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

Posts Tagged ‘Pran


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day :

5192 Post No. : 17171

———————————————–—————————————
Blog 10-Year Challenge (2012-2022) – Song No. 106
————————————————————————————–

Ten years back on this date viz on 5th October 2012, six songs from six different movies were covered on the blog. Here are the details:-

Blog post number Song Movie (Year) Remarks
6789 Kho diya maine paa kar kisi ko Baradari(1955) Movie YIPPEED by now
6790 Arrey bhai haay haay na kar duniya do din ki Dhoop Chhaaon (1954) 4 songs covered out of 9 by now
6791 Shiqaayat kyaa karoon dono taraf gham ka fasaana hai Kundan(1955) 8 songs covered out of 10 by now
6792 Aaj na jaane reh reh kyun dil ye mera doley Raj Tilak(1958) 4 songs covered out of 13 by now
6793 Mujhe bhool jaana agar ho sakey Taqdeer (1967) Movie YIPPEED by now
6794 Cycle pe haseenon ki toli Amaanat(1975) Movie YIPPEED by now

It can be seen that three movies (out of six) whose songs were covered on this date ten years ago (on 5 october 2012) have since been YIPPEED. That leaves us with the balance three movies that are not yet YIPPEED and are therefore eligile for Blog Ten Year Challenge today (5 october 2022).

“Kundan”(1955) is one such movie.

“Kundan”(1955) was produced and directed by Sohrab Modi for Minerva Movietone. This movie was adapted from Victor Hugo’s “Les Miserables”. The movie had Nimmi, Ulhas, Om Prakash, Sohrab Modi, Baby Naaz, Sunil dutt,Manorama,Roopmala, Dar Kashmiri, Sadat Ali,Jagadish Kamal, H.Prakash, Jamshedji, Jilani, Shakil Nomani, Nazir, Khwaja Sabir, Baby Shashi etc. The movie had guest appearances by Pran, Kumkum and Murad.

The movie had ten songs in it. As many as eight songs have already been covered.

Here is the ninth song from “Kundan”(1955) to appear in the blog. The song is sung by Lata Mangeshkar. Shakeel Badayuni is the lyricist. Music is composed by Ghulam Mohammad.

The song is picturised as a lullaby song on Nimmi who lip syncs this song for her child. Pran is also seen in the picturisation.

Lyrics and other details were sent to me by Prakashchandra.

audio link:

video link:

Song-Meri aankhon ke taarey dil ke sahaarey (Kundan)(1955) Singer-Lata, Lyrics-Shakeel Badayuni, MD-Ghulam Mohammad

Lyrics(Provided by Prakashchandra)

Meri aankhon ke taarey ae
dil ke sahaarey
main tere sadqe ae ae
main tere sadqe ae ae
main tere sadqe aey ae ae
main tere sadqe

meri aankhon ke taarey ae
dil ke sahaarey
main tere sadqe ae ae
main tere sadqe ae ae
main tere sadqe ae ae
main tere sadqe

nainan mere
teri masaharee
naainan mere
teri masayharee
oo oo oo oo
oo ooo oo
mann hai teraa bichhaunaa aa aaa aa
mann hai teraa bichhaunaa aa aa aa aa
khel rahee meri aashaa tujhse
tu hai mera khilaunaa aa
tu hai mera khilaunaa aa
ab saanjh sakhaarey
dil ye pukaarey
main tere sadqe ae ae
main tere sadqe ae ae
main tere sadqe ae ae
main tere sadqe

raat ka chandaa
din ka sooraj
raat ka chandaa
din ka sooraj
o ooo
oooo
teri jyot se jaagey aey ae ae ae ae
teri jyot se jaagey ae ae ae
jeevan kee bagiyaa mein tujhko
meri umar bhi laagey ae ae
meri umar bhi laagey ae
sadaa sundar pyaarey
din tu guzaarey
main tere sadqe ae ae
main tere sadqe ae ae
main tere sadqe ae ae
main tere sadqe

meri aankhon ke taarey ae ae
dil ke sahaarey
main tere sadqe ae ae
main tere sadqe ae ae
main tere sadqe ae ae
main tere sadqe


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

Blog Day :

4988 Post No. : 16879

#The Decade of Seventies – 1971 – 1980 #
————————————————————
# Bhoole-Bisre Geet # # A tribute to lyricist Verma Malik#
————————————

Today 15th March’2022 is the thirteenth Remembrance anniversary of lyricist Verma Malik (13 April 1925 – 15 March 2009).

As a tribute to him here is a song from the ‘1972’ movie ‘Be-imaan’. All songs for this movie were written by Verma Malik.

For today’s presentation I was looking for a song specially from the seventies and the year ‘1972’, as we are already celebrating ‘fifty’ years of the year ‘1972’.

‘Be-imaan’ had all the songs penned by Verma Malik and had also brought him his second ‘Filmfare’ award too.

Secondly, other than its songs the movie was also the most ‘controversial’ movie of that year because of the way it was adjusted the winner of best movie award at the filmfare awards function at the expense of other more desrving movies.

“Beimaan-1972” was directed by Sohan Lal Kanwar for his home productions ‘Filmnagar, Bombay’.

It had Manoj Kumar, Rakhi, Nazeema, Snehlata, Prem Chopra, Prem Nath, Pran, Murad, Sulochana, Raj Mehra, Brahm Bharadwaj, Gulshan Bawra, Rajpal, Sahbeena, Dulari, Sudarshan Sethi, Aarti, Vishal Dutt, O.P. Kohli, Tun Tun, V. Gopal, Rajrani, Sheikh, Ravi Thakur, Kamaldeep, Lata Bose, Kedar Sehgal, Deepak, Sikander Lamba, Parvez, Ayyub, Shankar, Ramesh, Khodu Baba, Mustafa, Uma, Neeta, and others.

(HFGK Vol-V (1971-981) mentions 05.06.1972 as the date of certification by Censor Board of this movie. However, the version of this movie available on internet mentions 28.11.1972 as the certification date by Censor Board.)

“Beimaan” had seven songs written by Vermal Malik and composed to music by Shankar-Jaikishan.
Following is the list of songs of this movie as given in HFGK Vol-V (1971-1980).

SNo Song Title Singer/s Posted On
01 Na izzat ki chinta…jai bolo beimaan ki Mukesh, chorus 07.02.2013
02 Ye raakhi bandhan hai aisa Lata, Mukesh 24.08.2010
03 Neela neela kurta, chudidar pajama Mahendra Kapoor, Asha Bhonsle, Chorus
04 Chali saj ke hai dil ko mila ke Sharda, Asha Bhonsle, chorus
05 Dekho ji raat ko zulam ho gaya Asha Bhonsle 23.09.2016
06 Bam ragad… ham do mast malang pilaayen bhar bhar thhande jaam Kishore Kumar, Mahendra Kapoor Being discussed today
07 Kitni kism ki beimaani… jai bolo beimaan ki Mukesh 07.02.2013

The title song of this movie ‘Jai bolo beimaan ki’ stood sixth in the annual ‘Binaca Geetmala’ list of 1972. Other than this the ‘raakhi’ song of the movie was also a very popular song.

I had a big nostalgia of the songs of this movie because one of my uncles had brought the Record Player and he had a LP record of this movie songs. When I started my own music collection, I had a big attraction for the songs of this movie and the other Manoj Kumar movie ‘Pehchaan-1970’. Audio cassettes were generally available for ‘Pehchaan-Beimaan’ songs in one cassette.

I think the songs of ‘Pehchaan-1970’ were also very popular and heard frequently on ‘Radio’ then. My Uncles used to remind me of the ‘ye gangaram ki samajh’ song every time during a family ‘get-together’. They said that they used to tease me with this song when I was a child and was ‘quite’ a healthy child 😊 (I don’t know why I used to be annoyed then on people calling me ‘Gangaram’ 😊)

Coming back to today’s song from ‘Beimaan-1972’, the picturisation shows Pran and Manoj Kumar lip-sync the song in the voices of Kishore Kumar and Mahendra Kapoor respectively.

The situation and context of the song is anybody’s guess.

Other than Manoj Kumar and Pran, the picturisation shows one actress whom I am unable to identif. Many other artists are visible in the picturisation of this song.

Let us now listen to today’s entertaining song and pay our tributes to lyricist Verma Malik.

This song also reminds me another song of Manoj Kumar-Pran ‘jodi’ in the similar situations in the movie ‘Dus Numberi’ and the song is ‘na tum ho yaar aalu naa ham hai yaar gobhi’ .

Video


Audio

Song-Hum do mast malang pilaayen bhar bhar thhande jaam (Beimaan)(1972) Singers-Mahendra Kapoor, Kishore Kumar, Lyrics-Verma Malik, MD-Shankar Jaikishan

Lyrics

bruurr
bruurr
bruurr
bruurr
bruurr
bruurr

bam ragad ragad ragad
bam bam bam
bam ragad ragad ragad
bam bam bam
bam bam bam bam aa ….

ham do mast malang pilaayen
bhar bhar thhande jaam
dus paise mein pee ke jaana
kaabul ke baadaam
ham do mast malang pilaayen
bhar bhar thhande jaam
dus paise mein pee ke jaana
kaabul ke baadaam

o bhaiyya
le le chhotaa aa
o ho o laala
de de ghotaa aa
hey he o khaalaa aa
pee le lota
ae o khaala ji
arey ho ja motaa
ae aa haa aa

sheeshe ki doli mein leti
dekho ye baadaam ki beti
thhandi aur meethhi hai aisi
gangaa jamuna ke jal jaisi

kya baat kahi ee

bahu saas ko agar pilaaye
saas kabhi naa garmi khaaye
mil ke piye devar Bhabhi
ghar mein ho naa kabhi kharaabi
arey waah bhaiyya
waah aa

ik pyaale se
wajan badhegaa
poore chhah sau graam
dus paise mein pee ke jaana
kaabul ke baadaam

ham do mast malang pilaayen
bhar bhar thhande jaam
dus paise mein pee ke jaana
kaabul ke baadaam

o bhaiyya
le le sotaa aa
ae ho o laala
de de ghotaa aa
arey o laalaa
pee le lota
oye khaala
arey ho ja motaa
ae aa haa aa

bammak
bam bambak
bam bambak
ho bam bammak
ho bam bammak
ho bam bammak oo

hema malini aur Sharmila
pee ke kaam kare furteelaa
saira bano raakhi Rekha
sabne isko pee kar dekha aa

oye qurbaan jaawaan

ragde raj Kapoor Rajinder
rajesh Khanna aur dharmender
chhaane mohd rafi Mahendar
piye dev anand jeetender
arey waah bhaiyya
waah bhai
Rustom e hind banaa darasingh
Pee pee iske jaam
dus paise mein pee ke jaana
kaabul ke baadaam
ham do mast malang pilaayen
bhar bhar thhande jaam
dus paise mein pee ke jaana
kaabul ke baadaam

o bhaiyya
le le chhotaa aa
oye oye o laala
de de ghotaa aa
oye laala idhar aa re

arey pee le lota
arey le le lota pee le
arey ho ja motaa
ae aa haa aa

hurr

kidhar gayi bhai
hoye hoye
khabar nahin bhai

kidhar gayi bhai
khabar nahin bhai

haa aa

hey aankhen moti
patli naak
lambi gardan
laal frock
kabse tujhko rahe pukaar
khol de khidki
de deedaar

de ke jalwaa
maar ishaaraa
khatm ho jaaye
jhagdaa saaraa
samajh le ab tu pakdi gayi hai
aaja kaamini kahaan chhupi re ae
kahaan gayi kaamini ee
teri gali mein aaj hamen
koyi aur nahin hai kaam

dus paise mein pee ke jaana
kaabul ke baadaam
ham do mast malang pilaayen
bhar bhar thhande jaam
dus paise mein pee ke jaana
kaabul ke baadaam

o bhaiyya ji
le le chhotaa aa
oye oye o laalaji
de de ghotaa aa
oye oye khaala

arey laala akele
arey pee le lota
arey ho ja motaa
ae aa haa aa

bam bammak
bam bammak
ho bam bammak
ho bam bammak
ho bam bammak oo
bam bammak
bam bammak
bam bammak
bam bammak
bam bammak
bam bammak
bam bam bam oo k


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

Blog Day :

4981 Post No. : 16864

Today 8th March, 2022 is the 101st birth anniversary of poet-lyricist Sahir Ludhianvi (08.03.1921 – 25.10.1980).

As per statistics available he has written around 717 to 730 songs in Hindi Films. On our blog we have so far covered 704 songs penned by Sahir Ludhianvi. Around six to eight songs from the remaining songs seems to be difficult to find or they may not be available at all. Following is the details of movies and the number of songs from these movies yet to be posted on the blog.

Sl. No. as per Sahir’s Filmography Movie Name Year Music Director Remaining Songs
1 Aazadi Ki Raah Pe 1948 GD Kapoor 3
7 Laal Kunwar 1952 SD Burman 3
53 Dilli Ka Daada 1962 N Dutta 1
58 Gumraah 1963 Ravi 1
78 Nanha Farishta 1969 Kalyanji-Anandji 1
85 Bhaai Ho To Aisa 1972 Sonik Omi 3
101 Jaagriti 1977 Laxmikant-Pyarelal 2
104 Hum Tere Aashiq Hain 1979 Ravindra Jain 4
106 Chambal Ki Qasam 1979 Khayyam 2
107 Chehre Pe Chehra 1980 N Dutta 4
115 Chingaari 1989 Ravi 3
TOTAL 27

Today I present here a song from the movie ‘Nanha Farishta’ (1969). ‘Nanha Farishta’ was directed by T Prakash Rao for Vijaya International, Madras. It was produced by B Nagi Reddi and Chakrapani. This movie was presented by B Nagi Reddi.

The star cast of the movie lists Pran, Ajit, Anwar Hussain, Padmini, Balraj Sahni and Baby Rani, supported by Suresh, Mukri, Raj Mehra, Sundar, Maruti, Prem Kumar and Johnny Walker.

Story of this movie was written by Thuraiyoor K Moorthy, and dialogues were written by Inder Raj Anand. Editing of this movie was done by BS Glaad.

This movie had four songs written by Sahir Ludhianvi and music composed by Kalyanji-Anandji.

The playback singers for this movie are Lata Mangeshkar, Mohd Rafi, Asha Bhonsle, Kishore Kumar, Manna Dey, Mahendra Kapoor and Manhar. [Author’s Note: The titles of the movie also mentioned the name of S Balbir in the list of playback singers, however HFGK has not mentioned Balbir’s name for any song of this movie.]

HFGK mentions the following four songs from this movie.

Song  Posted On
 O Natkhat Nanhi Laadli Tujhe Dekhen  26.12.2020
 Chandaa Kaahe Ka Tera Maama  08.03.2021
 O Re O, Sharaabi Tujhme Ek Kharaabi  Being discussed today
 Bachche Mein Hai Bhagwaan  14.11.2014

Kalyanji-Anandji have worked with Sahir Ludhianvi in two movies, as per following details.

Movie Year MD Songs by Sahir
(in blog)
Songs by Sahir
(per HFGK)
Songs by Sahir (per – The People’s Poet)
Nanha Farishta 1969 Kalyanji-Anandji 3 4 4
Shankar Shambhu 1976 Kalyanji-Anandji 5 5 5

From the above table we can see that only one song from the movide ‘Nanha Farishta’ which is also the last song of ‘Sahir – KA’ association remains to be posted on the blog. This is also the final song from this movie to be posted on the blog.

This song is sung by Asha Bhonsle and on-screen Padmini is lip-syncing for Asha Bhonsle’s voice. Also seen in the picturization of the song are Pran, Ajit, and Anwar Hussain.

The song happens when the three criminals Pran, Ajit and Anwar Hussain got drunk and request Gauri (Padmini) to sing a song for them. Gauri is the caretaker of the little girl Baby (Baby Rani) whom the three have abducted after killing her father. Later the three criminals develop a soft corner for the baby girl and kidnapped her caretaker Gauri as well when the little girl fall sick.

Gauri has a plan for the criminals and that is why she readily agrees to sing and dance for the drunken criminals. But that is not to be disclosed here and that is something we have to leave intact for those who are interested in watching this movie. I have also not watched this movie and the above storyline in short is from what I got to read on internet.

With this post, the film ‘Nanha Farishta’ (1969) now joins the list of Yippeee’d movies on the blog.

Let us listen to the today’s song now.

Song – O Re O Sharaabi Tujh Mein Ek Kharaabi (Nanha Farishta) (1969) Singer – Asha Bhosle, Lyrics – Sahir Ludhianvi, MD – Kalyanji Anandji
Male Voice

Lyrics

o o sharaabi
tujh mein ek kharaabi

kya

huhh huhh huhh huhh

o re o sharaabi
tujh mein ek kharaabi
o re o o sharaabi
tujh mein ek kharaabi
seekha na kisi se tune pyaar karna
tujhe aa main pyaar sikha doon
aa main pyaar sikha doon
o re o sharaabi
tujh mein ek kharaabi

rura rara rura rara ae ae ae
ta rura rara rura rara ae ae ae

kaanch jaise badan mein
surkh sona bharaa hai
surkh sona bharaa hai
jaam se lab hataa le ae
jaam mein kya dharaa hai
jaam mein kya dharaa hai
aise na bujhegi kabhi pyaas dil ki
arey aa main pyaas bujha doon
aa main pyaar sikha doon
o o o o sharaabi
tujh mein ek kharaabi

honthh kyun kaanpte hain ae ae ae
saans kyun phoolti hai
saans kyun phoolti hai
paanv kyun dolte hain ae ae
zulf kyon jhoolti hai
zulf kyon jhoolti hai
tu jo meri aankhon ki zubaan samjhe tujhe
saare bhed bataa doon
aa main pyaar sikha doon
o re o sharaabi
tujh mein ek kharaabi

rura rara rura rara ae ae ae
ta rura rara rura rara ae ae ae

ho sakey to samajh le ae ae ae
raat kya keh rahi hai
raat kya keh rahi hai
ye dhadkti khaamoshi ee ee
baat kya keh rahi hai
baat kya keh rahi hai
thoda sa ishaara ho to
pal bhar mein abhi
laakhon rang lutaa doon
aa main pyaar sikha doon
o o o o sharaabi
tujh mein ek kharaabi
seekha na kisi se tu ne pyaar karna
tujhe aa main pyaar sikha doon
aa main pyaar sikha doon
o re o sharaabi
tujh mein ek kharaabi

huhh huhh huhh

bahot achchhe

very good very good

once more

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

ओ ओ शराबी
तुझमें एक खराबी

क्या

हुःह हुःह हुःह हुःह

ओ रे ओ शराबी
तुझ में एक खराबी
ओ रे ओ शराबी
तुझ में एक खराबी
सीखा ना किसी से तूने प्यार करना
तुझे आ मैं प्यार सीखा दूँ
आ मैं प्यार सीखा दूँ
ओ रे ओ शराबी
तुझ में एक खराबी

रुरा रुरा रुरा रुरा ए ए ए
ता रुरा रुरा रुरा रुरा ए ए ए

काँच जैसे बदन में
सुर्ख सोना भरा है
सुर्ख सोना भरा है
जाम लब से हटा ले
जाम में क्या धरा है
जाम में क्या धरा है
ऐसे ना बुझेगी कभी प्यास दिल की
अरे आ मैं प्यास बुझा दूँ
आ मैं प्यार सीखा दूँ
ओ ओ ओ ओ शराबी
तुझ में एक खराबी

होंठ क्यों काँपते हैं
सांस क्यों फूलती है
सांस क्यों फूलती है
पाँव क्यों डोलते हैं
जुल्फ क्यों झूलती है
जुल्फ क्यों झूलती है
तू जो मेरी आँखों की ज़ुबान समझे तुझे
सारे भेद बता दूँ
आ मैं प्यार सीखा दूँ
ओ रे ओ शराबी
तुझ में एक खराबी

रुरा रुरा रुरा रुरा ए ए ए
ता रुरा रुरा रुरा रुरा ए ए ए

हो सके तो समझ ले
रात क्या कह रही है
रात क्या कह रही है
ये धड़कती खामोशी
बात क्या कह रही है
बात क्या कह रही है
थोड़ा सा इशारा हो तो
पल भर में अभी
लाखों रंग लुटा दूँ
आ मैं प्यार सीखा दूँ
ओ ओ ओ ओ शराबी
तुझ में एक खराबी
सीखा ना किसी से तूने प्यार करना
तुझे आ मैं प्यार सीखा दूँ
आ मैं प्यार सीखा दूँ
ओ रे ओ शराबी
तुझ में एक खराबी

हुःह हुःह हुःह

बहुत अच्छे

वेरी गुड वेरी गुड

वांस मोर


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

Blog Day :

4957 Post No. : 16826 Movie Count :

4579

Hullo Atuldom

The title-cards of movies that he was present in always billed him as “And Pran”.

His was the character needed to bring out the hero in Raj-Dilip-Dev, Dharam-Rajendra-Sunil. Shammi Kapoor fooled him in “Kashmir Ki Kali”, “Bluffmaster” etc’ Kishore Kumar made him run after him in “Half Ticket”. He was unhappily-married to the girl Manoj Kumar loved in “Do Badan”.

He was a strict-rich-unbending father to Rishi Kapoor in “Bobby”. A friend to Ashok Kumar in reel and real life, they came together on-screen for the first time in “Afsana” (1951). {I hope this is correct!!! In-house encyclopediaji and other knowledgeable Atulites need to confirm this}.

He was seen along side Ashok Kumar in close to 27 movies till 1987 when Ashok Kumar played Pran’s (Thakur Satyaprakash) trusted driver, Man-Friday etc. in the Prayag Raj directed “Hifazat”. (Hope I am right here, have seen this film a long time back on television).

His association with Manoj Kumar has material for a post on its own, but I feel like mentioning that it was Manoj Kumar who thought that Pransaab (as the industry addressed him) will be able to do justice to the character of Malangbaba in “Upkaar”. The last time Pransaab acted in a Manoj Kumar was “Jai Hind” in 1999.

Additionally Pransaab was instrumental in making characters of Amitabh Bachchan, Jeetendra and various other actors of the 70s and 80s standout in numerous films.

It is very difficult to write a post about this lovable artiste, without touching on the extra touch, that he added to all his characters so that no-two villains looked same or had similar traits. He looked menacing blowing smoke-rings holding his pipe/cigar/cigarette in different styles. The mustache of Raka in ‘Jis desh mein Ganga behte hain” was different from the one he sported in “Ram aur Shyam”. If Helen experimented with her outfits for her dance numbers, Pransaab was known to play around his hair styles. I am sure that the readers will feel that I am a huge fan of this actor who was awarded the “Villain of the Millenium” by Stardust in 2000, the Padma Bhushan by the Government of India in 2001 and the Dadasaheb Phalke award in 2013.

Yes, I loved to see this actor in action. I found him adorable. There is a whole list of songs filmed on this actor and the following are the ones I loved him most in.

Song Movie (Year) Date posted Singer
Daaru ki bottle mein saahab paani bharta hai Majboor (1974) 14 Nov 2008 Kishore Kumar
Aake seekhi lagi Half Ticket (1962) 8 Feb 2009 Kishore Kumar, Pran
Kasme waade pyaar wafa waahe hain waadon ka kya Upkaar (1967) 1 March 2009 Manna Dey
Dil ki umangen hain jawaan Munimjee(194) 27 April 2009 Hemant Kumar, Geeta Dutt, Pran
Raaz ki baat keh doon to jaane mehfi mein phir kya ho Dharma (1973) 21 May 2009 Asha Bhonsle, Rafi
Do bechaare bina sahaare Victoria number 203 (1971) 10 March 2011 Mahendra Kapoor, Kishore Kumar
Yaari hai imaan mera yaar meri zindagi Zanjeer (1973) 12 February 2012 Manna Dey
Mujhse nazren milaane ki jurrat na kar Maan Gaye Ustaad (1981) 26 November 2012 Rafi, Manna Dey
Mera ek sawaal hai sawaal ka jawaab do Maan Gaye Ustaad (1981) 12 February 2018 Rafi, Chandrani Mukherjee, Dilraj Kaur
Aji sunte ho Raja Aur Rana (1983) 12 February 2019 Mahesh Kumar, Kishore Kumar
Shaam suhaani aayi khushiyaan banke pehli baar Zinda Dil (1975) 12 February 2020 Lata, Shailendra Singh, Mahendra Kapoor

The list is not complete, there are more songs where either he is simply standing and smiling benevolently or menacingly (depending on the era of the song). I remember a song from the 90s where he is seen partying on his wedding anniversary with Asha Parekh. Everytime I see this song I think of Pran and Asha Parekh from all those movies of the 60s when he played the spoke in her love-life with the hero of those films:- “Jab Pyaar kisise hota hai”, “Love In Tokyo”, “Do Badan”, and the list is long here too. What more does one expect when a person has a career starting from 1940 and going on till 2007.

Thinking of this actor today on his 102nd birth anniversary with the party song that I mentioned in the previous paragraph. The movie is the 1993 release “Bhagyawan” which had Govinda play the son of Asha Parekh & Pran, with Juhi Chawla, Ranjeet, Aruna Irani, Kirti Kumar (Govinda’s real-life brother), Johnny Lever etc forming the rest of the cast. The movie was a typical family drama. It had songs written by Sameer, M G Hashmat, and Hasrat Jaipuri. Today’s song is sung by Abhijeet. Anand Milind were the music directors of this film.

I take this as the party to celebrate two other occasions- birthday of one Atulite and wedding anniversary of another Atulite (sirf hint hi kaafi hai).
Wishing all the best to both the Atulites.


Song-Akkad bakkad timbaktu (Bhaagyawaan)(1993) Singer-Abhijeet, Lyrics-M G Hashmat, MD-Anand Milind
Pran
Unknown male voice
Chorus
All

Lyrics

akkad bakkad timbak tu
you love me and I love you
akkad bakkad timbak tu
you love me and I love you
aapne mujhko pyaar diya
maine tay kiya
ab to le jaaunga main pakad ke
aise dekho na mujhko akad ke
ab to le jaaunga main pakad ke
aise dekho na mujhko akad ke
akkad bakkad timbak tu
you love me and I love you
akkad bakkad timbak tu
you love me and I love you

bhool nahin paaunga
main aapke ehsaan ko
meethhi meethhi pyaari pyaari
mamta ki zubaan ko
bhool nahin paaunga
main aapke ehsaan ko
meethhi meethhi pyaari pyaari
mamta ki zubaan ko
thhandi thhandi raaton mein jab neend nahin aati thhi
loriyaan suna ke apne aanchal sulaati thhi
zindagi ke raste mein
raushani dikhaati thhi
akkad bakkad timbak tu
you love me and I love you
akkad bakkad timbak tu
you love me and I love you

arre baba
pare baba
papappa
pare baba
arre baba
pare baba
papappa
pare baba

ye maine kuchh nahin kiya beta
ye to sab upar waale ka qasoor hai

jhoothh mat boliye jee
aapka qasoor hai
aaj ke zamaane mein kya
pyaar ka dastoor hai
jhoothh mat boliye jee
aapka qasoor hai
aaj ke zamaane mein kya
pyaar ka dastoor hai
jaane kaise dukhde sah ke
bachche paale jaate hain
bade ho ke badon se wo door kyun ho jaate hain
good bye mummy bye bye papa
kah ke chale jaate hain
akkad bakkad timbak tu
you love me and I love you
akkad bakkad timbak tu
you love me and I love you
aapne mujhko pyaar diya
maine tay kiya
ab to le jaaunga main pakad ke
aise dekho na mujhko akad ke
akkad bakkad
timbak tu
you love me and
I love you/font>
akkad bakkad
timbak tu
you love me and
I love you
akkad bakkad timbak tu
you love me and I love you
akkad bakkad timbak tu
you love me and I love you


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

Blog Day :

4416 Post No. : 15823

Mukesh and his co-singers –7
———————————————–

There is a school of thought amongst music lovers that the voice of Manna Dey suited better for Raj Kapoor than Mukesh. While technically, there could be substance to the concept, it remains a fact that the empathy evolving from the voice of Mukesh and the emotion and expressions of Raj Kapoor’s acting on screen fitted to a T. No wonder RK upon hearing Mukesh’s demise in far off Detroit city commented that he had lost his soul. I am of the firm opinion that the voice of Mukesh on Raj Kapoor suited most aptly than the actor singing himself.

As far as Manna Dey singing for Raj Kapoor is concerned, the songs from Chori Chori, Shree 420, Dil Hi Toh Hai, Mera Naam Joker etc. come to the mind instantly. Chori Chori and Shree 420, both released in 1956 were at a time when Mukesh was experimenting with many departments of films and had also signed a contract for the film Maashuqa as an actor-singer with heroine none other than Suraiya. The Contractalso had a clause that he would not be singing for anyone else till the completion of the film. The film unfortunately got delayed and so did the successful career of Mukesh.

It is for this reason that even though Mukesh has the iconic solo, a duet with Lata and a triad with Rafi saab and Lata, Manna Dey had his share of songs in the movie Shree 420 including the popular pyar hua ikraar hua hai.

It is said that Mukesh after singing 3 songs in the film conveyed to RK that he could no longer be part of the film because of the Contract that he had signed. So why didn’t Manna Dey establish himself as a permanent or a more frequent RK voice. Well, it was the year 1958, Mukesh free from the clutches of his Contract came back as a playback singer and boy what a return that was.

Madhumati, Parvarish, Phir Subah Hogi and Yahudi all under different composers and picturised on RK and Dilip Kumar were runway hits. Mukesh had found his mojo back. Raj Kapoor understood that with Mukesh giving him playback he need not look any further. The bond between them remained forever. Body and the soul’s bonding was noticed not only by Shankar Jaikishan but by other composers also. Thus, when Raj Kapoor forayed acting for other production houses, it was usually Mukesh who was summoned for playback.

Thus, we have Manna Dey singing only a few songs for Raj Kapoor in spite of the popularity of songs from Shree 420 and Chori Chori in 1956. However, all composers were also aware of the limitations of Mukesh and the versatility of Manna Day especially for the songs based on classical music. It is pertinent to mention the song from Dil Hi Toh Hai 1963. While most of the songs from this film were sung by Mukesh, Roshan the composer rightly found it prudent to have Manna Dey sing the popular Laagaa, chunri mein daag. With due respects to other stalwarts, I am of the firm opinion that no singer could have pulled off this song as elegantly as Manna Dey.

This post and the series as such is on Mukesh’s collaboration with other singers. And in this instance also, it’s not only about Mukesh and Manna Dey singing for RK camp but for all the songs that they rendered together in HFM. But then many songs sung by Manna Dey for Raj Kapoor have also become quite popular and hence I had to devote a majority of the post for their individual songs on Raj Kapoor.

Whilst we are on the discussing the singers in unison, I should highlight that Mukesh has sung a comic solo under Manna Dey’s composition for the film Chamkee (1952). I have always been curious to know why this song was offered to Mukesh as Manna Dey himself was quite apt at singing such songs. One possible reason could be due to the bad phase that Mukesh had entered during this period and this was could have been some kind of help extended.

Coming to today’s post, here is the list of all songs in which Mukesh and Manna Dey featured together. Not surprisingly, most of them are with multiple singers and chorus. Quite a few of them are rare and popular.

1 under Anilda is famous song from a popular film. It is interesting to note that it is sung by four singers whose names start with the letter “M”. Needless to say, it’s the only one of its kind in HFM where they have come together.

2 had many songs by Mukesh featured on Raj Kapoor and Mahendra Kapoor and Manna Dey join in for other actors in the song. Its again rare to find Geeta Dutt in SJ camp.

3 and 4 are under Hemant Kumar who himself was an accomplished singer and composer but got to many sing songs by other singers in his compositions. Mukesh has sung about half a dozen songs under him.

5 is quite a comic song on which our Arunkumar ji has written a detailed post.

S.No Name of the Song Movie (Year of release) Other co-singers if any Music Director Lyricist
1 Kadam kadam se dil de Chaar Dil Chaar Raahen (1959) Mahendra Kapoor, Meena Kapoor Anil Biswas Sahir Ludhianvi
2 Hai aag hamaare seene mein Jis Desh Mein Ganga Behti Hai (1960) Geeta Dutt, Mahendra Kapoor, Lata Mangeshkar Shankar Jaikishan Shailendra
3 Mujhko mohabbat ho gayi hai Biwi Aur Makaan (1966) Talat Mehmood, Hemant Kumar, Joginder, Hemant Kumar Gulzar
4 Aa tha jab janam liya tha Biwi Aur Makaan (1966) Hemant Kumar Hemant Kumar Gulzar
5 Ye kaun hain ye kaun hain jo besahaara hain Main Sundar Hoon (1971) Asha Bhonsle Shankar Jaikishan Anand Bakshi
6 Besharmi se sharam na kar Teen Chor (1973) Mohammed Rafi Sonik Omi Rajendra Krishan
7 Na tum ho yaar aloo Dus Numbri (1976) Laxmikant Pyarelal Majrooh Sultanpuri
8 Dilruba Dilliwali Dus Numbri (1976) Asha Bhonsle Laxmikant Pyarelal Majrooh Sultanpuri

4, 6, 7 and 8 from the above list are yet to be featured on the blog and I take up song number 7 for representation in this post.

Shri Harish Raghuwanshi of Surat, the compiler of Mukesh Geetkosh has helped me with confirming the correctness of and completeness of the above table of songs. I express my sincere thanks to him for his continued support.

Dus Numbri (1976) in which Mukesh had 04 songs was in continuation with the many songs that he was singing for Manoj Kumar during late sixties and seventies. The title song of this movie remains famous. Strangely, this title song is the only song of this film to be featured on the blog so far. Mukesh and Manoj Kumar’s combination had become quite popular with some outstanding songs. I had read somewhere that they were planning to produce a film upon the return of Mukesh from his US tour in 1976. As we are aware, Mukesh never came back from that tour as he passed away on 27 August 1976 in Detroit. This date being around the corner, my next post will be on his remembrance day and probably starting with a new series.

Audio

Video

Song-Na tum ho yaar aaloo na hum hain yaar gobhi (Dus Numberi)(1976) Singers-Mukesh, Manna Dey, Lyrics-Majrooh Sultanpuri, MD-Laxmikant Pyarelal
Both

Lyrics

na tum ho yaar aaloo
na hum hain yaar gobhi
na tum ho yaar aaloo
na hum hain yaar gobhi
tum bhi ho yaar dhobhi
aur hum bhi yaar dhobhi
na tum ho yaar aaloo
na hum hain yaar gobhi
tum bhi ho yaar dhobi
aur hum bhi yaar dhobhi

na tum ho yaar aaloo
na hum hain yaar gobhi

suno majboori suno
tumse kya chori suno
suno majboori suno
tumse kya chori suno
ik din ka haal suno
ae Hiralal
kya bataaun huye kya kya lafde
kya bataaun huye kya kya lafde
saaheb ka suit pahan
le kar ke apni dhoban
hum bioscope chala dekhte hai

laallaallaa oy hoy
hoy hoy

ho ho
shaamat ki maat mera
saaheb bhi yaar mila
raste mein aur laga dekhne
dekha jo suit
ho diya kas kar do boot
ho gaali de de ke pakdi gardaniya
gaali de de ke pakdi gardaniya
ho machi wo dhooma dhoom (?)
wo kahin ho gayi re gum
usi hullad mein meri dhobaniya
usi hullad mein meri dhobaniya

dhoban ko le uda re
kyaa jaane kaun lobhi
dhoban ko le uda re
kyaa jaane kaun lobhi
tum bhi ho yaar dhobi
aur hum bhi yaar dhobi

na tum ho yaar aaloo
na hum hain yaar gobhi

o ho
suno majboori suno
tumse kya chori suno
suno majboori suno
tumse kya chori suno
apna bhi haal suno
ae Bansilal
coat maine bhi pehna kisi ka
coat maine bhi pehna kisi ka
arre kya thhi khabar
ke hai uske andar
ke photu hai mama inhi ka
hai aiyyo
ke photu hai mama inhi ka
dhoban ko sang liye
chehre pe rang liye
unhu
hotel pahunchaane bechaara
o oarkhaane ke baad
daala paackit mein haath
ke chukaa doon use daam saara
dena thha maal
diya photu nikaal
aisa dhokha hua mujh ko tagda
aisa dhokha hua mujh ko tagda
dhoban ne dekh
diye thhapad do ek
aur kar ke dhamaal
noch kar sar ke baal
kahin chal di wo kar ke jhagda
haay haay
kahin chal di wo kar ke jhagda
meri maal

ab haal mera sun kar
chup kyun ho
kuchh kaho jee
ab haal mera sun kar
chup kyun ho
kuchh kaho jee
tum bhi ho yaar dhobi
aur hum bhi yaar dhobi
na tum ho yaar aaloo
na hum hai yaar gobhi

suno majboori suno
tumse kya chori suno
suno majboori suno
tumse kya chori suno
hum bhi dil rakhhte to hain
pyaar kar sakte to hain

ho jee ek dhoban meri
haaye mehbooban meri
ek dam thi aazaadi
nayi nayi huyi thhi shaadi

par meri jaan e jahaan
wo gayi jaane kahaan
par meri jaan e jahaan
wo gayi jaane kahaan
aise lagti thhi
aise lagti thhi
gale haaye Raam
jaise istri chale haaye Raam
ho jabse wo gayi chali haaye Raam
main phiroon gali gali haaye Raam

arre chhod gayi dil mein kaanta
maar gyi dhobi paataa
milne ka yaar uske
koi jatan karo jee
milne ka yaar uske
koi jatan karo jee
tum bhi ho yaar dhobi
aur hum bhi yaar dhobi
na tum ho yaar aaloo
na hum hain yaar gobhi
tum bhi ho yaar dhobi
aur hum bhi yaar dhobi
na tum ho yaar aaloo
na hum hain yaar gobhi


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

Blog Day :

4377 Post No. : 15722 Movie Count :

4334

Hullo Atuldom

‘Lav Kush’ (1997) is a story of the twin children of Devi Seeta and Lord Rama. They were born after Seeta is banished to the jungle in Uttar Ramayana i.e. the last chapter of the epic ‘Ramayana’. Lord Rama is unaware of the birth of his sons in Sage Valmiki’s ashram where Seeta is taken care of, and the children grow up as ‘muni kumars‘ who are trained to be proficient in military skills as well.

There have been many movies and serials in almost all the Indian languages, with ‘Luv Kush’ as the central theme. A search for ‘Lav Kush’ or ‘Luv Khush’ on google comes up with 10 results or 10 instances when the story has been used by the entertainment world in the form of movies animation series and TV series (there may have been more). The last of these was an animation series for children in 2012.

The first time the story was used was may be in 1951, a movie by Nanabhai Bhatt where Nirupa Roy was Seeta and Prem Adib was Ram. Then There was a movie in 1967 where Jayshree Gadkar played Seeta to Ashim Kumar’s Ram. There was a short film by K A Abbas in 1972 with Lav Kush as the story. ‘Lav Kush’ in 1974 spoke Telugu. There was a ‘Lav Kush’ in 1997 with Jaya Prada as Seeta and Jeetendra as Ram. Interesting trivia about this movie is that Jayshree Gadkar (Seeta of ‘lAV kUSH’ 1967) played Kaushalya. In fact Jayshree Gadkar has played Kaushalya in the TV series ‘Lav Kush’/ (1988) as also the ‘Ramayana’ Doordarshan serial.

Now the regular followers of this blog may be wondering why I have taken up this part of ‘Ramayana’. Well, last week I saw a movie on one of the satellite channels. When I discovered it, I saw the cute boys – Master Adil and Baby Shrestha playing Lav and Kush – regaling the courtiers of Ayodhya by their rendition of the Ramayana. But they get angry when they come to know that Seeta Mata has been banished by Ram and they question him about his being addressed as ‘maryada purushottam‘. They walk out of Ayodhya and go straight to their mother and report all that they saw in Ayodhya. They are pacified by sage Valmiki and I jolted into “Who is playing Valmiki?”

I mean, I was used to seeing that actor as a badman, good friend, benevolent grandfather, strict father, uncle, even a war-veteran but never had I thought that this versatile actor had done a mythological role. I have heard stories of how people of a certain generation never gave their children this popular actor’s name. I am sure the readers have guessed that I  am referring to Pran Saab.

So we have Pran Krishan Sikand (12 february 1920 – 12 July 2013) who played a wide variety of roles beginning with playing the hero to Noor Jehan in ‘Khandaan’ of 1942, going on to play a badman in umpteen movies and then changing track to become ‘Malang Chacha‘ in ‘Upkaar’ (1967).

Personally, I first saw him as a strict father to Rishi Kapoor in ‘Bobby’ (1973) and then as a grandfather trying to get familiar with his grand children in ‘Parichay’ (1972). Though ‘Parichay’ was an earlier film and I may have seen it in the theatre as a child in arms, but I sure I saw it with full awareness when Bombay Doordarshan telecast it on their Sunday evening show. In fact I may have seen many of his pre-70s movies on the television and got scared too of the characters he portrayed.

Some of his scenes are forever etched in the mind; like the one in ‘Guddi’ (1971) where he tells Utpal Dutt – “It is a pleasure getting beaten by a person like Dharmendra, imagine I have been beaten up by heroes half my size”. (I tried to locate this scene as a video clip on YouTube but failed, because the punch of the dialogue gets lost-in-translation). That scene in ‘Don’ (1978) where he is escaping from the goons with his children and is confronted by Amitabh – an outstanding  scene. But the most memorable scene (IMHO) is the one from ‘Zanjeer’ (1973)  where he faces the inspector played by Amitabh for the first time. There are many such memorable scenes that I am sure, are the personal favorites of the blog-followers.

Similarly every one will have a favourite song which has been filmed on Pran Saab. “Phir Na Kehna Micheal Daroo Pee Ke Danga Karta Hai“; “Bolega To Bologe Ke Bolta Hai“; “Yaari Hai Imaan Mera“; “Kasamein Vaade Pyaar Wafa Sab Baatein Baaton Ka Kya“; “Jeevan Ke Din Chhote Sahi Hum Bhi Bade Dilwale“; or the evergreen “Do Bechare Bina Sahaare Dekho Poochh Poochh Kar Haare“. There are also songs where the heroine, with the help of the hero, has made Pran Saab sing and dance and make a buffoon of himself- “Dil Ki Umangein Hain Jawaan“; and can one forget him in that song from “Half Ticket” where he says “Aake Seedhi Lagi Dil Pe Jaise Katariya“.

It is very easy to visualize him as a sage only thing is I was unaware of this movie or the fact that he played the Valmiki, that is why I was pleasantly surprised. And he had a song here too. Now that means it has to be on our blog too. Here it is sung by Suresh Wadkar, written by Dev Kohli and Raam Laxman is the music composer. It comes towards the end of the movie when Seeta has heard that Ram is undertaking the ‘Ashwamedha Yagya‘ and she is wondering how it can be undertaken in the absence of the better half. And Sage Valmiki sings this to make her see the reality of Ram.

A few thoughts crossed my mind as I was seeing this video to jot the lyrics: never seen Pran in this getup (this I have already said), there is an earnestness seen when he does the alaap part of the song, his expressions explain why he had had such a long run in the movies.

Remembering Pran Saab on his anniversary.

Video

Audio

Song – Karo Nahin Sandeh Ram Par  (Lav Kush) (1997) Singer – Suresh Wadkar, Lyrics – Dev Kohli, MD – Raam Laxman

Lyrics 

aaaa aaaaa

ram ram ram

karo nahin sandeh ram par
karo nahin sandeh
karo nahin sandeh ram par
karo nahin sandeh
sada raha hai sada rahega aaaaaa
aaaaa aaaaaaaa 
aaaaa aaaaaa aaaaaa
sada raha hai sada rahega
tum par unka nae..ae..ae..aeh
karo nahin sandeh ram par
karo nahin sandeh

ek vachan hai ek karm hai
ek ram ka baan
ek vachan hai ek karm hai
ek ram ka baan
ek patni ka vrat hai unka aaaaa
aaaaa aaaaaa aaaa
ek patni ka vrat hai unka
karein jagat kalya..aa..aan
karo nahin sandeh ram par
karo nahin sandeh

yadi ve dharm tyag dein apna
chhand badal de gaayan
aaaaa
yadi whe dharm tyag de apna
chhand badal de gaayan
janm vyarth ho jaaye mera
aaaaaa aaaaaa aaaa
aaaaaaa aaaaaa
janm vyarth ho jaaye mera
vyarth meri ramaya..aa..aa..n
karo nahin sandeh ram par
karo nahin sandeh
sada raha hai sada rahega
tum par unka nae..ae..h
karo nahin sandeh ram par
karo nahin sandeh

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

करो नहीं सन्देह राम पर
करो नहीं सन्देह
करो नहीं सन्देह राम पर
करो नहीं सन्देह
सदा रहा है सदा रहेगा
आsssss
आssss आssssssss
आssss आsssss आsssss
सदा रहा है सदा रहेगा
तुम पर उनका ने॰॰ए॰॰ए॰॰एह
करो नहीं सन्देह राम पर
करो नहीं सन्देह

एक वचन है एक कर्म है
एक राम का बाण
एक वचन है एक कर्म है
एक राम का बाण
एक पत्नी का व्रत है उनका
आsssss
आssss आsssss आ
एक पत्नी का व्रत है उनका
करे जगत कल्या॰॰आ॰॰ण

यदि वे धर्म त्यागी दें अपना
छंद बादल दे ज्ञान
आsssss
यदि वे धर्म त्यागी दें अपना
छंद बादल दे ज्ञान
जन्म व्यर्थ हो जाये मेरा
आssss आsssss आsssss
आssss आssssssss
जन्म व्यर्थ हो जाये मेरा
व्यर्थ मेरी रामायण

करो नहीं सन्देह राम पर
करो नहीं सन्देह
करो नहीं सन्देह राम पर
करो नहीं सन्देह


This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 4226 Post No. : 15433

I was aware that today is the birth anniversary of Pran, but I was not aware that today is his 100th birth anniversary !

It was on this day 100 years ago that Pran (12 February 1920 – 12 July 2013) was born.

Pran was born in Lahore and he made his debut in films in Lahore in early 1940s. There, he soon graduated to lead roles. In “Khaandaan”(1942), he had acted opposite Noorjehaan. . After partition, he came to Bombay where he was a nobody and so he had to start from scratch there.

It was in Bombay that Pran began to get the roles of a villain and it waas in these roles that he made his mark. He started his stint in Bombay with “Ziddi”(1948). He played villains but no two roles of his were same. In every movie he brought something new to his acting. And his acting was so convincing that ordinary movie goers dreaded and dipised his roles. Very few people in India named their sons as Pran. That is the kind of impression he had created in the minds of movie goers. 🙂

In 1960s, his dark roles gradually started to become less dark, with doses of kindness and comedy in them and a time came when he became a character artist, beginning from “Upkaar”(1967). The distributors of “Upkaar”(1967) were very nervous, unsure how this new role of Pran would be received by the moviegoers who were so used to see him as a dreaded villain. Fortunately, the movie was a big hit and Praan’s role as Malang Chaacha was loved by moviegoers.

Pran had got to sing very few songs on screen as a villain, but he started to get songs as a character artist. And this process started with “Upkaar”(1967) itself. The song Kasme waade pyaar wafa turned out to be a much loved song, much to the relief of Kalkyanji Anandji, who were dreading that their composition would flop because it was to be picturised on Pran !

Subsequently, Pran has figured in quite a few songs in Hindi movies. And these songs became surprise hits. For instance, “Zanjeer”(1973) song Yaari hai imaan mera yaar meri zindagi became the most popular song of the year in Binaca geetmala ! “Kasauti”(1974) song, Ham bolega to bologe ki bolta hai was my favourite song durings its time. Same was the case with the song Daru ki bottle me sahab paani bharta hai from “Majboor”(1974).

On the occasion of the 100th birth anniversary of Pran, here is a song from “Zindaadil”(1975). The song is sung by Lata, Shailendra Singh and Mahendra Kapoor. Verma Malik is the lyricist. Music is composed by Laxmikant Pyarelal.

The song is picturised as a get together song. It is lip synced by Rishi Kapoor, Zaahira, Neetu singh and Pran.

Lyrics of this song were sent to me by Avinash Scrapwala. Incidentally, he too shares his birthday with Pran. So we take this opportunity to wish him a happy birthday and many happy returns of the day. Today also happens to be the wedding aniversary of our regular Nitin Shah. We wish him and his better half on this occasion.

Quite a lively and appropriate song for the occasion it is.

Video

Audio

Song-Shaam suhaani aayi khushiyaan ban ke pahli baar (Zindaa Dil)(1975) Singers-Lata, Mahendra Kapoor, Shailendra Singh, Lyrics-Verma Malik, MD-Laxmikant Pyarelal
Lata Mangeshkar+ Shailendra Singh

Lyrics (Provided by Avinash Scrapwala)

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

Shaam suhaani aayi
Khushiyaan ban ke pehli baar
Shaam suhaani aayi
Khushiyaan ban ke pehli baar
Aaj kayee barson mein
Paayal chhanke pehli baar
Huyee adhoori aasha poori
Tooti door ki doori
Tooti door ki doori
To lekar thumkaa naachoon
Aaj main tan ke pehli baar
Lekar thhumkaa naachoon
Aaj main tan ke pehli baar

Pehli baar
Shaam suhaani aayi
Khushiyaan ban ke pehli baar
Aaj kayee barson mein
Paayal chhanke pehli baar
Huyee adhoori aasha poori
Tooti door ki doori
Tooti door ki doori
Lekar thhumkaa naachoon
Aaj main tan ke pehli baar
Shaam suhaani aayi
Khushiyaan ban ke pehli baar

Jee chaahe main ho ke saudaayee
Lutaa doon khudaayee
Milaa hai mujhe pyaar
Milaa hai beshumaar
Jee chaahe main ho ke saudaayee
Lutaa doon khudaayee
Milaa hai mujhe pyaar
Milaa hai beshumaar
Raat aayi hai kismatwaali
Jalaao deewaali
Milaa hai qaraar
Milaa hai sansaar
Is man ki paawan dharti se
Phoot padaa hai pyaar
Phoot padaa hai pyaar

Pehli baar
Phool khile hain dekho
Mere man ke pehli baar
Phool khile hain dekho
Mere man ke pehli baar
Shaam suhaani aayi
Khushiyaan ban ke pehli baar

Khaata jaa peetaa jaa
Bhar paimaana tu
Hey hey
Khaata jaa peetaa jaa
Bhar paimaana tu
Ho ho
Apnaa rang jamaata jaa
Ho deewaana tu
Hey hey
Masti mein lehraata jaa
Ban mastaana tu
Apnaa aaj banaataa jaa
Ye zamaana tu
Mere jeewan ke gulshan mein
Aayi nayee bahaar
Aayi nayee bahaar

Pehli baar
Ek fauji kaa beta
Chalaa hai tan ke pehli baar
Ek fauji kaa beta
Chalaa hai tan ke pehli baar

Shaam suhaani aayi
Khushiyaan ban ke pehli baar

Dekho kaise khushi ke rang chhaaye
Dupatta udaa jaaye
Patang ban ke
Umang ban ke
Dekho kaise khushi ke rang chhaaye
Dupatta udaa jaaye
Patang ban ke
Umang ban ke
Main to ambar ki baahon mein jhooloon
Sitaaron ko chhoo loon
Kiran ban ke
Sapan ban ke
Aaj mere seene mein dhadkan
Meethhee kare pukaar
Meethhee kare pukaar
Pehli baar
Mere dil mein aajaa
Meraa ban ke pehli baar
Mere dil mein aajaa
Meraa ban ke pehli baar

Shaam suhaani aayi
Khushiyaan ban ke pehli baar
Aaj kayee barson mein
Paayal chhanke pehli baar

——————————————-
Devnagri Script lyrics (Provided by Avinash Scrapwala)
——————————————-

आ आ आ आ आ
आ आ आ आ आ

शाम सुहानी आई
खुशियाँ बन के पहली बार
शाम सुहानी आई
खुशियाँ बन के पहली बार
आज कई बरसों में
पायल छनके पहली बार
हुयी अधूरी आशा पूरी
टूटी दूर कि दूरी
टूटी दूर कि दूरी
तो लेकर ठुमका नाचूँ
आज मैं तन के पहली बार
तो लेकर ठुमका नाचूँ
आज मैं तन के पहली बार

पहली बार
शाम सुहानी आई
खुशियाँ बन के पहली बार
आज कई बरसों में
पायल छनके पहली बार
हुयी अधूरी आशा पूरी
टूटी दूर कि दूरी
टूटी दूर कि दूरी
लेकर ठुमका नाचूँ
आज मैं तन के पहली बार
शाम सुहानी आई
खुशियाँ बन के पहली बार

जी चाहे मैं हो के सौदाई
लुटा दूं खुदाई
मिला है मुझे प्यार
मिला है बेशुमार
जी चाहे मैं हो के सौदाई
लुटा दूं खुदाई
मिला है मुझे प्यार
मिला है बेशुमार
रात आयी है किस्मतवाली
जलाओ दीवाली
मिला है करार
मिला है संसार
इस मन की पावन धरती से
फूट पडा है प्यार
फूट पडा है प्यार

पहली बार
फूल खिले है देखो
मेरे मन के पहली बार
फूल खिले है देखो
मेरे मन के पहली बार
शाम सुहानी आई
खुशियाँ बन के पहली बार

खाता जा पीता जा
भर पैमाना तू
हे हे
खाता जा पीता जा
भर पैमाना तू
हो हो
अपना रंग जमाता जा
हो दीवाना तू
हे हे
मस्ती में लहराता जा
बन मस्ताना तू
अपना आज बनाता जा
ये ज़माना तू
मेरे जीवन के गुलशन में
आयी नयी बहार
आयी नयी बहार

पहली बार
एक फौजी का बेटा
चला है तन के पहली बार
एक फौजी का बेटा
चला है तन के पहली बार

शाम सुहानी आई
खुशियाँ बन के पहली बार

देखो कैसे ख़ुशी के रंग छाये
दुपट्टा उड़ा जाए
पतंग बन के
उमंग बन के
देखो कैसे ख़ुशी के रंग छाये
दुपट्टा उड़ा जाए
पतंग बन के
उमंग बन के
मैं तो अम्बर कि बाहों में झूलूँ
सितारों को छू लूं
किरण बन के
सपन बन के
आज मेरे सीने में धड़कन
मीठी करे पुकार
मीठी करे पुकार
पहली बार
मेरे दिल में आजा
मेरा बन के पहली बार
मेरे दिल में आजा
मेरा बन के पहली बार

शाम सुहानी आई
खुशियाँ बन के पहली बार
आज कई बरसों में
पायल छनके पहली बार


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 other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.

Blog Day : 3902 Post No. : 14954

 

‘Bobby’ – a once in a life time sojourn. Smitten by this film, youngsters in any age will not be awed by any other drama of romance.

‘Bobby’ – the heart beat of a generation. Murmurs of that heartbeat continue to be alive decades after. Memories of that first love still makes the blood race through the veins, just as if that primal experience is still happening – for the first time.

‘Bobby’ – never before, and never after – was a story of adolescent love, ever presented with such an alluring composure, and such a charismatic style.

‘Bobby’ – open that page even today, and the freshness of fragrance of that first touch, that first embrace, that first kiss – under a row of Gulmohar trees in full bloom, still has the thump to pummel you off your feet. The ‘flame of the forest’ is ablaze with a riot of red. And so are the raging emotions within – not just the star crossed lovers on screen – it is me too, still floundering and floating in those seminal sensations of love – the moment frozen in time and age, forever. Check out the lover’s tryst at the swimming pool. Every other experience of passionate emotions pales into insignificance in the face of this compelling, electric attraction.

‘Bobby’ – the enduring Perfect Storm – nothing else comes close to capturing that first pubescent surge of hormones – the heart’s first introduction to the fascinating enthrallment of passion and love.

‘Bobby’ – the first steps into the adventures of delight, when the self desires to make space for another for the first time, savoring the first unfamiliar ecstasies of love.

‘Bobby’ – a film, a name, and a girl in a white frock with grey dots and a red piping – standing next to the entrance, near the golden statue of a maiden carrying a pot of water, quenching the thirst of many kinds; and the strains of music that play on that first sighting – “Jeena Yahaan Marna Yahaan, Is Ke Siwa Jaana Kahaan”. As always, the master of melodramatic presentation, RK chose this oh so appropriate music to play when this simple young girl made her first presence on the screen, and into the hearts of million young men – yes – Is Ke Siwa Jaana Kahaan. . .

I have written before about my many crushes on many a beauty of the silver screen. But this was / is the first time I really fell in love. Never heard of this girl before. Dimple Kapadia – no background in films, no links in the industry – and one day, she is just there, standing near the entrance, next to that golden statue. It was just a moment – and she took my heart away. That was just yesterday, but it seems as if an age has passed, and an entire life story of love has been played out. And yet, frozen in time, it still is 1973, and Bobby and me – forever.

As far as I can remember, no other film, no other director had, till that time, tried to tackle the subject of adolescent romance. Yes, there have been many films about childhood friendships that blossom out into love and romance when the protagonists are adults. College going students – yes, many films that have dealt with college romance. The one drawback of these tales was – the lead pair never did look like college students. Senior actors in their thirties, forties and even fifties, attempting to play romantic leads on a college campus. All is well till the movie plays, but once done, the memories remain of the oversize actors trying to fit into very young shoes.

Bobby was different. Bobby was homegrown fresh, young, as young can be. Dimple – all of sixteen years when she stepped into this role. Rishi, albeit not so young, was 21. But with his cupcake Johnson baby looks, he charmed his way into the hearts of a million girls. Take away all the aesthetics, and the story is as old as the ruins of Ranjeet Studios – boy from rich family meets girl from family not of the same social status, they fall in love, and the entire world around them crumbles down upon them. Coming all the way from days of Parsi theatre and silent cinema, this tale has been played over and over again, umpteen times.

And then, after seven decades or so, this tale once again exploded on to the screens, and ignited a whole generation of teenagers – a fire that has not been doused since then. It was not the melodrama that worked; it was, somewhat maybe, the music that worked; it was not the apparently artificial ambience of the Nath affluence – the rich side of the tussle; it was not the exaggerated and affected brash and boisterous Braganza who wears the same undersized suit to every formal scene in the film, (gosh, even the not so affluent have a proper dress sense), and the supporting roles – mother, nanny, friends, society girls, mild brained proposal for making a business alliance – in short, there was nothing in the film that was not done before, even by RK himself, nothing that was new for the cinema screen and for the audiences. What turned out to the winner was the lead pair – two unknown faces whose on screen chemistry tugged at the strings of the heart of the audience, and turned the rest of the oft repeated paraphernalia around them into a very convincing, charming, fascinating tale.

And between the two of them, Bobby comes up trumps to the histrionics of Raja. The film is Bobby, and Bobby all the way. Making innocence and glamour look oh so easy, the images in the mind are forever now – the coy and shy little girl in a frock, who is afraid to step into the lavish party, keeps standing at the entrance; the naïve and innocent little girl, telling about the ‘dhuk-dhuki’ in her heart when she see him; the troubled and broken lady, her heart asunder albeit from a misunderstood conversation, as she too looking on with pleading eyes, but unable to take a step towards him; the screaming pleading young woman, beseeching her grandmother not to lock her up, as Josef physically pulls her away and carries her upstairs at the behest of an agonized but very firm Mrs. Braganza. . . and many more. The images keep playing in the mind. And the film is all about this teen aged girl who is so intensely convinced about her love – you can see it in her face as she pleads with her grandmother – that she will die if separated from Raja; and sitting in the audience seats, one is so starkly convinced that she will, that there are tears streaming and the body muscles want to jump on to the screen and beat the hell out of Josef.

Oh Bobby, Bobby, Bobby – she pulled up a storm, and then – she just walked away. In a manner of speaking, it is good that she did. The legend and the aura of Bobby remained constant, unremitting . . . verily to become perpetual. The Dimple that we see from a decade later is a very different avatar. The memories, the marvel, the legend of Bobby, has remained intact. Nobody could quite portray the coy innocence and purity of heart, as we see Bobby on the screen and in the dreams. And that is very well for me – it is 1973, and Bobby, forever.

I am both sad and glad to get the opportunity for announcing the Yippeee-dom status for this film. After a 10 years travel, finally all the songs of this film are now present on the blog. 🙂  And sad, because we won’t be discussing this Bobby again in any future post. 😦

Eight songs, eight wonderful songs keeping alive the RK tradition for the best in music. The songs created quite a ripple when released, and over the decades, have remained popular with every new generation of teenagers, who simply love the ideas of simple thoughts as in “Mujhe Kuchh Kehna Hai” and “Hum Tum Ek Kamre Mein Band Hon”. 🙂 The seven songs posted earlier happened in the following sequence.

 

1 Main Shaayar To Nahin 869 10-Mar-09
2 Ankhiyon Ko Rahne De 998 30-Mar-09
3 Mujhe Kuchh Kehna Hai 5708 30-Mar-12
4 Jhoothh Bole Kauwwaa Kaate Kaale Kawwe Se Dariyo 13319 8-Jun-17
5 Ham Tum Ek Kamre Mein Band Hon Aur Chaabhi Kho Jaaye 14732 3-Nov-18
6 Beshaq Mandir Masjid Todo, Bulle Shaa Ye Kehta 14918 10-Mar-19
7 Na Chaahoon Sona Chaandi 14940 20-Mar-19

 

A journey that started 10 years ago, culminates today, with the posting of this fabulous and scintillating party song that carries many layers of silent conversations within itself. We are more than two third of the way into the movie. Nath and Braganza have fallen out big time, with the belligerent Braganza promising all sorts of consequences if Nath’s son is seen anywhere close to his daughter. Bobby is sent off to Goa – a la “Akhiyon Ko Rahne De Akhiyon Ke Aas Paas“. Raja is confined and under watch. New Year eve is nigh. The business driven Nath makes a business driven decision to announce the engagement of his son with the daughter of Mr. Sharma, one of his business associates. No matter that the lady chosen is somewhat retarded, and much below her actual age in mental capacity. Not being able to rebel and speak his mind, unable to confront his father, Raja is in a deadly dilemma about his life.

The party happens. The song happens. And Raja gets the answer for his life. As I said, the song has multiple layers of silent conversations happening. The party and the celebration is one. The parents are agog with delight of having struck two birds with one stone – made a major business gain, and tied down a wayward son into household chains. The joy of Nikki (Farida Jalal) is on a different high – she is getting married into another rich family. Then the song and the performance itself – that speaks of the travesty of love and lovers. Woe becomes he who is wretched enough to be entangled in a snare of love.

And there is the mind of Raja – bewildered, afraid, not believing what is going on around him. His insides are in a shamble, his heart is in agony, and all his parents can think of is an alliance for him, and a grand new year party. A look at him, his lost expressions in the midst of so much dance and revelry. And one is reminded of another RK song –

dhakke pe dhakka, reley pe relaa
hai bheed itni, par dil akela
par dil akela

And the scenario takes you back across two decades of musical and cinematic articulation – the troubled expressions of the face of Raja feeling hopelessly lost amidst the ongoing celebration, threading back to the joker singing at the Bombay carnival (‘Mera Naam Joker’, 1970), leading you back one more layer, to the bumbling hobo, new to the big town, and completely lost in its hustle bustle (‘Shri 420’, 1955). When I see that image, that look on Rishi Kapoor’s face during this party song, my mind goes back these two steps to more of RK’s wonder illustrations.

And then, we have this covert conversation happening between the dancer and the teenager with a troubled mind. The dancer is singing for him, without him realizing it so, at the beginning. In the first stanza, the dancer explains to Raja, the vagaries of love one has to endure. Falling in love does not mean just losing your heart to someone – actually one loses everything in life, one’s entire world and even one’s happiness. Then the dancer goes on to explain the time of adolescence – and this one line in this song is so intensely killing –

ye ek saal
bachpan aur jawaani ke beech ka
bada bura hota hai

And in this one liner, the lyricist has said everything that one needs to be said for the agonies of coming of age. This time of transition and hormonal changes bring in awarenesses that didn’t exist in the mind before. And these awarenesses are confusing, troubling and at times frightening. The call of the dancer’s voice now catches Raja’s attention – who realizes that this song is being sung for him. And in the second stanza, the dancer now reveals an answer. The seed is planted, the way is shown, and the contemplation of an elopement is initiated –

bacha ke aa..aankh
panchhi pinjra le ke ud jaaye to. . .

Lovely choreography here. For a moment, Raja is encircled by other dancers with frightening masks, as if he is caged inside a prison of fear, and the next instant, the dancer is floating away like a bird flying. And the words for the second stanza commence. Just pause and watch again this small magical interlude segment.

The third stanza of this song appears separately and a little later in the film (and is inserted as Part II in the lyrics below). Raja has run away from home, reached the place in Goa where Bobby is confined with her grandmother. He pleads to be allowed to meet, and to be permitted to be married. Grandma locks him up also, and sends message to Bombay. In the night, Raja manages to escape, gets in to Bobby’s room, and now they both flee on the mobike. The third stanza plays now. The burden of this stanza says that this incurable malady of love is under no one’s control, no matter how formidable a learned person (jogi – one who can control the senses and the mind) or how skilled a snake charmer might one be. A snake charmer is supposed to have power to control any snake. The lyrics say that the serpents of love are not even in their control.

The words in the song, the choreography, the covert exchanges happening between the dancer and the teenager – oh so well designed and executed. There is another layer of conversation that gets revealed. Just watch the expressions and try to visualize the mind of the young man as the song progresses. He is troubled, he is lost, he is incensed by the apparent sarcasm that the dancer is singing. And then he catches on. The message of being trapped “Ae. . .  Phansaa” transforms from his original thoughts that he played the game of hearts and lost and got trapped in this pining pain of love. But when Nikki joins the party, and the dancer points out yet once again “Ae. . .  Phansaa” he realizes – not earlier as he was thinking, but the entrapment is happening now, with the new proposed alliance for him. One begins to see a glimmer of understanding dawn in his eyes and his expressions. He is now listening more carefully. And when the second stanza is in progress, one can clearly make out that now he is fully in sync with the dancer, and her words, and the covert messages that she is communicating. And when the words for flying away with the pinjra are aired, the young man is all attention, slowly one feels the mind moving towards a new resolve, a new plan. At the end of this stanza, there is a very brief, but very meaningful pause, a wink, and a twist smile – almost as if saying – ‘Go’. In the film, the next thing we see is the mother, with letter in her hand, announcing with a scream that her son has run away – and the party has not yet ended. And the next thing we see is the young man and the vroooom of the Rajdoot GTS bike.

And I would like to talk about the dancer now, saving that for the last. In my mind, probably the best dance performance by Aruna Irani, across her career. The music is very fast paced, the movements are very energetic, and true to the RK traditions, the woman in her is so vividly and so sensitively, and sensuously presented. It is such a treat to watch this performance. I have lost the count of times that I have replayed this video in the past couple of days as I work to complete this write up. A superlative performance indeed, by her. Her expressions exhibit how much she is enjoying this herself. And very clearly, she is giving everything to this song. The sequences of steps, the movements – wonderfully choreographed and so expressively delivered by her.

The film credits do not include the name of the dance director, but after some digging, I am able to locate the name. The dance director in this film is Sohanlal, of Madras (now Chennai). It is tons of years ago, but I remember having met him in Madras. There was a brief period of time when I was in Madras on a job assignment. And one of my aunts, who stayed in Madras – her family was a tenant in the bungalow of Sohanlal, somewhere in Adyar area. I used to visit my aunt’s family almost on a weekly basis. And on a couple of occasions I even sat in the studio where Sohanlal ji was instructing students for practice.

Back to Aruna Irani. She has a brief but a significant role in the film. The misunderstanding that is caused between the young lovers, inadvertently, she is in the middle of it. In all her scenes, she looks so extremely charming and ravishing. And always on the dot with her presence and dialogue delivery.  A short and a very sweet performance. Of course with this dance as her best one that I can remember.

And so, the last of Bobby songs is now posted. We announce the addition of this film to the list of Yippeee’d films on our blog. Maybe, I won’t be writing any more about this film. But that is not to say that I do not have more to say about the film, and about Bobby – my first love. That is going to remain with me forever. Yes, it is 1973. . . forever.

The film is a benchmark for stories of young romance, that have been told, and as well for the stories that still have to be told. But the legend of ‘Bobby’ will endure.

The songs that have given idioms that have crept into the language of this subcontinent, be it “. . . pyaar mein sauda nahin”, or “. . . par pyaar bhara dil kabhi na todo, is dil mein dilbar rehta”, or even the simple expression that says “. . . mujhe kuchh kehna hai”. And yes, the ice breaker as one attempts to attract the attention of a lady – “main shaayar to nahin. . .”.

And thus I close this post with the reiteration – an expression for all who are always young in the heart. . .

“If you ever have been in love, this film is for you. . .”

Audio

Video – (Part I – Party Scene)

Video – (Part II – On The Road)

Song – Us Ka Chhoota Ghar Baar Sansaar (Bobby) (1973) Singer – Lata Mangeshkar, Lyrics – Anand Bakshi, MD – Laxmikant Pyaarelal

Lyrics

(Part I)

ae..ae..ae..ae..ae. . . phasaa. . .

mmmmmmm mmmmmmm
arey arey arey

uska chhoota ghar baar sansaar
jo kar ke pyaar yaar kisi ke dil mein basaa
basaa
basaa. . .
ae..ae..ae..ae..ae. . . phasaa. . .

uska chhoota ghar baar sansaar
jo kar ke pyaar yaar kisi ke dil mein basaa
basaa
basaa. . .
ae..
ae..
ae..
phasaa. . .

laa laalaaa laa raa laa
laalala laalala laalala laalala

ye ek saal
bachpan aur jawaani ke beech ka
bada bura hota hai
ye ek saal
naujawaanon ka
nadaanon ka
deewaanon ka
ye ek saal
bachpan aur jawaani ke beech ka
bada bura hota hai
aashiq ka ho gaya naam badnaam
hua anjaam
subah sham zamaana hansa
hansa
hansa
ha ha ha ha ha ha
ae..ae..ae..ae..ae. . . phasaa. . .
uska chhoota ghar baar sansaar
jo kar ke pyaar yaar kisi ke dil mein basaa
basaa
basaa. . .
ae..
ae..
ae..
ae. . . phasaa. . .

bacha ke aa..aankh
panchhi pinjra le ke ud jaaye to
shaayad jaan bach jaaye
bacha ke aa..aankh
kisi jharokhe se
kisi mauke se
kabhi dhokhe se
bacha ke aa..aankh
panchhi pinjra le ke ud jaaye to
shaayad jaan bach jaaye
jeena hua dushwaar dildaar
ke laga aar paar teer kisi ne kasaa
kasaa
kasaa. . .
ae..
ae..
ae..
ae. . . phasaa. . .

uska chhoota ghar baar sansaar
jo kar ke pyaar yaar kisi ke dil mein basaa
basaa
basaa. . .
ae. . . phasaa. . .

(Part II)
ye prem rog
bade bade jogi saperon se bas mein nahin
hota hai
ye prem rog. . .
pyaar karte hain
log marte hain
kahaan darte hain
ye prem rog
bade bade jogi saperon se bas mein nahin
hota hai
us ne liya bairaag
jag se bhaag
ke lagi aag

naaginon ne jise dasaa
dasaa
dasaa
ha ha ha ha ha

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

(भाग १)

ए॰॰ए॰॰ए॰॰ए॰॰ए॰ ॰ ॰
फंसा॰ ॰ ॰

म्ममममम म्ममममम
अरे अरे अरे

उसका छूटा घर बार संसार
जो करके प्यार यार किसी के दिल में बसा
बसा
बसा॰ ॰ ॰
ए॰॰ए॰॰ए॰॰ए॰॰ए॰ ॰ ॰ फंसा॰ ॰ ॰

उसका छूटा घर बार संसार
जो करके प्यार यार किसी के दिल में बसा
बसा
बसा॰ ॰ ॰
ए॰॰
ए॰॰
ए॰॰
फसा॰ ॰ ॰

ला लाला ला रा ला
लालाला लालाला लालाला लालाला

ये एक साल
बचपन और जवानी के बीच का
बड़ा बुरा होता है
ये एक साल
नौजवानों का
नादानों का
दीवानों का
ये एक साल
बचपन और जवानी के बीच का
बड़ा बुरा होता है
आशिक का हो गया नाम बदनाम
हुआ अंजाम
सुबह शाम ज़माना हंसा
हंसा
हंसा
हा हा हा हा हा हा
ए॰॰ए॰॰ए॰॰ए॰॰ए॰ ॰ ॰ फंसा॰ ॰ ॰
उसका छूटा घर बार संसार
जो करके प्यार यार किसी के दिल में बसा
बसा
बसा॰ ॰ ॰
ए॰॰
ए॰॰
ए॰॰
ए॰॰
ए॰ ॰ ॰ फंसा॰ ॰ ॰

बचा के आ॰॰आँख
पंछी पिंजरा ले के उड़ जाये तो
शायद जान बच जाये
बचा के आ॰॰आँख
किसी झरोखे से
किसी मौके से
कभी धोखे से
बचा के आ॰॰आँख
पंछी पिंजरा ले के उड़ जाये तो
शायद जान बच जाये
जीना हुआ दुश्वार दिलदार
के लगा आर पार तीर किसी ने कसा
कसा
कसा॰ ॰ ॰
ए॰॰
ए॰॰
ए॰॰
ए॰॰
ए॰ ॰ ॰ फंसा॰ ॰ ॰
उसका छूटा घर बार संसार
जो करके प्यार यार किसी के दिल में बसा
बसा
बसा॰ ॰ ॰
ए॰ ॰ ॰ फंसा॰ ॰ ॰

(भाग २)

ये प्रेम रोग
बड़े बड़े जोगी सपेरों से बस में नहीं
होता है
ये प्रेम रोग॰ ॰ ॰
प्रेम करते हैं
लोग मरते हैं
कहाँ डरते हैं
ये प्रेम रोग
बड़े बड़े जोगी सपेरों से बस में नहीं
होता है
उसने लिया बैराग
जग से भाग
के लगी आग
नागिनों ने जिसे डसा
डसा
डसा
हा हा हा हा हा हा


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

Blog Day :

3861 Post No. : 14877 Movie Count :

4068

Hullo to all in Atuldom

Back to writing after a break and am having a problem trying to get my thoughts in order. These last few days I have made a few posts mentally and here I am trying to write about one of my favourite actors who would have turned 99 today.

The year 1972 saw a new genre of films wherein two actors who were past their prime – 61 and 52 was definitely not the age where actors play college students or young characters- were playing the central characters in a movie where the lead actor or the supposed- hero played second fiddle to these two. I am talking of Victoria No 203 by Brij Sadanah. Brij himself made another movie a few years later “Chori Mera Kaam” with these two seniors playing central characters. I am talking of an all-time favourite Jodi of cinelovers – Ashok Kumar and Pran.

S. K. Kapur was another producer -director who made this Jodi the centre of his stories in the moves of 70s and early 80s – Apna Khoon, Shankar Dada, Durga, Maan Gaye Ustaad. But the best tribute to the lovable Jodi was Kapur’s movie “Raja Aur Rana” – it didn’t have a regular actor playing the hero. Puneet Issar made his debut in this movie and was supposed to be a hero but “Raja aur Rana” was essentially Ashok Kumar- Pran all over. They did every antic that they were famous for from the time “Victoria No 203” became a success.

Before I go any further let me clarify one thing- Ashok Kumar and Pran did not team up for the first time in “Victoria No 203”; they have been cast together in movies since the 50s or even before that. Back then they used to play serious characters, mostly the protagonist and the antagonist. “Victoria No 203” changed all that. We saw the comic timing of these two senior actors.

I need to clarify one more thing- both these actors have performed in song situations through their career but post “Victoria 203” that also changed. The ability of these two to switch from insane characters of Raja and Rana can be gauged from the fact that about the same time Ashok Kumar played the grandfather in “Anuraag” and Pran was the grandfather in “Parichay”; Pransaab (as he used to be addressed) also played a regular cigar munching villain in “Roop Tera Mastana” that year. Such great actors and trailblazers – there are no replacements for them only actors who are inspired by them and aspire to be like them.

Today I bring to the blog a song from S. K. Kapur produced and Shibu Mitra directed “Raja Aur Rana”. The cast included Ajit, Shakti Kapoor, Puneet Issar, Madhu Malhotra, Chand Usmani, Aaloka etc etc supporting Ashok Kumar and Pran (Pran was always billed in the credits of movies as “And Pran”).

I have not seen the movie but I fell in love with this super Jodi all over again when I accidentally saw this song a few months back. We have Pransaab cross-dressing in this song and Shakti Kapoor and his henchmen playing the peeping- toms on the “loving couple”. The song was written by Varma Malik and Bappi Lahiri was the music director. We have Kishore Kumar singing for Ashok Kumar and Mahesh Kumar singing for Pransaab – the female voice belongs to Mahesh Kumar about whom our in-house encyclopaedia had written a few lines in a post of his. The post contained a song sung by Mahesh Kumar in dual voice, it seems he could sing in 32 voices.

This is such a cute husband-wife exchange with which we remember the adorable Pransaab on his 99th Birth anniversary.

I would also like to wish a fellow Atulite on his birthday today with lots of fun and music in his life. All the best to Avinashji on his birthday.

Audio

Video

Song-Aji sunte ho (Raja Aur Rana)(1983) Singers-Mahesh Kumar, Kishore Kumar, Lyrics-Verma Malik, MD-Bappi Lahiri
Both

Lyrics

haaye haaye
haaye haaye haaye
aji sunte ho
o aji sunte ho
haan sunta hoon
aji sunte ho
lekar tum akhbaar ka panna
race ke ghode ginte ho
o aji sunte ho
koi vaid bulaao
koi doctor laao
hakeem mangaao
aji sunte ho

mujhe nauwaan lagaa hai
ik dard jagaa hai
haaye yahaan se uthha
aur yahaan gayaa hai
shaadi na hoti
main aaj na roti
dulhan na banti
bacche na janti
zaalim ye mahina
mera dhadke hai seena
tu dekh le apna
ye kaarnaama
kyun mujhe phansaaya
kar kar ke drama
ki toone mujhse
kartoot hai koi
tu mard nahin hai
jinn bhoot hai koi
o aji sunte ho
o aji sunte ho
haan sunta hoon

oye
ab kyun roti hai meri dulhan
pyaari tumhen yaad nahi aati
ab kyun roti hai meri dulhan
pyaari tumhen yaad nahin aati
woh baatein saari
har roz tu kehti
mujhe sair kara de
mujhe ticket manga de
mujhe film dikha de
chal India gate mein
zara ghoom ke aayen
aur Tajmahal mein
hum khaana khaayen
tu surkhi laali
powder bhi lagaati
aur daal ke surma
tu teer chalaati
tu karke fashion
har roz aa jaati
aur kehti le chal
mujhe Juhu Chowpati
wahaan paani puri
tu khoob udaati
kabhi idli dosa
kabhi kulfi khaati
main ho gaya kadka
palle nahin paayi
tera sair sapaata
kha gaya kamaayi
o bhool gayi tu
jab maze udaati
ab dard uthha toh
phir kyun chillaati
main sunta hoon
jeb mein kitne paise reh gaye
baitha baitha ginta hoon
main sunta hoon

munnu ke paapa
tera karoon siyaapa
mujhe hichki aaye (hitchki)
mera ji machlaaye (hitchki)
mujhe saans na aaye (hitchki)
mera sar chakraaye
mera munh bedardi
kya halaat kar di
main baithhi baithhi
khaaun hichkaule
koi amma amma
ander se bole
tu roz yeh kehta
ke munda hoga
agar tujhpe gaya woh
koi gunda hoga
main aath maheene
mushqil se bitaaye
tu pyaqr se ek din
nahin poochhne aaye
o aji sunte ho
koi vaidh bulaao
koi doctor laao
hakeem mangao
o aji sunte ho

kyon taane deti
sapnon ki raani
tere dushman mar jaayen
teri jiye jawaani
pehla aur dooja
kab tumhen laga thha
na tujhko khabar thhi
na mujhko pata thha
phir teeje maheene
meri khench rajaai
toone aadhi raat ko
khushkhabri sunaai
aur chauthhe paanchve
jab tu ghabraai
aur chhathe maheene
tujhe ulti aayi
main bhaag ke aaya
tujhe paass bulaaya
tujhe maalish ki thi
tujhe tel lagaaya
chhodo ab gussa
aa tujhe sula doon
tu thhak chuki hai
tere paanv daba doon
hai hai hai hai hai hai hai hai

biwi ke har koi (some sound by Ashok Kumar)
hai paanv dabaata
tu tel lagaake
ehsaan jataata
kis baat ke liye
phir tu akadta
gharwaala hoke
mere sar pe chadhta
aurat ka farz hai
bacchon ko janna
koi toone anokha
nahin kaam ye karna

mere paass na aana
batti na bujhaana
mujhe seeti bajaa ke
nahin kabhi bulana
meri tauba tauba
kaanon ko pakdoon
hai meri galti
main naak bhi ragdoon

jhaado na bhaashan
ka milta ration
hai ye situation
karwaao operation
dono nasbandi
chal kar karwaayen
kyun apne desh ki
aabaadi badhaayen

is mehangaai mein
ek baccha kaafi
aage se tauba
aage se maafi
aage se tauba
aage se maafi
aage se tauba
aage se maafi


This article is written by Avinash Scrapwala, a fellow enthusiast of Hindi movie music and a regular 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 : 3598 Post No. : 14361

Atul ji, in many of his posts presenting Kishore Kumar songs from the eighties has mentioned this, that though the golden era of music was over by the beginning of eighties, still many gem songs also happened to be created in the decade of eighties, and particularly in case of Kishore Kumar songs. And one of the reasons for this may be because Kishore Kumar’s peak period started in 1970 and lasted till his death in 1987.

I am presenting one such song today which is from the 1984 movie ‘Farishta’. Movies by this name have also been released in earlier decades, notably in 1958 and 1968, we had movies with the same title.

This film was Pran Saab’s presentation for his home production Sikand Films (which I was not aware of till writing of this post). It is directed by Sunil Sikand (Pran Saab’s son), who was also the producer and story writer of this movie. He also co-authored the screenplay with Tapan Chakravarty.

The cast of actors includes Ashok Kumar, Kanwaljeet Singh, Master Raju, Ambika Shourie, Danny and Pran. Bharat Bhushan, Azaad and Master Rajiv Bhatia also have supporting roles in this movie. Smita Patil makes a special appearance in this movie. The movie introduced – Shera – a wonder dog in this movie.

(Other credits: Sudesh Iyer was the Chief Assistant Director; David Dhawan was the editor; of this movie; Gyandev Agnihotri wrote the scenario; and the dialogues were written by Pradeep Roy Choudhary. It was passed by Censor Board on 13.10.1983.).

Lyrics for this movie are written by Anand Bakshi and the music is composed by RD Burman. Kishore Kumar, Amit Kumar, Suresh Wadkar, Anuradha Paudwal and Master Vivek Bajaj gave their voices to the songs in this movie.

Let us now enjoy today’s song sung by Kishore Kumar which is performed on screen by Pran Saab. Master Raju and others can be seen in the picturization of this song. With this song the movie ‘Farishta’ makes its debut on the blog today.

zamaane mein koyee hamaaraa nahin. . .

Audio

Video

Song – Zamaane Mein Koi Hamaara Nahin (Farishta) (1983) Singer – Kishore Kumar, Lyrics – Anand Bakshi, MD – RD Burman

Lyrics

zamaane mein koi
hamaara nahin
kisi ka bhi hum ko
sahaara nahin

zamaane mein koi

zamaane mein koi
hamaara nahin ee
kisi ka bhi hum ko
sahaara nahin

naseebon ke kaale
savere to hain
garibon ke ghar mein
andhere to hain
naseebon ke kaale
savere to hain
garibon ke ghar mein
andhere to hain
koi chaand koy sitaaraa nahin
kisi ka bhi hamko
sahaara nahin

sabhi ke liye ek
duniya hai ye
hamaare liye gham ka
dariya hai ye

sabhi ke liye ek
duniya hai ye
hamaare liye gham ka
dariya hai ye
bhanwar hi bhanwar hai ye
kinaara nahin
kisi ka bhi hamko
sahaara nahin

kahin se kisi ne na
awaaz di
rahe chup khuda aur
bhagwaan bhi
kahin se kisi ne na
awaaz di
rahe chup khuda aur
bhagwaan bhi
bhagwaan bhi
kisey hum ne ja kar
pukaara nahin
kisi ka bhi hamko
sahaara nahin
sahaaraa nahin
sahaara nahin

———————————————————
Hindi script lyrics (Provided by Avinash Scrapwala)
———————————————————
ज़माने में कोई
हमारा नहीं
किसी का भी हमको
सहारा नहीं

ज़माने में कोई

ज़माने में कोई
हमारा नहीं
किसी का भी हमको ओ
सहारा नहीं

नसीबों के काले
सवेरे तो हैं
गरीबों के घर में
अँधेरे तो हैं

नसीबों के काले
सवेरे तो हैं
गरीबों के घर में
अँधेरे तो हैं
कोई चाँद कोई
सितारा नहीं
किसी का भी हमको
सहारा नहीं

सभी के लिए एक
दुनिया हैं ये
हमारे लिए ग़म का
दरिया हैं ये

सभी के लिए एक
दुनिया हैं ये
हमारे लिए ग़म का
दरिया हैं ये
भंवर ही भंवर है ये
किनारा नहीं
किसी का भी हमको
सहारा नहीं

कहीं से किसी ने ना
आवाज़ दी
रहे चुप खुदा और
भगवान् भी

कहीं से किसी ने ना
आवाज़ दी
रहे चुप खुदा और
भगवान् भी
भगवान् भी

किसे हमने जाकर
पुकारा नहीं
किसी का भी हमको
सहारा नहीं
सहारा नहीं
सहारा नहीं

 


What is this blog all about

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

This is a labour of love, where “new” songs are added every day, and that has been the case for over FOURTEEN years. This blog has over 17200 song posts by now.

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

Important Announcement

(© 2008 - 2022) atulsongaday.me The content of this site is copyrighted and it may not be reproduced elsewhere without prior consent from the site/ author of the content.

Total number of songs posts discussed

17246

Number of movies covered in the blog

Movies with all their songs covered =1338
Total Number of movies covered=4642

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