Posts Tagged ‘Anand Bakshi’
Ye jawaanee badee badnaam hai
Posted on: April 21, 2024
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Today’s song is from the social film Sunehre Qadam-1966.
It was a social film directed by Satish Nigam and Music Directors were Bulo C Rani and S. Mohinder.There were 4 Lyricists for the 7+1(2 part) songs. The cast of the film was Rehman, Shashikala, Agha, Sabita Chatterjee, Randhir etc.
Majority of the cinegoers these days prefer a ‘Happy End’ film. There was a period-mid 40’s to mid 50’s- when Tragedy films were the ‘in’ thing, but as the younger generation grew up, ‘Devdas’ type films became a ‘No-No’. Musicals and Romantic comedies took over. Dilip Kumar who was the cause of such ‘ Tragedy wave’ films, suffered healthwise and stopped acting in such films. ( He had ‘Died’ in 7 such Tragedy films during this period.). Like a pendulum, he went to the other side, doing comic roles and films of other Genres. Big producer-directors like V.Shantaram hated films where the hero ‘died’ in the end and had made films like ” Aadmi”-1937, with a message “Life is for living”.
The other day, I was searching on Google to get an answer to my curious question ” Why does a man want a ‘Happy End’ to all matters in life ?” After searching for a long time for a few days, I came across a Research paper titled ” Human mind and the desire for a Happy End’. As per this scientist, the Human mind basically wants peace and joy so that he performs well in life, without wasting time on solution-less matters which have a ‘Tragic End’.
Applying this to film viewing, people seek entertainment and happy times when they go to see a film. From the mid 50’s onwards the trend fully changed to stress on Music, Humour and Happy End. Personally, I like only ‘Happy End’ films. I am sure most people are in my category.
The story of film Sunehre Qadam-1966 was a mixture of attempts to satisfy both types of people – people who liked tragedies and people who liked ‘Happy end’. in this effort, the whole story became patchy and meaningless. take a look at the film’s story….
This is a story of a spoiled motherless rich girl who is also a singer. Shekhar (Rehman) falls in love with Shefali (Shashikala). In their first meeting, Shefali slaps Shekhar, who still loves her. There is a singing competition which is won by Shekhar defeating Shefali. Shekhar wins the Trophy.
Shekhar’s poor parents and brother and sister live in a village. Sheklhar’s earning is limited. To cope up, he has to sell the Trophy. Shefali knows that Shekhar would never ask for money from anyone, so she buys the trophy from the dealer and gifts it to Shekhar. After a few months, he sold it again. Shefali gets it again and gives it to him. Third time there is some misunderstanding in the shop and the shop owner accuses Shefali of stealing the trophy from him. Sheklhar thinks she stole it and accepts the theft himself and goes to jail.
Shefali wants to redeem her foolish behaviour , so she goes to his village to take care of his parents. The father dies soon and the mother too dies. Meanwhile Shekhar comes back from jail. Seeing Shefali at his house, he is angry and fires her and throws her out, without listening to her pleas.
Shefali decides to end her life, after thinking for few days. Meanwhile the shopkeeper meets Shekhar and clears the fact that the Trophy was bought by Shefali 3 times and not stolen. His neighbours also tell Shekhar how Shefali looked after his parents and siblings. Shekhar repents and goes to her. He learns that she has gone to the river. When he reaches the river, he sees Shefali jumping into the river to die. He too jumps and saves her. All matters are cleared and both unite happily.
I don’t know what you think of this story, but I feel it is a third rate story. Neither story nor music was noteworthy. The only redeeming factor was the excellent acting by Shashikala and Rehman. I liked Rehman. He looked like a Royal person and was very impressive. Sai’d Rehman Khan was born on 23 June 1921 at Lahore, British India, now Pakistan, in a Pashtun-origin family. He graduated from Robertson College, Jabalpur, staying in Beohar Niwas Palace. Among his nephews are prominent Pakistani film and TV actor Faisal Rehman and Fasih Ur Rehman, Indian classical dancer, and sons of his younger brother Massud-ur-Rehman, the famous cinematographer in Pakistan.
After college (1942), he joined the Royal Indian Air Force and trained at Poona as a pilot. The Air Force didn’t appeal to him and soon left for a career in films at Bombay. He is best known for his suave sophisticated roles, which suited his personality. His movie career started with a job as third assistant director to Vishram Bedekar at the studios in Pune. Vishram needed an Afghan who could tie a Pashtun turban on one of his characters. Rehman could do that, being a Pashtun, and that brought him to the screen for some lead roles. One of his major hits as hero was Pyar Ki Jeet with Suraiya, and the song-“Ek Dil Ke Tukde Hazar Hue, Koi Yahan Gira, “Koi Wahan Gira ” was a major hit. Badi Behen was another big hit with Suraiya. He was also interested in marrying Suraiya, along with many other suitors, though she was adamant in wanting to marry Dev Anand.
Initially he played lead roles, but as time passed, he accepted supporting roles and made his mark in some hit films like Pyaasa, Chaudhvin Ka Chand and Sahib Bibi Aur Ghulam (in which he played a debauched zamindar, Chhote Sarkar), and Waqt which were some of his memorable roles, the first two with Guru Dutt, famous actor, producer, director. Rehman also did key roles in Baharon Ki Manzil, Gomti Ke Kinare, Dushman and Holi Aayi Re. Rehman received four Filmfare nominations as Best Supporting Actor for Phir Subah Hogi (1958), Chaudhvin Ka Chand (1960), Sahib Bibi Aur Ghulam (1962) and Dil Ne Phir Yaad Kiya (1966).
Rehman had a deep, impressive and powerful voice and it is a great irony that he died of throat cancer, It can easily be said that his colourful role as Chenoy Seth in B.R.Chopra’s 1965 film Waqt was one of his best loved performances. Despite his evil designs for Raaj Kumar in the film, audiences admired his style and prosperous look. He proved the perfect match for” Jaani” Raaj Kumar. The scenes between the two, especially at the swimming pool, are among the highlights of the first multi-starrer of our film industry. Word for word, expression for expression, Rehman stood his own opposite Raaj Kumar who was known for his unique voice, style and dialogue delivery. In fact, Rehman seemed more in control than “Jaani”. How smoothly and politely an evil man can accomplish his goals is what Chenoy Seth shows us in Waqt. Indeed, a memorable performance!
Rehman’s first film was Hum Ek Hain-1946 and in 1982 his last 3 films were released-Dil aakhir dil hain, Rajput and Vakil Babu. In all Rehman acted in 113 films and lip synched just 17 songs on the screen, in his career.
Not much is known about Rehman’s personal life except that he lived behind Regal Cinema in Colaba area of Bombay and was extremely devoted to his wife. Director Lekh Tandon informs that the tough Rehman married his girlfriend who looked after him when he fell upon lean times during the 1950s. But as she kept him and his confidence afloat, Rehman was perpetually grateful to her for her supreme sacrifice and the devoted couple lived a reclusive life with Guru Dutt, Johnny Walker and Abrar Alvi amongst their few friends from the industry. Perhaps this seclusion from the moviedom’s social circuit explains the near absence of any stories about him or his family. Nevertheless, like Lekh Tandon opines, “he was a rare breed of actor who brought his own sheen and sophistication to a character”, discerning audiences know he was an actor who was worth his weight in gold. Like a rare melody that is little remembered but never forgotten by our heart, Rehman twinkles in our memory.
In 1977, he suffered three heart attacks due to excessive alcohol consumption . He was also a chain smoker and he was diagnosed with throat cancer. A man whose majestic voice was his signature, lost his voice and he was unable to speak during his last days in his life. Rehman died on 5-11-1984.
Sunehre Qadam-1966 was the last film of Bulo C Rani. Despite the popularity of a stray song such as ‘Hamen to loot liya milke husn Walon ne’ (Ismail Azad/’Al Hilal’/1958). Bulo C Rani just continued to drift because his music had not remained a viable commercial proposition.After ‘Sunhare Qadam’ (1966). Bulo’s career came to an end. Having once enjoyed the position of prominence the lack of assignment made him restless. No films came to him. In addition, his family sold his posh flat in Shivaji Park and shifted to Versova, which hurt him a lot. He lost the will to live.
In a career spanning over 22 years, Bulo C Rani gave music in 71 films. He also gave music in few Sindhi hit films. Practically with no work towards the latter half, he started taking coaching classes in light music. He was isolated which led to depression. To overcome this he developed the habit of drinking. This led his health to deteriorate and he had to be admitted to hospitals multiple times. When acute depression became unbearable & after his family sold their house at Shivaji Park and moved to Versova, he took the extreme step and committed suicide by burning himself on May 24, 1993. He died at 73 leaving behind some unforgettable creations. Bulo C Rani’s death remained largely unreported in the press. It was an irony of fate that the song he composed in the voice of Lata in his last film ‘Sunhare Qadam’ was ‘Maangne se jo maut mil jaati, Kaun jeeta zamane men’.
The Irony was that in life he asked for death and he got it. And how horribly too ! It is said that on 24-5-1993, he committed suicide by immolating himself. When his body was burning, he ran on the streets shouting in pain and finally fell on the road dead.
Today’s song is the last and final song of this film , making it YIPPEED, with all songs covered.
Video
Song- Ye jawaani badi badnaam hai (Sunahre Qadam)(1966) Singer- Asha Bhosle, Sudha Malhotra, Lyricist- Anand Bakshi, MD-S Mohinder
Both
Lyrics
aa aa aa aa aa aa
aa aa aa aa aa aa
o o o o o o
ye jawaani badi badnaam hai
ye jawaani badi badnaam hai
shola bijli hawa
allah jaane kya kya
sau sau naamon ka ek naam hai
ye jawaani badi badnaam hai
zulfen bikhere to haar jaaye raat jee
zulfen bikhere to haar jaaye raat jee
mukhda dikhaaye to din khaaye maat jee
mukhda dikhaaye to din khaaye maat
iske bas mein
waah waah
iske bas mein subah hai shaam bhi
shola bijli hawa
allah jaane kya kya
sau sau naamon ka ek naam hai
ye jawaani badi badnaam hai
ik chitchor ka sunte hi naam jee
ik chitchor ka sunte hi naam jee
bade bade dil ko lete hain thhaam ji
bade bade dil ko lete hain thhaam
dil churaana
dil churaana isi ka kaam hai
shola bijli hawa
allah jaane kya kya
sau sau naamon ka ek naam hai
ye jawaani badi badnaam hai
suna hoga aapne naam e sharaab ji
suna hoga aapne naam e sharaab ji
kahti hai duniya jisko kharaab ji
kahti hai duniya jisko kharaab
ye umar bhi
haaye haaye
ye umar bhi nasheelaa jaam hai
shola bijli hawa
allah jaane kya kya
sau sau naamon ka ek naam hai
ye jawaani badi badnaam hai
- In: "Get together" song | Guest posts | Mukesh solo | Mukesh songs | Post by Sadanand Kamath | Raj Kapoor songs | Raj Kapoor songs by Mukesh | Rajesh Khanna present (without lip syncing) | Rajesh Khanna songs | Songs of 1970s (1971 to 1980) | Songs of 1978 | stage dance | Stage song | Yearwise breakup of songs
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This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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4945 |
‘Naukri’ (1978) was produced under the banner of R S J Productions and was directed by Hrishikesh Mukherjee. The cast included Rajesh Khanna, Zaheera and Raj Kapoor in main roles supported by Om Shivpuri, Pratima Devi, Tom Alter, V Gopal, Meena Roy, Vijay Sharma, Aarti, Lalita Kumari, Master Akbar etc. Nadira, A K Hangal, Jayshree T and Younus Parvez made the friendly appearances and Keshto Mukherjee, Padma Khanna and Deven Varma made guest appearances in the film. The film was released in the theatres on June 09, 1978. The film’s story was written by Salil Chowdhury who also provided the background music.
After the box office success of Hrishikesh Mukherjee-Rajesh Khanna combination in ‘Anand’ (1970), ‘Baawarchi’ (1972) and Namak Haraam’ (1973), Hrishikesh Mukherjee commenced shooting of ‘Naukri’ (1978) sometime in 1974 in which he also took his close friend, Raj Kapoor. However, the film took relatively longer time to complete in Hrishikesh Mukherjee’s standard. While I could not get authentic information as to why the film got delayed, it appears that there was some disagreement between Rajesh Khanna and the film’s producers which made the shooting schedules going awry. My guess is that when two super stars are working in the film, getting the fresh common dates from them becomes difficult. I also came to know from Hrishikesh Mukherjee’s biography that he lost interest in the film due to delay as well as the prevailing political situation in the country (Emergency during 1975-77).
The film had an unusual story of a World War-II soldier who has become physically challenged after the war. After the end of the war and till few days before India’s independence in 1947, he has remained unemployed. Hence, he cannot take care of his mother, sister and a brother. In desperation, he commits suicide. The interesting part of the story of the film begins at this point when he meets a Captain who reveals that both of them belong to a different world (ghosts’ world) now. The rest of the film is about sharing their past lives and mingling with other ghosts who in turns also share their past lives. The detailed story of the film is as under:
Physically challenged Ranjit (Rajesh Khanna) stays with his widowed mother (Pratima Devi), a teenage sister, Rekha (Aarti) and an adopted younger brother in a small house. Due to his physical condition, Ranjit is not able to get employment and to take care of his family. His landlord has asked him to vacate the house within 24 hours because he has not paid the rent for months. Depressed with the family’s condition, Ranjit commit suicide by jumping from the bridge over a passing train. He is dead.
A crowd gather watching the dead body of Ranjit. Suddenly, a bewildered Ranjit finds himself with the crowd. At that moment, Swaraj Singh (Raj Kapoor) appears and introduces himself as Captain to Ranjit. He points out that both of them now belong to the community of ghosts and people around them would not feel their presence nor would they hear their voices. First, Ranjit refuses to believe what Captain says. But when he realises that both his legs have become normal and his dead body still lies on the railway track, he tends to believe what Captain has told him.
Captain introduces other ghosts, one of them being a couple (Deven Varma and Jayshri T) who had committed suicide when their parents opposed their marriage. They get united in the ghost community. However, as they are ghosts, they cannot be physically close. Then, there is Rasiklal (Yunus Parvez) who is after Deven Varma for running away with his wife of previous birth (Jayshri T) but cannot catch them physically. Ranjit also meets a former British police officer, Anderson (Tom Alter) who was killed by two revolutionaries. Ranjit is surprised because being a British national, he should have been in their community of ghosts. Captain explains that he is here because apart from his bonhomie with two revolutionaries who are also here after they were hanged till death, his lover, Ferozabai (Padma Khanna) is also here.
Captain tells Ranjit that, now it is the time for him to tell as to why he has committed suicide. Ranjit starts his story from the college days when he spent good days with his family. He was a mixed doubles champion in Badminton in the college with his partner, Ramola (Zaheera) who was in love with Ranjit. However, Ranjit was not sure that their love for each other would convert into a marriage as Ramola was from a wealthy family and her father (Om Shivpuri) would not agree for the marriage. Ranjit’s father who was not keeping good health had to mortgage his house to run the family. After his death, he sold the house and shifted to a small house with his family.
Ramola continued her relationship with Ranjit. Even Ramola’s father was agreeable for the marriage provided he joined his company and proved his worthy of being his son-in-law. Ranjit was not agreeable, and the marriage proposal was terminated. At this stage, Captain interrupts Ranjit and tells him that his life story sounds like a Hindi film story – like Devdas, and he knows as to what next stage of his story would be. He presumes that after separation from Ramola, either Ranjit would get soaked in alcohol or he would start singing ghazals of separation. Ranjit tells Captain that he has not done anything of those sorts. Instead, he joined the army and in a war front, he got badly injured on both the legs. He was hospitalised and after recovery, he was on the crutches making his life miserable and for the same reason, he was unemployed. He could not get compensation from the army despite persuing for months because he could not prove that he lost his legs in the army operations. So, he committed suicide.
Curiosity makes Ranjit to ask Captain as to how he has landed in the community of ghosts. Captains says that his story is simple. As his name. Swaraj Singh suggests, he was from a freedom fighter’s family. However, he lost his father in the freedom struggle, and he had to look for some job to earn money for the family. So, he came to Mumbai and joined the film industry as a body double. During a scene picturisation when he was sitting astride on the horse as a body double for the hero, the horse suddenly slipped and fell in the deep valley killing him.
Ranjit is worried as to how his mother, sister and brother are managing to sustain. Captain points out that now it is none of his business to worry about them. If he was really concerned about them, he would not have committed suicide. Nonetheless, Captain takes him to show that his mother has become a beggar. His sister has become a prostitute, and his younger brother is selling candy in the train. Ranjit is devasted seeing his family’s flights. But he cannot help them as he is a ghost. Captain reminds him that he should have thought of this before committing suicide which is akin to running away from one’s responsibilities.
A gloomy Ranjit suddenly sees Ramola and a smile comes to his face. Ramola is also happy to see Ranjit and tells him that she committed suicide when she came to know that he had committed suicide. With this happy coincidence, Captain arranges a party for community of ghosts to cheer up Ranjit who has now got the company of Ramola. In the party, Captain is surprised to find his acquittance, Lily (Nadira), a call girl who had met Ranjit when he was alive and was in depressed mood. She gives a good and bad news to Captain. The good news is that India has got independence, and the bad news is that India is partitioned on the basis of Hindi and Muslim. Captain is devasted by the second news who was a firm believer of an united India. Captain vanishes into thin air.
Ranjit and Ramola exchange the events which led to their respective suicides. She laments that if he had apprised her of his problems, she would have managed to get him some work and in that case lives of both of them would have been saved. Now since both of them are ghosts, she wants to hear from him that he still loves her. When Ranjit tells her the same, she says she has remained ghost to hear these words. Having heard so, she is now free to renounce her present form. After this, Ramola also vanishes into thin air as if she has got salvation after Ranjit’s affirmation that he still loves her. Having left alone, Ranjit sees a procession in which his mother, sister and brother are participants. A police van comes and a police officer fires on the procession in which most of the persons are killed including Ranjit’s family. The film has a very unusual, surprising end.
The film is stated to be loosely inspired from Hollywood film, ‘It is a Wonderful Life’ (1946) by Frank Capra. While the basic idea may have been derived from this film, ‘Naukri’ (1978) is different in terms of story background and supernatural events peculiar to India. The first half of the film has been beautifully crafted which has Hrishikesh Mukherjee touch. However, in the second half of the film, Hrishikesh Mukherjee touch is majorly missing. Towards the end of the film, there are some preachings on the lines of what IPTA members would usually raise in their films. As mentioned earlier, it was said that Hrishikesh Mukherjee had lost interest in this film due to delay in completing the film.
Nonetheless, I found the film to be interesting one to watch. More than two-thirds of the film have Raj Kapoor and Rajesh Khanna in the frames. I always liked Rajesh Khanna in unconventional roles and this film was no exception. The role of Raj Kapoor in this film was dominant one whereas Rajesh Khanna was in a subdued role. The super stars in their contrasting roles gave their excellent performances worthy of watching them together for the first time in this film. Despite the presence of two super stars, the film failed at the box office. I feel that the film was not well publicised as I do not even recall this film. R D Burman’s average compositions failed to make the songs popular. As often happens, most of the delayed films do not perform well on the box office. By the way, it was the last film, both for Raj Kapoor and Rajesh Khanna with Hrishikesh Mukherjee.
The film had 4 songs written by Anand Bakshi and set to music by R D Burman. I am presenting the first song from the film, ‘upar jaake yaad aayi neeche ki baaten’ to appear on the Blog. The song is rendered by Mukesh for Raj Kapoor. Rajesh Khanna and Zaheera are also present in the audience.
The background to the song is that on the eve of India’s independence and also for the first time, Captain (Raj Kapoor) has seen Ranjit (Rajesh Khanna) in a happy face, (Raj Kapoor ) arranges a party for the ghost community. Ranjit is happy that his beloved Ramola (Zaheera) has also joined the ghost community after her suicide. Incidentally, much before this song sequence, Captain (Raj Kapoor) has actually delivered the dialogue which corresponds to the first two lines of the song when Ranjit starts worrying about the well beings of his mother, sister and brother.
Video Clip:
Audio Clip:
Song-Oopar jaa ke yaad aayin neeche ki baaten (Naukri)(1978) Singer-Mukesh, Lyrics-Anand Bakshi, MD-R D Burman
Female voice
Lyrics:
ae……….hee…………ee aa haa
hee hee hee hee o o
oopar jaa ke yaad aayi neeche kee baaten
honthhon pe aayi dil ke peechhe kee baaten
arre oopar jaa ke yaad aayi neeche kee baaten
honthhon pe aayi dil ke peechhe kee baaten
ae haseenon…. aao
ae haseenon aao meraa dil behlaao
reshmi zulfon ke jaal bichhaao
zindagi se bhi lambi hai ye kaali raaten
honthhon pe aayi dil ke peechhe kee baaten
arre oopar jaa ke yaad aayi neeche kee baaten
honthhon pe aayi dil ke peechhe kee baaten
hee…………. hee hee hee
hee tu tu tu
yaa tu tu tu tu tu…
yaa tu tu tu tu tu…
doston…… dushmanon
doston dushmanon galey mil ke zaraa
chhed do koi kisse dil ke zaraa
kaun jaane kab hongi phir ye mulaaqaaten
honthhon pe aayi dil ke peechhe kee baaten
arre oopar jaa ke yaad aayi neeche kee baaten
hothhon pe aayi dil ke peechhe kee baaten
chaahe aahen bharo chaahe chhedo taraane
log mil baithne ke dhoondhen bahaane
chaahe aahen bharo chaahe chhedo taraane
arre log mil baithne ke dhoondhen bahaane
ek jaise lagte hain janaaze aur baaraaten
honthhon pe aayi dil ke peechhe kee baaten
arre oopar jaa ke yaad aayi neeche kee baaten
honthhon pe aayi dil ke peechhe kee baaten
- In: Anuradha Paudwal songs | Celebration Song | Chandrani Mukherji Songs | Dance song | Guest posts | Kishore Kumar songs | Post by Peevesie's mom | Rafi songs | Song sung by three or more singers | Songs of 1970s (1971 to 1980) | Songs of 1978 | Title song | Yearwise breakup of songs
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This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5722 | Post No. : | 18242 | Movie Count : |
4944 |
Hullo Atuldom
Heard a song this morning after almost 45-46 years.
It was from “Amar Shakti”(1978) which was produced by A.K.Nadiadwala & directed by Harmesh Malhotra. It had Sulakshana Pandit, Shashi Kapoor, Shatrughan Sinha leading the cast with Pradeep Kumar, Jeevan, Om Shivpuri, Ranjeet, Roopesh Kumar, Indrani Mukherjee, Alka, Murad, Birbal, B.M. Vyas etc. playing supporting characters.
Manjula who was from South India; active in Malayalam, Tamil, Telugu, Kannada films, played a banjaran character in the film. She was seen in a few Hindi films of the late 1970s.
The songs of “Amar Shakti” were written by Anand Bakshi & composed by Laxmikant – Pyarelal. Asha Bhonsle, Sulakshana Pandit, Chandrani Mukherjee, with Kishore Kumar & Mohd. Rafi being the male singers.
The story of the film was of the typical “lost and found” story, where there is also a royal family involved. Since it was the story of royals, inheritance etc there has to be a scheming Diwan & a sulking brother of the King- Jeevan & Pradeep Kumar played these characters. There is a Maharaj (Murad) who becomes ill on hearing of the assassination of his Yuvraj & his wife. The Maharaj is also poisoned to death, but somehow the young Rajkumars (sons of the Yuvraj I think) escape or are saved. They come back as grownups to regain their lost titles etc. Along the way, there are the usual twists & turns, where the brothers are unaware of the relation between them (to start with). Then one brother is in love with the traitor’s (who is the current Maharaj) daughter & is also the Senapati of the land. This naturally puts the brothers on opposite sides of the law, before they discover their identities & unite before the HAPPY ENDING. Very typical!!!!
Today’s song happens after the brothers have found each other. They are celebrating in the ‘kabeela’ which had given shelter to one of the brothers & the palace nanny (Indrani Mukherjee). The princess (Sulakshana Pandit) also joins the dance routine. The lady in the red costume is Manjula.
With this song we also remember the super sweet, cute, handsome, Shashi kapoor on what would have been his 86th birthday. He had worked in 4 films as child star (from 1948-53) before making his debut as an adult in ‘Dharmputra’ that released in 1961. He was about 23 then, but already married to Jennifer Kendall. It was ‘Jab Jab Phool Khile’ (1965) opposite Nanda that helped him find a place among popular actors of the 1970s & much of the 1980s.
He had acted in around 160 films before he took retirement from films sometime in late 1990s. He had acted in 12 English & 148 Hindi films – solo hero films were 61 & 53 were in multi-starrers. He was seen playing supporting characters roles in 21 films (has played father to Govinda, I remember). “Ghar Bazar” which released in 1999 was Shashi Kapoor’s last film, his was a special appearance in the film which released 10 years after it was completed.
Here is the song that shows the handsome Shashi Kapoor who was a good actor but an average dancer. Kudos to the choreographer for giving the heroes horses in the middle of the song and making things easy for them.
Song-Sabko pata hai ye sabko khabar hai (Amar Shakti)(1978) Singers-Kishore Kumar, Rafi, Chandrani Mukherjee, Anuradha Paudwal, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Kishore Kumar + Rafi
Male chorus
Female chorus
All chorus
Kishore Kumar+Rafi+ Chandrani Mukherjee + Anuradha Paudwal
Lyrics
hey ae
Aa hey ae
sabko pata hai
yeh sabko khabar hai
sabko pata hai
yeh sabko khabar hai
amar hai shakti
shakti amar hai
amar hai shakti
shakti amar hai
phir kaahe ka dar hai ae ae ae
sabko pata hai
yeh sabko khabar hai
amar hai shakti
shakti amar hai
tu meri jaan hai
tu mera jigar jaane jigar
sabko pata hai yeh sabko khabar hai
sabko pata hai yeh sabko khabar hai
amar hai shakti
shakti amar hai
amar hai shakti
shakti amar hai
parbat uthhaa loon jo tu saath de
tu saath de
jo tu saath de
laa mere haathhon mein tu haath de
tu haath de
tu haath de
ho o o
bachpan mein toh saath khele nahin
khelenge abb hum akele nahin
abb saath apna zindagi bhar hai ae
maa ki duaaon mein
maa ki duaaon mein kitna asar hai
amar hai shakti
shakti amar hai
amar hai shakti
shakti amar hai
humko kisi ki nazar na lage
nazar na lage
nazar na lage
mujh par lage
tum par na lage
tum par na lage
tum par na lage
ho o o o
kyun apne dushman saare banen
chhoote mehal banjaare banen
gham na kar
hamaari lambi umar hai
mehlon se bhi oonchaa
mehlon se bhi oonchaa aaj yeh sar hai
amar hai shakti
shakti amar hai
amar hai shakti
shakti amar hai
aa aa aa aa aa aa aa
aa aa aa aa aa aa aa
kismat se tu mehmaan hai
mehmaan hai
mehmaan hai
hum pe bada tera ehsaan hai
ehsaan hai
ehsaan hai
o o o o
mujhko bhi tum apne kaabil karo
apnon mein mujhko bhi shaamil karo
yeh zindagaani ek safar hai
meree tumhaaree
meri tumhaari ek dagar hai
amar hai shakti
shakti amar hai
amar hai shakti
shakti amar hai
aa hey
sabko pata hai
yeh sabko khabar hai
sabko pata hai
yeh sabko khabar hai
amar hai shakti
shakti amar hai
amar hai shakti
shakti amar hai
Koi ajnabee saa wo insaan thhaa
Posted on: March 10, 2024
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5714 | Post No. : | 18233 |
‘Duniya Kaa Mela’ (1974) was produced by G M Roshan under the banner of Pearl Pictures and was directed by Kundan Kumar. Sanjay Khan and Rekha were in the lead roles supported by Rehman, Bindu, Ranjeet, Mehmood, Jeevan, Purnima, Sundar, Jagdish Raj, Rajan Kapoor, Bhagwan Sinha, Narbada Shankar, Brahmachari etc. Ajit, Asrani and Mukri made the guest appearances in the film.
As per filmfare.com, the film was originally titled ‘Apna Paraaya’ with Amitabh Bachchan and Rekha in the lead roles. The first scheduled of shooting was started some time in 1972, after which Amitabh Bachchan was replaced due to his poor track record on the box office front. The fresh shooting of the film was started with Sanjay Khan replacing Amitabh Bachchan under the new title, ‘Duniya Kaa Mela’.
According to an article in rediff.com, Amitabh Bachchan had villanous roles in ‘Parwaana’ (1972) and ‘Gehri Chaal’ (1973). Distributors suggested to the director, Kundan Kumar to replace Amitabh Bachchan from the lead role, but he did not agree with them. It was only when the distributors saw the rushes of the first schedule of the film’s shooting, they insisted that Amitabh Bachchan be replaced failing which they will back out of the film. So, Amitabh Bachchan was perforce replaced by the then saleable actor, Sanjay Khan.
But the destiny played differently for both the actors. By the time, ‘Duniya Kaa Mela’ (1974) was ready for release, Sanjay Khan’s career was on the decline. The film failed miserably on the box office front. On the other hand, ‘Zanjeer’ (1973) pushed up the career graph of Amitabh Bachchan. It took another 4 years for Amitabh Bachchan and Rekha to act together in lead roles in ‘Do Anjaane’ (1976).
The story of ‘Duniya Kaa Mela’ (1974) follows the success formula of many films – separation of siblings or sweet-hearts during some mass gatherings like Kumbh Mela or due to some other circumstances. it is called ‘lost and found’ genre of Hindi films. After a lot of action and emotional dramas with coincidences, the separated ones get united with happy endings. The gist of the story of the film is as under:
Judge Jamuna Prasad (Rehman) and his wife Shantidevi (Purnima) with their son, Shyam (Raju Shrestha) and daughter, Shyama (Baby Shanoo) visit Kumbh Mela. Badri Prasad (Mehmood), a drama troop owner also visits Kumbh Mela with his son, Munna (Master Bittoo) for his dance programme. Suddenly, Kumbh Mela venue is hit by a storm creating a stamped maont the huge crowds. In the melee, Jamuna Prasad’s son and daughter and Badri Prasad’s son get lost. Both of them fail to find their lost children. Shantidevi loses her mental balance. Doctor tells Jamuna Prasad that if their children are not found, Shantidevi may lose her life.
Judge’s servant finds Munna and so is Badri Prasad’s servant finds Shyama. Both decides to adopt them with Munna becoming Shyam for Shantidevi while Badri Prasad retaining Shyama as his daughter. Jamuna Prasad’s son, Shyam is picked by Jaggu (Bhagwan Sinha) who runs a pickpocket gang. Both the children grow up as Shyam (Sanjay Khan) and Shyama (Rekha). Shyam completes his college and Shayma learns dancing and becomes a dancer in Badri Prasad’s drama troops. For better prospects, the drama troop shift to Mumbai. Shyam grows up as Raja (Ranjeet) who does not want to become a pick pocketer. He is aiming for something better for which he shifts to Mumbai. So, all the three lost children in the Kumbh Mela are in Mumbai as grown-up persons.
For his first dance show in Mumbai, Badri Prasad request Judge, Jamuna Prasad to attend the show with his family. Shyam (earlier Munna) is impressed with Shyama’s dance performance. They meet quite often and falls in love after Shyama’s initial reservation about Shyam who is actually Munna. However, Jamuna Prasad is deadly against Shyam meeting Shyama as she belongs to a dancing profession which is below his status in the society.
In the meanwhile, Rai (Ajit) comes to know the real identities of Shyam, Shyama and Munna through the link from Jaggu and the childhood photos from Jamuna Prasad. With the intension of settling a score with Jamuna Prasad who had sentenced Rai’s son to life imprisonment for killing his fiancée, Rai plans to kidnap both Shyam and Shyama to extract a big amount from Jamuna Prasad. However, with the help of Shyam (Munna) and Badri Prasad and Jaggu’s men, Shyam and Shyama are released, and Rai is handed over to the police. Film ends with Jamuna Prasad and Badri Prasad hugging their real sons, Shyam and Shyam (Munna) who gets Shyama back.
I had gone through the story in nutshell, of some of the popular films based on the ‘lost and found’ formula which were released during 1940s to 1970s. I was surprised to note that the story of ‘Duniya Kaa Mela’ (1974) almost matched with that of Mehboob Khan’s ‘Taqdeer’ (1943). Even the names of the main characters in ‘Taqdeer’ (1943) were repeated in ‘Duniya Kaa Mela’ (1974). Chandramohan’s role was replicated by Rehman as Judge Jamuna Prasad. Charlie’s role was replicated by Mehmood as Badri Prasad. Sanjay Khan replicated Motilal’s role and Rekha did Nargis’s role as Shyama. Just to make the story different, in Taqdeer’ (1943), Judge Jamuna Prasad had only his daughter lost in the Kumbh Mela as against a daughter and a son in ‘Duniya Kaa Mela’ (1974) which led to a sub-story Jaggu’s pickpocket gang.
“The film had 5 songs written by Anand Bakshi and set to music by Laxmikant-Pyarelal. Two songs have been covered on the Blog. I am presenting the third song from the film, ‘koi ajnabi saa wo insaan thhaa’ rendered by Lata Mangeshkar. The song is picturised on Rekha. Sanjay Khan and Mehmood can also be seen in the picturisation.
Video Clip:
Audio Clip:
Song-Koi ajnabi sa wo insaan thha (Duniya Ka Mela)(1974) Singer-Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Lyrics (based on video clip):
koi ajnabi ee saa
wo insaan thhaa
mere dil mein
kal raat
mehmaan thhaa
badaa bewafaa thhaa
beimaan thhaa
mohabbat ki mujhko sazaa de gayaa
mohabbat ki mujhko sazaa de gayaa
kisi aur kaa wo zaalim pataa de gayaa
dagaa de gayaa
meraa yaar karke pyaar
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun
mohabbat ki mujhko sazaa de gayaa
kisi aur kaa wo zaalim pataa de gayaa
dagaa de gayaa
meraa yaar karke pyaar
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun
baaton baaton mein
chaandni raaton mein
chhand mulaa aa aakaaton mein
mere dil pe nazar ki chhuri chal gayi
mere dil pe nazar ki chhuri chal gayi
main to iss aag mein
jal gayi
jal gayi
main to iss aag mein
jal gayi
jal gayi
main tadapti rahoon baddua de gayaa
dil ke sholon ko aakar hawaa de gayaa
dagaa de gayaa
mera yaar karke pyaar
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun
aane jaane mein aise zamaane
mein mausam suhaane mein
main to masti mein thhee
khaak main jaanti
main to masti mein thhee
khaak main jaanti
hosh hotaa to hargiz naa main maanti
hosh hotaa to hargiz naa main maanti
jaane kyaa le gayaa aur kyaa de gayaa
dard wo de gayaa yaa dawaa de gayaa
dagaa de gayaa
meraa yaar karke pyaar
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun
mohabbat ki mujhko sazaa de gayaa
kisi aur kaa wo zaalim pataa de gayaa
dagaa de gayaa
meraa yaar karke pyaar
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun
- In: "How did I forget to post this song earlier" song | Duet | expression of love | Feelings of heart | How come this song was not posted earlier | Kishore Kumar songs | Kishore Kumar-Lata duet | Lata song | Lyrics by Prakashchandra | Lyrics contributed by readers | Songs of 1970s (1971 to 1980) | Songs of 1975 | Theme song | Title song | Yearwise breakup of songs
- 3 Comments
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5700 | Post No. : | 18218 |
Ameen Sayani (21 December 1932- 20 February 2024) recently left for the heavenly abode on 20 february 2024. It goes without saying that Ameen Sayani was easily one of the most important personalities in the field of HFM. Instead of coming up with a hastily prepared article as a tribute to Ameen Sayani, I thought that I should pay him a tribute by discussing Binaca geetmala, a programme that was a musical phenomenon of our times. When we think of Ameen Sayani, we think of Binaca geetmala and vice versa.
But while most of us have heard of both, our recollections may have faded with time or may be we may not have gone into much details. Here I would like to go into some depth of Binaca geetmala and discuss facts about it that we may or may not be aware of.
Binaca geetmala programme had started on 3 december 1952. It was a wednesday. It was half an hour programme on Radio Ceylon from 8 PM to 8:30 PM. It covered seven songs. It was not a countdown programme at that time. It just had a collection of popular songs. It was sort of like chitrahar programme of today. The very first song that was played in the programme was Tu Ganga ki mauj main Jamuna kaa dhaara (Baiju Baawra) .
Instead of creating their own original signature tune, part of the song Pom pom pom baaja boley (Aasmaan) was used as signature tune of the programme.
Five programmes were broadcast on five wednesdays of 1952. All were half an hour programmes. At that time Binaca geetmala was not the programme that it subsequently evolved into.
After nearly one year and half, the format of the programme underwent a serious change in the middle of 1954. It became one hour programme from 8 PM to 9 PM. It became a countdown programme that began to play songs based on their popularity. Sixteenth most popular sung was played first whereas the most popular song was played last.
The programme did not just cover popular Hindi movie songs, it also added new words to the language that people spoke. The word “geetmala” itself was a creation of Ameen Sayani. He also came up with word like “Paaydaan”. Subsequently as the programme evolved further, he created words like “sartaaj geet”, “punar praveshi geet”, etc.
As Binaca geetmala became a countdown radio show towards the middle of 1954, the next logical evolution was analysing the popular songs of the year to come up with the sixteen most popular songs of the year and play that list on the last wednesday of the year. 29 December 1954 was the first time when final programme of Binaca Geetmala was broadcast. Sixteen songs were played. There were songs composed by Naushad (3), Hemant Kumar (3), C Ramchandra (2), O P Nayyar (2). There were one composition each of Avinash Vyas, Salil Chaudhary, Timir Baran, Ravi, Anil Biswas and S D Burman. S D Burman had just one song, but his one song had the distinction of becoming the winner of inaugural Binaca geetmala final programme. The song was Jaayen to jaayen kahaan (Taxi Driver) . This song has two versions. Male solo was sung by Talat Mehmood and female solo by Lata Mangeshkar. Sahir Ludhianvi was the lyricist.
Till end of 1956, only one final programme was being broadcast. But from 1957 onwards two final programmes began to be broadcast covering twice the number of songs. Penultimate programme of the year typically covered song number 32 to 17, whereas the highest ranked songs of the year were covered on the next wednesday viz the last wednesday of the year. The number of songs was not strictly fixed. It varied from 15 to 18 or so in annual programmes.
Popularity of songs were assessed based on sales of record as stated in the programme. It is not clear what was the methodology. They apparently took details from retail sellers of records. How the details were collected and how data were compiled to come up with the list every week is not known to us. A record has more than one song in it. How it was decided which song of the record was more popular than the other is not known to us. All this data processing in those pre computer days must have been quite a task and I wonder if Ameen Sayani had people to assist him in these tasks. I wonder if any of our readers have any information about it.
The other method of assessing the popularity of songs was by taking the views of “shrota sanghs”. When I read this explanation, I feel that the list preparation may not have been very rigourous and objective, seeing the logistical, technical and other challenges of those days.
During the early days, the songs could get included in the Binaca geetmala weekly programmes as many times as they could be based on their popularity. But 1966 saw a major change. In that year, a limitaion was set that any song could be included for 18 times only and no further. It was then retired giving it the name of “Sartaj” geet. Unlike in the past when songs kept figuring in the programme for even two years (100 plus times), this limitation of cutting off a song from contention after one third of a year seemed unfair to many listeners. Ameen Sayani justified it by explaining that more songs got the opportunity to get represented in the programme by this new rule. The first song that was eased out of Binaca geetmala at the peak of its popularity by this new rule was Choo lene do naazuk hothon ko(Kaajal)(1965). Ultimately this song ended up as 13th in the final programme of the year.
I feel that record companies may have influenced this decision. If a popular song could be taken off from Binaca geetmala after one third of the year then potentially three times the number of songs would play in a year which meant potentially three times the number of records would sell. It is my guess. I request our knowledgeable readers to chip in with their opinions.
There were people who would try to note down the list of songs that were played in the programme. while most people would be unable to note down the lists from all programmes, there were some hardcore Binaca geetmala fans who would be able to note down the list of each and every programme. One such person was Mr Anil Bhargav of Jaipur. He noted down the list of songs played in all the 2081 programmes from 3 December 1952 till 4 april 1994, when the last Geetmala programme was broadcast.
Mr Anil Bhargav later wrote a book “Binaca Geetmala ka sureela safar” where he gives invaluable information about Binaca geetmala. I have used the content of this book heavily while collecting details on Binaca geetmala.
Personally I too tried to note down list of songs in weekly programmes but without much success because I missed out on listening to many programmes. It was the final programme that I (and lots of other music lovers) tried not to miss. I have given an account of how I got to listen to Binaca geetmala final programme of 1971 in this article:-, Zindagi ek safar hai suhaana (Andaaz).
Somewhere else, my would be brother in law was also into noting down the list of songs in Binaca geetmala. Much later, My wife got me some page from his notebook that contained the list of songs from the annual programme of 1971 or 1972. I have forgotten what year it was, as I have misplaced that sheet of paper. He by the way was a hardcore farmaish sender to Radio Ceylon, even though he was not from Jhumri Tilaiyya.
Incidentally, that brother in law of mine told me an interesting tale. They lived in Etarasi at that time in 1950s. He as a kid got a head injury while playing. He was urgently rushed to the nearest doctor who treated him and cured him. That Doctor was One Dr Nayyar, who was brother of music director O P Nayyar. 🙂
When one looks at the list of songs that appeared in the final programme of the various years, one notices some interesting facts. During the initial years, Hemant Kumar was the surprise topper among music directors. He had three songs in the final in the last week of 1954 and four songs in the final week of 1955.
By late 1950s , Shankar Jaikishan began to dominate. 1959 saw as many as 8 songs in the final being Shankar Jaikishan compositions. They repeated this feat in 1962 final as well. Laxmikant Pyarelal, who appeared in 1963 began to dominate towards the end of the decade of 1970s and beyond. They had 9 songs in the final wednesday of 1970. R D Burman had 8 songs in the final of 1973. All the songs in that final were composed by just four music directors, viz R D Burman (8), S D Burman (4), Laxmikant Pyarelal (4) and Kalyanji Anandji (3).
Just like we in our blog sometimes have dot days when no post appears, Binaca geetmala too sometimes failed to be broadcast on its appointed day and time. There were about 80 such occasions. Sometimes, older programme was played to fill in. For example the programme of 12 June 1974 was repeated on 19 june 1974 as well. Sometimes the day and time got changed. For excample the programme scheduled for wednesday 4 december 1974 was broadcast on sunday 8 december 1974 at 13:00 hrs in the afternoon. In case of DOT wednesdays, the list of songs of that missing wednesday was read out in the next programme.
There were about 35 occasions when Ameen Sayani was unable to record a particular programme and that programme was recorded by some other announcer. Manohar Mahajan ( about 20 programmes), Gopal Sharma, Shiv Kumar Saroj, Vijay Kishore Dubey, Bhajbhushan were the announcers. Personally I found it a let down because others were no match to Ameen Sayani as far as my opinion was concerned.
Year 1977 was silver jubilee year of Binaca geetmala. To mark the occasion, the two final episodes of the year had an enormously large number of songs, viz 42 songs, spread over two wednesdays. The final wednesday saw 21 songs being covered. The winner that year was Madan Mohan composition Koi patthar se naa maare mere deewaane ko (Laila Majnu) . It was the first and only time that a Madan Mohan composition reached the top of Binaca geetmala final but sadly Madan Mohan was not around to savour this success.
To mark the silver jubilee of the programme, three special programmes were broadcast on sundays (8 , 15 and 22 January 1978) between 11:00 hrs to 12:00 hrs where history of Binaca geetmala was covered. Special messages from important personalities were covered. This was a collectors’s item but sadly no recordings of these programmes were made available.
This year saw another major change in policy about playing of songs. From this year onwards, songs were allowed to play 25 times (instead of 18) before they were called “Sartaj” geet and retired. Till 18 times, the songs would be played fully and for the next seven occasions only their snippets (jhalki) would be played in the programmes. As a result, the number of songs being covered in a weekly programme became more than 16 songs, because of snippets of additional songs. “Ankhiyon ke jharokhon se(Ankhiyon ke jharokhon se)” became the number one song of the year in 1978.
The end of 1970s and beginning of 1980s saw the golden era of HFM coming to an end and the radio age too began to get eclipsed by TV at around the same time. Binaca geetmala slowly began to feel the heat. By that time Vividh Bharati radio stations had been set up in lots of places in India and they too had been allowed to air sponsored programmes. Under these changed circumstances, advertisers began to favour Vividh Bharati in place of Radio Ceylon (by now called SLBC).
On personal front, I too had begun to lose track of Binaca geetmala (as also Hindi movies). I do not feel that I may have missed much though, because the golden era of HFM was in any case behind us. Binaca geetmala kept being aired but Binaca geetmala of 1980s were not the same Binaca geetmala of yore. Binaca geetmala, in addition to being inundated by disco songs also opened its doors to non film songs. 12 August 1981 saw “Disco Deewaane” becoming the first non film song to get played in Binaca geetmala. Other songs of this album also began to get played in subsequent programmes and they even figured in the final programme of the year.
The songs that began to become the top songs in HFGK final programmes from 1981 onwards were quite lowbrow in quality in comparison to the songs of the past. 1981 topper was Mere angne mein tumhaara kya kaam hai (Laawaaris), 1982 topper was Angrezi mein kahte hain ki I love you (Khuddar) , 1983 topper was Shaayad meri shaadi ka khayaal dil mein aaya hai (Sautan). One can see that chaalu kind of songs had begun to find favour with music lovers.
Binaca geetmala on SLBC was renamed Cibaca geetmala with effect from 21 may 1986. It began to be broadcast on thursday from 27 october 1988 between 9 PM to 10 PM. From 6 april 1989, number of songs were reduced from 16 to 14.
All these were changes for the worse and these were signaling the decline of the programme in line with changing times. While the programme tried to continue gamely on SLBC, Vividh Bharti too saw Cibaca Sangeetmala being presented by Ameen Sayani from 6 november 1989. It was not quite Binaca geetmala. It was presented on Vividh Bharati (24 stations) on monday at 9 PM.
Finally, 4 april 1994 saw the last broadcast of Cibaca geetmala. That finally brought down curtains on an iconic radio programme that had a marathon run of 42 years (2081 programmes), almost all presented by just one individual namely Ameen Sayani. Ameen Sayani was 20 when he began the programme. He was 62 when the programme finally came to an end.
End of an era indeed.
I decided that I should discuss a Binaca geetmala finalist song with this writeup. When I began to search for songs that have figured in Binaca geetmala finals, I kept scanning songs after songs years after years beginning from 1954. I found that all the finalist songs from 1954 onwards have been covered in the blog. In fact, not just the songs, even the movies that the songs were from have been YIPPEED in the blog.
Finally my search ended in the list of songs in the year 1975. Here is a song from the Binaca geetmala final 1975.
When I reveal what song I am going to discuss, I expect regulars to gasp with surprise and exclaim how come this song was not posted till now.
The song is from “Julie”(1975). “Julie”(1975) was produced by A Chakrapani and B Nagi Reddy and directed by K S Sethumadhavan for Vijaya Productrions private Limited, Madras. This movie, billed as “A Bold daring true-to-life story of young love” had Lakshmi(aka Laxmi),Vikram (aka Vikram Makandar),Nadira, Utpal Dutt, Achala Sachdev, Rita Bhaduri, Jalal Agha, Rajendra nath, Om Prakash, Sridevi, Umesh Sharma, Master Satyajeet, J.N.Anand, Udaya Lakshmi, A.Abdul Hameed, C.J.Anand, Sulochana senior(aka Ruby Myers) etc in it.
“Julie”(1975) had five songs in it. Three songs have been covered so far. The last song from the movie was covered exactly 10 years and one month ago on 25 January 2014.
Here is this iconic song from “Julie”(1975). This song is sung by Kishore Kumar and Lata Mangeshkar. Anand Bakshi is the lyricist. Music is composed by Rajesh Roshan.
The song is picturised on Lakshmi(south fame) and Vikram.
Lyrics of the song and other details were sent to me by Prakashchandra.
This song was third in the Binaca geetmala final programme of 1975 (broadcast on 31 december 1975).
Today is the 5700th day of this blog. On this occasion, we pay our tribute to the great legend Ameen Sayani and thank him for providing us with decades of musical bliss. You will remain in our hearts all the time.
audio link (longer):
video link:
Song-Bhool gaya sab kuchh yaad nahin ab kuchh (Julie)(1975) Singers-Kishore Kumar, Lata Mangeshkar, Lyrics-Anand Bakshi, MD-Rajesh Roshan
Lyrics(Provided by Prakashchandra)
bhool gaya sab kuchch
hmm hmm mmm
bhool gaya sab kuchch
yaad nahin ab kuchch
oho o
hmm..mmm
hey aey hey aey
ek yehee baat na bhoolee ee
Julie ee ee
aa aaa aaa aa aa aaaa
I love you
aa aa aa aa aa aa
bhool gayee sab kuchch
yaad nahin ab kuchch
oho o
hmm..mmm…mm oho o o o ho o o o
ek yehee baat na bhoolee ee ee
Julie aaa aaa aaa aaa aaa
Julies loves you
aa aaa aaa aaaa
aa aaa aaaa
aa aaa aaa aaaa
aa aaa aaa aaaa
itna bhi door mat jaao oo
ke paas aanaa aa mushqil ho
ho o o ho
itna bhi paas mat aao oo
ke door jaanaa aaa mushqil ho
jaaney bhi do kahaa maano meraa
aisaa lagaa badan chhoo ke teraa
koyi chingaari chhoo lee eee
Julie ee ee
aa aaa aaa aaa aaa aaa
I love you
aaaa aaa aa aa aa aaaa
aisa na ho tadap tadap ke
ye pyaar pyaasaa aaa mar jaaye ae
ho o o o
aisa na ho hum donon ko
ye shaam ruswaa aa kar jaaye..ae
achchaa to main ye zid chhod doon bolo
achcha main ye qasam tod doon bolo
baat hai ye maamoolee ee ee
Julie ee
aaa aaa aaa aa aaaa aaa
Julie loves you
aa aaa aaa aaaa
aaa aaa aaa
bhool gaya sab kuchch
hmm hmm mmm hmmm mmm
bhool gaya sab kuchch
yaad nahin ab kuchch
oho o
hmm mm
hey aey ae ae
ek yehee baat na bhoolee eee
Julie ee ee ee
aa aaa aaa aa aa
I love you
aaaa aaa aa aaa
aaa aaa aaa
hmmm mmmm mmmm
ho o oo ho
hmmm mmm
hmmm mmm mmm
aaa aaaaa aaaaa aa
hmmm mmm mmmm mmm
This article is written by Peevesie’s mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5691 | Post No. : | 18209 |
Hullo Atuldom
6th February 2022 followers of Indian music, across the genres of Bhav-geet, Film Sangeet, Bhajans and any other that we can think of, lost the most accomplished, sought after, loved (& any other add-ons that we know of) singer. She went by the name Lata Mangeshkar fondly addressed as Lata Didi by the multitude of her followers. She was the go-to voice (a modern day term for first choice) of all music composers for their debut films – remember ‘ghar aaja ghir aayi’ RD Burman, ‘Parasmani’ & its songs which was the first released film of Laxmi- Pyare. Even Madan Mohan is said to have approached Lata Mangeshkar to sing for his debut film ‘Aankhen’ but could get her into the recording room only for his next ‘ Adaa’ which released in 1951.
“Patita” (1980) was a movie that had music by Bappi Lahiri. He had Lata Mangeshkar sing some melodious songs which are in the “not so easily recalled” category. Songs like ‘baithe baithe aaj aayi mere mann mein’; “sunte sunte yeh meri kahaani” which were filmed on a very young Shoma Anand. The other actors in the film were Mithun Chakravarty, Raj Kiran, Vikram, Seema Deo, Ramesh Deo, Madan Puri, Sulochana etc. The movie was directed by I. V. Sasi who remade it from his own Malayalam film & Mukul Roy was the producer. Anand Bakshi was the lyricist for the film. The film had 5 songs of which 3 were Lata Mangeshkar solos & 2 Kishore Kumar solos. One Of Kishore Kumar solos is already on the blog with a post by Avinashji on 4 August 2018:-
Dil dhhak dhhak karne laga
Here is the next song today to wish the bright eyed, sweet looking Shoma Anand on turning 65 today. She made her debut in 1976 with Pramod Chakravarty’s “Barood” where Rishi Kapoor was her costar. She was a regular in many movies of the 70s, 80s, & 90s; though her run as lead actress was limited she was seen very often as the scheming sister-in-law, daughter-in-law etc. in family-dramas. She was most appreciated for playing BINA MATHUR in Ekta Kapoor’s (first television production) HUM PAANCH; a full-on comedy show.
The song with this post is a song which speaks about the aspirations of a young girl. I recall seeing this film on TV a few years back but cannot recall when the song happens, after she comes in contact with which of the heroes. From the video it looks like Raj Kiran is the trigger for the song but Vikram is also seen keeping an eye on the singer.
Thanking Bappida (whose death anniversary was yesterday) for giving us this Lata Mangeshkar melody.
Song-Baithhe baithhe aaj aayee mere man mein(Patita)(1980) Singer-Lata, Lyrics-Anand Bakshi, MD-Bappi Lahiri
Lyrics
baithhe baithhe aaj aayi mere man mein
ban jaaun main ghata
ud jaaun gagan mein
o baithhe baithhe aaj aayi mere man mein
ban jaaun main ghata
ud jaaun gagan mein
ud jaaun gagan mein aen aen aen
baithhe baithhe aaj aayi mere man mein
ban jaaun main ghata
ud jaaun gagan mein
ud jaaun gagan mein
ud jaaun gagan mein
ud jaaun gagan mein
ud jaaun gagan mein
kabhi kheloon main phoolon se
kabhi saawan ke jhoolon se
kabhi kheloon main phoolon se ae
kabhi saawan ke jhoolon se
daali daali pe main lahraaun oon
baithhe baithhe aaj aayi mere man mein
ban jaaun main hawa
kho jaaun chaman mein
kho jaaun chaman mein aen aen
ud jaaun gagan mein
ud jaaun gagan mein
ye jo subah naweli hai ae
raina ki saheli hai
ye jo subah naweli hai ae
raina ki saheli hai
donon hans ke gale mil rahe hain aen
baithhe baithhe aaj aayi mere man mein
ban jaaun main ?? is madhur milan mein
is madhur milan mein aen aen
ud jaaun gagan mein
ud jaaun gagan mein
phool saare nahin khilte ae
chaand sabko nahin milte
phool saare nahin khilte ae
chaand sabko nahin milte
dhoondhhoon main kahaan phir ujaala aa
baithhe baithhe aaj aayi mere man mein
ban jaaun main diya
jal jaaun agan mein
jal jaaun agan mein aen aen
ud jaaun gagan mein
ud jaaun gagan mein
ud jaaun gagan mein
ud jaaun gagan mein
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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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
Kuchh mere dil ne kahaa
Posted on: February 13, 2024
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5688 | Post No. : | 18205 | Movie Count : |
4887 |
In this article, I have taken up for discussion, ‘Tere Mere Sapne’ (1996) which was the first Hindi film produced by Amitabh Bachchan Corporation Limited (ABCL) after it commenced operations sometime in 1994. Before I discuss the film, it is necessary to dwell upon as to why Amitabh Bachchan felt setting up a film production and distribution company, how the Company fared and how the Company went into near bankruptcy. I think, ABCL is one of the appropriate case studies for the students of business management to understand what went wrong with ABCL and how Amitabh Bachchan turned the corner from near bankruptcy to the star of the millennium.
ABCL was set up by Amitabh Bachchan as a private limited company with a view to bringing a corporate culture in film production and distribution which hitherto was mostly confined to the individuals or sole proprietorship firms. The Company commenced business in 1994 and was professionally managed under a CEO and other senior professionals recruited from the market. It produced TV Serial, ‘Dekh Bhai Dekh’ (1993-94). ‘Tere Mere Sapne’ (1996) was ABCL’s first Hindi film produced with a small budget which was a semi hit. It also earned profit in the distribution of the film, ‘Bombay’ (1995). During the course of its business operations, the Company diversified into event management, talent management and TV marketing.
During the first year of its operations, the Company made a net profit of Rs.15 crore on a paid-up capital of around Rs. 60 crore which was a good beginning. Buoyed by the first year of the encouraging result, ABCL ventured into high budget films in line with the Company’s aspirations to become a big player in the film making and the distribution. To achieve this, it required huge cash-flows to finance the new film projects. During this period, ABCL also got rights to host Miss World Pageant, 1996 for the first time in India. Banks were ready to lend money to the ABCL against the personal guarantee of its major owner, Amitabh Bachchan whose brand value was high.
With loans from a consortium of banks, ABCL produced films in quick succession such as ‘Mrityudaata’ (1997), ‘Saat Rang Ke Sapne’ (1998), ‘Major Saab’ (1998) and ‘Aks’ (2001). In addition, it produced regional films, ‘Yuvathurki’ (1996, Malayalam) and ‘Ullaasam’ (1998, Tamil). Some of Hindi films were the ‘come back’ projects for Amitabh Bachchan. Barring ‘Major Saab’ (1998) which was a ‘semi hit’, all other films flopped at the box office, putting a strain on the cash-flows of the Company. While the Miss World Pageant was successfully completed, at the end, ABCL was reported to have incurred financial losses in hosting the event.
Within less than 5 years of its operations, ABCL was in a financial mess. By the end of 1999, its net worth was wiped out with a debt of Rs.90 crores. In an interview given by Amitabh Bachchan sometime in 2013, which appeared in many newspapers and magazines including India Today, he had said that at one time, ABCL’s debt was around 90 crores. Almost all the debt were raised against his personal guarantee. He had no wherewithal to repay. Creditors were lining up in his house, some threatening, some abusive and some even with court order for auctioning of his then residence, ‘Prateesksha’. It was at that time, ABCL approached BIFR to be listed as a sick company in order to get immunity from creditors for some time.
It was a temporary relief. Amitabh Bachchan needed to find a solution to the repayment of debt. At the spur of the moment, he walked down from his house to the residence of Yash Chopra and requested him to take him in his film. ‘Mohabbatein’ (2000) which was at the time in the planning stage. Yash Chopra obliged, and the film became a superhit upon its release. For Amitabh Bachchan, it was more of a moral strength which facilitated gaining his brand value. This success of the film also paved the way for offer from Star TV to host quiz-based reality show, ‘Kaun Banega Crorepati’ (2000) for 85 episodes for which he got Rs.15 crore. The stardom which he had almost lost on the big screen got it back through small screen. Amitabh Bachchan repaid ABCL’s debt with interest to all his creditors with the success of ‘Kaun Banega Crorepati’, the advertising and endorsement fees and with the success of his subsequent films.
ABCL was restructured and renamed as Amitabh Bachchan Corporation. ABC has been in the business of producing films such as ‘Virruddh’ (2005), ‘Paa’ (2009), ’Shamitabh’ (2015), ‘Sarkaar 3’ (2017), ‘Goomar’ (2023) etc. It has also produced a few regional language films. ABC had learnt a lesson that the film production and distribution is a high-risk business. So, it is better to produce and distribute the films by joining hands with one or two more film producing and distribution companies with financial strength. Hence, almost all the films produced by ABC after 2005 were jointly with other film producing companies.
In the hindsight, one can say that Amitabh Bachchan was quite ahead of time in bringing the corporate culture in the film production and distributions business. Today, he must be a satisfied person to note that what he did for bringing corporate culture to film productions and distribution business in 1996 has now been operationalised to a large extent. Most of the major film producers and distributors, such as Dharma Productions Pvt Ltd (Karan Johar), Red Chillies Entertainment Pvt Ltd (Shah Rukh Khan), Yash Raj Films (Aditya Chopra), Viacom 18 Studios, RSVP Movies, (formerly UTV Motion Pictures, Ronnie Screwvala), Amir Khan Productions Pvt Ltd, Cape of Good Films (Akshay Kumar), Ajay Devgan Films, Salman Khan Films, Ashutosh Gowariker Productions Private Ltd, Reliance Entertainment etc are corporate entities.
Coming back to the film, ‘Tere Mere Sapne’ (1996), the debutant, Joy Augustine directed the film. The cast included the newcomers, Arshad Warsi, Chandrachur Singh, Priya Gill and Simran with Pran, Sulabha Arya, Bal Dhuri, Suresh Mathur, Manoj Pahwa. K D Chandran, A K Hangal etc. The story of the film seems to have been inspired from the novel ‘The Prince and the Pauper’ by Mark Twain (1882).
The story of the film is as under:
The film starts with Amitabh Bachchan narrating the background of the plot. Two boys are born on the same day – Rahul Mehta (Chandrachur Singh) born in a wealthy family settled in England and Balu (Arshad Warsi) born in a middle class South Indian brahmin family in Mumbai. Rahul’s parents had died when he was young. He has been brought up by his industrialist grandfather, Sambhunath Mehta (Pran). Balu on the other hand has been brought up in a brahmin family culture but he does not seem to have adopted that culture. Because of this, his father (K D Chandran) has been in logger head with him though his mother (Sulabha Arya) always defends him against his father.
The story is fast forwarded to 21 years later. Rahul wants to make a visit to India to see his parents’ grave (his mother was a Hindu, and his father was a Christian). But his grandfather is against it as he is afraid that he may also fall in love and get lost like his parents. After much cajoling by his manager, Ram Singh (Bal Dhuri) who will accompany Rahul during his visit to India, Rahul is allowed to travel to India. At the Mumbai airport, Rahul ditches Ram Singh and take a taxi driven by Balu.
During their taxi drive, Balu speaks bad thing about the rich boy who has come to India who has been born on the same day as he was but poor. Rahul reveals himself as the same rich boy and Balu is ashamed of what he said earlier. But both Balu and Rahul become friends. In his plans, Rahul has already decided not to go back to England as he is fed up with his rich but lonely life. To carry out his plan, Rahul offers Balu to exchange their places in the society. So, Rahul becomes a taxi driver and Balu becomes a rich Rahul. Rahul sends Balu to his Manager who has a tough time to groom Balu to behave like a rich Rahul.
With the exchange taking places, Rahul goes to Balu’s place and stays near their house. Here he falls in love with Parvati (Priya Gill) who is the sister of Balu. On the other hand, Balu in the role of Rahul attends a meeting of Mehta Industries, called by Mathur (S P Malhotra) who is in-charge of the company which is facing some labour troubles due to mismanagement. Balu falls in love with Mathur’s daughter, Pooja (Simran).
During a meeting with the management of the Mehta Group of Industries, the union leader (A K Hangal) discusses with Balu, acting as Rahul, the problems faced by the labourers because of the lock-out of the factory. Balu agrees to reopen the factory and decides to distribute a part of the profit among the labourers.
When Parvati’s father learns of the love affairs of Rahul with his daughter, he fumes as Rahul is not a Brahmin. Somehow, Balu manages the situation by telling Rahul to become a brahmin. On the other side, Sambhunath feels that all is not well in Mumbai with Rahul. He visits India to take the stock of the situation in his factory. With company’s control likely to go out of Mathur’s hand, he engages a gangster to kidnap Sambhunath to sign the papers handing over the factory to them. In time, Balu in the role of Rahul comes and tells Mathur that he is Rahul, and he would sign whatever papers, knowing well that he is not Rahul. Someone informs the real Rahul that his grandfather has been kidnapped by Mathur. Rahul and Balu join hands to successfully repulse Mathur’s plan and get Rahul’s grandfather freed. The film ends with Rahul and Balu marrying Parvati and Pooja, respectively.
‘Tere Mere Sapne’ (1996) had six songs written by Anand Bakshi and set to music by Viju Shah. I am presenting the first song from the film, ‘kuchh mere dil ne kahaa’ to appear on the Blog. The song is rendered by Hariharan and Sadhana Sargam. It is a love song when Rahul (Chandrachud Singh), a neighbour of Parvati (Priya Gill) falls in love with each other. The song is picturised on them as their imaginations.
The highlight of this song is that it has a mix of Carnatic music probably, in keeping with the fact that Parvati is a South Indian girl. The use of violin in orchestrations as well as in the visuals gives an interesting fusion of Hindi and South Indian films songs. The song picturisation is also interesting with some scenes having shot against the sunlight.
Video Clip:
Audio Clip:
Song-Kuchh mere dil ne kahaa (Tere Mere Sapne)(1996) Singers-Hariharan, Sadhana Sargam, Lyrics-Anand Bakshi, MD-Viju Shah
Both
Lyrics
hmm hmm hmm hmm
hmm hmm hmm
he ae ae ae ae ae
kuchh mere dil ne kahaa
kuchh tere dil ne kahaa..aa
kuchh mere dil ne kahaa
kuchh tere dil ne kahaa
ab hum kyaa kahen kyaa sunen
jab dil baaten karne lagen
ab hum kyaa kahen kyaa sunen
jab dil baaten karne lagen
aa aa aa aa aaaa
aa aa aa aa aaa
aa aa aa aa aaa
aa aa aa aa aaaaa
aa aa aa aa aaa
o ye dil bezubaan thhaa
aaj isko zubaan mil gayi
o o o meri zindagi ko
ek haseen daastaan mil gayi
jeene kaa marne kaa
jeene kaa marne kaa
aayegaa ab mazaa…aa
kuchh mere dil ne kahaa
kuchh tere dil ne kahaa..aa
kuchh mere dil ne kahaa
kuchh tere dil ne kahaa
ab hum kyaa kahen kyaa sunen
jab dil baaten karne lagen
ab hum kyaa kahen kyaa sunen
jab dil baaten karne lagen
ae ae ae ae ae
aa aa aa aa aa
ha aa aa aa aa
ha aa aa aa aa
ho tujhse mil ke jaanaa
kitni tanha thhi main tere bin
ho o o pal pal kaisi halchal
zindagi mein hai ab raat din
main kahoon aur kyaa
main kahoon aur kyaa
bas tera shukriyaa.. aa
kuchh mere dil ne kahaa
kuchh tere dil ne kahaa aa
kuchh mere dil ne kahaa
kuchh tere dil ne kahaa
ab hum kyaa kahen kyaa sunen
jab dil baaten karne lagen
o o o ab hum kyaa kahen kyaa sunen
jab dil baaten karne lagen
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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