Posts Tagged ‘Lyrics-MD’
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 : |
5720 | Post No. : | 18239 |
‘Ramu To Deewaana Hai’ (1980, UR) was produced and directed by Chandru who also acted in the lead role, wrote screenplay. dialogues, lyrics and composed songs for the film. Other actors in the film were the debutant Deepa Rani, Yakub, Chand Usmani, Manvendra Chitnis, Leela Chitnis, Janakidas, Baby Ritu etc. Rehman, I S Johar, David, Gulshan Bawra and Padmini Kapila made the guest appearances and Raj Kapoor made a special appearance in the film.
According to Syed Siraj, a film journalist and film critic since 1970, the ‘all-in-one’ Chandru was the brother of Arjun Hingorani, the producer-director. Incidentally, I have noted that Kishore Rege, Cinematographer of ‘Ramu To Deewaana Hai’, was also the cinematographer for at least 3 films produced and directed by Arjun Hingorani. Chandru had assisted Raj Kapoor in a few of R K Films and had also done small roles.
The film appears to be in the making for a very long time. According to IMDb, the film was started in 1962 in black and white. After a few reels of shooting, it was decided to make it in colour. Thereafter, the film faced financial problems thus resulting in delay in completion. It appears that the film was completed, and the LP of the film’s songs was released in December 1980. However, the film remained unreleased. It was sometime in 2001 that Arjun Hingorani bought the distribution rights of the film. But he does not appear to have released the film. Both Arjun Hingorani and Chandru have now passed away.
There is also a reference in music director, Biddu’s autobiography ‘Made In India – Biddu – Adventures of a Lifetime’ (2015) about Chandru Asrani (yes, he refers to him by surname ‘Asrani’) as pointed out by Syed Siraj. The producer-director-writer-actor-lyricist-music director of ‘Ramu To Deewaana Hai’ met Biddu in London in 1980 following the success of his song, in Feroz Khan’s ‘Qurbaani’ (1979). He showed him about 90% of the completed film which had been under production for about 14 years. Chandru wanted him to compose two songs to be added to complete the film so as to entice the film distributors.
Sometime in 1988-89, Chandru had an informal get-together of some film journalists to his house in Khar in which film journalist, Syed Siraj was also present. Siraj said that during the gathering, Chandru had played some songs from the film which included in the voices of Mukesh, Mubarak Begum and Kishore Kumar. But none of the songs sounded like that composed by Biddu. The LP issued by HMV/SAREGAMA contains 8 songs which have been rendered by Mukesh, Suman Kalyanpur, Mubarak Begum and Kishore Kumar. However, the Mp3 clips of the songs (probably through CD) from the film contains 10 songs, two of which are in English – (1) ‘Go go’, and (2) ‘Life is a business’ rendered by a band called High Society – which sound the typical Biddu’s compositions.
As of now, ‘Ramu To Deewaana Hai’ (1980 UR) remains unreleased and the film is not available on any of the video-sharing and OTT platforms. However, a couple of short video clips of some of the scenes from the film are available on video sharing platform. It appears that Chandru has played the title role of Ramu.
The film’s song album had 10 songs, 2 of which were in English. The 8 Hindi songs were written and composed by Chandru. Two songs from the film have been covered in the Blog. I am presenting the 3rd song, ‘kwaabon ki duniyaa sitaaron ki duniyaa’ rendered by Mukesh. The song is picturised on Chandru as a stage song. Raj Kapoor is the main guest in the audience. The person sitting on his left wearing specs is N N Sippy. David is the compere on the stage who introduces Chandru as the new music director of Raj Kapoor. After the end of the singing, Raj Kapoor walks towards Chandru and congratulates him. He also tells Chandru to meet him in his studio. One can also see a happy Leela Chitnis in the background.
This song may have been picturised in the year 1979 or earlier because David migrated to Canada in 1979.
Video Clip:
Audio Clip:
Song-Khwaabon ki duniya sitaaron ki duniya (Ramu To Deewaana Hai)(UR)(1980) Singer-Mukesh, Lyrics-Chandru, MD-Chandru
Lyrics:
khwaabon ki duniyaa
sitaaron ki duniyaa
door bhi hai
par door naheen..een
khwaabon ki duniya sitaaron ki duniyaa
door bhi hai par door naheen een
ujde fizaa ke chaman se ye kah do
ki rangeen bahaar ab door naheen…een
khwaabon ki duniyaa
har taraf hon veeraaniyaa
gher chuki hon aandhiyaan
har taraf hon viraaniyaan
gher chuki hon aandhiyaan
tadapte armaan ke iss jahaan ko
kabhi to sakoon bhi aayegaa aa
khwaabon ki duniyaa sitaaron ki duniyaa
door bhi hai par door naheen..een
khwaabon ki duniyaa
kaali ghataayen jab jaayengi
sunahree kiranen aayengi
kaali ghataayen jab jaayengi
sunahree kiranen aayengi
phir in baaton ko yaad kar
aayegi khud ko bhi hansee ee
khwaabon ki duniyaa sitaaron ki duniyaa
door bhi hai par door naheen een
ujde fizaa ke chaman se ye kah do
ki rangeen bahaar ab door naheen..een
khwaabon ki duniyaa
Jo sirf khushee ka mol karey
Posted on: March 12, 2024
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 : |
5716 | Post No. : | 18235 |
‘Madhu Maalti’ (1978) was produced by Nirmal Mishra and J S Bansal under the banner of Chitra Kathha and was directed by Basu Bhattacharya. The cast included Sachin and Sarika in the lead roles supported by Nadira, Dinesh Thakur, Manik Dutt, Bharat Bhushan, Abha Dhulia, Sulabha Deshpande, Arvind Deshpande, Parveen Paul, T P Jain, Madhup Sharma, Jaydev Hattangadi, Gopal Dutt, Gulshan Grover etc. Benjamin Gilani and Prema Narayan made guest appearances in the film. This was Gulshan Grover’s debut film.
The theme of the film is the teenage romance in a small town whose parents and their neighbourhood have been brought up in a conservative culture. Parents strongly resent their romance as they see it in the prism of morality. Under such a situation, the boy and girl of two families run away from the town. How they face the situations, first in a big city like Mumbai from where they had to leave in haste for Goa. Finally, a spinster lady, who lives alone in a house in Goa, gives shelter to them. She looks after them like her own grown-up children in a free environment. There is a great emotional upheaval for the spinster lady when the parents, now mellow down from their conservative mindsets, are seeking the return of their son and daughter.
The detailed story of the film is as under:
Madhu (Sachin) and Malti (Sarika) are the college going teenagers from two families residing in a small town with a conservative mindset. Anil Sharma (Dinesh Thakur) joins the college as the professor of English. He organises a college play ‘Romeo and Juliet’ in which he selects Madhu and Malti for the title roles. In the rehearsals, both of them fail to enact their performances to the satisfaction of Anil Sharma as both of them brought up in conservative families are shy of enacting love scenes. The pressures from the families of students forces the college authorities to stop the rehearsal of the play.
During the course of rehearsals of the play, Madhu and Malti fall in love. They secretly meet and sometime remain absent from the college. A neighbour reports their secret meeting to the respective families. Both the families oppose their relationship. Prof. Anil Sharma is in sympathy with them but at the same time he advises them that if they are really in love, they should be open about it. But the families have already put a strict vigilance on both of them. As a result, they have not talked to each other for a long time. Forced by the circumstances, Madhu and Malti run away to Mumbai with some money to continue their courtship unhindered.
While in Mumbai, Madhu and Malti lose their belongings and now they are moving in the city like pauper. They meet a couple, Tom (Benjamin Gilani) and Rossie (Prema Narayan) who take them to Goa to get them some job in a beach shack. During a dance programme, Tom misbehaves with Malti which infuriates Madhu to such an extent that he squeezes Tom’s neck making him unconscious. Thinking him to be dead, Madhu and Malti run away from the shack and contemplate suicide. It is at this time, Maria (Nadira) sees Madhu attempting suicide. She brings him to her house. On the other hand, Malti having taken shelter in a cemetery, meets John (Manik Dutt) who brings her to Maria’s house. Both Madhu and Malti are given shelter by Maria.
Maria has been living alone in her spacious house. John has been proposing to her for marriage for the last 20 years, but she has been rejecting his proposal for personal reason. None the less, they remain friends. With Madhu and Malti staying with Maria as her own children, this time when John proposes Maria, she accepts and gets married. He moves to Maria house. Maria is happy that she has got the company of Madhu and Malti as if her own children, John is also happy that finally he got married to his beloved. Madhu and Malti are happy that they are together in a free environment. Periodically, Madhu keeps Professor Anil Sharma informed about their well-being.
One day, Professor Anil Sharma and his wife (Abha Dhulia) visits Goa and meet Madhu and Malti in Maria’s house with a message that they have come here to take them back to their parents who have now mellowed down, and they would accept them. He had also booked their tickets on a passenger ship to Mumbai for onward journey to their town. Maria is upset that she would lose Madhu and Malti. Both of them assure Maria that they are not going to leave her. John tries to convince Maria not to be adamant and allow Professor Anil Sharma to take Madhu and Malti back to their parents. But Maria is firm so also Madhu and Malti not to leave Goa.
A disappointed professor Anil Sharma and his wife decides to leave Goa by Ship. John accompanies them to the boarding point of the ship when he sees Maria with Madhu and Malti also at the boarding point. In the previous night, Maria has retrospection reminding her that she cannot be selfish for her own happiness. She hands over Madhu and Malti to Professor Anil Sharma with moist eyes by saying that if their parents create problem for Madhu and Malti, she would teach them a lesson.
What a lovely film to watch! It is typical Basu Bhattacharya style of story narration in which human relationship plays important theme in his films. In this film, he has brought out the conflict between conservative parents and their teenage children which he compares with their guardian handling of the same children. As happens with his earlier films which were critically acclaimed but commercial failure, ‘Madhu Malti’ (1978) was no exception.
An interesting feature of the film’s background music is the uses of the snippets of a few popular Hindi film songs which are apt for the situations. For example, when Madhu and Malti secretly meet for the first time, both are very shy to talk to each other and the song ‘chup chup kade ho zaroor koi baat hai’ gets played in the background in a low sound. When Madhu and Malti arrive at Mumbai and looking for guest house for the stay, the song ‘do deewaane shahar mein raat mien yaa dopahar mein aab-o-daanaa dhoondhten hain ek aashiyaana dhoondhten hain’ gets played. When their belongings are stolen from the room, both of them argue for negligence during which the song ’babu ji dheere chalana pyaar mein zara sambhalna’ gets played in the background.
The film had 4 songs written and set to music by Ravindra Jain. One song has been covered on the Blog. I am presenting the second song, ‘jo sirf khushi kaa mol karey’, rendered by Mukesh. This song gets played in the background as Professor Anil Sharma (Dinesh Thakur) and his wife (Abha Dhulia) have been unsuccessful in convincing Maria to send back Madhu and Malti to their parents. Maria (Nadira) on the other hand is in emotional turmoil as she is losing them to their real parents at a faraway town. But in retrospection she feels that she cannot be selfish for her own happiness. The song is not only a philosophical one but also a retrospection for Maria. The life is a cycle of happiness and sorrow, and the companionship is not permanent.
The song broadly sums up the theme of the film.
Video Clip:
Audio Clip:
Song-Jo sirf khushee ka mol karey (Madhu Maalti)(1978) Singer-Mukesh, Lyrics-Ravindra Jain, MD-Ravindra Jain
Lyrics (Based in audio clip):
jo sirf khushi kaa mol karey
jo sirf khushi kaa mol karey
wo dost nahin saudaagar hai
jo apne hi jeene pe marey
jo apne hi jeene pe marey
wo dost nahin saudaagar hai
jo sirf khushi kaa mol karey
sukh aataa hai to apne sang
apne saathhi le aataa hai
sukh aataa hai to apne sang
apne saathhi le aataa hai
hai kaun kahaan tak kaa humdum
dukh hi to hamen batlaata hai
ho sukh mein sang aur dukh se darey
ho sukh mein sang aur dukh se darey
wo dost nahin saudaagar hai
jo sirf khushi kaa mol karey
hum aisaa saathhi dhoondhhte hain
jo hamko gham kaa meet kahe
hum aisaa saathhi dhoondhhte hain
jo hamko gham ka meet kahe
gham ho usko aur dard hamein
neer uska in aankhon se bahe
jo haathh faqat kaandhe pe dhare
jo haathh faqat kaandhe pe dhare
wo dost nahin saudaagar hai
jo sirf khushi kaa mol karey
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 : |
5566 | Post No. : | 18035 | Movie Count : |
4836 |
There is a saying in Hindi – भगवान जब देता है,तो छप्पर फाड़कर देता है. This saying is used in the context of unexpected gains, not necessarily in terms of monetary gains but in any form. For example, this saying applies to a farmer who gets a bumper crop in the backdrop of the loss of crops due to drought or floods in the preceding one or two years. This saying also applies to Sujoy Ghosh when his low budget film, ‘Kahaani’ (2012) earned a bumper box office collections after his preceding two films – ‘Home Delivery’ (2005) and ‘Alladdin’ (2009) failed at the box office.
‘Kahaani’ (2012) is a suspense thriller which is jointly produced by Jayantilal Gada, Viacom 18 Motion Pictures and Sujoy Ghosh who also directs the film. Vidya Balan plays the lead role with supporting actors consisting of Parambrata Chatterjee, Nawazuddin Siddiqui, Indraneil Sengupta, Saswata Chatterjee, Dhritiman Chatterjee, Darshan Jariwala, Masood Akhtar etc. In this film, Amitabh Bachchan gives voice-over commentary and also renders a Bangla song. The film was majorly shot on locations in Kolkata.
Sujoy Ghosh, in an interview which appeared on April 27, 2012, in ‘Hindustan Times’ revealed that with his two flop films behind him, he faced a host of problems during the planning stage of ‘Kahaani’ (2012). Apart from finding the financiers, getting the actress for the lead role of a pregnant woman who had appear as such throughout the film was a real challenge. Vidya Balan who first had some apprehension, agreed to do this role only after reading the entire script. Except Nawazuddin Siddique, he had no luck in getting male actors from Bollywood to do a couple of important roles in the film. So, he decided to rope in a few unknown actors from Kolkata. Even after the completion of the film’s shooting, Sujoy Ghosh was not sure of its box office success.
The story of the film is given below in details:
A poisonous gas attack in a bogie of Kolkata Metro train kills all the occupants. About two years later, a pregnant Vidya Bagchi (Vidya Balan), a software engineer, travels from London to Kolkata on the eve of Durga Pooja in search of her husband, Arnab Bagchi (Indraneil Sengupta). He is a software engineer who came from London on an assignment with National Data Centre (NDC). He has been missing in Kolkata for about two weeks. After landing, she goes straight to the police station. While the police take their own time to investigate her missing husband, it is newly recruited sub-Inspector, Rana (Parambrata Chatterjee) who helps Vidya in the investigation, sometimes without authorisation.
On checking, Vidya comes to know that no employee with her husband’s name has ever worked in NDC. A further talk with the CEO of NDC, Agnes D’Mello (Colleen Blanche) reveals that her husband’s face resembles a former employee, Milan Damji (Indraneil Sengupta). However, Milan Damji has been missing for the last 2 years since a CBI team had come to interrogate him. Agnes D’Mello has some information about Milan Damji which she has promised to pass on to Vidya. However, Agnes is killed in her house by Bob Biswas (Saswata Chatterjee), a contract killer suspected to be working for Milan Damji.
The Intelligence Bureau (IB) which has also been investigating the Kolkata Metro attack under Deputy Inspector General, A Khan (Nawazuddin Siddiqui) comes into picture. Khan advises against Vidya doing further investigation on Milan Damji who is suspected to be responsible for poisonous gas attack in Kolkata Metro as he is investigating the matter. But Vidya tells Khan that she will independently pursue the investigation since it is about her missing husband.
Now, there are three agencies on the investigation trail. IB under the leadership of Khan is investigating to identify the real culprit of the Kolkata Metro attack. Kolkata Police is investigating the missing Arnab Bagchi, Vidya’s husband. Vidya herself is independently investigating with the help of Sub-Inspector Rana about her missing husband. In all these investigations, the common link is Milan Damji. So, it is important to get the lead to reach Milan Damji.
Finally, Vidya gets the sensitive information about Milan Damji by hacking the website of NDC. When Milan Damji comes to know about it, he calls Vidya to handover the documents against which he will release her husband. She meets Milan Damji at an empty Durga Pooja Pandal and asks him whether he is sure that he can release her husband (she knows that her husband is dead). He gets a clue and takes out his gun to shoot her. However, before he shoots, she takes out her prosthetic pregnancy pad from her stomach and throws at his gun which makes him off balance. She takes out her thick hair pin and pierces his neck making him injured. She picks up his gun and pumps the bullets on him till he is dead. After hearing the gun shots, Khan and Rana who are already following Vidya, rush towards the scene. But Vidya has already mingled with a large Durga Puja crowd on the street and vanished.
At the end, Rana realises that Arnab Bagchi is Vidya’s fake creation to find the whereabouts of Milan Damji. Vidya Bagchi never existed as in reality, she was the widow of Arup Basu, an IB operative who had died in the poisonous gas attack on Kolkata Metro train because of which she lost her still born child in miscarriage. She has made the use of the police to avenge the death of her husband. And what an irony! The Kolkata police and IB thought that they were using Vidya Bagchi to reach Milan Damji to capture him alive to get more information as to who was the kingpin of Kolkata Metro train attack.
I found the film very engrossing. Sujoy Ghosh has very impressively presented the film with the story-like narrations and a build-up of suspense weaving with thrilling elements. The audience till the last moment does not know the real identity of Vidya Bagchi and of her fake pregnancy. The bonus for the viewers of the film is that drama is happening in the backdrop of Durga Pooja in Kolkata. Vidya Balan has given a stellar performance for a role which otherwise would have been performed by a male star actor in mainstream Hindi films. Nawazuddin Siddiqui has given the feel of a typical IB official like Amitabh Bachchan in ‘Zanzeer’ (1973). Almost all the local actors have given good supporting performances to make the film worthy of watching.
Interestingly, Sujoy Ghosh, being a fan of R D Burman, has partially used about half a dozen songs from the films of 70s and 80s, composed by R D Burman as a part of background music.
The film has six songs (including one second version song) which are written by Vishal Dadlani (3) and one each by Sandeep Srivastava, Anvita Dutt, and Gurudev Rabindranath Tagore. Five songs are set to music by Vishal-Shekhar while the remaining one is a Rabindra Sangeet which I am presenting. The song is one of the most popular and inspirational Bangla songs, ‘ekla chalo re’ which was written and composed by Gurudev Rabindranath Tagore in 1905. The original song is interspersed with a few lines in English and Hindi which are basically the translation of some of the lines from the original Bangla poem.
In the film, only the opening two lines of Bangla song are played in the background following Vidya’s realisation that IB and Kolkata Police were using her as a bait to reach Milan Damji. The full song is played in the background as the closing credit titles run through the film.
Video Clip(Partial):
Audio Clip:
Song-Jodi tor daak sune keu na aase tobe ekla chalo re (Kahaani)(2012) Singer-Amitabh Bachchan, Lyrics-Rabindranath Tagore, MD-Rabindranath Tagore
Chorus
Male voice
Amitabh Bachchan +chorus
Lyrics (based on Audio Clip, Bengali lyrics as per http://www.geetabitan.com)
open
the mind
walk alone
we are not afraid
walk alone
jodi tor daak shune keu na aase
tabe ekla cholo re
jodi tor daak shune keu na aase
tabe ekla cholo re
tabe ekla cholo
ekla cholo
ekla cholo
ekla cholo re
tabe ekla cholo
ekla cholo
ekla cholo
ekla cholo re
open
the mind
walk alone
we are not afraid
walk alone
jodi keu kotha na koy
o re o re o abhaaga
keu kotha na kaye
jodi sobai thaake mukh phiraaye sobai kare bhoy
jodi sobai thaake mukh phiraaye sobai kare bhoy
tabe paran khule…….
tabe paran khule
o tui mukh phutey tor moner katha ekla balo re
o tui mukh phutey tor moner katha ekla balo re
jodi tor daak shune keu
na aase tabe ekla chalo re
ru….
ru ru ru ru ru
ru ru ru ru ru
ru ru ru ru ru
ru….
ru ru ru ru ru
ru ru ru ru ru
ru ru ru ru ru
ru…..
jab kaali ghata chaaye
o re o re o
andhera sachh ko nigal jaaye
jab duniya saari dar ke aage sar apna jhukaaye
jab duniya saari dar ke aage sar apna jhukaaye
tu shola ban jaa…..
wo shola ban jaa
jo khud jal ke jahaan raushan kar de
ekla jolo re
jo khud jal ke jahaan raushan kar de
ekla jolo re
jodi tor daak shune keu na aase tabe
ekla chalo re
open the mind
the mind walk alone
walk alone
we not afraid
walk alone
open the mind
walk alone
jodi tare daak shune keu na asse tabe ekla chalo re
jodi tare daak shune keu na asse tabe ekla chalo re
jodi tare daak shune keu na asse tabe ekla chalo re
jodi tare daak shune keu na asse tabe ekla chalo re
———————————————–
English translation of full poem by Rabindranath Tagore (source:www.geetabitan.com)
———————————————–
If they answer not to thy call, walk alone,
If they are afraid and cower mutely facing the wall,
O thou of evil luck,
Open thy mind and speak out alone.
If they turn away, and desert you when crossing the wilderness,
O thou of evil luck,
Trample the thorns under thy tread,
And along the blood-lined track travel alone.
If they do not hold up the light
When the night is troubled with storm,
O thou of evil luck,
With the thunder flame of pain ignite thine own heart
And let it burn alone.
—————————————————–
Hindi translation of full poem by Jalaj Bhaduri
(Source: http://www.geetabitan.com)
——————————————————
जो तेरी पुकार पे कोई न आये, तो अकेले चलो रे ॥
अकेले चलो, अकेले चलो, अकेले चलो, अकेले चलो रे ॥
यदि कोई बातें न करें, ओरे ओरे ओ अभागे
यदि सभी तुझसे मुहं फेर लें ओर सभी डरें, तो प्राण खोल के
ओ तु मन की बातें मन ही मन अकेले बोलो रे ।
यदि सब लौट ही चलें ओरे ओरे ओ अभागे
यदि राह गहन चलते कोई गौर न करे, पथ की काँटे –
अपते लहू-लोहित चरण तले अकेले दलो रे ॥
यदि कोई दिया न धरे, ओरे ओरे ओ अभागे
यदि बादल और तूफानी रातों में द्वार बंद करें, तो वज्र-अनल में
तु हृदय-पंजर आप जलाए अकेले चलो रे ॥
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 : |
5564 | Post No. : | 18032 | Movie Count : |
4834 |
‘Tumhaari Sulu’ (2017) was produced under the banner of T-Series and Ellipsis Entertainment and was directed by Suresh Triveni. Vidya Balan and Manav Kaul were in the lead roles, supported by Neha Dhupia, Vijay Maurya, Uday Lagoo, Malishka Mendonsa, Mahesh Pillai, Seema Taneja etc. Anshuman Khurana made a special appearance as himself. The film’s music director, Santanu Ghatak also acted in the film as himself.
This was a debut film for its director, Suresh Triveni who has come with the background of making advertising films. Palakkad born, Suresh Triveni did his schooling in Ranchi and Chennai and post-graduation in marketing from Delhi. After making many advertising and some documentary films, Suresh Triveni had an obsession of doing his debut feature film in Hindi with Vidya Balan. He wrote the story of ‘Tumhaari Sulu’ (2017) keeping Vidya Balan in mind. After reading the script, she agreed to work in the film.
This is a feminist film of a house-wife’s muted aspiration to do something more than working in the kitchen, cleaning the house, watching the TV programmes and waiting for the conversation with her husband on his return from work. After getting a job as RJ, she becomes a housewife cum working woman, trying to work out a balance between her personal problems and her professional career. At the end, the woman is prepared to sacrifice her job to take care of her family. The husband leaves his job to help the wife in her new business of supplying tiffin to offices. Now husband is working from home, helping the wife in her business while she continues to work as RJ. The film gives a hope to those who had not done well in studies that there are alternative avenues available to be successful in life.
The story of the film is as under:
A nucleus middle class family consisting of Sulochana or Sulu (Vidya Balan), her husband, Ashok (Manav Kaul) and a school-going son lives in a distant suburb of Mumbai. Ashok works as a sales executive in readymade Garment making company. They are a happy and a loving family. Sulu always gets sarcastic comments from her well-to-do sisters, working in banks and from her father for not completing her 12th and thus not as successful as her sisters. Ashok encourages Sulu to take up a job so that she is not bored at home and also supplement the family income.
Sulu considers various options to start a business which remain only at the level of her ideas. She is passionate about participating in in Radio quiz and in one of the quiz programmes, she wins a prize of pressure cooker for which she visits the Radio Channel office to collect the prize. In the office she reads an advertisement for recruitment of a fresh Radio Jockey RJ). She meets RJ, Albeli Anjali (Malishka Mendonca) with whom she has been talking on the phone on her programme. Albeli takes Sulu to the channel head Maria (Neha Dhupia) who is impressed by her unconventional talks. Sulu is selected but there is no immediate job for her,
The pestering by Sulu day-in-day-out forces Maria to start a late-night show with Sulu as RJ with the name of the programme called ‘Tumhaari Sulu’. In this programme, Sulu gets calls from a number of lonely men facing personal problems for which she has to give some solutions or moral supports. And she does it in her husky voice while simultaneously peeling peas for the next day’s menu at home. Over a period of time, her radio programme becomes very popular giving stability in her job. Being a late-night radio programme, Ashok has to manage the house. When Sulu is successful in her newfound career, Ashok’s job in the Garment making company is at stake which put a lot of mental stress on him resulting in arguments with Sulu. However, this is only momentary and does not affect their loving relationship. Although Ashok would wish Sulu to quit the job, he would not say so.
Adding to the problem is that their son has been rusticated from the school when he is found in possession of porn material in the classroom. Ashamed, the son runs away from home. Although, he has been found and returned home, Sulu decides to quit her job as she feels that her family needs her more than her job. While she is returning after collecting her pay cheque, she watches a fight between tiffin supplier and the receptionist of the Radio Channel which gives her idea to start the business of delivering lunch tiffins to offices.
Ashok has left his job and works from home to carry on his business of delivering tiffins to offices in partnership with his wife, Sulu. She continues to work as RJ in her radio programme, ‘Tumhaari Sulu’, giving the callers a feel of a loving RJ caring about them in the same way she is taking care of her family.
It is obvious that the director, Suresh Triveni has written the story with larger focus on Vidya Balan’s character. It is Vidya Balan all the way in the film. She is joyous throughout the film except towards the end of the film when she tells her intention to quit her job to Maria in her moist eyes. Manav Kaul in the role of Sulu’s husband has also done well in the film.
The film has 5 songs written one each by 5 lyricists. These songs were composed by as many as 8 music directors. One song was jointly composed by 4 music directors which may be a record. I am presenting the first song from the film, ‘kaise kaise dhaagon se buni hai ye duniya’ to appear on the Blog. This a debut song for the Hindustani classical vocalist, Ronkini Gupta as a playback singer and also the debut for Santanu Ghatak as a lyricist and the music director.
I personally feel that out of 5 songs in the film, the song under discussion is only one which fits well with the theme of the film. It is a philosophical song about the life and inter-personal relationship. The lyricist sees the world comprising of different threads. We have to sew some and darn (rafu) some. Sometime in our life, we have to face difficulties in the same way as we see a series of clouds in otherwise the sunny sky. We ‘sew’ relationship with our relatives and friends over a period of time. Sometime, strains in the ‘stiches’ of relationship develop which we should try to keep it intact by ‘darning’ them. In our entire life, we ‘sew’ miles of threads (story), some remains undarn despite many attempts. Let us enjoy the remainder (aadha-pauna) of our life with our ‘woven and darned’ thread of relationship. By the way, this is probably the first time, I have come across the word ‘rafoo’ (darn) in Hindi film songs.
This song is one of the best examples of how a song can be composed melodiously with simple renditions, minimum orchestration (I hear only piano and guitar notes) and with simple yet highly meaningful lyrics. Kudos to Santanu Ghatak who has written and composed the song and the singer, Ronkini Gupta.
Video Clip:
Audio Clip:
Song-Kaise kaise dhaagon se buni hai ye duniya (Tumhaari Sulu)(2017) Singer-Ronkini Gupta, Lyrics-Shantanu Ghatak, Md-Shantanu Ghatak
Lyrics (based on audio clip):
kaise kaise dhaagon se buni hai ye duniya..
o o
kaise kaise dhaagon se buni hai ye duniya..
kabhi dhoop kabhi baadalon ki ye ladiyaan…
kuchh toone see hai maine ki hai rafoo
ye doriyaan
kuchh toone see hai maine ki hai rafoo
ye doriyaan
kaise kaise dhaagon se buni hai ye duniya
kabhi dhoop kabhi baadalon ki ye ladiyaan
kuchh toone see hai maine ki hai rafoo
ye doriyaan..
kuchh toone see hai maine ki hai rafoo
ye doriyaan
hmm
teri bani raahen meri thhee deewaaren…
teri bani raahen meri thhee deewaaren…
un deewaaron pe hi maine likh lee bahaaren
shaam huyi tu jo aaya so gayi thhee kaliyaan
phir shaam huyi tu jo aaya so gayi thhee kaliyaan….
kuchh toone see hai maine ki hai rafoo
ye doriyaan
kuchh toone see hai maine ki hai rafoo
ye doriyaan
ga ma pa ni dha pa ma pa ga ma ri sa
ga ma ni dha pa ga ma ri sa ni re
hmm
ga ma pa dha ma pa ni re sa
youn seete seete meelon ki ban gayi kahaani….
youn seete seete meelon ki ban gayi kahaani….
kuchh tere haathon se kuchh meri zubaani….
ab jo bhi hai ye aadha pauna
hai to rangraliyaan…
ab jo bhi hai ye aadha pauna
hai to rangraliyaan….
kuchh toone see hai maine ki hai rafoo
ye doriyaan
kuchh toone see hai maine ki hai rafoo
ye doriyaan
ho o o
kaise kaise dhaagon se buni hai ye duniya…
kabhi dhoop kabhi baadalon ki ye ladiyaan..
kuchh toone see hai maine ki hai rafoo
ye doriyaan
kuchh toone see hai maine ki hai rafoo
ye doriyaan
hmm hmm hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm…
hmm hmm hmm hmm hmm hmm hmm
hmm hmm hmm hmm hmm…
la la la la la la la
la la
la la laa…
la la la la la la la
la la
la la la…
Bol ree jethhaani
Posted on: September 23, 2023
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 : |
5545 | Post No. : | 18007 | Movie Count : |
4820 |
Hullo Atuldom
There are some celebrities who’s birthdays & anniversaries become national events. The media goes crazy in trying to show case their work and remind the film-crazy public about the body of their work, and bring them into public domain. I don’t grudge these celebrities their popularity. All of the concerned actors, actresses, music directors, singers etc have a huge fan following because of their work only.
Then there are those who reach milestone birthdays quietly, without much fanfare. 23rd September happens to be one such date. It is the date of birth of 3 actors whose work I have been following since I started seeing films consciously.
23rd September happens to be the 88th birthday of Prem Chopra- the tall, handsome, smart gentleman actor who excelled in playing characters which were very often negative. Who can forget his mannerisms & the Drawl when he mouths dialogue like “Prem naam hai mera, Prem Chopra” accompanied by a sinister smile. His “main woh bala hoon jo seeshe se patthar todta hoon” was equally intimidating. But in later years of his career he was comfortable in saying “nanga nahayega kya aur nichodega kya” & it tickled the audience.. We have seen him in around 380 Hindi & Punjabi films which were spread over 50/60 years. I am not sure which was his first film. I don’t know if he was the male lead or part of supporting cast in his first film, but his last released film was “Bunty Aur Babli 2” which came in 2020. Wishing this gentleman a very Happy Birthday & may he have a contented retirement with his family. 🙂
Malayalam actor Madhavan Nair turns 90 today. His brush with Hindi films was in 1969 when he played one of the “Saat Hindustani” alongside Jalal Agha, Utpal Dutt, Irshad Ali, Anwar Ali, Amitabh Bachchan & Shehnaz in the K.A. Abbas directed film “Saat Hindustani”. I have read somewhere that in later years he had appeared in a Sai Paranjape directed film too. He is commonly known as Madhu in South Indian films and has been active since the early ’60s. He had his own style & fan-base even in the era of Prem Nazir being the most- sought actor. He has acted, mainly, in Malayalam films and has appeared in a few Tamil movies too. His last film released in 2022 but now he has hung his boots. Since morning my husband & me were noting that news channels were speaking about this actor. Googling gave me the information about it being Madhu a.k.a Madhavan Nair’s (the Malayalam actor) birthday.
23rd September is the landmark birthday of an actress too. She was born into a film family. Her mother, older sister, nieces & nephew are all connected to the film industry. As also her in-laws, husband, daughters, son-in-law and his father too have been entertaining moviegoers since moviemaker began in India? 🤔
We are talking of Tanuja daughter of Shobana Samarth, sister of Nutan, daughter- in-law of the Mukherjee family, mother of Kajol & Tanisha, & mother-in-law to Ajay Devgan whose father was also a film fight composer. Tanuja has been facing the camera since 1950 when her mother Shobana Samarth directed “Hamari Beti” to launch a 14-year old Nutan. Tanuja played a child artist in that movie. The first time I saw a film with Tanuja was “Haathi Mere Saathi” in 1971 but her first role on growing up was possibly in “Humari Yaad Aaayegi”, “Memdidi” or “Aaj aur Kal”. She is still seen occasionally when she comes on reality shows as guest.
In the 1980s there were a spate of films that had family-social-drama as their central storyline. Tanuja was seen in a few of them as the oldest Bahu who would be the bhabhi-maa to her Devars & Nanand. Typically, one of the Devar would marry a lady who would turn nasty to her jethani & the family will experience a lot of hardships. There were films with similar stories in the late 1950s & 60s too- remember “Choti Behen”.
Much as I would have loved to post a song featuring atleast two of the actors having their birthdays today, the song features Tanuja only. Of course there will be films where Tanuja & Prem Chopra were part of the cast but I didn’t find any song which has the 2 of them.
Today’s song is from “Ghar Ka Sukh” (1987). It had Shoma Anand playing devarani to Tanuja. It has Shoma Anand trying to appease a sulking Tanuja. It is in the voices of Anuradha Paudwal & Alka Yagnik. I had seen this song a few year back & was waiting to introduce it here.
Let us enjoy the song and wish Tanuja a very Happy Birthday.
Song-Bol ree jethhaani (Ghar Ka Sukh)(1987) Singers-Anuradha Paudwal, Alka Yagnik, Lyrics-Ravi, MD-Ravi
Both
Lyrics
bol ri jethaani
kaahe ko gussa ho gayi
bol ri jethaani
kaahe ko gussa ho gayi
gussa zyaada ho to thhoda pi lo thhanda paani
arrey bol ri jethani
kaahe ko gussa ho gayi
bol ri jethaani
dekho
o ho
gusse ki acting to achchi karti ho tum
ek dam Tanuja jaisee lagti ho tum
gusse ki acting to achchi karti ho tum
ek dam Tanuja jaisee lagti ho tum
mujhe pata hai phr ke mukhda kyun baithi ho tum
hansi aa na jaaye kahin
darti ho tum
hahaha
hahaha
gusse mein bhi kitni sunder lagti hai maharaani
arrey bol ri jethaani
kaahe ko gussa ho gayi
bol ri jethaani
nahin maanti
roothhi raho
main bhi tumse baat nahin karoongi
katti
bol ri devraani
haaye tu kyun gussa ho gayi
bol ri devraani
haaye tu kyun gussa ho gayi
mujhe manaane aayi thhi
lo khud roothi meri raani
arey bol ri devrani
haaye tu kyun gussa ho gayi
bol ri devraani
achcha
to tu aise nahin maanegi
roothi reh
main tujhko kabhi bhi na manaaungi
khud bhi na hansoongi
na main tujhko hansaaungi
roothi reh mai tujhko kabhi bhi na manaaungi
khud bhi na hansungi
na main tujhko hansaungi
aane de devar ji ko tere kaan khichwaaungi
teri sabhi roosa roosi unko bataaungi
na na
aisa nahin karna
devar ji ka naam liya to kaisee mar gayi naani
areey bol ri devraani
haan haan
keh de na unse
khinchwa de na mere kaan
main bhi tumse baat nahin karoongi
arre main to mazaak kar rahi thhi
buraa maan gayee
roothh gayee mujhse
maine mana tere miyaan ki lagti hoon main bhaabhi
lekin ghar ki badi hoon
rakhoon sab taalon ki chaabhi
hans de jo ik baar zara tu o meri devraani
main banaras ki saadi dilwa doongi
main banaras ki saadi dilwa doongi
laal rang ka lehenga choli
jaipur se mangwaa ke
uspe gota kinaari lagwa doongi
uspe gota kinaari lagwa doongi
aur phir tu
raat ko devar jee ke aage
sharma ke gaayegee
haaye
pallo latke
gori ko pallo latke
pallo latke
gori ko pallo latke
zarai si
zarai si
tedho hoyi ja baalma
mero pallo latke
pallo latke
gori ko pallo latke
zarai si
zarai si tedho hoyi ja baalma
mero pallo latke
arre
kitna mana rahi hoon
maanti hi nahin
saadi chaba rahi hai
bhookhi hai kya
chal chaupaati
donon milkar khaayenge poori paani
fudak fudak kar chalti jaise ho gudiya japani
arey bol ri devrani
tu hi meri maa hai
tu hi badi behna
tu hi meri maa hai
tu hi badi behna
maanoongi sada hi main to tera kehna
isi tarah bas pyaar mein beete saari zindgaani
isi tarah bas pyaar mein beete saari zindgani
o meri jethaani
ari o meri devraani
ari o meri jethaani
laalalalalalalala
laalalalalalalala
laalalalalalalala
laalalalalalalala
laalalalalalalala
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 : |
5513 | Post No. : | 17958 |
Regulars of the blog would recall that I used to write a lots of posts about my pets between 2012 to 2014. The tales were amusing tales that some people may even dismiss as made up tales. But they were true tales. In one of the posts, I even put up a video link as proof to demonstrate that what I described in that post were facts and not fiction.
Life is about kabhi khushi kabhi gham. The first time of pet related gham came about in June 2012 when our pet cat nuppy expired. I shared the news with blog regulars in this post.
I notice (in hindsight) that I did not publish any more posts dedicated to my pets after the demise of nuppy. However, one post about my two surviving pets appeared in July 2014. During that time, we were introducing all our regular contributors to the blog. Sadanand jee decided that the contributions of my pets in the running of the blog too needed to be recognised. 🙂 So this post about my pets was not by me but by our regular contributor and fellow pets lover Sadanand Kamath jee. How very kind and considerate of him !
Though I continued to get lots and lots of interersting experiences with my pets, I was not able to summon the same creative juices that I possessed earlier and so I did not post any more pet related posts for nearly eight years. Some of the future posts did mention my pets in passing though, especially posts that described my transfers.
My next pet related post appeared in 2020. This post was to break the news of the demise of my other pet namely Chhote. That was in May 2020.
That left us with one surviving pet from the original three, namely Bhole.
Subsequently, my wife and daughter picked up a pup from the streets of Gorakhpur (where I was based at that time) and named her Izza. My daughter, while staying in her medical college hostel in Mumbai adopted a cat as pet. That cat was named as Bakhtawar Singh aka Bukky. That cat too came to live with us in Gorakhpur.
Lots of developments have taken place since. I have superannuated and retired from service in 2022. One of the major task that we needed to carry out before my superannuation was to ensure that our three pets were taken to Bhopal, where I was to settle down after retirement. Bukky, who had arrived from Mumbai to Gorakhpur by train with my daughter left for Bhopal with my wife and daughter by our car. We had arranged for a driver for this 1000 km long drive. While that driver drove around 700 km, my daughter drove for 300 km. That way the car as well as Bukky arrived at Bhopal. That was in february 2022, four months prior to my retirement.
The month of June 2022 was a very hectic month when I had to carry out all the important works including moving out my household items to Bhopal and vacate my official accomodation at Gorakhpur. I have described it in detail in this post.
The work that gave me the most satisfaction was the work of successfully tranporting the two dogs (Bhole and Izza) by train from Gorakhpur to Bhopal. It was a logistically challenging task. I have discussed the challenges involved in detail in that post.
For Bhole, it was his second train journey. His first train journey was from Bilaspur to Agra cantt in 2015. He was accompanied by Chhote on that occasion. I have discussed that episode in this post.
In Bhopal, I obviously led a retired life. My pets, Bhole and Izza too found themselves having to reconcile themselves to a more sedate life. In Gorakhpur, they would roam around freely in the vast premise (walled all over) as they wished. Here in Bhopal, they needed to be given their walks on the streets while tied up on their leashes. Running around freely was a thing of the past for them.
In order to give them their morning walks, I began to wake up early at 4 AM and take them for their walk, one dog at a time. Even before the morning, the two dogs would bark at night when they saw street dogs on the street infront of the residence. Their bark at night and other times irritated my wife who felt that their bark was disturbing the neighbours. It was my duty to wake up whenever the dogs barked at night and pacify the dogs.
All these disturbances at night plus taking them for their morning walk meant that I felt sleepy in day time. So taking an afternoon nap had become an absolute necessity for me which was not liked one bit by my wife. She felt that she was doing all the hard work of supervising construction work (the house was getting renovated/ expanded now that we had finally arrived to stay there permanently), while I kept sleeping.
The two dogs plus the cat coped well during all the disturbances caused by construction works being carried out. All three managed to escape out of the home on a few occasions giving us anxious moments before we finally managed to locate them, recapture them and bring them back home. Meanwhile we added another kitten, named Chinty, as our pet whom we found at the roof of our house. So we now had two dogs and two cats with us.
The pets needed to visit vets occasionally, either for vaccination or for other urgent reasons. The kitten (then not yet our pet) had to be taken to the vet when we found her sick on the roof of our home. She was dehydrated and needed urgent medical attention. She was given saline daily for a week. She began to respond to the treatment after three days and finally recovered fully. Now she is a healthy and naughty cat who has learnt her lesson. She drinks lots of water whenever she sees water.
Izza and Bukky needed medical attention only during routine occasions, viz vaccinations, but Bhole, the seniormost pet nearing 13 years of age needed regular medical attention. Itching was a constant problem for him and he needed attention for that wherever he stayed. Sometimes he would injure his skin while scratching it with his sharp teeth (hoping to relieve him of his itching), develop wounds and then he would need to be treated by the vet. Bhole first visited a vet (along with his fellow pets) as a pup in Nagpur. Subsequently, he visited vet hospitals in Bilaspur, Izatnagar and Gorakhpur. When Bhole was taken in the car then he knew that he was going to a vet. Unlike many dogs who were afraid of visits to the vet, Bhole looked forward to these visits to vets. Painful injections that most other dogs would be scared of were taken by Bhole without wincing. I would proudly inform this fact to the vet who would be nervous before giving the injection.
In Bhopal, we initially took our pets to Government Vet Hospital at Bhopal. But that was far off and inconvenient. We subsequently discovered a private vet located nearby. We found him quite good and competent. So we would take our pets to his clinic whenever required. His place was within 5 minutes drive from our residence. It was while getting Bhole treated that he suggested a change of diet for Bhole to rid him of his perennial itching problem. He suggested that instead of chicken (which seemingly Bhole was allergic of) he needed to be fed fish. So Bhole’s diet was changed. The changed diet seemed to work because Bhole’s itching problem stopped. Moreover, his hunger seemed good. He would finish off his meals eagerly and would still feel hungry. He began to seek something to eat in morning to, in addition to his two meals at noon and evening.
Ironically all that eating did not help his weight any. He was a slim dog right from the beginning. He weighed an estimated 24 KG during his prime. I say estimated because he would not allow himself to be lifted by one of us, which was a prerequisite for the combined weight to be taken on a scale. The human weight would then get subtracted from the combined weight taken with a struggling Bhole to get the dog’s weight. Chhote would happily co-operate in this exercise, so we could measure his weight accurately as 25 KG.
When the vet at Bhopal took Bhole’s weight (on a scale where only the pet needed to stand), I proudly stated that he was 24 KG, but I was unpleasantly surprised to note that his weight turned out to be 18 KG. It meant Bhole had lost considerable weight for various reasons viz age, his struggles with ailments etc. This loss of weight and advancing years etc did not prevent him from displaying his swagger though.
When he went on his walks, other dogs, including large dogs like German Shepherds got nervous. Bhole would normally ignore the barking of other dogs, but if he took notice and barked back, the barking dog (and his owner if any) would nervously turn back. 🙂 I would proudly boast to other dog walkers who tended to show agression towards Bhole that the dog better be aware. Bhole, I informed them, had been a street fighter all his life and he had taken on packs of fierce dogs and has survived to tell the tale. I do not think that the German Shepherds and other such show off dogs would be able to do what Bhole had achieved in his prime. Bhole had incredible level of tolerance and he could tolerate the bite of a dog and survive, but if Bhole bit back, the other dog would be in serious trouble. Bhole had strong jaws and large teeth. Most dogs instinctively noticed and realised this fact and so gave Bhole a wide berth when he went on his walks.
The name of Bhole, like that of other pets was given by my wife. The name, to my mind was quite appropriate. Bhole (synonym of Lord Shiva) would take the vish (venom) so that his fellow pets (and human beings) could enjoy amrit. He often did not receive credits for his achievements from my wife. Only I appreciated the qualities and achievements of Bhole and took pride in owning him. Bhole instinctively knew what he was supposed to do and was not supposed to do. While Chhote behaved like a human kid and got away with it, Bhole realised that he could not get away by behaving like Chhote and adjusted his behaviour accordingly. He also realised he he should not expect a preferential treatment from my wife. He could rely upon me though. Most of his life was spent with me, so for much of his life he felt wanted and cared for.
All was seemingly well till the morning of 17 august 2023. He had fully eaten up his evening meal last evening. I was sure he would demand something to eat in the morning. In the morning of 17 August 2023, I took Bhole for a walk. He took a lesser distance walk than what he had taken the last morning and came back. Then I took Izza for her walk. Their morning walks were over by 5:15 AM or so.
It was from around 7 AM or so that I noticed Bhole in distress. He would not normally make such agonised sounds that he was making. I informed my wife. She noticed Bhole’s distress. She felt that the end was near. I phoned the vet and we took Bhole to him. While the vet was examining Bhole, my wife noticed a government sanitary worker standing near a government garden. She went there and discussed matters with him in case his help was needed. He gave my wife his phone number and assured all help if needed.
The vet took the blood sample and temperature and found them all right. It was the heart beat that was irregular. Bhole was given saline so that his body could receive some nourishment. Bhole was silent all this while giving us hope that he would recover. But a little while later, he started making the same distress sounds. The vet suggested that things would stabilise after some time and then he should be given his meal.
Back home, Bhole kept acting in the same way. We tried to give him a clean secluded place with no light. He tried to rest there. At lunch time we tried to feed him, but Bhole was in no condition to eat.
We allowed him to stay there as before.
Bhole stayed there without making any sounds. In the evening, when I went there and touched him, I realised that Bhole was rid of all his distress. He was no longer alive. I informed my wife of this fact.
When our other two pets expired, only one of us was around. In this case, both of us were available. The daugter was not there. She was in a train and she was due to arrive by night.
My wife phoned up the sanitary worker whom she had met earlier in the day. The worker promised that he would arrange everything and the body would be buried in a secluded place not far from our residence.
The daughter arrived at night. Necessary arrangements were made at night. Next morning on 18 August, the sanitary worked phoned at 8 AM and informed that arrangements had been made. He arrived at our residence in his bike. Bhole’s body was kept in car boot and we drove behind the worker’s bike. He took us to a vast ground that spreads for many acres. It is a largely abandoned government property. A colleage of that sanitary worker had dug up the earth at an isolated place. Bhole was buried there.
We left the place and came back home. The sanitary worker came home. My wife asked how much she should pay. He said Rs 2000. My wife, who was prepared to pay much more paid him and thanked him profusely. We were relived that we were able to give Bhole a decent and dignified farewell that he, as our 13 year old companion richly deserved.
So Bhole (2 october 2010-17 august 2023) bid us farewell and with that a long chapter in our lives got closed. He gave us many memorable moments during these 13 years as one can find out from the writeups whose links have been provided above. Any creature who is born has to die. In case of dogs, it is a matter of just over ten years. Bhole lived nearly as long as a normal dog is expected to live.
In my post on Chhote, I had opined that my pets were like “Shaapit gandarv” and “shaapit dev”. In ancient mythology, gandharv or Em>dev of devlok would commit some misdeeds for which they would get cursed and sentenced to spend time on Earth. On begging forgiveness, their sentence would be made lighter. Either the tenure would be reduced or they would be allowed to spend time on earth under less challenging conditions. It would appear to me that in case of nuppy, the period of sentence was two years and in case of Chhote, it was nine years. Bhole, who could not deal with people like his fellow pets, was similarly not able to reason with the person cursing him, so he ended up carrying out his full sentence on earth. No matter what, he may have left satisfied that we as his owners tried to take as good a care of him as we could and we gave him as dignified a farewell as we could. Personally I feel that I did my best for Bhole, as indeed for Chhote three years ago. If there is anything like “karma” or so, I have hopefully earned good marks in the ledger of “karma” .
With advancing age, one becomes less emotional and more philosophical. It took me one day to come up with an obituary for nuppy and two days for an obituary on Chhote, it had taken me 5 days to write an obituary for Bhole. When I went through the earlier obituaries that are detailed and heartfelt, I thought that Bhole too deserved an obituaty from me.
So here it is. I hope Bhole is now reunited with his fellow pets nuppy and Chhote in their original forms as gandharv or dev as the case may be.
The songs that I used in case of other two obituaries were songs that fitted the bill perfectly. I had specially located those songs.
The song that I have chosen with this post was already earmarked to be posted today. It just happens that the song fits the bill for this obituary as well. The song talks of Insaan being a “khilauna mitti ka.” Be it insaan or any other creature, we are all mortals and we all have to leave the world some day.
This philosophical song is sung by S Balbir and chorus. Dhaniram is the lyricist as well as the music director. The song is from “Daak Babu”(1954). This movie was produced and directed by Lekhraj Bhakri for Jubilee Pictures, Bombay. The movie had Nadira, Kuldip Kaur, Talat Mahmood, Yashodhara Katju, Radha Kishan, Manmohan Krishna, Ram Avatar, Roshan, Uma, Munshi, Ranjhodh,Ramdayal, P.N.Sharma etc in it.
“Daak Baabu”(1954) had eleven songs in it. nine songs have been covered so far. This song is the tenth song from the movie to appear in the blog.
I had earmarked this song to be posted on today (22 August 2023) because this date is the birth anniversary of Balbir (DoB 22 August 2026- DoD unknown).
With this song, we pay tribute to a singer who sang quite a few memorable songs during the golden era of HFM before he vanished from the scene without leaving any trace. This song in a way speaks for each of us. It reminds us of this inalienable and inevitable fact that we all are mortal, and we all have to leave one day or the other. So we better get reconciled to it.
I have reconciled myself to the fact that we will not have Bhole in our midst again. But his memories will remain. I am sure we will remember him fondly just as we keep remembering his two fellow pets even today.
Lyrics of this song were sent to me by Prakashchandra.
Song-Insaan khilauna matti ka (Daak Babu)(1954) Singer-S Balbir, Lyrics-Dhaniram, MD-Dhaniram
Male chorus
Lyrics(Provided by Prakashchandra)
insaan khilauna matti kaa
matti kaa khilaunaa hai ae aey ae
matti kaa khilaunaa hai ae
insaan khilauna matti kaa
matti ka khilaunaa hai ae ae ae
matti ka khilaunaa hai ae
insaa..aaan
aa aaa aaa
aa aaa aaaaa
insaan khilauna matti kaa
matti ka khilaunaa hai ae ae
matti kaa khilaunaa hai ae
insaan khilauna matti kaa
matti ka khilaunaa hai ae (insaan..aaa aaan aaa)
matti ka khilaunaa hai ae (haan aan aaa haan aaan aaa aaaa insaan)
rang rangeelaa banaa khilaunaa
banaa khilaunaa aan aaa aan
sakht jaay ke
huaa salonaaa
huaa salonaa aa aaa
kood phaand mein bachchon ne jab
kood phaand mein aen aen aen
kood phaand mein aen aen aen aen
kood phaand mein aen aen
kood phaand mein bachchon ne jab
dharti par de maaraa aa aaa aaa
choor choor woh huaa khilaunaa aaa aan aa aaa
phir nahin judney ae waalaa aaa aaa
insaan khilaunaa matti kaa
matti ka khilaunaa hai ae ae
matti ka khilaunaa hai ae
insaan khilaunaa matti kaa
insaan (matti ka khilaunaa hai)
haan aaan aaaa aaaaa aa (matti ka khilaunaa hai)
insaan
isee tarah hai teri zindagi
teri zindagee ee ee ee ee ee ee
teri zindagee ee ee ee ee
teri zindagee ee ee
isee tarah hai teri zindagi
teri zindagee eee ee eee ee
kadam kadam par dar hai ae
ke dar hai
kadam kadam par dar hai ae ae
ye hai faani
ye hai faani..ee
ye hai ae faani
ye hai faanee
iski naheen umar hai
manzil hai ae ae ae ye ae ae
ek safar kee ee ee
do din kooch karegaa aaa aaa
saath chalegee izzat nekee ee
aur naa koyi chalegaa aaa aa aaa
jaan boojh kar kyon kartaa hai
jaan boojhkar r
jaan boojh kar r r r
jaan boojh kar r r r
jaan boojh kar kyon kartaa hai
tu naadaani ee bandey aey ae
raah prabhu ki chal kar pagley aey ae ae
kaat jagat ke ae phandey aey ae aey
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 : |
5466 | Post No. : | 17884 | Movie Count : |
4779 |
‘Sutradhar’ (1987) was an off-beat film which was directed by Chandrakant Joshi. The main cast of the film included Smita Patil and Nana Patekar in the lead roles, supported by Girish Karnad, Gajanan Jagirdar, Nilu Phule, Ashalata Wabgaonkar, Madhu Kambikar, Kamalakar Sarang, Shrikant Moghe, Irshad Hashmi, Master Hrishikesh Joshi etc. Sudheer Moghe wrote lyrics and composed the songs for the film. The film was certified by Censor Board on 31/01/1986 and may have been released a year later as the film’s credit title starts with the film being dedicated to the late Smita Patil who passed away on 13/12/1986. As far as I know, this was the only film in which Smita Patil and Nana Patekar acted together in the lead roles.
‘Sutradhar’ (1987) was the only Hindi film which Chandrakant Joshi directed. The same was true for Sudheer Moghe as a music director and the lyricist. Another common thing about these two personalities was that both came to the film industry from unconnected fields. Both were multi-faceted personalities.
Kolhapur based Chandrakant Joshi (1944 – 20/12/2021) was an alumni of Sir J J School of Art, Mumbai. After graduation, he took the job of an art teacher in his hometown, Kolhapur, which he continued for a long time. Later, he joined Shivaji University, Kolhapur as the Head of the Department of Performing Arts for 5-years. From his younger days, Chandrakant Joshi was a film enthusiast which ultimately led him to the Marathi film industry as an art director, actor, director, producer, writer, and costume director. He was also associated with Marathi and Hindi theatres.
Towards the later part of his life, Chandrakant Joshi became a cinema activists. He set up Kalamahrshi Baburao Painter Film Society which organizes the annual Kolhapur International Film Festival. He was regarded as the encyclopedia of Marathi film industry. Chandrakant Joshi was engaged in organising another film festival when he fell unconscious. He was admitted in a hospital where he breathed his last on December 20, 2021, at the age of 77. [Information culled out from various newspapers, such as Maharashtra Times, Loksatta, Times of India etc].
One of his sons, Hrishikesh Joshi acted as a child artist in the film under discussion. A post-graduate from the National School of Drama, Delhi, Hrishikesh Joshi is an eminent actor in Marathi/Hindi films and theatres, TV serials and Web-series.
I was aware of Sudheer Moghe as a Marathi film lyricist from my younger days as I was very fond of his popular songs in a classic Marathi mystery thriller film, ‘हा खेळ सावल्यांचा’, 1976 (English meaning: Shadow Play). Later on, I came to know that more than as a lyricist, he was well-known as a Marathi poet and writer.
Sudheer Moghe (08/02/1939 – 15/03/2014) was born at Kirloskarwadi near Sangli. When recognition came to him as a poet, sometime in early 1970s, he resigned his job and shifted to Pune to concentrate on poetry writing. To take care of his livelihood, he turned lyricist in Marathi films which he had no intention to continue for long. His main focus was on poetry writing which for him was as necessary as the breathing. During 1987-2010, he presented his one-man show ‘Kavita Panopaani’ during which he would recite his poems from the memory, sometime in tune he composed. Pandit Bhimsen Joshi gave him the title of ‘Kaviraj’.
Sudheer Moghe became one of the most sought-after lyricists for Marathi films. He also wrote and composed lyrics in Hindi for a few TV serials. Despite becoming popular as a lyricist, Sudheer Moghe decided to quit as a lyricist in early 1990s as his nature was to try something different. In this pursuit, he became music composer, dialogue/screenplay writer, anchoring for radio and television programmes and lastly a painter.
Sudheer Moghe breathed his last on March 15, 2014, at Pune at the age of 75 after a prolonged illness. [With inputs from a Marathi article written by Hema Shrikhande, the elder sister of Sudheer Moghe in ‘Loksatta’ – March 15, 2015].
Sudheer Moghe’s elder brother Shrikant Moghe who was a well-known Marathi film and theatre actor, also acted in the film under discussion in the role of a sarpanch.
I watched ‘Sutradhar’ (1987) on one of the video sharing platforms.
It is a story of a young man, Kumar (Nana Patekar) who in his childhood, has witnessed his poor father getting beaten up by the henchmen of the landlord (Girish Karnad) for no fault of his. He has also seen landlord’s other atrocities. Kumar grows up to become a teacher with a disgust toward the landlord. Kumar transforms the village with his good social work with the help of Prerana (Smita Patil), the daughter of the School’s Headmaster, whom he eventually marries. Because of his good work, Kumar gets support from the villagers to stand for the election against the landlord and he wins.
With power in his hands, over a period of time, Kumar’s behaviour becomes just like that of the landlord whom he hated the most in his younger days. Now, Kumar’s primacy is to become more powerful by contesting election for the assembly seat. This is resented by Prerana who feels that with his zeal to become more powerful, he has neither time to pay attention to the family nor to the problems of villagers. She wants him to refrain from contesting assembly election which he rejects. Disgusted with his attitude, Prerana leaves Kumar and shifts to her father’s place.
The election politics create rifts between two groups of his supporters leading to the death of Bansilal (Kamalakar Sarang) one of his close associates who does not have a good reputation. Actually, this was the handwork of Kumar who feels that his association with Bansilal may affect his election prospects. The film ends with Kumar attending the funeral of Bansilal, assuring his widow and her young son that he would take care of them financially and leaves for his election campaign. The film brings out as to how power and politics can change the behaviour of a person from good to bad.
‘Sutradhar’ (1987) has six songs including one recitation of a shloka. The remaining five songs have been written by Brahmanand (1), Sant Kabeer (1) and Sudheer Moghe(3). All the songs have been set to music by Sudheer Moghe. I am presenting the film’s first song ‘ye shaam ke rangeen saaye’ to appear on the Blog. The song is rendered by Jyotsana Hardikar, her first playback singing in Hindi film. Sudheer Moghe is the lyricist as well as the music director for this song.
The song is picturised on Smita Patil and Nana Patekar who were the childhood friends in the village. They meet after a gap of 18 years as she was away in Shantiniketan for her education. She is impressed with his work for the betterment of the village and supports him in his works. This song is the culmination of their association into marriage.
Towards the end of the film when both Nana Patekar and Smita Patil have separated, a part of an additional stanza of this song is faintly heard in the background when Smita Patil remembers her association with Nana Patekar to her present position. No video or audio clip of the short background song is available as of now. The additional stanza which I got from a Marathi article written by Hema Shrikhande, the elder sister of Sudheer Moghe is as under:
haan issi shaam mein hamko sab kuchh mila
ek kinaara mila ek ghar bhi mila
adhkhila mann khila
raaz uska khula
kaise chhupaayen
Video Clip:
Part II – 3rd Stanza
Song-Ye shaam ke rangeen saaye kahin kho na jaayen (Sutradhar)(1987) Singer-Jyotsna Hardikar, Lyrics-Sudheer Moghe, MD-Sudheer Moghe
Female chorus
Lyrics
hmm mm mm
hmm mm mm
hmm mm mm
hmm mm mm
hmm mm mm
hmm mm mm
hmm mm mm
hmm mm mm
hmm mm mm
hmm mm mm
hmm mm mm
hmm mm mm
ye shaam ke rangeen saaye
hmm mm mm
hmm mm mm
kahin kho na jaayen
hmm mm mm
hmm mm mm
ye shaam ke rangeen saaye
hmm mm mm
hmm mm mm
kahin kho na jaayen
maange bina jo mila hai sama
maange bina jo mila hai sama
kaise jataayen
ye shaam ke rangeen saaye
hmm mm mm
hmm mm mm
kahin kho na jaayen
hmm mm mm
hmm mm mm
aa aa aa aa
aa aa aa aa
oodi oodi ghata jhilmilaati huyi
bheeni khushboo hawa se chhalkaati huyi
oodi oodi ghata jhilmilaati huyi
bheeni khushboo hawa se chhalkaati huyi
ek jaadoo sunehri si chhaayi nayee
mehki fizaayen
ye shaam ke rangeen saaye
hmm mm mm
hmm mm mm
kahin kho na jaayen
aa aa aa aa aa aa aa
aa aa aa aa aa aa aa aa aa
aa aa
aa aa aa aa
aa aa aa aa
ye haseen shaam jeewan mein aabaad ho o
zindagi pyaar kaa geet-samwaad ho
ye haseen shaam jeewan mein aabaad ho
zindagi pyaar kaa geet-samwaad ho
na gila ho na shikwa
na fariyaad ho
bas ye duwaayen
ye shaam ke rangeen saaye
hmm mm mm
kahin kho na jaayen
maange bina
la la la la
kaise jataayen
ye shaam ke rangeen saaye
kahin kho na jaayen
Part II
haan issi shaam mein hamko sab kuchh mila
ek kinaara mila ek ghar bhi mila
adhkhila mann khila
raaz uska khula
kaise chhupaayen
————————————————
Hindi script lyrics (Provided by Sudhir)
————————————————
हम्म म्म म्म
हम्म म्म म्म
हम्म म्म म्म
हम्म म्म म्म
हम्म म्म म्म
हम्म म्म म्म
हम्म म्म म्म
हम्म म्म म्म
हम्म म्म म्म
हम्म म्म म्म
हम्म म्म म्म
हम्म म्म म्म
ये शाम के रंगीन साये
हम्म म्म म्म
हम्म म्म म्म
कहीं खो ना जाएँ
हम्म म्म म्म
हम्म म्म म्म
ये शाम के रंगीन साये
हम्म म्म म्म
हम्म म्म म्म
कहीं खो ना जाएँ
मांगे बिना जो मिला है समा
मांगे बिना जो मिला है समा
कैसे जताएँ
ये शाम के रंगीन साये
हम्म म्म म्म
हम्म म्म म्म
कहीं खो ना जाएँ
हम्म म्म म्म
हम्म म्म म्म
आ आ आ आ
आ आ आ आ
ऊदी ऊदी घटा झिलमिलाती हुई
भीनी खुशबू हवा से छलकती हुई
ऊदी ऊदी घटा झिलमिलाती हुई
भीनी खुशबू हवा से छलकती हुई
एक जादू सुनहरी सी छाई नई
महकी फिज़ाएँ
ये शाम के रंगीन साये
हम्म म्म म्म
हम्म म्म म्म
कहीं खो ना जाएँ
ये हसीन शाम जीवन में आबाद हो ओ
ज़िंदगी प्यार का गीत संवाद हो
ये हसीन शाम जीवन में आबाद हो
ज़िंदगी प्यार का गीत संवाद हो
ना गिला हो न शिकवा
ना फरियाद हो
बस ये दुआएं
ये शाम के रंगीन साये
हम्म म्म म्म
कहीं खो ना जाएँ
मांगे बिना
ला ला ला ला
कैसे जताएँ
ये शाम के रंगीन साये
कहीं खो ना जाएँ
भाग 2
हाँ इसी शाम में हमको सब कुछ मिला
एक किनारा मिला एक घर भी मिला
अधखिला मन खिला
रा उसका खुला
कैसे छुपाएँ
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 : |
5385 | Post No. : | 17663 | Movie Count : |
4743 |
‘Apna Apna Aasmaan’ (TV Serial, 1992) was telecast on Doordarshan’s National Channel from December 1992. The main cast of the TV Serial included Girish Karnad, Beena, Shreeram Lagoo, Viplav Malhotra, Lalit Parimoo, Parveen Pandey, Dinesh Khanna, Hemant Mishra, Nandlal Sharma, Usha Suhail, Priya Wadhwa, Rekha Babbal, B Sushma, Kishori Ballal etc. The 13-episode serial was based on a Telugu novel, ‘Kausalya’ by Polapragada Satyanarayana Murthy, with some more characters added in the screenplay to make it a family drama. The TV Serial was produced and directed by Kailash Tuli.
The serial is based on a true story of a freedom fighter from Andhra Pradesh who participated in ‘Quit India’ movement and was jailed. His participation in freedom movement and his imprisonment affected his family and created a crack in his married life. The gist of the story of the ‘Apna Apna Aasmaan’ (1992) is as under:
Venkatramaiah (Girish Karnad) is travelling in a train to Vijayawada where he meets one of his acquaintances who was his cellmate in jail during the Quit India movement. Both of them exchanges pleasantries during which Venkatramaiah tells him that he is staying in his village with his late elder brother’s family and looking after them. He also tells him that his wife Kausalya (Beena) and his son are staying separately in her late father’s house. From here, the story goes ‘on’ and ‘off’ in flashback mode.
On the advice of his stepmother, Venkatramaiah marries Kausalya, the daughter of a wealthy lawyer. Immediately, after the marriage, Venkatramaiah has to leave the house to join some agitation which is resented by Kausalya. However, reluctantly, she allows him to join the agitation. This becomes his routine and sometime, he goes to jail also. It is only when Venkatramaiah is to join one more agitation when Kausalya is pregnant, she threatens him that if he leaves to join the agitation, she will leave the house forever. Venkatramaiah joins agitation and serves 3 years in jail. Kausalya goes to her father’s house never to return.
Venkatramaiah is released from jail. His pride comes in the way of meeting Kausalya and goes to his elder brother’s house where he starts living. The elder brother tries his best to bring the rapprochement between his younger brother and his wife but in vain as both are adamant. After some years, Kausalya’s father dies leaving his wealth and land to her which she starts managing. Venkatramaiah’s elder brother and his wife die in a boat accident leaving his family of two sons and two daughters to be looked after by him. He manages with the money he earns from tilling his elder brother’s small landholding.
Kausalya brings up her son, Tilak with good education. She put him in a medical college in Kakinada where he stays in a hostel. Venkatramaiah takes care of the education of his nephews and nieces and get them married. However, in the house, there is tension as excessive rains destroyed the crops making the family out of money which his nephews are in need for further education. One day, the built up tensions in his nephews and the widowed niece comes out, blaming Venkatramaiah for imposing his dictates on them as they are not allowed to do things as per their wishes. Venkatramaiah agrees with them and decides to shift himself to a different village where he had 5 acres of land given to him by the government as a freedom-fighter.
While walking on the road aimlessly, Venkatramaiah gets hit by a bike-rider, Tilak, a medical student (who is his own son and neither of them had seen each other since his birth). Tilak takes Venkatramaiah to his hostel room. He gives him some money to enable him to reach his village. In his elder brother’s family, the younger nephew, Anand (Lalit Parimoo) gets police inspector’s job which enable him to send his younger sister, Janaki to higher studies in Kakinada college where she stays in the hostel. In an inter-collegiate elocution competition, Tilak meets Janaki and they become good friends. Their friendship is not liked by Anand. He gets Tilak arrested on a false charge.
When Venkatramaiah comes to know about his arrest through a newspaper, he comes to Kakinada and exposes the false charge which forces Inspector Anand to withdraw the charge. Tilak is set free and return to his mother’s place to tell the story of his arrest and his subsequent release due to the help from Venkatramaiah. He takes his mother to Venkatramaiah’s house where they get united as they feel that for the betterment of their son, Tilak, they will rather give up their rigid stands towards each other.
I had heard the title song of the TV serial, ‘Apna Apna Aasmaan’ (1992) few years back but I do not recall that I had watched TV Serial. Now that I have watched all the 13 episodes of the TV Serial, thanks to the Doordarshan who uploaded the digital version, I am in a position to understand the underlying theme in the title song.
I present the title song ‘zindagi mein har kisi kaa apna apna aasmaan’ from the TV Serial, ‘Apna Apna Aasmaan’ (1992). The song is rendered by Jagjit Singh and is written and composed by Satish Bhatia who retired as the Chief Producer (Light Music) at All India Radio (AIR), Delhi in 1987. Satish Bhatia (1929-2005) was the music director for Hindi films, ‘Maaldaar’ (1951) and ‘Boond Jo Ban Gayi Moti’ (1967). He has also composed the patriotic song, ‘ham honge kamyaab ek din’ and a mega project, the musical ‘Ramcharitmanas’ which was broadcasted on AIR with more than 400 episodes. Many prominent singers including Lata Mangeshkar had rendered songs in ‘Ramcharitmanas’. He has composed hundreds of choral songs for AIR.
There is a trivia on the recording of the title song under discussion which I feel I should share with the readers because it highlights the importance of the ‘riyaaz’ for the singer. It also shows Jagjit Singh’s high regard for Satish Bhatia as a music director. He traveled from Mumbai to Delhi to record the song. Normally, it would have been other way round for Jagjit Singh.Satish Bhatia was entrusted with composing the title song for Doordarshan’s TV serial, ‘Apna Apna Aasmaan’ (1992). Jagjit Singh, the singer flew from Mumbai to Delhi by early morning flight and reached the recording studio at Daryaganj in Old Delhi. He was to rehearse the song with Satish Bhatia and record the song. For Jagjit Singh, the rehearsal and recording would not have taken much time. But he had missed his daily riyaaz that day due to an early morning flight. So, he sat in the studio with a harmonium and began his riyaaz which took about 3 hours. He was offered lunch which he said he would take after recording. After rehearsal and a couple of retakes, the title song was ready by early evening after which Jagjit Singh had lunch. He returned to Mumbai by the late evening flight. [Source: Ajay Mankotia, nephew of Satish Bhatia, in an article on Jagjit Singh in ‘DailyO’ dated 10/10/2020].
In the serial, the mukhda with first antara appears at the start of each episode. However, each of the three antaras of the song appears randomly at the end of each episode. I have collated the three antaras in one video clip to watch the song seamlessly.
Video Clip:
Audio Clip:
Song-Zindagi mein har kisi ka apna apna aasmaan (Apna Apna Aasmaan)(TV serial)(1992) Singer-Jagjit Singh, Lyrics-Satish Bhatia, MD-Satish Bhatia
Chorus
Lyrics
aaa aaa aaa aaa aaa
zindagi mein har kisi kaa
apna apna aasmaan
har koi apne junoon ki
kah raha hai daastaan
zindagi ki talkhiyaan aur
har taraf naakaamiyaan
dil ko ghaayal kar gayin
aur badh gayin bechainiyaan
bechainiyaan
zakhm-e-dil to bhar gaye ae
na mit sakey unke nishaan
apna apna aasmaan
kyun kabhi nazdeekiyaan aur
kyun kabhi ye dooriyaan
kyun kabhi aanchal mehakta
kyun kabhi chingaariyaan
chingaariyaan
ye paheli sab ki hai
aaa aaa aaa
ye paheli sab ki hai ae
wo dharti ho yaa aasmaan
apna apna aasmaan
pyaar ki parchhaayiyaan
yaa apni hai naadaaniyaan
dil kabhi aabaad hai
yaa chhaa gayin barbaadiyaan
barbaadiyaan
zindagi kya hai haqeeqat
yaa hai khwaabon kaa jahaan
har koi apne junoon ki
kah raha hai daastaan
apna apna aasmaan
apna apna aasmaan
apna apna aasmaan
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
|
Blog Day : |
5345 | Post No. : | 17528 | Movie Count : |
4716 |
#the Decade of Eighties – 1981 – 1990 #
———————————————————–—-
(A tribute to Music Director & Lyricist Ravi)
————————————————————————
Today I present a song from the movie ‘Mera Suhaag-1987’.
I was longing to share this song here for many years. I got to listen to this song, for the first time nearly one decade ago when I was staying in Kachchh (Gujarat). I used to commute from Mundra to my workplace near Adipur and back by ST (GSRTC) Bus. The driver of the Bus used to play songs from his pen drive daily. This song was among the songs played. I liked this song very much when I listened to it first time, and I got to listen to it on one or two more occasions during my commute.
However, I was not aware which movie this song was from. It was only later when I searched for it that I came to know the name of its movie.
It was ‘Mera Suhaag-1987’.
“Mera Suhaag-1987” was directed by Ajay Sharma for ‘A.V. Movies’. It was produced by Satluj Dheer.
It had Rati Agnihotri, Pankaj Dheer, Swaroop Sampat, Manmohan Krishna, Junior Mehmood, Mamta Kapadia, Riaz Ahmed, Shashi Bhushan, Vilas Kalgutkar, Amal Sen, Shiva, Seema Vaz, Tanuja, Deepti Naval, Ajay Sharma, Achala Nagar and others.
Story of this movie was written by C. L. Dheer and screenplay was written by Shashi Bhushan.
Dialogues of this movie were written by Achala Nagar.
As per information available on the internet this movie was initially titled as ‘Tanha Tanha’ and its audio records were also released by the same name in 1986. However the movie was released in ‘1987’ with a different title viz ‘Mera Suhaag’.
The information also mentioned in the trivia about this movie that Pankaj Dheer played the lead actor in this movie while C.L. Dheer his father wrote the story of this movie. His brother Satluj Dheer produced this movie.
“Mera Suhaag-1987” has six songs (including one two-part song).Music director was Ravi who also wrote the lyrics for all the songs in this movie.
Today 7th March’2023 is the eleventh ‘remembrance anniversary’ of music composer and lyricist Ravi Shankar Sharma mononymously known to us as Ravi.
He was born on 3rd March’1926 and he passed away on 7th March’2012 leaving behind the treasure of his immortal, unforgettable and iconic songs that he composed for Hindi Film Music.
Today’s song is sung by Asha Bhonsle and the part of the song is lip-synced by Rati Agnihotri and part of the song is played in the background on screen.
Also seen in the picturisation of this song are Pankaj Dheer, Junior Mehmood, Tanuja and others.
This song is a poignant song and one can guess that it appears in the movie because of the ‘strained marital relationship’ of Rati Agnihotri and Pankaj Dheer. In the second part of the song we can see Rati Agnihotri leaving the home and the family …
I would request knowledgeable readers who have watched this movie to throw more light on this movie and its songs.
Let us listen to the beautiful verses of Ravi and this poignant composition by him in the voice of Asha Bhonsle …
With this song, ‘Mera Suhaag’ of ‘1987’ makes its debut on the blog and joins the ‘Mera Suhaag-1947’ and ‘Mera Suhaag-1961’ that are already available on the blog. 🙂
Video (Both parts)
Audio Part I
Audio Part II
Song-Kismat waalon ko milta hai pyaar ke badle pyaar (Mera Suhaag)(1987) Singer-Asha Bhonsle, Lyrics-Ravi, MD-Ravi
Lyrics
(Part-I)
qismat waalon ko o o
miltaa hai pyaar ke badle pyaar
qismat waalon ko o o
miltaa hai pyaar ke badle pyaar
ham ko phoolon ke badle
kaanton ke haar
qismat waalon ko o o
miltaa hai pyaar ke badle pyaar aar
qismat waalon o o ko
miltaa hai pyaar ke badle pyaar
maine ik devtaa ko
man mein basaa ke ae
sapnon ka mahal sajaaya thhaa aa aa
maine ik devtaa ko
man mein basaa ke ae
sapnon ka mahal sajaaya thhaa aa aa
thhukraa ke zindagi ke
maine sukh saare ae
apnaa jisko banaayaa thhaa
usne hi mere dil ke
tode hain taar
qismat waalon ko o o
miltaa hai pyaar ke badle pyaar aar
qismat waalon o ko o o
miltaa hai pyaar ke badle pyaar
har ek insaan ki
taqdeer ka jeewan se ae
naataa to hai
badaa hi kareeb kaa aa aa
har ek insaan ki
taqdeer ka jeewan se ae
naataa to hai
badaa hi kareeb kaa aa aa
mil jaaye jo kisi ko
achchha jeewansaathi ee
khel hai jahaan mein
ye naseeb ka aa aa
kis ko sunaaun apne
dil ki pukaar
qismat waalon ko o o
miltaa hai pyaar ke badle pyaar aar
qismat waalon o ko o o
miltaa hai pyaar ke badle pyaar
ham ko phoolon ke badle
kaanton ke haar
qismat waalon ko o o
miltaa hai pyaar ke badle pyaar
miltaa hai pyaar ke badle pyaar
miltaa hai pyaar ke badle pyaar
————————-
(Part-II)
————————-
qismat waalon ko o o
miltaa hai pyaar ke badle pyaar aar
qismat waalon o ko
miltaa hai pyaar ke badle pyaar
ham ko phoolon ke badle
kaanton ke haar
qismat waalon ko o o
miltaa hai pyaar ke badle pyaar
kitne jatan kiye
maine paas reh ke ae
pyaar mera phir bhi
mujhse door thhaa aa
kitne jatan kiye
maine paas reh ke ae
pyaar mera phir bhi
mujhse door thhaa aa
itnaa bataa de mujhko
zaalim zamaane ae
is mein mera kya
qasoor thhaa aa
jeeti taqdeer huyi
aaj meri haar
qismat waalon ko o o
miltaa hai pyaar ke badle pyaar
sadaa khush rahe tu
yahi deti hain duaayein
tujhko meri bezubaaniyaan
sadaa khush rahe tu
yahi deti hain duaayein
tujhko meri bezubaaniyaan
aaj majboor ho ke
chhod chali hoon
yaadon ki teri nishaaniyaan
le ke chali aankhon mein
aansunon ki dhaar
qismat waalon ko o o
miltaa hai pyaar ke badle pyaar aar
qismat waalon ko o o
miltaa hai pyaar ke badle pyaar
ham ko phoolon ke badle
kaanton ke haar
qismat waalon ko o o
miltaa hai pyaar ke badle pyaar
miltaa hai pyaar ke badle pyaar
miltaa hai pyaar ke badle pyaar
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
Recent comments