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

Posts Tagged ‘Laxmikant Pyaarelal


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

Blog Day :

4268 Post No. : 15495 Movie Count :

4270

hullo Atuldom

Under Sudhirji’s current series “Songs repeated in hindi films” he posted Ek Ladki Bheegi Bhaagi Si on March 17th, that reminded me that Farooque Sheikh’s Birth anniversary was round the corner. he would have turned 72 today (25 march 2020).

I was reading up about Farooque Sheikh ((25 March 1948 – 28 December 2013) and discovered he was the son of a lawyer and was a law graduate himself. He had leanings towards theatre and met his future wife Roopa and future co-star Shabana Azmi on the stages of St. Xavier’s College in Mumbai.

His first released movie was M.S. Sathyu’s “Garam Hawa”. What followed was a list of movies that represented the meaningful cinema of the 70s and 80s, movies that were neither ART or COMMERCIAL but more of the MIDDLE-OF-THE-ROAD kind; movies that the middle class audiences of those times identified with. We saw him in Chashme Baddoor, Katha, Rang Birangi, Ek Baar Chale Aao, Faasle, Ab Aayega Maza, Biwi Ho Toh Aisi etc.
Today we shall have a song from “Biwi Ho Toh Aisi” which had an unusual pairing. We were used to seeing Farooque with Deepti Naval in most films back then, but “BHTA” had Farooque pairing with Rekha romantically, and Kadar Khan and Bindu played his parents and Salman Khan (this was Salman Khan’s debut movie) played his brother.

This was not the first time that Rekha teamed up with Farooque Sheikh. He had played a Nawaab who was in love with Umrao in Umrao Jaan. There was one other movie with the same pairing but we see Farooque Sheikh playing the typical romantic Bollywood hero here.
Here is today’s song.


Song-Phool gulaab ka (Biwi Ho To Aisi)(1988) Singers-Md Aziz, Anuradha Paudwal, Lyrics-Anjaan, MD-Laxmikant Pyarelal
Both

Lyrics

phool gulaab ka
phool gulaab ka
laakhon mein hazaaron mein
ek chehra janaab ka aa aa
phool gulaab ka
haan jhonke suroor ke
jhonke suroor ke ae
aisi taareefen taareefen
aisi taareefen karna
seekhe koyi huzoor se ae ae

phool gulab ka
haan jhonke suroor ke ae

gore gore haathon mein mehandi mehakti hai
gore gore haathon mein mehandi mehakti hai
phool si kalaayi mein choodi khanakti hai ae
choodi khankati hai ae ae
maujen chenaab ki
maujen chenaab ki ee
maathhe pe chamakti hai bindiya hijaab ki ee ee
phool gulaab ka

khushbuon ke saaye mein
kya kya gul boote hain
khushbuon ke saaye mein
kya kya gul boote hain
prem rang sachcha hai
baaki rang jhoothhe hain
baaki rang jhoothhe hain ae ae
mausam jawaan hai
mausam jawaan hai ae
tauba boloon kya boloon
mushkil mein jaan hai ae ae
jhonke suroor ke ae ae

thhami thhami lehren hain
ruka ruka paani hai
thhami thhami lehren hain
ruka ruka paani hai

teri meri aankhon mein
raat ki kahaani hai
teri meri aankhon mein
raat ki kahaani hai
raat ki kahaani hai ae ae
waada bahaar ka
waada bahaar ka aa
umrr bhar gaayenge
naghma yeh pyaar ka aa aa

phool gulaab ka
laakhon mein hazaaron mein
ek chehra janaab ka aa aa
jhonke suroor ke
aisi taareefen karna seekhe koyi huzoor se ae ae

phool gulab ka
laakhon mein hazaaron mein
ek chehra janaab ka aa aa
phool gulaab ka
laakhon mein hazaaron mein
ek chehra janaab ka


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

Blog Day : 4258 Post No. : 15480

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Blog 10-Year Challenge (2010-2020) – Song No. 11
———————————————————————————

‘Satyam Shivam Sundaram’ (1978) was directed by Raj Kapoor for his home production RK Films, Bombay. He dedicated this movie to his beloved friend singer Mukeshchandra whom we fondly know as Mukesh.

The cast of the film includes Kanhaiyalal, AK Hangal, David, Hari Shivdasani, Leela Chitnis, Sheetal, Baby Padmini, Baby Komal, Tun Tun, Vishwa Mehra, Mansaram, Pardesi, Shriram Shastry, Nandini, Mona, Seema, Mani, Yasmin, Bina, Subroto Mahapatra and Javed Khan.

The story of this movie was written by Jainendra Jain. Radhu Karmakar was the Director of Photography. Raj Kapoor who produced and directed this movie was also the editor of this movie.

HFGK lists nine songs and one dialogue track released on records of this movie. The total nine songs are including of their parts and the title song is mentioned to be in four parts. There are two more songs (the ‘aarti’ and ‘shlokas’ with the titles, and ‘’Yashomati maiyya se boley…’) in the movie having two parts. Narendra Sharma, Anand Bakshi and Vithhal Bhai Patel wrote the songs for this movie. Music for this movie was composed by Laxmikant-Pyarelal. Lata Mangeshkar, Manna Dey, Bhupinder, Mukesh, and Nitin Mukesh who debuted as a singer in this movie had given their voices to the songs in this movie.

This movie was passed by Censor Board on 22.03.1978 with restricted viewing certificate.

Three songs from ‘Satyam Shivam Sundaram-1978’ posted on the blog earlier are as follows;

Song  Posted On
 Yashomati maiyya se boley Nandlala  07.09. 2008
 Satyam Shivam Sundaram  15.03.2010
 Suni jo unke aane ki aahat …  11.02.2020

I watched this movie much later in nineties (I think so). However, I remember, in my childhood, the two songs from this movie were very much popular viz. the title song “Satyam Shivam Sundaram“and “Yashomati maiyya se boley Nandlala” as they were frequently played on loud speakers and radio. The title song was also the most favorite number of almost all ‘orchestras’ which used to play it during ‘Ganesh Festival’ or other festival programs. However, I didn’t like both these songs then.

Rather I very much like the song “Chanchal Sheetal Nirmal Komal” and the song being presented today, maybe I heard them on radio during those years. Later on, when I bought the album of this movie (an audio cassette in late eighties) the song “Suni Jo Unke Aane Ki Aahat” also become my favorite song from this movie with all other songs.

When I checked the ‘annual Binaca Geetmala’ for the year ‘1978’ I found ‘Yashomati maiyya se…’ (as expected), at number seven and the song was, surprisingly for me, not the title song of the movie but it was “Chanchal Sheetal Nirmal Komal” ranking at number twenty-four of the list.

Well coming back to the ‘Blog ten-year challenge’ today we have two songs posted on this day ten years back as follows;

 Song  Movie title-Year  Remarks
 Satyam Shivam Sundaram  Satyam Shivam Sundaram (1978)  03 of 09 songs posted
 Hai isi mein pyaar ki aabroo  Anpadh (1962)  All Songs posted on the

Blog

As one of the movies i.e. ‘Anpadh’ (1962) is already ‘Yippeeee éd’ on the blog we have ‘Satyam Shivam Sundaram’ to be represented with a song on the blog today. The song I have selected today was noted long time back and was pending for posting. It is sung by Lata Mangeshkar and Bhupendra. I like this song very much and particularly for those few lines sung by Bhupendra Singh which makes this song very very special of course with great singing by Lata Mangeshkar and so greatly composed by Laxmikant-Pyarelal to the beautiful lyrics by Vithhal Bhai Patel.

Let us enjoy this wonderful song now …

(Note: – In the movie, this song appears in two parts. The video of the second part is not available now however full audio of this song is available).

Video (Partial)

Audio (Complete)

Song – Sainyaan Nikas Gaye Main Naa Ladi Thi (Satyam Shivam Sundaram)(1978) Singers – Lata Mangeshkar, Bhupendra, Lyrics – Vithalbhai Patel, MD – Laxmikant Pyarelal

Lyrics (Based on audio link)

rangmahal ke dus darwaaze
rangmahal ke..ae dus darwaaze
naa jaane kaun si khidki khuli thhi
sainyya nikas gaye
main naa ladi thhi
sainyya nikas gaye
main naa ladi thhi
sar ko jhukaaye..ae main to
chupke khadi thhi
sainyya nikas gaye
main naa ladi thhi
sainyya nikas gaye..ae
main naa ladi thhi

piyaa..aa..aa
kaun gali gaye shyaam
piyaa..aa..aa
kaun gali gaye shyaam
mori sudh naa leenhi haaye raam
piyaa..aa..aa
kaun gali gaye shyaam

ang mere gehne
pyaasi umariyaa
ang mere gehne
pyaasi umariyaa
jogan ho gayee
main bin sanwariyaa
haathon mein mere ae
mehndi rachi thhi
mehndi mein mere
ansuwan ki ladi thhi
sainyya nikas gaye
main naa ladi thhi
sainyya nikas gaye
main naa ladi thhi

aa aa aa
aa aa aa

chhod piyaa ghar
nehar jaaoon
chhod piyaa ghar
nehar jaaoon
kaun dehri
ab sees jhukaaoon
kar singaar main
dulhan bani thhi
aisi dulhan se
kunwaari bhali thi
sainyya nikas gaye
main naa ladi thhi
sainyya nikas gaye
main naa ladi thhi

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

रंगमहल के दस दरवाज़े
रंगमहल के ए दस दरवाज़े
ना जाने कौन सी खिड़की खुली थी ई
सैंय्या निकस गए
मैं ना लड़ी थी
सैंय्या निकस गए
मैं ना लड़ी थी
सर को झुकाए॰॰ए मैं तो
चुपके खड़ी थी
सैंय्या निकस गए
मैं ना लड़ी थी
सैंय्या निकस गए॰॰ए
मैं ना लड़ी थी

पिया॰॰आ॰॰आ
कौन गली गए श्याम
पिया॰॰आ॰॰आ
कौन गली गए श्याम
मोरी सुध ना लीन्ही हाए राम
पिया॰॰आ॰॰आ
कौन गली गए श्याम

अंग मेरे गहने
प्यासी उमरिया
अंग मेरे गहने
प्यासी उमरिया
जोगन हो गयी
मैं बिन सांवरिया
हाथों में मेरे॰॰ए
मेहंदी रची थी
मेहंदी में मेरे
अंसुवन कि लड़ी थी
सैंय्या निकस गए
मैं ना लड़ी थी
सैंय्या निकस गए
मैं ना लड़ी थी

आ आ आ
आ आ आ

छोड़ पिया घर
नैहर जाऊं
छोड़ पिया घर
नैहर जाऊं
कौन देहरी
अब सीस झुकाऊँ
कर सिंगार मैं
दुल्हन बनी ई थी
ऐसी दुल्हन से
कुंवारी भली थी
सैंय्या निकस गए
मैं ना लड़ी थी
सैंय्या निकस गए
मैं ना लड़ी थी


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

Blog Day : 4257 Post No. : 15477

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

Welcome all to the today’s post where I am presenting a song from the movie ‘Saudaagar-1991’. This is one of the two movies falling under ‘Blog Ten-Year challenge’ today. Another movie is ‘Sunahri Naagin-1963’.

Only two songs (better strike rate than the current ‘one song per day’😊) were posted on the blog on this day ten years back i.e. on 14.03.2010;

Song Movie title-Year Remarks
Ilu Ilu Saudaagar-1991 02 of 06 songs posted
Tu hi tu hai main dekhaa karoon Sunahri Naagin-1963 05 of 08 songs posted

‘Saudaagar-1991’ is one of the many movies that I watched during my stay at Kota. I remember I watched this movie twice during its initial release. Later I have always enjoyed it in ‘parts’ whenever it was on TV channels. The main reason for watching the movie was that it was directed by Subhash Ghai (he was the producer as well) and secondly its ‘music’.
I am big fan of Subhash Ghai , not only for his direction but for the music of his movies as well.

Music has always been a ‘highlight’ of the movies directed by him and also the picturization of the song sequences in his movies which are choreographed in ‘style’.

I still remember watching ‘Ram Lakhan-1989’, ‘Saudaagar-1991’ and ‘Khalnayak-1993’ to packed houses in Kota and the audience breaking into cheers and dancing to the tunes of ‘My name is Lakhan’, ‘Ilu Ilu’, ‘Imli ka boota beri ka ped’, and other songs in ‘Ram Lakhan-1989’ and ‘Saudaagar-1991’.

Also, I cannot forget the ‘mesmerising silence’ watching the ‘artistically choreographed’ ‘Choli ke peechhe kya hai’ and the ‘picturesque beauty’ in the song ‘Paalki mein ho ke sawaar chali re’… from ‘Khalnaayak-1993’.

His collaboration with the music-duo Laxmikant-Pyarelal started with the ‘1979’ movie ‘Gautam Govinda’ and lasted till ‘Khalnayak-1993’.
Let us have a look on the list of movies where Laxmikant-Pyarelal scored the music for the movies directed by Subhash Ghai;

SNo Movie Title Year
01 Gautam Govinda 1979
02 Karz 1980
03 Krodhi 1981
04 Hero 1983
06 Meri Jung 1985
07 Karma 1986
08 Ram Lakhan 1989
09 Saudaagar 1991
10 Khalnaayak 1993

Today’s song from ‘1991’ movie ‘Saudaagar’ is picturized on the then debutant pair Manisha Koirala and Vivek Mushran. Also present in the picturization of the song is Anupam Kher who played a ‘pivotal’ role in the movie.

The song is sung by Kavita Krishnamurthy, Manhar Udhas and Sukhvinder Singh. Lyrics are by Anand Bakshi and music is composed by Laxmikant-Pyarelal.

Two songs from ‘Saudaagar-1991’ posted on the blog earlier are as follows;

Song Posted On
Ilu Ilu 14.03.2010
Imli ka boota beri ka ped 11.12.2013

Let us now enjoy today’s song …

Video
(video)
Audio

Song-Saudaagar saudaa kar (Saudaagar)(1991) Singers-Kavita Krishnamurthy, Manhar Udhas, Sukhvinder Singh, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics(Based on audio link)

tu panchhi
pardesi
tu jogi hai ki jaadugar

inme se koyi bhi nahin
main sapnon ka saudaagr

Saudaagar saudaa kar r r
Dil le le ae
Dil de kar
Dil le le ae
Dil de kar
Saudaagar saudaa kar r r
Dil le le ae
Dil de kar
Saudaagar hmm hmm hmm
Saudaa kar hmm hmm hmm
Dil le le ae
Dil de kar
Dil le le ae
Dil de kar

Haath kisi ka wo pakde
O o o o o o o
Haath kisi ka wo pakde
Jo chhode jag saara aa
Tu oonche mehlon waali
Main beghar banjaara
Ik dooje ke dil mein rahenge
Kya karna hai ghar
Saudaagar saudaa kar r r
O dil le le ae
Dil de kar
Dil le le ae
Dil de kar

Tere saath main kaise
Pyaar ka saudaa kar loon oon
Tere saath main kaise
Pyaar ka saudaa kar loon oon
Aisa koi waada kar
Main jispe bharosa kar loon
Jo chaahe likhwaa le mujhse
Kore kaagaz par
Saudaagar saudaa kar r r
O dil le le ae
Dil de kar
Dil le le ae
Dil de kar

Hmm hmm hmm
Hmm hmm hmm

Aa aa aa
Aa aa aa aa
Aa aa aa
Aa aa aa aa
Aa aa aa aa aa
Aa aa aa aa aa

Dil to hai ae
Par dil ke
Par dil ke
Armaan kahaan se laaun
Doli sehra kangan sab
Saamaan kahaan se laaun
Doli sehra kangan sab
Saamaan kahaan se laaun

Thhodaasa sindoor kahin se le aa
Bas jaa kar
Saudaagar hmm hmm hmm
Saudaa kar hmm hmm hmm
Dil le le ae
Dil de kar
Dil le le ae
Dil de kar

Soch samajh le
Baad mein naa pachhtaana
Ye kah kar
Saudaagar saudaa kar
Dil le le ae
Le le ae
Dil de kar
De kar
Dil le le ae
Dil de kar
Dil le le ae
Dil de kar

Saudaagar saudaa kar r r
O dil le le ae
Dil de kar
O dil le le ae
Dil de kar
Saudaagar saudaa kar r r
O dil le le ae
Dil de kar
O dil le le ae
Dil de kar

——————————–
Devnagri Script lyrics (Provided by Avinash Scrapwala)
———————————
तू पंछी
परदेसी
तू जोगी है कि जादूगर

इनमे से कोई भी नहीं
मैं सपनों का सौदागर

सौदागर सौदा कर र र
दिल ले ले ए
दिल दे कर
दिल ले ले ए
दिल दे कर
सौदागर सौदा कर र र
दिल ले ले ए
दिल दे कर
सौदागर ह्म ह्म ह्म
सौदा कर ह्म ह्म ह्म
दिल ले ले ए
दिल दे कर
दिल ले ले ए
दिल दे कर

हाथ किसी का वो पकडे
ओ ओ ओ ओ ओ ओ ओ
हाथ किसी का वो पकडे
जो छोड़े जग सारा आ
तू ऊंचे महलों वाली
मैं बेघर बंजारा
इक दूजे के दिल में रहेंगे
क्या करना है घर
सौदागर सौदा कर र र
ओ दिल ले ले ए
दिल दे कर
दिल ले ले ए
दिल दे कर

तेरे साथ मैं कैसे
प्यार का सौदा कर लूं ऊँ
तेरे साथ मैं कैसे
प्यार का सौदा कर लूं ऊँ
ऐसा कोई वादा कर
मैं जिसपे भरोसा कर लूं
जो चाहे लिखवा ले मुझसे
कोरे कागज़ पर
सौदागर सौदा कर र र
ओ दिल ले ले ए
दिल दे कर
दिल ले ले ए
दिल दे कर

ह्म ह्म ह्म
ह्म ह्म ह्म

आ आ आ
आ आ आ आ
आ आ आ
आ आ आ आ
आ आ आ आ आ
आ आ आ आ आ

दिल तो है ए
पर दिल के
पर दिल के
अरमान कहाँ से लाऊं
डोली सेहरा कंगन सब
सामान कहाँ से लाऊं
डोली सेहरा कंगन सब
सामान कहाँ से लाऊं

थोडासा सिन्दूर कहीं से ले आ
बस जा कर
सौदागर ह्म ह्म ह्म
सौदा कर ह्म ह्म ह्म
दिल ले ले ए
दिल दे कर
दिल ले ले ए
दिल दे कर

सोच समझ ले
बाद में ना पछताना
ये कह कर
सौदागर सौदा कर
दिल ले ले ए
ले ले ए
दिल दे कर
दे कर
दिल ले ले ए
दिल दे कर
दिल ले ले ए
दिल दे कर

सौदागर सौदा कर र र
ओ दिल ले ले ए
दिल दे कर
ओ दिल ले ले ए
दिल दे कर
सौदागर सौदा कर र र
ओ दिल ले ले ए
दिल दे कर
ओ दिल ले ले ए
दिल दे कर


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 :

4206 Post No. : 15399 Movie Count :

4244

Songs Repeated in Hindi Films – 16

– – – – – – – – – – – – – – – – – –

Aah yes, this one too. This iconic and popular song from the 1969 film ‘Jeene Ki Raah’, reappeared in a shorter version in the 1972 film ‘Baazigar’. Albeit the use of this song is somewhat casual, and does not seem to fulfill any purpose, symbolic or otherwise. Seems like a time filler, as one goes through the initial part of the film.

The original from the film ‘Jeene Ki Raah’ is a quite a well picturized song, with the reality of the situation moving into a surreal dream where the real village people performing the song are replaced by the hero and heroine, in heroine’s mind. All the songs of this film became very popular, and did contribute significantly to the rising graph of Jeetendra as a hero.

Fast forward three years later. The film ‘Baazigar’ in 1972, was a potential launch vehicle for Roopesh Kumar (cousin brother of actress Mumtaz), as a hero. He had made his debut in 1965, in supporting roles, both as a comic villain and in character riles. This was the first, and likely the only film in which he appears in the role of a hero.

Roopesh’s real name was Abbas Farashahi. He was born in Bombay on 16th Jan, 1946 (okay, just a week back was his birth anniversary, would have been 74). His father, Ali Asgar Farashahi had a very good restaurant and bakery business.  However, being involved in dramatics in school and college, he was more interested to make a career in films. With some support from his cousin sister Mumtaz, he started working in small supporting roles. His first appearance is in the film ‘Tarzan and King Kong’ in 1965.

He appeared in over 120 films from 1965 through 1995. The list of his films do make an impressive reading. Here is a partial list of his films from the period till 1980 – ‘Sapno Ka Saudagar’ (1968), ‘Aadmi aur Insaan’ (1969), ‘Jeene Ki Raah’ (1969), ‘Sharafat’ (1970), ‘Jeevan Mrityu’ (1970), ‘Kal Aaj Aur Kal’ (1971), ‘Andaaz’ (1971), ‘Raampur Ka Lakshman’ (1972), ‘Seeta Aur Geeta’ (1972), ‘Prabhat’ (1973), ‘Loafer’ (1973), ‘Insaaniyat’ (1974), ‘Zinda Dil’ (1975), ‘Nagin’ (1976), ‘Karm’ (1977), ‘Dildaar’ (1977), ‘Chacha Bhatija’ (1977), ‘Amar Deep’ (1979), ‘Jaani Dushman’ (1979), ‘The Great Gambler’ (1979), ‘Lok Parlok’ (1979), ‘Hum Paanch’ (1980) etc.

Hmm. . . interesting to note that he also appeared in ‘Jeene Ki Raah’, the original film for the song being presented today.

He also produced and directed two films – ‘Hai Meri Jaan’ (1991) and ‘Meri Aan’ (1993).

Roopesh Kumar passed away quite unexpectedly, at a young age of 49. He was attending the Filmfare awards program of 1995. He suffered a severe heart attack while at the program, and passed away on way to the hospital.

The song presented today is picturized as a game being played at a picnic. This is a picnic with a difference. The only participants are the leading lady, Vijaylalitha and her pet animals – a horse named Chetak and a dog named Tommy. These are the screen names of these pets. Their real names, as per the credits are Joker and Johny respectively. The song is being played on a gramophone, and the game – well you can view it in the accompanying video. The song seems to have been edited, as it appears to end abruptly after playing one full stanza and getting into the start of the second stanza.

Ah yes, this 1972 film makes its debut on our blog today.

Overall, a very casual re-use in my opinion.

Song – Aa Mere Humjoli Aa, Khelen Aankh Micholi Aa  (Baazigar) (1972) Singers – Lata Mangeshkar, Mohammed Rafi, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Chorus

Lyrics

ho o o ho o
ho o o ho o

[dialogue]

ho o o ho o
ho o o ho o

aa mere hamjoli aa
khele aankh micholi aa
galiyon me chaubaaron me
baaghon me bahaaron me
ho
main dhoondhoo tu chup ja

main aaun
na na
main aaun
na na na
aaun
na
main aaun
aa ja

peepal ke oopar jaa baitha
chup se mera saathi
dhak se lekin dhadak gaya dil
gir gayi haath se laathi
o pakdaa gaya

main aaun
na na
main aaun
na na na
aaun
na
main aaun
aa jaa

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

हो ओ ओ हो ओ
हो ओ ओ हो ओ

[संवाद]

हो ओ ओ हो ओ
हो ओ ओ हो ओ

आ मेरे हमजोली आ
खेलें आँख मिचोली आ
गलियों में चौबारों में
बागों में बहारों में
हो
ओ मैं ढूंढू तू छुप जा
आ मेरे हमजोली आ
खेलें आँख मिचोली आ
गलियों में चौबारों में
बागों में बहारों में
हो
ओ मैं ढूंढू तू छुप जा

मैं आऊँ
ना ना
मैं आऊँ
ना ना ना
आऊँ
ना
मैं आऊँ
आ जा

पीपल के ऊपर जा बैठा
चुप से मेरा साथी
धक से लेकिन धड़क गया दिल
गिर गई हाथ से लाठी
ओ पकड़ा गया

मैं आऊँ
ना ना
मैं आऊँ
ना ना ना
आऊँ
ना
मैं आऊँ
आ जा

 


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

Blog Day :

4095 Post No. : 15240

wo chaand hai to aks bhi paani mein aayegaa
kirdaar khud ubhar ke kahaani mein aayegaa
(Iqbal Sajid)

Aks – reflection
Kirdaar – character

“jis ke paas koyi saboot nahin hota, kya wo kabhi beqasoor nahi ho sakta.”

This is the dialogue spoken by Meenakshi Sheshadri to Anil Kapoor, a lawyer, when he has refused to take her sister’s Beena’s case.  Meenakshi’s sister is a doctor and a patient dies in her private clinic, after she has administered a medicine to the patient. The medicine contains poison, and the bottle is already in the custody of the courts/police. There is no way anyone can prove that the patient did not die because of the medicine in that bottle. So all the lawyers are refusing the case and Meenakshi and the brother in law Parikshit Sahani, also a doctor, are running from pillar to post to find a lawyer who can defend Beena in the court.

The moment she says this dialogue, Anil Kapoor is transported to his childhood, when his mother Nutan had said the same words to the lawyer/ public prosecutor Amrish Puri, in defense of her husband Girish Karnad.  This whole story is in flash back – the story of Anil Kapoor, his sister and parents.

In the present, Anil Kapoor decides to defend Beena in the courts, and in true heroic style, drinks the medicine from the very bottle to prove that the patient did not die because of the medicine. Within minutes, the case is over, judgment delivered, Beena is ‘ba-izzat bari’.  Parikshit Sahani takes Anil Kapoor to the hospital immediately and treats him to save his life.  What happens to the actual culprit who put poison into the medicine bottle, I don’t know.

The court language in this type of films had glossary like ‘mulzim’ which is the one accused of a crime, ‘mujrim’ is the one whose crime is proved.  Crime is ‘jurm’ and ‘mere faazil dost’ means ‘my esteemed friend’ – this is how lawyers would refer to each other in front of a judge.

So with the case over, the doctors are grateful to Anil Kapoor and Meenakshi is in love with him. The doctors host a party to celebrate and Anil Kapoor on piano, again revives his child hood memory of the theme song at the party. This is Part-II of the song. After this party this dream sequence song, “Ae Mere Khwaabon Ke Shehzaade” comes up. This is a beach song, posted Peevicies’s mom and I have seen that song too just now. That song is one extravaganza on Madh island or Aksa beach and what is Meenakshi wearing in the last sequence? Looks as if she was trying to be a South Indian Cleopatra.

Now back to flashback:  Girish Karnad is convicted of a crime he did not commit. Nutan has tried in vain to get someone to fight her husband’s case against the formidable Amrish Puri. Their happy family is ruined, even as she manages to obtain a stay on the conviction of ‘sazaa-e-maut’, but reached late on the location. Girish Karnad has been hanged. After this I think, she loses her mind and is taken to mental Asylum.

Meanwhile the young children Anil Kapoor and the sister are left to fend for themselves in the big bad world. That is when Anil Kapoor is remembers the song that his mother and father used to sing, with his father on the piano, “Jeet Jaayenge Hum. . .”.  The song is highly motivational, though situational.  It is songs like these which make Laxmikant-Pyarelal such kings of the proverbial situational songs.  Theme song or not, the lyrics and composition is all more than apt for the mood and need of the script.  And to think that the script by Javed Akhtar originally had no scope for songs.

The events of childhood have a profound effect on the young Anil Kapoor and the song motivates him to keep fighting and to always hope and strive to win against all odds. And win he does, grows up to become a lawyer himself, struggles with the system and grows to achieve his goals step by step. All this while he is always conscious of how his mother’s struggles with the system to save his father from being punished from the crime which he has not committed. He has raised his younger sister Khushoo and who is now studying in a college. Anil Kapoor manages to trace his mother also and brings her home. But she is still not well and does not remember her children. Which is a cause for more pain, prompting Anil Kapoor to recall the childhood song again. This is when the Part-III of the song is played when Anil Kapoor and Meenakshi sing this song at home, hoping to revive Nutan’s memory and restore her mental health.

I thought, this was a movie made by GP Sippy, but turns out it was eventually made by Subhash Ghai.   Actually I found this song on YouTube a few days ago and saved the link to see it sometime. Today I got the time to see it and all the memory of the story, dialogue and songs etc. came rushing in the mind.

Jab itna kuchh likhne ke liye yaad aa gayaa to ek post to ban hi jaati hai. 🙂

The song is played multiple times throughout the film. This can’t be anyone other than Anand Bakshi’s doing, the lyrics I mean. Singers are Shabbir Kumar (in full Rafi mode) for Anil Kapoor, Nitin Mukesh for Girish Karnad and Lata Mangeshkar for Nutan, Meenakshi Sheshadri and Khushboo.

It shows that successful people have motivation for success, early in life and have to be ready for struggle. Come what may, we will not give up. Because life is always a struggle, even if one cannot foresee the difficulties to come. ‘Jung’ is not war here, but an avowal not to give up against adversities. In every way, it is struggle to succeed and defeat the bad. And this struggle starts with self to improve the self and its abilities and make them pure, truthful, honest and trustworthy. Because to do ‘jung’ with your lot is to do ‘jidd-o-jahad’ i.e. to struggle and strive.

I found a poem in the photos which I had taken in the hotel at Jaipur, during our vacation visit earlier this year.  I am searching the net for the name of the poet but even Rekhta.com is not having the works of this poet.  The title of the poem is ‘Kuchh Kehna Chaahta Hoon”.

tum kuchh lafz
musta’aar de do
main bolna chaahta hoon

mere lafzon ke haathh
ab sar par aa chuke hain
jaise haarey huye sipaahi

wo itna jhooth pee chuke hain
sach keh nahin sakte

apaahij, beemar aur za’eefon ki tarah
un ko sirf taknaa aata hai

tum kuchh lafz
musta’aar de do
main kuchh kehnaa chaahta hoon.

Musta’aar – lend, loan for a while.
Apaahij – handicap
Za’eef – aged, frail with age

Video (Part I)

Video (Part II)

Video (Part III)

Audio (Part III)

Song – Zindagi Har Qadam Ik Nayi Jung Hai (Meri Jung) (1985) Singer – Lata Mangeshkar, Nitin Mukesh, Shabbir Kumar, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal
Lata Mangeshkar + Nitin Mukesh
Lata Mangeshkar + Shabbir Kumar

Lyrics

(Part I)
hmmm mmmmm
hmmm mmmmmm
hmmm mmmmm
hmmm mmmmmm
hmmm mmmmm
hmmm mmmmmm
aa aa aaaaa
aa aa aaaaa
aa aa aaaaa
aa aa aaaaa
oo oo ooooo
oo oo ooooo
aaa aaaaa aaaaa
hmmmmmm mmmmm
hmmmmmm mmmmm

jeet jaayenge hum
oo ooo ooooo
jeet jaayenge hum
tu agar
sang hai ea ea ea
zindagi
har qadam
ik nayi
jung hai
zindagi
har qadam
ik nayi
jung hai
jeet jaayenge hum
jeet jaayenge hum
tu agar
sang hai ea ea ea
zindagi
har qadam
ik nayi
jung hai
zindagi
har qadam
ik nayi
jung hai

tu ne hi
sajaaye hain
mere honthon pe ye geet
tu ne hi
sajaaye hain
mere honthon pe ye geet
teri preet se mere
jeewan mein bikhra sangeet
mera sab kuchh teri dain hai
mere mann ke meet
main hoon ek tasveer
tu mera roop rang hai ea ea
zindagi 
har qadam
ik nayi 
jung hai
zindagi 
zindagi ee
har qadam
ik nayi 
jung hai

hausla na chhod
kar saamna jahaan ka
hausla na chhod
kar saamna jahaan ka
wo badal rahaa hai
dekh rang aasmaan ka
rang aasmaan ka
ye shikast ka nahin
ye fateh ka rang hai ea ea
zindagi
har qadam
ik nayi
jung hai
zindagi
har qadam
ik nayi
jung hai

roz kahaan dhoondenge
sooraj chaand sitaaron ko
aag lagaa kar hum roshan
kar lenge andhiyaaron ko
gham nahin jab talak
dil mein ye umang hai ea ea
zindagi
har qadam
ik nayi
jung hai
zindagi
har qadam
ik nayi
jung hai
jeet jaayenge hum
jeet jaayenge hum
tu agar
sang hai ea ea ea
zindagi
hmmmmm
har qadam
hmmmmm
ik nayi
hmmmmm
jung hai
hmmmmm
zindagi
hmmmmm
har qadam
hmmmmm
ik nayi
hmmmmm
jung hai

(Part II)
ooo ooooo
hmmmm mmmm mmmmm
hmmm mmmm mmm
oooo ooooo
jeet jaayenge hum
jeet jaayenge hum
tu agar
sang hai ea ea ea
zindagi
har qadam
ik nayi
jung hai
zindagi
har qadam
ik nayi
jung hai
jeet jaayenge hum
jeet jaayenge hum
tu agar
sang hai ea ea ea
zindagi
har qadam
ik nayi
jung hai
jeet jaayenge hum
jeet jaayenge hum
tu agar
sang hai ea ea ea
zindagi
har qadam
ik nayi
jung hai
zindagi
har qadam
ek nayi
jung hai

(Part III)
jeet jaayenge hum
jeet jaayenge hum
tu agar
sang hai ea ea ea
zindagi
har qadam
ik nayi
jung hai
zindagi
har qadam
ik nayi
jung hai

ik dooje se
ham donon ke
naam judey hain aise
ik dooje se
ham donon ke
naam judey hain aise
mast hawaaon mein ea
saaz judey hain aise
jaise main dor hoon
aur tu patang hai ea ea
zindagi
har qadam
ik nayi
jung hai
zindagi
zindagi
har qadam
har qadam
ik nayi
jung hai

aaaaa aaaaaaaa
oooo oooooo
aaaa aaaaaaa
ooooooo oooooooo
ooooooo

[Nutan speaks]

tu ne hi sajaaye hain
mere honthon pe ye geet
tu ne hi
tu ne hi sajaaye hain
mere honthon pe ye geet
tu ne hi sajaaye hain
mere honthon pe ye geet
teri preet se mere
jeewan mein bikhra sangeet
teri preet se mere
jeewan mein bikhra sangeet
mera sab kuchh teri dain hai
mere mann ke meet
mera sab kuchh teri dain hai
mere mann ke meet
main hoon ek tasveer
tu mera  aa
mera aa
mera aa
mera aa

[Anil Kapoor : gaao na maa]

main hoon ik tasveer
tu mera roop rang hai ea ea
zindagi
har qadam
ik nayi
jung hai
zindagi
zindagi
har qadam
har qadam
ik nayi
ik nayi
jung hai
zindagi
har qadam
ik nayi
jung hai
jeet jaayenge hum
jeet jaayenge hum
jeet jaayenge hum
jeet jaayenge hum
tu agar
tu agar
sang hai ea ea ea
zindagi
hmmmmm
har qadam
hmmmmm
ik nayi
hmmmmm
jung hai
hmmmmm
zindagi
hmmmmm
har qadam
hmmmmm
ik nayi
hmmmmm
jung hai
hmmmmm
zindagi
hmmmmm
har qadam
hmmmmm
ik nayi
hmmmmm
jung hai
hmmmmm
zindagi
hmmmmm
har qadam
hmmmmm
ik nayi
hmmmmm
jung hai


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

Blog Day :

4054 Post No. : 15186 Movie Count :

4172

Hullo To all in Atuldom

A very happy Janmashtami or Gokulashtami or Sri Krishna Jayanthi as it is called in the various parts of the country. It is celebrated with a lot of prasads, bhajans and jagrans (in some regions). Jagran means keeping awake. The thought behind this is that Lord Krishna was born in the dead of the night so the devotees keep vigil till that hour. As per mythology it was raining heavily at the time of the Lord’s birth and most of the country is having a good monsoon at this point.

The Srimad Bhagwat Puraan says- at birth the Lord was transported, hidden inside a basket by his father Vasudev, to the house of Nand in Gokul, across a swollen Yamuna. (As if in anticipation of the lord there is a flood alert along the banks of the river Yamuna this year.) The Lord grew up in the loving care of Nand and his wife Yashoda. His baal-leelas (playful pastimes as a child) are described in the 10th Canto of the Srimad Bhagwat Puraan. One of the acts described in great detail is ‘maakhan chori‘ – how the lord Loved to reach out to the pots of curds, milk and butter that used to be hung up in the kitchens of Gokul.

Today’s song shows the day 2 of the Janmashtami / Gokulashtami celebrations that is very common in western India. It is from the 1979 Rajkumar Kohli directed Sunil Dutt- Reena Roy- Bindiya Goswami- Shatrughan Sinha starrer ‘Muqaabla’. It has songs penned by Verma Malik with Laxmi-Pyare as the music directors.  Asha Bhonsle, Kishore Kumar, Anwar, Mahendra Kapoor and Mohd. Rafi are the playback singers used in the movie. The movie was a typical romantic, masaala movie where Sunil Dutt and Shatru play gang leaders. I vaguely remember having seen it, possibly on television, and by the time I discovered it half the movie was over.

But here is the gist as given on IMDB.com:

Sheru (Shatrughan Sinha) and Vicky (Sunil Dutt) are two gang leaders. After a series of complications and mishaps both realize that they will be better off being friends and helping the poor and needy. They also fall in love with two separate women, one of them is Lacho (Reena Roy). When these two turn good guys, the bad guy’s leader Banwanri (Ranjeet) gets angry and vengeful. Fortunately, our two heroes get support from a honest police inspector (Premnath). Then Sheru finds out that Lacho really loves Vicky and his son, this embittered them both against each other. And the two again resume their old rivalry and hatred for each other.

As I said earlier, Janmashtami celebrations continue on to the second day in many parts of India. There are street corner scenes where in pots of goodies along with dahi are tied high up. Groups of youngsters make an attempt at breaking the pots, by making human pyramids and emulating Krishna’s habit of breaking pots which were tied up in the kitchens of yore.

In my younger days (there, I let the cat out of the bag, that I am not so young now though I like to think that I am still a bachcha 🙂 ) we used to have dahi-handi in our apartment complex between the two wings of flats. They used to be tied at a height of 1st floor. We needed a pyramid of three tiers to reach the handi. It was a very simple joyful day. Then as time went by, as in other spheres of life, commercialization set in the dahi-handi festival began to be conducted with prize money attached to the ropes of dahi-handi. This has further grown to the extent that there is this chowk (crossroad intersection) in Thane where the competition is held and the whole road is out of bounds for traffic for the day. And groups of youth practice for months on end to make pyramids which have seven or eight layers. There are numerous cases of people falling and breaking their limbs.  Lately there are also all girl groups in the contest. It is telecast live on all Marathi TV channels and makes for good viewing.

Dahi-handi was made popular in Hindi cinema by Shammi Kapoor in ‘Bluffmaster’ (1965) – the original “Govinda Aala Re, Aala, Zara Matki Sambhaal Brijbaala“.  Various heroes have copied him in subsequent years. In today’s song, we have Shatrughan Sinha and Sunil Dutt have a go at the handi along with Manmohan (in red shirt) and others who are not clear in this video. (A few years back Sonakshi Sinha also had a Govinda song to her name). The song is written by Verma Malik and Laxmikant Pyarelal are the music directors. Mohd Rafi and Kishore Kumar are the playback singers.  I couldn’t stop my smile when I saw Sunil Dutt dancing. Don’t know who the dance master was who gave him steps that were uncharacteristic of Duttsaab. Then Dr. Shreeram Lagoo enters the scene as the advisor of peace and I was desperately trying to recognize the actor in the light brown shirt with a head band who was trying to raise bets on who will break the handi. The finale of the song is the whole pyramid collapsing when this actor pokes a pin into the feet of one of the govindas (that is what the boys in the pyramid are called)

Govinda Aala Re!!!!

Song – Teen Batti Waala, Ae Govinda Aala  (Muqaabla) (1979) Singer -Mohammed Rafi, Kishore Kumar, Lyrics – Verma Malik, MD – Laxmikant Pyaarelal
Chorus

Lyrics (Provided by Prakashchandra)

teen batti waala
ae govinda aala
ae teen batti waala
he govinda aala
govinda govinda govinda
he govinda govinda govinda
rassi pe latki mitti ki matki
matki mein maal masaala
govinda
govinda
govinda teen batti waala
dekho matki phodne aala re aala

he laal patti waala
govinda aala
he laal patti waala
he govinda aala
govinda govinda govinda
he govinda govinda govinda
oopar latak ke niche patak ke
loot lo maal masaala
govinda
govinda
govinda lal patti waala
apni sena ko lekar aala re aala

baandh kataare daal do ghera
is matki par haq hai mera
baandh kataare daal do ghera
is matki par haq hai mera
sar koi uthaaye
sar ko jhuka do
haath uthe to
haath uda do
haathon ke tote ud jaayenge
hum se jo pad gaya paala
govinda
govinda
govinda teen batti wala
dekho matki phodne aala re aala

naam mera duniya pehchaane
bachcha bachcha mujhko jaane
naam mera duniya pehchaane
bachcha bachcha mujhko jaane
kadam uthe to
duniya jhukti
chalti hawa mujhe dekh kar rukti
mere haath se bach kar jaaye
bach kar jaaye
jaaye koi kismat wala
govinda
govinda
govinda lal patti wala
apni sena ko lekar aala re aala

govinda aala re aala
govinda aala re aala
is matki ko hum lootenge
govinda aala re aala
dekhna phir kayi sar phootenge
govinda aala re aala
hai muqaabla hum cha tum cha
koi na aaye beech mein chamcha
dekhta hoon mai tera hausla
kar doonga main abhi faisla
teen batti to jalti rahegi
lal patti bhi to chamakti rahegi
teen batti to jalti rahegi
lal patti bhi toh chamakti rahegi

[dialogues]

govinda govinda govinda govinda
he ae ae ae
govinda govinda govinda govinda
he ae ae ae
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda
govinda govinda govinda


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 : 3982 Post No. : 15069

In some cases, it is the voice – some people will impress you, attract you with their voice. Girish Karnad’s voice has one of the most relaxing sound quality that I have heard. And his presence, his demeanor, his being in a scene, on screen or on stage, always had the same expression of comfort and relaxation as his voice. Seeing him, listening to him, one could never imagine if this person could be moved to a hasty or an impatient action.

He passed away, the day before. The news said that he was 82. I was surprised, it couldn’t be. Over the years since I had first seen him live in a drama in Delhi – almost a millennium ago, and then through films and media images, he always seemed to be the same, never changing, nor ageing. Be it the memories and images from the 60s, 70s, or even recent. He always appeared to be the same.

So when I read this one line in a media news item, I was very taken aback. Sure, I had not seen him active for the past few years, but the thought process probably had never projected far enough to make believe that he was past his 80th. In fact, as I reviewed his filmography in preparation for this article, I find that 5 of his upcoming films are slated for released through the rest of 2019.

Mid 1960s to 70s was an era for the theatre in India. One sees an upsurge in the quality of drama, the subject matter handling by the playwrights and the abilities of the dramatists. If it was Badal Sircar in Bangla (east), it was Vijay Tendulkar in Matathi (west); if it was Mohan Rakesh in Hindi (north), it was Girish Karnad in Kannada (south). These playwrights brought in some very incisive, some very timeless creations, that brought a completely fresh air, breaking new grounds in understanding the human psyche – how the humans interact, with each other and within themselves, how the social influences mould the individual behaviors, and in reverse, how the human expressions manipulate the social conduct. And together, how they shape the movement of history.

Girish K broke out a very crisp and a surprisingly innovative line of enquiry, with his very first play – ‘Yayati’. Most of the readers will be familiar with this episode from the epic, Mahabharat. Yayati is a king in the lineage of the Chandravansh, the lineage of Chandra, the Moon God. He is portrayed as an irresponsible king, consumed by his obsession with young age and the pleasures to be derived from it. He is afraid of getting old. His wife is Devyani, daughter of Rishi Shukracharya. Sharmishtha is the name of one of the ladies in waiting of Devyani. Actually a princess herself from another kingdom, Sharmishtha becomes a bounden server to Devyani due to certain events. As the events unfold furhter, Yayati has an extra marital affair with Sharmishtha, who bears three sons for him. Devyani too has three children, one daughter and two sons. Devyani complains to her father, who is the purohit (high priest) of the demon clan. Incensed by the behavior of his son-in-law, he curses him to a premature and a prolonged old age.

Yayati is shattered. He goes to Shukracharya, begs for forgiveness and removal of the curse. Shukracharaya tells him that his curse cannot be reversed, but it can be transferred to a person willing to take on such a curse. Yayati is overjoyed, but the joy is short-lived as he finds out that no one is ready to accept his curse. Finally, one of his sons, Puru, agrees to take on the curse of his father, wanting to bring peace to his father. Yayati enjoys another one thousand years of youth, donated by his son Puru.

This is a well known tale, and it has its own share of interpretations, analysis and philosophical discourse in literary critique over the ages. Girish K stepped in and asked a question that was never asked for many a millennia. What about Chitralekha?

It is not clear whether this character by this name exists in the annals of Mahabharat. Girish K is alluding to, and enquiring about Puru’s wife. A man goes ahead and takes on the curse of old age for a thousand years. There is name and fame, for this sacrifice. But no one ever asked, what about his wife? What happened to her life and her time, and whether and how did she endure this abnormally changed circumstance foisted upon her. With certain modifications to the original plot, Girish K is the first scholar to ask this question.

This play came about during Girish K’s journey to England by ship in 1960. The version of Mahabharat by C Rajagopalachari was published in 1951. This version of the epic influenced Girish K, and he went on to create two great plays based on themes from this epic. By his own account, ‘Yayati’ came so naturally to him, almost as if someone was dictating and he was just transcribing. The writing of this play was completed on this sea voyage of three weeks. He was traveling to London, having been awarded the Rhodes Scholarship at the Oxford University. During his stay and studies, he completed a triple MA, simultaneously in philosophy, politics and economics. The second play, that was born out of the influence of Mahabharat, sat in his mind for almost three decades, and then was born as ‘Fire and Rain’, which was staged first time in 1995.

His other most celebrated theatrical creation is another view into the history of India. Titled ‘Tuglaq’, this play took the theatre world, the audiences and the socio-political commentators by storm when it was first staged in 1966. In 1972, this play was enacted by the National School of Drama, directed by Ebrahim Elkazi, and presented on the ramparts of the Old Fort (Purana Qila) in Delhi. Using the ruins of the Old Fort as the backdrop, the play was enacted, to a very critical acclaim. Personally, that was my first introduction to Girish K. Quite enchanted by the theatre scene in Delhi, I have seen this enactment of the play while I still was in school.

The play covers the last 5 years of the reign of Mohammed Bin Tuglaq. The protagonist, is portrayed as having great ideas and a grand vision, but his reign was an abject failure. He started his rule with great ideals of a unified India, but his kingdom degenerated into anarchy. His proclamation to move his capital from Delhi to Daulatabad, resulted in a massive exodus that brought misery and sorrow to a huge population. This was seen by the commentators as an allegory to the Partition of the country in 1947, and mass movement of people from both sides of the border.

In his later discussions, Girish K has revealed that the play was not originally written with an intent to comment on the then current political scenario in the country. Writing about the commentary on his play, Girish K has stated – “I did not consciously write about the Nehru era, I am always flattered when people tell me that it was about the Nehru era and equally applies to development of politics since then. But, I think, that is a compliment that any playwright would be thrilled to get, but it was not intended to be a contemporary play about a contemporary situation.”

Girish K started his theatre career in Madras, with a drama group called the Madras Players. Starting with ‘Yayati’ we see the development of a multi-faceted career that has lasted for almost six decades – author, teacher, playwright, director, stage actor, film actor, director of FTII Pune, chairman of the Sangeet Natak Academy – there is so much in his career to write and tell about.

His association with the cinema begins with ‘Samskaara’ (1970) and ‘Vamsh Vriksh’ (1972), both in Kannada, and both well recognized and well awarded films. Girish K was also the co-director of ‘Vamsh Vriksh’. The storylines for both films are a very strong statement on the evolving nature of human relationships, as each individual passes through his or her own pleasures, travails, dreams and anguish. The stories tell of compelling human emotions that drive human beings, to behave in manners that are quite out of the ordinary expectations. In ‘Samskaara’, Praneshcharaya (role played by Girish K), a devout Brahmin, is so convinced of moksha being the ultimate goal of life, and being so focused to achieve it, marries an invalid, so he can remain a celibate all his life. His antithesis is life is Narayanappa, a Brahmin who has given up the traditions – he eats meat and lives with Chandri, a lady of lower standing in the society. As the events unfold, Narayanappa passes away. His final rites become a controversy – a non-Brahmin cannot perform his rites, and no Brahmin in the village is ready to perform the rites for one who has fallen from the tradition. In the midst of all this, Praneshcharya one night wakes up in the lap of Chandri. Unable to reconcile with his own actions, he leaves the village in despair. Chandri secretly performs the last rites of Narayanappa and leaves the village too. In the last scene, Praneshcharya is seen returning to the village. Did he confess and atone for his actions? – the question remains unanswered.

‘Vamsh Vriskh’ is a complex narrative of the progression in a family, the interrelationships, the hidden connects and the invisible knowns. The protagonist, Srinivasa Shrotri, goes through many a tribulation in life, and tries to keep his mental peace intact. Having lost or settled all his affairs, he finally renounces householder’s life to become a sanyaasi.

In 1974, Girish K appeared in a children’s film ‘Jaadu Ka Shankh’. Not much more information about this film is locatable.

In the next three years, we see Girish K in three films that are outstanding statements of the new-wave cinema. In 1975, we see him in ‘Nishaant’ as the timid but principled schoolmaster, whose wife is abducted by the brothers of the landlord. The film has a kind of idealist ending, with the schoolmaster fatally attacking the landlord during a religious celebration and the entire village rising up against the landlord and lynching him and his entire family. In 1976 came ‘Manthan’ – the story of the white revolution in India. Girish K has played the role of Dr Rao, a chemist assigned in the rural areas, to help villagers determine the quality of their milk and to help free them from the clutches of the milk contractors by establishing co-operative societies. In 1977, we see Girish K in ‘Swami’, assaying the role of Ghamshyam, an upright and principled eldest son in the family, after passing away of his father, handling the family matters and his own personal life very maturely and with wisdom, in the presence of a hostile step mother.

In the next four decades , Girish K has appeared in almost 100 films, in Hindi, Kannada, Telugu, Tamil, Malyalam and Assamese. I remember seeing him in ‘Man Pasand’ (1980), playing the role of Kashinath, a close friend of Pratap, the protagonist (role played by Dev Anand). Later, I have seen him in ‘Aasha’ (1980), ‘Ek Baar Chale Aao’ (1983), ‘Tarang’ (1984), till the waning interest in newer films kept me away. Ah yes, he was part of the dear ‘Malgudi Days’ series on the television, playing the role of Swami’s father. In his other directorial outings, he has directed ‘Godhuli’ (1977) and ‘Utsav’ (1984), films that have earned a lot of critical acclaim. He has also made a number of documentaries, like one on the Kannada poet DR Bendre (1972), ‘Kanaka-Purandara’ (English, 1988) on two medieval Bhakti poets of Karnataka, Kanaka Das and Purandara Das, and ‘The Lamp in the Niche’ (English, 1989) on Sufism and the Bhakti movement in India. Many of his films and documentaries have won several national and international awards.

Girish K’s accomplishment as an actor is simply his complete comfort with being the character he is playing. Watching him on the screen, one has this confidence that he knows all the ins and outs of the character he plays, and that in some incarnation he has lived that role himself. The authenticity of portrayal is simply magnificent.

In 1985, he appeared in the role of Pandit Shiv Shankar Shastri in the film ‘Sur Sangam’. The film, and his portrayal of the senior patriarchic exponent of classical music, are my all time favorite. I have written about this film in an earlier article with the song “Aaye Sur Ke Panchhi Aaye”. The film revolves around classical music and the story of Pt Shiv Shankar Shastri, one of the greatest living exponents of this art form. The story line brings in Tulsi (role played by Jayaprada), who is musically inclined and who reveres Shastri ji. The turn of events brings a certain unexplainable element – Tulsi is sexually assaulted, and the man responsible also throws down the portrait of Shastri ji. In a fit of violent anger, Tulsi slays the man with a shard of glass from broken portrait, runs off into the night, and boards a train departing from the local station. As destiny would have it, she barges into a first class coupe whose sole occupant is Shastri ji, who is traveling for participating in an out of town program. The two travel together, and return. Tulsi starts living in the same house as Shastri ji. He is a widower and has a girl child. Slowly, Tulsi becomes a part of the household. Being inclined for classical music, she also starts to practice while staying at Shastri ji’s home. One night, there is a special celebration at the temple of Lord Shiv. Shastri ji is to perform. Tulsi accompanies him, as usual. With the performance about to begin, Shastri ji motions Tulsi to pick up and play the taanpura in accompaniment. At this, all his participating disciples become incensed and leave the stage one by one. Tulsi rushes back home (and then leaves the household for good), the audience leaves and Shastri ji is the sole person left in the temple. In the absence of any accompaniment and musical support, he resolves to make his musical presentation regardless, to the Lord. And he presents this song, alone in a deserted temple, to Lord Shiv.

I picked this song specially, to highlight one aspect of Girish K’s artistic expressions, which was probably hidden until then. An accomplished performer, he has performed the dance steps as part of this song. Every review of the film at that time, commented on the dancer in Girish K. He revealed in an interview that he had taken on special dance training to prepare for this song. You can see the performance for yourself. It is no less than an accomplished and well trained dancer, presenting these steps in unison with the music.

This one song, in my humble opinion, is the best artistic performance that I have seen from Girish K. See the manner in which he starts his dialogue with the Lord. His singing, his facial expressions, his gestures and movements, all coalesce into a fluid expression of a conversation with Lord Shiv. No one else is present so this is a very private conversation, in which Shastri ji is telling the Lord to listen to His own sound coming from inside him. This entire clip is a one wonderful performance by Girish K that probably has not been surpassed.

It is a sad goodbye that we bid today. The person, the artist, and a scholar – it is truly a great loss to the cultural landscape of this sub continent that may never be made up.

One commentator has written about Girish K’s creations, that “. . . Girish Karnad allowed his characters to ask the questions, to struggle with the inconclusive, and hence his stories truly never ended.” Yes, that is the legacy of this multi-faceted artist – his creations, his stories, his characters – all still have a lot be explored for. That “struggle with the inconclusive” is so appropriate a passage dealing with the complex realities and relationships in the course of a human life. His stories have not really ended. And neither has his legacy.

Girish K – Rest in Peace. . . Enduring Peace

 

Song – Hey Shiv Shankar, Hey Karunakar  (Sur Sangam) (1985) Singer – Rajan-Sajan Misra, Lyrics – Vasant Dev, MD – Laxmikant Pyaarelal

Lyrics (Provided by Prakashchandra)

hey..ey..ey shiv shankar
hey..ey..ey karunakar
parmanand maheshwar

hey shiv shankar
hey karunakar
hey shiv shankar
hey karunakar
parmanand maheshwar
mere bheetar tum gaate ho
mere bheetar tum gaate ho
sun lo tum apna ye swar
hey shiv shankar
hey karunakar
parmanand maheshwar

maun gaan ka dhyaan jamaaya
maun gaan ka dhyaan jamaaya
yog raag ko hi maana
tum hi baney ho taan praan ki
tum hi baney ho taan praan ki
mere tan mann ko paawan kar
hey shiv shankar
hey karunakar
parmanand maheshwar

rudra been jhankar tumhaari
rudra been jhankar tumhaari
shudra janon se rahi ansuni
dhanya tumhi ho jaavo sureshwar
dhanya tumhi ho jaavo sureshwar
apne mukh se sun apna swar
hey shiv shankar
hey karunakar
parmanand maheshwar [

nabh chaaya ghan ghor bijuriya damke jhamke
adharon ki muskaan tumhaari cham cham chamke
aaaa aaaaa aaaaa aaaaaa aaaaaa
ghir ghir aaye megh bhayankar garaj garajte
goonja nupur naad tumhaara thirak thirkate
jhuk gaya matha ki tum ne haan kaha jis pal umapati
sheesh ki ganga dharaa par utar aayi chhal-chhalaati
ga ga re ni re ga ma
dha ni re ga re sa
geet ki har lehar par tum jhoom kar naacho nateshwar
aaj is anand varsha mein nahaao tum maheshwar
aaa aaaaaa aaaaaaj is anand varsha mein
nahaa..aavoo tum maheshwar
shiv shankar
maheshwar
shiv shankar
aaaa aaaaa aaaaaaa

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

हे॰॰ए॰॰ए शिव शंकर
हे॰॰ए॰॰ए करुणाकर
परमानन्द महेश्वर

हे शिव शंकर
हे करुणाकर
हे शिव शंकर
हे करुणाकर
परमानन्द महेश्वर
मेरे भीतर तुम गाते हो
मेरे भीतर तुम गाते हो
सुन लो तुम अपना ये स्वर
हे शिव शंकर
हे करुणाकर
परमानन्द महेश्वर

मौन गान का ध्यान जमाया
मौन गान का ध्यान जमाया
योग राग को ही माना
तुम ही बने हो तान प्राण की
तुम ही बने हो तान प्राण की
मेरे तन मन को पावन कर
हे शिव शंकर
हे करुणाकर
परमानन्द महेश्वर

रुद्र बीन झंकार तुम्हारी
रुद्र बीन झंकार तुम्हारी
शूद्र जनों से रही अनसुनी
धन्य तुम्हीं हो जावो सुरेश्वर
धन्य तुम्हीं हो जावो सुरेश्वर
अपने मुख से सुन अपना स्वर
हे शिव शंकर
हे करुणाकर
परमानन्द महेश्वर

घन छाया घनघोर बिजुरिया दमके झमके
अधरों की मुस्कान तुम्हारी चम चम चमके
आsss आssss आssss आsssss आsssss
घिर घिर आए मेघ भयंकर गरज गरजते
गूँजा नूपुर नाद तुम्हारा थिरक थिरकते
झुक गया माथा कि तुमने हाँ कहा जिस पल उमापति
शीश कि गंगा धरा पर उतार आई छल-छलाती
ग ग रे नि रे ग म
ध नि रे ग रे स
गीत की हर लहर पर तुम झूम कर नाचो नटेश्वर
आज इस आनंद वर्षा में नहाओ तुम महेश्वर
आ आ आ॰॰आज इस आनंद वर्षा में
नहा॰॰आवो तुम महेश्वर
शिव शंकर
महेश्वर
शिव शंकर
आsss आssss आssssss


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

Blog Day :

3963 Post No. : 15042 Movie Count :

4125

Hullo to all Atulwaale

‘Daaku Aur Jawaan’ was a 1978 release. It was directed by Sunil Dutt and starred Reena Roy, Leena Chandavarkar, Bindu, Sunil Dutt, Vinod Khanna, Ranjeet, Om Prakash, Anwar Hussain, Kanhaiyalal, Asrani, Padma Khanna, Tun Tun, Sundar etc. Its music composers were Laxmikant  Pyarelal and Anand Bakshi was the lyricist.

This is the story of the movie as given on Wikipedia-

Birju (Sunil Dutt) and Ramu (Vinod Khanna) are brothers and have a friendly bond with each other, They do a lot of pranks with the villagers, but the pressure of the landlord {Anwar Hussain) and the urban bad guy Bhairon Singh (Ranjeet) leads villagers to pay a fee for their lands to work on them. This leads Ramu to join the army as a Jawaan (Soldier). Bhairon Singh, with the help of Thakurain (Bindu) plans to frame Birju as a criminal on the night of Janamashtmi. Bhairon Singh brutally rapes Ganga (Reena Roy) and steals the entire wealth from the safe of her father. After getting raped by Bhairon Singh, Ganga commits suicide by jumping into the well. Bhairon Singh frames Birju for the rape and murder of Ganga and stealing the money. Birju is arrested by the police, but escapes and takes a pledge on Ganga’s funeral pyre that he will take revenge of her death and he turns into a Daaku (Dacoit). Ramu, in the war, is fighting against enemies, but gets back to his village after losing one leg. After a lot of turns and twists, Seeta (Leena Chandavarkar) finally reveals the truth that Bhairon Singh had raped Ganga and he has stolen all the wealth from her house with the help of Thakurain. When Birju comes to know about it, he beats Bhairon Singh in front of all the villagers and finally kills him by throwing him into the well where Ganga committed suicide. Now, Thakurain tries to kill Ramu, but Birju takes the bullet in his chest saving Ramu in the process. Thakurain is arrested by the police. Birju, finally breathing his last, requests Ramu to read the letter which was written by him. After listening to the letter from Ramu, Birju dies reuniting with Ganga in Heaven. In the end, Ramu marries Seeta and they lived happily ever after.

So that then seems to be a very normal Hindi film story where any reason is good enough for the hero to turn a ‘daaku‘. And I must say Sunil Dutt would have made an imposing daaku remembering him from all the daaku roles he had played starting from ‘Mother India’ (1957), – his first role as a daaku. Incidentally, in that films also, his role name is Birju. And to have Vinod Khanna play his brother would have been “a sight to soothe sore eyes”. Another of his earlier films in which he plays the role of daaku is ‘Mujhe Jeene Do’ in 1963.

Today on the death anniversaries of Laxmikant Shantaram Kudalkar (its 21 years today since his passing away) and Sunil Dutt (14 years today) let us have a song from this 1978 movie which will give us an idea of their talents at the height of their careers.

Also, with this post, the film ‘Daaku Aur Jawaan’ makes its debut on our blog.

 

Video

Audio

Song – Rakh Di Hai Beech Sadak Maine Gagariya  (Daaku Aur Jawaan) (1978) Singer – Asha Bhosle, Kishore Kumar, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal

Lyrics

ho rakh di hai. . .

ho rakh di hai beech sadak maine gagariya
tod sakey to tod saanwariya
rakh di hai
haan haan rakh di hai
beech sadak maine gagariya
tod sakey to tod saanwariya
rok li hai
haan haan rok li hai
dekh maine teri dagariya
daud sakey to daud gujariya
rok li hai dekh maine teri dagariya
daud sakey to daud gujariya
rakh di hai
han haan rok li hai

naina jhuka ke jara baat kar
nakhra na aurat jaat kar
naina jhuka ke jara baat kar
nakhra na aurat jaat kar
naajuk kalaai toot jaayegi
toot jaayegi
na jor mardon ke saath kar
na jor mardon ke saath kar
chheen li hai
haan haan
chheen li hai maine teri dhaani chunariya
odh sakey to odh gujariya
rakh di hai beech sadak maine gagariya
tod sakey to tod saanwariya
rakh di hai

do bol kya boley pyqar mein
oye oye oye oye oye
akad gaya tu to bazaar mein
o muaa
do bol kya boley pyqar mein
hey..y..y
akad gaya tu to bazaar mein
o koi teri bandhi main nahin hoon
rahiyo na is aitbaar mein
rahiyo na is aitbaar mein
tod di hai
haan haan
tod di hai maine teri prem rasariya
jod sakey to jod saanwariya
rok li hai dekh maine teri dagariya
daud sakey to daud gujariya
rok li hai
haan

pakdoon kamar se uchhaal doon
dum kham tere sab nikaal doon
pakdoon kamar se uchhaal doon
dum kham tere sab nikaal doon
ho jiya chaahe le jaaun uthaaye ke
ho tujhe nadiya ke paani mein daal doon
nadiya ke paani mein daal doon
thaam liya
haaye re thaam liya maine tujhe
ban ke baawariya
chhod sakey to chhod
saanwariya
rakh di hai
beech sadak maine gagariya
tod sakey to tod
saanwariya
rok li hai
dekh maine teri dagariya
daud sakey to daud
gujariya
rakh di hai
haan haan rok li hai

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

हो रख दी है॰ ॰ ॰

हो रख दी है बीच सड़क मैंने गगरिया
तोड़ सके तो तोड़ साँवरिया
रख दी है
हाँ हाँ रख दी है
बीच सड़क मैंने गगरिया
तोड़ सके तो तोड़ साँवरिया
रोक ली है
हाँ हाँ रोक ली है
देख मैंने तेरी डगरीया
दौड़ सके तो दौड़ गुजरिया
रोक ली है देख मैंने तेरी डगरीया
दौड़ सके तो दौड़ गुजरिया
रख दी है
हाँ हाँ रोक ली है

नैना झुका के जरा बात कर
नखरा ना औरत जात कर
नैना झुका के जरा बात कर
नखरा ना औरत जात कर
नाजुक कलाई टूट जाएगी
टूट जाएगी
ना ज़ोर मर्दों के साथ कर
ना ज़ोर मर्दों के साथ कर
छीन ली है
हाँ हाँ
छीन ली है मैंने तेरी धानी चुनरिया
ओढ़ सके तो ओढ़ गुजरिया
रख दी है बीच सड़क मैंने गगरिया
तोड़ सके तो तोड़ साँवरिया
रख दी है

दो बोल क्या बोले प्यार में
ओय ओय ओय ओय ओय ओय
अकड़ गया तू तो बाज़ार में
ओ मुआ
दो बोल क्या बोले प्यार में
हे॰॰ए॰॰ए
अकड़ गया तू तो बाज़ार में
ओ कोई तेरी बंधी मैं नहीं हूँ
रहियों ना इस एतबार में
रहियों ना इस एतबार में
तोड़ दी है
हाँ हाँ
तोड़ दी है मैंने तेरी प्रेम रसरिया
जोड़ सके तो जोड़ साँवरिया
रोक ली है देख मैंने तेरी डगरीया
दौड़ सके तो दौड़ गुजरिया
रोक ली है
हाँ

पकड़ूँ कमर से उछाल दूँ
दम खम मैं तेरे निकाल दूँ
पकड़ूँ कमर से उछाल दूँ
दम खम मैं तेरे निकाल दूँ
हो जिया चाहे ले जाऊँ उठाए के
हो तुझे नदिया के पानी में डाल दूँ
नदिया के पानी में डाल दूँ
थाम लिया
थाम लिया मैंने तुझे बन के बावरिया
छोड़ सके तो छोड़
साँवरिया
रोक ली है देख मैंने तेरी डगरीया
दौड़ सके तो दौड़
गुजरिया
रख दी है
हाँ हाँ रोक ली 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 :

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


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


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over ELEVEN years. This blog has more than 15500 song posts by now.

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

Important Announcement

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

Total number of songs posts discussed

15501

Number of movies covered in the blog

Movies with all their songs covered =1193
Total Number of movies covered =4270

Total visits so far

  • 13,229,520 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 4000 days.

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