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

Posts Tagged ‘Dilip Kumar


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

Blog Day :

4940 Post No. : 16793

Rafi Sahab’s Legendary Associations – 10
———————————————————

73rd Republic Day of India

ek hai apni zameen
ek hai apna gagan
ek hai apna jahaan
ek hai apna watan
apne sabhi sukh ek hain
apne sabhi gham ek hain
aawaaz do
aawaaz do ham ek hain
ham ek hain

“What is it that I want? The same as you, the same as everyone else. I want to be physically safe and healthy, financially secure and personally happy. I want the same confidence in my abilities, in my environment and social acceptance. I have the same worries and aspirations for future. Same apprehensions if the children will turn out well and have good careers or not.”
This is me, in conversation with a dear friend and a long-time colleague. This conversation happened some 15-16 years ago. Actually, we were on the same page in the topic, she was not coming from any opposite direction at all. But she was the one clear on the causes of a problem, I was the one confused.
But things are a lot clearer to me now, exactly what I wanted to explain at that time is more obvious now.

apne sabhi sukh ek hain
apne sabhi gham ek hain

The causes of happiness for the common man are the same everywhere, whatever is the religion, caste, race, region, language, state or country they are allied to. The aspirations are same and the apprehension and causes of sadness are also the same essentially. This is the way a social environment develops, where people go and join hands with each other in times of happiness and sadness.

Today the country is celebrating 73rd Republic Day.

The constitution gives us the right to live with dignity. What is a person’s dignity? it is not just the pride in its citizenship, its values and its integrity. A person’s dignity is the self-belief that I have done nothing wrong and don’t mean any harm to anyone. And a feeling of security, that me, my life, my livelihood and my family is safe. A sense of belonging that makes us feel responsible for the safety and security of fellow citizens and has assurance of reciprocation. Also, that I deserve all that I command. Personally, socially and professionally.

As a citizen it is a right to demand and acquire good education, an adequate health facility, a great judicial system and better law enforcement agencies, plus a media which gives us information, that really mattered. Real information, on what has been done to give the above rights to the citizens.

With the slow and gradual increase of opportunities in education and personal growth, the inequalities have also increased. A success story in monetary terms and career, is just not enough. It is also important to have balanced and broad-minded success stories. Rationality and seeing an issue in a truly international perspective are what will make a successful person intellectually empowered.

At the ripe old age of 75, we should have been a mature people.
Do we see enough, do we care enough?
Do we bother to call out the misbehaviour, of miscreants we see on the streets? Are we bold to speak out against injustice?
Are we smart enough to sift through the crap fed to us day in and day out in the guise of news and entertainment?
Do we bother to check the authenticity of WhatsApp forwards before sharing with other people?
Do we even care that our ‘can’t care less’ attitude is destroying the centuries old social fabric of our society and stripping us of our identity as a people, the whole world, looked at with respect?

Munshi Premchand said “Communalism, whenever it raises its head, it comes within a cloak. Because it is ashamed of coming alone or walking alone. “
Yes, at the age of 75, we are a nation of most young people in the world. Being second largest population in the world, with an average age of 28 years, the figures of young people and children are just hugest in the world. If these young people are a part of work force and aspire for personal growth and are able to collectively individually, contribute to the nation building, what can be built and achieved is mind boggling.
But are we looking at what the young population of this country is aspiring to be?
What is the ambition of an average Indian youngster?
what are their hopes?
What are their priorities?

It is very important to channelise the energies and ambitions of youth towards personal and professional excellence. There is enough talent, brains and hands in this country to make it an economic force. But for that we have to rise above the politics of religion, caste, us and they, region etc.

There was a story of cats and a monkey, we used to hear and read as children. Lately I have not seen it repeated anywhere. So here is the story for refreshing the memory of readers:

Two cats are fighting for a roti. The monkey comes and tells them to stop fighting and make two equal pieces of the roti. The cats agree and make two parts. The monkey tells them the two parts are not equal, one is larger and the other is smaller. He advises the cat holding the larger piece, to break a small part and give it to him, so both the cats have equal portions. The result is again the same, the parts of the roti the cats have are still not equal. So, the other cat is asked to break a small piece and give it to the monkey, to establish the equality. So on and so forth the dispute continues, till the whole roti is finished, while the cats remain empty handed in the end.

Similar is the case of inequality in opportunities in our set up. In the name of equalising those opportunities, the opportunists among us are gobbling up the parts and parcel. Keeping the marginalised sections divided and fighting imaginary/perceptive fights with each other. It is not a true cut and dried, there are multiple layers to these differences, perceptions of not getting a fair share of the ‘roti’. The majority/minorities tussle is but one layer of it and the cloak which Munish Premchand referred to. The real divide here is still the have’s and have nots. Then there is a gender divide, which is inherent and keeps getting uglier.

Where does all this leave the common man, with its apprehensions and aspirations? With their same dukh and sukh, I spoke about in the first para.
“I have the same worries and aspirations for future. Same apprehensions if the children will turn out well and have good careers or not.”

It is true, that once I had children, all my self-interests and care less impulsiveness gave way to worries of the future. Not the least of which was the worry for their safety, physical, emotional and psychological. Major part of their time was spent outside the home, in school and in the creche. How the things that they imbibe from the social atmosphere will affect their character, their thought processes and their choices and priorities? This was a cause of worry for me.

Yes, these ills in society are stemming for this one vice, i. e. selfishness. A few days ago, I had a big discussion with my son, regarding the self-interest of sections of society, and the marginalised sections of the society, who are still outside a certain margin. This margin is not unbreachable. We can see it breached in some developed states in the country. In most parts of the country, the focus of the populace is on the personal growth, better life quality and the common interests of the common man.

My son, interestingly was coming from the other direction in the discussion. I have managed to make an inroad in the way, he looks at opportunities for himself and for others, his fellow countrymen, who have the talent, ability and deserve to take their rightful place in the progress and development of the country, I hope, because he has not come to me with any counter-arguments on the topic :-).

This is my quest to make a balanced, truly intellectual success story out of my children. There is no ‘ism’ in this thought process, just a bit of logic and unselfishness. The conscious unwillingness to get embroiled in a conflict of interests which is a matter of perception. This really is a distraction, which our youth do not need.

The problems and issues in our country are centric and specific to our country. These have to be looked at with a prism of our own, not look for solutions to it, from examples of other nations and other societies.

I will move on to the song post.

The song is an iconic song from the 1981 film “Kranti’. The punch line, or the concluding line of the song is

Mera chana hai apni marzi kaa
Marzi ka bhai marzi ka
Yeh dushman hai khudgarzi kaa
Khudgarzi ka khudgarzi kaa

“mera chana’ can be interpreted as ‘my passion’ or ‘my goal’, which really is to treat ‘khudgarzi’ i.e. selfishness as the enemy.

The song is iconic, as it has three legends of hindi film music singing it with the son of another legend. Mohammed Rafi, Kishore Kumar and Lata Mangeshkar are singing for Dilip Kumar, Shatrughan Sinha and Hema Malini, whereas Nitin Mukesh is giving playback to Manoj Kumar in the song, which is written by Santosh Anand and composed by Laxmikant-Pyarelal.

I used to hear the ‘sponsored programme’ of this film on Vividh bharati, I have seen the movie also long back. But I only recalled that Rafi Sahab is singing just one line for Dilip Kumar in this song. But now that I have seen and heard the song multiple times, the lines Rafi sahab is singing towards the end of the song, are definitely very significant and elevate the whole song to another level. The composition and orchestration have been kept very simple and basic by Laxmikant-pyarelal, so this is not a crowded song, with all these greats singing their parts, independently and together, with male and female chorus to add to the group.

This is the only song of these four singers. For Rafi sahab’s series, this must be the last such song remaining to be posted in the blog where Rafi sahab and Kishore Kumar are singing together, with or without Lata Mangeshkar and Nitin Mukesh. For Rafi-Lata duets, there are a few songs, at least one of them I plan to include in the series. So, this post takes care of Rafi sahab’s association with Kishore kumar, Nitin Mukesh and Santosh Anand.

Let us go to the song, and listen to the rendition which is a real ‘hair raising’ experience.

Audio:

Video:

Song-Chana jor garam baabu main laaya mazedaar chana jor garam(Kraanti)(1981) Singers-Lata Mangeshkar, Kishore Kumar, Nitin Mukesh, Mohammed Rafi, Lyrics-Santosh Anand, MD-Laxmikant Pyarelal
Lata Mangeshkar + Kishore Kumar
Female chorus
Male chorus

Lyrics
(Provided by Avinash Scrapwala)

Tum tum ta ra ra ra
Tum tum ta ra
Tum tum ta ra ra ra
Tum tum ta ra
Tum tum ta ra ra ra
Tum tum taram
Tum tum ta ra ra ra
Tum tum taram

Tum tum taram taram
Tum tum taram taram
Duniya ke hain laakh dharam
Par apna ek karam
Chana jor garam

Chana jor garam baabu
Main laayi majedaar
Chana jor garam
Chana jor garam baabu
Main laaya majedaar
Chana jor garam

Mera chana bana hai a’alaa
Jis mein daala garam masaala
iss ko khaayegaa dilwaala
Chana jor garam
Mera chana khaa gayaa goraa
Mera chana khaa gayaa goraa
Khaa ke ban gayaa tagda ghodaa
Main ne pakad ke usse marodaa
Maar ke tangdi uss ko todaa
Chana jor garam
Chana jor garam baabu
Main laaya majedaar
Chana jor garam

Mere chane ki aankh sharaabi
Sharaabi ee
chane ki aankh sharaabi
Ho oo
Iss ke dekho gaal gulaabi
Gulaabi ee
dekho gaal gulaabi
ho …
iss ka koyi nahin jawaabi
iss ka koyi nahin jawaabi
jaise koyi kudi punjaabi
jaise koyi kudi punjaabi ee

naache chhanan chhanan
naache chhanan chhanan
kothhe chadh ke tainu pukaaraan
sun le mere balam
chana jor garam
Chana jor garam baabu
Main laayi majedaar
Chana jor garam

Meraa chana khaa gaye gore
Gore meraa
chana khaa gaye gore
ho gore
jo ginti mein hain thhode
ho phir bhi maare ham ko kode
phir bhi maare ham ko kode
Tum tum taram taram

Tum tum taram taram
Laakhon kode toote phir bhi
Toota na dum kham
chana jor garam
Chana jor garam baabu
Main laaya majedaar
Chana jor garam

Chana jor garam baabu
Main laaya majedaar
Chana jor garam

Chana jor garam
Chana jor garam
Chana jor garam
Chana jor garam(hoo oooo)
Chana jor garam(oooooo)
Chana jor garam(aa aaaa)
Chana jor garam(aaa aaaa)
Chana jor garam(ooo oooo)
Chana jor garam(ooo oooo)
Aaa aaaaaa
Aaaaa aaaaaa
Aaaaa aaaa
Ooooo oooo
Oooooo oooo

Oooo oooooo
Ooooooo
Aaaa aaaaaa
Aaaaaa
Aaaaaaaa
Aaaaaa
Ho oooo oooo
Mera chana hai apni marzi kaa

Marzi ka bhai marzi ka
Mera chana hai apni marzi kaa
Marzi ka bhai marzi ka
Yeh dushman hai khudgarzi kaa
Khudgarzi ka khudgarzi kaa
Sar kafan baandh ke niklaa hai
Deewaana hai yeh pagla hai
Mera chana hai apni marzi kaa

Marzi ka bhai marzi ka
Apnon se naataa jodegaa
Gairon se sar ko phodegaa
Apna yeh vachan nibhaayegaa
Maati ka karz chukaayegaa aa

chana hai apni marzi kaa
Marzi ka bhai marzi ka
Mit jaane ko mit jaayegaa
Azaad watan kar jaayegaa

Na to chori hai
Na to daakaa hai
Bas yeh to ek dhamaaka hai
Dhamaake mein aawaaz bhi hai
Ek soz bhi hai ae
Ek saaz bhi hai
Samjho to baat yeh saaf bhi hai
Aur na samjho to raaz bhi hai
Apni dharti apna hai gagan
Yeh meraa hai meraa hai watan
Apni dharti apna hai gagan
Yeh meraa hai meraa hai watan
Iss par jo aankh utthaayegaa
Zinda dafnaayaa jaayegaa
Mera chana hai apni marzi kaa

Marzi ka bhai marzi ka
Yeh dushman hai khudgarzi kaa
Khudgarzi ka khudgarzi kaa
Mera chana hai apni marzi kaa
Marzi ka bhai marzi ka
Yeh dushman hai khudgarzi kaa
Khudgarzi ka khudgarzi kaa
Aaa aaaaa
Aaaa aaaaa
Aaaa aaaaa
Aaaa aaaaa


This article is written by nahm, a fellow enthusiast of Hindi movie music and a regular 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 :

4740 Post No. : 16467

Dilip Kumar – The Legend (1922-2021)
——————————————————

Since last two days I have been watching the various videos on whatsapp and on the net and also read some articles on the net. I have tried to see and absorb as much of the information I could about the events after, when the thespian is no more. After all is said and done, I have tried various tacks on how to approach this tribute to the method actor, who some call the “Marlon Brando” of India, without the ferociousness. But I find a ferocious, peasant turned dacoit in ‘Ganga Jamuna’ and a fractioned rebel prince Salim who is equally ferocious in protecting his Anarkali. The work on the silver screen was a very important part of the personality, but by no means it was the whole personality.

The best of Dilip Kumar, the actor and star was over, well before I grew up. But the admiration for his qualities as a screen performer and as a person conscious of his social responsibilities, was an inculcation process in my conscious mind. It has not happened overnight. These are small snippets of information, fed to my mind and stored away. Many incidents and events heard and read about long ago are surfacing in the memory. The trigger is the passing away of Dilip Kumar on 07/07/2021.

I was preparing the posts thinking of some old songs which have not been posted in the blog yet, preferably a song sung by Rafi sahab, writing a para here about this, and there about that, in yahoo mail, in gmail, on my office desktop and my laptop. This is not the way I prefer to do a post, but it was happening like this in this instance, as I was not able to assimilate the thoughts and lacked the drive to concentrate on the topic, maybe.

Then, I had divine help in the shape of a TV news show. I am pretty impressed with the contents of the particular show aired on 07/07/2021, with the byline – An era ends with Dilip Kumar’s death. It is very much close to my own feelings on this occasion, so I am reproducing some parts of the text of the show in hindi – trying to do verbatim translation is beyond me at the moment.

“Apni gair haazri mein iss se adhik haazir koyi kya ho sakta hai ke aap unhen alvidaa kehte waqt iss tarah se yaad kiye jaa rahe hain, jaise woh laut kar aaye hon. Yeh desh jo har waqt hindu-musalmaan ke beech nafrat ki deewar par chal raha hotaa hai, uss desh mein aisa ek hi shakhs thha jo Dilip Kumar bhi thha aur Yusuf Khan bhi. 1947 ke vibhajan rekha ko wo jis aasaani se paat diya karte thhe, bahot kam logon mein waisi quwwat hoti hai. Unn ka ek makaan phoolon ke shehar peshawar mein aaj tak hai. Unn ka ek makaan paison ke shehar Mumbai mein bhi hai. Aaj hindustan ne jitna khoya hai, utna pakistan ne bhi khoyaa hai.

Pichhle saal sitamber mein jab pakistan ke patrakaar Shiraz Hasan ne apne twitter handle par Dilip Kumar ke puraane makaan ki tasveer sajhaa ki, tab Dilip Kumar ne apne twitter handle se jawaab diya ke Peshawar mein sabhi se guzaarish hai ke mere pushtaini makaan ki tasveeren den. Phir to tasveeron aur videon ka taantaa hi lag gayaa. Peshawar ke ‘Qissa-Khwaani’ bazaar mein unn ka makaan hai. Dilip Kumar ne apni aatma katha mein likkha hai ki aaj bhi wahan ki khushbu, rang aur mausamon ki yaaden taazi hain. Kanpwa dene wali sardiyaan yaad hain. Unhen yaad hai Wahabbat Khan ki masjid huaa karti thhi. Iss bazaar ka naam qissa khwaani bazaar iss liye bhi padaa ke yehan vyapari apne qisse sunaate thhe aur doosron ka qissa sunte thhe. Kise pataa thha ke unn tamaan anaam qisson ke beech itna bada qissa niklegaa jis ka naam Yusuf Khan se badal kar Dilip Kumar kar diya jaayegaa. Do naamon ko ek saathh jeena aur khabron se bhari iss duniyaa mein tthag ki jagah behadd imaandar aur shaaleen shakhs ke roop mein dekhaa jaanaa, yeh bhi apne aap mein ek qissa hai, jis ka bazaar aaj unn ke jaane ke baad sajaa hai.

Apni aatma khathha mein unhon ne likkha hai ke bazaar mein aag lagi thhi jis waqt unn ki paidaaish hui thhi.
“Dilip Kumar – The substance and the shadow” aap ko unn tamaam chaukhaton tak le jaati hai, ye dikhaane ke liye ke ek kalaakar apne wajood se alag ho kar ek bada kalaakar nahi bantaa hai.
Waise unn ki aatma katthaa ke shuruaat se le kar akhir ke panno par, ghar ki dadi, ammi, phuphi aur didi ke qisse bhare pade hain. Maaon aur behnon ke beech ek kumar bada ho raha thha, pata chalta hai ke khaandaani aadmi thhe.
Saira Bano se unn ki shadi 1966 mein hui. Woh apne aap mein uss waqt ki mash-hoor aur maqbool kalaakar thhin. Unn ki aakhri saans tak unn ke saath saaye ki tarah khadi rahin. Ham aur aap ek tarah se Dilip Kumar ko celebrate kar rahe hain. Unn ke hone aur na-hone ko unn ke abhinay ki katranon ko nikaal kar tukde tukde mein jiye jaa rahe hain.
Lekin Saira Bano ke liye Dilip Kumar ek video clip bhar nahin thhe. Unn ke dukh ki dahleez tak koyi nahi pahunch saktaa.
Ham ne baat peshawar ke makaan se shuru ki thhi. Bambai ke Anjuman Islam school mein padhne lagte hain Dilip Kumar. Vibhajan se pehle aa gaye thhe. Lekin school ki chhuttiyon mein unn ka Peshawar aana jaana raha, angrezi ki kavitaayen sunaane aur unn ki daad lene ke liye.

1930 ke dashak ke baare mein Dilip Kumar ne likkha hai ke yehaan tab hindu chai, muslim chai, hindu paani, muslim paani milaa karta thha.

Dilip Kumar apne bachpan ko kandhe par rakh kar chalte thhe. Ek qissa hai ke jab akhbaaron mein chhapa ke bombay mein tram band hone waali hai, to unhen dard huaa 31/03/1964 ko hazaaron logon ne dadar aur parel ke beech chali uss aakhri tram ko bidaai di. Dilip Kumar likhte hain ke agar wo Dilip Kumar naam ka star na hote aur Yusuf Khan hi rehte to uss akhri tram mein zarur safar karte. Hazaaron logon ne antim tram ko vidaayi di thhi. Unn ki yaadon mein jitna peshawar thha utnaa hi bombay thaa. Koyi abhinetaa apne shehar ko unn daftaron se yaad karta hai, koyi Dilip kumar hai jo apne uss ki mohallon bason aur pedon se yaad karta hai. Yahin par unn ka makaan hain, yahin unn ko Juhu qabrastaan mein suprud-e-khaak kiya gayaa. Badi sankhya mein aam log iss shaandaar abhineta ko vidaayi dene aaye. Unhen maaloon hai yehan Dilip sahab dafan ho rahe hain. Unn ka ek makaan, jism ka har ek qatra hindustaan mein hai, lekin ek makaan peshawar mein bhi hai jis ke baahar unn ki yaad mein ek poster lagaaya gaya hai.

Ye bheed tab hai jab zamaane se unn ki koyi film nahi aayi hai, dashkon se nahi aayi. 1952 mein unn ki film “Aan’ release huyi, super hit huyi jo uss waqt ki sab se adhik kamaayi karne waali film bani. 1947 mein wo vibhajan rekha kheenchi gayi jis ke baad log udhar se idhar, aur idhar se udhar hogaye. Dilip kumar par pakistan ki oar se jaasoosi karne ke aarop lage, Deepa Mehta ki film ‘Fire’ ka samrthan karne par bhi bahot aalochna hui. In sab ke baad bhi unhen na koyi udhar dhakel paaya na idhar dhakel paaya.

Is interview mein aap inhen bolte suniye. Saamne koyi script nahi hai lekin aap parde ke Dilip Kumar aur asli jeewan ke Dilip Kumar mein farq nahi kar sakte. Patrkar Sunil Sethi ne NDTV ke liye Dilip Kumar ka interview kiya thha. Puraana interview hai. Angrezi mein iss interview ko aap bhasha, aur usse baratne ke lehje ke liye bhi suniye. Unhenn bolte huey sunne se bhi lagta hai ham ne jin i’laaqon ko, rawaayaton aur lafzon ko baant diya hai. Dilip Kumar jab bolte thhe to woh saara kuchh ek aisi zameen se aaya lagtaa thha, jis ka batwaara kabhi huaa hi nahi. Unn ka bolna uss i’laaqe ka ek mukammal chehra thha, jise aap bharatiya up-mahadweep kehte hain.

“nishaan-e-imtiyaaz’ ko le kar huey vivaad ke waqt, unhon ne ye kahaa thha ke 65 saal hindustaan mein rehne ke baad mujhe apni wafadaari saabit karni pad rahi hai.

Unn ka ghar iss waqt ghamon se bhara huaa hai. Unn ki adaakari ham sab ke hisse mein maujood hai. Dilip Kumar ne cinema mein abhinay ko adhyay mein badal diya, iss liye unhen method actor kahan jaata hai. Mughal-e-azam jaisi film mein Salim ke kirdaar ko baadshahat dene waale Dilip Kumar kam samay mein dekhna ya unn ke baare mein samjhana bahot mushkil kaam hai.”

The show goes on to talk about Dilip Kumar’s philanthropic acts. I had meant to write a bit on this facet of his personality, as I found that the Wikipedia page on him is not mentioning this part of his life. The show than goes in detail about how his biography was written and published, and what were his specifications about writing about his personal life and relations with other female stars with whom he was linked romantically.

I would like to read the book and see what he writes about his equation with Madhu Bala and what went wrong with his second marriage to Asma Rehman.

I have read the letter hand written by Dilip Kumar in urdu, to the editor of ‘Shama’ which is part of a book. The beauty of the handwriting and the dignity in the sentences, conveying his outrage, subtle yet firm, that he will not tolerate any such inferences towards his personal matters, is to be read to be believed. I have not read that much of Urdu over the years, as I could have, but the conviction about the ‘shaaistagi’ of the language, written and spoken is never in doubt. The letter vindicates my convictions about urdu, and reassured me that Urdu is a deserving heritage ofvast populations across the world. I am still talking about Dilip Kumar’s cultured, educated, wise and dignified persona.

One dialogue from Mughal-e-azam :

“ye zakhm nahi phool hain Durjan. Aur phoolon ka murjhaana bahaar ki ruswaayi hai.
Suno,
ye qaatil hi nahi dildaar bhi hai,
yeh shaakh-e-gul bhi hai talwaar bhi hai”

Yes. In classic Urdu, sentences do begin with ‘aur’.

Going back to Dilip Kumar’s acts of charity and his commitment to social causes, I know it for a fact that he was a partner in many such deeds and was a patron and supporter of educational institutes, orphanages etc. Dr.Is-haq Jamkhanawala (https://en.wikipedia.org/wiki/Ishaq_Jamkhanawala) from Belgaum was a close friend of Dilip Kumar. These two friends had been involved in many charity projects, which can be verified. In fact Dilip Kumar visited Belgaum in early 80’s accompanied by Saira Bano for inaugration of an educational institute. I have a photographe where Dr. Is-haq Jamkhanawala also can be seen alongwith another illuminous person, a doctor from Belgaum. (Photo attached).

Saahir Ludhianvi says in his inimitable way that:

duniyā ne tajrabāt o havādis kī shakl meñ
jo kuchh mujhe diyā hai vo lauTā rahā huuñ maiñ

His stature and standing in the film industry as well as the country ensured that he is a blessed and deserving of the honour of State funeral given to him. A real ‘badaa aadmi’ in the way he was blessed with the affections and respect in this world. And bigger the stature and the power bestowed in this world, the bigger is the test of the character. The toughness of the test is directly in proportion to the worldly blessings. By all accounts he seems to have fared well in this test, as far as we can see, rest all is with Allah(swt), who is the best of judges.

Lata Mangeshkar says this in her tribute:

“Yusuf bhai has gone leaving his younger sister behind. His death seems like the end of an era. I am unable to comprehend anything, I’m extremely sad, speechless, he gave me many memories and left. Yusuf bhai has been unwell for the last many years. He couldn’t recognise anyone, at such time, Saira bhabhi left everything and took care of him day and night. She had no other life. I bow down to such a woman and I pray for Yusuf bhai’s soul to rest in peace,”

What is a better celebration of this legendary actor, multi-lingual and multi-dimensional personality, than a song from the magnum opus “Ganga Jamna’ which he produced, wrote and said to have ghost directed? I am presenting two song snippets from this film.

Shakeel Badayuni-Rafi-Naushad is the team, whose association with Dilip Kumar is again a stuff of legends. Some enthusiasts can write a thesis on this topic. There is a female voice in the longer snippet, which sounds like Rajkumari Dubey, but I cant be sure. I am positive that it is not Lata Mangeshkar and sound different from Shamshad Begum.

My own favourite song from “Ganga Jamuna” is:

Nain lad jayi hain
to manwaa maa kasak hoibe kari
prem ka chhutiye patakha to dhamak
hoibe kari

The film and songs are definitely worth revisiting and so is the thespian, Gulfaam, the originial angry young man, and so much more.

Snippet I


Snippet II

Song-Bailan ki jodiyaa/ aaj bhaya re gori (Ganga Jamuna)(1961) Singer-Rafi, Lyrics-Shakeel Badayuni, MD-Naushad

Lyrics

snippet I
—————

Bailan ki jodiyaan
Jaane man ki sab batiyaan re ae
Oh ho ho ooo
Ooo oooo ooooo
Hrrr rrrrrr haa
Bailan ki jodiyaan
Jaane man ki sab batiyaan re ae
Dara ri da da daa ra raa
Lahaa lo laa Laha la lo laao

Snippet II

Di ra dee re ea ea
gori ee
Aaj bhaya re gori
Hamra gawanwaa
Ganga se jamna ka
hoyibe milanwaa
aa aa
neele gaganwaa ki chhaaon
oo ooo
chal chal ri goriyaa
pi ki nagariyaa aa
o chal chal ri goriyaa
pi ki nagariyaa aa
o nadiyaa kinaare moraa gaaon
ho oo nadiyaa kinaare moraa gaaon
o chal chal ri goriyaa
pi ki nagariyaa aa


This article is written by nahm, a fellow enthusiast of Hindi movie music and a regular 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 : 4163 Post No. : 15335

Today is 97th birthday of the thespian Dilip Kumar. Dilip Kumar, real name Yusuf Khan is the most revered and copied star of this film Industry. The second most inspiring and copied star would be Mohammed Rafi’s voice. Because truly the voice was the star in Rafi Sahab’s case.

Dilip Kumar has had a fruitful and successful career of more than 50 years. This has again been equalled only by Amitabh Bachchan in recent years.

Dilip Kumar is like a lone man standing from the pre-independence era. Again he has only Lata Mangeshkar for company. Also yesteryears actress Nimmi(Born 1933) is giving him company, but she is more than a decade younger than Dilip Kumar. Nimmi was a co-star in significant films in Dilip Kumar’s career, namely Amar, Aan and Deedar. I feel she was type cast in this as the third angle in a triangle.

Dilip Kumar is the true ‘Gulfaam’ of the hindi film world. There was a Urdu Magazine by that name back in the 80’s which I had thought was dedicated to Dilip Kumar, as almost every issue had Dilip Kumar on its cover. I found a very interesting article on “The lost world of Urdu film magazines” in the net, link is here.

Dilip Kumar has often been described as an institution, by many of the later day film stalwarts, especially by the actors.
I have found the genesis of acting style of all the major superstars of hindi film industry can be found in Dilip Kumar’s style of acting.
As per the excel sheet of “Mohammed Rafi songs”, there are roughly 60 songs where Rafi Sahab gave playback for Dilip Kumar. This include one small ditty from Ganga Jamuna and the small snippet of a beautiful song from ‘Insaaniyat’ (1955). The list misses a song from “Kranti” (1981), “chana jor garam baabu” where Rafi Sahab sang just this line for Dilip Kumar :

Mera chana hai apni marzi ka
Ye dushman hai khudgarzi ka
Sar kafan baandh ke nikla hai
Deewana hai ye pagla hai
Mit jaane ko mit jaayega
Aazaad watan kar jaayegaa

I am presenting here the small snippet from the film ‘Insaaniyat”(1955) , which is composed by C. Ramchandra. Lyrics are by Rajendra Krishan and Dilip Kumar is singing this with obvious enjoyment while driving a bullock cart. I tried finding a whole song, which was not available. It may have been recorded as a full- fledged song, but I could not find it on youtube.
Some of my favourite songs by Rafi songs on Dilip Kumar are :

1. Dil mein chhupa ke pyaar ka toofaan le chale
2. maan mera ehsaan arre naadaan
3. Huye ham jinke liye barbaad
4. Meri kahaani bhoolne waale
5. Nain lad jainhe to manwa maa kasak
6. Ude jab jab zulfen teri
7. Ye desh hai veer jawaanon ka
8. Na tu zamaneen ke liye hai

So presenting a small but appealing ditty in Rafi Sahab voice to celebrate Dilip Kumar Sahab’s 97th birthday today.

Audio

Video

Song-Gori kar le tu aaj singaar (Insaaniyat)(1955) Singer-Rafi, Lyrics-Rjinder Krishan, MD-C Ramchandra

Lyrics

Hoye ye ye
Ha haa aaa haa
Gori kar le tu aaj singaar
Rasiyaa dwaare khade
Gori kar le tu aaj singaar
Rasiyaa dwaare khade
Gori kar le tu
Ho Gori kar le tu aaj singaar
Rasiyaa dwaare khade
Gori kar le tu aaj singaar
Rasiyaa dwaare khade
Gori kar le tu aaj singaar
Rasiyaa dwaare khade
Ho oo ooo
Ah haa aaa haa


This article is written by Peevesie’s Mom, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3631 Post No. : 14458

(3653-23)

Hullo Atuldom

I know of two movies that go by the name ‘Duniya’. One was in 1968 which had Dev Anand and Vyjayantimala in the lead and the second ‘Duniya’ (1984) had Dev Anand’s contemporary Dilip Kumar with Ashok Kumar in central roles around which Rishi Kapoor and Amrita Singh’s characters were built.

The ‘Duniya’ that came in 1968 was directed by T Prakash Rao and had a lot of popular songs like “Dooriyan Nazdeekiyan”; “Falsafa Pyar Ka Tum Kya Jaano”; the fun song “Tu Hi Meri Laxmi Tu Hi Meri Chhaaya” etc. SH Bihari, Gopaldas ‘Neeraj’, Shailendra and Hasrat Jaipuri were the lyricists and Shankar-Jaikishan were the music directors.

On going through the blog, I found that one more ‘Duniya’ is listed, which released in 1948 and had C Ramchandra for composer. I don’t have any knowledge about this movie other than the fact that on this blog all the songs from this movie are covered. For that matter even the 1968 movie has all its songs on the blog.

So now that brings us to ‘Duniya’ which released in 1984. It was produced by Yash Johar of Dharma Productions and directed by Ramesh Talwar of ‘Baseraa’ and ‘Doosra Aadmi’ fame. Its story, screenplay & dialogues are credited to Javed Akhtar. It had an impressive cast headed by Ashok Kumar and Dilip Kumar (as I have said earlier) ably supported by their colleagues of the 1950s and 1960s viz: Pran, Pradeep Kumar, and Prem Chopra. Saira Banu made a special appearance, her sole release after she retired in 1976/77. (One of her movies with Vinod Mehra as co-star, completed in 1976 released in 1988.) ‘Duniya’ also had Amrish Puri to complete the trio who wreak havoc in the life of Mohan Kumar (Dilip Kumar) which leads to the family getting separated, wife dying etc.  This means that the movie belonged to the action/ drama/ revenge genre. This movie had RD Burman’s music for songs penned by Javed Akhtar.

There is a re-run by the satellite channel Zee Classic of it programme ‘Classic Legends with Javed Akhtar’ which is basically a guided biography of legends who gave Hindi film industry some iconic movies and music. I happened to see an episode of this where RD Burman’s music was showcased. In the course of the programme Javed Akhtar has mentioned a song from ‘Duniya’ (1984).

As we all know a song is made when poetry is set to tune in a manner that it can be sung. There are times when the reverse can also happen. A musician thinks of a tune and has a song written to go with it. Javed Akhtar spoke of a song where RD had a tune for which the mukhda (opening stanza) would end in a tune that follows the tune of “Tanhaayi Mein Tadpaane Ko” from SD Burman’s song “Jeewan Ke Safar Mein Raahi” from ‘Munim ji’ (1955).  He was telling it was almost as if RD was paying tribute to his father.

Today on RD’s 78th birth anniversary I think we should have this particular song. ‘Duniya’ was not that successful and I don’t think any of its songs are in public memory. Even I remembered it only when I heard Javed Akhtar mention it. Everytime a movie flops, it takes its music of the movie down with it. I think this is what happened to the songs of this film.

So here is the song which was written by Javed Akhtar for a tune set by RD Burman inspired by his father’s tune. It is sung by Kishore Kumar to Rishi Kapoor’s lip-syncing. We can also see Amrish Puri overseeing the actions of Rishi Kapoor and Javed Khan, the fellow who walks away with Amrita’s bag.

Video

Audio

Song – Tu Chaand Nagar Ki Shehzaadi (Duniya) (1984) Singer – Kishore Kumar, Lyrics – Javed Akhtar, MD – RD Burman

Lyrics

ho ho oo oo
o ho oo oo
lala la laala laa

tu chand nagar ki shehzaadi
main is dharti ka banjaara
tu chand nagar ki shehzaadi
main is dharti ka banjaara
tu mehlon mein rehne waali
main galiyon galiyon awaara
tu chand nagar ki shehzaadi
mai is dharti ka banjaara
tu mehlon mein rehne waali
main galiyon galiyon awaara

main ik hawa ka jhonka
tu phool hai
itna tujh ko chahoon
fuzool hai
main aaj yahaan aur kal hoon wahaan
tujhe apna gulshan hi pyaara
tu mehlon mein rehne waali
main galiyon galiyon awaara

tera mera do pal ka saath hai
sach hai ye sab kismat ki baat hai
har dil me yahaan tu hai mehman
main beghar bedar bechaara
tu mehlon mein rehne waali
main galiyon galiyon awaara

lab na hilen to aankho se kaam le
jaane waali mera salaam le
mere pichle janam ke bhale the karam
to mil jaoonga dobara
tu mehlon mein rehne waali
main galiyon galiyon awaara
tu chand nagar ki shehzaadi
mai is dharti ka banjaara
tu mehlon mein rehne waali
main galiyon galiyon awaara

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हो हो ओ ओ
ओ हो ओ ओ
लाला ल लाsला लाss

तू चाँद नगर की शहज़ादी
मैं इस धरती का बंजारा
तू चाँद नगर की शहज़ादी
मैं इस धरती का बंजारा
तू महलों में रहने वाली
मैं गलियों गलियों बंजारा
तू चाँद नगर की शहज़ादी
मैं इस धरती का बंजारा
तू महलों में रहने वाली
मैं गलियों गलियों बंजारा

मैं इक हवा का झोंका
तू फूल है
इतना तुझको चाहूँ
फुज़ूल है
मैं आज यहाँ और कल हूँ वहाँ
तुझे अपना गुलशन है प्यारा
तू महलों में रहने वाली
मैं गलियों गलियों बंजारा

तेरा मेरा दो पल का साथ है
सच हैं ये सब किस्मत की बात है
हर दिल में यहाँ तू है मेहमां
मैं बेघर बेदर बेचारा
तू महलों में रहने वाली
मैं गलियों गलियों बंजारा

लब ना हिलें तो आँखों से काम ले
जाने वाली मेरा सलाम ले
मेरे पिछले जनम के भले थे करम
तो मिल जाऊंगा दोबारा
तू महलों में रहने वाली
मैं गलियों गलियों बंजारा
तू चाँद नगर की शहज़ादी
मैं इस धरती का बंजारा
तू महलों में रहने वाली
मैं गलियों गलियों बंजारा


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.

Blog Day : 3503 Post No. : 14074

 

Today’s song is from the film ‘Milan’ (1946).

Bengali people, in general, are fond of reading. The literacy percentage of Bengal during last century and before that has been quite noteworthy. The literate population of Bengal is divided in two parts. One is Bhadralok– a term used to indicate upper and middle class – affluent and educated people; and the other is Madhabit (or what we call a middle class in rest of India). Both these classes of society in Bengal were patrons of books. In addition, Bengal also boasts of a large number of very famous authors. Eminent writers like Rabindranath Tagore, Bankim Chandra Chatterji, Sarat Chandra Chatterji, Sunil Gangopadhyaya, Bibhuti Bhushan Bandopadhyay, Satyajit Ray, Mahashweta Devi, Tarashankar Bandopadhyay, Shirshendu Mukhopadhyay, Shardendu Bandopadhyay, Humayun Ahmed, Kazi Nazrul Islam, Michael Madhusudan, Manik Bandopadhyay, Premendra Mitra, Badal Sircar, Sukumar Rai, Jibanand Das, Rajnikant Sen and many others were, and continue to be popular in Bengal.

No wonder, then, that their novels, dramas and short stories became the basis of Bangla films, both in the silent as well as talkie era. In rest of India, almost all major production houses had their own story departments, where many Munshis, Pandits and the likes of them were employed to provide ‘made to order’ story material for films. The Lahore, Bombay and Madras centres depended heavily on mythology, folk tales, history, and stage dramas etc. for their films.

Since Bangla films had their firm stories, their films were closer to the audiences in Bengal and Eastern India in general. This literary sourcing was firmly entrenched in the minds of the film directors of the 1930s to the 1950s, in Bengal. When an exodus of actors, directors and technicians started from Calcutta to Bombay, in the 40s and 50s, most directors from Bengal made Hindi films in the Bombay center, based on Bangla novels, dramas and short stories. Some important examples are, ‘Do Bigha Zameen’ (Salil Choudhari’s short story of 1943), ‘Devdas’, ‘Parineeta’, ‘Parivar’, ‘Biraj Bahu’, ‘Yahudi’, ‘Ratnadeep’ etc.

When Nitin Bose left Calcutta and came to Bombay to join Bombay Talkies, no one was surprised. Bombay Talkies was known to attract Bangla talent and gave them opportunities to showcase their skills. Being owned by a Bengali-Himanshu Rai and managed by a Bengali-Shashadhar Mukherjee, Bangla cine artistes were always welcome. For his first directorial venture in Bombay, Nitin Bose suggested Rabindranath Tagore’s novel Noukadubi, first published in 1906. This story was a favourite of producers. Already a Bangla film on it was made in 1932. Nitin Bose further suggested to make it a bilingual film – in Hindi and Bangla, for Bengal and East India.

The year was 1946. Himanshu Rai had passed away in 1940, S. Mukherjee left in 1942 with his friends. Devika Rani had left in 1945. Bombay Talkies was in dire straits already. The powers that be at the company thought that making a bilingual film will open doors to Bengal and other East Indian states. While the Hindi version ‘Milan’ was made in 1946, the Bangla version ‘Naukadubi’ was made in 1947.

Dilip Kumar was an upcoming new hero in Bombay Talkies. He had just done 2 films. ‘Jwar Bhata’ in 1944 and ‘Pratima’ in 1945. He was chosen for ‘Milan’ as its hero. The film needed two heroines. One, Ranjana was already available and selected. For the second heroine, Bombay Talkies gave advertisements in newspapers. From several applicants, a new Kanpur born Bengali speaking girl Meera Mishra was selected.

Meera Mishra’s joining the films generated a lot of interest and excitement because she was the wife of an IPS officer. She was chosen to play Kamala in both versions. For the role of Hemnalini, Meera Sircar was selected for the Bangla version, and Ranjana did this role in the Hindi versions. The role of Ramesh, the hero, was assigned to Dilip Kumar in the Hindi version, and to Abhi Bhattacharya in the Bengali version. The role of  Akshay Babu was assigned to Pahadi Sanyal in both Hindi and Bangla versions.

In a manner of speaking, Meera Misra made her debut opposite to Dilip Kumar as her first leading man. The film was directed by Nitin Bose and Anil Biswas was the music director. Parul Ghosh lent her voice in both the versions. In ‘Noukadubi’ she had five Tagore songs, her only Bengali songs.

Both ‘Noukadubi’ and ‘Milan’ did well. Initially Meera had planned to retire after this one film. However, her husband, Kripa Sindhu Mishra was killed in action during Delhi riots and Meera decided to carry on with her film career. She had a son Jishnu from the Late KS Mishra. Her other films include ‘Abhijatya’ (1949), ‘Eki Gramer Chhele’ (1950), ‘Abarta’ (1950), ‘Sandhyabelar Rupkatha’ (1950), ‘Sabyasachi’ (Hindi-1948, based on Sarat Chandra Chatterjee’s ‘Pather Dabi’. Meera played the role of Sumitra) and Bishnupriya (1949). Her other Hindi films include ‘Ghar Ki Numaish’ (1949), ‘Kashmir Hamara Hai’ (1950), ‘Azaadi Ke Baad’ (1951), ‘Chamakee’ (1952), and ‘Chhoti Maa’ (1952). She quit films early and settled into married life again. Her second husband was Mr Ranjit Gupta, Chief Secretary to the Government of West Bengal. She passed away in Calcutta in 2008.

‘Milan’ was produced for Bombay Talkies by Hiten Choudhury, who was with New Theatres earlier. He was the earliest member to leave New Theatres and join Bombay Talkies in Bombay. After Nitin Bose left Bombay Talkies, it was Hiten Choudhury who brought in Bimal Roy to make film ‘Maa’ (1952). Bimal Roy, who had come to Bombay for the premiere of his film ‘Pehla Aadmi ‘ (1950), subsequently settled in Bombay. Asit Sen, BN Banerjee, Salil Choudhury, Hrishikesh Mukherjee and few others too left New Theatres to join Bimal Roy in Bombay.

Director Nitin Bose was working with Dilip Kumar for the first time. That time Dilip had not yet developed the nasty habit of interfering in director and composer’s work. He was still learning and he learnt a lot from Nitin Bose. It seems that the famous hair style of Dilip was also suggested by Nitin Bose while shooting a boat scene for Milan. Dilip acknowledges that Nitin Bose had groomed him.

Later Nitin Bose directed Dilip again for ‘Deedar’ (1951) and ‘Ganga Jamuna’ (1961). Nitin Bose once wrote that during the shooting of ‘Ganga Jamuna’ he was sitting aside on a chair, helplessly watching Dilip Kumar do his (the director’s)  job. By that time Dilip had obtained a Doctorate in this “art of interference”.

Dilip had become famous due to his early tragic films, when he used to die frequently in most of them. In 1948 alone, out of his 6 films, he died 4 times. In the year 1955, he died in 3 films. In the entire 50’s decade he died 6 times. In a total of 57 films, Dilip kumar had died in 18 of them. Interestingly his last film ‘Qila’ (1998) also saw him dead! A real tragedy king indeed !!! By the way, in his 57 films 39 directors worked with him. SU Sunny directed him in 4 films. Nitin Bose, Bimal Roy and Subhash Ghai directed him in 3 films each.

‘Milan’ was based on Rabindranath Tagore’s novel ’Noukadubi’, published in 1925. This story was a favourite of producers. It was produced in Bangla in 1932, 1947, 1979 and 2011. Hindi versions came in as ‘Milan’ (1946), ‘Ghoonghat’ (1960) and ‘Kashmakash’ (2011). The cast of the 1946 version incudes Dilip Kumar, Meera Mishra, Ranjana, Pahadi Sanyal, Shyam Laha, S.Nazir, Moni Chatterjee, KP Mukherjee etc. The story is –

The story is set in 1905. Ramesh (Dilip Kumar) is studying law in Calcutta and has just appeared for his final exams. He is a friend and neighbour of Jogen who is also studying law. Jogen (Shyam Laha) lives with his father Annada Babu (Moni Chatterjee) and sister Hemnalini (Ranjana). Ramesh and Hemnalini are fond of each other and Ramesh visits their house most days for tea. Their association is disliked by another friend Akshay (Pahadi Sanyal) who also likes Hemnalini.

Ramesh has been asked to come back to his village for the holidays by his father but is dissuaded from going by Hemnalini. Ramesh’s father Braja Mohan (KP Mukherjee) is from the priestly caste and lives in the village. He receives an anonymous letter stating that his son is involved with the neighbour’s daughter who comes from a tradesman caste and that he spends his entire time there.

Braja Mohan goes to the city and brings Ramesh back with him to the village. He has arranged Ramesh’s wedding with a poor widow’s daughter. Ramesh tries to convince his father about his involvement with Hemnalini. His father after satisfying himself that Ramesh has as yet not committed himself to Hemnalini prevails upon Ramesh to marry Sushila because of the promise he had given to the girl’s mother. There is a storm at night when the wedding party from the groom’s side is returning to their village by boat. During the crossing the boat capsizes. Nearly all on the boat are drowned including Ramesh’s father and Ramesh appears to be the only one to survive. He sees a woman in bridal dress lying unconscious on the bank. He brings her to his village but soon understands that this is a case of mistaken identity. She continuously checks him when he calls her Sushila and tells him her name is Kamala (Meera Mishra). He realizes there was another bridal procession and their boat too had capsized.

After the formalities of his father’s funeral service Ramesh decides to take Kamala to Calcutta. He finds out about her only living relative, an uncle, and writes to him. A letter arrives telling him of the death of Kamala’s uncle but the sender has mentioned Kamala’s husband’s name and profession. His name is Nalin and he’s a doctor. Ramesh now starts searching for Dr. Nalin. He has so far made no mention about his marriage to Hemnalini or her family nor told anyone regarding the mistaken identity of his supposed bride to avoid any embarrassment to the girl.

On arrival in Calcutta, Ramesh suggests that Kamala get an education. After allaying her apprehension regarding her age he admits her in a girl’s boarding school. Akshay’s sister also studies in the same school and through her Akshay gets to know the truth about Ramesh’s marriage. In the evening he questions Ramesh in front of Hemnalini. Ramesh deflects the question and asks Hem to trust him. Preparations are on at Annada’s house for the wedding of Hemnalini and Ramesh. Their wedding is set for the coming Sunday but Ramesh is asked by the principal to take Kamala home for the weekend. Ramesh postpones the wedding and brings Kamala back from school. Akshay brings Jogen to Ramesh’s house where they see Kamala and on being questioned Ramesh keeps silent. Hemnalini goes into a state of shock when she’s told about Ramesh’s wife.

Her father takes her to Kashi to recuperate. Ramesh decides to leave Calcutta and he takes Kamala with him to Ghazipur. Kamala reads the letter Ramesh has written to Hem explaining the entire situation and mentioning Kamala’s husband’s name. She finally recognizes the truth about her and Ramesh’s situation. She decides to kill herself and leaves the house. She is rescued and comes under Nalin’s mother’s care.

She realizes that Nalin is her husband but finds out that Hemnalini and he are to be betrothed. However, Nalin is not happy about the betrothal as he refuses to believe that Kamala is dead and wants to wait a while longer. Finally the truth comes out and she’s accepted by her husband and his mother while Ramesh and Hemnalini get back together.

The film had 8 songs. Today’s song is the 5th song to be posted. All other songs are also available on You Tube. Enjoy the video song.

[Author Note: My acknowledgements and thanks to Dr. JP Guha ji, the book ‘Hero-I’ by Ashok Raj, HFGK, and my own notes.]

 


Song-Gungun gungun boley bhanwra (Milan)(1946) Singer-Parul Ghosh, Lyrics-P L Santoshi, MD-Anil Biswas
Dilip Kumar
Ranjana

Lyrics

gungun gungun boley bhanwrva aa
hamaari bagiya mein aaike
wo gungun gungun bole bhanwrva aa
hamaari bagiya mein aaike
hamaari bagiya mein aaike ho bhanwra
gungun gungun boley
hamaari bagiya mein aaike
wo gungun gungun bole bhanwrva aa
hamaari bagiya mein aaike

madhuvan se laaye sandesha bahaar ka
madhuvan se laaye sandesha bahaar ka aa aa
taar(?) jaaye mere pyaar ka
veena baja ke
baawri bana ke
haumaari bagiya mein aaike ho bhanwra
gungun gungun bole
humaari bagiya mein aaike
wo gungun gungun bole bhanwrva aa
hamaari bagiya mein aaike

Dialogues
———————————
iraada badal bhi sakta hai
lekin uske liye ek munaasib bahaana gadhna padega

bahaana

haan aakhir pitaaji ka hukm
baghair kisi vajah ke thhode hi taala jaa sakta hai
aur aap kya samajh rahin hain
ham apni marzi se jaa rahe hain

oh

lekin ye sab ek shart par

kya shart

jo gaana abhi ham sun rahe thhe wo poora ho

poora hoga

aaiye
————————
gungun gungun boley bhanwrva aa
hamaari bagiya mein aaike
wo gungun gungun boley bhanwrva aa
hamaari bagiya mein aaike
wo jaan gaya re
jaan gaya re
wo jaan gaya re
mere man mein hai kya
jaan gaya re
kahta phire sab kaliyon se jaa
kahta phire sab kaliyon se jaa
mere man mein hai kya
jaan gaya re
jaan gaya re
dekh rahi thhi
main raah kisi ki
dekh rahi thhi
main raah kisi ki
ankhiyaan bichhaai ke
?? lagaay ke ae
ankhiyaan bichhaai ke
?? lagaay ke
hamaari bagiya mein aay ke ho bhanwra
gungun gungun boley
hamaari bagiya mein


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.

Big places like Delhi or Bombay (now Mumbai) are well known places and everyone knows them. People who live elsewhere, especially in small places want to visit these places.
Read more on this topic…


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

“Shabnam” (1949) was directed by B Mitra for Filmistan Studios. The movie had Dilip Kumar, Kamini Kaushal, Jeevan, Paro, Mubarak, Harun, Rajendra Singh, Shyama, Cuckoo etc in it.
Read more on this topic…


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.

VINTAGE SHAMSHAD BEGUM….Song No- 6
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Today’s song is duet of Shamshad Begum and G M Durani.

There were 51 films having the word Ghar in their Titles that were released from 1931 to 2012. ‘Ghar’ was made 2 times, Ghar ghar ki kahai-3, Ghar Jamai-2, Ghar Grihisthi-2, Ghar ka chirag-2, Ghar ki izzat-2, Ghar ki Laaj-3, Ghar ki Laxmi-2, Ghar sansar-3, Gharana-2, Gharonda-2, Gharbaar-3, Gharwali Baharwali-2 and a funny Title “Ghar mein ho saali to poora saal Diwali ” was made in 2001.
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This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in 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.

No other month begins with a day that is named after itself.  It is only the month of May that starts with a day that is called May Day.  Historically, this specific day has a long history of cultural and social significance.  A history that goes back to pre-Christ era.  The Romans used to celebrate this day as a spring festival.  The festival was called Floralia, in the honor of Flora, the Roman goddess of flowers.  Further north, in Germany, this day was celebrated as Walburgis Night.  Coinciding with the arrival of summer weather in the European continent, this day was also celebrated as the first day of summer in some regions.  Community fairs were held, with the traditional dancing around the Maypole, and the beauty contest to select and crown the ‘Queen of May’.  People used to distribute anonymous gifts, called May Baskets, in their neighborhoods.
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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.

It was during my 1970s when I was in the prime of my movie watching age. It does not mean that I was getting to watch lots of movies those days though. I did not get to watch any movies from six years straight from mid 1972 to mid 1978 and thus I was deprived of movie watching during my prime movie watching age. 🙂
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What is this blog all about

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

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

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

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

Total number of songs posts discussed

17246

Number of movies covered in the blog

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

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Active for more than 5000 days.

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