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

Posts Tagged ‘Laxmikant Pyarelal


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 :

5773 Post No. : 18299

Yesterday 7th may 2024 was the third phase of General elections 2024 of India. I was looking forward to it for quite some time. The electoral process had started from march end itself and the process will go on till 4 June 2024. A very long drawn, a very elaborate, and at the same time a tedious and tiring process for all. Nevertheless, a very important process for India, and by that token, for the world, because it is the biggest polling exrcise evver undertaken in the history of mankind.

Under normal circumstances, polls should take place unnoticeably and be done with it. But that is hardly the case. It is a very loud, noisy, ugly process lasting nearly three months or so. Normal people, who do not apply their mind and are easily swayed by media, may be having a tough time whenever they read newspapers or switch on the TV. I, who consider myself as someone who applied my mind instead of blindly believing what I read or listen from others, have managed to keep by and large aloof from all this madness. I am eagerly waiting for all the seven phases of polling to get over and the results announced on 4 June 2024, so that we can all go back to our normal routines for the next five years.

I did not notice much poll related activities in Bhopal. That was because I do not watch TV, and secondly we do not get any newspapers. So the little I came to know about these activities was shrill campaigning on TV channels whenever my wife would open TV. On checking out news on my mobile, I was given to understand that voters are rather indifferent and voting percentages are down vis a vis 2019 elections. It was pointed out that a few parties do not have party workers to carry out election related activities. Other parties with resources have got complacent or disheartened, as the case may be, we were told. People are not even doing door to door canvassing this time, we were told.

After I settled down in Bhopal from July 2022, I first voted in local municipal election, and subsequently Assembly election. This time I was goping to vote in Parliamentary election. Every time, my centre is the same, namely St Xavier’s school, which is located nearly one km from my residence and is within walking distance. Based on past two elections, I knew that one gets a slip where polling details-viz centre, voter serial number, location of centre etc are mentioned. Typically one party or the other with resources would hand over these details at your household. This time I came to know that the election commission had taken this work on itself. But election commission failed to send slips to our locality. On friday, 3 may 2024, we did get our slips, alongwith pamphlet of a party that had the required resources and enthusiasm for the elections.

Out of the four slips for four voters of our household, only I and my wife were around to vote. The vote time was 7 AM to 6 PM. I suggested to my wife that we should go to vote early in the morning when there was less crowd at the polling station.

Next morning, we left for the polling booth at 7:30. I found that two couples from neighbouring houses were returning back after voting. So we were not really that early to the polling station. We found that there was a very long line of voters for our polling booth. That school had some half a dozen polling booths, each with a different number and serving different localities. Our polling booth had the longest queue. Perhaps the voters of our locality were the most enlightened !

There were separate queues for men and women. It took me about one hour to enter the polling booth room. My wife too entered at the same time. Inside the room, it did not take more than a couple of minutes. First one had to show the slip, and the staff would match the slip with his record and then cross the name on his list, indicating that the person had arrived to vote. Voter ID would be shown, and after that you would have to sign on a register, that would mean you have marked your attendance. Then a slip would be generated and given to you. The person ahead of you would go to the enclosure with EVM. A few seconds later a beep would be heard. The person would indicate that the vote was recorded. Then he would collect the slip from the next voter and ask him to go to the voting enclosure. The EVM voting is so easy these days. Just locate your desired symbol and press the button on its right. Look inside the small looking glass. This is VVPAT. It displays the symbol that you pressed. A few seconds later, beep sound is heard. Congratulations, your polling is done !

I and my wife left the booth at a few minutes apart. We arrived at the car, where I had kept my mobile (as carrying mobiles are not allowed inside polling booth). The time mentioned on the mobile was 8:36. So I guessd that I had voted at around 8:33 after standing in the queue for one hour.

We arrived back home a few minutes later.

I felt that I had accomplished an enormous task. I felt good and satisfied about it. The fact that our voting was over at about 8:30 meant we had defeated the sun and we were back at home by our breakfast time.

People feel tired after accomplishing a big task. I too felt tired. 🙂 It was a bit like how I feel when I fill up my IT return and it successfully gets submitted online. A few days later, IT department processes it I receive the message that my IT return has been accepted.

There is one difference though. IT return is filed every year. Voting takes place once in five year. If you add assembly election and municipality elections as well, then one needs to vote thrice in five years.

My case was unique. It was the very first time in my life that I had voted in a parliamentary election. Voting for a parliamentary election for the first time at an age of 60 plus ! It must be a strange kind of record. But that is not all. Though I had not voted in Parliamentary elections, I had figured in the parliament election process as a patrolling magistrate, as far back as in 1984 ! Imagine serving as an election official even before voting in the elections, seeing that I was not eligible for voting during the previous elections of 1980.

40 years ago was like a different era altogether, much different from what it is today. The Indian PM Mrs Indira Gandhi was assassinated by her own bodyguards in her official residence on 31 october 1984. Those were very difficult days for India as a nation.

I like my hostel mates in Jamalpur (Bihar) followed all these developments on the newly acquired colour TV in the hostel, just after a low power relay TV station was set up in Munger, the district HQ located 10 km from Jamalpur.
Elections were announced to be held late in december 1984 (in three phases). Nowadays people complain that elections are held in severe heat. That election, by contrast had taken place when winter season was in full swing in most parts of India, including the part where I was.

We needed to appear and pass external examinations that were held twice in an year- once in Summer, once in winter. Many of us (excluding some like me) were busy preparing for winter examinations. People like us laughed that they would be slogging hard while the rest of us would enjoy ourselves watching TV. Our happiness was wiped out from our faces when it turned out that those who did not have examinations would be sent to election duty.

So, we left for Munger. We had to serve as patrolling magistrates. Our job was to collect the election material, viz ballot boxes, ballot papers and other materials for the polling booths allotted to us. I was allotted three polling booths located in a village some 70 KM away. The district administration had seized all the vehicles they could seize and had kept them in a ground. These vehicles were to serve as the transport vehicles for the patrolling parties. Each patrolling party had one patrolling magistrate and he had four security personnel. My four security personnel were as young and raw as I was. They were trainee homeguard staff, and they were led by one trainee ASI.

In the briefing area, we all located our security personnel. Then we located the vehicle allotted to us. The vehicle allotted to us turned out to be a fully loaded truck. The truck was on its way to deliver its consignment when elections were declared and it, as well as other vehicles were “requisitioned” for election duty, along with its driver and cleaner. We collected our election materials, loaded them on the truck, got the directions to reach our destination and left. I, alongwith the ASI sat in drivers cabin whereas the sipaahis happily settled themselves over the roof of the driver’s cabin.

We had started in the afternoon. We were required to reach our destination by evening, when we had to go to the three allotted polling booths and hand over the polling material to them, so that they could prepare for the polling that was to start next morning.

When we arrived at the village, I found that the three polling stations were three village schools. These schools barely had any roof over them, and had just a few chairs and desks that were sufficient to hold the election. We handed over the election materials to the three polling booths, each located a few kilometers from the other. The polling booth staff had to stay in the polling booth etc at night. As for I and my staff, one building a few kilometers away was requisitioned in a nearby town. This building basically had a hall. Those were the days when Indians used to travel with their hold-all while travelling by train. I, as well as everyone else had brought their hold-alls, that contained razaai inside it, which was so important in that winter season. We laid out our hold-alls on the floor of the hall and slept, while the vehicles were kept outside in a ground. The security personnel and drivers fended for themselves.

Next day, as the polling began, I as patrolling magistrate was supposed to keep patrolling the three polling booths to ensure that polling was taking place peacefully.

While watching the polling process, I realised how actual polling takes place in Bihar and what is the role of administration. One realises that polling staff in the polling booth as well as the partoling party are outsiders who are working in interior places which are far away from towns and cities away from media glare. The voting these did not take as is shown on TV or movies. We also realised that the local administration, viz local police, worked according to the instructions of their bosses, viz ruling party at state level. We realised that no matter how much one tried, voting in interior areas was nothing but a case of peaceful booth capturing. The influential communities, in collusion with local police, would come to mutual understanding and they would “vote” certain number of votes on behalf of their community. Voters of weaker section (viz SC community voters) were not allowed to vote. Their quota of vote too was cast by the influential communities as agreed among themselves. They also made sure that the total number of votes cast by them was 89.9%. That was because polling above 90 % is considered suspicious and in that case repoll is ordered.

After the polling was over in the evening, all the polling materials, viz ballot boxes, unused polling material etc were collected by the patrolling magistrate and his team from the three booths. The polling booth staff requested that they too should be given lift to go out of the village. I let them, seeing that they, unlike the patrolling team were not provided with any vehicles.

We arrived back to district HQ at Munger where every team had to deposit all the polling materials. It was late at night when we deposited all the polling items and we were given our relieving letter.

When I checked up with fellow hostel mates, it turned out that I was not alone. Everyone had similar experiences. That made me feel better. We had gained first hand experience of how democratic institutions functioned in Bihar. Subsequently on TV, we heard knowledgeable poll related discussions by Prannoy Roy about vote swing, voter sentiments, voting trends etc. Those discussions were very convincing and erudite for armchair TV watchers, but those discussions failed to impress us.

By the way, state assembly elections took place a few months later in 1985. Same people who had served during Parliament elections were summoned again. Some of us backed out giving valid or not so reasons. Like for example, some South Indians gave the reason of language problem, which was a real problem for them. Personally understanding the “Bihari” language was no problem for me. I participated in the assembly election as well. This time my vehicle was a tractor ! Riding this tractor, with polling material and security staff on the trailer, we made such slow progress that we arrived at the polling booths just hours before the polling was to take place. On the positive side, this time I had a veteran police ASI, who had the necessary dabangai to ensure that polling malpractices were not allowed to take place in the polling booths. That made me feel much better.

So I had served as patrolling magistrate in one of the most important Parliamentary election in Indian history. 40 years later, I got to vote in a parliamentary election for the first time. These days voting takes place on EVM, which is a big improvement over ballot paper. Ballot paper voting was very expensive and very cumbersome. One voter typically took ten minutes to locate the desired symbol on a newspaper sized ballot paper, marked it, and then it had to be folded properly so that it could be shoved inside the ballot box. Booth capturers had expertise in “polling”. They could carry out 89.9% polling within a couple of hours, which was impossible if polling took place in a lawful manner, where typically unskilled and illiterate voters were made to vote.

Today, EVM has made it so easy. One can easily locate the desired symbol on the EVM. All one has to do is press the button adjacent to the symbol. One can see the symbol flashing in the VPAT box, and a beeping sound comes out, indicating that the voting in done. Voting takes a few seconds. It is standing in the queue and then showing up one’s documents for verification, and getting indelible ink on your finger that takes bulk of your time.

I hope that in future we will have the option of online voting as well, just as we can nowadays have the option of online banking and online commercial transactions. If financial transactions can take place online without glitch that I do not see any reason why online voting should not be implemented in future. That would be far more economical and convenient. Hopefully I will see online voting at least as an option in future elections.

Different people vote for different reasons. Likewise different people/ parties have different motives/ agendas while contesting the elections. It is the voters who have to decide what they consider is the suitable candidate for their vote.

On this occasion, here is a vote related song. This song is from “Aansoo Ban Gaye Phool”(1969). Kisore Kumar is the singer. Lyrics are pennede by Taj Bhopali. Music is composed by Laxmikant Pyarelal.

“Aansoo Ban Gaye Phool”(1969) was produced by S.M. Sagar and Anoop Kumar and directed by Satyen Bose for Anoop Kumar Productions. The movie had Ashok Kumar, Deb Mukherjee, Alka, Nirupa Roy, Raj Mehra, Anoop Kumar, Rakesh, with Helen and Pran. They were supported by Kumud Tripathi, Manik Dutt, Kumari Uma, Mughni Abbasi, Shekhar Purohit, Janki Das, Tarun Ghosh, Bazid Khan, Radhey Shyam, Gautam Mukherjee, Pardesi, Uma Dutt, Madhup Sharma, Prakash Misra, Behari, M.A. Latif, Vinod Sharma, Lalit Kapoor, Genius, Ramlal, Amrit Rana, Nadir, Deepak, Aziz Siddiqui, Habib etc in it.

Kisore Kumar is the singer. Lyrics are penned by Taj Bhopali. Music is composed by Laxmikant Pyarelal. This is one of those few songs where Kishore Kumar sings for his bhaanja (nephew) Deb Mukherjee. This is a song about a college election where Deb Mukherjee is seen heckling the candidate who is a product of nepotism, viz he is the son of the owner of the college.

This is the fifth and final song from “Aansoo Ban Gaye Phool”(1969). The movie thus joins the list of movies that have all their songs getting covered in the blog. The movie thus gets YIPPEED in the blog. The movie had made its debut in the blog on 8 may 2009. The movie gets yippeed on the same date fifteen years later on 8 may 2024 !

Audio

Video

Song-Election mein maalik ke ladke khade hain (Aansoo Ban Gaye Phool)(1969) Singer-Kishore Kumar, Lyrics-Taj Bhopali, MD-Laxmikant Pyarelal
Chorus
Unknown male voice 1
Unknown male voice 2

Lyrics

election mein maalik ke ladke khade hain
hahahaha
arre inhen kam na samjho
ye khud bhi bade hain
hahaha
haan
haan haan
inke siwa vote ka ka ka
haqdaar kaun hai
inse lade chunaav wo
gaddar kaun hai
jiyo raaja jiyo

ab chaahe kisi se pyaar karo
inko vote do
ab chaahe kisi se pyaar karo
inko vote do
waadon ka aitbaar karo
inko vote do
ab chaahe kisi se pyaar karo
inko vote do
ab chaahe kisi se pyaar karo
inko vote do
vote for
baap ka laal
arre vote for
baap ka laal

is shehar bhar mein jitne hain
akhbaar inke hain
daily dabba roz aamcha peela parcha
is shehar bhar mein jitne hain
akhbaar inke hain
kaale safed saikdon vyopaar inke hain
sab aspatal inke hain
beemar inke hain
parnaam laakh baar karo
inko vote do
waadon ka aitbaar karo
inko vote do
haan haan
ab chaahe kisi se pyaar karo
inko vote do

aise sapoot ab hain kahaan
apne desh mein
ek yahi pe hain

aise sapoot ab hain kahaan
apne desh mein
bhagwaan aa gaye hain
insaan ke bhes mein
chanda diya inhone
freedam ke case mein
sab inki jaijaikaar karo
inko vote do
waadon ka aitbaar karo
inko vote do
haan haan
ab chaahe kisi se pyaar karo
inko vote do

arre bolo re bappa dhingar bappa
de ghuma ke
ghuma ko
dhing phataafat dingdi popo
de ghuma ke
ghuma ke
hey
ghuma ke
hey
ghuma ke
hey

haay
haay haay
haay haay
haay
brmm
haay haay
haay haay

har cheez inki daas hai
har shai ghulaam hai
ajee chaandi ka joota inke paas hai
har cheez inki daas hai
har shai ghulaam hai
zinda inhin ke dam se
sharaafat ka naam hai
logon ke dil khareedna
bas inka kaam hai
arre kuchh to khayaal e yaar karo
inko vote do
waadon ka aitbaar karo
arre waadon waadon waadon ka
bhai pain pain
bhai bhai pain
waadon ka
aitbaar

waadon ka aitbaar karo
arre inko vote do
haan haan
ab chaahe kisi se pyaar karo
inko vote do

ho ho
ab chaahe kisi se pyaar karo
inko vote do

vote for
baap ka laal
baap ka laal
arre vote for
baap ka laal


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

Blog Day :

5750 Post No. : 18274 Movie Count :

4948

‘Maan Apmaan’ (1979) was produced and directed by N V Deshpande. The cast included Sanjeev Kumar, Kanan Kaushal, Sushma Shiromani, Usha Solanki, Gajanan Jagirdar, Dhumal. Mohan Choti, Ratnamala, Asit Sen, Jayshree T, Shammi, Vishwa Mehra, Neelam etc. As per IMDb, the film was in the making since 1968 with Sanjeev Kumar and Kanan Kaushal (who, at that time, were yet to established as successful actors). The film got delayed and at one time it was almost shelved. It was only when Sanjeev Kumar became a star and Kanan Kaushal came into limelight with her box office hit film, ‘Jai Santoshi Mata’ (1975), the film was revived, reshot and released in August 1979. The film was dubbed in Gujarati also.

The film’s lead actress, Kanan Kaushal (real name: Indumati Sheth) was born on March 21, 1939, in Baroda (now Vadodara). She belongs to Konkani speaking Gomantak Maratha Samaj, mainly concentrated in around Goa. Her interest in acting began during the school days but got a fillip during her college days when she started participating in plays during college’s cultural festivals. After completing MA in Economics and History, Indumati got involved in Marathi, Gujarati and Hindi theatres. In 1964, she got married to Shashikant Paigankar and became known as Indumati Paigankar. So, she started her filmy career after her marriage.

Indumati Paigankar came into limelight when she worked in a Hindi play, ‘Do Jahaan Ke Beech’ with Haribhai Jariwala (Sanjeev Kumar) and Leela Chitnis. Her acting in this play got attention from Hindi filmmakers. In 1964-65, she got roles in ‘Prahar’, ‘Asha Ke Deep’ and ‘Aakhri Din Pehli Raat’. Unfortunately, her first three Hindi films remained incomplete/shelved. During the making of ‘Aakhri Din Pehli Raat’ (shelved), the director, Kamal Amrohi suggested to change her name from Indumati Paigankar to Kanan Kaushal which she accepted. He also suggested the film’s hero, Haribhai Jariwala to change his name. So, he adopted his name to Sanjeev Kumar. Despite the film being shelve, both of them retained their new screen names for all their subsequent Hindi films. (Note: Kanan Kaushal’s profile of her early years is based on a Marathi write-up which appeared on maharashtranayak.in)

Kanan Kaushal’s first released Hindi film was ‘Sati Sulochana’ (1969) in which she was in a subsidiary role with Anita Guha and Premnath. Her first film in a lead role was ‘Maan Apmaan’ (1979) with Sanjeev Kumar, which started sometime in 1968. However, it got delayed for a long time. In ‘Pardesi’ (1970), Kanan Kaushal got a major role along with Mumtaz.

Kanan Kaushal had already worked in about a dozen Hindi films, mostly in supporting roles, but she had not established herself in terms of the the box office success. Then came the film ‘Jai Santoshi Mata’ (1975) in which Kanan Kaushal got a major role along with Anita Guha. This low budget film created an history in 1975 by becoming the second highest grossing film next to ‘Sholay’ (1975). As happens in Hindi films most of the time, Kanan Kaushal also got typed cast for mythological films. She did over a dozen films in this genre over the next 5 years in succession.

It is said that Kanan Kaushal after her successful role in ‘Jai Santoshi Mata’ (1975), got an image of a religious and a pious woman which she wanted to retain it. That made her to reject bold roles in Hindi films. Later on, when she shifted to doing character roles in the 1980s onwards, she was almost type-cast as a suffering wife/mother, more like Nirupa Roy type of roles. ‘Sanam Aap Ke Kaatir’ (1992) was her last Hindi film.

‘Ekati’ (1968) was Kanan Kaushal’s first Marathi film in which she paired with Kashinath Ghanekar. She worked in around 30 Marathi films under her original name, Indumati Paigankar. She also worked in about 16 Gujarati films and 4 Bhojpuri films in addition to about 40 Hindi films.

Kanan Kaushal retired from the films sometime in 1990s. Post retirement from films, she pursued her hobby as a Beautician. She has written and published two books in Marathi – ‘Roopsadhana’ (1994) and ‘Vadhucha Saajshrungar’. Her husband, Shashikant Paigankar passed away in 2001. They have one son and a daughter. The son, Parag Paigankar is an Executive Director in one of the well-known financial services companies in Mumbai. Her daughter is Meelan Samant.

The story of ‘Maan Apmaan’ (1979) is as under:

Thakur (Gajanan Jagirdar), a wealthy landlord, stays with his family consisting of his wife, Laxmi (Ratnamala), his two grown-up daughters – Parvati (Kanan Kaushal), Kamini (Neelam) and a son, Pratap (Mohan Chandola). Shankar (Sanjeev Kumar) is an orphan who has been brought up since his childhood by Thakur and also stays in the house. Thakur’s eldest daughter, Savitri (Usha Solanki) has already got married. Despite belonging to a wealthy family, Parvati is a simple, cultured and self-respected girl. Shankar is a simple man, and he is close to Parvati among other members of the family.

One day, Pratap sees both Shankar and Parvati outside a temple talking in an intimate manner and reports this to his mother, Laxmi. Paravati overhears their conversations and feels bad about Shankar getting a bad name for his closeness to her. She tells her mother that she would marry Shankar to remove any impression about him being in a scandalous relationship. Shankar is hesitant to marry her but Parvati persuades him for the marriage.

Thakur is dead against the marriage as it is not palatable to him as to how his daughter could marry a orphan who has no house to stay and no money to sustain. However, Parvati’s threat to commit suicide if her marriage with Shankar is denied, forces Thakur to agree for the marriage for which he offers financial assistance as well as allowing them to stay in the house. Both of them refuse the offer. After marriage, Shankar and Parvati leave the house to stay with Shankar’s friend, Ramdas (Asit Sen). However, due to unpleasant behaviour of Ramdas’s wife (Shammi), Shankar and Parvati leave the house and shift to his grandparent’s abandoned cottage in a different village. Shankar repairs the house and settles in the village.

Parvati gives birth to a baby boy. Thakur and his wife visit to see the child. However, after seeing them living in an abject poverty, they return home after Thakur insults them. After a few years, Shankar and Parvati receive an invitation to attend the marriage of her younger sister, Kamini. While Parvati’s mother is happy to see them after a long time, other members of the family give them a cold response. On the contrary, Savitri accuses Parvati of stealing her jewellery. A humiliated Shankar and Parvati return home with a vow never to visit them.

Years pass. Shankar and Paro receive an invitation to attend the marriage of her younger brother, Pratap. After humiliation during the marriage of her younger sister, Parvati and Shankar decide not to attend the marriage. Instead, she writes a letter to Pratap sending her best wishes for the marriage. However, her mother’s health deteriorates after the marriage as it was a shock for her that her daughter, Parvati could not attend the marriage. After few days, she passes away. After completion of the religious ceremonies, Thakur and his family members realise their mistakes of ill treatment to Shankar and Parvati. They all visit Shankar and Parvati’s house and reconcile with them.

The film had 3 songs written by Bharat Vyas which were set to music by Laxmikant-Pyarelal. I am presenting the first song, ‘ye geet kaun mere madhuban mein gaa rahaa’ to appear on the Blog. The song is rendered by Mohammed Rafi and Anuradha Paudwal. The song is picturised on Sanjeev Kumar and Kanan Kaushal reflecting their happiness over the news of becoming expectatant parents.

Video Clip:

Audio Clip:

Song-Ye geet kaun mere man madhuban mein gaa rahaa (Maan Apmaan)(1979) Singers-Anuradha Paudwal, Rafi, Lyrics-Bharat Vyas, MD-Laxmikant Pyarelal
Both

Lyrics

hmm hmm
hmm hmm hmm
hmm hmm hmm hmm hmm
hmm

aa aa aa aaa
aa aa aa aaa
aa aaaaa

ye geet kaun
mere mann madhuban mein gaa rahaa
ye geet kaun
mere mann madhuban mein gaa rahaa
mere soye praanon ko
meethhe meethhe sur se jagaa rahaa
ye geet kaun
mere mann madhuban mein gaa rahaa
ye geet kaun
mere soye praanon ko
meethhe meethhe sur se jagaa rahaa

ye geet kaun

raat ki belaa
main thhaa akelaa
chupke se ye kaun aayaa
raat ki belaa
main thhaa akelaa
chupke se ye kaun aayaa
door kabhi kyaa rah sakti hai
kaaya se apni chhaayaa
palkon mein jo basti hai
koi useykyun bulaa rahaa

ye geet kaun
mere mann madhuban mein gaa rahaa
ye geet kaun

bheegaa hai mausam
milte hain hum tum
bheegi hawaayen gaatee hain
bheegaa hai mausam
milte hain hum tum
bheegi hawaayen gaatee hain
pedon se lipti
komal lataayen
dekh hamen sharamaati hain
jaane ye kaisi khusbhoo udi
jo dil pe nashaa saa chhaa rahaa

ye geet kaun
mere mann madhuban mein gaa rahaa
ye geet kaun

deep mein jyoti
seep mein moti
teraa meraa mel yahi
deep mein jyoti
seep mein moti
teraa meraa mel yahi
saagar mein saritaa
lahron mein kavitaa
pyaar kaa paawan khel yahi
bhar ke apni baahon mein
mujhe koi jhoolaa jhulaa rahaa

ye geet kaun
mere mann madhuban mein gaa rahaa
mere soye praanon ko
meethhe meethhe sur se jagaa rahaa
ye geet kaun

ye geet kaun
hmm hmm
hmm hmm hmm
hmm hmm
hmm hmm hmm


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 :

5740 Post No. : 18262

“Mastaana” (1970) was produced by Premji and directed by A. Subba Rao for Suchitra films private limited. This movie had Mehmood, Padmini,Bharati, Vinod Khanna, Shyama, Rehman, Mukri, Leela Mishra, Manorama, Jayshree T., Ramesh Deo, wonder- child Bobby, Paro, Kamal Kapoor, Habib, Baby Guddi, RajKishore, Prabhat Kumar, Ram Avtaar, Shivraj, Narbada Shankar, Harbans darshan, M Arora, Salma etc in it.

“Mastaana” (1970) had seven songs in it. Three songs have been covered in the past.

Here is the fourth song from “Mastaana” (1970) to appear in the blog. This song is sung by Lata Mangeshkar. Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal.

The song is lip synced by an actress whom I am unable to identify who is trying to resist the advances of Ramesh Deo by trying to make him drunk, which was quite a standard situation in Hindi movies of those days.

I request our knowledgeable readers to help identify the actress inadvertently playing the desi daaru desi bar dancer in this song.


Song-Pee le pee le tu jee le(Mastaana)(1970) Singer-Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics

pee le pee le
pee le ae
pee le pee le
tu jee le
in nasheele nainon se bhi
thhodi pee le
rangeele baalma
zaalma jaaniyaa
pee le pee le
tu jee le
in nasheele nainon se bhi
thhodi pee le
rangeele baalma
zaalma jaaniyaa
pee le pee le
pee le

roop ka baadal baras raha hai
o o o
o o
roop ka baadal baras raha hai
tu kyun pyaasaa taras raha hai
poochh rahe hain
nain gulaabi
poochh rahe hain
nain gulaabi
poochh rahe hain
honthh raseele
pee le pee le
pee le
pee le pee le
tu jee le in nasheele nainon se bhi
thhodi pee le
rangeele baalma
zaalma jaaniyaa
pee le pee le
pee le

mann madira ka chhalkta pyaala
o o o
o o
mann madira ka chhalkta pyaala
preet ka preetam nasha niraala
dekh ye meri
chaal sharaabi
dekh ye meri
chaal sharaabi
dekh ye mere
nain kateele
pee le pee le
pee le
pee le pee le
tu jee le in nasheele nainon se bhi
thhodi pee le
rangeele baalma
zaalma jaaniyaa
pee le pee le
pee le


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 :

5728 Post No. : 18248

“Mere Laal”(1966) was produced by Jyotsna Sen and directed by Satyen Bose for S.S.Chitramandir (P) Ltd.

The movie had Dev Kumar, Indrani Mukherjee, Jagdev, Shekhar Purohit, Lalit Kapoor, Prakash Misra and Abhi Bhattacharya. They were supported by Jamal, Samson, Raj Kumar, Siddiq, Ghulam Sabir, Bhola, Master Anwar,
Madhuraj, Meenakshi, Juthikadevi, Darshan, Moolchand, Master Satyajit, Mahesh Kumar, Master Ratan, Bihari,Kedarnath Saigal, Harbans Darshan. M.Arora, Ratan Gaurang, Moolchand etc in it.

Story of the movie, as collected from internet and shared by Prakashchandra is

Badshah (Dev Kumar) is the most wanted dacoit in town. One day he goes to rob a house with his group, but the police comes to catch them. Badshah manages to flee and hides at an unknown place, where he finds a young girl kidnapped and tied with ropes. He rescues the girl. The girls name is Jamna (Indrani Mukherjee) and she is a street dancer. She stays with her alcoholic uncle. Jamna develops an immediate liking for Badshah, inspite of knowing his profession.

One day Badshah sees one of his enemies and he chases him. He follows him in a little boat in the Ganges. But the boat drowns in the flood. Badshah escapes safe through the flood and finds a little boy crying at the shore. The little boy was trapped in the flood and actually belonged to a married couple of the village. Badshah does not feel like leaving the kid alone. He takes the child with him. He goes to Jamna to give her the child so that she can take care of him. But she refuses, thinking that the child is Badshah’s son.

Badshah takes the responsibility of the child and names him “Bacchu”. He gets very attached to Bachhu, also leaves his profession and eventually turns into a good man. On the other hand Bachhu’s real mother, Madhu (Mala Sinha) is devastated to have lost her only child. Badshah starts earning his bread and butter by singing and dancing on the streets.

Ten years pass by. One day Badshah falls sick and Bachchu goes to sing alone, where he meets his real mother Madhu . Madhu and her husband recognize Bachhu by his locket. They go to Badshah to seek permission for taking Bachhu along with them. Badshah with initial hesitation lets them take their child, so that Bachhu can get a better home and education. Bachhu goes with his real parents. But Badshah and Bachhu both are really sad to have got separated. Badshah falls sick and his condition becomes critical. Bachhu flees from his home to meet Badshah. But by that time Badshah has died.

“Mere Laal”(1966) had eight songs in it. Seven songs have been covered in the blog.

Here are the details of the songs covered so far:-

SNo in Blog Song Title Singer/s Lyrics Posted On Remarks
1234 Meri patli kamar lambe baal re Lata Mangeshkar Majrooh Sultanpuri 7 May 2009
1242 Paayal ki jhankaar raste raste Lata Mangeshkar Majrooh Sultanpuri 8 May 2009
8362 Agar padho likhoge babu raja banoge Lata Mangeshkar Majrooh Sultanpuri 17 July 2013 Lyrics by Khyati Bhatt jee
13626 Jab tak ye sansaar nachaaye Multiple version song Mukesh, Usha Mangeshkar Majrooh Sultanpuri 1 October 2017 Post by Sudhir Jee , Multiple version song. One thousandth song of Majrooh Sultanpuri in the blog as lyricist
14882 Baadal roya naina roye Lata Mangeshkar Majrooh Sultanpuri 16 February 2019
18204 Laal tera jug jug jiye maataa Lata Mangeshkar Majrooh Sultanpuri 12 February 2024 Lyrics by Prakashchandra

One can observe that The movie had as many as five Lata Mangeshkar solo songs in it. One song had voices of Mukesh and Usha Mangeshkar.

One final song from the movie remains to be covered in the blog. This song is sung by Hemant Kumar. This brief song is picturised as a background song. Majrooh Sultanpuri is the lyricist. Music is composed by Laxmikant Pyarelal.

Lyrics of the song were sent to me by Prakashchandra.

With this song, all the songs of “Mere Laal”(1966) get covered in the movie. The movie thus joins the list of movies that have been YIPPEED in the blog.

Video


Audio

Song-Bhor bhayee uthh jaag re bande (Mere Laal)(1966) Singer-Hemant Kumar, Lyrics-Majrooh Sultanpuri, MD-Laxmikant Pyarelal

Lyrics(Provided by Prakashchandra)

bhor bhayee
bhor bhayee
uthh jaag rey bandey ae ae
rain gayee ee ab sonaa kyaa rey ae
samay chook phir pachhtaawegaa aa aa
samay chook phir pachhtaawegaa
aisaa avsar kab aawegaa aaa
jhilmil jyot jharey aey ambar se
tu andhee..ee sapnon mein aen tarsey
ye ujiyaaree ang lagaa ley
jeevan mein phir ronaa kyaa rey
bhor bhayee ee ee ee
bhor bhayee uthh jaag rey bandey aey ae
rain gayee ab sonaa kyaa rey ae
bhor bhayee


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 :

5722 Post No. : 18242 Movie Count :

4944

Hullo Atuldom

Heard a song this morning after almost 45-46 years.

It was from “Amar Shakti”(1978) which was produced by A.K.Nadiadwala & directed by Harmesh Malhotra. It had Sulakshana Pandit, Shashi Kapoor, Shatrughan Sinha leading the cast with Pradeep Kumar, Jeevan, Om Shivpuri, Ranjeet, Roopesh Kumar, Indrani Mukherjee, Alka, Murad, Birbal, B.M. Vyas etc. playing supporting characters.

Manjula who was from South India; active in Malayalam, Tamil, Telugu, Kannada films, played a banjaran character in the film. She was seen in a few Hindi films of the late 1970s.

The songs of “Amar Shakti” were written by Anand Bakshi & composed by Laxmikant – Pyarelal. Asha Bhonsle, Sulakshana Pandit, Chandrani Mukherjee, with Kishore Kumar & Mohd. Rafi being the male singers.

The story of the film was of the typical “lost and found” story, where there is also a royal family involved. Since it was the story of royals, inheritance etc there has to be a scheming Diwan & a sulking brother of the King- Jeevan & Pradeep Kumar played these characters. There is a Maharaj (Murad) who becomes ill on hearing of the assassination of his Yuvraj & his wife. The Maharaj is also poisoned to death, but somehow the young Rajkumars (sons of the Yuvraj I think) escape or are saved. They come back as grownups to regain their lost titles etc. Along the way, there are the usual twists & turns, where the brothers are unaware of the relation between them (to start with). Then one brother is in love with the traitor’s (who is the current Maharaj) daughter & is also the Senapati of the land. This naturally puts the brothers on opposite sides of the law, before they discover their identities & unite before the HAPPY ENDING. Very typical!!!!

Today’s song happens after the brothers have found each other. They are celebrating in the ‘kabeela’ which had given shelter to one of the brothers & the palace nanny (Indrani Mukherjee). The princess (Sulakshana Pandit) also joins the dance routine. The lady in the red costume is Manjula.

With this song we also remember the super sweet, cute, handsome, Shashi kapoor on what would have been his 86th birthday. He had worked in 4 films as child star (from 1948-53) before making his debut as an adult in ‘Dharmputra’ that released in 1961. He was about 23 then, but already married to Jennifer Kendall. It was ‘Jab Jab Phool Khile’ (1965) opposite Nanda that helped him find a place among popular actors of the 1970s & much of the 1980s.

He had acted in around 160 films before he took retirement from films sometime in late 1990s. He had acted in 12 English & 148 Hindi films – solo hero films were 61 & 53 were in multi-starrers. He was seen playing supporting characters roles in 21 films (has played father to Govinda, I remember). “Ghar Bazar” which released in 1999 was Shashi Kapoor’s last film, his was a special appearance in the film which released 10 years after it was completed.

Here is the song that shows the handsome Shashi Kapoor who was a good actor but an average dancer. Kudos to the choreographer for giving the heroes horses in the middle of the song and making things easy for them.


Song-Sabko pata hai ye sabko khabar hai (Amar Shakti)(1978) Singers-Kishore Kumar, Rafi, Chandrani Mukherjee, Anuradha Paudwal, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Kishore Kumar + Rafi
Male chorus
Female chorus
All chorus
Kishore Kumar+Rafi+ Chandrani Mukherjee + Anuradha Paudwal

Lyrics

hey ae

Aa hey ae
sabko pata hai
yeh sabko khabar hai
sabko pata hai
yeh sabko khabar hai
amar hai shakti
shakti amar hai
amar hai shakti
shakti amar hai

phir kaahe ka dar hai ae ae ae
sabko pata hai
yeh sabko khabar hai
amar hai shakti
shakti amar hai

tu meri jaan hai
tu mera jigar jaane jigar
sabko pata hai yeh sabko khabar hai
sabko pata hai yeh sabko khabar hai

amar hai shakti
shakti amar hai

amar hai shakti
shakti amar hai

parbat uthhaa loon jo tu saath de
tu saath de
jo tu saath de
laa mere haathhon mein tu haath de
tu haath de
tu haath de

ho o o
bachpan mein toh saath khele nahin
khelenge abb hum akele nahin
abb saath apna zindagi bhar hai ae
maa ki duaaon mein
maa ki duaaon mein kitna asar hai
amar hai shakti
shakti amar hai

amar hai shakti
shakti amar hai

humko kisi ki nazar na lage
nazar na lage
nazar na lage

mujh par lage
tum par na lage
tum par na lage
tum par na lage
ho o o o
kyun apne dushman saare banen

chhoote mehal banjaare banen
gham na kar
hamaari lambi umar hai
mehlon se bhi oonchaa
mehlon se bhi oonchaa aaj yeh sar hai

amar hai shakti
shakti amar hai

amar hai shakti
shakti amar hai

aa aa aa aa aa aa aa
aa aa aa aa aa aa aa

kismat se tu mehmaan hai
mehmaan hai
mehmaan hai
hum pe bada tera ehsaan hai
ehsaan hai
ehsaan hai

o o o o
mujhko bhi tum apne kaabil karo
apnon mein mujhko bhi shaamil karo
yeh zindagaani ek safar hai
meree tumhaaree
meri tumhaari ek dagar hai

amar hai shakti
shakti amar hai

amar hai shakti
shakti amar hai

aa hey
sabko pata hai
yeh sabko khabar hai
sabko pata hai
yeh sabko khabar hai

amar hai shakti
shakti amar hai

amar hai shakti
shakti amar hai


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

Blog Day :

5714 Post No. : 18233

‘Duniya Kaa Mela’ (1974) was produced by G M Roshan under the banner of Pearl Pictures and was directed by Kundan Kumar. Sanjay Khan and Rekha were in the lead roles supported by Rehman, Bindu, Ranjeet, Mehmood, Jeevan, Purnima, Sundar, Jagdish Raj, Rajan Kapoor, Bhagwan Sinha, Narbada Shankar, Brahmachari etc. Ajit, Asrani and Mukri made the guest appearances in the film.

As per filmfare.com, the film was originally titled ‘Apna Paraaya’ with Amitabh Bachchan and Rekha in the lead roles. The first scheduled of shooting was started some time in 1972, after which Amitabh Bachchan was replaced due to his poor track record on the box office front. The fresh shooting of the film was started with Sanjay Khan replacing Amitabh Bachchan under the new title, ‘Duniya Kaa Mela’.

According to an article in rediff.com, Amitabh Bachchan had villanous roles in ‘Parwaana’ (1972) and ‘Gehri Chaal’ (1973). Distributors suggested to the director, Kundan Kumar to replace Amitabh Bachchan from the lead role, but he did not agree with them. It was only when the distributors saw the rushes of the first schedule of the film’s shooting, they insisted that Amitabh Bachchan be replaced failing which they will back out of the film. So, Amitabh Bachchan was perforce replaced by the then saleable actor, Sanjay Khan.

But the destiny played differently for both the actors. By the time, ‘Duniya Kaa Mela’ (1974) was ready for release, Sanjay Khan’s career was on the decline. The film failed miserably on the box office front. On the other hand, ‘Zanjeer’ (1973) pushed up the career graph of Amitabh Bachchan. It took another 4 years for Amitabh Bachchan and Rekha to act together in lead roles in ‘Do Anjaane’ (1976).

The story of ‘Duniya Kaa Mela’ (1974) follows the success formula of many films – separation of siblings or sweet-hearts during some mass gatherings like Kumbh Mela or due to some other circumstances. it is called ‘lost and found’ genre of Hindi films. After a lot of action and emotional dramas with coincidences, the separated ones get united with happy endings. The gist of the story of the film is as under:

Judge Jamuna Prasad (Rehman) and his wife Shantidevi (Purnima) with their son, Shyam (Raju Shrestha) and daughter, Shyama (Baby Shanoo) visit Kumbh Mela. Badri Prasad (Mehmood), a drama troop owner also visits Kumbh Mela with his son, Munna (Master Bittoo) for his dance programme. Suddenly, Kumbh Mela venue is hit by a storm creating a stamped maont the huge crowds. In the melee, Jamuna Prasad’s son and daughter and Badri Prasad’s son get lost. Both of them fail to find their lost children. Shantidevi loses her mental balance. Doctor tells Jamuna Prasad that if their children are not found, Shantidevi may lose her life.

Judge’s servant finds Munna and so is Badri Prasad’s servant finds Shyama. Both decides to adopt them with Munna becoming Shyam for Shantidevi while Badri Prasad retaining Shyama as his daughter. Jamuna Prasad’s son, Shyam is picked by Jaggu (Bhagwan Sinha) who runs a pickpocket gang. Both the children grow up as Shyam (Sanjay Khan) and Shyama (Rekha). Shyam completes his college and Shayma learns dancing and becomes a dancer in Badri Prasad’s drama troops. For better prospects, the drama troop shift to Mumbai. Shyam grows up as Raja (Ranjeet) who does not want to become a pick pocketer. He is aiming for something better for which he shifts to Mumbai. So, all the three lost children in the Kumbh Mela are in Mumbai as grown-up persons.

For his first dance show in Mumbai, Badri Prasad request Judge, Jamuna Prasad to attend the show with his family. Shyam (earlier Munna) is impressed with Shyama’s dance performance. They meet quite often and falls in love after Shyama’s initial reservation about Shyam who is actually Munna. However, Jamuna Prasad is deadly against Shyam meeting Shyama as she belongs to a dancing profession which is below his status in the society.

In the meanwhile, Rai (Ajit) comes to know the real identities of Shyam, Shyama and Munna through the link from Jaggu and the childhood photos from Jamuna Prasad. With the intension of settling a score with Jamuna Prasad who had sentenced Rai’s son to life imprisonment for killing his fiancée, Rai plans to kidnap both Shyam and Shyama to extract a big amount from Jamuna Prasad. However, with the help of Shyam (Munna) and Badri Prasad and Jaggu’s men, Shyam and Shyama are released, and Rai is handed over to the police. Film ends with Jamuna Prasad and Badri Prasad hugging their real sons, Shyam and Shyam (Munna) who gets Shyama back.

I had gone through the story in nutshell, of some of the popular films based on the ‘lost and found’ formula which were released during 1940s to 1970s. I was surprised to note that the story of ‘Duniya Kaa Mela’ (1974) almost matched with that of Mehboob Khan’s ‘Taqdeer’ (1943). Even the names of the main characters in ‘Taqdeer’ (1943) were repeated in ‘Duniya Kaa Mela’ (1974). Chandramohan’s role was replicated by Rehman as Judge Jamuna Prasad. Charlie’s role was replicated by Mehmood as Badri Prasad. Sanjay Khan replicated Motilal’s role and Rekha did Nargis’s role as Shyama. Just to make the story different, in Taqdeer’ (1943), Judge Jamuna Prasad had only his daughter lost in the Kumbh Mela as against a daughter and a son in ‘Duniya Kaa Mela’ (1974) which led to a sub-story Jaggu’s pickpocket gang.

“The film had 5 songs written by Anand Bakshi and set to music by Laxmikant-Pyarelal. Two songs have been covered on the Blog. I am presenting the third song from the film, ‘koi ajnabi saa wo insaan thhaa’ rendered by Lata Mangeshkar. The song is picturised on Rekha. Sanjay Khan and Mehmood can also be seen in the picturisation.

Video Clip:

Audio Clip:

Song-Koi ajnabi sa wo insaan thha (Duniya Ka Mela)(1974) Singer-Lata, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics (based on video clip):

koi ajnabi ee saa
wo insaan thhaa
mere dil mein
kal raat
mehmaan thhaa
badaa bewafaa thhaa
beimaan thhaa
mohabbat ki mujhko sazaa de gayaa
mohabbat ki mujhko sazaa de gayaa
kisi aur kaa wo zaalim pataa de gayaa
dagaa de gayaa
meraa yaar karke pyaar
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun
mohabbat ki mujhko sazaa de gayaa
kisi aur kaa wo zaalim pataa de gayaa
dagaa de gayaa
meraa yaar karke pyaar
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun

baaton baaton mein
chaandni raaton mein
chhand mulaa aa aakaaton mein
mere dil pe nazar ki chhuri chal gayi
mere dil pe nazar ki chhuri chal gayi
main to iss aag mein
jal gayi
jal gayi
main to iss aag mein
jal gayi
jal gayi
main tadapti rahoon baddua de gayaa
dil ke sholon ko aakar hawaa de gayaa
dagaa de gayaa
mera yaar karke pyaar
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun

aane jaane mein aise zamaane
mein mausam suhaane mein
main to masti mein thhee
khaak main jaanti
main to masti mein thhee
khaak main jaanti
hosh hotaa to hargiz naa main maanti
hosh hotaa to hargiz naa main maanti
jaane kyaa le gayaa aur kyaa de gayaa
dard wo de gayaa yaa dawaa de gayaa
dagaa de gayaa
meraa yaar karke pyaar
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun
mohabbat ki mujhko sazaa de gayaa
kisi aur kaa wo zaalim pataa de gayaa
dagaa de gayaa
meraa yaar karke pyaar
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun
kahaan dhoondhoon kahaan jaaun


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

Blog Day :

5696 Post No. : 18214 Movie Count :

4890

‘Bhairavi’ (1996) was produced by Mahesh Bhatt and Amit Khanna under the banner of Plus Films and it was directed by Arunaraje Patil. The cast included Ashwini Bhave and Sridhar in lead roles, supported by Manohar Singh, Anjana Mumtaz, Sulabha Deshpande, Dilip Raj, Umashri etc. It was a musical off-beat film which had a limited theatrical release as it was targeted at the niche audience. The film’s shooting was completed in 45 days and was majorly shot around Mysore.

The film’s lead actor, Sridhar is a well-known Kannada film actor with many awards to his credit. He has also acted in Tamil, Telugu and Malayalam films. ‘Bhairavi’ (1996) was his only Hindi film so far. Sridhar is also a trained Bharatanatyam dancer. He has performed at many dance shows with his wife, Anuradha Sridhar. He was also one of the choreographers for the this film.

The director of the film, Arunaraje Patil is an award-winning producer, director, writer and editor who is the alumni of the Film and Television Institute of India (FTII). She passed out in 1969 with a gold medal. She was the first woman film technician to pass from FTII and the first trained woman technician of the Hindi film industry. Recently, I have read her 238-page autobiography, ‘Freedom – My Story’ (2017) written by her which is a journey of her life. Most of her personal as well as professional journey discussed below is based on her autobiography.

Arunaraje Patil was born on October 17, 1946, in Pune. Her mother, Puttamma Patil was from royal family who stood for women empowerment. Her father, K F Patil was a freedom-fighter from Ranebennuru in Dharwad district (now in Haveri district). He was a member of Forward Block of Netaji Subhash Chandra Bose. Later, he became the member of the Indian National Congress. The family shifted to Pune when her father was inprisoned in Yerwada Jail in Pune during 1942-46. He was disillusioned with the political system post-indepedence India despite holding ministrial posts both in then Bombay State and later in Karnataka. He turned Gandhian and lived an austere life serving for the upliftment of Harijans and for girls’ education in his village.

Arunaraje excelled in inter-collegiate plays and won awards for acting. A brilliant student in her school and college, Arunaraje was coerced into studying medicine and got admission in Grant Medical College, Mumbai. However, in the first year, she failed in Anatomy subject. It was a shocking news for her mother, who finally realised her interest in filmy career. So, she allowed her daughter to apply to FTII. In the interview, she got rejected for the Acting Course but was offered double diploma course in Direction and Editing which she accepted. In 1969, she completed her Diploma course in Direction and Editing with a gold medal. In FTII, she met Vikas Desai, nephew of music director, Vasant Desai (Vikas Desai’s father, Motiram Desai was a cousin of Vasant Desai) who was one year senior to her in FTII. Arunaraje fell in love with him in FTII. They got married just before her graduation ceremony in FTII.

‘Vamsha Vriksha’ (1971), a Kannada film was Arunaraje’s first feature film assignment as an editor as film’s directors, Girish Karnad and B V Karanth had watched her calibre in FTII. However, they were for a shock when she reached the editing room in a wheelchair with a masked on her face, having met with a major accident that resulted in her legs getting fractured and injuries over her face and nose. During the film’s editing work, she worked, ate and slept in the editing room as she was not in a position to climb on the staircase. She kept her commitment to the film’s directors despite her adverse physical conditions. She won Karnataka State Film Award for the Best Editor for the film.

Arunaraje and Vikas Desai were the first husband-wife director duo (named as Aruna-Vikas) in Hindi films, their first film being ‘Shaque’ (1976). Thereafter, the duo directed two more Hindi films, ‘Gehraayee’ (1980) and ‘Situm’ (1982). They also jointly edited Shekhar Kapoor’s ‘Maasoom’ (1983) and T S Ranga’s ‘Giddh’ (1984).

When Aruna-Vikas as director and editor duo were doing fine in their career, tragedy struck to Arunaraje. Gaagi, their elder daughter of 7 years was diagnosed with blood cancer. They tried their best to get her recover from the cancer but in vein. After two years of suffering, in 1983, Gaagi passed away one morning. There was another tragedy waiting for Arunaraje. The very next day of their daughter’s death, Vikas Desai, her husband of her two children shocked her by asking for divorce from her to marry one of Aruna’s closest friends. Apparently, her husband was having an affair with her closest friend even during the illness of her daughter. [Arunaraje’s closest friend whom her ex-husband finally married was Tejashree, daughter of V Shantaram and the sister of Rajshree]. Within 24 hours, Arunaraje had lost her daughter, her husband, and her closest friend. She tried to commit suicide but could not do so as she had a little boy, Hith to take care of. She suffered from acute depression and had to take a psychiatric’s help.

After recovering from the depression, she decided to divert her mind by engaging herself in what she had been trained to do, that is, filmmaking. She set up her film production company, ‘Gaahimedia’ and planned to make a bold woman-oriented film, ‘Rihaaee’ (1988) with her close friend, Smita Patil as a protagonist in the film. The tragedy struck to Arunaraje once again when Smita Patil passed away in 1986. This resulted in the relapse of her depression. She almost shelved the film. But wiser counsel prevailed on her when her friends pointed out that she had taken loan from NFDC which will lapse. So, she restarted the project with Hema Malini.

She continued to make feature films in Hindi and Marathi which included ‘Bhairavi’ (1996), ‘Tum’ (2004), ‘Firebrand’ (2019, Marathi) etc. All of her films have strong women-oriented themes. She has also made advertising films, documentaries and TV Serials. She is the visiting lecturer in FTII and worked full time as the head of Direction in Subhash Ghai’s Whistling Woods International Film School teaching the subjects of Screenplay writing, Direction, Editing and Production. In 2020, she started her own film school, ‘Shift Focus – A School for Cinema and Life’. Presently, she had retired from her filmy career and taken up the assignment in the US-based Landmark Worldwide as a Forum Leader for India.

The gist of the story of ‘Bhairavi’ (1996) is as under:

Govind (Manohar Singh), his wife, Radha (Anjana Mumtaz) lives in a village with their daughter, Ragini (Ashwini Bhave) who is a visually impaired. Govind is a singer and also runs music classes for a living. Radha is worried as to how to get Ragini married because of her disability. With this kind of the tension, her health starts deteriorating and she dies of stroke. Govind, while travelling to another town for discussing with prospective groom for Ragini, he meets with an accident and dies. Now Ragini is living alone and her maternal aunt (Sulabha Deshpande) who is her neighbour, takes care of her. Her father has left her with house, jewelleries and some bank deposits for her sustenance.

Ragini has been trained by her father to be a singer and is also well-versed in household work. She starts teaching music to village children. During one of her singing lesson, Rajan Swamy (Sridhar) meets Ragini and introduces himself as a former student of her father who is now employed. They often meet and eventually fall in love. Soon they get married.

Post marriage, Ragini feels blessed as Rajan is very cooperative, taking care of her personal needs. She feels that Rajan has become her ‘eyesight’. She has been spending with a happy and blissful married life. One day, Rajan goes on a tour on office work and tells Ragini that he would return in a week’s time. Even after a week has been passed, Rajan has not returned, nor he has sent any intimation to Ragini. She consoles herself by assuming that there must be some genuine reason for his delay in return.

In the meanwhile, Ragini finds her jewellery missing from the house. She visits bank where she gets to know from the bank manager that all her deposit has been withdrawn and fixed deposits enchased by Rajan, leaving a paltry sum in her saving account. He has also committed fraud in his office. Still, Ragini believes that there may be some misunderstanding as she cannot believe of Rajan doing this to defraud her. It is only after his office and the bank file a police complaint, police get hold of Rajan and put him behind bar. Rajan tells the police officer very confidently that his wife would come and arrange his bail as she loves him. She does come to the police station to get him released on bail. In the police station, Ragini overhears this conversation which makes her very clear that Rajan does not love her. He is using her to get him out of jail. She tells Rajan that he cannot take her for granted because she is his wife. She leaves the police station by telling him that she has nothing to do with him anymore. While returning him, While returning home she crosses the River Kaveri by a coracle, takes out her manalsutra and immerses it in the river, signifying that her husband is as good as dead for her.

The film ends with Ragini continuing her life with singing in the temple and teaching music as hitherto.

‘Bhairavi’ (1996) had 7 songs written by Amit Khanna which were raag-based musical compositions by Laxmikant-Pyarelal. I am presenting the first song from the film. ‘kuchh iss tarah do dil miley’ to appear on the Blog. The song is rendered by Udit Narayan and Kavita Krishnamurthy. The song is picturised on Sridhar and Ashwini Bhave. The song is pictuirsed in around River Kaveri with the last scene of the song picturisation with the background of Gaganchukki Falls of the River Kaveri near Malvalli village.

This song fetched Amit Khanna the National Film Award for the best lyrics in 1996.

Video Clip:


Audio Clip:

Song-Kuchh is tarah do dil miley (Bhairavi)(1996) Singers-Udit Narayan, Kavita Krishnamurthy, Lyrics-Amit Khanna, MD-Laxmikant Pyarelal
Both

Lyrics

kuchh iss tarah
do dil miley
kuchh iss tarah
do dil miley
jaise miley ik raag mein
tere gaaye geet
mere gaaye geet
tere gaaye geet
kuchh iss tarah
do dil miley
kuchh iss tarah
do dil miley
jaise miley ik raag mein
tere gaaye geet
mere gaaye geet
tere gaaye geet

saanson ki pagdandiyon se gujarte huye
khwaabon ke jungle mein hum kho gaye
taaron ki waadiyon mein chalte huye
ajnabi raahgeer ik ho gaye
kuchh iss tarah
do dil miley

kuchh iss tarah
do dil miley
jaise khilen ik yaad mein
tera ateet
mera ateet
tera ateet

shabnam ke katron se naazuk ye pal
hathheli se apni girne naa do
mausamon se kaho
youn basant hi rahe
samay dhalne na do
isey badalne naa do

kuchh iss tarah
do dil miley
kuchh iss tarah
do dil miley

jaise miley sadiyon ke meet
sadiyon ke meet
sadiyon ke meet
sadiyon ke meet

aa aa aa aa aa aa
aa aa aa aa aa aa
aa aa aaa

khushbuyon ke baagh mein jhilmilaaten huye
jugnuyon kaa melaa lagaa
chaandni ki aag mein khilkhilaate huye
paani ke bulbulon kaa
relaa jagaa

kuchh iss tarah
do dil miley
kuchh iss tarah
do dil miley

jaise phale teri meri preet
meri teri preet
teri meri preet
meri teri preet

kuchh iss tarah
kuchh iss tarah
do dil miley
do dil miley
kuchh is tarah
kuchh iss tarah
do dil miley
do dil miley
jaise miley ik raag mein
tere gaaye geet
tere gaaye geet
mere gaaye geet
mere gaaye geet
tere gaaye geet
tere gaaye geet
mere gaaye geet
mere gaaye geet


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 :

5687 Post No. : 18204

“Mere Laal”(1966) was directed by Satyen Bose for S S Chitramandir, Bombay. This “social” movie had Dev Kumar, Indrani Mukherji, Jagdev, Shekhar Purohit, Lalit Kapoor, Prakash Mishra, Abhi Bhattacharya, Jamaal, Samson, Rajkumar, Siddiqui, Ghulam Sabir, Master Anwar, Master Satyajeet, Madhuraj, Juthika devi, Darshan, Moolchand, Meenakshi, Mahesh, Ratan etc in it.

The movie had eight songs in it (including one multiple version song). Six of these songs have been covered in the past.

Here is the seventh song from “Mere Laal”(1966) to appear in the blog. The song is sung by Lata. Majrooh Sultanpuri is the lyricist. Music is composed by Laxmikant Pyarelal.

The song is picturised on Mahesh Kumar aka Mahesh Kothare(playing a child beggar) with Mala Sinha also seen in the picturisation.

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

With this song, Majrooh Sultanpuri completes 1200 songs in the blog as a lyricist. Incidentally Majrooh Sultanpuri had completed his 1000th song as a lyricist with another song from this movie as well.

Video link (Longer song)

audio link:

Song-Laal tera jug jug jiye maataa (Mere Laal)(1966) Singer-Lata, Lyrics-Majrooh Sultanpuri, MD-Laxmikant Pyarelal

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

oo oo ooo ooo oo ooo
aaaa aaa aaa
aaa aaaa aaa
laal teraa jug jug jiye maataa
laal teraa jug jug jiye maataa aa

laal teraa jug jug jiye maataa
diyaa tere aangan kaa
raakhey vidhaataa
laal teraa jug jug jiye maataa
laal teraa aaa

chhaayee..ee ho chaahey chaandnee sooraj
ki chaahey dhoop ho oo
chhaayee..ee ho chaahey chaandnee sooraj
ki chaahey dhoop ho oo
chhaaon mein tere aanchal ke ae tere
pyaar ka roop ho
chaahey teree godee mein
chaahey kaheen door se
chaahey teree godee mein
chaahey kaheen door se
rahe teri aanchal ki shobhaa badhaataa
laal teraa jug jug jiye maataa
laal teraa aaa

raam kare ho o o jawaan to
kaam raakhey achchey hee kaam se
raam kare ho o o jawaan to
kaam raakhe achchey hee kaam se
desh kaa naam oonchaa ho maa tere
betey ke naam se
maathey pe himaalaya ke badee anubhaan(?) se
maathey pe himaalaya ke badee anubhaan(?) se
banke jawaahir rahey jagmagaataa
laal teraa jug jug jiye maataa
laal teraa aaa

meraa bhee thhaa aa ik aangan
woh galee jaaney kahaan thhee
meraa bhee thhaa aa ik aangan
woh galee jaaney kahaan thhee
kyaa jaanoon kaisi lekin aisee hee
meree bhi maa thhee
buraa na manaanaa
dekhee jo teri maamtaa aaa
buraa na manaanaa
dekhee jo teri maamtaa
yoon hee meraa bachpan
machal gayaa maataa
laal teraa jug jug jiye maataa
diyaa tere aangan kaa
raakhey vidhaataa
laal teraa jug jug jiye maataa
laal teraa aaa aa aaa aaa


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.

This song post marks the 1000th song of Laxmikant Pyarelal as music directors in the blog.

Blog Day :

5670 Post No. : 18177

Today (26 January 2024) is Republic Day of India.

India became a republic on 26 January 1950. That was easily a red letter day in the history of Modern India. It was on this day that India decided to be a country that would be a democracy where each citizen, irrespective of his caste, creed, religion, gender, economic status etc would enjoy equality without discrimination. The country would be governed according to the acts of Indian constitution that was adopted on this date.

It is to the great credit of India that the country has followed the constitution of India and the ideals of Indian constitution have been followed in spirit and letter. Today, 74 years later, India is in a much better position that what it was when the fledgling nation of India tried to find its feet. Foreign powers, including those who were the erstwhile rulers of India had predicted that India would fall apart in a matter of decades. Those people, long gone by now, have been proved wrong. Then there were foreign powers that kept interfering in the internal affairs of India, trying to destabilize and divide the nation and to keep it backward. Despite their efforts, India kept growing, albeit at glacial pace.

There are people who look back at past with selectively and opine that “hamaare zamaane mein sab kuchh achcha thha“. That was hardly the case if one collects facts and examines them and compare them with other nations of that time, and secondly when we make comparisons with today.

For instance, India today is in a much better position today than in 1950. Literacy rate was 18.3% in 1951. In 1947, it was 12%. It is 77.77 % in 2023. So India had come up a long way. Our literate population may not be all that educated and employable, but good progress has been made. Now we have to ensure that our population is not just literate but are also capable of acting as trained manpower in wide variety of industries. These industries, by the way, were conspicuous by their absence in 1940s, when India became independent and subsequently became a republic.

Economy is the backbone of any industry. Economically India continued to be a very week country till 1990. Present generation Indians will not believe it if they are informed that Indian economy ran on doles and loans till 1990. Foreign currency was scarce and so if some Indian wanted to get foreign currency in order to go abroad, he had to run from pillars to post. If he was lucky, he would get a ridiculously meager amount of foreign currency.

Though Indian constitution was formed with the aim of helping Indians realize their potential and lead dignified lives, the constitution was not really used that way all the time. In a democracy, it is expected that people are allowed to do something unless it is expressly forbidden. But Indian government often passed rules that forbid people to do things unless they were expressly permitted. One such draconian rule was FERA (Foreign Exchange Regulation Act). According to it, all foreign exchange was the property of Government. Holding foreign currency and dealing in it was forbidden. This act killed any kind of industrial and business activities in India because one simply could not import any goods and services from abroad.

It was only in 1999 that this draconian act was repealed and it was replaced by FEMA (Foreign Exchange Management Act). Now keeping foreign currency and trading in it is no longer an offence. One can freely buy foreign currency while going abroad. One can also import foreign items on Amazon etc. paying in foreign currency online. Till 25 years ago, it was expressly prohibited and forbidden.

In any case, foreign exchange was in short supply till 1990 because Indian economy itself was closed and isolated from world economy. Closed economy of USSR was called Iron Curtain. India economy that aped USSR was likewise called Bamboo Curtain.

USSR collapsed in late 1980s and early 1990s. India, whose economy was propped up artificially thanks to USSR, collapsed.

As fate would have it, India miraculously survived. It was very fortuitous that right man found himself becoming appointed as the PM of India in 1991. Once he realized that Indian economy was in dire straits, he systematically and with great planning and due diligence kept bringing in reforms after reforms, and that too in a manner that often flew under the radar yet they were major reforms that altered the course of Indian economy. People who were till then not allowed to be part of Indian economy were now allowed to participate in running the economy. Draconian acts that forbid people to do anything unless expressly allowed were replaced by new acts that allowed everything to be done unless expressly forbidden.

The results slowly began to come. Three decades have passed after the Indian economy was opened up. Now, Indian Government no longer has to borrow money from IMF (something that almost every neighbor of India still does). Unlike in the past, India is flush with foreign currency because foreigners believe in Indian economy and they invest their money in Indian stock exchange. The foreign businesses have their branches in India. Not just that, some Indian business houses have become global brands.

India still has a long way to go. Indians cannot rest on their laurels. Annual per capita earning of Indians is only $ 2,400 or so. A country is called high income country when annual per capita income of that country crosses $12,000. So Indian per capita income must become five times its present value for India to be considered as a high income nation viz a developed nation. Assuming that the population remains constant, it means India GDP must touch $ 18 trillions. If an economy grows at 7 % per annum, that economy doubles in ten years. With this rule of thumb, we can see that Indian GDP needs to become 5 times its current size. So India will need to keep developing its economy at 7 % per annum for 25 years. If the growth rate could be made higher than 7 % then the target could be achieved in lesser time.

On this occasion, here is a song from ‘Devi’ (1970). ‘Devi’ was produced by TM Kittu & AV Subramaniam and directed by V Madhusudana Rao for Olympic Pictures, Madras. The movie had Nutan, Sanjeev Kumar, Rehman, Lalita Pawar, Farida Jalal, Mehmood, Aruna Irani, Dina Gandhi aka Dina Pathak, Gajanan Jagirdar, Manorama, Madan Puri, Baby Sarika (aka Moppet Suraj), Mukri, Lalita Kumar aka Lalita Sinha, Manmohan Krishna, Vishwa Mehra, Mallik, Sulochana Latkar etc. in it.

The film had five songs in it. Three songs have been covered in the past.

This song, the fourth from the movie to appear in the blog is sung by Asha Bhonsle. Anand Bakshi is the lyricist. Music is composed by Laxmikant Pyarelal.

Lyrics of this song were sent to me by Prakashchandra many republic days and independence days ago. He had also sent a video link of the song. According to Prakashchandra, the song was picturised on Nutan, Dina Pathak, Baby Sarika aka Moppet Suraj and Manmohan Krishna.

Pyarelal Sharma has been given Padma Bhushan in the list of Padma awards that were announced on 25 January 2024, on the eve of Republic Day. So this song is an appropriate song to mark the occasion.

What is more, this song is the 1000th song of Laxmikant Pyarelal in the blog. They become the second music directors (firs being Shankar Jaikishan) to reach four figures of songs in the blog.

I take this opportunity to wish each and every Indian (wherever they are) a very happy Republic Day. India is marching ahead proudly and is on its way to take its rightful place among the nations of the world.

Audio

Video

Song-Ek hain sab Hindustani (Devi)(1970) Singer-Asha Bhonsle, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal

Lyrics (Provided by Prakashchandra)

ek

ek hain sab hindustani
ek hain sab hindustani
jo do samjhe ae
jo do samjhe
us ki hai ye naadaani ee

do
hum sa bke do haath hain
haath hain apne saath to saare saath hain ae

teen
aagey number teen hai
jhoothh bada bud-soorat hai
aur sach badaa haseen hai

chaar
chaar dishaaon mein sab dhaam
chaar dishaaon mein sab dhaam
purab pachchim uttar dakkhin unn ke naam

ek do teen chaar
chaar ke aagey paanch hai
phoolon mein khushboo hai
aag mein kyaa hai
aanch hai

chhe kaa roop niraalaa hai
aisa waisa darwaaze ka taalaa hai ae

saat
sur hai saat sitaar mein
sa re ga ma pa dha ni
sa ni dha pa ma ga re sa
sur hai saat sitaar mein
saat achchambhe hain saare sansaar mein

aathh
aathh baje hain sun aagey
woh achcha
jo jaldi soye
aur jaldi jaagey

number nau ka hai kehna
number nau ka hai kehna
paas bhalon ke
door buron se tum rehna aa

dus
bas
bas karo ab so jaao
bas karo ab so jaao
meethhe meethhe sapnon mein tum kho jaao…ooo

ek hain sab hindustaani

hmmm….hmmmm…hmmmm….hmm hmmm hmmmm
hmmm….hmmmm…hmmmm….hmm hmmm….hmmm
hmmmmm……hmmm hmmmm

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

एक
एक हैं सब हिंदुस्तानी
एक हैं सब हिंदुस्तानी
जो दो समझे॰॰ए
जो दो समझे
उसकी है ये नादानी

दो
हम सबके दो हाथ हैं
हाथ हैं अपने साथ तो सारे साथ हैं

तीन
आगे नंबर तीन है
झूठ बड़ा बदसूरत है
और सच बड़ा हसीन है

चार
चार दिशाओं में सब धाम
चार दिशाओं में सब धाम
पूरब पश्चिम उत्तर दख्खिन उन के नाम

एक दो तीन चार
चार के आगे पाँच है
फूलों में है खुशबू
आग में क्या है
आंच है

छह का रूप निराला है
ऐसा वैसा दरवाज़े का ताला है

सात
सुर हैं सात सितार में
सा रे गा मा पा धा नि
सा नि धा पा मा गा रे सा
सुर हैं सात सितार में
सात अचम्भे हैं सारे संसार में

आठ
आठ बजे हैं सुन आगे
वो अच्छा
जो जल्दी सोये
और जल्दी जागे

नम्बर नौ का क्या कहना
नम्बर नौ का क्या कहना
पास भलों के
दूर बुरों से तुम रहना

दस
बस
बस करो अब सो जाओ
बस करो अब सो जाओ
मीठे मीठे सपनों में तुम खो जाओ॰॰ओ

एक हैं सब हिंदुस्तानी

ह्म्मम ह्म्ममम ह्म्ममम
ह्म्म ह्म्मम ह्म्ममम
ह्म्मम ह्म्ममम ह्म्ममम
ह्म्म ह्म्मम ह्म्मम
ह्म्ममम ह्म्मम ह्म्ममम


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 :

5625 Post No. : 18112

Hullo Atuldom

As students, i.e. during school days, we used to be given an exercise in language class. We would be given a paragraph, story or poetry & asked to read it for a few minutes. There would be a set of questions, at the end of the passage or writeup, that would test how much we have understood what was written. Often the last question would be to give a suitable Title to the writeup. This activity used to be called COMPREHENSION in English, forgive me for not being able to recall what ‘comprehension’ is Hindi & Marathi. These are the three main languages that I learnt in school, that is why I am looking for the word in Hindi & Marathi. Different matter that I learnt Malayalam too in school but I don’t recall having this in my Malayalam question paper.

I am sure, readers will be wondering where I am getting to. Well, I was thinking about films & their titles. How filmmakers think up titles for their work. So many times, in innumerable instances, I have read about a film having a working title & then getting a release with a different title. Many times, I have sat through films & found no connection between the title & the film. Of course, those are very rare cases, mostly the titles are apt for the movies.

The song with today’s post is from the 1984 released action-comedy-drama film “John Jani Janardhan”. The title may look like it is inspired by the very famous song of the Manmohan Desai hit of 1981 ‘Naseeb’. But, in reality, this film had this title because the hero had these three names. The hero played father John Mendez & his twin sons Jani & Janardhan.

“John Jani Janardhan” (1984) was produced by A. Purnachandra Rao & directed by T. Rama Rao. Anand Bakshi wrote the songs that were composed by Laxmikant-Pyarelal. The playback singers used were Kavita Krishnamurthy, S.Janaki, S.P. Balasubramaniam, Suresh Wadkar, & Shailendra Singh.

The film had six songs of which this song is already present on our blog. That song was posted exactly five years back, on this date, to wish the stylish unconventional looking hero-Rajnikanth- on his birthday.

Rajnikanth was born, in Bangalore as Shivaji Rao Gaekwad, on December 12th 1950 (some places his birth year is given as 1949). Initially he was working as a bus conductor and his style & mannerisms of issuing tickets, blowing whistle etc. caught the fancy of the travellers. On being encouraged by a few of his friends, he moved to Madras (now Chennai), joined the Madras Film Institute where he caught the eye of filmmaker K. Balachander who introduced him to the Tamil film industry in a small role in 1975. From then on there was no looking back. He has played a villain in many of his initial films and was the ‘bad character’ who the audience loved to hate. His style, swagger, & casual unique style of action is something that his fans love him for; and this has overshadowed many of his comedy roles & even serious characters.

“Moondru Mugam” (1982) meaning ‘three faces’ was a film where Rajnikanth had action, emotion & comedy scenes. This was the film which was remade in Hindi as “John Jani Janardhan”.

Rati Agnihotri & Poonam Dhillon were the two heroines of this film which was the story of an honest police officer John Mendez (father Rajnikanth) who lives a middle-class lifestyle with his wife, Cheryl (Poonam Dhillon), and a maidservant, Fatimabi (Dulari). John busts a gang that makes illicit liquor and holds them in a cell, bringing him into confrontation with their leader, Gajanand ‘Gajju’ (Kadar Khan), who goes to threaten John, but is himself arrested and sentenced. When he is acquitted, he decides to avenge his humiliation by entrapping John and killing him. Cheryl gives birth to twin sons and passes away. A rich childless couple, Brijmohan Gupta (Utpal Dutt) adopts one of the twins and names him Janardhan (Rajnikanth -son number 1), while the second is named Jani (Rajnikanth- son number 2) and lives with Fatimabi. Twenty-five years later, Janardhan is an America- returned young man, in love with Madhu (Rati Agnihotri). On his birthday party he comes face to face with a man named Gopaldas (played by south actor Thyagarajan), and his entire personality changes as he is taken over by the vengeful spirit of John. Subsequently, Gopaldas is killed, and Janardhan is arrested and tried in Court. And then there is the usual climax when the brothers discover each other etc. (seen this movie a long time ago in Tamil never in Hindi).

For today’s post I have chosen a song where Rati Agnihotri is trying her best to woo her hero. I am not sure about the background of the song, whether this is ‘Jani’ or ‘Janardhan’ that has decided to renounce the world. The lady is surely having a gala time; but by the end of the song, the chorus dancers switch sides much to the dismay of the lady.

This was possibly the only Hindi film where Rati Agnihotri was cast alongside Rajnikanth though they were co-actors in a few Tamil films. Let us wish Rati Agnihotri too on turning a year older on 10th of December.

Video

Audio (Longer)

Song-Swaamiji o Swaamiji (John Jani Janardan)(1984) Singers-Shailendra Singh, S Janaki, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Female chorus
Shailendra Singh + Female chorus

Lyrics(Based on audio link)

govindam bhaj gopalam
govindam bhaj gopalam
govindam bhaj govindam
govindam bhaj gopalam
govindam bhaj gopalam
govindam bhaj gopalam
govindam bhaj gopalam
la la la la la la
la la la la la la
la la la la la la
la la la laa
swaamiji o swaamiji
swaamiji o swaamiji
swaamiji o swaamiji
chhodo ye neknaami ji
swaamiji o swaamiji
chhodo ye neknaami ji
hamse aankh ladaakar le lo
thhodi si badnaami

jee
ho swaamiji

swaamiji
aankhen kholo swaamiji

aankhen khol ke dekho to
dekho to
dekho to

munh se bol ke dekho to
dekho to
dekho to

aankhen khol ke dekho to
munh se bol ke dekho to
nainon ke taraazu mein
joban taul ke dekho to

hare raam raam raam
roop mera sharmila ji
rang mera baadaami

jeee
ho swaamiji

swaamiji o swaamiji

prem kaa mantar sachchaa hai ae ae
swaamijee swaamiji
swaamijee swaamiji

bhakti mein kyaa rakha hai ae ae
swaami jee swamiji ji
swaamijee swaamiji

saans ki doree ee kachchee hai aey ae ae
prem kaa dhaagaa pakcaa hai ae ae

hare krishna krishnaa hare ae
pyaar hai man ki azaadee
bhakti sirf ghulaamee

jee ee eeeee eee
o swamiji jee ee eee

sawamijee eee o swaamiji

aa aa aa
aa aa aa
aa aa aa
aa aa aa

pyaar agar thhukraaoge
ant samay pachhtaaoge

ant samay pachhtaaoge
ant samay pachhtaaoge

pyaar agar thhukraaoge
ant saamy pachhtaaoge
apne man ko mat maaro o
varna khud mar jaaoge

varna khud mar jaaoge
varna khud mar jaaoge

aage main kya aur kahoon
tum ho antaryaami

jee
ho swaamiji

swaamiji o swaamiji
swaamiji o swaamiji
chhodo ye neknaaamee jee
hamse aankh ladaakar le lo
thhodi si badnaami jee
swaamiji o swaamiji
swaamiji o swaamiji

govindam bhaj gopalam
govindam bhaj gopalam
govindam bhaj gopalam
bolo
govindam bhaj govindam
govindam bhaj gopalam
govindam bhaj govindam
govindam bhaj gopalam
govindam bhaj govindam
govindam bhaj gopalam
govindam bhaj govindam
govindam bhaj gopalam
govindam bhaj govindam
govindam bhaj gopalam


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 FIFTEEN years. This blog has over 18300 song posts by now.

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

Important Announcement

(© 2008 - 2024) 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

18304

Number of movies covered in the blog

Movies with all their songs covered =1411
Total Number of movies covered=4951

Total visits so far

  • 16,469,801 hits

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Historical dates

Blog Start date: 19 july 2008

Active for more than 5000 days.

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