Posts Tagged ‘Naqsh Llayalpuri’
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5747 | Post No. : | 18270 |
Today’s song is from the film Gustakhi Maaf-1969.
Titles of Hindi films generally confuse me, but mostly they disappoint me. A normal cinegoer expects that the title of the film indicates the type of film it is or gives a hint of the film’s story subject or atleast the type/genre of the film. But mostly the titles are misleading. Luckily the hoardings and the posters of the film are more revealing and attractive. They give a closer hint about the film. Here too, what is shown on the hoardings is not seen in the films many times. Why I am saying all this is, because today’s film’s story has absolutely nothing to do with its title, by any angle.
The film is a little complicated story ( based on the Comedy of Errors) of two sisters who are twins and hence lookalikes. They are Asha and Seema, daughters of mr. Gupta, a businessman. Once while crossing a river in a boat, a severe storm capsized the boat. One daughter is with the father and one with the mother. Father somehow survives with the daughter, but the mother is injured and swept away. The other daughter Seema reaches a distant shore, where she is found by Mr. Seth, a widowed rich person. He has no issues. He adopts her and gives her also the name of Asha.
18 years pass. The girls become young. Asha Gupta comes to Darjeeling, with her friends. The other Asha Seth is living in Darjeeling only. There are two artist friends Shankar (Sujit Kumar) and Jai (Sanjeev Kumar). Local Asha falls in love with Sujit and by coincidence Asha Gupta starts loving Jai. After a lot of confusion and misunderstandings because of two similar looking girls with the same names, everything is clear and there is a happy ending. In addition, the mother of Asha who had lost her memory is in hospital at Darjeeling. She also regains memory and the whole family is reunited. THE END !
The film was directed by Raj Kumar Bedi and the film’s cast was Tanuja, Sanjeev Kumar, Sujit Kumar, Ulhas, Indira Bansal, Narbada Shankar, Vithaldas Panchotiya, Gopal Saigal and others. The songs were written by Naqsh Lyallpuri.
Just a few days back, I had talked about Hindu lyricists taking Muslim names, like Qamar Jalalabadi who was actually Omprakash Bhandari. Today’s Lyricist Naqsh Lyallpuri is another such example. He was in reality Jaswant Rai Sharma. Here is what is written about him on the internet site of ‘ The Encyclopedia of Indian Cinema’….
Jaswant Rai Sharma (24 February 1928 – 22 January 2017), popularly known by his pen name Naqsh Lyallpuri, was born in Lyallpur (now called Faisalabad and in present-day Pakistan) to a Punjabi-Brahmin family. In 1946 Sharma worked at a publishing house named Hero Publications and later moved to Lahore looking for work. After the Partition of India, the family migrated to Lucknow. Sharma later took on the pen name “Naqsh” – meaning an impression, a mark or a print – and added “Lyallpuri” to it, following the tradition of Urdu poets to associate with their birthplace.
Lyallpuri moved to Mumbai in 1951 and started working at The Times of India as a proofreader. Lyallpuri debuted as a film lyricist with the 1953 film Jaggu, writing the lyrics of “Agar Teri Aankhon Se Aankhein Mila Doon”, rendered by Asha Bhosle and composed by Hansraj Bahl. He worked in the postal department to earn his living. Music director Jaidev introduced him to television serials and asked him to write lyrics for the Hindi television series Shrikant. Lyallpuri went on to write songs for about 50 TV serials along with nearly 40 Punjabi films. Lyallpuri collaborated with various Bollywood music directors, including Madan Mohan, Khayyam, Sapan Jagmohan, Jaidev, Naushad, and Ravindra Jain, and Punjabi music composers like Surinder Kohli, Hansraj Bahl, Ved Sethi, and Husnlal-Bhagatram.
His Filmography….1963: Gul-e-Bakavali, Pyar Ka Bandhan, 1968: Aanchal Ke Phool, 1969: Gustakhi Maaf, Insaaf Ka Mandir, Paun Baran, 1970: Chetna, Gunah Aur Kanoon, Gunahon Ke Raaste, 1971: Kankan De Ohle, 1973: Rocky Mera Naam, 1974: Parinay, 1975: Kaagaz Ki Nao, 1976: Changay Mande Tere Bande, Kasam, 1978: Atyachar, Hazaar Haath, 1979: Kunwara Mama, Til Til Da Lekha, 1980: Sister, 1982: Dil Aakhir Dil Hai (Writer), 1983: Do Madari, 1984: Ek Naya Itihas, 1985: Nain Mile Chain Kahan, Takraar, 1986: Devar Bhabhi, 1987: Jaag Punjabi Shera, 1988: Ghar Aakhir Ghar Hai, Jag Wala Mela, Tapash, 1989: Marhi Da Deeva, 1990: Sounh Menoo Punjab Di.
The music Director was Sapan – Jagmohan. There were only 4 songs in this film. I was surprised. Normally there used to be 6-10 songs in any Hindi film. Curious, I looked at many more other films and I found that nowadays there are fewer songs in the films. I remember, the film ” Trishagni’-1988 had only one song.
These days there may be films without any songs also or songs only in the background. How times have changed ! When the Talkie films started, in its first decade there were average 9 to 10 songs. The record breaking 69 songs in film Indrasabha-1932 is unforgettable.
I wanted to know how the average number of songs in every decade came down. One day I found an analysis done by the famous record collector and music Historian Shri Girdharilal Vishwakarma ji of Jodhpur. Here is what he has presented in a table….
| Decade | Total number of Films in the decade | Total number of songs in the decade | Average number of films /year | Average number of songs /film |
|---|---|---|---|---|
| 1931-40 | 931 | 8247 | 93 | 9.0 |
| 1941-50 | 1236 | 11124 | 124 | 8.9 |
| 1951-60 | 1203 | 9624 | 120 | 8.0 |
| 1961-70 | 1007 | 6990 | 100 | 6.9 |
| 1971-80 | 1327 | 8295 | 133 | 6.3 |
| 1981-90 | 1843 | 9558 | 184 | 5.2 |
| 1991-2000 | 1902 | 9059 | 190 | 4.8 |
| 2001-10 | 1967 | 9154 | 197 | 4.7 |
| 2011-2017 | 1475 | 6785 | 227 | 4.6 |
| Total 86.5 years | Total number of movies 12891 | Overall Average songs per decade 6785 | Overall average films/ year 149 | Overall average 6.1 |
You can see yourself how the average number of songs per film has come down. Initially, the craze of film songs was so great that in 1937, when Wadia Movietone released their First songless film- Naujawan, the unsuspecting audience was very angry and at many places the broke chairs etc. in protest as they felt cheated by the producers of that film by not having any songs ! I only hope that if this diminishing trend continues, the image of India as the producer of only ” Colourful Musical Dramas” will change in coming years !
Film Gustakhi Maaf-1969’s Music Director pair was Sapan-Jagmohan. This Jagmohan is not the NFS singer from Bengal- Jaganmoy Mitra aka Jagmohan Sursagar.
Jagmohan Bakshi of Sapan Jagmohan was born in Murrie in Punjab on 29-7 1929. Love of singing and music brought him to Bombay where he met a similar struggler Sapan Sengupta (born on 17-7-1932 at Sylhet in Bengal). One was from Pakistan -w and the other was from Pakistan -E. They became friends and shared a room in a Goregaon Chawl. They regularly sang in the chorus and had dreams of becoming MDs one day ! This pair was favoured by Naashaad, S D Burman and Salil Chaudhari.
Finally S D Burman gave Jagmohan Bakshi a chance to sing a duet with Asha Bhosle,in the film Taxi Driver-1954. The song became popular-‘ Dekho mane nahi roothi haseena,na jaane kya baat hai’. Still no offers came forth. He sang in Hamlet-54,a duet with Rafi. He sang his final and third trio with Lata and Usha in ‘Piya Milan’-1958. In his lifetime Jagmohan Bakshi sang only these three songs-no solo in them.
Later he formed a pair with Sapan as Sapan-Jagmohan and as MD gave music to their first film-Begaana-1963. This pair gave music to 43 films, mostly B and C grade obscure movies.
Jagmohan Bakshi died on 26-2-1999.
Today’s song is sung by Krishna Kalle and Manna Dey. This is the last and final song of this film, making it YIPPEED !
Song- Isaaron ka matbal samajh morey chhaila (Gustaakhi Maaf)(1969) Singers- Krishna Kalle, Manna Dey, Lyricist- Naqsh Llayalpuri, MD- Sapan-Jagmohan
Lyrics
isaaron ka matbal samajh morey chhaila
isaaro ka matbal samajh more chaila
isaaro ka matbal samajh more chaila
tu mora majnu hai main tori laila
tu mora majnu hai main tori laila
arrey pyaar wich hai kadam pehla pehla
arrey pyaar wich hai kadam pehla pehla
main teri laila
laila nahin majnu
haan haan
main tera majnu te tu meri Laila
main tera majnu te tu meri Laila
ae batiyaan u chaahe na maar
tora isak mori lega jaan
rasiya chahliya
arre yaar mera jab jab roothha
aise lage jaise rab roothha
soniye heeriye
tu naahin jaane torey badey maine liye kitne ilzaam
hmm
arre pyaar wich hai kadam pehla pehla
arre pyaar wich hai kadam pehla pehla
main tera majnu te tu meri Laila
main tera majnu te tu meri Laila
kaahe nayan uljhaa baithhee
raaton kee neend ganwa baithhee
rasiyaa aa
chhaliyaa aa
saanja ke tujhko sula doon main
meethhi si lori ga doon main
aaaa sonja raaj kumaari ee sonja
aan aan
sonja main balhaari ee sonja
sonja raajkumaari sonja sonja
patthar ko mai samjhaaun kaa
more darad ki naahin dawa
rasiyaa aa
chhaliyaa aa
yoon na bigad ke aankhen dikhaa
main to hoon kudiye tera ghulaam
Sun pyaare sajnaa re
Posted on: January 1, 2024
- In: Asha Bhonsle songs | Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Love song | Lyrics contributed by readers | Mukesh songs | Mukesh-Asha Bhonsle duet | Post by Sadanand Kamath | Songs of 1960s (1961 to 1970) | Songs of 1969 | Yearwise breakup of songs
- Leave a Comment
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5645 | Post No. : | 18137 |
‘Insaaf Kaa Mandir’ (1969) was produced by Sherbahadur Singh and Jagdish Singh and was written and directed by BR Ishara. The cast includes Sanjeev Kumar, Snehlata, Nadira, Asit Sen, Prithvi Raj Kapoor, Tarun Bose, Manmohan Krishna, Sapru, Laxmi Chhaya, Aruna Irani, Bela Bose, Mohan Sherry, Kanu Roy etc. This was BR Ishara’s debut film as a full-fledged director. After coming to Mumbai, it took him almost 2 decades to direct his first film. But it was not that he had run away from his village to Mumbai to make a career in films. It was, what he called the ‘torturous nature’ of his uncle which drove him to Mumbai where he was prepared to grab any work including domestic servant and waiter for sustenance.
Babu Ram Ishara, whose real name was Roshan Lal Sharma (07/09/1934 – 12/07/2012), was born in Bharwain village of Una district in Himachal Pradesh in a Brahmin family. He lost his mother at the age of 3 and after 2 years, he lost his father. The parent-less child was brought up by his grandmother. He completed his primary schooling in Bharwain village. His uncle who was based on Amritsar, had taken his admission in High school in Amritsar where his thread ceremony was also planned.
Being afraid of his uncle, Roshan Lal ran away from home by stealing his uncle’s money and came to Delhi where he met another boy. Both decided to visit Bombay (now Mumbai). While watching a film in a theater in Mumbai, the boy accompanying him quietly slipped away from the theater taking his money with him, never to be seen again. With no means for livelihood, Roshan Lal worked as a ‘baaharwala’ (waiter serving tea and food outside) in a hotel opposite Ranjit Studio. His main work was to serve tea to the workers and junior artists of Ranjit Studio and the nearby Shri Sound Studio. The studio workers used to call him ‘Babu’.
After few months, Roshan Lal joined Central Studios as office boy on a monthly salary of Rs. 60. One day, while serving tea to Qamar Jalalabadi in the studio, he gave Roshan Lal a new name, ‘Babu Ram’ as he did not want to call him by his real name Roshan Lal because his spiritual guru’s name was Roshan Nath. After the studio duties, Roshan Lal was also working as a cook to serve breakfast to Kaif Irfani in his house. Noting that Roshan Lal had flavour for writing, he told him to add a pen name ‘Ishara’ to his name Babu Ram. Thus, Roshan Lal Sharma became Babu Ram Ishara, better known as BR Ishara.
In between, BR Ishara was working as a household worker in Qamar Jalalabadi’s house who was producing ‘Aansoo’ (1953) at that time. He had assured BR Ishara that he would take him in his production office once the function of muhurat shot of the film got over. But the function got postponed a number of times. Fed up with cleaning utensils, BR Ishara left for Delhi to seek employment opportunity. However, his uncle got a wind of his arrival in Delhi. He took him to Amritsar and admitted in the 10th class. But the torture of his uncle was too much for him. After about 3 months, he again ran away and returned to Bombay.
Mukesh was planning ‘Anuraag’ (1956) and a preparatory work was going on to start the film. One of the acquaintances from the production team took BR Ishara to Mukesh who gave him a job of apprentice with no salary. After some time, pleased with his work as an apprentice, Mukesh made him Third Assistant at a monthly salary of Rs. 60. This was a turning point in the life of BR Ishara as for the first time, he got opportunity to get exposure to film making. With this work, he developed his aptitude for the film direction. After the completion of the ‘Anuraag’ (1956). he joined director, Tara Harish as his assistant in ‘Laalten’ (1956) and ‘Jalti Nishaani’ (1957).
‘Jaal Saaz’ (1959) is the first film in which he is officially accredited as dialogue director. It was during the making of this film that he learnt to speak Bengali since almost all the crew members were Bengali. In ‘Aawara Baadal’ (1964) also he was accredited as ‘dialogues written and directed by BR Ishara’. The film’s director Kedar Kapoor had differences with his original dialogue writer. So, he entrusted dialogue writing to BR Ishara under his guidance. Dulal Guha, who was to direct ‘Chaand Aur Suraj’ (1965), selected BR Ishara to write dialogue for the film which was his first formal work as a dialogue writer. With the words of mouth from some Bengali crew members, Basu Bhattacharya made him his second assistant for the film ‘Teesri Kasam’ (1966).
By this time, BR Ishara was virtually addicted to film making and he had developed a keen interest in film direction. Johny Whiskey, a close friend, was producing ‘Gunaah Aur Kanoon’ (1970). He entrusted to BR Ishara to write screenplay and dialogues and also to direct the film. At the same time, BR Ishara had also written story, screenplay and dialogues for the film ‘Insaaf Ka Mandir’ which he wanted to direct. He got producer for this film as well. Both the black and white films started more or less on the same time. Sanjeev Kumar, Prithviraj Kapoor, Tarun Bose, Asit Sen were the common actors for both the films. Both the films did not fare well on the box office. (Note: The life sketch of BR Ishara is mainly based on his interview at Vividh Bharati. The video clip of the interview is available here.)
It was his third film, ‘Chetna’ (1970) that BR Ishara got the recognition as a director. Made with a shoe-string budget and completed in 25 days, the film became a box office hit. It was the debut film of Anil Dhawan and Rehana Sultan who was a gold medallist from FTTI, Pune. BR Ishara’s other notable films were ‘Ek Nazar (1972) with Amitabh Bachchan and Jaya Bahaduri, ‘Milaap’ (1972) with Shatrughan Sinha and Reena Roy, ‘Dil Ki Raahen’ (1973) with Rahana Sultan and Rakesh Pandey, ‘Prem Shastra’ (1974) with Dev Anand and Zeenat Aman, ‘Ghar Ki Laaj’ (1979) with Sanjeev Kumar and Mausami Chatterjee and ‘Wo Phir Aayegi (1988) with Rajesh Khanna and Farah. ‘Main Bikaaoo’ (2004) was his last directed film which remained unreleased.
During his filmy career, BR Ishara directed 42 films of which 3 films remained unreleased. Most of his films raised socially relevant issues with his hard-hitting dialogues. But a majority of such films were box office failures. In 1984, he married Rehana Sultan.
BR Ishaara passed away on July 12, 2012. A few months before his death, he was not keeping good health. Later, he was diagnosed with tuberculosis.
The story of the film under discussion is as under:
Sunil (Sanjeev Kumar) has completed his law graduation and looking for the job opportunity. But before that, he receives a telegram that his father is seriously ill, and he should visit home to see him as soon as possible. By the time Sunil reaches home, his father has already passed away. The servant, Sunder (Asit Sen) hands over a letter to Sunil, written by his father which reveals that he is not his real father but has adopted him. His mother is somewhere in Mumbai which he is not aware of but one Durgadevi Jain (Nadira) can help him to locate his mother. The very next day, Sunil accompanied by Sunder, depart for Mumbai in search of his mother.
Sunil and Sunder reach Mumbai and meets Durgadevi. She puts a condition that she would reveal the whereabouts of his mother provided he agrees to become her adopted son so that she could bequeath him all her property and wealth. Sunil rejects her proposal and walks out of her house. He decides that he would himself search for her mother. But before that, he needs to have a steady job and a house in Mumbai. Sunder has one of his close friends, Shambhu (Manmohan Krishna) who works for Mumbai’s famous lawyer, Badri Prasad (Tarun Bose). He takes Sunil to Badri Prasad’s house. Sunil is pleasantly surprised to see Sunita (Snehlata) in the house who is the daughter of Badri Prasad and is in love with Sunil since college days. Badri Prasad not only appoints him in his office but also provide one of his vacant flats to Sunil.
During their discussions, Sunil comes to know that Durgadevi’s stepdaughter, Sadhana (Aruna Irani) had committed suicide about a couple of years back. Shambhu and Sunita, however, suspect that Sadhana was murdered by Durgadevi. Shambhu was earlier employed by Durgadevi while Sunita was Sadhana’s friend. In order to clear the doubts in the minds of Shambhu and Sunita, Badri Prasad entrusts the job of investigating Sadhana’s suicide case to Sunil who starts investigation with the assistance from Sunita and collect important evidence over a period of time to prove that Sadhana has not committed suicide, but she was murdered.
Sunil meets public prosecutor and joins him as his assistant with the recommendation of Badri Prasad. With his evidence, the court agrees to reopen the Sadhana’s suicide case in which Sunil represents as public prosecutor and Badri Prasad representing Durga Devi’s lawyer as he had done earlier. The last one hour of the film is mainly the court room drama with Prithvi Raj Kapoor as a Judge. With arguments and counterarguments between the prosecutor and the defendant’s lawyer, Durgadevi’s past life is exposed. The photographs of her abandoned child born out of wedlock are placed before the Judge and her motivation for killing her stepdaughter is revealed as relating to the property dispute. She concedes her involvement. The Judge announces that the judgement in the case would be delivered the next day. After the court proceedings ends, Judge asks Sunil to meet him in his chamber where he is shown the photographs of Durgadevi’s child from childhood to his adulthood. Sunil is shocked to see his own photograph. Judge requests him to meet Durgadevi who is sitting in an adjoining room. Sunil meets his biological mother and hugs her. Durgadevi is so much elated with meeting her son that she collapses on the floor and dies of heart attack.
I found the film’s plot quite interesting and gripping as a suspense thriller. But most of the audience would get the clue from a couple of dialogues between Sunil and Durgadevi as to who is his mother, and the suspense is revealed. I think, rather then keeping the suspense, BR Ishara may have thought that it would be more interesting for the audience to know as to how the prosecutor will prove the identity of Sunil’s biological mother and her involvement in Sadhana’s killing. And he has successfully done so through the intense court’s proceedings which takes about one hour of the film’s duration.
Of the main actors in the film, I feel that Nadira in the role of Durgadevi has given the top performance in the film. She has a challenging role to balance her performance of a grayish character with an emotional personality which she has successfully executed. Sanjeev Kumar in the role of a lawyer and later the prosecutor has given an excellent performance as expected, so also Tarun Bose as a defendant lawyer. Prithviraj Kapoor in the role of a judge has few dialogues. But his presence itself is sufficient to create an aura of dignity to his role. There is not much of the boredom in watching this film except a couple of songs which, to my mind, are not the situational songs. Nonetheless, all the songs are melodious.
The film has six songs written by Naqsh Lyallpuri (5) and Anwar Sasarami (1) which are set to music by Sapan-Jagmohan. One song has been covered on the Blog. I am presenting the second song from the film, “Sun Pyaare Sajna Re”, which is written by Naqsh Lyallpuri and rendered by Asha Bhosle and Mukesh. It is interesting to note that in all the films with the exception of a couple of films which BR Ishara directed during 1969-1977, there was at least one song rendered by Mukesh.
The background to the song under discussion is that Sunil (Sanjeev Kumar) shifts himself to Mumbai in search of his biological mother. He gets a job in the office of lawyer, Badri Prasad (Tarun Bose). Earlier, he has met the lawyer’s daughter, Sunita (Snehlata) who was his classmate in the law college and is in secretly in love with him. She works as his assistant in investigating the alleged suicide of Sadhana (Aruna Irani) and they are on their way to collecting evidences. At the same time, Durgadevi (Nadira) has placed one of her men to keep an eye on Sunil’s movements and his activities. The person, taking a diary note during the song is the one who works as such for Durgadevi.
Video Clip:
Audio Clip:
Song-Sun pyaare sajnaa re (Insaaf Ka Mandir)(1969) Singers-Asha Bhonsle, Mukesh, Lyrics-Naqsh Llayalpuri, MD-Sapan Jagmohan
Lyrics (based on video clip)
o o o
o o o
aa aa aa
aa aa aa
aa aa aa
sun pyaare
sajna re
mann gaaye
geet suhaane
geeton mein
pyaar hai tera
tu maane yaa naa maane
daali daali
matwaali
rut aayi
phool sajaane
phoolon mein roop hai tera
tu maane yaa naa maane
sun pyaare
sajna re..
tu kehde to jheel si gehri
aankhon mein kho jaaun
aaj mera jee chaahe
teri baanhon mein lehraaun
o o o tu kehde to jheel si gehri
aankhon mein kho jaaun
aaj mera jee chaahe
teri baanhon mein lehraaun
geet milan ke gaaun
daali daali
(aa aa aa aa)
matwaali
(aa aa aa aa)
rut aayi phool sajaane
(o o o o o)
phoolon mein roop hai tera
tu maane yaa naa maane
sun pyaare sajna re
tujhko paaya maine apna
tanmann arpan kar ke
aaj bane hain hum tum dono
saathi jeewan bhar ke
o o
tujhko paaya maine apna
tanmann arpan kar ke
aaj bane hain hum tum dono
saathi jeewan bhar ke
mehke phool dagar ke
sun pyaare
sajna re
mann gaaye
geet suhaane
geeton mein
pyaar hai teraa
tu maane yaa naa maane
daali daali
(aa aa aa aa)
matwaali
(aa aa aa aa)
rut aayi phool sajaane
(ho o o o o)
phoolon mein roop hai teraa
geeton mein pyaar hai teraa
tu maane yaa naa maane
sun pyaare sajna re
o o o
o o o
aa aa aa
aa aa aa
aaa aaa aaa
aa aaa aaa
aa aa aa aa aaa
aa aa aa aaa
o o o o o
aa aa aa aa
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Hindi script lyrics (Provided by Sudhir)
——————————————
ओ ओ ओ
ओ ओ ओ
आ आ आ
आ आ आ
आ आ आ
सुन प्यारे
सजना रे
मन गाये
गीत सुहाने
गीतों में
प्यार है तेरा
तू माने या ना माने
डाली डाली
मतवाली
रुत आई
फूल सजाने
फूलों में रूप है तेरा
तू माने या ना माने
सुन प्यारे
सजना रे
तू कह दे झील सी गहरी
आँखों में खो जाऊँ
आज मेरा जी चाहे
तेरी बाहों में लहराऊँ
गीत मिलन के गाउँ
डाली डाली
(आ आ आ आ)
मतवाली
(आ आ आ आ)
रुत आई
फूल सजाने
(ओ ओ ओ ओ)
फूलों में रूप है तेरा
तू माने या ना माने
सुन प्यारे
सजना रे
तुझको पाया मैंने अपना
तन मन अर्पण कर के
आज बने हैं हम तुम दोनों
साथी जीवन भर के
ओ ओ
तुझको पाया मैंने अपना
तन मन अर्पण कर के
आज बने हैं हम तुम दोनों
साथी जीवन भर के
महके फूल डगर के
सुन प्यारे
सजना रे
मन गाये
गीत सुहाने
गीतों में
प्यार है तेरा
तू माने या ना माने
डाली डाली
(आ आ आ आ)
मतवाली
(आ आ आ आ)
रुत आई
फूल सजाने
(हो ओ ओ ओ)
फूलों में रूप है तेरा
तू माने या ना माने
सुन प्यारे सजना रे
ओ ओ ओ
ओ ओ ओ
आ आ आ
आ आ आ
आs आs आs
आ आs आs
आ आ आ आ आss
आ आ आ आ आss
ओ ओ ओ
आ आ आ आ
Zindagi tu mera saathh denaa
Posted on: November 16, 2023
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5599 | Post No. : | 18074 | Movie Count : |
4849 |
#the Decade of Eighties – 1981 – 1990 #
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(Debutant Movie – Bedard-1982 – Lyricist – Naqsh Lyallpuri-1)
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Today’s song is a ‘gem’ of song which remained a lesser heard and lesser known song, which might be because it is from a movie few people are aware of. The title of the film is ‘Bedard’ which seems to be an obscure movie of its time. I like this song very much for its poetic value and the overall composition. it is sung by Bhupinder Singh and the song is composed by Kanti Kiran.
Hardly any information is available about the music composer Kanti Kiran, except that he had also composed music for the Hindi movie ‘Jhoom Uthhaa Aakaash-1973’. I had shared a few songs from this movie earlier here on the blog and liked them too.
Lyricist for the song is Naqsh Lyallpuri (24.02.1928-22.01.2017). He is well known for penning many unforgetteble songs. He was born as Jaswant Rai in Lyallpur (now in Pakistan) and later his family migrated to India after partition. When he started writing poetry he took his pen name as Naqsh and since he belonged to Lyallpur (now known as Faisalabad in Pakistan) it got added as ‘suffix’ to his pen name as was customary during those times.
The life story of Naqsh Lyallpuri can be considered a perfect example of how destiny and luck plays its role in one’s life to help become a person successful as well and allow him to follow one’s passion and do things what one like to do in his life.
He had to struggle a lot to achieve his success. Naqsh’s father was an Engineer by profession in Lyallpur. However his job was a transferrable job. So they had to spend few years in Rawalpindi before coming back to Lyallpur again. Naqsh’s father wanted him to be an Engineer while Naqsh’s Uncle who was a Doctor wanted him to be a Doctor. However Naqsh himself was interested in literature and poetry. His teacher Ramlal spotted the literary talent in him and advised him to continue learning literature. Naqsh also learned Urdu, Persian and Arabic from his teacher. At home they generally used Urdu or Hindi. Naqsh was later shifted to a hostel in Lahore where he found his way to the ‘adabee mehfils’ (meeting of littérateurs’) where budding poets and established poets met regularly and presented their works. Naqsh got an opportunity to present his poetry here in around ‘1945’ when he was seventeen years old. Comments and advices from the seniors there helped him to improve further.
After partition of the country the family of Naqsh Lyallpuri came to Lucknow. From here started the struggle for the family to earn and sustain living. Naqsh was under pressure to join some job and start earning. Since he was not getting any suitable opportunities in Lucknow he decided to go to Bombay. He left Lucknow without telling his family members, with only two rupees in his pocket, and reached Bombay. He had a ‘pen-friend’ Pradeep Naiyyar in Bombay whom he thought of meeting in order to seek his help for some job. However, when he reached his friend’s place he found that he had gone out of station to Poona for two weeks. Naqsh was on the road looking for some shelter as he had already spent the money he had. He saw one Sardar ji near the place, whom he enquired with about some ‘shelter’ near-by. This Sardar ji helped him to get accommodation in Sarai – Gurudwara Matunga. The Sardarji also told him that he could stay at the Gurudwara for eight days with food two times in the langar. At the Gurudwara another generous Sardar ji who was from Ludhiana, helped him with some money when the later was returning back to Punjab.
Once it so happened that Naqsh set out to have a ‘paan’ after his meal at a ‘paan shop’ near ‘Citylight cinema’. At the ‘paan shop’a gentleman alighted from a car. It turned out that he was Deepak Ashaa friend of Naqsh from his Lahore days. He had become a film actor in Bombay. Deepak Asha (also known as film director Dharam Kumar who directed ‘Ghamand-1955’, etc.) took Naqsh to his home in Bombay and arranged for his stay and food in Bombay.
Naqsh got his first job in Bombay in the Post & Telegraph department at Mandvi post office in Bombay.
Naqsh never thought of writing for films. He came to Bombay in 1951 to get whatever work he could get to have a decent living. In his P&T job his job was to allocate staff based on requirement. People coming in his contacts loved him since he was a poet. This first job gave him earning of Rs.122.00 to 125.00 per month. However he quit his job as the job was not giving his the creative satisfaction that he craved for.
By this time he had earned some reputation as a’ poet-writer’ among his contacts who used to visit him regularly. Some of them suggested him to write a ‘play’ which they would arrange to stage. The title of this play was ‘Tadap’. Ram Mohan who was a well-known actor then was the lead actor of this play. Naqsh had also written five songs for this play. Ram Mohan was quite impressed with his works and he introduced Naqsh Lyallpuri to director Jagdish Sethi who was the director of the movie ‘Jaggu-1952’. Thus Naqsh Lyallpuri got his entry into the ‘Hindi Film World’.
After writing some songs for stunt films (which Naqsh was reluctant earlier, as he want to write for ‘social films’ only) he finally ‘rose to fame’ with the song ‘main to har mod par’ from the movie ‘Chetna-1970’. In between Naqsh Lyallpuri also wrote songs for many Punjabi films. In Hindi films most of his collaborations were with music director Sapan-Jagmohan, Jaidev and Khayyam.
We will be exploring his filmography and his collaborations with other music directors in future posts under this series. We will also discuss his most popular songs and songs that remained lesser known but had his ‘trademark’ ‘soft, tender and meaningful’ poetry in them.
Let us start this journey of ‘songs’ written by Naqsh Lyallpuri with a song from the movie ‘Bedard-1982’ in this post.
“Bedard-1982” (passed by Censor Board on 29.06.1982) was directed by Rajdeep for ‘R.K. International, Bombay’. It was jointly produced by Qadeer Khan & Rajdeep. The director Rajdeep had also written Story, screenplay and dialogues of this movie. He had also done the editing of this movie. The cast of this movie included Neeta Mehta, Vikram, Rajdeep, Rehana Sultana, Kanan Kaushal, Master Shiboo, Bharat Bhushan, Jairaj, B.M. Vyas, Kamalakar Date, Padmashree, Ajay Chaddha, Ashok Nag, Mohan Choti, Montu, Baldev Kalsi, Amul Sen, Yunus Bihari, Javed Khan, Sonu, Baby Haseena, Baby Anita, Dilip, Jabbar, Pushpa Singh, Rashid, Tuntun and others.
‘Bedard-1982’ has three songs written by Naqsh Lyallpuri and composed to music by Kanti Kiran. Bhupinder Singh and Asha Bhonsle had given their voices to the songs in this movie where Bhupinder Singh has one solo (with chorus) and Asha Bhonsle has sung two solo songs for this movie.
The director of this movie Rajdeep who also acted in this movie seems to be a multifaceted personality who has done acting, lyrics writing, direction, producing films and writing for Hindi Films. As a director he has the following movies to his credit.
1) Iraadaa – 1971
2) Basti Aur Baazaar – 1973
3) Hazaar Haath – 1978
4) Sister – 1980
5) Bedard – 1982
I could not find more information about director the Rajdeep (like his biographical information etc) except that he has done acting, writing, singing in films other than direction of films. He has been a producer of few movies too.
Coming to the movie ‘Bedard-1982’, I guess that this movie is not available online. I had never watched this movie earlier and I was not aware of this movie till recently. ‘Cinemaazi’ mentions the story of this movie in brief here which they mention has been taken from the ‘official press booklet’ of this movie. The story of the movie is of ‘love and sacrifice’. I would request knowledgeable readers to throw more light on this movie and picturisation of its songs.
Let us now listen to this song which is written by Naqsh Lyallpuri and composed by Kanti Kiran. From the sources available we can conclude that this is the only movie where they worked together. Bhupinder, my favourite singer has sung this song. Over to the song now…
With this song this movie ‘Bedard-1982’ makes its debut on the blog.
Song-Zingadi tu mera saath dena (Bedard)(1982) Singer – Bhupinder Singh, Lyrics- Naqsh Layallpuri, MD-Kanti Kiran
chorus
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Lyrics
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aa aa aa aa
aa aa aa aa
aa
aa
aa
aa
aa
zindagi
tu mera saath denaa aa
pyaar se haath mein haath denaa aa
karz mujhko chukaanaa hai
har saans kaa
zindagi
tu mera saath denaa aa
pyaar se haath mein haath denaa aa
karz mujhko chukaanaa hai
har saans kaa
zindagi
tu mera saath denaa aa
pyaar ki raah mein
mod aayaa aa
jo mera thhaa
main sab chhod aayaa aa
pyaar ki raah mein
mod aayaa aa
jo mera thhaa
main sab chhod aayaa aa
dil ke jalne se kitnaa
ujaalaa huaa
zindagi
tu mera saath denaa aa
pyaar se haath mein haath denaa aa
karz mujhko chukaanaa hai
har saans kaa
zindagi
tu mera saath denaa aa
pyaar se haath mein
haath denaa aa
manzilon se rahaa bekhabar main
ban gayaa dard ka ik safar main
manzilon se rahaa bekhabar main
ban gayaa dard ka ik safar main
ban gayaa dard ka ik safar main
ek tinkaa hawaaon mein udtaa rahaa
zindagi
tu mera saath denaa aa
pyaar se haath mein haath denaa aa
karz mujhko chukaanaa hai
har saans kaa
zindagi
tu mera saath denaa aa
pyaar se haath mein
haath denaa aa
ghoont peetaa rahaa main lahoo ke
paaon haare nahin justajoo ke
ghoont peetaa rahaa main lahoo ke
paaon haare nahin justajoo ke ae
hai yakeen ke milegaa
koyee raastaa
zindagi
tu mera saath denaa aa
pyaar se haath mein haath denaa aa
karz mujhko chukaanaa hai
har saans kaa
zindagi tu mera saath denaa aa
pyaar se haath mein
haath denaa aa
aa aa aa aa
aa aa aa aa
aaaa
aaaa
aaaa
aaaa
aaaa
hai sahar tak diye ko jalaanaa aa
rah na jaaye adhooraa fasaanaa
aa
aa
hai sahar tak diye ko jalaanaa aa
rah na jaaye adhooraa fasaanaa aa
rah na jaaye adhooraa fasaanaa
haath se chhoot jaaye naa daaman tera
zindagi tu mera saath denaa aa
pyaar se haath mein haath denaa aa
karz mujhko chukaanaa hai
har saans kaa aa
zindagi
tu mera saath denaa aa
pyaar se haath mein
haath denaa aa
karz mujhko chukaanaa hai
har saans kaa aa
aa
aa
aa aa aa
aa
aa
aa aa aa
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Devnagri Script lyrics (Provided by Avinash Scrapwala)
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आ आ आ आ
आ आ आ आ
आ
आ
आ
आ
आ
ज़िंदगी
तू मेरा साथ देना आ
प्यार से हाथ में हाथ देना आ
कर्ज़ मुझको चुकाना है हर सांस का
ज़िंदगी
तू मेरा साथ देना आ
प्यार से हाथ में हाथ देना आ
कर्ज़ मुझको चुकाना है हर सांस का
ज़िंदगी
तू मेरा साथ देना आ
प्यार की राह में
मोड आया आ
जो मेरा था
मैं सब छोड़ आया आ
प्यार की राह में
मोड आया आ
जो मेरा था
मैं सब छोड़ आया आ
दिल के जलने से कितना
उजाला हुआ
ज़िंदगी
तू मेरा साथ देना आ
प्यार से हाथ में
हाथ देना आ
कर्ज़ मुझको चुकाना है
हर सांस का
ज़िंदगी
तू मेरा साथ देना आ
प्यार से हाथ में
हाथ देना आ
मंज़िलों से रहा बेखबर मैं
बन गया दर्द का इक सफर मैं
मंज़िलों से रहा बेखबर मैं
बन गया दर्द का इक सफर मैं
बन गया दर्द का इक सफर मैं
एक तिनका हवाओं में उड़ता रहा
ज़िंदगी
तू मेरा साथ देना आ
प्यार से हाथ में
हाथ देना आ
कर्ज़ मुझको चुकाना है
हर सांस का
ज़िंदगी तू मेरा साथ देना आ
प्यार से हाथ में
हाथ देना आ
घूंट पीता रहा मैं लहु के
पाँव हारे नहीं जुस्तजू के
घूंट पीता रहा मैं लहु के
पाँव हारे नहीं जुस्तजू के
है यकीन के मिलेगा
कोई रास्ता
ज़िंदगी
तू मेरा साथ देना आ
प्यार से हाथ में हाथ देना आ
कर्ज़ मुझको चुकाना है
हर सांस का
ज़िंदगी
तू मेरा साथ देना आ
प्यार से हाथ में
हाथ देना आ
आ आ आ आ
आ आ आ आ
आ
आ
आ
आ
आ
है सहर तक दिये को जलाना आ
रह न जाये अधूरा फसाना
आ
आ
है सहर तक दिये को जलाना आ
रह न जाये अधूरा फसाना आ
रह न जाये अधूरा फसाना
हाथ से छूट जाये ना
दामन तेरा
ज़िंदगी
तू मेरा साथ देना आ
प्यार से हाथ में हाथ देना आ
कर्ज़ मुझको चुकाना है
हर सांस का
ज़िंदगी
तू मेरा साथ देना आ
प्यार से हाथ में हाथ देना आ
कर्ज़ मुझको चुकाना है
हर सांस का
आ
आ
आ
आ
आ
आ
आ
आ
आ
आ
आ
आ
Aaj masti mein gaa
Posted on: September 30, 2023
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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Today’s duet song is from an obscure film of the mid 50’s – Pensioner-1954.
Having an obscure film in the 50’s is not very common, because in this decade the film industry was taking a new shape and growing very fast. New actors, directors, new themes, new and emerging composers were giving a new hope to the industry. Lilting music and a vast audience encouraged the industry. In such a situation most films had something to offer, hence almost every film was successful. But as is said, success does not come to all just because you are in the group. Films which had nothing to please the audience naturally became flops.
Today’s film is also one such flop film. First of all the story was over worked out and therefore was unbelievable. Too many coincidences do not happen in real life. The film ‘Pensioner’ tried to promote the Government’s efforts on the ” Small Savings” theme which was heavily promoted to make the banks self-reliant and people oriented. Many films used such promotional themes, but as a tool of entertainment, whereas ‘Pensioner’ story looked like a highly improbable and far stretched one to stress the importance of ” Small Savings”.
Here was a film about which absolutely no information was available anywhere on any site, Blog or the internet in general. Finally I decided to write to Shri Vishwas Nerurkar ji, who has a large collection of film booklets. On my request, he promptly sent me the photos of its booklet. Thanks to Mr. Nerurkar ji. Here is the story of the film ” Pensioner”-1954 based on the film booklet and few other sources….
Karamchand wanted an extension in service but his company refused and he had to retire from service of 30 years.
He had never saved any money during his service. He was helping the needy to study, work and feed his family. For every needy person he had extended help. He earned a name and respect, but this alone can not be used to feed his family or get his motherless daughter married. He was now worried since his pension was not enough to run the house or face any difficult situation.
Unfortunately one day he met with an accident. A kind hearted young man-Mohan- took him to a hospital and informed the daughter-Neha. he also learnt about their poor financial position. Mohan was an officer in a big multinational company. He was all alone as his parents had died in his childhood. It was Karamchand who helped him to complete his education till the end.
Mohan contacted people who were helped by Karamchand and they pooled a huge amount as a fund to help Karamchand. By coincidence, the Hospital was owned by Dr. Purohit who was also helped by Karam chand. Thus his treatment became free and after he came out of Hospital, Mohan arranged a big function to give him his new Bank passbook having a very big amount. Meanwhile love bloomed between Neha and Mohan and they got married. Karamchand also stayed with them.
The film was produced and directed by actor Jagdish Sethi under his own banner, J.S.Pictures, Bombay. It was shot at Shrikant Studio, Chembur. The screenplay and dialogues were by Balraj Mehta and the music was by Hansraj Behl. The cast was Shyama, Ram Mohan, Jagdish Sethi, ratnamala, Nimbalkar, Cuckoo, kathana, Jagdish raj, Gulab, Amina bai (sister of actor B.Nandrekar) and others. Today, we will take a look at 2 artistes whose names are not very well known. One is an actor-Nimbalkar, who came from the silent film era and the other is a singer-Shaminder- who came to films with a desire to sing a duet with Lata Mangeshkar.
Like any other language, there are writers and authors in Marathi too, who write on old films and old actors etc from the vintage Hindi films. One such author calls himself ” Babu Moshoi “. His articles are published regularly in newspapers, magazines etc. He has written several books. His real name is Hemant Desai. Another such writer in Hindi and Gujarati is Vithal Pandya. I have many such books in my library. Through these books I get to know old actors and their information, sometimes. I get surprised at many names as I read about some names about whom I had never known. For example, do you know who did King Dashrath’s role in films Bharat Milap-42 and Ramrajya-43, or the role of Kanva Muni in film Shakuntala-43 ? Who was the actress in Kaushalya’s role in Ramrajya-43 or Ram Vivah-49 ?
This actor was I. T. Nimbalkar and this actress was Shanta Kothari (nee Shanta Kumari). These were artistes from Silent film era, spilled over the Talkie films. They started as Hero and Heroine, but shifted to character roles, as the time went by. In our film industry, such cases are not new. In fact such type of actors who remained practically unknown to later generations of audiences, were highly respected by film people during shootings. Their seniority and work was respected.
This is a very good practice in the industry, by directors and other actors to give respect to old timers. Raj Kapoor used to send his car to fetch Bhudo Advani for shootings of film Boot Polish scenes. Hrishikesh Mukherjee kept special chair for Master Shiraz, during the shooting of film Guddi. He also ensured to feature Shiraz in the film credits. These are only samples to stress what I have said. Not every such matter is published but it is a special feature of the industry.
I try to gather information on such unknown and forgotten artistes and write on them. Not everytime I am successful, but I have written about many such actors, directors, MDs etc. Some of them are Omkar Devaskar, Zunzar rao pawar, Ganapat rao Bakare, Shankar rao Vazare, Naseem Junior, Shamim Jr, Altaf, Urmila, Ranjana, kusum Deshpande, Vasant rao Thengadi, Jamshed ji etc etc. Today, we will know more about one such old time actor who was prolific and worked in films of Bombay and Calcutta.
I.T.Nimbalkar aka Indurao T. Nimbalkar ( he was always credited as only ‘ Nimbalkar ‘ in all films) was born on 6-12-1893, in Kolhapur state. This was the time Kolhapur was slowly developing as Kalapur (hub of arts) and the seeds of film making were being planted there. Baburao Painter, one of the original film makers had started his ” Maharashtra Film Company” on 1-12 1917.
Baburao, Damle, Fattelal etc were taught painting By Anandrao painter, who was an extraordinary painter of those times. All these people, along with V Shantaram, Keshavrao Dhaiber and few more also joined Baburao painter’s Maharashtra Film company. True that, film making had started even earlier in Maharashtra, but Baburao painter is credited with making films a form of art and spreading it on a larger canvas of India.
Indurao Nimbalkar grew up in this atmosphere in Kolhapur. He passed his Matriculation exam and also did a diploma in Printing. Nimbalkar was six feet tall and had a good physique. He was expert in riding, swimming and wrestling. He did 1000 sit-ups every day. Shahu Maharaj, the king of Kolhapur encouraged all arts as well as development of lower castes. Arya Samaj had a ‘ Gurukul’ in Kolhapur. Impressed with Nimbalkar’s education and body, Shahu ji appointed him as Editor of the weekly ‘ Arya’ and secretary of Gurukul.
One day Baburao Painter, along with assistant V Shantaram visited his press and offered Nimbalkar a role in his proposed film Sairandhri. Shahu Maharaj also permitted and encouraged him ,so Nimbalkar joined the film line. He was already famous due to his fiery editorials and now people came to see his shootings too. However, due to money shortage, the film did not complete. ( It was later made in 1919, but with different cast. V Shantaram made coloured Sairandhri in 1933 with Nimbalkar again).
Nimbalkar acted in many silent films like Baji Deshpande, Khazanchi (directed by Moti gidwani- England returned), Lanka, Kismet (directed by Baburao Patel) etc etc. After the closure of Maharashtra F. Co., Nimbalkar was invited by V Shantaram to do Vishvamitra’s role in its first Talkie film ” Ayodhya ka Raja” -1932, in Hindi and Marathi. After this, he did Jalti Nishani-32, Sairandhri-33, Maya Machhindra-32, Sinhagadh-23 etc.
After this, Nimbalkar went to Calcutta on invitation and worked in films made by Radha Films, Laxmi Studios, Devdatta films and New Theatres. From 1934 to 1938, he acted in 12 Hindi films. He was provided a Bungalow, car with driver, servants etc. His son studied in local school there. Returning to Bombay he worked as an assistant director to Keshavrao Dhaiber for film ‘Nandkumar’-38, made by his Jayashree Films. Next 2 years he shuttled between Calcutta and Bombay. He did King Dashrath’s role in Prakash films’ Bharat Milap-42 and Ramrajya-43 in this period.
He was invited by V Shantaram for acting in his first film under banner of Rajkamal- Shakuntala-43. Nimbalkar did the role of Kanva Muni in it. He later also acted in Jeevan yatra-46, Subah ka tara-54, Parchhain-52, Teen batti char rasta-53, Toofan aur Diya-56, Z Z Payal baje-55. Earlier he did Aapki sewa mein-47, Prarthana-44,Nal Damayanti-45, Seedha Rasta-41, Gokul-46, Apna Ghar-42, Maharathi karna-44, Seeta Swayamvar-48. He worked in Pyasa-57, Mera Naam Joker-70, Amar Prem-60 etc etc. From 1928 to 1970 he acted in over 250 films.
His wife Sushila was also educated and looked after his home and children. She never visited any sets in her life time. Nimbalkar died on 17-1-1973 at Kolhapur. (Thanks to an article in book Chandraat-चांदरात by Babu Moshoi, in addition to my notes, HFGK, muVyz, CRTWF, Encyclopedia of Indian Cinema and Film India magazines).
Shaminder( also known as Bhai Shaminder Singh) belonged to a wealthy landlord sikh family in Muktsar Sahib district of Punjab. It is said that the family owned almost half of the village where they stayed. Since his childhood, he was fond of music. He was a fan of Mohammed Rafi and Talat Mehmood whose songs he would listen on the radio for hours and sing in sync with their songs. He adored Lata Mangeshkar as a Goddess. As he grew up, singing became his hobby and he could sing songs in the style of Rafi and Talat at ease.
As I said earlier, singing a duet song with Lata Mangeshkar was his obsession and to achieve his goal, he left his village for Bombay (Mumbai) some time in 1953 and met Sardul Kwatra, who was an upcoming music director. Sardul found that Shaminder had the quality of a professional playback singer. He felt that here was a man who could sing in a voice which had a blend of Rafi and Talat. So he decided to use him as a playback singer for songs in his Punjabi film ‘Vanjara’ (1954) which was being produced by Sardul’s family. In this film, there was a duet song which he was planning to get Shamshad Begum to sing with Shaminder.
However, Shaminder was bent upon singing this song with Lata Mangeshkar. To fulfil his obsession, he offered a carrot to Sardul by way of financing his Punjabi film. This trick worked with Sardul. I had read elsewhere that Sardul Kwatra was a charming person especially among women folks. Probably with his charm, he must have persuaded Lata Mangeshkar to sing a Punjabi song with a newcomer Shaminder. Fortunately for Shaminder, not only this duet song but all songs sungs by him in this film became hits with the masses of Punjab.
Having tasted success, Shaminder was now interested in singing in Hindi films and again his obsession was singing a duet with Lata Mangeshkar. He got the chance to sing with her in the film ‘Pilpili Saheb’ (1954). It is said that he also got a chance to sing with Asha Bhonsle in today’s film. He did get the chance to sing a song with Geeta Dutt in the film ‘Son of Alibaba’ (1954). I find that he sang almost all of his Hindi film songs under the baton of Sardul Kwatra. Later, S Mohinder also took him as a playback singer for Punjabi films.
Having fulfilled his obsession to sing with Lata Mangeshkar, he was no longer very much interested in playback singing. By late 50s/early 60s, he turned to acting in Punjabi and
Hindi films. In Punjabi films he mostly acted in lead roles while in Hindi films, he got side roles in about half a dozen films including ‘Aas Ka Panchhi’(1961) and ‘Anpadh’ (1962). In the latter film, one can see Shaminder with Bindu in the song picturisation of jiya le gayo ji mora sanwariya. Later on, he acted mainly in Punjabi films. He passed away some time in the early 90s.
Here is the duet of Asha and Shaminder for you….
Song- Aaj masti mein gaa (Pensioner)(1954) Singers- Asha Bhonsle, Shaminder , Lyrics-Naqsh Llayalpuri, MD-Hansraj Bahl
Female chorus
Male chorus
All chorus
Asha Bhonsle + Shaminder
Lyrics
Aaj masti mein gaa
fikr kal ki hai kya
Aaj masti mein gaa
fikr kal ki hai kya
jo bhee hoga
wo kismat mein teree likhaa
aaj masti mein gaa
fikr kal ki hai kya
lalalala
ho ho ho ho
laalaa
o o
o o o o o o
o o o o o
o ho ho ho
ho ho ho ho
dekho to duniya
dekho to duniya
socho to sapna
socho to sapna
dekho to duniya
socho to sapna
agar dil hai zindaa
agar dil hai zindaa
sab kuchh apna
sab kuchh apna
sab kuchh hai apna
aaj masti mein gaa
hahahaha
fikr kal ki hai kya
ho ho ho
aaj masti mein gaa
fikr kal ki hai kya
bahaaron mein jhoolen
bahaaron mein jhoolen
nazaaron mein jhoomen
nazaaron mein jhoomen
bhaaron mein jhoolen
nazaaron mein jhoomen
chalo hum gagan ke
chalo hum gagan ke taaron mein ghoomen
taaron mein ghoomen
taaron mein ghoomen
aaj masti mein gaa
aa haha
fikr kal ki hai kya
o ho ho ho
hoga jo kismat mein tere likha
aa ha ha
o ho ho
aaj masti mein gaa
o ho ho ho
fikr kal ki hai kya
o o
o o o o
o o o o
o ho ho ho
o o
o ho ho ho
thokar se raahen
thokar se raahen
banaata chalaa jaa
banaata chalaa jaa
thokar se raahen
banaata chalaa jaa
naya rang le kar
naya rang le kar
duniya pe chhaa
duniya pe chhaa
duniya pe chhaa jaa
aaj masti mein gaa
fikr kal ki hai kya
wohee hoga jo kismat mein teree likaa
aaj masti mein gaa
fikr kal ki hai kya
lalalaalaa
ho ho
laa laa
ho ho
This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5550 | Post No. : | 18014 | Movie Count : |
4825 |
#the Decade of Seventies – 1971 – 1980 #
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# Bhoole-Bisre Geet # (Debutant Movie- Atyaachaar-1978/Gulami Ki Zanzeeren-1983)
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Today’s song is from the ‘1978’ movie ‘Atyaachaar’. It was directed by C.P. Sharma for ‘Ripa Films, Bombay’. C.P. Sharma was also the writer and producer of this movie.
The cast of this movie included Chander, Sona, Akashdeep, Alka, Manek Chaudhary, Sarita Devi, Samar Rai, Satpal, Kamaljeet, Sukhdev, Fatima, Kavita, Yusuf, Jugnu, Krishna Iyer, Ravindra Mishra, Tulsi, Subhash, Veer, and Razia, Vijaya and Master Zaheer and others. Kamini Kaushal, Kader Khan, Tom Alter, Dulari, and Chandrashekhar had a special appearance in this movie. (HFGK Vol – V mentions Chandrashekhar, Madan Puri, Mukri and Padma Khanna had a friendly appearance which is not mentioned in the title of the movie available on online (version of 1983)). Albert had a guest appearance in this movie.
This movie was initially released in ‘1978’ when it was passed by Censor Board on 28.02.1978. However this movie was revised in 1983 and release with the title ‘Gulami Ki Zanzeeren’ in 1983 which was passed by Censor Board on 20.09.1983. Additional screenplay and dialogues of this movie was written by Khalid-Narvi. Editing of this movie was done by Prabhakar Supare.
‘Atyaachaar/Gulami Ki Zanzeeren had five songs composed by Ravindra Jain. Ravindra Jain penned two songs, Naqsh Lyallpuri two songs, and Hasrat Jaipuri had penned the lyrics for one song in this movie. However the name of Hasrat Jaipuri is missing from list of lyricists from the titles in the revised version of this movie available online. Mohd Rafi, Asha Bhonsle, Chandrani Mukherjee, Amit Kumar and Jaspal Singh were the playback singers for this movie’s songs. (I am not aware if any of the songs included in the original movie were edited in the revised version later as I have not watched the full movie yet).
Here is the brief about this movie taken from the YouTube link of this movie.
“Gulami Ki Zanzeeren is the story set in the pre independence India and revolve around Shiv and his revolutionary friends, which includes Shiv’s lady Nawab Khandan’s beautiful daughter Razia. Who shun all the luxuries of life and plunge into freedom struggle. . Atyaachaar is the story of brave, tough, dare, and devil, revolutionary Shiv who was shunted day and night by British Government for his deeds, and carried reward on his head. . Atyaachaar is also the story of an Indian police officer who is so devoted to his duties as police chief under the British, that he does not hesitate to turn out his wife just because she has full of sympathies with the freedom fighters. . Atyaachaar is also the story that teaches us to live and die for the cause of mother land. It is because of people like Shiv and his associates that today we are enjoying the fruits of freedom.”
Today’s song is a patriotic song reminding us of the innumerable sacrifices made by our countrymen for the freedom of this country. The song praises the martyrs and the many known and unknown who laid down their lives fighting against the tyrant British rule which was full of oppression and atrocities on our people and which took the lives of many prominent young revolutionaries. We got our hard fought freedom on 15th August’1947. And after that a long time of seventy five years have passed by now. Our country has made significant progress and development given in these years so far and has now become a prominent country ranking in the top ten countries of the world. However our responsibility to protect our sovereignty has also increased since then and we have also fought wars with our neighbor countries to protect our land and its people. Even now our soldiers are continuing fighting with the terrorists and other infiltrates on the border who try to disrupt our civil life by killing innocent people. We still have ‘traitors’ among us who out of their greediness make compromises with the enemies of this nation and help the ‘terrorists’ to achieve their interests by dividing the people of this country.
However, there are people who in their day to day live play important roles and give their highest sacrifice to protect this country. It is our duty to remember all such brave sons and daughters of this soil and pay tributes to them. I will not write much about it because it is the subject of ‘more action’ than ‘mere rhetoric’. However I would like to mention below what the narrator says at the starting of this movie in the background of the map of our country and showing the glimpses of ‘freedom movement’ and some prominent freedom fighters of Bharat.
‘Main Bharat hoon. mere Itihaas ka koyi aar paar nahin aur na hi mere vaibhav ki koyi seemaa. Isliye samay samay par mujhe mitaa daalne ki koshishen ki gayi. Mujhe lootne ke shadyantra rache gaye. Kisine mujhe dost banaakar lootaa to kisine ghulam banaa kar. Mere sapooton ko ye atyaachaar bhalaa kyun kar ganwaaraa hota. Kuchh ne atyaachaar ka muqaabla talwaar se kiya to kuchh jaanbaazon ne talwaaron ke daant apni gardon se tod daale. Mujhe apne har sapoot par naaz hain. Main phoolaa nahin samaataa jab meri santaan mere in sapooton ki jayantiyaa manaati hai unhe yaad kar leti hai. Lekin mujhe ek khed bhi hai. Meri santaan mere kuchh jaanbaazon ka naam tak nahin jaanti jinhone meri mitti ka mastak oonchaa karne ke liye apne aap ko bali vedi par chadhha diya aur uff tak nahin ki. Badlaa tak talab nahin kiya. Beshumaar shakti sampann British raaj ke ghor atyaachaar ki takkar mein in nihatthe deewaanon ne swatantrata ka bigool bajaa diya. Aur unka ek hi naaraa thha.
Maata aur matribhoomi swarg se mahaan hai. In naaron ki goonj se videshiyon ke kadam kaanp uthhe. Union Jack waqt ki pukaar ke aage munh ke bal gir padaa. Aur laal kile ke mastak par tirange ka chandan lag gayaa. Is tirange chandan ko mere sapooton ne salaami dee.मैं भारत हूँ। मेरे इतिहास का कोई आर पार नहीं और न ही मेरे वैभव की कोई सीमा। इसलिए समय समय पर मुझे मिटा डालने की कोशिशें की गईं। मुझे लूटने के षड्यंत्र रचे गए। किसीने मुझे दोस्त बना कर लूटा तो किसी ने ग़ुलाम बना कर। मेरे सपूतों को ये अत्याचार भला क्यूँ कर गंवारा होता। कुछ ने अत्याचार का मुक़ाबला तलवार से किया तो कुछ जांबाज़ों ने तलवारों के दाँत अपनी गर्दन से तोड़ डाले। मुझे अपने हर सपूत पर नाज़ है। मैं फूला नहीं समाता जब मेरी संतान मेरे इन सपूतों की जयंतियाँ मनाती है उन्हे याद कर लेती है। लेकिन मुझे एक खेद भी है। मेरी संतान मेरे कुछ जांबाज़ों का नाम तक नहीं जानती जिन्होने मेरी मिट्टी का मस्तक ऊंचा करने के लिए अपने आप को बलि वेदि पर चढ़ा दिया और उफ तक नहीं की। बदला तक तलब नहीं किया। बेशुमार शक्ति सम्पन्न ब्रिटिश राज के घोर अत्याचार की टक्कर में इन निहत्थे दीवानों ने स्वतन्त्रता का बिगूल बजा दिया। और उनका एक नारा था। माता और मातृभूमि स्वर्ग से महान है। इन नारों की गूंज से विदेशियों के कदम काँप उठे। यूनियन जैक वक़्त की पुकार के आगे मुंह के बल गिर पड़ा। और लाल किले के मस्तक पर तिरंगे का चन्दन लग गया। इस तिरंगे चन्दन को मेरे सपूतों ने सलामी दी।
Today is the day when we remember one of those young revolutionary martyrs of this land -Sardar Bhagat Singh. He was born on 28th September’1907 and sacrificed his life for the fellowmen of this country, leaving behind the legacy of his thoughts, indomitable spirit, bravery and mighty courage on 23rd March’1931.
Today also happens to be the birth anniversary of many celebrities and sportspersons who with their arts and sports have brought fame to this country and had made the countrymen proud of their deeds. There might be many unknown who were born today and may not be famous like the celebrities, those many soldiers on our borders, the other services who are continuing their good work in the development of this country and doing great works away from the limelight of publicity. We salute all those today and also pay our tributes to them.
Let us listen to the today’s song now which is soulfully sung by Mohd Rafi. Lyrics are by Naqsh Lyallpuri and music is composed by Ravindra Jain.
The audio of this full song is available while the video is available partially. I guess that this song is played in parts in the background in this movie. ( e.g. at the starting of this movie, when the revolutionaries are protesting and when the lead revolutionary shown in this movie sacrifices his life which is available in the video given herewith where we can see Chander (I hope I am correct), Kamini Kaushal, Dulari, and Sona in the picturisation of this song.
I would request knowledgeable readers to throw more light on this movie, whoever have watched it, and the songs in this movie.
Audio (Longer)
Video
Song-Jin veeron ne watan kaa sar oonchaa kiya hai (Atyaachaar)(1978) Singer-Rafi, Naqsh Llayalpuri, MD-Ravindra Jain
chorus
Rafi + chorus
Lyrics
————————-
(Part-1)
————————
Ho o
Ho ho o
Ho ho o
Ho ho o
Jin veeron ne ae
Watan kaa sar
Oonchaa kiyaa hai ae
Unhen sheesh jhukaate rehnaa
Phool chadhhaate rehnaa aa
Maataram vande maataram
Maataram vande maataram
Maut ke parde mein
Un ko mil gayi hain zindagi
Ho o o
Desh ki khaatir jinhone ae
Ho o o
Hans kar di qurbaaniyaan
Bhool sakte hain bhalaa
Kaise unhen
Ahl e watan
Mit nahin sakte dilon se
Unki yaadon ke nishaan
Jin veeron ne ae
Jin veeron ne ae
Watan kaa sar
Oonchaa kiyaa hai ae
Unhen sheesh jhukaate rehnaa
Phool chadhhaate rehnaa aa
Maataram vande maataram
Vande ae
Maataram vande maataram
Aa aa aa
O o o o o
Khoon ke katre milaakar
Kaum ke pyaare shaheed
Ho o o o
Gangaa aur jamunaa ke
Ho o o o
Dhaaron ko rawaani de gaye
Zindagi ko jo samajhte thhe
Amaanat desh ki ee
Aanewaale waqt ko
Apni jawaani de gaye
Jin veeron ne ae
Jin veeron ne ae
Watan kaa sar
Oonchaa kiyaa hai ae
Unhen sheesh jhukaate rehnaa
Phool chadhhaate rehnaa aa
Maataram vande maataram
Vande ae
Maataram vande maataram
Vande ae
Maataram vande maataram
Vande ae
Maataram vande maataram
————————-
(Part-2)
————————
Jin veeron ne ae
Watan kaa sar
Oonchaa kiyaa hai ae
Unhen sheesh jhukaate rehnaa
Phool chadhhaate rehnaa aa
Maataram vande maataram
Maataram vande maataram
Ho ho o
Ho ho ho o
Ho o ho o
Kis qadar jaanbaaz thhe
Wo desh ke pyaare sapoot
Ho o o o
Jinki aankhon mein huaa
Ho o o o
Bezaar aazaadi kaa khwaab
Koyi hindu thhaa na muslim
Thhe sabhi wo bhaarti ee
Choom ker phaansi ka phandaa
Jo pukaare inquilaab
Inquilaab zindaabaad
Inquilaab zindaabaad
Jin veeron ne ae
Jin veeron ne ae
Watan kaa sar
Oonchaa kiyaa hai ae
Unhen sheesh jhukaate rehnaa
Phool chadhhaate rehnaa aa
Maataram vande maataram
Vande ae
Maataram vande maataram
Vande ae
Maataram vande maataram
Vande ae
Maataram vande maataram
Shaadiyaan jinko rachaanaa thhi
naye parcham taley ae
le ke sehron ki tamannaa aa
Wo shahaadat paa gaye ae
Dulhanon ke dil mein armaan
Rah gaye sindoor ke ae
Maang bharnaa thhi
bhari lekin chitaa kee raakh se
Jin veeron ne ae
Watan kaa sar
Oonchaa kiyaa hai ae
Unhen sheesh jhukaate rehnaa aa
Phool chadhhaate rehnaa aa
Maataram vande maataram
Vande ae
Maataram vande maataram
Vande ae
Maataram vande maataram
———————————–
Devnagri Script lyrics(Provided by Avinash Scrapwala)
————————————
भाग – १
————————————
हो ओ
हो हो ओ
हो हो ओ
हो हो ओ
जिन वीरों ने ए
वतन का सर
ऊंचा किया है ए
उन्हें शीश झुकाते रहना
फूल चढ़ाते रहना आ
मातरम वंदे मातरम
मातरम वंदे मातरम
मौत के पर्दे में
उन को मिल गयी हैं ज़िंदगी
हो ओ ओ
देश खातिर जिनहोने ए
हो ओ ओ
हंस कर दी कुर्बानियाँ
भूल सकते हैं भला
कैसे उन्हें
अहल-ए-वतन
मिट नहीं सकते दिलों से
उनकी यादों के निशान
जिन वीरों ने ए
जिन वीरों ने ए
वतन का सर
ऊंचा किया है ए
उन्हें शीश झुकाते रहना
फूल चढ़ाते रहना
मातरम वंदे मातरम
वंदे ए
मातरम वंदे मातरम
आ आ आ
ओ ओ ओ ओ ओ
खून के कतरे मिलाकर
कौम के प्यारे शहीद
हो ओ ओ ओ
गंगा और जमुना के
हो ओ ओ ओ
धारों को रवानी दे गए
ज़िंदगी को जो समझते थे
अमानत देश की ई
आनेवाले वक़्त को
अपनी जवानी दे गए
जिन वीरों ने ए
जिन वीरों ने ए
वतन का सर
ऊंचा किया है ए
उन्हें शीश झुकाते रहना
फूल चढ़ाते रहना
मातरम वंदे मातरम
वंदे ए
मातरम वंदे मातरम
वंदे ए
मातरम वंदे मातरम
वंदे ए
मातरम वंदे मातरम
————————-
भाग – २
————————-
जिन वीरों ने ए
वतन का सर
ऊंचा किया है ए
उन्हें शीश झुकाते रहना
फूल चढ़ाते रहना आ
मातरम वंदे मातरम
मातरम वंदे मातरम
हो हो ओ
हो हो हो ओ
हो ओ हो ओ
किस कदर जाँबाज थे
वो देश के प्यारे सपूत
हो ओ ओ ओ
जिनकी आँखों में हुआ
हो ओ ओ ओ
बेज़ार आज़ादी का ख्वाब
कोई हिन्दू था न मुस्लिम
थे सभी वो भारती ई
चूम के फांसी का फंदा
जो पुकारे इंकिलाब
इंकिलाब ज़िन्दाबाद
इंकिलाब ज़िन्दाबाद
जिन वीरों ने ए
जिन वीरों ने ए
वतन का सर
ऊंचा किया है ए
उन्हें शीश झुकाते रहना
फूल चढ़ाते रहना आ
मातरम वंदे मातरम
वंदे ए
मातरम वंदे मातरम
वंदे ए
मातरम वंदे मातरम
वंदे ए
मातरम वंदे मातरम
शादियाँ जिनको रचाना थी
नए परचम तले ए
ले के सेहरों की तमन्ना आ
वो शहादत पा गए ए
दुल्हनों के दिल में अरमान
रह गए सिंदूर के ए
मांग भरना थी
भरी लेकिन चिता की राख़ से
जिन वीरों ने ए
वतन का सर
ऊंचा किया है ए
उन्हें शीश झुकाते रहना
फूल चढ़ाते रहना आ
मातरम वंदे मातरम
वंदे ए
मातरम वंदे मातरम
वंदे ए
मातरम वंदे मातरम
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5399 | Post No. : | 17713 |
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Blog 10-Year Challenge (2013-2023) – Song No.103
————————————————————————————–
On this date ten years ago (30 April 2013), five songs from five different movies (plus one Non film song) were covered in the blog. Here are the details:-
| Post No | Song Title | Name of the movie | Remarks |
|---|---|---|---|
| 8007 | Meri veena ro rahi hai | Juthika Roy NFS(1950) | |
| 8008 | Morey angna mein | Nishaan(1949) | 5 songs covered out of 8 by now |
| 8009 | O piya mera bhola jiya | Maalkin (1953) | Movie YIPPEED by now |
| 8010 | Jiya beimaan | Do Dil(1947) | Movie YIPPEED by now |
| 8011 | Khuda huzoor ko meri bhi zindagi de de | Saawan Ki Ghata (1966) | Movie YIPPEED by now |
| 8011 | Phool muskuraaye kyun | Sarfarosh (1964) | 3 songs covered out of 6 by now |
We observe that three movies (out of five) whose songs were covered on this date ten years ago have since been YIPPEED in the blog. That leaves us with two unYIPPEED movies that are eligible for Blog Ten Year Challenge today (30 April 2023).
“Sarfarosh”(1964) is one of the two BTYC eligible movies today (30 april 2023).
“Sarfarosh”(1964) was directed by Dharam Kumar for United Movie Art, Bombay. This movie had Jairaj, Nishi, Jeevan, Jagirdar, Sherry, Maruti, Prathima Devi, Madhumati, Padma Rani etc in it.
“Sarfarosh”(1964) had six songs in it. Three songs have been covered in the blog. Here is the fourth song from the movie to appear in the blog.
This song is sung by Suman Kalyanpur. Naqsh Llayalpuri is the lyricist. Music is composed by S Mohinder.
Only audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this song which sounds like a dance song to me.
Lyrics of the song were sent to me by Prakashchandra.
Song-Nahin sambhle sambhaala laakh hamne dupatta beimaan ho gaya (Sarfarosh)(1964) Singer-Suman Kalyanpur, Lyrics-Naqsh Llayalpuri, MD-S Mohinder
Lyrics(Provided by Prakashchandra)
chhoo liyaa jabse isko sanam ne ae ae
choo liyaa jabse isko sanam ne
dupattaa beimaan ho gayaa aa
haayye
dupatta beimaan ho gayaa
nahin sambhley sambhaalaa laakh hamne
nahin sambhley sambhaalaa laakh hamne
sambhaalaa laakh hamne ae aey ae ae
dupattaa beimaan ho gayaa aaa
haayye
dupatta beimaan ho gayaa aa
sar se sarkey kabhee dupattaa
gardan se jaa liptey
o oo o o oo
sar se sarkey kabhee dupattaa aa
gardan se jaa liptey
jab jab udey hawaa mein meree ee eee eee
shokh jawaani simtey ae aey ae ae
shokh jawaani simtey
lootaa zaalim ke zulm-o-situm ne ae
lootaa zaalim ke zulm-o-situm ne
o zulm-o-situm ne ae ae
dupattaa beimaan ho gayaa
haayye
dupatta beimaan ho gayaa
nahin sambhley sambhaalaa laakh hamne
nahin sambhley sambhaalaa laakh hamne
sambhaalaa laakh hamne ae aey ae ae
dupattaa beimaan ho gayaa aaa
haayye
dupatta beimaan ho gayaa aa
pyaar bharee in do aankhon mein aen
khwaab khushee ke chhalkey ae aey ae
ooo oo
naam kisee kaa lete hee eee
kyon jhuk jhuk jaayein palkein aen aen ae ae
kyon jhuk jhuk jaayein palkein
maar daalaa nigaah-e-karam ne
maar daalaa nigaah-e-karam ne
nigaah-e-karam ne aen ae ae ae
dupattaa beimaan ho gayaa
haayye
dupatta beimaan ho gayaa
nahin sambhley sambhaalaa laakh hamne
nahin sambhley sambhaalaa laakh hamne
sambhaalaa laakh hamne ae aey ae ae
dupattaa beimaan ho gayaa aaa aaa
haayye
dupatta beimaan ho gayaa aa
Ye samaa samaa samaa
Posted on: April 22, 2023
This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5391 | Post No. : | 17683 |
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Blog 10-Year Challenge (2013-2023) – Song No.86
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On this date ten years ago (22 April 2013), eight songs from eight different movies were covered in the blog. Here are the details:-
| Post No | Song Title | Name of the movie | Remarks |
|---|---|---|---|
| 7951 | Pujaari morey mandir mein aao | Jaageerdaar (1937) | 4 songs covered out of 10 by now |
| 7952 | Arshon pe sitaara hai wo | Beete Din (1947) | 2 songs covered out of 9 by now |
| 7953 | Kaahe nainon mein naina daale re | Jogan (1950) | Movie YIPPEED by now |
| 7954 | O parwaane shama ko apni ruswa na karna | Shama Parwaana (1954) | Movie YIPPEED by now |
| 7955 | Aaj aayi bahaar le ke dil ka qaraar | Baghdad Ka Jaadoo(1956) | Movie YIPPEED by now |
| 7956 | Allah ke nek bande | Sarfarosh(1964) | 2 songs covered out of 6 by now |
| 7957 | Ae shaam ki hawaaon | Ek Raat(1967) | Movie YIPPEED by now |
| 7958 | Sataayen saari rainaa kunwaare kangna | Kangan (1972) | Movie YIPPEED by now |
We observe that five movies (out of eight) whose songs were covered in the blog on this date ten years ago (viz on 22 april 2013) have since been YIPPEED in the blog. That leaves us with three unYIPPEED movies that are eligible for Blog Ten Year Challenge today (22 April 2023).
“Sarfarosh”(1964) is one of the three BTYC eligible movies today (21 april 2023).
“Sarfarosh”(1964) was directed by Dharam Kumar for United Movie Art, Bombay. This movie had Jairaj, Nishi, Jeevan, Jagirdar, Sherry, Maruti, Prathima Devi, Madhumati, Padma Rani etc in it.
“Sarfarosh”(1964) had six songs in it. Two songs have been covered in the blog. Here is the third song from the movie to appear in the blog.
This song is sung by Suman Kalyanpur and female chorus. Naqsh Llayalpuri is the lyricist. Music is composed by S Mohinder.
Only audio of the song is available. I request our knowledgeable readers to throw light on the picturisation of this rare song.
Lyrics of the song were sent to me by Prakashchandra.
Video
Song-Ye samaa samaa samaa (Sarfarosh)(1964) Singer-Suman Kalyanpur, Lyrics-Naqsh Llayalpuri, MD-S Mohinder
Female chorus
Lyrics(Provided by Prakashchandra)
ye samaa samaa samaa aaa aaa
phir kahaan kahaan kahaan
ye samaa samaa sama..aaa…aaa
phir kahaan kahaan kahaan
aaj bhee na bujhi
gar ye dil ki lagi
dil se ut`thaa rahegaa dhuaan..aaan…aaan..aaan
ye samaa samaa sama..aaa…aaa
phir kahaan kahaan kahaan..aaan
phir kahaan kahaan kahaan..aaan
jaan lekar hathhelee pe hum..mmm
teri duniyaa mein teri qasam..mm
aa gaye muskuraatey huye ae ae
aa gaye muskuraate huye ae
ho o oo
ab rahey na rahey zindagee ee
leke jaayengey dil ki khushee
teri mefil se jaate huye ae
teri mehfil se jaatey huye..aey ae
aaj bhee na bujhi gar ye dil ki lagi
dil se ut`thaa rahega dhuaan..aaan…aan
ye samaa samaa samaa..aaan
phir kahaan kahaan kahaan..aan
phir kahaan kahaan kahaan
khoon-e-armaan peetey rahey ae
hum pareshaan jeetey rahey aey ae
zindagi hamse uktaa gayee ee
zindagi hamse uktaa gayee ee
ho o ho o o ho o o o
apnaa daaman bichhayenge hum..mm
har situm aazmaayenge hum mm
faisley ki ghadi aa gayee ee
faisley ki ghadi aa gayee ee
aaj bhee na bujhi gar ye dil ki lagi
dil se ut`thaa rahega dhuaan..aaan…aan aan
ye samaa samaa sama..aaa…aaa
phir kahaan kahaan kahaan..aan
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5364 | Post No. : | 17593 | Movie Count : |
4730 |
‘Adhikaar’ (1996) was a TV Serial which was telecast in 1996-99 on ZEE TV. The serial was directed by Lekh Tandon. The main actors in the serial were Rajeev Varma, Smita Jaykar, Arundhati Ganorkar, Bharat Kapoor, Vineeta Malik, Shefali Shetty (Shah), Irrfan Khan, Divya Seth, Sachin Khedekar, Sangeeta Ghosh, Zia Hamid, Ashalata, Muneera Surati, Neha Sharad, Arundhati Rao, Mangla Kenkare, S M Zahir, Anang Desai, Sooraj Thapar and many more.
I had seen a few episodes of serial when it was telecast. I have also watched a few episodes of the serial recently on a video sharing platform. In the male dominated society, women are treated as subordinate, and they are not encouraged to air their views openly in a family gathering. The Serial highlights the problems of women faced in two families, a Hindu and a Muslim family with different perspectives.
Amita (Shefali Shetty) is an outspoken girl in the family of lawyer who defies the conventional tradition of agreeing to dictates of her parents (Bharat Kapoor and Veena Malik) if, in her view, the dictates are not rational. While not agreeing with her parents, she gives her reasons for that which makes her parents speechless. Shama (Arundhati Ganorkar), her college friend, also faces the same dictates from her parents. She protests but she is not as bold as Amita to defy. She does agree with most of her parents’ advice even though she is not in agreement with them. One thing in common about both of them is that in order to avoid subordinate existence within the family, they feel that they have to get educated and become economically independent. Amita’s family has the monetary ability to spend on higher education but are not keen for her higher education. On the other hand, Shama is in danger of losing her college education due to financial reasons.
Raja Sahab (Rajeev Varma) and his wife Shahida (Smita Jaykar) have been married for 20 years but she remains childless. He divorces her and gets married to Shama against her wish for her parents for financial reasons. After divorce, his first wife is relocated in servant’s quarters. Shama tries to correct Raja Sahab by telling her that she has no problem if his first wife stays in the same house but in vain. At the same time, Raja Sahab is not averse to Shama continuing the college education. After the death of Raja Sahab, Shama continues the education to become a lawyer with the help of her lawyer friend, Ali (Sachin Khedekar). Then, there is a character of inqilabi shayar Abid (Irrfan Khan) who loves Shama’s sister, Zubeida, but she is afraid to tell her mind to the mother.
The sum and substance of this serial is that a better status for women irrespective of their religion leads to the creation of a well-balanced society. At the outset, the serial looks feminist. But Reoti Saran Sharma, the story writer has nicely brought out women’s empowerment without taking an anti-male stance in the story. Some of the male characters in the story become the facilitators for the equal rights to the women in their family.
In most of the TV serials of that time, it was common to have title songs which, in nutshell, give the main theme of the story. But in ‘Adhikar’ (1996), apart from the short title song, there are some full-fledged songs just like in Hindi films. I am presenting a ghazal ‘meri talaash chhod de tu mujhko paa chuka’ written by Naqsh Layallpuri which is recited by Sonu Nigam. The ghazal is set to music by Talat Aziz.
The original ghazal is of 7 she’rs of which only the first 6 she’rs have been included in the recitation. The ‘maqta’ (last she’r) not included is as under:
paani se ‘Naqsh’ kab hui roshan yeh zindagi
main apne aansuon ke diye bhi jala chuka
The ghazal is picturised on Irrfan Khan in a private mushaira in which Zubeida (Divya Seth) is present. The background to this picturisation is that Abid (Irrfan Khan) who is an inqilabi poet, often gets jail terms for writing the inflammatory poems. This time after he is released from the jail, he visits Zubaida’s house to tell her that he still wants to marry her. Her mother and sister, Shama are present, and they are surprised. Later, Shama comes to know from Zubeida that she met Abid for the first time in a mushaira in which he recited his ghazals. So, this is a flashback scene.
Video Clip
Audio Clip:
Song-Meri talaash chhod de tu mujhko paa chukaa (Adhikaar)(TV Serial)(1996) Singer-Sonu Nigam, Lyrics-Naqsh Llayalpuri, MD-Talat Aziz
Lyrics (Based on Video Clip)
meri talaash chhod de
meri talaash chhod de
tu mujhko paa chuka
meri talaash chhod de
tu mujhko paa chuka
meri talaash chhod de
tu mujhko paa chuka..aa
main soch ki hadon se
main soch ki hadon se
bahut door jaa chuka
main soch ki hadon se
bahut door jaa chuka
meri talaash chhod de
tu mujhko paa chuka
logon daraana chhod do
tum waqt se mujhe
logon daraana chhod do
tum waqt se mujhe..ae
ye waqt baar baar
mujhe aazmaa chuka
ye waqt baar baar
mujhe aazmaa chuka
main soch ki hadon se
bahut door jaa chuka
badlega ankareeb yeh
dhaancha samaaj kaa..aa
badlega ankareeb yeh
dhaancha samaaj kaa
badlega ankareeb yeh
dhaancha samaaj kaa..aa
iss baat par main doston
iss baat par main doston
imaan laa chuka
iss baat par main doston
imaan laa chuka
meri talaash chhod de
tu mujhko paa chuka..aa
main soch ki hadon se
bahut door jaa chuka
ab tum mere khayaal ki
parvaaz dekhna
ab tum mere khayaal ki
parvaaz dekhna..aa
main ik ghazal ko zindagi
main ik ghazal ko zindagi
apni bana chuka
main ik ghazal ko zindagi
apni bana chuka..aa
meri talaash chhod de
meri talaash chhod de
ae sone waalon neend ki
ae sone waalon neend ki
chaadar utaar do
ae sone waalon neend ki
chaadar utaar do..o o
kirnon ke haath subah kaa
kirnon ke haath subah kaa
paighaam aa chuka
kirnon ke haath subah kaa
paighaam aa chuka..aa
main soch ki hadon se
bahut door jaa chuka
meri talaash chhod de
tu mujhko paa chuka
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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