ho ho
saanwara saanwara
o ho ho
jamuna kinaare baje shyaam ki baansuriya
shyaam ki baansuriya baje shyam ki baansuriya


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3520 Post No. : 14139

My workplace has a bank in its premises. Yesterday (7 march 2018), the female branch manager of the bank came to me seeking permission to organise a seminar for women. “Tomorrow 8 march is women’s day, you know”- she explained.

So today (8 march 2018), the bank organised a women’s day programme in the meeting hall of our workplace. The bank manager spoke on the occasion, I was asked to speak on the occasion. Bank had invited a gynaecologist who spoke about cancer among females and preventive measures to be taken.

In my address, I mentioned that I was aware of today being Women’s day because I was aware of today was Sahir Ludhianvi’s birth anniversary. I also know that Sahir Ludhianvi was born on Women’s day. 🙂 So I was aware of 8 march being the women’s day. I need to thank Raja because his articles about Sahir Ludhianvi on these occasions over the years has had the effect of this date getting indelibly ingrained in my brain’s ROM. 🙂

I cannot help but talk of Indian economy whenever I address people, no matter if they are women. 🙂 I stated that Indian GDP was growing at 7% per year. At this rate, an economy doubles in size every ten years. Indian today is a $ 2.5 trillions economy, ten years ago it was a $ 1.2 trillions economy whereas twenty years back India was $ 442 billions economy. So Indian economy is getting doubled up every ten years. I expressed the view that the contribution of Women in Indian workforce is quite meagre. If they join in the workforce and contribute to the national GDP then Indian may grow at a higher rate which means India may start doubling its economy every 6-7 years instead of every 10 years.

I also stated that we should not expect others to do our work. We popularly feel that “sarkaar” should do everything. Who is “sarkaar” ? We are “sarkaar”, since we are a unit of a central government organisation ourselves. If we improve our performance then we will help add our mite to the growth of Indian economy. Then I informed our female staff, and also the female staff of the bank how our unit was in some way among the best units in its category, thanks to the hard work done by us over the past couple of years.

Then I declared that I practiced in my personal life what I was preaching as far as women empowerment was concerned. 🙂

It is my opinion that every day is women’s day and not just 8 march. For that matter every day is man’s day as well, and every day is a children’s day as well. why wait for that designated day. we can observe these days every day. 🙂

Women empowerment does not mean using the term as a buzzword for page 3 discussion. It means given women the freedom to do what they want to do with their lives without requiring to give explanations to others, viz family, society etc and they deserve to get all the support that they can get.

There are some Hindi movies that can be described as movies supporting this theme. I posted the penultimate song of “Tapasya”(1975) recently and in the process I realised that the movie was a befitting movie to be showcased on Women’s day. This movie is based on a story by Ashapoorna Devi, a Gyanpeeth Award and Padmshree award winner Bangla novelist.

This movie was directed by Anil Ganguly for Rajshre Productions. The movie had Raakhi (in the central role), Parikshat Sahni, Asrani, Manju Bansal Asrani, A K Hangal, Nasir Hussain, Adil, Manju Bhatia, Urmila Bhatt, Birbal, Abha Dhulia, C S Dubey, Raja Duggal, Master Eknath, Gayatri etc in it.

The Hindu newspaper carried the following review of this movie :-

…We have Indrani Sinha (Raakhi Gulzar), eldest daughter of an ailing professor, Chandrakant Sinha (AK Hangal), caring for her father and three younger siblings. The college going Indu (as Indrani is fondly called) and the ailing professor’s doctor, Sagar Verma (Parikshat Sahni) fall in love, and just when Indu goes to Sagar’s house to meet his mother (Lalita Pawar), disaster strikes.

Chandrakant Sinha bids adieu to the world, leaving the responsibility of his three younger children on the shoulders of Indu, who takes the selfless decision of not getting married. In the midst of heart tugging drama and poignancy, she spurns Sagar’s proposal for marriage, even though he offers to take the three siblings to his house and care for them. Her decision is moulded to a certain extent by Sagar’s mother’s belief that being saddled with her family’s responsibility, Indu might be unable to fulfil her commitments as a wife and daughter-in- law.

To make ends meet and take care of her siblings, Vinod (Asrani), Madhu and Chanda, Indu leaves her studies and starts a school on the advice of her father’s colleague (Nazir Hussain). The first sign of dissent in the house surfaces when Vinod is exhorted to leave his house by his prospective father-in-law (Om-Shivpuri) in lieu of a good job. After the marriage, Vinod and his wife, Pinky comes to Indu’s house to attend a function. During the course of song and dance, an irritated Pinky (Manju Asrani), has an altercation, first with Madhu and Chanda, which results in an escalation of tension, at the end of which Indu slaps Vinod for offending Sagar.

A chastised and hurt Sagar decides to stop meeting Indu, and leaves on a pilgrimage with his mother. In his absence, Indu concludes the marriage of her two sisters. Thereon, she decides to leave her house for a sabbatical, but in the nick of time Vinod and Pinky come, with Pinky atoning for her prudishness. With everything settled, the only question is the outcome of Indu’s sacrifice and Sagar’s wait?

Of the cast, Asrani is a revelation. One cannot but rue the penchant of Bollywood to typecast brilliant and versatile actors into silos which they are unable to break again. Parikshat Sahni, in a restrained portrayal that suits his limited histrionic prowess, is ideal opposite Rakhee. Rest of the character actors, including Hangal, Lalita Pawar and Nazir Hussain are competent in their roles.

The movie had four songs in it. Three of the songs have been covered in the past. These are the three most well songs from the movie. Here are the details of songs already covered in the blog:-

Song Title

Post No.

Post Date

Do pancchi do tinke 530 11-Jan-09
Jo raah chunee toone 4800 13-Oct-11
Bhaabhi ki ungli mein heere ka chhalla 14134 7-Mar-18

The fourth and final song, which is the song under discussion is one that I had never heard before. But when I heard this song for the first time, I realised that this song was a special song and this deserved to be discussed as the last song, and on a special occasion with a special writeup. So here is this heart warming song from a heartwarming movie on the occasion of Woman’s day. The song is sung by Aarti Mukherji. M G Hashmat is the lyricist. Music is composed by Ravindra Jain.

Picturisation shows Raakhi running her school and singing this song to young kids. Different stanzas in the song represent different years when Raakhi growing older and her younger siblings growing up. The younger siblings are finally shown grown up as the song comes to an end.

This movie “Tapasya”(1975) which I have not watched earned the national award for Best Popular Film Providing Wholesome Entertainment for the year. In addition, Raakhi won the Filmfare award for best actress for her role in this movie. That way Raakhi did a Sanjeev Kumar in this movie, playing a role of an elderly woman when she was not even 30 years of age at that time !

With this lovely song, “Tapasya”(1975) joins the list of movies that have all their songs covered in the blog.

Audio

Video

Song-Bachchon tum ho khel khilaune (Tapasya)(1975) Singer-Aarti Mukherji, Lyrics-M G Hashmat, MD-Ravindra Jain
Chorus

Lyrics

bachchon tum ho khel khilaune
bachchon tum ho khel khilaune
aane waale
kal ke sapne ae
aane waale kal ke sapne
sundar aur salone bachchon
tum ho
khel khilone
didi hum hain khel khilaune

phool bano aur mehak lutaao
khud bhi hanso aur sab ko hansaao
phool bano aur mehak lutaao
khud bhi hanso aur sab ko hansaao
o o o o o
jo bhi tumko gale lagaaye
phoolon jaisa vo khil jaaye
is duniya mein
hansi khushi ki ee
is duniya mein hansi khushi ki
kami na dena hone
bachchon tum ho khel khilaune
didi hum hain khel khilaune

jaante ho
apni manzil ki raah kaafi tay kar chuki hoon
kabhi kabhi sochti hoon
tum abhi tak wahin intzaar kar rahe ho
ek din jahaan se main aage badhhi thhi
tumhaara khayaal
achaanak kadmon ko rokne lagta hai
dar lagta hai
ki kahin
ye safar
adhoora na rah jaaye
aur kab tak intzaar karte rahoge

haha
main samajh gaya
tumhen is baat ka darr hai
ki kahin mere aane jaane se
tumhaari tapasya mein baadhaa na pad jaaye
main tumse vaada karta hoon Indu
ki jab tak tumhaari tapasya poori nahin hogi
main tumse nahin miloonga

mukhda tumhaara bhola bhaala
karta hai is ghar mein ujaala
mukhda tumhaara bhola bhaala
karta hai is ghar mein ujaala
hmm hmm hmm
tumpe koi aanch na aaye
meri umar tumhen lag jaaye
sab kuchh kho kar
tum ko paaya aa
sab kuchh kho kar
tum ko paaya
tumhen na doongi khone
bachchon tum ho khel khilaune
didi hum hain khel khilaune

kitna jeevan beet gaya hai
neh tumhaara jeet gaya hai
kitna jeevan beet gaya hai
neh tumhaara jeet gaya hai
o o o o
kitna phaila pyaar tumhaara
main to bhool gayi jag saara
aaj khushi ke
aansu meri ee
aaj khushi ke aansu meri
palken lagin bhigone
bachchon tum ho khel khilaune
bachchon tum ho khel khilaune
didi hum hain khel khilaune
didi hum hain khel khilaune
didi hum hain khel khilaune
didi hum hain khel khilaune


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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

The small girl in the song with this post celebrates her 52nd birthday today—unbelievable she is so young. The birthday list on our blog says she is 1965 born, also the Filmfare awards list page says she was all of 15 when in 1980 she won the Best Supporting Actress award for her depiction of a rape victim (in ‘Insaaf Ka Taraazu’). She seems to have been around forever. I just do not want to use the phrase ‘past her prime.’ Come to think of it she is younger to the Khans who are ruling the industry these days.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Hamkadam”(1980) was produced by Tarachand Barjatya and directed by Anil Ganguly for Rajshree Productions, Bombay. The movie had Rakhee Gulzar, Parikshat Sahni, A.K.Hangal, Dina Pathak, Ritu Kamal, Helen, Biswajeet, Iftekar, Madan Puri, Dinesh Hingoo, Preetam, Pardesi, Partho Guha, Harish Mugan, Deepak, Chaturvedi, John Boland, Amol Sen, Anand Joshi, Pilloo Wadia, Nilu Arora, Komal Soni, Zubeda, Anita, Rajni Verma, Master Ashoo, Sameena Kashimiri, Baby Geeta Khanna etc in it.
Read more on this topic…


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over FOURTEEN years. This blog has over 17200 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

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(© 2008 - 2022) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

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Movies with all their songs covered =1338
Total Number of movies covered=4642

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