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

Posts Tagged ‘Gulzar


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

Blog Day :

4136 Post No. : 15295 Movie Count :

4213

Happy Children’s Day to Atuldom

“Makdee” means spider. This was also the title of a movie in 2002 which was directed by Vishal Bharadwaj who was also the music director. This was one of the movies in recent times that portrayed children the way they actually should be – as bright, intelligent, naughty and playful. I am put-off when children are portrayed as miniature adults and made to mouth huge sentimental dialogues which I am 100% sure kids from normal upbringing would not even dream of. My definition of kids from a normal upbringing is where the only thing that a child has to do is finish their school, come home -play in the ground or backyard, do their studies for the next day, help around the family as per necessity, play mischief and be active through the day so that they sleep peacefully and wake up fresh to have their routines all over again. In between all this they should have time to read comics, novels, have memorable time with their grandparents and friends which will stay with them for their life as pleasant memories. ‘Makdee’ was one such movie.

It had Shweta Prasad play 10-year-old twin sisters – Chunni and Munni. Chunni who was a prankster and Munni the timid, studious kind. Chunni keeps fooling around the village and constantly gets into trouble with the local butcher Kallu along with her friend ‘Mughal-e-azam’ and on one occasion Kallu chases them around the village and in the melee Munni runs into a mansion which is famous around the village as to being haunted. Then what follows is Chunni’s struggle to find her sister, save her from the clutches of the witch who resides in the haunted mansion, and in the process solve the case of all the persons from the village, who went missing, when they ventured into the mansion. She also is felicitated by the collector of the district as she finds the reason for the witch (Shabana Azmi) making the mansion her home- a hidden treasure.

‘Makdee’ had all the elements that would was needed in a children’s film- fun/ fantasy and a moral – which is the essential of any story telling session with kids. The moral being that “you cannot cry wolf always, as a time will come when people will stop believing you.”

14th November is celebrated as children’s day in India in memory of Pandit Jawaharlal Nehru. He was fondly called chacha Nehru and it is said that he was fond of children. I remember my father used to tell me about his school trip to Delhi when he was in class 8 or 9 and they were fortunate to have an audience with the then Prime Minister Pandit Nehru and what an experience it was – today’s youngsters would use the word AWESOME. My father was also proud about nearly sharing birth dates- his birthdate was 15th November. In fact, he used to say that it was not difficult to remember chacha Nehru’s death anniversary as that was the date he landed in Mumbai from Ahmedabad for his job and found all available forms of transport had stopped as a mark of respect to the departed leader. But that is not the purpose of this post.

Let us move on and enjoy this lively song which shows the exact emotion a child will have when it is a holiday from school or vacation or there is an unexpected holiday declared due to rains, bharat bandh, or death of some trustee or anyone remotely important. Here I will confess that I see myself as Chunni, Munni, Mughal-e-azam and all the kids in this movie. I identified with them.


Song-Kukdoo koon chhutti hai (Makdee)(2002) Singer-Upagna Pandya, Lyrics-Gulzar, MD-Vishal Bhardwaj
Chorus

Lyrics

kukdu koon oo
kukdu koon oo
chhutti hai
he chhutti hai
he chhutti hai
kukdu koon oo

ghanti bajaao paape
ghanti bajaao re
bastaa uthhaao paape
bastaa uthhaao bhaago re
hai kitaabon se kutti
chhutti hai
arre chhutti hai chhutti
chhutti hai
hai kitaabon se kutti
kutti hai
arre chhutti hai chhutti
chhutti hai
he chhutti hai
he chhutti hai
kukdu koon oo

jhum tanakum tanakum
jhum tanakum tanakum
tara tara tara
la la la lala

somwaar susti mein katataa hai
mangal ko mood kahaan banta hai
arre somwaar susti mein katataa hai
mangal ko mood kahaan banta hai

budh ki chintaa mein veer ki fikar
shukkar ka tambu shani ke ghar
monday ko sunday ki chhutti hai
hai kitaabon se kutti
chhutti hai
are chhutti hai chhutti
chhutti hai

arre monday ko sunday ki
arre chhutti hai chhutti
chhutti hai
he chhutti hai
kukdu koon oo

ghanti bajaao paape
ghanti bajaao re (he he he he)
bastaa uthaao paape
bastaa uthaao bhaago re
da da daa da da
pom pom pom
da da daa da da
pom pom pom
da da daa da da
pom pom pom
da da daa da da
pom pom pom
master jee
bhaago

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

Blog Day :

4131 Post No. : 15290 Movie Count :

4210

A couple of months’ back, I had come across a Hindi song ‘ruke ruke se kadam’ from a Bangla film, ‘Laal Pathore’ (1964) sung by Mubarak Begum under the music direction of Salil Chowdhury. I could not locate the picturised version of the song. The tune of the song gives me an impression that it is picturised as a mujra song. While it was a new song for me, the ‘mukhda’ of the song sounded familiar to me. Oh! Yes. It was the more famous song, ruke ruke se kadam from ‘Mausam’ (1975) sung by Lata Mangeshkar under the music direction of Madan Mohan. Both the songs have almost the same lyrics which are accredited to Gulzar. So, it is one song, composed in two tunes by two different music directors, depicting two different emotions.

There is a section of the Hindi film music lovers who feels that credit for both the songs should go to Mirza Ghalib as he had originally written this ghazal which Gulzar has merely changed a few words to give an easy understanding of the original words. So, I decided to make a reality check by comparing the original ghazal written by Mirza Gahlib and the versions written by Gulzar for both the films mentioned above.

The original ghazal written by Mirza Ghalib has five she’rs. The ghazal written by Gulzar for the Bangla film ‘Laal Pathore’ (1964) has four she’rs and that for ‘Mausam’ (1975) has three she’rs. Let us compare the she’rs of all the three versions of the ghazal in a tabular form for easy verification as to whether the ‘allegation’ on Gulzar has substance or not.

Original ghazal by Mirza Ghalib Gulzar’s version of the ghazal – ‘Laal Pathore’ (1964) Gulzar’s version of the ghazal – ‘Mausam’ (1975)
Ruke ruke se kadam
ruk ke baar baar chale.

Qaraar de ke tere dar se beqaraar chale.

Ruke ruke se kadam
mud ke baar baar chale.

Qaraar le ke tere dar se beqaraar chale.

Ruke ruke se kadam
ruk ke baar baar chale.

Qaraar le ke tere dar se beqaraar chale

Uthaaye phirte thhe ehsaan jism kaa jaan par.

Chale jahaan se to
ye pairahan uttaar chale.

Uthaaye phirte thhe ehsaan dil kaa seene par.

Tumhaare kadmon mein
ye karz bhi
utaar chale

Uthaaye phirte thhe ehsaan dil kaa seene par.

Le tere kadmon mein
ye karz bhi
utaar chale

Na jaane kaun si mitti watan ki mitti thhi.

Nazar mein dhool jigar mein liye ghubaar chale.

[Not used] [Not used]
Sahar naa aayi kayi baar neend se jaage.

Thhi raat raat ki ye zindagi guzaar chale.

Sahar naa aayi kayi baar aaftaab aaya.

Ham intezaar mein ye raat bhi guzaar chale.

Subah naa aayi kayi baar neend se jaage.

ki ek raat ki ye zindagi guzaar chale

Mili hai shama se ye rasm-e-aashiqui hamko.

Gunaah haath pe le kar gunaahgaar chale.

Shama se seekhi hai ye rasm-e-aashiqui hamne.

Gunaah haath pe le kar gunaahgaar chale.

[Not used]

Note: Bold words indicate changes from the original she’rs.

It will be observed from the above table that Gulzar has made only some cosmetic changes in the original ghazal written by Mirza Ghalib which has been used in the two films mentioned above. Hence, the credit for the two ghazals used in the films should have rightly gone to Mirza Ghalib. I am aware that Gulzar is a great fan of Mirza Ghalib and he had used Mirza Ghalib’s she’rs in a couple of his other songs including dil dhoondhta hai phir wahi fursat ke raat din. So, I thought that he may have given due credit to Mirza Ghalib in his film ‘Mausam’ (1975) for his inspirations. But in the credit title of the film in DVD version, there is no acknowledgement to Mirza Ghalib.

Coming back to the song ‘ruke ruke se kadam mud ke baar baar chale’ from the Bangla film, ‘Laal Pathore’ (1964), as mentioned earlier, this song is not available in the DVD version of the film. I feel that this mujra song may have been partially used in the film. But the full song is available on the record version which was issued by Saregama (then HMV). There is another Hindi song in the film, ‘saans ke zakhm bhar raha hai koi’ written by Gulzar and sung by Manna Dey which is partially used in the film.

‘Laal Pathore’ (1964, Bangla) in which Uttam Kumar, Supriya Devi (Chaudhury) and Srabani Basu acted in main roles was later made in Hindi as ‘Laal Pathar’ (1971) with corresponding roles for Rajkumar, Hema Malini and Rakhi. Both the versions were directed by Sushil Majumdar. While Salil Chowdhury composed the music for Bangla version, Shankar-Jaikishan composed the music for Hindi version.

I was enthralled with the Ghazal King Madan Mohan’s version of the ghazal, ‘ruke ruke se kadam’ from ‘Mausam’ (1975)’ Let us now enjoy Salil Chowdhury’s version of the same ghazal in a different setting.

Lastly, let us also give credit to Mirza Ghalib for the lyrics of both the version of the ghazal along with Gulzar.

Audio link:

Song-Ruke ruke se kadam mud ke baar baar chale (Laal Pathore)(Bangla)(1964) Singer-Mubarak Begam, Lyrics-Gulzar, MD-Salil Chaudhary

Lyrics

ruke ruke se kadam mud ke baar baar chale
ruke ruke se kadam mud ke baar baar chale
qaraar le ke tere dar se beqaraar chale
qaraar le ke tere dar se beqaraar chale

sahar naa aayi kayi baar aaftaab aaya
sahar naa aayi kayi baar aaftaab aaya
sahar naa aayi kayi baar aaftaab aaya
ham intezaar mein ye raat bhi guzaar chale
ham intezaar mein ye raat bhi guzaar chale
qaraar le ke tere dar se beqaraar chale

shama se seekhi hai ye rasm-e-aashiqui hamne
shama se seekhi hai ye rasm-e-aashiqui hamne
shama se seekhi hai ye rasm-e-aashiqui hamne
gunaah haath pe le kar gunaahgaar chale
gunaah haath pe le kar gunaahgaar chale
qaraar le ke tere dar se beqaraar chale

uthaaye phirte thhe ehsaan dil kaa seene par
uthaaye phirte thhe ehsaan dil kaa seene par
uthaaye phirte thhe ehsaan dil kaa seene par
tumhaare kadmon mein ye karz bhi utaar chale
tumhaare kadmon mein ye karz bhi utaar chale
qaraar le ke tere dar se beqaraar chale
ruke ruke se kadam mud ke baar baar chale


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 : 4069 Post No. : 15206

Today (8 september 2019) is the birth anniversary of Bhupen Hazarika (8 September 1926 – 5 November 2011).

It is appropriate that we honour him in the blog with a song. Lyrics of the song (sent by Avinash Scrapwala) is there with me. When I listened to the song, I wanted to listen to the original Assamese song. That opened a Pandora’s box. I discovered such a goldmine of information about Bhupen Hazarika, Assam, Assamese culture and History etc that it became a case of information overload for me. Now I have so much information to discuss that I do not known where to begin.

The thought that immediately came to my mind is whether Bhupen Hazarika has got his due recognition. The answer is, yes, belatedly, but his contribution has been recognised and he received Bharat Ratna this year in 2019. A posthumous recognition, and a richly deserved one.

The contribution of Bhupen Hazarika in putting North East part of India in general and Assam in particular and bringing its rich culture to the notice of outsiders is immense.

He began very young and visited all over the world and became a truly cosmopolitan Indian. And he never forgot his roots !

Assam and North East is a remote part of India, and it was considered a “punishment” post for Indians living in other parts of the country. That was mainly because this part of the country was neglected and underdeveloped. The aspirations and feelings of this part of the country were not properly addressed. This led to feeling of alienation and led to separatist movements and militancy.

I had the experience of being posted in this “punishment” posting area from 2000 to 2003. These three years helped me understand Assam and North East first hand by interacting with the natives of the region. And I realised how their hopes, aspirations, demands etc were falling into deaf ears for decades.

Now, for the last few years, attempts has been made to make the people of north East region feel like every one else. The infrastructure works that were languishing for decades have been fast tracked. In 2000, I was posted in Lumding division. The MG line from Lumding to Badarpur and beyond in South Assam was planned for BG conversion but the progress was abysmally slow. During the last few years, this project was fast tracked and now we finally have BG line between Lumding and South Assam. A travel between Silchar to Lumding, which took 12 hours now takes five hours. This remote area now feels more mainstream with rest of Assam. Assam itself now feels more mainstream in India than ever before.

In the past, roads and bridges would not be constructed in border areas because China used to object. Now the government ignores such Chinese protests and goes ahead with the construction work. That is how the long pending demands of Assam and North East were met. Bogibeel Bridge, which was a demand since 1985, in the agreement signed between AASU and Indian Government was gathering dust for decades before this bridge finally got constructed and inaugurated in 2019. One year ago, another bridge (which too was not getting constructed in the past because of Chinese protests) got finished and was inaugurated. This bridge over river Lohit, connecting Dhola and Sadia ( the longest road bridge in India), was very appropriately named as Bhupen Hazarika Bridge.

At a time when North East felt alienated from rest of India, it was people like Bhupen Hazarika who kept their morale high and kept their hopes alive, and kept their faith in India intact.

Not just India, even the neighboring Bangladesh regards him highly. His iconic Assamese folk song Manush Manusher Jonno (Humans are for humanity) was chosen to be the second most favourite number after the National anthem of Bangladesh, in a Bangladeshi opinion poll.

Many of his Assamese songs became known all over India after their Hindi versions were made. One such album of his songs was “Main aur Mera Saaya”(1993). Here, Gulzar translated some of Bhupen Hazarika’s iconic Assamese songs into Hindi.

These Hindi songs became so popular that they are sung all over India by artists and they are performed by school children in their cultural programmes.

Here is the song “Ek Kali Do Pattiyaan” from this album. Bhupen Hazarika had sung this song originally in Assamese as “Eti Kuhi Duti Paat”. This song has subseuently been sung by many other artists, in Assamese as well as Hindi, and I guess in other languages as well.

Here is this goose bump inducing folk song from Assam, beautifully translated into Hindi by Gulzar. The song is sung and composed by Bhupen Hazarika.

As mentioned above, the lyrics of this song were sent to me by Avinash Scrapwala.


Song-Ek kali do pattiyaan (Bhupen Hazarika NFS)(1993) Singer-Bhupen Hazarika, Lyrics-Gulzar, MD-Bhupen Hazarika

Lyrics (Provided by Avinash Scrapwala)

Ek kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein
ho oEk kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein

Khul ke khilkhilaati
Saawan barsaati
Hans rahi hai kaun ye
Mogre jagaati
Ho mogre jagaati
Khul ke khilkhilaati
Saawan barsaati
Hans rahi hai kaun ye
Mogre jagaati
Ho mogre jagaati
Ek kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein ae

Jugnu aur Lachhmi ki
Lagan aisi aayee
Daali daali jhoomi leke angdaayee
O Leke angdaayee
Jugnu aur Lachhmi ki
Lagan aisi aayee
Daali daali jhoomi leke angdaayee
O Leke angdaayee
O o
Ek kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein ae

Jugnu aur Lachhmi ki
Preet rang laayee
Nanhi si ek munni si
Chuppi jagmagaaee
O Chuppi jagmagaaee
Jugnu aur Lachhmi ki
Preet rang layee
Nanhi si ek munni si
Chuppi jagmagaaee
O Chuppi jagmagaaee
Ek kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein ae

Ek kali do pattiyaan aa aan
Khilne bhi naa paayee thhi ee ee
Todne us baageeche mein
Daanav aaya re
Ho o daanav aaya re
Daanav ki parchhaayee mein
Kaanp rahi thhi pattiyaan
Bujhne lagi maasoom kali
Daanav ki parchhaayee mein
Daanav ki parchhaayee mein

Saaye se bedaar huye
Tambaran si baahon ke
Saaye se bedaar huye
Tambaran si baahon ke

Dhol maadal bajne lage
Maadal aise baaje re
Lakhon milke naache re
Aaya ek toofaan naya
Daanav dar ke bhaag gaya
Maadal aise garja re
Daanav dar ke bhaga re
Daanav dar ke bhaga

Ek kali do pattiyaan
Naazuk naazuk ungliyaan
Tod rahi hai kaun ye
Ek kali do pattiyaan
Ratanpur baageeche mein
Ratanpur baageeche mein
Ho Ratanpur baageeche mein

————————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————

एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में
हो एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में

खुल के खिलखिलाती
सावन बरसाती
हंस रही है कौन ये
मोगरे जगाती
हो मोगरे जगाती
खुल के खिलखिलाती
सावन बरसाती
हंस रही है कौन ये
मोगरे जगाती
हो मोगरे जगाती
एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में ए

जुगनू और लछमी की
लगन ऐसी आयी
डाली डाली झूमी ले के अंगडाई
ओ ले के अंगडाई
जुगनू और लछमी की
लगन ऐसी आयी
डाली डाली झूमी ले के अंगडाई
ओ ले के अंगडाई
हो ओ ओ
एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में ए

जुगनू और लछमी की
प्रीत रंग लाई
नन्ही सी एक मुन्नी सी
चुप्पी जगमगाई
ओ चुप्पी जगमगाई
जुगनू और लछमी की
प्रीत रंग लाई
नन्ही सी एक मुन्नी सी
चुप्पी जगमगाई
ओ चुप्पी जगमगाई
एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में

एक कली दो पत्तियाँ आ आँ
खिलने भी ना पायी थी ई
तोड़ने उस बागीचे में
दानव आया रे
हो ओ दानव आया रे
दानव की परछाई में
काँप रही थी पत्तियाँ आँ
बुझने लगी मासूम कली
दानव की परछाई में ए
दानव की परछाई में

साए से बेदार हुए
ताम्बरन सी बाहों के
साए से बेदार हुए
ताम्बरन सी बाहों के

ढोल मादल बजने लगे
मादल ऐसे बाजे रे
लाखों मिलके नाचे रे
आया एक तूफान नया
दानव डर के भाग गया
मादल ऐसे गरजा रे
दानव डर के भागा
रे दानव डर के भागा

एक कली दो पत्तियाँ
नाज़ुक नाज़ुक उंगलियाँ
तोड़ रही है कौन ये
एक कली दो पत्तियाँ
रतनपुर बागीचे में ए
रतनपुर बागीचे में
हो ओ रतनपुर बागीचे में


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.

Blog Day :

4069 Post No. : 15205 Movie Count :

4179

Hullo to Atuldom

Today I have a very difficult task. The task of selecting one song from a possible 5251 (7874-2623 as per the stats page of the blog) is almost like needle in a hay stack. And there will be at least a few thousand popular songs in this 5k of which many will fall in the category of “How come…?”. Some may lead to their movies getting Yyippeeeed and some may introduce a new movie onto the blog.

I never added any criteria for the song selection as I had so many songs of this singer, running through my head. Over the last few days I had heard many songs of this artist and found that most of them are yet to appear on the blog. It doesn’t help matters that she has been around since 1948 – just about 71 years of work to choose from. 71 years of work means singing for all the females who have ever graced the Bollywood firmament, of course excluding the ladies of the silent era. I thought I will take the easy way out and try and find the first ever Bollywood song recorded by her for Hansraj Behl in 1948. But, if only, life was that easy!!!! 🙂

Just then, as if Godsend, my daughter called me for getting some clarification and as soon as we finished her work with me, I told her what I was up to, and we went into overdrive about the song selection. She on her part suggested a few songs which both of us love and have music cassettes of, but I shot them down as they were non-filmy. I had my reasons for shooting them down- when there are so many movie songs left why go for non- film songs. We still have years to go before we run out of film songs. Then, after a lot of brain-storming with my dear Peevesie, I zeroed in on a song written by Gulzar.

What is unusual about this song? For one, it is one of the rare occasions where Anu Malik has given music for an album with songs written by Gulzar. This album has songs sung by Asha Bhonsle, K.S. Chitra, Jaspinder Narula, Roop Kumar Rathod, Palash Sen and KK. All the songs of the movie were well received. But the track by our birthday girl was a huge hit. I am talking of the songs from Meghna Gulzar’s directorial debut “Filhaal” of 2002. Meghna, as is well known, is the daughter of Rakhee and Gulzar. She started out her career as a free-lance writer, going on to assist Saeed Akhtar Mirza and her father before going on to direct “Filhaal”. It was not an unusual story but was handled differently.

The movie had Sushmita Sen and Tabu – as stars of commercial value and Dr. Palash Sen and Sanjay Suri as the male actors. The ladies are long-time friends but differ in their dreams and aspiration. They are different where settling into family is concerned but when one of them (Sushmita) has a problem in her family life, as she cannot conceive, the other (Tabu) steps in to be a surrogate mother to her friend’s child. Then differences crop up between the friends as the pregnancy progresses and how they resolve all the confusion forms the gist of the movie. It was critically appreciated but I am unaware of its commercial status.

Today’s song is sung by Asha Bhonsle. I hope all the readers had guessed that I want to wish our Ashaji a lot of health and good times and hope to hear more of her songs.

P.S.: Hope people have noted that I have exercised restraint and not mentioned about her lineage, family, her most popular songs and my favourite Asha Bhonsle song. Only I know how difficult it was not to mention songs. 🙂


Song-Ae zindagi ye lamha jee lene de (Filhaal)(2002) Singer-Asha Bhonsle, Lyrics-Gulzar, MD-Anu Malik

Lyrics

ae zindagi
yeh lamha jee lene de
ho o o o
pehle se likha
kuchh bhee nahin
roz naya kuchh
likhti hai tu
jo bhee likha hai
dil se jiya hai
ye lamha filhaal jee lene de
ye lamha filhaal jee lene de

maasoom si haseen bewajah hee kabhi
honthon pe khil jaati hai
anjaan si khushi
behti huyi kabhi
saahil pe mil jaati hai
ye anjaana sa darr
ajnabi hai magar
khoobsoorat hai jee lene de
ye lamha filhaal jee lene de
ye lamha filhaal jee lene de

dil hi mein rehta hai
aankhon mein behta hai
kachcha sa ik khwaab hai
lagta sawaal hai
shaayad jawaab hai
dil phir bhi betaab hai
ye sukoon hai toh hai
ye junoon hai toh hai
khoobsoorat hai jee lene de
ye lamha filhaal jee lene de
ye lamha filhaal jee lene de

ho o o pehle se likha kuchh bhi nahin
roz naya kuchh
ho o o likhti hai tu
jo bhi likha hai
dil se jiya hai
ye lamha filhaal jee lene de
ye lamha filhaal jee lene de


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

Blog Day : 4056 Post No. : 15188

I am an ardent admirer of Ruskin Bond’s short stories. I do not remember as to when I started bonding with Ruskin Bond’s books. It could be sometime early 1990s when I read his first book titled ‘Beautiful Garhwal – Heaven in Himalayas’ (1988). Surprisingly, this book is not listed under the list of his published books. It is a ‘coffee-table book’ with 15 of his articles on the Garhwal Himalayas – from the village life, rivers, valleys, pilgrimage to trees and flowers, etc. It is an excellent and lavishly printed book in art paper with a lot of illustrations and beautiful pictures. This book was printed for Garhwal Mandal Vikas Nigam (GMVL) as a part of promotion of tourism in the Garhwal Himalayas.

Since then, I had ready many of his short stories which are in my collections of books like ‘Rain in the Mountains – Notes from the Himalaya’ (1993), ‘The Lamp is Lit’ (1998), The Room on the Roof’, ‘The Night Train to Deoli & Other Stories’ etc. Very recently, I have read his latest book ‘The Beauty of All My Days’ – A Memoir ( 2018). A few of his books of short story collections which I have read, seems to have been missing from my collections. Probably, I may have given to some ones to read but they did not return.

Ruskin Bond has spent much of his life at the foothills of the Garhwal Himalayas. His last 5 decades have been spent in Landour, a cantonment area of Mussoorie. He has widely travelled in Garhwal Himalayas. Hence, much of his writings is the reflections of the hills and the village life of the Garhwal Himalayas and his nostalgic experiences. His lucid writing style takes the readers to the virtual trip to the Himalayas.

I have been very much influenced by the writings of Ruskin Bond and his nostalgia of the Garhwal Himalayas. Of all the Himalaya treks I have undertaken during the last 35 years, I have done the maximum number of treks in the Garhwal Himalaya. His description of the village life prompted me to prefer home stays in village houses for the overnight stays rather than in the tents whenever I trekked in the Himalayas. I could, therefore, get the first hand experiences of Ruskin Bond’s descriptions of the Garhwal villages and the psyche of the simple villagers.

Recently, I have written an article in the Blog on Gulzar saab on the occasion of his 85th Birthday. When I was going through the profile of Ruskin Bond, I found it interesting to note that there were many similarities in the events in the lives of Ruskin Bond and Gulzar saab. Both were born in 1934, with Gulzar saab being younger by exactly 3 months. Both had a lonely childhood. Gulzar saab lost his mother when he was a child. Ruskin Bond had grown up without the support of his mother as his parents had divorced when he was a child. His mother got remarried and he lived with his father. Circumstances deprived both of them of their fathers’ company when it was most needed. Gulzar saab was sent to Mumbai to stay with his elder step brother, while Ruskin Bond missed his father most of the time because he was in the Royal Air Force and later died from Malaria at an early age.

Both Ruskin Bond and Gulzar Saab developed their writing skills and got their poems/short story published when they were teens. Both got associated with Hindi films albeit with a gap – Gulzar saab in ‘Bandini’ (1963) as a lyricist and Ruskin Bond as a story writer in ‘Junoon’ (1978) based on his novel, ‘A Flight of Pigeons’ (1970s). Both wrote and published a good number of books of children’s literature. Ruskin Bond and Gulzar saab were conferred with Sahitya Akademy Awards in 1992 and 2002 respectively and with Padma Bhushan in 2014 and 2004 respectively.

While the lives of Ruskin Bond and Gulzar saab was moving parallelly, they got merged for the first time when Vishal Bhardwaj decided to make a children’s film in Hindi, ‘The Blue Umbrella’ (Neeli Chhatri, 2005) based on the novella of the same title written by Ruskin Bond. He also wrote screen-play for the film jointly with Vishal Bhardwaj. Gulzar saab got associated with this film as a lyricist.

After a gap of about 5 years, Ruskin Bond and Gulzar saab worked together in Vishal Bhardwaj’s film ‘7 Khoon Maaf’ (2011) which was based on his novel ‘Sussanna’s Seven Husbands’. Ruskin Bond wrote screen-play along with Vishal Bhardwaj and also played a cameo role of a priest in the film. Gulzar saab wrote the lyrics. Collaboration between them for the third film is in the offing. Incidentally, Vishal Bhardwaj has become a neighbour of Ruskin Bond in Landour as revealed by the latter.

As I mentioned earlier, ‘The Blue Umbrella’ (2005) was a children’s film based on Ruskin Bond’s novella by the same name. The film was directed by Vishal Bhardwaj. Except for Pankaj Kapoor and Deepak Dobriyal, rest of the actors in the film are unfamiliar to me. The lead actors in the film is Pankaj Kapoor and 10-year girl, Shreya Sharma. The film was critically acclaimed and it got the National Film Award for the best children’s film in 2008. But the film was a box office disaster.

The film is not available for viewing in any video uploading platforms like YT. I saw the movie on Netflix. There are some minor differences in the story outlined in the film from the story in the book. The story in the book is based in some remote village in Garhwal whereas in the film, the story is based on a remote village in Himachal Pradesh. The end in the film also differ from the book which I will discuss later. The story in the film is as under:

In a remote Himalayan village, 10-year old girl, Biniya (Shreya Sharma) stays with her widowed mother and elder brother. The family has a small terraced field and a couple of cows sufficient to take care of their sustenance.

One day when Biniya goes to graze the cows, she comes across a group of Japanese tourists. Biniya’s eyes fall on a beautiful blue umbrella which is lying open on the meadow. She likes the umbrella and wants to have it but she has no means to get it. The lady tourist sees a necklace with a pedant of bear’s claws in Biniya’s neck and she likes it. Despite the bear’s claws being regarded as a lucky charm, Biniya exchanges for the blue umbrella. From now onward, Biniya and her blue umbrella are inseparable.

Most of the people in her village are envious of her blue umbrella as no one in the village possessed such a beautiful umbrella. The village teacher’s wife pesters her husband to get a similar umbrella for her. But the children in the village are full of praise for Biniya’s blue umbrella.

In the village, Nandkishore (Pankaj Kapoor), the owner of the village’s only tea shop, also becomes envious of Biniya’s blue umbrella as she has become the centre of attention in the village. Even tourists coming in buses for going towards a hill station nearby take a tea break for photographing her with blue umbrella.

Nandkishore tries all tricks of attractive offers to make her sell to him the blue umbrella but she refuses to sell. The blue umbrella causes restlessness in the mind of Nandkishore. He must have that blue umbrella. He tries to get one from the nearby town but it is not available. A similar type of umbrella which may be available in Delhi would cost him a lot. He feels that his attraction to the blue umbrella may have to do with his last birth.

One day, Biniya while grazing the cows on a meadow, finds her umbrella missing. She suspects Nandkishore to be the one who stole her blue umbrella. Police searches the Nadkishore’s shop but does not find the umbrella. Humiliated by the police investigation, Nandkishore buys a colourful red umbrella which, he says, he got from Delhi. He now becomes the centre of attraction in the village.

Biniya’s own investigation on her missing blue umbrella continues which takes her to a nearby town where one umbrella was recently dyed. In the meanwhile, with his status in the village gone up due to owning a red umbrella, Nandkishore is invited as a chief guest for a wrestling competition in the village. During the competition, it starts raining and his red umbrella turns blue as red colour on the umbrella get washed out. It becomes clear that Nandkishore had stolen Biniya’s blue umbrella and got it dyed with red colour. The village panchayat held him guilty and pass a judgement that that the entire village should boycott Nandkishore and his shop.

With the boycott, Nandkishore business is almost stopped. He is not even invited for the marriage of the village chief’s son. Barber’s shop refuses him as a customer. Biniya watches all the happenings to Nandkishore. She feels sorry for him. One day, she visits his shop after a long gap to buy biscuits and forgets her umbrella in his shop. When Nandkishore notices this, he runs after her with the umbrella in snowy conditions and returns to her the umbrella. Biniya refuses to accept the umbrella by telling him that it is not her umbrella and walks away. The village boycott of Nandkishore is lifted and his business in the shop returns to normal.

I found the ending in Ruskin Bond’s book more touching than in the film. In the book, after few days of boycott of Nandkishore’s shop, Biniya feels that she is the cause for all the problems Nandkishore has been facing due to boycott. After many days of boycott, she visits his shop to buy toffees. Nandkishore thinks that Biniya has come to his shop to make fun of his situation or she has come with a counterfeit coin to buy toffees. But none of his presumptions comes out true. She buys the toffee but forget her blue umbrella in the shop. Nandkishore runs after her to give her back the umbrella. However, she tells him that she left the umbrella for him.

After few days of this event, Nandkishore calls Biniya while she is passing by his shop. He shows her his newly made locket of bear’s claws with silver chain. She likes it but she says she has no money to buy. Nandkishore says that it does not matter as she has given him her umbrella and he is giving her a locket of bear’s claws. He places the pedant on her and says that it looks very beautiful on her. She is very much pleased as bear’s claws are regarded luckier than leopard’s claws. For Nandkishore, the smile that she gave him upon receiving the pendant was more rewarding than owning the pendant.

Vishal Bhardwaj, the producer-director of the film had said at the time of the release of the film that it was a children’s film with a message to adults. How true it is! Firstly, how an alien thing like an attractive blue umbrella can disturb the peaceful life of a village. Second, the intense desire to possess something can lead to irrational behaviour and its resultant adverse consequences. Third, forgiveness is the key to normalisation of a relationship. In ‘The Blue Umbrella’ Ruskin Bond has shown that there is always a soft corner in the hearts of individuals. In the end, Biniya gives up her possessiveness and Nandkishore shades his greediness. And the village comes back to its peaceful life.

The film has 3 beautiful songs, all written by Gulzar. One of them has been represented on the Blog.

I have selected for presentation the song ‘neeli aasmaani chhatri’ because this is the only song in which the blue umbrella is on display most of the duration of the song. Like Biniya and Nandkishore in the film, I am also tempted to this beautiful blue umbrella, my temptation being limited to watching it to my heart’s content. The song is sung by Upagna Pandya under the music direction of Vishal Bhardwaj.

It is a lovely song with western symphony music used for interludes.

Video Clip:

Audio Clip :

Song-Neeli Aasmaani chhatri (Blue Umbrella)(2005) Singers-Upagna Pandya, unknown female voice, Lyrics-Gulzar, MD-Vishal Bhardwaj

Lyrics(Based on the Audio Clip)

ku ku ku ku
ku ku kudi ku ku
ku ku kudi ku ku
ku ku kudi ku ku
ku ku kudi ku ku
arre he….ey

(ku ku kudi ku ku )
hey hey
(ku ku kudi ku ku)
neeli aasmaani chhatri
ku ku kudi ku ku
ku ku kudi ku ku
ku ku kudi ku ku,
ku ku kudi ku ku

he…..ey
hey ae
neeli aasmaani chhatri
chhatri ka udan khatola
dole to laage hindola
chhatri ka udan khatola..aa aa
dole to laage hindola
ude kabhi bhaage kabhi
bhaage kabhi daude kabhi
samajh na maane chhatri..ee
ku ku kudi ku ku
ku ku kudi ku ku
ku ku kudi ku ku
ku ku ku ku
ku ku ku ku
ku ku kudi ku ku
ku ku kudi ku ku
ku ku kudi ku ku
ku ku kudi ku ku

ambar ka tukda toda
lakdi ka hattha joda
haath mein apna asmaan hai re
chhatri le ke chalti ho
memon jaisi lagti ho
goron ka dil beimaan hai re
khunti kabhi laathi kabhi
laathi kabhi chhadi kabhi
khunti kabhi laathi kabhi
laathi kabhi chhadi kabhi
paaji shaitaani chhatri..ee

baarish se jo rishta hai
paani pe mann khinchta hai
bijli ko ye pehchaan hai re
shaayad phir ud na jaaye
ambar se jud na chaahe
bholi hai anjaan hai
hai re
doobe kabhi taire kabhi
gote khaati jaaye kabhi
doobe kabhi taire kabhi
gote khaati jaaye kabhi
karein naadaani chhatri..ee
ku ku kudi ku ku
ku ku kudi ku ku
ku ku kudi ku ku
ku ku kudi ku ku

hey ae hey ae
(ku ku kudi ku ku)
hey re
(ku ku kudi ku ku)
neeli asmaani chhatri
chhatri ka udan khatola..aa
dole to laage hindola aa aa
chhatri ka udan khatola..aa aa
dole to laage hindola
ude kabhi bhaage kabhi
bhaage kabhi daude kabhi
samajh na maane chhatri


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

Blog Day : 4048 Post No. : 15177

Clad in starched white kurta and pyjama with an unshaven face, his appearance gives an impression of a Bengali intellectual. His early association with Bimal Roy, Hrishikesh Mukherjee, Hemant Kumar and Salil Chowdhary supported that impression of mine until one day I came to know that he was born in a Sikh family in pre-partition Punjab.

Yes, he is Sampooran Singh Kalra, better known by his pen name, Gulzar (born on 18/08/1934) who turns 85 today and is still active in pursuit of his first love – writing poems and short stories. He continues to be associated with Hindi films with occasional indulgence as a lyricist. His association with Hindi films started, first as a lyricist followed by screen-play/dialogue writer and finally as a producer/director. He has already spent nearly 6 decades in Hindi film industry and this association is continuing.

Gulzar saab had spent nearly a decade (1950s) in the company of some of the writers/poets of Progressive Writers Association such as Krishan Chandra, Khwaza Ahmed Abbas, Shailendra, Sahir Ludhianvi, Sagar Sarhadi etc, who were associated with Hindi film industry. But he was not attracted towards making a career in Hindi film industry. His interest was to become a poet/writer like Mirza Ghalib and Rabindranath Tagore.

Gulzar saab was destined to be associated with Hindi films and Shailendra became a catalyst in introducing him to the Hindi films. When he advised him to meet Bimal Roy for writing songs for ‘Bandini’ (1963), Gulzar saab’s first reaction was ‘I do not want to be a lyricist’. It was only when Shailendra reprimanded him for losing the opportunity to work with a great film-maker, Bimal Roy and the music director, S D Burman, Gulzar saab relented and wrote his first song mora gora ang lai le mohe shyaam rang dai de for the film.

By the way, this was the only song Gulzar saab wrote for ‘Bandini’ (1963) and for S D Burman. But this song opened up his association with Bimal Roy as Assistant Director in Bimal Roy Productions and became his grooming ground to learn the art of screen-play/dialogue writing and the film direction.

Gulzar saab is one among a few film lyricists of the golden period of Hindi film music about whom much has been documented through articles, memoirs and scores of his interviews both to print as well as electronic medias. I had also covered his journey into the Hindi film industry in my article while covering the song shaam se aankh mein nami si hai. So, I will skip the details about his celluloid journey. Broadly, Gulzar saab’s filmy career can be divided into three main phases.

During the first phase (1960-1970), Gulzar saab mostly worked as lyricist with his music directors like Salil Chowdhury and Hemant Kumar who were his colleagues in Bimal Roy Productions. Out of 16 films he was associated as lyricist in this phase, as many as 10 films were with music directors Salil Chowdhury and Hemant Kumar. He also worked with Hrishikesh Mukherjee as a screen-play/dialogue writer for films like ‘Aashirwad’ (1968), and ‘Anand’ (1970).

In the second phase (1971-1999) Gulzar saab’s career was the most active as a screen-play/dialogue/song writer and producing/directing the films. He was associated with 60 Hindi films of which he directed 19 films. Almost all of his films which he directed come in the definition of ‘middle of the road’ films which included ‘Mere Apne’ (1971), Aandhi’ (1975), ‘Mausam’ (1976), ‘Angoor’ (1982), ‘Lekin’ (1991), ‘Maachis’ (1996). Though none of the films he directed created ripple in the box office front, these films are regarded as classic in the history of Hindi films.

Gulzar saab’s association with Sanjeev Kumar and R D Burman was the highlights of his second phase in Hindi film industry. Sanjeev Kumar acted in Gulzaar saab’s films, ‘Koshish’ (1972), ‘Aandhi’ (1975), ‘Mausam’ (1976), ‘Angoor’(1982),and ‘Namkeen’ (1982). With R D Burman, Gulzar saab worked for 23 films writing 101 songs. The association would have continued but for the untimely death of Sanjeev Kumar in 1985 and of R D Burman in 1993.

The third phase of Gulzar saab’s filmy career started in the new millennium and is continuing. After the release of his film ‘Hu Tu Tu’ (1999), he had taken a decision to give up producing and directing films as he wanted to devote a considerable time in writing. In this phase, he has confined himself mostly as a lyricist and occasionally script/dialogue writing.

During this phase, Gulzar saab has been associated with the third generation of music directors like A R Rahman, Shankar-Ehsaan-Loy, Vishal Bhardwaj. He has already written lyrics for Vishal Bhardwaj in 19 films so far and perhaps he may break his own record of the highest number of films with R D Burman(23 films). He seems to be as comfortable with the new generation as he was with the older ones.

In the 1960s, he wrote songs like hawaaon pe likh do hawaaon ke naam for Hemant Kumar. Almost 5 decades later, he also wrote a rustic song ‘beedi jalaayi le jigar se piya’ for Vishal Bhardwaj. Both these songs have unusual imageries. The first one is about the nature giving the ‘feel good’ factor. The second song, though sounds rustic, has not prevented Gulzar saab sharing his thought on the real side of the world in two lines:

Dhuaan na nikaari o lab se piya
Je duniya badi dhaank hai

[O beloved, do not exhale smoke from your lips (from beedi)
The realities in this world are already masked].

Once, A R Rahman after getting explanations from Gulzar saab on his song, jiya jale jaan jale commented ‘Gulzar saab, you are a poet of imageries. I will amend his comment to say that Gulzar saab is a poet of unusual imageries. His six songs which I have covered during the last two weeks for the Blog would give the readers the taste of his unusual imageries/metaphors, choice of words and vocabularies.

I have been following Gulzar saab’s songs for many years. For me, he is an extension of what Sahir Ludhianvi did in 1950s to 1970s – to make the song lyrics an important part of Hindi film music. Though Gulzar saab belongs to the old generation of lyricist, he still gels well with the new generation. From the year 2000 until now, Gulzar saab has written lyrics for about 60 films. ‘I am going with the flow, but making sure that my aesthetics are in place,’ he had said in a recent interview.

There is another side of Gulzar saab’s personality. He has been active in writing short stories and poems side by side with his filmy career. Many of his short stories and poems have been published. He has received Sahitya Akademy Award for his Urdu book ‘Dhuaan’ in 2002. He has been associated with the children’s poems -both in films/TV and in prints. His most popular among jingles, ‘jungle jungle pata chala hai’ for ‘Jungle Book’ (1993) in Hindi which was telecast on Doordarshan, has become synonymous more with his name than its creator, Rudyard Kipling. Gulzar saab has done such a vast work of writing short stories and poems that they require a separate article which I intend to write some other time.

Gulzar saab’s association with R D Burman in 23 films has been one of the important segments in the history of Hindi film music. I regard Gulzar saab’s collaboration with A R Rahman, the continuation of that process. In fact, I feel that after the untimely death of R D Burman in 1993, A R Rahman has carried forward ‘Pancham’s legacy’ with refinements as new techniques and new types of musical instruments have emerged.

Hence, on the occasion of Gulzar saab’s 85th Birthday, I have chosen one of the songs born out of Gulzar-Rahman collaboration, ‘ae hairat-e-ashiqui jagaa mat’ from the film ‘Guru’ (2007). The song is mainly a duet sung by Hariharan and Alka Yagnik with Mohammed Aslam singing Sufi chants in the prelude and the first interlude with chorus singing in the second interlude and at the end of the song.

A R Rahman, in an interview published in the book ‘A R Rahman, The Spirit of Music’ (2012) by Nasreen Munni Kabir has revealed that whenever he gets stuck in composing tune for a given situation in the film, he has relied on the melodies of Amir Khusrau, Bulleh Shah and Subramania Bharati. The song under discussion was one of such songs for which A R Rahman relied on the melody of Amir Khusrau’s composition, ‘ae sharbat-e-aashiqui’. Rahman has based the tune on Raag Yaman Kalyan. Gulzar wrote the lyrics to the tune as per the song situation in the film.

I wish Gulzar saab a very happy and a healthy 85th Birthday. I remember his song ‘dil to bachcha hai jee’ from ‘Ishqiya’ (2010). I hope that the ‘bachcha’ (child) in his heart will inspire him to write many more poems of unusual imageries and metaphors in the years to come.

Video Clip:

Audio Clip:

Song-Ae hairat-e-ashiqui jagaa mat (Guru)(2007) Singers-Hariharan, Alka Yagnik, Mohammed Aslam, Lyrics-Gulzar, MD-A R Rahman
Chorus,
Alka Yagnik & Chorus

Lyrics(Based on Audio Clip)

dum dara dum dara jashn jashn dum
dum dara dum dara jashn jashn dum
sun mere humdum
hamesha ishq mein hi jeena
dum dara dum dara jashn jashn dum
dum dara dum dara jashn jashn dum
sun mere humdum
hamesha ishq mein hi jeena

ae hairat-e-aashiqui
jagaa mat
pairon se zameen
zameen lagaa mat
ae hairat-e-aashiqui
jagaa mat
pairon se zameen
zameen lagaa mat
ae hairat-e-aashiqui
ae hairat-e-aashiqui
ae hairat-e-aashiqui

dum dara dum dara jashn jashn dum
dum dara dum dara jashn jashn dum
sun mere humdum
hamesha ishq mein hi jeena

kyun Urdu Faarsi bolte ho o o
kyun Urdu Faarsi bolte ho
dus kehte ho do tolte ho
jhoothhon ke shanshahaa bolo na

kabhi jhaankon meri aankh….en
kabhi jhaankon meri aankhen
sunaayen ik daastaan
jo honthhon se ae kholo na
ae hairat-e-aashiqui
jagaa mat
pairon se zameen
zameen lagaa mat
ae hairat-e-aashiqui
ae hairat-e-aashiqui
o o o
ae hairat-e-aashiqui

dum dara dum dara
dum dara dum dara
dum dara dum dara
dum dara dum dara
dum dara dum dara
dum dara dum dara
dum dara dum dara
dum dara dum dara

do chaar maheene se lamhon mein
do chaar maheene se lamhon mein
umron ke hisaab bhi hote hain
jinhen dekha nahin kal tak
jinhen dekha nahin kal tak
kahin bhi ab kok mein
woh chehre bote hain

ae hairat-e-ashiqui
jagaa mat
pairon se zameen
zameen lagaa mat
ae hairat-e-aashiqui
jagaa mat
pairon se zameen
zameen lagaa mat
ae hairat-e-aashiqui

ae hairat-e-aashiqui
o o
ae hairat-e-aashiqui

dum dara dum dara jashn jashn dum
dum dara dum dara jashn jashn dum
sun mere humdum
hamesha ishq mein hi jeena
o o o

dum dara dum dara jashn jashn dum
dum dara dum dara jashn jashn dum
sun mere humdum
hamesha ishq mein hi jeena


This article is written by Peevesie, 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 : 4045 Post No. : 15174

What kind of relationship must one have with their country? This is a question I have been pondering lately. There is no doubt one feels a sense of kinship and pride for the perseverance and accomplishments and bravery its people show on a near everyday basis. But then aren’t all these accomplishments a result of someone questioning some kind of status quo that existed in this country.

The world is feeling like a strange place. Ours isn’t the only country in the grips of a wave of nationalism that is based on a sense of othering and homogenizing our culture. But weren’t we taught ‘Unity in Diversity’  as one of our strengths in school? Independence day involved so many symbolic displays of things like ‘One Country, Many Cultures’; “Hindu Muslim Sikh Isaai, sab hai yahan bhai bhai”. One of my favourite lines to do the cringy school dances to was “Koi Punjab Se, Koi Maharashtra Se” one from the song “Ae Watan Ae Watan” (film ‘Shaheed’, 1965) – (though I hated the word Madrasi that was used in such displays, I am not from Madras!). And suddenly we have a country where questioning the status quo is being against the country.

Can’t one love the country and still dislike / disagree with somethings in it? We love our family and friends the same way no? The love is unconditional but there are things like maybe their lateness or forgetfulness that annoys us? Isn’t that what patriotism should be? An unconditional love that pushes us to work hard to improve our country so we are truly the best country in every metric?

Last year I saw a film called ‘Raazi’. It is based on the true story of an Indian spy who married into a Pakistani military family to help the Indian war efforts. Two plot points in the movie left a deep impression on me and on my patriotic sentiments. The first was when the ‘spy’ and her spouse have a conversation about why they both do what they do. And they both realize that they will always choose their birth country over their spouse. It’s just that their birth countries are different. The second point is this song I want to showcase in this post on independence day today. Incidentally this song is also titled “Ae Watan” .

This song in the film is supposed to be an Indian patriotic song being taught to Pakistani school children for a school function. Even though the song contains the opening lines (“Lab Pe Aati Hai Duaa. . .“) which is the national prayer of Pakistan. It was penned in 1902 by the legendary poet, Allama Iqbal. But by its very nature it is country neutral. It is sung in schools in Pakistan, as well as in some states in India. That’s when it hit me. The object of your emotion of patriotism – that is an accident of nature. You have no control over this. But you have control over what you do with it. And how you use the opportunity to leave the place you were born into, better than when you arrived into it.

There is a multitude of amazing things being done by Indians that we can be proud of – from sustainable sanitary solutions, to the moon mission, to Dutee Chand fighting the Olympic committee and her village simultaneously on accepting everything she was born with. Whether it’s is a medical condition or who she loves. This is a beautiful country that gained its independence because people refused to accept the status quo. And I choose to be proud of it without losing sight of how much further we have to go.

There is another reason I love this song, because the video reminds me of the Independence day celebrations we had in school and all the ways we practiced for it. Truly brings a certain nostalgia back

This song is “Ae Watan” from ‘Raazi’ (2018) which is directed by Meghana Gulzar and produced by Junglee Pictures and Dharma Productions. Its based on a book by Harinder Sikka named ‘Calling Sehmat’. The film version of the song has Alia Bhatt, Vicky Kaushal, Amruta Khanvilkar. The song is composed by Shankar Ehsaan and Loy, while its lyrics are written by Gulzar. Its female version, which is the one featured in the film, is sung by Sunidhi Chauhan and the male version which was for promos is by Arijit Singh. Both versions have longer audio versions than video. The lyrics given below are according to the audio versions I have.

Happy Independence day to all readers! Enjoy!

Female Version

Male Version (Chorus Only)

Song – Ae Watan Watan Mere Aabaad Rahe Tu (Raazi) (2018) Singers – Sunidhi Chauhan, Arijit Singh, Lyrics – Gulzar, MD – Shankar Ehsaan Loy
Chorus

Lyrics

lab pe aati hai dua ban ke tammana meri
zindagi shamma ki surat ho khudaaya meri
lab pe aati hai dua ban ke tammana meri
 
ae watan watan mere aabaad rahe tu
ae watan watan mere aabaad rahe tu
ae watan watan mere aabaad rahe tu
main jahan rahun jahaan mein yaad rahe tu
main jahan rahun jahaan mein yaad rahe tu
ae watan mere watan
ae watan mere watan
 
tu hi meri manzil hai pehchaan tujhi se
tu hi meri manzil hai pehchaan tujhi se
pohunchun mein jahaan bhi meri buniyaad rahe tu
pohunchun mein jahaan bhi meri buniyaad rahe tu
ae watan mere watan
ae watan mere watan 
 
tujh pe koi gum ki aanch aane nahi doon
tujh pe koi gum ki aanch aane nahi doon
qurbaan meri jaan tujhpe shaad rahe tu
qurbaan meri jaan tujhpe shaad rahe tu
 
ae watan watan mere aabaad rahe tu
main jahan rahun jahaan mein yaad rahe tu
ae watan mere watan
ae watan mere watan
ae watan mere watan
ae watan mere watan
ae watan mere watan
ae watan mere watan
ae watan mere watan
ae watan mere watan
ae watan mere watan
ae watan mere watan
labh pe aati hai dua banke tammanah meri
zindagi shamma ki surat ho khudaya meri
zindagi shamma ki surat ho khudaya meri
ae watan mere watan
ae watan mere watan

Male Version

ae watan watan mere 
ae watan aabaad rahe tu
aabaad rahe tu
aabaad rahe tu

ae watan watan mere aabaad rahe tu
ae watan watan mere aabaad rahe tu
ae watan watan mere aabaad rahe tu
main jahan rahun jahaan mein yaad rahe tu
main jahan rahun jahaan mein yaad rahe tu
ae watan mere watan
ae watan mere watan

tu hi meri manzil hai pehchaan tujhi se
tu hi meri manzil hai pehchaan tujhi se
pohunchun mein jahaan bhi meri buniyaad rahe tu
pohunchun mein jahaan bhi meri buniyaad rahe tu
ae watan watan mere aabaad rahe tu
main jahan rahun jahaan mein yaad rahe tu
ae watan mere watan
ae watan mere watan 

tujh pe koi gum ki aanch aane nahi doon
tujh pe koi gum ki aanch aane nahi doon
qurbaan meri jaan tujhpe shaad rahe tu
qurbaan meri jaan tujhpe shaad rahe tu

ae watan watan mere aabaad rahe tu
main jahan rahun jahaan mein yaad rahe tu
ae watan
ae watan
mere watan
mere watan
ae watan
ae watan
mere watan
mere watan
ae watan mere watan
ae watan mere watan
aabaad rahe tu
aabaad rahe tu
ae watan mere watan
aabaad rahe tu


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

Blog Day :

4043 Post No. : 15168 Movie Count :

4167

I had not heard of a film named ‘Chatran’ (1988) until recently. The title of the film was unusual. I was wondering as to why the film in which Gulzar and R D Burman were associated, has remained obscure. After a search on the Google, I got the answer.

There was a Japanese film ‘Koneko Monogatari’ (1986) which became the most popular film in Japan in 1986 and continues to get earnings from this even now. Due to the film’s popularity, Columbia Pictures Industries (now Sony Pictures) dubbed the film in English under the title ‘The Adventures of Milo and Otis’ (1989). The English version film also became a box office hit.

But, before the English version of the film was released, the Indian film producer, Gul Anand got it dubbed in Hindi, titled ‘Chatran’ (1988). The film’s cast consisted of only the animals who did the live actions in the film. It is the story of a friendship between Chatran (the kitten) and Poosky (the pug-nosed puppy). So there were no dialogues in in all the versions of the film. The dubbing part is only of the narrators in the films. I watched the Hindi version of the film on the internet. The film is of 70-minute duration. The gist of the story is as under:

On a farm, a cat gives birth to seven kittens of which one of the male kittens, Chatran is naughty and is curious about its surroundings which sometime lands him in trouble. Chatran becomes friendly with mild-mannered Poosky and they become inseparable. They play ‘hide and seek’ game in the court yard of the farm in which Poosky is always a seeker and Chatran, a hider. But in this game, sometime Chatran gets in to trouble due to his curiosity. For instance, Chatran gets trapped in a chimney and with great difficulties, comes out of it with an ashen face.

One day, both Chatran and Poosky go towards the shore of a stream. Out of curiosity, Chatran enters into a wooden box lying in the stream water at the shore. Because of Chatran’s playful nature, the wooden box gets drifted to flowing stream. Poosky tries to save him by jumping into the stream but the wooden box gets drifted away from him. Poosky keeps trailing Chatran from the shores of the stream. From here onward, Chatran’s adventure starts.

Rest of the film is about how Chatran faces the problems and escapes on each occasion. He faces a bear but in nick of the time, Poosky comes to his rescue and fights with bear. Once Chatran comes out of the stream, he wanders in the forest and gets into trouble with snakes, bear and seagulls etc but successfully escapes. The positive side of his adventure is that during his wandering in the forest, he is sheltered by a deer and a pig with her piglets.

Finally, Chatran and Poosky unite in a vast meadow. They come back to their farm. They find their own mates and leave separately. They raise their own kittens and puppies. The film ends with Chatran and Poosky meeting each other with their extended family in the old farm house.

There were charges levelled against the original Japanese and English version films by Animal Rights Activists that there were cruelties to animals used in the filming. For example, there was a scene in which kitten plunges from a cliff and falls in the sea. Also, there was fight between the puppy and the bear. But the charges were never substantiated. However, I did not find any such problem for the Hindi version of the film from animal rights activists like PETA in India. Incidentally, the original Japanese film was of the duration of about 90 miniutes. But both the English and Hindi versions were of the duration of about 70 minutes. It is quite likely that some scenes which might have invited the wrath of Animal Rights Activists may have been deleted.

After watching the film, I personally felt that the scene in which the Chatran (the kitten) meows in pain when bitten by a crab (or scorpion?), looked to me real. Also, Chatran appeared stressful when he was drifting in the wooden box in the stream. And it is one of the longest scenes in the film. I do not know whether an animal put into such a stressful situation by a person, comes under the definition of ‘cruelty to the animal’.

As in the case of the Japanese and English versions of the film, the Hindi version,’Chatran’ (1988) has a ‘Sutradhaar’ (Narrator) and that function was superbly handled by Gulzar. At some places, he appears to have deviated from the original version. For example, in the beginning of the film, his narratives have unusual imageries which are not in the original Japanese version as well as in English version of the film:

Do bade bade sansaar hain ye, pariwaar hain ye.
Aakash aur dharti achche rishtedhaar hain ye.
Raat aakaash ki beti hai.
Kuchh kaali hai.
Aakaash ne gore chaand ki bindi de kar
isko chunmun karke taaron ke gahane pehanaayen hain.
Aur din aakaash ka beta hai.
Gora bhi hai magroor bhi hai.
Dharti par uski fazaa bhi hai.
Fazaa ke laakhon aur karodon chehare hain.
In cheharon se dharti par rounak rehti hai.
In sab mein zindagi behti hai.
In sab mein zindagi behti hai

The film has only one song of 4 stanzas, each stanza being played on 4 different occasion in the film. The last stanza is played with the montages of the film as credit titles roll. Asha Bhosle sings the words of Gulzar. The song is set to music by R D Burman.

With this song, ‘Chatran’ (1988) makes its debut in the Blog and also gets ‘yippied’ at the same time.

Video Clip(All the 4 parts)


Audio Clip(All the 4 parts)

Song-Zindagi zindagi zindagi (Chatran)(1988) Singer-Asha Bhonsle, Lyrics-Gulzar, MD-R D Burman

Lyrics

————————–
Part-1
————————–

zindagi
zindagi
zindagi

zindagi
zindagi
zindagi

khoobsoorat hai tu janm leti huyi
khoobsoorat hai tu janm deti huyi
zindagi
zindagi
zindagi

chhoo ke gujri hawa ke bahaane kabhi
aur shabnam mein utri nahaane kabhi
chhoo ke gujri hawa ke bahaane kabhi,
aur shabnam mein utri nahaane kabhi
ek mausum si gudgudi zindagi
zindagi

———————————-
Part-2
———————————-
na to dariya ruka na kinaara mila
door hota gaya jo sahaara mila
na to dariya ruka na kinaara mila
door hota gaya jo sahaara mila
dagmagaati huyi chal padi zindagi
dagmagati huyi chal padi zindagi
zindagi

————————————
Part-3
————————————-
dhoop chhaaon mein aisi buni zindagi
zindagi ne ye kaisi chuni zindagi
hans rahi thhi abhi ro padi zindagi
hans rahi thhi abhi ro padi zindagi
zindagi

————————————-
Part-4
————————————-
zindagi
zindagi
zindagi

zindagi
zindagi
zindagi

khoobsoorat hai tu janm leti huyi
khoobsoorat hai tu janm deti huyi
zindagi
zindagi
zindagi

pyaar hi pyaar hai kho gayi zindagi
ek se phir anek ho gayi zindagi
pyaar hi pyaar hai kho gayi zindagi
ek se phir anek ho gayi zindagi
ho gayi hai ye kitni badi zindagi
ho gayi hai ye kitni badi zindagi
zindagi
zindagi
zindagi

zindagi
zindagi
zindagi


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

Blog Day :

4041 Post No. : 15166 Movie Count :

4166

‘Dil Se’ (1998) was produced by Mani Ratnam along with Ram Gopal Varma and Shekhar Kapoor and was directed by Mani Ratnam. The film was a part of Mani Ratnam’s trilogy of human relationship in the backdrop of politics and terrorism. In this series, his earlier two films were ‘Roja’ (1992) and ‘Bombay’ (1995).

The film’s main actors consisted of Shahrukh Khan who, on a reporting assignment to North-East India, falls in love with a mysterious girl (Manisha Koirala) who is a part of a terrorist group. As a result, she remains elusive to him. His love for her becomes his obsession. He searches for her, meets her during his many assignments but she gives him a slip on each occasion. Preity Zinta is another girl with whom Shahrukh Khan’s marriage has been fixed by his family.

At the end, Shahrukh Khan finds Manisha Koirala in Delhi but comes to know about her group’s plan of exploding explosives, carried in her vest, at the venue of gathering for the celebration of 50th Independent Day. He tries hard to persuade her to give up the terrorist activities and marry him. But it was too late for her. The bomb explodes accidentally and both die before she reaches the planned target.

The film had 6 songs which were written by Gulzar and were set to music by A R Rahman. None of the song has yet been represented on the Blog. The song ‘chhaiya chhaiya’ became the most popular song of the film. However, I have preferred to present ‘jiya jale jaan jale nainon tale dhuaan chale’ sung by Lata Mangeshkar. The reason is that I liked the idea of incorporating in the song, the Malayalam lyrics written by Girish Puthencheri and sung by M G Sreekumar and Chorus as interlude music. The other reason is that the song has been picturised in Kerala at Athirappilly Falls, Periyar Lake and Alappuzha backwaters among others – the places I had visited in 2008.

This was the first song Lata Mangeshkar sang under the music direction of A R Rahman. Generally, she does not visit outside Mumbai to record the song. But she made an exception by flying to Chennai to record the song in A R Rahman’s recording studio. The song was recorded in one take. However, it took about 10 days for Rahman to give a final shape to the song by improvising the background music and incorporating interludes in the song.

During this period, A R Rahman came with an idea to incorporate a short clip of Malayalam song as interludes in the song. He wanted Gulzar to translate the Malayalam lyrics into Hindi. To get an idea, he played the Malayalam song over the phone to Gulzar. After listening to the clip, Gulzar advised Rahman to retain the Malayalam lyrics in the clip for the song as it sounded beautiful in the background giving a feel of the atmosphere of Kerala. Rahman agreed with Gulzar’s suggestion. The song turned out to be an unique composition. (Note: The trivia are based on Gulzar’s interviews with Nasreen Munni Kabir in 2012).

From the lyrics as well as the picturization of the song, it would appear that the song conveys the imagination of the bride (Preity Zinta) about her wedding night. The eroticism in the lyrics is nicely camouflaged in imageries. Example:

masle phoolon ki mahak mein titliyon ki kyaariyaan
raat bhar bechaari mehndi pisti hai pairon tale

I got the Malayalam lyrics and the English translation thereof from a blog post of Maithily Menon on the internet. The beauty of Malayalam lyrics may have been diluted in English translation. The translation appears to me more a literal than the underlying deeper meaning envisaged by the lyricist. Corrections, if any, in Malayalam lyrics and the English translation, from readers knowing Malayalam are welcome.

Video Clip:

Audio Clip:

Song-Jiya jale jiya jale (dil Se)(1998) Singers-Lata Mangeshker, M G Sreekumar, Lyrics-Gulzar, MD-A R Rahman
Hindi Chorus
Malayalam Chorus

Lyrics (Based on audio clip)

jiya jale jaan jale
jiya jale jaan jale
nainon tale
dhuaan chale
dhuaan chale
punchiri thanu konchiko
munthiri mutham chinthiko
manchani varna chundari vaave
thanakinaka
thakadhimi aadum thankanilaave hoi
punchiri thanu konchiko
munthiri mutham chinthiko
manchani varna chundari vaave
thanakinaka
thakadhimi aadum thankani laave hoi

thanka kolusalle
kurukum kuyilalle
maaran mayilalley
thanga kolusalle
koorukum kuyilalle
maaran mayilalley

jiya jale jaan jale
nainon tale
dhuaan chale
dhuaan chale
raat bhar dhuaan chale
jaanu na jaanu na jaanu na sakhi ri
jiya jale jaan jale
nainon tale
dhuaan chale
dhuaan chale
raat bhar dhuaan chale
jaanu na jaanu na jaanu na sakhi ri
jiya jale
jaan jale

dekhte hain tan mera
mann mein chubhti hai nazar
dekhte hain tan mera
mann mein chubhti hai nazar
hontth sil jaate unke
narm honthon se magar
ginti rahti hoon main apni
karwaton ke silsile
kya karoon
kaise kahoon
raat kab kaise dhale
jiya jale jaan jale
nainon tale
dhuaan chale
dhuaan chale
raat bhar dhuaan chale
jaanu na jaanu na jaanu na sakhi ri
jiya jale jaan jale
nainon tale
dhuaan chale
dhuaan chale
raat bhar dhuaan chale
jaanu na jaanu na jaanu na sakhi ri
jiya jale
jaan jale
kuruvanikiliye
kuruvanikiliye
kukuru koorukuru kooki kuruki
kunnimarathil uyal adi
kodum orikki kootu vilikunne
maran nine kooki kuruki kotu vilikunne
kukuru koorukuru kooki kuruki
kunnimarathil uyal adi
kodum orikki kootu villikunne
maran nine kooki kuruki kotu vilikunne

thanka kolusallae
kurukum kuyilallae
maaran mayilallae hoi
thanka kolusallae
kurukum kuyilallae
maaran mayilallae

ang ang mein jalti hai
dard ki chingaariyaan
masle phoolon ki mahak mein
titliyon ki kyaariyaan
raat bhar bechaari mehndi
pisti hai pairon tale
kya karoon
kaise kahoon
raat kab kaise dhale
jiya jale jaan jale
nainon tale
dhuaan chale
dhuaan chale

dhuaan chale
dhuaan chale
jaanu na jaanu na jaanu na sakhi ri
jiya jale jaan jale
nainon tale dhuaan chale

(jiya……..aa jale….ae)
dhuaan chale
raat bhar dhuaan chale

(jiya………aa jale…ae)
jaanu na jaanu na jaanu na sakhi ri
jiya……..aa jale………ae jaan jale…ae
jiya jale

——————————————
Malayalam lyrics translated in English
——————————————
First Malayalam Stanza
————————————
Give me a smile and lisp
Of kisses as sweet as grapes
O sweet and beautiful girl
Dance in the golden light
Like the golden anklets
Like the cooing cuckoo
Like the dancing peacock.
——————————–
Second Malayalam Stanza
——————————–
O kuruvani bird
Making noise(like kukuru kurukuru)
Swinging on the kunni tree
Is calling you after making the nest
Your lover is calling you again and again
Dance in the golden light
Like the golden anklets
Like the cooing cuckoo
Like the dancing peacock


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

Blog Day :

4038 Post No. : 15163 Movie Count :

4166

Naseeruddin Shah, in a chat with a newspaper journalist sometime in early 2014, had revealed that there were about 35 Hindi which have been completed in all respect but remained unreleased till that day. If the numbers are correct, it could be some sort of a dubious record for a Hindi film actor. But I am not surprised. Naseeruddin Shah has been mostly associated with the ‘parallel’ and the ‘middle of the road cinemas. And for such types of films, it is very difficult to get distributors to release the films.

Out of curiosity, I searched for the list of Naseeruddin Shah’s unreleased films on the internet but drew a blank. I could trace out names of his few unreleased films which included one untitled film directed by Mrinal Sen some time in 1970s, ‘Musaafir’ (1986) ‘Libaas’ (1988) directed by Gulzar, ‘Time Machine’ (1992) directed by Shekhar Kapoor, ‘Eelctric Moon’ (1992, English), ‘101 Days (1992), ‘Private Detective : Two Plus Two Plus One’ (1997), ‘The Coffin Maker’ (2013) ‘Chambal Safari’ (2014), ‘Company Ustaad’ (2014), ‘Mastaan’ (2014), ‘Thaak Jhaank’ (2016) etc.

From the above list, I found the film ‘Musaafir’ (1986) an interesting one for more than one reason. First, the film was directed by Dr. Jabbar Patel, an imminent Marathi theatre and film personality known for producing and directing classic Marathi dramas and ‘middle of the road’ Marathi films. This was Dr. Jabbar Patel’s first association with Hindi film as a director. Second, the film’s star cast included Rekha besides Naseeruddin Shah, Moon Moon Sen, Mohan Agashe, Usha Nadkarni and Pankaj Kapoor. Lastly, the songs were written by Gulzar which were set to music by R D Burman.

The film was based on a Marathi play ‘Ashi Pakhre Yeti’ (Aise Aaten Hain Panchhi or Here Comes the Birds) written by Vijay Tendulkar who wrote the film’s screen-play. Gulzar wrote the dialogues. The film was certified by the Censor Board sometime in 1984 but it could not get a theatrical release.

I searched for the film on the net but could not locate the DVD of the full film. Finally, I located the film which has been uploaded on YT in parts. From the quality of the video, I guess, the uploader has uploaded the video clips of the film ripping off from VHS tape. I also noticed that some parts of the film got repeated in the clips. So it was difficult for me to know as to the proper sequence of the story in the film. With these limitations, I give below a gist of the story of the film:

The story of the film can broadly be divided into two parts. In the first part, the story revolves around Naseeruddin Shah and Moon Moon Sen who have recently married and have been staying in a posh locality in Mumbai. While Naseeruddin Shah is a reserved type of man, Moon Moon Sen is an extrovert and tomboyish. She likes to spend the free time with her male friends. Being a daughter of a wealthy parents and convent educated, she has been brought up in a liberal environment.

Naseeruddin Shah resents his wife’s association with her male friends. But he is unable to tell so to his wife. He feels that if they start a family, perhaps she will have more time to spend with him than with her male friends. But his wife is afraid of child birth because of her earlier trauma of mis-carriage. His resentment inside him about his wife’s behaviour get worsen day by day. He has now become so paranoid that he starts suspecting his wife having an affair with one of her male friends (Benjamin Gilani) and fears that one day she would leave him. With these kinds of paranoid thoughts, he kills his wife by poisoning her and gets her admitted to a hospital in an unconscious state. After few hours of her admission, she dies. The doctors and police are waiting for the post-mortem report. Naseeruddin Shah decides to run away.

The second part of the story starts in a village in Kerala where after wandering all over India, Naseeruddin Shah decides to settle in a village in Kerala. Impulsively, he visits a house of a middle class family and introduces himself as one of the past students of a local school where he had studied during his childhood and where the patriarch of the family was a teacher. He gets this idea to introduce himself from the photographs displayed in the varandah of the house. With this, a comfort level between the family consisting of father (Mohan Agashe), mother (Usha Nadkarni), daughter (Rekha) and son (Pankaj Kapoor) and himself have been established. The family allows him to stay with them for few days.

During his stays, Naseeruddin Shah comes to know that all four of them suffer from different problems arising from lack of confidence. With his wits and persuasion, he changes their lives to make them confident. In the meanwhile, the parents are scouting for a groom for their daughter (Rekha). She is presented to the prospective groom who has come to see her with his family. The groom’s family approves of her but she rejects the groom as she has fallen in love with Naseeruddin Shah who has taken shelter in her house.

Naseeruddin Shah tries to bring the rejected groom and the bride together to discuss as to the reason for her rejection of him. In this process, Naseeruddin Shah comes to know that the Rekha has developed a soft corner for him. He decides to leave the house without the knowledge of the family. But Rekha comes to know of his plans and confronts him as to why he leaving the village. Naseeruddin Shah gives many excuses but Rekha is not convinced. Finally, he reveals that he is a murderer and the police forces are looking for him. Rekha still thinks that he is lying just to justify his leaving the village. Knowing that he is determined to leave, she tells him that she would not now stop him for leaving the village.

Naseeruddin Shah returns to his apartment in Mumbai where he used to stay with his wife. He is overwhelmed with the nostalgia. While standing in front of a mirror in his bedroom watching his own reflection, images of his wife and Rekha come. The faster interchanges of images in the mirror of Moon Moon Sen and Rekha make him emotionally unstable. He commits suicide by a gun shot at his own head.

The film has three melodious songs of which I have chosen to present the song ‘thhak gaya hoon mujhe sone do’ sung by Kishore Kumar. This song is played as a background song which comes in the film at a crucial stage. Naseeruddin Shah is running away from Mumbai after killing his wife. The song symbolises the transition from his Mumbai story to the next story in a Kerala village to start his life afresh.

The song is also available in studio recording version with somewhat different orchestrations with an additional antara. I like this version more than the film’s sound track version for its orchestration. From the studio version, one can notice that before Kishore Kumar starts singing, there is a faint voice (probably of R D Burman) saying ‘1, 2, 1, 2, ‘start’. After the second antara of singing, Kishore Kumar makes a mistake by repeating the second antara. There is a faint voice saying ‘cut’ and he stops singing. Some instructions to Kishore Kumar, probably from R D Burman in faint voice can be heard after which R D Burman repeats his part of singing and Kishore Kumar takes over his singing of third antara. In the lyrics given below, I have omitted the repeat portion.

It is a melancholic song in keeping with the situation in the film. Gulzar saab’s lyrics are simple but conveys the depressing situation in his trade-mark style. The tune is melodious and the orchestration is good in the context of the song.

Audio (Studio recording version)

Video

Song-O bahut raat huyi (Musaafir)(1986)(UR) Singers-Kishore Kumar, R D Burman, Lyrics-Gulzar, MD-R D Burman

Lyrics(Based on the studio recording version)

o bahut raat huyi
thhak gaya hoon
mujhe sone do
o bahut raat huyi
o chaand se keh do utar jaaye
bahut baat huyi
chaand se keh do utar jaaye
bahut baat huyi
thhak gaya hoon
mujhe sone do
o bahut raat huyi

zindagi ke sabhi raaste sard hain
zindagi ke sabhi raaste sard hain
ajnabi raat ke ajnabi dard hain
yaad se keh do guzar jaaye
bahut baat huyi
yaad se keh do guzar jaaye
bahut baat huyi
main thhak gaya hoon
mujhe sone do
o bahut raat huyi

aashiyaan ke liye chaar tinke bhi thhe
aasre raat ke aur din ke bhi thhe
dhoondhte thhe jise wo zara si zameen
aasmaan ke tale kho gayi hai kahin
dhoop se keh do utar jaaye
bahut baat huyi
dhoop se keh do utar jaaye
bahut baat huyi
main thhak gaya hoon
mujhe sone do
o bahut raat huyi

o maloya….aa
chalo dheere dheere
o maloya….aa
chalo dheere dheere

yaad aata nahin ab koi naam se
yaad aata nahin ab koi naam se
sab gharon ke diye bujh gaye shaam se
waqt se keh do guzar jaaye
bahut baat huyi
waqt se keh do guzar jaaye
bahut baat huyi
main thhak gaya hoon
mujhe sone do
o bahut raat huyi
main thhak gaya hoon
mujhe sone do
(o maloya….aa)
main thhak gaya hoon
(chalo dheere dheere)
main thhak gaya hoon
(o maloya….aa)
mujhe sone do
(chalo dheere dheere)


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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 more than 15300 song posts by now.

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

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