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

Posts Tagged ‘Geeta Dutt


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 : 4039 Post No. : 15164

“Shaheed”(1948) was directed by Ramesh Saigal for Filmistan. The movie had Chandramohan, Dilip Kumar, Kamini Kaushal, Ram Singh, S L Puri, V. H. Desai, Shashi Kapoor, Raj adeeb, Prabhu Dayal etc in it.

This song, now regarded as a landmark movie, had seven songs in it. Five of these songs have been covered in the past.

Here is the sixth song from “Shaheed”(1948) to aappear in the blog. This song is sung by Geeta Dutt (then Geeta Roy) who was then very young. Her fresh and raw voice sounds so refreshing even today !

Raja Mehdi Ali Khan is the lyricist. Music is composed by Ghulam Haider.

The song is lip synced by Kamini Kaushal. Dilip Kumar is also briefly visible in the picturisation. Another lady (or is it Kamini Kaushal herself ?) is also seen. I request our kowledgeable readers to help identify her.


Song-Aaja bedardi baalma koi ro ro pukaare (Shaheed)(1948) Singer-Geeta Dutt, Lyrics-Raja Mehdi Ali Khan, MD-Ghulam Haider

Lyrics

aaja bedardi baalma
koi ro ro pukaare
aaja bedardi baalma
koi ro ro pukaare
main to bisaaroon zaalma
mera dil na bisaare
aaja bedardi baalma
koi ro ro pukaare

meri duniya bas kar ujad gayi
ujad gayi
meri duniya bas kar ujad gayi
ujad gayi
bulbul thhi
bulbul thhi main
phoolon se bichhad gayi
bichhad gayi
taqdeer ne aaker loot liye armaan hamaare
main to bisaaroon zaalma
mera dil na bisaare

barbaad hoon main
barbaad hai dil
o jaane waale phir aa mil
phir aa mil
o jaane waale phir aa mil
phir aa mil
mere dil ki
mere dil ki bagiya jaaye khil
phir aa mil
haay taras gaye teri ek jhalak ko nain bechaare
main to bisaaroon zaalma
mera dil na bisaare
aaja bedardi baalma
koi ro ro pukaare

main
do din ki mehmaan piya
main
do din ki mehmaan piya
mohe chhod chale hain praan piya
praan piya
mohe chhod chale hain praan piya
praan piya
aaya gham ka
aaya gham ka ik toofaan piya
toofaan piya
haay deepak ban ke
kaanp rahe hain praan hamaare
main to bisaaroon jaalma
mera dil na bisaare
aaja bedardi baalma
koi ro ro pukaare
aaja aaja

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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 : 4033 Post No. : 15155

Today’s song is from film Shri Ganesh Mahima aka Shri Krishna Vivah-1950.

Mythological films have been my weakness from the beginning. When I was around 10-12 years of age, I would be a very happy, willing and enthusiastic escort to family elders-especially ladies, going for a Bhakti Pradhan film. What I liked in these films was the trick scenes and fantastic costumes. later on I realised these films also provided lot of religious knowledge in the formative years.

Most mythological films were based on stories from Ramayan and Mahabharat. But many films were also using stories from various Puranas like Shiv Puran, Vishnu Puran etc. There was no dearth of such stories, what with 18 Puranas and 2 Epic books. Stories of Puranas etc have some hidden meanings, which one has to look for. Few years ago,in one of my posts, I had explained how the Dashavatars of Lord Vishnu were actually the story of evaluation of Life on Earth. The first avtar of Matsya( the fish) explains us how life on earth began in water.The second avtar of Koorma (the Tortoise) told us the development of Amphibians who started living on land and water. So on and so forth

In Tretayug, Shri Ram came and in Dwapar Yug, Shri Krishna was incarnated by Lord Vishnu. Shri Ram gave a lesson on how to be an ideal son, husband, friend and a King, but Krishna taught us how to be a street smart person and win over enemies skillfully. I feel in today’s times, Krishna is more relevant than Ram. Krishna also taught us how to be a happy person and enjoy everything.

Like religious stories , there is no shortage of Gods also, in our Religion. This is actually one of the plus points of Hinduism. Each community can and will have its own version of God. Many Gods, but basics are never compromised. Everyone knows there is only ONE GOD, having a different version to suit the worshipper. Examples are, Fishermen have God in the matters related to Sea and Tribals in forests worship Gods made of Wood. We all know that these are all symbols and God lives in our Hearts.

One can find stories of most popular Gods like Ram,Krishna, Ganesh, Hanuman, Shiv ji, Vishnu etc, but somehow the film world has ignored Bramha, Saraswati, Shani deo, Surya dev, Kartikeya etc. These are the Gods for whom even temples are few. Kartikeya (elder son of Shankar-Parvati) is worshipped in south as Kumara swami. These Gods do appear in some films for few minutes, but exclusive films on them are missing. Now that Mythology is present only on TV, such films have become rare these days.

Our Indian film makers will never fall short of subjects for their films. They can combine any stories and make a Hybrid film- like for example, Sindbad,Alibaba and Alladin-1965. They can give families and children to famous characters like Zimbo ka Beta, Alladin ki Beti etc. The worst molestation has been done to the famous character of Tarzan. He is combined with, Capt. Kishore, Delialah, King kong, Circus, Cobra, Gorilla, Hercules, Jadugar, jadui Chirag, Jalpari and a Fairy. Tarzan is provided with a Mehbooba, Beta and Beti. Tarzan has been sent to Delhi, Paristan, Fairyland and even in a wonder car. I feel pity for Edgar Rice Burrows who must tired of turning in his grave !!!

Film Shri Ganesh Mahima aka Shrikrishna Vivah-50 is also a combination of stories from Ganesh Puran and Bhagwat Puran. In Ganesh Puran, there is a story that once The Moon laughed at Ganesh. Ganesh was angry and he gave a curse to the Moon. Moon came on his knees and then the curse was modified that whosoever sees the Moon on only Ganesh Chaturthi night, will be falsely accused of theft. In our childhood there was a rumour that to ward off the false accusation of theft, if you throw stones on somebody’s house and he abuses you, then the curse disappears. Some naughty boys used to do this and get abuses profusely !

In Bhagwat Puran, the story of Shrikrishna’s marriage to Satyabhama is described. In this film,both these stories are interwoven skilfully. The story of this film, as noted by me in my diary, is thus……

Great and Miraculous powers are attributed to Shri Ganesh the benefactor of mortals as well as the immortals. Such a benign being was once laughed at by Chandra only to be cursed by him. Realising his folly, Chandra begged for forgiveness and the curse was modified by the merciful divinity to be effective only on the day of Ganesh Chaturthi. He ordained that anybody looking at the moon on that night will be a victim of false accusations.

It was on such a day that Shri Krishna unwittingly looked at the moon in the night and had to suffer the indignity of being falsely accused of theft of Syamantak Mani. This jewel was acquired by Satrajit, one of the Yadavas as a boon from God Sun. Shri Krishna had sent Narad to Satrajit expressing his desire to possess the Mani. The events took such a turn that there was circumstantial evidence against Shri Krishna who happened to be at the Chambers of Satrajit’s daughter Satyabhama, devotee of Lord Krishna on the night prior to Satrajits losing the Mani. Shri Krishna was shocked at such allegation made by Satrajit and Shatadhanva ( Another Yadava) who had been promised by Satrajit the hand of his daughter Satyabhama.

Shri Krishna took upon himself to find out the jewel and redeem it to its rightful owner only to clear himself of the allegation. A search party was organised which came across the dead body of Prasain, a carcass of lion and also the foot-prints of a bear blazing a new trail which when followed led the party to a cave. Shri Krishna went inside the cave telling the followers to wait at the cave entrance for seven days and if he did no return by then, to go back to Dwarka. Inside the cave Shri Krishna found the Syamantak Mani and also Jambuwanti, the daughter of the powerful bear king Jambuwant. There ensued a fight between Shri Krishna and Jambuwant lasting for twenty one days. The people at the entrance of the cave returned as per instruction after the seventh day. The duration of this fight gave Shatadhanva a real chance for villainy. He puts in an all over effort to win the hand of Satyabhama who would marry none but Shri Krishna. Jambuwant after losing the battle gave away his daughter in marriage and Syamantak Mani as dowry to Shri Krishna.

Coming to Dwarka, Shri Krishna returned the jewel to its rightful owner, Satrajit repented and made amends by giving away his daughter to Shri Krishna in marriage. Shatadhanva came to know of this alliance and made short work of the unsuspecting Satrajit and decamped with the Mani. Shri Krishna brought justice to the evil doer and the villain Shatadhanva fell a victim to his famous Sudershana Chakra.

The cast of the film was Mahipal, Meena Kumari, S N Tripathi, Moolchand, Dalapat, Amarnath etc. The film was made by Basant Pictures and directed by its owner, Homi Wadia. Music was by S N Tripathi. In the arena of Mythological, Historical and Religious films, from the 40s to the 60s, the names of Mahipal, Trilok kapoor, Manhar Desai, Prem Adib and Shahu Modak were taken frequently. Similarly,Jeevan as Narad was also popular. All the Heros were handsome and they had a sort of special glow on their faces. Each of them had a special style of portraying roles. Prem Adib was famous for his roles of Ram, Shahu Modak excelled as Shrikrishna with his mischievous smile. Trilok Kapoor means Bhagwan Shankar. Manhar Desai and Mahipal did a variety of roles of different Gods. While Manhar Desai was more active on Gujarati screen, Mahipal worked mainly in Hindi films. His repertoire of roles included films of Mythology, History, Costume and Folk Tales.

Mahipalchand Mahadevchand Bhandari was born in Jodhpur, Rajsthan on 24-11-1919. By 1941 he got his B.A. degree and he also started participating in Kavi Sammelans,with his poetry. His break in films came with Nazrana-42. The film was a flop, but he was employed for writing lyrics.

He acted in Ranjit’s Shankar Parvati-43, Andhon ki duniya-43, Rajkamal’s Maali-44, Narsinh Avatar-44, Banwasi-48, Daulat-49, and Bhishma pratidnya-50. Meantime,he wrote songs for films Aap ki sewa mein-47 and Adalat-48. He did few more films with Homi Wadia and then he started his fantasy films with Wadia. For this, he was trained in Fencing and Horse riding. He worked with Shakeela in 18 films-mostly costume films of C grade. He worked with Meenakumari (4 films), Nirupa Roy (4), Shyama (6), Anita Guha (11) etc

In the 50’s decade,which was the peak for Mythological films with 124 films, his 70 films were released.In the 60s,he did 33 films-including Navrang and finally he did 19 films from 71 to 83. He did total 143 films. Mahipal spent his retired life with family and friends. He died on 15-5-2005. ( Bio adapted from ‘Inhe na bhulana’ Gujarati book by Harish Raghuwanshi ji, with thanks)

Today’s song is sung by Geeta Roy. At this time, she was still new and trying to get hold in film industry. You will love the song and her fresh voice.


Video

Song-Taaron ke palne mein jhoole chaand hamaara re (Shree Ganesh Mahima)(1950) Singer- Geeta Roy, Lyrics- Anjum Jaipuri, MD- S N Tripathi
Chorus

Lyrics

taaron ke palne mein jhoole chaand hamaara re
chaaand hamaara re
taaron ke palne mein jhoole chaand hamaara re
chaand hamara re

raaja banke raaj karega
raaja ban ke raaj karega
kundan ban ke damkega
kundan ban ke damkega
laalon ka ye laal hamaara
chanda banke chamkega
chanda banke chamkega
sabki aankhon ka ujiyaara
praan sa pyaara re
chaand hamaara re ae
taaron ke palne mein jhoole chaand hamaara re
chaand hamaara re

ghar aangan mein mera munna
ghar aangan mein mera munna
khelega muskaayega
khelega muskaayega
meethhi meethhi baaton se ye sabka man bharmaayega
sabka man bharmaayega
aashaaon ka deepak hai ye
aankhon ka taara re
chaand hamaara re ae
taaron ke palne mein jhoole chaand hamaara re
chaand hamaara re

taaron ke palne mein jhoole chaand hamaara re
chaand hamaara re


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 : 4032 Post No. : 15153

Today’s song is from film Zevarat-49.

” studio system ” as it is called, began as soon as silent films got established and were on fast track. Well established studios made films regularly and systematically. Each and every studio/ production house had a set of its own actors, directors and MDs. They were on a monthly pay roll. From the 1920 onwards, all major studios like Imperial, Kohinoor, Sharda, krishna, Saraswati, Paramount, Aurora, Barua, Aryan,British Dominion, Great Eastern, Laxmi pictures, Madan Theatres, Maharashtra film company, Prabhat, Ranjit, Saroj etc had their actors on pay roll. Studios were jealous about their stars and always ensured that they don’t leave them.

The contract system came into being legally. Each studio had a contract individually with actors and there was a legal binding on them to follow the contract in its period. Generally the contracts were highly partial to the owners. From the 30’s, with the dawn of Talkie films, most silent film makers wound up business and the real players with sound financial base and name remained. Some of the major filmmakers were, Wadia, Bombay Talkies, New Theatres, Prabhat, Imperial, Ranjit, Sagar, Shalimar, Pancholi, Prakash, Minerva, Gemini, Vauhini etc etc. They tightened their contract clauses to ensure that their stars don’t leave them unilaterally.

The 40’s saw some splinter groups setting up their own studios like Filmistan, Kardar, Navketan, Mehboob, Rajkamal, Basant etc, in addition to the existing ones. The competition to hold on to their flock became acute and in this attempt, some studio owners crossed limits of decency and took undue advantage of the contract clauses or the ignorance / carelessness of the stars, while signing the contracts.

First case of such unfair action of the studios occurred, when the First Talkie of India was to be made by Imperial Film co. Ardeshir Irani was keen to take Master Vithal as a Hero for ‘ Alam Ara ‘.However Vithal was on contract with Sharda film co. Irani made a very lucrative offer to Vithal. When only 2 days were remaining of the contract period,Master Vithal joined Imperial. Nanabhai Desai of Sharda Films was furious. He kidnapped Vithal and kept him in a locked room, forcing him to renew the contract. When Irani came to know this, he sought help from the court. The case was fought and Master Vithal was auctioned in the court. Sharda and Imperial bid sums for him.Finally Imperial offered 1200 Rupees per month to Vithal and Vithal joined them, as Sharda backed out.

Some big banners like Minerva, V.Shantaram’s Prabhat and Shalimar Pictures of Poona had instances of trying to take undue advantage of the contracts with stars. Sitara Kanpuri, an illiterate singer was on contract with Shalimar Pictures of W.Z.Ahmed.She was however, not told then that the contract was for 5 years.Her singing career in films was ruined as in 5 years, Shalimar made only 3-4 films, in which she sang. Luckily, after Partition,Ahmed and his wife Neena migrated to Pakistan and Sitara Kanpuri was free to sing openly. But by that time she did not get much opportunity and soon she disappeared from the industry.

Similarly Shantaram also tried to play with Shanta Apte. Shanta Apte was under contract with the Prabhat studios with which she had made several memorable films. But as her fame spread far and wide and more and more producers wanted her to act in their films, Shanta Apte realized that the contract with the Prabhat company was acting as a hurdle to her free lancing. She requested the film company to free her from the bondage of the contract, But the company would just not agree, Finally she offered Satyagraha outside the film company. Prabhat were thus forced to relieve her of her contractual obligations. Shanta Apte thereafter became a free bird.

The worst such case was of Meena Shorey ( she was not Shorey in that period), Heroine of today’s film Zevarat-49. Meena Shorey ( real name Khursheed Jahan) was from a very poor family.Originally from Multan,her family shifted to Lahore. She was one of the 5 children. She was the third. Her father was short tempered and used to beat her mother often. At the age of 11 yrs. she saw film Achut Kanya and few other films,which developed a desire to join films. Her mother left her husband and shifted to Bombay with 3 children. In Bombay the eldest daughter lived after her marriage. Meena was around 14-15 year old then. One day,her brother in law took her to the Muhurat of film Sikander in Minerva studios.

For going to this function, Meena had borrowed good clothes from her friend, who also did her make up. Meena was looking very beautiful and ravishing. During the function,Sohrab modi was impressed with her looks and offered her a role in film Sikandar. Initially her mother was not ready, but due to need and convincing by Meena, she agreed.Next day Meena and mother went to the studio. Both were illiterate. A contract for 3 years was made for working only in Minerva films and her mother put her thumb on the contract, as Meena was a minor. After consulting ” Zend Awastha” the Parsee religious book, Modi changed her name to Meena. She was to get Rs. 600 pm as a salary.

With regular income,her financial position improved. She did films after films in Minerva. Sikandar-41, Phir milenge-42, Prithvi Vallabh-43 and Patharon ke saudagar-44, all films were hit. Her name and fame spread wide. Many producers wanted to sign her in their films. After Patharon ke saudagar, her contract period of 3 years was to be over. Mehboob wanted her for film Humayun and K B Lall wanted her for film Lal Haveli. When she went to Modi and asked her to release her from the contract, he informed her that as she failed to give a notice 3 months in advance, the contract got automatically renewed for next 3 years, as per a clause in original contract. She was never informed about this earlier.Being illiterate, she could not read it also. Even after the visit of Mehboob to Modi, Modi was adamant not to release her.

The matter went to court. In the court she made a deal with him that she will work for Minerva for one more year on the same salary as 600 pm, will not work in any other studio and he will release her after that. The case was withdrawn. By that time Meena had married Al Nasir. She left for Lahore with Nasir to avoid working in Minerva, and also did not take any salary. After one year in Lahore, she did films for Pancholi, like ‘ Shehar se door’ and ‘ Arsi’. Her fame was already bringing many new films to her. When the film ‘ Shehar se door’ was about to be released, Pancholi got a legal notice from Modi for a compensation of Rs. 3 Lakhs for breaching his contract with Meena. Everyone was panicky. Meena went to Bombay with Pancholi’s Manager and met Modi. She begged him not to give her troubles, but as a compensation,Modi asked for Rs.60 thousand cash. Meena was stunned.Finally Mehtab, Modi’s wife intervened on her behalf and Modi came down to Rs. 30 thousand. Meena paid him the money and got rid of him finally.

Later on, Meena said,” This was the true character of Modi, who is revered as Deity of Indian Cinema. Actually his popular perception was an illusion. The reality was that he took every opportunity to cheat and take advantage of situation to make money.” C. Ramchandra has also narrated an incident about Modi, how he took advantage of his helpless situation, when in 1936 to 1938, CR worked in Minerva. Like any other industry, Film industry too had such people.

Today’s song is from film Zevarat-49.The film was made by Habeeb productions. The director and Lyricist was Habeeb Sarhadi. The MD was the Melody Master Hansraj Behl. The cast of the film is given as Meena, Masood, Yaqub, Jayant, and Shanta Kunwar. There were 10 songs sung by a variety of singers like Lata, Rafi, Geeta, Hameeda, and Shanta Kunwar. Today’s song is sung by Geeta Roy. Her voice sounds so fresh and slightly different than what it became later. In this song, I feel she tried to copy the Shamshad style. It is a very good song. I am sure you will like it.

(Adapted information from book Cinerang by Isak Mujawar and interview of Meena Shorey in Yeh un dinon ki baat hai by Yasir Abbasi has been used, with thanks, in this post along with my own notes.)


Song- Ye kaun mere ghar aaye (Zevraat)(1949) Singer- Geeta Dutt, Lyrics- Habib Sarhadi, MD- Hansraj Behl

Lyrics

yeh kaun mere ghar aaye
mere ghar aaye
yeh kaun mere ghar aaye
yeh kaun mere ghar aaye
mere ghar aaye
yeh kaun
yeh kaun mere ghar aaye

yeh roop nagar ka taara
yeh sundar mohan pyaara
yeh sundar mohan pyaara
aasha ke
aasha ke deep jalaaye
ho deep jalaaye
yeh kaun
yeh kaun mere ghar aaye

aakash mein jin ko naa paayen
dharti pe wo mil jaayen
dharti pe wo mil jaayen
dil aisa
dil aisa muqaddar paaye
muqaddar paaye
yeh kaun
yeh kaun mere ghar aaye

dil raha ??
khushiyon ke taraane gaale
khushiyon ke taraane gaale
taqdeer ne
taqdeer ne din yeh dikhaaye
ho din yeh dikhaaye
yeh kaun
yeh kaun mere ghar aaye

dil unki balaayen lena
aankhon aankhon mein kehna
aankhon aankhon mein kehna
mohe tujh bin
mohe tujh bin chain naa aaye
ho chain naa aaye
yeh kaun
yeh kaun mere ghar aaye
yeh kaun mere ghar aaye
mere ghar aaye
yeh kaun mere ghar aaye


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 : 3951 Post No. : 15027

Today’s song is from film Captain Kishore-1957. It is sung by Geeta Dutt under the baton of the magician of melody-Chitragupt.

Today I am deviating from my usual style of writing, because I am writing on my favourite singer- Geeta Dutt. So, no biography of any artiste and no other details. Only Geeta Dutt !

Long back, in our management class, our Professor conducted a survey in the class. He asked us to write the name of the Toothpaste we were using. Those days too, Colgate was the Brand leader. We were 30 students in the class. I was using Macleans’ (a brand that was available in India in those days), so I wrote Macleans’. Then he collected all 30 chits,added his own and started reading. The result was Macleans’-8, Kolynos-7, Colgate-7, Forhans-6 and 3 were using tooth powder. He explained to us that even the Brand leader, not necessary always, will lead in all consumer groups. It is a collective total which gives the leader its position.

The same is the case in any other field. Take the case of female playback Singers. From 1950s to 1970s, Lata was the Brand Leader, but personally I always liked Geeta Dutt. I simply loved Geeta’s voice which had so much flexibility and was also so soulful.

When you hear her sing Meera Bhajan, you get lost in Bhakti Ras, listen to her sad songs and gloom descends on you and hear her club/cabaret song,you feel like tapping or dancing. It seems like as if Geeta never bothered to be the No.1,she only wanted to be honest to her singing. She was a pure soul bearing no envy towards anyone. There is always a discussion whether she gave her best to S.D.Burman or O.P.Nayyar songs. Not many know that Geeta worked with more than 150 composers. I personally dont believe she ever compromised in her performance. Whether she sang for a well known composer,or an unknown one like M.A.Rouf, S.L.Pardeshi, Manohar, D.V.Gadekar, Kumar, M.Masurekar, T.K.Das, Ali Husain,Pt.Harbanslal or Rajhuns,she put all her soul and skill in rendering the song.

There is, however, always a personal liking. I always liked Geeta’s songs with O P Nayyar. Their association started with the film Aasman (1952). Though her songs like “dekho jaadu bhare more nain’ were very melodious and became quite popular,the film had flopped. The subsequent film Baaz (1953) was also the same story. Good songs-film flopped. But then Aarpar (1954), Mr. and Mrs.55, Musafirkhana (1955) and Miss Cocacola and C.I.D.-in 1956 brought commercial success. After C.I.D. in the year 1957, Geeta suffered on 2 counts. One,O.P.Nayyar started grooming Asha Bhosale and secondly Geeta was facing a lot of personal problems. The singing assignments coming her way were getting lesser and even she was cutting down on the same. In fact, she had expressed desire to completely stop singing in the year 1957.

In the year 1958 she got only 10 songs from O.P.Nayyar. But then she sang the iconic song in Howrah Bridge which made her name Amar in the history of Golden Age of HFM for ever. This incident has been narrated by the famous film/music writer Issac Mujaawar in the Marathi magazine Rasrang. When Howrah Bridge was being made,it was evident that all the songs will go to Asha. By that time ASHA had mastered the art of singing club/cabaret songs. It is said that rehersals were done for”Mera naam chin chin chu”. Shakti Samanta was the Director of the film. O.P.Nayyar never tolerated any interference fro the Producers or the Directors. Shakti da wanted that song to go to Geeta,as he genuinely felt that she is better suited to sing it. He called Nayyar one day and coolly explained to him the situation. Miraculously,Nayyar accepted the suggestion without a word of protest. May be his conscience was biting him,or may be he too thought on those lines. Whatever be the reason,Geeta was summoned next day and the song was given to her. The rest is History…….as they say !

The Dance Director was A Satyanarayana,who participated in almost every club dance he choreographed. He did an excellent job for this song and the song became the highlight of the film,along with Asha’s ‘Aayiye meherban’. This is my most favourite song for 3 reasons.One-the tune is very catchy, two-Geeta ji’s voice is very seductive here and three-the choreography of the song is just superb !

Now, cut to….

City- Bombay

Date- 20th July 1972
Place- Harkissondas Hospital,Bombay

Few people were standing in the corridor . Anxiety,sorrow,helplessness and a little hope was clearly writ on their faces.They were all quiet.No one was talking to anyone.Their body language gave away their agony and restlessness.

Suddenly,a Doctor came out of a patient’s room.All ran to him and then stopped.The Doctor’s face and the tears in his eyes told them what they were afraid of !
No one said anything.No one asked anything. The Doctor said, ” I am sorry.She is no more.” He left, dragging his heavy feet.

The end of an Angel had come !
Geeta Dutt was gone for ever !!
Only her memories and the inimitable voice was left behind !!!

Born on 23-11-1930 at Idlapur in Fareedkot District of East Bengal,to a big Zamindar,Devendranath Roy Chaudhury and Amiya Roy Chaudhury,Geeta inherited her mother’s love for music.She learnt Classical Music from Pt.Hirendranath Chaudhury,while studying in an Anglo-Bangla school.

When she was just 12 year old,the family had to run away from East Bengal,to save their lives-leaving all property behind- to Bombay. In Bombay,we all know how Pt. Hanuman Prasad,MD(ex husband of Lalita Pawar) discovered her for playback in Hindi films. Later when S D Burman heard her singing,he knew instinctively that this was the voice which will make him successful and establish in Bombay.Till then Burman had not succeeded much to his satisfaction. To give her songs in ‘ Do Bhai ‘-47, he had to convince Chunilal of Filmistan,with great difficulty.

Geeta did not disappoint.’ Mera sunder sapna beet gaya” and ” Yaad karoge” made history and put both Geeta and Burman in Top league overnight.

Do Bhai made other famous composers to sit up and take notice of this new voice. They lined up to give Geeta ‘ Gaaon’-47(Khemchand Prakash), Leela, Shehnai and Saajan-47 ( C.Ramchandra), Geet Govind-47 (Gyan Dutt), Actress-48 (Shyamsunder), Chunariya-48 (Hansraj Behl), Padmini-48 (Ghulam Hyder) and Ek thi Larki-49(Vinod).

1950 was Geeta’s year.Many hits came – Banwre nain, Har Har Mahadev and Jogan solidified her position on Top.Composers felt she was inevitable,for their success.

Before recording, Geeta used to sit with Lyricist,understand the words and the implied meanings, then hear the tune from the composer and then sing in her own style. Basically, Geeta was very Gifted and hence with just one rehearsal, she could record the song to the entire satisfaction of all concerned. This made her the darling of the Composers.

Now,the newer MDs like,Hemant kumar, Vasant Desai, Madan Mohan and O P Nayyar also vied with each others to take Geeta. While doing Baazi -51, she met Guru Dutt and they got married on 26-5-1953. She was earning thousands of rupees in singing,but that time Guru Dutt was not that successful.Some magazines and Papers,said that he married Geeta for her money. Guru Dutt was furious and asked Geeta NOT to sing for others,restricting her to only his films.This suffocated her and she rebelled against it,which spoiled their relationship further.

Geeta had a liking and flair for acting. In Calcutta,she had acted as a Heroine in Bangla film-‘ Badhu Baran”. She got many offers but once she decided to settle in Bombay she refused all offers. Few people know that in Bombay a Hindi film- ‘ Tera saath hai Pyaara ‘,with Geeta as a Heroine had started,but unfortunately,after few reels,the film got shelved. To give a chance to her and to mend their relationship, Guru Dutt started filming ‘ Gauri” with Geeta as a heroine. However due to reasons well known to all, Geeta gave up this Bangla film, half way. This made the couple more distanced from each others. We all know the story’s end…..

Somewhere in 1971,there was a programme ” Yaaden Shakeel ki” in Bhaidas Hall, Parle. I had gone to that programme and I saw Geeta Dutt there.Many singers had come there-Rafi, Mukesh, Mahendra kapoor, Chandru Atma and Lata. When Lata was to come for singing there was a flurry of activity on the stage with everybody trying to please Lata. Lata came,sang and left like a Queen. When Geeta came on the stage, hardly anyone did anything for her. This is how this world is ! Geeta came, drew Harmonium near her and sang a Gazal of Shakeel Badayuni. When she finished,there was a clapping louder than what Lata had received,from the Audience-people knew her value !!

Geeta was optimistic even in 1971. She used to say, ‘ If 2 hit songs in Aradhana can take Kishore Kumar to the Top, even 2 Hit songs for me will do the same.” But it was not to be. Even the regular composers like O P Nayyar turned their backs on her. The Destiny decided to call her back !!!

One of my regrets was that if only Naushad had supported Geeta, she would have gained eminence for his songs for ever, like Saigal, Surendra, Parul Ghosh, Zohrabai, Amirbai, Naseem Akhtar, Shamshad, Noorjehan, Suraiya, UmaDevi, Talat, Mukesh, Rafi and Lata….but Geeta’s name was not in this list. I am not a statistician,so I can not say how many songs she sang for Naushad, but I am sure it was almost nothing !

Geeta’s voice was typical Bengali.She sang sad songs most wonderfully. Burman da who gave her emotional songs in Do Bhai, also gave her peppy club songs in Baazi, to make use of the sexy tinge in her voice. Further O P Nayyar fully exploited this special feature in Geeta’s voice. Her voice was sometimes sweet sometimes Namkeen. It had a depth. In this case, Geeta was one step ahead of Lata. Geeta’s voice was different for every situation. When she sang,’ Baat chalat nayee chunari’, you felt she would have been a better singer- classical singer than Laxmishankar. When she sang,’ Main to Giridhar ke ghar jaoon ‘, you felt Oneness with God,hearing her Bhaktiras dripping voice.

Juthika Roy was famous for Meera Bhajans, but I always felt that her voice was same in any Bhajan, while Geeta’s Bhajans exuded different emotions in every Bhajan.

While singing Club songs, Geeta was a different person. Just recall that ‘Hey hey hey hey before Tadbeer se bigdi hui taqdeer bana le song or listen to O Babu O Lala or Mera naam chin chin chu, then you will realise what I am saying !

One very important point in Geeta’s singing is not highlighted by many. In Hindi films there are many Male and female versions of songs and many singers have sung them.While singing such female version songs, Geeta never lost to the male singers ! All Geeta versions were more popular than the Male versions.

Both Asha and Lata lost on this count.

You will remember Kishore’s ” Jeevan ke safar me raahi” but not Lata’s version. You will remember Talat’s ” Aye gham-e-dil kya karoon’ but not Asha’s version. Kishore was better than Asha in ” Zindagi ek safar hai Suhana” versions and also Kishore was better than Lata’s version of ” Khilte hai gul yahan’.

When it comes to Geeta, she never lost to male versions. C H Atma’s ” Preetam aan milo” is remembered by less people than Geeta’s ” Preetam aan milo” from Mr. and Mrs.55 (same song. Written by Saroj Mohini Nayyar, O.P.’s wife). Geeta’s “Kaise koi jiye (Baadbaan)” is much better than Hemant Kumar’s version. Similarly,” Hai ye duniya kaun si'(Sailaab) and ‘ Na ye chand hoga”(Shart). In both songs, Geeta is superior and more popular than Hemant kumar. (There is a story behind the song-Na ye chaand Hoga. Once a jilted young lover committed suicide under train at Patna. In his pocket these lines were written on a paper-Tumhare liye hain, tumhare rahenge, Na ye chand hoga, na tare rahenge, magar hum hamesha tumhare rahenge. Lyricist S.H.Bihari used these lines in his song).

On 22nd July 1972,just 2 days after Geeta’s death, there was a preplanned programme of Juthika Roy in Birla Matoshri Sabhagriha,Bombay. I had booked my tickets well in advance, so I went there. In the beginning everyone paid respects to Geeta Dutt, by standing for 2 Minutes. Talat, Jagmohan and Surendra were also there. Then Juthika Roy came on stage, drew Harmonium near her and started singing ‘ Pag ghungaroo bandh…” .

I was lost in Geeta’s memory and saw Geeta with a Harmonium singing ” Main to Giridhar ke ghar jaoon”………………….

( My thanks to Geet yatri by Madhav Moholkar, Smaranyatra-by Subhash chandra Jadhav, and Hamari yaad aayegi by Arun Puranik, and geetadutt.com ,from which I have used some information for this article.)


Song- Dekho ji dil na todo nahin to main ro doongi (Captain Kishore)(1957) Singer- Geeta Dutt, Lyrics- Raja Mehdi Ali Khan, MD-Chitragupta

Lyrics

Dekho ji dil na todo
nahin to main
ro doongi
chhodo jee zidd ye chhodo
nahin to main
ro doongi

dekho jee dekho
naye fashion ka zamaana hai
main to nayi hoon
mera sab zewar puraana hai
dekho jee dekho
naye fashion ka zamaana hai
main to nayi hoon
mera sab zewar puraana hai
necklace mangaa do jee
locket dilwa do jee
tik tik kare jo ghadi
chhoti si wo laa do jee
gahnon se mujhko saja do
nahin to main
ro doongi
dekho ji dil na todo
nahin to main
ro doongi

duniya dikha do
saare hawaai jahaaz se
haathhon mein chhatri le ke
utroongi main naaz se
duniya dikha do
saare hawaai jahaaz se
haathhon mein chhatri le ke
utroongi main naaz se
London mein ghoomoongi
Paris mein jhoomoongi
Roos ke laal laal phoolon ko main choomoongi
jaldi se ticket mangwa do
nahin to main
ro doongi
dekho ji dil na todo
nahin to main
ro doongi

baag ho bangla ho
American motor car ho
oonchi society mein
mera intzaar ho
baag ho bangla ho
American motor car ho
oonchi society mein
mera intzaar ho
naghme sunaaoongi
jaadoo jagaaoongi
apne ishaaron pe
main sab ko nachaaungi
yes keh ke mujh ko hansa do
nahin to main
ro doongi
Dekho ji dil na todo
nahin to main
ro doongi


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 : 3940 Post No. : 15016

“Ek Jhalak”(1957) was produced by Deep Khosla and Pradeep Kumar and directed by Kalidas for Deep and Pradeep Productions, Bombay. The movie had Vyjyantimala, Pradeep Kumar, Anita Guha, Rajendra Kumar, Pran, Mubarak, Lalita Pawar, Bipin Gupta, Randhir, Om Prakash, Hira Sawant, Rashid Khan, Tuntun, CV Rao, Patanjali, Gajendra, Amin, Fazal Khan, Saar, Deep Khosla etc in it.

The movie had nine songs in it. Six songs have been covered in the past.

Here is the seventh song from “Ek Jhalak”(1957) to appear in the blog. This song, perhaps the least heard song from the movie, is sung by Geeta Dutt. S H Bihari is the lyricist. Music is composed by Hemant Kumar.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this rare song of “roothhne manaana” genre.


Song-Kis liye maathe pe bal hai (Ek Jhalak)(1957) Singer-Geeta Dutt, Lyrics-S H Bihari, MD-Hemant Kumar

Lyrics

kis liye maathe pe bal hai
ranj ka izhaar kyun
kis liye maathe pe bal hai
ranj ka izhaar kyun
dil se jab iqraar hai to
munh se phir inkaar kyun
dil se jab iqraar hai to
munh se phir inkaar kyun
kis liye maathe pe bal hai
ranj ka izhaar kyun

aap ki khaamoshiyaan
achchi nahin lagti hamen
aap ki khaamoshiyaan
achchi nahin lagti hamen
aji kuchh to kahiye
kya hua
naaraaz hain sarkaar kyun
kuchh to kahiye
kya hua
naaraaz hain sarkaar kyun
kis liye maathe pe bal hai
ranj ka izhaar kyun

dil ne chaahaa aap ko
ismein hamaara kya qusoor
dil ne chaahaa aap ko
ismein hamaara kya qusoor
baat hai chhoti si phir bhi
is qadar taqraar kyun
baat hai chhoti si phir bhi
is qadar taqraar kyun
kis liye maathe pe bal hai
ranj ka izhaar kyun

aap ke hote huye bhi
kyun na ho
dil ka ilaaj kahiye
kyun na ho
dil ka ilaaj
siskiyaan le le ke mar jaayen
bhala beemaar kyun
siskiyaan le le ke mar jaayen
bhala beemaar kyun
kis liye maathe pe bal hai
ranj ka izhaar kyun

baat meri maan lo
ik baar to keh do jee
dil se haan
baat meri maan lo
ik baar to keh do jee
dil se haan
hmm
naa naa naa


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 : 3910 Post No. : 14968

“Bahu Beti”(1952) was directed by C L Dheer for Badoda Theatre Limited Bombay. This “social” movie had Geeta Bali, Amarnath, Jaswant, Vijaylaxmi, Rashid, Leela Mishra, S Nazeer, Nazirabai etc in it.

This movie had seven songs in it. Six songs were penned by Kaifi Azmi and one by Vishwamita Adil. Two song from the movie has been covered in the past.

Here is the fourth song from “Bahu Beti”(1952) to appear in the blog. This song is sung by Geeta Dutt. Kaifi Azmi is the lyricist. Music is composed by S D Batish.

Only the audio of this song is available. I request our knowledgeable readers to throw light on the pictturisation of this rare song.


Song-Khata ho kisi ki kisi ko saza do(Bahu Beti)(1952) Singer-Geeta Dutt, Lyrics-Kaifi Azmi, MD-S D Batish

Lyrics

dil jala yaaden jalin
ek ik tamanna jal gayi
aag ghar mein kya lagi
duniya aa aa ki duniya jal gayi

haaye
khata ho kisi ki
kisi ko saza do
khata ho kisi ki
kisi ko saza do
ye insaaf kaisa hai
itna bata do
khata ho kisi ki

bahaaron ke mausam mein rona pada hai
zara mujhko rona tadapna sikha do
khata ho kisi ki

bahut yaad aayega beeta zamaana
mera kya mujhe tum bhula do bhula do
khata ho kisi ki

basaai thhi kitni muraadon ki duniya
muraadon ki duniya
agar chaahte ho mitaana mita do
khata ho kisi ki

bade qeemti hain mohabbat ke aansu
mohabbat ke aansu
koi jaa ke un par
ye moti luta do
khata ho kisi ki
kisi ko saza do
ye insaaf kaisa hai
itna bata do
khata ho kisi ki


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

Blog Day : 3905 Post No. : 14961

———————————————–
Blog 10-Year Challenge (2009-19) – Song No. 23
————————————————

On 28th March of 2009, six songs had made their appearance on the blog. The songs and the films represented are listed below.

 

Man Darpan Hai Dushman 1939
Mitti Se Khelte Ho Patita 1953
Sach Kahta Hoon Bahut Haseen Ho Jaali Note 1960
Chanda Re Mori Patiyaan Le Jaa Banjaarin 1960
Baalamwa Bolo Na Bolo Na Picnic 1966
Yoon Na Sharmaa Phailaade Apni Gori Gori Baanhen Parwaana 1971

 

Of these six films, ‘Dushman’ (1939), ‘Patita’ (1953), ‘Jaali Note’ (1960), ‘Picnic’ (1966) and ‘Parwaana’ (1971) have been yippeee’d by now. The 1960 film ‘Banjaarin’ remains. This film has eight songs in all. Three songs have been showcased here. Today, we bring on the fourth song, on the 10th anniversary of this film’s debut here.

‘Banjaarin’ is produced by Ratan, under the banner of Ratan Pictures, Bombay. The film is a costume drama, directed by Jaswant Jhaveri.  The list of actors reads like Kanchan Kamini, Manhar Desai, Lalita Kumari, Sundar, Indira Bansal, Dalpat, Pal Sharma, Neelu, Shri Bhagwan, Bela, TN Sinha, Saroj, Murari, Paro, Prayag, Rehana, Paulson, Geeta, Chetan Kumar, Malika, Sheela R, CH Singh, Shekhar Purohit, Shriram, and S Chaddha.

The eight songs of this film are all penned by Pt Madhur. The music is by Pardesi – a lesser known artist whose name appears as music director for maybe 4 or 5 films only. The singing voice in this song is Geeta Dutt.

The video clip of this song is available. The clip is somewhat dim, and hence much details or even identification of artists on screen is not very feasible. The song is overlapped with a lot of other action in the film. The song itself seems to be a club dance song, or maybe a villain’s den song. There are a number of artists, but I am able to recognize only Sunder. I am not able to identify the main dancer in this song. Is that Sheela Ramani? I am not sure. I would request our more knowledgeable readers to please help with identification of artists.

The song is constructed well. I am hearing it for the first time today. It sure has an interesting rhythm and beat to it, and it has been rendered by Geeta Dutt with the customary zest. Listen and enjoy.

[PS: I have not been able to decipher two words in the first stanza. I request other folks to please help insert the correct words.]

Song – Qismat Ke Khel Tu Khel Khilaadi  (Banjaarin) (1960) Singer – Geeta Dutt, Lyrics – Pandit Madhur, MD – Pardesi

Lyrics

qismat ke khel tu khel khilaadi
qismat ke khel tu khel khilaadi
daanv badha josh mein
rehna magar hosh mein
duniya kahe na anaadi
oo oo oo
qismat ke khel tu khel khilaadi
qismat ke khel tu khel khilaadi

zindagi ki karwaten kaanton pe liye ja
aaya hai duniya mein to kuchh naam kiye ja
zindagi ki karwaten kaanton pe liye ja
aaya hai duniya mein to kuchh naam kiye ja
daanv badha josh mein
rehna magar hosh mein
daanv badha josh mein
rehna magar hosh mein
duniya kahe na anaadi
oo oo oo
qismat ke khel tu khel khilaadi

jeet kabhi haar baney
haar kabhi jeet
daanv laga zindagi ka khel ki ye reet
daanv badha josh mein
rehna magar hosh mein
daanv badha josh mein
rehna magar hosh mein
duniya kahe na anaadi
oo oo oo
qismat ke khel tu khel khilaadi

tu kisi se kam nahin majboor nahin hai
aur din bhi kaamyaabi ke ab door nahin hain
tu kisi se kam nahin majboor nahin hai
aur din bhi kaamyaabi ke ab door nahin hain
daanv badha josh mein
rehna magar hosh mein
daanv badha josh mein
rehna magar hosh mein
duniya kahe na anaadi
oo oo oo
qismat ke khel tu khel khilaadi
qismat ke khel tu khel khilaadi

daanv badha josh mein
rehna magar hosh mein
daanv badha josh mein
rehna magar hosh mein
duniya kahe na anaadi
oo oo oo
qismat ke khel tu khel khilaadi
qismat ke khel tu khel khilaadi

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

किस्मत के खेल तू खेल खिलाड़ी
किस्मत के खेल तू खेल खिलाड़ी
दांव बढ़ा जोश में
रहना मगर होश में
दुनिया कहे ना अनाड़ी
ओ ओ ओ
किस्मत के खेल तू खेल खिलाड़ी
किस्मत के खेल तू खेल खिलाड़ी

जिंदगी की करवटें काँटों पे लिए जा
आया है दुनिया में तो कुछ नाम किए जा
जिंदगी की करवटें काँटों पे लिए जा
आया है दुनिया में तो कुछ नाम किए जा
दांव बढ़ा जोश में
रहना मगर होश में
दांव बढ़ा जोश में
रहना मगर होश में
दुनिया कहे ना अनाड़ी
ओ ओ ओ
किस्मत के खेल तू खेल खिलाड़ी

जीत कभी हार बने
हार कभी जीत
दांव लगा ज़िंदगी का खेल की ये रीत
दांव बढ़ा जोश में
रहना मगर होश में
दांव बढ़ा जोश में
रहना मगर होश में
दुनिया कहे ना अनाड़ी
ओ ओ ओ
किस्मत के खेल तू खेल खिलाड़ी

तू किसी से कम नहीं मजबूर नहीं है
और दिन भी कामयाबी के अब दूर नहीं हैं
तू किसी से कम नहीं मजबूर नहीं है
और दिन भी कामयाबी के अब दूर नहीं हैं
दांव बढ़ा जोश में
रहना मगर होश में
दांव बढ़ा जोश में
रहना मगर होश में
दुनिया कहे ना अनाड़ी
ओ ओ ओ
किस्मत के खेल तू खेल खिलाड़ी
किस्मत के खेल तू खेल खिलाड़ी

दांव बढ़ा जोश में
रहना मगर होश में
दांव बढ़ा जोश में
रहना मगर होश में
दुनिया कहे ना अनाड़ी
ओ ओ ओ
किस्मत के खेल तू खेल खिलाड़ी
किस्मत के खेल तू खेल खिलाड़ी


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 : 3878 Post No. : 14901

Today’s song is from film ‘Doctor Z’ from 1959.

The title seems funny, isn’t it? Somehow, I find that the film makers give bizarre titles to their films sometimes. Films with prefix Mr. or Dr. were plenty. The earliest such a Talkie film was ‘Mr. 420’ made in 1937. Later, ‘Mr. X’ was made in 1938. This was repeated in 1957 and 1984. ‘Mr. X in Bombay’ was made in 1964. ‘Mr. India’ came in 1961 and also 1987. There was a ‘Mr. Bechara’ in 1996, ‘Mr. Chakram’ in 1956, ‘Mr, Jhatpat’ in 1943, ‘Mr John’ in 1959, ‘Mr. Lamboo’ in 1956. ‘Mr. Romeo’ in 1973 and 1999. ‘Mr. Q’ in 1958, ‘Mr.Bond’ in 1992, ‘Mr. Azad’in 1994, ‘Mr .Dynamite’ in 1947, ‘Mr. Murder’ in 1969, ‘Mr. Qartoon, M.A.’ in 1958, ‘Mr. Sampat’ in 1952, ‘Mr. Toofan’ in 1963, ‘Mr. 100%’ in 2005, ‘Mr. Badmash’ in 2009, ‘Mr. Bhatti on Chhutti’ in 2012, ‘Mr. Hot and Mr. Cool’ in 2007, ‘Mr. Lonely Miss Lovely’ in 2004, ‘Mr. Prime Minister’ in 2005, ‘Mr. Singh Mrs. Mehta’ in 2009, ‘Mr. White Mr. Black’ in 2007, ‘Mr. ya Mrs.’ in 2005, The most hilarious title in this category was ‘Mr. Khujli’ in 2007 !!!

Starting with ‘Dr. Madhurika’ (1935), it was ‘Dr. Ambedkar’ (1989 and 2000), ‘Dr. Kotnis Ki Amar Kahani’ (1946), ‘Dr. Kumar’ (1944), ‘Dr. Ramesh’ (1949), ‘Dr. Vidya’ (1962), ‘Dr. Z’ (1959) etc.

The decade of the 1940s and the 1950s was the period when stunt and action films were made in plenty. There were specialised actors, producers, directors, composers and even specialised audiences too for such films. Stunt and action films was a very sweeping name for a genre which included several types of sub-categories. When I started studying these films, I found one kind soul – Mike Burnum -who identified and classified stunt/action films made in India, into sub categories. For the information of our esteemed readers, the different types within the generalised stunt/action films are…(in descending order of number of films made….

  1. Fantasy and Arabian  Nights  -92 films
  2. Horror – 67
  3. Jungle Thrillers (Tarzan/Zimbo/Zambo/Zangbo/Zingara etc)
  4. New Century Horror films ( Horror films made after 2000)
  5. Science Fiction
  6. Chillers
  7. Spies and Detective
  8. Super heroes / heroines
  9. Murder and Mystery
  10. Sword Fighting and
  11. Naag Films etc.

Today’s film ‘Doctor Z’, falls under Science Fiction category. Though it was a C grade action film, HFGK mentions it as a ‘Social’ film. May be, as it was not exactly a stunt film, the film may have been classified as a social film. The story of this film was just a one line story, expanded at convenience as per needs of audiences. Mahipal – a Police officer is after a gang of anti-national criminals, who want to steal a formula from a scientist, which can destroy a big country like India in just 2 minutes. He (naturally, compulsorily and as per the director’s directions) falls in love with the scientist’s pretty daughter to sing songs, when not on duty. The film ends on expected Happy Notes.

The cast of the film was Shakila, Mahipal, Helen, Krishnakumari, Mirza Musharraf, Sunder, Tun Tun and a host of other junior actors. The film was made by Baliwala Films. It was produced and directed by its owner Jal. There were two lyricists and the 8 melodious songs were composed by Music Director Manohar Arora. Now this Manohar was a separate, different and independent composer. Most sites and blogs mistake him for being Manoharlal Sonik, of Sonik-Omi composer duo. This is NOT so. He was different. 2 songs from this film have been posted on this blog and both the times he was mentioned as Manoharlal Sonik. I must confess that I was responsible for this mix up. I had made a comment in 2011 that he was Manoharlal Sonik of the duo, which was a wrong statement. 3 years after that comment the real information about Manohar came up, hence I am making this clarification, at this opportunity. I feel sorry that I had followed the wrong info track that time.

The composer MANOHAR ARORA was a Punjabi music director who came from Sialkot to try his luck in Bombay. His first film was ‘Raees’ in 1948. Then came ‘Josh’ in 1950, ‘Rangeele Musafir’ (1950), ‘Bhoole Bhatke’ (1952), ‘Jingo’ (1952), ‘Usha Kiran’ (1952). His best remembered film was ‘Chingari’ (1955). Then came ‘Passing Show’ (1956), ‘Mister Q’ (1958), ‘Dr. Z’ (1959), ‘Choron Ki Baarat’ (1960) and last film was ‘Do Dushman’ (1967). His name is mostly written as ‘Manohar’ only. This created a misunderstanding that he was Manoharlal Sonik, which is NOT correct.

From the cast of this film, Krishna Kumari is another name which causes confusion. There was a Krishna Kumari in silent films and talkie films of the 1930s. Then there was another Krishna Kumari who was from South and featured in dubbed and remade films. She too is different. Actress Krishna Kumari who worked in  Hindi films from 1948 to 1968 was another one.

Krishna Kumari (not to be confused with the 1930s actress of the same name nor the south Indian actress T. Krishna Kumari) was born Rajinder Kaur in Rawalpindi, Punjab state (now part of Pakistan) on October 3, 1934. Occasionally playing the heroine in B-grade films including ‘Vanraj’ (1952), ‘Gorilla’ (1953), ‘Black Rider’ (1960), ‘State Express’ (1961) and ‘Khush Naseeb’ (1964) she is probably much better known as a temptress or villain in the likes of ‘Baghdad Ka Jaadu’ (1956), ‘Zimbo’ (1958), ‘Police Station’ (1959), ‘Lady Of The Lake’ (1960), ‘Jaadu Mahal’ (1962) or dozens of similar action, horror and fantasy films.

Her debut came in the film ‘Girls School’ (1949), which also featured newcomers Geeta Bali and Shashikala, after which she appeared in ‘Nao’, which actually ended up in theaters first, releasing in 1948, just two months after her film ‘Intezaar’ (1948) was released. Film ‘Girls School’ was stalled due to the dispute between Amiya Chakravarty and Anil Biswas.

Krishna Kumari’s career lasted 20 years, and during that time she managed to chalk up an impressive amount of credits, even if most of the pictures she made were not considered important by critics. She acted in 117 films. Her first film on screen was ‘Intezaar’ (1948) and last film was ‘Jung Aur Aman’ (1968).

Hiralal is a familiar face to every fan of vintage Bollywood as he played countless character parts, often as the villain, in literally hundreds of films both big and small.

He was born Hiralal Thakur on March 14, 1912 in Lahore (now part of Pakistan) and began his career in silent films with AR Kardar’s ‘Safdar Jung’ which was released in 1930, while his second film, ‘Daughters of Today’, actually made it to movie theaters first, in 1929. He was under contract to United Players Corporation and made several silent pictures for them before making the transition to sound and moving on to other studios for films like ‘Pavitra Ganga’ (1932), ‘Seeta’ (1934), and ‘Blood Feud’ (1935).

Some of his notable fantasy, sci-fi and horror films include ‘Khooni Jadugar’ (1939), ‘Arabian Nights’ (1946), ‘Mehbooba’ (1954), ‘Hatimtai Ki Beti’ (1955), ‘Roop Basant’ (1955), ‘Sakhi Hatim‘ (1955), ‘Shah Behram‘ (1955), ‘Indra Sabha’ (1956), ‘Shaan-e-Hatim’ (1958), ‘Dr. Z  (1959), Dr. Shaitan (1960),  Jadoo Mahal (1962), Flying Man (1965), Gumnaam (1965), Sindbad, Alibaba and Alladin (1965), Love and Murder‘ (1966), ‘Sheba and Hercules’ (1967), and ‘Alibaba’ (1976). Hiralal worked continuously until his death on June 27, 1982.

He had worked in 203 films. His first film was ‘Pavitra Ganga’ (1932) and last film was ‘Kaalia’ (1981).

Now let us enjoy the comedy song from film ‘Doctor Z’. This was filmed on Sunder and Nasreen. This duet is sung by Balbir and Geeta Dutt.

(Thanks to Mike Barnum ji, Harish Raghuwanshi ji, Flash Back, vol I-Isak Mujawar, HFGK, MuVyz and my notes.)

 

Song – Main Hoon Bhaiya Dim Timkar  (Doctor Z) (1959) Singer – Balbir, Geeta Dutt, Lyrics – Akhtar Romani, Music – Manohar
Balbir + Geeta Dutt

Lyrics (Provided by Sudhir)

main hoon bhaiya dim timkar
baap mera tee timtimkar
eh he dil gum hui gavaa
pyaar mein khui gavaa
ik tu samajh dilbar

main hoon madam rimjhimkar
maa meri thi simsimkar
nainwa chubhoi gavaa
jisko wo rui gavaa
tu ka hui rehat khabar

itna akad mat
arey mujh se jhagad mat
baat nahin ye achhi
dil ko jakad mat
mujh pe bigad mat
preet meri hai sachchi
zara muskaaye di ho
dil ko khilaaye di ho
zulm karat kyon dil par..rr
main hoon madam rimjhimkar
maa meri thi simsimkar
nainwa chubhoi gavaa
jisko wo rui gavaa
tu ka hui rehat khabar

pyaar jataa mat
zyaada mujhko banaa mat
matlab ki sab yaari
nazren phira mat
haaye re haaye dil ko jalaa mat
kuchh to dikha dildaari
mera naam lio nahin
aisa kabhi kio nahin
varna to jayi ho mar mar
main hoon bhaiya dim timkar
baap mera tee timtimkar
eh he dil gum hui gavaa
pyaar mein khui gavaa
ik tu samajh dilbar

dil tera ghar hai
meri jaan tera hi jigar hai
tujh pe sab kurbaan
pyaar ka asar hai
jhoomti nazar hai
hanste hain armaan
aaj mera dil gaya
to se jaa ke mil gayaa
hui bina judaa dam bhar

main hoon bhaiya dim timkar
baap mera tee timtimkar
eh he dil gum hui gavaa
pyaar mein khui gavaa
ik tu samajh dilbar

main hoon madam rimjhimkar
maa meri thi simsimkar
nainwa chubhoi gavaa
jisko wo rui gavaa
tu ka hui rehat khabar

lar lar lallaa pam pam pam

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

मैं हूँ भईया डीम टिमकर
बाप मेरा टी टिमटिमकर
एह हे दिल गुम हुई गवा
प्यार में खुई गवा
इक तू समझ दिलबर

मैं हूँ मैडम रिमझिमकर
माँ मेरी थी सिमसिमकर
नैनवा चुभोई गवा
जिसको वो रुई गवा
तू का हुई रहत खबर

इतना अकड़ मत
अरे मुझ से झगड़ मत
बात नहीं ये अच्छी
दिल को जकड़ मत
मुझ पे बिगड़ मत
प्रीत मेरी है सच्ची
ज़रा मुस्काए दी हो
दिल को खिलाये दी हो
ज़ुल्म करत क्यों दिल पर॰॰र्र
मैं हूँ मैडम रिमझिमकर
माँ मेरी थी सिमसिमकर
नैनवा चुभोई गवा
जिसको वो रुई गवा
तू का हुई रहत खबर

प्यार जता मत
ज़्यादा मुझको बना मत
मतलब की सब यारी
नज़रें फिरा मत
हाय रे हाए दिल को जला मत
कुछ तो दिखा दिलदारी
मेरा नाम लियो नहीं
ऐसा कभी कियो नहीं
वरना तो जई हो मर मर
मैं हूँ भईया डीम टिमकर
बाप मेरा टी टिमटिमकर
एह हे दिल गुम हुई गवा
प्यार में खुई गवा
इक तू समझ दिलबर

दिल तेरा घर है
मेरी जान तेरा ही जिगर है
तुझ पे सब क़ुर्बान
प्यार का असर है\
झूमती नज़र है
हँसते हैं अरमान
आज मेरा दिल गया
तो से जा के मिल गया
हुई बिना जुदा दम भर

मैं हूँ भईया डीम टिमकर
बाप मेरा टी टिमटिमकर
एह हे दिल गुम हुई गवा
प्यार में खुई गवा
इक तू समझ दिलबर

मैं हूँ मैडम रिमझिमकर
माँ मेरी थी सिमसिमकर
नैनवा चुभोई गवा
जिसको वो रुई गवा
तू का हुई रहत खबर

लर लर लल्ला पम पम पम


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 : 3877 Post No. : 14899

“Razia Sultana”(1961) was directed by Devendra Goyal for Movie India, Bombay. This historical movie had Nirupa Roy (in title role), Jairaj, Kamran, M Kumar, N A Ansari, Agha, Sadhana Chaudhary, Leela Mishra, Rajan Kapoor, S M Sagar, Narad Muni, Madhumati, Jeewan Kala, Meena, Maqbool etc in it.

The movie had seven songs in it. Three of these songs have been covered in the past.

Here is the fourth song from “Razia Sultaana”(1961) to appear in the blog.

This song is sung by Geeta Dutt and chorus. Kaifi Azmi is the lyricist. Music is composed by Pt Lachchiram.

The song is picturised as a “sahelis teasing a lady” genre of song, where the teased lady is Nirupa Roy. She may have played the Empress in this movie, but in Hindi movies, even an empress is not exempted from being teased by her sahelis. 🙂

This song was lying in the drafts pages of the blog for several years and this song finally gets published today.

I am not able to identify the lady lip syncing the song. I request our knowledgeable readers to help identify her.


Chali jaati chhabeeliya matakti(Razia Sultana)(1961) Singer-Geeta Dutt, Lyrics-Kaifi Azmi, MD-Pt Lachchiram
Chorus

Lyrics

ho o o o o
o o o o o
ho o o o o
ho o o o o o
o o o

chali jaati chhabiliya matakti
hoy
o o o o o
o o o o

ho chali jaati
chali jaati chhabiliya matakti
wo to daaman ko apne jhatakti
chali jaati chhabiliya matakti

bhesh badal ke gori nikli nakhre kare hazaar
bhesh badal ke gori nikli
nakhre kare hazaar

ghaat mein baitha
arre ghaat mein baitha
mast shikaari
kar gaya dil par waar
najar ka teer khaaye
hoy
koi peeda chhupaaye
kahin tan man ganwaaye hoy

phire ban ban hirniya hiraniya bhatakti
chali jaati
hoy chali jaati chhabiliya matakti
wo to daaman ko apne jhatakti

chupke chupke chanchal armaan dil mein le angdaayi
chupke chupke chanchal armaan
dil mein le angdaayi

dheeme dheeme
are dheeme dheeme man mein
jaise bajti ho shahnaayi
lage panghat pe mele
hoy
hawa baalon se khele
hawa baahon mein lele
hoy

kaho kyun na jawaani machalti atakti chali jaati
ho chali jaati chhabiliya matakti
wo to daaman ko apne jhatakti
chali jaati chhabiliya matakti


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 : 3832 Post No. : 14840

Whenever new technoloy is introduced, people feel threatened. But with time, this new technology not only makes life easy and more enriched, it opens up new employment opportunities.

Take movies for example. Initial movies were silent movies. They required technicians as well as actors.

Movies began to speak from 1927, and in India talkies began in 1931. It suddenly opened up new opportunities. Actors who were ony needed to show their face till then, were now required to speak, and sing as well. Suddenly many good looking actors with poor voices found themselves unemploed.

Movies began to speak, which meant they could speak in various languages and so different language movie industries came up. Language related artists, namely dialogue writers, and lyricists became essential for these movies. Since need of songs was felt so music directors and singers were needed.

As one can see, the “simple” advancement in technology opened up new opportunities and that changed the face of movies. Personnel skilled in languages suddenyly found themselves in demand.

Since Hindi movies came into existence in early 1930s, it followed that most artists of talkies were born in and around early 1900s. So, these early pioneers of Hindi movies were born some one hundred years ago. Many of such early pioneers have already completed their birth centenaries.

This blog began on 19 july 2008. Some Hindi movie stalwards who have completed their centuries after than date are Leela Chitnis, K N Singh, K Amarnath, Gope, Kidar Sharma, Jagmohan Sursagar, Gopal Singh Nepali, Khursheed Bano, Bhagwan Dada, Jaan Nisaar Akhtar, Anil Biswas, Lalita Pawar, G P Sippy, Zohrabai Ambalewali, S D Batish, Kishore Sahu, Hansraj Bahl, Bharat Vyas, Shakeel Badayuni, Chitragupta, Kamal Amrohi, Qamar Jalalabadi, Roshan, C Ramchandra etc.

Lots of artists will have their centenaries in the coming years.

The year 2019 has just begun. Birth centenaries of several artists will fall this year.

Today is 14 january 2019. It is the birth centenary of Kaifi Azmi (14 january 1919- 10 may 2002), who was born on this day exactly one hundred years ago. He was born in Azamgarh in Eastern UP which happens to be about 180 km away from the place where I am based at present.

In the past, when I was based in states like MP, Maharashtra and Chhatisgarh, such birth centenary artists appeared to be born “distant” lands, but ever since I arrived in UP in 2015, I find that many of these famous artists, mostly lyricists, were born in nearly places. For instance, Shakeel Badayuni’s birth centenary fell on 2016, and this place Badayun was about 40 km from Izatnagar, Bareilly where I was based at that time. Azamgarh is 180 km away from Gorakhpur. This year will see the birth centenary of Majrooh Sultanpuri, and guess what , Sultanpur is also nearly, some 200 km away. 🙂

Coming to Kaifi Azmi, he was born as Sayyad Akhtar Hussain Rizvi. Like many other persons of literature, he was influenced by communism and Marxism and his literature reflected that. He became a CPI member in 1943 and a member of Progressive Writers movement in 1945.

He was one of the first shaayars to join Hindi movies as a lyricist. His first movie as a lyricist was “Buzdil”(1951) where S D Burman was the music director. He penned three songs in the movie. All these three songs are already covered in the blog.

According to my calculation, Kaifi Azmi penned some 360 songs in 93 movies. His last movie was “Ek Alag Mausam”(2003) whose songs were released after he had already left for the heavenly abode.

Here is the filmography of Kaifi Azmi.

Movie Year MD Songs of lyricist in the blog Song penned by lyricist in movie
Buzdil 1951 S D Burman 3 3
Bahu Beti 1952 S D Batish 1 7
Gul Bahaar 1954 Dhaniram 0 1
Hatim Tai Ki Beti 1955 A R Qureshi 1 2
Naata 1955 S Mohinder 1 1
Sakhi Hatim 1955 A R Qureshi 1 5
Shaahi Chor 1955 Dhaniram 1 1
Laal e Yaman 1956 A R Qureshi 1 6
Sultaana Daaku 1956 Bipin Baabul 0 2
Yahudi Ki Beti 1956 Kamal Mitra 1 7
Zindagi 1956 Md Shafi 1 7
Jannat 1957 Husnlal Bhagatram 0 6
Lala Rukh 1958 Khayyam 7 7
Chaalis Din 1959 Baabul 5 8
Kaaghaz Ke Phool 1959 S D Burman 6 6
Apna Haath Jaggannath 1960 S D Burman 8 8
Chor Darwaaza 1960 Frank 1 6
Ek Ke Baad Ek 1960 S D Burman 8 8
Razia Sultaana 1961 Pt Lachchiram 1 2
Shama 1961 Ghulam Mohammad 12 12
Bijli Chamke Jamuna Paar 1962 S N Tripathi 0 7
Naqli Nawab 1962 Baabul 2 2
Shola aur Shabnam 1962 Khayyam 2 3
Haqeeqat 1964 Madan Mohan 7 7
Idd Ka Chaand 1964 A R Qureshi 1 9
Kohra 1964 Hemant Kumar 5 5
Main Suhaagan Hoon 1964 Pt Lachchiram 4 4
Do Dil 1965 Hemant Kumar 7 7
Faraar 1965 Hemant Kumar 6 6
Anupama 1966 Hemant Kumar 5 5
Bahaaren Phir Bhi Aayengi 1966 O P Nayyar 1 1
Daak Ghar 1966 Madan Mohan 3 6
Uski Kahaani 1966 Kanu Roy 2 2
Aakhri Khat 1967 Khayyam 6 6
Ghar Ka Chiraag 1967 Madan Mohan 4 6
Mera Bhai Mera Dushman 1967 Khayyam Unknown Unknown
Naunihaal 1967 Madan Mohan 4 7
Anokhi Raat 1968 Roshan 1 1
Saat Hindustaani 1969 Laxmikant Pyarelal 1 4
Satyakaam 1969 Laxmikant Pyarelal 3 3
Daghabaaz 1970 Dilip Roy 1 1
Ek Bulbula Paani Ka 1970 Jaidev 0 1
Heer Raanjha 1970 Madan Mohan 8 8
Maa Ka Aanchal 1970 Madan Mohan 6 6
Maharaja 1970 Madan Mohan 2 2
Saat Phere 1970 Sudhir Sen 1 6
Chhoti Bahu 1971 Kalyanji Anandji 1 1
Do Boond Paani 1971 Jaidev 4 5
Parwaana 1971 Madan Mohan 6 6
Saaz aur Sanam 1971 Chitragupta 0 5
Shaan e Khuda 1971 Iqbal Qureshi 0 2
Baawarchi 1972 Madan Mohan 4 6
Mangetar 1972 Sudhir Sen 1 6
Paakeezah 1972 Ghulam Mohammad 1 1
Rivaaz 1972 Shankar Jaikishan 0 1
Shair e Kaashmir Mahzoor 1972 Prem Dhawan unknown unknown
Sultaana Daaku 1972 Madan Mohan 2 4
Alam Ara 1973 Iqbal Qureshi 0 7
Garm Hawa 1973 Aziz Ahmad Khan Warsi 1 1
Hanste Zakhm 1973 Madan Mohan 5 5
Hindustan Ki Kasam 1973 Madan Mohan 4 4
Naina 1973 Shankar Jaikishan 1 1
Asliyat 1974 Madan Mohan 0 2
Faasla 1974 Jaidev 1 4
Sankalp 1974 Khayyam 4 4
Dhoop Chhaaon 1977 Shankar Jaikishan 0 1
Dil Aur Patthar 1977 Iqbal Qureshi 1 6
Kanneshwar Rama 1977 B V Karanth 0 2
Ooperwaala Jaane 1977 Laxmikant Pyarelal 0 2
Shankar Hussain 1977 Khayyam 1 1
Inspector Eagle 1978 Madan Mohan 1 3
Subhash Chandra 1978 Aparesh Lahiri unknown unknown
Toote Khilaune 1978 Bappi Lahiri 5 5
Angaar 1980 Sonik Omi 0 2
Shaitaan Mujrim 1980 Ratandeep Hemraj 1 1
Suraag 1980 Bappi Lahiri 2 6
Aakhri Mujra 1981 Kalyanji Anandji 0 1
Kaanoon aur Mujrim 1981 C Arjun 1 1
Deedaar e Yaar 1982 Laxmikant Pyarelal 0 2
Lakshmi 1982 Usha Khanna 0 2
Arth 1983 Jagjit Singh 3 3
Razia Sultaan 1983 Khayyam 1 1
Bhaavna 1984 Bappi Lahiri 1 5
Ham Rahe Na Ham 1984 Bappi Lahiri 1 6
Kahaan Tak Aasmaan Hai 1984 Raghunath Seth 0 7
Ek Pal 1986 Bhupen Hazarika 0 2
Naseehat 1986 Kalyanji Anandji 0 1
Main Aazaad Hoon 1989 Amar Utpal 1 1
Phir Teri Kahaani yaad aayi 1993 Anu Malik 0 1
Tamanna 1997 Anu Malik 0 1
Chaand Grahan 1997 Anu Malik 4 7
Khamoshi 2002 Jagjit Singh 0 1
Ek Alag Mausam 2003 Ravi 0 5
Total movies=93 199 360

As can be seen from the filmography, Kaifi azmi has penned many memorable songs that need no introduction. For instance, who can forget the songs of “Kaaghaz Ke Phool”(1959), “Haqeeqat”(1964), or the songs of “Kohra”(1964) and “Anupama”(1966). In “Heer Ranjha”(1970), he not only penned the lyrics but also the dialogues, the dialogues being entirely in verse ! One can look at his filmography and recall the songs from those movies.

On the occasion of his birth centenary, here is a song from “Bahu Beti”(1952). This movie was directed by C L Dheer for Badoda Theatre Limited Bombay. This “social” movie had Geeta Bali, Amarnath, Jaswant, Vijaylaxmi, Rashid, Leela Mishra, S Nazeer, Nazirabai etc in it.

This movie had seven songs in it. Six songs were penned by Kaifi azmi and one by Vishwamita Adil. One song from the movie has been covered in the past.

The first song from the movie was deleted from the movie because of objections of censors. Those were the days when censors could often by quite sensitive towards matters that are taken in their stride today. The lyrics of the song were considered objectionable by the censors. Just imagine, a song penned by Kaifi Azmi was deleted from the movie because its lyrics were found objectionable !

The song luckily continued to remain in the records.

Just as fortuitously, this song happens to be 200th song of Kaifi Azmi appearing in the blog.

Here is this special song from Kaifi Azmi, on the occasion of his birth centenary. This song is sung by Geeta Dutt. Music is composed by S D Batish. Since the video of the song is not available, one can only gess about the picturisation. Seeing that Geeta Dutt’s voice appears in six out of seven songs, one can assume that she had sung for Geeta Bali, the lead actress of the movie. By that assumption, it would seem that this song was picturised on Geeta Bali. Nevertheless, I request our knowledgeable readers to throw light on the picturisation of this song.


Song-Mose chanchal jawaani sambhaali nahin jaaye (Bahu Beti)(1952) Singer-Geeta Dutt, Lyrics-Kaifi Azmi, MD-S D Batish

Lyrics

mose chanchal
mose chanchal
mose chanchal jawaani sambhaali nahin jaaye
mose chanchal
o mose chanchal
mose chanchal jawaani sambhaali nahin jaaye
koi chupke se aaye
koi man ko lubhaaye
koi aakar jawaani ko sang le jaaye
mose chanchal
mose chanchal
mose chanchal jawaani sambhaali nahin jaaye

gudgudaati hai tanhaai hardum mujhe
chhedta hai akele mein mausam mujhe
raat sapne dikhaaye
bhor kaanon mein gaaye
thhandi thhandi hawa mora ghoonghat uthhaaye
mose chanchal
o mose chanchal
mose chanchal jawaani sambhaali nahin jaaye

naachti hain chaman mein hawaayen nayin
seekh lin aaj dil ne aaj adaayen nayi
koi hilmil ke gaaye
koi painge badhaaye
koi majboot baahon mein jhoola jhulaaye
mose chanchal
o mose chanchal
mose chanchal jawaani sambhaali nahin jaaye

more nainon se masti barasne lagi
ujli ujli si ye maang dasne lagi
koi chunri audhaaye koi jhumar pahnaye
koi ujli si maang mein sindoor lagaaye
mose chanchal
o mose chanchal
mose chanchal jawaani sambhali naheeen jaaaaye


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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 ELEVEN years. This blog has over 15100 song posts by now.

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

Total number of songs posts discussed

15175

Number of movies covered in the blog

Movies with all their songs covered =1176
Total Number of movies covered =4169

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