Posts Tagged ‘Rafi’
Dil ko lagelaa mohabbat ka chaskaa
Posted on: May 5, 2024
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5770 | Post No. : | 18295 |
Today’s song is a funny video song from the film Police-1958.
The film was produced by Deep and Pradeep productions, Bombay and directed by Kalidas – brother of the Hero of today’s film, pradeep kumar. The Music Director was Hemant Kumar and songs were written by Majrooh Sultanpuri (6 songs) and Neelkanth Tiwari (just one song) who wrote today’s song. The cast of this film was Pradeep Kumar, Madhubala, Raj Mehra, Nadira, Dhumaal, Deep khosla (one of the producers), Omprakash, Tun Tun and others.
Film industry is a field where a strong Luck is required to succeed. Initially it was felt that a handsome man or a beautiful girl can easily get into films, be famous, rich and successful. But in many cases it was found that only a facial beauty was not enough to succeed here, nor was only the histrionic talent. And then, even if one had both, still there was no guarantee of success in films. Then what was the secret ? No secret. Simplu good luck was needed to succeed here. Dev Anand was very handsome and charming, but even his biggest fan would not have called him an expert in acting. Still, he succeeded. Om Puri had extraordinary talent but he was not good looking. He never got glamorous roles.
Another obstacle is Branding an actor (both male and female artiste). Due to the consistency of doing a fixed type of role, the actor got caged in only certain types of roles. Could you ever imagine Keshto Mukherjee as a generous Millionaire in any film ? He was always branded as a drunkard. Remember what happened when Ashok Kumar acted in films like Humayun-1945 or uttara-Abhimanyu-1946. The audience laughed at him when he was shown in war gear on the screen, with a sword held high in the air and then other Gods ran away seeing him in a Mythological film !
In Hindi films, there have been three actors who were very handsome and very lucky but zero in acting – Karan Dewan, Pradeep Kumar and Bharat Bhushan. They all appeared in leading roles opposite all leading actresses of their times. They had the best films, best songs and best roles. Karan Dewan had about 25 Silver Jubilees to his credit and was considered a lucky star. Bharat Bhushan had the most musical films to his credit like ‘Baiju Bawra’ (1952), ‘Shabaab’ (1954) and ‘Mirza Ghalib’ (1954) etc. Pradeep Kumar had ‘Anarkali’ (1953) and ‘Taj Mahal’ (1963).
All three had their brothers producing films for them. Gemini Dewan made films for Karan Dewan, R Chandra made films for Bharat Bhushan and Kalidas for Pradeep Kumar. Unfortunately, in later years, all three lost everything and died in poverty and neglectful anonymity. Karan Dewan was a manager with BR Chopra’s production company. When he died no one came for his funeral except for Chandrashekhar and Manmohan Krishan from the Cine Artists Association. Bharat Bhushan worked as a watchman in a film studio, in his last days. Even he died unsung and only the men from the Association were present at the cremation.
Pradeep Kumar’s case is the saddest. He lay seriously ill in the ICU of a Calcutta nursing home, abandoned by his relatives. The hospital was not discharging unless the bills were paid. Luckily one Mr. Pradeep Kondaliya, an estate agent, recognised him, despite his grown beard. He paid the huge outstanding bill of the hospital and took Pradeep Kumar to his home, where he passed away after a few days. He was cremated by his fan. Such is the film industry – cruel and ruthless, where the recognition lasts only till one is successful.
Hero Pradeep Kumar was a fortunate actor. He was the first choice to play prince/king in numerous Hindi films. His talwar-cut moustache, broad shoulders, receding-into-his-temples coiffure, peaches-and-honey complexion, and regal bearing made him fit the role of an amorous aristocrat like a made-to-order crown.
Pradeep was the kind who could smoke a hookah with the same élan as while puffing State Express cigarettes when he played the modern lover.
Pradeep Kumar aka Sital Batabyal was born on 4 January 1925. Pradeep bided his time till he was 17 years old before he announced his decision to pursue an acting career. Despite his father’s disapproval, Pradeep began acting on stage. During one of his performances, renowned filmmaker Debaki Bose spotted him and cast him in a Bengali film, Alaknanda (1947).
Encouraged, Pradeep moved to Mumbai and found a job in the bustling Filmistan Studio. He brushed up on his Hindi and learnt Urdu in a bid to make an impression in his first Hindi film, Anand Math (1952). The film, set in the 18th century, had strong nationalistic overtones and co-starred Prithviraj Kapoor and Geeta Bali. The Vande Mataram number from this film became a cult success.
In the next two years, Pradeep’s career escalated to the top with two hugely successful musical hits — the Bina Rai-starrer Anarkali (1953) and the Vyjayanthimala-starrer Nagin (1954). While Anarkali revolved around the eternally popular legend of Mughal prince Salim’s passionate affair with a commoner Anarkali, Nagin was a reed-slim romance between two lovers belonging to rival snake-catching tribes.
The songs of both films (Nagin had as many as 12) had audiences transfixed. Pradeep’s lessons in fencing for Anarkali and his gamble of letting a python play on his wrist for Nagin paid off.
Pradeep’s regal demeanour won him legions of fans. He went on a signing spree (in 1956, he had 10 releases) and inked deals with V Shantaram (Subah Ka Tara) and Raj Kapoor (Jagte Raho).
All the top-notch heroines of the 1950s — Nimmi (Jayshree), Nargis (Adalat), Nutan (Heer), Meena Kumari (Bandhan) — were paired with Pradeep.
After Rajhath (1956), the actor tried desperately to make a hit pair with the beauteous Madhubala. They did as many as five other films together — Yahudi Ki Ladki (1957), Gateway Of India (1957), Police (1958), Mahlon Ke Khwaab (1960) and Passport (1961), but Pradeep’s efforts were in vain.
His films with lucky mascot Vyjayanthimala (including his home production Ek Jhalak) did not enjoy even a fraction of the success of Nagin. But his pairing with Bina Rai seemed to have stilled the wings of time. This teaming salvaged Pradeep’s career from the late-1950s dip, first with Ghunghat (1960) and more decisively with Taj Mahal (1963). Even a decade after Anarkali, Pradeep could evoke a regal aura while playing love-struck Mughal royalty. Roshan’s dulcet duet, Paon chhu lene do toh and Jo vaada kiya from Taj Mahal, like an unforgettable promise, continue to haunt radio listeners even today.
Pradeep’s career got a further fillip with Rajshri’s social, Aarti. Meena Kumari and Pradeep played lovers who bond together because of their common desire to serve the poor. But their love story comes under a cloud when a rich, unscrupulous doctor (played by the late Ashok Kumar) is irretrievably drawn towards Meena Kumari. Aarti’s success ensured that Pradeep and Meena worked unceasingly in a series of films. Pradeep once said, “Meena and I made a fine pair and worked very well together, but her husband did not like our friendship.”
He worked with Meena Kumari in seven films; Adil-E-Jahangir, Bandhan (1956 film), Chitralekha, Bahu Begum, Bheegi Raat, Aarti and Noorjehan; and with Mala Sinha in eight films; Naya Zamana, Hamlet, Baadshah, Detective (1958 movie), Fashion (1959 film), Ek Shola, Duniya Na Maane, and Mitti Mein Sona.
He did not get to act in lead roles with the newer heroines of the 1960s such as Sadhana, Saira Banu, Babita or Sharmila Tagore, though he did work with Asha Parekh in Ghoonghat and Meri Surat Teri Aankhen and with Waheeda Rehman in Raakhi (1963). In 1969, he moved to character roles with Sambandh and Mehboob Ki Mehndi, but did not have many visible roles until Jaanwar and Razia Sultan in 1983.
The first Meena-Pradeep film to release on the heels of Aarti was Kidar Sharma’s Chitralekha (1964). Pradeep played the hedonistic Samanta Beejgupta in this period film set in the Gupta period. Despite lavish production values, the stolid support of veteran Ashok Kumar and exquisite penmanship by Sharma and Sahir, the film collapsed at the box office. Kalidas’s love triangle Bheegi Raat, which featured the tried triangle of Ashok Kumar, Meena Kumari and Pradeep once again, was an average success. But M Sadiq’s Muslim socials Bahu Begum (Ashok Kumar again) and Noorjehan, both released in the same year, spelt the death knell for the team.
Pradeep, who had not signed a single film with the new breed of successful heroines of the 1960s like Sadhana, Saira Banu and Sharmila Tagore, suddenly found himself without a rudder.
In 1969, Pradeep saw a glimpse of success once again with Sambandh, albeit in a character role. Ironically, Ajoy Biswas, the director of Sambandh, who had provided him with a short burst of fame, caused him a lot of heartburn too. Biswas had a short-lived and unhappy marriage with Pradeep Kumar’s actress daughter, Bina.
Pradeep’s princely persona and impeccable Urdu was relegated to the pages of history for the next decade and more. But the onscreen prince was destined to play an emperor in Kamal Amrohi’s Razia Sultan (1983). Pradeep Kumar acted in 144 Hindi films. He directed one film-Do dilon ki dastan-1966. He won the Kalakar Award-Lifetime Achievement Award (1999).
The semi-retired Pradeep played the emperor as only he could — forcefully. After all, he had played blue-blooded characters all his life. He lived a life removed from the spotlight for the next 18 years. His end was pathetic. Pradeep Kumar’s case is the saddest. He lay seriously ill in the ICU of a Calcutta nursing home, abandoned by his relatives. The hospital was not discharging him, unless the bills were paid. Luckily one Mr. Pradeep Kondaliya, an estate agent, recognised him, despite his grown beard. He paid the huge outstanding bill of the hospital and took Pradeep Kumar to his home, where he passed away after a few days,on 28-10-2001, at the age of 76 years.. He was cremated by his fan. Such is the film industry – cruel and ruthless, where the recognition lasts only till one is successful, and even close relatives desert you in bad times.
He is survived by his daughters Reena, Meena and Beena Banerjee who plays character roles in movies and TV serials including Uttaran, son Debiprasad and granddaughters Tanisha, Suparna, Riya and Hrishita. Beena Banerjee’s son Siddharth Banerjee worked as assistant director in Sajid Khan’s Housefull 2 (2012) and Himmatwala (2013). (Ack: adapted from an article ” Ever the Royal” by Dinesh Raheja in Rediff.com dt 2-6-2003 and my notes, HFGK and muVyz. Thanks to all).
The story of this film…..
A big police officer is murdered during an investigation. The department suspects famous gangster Rangooni to be behind it. However, news from Singapore says Rangooni had died in an accident.
The police are shocked to know that Rangooni was coming to Bombay. They stop him at the airport and warn not to indulge in any crime. However, during one function in a big hotel, where Rangooni as well as another gangster Ramesh and his gang is present, a costly Necklace was stolen, when the lights went off for a few minutes. Police suspect Rangooni and then learn that he is actually a secret agent Amar – a look alike of Rangooni – who is trying to capture Ramesh.
Meanwhile Amar meets Manju, love starts and the mandatory songs are sung. Ramesh tries to kidnap Manju to extract a heavy ransom from her rich father. Amar enters the boat in disguise and tries to free Manju. There is a fight between Ramesh and Amar and Ramesh is killed. Manju is free. They get united. Mission accomplished and the happy audience goes home with relief !
Today’s song is the last and final song of this film, making it a YIPPEE film. Enjoy the song video….
Song- Dil ko lagela muhabbat ka chaska(Police)(1958) Singer- Mohd. Rafi, Lyricist-Neelkanth Tiwari, MD- Hemant Kumar
unknown female voice
Lyrics
haay haay haay haay
haay haay haay haay haay haay
dil ko lagela mohabbat ka chaska
dil ko lagela mohabbat ka chaska
teri nazar ne
ho meri nazar ko
lagaaya hota mashka re
maska ho maska
haay
haay haay
dil ko lagela mohabbat ka chaska
dil ko lagela mohabbat ka chaska
meri aankhi se apna aankhi
kaai ko ladaaya
kaai ko ladaaya bhai
apna kya nistake
sachchi ham bolta
ham bhi ladaaya
ham bhai ladaaya
kaai ko re
hamko maza aaya
ho maza ho maza aaya
ganne ke ras ka ras ka ras ka
haay
haay haay
dil ko lagela mohabbat ka chaska
dil ko lagela mohabbat ka chaska bhai
kabhi ham kholi mein
sota hai raat ku
per dil mera yaad
karta teri is baat ku
hum jabi sunta hai
ik achchaa ghazal
dil ka darad hota double double
ho dil ka darad hota double double
dil ka darad hota double double
hota double double
ek ek laakh lagta
kya
are waah
ek ek laakh lagta
laakhon baras ka
laakhon baras ka
haay
haay haay
dil ko lagela mohabbat ka chaska
dil ko lagela mohabbat ka chaska
sapne mein nazar aata unko tera aankda
phephde mein phootataa hai
kya
phephde mein phootataa hai
haatim phataakda (??)
haathhi(??) hota gili gili
phokat mein khaalee peelee
phokat mein khaalee peelee
haathhi hota gili gili
phokat mein khaalee peelee
khaalee peelee gili gili
gili gili gili gili
khaalee peelee
gili gili
gili gili gili gili
khaalee peelee
gili gili
khaali pili gili gili
gili gili
gili gili gili gili
gili gili gili gili
aaja zaalim kaai ku
ho ho ho
aaja zaalim kaai ko
bataata hai thhaska
thhaska
thhaska
haay
haay haay
dil ko lagela mohabbat ka chaska
dil ko lagela mohabbat ka chaska
tum nahin aayenga
hum maarenga bomb
bahut bura hota hai
aashiq ka kaum
ek baat bolta kheesa garam hai
hamko kya samjha
hum bhi nahin kam hai
kya samjha
are aayenga to bhaada denga
taxi ka bus ka ho
ho bus ka
ho bus ka
haay
haay haay
dil ko lagela mohabbat ka chaska
dil ko lagela mohabbat ka chaska
ho dil ko lagela mohabbat ka chaska
chaska bhai
yeah haah
This article is written by Sadanand Kamath, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5750 | Post No. : | 18274 | Movie Count : |
4948 |
‘Maan Apmaan’ (1979) was produced and directed by N V Deshpande. The cast included Sanjeev Kumar, Kanan Kaushal, Sushma Shiromani, Usha Solanki, Gajanan Jagirdar, Dhumal. Mohan Choti, Ratnamala, Asit Sen, Jayshree T, Shammi, Vishwa Mehra, Neelam etc. As per IMDb, the film was in the making since 1968 with Sanjeev Kumar and Kanan Kaushal (who, at that time, were yet to established as successful actors). The film got delayed and at one time it was almost shelved. It was only when Sanjeev Kumar became a star and Kanan Kaushal came into limelight with her box office hit film, ‘Jai Santoshi Mata’ (1975), the film was revived, reshot and released in August 1979. The film was dubbed in Gujarati also.
The film’s lead actress, Kanan Kaushal (real name: Indumati Sheth) was born on March 21, 1939, in Baroda (now Vadodara). She belongs to Konkani speaking Gomantak Maratha Samaj, mainly concentrated in around Goa. Her interest in acting began during the school days but got a fillip during her college days when she started participating in plays during college’s cultural festivals. After completing MA in Economics and History, Indumati got involved in Marathi, Gujarati and Hindi theatres. In 1964, she got married to Shashikant Paigankar and became known as Indumati Paigankar. So, she started her filmy career after her marriage.
Indumati Paigankar came into limelight when she worked in a Hindi play, ‘Do Jahaan Ke Beech’ with Haribhai Jariwala (Sanjeev Kumar) and Leela Chitnis. Her acting in this play got attention from Hindi filmmakers. In 1964-65, she got roles in ‘Prahar’, ‘Asha Ke Deep’ and ‘Aakhri Din Pehli Raat’. Unfortunately, her first three Hindi films remained incomplete/shelved. During the making of ‘Aakhri Din Pehli Raat’ (shelved), the director, Kamal Amrohi suggested to change her name from Indumati Paigankar to Kanan Kaushal which she accepted. He also suggested the film’s hero, Haribhai Jariwala to change his name. So, he adopted his name to Sanjeev Kumar. Despite the film being shelve, both of them retained their new screen names for all their subsequent Hindi films. (Note: Kanan Kaushal’s profile of her early years is based on a Marathi write-up which appeared on maharashtranayak.in)
Kanan Kaushal’s first released Hindi film was ‘Sati Sulochana’ (1969) in which she was in a subsidiary role with Anita Guha and Premnath. Her first film in a lead role was ‘Maan Apmaan’ (1979) with Sanjeev Kumar, which started sometime in 1968. However, it got delayed for a long time. In ‘Pardesi’ (1970), Kanan Kaushal got a major role along with Mumtaz.
Kanan Kaushal had already worked in about a dozen Hindi films, mostly in supporting roles, but she had not established herself in terms of the the box office success. Then came the film ‘Jai Santoshi Mata’ (1975) in which Kanan Kaushal got a major role along with Anita Guha. This low budget film created an history in 1975 by becoming the second highest grossing film next to ‘Sholay’ (1975). As happens in Hindi films most of the time, Kanan Kaushal also got typed cast for mythological films. She did over a dozen films in this genre over the next 5 years in succession.
It is said that Kanan Kaushal after her successful role in ‘Jai Santoshi Mata’ (1975), got an image of a religious and a pious woman which she wanted to retain it. That made her to reject bold roles in Hindi films. Later on, when she shifted to doing character roles in the 1980s onwards, she was almost type-cast as a suffering wife/mother, more like Nirupa Roy type of roles. ‘Sanam Aap Ke Kaatir’ (1992) was her last Hindi film.
‘Ekati’ (1968) was Kanan Kaushal’s first Marathi film in which she paired with Kashinath Ghanekar. She worked in around 30 Marathi films under her original name, Indumati Paigankar. She also worked in about 16 Gujarati films and 4 Bhojpuri films in addition to about 40 Hindi films.
Kanan Kaushal retired from the films sometime in 1990s. Post retirement from films, she pursued her hobby as a Beautician. She has written and published two books in Marathi – ‘Roopsadhana’ (1994) and ‘Vadhucha Saajshrungar’. Her husband, Shashikant Paigankar passed away in 2001. They have one son and a daughter. The son, Parag Paigankar is an Executive Director in one of the well-known financial services companies in Mumbai. Her daughter is Meelan Samant.
The story of ‘Maan Apmaan’ (1979) is as under:
Thakur (Gajanan Jagirdar), a wealthy landlord, stays with his family consisting of his wife, Laxmi (Ratnamala), his two grown-up daughters – Parvati (Kanan Kaushal), Kamini (Neelam) and a son, Pratap (Mohan Chandola). Shankar (Sanjeev Kumar) is an orphan who has been brought up since his childhood by Thakur and also stays in the house. Thakur’s eldest daughter, Savitri (Usha Solanki) has already got married. Despite belonging to a wealthy family, Parvati is a simple, cultured and self-respected girl. Shankar is a simple man, and he is close to Parvati among other members of the family.
One day, Pratap sees both Shankar and Parvati outside a temple talking in an intimate manner and reports this to his mother, Laxmi. Paravati overhears their conversations and feels bad about Shankar getting a bad name for his closeness to her. She tells her mother that she would marry Shankar to remove any impression about him being in a scandalous relationship. Shankar is hesitant to marry her but Parvati persuades him for the marriage.
Thakur is dead against the marriage as it is not palatable to him as to how his daughter could marry a orphan who has no house to stay and no money to sustain. However, Parvati’s threat to commit suicide if her marriage with Shankar is denied, forces Thakur to agree for the marriage for which he offers financial assistance as well as allowing them to stay in the house. Both of them refuse the offer. After marriage, Shankar and Parvati leave the house to stay with Shankar’s friend, Ramdas (Asit Sen). However, due to unpleasant behaviour of Ramdas’s wife (Shammi), Shankar and Parvati leave the house and shift to his grandparent’s abandoned cottage in a different village. Shankar repairs the house and settles in the village.
Parvati gives birth to a baby boy. Thakur and his wife visit to see the child. However, after seeing them living in an abject poverty, they return home after Thakur insults them. After a few years, Shankar and Parvati receive an invitation to attend the marriage of her younger sister, Kamini. While Parvati’s mother is happy to see them after a long time, other members of the family give them a cold response. On the contrary, Savitri accuses Parvati of stealing her jewellery. A humiliated Shankar and Parvati return home with a vow never to visit them.
Years pass. Shankar and Paro receive an invitation to attend the marriage of her younger brother, Pratap. After humiliation during the marriage of her younger sister, Parvati and Shankar decide not to attend the marriage. Instead, she writes a letter to Pratap sending her best wishes for the marriage. However, her mother’s health deteriorates after the marriage as it was a shock for her that her daughter, Parvati could not attend the marriage. After few days, she passes away. After completion of the religious ceremonies, Thakur and his family members realise their mistakes of ill treatment to Shankar and Parvati. They all visit Shankar and Parvati’s house and reconcile with them.
The film had 3 songs written by Bharat Vyas which were set to music by Laxmikant-Pyarelal. I am presenting the first song, ‘ye geet kaun mere madhuban mein gaa rahaa’ to appear on the Blog. The song is rendered by Mohammed Rafi and Anuradha Paudwal. The song is picturised on Sanjeev Kumar and Kanan Kaushal reflecting their happiness over the news of becoming expectatant parents.
Video Clip:
Audio Clip:
Song-Ye geet kaun mere man madhuban mein gaa rahaa (Maan Apmaan)(1979) Singers-Anuradha Paudwal, Rafi, Lyrics-Bharat Vyas, MD-Laxmikant Pyarelal
Both
Lyrics
hmm hmm
hmm hmm hmm
hmm hmm hmm hmm hmm
hmm
aa aa aa aaa
aa aa aa aaa
aa aaaaa
ye geet kaun
mere mann madhuban mein gaa rahaa
ye geet kaun
mere mann madhuban mein gaa rahaa
mere soye praanon ko
meethhe meethhe sur se jagaa rahaa
ye geet kaun
mere mann madhuban mein gaa rahaa
ye geet kaun
mere soye praanon ko
meethhe meethhe sur se jagaa rahaa
ye geet kaun
raat ki belaa
main thhaa akelaa
chupke se ye kaun aayaa
raat ki belaa
main thhaa akelaa
chupke se ye kaun aayaa
door kabhi kyaa rah sakti hai
kaaya se apni chhaayaa
palkon mein jo basti hai
koi useykyun bulaa rahaa
ye geet kaun
mere mann madhuban mein gaa rahaa
ye geet kaun
bheegaa hai mausam
milte hain hum tum
bheegi hawaayen gaatee hain
bheegaa hai mausam
milte hain hum tum
bheegi hawaayen gaatee hain
pedon se lipti
komal lataayen
dekh hamen sharamaati hain
jaane ye kaisi khusbhoo udi
jo dil pe nashaa saa chhaa rahaa
ye geet kaun
mere mann madhuban mein gaa rahaa
ye geet kaun
deep mein jyoti
seep mein moti
teraa meraa mel yahi
deep mein jyoti
seep mein moti
teraa meraa mel yahi
saagar mein saritaa
lahron mein kavitaa
pyaar kaa paawan khel yahi
bhar ke apni baahon mein
mujhe koi jhoolaa jhulaa rahaa
ye geet kaun
mere mann madhuban mein gaa rahaa
mere soye praanon ko
meethhe meethhe sur se jagaa rahaa
ye geet kaun
ye geet kaun
hmm hmm
hmm hmm hmm
hmm hmm
hmm hmm hmm
This article is written by nahm, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5746 | Post No. : | 18269 | Movie Count : |
4947 |
Dua’a (A prayer)
——————————–
O Allah, we seek refuge in Allah from a knowledge that does not benefit
And from a heart that is not humble
And a soul that is satisfied
And from a dua’ that is not heard
O The Most Generous.
O Allah we ask you for beneficial knowledge
And good provision and deeds that are accepted
O The Most Merciful.
O Allah, make the best of our lives towards the end of it,
And the best deeds of our deeds the last ones,
And the best of our days the day we meet You,
While You are satisfied with us
O Lord of the worlds
O Allah we ask you for a pure life
And a good end,
And a return that is neither shameful nor disgraceful
O The Most Generous
Our Lord do not impose blame upon us if we have forgotten or erred,
Our Lord, and lay not upon us a burden like that which You laid upon those before us,
Our Lord and do not burden us with which we have no ability to bear,
And Pardon us
And pardon us
And forgive us and have mercy upon us,
You are our Protector
So give us victory over the disbelieving people
Our Lord, indeed we have believed
So forgive our sins
So forgive our sins, and protect us from the punishment of the fire,
O Lord of the worlds
O Allah make us of the patient ones
O Allah make us of the truthful ones
O Allah make us of the obedient ones
O Allah make us of those who spend(for the sake of Allah)
O Allah make us of those who seek forgiveness
Forgive all of our sins
Forgive all of our sins
The small and the big
The first and the last ones
Secret ones and the ones done publicly
Forgive what we have put forth and what we have sent behind
What we did in secret and what we did in public
And what You know better than us
You are the Expediter and the Delayer
There is no God but You
Our Lord, we ask you for faith that does not turn back
And a blessing that never ends
And a blessing that never ends
And a blessing that never ends
And the company of our beloved Muhammad(pbuh)
In the Highest Paradise
In the Highest Paradise
In the Highest Paradise
O the Lord of the worlds
Our Lord,
And our Creator
And our Provider
Indeed every night You free people from the hell fire
O Allah free our necks from the fire
O Allah free our necks from the fire
O Allah free our necks from the fire
And necks of our fathers and mothers from the fire
And necks of our fathers and mothers from the fire
And our wives and our offsprings from the fire
And our wives and our offsprings from the fire
And our brothers and sisters from the fire
And our brothers and sisters from the fire
O Lord of the worlds
O the Most Compassionate, the Most Merciful,
O the Most Generous, The Beneficent Bestower of bounties
O The Most Kind, The Most Loving,
O The Most Compassionate, Merciful of the world
O You, whose mercy encompasses everything,
O Allah free our necks from the fire
O Allah free our necks from the fire
And necks of our fathers and mothers from the fire
And our wives and our offsprings from the fire
And our brothers and sisters from the fire
And all our Muslim men and Muslim women
And the believing men and believing women
(free them) By Your Mercy,
O The Most Merciful
Our Lord
Our Lord
And our creator
Your sevants besides us are many!
And we have no Lord but You to Whom we can invoke
And we stand between Your hands
O Allah, cleanse our hearts from hypocrisy
O Allah, cleanse our hearts from hatred
O Allah, cleanse our hearts from envy
O Allah, cleanse our hearts from pride
O Allah, do not leave us to ourselves even for the blink of an eye
Or even less than that
O the Alive, O the Everlasting
O the Alive, O the Everlasting
By your mercy, we seek help
Set right for us all our affairs
And do not abandon us to ourselves for the blinking of an eye(ie a moment)
****************************************
The Holy month of Ramadhan, Hijri 1445 began on 11th March, 2024, and now it has ended in other parts of the world. In India, we all shall celebrate Eid on 11th April.
“The month of Ramadan in which was revealed the Quran,
a guidance for mankind and clear proofs for the guidance and the criterion (between right and wrong).
So whoever of you sights (the crescent on the first night of) the month (of Ramadan i.e. is present at his home),
he must observe Saum (fasts) that month,
and whoever is ill or on a journey,
the same number [of days which one did not observe Saum (fasts) must be made up] from other days.
Allah intends for you ease,
and He does not want to make things difficult for you.
(He wants that you) must complete the same number (of days), and that you must magnify Allah [i.e. to say Takbir (Allahu-Akbar; Allah is the Most Great) on seeing the crescent of the months of Ramadan and Shawwal] for having guided you so that you may be grateful to Him.”
There was a flood of messages on whatsapp groups and direct messages and also on status updates. I am really feeling as an overdose of the only social media I am using. But as usual there, is a beneficial aspect also of this medium, as it keeps me connected to the outside world. And if I say this is the only social media I am using, I am deceiving myself. As a consumer of internet on some levels I am exposing myself as a speck of data, which is the fodder for the holy cow that is whattsapp.
So be it, if I am fodder for any user of my history and consumption of the internet. We all are fodder for each other, feeding on each other and growing and diminishing, as we go about our daily lives. Inter-dependent and inter-connected, we tend to use people and things and be used by them. Because as a mere mortal we are a needy creation, which needs substance. Beyond the substance and survival, humans have expanded the need to the level of greed. So, there is no end to human needs and necessities. This greed has made us into a race of consumerist society and there is no end to our greed.
“The likeness of those who were entrusted with the (obligation of the) Taurat (Torah) (i.e. to obey its commandments and to practise its legal laws), but who subsequently failed in those (obligations), is as the likeness of a donkey who carries huge burdens of books (but understands nothing from them). How bad is the example (or the likeness) of people who deny the Ayat (proofs, evidence, verses, signs, revelations, etc.) of Allah. And Allah guides not the people who are Zalimun (polytheists, wrong-doers, disbelievers, etc.)”
This greed is a food for more greed and the utter desperation of the fear of food scarcity and survival, points to a lot of current affairs events, which have shaped our present psyche.
“(64:16) So fear Allāh as much as you are able and listen and obey and spend [in the way of Allāh]; it is better for yourselves. And whoever is protected from the stinginess of his soul – it is those who will be the successful.”
(Cause greediness is integral part of every human – and so he needs to be protected by external factor ie only by Allah. And He will protect if … first part of the ayah)
We can pretend to be immune to the upheavals, but we are connected to the world and effected by it, whether we like it or not. And things have a way of giving way, of changing and changing for the better.
The civilization was not built in one day. No, it takes time for things to shape up and settle and to again shape up and settle. Not all of us are blessed with the visionary power, but the vision is there, and the change is a rule of nature.
In any era, if something prevailed, by divine decree, it must have been what was destined. The past cannot be changed, but the past is what has shaped the civilization. That is the reason the powerful among the so-called elite are looking to create more and different civilization beyond the world, on moon and on mars. And may the creator grant them more power and wherewithal to do so.
May the Almighty Allah, bless the keen and honest among us, grant the justifiable desires of all of us.
I am glad to be presenting this devotional song, rendered by one and only Mohammed Rafi Sahab, a soul capable of filling the most bland of lyrics with conviction and sincerity.
Recently, I had the privilege of visiting the historic Shanmukhanand Hall, Sion, near Gandhi Market. My son’s convocation was held in this holy month at the venue. Just as we entered the inside lane, we saw the corner of the Hall, we saw the giant cut-out of Rafi Sahab put up on the compound wall. Inside the lobby, there are glassed enclosure/spaces highlighting the legacy of the divine voice commemorating the Centenary year. Blessed are we to be a very minute part of this great performer artist’s era.
Many singers/orators and performers came and went before and after him. But who can match -him? Almighty Allah SWT created only one Mohammad Rafi, with no “saani”. One just needs to listen to the voice and marvel at this super creation of the Almighty.
Eid mubaarak to all.
Song-Uthho ae mominon maah -e-ramzan aaya (Arab ka sona)(UR)(1979) Singer-Mohammed Rafi, Lyrics-Aish Kanwal, MD-Jitin Shyam
Lyrics
Ghaflat mein sone waalon o o
Rab ne tumhen pukaaraa
Uthh kar zaraa…aa to dekho
Qudrat ka yeh ae ae nazaaraa
Rehmat ka ujaala chhaayaa
Allah ne yeh farmaayaa
Uthho ae mominon oo
Maah-e-ramzaan aaya
Uttho ae mominon oo
Maah-e-ramzaan aaya
Khudaa mominon par
Fida ho raha hai
magar tu abhi
bekhabar so rahaa hai
ghadi ye muqaddas
tu kyun kho rahaa hai ae
ghadi ye muqaddas
tu kyun kho rahaa hai ae
hain saare namaazi jaage
rehmat bhi khadi hai aage
Uthho ae mominon o o
Maah-e-ramzaan aaya
Uthho ae mominon o o
Maah-e-ramzaan aaya
Ke hai farz rozaa
Yehaan har bashar par
Qayaamat ke din
Apne daaman mein bhar kar
Yahi nekiyaan sab ko
Jaana hai le kar
Yeh barkat ki raaten
Yeh din hai munawwar
Khuda aaj rehmat
Lutaata hai ghar ghar
Huaa band dekho
Gunaahon ka daftar
Bichhaa di farishton ne
Rehmat ki chaadar
Bichhaa di farishton ne
Rehmat ki chaadar
Quraan ke tees ye paare
Ramzan mein rab ne utaare
Uthho ae mominon oo
Maah-e-ramzaan aaya
Uthho ae mominon oo
Maah-e-ramzaan aaya
Gunaahon se tauba
Tu kar le khudaara
Woh Razzaq hai
Bekason ka sahaara
Nahin uss ki rehmat ka
Koyi kinaaraa aa
Nahin uss ki rehmat ka
Koyi kinaaraa aa
Imaan ko kar lo taaza
Rehmat ka khula darwaaza
Uthho ae mominon o
Maah-e-ramzaan aaya
Rehmat ka ujaala Chhaayaa
Allah ne yeh farmaayaa
Uthho ae mominon o
Maah-e-ramzaan aaya
Maah-e-ramzaan aaya
- In: Anuradha Paudwal songs | Celebration Song | Chandrani Mukherji Songs | Dance song | Guest posts | Kishore Kumar songs | Post by Peevesie's mom | Rafi songs | Song sung by three or more singers | Songs of 1970s (1971 to 1980) | Songs of 1978 | Title song | Yearwise breakup of songs
- Leave a Comment
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.
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Blog Day : |
5722 | Post No. : | 18242 | Movie Count : |
4944 |
Hullo Atuldom
Heard a song this morning after almost 45-46 years.
It was from “Amar Shakti”(1978) which was produced by A.K.Nadiadwala & directed by Harmesh Malhotra. It had Sulakshana Pandit, Shashi Kapoor, Shatrughan Sinha leading the cast with Pradeep Kumar, Jeevan, Om Shivpuri, Ranjeet, Roopesh Kumar, Indrani Mukherjee, Alka, Murad, Birbal, B.M. Vyas etc. playing supporting characters.
Manjula who was from South India; active in Malayalam, Tamil, Telugu, Kannada films, played a banjaran character in the film. She was seen in a few Hindi films of the late 1970s.
The songs of “Amar Shakti” were written by Anand Bakshi & composed by Laxmikant – Pyarelal. Asha Bhonsle, Sulakshana Pandit, Chandrani Mukherjee, with Kishore Kumar & Mohd. Rafi being the male singers.
The story of the film was of the typical “lost and found” story, where there is also a royal family involved. Since it was the story of royals, inheritance etc there has to be a scheming Diwan & a sulking brother of the King- Jeevan & Pradeep Kumar played these characters. There is a Maharaj (Murad) who becomes ill on hearing of the assassination of his Yuvraj & his wife. The Maharaj is also poisoned to death, but somehow the young Rajkumars (sons of the Yuvraj I think) escape or are saved. They come back as grownups to regain their lost titles etc. Along the way, there are the usual twists & turns, where the brothers are unaware of the relation between them (to start with). Then one brother is in love with the traitor’s (who is the current Maharaj) daughter & is also the Senapati of the land. This naturally puts the brothers on opposite sides of the law, before they discover their identities & unite before the HAPPY ENDING. Very typical!!!!
Today’s song happens after the brothers have found each other. They are celebrating in the ‘kabeela’ which had given shelter to one of the brothers & the palace nanny (Indrani Mukherjee). The princess (Sulakshana Pandit) also joins the dance routine. The lady in the red costume is Manjula.
With this song we also remember the super sweet, cute, handsome, Shashi kapoor on what would have been his 86th birthday. He had worked in 4 films as child star (from 1948-53) before making his debut as an adult in ‘Dharmputra’ that released in 1961. He was about 23 then, but already married to Jennifer Kendall. It was ‘Jab Jab Phool Khile’ (1965) opposite Nanda that helped him find a place among popular actors of the 1970s & much of the 1980s.
He had acted in around 160 films before he took retirement from films sometime in late 1990s. He had acted in 12 English & 148 Hindi films – solo hero films were 61 & 53 were in multi-starrers. He was seen playing supporting characters roles in 21 films (has played father to Govinda, I remember). “Ghar Bazar” which released in 1999 was Shashi Kapoor’s last film, his was a special appearance in the film which released 10 years after it was completed.
Here is the song that shows the handsome Shashi Kapoor who was a good actor but an average dancer. Kudos to the choreographer for giving the heroes horses in the middle of the song and making things easy for them.
Song-Sabko pata hai ye sabko khabar hai (Amar Shakti)(1978) Singers-Kishore Kumar, Rafi, Chandrani Mukherjee, Anuradha Paudwal, Lyrics-Anand Bakshi, MD-Laxmikant Pyarelal
Kishore Kumar + Rafi
Male chorus
Female chorus
All chorus
Kishore Kumar+Rafi+ Chandrani Mukherjee + Anuradha Paudwal
Lyrics
hey ae
Aa hey ae
sabko pata hai
yeh sabko khabar hai
sabko pata hai
yeh sabko khabar hai
amar hai shakti
shakti amar hai
amar hai shakti
shakti amar hai
phir kaahe ka dar hai ae ae ae
sabko pata hai
yeh sabko khabar hai
amar hai shakti
shakti amar hai
tu meri jaan hai
tu mera jigar jaane jigar
sabko pata hai yeh sabko khabar hai
sabko pata hai yeh sabko khabar hai
amar hai shakti
shakti amar hai
amar hai shakti
shakti amar hai
parbat uthhaa loon jo tu saath de
tu saath de
jo tu saath de
laa mere haathhon mein tu haath de
tu haath de
tu haath de
ho o o
bachpan mein toh saath khele nahin
khelenge abb hum akele nahin
abb saath apna zindagi bhar hai ae
maa ki duaaon mein
maa ki duaaon mein kitna asar hai
amar hai shakti
shakti amar hai
amar hai shakti
shakti amar hai
humko kisi ki nazar na lage
nazar na lage
nazar na lage
mujh par lage
tum par na lage
tum par na lage
tum par na lage
ho o o o
kyun apne dushman saare banen
chhoote mehal banjaare banen
gham na kar
hamaari lambi umar hai
mehlon se bhi oonchaa
mehlon se bhi oonchaa aaj yeh sar hai
amar hai shakti
shakti amar hai
amar hai shakti
shakti amar hai
aa aa aa aa aa aa aa
aa aa aa aa aa aa aa
kismat se tu mehmaan hai
mehmaan hai
mehmaan hai
hum pe bada tera ehsaan hai
ehsaan hai
ehsaan hai
o o o o
mujhko bhi tum apne kaabil karo
apnon mein mujhko bhi shaamil karo
yeh zindagaani ek safar hai
meree tumhaaree
meri tumhaari ek dagar hai
amar hai shakti
shakti amar hai
amar hai shakti
shakti amar hai
aa hey
sabko pata hai
yeh sabko khabar hai
sabko pata hai
yeh sabko khabar hai
amar hai shakti
shakti amar hai
amar hai shakti
shakti amar hai
Jeet ho hamaari jeet ho
Posted on: March 11, 2024
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Blog Day : |
5715 | Post No. : | 18234 |
Today’s song is a marching song from the film ‘Veer Babruwahan’ (1950).
Now, the name ‘Babruwahan’ is a strange name and I am sure most readers have never heard it, at least those who are below 60 years of age. I heard his story for the first time from my grandfather when I was about 8 years old. Being an odd name and sounding even funny, it remained in my memory. Later I found his story in the 14th parva – The Ashwamedha Parva of Mahabharat in the sub–parva 91-92.
When I saw this film, I was actually surprised how the filmmakers even chose this story, which was not a very well known one from Mahabharat. But then, 1950 was a period when the entire country and the film industry was in a turmoil and both were trying hard to set the things in an order, with whatever efforts were needed.
After the unexpected and suddenly shocking demise of KL Saigal Sb in the beginning of 1947, India getting its Independence in August 1947 and then the ruling government trying to cope up with the huge migration of population on both sides of the newly created borders, the period from 1947 to 1950 was a testing time, both for the country and the film industry. Finally the Indian Dominion became the Republic of India on 26-1-1950 and the British finally repealed their article 395 to declare India to be a fully independent Democratic Republic.
The year 1950 also began an attempt by the film industry to make and present films on traditional value building, stories from our glorious history, importance of joint family and building Patriotism, Socialism and the stress on Indian folk music and dances, like in films ‘Mother India’ and ‘Naya Daur’ (both 1957) etc. Ace producers and Nehru fans like Bimal Roy, Raj Kapoor, Mehboob etc. also tried to push the Nehruvian philosophy of Socialism through their films. This period also saw stress on presenting our Mythology and Religious stories through films. To make films more interesting, melody and musical entertainments were made in bulk. As the decade of 1950-1960 was ending, the impact of western world in lifestyles and music (like Rock N Roll, Cha Cha Cha, Hawaian and Spanish tunes etc) became pronounced and the next decade i.e. 1960-1970 was full of such films. But that is another story…..
It was not just the impact of the western music but also the flow of films from Hollywood like ‘Ben Hur’, ‘My Fair Lady’, ‘Sound of Music’, ‘Ten Commandments’, ‘Quo Vadis’, ‘Samson and Delialah’, ‘Seven Samurai’ etc. became very popular in India. These films taught the Indian film makers that even smaller films (in terms of duration) can be popular if the content is solid and handled properly. Hitchcock films inspired films like ‘Apradhi Kaun’ (1957) etc. The end part of the 1950 was a mixture of films, as if the industry was in a fix as to which way it should go in the 1960’s decade !
Some of the interesting films in the year 1950 were….
- ‘DAHEJ’ – V Shantaram’s film depicted the sad plight and the defeat of a girl’s father to refuse giving dowry in his daughter’s marriage. This effective film paved the way to the enactment of the ‘ Prevention of Dowry’ act in later years.
- JOGAN – a love and hate story of an atheist and temple Nun. Excellent songs.
- BAWRE NAIN – a tragic love story is remembered as the first hit film of composer Roshan. Superb songs.
- SAMADHI – the conflict of two brothers, patriotism and hit songs.
- SARGAM – a musical story of 7 sisters. Memorable songs by C Ramchandra.
- MASHAAL, SANGRAM and MUQADDAR – all good films, but could not stop the eclipse of the giant Bombay Talkies.
- HAR HAR MAHADEV – An unexpected hit indicated the oncoming years of Mythology and Religious films till 1960, in a record number – 124 films in 10 years.
- AFSAR – the first film of Navketan banner. Based on Gogol’s The inspector General could not do justice to the original, in spite of good songs.
Other good films were
- BABUL – a tragedy love story of Dilip and Nargis
- SHEESH MAHAL – a depiction of the collapse of the old social systems.
- ARZOO – had excellent songs by Anil Biswas.
- PEHLA ADMI – Bimal Roy’s film had a backdrop of the Indian National Army of Subhash Bose.
- DASTAAN was yet another tragedy film.
- AANKHEN was composer Madan Mohan’s first film.
‘Veer Babruwahan’ was made by Homi Wadia’s Basant Pictures. It was directed by Nanabhai Bhatt (aka Batuk Bhai) who had earlier directed the film ‘Muqabala’ (1942), husband of a small-time actress Shirin and father of Mahesh Bhatt. Music was by the king of melody – Chitragupt, MA. The film’s cast consisted of Shashi Kapoor Sr., Mrudula, Urmila, Amarnath, Baby Madhuri, SN Tripathi, Umakant and many others.
Baby Madhuri – her real name was Maahe Laqa (meaning moon faced). She was the daughter of Master Ali Baksh, MD and Iqbal Begum, a cine artiste. In other words Baby Madhuri was the youngest sister of actress Meena Kumari and her sister actress Khurshid Jr. Born in a family of film people, Baby Madhuri was good at acting and singing. She was picked up by Director Nazir of Hind Pictures who took her for his film ‘Sandesha’ (1940). He is the same Nazir, whose first wife was Sitara Devi. He was the maternal uncle i.e. maama of K Asif (of ‘Mughal-e-Azam’ fame) . He later divorced Sitara devi (actually, she had eloped with K Asif ) and married actress Swarnalata and both migrated to Pakistan. Nazir’s studio was burnt during the communal riots in Bombay. Author Manto has detailed all this in his book.
In Wadia’s film ‘Vishwas’ (1943), the talents of Baby Madhuri in acting and singing flowered and she was appreciated much. Then she acted and sang some songs in films like ‘Anjaan’, ‘Jungle Princess’, ‘Muqabala’, ‘Ekta’ (Sindhi), ‘Andhera’, ‘Mahatma Vidur’, ‘Paraya Dhan’, ‘Bachpan’, ‘Nai Maa’ etc.
She was also called Madhu. She later married actor Mehmood. She was very fond of new fashions and western clothes. Due to this, she became a kleptomaniac and was caught many times stealing things and shoplifting. She knew riding, cycling and swimming too. She spoke good English, though not much educated.
After Mehmood divorced her, she got married to barrister Kishore Sharma, an associate of Nani Palkhivala.
[Thanks to shri Harish Raghuwanshi ji for info on Baby Madhuri].
The story of the film ‘Veer Babruvahan’, is as follows,
Babruvahan was the son of Arjun and Chitrangada, the princess of Manipur. He did not participate in the Mahabharat war from the side of Pandavas and remained in Manipur because he was the heir to the throne of Manipur after his maternal grandfather as he was adopted as his son by his maternal grandfather.
During the Ashwamedh Yagna, Babruvahan caught the horse and had a fight with Arjun. In the fight, he was able to kill Arjun as Arjun was cursed by Devi Ganga, mother of Bhishma, to die at the hands of his son. Thereafter, Ulupi, the other wife of Arjun, who knew about this curse, revived Arjun to life with the help of a special gem from the Naaglok.
Today’s song is a song to inspire the army of Babruwahan, who is proceeding to fight and kill Arjun – without knowing that Arjun was his father. This is the 6th song of this film and is a sweet song. Enjoy the song video….
Song- Jeet ho hamaari jeet ho (Veer Babruwahan)(1950) Singers-Amirbai Karnataki, Mohd. Rafi, Lyrics-Anjum Jaipuri, MD-Chitragupta MA
Female chorus
Male chorus
All chorus
Lyrics
jeet ho o hamaari jeet ho
jeet ho o
hamaari jeet ho
ye geet milke gaayenge
jeet ho
hamaari jeet ho
amar rahega ye nishaan
amar rahega raaj ye
amar rahega ye nishaan
amar rahega raaj ye
suhaag ghar ke aangnon mein kah raha hai aaj ye
kah raha hai aaj ye
pran deke laaj apne desh ki bachaayenge
pran deke laaj apne desh ki bachaayenge
ye geet milke gaayenge
jeet ho
hamaari jeet ho
jeet ho
hamaari jeet ho
chale hain yudhh bhoomi mein
wo kaun hai jo rok de
chale hain yudhh bhoomi mein
wo kaun hai jo rok de
ghamand apni veerta pe jisko hai wo tok de
ghamand apni veerta pe jisko hai wo tok de
tani hui kamaan se ye bijliyaan giraayenge
tani hui kamaan se ye bijliyaan giraayenge
ye geet milke gaayenge
jeet ho
hamaari jeet ho
jeet ho
hamaari jeet ho
hai chhatr-chhaaya veer ma ki maamta kiye huye
hai chhatr-chhaaya veer ma ki maamta kiye huye
kisi ki maang ka sindoor aasra diye hue
kisi ki mang ka sindoor aasra diye hue
isi sindoor ki chamk mein aage badhte jayenge
isi sindoor ki chamk mein aage badhte jayenge
ye geet milke gayenge
jeet ho
hamaari jeet ho
jeet ho
hamaari jeet ho
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
जीत हो
हमारी जीत हो
जीत हो
हमारी जीत हो
ये गीत मिल के गायेंगे
जीत हो
हमारी जीत हो
अमर रहेगा ये निशां
अमर रहेगा राज ये
अमर रहेगा ये निशां
अमर रहेगा राज ये
सुहाग घर के आँगनों में
कह रहा है आज ये
कह रहा है आज ये
प्राण दे के लाज अपने देश की बचाएंगे
प्राण दे के लाज अपने देश की बचाएंगे
ये गीत मिल के गायेंगे
जीत हो
हमारी जीत हो
जीत हो
हमारी जीत हो
चले हैं युद्ध भूमि में
वो कौन है जो रोक दे
चले हैं युद्ध भूमि में
वो कौन है जो रोक दे
घमंड अपनी वीरता पे जिसको है वो टोक दे
घमंड अपनी वीरता पे जिसको है वो टोक दे
तनी हुई कमान से ये बीजलियाँ गिराएँगे
तनी हुई कमान से ये बीजलियाँ गिराएँगे
ये गीत मिल के गायेंगे
जीत हो
हमारी जीत हो
जीत हो
हमारी जीत हो
है छत्र छाया वीर माँ की मामता किए हुये
है छत्र छाया वीर माँ की मामता किए हुये
किसी की मांग का सिंदूर आसरा दिये हुये
किसी की मांग का सिंदूर आसरा दिये हुये
इसी सिंदूर कि चमक में आगे बढ़ते जाएँगे
इसी सिंदूर कि चमक में आगे बढ़ते जाएँगे
ये गीत मिल के गायेंगे
जीत हो
हमारी जीत हो
जीत हो
हमारी जीत हो
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
This article is his 1300th post in the blog as a guest poster.
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Blog Day : |
5682 | Post No. : | 18198 |
Today’s song is a duet by Rafi and Chitalkar from the social comedy film Hangama-1952.
This is my 1300th post on this Blog. Is it for real ? It is too difficult for me to accept that I have written 1300 posts on old film songs. How did it happen ? If someone had predicted, when I was 71 year old, that I would write a New Chapter in my life and achieve few Milestones, that my name will be known to many people all over India and other countries, and that I will even write a couple of books…. and all this on old films and its music, I would have laughed aloud for a long time ! But it did happen !!
My heartfelt thanks to ATUL ji. Without his initiation prompting me to start writing here, all this would not have happened. Once it started, I realised that I was on the right path. Fortunately, I got good like minded friends here and thus began my journey into unfolding the hidden pages of Hindi Film History. I fully enjoyed my journey. Meeting new friends, learning new things, improving new techniques of the Computer and the Smart Phones and swelling my knowledge bank, made me realise how little I still know in this subject. Looking at the masters in this field, learning from them and imbibing new skills made my journey meaningful and enjoyable.
At regular intervals, I achieved Milestones and the day came when I was persuaded to publish a book of my articles and the special, unique work that I had undertaken. During the initial journey, I had realised that one problem – Same Name Confusion – was not solved by ANY ONE in the last over 80 years of the Talkie Cinema. I started my work on this troublesome issue. I read hundreds of books, old magazines, old newspaper cuttings, visited Internet sites and saw related materials to make notes. With all these efforts, I started collecting information on actors, directors, MDs and others having similar names, which caused a mix up of their Filmography and did injustice to the less known artistes. In those years, when social media was not so pervasive and access to books and magazines was not easy, it was a real tough task to get the information. In the process, I even interviewed the close relatives of some artistes to get the information. I could collate information on such 100 artistes and this information was incorporated in my 2 books.
Film History, like any other history, is susceptible to changes whenever new evidence is discovered. Sometimes, this makes the prevailing information obsolete and has to be replaced by the new evidence. This does not mean that what was written earlier was an intentional untruth. It only meant that till that time that was the truth and now it has to be rewritten ! This happened even in my cases.
All my journey – from the first to the 1299th – was not full of Roses. It did have some ditches also. But the joy of learning through mistakes and adding new knowledge to the kitty was enjoyable.In this journey nothing is personal. No triumph is possible without the help from people on the way. I realised this and my endeavour had been to mention the sources of my information every time. However, there are some cases where either the source was not noted or not mentioned by oversight. The intention is not to cheat or hide anybody’s credit.
In this journey, I have tried to be very transparent and my principle is very clear. I was not born with all this knowledge. I have gathered it from the existing but scattered sources only and hence I do not own it. Whosoever wants to use my information is free to do so. I do not mind or wish that my name should be mentioned as a source. ( like some people, who caused me hurt feelings when I slipped in not mentioning the source). Today, on an average I get about 2 to 4 queries on my mail or WA requesting a variety of information. If I have that, I give it with pleasure. I see that on many Blogs and Fb groups, my articles are being used, mostly without mentioning my name, but I do not feel bad. I am glad that people feel my work is usable !
I am already 84 years old and I do not know how much time I have still. However, I will continue my work. Last time when I crossed the 1200 article landmark, I wrote in reply to Nalini ji’s comments that I would be slow in my work now. Surprisingly, my 1300th post has come in only 265 days, which is the shortest period in my last 10 centuries !
I thank one and all – my Atulite friends, Atul ji, Sudhir ji, other contributors, comment writers, well wishers and our readers. I assure all that I will try to give something new every time.
I must mention one incident which pleased me immensely after I completed my 1200 posts on 18-5-2023. Within 15 days or so, we had a get together of Atulites in Mumbai, at my place, on 2-6-2023. On that day Avinash ji and Nalini ji presented me with a beautiful gift. It was a 2-piece gift. First was a cute little Drawing Board, congratulating me on achieving the milestone of 1200 posts. There were some good drawings and names printed along with the message. The names included C.Ramchandra’s name also. The second part was a cute little doll of a man, who resembled me, with spectacles. Whosoever saw this gift loved them. These were specially made by Avinash ji’s daughter ASHWINI, who runs a business called ” Ahiru’s Creative universe”. Thank you dear Ashwini.
As always, This century mark is also celebrated with a song from C.Ramchandra. Rafi- Chitalkar duets are few, maybe just 3 or 4. Today’s song is one such duet. The cast of the film Hangama-1952 had the young pair of Nutan and Nasir Khan in the lead. Nasir khan was neither good looking nor a good actor. His only plus point was that he was Dilip Kumar’s brother.
Dilip Kumar’s younger brother Nasir Khan ( born on 1-10- 1924) will always be remembered as the leading man of Pakistan’s maiden production Teri Yaad (1948). Nasir Khan started his career in 1945 with Filmistan’s Mazdoor(1945). His next film Shehnai (1947) opposite Rehana was a hit and is still remembered for C. Ramchandra’s songs especially Mar katari mar jana (sung by Amirbai Karnataki) and Aana meri jaan meri jaan Sunday kai Sunday (sung by C. Ramchandra, Shamshad Begum and Meena Kapoor).
He shifted to Lahore at the time of partition and appeared in two Pakistani films i.e. Teri Yaad (1948) and Shahida (1949). Teri Yaad with Asha Posley was Pakistan’s first released film. It flopped because it was lacking in production quality and that along with Jinnah’s death soon after contributed to its failure.
Deewan Sardari Lal’s Shahida, Nasir Khan’s second Pakistani film in which he starred with Shamim, best remembered for her role in Kishore Sahu’s family drama Sindoor also failed to click. Disheartened, Nasir found it hard to support himself and sought help from his brother Yusuf Khan, alias Dilip Kumar, the emerging matinee idol of Indian cinema. Under the banner of Best Pictures, Nasir Khan distributed four films from Bombay to Pakistan, including Mela, a Nargis-Dilip blockbuster by filmmaker S.U. Sunny, featuring some of Naushad’s most enchanting musical compositions.
Overwhelmed by his sudden wealth Nasir then became involved in a love affair with a girl belonging to a feudal Punjabi family. As a result of this imbroglio he had to leave the country overnight ( in view of a threat to his life), that too stealthily only with whatever clothes he had on his body. He returned to Bombay, but not before having his name recorded in the history of Pakistani cinema as the hero of its maiden film.
After returning to India, Nasir resumed his career in 1951 and appeared in 6 Hindi films including Khazana, Nagina, Nakhare, Nazneen Phoolon Ke Haar and Saudagar. Of these special mention must be made of Nagina, a mystery-thriller where he appeared opposite Nutan. Nagina was issued an Adults only certificate and is still remembered for its haunting melodies sung by C.H. Atma and Lata Mangeshkar.
Later, Nasir Khan appeared with many top Indian heroines including Suraiya (Lal Kunwar), Nargis (Angarey), Meena Kumari (Daera) and made somewhat successful team with Nutan (Nagina, Aagosh and Shisham), but he never achieved the success his brother Dilip Kumar did because of his limited acting abilities and wooden expressions.
He married the sensual Indian beauty and his co-star in 3 films i.e. Begum Para. Nasir Khan’s most memorable film was perhaps the hugely successful Ganga Jamuna (1961) where he was cast opposite his own brother Dilip Kumar. The film was a story of two brothers on opposite sides of the law, Ganga (Dilip Kumar) and Jamuna (Nasir Khan). Nasir Khan acted in 30 films. His first film was Mazdoor-45 and the last film was Bairag-76
When films stopped coming to him, he shifted to Deolali,near Nashik and started farming and poultry also,but failed miserably.
According to his wife Begum Para, Nasir developed this physical condition, where he began to lose all his hair and eyebrows prematurely. He really lost out on his career because of that. During the making of Ganga Jamuna, he wore a wig and got away with it. So he concentrated all his efforts on making films.
He died on 3rd May, 1974. His last film Bairaag (1976) was released after his death.
Enjoy today’s comedy duet by Rafi and Chitalkar….
Song-Ajee kahaan chale sarkaar aao khaana hai taiyyaar (Hangaama)(1952) Singers-Rafi, Chitalkar, Lyricist-Rajendra Krishna, MD-C Ramchandra
Lyrics
o kahaan chale sarkaar
aao khaana hai taiyyaar
mazedaar masaaledaar
masaaledaar masaaledaar masaaledaar masaaledaar
masaaledaar masaaledaar masaaledaar masaaledaar
aji kahaan chale sarkaar
aao khaana hai taiyyaar
mazedaar masaaledaar
masaaledaar masaaledaar masaaledaar masaaledaar
masaaledaar masaaledaar masaaledaar masaaledaar
aao meharbaanon kadardaanon
baat pate ki kehta hoon jo maano
baat pate ki kehta hoon jo maano
ye hotel upto date khula hai gate
na hona late
arre saste hain sab rate bharega pet
karo na wait
o chhote barkhurdaar, o baanke baabu hawaldaar
o baabu hawaldaar
aji kahaan chale ho sarkaar
aao khaana hai taiyyaar
mazedaar masaaledaar
masaaledaar masaaledaar masaaledaar masaaledaar
masaaledaar masaaledaar masaaledaar masaaledaar
saanwli saloni bhains
gora gora ghee
arre kahaan milega aise asli ghee ka khaana ji
naazuk naazuk haathon se ji banwaai hai roti
jo na khaaye bhaiyya samjho uski kismat khoti
arre teen tang ki murgi laayi
phir makkhan toone jhoothe bolaa hai
arre ek taanga batera, ek taang
jhoothh bolna gaahak se ji kaam nahin hai mera
jhoothh bolna gaahak se ji kaam nahin hai mera
aisa khaana khaane waala kabhi na ho beemaar
arre kabhi na ho beemaar
aji kahaan chale sarkaar
aao khaana hai taiyyaar
mazedaar masaaledaar
masaaledaar masaaledaar masaaledaar masaaledaar
masaaledaar masaaledaar masaaledaar masaaledaar
bhurta naazuk phoolon kaa hai
kaliyon ki hai bhaaji
arre kaliyon ki hai bhaaji
arre teen roz ki baasi bhaiyya
aa naa bhai naa bhai taazi
o dhobi ji o mochi ji
o mota ji o lambu ji
o maama ji o chaacha ji
o taaya ji o baaba ji
jisne is hotel mein aa ke aaj na khaana khaaya ji
pade khuda ki maar us par
pade khuda ki maar
are pade khuda ki maar
aji kahaan chale ho sarkaar
aao khaana hai taiyyaar
mazedaar masaledaar
masaaledaar masaaledaar masaaledaar masaaledaar
masaaledaar masaaledaar masaaledaar masaaledaar
masaaledaar masaaledaar masaaledaar masaaledaar
- In: "Moonch/mustache song | "Nok-Jhonk" song | Body part song | Devnagri script lyrics by Sudhir | Duet | Guest posts | Lyrics contributed by readers | Post by Arunkumar Deshmukh | qawwali | Rafi songs | Shamshad Begam Rafi duet | Shamshad Begam songs | Songs of 1960s (1961 to 1970) | Songs of 1962 | Yearwise breakup of songs | Zulf song
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Today’s song is from the film ‘Baghdad Ki Raaten’ (1962).
The film is labelled as ‘kalpanik‘, (काल्पनिक) meaning based on an imaginary story. I would have loved to meet the writer of this story, who had such fantastic imagination, but the film mentioned that the story was by the ‘Story Department ‘ of the banner/studio. That explains ! It is not possible to imagine such stories by one single person. The Arabian Night stories were supposed to be told by Scheherazade-wife of the King Shehriar of Persia- to her husband at the rate of one story a night for continuously 1001 nights, to avoid her death. I am sure even she would gladly embrace death after hearing the ‘Arabian Stories’ made by the imaginative story departments of Indian films ! In this one department, we easily defeat the rest of the world’s filmmakers !!
‘Raat’ is yet another favourite word of our filmmakers. A cursory look at the Film Title Index, one finds that there were 21 films made with titles starting with the word Raat. And then there were films with the word Raat, placed in the title elsewhere too like ‘Ek Raat’ (4 films), ‘Barsaat Ki Raat’ (4 films). I found even a ‘Meethi Meethi Raat’ (1991). Further titles were found like ‘Ek Aadhi Raat (2005), ‘Aadhi Raat’ (2 films), ‘Aadhi Raat Ke Baad’ (1965) etc. Then I found ‘Milan Ki Raat’ (1967). With curiosity, I proceeded to try to find ‘Honeymoon Ki Raat, but instead I found ‘Ek Raat Shaitaan Ke Saath’ (2004) and I hurriedly wound up my research !
The decade of the 60’s, though a part of the ‘Golden Period’ to some extent, suffered much due to conditions prevailing in the country. If you take a look at the number of films made from 1961 to 1970, you will find the number had come down substantially, compared to earlier or later decades. See this – 924 films in 1930-40, 1191 films in 1940-50, 1125 in 1950-60, 942 in 1960-70, 1243 in 1970-80, 1668 in 1980-90, 1713 in 1990-2000 and 2352 in 2000-2010.
The reasons for this low number in 60-70 period were many. Major reason was escalation in the cost of film production. The cost had gone up substantially compared to the period 1931 to 1960, in terms of payments to the actors, directors and the music directors, raw film was costlier and other reasons. Attraction of making color films was very expensive. By the end of the 60’s, color films occupied about 70 % of the films produced.
War with China in 1962, war with Pakistan in 1965, death of Nehru ji in 1964, Shastri ji in 1966 and a severe drought condition in the North and East India were reasons which disturbed the national economy. In 1960 itself, to help the Film Industry, the Film Finance Corporation was established, which gave loans for film production at only 5 to 6 % interest rates. Due to this the ‘New Wave Cinema’ had a boost, affecting mainstream films. With all this the number of films made dwindled. However, by the end of the decade i.e. by 1970 the Hindi films once again crossed the figure of 100’s mark (102 films), never to fall again below 100 ! In fact, after the year 2000, the number has always been above 200 films !!
Film ‘Baghdad Ki Raaten’ (1962) was directed by Nanabhai Bhatt, a veteran of such films. The music was by D Dilip alias Dilip Dholakia. He used several names like Dilip, Dilip Rai, Dilip Kumar, in addition to D Dilip and Dilip Dholakia. Contribution of Gujarat to the film industry is tremendous right from the beginning of the moving pictures era. The important fact is, this contribution was all pervading, i.e. in all departments of film making from production to distribution and in the music field it was in the form of singers and composers. Producers like Dalsukh Pancholi and Chandulal Shah, directors like Desai and Doshi, actors like Sanjeev Kumar and Nirupa Roy, MDs like Pransukh Nayak and Madholal Master right up to Kalyan ji Anand ji….the list will be endless !
However, in the music field, not all those who came from Gujarat were as famous or lucky as some others. Composers like Avinash Vyas, Ninu Mujumdar, Ajit Merchant – despite the quantity and the quality, never got counted among the ‘Top Of the Line’ composers. Another name of such a composer is that of DILIP DHOLAKIYA.
Dilipbhai, as he was popularly called, was born on 15-10-1921 at Junagadh in Gujarat. He took classical music training from well known Gurus and also completed BA degree with Sanskrit and Gujrati Literature as main subjects. From 1942 to 1944 he even worked in govt. office, but his intense desire for music made him leave the job and seek opportunities. He sang on All India Radio for 5 Rs. a song basis. He developed friendship with Snehal Bhatkar who was working in HMV that time, and cut a record of two songs. He sang along with Saigal in a chorus for ‘Bhanwaraa’ (1944). Later Shantikumar Desai and Ratan Lal gave him songs in ‘Kismatwala’ and later Chitragupta also gave him songs in ‘Sakshi Gopal’, ‘Mahasati Savitri’, ‘Naya Raasta’ etc.
In 1947, he was selected by Feroze Nizami to sing the famous song, “Yahan Badla Wafaa Ka” from ‘Jugnu’ (1947). Few rehearsals also took place. Due to the turmoil of independence activity in 1947, Mohd. Rafi was stuck in Jalandhar, Punjab. Just one day prior to the recording, Mohd. Rafi came to Bombay. Feroze Nizami gave the song to Rafi, which made lot of good to him. This was the first indication to Dilip Bhai that Luck was not with him.
Basically, he worked as assistant to SN Tripathi and Chitragupta from 1951 to 1972 and later from 1972,as arranger for Laxmikant Pyarelal up to 1988.
While not so successful in Hindi, he was quite popular in Gujrati as a singer and composer. His song “Taari Aankhni Afeeni” from the film ‘Divadandi’ (1950), under Ajit Merchant’s baton is hugely popular even today.
His first independent film in Hindi, as composer was ‘Baghdad Ki Raaten’ (1956), but the film got released only in 1962 ! In all he gave music to 8 Hindi films, ‘Bhakti Mahima’, ‘Saugandh’, ‘Teen Ustaad’, ‘Private Secretary’, ‘Dagabaaz’, ‘Veer Ghatotkach’ and ‘Mata Vaishno Devi’. The song “Miley Nain, Miley Chain” from ‘Private Secretary’ by Lata, became quite popular in those days. He used several names like, Dilip, Dilip D, Dilip Rai and Dilip Kumar for his songs and music.
He gave music to 11 Gujarati films from 1963 to 1984. There is not much information available about Dilip Bhai on the internet or in books. However the following is the summary of his life, from a website ‘Deshgujarat’ with thanks to them-
- Gujarati film ‘Divadandi’ was released in year 1950. Though the film was not a superhit, its one song written by Venibhai Purohit, composed by Ajit Merchent and sung by Dilip Dholakia is superhit even today. The song is: “Taari Aankhni Afeeni”. Initially people misunderstood that this song was sung by Mukeshji.
- His father used to play flute while his grandfather Manishankar used to sing kirtan and bhajan in Swaminarayan Mandir.
- Shri Dholakia came to Mumbai in 1942 and passed BA.
- He worked in Bombay government’s Home department for two years as clerk in the Accountant General’s office. While his office was located on first floor, the third floor in same building was occupied by All India Radio.
- Born in 15 October 1921 in Junagadh, Shri Dilipbhai received education in Bahadurkhanji high school and Bahauddin College.
- His father’s name was Bhogilal.
- He loved songs on classical base.
- In 1944, musician Khemchand Prakash’s brother Ratanlal gave him chance to sing in ‘Kismatwala’ film. His songs were “Gori Chalo Na Seena Ubhar Ke” and ‘Dekho Hamse Na Aankhen Ladaaya Karo”.
- In 1946 he sang a song “Dukh Ki Is Nagri Mein Baba Koi Na Poochhe Baat” in film ‘Laaj’ under Ramchandra Pal’s music composition arrangement.
- He sang Saigal’s 1944 song of film ‘Bhanwara’ s song Thukra rahi hai duniya in chorus. He was introducted to musician Snehal Bhatkar in HMV studio with whose help a record of two songs ‘Bhint Fadi Ne Piplo Ugyo’, and ‘Aadha Tel Aur Aadhaa Paani’ was made. In this record Dilip Bhai was singer and Venibhai Purohit was lyricist.
- In 1948 Avinash Vyas gave chance to Dilip Bhai for two duet songs in film ‘Sati Son’. A name on record printed was Dilip Kumar. When Dilip Dholakia started his career as musician, he choose D Dilip as his identity. In 1960 he gave music in ‘Bhakta Mahima’ directed by K. Shankar under this new name.
- From 1951 he became assistant of musician Chitragupt and worked with him till 1972. In this course the films that were worked out were ‘Insaaf’, ‘Kismat’, ‘Zindagi Ke Mele’, ‘Bhabhi’ (“Chal Ud Ja Re Panchhi Ki Ab Ye Desh Huva Begana“, and “Chali Chali Re Patang Meri Chali Re“), ‘Kali Topi Lal Rumal’ (“Laagi Chhoote Na Ab To Sanam“, “Daga Daga Vai Vai“, “Diwaana Admi Ko Banaati Hain Rotiyan‘) etc.
- Moreover he worked as assistant of SN Tripathi. The tasks was assistant were very technical, such as writing notations, editing, providing creative inputs while composition of new creations.
- Dilip Bhai composed 16 songs in ‘Bhakti Mahima’, that were sung by Lata ji, Usha ji, Manna Dey, Suman Kalyanpur, S Janki. In 1961 he gave music in ‘Saugandh’ film in which Jaimini Ganeshan (father of famous actress Rekha) ans Anjali Devi acted. One song of this film “Apne Liye Jiye To Zamaane Me Kya Jiye” was sung by Rafi ji, and “Chali Hawaayen Matwaari” was sung by Lata and Talat ji. He also composed six songs in Nanabhai Bhatt directed film ‘Teen Ustad’.
- In 1962 he gave music in film ‘Baghdad Ki Raaten. While two songs of this film were sung by Geeta Dutt, one was by Shamshad Begam-Rafi. Dilip Bhai’s favorite writer for songs in those days was Prem Dhavan.
- Dilip Bhai had Manna Dey and Rafi ji singing his song of film ‘Private Secretary’. The song was “Pyaar Ka Maara Hoon Main Julie“. After this he gave music in film ‘Dagaabaaz’ in 1970 with name of Dilip Roy. In this film one song was sung by Mukesh ji. One song sung by Mahendra Kapoor, “Chaand Bhi Sitaare Bhi Hain Bazm Mein” was written by Kaifi Azmi. Dilip Bhai gave music of ‘Vir Ghatotkach’ and ‘Mata Vaishnavi Devi’ with name as ‘Dilip Roy’.
- Thus Dilipbhai gave music in eight Hindi films.
- He started giving music in Gujarati films from 1963 in film ‘Satyavan Savitri’. He has given music in 11 Gujaati films. Some famous songs from these films are: “Milan Na Deepak Sau” (‘Mota Ghar Ni Dheekri’), “Maane Andhara Bolave”, and “Paglu Paglama Atvanu”, “Sathiya Puravo Dwaare”, “Dhanna Dhatudi Patudi”, “Bole Milan No Mor” etc.
- He joined with Lakshmikant Pyarelal as assistant in 1972 and worked on this position for next 16 years.
- Dilip Bhai’s last recording happened on 15 February 1988.
Dilip Dholakiya passed away on 2-1-2011.
The cast of the film was Shakila, Mahipal, Ratnamala, Ishwarlal, Leela Mishra, Neeru (Shanta kumari Jr., debuted in film ‘Adhikar’ (1954)), Master Bhagwan, Abu Hasan and others. The film had another name Abu Hasan and the coincidence was that a small time actor Abu Hasan acted in this film and his name was credited also. The story of this film is given here (please do not chuckle while reading it).
When king Harun Al Rashid was ruling there lived a rich merchant Abu Hasan with his mother and sister Zarina. He had founded a group of friends of his age to spend good times, having parties etc. After few years he stopped the parties as his mother advised. King’s son Prince Gul loved Abu hasan’s sister Zarina, but he met her as a gardener’s son – Jaffer.
The king’s Vazir wanted to become the king. He arrested the king. His Prince did not know this, he thought the king has gone on shikar. The Vazir also arrested Abu Hasan and the Prince Gul and left them in front of hungry lions. However the lions kept their heads on Abu Hasan’s feet but did not eat them, because Hasan had provided them food for many years.
Seeing this, the Vazir was enraged and wanted to kill both, but Hasan’s friend group had come there with weapons and they attacked the Vazir. In the ensuing fight Vazir was killed. Abu Hasan, the king and Prince Gul were released. Gul married Zarina, Abu hasan married his love, court dancer Haseena and the king was reinstated. Abu Hasan was appointed Vazir now. Clap, Clap. The End !
Today’s song is a duet of Rafi and Shamshad Begum. Enjoy….
Song- Zulfon waalon se na bhool ke bhi pyaar keejiye (Baghdad Ki Raaten)(1962) Singers- Rafi, Shamshad Begum, Lyricist-Prem Dhawan, MD- Dilip Dholakiya
Female chorus
Male chorus
Lyrics
zulfon waalon se
na bhool ke bhi pyaar keejiye jee
zulfon waalon se
hoye moonchhon waalon pe
oye moonchhon waalon pe
kabhi na aitbaar keejiye jee
moonchhon waalon pe
moonchhon waalon pe
kabhi na aitbaar keejiye jee
muchho walo pe
zulfon waalon se
na bhool ke bhi pyaar keejiye jee
zulfon waalon se
o peechhe peechhe aayenge maare maare aap hi
o peechhe peechhe aayenge maare maare aap hi
naak ragdenge dar pe humaare aap hi
dar pe humaare aap hi
dar pe humaare aap hi
bheekh maangen to bhi
ae jee bheekh maangen to bhi
jootiyaan nisaar keejiye jee
moonchhon waalon pe
moonchhon waalon pe
kabhi na aitbaar keejiye jee
moonchhon waalon pe
kiske dum se haseenon ki ye aan baan hai
kiske dum se haseenon ki ye aan baan hai
moonchhon waalon ka in pe to ehsaan hai
inpe to ehsaan hai
inpe to ehsaan hai
arre karke ehsaan
dekh liya
karke ehsaan gaaliyaan hazaar leejiye jee
zulfon waalon se
zulfon waalon se
na bhool ke bhi pyaar keejiye jee
zulfon waalon se
ho jab se duniya bani hai
bas takraar hai yahi
ho jab se duniya bani hai
bas takraar hai yahi
hum to kahte hain yaaron ke pyaar hai yahi
ajee haan pyaar hai yahi
are haan pyar hai yahi
gar ye pyar hai to
haaye haaye haaye
arre arre arrey
gar ye pyaar hai to
tauba hazaar keejiye
zulfon waalon se
moonchhon waalon se
zulfon waalon se
na bhool ke bhi pyaar keejiye ji
zulfon waalon se
moonchhon waalon pe
kabhi na aitbaar keejiye jee
moonchhon waalon pe
——————————————
Hindi script lyrics (Provided by Sudhir)
——————————————
ज़ुल्फों वालों से ना भूल के भी प्यार कीजिये जी
ज़ुल्फों वालों से
ओए मूञ्छों वालों पे
ओए मूञ्छों वालों पे
कभी ना एतबार कीजिये जी
मूञ्छों वालों पे
मूञ्छों वालों पे
कभी ना एतबार मूञ्छों वालों पेकीजिये जी
मूञ्छों वालों पे
ज़ुल्फों वालों से ना भूल के भी प्यार कीजिये
ज़ुल्फों वालों से
ओय पीछे पीछे आएंगे मारे मारे आप ही
ओय पीछे पीछे आएंगे मारे मारे आप ही
नाक रगड़ेंगे दर पे हमारे आप ही
दर पे हमारे आप ही
दर पे हमारे आप ही
भीख मांगें तो भी
ए जी भीख मांगें तो भी
जूतियाँ निसार कीजिये जी
मूञ्छों वालों पे
मूञ्छों वालों पे
मूञ्छों वालों पे कभी ना एतबार कीजिये जी
मूञ्छों वालों पे
किसके दम से हसीनों की ये आन बान है
किसके दम से हसीनों की ये आन बान है
मूञ्छों वालों का इन पे तो एहसान है
इन पे तो एहसान है
इन पे तो एहसान है
अरे करके एहसान
देख लिया
करके एहसान गालियां हज़ार लीजिये जी
ज़ुल्फों वालों से
ज़ुल्फों वालों से ना भूल के भी प्यार कीजिये
ज़ुल्फों वालों से
हो जबसे दुनिया बनी है
बस तकरार है यही
हो जबसे दुनिया बनी है
बस तकरार है यही
हम तो कहते हैं यारो के प्यार है यही
अजी हाँ प्यार है यही
अरे हाँ प्यार है यही
गर ये प्यार है तो
हाय हाय हाय
अरे अरे अरे
गर ये प्यार है तो
तौबा हज़ार कीजिये
ज़ुल्फों वालों से
मूञ्छों वालों पे
ज़ुल्फों वालों से ना भूल के भी प्यार कीजिये जी
ज़ुल्फों वालों से
मूञ्छों वालों पे कभी ना एतबार कीजिये जी
मूञ्छों वालों पे
Ik main hoon ik tum ho
Posted on: January 13, 2024
- In: Devnagri script lyrics by Sudhir | Duet | expression of love | Feelings of heart | Guest posts | Love song | Lover's tête-à-tête | Lyrics contributed by readers | Post by Arunkumar Deshmukh | Rafi songs | Rafi Suman Kalyanpur duet | Songs of 1960s (1961 to 1970) | Songs of 1962 | Suman Kalyanpur songs | Yearwise breakup of songs
- 7 Comments
This article is written by Arunkumar Deshmukh, a fellow enthusiast of Hindi movie music and a contributor to this blog. This article is meant to be posted in atulsongaday.me. If this article appears in other sites without the knowledge and consent of the web administrator of atulsongaday.me, then it is piracy of the copyright content of atulsongaday.me and is a punishable offence under the existing laws.
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Today’s song is a duet from the film ‘Rocket Girl’ (1962).
Man has always been curious about other planets and the other worlds. His attempts to know more about them have been known since the Vedic Times, i.e. about 5000 years ago. Our religious books describe the various celestial bodies and there are many stories told about them. However, the modern human quest, in reality, started first when during the II World War, Germany developed a rocket to carry missiles over a long distance. The Germans called it the V2 rocket. From this was developed the first ever rocket which went into space for a short period in 1942.
During the early 50’s, the USA and Russia competed in developing rockets which would carry spaceships with live animals. The world watched in anxiety as to who would win this race. Russia beat the USA when their first rocket with an empty spaceship was launched on 4-10-1957. This was called Sputnik-1. Within a month Russia launched the world’s first rocket with a spaceship – Sputnik-2 with a female dog called LYKA, the first living animal into space. LYKA was a stray dog picked up from the streets of Moscow and knowingly sent into space never to come back alive. She died within 4 days in space. These experiments led to the world’s first successful landing on the Moon on 21-7-1969, when Neil Armstrong became the First Man on the Moon, who returned safely.
While all this was happening in the scientific world, the film world was much much ahead of them, sending several men on the Moon and other planets. Republic Serials released films like ‘Trip To The Moon’ and ‘The Forbidden Planet’ etc in 1956. Would the Hindi filmmakers lag behind ? No way ! Result was, the highly imaginative, though a little crude scientifically, films were made on space travel. One of such films was today’s film, ‘Rocket Girl’ (1962). As per Hindi films’ tradition, space etc. was only a background, the main story being a love triangle story !
The film was made by Film Sansar, Bombay and it was directed by Nanabhai Bhatt, an expert in such ‘Romantic-Mystery’ films. The music was provided by the melody maker Chitragupta. Out of the 6 songs of the film, one song “Na Jaane Chaand Kaisa Hoga” – a duet by Kamal Barot and Mukesh became very popular. I am not very sure, but maybe it came on the first rank on Binaca Geetmala also. The tune of another song “Semina, Semina, Hamari Ho Tum Bolo” was later copied in the song “Chameli, Chameli, Chameli Ki Shaadi” in the film ‘Chameli Ki Shaadi’ (1986).
The cast of the film consisted of Naaz, Sudesh Kumar, Shammi, Bhagwan, Jagdish Raj, Niloufer and few others. Naaz was one actress who remained known as Baby Naaz throughout her career, though the film’s credits said only Naaz. Her costars like Baby Shakuntala and Baby Tabassum went much ahead, but Naaz, somehow, remained behind only. That’s Luck !
Naaz (20 August 1944 – 19 October 1995) was an actress, known for ‘Boot Polish’ (1954), ‘Kaagaz Ke Phool’ (1959) and ‘Bidesiya’ (1963). We know her better by her stage name Baby Naaz.
So impressive and spontaneous was Baby Naaz’s performance in Raj Kapoor’s ‘Boot Polish’ that, even after she grew up, got married and became a mother, she was still known as Baby Naaz. Her role in ‘Boot Polish’, released in 1954, won several international awards and brought fresh acclaim to RK banner. Even in 1995, she won a special jury mention at the Cannes Film Festival for her role in the film. Naaz had a good thing in ‘Boot Polish’, a credible story line, excellent technical effects, wonderful performances by veteran David, Master Rattan, and catchy music – “Nanhe Munne Bachche Teri Mutthi Mein Kya Hai“, and “Lapak Jhapak Tu Aa Re Badarwa“. And then, of course, her own performance.
Boot Polish was Naaz’s 10th or 12th film. No one knows how she got the role. According to her actor-husband, Subbi Raj, Nargis once spotted Naaz doing a show & was highly impressed. She recommended the child to Raj Kapoor, who was equally impressed and cast her in ‘Boot Polish’. The rest is history.
Baby Naaz was born on 20 August 1944 in Bombay, Bombay Presidency, India as Salma Baig. Naaz was born into a family obsessed with showbiz. Her father tried his luck in the film industry, but was not much of a success. Her mother pushed her into films and very soon Naaz was the family’s sole earning member.
The young girl debuted on stage when she was four, and in films when she was eight. Her father, Mirza Dawood Baig, was an unsuccessful story writer and somehow over time, Naaz became the only earning member of the family. At the age of six or eight, she was taken to the studios daily where her mother coaxed producers and directors to give her a chance and however she got the role, it was with ‘Boot Polish’ that she became a celebrity, even beyond Indian borders, and the first choice as child artiste. She has stated once in an interview,
“I wanted to study, but unfortunately I had no time to breathe and had to forget about school. I left studies, for my mother didn’t stop accepting films on my behalf and my father stopped working. My mother was too used to making money out of me and didn’t want to forgo this easy life. She wanted me to work for her comforts and I was both too young and in awe of my parents to refuse.”
With a troubled family life, Kumari Naaz could never graduate to the big league. There was no one to manage her career and her mother accepted any and every role that came by. Raj Kapoor wanted to send Kumari Naaz to a Swiss finishing school for five years, intending to launch her under his banner after she returned. But Kumari Naaz recalled that her mother had wanted to go along with her to Switzerland too, and turned down the offer when she realised that would not be possible.
Naaz became the highest paid child artiste and worked in around 120 films. But her reality was that she was being neglected by her parents who were constantly fighting with each other. Sometimes, after coming home from the day’s shoot, she would fall asleep without having dinner. By the time she turned 12, her parents separated and Kumari Naaz had to stay with her mother, who remarried when Naaz was 16 years old.
Like Tabassum, Daisy Irani & other famous child artistes, Naaz did not make it as a heroine. It could be because there was no one to advise her on how to pick roles. And her mother was excessively eager to make Naaz a heroine. She dressed her daughter in loose, grown-up garments, cake her face with heavy makeup and tried to pass her off as a woman. The ploy worked with some producers, but Naaz was the ultimate sufferer.
But that Naaz was excellent as a child artiste there is no doubt. She worked with leading directors in outstanding films including Hrishikesh Mukherjee’s ‘Musafir’ (1957), Bimal Roy’s ‘Devdas’ (1955), KA Abbas’ ‘Munna’ (1954) and the Nargis-Balraj Sahni starrer, ‘Laajwanti’ (1958).
(Baby) Naaz played the heroine in about 30 eminently forgettable films. But her roles, in ‘Nadir Shah’ (1968) with Feroz Khan, ‘Lambe Haath’ (1960) with Mehmood, ‘Rocket Girl’ (1962) with Sudesh Kumar and ‘Gangu’ (1962) with Chandrashekhar did not challenge her undoubted talent, only her drawing power. She also starred in ‘Mera Ghar Mere Bachche’ (1960) and ‘Dekha Pyar Tumhara’ (1963) opposite Raj Kapoor’s cousin, up-and-coming hero Subbi Raj Kakkar.
They fell in love and, after a five-year courtship, were married in 1965, despite some initial opposition from their families and the industry.
Naaz continued to work after marriage but family came first. She was never pushy and, in an industry known for its cut-throat competition, never sought favours from producers and directors. Soon, she matured into a character actress and bagged good roles in films like ‘Bahu Begum’ (1967), ‘Kati Patang’ (1970) and ‘Sachcha Jootha’ (1970) in which she played the role of Rajesh Khanna’s crippled sister.
Occasionally, Naaz did feel her talent had been ill-used by the industry. As a result, she became more family-oriented. Naaz had an exquisite voice & spoke beautifully. Not many are aware that she transitioned into a second career as a dubbing artiste. Before Sridevi started using her own voice, Kumari Naaz dubbed for her in the early Hindi hits of the 1980s. It was a far cry from the status she enjoyed during her early years in Hindi cinema.
And then, one day, Naaz complained of stomach pain and slight difficulty in swallowing. Sonography revealed tumours, which had spread all over the liver. Surgery and chemotherapy were ruled out and she tried Japanese therapy to reduce the pain.
On October 16, 1995, Baby Naaz began slipping. Subbi Raj, who was shooting in Jammu, rushed back to Bombay. But she quietly drifted away in her sleep three days later, on October 19.
Now let us see the story of this film. You are not supposed to use your common sense or logic while reading it. Hindi films outscore your imagination, anyday !
Prof. Bharadwaj is a famous scientist in Rocketry. His daughter Shashi also has an interest in his work. His lab is financed by Seth Baisakhi Shah. Shah’s son Jagdish tries to win Shashi’s heart by his money and power. She hates him and loves Ravi, her father’s assistant.
One day a mysterious Flying Saucer lands in the town and a monster comes out destroying everything. With great difficulty the professor and the army are able to kill the monster. Now the professor wants to make a rocket which will go to the moon and other planets to solve the Flying Saucer mystery. After a lot of hard work the rocket is ready. The pair of Shashi and Ravi along with Joku and Sweety go into the rocket. Jagdish also hides secretly in this rocket. The rocket lands on an unknown planet. Ravi and Joku are arrested there, with the help of jagdish. The planet’s queen starts loving Ravi. However, Samina, a maid, helps these people to escape in their rocket safely.
Now they land on the Moon where they are welcome. Jagdish tries to put them in jail, but instead Jagdish is arrested. All others safely return to Earth after solving the monster and the Flying Saucer mystery. Ravi and Shashi get married. The audience also goes to their own homes !
Today’s song is a duet by Suman Kalyanpur and Mohd. Rafi. Enjoy. . .
Song- Ik main hoon ik tum ho (Rocket Girl)(1962) Singers- Rafi, Suman Kalyanpur, Lyricist- Prem Dhawan, MD- Chitragupt
Lyrics
ik main hoon
ik tum ho
mausam hai mastaana
phir
laao dil nazraana
laao dil nazrana
kehti hai ye dhadkan
baaton mein mat aana
kyun
pyaar hai deewaana
pyaar hai deewaana
hum hain maare pyaar ke
nazron se na maara karo
hum hain maare pyaar ke
nazron se na maara karo
hum samjhe kya baat hai
yoon na thhandi aahen bharo
tum bhi ho anjaanee
main bhi hoon anjaanaa
phir
laao dil nazraana
laao dil nazraana
kehti hai ye dhadkan
baaton mein mat aana
kyun
pyaar hai deewaana
pyaar hai deewaana
ik main hoon
ik tum ho
mausam hai mastaana
phir
laao dil nazraana
laao dil nazraana
chaahe duniya jo kahe
hum to hain deewaane tere
arre chaahe duniya jo kahe
hum to hain deewaane tere
mere honthhon par bhi hai
ae humdum afsaane tere
mil jaaye tu mujhko
to mil jaaye zamaanaa
phir
laao dil nazraana
laao dil nazraana
kehti hai ye dhadkan
baaton mein mat aana
kyun
pyaar hai deewaana
pyaar hai deewaana
——————————————
Hindi script lyrics (Provided by Sudhir)
—————————————-
इक मैं हूँ
इक तुम हो
मौसम है मस्ताना
फिर
लाओ दिल नज़राना
लाओ दिल नज़राना
कहती है ये धड़कन
बातों में मत आना
क्यों
प्यार है दीवाना
प्यार है दीवाना
हम हैं मारे प्यार के
नज़रों से ना मारा करो
हम हैं मारे प्यार के
नज़रों से ना मारा करो
हम समझे क्या बात है
यूं ना ठंडी आहें भरो
तुम भी हो अनजानी
मैं भी हूँ अनजाना
फिर
लाओ दिल नज़राना
लाओ दिल नज़राना
कहती है ये धड़कन
बातों में मत आना
क्यों
प्यार है दीवाना
प्यार है दीवाना
इक मैं हूँ
इक तुम हो
मौसम है मस्ताना
फिर
लाओ दिल नज़राना
लाओ दिल नज़राना
चाहे दुनिया जो कहे
हम तो हैं दीवाने तेरे
अरे चाहे दुनिया जो कहे
हम तो हैं दीवाने तेरे
मेरे होठों पर भी हैं
ए हमदम अफसाने तेरे
मिल जाये जो तुम मुझको
मिल जाये ज़माना
फिर
लाओ दिल नज़राना
लाओ दिल नज़राना
कहती है ये धड़कन
बातों में मत आना
क्यों
प्यार है दीवाना
प्यार है दीवाना
Atul’s Song A Day- A choice collection of Hindi Film & Non-Film Songs 
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