Posts Tagged ‘Geeta Bali’
Chhed gaya hai kaun
Posted on: April 9, 2023
This article is written by Avinash Scrapwala, 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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5378 | Post No. : | 17641 |
#the Decade of Fifties –1951 – 1960 #
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In this post we listen to a song from the movie “Jauhri-1951”.
“Jauhri-1951” was directed by Niranjan for ‘Sargam Movietone, Bombay’.Niranjan was also the producer of this movie. It had Geeta Bali, Manorama, Amarnath, Sundar, Rajan Haksar, and S. Nazeer, Iftekhar, Chandni, Leela, Kuckoo and others.
This movie was passed by the Censor Board on 12.02.1951.
“Jauhri-1951” has nine songs composed by Harbans Lal.
Lyrics for these nine songs were shared between two lyricists. Tejnath Zaar penned five songs and Shola Kahamvi penned four songs.
Three songs from “Jauhri-1951” have been posted on the blog as per details given below.
| SNo. | Song Title | Singer/s | Posted On |
|---|---|---|---|
| 01 | Ae muhabbat tere jahaan mein gham ke siwaa kuchh bhi nahin | Geeta Dutt | 14.07.2009 |
| 02 | Aaj miley kal bichhad gaye…ulfat hamko raas naa aayi | Geeta Dutt | 24.10.2010 |
| 03 | Kisi ko iska pataa naa ho | Mohd Rafi | 15.09.2013 |
Today we listen to the fourth song from this movie which is sung by Geeta Dutt. Geeta Bali lip-syns on screen in the song.
Amarnath (I guess) and Manorama are also seen in the picturisation. One lady actress (whom I am unable to identify) is also visible.
Lyrics for the song are by Tejnath Zaar and music is composed by Pandit Harbans Lal.
Let us now listen to this song …
I would request knowledgeable readers and our seniors on the group to add more information about this movie and its songs please.
Audio
Video
Song-Chhed gaya hai kaun (Jauhri)(1951) Singer-Geeta Dutt, Lyrics-Tejnath Zar, MD-Pt Harbans Lal
Lyrics(Based on video link)
chhed gayaa hai kaun
aji chupke se dil ke taar
aji chupke se dil ke taar
aji chupke se dil ke taar
kisi ke nainaa ho gaye chaar
kisi ke nainaa ho gaye chaar
kisi ke nainaa ho gaye chaar
aap kehte huye koyi
sharmaaye re ae ae
neechi nazron se ae
neechi nazron se
ye koyi samjhaaye re ae ae
bhari mehfil mein kaise
ye batlaaye re ae
haan batlaaye re
kis ne kiyaa hai
kisi ke naazuk dil pe vaar
kisi ke naazuk dil pe vaar
kisi ke naazuk dil pe vaar
chhed gayaa hai kaun
aji chupke se dil ke taar
aji chupke se dil ke taar
aji chupke se dil ke taar
nazar milte hi dil
ho gayaa ye deewaanaa
muhabbat ke teeron ka
aisaa nishaana
kisi ne naa dekhaa
kisi ne naa jaanaa
kisi ne naa jaanaa
chori chori se koyi
kar baithhaa unse pyaar
koyi kar baithhaa unse pyaar
koyi kar baithhaa unse pyaar
chhed gayaa hai kaun
aji chupke se dil ke taar
aji chupke se dil ke taar
aji chupke se dil ke taar
rooh jalti hai kaise
koyi kya bataaye ae
muhabbat ke ye bhed
kab tak chhupaaye
zubaan chup hai lekin
zubaan chup hai lekin
nazar kah sunaaye
nazar kah sunaaye
nazron nazron mein
koyi samjhaaye baar baar
koyi samjhaaye baar baar
koyi samjhaaye baar baar
chhed gaya hai kaun
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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4935 | Post No. : | 16783 |
Hullo Atuldom
21st January – the 57th remembrance day of the lively, lovely Geeta Bali – of the mischievous eyes and smile.
She was born Harkirtan Kaur in Amritsar and began her career at the age of 12. Her first adult role or heroine role came in 1946 i.e. at the age of 16. The film was ‘Badnaami’. Her popularity came with ‘Baawre Nain’ in 1950. She was seen in about 80+ films in her short career which ended with her untimely death in 1965.
To be truthful, I must say that my first memories of the lady was when I saw her dancing with Bhagwan Dada in the songs of ‘Albela’ (1951). This was during the Chitrahaar and Chhaayageet (television programs) days of my life. I didn’t know any other details about her and honestly speaking I didn’t bother to find too.
For me the actors lasted for as long as the songs played on the television. It must have been much much later in my life, say in the last 15-20 years that I have come to associate songs with the writers, music directors, films, singers, actors emoting on the screen etc. Same goes for Geeta Bali too.
It is only in the last so many years that I found that some of the songs which I love to hear are also great to see because of who it is filmed on. This is the truth of my liking “Sun Bairi Balam Sach Bol Re“; “Tadbeer Se Bigdi Huyi Taqdeer Banaa Le“; “Shaam Dhale Khidki Tale“; “Chaandni Aayi Banke Pyaar Saajana O Saajana“; and the best of them all “Ye Raat Ye Chaandni Phir Kahaan“. All these songs have one common factor – Geeta Bali. I am sorry I forgot to add another personal favorite in this list – “Shola Jo Bhadke Dil Mera Dhadke” – all lively lovely songs and a heroine to match. Today one more song got added to this list – a song from the 1956 release ‘Inspector’ – “Mera Akele Jiya Kaise Laage Re Piya“.
Recently after subscribing to a particular channel on my DTH I am having a daily feast of great, good movies and songs That is where I discovered that today is the anniversary of this beautiful lady who was also Shammi Kapoor’s wife. She was one Kapoor bahu who continued to work in films even after marriage and two children. Her popularity didn’t wane due to her marriage. Of course Jennifer Kendall (Shashi Kapoor’s wife) was not on the scene then I think.
After I discovered today’s connection with Geeta Bali I googled to see what the internet throws up about this yesteryear leading lady. I found this https://www.indiatimes.com/entertainment/celebs/10-things-you-need-to-know-about-indian-cinema-s-larger-than-life-actress-geeta-bali-256307.html where her son Aditya Raj Kapoor has been quoted (I am reproducing here)
If you see the way Shammi Kapoor danced, that was Geeta Bali’s personality. My mother was a bigger and more successful star than my father when they got married.
Of course then the article goes on to mention that she had worked with her future-in-laws before she got married to Shammi Kapoor. The article says that Surinder Kapoor (Anil and Boney Kapoor’s father) was Geeta’s secretary. And that she was a disciplinarian , adventurous, promoter of fine arts and how she used to take her kids on long drives. (Personally I didn’t know all this). That article is a good read.
I had messaged Sudhirji and Atulji in the morning asking if there were any songs filmed on Geeta Bali that are yet to be posted, and Sudhir ji replied that he has to look up. By then I had discovered an hitherto unheard, unseen (by me of course) song that has Geeta Bali playing a village girl whose friends are teasing her about her marriage being fixed with a city bred. I looked further and found that this was from a 1960 movie called ‘Bade Ghar Ki Bahu’. Looking up the ‘List of songs movie-wise’ told me that this song is yet to be posted and only the following two song from this film are on the blog.
“Cham Cham Chamka Saara Jahaan”
“Meri Khata Bata De Phir Chaahe Jo Sazaa De”
Today’s song is sung by Asha Bhonsle, written by Tanvir Naqvi and composed by Chitragupt. The movie was directed by Kundan Kumar and had a cast of Geeta Bali, Kuldeep Kaur, Shammi, Abhi Bhattacharya, Sunder etc.
I must thank Sudhir ji for helping with cutting the video out of the movie of which I found a very bad print on YouTube.
Song – Sarke Chunariya Lachke Qamariya Aa Ja Saanwariya Re (Bade Ghar Ki Bahu) (1960) Singer – Asha Bhosle, Lyrics – Tanvir Naqvi, MD – Chitragupt
Chorus
Lyrics (Provided by Sudhir)
oo oo oooo
oo oo oo oooo
oo oo oo oo oo oo
oo oo oo
oo oo
lall la lalla
oo oo
lall la lalla
oo oo
lall la lalla
lall la lalla
lall la la
sarke chunariya lachke kamariya
aaja saanwariya re
rang bhari hamri nagariya re..ae..ae
sarke chunariya lachke kamariya
aaja saanwariya re
rang bhari hamri nagariya re..ae..ae
oo oo oo ooooo
hothon pe laali
hothon pe laali
nainon mein dorey
hothon pe laali
nainon mein dorey
chhup chhup ke dekhen
gaaon ke chhore
chhup chhup ke dekhen
gaaon ke chhore
ho gaaon ke chhore
aaa aaa aaa aaa
mukh par hai jhhalke
moti se jal ke
chhalke gagariya re
rang bhari hamri nagariya re
sarke chunariya lachke qamariya
aaja saanwariya re
rang bhari hamri nagariya re..ae..ae
oo oo oo ooooo
gaalon ko choome
gaalon ko choome
chaandi ke baale
gaalon ko choome
chaandi ke baale
maare sharam ke
ghunghat nikaale
maare sharam ke
ghunghat nikaale
ho ghunghat nikaale
aaa aaa aaa aaa
chalti hai chhan chhan
jhanke hai jhaanjhar
saaje dagariya re
rang bhari hamri nagariya re
sarke chunariya lachke qamariya
aaja saanwariya re
rang bhari hamri nagariya re..ae..ae
oo oo oo ooooo
jhoole hain sakhiyaan
jhoole hain sakhiyaan
choodi hai khanke
jhoole hain sakhiyaan
choodi hai khanke
khushboo se mehke
jhonke pawan ke
khushboo se mehke
jhonke pawan ke
ho jhonke pawan ke
aaa aaa aaa aaa
udte hain aanchal
jhukte hain baadal
chamke bijuriya re
rang bhari hamri nagariya re
sarke chunariya lachke qamariya
aaja saanwariya re
rang bhari hamri nagariya re..ae..ae
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Hindi script lyrics (Provided by Sudhir)
————————————————
ओ ओ ओ॰॰ओ
ओ ओ ओ ओ॰॰ओ
ओ ओ ओ ओ ओ ओ
ओ ओ ओ
ओ ओ
लल्ल लल्ला
ओ ओ
लल्ल लल्ला
ओ ओ
लल्ल लल्ला
लल्ल लल्ला
लल्ल ला ला
सरके चुनरिया लचके कमरिया
आजा साँवरिया रे
रंग भरी हमरी नगरिया रे॰॰ए॰॰ए
सरके चुनरिया लचके कमरिया
आजा साँवरिया रे
रंग भरी हमरी नगरिया रे॰॰ए॰॰ए
ओ ओ ओ ओ॰॰ओ
होठों पे लाली
होठों पे लाली
नैनों में डोरे
होठों पे लाली
नैनों में डोरे
छुप छुप के देखें गाँव के छोरे
छुप छुप के देखें गाँव के छोरे
हो गाँव के छोरे
आ आ आ आ
मुख पे हैं झलके
मोती से जल के
छलके गगरिया रे
रंग भरी हमरी नगरिया रे
सरके चुनरिया लचके कमरिया
आजा साँवरिया रे
रंग भरी हमरी नगरिया रे॰॰ए॰॰ए
ओ ओ ओ ओ॰॰ओ
गालों को चूमें
गालों को चूमें
चांदी के बाले
गालों को चूमें
चांदी के बाले
मारे शरम के घूँघट निकाले
मारे शरम के घूँघट निकाले
हो घूँघट निकाले
आ आ आ आ
चलती है छन छन
झनके है झाँझर
साजे डगरीया रे
रंग भरी हमरी नगरिया रे
सरके चुनरिया लचके कमरिया
आजा साँवरिया रे
रंग भरी हमरी नगरिया रे॰॰ए॰॰ए
ओ ओ ओ ओ॰॰ओ
झूल हैं सखियाँ
झूल हैं सखियाँ
चूड़ी है खनके
झूल हैं सखियाँ
चूड़ी है खनके
खुशबू से महके
झोंके पवन के
खुशबू से महके
झोंके पवन के
हो झोंके पवन के
आ आ आ आ
उड़ते हैं आँचल
झुकते हैं बादल
चमके बिजुरीया रे
रंग भरी हमरी नगरिया रे
सरके चुनरिया लचके कमरिया
आजा साँवरिया रे
रंग भरी हमरी नगरिया रे॰॰ए॰॰ए
O gori aaja gaddi vich baithh jaa
Posted on: August 12, 2020
This article is written by Sadanand Kamath, a fellow enthusaist of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
4408 | Post No. : | 15798 |
apni kahaani chhod jaa
kuchh to nishaani chhod jaa
kaun kahe iss or
tu phir aaye naa aaye
That is how Balraj Sahni left his mark as an outstanding method actor in most of his nearly 100 films in which he acted during the course of his 27 years of filmy career. Balraj Sahni started his filmy career as an actor almost at the same time as Dev Anand, Dilip Kumar and Raj Kapoor, the trinity of the golden period of Hindi film industry. But he had to struggle hard to establish himself as an actor in demand. It took him more than a decade to do so while his compatriot trinity had become the stars in early 1950s.
Balraj Sahni was very bitter about his early experiences in his filmy career. Having associated with IPTA and being a card member of the Communist Party of India, it was difficult to get roles in the films despite the success of ‘Hum Log’ (1951) and ‘Hulchul’ (1951) in which he had important roles. Those days, it was a fashion to brand any one as communist if he had difference of opinion with men of authorities. Since Balraj Sahni was already a member of Communist Party, many producers were wary of offering him roles. In a few films in which he got the roles, he was unceremoniously dropped later from the films either directly or indirectly by offering him smaller roles.
When I completed reading Balraj Sahni’s autobiography in Hindi, I was surprised as to how he got drawn into Hindi films when he had an impressive curriculum vitae before he became an actor in Hindi films. He completed his double M.A. in Hindi and English literature from Government College, Lahore and joined Shanti Niketan along with his wife, Damyanti Sahni to work with Gurudev Rabindranath Tagore. He worked there as a lecturer in Hindi and English. After two years, he and his wife shifted to Sewagram in Wardha to work with Mahatma Gandhi where he also worked as teacher in the institute run in Sewagram. In 1939, with the blessing of Mahatma Gandhi, he and his wife joined BBC London as a Radio Announcer and as a producer, respectively for their Hindi services. In 1944, Balraj Sahni and his wife landed back in Mumbai and got involved in Hindi plays under IPTA. From this point of time, both he and his wife got drawn towards acting in the films, that too not by their own volitions but through Chetan Anand, their close friend.
Balraj Sahni (01/05/1913 – 13/04/1973), was born as Yudhishthir Sahni in Rawalpindi in an Arya Samaji family. His father was a successful businessman – a wholesale cloth merchant who could afford to have a summer villa in Srinagar. In 1930, after completing his matriculation, he joined Government College, Lahore for B.A. His college days coincided with the advent of talkies during which he watched many Hindi and English films. He also participated as an actor in College’s dramatic society. By the time, he had completed M.A. in Hindi and English literature, he had developed an interest in literature rather than in acting in the films.
During four years of his stay in London, Balraj Sahni watched many English plays and Russian films which he felt was ahead of American films. Through Russian films, he got introduced to Marxism and Leninism. By the time, he and his wife returned to Mumbai in 1944, they had embraced Marxism. For some time, both of them stayed at Chetan Anand’s bungalow at Bandra whom he knew from his days in Government College, Lahore. Chetan Anand was also associated with IPTA where Balraj Sahni got acquainted with K A Abbas, Krishan Chandra, Phani Mujumdar, Prem Dhavan, V P Sathe, C P Joshi among others. In IPTA, K A Abbas who was writing a play ‘Zubeida’ selected Balraj Sahni to direct it. The play became a hit. This was the start of his long association with K A Abbas.
During his IPTA days, Chetan Anand offered him and his wife major roles in his maiden film ‘Neecha Nagar’ (1946) which was in the planning stage. However, Chetan Anand was not able to arrange the finances. So, the making of the film got delayed. During the same time, Phani Mujumdar offered him a small role of the hero’s friend in ‘Insaaf’ (1946). At first, Balraj Sahni was not enthusiastic to accept the small role. It was only after Phani Majumdar assured him that in his next film ‘Door Chalen’ (1946), he would give him a major role which he kept his words. Both the films did not click at the box office.
In the meanwhile, IPTA got a licence to produce a full-length feature film which K A Abbas used it for making ‘Dharti Ke Laal’ (1946). It was IPTA’s first and the last film. Both Balraj Sahni and Damyanti Sahni got major roles in the film along with other IPTA actors. This film also failed at the box office as the film’s release coincided with communal violence in Mumbai. However, the film was critically acclaimed both nationally and internationally. Thereafter, both Balraj Sahni and Damyanti Sahni worked in ‘Gudia’ (1947) in lead roles. However, soon after the completion of the film, Damyanti Sahni who also used to work with the slum dwellers in Mumbai as a part of her social work, fell ill. Due to adverse reaction of the medicines, she died in April 1947 at a young age of 26, leaving Balraj Sahni with two kids, Parikshit and Shabnam.
A devasted Balraj Sahni soon left Mumbai and started staying in his father’s summer villa in Srinagar while his kids were sent to Rawalpindi at his parent’s house. But within few months, the communal riots on the eve of the partition made Balraj Sahni and his parents with kids to come back to Mumbai leaving everything behind. While IPTA took care of him on his second coming, he also commenced shooting for ‘Gunjan’ (1948) in which he had got the offer of the lead role opposite Nalini Jaywant when he was in Srinagar.
In 1948-49, Balraj Sahni was mostly associated with IPTA plays and communist party activities. During this period, he got married to Santosh Chandok, his cousin who was a writer and actor in IPTA. During the rehearsal of the play ‘Signalman Dulee’, all IPTA members were called to participate in a procession taken by the communist party which had taken anti-Nehru stance, branding him to be an agent of British Government. Carried away by the party line, Balraj Sahni wrote and acted in an IPTA play ‘Jaadu Ki Kursi’ which was directed by Mohan Sehgal. The play was a satire on Pandit Nehru’s policies. During this time, Communist Party took out a procession in the street of Mumbai with slogan shouting and criticising Nehru’s policies. Balraj Sahni and other IPTA members had also joined the procession. There was lathi charge and police firings. Many prominent activists of IPTA such as Balraj Sahni, Majrooh Sultanpuri, Ali Sardar Jafri, Deena Pathak etc. were arrested and imprisoned in Arthur Road jail for 2 years.
Before his arrest, Balraj Sahni had got a major role in K Asif’s film, ‘Hulchul’ (1951) on the recommendation of Dilip Kumar. Shooting of the film had commenced but Balraj Sahni was in jail. With the good offices of producer, K Asif, Balraj Sahni got permission from the Jailor to join shooting during the day time under the police escorts. Incidentally, Balraj Sahni acted in this film in the role of a Jailor. The arrangements continued until the film’s shooting was completed.
After about 6 months of imprisonment, Balraj Sahni was freed from the jail. It is not known as to how he got released from the jail in 6 months but I feel that there must be some reason for remission in his jail terms and this was not liked by his party. He found to his dismay that the party has branded him as ‘traitor’ and some of his friends and acquaintances avoided meeting him. After some time, Balraj Sahani left IPTA and Communist Party of India due to difference of opinions. Those days, any party member having put forward a different opinion than the party line, used to be branded as ‘reactionary’, ‘traitor’ etc.
Notwithstanding leaving IPTA and Communist Party, Balraj Sahni remained a committed Marxist with ‘Das Kapital’ as his reference point rather than the communist ideaology. Things began to improve in his filmy career as soon as the tag of ‘communist’ against his name was obliterated. Despite film offers coming to him on a regular basis, he could do only few films as he selected mostly socially oriented films – like the role of unemployed and sickly Raj in ‘Hum Log’ (1951), the rickshaw puller, Shambhu Maheto in ‘Do Bigha Zameen’ (1953), the compassionate manager of an orphanage in ‘Seema’ (1955), the idealistic poet, Shrikant in ‘Sone Ki Chidiya’ (1958), a loving elder brother in ‘Chhoti Bahen’ (1959), a committed village doctor in ‘Anuradha’ (1960), a migrant Afghani, Abdul Rehman Khan in ‘Kabuliwala’ (1961) etc. However, as he advanced in age, he started getting the character actor’s roles during which time, he mostly worked in the mainstream Hindi films.
Sometime in 1950, Chetan Anand, the head of Navketan Films, invited Balraj Sahni to write screen-play and dialogues for ‘Baazi’ (1951) which he gladly accepted because it suited to his temperament as a writer. Guru Dutt, the director wanted to start the shooting of the film even before the script was ready. Balraj Sahni made it very clear to him that he would part with screen-play and dialogues only when it is complete in all respect. It was only when he gave the screen-play and dialogues duly bound, the shooting of the film commenced. Though ‘Baazi’ (1951) was a big hit on the box office, Balraj Sahni did not draw any benefit or pleasure from it as his screen-play and dialogues were changed without his consent as was the practice by most of the directors. So, he gave up the idea of taking up the assignment of screen-play writing any more. He also directed ‘Laal Batti’ (1957), the only film as a director during his filmy career. He also worked in some Punjabi films.
By the end of 1950s, Balraj Sahni had adjusted to the unorganized way of working in Bollywood. He was once called for shooting in the morning and he was sitting in the studio throughout the day without being called for a single shot. From then onwards, he decided to carry his typewriter for shooting so that he could use his free time for writing articles and short stories for the magazines. While working in Shanti Niketan in the late 30s, Balraj Sahni was advised by Gurudev Rabindranath Tagore that he should write articles and stories in Punjabi as a writer can effectively express his thoughts in his own mother tongue. Balraj Sahni took his advice seriously and learnt afresh writing in Gurumukhi.
Balraj Sahni major break through as an actor was in a neo-realistic film, ‘Dharti Ke Laal’ (1946). It was just a co-incident that his last film ‘Garam Hawa’ (1973) also happened to be a neo-realistic film. His son, Parikshit Sahni had said in an interview that the film had perfect pathos in almost every scene and dialogues delivered by his father.
And why not? If one sees the events happening in the film in a broader manner, Balraj Sahni had actually experienced them in reality. Towards the end of the film, he lost his young daughter Amina who commits suicide following her bad marriage. This had actually happened to Balraj Sahni about one year before the film’s shooting was completed. His daughter, Shabnam by his first marriage had returned to him after a divorce and died young due to a brain hemorrhage. All the pains in losing his daughter was reflected on his face in the film.
On his 60th birthday, Balraj Sahni was to make an announcement to leave the film industry and settled down in Punjab to devote rest of his life to the literature. For this, he had bought a cottage in Punjab which was being refurbished. But God wished differently. Just before a month of his 60th birthday and a day after completion of his dubbing for ‘Garam Hawa’ (1973), Balraj Sahni died of heart-attack on April 13, 1973. At the Juhu Crematorium, besides close family members, friends and film paternity, there was a large crowd of hotels workers, fishermen and others from the Juhu village whom he had financially helped to improve their living conditions.
Bhisham Sahni, Balraj Sahni’s younger brother and a renown theatre personality (remember his T V Serial, ‘Tamas’, 1988) has talked about his elder brother’s deep and abiding love for his family. He said that the scene from ‘Waqt’ (1965) in which Balraj Sahni sings ae meri zohra-zabeen, showering his love for his wife is the exact reflections of his exuberating nature which many have witnessed in his house. Sometime in mid-1960s, Balraj Sahni constructed his bungalow at Juhu mainly to accommodate his entire family under one roof and for the visiting relatives and friends.
Balraj Sahni had jokingly said in his autobiography that he got more chance to do romance with the heroines of the films when he did character actor’s roles than as a hero. One of the films in which as a hero, he romanced with Geeta Bali was ‘Sapan Suhaane’ (1961). The film was produced under the banner of K R Films which was directed by Kidar Kapoor. The star cast included Balraj Sahni, Geeta Bali, Kamini Kadam, Chandrashekhar, Helen, K N Singh, Leela Mishra, Bhagwan Dada, Praveen Paul, Keshav Rana, Tun Tun, Ram Mohan etc.
Four songs (out of 7) have been covered in the Blog. I am presenting the 5th song, ‘o gori aaja gaddi vich baith jaa’ from ‘Sapan Suhaane’ (1961). The song is rendered by Manna Dey and Lata Mangeshkar for Balraj Sahni and Geeta Bali. The song is written by Shailendra which is set to music by Salil Chaudhuri.
Acknowledgement:
Much of the information for this article has been drawn from:
1. ‘Meri Filmy Aatmkatha’ by Balraj Sahni (1974).
2. Balraj – My Brother by Bhisham Sahni (1981).
3. Two Brothers – Balraj and Bhisham Sahni – Some experience in IPTA by Kalpana Sahni.
Video Clip:
Audio Clip:
Song-O gori aaja gaddi vich baithh jaa (Sapan Suhaane)(1961) Singers-Manna Dey, Lata, Lyrics-Shailendra, MD-Salil Chaudhary
Lyrics
o…o gori aaja gaddi vich baithh jaa
jaao ji koi kya kahega
o….o gori aaja gaddi vich baith jaa
jaao ji koi kya kahega
tu jaise phoolon waali daali..ee
goriye tu to hai naazon ki paali
gora rang jal jaaye na
na to main phoolon waali daali..ee
chhaliye na main hoon naazon ki paali
tu kisi aur ko bana
khadi tarsaaye main ko aaja aa aa
karoon kya jiya kahe na aa aa aaa
o…o gori aaja gaddi vich baith jaa
jaao ji koi kya kahega
o…o gori aaja gaddi vich baith jaa
jaao ji koi kya kahega
ye raahen meri anjaani..ee
nigaahon mein hai bachpan ki naadaani
mera dil kho jaaye na
ye raahen maana hai anjaani…ee
tere sang main jo hoon meri pahchaani
ye saathi chhod jaaye na ae ae
kahenge kya ye duniya waale ae ae
na dekho din mein sapna aa aa aa aaa
o…o gori aaja gaddi vich baith jaa
jaao ji koi kya kahega
o…o gori aaja gaddi vich baith jaa
jaao ji koi kya kahega
kah do doli leke aaun
bana ke dulhan tujhko ghar le jaaun
agar tu dil se kahe haan
agar tum doli leke aao…o
bitha ke palkon mein mujhko le jaao
mera dil kahe chaahe na
bhula mat dena apna waada aa aa
sanam ne kar to diya haan….. aan
o…o gori aaja gaddi vich baith jaa
jaao ji koi kya kahega
o…o gori aaja gaddi vich baith jaa
jaao ji koi kya kahega
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.
| Blog Day : | 3474 | Post No. : | 13955 |
चाँदनी रातें प्यार की बातें
खो गई जाने कहाँ
That is the very first introduction to this extremely versatile actress of the Hindi cinema. The song was played in the weekly Chitrahaar program one evening. And the kid me was soaking in the performance with an open mouth and extreme ignorance of the emotions being dealt with. The primeval image carried in was that of a serious actress given over to sad roles and sad songs. Little did I know that I couldn’t have more further from reality.
Remembering Geeta Bali, the actress extraordinaire, on the anniversary of her passing away (21st Jan).
Some months or a year later, the film came on to Doordarshan, and then I got another taste of this very song; but in accompaniment I also got to see “Chori Chori Meri Gali Aana Hai Bura” and “De Bhi Chuke Hum Dil Nazraana Dil Ka”. After this encounter, I would get to see more of her in other films aired on Doordarshan – ‘Anand Matth’ (1952), ‘Baawre Nain’ (1950), ‘Baazi’ (1951) etc. Other films would come later – ‘Baaz’ (1953), ‘Albela’ (1951), ‘Badi Behan’ (1949) etc., not essentially in that order.
Through these films, I began to know her much better, as compared to my initial impressions from the first song of ‘Jaal’ that I had viewed. A persona with a very vivacious and alive presence on the screen – a live wire presence that would light up whatever frame she was in. There was such an immense amount of communication happening through her expressions – the smiles, the twitching of the eyebrows, the tilt of the neck, the movements and more. The amount of expressions and emotions she would cram into and convey in one line of a song, was equivalent to what most other performers would convey in an entire song. And the energy she would impart to whatever scene and whatever role she would be in, was and continues to be a delight to watch.
Many years after she passed away, and her erstwhile husband Shammi Kapoor, had moved into senior character roles, interviews and articles began to appear that attempted to explain the transformation of Shammi Kapoor as an actor, from the sombre roles in films like ‘Rail Ka Dibba’ (1953), ‘Laila Majnu’ (1953) and ‘Shama Parwaana’ (1954) to the flamboyant energetic roles in ‘Del Deke Dekho’ (1959), ‘Tumsa Nahin Dekha’ (1957) and ‘Junglee’ (1961). It has been said that this transformation was an influence of Geeta Bali’s style and expressions of the characters she did on screen. Shammi Kapoor magnified that expression manifold with his own energy, and became the most successful swashbuckling hero of the 1960s.
Today’s song is from the film ‘Jalpari’ from 1952. The storyline is about a human sailor adventurer Ashok Kumar, who catches the fancy of the fairy princess of the undersea world. The role of the Jalpari, the fairy princess, is played by Geeta Bali. She has the human mortal brought to her palace in the undersea world, and tries to convince him to join her as her consort, and she would make him immortal. This song is her effort to woo him and his emotions for herself.
The lyricists name for this song is not specified. The music is by Pt Gobind Ram and the singing voice is that of Shamshad Begam.
Once again, a memory tickler from the yesteryears, to remember this peerless performer – she passed away this day 52 years ago, at an unimaginable age of 34 years. A salute to this darling performer of the screen – alive forever, in memories.
Audio
Video
Song – Khushi Ke Phool Liye Aa Gaye Bahaar Ke Din (Jalpari) (1952) Singer – Shamshad Begum, Lyrics – [Unattributed], MD – Pt Gobind Ram
Lyrics
khushi ke phool liye
aa gaye bahaar ke din
yehi bahaar ke din
ab banenge pyaar ke din
ho oo oo
raja aaj na jaane doon
main bhi jhoomun tu bhi jhoom
kal ki khabar kisko maloom
chham chham chham chham chhoom
chham chhoom
o raja singaar sajaaye
roop ki rani aayi
roop ki rani aayi
hans le gaa le mauj manaa le
roop ki rani aayi
hans le gaa le mauj manaa le
roop ki rani aayi
duniya mein macha de dhoom
tu bhanwra ban kar ghoom
aur ke phool par jhoom
chham chham chham chham chhoom
chham chhoom
o dewaane kisi ka ho ja
zulfon ki chhaaon mein so ja
o dewaane kisi ka ho ja
zulfon ki chhaaon mein so ja
jaam e mohabbat pee kar jhoom
jaam e mohabbat pee kar jhoom
kal ki khabar kisko maloom
chham chham chham chham chhoom
chham chhoom
oo oo oo
raja aaj na jaane doon
main bhi jhoomun tub hi jhoom
kal ki khabar kisko maloom
chham chham chham chham chhoom
chham chhoom
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
खुशी के फूल लिए
आ गए बहार के दिन
यही बहार के दिन
अब बनेंगे प्यार के दिन
हो ओ ओ
राजा आज ना जाने दूँ
मैं भी झूमूँ तू भी झूम
कल की खबर किसको मालूम
छम छम छम छम छूम
छम छूम
ओ राजा सिंगार सजाये
रूप की रानी आई
रूप की रानी आई
हंस ले गा ले मौज मना ले
रूप की रानी आई
हंस ले गा ले मौज मना ले
रूप की रानी आई
दुनिया में मचा दे धूम
तू भँवरा बन कर घूम
और एक फूल पर झूम
छम छम छम छम छूम
छम छूम
ओ दीवाने किसी का हो जा
ज़ुल्फों की छाँओं में सो जा
ओ दीवाने किसी का हो जा
ज़ुल्फों की छाँओं में सो जा
जाम ए मोहब्बत पी कर झूम
जाम ए मोहब्बत पी कर झूम
कल की खबर किसको मालूम
छम छम छम छम छूम
छम छूम
ओ ओ ओ
राजा आज ना जाने दूँ
मैं भी झूमूँ तू भी झूम
कल की खबर किसको मालूम
छम छम छम छम छूम
छम छूम
Kismat ne ye zulm kiya hai
Posted on: July 20, 2016
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 (20 july 2016) is the 42nd death anniversary of Geeta Dutt (23 november 1930- 20 july 1972). She was among those prodigious talents who lived only briefly yet left a lasting impression in her chosen field of activity.
Read more on this topic…
Raat chaandni kare ishaare
Posted on: June 24, 2016
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.
“Neelam Pari” (1952) was directed by Dhirubhai Desai for Chandrakala Film company. the movie had Sajjan, Geeta Bali, Sapru, Gope, Kuldip Kaur, Kamal, Samson, Niranjan Sharma etc in it.
Read more on this topic…
Ek raat ki ye preet
Posted on: March 23, 2015
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.
“Faraar” is a movie title that we come across at ten years gap beginning from 1955 onwards till 1975. We have had “Faraar”(1955), “Faraar”(1965) as well as “Faraar”(1975). All these movies had different star cast and were produced by different production houses. Songs from all these movies figure in the blog.
Read more on this topic…
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.
The original and the natural ‘chulbuli’ (mischievous) of the Hindi screen. As a child, she was Keeto (कीतो), and when she passed away, she was playing the role of Rano.
Remembering Geeta Bali, the ‘natkhat’ extraordinaire and the original tom-boy of Hindi films, on the 50th anniversary of her passing away (21st January).
Read more on this topic…
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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