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O zara sambhal sambhal ke chal

Posted by: on: August 5, 2022


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 :

 5131 Post No. : 17087

‘Kaarwaan (1956) was produced by Dev Jolly and directed by Rafique Rizvi for Shahkar Productions, Bombay. the movie had Mahipal, Shakila, Helen, Cuckoo, Randhir, Hiralal, Yashodhara Katju, Paul, Sheila Vaz, Gope, Satish, Zed Hussain, Sharma, Dhanraj, Prema etc in it.

The movie had nine songs in it. Three songs have been covered so far.

Here is the fourth song from ‘Kaarwaan’ (1956) to appear in the blog. The song is sung by Balbir. Pt Bhushan is the lyricist. Music is composed by S Mohinder. The song also has a female voice uttering monosyllables.

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

Lyrics and other details were sent to me by Prakashchandra.

audio link:

Song-O zara sambhal sabhal ke chal (Kaarwaan)(1956) Singer-S Balbir, Lyrics-Pt Bhushan, MD-S Mohinder

Lyrics

o zaraa sambhal sambhal ke chal..ll
pad jaaye kamar mein na bal..ll
kyon
haayye tere bhi chaahne waale hain jaani
tere bhi chaahne waale hain jaani
zara sambhal sambhal ke chal..ll

jabse tumko dekhaa maine
dil hai daanwaadol
aakhir teree marzi kyaa hai
kuchch to munh se bol
mar jaaoon na main jal jal..ll
mar jaaoon na main jal jal..ll
haan..aaa…aan
tere bhi chaahne waale hain jaani
tere bhi chaahne waale hain jaani
zara sambhal sambhal ke chal…lll

in zulfon mein baandh ley mujhko
baandh ley meree jaa…aan
ek baar to dekh le hans ke
main tere qurbaan
ab chain naheen ek pal…ll
ab chain naheen ek pal
chal hatt
haayye tere bhi chaahne waale hain jaani
tere bhi chaahne waale hain jaani
zaraa sambhal sambhal ke chal…ll

dekh ke gorey gorey rukh pe
kaala kaalaa til..ll
ho gaya tere ishq mein seedha
mera tedha dil..ll
sab nikal gaye hain bal..lll
sab nikal gaye hain bal..ll
hmm huhh
hoyye tere bhi chaahne waale hain jaanee
tere bhi chaahne waale hain jaani
zaraa sambhal sambhal ke chal..ll
pad jaaye kamar mein na bal..ll
haayye tere bhi chaahne waale hain jaani
tere bhi chaahney waaley hain jaani
zaraa sambhal sambhal ke chal….lll

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

ओ ज़रा संभाल संभाल के चल
पड़ जाये कमर में न बल
क्यों
हाए तेरे भी चाहने वाले हैं जानी
तेरे भी चाहने वाले हैं जानी
ज़रा संभाल संभाल के चल

जबसे तुमको देखा मैंने
दिल है डांवाडोल
आखिर तेरी मर्ज़ी क्या है
कुछ तो दिल से बोल
मर जाऊँ ना मैं जल जल
मर जाऊँ ना मैं जल जल
हाँ
तेरे भी चाहने वाले हैं जानी
तेरे भी चाहने वाले हैं जानी
ज़रा संभाल संभाल के चल

इन ज़ुल्फों में बांध ले मुझको
बांध ले मेरी जान
एक बार तो देख ले हंस के
मैं तेरे क़ुर्बान
अब चैन नहीं इक पल
अब चैन नहीं इक पल
चल हट
हाए तेरे भी चाहने वाले हैं जानी
तेरे भी चाहने वाले हैं जानी
ज़रा संभाल संभाल के चल

देख के गोरे गोरे रुख पे
काला काला तिल
हो गया तेरे इश्क़ में सीधा
मेरा टेढ़ा दिल
सब निकल गए हैं बल
सब निकल गए हैं बल
हम्मम
हाए तेरे भी चाहने वाले हैं जानी
तेरे भी चाहने वाले हैं जानी
ज़रा संभाल संभाल के चल
पड़ जाये कमर में न बल
हाए तेरे भी चाहने वाले हैं जानी
तेरे भी चाहने वाले हैं जानी
ज़रा संभाल संभाल के चल

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Sun ri sakhi tujhe gop suta ki sundar katha sunaaun

Posted by: on: July 28, 2021


This article is written by Arunkumar Deshmukh, 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 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 :

 4758 Post No. : 16502 Movie Count :

4483

India is a Multi racial, multilingual and Multi religions country. It is not only the largest Democracy in the world, but also the largest Secular state in the world, where people from different faiths have been living together since centuries.

Many saints and religious leaders have played a significant role in keeping the mixed population of India as One Unit, when it was needed the most. A majority of Hindus, ruled by Muslim Mughals was a natural cause for social divisions, but Saints like Kabir, Surdas, Tulsidas, Ramdas, Tukaram, Ramanand, Narsi Mehta, Purandar das,Namdev, Guru Nanak Dev, Eknath, Bhakta Pundarikar, Rohidas, Mrutyunjaya and many such noble souls, did an excellent job of maintaining harmony amongst peoples of different faiths.

Indian spiritual Gurus set themselves as Role models for the masses. Whether it was Ramkrishna Paramhansa or Shankaracharya or all the others have guided their followers to achieve peace of mind through spirituality. Religion is a way of life in India and most Gurus teach their followers how to follow the right path even while looking after their families.

Some of the saints have done monumental literary works for the masses, bringing what was available only in Sanskrit, to the doorsteps of the common people. Among such saints, Sant Tulsidas tops the list, according to me. He sets an example of how a person can educate himself and how a person can change himself for his Goals in life.

The period of 1300 to 1600 AD, a time frame of 300 years or thereabouts, was when most saints were active in India. This was the period when several outside rulers invaded India and established their rules. This was the time when the culture and religion of India had to be saved from annihilation. The saints of India played an important role in this and maintained Unity and Oneness of Indian culture from getting destroyed. But for them,there was a danger of the whole nation getting converted to Islam or Christianity. India will forever be grateful to the saints for this .

The Bhakti Movement was India’s own way to combat foreign attackers, cruel rulers and the sleeping people of India. The movement from 1300 to 1600 AD produced many religious Saints and social reformers from Kanyakumari to Kashmir and from Assam to Gujarat. The Indian culture is such that the advice given by a religious saint is more acceptable than that given by a social reformer. Thus, in this hour of need, India’s Saints tried to teach message of reforms such as removal of Untouchability, freedom from Varnashram lifestyles, importance of education, Women’s emancipation and other such matters,through their poems, dohas, Abhangs and writings as well as kirtans. They tried to make the masses wake up against the ill effects of social practices that were being observed those days.

Saints appeared in ALL areas of India,during this period. However,due to language problems, knowledge and information about Saints in other regions trickled down very slowly. States which shared the use of Devanagari script were aware about them in a better way. Thus,Maharashtra,Gujarat,Rajasthan and the Northern Hindi belt states exchanged their knowledge about their saints more frequently than other regions such as Bengal, the Eastern states or the southern states where the scripts were different. Andhra and Karnataka were closer as their scripts are similar, except perhaps the alphabet ‘K’. Tamil and Malayalam scripts have Dravidian origins and were not easily accessible for the rest of India.

With a view to bring some of these saints in limelight, I ran a series of 10 Bhajans from films which were made on the lives or incidents of some Saints of India. The title of this series was ” The Great Souls of India” and it ran from 1-11-2013 to 15-11-2013. It was one of the very popular series from my 26 series which I had run on this Blog. Many readers wrote their comments and conveyed that they liked the series.

In that series, I had purposely not included Meerabai, as my purpose, as always, was to highlight less known Saints into the limelight. Meerabai is a character on whom a maximum number of films were made….

Meerabai-1932

Raajrani Meera-1933

Matwali Meera-1940

Meera-1947

Meerabai-1947

Raajrani Meera-1956

Meera Shyam-1976

Meera-1979

Meera ka Mohan-1991 and

Meera ke Giridhar-1993

There was also one film ” Meerabai Not Out”-2008, but I believe it had nothing to do with Saint Meerabai. In the Silent era also I find a film Meerabai-1921 made by Kohinoor film co. and Sant Meerabai-1929 made by Hindustan Cinema Film co., Nashik.

Today’s song is from the film Matwali Meera-1940. This film was made in Calcutta by Bharat Lakshmi Pictures. It was directed by Prafulla Roy and the music was by Master Brijlal Verma. Lyricist was Pt. Bhushan. There were 15 songs, out of which only 5 were Meera Bhajans. The main lead was Mukhtar Begum who sang 3 Bhajans, Fida HGussain and Kamla Jharia one Bhajan each.

The cast had 17 names, out of which 11 were Muslim actors in this Bhakti Pradhan film. I have heard all the available songs-7 and frankly I was disappointed. Mukhtar Begum has sung the Bhajan in Mujra or Ghazal style. As it is in those times the music was very slow, making it further an outrage. I have selected, therefore, a song-not a bhajan- by Kamala Jharia.

With this song, the film Matwali Meera-1940 makes its Debut on this Blog.


Song-Sun ri sakhi ek Gope-suta ki sundar katha sunaaun (Matwaali Meera)(1940) Singer- Kamla Jharia, Lyricist-Pandit Bhushan, MD- Master Brijlal Verma

Lyrics

Sun ri sakhi
haan haan sun ri sakhi
ek Gope-suta ki sundar katha sunaaun
jiske atal prem par main bhi
waari waari jaaun
Sun ri sakhi
haan haan sun ri sakhi
ek Gope-suta ki sundar katha sunaaun

Dwaapar yug thhaa jis vasant ki
Dwaapar yug thhaa jis vasant ki
ras ke jharne jharte
raas rachaate Krishn Kanhaiyya
raas rachaate Krishn Kanhaiyya
man ki peeda harte
mast raag se kal-kal karti
bahti nadi toofaani ee ee
mast raag se kal-kal karti
bahti nadi toofaani
kho gayi jismein bahte bahte
kho gayi jismein bahte bahte
ik gopi deewaani
ik gopi deewaani
prem viyog mein jogan ban kar
is duniya mein raazi (?)
prem viyog mein jogan ban kar
is duniya mein raazi (?)
raaj ?? kul ki shobha
raaj ?? kul ki shobha
matwaali Meera bai
matwaali Meera bai
matwaali Meera bai

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Taras taras gaye nain

Posted by: on: January 28, 2020


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

Blog Day :

 4211 Post No. : 14410 Movie Count :

4246

Hindi Songs in Bangla Films: 15
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Recently, while browsing through the internet, I came across an old article, Gems that never got their due, published in the ‘Times of India’. The article lists 8 critically acclaimed Bangla films which have been forgotten mainly due to their commercial failures. Of the 8 such films, one film to which I got interested because of its unusual title was ‘Antariksha’ (1957) directed by Rajen Tarafdar. Luckily, the film was available for viewing on a video sharing platform with English sub-titles. Probably, after restoration, this film may have been shown in one or more of some international film festivals.

My awareness about the Bangla film personalities have been limited to those who had also been associated with Hindi films. Ranjen Tarafdar, the director of ‘Antariksha’ (1957) was a new name for me. A statement by the writer of the article referred to above that “Rajen Tarafdar was of the same school of thought as Satyajit Ray. He was a painter himself and would sketch each shot division before starting to shoot. ….” prompted me to know more about him. This took me to another article, Tale of a forgotten director which appeared in ‘The Statesman’ on the occasion of his birth centenary in July 2017.

Like Satyajit Ray, Rajan Tarafdar (07/06/1917 – 23/11/1987) got associated with the Bangla films with the background of working in an advertising company in Calcutta (Kolkata). A graduate from Government College of Arts and Crafts, Kolkata, Tarafdar joined an advertising company as a Graphic designer where he worked up to 1958. His debut film which he directed apart from writing dialogues and screen play was ‘Antariksha’ (1957). It is said that his style of working and uncompromising nature did not suit the Bangla film producers. Hence, during his 3 decades of association with Bangla films, he directed only 7 Bangla films – 6 between 1957-75 and the last one in 1987. He also acted in 4 films of which 2 were Hindi films – ‘Arohan’ (1983) by Shyam Benegal and ‘Khandhar’ (1984) by Mrinal Sen.

‘Ganga’ (1960) was Rajen Tarafdar’s second Bangla film which won a Certificate of Merit in National Film Awards, 1960. ‘Palanka’ (1975), his 6th film won the Best Feature Film in Bengali at National Film Awards, 1975. The reason as to why Rajen Tarafdar has been forgotten is that most of his films were not available for viewing. It is mainly during the last couple of years, his films were restored and now available for viewing on the video sharing platforms.

As mentioned earlier, ‘Antariksha’ (Space, 1957) was Rajen Tarafdar’s debut film which he made mostly with new actors except some character actors. The star cast included Chhabi Biswas, Kajal Gupta, Prabir Kumar, Dinen Gupta, Premangshu Bose, Padma Devi, Kalipada Chakraborty, Kamala Adhikari, Sandhya Roy etc.

The film’s story is weaved around Raja Babu (Chhabi Biswas), a landlord in a rural Bengal who is stubborn, dictatorial and egoist as expected in a feudal system that was prevalent in those days. As against this, one of his employees, Jayanta is honest and a sincere worker who has been brought up by the landlord as his own son. Hence, he has the liberty to discuss with the landlord without any hesitation. For instance, he suggests to landlord to give donation to a rural school. But the landlord disagrees. Jayanta tells him that as a landlord, he has also a duty to safeguard the interest of his subjects.

Jayanta likes Bani (Kajal Gupta), the daughter of a priest of a local temple and has the intention to marry her. He conveys his wish to the priest who agrees after some hesitation. The landlord after his wife convinces him, agrees to the proposal. The landlord takes care of all the marriage expenses. He even arranges for a courtesan to sing for his guests during the marriage functions.

However, soon after the marriage, a mystery breaks out when an unknown person visits his house and tells him that he is Gagan Ganguly, the husband of Bani. He also says that as a proof, he is in possession of a letter which mentions that Bani was married to him when she was 7 years of age. The fact is that Bani was indeed married to one Gagan Ganguly in her childhood. But he went missing immediately after the marriage with the dowry amount and jewelries. Since he was never found, he was presumed dead. Now the unknown person impersonating as Gagan Ganguly wants to blackmail Jayanta by making the letter public if he does not pay him Rs.25000/-. He had gotten hold of the crucial letter written by the Priest while pick-pocketing Jayanta’s his purse. The letter was to be handed over to Priest’s spiritual guru while on his visit to Varanasi for purchase of saris for the wedding.

Jayanta loves his wife who is pregnant. She is not aware of the mental agony Jayanta is going through. He cannot afford to pay Rs.25000/- to the blackmailer nor he can let the matter becomes public that he has married a girl who was already married in her childhood. Because of the agony, he starts reaching home very late. Bani starts questioning him as to why he so much immersed in thoughts. But he evades answer.

To come out of the blackmailer’s clutches, Jayanta decides to run away from the village in a bullock cart with his pregnant wife with cash taken from his landlord’s treasury without his knowledge. The blackmailer comes to know when he visits Jayanta’s house to collect the money. He chases and confronts Jayanta on the way to handover the money. In the shuffle, the blackmailer gets killed. Jayanta is arrested and is put behind bar for fraud and murder.

While all of the landlord’s staff and family members think that Jayanta is innocent, the landlord is not convinced. Jayanta’s well-wisher tried to get him bail so that he can look after his pregnant wife whose health has deteriorated. The only person who can arrange bail for Jayanta is the landlord who is not willing to pursue his bail application. It is now the Priest who tell the landlord true facts from the letter written by Bani’s grand mother requesting him to adopt Bani as his own daughter when Gagan Ganguly, Bani’s husband had deserted her. Though, this leads to soften his stand against Jayanta, still he is not convinced as to why Jayanta had fraudulently taken money from his treasury to run away from the village. Since all his family members including his wife, real son and daughter-in-law, all his staff has gone to be with Jayanta’s wife who is seriously ill, he feels isolated and has a change of heart. The film ends with landlord visiting Jayanta’s house to enquire about Bani’s health and then proceeding to the police station on his horse carriage to wriggle Jayanta out of the piquant situation.

The director has presented this film in a very realistic way. Even though at some points, the story moves slowly, the film was not boring. Much of the story has been told by way of expressions and gestures of the artists supplemented by an excellent background music by Sarod maestro Ustad Ali Akbar Khan. He has prominently made use of the combination of Sarod, Sitar and Flute for the background music. Dialogues are minimal and that too mostly short – one or two sentences. The romantic scenes are shown in a subtle manner in keeping with the rural setting. There are some poignant scenes in the latter part of the film without much melodrama.

The film has only one song, that too a mujra song in Hindi which a courtesan sings on the occasion of the marriage of Jayanta with Bani. The song is ‘taras taras gaye nain bichaare’ sung by Pratima Banerjee and Swarooplata. The song is written by Pandit Bhushan which is set to music by Ustad Ali Akbar Khan.

Audio Clip:

Song-Taras taras gaye nain (Antariksha)(Bangla)(1957) Singers-Pratima Banerjee, Pratima Banerjee+ Swarooplata, Lyrics-Pt Bhushan, MD-Ustad Ali Akbar Khan

Lyrics (Based on video clip)

taras taras gaye…ae nain
o o o o o o
o o o o o nain
haay
taras taras gaye nain bichaare
taras taras gaye nain bichaare
taras taras gaye nain bichaare
piya ke daras ko ye matwaare
piya ke daras ko ye matwaare
taras taras gaye nain

kabhoon tu aahiyen mukh dikhalainhen
kabhoon tu aahiyen mukh dikhalainhen
haan mukh dikhalainhen
dukh se kati hain din rain
haan more raam
dukh se kati hain din rain
o more raama
taras taras gaye nain bichaare
taras taras gaye nain

more piya jab angna milaihain
more piya jab angna milaihain
phulwa ki aankhen chhil chhil jaihain
haan chhil chhil jaihain
ho chhil chhil jaihain
mann mein basi hain sukh chain
haan more raam
mann mein basi hain sukh chain
o more raama
taras taras gaye nain bichaare
taras taras gaye nain

more piya aa aa aaa aa aa jab
more piya…..aaaa aa jab
gharwa mein..aen hain
more piya jab gharwa mein aaihain
more piya jab gharwa mein aaihain
roothhi hoon main piya moko manaihen
moko manaihen
haan moko manaihen
bole hain meethhe meethhe bain
o more ram
bole hain meethhe meethhe bain
o more rama
taras taras o o
piya ke daras ko
taras taras gaye nain bichaare
taras taras gaye nain

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Taar dil ke jawaani hilaane lagi

Posted by: on: December 12, 2019


This article is written by Sadanand Kamath, 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 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 :

 4164 Post No. : 15337 Movie Count :

4227

Hindi Songs in Bangla Films – 11
– – – – – – – – – – – – – – – – – –

‘Dhuli’ (‘The Drummer’ 1954, Bangla film) was directed by Pinaki Mukherjee. The main star cast included Prashanta Kumar, Suchitra Sen, Mala Sinha, Anil Chatterjee, Pahadi Sanyal, Chhabi Biswas etc. The film is available for viewing with English sub-titles on the video sharing platforms.

The main theme in the story of the film is music. The story also throws some points for the audience to ponder as to how a simple villager’s life is threatened by the modernity of the city life. Also, how the innocence of a villager is affected by the materialistic life in the city. At the end, the virtues of a villager triumph over the materilism of a city dweller, of course at the cost of the death of the former who was a talented singer from the village. The gist of the story of the film is as under:

Parashar (Prashanta Kumar), the grandson of a celebrated drummer in his village develops interest in singing when he witnesses a singer singing a devotional song during Durga Pooja. However, his grandfather wants him to continue playing Dhol as his family has been playing it for ages in the village. After the death of his grandfather, Parashar moves to Calcutta (Kolkata) to learn singing from a renowned music teacher (Pahadi Sanyal) who has a daughter, Minoti (Suchitra Sen). Since Parashar has no place to stay in Calcutta, he is given a room to stay in his teacher’s house. Soon after the completion of his musical training, his music teacher dies leaving him and Minoti in the house. In due course of time, Parashar becomes one of the popular radio singers. He also trains Minoti for singing. Both Parashar and Minoti develops liking in each other’s company. Both of them refrain from telling that they love each other.

There is a musical competition in which Minoti and Ratri (Mala Sinha), the daughter of a wealthy family, are the participants among others. Minoti wins the competition. Ratri who comes second in the competition is upset. She manages to employ Parashar as her new music teacher to improve her singing. However, he has to leave Minoti’s house as this was a pre-condition put in by Ratri’s mother lest it may become a scandal that Parashar was sharing the house with Minota after the death of her father.

The training sessions bring Parashar and Ratri close to each other who started liking Parashar. The closeness of Ratri and the respect Parashar gets from Ratri’s family is not liked by Pulak, a family friend who also acts as a Manager for Ratri’s singing concerts who believes that in a concert, appearance is more important than the singing talent. He tries to create a rift between Ratri and Parashar. Pulak wants to commercially exploit the singing talent of Ratri through publicity much against the wishes of Parashar. This leads to some rifts between them.

In the meantime, Parashar’s grandmother in the village is very sick. His uncle comes to Ratri’s house to take Parashar to his village. It is at this point, Pulak comes to know that Parashar belongs to drummer’s community. Ratri is upset as she thinks that he deliberately concealed his low caste identity. Upset with Ratri’s outburst, Parashar leaves Calcutta to visit his village to see his grandmother. But the turns of events have so much shattered the mind of Parashar that he becomes vagabond without eating for days. One day, he collapses at the banks of a river due to exhaustion and weakness. Minoti who comes to know about Parashar being missing, finds him and brings him to her house. But he does not recover from his illness and dies. So, the end is unconventional for a love triangle of this type in which it is one of the heroines who usually dies at the end.

Being a musical film, there are many songs in the film which I have lost count because some of the songs are very short. But I have noted that there are at least 3 full-pledged Hindi songs of three different genre – ghazal, semi-classical and devotional.

I have selected a ghazal, ‘taar dil ke jawaani hilaane lagi’ sung by Pratima Banerjee. Since Pt. Bhushan’s name appears as one of the lyricists in the film, others being Narayan Gangopadhyay, Pranab Roy and Bimal Ghosh, I have taken him as the lyricist for this song which has been set to music by Rajen Sarkar. The song is picturised on a young Mala Sinha.

Video Clip:

Audio Clip:

Song-Taar dil ke jawaani hilaane lagi (Dhooli)(Bangla)(1954) Singer-Pratima Bannerji, Lyrics-Pt Bhushan, MD-Rajen Sarkar

Lyrics

aa aa aa
aa aa aa
aa aa aa aa
taar dil ke jawaani hilaane lagi
taar dil ke jawaani hilaane lagi
zindagi pyaar ke geet gaane lagi
zindagi pyaar ke geet gaane lagi
taar dil ke jawaani hilaane lagi
taar dil ke jawaani hilaane lagi

chupke chupke nigaahon ne
kya keh diya
aa aa aa aa aa
aa aa aa aa aa
jin ki har baat honthon pe aane lagi
taar dil ke jawaani sunaane lagi
taar dil ke jawaani sunaane lagi
zindagi pyaar ke geet gaane lagi
zindagi pyaar ke geet gaane lagi
taar dil ke jawaani hilaane lagi
taar dil ke jawaani hilaane lagi

dard unke mohabbat ka badhne laga
chaandni raat jab muskuraane lagi
taar dil ke jawaani hilaane lagi
taar dil ke jawaani hilaane lagi
zindagi pyaar ke geet gaane lagi
zindagi pyaar ke geet gaane lagi
taar dil ke jawaani hilaane lagi
taar dil ke jawaani

jal rahi ee ee hoon tamanna ki aag mein en en en
meri kismat mujhe ae ae ae ae
aazmaane lagi
taar dil ke jawaani hilaane lagi
taar dil ke jawaani hilaane lagi
zindagi pyaar ke geet gaane lagi
zindagi pyaar ke geet gaane lagi
taar dil ke jawaani hilaane lagi
taar dil ke jawaani hilaane lagi ee ee ee

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Wo din na rahe raaten na rahin

Posted by: on: January 6, 2019


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 : 3824 Post No. : 14827

“Manzoor”(1949) was directed by Subodh Mitra for New Theatres, Bombay. The movie had Asit Baran, Bharati, Chhabi Biswas, Chandrawati, Bhupendra Kapoor, Latika, Aditya Ghosh, Asita Bose, Tulsi Chakravarty, Manorama, Jharna, Master Khurshid, Ram Pyari, RP Kapoor, Prem Kumari, Shaukat Shah etc in it.

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

Here is the fourth song from “Manzoor”(1949) to appear in the blog. This song is sung by Ila Ghosh. Pt Bhushan is the lyricist. Music is composed by Pankaj Mullick.

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

I have not been able to get one (may be more than one ) word right in the lyrics. I request our readers with keener ears to help fill in the blanks/ suggest corrections as applicable.


Song-Wo din na rahe raaten na rahin (Manzoor)(1949) Singer-Ila Ghosh, Lyrics-Pt Bhushan, MD-Pankaj Mullick

Lyrics

Wo din na rahe ae ae
raaten na rahin
apne bigde begaane
sab sukh ke saathi chhoot gaye
dukh aaya hamen manaane ae ae
armaanon ki ik bagiya thhi ee
armaanon ki ik bagiya thhi
har daal pe sukh ka jhoola thha
har kali madhur muskaati thhi
har phool khushi se phoola thha
ik halki ee ee ee
ik aisi ulti hawa chali
toote sab sapne suhaane
apne bhi huye begaane

aasha thhi
aasha thhi jeewaan saagar se
munh maange moti paayenge
dil dil ii bhaasha samjhega
nainon ko nain lubhaayenge
ab dil ki ee ee
ab dil ki ye dukh bhari kahaani gaaun
?? jise sunaaun
apne bhi huye begaane

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Hirday mein phool rahe hain phool

Posted by: on: December 14, 2017


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.

“Manzoor”(1949) was directed by Subodh Mitra for New Theatres, Bombay. The movie had Asit Baran, Bharati, Chhabi Biswas, Chandrawati, Bhupendra Kapoor, Latika, Aditya Ghosh, Asita Bose, Tulsi Chakravarty, Manorama, Jharna, Master Khurshid, Ram Pyari, RP Kapoor, Prem Kumari, Shaukat Shah etc in it.
Read more on this topic…

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Main pal pal tumhen rijhaaun

Posted by: on: October 6, 2017


This article is written by Arunkumar Deshmukh, 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

Today we will discuss about a song and the film ” Meenakshi”-42, made by New Theatres, Calcutta in two languages-Hindi and Bangla.
Read more on this topic…

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Sansaar ke aadhaar daya ham pe dikhaao

Posted by: on: November 9, 2016


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.

“Anjangarh”(1948) was directed by Bimal Roy for New Theatres, Calcutta. This movie had Bipin Gupta, Ajay Kumar, Hiralal, Sunanda Devi, Rama Indu, Parulkar, Bhupendra Kapoor, Tulsi Chakraborty, Asit Sen, Jahar Roy etc in it.
Read more on this topic…

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Mujhko apna banaaya kisne

Posted by: on: May 27, 2015


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

THE VELVET MAGIC-TALAT DUETS
——————————

We are starting a New series-on Talat Mehmood’s film songs-especially the Duets. Talat songs are my favourites and I am in the company of a large number of music lovers on this issue. His soulful, sad and melodious songs and everlasting duets are heard all over the world even today. Some of his duets with Lata, Asha, Shamshad and Geeta are very famous, but not many people are aware that Talat sang a wide variety of duets with many singers. From Suprova Sarkar in Calcutta to Hemlata in Bombay,Talat’s range of singers included Mubarak Begum, Sudha Malhotra, Madhubala Jhaveri, Surinder Kaur, Suman Kalyanpur, Sulochana Kadam, Ameerbai Karnataki, Rajkumari etc among the females and Kishore Kumar, Manna Dey, Mukesh, Rafi, Balbir etc among the male singers.
Read more on this topic…

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Ab aayee bahaar nayee aayee re

Posted by: on: May 19, 2015


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.

“Hospital”(1943) was directed by Sushil Majumdar for M P Productions, Calcutta. The movie had Kanan Devi, Ahindra Chaudhary, Robin, Krishna, Pramod, Hiralal, Tulsi, Indu, Sandhya, Purnima, Manorama, Devbala etc. in it.
Read more on this topic…

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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 17000 song posts by now.

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