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

Posts Tagged ‘Mahendra Kapoor


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

Missing Films of 1960s – 30
– – – – – – – – – – – – – – –

Before I started working on this post, I was under the misconception that this film has already opened its account on our blog. Why I have carried this impression, I myself am not sure. This has happened with me a few times. On a couple of occasions, I even have sent an SOS message to Atul ji, just to confirm. Sometimes, this feeling that a particular song or a particular film is already present on our blog, is so strong, that either I will not look it up. Or if I do, then I don’t believe that it is not present. It makes me feel that there is some error in the data files. And that is when the SOS message to Atul ji happens. Maybe, it is because that at some point in time in the past, I have thought about writing up a particular song. That desire is so intense, that an impression stays in the mind that it has happened, even though I did not really get around to doing it, for some reason.

The film ‘Aasmaan Mahal’ belongs in that category. When I got the list of missing films from 1960s from Khyati Ben, I was surprised to see this film listed there. I checked and double checked – yes this film has not yet made its entry on our blog. Khyati Ben’s communication is also quite a while ago now, so this debut has taken its own sweet time.

Released in 1965, this film is from one of those different line directors who will not walk a beaten path – Khwaja Ahmed Abbaas. Whenever, I have an encounter with his films, it always has been that the director himself stands out much taller than his creations. Abbaas Sb belongs to that set of directors whose approach to realism is starkly different. Over the decades, the film producers and directors have been raising the bar on creating a progressively more realistic experience for the audiences. Their violence is very real, their romancing and love making is very real, their action and the settings are getting more real, the scenic projections are getting more and more real with the help of better technology and methods. They will make one lose the sense of the medium, that you are watching a film. Their endeavor is to draw the audience so powerfully into the scene, that it seems like being there, seeing that. But there is something missing. And the missing element is the reality of life – the realism of the human situation. What remains is entertainment, no doubt a significant cause for the industry, but the message of life is lost beneath the noise of the effort to present a situation more and more realistically.

Abbaas Sb and other directors of his ilk will present you with drama that does not let you forget that it is after all a drama. They don’t spend any energies to transform reel life into real life. The situations, the expressions, the motions – will not make the audience forget that they are watching a make believe reel life. Au contraire, their triumph is that they are successful in projecting the human situation as it is, and confront the audience with the realism of human beings. They will present a slice of life that is most of the time, a part of our personal experience. Only that they bring it into a sharper focus. Entertainment is not the primary quest. The primary quest is to deliver a message without any soothing embellishments.

The era is late 1930s and early 1940s. The philosophy of communism, which in prior decades had made an impact in Europe, and created a new behemoth nation, the USSR, was maturing. The initial euphoria and the romanticism which captures the imagination of every generation coming of age, brought this philosophy to the centre of the world stage. The Russian influence would work in neighbuoring China also, which would become a communist nation, about a decade later. The influence carried to South America, to Africa and to South and South East Asia, In that backdrop, the communist movement started to take roots in India also.

Being a movement of the masses, their primary method was to reach out to the people in the rural areas and the in the lower strata of the society. The thinkers and dreamers in the cultural spaces were quite influenced by this ideology, and the IPTA (Indian Peoples Theatre Association) was born. In its heydays in the 1940s and 1950s, it boasted of membership that read like the who’s who of the Indian film industry, as well as the Indian writers / authors / poets of any and all significance. Abbaas Sb has been a prominent and leading luminary of this movement of cultural expression in India. I borrow from one of my earlier articles (the post on the song “Aandhi Aaye Ke Toofaan” – film ‘Saat Hindustani’ (1969)), and reproduce a set of paragraphs about him.

 The Wikipeadia page on Abbas Saab contains very interesting information about this personality, e.g. fact like his family tree is traced back to Ayub Ansari, a close associate of Prophet Mohammed, and that his grandfather was one of the prominent soldiers in the 1857 uprising against the Britishers and a martyr, sentenced to be blown on a cannon, and that Abbas Saab is the great great great grandfather of Shahid Kapoor. Besides these familial facts, Abbas Saab has been a prolific writer and journalist, and a noted story writer and film maker in Hindi Cinema. His column ‘Last Page’ in ‘Blitz’, the Bombay based newspaper, ran from 1935 to 1987, the longest running column in the history of Indian journalism. He wrote 73 books in Hindi, Urdu and English, and is considered as one of the premier Urdu short story writers of the 20th century.

Abbas Saab started his career in the film industry in 1936, as a publicist for Bomaby Talkies. He wrote the story and screenplay for ‘Naya Sansar’ (1941) that launched his career as a writer. He also had strong Marxist leanings, and was part of the IPTA (Indian People’s Theatre Association) movement in the 40s and 50s. His debut as a director was with the movie ‘Dharti Ke Lal’ (1945), a movie based on the catastrophic Bengal famine of 1943, produced by IPTA. His other notable screenplay contributions have been Chetan Anand’s ‘Neecha Nagar’, V Shantaram’s ‘Dr. Kotnis Ki Amar Kahaani’, and many movies from the RK studios including ‘Aawaara’, ‘Shri 420’, ‘Jaagte Raho’, ‘Mera Naam Joker’, ‘Bobby’, ‘Henna’ etc. Incidentally, the movie ‘Neecha Nagar’ (1946) has the unique distinction of being the first Indian film to win the Golden Palm at the Cannes Film Festival.

Abbas Saab was a pioneer of the neo-realistic parallel cinema, and through his own production house Naya Sansar, made many notable films like ‘Anhonee’, ‘Raahi’, ‘Munna’, ‘Shehar Aur Sapna’, ‘Aasmaan Mahal’, ‘Char Dil Char Raahen’, ‘Saat Hindustani’, ‘Do Boond Pani’ etc. He won the National Award for ‘Shehar Aur Sapna’, and the awards for best film on national integration for ‘Saat Hindustani’ and ‘Do Boond Pani’.

With ‘Aasmaan Mahal’, Abbaas Sb got the opportunity to present literally the decay and transition of the old feudal systems, being replaced by the power of the worker class – which is the central theme of the Marxist philosophy. The story revolves around the haveli named ‘Aasmaan Mahal’ – a once grand palace which has been the residence of a generation of Nawabs, in the city of Hyderabad. With all avenues of revenue and income dried out, the family and the palace has fallen into decay. There are no finances to maintain the place. The current Nawab, role played by Prithviraj Kapoor, lives on in the hope of one day being able to uncover a hidden treasure on the premises. The archaic tales of the palace tell of a previous generation Nawab having hidden away a large stash of gold and jewels some place in the palace. Its whereabouts are not known.

Meanwhile the errant and spoilt son of the Nawab, role played by Dileep Raj, would not know better, spending his time and days as young men of Nawab families are supposed to. The reality of penury comes home to roost one day. The young heir apparent chooses to start working in a car repair workshop. And he falls in love with the daughter of a commoner. Expectedly, the standoff happens between the generations, with both sides taking tough stands – the elder Nawab arguing about the opulence of the past and where they come from, and the young man talking about the ground realities of what they are now. A compromise consensus is arrive at, the young man gets to marry his beloved in a last big celebration that happens in the palace, after which the palace is auctioned off. The elder Nawab passes away on the day of the auction, and young man takes up work as a truck driver.

The film travels on an even keel, never forgetting the primary thread. The realism of the decay, so potently expressed in black and white, is not just of the palace and its facades, but also of the ageing generations and their belief systems. The uptake of the younger generation, conceding to work as a car mechanic, quite in contrast to his antecedents, is both romanticism as well as an acceptance of life’s realities. It is an out and out KA Abbaas film – the reality of life, and the message of change is very convincing, although viewing the film, the director ensures that you know that you are after all viewing a film.

This is the first song from this film to find its place on our blog. And this song is very special for couple of very important reasons. The first reason is the poet behind this song – Majaaz Lakhnawi. Most readers and friends will be familiar with this name. His iconic ghazal “Ae Gham e Dil Kya Karoon, Ae Vehshat e Dil Kya Karoo” has been made into the now memorable song in the voice of Talat Sb, for the film ‘Thokar’ (1953). It seems that Majaaz had a set of good friends in the industry. Recently, a friend pointed out to me that Majaaz has even made a cameo appearance in one film. In the film ‘Pyaasa’ (1957), just before Hemant Da’s song “Jaane Wo Kaise Log The Jin Ke Pyaar Ko Pyaar Mila”, there is a small session of the literati in progress. Majaaz is present in person in this scene, and also presents two she’er (couplets) in his own voice.
[Ed Note: As pointed out by Sadanand ji, and also after some more checking, the above sentences are deleted. Reason being that the reference to the film ‘Pyaasa’ in this context is incorrect and misplaced. In the above mentioned scene of a small party of the literati at the home of Rehman, two actors play the roles of Majaaz and Jigar Muradabaadi, for the cameos. The actual persona are not present in the scene, as I was led to believe based on a conversation with a friend. Sadanand ji has correctly pointed out that Majaaz passed away in 1955, and the shooting for ‘Pyaas’ commenced only in 1956.]

Given the quality of the song from ‘Thokar’ and the familiarity with the industry folks, it is amazing that Majaaz has not written anything else for the films. With one excpetion – this song from ‘Aasmaan Mahal’. As I searched the Geet Kosh and other sources, I am not able to locate any other writings of his being used in films – just these two solitary ghazals.
[Ed Note: Sadanand ji points out that Majaaz never wrote for films. That there are two instances of his poetry being used in Hindi films, is more about the film people choosing to use his pre-published poetry rather than him writing for films specifically.]

And the second thing special about this ghazal is the manner in which it has been framed and presented. It is a single ghazal, which tells of the pains of helplessness and inefficacies of a heart in love. The music director, JP Kaushik has presented this ghazal as a duet, with the two people in love taking turns to express their emotions using the couplets of the same ghazal. I cannot immediately recall another instance where this method is used. The lines are presented, not as a song, but as a ghazal in its pure form. The lady and the gentleman are shown situated long distances from each other, and are shown communicating through the rendition of this ghazal. The voices are of Mahendra Kapoor singing for Dileep Raj, and Vijaya Chaudhry singing for Surekha.

Another side note. I am presenting two versions of this ghazal, wherein clearly the version on the 78 rpm record is very different from the version that is present in the film. Obviously the two versions have been recorded separately. The body of the ghazal does not change. There is change in the order of the couplets and also which voice picks up which line. A very interesting thing to note is that the film version has NO accompanying music. However, the record version has accompaniment by tabla and sitar. It is quite possible that after the 78 rpm version was recorded, the director may have felt the need for an even more bare bones version to suit the situation in which he wanted to film it. And hence a different version may have been recorded.

More about the film and the people associated with it, in subsequent presentations of the songs of this film. Welcome to ‘Aasmaan Mahal’.

[Video]

[Audio]

Song – Main Aahen Bhar Nahin Sakta (Aasmaan Mahal) (1965) Singer – Mahendra Kapoor, Vijaya Majumdar, Lyrics – Majaaz Lakhnawi, MD – Jag Phool Kaushik
Mahendra Kapoor + Vijaya Majumdar

Lyrics

(Video Version)
main aahen bhar nahin sakta

ke naghme gaa nahin sakta
sukoon lekin mere dil ko
mayassar aa nahin sakta
sukoon lekin mere dil ko

main usko poojti hoon aur
us ko paa nahin sakti
main us ko chaahta hoon aur
us tak jaa nahin sakta

haden wo kheench rakhi hain
haram ke paasbaanon ne
haden wo kheench rakhi hain
haram ke paasbaanon ne
ke bin mujrim baney
paighaam bhi pahuncha nahin sakta

ye majboori si majboori
ye lachaari si lachaari
ke us ke geet bhi  
jee khol kar main gaa nahin sakta
sukoon mere dil ko

na aandhi rok sakti hai
na toofaan rok sakte hain
na toofaan rok sakte hain
magar phir bhi main
us kasr e haseen tak jaa nahin sakta

zubaan par bekhudi mein naam
us ka aa hi jaata hai
zubaan par bekhudi mein naam
us ka aa hi jaata hai
agar poochhe koi wo kaun hai
batla nahin sakta

(Audio Version)
main aahen bhar nahin sakta
ke naghme gaa nahin sakta
sukoon lekin mere dil ko
mayassar aa nahin sakta
sukoon lekin mere dil ko

main usko poojti hoon aur
us ko paa nahin sakti
main us ko chaahta hoon aur
us tak jaa nahin sakta
sukoon lekin mere dil ko

na aandhi rok sakti hai
na toofaan rok sakte hain
magar phir bhi 
main us kasr e haseen tak jaa nahin sakta
sukoon mere dil ko

zubaan par bekhudi mein naam
us ka aa hi jaata hai
zubaan par bekhudi mein naam
us ka aa hi jaata hai
agar poochhe koi wo kaun hai
batla nahin sakta
sukoon mere dil ko

ye majboori si majboori
ye lachaari si lachaari
ye lachaari si lachaari
ke us ke geet bhi  
jee khol kar main gaa nahin sakta

sukoon lekin mere dil ko
mayassar aa nahin sakta
sukoon mere dil ko

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

(व्हिडिओ से)
मैं आहें भर नहीं सकता
के नग़में गा नहीं सकता
सुकून लेकिन मेरे दिल को
मयस्सर आ नहीं सकता
सुकून लेकिन मेरे दिल को

मैं उसको पूजती हूँ और
उसको पा नहीं सकती
मैं उसको चाहता हूँ और
उस तक जा नहीं सकता

हदें वो खींच रखीं हैं
हरम के पासबानों ने
हदें वो खींच रखीं हैं
हरम के पासबानों ने
के बिन मुजरिम बने
पैग़ाम भी पहुंचा नहीं सकता

ये मजबूरी सी मजबूरी
ये लाचारी सी लाचारी
के उसके गीत भी
जी खोल कर मैं गा नहीं सकता

ना आँधी रोक सकती है
ना तूफान रोक सकते हैं
ना तूफान रोक सकते हैं
मगर फिर भी
मैं उस कसर ए हसीं तक जा नहीं सकता

ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
अगर पूछे कोई के कौन है
बतला नहीं सकता

(आडियो से)
मैं आहें भर नहीं सकता
के नग़में गा नहीं सकता
सुकून लेकिन मेरे दिल को
मयस्सर आ नहीं सकता
सुकून लेकिन मेरे दिल को

मैं उसको पूजती हूँ और
उसको पा नहीं सकती
मैं उसको चाहता हूँ और
उस तक जा नहीं सकता
सुकून लेकिन मेरे दिल को

ना आँधी रोक सकती है
ना तूफान रोक सकते हैं
मगर फिर भी
मैं उस कसर ए हसीं तक जा नहीं सकता
सुकून लेकिन मेरे दिल को

ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
ज़ुबान पर बेखुदी में नाम
उसका आ ही जाता है
अगर पूछे कोई वो कौन है
बतला नहीं सकता
सुकून लेकिन मेरे दिल को

ये मजबूरी सी मजबूरी
ये लाचारी सी लाचारी
ये लाचारी सी लाचारी
के उसके गीत भी
जी खोल कर मैं गा नहीं सकता

सुकून लेकिन मेरे दिल को

मयस्सर आ नहीं सकता
सुकून लेकिन मेरे दिल को

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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 sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Here is a song from Muqaddar Ka Sikandar. It is written by Anjaan and Kalyanji Anandji are the music directors. It is sung by Asha Bhonsle, Mahendra Kapoor and Lata Mangeshkar.

This movie had great songs. All Eight of them. But a lousy story line (I can see a whole lot of Atulites chuckling right Rajaji?)

We have covered five songs from the movie so this should be the sixth. This song occurs immediately after Amitabh has sent a love note to Rakhee. He being illiterate has got it written by Vinod Khanna. Now because it is in Vinod Khanna’s writing, Rakhee thinks it is a love note from Vinod Khanna. To make matters worse Amitabh Bachchan has not delivered it himself. He has asked a roadside boy to deliver it to the MEMSAAB staying in the opposite house. So, you see he has neither written it nor personally delivered it, then how will poor Rakhee know who has sent it. She goes through some documents that Vinod Khanna has been writing for her dad compares the writing and concludes that Vinod Khanna is in love with her; which is also true. To further confuse matters Vinod Khanna doesn’t know that Amitabh Bachchan is in love with Rakhee. He only knows that Amitabh Bachchan is in love and he addresses his love as MEMSAAB. So how will know he is treading on someone else’s territory?

Now let us twist the story further (hey Raam!!! Prakash Mehra what were you thinking when you wrote this story!!!) As soon as she got the letter Rakhee very happily sings “Dil toh Hai Dil” and both the heroes think it is for them. So promptly they decide to take her out on a date. Only thing is Amitabh Bachchan reaches the venue after the other two and realizes that there is an encroacher on his territory. Hmm, feel like pulling my hair out. But as a youngster in school I first fell in love with the songs. And subsequently saw the movie many times (but only on TV never in the theatre)

As if all this was not enough we have an Amjad Khan-Rekha angle in this story. She loves Amitabh Bachchan and Amjad loves her, and when they are dyingAmjad realizes Amitabh never loved Rekha (in the movie)and it was a waste of a life– Rekha’s dying.

So here we have a song which has Rakhee desperately trying to look young and boisterous and to top it she is also trying to dance a western dance I amstill trying to make out if its waltz or disco or khisco!!!! Through the movie, she is sari clad trying to look mature and here this getup make a buffoon out of her. Why oh why did she agree to subject herself and us to this torture???

I am unable to recognize the dancer who starts the song I think PCji will be of help here.

It is about eight years since the death of the maker of this Amitabh classic passed away-yes, it is nowadays considered to be a classic as the songs are still on the publics favourite-song list. And anything remotely old is termed a classic.

17 may 2017 is the eighth death anniversary of Shri Prakash Mehra (13 july 1939- 17 may 2009) who gave a new lease of life to Amitabh’s career in 1973 with “Zanjeer”. He began his career in bollywood as production controller and switched to being a director from Shashi Kapoor starrer “Haseena Maan Jayegi” in 1968. He was one of the specialists in “Masala Genre” His collaboration with the actor Amitabh Bachchan resulted in several box office blockbusters and classics, due to which Mehra was considered among the ‘Golden Directors’ of his time.

Remembering Prakash Mehra and thanking him for all the entertainment that he gave us.

Ed:-And this turns out to be the eighth and final song from “Muqaddar Ka Sikandar”(1978). so finally MKS (as we people newly familiar with the MKS system of units used to describe this movie) joins the list of movies that have all their songs covered in the blog.


Song-Pyaar zindagi hai (Muqaddar Ka Sikandar)(1978) Singers-Asha Bhonsle, Mahendra Kapoor, Lata, Lyrics-Anjaan, MD-Kalyanji Anandji
Mahendra Kapoor + Lata
All

Lyrics

Love
Haan
{Hey man, this is ??
You Like it
then why don’t you come and join
lover’s paradise}

hahahaha
hahaahaha
aaah

pyaar zindagi hai
pyaar bandagi hai
bandagi hai
yahalla yahalla
oo yaallah
oo yahalla yahalla
oo yaallah

pyaar se pyaar karo
ye umr pyaar ki hai
pyaar se pyaar karo
ye umr pyaar ki hai
pyaar bina kya jeena
ye bhi koi zindagi hai
pyaaar zindagi hai
o pyaaar bandagi hai
bandagi hai

yahalla yahalla
o yaallah
oo yahalla yahalla
o yaallah

pyaar karam pyaar dua
pyaar sitam pyaar wafa
pyaar se juda to yahaan koi nahin koi nahin
pyaar khushi pyaar nasha
kya wo nazar kya wo ada
ho kisi ka pyaar mein jo
koi nahin koi nahin
dil ko laga ke dekho
pyaar mein kya khushi hai
dil ko laga ke dekho
pyaar mein kya khushi hai
pyaar bina kya jeena
ye bhi koi zindagi hai
pyaar zindagi hai
o pyaar bandagi hai
bandagi hai
yahalla yahalla
o yaallah
oo yahalla yahalla
oyaallah

door rahe paas rahe
dil mein teri pyaas rahe
tere liye main hoon
tu hai mere liye
mere liye
pyaar sanam
pyaar khuda
yaar kabhi ho na juda
yaar bina koi yahaan
kaise jiye kaise jiye
baahon mein yaarke hi
duniya bahaar ki hai
o baahon mein yaar ke hi
duniya bahaar ki hai
pyaar bina kya jina
ye bhi koi zindagi hai

pyaaar zindagi hai
pyaar bandagi hai
bandagi hai

yallayalla
o yaallah
yallayalla
o yaallah

dekh hamen koi jaley
koi jaley
haath maley
tu jo mere saath chale
logon se kyadarna yahaan
pyaar yahaan jo na kare
khaak jiye khaak mare
yaar mere tere liye
jeena yahaan marna yahaan
mar ke bhi na mite jo
ye woh deewaangi hai
mar ke bhi na mite jo
ye woh deewaanagi hai
pyaar bina kya jeena
ye bhi koi zindagi hai

pyaar zindagi hai
o pyaar bandagi hai
bandagi hai

yahalla yahalla
o yaallah
yahalla yahalla
o yaallah

pyaar se pyaar karo
ye umr pyaar ki hai
ye umr pyaar ki hai
pyaar bina kya jeena
ye bhi koi zindagi hai
ye bhi koi zindagi hai

yalla yalla
ooyaallah,
yallayalla
ooyaallah
yallayalla
ooyaallah
yallayalla
ooyaallah
yallayalla
yallayalla
yallayalla
pyaar pyaar pyaar pyaar pyaar


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

One more film to add to the list. Today’s Yippeee film is ‘Hamaare Gham Se Mat Khelo’ from 1967. Being a film of relatively recent vintage, I am surprised that I am not able to find this song online. This song was heard fairly frequently on the radio in those days, but it seems to have dropped out of the collective memory.

The film is a stunt genre directed by Kunwar Shankar Singh Tomar (assisted by Pal Premi) for the banner of Himachal Pictures, Bombay. The star cast of the film reads as – Kunwar Shankar Singh Tomar, Bharati, Nazir Husain, Sajjan, Murad, Mukri, Maruti, Bela Bose, Niranjan Sharma, Tarun Bose, Amarnath etc. A note in the Geet Kosh indicates that the director cum hero of this film was a resident of Kanpur in his later years, and the compiler, Shri Harmandir Singh ji had met him personally and confirmed / updated the details about this film. I was a little surprised to note that this film is listed as a stunt film. In my mind, the title of this film suggested itself to be more a social drama rather than anything else.

Coming to the songs, this film has six songs, written by three song writers. Three songs are written by Nyay Sharma, two songs (including the song in this post) are written by Shireesh, and one song is a ghazal from the pen of Asraar. As I checked the Geet Kosh for the work of these song writers, I find some interesting notes. The songwriter Asraar seems to have one solitary song of this film, to his credit; his name appears nowhere else in the documented information in Geet Kosh. The name Nyay Sharma appears just in three films, viz. ‘Anjali’ (1957), ‘Kinaare Kinaare’ (1963) and this film – all having the music of Jaidev. In all 24 songs from 3 films. The name Shireesh appears for four films and a total of eight songs. The films are ‘Anokha Jungle’ from 1956, then ‘Hero No. 1’ from 1959, one unreleased film ‘Gypsy’ from 1960s and this film. Outside of this film, Shireesh seems to have worked only with music director Iqbal. Very limited careers, and very limited contributions. I request our more knowledgeable readers and friends to please add more information about these songwriters.
[Ed Note: Mahesh ji Mamadapur has sent me a message identifying one more film for Nyay Sharma – ‘Peele Parbat Kaale Chor’. This film remained incomplete. The music director was Madan Mohan.
One more clarification – the data presented above is based on information available in the Geet Kosh. Which implies that this data is complete till 1980, and does not contain additional data from 1981 and beyond.]

Another interesting thing I noted about this film is that the three songs in this film that are sung by Mahendra Kapoor are probably the only songs that he has recorded for Hindi films with Jaidev. I believe there are one (or more) non film songs that are probably recorded by Jaidev in Mahendra Kapoor’s voice. But in films, this seems to be the only film where Jaidev has used this voice.

List of the songs of this film posted earlier, is given below, with names of the songwriters indicated.

 

1.       Aansoo Chhupaaye Aankh Mein Shireesh
2.       Gar Ye Zameen Nahin Asraar
3.       Ye Khaamoshi Kyun Ye Madhoshi Kyun Nyay Sharma
4.       Kahiye Kya Hukm Hai Nyay Sharma
5.       Ye Bahaar Ka Samaa Nyay Sharma

As our dear Arun ji has noted in another post earlier in the day today (“Hum Punjabi, Hum Bangaali”, from the film ‘Hum Ek Hain’, 1969), the era of 1960s still had the fervour of national pride and nation building. As an independent self governing country, India was still in its teens. The fifties and early sixties were the heady days of growth and modernization of the country, under the prime minister-ship of Jawaharlal Nehru. Then in 1962, 1965 and 1971, we had three wars with our neighbouring countries. The feelings of nationalism were at their peak, and the same was reflected proportionately in our films and film songs.

This song is a wonderful such example of exhorting the nouveau young generation to take on the reins of managing the nation building process. The children of the 1950s who were taught “Hum Laaye Hain Toofaan Se Kishti Nikaal Ke, Is Desh Ko Rakhna Mere Bachcho Sambhaal Ke” (film ‘Jaagriti’, 1954), were now maturing into young men and women. This song seems to take off where the ‘Jaagriti’ song had left off, a decade earlier.

The song carries the fervour of that era, and there is a specific mention of the Five Year Planning process that had been put in place by the first government of independent India. The words of this song encourage the younger generation folks who are now turning into active adults, to take charge and carry forward the progress and the pride of this country.

As I listen to this song again today after so many years, and as I write these words, a thought comes to my mind. The message of this song is not limited to that era. The message is timeless and it applies to every generation, as it transitions into mature and responsible adults. Will this message, this song mean the same to the young people of today? An interesting question to be debated. The message is true, and is equally necessary in this age, as it was five decades ago. But in my opinion, there is a disillusionment of the general masses with the governing system and the political party-ism that has corrupted this nation beyond belief. Would the young adults of this age be impressed by the timelessness of this message, and the words of this song? I invite the readers and friends to comment on this.

Meanwhile, enjoy this song that captures the spirit of an era in recent history. The song has been rendered so appropriately, as only Mahendra Kapoor can deliver – the rising octaves taking the emotions to the heights of the sky – the rendition expresses so truly, the spirit of the words in the song.

And yes, we have this film, ‘Hamaare Gham Se Mat Khelo’, join the ranks of Yippeee’d films on our blog. 🙂

Song – Naye Yug Waalo Nai Umr Waalo (Hamaare Gham Se Mat Khelo) (1967) Singer – Mahendra KapoorLyrics – Sheerish, MD – Jaidev

Lyrics

naye yug waalo..oo
nai umr waalo
sambhaalo sambaahlo watan ko sambhaalo
sambhaalo sambaahlo watan ko sambhaalo
sambhaalo
nai umr waalo
sambhaalo sambaahlo watan ko sambhaalo
sambhaalo sambaahlo watan ko sambhaalo

tumhen aaj apne watan ne pukaara
zameen ne pukaara gagan ne pukaara
utho apni taaqat ka..aa
utho apni taaqat ka le kar sahaara
watan hai hamaara
watan hai tumhaara
sajaa lo
naye yug waalo
bahaaron se apne chaman ko sajaa lo
bahaaron se apne chaman ko sajaa lo
sambhaalo
nai umr waalo
sambhaalo sambaahlo watan ko sambhaalo

kadam hum ko mil ke badhaana padega
ab har haal mein muskuraana padega
tiranga gaga mein lehraana padega..aa
tiranga gaga mein lehraana padega
ye khwaab e jawahar sajaana padega
sajaa lo
naye yug waalo
nai yojana  se watan ko sajaa lo
nai yojana  se watan ko sajaa lo
sambhaalo
nai umr waalo
sambhaalo sambaahlo watan ko sambhaalo

utho desh ki uljhanon ko mita do
utho ab watan ko gulistaan banaa do
utho saathiyo apna parcham sambhaalo..oo
utho saathiyo apna parcham sambhaalo
utho apne haathon mein hindostaan lo
utha lo
naye yug waalo
watan ko himalay se ooncha utha lo
watan ko himalay se ooncha utha lo
sambhaalo
nai umr waalo
sambhaalo sambaahlo watan ko sambhaalo
naye yug waalo
naye yug waalo
naye yug waalo..oo..

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

नए युग वालो॰॰ओ॰॰
नई उम्र वालो
संभालो संभालो वतन को संभालो
संभालो संभालो वतन को संभालो
संभालो
नई उम्र वालो
संभालो संभालो वतन को संभालो
संभालो संभालो वतन को संभालो

तुम्हें आज अपने वतन ने पुकारा
ज़मीन ने पुकारा गगन ने पुकारा
उठो अपनी ताक़त का॰॰आ॰॰
उठो अपनी ताक़त का लेकर सहारा
वतन है हमारा
वतन है तुम्हारा
सजा लो
नए युग वालो
बहारों से अपने चमन को सजा लो
बहारों से अपने चमन को सजा लो
संभालो
नई उम्र वालो
संभालो संभालो वतन को संभालो

कदम हमको मिलके बढ़ाना पड़ेगा
अब हर हाल में मुसकुराना पड़ेगा
तिरंगा गगन में लहराना पड़ेगा॰॰आ॰॰
तिरंगा गगन में लहराना पड़ेगा
ये ख्वाब ए जवाहर सजाना पड़ेगा
सजा लो
नए युग वालो
नई योजना से वतन को सजा लो
नई योजना से वतन को सजा लो
संभालो
नई उम्र वालो
संभालो संभालो वतन को संभालो

उठो देश की उलझनों को मिटा दो
उठो अब वतन को गुलिस्ताँ बना दो
उठो साथियो अपना परचम संभालो॰॰ओ॰॰
उठो साथियो अपना परचम संभालो
उठो अपने हाथो में हिन्दोस्तां लो
उठा लो
नए युग वालो
वतन को हिमालय से ऊंचा उठा लो
वतन को हिमालय से ऊंचा उठा लो
संभालो
नई उम्र वालो
संभालो संभालो वतन को संभालो
नए युग वालो
नए युग वालो
नए युग वालो॰॰ओ॰॰


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

OK so, ‘Ek Ladki Saat Ladke’ from 1961, is the film that today joins the ranks of films with all their songs posted. It is Yippeee-land time for this film. And that’s all folks, that I can say for this film. Another one of the ‘Lost Children’, about whom nothing more is known, nothing more exists in memory. Yes, there is information that is contained in the Geet Kosh. Based on the Geet Kosh inputs, the basic demographics for this film are as follows.

The film is produced and directed by Roop K Shorey. The cast of actors is very brief – Ravinder Kapoor, Ameeta, Majnu, Badri Prasad, and Durga Khote. After having tasted success with ‘Ek Thi Ladki’ (1949) and ‘Ek Do Teen’ (1953), Roop K Shorey tried to repeat a similar sounding formula in this film.  The earlier two films had Motilal and Meena K Shorey as the lead pair, and Vinod as the music director.  But in this film, the only common link is Vinod, who also was replaced by S Mohinder, in unfortunate circumstances.

This is one of the films that music director Vinod was working on when he unexpectedly passed away in 1959.  Some songs had been recorded, and for the remaining songs, the composition work was completed by S Mohinder.  In the Geet Kosh, for some songs of this film, the name of the music director is not specifically identified.  This song is one of them.

Geet Kosh lists five songs for this film. For all the five songs, the words are written by Majrooh Sultanpuri.

Thankfully though, all the five listed songs are available as 78 rpm recordings. And yet once again, an obscure and lost film, whose songs are simply superb.

Teri Zulfn Ke Saaye Mein Jeena Hai Jee”, such a soft romantic duet, in the voices of Rafi Sb and Asha ji. So soft is the tone and rendition of this song that Atul in his write up of this song says – “This is an interesting song where Rafi sings softly in a velvety voice. In fact this is a song where Rafi sings like Talat Mehmood.”

Itni Si Baat Ka Fasaana Na Banaao”, another enchanting duet of Rafi Sb and Asha ji.

Agar Tum Na Hanste To Ham Bhi Na Phanste”, a delightful all female duet, in the voices of Asha ji and Sudha Malhotra.

And then there is this song that almost made it to the Fabulous Foot Tapper series, but then was pulled by me for my ‘Ye hai Bombay Meri Jaan’ series – “Main Flora, Rang Mera Gora”. Aah ys, expectedly, in the voice of Asha ji.

Coming to this song for today. The singing voices are of Mahendra Kapoor and Asha ji.  One of the songs for which you are bound to say, ‘really, wow’. A song that is basically crafted on the traditional Tappe genre from Punjab. The singers compete with one another, in that one will present a two liner as a query or a teaser, and the other singer is then supposed to suitably respond, addressing the query or posing a counter query or giving a ‘मुंह तोड़ जवाब’ (a fitting repartee), to the teaser floated by the first singer. This traditional folk genre is very popular in Punjab, and I am sure there are corresponding genres in many other regional cultures. In Punjabi, there is almost an unending variety of this type of song. Just this song itself is a  double length song, lasting more than six minutes, and is accommodated on two sides of a 78 rpm record.

A very interesting tete-a-tete between the two singers, wherein many flavors of the matters of the heart are being expressed. I am sure you will really enjoy this number.

Song – Mal Mal Ke Jaaye Mera Jiyaa (Ek Ladki Saat Ladke) (1961) Singers – Mahendra Kapoor, Asha Bhosle, Lyrics – Majrooh Sultanpuri, MD – Vinod/S Mohinder

Lyrics

mal mal ke jaaye mera jiya
mal mal ke jaaye mera jiya

oy mal mal ke jaaye mera jiya
dilwaali
mal mal ke jaaye mera jiya
dupatta tera mal mal ka haaye
dupatta tera mal mal ka ha..aye
ni soniye
o jaise ke laage mera piya
dilwaala
jaise ke laage mera piya
dekho ji chhora aaj kal ka haaye
dekho ji chhora aaj kal ka haaye
ve soneyaa heereya

lat mukh pe dekh ruk gaya
lat mukh pe dekh ruk gaya
ho lat mukh pe dekh ruk gaya kaahe babu
lat mukh pe dekh ruk gaya
le apni gali ka rastaa haaye
le apni gali ka rastaa haaye
ve mundeyaa

o badli mein chaand chhup gaya jab gori
badli mein chaand chhup gaya
bhatak gaya main bhi rasta haaye
bhatak gaya main bhi rasta haaye haye
ni soniye
lachhiye

oy sadqe
oy hass ke

ganne se pyaar tera meetha
ganne se pyaar tera meetha
o ganne se pyaar tera meetha mastaani
ganne se pyaar tera meetha
katora bhar de re dil ka haaye
katora bhar de re dil ka haaye
ni lachhiye

bin piye hi mauj mein aaya mastaane
bin piye hi mauj mein aaya
jawaab nahin teri gal ka haaye
jawaab nahin teri gal ka

kankar na maar o pagle
kankar na maar o pagle
kankar na maar pagle matwaale
kankar na maar o pagle
paayal boley chhun chhun se ji
paayal boley chhun chhun se haaye
ve soneya

bichhuaa bajaa ke mat chalo matwaali
bichhuaa bajaa ke mat chalo
zeher chadhe sun sun ke haaye
zeher chadhe sun sun ke haaye haaye
ni soniye
kudiye

ho..oy..ye..e

nikle ho nain takraane
nikle ho nain takraane
ho nikle ho nain takraane o deewaane
nikle ho nain takraane
sheeshe mein zara munh dekho ji
sheeshe mein zara munh dekho ji
ve mundeya

o tujhe chhod aur kahaan dekhun o deewaani
tujhe chhod aur kahaan dekhun
tu hi jo mera darpan ho haaye
tu hi jo mera darpan ho haaye haaye
ni soniye
lachhiye

laakhon ki aankh teri sooni
laakhon ki aankh teri sooni
o laakhon ki aankh teri sooni kaahe gori
laakhon ki aankh teri sooni
kajal nahin aaj hasey haaye
kajal nahin aaj hasey haaye
ni soniye

is darr se kajal nahin daalun akhiyon mein
is darr se kajal nahin daalun
nainon mein tera pyar basey haaye
nainon mein tera pyar basey haaye
ve soneya
dholna

[sounds of bhangra dancing]
———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
मल मल के जाये मेरा जिया
मल मल के जाये मेरा जिया

ओय मल मल के जाये मेरा जिया
दिलवाली
मल मल के जाये मेरा जिया
दुपट्टा तेरा मम माल का हाए
दुपट्टा तेरा मम माल का हा॰॰ए
नी सोनिए
ओ जैसे के लागे मेरा पिया
दिलवाला
जैसे के लागे मेरा पिया
देखो जी छोरा आज कल का हाए
देखो जी छोरा आज कल का हाए
वे सोनेया हीरेया

लट मुख पे देख रुक गया
लट मुख पे देख रुक गया
हो लट मुख पे देख रुक गया काहे बाबू
लट मुख पे देख रुक गया
ले अपनी गली का रस्ता हाए
ले अपनी गली का रस्ता हाए
वे मुंडेया

ओ बदली में चाँद छुप गया जब गोरी
बदली में चाँद छुप गया
भटक गया मैं भी रस्ता हाए
भटक गया मैं भी रस्ता हाए हाए
नी सोनिए
लच्छीये

ओय सदक़े
ओय हस्स के

गन्ने से प्यार तेरा मीठा
गन्ने से प्यार तेरा मीठा
ओ गन्ने से प्यार तेरा मीठा मस्तानी
गन्ने से प्यार तेरा मीठा
कटोरा भर दे रे दिलका हाए
कटोरा भर दे रे दिलका हाए
नी

बिन पिये ही मौज में आया मस्ताने
बिन पिये ही मौज में आया
जवाब नहीं तेरी गल का हाए
जवाब नहीं तेरी गल का

कंकर ना मार ओ पगले
कंकर ना मार ओ पगले
कंकर ना मार ओ पगले मतवाले
कंकर ना मार ओ पगले
पायल बोले छुन छुन से जी
पायल बोले छुन छुन से हाए
वे सोनेया

बिछुया बजा के मत चलो मतवाली
बिछुया बजा के मत चलो
जहर चढ़े सुन सुन के हाए
जहर चढ़े सुन सुन के हाए हाए
नी सोनीए
कुडीए

हो॰॰ओय॰॰ये॰॰ए

निकले हो नैन टकराने
निकले हो नैन टकराने
हो निकले हो नैन टकराने ओ दीवाने
निकले हो नैन टकराने
शीशे में ज़रा मुंह देखो जी
शीशे में ज़रा मुंह देखो जी
वे मुंडेया

ओ तुझे छोड़ और कहाँ देखूँ ओ दीवानी
तुझे छोड़ और कहाँ देखूँ
तू ही जो मेरा दर्पण हो हाए
तू ही जो मेरा दर्पण हो हाए हाए
नी सोनीए
लच्छीये

लाखों की आँख तेरी सूनी
लाखों की आँख तेरी सूनी
ओ लाखों की आँख तेरी सूनी काहे गोरी
लाखों की आँख तेरी सूनी
कजल नहीं आज हसे
कजल नहीं आज हसे
नी सोनीए

इस डर से कजल नहीं डालूँ अखियों में
इस डर से कजल नहीं डालूँ
नैनों में तेरा प्यार बसे हाए
नैनों में तेरा प्यार बसे हाए
वे सोनेया
ढोलना

[भांगड़ा नाच के शब्द]


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

Missing Films of 1960s – 27
– – – – – – – – – – – – – – –

Gosh, returning to this series after almost eight months.

Atul ji tells us about his resolution to post at least one song per day that brings on board a new film, onto our blog. When I revisited this series to revive it, I suddenly realized that this series, just by the fact of what it is, is actually a series of songs that would serve the purpose of bringing new films on to the blog – which is one of the resolutions of Atul ji.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Lady Robinhood”(1959) was produced by Pannalal and directed by B J Patel for Rekha Chitr, Bombay. The movie had Mehru, Nilofer, Rajan Kapoor, Samar Rai, Miraajkar, Tuntun, Shakila Bano Bhopali, Nazir Kashmiri, Moolchand, Abdul Sattar, Balbir, Ram Raseela, Shri Bhagwan, Nandini, Shiela etc in it.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Lady Robinhood”(1959), not to be confused with “Lady Robinhood”(1946), was produced by Pannalal and directed by B J Patel for Rekha Chitr, Bombay. The movie had Mehru, Nilofer, Rajan Kapoor, Samar Rai, Miraajkar, Tuntun, Shakila Bano Bhopali, Nazir Kashmiri, Moolchand, Abdul Sattar, Balbir, Ram Raseela, Shri Bhagwan, Nandini, Shiela etc in it.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Diler Haseena”(1960) was produced by Mohan Lal and directed by Pradeep Nayyar for Bhagwati Productions, Bombay. The movie had Manju, Amarnath, Bhagwan, Shashimala, Narula, Fazal, Nazir Kashmiri, Kathana, Meena, Vrinda, Harun, Daleep, Qadir, Badshah, Maulana, Gulab etc in it.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

“Nayi Roshni”(1967) was directed by Sridhar for Vasu Films, Madras. The movie had Ashok Kumar, Mala Sinha, Raj Kumar, Biswajeet, Pahadi Sanyal, Sailesh Kumar, Asit Sen, Anwar Hussain, Mahendra, Chaman Puri, Bhanumati, Tanuja, Sulochana, Jyotilaxmi, Pratima Devi, Aruna Roy etc in it.
Read more on this topic…


This article is meant to be posted in atulsongaday.me. If this article appears in sites like lyricstrans.com and ibollywoodsongs.com etc then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

In Hindi movies, carrying out romance is considered the sole prerogative of the lead pair. Lesser characters in the movie are virtually forbidden to have any feelings, including romantic feelings and so they are not supposed to act romantic.
Read more on this topic…


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What is this blog all about

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

This is a labour of love, where "new" songs are added every day, and that has been the case for more than eight years. This blog has over 13200 song posts by now.

This blog is active and online for over 3150 days since its beginning on 19 july 2008.

Total number of songs posts discussed

13256

Number of movies covered in the blog

Movies with all their songs covered =1000 Total Number of movies covered =3703

Total visits so far

  • 9,301,913 hits

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Historical dates

Blog Start date: 19 july 2008 Active for 3000 days.
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