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

Posts Tagged ‘Jawed Akhtar


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 :

5242 Post No. : 17239 Movie Count :

4641

Pancham’s Music – Eighties (1981-1990) -9 (1989)
—————————————————————

Welcome all to this post covering Pancham’s music during the decade of eighties or 1981-1990.

This post comes after a long gap of almost five months.

In today’s post we move on to Pancham’s music in 1989.

Let us first take a look at the number of movies with music by R.D. Burman during the period from 1981 to 1988.

Sr.No. Year No. of movies with music by Pancham
01 1981 20
02 1982 15
03 1983 19
04 1984 17
05 1985 18
06 1986 07
07 1987 09
08 1988 06

In the year ‘1989’, six Hindi movies with music by R.D. Burman were released.

Here is the list of these movies.

Sno Movie Title Director Lyricist Date of Censor Certificate Status on the Blog
1 Aag Se Khelenge Bhaskar Shetty Anand Bakshi 30.08.1989
2 Bahuraani Manick Chatterjee Anjaan 18.12.1989
3 Dost K. Murali Mohan Rao Indeevar 23.06.1989
4 Joshile/Joshilay Sibte Hasan Rizvi Javed Akhtar 10.01.1989
5 Jurrat David Dhawan Anand Bakshi 12.12.1989 1 of 6 songs posted
6 Parindaa Vidhu Vinod Chopra Khursheed Hallauri 31.08.1989 4 of 7 songs posted

For today’s presentation I have selected a song from the movie ‘Joshilay’.

“Joshilay-1989” was directed by Sibte Hasan Rizvi for ‘New World Enterprises’. It had Sunny Deol, Anil Kapoor, Sridevi, Meenakshi Sheshadri, Kulbhushan Kharbanda, Satyen Kappu, Alok Nath, Prema Narayan, Rajesh Puri, Rama Vij, Bharat Bhushan and Master Jatin Khurana, Harjeet Walia, Hanif, Agarwal, Bhiku Verma, Jaspal Singh Sandhu, Hemant Mishra, K.L. Shetty, Deepak Kejriwal, Satish Kaushik, Kumud Tripathi, Ashok Sharma, Ami Asthana, Ravi Shastri, Mahendra, Arvind, Deep Dhillon.

This movie introduced Rajesh Vivek as ‘Jogi Thakur’.

Story, screenplay and dialogues of this movie were written by Javed Akhtar.

Editing of this movie was done by I.M. Kunnu.

Javed Akhtar also wrote the lyrics of the songs in this movie. As mentioned above music of this movie was composed by R.D. Burman.

“Joshilay” or “Joshile” was passed by Censor Board on 10.01.1989.

This movie has five songs as per details given below. (Though, the LP Vinyl cover of this movie mentions the following six soundtracks. It mentions the song ‘na jaa jaane jaa’ two times, but it is not clear if these are two different versions.)

SNo Song Title Singer
01 Na jaa jaane jaa Asha Bhonsle, R.D. Burman
02 Dhar dham chak lag gayi Asha Bhonsle
03 Joshilay shahzaade hain Kishore Kumar
04 Dhak dhak jiyaa kare Asha Bhonsle, Usha Mangeshkar
05 Dhola dhol manjira baaje re Asha Bhonsle, Suresh Wadkar
06 Na jaa jaane jaa Asha Bhonsle, R.D. Burman

As we can see in the above table Kishore Kumar, R.D. Burman, Asha Bhonsle, Suresh Wadkar and Usha Mangeshkar had given their voices to the songs in this movie. (The title of the movies doesn’t mention the name of Suresh Wadkar in the list of singers for this movie.)

The story of the movie is based on the regular ‘dacoit destroying the family- then the revenge by the children who were orphaned then and later grow up with only one aim of taking revenge for their parents killings.

Shekhar Kapoor was supposed to direct the movie initially but it seems that he left the movie in between which was later taken over for direction by the producer Sibte Hasan Rizvi himself.

I have not yet watched this movie.

Let us now move to today’s song which I have selected for its music specially. The prelude music of this song would remind many the prelude music of ‘chunri sambhaal gori…’. Today’s song is based on the ‘folk song of Rajasthan’ ‘dhhola dhhol manjira baaje re’.

It is sung by Asha Bhonsle and Suresh Wadkar and on screen it is lip-synced by Sridevi and Sunny Deol respectively. Also seen in the picturisation of this song is Anil Kapoor, Meenakshi Sheshadri and many others.

Enjoy this ‘folk-musical’ from Pancham for the lovely music, singing by Asha Bhonsle and Suresh Wadkar, and Sridevi’s steps in this musical composition.

With today’s song ‘Joshilay-1989’ makes its debut on the blog…


Song-O dhola dhol manjeera baaje re (Josheelay)(1989) Singers-Asha Bhonsle, Suresh Wadkar, Lyrics-Jawed Akhtar, MD-R D Burman

Lyrics

o dhhola dhhol manjeera
o dhhola dhhol manjeera aa
o dhhola dhhol manjeera
baaje re ae
kaali chheent ka ghaaghra
najaaraa maare re ae
dhhola dhhol manjeera
baaje re ae
kaali chheent ka ghaaghra
najaaraa maare re ae
dhhola dhhol manjeera
baaje re ae

aa aa aa aa aa aa aa aa aa
o dhhola dhhol manjeera
baaje re ae
pag paayal mein baandh loon
main chaand sitaare re ae
dhhola dhhol manjeera
baaje re ae
pag paayal mein baandh loon
main chaand sitaare re ae
dhhola dhhol manjeera
baaje re ae ae re ae ae

o o
tan gagar se chhalak rahaa hai
gori tera roop
ho ho o
tan gagar se chhalak rahaa hai
gori tera roop
is yauwan ki chaandni aur
in nainon ki dhoop
dhhola dhhol manjeera

aa ahaa
dhhola dhhol manjeera aa
o ho o
dhhola dhhol manjeera
baaje re ae
kaali chheent ka ghaaghra
najaaraa maare re ae
dhhola dhhol manjeera
baaje re ae ae

aa o o o o
dhhola dhhol manjeera
baaje re ae
pag paayal mein baandh loon
main chaand sitaare re ae
dhhola dhhol manjeera
baaje re ae ae ae ae
ae dhhola aa

o o o
main deewaani
tab ye jaani
kya hota hai pyaar
arey main deewaani
tab ye jaani
kya hota hai pyaar
man ke dwaare par jab aaya
koyi sajeelaa yaar
dhhola dhol manjeera
aa haa
dhhola dhhol manjeera
o dhhola dhhol manjeera
baaje re ae
pag paayal mein baandh loon
main chaand sitaare re ae
dhhola dhhol manjeera
baaje re ae ae ae
dhhola dhhol manjeera
baaje re ae

o o o prem nagar ka jogi hoon main
thhaam le mera haath
arey prem nagar ka jogi hoon main
thhaam le mera haath

arey chaahe jidhar le jaao jogi
ab jogan hain saath
dhhola dhol manjeera
(chhk chhk )
dhhola dhhol manjeera
ae he ae
dhhola dhhol manjeera
baaje re ae
pag paayal mein baandh loon
main chaand sitaare re ae
dhhola dhhol manjeera
baaje re ae ae ae ae
dhhola dhhol manjeera
baaje re ae ae
ho o o o
dhhola dhhol manjeera
baaje re ae
kaali chheent ka ghaaghra
najaaraa maare re ae
dhhola dhhol manjeera
baaje re ae

baaje re ae
baaje re ae
baaje re ae


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 :

4861 Post No. : 16651 Movie Count :

4538

Yearwise discussion of Lata Mangeshkar songs in HFM: Part LIX: Year 2006 and 2007
———————————————————————————————————

In this episode, the 59th episode, we were supposed to cover Lata Mangeshkar songs that she sang in Hindi movies released in 2006.

2006 saw 592 songs getting created in 105 movies. Lata Mangeshkar sang 1 song in one of these movies. So Lata Mangeshkar got to sing in 1 % of these movies and she sang 0.2 % of songs in these movies.

Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 2006 :-

S N Movie Music director Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Lyricists
1 Rang De Basanti A R Rahman 1 1 0 1 0 0 Prasoon Joshi
Total 1 movie 1 MD 1 1 0 1 0 0 1 lyricist

Lata Mangeshkar worked with 1 music director and 1 lyricist in this one movie released in 2006. This song has already been covered <a href=”Lukka chhuppi bahut huyi saamne aaja re (Rang De Basanti)“>in the past more than eight years ago.

So, we had no option but to cover a song from the next year viz 2007.

It turns out that like 2006, 2007 also had just one movie that had the voice of Lata Mangeshkar in it.

Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 2007 :-

S N Movie Music director Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Lyricists
1 Strangers Vinay Tiwari 0 1 0 1 0 0 Jawed Akhtar
Total 1 movie 1 MD 0 1 0 1 0 0 1 lyricist

Laxmikant Pyarelal were the most prolific music directors with Lata, with 664 songs in HFM with Lata Mangeshkar by the end of 2007. Shankar Jaikishan with 457 songs in the voice of Lata Mangeshkar were in the second position. R D Burman with 332 Lata Mangeshkar and Kalyanji Anandji with 307 songs were next ahead of C Ramchandra with 275 songs. Other top music directors for Lata Mangeshkar were Chitragupta (239), Madan Mohan (204), S D Burman (179),Naushad (146), Roshan (144), Hemant Kumar (127), Anil Biswas (120), Bappi Lahiri (112), Rajesh Roshan (111), Salil Chaudhary (109), Husnlal Bhagatram (108), and Vasant Desai (104). Together these seventeen music directors composed 3742 songs out of 5240 songs that Lata Mangeshkar had sung in Hindi movies till end of 2007. Anand Bakshi with 731 songs was the top lyricist with Lata Mangeshkar. Other leading lyricists with Lata Mangeshkar were Rajinder Krishan (555), Majrooh Sultanpuri (407), Shailendra (361), Hasrat Jaipuri (301), Prem Dhawan (201), Bharat Vyas (193), Shakeel Badayuni (189), Sahir Ludhianvi (161) and Indeewar (156). These ten lyricists had penned 3252 songs sung by Lata Mangeshkar till that time.

Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 2007 :

Year Movie count Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Remarks
1946 3 movies 4 4 4 0 0 0
1947 3 movies 5 5 3 1 0 1
1948 17 movies 51 57 42 8 4 3
1949 40 movies 142 160 105 35 13 7
1950 36 movies 116 143 93 32 14 4
1951 49 movies 190 223 158 52 10 3
1952 43 movies 151 177 138 31 4 4
1953 45 movies 170 195 149 35 5 6
1954 43 movies 142 172 144 23 4 1
1955 50 movies 172 218 177 30 10 1
1956 49 movies 174 204 153 35 13 3
1957 47 movies 132 160 110 38 7 5
1958 35 movies 104 132 95 25 10 1
1959 58 movies 190 211 131 68 12 1
1960 48 movies 142 166 102 50 9 5
1961 44 movies 128 152 88 55 5 4
1962 40 movies 119 129 84 40 5 0
1963 37 movies 105 111 62 38 8 3
1964 46 movies 123 133 91 31 8 3
1965 42 movies 84 91 71 17 1 2
1966 49 movies 105 133 110 14 8 1
1967 44 movies 94 106 67 38 8 3
1968 33 movies 84 84 59 19 5 1
1969 43 movies 78 97 67 27 2 1
1970 54 movies 91 130 84 39 3 4
1971 52 movies 107 126 71 52 3 0
1972 62 movies 100 151 86 60 3 2
1973 60 movies 93 138 94 37 3 4
1974 55 movies 71 104 66 33 0 5
1975 45 movies 62 90 50 35 3 2
1976 41 movies 58 97 53 39 1 4
1977 50 movies 50 96 59 27 8 2
1978 46 movies 60 90 48 34 3 5
1979 42 movies 38 66 37 25 2 3
1980 43 movies 28 71 43 21 3 4
1981 46 movies 40 88 48 34 2 4
1982 45 movies 28 82 41 37 1 3
1983 33 movies 29 73 36 37 0 0
1984 39 movies 11 70 32 33 4 1
1985 40 movies 21 72 39 31 0 2
1986 27 movies 4 41 22 17 0 2
1987 12 movies 4 21 13 8 0 0
1988 21 movies 9 43 24 17 1 1
1989 19 movies 10 38 20 16 1 1
1990 9 movies 4 12 3 9 0 0
1991 16 movies 6 57 35 20 1 1
1992 12 movies 3 25 12 13 0 0
1993 14 movies 3 49 22 23 2 2
1994 12 movies 5 39 9 28 0 2
1995 4 movies 2 8 3 4 0 1
1996 5 movies 2 14 7 7 0 0
1997 5 movies 1 21 2 14 4 1
1998 3 movies 4 11 3 7 0 1
1999 7 movies 3 14 6 7 0 1
2000 2 movies 3 5 1 2 0 2
2001 6 movies 2 12 6 5 0 1
2002 2 movies 1 8 3 5 0 0
2003 NIL movies 0 0 0 0 0 0
2004 1 movie 4 9 2 4 0 3
2005 3 movies 1 4 3 1 0 0
2006 1 movie 1 1 0 1 0 0
2007 1 movie 0 1 0 1 0 0
Total upto 2007 1880 movies 3762 5240 3386 1515 213 126

“Strangers”(2007) was the sole movie released in 2007 that had the voice of Lata Mangeshkar in it. “Strangers”(2007) was Directed by Aanand L Rai for
Rise2shine productions, Bombay. The movie had Jimmy Sheirgill, Kay Kay Menon, Nandana Sen, Sonali Kulkarni(special appearance), Kitu Gidwani(guest appearance),
Mark voh, Cabourdin, Natailie Hatcher, Natalie Rowan, etc in it.

The movie had nine songs in it. Lata Mangeshkar’s voice was there in one song.

Here is that one song from “Strangers”(2007). This song is sung by Lata Mangeshkar and Vinay Tiwari. Javed Akhtar is the lyricist. Vinay Tiwari is the composer.

The song is picturised on Kay Kay Menon and Nandana Sen.

The lyrics of the song and other details were provided by Prakashchandra. He informs that the movie was based on Alfred Hitchcock’s classic thriller movie “Strangers on a train”(1951).

With this song, “Strangers”(2007) makes its debut in the blog.

audio link (Full song)

video link (Partial)

Song-Jaane thhi kaisi raahon mein ye zindagi (Strangers)(2007) Singers-Vinay Tiwari, Lata, Lyrics-Javed Akhtar, MD-Vinay Tiwari
Both

Lyrics(Based on audio link)(Provided by Prakashchandra)

jaaney thhi kaisi ra aaahon mein
ye zindagee eee eee
jaaney thhi kaisi raa aahon mein
ye zindagee ee
chhaayee thi inn nigaa aahon mein
be-rangi see eee
phir hamko mil gaye tum
to ab saarey mausamon mein ghul gaye hain rang se aey ae
jaaney thhi kaisi raa aahon mein
ye zindagee ee
chhaayee thhi inn nigaa aahon mein
be-rangi see ee
phir hamko mil gaye tum
to ab saarey mausamon mein ghul gaye hain rang se aey ae ae ae

jaaney thi kaisee raaahon mein
ye zindagee ee eee

(chorus)

tum bin thha lagtaa aaa
kuchch kho gayaa hai ae ae
kis ko bataatey ae
kya ho gayaa hai
tum bin kahen ae kyaa
kaisi kamee theee ee
palkon mein chhupke aey ae ae
rehti namee thhee eee

jaaney thhi kaisi raahon mein
ye zindagee ee
chhaayee thhi inn nigaahon mein
be-rangi see ee ee

phir hamko mil gaye tum
to ab saarey mausamon mein ghul gaye hain rang sey ae ae
jaaney thhi kaisee raa aa aaahon mein
ye zindagee eee eee

(chorus)

tum mil gaye ae ae ho
to sab milaa aa hai
jeeney ka hamko o o
matlab milaa aa hai
ab muskuraataa
har ek pal hai
lagtaa hai jeenaa aa aa
kitnaa sahal hai

jaaney thhi kaisi raahon mein
ye zindagee eee
chhaayee thhi inn nigaahon mein
be-rangi see ee ee

phir hamko mil gaye tum
to ab saare raaston mein ghul gaye hain rang se


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 :

4847 Post No. : 16635

Yearwise discussion of Lata Mangeshkar songs in HFM: Part LVII: Year 2004
———————————————————————————————————

In this episode, the 57th episode, we were supposed to discuss Lata Mangeshkar songs that she sang in Hindi movies released in 2003, seeing that previous episode covered songs that she sang in 2002.

It turns out that Lata Mangeshkar did not sing any songs in movies released during 2003. So 2003 was the first year after 1945, when Lata Mangeshkar did not sing any songs in Hindi movies. So we needed to move on to the next year viz 2004. Even in that year, we were drawing a blank, till we reached the alphabet V. “Veer Zaara”(2004) turned out to be the only movie of 2004 where Lata Mangeshkar sang songs. She sang as many as 9 songs in this movie. 90 Hindi movies containing 632 songs were released uring 2004. So Lata Mangeshkar got to sing in 1.1 % of these movies and she sang 1.4 % of songs in these movies. So her era almost drew to a close after ruling the roost for more than six decades.

Here are the details of songs sung by Lata Mangeshkar in Hindi movies released in 2004 :-

S N Movie Music director Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Lyricists
1 Veer Zaara Madan Mohan 3 9 2 4 0 3 Javed Akhtar
Total 1 movie 1 MD 3 9 2 4 0 3 1 lyricist

Lata Mangeshkar worked with 1 music director and 1 lyricist in this one movie released in 2004. Madan Mohan had passed away in 1975, but his unused tunes, which his son had in his possession, were used for this movie, crediting Madan Mohan as the music director.

Laxmikant Pyarelal were the most prolific music directors with Lata, with 664 songs in HFM with Lata Mangeshkar by the end of 2002. Shankar Jaikishan with 457 songs in the voice of Lata Mangeshkar were in the second position. R D Burman with 332 Lata Mangeshkar and Kalyanji Anandji with 307 songs were next ahead of C Ramchandra with 275 songs. Other top music directors for Lata Mangeshkar were Chitragupta (239), Madan Mohan (204), S D Burman (179),Naushad (146), Roshan (144), Hemant Kumar (127), Anil Biswas (120), Bappi Lahiri (112), Rajesh Roshan (111), Salil Chaudhary (109), Husnlal Bhagatram (108), and Vasant Desai (104). Together these seventeen music directors composed 3742 songs out of 5234 songs that Lata Mangeshkar had sung in Hindi movies till end of 2004. Anand Bakshi with 731 songs was the top lyricist with Lata Mangeshkar. Other leading lyricists with Lata Mangeshkar were Rajinder Krishan (555), Majrooh Sultanpuri (407), Shailendra (361), Hasrat Jaipuri (301), Prem Dhawan (201), Bharat Vyas (193), Shakeel Badayuni (189), Sahir Ludhianvi (161) and Indeewar (156). These ten lyricists had penned 3252 songs sung by Lata Mangeshkar till that time.

Here is the summary of Lata Mangeshkar’s playback career in Hindi movies till end of 2004 :

Year Movie count Lata song in the blog Lata HFM songs recorded in the year Lata solo songs Male duet Female duet Other songs Remarks
1946 3 movies 4 4 4 0 0 0
1947 3 movies 5 5 3 1 0 1
1948 17 movies 51 57 42 8 4 3
1949 40 movies 141 160 105 35 13 7
1950 36 movies 116 143 93 32 14 4
1951 49 movies 190 223 158 52 10 3
1952 43 movies 150 177 138 31 4 4
1953 45 movies 170 195 149 35 5 6
1954 43 movies 142 172 144 23 4 1
1955 50 movies 172 218 177 30 10 1
1956 49 movies 174 204 153 35 13 3
1957 47 movies 132 160 110 38 7 5
1958 35 movies 104 132 95 25 10 1
1959 58 movies 190 211 131 68 12 1
1960 48 movies 142 166 102 50 9 5
1961 44 movies 128 152 88 55 5 4
1962 40 movies 119 129 84 40 5 0
1963 37 movies 105 111 62 38 8 3
1964 46 movies 123 133 91 31 8 3
1965 42 movies 84 91 71 17 1 2
1966 49 movies 105 133 110 14 8 1
1967 44 movies 94 106 67 38 8 3
1968 33 movies 84 84 59 19 5 1
1969 43 movies 78 97 67 27 2 1
1970 54 movies 91 130 84 39 3 4
1971 52 movies 107 126 71 52 3 0
1972 62 movies 100 151 86 60 3 2
1973 60 movies 93 138 94 37 3 4
1974 55 movies 71 104 66 33 0 5
1975 45 movies 62 90 50 35 3 2
1976 41 movies 58 97 53 39 1 4
1977 50 movies 50 96 59 27 8 2
1978 46 movies 60 90 48 34 3 5
1979 42 movies 38 66 37 25 2 3
1980 43 movies 28 71 43 21 3 4
1981 46 movies 40 88 48 34 2 4
1982 45 movies 28 82 41 37 1 3
1983 33 movies 29 73 36 37 0 0
1984 39 movies 11 70 32 33 4 1
1985 40 movies 21 72 39 31 0 2
1986 27 movies 4 41 22 17 0 2
1987 12 movies 4 21 13 8 0 0
1988 21 movies 9 43 24 17 1 1
1989 19 movies 10 38 20 16 1 1
1990 9 movies 4 12 3 9 0 0
1991 16 movies 6 57 35 20 1 1
1992 12 movies 3 25 12 13 0 0
1993 14 movies 3 49 22 23 2 2
1994 12 movies 5 39 9 28 0 2
1995 4 movies 2 8 3 4 0 1
1996 5 movies 2 14 7 7 0 0
1997 5 movies 1 21 2 14 4 1
1998 3 movies 4 11 3 7 0 1
1999 7 movies 3 14 6 7 0 1
2000 2 movies 3 5 1 2 0 2
2001 6 movies 2 12 6 5 0 1
2002 2 movies 1 8 3 5 0 0
2003 NIL movies 0 0 0 0 0 0
2004 1 movie 3 9 2 4 0 3
Total upto 2004 1875 movies 3757 5234 3383 1512 213 126

As observed earlier, “Veer Zaara”(2004) was the only movie released in 2004 that had the voice of Lata Mangeshkar. “Veer Zaara”(2004) was produced and directed by Yash Chopra for Yashraj Films, Bombay. The movie had Shahrukh Khan, Rani Mukerji, Preity Zinta, Kirron Kher, Divya Dutta, Boman Irani and Anupam Kher in main roles. The movie had special appearances by Amitabh Bachchan, Hema malini and Manoj Bajpai. The movie also had Zohra Segal, S.M.Zaheer, Tom Alter, Akhilendra Mishra, Arun Bali, Gurdas Mann, Rushad Rana, Flt.Lt.Vinod Negi, Balwant Bansal, Rajesh Jolly, Anup Kanwal Singh, Kanwar Jagdish, Dev.K.Kantawala, Vicky Ahuja, Ranjeev Verma, Chandni, Jas Keerat, Sanjay Singh Bhadli, Kulbir Baderson, Shivaya Singh, Huzeifa Gadiwalla, Vishal Sharma, Amir Zadey, Sayyed Firdaus, Manish Arora, Banwarilal Jhol, Darshan Aulakh, Jitendra Bhardwaj, Pankaj Rain, Gurinder Singh Ginda etc in it.

The movie had eleven songs in it. Lata Mangeshkar’s voice was there in 9 of these songs.

Four songs, inclusing three containing Lata Mangeshkar’s voice, have been covered in the blog.

Here is the fourth song from “Veer Zaara”(2004) to appear in the blog. This song is sung by Lata Mangeshkar and Sonu Nigam. Javed Akhtar is the lyricist. Madan Mohan is the composer.

The song is picturised on Preity Zinta and Shahrukh Khan.

Lyrics of the song and other details were sent to me by Prakashchandra.

audio

video

Song-Do pal rukaa khwaabon ka kaarwaan (Veer Zaara)(2004) Singers-Lata, Sonu Nigam, Lyrics-Javed Akhtar, MD-Madan Mohan

Lyrics(Provided by Prakashchandra)

aaa aaa aaa aaaa
aaa aaa aaa aaa

do pal rukaa khwaabon ka kaarwaan
aur phir chal diye
tum kahaan aan hum kahaan

do pal ki thhi ye dilon ki daastaan
aur phir chal diye
tum kahaan aan hum kahaan aan
aur phir chal diye
tum kahaan aan hum kahaan aan aan

tum thhe ke thhi koyi ujli kiran
tum thhe yaa koyi kali muskaayi thhi…eee

tum thhe yaa sapnon kaa thhaa saawan
tum thhe ke khushiyon ki ghataa chhaayee thhee
tum thhe ke thaa koyi phool khilaa
tum thhe ae yaa milaa thha
mujhe nayaa jahaaan aan aan
do pal rukaa khwaabon ka kaarwaan
aur phir r r chal diye
tum kahaan aan hum kahaan aan

do pal ki thhi ye dilon ki daastaan
aur phir chal diye aey ae ae
tum kahaan aan hum kahaan aan
aur phir chal diye ae
tum kahaan aan hum kahaan aan aan aan

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

tum thhe yaa khushboo hawaaon mein thhee
tum thhe yaa rang saari dishaaon mein thhe aey ae ae

tum thhe yaa raushni raahon mein thhi
tum thhe ya geet goonjey fizaaon mein thhe ae ae
tum thhe miley yaa mili thhi manzilein
tum thhe ae ke thhaa jaadoo
bharaa koyi samaa aan aaa aan aa
do pal rukhaa khwaabon ka kaarwaan
aur phir chal diye ae
tum kahaan aan hum kahaan aan

do pal ki thhi ye dilon ki daastaan
aur phir chal diye
tum kahaan aan hum kahaan aan
aur phir chal diye
tum kahaan aan hum kahaan aan

aur phir chal diye
tum kahaan aan hum kahaan aan aan aan


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 :

4549 Post No. : 16133

Welcome 2021♫•*¨*•.¸¸♪

I wanted to embellish the heading of this post “Welcome 2021” with some emoticons, but since the keyboard has no such facility, dropped the idea. Google has the copy past option somewhere, but it seems like too much hassle. Obviously, everyone at google is working from home. Me thinks, all those big, huge, luxurious complexes hosting those multinational and national corporate offices, are soon to be converted into ‘khandar’ facilities, aka Mukesh Mills for shooting of films outdoorsy songs :-), fountains, glass panels, pillars and all. Not to mention funky cafe’s and state of the art gym and sports facilities.

Recently, I have been looking at a lot of outdoorsy, going places kind of songs, shot in different locations. Could not avoid the outdoor songs of “Dil Chahta hai”. But since the party song in the film is not posted, I decided on it. The song is “Koyi kahe kehta rahe kitna bhi ham ko deewaana”, by Shankar Mahadevan, Shaan and KK. In the party, Aamir Khan, Saif Ali Khan and Akshaye Khanna are dancing and singing with Suchitra Pillai and Priety Zinta. It is so fast paced and all three voices are so in tune with each other, that I thought the colour coding is going to be a headache. But once I had figured out that it was Shaan’s voice for Saif Ali Khan, it was smooth sailing from then on. Javed Akhtar’s lyrics are as always inspiring and upbeat, and the music compositions by Shankar-Ehsaan-Loy were outstanding and were so fresh sounding back then. The whole movie, characterization, presentation, direction, cinematography and overall look was a novelty in 2001. Some call it a path breaking film, ahead of its time. But no, the time for such a fun, adventurous, neat, humorous and colorful look, had come. I read in the trivia that the songs of this film were created in 3 days, when Javed Akhtar & Farhan Akhtar headed to Lonavala along with Shankar-Ehsaan-Loy for the duration and all the songs were ready for recording. Now I am able to see that quarter, if not half of Mumbai party goer’s crowd, has already left for Lonavala for the New Year Eve, and roads leading to it are clogged since last two days.

Let us talk about the music score of this film. These two songs are posted:

Song Date of posting
Dil Chaahta Hai 8 August 2018
Kaisi hai ye rut 2 December 2019

1. The first song is the title song of the movie, a background song sung by Shankar Mahadevan. The phrase “chamkeele din” describes the mood and theme of the song. It is picturized as a holiday theme song on the road trip to Goa, by the three friends, Aamir Khan, Saif Ali Khan and Akshaye Khanna.
2. Second song is a dreamy concoction, with Akshaye, the artist, painting a portrait of Dimple Kapadia, while he falls in love with her.
3. Jaane kyun log pyar karte hain – This song is reminisce of the “Mehboob ki Mehendi”, jaane kyun log muhobbat kiya karte hain song. It is picturized on Aamir Khan and Priety Zinta. This one has nice, to and fro banter between the two characters.
4. Woh ladki hai kahan – This song started a trend of retro songs in hindi films. Really funky take off of older movie songs, in black and white canvas, with Saif Ali Khan and Sonali Kulkarni.
5. Tanhaayee – This is a sad song, where Aamir Khan is lonely as Priety Zinta is leaving Australia. Coming to terms that he, who never let any girl close has finally fallen in love.
6. Koyikahe – The party song of the current post.

I have heard accounts of how many times people have seen this film in theatre’s when it was released in 2001, and during the first weekend of its release. I must have seen it a little later, having heard it being praised no end, by my then immediate boss who saw it the first weekend it released.

So this is a party song for the New Year party all are advised to give a miss. Not that I go anywhere on New Year’s Eve, we are more of a stay at home kind of people and family.

No matter, we will go places in the New Year, through some fabulous songs. In sha Allah.

I am sharing this beautiful ‘nazm’ which is a prayer too, received from a friend:

Aao december ko rukhsat Karen

Kuchh khushiyon ko sambhalkar
Kuchh aansuon ko taalkar
Jo lamhe guzre chaahton mein
Jo pal beete rafaaqaton mein
Kabhi waqt ke saathh chalte chalte
Jo thak ke ruke raaston mein
Kabhi khushiyon ki umeed mili
Kabhi bichhde huuon ki deed mili
Kabhi be-panah muskuraa diye
Kabhi hanste hanste ro diye
In saare lamhon ko mukhtasar Karen
Aao disamber ko rukhsat Karen

Koyi haar gayaa koyi jeet gayaa
Yeh saal bhi aakhir beet gayaa

Kabhi sapne sajaaye aankhon mein
Kabhi beet gaye pal baton mein

Kuchh talkh se lamhaat bhi thhe
Kuchh haadse aur sadmaat bhi thhe

Kuchh be-rukhi kuchh be-chaini
Kuchh man mein simti veeraani

Par ab ke baras aye dost mere
Allah se duaa ye maangi hai
Koyi pal na teraa udaas guzre
Koyi rog na tujhe raas guzre

Koyi shakhs na tujh se gilaa kare
Tu khush rahe aabaad rahe

Tu jo chahe wo ho jaaye
Tu jo maange woh mil jaaye

Teri mu’aaf wo har khataa kare
Tujhe aise hi rab ‘ataa kare

(Aameen)

Video:

Audio:

Song-Koyi kahe kehta rahe kitna bhi hum ko deewaana (Dil Chaahta Hai)(2001) Singer-Shankar Mahavedan, Shaan, KK, Lyrics-Jawed Akhtar, MD-Shankar-Ehsaan-Loy
all three together,
Male+female chorus

Lyrics

Koyi kahe ae
kehta rahe ae
kitna bhi ham ko deewaana
Koyi kahe
kehta rahe ae
kitna bhi ham ko deewaana
ham logon ki
thhokar mein hai ye zamaana

jab saaz hai
aawaaz hai
phir kis liye hichkichaana
jab saaz hai
aawaaz hai
phir kis liye hichkichaana

ho o o
gaayenge ham
apne dilon ka taraanaa aa

bigde duniyaa
bigadne bhi do
jhagde duniyaa
jhagadne bhi do
lade jo duniyaa
ladne bhi do
ham apni dhun mein gaayo

duniya roothhe
roothhne do
bandhan toote
tootne do
koyi chhoote

chhootne do
na ghabraao
ham hain naye
andaaz kyun ho puraanaa
ham hain naye
andaaz kyun ho puraana

aankhon mein hain
bijliyaan aa
saanson mein
toofaan hai
dar kya hai aur haar kya aa
ham iss se anjaan hain

hamaare liye hi to hai
aasmaan aur zameeeen

sitaare bhi ham tod lenge
hamen hai yaqeeeen
ambar se hai
aage hamaara thhikaanaa aa

ham hain naye
andaaz kyun ho puraana

sapnon ka jo des hai ae
haan ham wahin hain paley

thhode se dilphenk hain aen
thhode se hain manchale

jahaan bhi gaye
apnaa jadoo dikhaate rahe ae ae
muhobbat haseenon ko
aksar sikhaate raheye ae
aaye hamen
dil aur neenden churaanaa aa

ham hain naye
andaaz kyun ho puraana

Koyi kahe
kehta rahe
kitna bhi ham ko deewaana

Koyi
kehta
kitna bhi ham ko deewaana

ho
ham logon ki
thokar mein hai ye zamaana

ho jab saaz hai
aawaaz hai
phir kis liye hichkichaana

Huuu
jab saaz hai
aawaaz hai
phir kis liye hichkichaana

ho
gaayenge ham
apne dilon ka taraanaa aa
bigde duniyaa
bigadne bhi do
jhagde duniyaa
jhagadne bhi do
lade jo duniyaa
ladne bhi do
tum apni dhun mein gaao

duniya roothhe
roothhne do
bandhan toote
tootne do
koyi chhoote
chhootne do
na ghabraao
ham hain naye
andaaz kyun ho puraanaa
ho ham hain naye
andaaz kyun ho puraana
ham hain naye
andaaz kyun ho puraanaa
ho ham hain naye
andaaz kyun ho puraana


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 :

4495 Post No. : 16026

Hullo Atuldom

“Saagar” (1985) had a cast of Dimple Kapadia, Rishi Kapoor, Kamal Hasaan, Saeed Jaffery, Nadira, Sharat Saxena, Shafi Inaamdar, Satish Kaushik, Lilliput and Madhur Jaffery. It was directed by Ramesh Sippy and was produced by G P Sippy’s ‘Sippy Films’. It was a vehicle for Dimple’s comeback into Bollywood after her sabbatical brought on by marriage and family life. She was making a comeback after a gap of about 11 years. Her heroes were also her age group so they made an eye-pleasing team.

“Saagar” was a simple love story of a rich boy falling in love with a ‘not-so-well off girl’ who helps her father run a tavern in a fishing village . She has a childhood friend (Kamal) who loves her but cannot get himself to profess it. Into this village the rich boy (Rishi) walks in, befriends Raja (Kamal) and falls in love with Mona (Dimple). There is also friendship between the three, almost reminiscent of Raj Kapoor’s “Sangam”. We have Ravi’s (Rishi) grandmother playing the spoke in the cartwheel of the lovers. We also have one friend sacrificing his love for the happiness of the other two.

All-in-all nothing spectacular just that the movie was entertaining and we had the lead actors giving good performances. The songs were written by Javed Akhtar, and RD Burman was the composer. He had Kishore Kumar (who won a Filmfare award for “Saagar kinaare”), Lata Mangeshkar, S P Balasubramaniam, Asha Bhonsle and Shailendra Singh singing the songs in the movie.

I am writing this post to wish the superstar of South Indian cinema on his 66th birthday. He has been in the industry from a young age. He began as a child-actor and I have written a brief about him in this post of mine four years ago. So let us get directly to the song and marvel at this actor’s ability to emote with his eyes.

The song is sung by SPB and is a party song which is a celebration of the characters birthday. It has Nadira and Lilliput who are aware of Raja’s feelings and Saeed Jaffery and others who are oblivious. The song also begins with RD’s trademark of making music with unusual instruments; here he has used a comb.

Wishing Kamalhassan all health and happiness today on his 66th birthday.

Audio

Video

Song-Sach mere yaar hai (Saagar)(1985) Singer-S P Balasubrahmaniam, Lyrics-Jawed Akhtar, MD-R D Burman
Chorus

Lyrics

sach mere yaar hai
bas wohi pyaar hai
jiske badle mein koi to pyaar de
baaki bekaar hai
yaar mere
ho o yaar mere
sach mere yaar hai
bas wohi pyaar hai
jiske badle mein koi to pyaar de
baaki bekaar hai
yaar mere
ho o yaar mere

jis haathh mein ik haathh hai
us haathh ki ee kya baat hai
kyaa faasle ae kya manzilen
ik humsafar gar saath hai
jiski kismat koi yoon sanwaar de
wohi dildaar hai ae
yaar mere
ho o yaar mere

sunte thhe hum ae zindagi
gham aur khushi ka mel hai
hum ko magar aaya nazar
ye zindagi wo khel hai
koi sab jeete
sab koi haar de
hahaha
apni to haar hai
yaar mere
haan yaar mere
sach mere yaar hai
bas wohi pyaar hai
jiske badle mein koi to pyaar de
baaki bekaar hai
yaar mere
haan yaar mere
laalalalalaa
laalaalaa
laalalalalaa
laalaalaa
laalalalalaa
laalaalaa
laalalalalaa
laalaalaa
laalalalalaa
laalaalaa


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 :

4490 Post No. : 16015 Movie Count :

4383

Hullo Atuldom

“Duplicate” (release date 8/5/1998) was a movie that we went to see as a family because it had Shahrukh Khan in the lead. Those were times when we used to pick-and-choose movies which had decent or fun songs and some actor of our liking and we could take the children along. Thus we ended up seeing this ‘not-so-great’ story-wise film which was produced by Yash Johar and directed by Mahesh Bhatt. It had music by Anu Malik and lyrics were by Javed Akhtar. Alka Yagnik, Kavita Krishnamurthy, Kumar Sanu, Abhijeet Bhattacharya, Udit Narayan and Shankar Mahadevan were the singers used. This was one of the cassette tapes that I had purchased as the kids loved its songs. Personally speaking, I enjoyed the movie as it was inane, illogical and simply masaledaar Bollywood stuff. The kind which helps us to forget ourselves during the duration of its screening.

This was Shahrukh’s first double role movie (1996 had seen him play a triple role in “English Babu Desi Mem”, but the characters he played didn’t share screen space) where he played a bumbling youngman out to get a job as a top chef in a big 5-star hotel. The other SRK was a gangster on the run. The movie opens with Manu, the gangster, trying to hoodwink the cops with the help of his girlfriend Lily (Sonali Bendre). Juhi Chawla plays Sonia Kapoor, a hotel HR Manager, who bumps into Babloo (chef SRK) when they get into the same Taxi (from different sides of course) and end up bickering about who had hailed the cab etc. The cab driver mediates and suggests that they share the fare as the destination is same- the hotel where Babloo has an interview to attend. The ride to the hotel is peppered with Babloo rehearsing for the interview and Sonia and the driver enjoying themselves. The highlight of the scene is when Babloo declares his goals in life which includes “feeding his girlfriend VADAPAV that he will make in the 5-star kitchen”. (I hope I am exact at this, Peevesie).

We had Farida Jalal playing Babloo’s mother who is disappointed with his career choice as her aim was to make him a wrestler like his father. The movie also has a sprinkling of supporting actors – Tiku Talsania whose aim is to nab Manu, Gulshan Grover playing the badman character, Sharat Saxena, Kunal Vijaykar etc. There is a guest appearance by Kajol (though I don’t recall much about that).

The songs were all fun to watch but there was one really lyrical song in the album which had Javed Akhtar at his romantic best (for this movie).This is the song with which the movie is making its debut on the blog today.

I would love it if the birthday boy would care to explain a few words of this song. I am hinting at our Dilldaar Dilliwala -Sudhirji. Last year I had wished that he didn’t run out of ‘ideas for posts and series’ and he came up with a “this week that year” series that is essentially analyzing the blog for that week 10 years ago. We are missing it for the last month and half Sirji!!! 🙂 We want more of it -‘Yeh dil maange more’.

It also happens to be Shahrukh Khan’s birthday today as also Anu Malik’s. One has ruled the hearts of his fans with his acting and the other has given songs that make the fans dance. One was born into the industry but worked his way up the ranks. The other had no filmy connection but still has had a good to very good career graph. The melodies that this team has dished out are mostly successful.

Cannot forget “kiska hai yeh tumko intezaar main hoon na” (Main Hoon Na); “ae mere humsafar ae meri jaan-e-jaan” and “yeh kaali kaali aankhen” (Baazigar); “apun bola tu meri laila” (Josh); “iss pyaar se meri taraf na dekho pyaar ho jaayega” (Chamatkar); oh there are numerous songs of this jodi that will feature in my playlist.

Anu Malik made his debut in 1977 and SRK made his debut first on Doordarshan in 1988 before Hema Malini signed him on for “Dil Aashna Hain” but his first release was “Deewana”. Both the movies had Divya Bharati as his heroine. then we had a deluge where we saw him in “Chamatkar” (first with Anu Malik as music director), “Raju Ban Gaya Gentleman” (first of many with Juhi Chawla), “Baazigar” (again Anu Malik and first with Kajol),etc. etc. He was given the Filmfare award for best actor for his anti-hero role in “Baazigar”. He has won awards as many as 14 Filmfare awards of which 8 are as best actor. He was awarded the Padma Shri in 2005.

Talking of Anu Malik, his father was the music director of the ’50s and ’60s. Recently I have subscribed to a channel which show evergreen classics along with programs like Sunheri Yaadein, Sitaaron Ka Caravan etc. One such treasure house program is Anmol Yaadein where in the host was interviewing Anu Malik. I saw Anu mention therein, that Sardar Malik was married to the sister of Hasrat Jaipuri. So as a child Anu, who was a fan of Shankar Jaikishan, used to pester his mama to take him along to the recordings where SJ were at work. Anu managed to meet his favourite composers through his mama (uncle Hasrat Jaipuri) and also play some music to them. Anu goes on to say that the legendary duo were impressed with Anu’s comfort when playing the Harmonium and he took it as their blessing for his future. He has worked with almost all lead singers of Bollywood starting with Manna Dey to many of the current day singers. He has been a judge on many Television shows.

Today’s song is in the voice of Kumar Sanu. It is filmed in the picturesque locales of Switzerland. In fact the church shown in this song is a famous attraction for Indian tourists and I recollect our tour operator making special mention of it as “the church where SRK has romanced a few heroines” mainly Kajol in DDLJ. This movie was not popular I suppose, or even this would have been mentioned.

Another thing which I would like to point out is the prominent use of the Tabla – Anu Malik’s favoured percussion instrument. It is used very nicely in the antara.

BTW I would love to know what is the meaning of “Katthai aankhon wali” as far as I understand the language ‘Kattha ‘ goes with ‘choona and supari’ in Paan (betel leaf).
Editors note:- (Katthai is the colour of katthai, viz bronish, so “katthai aankhon waali” means “browned eyed”.

Here is wishing our fellow Atulite a Very Very happy Birthday Sudhirji. In addition wishing the Bollywood jodi of Anu Malik and Shahrukh Khan on their birthday.

Video

Audio

Song-Katthai aankhon waali ek ladki(Duplicate)(1998) Singer-Kumar Sanu, Lyrics-Javed Akhtar, MD-Anu Malik

Lyrics

hmm hmm hmm hmm
hey hey hey hey
la la la la la aaa
hmmm hmmm hmmm hmm hmm

katthai aankhon waali ek ladki ee
ek hi baat par bigad’ti hai ae
katthai aankhon waali ek ladki ee
ek hi baat par bigad’ti hai ae
tum mujhe kyun nahin miley pehle ae ae
roz yeh keh kar mujhse lad’ti hai ae
katthai aankhon waali ek ladki ee
ek hi baat par bigad’ti hai
tum mujhe kyun nahin miley pehle ae ae
roz yeh keh kar mujhse lad’ti hai
katthai aankhon waali ek ladki
hmm hmm hmm hmm
hey hey hey hey
la la la la la aa
hmm hmm hmm hmm hmm

ru ru ru ru ru
ru ru ru ru ru
ru ru ru ru ru

gusse ki woh tez hai lekin
dil ki behad achchi hai
woh kaliyon se bhi naazuk hai
aur shehad se meethhi hai
chehre par hai narm ujaale
baalon mein kaali raatein
chehre par hai narm ujaale
baalon mein kaali raatein
hans de woh toh moti barse
phoolon jaisi hain baatein
hmm hmm hmm hmm
katthai aankhon wali ek ladki
ek hi baat par bigad’ti hai
tum mujhe kyun nahin miley pahle ae
roz yeh keh kar mujhse lad’ti hai
katthai aankhon wali ek ladki
hmm hmm hmm hmm
hey hey hey hey
la la la la la aa
hmm hmm hmm hmm hmm

mujhko tumse pyaar nahin hai
roothh ke mujhse kehti hai
lekin har kaagaz par mera
naam woh likhti rahti hai
main bhi uska deewaana hoon
kaise usko samjhaaun
main bhi uska deewaana hoon
kaise usko samjhaaun
mujhse milna chhod de woh toh
main ek din mein mar jaaun
hmmm hmm hmm hmm hmm hmm
katthai aankhon waali ek ladki ee
ek hi baat par bigad’ti hai
tum mujhe kyun nahin miley pehle ae
roz yeh keh kar mujhse lad’ti hai ae
katthai aankhon waali ek ladki
hmm hmm hmm hmm
hey hey hey hey
la la la la la aa
hmm hmm hmm hmm hmmm
hmm hmm hmm hmm
hey hey hey hey
la la la la la aa
hmm hmm hmm hmm hmm
laa laa la la
laa laa la la


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 :

4455 Post No. : 15927

Lata Mangeshkar – 91st birthday on 28/09/2020
————————————————————————–
Today is the day when the “Nightingale of India”, Lata Mangeshkar was born 91 years ago.

In 1973, she won the National Film Award for Best Female Playback Singer for the song “Beeti Na Bitaayi” from the film Parichay, composed by R. D. Burman, and written by Gulzar.

In 1975, she again won the National Award, this time for the song “Roothe Roothe Piya” from the film KoraKaghaz, composed by Kalyanji Anandji.

She won her third National Film Award for Best Female Playback Singer for her rendition of the song “Yaara Sili Sili” from the film “Lekin”, which was composed by her brother Hridaynath Mangeshkar.

In 2001, Lata Mangeshkar was awarded the Bharat Ratna, India’s highest civilian honour.
A lot of information about her early days, family background and career progress are available here.

I have selected a song from 1985 to post on this occasion. Scores of her hit, known and popular songs from all decades are yet to be posted, so it was no easy task to arrive at a single song. This is a solo from the film ‘Arjun”, written by Javed Akhtar and composed by R. D. Burman. It is a typical, teasing and appeasing song, where hero Sunny Deol and Heroine Dimple are running around usual garden locations in Mumbai, while Dimple is singing this song by LataMangeshkar. Actually the stanza’s are very uplifting and motivating for someone who is dejected. Sunny deol looking like a petulant child and Dimple is trying to make him see the positive side of things. The encouraging tone sounds less romantic and more children’s song, if only heard. I was a fan of Dimple those days, and saw her few films. I thought I might have seen this one too, but when I found the video, it was clear that I was seeing it for the first time. The catchy tune and song I knew well, but remembered only the mukhda bit with hazy re-collection of words. All these years I have been humming this song, sometimes using “Neeli neeli aankhon”, after “neele neele ambar par” which was also a favourite. My sister would often correct me that it is ‘Bhoori bhoori” not ‘neeli neeli”.

I heard the pop/rock song ‘kokokorina” by Ahmed Rushdi sometime back. Stumbled upon the song at Wikipedia page on Kishore Kumar, to be precise. I heard the song, it didn’t ring a bell, so I had never heard it before. But the song seemed somewhat familiar as if its tune is taking me to some other song. On hearing it a few more times, I landed on this sometime ‘neeli’ and sometime ‘bhoori bhoori aankhon wala ekladka hai” song. I have since searched the net to find if there is a connection, or only I feel like that. Seems I am the only one who could connect these two songs. The RDB page on itwofs.com features as many as 42 songs, linking to inspiration and similar tunes. But this case of “Arjun’ song is not listed there.

I see that in the Wikipedia page also this song is mentioned in relation to RDB songs by Lata in the 80’s :

Some Rahul Dev Burman compositions for Lata in these years include “Aaja Sar-e-Bazaar” in Alibaba Aur 40 Chor (1980), “Bindiya Tarase” in Phir Wohi Raat (1981), “Thodi Si Zameen” in Sitara (1981), “Kya Yahi Pyar Hai” in Rocky (1981), “Dekho Maine Dekha” in Love Story (1981), “Tune O Rangeele” in Kudrat (1981), “Jaane Kaise Kab” in Shakti (1982), “Jab Hum Jawan Honge” in Betaab (1983), which became instantly popular, “Humein Aur Jeene” in Agar Tum Na Hote (1983), “Tujhse Naraaz Nahin” in Masoom (1983), “Kahin Na Ja” and “Jeevan Ke Din” in Bade Dil Wala (1983), “Jaane Kya Baat” in Sunny (1984), “Bhoori Bhoori Aankhon” in Arjun (1985), “Sagar Kinare” in Sagar (1985), “Din Pyar Ke Aayenge” in Savere Wali Gaadi (1986). “Kya Bhala Hai Kya”, “Khamosh Sa Afsana” and “Seeli Hawa Chhoo” in Libaas (1988).

I have made a very brief list of such songs, which starts with ‘tu meri zindagi hai”, and if two posts for today are over, then two more songs in the list remain.

As for the blog, Lata Mangeshkar’s tally stands at 3589 out of 5645.

With sixes galore, turning the matches in IPL, I will end this post with this very positive stanza of the song:

tu maane na maane aisa din aayegaa
jab duniyaa ke chehre se gham dhul jaayegaa
phool khilenge rang hansenge aanchal aanchal
aangan aangan goonjengi khushiyon ki paayal

Audio :

Video :

Song-Bhoori bhoori aankhon waala ek ladka hai (Arjun)(1985) Singer-Lata, Lyrics-Jawed Akhtar, MD-R D Burman

Lyrics

Gaga ma re
La lala
Re gasa

Aaa
oooo
oooooo
bhoori bhoori aankhon waala
ek ladka hai
sapney dekhne se jaane kyun
ghabraata hai
bhoori bhoori aankhonwaala
ek ladka hai
sapney dekhne se jaane kyun
ghabraata hai
gumsum gumsum
khoyaa khoyaa saa rehtaa hai
sapneydekhne se jaane kyun
ghabraat ahai
ho bhoori bhoori aankhon waala
ek ladka hai
lalalala
lalalala
lalalala

meri aankhon mein hain
kitne saare sapne
rang birange
meethhe meethhe
pyaare sapne
ho meri aankhon mein hain
kitne saare sapne
rang birange
meethhe meethhe
pyaare sapne
deewaane tu bhi
aankhon mein sapne rakh le
banke chamkenge raaton mein
taare sapne
ho bhoori bhoori aankhon waala
ek ladka hai
sapney dekhne se jaane kyun
ghabraata hai

tu maane na maane
aisa din aayegaa
jab duniyaa ke chehre se
gham dhul jaayegaa
o tu maane na maane
aisa din aayegaa
jab duniyaa ke chehre se
gham dhul jaayegaa
phoolkhilenge rang hansenge
aanchal aanchal
aangan aangan goonjengi
khushiyon ki paayal
ho bhoori bhoori aankhon waala
ek ladka hai
sapney dekhne se jaane kyun
ghabraata hai
gumsum gumsum
khoyaa khoyaa sa rehtaa hai
sapney dekhne se jaane kyun
ghabraata hai
lalalala
lalalala
lalalala
lalalalala
lalalalala
hoho
hoho


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Today (14 July 2020) is the 101st birth anniversary of Sagat Singh (14 july 1919- 26 September 2001). He had nothing to do with HFM, but I am discussing him today. why ? Because I think that he deserves to be known to all of us. His name should occupy a pride of place among the great sons of India.

Sagat Singh started his military career in pre independence era as a JCO (Naik) with Bikaner Ganga Risala (army of the riyasat of Bikaner). Later he was promoted as Naib Sebedar and then as second lieutenant.

On amalgamation of the State Forces into Indian Army in 1950 after independence, he joined Third Gorkha Rifles of Indian Army. He commanded the Second and Third Battalions of the Third Gorkha Rifles.

In September 1961, he was promoted to the rank of brigadier and he was posted as the brigade commander of India’s only parachute brigade, the 50th Parachute Brigade. Most army officers would scoff at joining Parachute brigade, but Sagat Singh joined it enthusiastically and became a paratrooper himself.

Goa liberation war 1961
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The first memorable event in Sagat Singh’s career came in december 1961 which was liberation of Goa. Though India had become independent on 15 August 1947, Goa continued to be under Portugal occupation. Portugal refused to leave Goa, claiming that Goa was not a colony but part of metropolitan Portugal and hence its transfer to India was non-negotiable, and that India had no rights to this territory because the Republic of India did not exist at the time when Goa came under Portuguese rule.

The public opinion in Goa was to join India, but these movements were being forcibly suppressed by Portuguese authorities. The relations between Goa and India became tense. On 24 November 1961, Sabarmati, a passenger boat passing between the Indian port of Kochi and the Portuguese-held island of Anjidiv, was fired upon by Portuguese ground troops, resulting in the death of a passenger and injuries to the chief engineer. The action was precipitated by Portuguese fears that the boat carried a military landing party intent on storming the island. The incidents lent themselves to fostering widespread public support in India for military action in Goa.

On receiving the go-ahead for military action and a mandate for the capture of all occupied territories for the Indian government, Lieutenant-General Chaudhari of the Indian Army’s Southern Command fielded the 17th Infantry Division commanded by Major-General K. P. Candeth and the 50th Parachute Brigade commanded by Brigadier Sagat Singh.

The operation for the liberation of Goa, code named ‘Vijay’, was planned for 14 December, 1961. In order to prevent international intervention, and reinforcements from Portugal reaching Goa, it was essential that the operation was quick, and decisive. After a quick appreciation, Chaudhury decided to mount a two pronged attack. The main force, comprising 17 Infantry Division, was to move into Goa from the East, while 50 Parachute Brigade, under Brigadier Sagat Singh, was to mount a subsidiary thrust from the North. Major General K.P. Candeth, GOC 17 Infantry Division, was placed in overall command of the task force.

It was decided during meeting in Delhi that 2 Para battalion of 50 para brigade would be air dropped by Air force in Goa. But airforce later backed off and this plan had to be abandoned. This 2 para moved to Belgaum where it was met by 1 para of 50 para brigade. 2 Sikh Light infantry (based at Madras) also joined them. They along with 7th cavalry and 8th cavalty were also put under the command of Sagat Singh. So in summary, Sagat Singh commanded 50th Para Brigade, which had as its units 1st para battalion, 2nd Para battalion, 2 Sikh Light Infantry battalion, 7th Light cavalry and 8th light cavalry.

The brigade moved to Savantvadi on 13 December, and thence to its assembly area East of Dodamarg on the 16th. Meanwhile, 17 Infantry Division had also commenced its move from Ambala on 2 December, and had concentrated in Belgaum by 12 December. A tactical headquarters was established by HQ Southern Command at Belgaum on 13 December, and the Army Commander with his staff began to function from here. D Day for the operation was initially decided as 14 December, but was later postponed, due to political reasons, in an attempt to avert the conflict, and resolve the problem by diplomatic means. It was finally decided that the operation would commence on the night of 18 December.

Three days before D Day, the COAS, General P.N. Thapar, accompanied by Lieut General P.P. Kumaramangalam, the Adjutant General, and Lieut General J.N. Chaudhury, the Army Commander, visited the brigade, and Sagat presented his plan for the operation. At the end of the presentation, the Army Commander expressed the view that Sagat’s timings were too optimistic, and had reservations about them being adhered to. Sagat then gave the timings in writing, and the party left, after wishing the brigade good luck. On return to his tactical HQ, The Army Commander conveyed his doubts to his staff. However, Air Vice Marshal Pinto, and the Chief of Staff, Major General P.O. Dunn, as well as Mr. G.N. Handoo, of the IB, who knew Sagat well, supported him, and he was allowed to proceed according to his plan. As it happened, Sagat had already kept a reserve of four hours, and was able to remain well ahead of the estimated timings, when the operations took place.

50 Parachute Brigade had been given a subsidiary task, of advancing from the North, primarily to tie down the Portuguese troops in that area. However, Sagat was not the type to be shackled by rigid orders, and had already visualised a larger role for himself. He had decided to move on a wide front on two axes, with a vehicle mounted battalion group on each, supported by armour and artillery. He reasoned that if he was held up on one axis, he would continue the advance on the other, and using the reserve battalion, advance deeper into Goa, either through Bicholim-Mapuca-Panjim Creek, or via Sanquelim-Usgaon-Ponda-Velha Goa, on to Panjim. 2 Sikh Light Infantry group, supported by a squadron of 7th Cavalry and a troop ex 8 Cavalry, was tasked to advance on the Bicholim axis. 2 Para, supported by rest of 7th Cavalry and a troop ex 8th Cavalry, was assigned the Sanquelim axis. 1 Para was kept in reserve.

Though the operation was to commence on the night of 18 December, Sagat had decided to launch fighting patrols the previous night, to overcome the border outposts, in order to facilitate the entry of the main column across the border the following morning. Accordingly, Sagat had tasked 1 Para to capture two border outposts, and 2 Para to proceed along the ‘smugglers route’ and capture the single span 110 feet long bridge over the Sanquelim river, on the previous night. As these preliminary operations were going on, All India Radio gave the game away, by announcing shortly after midnight, that Indian troops were crossing into Goa. This alerted the Portuguese, and the element of surprise, so important in such operations, was lost. One company of 2 Para, after a swift night approach, had reached within 200 yards of the bridge, when barking dogs alerted the defending troops, who quickly fired the demolitions and fled.

The Portuguese Governor General and C-in-C, Major General Vassalo De Silva, was from the Corps of Engineers, and had got demolition chambers made in all the bridges, with explosives attached, for rapid demolitions. However, the company of 2 Para found a crossing place, and secured the home bank, enabling the tanks, guns and vehicles to cross the river. The Portuguese had not been able to fire all the demolition charges, and only those at the two ends had exploded. The single span had fallen down but was undamaged. Using marine jacks, the span was lifted, and with the addition of abutments at both ends, the bridge was soon re-commissioned. 1 Para also managed to capture the villages of Ibrampur, Maulinguem and Doromaoga, by first light of 18 December, though it suffered some casualties.

The main force, viz 17 Infantry Division commenced from its assembly area South of Belgaum, at dawn on 18 December, with 63 Infantry Brigade in the lead. It was planned to advance up to Ponda, by way of Mollem. 48 Infantry Brigade, which was following, was to pass through at Ponda, and go for Panjim, which was the final objective. Due to the advance on foot and abnormally large bridging column which was following the leading brigade, 48 Infantry Brigade could not keep up its advance, and when it reached River Candepar in evening, it found it was already occupied by paratroopers. Two battalions of 50 Parachute Brigade, 2 Para and 2 Sikh LI, had also commenced their advance at first light, on 18 December. Moving on converging axes, they did not let the blown up bridges deter them and simply swam across. The absence of heavy equipment, and light opposition from the enemy, coupled with initiative of the leaders, made this possible. As a result, the para troopers made excellent progress, and achieved more than what was expected from them. By 8.30 a.m. 2 Sikh LI had taken Bicholim and by 10.30 a.m. 2 Para reached Sanquelim, and by 5.30 p.m., occupied Ponda. This was done in spite of two major obstacles, in the form of the rivers Usgaon and Candepar, which were crossed by means of improvised rafts and fording.

After the crossing of the wide Usgaon river, Sagat felt that there was now no need to hold 1 Para in reserve, and he ordered them to head straight for Banasterim, after crossing the ferry at Piligao. According to his initial plan, on reaching Panjim, 2 Para was to establish a firm base close to the city, and 1 Para would be tasked to clear the expected resistance in the built up area. The lack of enemy resistance, and speed of advance had altered the situation. Another development took place at tactical HQ of Southern Command, at Belgaum. A wireless intercept indicated that the Portuguese Governor General had called for a meeting next morning at 8 a.m., to consider surrender. The Army Commander, when informed of this, realised that the Portuguese had lost the battle. Seeing the slow progress of 17 Infantry Division, and the rapid advance of 50 Para Brigade, he decided to change the plan. The task of capturing Panjim, which had been earlier assigned to 17 Division, was now given to the paratroopers, who were asked resume advance during the night. Due to break down in signal communications, this order could not be passed to HQ 17 Infantry Division, which had ordered 50 Para Brigade to firm in at Ponda, and tasked 48 Brigade to capture Panjim. However, Lieut-General Chaudhury personally spoke to the Brigade Major of 50 Para Brigade, and passed these instructions, since Sagat was away from his headquarters, visiting 2 Para, at that time. Incidentally, 50 Para Brigade was able to maintain contact with Belgaum throughout the operation, thanks to a radio relay detachment, which Sagat had managed to get from Major General R.N. Batra, the Signal Officer-in-Chief, on the ‘old boy’ net.

The advance of 2 Sikh LI was initially slow, even though it was led by the squadron of 7 Cavalry, and a troop of AMX tanks. Sagat felt that they had a tendency to hug the ground, and this accounted for their slow progress. He had to personally push them hard, before they speeded up their advance, and reached the Betim ferry, on the Panjim Creek, by last light. By this time, 1 Para had reached the outskirts of Panjim. With two battalions around Panjim by the evening of 18 December, 50 Para Brigade was now poised to capture the town, from the East as well as the North. However, it was almost dark, and Sagat did not want to enter the built up area of Panjim by night. He ordered 1 Para and 2 Sikh LI to halt, and establish harbours, for the night.

On the morning of 19 December, using the Betim ferry, some troops of 2 Sikh LI crossed the Panjim Creek, and arrived in Panjim at 8 am. Shortly afterwards, 1 Para also reached Panjim. Except for some firing from the customs house, there was no effective resistance, and the city was in Indian hands by 9 a.m. By a remarkable coincidence, the COs of both battalions had the same name. 1 Para was being commanded by Lieut Colonel Sucha Singh, VrC, MC, while the CO of 2 Sikh LI was Lieut Colonel Sucha Singh. It was the latter who won the race by an hour, and had the honour of accepting the surrender of the Portuguese troops, who had assembled in the officers mess. Major General Vassalo De’ Silva, the Governor General and C-in-C, escaped to Marmagao, and surrendered later. The Navy had already taken Anjidiv island the previous day, and also sunk the Portuguese frigate ‘Albuquerque’. At 11 a.m., Lieut-General Chaudhury, accompanied by Air Vice Marshal Pinto arrived in a helicopter, and got the tri-colour hoisted on the Secretariat building. Goa had been liberated, in an operation which lasted a little over 24 hours.

So, one can say that Goa was supposed to be liberated by 17st Infantry Division commanded by Major-General K. P. Candeth, with 50th. Parachute Brigade commanded by Brigadier Sagat Singh supposed to play a supporting role. But it was the other way round. Sagat Singh’s 50th Parachute Brigade reached Panjim and accepted surrender of Goan authority, while 17th Infantry Division was still struggling to reach Panjim.

Though the result of the operations in Goa was along expected lines, the speed of the Indian advance surprised many observers. The credit for this goes to Sagat, and his troops, who exceeded their brief, and managing to reach Panjim, which they had not been asked to do. The fact that 17 Infantry Division, in spite of the vastly superior resources at their disposal, and almost no opposition from the enemy, could make little headway, goes to show that the going was not easy. If the paratroopers succeeded, it was because of better fighting spirit, morale and leadership. The ability to take risks, and seize fleeting opportunities is the hall mark of a successful military leader, and Sagat proved beyond doubt that he had these qualities in ample measure.

Bangladesh Liberation War 1971
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In 1971 war, time was of essence. As soon as Pakistan started the war, on 3 December 1971 (by carrying out what they thought was an Israeli style bombing on Indian airfields), India retaliated and Pakistan ran to the UN on 4 December 1971 (in a very un Israel like manner), requesting UN to intervene and order ceasefire. Pakistan was supported by USA and China, while USSR vetoed the proposal, Britain and France abstained. So, India had limited time in which to achieve their task before Pakistan could manage to get ceasefire, like how they had managed to force India, then on the verge of defeating Pakistan soundly, into ceasefire in 1965, thanks to Chinese aggression at Sikkim.

In 1971, The task of liberating Bangla Desh, then called East Pakistan, was given to Lieut General Jagjit Singh Aurora, GOC-in-C Eastern Command. He had four corps under him, namely- 2 Corps, commanded by Lieut General (later General) T.N. Raina; 33 Corps, commanded by Lieut General M.L. Thapan; 4 Corps, commanded by Lieut General Sagat Singh; and 101 Communication Zone Area, commanded by Major General G.S. Gill.

East Pakistan had three major rivers and that divided it into four major territories. Each of the corps was given the task of capturing one territory each. The part south of river Padma (that is known as Ganga in India) was to be captured by Corps II, advancing from West (viz from West Bengal). The part between Padma (Ganga in India) and Jamuna (known as Brahmputra in India) was to be captured by Corps XXXIII, advancing from North west. Another major river is river Meghna (combination of Barak river and Kushtia river, both originating in Assam), which flows south west and joins Padma (which is already merged with Jamuna by then). The mighty river that thus gets formed is known as Meghna from then onwards and it flows into bay of Bengal. Sagat Singh’s corps 4 was given the task of capturing the territory east of River Meghna, attacking from east. The fourth territory, viz the northern territory between Jamuna and Meghna rivers was to be captured by 101 Communication Zone Area, attacking from north.

Bangladesh is a territory full of rivers. Crossing them is tough because there are very few bridges on them.

Pakistan had three infantry divisions, comprising about 42 battalions of regular troops, and five squadrons of armour, for the defence of the region, and more than 2000 kilometres of border. Lieut General A.A.K. Niazi, who was commanding the Eastern Command of the Pakistan Army, had appreciated that the Indian advance would have to be along the major road axes, and had deployed his troops accordingly. Strong points had been created along the likely axes, and it was visualised that unless these were cleared, the advancing enemy could make little headway.

Lt General Niazi’s hunch was correct as far as corps II, corps XXXIII and 101 communication zone were concerned. They advanced in the conventional way along the predicted route where Pakistani forces awaited them. Fighting them and defeating them consumed precious time of these corps of Indian Army. As a result, these corps fell way behind schedule in achieving their targets. Time was important because the longer the war prolonged, more was the possibility that UN would force a ceasefire and like in 1965, it would end up in a stalemate, with nothing to show for by India.

Just when it looked gloomy for Indian forces, Sagat Singh employed some unconventional strategies that no military strategist had ever thought of. Realising that time was important and using the same conventional method of advancing on land was time consuming, he decided to air drop his troops across river Meghna. He had antique helicopters which were not meant for this purpose, but he made them fly hundreds of sorties, and in each sortie 17 troops were carried (about 5 more than the carrying capacity). It was a risky gamble, and these helicopters were shot at by Pakistani troops. On one occasion, one helicopter was hit by these shots. The bullets hit the pilot and grazed past Sagat Singh, also flying in the helicopter. Sagat Singh was playing for broke, and his gamble paid off big time.

When his Corps had reached the Meghna River and he was trying to cross the river to advance to Dacca, Aurora tried to restrain him. Sagat told him that he was surprised at his reluctance when he was not only fulfilling the task given to him but achieving task plus. Hesuccessfully conducted an ad hoc and impromptu river crossing operation across one of the widest rivers of the world.

The air lift began on the afternoon of December 9, and continued for the next 36 hours. A total of 110 sorties were flown, from a stadium, and crossed the Meghna, which was 4,000 yards wide, to land at helipads which had been marked by torches, with their reflectors removed. During day, the troops were landed in paddy fields, with helicopters hovering low above the ground. The first battalion of 311 Mountain Brigade, 4 Guards, was landed in Raipura. while 9 Punjab crossed the river using country boats.

Next day, the troops were landed directly at Narsingdi. Meanwhile, 73 Brigade had started to cross, using boats, which had been rounded up. The ferrying of artillery and tanks was a serious problem, and required considerable ingenuity on the part of the Engineers. By 11 December, both 311 and 73 Mountain Brigade had crossed the Meghna, and were ordered to advance to Dacca, on different axes. Using all modes of transport, including bullock carts and cycle rickshaws, both brigades advanced rapidly, and on December 14, the first artillery shell was fired on Dacca. Meanwhile, 101 communication zone too advanced towards Dacca from north. This, as well as other units that began arriving towards Dhaka were put under the command of Sagat Singh on 15 December. Shelling commenced and the message for Pakistan Army was clear, surrender or perish. One way or the other, Dacca was bound to fall to Indian forces on 16 December 1971.

Niazi surrendered on 16 december 1971. Unlike in 1965, when Pakistan avoided a humiliating defeat, this time, Pakistan could not save face. On 12 December, with Pakistan facing imminent defeat, the United States requested that the Security Council be reconvened. Pakistan’s Deputy Prime Minister and Foreign Minister, Zulfikar Ali Bhutto, was rushed to New York City to make the case for a resolution on the cease fire. The council continued deliberations for four days. By the time proposals were finalised, Pakistan’s forces in the East had surrendered and the war had ended, making the measures merely academic. Bhutto, frustrated by the failure of the resolution and the inaction of the United Nations, ripped up his speech and left the council. 🙂

So, Sagat Singh’s unconventional tactics bamboozled Pakistani army and Pakistani rulers alike. Pakistan was forced to surrender several days before than they had expected. Some “experts” thought that Niazi should have deferred his decision by another one day. But these experts forget that Niazi had no choice. There was no way he would have left Dacca alive without Indian forces’ protection. Even if there was ceasefire, Indian troops would have just handed him over to Mukti Bahini. So surrendering before Indian army was an offer that Niazi could not refuse. 🙂

Here is that famous surrender photo. Sagat Singh is seen standing immediately behind Niazi.

So, one can see that Sagat Singh caused liberation of Goa on 19 december 1961 and liberation of Bangladesh on 16 december 1971. It was almost a “ten year liberation challenge” (dec 1961-dec 1971) as far as he was concerned ! 🙂

But, neither of these two feats were the biggest achievements of his career, in my opinion. His biggest achievement, in my opinion, that had far reaching implications for India, and therefore world affairs, came about in 1967 and ironically, very few people know about it and even talk about it. and that was :-

1967 India China War
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I have mentioned it earlier that India was winning against Pakistan decisively in 1965 when China, in a bid to save Pakistan, opened a front at Sikkim, and accused India of provocation and made some unreasonable demands on India. Indian government got nervous and declared ceasefire when on the verge of victory against Pakistan. This saved Pakistan big time. On the negotiating table, Pakistan got back everything that it had lost in the war. India not only surrendered all the gains of the war, even its PM Lal Bahadur Shashtri died mysteriously at Tashkant, where this meeting was taking place. So to many Indians it felt as if the entire world ganged up against India and India was stabbed in the back for the misdeed of Pakistan and Pakistan got away scot free.

Among the threats made by China while opening the Sikkim front with India, was the unreasonable demand that India vacated the two passes that were under Indian occupation, claiming that they were Chinese territories. These passes were Nathu La pass and Jelep La pass.

Nathu La was under mountain division 17 (headed by its Division Commander Major General Sagat Singh) while Jelep La was under mountain division 27 (headed by another Major General ). Both were under Lt Gen G G Bewoor, Corps commander of corps XXXIII.

In the opinion of Corps Commander Lt Gen Bewoor, the main defences of 17 Mountain Division were at Changgu, while Nathu La was only an observation post. Likewise In the adjoining sector, manned by 27 Mountain Division, Jelep La was also considered an observation post, with the main defences located at Lungthu. In case of hostilities, the divisional commanders had been given the authority to vacate the posts, and fall back on the main defences. Accordingly, orders were issued by Corps HQ to both divisions to vacate Nathu La and Jelep La.

Sagat did not agree with the views of the Corps HQ. Nathu La and Jelep La were passes, on the watershed, which was the natural boundary. The MacMahon Line, which India claimed as the International Border, followed the water shed principle, and India and China had gone to war over this issue, three years earlier. Vacating the passes on the watershed would give the Chinese the tactical advantage of observation and fire, into India, while denying the same to our own troops. Nathu La and Jelep La were also important because they were on the trade routes between India and Tibet, and provided the only means of ingress through the Chumbi Valley. Handing it over to the enemy on a platter was not Sagat’s idea of sound military strategy. Sagat also reasoned that the discretion to vacate the posts lay with the divisional commander, and he was not obliged to do so, based on instructions from Corps HQ.

As a result of orders issued by Corps HQ, 27 Mountain Division vacated Jelep La, which the Chinese promptly occupied. However, Sagat refused to vacate Nathu La, and when the Chinese became belligerent, and opened fire, he also opened up with guns and mortars, though there was a restriction imposed by Corps on the use of artillery. Lieut-General (later General) G.G. Bewoor, the Corps Commander, was extremely annoyed, and tried to speak to Sagat, to ask him to explain his actions. But Sagat was not in his HQ, and was with the forward troops. So it was his GSO 1, Lieut Colonel Lakhpat Singh, who bore the brunt of the Corps Commander’s wrath.

The Chinese had installed loudspeakers at Nathu La, and warned the Indians that they would suffer as they did in 1962, if they did not withdraw. However, Sagat had carried out a detailed appreciation of the situation, and reached the conclusion that the Chinese were bluffing. They made threatening postures, such as advancing in large numbers, but on reaching the border, always stopped, turned about and withdrew. They also did not use any artillery, for covering fire, which they would have certainly done if they were serious about capturing any Indian positions. Indian defences at Nathu La were strong. Sagat had put artillery observation posts on adjoining high features called Camel’s Back and Sebu La, which overlooked into the Yatung valley for several kilometres, and could bring down accurate fire on the enemy, an advantage that the Chinese did not have. It would be a tactical blunder to vacate Nathu La, and gift it to the Chinese.

During the crisis, the Chinese had occupied Jelep La, but had gained nothing in the sector under Sagat’s division. This was galling for them, and they continued their pressure on the Indians, and making threatening gestures. In December 1965, the Chinese fired on a patrol of 17 Assam Rifles, in North Sikkim, at a height of 16,000 feet, killing two men. The patrol was in Indian territory, but the Chinese claimed that it had crossed over to their side. They made regular broadcasts from loudspeakers at Nathu La, pointing out to Indian troops the pathetic conditions in which they lived, their low salaries and lack of amenities, comparing these to that of officers. It was a form of psychological warfare in which the Chinese were adept, and had to be countered. Sagat had similar loud speakers installed on our own side, and tape recorded messages, in Chinese language, were broadcast every day. However, he was not satisfied with this, and kept looking for a chance to avenge the death of the Indian soldiers who had fallen to Chinese bullets.

Throughout 1966, and early 1967, Chinese propaganda, intimidation and attempted incursions into Indian territory continued. The border was not marked, and there were several vantage points on the crest line which both sides thought belonged to them. Patrols which walked along the border often clashed, resulting in tension, and sometimes even casualties.

In 1967, Sagat discussed the problem with the new Corps Commander, Lieut General J.S. Aurora. He suggested that the border at Nathu La should be clearly marked, to prevent such incidents, and offered to walk along the crest line, to test the Chinese resolve. If they did not object, the line along which he walked could be taken to be acceptable to them. This was agreed to, and Sagat, accompanied by an escort, began walking along the crest. The Chinese commander also walked alongside, accompanied by a photographer, who kept taking pictures. However, there was no confrontation, and the ‘walk’ ended peacefully.

Sagat then obtained the concurrence of the Corps Commander to mark the crest line, along which he had walked. He ordered a double wire fence to be erected, from Nathu La towards the North and South Shoulders. However, as soon as work began on the fence, on 20 August 1967, the Chinese became agitated, and asked the Indians to stop. One strand of wire was laid that day, and two more were added over the next two days. On 6 September, a patrol of 2 Grenadiers, the battalion which was holding defences at Nathula, was going towards the South Shoulder, when it was surrounded by about seventy Chinese, and threatened. The next day, the Chinese physically tried to interfere with the construction of the fence, and there was a scuffle. However, work continued on the next two days, and was almost completed on the 10th.

Since the Chinese appeared determined to prevent completion of the fence, it was decided to start early on 11th, and finish the job before first light. All available manpower, including a platoon of Engineers and another of Pioneers, was deployed for the task. A company of 18 Rajput was also brought in, to reinforce the position, and protect the men who were to construct the fence. As soon as work commenced, the Chinese came upto the fence, and tried to stop the work. There was a heated discussion between the Chinese commander, who was accompanied by the political commissar, and Lieut Colonel Rai Singh, CO 2 Grenadiers. Sagat had foreseen this eventuality, and told Lieut Colonel Rai Singh not to expose himself, and remain in his bunker, where the Brigade Commander, Brigadier M.M.S. Bakshi, was also present. But this was not heeded, and the CO, with an escort, came out in the open, to stand face to face with the Chinese officers. As the arguments became more heated, tempers rose, but both sides stood their ground. Suddenly, the Chinese opened fire, causing several casualties among the troops working on the wire fence. Lieut Colonel Rai Singh was hit by a Chinese bullet, and fell down.

Seeing their CO fall, the Grenadiers became mad with rage. In a fit of fury, they came out of their trenches, and attacked the Chinese post, led by Captain P.S. Dagar. The company of 18 Rajput, under Major Harbhajan Singh, and the Engineers working on the fence had been caught in the open, and suffered a few casualties from the Chinese firing. Realising that the only way to neutralise the Chinese fire was a physical assault, Harbhajan shouted to his men, and led them in a charge on the Chinese position. Several of the Indian troops were mowed down, by Chinese machine guns, but those who reached the Chinese bunkers used their bayonets, and accounted for many of the enemy. Both Harbhajan and Dagar lost their lives in the action, which developed into a full scale battle, lasting three days. Sagat had asked for some medium guns, and these were moved up to Kyangnosa La, at a height of over 10,000 ft.

Those day, authority to use artillery was only with Army Chief. Sagat Singh asked for permission to use artillery. His commanding officer sent the request to Delhi where the request went tthrough various channels in a proper bureaucratic manner. Seeing that it would be too late if he kept waiting for the orders from Delhi, Sagat Singh ordered firing of artillery on his own.

The artillery observation posts, which Sagat had sited earlier, proved their worth in bringing down effective fire on the Chinese. Because of lack of visibility, and the steep incline West of Nathu La, most Chinese shells fell behind the forward defences, and did not harm the Indians. Indian artillery shelling caused heavy damage on Chinese. Based on their observation of meek Indian behaviour so far, Chinese forces had never expected such a furious response.

The Indian casualties in the action were just over two hundred – 65 dead and 145 wounded. The Chinese are estimated to have suffered about three hundred casualties. Though the action taken by Sagat, in marking the border with a wire fence, had the approval of higher authorities, the large number of casualties suffered by both sides created a furore. The casualties to Indian troops would not have occurred if they had remained in their defences, and not exposed themselves by coming out of their trenches and rushing at the Chinese post. This happened in the heat of the moment, because seeing their CO fall, the troops lost their cool, and rushed forward under the orders of a young officer, who lost his life in the action.

The Corps Commander, Lieut General J.S. Aurora, visited Nathu La, to assess the situation. Sagat was advised to prevent further escalation of hostilities, and avoid casualties to Indian troops.

The Chinese had already announced that it was the Indians who started the conflict, and the large number of Indian bodies, and wounded Indian soldiers, in their possession, seemed to support their claim. However, Sagat was not perturbed. For the last two years, the Chinese had been instigating him, and had killed several Indian soldiers. The specter of Chinese attack, of 1962, still haunted the military and political leadership in India and had prevented them from taking effective action against them. This was the first time the Chinese got a bloody nose, and the myth of their invincibility was broken.

This was not the end of the face-off with the Chinese. They had suffered more than 300 casualties and seemed unwilling to let the watershed cool down. On 1 Oct, a confrontation ensued between the Chinese and 7/11 Gorkha Regiment at Chola, a pass west of Nathu La and under the responsibility of 63 Brigade. The Gorkhas had that very day taken over the post at Pt 15450 from 10 J&K Rifles. A scuffle ensued between the JCO post commander and his Chinese counterpart over a boulder which was on the watershed. The Chinese bayoneted the JCO and his men retaliated with the deadly use of the khukhri. A fierce hand to hand struggle ensued and a neighbouring post came under attack. The Gorkhas were unwilling to start their tenure with a defeat and got clearance from the Brigade Commander to raise the stakes. Pt 15450, which had been taken by the Chinese, was vigorously attacked with close quarter khukhri work and the Chinese were evicted. This was a clear signal to them that the Indians would not surrender an inch of territory and the area around the watershed stabilised, ultimately being designated as the Line of Actual Control.

These two incidents were so unexpected and demoralising for the Chinese that there has been no firing on the LAC from that time in 1967 till today (2020). They kept threatening Indian even later, but the mental scars left on them in 1967 have not healed. That has acted as a brake on Chinese aggression.

Had India surrendered Nathu La under pressure of China then China would have had a free passage to Sikkim (then an Indian protectorate). China would have occupied Sikkim in no time. From Sikkim, cutting off Indian North East through Siliguri Corridor (aka Chicken neck) would have been a piece of cake for China. Occupying Sikkim would have enabled them to occupy the entire North East part of India. And all that before 1970. So there would have been no Bangladesh war and no win for India in that war. All this was avoided just because India had the right man at the right time as the incharge of protecting the borders at Nathu La during 1965 to 1967. And he took a decision in national interest that was at variance with the decision of his superior. Obeying that wrong decision cost India Jelep La pass, but Sagat Singh ensured that he would not surrender Nathu La. And two years later, he gave China a bloody nose, once again, by taking a decision that was against rules but in national interest.

His feat at Nathu La has been downplayed and its long term significance in ensuring the morale of Indian armed forces, and also in ensuring the unity and integrity of the nation, has not been fully appreciated.

During 1971 war, China did not interfere by opening another front, unlike what they had done in 1965. For that India must be thankful to Sagat Singh. The bloody nose that Chinese had received in 1967 was only too fresh in Chinese minds, so they stayed out of this conflict even though China Sikkim border was quite close to the war zone in East Pakistan !

One army officer, who has followed his career closely rightly observed that Sagat Singh was one of the greatest army commanders of all times. He is comparable to German Army commander Rommel and US army commander George Patten. Like Patten, Sagat Singh too found his war expoits being overlooked by his superiors, but Sagat Singh would not let that stop him from giving his best for the nation.

Just as this episode of Indian forces giving China a bloody nose in 1967 has been carefully shoved under the carpet, even Hindi movies have not covered this glorious chapter of Indian Army. Or so I thought. I came to know a few months back that a movie “Paltan”(2018) has been made on this event. But unlike other war movies, few moviegoers seem to have watched it. The movie seemingly flopped, which is a great pity.

The movie is available on zee5, and I especially subscribed to zee5 to watch this movie. The movie was directed by J P Datta. It had Jackie Shroff, Arjun Rampal, Sonu Sood, Harshvardhan Rane, Esha Gupta, Sonal Chauhan etc in it. Jackie Shroff plays Sagat Singh in the movie.

Here is a song from “Paltan” (2018) in honour of Late Lt Gen (Retd)Sagat Singh, the hero of Goa Liberation war, Bangladesh liberation war and the person who gave Indians the belief that Chinese armymen were not invincible, unlike what we were told since 1962.

The song is sung by Khuda Baksh, Irfan I, Adarsh II and Divya Kumar. Jawed Akhtar is the lyricist. Anu Malik is the music director. Knowing Anu Malik’s reputation, it should come as no surprise if his tunes turn out to be “inspired” tunes. Here it is lifted from the theme music of “The bridge on the river Kwai”.

The picturisation of the song is just two minutes long. The audio version is six minutes long.

Video

Audio full


Song-Paltan o paltan (Paltan)(2018) Singers-Khuda Baksh, Irfan I, Adarsh II, Divya Kumar, Lyrics-Jawed Akhtar, MD-Anu Malik

Lyrics

chale jo apni paltan to parwat hatt jaayein
dariya rasta chhodein chattanein kat jaayein
chale jo apni paltan to parwat hatt jaayein
dariya rasta chhodein chattanein kat jaayein
ik saathi hai daayein
ik sathi hai baayein
ik sathi hai daayein
ik sathi hai baayein
hatein na hum jo kisi morche par datt jaayein
paltan o paltan
paltan o paltan
paltan o paltan
paltan o paltan
tere liye hum laaye hain tann-mann
paltan o paltan
paltan o paltan
vande mataram
vande mataram
vande ae mataram
vande ae mataram

tez nigaahein tez dhadkanein tez kadam hain
hilta hai aakaash bhi jab yoon chalte hum hain
pairon ko chhoone aati hain khud hi raahein
har manzil hai milti humse khole baahein
paltan o paltan
paltan o paltan
paltan o paltan
paltan o paltan
tere liye hum laaye hain tann-mann
paltan o paltan
paltan o paltan
vande mataram
vande mataram
vande ae mataram
vande ae mataram

aangaaron ki baarish ho ya aag ke saagar
hum badhhte hi jaate hain in sab ko o bujhaa kar
josh bhi hai aur hosh bhi hai aur taakat bhi hai
har dushman se takraane ki himmat bhi hai
paltan o paltan
paltan o paltan
paltan o paltan
paltan o paltan
tere liye hum laaye hain tan mann
o sathi o
o sathi o
hum bhi kahen
tum bhi kaho
hum bhi kahen
tum bhi kaho
vande maataram
vande maataram
paltan o paltan
paltan o paltan
vande ae maataram
vandee ae maataram


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 :

4319 Post No. : 15605 Movie Count :

4297

Hullo Atuldom

Today’s song is from a movie that released 32 years ago. This movie and song were instrumental in catapulting our today’s birthday girl into the big-league.

She had made her debut in Bollywood in 1984 through a Rajshri Productions movie which had a story similar to the Jaya Bhaduri starrer “Uphaar” of the 70s. Then followed a string of movies; which were not so successful; where she was an “also there” or what is generally termed as a glamour doll. Even 1988 saw her in four movies three of which were commercial failures. So we can term her start to be something like what the Big B experienced in the 70s.

But her fourth release of 1988 (release date 11 November) made her an overnight star along with re-affirming Anil Kapoor’s standing in the industry.

So today’s song is from N.Chandra’s “Tezaab” and with this we are wishing our “Mohini” a.k.a Madhuri Dixit (Nene got added to her name after marriage to Dr. Nene in 1999). Madhuri played a unfortunate, kindhearted and gentle girl who is forced to dance by her father so that his drunken ways are financed. She looked the role of a meek, frail girl but danced brilliantly.

Most Madhuri’s subsequent movies had atleast one great dance number. Who can forget “humko aaj kal hain intezaar”; “mera piya ghar aaya o ramji”; “Tamma tamma loge”; “dhak dhak karne laga” and the cream of them all “choli ke peeche kya hain” to name the most popular ones (there are many more) As I write this I find all the songs that I have mentioned here are yet to make their appearance on the blog except for the song from Khalnayak “choli ke peeche”.

She made an excellent pair with whoever she was cast opposite but the pairing with Anil Kapoor was a different class altogether. They did 18 films together including the 2018 release “Total Dhamaal”. There is a strange camaraderie between the two actors which is evident in any scene that they enact.

She must be among the few actress who have acted with pairs of father and son- Rishi and Ranbir Kapoor, Vinod and Akshaye Khanna for example.
Today’s song has a female and male version. Female playback -Alka Yagnik and male – Amit Kumar. The songs were written by Javed Akhtar and Laxmi-Pyare were the composers.

The male version is shot on the streets of Mumbai and we can see the steps of the famous Asiatic Library; also Akbarally’s which was one of the first departmental store of Mumbai (have done shopping there a few times when the kids were small.)

The Female version is a stage song which ends when a group of bandits or thugs led by Kiran Kumar, invade the scene with the intention to corner Anupam Kher (who played the drunkard father of Mohini). They leave carrying Mohini with them when they cannot find Anupam Kher.

So here is wishing the ever so beautiful brilliant dancer and of a million-bucks smile a long and healthy life and success in all her future ventures too. She still has a lot of time before she calls it a day. She is still very young.

Male version

Female version

Song-Ek do teen chaar paanch chhe saat (Tezaab)(1988) Singer-Amit Kumar/ Alka Yanik, Lyrics-Jawed Akhtar, MD-Laxmikant Pyarelal
Male chorus
Female chorus

Lyrics

——————–
Male version
——————–
ding dong ding
ding dong ding dong ding dong
ding dong ding
ding dong ding dong ding dong
ding dong ding
ding dong ding dong ding dong
ding dong ding
ding dong ding dong ding dong

ek do teen
char paanch chhe saat aath nau
dus gyarah baarah terah
ek do teen
char paanch chhe saat aath nau
dus gyarah barah terah

tera karoon
tera karoon din gin gin ke intezaar
aaja sanam aayi bahaar
tera karoon din gin gin ke intezaar
aaja sanam aayi bahaar
ek do teen
chaar paanch chhe saat aath nau
dus gyarah barah terah
ek do teen
char paanch chhe saat aath nau
dus gyarah barah terah

chaudah ko jab maine kehlaaya thha
chaudah ko jab maine kehlaaya thha
pandarah ko aaoonga
main aaya thha
pandarah ko parde se nikli na tu
tujh ko na paake main ghabraaya tha
solah ko bhi
solah ko bhi subah se tha bekarar
aaja sanam aayi bahaar
tera karoon din gin gin ke intezaar
aaja sanam aayi bahaar
ek do teen
char paanch chhe saat aath nau
dus gyarah barah terah

satarah ko soya nahin raatbhar
athhaarah ko bhi tu na aayi nazar
unees ko main deewaana hua
bees ko ghar se rawaana hua
galiyon mein
galiyon mein goonje deewaane ki pukaar
aaja sanam aayi bahaar
tera karoon din gin gin ke intezaar
aaja sanam aayi bahaar
ek do teen
chaar paanch chhe saat aath nau
dus gyarah barah terah

ikkees ko aayi na
baaees ko tu
jab na mili teyees chaubees ko
pachees ko samjhaya sab ne mujhe
mat jaane de de na chhabees ko
duniya mein bas
duniya mein bas din hain mere aur chaar
aaja sanam aayi bahaar
tera karoon din gin gin ke intezaar
aaja sanam aayi bahaar
ek do teen
char paanch chhe saat aath nau
dus gyarah baarah terah

din lage hafte
re hafte maheene
maheene lagte saal
aake zaara tu dekh toh le
kya hua hai mera haal
deewaana dar dar main phirta hoon
na jeeta hoon na main marta hoon
tanhaayi ki raatein sehta hoon
aaja aaja
aaja aaja aaja
aaja ke din ginta rehta hoon
aaaa
ek do teen
char paanch chhe saat aath nau
dus gyarah barah terah
ek do teen
char paanch chhe saat aath nau
dus gyarah barah terah

tera karoon din gin gin ke intezaar
aaja sanam aayi bahaar
ek do teen
char paanch chhe saat aath nau
dus gyarah barah terah

—————————————–
Female version
—————————————–

mohini mohini mohini mohini
mohini mohini mohini mohini
ho ho ho ho
ho ho ho ho oooooo

namaskaar
namaskaar
kahiye, kya sunege aap
arre pehle ye kahiye, kahaan thi aap
main
main kar rahi thi kisi ka intezaar
kaun hai woh
jisse karati hoon pyaar
haaye
aur, jisse karati hoon minnate baar baar,
kaise
aise

ding dong ding,
ding dong ding dong ding dong
ding dong dong
ding dong ding dong dong dong
ek do teen,
chaar paanch chhe saat aath nau,
dus gyarah baarah terah
ek do teen,
chaar paanch chhe saat aath nau,
dus gyarah barah terah

tera karoon,
tera karoon din gin gin ke intezaar
aaja piya aayi bahaar
tera karoon din gin gin ke intezaar
aaja piya aayi bahaar
ek do teen,
chaar paanch chhe saat aath nau,
dus gyarah baarah terah
ek do teen,
chaar paanch chhe saat aath nau,
dus gyarah barah terah

chaudah ko tera sandesa aaya
chaudah ko tera sandesa aaya,
pandrah ko aaoonga ye kehlaaya
chaudah ko aaya na pandrah ko tu,
tadpaake mujhko toone kya paaya
solah ko bhi
solah ko bhi solah kiye thhe singaar,
aaja piya aayi bahaar
tera karoon din gin gin ke intezaar,
aaja piya aayi bahaar
ek do teen,
chaar paanch chhe saat aath nau,
dus gyarah barah terah

satrah ko samjhi sang chhoot gaya
athharah ko dil toot gaya
ro ro guzaaraa maine saaraa unnees
bees ko dil ke tukde hue bees
phir bhi nahin
phir bhi nahin dil se gaya tera pyaar,
aaja piya aayi bahaar
tera karoon din gin gin ke intezaar,
aaja piya aaye bahaar
ek do teen,
chaar paanch chhe saat aath nau,
dus gyarah barah terah

ikkees beeti,
baayees gayi,
teyees guzari, chaubees gai
pachchees chhabees ne maara mujhe
birha ki chakki mein main pis gayi
din bas
din bas maheene ke hain aur chaar
aaja piya aayi bahaar
tera karoon din gin gin ke intezaar,
aaja piya aaye bahaar
ek do teen,
chaar paanch chhe saat aath nau,
dus gyarah barah terah

din bane hafte re,
hafte maheene,
mahine ban gaye saal
aake zara tu dekh to le
kya hua hai mera haal
deewaani dar dar main phirti hoon
main jeeti hoon naa main marti hoon
tanhaayi ki raaten sehti hoon
aaja aaja
aaja aaja aaja
aaja ke din ginnti rehti hoon
ek do teen,
chaar paanch chhe saat aath nau,
dus gyaarah baarah terah
ek do teen,
chaar paanch chhe saat aath nau,
dus gyarah barah terah

tera karoon din gin gin ke intezaar,
aaja piya aaye bahaar
tera karoon din gin gin ke intezaar,
aaja piya aaye bahaar
ek do teen,
chaar paanch chhai saat aath nau,
dus gyarah barah terah
ek do teen,
chaar paanch chhe saat aath nau,
dus gyaarah baarah terah


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.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 :

4200 Post No. : 15385 Movie Count :

4242

Welcome all to today’s post where I am presenting a song from the 1993 movie ‘Gardish’. I like this song very much. I had shared this song long time back but it was yet to be to be posted on the blog. This song is penned by Javed Akhtar.

Today 17th January 2020 is the 75th birth anniversary of Writer, Poet and Lyricist Javed Akhtar who was born on 17th January 1945 at Gwalior (Madhya Pradesh).

We on the blog wish him a ‘very happy birthday today and a healthy and peaceful life ahead’…

Javed Akhtar who started his film career as a ‘screen play’ writer with Salim Khan, came from a family of Poets. His father Jan Nisar Akhtar was an Urdu poet and lyricist while his grand father and his great grand father’s elder brother were also a poet.

The pair of Salim-Javed has given Hindi movies many successful and milestone movies working together including hits like ‘Andaz-1971’, ‘Haathi Mere Saathi’, ‘Yaadon Ki Baaraat’, ‘Deewaar’,’Sholay-1975’ etc. I am not going to list them all here in this post for today, and maybe we will have a separate post on this in the future.

After separating from Salim Khan (in 1981-1982), Javed Akhtar continued writing for movies as an independent screen writer and has been a part of many successful movies like ‘Betaab-1983’, ‘Mashaal-1983’, ‘Saagar-1985’, ‘Arjun-1985’, ‘Meri Jung-1985’, ‘Dacait-1987’, ‘Main Aazaad Hoon-1989’ etc.

After writing for movies he moved on to writing lyrics for the movies. He began his journey as a lyricist with the movie ‘Silsila-1981’ and till the latest movie to be released next week i.e. ‘Panga-2020’ he has penned lyrics for more than one hundred movies (if the information available in the domain is correct ‘Panga-2020’ will be his 111th movie as a ‘Lyricist’). As a lyricist he has given us many many memorable songs and many songs which have a high ‘poetic’ value.

His lyrics for the movies ‘Saaz-1996’, ‘Border-1997’, ‘Godmother-1998’, ‘Refugee-2000’, and ‘Lagaan-2001’ fetched him the ‘Best Lyricist’ award at the National Awards of that year.

He has also won many ‘filmfare’ awards for his ‘screen writing’ and ‘lyrics writing’ which I am not listing them all here. And instead will come back on the movie details for the today’s song.

‘Gardish-1993’ was presented by ‘Good Knight Films’. It was produced by R. Mohan and directed by Priyadarshan.

Priyadarshan also wrote the ‘screen play’ of this movie.

The movie had Jackie Shroff, Amrish Puri, Farida Jalal, Shammi Kapoor, Kunika, Asrani, Dimple Kapadia, Raj Babbar, Rakesh Bedi, Tej Sapru, Anand Mahadevan, Suresh Oberoi, Annu Kapoor and Shagufta Ali. This movie introduced Aiswarya (from South) and Mukesh Rishi.

Story of this movie was written by A.K. Lohitadas. Its dialogues were written by Suraj Sanim.
Viswanathan Vaduthala, Mohan Payyanoor, Vijay. K. Bhavan, Sonu Sisupal were assistants in direction. Also, there were II- & III-unit directors – R.R. Shinde and Murali Nagavally respectively.

Editing of this movie was done by N. Goplakrishnan. Santosh Sivan was the Director of Cinematography of this movie.
Choreography of this movie was done by Sundaram, Prabu Deva and Suchitra.

Back ground music was scored by S.P. Venkatesh.

Lyrics were penned by Javed Akhtar and music was composed by R.D. Burman. The movie had six songs.
Asha Bhonsle, M.G. Sreekumar and S.P. Balasubramaniam had given their voices to the songs in this movie.

This movie was passed by Censor Board on 19th August 1993 and it was a remake of Malayalam movie ‘Kireedam’. It’s remake was also made in Telugu, Kannada before the Hindi version and later in Bengali and Tamil.

I had watched this movie twice then – once at Kota (I was staying at Kota then) and once at Indore during my ‘in-transit’ halt their while travelling from Kota to Parli-Vaijnath.

I liked this movie very much then as it had some powerful performances especially by Jackie Shroff, Amrish Puri, Dimple Kapadia and Mukesh Rishi and others too. I would also mentioned the role played by Annu Kapoor wherein he is playing an educated unemployed who accidentally become a ‘beggar’ for survival, but capitalizing on it he went on to employ many educated unemployed into his ‘business’(empire of ‘bhikharis’😊, and he also ‘innovatively’ deputes each of them according to their ‘relevant qualification’ for placement of ‘begging’ at a particular ‘location/field’.

It’s a ‘cynical comedy’ type role and Annu Kapoor has given his very best in this role.

For those who have not watched this movie I would sum-up the storyline in the following –
– The tagline on the posters of the movie – ‘Wanted to be a man of law, now wanted by the law’ i.e. the protagonist in the movie – the hero- Jackie Shroff.
– Amrish Puri, who plays the father to Jackie Shroff in this movie, is a Havaldar in Police and always dreaming of his song becoming a Police Inspector (the movie starts with this scene in Police Station …)
– However, life takes a turn for the hero who was an aspiring Police Officer who took on ‘criminals’ to save his Father first, then his Sister and finally ending up killing the goon … Shiva (Jackie Shroff) is arrested by Police for the offence…
– The movie ends with Amrish Puri submitting a police verification report for his son’s Police Job to his senior Suresh Oberoi mentioning that as per the police verification report Shiva (Jackie Shroff) cannot become a police officer since he is a ‘criminal’ now …

(The film won two Filmfare Awards—Best Art Direction (Sabu Cyril) and Best Action (Thyagarajan), and was nominated for Best Actor (Shroff), Best Supporting Actor (Amrish Puri), and Best Supporting Actress(Dimple Kapadia, as per information available on ‘wiki’.)

The songs of this movie composed by R.D. Burman were nice and I like them. ‘Rang Rangeeli Raat’ by Asha Bhonsle and the words (in some foreign language, I think) reminds the song ‘dil ki manzil kuchh aisi hai manzil’ from ‘Tere Ghar Ke Saamne-1963’.

The other songs were also good. And the one that I am presenting today was my favorite song from this movie. The song keeps growing on as we listen to it more and more.

I had then (in 1993) got this one song recorded six times on one side of the cassette. I am sure, our readers will also like this song. The song has some beautiful meaningful verses penned by Javed Akhtar.

This song is sung by S.P. Balasubramaniam and composed by R.D. Burman.

Let us now enjoy today’s song from “Gardish”(1993).

Video

Audio

Song-Ham na samjhe thhey baat itni si(Gardish)(1993) Singer-S P Balasubrahmanyam, Lyrics-Jawed Akhtar, MD-R D Burman

Lyrics

Ham naa samjhe thhe
Baat itni si ee
Khwaab sheeshe ke
Duniyaa patthar ki ee
Ham naa samjhe thhe ae
Baat itni si
Khwaab sheeshe ke
Duniyaa patthar ki ee
Ham naa samjhe thhe
Baat itni si ee

Aarzoo hamne ki to ham paaye
Aarzoo hamne ae ki to ham paaye
Roshni saath
Laayee thhi saayein
Saaye gehre thhe
Roshni halki ee
Ham naa samjhe thhe ae
Baat itni si
Khwaab sheeshe ke
Duniyaa patthar ki ee
Ham naa samjhe thhe
Baat itni si ee

Sirf veeraani
Sirf tanhaayee
Sirf veeraani
Sirf tanhaayee
Zindagi hamko
Ye kahaan laayee
Kho gayee hamse ae
Raah manzil ki ee
Ham naa samjhe thhe
Baat itni si
Khwaab sheeshe ke
Duniyaa patthar ki
Ham naa samjhe thhe
Baat itni si ee

Kyaa koyee beche
Kyaa koyee baante ae
Kyaa koyee beche
Kyaa koyee baante
Apne daaman mein
Sirf hain kaante
Aur dukaanein hain
Sirf phoolon ki ee
Ham naa samjhe thhe
Baat itni si
Khwaab sheeshe ke
Duniyaa patthar ki ee
Ham naa samjhe thhe
Baat itni si ee

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

हम ना समझे थे
बात इतनी सी ई
ख्वाब शीशे के
दुनिया पत्थर कि ई
हम ना समझे थे
बात इतनी सी
ख्वाब शीशे के
दुनिया पत्थर की ई
हम ना समझे थे
बात इतनी सी ई

आरज़ू हमने की तो हम पाएं
आरज़ू हमने की तो हम पाएं
रौशनी साथ
लायी थी सायें
सायें गहरे थे
रौशनी हलकी ई
हम ना समझे थे ए
बात इतनी सी
ख्वाब शीशे के
दुनिया पत्थर की ई
हम ना समझे थे
बात इतनी सी ई

सिर्फ वीरानी
सिर्फ तन्हाई
सिर्फ वीरानी
सिर्फ तन्हाई
ज़िन्दगी हमको
ये कहाँ लायी
खो गयी हमसे ए
राह मंजिल की ई
हम ना समझे थे
बात इतनी सी
ख्वाब शीशे के
दुनिया पत्थर की
हम ना समझे थे
बात इतनी सी ई

क्या कोई बेचे
क्या कोई बांटे ए
क्या कोई बेचे ए
क्या कोई बांटे
अपने दामन में
सिर्फ हैं कांटे
और दुकानें हैं
सिर्फ फूलों की ई
बात इतनी सी
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What is this blog all about

This blog discusses Bollywood songs of yesteryears. Every song has a brief description, followed by a video link, and complete lyrics of the song.

This is a labour of love, where “new” songs are added every day, and that has been the case for over FOURTEEN years. This blog has over 17200 song posts by now.

This blog is active and online for over 5000 days since its beginning on 19 july 2008.

Important Announcement

(© 2008 - 2022) 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

17246

Number of movies covered in the blog

Movies with all their songs covered =1338
Total Number of movies covered=4642

Total visits so far

  • 15,548,065 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 5000 days.

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