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

Posts Tagged ‘Laxmikant Pyaarelal


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

Blog Day :

3903 Post No. : 14956 Movie Count :

4087

Missing Films of 1960s – 99
– – – – – – – – – – – – – – –

OK wow, we are at 99 for this series today. 🙂

The surprising thing is that this film is not yet on the blog. It is not obscure, it is not unfamiliar, it is not starring unfamiliar faces, it does not contain unfamiliar or unheard songs, and the songs are good to be heard. So then, how come?

Well, we come to it today. The film we are bringing on today is ‘Shart’ from 1969. Of course, its namesake from 1954 has legendary music and songs. The 1969 ‘Shart’ does not compare to the quality of music of the earlier one. But still, given the era we were in during late 1960s, we are still talking of primary rated artists who came together for this song. In their own right, these artists had already established themselves in the industry.

Music is by Laxmikant Pyaarelal. The lyrics are written by Anand Bakshi. And the singer of this song is Asha Bhosle. The lead pair in this film is Mumtaz and Sanjay (later known by the name Sanjay Khan). By 1969, both had made their presence felt on the box office. Mumtaz, having struggled thru from being a junior artist and then playing many a C grade films, had by this time graduated to A and B class cinema. Sanjay, being the younger brother of Feroze Khan already had a head start – appearing in big banner films opposite to top line leading ladies already.

The film was produced under the banner of Shankar Movies, Bombay, and was directed by Kewal Mishra. The star cast of this film, in addition to the lead pair mentioned above, is listed as Kumud Chhugani, Rajendra Nath, KN Singh, Ramesh Dev, Rajan Haksar, Heeralal, Shammi, Meena Rai, Murad, Ravikant, Tuntun, Ravi Khanna, and Hercules.

I do not readily recall the storyline. The song is group dance song, with Mumtaz as the lead dancer and a group of sahelis supporting her. We catch a glimpse of Ramesh Deo in the beginning of the clip. And Sanjay is seen watching this dance performance. The peculiar thing about this song is that in between we see that the lead dancer is switched, and we see another lady leading the dance, wearing exactly the same attire as Mumtaz. I request our circle of knowledgeable readers to please help identify this other lady.

It seems that the leading man, Sanjay, is equally perplexed. There is a look of baffled curiosity on his face, as he tries to figure out how the lady is being switched, as the song progresses. From a distance, it cannot be clearly made out, but in closer shots, there definitely is a switching of lead performer happening. Again, request is for those who may have seen this film, to please add information to explain this situation.

The song itself is a lovely Asha rendition, and the performance by Mumtaz is simply too good. Very energetic and very involved with the scene, she is of course the star attraction in this clip.

And after this post – we have the century post of this series coming up. Watch this space for more. 🙂 🙂

Song – Chori Se Sainyyaan Ne Mohe Pukaara  (Shart) (1969) Singer – Asha Bhosle, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal

Lyrics

oo oo oo ooo
oo oo oo ooo
oo oo
oo oooo

oo oo oo ooo
oo oo oo ooo
oo oo
oo oooo

chori se sainyyaan ne mohe pukaara
re chupke se maine bhi kiya ishaara
re kali kali jaan gayi
gali gali mach gaya shor
kali kali jaan gayi
gali gali mach gaya shor
chori se sainyyaan ne mohe pukaara
re chupke se maine bhi kiya ishaara
re kali kali jaan gayi
gali gali mach gaya shor
kali kali jaan gayi
oy gali gali mach gaya shor

pehle thi champa
phir bani gori
pad gaya ab mera naam chakori
ae suno
ae dekho
o logo
ud gayi bairan nindiya mori
pakdi gayi mere mann ki chori
bhed naa ye kaam aaya
dosh mere naam aaya
kali kali jaan gayi
gali gali mach gaya shor
chori se sainyyaan ne mohe pukaara
re chupke se maine bhi kiya ishaara
re kali kali jaan gayi
gali gali mach gaya sho..or
kali kali jaan gayi
oy gali gali mach gaya shor

main kya jaanoon
chhup ke sakhiyaan
sunti hain mere prem ki batiyaan
ae suno
ae dekho
o logo
main kya jaanoon
karte hain batiyaan
padh ke log mere naam ki patiyaan
dheere dheere baaten huin
chori mulaqaaten huin
kali kali jaan gayi
gali gali mach gaya shor
chori se sainyyaan ne mohe pukaara
re chupke se maine bhi kiya ishaara
re kali kali jaan gayi
gali gali mach gaya shor
kali kali jaan gayi
gali gali mach gaya sho..or
kali kali jaan gayi
gali gali mach gaya sho..or

lallaa lallaa lallaa lallaa
lallaa

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

ओ ओ ओ ओss
ओ ओ ओ ओss
ओ ओ
ओ ओsss

ओ ओ ओ ओss
ओ ओ ओ ओss
ओ ओ
ओ ओsss

चोरी से सैयां ने मोहे पुकारा
रे चुपके से मैंने भी किया इशारा
रे कली कली जान गई
गली गली मच गया शोर
कली कली जान गई
गली गली मच गया शोर
चोरी से सैयां ने मोहे पुकारा
रे चुपके से मैंने भी किया इशारा
रे कली कली जान गई
गली गली मच गया शोर
कली कली जान गई
ओय गली गली मच गया शोर

पहले थी चम्पा
फिर बनी गोरी
पड़ गया अब मेरा नाम चकोरी
ए सुनो
ए देखो
ओ लोगो
उड़ गई बैरन नींदिया मोरी
पकड़ी गई मेरे मन की चोरी
भेद ना ये काम आया
दोष मेरे नाम आया
कली कली जान गई
गली गली मच गया शोर
चोरी से सैयां ने मोहे पुकारा
रे चुपके से मैंने भी किया इशारा
रे कली कली जान गई
गली गली मच गया शोर
कली कली जान गई
ओय गली गली मच गया शोर

मैं क्या जानूँ
छुपके सखियाँ
सुनीत हैं मेरे प्रेम की बतियाँ
ए सुनो
ए देखो
ओ लोगो
मैं क्या जानूँ
करते हैं बतियाँ
पढ़ के लोग मेरे नाम की पतियाँ
धीरे धीरे बातें हुईं
चोरी मुलाकातें हुईं
कली कली जान गई
गली गली मच गया शोर
चोरी से सैयां ने मोहे पुकारा
रे चुपके से मैंने भी किया इशारा
रे कली कली जान गई
गली गली मच गया शोर
कली कली जान गई
गली गली मच गया शो॰॰ओर
कली कली जान गई
गली गली मच गया शो॰॰ओर

लल्ला लल्ला लल्ला लल्ला
लल्ला

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

Blog Day : 3902 Post No. : 14954

 

‘Bobby’ – a once in a life time sojourn. Smitten by this film, youngsters in any age will not be awed by any other drama of romance.

‘Bobby’ – the heart beat of a generation. Murmurs of that heartbeat continue to be alive decades after. Memories of that first love still makes the blood race through the veins, just as if that primal experience is still happening – for the first time.

‘Bobby’ – never before, and never after – was a story of adolescent love, ever presented with such an alluring composure, and such a charismatic style.

‘Bobby’ – open that page even today, and the freshness of fragrance of that first touch, that first embrace, that first kiss – under a row of Gulmohar trees in full bloom, still has the thump to pummel you off your feet. The ‘flame of the forest’ is ablaze with a riot of red. And so are the raging emotions within – not just the star crossed lovers on screen – it is me too, still floundering and floating in those seminal sensations of love – the moment frozen in time and age, forever. Check out the lover’s tryst at the swimming pool. Every other experience of passionate emotions pales into insignificance in the face of this compelling, electric attraction.

‘Bobby’ – the enduring Perfect Storm – nothing else comes close to capturing that first pubescent surge of hormones – the heart’s first introduction to the fascinating enthrallment of passion and love.

‘Bobby’ – the first steps into the adventures of delight, when the self desires to make space for another for the first time, savoring the first unfamiliar ecstasies of love.

‘Bobby’ – a film, a name, and a girl in a white frock with grey dots and a red piping – standing next to the entrance, near the golden statue of a maiden carrying a pot of water, quenching the thirst of many kinds; and the strains of music that play on that first sighting – “Jeena Yahaan Marna Yahaan, Is Ke Siwa Jaana Kahaan”. As always, the master of melodramatic presentation, RK chose this oh so appropriate music to play when this simple young girl made her first presence on the screen, and into the hearts of million young men – yes – Is Ke Siwa Jaana Kahaan. . .

I have written before about my many crushes on many a beauty of the silver screen. But this was / is the first time I really fell in love. Never heard of this girl before. Dimple Kapadia – no background in films, no links in the industry – and one day, she is just there, standing near the entrance, next to that golden statue. It was just a moment – and she took my heart away. That was just yesterday, but it seems as if an age has passed, and an entire life story of love has been played out. And yet, frozen in time, it still is 1973, and Bobby and me – forever.

As far as I can remember, no other film, no other director had, till that time, tried to tackle the subject of adolescent romance. Yes, there have been many films about childhood friendships that blossom out into love and romance when the protagonists are adults. College going students – yes, many films that have dealt with college romance. The one drawback of these tales was – the lead pair never did look like college students. Senior actors in their thirties, forties and even fifties, attempting to play romantic leads on a college campus. All is well till the movie plays, but once done, the memories remain of the oversize actors trying to fit into very young shoes.

Bobby was different. Bobby was homegrown fresh, young, as young can be. Dimple – all of sixteen years when she stepped into this role. Rishi, albeit not so young, was 21. But with his cupcake Johnson baby looks, he charmed his way into the hearts of a million girls. Take away all the aesthetics, and the story is as old as the ruins of Ranjeet Studios – boy from rich family meets girl from family not of the same social status, they fall in love, and the entire world around them crumbles down upon them. Coming all the way from days of Parsi theatre and silent cinema, this tale has been played over and over again, umpteen times.

And then, after seven decades or so, this tale once again exploded on to the screens, and ignited a whole generation of teenagers – a fire that has not been doused since then. It was not the melodrama that worked; it was, somewhat maybe, the music that worked; it was not the apparently artificial ambience of the Nath affluence – the rich side of the tussle; it was not the exaggerated and affected brash and boisterous Braganza who wears the same undersized suit to every formal scene in the film, (gosh, even the not so affluent have a proper dress sense), and the supporting roles – mother, nanny, friends, society girls, mild brained proposal for making a business alliance – in short, there was nothing in the film that was not done before, even by RK himself, nothing that was new for the cinema screen and for the audiences. What turned out to the winner was the lead pair – two unknown faces whose on screen chemistry tugged at the strings of the heart of the audience, and turned the rest of the oft repeated paraphernalia around them into a very convincing, charming, fascinating tale.

And between the two of them, Bobby comes up trumps to the histrionics of Raja. The film is Bobby, and Bobby all the way. Making innocence and glamour look oh so easy, the images in the mind are forever now – the coy and shy little girl in a frock, who is afraid to step into the lavish party, keeps standing at the entrance; the naïve and innocent little girl, telling about the ‘dhuk-dhuki’ in her heart when she see him; the troubled and broken lady, her heart asunder albeit from a misunderstood conversation, as she too looking on with pleading eyes, but unable to take a step towards him; the screaming pleading young woman, beseeching her grandmother not to lock her up, as Josef physically pulls her away and carries her upstairs at the behest of an agonized but very firm Mrs. Braganza. . . and many more. The images keep playing in the mind. And the film is all about this teen aged girl who is so intensely convinced about her love – you can see it in her face as she pleads with her grandmother – that she will die if separated from Raja; and sitting in the audience seats, one is so starkly convinced that she will, that there are tears streaming and the body muscles want to jump on to the screen and beat the hell out of Josef.

Oh Bobby, Bobby, Bobby – she pulled up a storm, and then – she just walked away. In a manner of speaking, it is good that she did. The legend and the aura of Bobby remained constant, unremitting . . . verily to become perpetual. The Dimple that we see from a decade later is a very different avatar. The memories, the marvel, the legend of Bobby, has remained intact. Nobody could quite portray the coy innocence and purity of heart, as we see Bobby on the screen and in the dreams. And that is very well for me – it is 1973, and Bobby, forever.

I am both sad and glad to get the opportunity for announcing the Yippeee-dom status for this film. After a 10 years travel, finally all the songs of this film are now present on the blog. 🙂  And sad, because we won’t be discussing this Bobby again in any future post. 😦

Eight songs, eight wonderful songs keeping alive the RK tradition for the best in music. The songs created quite a ripple when released, and over the decades, have remained popular with every new generation of teenagers, who simply love the ideas of simple thoughts as in “Mujhe Kuchh Kehna Hai” and “Hum Tum Ek Kamre Mein Band Hon”. 🙂 The seven songs posted earlier happened in the following sequence.

 

1 Main Shaayar To Nahin 869 10-Mar-09
2 Ankhiyon Ko Rahne De 998 30-Mar-09
3 Mujhe Kuchh Kehna Hai 5708 30-Mar-12
4 Jhoothh Bole Kauwwaa Kaate Kaale Kawwe Se Dariyo 13319 8-Jun-17
5 Ham Tum Ek Kamre Mein Band Hon Aur Chaabhi Kho Jaaye 14732 3-Nov-18
6 Beshaq Mandir Masjid Todo, Bulle Shaa Ye Kehta 14918 10-Mar-19
7 Na Chaahoon Sona Chaandi 14940 20-Mar-19

 

A journey that started 10 years ago, culminates today, with the posting of this fabulous and scintillating party song that carries many layers of silent conversations within itself. We are more than two third of the way into the movie. Nath and Braganza have fallen out big time, with the belligerent Braganza promising all sorts of consequences if Nath’s son is seen anywhere close to his daughter. Bobby is sent off to Goa – a la “Akhiyon Ko Rahne De Akhiyon Ke Aas Paas“. Raja is confined and under watch. New Year eve is nigh. The business driven Nath makes a business driven decision to announce the engagement of his son with the daughter of Mr. Sharma, one of his business associates. No matter that the lady chosen is somewhat retarded, and much below her actual age in mental capacity. Not being able to rebel and speak his mind, unable to confront his father, Raja is in a deadly dilemma about his life.

The party happens. The song happens. And Raja gets the answer for his life. As I said, the song has multiple layers of silent conversations happening. The party and the celebration is one. The parents are agog with delight of having struck two birds with one stone – made a major business gain, and tied down a wayward son into household chains. The joy of Nikki (Farida Jalal) is on a different high – she is getting married into another rich family. Then the song and the performance itself – that speaks of the travesty of love and lovers. Woe becomes he who is wretched enough to be entangled in a snare of love.

And there is the mind of Raja – bewildered, afraid, not believing what is going on around him. His insides are in a shamble, his heart is in agony, and all his parents can think of is an alliance for him, and a grand new year party. A look at him, his lost expressions in the midst of so much dance and revelry. And one is reminded of another RK song –

dhakke pe dhakka, reley pe relaa
hai bheed itni, par dil akela
par dil akela

And the scenario takes you back across two decades of musical and cinematic articulation – the troubled expressions of the face of Raja feeling hopelessly lost amidst the ongoing celebration, threading back to the joker singing at the Bombay carnival (‘Mera Naam Joker’, 1970), leading you back one more layer, to the bumbling hobo, new to the big town, and completely lost in its hustle bustle (‘Shri 420’, 1955). When I see that image, that look on Rishi Kapoor’s face during this party song, my mind goes back these two steps to more of RK’s wonder illustrations.

And then, we have this covert conversation happening between the dancer and the teenager with a troubled mind. The dancer is singing for him, without him realizing it so, at the beginning. In the first stanza, the dancer explains to Raja, the vagaries of love one has to endure. Falling in love does not mean just losing your heart to someone – actually one loses everything in life, one’s entire world and even one’s happiness. Then the dancer goes on to explain the time of adolescence – and this one line in this song is so intensely killing –

ye ek saal
bachpan aur jawaani ke beech ka
bada bura hota hai

And in this one liner, the lyricist has said everything that one needs to be said for the agonies of coming of age. This time of transition and hormonal changes bring in awarenesses that didn’t exist in the mind before. And these awarenesses are confusing, troubling and at times frightening. The call of the dancer’s voice now catches Raja’s attention – who realizes that this song is being sung for him. And in the second stanza, the dancer now reveals an answer. The seed is planted, the way is shown, and the contemplation of an elopement is initiated –

bacha ke aa..aankh
panchhi pinjra le ke ud jaaye to. . .

Lovely choreography here. For a moment, Raja is encircled by other dancers with frightening masks, as if he is caged inside a prison of fear, and the next instant, the dancer is floating away like a bird flying. And the words for the second stanza commence. Just pause and watch again this small magical interlude segment.

The third stanza of this song appears separately and a little later in the film (and is inserted as Part II in the lyrics below). Raja has run away from home, reached the place in Goa where Bobby is confined with her grandmother. He pleads to be allowed to meet, and to be permitted to be married. Grandma locks him up also, and sends message to Bombay. In the night, Raja manages to escape, gets in to Bobby’s room, and now they both flee on the mobike. The third stanza plays now. The burden of this stanza says that this incurable malady of love is under no one’s control, no matter how formidable a learned person (jogi – one who can control the senses and the mind) or how skilled a snake charmer might one be. A snake charmer is supposed to have power to control any snake. The lyrics say that the serpents of love are not even in their control.

The words in the song, the choreography, the covert exchanges happening between the dancer and the teenager – oh so well designed and executed. There is another layer of conversation that gets revealed. Just watch the expressions and try to visualize the mind of the young man as the song progresses. He is troubled, he is lost, he is incensed by the apparent sarcasm that the dancer is singing. And then he catches on. The message of being trapped “Ae. . .  Phansaa” transforms from his original thoughts that he played the game of hearts and lost and got trapped in this pining pain of love. But when Nikki joins the party, and the dancer points out yet once again “Ae. . .  Phansaa” he realizes – not earlier as he was thinking, but the entrapment is happening now, with the new proposed alliance for him. One begins to see a glimmer of understanding dawn in his eyes and his expressions. He is now listening more carefully. And when the second stanza is in progress, one can clearly make out that now he is fully in sync with the dancer, and her words, and the covert messages that she is communicating. And when the words for flying away with the pinjra are aired, the young man is all attention, slowly one feels the mind moving towards a new resolve, a new plan. At the end of this stanza, there is a very brief, but very meaningful pause, a wink, and a twist smile – almost as if saying – ‘Go’. In the film, the next thing we see is the mother, with letter in her hand, announcing with a scream that her son has run away – and the party has not yet ended. And the next thing we see is the young man and the vroooom of the Rajdoot GTS bike.

And I would like to talk about the dancer now, saving that for the last. In my mind, probably the best dance performance by Aruna Irani, across her career. The music is very fast paced, the movements are very energetic, and true to the RK traditions, the woman in her is so vividly and so sensitively, and sensuously presented. It is such a treat to watch this performance. I have lost the count of times that I have replayed this video in the past couple of days as I work to complete this write up. A superlative performance indeed, by her. Her expressions exhibit how much she is enjoying this herself. And very clearly, she is giving everything to this song. The sequences of steps, the movements – wonderfully choreographed and so expressively delivered by her.

The film credits do not include the name of the dance director, but after some digging, I am able to locate the name. The dance director in this film is Sohanlal, of Madras (now Chennai). It is tons of years ago, but I remember having met him in Madras. There was a brief period of time when I was in Madras on a job assignment. And one of my aunts, who stayed in Madras – her family was a tenant in the bungalow of Sohanlal, somewhere in Adyar area. I used to visit my aunt’s family almost on a weekly basis. And on a couple of occasions I even sat in the studio where Sohanlal ji was instructing students for practice.

Back to Aruna Irani. She has a brief but a significant role in the film. The misunderstanding that is caused between the young lovers, inadvertently, she is in the middle of it. In all her scenes, she looks so extremely charming and ravishing. And always on the dot with her presence and dialogue delivery.  A short and a very sweet performance. Of course with this dance as her best one that I can remember.

And so, the last of Bobby songs is now posted. We announce the addition of this film to the list of Yippeee’d films on our blog. Maybe, I won’t be writing any more about this film. But that is not to say that I do not have more to say about the film, and about Bobby – my first love. That is going to remain with me forever. Yes, it is 1973. . . forever.

The film is a benchmark for stories of young romance, that have been told, and as well for the stories that still have to be told. But the legend of ‘Bobby’ will endure.

The songs that have given idioms that have crept into the language of this subcontinent, be it “. . . pyaar mein sauda nahin”, or “. . . par pyaar bhara dil kabhi na todo, is dil mein dilbar rehta”, or even the simple expression that says “. . . mujhe kuchh kehna hai”. And yes, the ice breaker as one attempts to attract the attention of a lady – “main shaayar to nahin. . .”.

And thus I close this post with the reiteration – an expression for all who are always young in the heart. . .

“If you ever have been in love, this film is for you. . .”

(Part I – Party Scene)

(Part II – On The Road)

Song – Us Ka Chhoota Ghar Baar Sansaar (Bobby) (1973) Singer – Lata Mangeshkar, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal

Lyrics

(Part I)

ae..ae..ae..ae..ae. . . phasaa. . .

mmmmmmm mmmmmmm
arey arey arey

uska chhoota ghar baar sansaar
jo kar ke pyaar yaar kisi ke dil mein basaa
basaa
basaa. . .
ae..ae..ae..ae..ae. . . phasaa. . .

uska chhoota ghar baar sansaar
jo kar ke pyaar yaar kisi ke dil mein basaa
basaa
basaa. . .
ae..
ae..
ae..
phasaa. . .

laa laalaaa laa raa laa
laalala laalala laalala laalala

ye ek saal
bachpan aur jawaani ke beech ka
bada bura hota hai
ye ek saal
naujawaanon ka
nadaanon ka
deewaanon ka
ye ek saal
bachpan aur jawaani ke beech ka
bada bura hota hai
aashiq ka ho gaya naam badnaam
hua anjaam
subah sham zamaana hansa
hansa
hansa
ha ha ha ha ha ha
ae..ae..ae..ae..ae. . . phasaa. . .
uska chhoota ghar baar sansaar
jo kar ke pyaar yaar kisi ke dil mein basaa
basaa
basaa. . .
ae..
ae..
ae..
ae. . . phasaa. . .

bacha ke aa..aankh
panchhi pinjra le ke ud jaaye to
shaayad jaan bach jaaye
bacha ke aa..aankh
kisi jharokhe se
kisi mauke se
kabhi dhokhe se
bacha ke aa..aankh
panchhi pinjra le ke ud jaaye to
shaayad jaan bach jaaye
jeena hua dushwaar dildaar
ke laga aar paar teer kisi ne kasaa
kasaa
kasaa. . .
ae..
ae..
ae..
ae. . . phasaa. . .

uska chhoota ghar baar sansaar
jo kar ke pyaar yaar kisi ke dil mein basaa
basaa
basaa. . .
ae. . . phasaa. . .

(Part II)
ye prem rog
bade bade jogi saperon se bas mein nahin
hota hai
ye prem rog. . .
pyaar karte hain
log marte hain
kahaan darte hain
ye prem rog
bade bade jogi saperon se bas mein nahin
hota hai
us ne liya bairaag
jag se bhaag
ke lagi aag

naaginon ne jise dasaa
dasaa
dasaa
ha ha ha ha ha

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

(भाग १)

ए॰॰ए॰॰ए॰॰ए॰॰ए॰ ॰ ॰
फंसा॰ ॰ ॰

म्ममममम म्ममममम
अरे अरे अरे

उसका छूटा घर बार संसार
जो करके प्यार यार किसी के दिल में बसा
बसा
बसा॰ ॰ ॰
ए॰॰ए॰॰ए॰॰ए॰॰ए॰ ॰ ॰ फंसा॰ ॰ ॰

उसका छूटा घर बार संसार
जो करके प्यार यार किसी के दिल में बसा
बसा
बसा॰ ॰ ॰
ए॰॰
ए॰॰
ए॰॰
फसा॰ ॰ ॰

ला लाला ला रा ला
लालाला लालाला लालाला लालाला

ये एक साल
बचपन और जवानी के बीच का
बड़ा बुरा होता है
ये एक साल
नौजवानों का
नादानों का
दीवानों का
ये एक साल
बचपन और जवानी के बीच का
बड़ा बुरा होता है
आशिक का हो गया नाम बदनाम
हुआ अंजाम
सुबह शाम ज़माना हंसा
हंसा
हंसा
हा हा हा हा हा हा
ए॰॰ए॰॰ए॰॰ए॰॰ए॰ ॰ ॰ फंसा॰ ॰ ॰
उसका छूटा घर बार संसार
जो करके प्यार यार किसी के दिल में बसा
बसा
बसा॰ ॰ ॰
ए॰॰
ए॰॰
ए॰॰
ए॰॰
ए॰ ॰ ॰ फंसा॰ ॰ ॰

बचा के आ॰॰आँख
पंछी पिंजरा ले के उड़ जाये तो
शायद जान बच जाये
बचा के आ॰॰आँख
किसी झरोखे से
किसी मौके से
कभी धोखे से
बचा के आ॰॰आँख
पंछी पिंजरा ले के उड़ जाये तो
शायद जान बच जाये
जीना हुआ दुश्वार दिलदार
के लगा आर पार तीर किसी ने कसा
कसा
कसा॰ ॰ ॰
ए॰॰
ए॰॰
ए॰॰
ए॰॰
ए॰ ॰ ॰ फंसा॰ ॰ ॰
उसका छूटा घर बार संसार
जो करके प्यार यार किसी के दिल में बसा
बसा
बसा॰ ॰ ॰
ए॰ ॰ ॰ फंसा॰ ॰ ॰

(भाग २)

ये प्रेम रोग
बड़े बड़े जोगी सपेरों से बस में नहीं
होता है
ये प्रेम रोग॰ ॰ ॰
प्रेम करते हैं
लोग मरते हैं
कहाँ डरते हैं
ये प्रेम रोग
बड़े बड़े जोगी सपेरों से बस में नहीं
होता है
उसने लिया बैराग
जग से भाग
के लगी आग
नागिनों ने जिसे डसा
डसा
डसा
हा हा हा हा हा हा


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

Blog Day : 3898 Post No. : 14946

Little earlier in the day, Atul ji mentioned about the timing of posting of Holi songs, and I quote,

Different festivals remain topical for different duration of time. If we do not post a write up within this time then the post loses its relevance. In case of Holi, it is the first half of the day mostly when people are mostly in festive mood, though it spills over to the afternoon as well.

As I am rushing to complete this post, it is already around 6 pm. Yes, the festivities for the day have been over for some time. Mostly the people have cleaned up and many would have had their afternoon siestas too. Maybe the only remaining sign of the festivities from earlier part of the day are the splashes of colored water on walls and floors, which most people would address tomorrow morning. Ah yes, another lingering evidence of the celebration could be some people still in the hangover of the bhaang, maybe still sleeping it off, or if awake, not yet back from the cuckoo land. 🙂

This post is coming somewhat late in the day, but the attempt is cover an important aspect of the celebrations of today. The festival of Holi, for ages now, has been intimately associated with the story of Lord Krishna. And so, the celebration somehow does not seem to be complete without having one song about Holi in Biraj, or Brij, the native place where the child Krishna grew up. There abound many a legends and folk songs that tell of the Holi celebrations when Krishna was in Brij. And the same has also been carried over into the Hindi films. Many a songs of Holi in Hindi films revolve around the stories and pastimes of Krishna.

I present this lovely Holi song from the 1970 film ‘Mastaana’. The lyrics for this song have been sent in by dear Prakash ji.

Produced under the banner of Suchitra and directed by A Subbarao, the cast of actors in this film is Mehmood, Padmini, Vinod Khanna, Bharti, Rehman, Bobby, Shyama, Ramesh Dev, Manorama, Mukri, Leela Mishra, Kamal Kapoor, Shivraj, Paro, Narbada Shankar, Mumtaz Begum, Raj Kishore, Jankidas, Ravikant, Prabhat Kumar, Habeeb, and Guddi.

The song is written by Anand Bakshi and the music composition is by Laxmikant Pyaarelal. We have three singing voices in this song – Mohammed Rafi, Asha Bhosle and Mukesh. Interestingly, Asha ji’s voice is used as playback for three artists on screen – Padmini, the child actor Bobby who plays the role of child Krishna in this song, and Bharati. Rafi Sb’s voice is used for playback for Mehmood and Mukesh’s voice for Vinod Khanna. Another dear song that I was not aware that it has not yet been posted here.

Interesting part of the song – it uses four different folk dance forms. Initially it is the typical filmi style choreography that is used. Then later in the song, we see the four flavors, and the language of the chorus also gets modified accordingly. First we have the typical Brij rendition and folk dance. Then we have the Punjabi bhangra and Punjabi words in the chorus. This is followed by Gujarati dandia raas, with Gujarati words in the chorus. And then we have the Maharashtra folk dance steps, and Marathi words in the chorus. Very interestingly done. 🙂

Greetings for the festival yet once more before the day is out. Well, it is still daytime in other parts of the world. Khyati Ben is probably just in the process of waking up, and for her, the planning and cooking and the celebration is still to happen. 🙂  Krishna makes his appearance for the festivities and we all wish everyone, a very happy and colorful ambiance of this festival to last and continue through to the next year. And then, we shall have more songs to post. 🙂

Happy Holi.

Song – Nand Laala. . . Holi Khelen Biraj Mein Dhoom Machi Hai  (Mastaana) (1970) Singer – Mohammed Rafi, Asha Bhosle, Mukesh, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Male Chorus
Female Chorus
All Chorus

Lyrics (Provided by Prakashchandra)

hoyye
nandlaala
holi khele
biraj mein dhoom machhi hai
nandlaala
holi khele
biraj mein dhoom machhi hai

heyye
sa ra rara rara rara rara rara
sar se paaon tak bheej gayi brij baala
ara rara rara rara
beech dagar mein
raadhaa ko rang daala
daala
nandlaala
holi khele
biraj mein dhoom machhi hai
nandlaala
holi khele
biraj mein dhoom machhi hai

ho sa ra rara rara rara rara rara
goraa mukh
neelaa peelaa kar daalaa
ara rara rara rara
bhaago daudo
aayaa murli waala
laala
nandlaala
holi khele
biraj mein dhoom machhi hai
nandlaala

gagari phodoonga
main na chhodoonga
gagari phodoonga
o main na chhodoonga
tu aagey daudegi
main peechhe daudoongaa..aa
gagari phodoonga
main na chhodoonga
tu gokul ki ek gujariyaa
main mathura ka gwaalaa
tera mukhda kyon goraa
jab mera mukdaa kaalaa
kaalaa
nandlaala
holi khele
biraj mein dhoom machhi hai
nandlaala

holi khelenge
jhaanjhar waali se
holi khelenge
jhaanjhar waali se
o hum kya darte hain
kisi ki gaali se..ae
holi khelenge
jhaanjhar waali se
haayye rey barjori
peechhe pad gaya ye matwaalaa
tooti meri kaanch ki choodi
gir gaya kaan ka baala
baala
nandlaala
holi khele
biraj mein dhoom machhi hai
nandlaala
holi khele
biraj mein dhoom machhi hai
nandlaala

sa ra rara rara rara raa. . .

holi
nandlaala
holi khele
biraj mein dhoom machhi
holi nandlaala

aa ho
nandlaala
holi khele
biraj wich dhoom machhi
aa ho
nandlaala

bhaa lo
nandlaala
holi ramey
biraj maa dhoom machhi
ke bhaalo
nandlaala

aa laa
nandlaala
holi kheru
brij nu raas ho la
aa laa
nandlaala

hoo ooo
ooo ooo ooo oooooo oo

rangey ik rang mein
o apne begaane
ho rangey ik rang mein
o apne begaane
to kaise phir koi
kisi ko pehchaane..e..e
rangey ik rang mein
ho apne begaane
saamne jo bhi aaya
hum ne kuchh na dekha bhaala
dusman ke bhi galey mein hum ne
daal di prem ki maala
maala

nandlaala
holi khele
biraj mein dhoom machhi hai

ik maati ke hum putle
(nandlaala. . .  holi khele)
ye kehta hai mastaana
(biraj mein dhoom machhi hai)
bhed bhaav jo mann mein rakhe
(nandlaala. . .  holi khele)
wo paagal deewaana
(biraj mein dhoom machhi hai)

nandlaala
holi khele
biraj mein dhoom machhi hai

nandlaala
holi khele
biraj mein dhoom machhi hai

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

होये॰ ॰ ॰
नंदलाला
होली खेले
बिरज में धूम मची है
नंदलाला
होली खेले
बिरज में धूम मची है

हेय॰ ॰ ॰
स र रर रर रर रर रर
सर से पाँव तक भीज गई ब्रिजबाला
आरा रारा रारा रारा
बीच डगर में
राधा को रंग डाला
डाला
नंदलाला
होली खेले
बिरज में धूम मची है
नंदलाला
होली खेले
बिरज में धूम मची है

हो स र रर रर रर रर रर
गोरा मुख
नीला पीला कर डाला
आरा रारा रारा रारा
भागो दौड़ो
आया मुरली वाला
लाला
नंदलाला
होली खेले
बिरज में धूम मची है

गगरी फोड़ूंगा
मैं ना छोड़ूंगा
गगरी फोड़ूंगा
ओ मैं ना छोड़ूंगा
तू आगे दौड़ेगी
मैं पीछे दौड़ूंगा
गगरी फोड़ूंगा
मैं ना छोड़ूंगा
तू गोकुल की एक गुजरिया
मैं मथुरा का ग्वाला
तेरा मुखड़ा क्यों गोरा
जब मेरा मुखड़ा काला
काला
नंदलाला
होली खेले
बिरज में धूम मची है

होली खेलेंगे
झांझरवाली से
होली खेलेंगे
झांझरवाली से
ओ हम क्या डरते हैं
किसी की गाली से
होली खेलेंगे
झांझरवाली से
हाये रे बरजोरी
पीछे पड़ गया ये मतवाला
टूटी मेरी काँच की चूड़ी
गिर गया कान का बाला
बाला
नंदलाला
होली खेले
बिरज में धूम मची है
नंदलाला
होली खेले
बिरज में धूम मची है
नंदलाला

स र रर रर रर रर रर

होली
नंदलाला
होली खेले
बिरज में धूम मची है
होली नंदलाला

आ हो
नंदलाला
होली खेले
बिरज विच धूम मची
आ हो
नंदलाला

भालो नंदलाला
होली रमे
बिरज मा धूम मची
के भालो नंदलाला

आला नंदलाला
होली खेरू
बिरज नू रास हो ला
आला नंदलाला

होss ओss
ओss ओss ओss ओsssss ओs

रंगे इक रंग में
ओ अपने बेगाने
हो रंगे इक रंग में
ओ अपने बेगाने
तो कैसे फिर कोई
किसी को पहचाने॰॰ए॰॰ए
हो रंगे इक रंग में
अपने बेगाने
सामने जो भी आया
हमने कुछ ना देखा भाला
दुसमन के भी गले में हमने
दाल दी प्रेम की माला
माला

नंदलाला
होली खेले
बिरज में धूम मची है

इक माटी के हम पुतले
(नंदलाला॰ ॰ ॰ होली खेले)
ये कहता है मस्ताना
(बिरज में धूम मची है)
भेद भाव जो मन में रखे
(नंदलाला॰ ॰ ॰ होली खेले)
वो पागल दीवाना
(बिरज में धूम मची है)

नंदलाला
होली खेले
बिरज में धूम मची है

नंदलाला
होली खेले
बिरज में धूम मची है


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

Blog Day : 3897 Post No. : 14940

The Many Colors of Love #29 – The Covenants of Love
– – – – – – – – – – – – – – – – – – – – – – – – – – – – –

And so wrote the scribe

kar le dil ka sauda dil se
dil milta hai mushkil se
(‘Yahudi Ki Ladki’, 1957)

The transactions of heart are bound, but by just one covenant – it is the treasures of heart in exchange only for treasures of heart. No other exchange is possible, no other exchange is expected, nothing else in this whole wide world can be traded for the treasures of heart. For those who may want to, or expect to transact this exchange for something else, then they do not understand the true meaning of love.

And this thought brings up this song today. The burden of this song reiterates this maxim –

deta hai dil de
badle mein dil ke
ghe ghe ghe ghe
ghe re saaiba
pyaar mein sauda nahin

For the longest of time, I was under the impression that this song is already posted. And the reason for that is, that the song “Jhooth Bole Kauwwa Kaate” has been around on the blog for almost two years now. Being familiar with the film, one clearly remembers that these two songs are tandem songs, presented on screen one after the other – rather one flows into the next. Yes, true that Geet Kosh lists these two songs separately, but somehow in my mind, I have carried this impression that these two are a single song.

So when I posted the song by Narendra Chancalon 10th March (“Beshaq Mandir Masjid Todo“), and I reviewed the status of this film on our blog, I realized that this song is not yet posted – we are following the Geet Kosh convention. Since the day I have posted “Beshaq Mandir Masjid. . .”, it has been kind of an eagerness within, to see this movie yippeee’d here. Part of that is being surprised that songs of this film are not yet all on here.

This particular song is performed on screen by Premnath and Rishi Kapoor.  We are into about a third of the film. The two young hearts are now committed to each other, beyond any repair. Although not of legal age yet, but they want to get married and be partners for life. Premnath is non-committal, in the sense that he would do whatever makes his daughter happy. Pran, on the other hand, is a calculating and a manipulative person, eyeing this relationship with suspicion. As he sees the intensity of his son’s emotions, he decides to make a manipulative move, in an attempt to drive a wedge between the young lovers.

He asks his son to invite his beloved and her family for dinner. The young man is extremely excited. Not worldly wise as his businessman father, he thinks his father is a great man and is agreeing with his son’s wishes and choice for a life partner. Little does he know what his father has planned.

With this joyful and amiable news, he rushes to his beloved’s home, to present the invite himself. At her place, a fishermen’s neighborhood, another wedding is in progress. The ambiance is celebratory. There is singing and dancing, congratulations and the auspicious throwing of rice – in short, the mood is just right to share the supposedly wonderful news.

Without much preamble, Rishi delivers the invite to Premnath. The latter accepts forthwith with the comment that for his daughter’s happiness, he will gladly bow his head at the door of anyone, but he will never bend his knees. And to explain his comment, he breaks out in this song – that in the matters of love it is only the treasure of the heart which is to be exchanged for another treasure of heart. There is no other bargaining chip in the matters of love. Rishi readily joins in this song – the theme is so easily understood and reflected in his own mind. For him too, love is simply a give and take of the treasures of the heart.

Manna Dey starts this song, giving playback for Premnath. Shailendra Singh joins in for Rishi Kapoor. As always, it is a delight to watch a song in an RK film. The complete scenario and the ambiance are so totally focused on the song, its emotions and its renditions. Midway through the song, Dimple makes an appearance, as she is preparing for the next part of the song – yes, “Jhooth Boley. . .”. She is just there for now, not participating – but her face, her eyes are going along with the song that her beau is singing. The emotions expressed by her are so endearing, so freshly young, as she coyly and silently expresses herself in response to the lines that Rishi is performing. This small interlude is so charming, so. . . so winning. Dimple simply stole a million hearts right here in this song. Yes – you guessed it right, I too was smitten, and was in love. 🙂

One word in the lyrics had intrigued me right from the start. It is the word ‘ghe’, ‘घे’. Over the decades, this word has been presented variously and almost always erroneously. Some lyrics wrote this down as ‘khe’, ‘खे’; other places would write it down as ‘le’, ‘ले’; even today, the hindi-geet-mala web page for this song has actually written it down as ‘khel’, ‘खेल’. Wonder how they got to it, it does not even fit into the rendered metre of this line.

Once the internet was available, I had done the search for this word in Konkani language. Given that the entire scenario was a Goan neighborhood, it was only logical to seek this word in the local lingua. In Konkani, the word ‘ghe’, ‘घे’ means ‘to take’. The expression follows the lines which say

deta hai dil de
badle mein dil ke

And the young man, and the chorus responds with

ghe ghe ghe ghe
ghe re saaiba

saying – hey young man, just take this bargain, take.. take.. take.. take..  Once this meaning is known, the lyrics fall in place so beautifully.

‘Bobby’ is so close to the heart, and I mean the film, and Bobby. It appeals to an age, a mind set, and emotions – that I am never going to grow out of. It is 1973 forever.

And the talisman for life is forever – “प्यार में सौदा नहीं”.

[Editor’s Note: The initial lines of this song, which are in Konkani, have been provided by Dr Pradeep Shetty ji, in his comment below. The line is now added to the lyrics below. Thanks Dr Pradeep ji.]

[Video – Song Reprised at the end of the film.]

Song – Na Chaahoon Sona Chaandi (Bobby) (1973) Singer – Manna Dey, Shailendra Singh, Lyrics – Vithalbhai Patel, MD – Laxmikant Pyaarelal
Chorus

Lyrics

aagey naari
tujya matyancha phoolan paaya saoree
aagey naari
tujya matyancha phoolan paaya saoree

laallallall laa la llallall laa llallall laa
laallallall laa la llallall laa llallall laa

[Dialogue between Premnath and Rishi Kapoor]

na chaahoon sona chandi
na chaahoon heera moti
ye mere kis kaam ke

aaaa aaaaa aaaaaaaa aaaa aaa

na maangu bangla baadi
na maangu ghoda gaadi
ye to hain bas naam ke

aaaaa aaaaaa

deta hai dil de
badle mein dil ke
deta hai dil de
badle mein dil ke
ghe ghe ghe ghe
ghe re saaiba
pyaar mein sauda nahin
ghe ghe ghe ghe

ghe re saaiba
pyaar mein sauda nahin

o lall o lall laa laa
lallal laa laa laa
lallaa laa laa laa laa laa
lallal lallal laa laa

na jaanu mulla qaazi
na jaanu kaaba kaashi
main to hoon prem piyaasa re
mere sapnon ki rani
hogi tum ko hairaani
main to tera deewaana re
deti hai dil de
badle mein dil ke
deti hai dil de
badle mein dil ke
ghe ghe ghe ghe
ghe re saaiba
pyaar mein sauda nahin
ghe ghe ghe ghe
ghe re saaiba
pyaar mein sauda nahin

pyaar mein sauda nahin

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

आगे नारी
तुज्या मात्यांचा फूलाँ पाया साओरी
आगे नारी
तुज्या मात्यांचा फूलाँ पाया साओरी

लाल्लल्लल्ल ला ल ल्लाल्लल्ल ला ल्लाल्लल्ल ला
लाल्लल्लल्ल ला ल ल्लाल्लल्ल ला ल्लाल्लल्ल ला

[प्रेमनाथ और ऋषि कपूर की बात चीत।]

ना चाहूँ सोना चाँदी
न चाहूँ हीरा मोती
ये मेरे किस काम के

आsss आssss आsssssss आsss आss

ना माँगूँ बंगला बाड़ी
ना माँगूँ घोड़ा गाड़ी
ये तो हैं बस नाम के

आssss आsssss

देता है दिल दे
बदले में दिल के
देता है दिल दे
बदले में दिल के
घे घे घे घे घे
घे रे सायबा
प्यार में सौदा नहीं
घे घे घे घे घे

घे रे सायबा
प्यार में सौदा नहीं

ओ लल्ल ओ लल्ल ला ला
लल्लल ला ला ला
लल्ला ला ला ला ला
लल्लल लल्लल ला ला

ना जानूँ मुल्ला क़ाज़ी
ना जानूँ काबा काशी
मैं तो हूँ प्रेम पियासा रे
मेरे सपनों की रानी
होगी तुमको हैरानी
मैं तो तेरा दीवाना रे
देती है दिल दे
बदले में दिल के
देती है दिल दे
बदले में दिल के
घे घे घे घे घे
घे रे सायबा
प्यार में सौदा नहीं
घे घे घे घे घे
घे रे सायबा
प्यार में सौदा नहीं

प्यार में सौदा नहीं


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 : 3894 Post No. : 14933

———————————————–
Blog 10-Year Challenge (2009-19) – Song No. 18
————————————————

‘Pyaasa Saawan’ (1981) is one of the lovely reminders of those movie watching days, when we were (for me) watching movies either with elders in the family or with siblings and cousins or sometimes together with all. Those were the days when movie watching was the biggest attraction after ‘print media’, ‘radio’, and ‘cricket’ (for me).

To be a ‘fan’ of ‘Rajesh Khanna’ was still a year or two in the future to happen.

Another reminder of this movie are of course its songs. Particularly ‘Megha Re Megha Re’ and ‘Tera Saath Hai To’. Other songs of this movie were also good and they were frequently played on radio or loudspeakers.

The first song from this movie to be posted on the blog was ‘Tera Saath Hai To’. It was ten years ago, on 17.03.2009 and so far, no comment appears on this song on the blog. However, and that is another reason for this article of today, this song was covered only with one version and i.e. the female version sung by Lata Mangeshkar. Whereas, the song is a ‘multiple version’ song and the male version is sung by Kamlesh Awasthi. I am also sharing the lyrics for this male version of the song with a request to our ‘Editors’ to please update this in the ‘main post’. Also, the third stanza in the ‘female version’ was not included in the post of 17.03.2009, which I have included in full lyrics and would request Shri Atul ji and Shri Sudhir ji to kindly update in this song’s post.

Now coming back to the ‘ten-year challenge’ – 2009-2019 – the other movies represented on the blog that day i.e. on 17.03.2009 were;

  • ‘Dost’ (1974) (all songs have already been covered and needs to painted ‘red’)
  • ‘Deewaana’ (1992)
  • ‘Manchali’ (1973)
  • ‘Parwana’ (1971)
  • ‘Baat Ek Raat Ki’ (1962)

All the above movies except ‘Deewaana’ and ‘Pyaasa Saawan’ have already been covered for their all songs on the blog and Yippeeee’ed 🙂

‘Pyaasa Saawan-1981’ was directed by Dasari Narayan Rao for Tirupati Pictures Combine, Bombay. It was produced by Prasan Kapoor (brother of actor Jeetendra) and as such it was Jeetendra’s home production. Dasari Narayan Rao had also written the story and screenplay of this movie. Dialogues of this movie were written by Raj Baldev Raj. Editing of this movie was done by GG Krishna Rao. This movie was passed by Censor Board on 20.08.1981.

The film has Jeetendra (in double role), Moushumi Chatterjee, Reena Roy, Deven Verma, Madan Puri, Asha Lata, Javed, Duggal, NS Bedi, Prem Kumar, Umesh Khanna, Ashok Saxena, Babloo, Babban, Raghvaiyya, Ashok Shivpuri, Heera, Billi, BA Subba Rao, Mahmood Khan, and Verma. Vinod Mehra and Aruna Irani make a special appearance in this movie, and Kumar Aditya makes a guest appearance.

This movie has six songs (including one multiple version song). All its songs are written by Santosh Anand and music is composed by Laxmikant-Pyarelal. Asha Bhonsle, Kishore Kumar, Lata Mangeshkar, Suresh Wadkar and Kamlesh Awasthi had given their voices to the songs in this movie.

Three songs of this movie have been posted on the blog earlier and third, other than the two mentioned above is ‘O Meri Chhamak ChhalloThe song being posted today is the fifth song from this movie and that considering of the updating of the multiple version song.

All the songs from this movie were quite good songs and enjoyable songs – ‘Megha Re Megha Re’ and ‘Tera Saath Hai To’ are the ones which I liked most. Though I had watched this movie then I did not remember it completely and as I was preparing for this article I was recollecting its story and other songs. As Atul ji has mentioned in his post while presenting the first song from this movie on the blog, the movie reminds of the ‘Chadamama’ stories. Yes of course!!

Because here we see a Father becoming wealthier after lot of struggle and hard work and though neglecting his wife in the process of accumulating wealth and losing her up brings his only son with lot of love. And when once he has to attend the birthday celebration of this son, and he didn’t get a ticket in the flight (no advance booking may be 🙂 ) he orders his secretary to ‘charter a plane’ and finally reaching only to see that his son is not at home but enjoying in a club. . . (To be concluded 🙂 )

The son also finds himself in a similar situation like his father, when he takes over the family business and his marriage comes to a stage of ‘divorce’. But finally the Father saves it all and we have a ‘happy ending’ there 🙂

Let us now enjoy the today’s song sung by Lata Mangeshkar and Suresh Wadkar. Lyrics are by Santosh Anand and it is composed by Laxmikant-Pyarelal. On screen it is performed by Jeetendra and the beautiful Reena Roy!!

Song – In Haseen Waadiyon Se  (Pyaasa Saawan) (1981) Singer – Suresh Wadkar, Lata Mangeshkar, Lyrics – Santosh Anand, MD – Laxmikant Pyaarelal
Suresh Wadkar + Lata Mangeshkar

Lyrics

in haseen waadiyon se
in haseen waadiyon se
do chaar nazaare
churaa len
to chalen
churaa len to chalen

itnaa badaa gagan hai
do chaar sitaare
churaa len to chalen

churaa len to chalen

in haseen waadiyon se
do chaar nazaare
churaa len to chalen
churaa len to chalen

kahin koi jharna ghazal gaa raha hai
hmm
kahin koyi bulbul taraana sunaaye
hmm
yahaan haal ye hai
ke saanson ki lai par
khayaalon mein khoya badan gungunaaye

kahin koi jharnaa ghazal gaa rahaa hai
kahin koyi bulbul taraana sunaaye
yahaan haal ye hai
ke saanson ki lay par
khayaalon mein khoya badan gungunaaye

in lazeej jhurmuton se
do chaar sharaare churaa len to chalen
churaa len to chalen

in haseen waadiyon se
do chaar nazaare
churaa len
to chalen
churaa len to chalen

hamaari kahaani shuru ho gayi hai
hamaari kahaani shuru ho gayi hai
samajh lo jawaani shuru ho gayi hai
kayi mod hum ne tay kar liye hain
nayi zindagaani shuru ho gayi hai
in madbhare manzaron se
do chaar sahaare
churaa len to chalen

churaa len to chalen
in haseen waadiyon se
do chaar nazaare
churaa len
to chalen
itnaa badaa gagan hai
do chaar sitaare
churaa len to chalen

churaa len to chalen

in haseen
in haseen
waadiyon se
waadiyon se

do chaar nazaare
churaa len
to chalen
churaa len to chalen
churaa len to chalen
churaa len to chalen

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

इन हसीन वादियों से
इन हसीन वादियों से
दो चार नज़ारे चुरा लें
तो चलें
चुरा लें तो चलें ए

इतना बड़ा गगन है
दो चार सितारे चुरा लें तो चलें
चुरा लें तो चलें 

इन हसीन वादियों से
दो चार नज़ारे चुरा लें
तो चलें
चुरा लें ए तो चलें

कहीं कोई झरना ग़ज़ल गा रहा है
हम्म
कहीं कोई बुलबुल तराना सुनाये
हम्म
यहाँ हाल ये है
के साँसों कि लय पर
ख्यालों में खोया बदन गुनगुनाये

कहीं कोई झरना ग़ज़ल गा रहा है
कहीं कोई बुलबुल तराना सुनाये
यहाँ हाल ये है
के साँसों कि लय पर
ख्यालों में खोया बदन गुनगुनाये

इन लजीज झुरमुटों से
दो चार शरारे चुरा लें तो चलें
चुरा लें ए तो चलें
इन हसीन वादियों से
दो चार नज़ारे चुरा लें
तो चलें
चुरा लें ए तो चलें

हमारी कहानी शुरू हो गयी है
हमारी कहानी शुरू हो गयी है
समझ लो जवानी शुरू हो गयी है
कई मोड़ हमने तय कर लिए हैं
नयी जिंदगानी शुरू हो गयी है
इन मदभरे मंज़रों से
दो चार सहारे ए चुरा लें तो चलें
चुरा लें तो चलें
इन हसीन वादियों से
दो चार नज़ारे चुरा लें
तो चलें ए 
चुरा लें तो चलें ए

इतना बड़ा गगन है
दो चार सितारे ए चुरा लें तो चलें
चुरा लें तो चलें

इन हसीन
इन हसीन 
वादियों से
वादियों से
दो चार नज़ारे
चुरा लें
तो चलें
चुरा लें तो चलें 
चुरा लें तो चलें
चुरा लें तो चलें



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

Blog Day : 3887 Post No. : 14918

———————————————–
Blog 10-Year Challenge (2009-19) – Song No. 14
————————————————

‘Bobby’ created almost a storm in 1973. This drama of puppy love, completely fresh faces (almost, Rishi Kapoor had already made his mark in the ‘child RK’ role in ‘Mera Naam Joker’ (1970)), and a love story aimed at an age bracket lower than college going young people – the lovers in this film are just transitioning from high school to college. In the early 1970s, the influence of the hippie movement and free love ideas from the west into the Indian society was still a compelling influence. And the provocative presentation, as is the wont of RK style, ensured that young people of all ages went to see this film multiple times in the theaters.

The story of RK – from ‘Mera Naam Joker’ (1970) to ‘Bobby’ (1973) is quite well known. ‘Mera Naam Joker’ was designed and produced by RK as his magum opus. He put his everything into that film, both the creativity and the finances – and lost out on the gamble at the box office. Many reasons can be analyzed as to why that happened. ‘Mera Naam Joker’ is a remarkable film, but then maybe RK went overboard in certain aspects. With the huge success of ‘Sangam’ (1964) behind him he gambled that the length of the film won’t be a deterrent to the audience. He called the wrong numbers on the dice. The film was a financial disaster for RK, in its first run. It broke him.

But his resilience to bounce back played out well. After a gap of three years, he came up with ‘Bobby’, and he had the audiences lapping it up, again and again. Some journalist even wrote that RK has extracted his revenge on the system, as well as the audiences, and got compensated many times over for the disaster of ‘Mera Naam Joker’.

‘Bobby’ was also a significant departure for RK banner in another way. The Shankar-Jaikishan duo of music directors had been rendered solo, by the untimely departure of Jaikishan in 1970. RK took a glaring decision to switch music directors, bringing to close an association that had lasted for more than two decades. Many industry observers commented that this was expected. Many others in the industry were shocked by this move. A move that essentially signaled the downturn of Shankar as an MD. He doggedly tried to keep the SJ banner alive but the zest and the verve was gone, forever. The numbers speak for themselves – in 1971, seventeen films were released with music by SJ. Of course, presumably, a fair share of the work on this set of seventeen would have been done while Jaikishan was still alive. The rest of the decade of 1970s tells a grim story. 1972 – 8 films; 1973 – 7 films; 1974 – 4 films; 1975 – 5 films; 1976 – none; 1977 – 2; 1978 – 1; 1979 – 2; 1980 -1. The magic sun of SJ was slowly fading away.

RK switched to Laxmi-Pyaare. From RK’s perspective, this was a correct strategic move. And the results are for everyone to see. Of course, no one can discount the uncanny ability of RK to inspire creation of absolutely wonderful music for his films. And yes, Laxmi-Pyaare delivered to his expectations. The songs of ‘Bobby’ were super hits in their time, and they continue to be in popular demand even now after almost four decades. I am sure I do not need to present the song list to make this point. 🙂

With ‘Bobby’, RK and Laxmi-Pyaare introduced a new and a very different sound to the world of Hindi film music. The name – Narendra Chanchal. A singer with a very expressive, a very deep baritone – a voice with a phenomenal range that rivaled even Mahendra Kapoor in rendering the higher octaves. It is quoted that RK had heard him sing at some religious function. He followed up with some more research, and then decided to bring in this voice for a Sufi-like song in the film.

I remember that the promotion and the publicity presentations for this film was quite low key. The film was introduced without much fanfare. Yes, the choice of moving from SJ to LP did become talk of the town, but nothing much more than that. And this new singer – Chanchal, got introduced to the public, just as is. Working with the expected fare of Lata, Shailendra Singh, Asha and Manna Da, the audiences would be taken by surprise as Chancal would appear in person on the screen, to present this song.

And the song was an immediate hit. Over the years, it has gained almost a cult status. In reasonable memory, this probably was the first Sufi-type song presented in such traditional Sufi garb, in a Hindi film. No, I am not trying to discount all the bhajans and songs of religious expression that came before this. But surely, this song introduced a completely new sound in the Hindi film music space. The genre – picking on the original writings of Bulle Shah, the famous Sufi poet from Punjab. And the voice – no, not choosing Rafi or Manna Dey to render this. Chanchal – a new voice, a new full throated sound, that you had to slightly reduce the volume on the radio or gramophone, as his singing came on.

RK’s uncanny ability to present a song on the screen in a manner that the emotions of the players on screen will grab the emotions in the audience’s mind and heart, and pull the strings, almost viciously. The two young lovers are at a precipice of near break-up. Just recently into their romance, a jarring note of an unexplained misunderstanding tears them apart, oh so cruelly. The young man follows the lady, as she joins a school trip to get away from him. He tries to approach her; she is cold and nonchalant, and the ever chivalrous bystanders give a good beating to the young man. The lady is still silent. And so is the young man, just looking at her imploringly, asking for a chance to explain. The conversation is not entertained. The hearts are pining and wreathing with tears. But the stand-off remains. Explanations are not allowed. The silent gazes of pain, the eyes telling beseeching stories of pleadings. But no, the words are not permitted.

And then, this deep throated sound from a singer sitting in a group of porters, rises to block out and mask all the other sounds in the camp. A voice that delivers the message, the words that the young man is trying to articulate, but is not able to. Those words are compellingly brought out in this loud rustic voice of a folk singer, singing by the campfire, playing on a daff (‘डफ’) in his hand. The memories go back to ‘Jis Desh Mein Ganga Behti Hai’ (1960). There also, the protagonist plays the daff, when an important message, and the right words are to be delivered.

Over the years, Chanchal did sing, maybe a dozen, or maybe a score more songs in Hindi films. And then he quietly exited and went back to his forte – the world of popular religious bhajans. His success in that field is simply phenomenal, and for everyone to see. Just that he could not jell well with the systems of the tinsel town Mayanagri.
[Author’s Note: After little more research on the internet, we find that the total number of songs sung by Narendra Chancal in Hindi films is about 35.  Nahm ji has pointed out in comments another wonderful solo – “Kabhi Gham Se Dil Lagaaya” from film ‘Daaku’ (1975). Other superb solos by him are:
“Meri Zindagi Tumhare Pyaar Pe Kurbaan” – from ‘Jeevan Sangram’ (1974)
“Loot Liya Sansaar” – from ‘Fauji’ (1976)
“Yaar Di Chaukhat Kaaba Kaashi” – from ‘Ram Bharose’ (1977)
“Do Ghut Pila De Saaqiya” – from ‘Kaala Suraj’ (1986)
“Tut Gayi Je Yaari” – from ‘Ramkali’ (1986)
The other songs are duets, group songs, and of course religious bhajans.]

Ten years back, this day, the output on the blog was nothing short of phenomenal. On 10th March, 2009, a total of 12 songs were posted. Atul ji was quite in the pink, and on the roll, during those initial weeks and months of this blog. 12 songs mean that 12 films got represented that day. And ‘Bobby’ made its debut on that day, with the song – “Main Shaayar To Nahin”.

Over the past decade, nine of those films have been yippeee’d, and three remain. As I checked the list, I was somberly surprised that a film like ‘Bobby’, with one superlative song after another, had not yet been yippeee’d here. And mind you, the songs pending are not lightweights. Each one of them is a popular super hit, all by itself.

Quick round up review of credits – the words of this song are adapted and redrafted by Rajkavi Inderjeet Singh Tulsi, based on an original song by Bulle Shah. The music – Laxmi-Pyaare. Singing voice – Narendra Chanchal. On screen, the singer himself is performing the song, carrying the messages between the two young lovers, Rishi Kapoor and Dimple Kapadia, who are not communicating, except through the eyes. And the words of this song so powerfully express the unsaid emotions between them.

If you have ever been in love, this song is for you. And yes, if you have ever been in love, this film is for you.

 

Song – Beshaq Mandir Masjid Todo, Bulle Shaa Ye Kehta (Bobby) (1973) Singer – Narendra Chanchal, Lyrics – Inderjit Singh Tulsi, MD – Laxmikant Pyaarelal

Lyrics (Provided by Avinash Scrapwala)

beshaq mandir masjid dhaa de
bulle shah..aa ye kehta..aa

beshaq mandir masjid todo
bulle shah..aa ye kehta..aa
par pyaar bharaa dil
kabhi na todo..o..o
is dil mein..ae dilbar rehta

jis palde mein tuley mohabbat. . .
jis palde mein tuley mohabbat
us mein chaandi nahin tolnaa..aa
taubaa meri
naa dholna
main nahin bolna..aa
ho nahin bolna jaa
main nahin bolna jaa
o main nahin bolnaa jaa
dholna
main nahin bolnaa..aa
tauba meri
naa dholna
main nahin bolnaa..aa

aag te ishq baraabar dono..o
par paani aa..aag bujhaaye
aag te ishq baraabar dono
par paani aag bujhaaye
aashiq ke jab aansoo nikley..ae..ae
aur agan lag jaaye
tere saamne baithh ke rolaan..aa..aa..aa..aa..aa
ho tere saamne baithh ke rolaan
dil ka dukhdaa nahin pholna..aa..aa
dholnaa..aa
main nahin bolna..aa
ho nahin bolnaa jaa
main nahin bolnaa jaa..aa
ve main nahin bolna jaa
dholna
main nahin bolnaa..aa
tauba meri
naa dholna
main nahin bolnaa..aa

ve main nahin bolna..aa
o ve main nahin bolna..aa
ve main nahin bolna..aa..aa..aa..aa
ve main nahin bolna..aa
ve main nahin bolna..aa
dholna..aa
main nahin bolna
nahin bolna
ve main nahin bolna
nahin bolna aa
ve main nahin bolna aa
nahin bolna
ve main nahin bolna..aa..aa

———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————

बेशक मंदिर मस्जिद ढा दे
बुल्ले शाह॰॰आ ये कहता॰॰आ

बेशक मंदिर मस्जिद तोड़ो
बुल्ले शाह॰॰आ ये कहता॰॰आ
पर प्यार भरा दिल
कभी ना तोड़ो॰॰ओ॰॰ओ
इस दिल में॰॰ए दिलबर रहता
जिस पलड़े में तुले मोहब्बत॰ ॰ ॰
जिस पलड़े में तुले मोहब्बत
उसमे चांदी नहीं तोलना॰॰आ
तौबा मेरी
ना ढोलना
मैं नहीं बोलना॰॰आ
हो नहीं बोलना जा
मैं नहीं बोलना जा
ओ मैं नहीं बोलना जा
ढोलना
मैं नहीं बोलना॰॰आ
तौबा मेरी
ना ढोलना
मैं नहीं बोलना॰॰आ

आग ते इश्क बराबर दोनों॰॰ओ
पर पानी आ॰॰आग बुझाए
आग ते इश्क बराबर दोनों
पर पानी आग बुझाए
आशिक के जब आंसू निकले॰॰ए॰॰ए
और अगन लग जाए
तेरे सामने बैठ के रोलां॰॰आ॰॰आ॰॰आ॰॰आ॰॰आ
हो तेरे सामने बैठ के रोलां
दिल का दुखड़ा नहीं फोलना॰॰आ॰॰आ
ढोलना॰॰आ
मैं नहीं बोलना॰॰आ
हो नहीं बोलना जा
मैं नहीं बोलना जा॰॰आ
वे मैं नहीं बोलना जा
ढोलना
मैं नहीं बोलना॰॰आ
तौबा मेरी
ना ढोलना
मैं नहीं बोलना॰॰आ

वे मैं नहीं बोलना॰॰आ
ओ वे मैं नहीं बोलना॰॰आ
वे मैं नहीं बोलना॰॰आ॰॰आ॰॰आ॰॰आ
वे मैं नहीं बोलना॰॰आ
वे मैं नहीं बोलना॰॰आ
ढोलना॰॰आ
मैं नहीं बोलना
नहीं बोलना
वे मैं नहीं बोलना
नहीं बोलना॰॰आ
वे मैं नहीं बोलना॰॰आ
नहीं बोलना
वे मैं नहीं बोलना॰॰आ॰॰आ

 


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

Blog Day : 3882 Post No. : 14908

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Blog 10-Year Challenge (2009-19) – Song No. 11
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5th March, 2009. As many as nine song posted on that day. Of course, from 9 different films. And guess what, over the years, eight of these films have been yippeee’d already. The films are

  • ‘Shahjehaan’ from 1946,
  • ‘Munim ji’ from 1955,
  • ‘Kaala Pani’ from 1958,
  • ‘Goonj Uthi Shehna’ from 1959,
  • ‘Umar Qaid’ from 1961,
  • ‘Bin Baadal Barsaat’ and ‘Tere Ghar Ke Saamne’ from 1963,
  • and then ‘Anubhav’ from 1971,
  • and lastly ‘Raja Jaani’ from 1972.

Except for the last listed film above, all the other eight films that appeared on that day have all their songs posted here. And so the only option left to present a 10 year challenge post is a song from ‘Raja Jaani’ from 1972.

The song I present today is performed on screen by Hema Malini, as she is making efforts to woo and evoke the interest in the mind of a reluctant hero – Dharmendra. It was a time when the real life romance of Hema Malini and Dharmendra was just taking off and was coming in the notice of the media and the public. It is speculative to say whether such a real life situation adds to the reel performances. 🙂

The songs of this film are written by Anand Bakshi, and the music is by Laxmikant Pyaarelal. The singing voice is that of Lata Mangeshkar. The performance gets quite close to the category of a ‘seduction’ song.

‘Reel-life’ or ‘Real-life’ – I leave it up to the readers to judge. 😉

 

Song – Aa Aa Ja, Aa Jaa, Kuchh Keh Jaa, Kuchh Sun Jaa  (Raja Jaani) (1972) Singer – Lata Mangeshkar, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal

Lyrics

aa aa
aa aa

aa aa ja aa ja
kuchh keh ja kuchh sun ja
aa aa ja aa ja
kuchh keh ja kuchh sun ja
door door kyon rehta hai
apni rani se raja
door door kyon rehta hai
apni rani se raja
aa aa ja aa ja
kuchh keh ja kuchh sun ja

angdaai..ee..ee
yun li hai armaanon ne
dil loota is dil ke mehmaanon ne
angdaai yun li hai armaanon ne
dil loota is dil ke mehmaanon ne
dil se dil tu na mila
aa aankhen to mila ja
aa aa aa ja aa ja
kuchh keh ja kuchh sun ja
aa aa ja aa ja
kuchh keh ja kuchh sun ja

sapnon ki..ee..ee
duniya mein kho jaaungi
aa sajna varna main so jaaungi
sapnon ki duniya mein kho jaaungi
aa sajna varna main so jaaungi
neend se pehle tu aa ke
in nainon mein sama ja
aa aa aa ja aa ja
kuchh keh ja kuchh sun ja
aa aa ja aa ja
kuchh keh ja kuchh sun ja
door door kyon rehta hai
apni rani se raja
aa aa aa ja aa ja
kuchh keh ja kuchh sun ja
aa aa ja aa ja
kuchh keh ja kuchh sun ja
mmmm hmmmm aa ja
kuchh keh ja kuchh sun ja

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

आ आ
आ आ

आ आ जा आ जा
कुछ कह जा कुछ सुन जा
आ आ जा आ जा
कुछ कह जा कुछ सुन जा
दूर दूर क्यों रहता है
अपनी रानी से राजा
आ आ जा आ जा
कुछ कह जा कुछ सुन जा

अंगड़ाई॰॰ई॰॰ई
यूं ली है अरमानों ने
दिल लूटा इस दिल के मेहमानों ने
अंगड़ाई यूं ली है अरमानों ने
दिल लूटा इस दिल के मेहमानों ने
दिल से दिल तू ना मिला
आ आँखें तो मिला जा
आ आ आ जा आ जा
कुछ कह जा कुछ सुन जा

सपनों की॰॰ई॰॰ई
दुनिया में खो जाऊँगी
आ सजना वरना मैं सो जाऊँगी
सपनों की दुनिया में खो जाऊँगी
आ सजना वरना मैं सो जाऊँगी
नींद से पहले तू आ के
इन आँखों में समा जा

आ आ जा आ जा
कुछ कह जा कुछ सुन जा
आ आ जा आ जा
कुछ कह जा कुछ सुन जा
दूर दूर क्यों रहता है
अपनी रानी से राजा
आ आ जा आ जा
कुछ कह जा कुछ सुन जा
आ आ जा आ जा
कुछ कह जा कुछ सुन जा
म्मममम हम्मममम आ जा
कुछ कह जा कुछ सुन जा


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 :

3797 Post No. : 14787 Movie Count :

4043

#the Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # 75# Dharmendra- Memories of the Seventies #
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 Welcome all to this article of mine which comes after a long gap of more than a month, and though I am late in sending this article, I hope our editors will consider this for post. And that will also help me in getting back into the ‘article writing’ again, because since last two months I am trying to complete and send some of my unfinished articles, but the schedule at work front and very less time after official work is not allowing me time and the concentration to focus on the articles I wish to share.

Well, with this article I hope I get back into writing and share my thoughts taking you down memory lane into the ‘seventies’ again 🙂

***

8th December 2018 is the 83rd birth anniversary (08.12.1935) of actor Dharam Singh Deol whom we fondly know as Dharmendra. And, ‘maa kasam …’ 🙂 , he will be there in our fond memories of the movies from almost every decade ever since he began his career in the Hindi movies with ‘Dil Bhi Tera Ham Bhi Tere’ (1960) till the very recently released movie ‘Yamla Pagla Deewaana-Phir Se’ (2018).

For me I have fond memories of watching many of his movies with my uncles, like ‘Shikaar’ (1966), ‘Yakeen’ (1969), ‘Kab? Kyun? Aur Kahaan?’ (1970), ‘Mera Gaon Mera Desh’ (1971), ‘Resham Ki Dori’ (1974), ‘Raja Jaani’ (1973), and more. Then I also remember some of his movies which I must have watched with my parents like ‘Yaadon Ki Baarat’ (1973), ‘Dost’ (1974), ‘Sholay’ (1975), ‘Maa’ (1976), ‘Charas’ (1976), ‘Dream Girl’ (1977), ‘The Burning Train’ (1980) etc. I still remember watching his ‘Devar’ (1966), during the Ganpati Festivals on the small 16mm screen in open grounds in the seventies.

Then there were movies which I watched with my brothers and cousins during the ‘summer vacations’ like ‘Dharam-Veer’ (1977), ‘Chacha Bhatija’ (1977), ‘Ram Balram’ (1980), ‘Teesri Aaankh’ (1982), ‘Samrat’ (1982), ‘Main Intaqaam Loonga’ (1982). And then movies like ‘Aap Ki Parchhaayiyaan’ (1964), ‘Main Bhi Ladki Hoon’ (1964), ‘Izzat’ (1968), ‘Mere Hamdam Mere Dost’ (1968), ‘Khamoshi’ (1969), ’Sharaafat’ (1970), ‘Samadhi’ (1972), ‘Jheel Ke Us Paar’ (1973), ‘Chaitaali’ (1975), ‘Chupke-Chupke’ (1975), ‘Ek Mahal Ho Sapnon Ka’ (1975), ‘Kinaara’ (1977), ‘Blackmail’ (1978), ‘Dillagi’ (1978) which I watched during the weekly screening of movies in the re-creation club building in our colony where we were staying then.

Then, when I was a grown-up boy 🙂 there was a phase in my life when I was learning in 11 -12th std but was less on studies and more on cricket and movies. I watched many of his movies like ‘Haqeeqat’ (1964), ‘Pyaar Hi Pyaar’ (1968), ‘Jugnu’ (1973), ‘Patthar Aur Paayal’ (1974), ‘Pratigya’ (1975), and the other movies released during those years (1983-1985) i.e. ‘Naukar Biwi Ka’ (1983), ‘Qayaamat’ (1983), ‘Jeene Nahin Doonga’ (1984), ‘Baazi’ (1984), ‘Dharam Aur Kanoon’ (1984), ‘Jaagir’ (1984), ‘Jhoothha Sach’ (1984), ‘Raj Tilak’ (1984) etc. And then I got to watch some movies like ‘Bandini’ (1963), ‘Neela Aakaash’ (1965), and ‘Satyakaam’ (1969), ‘Phagun’ (1973), on television (‘Doordarshan’) during this period.

The above was when we were still located in the Akola District of Maharashtra (CP & Berar circuit for the movies). And by that time I was already a Rajesh Khanna fan 🙂 . Reading the film magazines then I came to know that it was Dharmendra whose movies were still running good even during the Kaka’s Superstardom days. After that we shifted to Parli Vaijnath – Marathwada region of Maharashtra (and known as in the Nizam Circuit for the movies).

There I had already taken up working in a construction company and during this period till 1988 I watched many of the old and new movies. I remember I watched Dharmendra’s ‘Aaayi Milan Ki Bela’ (1964), ‘Kaajal’ (1965), ‘Aaye Din Bahaar Ke’ (1966), ‘Anupama’ (1966), ‘Dil Ne Phir Yaad Kiya’ (1966), ‘Phool Aur Patthar’ (1966), ’Aankhen’ (1968), ‘Aaya Saawan Jhoom Ke’ (1969), ‘Rakhwaala’ (1971), ‘Loafer’ (1973), ‘Keemat’ (1973), ‘Baghaawat’ (1982), ‘Hukumat’ (1987), ‘Aag Hi Aag’ (1987) etc.

Then I shifted to Kota (Rajasthan) in Nov 1988 for my professional career and there also watching the movies was the ‘main source of entertainment’. I got to watch many old Hindi movies as well as the new ones. I got to watch Dharmendra’s movies like ‘Batwaara’ (1989), ‘Naakabandi’ (1990), ‘Farishtey’ (1991) and after many years I got to watch ‘Mera Gaon Mera Desh’ (1971) again in a theater. I watched the film repeatedly on consecutive days and enjoyed it a lot. Later on, based at Kota and traveling around places like Nimach, I watched ‘Tehalka’ (1992). I also remember correctly that I watched his ‘Man Ki Aankhen’ (1970), on VHS cassettes on ‘VCR’ we use to hire to watch movies then during our weekly get-together or holiday. Later I bought VCDs of the films ‘Ganga Ki Lehren’ (1964), ‘Dulhan Ek Raat Ki’ (1967), which has one of my favorite songs “Ek Haseen Shaam Ko. . .“.

And there are other movies like ‘Aadmi Aur Insaan’ (1968), ‘Bahaarein Phir Bhi Aayengi’ (1966), ‘Chunaoti’ (1980), ‘Do Chor’ (1972), ‘Ishq Par Zor Nahin’ (1970), ’Jeevan Mrityu’ (1970), ‘Jwaar Bhaata’ (1973), ‘Kahaani Kismat Ki’ (1973), ‘Mohabbat Zindagi Hai’ (1966), ‘Naya Zamaana’ (1971), ‘Razia Sultan’ (1983), ‘Tum Haseen Main Jawaan’ (1970), which I don’t remember correctly but I think I watched them either in theatre or on TV. As I was going through his filmography for this article, I was thinking that there are still many movies of him (till seventies) which I have not watched and should watch them as and when possible.

The latest movies that I have seen of Dharmendra is ‘Apne’ (2007), which I could not watch in theatre when I was in Kachchh-Gujarat and had later bought its DVD and watched with my parents and family at home.

Watching his movies has always been a different experience and entertaining and enjoyable too. I think me, and many others like me, will always be thankful to him for the joy he has given to us through his movies. His fight scenes with Shetty are always a favorite of mine and those were the main attractions from his movies too, wherever Shetty was co-star in the movies he acted.

Then there are songs from his ‘black and white’ movies and many other ‘musicals’ of the ‘seventies’ which I cannot forget and many of them are ‘songs that brings back memories’ for me. I have watched many of his movies more than once and it is always pleasant to watch him on the screen. I cannot forget his ‘emotional speech’ in the ‘Filmfare awards function’ when he was felicitated with the ‘Filmfare Lifetime Achievement Award’.

His movies also have many emotional scenes between a ‘mother and son’ where I always find him very natural and touching. For today’s occasion I am presenting a song from the 1976 movie ‘Maa’. As I had mentioned earlier in one of my articles that there are few Hindi movies where an elephant has been a central character in the movies and few of these movies have been a part of my permanent memory since then. I remember to have watched this movie with my parents but have forgotten it now except Dharmendra, the elephants in the movie and this song that I am presenting today.

Though the song is a background song and not lip-synced by Dharmendra, I want to introduce it with this article. (I had earlier sent this song to Atul ji in Oct 2012). Also, this is the song which brings back memories of those years for me. It is part of that ‘nostalgia’ of Hindi movies and the songs for me over the years.

So, I when decided to share an article for Dharmendra’s birth anniversary (now belated), I searched for other songs from his movies where he also lip-synced the songs, or even from this movie ‘Maa’, but I strongly feel sharing of this song sung by Rafi Saab which is a trip down memory lane for me from the movies of Dharmendra of the seventies.

‘Maa-1976’ is edited and directed by M.A. Thirumugam for ‘Devar Films, Madras’. It is produced by Sandow M.M.A. Chinnappa Devar who had also written the story of this movie. It has Dharmendra, Hema Malini, Nirupa Roy, Ranjeet, Padma Khanna, Devar, Om Prakash, Paintal, Bramhachari, Shashi Kiran, Rajan Haksar, Urmila Bhatt, Umesh Sharma, Raj Baldev, Viju, Kalpana, Gemini Balu, Narayan Mustafa, Anand Kumar and others. Dialogues for this movie were written by Inder Raj Anand and editing was done by M.G. Balurao (assisted by K. Ramu). The movie was passed by Censor Board on 10.09.1976.

The movie has total seven songs in it as per HFGK and all the seven songs are written by Anand Bakshi and composed by Laxmikant-Pyarelal. HFGK also mentions about two tracks as club dance music and dance music in this movie. Kishore Kumar, Lata Mangeshkar, and Mohd Rafi had given their voices to the songs in this movie.

I am reproducing below the ‘plot summary’ of this movie as mentioned on IMDB

Vijay lives with his mother in a palatial house deep in the jungles in South India where he makes a living trapping animals for circuses, zoos – both nationally and internationally. He meets with beautiful US-returned Nimmi, both fall in love with each other and want to get married. Vijay’s mother cautions them both against separating new-born animals from their birth mothers, but both refuse to listen. Then the unexpected happens, a mother lioness, angered at Vijay for taking her cubs, attacks him, and leaves him badly wounded. With the help of his mother, and Nimmi, Vijay recovers and despite of what happened, and his mother’s warning, he again goes to trap animals – this time a baby elephant for a circus. He does manage to trap the elephant in a pit, but the angered mother elephant pursues them, even after they transport it in a truck. Her maternal and protective instincts come to fore, she overtakes the truck, dismantles it, but is chased away by Vijay and his employees. She turns to attack Vijay, but his mother intervenes – and is instantly attacked and crushed. Holding his mother in his arms, Vijay swears to hunt them the elephant as well as all other animals and kill them one by one, but his dying mother makes him promise that he will not do so, but instead return all cubs to their parents, as well as the baby elephant. Vijay promises to do so, and his mother passes away. Vijay is devastated, in heart-wrenching sorrow & pain, he calls out to his mother, and carries out her promise. He releases all trapped animals, and returns the cubs to the jungle. But returning the baby elephant, Ganesh, is another issue altogether as it has been transported to the city, and must be brought back. When Vijay goes to bring it back, he finds out that the truck had broken down, the elephant had escaped and is lose in the city. He desperately goes around looking for it. In the meantime, back home, the mother elephant is on a rampage, enraged at being separated from its child, it crushes vegetation, attacks villagers, and tears down their dwellings. And the next target that looms before it is none other than Vijay’s beloved – Nimmi…

 Today’s song is sung by Mohd Rafi and composed by Laxmikant-Pyarelal. Lyrics are by Anand Bakshi. The movie ‘Maa’ also makes a debut on the blog today …!!!

Belatedly wishing Dharam ji a very happy birthday and a healthy and peaceful life ahead …

[Author’s Note: This also serves one of my purpose of introducing movies having ‘same title’ too. We already have the movie ‘Maa-1952’ and ‘Maa-1960’(UR) on the blog. And fortunately, I had the opportunity to share couple of songs from the ‘1952-Maa’ and one song from the ‘1960-Maa’ on the blog].

Maa Tujhe Dhoondhoon Kahaan

 

Song – Maa. . . Tujhe Dhoondhoon Kahaan (Maa) (1976) Singer – Mohammed Rafi, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal

Lyrics

Part 1

maa aa aa

maa tujhe dhoondhoon kahaan aa
maa tujhe dhoondhoon kahaan aa
maine mamta ko pehchaana
main bachchon ke dard ko jaana
tujhko kho kar maa aa aa aa
maa tujhe dhoondhoon kahaan
maa tujhe dhoondhoon kahaan
maa aa aa°°°°°°

maa ek jaisi hoti hai
bachche ik jaise hote hai
chot lage to insaanon ki tarah
pashu bhi rotey hai
bichchde huon ko maine milaaya
maine apna karz chukaaya
tujhko kho kar maa aa aa aa
maa tujhe dhoondhoon kahaan
maa tujhe dhoondhoon kahaan
maa aa aa

tu sach kehti thi ee
kisi ki bad duaa lag jaati hai
tu sach kahti thi ee
kisi ki bad duaa lag jaati hai
apni hi bandook se goli
khud pe bhi chal jaati hai
maine kaisa khel yeh khela
roun baitha aaj akela
tujhko kho kar man aa aa aa
maa tujhe dhoondhoon kahaan
maa tujhe dhoondhoon kahaan

maine mamta ko pehchaana
main bachchon ke dard ko jaana
tujhko kho kar maa aa aa
maa tujhe dhoondoon kahaan
maa tujhe dhoondoon kahaan
maa aa aa

Part 2 (at the end of the movie)

bichchde huon ko maine milaaya
maine apna karz chukaaya
tujhko kho kar maa
maa tujhe dhoondhoon kahaan
maa tujhe dhoondhoon kahaan
maa aa aa

———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————

भाग १

माँ आ आ

माँ तुझे ढूढूं कहाँ आ
माँ तुझे ढूढूं कहाँ आ
मैंने ममता को पहचाना
मैं बच्चों के दर्द को जाना
तुझको खोकर माँ आ आ आ
माँ तुझे ढूढूं कहाँ आ
माँ आ आ °°°°°°

माँ एक जैसी होती है
बच्चे इक जैसे होते है
चोट लगे तो इंसानों कि तरह
पशु भी रोते हैं
बिछड़े हुओं को मैंने मिलाया
मैंने अपना क़र्ज़ चुकाया
तुझको खोकर माँ आ आ आ
माँ तुझे ढूढूं कहाँ आ
माँ आ आ

तू सच कहती थी ई
किसीकी बद्दुआ लग जाती है
तू सच कहती थी ई
किसीकी बद्दुआ लग जाती है
अपनी ही बन्दूक से गोली
खुद पे भी चल जाती है
मैंने कैसा खेल ये खेला
रोऊँ बैठा आज अकेला
तुझको खोकर माँ आ आ आ
माँ तुझे ढूढूं कहाँ आ
माँ तुझे ढूढूं कहाँ आ
मैंने ममता को पहचाना
मैं बच्चों के दर्द को जाना
तुझको खोकर माँ आ आ आ
माँ तुझे ढूढूं कहाँ आ
माँ तुझे ढूढूं कहाँ आ
माँ आ आ°°°

भाग २

बिछड़े हुओं को मैंने मिलाया
मैंने अपना क़र्ज़ चुकाया
तुझको खोकर माँ आ आ आ
माँ तुझे ढूढूं कहाँ आ
माँ आ आ

माँ आ आ



This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3734 Post No. : 14680

6th October, he would have been 72. Life is such. It always, well almost, seems as if this was not the time to go. But this passage is such – no one has any say about it. One can only express emotions and reflect upon the loss. And then there are souls, people who are more close to heart than others. And the loss, the vacuum, seems to be bigger and deeper.

A person who once had declared that “. . . cricket, not films, is my first love”. At school, college and local club levels, he played a fair amount of good cricket, in the company of would be test players like Eknath Solkar and Budhi Kunderan. But then, he settled for a career in films, when he realized that he could never be a Vishwanath. [Author’s Note: These references are excerpted from an interview with Illustrated Weekly of India, in 1979.]

Born in 1946, he was not even a year old, when the family moved from Peshawar (now in Pakistan) to Bombay, when the partition happened in 1947. There was a temporary back and forth movement of the family between Bombay to Delhi (1957) and then back to Bombay (1960). Throughout his school and college days, he had a very normal progression of life, playing cricket and watching films. He aspired to be a cricketer, and also, he was enamoured by films.

As he stepped into his 20s, and completed his college education, a meeting with Sunil Dutt brought to him his break in films. Sunil Dutt was in preparation for his film ‘Mann Ka Meet’ (1968) which was intended to be a launch vehicle for Som Dutt, his younger brother`. Vinod played the a grey villain type role in this film. Some of his next few assignments followed in the same vein – supporting roles or villain’s roles – ‘Purab Aur Paschim’, ‘Aan Milo Sajna’, ‘Sachcha Jhootha’, ‘Mastana’ in 1970 and ‘Elaan’ and ‘Mera Gaon Mera Desh’ in 1971.

1971 is also the kind of firming-up an take-off year for Vinod. This year came his first film as an action hero in ‘Hum, Tum Aur Woh’. Also, this year was released the much acclaimed ‘Mere Apne’, produced and directed by Gulzar. A sensitive film about coming of age youngsters and the growing angst among the new generation, Vinod was cast in a strong lead role, challenged by another equally strong role of Shatrughan Sinha, the two heading competitor street gangs in a typical city in India.

Come 1973, and Gulzar cast him in the lead role in an off-beat theme on the commercial circuit – and a surprise songless film no less from this poet and film maker. ‘Achanak’ takes on where ‘Ye Raaste Hain Pyaar Ke’ (1963) faded out ten years earlier. Loosely connected with the famous/infamous Nanavati case (1959-61) from real life, the film takes off from the point where, in real life, the jury’s verdict of not guilty (at the Session Court level) was overturned by the Bombay High Court and awarded life imprisonment to the accused. The film was critically acclaimed – and so was the lead role played by Vinod.

Quite well considered as an established actor by this time, we see him in 1974, in the role of a college lecturer in ‘Imtihan’. A string of action films continues, far too many to be listed. I will follow him through the films that I actually viewed in that decade – ‘Aarop’ and ‘Haath Ki Safai’ in 1974, ‘Shaque’ and ‘Hera Pheri’ in 1976, ‘Parvarish’ in 1977, ‘Inkaar’ and ‘Main Tulsi Tere Aangan Ki’ in 1978, ‘Meera’ in 1979 and ‘The Burning Train’ in 1980. I am sure you will say I missed some. Yes, surely did. Just for a special mention – the highest grossers and the most popular films of their years – ‘Amar Akbar Anthony’ in 1977, ‘Muqaddar Ka Sikandar’ in 1978 and ‘Qurbani’ in 1980. With a portfolio as the one sampled above, the career discussion is fully represented, even if we choose not to mention his films that came later.

His film career was punctuated between 1982 and 1986, when he took a self-imposed leave from his career and went to stay with Osho, or Guru Rajnish. But whatever the circumstances may have been, he returned to the industry in 1987, and just continued without a pause with his career.

Vinod Khanna passed away on 27th April last year (2017).

Remembering him on his birth anniversary, here is a lesser known, but a wonderfully performed song from the film ‘Aadha Din Aadhi Raat’ from 1977. The film is from the banner of Bharati International, Madras and is directed by Dhundi. The star cast includes Asha Parekh, Vinod Khanna, Shabana Azmi, Prem Chopra, Om Shivpuri, Jalal Agha, Jayshree T, Prem Bedi, TP Jain, Surendra Nath, Kirti Kumar, Pratima Devi, Vishu Raje, Makranee, Shobha Harman, Ranjeet, and Keshto Mukherjee etc.

The song is penned by Anand Bakshi and the music is by Laxmikant Pyaarelal. The scene is a party, ostensibly at the residence of Prem Chopra, in honor of a certain person / friend returning from abroad. It is apparent that Vinod Khanna is in disguise and masquerading as that friend of Prem Chopra. Shabana, who plays the role of Prem Chopra’s daughter, is offended at the wooing advances being made by this foreign returned gentleman whom she quite clearly does not fancy. The body language and the silent exchanges indicate that Prem Chopra is trying to make her stay on in the party, so possibly there is some business angle to this interaction also. And the presence of some dangerous looking characters in the party frame, indicates that the ‘business’ that Prem Chopra is pursuing is not really a good happy one.

Menewhile in the CSP (comic side plot), apparently the real ‘foreign returned’ gentleman has been kidnapped by our hero and is being held captive, with the help of his side kick – Jalal Agha.

The actual gentleman who is being forcibly kept away from the prospecting party event, is the character actor by the name TP Jain. In 1960s and 70s, TP Jain was a very active figure in the Delhi theatre circles and a very active presence in the plays on Delhi Doordarshan.

This song reminds one of “Priye Praneshwari” (‘Hum, Tum Aur Woh’, 1971), a similar disguise song, albeit a suited booted version.

Enjoy this farcical performance, and a lesser known lilting melody – “Main London Chhod Ke Aa Gaya”.


Song – Main London Chhod Ke Aa Gaya (Aadha Din Aadhi Raat) (1977) Singer – Kishore Kumar, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Unidentified Male Voice
Unidentified Female Voice
Chorus

Lyrics

hmmmmm mmmmmmmm
mmmmmmm mmmmmmmm

hey..ey..ey
mmmmmmm mmmmmmmm

haa..aa..aa..aa..aa

baahar jaa ke maine
fashion dekhe aise aise
kaise kaise
arey baalon ka cut bhi ek jaisa
ha ha ha ha ha
aur kapde bhi
ik jaise
arey ladka hai ya ladki hai
koi pehchaane kaise
aa he pagdi baandh ke main gaya tha
ke pagdi baandh ke main gaya tha
chunri odh ke aa gaya
main london chhod ke aa gaya
aa gaya..aa..aa
main london chhod ke aa gaya
aa gaya..aa..aa
main london chhod ke aa gaya

maine london jaa ke babli
paisa bahut kamaaya
maine london jaa ke babli
paisa bahut kamaaya
motor le li
chauffer rakha
bangla naya banaaya
khaali bangley
mein rehne se lekin mazaa na aaya
khaali bangley
mein rehne se lekin mazaa na aaya
teri yaad jo aai to main
teri yaad jo aai to
teri yaad jo aai to
main waapas daud kea a gaya
main london chhod ke aa gaya
aa gaya..aa..aa
main london chhod ke aa gaya
aa gaya..aa..aa
main london chhod ke aa gaya

gori memen lipstick powder
na kaajal na bindiya
gori memen lipstick powder
na kaajal na bindiya
ye rang roop kahaan jo loote
ek nazar mein nindiya
made in foreign se achha hai
kuchh bhi made in india
made in foreign se achha hai
kuchh bhi made in india
mere paas thi jitni cheezen
mere paas thi jitni cheezen
mere paas thi jitni cheezen
saari tod kea a gaya
main london chhod ke aa gaya
aa gaya..aa..aa
main london chhod ke aa gaya
aa gaya..aa..aa
main london chhod ke aa gaya

babli
tum bhi gaao
la lalla la laa
la lalla la laa
arey aap log bhi gaao na bhai
la lalla la laa
lallaa lallal lal laa
la lalla la laa
lallaa lallal lal laa
la lalla la laa
lallaa lallal lal laa

mushkil se rehta hai saath
wahaan par koi joda
arey mushkil se rehta hai saath
wahaan par koi joda
sabka hai dastoor
ke is ko pakda us ko chhoda
london ki ik madam ne jab
london ki ik madam ne jab
mere dil ko toda
tere pyaar se toote dil ke
tere pyaar se toote dil ke
tukde jod ke aa gaya
main london chhod ke aa gaya
aa gaya..aa..aa
main london chhod ke aa gaya
aa gaya..aa..aa
main london chhod ke aa

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

हम्ममममम म्मममममम
म्ममममममम म्मममममम

हे ए॰॰ए॰॰ए
म्ममममममम म्मममममम

हा॰॰आ॰॰आ॰॰आ॰॰आ

बाहर जा के मैंने
फ़ैशन देखे ऐसे ऐसे
कैसे कैसे
अरे बालों का कट भी एक जैसा
हा हा हा हा हा
और कपड़े भी
एक जैसे
अरे लड़का है या लड़की है
कोई पहचाने कैसे
आ हे पगड़ी बांध के मैं गया था
के पगड़ी बांध के मैं गया था
चुनरी ओढ़ के आ गया
मैं लंदन छोड़ के आ गया
आ गया॰॰आ॰॰आ
मैं लंदन छोड़ के आ गया
आ गया॰॰आ॰॰आ
मैं लंदन छोड़ के आ गया

मैंने लंदन जा के बबली
पैसा बहुत कमाया
मैंने लंदन जा के बबली
पैसा बहुत कमाया
मोटर ले ली
शौफ्फर रखा
बंगला नया बनाया
खाली बंगले में रहने से
लेकिन मज़ा ना आया
तेरी याद जो आई तो मैं
तेरी याद जो आई तो
तेरी याद जो आई तो
तेरी याद जो आई तो मैं
वापस दौड़ के आ गया
मैं लंदन छोड़ के आ गया
आ गया॰॰आ॰॰आ
मैं लंदन छोड़ के आ गया
आ गया॰॰आ॰॰आ
मैं लंदन छोड़ के आ गया

गोरी मेमें लिपस्टिक पौडर
ना काजल ना बिंदिया
गोरी मेमें लिपस्टिक पौडर
ना काजल ना बिंदिया
ये रंग रूप कहाँ जो लूटे
एक नज़र में नींदिया
मेड इन फौरन से अच्छा है
कुछ भी मेड इन इंडिया
मेड इन फौरन से अच्छा है
कुछ भी मेड इन इंडिया
मेरे पास थी जितनी चीज़ें
मेरे पास थी जितनी चीज़ें
सार तोड़ के आ गया
मैं लंदन छोड़ के आ गया
आ गया॰॰आ॰॰आ
मैं लंदन छोड़ के आ गया
आ गया॰॰आ॰॰आ
मैं लंदन छोड़ के आ गया

बबली
तुम भी गाओ
ला लल्ल ला लाss
ला लल्ल ला लाss
अरे आप लोग भी गाओ ना भई
ला लल्ल ला लाss
लाल्ला लल्ललल ला ला
ला लल्ल ला लाss
लाल्ला लल्ललल ला ला
ला लल्ल ला लाss
लाल्ला लल्ललल ला ला

मुश्किल से रहता है साथ
वहाँ पर कोई जोड़ा
मुश्किल से रहता है साथ
वहाँ पर कोई जोड़ा
सबका है दस्तूर
के इसको पकड़ा उसको छोड़ा
लंदन की इक मैडम ने जब
लंदन की इक मैडम ने जब
मेरे दिल को तोड़ा
तेरे प्यार से टूटे दिल के
तेरे प्यार से टूटे दिल के
टुकड़े जोड़ के आ गया
मैं लंदन छोड़ के आ गया
आ गया॰॰आ॰॰आ
मैं लंदन छोड़ के आ गया
आ गया॰॰आ॰॰आ
मैं लंदन छोड़ के आ


This article is written by Sudhir, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3690 Post No. : 14599

Mohammed Rafi – Duets – ‘अ’  से  ‘ह’ तक  (From ‘अ’ to ‘ह’) – 21
– – – – – – – – – – – – – – – – – – – – – – – – – – – – – – – –

‘ट’ – टूटे तो टूटे कोई दिल का सहारा ॰ ॰ ॰

– – – –

हम आस किए जाते, तुम पास नहीं आते
जाना था चले जाते, मिलने को चले आते

Everyone has to depart, someday. But this beseeching yoke of memories is now becoming an encumbering burden, that would probably be lightened only when I myself will depart.

– – – –

Presenting the next episode in this series. With close to half of Rafi Sb’s songs already posted on the blog, it is getting to be not an easy job to find songs to fit the requirements of the series. The alphabet letter for today is ‘ट’. When we scan the list of songs, we find a long list of songs starting with ‘t’, but then on closer review, one finds that majority of these ‘t’ songs are actually for the syllable ‘त’ –  as in ‘तुम’, ‘तुम्हारे’, ‘तेरा’ etc. There are very few songs that will start with the sound of ‘ट’.

But then, the going is still good. In fact I found two very good songs that satisfy this criteria; the second one I found fit quite well into another series, so I kept that aside for now.

This song is from the film ‘Lagan’ from 1971. Prior to this, two other films by this same title have been made – on in 1941 and the second in 1955. This is the third one. The film is produced under the banner of RRK Combine of Madras (now Chennai), and is directed by Ramanna. The star cast of this film includes Nutan, Ajay Sahni, Prem Chopra, Farida Jalal, Jagdeep, Bindu, Sulochana, Shabnam, Jaishri T, Nazir Hussain, Beerbal, Dubey and Kailash Chopra amongst others.

The film is a family drama – a story about a mother (role played by Sulochana) and her two sons (roles played by Prem Chopra and Ajay Sahni aka Parikshit Sahni). They relocate from Burma to Bombay, and a good Samaritan soul (role played by Nazir Hussain) in the form of a friend of the lady’s late-husband, hands them over substantial assets that are the share of the late-husband. Life is comfortable, only that the elder son (Prem Chopra) is wayward, and seeks extra-marital happiness. His wife is on way for a child, and he mistreats her. When this become known to the mother, she resolves to take action against her elder son, and to set him right.

The film has six songs, all written by Anand Bakshi, and tuned to music by Laxmikant Pyaarelal. Some of the songs are well heard memories from radio listening days. I picked this song for being a duet of Rafi Sb, but could not locate its video. I even scanned the film quickly, but it seems this song has been excluded from the film.

A duet in the voice of Rafi Sb and Asha Bhosle, it seems like a sad song of separation. As I scanned the film, I really could not make out where and how this song might fit into the storyline. If it were a solo sad song, then it could have fit in well. But a sad song presented as a duet seems to have no place in the film.

And so, presenting the next in this series, a song that is presents  a complaint, possibly from to a separated companion, or may be to the Almighty.

Song – Toote To Toote Koi Dil Ka Sahaara  (Lagan) (1971) Singer – Mohammed Rafi, Asha Bhosle, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Rafi + Asha Bhosle

Lyrics

toote to toote koi dil ka sahaara
toote to toote koi dil ka sahaara
sahaara
ho hi raha hai phir bhi apna guzaara
ho hi raha hai phir bhi apna guzaara
roothe to roothe koi saathi hamaara
roothe to roothe koi saathi hamaara
hamaara
ho hi raha hai phir bhi apna guzaara

chaahe wafa kar chaahe kar bewafaai
chaahe wafa kar chaahe kar bewafaai
hum wo nahin jo denge teri duhaai
samjhe na samjhe zaalim tu ye ishaara
ishaara
ho hi raha hai phir bhi apna guzaara
toote to toote koi dil ka sahaara

ro ro ke phir na tera hum naam lenge
ro ro ke phir na tera hum naam lenge
baahen kisi ki bhi hum to thaam lenge
chhoote to chhoote hamse daaman tumhaara
tumhaara
ho hi raha hai phir bhi apna guzaara
toote to toote koi dil ka sahaara
roothe to roothe koi saathi hamaara
hamaara
ho hi raha hai phir bhi apna guzaara

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

टूटे तो टूटे कोई दिल का सहारा
टूटे तो टूटे कोई दिल का सहारा
सहारा
हो ही रहा है फिर भी अपना गुज़ारा
हो ही रहा है फिर भी अपना गुज़ारा
रूठे तो रूठे कोई साथी हमारा
रूठे तो रूठे कोई साथी हमारा
हमारा
हो ही रहा है फिर भी अपना गुज़ारा

चाहे वफा कर चाहे कर बेवफाई
चाहे वफा कर चाहे कर बेवफाई
हम वो नहीं जो देंगे तेरी दुहाई
समझे ना समझे ज़ालिम तू ये ईशारा
ईशारा
हो ही रहा है फिर भी अपना गुज़ारा
टूटे तो टूटे कोई दिल का सहारा

रो रो के फिर ना तेरा हम नाम लेंगे
रो रो के फिर ना तेरा हम नाम लेंगे
बाहें किसी की भी हम तो थाम लेंगे
छूटे तो छूटे हमसे दामन तुम्हारा
तुम्हारा
हो ही रहा है फिर भी अपना गुज़ारा
टूटे तो टूटे कोई दिल का सहारा
रूठे तो रूठे कोई साथी हमारा
हमारा
हो ही रहा है फिर भी अपना गुज़ारा


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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 TEN years. This blog has over 15000 song posts by now.

This blog is active and online for over 3900 days since its beginning on 19 july 2008.

Total number of songs posts discussed

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Movies with all their songs covered =1171
Total Number of movies covered =4123

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