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

Posts Tagged ‘Indeewar


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

Blog Day :

4420 Post No. : 15829

Remembrance day of Kalyanji :
24th August :

Since yesterday, when I chanced upon “Dharmatma”(1975) in the “list of songs-moviewise”, I am in a fix. How to start this post !

Unbelievably, only two famous songs from ‘Dharmatma” are posted.
kya khoob lagti ho and

tere chehre mein wo jaadoo hai

Dharmatma had only 4 songs but all were quality songs. As a tribute to Kalyanji (of Kalyanji-Anandji duo) on his 20th death anniversary, I am presenting this song “meri galiyon se logon ki yaari badh gayi”, a duet by Lata Mangeshkar and Mahendra Kapoor. Indeevar is the lyricist.

I have seen this movie in the early 80’s at Belgaum. A lasting memory is of people throwing coins in the theatre, when the song ‘tere chehre mein woh jaadoo hai’ began. I have seen the movie one more time after that, on TV. So the impression is of that pristine scenery of locations in Afghanistan, the colourful and beautiful Hema Malini, those light romantic songs, which are light yet intense. This is, I think is the hall mark of Kalyanji-Anandji, not so much in the early phase of late 50’s but later movies, I find the compositions to be a bit more intense than what other music directors were making. They are basically in the mold of Shankar-Jaikishan, similar to Laxmikant-Pyarelal. But Kalyanji-Anandji’s compositions usually were intense and sharp, but fell short of going over the top. The music orchestration was sounded brighter, never dull. Take the songs of “Saraswati Chandra”, understated yet intense on emotion. Or the songs of ‘Jab jab phool khile”, it was like extreme emotion of a Madan Mohan’s and the unwillingness of SDB to cross a boundary. I think S D Burman crossed his own self-imposed boundaries only in “Pyaasa” and “Guide” to some extent. But that is another story.

This unique balance is visible in numerous songs they composed for Manoj Kumar’s films and Feroz Khan’s films too. Take “Purab paschim”’songs, they are a study in contrasting compositions, from “koyi jab tumhaara hriday tod de” to “purva suhaani aayi re….”. Through 70’s they were using a mix of male playback singers for singing for various camps and also actors, including Rajesh Khanna. For female songs, by and large they were faithful to Lata Mangeshkar.

I think the audio cassette I had of sad songs of Mukesh, had mostly Kalyanji-Anandji’s compositions. I will try and list them.
koyi jab tumhaara hriday tod de
Chaandi ki deewaar na todi
Mujhko iss raat ki tanhaayi mein aawaaz na do
Hum chhod chale hain mehfil ko
Main to ek khwaab hoon
Waqt karta jo wafaa
Mere toote huye dil se
Hamne tujhko pyaar kiya hai itna
Jis dil mein basa thha pyaar tera

Another thing to be noted here is that most of them are written by Indeewar. The Kalyanji-Anandi teaming with Indeewar was pretty consistent throughout, with few exceptions like “Kora Kaaghaz” and “Jab Jab Phool Khile”. By 1980’s they had also teamed up with Anjaan.

Coming back to the film ‘Dharmatma”, it could have been tacky and gone out of control. But Feroze Khan as director did manage to make this film a worthy adaptation of ‘The Godfather”. An indianised version couldn’t have been better than this in the 70’s. Clearly the outdoor location shots are fabulous and full of vibrant colour. Cinematography must have been one of the reasons for its popularity when released, the same year with the block buster like “Sholey”. Later on more technically slick movies could be made, but no one could quite capture the brilliance of the deserted sunny Afghanistan. The ‘buzkashi’ scenes were replicated in ‘Khuda Gawaah” later. It is also a fact that need for glorification and glamorization of nomadic tribes held sway over authentic portrayal of the tribal lifestyle of the region.

The song is a function song, where Hema Malini as ‘Reshma’ is dancing, more trying to make a statement and asserting her independence to both Feroz Khan and Danny Danzongpa.

I quote these lines from another song (waqt karta jo wafaa) by Indeevar :

ham bhi pyaase hain ye saaqi ko bataa bhi na sake
saamne jaam thaa aur jaam uthaa bhi na sake
kaash ham ghairat-e-mehfil ke na maare hote

Certainly, Reshma here has no such hang-ups 🙂 🙂

And Hema Malini as the gypsy girl is yet to be emulated by anyone. It is the magic of Cinema in Eastman colour. I want to say no more.

Audio:

Video :

Song-Meri galiyon se logon ki yaari badh gayi (Dharmatma)(1975)
Mahendra Kapoor, Lata Mangeshkar, Lyrics-Indeevar, MD-Kalyanji-Anandji
Chorus

Lyrics

Ae liyaa aaa aa
ae ae ae liyaa aa
zubaan zubaan par charche tere
gulshan gulshan mehkaa hai
teri jawaani ki yeh khushboo
saara ‘aalam behka hai
tu hi mera pyaar hai
tu hi meri bandagi
tu hi mera khwaab hai
tu hi meri zindagi
padaa jo tere
husn kaa saayaa
kaante khil gaye ban kar kaliyaan
zair-o-haram ko bhool gaye ham
jab se dekhi teri galiyaan

reshmaa aaaa
reshmaa aaaa
reshmaa aaaa
reshmaa aaaa
reshmaa aaaa

meri galiyon se
meri gliyon se logon ki yaari badh gayi
meri gliyon se
logon ki yaari badh gayi
sab ki nazron mein meri jawaani chadh gayi
koyi kahe dil le jaa
koyi kahe dil de jaa
koyi kahe dil le jaa
koyi kahe dil de jaa
tujh mein agar
himmat ho mujhe tu
le jaa le jaa le jaa
hoy qurbaan
le jaa aa
le jaa aa
le jaa aa
meri galiyon se
meri gliyon se logon ki yaari badh gayi
meri gliyon se

mujhe paa
sakegaa wohi ee
mera dil jis pe ho meherbaan aaan
mera dil jis pe ho meherbaan
aise paana nahin hai aasaan aan
pehle rakh le hatheli pe jaan
pehle rakh le hatheli pe jaan
kitne mere deewaane
tera kaanp na jaaye kalejaa
kitne mere deewaane
tera kaanp na jaaye kalejaa
tujh mein agar
himmat ho mujhe tu
le jaa le jaa le jaa
woy qurbaan
le jaa aa
le jaa aa
le jaa aa
meri galiyon se
meri gliyon se logon ki yaari badh gayi
meri gliyon se

ho oooo ooo
oooo ooooo
oooooooo

ho agar nibhaane ka dam mm
dil lagaane ka tab naam le ae
dil lagaane ka tab naam le
tu agar jawaan mard hai ae
haathh aa ke meraa thaam le ae
haathh aa ke meraa thaam le
honnthon ne tujhe daawat di
paighaam nazar ne bhejaa aa
honthon ne tujhe daawat di
paighaam nazar ne bhejaa aa
tujh mein agar
himmat ho mujhe tu
le jaa le jaa le jaa
qurbaan
le jaa aa
le jaa aa
le jaa aa
meri galiyon se
meri galiyon se logon ki yaari badh gayi
sab ki nazron mein meri jawaani chadh gayi


This article is written by Peevesie’s mom, 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 :

4410 Post No. : 15804 Movie Count :

4354

Hullo Atuldom

Today’s post is because of this song. This song reminded me how amused I used to be whenever I saw it.

Atulji has mentioned the starcast of “Tohfa”, the movie of which the above song is. He has mentioned that he felt the props comprising of saris was imaginative. If he had seen the movie he would have understood the reason for the ‘Sari’ prop. I am sure there will be some followers of the blog who have not seen the movie and definitely some followers would have seen. They will remember that in the scene preceding the song Jeetendra has gifted Jaya Prada a decent looking sari as he is appreciative of her way of taking care of his mother in his absence. She is in awe of him and when his mother asks her if she would like to be her daughter-in-law she fantasizes the song. Like I mentioned to my mother “ek saree mila toh itne saree khwaab mein aa gaye”; how typical!!!! (I had wanted to write all this in the comments that day, but reserved it for this post)

In all this Jeetendra has not been consulted by his mother (Urmila Bhatt). If she had, he would have told her that he was in love with another girl from the village. Now who is this other girl? She is Lalitha (Sridevi) who is also Janaki’s (Jaya Prada’s) sister. Janaki has been doing odd jobs around the village and helping out in households so that she can look after herself and her sister. Her only aim being that her sister should graduate and have a good life. Without knowing that Lalitha and Ram babu (Jeetendra) are already in love Janaki entrusts Rambabu with the responsibility of helping Lalitha with her studies. This gives them enough time to flirt and romance. One such meeting of Rambabu and Lalitha happens near a pond and he accidentally (may be on purpose too, don’t remember) kicks her Kalash (brass pot) into the water. The song that follows has numerous Kalash as prop. I am sure this idea was borrowed from the super-hit song of “Himmatwala” (1983).

Both these movies had many things in common.
(1) Music director was Bappi Lahiri. (2) Lyricist was Indeevar. (3) Hero was Jeetendra. (4) Both were made in South essentially as remakes of Telugu movies. (5) Both were directed by K. Raghavendra Rao: ‘Tohfa’ being a remake of his Telugu hit ‘Devatha’ released in 1982 & ‘Himmatwala’ remake of ‘Ooruki Monagadu’ a 1981 release. (6) Kadar Khan was the dialogue writer of both. (7) Asha Bhonsle, Lata Mangeshkar, Kishore Kumar and S P Balasubramaniam were the playback singers.

The only thing that I would love to find out is who was the choreographer for the two movies. These movies had some unique dance steps almost equivalent of Aerobics. That may be an explanation of why Jeetendra looked so fit in those movies. 😉

A post about either ‘Himmatwala’ or ‘Tohfa’ or any of the few 10-15 movies of that period that were made with Jeetu by these South Indian makers will be incomplete without mentioning one more common factor- the trio of Kadar Khan- Shakti Kapoor- Asrani in the supporting cast. Jeetu used to say that he used to like working in the southern industry setup as they were very organized and punctual in their working. That may also be an explanation to why so many of Jeetu’s contemporary actors also tried their luck down south with positive results.

This discussion about the South Indian film industry is getting a bit too long and I am missing the purpose of this post.

As I was writing I made a discovery:- “Himmatwala” is yet to make a debut on the blog. I couldn’t believe it and made a call to Atulji to confirm. Now I am in a fix, which song to have with this post. The song from “Tohfa” which I have described or its inspiration from “Himmawala”. And both songs feature the birthday girl under discussion. She was beautiful in both.

So here is wishing the beautiful Sridevi (13 august 1963- 24 feb 2018) was with us and turned 56 on 13 August 2020. Let us think of her with this colourful song that made her the darling of the audience. The purists may have run down the songs of this period but we must admire the effort and imagination in erecting a set with pots and cart wheels. Also I admire Sridevi that she has danced barefoot in what must have been scorching hot sand.


Song-Nainon mein sapna sapnon mein sajna (Himmatwaala)(1983) Singers-Lata, Kishore Kumar, Lyrics-Indeewar, MD-Bappi Lahiri
Chorus

Lyrics

taa thaiyaa taa thaiyaa ho o,
taa thaiyaa taa thaiyaa ho o
tum ta na na na
tum ta na na na
tum ta na na na
tum ta na na na
tum tana
tum tana
tum tana
tum tana
tum tana
tum tana
tum tana
tum tana

hooooo hoo hoo
hooooo ho ho hooo
nainon mein sapna
sapnon mein sajana
sajna pe dil aa gaya
kyun sajna pe dil aa gaya
nainon mein sapna
sapnon mein sajana
sajna pe dil aa gaya
kyun sajana pe dil aa gaya
kai albele dekhe
jawaani ke rele dekhe
haseenon ke mele dekhe
dil pe ae
hooo hooo
tu hi chha gaya aa
ho o
tu hi chha gaya
arre nainon mein sapna
sapnon mein sajani
sajani pe dil aa gaya
ke sajani pe dil aa gaya

taa thaiyaa taa thaiyaa ho o,
taa thaiyaa taa thaiyaa ho o

tu nahin aa main nahi
aa ab dil ek hai
do tan ek praan
do dil ek jaan
manzil ek hai
arre ang se aa ang mile
aa armaan khil gaye
purab paschim se
paschim purab se kaise mil gaye
pyaar ke zamaane mile
husn ke khazaane mile
jeene ke bahaane mile man mein ae
hooo hooo,
jo tu aa gaya
ho
jo tu aa gaya

nainon mein sapna
sapnon mein sajna
sajna pe dil aa gaya
kyun sajna pe dil aa gaya
arre nainon mein sapna
sapnon mein sajni
sajni pe dil aa gaya
ke sajni pe dil aa gaya

taa thaiyaa taa thaiyaa ho o,
taa thaiyaa taa thaiyaa ho o
tum ta na na na
tum ta na na na
tum ta na na na
tum ta na na na
tum tana
tum tana
tum tana
tum tana
tum tana

saanche mein aa
tere hi aa
main toh dhal gayi
tune toda hai
aisa moda hai
ho gayi main nayi
arre saanson mein
aa honthon pe
aa tera hi naam hai
lena dena hai kya mujhe duniya se
tujhse kaam hai
rangeen nazaare mile
toofaan mein kinaare mile
dil ke sahaare mile dil mein
hoo hoo
jo tu aa gaya
ho o
jo tu aa gaya

nainon mein sapna
sapnon mein sajna
sajna pe dil aa gaya
kyun sajna pe dil aa gaya
arre nainon mein sapna
sapnon mein sajni
sajni pe dil aa gaya
ke sajni pe dil aa gaya

kyun sajna pe dil aa gaya
ke sajni pe dil aa gaya
kyun sajna pe dil aa gaya
ho ho ho ho ho ho
ho ho ho ho ho ho
ho ho ho ho ho ho


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 :

4400 Post No. : 15782

Today (4 August 2020) is the 91st birth anniversary of Kishore Kumar (4 August 1929- 13 october 1987). And incidentally, today is the 4400th day for the blog !

Three articles from three regulars discussing Kishore Kumar have already appeared on the blog today. It is interesting to note that all the three regulars decided to discuss three songs from the decade of 1980s.

The golden era of HFM, which began in 1949, ended in 1980. People who lived through the golden era can notice a palpable lack of overall quality in HFM after 1980. There were quite a few reasons for that. I have given this matter some thought and I have come up with some interesting observations. I will use those observations some other time in some other article. Here I will mention it in brief that the golden era of HFM began when Indian classical base (melody based) was wedded with western classical base (symphony based). This marriage, which gave us the best of both the worlds, got dissolved in 1980. Western symphony was replaced by western cacophony while lyrics of the songs were dispensed with.

Another reason was gradual demise of the doyens of HFM maestroes. Shailendra (1966), Roshan (1968), Shakeel Badayuni (1970), Jaikishan (1971), Geeta Dutt (1972), Madan Mohan , Vasant Desai, S D Burman (all 1975), Mukesh (1976) and Rafi (1980) left the scene one after the other creating big voids. With the demise of Rafi on 31 july 1980, the HFM golden era literally ended.

If we still have a few songs worth listening to in 1980s, then they are invariably the creations of those who began their careers during the golden era and they had the musical wherewithals to create quality music. It was the old guard that kept creating good music in 1980s.

One will notice that majority of memorable songs of 1980s were sung by old guard, viz Lata Mangeshkar, Kishore Kumar and Asha Bhonsle. This state of affairs continued till late 1980s when Kishore Kumar died in 1987. R D Burman, who was sticking to Kishore Kumar confided in Amit Kumar that his music was unlikely to remain the same with the absence of Kishore Kumar.

Ironically, the music director who was the most responsible for the demise of HFM golden era, viz Bappi Lahiri, was also the music director who created the most number of memorable songs post 1980s. And no prizes for guessing who were the singers in these songs. When Bappi Lahiri was not creating forgettable (but saleable) disco numbers, he was also creating golden era quality songs with Lata Mangeshkar, Kishore Kumar and Asha Bhonsle.

Unlike the golden era hit songs, these 1980s era songs were light on lyrics, making them chaalu songs. Still, these songs became popular because the singers could carry off these songs with inane lyrics with aplomb.

There are several Bappi Lahiri chaalu songs that Kishore Kumar turned into timeless classics. Some examples are movies like “Namakhalaal”(1982), “Sharaabi”(1984), “Aaj Ka Arjun”(1990). Incidentally , all these songs had Amitabh Bachchan in lead roles.

Then there were Jeetendra starrers where the lyrics were of even more “Chaalu” variery. But Kishore Kumar turned even those songs into classics. In these songs he often had the company of Asha Bhonsle, who could be regarded as his female version among playback singers, as far as singing versatility was concerned.

As a tribute to Kishore Kumar, here is the title song of “Tohfa”(1984). This movie was produced by D Ramanaidu and directed by K Raghvendra Rao for Suresh Productions, Madras. This archtypical Madrasi movie (Hindi remake) of 1980s had Jeetendra, JayaPrada, Sridevi, Kadar Khan, Shakti Kapoor, Mohan Choti, Urmila Bhatt, Leela Mishra, Jagdeep, Aruna Irani, Jayshree T, Master Rinku etc in it, with friendly appearance by Asrani.

This song is sung by Asha Bhonsle and Kishore Kumar. Indeewar is the lyricist. Music is composed by Bappi Lahiri.

The song is picturised on Jayaprada and Jeetendra. They are seen prancing, with Saris of all varieties forming the background as well as the prop. Quite an imaginative picturisation.

And as observed earlier, the song on its own is nothing much to write home about. Still, this is one of those songs that had stood the test of time and it is still regarded as one of the popular songs of its era. Much of the credit for this has to go to the singers, viz Kishore Kumar and Asha Bhonsle.

Just like R D Burman’s music suffered after the demise of Kishore Kumar, bappi Lahiri’s music too failed to reach the same heights in the absence of Kishore Kumar’s vocals. It shows the calibre of Kishore Kumar’s singing abilities who with his Midas touch could convert a seemingly mediocre song into a timeless classic.

Personally, I found the music of 1980s bearably enjoyable, mainly because of songs like this. And unsurprisingly, most such songs had the voice of Kishore Kumar in them.

Enjoy this song. This song demostrates that one can act silly and it can be still enjoyable and fun for all concerned, provided you have the calibre to carry it off.

Video

Audio

Song-Pyaar ka tohfa tera bana hai jeewan mera (Tohfa)(1984) Singers-Asha Bhonsle, Kishore Kumar, Lyrics-Indeewar, MD-Bappi Lahiri

Lyrics

tohfa tohfa tohfa tohfa
laaya laaya laaya laaya
mere mere mere mere
dil pe chhaaya chhaaya chhaaya
pyaar ka tohfa tera
bana hai jeeean mera
pyaar ka tohfa tera
bana hai jeewan mera
dil ke sahaare maine pa liye ae
jeene ko aur kya chaahiye
ae ae ae ae ae ae ae ae
pyaar ka tohfa tera
bana hai jeewan mera
pyaar ka tohfa tera
bana hai jeewan mera
dil ke sahaare maine pa liye ae ae
jeene ko aur kya chaahiye
tohfa tohfa tohfa tohfa

laaya laaya laaya laaya

jaan ke bina jaise ho tan
tere bina main aise sajan
kasturi sa tera badan
mehki mehki phirti pavan

ho o
jaan ke bina jaise ho tan
tere bina main aise sajan
kasturi sa tera badan
mehki mehki phirti pavan
daude mere man ka hiran
chhoone ko yauvan tera
ta ta ta

pyaar ka tohfa tera
bana hai jeewan mera
dil ke sahaare maine pa liye ae
jeene ko aur kya chaahiye
ae ae ae ae ae ae ae ae
tohfa tohfa tohfa tohfa
laaya laaya laaya laaya

tohfa to bas ik naam hai
dil ka mere paighaam hai

saadi nahin tera pyaar hai
suhaagan ka ye singaar hai
tohfa to bas ik naam hai
dil ka mere paighaam hai

saadi nahin tera pyaar hai
suhaagan ka ye singaar hai
resham ke roop mein tan se mere
lipta hua man tera
ta ta ta
pyaar ka tohfa tera
bana hai jeewan mera
dil ke sahaare maine pa liye ae
jeene ko aur kya chaahiye ae ae ae ae
tohfa tohfa tohfa tohfa
laaya laaya laaya laaya


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 :

4393 Post No. : 15761

Screenplay is the first stage when a film is said to be born on paper. A screenplay writer translates the story/script from its literary form to an audio-visual presentation incorporating the ideas of the directors as to how each character is to be presented, the mood of the scenes, the surrounding environments, the stance of dialogue deliveries, the camera angles, lighting etc. Some screenplay writers also incorporate the dialogues. Directors like Satyajit Ray would write the screenplay in sketch form, visually presenting the scenes in each sheet of paper, something like what we used to see RK Laxman’s ‘You Said It’ in newspapers. In other words, screenplay is a complete document, representing a film in a paper format.

In a professional set-up, a director of the film would like to have with him a bound copy of the screenplay, a copy of which he would also handed over to each one of main actors, cinematographer, art director, sound engineer, choreographer, lyricists, music directors etc. before the film’s shooting commences. Some of the directors like Bimal Roy used to follow the system (as revealed by Dilip Kumar in an interview) while directors like Guru Dutt did not give much importance to this system as quite often, he used to make changes in the screenplay at the spur of the moment  while shooting (as revealed by Abrar Alvi in his book, ‘Ten Years With Guru Dutt’). In our office parlance, we can call screenplay as a manual of instructions for all those who are closely associated with the making of a particular film.

From the above description, it is apparent as to how important the role of screenplay writers have in the making of films. Unfortunately, most of the screenplay writers are ‘faceless’ in the sense that their faces seldom appear on the film magazines. It was Salim-Javed, the duo who, as a story, screenplay and dialogue writer, attained the status of stars during 1970s and early 80s and their faces became familiar to most of the cinema-lovers.

I am discussing in this article, one of the most prominent ‘faceless’ screenplay writers, an introvert who kept a low profile despite writing screenplays for many Hindi films for over 3 decades, which became popular. Some of his works attained the classic status such as ‘Parineeta’ (1953), ‘Devdas’ (1955), ‘Sujata’ (1959), ‘Bandini’ (1963), ‘Teesri Kasam’ (1966), ‘Abhiman’ (1971). He is the Bengali novelist and short-story writer, dancer, theatre actor and the director, Nabendu Ghosh who became a screenplay writer by default.

I came to know about Nabendu Ghosh for the first time about 3 years back when I was going through a book ‘Gulzar in Conversations with Nasreen Muni Kabir’ and Gulzar’s many interviews on the newspapers. In the book and the interviews, Gulzar gave credit to Nabendu Ghosh in shaping his career as a screenplay writer. I became interested in knowing him in details only when I came to know that he had made a statement as early as in 1945 that if at all he joined the film industry, it would be only under Bimal Roy. I found this statement surprising because in Bengali literary circle, he had already attained the status of a star writer due to popularity of his novels and short stories.

During the past few days, I have read books and interviews on Nabendu Ghosh given by his colleagues in the film industry, his own interview on Vividh Bharati and the extracts from his Bengali autobiography, ‘Eka Naukar Yatri’ (‘Traveler of the Lonely Boat’) translated in English by his daughter, Ratnottama Sengupta. On the basis of these sources, I have written his profile incorporating the important events in his life which is given below:

Nabendu Bhushan Ghosh (27/03/1916 – 15/12/2007) was born in Dhaka where he did his early schooling. The family shifted to Patna when his father, an advocate started practicing at the Patna High Court. Nabendu continued his secondary school in Patna and continued his college there completing MA in English literature. During his Patna days, Nabendu joined a local theatre group where he acted, mostly in the female role. He also learnt dancing at Uday Shankar’s Almora Cultural Centre.

Nabendu got a job in DIG’s office in Patna. However, during Quit India Movement, he wrote articles against the British rules. For this, he got warning from his sympathetic superiors from the office not to indulge in writing anti-British articles. Instead of heeding their advice, he preferred to resign from the job and shifted to Kolkata in 1944 where his life as a novelist and short story writers began. By the end of 1940s, Nabendu had became a star writer as his novels and short stories were very popular. During this period, he had written stories depicting almost every aspects of life in Bengal – the famine, the tram, the strike, the rationing, communal violence, partitions victims etc.

On a visit to Rajshahi (now in Bangla Desh) sometime in 1945, he watched a Bangla film ‘Udayer Pathe’ (1945) in a theatre. The film had influenced him so much that he took a vow that if he ever become a writer for the films, it would be for Bimal Roy, the director of the film. Probably, this was more like an emotional reaction to the film rather than his serious intention at that time. After a couple of years, Nabendu had a chance meeting with Bimal Roy in Kolkata who was impressed with writings. But it was not until 1951 when Ashok Kumar invited Bimal Roy to direct the film ‘Maa’ (1952) that Bimal Roy thought of taking Nabendu along with him.

Both for Bimal Roy and Nabendu Ghosh, the migration to Mumbai was not by choice but because of the compelling circumstances. With the creation of East Pakistan (now Bangla Desh), the markets for Bangla films and the Bangla novels and short stories had considerably dwindled thanks to the then East Pakistan Government’s policy of suppressing Bangla language in favour of Urdu. What was thought to be a temporary assignment in Mumbai in 1951 became a long creative association between Bimal Roy and Nabendu Ghosh from 1951 to 1966 as a screenplay writer in 9 films besides doing cameo roles in ‘Do Bhiga Zameen’ (1953) and ‘Sujata’ (1959).

During his 3 decades of association with Hindi films, Nabendu Ghosh wrote screenplay for a little over 30 films which included apart from Bimal Roy’s films mentioned above, films like ‘Aar Paar’ (1954), ‘Baadbaan’ (1954), ‘Milap’ (1955), ‘Detective’ (1958), ‘Teesri Kasam’ (1966), ‘Sharafat’ (1970), ‘Laal Pathar’ (1971), ‘Abhiman’ (1973), “Pratigya’ (1975), ‘Ganga Ki Saugandh’ (1978), ‘Krodhi’ (1981) etc. He also directed ‘Trishagni’ (1988) which gave him the National Film Award for the best debut director. Sometime in the middle of his filmy career, he had directed ‘Doctor Babu‘ (based on Phanishwarnath Renu’s story, ‘Maila Aanchal’) with Dharmendra and Jaya Bahaduri in the lead roles and RD Burman as the music director. When 70% of the film was canned, the producer of the film died leaving the film unfinished.

In 1995, he directed a television serial for Doordarshan, ‘Anmol Moti’ on Ashok Kumar. He directed Children Film Society’s ‘Netraheen Sakshi’ and for Ministry of Health, the film ‘Ladkiyaan’ (1997). He was a visiting faculty at FTII and conducted workshops on screenplay writing during 1967 to 1980. During his life time, Nabendu wrote 26 Bengali novels, 18 collections of Bengali short stories and his only English book – ‘Ashok Kumar – His Life and Times’.

Nabendu Ghosh passed away in Kolkata on December 15, 2007 at a ripe age of 91. Nabendu Ghosh’s last novel, ‘Kadam Kadam’ based on the experiences of character actor, Nazir Hussain in INA, was released during his birth centenary year 2016.

If we go through the list of the films for which Nabendu Ghosh wrote screenplays, it would be observed that most of the films were based on stories from literature. His screenplay writings were so powerful that even in respect of women displayed in the films as fallen from the grace from the eyes of the society, the cine audience loved those characters like Chandramukhi in ‘Devdas’ (1955), Kalyani in ‘Bandini’ (1963), Bijli in ‘Chanda Aur Bijli’ (1965), Hirabai in ‘Teesri Kasam’ (1966) and Chandni in ‘Sharafat’ (1970). Raj Kapoor had said after the release of ‘Teesri Kasam’ (1966) that Nabendu Ghosh’s screenplay brought in him the character of  ‘Hiraman’ more than that of Raj Kapoor.

Ratnottama Sengupta, the daughter of Nabendu Ghosh directed one-hour documentary film, ‘And They Made Classic Films’ on the bonding between Bimal Roy and her father based on his interviews. The film was shown at 23rd Kolkata International Film Festival, 2017. One of the interesting anecdotes which Ratnottama Sengupta narrated from the documentary film is –

“On the first day of shoot of ‘Devdas’ (1955), Dilip Kumar was in a tense mood walking up and down on the studio floor. When Nabendu Ghosh asked the reason, Dilip Kumar said that all three are sitting on his shoulders, referring to Pramathesh Barua who directed ‘Devdas’ (1935), KL Saigal who acted in it and Sarat Chandra Chattopadhyay who wrote the novel. She said that Nabendu Ghosh buried all three ghosts and painted a fresh picture of Devdas in his screen-play in such a way that even today when we talk of Devads, we think of Dilip Kumar.” [Quoted in an article by Anuj Kumar in ‘The Hindu’, January 5, 2018).

There were some pitfalls in Nabendu Ghosh’s filmy career also. He never got credit for writing screenplay for the film ‘Madhumati’ (1958). In fact, there is no mention of screenplay writer in the credit title of the film. When Guru Dutt selected one of his stories and wanted him to write screenplay for ‘Kaagaz Ke Phool’ (1959) on his story, Nabendu Ghosh declined by saying that he was busy with the screenplay of ‘Sujata’. He gave his story to Guru Dutt requesting him to get the screenplay written by someone else. When the film was released, Nabendu Ghosh was surprised to note that he was not credited in the film as a story writer while Abrar Alvi was duly credited as screenplay and dialogue writer.

‘Baadbaan’ (1954) for which Nabendu Ghosh wrote the screen-play, is regarded as a classic film though the film did not fare well at the box office. Vijay Anand who claimed in an interview at Satyajit Ray Film and Television Institute, Kolkata in 2003 that he had seen this film 10 times. He regards it as a piece of literature appearing on the screen. It was more of a screenplay writer’s triumph than the director.

I am presenting a song “Thukra Ke Teri Duniya Ko” from ‘Baadbaan’ (1954) which is rendered by Asha Bhosle. The song is written by Indeevar which is set to music by Timir Baran-S K Pal. In this song, Asha Bhosle seems to be trying to sing like Lata Mangeshkar, that too the way Lata has sung in ‘Anarkali’ (1953). Of course, this is my hunch.

Song – Thukra Ke Teri Duniya Ko (Baadbaan) (1954) Singer – Asha Bhosle, Lyrics – Indeewar, MD – Timir Baran, SK Pal

Lyrics

thukra ke teri duniya ko
chaahoon to kar doon choor
magar tere pyaar se hoon majboor
thukra ke teri duniya ko
chaahoon to kar doon choor
magar tere pyaar se hoon majboor
piya teri preet se hoon majboor
 
beh jaaye na teri duniya
aansoo na bahaaungi main
beh jaaye na teri duniya
aansoo na bahaaungi main
meri haaye na tujhko jalaa de
tere paas na aaungi main
mujhe dekhe na teri nazren
dekhe na teri nazren
ho jaaun itni door
magar tere pyaar se hoon majboor
piya teri preet se hoon majboor
 
baddua na dil de baithe
tujh ko na dosh doongi main
baddua na dil de baithe
tujh ko na dosh doongi main
taqdeer ke bair kiya hai
taqdeer se lad loongi main
main tod chalun
main tod chalun ek pal mein
tod chalun ek pal mein
duniya ka har dastoor
magar tere pyar se hoon majboor
piya teri preet se hoom majboor

thukra ke teri duniya ko
chaahun to kar doon choor
magar tere pyaar se hoon majboor
piya teri preet se hoon majboor

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

ठुकरा के तेरी दुनिया को
चाहूँ तो कर दूँ चूर
मगर तेरे प्यार से हूँ मजबूर
ठुकरा के तेरी दुनिया को
चाहूँ तो कर दूँ चूर
मगर तेरे प्यार से हूँ मजबूर
पिया तेरी प्रीत से हूँ मजबूर

बह जाये ना तेरी दुनिया
आंसूँ ना बहाऊँगी मैं
बह जाये ना तेरी दुनिया
आंसूँ ना बहाऊँगी मैं
मेरी हाए ना तुझको जला दे
तेरे पास ना आऊँगी मैं’
मुझे देखें ना तेरी नज़रें
देखें ना तेरी नज़रें
हो जाऊँ इतनी दूर
मगर तेरे प्यार से हूँ मजबूर
पिया तेरी प्रीत से हूँ मजबूर

बद्दुआ ना दिल दे बैठे
तुझको ना दोष दूँगी मैं
बद्दुआ ना दिल दे बैठे
तुझको ना दोष दूँगी मैं
तक़दीर ने बैर किया है
तक़दीर से लड़ लूँगी मैं’
मैं तोड़ चलूँ
मैं तोड़ चलूँ इक पल में
तोड़ चलूँ इक पल में
दुनिया का हर दस्तूर
मगर तेरे प्यार से हूँ मजबूर
पिया तेरी प्रीत से हूँ मजबूर

ठुकरा के तेरी दुनिया को
चाहूँ तो कर दूँ चूर
मगर तेरे प्यार से हूँ मजबूर
पिया तेरी प्रीत से हूँ मजबूर


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

Blog Day :

4390 Post No. : 15755

Yesterday, 24th July, was the 40th remembrance day of the ‘Mahanayak’, as he is fondly referred to by his fans and friends.

Uttam Kumar, was born as Arun Kumar Chatterji on 3rd September, 1926 in Calcutta (now Kolkata). After his schooling, he joined college, but was not able to complete his graduation. He joined the amateur stage drama group – Suhrid Samaj, which was owned by his extended joint family, Starting from humble beginnings in amateur theatre, he went on to become the most successful actor in Bengali cinema. He rode the waves of popularity and continued to be a beloved icon of Bangla cinema. He was still at the height of his professional career when he passed away all too soon at the age of 54, this day in 1980.

‘Bandi’ from 1978, is one of the short list of Hindi films that he appeared in. Here is a song from that film, a romantic duet that he performs with Sulakshana Pandit. The words of this song are written by Indeewar and the music is by Shyamal Mitra.

The lyrics of this song have been sent in by Peevesie’s Mom.

A song to honor the memory of the ‘Mahanayak’ -Uttam Kumar.

Song – Jisey Yaar Ka Sachcha Pyaar Miley  (Bandi) (1978) Singer – Kishore Kumar, Sulakshana Pandit, Lyrics – Indeewar, MD – Shyamal Mitra
Kishore Kumar + Sulakshana Pandit

Lyrics (Provided by Peevesie’s Mom)

jisey yaar ka sachcha pyaar miley
usey saare jahaan ki daulat kya
jisey yaar ka sachcha pyaar miley
usey saare jahaan ki daulat kya
teri aankhon mein chamke pyaar agar
heeron ki mujhko zaroorat kya
duniya mein jiska mol nahin
wo kya hai 
pyaar
pyaar
pyaar

tu jo saath ho 
dil ke paas ho
har gham hai gawaara
bharti nahin nigaah tera
kar ke nazaara
humraaz tu 
mera saaz tu
mere dil ka tu gehna
hai swarg se pyaara mujhe
teri baahon mein rehna
jab dekhoon main tujhko
lagta hai mujhko
rab ka hua deedar
jisey yaar ka sachcha pyaar miley
usey saare jahaan ki daulat kya
teri aankhon mein chamke pyaar agar
heeron ki mujhko zaroorat kya

tera sahaara 
main ban jaaun
mera sahaara tu ho
ang mila ke aise 
sang chaloon jaise
phool ke sang khusboo ho
tera sahaara 
main ban jaaun
mera sahaara tu ho
ang mila ke aise 
sang chaloon jaise
phool ke sang khusboo ho
tum jaise rakhoge waise rahungi
karti hun iqraar
jisey yaar ka sachcha pyaar miley
usey saare jahaan ki daulat kya
teri aankhon mein chamke pyaar agar
heeron ki mujhko zaroorat kya
duniya mein jiska mol nahin
wo kya hai 
pyaar
pyaar
pyaar

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

जिसे यार का सच्चा प्यार मिले
उसे सारे जहां की दौलत क्या
जिसे यार का सच्चा प्यार मिले
उसे सारे जहां की दौलत क्या
तेरी आँखों में चमके प्यार अगर
हीरों की मुझको ज़रूरत क्या
दुनिया में जिसका मोल नहीं
वो क्या है
प्यार
प्यार
प्यार

तू जो साथ हो
दिल के पास हो
हर ग़म है गवारा
भरती नहीं निगाह तेरा
करके इशारा
हमराज़ तू
मेरा साज़ तू
मेरे दिल का तू गहना
है स्वर्ग से प्यारा मुझे
तेरी बाहों में रहना
जब देखूँ मैं तुझको
लगता है मुझको
रब का हुआ दीदार
जिसे यार का सच्चा प्यार मिले
उसे सारे जहां की दौलत क्या
तेरी आँखों में चमके प्यार अगर
हीरों की मुझको ज़रूरत क्या

तेरा सहारा
मैं बन जाऊँ
मेरा सहारा तू हो
अंग मिला के ऐसे
संग चलूँ जैसे
फूल के संग खुशबू हो
तेरा सहारा
मैं बन जाऊँ
मेरा सहारा तू हो
अंग मिला के ऐसे
संग चलूँ जैसे
फूल के संग खुशबू हो
तुम जैसे रखोगे वैसे रहूँगी
करती हूँ इक़रार
जिसे यार का सच्चा प्यार मिले
उसे सारे जहां की दौलत क्या
तेरी आँखों में चमके प्यार अगर
हीरों की मुझको ज़रूरत क्या
दुनिया में जिसका मोल नहीं
वो क्या है
प्यार
प्यार
प्यार


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 :

4380 Post No. : 15725

‘Baadbaan’ (1954) was produced by Bombay Talkies Workers’ Industrial Society, the last-ditch efforts by the workers of The Bombay Talkies to keep the banner alive. The Bombay Talkies was on the verge of its closure when it faced the financial crunch following the failures of ‘Tamaasha’ (1952) and ‘Maa’ (1952) at the box office. ‘Baadbaan’ had star cast comprising of actors who were mostly the well-wisher of The Bombay Talkies. They included Ashok Kumar, Dev Anand, Meena Kumari, Usha Kiran, Jairaj, Leela Chitnis, Sheikh Mukhtar, Krishnakant, Bipin Gupta, Gope etc.

The film was majorly shot in Versova, (locals call it as ‘Vesave’), a fishing village at the outskirt of the then Bombay City. Among the names of the other crew members of the film mentioned here , is the name of Raja H Mura (Harishchandra Mura) as one of the Assistant Directors who assisted Phani Majumdar in the film. I came to know from a facebook upload of a print page concerning the film that Raja H Mura was a fisherman of Versova village near Andheri in Mumbai who also worked as a junior artist in films. It was Raja who made all the logistic arrangements for shootings in the Varsova village and also in the sea. Probably, with his experience of sailing in high sea, the shots involving the sailing of boats and their capsizing in the sea may have been supervised by Raja.

The name of Versova fishermen’s village took me back by over 6 decades. I recalled that I had accompanied my family members to Versova village sometime in mid-1950s to pay a social visit to one of our relatives who ran a grocery shop and a small restaurant in the village.  He was staying in one of the Portuguese types of house, almost similar to the ones I have seen later in Goa. The visit was a full of adventure. From Andheri railway station, we took a horse carriage which dropped us near Four Bungalows (or Seven Bungalows?). From this point, we had to walk through a narrow muddy path for about 15-20 minutes which passed through a swamp to reach the village. Now, Versova is an upscale locality in the suburb of Mumbai though a part of it still retains its old world village charm.

The print of ‘Baadbaan’ (1954) was lost in a studio fire along with some more films. So, the chances of watching this film in the future looks very bleak. Based on Encyclopaedia of Indian Cinema, the broad story of the film is as under:

Lalan (Jairaj), the village headman, leaves to warn fishermen about an impending storm but he goes missing during the storm followed by his wife Leela (Leela Chitnis). Their orphaned child who is left in the house is adopted by the District Magistrate, Choudhary (Bipin Gupta). The child grows up to become Naren (Dev Anand). Educated abroad, he is to wed Bina (Meena Kumari), the daughter of a family friend. Shankar (Ashok Kumar), Naren’s friend and Bina’s music teacher, is also in love with her but keeps his feeling to himself. The marriage of Naren with Bina is called off when Choudhary admits that Naren is the son of a fisherman, adopted by him.

With this background, Naren shifts to  his village where he decides to dedicate his life to the welfare of the fishermen. He starts an ice factory and the workers co-operative society. He falls in love with the village girl, Mohnia (Usha Kiran). In the meanwhile, seeing that Bina is very sad as she misses Naren, Choudhury agrees to her marriage with Naren. But she is unhappy about his rural activism. The death of his wife, Bina in a tragic circumstance leads Naren to be with his own people and also with Mohnia who shares his passion for improving the lots of fishermen in his village.

There are 7 songs in the film written by Indiwar (5) and Uddhav Kumar (2) of which two songs have already been covered in the blog. All songs were set to music by Timir Baran and SK Pal. I am presenting the third song of the film, “Har Roz Kaha, Har Roz Suna” sung by Geeta Dutt. The song is written by Indiwar under the music direction of Timir Baran and SK Pal. Going by the wordings of the song, I guess this song is picturised on Meena Kumari and the situation of the song could be after her marriage with Dev Anand is called off, she is in a sad state of mind.

It is a poignant song which surprisingly eluded the blog for so long.

Song – Har Roz Kaha Har Roz Suna (Baadbaan) (1954) Singer – Geeta Dutt, Lyrics – Indeewar, MD – Timir Baran – SK Pal

Lyrics

har roz kaha har roz suna
ek baat na poori ho paayi..ee
ho paayi
har roz kaha har roz suna
ek baat na poori ho paayi..ee
ho paayi
har roz kaha
 
dil de bhi chuke dil le bhi chuke
dil de bhi chuke dil le bhi chuke
saugaat na poori ho paayi..ee
ho paayi
har roz kaha
 
aakash mein jaise chaand badhaa
aakash mein jaise chaand badhaa
badhti hi gayi mann ki aasha
saagar chalka dhaara nikli
phir bhi ye jeevan hai pyaasa
chhaayi bhi ghata paani barsa
barsat na poori ho paayi..ee
ho paayi
har roz kaha
 
uthti hi rahi saagar mein lahar
uthti hi rahi saagar mein lahar
kuchh kam na huyi chaahat dil ki
paa kar bhi tumhen ye dil na bhara
kuchh aur badhi hasrat dil ki
shehnaai baji aur raat saji
baarat na poori ho paayi..ee
ho paayi
har roz kaha

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

हर रोज़ कहा
हर रोज़ सुना
एक बात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा
हर रोज़ सुना
एक बात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा

दिल दे भी चुके
दिल ले भी चुके
सौगात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा

आकाश में जैसे चाँद बढ़ा
आकाश में जैसे चाँद बढ़ा
बढ़ती ही गई मन की आशा
सागर छलका
धारा निकली
फिर भी ये जीवन है प्यासा
छाई भी घटा
पानी बरसा
बरसात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा

उठती ही रही सागर में लहर
उठती ही रही सागर में लहर
कुछ कम ना हुई चाहत दिल की
पा कर भी तुम्हें ये दिल ना भरा
कुछ और बढ़ी हसरत दिल की
शनहाई बजी
और रात सजी
बारात ना पूरी हो पाई॰॰ई
हो पाई
हर रोज़ कहा


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 :

4367 Post No. : 15696

Today (2 july 2020) is the 66th birth anniversary of Sayeed Mohammed Aziz-un-Nabi, better known as singer Mohammed Aziz (2 July 1954 – 27 November 2018).

I was under the impression that he made his debut as a playback singer in 1970s. I was mistaking him with Anwar, who began his career in 1970s. Mohammad Aziz made his debut as a playback singer in HFM in 1984. He shot to fame with “Main mard taange waala”, the title song of “Mard”(1985). He then sung some other memorable songs. One of them being “Mai se meena se na saaqi se”.

On the occasion of his birth anniversary, here is a song from “Aakhir Kyon”(1985). This song is sung by Md Aziz. Indeewar is the lyricist. Music is composed by Rajesh Roshan.

The song gets played on a radio / two in one while Rajesh Khanna and Smita Patil, playing an estranged couple, look on.

The lyrics of the song are quite inspirational. The lyrics makes this song a forgotten gem.

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

Video

Audio

Song-Ek andhera laakh sitaare (Aakhir Kyon)(1985) Singer-Md Aziz, Lyrics-Indeewar, MD-Rajesh Roshan

Lyrics

hmm hmm hmm hmm hmm hmm
hmm hmm
hmm hmm hmm

ek andheraa laakh sitaaare ae
ek niraasha laakh sahaare
sabse badi saugaat hai jeewan
naadaan hain jo jeewan se haare ae
ek andheraa laakh sitaaare ae
ek niraasha laakh sahaare
sabse badi ee saugaat hai jeewan
naadaan hai jo jeewan se haare ae
ek andheraa laakh sitaare ae ae

duniya ki ye bagiyaa aisi
jitney kaanten phool bhi utne
duniya ki ye ae ae bagiyaa aisi
jitney kaanten phool bhi utne
daaman mein khud aa jaayenge
jinki taraf tu haath pasaaare
ek andheraa laakh sitaare ae

beete huye kal ki khaatir tu
aanewaala kal mat khona
beete hue kal ki khaatir tu
aanewaala kal mat khona
jaane kaun kahaan se aakar
raahen teri phir se sanwaaare ae
ek andheraa laakh sitaare ae

dukh se agar pehchaan na ho to
kaisaa sukh aur kaisi khushiyaan
dukh se agar pehchaan na ho to
kaisaa sukh aur kaisi khushiyaan
toofaanon se lad kar hi to
lagte hain saahil kitne pyaaare ae
ek andheraa laakh sitaaare
ek niraasha laakh sahaaare
sabse badi saugaat hai jeewan
naadaan hain jo jeewan se haare ae
ek andheraa laakh sitaare ae ae ae

—————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
—————————————-
ह्म ह्म ह्म ह्म ह्म ह्म
ह्म ह्म ह्म ह्म ह्म …

एक अन्धेरा लाख सितारे ए
एक निराशा लाख सहारे
सबसे बड़ी सौगात है जीवन
नादाँ है जो जीवन से हारे ए
एक अन्धेरा लाख सितारे ए
एक निराशा लाख सहारे
सबसे बड़ी सौगात है जीवन
नादाँ है जो जीवन से हारे ए
एक अन्धेरा लाख सितारे ए ए

दुनिया की ये बगिया ऐसी
जितने कांटे फूल भी उतने
दुनिया की ये बगिया ऐसी
जितने कांटे फूल भी उतने
दामन में खुद आ जायेंगे
जिनकी तरफ तू हाथ पसारे
एक अन्धेरा लाख सितारे ए

बीते हुए कल की खातिर तू
आनेवाला कल मत खोना
बीते हुए कल की खातिर तू
आनेवाला कल मत खोना
जाने कौन कहाँ से आकर
राहें तेरी फिर से सँवारे ए
एक अन्धेरा लाख सितारे ए

दुःख से अगर पहचान न हो तो
कैसा सुख और कैसी खुशियाँ
दुःख से अगर पहचान न हो तो
कैसा सुख और कैसी खुशियाँ
तूफानों से लड़कर ही तो
लगते हैं साहिल कितने प्यारे ए
एक अन्धेरा लाख सितारे ए
एक निराशा लाख सहारे
सबसे बड़ी सौगात है जीवन
नादाँ है जो जीवन से हारे ए
एक अन्धेरा लाख सितारे ए ए ए


This article is written by Mahesh Mamadapur, 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 :

4353 Post No. : 15669

ना कजरे की धार
ना मोतियों के हार
ना कोई किया सिंगार 
फिर भी कितनी सुंदर हो
तुम कितनी सुन्दर हो

Yes, this song is from film ‘Mohra’ (1994). Ah but I am not bringing on the film version of the song.

This very song was earlier and originally sung by Mukesh in his inimitable voice in the sixties. The film for which he had sang never reached proper production stages. The song has since remained and gets counted amongst the many NFS that he sang. There are almost no details available about Mukesh version and hence this post will be quite short and devoid of any tables, histograms etc. 🙂

But then, I do not want to make the post too short either and so let me write something about the 1994 film which I have never seen. I am told it had a rather unexpected climax and so pondering if I should watch only the ending. 🙂

I consider myself qualified to write about the 1994 film as it is yet to make its debut on the blog which is quite surprising. There is a well-established wiki page of the movie on the net and I request interested readers to visit it for much of the details.

One of the apparent reasons as to why the song sung by Mukesh was included in the film could be probably because Viju Shah the music director of the film is the son of music director Kalyanji Virji Shah of composer duo Kalyanji Anandji. The lyric writer obviously remained Indeewar.

The film has 3-4 versions of the song sung by Pankaj Udhas and Sandhana Sargam.  All these years, I was under the impression that at least the romantic version was picturised on Raveena Tandon but it does not seem to be.

And, with such poor knowledge of “new films”, I am happy I seldom venture into this rather unfamiliar territory. I am sure more knowledgeable contributors will take up the film song and write in detail about the many versions.

As usual, I reached out to Shri Harish Raghuwanshi ji, the Surat based complier of Mukesh Geetkosh to see if I could get more details about the Mukesh version. He gave several leads such as searching the register where song was to be recorded, contacting any of the Kalyanji-Anandji’s orchestra team etc. He has also written to me stating that he has contacted Anandji, Indeewar, Mohnish Behl etc to get some leads but to no avail. All he remembers is the film being about Navagraha. I thank him for the continuous support and help I receive.

All these efforts of tracing the film that never took off being quite an ordeal, I decided to go ahead and represent this post on the blog. What is more important is that the complete song sung by Mukesh is available on several platforms and is a treat to listen.

Song – Na Kajre Ki Dhaar, Na Motiyon Ke Haar  (NFS-Mukesh) (1960s) Singer – Mukesh, Lyrics – Indiwar, MD – Kalyanji Anandji

Lyrics (Provided by Sudhir)

na kajre ki dhaar
na motiyon ke haar
na koi kiya singaar
phir bhi kitni sunder ho
tum kitni sunder ho

na kajre ki dhaar
na motiyon ke haar
na koi kiya singaar
phir bhi kitni sunder ho
tum kitni sunder ho

tu taazgi phoolon ki
kya saadgi ka kehna
tu taazgi phoolon ki
kya saadgi ka kehna
singaar tera yauwan
yauwan hi tera gehna
teri soorat jaise moorat
main dekhoon baar baar
na kajre ki dhaar
na motiyon ke haar
na koi kiya singaar
phir bhi kitni sunder ho
tum kitni sunder ho

tera ang sachcha sona
muskaan sachche moti
tera ang sachcha sona
muskaan sachche moti
tere honth hain madhushala
tu roop ki hai jyoti
ude khushboo jab chale tu
boley to bajey sitaar
na kajre ki dhaar
na motiyon ke haar
na koi kiya singaar
phir bhi kitni sunder ho
tum kitni sunder ho

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

ना कजरे की धार
ना मोतियों के हार
ना कोई किया सिंगार
फिर भी कितनी सुंदर हो
तुम कितनी सुंदर हो

ना कजरे की धार
ना मोतियों के हार
ना कोई किया सिंगार
फिर भी कितनी सुंदर हो
तुम कितनी सुंदर हो

तू ताज़गी फूलों की
क्या सादगी का कहना
तू ताज़गी फूलों की
क्या सादगी का कहना
सिंगार तेरा यौवन
यौवन ही तेरा गहना
तेरी सूरत जैसे मूरत
मैं देखूँ बार बार
ना कजरे की धार
ना मोतियों के हार
ना कोई किया सिंगार
फिर भी कितनी सुंदर हो
तुम कितनी सुंदर हो

तेरा अंग सच्चा सोना
मुस्कान सच्चे मोती
तेरा अंग सच्चा सोना
मुस्कान सच्चे मोती
तेरे होंठ हैं मधुशाला
तू रूप की है ज्योति
उड़े खुशबू जब चले तू
बोले तो बजे सितार
ना कजरे की धार
ना मोतियों के हार
ना कोई किया सिंगार
फिर भी कितनी सुंदर हो
तुम कितनी सुंदर हो


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: 4277 Post No.: 15512

“Ghulaam Begam Baadshah”(1956) was directed by Jugal Kishore for Niagra Films, Bombay. This “costume drama” movie had Sheila Ramani, Daljeet, Wazir Mohammad Khan, Altaf, Nishi, Sadiq, Paaras, Khairaati, Malika, R Nath, Jogendra, Prretam, Dilip Bamblahri, Wazid Ali, Bhanesh Kumar, Svivji Bhai, Chaand, Kamaldeep, Raj Puri, Prakash etc, with Johny Walker in guest appearance.

The movie had six songs. All songs were solo songs. Five different singers sang these six songs.

Two songs from the movie have been covered in the past.

Here is the third song from “Ghulaam Begam Baadshah”(1956) to appear in the blog. this song is sung by Geeta Dutt, who was the only singer to sing two songs in the movie. Other four songers got to sing one song each.

This song is penned by Indeewar. Music is composed by Sudeept.

PS-Sheila Ramani is the dancer, as ponted out by Prakashchandra, our inhouse face recongnition expert.

The song is picturised as a Rajdarbaar dance song. I am unable to identify the dancer. I request our knowledgeable readers to help identify her as well as the other actors seen in the picturisation.


Song-Dil se mere dil mila (Ghulaam Begam Baadshah)(1956) Singer-Geeta Dutt, Lyrics-Indeewar,MD- Sudeept

Lyrics

duniya
kya hai ae ae ae ae ae
dekh zara
o dilruba

dil se mere dil mila aa
aa dil se mere dil mila
dil se mere dil mila aa
aa dil se mere dil mila
chupke se kya jaadu kiya
nazron se kisne mujhe chhoo liya
chupke se kya jaadu kiya
nazron se kisne mujhe chhoo liya
guncha mere dil ka hans kar khila
guncha mere dil ka hans kar khila
dil se mere dil mila aa
aa dil se mere dil mila

lab pe hansi
dil mein khushi
doobi rahe masti mein ye zindagi
lab pe hansi
dil mein khushi
dubi rahe masti mein ye zindagi
ek jaam nazron se aisa pila
ek jaam nazron se aisa pila
dil se mere dil mila aa
aa dil se mere dil mila

kashti hoon main saahil hai tu
kehta hai dil meri manzil hai tu
kashti hoon main saahil hai tu
kehta hai dil meri manzil hai tu
ab toot bhi jaane de faasla
ab toot bhi jaane de faasla
dil se mere dil mila
aa dil se mere dil mila

marzi jahaan
le chal wahaan
tere liye thhukra doon donon jahaan
marzi jahaan
le chal wahaan
tere liye thhukra doon donon jahaan
duniya hai kya mujhko tu jab mila
duniya hai kya mujhko tu jab mila
dil se mere dil mila aa
aa dil se mere dil mila
dil se mere dil mila aa
aa dil se mere dil mila aa aa


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: 4259 Post No.: 15482

———————————————–
Blog 10-Year Challenge (2010-2020)-Song No. 12
———————————————–

“Sunahri Naagin”(1963) was directed by Babubhai Mistry. The movie had Mahipal, Helen, Anwar, Pratibha, Sapru, Ulhas, Kamal Mehra, Ajit, Habib, Shyam Kumar, Ragini, Bir Sakuja, K N Singh, Sulochana, Tun Tun etc in it.

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

Here are the details of the earlier songs covered in the blog:-

Song Posted On
Been na bajaana jaadu na jagaanaa (Sunahri Naagin) 12 march 2010
Tu hi tu hai main dekhaa karoon (Sunahri Naagin) 14 march 2010
Chhedoge mujhko agar jaan ke (Sunahri Naagin) 16 march 2010
Mil ke bhi ham mil na sake (Sunahri Naagin) 3 june 2010
Main to ho gayi re badnaam (Sunahri Naagin) 16 july 2018

As can be noticed, this movie made its debut in the blog on 12 march 2010. Next two songs from the movie were discussed on 14 march 2010 and 16 march 2010. So, a song from this movie was covered on this day ten years ago !

So the movie becomes a candidate for Blog Ten year challenge !

Ten years ago, the daily output of the blog was as low as it is in the present. Nowadays we are plodding along at barely one song a day. Those days, barely one song or two a day were often punctuated by spells of DOT days.

The reason for such slow output was that I was transferred from Jabalpur to Nagpur (in december 2009) and the entire process took upto end of february 2010. During this time I was living a nomad’s life and posting articles was a struggle.

Nevertheless, I was on the verge of settling down, and I had started to post two songs daily by March 2010. Following two songs were covered on this day ten years ago:-

Song Posted On
Chhedoge mujhko agar jaan ke (Sunahri Naagin)(1963) 16 march 2010
Dil le ke jaate ho kahaan(O Tera Kya Kehna)(1959) 16 march 2010

“O Tera Kya Kehna”(1959) has since been YIPPEED in the blog.

Today, as part of “Blog Ten Year Challenge”, here is a synchronised dance song from “Sunahri Naagin”(1963). The song is sung by Lata and Kamal Barot. Indeewar is the lyricist. Music is composed by Kalyanji Anandjui.

Resemblence of this song to “Hansta hua nooraani chehra” (Parasmani)(1963) is no coincidence. Both movies were directed by the same director (Babubhai Mistry) and written by the same screenplay writers (Pandit Madhur and Vishwanat Pandey). Both movies had Mahipal as the hero. This song in fact has the same tune. This song could be described as the equivalent song of “Hansta hua nooraani chehra” (Parasmani)(1963) in this movie. I am sure that Laxmikant Pyarelal were the composer of this tune (like that of “Parasmani”) as assistants to Kalyanji Anandji. Lyricist differs though. Here is in Indeewar. In “nooraani” song it was Asad Bhopali.

It is just a quirk of fate that “Hansta hua nooraani chehra” assumed cult status, while this song did not become that well known.

One of the dancers is Helen. I am unable to identify the other dancer. I request our knowledgeable readers to help identify the actors visible in the picturisation.

PS-Prakashchandra, our inhouse face recognition expert tells us that the dancers are Madhumati (Helen look alike) and Bela Bose. Occupants of the Raj darbaar throne are Anwar Hussain and Zeb Rahman (aka Preeti Bala).


Song-Yoon na akadiye yoon na bigadiye (Sunahri Naagin)(1963) Singers-Lata, Kamal Barot, Lyrics-Indeewar, MD-Kalyanji Anandji
Both

Lyrics

yoon na akadiye
yoon na bigadiye
naam bura takraar ka ho ho
kya jaane ho jaaye kisi se
koi pata nahin pyaar ka ho ho
yoon na akadiye
yooon na bigadiye ho ho
naam bura takraar ka ho ho
kya jaane kab ho jaaye kisi se
koi pata nahin pyaar ka ho ho
yoon na akadiye

chaahe jitna bacho
chaahe kitna daro
aji aankhon ka jaadu chalega
chaahe gussa karo chaahe shikwa karo
aji dil to kisi din jalega
aapka ye guroor koi kar dega choor
aapka ye guroor koi kar dega choor
hosh ud jaayega mere sarkaar ka
yoon na akadiye yoon na bigadiye
naam bura takraar ka ho ho
kya jaane kab ho jaaye kisi se
koi pata nahin pyaar ka ho ho
yoon na akadiye

laakh tan ke chalo
laakh ban ke chalo

nazren to mil ke rahengi
honth daabe raho chaahe kuchh na kaho
aji aankhen to sab kuchh kahengi
oonche sar jhuk gaye
kaafile ruk gaye
oonche sar jhuk gaye
kaafile ruk gaye
jaadu dekha nahin aji deedaar ka
yoon na akadiye
yoon na bigadiye
naam bura takraar ka ho ho
kya jaane kab ho jaaye kisi se
koi pata nahin pyaar ka ho ho
yoon na akadiye

aaj jiski ada nahin janchti zara
aji kal dil ko bhaane lagega
jiske haalaat par nahin karte nazar
aji pal bhar mein aane lagega
ye ajab hai jahaan sab hai mumkin yahaan
ye ajab hai jahaan sab hai mumkin yahaan
dil badalta hai pal bhar mein dildaar ka
yoon na akadiye yoon na bigadiye
naam bura takraar ka ho ho
kya jaane kab ho jaaye kisi se
koi pata nahin pyaar ka ho ho
yoon na akadiye


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 TWELVE years. This blog has over 15900 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

15909

Number of movies covered in the blog

Movies with all their songs covered =1220
Total Number of movies covered =4362

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