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

Posts Tagged ‘Hemant Kumar


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

Blog Day :

4224 Post No. : 15428 Movie Count :

4252

Hindi Songs from Bangla Films -17
——————————————————
Bengali film industry has given us many eminent film directors. If I list the names in chronological order, the first name that comes to my mind is Debaki Kumar Bose who had directed classic films like ‘Chandidas’ (1932), ‘Puran Bhagat’ (1933), ‘Vidyapati’ (1937), ‘Nartaki’ (1940) etc. Next in line is P C Barua known for classic films like ‘Devdas’ (1935). ‘Mukti’ (1937), ‘Jawaab’ (1942) etc. Then we have Nitin Bose, Phani Majumdar, Bimal Roy etc. In respect of parallel cinema, names of Satyajit Roy, Mrinal Sen, Ritwik Ghatak, Tapan Sinha, Rituparno Ghosh etc are well known not only in India but also internationally. This list is not exhaustive as their names came to my mind mainly because they were associated with Hindi films.

During the last few months, I have been selectively watching Bangla films on video sharing platforms. In this way, I became aware of some more directors for the first time. Among them, one of the directors whose film direction I liked is that of Ajoy Kar. I have seen his films like ‘Harano Sur’ (1957), ‘Saptapadi’ (1961), “Saat Paake Bandha’ (1963). I have also gone through the details of his other films on the net. His films are mostly based on unusual story line. Being a cinematographer himself, his films are full of some fine black and white photography. In fact, his photography ‘speaks’ dialogues for the actors on whom the shots have been framed. His four films have received National Film Awards for the best feature film/Certificates of Merit in Bengali film category.

Recently, I watched one more of his film, ‘Khelaghar’ (1959) which strengthened my view that Ajoy Kar was one of the greatest Bengali film directors whose name has, by and large, remained unknown to non-Bengali film audience. He had no occasion to direct any Hindi film although one of his Bangla film ’Saat Paake Bandha’ (1963) was remade in Hindi as ‘Kora Kaagaz’ (1974) with Anil Ganguly as director.

‘Khelaghar’ [1959 (Playhouse)] was a suspense film based on a patriotic theme of pre-independent India with more prominence to human relationship. The story was written by Salil Sen Gupta who also wrote dialogues for the film. The main cast consisted of Uttam Kumar, Mala Sinha, Chhabi Biswas, Asit Baran, Salil Datta, Preeti Majumdar, Ashish Mukherjee, Khagen Pathak, Dhiraj Das etc. Hemant Kumar was the music director for the film.

The story in the film revolves around a revolutionary, Gautam Chatterjee (Uttam Kumar) and Ruchira (Mala Sinha), the daughter of the Police Insepctor Banerjee (Chhabi Biswas). The film starts with a scene in which revolutionary Gautam who has been awarded death sentence by hanging has escaped from the jail. After deceiving the police forces, he accidentally enters into a compound of the Police Inspector’s residence and climb the pipe leading to a bedroom where Ruchira is sleeping. He gags her and tells that to save his life, he is forced to do this act. After discarding his jail uniform and wearing Police Inspector’s casual dress, he leaves the house and remains elusive to the police.

In the meanwhile, Ruchira’s marriage has been fixed with a foreign-return boy against her wish but she agrees to the marriage to keep her father’s word. The prospective husband’s constant interference in her personal matters creates a rift between them and Ruchira avoids meeting him. Her father is bent upon marrying her with the boy despite Ruchira’s dislike for him. One day, after heated arguments with her father over her marriage, Ruchira runs away from home in the night. Her father sends his police to bring her back. In trying to dodge the police, Ruchira lands alone in a shady street where a group of goons try to catch up with her. A well-dressed person saves her from the goons. The person is none other than revolutionary Gautam who though recognises Ruchira, refrains from mentioning it while Ruchira fails to recognize him. Both introduce each other with their false names and background.

Having failed to convince Ruchira to go back to her home or take shelter in a women’s hostel, Gautam arranges for a small room for her stay with the help of his Hindi speaking associate (Asit Baran). In the meanwhile, the police forces are looking for Gautam. After getting a tip off from an informer, the police raid the house in which Ruchira is staying where Gautam has come on a visit. But his associate who has already got a wind of the police raid, makes both of them to escape from the back door. While Gautam knows that police had come to catch him, Ruchira thinks that her father had sent the police force to take her back home.

After this incidence, Gautam’s associates suggest him to leave Ruchira as the risk to his life by associating himself with a daughter of the Police Inspector is very high. They also think that she could be a mole from the police to catch him. But Gautam rejects the proposals and arranges her stay in a room of his associate’s house. Over a period of time, Ruchira starts liking Gautam who also likes her but he downplays his feeling towards her as he has no future for a settled life with noose around his neck already waiting.

While Gautam is having a meeting with his associates in an underground hideout, police forces raid the place. While trying to run away from the place, Gautam is hit by a bullet on his leg. Somehow, he escapes from the police dragnet and reaches to Ruchira who tends him. At this point, he tells her to return to her father’s home as he knew from the beginning that she was the daughter of Police Inspector, Banerjee. Later, she also comes to know from an old newspaper with his photo that the person who has helped her is none other than the revolutionary Gautam to whom the entire police force is looking to catch him. Guatam once again tries to persuade Ruchira by telling her that the last few days they spent together was like a playhouse on a sand which would be swept away by sea waves. But Ruchira remains firm on her decision not to leave him in this situation.

After few days, Inspector Banerjee is shocked to get the news from an informer that his daughter is looking after the injured Gautam in a house. He calls for police force and lead himself for a raid. He asks Gautam to surrender but Ruchira comes in his way and tells her father that he can take Gautam over her dead body. Nevertheless, Gautam surrenders and he is taken to the police station. Despite repeated plea from her father, Ruchira refuses to return home with him by telling that she would stay back in her husband’s house. Though she has not married to Guatam, her it was her intention to let her father know.

Now, here comes the suspense part of the film. Next day after the re-arrest of Gautam, a person surrenders in front of the Inspector Banerjee claiming that he is the real revolutionary Guatam Chatterjee and he would prove this only in the court. In the retrial of Gautam, the real Gautam Chatterjee reveals that the arrested person is Shantanu Roy (Uttam Kumar) who is not a member of the Revolutionary Group but a poet and musician in whose house the revolutionary group used to meet occasionally. During one such meeting in his house, the police raid led by Inspector Banerjee Shantanu Roy held the door until all the revolutionaries including Guatam Chatterjee escaped from the back door. Since Inspector Banerjee addressed Shantanu Roy as Gautam Chatterjee, this gave an idea to Shantanu Roy to impersonate himself as Gautam Chatterjee to save the real Gautam Chatterjee.

The court pronounced the judgement giving 2 years of rigorous infringement to Shantanu Roy for falsifying as Gautam Chatterjee and having link with the revolutionary group. The film ends with Shantanu Roy telling Ruchira that after all, the playhouse is going to remain true as it is the question of few months wait.

The film is a ‘must watch’ for its superb story telling direction, the excellent performances by the main actors and the sublime black and white photography. Most of the scenes have been shot in the night in keeping with the theme of the film. That Ajoy Kar took some excellent close-up shots of Mala Sinha and Uttam Kumar, speak a lot about their acting ability. I never felt bored in watching this film which has English sub-titles.

I found only one song listed in the film on various sites which is a Bengali song rendered by Hemant Kumar. I came to know about a short (of about 2 minutes) Hindi song only after watching the film which I am presenting with this article. The song is ‘kehti hai mujhko duniya deewaana nashe mein hai’ sung by Mohammed Rafi and picturised on Asit Baran in the role of an associate of the revolutionary Gautam in the film. Since his dialogues in the film are in Hindi, the song has to be in Hindi which is set to music by Hemant Kumar. Going by the credit titles of the film, the song is written by S H Bihari.

Actually, Asit Baran is acting as a drunkard to get into a room where he is secretly scheduled to meet Gautam. Since the duration of the song is less than 2 minutes, probably no gramophone record of the song was made. Luckily, the video clip of the song is available. There is another two- line Hindi song sung by Rafi and picturised on Asit Baran.

By the way, Asit Baran was a well known actor-singer and playback singer who has acted and sung in Hindi films like ‘Saugandh’ (1942), ‘Kashinath’ (1943), ‘Wapas’ (1943), ‘Wasiyatnama’ (1945), ‘Manzoor’ (1949), ‘Parineeta’ (1953), ‘Suhag Sindoor’ (1953 ), etc. But for the song under discussion, Rafi sang for him. The reason is that by 1953, Asit Baran’s voice had somewhat deteriorated. In the film ‘Suhaag Sindoor’ (1953), songs sung by Shailesh Mukherjee may have been picturised on Asit Baran who was the lead actor in the film.

Enjoy this lesser known Rafi song.

Video link:

Song-Kehti hai mujhko duniya deewaana nashe mein hai (Khelaghar)(1959) Singer-Rafi, Lyrics-S H Bihari, MD-Hemant Kumar

Lyrics

kehti hai mujhko duniya
deewaana nashe mein hai
ha ha ha
wah
nashe mein hai
meri nazar se dekho
zamaana nashe mein ha….i
kehti hai mujhko duniya
deewaana nashe mein hai
meri nazar se dekho
zamaana nashe mein hai
hic
nashe mein hai

bhookha koi gareeb jab
raahon mein gir pada
bhookha koi gareeb jab
raahon mein gir pada
duniya ne ye kaha ke
uthhaana nashe mein hai
kehti hai mujhko duniya
deewaana nashe mein hai
meri nazar se dekho
zamaana nashe mein hai

ik jaam aur de de
ho saaqi tera bhala
de de saaqi kya kami hai
ik jaam aur de de
ho saaqi tera bhala
aakhir tera deewaana hai
maana nashe mein hai
kehti hai mujhko duniya
deewaana nashe mein hai
meri nazar se dekho
zamaana nashe mein hai
hic
nashe mein…..


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

Blog Day : 4206 Post No. : 15396

Today 23rd January (2020) is the 123rd birth anniversary of one of the greatest ‘sons of this soil’, a great visionary, courageous and brave leader Subhash Chandra Bose.

On this occasion, today I am presenting a song from the ‘1966’ movie ‘Netaji Subhashchandra Bose-1966’.

If we look at the movies made on the life of Netaji Subhash Chandra Bose, we have the following movies represented on the blog so far.

SNo Movie Year of the movie
01 Pehla Aadmi 1950
02 Netaji Subhashchandra Bose 1966
03 Subhash Chandra 1978
04 Bose- The forgotten hero 2004

Other films inspired by Subhash Bose and INA are,

  1. ’Samadhi’ (1950) was inspired from Indian National Army and it had couple of patriotic songs too).
  2. ‘Ami Subhash Bolchi’ (2011) (Bangla) – a film about a social movement in Bengal inspired by the vision of Subhash Bose (something akin to ‘Lage Raho Munna Bhai’ (2006)).
  3. ‘Raag Desh’ (2017) – a film about the famous Red Fort trials in which the leading soldiers of INA, Colonel Prem Sahgal, Colonel Gurbaksh Singh Dhillon, and Major General Shah Nawaz Khan, were tried by the British Govt. for sedition and waging war against the British Empire. They were sentenced to deportation for life, but the public outcry in favor of these soldiers was so great that the British were forced to release all the defendants. The protest slogan of ‘Sehgal-Dhillon-Shah Nawaz’ became very popular amongst the masses.
  4. ‘Gumnaami’ (2019) – a film based on the Mukherjee Commission Hearings during 1999 to 2005, which investigated the question whether Subhash Bose had died in a plane crash in Taiwan (in 1946).

*(I would request our knowledgeable readers to correct and suggest if  there are any other movies that may have been missed above).

‘Netaji Subhash Chandra Bose’ was directed by Hemen Gupta for ‘Adarshlok, Bombay’.

The cast of this movie included Abhi Bhattacharya, Jaimala, Bipin Gupta, Ulhas, Maxworth, Padma Devi, Niranjan Sharma, N.R. Madholkar, Leela Mishra, Rajeshwar Dayal, Sudarshan Sethi, Mouni Chatterjee, Kant Kumar, Paresh Kumar, Munshi Niyamatulla, Kishan Raj, Mohan Kaul, Jaisingh, Sawant, Kamal Kapoor, Moore, Vulga, Supariwala, Panna Kapoor, Harry, Pears and Kelli.

This movie had five songs penned by Kavi Pradeep and composed to music by Salil Chaudhary. Mohd Rafi, Manna Dey, Savita Bannerjee, Hemant Kumar had given their voices to the songs in this movie.

Three songs from this movie have been posted on the blog earlier. Today’s song is the fourth song from this movie to be posted on the blog. As per HFGK this song is sung by Mohd Rafi, Hemant Kumar and chorus.

As mentioned above lyrics are by Kavi Pradeep and music is by Salil Chaudhary.

Let us listen to this song and pay our tributes and salute to Netaji Subhash Chandra Bose and his contribution in the freedom struggle of India.


Song-Dushmanon Saavdhaan (Netaji Subhashchandra Bose)(1966) Singers-Rafi, Hemant Kumar, Lyrics-Kavi Pradeep, MD-Salil Chaudhary
Rafi + Hemant Kumar
Chorus

Lyrics

dushmanon
saavdhaan
shatruon
saavdhan
chal pade hai aaj
hind ke jawaan
sar pe baandh kar kafan
seena taan
chhod do
chhod do
chhod do o o
paapiyon hamaara hindustaan

dushmanon
saavdhaan
shatruon
saavdhan

chal pade hai aaj
hind ke jawaan
sar pe baandh kar kafan
seena taan
chhod do
chhod do
chhod do o o
paapiyon hamaara Hindustaan

dushmanon
saavdhaan
shatruon
saavdhan

jaa chukaa hai waqt
dagaabaaz tumhaara
ab na rahega
ye takht-o-taaj tumhaara
jaa chukaa hai waqt
dagaabaaz tumhaara
ab na rahega
ye takht-o-taaj tumhaara
dhool mein mil jaayega
ye raaj tumhaara
maut se muqaabla hai
aaj tumhaara
tumpe ham m m
tumpe ham girenge
vajr ke samaan
dushmanon
saavdhaan
shatruon
saavdhan

jhanjhanaa rahaa suno
akaash zaalimon
hoga ab tumhaara sarvnaash
zaalimon
jhanjhanaa rahaa suno
akaash zaalimon
hoga ab tumhaara sarvnaash
zaalimon
denge ham bichhaa
tumhaari laash zaalimon
kaal ban ke aaya hai
subhash zaalimon
ham chaley ae
ham chaley
hatheliyon pe leke jaan

dushmanon
saavdhaan
shatruon
saavdhan
chal pade hai aaj
hind ke jawaan
sar pe baandh kar kafan
seena taan
chhod do
chhod do
chhod do o o
paapiyon hamaara Hindustaan
dushmanon
saavdhaan
shatruon
saavdhan

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

——————————————

(lines* not included in above song)

ham ladenge tumse
jab talak hai dam mein dam
hamko apni pyaari Janmabhoomi ki qasam
ab nahin rukenge
ye badhte huye qadam
mar kar bhi kar jaayenge
aazaad Hind ham
mar kar bhi rakhenge
ham watan ki shaan
dushmanon
saavdhaan
shatruon
saavdhan

(*as mentioned in the complete lyrics of Kavi Pradeep in the book ‘Kavi Pradeep Ka Hindi Sahitya Mein Avdaan’ by Dr. Dinesh Chandra Awasthi)
—————————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————————–
दुश्मनों
सावधान
शत्रुओं
सावधान
चल पड़े है आज
हिन्द के जवान
सर पे बाँध कर कफ़न
सीना तान
छोड़ दो
छोड़ दो
छोड़ दो ओ ओ
पापियों हमारा हिंदुस्तान

दुश्मनों
सावधान
शत्रुओं
सावधान

चल पड़े है आज
हिन्द के जवान
सर पे बाँध कर कफ़न
सीना तान
छोड़ दो
छोड़ दो
छोड़ दो ओ ओ
पापियों हमारा हिंदुस्तान

दुश्मनों
सावधान
शत्रुओं
सावधान

जा चुका है वक़्त
दगाबाज़ तुम्हारा
अब न रहेगा
ये तख़्त ओ ताज तुम्हारा
जा चुका है वक़्त
दगाबाज़ तुम्हारा
अब न रहेगा
ये तख़्त ओ ताज तुम्हारा
धुल में मिल जाएगा
ये राज तुम्हारा
मौत से मुकाबला है
आज तुम्हारा
तुमपे हम म म
तुमपे हम गिरेंगे
वज्र के सामान
दुश्मनों
सावधान
शत्रुओं
सावधान

झनझना रहा सुनो
आकाश जालिमों
होगा अब तुम्हारा सर्वनाश
जालिमों
झनझना रहा सुनो
आकाश जालिमों
होगा अब तुम्हारा सर्वनाश
जालिमों
देंगे हम बिछा
तुम्हारी लाश जालिमों
काल बन के आया है
सुभाष जालिमों
हम चले ए
हम चले
हथेलियों पे लेके जान

दुश्मनों
सावधान
शत्रुओं
सावधान

चल पड़े है आज
हिन्द के जवान
सर पे बाँध कर कफ़न
सीना तान
छोड़ दो
छोड़ दो
छोड़ दो ओ ओ
पापियों हमारा हिंदुस्तान
दुश्मनों
सावधान
शत्रुओं
सावधान

ओ हो ओ ओ ओ ओ
ओ हो ओ ओ ओ ओ
ओ हो ओ ओ ओ ओ
ओ हो ओ ओ ओ ओ

(*पंक्तियाँ जो कवि प्रदीप के गीत में है और शायद यहाँ फिल्म में या रिकॉर्डिंग में शामिल नहीं की गयी)

हम लड़ेंगे तुमसे
जब तलक है दम में दम
हमको अपनी प्यारी जन्मभूमि कि क़सम
अब नहीं रुकेंगे
ये बढ़ते हुए क़दम
मर कर भी कर जायेंगे
आज़ाद हिन्द हम
मर कर भी रखेंगे
हम वतन की शान
दुश्मनों
सावधान
शत्रुओं
सावधान


This article is written by Sadanand Kamath, 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 :

4171 Post No. : 15345 Movie Count :

4230

Hindi Songs in Bangla Films – 13
– – – – – – – – – – – – – – – – – –

‘Monihar’ (‘Jeweled Neckless’, 1966, Bangla film) was directed by Salil Sen. The main cast included Soumitra Chatterjee, Biswajeet, Sandhya Roy, Kamal Mitra, Pahadi Sanyal, Chhaya Devi etc. The film is available on a video sharing site with English sub-titles. The film belongs to the genre of the musical family drama and is about two brothers who share a cordial relationship yet there are misunderstandings regarding the financial matters as well as their likings for the same girl. Yet there is no villainous attitude towards each other. And this is the highlight of the film. This is one more among Bangla films which has got the theme of declining influence of aristocracy in Bengal during the British rule. The gist of the story of the film is as under:

Ajay (Soumitra Chatterjee) and Arun (Biswajeet) are two brothers belonging to an aristocratic family who stay with their widowed mother. The family’s financial position is not good. Except for a huge palace and some business ventures which are running at losses, they have almost nothing to indulge in aristocratic life style. Ajay being the elder, looks after the family business. He is also a good trained singer under the tutelage of an Ustad (Pahadi Sanyal). Arun, the younger one has gone to Calcutta (Kolkata) for higher study to become a doctor.

The mother, before her death, had taken an assurance from Ajay the he would look after Arun in the same way as she would have looked after him. She also hands over a ‘monihar’ (jeweled necklace) to Ajay for her prospective wife whenever he gets married as this has been passed over three generation to the eldest daughter-in-law in the family.

Due to losses in business, Ajay finds it difficult to meet the expenses of Arun. He takes loans from a moneylender who eyes his palace in case he fails to repay the loan. Over a period of time, he had to sell his investments in losses and also the family jewelries to repay the loan to the moneylender. Arun is aware of the financial conditions of the family but Ajay tells him to concentrate on his studies and leave the financial matters to him.

As a part of improving his financial position, Ajay takes to teaching music with a pseudo name, Kumar and one of the students is Bandana (Sandhya Roy) whom he likes for her good singing. But before that Bandana has met Arun in a picnic and both fall in love. All the three – Ajay, Arun and Bandana are unaware of these developments. In the meanwhile, due to his popularity as a singer and the music teacher, Ajay’s financial position improves.

During one of his occasional visits, Arun comes to know that Ajay has sold family assets without consulting him. But he is not aware that Ajay has sold them mainly to take care of Arun’s education. This create some misunderstanding between the two brothers. Also, during his musical training to Bandana, Kumar ( who in reality is Ajay) had given to her monihar as a token of his blessing. When Arun see Bandana with monihar, he thinks that Ajay has sold monihar to Kumar for raising money. The monihar also creates misunderstanding between Arun and Bandana as he thinks that Bandana loves Kumar.

In the meanwhile, Ajay is sick and also to avoid further misunderstanding with his younger brother, he transfers all his assets in the name of Arun and decides to leave the house forever. However, the call of his mother for the responsibility of Arun brings him back to his house. The explanations from Ajay and also from Bandana’s parents about the monihar, clear all misunderstandings and Arun gets married to Bandana.

‘Monihar’ (1966) had 9 songs of which one song was in Hindi. The highlight of remaining 8 Bengali songs was that Lata Mangeshkar sang for Sandhya Roy, Hemant Kumar sang for both Soumitra Chatterjee and Biswajeet. One dance song was sung by Suman Kalyanpur.

I am presenting the only Hindi song from the film ‘piya bin nis din roun saheli’. I was pleasantly surprised to find that this song was rendered by the great maestro Pankaj Mullick who lent his voice for Pahadi Sanyal in the film. In fact, the film starts with this song. I was under the impression that Pankaj Mullick had no occasion to sing filmy songs in Hindi after ‘Kasturi’ (1954). Probably, this song may be his last filmy song in Hindi. The song is available only on sound track and no gramophone record of the song seems to have been issued. Mp3 clip of the sound track of the song is now available on SAREGAMA for sale. The song was penned by Kaifi Azmi which was set to music by Hemant Kumar.

It is a lovely song. Pankaj Mullick sings in almost the same resonance as he used to sings in the 1940s.

Video Clip:

Audio Clip:

Song-Piya bin nis din roun saheli (Monihar)(Bangla)(1966) Singer-Pankaj Mullick, Lyrics-Kaifi Azmi, MD-Hemant Kumar

Lyrics

aa aa aa aa aa
piya bin nis din roun saheli
piya bin nis din roun saheli
piya bin nis din roun saheli
piya bin nis din roun saheli

o o o
mann ki paheli sab jag boojhe
mann ki paheli sab jag boojhe
kisko bujhhaaun tan ki paheli
piya bin nis din roun saheli

o o o
kajara ko tarase kaare naina
kajara ko tarase kaare naina
mehndi ko tarase gori hatheli
piya bin nis bin roun saheli

o o o
pi ko bulaaun dhoondhan jaaun
pi ko bulaaun dhoondhan jaaun
kaise bitaaye roun akeli
piya bin nis din roun saheli
piya bin nis din roun saheli ee ee ee


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 :

4150 Post No. : 15316 Movie Count :

4220

Hindi Songs in Bangla Films – 9
– – – – – – – – – – – – – – – – –

‘Shaap Mochan’ (1955, Bangla film) was based on a story of the same name written by the Bengali novelist Falguni Mukhopadhyay. The film was directed by Sudhir Mukherjee. The main actors in the film were Uttam Kumar, Suchitra Sen and Pahadi Sanyal. The film is available on-line for viewing without English sub-titles.

The film is about a musical family in which one of the forefathers had been cursed by a Guru that any one in his family who takes up singing would die prematurely or become invalid for insulting him for non-acceptance as Guru. Devendra (Pahadi Sanyal) became blind while taking up the singing as the career forcing him to give up the singing. Because of the curse, he gets the assurance from his younger brother, Mahendra (Uttam Kumar) that he would also not practice singing.

In order to sustain the family, Devendra sends his brother Mahendra to Kolkata to his friend for getting him a job. Mahendra stays with him who has a daughter, Madhuri (Suchitra Sen). During the course of their inter-action, Madhuri comes to know that Mahendra is a talented singer. She encourages him to become a singer. He reveals to her as to why he can not take up singing. However, Madhuri does not believe in the superstition.

It so happens that Mahendra remains unemployed which forces him to become a singer for earning. Over a period of time, he becomes a famous singer and earns good money in his profession. Madhuri and Mahendra fall in love. However, the curse falls on Mahendra and he becomes seriously ill. Madhuri tends him and gets him to fully recover from his serious illness. With this, the family’s superstitious belief in curse is broken. The film has a happy ending.

The film has 6 songs of which one song is in Hindi. That song is a bandish, ‘kaliyan sang karata rang raliyaan’ which is rendered by Pandit D V Paluskar in Raag Bahar as Chhota Khayal. The bandish was written by Kiniwaale Ram. Although Hemant Kumar has been accredited as the music director for all the six songs in the film, it is apparent that Pandit D V Paluskar had a say in the composition of the tune in Raag Bahar.

Earlier, I was under the impression that Pandit D V Paluskar sang as a playback singer in only one film – Baiju Baawra’ (1952). His jugalbandi song, aaj gaawat man mero jhoom ke, rendered with Ustad Amir Khan is par excellence among the Hindustani classical raag-based Hindi film songs. It was G N Joshi of HMV who had suggested to Naushad saab to take Ustad Amir Khan and Pandit D V Paluskar for this jugalbandi song. Naushad first approached Ustad Amir Khan who agreed to sing provided Pandit D V Paluskar was his ‘opponent’ and he would not mind losing in the jugalbandi to him. This showed the respect Pandit D V Paluskar commanded from his equally illustrious classical vocalist. Incidentally, both Ustad Amir Khan and Pandit D V Paluskar never sang this jugalbandi in their respective public concerts despite the demand from the audience.

Pandit D V Paluskar (28/05/1921 – 25/10/1955), the Hindustani classical vocalist rendered mostly khayal and tarana in his own style without attaching himself to the orthodox Gharanas. But experts in Hindustani classical music believe that his singing style was close to Gwalior Gharana. In the short span of 34 years of his life, he had become one of the foremost among the Hindistani classical vocalist. Those who had witnessed his concerts had observed that he was a classical vocalist with a difference – he sang for the common man blending the classical renditions with popular appeal. He also sang bhajans in Hindustani classical raags.

G N Joshi of HMV who was also an illustrious Hindustani classical vocalist and the music director had mentioned in one of his articles that Pandit D V Paluskar had a rare quality of recording any Hindustani classical raag within the disc space of about 3:25 minutes in 78 RPM gramophone records incorporating all the ‘alankars’ (ornamentations) that generally go with the Khayal type of renditions. Pandit D V Paluskar was also known for his exquisite aalaaps and taans which are evident in the bandish under discussion.

The bandish describes the spring season during which bees are flirting with new flower buds. Gardens are in full bloom. Peacocks are calling and koels are singing. Trees, laden with blossoms are waving in the breeze. Women are out in groups with buckets to bring water from the river. Overall, the scenarios gladden the heart of everyone.

I am not sure whether I have captured all the sargam in lyrics for the second half of the chhota khayal as Pandit ji’s rendition of sargam taan is very fast.

A more elaborate rendition ( nearly 15 minutes) of this bandish in Raag Bahar by Pandit D V Paluskar is now available on-line here which he had performed on All India Radio’s National Programme of Music sometime in early 1950s.

Video Clip:

Audio Clip:

Song-Kaliyan sang karta rang raliyaan(Shaap Mochan)(1955) Singer-Pt D V Paluskar, Lyrics-Kiniwaale Ram, MD-Hemant Kumar

Lyrics (Based on Video Clip)

aaa aaa aaa
aaa aaa aaa
aaa aaa aaa
aaa aaa aaa

kaliyan sang karta rang raliyaan
kaliyan sang karta rang raliyaan
bhanwar gunjaare phooli phulwaare
chahoon oar mor bole
koyal ki kook suni hook uthhi
kaliyan sang karta rang raliyaan
kaliyan sang karta
kaliyan sang karta
lehrat leharaata
sab birachhan mori
le naar gadhwaa bharan aayi
aaj baag mein pukaare
‘Kiniwaale Ram’ bole
har baar baar
kaliyan sang karata rang raliyaan

[dialogues in Bengali]

aaaaaaa aaa aaaaaaaaaa
aa aaaa aaaa aaaa aaaa
aaaaaaa aaa aaaaaaaaa
aaaaa aa aaaaaaa
kaliyan sang karata rang raliyaan
aa aaa aaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaaaa aaa aa
aaaaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaaa
aaaaa aa
kaliyan sang karata rang raliyaan
ae ae ae ae
kali……sang……
kaliyan sang karata rang raliyaan
kali eeeeeeeeeeeeeeeee ee ee ee…yan
kaliyan ee ee…yan….sang………..karata rang raliyaan
kaliyan sang karata rang raliyaan
aaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaa
kaliyan sang karata rang
aaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaa
aaaaaaa aa
kaliyan
kaliyan sang karata rang raliyaan
aaaaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaaa
aaaaaa aa
kaliyan sang karata rang raliyaan
kaliyan sang karata
aaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaa
kaliyan sang karata rang raliyaan
aaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaa
kaliyan sang karata rang raliyaan
kaliyan
aaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaaaa
kaliyan sang karata rang raliyaan
kaliyan sang
ga ma pa ni sa
ni dha sa ni dha ni sa ni s ani sa
kaliyan sang karata
ga ma pa ni sa ni dha
sa ri ga ri ri s ani ga ri sa
sa ni sa ma pa ga ma sa ni pa
ga ma pa ni sa
kaliyan sang karata rang raliyaan
ga ma pa ni sa sa sa dha
sa ri sa pa ni sa ma pa ni pa ga
ma ni pa ga ma pa ni sa
kaliyan sang karata rang raliyaan
kaliyan aa
kaliyan aa
kaliyan sang karata rang raliyaaaaaa…..aan


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 :

4144 Post No. : 15310 Movie Count :

4217

Hindi Songs in Bangla Films – 8
– – – – – – – – – – – – – – – – –

‘Aalor Pipasa’ (Thirst for Light) was a Bangla film released in January 1965. The film was directed by Tarun Majumdar. The film is available on-line with English sub-titles. The story of the film is about a courtesan (Sandhya Roy) who sacrifices her life for the betterment of her son. The entire story is depicted in the film by way of flash back when a senior doctor (Pahadi Sanyal) tells the story of the courtesan to his junior doctor (Asit Baran). The junior doctor happens to be the courtesan’s son.

Obviously, the story of the film revolves around Sandhya Roy and I must say that she has given an outstanding performance in the film. Hitherto, my knowledge about Sandhya Roy was limited to her Hindi films like ‘Asli Naqli’ (1962), ‘Pooja Ke Phool’ (1964), ‘Jaane Anjaane’ (1971) etc. But in Hindi films she had only secondary roles like Dev Anand’s ‘munhboli bahen’ (adoptive sister) in ‘Asli Naqli’ (1962) where she displays her combative but soft at heart attitudes. The song from the film laakh chupaao chhup na sakega was picturised on her.

In Bangla films, Sandhya Roy has been one of the prominent actresses who has been active in Bangla film industry for over 5 decades starting with lead roles and switching over to character roles. She has worked in more than 100 films. She is also in politics having successfully contested parliamentary election from Mednipur in 2014 on Trinamul Congress ticket.

Sandhya Roy (born 11/04/1941) was born in Nabadwip (West Bengal). However, her family belonged to Khulna (now in Bangla Desh) where her grand father was a landlord. In her childhood, she lost her parents. She was brought up by her maternal uncle at Khulna where she had her early education.

In 1957, Sandhya Roy returned to Kolkata and stayed with her sister. This was the beginning of her unexpected journey to Bangla films. While watching the shooting of the film ‘Mamlar Fol’ (1957), the director saw her and offered her a role in the crowd. Her first full-fledged film was ‘Antariksha’ (1957). After the success of this film, she started getting offers of lead roles in many Bangla films. She remained one of the leading actresses in Bangla films during 1960-80. During this period, she was paired with Biswajeet in about 20 films.

Sandhya Roy had her stint in Hindi films with ‘Asli Naqli’ (1962) which was followed by ‘Pooja Ke Phool’ (1964), ‘Raahgir’ (1969), ‘Jaane Anjaane’ (1971), Bandagi’ (1972) etc. The last Hindi film she acted was ‘Ek Anaar Sau Bimaar’ (2008). However, despite her good acting, she could not actively pursue her career in Hindi films.

From 1980s onward, Sandhya Roy continues to work in Bangla films as a character actress beside pursuing her political career.

Sandhya Roy married Tarun Majumdar, one of the leading directors of Bangla films who had also directed Hindi films, ‘Balika Badhu’ (1967) and ‘Raahgir’ (1969).

‘Aalor Pipasa’ (1965) had nine songs of which as many as 5 songs were Hindi semi-classical songs. This was to be expected since the story of the film revolves around a courtesan who entertains her clients by singing and dancing. The film also has a Sanskrit strotra (hymns) which has been rendered by Hemant Kumar as a background song when credit titles roll in the film.

In the film, Lata Mangeshkar sings two solos for Sandhya Roy of which I have selected the song ‘ghir aayi badariya piya naahi aaye’. The song has been written by Kaifi Azmi which has been set to music by Hemant Kumar.


Song-Ghir aayi badariya piya naahin aaye (Aalor Pipaasa)(Bangla)(1965) Singer-Lata, Lyrics-Kaifi Azmi, MD-Hemant Kumar

Lyrics

ghir aayi badariya piya naahin aaye
ghir aayi badariya piya naahi aaye
tan man jale mora birha sataaye
tan man jale mora birha sataaye
ghir aayi badariya piya naahin aaye

jaa jaa re badra tu pi ko manaa laa
jaa jaa re badra……aa aa aa aa aa
jaa jaa re badra tu pi ko manaa laa
pi ke bina mohe kachhu hi na bhaaye
pi ke bina mohe
pi ke bina mohe kachhu hi na bhaaye
ghir aayi badariya piya naahin aaye
ghir aayi badariya piya naahin aaye

jeewan hai pyaasa ankhiyaan hain pyaasi
jeewan hai pyaasa ankhiyaan hain pyaasi
jeewan hai pyaasa ankhiyaan hain pyaasi
megha re kaahe ko jhariya lagaaye
megha re kaahe ko
megha re kaahe ko jhariya lagaaye
ghir aayi badariya piya naahin aaye
tan man jale mora birha sataaye
ghir aayi badariya piya naahin aaye
ghir aayi badariya piya naahin aaye….ye ye


This article is written by Raja, 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 : 4116 Post No. : 15269

Here is that date again.

The 25th of October is a date that many Hindi film lovers, and lovers of shaayari, remember with some pain. For it was on the 25th of October 1980 that one of the tallest figures of the industry, and certainly of the world of poetry, bade farewell to us.

Sahir Ludhianvi.

I’m usually careful with my choice of adjectives, especially when using them in the superlative. But in the case of Sahir, I don’t have the slightest hesitation in saying “one of the tallest”. For he comfortably satisfies this criterion.

There have been more famous figures in the industry.

And there have certainly been more popular and liked figures in the industry. If anything, Sahir, with his uncompromising nature, and and ego and mood to match, wasn’t the easiest person to get along with.

And yet, when it comes to stature, that too in his particular field, Sahir was truly a giant.
Without belittling any of the others who also produced outstanding work in the form of lyrics, Sahir always seemed to be in a league of his own.

They say that an actor is not real – after all, it is his job to act. He is only putting on a show. Which is one reason Kishore Kumar preferred singing to acting. He felt a singer can put his heart and soul into a song, whereas an actor’s job is to pretend.

A lyricist goes a step further than even a singer.

While a singer can put his heart and soul into a song, he does not create it. He only renders it.

The text comes from the lyricist.

And therefore the lyricist has the best chance of putting his heart and soul into his creation. He talks to his audience through his lines. He can use his poetry as an outlet for his thoughts, his feelings, his joys and his frustrations.

And I feel no one did this better than Sahir.

With Sahir, what you saw was what you got.

Sahir was pretty much an open book in terms of his preferences, his likes and dislikes. Nothing duplicitous or fake about him. He had strong views on certain topics, and he had absolutely no qualms about expressing them.

He even got into trouble early in his life with the Government of Pakistan for this reason – and fled Lahore (and thus, Pakistan) to come to India in 1949.

Imagine if this had not happened. Imagine what might have been lost to us.

Whatever issues Indians might have with the Government of Pakistan, I thank the Pakistan Government, on behalf of all Indians, for creating an “enabling” environment for Sahir to move to India. 🙂

And Sahir never looked back.

From “thandi hawayen” (Naujawan-1951), the song that got him noticed, to “pal do pal ka saath hamaara” (The Burning Train-1980), one of the last films for which he wrote lyrics, Sahir was one of the most highly regarded lyricists of his time.

I remember saying this before. When Sahir passed away, I only knew his name as a lyricist. In those days, still a teenager, I had limited knowledge of song details. I’d know the song, and the singer. Yes, some chance I’d know the composer, but unless I’d listened carefully to the lyricist’s name while listening to it on radio, not much chance I’d know the lyricist. In those days, to be honest, I enjoyed songs without knowing whether it was a Majrooh or Sahir or Shailendra or Hasrat Jaipuri song.

With this limited knowledge, I read the obituary on Sahir in the Illustrated Weekly of India in 1980. It was a fairly long obituary, and naturally many of his songs were mentioned.

That was when it hit me.

Oh, “aage bhi jaane na tu” was Sahir’s?

And “ye raat ye chaandni phir kahaan”?

Oh, and “udey jab jab zulfen teri” also?

And “abhi na jao chhod kar”?

And “zindagi bhar nahin bhoolegi wo barsaat ki raat?”

And “tu Hindu banega na Musalmaan banega”?

Oh, and “jeevan ke safar mein raahi” also?

And “tadbeer se bigdi hui taqdeer bana le”?

There were many more – and each one was a song I knew, a classic. Yet, such was my pathetic knowledge at the time of who the lyricist was, that I never realized these were all Sahir.

At that time, if you’d asked me to mention a few Sahir songs, I’d have come up with Pyaasa and Kabhie Kabhie songs. These I always knew as Sahir songs. But I am ashamed now to think of how ignorant I otherwise was.

It was only at that moment I realized what a legend Sahir had been. And what the world had lost.

After that, I paid a lot more attention to the lyricist, while listening to songs.

And often it was Sahir.

Much later in life, I read that it was only on Sahir’s insistence that All India Radio itself started mentioning the name of the lyricist also, in its radio programmes.

It was not only the name of the lyricist, but also the lyrics themselves, that I started paying attention to.

And that is when I realized that Sahir’s lyrics were different.

They were deep, they conveyed an emotion that came from the heart – and often a strong emotion at that. They were not the “baith ja, baith gayi, khadi ho ja, khadi ho gayi” types.

If today lyrics are a very big, in fact the biggest, part of my love for a song, it is entirely due to Sahir. I listen to lyrics carefully today – no appreciation of a song is complete for me, without appreciating the lyrics.

Whether Sahir was writing romantic poetry (“abhi na jao chhod kar”) or mocking the government for its failures (“cheen-o-Arab hamaara”), whether he was lamenting the state of society (“jinhe naaz hai Hind par wo kahaan hain”), or trying to uplift those seemingly with no hope (“wo subah kabhi to aayegi”), whether he was exhorting the oppressed to fight for their rights (“ponchh kar ashq” , “na munh chhupa ke jiyo”), or showing a mirror to society about its treatment of women (“aurat ne janam diya mardon ko”), whether he was trying to promote communal harmony (“tu Hindu banega na Musalmaan banega”), or talking about the futility of war (“khuda-e-bartar”), every single time Sahir’s lyrics tugged at your heart strings.

Not just because the poetry was beautiful and the lyrics powerful (which they absolutely were), but because you could feel that every word was written with heart and soul. No wonder it went straight from Sahir’s heart to our hearts.

You could feel Sahir’s anguish and despair when he says “ye duniya agar mil bhi jaaye to kya hai”. Or his cynicism when he says “aasmaan pe hai khuda aur zameen pe hum, aajkal wo is taraf dekhta hai kam”.

At the same time, you could feel the romance in the air, with “tum agar saath dene ka waada karo” and “parbaton ke pedon par”. Just listen to poetry like “thehre thehre paani mein, geet sarsaraate hain….bheege bheege jhonkon mein, khushbuon ka deraa hai”. Waah!
And “abhi na jao chhod kar”, one of my alltime favourites, and surely one of the most perfect songs ever in every respect.

Sahir’s poetry for the hurt felt by the jilted lover was no less powerful. “Jaane wo kaise log the jinke pyaar ko pyaar milaa”. Or lines like “laut rahi hain meri sadaayen, deewaaron se sar takra ke….haath pakad kar chalne waale, ho gaye rukhsat haath chhuda ke (sad version of in hawaon mein)”. And of course, “chalo ek baar phir se ajnabi ban jaayen hum dono” with lines like “wo afsaana jisey anjaam tak laana na ho mumkin, usey ek khoobsoorat mod dekar chhodna achha”.

Then you have the Barsaat Ki Raat qawwalis. Roshan’s masterpiece “na to karwaan ki talaash hai” merging into “ye ishq ishq hai ishq ishq” is one of the greatest ever compositions in Hindi cinema, with Sahir’s contribution in lyrics being no less significant. With lines like “jo dawaa ke naam pe zeher do, us chaaraagar ki talaash hai”.

I can go on and on. Dharamputra, Taj Mahal, Aaj Aur Kal, Mujhe Jeene Do, Chitralekha, Kaajal, Waqt, Neel Kamal, Humraaz, Bahu Begum, Aadmi Aur Insaan. Each one with memorable lyrics. One of my favourites is “poochhe koi ki dard-e-wafaa kaun de gaya, raaton ko jaagne ki sazaa kaun de gaya…kehne se ho malaal, to hum kya jawaab dein….duniya kare sawaal, to hum kya jawaab dein”.

Although Sahir was less productive in the 70s, he still came up with poetry that reminded us of Sahir of yore. The 70s was a decade where poetry began steadily losing ground to more “chaalu” lyrics. Urdu also began losing ground in the process.

This was a development that Sahir could not prevent, but did leave him disillusioned. His “main pal do pal ka shaayar hoon” very correctly represents his then state of mind. He continued to write though, but mostly for the Chopra family’s films, for films like Karm, Trishul, Insaaf Ka Tarazu, Kaala Patthar and The Burning Train.

Since Sahir started as a poet, and moved into film song lyrics, the sense of poetry comes across strongly in his lyrics. Much like with Kaifi Azmi.

So much for Sahir’s poetry. No one can do justice to it in one article. I’ve barely scraped the surface.

But what really makes me put Sahir on a different pedestal altogether is not the QUALITY of his poetry, but the CONTENT of his poetry.

Clearly Sahir was a rebel, a non-conformist.

And his poetry often reflected this, since he wrote straight from the heart.

But importantly, he never shied away from expressing his views. He never tried to be politically correct. He showed society a mirror, whether society liked it or not. For example, his line “kaho ji tum kya kya khareedoge, yahaan to har cheez bikti hai” is a much underrated, but powerful, line, in my opinion.

Yes, he railed and ranted – whether it made a difference or not. “Samaj ko badal daalo” he wrote.

Today, 39 years after his death, we are still languishing with most of the ills that existed in Sahir’s time, and which he spoke against.

It is a sad commentary of our times that many of his laments feel just as relevant today as they felt then. Yes, “aurat ne janam diya mardon ko, mardon ne usey bazaar diya” and “tu Hindu banega na Musalmaan banega, insaan ki aulad hai insaan banega” are just as relevant in 2019, as they were in 1958-59.

If Sahir were alive today, he’d probably be writing just as strongly today as he wrote then. The issues haven’t gone, sadly only Sahir has.

That’s a sobering thought.

Now, let’s move on to the song for today.

It’s from the 1969 film, Paisa Ya Pyaar.

As has now become customary :-), the lyrics for this song have been sent to me by Avinashji.

I remember seeing this film as a young boy, but I don’t remember the story now. It was a remake of a Tamil film Panama Paasama, starring Gemini Ganesan and Saroja Devi, which was a pretty big hit at the time. In fact, the name Panama Paasama, translates in Hindi to Paisa Ya Pyaar.

I remember the song “Ber lo, ber lo” was a lift from the very popular “yelantha pazham yelantha pazham” song of Panama Paasama. 🙂

But today’s song is different. It is a typical Sahir song – Insaan ne paise ke liye.

Here, Sahir’s lament is about how money destroys relationships. He talks about how people lose everything, even their own self-respect, for money. He concludes by saying that love is the biggest wealth there is.

The song is sung by Hemant Kumar, music composed by Ravi.

Please do listen.

I’d like to end by saying that Sahir was wrong in one respect.

He wrote

“kal koi mujh ko yaad kare
kyon koi mujhko yaad kare
masroof zamaana mere liye
kyon waqt apna barbaad kare”

Sahir saab, I can only say you grossly underestimated our love and respect for you.

jo aapse mila hai, wo itna hai anmol
roz sunte hain, aap hi ke hum bol
aap ko bhool jaayen, ye mumkin nahin
aap ki yaad na aaye, aisa koi din nahin

Thank you SO MUCH for what you’ve given us, Sahir saab.

And, very importantly, for just being you.

Video

Audio

Song-Insaanon ne paise ke liye aapas ka pyaar mita daala (Paisa Ya Pyaar)(1969) Singer-Hemant Kumar, Lyrics-Sahir Ludhainvi, MD-Ravi

Lyrics (based on audio link) (Provided by Avinash Scrapwala)

Insaanon ne ae
Paise ke liye
Aapas ka pyaar mitaa daalaa
Insaanon ne ae
Paise ke liye
Aapas ka pyaar mitaa daalaa
Hanste baste ghar phoonk diye
Dharti ko narak banaa daalaa

Mitti se nikaala sone ko
Sone se banaaye mahal magar
Mitti se nikaala sone ko
Sone se banaaye mahal magar
Jazbaat ke naazuk rishton ko
Mitti ke taley dafnaa daalaa
Insaanon ne
Paise ke liye
Aapas ka pyaar mitaa daalaa

Deen aur dharam ko haar diya
Neki ko badi par waar diyaa
Deen aur dharam ko haar diya
Neki ko badi par waar diyaa
Mandir Masjid aur Girjon ko
Bankon ki bhent chadhaa daalaa
Insaanon ne
Paise ke liye
Aapas ka pyaar mitaa daalaa

Daulat ki hawas mein logon ne
Kya kya na kiya is duniya mein
Kya kya na kiya is duniya mein
Chaahat izzat mehnat gairat
Sabkaa neelaam uthhaa daalaa
Insaanon ne ae
Paise ke liye
Aapas ka pyaar mitaa daalaa

Pyaar apne jagah khud daulat hai
Ye baat na samjhi insaan ne
Pyaar apne jagah khud daulat hai
Ye baat na samjhi ee insaan ne
Kudrat ke banaayi daulat ka
Sikkon mein mol lagaa daalaa
Insaanon ne ae
Paise ke liye
Aapas ka pyaar mitaa daalaa

————————————————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
————————————————————–
इंसानों ने ए
पैसे के लिए
आपस का प्यार मिटा डाला
इंसानों ने ए
पैसे के लिए
आपस का प्यार मिटा डाला
हँसते बसते घर फूँक दिए
धरती को नरक बना डाला

मिटटी से निकाला सोने को
सोने से बनाए महल मगर
मिटटी से निकाला सोने को
सोने से बनाए महल मगर
जज़्बात के नाज़ुक रिश्तों को
मिटटी के तले दफना डाला
इंसानों ने
पैसे के लिए
आपस का प्यार मिटा डाला

दीन और धरम को हार दिया
नेकी को बदी पर वार दिया
दीन और धरम को हार दिया
नेकी को बदी पर वार दिया
मंदिर मस्जिद और गिरिजों को
बैंकों की भेंट चढ़ा डाला
इंसानों ने
पैसे के लिए
आपस का प्यार मिटा डाला

दौलत की हवस में लोगों ने
क्या क्या न किया इस दुनिया में
क्या क्या न किया इस दुनिया में
चाहत इज्ज़त मेहनत गैरत
सबका नीलाम उठा डाला
इंसानों ने ए
पैसे के लिए
आपस का प्यार मिटा डाला

प्यार अपने जहाँ खुद दौलत है
ये बात न समझी इंसान ने
प्यार अपने जहाँ खुद दौलत है
ये बात न समझी ई इंसान ने
कुदरत के बनायी दौलत का
सिक्कों में मोल लगा डाला
इंसानों ने ए
पैसे के लिए
आपस का प्यार मिटा डाला


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 : 4108 Post No. : 15259

Today’s song is a lovely duet by Lata and Hemant Kumar, from film Daaka-59. The film was made by Starland productions, Bombay for Hasmukh Kheda. The film was directed by Nanubhai Bhatt and the 6 songs of the film were written by Majrooh Sultanpuri (2 songs) and by Prem Dhawan (4 songs). Their music was composed by the King of Melody – Chitragupta. Dilip Dholakia was his assistant for this movie.

The cast of the film was Ashok Kumar, Nirupa Roy, Pran, Maruti, Smriti Biswas, Badri Pershad, Balam, Kesari, Kathana etc.etc. Songs of this film were recorded in 1956, but for reasons not known to us, the film was censored only in 1959 (25-11-1959). The length of the film was 12,698 feet and was in 14 reels.

Why I gave the details of the length and number of reels is that during the period of 50s, I remember how the films used to begin in the theatres. In Hyderabad city, once the show time was up, the theatre would be plunged in darkness and advertisements would start with slides or shorts. After this, usually there would be Indian News Reel or a Documentary of the Films Division. The Indian News reel was interesting and when some Cricket match was being played, here or abroad, some shots of the match would be shown. By this time, all the audience used to be in their seats. The first scene of the start of the main film was showing its Censor Certificate. It was at this time, when 99% audience used to read loudly in chorus, “14 Reels”, as if they had discovered some top secret ! Perhaps, it gave them an idea whether the film was a long one , normal or a short one.

Ashok Kumar (13-10-1911 to 10-12-2001) the Hero of this film, always surprised me. I wonder how much energy this man must have had. If you see his Career graph,it is most unusual. I am saying this because, normally an actor is at his best Performance level when he is young. As the age increases, his level diminishes and after a certain period, he is away from the Silver screen. In case of Ashok Kumar this is very different story. See the following chart and you will realise what I mean.

Period in years Aproximate Age No. of films done in the decade
Decade 1 (1936-1940 ) 25-30 years 12 (First film- Jeevan Naiya-1936)
Decade 2 (1941-1950 ) 30-40 years 23
Decade 3 (1951-1960) 40-50 years 55
Decade 4(1961-1970) 50-60 years 62
Decade 5(1971-1980) 60-70 years 85
Decade 6 (1981-1990) 70-80 years 60
Decade 7 (1991-1997 ) 81-86 years 13 (Last film- Aankhon mein tum ho-1997)

From 1936 to 1997 he acted in 310 films. That is a very long journey in films, of 61 years ! His first Heroine-Devikarani- was born in 1908 and the Heroine of his last film- Suman Ranganathan was born in 1974 ! He worked with Heroines from 4 generations (a film generation is counted as 15 years). Ashok Kumar ,in his career, paired with Devika Rani-she was 3 years elder to him in age- in 8 films, with Nalini Jayawant in 11 films and with Nirupa Roy in 21 films in 33 years’ period-from Bhai Bhai-56 to Dana Pani-89.

He had to sing his own songs. By that time the system of Playback had started, but actor singing his/her own songs also continued for some time. He sang 77 songs in 25 films. Effectively, his singing was halted by Mohd. Rafi, when he sang for Ashok Kumar in the film Saajan-47- a duet with Lalita Deulkar ( Humko tumhara hi aasra). After this Ashok Kumar sang one song each in film Chalti ka naam Gaadi-58, Aashirvad-68, Kangan-72, Khoobsurat-80 and finally in Shaukeen-82.

Look at his energy level in the above chart. As he grew up in age, his demand increased, he worked in more and more films till he was 86 year old. He was simply unique in this respect. May be Amitabh Bachhan is a match to him or even better than him because nowadays more films are made than before. I hope some contributor does this comparison in the same way.

When Ashok kumar started acting, he had a great problem. He did not know what to do with his hands. in all his early films, you will find him acting very awkwardly, because of this problem. When he acted in film Anjaan-41, this problem was solved. In this film he did a Doctor’s role, who is accused of a murder- which he did not commit. He had to be a detective to collect proof of his innocence and argue in the court also. During this period, he started smoking cigarettes and his ‘Hand’ problem was solved once for all. After this film, Ashok Kumar and his smoking became inseparable in every film ! (and also in private life) .

Ashok Kumar was one of those actors who did Natural acting in their films. Initially, that was not so, but after solving his ‘Hand’ problem in film Anjaan-41, he was one of the best such actor. Motilal, Sanjeev Kumar, Amol Palekar, Farooq Shaikh and Paresh Raval are some other names that came to my mind in this category.

For actress Smriti Biswas, film Daaka-59 was her last film. She quit films and married actor, director, producer and studio owner S D Narang.

Actress Smriti Biswas was born on 17-2-1932, in Calcutta in a middle class family. She was educated at home and she worked as child star in Bangla films, Sandhya and Dwandwa in the 1930s.

Hoping to make a better career, she shifted to Lahore. Here Pancholi studio gave her a break with the film Dhamkee-45. The film shooting started in 1943, but it was released in 1945. She got Raagini-45 in the same year. Its Director was Shanker Mehta. Two more of her films, viz Nek Dil-48 and Roop rekha-48 were also released there.

After Partition she returned to Calcutta. S.D.Narang, actor, producer and director also shifted to Calcutta along with her. He established his own Bengal National Studio and made Bangla and Hindi films with Smriti. Their ‘Ek Aurat’-48 was quite popular.

New Theatres cast Smriti in their film “Pehla Aadmi”-50 based on the story of Subhash Chandra Bose. It was directed by Bimal Roy. Both Smriti and Narang came down to Bombay. In the decade of 1950’s, she did about 21 films there. Daaka-59 was her last film. In 1960, she married S.D.Narang and retied from films, though she was still in demand. She has 2 sons. S.D.Narang died on 25-1-1986. She is in her 80s but enjoys life with family and friends.

Smriti Biswas did only about 27 films in her career, but her vivacious looks, sweet face and speaking style still reminds us of her roles.

Some of her more well known films are, Arab ka Saudagar-56, Bhai saheb-54, Lakhon mein ek-55, Samsheer-53, Aab e Hayat-55, Hum Safar-53 (opposite Dev Anand), Dilli ka Thug-58, Teen batti chaar Rasta-53, Baap re Baap-55 and Bhagam Bhag-56.

Recently I saw an article in Maharashtra Times of 14-4-2017. It was mentioned that She was living in a barely 500 square feet flat in Nashik, along with her two grown up, unmarried sons. All the property, Gold and money left by S D Narang was looted by other relatives and Smriti finds it difficult to pull on.

The Heroine of this film Nirupa Roy was a very unconventional actress of Hindi films. Her repertoire of roles was so varied that she could not be stamped with any one type of roles.

Nirupa Roy (4-1-1931 to 13-10-2004) was an enigma of Hindi Cinema. She has been a Heroine in 110 films,a mother in over 50 films,has been a Goddess in 50 Mythological films, a suffering wife in over 30 films and a Stunt girl in about 10 films.( I remember our Raja ji once said that it was difficult to imagine Nirupa Roy in any other dress than a Saree.) She sang Bhajans,romantic songs,Comedy songs,qawalis,sad songs and peasant folk songs on the screen.

She changed her Heroes like “Badalate huwe saathi”. She did 18 films with Trilok Kapoor ( 50-65), 12 films with Balraj Sahni ( 53-72), 16 films with P.Jairaj ( 53-78), and 21 films with Ashok Kumar ( 56-89). She was Amitabh’s mother in 12 films and a stunt Girl in 8 films. She even wrote a popular film song for film Samrat Chandragupta-58 ( Mujhe dekh chaand sharmaye – Lata).

Today’s song is a sweet duet of Lata and Hemant Kumar. Listening to some of their duets is a divine experience. Some of their duets like “yaad kiya dilne kahan ho tum”, “ye raat ye chandni phir kahan”, “gupchup gupchup pyar karen”, and ” Sanware salone aaye din bahar ke ” are some of the songs they made immortal in HFM. Lata’s voice never sounded sweeter with any other singer.

Today’s song is not as well known as the songs mentioned above, nevertheless this song has the hallmark of a Lata-Hemant Kumar duet song. It is a song that is best heard at night time- a “chhaayaageet” category song.


Song- Chaand ne kuchh kaha taaron ne kuchh suna (Daakaa)(1959) Singers- Hemant Kumar, Lata Mangeshkar, Lyrics- Prem Dhawan, MD- Chitragupta
Both

Lyrics

chaand ne kuchh kaha
taaron ne kuchh suna
baat hi baat mein jaane kya ho gaya
aankhen jhuk jhuk gayin
dhadkanen ruk gayin
kya bataaun mera dil kahaan kho gaya

chaand ne kuchh kaha taaron ne kuch suna
baat hi baat mein jaane kya ho gaya

hum to khud se hi nazren churaane lage
jaane kya soch kar muskuraane lage
hum to khud se hi nazren churaane lage
jaane kya soch kar muskuraane lage

ab to dil na kisi bhi bahaane lage
baat hi baat mein jaane kya ho gaya
aankhen jhuk jhuk gayin dhadkanen ruk gayin
kya bataaun mera dil kahaan kho gaya

raat aayi hai zulfen sanwaare huye
aankhon aankhon mein kya kya ishaare huye
raat aayi hai zulfen sanwaare huye
aankhon aankhon mein kya kya ishaare huye
bas hai itni khabar
hum tumhaare huye
baat hi baat mein jaane kya ho gaya

chaand ne kuchh kaha
taaron ne kuchh suna
baat hi baat mein jaane kya ho gaya


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 :

4083 Post No. : 15223

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Blog 10-Year Challenge (2009-19) – Song No. 45
——————————————————————————————

The date today 22 september 2019. It is a sunday.

Ten years ago, this date (22 september 2009) was a working day. I was in Nagpur, Maharashtra. Despite that day being a working day, I had covered as many as eight songs on that day. Posting six or more songs in a day used to be no big deal for me.

Here are the details of the eight songs that were covered on 22 september 2009.

Song (Movie title) Year Posting time Remarks
Aandhiyaan gham ki yoon chalin (Zeenat) 1945 1:29 All Songs covered on the blog
Wo marne se nahin darte (Shama Parwaana) 1954 2:19 All Songs covered on the blog
Bahaaye chaand ne aansoo (Lagan) 1955 5:00 TWO/out of Eight songs covered
Ritu aaye ritu jaaye (Hamdard) 1953 5:38 All Songs covered on the blog
Mujh ko tum jo mil gaye (Detective) 1958 7:10 Seven/out of Eight songs covered
Idhar to haath la pyaare (Aakhri Daao) 1958 7:59 All Songs covered on the blog
Bahaaron se poochho (Mera Ghar Mere Bachche) 1960 8:11 Five/out of Nine songs covered
Dharti 1970 8:34 All Songs covered on the blog

As can be noticed, I was awake till 2:19 AM after midnight and I had already posted two songs for the day. They I went back to sleep and woke up before 5 AM. Then I posted six more songs. The eights and final song for the day was posted at 8:24 AM !

Those were the days when I could post eight songs in a day by early morning ! What productivity ! 🙂

I hardly slept those days and that did not even affect my health. My wife, whenever she would join me would make adverse comments about my tendency to sleep less. Her persistent nagging may have finally borne fruit because these days I neither keep awake that late nor do I wake up so early. And I no longer post that many songs in a day. I actually wonder now how I was that motivated one decade ago.

By contrast from ten years ago, today (22 september 2019)I have so far posted just one post.

Here is the second song from the day, when it is already evening. This song is part of the blog ten year challenge. As can be seen from the table above, four out of eight movies have been YIPPEED by now. So only the remaining movies can be taken up for this ten year challenge.

The song taken up for this challenge is from “Lagan”(1955). This movie was produced by directed by O P Dutta for O P Films, Bombay. The movie had Nalini Jaiwant, Sajjan, Shammi, Randheer, Raj Mehra, Baby Naaz, Pappu, Om Prakash, Shamlal, Ram Avtar, Baij Sharma, Pt Iqbal, Shivrj, Uma Dutt, Parshuram, Kanwar Kesho etc , with guest appearance by David.

The song under discussion is the third song out of eight songs that this movie has.

The song is sung by Asha Bhonsle. Rajinder Krishan is the lyricisr. Music is composed by Hemant Kumar.

Only the audio of this song is available. The song appears to be a lullaby song. I request our knowledgeable readers to throw light on the picturisation of this song.

Lyrics of this song were sent to me by Avinash Scparwala.


Song-Chhaayi maayi chhaayi maayi aaja nindiya (Lagan)(1955) Singer-Asha Bhonsle, Lyrics-Rajinder Krishan, MD-Hemant Kumar

Lyrics(Provided by Avinash Scrapwala)

Chhaayi maayi
Chhaayi maayi
Aaja nindiya
Saat suron ka leke meethhaa baaja Nindiya
Chhaayi maayi
Chhaayi maayi
Aaja nindiya
Saat suron ka leke meethhaa baaja Nindiya
Aa
Aaja nindiya

Raat bajaaye dholki
Chham chham naache taare
Sote sote ajab tamaasha
Dekhe bachche saare
Raat bajaaye dholki
Chham chham naache taare
Sote sote ajab tamaasha
Dekhe bachche saare
Ghoom ghoom ke naache
Chandaa rajaa nindiya aa aa
Saat suron ka leke meethhaa baaja Nindiya
Chhaayi maayi
Chhaayi maayi
Aaja nindiya
Saat suron ka leke meethhaa baaja nindiya
Aa
Aaja nindiya

Bani dulhaniya chaandni
Taare bane baraati
Baithe baithe khoob udaaye
Halwaa aur bataashe
Bani dulhaniya chaandni
Taare bane baraati
Baithe baithe khoob udaaye
Halwaa aur bataashe
Bani dulhaniya chaandni
Taare bane baraati
Baithe baithe khoob udaaye
Halwaa aur bataashe
Tu bhi aa ke laddu peda
Khaaja nindiya
Saat suron ka leke meethhaa baaja nindiya
Chhaayi maayi
Chhaayi maayi
Aaja nindiya
Saat suron ka leke meethhaa baaja nindiya
Chhaayi maayi
Chhaayi maayi
Aaja nindiya
Saat suron ka leke meethhaa baaja nindiya
Aa aa
Aaja nindiya
Aa aaja nindiya
Aa aaja nindiya
Aa aaja nindiya

———————————
Devnagri Script lyrics (Provided by Avinash Scrapwala)
———————————-
छायी माई
छायी माई
आजा निंदिया
सात सुरों का लेके मीठा बाजा निंदिया
छायी माई
छायी माई
आजा निंदिया
सात सुरों का लेके मीठा बाजा निंदिया

आजा निंदिया

रात बजाये ढोलकी
छम छम नाचे तारे
सोते सोते अजब तमाशा
देखे बच्चे सारे
रात बजाये ढोलकी
छम छम नाचे तारे
सोते सोते अजब तमाशा
देखे बच्चे सारे
घूम घूम के नाचे
चन्दा राजा निंदिया आ आ
सात सुरों का लेके मीठा बाजा निंदिया
छायी माई
छायी माई
आजा निंदिया
सात सुरों का लेके मीठा बाजा निंदिया

आजा निंदिया

बनी दुल्हनिया चांदनी
तारे बने बाराती
बैठे बैठे खूब उडाये
हलवा और बताशे
बनी दुल्हनिया चांदनी
तारे बने बाराती
बैठे बैठे खूब उडाये
हलवा और बताशे
तू भी आ के लड्डू पेडा
खाजा निंदिया
सात सुरों का लेके मीठा बाजा निंदिया
छायी माई
छायी माई
आजा निंदिया
सात सुरों का लेके मीठा बाजा निंदिया
छायी माई
छायी माई
आजा निंदिया
सात सुरों का लेके मीठा बाजा निंदिया

आजा निंदिया
आ आजा निंदिया
आ आजा निंदिया
आ आजा निंदिया


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 :

4018 Post No. : 15128

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Blog 10-Year Challenge (2009-19) – Song No. 40
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Hullo to Atuldom

Today is a unique happy birthday date. It is not any celebrity’s birthday. It is the birthdate of our beloved blog Atul-song-a-day which has been nicknamed ASAD and all of its followers are called Atulites.

This is one blog which has brought together a lot of Hindi film music lovers from across the world. It must have started as a one-man’s passion for film music but has now become an addiction for a set of music lovers who are equally passionate about Hindi film music. People who have associated themselves with the blog are going to great lengths to find hitherto unheard songs, finding about the life-stories of those associated with those songs etc. We have our own in-house encyclopaedia who has put a lot of time into researching about long forgotten artists, singers, musicians, and also cleared confusion about artist who had same or similar names and were popular about the same period etc. We have an NRA (Non Resident Atulite) who has assigned Sudhir ji a job of finding movies of the 60s’ decade that were lost or forgotten and Sudhir ji has done a great job of finding at least 112 such movies with about 79 left and these may be really unavailable otherwise he would have dug them out too. In addition to this, he has an ongoing series of songs which were reused in movies and I am sure that will give us a minimum of 50 songs.

Sudhir ji and Arunkumar ji (the encyclopaedia) are just two examples of dedicated contributors. We have others whose craze for Hindi film music has been manifested in the form of reading through the “ancient” 😉 issues of Film-India magazine and sharing knowledge gathered from there with us on the blog. Then there is the case of two resident NRAs who collaborate to produce posts to remember their favourite Sahir on his birth and death anniversaries. Of course, one NRA is more active than the other who I expect will surface in the last week of July as the anniversary of his and our favourite Mohd. Rafi is coming up and his activity will continue on to first week of August. (Hope I am not proved wrong) Of course there are those contributors who surface on the really important celebratory occasion of the blogs’ 15000th post, Atulji’s personal 10000, and birthdays of their personal favourite singers Mukesh, Shamshad Begum etc. I must make special mention of the behind the scene contributor who sees to it that the links of songs posted are working links in addition to sending his farmaishes in the form of lyrics.  So Atuldom is a kingdom of a group with varied interests in HFM and who have their own way of making the blog a unique space in cyberland.

As far as my own film music addiction is concerned, I have mentioned many a times how this blog has affected my way of listening to songs. How I have learnt about the life and times of the singers, actors, music directors, and others associated with movie making. And the most important take-away from this blog is a whole new set of friends who are always in touch 24/7 and who receive my phone-calls with a smile (I can feel it in their “Hello”). But I had an altogether different experience the last time I called Sudhir ji; my “hullo Sudhir ji” was met by a good two minute of laughter, such is the camaraderie that he knew exactly what I was going to say. 😊

For all of the above a big thank you to the blog and the blog master Atul. It is only because Atul ji started the blog on 19th July 2008 that we can call ourselves Atulites or Atulwaasis, who are residents of Atuldom.

Exactly a year after it was born, Atulji posted six songs on 19th July 2009. These represented six movies: two from 1969, and one each of 1956, 1954, 1953 and 1949. Of the movies that these songs were from only one is left to be yyippeed!! That is ‘Sambandh’ of 1969. It has 5 songs posted on the blog, out of a possible 11 or 12 , the last being posted in October of 2011. That is a loooong time ago.

So, to take ‘Sambandh’ a step forward we re-visit it today. The movie was produced by Ram Mukherjee; directed by Ajoy Biswas; had Asha Bhonsle, Mahendra Kapoor, Mukesh, Hemant Kumar for playback singers for songs written by Kavi Pradeep and composed by OP Nayyar. Atul ji has said in one of the previous posts of the songs of this movie that this was an unusual combination- OP Nayyar setting Kavi Pradeep’s words to tune. This movie had Pradeep Kumar and Deb Mukherjee heading the cast which also had Anjana (this was her debut) Sulochana Latkar, Anita Dutt (looks like Anita Guha, must have been Dutt at that time), Achala Sachdev, Vijaya Chaudhary, Abhi Bhattacharya, Nana Palshikar, Leela Mishra, etc.

The synopsis as given on IMDB is:

Manav Chatterjee’s childhood is spent in a wealthy home where his father, Umakant, is an alcoholic, and his mother a simple housewife, who tries in vain to get his dad to give up on alcohol. This results in differences between his parents, leading to their separation, and him leaving the house to be with his mother. Manav grows up as a cynic, and this cynicism increases when he goes to live with a foster and a very wealthy family. He marries Hiralal’s daughter, Sandhya, and both love each other deeply. But things do not seem to go Manav’s way at all, as he is separated from Sandhya, and after several months finds out that Hirala is about to get Sandhya married – again. Now Manav has changed his name, and is being helped by an unknowing Umakant to try and salvage, what possibly remains, of the rest of this bitter and lonely life.

Here is the list of songs posted this-date-that-year as is the practice in the Ten-Year Challenge,

Gore Gore Mukhde Pe Gesoo Jo Chhaa Gaye Patanga

1949

Bujh Gaye Aasha Ke Diye…Badle Rang Jahaan Ke Shikast

1953

Dil Se Milaa Ke Dil Pyaar Kijiye Taxi Driver

1954

Dil Dil Se Milaakar Dekho Mem Sahib

1956

Apni Maata Ke Dulaare Bachche Sambandh

1969

Saathiyaan Nahin Jaana Ke Ji Na Lage Aaya Saawan Jhoom Ke

1969

Hindigeetmala.net (my personal HFGK) lists 12 songs for ‘Sambandh’ of which we have 5 on the blog. Of the twelve, six songs have Asha Bhonsle giving playback, one being a duet with Hemant Kumar. It is difficult to find videos of all the songs that are left to be posted, only audios are available on youtube. Another thing I found was almost all the songs were rather sombre or completely sad. Would love to see the movie to understand why the mood of the songs are so.  And as Atul ji has previously said this is a rather unusual OP Nayyar album with not one peppy number. So, choosing from what is available, here is the Hemant Kumar – Asha song which is a prayer and I would like to know on whom it was filmed.

HAPPY BIRTHDAY ASAD!!!!!
Thank you Atul ji for giving us ASAD.

There is still a lot of songs left in the ocean of HFM for us to find gems, pearls and corals.

P.S. after writing the post I ran through the movie to see who has lip synced the song. I found that the Hemant Kumar part is no where in the movie and Anita Dutt has lip-synced the Asha Bhonsle part.

Editor’s note-With this song, Hemant Kumar completes 200 songs in the blog as a playback singer.

 

Audio

Video

Song – Tum Ko To Karodon Saal Huye Batlaao Gagan Ghambhir  (Sambandh) (1969) Singer – Hemant Kumar, Asha Bhosle, Lyrics – Kavi Pradeep, MD – OP Nayyar

Lyrics

hey jagat pita parmatma
karo nirmal meri aatma
dukh haro dayalu
ab sukh do
sab avgun mere
karo kshama
parbhu karo Kshama
parbhu karo kshama
hey jagat pita parmatma

aaaa aaaaa
aaaa aaaaa

tumko to karodon saal huye
batlaao gagan gambhir
is pyaari pyaari duniya mein
kyun alag alag taqdeer
tumko to karodon saal huye
batlaao gagan gambhir
is pyaari pyaari duniya mein
kyun alag alag taqdeer

milte hain kisi ko bin maange hi moti
oo oo oo
koi maange lekin bheekh naseeb na hoti
oo oo oo
kya soch ke hai malik ne rachi
ye do rangi tasveer
is pyaari pyaari duniya mein
kyun alag alag taqdeer
tumko to karodon saal huye
batlaao gagan gambhir
is pyaari pyaari duniya mein
kyun alag alag taqdeer

kuch kismatwaale sukh se amrit peete
oo oo oo
kuch dil par rakh pathar jeewan jeete
oo oo oo
kahin mann panchhi aakaash ude
kahin paanv padi zanjeer
is pyaari pyaari duniya mein
kyun alag alag taqdeer
tumko to karodon saal huye
batlaao gagan gambhir
is pyaari pyaari duniya mein
kyun alag alag taqdeer

kyun alag alag taqdeer

kyun alag alag taqdeer

kyun alag alag taqdeer

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

हे जगत पिता परमात्मा
करो निर्मल मेरी आत्मा
दुख हरो दयालु
अब सुख दो
सब अवगुण मेरे करो क्षमा
प्रभु करो क्षमा
प्रभु करो क्षमा
हे जगत पिता परमात्मा

आss आsss
आss आsss

तुमको तो करोड़ों साल हुये
बतलाओ गगन गंभीर
इस प्यारी प्यारी दुनिया में
क्यों अलग अलग तक़दीर
तुमको तो करोड़ों साल हुये
बतलाओ गगन गंभीर
इस प्यारी प्यारी दुनिया में
क्यों अलग अलग तक़दीर

मिलते हैं किसी को बिन मांगे ही मोती
ओ ओ ओ
कोई मांगे भी तो भीख नसीब ना होती
ओ ओ ओ
क्या सोच के है मालिक ने रची
ये दो रंगी तस्वीर
इस प्यारी प्यारी दुनिया में
क्यों अलग अलग तक़दीर
तुमको तो करोड़ों साल हुये
बतलाओ गगन गंभीर
इस प्यारी प्यारी दुनिया में
क्यों अलग अलग तक़दीर

कुछ किस्मत वाले सुख से अमृत पीते
ओ ओ ओ
कुछ दिल पर रख कर पत्थर जीवन जीते
ओ ओ ओ
कहीं मन पंछी आकाश उड़े
कहीं पाँव पड़ी ज़ंजीर
इस प्यारी प्यारी दुनिया में
क्यों अलग अलग तक़दीर
तुमको तो करोड़ों साल हुये
बतलाओ गगन गंभीर
इस प्यारी प्यारी दुनिया में
क्यों अलग अलग तक़दीर

क्यों अलग अलग तक़दीर

क्यों अलग अलग तक़दीर

क्यों अलग अलग तक़दीर


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Blog Day : 4015 Post No. : 15122

“Fashion”(1957) was directed by Lekhraj Bhakri for Kuldip Pictures production, Bombay. The movie had Pradeep Kumar, Mala Sinha, Chandrashekhar, Manoj Kumar, Jabeen Jaleel,Sunder, Jabeen Jalil, Jagdish Sethi, Kammo, Leela Misra etc in it.

The movie had eight songs in it. Five songs have been covered in the past.

Here is the sixth song from “Fashion”(1957) to appear in the blog. The song is sung by Hemant Kumar and his wife Bela Mukherji. Bharat Vyas 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 the song. From the sounds of it, the song appears to be a “beggar” song to me, where the citizens of the nation are being called upon to use desi (including marrying Indians) not videshi. Craving for and using videshi items was considered “Fashion” those days, and that was almost considered an anti national act, as can be surmised from the lyrics of this song.


Song-Maati ko lajaana na (Fashion)(1957) Singers-Hemant Kumar, Bela Mukherji, Lyrics-Bharat Vyas, MD-Hemant Kumar
Both

Lyrics

bade bade toofaanon ke aage
kabhi nahin jo haaraa hai
naari ki taaqat par ab tak
zindaa desh tumhaaraa hai

maati ko lajaanaa naa
is maati ko lajaanaa naa
desh hai mahaan
iski shaan ko mitaanaa naa
maati ko lajaanaa naa
is maati ko lajaanaa naa
desh hai mahaan
is ki shaan ko mitaanaa naa
maati ko lajaanaa naa
is maati ko lajaanaa naa

bikhra hua yahaan Savitri kaa noor hai
Saavitri kaa noor hai
maati mein ramaa hua sitaaji kaa sindoor hai
is maati mein ramaa hua sitaaji kaa sindoor hai
sitaaji kaa sindoor hai
desh ke jawaanon
desh ke jawaanon
o fashion ke deewaanon
thhodi baat puraani maano
apni sej ko paraai naar se kabhi sajaanaa naa
maati ko lajaana naa
is maati ko lajaana na
desh hai mahaan
iski shaan ko mitaana na
maati ko lajaana naa
is maati ko lajaana na

galiyaan paraayi mein kyun khoyaa teraa dhyaan hai
kyun khoyaa teraa dhyaan hai
apni pujaaran kaa tu hi bhagvaan hai
apni pujaaran kaa tu hi bhagvaan hai
tu hi bhagvaan hai
raam hai tu uskaa aa
raam hai tu uskaa
ghanshyaam hai tu uskaa
chaaron dhaam hai tu uskaa
aisi naari ke jigar pe kataari tu chalaanaa naa
maati ko lajaanaa naa
is maati ko lajaanaa naa
desh hai mahaan
is ki shaan ko mitaanaa naa
maati ko lajaanaa naa
is maati ko lajaanaa naa


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 more than 15500 song posts by now.

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

Important Announcement

(© 2008 - 2020) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

15505

Number of movies covered in the blog

Movies with all their songs covered =1195
Total Number of movies covered =4273

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Active for more than 4000 days.

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