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

Posts Tagged ‘Baadbaan


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.

Blog Day :

4440 Post No. : 15884

Today’s song is from the film Baadbaan-1954.

This film has some history. After actress Devika Rani left Bombay Talkies in 1945, it was going downhill. The fall had actually started in 1940, after Himanshu Rai’s death. That is when Devika Rani took over the reigns of Bombay Talkies. From the day she was brought back from Calcutta (after the elopement), Devika Rani was not comfortable with Shashdhar Mukherjee. She had always suspected that he instigated the staff against her and they ridiculed her. She caught hold of Amiya Chakraborty in her group and there were clearly two groups in Bombay Talkies management.

As a result of continued friction, a big group of disgruntled staff of the company left Bombay Talkies and later formed Filmistan. Devika Rani was shattered, but the other loyalists helped her and the company continued till 1945. In this year, Devika Rani got married, sold her shares and left the company. The new management kept on making films sporadically, but except film Mahal-1949, no Hit film was made. Finally in 1952, the company was sold to Tolaram jalan, a businessman-not connected with films. In 1952, Bimal Roy made the film ‘Maa’ and Phani majumdar made the film ‘Tamasha ‘, but these too could not save Bombay Talkies.

As a last effort, the employees of Bombay Talkies got together and formed “Bombay Talkies workers’ Industrial Cooperative Society ” and made the film “Baadbaan “-54. As a help to the workers and as a gesture of gratitude, all the artistes of the film, like Dev Anand, Meena Kumari, Usha Kiran,Jairaj, Leela Chitnis etc etc, the director Phani Majumdar and the composers Timir Baran and S K Pal, along with all Technical staff worked free for this film.

In Spite of all this, the film Baadbaan flopped and finally the company was closed down in December-1954. That was the background history of the film Baadbaan. The meaning of this Title word is…Baad means Storm and Baan means Safeguard. The film is about the storm that comes in the life of the Hero and how his life changes after this.

The all-star cast of eleven top-rate players comprised of Dev Anand, Meena Kumari, Usha Kiron, Ashok Kumar, Bipin Gupta, Gope, Krishnakant, Jairaj, Leela Chitnis, Sheikh Mukhtar and Shivraj.The credit for handling this brilliant array or talent goes to Director Phani Mazumdar who also wrote the story and to Nabendu Ghosh whose compact screenplay and terse, but tell­ing, dialogue exploit both the stars and their well-written parts as well as the richly-interest­ing story.

A beautiful, very melodious music score composed by Timir Baran and S.K. Pal, lovely lyrics written by Indivar and Udhav Kumar and superbly choreographed dances designed by the brilliant exponent Shanti Bhardan and Parvati Kumar provide sparkling highlights in this engrossing film.

The picture depicts a story rich in incident and emotional conflict and centers on an orphaned child whose parents, fisher folk, are killed in a storm and who is adopted by a rich, kind and broad-minded philanthropist. The real drama sets in when the boy returns from Eng­land and falls in love with a lovely young so­cialite who reciprocates his love. On hearing of his true parentage, however, her father forbids the marriage but relents at seeing his daugh­ter’s unhappiness.The hero’s overwhelming passion for a beautiful fisher girl from the village of his birth to which he returns, bent on improving his peo­ple’s lot, and his love for his charming wife make for strong emotional power climaxed tragically by the latter’s death and given subtle meaning by his return to his own people and a girl of his own kind.The best performance comes from Usha Kiron who dominates the picture with her gloriously rich portrayal as the fisher girl Mohania. She literally lights up the screen with her brilliant, sympathetic acting.

Dev Anand, as the hero, puts over a good role despite the fact that he tends to fall short in some of his scenes and is a trifle gauche throughout the film. Meena Kumari, as his ill- starred wife, turns in a quiet, polished role in a quite difficult part. Another subtle but telling performance comes from Ashok Kumar who plays her silent lover and the hero’s friend with the consummate ease of a veteran artist.Bipin Gupta and Krishnakant, as the hero’s foster-father and the heroine’s father, act im­peccably as usual. Jairaj, as Dev Anand’s fa­ther, does well in a small part and Leela Chitnis as his mother acts well and looks love­ly. The comedy is provided mainly by Gope who handles his comic and dramatic scenes very well. ( review adapted from Cineplot, with thanks.).

In Spite of all this, the film was not successful at the Box office. The reasons could be any and many, but the film industry is governed by superstitious notions. One of them is that the pair of Dev Anand- Meena Kumari can not bring out anything good. This pair had featured in 4 films. Their first film was ‘Sanam’-51. Of course Meena Kumari was not a Heroine in this film, but her presence in the film with Dev Anand, saw that the Love Birds- Suraiya-Dev Anand separated for ever in their lives, from this film. The director Nandlal Jaswantlal also began a bad patch in his life .

The second film was ‘Tamasha’-52, made by an already sinking Bombay talkies. This film not only failed, but Bombay Talkies also did not remain in a position to make another film. When the workers union made the film Baadbaan-54 -their 3rd film together- the film and the Union, together with Bombay Talkies sank so deep – never to get up again ! That was Curtains for Bombay Talkies !

For the fourth time Dev and Meena kumari came together again in film ‘Kinare Kinare’-63. Lyricist Nyay Sharma was the Producer. The film took 5 years to complete and after its release, flopped miserably, putting Nyay Sharma in the depth of debts ! Seeing this result, no Producer ever dared to bring Dev-Meena Kumari together again, Ever !

I would not believe such stories, but when I saw another example, I started believing this phenomenon. There was yet another pair- Waheeda-Rajendra Kumar- in films, which was called a “KIller Pair”. The first film of this pair was the film ‘Nirmala’ Made by Dalsukh Pancholi. During its making only, Pancholi died and the film went into cans. Second film was ‘Palki’-67, made by S U Sunny. During its making Sunny died on the sets. The film was completed by Mahesh Kaul, but on release it flopped. The third film was S S Vasan’s “Shatranj”-69. During its making Vasan died. Their fourth and last film together was “Dharati’-70, made by Director Shreedhar. During its making, the producer-Shreedhar’s mother died. After this film, no one dared to bring this pair together again, ever !

In our film industry, such stories of ‘Lucky” -“Unlucky” actors, directors and MDs are many. Maybe some more stories, some other time….

Here is the 6th song from the film Baadbaan-54. It is sung by Manna Dey, Asha Bhosle and chorus. The song’s duration is only 2.50minutes, but it’s prelude music runs for 1.18 minutes…one of the longest, maybe.


Song-Jai deva ho (Baadbaan)(1954) Singers-Asha Bhonsle, Manna Dey, Lyrics-Uddhav Kumar, MD-Timir Baran- S K Pal
Chorus
Asha Bhonsle + Manna Dey + Chorus

jai deva ho
jai deva ho
jai deva jai deva jai deva ho

jai deva ho
jai deva ho
jai deva jai deva jai deva ho
jai deva ho jai deva ho
jai deva jai deva jai deva ho

humpe raakho mehar ki najariya najariya
jai deva ho
jai deva ho
jai deva jai deva jai deva ho

andhiyaari raat gayi bairan barsaat gayi
o o o
o o o

andhiyari raat gayi bairan barsat gayi
ho o o o

aayi hai bhor naye saal ki
aayi hai aayi hai aayi hai bhor naye saal ki
aao re deva baitho re deva
khaali hai ankhiyon ki paalki
ee ee ee
aayi hai bhor naye saal ki

jai deva ho jai deva ho
jai deva jai deva jai deva ho


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 :

4393 Post No. : 15761

Screenplay is the first stage when a film is said to be born on paper. A screenplay writer translates the story/script from its literary form to an audio-visual presentation incorporating the ideas of the directors as to how each character is to be presented, the mood of the scenes, the surrounding environments, the stance of dialogue deliveries, the camera angles, lighting etc. Some screenplay writers also incorporate the dialogues. Directors like Satyajit Ray would write the screenplay in sketch form, visually presenting the scenes in each sheet of paper, something like what we used to see RK Laxman’s ‘You Said It’ in newspapers. In other words, screenplay is a complete document, representing a film in a paper format.

In a professional set-up, a director of the film would like to have with him a bound copy of the screenplay, a copy of which he would also handed over to each one of main actors, cinematographer, art director, sound engineer, choreographer, lyricists, music directors etc. before the film’s shooting commences. Some of the directors like Bimal Roy used to follow the system (as revealed by Dilip Kumar in an interview) while directors like Guru Dutt did not give much importance to this system as quite often, he used to make changes in the screenplay at the spur of the moment  while shooting (as revealed by Abrar Alvi in his book, ‘Ten Years With Guru Dutt’). In our office parlance, we can call screenplay as a manual of instructions for all those who are closely associated with the making of a particular film.

From the above description, it is apparent as to how important the role of screenplay writers have in the making of films. Unfortunately, most of the screenplay writers are ‘faceless’ in the sense that their faces seldom appear on the film magazines. It was Salim-Javed, the duo who, as a story, screenplay and dialogue writer, attained the status of stars during 1970s and early 80s and their faces became familiar to most of the cinema-lovers.

I am discussing in this article, one of the most prominent ‘faceless’ screenplay writers, an introvert who kept a low profile despite writing screenplays for many Hindi films for over 3 decades, which became popular. Some of his works attained the classic status such as ‘Parineeta’ (1953), ‘Devdas’ (1955), ‘Sujata’ (1959), ‘Bandini’ (1963), ‘Teesri Kasam’ (1966), ‘Abhiman’ (1971). He is the Bengali novelist and short-story writer, dancer, theatre actor and the director, Nabendu Ghosh who became a screenplay writer by default.

I came to know about Nabendu Ghosh for the first time about 3 years back when I was going through a book ‘Gulzar in Conversations with Nasreen Muni Kabir’ and Gulzar’s many interviews on the newspapers. In the book and the interviews, Gulzar gave credit to Nabendu Ghosh in shaping his career as a screenplay writer. I became interested in knowing him in details only when I came to know that he had made a statement as early as in 1945 that if at all he joined the film industry, it would be only under Bimal Roy. I found this statement surprising because in Bengali literary circle, he had already attained the status of a star writer due to popularity of his novels and short stories.

During the past few days, I have read books and interviews on Nabendu Ghosh given by his colleagues in the film industry, his own interview on Vividh Bharati and the extracts from his Bengali autobiography, ‘Eka Naukar Yatri’ (‘Traveler of the Lonely Boat’) translated in English by his daughter, Ratnottama Sengupta. On the basis of these sources, I have written his profile incorporating the important events in his life which is given below:

Nabendu Bhushan Ghosh (27/03/1916 – 15/12/2007) was born in Dhaka where he did his early schooling. The family shifted to Patna when his father, an advocate started practicing at the Patna High Court. Nabendu continued his secondary school in Patna and continued his college there completing MA in English literature. During his Patna days, Nabendu joined a local theatre group where he acted, mostly in the female role. He also learnt dancing at Uday Shankar’s Almora Cultural Centre.

Nabendu got a job in DIG’s office in Patna. However, during Quit India Movement, he wrote articles against the British rules. For this, he got warning from his sympathetic superiors from the office not to indulge in writing anti-British articles. Instead of heeding their advice, he preferred to resign from the job and shifted to Kolkata in 1944 where his life as a novelist and short story writers began. By the end of 1940s, Nabendu had became a star writer as his novels and short stories were very popular. During this period, he had written stories depicting almost every aspects of life in Bengal – the famine, the tram, the strike, the rationing, communal violence, partitions victims etc.

On a visit to Rajshahi (now in Bangla Desh) sometime in 1945, he watched a Bangla film ‘Udayer Pathe’ (1945) in a theatre. The film had influenced him so much that he took a vow that if he ever become a writer for the films, it would be for Bimal Roy, the director of the film. Probably, this was more like an emotional reaction to the film rather than his serious intention at that time. After a couple of years, Nabendu had a chance meeting with Bimal Roy in Kolkata who was impressed with writings. But it was not until 1951 when Ashok Kumar invited Bimal Roy to direct the film ‘Maa’ (1952) that Bimal Roy thought of taking Nabendu along with him.

Both for Bimal Roy and Nabendu Ghosh, the migration to Mumbai was not by choice but because of the compelling circumstances. With the creation of East Pakistan (now Bangla Desh), the markets for Bangla films and the Bangla novels and short stories had considerably dwindled thanks to the then East Pakistan Government’s policy of suppressing Bangla language in favour of Urdu. What was thought to be a temporary assignment in Mumbai in 1951 became a long creative association between Bimal Roy and Nabendu Ghosh from 1951 to 1966 as a screenplay writer in 9 films besides doing cameo roles in ‘Do Bhiga Zameen’ (1953) and ‘Sujata’ (1959).

During his 3 decades of association with Hindi films, Nabendu Ghosh wrote screenplay for a little over 30 films which included apart from Bimal Roy’s films mentioned above, films like ‘Aar Paar’ (1954), ‘Baadbaan’ (1954), ‘Milap’ (1955), ‘Detective’ (1958), ‘Teesri Kasam’ (1966), ‘Sharafat’ (1970), ‘Laal Pathar’ (1971), ‘Abhiman’ (1973), “Pratigya’ (1975), ‘Ganga Ki Saugandh’ (1978), ‘Krodhi’ (1981) etc. He also directed ‘Trishagni’ (1988) which gave him the National Film Award for the best debut director. Sometime in the middle of his filmy career, he had directed ‘Doctor Babu‘ (based on Phanishwarnath Renu’s story, ‘Maila Aanchal’) with Dharmendra and Jaya Bahaduri in the lead roles and RD Burman as the music director. When 70% of the film was canned, the producer of the film died leaving the film unfinished.

In 1995, he directed a television serial for Doordarshan, ‘Anmol Moti’ on Ashok Kumar. He directed Children Film Society’s ‘Netraheen Sakshi’ and for Ministry of Health, the film ‘Ladkiyaan’ (1997). He was a visiting faculty at FTII and conducted workshops on screenplay writing during 1967 to 1980. During his life time, Nabendu wrote 26 Bengali novels, 18 collections of Bengali short stories and his only English book – ‘Ashok Kumar – His Life and Times’.

Nabendu Ghosh passed away in Kolkata on December 15, 2007 at a ripe age of 91. Nabendu Ghosh’s last novel, ‘Kadam Kadam’ based on the experiences of character actor, Nazir Hussain in INA, was released during his birth centenary year 2016.

If we go through the list of the films for which Nabendu Ghosh wrote screenplays, it would be observed that most of the films were based on stories from literature. His screenplay writings were so powerful that even in respect of women displayed in the films as fallen from the grace from the eyes of the society, the cine audience loved those characters like Chandramukhi in ‘Devdas’ (1955), Kalyani in ‘Bandini’ (1963), Bijli in ‘Chanda Aur Bijli’ (1965), Hirabai in ‘Teesri Kasam’ (1966) and Chandni in ‘Sharafat’ (1970). Raj Kapoor had said after the release of ‘Teesri Kasam’ (1966) that Nabendu Ghosh’s screenplay brought in him the character of  ‘Hiraman’ more than that of Raj Kapoor.

Ratnottama Sengupta, the daughter of Nabendu Ghosh directed one-hour documentary film, ‘And They Made Classic Films’ on the bonding between Bimal Roy and her father based on his interviews. The film was shown at 23rd Kolkata International Film Festival, 2017. One of the interesting anecdotes which Ratnottama Sengupta narrated from the documentary film is –

“On the first day of shoot of ‘Devdas’ (1955), Dilip Kumar was in a tense mood walking up and down on the studio floor. When Nabendu Ghosh asked the reason, Dilip Kumar said that all three are sitting on his shoulders, referring to Pramathesh Barua who directed ‘Devdas’ (1935), KL Saigal who acted in it and Sarat Chandra Chattopadhyay who wrote the novel. She said that Nabendu Ghosh buried all three ghosts and painted a fresh picture of Devdas in his screen-play in such a way that even today when we talk of Devads, we think of Dilip Kumar.” [Quoted in an article by Anuj Kumar in ‘The Hindu’, January 5, 2018).

There were some pitfalls in Nabendu Ghosh’s filmy career also. He never got credit for writing screenplay for the film ‘Madhumati’ (1958). In fact, there is no mention of screenplay writer in the credit title of the film. When Guru Dutt selected one of his stories and wanted him to write screenplay for ‘Kaagaz Ke Phool’ (1959) on his story, Nabendu Ghosh declined by saying that he was busy with the screenplay of ‘Sujata’. He gave his story to Guru Dutt requesting him to get the screenplay written by someone else. When the film was released, Nabendu Ghosh was surprised to note that he was not credited in the film as a story writer while Abrar Alvi was duly credited as screenplay and dialogue writer.

‘Baadbaan’ (1954) for which Nabendu Ghosh wrote the screen-play, is regarded as a classic film though the film did not fare well at the box office. Vijay Anand who claimed in an interview at Satyajit Ray Film and Television Institute, Kolkata in 2003 that he had seen this film 10 times. He regards it as a piece of literature appearing on the screen. It was more of a screenplay writer’s triumph than the director.

I am presenting a song “Thukra Ke Teri Duniya Ko” from ‘Baadbaan’ (1954) which is rendered by Asha Bhosle. The song is written by Indeevar which is set to music by Timir Baran-S K Pal. In this song, Asha Bhosle seems to be trying to sing like Lata Mangeshkar, that too the way Lata has sung in ‘Anarkali’ (1953). Of course, this is my hunch.

Song – Thukra Ke Teri Duniya Ko (Baadbaan) (1954) Singer – Asha Bhosle, Lyrics – Indeewar, MD – Timir Baran, SK Pal

Lyrics

thukra ke teri duniya ko
chaahoon to kar doon choor
magar tere pyaar se hoon majboor
thukra ke teri duniya ko
chaahoon to kar doon choor
magar tere pyaar se hoon majboor
piya teri preet se hoon majboor
 
beh jaaye na teri duniya
aansoo na bahaaungi main
beh jaaye na teri duniya
aansoo na bahaaungi main
meri haaye na tujhko jalaa de
tere paas na aaungi main
mujhe dekhe na teri nazren
dekhe na teri nazren
ho jaaun itni door
magar tere pyaar se hoon majboor
piya teri preet se hoon majboor
 
baddua na dil de baithe
tujh ko na dosh doongi main
baddua na dil de baithe
tujh ko na dosh doongi main
taqdeer ke bair kiya hai
taqdeer se lad loongi main
main tod chalun
main tod chalun ek pal mein
tod chalun ek pal mein
duniya ka har dastoor
magar tere pyar se hoon majboor
piya teri preet se hoom majboor

thukra ke teri duniya ko
chaahun to kar doon choor
magar tere pyaar se hoon majboor
piya teri preet se hoon majboor

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

ठुकरा के तेरी दुनिया को
चाहूँ तो कर दूँ चूर
मगर तेरे प्यार से हूँ मजबूर
ठुकरा के तेरी दुनिया को
चाहूँ तो कर दूँ चूर
मगर तेरे प्यार से हूँ मजबूर
पिया तेरी प्रीत से हूँ मजबूर

बह जाये ना तेरी दुनिया
आंसूँ ना बहाऊँगी मैं
बह जाये ना तेरी दुनिया
आंसूँ ना बहाऊँगी मैं
मेरी हाए ना तुझको जला दे
तेरे पास ना आऊँगी मैं’
मुझे देखें ना तेरी नज़रें
देखें ना तेरी नज़रें
हो जाऊँ इतनी दूर
मगर तेरे प्यार से हूँ मजबूर
पिया तेरी प्रीत से हूँ मजबूर

बद्दुआ ना दिल दे बैठे
तुझको ना दोष दूँगी मैं
बद्दुआ ना दिल दे बैठे
तुझको ना दोष दूँगी मैं
तक़दीर ने बैर किया है
तक़दीर से लड़ लूँगी मैं’
मैं तोड़ चलूँ
मैं तोड़ चलूँ इक पल में
तोड़ चलूँ इक पल में
दुनिया का हर दस्तूर
मगर तेरे प्यार से हूँ मजबूर
पिया तेरी प्रीत से हूँ मजबूर

ठुकरा के तेरी दुनिया को
चाहूँ तो कर दूँ चूर
मगर तेरे प्यार से हूँ मजबूर
पिया तेरी प्रीत से हूँ मजबूर


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 :

4380 Post No. : 15725

‘Baadbaan’ (1954) was produced by Bombay Talkies Workers’ Industrial Society, the last-ditch efforts by the workers of The Bombay Talkies to keep the banner alive. The Bombay Talkies was on the verge of its closure when it faced the financial crunch following the failures of ‘Tamaasha’ (1952) and ‘Maa’ (1952) at the box office. ‘Baadbaan’ had star cast comprising of actors who were mostly the well-wisher of The Bombay Talkies. They included Ashok Kumar, Dev Anand, Meena Kumari, Usha Kiran, Jairaj, Leela Chitnis, Sheikh Mukhtar, Krishnakant, Bipin Gupta, Gope etc.

The film was majorly shot in Versova, (locals call it as ‘Vesave’), a fishing village at the outskirt of the then Bombay City. Among the names of the other crew members of the film mentioned here , is the name of Raja H Mura (Harishchandra Mura) as one of the Assistant Directors who assisted Phani Majumdar in the film. I came to know from a facebook upload of a print page concerning the film that Raja H Mura was a fisherman of Versova village near Andheri in Mumbai who also worked as a junior artist in films. It was Raja who made all the logistic arrangements for shootings in the Varsova village and also in the sea. Probably, with his experience of sailing in high sea, the shots involving the sailing of boats and their capsizing in the sea may have been supervised by Raja.

The name of Versova fishermen’s village took me back by over 6 decades. I recalled that I had accompanied my family members to Versova village sometime in mid-1950s to pay a social visit to one of our relatives who ran a grocery shop and a small restaurant in the village.  He was staying in one of the Portuguese types of house, almost similar to the ones I have seen later in Goa. The visit was a full of adventure. From Andheri railway station, we took a horse carriage which dropped us near Four Bungalows (or Seven Bungalows?). From this point, we had to walk through a narrow muddy path for about 15-20 minutes which passed through a swamp to reach the village. Now, Versova is an upscale locality in the suburb of Mumbai though a part of it still retains its old world village charm.

The print of ‘Baadbaan’ (1954) was lost in a studio fire along with some more films. So, the chances of watching this film in the future looks very bleak. Based on Encyclopaedia of Indian Cinema, the broad story of the film is as under:

Lalan (Jairaj), the village headman, leaves to warn fishermen about an impending storm but he goes missing during the storm followed by his wife Leela (Leela Chitnis). Their orphaned child who is left in the house is adopted by the District Magistrate, Choudhary (Bipin Gupta). The child grows up to become Naren (Dev Anand). Educated abroad, he is to wed Bina (Meena Kumari), the daughter of a family friend. Shankar (Ashok Kumar), Naren’s friend and Bina’s music teacher, is also in love with her but keeps his feeling to himself. The marriage of Naren with Bina is called off when Choudhary admits that Naren is the son of a fisherman, adopted by him.

With this background, Naren shifts to  his village where he decides to dedicate his life to the welfare of the fishermen. He starts an ice factory and the workers co-operative society. He falls in love with the village girl, Mohnia (Usha Kiran). In the meanwhile, seeing that Bina is very sad as she misses Naren, Choudhury agrees to her marriage with Naren. But she is unhappy about his rural activism. The death of his wife, Bina in a tragic circumstance leads Naren to be with his own people and also with Mohnia who shares his passion for improving the lots of fishermen in his village.

There are 7 songs in the film written by Indiwar (5) and Uddhav Kumar (2) of which two songs have already been covered in the blog. All songs were set to music by Timir Baran and SK Pal. I am presenting the third song of the film, “Har Roz Kaha, Har Roz Suna” sung by Geeta Dutt. The song is written by Indiwar under the music direction of Timir Baran and SK Pal. Going by the wordings of the song, I guess this song is picturised on Meena Kumari and the situation of the song could be after her marriage with Dev Anand is called off, she is in a sad state of mind.

It is a poignant song which surprisingly eluded the blog for so long.

Song – Har Roz Kaha Har Roz Suna (Baadbaan) (1954) Singer – Geeta Dutt, Lyrics – Indeewar, MD – Timir Baran – SK Pal

Lyrics

har roz kaha har roz suna
ek baat na poori ho paayi..ee
ho paayi
har roz kaha har roz suna
ek baat na poori ho paayi..ee
ho paayi
har roz kaha
 
dil de bhi chuke dil le bhi chuke
dil de bhi chuke dil le bhi chuke
saugaat na poori ho paayi..ee
ho paayi
har roz kaha
 
aakash mein jaise chaand badhaa
aakash mein jaise chaand badhaa
badhti hi gayi mann ki aasha
saagar chalka dhaara nikli
phir bhi ye jeevan hai pyaasa
chhaayi bhi ghata paani barsa
barsat na poori ho paayi..ee
ho paayi
har roz kaha
 
uthti hi rahi saagar mein lahar
uthti hi rahi saagar mein lahar
kuchh kam na huyi chaahat dil ki
paa kar bhi tumhen ye dil na bhara
kuchh aur badhi hasrat dil ki
shehnaai baji aur raat saji
baarat na poori ho paayi..ee
ho paayi
har roz kaha

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

हर रोज़ कहा
हर रोज़ सुना
एक बात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा
हर रोज़ सुना
एक बात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा

दिल दे भी चुके
दिल ले भी चुके
सौगात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा

आकाश में जैसे चाँद बढ़ा
आकाश में जैसे चाँद बढ़ा
बढ़ती ही गई मन की आशा
सागर छलका
धारा निकली
फिर भी ये जीवन है प्यासा
छाई भी घटा
पानी बरसा
बरसात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा

उठती ही रही सागर में लहर
उठती ही रही सागर में लहर
कुछ कम ना हुई चाहत दिल की
पा कर भी तुम्हें ये दिल ना भरा
कुछ और बढ़ी हसरत दिल की
शनहाई बजी
और रात सजी
बारात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा


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 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.

Today’s song is from a well known film ‘Baadbaan’ (1954). Well known for the simple reason that this was the last film coming from a one-time giant film studio Bombay Talkies. it was the last ditch effort of all the well wishers and workers of Bombay Talkies to save the company from closing down. Unfortunately the effort did not succeed and it was curtains for Bombay Talkies with this movie.
Read more on this topic…


“Baadbaan” (1954) is a movie that had Ashok Kumar and Meena Kumar in lead roles. Few people remember this movie today, but this movie has some nice songs 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 TWELVE years. This blog has over 15900 song posts by now.

This blog is active and online for over 4000 days since its beginning on 19 july 2008.

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(© 2008 - 2020) 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

15932

Number of movies covered in the blog

Movies with all their songs covered =1224
Total Number of movies covered =4365

Total visits so far

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Blog Start date: 19 july 2008

Active for more than 4000 days.

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