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

Posts Tagged ‘Manna Dey


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

Blog Day : 3512 Post No. : 14109

“Intezar” (1973) was produced by Mohan Sehgal and direced by Mohan Singh Kavia for De Luxe Films, Bombay. The movie had Rinku Jaiswal, Baldev Khosa, Padmini Kapila, Vishal, I S Johar, Mohan Choti, Lata Arora, Chandrima Bhaduri, Manhar Desai, Bhushan Tiwari, Kamlakar Date, Bhanumati, Kamal deep, Leela Mishra, Rakesh Pandey (special appearance), Master Rafiq, Baby Reshma, Baby Mumtaz, Narmada Shankar, Radheshyam etc in it.

The movie had five songs in it. Four of these songs have been covered in the past.

Here are the details of the four songs that have been covered in the past.

Song Title

Post No.

Post Date

Chanda ki kirnon se lipti hawaayen 4143 6-Jul-11
Kaahe ko mora bichhua baaje re 11477 17-Oct-15
Idhar intezaar udhar intezaar 12399 24-Sep-16
Mora laage naahin chit 14104 27-Feb-18

Here is the fifth and final song from “Intezaar” (1973) to appear in the blog. This song is arguably the most well known song from the movie. I was aware of this song during its day even though I was not aware about the details of the song vis a vis the movie the song was from.

I was only aware of a few lines from the song. Today, more than 45 years after I firdt heard this song, I actually became aware of the full lyrics of the song while noting them down. The song is supposed to be a light hearted song and a satire of babas. But the lyrics of the song are not as trivial as they are supposed to be. The lyrics, to my mind are quite philosophical. In addition, the light hearted lyrics of the song actually convey messages that I feel are true. The conventional logic is that one should live a life of self denial to secure “moksh”. The message of the lyrics is just the reverse. The song and the picturisation is supposed to be light hearted and not to be taken seriously, but I find myself fully agreeing to the contents of the song. It is perhaps something that the lyricist never intended to, when he penned this song all those years ago. 🙂

The song is sung by Manna Dey and it is lip synced by I S Johar who plays a baba. He preaches indulgence, instead of self denial, and naturally he has a big following compared to those babas who preach boring stuff like leading disciplined spartan lifestyle far from distractions of modern life.

Verma Malik is the lyricist and he inadvertently has penned a great philosophical song with quite a bit of truth in it.

Chitragupta is the music director.

With this song, “Intezaar” (1973) joins the list of movies that have all their songs covered in the blog.


Song-Man ko pinjre mein na daalo (Intezaar)(1973) Singer-Manna Dey, Lyrics-Verma Malik, MD-Chitragupta

Lyrics

hmm
hmm hmm hmm
man ko pinjre mein na daalo
man ka kahna mat taalo
man ko pinjre mein na daalo
man ka kahna mat taalo
arre man to hai ek udta panchchi
jitna ude udaa lo
man ko
man ko pinjre mein na daalo
man ka kahna mat taalo

kehte hain ki pyaar na kar
arre pyaar aur na karo

man jo kahe ke pyaar karo
ek baar nahin sau baar karo
kyun
ye pyaar diya usne nibhaane ke liye
aji pyaar diya usne nibhaane ke liye
roop diya sirf dikhaane ke liye
aankhen banaayi hain ladaane ke liye to
dil diya usne milaane ke liye
are pyaar ek punya hai pyaar hai jaap
nahin hota to bhi karo apne aap
pyaar koi paap nahin pyaar hai milaap
pyaar bina jeewan hai total flop
punya paap ke chakkar mein koi
pad ke sake na bach
kyun re chele jhooth kaha
nahin guru ji
sach
thank you very much
man ko pinjre mein na daalo
man ka kahna mat taalo
man ko pinjre mein na daalo

to kehte hain ki madira na piyo
arre bhai kyun
kyun na piyo
man kahe gar wishky piyo
phir jiski mile tum uski piyo
arre peene ki cheez hai ye karo mat gham
bhai peene ki cheez hai ye karo mat gham
kabhi nahin sochna ke tharra ya rum
itni piyo ke ukhad jaaye dum
baatli mile to poori baatli khatam
arre jab whisky se man bhar jaayega
bhar jaayega to tauba kar jaayega
man pe jo koi kaabu kar jaayega
bhavsaagar se wo tar jaayega
moti akal waale na samjhen
meri baat baareek hai
kyun chele jee
ghalat kahaan
nahin guru jee
thheek hai
hmm
man ko pinjre mein na daalo
man ka kahna mat taalo
man ko pinjre mein na daalo

aur kehte hain
man ko baandh ke rakho
arre bhaai kyun bhaai
kyun baandh ke rakkho

dheeli chhod do man ki lagaam
amar ho jaaye jag mein naam
kaise
jiske man ne kiya fly hai
bhaai
jiske man ne kiya fly hai
usne dekho mukti paayi hai
jaise raadha meera bai hai
donon ko hi mila krishn kanhaai hai
par jis jis ka man atak gaya
wo raahon mein bhatak gaya
agar zara ye khatak gaya
to samjho praani latak gaya
ye to hai ek udan kabootar
iska udna fact hai
kyun jee foreigner
wrong hai
no sir correct hai
very good
man ko pinjre mein na daalo
man ka kahna mat taalo
arre man to hai ek udta panchchi
jitna ude udaa lo
man ko
man ko pinjre mein na daalo
man ka kahna mat taalo

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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.

Blog Day : 3505 Post No. : 14085

‘Saas Bhi Kabhi Bahu Thi’ (1971) is different from the serial ‘Kyun Ki Saas Bhi Kabhi Bahu Thi’ which came a long time after the movie. The movie was an all-round entertainer. We would not get anything less in a movie where Om Prakash heads the cast and the hero (Sanjay Khan in this case) plays a second fiddle to Om Prakash and Jagdeep. Plus, when the mirch-masalas Lalita Pawar and Shashikala spice up the whole setup, it is but natural that the lead cast (Sanjay Khan and Leena Chandavarkar) become secondary – their presence being needed for the romantic interludes.

I must confess I was unaware of this movie till a few years back – till 2014 to be exact. I chanced upon it on one of the umpteen satellite channels. The title made me sit through what turned out to be an enjoyable family- entertainer (as they used to be called back then) which didn’t make you start crying halfway through. A family-entertainer essentially was one which one could see with the entire family and the viewer will be preached about how to maintain family relationships and a few ladies in the audience will be seen crying into their hankies. This movie was not like that.

So, coming to today’s song we have Om Prakash playing a Sadhu Baba and Sanjay and Jagdeep are his chelaas (I think it means students) with Sunder playing an assistant. In the movie Sanjay is Om Prakash’s son, Sunder – his servant and Jagdeep is Sanjay’s saala (brother-in-law). The song has Shashikala and Lalitha Pawar as ladies who have come with queries to the “antaryaami baba”. Through the song we get a gist of the movie. The song is in the voice of Manna Dey written by Rajendra Krishan, with music composed by RD Burman.

One song from this movie was discussed in 2016 by our Avinashji. On the occasion of Om Prakash’s passing away anniversary today; we shall see him the way he was largely-loved by the public. It is 20 years since he passed away.

In those days we used to live in Chembur, Bombay (not yet Mumbai then) and both Om Prakash and Ashok Kumar lived not very far from where we were. Those were the days when it was still cable TV and not satellite TV. And what did the cable operator providing service to our apartment do, he just stopped service for the day and put up a notice on black card— to enable the public in the area to attend the funeral of our beloved “jija ji” (as Om Prakash’s character was in “’Chupke Chupke”) we are suspending our service for a day. That was how much he was loved.

We can remember so many of his memorable characters – starting from ‘Guddi’ (1971) (that is where I noticed him first) to all his characters in Hrishikesh Mukherjee movies, to ‘Ghar Ho To Aisa’ (1990) (that is the last time I saw him in a movie). Of course, his career spanned 42 years and starting from movies made in Lahore in 1942 to “Ghar Ki Izzat” in 1994 he was a co star to every actor – big or small- and gave his best no matter the size of the role as in ‘Purab Aur Paschim’ (1970).

Thinking of Jija ji today on his anniversary

Song – Suno Re Saadho Ye Sansaaram Ultam Paltam Ho Gaya (Saas Bhi Kabhi Bahu Thi) (1970) Singer – Manna Dey, Lyrics – Rajendra Krishan, MD – RD Burman
Chorus

Lyrics

baaba-leeka

hey..ey
suno re saadho ye sansaaram
ultam paltam ho gaya
kahaan ki bhakti
pooja paatham
thokam thaakam ho gaya
bam bam leharey bam bam
bam bam leharey bam bam
suno re saadho ye sansaaram
ultam paltam ho gaya
kahaan ki bhakti
pooja paatham
thokam thaakam ho gaya
bam bam leharey bam bam
bam bam leharey bam bam

dekho re dekho
dekho re saadho
kalyug ki naari ka namoona
apni hi santaan ko is ne
kas ke lagaaya kaisa choona
apni bahu ko bete se apne
sau gaj door sulaya
prabhu kripa se
phir bhi is ne
chaand sa pota paaya
bolo
bam bam leharey bam bam
phir se
bam bam leharey bam bam

dhanya hai saadho
ye devi bhi
chidiya jaisi bholi bhali
rang birange pankh hai iske
chonch magar hai kaali kaali
apni boodhi saas ko is ne
ghar se maar bhagaaya
jab ye saas bani to is ko
bahu ne mazaa chakhaya
ho bolo
bam bam leharey bam bam
phir se
bam bam leharey bam bam

hey..ey
suno re saadho ye sansaaram
ultam paltam ho gaya
kahaan ki bhakti
pooja paatham
thokam thaakam ho gaya
ho bolo
bam bam leharey bam bam
bolo
bam bam leharey bam bam

bam bam bam
babam bam babam
bam bam bam
babam bam babam
bam bam bam
babam bam babam
bam bam bam
babam bam babam
bam bam bam
babam bam babam

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

बाबा-लीका

हे॰॰ए
सुनो रे साधो ये संसारम्
उल्टम पल्टम हो गया
कहाँ की भक्ति
पूजा पाठम
ठोकम ठाकम हो गया
बम बम लहरे बम बम
बम बम लहरे बम बम
सुनो रे साधो ये संसारम्
उल्टम पल्टम हो गया
कहाँ की भक्ति
पूजा पाठम
ठोकम ठाकम हो गया
बम बम लहरे बम बम
बम बम लहरे बम बम

देखो रे देखो
देखो रे साधो
कलयुग की नारी का नमूना
अपनी ही संतान को इसने
कस के लगाया कैसा चूना
अपनी बहू को बेटे से अपने
सौ गज दूर सुलाया
प्रभु कृपा से
फिर भी इसने
चाँद सा पोता पाया
बोलो
बम बम लहरे बम बम
फिर से
बम बम लहरे बम बम

धन्य है साधो
ये देवी भी
चिड़िया जैसी भोली भाली
रंग बिरंगे पंख हैं इसके
चोंच मगर है काली काली
अपनी बूढ़ी सास को इसने
घर से मार भगाया
जब ये सास बनी तो इसको
बहू ने मज़ा चखाया
हो बोलो
बम बम लहरे बम बम
फिर से
बम बम लहरे बम बम

हे॰॰ए
सुनो रे साधो ये संसारम्
उल्टम पल्टम हो गया
कहाँ की भक्ति
पूजा पाठम
ठोकम ठाकम हो गया
हो बोलो
बम बम लहरे बम बम
बोलो
बम बम लहरे बम बम

बम बम बम
बबम बम बबम
बम बम बम
बबम बम बबम
बम बम बम
बबम बम बबम
बम बम बम
बबम बम बबम
बम बम बम
बबम बम बबम


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

Blog Day : 3505 Post No. : 14083

“Mela”(1971) was produced by A A Nadiadwala and directed by Prakash Mehra for A G Films Private Limited Bombay. The movie had Feroz Khan,Mumtaz,Sanjay Khan aka Sanjay,Rajender Nath, Randhir,Lalita Pawar,Master Sachin, Master Ratan, Ram Mohan, Nikita, Mumtaz Begum, Dulari, Kanan Kaushal(Guest Artiste),Brahm Bhardwaj,Raj Kishore, Bhushan Tiwari, Yunus Parvez,Baby Guddy,Bhalla,Mirza Musharraf,Uma Khosla,Ekram Kashmiri, Maqabool,Hari Shukla, Sushil Kumar, Munshi Munaqqa,Sadique etc in it.

The movie had six songs in it. Four of them have been covered in the past.

Here is the fifth song from “Mela”(1971) to appear in the blog. The song is sung by Manna Dey and chorus. The song is picturised on Master Ratan, Master Sachin, Baby Guddy, Lalita Pawar, Randhir and Sanjay Khan. It is the theme song that plays in the background in the movie while the picturisation shows one brother (played by Master Ratan) being brought up with care while other brother (played by Sachin) finds himself illtreated at the hands of Randhir.

Majrooh Sultanpuri is the lyricist. Music is composed by R D Burman.

Lyrics of this song were sent to me by Prakashchandra.

Audio (Full)

Video

Song-Dekho re hua Lahoo se Lahoo kaise judaa (Mela)(1971) Singer-Manna Dey, Lyrics-Majrooh Sultanpuri, MD-R D Burman

Lyrics (audio version) (Provided by Prakashchandra)

dekho rey huaa aa
lahoo se lahoo kaisey judaa
dekho rey huaa aa
lahoo se lahoo kaisey judaa
donon tukde
ek hi dil ke
bichchde aisey
ke nahin milte ae
dekho rey huaa aa
lahoo se lahoo kaisey judaa

phool khile do
saath magar haaye
aisey bhi maali
aankh na meenche
phool khile do
saath magar haaye
aisey bhi maali
aankh na meenche ae
ek to mehke
lag ke galey se
ek padaa kahin
paaon ke neeche
khel hai qismat kaa aa aa aa
dekho rey huaa
lahoo se lahoo kaisey judaa
donon tukde
ek hi dil ke ae
bichchde aisey
ke nahin milte ae
dekho rey huaa aa aa
lahoo se lahoo kaisey judaa

kaisaa ujaalaa
hai ye na jaaney
haath ko haath
nahin pehchaaney ae
kaisaa ujaalaa
hai ye na jaaney
haath ko haath
nahin pehchaaney
achraj hai kitnaa…aaa…aaa…aaa
dekho rey huaa aa
lahoo se lahoo kaisey judaa

aaaa…aaaa….aaaaa
aaa….aaaa….aaaa
aaaa….aaaa….aaaaa
aaaa……aaaaaa…..aaaaa
aaaa….aaaa….aaaaa
aaaa….aaaa….aaaaa

kaissa milan hai
aaj ek bhai
bhai ko yoon seene se lagaaye ae
jaise ke apne
haathon mein koyee
ho apni hi
laash uthhaaye ae
jaley saanson mein chitaa…aaa…..aaaa…aaa…aaa
khel hai qismat kaa aaa
aaaa…aaaa….aaaaa
aaa….aaaa….aaaa
aaaa….aaaa….aaaaa
aaaa……aaaaaa…..aaaaa
aaaa….aaaa….aaaaa
aaaa….aaaa….aaaaa
aaaa….aaaa….aaaaa

dekho rey huaa aa aa
lahoo se lahoo kaisey judaa aa


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

Blog Day : 3504 Post No. : 14078

“O Tera Kya Kehnaa”(1959) was produced by N H Baria and A Khaliq and directed by K Parvez for Y T U Baria Films, Bombay.

This “social” movie had Mehmood, Chitra, Kammo, Helen, Sheikh, Bhagwan, Renu Makad, Shaam Kumar, Babu Raje, Manohar Kamat, Munshi Munaqqa, Kathana, Haneef, Fazlu, Bagla, Maqbool, Kallan etc in it.

The movie had six songs in it that were penned by five lyricists and sung by eight singers !

Four of these songs have been covered in the blog.

Here is the fifth song from “O Tera Kya Kehnaa”(1959) to appear in the blog. This song is sung by Manna Dey, Mahendra Kapoor and Suman Kalyanpur. Hasrat Jaipuri is the lyricist. Music is composed by Kalyanji.

The song has a “western” feel about it and the three singers rarely got to sing songs of this genre. But they have hung on (and sung on) gamely.

Only the audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song.

Lyrics of this song were sent to me by Prakashchandra.


Song-Dil maange dil de doon (O Tera Kya Kehna)(1959) Singers-Manna Dey, Mahendra Kapoor, Suman Kalyanpur, Lyrics-Hasrat Jaipuri, MD-Kalyanji
Manna Dey + Mahendra Kapoor
Chorus

Lyrics(Provided by Prakashchandra)

o o o o
ola
o o o
ola

baabulaa aa
aa
baabulaa
babulaa
hahah
baabulaa

dil maange dil de doon
jaan maange jaan de doon
teri ada pe main
cheen aur japan de doon
arre chal chal chal
na dikha jhoothhi shaan
arre chal chal chal
na dikha jhoothhi shaan

dil maange dil de doon
jaan mange jaan de doon
teri ada pe main
cheen aur japan de doon
arre chal chal chal
na dikha jhoothhi shaan

yeah

bole to dila doon himalaya pe ghar
humse tensingh se nahin hain kam dear
oye
chaand mein dila doon tujhe main zameen
bol to zubaan se
o kaatil haseen

?? peeke chale
dekho duniya kaise jale
ghoor ghoor ke dekhe jahaan

hmm
dil maange dil de doon
jaan maange jaan de doon
teri ada pe main
cheen aur japan de doon
chal chal chal
na dikha jhoothhi shaan

yeah

dekh ramba samba ka chaacha hoon main
pyaar ke ishaaron pe naacha hoon main

are dhun filmi gaanon ka raaja hoon main
pam pam bole vo baaja hoon main
lachke kamar gaaye nazar
zakhmi kare sabka jigar
rum jhum gire bijliyaan

ae
dil maange dil de doon
jaan maange jaan de doon
teri ada pe main
oye
cheen aur japan de doon

hey hey hey hey hey

baabula

dekh tere zulfon ki kaali ghata
aaj mere dil pe ye barse zara
oye
chaand main dila doon tujh main zameen
bol to zubaan se o kaatil haseen

khel khatam paisa hajam
phir bhi aana meri kasam
chaahe jale jahaan

ae
dil maange dil de doon
jaan mange jaan de doon
teri ada pe main
cheen aur japan de doon

chal chal chal
na dikha jhoothhi shaan


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

Blog Day : 3496 Post No. : 14052

#the Decade of Seventies – 1971 – 1980 #
—————————————————————
# Bhoole-Bisre Geet # 62 # Remembering Pran Saab on his birth anniversary
———————————————–—————————

While watching our Hindi movies we carry some preconceived images of an actor/actors or actress/actresses based on roles they play in movies. It is quite common for an actor or actresses in Indian movies to get typedcast as an actor suitable only for ‘good’/‘positive’ or ‘bad’/‘negative’roles. So when we watch a movie, we expect an actor to play the same kind of stereotyped role that we have seen him play in the past. To come out of this stereotype successfully is a challenge and very few actors in Hindi film industry have been successful in shaking off their earlier image and being just as successful in their new roles.

Every moviegoer or movie buff has his own likes and dislikes for certain film personalities based on the roles they play on screen. Normally this feeling remains unaltered throughout.

Is it possible for us to “hate” an actor heartily for decades and then warming up to him subsequently and starting to “love” him with the same intensity ?

Yes, it is possible. There was this actor who was disliked and dreaded so much that no parents gave their sons his name for decades ! But when he started doing ‘good’ and ‘positive’ roles on screen we started to cheer for him, we began to dance when he breaks into a ‘song’, and ‘dance’, we ‘shed tears’ when he sacrificed his life doing ‘good’ on screen.

I am talking about Pran Saab, of course.

We can feel the images of ‘characters’ he played, in around ourselves, in our society or rather he transformed those ‘real life’ looking images into ‘reel life’ with superb improvisations through his style and mannerisms.

I have my set of memories associated with the movies he acted in and I am sure many others may also be having so.

And having said all the above I don’t really think that I have to go and mention here all those movies and the ‘roles’ I liked, because it cannot be covered in one article and the space (normally we give to one write up) here.

Pran Kishan Sikand born on 12th February 1920 (12.02.1920 – 12.07.2013) and today we remember him on his anniversary of birth.

He may not be present in his ‘flesh and blood’ around us but he is there ‘immortal’ in his ‘works’, sincere, dedicated, disciplined in his ‘acts’, ‘humble and generous’ in his living and still bent down on his knees and thanking his fans and crediting them all for his ‘success’ and moving us all in tears with his words ‘I bow before you all.’

Pran Saab we love you so much and thank you for all that you have given us!!!

***

The idea of this post came to my mind almost two years back when I broke into humming this song that is being presented today. I thought this song perfectly fits for this post of mine which is being presented today.

The lyrics in ‘Devnagri script’ are provided by my daughter Ashwini which I requested her then, however the post got delayed and hope it will be in time there with our editors at least now.

The other reason that I want to do a post on Pran Saab is the nostalgia and so many memories of his movies which always cherished and particularly of those years, the most happening years of Hindi Cinema – that is the ‘decade of seventies- 1971-1980’.
Of course, he had already been there in movies much before of the Seventies. But still, Seventies is an important decade for him too)

***

And taking it from the dialogue of the movie ‘Anand’ – ‘Anand maraa nahin Anand martein nahin’ I can put –

“Pran martein nahin – Pran amar hain”

Part I

Part II

Song-Kya maar sakegi maut usey auron ke liye jo jeeta hai (Sanyaasi)(1975) Singer-Manna Dey, Lyrics-Indeewar, MD-Shankar Jaikishan
Chorus

Lyrics

—————————–
Part-I
—————————–
Kya maar sakegi maut usey
Auron ke liye jo jeeta hai
Milta hai jahaan ka aa pyaar usey
Auron ke jo aansoo peeta hai
Kya maar sakegi maut usey
auron ke liye jo jeeta hai
Milta hai jahaan ka pyaar usey
auron ke jo aansoo peeta hai
Kya maar sakegi maut usey

Baalaapan vidya ke liye hai
Bhog ke liye jawaani hai
Baalaapan vidya ke liye hai
Bhog ke liye jawaani hai
Jog ke liye budhaapa hai
Ye jag ki reet puraani hai
Hai karm-yog hi yog badaa
Yahi sachchaayi yahi geeta hai
Milta hai jahaan ka pyaar usey
Auron ke jo aansoo peeta hai
Kya maar sakegi maut usey
auron ke liye jo jeeta hai
Milta hai jahaan ka pyaar usey
auron ke jo aansoo peeta hai
Kya maar sakegi maut usey

Hona hota hai jinko amar
Wo log to martey hi aaye
Hona hota hai jinko amar
Wo log to martey hi aaye
Auron ke liye jeewan apna
Balidaan wo karte hi aaye
Dharti ko diye jisne baadal
wo saagar kabhi na reeta hai
Milta hai jahaan ka pyaar usey
auron ke jo aansoo peeta hai
Kya maar sakegi maut usey

Jisne vish piya banaa Shankar
Jisne vish piya bani Meera
Jisne vish piya banaa Shankar
Jisne vish piya bani Meera
Jo chhedaa gaya bana moti
Jo kaata gaya bana heera
Wo nar hai to hai Raam
Wo naari hai to Seeta hai
Milta hai jahaan ka pyaar usey
auron ke jo aansoo peeta hai
Kya maar sakegi maut usey
auron ke liye jo jeeta hai
Milta hai jahaan ka pyaar usey
auron ke jo aansoo peeta hai
Kya maar sakegi maut usey

—————————————-
(Part-II)
—————————————-
Hona hota hai jinko amar
Wo log to martey hi aaye ae
Hona hota hai jinko amar
Wo log to martey hi aaye
Auron ke liye jeewan apna
Balidaan wo karte hi aaye
Dharti ko diye jisne baadal
Aa aa aa aa aa
Wo saagar kabhi na reeta hai
Aa aa aa aa aa
Milta hai jahaan ka pyaar usey
Aa aa aa aa aa
Auron ke jo aansu peeta hai
Aa aa aa aa aa
Kya maar sakegi maut usey

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

Jisne vish piya banaa Shankar
Jisne vish piya bani Meera
Jisne vish piya banaa Shankar
Jisne vish piya bani Meera
Jo chhedaa gayaa banaa moti
Jo kaata gaya bana heera
Wo nar hai to hai Ram
Aa aa aa aa aa
Wo naari hai to Seeta hai
Aa aa aa aa aa
Milta hai jahaan ka pyaar usey
Aa aa aa aa aa
Auron ke jo aansu peeta hai
Aa aa aa aa aa
Kya maar sakegi maut usey

———————————————————
Hindi script lyrics (Provided by Ashwini Scrapwala)
———————————————————
———————-
Part-I
———————-
क्या मार सकेगी मौत उसे
औरों के लिए जो जीता है
मिलता है जहाँ का आ प्यार उसे
औरों के जो आंसू पीता है
क्या मार सकेगी मौत उसे औरों के लिए जो जीता है
मिलता है जहाँ का प्यार उसे औरों के जो आंसू पीता है
क्या मार सकेगी मौत उसे

बालापन विद्या के लिए है
भोग के लिए जवानी है
बालापन विद्या के लिए है
भोग के लिए जवानी है
जोग के लिए बुढापा है
ये जग की रीत पुरानी है
है करम-योग ही योग बड़ा
यही सच्चाई यही गीता है
मिलता है जहाँ का आ प्यार उसे
औरों के जो आंसू पीता है
क्या मार सकेगी मौत उसे औरों के लिए जो जीता है
मिलता है जहाँ का प्यार उसे औरों के जो आंसू पीता है
क्या मार सकेगी मौत उसे

होना होता है जिनको अमर
वो लोग तो मरते ही आये
होना होता है जिनको अमर
वो लोग तो मरते ही आये
औरों के लिए जीवन अपना
बलिदान वो करते ही आये
धरती को दिए जिसने बादल वो सागर कभी न रिता है
मिलता है जहाँ का प्यार उसे औरों के जो आंसू पीता है
क्या मार सकेगी मौत उसे

जिसने विष पिया बना शंकर
जिसने विष पिया बनी मीरा
जिसने विष पिया बना शंकर
जिसने विष पिया बनी मीरा
जो छेडा गया बना मोती
जो काटा गया बना हीरा
वो नर है तो है राम
वो नारी है तो सीता है
मिलता है जहाँ का प्यार उसे औरों के जो आंसू पीता है
क्या मार सकेगी मौत उसे औरों के लिए जो जीता है
मिलता है जहाँ का प्यार उसे औरों के जो आंसू पीता है
क्या मार सकेगी मौत उसे

—————————
(Part-II)
—————————
होना होता है जिनको अमर
वो लोग तो मरते ही आये ऐ
होना होता है जिनको अमर
वो लोग तो मरते ही आये
औरों के लिए जीवन अपना
बलिदान वो करते ही आये
धरती को दिए जिसने बादल
आ आ आ आ आ
वो सागर कभी न रिता है
आ आ आ आ आ
मिलता है जहाँ का प्यार उसे
आ आ आ आ आ
औरों के जो आंसू पीता है
आ आ आ आ आ
क्या मार सकेगी मौत उसे
आ आ आ आ आ
आ आ आ आ आ आ आ आ आ
आ आ आ आ आ आ आ आ आ आ

जिसने विष पिया बना शंकर
जिसने विष पिया बनी मीरा
जिसने विष पिया बना शंकर
जिसने विष पिया बनी मीरा
जो छेडा गया बना मोती
जो काटा गया बना हीरा
वो नर है तो है राम
आ आ आ आ आ
वो नारी है तो सीता है
आ आ आ आ आ
मिलता है जहाँ का प्यार उसे
आ आ आ आ आ
औरों के जो आंसू पीता है
आ आ आ आ आ
क्या मार सकेगी मौत उसे


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.

Blog Day : 3483 Post No. : 13992

“Zindagi Zindagi” (censored on August 19th 1972) starred Ashok Kumar, Sunil Dutt, Waheeda Rehman, Farida Jalal, Ramesh Deo, Anwar Husain, supported by Shyama, Jalal Agha, Master Tito, Chaya Devi, Gajanan Jagirdar etc. Music was by Sachin Deb Burman who led the list of playback singers (the song with the titles is in the voice of Sachinda and Anand Bakshi was the lyricist. The other playback singers were Kishore Kumar, Manna Dey and Lata Mangeshkar. Producer was Nariman A. Irani and A.P. Sharma and director was Tapan Sinha.

The movie (what little I saw of it) is based in a village where there is a hospital of which Sunil Dutt is a doctor and revolves around the life of the villagers and casteism. Ramesh Deo played Choudhury Ramprasad’s vagabond son. Today’s song has him {Ramesh Deo} lip-sync in the voice of Manna Dey through the lanes of the village and making politician-type promises of sadak (road), school, railgaadi (train), pul (bridge) etc. all in one breath.

Possibly the first movie in which I made note of an actor called Ramesh Deo was Hrishikesh Mukherjee’s “Anand”;that too not when the movie was released (I was a toddler at that time) but when I saw it on Doordarshan.

Then subsequently I saw him in “Jeevan Mrityu” (on tv of course) which came before “Anand” and other movies like “Khilona” “Lakhon mein ek” “Dus Lakh” and numerous other movies. He mostly played characters that were grey or completely negative, though occasionally he played a lovable friend as in “Shikar” or “Anand” or “Rampur Ka Laxman” “Ek Mahal Ho Sapno Ka” etc.

Now why am I talking about Ramesh Deo ? Because he turns a year older today (30 january 2018). He turns 89 today-unbelievable that he has been around for so long. He made his debut in Marathi films in 1951/52 and his Hindi debut was in the 1962 Rajshri Productions movie “Aarti”. Recently (meaning 2-3 years back) I saw him on some Marathi channel where they were felicitating him on his long innings in the film world- Marathi and Hindi. They also showed footage of his contribution to the industry and then it dawned on me that he has produced feature films, television serials, ad films etc. He is active even now as can be seen in the surf excel ad which has him play an adoring grandpa with Vidya Sinha as the grandma https://www.youtube.com/watch?v=LiHhHKE_iMI . Ramesh Deo’s family is into entertaining the world- his wife is actress Seema Deo and sons Ajinkya- an actor and Abhinay- a director of movies, ads and television serials.

Honestly speaking I landed on a song mouthed by Ramesh Deo by accident. In the long time that he has spent in movie (almost 250 Hindi movies) the number of times he has sung songs on screen can be counted on one’s fingers. This is one such song that reminds me of “woh jhootha hai vote na usko dena” from “Namak Haram” though here it looks like he is making false promises. 🙂


Song-Kaun sachcha hai kaun jhoothha hai (Zindagi Zindagi)(1972) Singer-Manna Dey, Lyrics-Anand Bakshi, MD-S D Burman
Chorus

Lyrics

kaun sachcha hai
aur kaun jhootha hai
pehle ye jaan lo
phir apna vote do
haan ji
kaun sachcha hai
kaun jhootha hai
pehle ye jaan lo
phir apna vote do

arrey haan
jaan lo
pehchaan lo
phir apna vote do o o
kaun sachcha hai
kaun jhootha hai
pehle ye jaan lo
phir apna vote do

hum janta ke
sevak hain ji
ham janta ke sevak hain
ham karte hain sewa
woh janta ke
dushman hain ji
woh janta ke dushman hain
woh khaate hain mewa
(giggle)
dhokha na khaana
zamaana bura hai
munh mein hai raam naam
aur bagal mein
chhura hai
jaan lo pehchaan lo
phir apna vote do o o
kaun sachcha
hai
aur kaun jhootha
hai
are haaan
pehle ye jaan lo
phir apna vote do
kaun sachcha

hai
kaun jhootha
hai
pehle ye jaan lo
phir apna vote do

ram prasad
jai jai
ram prasad
jai jai
loknath
haay haay
loknath
hay haay

iss chhote se gaanv ko hum sheher banaayenge
aur bail gaadi ke badle railgaadi chalaayenge
gaadi chalayenge ji
gaadi chalayenge

aur school banaayenge
pul banaayenge
aspataal banaayenge
pakka waada hai
pakki sadak bhi banaayenge
jai jai ramprasad
mera kehna maan lo
phir apna vote do
kaun sachcha hai
aur kaun jhootha hai
pehle ye jaan lo
phir apna vote do


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

Blog Day : 3481 Post No. : 13982

Today’s song is from film Maa-52. It is sung by Manna Dey, under the baton of composer S.K.Pal.

The film was produced by Ashok Kumar and Sawak Vachha for Bombay Talkies. The director was Bimal Roy. The screen play was also by Bimal Roy on the story of Swaraj Banerjee.Dialogues were by Nabendu Ghosh and the translations were done by Nazir Hussain and Asit Sen (roly poly actor and Director). The cast was Leela Chitnis, Bharat Bhushan,Shyama, Nazir Hussain,Asit Sen, Manju, B.M.Vyas, Achla Sachdev, Bikram Kapoor, Krishnakant, Samar Chatterjee, Bharata Vyas(uncredited) etc etc.

Nabendu Ghosh (27.3.1917 to 15.12.2007) was born in Dhaka. He was a famous Bangla writer, who joined New Theatres. In 1951 he left New Theatres and joined Bimal Roy in Bombay. He wrote Screen plays/dialogues for most of Bimal Roy’s films. After Roy’s death, he worked with Hrishikesh Mukherjee for a long time. In 1988, he directed his only film “Trishagni’. After his death, his autobiography,”Eka Nauker jatri” was published.

Maa-52 was Bimal Roy’s first film in Bombay. He was born on 12-7-1909, in Suvapur village in East Bengal. His father Hemchandra Roy was a very rich landlord. He was a simple and kind person. After he died, it was known that his servants had misappropriated all his money and land and the family came on the road. The big family shifted to Calcutta in 1930-31.

Bimal Roy joined New Theatres as an assistant to Nitin Bose. He soon became an expert Cameraman and shot films like Chandidas, Devdas, manzil, Grihdaah, Maya, Mukti etc. In 1937, he was married to Manobina Sen. He continued as a Cameraman till 1942 doing more films like Abhagin,Badi Didi, Abhinetri, Haar jeet and Meenakshi.

By 1942, due to restrictions on supply of raw film and financial crisis, added to Ego problems of Big artistes and the management, New Theatres came into problems. One after another most artistes like Barua, Debki Bose, Nitin Bose, Saigal, Prithwiraj kapoor, Kumar, Kidar Sharma etc left Calcutta and reached Bombay. Bimal Roy did a documentary on the Bengal Famine in 1943 and then directed his first Bangla/Hindi bilingual film Udayer Pathe/Hamraahi in 1944. The successful film ran for an year in Calcutta and established him. Then came Anjangadh,Mantramugdha and Pehla Admi.

Bimal Roy came to Bombay for the premiere of film Pehla Admi-50. Here he met his old collegue Hiten Chaudhari,who was working in Bombay Talkies-supposed to be a hub for all artistes coming from Bengal. He took Bimal Roy to Bombay Talkies and he got his first film in Bombay- Maa-52, for direction. Then came Parineeta-53. Bimal Roy then established his own Bimal Roy Productions and made many films. He directed films like Do Bigha Zamin, Naukari, Devdas, Madhumati, Sujata, Parakh, Prempatra and Bandini for his own productions. For others too he directed films like Biraj Bahu, Baap Beti and Yahudi. Bimal Roy Productions mad films like Amanat, Parivaar, Apradhi Kaun,Usne kaha tha,Kabuliwala and Benazir where other directors did the films.

Bimal Roy got 11 Film Fare Awards for Best films and Best Direction in all. He got several National and International awards too. He was a heavy smoker. In 1965, Lungs Cancer was detected and he died on 8-1-1966

Bimal Roy was not only a very sensitive person, but he was like an Institution for subordinates, who learnt a lot from him. He was like a complete school of film making and gave the film industry great film makers and writers like Hrishikesh Mukherjee, Gulzar, Nabendu Ghosh, Salil Chaudhari ( Do Bigha Zamin-53 was based on his story Rikshawala, written in the 40s. Parakh was also his story and he wrote screen play for Prempatra) and Basu Bhattacharya. After Bimal Roy’s death, Hrishikesh Mukherjee dedicated film Anupama to his memories.

One special characteristic of Bimal Roy was song picturisation on character and unknown artistes ( like Guru Dutt). Sachin Shankar sang Parakh song-kya hawa chali. His production manager’s wife Dolly kapoor sang 2 songs in Bandini. Rajdeep, a character artiste sang”mat ro mata laal tere bahutere”in film. W.M.Khan sang in Kabuliwala. In same film a small time actor M.V.Rajan also sang a song.

Bimal Roy shot a major part of film Madhumati in Nainitaal. When he came back to Bombay, to his dismay, he found that 60% shots were spoiled. Without losing head, he shot all those scenes in Bhandardara-near Bombay and the film was edited so well, that nobody felt any difference !

Film Maa-52 was a solid tear jerker competing with any Madras film from AVM or Gemini. The story of the film was…

Chander Babu (Nazir Hussain) is a retired Post office employee, now working with the local Zamindar, on a very low salary. He and his wife (Leela Chitnis) live in Chandanpur. They have two sons. Elder son Rajan (Paul Mahendra) is married to a wealthy family girl (Achla Sachdev), who is very arrogant. He is studying final Law course. The younger son Bhanu( Bharat Bhushan ) is good natured and helpful. He studies in college. he is in love with a girl Meena (Shyama) and her father approves their marriage.

Rajan needs Rs. 300 for his exams, but his father can not get this much money. His own wife has the money but refuses to give. One day Bhanu is returning to his house in the night when he hears “Thief, Thief ” He finds that the Thief is no one else, but his own father who tries theft for Rs 300 to give the fees. Bhanu takes the blame on himself, is caught and jailed.

When Bhanu is released and comes to meet his parents, he is told by Rajan that they don’t want to see even his face. Bhanu goes away, is helped by an advocate and gets a Bank job. His father confesses everything to his wife, gets a shock and dies. The mother goes in search of Bhanu. She is treated like a maid in Rajan’s house. Bhanu works hard and becomes a manager. He sends Rs100 money order every month to his mother, but Rajan and his wife take that Money order, without mother’s knowledge. Bhanu meets Meena and their love kindles again. She tells him about his mother.

Bhanu comes back and meets the mother. He realises that she is treated lie a maid by Rajan and wife. He goes to Rajan, fights with him, drags him to his mother. Rajan and his wife repent and ask for a pardon. The Maa pardons them. Bhanu and Meena’s marriage is announced.

Film Maa-52 had only 6 song. Today’s song is the fourth song to be posted here. It is sung by Manna Dey. The Music Director S.K.Pal- Surya Kumar Pal, was the nephew of composer Ramchandra Pal. He first joined Shalimar pictures of Poona and in the end did few films for Bombay Talkies. In all he did 19 films. His last film was Dhola Maaru-56, in which, for the first and last time, he used Lata Mangeshkar for his songs. The song is picturised on Leela Chitnis….


Song-Chale re chale Raam vanwaas (Maa)(1952) Singer-Manna Dey, Lyrics-Bharat Vyas, MD-S K Pal

Lyrics

aakaash bhai bhaanu ??
aaya andhiyaara
maa ke nainon se chhupaa
nainon ka saara

chale re
chale Raam vanwaas
chale re
chale Raam vanwaas
chhal chhal neer bahaaye maata
chhal chhal neer bahaaye maata
naina bhaye udaas
pita ke man mein peer uthhhi hai
pita ke man mein peer uthhhi hai
aas bhai hai niraas
chale re
chale Raam vanwaas
chale re
chale Raam vanwaas

aaj achaanak aandhi aayi
aandhi aayi ee ee ee
aaj achaanak aandhi aayi
van ki kali kali murjhaayi
sneh bhare ae ae ae ae
sneh bhare maa ke madhuvan se
sneh bhare maa ke madhuvan se
roothh gaya madhumaas
chale re
chale Raam vanwaas
chale re
chale Raam vanwaas

apne jeewan ka dhan kho kar
laut rahi hai maa ro ro kar
laut rahi hai maa ro ro kar
haay lagi kismat ki thhokar
tooti man ki aas
Raam gaye vanwaas
haaaaye
gaye Raam vanwaas


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

Blog Day : 3479 Post No. : 13976

I congratulate all our readers on the auspicious occasion of this 69th REPUBLIC DAY of our country (26 january 2018).

Seriously, how many of us really know the definition of a Republic ? As per the Oxford Dictionary, “A Republic is a sovereign country, which is organised with a form of Government in which the power resides with elected individuals, who exercise power according to the rule of the law “. In short, it is a government of the people, by the people and for the people.

After India achieved freedom in 1947, some films on Patriotic themes were made. ‘Andolan’ (1951) was one such film. Made by Harnam Motwane, under his banner Motwane Ltd, this film is labelled as a ‘historic’ film by HFGK. That may be because in this film the history of India’s independence struggle from 1885 to 1947 is shown with the documentaries and actual footage (with a basic film story, of course) from short films made by Films Division and some film companies like Krishna and Kohinoor films.

This was Kishore Kumar’s first film as a hero and his role was a serious one, that of a militant hero. Though in his later career, Kishore became famous and popular as a comedian – a reluctant one, though, he always yearned for serious roles in serious films. When he started producing his own films, he took the opportunity to make some serious films.

Today’s song is from film ‘Andolan’. It is not a film song actually, but our National Song, suitably woven into the film story. “Vande Maataram” could have been our National Anthem, but things were manoeuvred in such a way that it did not get that place of honour. Let us see a brief history of Vande Mataram through the years.

It was Bankim Chandra Chattopadhyay who wrote the lyrics for the powerful “Vande Maataram”. It was Sanyasi Rebellion (1763-1800) that inspired Bankim to write the historic novel ‘Ananda Matth’. Actually, the lyrics of this song came much before the novel. He wrote the lyrics while he was riding in a train and was inspired by the scenic landscape, beautiful lakes and charm of nature in its expansive splendor. The poet in him got totally inspired and burst into penning down lyrics for this soul stirring poem. However, it took few more years for the poem to reach to the masses.

On April 14th 1906, at the Bengali Provincial Conference of Indian National Congress at Barisal, Bankim revealed this power-packed mantra to the masses. The pledge for undoing the then partition of Bengal was also taken at this conference. And “Vande Maatarm” became a weapon in the hands of patriotic revolutionaries of India which shook the foundation of British Raj. Many hard core patriots went to gallows while holding Bhagwath Geeta in one hand and the lines of “Vande Maataram” on their lips.

“Vande Maataram” even reached the shores of America in 1912 and the Gadar party was formed to fight against British Colonialism, with vows of patriotism singing the lines of this inspirational poem. Four Indian revolutionaries from Independence League in Japan were caught by British forces and were sentenced to death. All four went to gallows with “Vande Maataram” on their lips.

National Anthem of Azad Hind Fauj (Indian National Army – INA) led by Netaji Subhas Chandra Bose, was a soul-stirring adoration of the motherland India which inspired thousands of soldiers to lay down their lives for India’s independence. Netaji writes about “Vande Mataram” in his autobiography calling it as the National Anthem of India. In his writings, he says – “Vande Maataram” literally means “I salute you, O Mother”.

“Vande Maataram” inspired twenty four soldiers of Bristish Indian Army stationed in Tamilnadu in 1940’s. And British arrested all twenty four on charges of mutiny and were sentenced to death. In Madras (now Chennai) Jail all twenty four went to gallows once again with “Vande Maataram” on their lips.

The acceptance and usage of this poem was also fraught with controversies. The Muslim League opposed the acceptance of this poem on grounds of religious sentiments, as early as 1908. Taking a rigid and parochial view, based on a certain interpretations of the fundamental tenets of Islamic traditions, they claimed that their religion disallowed them to bow their head in worship and salute to any person or symbol other than Allah, the Almighty. By this logic, they said, a salute to even as revered a symbol as the Motherland, would be hurting their religious sentiments.

In 1922, Congress leaders with Nehru as a party leader decided to maim “Vande Maataram” by allowing only first two stanzas of this poem to be sung. Muslim League still persisted in its objection, and in 1938, Jinnah placed before Nehru his demand for completely abandoning this poem.
[Ed Note: There is ample evidence to also show that such divisive manipulations was the handiwork of the British. It was the British who wanted the ‘Jana Gana Mana. . .’ poem by Rabindranath Tagore, to take precedence over all other such similar candidates. They wanted to stress their superiority and control over the leaders and people of India, simply because the creation of Rabindranath Tagore was originally written in the honor of the British king. And that both the Muslim League and the Indian National Congress were simply toeing the British line.]

Nehru further went on to say that lyrics of “Vande Maataram” were not suitable for composing it into a melody. And no orchestra will be able to play such a song. But one patriot-musician Master Krishna Rao Phulambrikar from Pune proved Nehru wrong. He composed “Vande Maataram” in a very melodious tune. However, Nehru wanted to get okay from British Band (orchestra) experts. Master Krishna Rao Phulambrikar came to Bombay (now Mumbai) and played his composition to British Band experts and they approved it after playing smoothly in their orchestra. This proved for the first time that “Vande Maataram” could be composed melodiously.
[Author’s Note : I do not understand here why Nehru wanted an okay from British Band in the first place].

In spite of all these efforts, Congress leaders did not like the idea of making this poem as the National Anthem of India. Even before the official decision was taken by Constituent Assembly on this issue, “Jana Gana Mana” was played as National Anthem in the UN General Assembly in 1947. If congress (read – Nehru) would not have hastened there was a possibility that “Vande Maataram” would have been adopted as National Anthem of India by majority votes of assembly members.

But things took place behind the scenes. The question never came to Constituent Assembly. Instead of passing a resolution for adopting National Anthem by majority votes, the first President of India Dr. Rajendra Prasad was asked to announce on January 24th, 1950 saying that “Jana Gana Mana” will be the National Anthem of India and “Vande Maataram” will have equal status with it.

Of course, Vande Mataram does not need any official stamp of being a National Anthem from Government of India so long as it lives in the hearts of millions and millions of Indians all across the globe. (Adapted from an article by Dr N Kamath, with thanks).

As far as the story of film ‘Andolan’ is concerned, this is what its film booklet says-

In the year 1885, Charu Dutt, a worldly-wise patriot, journeys from his little village to attend the first session of the Indian National Congress, held in Bombay. Fired with patriotic zeal, he returns to his village and speaks to his friends and relatives of the new wave that is about to spread over India. To his son he explains the cultural and political past of India, from the dawn of her history upto the turbulence of 1857. The years roll on, and we come to the partition of Bengal. There is thunder in the air, and India’s inspiring song, “Vande Maataram”, is born. The struggle gathers strength. Mahatma Gandhi appears, and freedom comes closer. 1920. . . 1921. . . Simon Commission, Bardoli, Dandi, 1930. . . 1932. . . the battle rages and the drama heightens. Then, August 1942 and Quit India, and on to the final chapter in our freedom story, which unfolds in this film as the story of a single family, representing the nation of which they are the heart-beats.

According to a Review of this film, published in those days-

The true patriot that he was, Pannalal Ghosh gave stirring compositions and flute playback for the memorable film ‘Andolan’. This film starred Shivraj, Kishore Kumar, Manju, Pushpa, Sushma, Parsuram, and Tiwari and was directed by Phani Majumdar for Motwane Ltd.

The film, made at Bombay Talkies, was produced by the distributors of the Chicago Radio PA systems. Kishore Kumar plays the role of the militant hero of this quasi-documentary. It is a stridently nationalistic story of India’s freedom struggle, presented through the expressions of a Bengali family from 1885 (when the Indian National Congress was established) to 1947. It has the actual footage of India’s freedom struggle. Speeches and talks of our national leaders, Mahatma Gandhi, Jawaharlal Nehru and many others are included in the narrative of this film.

Important events incorporated into the plot were Mahatma Gandhi’s Satyagrah (1920), the Simon Commission (1928), Sardar Vallabh bhai Patel’s Bardoli Satyagrah (1928) and the 1942 Quit India agitation. Old documentary footage purchased from Kohinoor and Krishna Films, as well as a shot of Gurudev Rabindranath Tagore singing Jana Gana Mana are included. The song “Vande Maataram” rendered by Parul Ghosh, Sudha, and Manna Dey is based on Raaga Miyan Malhar. “Prabhu Charanon Main Aaya Pujari” in Raaga ‘Shree’ and “Radha Ne Kiya”, both rendered by Parul Ghosh are appreciated by music lovers. “Subah Ki Pahili Kiran Tak Zindagi Mushkil Mein Hai” rendered by Kishore Kumar, Manna Dey and others is a unique experimentation in Bhor music.

The film was directed by Phani Mujumdar (28-12-1911 to 16-5-1994), who was already a seasoned Director. He is the only Director who directed films in 9 languages (Hindi, Bangla, English, Malay, Chinese, Magadhi, Maithili, Aasamese and Punjabi). He started his career assisting PC Barua in Calcutta. Besides ‘Street Singer’ (1938) and ‘Kapaal Kundala’ (1939), he had directed a total of 29 films,which include several hit films like ‘Baadbaan’, ‘Doctor’, ‘Tamanna’, ‘Door Chalen’, ‘Faraar’, ‘Aarti’, ‘Kanyadan’, ‘Akashdeep’, ‘Oonche Log’ etc. Here is a short biosketch and an obitury on him, published in The Independent, Calcutta, on 22-6-1994, and is written by the famous film historian and author of ‘Encyclopedia of Indian Cinema’ – Ashish Rajadhyaksha.

PHANI MAJUMDAR was a pioneer of Indian cinema, working in the late 1930s with PC Barua, India’s equivalent of DW Griffith, in the famous New Theatres Studio of Calcutta. Here, between 1936 and 1939, new standards were set for Indian motion pictures in a series of reflective, lyrical films that brought cinema closer to life and literature.

Majumdar’s contribution was ‘Street Singer’ (1938), a melancholy love story, his debut and a classic of Indian cinema. Its male lead, Kundan Lal Saigal, sang his immortal song ‘Babul Mora’ here, on a charged symbolic landscape of boats adrift in the mist. The Famine of 1943 and Partition of India were events of the future yet much of the symbolism of Bengal, the redolent Tagorean motifs of life-giving rivers, the feudal elite recreating the 19th century in desolate mansions – all the stuff that Satyajit Ray later spoke of as ‘the past’ – was in place with Street Singer. It was watched, not just as a love story par excellence, but as an expression of themes of Indian identity and nationalism which would be relevant for India, and Majumdar, even beyond Independence.

Majumdar was born in Faridpur, in what is now Bangladesh, in 1911. From Calcutta he moved to Bombay in 1941, directing classic musicals which often promoted traditional ways of Indian life, with stars like Suraiya in ‘Tamanna’ (1942), Shanta Apte in ‘Mohabbat’ (1943), and the blind singer KC Dey.

Majumdar’s Andolan (1951), Indian cinema’s most elaborately constructed nationalist propaganda feature, was made to promote Nehru’s Congress Party and was the closest that India ever came, on film, to defining a popular culture of nationalism: a small family in Bengal experiences in microcosm the major political events in the country, from 1885 (when the Congress Party was established) to Independence.

Majumdar returned to India from working in Singapore in the 1960s, and proceeded to make films in Punjabi, and even in obscure languages like Magadhi (‘Bhaiya’, 1961) and Maithili (‘Kanyadaan’, 1965). His interest in themes of an intrinsically Indian nature was a driving force to the end of his career. He worked on the television phenomenon of the 1980s in India, the 78-part religious epic ‘The Ramayana’, and was working on a television series ‘Our India’ when he died. No doubt, had he lived, the ‘Our India’ series, on a state television network struggling to hold its own in competition with satellite, would have been the fitting finale to a career which started with ‘Street Singer’.

The film had a cast consisting of Kishore kumar, Shivraj, Manju, Parshuram, Tiwari, Krishnakant, Sachin Shankar, Pushpa, Gauri devi etc etc. The recording of the songs of this film were done in November 1949 to August 1950 itself. Actor Krishnakant aka K.K. who acted in this film, did the role of Rehmu (Rehman) – a 20 year old young man. By the end of the film, he becomes an 85 year old Rehmu Chacha. He has written about this film in his Gujarati autobiography, ‘Guzra hua zamana’, that he had to do the make up differently for every shot of his role – from young to old. His make up man was Dada Paranjape, who had worked in Prabhat and Rajkamal with V Shantaram. The shooting of the film was done in Bhopal and nearby areas. All the actors and crew had to stay in Military Barracks and had to report at 7 am for shootings. The season was winter and the cold of Bhopal was unbearable. Constant tea/coffee supply was arranged.

For lack of any big stars and actors, distributors were wary of taking the film. A grand premiere was arranged, attended by Dev Anand, Raj Kapoor, Meena kumari, Madhubala, Geeta Bali and others. However, the film did not do big business. Probably, the documentary type presentation was not impressive enough.

The film has 6 songs. Today’s song is the second song to be posted here. The first song was discussed few years ago. On this auspicious occasion of our Republic Day, let us listen to “Vande Maataram”, sung by Parul Ghosh, Sudha Malhotra, Manna Dey, Sailesh Kumar and Chorus.


Song- Vande Maataram (Aandolan)(1951) Singers- Parul Ghosh, Sudha Malhotra, Manna Dey, Sailesh Kumar, Lyrics-Bankim Chandra Chattopadhyay, MD- Pannalal Ghosh

Lyrics

vande maataram
vande maataram

vande maataram
vande maataram
vande maataram
vande maataram
vande maataram
vande maataram

sujalaam sufalaam
malayaj sheetalaam
shasyashyaamalaam maataram
maataram
sujalaam sufalaam
malayaj sheetalaam
shasyashyaamalaam maataram
maataram
vande maataram
vande maataram
vande maataram
vande maataram

shubhrajyotsna pulakit yaaminim
phulla kusumita drumadal shobhinim
shubhrajyotsna pulakit yaaminim
phulla kusumita drumadal shobhinim
suhaasinim sumadhura bhaashhinim
sukhadaam varadaam maataram
maataram
suhaasinim sumadhura bhaashhinim
sukhadaam varadaam maataram
maataram
vande maataram
vande maataram
vande maataram
vande maataram

sujalaam sufalaam
malayaj sheetalaam
shasyashyaamalaam maataram
maataram
sujalaam sufalaam
malayaj sheetalaam
shasyashyaamalaam maataram
maataram
vande maataram
vande maataram
vande maataram


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

Blog Day : 3475 Post No. : 13960

“मैं लेखक हूँ, लेखक”।

The year – 1956. The film – that zany, crazy, fun and pathos filled runaway hit titled ‘Funtoosh’. Remembered today for a fantastic portfolio of songs. And a very sensitive and effective performance by Dev Anand.

The film has a noisy opening inside a mental asylum. Dev Anand, one of the inmates, is being released to the outside world. He knows himself, as do others, only as ‘funtoosh’. Apparently he has endeared everyone in that blessed place, for when he leaves, everyone offers him a gift, piling him and his pockets with trinkets, small tokens, a hat, a pair of sunglasses, garlands, rings and what not. From a world that is upside down compared to the outside, ‘funtoosh’ makes a grand exit on a tricycle, smoking a pipe.

Of course his level of awareness and understanding does not include the fact that the outside world is very much the ‘downside up’ version of the world inside the asylum. With inherent goodness and simplicity of a person sans memories, it does not take long for the world outside and its people, to relieve him of all those gifts. Folks will dearly remember the song “Ae Meri Topi Palat Ke Aa”, that is presented during this sequence of events.

In a matter of a few hours, and about 15 minutes into the film, ‘funtoosh’ is bereft of all his possessions, the gifts that were given to him by his friends from another ‘home’ that he had to leave. Evening is descending, and so is his mood – crestfallen. Dejected and doleful, he is sitting on the steps outside an Irani type restaurant, with a pen in his hand, his last worldly possession other than the clothes on his back. He is contemplating to write a letter to his friends back in the asylum, and he is visibly struggling to put down any words.

A bespectacled young man, carrying a couple of books under his arm, and lighting a cigarette, comes out of the restaurant, and pauses next to ‘funtoosh’, watching him trying to articulate something to write. He notices that ‘funtoosh’ has a postal envelop, but he does not have a piece of paper. He draws out a plain sheet from the notebooks he is carrying, and hands over to ‘funtoosh’.

‘funtoosh’ begins writing – “मेरे प्यारे दोस्तो”, (my dear friends) then pauses for a few seconds, then he draws a large question mark on the paper and signs it with a flourish – ‘funtoosh’. The bespectacled young man asks, “बस?” (that’s all?). ‘funtoosh’ replies – “इतना ही काफी है। ज़िंदगी के दो हिस्से होते हैं, एक सवाल, दूसरा जवाब। मैंने सवाल लिख दिया है, वो जवाब लिखेंगे” (I have written the question, they will write an answer).

Immediately the young man opens his notebook again, and starts to note down this philosophical gem. ‘funtoosh’ asks him why is he noting this down. The young man replies – “काम आएगा। मैं लेखक हूं, लेखक” (it will come handy, I am a writer). ‘funtoosh’ asks him so what does he write. The young man say – stories, about people like you. ‘funtoosh’ asks him whether he will write a story about him – ‘funtoosh’. The young man says – yes, why not. ‘funtoosh’, apparently is so moved by this interest and attention on part of the young man, he caps the pen in his hand, and forces it into the shirt pocket of the young man, saying that if he writes about him, then he should write using this pen.

And with that, it is the last of his worldly possession that ‘funtosh’ gives away to this young man.

The name if this young man does not appear anywhere in the credits, not even as a guest artist. At 22 years of age, this, in all probabilities, is Vijay Anand’s very first screen appearance. Not that his name has not appeared in credits before. Two years earlier, in 1954, when ‘Taxi Driver’, another Navketan hit was released, his name was introduced to the viewing public for the first time, in the role of the story and dialogue writer. But in this film, where he makes his first appearance on screen, his presence is not officially acknowledged anywhere.

Remembering Goldie – Vijay Anand – on the 84th anniversary of his birth today – 22nd January. A multi-faceted artist who has been an actor, producer, director, story and dialogue writer, film editor, and even sound editor.

In a manner of speaking, maybe a personal trait for keeping a low profile. For as we see his career develop, we find him making such cameo appearances in his films, completely unannounced. Folks will recall that Alfred Hitchcock used this device to make a fleeting appearance in his own films, and the viewers started to look forward to his films for, amongst other cinematic interests, to locate where does he make his signature cameo appearance.

Same with Vijay Anand – he also makes cameo appearances in his films. And he made another refinement on top of the Hitchcock-ian style of making a physical appearance. In place of making a physical appearance, he would lend his voice to a bit artist in a stray one-off dialogue, where one would least expect him to be. In the song “Pyaar Ka Raag Suno. . .” (‘Tere Ghar Ke Saamne’ – 1963), he is one of folks that Dev Anand and Nutan encounter, as they are serenading in the staircase of Qutab Minar. And then, in film ‘Guide’ (1965), his voice is heard midway through the film, as an absolute non-entity is enquiring about Raju Guide from the attendant at the book stall on the Udaipur railway station platform. I had at one time prepared a brief list of such appearances, but I am not able to locate it right at this moment. I will update this para, as soon as I am able to locate it or re-gather that info.

When we talk of great artists and their creations, we generally wonder – why is it that they did not produce more. Yes, some artists are very prolific. But then, we must also realize that most works of art, especially cinema, takes a fair amount of time to complete one creation. Yes, Vijay Anand’s career seems to be less prolific in comparison. It seems to have its stop and start times. In 1954, he is scripting ‘Taxi Driver’. In 1955, his name appears in the star cast of the film ‘Joru Ka Bhai’, a comedy film made by Chetan Anand, his elder brother. In 1956, he is makes a cameo in ‘Funtoosh’. In 1957, he makes his debut appearance in a lead role – as the hero opposite to Shakila in the film ‘Agra Road’. 1957 also sees the release of ‘Nau Do Gyaarah’, his debut directorial venture. Hmmm. . . quite a watershed year for his career, making debut both as a lead actor and a director in the same year.

Then, a gap of couple of years and we see all the three Anand brother appear together in the 1960 social hit film ‘Kaala Bazaar’. Vijay Anand plays the first love interest of Waheeda Rehman, who has gone to France for higher studies, and returns to India during the second half of the film, when an uncertain relationship is developing between Dev Anand and Waheeda Rehman. And yes, he is also the director of this film.

Next we hear about him in 1963 – as the director of the film ‘Tere Ghar Ke Saamne’. In between, there is  unconfirmed statements that he also was the shadow director of the film ‘Hum Dono’ in 1961.

1964 sees the release of Chetan Anand’s ‘Haqeeqat’ – he makes appearance as one of the soldiers in the army unit that is on the China border, and gets trapped in the winter snow as weather turns belligerent. He is present in the qawwali – “Ho Ke Majboor Mujhe Us Ne Bhulaaya Hoga”.

Come 1965, and we see the zenith of his creative career. Navketan’s ‘Guide’ is released, to a critical acclaim that predicts this film to be the best film Hindi cinema has produced. The prediction stands true today – more than fifty years later. The original author of the story, RK Narayan, was not too happy with the outcome, wherein Dev and Vijay had made some significant modifications to the original storyline. But the outcome of the final product says everything. The film is a grand tour of the human life, of the transformation of a soul from an expert guide, to a conman, to a sinner, and then on to a realization that takes the soul to horizons that are way beyond the mundane existence of this world, this life. The film remains to be seen yet once again, no matter how many times one has seen it. And the one man behind it – Vijay Anand. The performance he extracted from Dev Anand, is a remarkable achievement that even Dev was never able to replicate in his entire career.

And the songs of ‘Guide’ – each one of them deserves to be dealt with in separate individual write ups. The visualization and cinematography of “Aaj Phir Jeene Ki Tamanna Hai” can simply not be bettered. The top shot of the lead pair in the rear of truck full of hay, or the low angle tracking shot of Waheeda Rehman’s feet as she is walking on the walls of the fort. Or the superb capture of the sunset ambience in “Tere Mere Sapne Ab Ek Rang Hain” – a song that was completed in an unbelievable 4 shots. When I read this and then went back to review the video of this song again, it is now even a more staggering experience with this knowledge – just 4 shots. And more than just the songs – that have been viewed and viewed and viewed again and again, and written about and discussed and critiqued to no end – I would like to draw the attention of the readers to another musical piece, which keeps to just being short of a full fledged song. The snake dance in the village of snake charmers. The visualization, the settings, the lighting, everything about this piece is just out of this world – and I dare say, this would be probably the best on screen dance performance of Waheeda Rehman.

In 1966, we see his directorial capabilities reach a plane very different from ‘Guide’. The release is ‘Teesri Manzil’ directed by him. An edge-of-the-seat thriller cum comedy film, one sees Vijay’s song picturization capabilities touch even newer heights of perfection. If the songs of ‘Guide’ were about a traditional view of the life of this sub-continent, the songs of ‘Teesri Manzil’ brought in a rock element that had never been presented before as such. And no, I am not going to discuss the song details here – they are so much a favorite of every music lover, that I may just be holding a candle to what everyone already knows and believes in.

1967 – and another brilliant caper is in the making – ‘Jewel Thief’. Another taut thriller, another musical bonanza, and another set of memorable songs picturized so elegantly that it defies description to do justice. Yesterday I had written about the dance song of Jaishree T (from the film ‘Tere Mere Sapne’), with the comment that it was probably the best on screen performance for her. I make a same kind of statement today – the song “Hothon Mein Aisi Baat. . .” has been acknowledged as the best dance performance of Vijayantimala in her entire career.

1968 – and we don’t know what to say about his film this year. He directed the Dev Anand – Asha Parekh starrer ‘Kahin Aur Chal’, produced under a non-descript banner titled JM Productions. The film seems to have sunk without a trace. The stories that emerged later were that this film was produced with the express requirement to show losses, for some tax manipulations. The producers withdrew the film almost as soon as it was released, to claim losses. The sad part is that the film has completely disappeared. It is known that even Dev Anand himself was searching for it. It was not a Navketan production so he had no control over its ownership. Nothing more is noted anywhere about this film, except that its songs are available. This curious situation kind of makes this Vijay Anand directed film as one of the most sought after cinematic assets in the industry.

After another gap of an unlettered 1969, Vijay is back in 1970, with the news of another blockbuster hit of a comic thriller – ‘Johnny Mera Naam’. Coming on the heels of ‘Teesri Manzil’ and ‘Jewel Thief’, this another taut thriller demonstrated Vijay going from strength to strength, and also continuing to refine his uncanny handling of on screen song presentations. The songs of this film are simply stupendous – the picturization of “Pal Bhar Ke Liye. . .” is unimaginably innovative and yes, very sweet – “Pal Bhar Ke Pyaar Pe Nisaar Saara Jeevan. . .”. And then, yes, the handling of a worried Hema Malini being followed by the police in the song “O Mere Raja. . . Waada To Nibhaaya”.

So far, so good. But then it gets even better in 1971. Moving away from the thriller genre, Vijay Anand directs ‘Tere Mere Sapne’ – which maybe barring ‘Guide’, is probably the most sensitive and a most mature handling of a theme of family sentiments, and human failings and triumphs. I was in school when this film was released. And in my haughtiness of the amateur school time discussions about human psychology and social issues, I thought very well of this film, given of course some ‘critical defects’ that I believed I must communicate to the director, if I could. That haughtiness and the thought of those errors is long past. And, as with a handful of some very excellent films, this is one which has a new learning to give every time one views it. I have seen this film every so often again and again, and simply do not get tired of it. The multi- faceted pushes and pulls that are experienced in real life, are so well depicted in this epitome production about human life.

I clearly remember the discussion I had with my school friends after seeing this film. I commented (quite amateurishly I must add) that seeing the last scene gives the feeling as if having a child was the only objective of this film. Over the years, I have not only regretted that statement, but have progressively revised my understanding as to what this film is trying to portray and achieve.

And then, just about this juncture, it seems as if Vijay has lost the luster and the touch. His personal inclinations seem to be distracting him more into his inside world. And the personal relationships that he went into and came out, did not help either. He was drawn towards Osho (Bhagwan Rajneesh). He got married to Loveleen, one of the followers of Osho. The marriage did not last long, and was dissolved. Some time passes and he confounds the world with his next marital alliance. He stirred a controversy of Himalayan proportions by marrying the daughter of his own sister.

As these personal travails haunt him, he continues to create more films but then how do you write about them after having talked about his creations till the 1971. No, I am not demeaning the value in the films that follow ‘Tere Mere Sapne’. A sampler follows – ‘Blackmail’ and ‘Chhupa Rustom’ in 1973, ‘Bullet’ in 1976, ‘Ek Do Teen Char’ and Ram Balram in 1980, ‘Rajput’ in 1982, ‘Hum Rahe Na Hum’ in 1984, and ‘Main Tere Liye’ in 1986. All these are as a director. As an actor anther list to talk about – ‘Double Cross’ and ‘Hindustan Ki Kasam’ in 1973, ‘Chor Chor’ and ‘Kora Kaagaz’ in 1974, ‘Main Tulsi Tere Aangan Ki’ in 1978, and ‘Ghunghroo Ki Awaaz’ in 1981. We continue to see glimmers of his old self – the song ‘Pal Pal Dil Ke Paas. . .” in ‘Blakcmail’, and “Jo Main Hota Ik Toota Taara. . .” in ‘Chhupa Rustom’, are a throwback reminder of his prowess as a song director. His performances in ‘Kora Kaagaz’, ‘Main Tulsi Tere Aangan Ki’ and ‘Chor Chor’ are impressive and invite kudos. But with all this even, he seemed to have descended into the valleys. The sparkle that was Vijay – seemed to have been snuffed out.

In 2004 when he passed away, he was preparing to direct another Navketan film for Dev Anand – ‘Jaana Nahin Dil Se Door’. Apparently one (or more songs) were recorded. But it seems that the film was shelved when Vijay passed away. There is no mention of this film on Navketan’s web site.

I feel I have so much to write about this enigma that was Vijay Anand, but I will save that for another post. Coming to the song for today. And yes, by the way, we are Yippeee-ing the film ‘Tere Mere Sapne’ with this post. 🙂

Just this film itself evokes such emotions and memories that I wish I had posted all the songs of this film, and written about them. In the post yesterday, I had written about the celebration dance song, and somewhat of the story till that point in the film. Moving forward from there – the humble and grateful Phoolchand (role played by Sapru) gives a personal gift to Dr. Anand for having saved his newborn child’s life. It is a note of one hundred rupees. Mrs. Prasad (role played by Paro, the wife of Dr. Prasad (role played by Mahesh Kaul), the head of the hospital), takes an offense to this, and demands that Anand hands over that gift to her. Anand refuses. He decides to take on another job at another hospital in a village close by, rather than succumb to Mrs. Prasad’s demands for something he, at that point in time, feels very emotionally attached with.

Anand moves to the other hospital. The expected marriage of Nisha and Anand takes place. Nisha is pregnant for the first time. A mishap occurs. While at the market place, she is hit by a car that is recklessly being driven by an inebriated Seth Madhochand (role played by Premnath), the owner of the mining company in the village. Nisha loses the child. The rich Seth prevails over the judicial system, gets acquitted after producing tutored witnesses to establish that the accident was Nisha’s fault. Anand’s world is shattered. He leaves the village and returns to Bombay. In the starting scene of the film, one of his batch mates is pleading with him not to go the village. Now Anand returns to the same friend, who introduces him to others in the profession, and Anand, capable as he is, becomes one of the most sought after doctors in the city.

Affluence follows, no matter that Nisha’s life becomes a depressing bore. But Anand is so busy making money that he even overlooks the personal issues his beloved is going thru. Back in the village, the senior doctor, Dr. Prasad passes away. The hospital is renovated and expanded, and is to be re-inaugurated as a memorial to Dr. Prasad. Jagan (Dr. Jagannath Kothari, role played by Vijay Anand) comes to Bombay, seeking to convince Anand to return to the village hospital. Anand, flying high with the euphoria of financial success, declines the invite. Jagan returns to the village empty handed.

The day of the inauguration arrives. All arrangements are in place. All the village crowd is collected. But the local leader, who has been invited to do the honors at the inauguration ceremony, is late, with no information as to when he may arrive. At this juncture, I introduce Dr. Bhutani (role played by Agha). Bhutani is the village dentist, apparently the only one in the surrounding 20 some villages. And so a person of quite some eminence. Being in-charge of the ceremonies, he is also panicking with the non-arrival of the chief guest. He complains to Jagan, Jagan tells him to improvise. They enter the pandaal, and seat Mrs. Prasad in the chief guest’s chair. And Bhutani breaks into this song. The crowd present joins in, as does Jagan for the third antaraa, later in the song.

The singing voice is that of Manna Dey, which is lip synced both by Jagan and Bhutani on screen.

An important note about the presentation of this song. Originally, in the film, this song is presented as a three antaraa song, two sung by Bhutani, and one by Jagan. As I went back into the online world to search for this song, I am pleasantly surprised to discover a much longer version of this song, which most probably has been taken from the film’s LP. The person who has uploaded this, has put together this entire song as a single video. For the first three antaraas, he has retained the original footage. For the later three antaraas, he has improvised and done an edit / cut / paste to create additional footage from the original footage. So what we see in this clip is three antaraas of the original footage and three additional antaraas of an edited and spliced together footage. The blips are noticeable, but yet the person has done a fair enough job to make is look like a whole single song.

There is enough said, so I will abstain from typing further. Enjoy this song that tells of the ground realities of the social and political woes in our country. Although dated 1971, all the thoughts expressed in this song are still fully representative of what we are going through in current times. The travails are timeless, it seems.

But regardless, enjoy the song. 🙂 And oh yes, a reminder that with this post, ‘Tere Mere Sapne’ is now a part of yippeee-land on our blog. The details of all the songs posted is given below. Close to ten years it took, given that the first song of this film was posted in November of 2008.

 

Hey Mein Ne Kasam Li 227 8-Nov-08
Jaise Radha Ne Mala Japi 559 16-Jan-09
Jeewan Ki Bagiya Mahkegi 571 18-Jan-09
Mera Antar Ek Mandir Hai Tera 7387 22-Jan-13
Ta Thai Tat Thai Ata That Thai Tat 8274 2-Jul-13
Phurr Ud Chala Hawaaon Ke Sang Sang Dil Jaane Kidhar 13870 4-Jan-18
Mera Saajan Phool Kamal Ka, Kali Main Raat Rani Ki 13953 21-Jan-18
Andhi Parja Andha Raja, Takey Ser Bhaaji Takey Ser Khaaja 13960 22-Jan-18

 

Song – Andhi Parja Andha Raja Takey Ser Bhaaji Takey Ser Khaaja  (Tere Mere Sapne) (1971) Singer – Manna Dey, Lyrics – Neeraj, MD – SD Burman
Unidentified Male Voice
Chorus

Lyrics

hey..ey..ey..ey..ey
suno re
suno re
suno re. . . sajjano

andhi parja andha raja
takey ser bhaaji
takey ser khaaja
takey ser janta
takey ser neta
hum to mar gaye haaye
jamaane dhatt tere ki
jamaane dhatt tere ki
arey andhi parja andha raja
takey ser bhaaji
takey ser khaaja
takey ser janta
takey ser neta
hum to mar gaye haaye
jamaane dhatt tere ki
jamaane dhatt tere ki

desh ko kha gayi netagiri
khet ko kha gaya sookha
khet ko kha gaya sookha
hey..ey desh ko kha gayi netagiri
khet ko kha gaya sookha
khet ko kha gaya sookha
arey dharam ko kha gaye pandit mulla
karam hoi gaya bhoosa
karam hoi gaya bhoosa
hey..ey..ey
kauwwe khaayen. . . hey
kya bhaiya
kauwwe khaayen doodh malaai
hans marey haaye bhookha
jamaane dhatt tere ki
jamaane dhatt tere ki

hey ram raaj ke ghaat pe ab to
reh gaye kewal jhande
oy reh gaye kewal jhande
hey ram raaj ke ghaat pe ab to
reh gaye kewal jhande
reh gaye kewal jhande
arey jhandon ko bhi le kar bhaiya
chalen sadak par. . .
dande
chalen sadak par dande
arey kaun desh ka dhyaan karey..ey..ey
kya baat hai
kaun desh ka dhyaan karey
kyaaa
sab hain kursi ke pandey
jamaane dhatt tere ki
jamaane dhatt tere ki
jamaane hatt tere ki

oo oo oo oo
oo oo
oo oo
dar dar maari phire sachchaai
ban kar yahaan bhikhaari
arey ban kar yahaan bhikhaari
ho oo oo
dar dar maari phire sachchaai
ban kar yahaan bhikhaari
ban kar yahaan bhikhaari
are raaj karey mehlon mein baithi
daghabaaj makkaari
daghabaaj makkaari
ey jitney daktar badhe..ey..ey..ey hey
jitney daktar badhe desh mein
utni badhi beemaari
haaye re haaye
utni badhi beemaari
jamaane dhatt tere ki
jamaane dhatt tere ki

arey andhi parja andha raja
takey ser bhaaji
takey ser khaaja
takey ser janta
takey ser neta
hum to mar gaye haaye
jamaane dhatt tere ki
jamaane dhatt tere ki

———————-
stanzas not in film
———————-

dus dus saal jo tax nahin de
woh ban jaaye leader
arey wo ban jaaye leader
aaa aaa
dus dus saal jo tax nahin de
woh ban jaaye leader
wo ban jaaye leader
arey khoon pasina ek karey jo
wo ho jaaye phateechar
wo ho jaaye phateechar
kaun akal ki baat karey..ey..ey..ey
kaun akal ki baat karey
bhai sab par chadha shanichar
jamaane dhatt tere ki
jamaane dhatt tere ki

raat mein tha wo
kyaa
raat mein tha wo leegi bhaiya
subeh bana kangressi
arey subeh bana kangressi
arey raat mein tha wo leegi bhaiya
subeh bana kangressi
subeh bana kangressi
dal badlu ne neeti niyam ki
kar di aisi ki taisi
kar di aisi ki taisi
aey jiski laathi..ee
bhains usi ki
jiski laathi bhains usi ki
kya hai democracy
jamaane dhatt tere ki
jamaane dhatt tere ki
jamaane hatt tere ki

hey..ey..ey..ey
hawaa chali pashchim ki aisi
kala hui bedhangi
arey kala hui bedhangi
oo oo oo
hawaa chali pashchim ki aisi
kala hui bedhangi
kala hui bedhangi
arey angreji ka raag alaape
hindi ki saarangi
hindi ki saarangi
azaadi ke baal sanwaare
waah bhaiyaa
azaadi ke baal sanwaare
haaye karze ki kanghi
jamaane dhatt tere ki
jamaane dhatt tere ki

arey andhi parja andha raja
takey ser bhaaji
takey ser khaaja
takey ser janta
takey ser neta
hum to mar gaye haaye
jamaane dhatt tere ki
dhatt tere ki
hatt tere ki
dhatt tere ki
arey hatt tere ki
dhatt tere ki
arey hatt tere ki..ee..ee..ee

———————————————————
Hindi script lyrics (Provided by Sudhir)
———————————————————
हे॰॰ए॰॰ए॰॰ए॰॰ए
सुनो रे
सुनो रे
सुनो रे ॰ ॰ ॰ सज्जनों

अंधी परजा अंधा राजा
टके सेर भाजी
टके सेर खाजा
टके सेर जनता
टके सेर नेता
हम तो मर गए हाए
जमाने धत्त तेरे की
जमाने धत्त तेरे की
अरे अंधी परजा अंधा राजा
टके सेर भाजी
टके सेर खाजा
टके सेर जनता
टके सेर नेता
हम तो मर गए हाए
जमाने धत्त तेरे की
जमाने धत्त तेरे की

देश को खा गई नेतागीरी
खेत को खा गया सूखा
अरे खेत को खा गया सूखा
हे॰॰ए देश को खा गई नेतागीरी
खेत को खा गया सूखा
खेत को खा गया सूखा
अरे धरम को खा गए पंडित मुल्ला
करम होई गया भूसा
करम होई गया भूसा
हे॰॰
कौव्वे खाएं॰॰॰ हे
क्या भइय्या
कौव्वे खाएं दूध मलाई
हंस मरे हाए भूखा
जमाने धत्त तेरे की
जमाने धत्त तेरे की

हे राम राज के घाट पे अब तो
रह गए केवल झंडे
ओय रह गए केवल झंडे
हे राम राज के घाट पे अब तो
रह गए केवल झंडे
रह गए केवल झंडे
अरे झंडों को भी ले कर भइय्या
चलें सड़क पर॰॰॰
डंडे
चलें सड़क पर डंडे
अरे कौन देश का ध्यान करे॰॰ए॰॰ए
क्या बात है
कौन देश का ध्यान करे
क्या
सब हैं कुर्सी के पंडे
जमाने धत्त तेरे की
जमाने धत्त तेरे की
जमाने हत्त तेरे की

ओ ओ ओ
ओ ओ
ओ ओ
दर दर मारी फिरे सच्चाई
बन कर यहाँ भिखारी
अरे बन कर यहाँ भिखारी
हो॰॰ओ दर दर मारी फिरे सच्चाई
बन कर यहाँ भिखारी
बन कर यहाँ भिखारी
अरे राज करे महलों में बैठी
दग़iबाज मक्कारी
दग़iबाज मक्कारी
ए जितने डक्टर बढ़े॰॰ए॰॰ए॰॰ए हे
जितने डक्टर बढ़े देश में
उतनी बढ़ी बीमारी
हाय रे हाय
उतनी बढ़ी बीमारी
जमाने धत्त तेरे की
जमाने धत्त तेरे की

अरे अंधी परजा अंधा राजा
टके सेर भाजी
टके सेर खाजा
टके सेर जनता
टके सेर नेता
हम तो मर गए हाए
जमाने धत्त तेरे की
जमाने धत्त तेरे की

———————-
अंतरे जो फिल्म में नहीं हैं
———————-

दस दस साल जो टैक्स नहीं दे
वो बन जाये लीडर
are वो बन जाये लीडर
आ आ
दस दस साल जो टैक्स नहीं दे
वो बन जाये लीडर
वो बन जाये लीडर
अरे खून पसीना एक करे जो
वो हो जाये फटीचर
वो हो जाये फटीचर
कौन अकल की बात करे॰॰ए॰॰ए॰॰ए
कौन अकल की बात करे भई
सब पर चढ़ा शनीचर
जमाने धत्त तेरे की
जमाने धत्त तेरे की

रात में था वो
क्या
रात में था वो लीगी भइय्या
सुबह बना कांग्रेसी
अरे सुबह बना कांग्रेसी
अरे रात में था वो लीगी भइय्या
सुबह बना कांग्रेसी
सुबह बना कांग्रेसी
दल बदलू ने नीति नियम की
कर दी ऐसी की तैसी
कर दी ऐसी की तैसी
ए जिसकी लाठी॰॰ई
भैंस उसी की
जिसकी लाठी भैंस उसी की
क्या है डेमो क्रेसी
जमाने धत्त तेरे की
जमाने धत्त तेरे की
जमाने हत्त तेरे की

हे॰॰ए॰॰ए॰॰ए
हवा चली पश्चिम की ऐसी
कला हुई बेढंगी
अरे कला हुई बेढंगी
ओ ओ ओ
हवा चली पश्चिम की ऐसी
कला हुई बेढंगी
कला हुई बेढंगी
अरे अंगरेजी का राग अलापे
हिन्दी की सारंगी
हिन्दी की सारंगी
आज़ादी के बाल सँवारे
वाह  भइय्या
अरे आज़ादी के बाल सँवारे
हाए करजे की कंघी
जमाने धत्त तेरे की
जमाने धत्त तेरे की

अरे अंधी परजा अंधा राजा
टके सेर भाजी
टके सेर खाजा
टके सेर जनता
टके सेर नेता
हम तो मर गए हाए
जमाने धत्त तेरे की
धत्त तेरे की
हत्त तेरे की
धत्त तेरे की
अरे हत्त तेरे की
धत्त तेरे की
अरे हत्त तेरे की॰॰ई॰॰ई॰॰ई॰॰ई


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

Blog Day : 3467 Post No. : 13918

Today’s song is from film ‘Sheroo’ (1957).

The lead pair in this film was Ashok kumar and Nalini Jayawant. This was quite a popular pair in the 1950s decade. They did 11 films together. Their association started from film ‘Sangram’ (1950) and the last time they came together was after 16 years, in film ‘Toofan Mein Pyar Kahaan’ (1966). In Bombay, their bungalows were in Union Park, Chembur, opposite to each others. Saadat Hasan Manto, in one of his books mentions about their mutual attraction and a failed plan to elope and marry.

Once a pair is successful, our Indian producers, try to repeat them in their films. Ashok kumar worked with a total of about 30 Heroines in his career. He was paired with Madhubala in 5 films, With Devika Rani in 8 films and with Leela Chitnis in 9 films. His record is 21 films with Nirupa Roy – from film ‘Bhai Bhai’ (1956) to ‘Dana Pani’ (1989), a whopping period of 33 years. In his times, he probably created a record of sorts.

Ashok Kumar (13-10-1911 to 10-12-2001) was a lucky actor. He did not have to struggle to become a hero. In fact, he started his career in film ‘Jeevan Naiya’ (1936) as a hero itself. He reigned the film industry as a hero from 1936 to 1960, a long period of 24 years. It was from film ‘Kanoon’ (1960) that he switched over to character roles. He worked in 310 films. Though he was in his early and late 40’s, he was a much sought after Hero even in the 1950’s decade. In this decade (from 1950 to 1959), he worked as a hero in 56 film- an average of almost 6 films an year ! In the years 1952 and 1958 he did 9 films in one year. Even as a character artiste, in 1962, he did 9 films.

Film ‘Sheroo’ was produced by SP Pictures, which was a pair of Sant Ram and Pachhi. Ram Prakash ‘Pachhi’ was the younger brother of (Bakshi) Om Prakash (Chibbar) the comedian.

Like his illustrious brother Om Prakash, Ram Prakash was also jovial by nature and had a similar sense of humour. But he had no ambition to become a comedian in Hindi movies. At the same time, Ram Prakash ‘Pachhi’ was in love of Hindi movies and wanted to become a film producer and to be master of his own destiny. One of his friends, Sant Singh, was doing well as a successful art director , who also nurtured the same ambition. They formed a film company PS Pictures and started from scratch by producing ‘Mr. Chakram’ in 1956. The film was directed by SP Bakshi and had music by Husn Lal Bhagat Ram. Bewitching Shyama (may God bless her soul) was the heroine. Next year Pachhi & Sant Singh signed an upcoming director Shakti Samant for their next movie, a crime caper ‘Sheroo’. After the grand success of his maiden directorial venture, ‘Bahu’, Shakti Samant was already signed by Nadiadwalas for two movies i.e. ‘Inspector’ and ‘Hill Station’. After the release of ‘Sheroo’, Pachhi helped Shakti Samant to become a producer and in 1958, he produced and directed the highly successful ‘Howrah Bridge’. His elder brother directed ‘Kanhaiyya’ in 1959 for PS Pictures, which had Raj Kapoor and Nutan, the hit pair of ‘Anari’ (1959) and its music was by Shankar Jaikishan. Financial result of the movie was depressing, as the movie had illogical story.

In 1960, Sant Singh & Pachhi again engaged Shakti Samant for their movie ‘Jaali Note’. They signed OP Nayyar as the music director and the beautiful pair of Dev Anand and Madhubala . Encouraged with the positive response and success of the movie, the producers duo announced a crime movie ‘Hong Kong’ (1962), in colour. This film was to be directed by Shakti Samant with the super hit pair of ‘Howrah Bridge’ Madhubala and Ashok Kumar, along with king of rhythm OP Nayyar. It was decided to shoot the crime movie, at the exotic locales of South East Asia like Singapore, Bangkok, Rangoon & Hong Kong. Pachhi got a jolt when Madhubala opted out from the project due to her ill health and subsequently Shakti Samant also declined to be associated with the venture. Discouraged by the turn of events, Pachhi decided to tackle the problem by taking the bull by the horns and made up his mind to direct the movie himself. He brought the ‘Sasural’ fame Kannada actress B Saroja Devi on board as heroine. It was the last movie (released in 1962) which was made by two friends Sardar Sant Singh and Ram Prakash Pachhi. After this film they mutually decided to end their partnership. Now Pachhi was alone, dejected, but determined to go ahead. He produced a path breaking film which in its time was miles ahead of all Hindi movies and was shot at foreign locales around the planet – ‘Around The World’ (1967). The film turned out to be a debacle.

In 1974, Pachhi produced and directed ‘International Crook’. He got a shock of his life, when censor board suggested many major cuts, after viewing his big budget film. He approached the Appellate Tribunal to seek justice. The Appellate Tribunal, instead of granting relief, objected to the story itself and banned the movie altogether. The fact of the matter was, in his capacity as the president of the Indian Motion Picture Producers Association (IMPPA), he had many face-off’s with the authorities, in the past, for the legitimate causes of film industry. Now it was the payback time for the authorities in power. They harassed him, although the movie had nothing objectionable. It had an escapist story, with usual blending of romance, dance & music. It was shot at various location around the world. Pachhi was heartbroken, but somehow he re-shot some portion, omitted most of the shots & presented again to censor. Censor gave him certificate with A stamp, which was as good as killing half the movie. The final print had lot of continuity jumps & was inconclusive, despite the patch works. The opening of the movie at theatres was worse than the worst, which left Pachhi inconsolable .

Perhaps, it was the destiny. His elder brother Om Prakash had faced it with ‘Jahan Ara’ (1964), and his eldest brother Bakshi Jang Bahadur with ‘Tipu Sultan’ (1959). Pachhi after a while decided to start from the scratch and made ‘Eent Ka Jawab Pathar’, with small star cast and controlled budget. The only luxury, he allowed himself was that he signed Shankar Jaikishan again for music and shot the movie in Vista Vision. The movie was released in 1982 and sadly like a defeated gambler, Pachhi lost once again. Bakhshi Jang Bahadur had already gone and Pachhi also passed away soon after. It was a big shock for Om Prakash, who lost his wife after some time. Pachhi was a jolly and energetic fellow, who regaled his audience by showing exciting foreign locations. He will be remembered for his occasional appearances as a jolly natured person in various movies, and also as a visionary. He is the one who introduced 70 mm format first time in the Indian film industry.
[Note: The above bio sketch is based on material received from Shri MN Sardana.]

The cast of the film was Ashok Kumar,  Nalini Jayawant, Anup kumar, Madan Puri, Chaman Puri, Om Prakash, Leela Mishra, Shyam Kumar,  Krishna Kant etc etc. The name of Krishna Kant or KK is known to many people. Krishnakant (15-9-1922 to 24-10-2016) was a noted character actor of long standing. His career spanned from 1943 to 1989, a whopping 46 years. After retirement he had settled in Surat, Gujarat.  His life story has been made into a Gujarati book ‘Guzara Hua Zamana’ written by the famous author Shri Biren Kothari ji. He has gifted me a copy of this book. Reading this book takes you into those times. KK had a knack of telling the history in an interesting way, with lot many photographs. Till the last day (94 years) his memory was excellent. During my visit to Surat in early 2016, I could not meet him, due to paucity of time. This will pinch me forever. Our Sudhir ji and Bakshish Singh ji have met him.

Krishnakant acted in 109 Hindi, 16 Gujarati, 2 Bangla and 2 English movies. He has also directed 2 Hindi and 13 Gujarati films. In addition, he was active on TV in his later years. He acted in 8 Hindi and 6 Gujarati serials and directed 3 Hindi serials. He also acted in 1 Hindi and 7 Gujarati stage dramas. Here is his short bio sketch,

Krishnakant (15-9-1922 to 24-10-2016)

Gujarati and Hindi actor and director born in Howrah, Bengal, as Krishnakant Maganlal Bukhanwala. Son of a textile engineer; educated in Surat and in Bombay. Obtained a diploma in radio and electrical engineering (1940); then joined the Rooptara Studio in Bombay, working in the sound department. Assisted Nitin Bose for five years, then worked with Aravind Sen on ‘Muqaddar’ (also acting in it) and with Subodh Mukherjee (‘Paying Guest’, 1957). First major acting role in Phani Majumdar’s ‘Andolan’; other notable roles are a paralytic in Amiya Chakravarty’s ‘Patita’ and the villain in Shakti Samant’s ‘Detective’. Left films in the late 1950s to concentrate on Gujarati theatre work (e.g. Pravin Joshi’s Manas Name Karigar) mainly with Harkrishen Mehta’s group. Returned to cinema in the early 70s; turned to direction with Dakurani Ganga, adapting Mehta’s novel Pravaha Paltavyo. Directed a series of Gujarati films based on plays or films from other languages: e.g. Visamo based on Harkrishen Mehta’s play, in which he acted the role of an old teacher, recalling Paranjpe’s Oon Paoos (1954) and Panthulu’s School Master (1958). Also adapted Anant Mane’s Manini (1961) as Maa Dikri. With these films he introduced a novel style of urban entertainment to Gujarati cinema, although relying on conventional reformist melodrama plots about the joint family, the generation gap and the exploitation of women. Also noted actor on Hindi and Gujarati television.

FILMOGRAPHY (* also d): 1943: Paraya Dhan; 1950: Chor, Muqaddar; Mashaal; 1951: Andolan; 1952: Daag; Tamasha; Zalzala; 1953: Patita; 1954: Baadbaan; Dhobi Doctor; Naukri; 1955: Faraar; Subse Bada Rupaiya; Ghar Ghar Mein Diwali; Seema; 1956: Sailaab; Jagte Raho; Patrani; Sudarshan Chakra; Dhola Maru; 1957: Agra Road; Bandi; Begunah; Hum Panchhi Ek Dal Ke; Yahudi Ki Ladki; Bhabhi; 1958: Ghar Sansar; Detective; Howrah Bridge; Mehndi; Parvarish; Post Box 999; Delhi Ka Thug; 1959: Insaan Jaag Utha; Satta Bazaar; Madhu; Ghar Ghar Ki Baat; Jaalsaaz; 1960: Jaali Note; 1961: Tanhaai; 1963: Jivno Jugari; Vanraj Chavdo; 1969: Do Raaste; Kanku; 1971: Duniya Kya Jaane; Hathi Mere Saathi; Pyar Ki Kahani; Sharmilee; Paraya Dhan; 1972: Mere Jeevan Saathi; Do Chor; Annadata; Gunsundari No Ghar Sansar; 1973: Gaai Aur Gori; Suraj Aur Chanda; Mr Romeo; Manchali; 1974: Parinay; Ajnabi; Trimurti; Vardan; Aarop; 1975: Anari; Kala Sona; Sant Surdas; 1976: Deewangee; Koi Jeeta Koi Haara; Sajjo Rani; Dakurani Ganga*; 1977: Jagriti; Kulavadhu*; 1978: Khoon Ki Pukar; Visamo*; Maa Dikri*; Ghar Sansar*; 1979: Sonba Ane Rupba*; 1980: Maniyaro*; Meru Mulande*; Jog Sanjog*; 1981: Hotel; 1982: Prem Lagna*; Dharmo*; Jawabdaar*; 1983: Main Awara Hoon; Poojana Phool; 1986: Teesra Kinara*; Chhota Admi*; 1988: Kharidar.

(Adapted from Encyclopedia of Indian Cinema)

‘Sheroo’ is about a soldier of second world war who returns to his town for a peaceful retired life. Instead he has to deal with the Government babus and various rules. For a soldier, this indiscipline, corruption and lethargy was beyond tolerance. He is sad when his mother dies and very furious when his  wife is kidnapped by villains of the town. Frustrated Sheroo resorts to his gun to solve the problem.

I remember having seen a film of Nana Patekar. The film was ‘Prahar’ (1991). The story has similarity except the end. After 35 years Hindi cinema had become more direct and the end of these two films having similar content was entirely different. Instead of subtle and suggestive results, Nana Patekar is shown to punish the enemies of the society with death penalty, unlike the ‘Sheroo’ of 1957. This also reflects our modern society thinking.

The music is by Madan Mohan and he has given some wonderful songs. The top 2 songs, one by Rafi (“O Mati Ke Putle, Itna Na Kar Tu Gumaan”) and the other by Lata (“Naino Mein Pyar Doley, Dil Ka Qaraar Doley”) are already discussed. Today’s song, byManna Dey is the third top song. This is the 5th song from Sheroo to be discussed here. Enjoy this melodious classical based bhajan. . .


Song – Prabhu Dwaar Chali Prabhu Ki Daasi (Sheroo) (1957) Singer – Manna Dey, Lyrics – Kaif Irfani – Madan Mohan
Unidentified Male Voice

Lyrics (Provided by Sudhir)

parbhu dawar chali parbhu ki dasi
ek aas liye ek pyaas liye
parbhu dawar chali parbhu ki dasi
ek aas liye ek pyaas liye
parbhu dawar chali

muskaan ke phool sajaaye huye
naino ke deep jalaaye huye
muskaan ke phool sajaaye huye
naino ke deep jalaaye huye
nikli preetam ke rijhane ko
man me apne visvaas liye

parbhu dawar chali parbhu ki dasi
ek aas liye ek pyaas liye
parbhu dawar chali

(taal)

(taal and dance steps)

tero naam onkaar
gaawat sab baar baar
tero naam onkaar
gaawat sab baar baar
laaj meri tere haath
jagat ke khiwaiyyaa

(taal)

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

प्रभु द्वार चली प्रभु की दासी
एक आस लिए एक प्यास लिए
प्रभु द्वार चली प्रभु की दासी
एक आस लिए एक प्यास लिए
प्रभु द्वार चली

मुस्कान के फूल सजाये हुये
नैनों के दीप जलाए हुये
मुस्कान के फूल सजाये हुये
नैनों के दीप जलाए हुये
निकली प्रीतम के रिझाने को
मन में अपने विश्वास लिए
प्रभु द्वार चली प्रभु की दासी
एक आस लिए एक प्यास लिए
प्रभु द्वार चली

(ताल)

(ताल एवं नृत्य भाव)

तेरो नाम ओंकार
गावात सब बार बार
तेरो नाम ओंकार
गावात सब बार बार
लाज मेरी तेरे हाथ
जगत के खिवैया

(ताल)

 


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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 nine years. This blog has over 14300 song posts by now.

This blog is active and online for over 3500 days since its beginning on 19 july 2008.

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Movies with all their songs covered =1146
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